scholarly journals Dimensions of Musical Creativity

2020 ◽  
Vol 14 ◽  
Author(s):  
Andrea Schiavio ◽  
Mathias Benedek
Keyword(s):  
Living Systems ◽  
Creative Potential ◽  
Creative Cognition ◽  
Domain Specific ◽  
Environment Adaptation ◽  
Enactive Cognitive Science ◽  
Musical Practices ◽  
Different Dimensions ◽  
Everyday Creativity ◽  
Musical Creativity

Current literature on creative cognition has developed rich conceptual landscapes dedicated to the analysis of both individual and collective forms of creativity. This work has favored the emergence of unifying theories on domain-general creative abilities in which the main experiential, behavioral, computational, and neural aspects involved in everyday creativity are examined and discussed. But while such accounts have gained important analytical leverage for describing the overall conditions and mechanisms through which creativity emerges and operates, they necessarily leave contextual forms of creativity less explored. Among the latter, musical practices have recently drawn the attention of scholars interested in its creative properties as well as in the creative potential of those who engage with them. In the present article, we compare previously posed theories of creativity in musical and non-musical domains to lay the basis of a conceptual framework that mitigates the tension between (i) individual and collective and (ii) domain-general and domain-specific perspectives on creativity. In doing so, we draw from a range of scholarship in music and enactive cognitive science, and propose that creative cognition may be best understood as a process of skillful organism–environment adaptation that one cultivates endlessly. With its focus on embodiment, plurality, and adaptiveness, our account points to a structured unity between living systems and their world, disclosing a variety of novel analytical resources for research and theory across different dimensions of (musical) creativity.

scholarly journals A Conceptual Framework for Artificial Creativity in Visual Arts

2017 ◽  
Vol 12 (3) ◽  
pp. 381 ◽  
Author(s):  
Daniela Sirbu ◽  
Ioan Dumitrache
Keyword(s):  
Conceptual Framework ◽  
Visual Arts ◽  
Natural World ◽  
Human Visual Perception ◽  
Artificial System ◽  
Conceptual Approach ◽  
Creative Cognition ◽  
Domain Specific ◽  
Abstract Approach ◽  
Artificial Creativity

The present paper introduces the conceptual framework for an artificial system for visual creativity addressing the idea of niche creativity that is domain specific and non-anthropocentric in its conceptual approach. We think that the visual creative output of the system reflects the artificial medium and the specific artificial processes engaged in its production and, therefore, it is an expression of the idea of embodied creativity with the proposed system offering in this sense an example of digital embodiment of creativity. Although our approach to artificial creativity is non-anthropocentric, the system design is inspired by processes in the natural world that lead to the production of new and useful structures in both living and non-living systems with human creative cognition being included among these processes. The main problem raised by this abstract approach to artificial creativity in visual arts is the compatibility of its artistic production with human aesthetics, the ultimate goal of the proposed system being to produce visual output that would aesthetically engage human visual perception.

scholarly journals Creative-digital diagnostics and reflexive development of school students in the course of studying Natural Sciences

2021 ◽  
Vol 117 ◽  
pp. 04003
Author(s):  
Sergei Yurievich Stepanov ◽  
Pavel Alexandrovich Orzhekovskiy ◽  
Inna Borisovna Mishina
Keyword(s):  
Creative Thinking ◽  
Experimental Testing ◽  
School Curriculum ◽  
Natural Sciences ◽  
Computer Networking ◽  
Creative Potential ◽  
School Students ◽  
Domain Specific ◽  
Online Mode ◽  
Creative Tasks

