A New Phenomenology of Musical Creativity

1978 ◽  
Vol 23 (11) ◽  
pp. 846-847
Author(s):  
GERALD J. BALZANO
Keyword(s):  
Musical Creativity

MUSICAL CREATIVITY AND SUICIDE

2001 ◽  
Vol 89 (7) ◽  
pp. 719 ◽  
Author(s):  
ANTONIO PRETI
Keyword(s):  
Musical Creativity

Effects of STEAM Music Program for young children on their Musical Creativity

2018 ◽  
Vol 18 (10) ◽  
pp. 497-517
Author(s):  
Jisun Hwang ◽  
◽  
Changhyun Park ◽  
Keyword(s):  
Young Children ◽  
Music Program ◽  
Musical Creativity

The labour that dare not speak its name

2017 ◽  
Author(s):  
Jason Toynbee
Keyword(s):  
Social Structure ◽  
Large Scale ◽  
Division Of Labour ◽  
Concrete Material ◽  
Material World ◽  
Music Making ◽  
Causal Impact ◽  
Musical Creativity ◽  
Material Conditions

The is chapter argues that to understand the distributed nature of musical creativity we need to examine its connection to large-scale social structure and to capitalist relations of labour. These relations have a ‘downward’ causal impact on creative acts. Firstly, this is through the division of labour, which plays out in different ways across genres from classical to pop. Secondly, creative musical labour involves engagement with the concrete, material world. The distributed nature of creativity is determined not only by the drive to divide or consolidate music-making tasks but also depends on the nature of the musical materials to hand, and methods of dealing with them. Two methods are described in this chapter: translation and intensification. Each (sometimes they are combined) entails the making of relatively autonomous creative choices which are emergent from the structural and material conditions of musical labour.

Creating with Constraints

2020 ◽  
Author(s):  
Robert Hasegawa
Keyword(s):  
Visual Art ◽  
Creative Activity ◽  
Georges Perec ◽  
Gyorgy Ligeti ◽  
Raymond Queneau ◽  
Art Forms ◽  
Musical Creativity ◽  
Process Constraints

Musicians have long framed their creative activity within constraints, whether imposed externally or consciously chosen. As noted by Leonard Meyer, any style can be viewed as an ensemble of constraints, requiring the features of the artwork to conform with accepted norms. Such received stylistic constraints may be complemented by additional, voluntary limitations: for example, using only a limited palette of pitches or sounds, setting rules to govern repetition or transformation, controlling the formal layout and proportions of the work, or limiting the variety of operations involved in its creation. This chapter proposes a fourfold classification of the limits most often encountered in music creation into material (absolute and relative), formal, style/genre, and process constraints. The role of constraints as a spur and guide to musical creativity is explored in the domains of composition, improvisation, performance, and even listening, with examples drawn from contemporary composers including György Ligeti, George Aperghis, and James Tenney. Such musical constraints are comparable to self-imposed limitations in other art forms, from film (the Dogme 95 Manifesto) and visual art (Robert Morris’s Blind Time Drawings) to the writings of authors associated with the Oulipo (Ouvroir de littérature potentielle) such as Georges Perec and Raymond Queneau.

Glitched and Warped

2019 ◽  
pp. 593-609
Author(s):  
Anne Danielsen
Keyword(s):  
Popular Music ◽  
New Technologies ◽  
Digital Production ◽  
Musical Creativity

Anne Danielsen focuses on the new rhythmic feels that have developed within the field of popular music since the 1980s through the use of new digital production tools. In particular, she discusses the ways in which these feels are produced through the manipulation of sound samples and the timing of rhythm tracks. Initially, Danielsen evaluates the formation of these new feels from two perspectives, one that sees them as a continuation of earlier machine-generated grooves and another that positions them as an expansion of the grooviness of earlier groove-based music in unforeseen directions. She then discusses how they constitute a challenge to previous popular music forms while, at the same time, they offer new opportunities for human imagination and musical creativity. Danielsen discloses such transformations across several styles and points to the manner in which the new technologies allow for combining agency and automation in new compelling ways, leading to musics and gestural movements that go beyond the natural human repertoire.

The production of broad and strict senses in the discourse on musical creativity and their influences on the self-concept of musicians as creative

2020 ◽  
pp. 030573562097343
Author(s):  
Luciano da Costa Nazario ◽  
Leonardo Roman Ultramari ◽  
Benjamin Pacce
Keyword(s):  
Discourse Analysis ◽  
Critical Discourse Analysis ◽  
Incidence Rate ◽  
Social Order ◽  
The Self ◽  
Broad Sense ◽  
Critical Discourse ◽  
Self Concept ◽  
Strict Sense ◽  
Musical Creativity

This article presents an analysis of the construction of beliefs/values related to musical creativity. From the perspective of critical discourse analysis, we seek to comprehend how individuals constitute broad and strict senses of creativity and how these senses can influence their perceptions of themselves as creative. Open questionnaires were administered to students in the process of scholarly training and non-scholarly musicians. The results indicate that the presence of both senses of creativity in participants’ discourse reflects a social order that qualitatively and quantitatively produces and reproduces those senses. The broad sense of creativity has a smaller incidence rate (about 31%) and tends to allow participants to form a positive self-concept. In contrast, the strict sense appears more frequently (about 69%) and may lead to a negative self-concept when subjects do not reach the assigned values.

scholarly journals A generative model of teachers’ thinking on musical creativity

2009 ◽  
Vol 37 (4) ◽  
pp. 416-442 ◽  
Author(s):  
Oscar Odena ◽  
Graham Welch
Keyword(s):  
Generative Model ◽  
Musical Creativity

Notes on Emotional Components of Musical Creativity and Performance

1994 ◽  
Vol 128 (6) ◽  
pp. 635-640 ◽  
Author(s):  
Nick L. Lund ◽  
Peter L. Kranz
Keyword(s):  
Musical Creativity ◽  
And Performance
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