The aim of this paper is threefold: (1) to develop a concept of what creativity is (with particular reference to what musical creativity is); (2) to decide whether or not creativity is a plausible educational goal; and (3) to suggest what might be done to either promote or discourage musical creativity based upon the results of the first two discussions. Divided into two parts, part 1 is a philosophical inquiry that tackles the first aim of developing a concept of what creativity is. The second part answers the second and third aims. Creativity necessarily involves three dimensions: (1) a producer; (2) the product produced; and (3) the activity whereby the product is produced. This is obviously incomplete since in any instance of human activity it is also possible to consider the context in which an action is done. Creativity then is a fourfold concept at least. This four-dimensional view can be enriched an additional four times by looking at each of these four dimensions from four different directions. Originality is a necessary condition for calling something creative, but it is not sufficient by itself. Neither is the presence of craftsmanship a sufficient condition for calling something creative. In music the designation "creative" is awarded to works and performances that are quintessential examples of a particular style or technique, as well as to those that depart sharply from existing traditions. The basis for doing so in both cases is a matter of originality and significance within a tradition. Contains 27 references. (DK)