先秦音乐与儒家的礼乐理想

中国古代音乐的基本理论在先秦时期已初具系统。从音律上看,先秦音乐与现代音乐或西方古代音乐不存在本质上的不同,但在音阶的选用上,人们把“五声”视为最理想的音阶,所追求的音乐意念是“和”。先秦儒家在继承周代礼乐制度的基础上提出了“礼以别宜、乐以敦和”的礼乐理想作为治国平天下的基本途径,不仅使礼乐之间的互补关系得到进一步发展,还使“乐”的含义发生了深刻的转化。所谓乐,不仅指声音的和谐,更重要的是内心的愉悦,即“无声之乐”。它所强调的是个人对差别性社会规范即礼的发自内心的认同,并从生活践履中获得和乐的内在体验。     

The Creation Process of Brazilian Musicians

This study investigated the creative process of well‐known musicians in Brasília, Brazil and the conditions that facilitated the development of their creative abilities. A sample of 14 professional musicians (11 composers and 3 performers) participated in semi‐structured interviews to discuss the following topics: musical formation, dedicating time to music, working conditions, creativity in music, the creative process, and the importance of music in their lives. The results indicated that the majority of the musicians view creativity as a complex process supported by many factors, especially the environment. Four stages of the creative process were described by these musicians: process triggering, preparation, product elaboration, and product validation.     

Background music stints creativity: Evidence from compound remote associate tasks

Background music has been claimed to enhance people's creativity. In three experiments, we investigated the impact of background music on performance of Compound Remote Associate Tasks (CRATs), which are widely thought to tap creativity. Background music with foreign (unfamiliar) lyrics (Experiment 1), instrumental music without lyrics (Experiment 2), and music with familiar lyrics (Experiment 3) all significantly impaired CRAT performance in comparison with quiet background conditions. Furthermore, Experiment 3 demonstrated that background music impaired CRAT performance regardless of whether the music induced a positive mood or whether participants typically studied in the presence of music. The findings challenge the view that background music enhances creativity and are discussed in terms of an auditory distraction account (interference‐by‐process) and the processing disfluency account.     

General,Artistic and Scientific Creativity Attributes of Engineering and Music Students

ABSTRACT

The purpose of this research was to investigate similarities and differences in general, artistic, and scientific creativity between engineering versus music students, as 2 groups respectively representing scientific and artistic domains. One hundred music and 105 engineering students from a large, Northeastern university completed measures of general creativity, music creativity, engineering creativity, and a demographic questionnaire. Results indicated that musicians scored higher in general and artistic creativity, with no significant differences in scientific creativity. Participants had higher levels of creativity, compared with normative data from previous studies. Gender, age, and specialization within major yielded no significant differences. Implications for creativity measures are discussed, including cognitive risk tolerance.     

The Psychology of Simonton's Science: Commentary on Simonton (2009)

ABSTRACT— One key assumption of the psychology of science is that psychological factors make certain interests, talents, and abilities more likely and others less likely ( Feist, 2006 ). The line of argument that Simonton (2009 , this issue) puts forth—integrating and uniting the metaliteratures on dispositional and developmental influences on scientific and artistic creativity—is not only consistent with this assumption from the psychology of science, but it is also a breeding ground for a host of testable hypotheses and calls for future empirical investigations. Given Simonton's own extraordinary levels of scientific creativity, indeed it would be interesting to turn his ideas back on him to see how his science is a product of his own developmental and dispositional experiences. We'll leave that, however, for future biographers and psychologists of science.     

Psychoanalytic observations on musical creativity

The author applies concepts of creativity, developed in regard to literature and graphic arts, to the field of music. He refers to Sterba's concept of "regressive self passage" as an explanation of musical creativity. Modern theories of narcissism as well as composers' personal accounts are incorporated into the argument.     

