Hindrance of Music Creativity by Post Secondary Music Institutions Research Paper

Hindrance of Music Creativity by Post Secondary Music Institutions - Research Paper Example Observation and experimentation follows, perhaps leading to innovation technique or approach. Another skill not encouraged by conventional teaching is tolerance to ambiguity. Holding of two opposing yet plausible truths simultaneously, the wrestlings of questions which have no clear cut answers and with conundrums that need patient contemplation too are creative skills. Just like the composer of a harmonic technique will struggle, one has the idea of what is looking for, but can not quit grasp it (Nickerson, 1999). Moreover, the capacity for dogged perseverance is also something that is prerequisite for creativity. This is because the problems one will encounter will not be easily solved, thus only hard work and concentration will succeed something which the music schools do not emphasize. The following are creative attributes which the music educationists should recognize: exhibition of verbal, ideational and imaginative fluency; risk taking and excellence despite making mistakes; e xhibition of curiosity, inquisitiveness and excitement; flexibility and adaptability; tolerance to ambiguity and responding to ingenuity and spontaneity; production of unique and realistic ideas; rebellious yet able to operate within the traditions; extroverted and introspective at appropriate times. Games can also be used as a portal to creative teaching during our day to day teaching and performance of musical practice. Games are not encourages in many of the music schools as it is over looked at the expense of music education. However, games cut directly to the essence of the creative self, where present strategies, past experiences, and new ideas bled together with one sole purpose of succeeding. The connection to... This paper approves that the music institutions should encourage creativity in their teaching programs so as to encourage uniqueness and innovation in the music industry. They should have the following criteria for an educational environment that is conducive to creativity: accepting of an individual who is having unconditional worth; a period where external evaluation is absent; understanding empathetically; allowing psychological freedom. The inhibiting factors to creativity can be mitigated through democratic approach to assignment design. The teachers are to teach techniques and avoid overly restricted applications. This can be attained by giving the students a variety of assignments, and allow the students to select that one which interests them. This report makes a conclusion that teachers are encouraged to model creativity through their own performances, compositions, conductions, and writing. Conversely, having teachers who are creative does not necessarily influence the students to be creative themselves. To encourage creativity in music education, the teachers at all levels are to teach creatively in addition to teaching for creativity for their. Resisting of the notion that all the standardized tests will answer our problems in music education, this is because in creative arts more than one answer can be correct. Another point is that working on the various aspects of college music education, so that all the majors in music education have the required tools to be the future teachers of creativity.