Such a variety of contributions fosters fascinating opportunities to examine from new angles the mechanisms associated with creative practice and experience, as well as their interplay with broader aspects of human cognition. Hence, this edited collection includes articles exploring how creativity plays out in concrete musical contexts from a range of perspectives: here the views of composers, music theorists, musicologists, neuroscientists, ethnomusicologists, educators, and psychologists, take the form of conceptual analyses, literature reviews, and original empirical studies, ensuring a complementarity of epistemological approaches and methods. To do so, we have deliberately invited submissions from colleagues working in diverse areas, promoting a cross-pollination of ideas and insights. How exactly can musical creativity be defined? What are its main characteristics, and how do these play out across different musical settings? On what neural, social, cognitive, and behavioral resources it is based? We are convinced that clarifying what musical creativity entails requires a dialogue between theoretical analysis, experimental research, and the practical teaching of everyday music-making. Given its complex phenomenology and variety of manifestations, understanding musical creativity remains a crucial, yet difficult goal of current scholarship on the musical mind. From learning to play an instrument to performing, composing, and improvising, much of our music-making activities are deeply associated with creative thought and action ( van der Schyff et al., 2018). Students are also encouraged to share their final works with their communities.Creativity is central to human life, and the domain of music is no exception ( Boden, 2004 Cook, 2018). Participating classrooms will have the option to communicate with others via Google Hangout or Soundtrap, where learners share and discuss about each other’s works. In small groups, learners are prompted to remix and compose with the various samples using Digital Audio Workstations (DAWS) such as, with focus on musical contexts such as form/structure, timbre, texture, and expression.
#MUSICAL CONTEXTS FORM AND STRUCTURE DOWNLOAD#
Then, learners will be able to listen to and download different samples from various places and cultures. Once a sample is submitted, it will be uploaded to the project Soundcloud. Gain perspective of different places and cultures The sounds of traffic and pedestrians near Washington Square Park, New York City on Sept. Try to be specific of where the sample was recorded, also, be creative!
They will then email their samples to soundsoftheglobe(at)gmail(dot)com with a short description of the sounds. Learners will be asked to notice the sounds of their own cities, and create 15-20 seconds sound recordings with their mobile devices. The first step of this project starts locally in the learner’s own communities.
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