Creative Final Flashcards
(95 cards)
1
Q
Mozart’s compositional process
A
Mozart’s creative process was controlled by
a consistently practical approach to the
business aspects of music. He carefully edited
and revised his work–lots of hard work
2
Q
All famous composers engage in long periods
All famous composers engage in long periods of
A
preparation and frequent revision
3
Q
Composition is 99% _________ and 1%
_________.
A
perspiration,
inspiration.
4
Q
Composition in the
Recording Studio
A
Not created by solitary artists. Songs are not
written down.
5
Q
Composition in the
Recording Studio
A
Songs are created as a work in progress by
the entire band.
6
Q
Composition in the
Recording Studio
A
Bootleg versions of songs by popular artists
show the hard work and revision that goes
into creating the song that everyone hears.
7
Q
tribute bands
A
get little respect from serious
music critics; they seem to be nothing more
than wannabe rock stars, basking in reflected
glory. Some may ask, “Why don’t they write
their own songs and perform them instead?”
8
Q
tribute bands
A
But they’re doing the same thing as a modern symphony orchestra performing a written composition by Beethoven or Brahms. No one thinks to ask, “Why is the orchestra performing a song written by someone else? Why doesn’t each city’s orchestra perform its own music?”
9
Q
To explain performance, one must focus on
the creative _______, not the creative______.
A
process,
product.
10
Q
In the European fine art tradition,
performers aren’t supposed to be _______
A
creative
11
Q
Only through the performer is the listener
brought into contact with the musical work.
In order that the public may know what a
work is like and what its value is, the public
must first be assured of the merit of the
person who presents the work to it and of
the conformity of that presentation to the
composer’s will” (1947). Who said this?
A
Stravinsky
12
Q
Stravinsky’s view is seen as a bit,
according to most composers.
A
extreme
13
Q
Many composers believe that the __________ of
human performance is an important part of
musical creativity.
A
variation
14
Q
In the Western Classical creativity myth,
_____________is less than _____________.
A
performance
composition.
15
Q
Jazz improvisation works well because
musicians have internalized the jazz language
well–not only the notes of the songs, but
also how influential players have played________________________________.
.
A
particular pieces in the past
16
Q
Schutz (1964) compared an orchestra
performance to a____ ____ _____. Both
require ‘group interaction’ and ‘collective
creativity’.
A
campfire sing-along
17
Q
Performance creativity is like a __________
___________.
A
collaborative
conversation.
18
Q
Musicians are a bit more ______________ , and a
bit more ___________________.
A
introverted
anxious.
19
Q
Music teachers are more __________ than
the average musician.
A
extroverted
20
Q
Famous musicians were generally not ____________ _______________.
. Rather, they realized
their full potential as adults.
A
childhood prodigies
21
Q
Ritualized
A
ossification
22
Q
Improvisational
A
revivalism
23
Q
ossified (ritualized) performance:
A
performances lose semantic meaning and are primarily a formal structure.
24
Q
ritualized performance
A
Low creative
involvement
25
improvisational performance
high creative
| involvement
26
Indexically
| reflexive.
ritualized
27
Indexically
| entailing
improvisational
28
```
The degree to
which a
performer’s
actions have
implications for
the next
actions to
follow.
```
reflexive
| entailing
29
Narrow genre
| definition
ritualized
30
Broad genre
| definition
improvisational
31
```
______-____________
are the
formulaic
phrases and
bits that all
performers
memorize.
```
Ready-mades
32
large ready-mades
ritualized
33
small ready-mades
improvised
34
```
In many
________________
genres, the
boundary
between
performer and
audience is
fluid.
```
improvised
35
```
_________________
genres undergo
more rapid
historical
change.