The authors of the article raises an issue that is relevant from the perspective of modern education connected with difficulties of using the results of psychological diagnostics of students’ creative thinking carried out with the help of traditional testing techniques within the framework of the actual learning process. To address this issue, it is recommended to use the solutions suggested by the “forming” and “reflexive” approaches to this problem and conduct a synthesis of these two approaches using modern digital technologies. This way, it will provide us with an opportunity to turn developing (forming) procedures into diagnostic and turn diagnostic means into developing. Such a conceptual and technological symbiosis allowed us to create a computer networking system “CREO DATUM” enabling its users to carry out creative-digital diagnostics and psycho-pedagogical support of reflexive development of students’ creative potential at the same time based on the material of one of the natural sciences taught within the school curriculum, namely chemistry. This system includes a database of domain-specific creative tasks by solving which students demonstrate their thinking abilities; digitalization of this process in the online mode allows teachers to monitor and assess the dynamics of such parameters of their creative potential as divergence and criticality. This tool enables the teacher and student to predict the area of future development promptly and select further creative tasks on the subject via “CREO DATUM” taking into consideration the strengths and weaknesses of previous creative efforts. Experimental testing of the “CREO DATUM” system allowed us to categorize the students who took part in the research. Four groups have been identified: children with high creative potential, ones with low creative potential, divergents, and analysts. Methodological recommendations have been developed for each category of students based on the material of a natural science subject aimed at psychological and pedagogical support of their development.

Mind wandering and musical creativity in jazz improvisation

2021 ◽  
pp. 030573562110333
Author(s):  
Pedro T. Palhares ◽  
Diogo Branco ◽  
Óscar F. Gonçalves
Keyword(s):  
Mind Wandering ◽  
Jazz Improvisation ◽  
Creative Behavior ◽  
Creative Cognition ◽  
Musical Creativity ◽  
Musical Improvisation ◽  
Performance Domains ◽  
And Performance ◽  
Thought Probes ◽  
Problem Solving Task

Mind wandering is a prevalent and ubiquitous phenomenon. Several studies suggest that mind wandering benefits creativity if it occurs in the incubation period of a creative problem-solving task. However, it could be impairing real-time expression of creative behavior if it occurs during the course of a creative task. This dissociation between incubation and performance suggests that mind wandering poses a double-edged sword to creative cognition. Jazz improvisation provides an ecologically useful framework for studying the effects of mind wandering on creativity. Here we hypothesized that mind wandering during a musical improvisation task would be associated with higher levels of musical creativity, compared with on-task attention. Nine experienced musicians performed several jazz improvisation tasks interleaved with the presentation of random thought probes. The results showed that musical improvisation during unintentional mind wandering was associated with higher musical creativity when compared with improvisation during on-task attention. However, mind wandering did not impact overall improvisational quality. Altogether, these data suggest that the positive relationship between mind wandering and creativity also extends to artistic performance domains.

scholarly journals Formation of creative potential of students-philologists

2021 ◽  
Vol 27 (1) ◽  
pp. 46-50
Author(s):  
O. V. Chausova ◽  
N. A. Ilyukhina
Keyword(s):  
Personal Growth ◽  
Teaching Method ◽  
Speech Development ◽  
Educational Process ◽  
Russian Language ◽  
Creative Potential ◽  
Creative Cognition ◽  
Combination Of Methods ◽  
The University

In the article the authors highlight the results of work with students-philologists when teaching disciplines of pedagogical orientation (methods of teaching Russian at school, methods of speech development, etc.). The novelty of the research is seen in the application of the methodology for the development of students' creative abilities in the classroom at the university by organizing the educational process based on the problem-based teaching method. It is reported that the combination of methods of logical and creative solution of the assigned tasks contributes to the formation of a creative approach in the educational system at the university. The classification of methods of logical and creative mastering of the knowledge system is carried out. It is emphasized that the teacher must create conditions for the development of the student's creative potential by introducing methods of creative cognition into the learning process (the method of brainstorming, the method of constructing definitions of concepts, the method of experiment, the method of modeling, the method of design, the method of conversation / discussion, the method of consultation, the method of reflection). The article presents examples of tasks of creative orientation according to the methodology of teaching Russian language, a methodological commentary on the tasks is given. The authors of the article argue that creative work not only contributes to deepening and expanding the knowledge and capabilities of students, but also has a positive effect on their personal growth, increases cognitive interest in learning in general and helps modern students in socialization and interaction with the team. It is concluded that creative methods of working with students described in the article can be used in teaching university disciplines.

scholarly journals Augmented Intensional Reasoning in Knowledge-Based Accounting Systems

2000 ◽  
Vol 14 (2) ◽  
pp. 127-150 ◽  
Author(s):  
Guido L. Geerts ◽  
William E. McCarthy
Keyword(s):  
Knowledge Sharing ◽  
Accounting Systems ◽  
Conceptual Schema ◽  
Domain Specific ◽  
Design And Implementation ◽  
Knowledge Based ◽  
Conceptual Structures ◽  
Intensive Use ◽  
Different Dimensions ◽  
Knowledge Intensive

