The purpose of the creative approach in music education is to furnish the child with opportunities for originality of expression and for freedom and adventure. This thesis examines the goals and purposes of using creativity in music eduction.

This study aims to investigate how internal communication and organizational culture impact creativity within an advertising agency. The research was conducted as a qualitative case study at a successful advertising agency in the heart of Copenhagen. The theoretical framework encompasses aspects of organizational creativity, including theories related to creative organizations, internal communication, creative work teams, and creative processes. A combination of ethnographic observations and qualitative interviews was used for data collection. The ethnographic observations were carried out over a week at the advertising agency, allowing for the identification of the agency's culture, interactions, structures, and dynamics. The qualitative interviews were conducted with six individuals from the agency, representing different roles within the creative teams. The empirical data and analysis lead to conclusions that highlight how internal culture and communication influence creativity. The conclusions clearly summarize three aspects that affect creativity: culture,communication, and leadership. The findings include reflections and discussions on theory and empirical data, as well as practical advice for professionals in the advertising industry. This study contributes to the scientific community by providing relevant insights into how communication and culture can be leveraged to enhance creativity within work teams. These conclusions also hold societal significance for curious students, advertising agency leaders, or industry professionals seeking to understand how to foster creativity.

Yes / The aim of this paper is to examine and clarify the nomological network of change and innovation (CI)-related constructs. A literature review in this field revealed a number of interrelated constructs that have emerged over the last decades. We examine several such constructs—innovation, creativity, proactive behaviours, job crafting, voice, taking charge, personal initiative, submitting suggestions, and extra-role behaviours. Our conceptual analysis suggests each one of these constructs represents a specific component of CI-related behaviours. However, we also found that on occasion these concepts have been dysfunctionally operationalized with evidence of three dysfunctional effects: (a) construct confusion, (b) construct drift, and (c) construct contamination. Challenges for future research to enhance conceptual and operational clarity are discussed. / The British Academy: [Grant number SG110409] awarded to the first author and by UK Leverhulme Trust: [Grant number IN-2012-095] awarded to the second author.

The purpose of this case study was to explore learner experiences of collective free musical improvisation. Specifically, the research examined how participants perceived that they developed and expressed musical voice when they improvised with others. To that end, the researcher tried out a Bakhtinian approach to the pedagogy of collective free improvisation in four workshops with six secondary school chamber musicians—musicians trained in Western classical music who had little or no previous collective free improvisation experience. Workshops were designed to support participants in learning by improvising with the researcher becoming one of the improvisers. Bakhtinian dialogism provided a lens through which to focus the investigation, and tools, tones, and concepts to inspire participants as they improvised together for the first time. In addition to the perception of expressing musical voice, the study explored how participants perceived that they invented utterances as they created music with others. Further, the research considered participant descriptions of the experience of addressivity—turning and responding to communicate—during collective free improvisation. Data were collected in the following ways: pre-workshop interviews, video and audio recording of the four improvisation workshops, journals and discussions during the workshops, post-workshop interviews, and researcher notes and reflections. In addition to spoken and written words, improvisations played during the workshops were analyzed as discourse using a method—Musical Utterance Analysis—developed by the researcher for this study. Data were initially coded using concepts from Bakhtin (1981, 1986): voice, utterance, addressivity, heteroglossia, polyphony, and carnival. Analysis was completed by reviewing and reassembling the words and actions of participants during the workshops and interviews to create a novella with dialogue. This final phase of analysis revealed a holistic perspective of musical dialogue in collective free improvisation that emphasizes the importance and impact of listening. In this study, musical dialogue is explained as synergies of listening. Participants perceptions and experiences of voice, utterance, and addressivity are explained as synergies: creative empowerment, knowing and being known, emergence of a collective voice, catharsis, and freedom. Notably, participants reported that by listening and responding to one other improviser, they could connect better with the group of improvisers. Overall, for the participants of the study, the implementation of and the experimentation with a Bakhtinian approach to the pedagogy of collective free improvisation was effective. / 2026-05-15T00:00:00Z

