[1]
|
Amabile, T. M. (1996). Creativity in context: Update to the social psychology of creativity. Oxford: Westview Press.
|
[2]
|
Belkin, A. (2002). Encouraging musical creativity. URL (last check 3 October 2010).
http://www.musique.umontreal.ca/personnel/Belkin/creativity.html
|
[3]
|
Burnard, P. (2006). Reflecting on the creativity agenda in education. Cambridge Journal of Education, 36, 313-318.
doi:10.1080/03057640600865801
|
[4]
|
Burnard, P., & Younker, B. A. (2004). Problem-solving and creativity: Insights from students’ individual composing pathways. International Journal of Music Education, 22, 59-76.
doi:10.1177/0255761404042375
|
[5]
|
Craft, A. (1997). Identity and creativity: Educating teachers for post-modernism? Teacher Development, 1, 83-96.
doi:10.1080/13664539700200001
|
[6]
|
Craft, A. (2005). Creativity in schools: Tensions and dilemmas. London: Routledge. doi:10.4324/9780203357965
|
[7]
|
Cropley, A. J. (1997). Fostering creativity in the classroom: General principles. In M. A. Runco (Ed.), The creativity research handbook (p. 14). Cresskill, NJ: Hampton Press.
|
[8]
|
Cropley, A. J. (2001). Creativity in education & learning: A guide for teachers and educators. New York: Routledge.
|
[9]
|
Csikszentmihalyi, M. (1996). Creativity: Flow and the psychology of discovery and invention. New York: HarperCollins.
|
[10]
|
Csikszentmihalyi, M., & Custodero, L. (2002). Foreword. In T. Sullivan & L. Willingham (Eds.), Creativity and music education (p. 21). Edmonton: Canadian Music Educators’ Association.
|
[11]
|
Dineen, R., & Collins, E. (2005). Killing the goose: Conflicts between Pedagogy and politics in the delivery of a creative education. International Journal of Art & Design Education, 24, 43-52.
doi:10.1111/j.1476-8070.2005.00422.x
|
[12]
|
Elliott, D. J. (1995). Music matters: A new philosophy of music education. New York and Oxford: Oxford University Press.
|
[13]
|
Gordon, E. (1988). Learning sequences in music: Skill, content, and patterns. Chicago, IL: G.I.A. Publications.
|
[14]
|
Haroutounian, J. (2002). Kindling the spark: Recognizing and developing musical talent. Oxford and New York: Oxford University Press.
|
[15]
|
Hickey, M., & Webster, P. R. (2001). Creative thinking in music. Music Educators Journal, 88, 19-23. doi:10.2307/3399772
|
[16]
|
Horng, J.-S., Hong, J.-C., ChanLin, L.-J., Chang, S.-H., & Chu, H.-C. (2005). Creative teachers and creative teaching strategies. International Journal of Consumer Studies, 29, 352-358.
doi:10.1111/j.1470-6431.2005.00445.x
|
[17]
|
Jeffrey, B., & Craft, A. (2004). Teaching creatively and teaching for creativity: Distinctions and relationships. Educational Studies, 30, 77-87. doi:10.1080/0305569032000159750
|
[18]
|
Kaufman, J. C., & Baer, J. (2004). Hawking’s haiku, Madonna’s math: Why it is hard to be creative in every room of the house. In R. J. Sternberg, E. L. Grigorenko & J. L. Singer (Eds.), Creativity from potential to realization. Washington DC: American Psychological Association. doi:10.1037/10692-001
|
[19]
|
Koutsoupidou, T. (2010). Initial music training of generalist kindergarten teachers in Greece: What do they ask for and what do they receive? Arts Education Policy Review, 111, 63-70.
doi:10.1080/10632910903455892
|
[20]
|
Koutsoupidou, T., & Hargreaves, D. J. (2009). An experimental study of the effects of improvisation on the development of children’s creative thinking in music. Psychology of Music, 37, 251-278.
doi:10.1177/0305735608097246
|
[21]
|
Kratus, J. (1995). A developmental approach to teaching music improvisation. International Journal of Music Education, 26, 27-38.
|
[22]
|
Lapidaki, E. (2007). Learning from masters of music creativity: Shaping compositional experiences in music education. Philosophy of Music Education Review, 15, 93-117.
doi:10.2979/PME.2007.15.2.93
|
[23]
|
Lindstr?m, L. (2006). Creativity: What is it? Can you assess it? Can it be taught? International Journal of Art & Design Education, 25, 53- 66. doi:10.1111/j.1476-8070.2006.00468.x
|
[24]
|
Lubart, T. I., & Guignard, J. H. (2004). The generality-specificity of creativity: A multivariate approach. In R. J. Sternberg, E. L. Grigorenko, & J. L. Singer (Eds.), Creativity: From potential to realization. Washington DC: American Psychological Association.