Emotions over time: synchronicity and development of subjective, physiological, and facial affective reactions to music

Most people are able to identify basic emotions expressed in music and experience affective reactions to music. But does music generally induce emotion? Does it elicit subjective feelings, physiological arousal, and motor reactions reliably in different individuals? In this interdisciplinary study, measurement of skin conductance, facial muscle activity, and self-monitoring were synchronized with musical stimuli. A group of 38 participants listened to classical, rock, and pop music and reported their feelings in a two-dimensional emotion space during listening. The first entrance of a solo voice or choir and the beginning of new sections were found to elicit interindividual changes in subjective feelings and physiological arousal. Quincy Jones' "Bossa Nova" motivated movement and laughing in more than half of the participants. Bodily reactions such as "goose bumps" and "shivers" could be stimulated by the "Tuba Mirum" from Mozart's Requiem in 7 of 38 participants. In addition, the authors repeated the experiment seven times with one participant to examine intraindividual stability of effects. This exploratory combination of approaches throws a new light on the astonishing complexity of affective music listening.     

Growing Up as a Creative Musician: The Role of Psychosocial Dispositions and Environment

This study tried to identify the psychosocial dispositions and environment conducive to the development of a creative musician. A sample of 14 established musicians (vocalists and instrumentalists) belonging to Hindustani music tradition was selected from three major cities of Uttar Pradesh and were interviewed in-depth. They were interviewed about their early childhood, training in music and growing up as a musician. A thematic analysis yielded three major psychosocial themes pertaining to nurturance of creativity—developmental dispositions, preferred settings for music practice (Riāz) and performance, and relationship with Guru. Many participants showed proclivity to be creative musician, but all needed to have intrinsic motivation, nurturing social environment, and proper setting for riāz. They also reported that learning under a worthy guru was important for their creativity to blossom. Implications of these findings for training of the music students in an institutional set up were discussed.     

Synaesthesia,creativity and art: What is the link?

It has been suggested that individuals with synaesthesia may show heightened creativity as a result of being able to form meaningful associations between disparate stimuli (e.g. colour, sound). In this study, a large sample (N=82) of people with various kinds of synaesthesia were given two psychometric tests of creativity (Remote Associates Test, Alternate Uses Test) and were also asked about the amount of time engaged in creative arts (visual art, music). There was a significant tendency for synaesthetes to spend more time engaged in creative arts and this was, at least in part, dependent upon the type of synaesthesia experienced. For example, synaesthetes experiencing vision from music were far more likely to play an instrument than their other synaesthetic counterparts. There was no relationship between this tendency and the psychometric measures of creativity, but synaesthetes did outperform controls on one of the two psychometric measures (Remote Associates). We conclude that the tendency for synaesthetes to be more engaged in art is likely to have a different mechanism to psychometric measures of creativity, and that there is no direct link between them. Although synaesthetes may well perform better on some measures of creativity, we suggest that synaesthetes have better bottom‐up access to certain associations, but are not necessarily better able to use them flexibly (in divergent thinking).     

Creativity and Cultural Production: A Study of Contemporary Western Popular Music Songwriting

The contemporary Western popular music industry tends to work within a paradigm of creativity that runs counter to current academic research. This research into creativity can be categorized as falling along a continuum from individual to contextual responsibility and ranges across a number of disciplines including psychology, sociology, linguistics, philosophy, and communication and media studies. However, it is the contention of this article that it is the systems model of creativity in particular, partially coupled with the similarly complex approach to cultural production presented by Pierre Bourdieu, which provides the most useful working platform to investigate the idea of creativity. Through the use of an ethnographic research methodology, this article investigates the systems model of creativity as it applies to contemporary Western popular music songwriting. It concludes that a contemporary Western songwriter's ability to make choices, and therefore be creative, is both circumscribed and facilitated by his or her knowledge of the domain of contemporary Western popular music and his or her access to, and knowledge of, the field that holds this knowledge that allows the conclusion, at the more philosophical level, that these ideas can also be presented as an account of the interdependence of agency and structure within the workings of the creative system.     