```
Improvised
36
ritualized
Changes
| long-lasting
37
improvised
Changes
| short-lasting
38
Improvisitory theatre groups work to nurture a ______ mind.
group
39
Improvisitory theatre : The cast doesn’t prepare anything in
rehearsal; they never _____ lines, even lines
that get a huge laugh.
repeat
40
They value pure _____________ , where no one
| knows what will happen next.
improvisation
41
Improvisitory theatre: No single actor takes on the ____role
| and guides the performance.
director's
42
Improvisitory theatre: The dialogue and the plot emerge from
| ---------------- ----------------.
group collaboration
43
Improv theater takes the emphasis on
| ________________ to an extreme.
spontaneity
44
3 Stages of Acting Creativity
Preparation
• Rehearsal
• Performance
45
When the actor learns the basics of acting
through academic training, ________ other
actors in theater and films, _________ people
interacting in everyday life.
observing
| observing
46
Actor training is ______and ________
social and collaborative
47
Actor Rehearsal:
1. _________something in the character that
the actor can relate to.
2. _______ personal experiences as substitutes for
the character’s feelings.
3. ______ the character’s objectives.
4.________ the physical persona of the
character--how the character acts and moves.
5. _______ the script to learn what the other
characters think about the character.
```
Identifying
Using
Discovering
Creating
Studying
```
48
Actor Performance
1. ---------------- on the moment--what has just
happened and how the character would
perceive the situation in the moment, with no
knowledge of how the rest of the play unfolds.
2. _________ to the other actors.
3. ________ with the audience.
4. _________the concentration and energy level
high.
5. __________the performance and keeping it
fresh over repeated performances.
```
Focusing
Adjusting
Interacting
Keeping
Improving
```
49
Acting: Increased stress levels improve --------.
performance.
50
Acting: An important ability in performing a script is
| the believable ------------------ of emotion.
communication
51
Acting:“Groups attain their best performances by
staying in a zone between complete
---------------------and being out of control.”
predictability
52
Actors: Many improvising actors talk about both the
high they get from a good ---------------, and
the terror they feel when a performance is not
going well.
improvisation
53
Actors: Jim Belushi famously said that the high that
comes from group performance was, “better
than -------.”
sex
54
Actors: The ensemble has to let it emerge from a
| group ------------ -------------.
creative process
55
Science: Theory drives ------------- research.
empirical
56
Science: Knowledge is produced both by ---------------.
(empirical research builds theory) and --------------.
(theory prompts experimental research).
deduction
| induction
57
Science: Creative scientists have strong self-------
and self--------. They often seem egocentric
and stubborn.
confidence
| reliance
58
Science: Expert scientists build models that make use
of-----------, ------- and ----------. They
constantly test their theories against empirical
evidence.
analogy, metaphor, and visual imagery
59
Science: Target
Phenomenon being explained.
60
Science: Source
Metaphorical comparison.
61
Science: Dual Space Framework: Experiment Space
Always testing in some
| way.
62
Science: Dual Space Framework: Hypothesis Space
Always formulating new
| questions.
63
Science: Dual Space Framework: [Data Representation Space
Problem-solving
related to representing data, getting the right
things out there.
64
Citation Patterns
• The top --% of the most prolific researchers
generate half of the published work.
10
65
Citation Patterns
------ %of all PhDs from tier one research
universities never publish anything.
50
66
Citation Patterns
• Having success ------ ----- is a predictor of
future success and competitive job offers.
early on
67
In public discourse, creativity is:
1. A form of self-----------
2. A means to ----------- growth.
realization.
| economic
68
The future for creativityresearch:
Arts and sciences will be combined for a collaborative interdisciplinary creativity.
69
Research has proven that creativity is ----
| hereditary.
NOT
70
You can be creative if you ------ --------.
work hard.
71
Are creative people "right brained"?
Both hemispheres work in concert when
| engaged in creative activity. Most creative people are quite balanced.
72
Are reative people are more likely to be mentally ill?
A few visual artists and writers have been accused of this! It is very difficult to be creative and crazy.
Most of the time this just isn’t the case.
Normal, well-balanced people tend to make
the most creative contributions.
73
Is creativity a healing, life-affirming
| activity?
This belief is supported by the research.
• People do not flock to creativity to heal themselves.
They are normal already.
• This point is more pronounced in individualist
cultures than collectivist cultures.
74
Hassler, Birbaumer, & Feil(2002)
The relationship between “musical talent” and
“visual-spatial ability” was investigated.
