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.     

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.     

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.     

Emotional Creativity and Real-Life Involvement in Different Types of Creative Leisure Activities

The role of emotional creativity in practicing creative leisure activities and in the preference of college majors remains unknown. This study aims to explore how emotional creativity measured by the Emotional Creativity Inventory (ECI; Averill, 1999) is interrelated with the real-life involvement in different types of specific creative leisure activities and with four categories of college majors. Data were collected from 251 university students, university graduates, and young adults (156 women and 95 men). Art students and graduates scored significantly higher on the ECI than other majors. Humanities scored significantly higher than technical/economic majors. Five creative leisure activities were significantly correlated with the ECI, specifically, writing, painting, composing music, performing drama, and do-it-yourself home improvement.     

Musicians processing music: Measurement of brain potentials with EEG

Abstract

In the present study, the EEG was recorded from the scalp of musicians while mentally active in their field. Analytic, creative and memory processes of the brain were observable using a special electrophysiological method called DC-potential recording. Music students listened to a sequence of four notes and subsequently were either to reverse the sequence (task 1 = analytic) or to compose a new continuation (task 2 = creative). In task 3, the initial segment of a well-known melody was presented and had to be continued (memory task). All tasks had to be solved mentally (imagery). In tasks 1 and 2, either tonal or atonal sequences were presented.

While processing, the results show that the analytic task elicited the highest brain activity. The analytic task involved mainly parieto-temporal areas of both hemispheres, the left hemisphere showing a tendency for domination. The memory task produced predominant activity over the right hemisphere. The creative task caused the lowest brain activation and elicited an unexpected lateralisation to the left, though we expected creativity to be a right hemispheric holistic-synthetic phenomenon.

Comparing listening with processing of the perceived music, we found a significant shift from an insignificant right hemispheric to an insignificant left hemispheric predominance (except with the memory task). This indicates that musicians do not lateralise to the left hemisphere per se when listening to music. Whether one finds a left hemispheric lateralisation in listening tasks or a right hemispheric one probably depends on the amount of simultaneous analytic-sequential processing the musician undertakes.     

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.     

愤怒情绪对恶意创造力的影响及调节策略

以两个实验考察愤怒情绪对恶意创造力表现的影响及作用路径, 并探究调节愤怒情绪对削弱恶意创造力表现的效应。实验1比较愤怒、悲伤、中性情绪下个体恶意创造力表现的差异, 发现愤怒情绪下个体生成更多、更新颖的恶意观点, 情绪唤醒度和内隐攻击性中介了愤怒对恶意创造力表现的影响。实验2探究不同情绪调节策略(认知重评、表达抑制)如何影响愤怒个体的恶意创造力表现, 发现认知重评组和表达抑制组的恶意创造力表现比无策略的控制组水平更低, 情绪唤醒度和内隐攻击性中介了两种情绪调节策略对个体恶意创造力表现的影响。上述结果表明, 愤怒情绪通过提升内隐攻击性和情绪唤醒度进而促进个体恶意创造力表现, 而认知重评和表达抑制策略可作为削弱愤怒个体的恶意创造力表现的有效策略。     

Examining Gender with General Creativity and Preferences for Creative Persons in College Students within the Sciences and the Arts

The purpose of the research was to investigate gender similarities and differences in general creativity constructs with their preferences for creative persons. Data were collected from 247 participants (87 engineering, 24 psychology students with a psychology major, 51 psychology students with a major other than psychology, 30 English, and 55 music students) from a large Mideastern Big 10 university. All participants completed measures of general creativity (creative personality, creative temperament and cognitive risk tolerance) and a demographic questionnaire with the request to list 10 creative persons and their given field. Results indicated that males and females tended to have similar levels of general creativity, yet the most frequently listed creative eminent persons tended to be male. The most frequently listed creative person selections were in science and art, with the three most frequently selected eminent persons being in the science domains. The most frequent creative person selections, consistently selected by at least 10 participants, were Caucasian males.     

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.     