A limitation of existing accounting systems is their lack of knowledge sharing and knowledge reuse, which makes the design and implementation of new accounting systems time-consuming and expensive. An important requirement for knowledge sharing and reuse is the existence of a common semantic infrastructure. In this article we use McCarthy's (1982) Resource-Event-Agent (REA) model as a common semantic infrastructure in an accounting context. The objective is to make knowledge-intensive use of REA to share accounting concepts across functional boundaries and to reuse these concepts in different applications and different systems, an approach we call augmented intensional reasoning. Intensional reasoning is the active use of conceptual structures in information systems operations such as design and information retrieval. For augmented intensional reasoning, the conceptual structures are extended with domain-specific REA knowledge. Sections II and III describe different dimensions of augmented intensional reasoning: the REA primitives, the technological features needed to support augmented intensional reasoning, the need for epistemologically adequate representations to make augmented intensional reasoning feasible, and the practical necessity of implementation compromises. Sections IV and V explore two uses of augmented intensional reasoning: design and operation of knowledge-based accounting systems. The example in Section V explains how augmented intensional reasoning works: (1) define the conceptual schema, (2) structure the conceptual schema in terms of REA (knowledge augmentation), (3) define a shareable and reusable accounting concept (claim), and (4) use the concept (claim) to derive information in different accounting cycles (revenue and acquisition).

scholarly journals The Active Musical Room: Fostering Sensorimotor Discoveries and Musical Creativity in Toddlers

2020 ◽  
pp. 002242942095306
Author(s):  
Alicia Peñalba ◽  
Lucio Martínez-Álvarez ◽  
Andrea Schiavio
Keyword(s):  
School Principal ◽  
Creative Potential ◽  
Childhood Education ◽  
Video Recordings ◽  
Shared Space ◽  
Semistructured Interviews ◽  
Musical Engagement ◽  
Field Notes ◽  
Musical Creativity

In the current study, we investigate the implementation of a musical workshop in an early childhood education setting. The workshop is based on a shared space for musical creativity (the Active Musical Room) comprising six different musically relevant objects, which toddlers were free to explore and play with. Inspired by Delalande’s Pedagogie musicale d’éveil, the workshop was facilitated by a teacher who developed strategies to help the toddlers’ musical engagement. Data sources for this case study included semistructured interviews with the teacher and school principal, video recordings of each session, field notes and observations made by nonparticipant observers, and questionnaires completed by parents of the toddlers. Categories concerning three interrelated dimensions of interest emerged from our analyses: the decisions of the teacher, the affordances of the objects in the room, and the creative potential of each toddler. Although generalizations cannot be proposed given the nature of the study, our results point to the recursive interplay between the exploratory drive of the toddlers, their sensorimotor ability, and the constraints afforded by the environment in which they are situated (i.e., teachers, objects).

scholarly journals Different role of the supplementary motor area and the insula between musicians and non-musicians in a controlled musical creativity task

2019 ◽  
Vol 9 (1) ◽  
Author(s):  
Marcella Pereira Barbosa de Aquino ◽  
Juan Verdejo-Román ◽  
Miguel Pérez-García ◽  
Purificación Pérez-García
Keyword(s):  
Supplementary Motor Area ◽  
Motor Area ◽  
Anterior Cingulate ◽  
Creative Cognition ◽  
Multiple Processes ◽  
Dorsolateral Prefrontal ◽  
Musical Creativity ◽  
The Brain ◽  
Creativity Task

Abstract The ability to compose creative musical ideas depends on the cooperation of brain mechanisms involved in multiple processes, including controlled creative cognition, which is a type of creativity that has so far been poorly researched. Therefore, the objective of this study was to examine the brain evoked activations by using fMRI, in both musicians and non-musicians, during a general task of controlled musical creativity and its relationship with general creativity. Results revealed that during a rhythmic improvisation task, musicians show greater activation of the motor supplementary area, the anterior cingulate cortex, the dorsolateral prefrontal cortex, and the insula, along with greater deactivation of the default mode network in comparison with non-musicians. For the group of musicians, we also found a positive correlation between the time improvising and the activation of the supplementary motor area, whilst in the non-musicians group improvisation time correlated with the activation of the insula. The results found for the musicians support the notion that the supplementary motor area plays a role in the representation and execution of musical behaviour, while the results in non-musicians reveal the role of the insula in the processing of novel musical information.

