Activating Diverse Musical Creativities

Description

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 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