背景音乐对消费者的影响：音乐契合度的视角

音乐契合度指的是背景音乐与广告、消费环境及商品特征等消费要素的契合程度。背景音乐与消费要素的契合可以体现在音乐特性、社会隐义和文化意蕴三个方面,这些契合程度能够对消费者的认知、情绪和行为等方面产生影响。若背景音乐的音乐特性与消费要素之间存在较高契合度,则能够提升消费者的注意效果、加强对商品的记忆并提升购买意图;背景音乐的社会隐义也能与消费要素产生契合关系,两者之间的契合程度决定了消费者对品牌的态度、情绪状态、对商品的记忆和选择;背景音乐与消费要素在文化意蕴方面的高度契合则能够促进消费者对品牌的态度、提升购买意愿、促进购买行为。未来研究应探索背景音乐更多的结构属性,进一步挖掘背景音乐影响消费者的边界条件,突破现有理论探索更深入的理论机制,并进一步探索音乐契合对于消费者认知和情绪的影响效应及其影响机制。     

Creativity and Cooperation in the Elementary Music Classroom*

The author examines attitudes towards, and the effects of focus on, creativity and cooperation in the elementary music classroom. First, elementary music teachers were interviewed regarding their values towards creativity and cooperation. Then, a curriculum was field tested that utilized cooperative learning and emphasized activities designed to encourage creative thinking and problem solving. A pretreatment-posttreatment study, with experimental and control group, was conducted to measure actual changes in student levels of creativity and attitudes towards cooperation. A follow-up of creativity measures was conducted four years later. Results indicate that elementary music teachers can adapt cooperative learning models to their teaching and can, short-term, influence students' levels of creativity and attitudes towards cooperation. Implications and opportunities for social-psychological creativity research and classroom educators are discussed. In 1983, Goodlad observed that, in general, there was a “gap between the rhetoric of individual flexibility, originality, and creativity … and the cultivation of these [things] in our schools” (p. 241) and that schools provided students with little opportunity to develop “satisfying relations with others based on respect, trust, cooperation, and caring” (p. 240). Goodlad encouraged teachers in the arts to provide opportunities for creative problem solving and to “boldly demonstrate the potentiality for doing through the arts what cannot be done readily through the other fields” (p. 238). His appeal to arts teachers is reminiscent of Maslow (1968):     

创造力有其“阴暗面”

创造力有其“阴暗面”。从产品角度而言,创造力可产出伤害性或消极的产品;从个体角度而言,高创造力者可能具有一些消极特征,如精神疾病易感性强、宜人性差、说谎、不诚信等;从情境角度而言,高创造力表现可能与不信任感、生存危机感、社会拒绝等消极因素有关。未来研究应开发高生态效度的恶意创造力测评工具,改进计算恶意创造力水平的算法,探索消极个体特征和消极情境因素作用于创造性思维的认知与神经机制。     

小而灵通，老而顽固？年龄信息对创造性观念评价的影响及其机制

创作者的年龄作为重要的社会线索信息,可能会影响大众对其观点的创造性评价。本研究以物品非常规用途想法作为评价材料,考察了4类年龄信息对创造性观念评价的影响,以及相关刻板印象在其中的作用。结果发现,10岁左右年龄信息会提升被试的新颖性和适用性评分;30岁左右的信息提升了新颖性评分,但刻板印象强弱对评分变化不具有预测作用。这表明,对于领域一般性产品,有关创作者的刻板印象不易被激活并应用于创造性评价。     

Enhancing positive affect and divergent thinking abilities: Play some music and dance

This study compares the effect of dance on affect and cognition to music or exercise, in a young, non-clinical population. Participants were asked to complete tests of mood and creativity before and after spending 5 min either listening to music, dancing, cycling or sitting quietly. Both dancing and passively listening to music enhanced positive affect, decreased negative affect and reduced feelings of fatigue. Cycling and sitting quietly had no effect on positive mood or feelings of fatigue. Moreover, dancing and passively listening to music had dissociable effects on different aspects of creativity, with greater change in positive affect being associated with greater enhancement in measures of verbal and non-verbal creativity, respectively. We suggest that these findings support the use of either short duration dancing or passively listening to music as potentially powerful tools in enhancing emotional well-being and different aspects of divergent thinking in non-clinical settings.     

