Workshop case study 1: • Discussing creativity in music CREATIVITY • Identifying creativity in music “You cannot teach creativity, but you can kill it” and education • Rating creativity in music (Evans, F. T, in Tornkvist, 1998, p. 5) • Encouraging creativity in music • Assessing creativity in music The most important album of all time? 0 50 100 150 Michael Jackson - Thriller The Beatles - Sgt Pepper’s Lonely Hearts Club Band Nirvana - Nevermind The Sex Pistols - Never Mind The Bollocks The Jimi Hendrix Experience - Are You Experienced? Pink Floyd - Dark Side of The Moon PRINCIPLES OF ARRANGEMENT SONG WRITING Elvis Presley - Elvis Presley MODULE GUIDE CREATIVE PROJECT IN POPULAR MUSIC MODULE GUIDE 2009-2010 2010-2011 MODULE GUIDE The Beach Boys - Pet Sounds 2010-2011 Electronics & Sound Subject Group Module Leader Introduction Miles Davis - A Kind Of Blue SCHOOL OF TECHNOLOGY CHRIS WILSON The module takes the form of a structured, student man- aged commercially orientated project enabling develop- FACULTY OF ARTS, DESIGN E: C.J.WILSON@DERBY.AC.UK T: 01332593161 ment of personal creative interests and abilities, and pro- & TECHNOLOGY vides students with the opportunity to develop relevant Electronics & Sound Subject Group Module Leader Introduction UNIVERSITY OF DERBY artistically and commercially orientated work. Based on Electronics & Sound Subject Group CHRIS WILSON Module Leader Introduction As the most significant musical form in contemporary popular music, this mod- SCHOOL OF TECHNOLOGY CHRIS WILSON This module aims to enable the students to develop their compositional technique MODULE CODE: 6MS021. consolidation of the variety of techniques developed in SCHOOL OF TECHNOLOGY FACULTY OF ARTS, DESIGN E: C.J.WILSON@DERBY.AC.UK through the basic application of arrangement in compositional practice. Incorporating THROUGH-YEAR FACULTY OF ARTS, DESIGN E: C.J.WILSON@DERBY.AC.UK ule aims to enable the student to develop their song writing technique through T: 01332593161 an exploration of musical composition as both creative and re-creative activity, study the pre-requisite music composition, arrangement and & TECHNOLOGY T: 01332593161 the basic application of lyric writing and musical arrangement in compositional & TECHNOLOGY will also focus on the theory and practice relating to instrumentation, language, form production modules, the musical and technical objectives NWA - Straight Outta Compton UNIVERSITY OF DERBY MODULE CODE: 4MS017 practice. Incorporating an exploration of song writing as both creative and re- UNIVERSITY OF DERBY MODULE CODE: 4MS016 and arrangement techniques involved in a number of significant music styles and gen- of the project are negotiated as appropriate with the tutor THROUGH-YEAR creative activity, study will also focus on the language and form of a number of THROUGH-YEAR res. Focusing on performance-based and production-based music, the student is en- and need to be of relevance to the experience and exper- significant song writing styles and genres. The student is encouraged to draw couraged to draw on their own experiences of music performing and listening in the on their own experiences of music performing and listening in the development development of musical arrangement techniques. tise of the student as a distinct component of their final year studies. of song writing techniques. Black Sabbath - Paranoid ACDC - Back in Black • Simon Critten - Nothing But A Boy (2008) Bob Marley and The Wailers - Exodus 2008 2009 2010 Creative Project in Popular Music 2004 • Claire Gorman - The North Parade Set (2006) • David Colebrook - Lifted My Arms (2004)
