I. Operational definition of creativity
a. “a creative product is one that is both novel (to its creator) and is ‘appropriate’ or ‘valuable’ in the context of a domain, and a creative person is one who produces creative products.
II. Music composition research: a growing field
III. Content general or content specific
a. There is a lack of agreement whether creativity is global or specific to one area, like music
IV. Recent empirical studies
a. U-shaped growth (
b. Development of creative thinking in music
i. Swanwich and Tillman (1986, 1991): not U-shaped, but progresses through stages
V. Assessment
a.
b. Webster’s Measurement of creative thinking in music-II (1994) is the current dominating measure
c. Table 23.1 on p. 401 includes all the creative tests discussed in chapter (good for review)
VI. Problem-finding: ‘Gezels and Czikszentmihalyi hypothesized that the first step in creative activity involves the discovery or formation of the problem itself, not problem finding’ (p. 404). Some studies have supported this.
VII. Creative thinking processes in music
a. LISTENING AS A CREATIVE PROCESS (SEE DUNN, 1977)
VIII. Relationships between creativity and aptitude or achievement
a. ‘the results of correlations between all of the variables showed that factors most related to children’s artistic creative capacity were: intellectual ability, competence of the preschool teacher, general creative thinking, and the self-esteem of the child’ (p. 405)
IX. Arts experiences and creativity
a. Correlation studies are conflicts, but it seems that instruction in the arts may increase creativity (p. 408)
Mistake, Dunn 1997 (instead of 1977). I downloaded and read this article as it relates to research interests of mine, and I found it quite helpful.
ReplyDeleteI think it's important to acknowledge the two different views on the development of creativity in children:
ReplyDelete1) U-shaped (Gardner) - high creativity in early childhood, slump in middle years, sophisticated creativity in adulthood
2) Progressive sequence of development as children move through stages (Kratus, Swanwick & Tillman). Age 0-4 early mastery, 4-9 immitation, 10-15 imganitive play, metacognition.
And then also the significant influence that Amabile's "Consensual Assessment Technique" has had on judging creativity measurements.
I read both the MCPherson (1993), Priest (1997), and Hickey research because they also align with my chosen research interests. It's encouraging and EXCITING to read that creativity in improvisation is still a relatively unchartered research field.