•
Three groups were tested:
1. Children with musical talent and the ability
to compose/improvise
2. Children with musical talent without the
ability to compose/improvise
3. Non-musicians (control group)
75
Hassler, Birbaumer, & Feil(2002)
Musical ability was measured by Wing’s
Standardized Tests of Musical Intelligence.
• Ability to compose/improvise was evaluated by
performing an original composition/
improvisation, and having “four scientists of the
Department of Music Sciences” rate them.
• Orientation was measured by the Spatial
Relations Test.
• Visualization was measured by the “Hidden
Pattern Test.”
The spatial-visualization factor was found to be
significantly related to musical talent in boys
and in girls
76
•
• They wanted to test the following hypotheses:
1. Musical talent--the ability to compose/
improvise music--is related to above average
test scores for spatial tasks.
2. Boys show a right hemisphere dominance
for spatial reasoning. In girls, there will be a
bilateral representation.
3. Visual-spatial ability is related to androgyny.They wanted to test the following hypotheses:
1. Musical talent--the ability to compose/
improvise music--is related to aboveaverage
test scores for spatial tasks.
2. Boys show a right hemisphere dominance
for spatial reasoning. In girls, there will be a
bilateral representation.
3. Visual-spatial ability is related to androgyny.
Creative musical ability was significantly
related to spatial orientation in both boys and
girls and to spatial orientation in both boys
and girls and to spatial visualization in boys.
77
In the Western cultural model, ------ -------- is one of the highest compliments
you can give a person.
“being
| creative”
78
Most teachers associate creative behavior
with ------ --------- ------like
being stubborn, critical, rebellious, and
nonconforming.
undesirable student behaviors
79
Evidence has been provided to suggest that
all teachers approved of -------- ----------
including obedience and courtesy.
uncreative behaviors
80
Arts Education
Creativity is rarely found outside of the arts.
• “Art for art’s sake” has a hard time in today’s
test-driven, performance-based, educational
system.
81
-------------- ---------- -------------- ---------- ---------- proposed
a broadening of our definition of
intelligence. He suggested that we are too
narrowly focused on math and science.
Howard Gardner’s Frames of Mind
82
Experiencing qualitative relationships and
making judgements.
2. Working with flexible goals that emerge
from the work.
3. Form and content are inseparable.
What Arts Education SHOULD be.
83
Some forms of knowledge cannot be
represented propositionally.
5. Thinking with a medium that has unique
constraints and affordances.
6. Thinking and work that results in satisfaction
and flow that are inherently engaging.
What Arts Education SHOULD be.
84
------------------ proposes that giftedness
emerges from the combination of ability,
creativity, and commitment.
Renzulli (1999)
85
Identification methods that focused on this
theory located a larger proportion of
women minorities than identification
methods based solely on intelligence tests.
Renzulli (1999)
86
-------------- found that when creative
or practical intelligence is used for selection,
that the resulting group is more diverse.
Sternberg (1999)
87
----------------- ----------------- can be useful, but should not
be used exclusively.
• These types of tests should never be used to
exclude someone from participation.
Creativity tests
88
“If math and science continue to be taught in
a way that doesn’t foster creative thinking
and problem solving, then no amount of
general creativity training or arts education
can help.”
Constructivism
89
The conceptual understanding that underlies
creative behavior emerges from learning
environments in which students build their
own knowledge.
Constructivism
90
Learning is always a creative process.
Constructivism
91
Creativity Assessments
A growing number of admissions committees
would like to see some measure of
creativity, in addition to cognitive measures
like IQ or SAT.
92
Creativity Assessments
Emotion, motivation, and creativity would be
excellent places to start, according to
researchers in this area.
93
Robert Sternberg has theorized in this area
IQ (analytic), creativity, performance
| practical abilities
94
The ability to work with people to solve
problems is what Wagner and Sternberg
(1986) call ______ _________.
tacit knowledge.
95
Teacher Preparation
```
Most teacher programs do not mention
creativity.
• Teachers feel pressure to “cover” the subject
matter to prepare for the test, thus being a
“mile wide and an inch deep.”
• We need assessments for creative work
(writing example).
• Curricular demands shouldn’t emphasis
breadth over depth.
```