Eye gaze as a means of giving and seeking information during musical interaction

During skilled music ensemble performance, a multi-layered network of interaction processes allows musicians to negotiate common interpretations of ambiguously-notated music in real-time. This study investigated the conditions that encourage visual interaction during duo performance. Duos recorded performances of a new piece before and after a period of rehearsal. Mobile eye tracking and motion capture were used in combination to map uni- and bidirectional eye gaze patterns. Musicians watched each other more during temporally-unstable passages than during regularly-timed passages. They also watched each other more after rehearsal than before. Duo musicians may seek visual interaction with each other primarily, but not exclusively, when coordination is threatened by temporal instability. Visual interaction increases as musicians become familiar with the piece, suggesting that they visually monitor each other once a shared interpretation of the piece is established. Visual monitoring of co-performers’ movements and attention may facilitate feelings of engagement and high-level creative collaboration.     

Positive mood enhances divergent but not convergent thinking

A positive mood enhances creative performance. We examined which type of creativity, divergent or convergent thinking, was enhanced by a positive mood. Half of the participants listened to happy music and thought about happy events (positive group). The other half listened to the Japanese Constitution (neutral group). Participants' emotional valence and arousal were measured before and after mood induction. All participants then engaged in a creative activity involving the generation of new names for rice. The results indicated that the positive group produced more divergent ideas than did the neutral group. On the other hand, the two groups did not differ with respect to the number of convergent ideas that were generated. We suggest that being in a positive mood facilitates flexible thinking and consequently leads to production of unconventional and atypical ideas.     

愤怒情绪对不同类型恶意创造力表现的影响

个体的恶意创造力主要体现在伤害、欺骗与捉弄他人三方面。本研究旨在考察愤怒情绪对上述三类恶意创造力表现的影响及作用路径。研究设计了愤怒、恐惧和中性三种情绪诱发条件（后两者分别作为愤怒情绪的消极和中性情绪对照）,以考察不同情绪状态下个体在三类恶意创造力表现上的差异。结果发现,对于伤害和欺骗他人,愤怒情绪诱发组在观点流畅性、新颖性和伤害性上均高于中性情绪诱发组;而对于捉弄他人,愤怒情绪诱发组仅在观点流畅性和新颖性上高于中性情绪诱发组。内隐攻击性中介了愤怒情绪对三类恶意创造力表现的影响,而情绪唤醒度仅中介了愤怒情绪对伤害他人恶意创造力表现的影响。上述结果表明,内隐攻击性是愤怒情绪促进不同类型恶意创造力的通用路径,而情绪唤醒度是愤怒情绪促进伤害他人恶意创造力的特异路径。     

Creativity in the Age of Technology: Measuring the Digital Creativity of Millennials

Digital technology and its many uses form an emerging domain of creative expression for adolescents and young adults. To date, measures of self-reported creative behavior cover more traditional forms of creativity, including visual art, music, or writing, but do not include creativity in the digital domain. This article introduces a new measure, the Creative Behavior Questionnaire: Digital (CBQD), which assesses self-reported creative behavior in the digital domain. High school students (N = 230) completed the CBQD, as well as several other measures of creativity and personality. Factor analysis revealed 3 factors: digital creativity achievement, school-based everyday creativity, and self-expressive digital creativity. Factor-based scales showed expected correlations with other creativity measures, as well as Big-Five personality traits and Unconventionality, supporting construct validity. Results indicate that the CBQD can be used as an independent or a supplemental measure of creative behavior.     

父母教养方式对初中生创造思维的影响:自我概念的中介作用*

采用父母教养方式评价量表、田纳西自我概念量表和托兰斯创造性思维测验(中文版),测量了429名初中生的父母教养方式、自我概念与创造思维,并对其关系进行考察。结果发现:(1)父亲温暖、理解显著正向预测初中生的创造思维,父亲惩罚、严厉显著负向预测初中生的创造思维,母亲教养方式与之呈现出相似的预测模式;(2)自我概念在父亲惩罚、严厉与独创性间起中介作用;(3)在自我概念的三个维度中,只有自我认同在父母温暖、理解/父母惩罚、严厉与创造思维间起中介作用。作者着重探讨了父母惩罚、严厉,自我概念与创造思维的关系以及对父母教养子女的启示。     

