4/11/2023 0 Comments Musicality group![]() A divergent thinker can come up with many different answers to a question, while a convergent thinker will come up with the one correct answer to a problem. The more associations, connections, memories or meanings an individual is able to make, the more creative the individual (Andreasen, 2006).Measuring creativity often utilizes tasks that reveal divergent thinking versus convergent thinking. ![]() According to neuroscientists, what makes a creative thinker is the high activity in the association cortices sections of the brain-responsible for making new connections and for “eureka” moments. What is creativity? Can musical creativity be taught? Are only brilliant people creative? One of the foundational questions regarding any talent or ability is whether it is innate or learned-in other words, are we born musical, or can musicality and creativity be taught? Recent research into creativity has begun to answer some of these questions.Īs it turns out, creative thinkers do not need to have a high IQ. This chapter will outline some of the characteristics and key elements of music and play, including a discussion of the innateness of musical creativity and suggestions for encouraging creativity. Each child is born with different strengths and abilities, including different types of creative thinking. As discussed in Chapter 7 on music and the brain, the capacity to make music is present in all humans, “and that musicality is as universal as linguistic ability” (Hallam, 2006, p. ![]() Campbell, a noted music educator and ethnomusicologist, acknowledged, “Up until a decade ago, the music culture (or cultures) of children had been largely overlooked and under-researched by ethnomusicologists, and had rarely been studied ethnographically by educators” (2005, p. With a few exceptions, children were not taken seriously as the main subjects or creative agents in studies of musical cultures until Patricia Shehan Campbell’s book Songs in their Heads (2005). ![]() What research exists on musical play is based on behaviors from two general categories of data: 1) observations of younger children’s spontaneous musical behaviors in daycare or educational settings designed by adults, or 2) observations of older children in educational settings or outdoors (Marsh and Young, 2006). There is very little research on children’s musical play or creativity, making it difficult to draw any large conclusions on the topic. This chapter addresses children’s creativity, and introduces different types of children’s musical play and their associated repertoires as well as ideas for children’s improvisation. Chapter Summary: Children’s creativity is at the heart of this book, and is one of the most important factors to consider when creating pedagogical material. ![]()
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