Activating Diverse Musical Creativities

✍ Scribed by Pamela Burnard; Elizabeth Haddon (editors)

• Publisher: Bloomsbury Academic
• Year: 2015
• Tongue: English
• Leaves: 314
• Category: Library

✦ Synopsis

Activating Diverse Creativities and Entrepreneurship analyses ways in which music programs in higher education can activate and foster diverse musical creativities, as well as the relationship of musical creativities to entrepreneurship work in higher education teaching and learning practices. These issues are of vital importance to contemporary educational practice and training in both university and conservatoire contexts, particularly with the growing importance of entrepreneurship, defined here as a type of creativity, for successful musicians working in the 21st century creative and cultural industries.
International contributors address a broad spectrum of musical creativities in higher education, including:
- improvisational creativity
- empathic creativity
- leadership creativity
They demonstrate the transformative possibilities of embedding them in the teaching and learning of higher education music and analyze the active practice of musical creativities in teaching and learning and recognize their mutual dependency. In exploring teaching for creativity, Activating Diverse Musical Creativities focuses on higher music education teachers using imaginative approaches in order to make learning more interesting, effective and relevant. In considering learning specific creativities in lively communities within university and conservatoire settings, the contributors address the issues related to the nurturing and development of students’ musical creativities

✦ Table of Contents

Cover
Half-title
Title
Copyright
Contents
List of Figures
List of Tables
Acknowledgements
Preface
List of Contributors
Part 1: Multiple Creativities and Entrepreneurship
1. Introduction: The Imperative of Diverse Musical Creativities in Academia and Industry
Introduction
Reimagining the academy: Using entrepreneurship as change agent
Initiating institutional change
The music industry and fields of power
Introducing the fields of power
Introducing a framework for identifying multiple musical creativities and the configurations of practice
Introducing a spectrum of distinctive practices of musical creativities
References
Part 2: Experiments in Learning
2. On the Other Side of the Divide: Making Sense of Student Stories of Creativities in Music
Introduction: Investigating creativities
Description of the project
Findings and discussion
Music students discussing creativities
The notion of creativity as a professional disposition
The relationship between creativities and creation
The relationship between creativity and assessment
Implications for learners and learning
References
3. Creativities in Popular Songwriting Curricula: Teaching or Learning?
Domain immersion
The learner
Songwriting creativities
Teaching approaches – from sandbox to curriculum
Repertoire analysis
Formative assessment
Constraint-based tasks
Practice
Assessment
Higher education?
Notes
References
4. Killing the Muse: Listening Creativities and the Journey to Creative Mastery
Introduction
The Bachelor of Popular Music: Background
Music semiotics and critical listening
The development of expertise
Putting theory into practice
Survey of current and graduate BPM students
Findings: Student responses and theories of learning expertise
Limitations
Summary of fi ndings
Conclusion
References
5. Permission to Play: Fostering Enterprise Creativities in Music Technology through Extracurricular Interdisciplinary Collaboration
Introduction
Creating a creativity incubator
The collaboration hub
An incubator for interdisciplinary enterprise creativity?
Interviews with CollabHub members
Collaborative relationships
‘Opportunity to experiment, play and discover’
Fostering enterprise creativity
Concluding thoughts
Notes
References
Part 3: Experiments in Teaching
6. Activating Improvisational Creativity in the Performance of ‘World’ and ‘Popular’ Music
Introduction
University improvisation: Contexts for improvisational creativity
Sabroso como el Guarapo (Tasty as a Sugar Cane Drink): Practice-led research and its pedagogical application
The solos
Teaching improvisation: Demonstrating and fostering creative improvisation
Assessing improvisation
Notes
References
7. The Inner Voice: Activating Intuitive and Improvisational Creativities
Introduction
Musician 3.0
‘Free Space’: The state of mind that activates intuitive creativities
Creative learning: The line of process
Kobranie: Processed improvisation
Creative learning within the processed improvisation
Implementing association, metaphor and imagination into musical expression
Creating musical lines from the area of free space
Being the processor
‘Free Play’
The role of the lecturer in the process of improvising and creating: It takes a village to raise a Musician 3.0
Note
References
8. Activating Empathic Creativity in Musicking through University–Community Partnerships
Introduction
The social nature of musical practices: Musicking, empathy and empathic creativity
Musicking and empathizing: An exploratory study
The USC Thornton Outreach Programs: Description and contextualization
Thornton Outreach Programs
Methods
Findings
Implications for higher music education and concluding thoughts
Notes
References
9. Activating Communal Creativities for Redesigning Higher Education Curricula: Drawing on Intercultural Experience
Introduction
Transcendence, culture and meanings of ‘world music’: Ethnographic perspectives
International perspectives on arts and music education: Encompassing communal creativities
Concluding remarks: Cultural production, communal creativities, the economy of ‘world music’ and higher education teaching
Notes
References
10. Being a Composer in an Age of Uncertainties, Risks and Diffuse Creativity: Learning, Career and Creativities
Introduction
Creativities, teaching and learning: Complex worlds in border territories
Training for compositional creativities
Border territories
Methodology
Data collection
Data analysis and treatment
Composers’ ways of seeing and doing
Concluding thoughts and implications for teaching and learning compositional creativities in higher music education
Note
References
Part 4: Engaging Technologies
11. Technology as a Vehicle (Tool and Practice) for Developing Diverse Creativities
Introduction
Music, technology and the curriculum
Socio-cultural and educational issues
Perspectives on the music studio
Sonic picture
Technology as a tool to enable diverse musical creativities
Creativities, technology and live (studio) performance
Creativities and technology as instrument
Technology, creativities and a diversified creative approach
Concluding thoughts
Acknowledgements
Notes
References
12. Activating Digital Creativities in Higher Music Education
Introduction
New literacies in the digital cultural landscape
Social music networks
Social networks
Connected mobile devices: A new frontier for creative practice
Activating digital creativities in higher music education contexts
Making and reflecting – creative practice research
Building a body of work and an online presence
Personal reflections and conclusion
Notes
References
13. Creative Teaching with Performing Arts Students: Developing Career Creativities through the Use of ePortfolios for Career Awareness and Resilience
Introduction
Identity and higher education
Graduate employability and the creative workforce
Engaging technologies to enhance students’ creative learning
Findings and discussion
Reconstructing identities in higher education
Pedagogical implications for staff: Activating career creativities
Conclusion
References
14. Conclusion: Musical Creativities and Entrepreneurship in Higher Music Education: Activating New Possibilities
Entrepreneurialism
Entrepreneurialism in higher music education
Student development
Concerns for educators
Inter- and multidisciplinary creative development
The case for institutional leadership creativities as catalyst for change
References
Index