doi:10.1037/10692-004
|
[25]
|
Mahboub, K. C., Portillo, M. B., Liu, Y., & Chandraratna, S. (2004). Measuring and enhancing creativity. European Journal of Engineering Education, 29, 429-436. doi:10.1080/03043790310001658541
|
[26]
|
National Advisory Committee on Creative and Cultural Education (NACCCE). (1999). All our futures: Creativity, culture & education. Report to the Secretary of State for Education and Employment, the Secretary of State for Culture, Media and Sport: DfEE.
|
[27]
|
Odena, O. (2001). How do secondary school music teachers view creativity? A report on educators’ views of teaching composing skills. The Annual Conference of the British Educational Research Association.
|
[28]
|
Odena, O. (2006). Musical creativity and the teacher. An examination of data from an investigation of secondary school music teachers’ perceptions of creativity. The 9th International Conference on Music Perception and Cognition, Bologna, 22-26 August 2006, 310-315.
|
[29]
|
Odena, O., & Welch, G. (2009). A generative model of teachers’ thinking on musical creativity. Psychology of Music, 37, 416-442.
doi:10.1177/0305735608100374
|
[30]
|
OFSTED. (2003). Expecting the unexpected: Developing creativity in primary and secondary schools. London: Office for Standards in Education.
|
[31]
|
Reybrouck, M. M. (2006). Musical creativity between symbolic modeling and perceptual constraints: The role of adaptive behaviour and epistemic autonomy. In I. Deliège, & G. A. Wiggins (Eds.), Musical creativity: Multidisciplinary research in theory and practice (p. 16). Hove: Psychology Press.
|
[32]
|
Runco, M. A. (2003). Education for creative potential. Scandinavian Journal of Educational Research, 47, 317-324.
doi:10.1080/00313830308598
|
[33]
|
Runco, M. A. (2006). Creativity is always personal and only sometimes social. In J. A. Schaler (Ed.), Howard Gardner under fire: The rebel psychologist faces his critics (p. 22). Chicago: Open Court.
|
[34]
|
Sharp, C. (2004). Developing young children’s creativity: What can we learn from research. Topic, 32, 5-12.
|
[35]
|
Sheridan, M., & Byrne, C. (2002). Ebb and flow of assessment in music. British Journal of Music Education, 19, 135-143.
doi:10.1017/S0265051702000220
|
[36]
|
Sternberg, R. J. (2003). Creative thinking in the classroom. Scandinavian Journal of Educational Research, 47, 325-338.
doi:10.1080/00313830308595
|
[37]
|
Sternberg, R. J., & Grigorenko, E. L. (2004). Successful intelligence in the classroom. Theory into Practice, 43, 274-280.
doi:10.1207/s15430421tip4304_5
|
[38]
|
Sternberg, R. J., Kaufman, J. C., & Pretz, J. E. (2002). The creativity conundrum: A propulsion model of kinds of creative contributions. New York: Psychology Press.
|
[39]
|
Swanwick, K. (1979). A basis for music education. Windsor Atlantic Highlands, NJ: NFER.
|
[40]
|
Tafuri, J. (2006). Processes and teaching strategies in musical improvisation with children. In I. Deliège, & G. A. Wiggins (Eds.), Musical creativity: Multidisciplinary research in theory and practice (p. 16). Hove: Psychology Press.
|
[41]
|
Webster, P. R. (1992). Research on creative thinking in music. In R. Colwell (Ed.), Handbook of Research on Music Learning and Teaching (pp. 247-265). New York: Shirmer Books.
|
[42]
|
Webster, P. R. (1994). Measure of creative thinking in music-II (MCTM-II). Administrative guidelines. Chicago, IL: Northwestern University, Unpublished Manuscript.
|
[43]
|
Webster, P. R. (2002). Creative thinking in music: Advancing a model. In T. Sullivan, & L. Willingham (Eds.), Creativity and music education (pp. 21). Edmonton: Canadian Music Educators’ Association.
|
[44]
|
Webster, P. R. (2003). Conference feynotes: Asking music students to reflect on their creative work: Encouraging the revision process. Music Education Research, 5, 243-249.
doi:10.1080/1461380032000126337
|
[45]
|
Wiggins, G. A. (2002). Creative process as meaningful musical thinking. In T. Sullivan, & L. Willingham (Eds.), Creativity and music education (p. 21). Edmonton: Canadian Music Educators’ Association.
|
[46]
|
Wiggins, J. (1999). Teacher control and creativity. Music Educators Journal, 85, 30-44. doi:10.2307/3399545
|
[47]
|
Williamon, A., Thomson, S., Lisboa, T., & Wiffen, C. (2006). Creativity, originality and value in music performance. In I. Deliège & G. A. Wiggins (Eds.), Musical creativity: Multidisciplinary research in theory and practice (p. 26). Hove: Psychology Press.
|
[48]
|
YPEPTH. (2003). Cross-thematic curriculum framework for compulsory education. Government Newspaper, 303 & 304, 13 March 2003
|