CMPCP/IMR Performance Research Seminars are sponsored by the AHRC Research
Centre for Musical Performance as Creative Practice and the Institute of
Musical Research. For further information see www.cmpcp.ac.uk/imr2013.html.
Learning creativity: pedagogical enabling conditions
Juniper Hill (University of Cambridge)
4 February 2013
17.00 - 18.30
Room 104, Senate House, University of London, Malet Street, London WC1 (Note
venue)
What types of learning environments facilitate the development of artists
motivated to be creative? What pedagogical methods are effective in
empowering musicians with the skills to be creative? What educational
experiences have the dangerous potential to stifle creativity? And what
strategies have been successful in overcoming creative inhibitions? This
presentation will reveal some of the findings from Juniper's EU-funded
research project on the enablers and inhibitors of musical creativity. A
cross-cultural and cross-idiomatic comparison, her analysis draws from
in-depth interviews with professional musicians from classical, jazz, and
folk scenes in northern Europe, South Africa, and the USA who reflect on
their development, struggles, and breakthroughs as creative musicians.
Possible topics to be discussed include informal and formal learning, aural
and notational skills, exams, student-centered learning, authoritarianism,
perfectionism, mistakes, games, technical exercises, compositional
scaffolding, improvisation, experimentalism, bodywork, agency, trust, and
the psychological dimensions of feedback.
Juniper Hill is Marie Curie Intra-European Fellow at the University of
Cambridge, a CMPCP Research Associate, Lecturer (on leave) at University
College, Cork, and Visiting Researcher at the Sibelius Academy, the
University of Cape Town, and the University of California, Los Angeles.
Trained as an ethnomusicologist, she is conducting ethnographic research on
the sociocultural enablers and inhibitors of musical creativity. Her
publications include The Oxford Handbook of Music Revival (in press), as
well as articles in Ethnomusicology, Ethnomusicology Forum, Yearbook for
Traditional Music, Pacific Review of Ethnomusicology, Musiikin Suunta, Revue
de Musicologie, and chapters in several edited volumes, including Musical
Imaginations: Multidisciplinary Perspectives on Creativity, Performance and
Reception. She has conducted extensive fieldwork in Ecuador, Finland, South
Africa, and the USA.
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