scholarly journals The dynamics of the improvising brain: a study of musical creativity using jazz improvisation

2020 ◽  
Author(s):  
Patricia Alves Da Mota ◽  
Henrique M Fernandes ◽  
Eloise Stark ◽  
Joana Cabral ◽  
Ole Adrian Heggli ◽  
...  
Keyword(s):  
Resting State ◽  
Large Scale ◽  
Neural Substrates ◽  
Jazz Improvisation ◽  
Cognitive Mechanisms ◽  
Domain Specific ◽  
Creativity Research ◽  
Complex Process ◽  
Musical Creativity ◽  
First Time

AbstractThe neuroscience of jazz improvisation has shown promising results for understanding domain-specific and domain-general processes of creativity. Here, we used fMRI to measure for the first time the dynamic neural substrates of musical creativity in 16 skilled jazz pianists while they played by memory, improvised freely (iFreely) and by melody (iMelody), and during resting-state. We used the Leading Eigenvector Dynamics Analysis (LEiDA) to examine how different modes of improvisation (musical creativity) evolve over time, and which cognitive mechanisms are responsible for different stages of musical creation. Our results reveal that a substate comprising auditory, sensorimotor and posterior salience networks had a significantly higher probability of occurrence (POc) in both modes of improvisation than in resting-state and play by memory. Another substate comprising the default mode (DMN), executive control (ECN) and language networks had significantly lower POc in iFreely than in resting-state, with iMelody having a higher POc than iFreely. Such indicates that iMelody, a more constrained form of creativity involves a higher recurrence of subsystems responsible for goal-directed cognition and cognitive control processes. On the other hand, iFreely recruits brain networks responsible for generation of spontaneous musical creativity. Overall, this study brings new insights into the large-scale brain mechanisms supporting and promoting the complex process of creativity, specifically in the context of jazz improvisation, as well as the relevance of different improvisation modes in creativity research.

scholarly journals Simplifying Theories of Creativity and Revisiting the Criterion Problem: A Comment on Simonton's (2009) Hierarchical Model of Domain-Specific Disposition, Development, and Achievement

2009 ◽  
Vol 4 (5) ◽  
pp. 462-465 ◽  
Author(s):  
Mark A. Runco
Keyword(s):  
Hierarchical Model ◽  
Family Background ◽  
Simple Theory ◽  
Creative Potential ◽  
Actual Performance ◽  
Domain Specific ◽  
Arts And Humanities ◽  
The Arts

Simonton's (2009, this issue) hierarchical model represents a useful contribution to studies of creativity and eminence. Simonton breaks all kinds of new ground by extrapolating the hierarchy to the arts and humanities, interpolating it within disciplines, and relating it to family background and disposition. This commentary poses a few questions about the hierarchical model and proposes an alternative. I also introduce a candidate for a simple theory of creativity that focuses on a universally shared capacity. This simple theory complements Simonton's hierarchical view, though his applies best to actual performance and the simple theory of creativity applies to creative potential.

scholarly journals A música e seu ensino: pedagogias invisíveis, outras janelas para o mundo

2021 ◽  
pp. 1-22
Author(s):  
Anderson Brasil ◽  
Celso Luiz Prudente
Keyword(s):  
Western Music ◽  
Learning And Teaching ◽  
Ancestral Knowledge ◽  
Musical Practices ◽  
Different Dimensions ◽  
Sociocultural Contexts ◽  
Teaching Music ◽  
Different Parts

This essay aims to bring to light other ways of learning and teaching music, with the object of revisiting musical practices existing in different parts of Brazil, which are invisible in disparate music courses. In this reflective weaving, experiences and conceptual immersions acquired in diverse sociocultural contexts will be interposed. Through dialogues with fundamental theorists such as Brandão (1983) and Prudente (2019), the deconstruction of the hegemony of Western music in relation to the ancestral knowledge of traditional peoples will be the guardians and maintainers of emancipatory musical practices, which intersect in different dimensions of making and teaching music.

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