Orientation and Intentionality as Components of Creative Musical Activity.

Abstract

The view of musical creativity as spanniug a continuum from the noises of the unschooled young child to the artistry of the trained professional fails to account for fundamental, developmental differences in the creators' perspectives. This paper seeks to distinguish two ways in which the creative functioning of the child or novice differ from that of the knowledgeable creative musician. One can approach musical creation either with a process or a product orientation. The question is whether it is the creator's intent to produce a product or engage in the creative process for its own sake. A young child will explore sounds for his own pleasure rather than a product that benefits an audience. Evidence exists for proposing a developmental progression from process to product orientation. Intentionality also enters into the equation. When a student creates music, it may not reflect the intent of the creator. The variables of creative ability, orientation to process or product, and the use of time in creating music are elements of intentionality. Given the concepts of orientation and intentionality, creative musical activity can be divided into: (1) exploration, (2) improvisation as a process, (3) improvisation as a product, and (4) composition. Researchers should examine the processes of children's musical activities, rather than the products. Instructors can help students move from process to product

Cite this work

No public copy is stored for this record, so only the metadata is cited.

Stored only when both papers are in the corpus — 14 citations exist upstream.

Papers that cite the same references — the relational fallback while embeddings are still backfilling.