Workshop case study 2: Workshop case study 3: Communication, media, film and cultural studies: Architecture: How to teach and • Technical competency and dexterity • Sustainability • Adherence to prevailing conventions • Imagination assess creativity • Imagination and communication • Functionality • Story telling • Economy • Expression Applying lateral Lateral thinking Vertical thinking Turn forward/disconnection point thinking Expertise and conventional thinking convention/convergence Realm of engagement Isolation Disconnection Generating Provocation: Where do you want to be at . ideas for a “Win the lottery” PROBLEM the end of your research research project Value of music; commerciality and project? ideology; taste and preference.. Disconnection . . . Student comment: . “Marry Royalty” Student comment: “Anywhere, as long as I don’t Fame and celebrity culture; Provocation “I just can’t see how I have to move back home” credibility and authenticity; can type 10,000 words...” genre, style and historicity... Provocation: “Send an avatar” Provocation: What would you need The Gorrilaz; artifice and Don’t type any words... to avoid having to vision/divergence SOLUTION authenticity; performance move home? aesthetics and “liveness”... Disconnection Lateral thinking Student comment: “Get hover boots” parallel or analogous concepts Group answers: “Use dictation software!” Drugs and popular culture; staging and performance effects; musical talent... t r Deep personal insight n e e d m i w s Synergies with wider studies W s e h Overt absorption elsewhere Defence mechanism s t s i g Resonance of circumstances s w e A n d i s i e O h u g Arousal n c Opportunity s t lack of understanding a e n s l l a C l t d a s n h e Interest L m o C c A i u r t Flow o c N n c Motivation r f e F x n n i i c E n a e o t t c u y s i r d a l i s a A l t a r i s o Anxiety t Challenges u i n Challenges c o Incomplete knowledge Flow u r l a A t Worry Incomplete data i P o Control Detailed knowledge r n Awareness of time e Worry c i constraints Control Controlled data s i o Capacity M n Lack of skill or Relaxation Apathy a Developed skill n knowledge base i p y h u R t l e a a l t p a i A x Imitation o a Boredom n t i o Overt absorption elsewhere Defence mechanism n Boredom y lack of understanding t i s c e g a n p c Lack of insight r i a d u C n o n a Disconnection s t o e s i Skills R r t a e v Lack of opportunity d i Skills t n Adapted from Byrne, MacDonald & Carlton, 2003 (Challenge + Skills), U o M Disinterest and post Bloom psycho-motor domain work by Dave (1975) Adapted from Czikszentmihali, 1996. Lack of motivation
Influences on creativity in education • Embrace risk and failure How to assess creativity • Encourage divergent G u i d a n c e thinking, play and Creative Feedback Package (CFP) M o t i v a t i o n playfulness PRODUCT: • uniqueness “...a product or response is • Facilitate personalisation O p p o r t u n i t y • associations of ideas creative to the extent that + - of learning and • risk-taking S u p p o r t appropriate observers expression of learning • potential independently agree it is C u l t u r e outcomes • operability creative” • Structure learning away E n v i r o n m e n t • well-craftedness • attractiveness. from imitation or • Basadur Simplex process Balchin, T. Assessing Students’ Creativity: Lessons P r o c e s s e s From Research, Brunel University. repetition Levels of creativity* Culture and system • Risk. “To make a prairie it takes a 1. Primitive and intuitive expression • Diversity. clover and one bee, One 2. Academic and technical level clover, and a bee, And revery. • Environment. The revery alone will do, if 3. Inventive level • Understanding (Assessment) bees are few.” 4. Innovative level • Personalisation. Should HE be focused on Dickinson, E development of levels 2 and 3? • Collaboration. 5. Genius level (Jackson, 2005) • Innovation. * Taylor (1959) in Jackson, N (2005) Assessing students’ creativity: synthesis of higher education teacher views, Higher Education Academy. Thank You - Q&A Chris Wilson MS206, Markeaton Street BMus(Hons), MPhil, PG Cert (HE), FHEA T: 01332593161 E: c.j.wilson@derby.ac.uk Senior Lecturer in Music Teaching Fellow, School of Technology W: http://sparg.derby.ac.uk University of Derby Li: http://uk.linkedin.com/in/chriswilson101 Director CeX-IMA Tw: http://twitter.com/ChrisWilson101
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