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Becoming creative : insights from musicians in a diverse world

Author: Juniper Hill
Publisher: New York, NY Oxford University Press [2018] © 2018
Edition/Format:   Print book : EnglishView all editions and formats
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How are our ability and motivation to be creative shaped by the world around us? Becoming Creative compares experiences of classical, jazz, and traditional musicians in South Africa, Finland, and the  Read more...

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Additional Physical Format: Erscheint auch als:
Online-Ausgabe, oxford scholarly online
Document Type: Book
All Authors / Contributors: Juniper Hill
ISBN: 9780199365173 0199365172 9780199365180 0199365180
OCLC Number: 1091710000
Notes: Includes bibliographical references.
Description: xiv, 264 Seiten
Contents: Table of ContentsAcknowledgmentsList of FiguresChapter One: Interpreting Creative Experience Across Diverse Musical Communities1.1. Introduction1.2. What does it mean to be creative? An experiential model of musical creativity Generativity Agency Interaction Nonconformity Recycling Flow Value as a problematic component of creativity1.3. Creativity as socially undesirable behavior: some theoretical insights Social pressures to conformInternalizing motivations not to be creative1.4. Common enablers and inhibitors of creativity: an overview of chapters1.5. Learning from the experiences of musicians: methodology1.6. Contrasting musical communities: the case studies The allure of Helsinki, Cape Town, and Los Angeles as research sites Urban distinctions Cross-cultural comparisons of classical, jazz, and folk music communitiesChapter Two: Developing Creativity Enabling Skills 2.1. Introduction to creativity enabling skills2.2. Technique The myth of technical mastery as prerequisite for creativity Overemphasis on technique Correct technique as conformativity or toolbox 2.3. Aural skills Building aural skills through oral transmission Lack of aural skills as inhibiting Concerns about oral transmission and imitation2.4. Vocabulary and memory facility Building vocabulary for idiomatic creative activities Human memory as facilitator of creativity Oral versus written culture Reviving oral culture and unfixing notation A critique of pattern manipulation as (un)creative2.5. Syntax and the ability to apply music theory2.6. Decision-making skills Lack of decision-making skills as inhibiting Approaches for fostering decision-making skills 2.7. Self-assessment skills2.8. Summary of developing creativity enabling skillsChapter Three: Developing Psychological Enablers and Inhibitors of Creativity 3.1. Introduction to psychological enablers and inhibitors of creativity3.2. Beliefs about talent and potential Western attitudes toward talent and their impacts South African attitudes toward musical and creative potential and their impacts3.3. Role models Identification with role models and sense of potential Role models as conveyors of norms and permission3.4. Assessment and feedback Positive feedback Constructive critical assessmentDestructive feedback Anticipating feedback Self-judgment3.5. Values and attitudes Mistakes and Perfectionism Originality versus recycling3.6. Summary of psychological enablers and inhibitorsChapter Four: Accessing the Opportunity, Permission, and Authority to be Creative4.1. Opportunities and barriers in creative development: social inequalities Prejudice and internalized perceptions of limited potential Economic inequalities in music learning 4.2. Opportunities and barriers in creative work: economic pressures Private gigs, corporate sponsorship, and neoliberal policies in Cape Town Working for the music, television, and film industries in Los Angeles State support for the arts in Helsinki Policies, markets, motivation, and education4.3. Authority, permissions, and prohibitions: who's allowed to create what music? Codifying rules for newcomers and restricting outsiders Stylstic boundaries and the politics of race, class, and cultural imperialism Internalizing musical attitudes and practices as moral values 4.4. Summary of societal enablers and inhibitors of creativityChapter Five: Overcoming Inhibitors of Creativity 5.1. Mechanisms for overcoming inhibitors of creativity The safe transgression of comfort zones5.2. Formal methods for enhancing creative agency: courses and programs Safety and emotional support Facilitating composition and improvisation within an idiom Free improvisation, experimentalism, and the breaking of convention Multiple modes of expression: singing, multi-instrumentalism, dance, and theatre Exposure, facilitator expectations, and validation5.3. Informal strategies for overcoming creative hurdles: individual journeys Tuomas Jackie Kyle Anja Juniper5.5. Conclusions on increasing creative agency Musicians InterviewedReferences
Responsibility: Juniper Hill.

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This monumental study of musical creativity in 3 contrasting cultures is set to become a landmark in the field. I know of no other study which so rigorously extracts important lessons from such a Read more...

 
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