New music and the contexts of creativity

Cultural-evolutionary and humanistic perspectives

Bibliographic Data

ID14872216
AuthorsRodger Graham (corresponding author), Rodger G Graham
Year2006
Volume35
Issue4
Pages347-352
Publication date2006-12-01
Peer ReviewedYes
Open AccessNo
TypeARTICLE
VenueJournal of New Music Research (JOURNAL)
Journal identifiersISSN: 0929-8215 • E-ISSN: 1744-5027
PublisherInforma UK Limited (PUBLISHER • GB)
DOI10.1080/09298210701563246
OpenAlexW2065652878
LanguageEN
References cited21

Two theoretical accounts of human creativity are presented as heuristic means to contextualize challenges and vicissitudes encountered in the process of generating new music, technology, and methodology. Firstly, Sternberg's (2001 Sternberg, R. 2001. What is the common thread of creativity? Its dialectical relation to intelligence and wisdom. American Psychologist, 56(4): 360–362. [Crossref], [PubMed], [Web of Science ®] , [Google Scholar]) cultural-evolutionary perspective on creativity as a dynamic, dialectical, antithetical challenge to orthodox modes of musicianship is outlined to situate experimental new music on the periphery of cultural hegemony. Secondly, Rogers (1954 Rogers, C. R. 1954. “Towards a theory of creativity”. In Creativity, 137–151. New York: Penguin Books. Reprinted in Vernon, P.E. (Ed.) (1970) [Google Scholar]) view of creativity as an essential process of self-actualization is outlined as a means of making sense of contrariant creative acts within a climate of aesthetic resistance and popular eschewal. Examples of antithetical musical movements and enterprise are employed throughout

Aesthetics · Art · Cognitive science · Creativity · Creativity technique · Dialectic · Epistemology · Humanism · Literature · Musical · Sociology · Computer Science · Creativity in Education and Neuroscience · Diverse Music Education Insights · Neuroscience and Music Perception · Philosophy · Psychology · Social Psychology

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