Toward a reconstruction of ‘creativity’ in music education

Humphreys, Jere T.

doi:10.1017/s0265051706007029

Cited by 16 publications

(9 citation statements)

References 19 publications

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“…Nowadays, it seems evident that facilitating creative thinking and encouraging students to apply their knowledge of music in creative ways should be at the core of philosophy and practice (Hickey & Webster, 2001). It is also proposed that creativity should not be limited to the activities of improvisation and composition but ‘should be expanded to encompass the entire array of creative activities practiced by musicians everywhere’ (Humphreys, 2006, p. 357).…”

Section: Creativity and Music Educationmentioning

confidence: 99%

Fostering musical creativity in pre-service teacher education: Challenges and possibilities

Stavrou

2012

International Journal of Music Education

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Research regarding music teaching in primary school reveals generalist teachers' and student teachers' low musical abilities and low confidence in teaching Music, and even more, in including creative activities in music teaching. This article reports on a study which sought to create a fruitful and supportive environment that would allow 64 primary school student teachers participating in a sound stories' project, to unearth their creative skills and abilities, through active participation and direct experimentation with sound and music. The study focused on the exploration of the formation of student teachers' beliefs regarding the concept of musical creativity, as well as possible educational implications stemming from the processes, experiences and emotions student teachers went through during the project.

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Section: Creativity and Music Educationmentioning

confidence: 99%

Fostering musical creativity in pre-service teacher education: Challenges and possibilities

Stavrou

2012

International Journal of Music Education

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“…Within the scope of music performance teaching at schools, conservatoires, and universities, the strict sense also seems to be highlighted through the emphasis of specific skills. Musical and creative potential is often seen as an inherent talent present in an elite, ostracizing those who do not attain the required standards of expertise (Burnard, 2012a(Burnard, , 2012bHill, 2009Hill, , 2018Humphreys, 2006;Jaffurs, 2004). In some traditions of popular music, the strict sense is present through the association of creativity with the knowledge of codes, rules of style, and improvisational skills that give some individuals respectability in the eyes of the group, excluding musicians who do not yet have the required knowledge (e.g., "paying dues" practices in jam sessions, see Berliner, 1994; duels and tests performed in rodas de choro in Brasilia, Brazil, see Filho, Silva, & Freire, 2011).…”

Section: The Broad and Strict Senses In Musicmentioning

confidence: 99%

The production of broad and strict senses in the discourse on musical creativity and their influences on the self-concept of musicians as creative

Nazario

Ultramari

Pacce

2020

Psychology of Music

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This article presents an analysis of the construction of beliefs/values related to musical creativity. From the perspective of critical discourse analysis, we seek to comprehend how individuals constitute broad and strict senses of creativity and how these senses can influence their perceptions of themselves as creative. Open questionnaires were administered to students in the process of scholarly training and non-scholarly musicians. The results indicate that the presence of both senses of creativity in participants’ discourse reflects a social order that qualitatively and quantitatively produces and reproduces those senses. The broad sense of creativity has a smaller incidence rate (about 31%) and tends to allow participants to form a positive self-concept. In contrast, the strict sense appears more frequently (about 69%) and may lead to a negative self-concept when subjects do not reach the assigned values.

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“…The implications of this on how we think about musical creativity are considerable, particularly in the way creativity in music education is conceived. While it is said that traditional beliefs regarding musical talent have to a large extent disappeared among music educators (Humphreys, 2006), there still remain elements of the traditional concept of creativity in the form of commonly held beliefs and myths that continue to linger in educational institutions and the subtexts of music books (Burnard, 2012a).…”

Section: Types Of Creativity and Musical Creativitymentioning

confidence: 99%

A phenomenographic approach to understanding some Taiwanese music teachers’ experiences of creativity in the classroom

Wiles¹,

Kokotsaki

2019

Musicae Scientiae

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The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that:• a full bibliographic reference is made to the original source • a link is made to the metadata record in DRO • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders.Please consult the full DRO policy for further details. AbstractThis study examines what creativity means to a group of Taiwanese music teachers, and how it relates to their classroom experiences and teaching practices. The research followed a qualitative, interpretative approach. Interviews were used to gather data and were analysed according to phenomenographic principles. Analysis of the interviews indicated that two main approaches were taken by teachers regarding their experiences of creativity: a product-focused, and a process-focused approach. In the product-focused approach, creativity was defined from the outside according to externally imposed factors, frames of reference, and motivating forces. In the process-focused approach, creativity was defined from the inside, from the point of view of the individual involved, and in which personal agency, inclusion, and collaboration were valued.The approach taken by teachers towards creativity also showed a relationship to how music education was perceived. Teachers who had a product-focused approach to creativity saw music education in terms of content, while those who were process-focused had a meaningoriented view of music education that valued the experience of students over the content that was taught. Similarly, a correspondence was found between how creativity was perceived and the nature of classroom interactions that varied between teacher-centred and learner-centred.

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Toward a reconstruction of ‘creativity’ in music education

Cited by 16 publications

References 19 publications

Fostering musical creativity in pre-service teacher education: Challenges and possibilities

Fostering musical creativity in pre-service teacher education: Challenges and possibilities

The production of broad and strict senses in the discourse on musical creativity and their influences on the self-concept of musicians as creative

A phenomenographic approach to understanding some Taiwanese music teachers’ experiences of creativity in the classroom

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