Creativity in music listening

Arts Education Policy Review

Volumn 107, Issue 3, 2006, Pages 15-21

  Peterson, Eila M ^a  

^a UNIVERSITY OF ALBERTA   (Canada)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 61049215504     PISSN: 10632913     EISSN: None     Source Type: Journal    
DOI: 10.3200/AEPR.107.3.15-21     Document Type: Article

References (36)

1. Amabile, T. M. 1996. Creativity in context. Boulder, CO: Westview.
2. Balkin, A. 1991. What is creativity? What is it not? In Creativity in the music classroom: The best of MEJ (Music Educators’ Journal), ed. D. L. Hamann, 35-39. Reston, VA: National Association for Music Education.
3. Bamberger, J. 1994. Coming to hear in a new way. In Musical perceptions, ed. R. Aiello and J. Sloboda, 131-51. New York: Oxford Univ. Press.
4. Barron, F. 1988. Putting creativity to work. In The nature of creativity: Contemporary psychological perspectives, ed. R. J. Sternberg, 76-98. Cambridge: Cambridge Univ. Press.
5. Barsalou, L. W. 1992. Cognitive psychology: An overview for cognitive scientists. Hillsdale, NJ: Lawrence Erlbaum.
6. Bernstein, L. 1954. The joy of music. New York: Simon and Schuster.
7. Clifton, T. 1983. Music as heard. New Haven, CT: Yale Univ. Press.
8. Copland, A. 1952. Music and imagination. Cambridge, MA: Harvard Univ. Press.
9. Csikszentmihalyi, M. 1996. Creativity: Flow and the psychology of discovery and invention. New York: HarperCollins.
10. Deutsch, D., and J. R. Pierce. 1992. The climate of auditory imagery and music. In Auditory imagery, ed. D. Riesberg, 237-60. Hillsdale, NJ: Lawrence Erlbaum.
11. Elliott, D. J. 1995. Music matters: A new philosophy of music education. Oxford: Oxford Univ. Press.
12. Flowers, J. H., and C. P. Garbin. 1989. Creativity and perception. In Handbook of creativity, ed. J. A. Glover, R. R. Ronning, and C. R. Reynolds, 147-62. New York: Plenum.
13. Hindemith, P. 1962. A composer’s world: Horizons and limitations. Cambridge, MA: Harvard Univ. Press.
14. Ingarden, R. 1986. The work of music and the problem of its identity, trans. A. Czerniawski, ed. J. G. Harrell. Los Angeles: Univ. of California Press.
15. Johnson-Laird, P. N. 1988. Freedom and constraint in creativity. In The nature of creativity: Contemporary psychological perspectives, ed. R. J. Sternberg, 202-19. Cambridge: Cambridge Univ. Press.
16. Leff, H. L. 1978. Experience, environment, and human potentials. New York: Oxford Univ. Press.
17. Lerdahl, F., and R. Jackendoff. 1983. A generative theory of tonal music.Cambridge, MA: MIT Press.
18. Lester, J. 1986. The rhythms of tonal music. Carbondale: Southern Illinois Univ. Press.
19. London, J. 2004. Hearing in time: Psychological aspects of musical meter. New York: Oxford Univ. Press.
20. McAdams, S., and E. Bigand, eds. 1993. Thinking in sound: The cognitive psychology of human audition. Oxford: Oxford Univ. Press.
21. Metzinger, T. 2003. Being no one: The selfmodel theory of subjectivity. Cambridge, MA: MIT Press.
22. Norman, D. A. 1983. Some observations on mental models. In Mental models, ed. D. Gentner and A. L. Stevens, 7-14. Hillsdale, NJ: Lawrence Erlbaum. Parsons, M. J. 1987. How we understand art. Cambridge: Cambridge Univ. Press.
23. Norman, D. A. 1992. Cognition as interpretation in art education. In The arts, education, and aesthetic knowing: Ninety-first yearbook of the National Society for the Study of Education, part II, ed. B. Reimer and R. Smith, 70-91. Chicago: Univ. of Chicago Press.
24. Peterson, E. M. 2002. The creative dimension of the music listening experience. PhD diss., Northwestern University.
25. Reimer, B. 1989. A philosophy of music education. 2nd ed. Englewood Cliffs, NJ: Prentice-Hall.
26. Reimer, B. 2003. A philosophy of music education: Advancing the vision. 3rd ed. Upper Saddle River, NJ: Prentice-Hall.
27. Reimer, B., and R. Smith, eds. 1992. The arts, education, and aesthetic knowing. Ninety-first yearbook of the National Society for the Study of Education, part II. Chicago: Univ. of Chicago Press.
28. Schoenberg, A. 1975. Style and idea. London: Faber and Faber.
29. Serafine, M. L. 1988. Music as cognition: The development of thought in sound. New York: Columbia Univ. Press.
30. Sessions, R. 1950. The musical experience of composer, performer, listener. Princeton, NJ: Princeton Univ. Press.
31. Sternberg, R. J., and T. I. Lubart. 1995. Defying the crowd: Cultivating creativity in a culture of conformity. New York: Free Press.
32. Taylor, C. W. 1988. Various approaches to and definitions of creativity. In The nature of creativity: Contemporary psychological perspectives, ed. R. J. Sternberg, 99-121. Cambridge: Cambridge Univ. Press.
33. Torrance, E. P. 1962. Guiding creative talent. Englewood Cliffs, NJ: Prentice-Hall.
34. Torrance, E. P. 1988. Creativity as manifest in testing. In The nature of creativity: Contemporary psychological perspectives, ed. R. J. Sternberg, 43-75. Cambridge: Cambridge Univ. Press.
35. Webster, P. R. 1991. Creativity as creative thinking. In Creativity in the music classroom: The best of MEJ (Music Educators’ Journal), ed. D. L. Hamann, 25-34. Reston, VA: National Association for Music Education.
36. Wolterstorff, N. 1987. The work of making a work of music. In What is music? ed. P. Alperson, 103-29. New York: Haven Press.