In recent years, scholars have empirically demonstrated that creativity can be described as radical or incremental creativity. In efforts to better understand the nomological networks underlying radical and incremental creativity, this study explored the role that positive emotions directly and indirectly plays in predicting each type of…

This article is about facilitating collaborative, creative improvisations in learning with Information and Communication Technologies (ICT) and in so doing enhancing under-utilised creative possibilities in education and development in schools, universities, workplaces and in every-day life. Improvisation is defined and earlier research on…

This theoretical paper is driven by the question, "What does creativity look like in classroom settings?" It is motivated by my past experiences as a teacher: my stories and my students' stories as we struggled together within a restricted classroom environment to create enough space for our creativity to emerge and flourish. I suggest…

For a long time, the creativity literature has stressed the role of divergent thinking in creative endeavor. More recently, it has been recognized that convergent thinking also has a role in creativity, and the design literature, which sees design as a creative activity a priori, has largely adopted this view: Divergent and convergent thinking are…

This study aims to make a systematic review of technology-supported collaborative creativity pedagogy and practices in the field of education by focusing on peer-reviewed articles published in journals between 2014 and 2019. The targeted educational levels were specified as elementary, secondary education and teacher education students. 21 studies…

This article outlines a somatic-based class that illustrates how the integumentary system can be introduced to dance students to further their understanding of their physical instruments. It justifies why incorporating information about specific biological systems into dance teaching is apt and beneficial for dancers, and it describes how guided…

The praxial philosophy of music education in "Music Matters" (2015) argues that music educators should teach democratically, creatively, and ethically toward empowering students' abilities to achieve full human flourishing through critically reflective music making and listening of all kinds. Moreover, "Music Matters" contends…

Current research in the neuroscience of musical creativity reveals promising implications for the value of learning to improvise. This article outlines the neuroscientific literature on musical improvisation and relates these findings to the benefits of musical creativity. We begin by describing the neural substrates of flow with respect to the…

This article describes a 10-session group art therapy program for people with physical and neurological disabilities. This program, the DIS-ART Creative Journey, was adapted from the Creative Journey used with cancer patients, and was tested in Italy by 4 art therapists. The 5-step structure of each session and the 10 facilitating techniques used…

This paper discusses two projects that use practice as research to explore learning that takes place in liminal spaces--within the university but not formally in the classroom, while bridging discursive fields. In each project, university faculty participants and student participants in the fields of music, dance, and education, came together to…

Individualized instruction and differentiation are fundamental concepts of the Dalcroze approach to music education. Émile Jaques-Dalcroze believed that students learn to be musical by different modalities. His three core branches, eurhythmics, rhythmic solfège, and improvisation, are intertwined with active listening, positive self-expression,…

Active learning strategy has an important role in helping students gain twenty-first-century skills such as creativity, collaboration, responsibility and effective communication. By being more active and free in classrooms, students take their own learning responsibility. In this study, we wanted to see the active learning strategy through…

The criterion problem was one of the focal points of early studies of creativity, but several useful criteria have been developed in the last few decades. The investigation reported here represents additional progress. This report (a) describes a new quality of creative achievement index for each domain of the Creative Activity and Accomplishment…

General creativity and, more specifically, creative thinking in music are valuable qualities that should be fostered in music education for personal, professional, and societal reasons. In order for band directors to successfully integrate musical creativity into their classroom curriculum and serve as resources for other content area teachers…

Approaches to teaching music notation and instrumental technique have been standardized and codified in the United States with great success in beginning instrumental programs. While these skills are important, we do a disservice to students if we do not equally develop comprehensive musicianship and creative thinking at a young age. Creating…