Examines music creativity from a cross-cultural perspective. Delineates the difference between creativity and re-creativity giving cultural examples of each. Discusses the differences between composition and improvisation and analyzes the language of musical expression. Describes the cultural traditions of musical creativity in India, China, Iran,…

Three independent divisions of a large public agency, each with between 35 and 55 members, were randomly divided into experimental, placebo, and control groups for an intervention emphasizing decision-making and goal-setting practices that promote maximum employee interaction and participation. Results indicate increased levels of creativity after…

Posits that any model of creative thinking in music must deal with how factual content in music serves as the foundation for the creative process. Maintains that music technology is an exciting and meaningful avenue for both convergent and divergent thinking but that creative thinking can occur without technology. (KM)

This article describes one poet/teacher's program to explore and cultivate student creativity, intuition, and imagination through a series of visual, verbal, and psychological exercises. Visualization, free-writing, association, variations on other poets' work, and memory mapping are among the creativity exercises employed prior to actual writing…

Offers case studies of "problem" students who have been motivated to learn through their interest in and talent for artistic expression. Suggests ways teachers can channel students' interests in productive ways; e.g., Individual Idea Logs (to record fantasies, doodles, inventions) and five-minute drawing breaks. (DMM)

Discussed is the role of serendipity in the scientific method. Several examples from science history are provided. Described is the value of intuition on the part of the scientist. Six quotes from famous scientists are included. (CW)

Differences were investigated between communication behaviors of small groups trained or not trained in creative problem-solving. The 110 members of groups trained in problem solving participated more, criticized ideas less, supported ideas more, exhibited more verbal and nonverbal indications of humor, and produced more ideas than the 90…

Discusses the need for teaching creative thinking in the classroom. Cites two misconceptions to which the absence of emphasis on creative thinking is attributed. Provides strategies and example activities for promoting the skill. States that these procedures can increase student interest in science. (RT)

A 16-item questionnaire concerning independence and 3 divergent thinking tests were administered to 3 groups of preadolescent boys (N=91) and their mothers as part of an ongoing longitudinal study of exceptional giftedness. Results indicate significant correlation of mothers' and boys' independence scores with divergent thinking test scores. (TJH)

Viewing teaching as an art, it is suggested that teachers should be prepared as artists are prepared. A model is presented for a preservice professional program which develops a pridefully creative outlook, an understanding of the humanities, a knowledge of pedagogy, and a personal artistic teaching style. (JD)

People in the creative arts are no less scholarly, but their scholarly efforts are less quantifiable. A rationale for accepting creative works as scholarly equivalents is developed by examining creativity, the creative process, and the creative product. An historical viewpoint about creativity, creative works, and their social importance is…

Reviews research on the theory of internal-external (IE) control expectancies over the past 30 years. Relates the IE to the following current attributions and personal styles: (1) perceived control; (2) helplessness; and (3) optimism, particularly in regard to health. (FMW)

To serve all gifted students, we must broaden identification methods, develop more and varied types of programs, and provide comprehensive teacher training. (Author/TE)

Four artistic people of various ages were interviewed concerning their conscious and unconscious thought during creative activity, emotions which precipitated creative activity and intermingled with cognition, and intrinsic motivators and rewards. The interviews supported research regarding the internal forces of creativity. (Author/JDD)

Integrating art into the curriculum engages most students, enhances their creative expression, and benefits them academically. Even bored, rebellious, and unmotivated students respond to the arts. Elliot Eisner and other discipline-based art education proponents feel the arts are central to enjoyable learning. Exemplary K-12 programs are…