Creative cognition, conceptual combination, and the creative writing of Stephen R. Donaldson

This article explores the reported use of conceptual combination in Stephen R. Donaldson's development of the idea for his award-winning fantasy series. The Chronicles of Thomas Covenant the Unbeliever. Donaldson's (1991) own account is used to illustrate the general principles of a creative cognition approach to understanding creativity as well as the more specific role of the basic process of conceptual combination. The links between Donaldson's and others' anecdotal accounts of creativity and laboratory investigations are assessed. The article concludes with an argument for a "convergence" approach in which information from anecdotal accounts and laboratory studies is combined to provide a more complete picture of creative functioning than either approach alone can offer.     

Concerted Creativity in the Digital Age: How do we Crack the Code…?

The purpose of the present article is to contribute to the development of a socio-material, situated conceptualization of creativity, in exploring music making as it becomes meaningful in performative emergence processes of the digital age. It uses the creative practices of musicians to analyse and discuss the qualities of ‘digital materials’ in a creative setting, today very often playing a critical role in the production and performance of music. Methodologically, the analysis is based on interviews with professional musicians performing at Roskilde Festival and observations inspired by the autoethnographic approach. The study concludes that creative musical emergence in performance situations of the digital age depends on an openness towards a fragility, imperilling the situation and ‘cracking’ the digital materiality.     

两岸四地大学生对创造力特征及创造力 人才的认知调查

该研究表明,北京、广州、香港和台北的大学生在对创造力和创造力人才的内隐认知甚为一致。其中北京和广州大学生的内隐认知更为接近,而香港和台湾大学生的内隐认知更为接近。在对高创造力特征的内隐认知上,四地大学生一致看重的条目有：有创造力、有创见、创新、有观察力、有思考力、愿做尝试、灵活性、有自信、有想象力、有好奇心、有个性和有独立性等。而在对低创造力表现的内隐认知上,四地大学生的一致认同的条目有：呆钝、保守、跟随传统和愿做让步。在对创造力人才的认知上,四地的大学皆首推政治名人,次推科技界名人。四地大学生最不看重的创造力人才是艺术界和音乐界名人。这说明,两岸三地的中国人虽然分离长久,但其对创造力的认知上仍相当一致,都甚看重政治与科技人物的影响。     

Tempo and Temperament: A Music Lesson on the Significance of Time for the Art of Pastoral Care

This article will focus on the relationship between tempo and temperament and the power of music to facilitate healing, especially for individuals who struggle with temperament or mood disorders, by examining briefly how individuals diagnosed with depression may be helped by listening to or performing music as a form of treatment. Current research into the “science” of music is providing concrete evidence for the reality that musicians and music therapists have long intuited to be true–music does have the capacity to facilitate healing by influencing brain activity and altering moods (Cambell and Doman 2011; Levitin 2007, 2008; Mannes 2011; Powell 2010; Pruyser 1983; Rose 2004). Insofar as music is an integral part of most worship traditions, it provides a common ground for conversation that may seem more natural and less formidable to ministers and lay people alike than the structures of conventional counseling or care-giving relationships, especially for those who have a tendency to be suspicious of all things psychological.     

Creativity and involvement in art in different types of synaesthesia

The aim of the present study was to test the relationship between different types of synaesthesia and their involvement in art, creative, and visual abilities. We tested 20 grapheme‐colour, 18 sound‐colour, 19 grapheme‐colour‐and‐sound‐colour, 20 sequence‐space synaesthetes, and the same number of controls matched by age, gender, and education. We assessed the number of artistic professions, involvement in art, and the performance in psychometric tests of divergent and convergent creativity, as well as visual and visuo‐spatial abilities. Results show a higher prevalence of artists among synaesthetes, especially sound‐colour synaesthetes. Sound‐colour synaesthetes also showed a higher involvement in artistic activities overall while sequence‐space synaesthetes showed higher involvement in visual art. Only grapheme‐colour‐and‐sound‐colour synaesthetes showed significantly higher divergent creativity compared to matched controls. Additionally, overall, synaesthetes scored higher in visuo‐spatial abilities (i.e., mental rotation). For synaesthetes and controls, visuo‐spatial abilities correlated with divergent creativity. We discuss that synaesthetes’ higher involvement in art is not necessarily reflected in their basic creative abilities.