Examining the relationship between skilled music training and attention

While many aspects of cognition have been investigated in relation to skilled music training, surprisingly little work has examined the connection between music training and attentional abilities. The present study investigated the performance of skilled musicians on cognitively demanding sustained attention tasks, measuring both temporal and visual discrimination over a prolonged duration. Participants with extensive formal music training were found to have superior performance on a temporal discrimination task, but not a visual discrimination task, compared to participants with no music training. In addition, no differences were found between groups in vigilance decrement in either type of task. Although no differences were evident in vigilance per se, the results indicate that performance in an attention-demanding temporal discrimination task was superior in individuals with extensive music training. We speculate that this basic cognitive ability may contribute to advantages that musicians show in other cognitive measures.     

The Effects of Competition on Improvisers’ Motivation,Stress, and Creative Performance

We explored how competition affects the quality of musical improvisation, as well as the intrinsic motivation and stress reported by improvisers. Amateur musicians improvised on a keyboard in one of two conditions: induced competition and no competition. Employing the consensual assessment technique, improvisations were assessed for creativity and technical goodness by 10 expert judges. Findings indicate that improvisations were judged as more creative under competitive than non-competitive conditions. Moreover, improvisers in the competition condition were more intrinsically motivated, as well as more stressed, than improvisers in the no competition condition. The creativity and technical goodness dimensions of improvisations were positively related to each other. The findings are discussed in light of the intense debate over the effects of extrinsic motivators on intrinsic motivation and creativity and offer mechanisms through which competition may affect creative performance as well as discuss the role of stress in affecting motivation and creativity.     

家庭创新环境的特征及其与中学生日常创造性行为的关系：创造性人格的中介作用

以1117名中学生为被试,采用问卷法考察家庭创新环境的特点及其对日常创造性行为的影响机制。结果发现：（1）家庭创新环境体现在家庭情感氛围、父母创造性行为、父母教育理念和自主准予,可分为抑制型（17.3%）、一般型（41.9%）和创新型（40.8%）,创新型在日常创造性行为上得分显著高于抑制型;（2）家庭创新环境与创造性人格、日常创造性行为以及同伴提名得分相关显著;（3）创造性人格在家庭创新环境和同伴提名之间起完全中介作用,在家庭创新环境和日常创造性行为之间起部分中介作用。     

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):     

Enhanced divergent thinking and creativity in musicians: a behavioral and near-infrared spectroscopy study

Empirical studies of creativity have focused on the importance of divergent thinking, which supports generating novel solutions to loosely defined problems. The present study examined creativity and frontal cortical activity in an externally-validated group of creative individuals (trained musicians) and demographically matched control participants, using behavioral tasks and near-infrared spectroscopy (NIRS). Experiment 1 examined convergent and divergent thinking with respect to intelligence and personality. Experiment 2 investigated frontal oxygenated and deoxygenated hemoglobin concentration changes during divergent thinking with NIRS. Results of Experiment 1 indicated enhanced creativity in musicians who also showed increased verbal ability and schizotypal personality but their enhanced divergent thinking remained robust after co-varying out these two factors. In Experiment 2, NIRS showed greater bilateral frontal activity in musicians during divergent thinking compared with nonmusicians. Overall, these results suggest that creative individuals are characterized by enhanced divergent thinking, which is supported by increased frontal cortical activity.     

The Creative Medical Student: A Descriptive Study

Biographical study distinguished high from low creative medical students by broken homelife, greater preference for movies, modern music, serious books, bridge playing and creative hobbies. High creatives seek challenge, academic or research careers, verbal and imaginative expression. Low creatives have higher motivation, better academic grades, more economic and family interests, are often oldest children and head for general practice. Independent, original explorations characterize high creativity while traditional, authoritative explanations satisfy the less creative. Fricke's Opinion, Attitude and Interest Survey made the creativity identification. Factor analysis related OAIS Scores, Omnibus Personality Inventory and Medical College Admission Test scores to cross check with biography data. A motivational Index is suggested as a predictor of supportive value to the creativity score.