
Contents
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Vignette 1: The Creativity of the (Mythical) Lone Genius Vignette 1: The Creativity of the (Mythical) Lone Genius
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Vignette 2: The Creativity of Cultural Production Vignette 2: The Creativity of Cultural Production
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Vignette 3: The Creativity of the Technosphere Vignette 3: The Creativity of the Technosphere
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How Forms of Creativity in Music Become the Locus of Significant Practices How Forms of Creativity in Music Become the Locus of Significant Practices
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A Case for Diverse Renderings of Multiple Creativities in Music A Case for Diverse Renderings of Multiple Creativities in Music
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Research Perspectives Research Perspectives
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Outline of Part IV Outline of Part IV
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What Is Most Notable about a Practice Perspective? What Is Most Notable about a Practice Perspective?
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Reflective Questions Reflective Questions
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Websites Websites
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Note Note
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References References
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4.1 Commentary: Musical Creativity as Practice
Get accessPamela Burnard is a professor of Arts, Creativities, and Education at the University of Cambridge, Faculty of Education. She holds degrees in Music Performance, Music Education, Education, and Philosophy. Her primary research interests include the study of diverse and variegated creativities, the nexus of education, cultural and creative industries, and digital learning cultures and innovative practices, for which she is internationally recognized. She is convenor of the Creativities in Intercultural Arts Network (CIAN), the British Education Research Association Creativities in Education SIG, and Building Interdisciplinary Bridges Across Cultures (BIBAC) International Biennial Conference (http://www.bibac.org). Her recent books include Musical Creativities in Practice (OUP), Teaching Music Creatively (Routledge), Creative Teaching for Creative Learning in Higher Music Education (Ashgate), Activating Diverse Creativities in Higher Music Education (Bloomsbury), and Bourdieu and the Sociology of Music Education (Ashgate).
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Published:06 November 2012
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This version:December 2019
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Abstract
This article presents an overview of Section 4 of the Oxford Handbook of Music Education, Volume 2. It reviews notions of musical creativity and proposes a practice-based perspective for understanding the variegated types of musical creativity. It presents three vignettes showing how creativity in music is rendered differently in different contexts. It argues that in the field of music education, there is a need to promote practices that directly develop creativity. In doing so, individualistic approaches wedded to socio-historical foundations and traditional beliefs (which tend to be independent and autonomous from other fields of music) must be played down. Educators need to promote the power of relationships over individual minds, multiple worlds over singular realities, collaborative interdependence over individual heroism, and dialogue over alienation.
Updates
This version of the article reflects changes made in the paperback edition [9780190674564].
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