Denna kvalitativa studie syftar på att undersöka musikers användning av digitala verktyg för att främja det kreativa arbetet. Mer specifikt: musikproducenters användning av så kallade CST:s - Creativity Support Tools - som i någon utsträckning implementerar AI. Forskningsfrågan som behandlas är: Hur vill musiker interagera med AI för att främja det kreativa arbetet? Studiens slutsatser bygger på insamlat material från en serie semistrukturerade intervjuer genomförda med musikproducenter i producenternas egna kreativa miljöer. Under intervjuerna har producenterna interagerat med olika AI-CST:s för att lösa olika uppgifter relaterade till produktionsprocessen. Intervjufrågorna har sin teoretiska grund i ramverket CSI - Creative Support Index. Studiens resultat visar: Ett samband mellan hur öppen man är för oförutsägbara resultat från verktyget man jobbar med beroende på vart i produktionsprocessen man befinner sig. Att producenter är ute efter att minimera vissa typer av manuellt arbete men bibehålla andra arbetsprocesser. Att producenter behöver verktyg med användargränssnitt som bättre representerar deras mentala modeller av musik samt att aspekten av kontroll är ett viktigt element i designandet av AI-verktyg. / This qualitative study is set to learn more about musicians' usage of digital tools to enrich their creative work. The study specifically explores music producers' usage of CST:s - Creativity Support Tools - that to some extent implement AI. How musicians want to interact with AI to enrich their creative work is the research question that will be discussed. The conclusions drawn are based upon material from interviews conducted in the musicians own creative environments. During the interview participants are given the opportunity to use different types of AI-tools to solve different tasks related to the music production process. The interview questions have their theoretical grounding in the framework CSI - Creativity Support Index. The studies conclusions show a connection between the openness to unexpected results and at what stage one is in the production process. That producers are open to streamline certain types of processes but retain full control over some. That producers need new types of user-interfaces that represent the mental models of musicians better and lastly that the aspect of control over the output is an important element in the design of AI-tools.

The demand for a creative workforce has never been higher, yet schools struggle to teach and assess creativity among students predictably and efficiently. Compositions are an effective way to incorporate creativity across the curriculum; however, essays are time consuming for teachers to score for objective quality or subjective creativity. In this study, I explored a) if high creativity scores are related to high quality and sophistication in academic writing, and b) if extant text-mining tools effectively identify quality, sophistication, and creativity in academic essays. I collected 230 essays written by Grade 11 students. Four human-raters analyzed these essays for quality, sophistication, and creativity, and I used text-mining tools designed to assess creativity to analyze the same. Using correlations - including the variables semantic distance (measured against the GloVe corpus), entropy (measured with Shannon's Entropy Index), and idea density (measured with CPIDR5.1) - I assessed both human-raters' and text-mining tools' proficiency at identifying quality, sophistication, and creativity in academic essays. Quality, sophistication, and creativity were also regressed on these same text-mining variables to assess which method - human or computer – and which of the text-mining tools - best predicts these dependent variables. Human-raters' creativity scores correlated with human-raters' quality scores (r = .418) and sophistication scores (r = .321), as well as the text-mining tools MeanSim (r = -.131), OCS Originality (r = .359), Idea Density (r = .368), and Entropy (r = .388). These findings suggest text-mining tools designed for creativity can capture quality and sophistication of student essays. A comparison of human-raters' creativity scores and text-mining models revealed text-mining models can capture quality (R2 = .445) and sophistication (R2 = .373) better than human raters can capture quality (R2 = .175) and sophistication (R2 = .103).

Multiple criteria systems are recommended as best practice to identify culturally, linguistically, economically diverse students for gifted services, in which schools often incorporate measures of creativity. However, the role of creativity in identification systems and its recruitment of diverse student populations is unclear. The Torrance Test of Creative Thinking (TTCT) is the most widely used norm-referenced creativity test in gifted identification. Although commonly used for identifying talent, little is known on the variability in composite scores on the TTCT-Figural and student demographics (i.e., race/ethnicity, sex, socioeconomic status, English language learning status). This study evaluated student demographic subgroup differences that exist after the initial phase of an identification process (i.e., universal screening, referrals) and examined the relationship among student demographics (i.e., race/ethnicity, free/reduced lunch status, English language learning status, sex), cognitive ability, academic achievement, and creativity, as measured by the TTCT-Figural Form A or B, to the probability of being identified for gifted programs. In a midsized school district in the state of Texas, findings indicate several demographic differences for students who were referred or universally screened across the measures of cognitive ability, academic achievement, and creativity. However, there were lower differences when using the TTCT-Figural. Results of a hierarchical generalized linear regression indicate underrepresented groups showed no difference in the probability of being identified after controlling for measures of cognitive ability, academic achievement, and creativity. Though, cognitive ability and academic achievement tests were more predictive of identification compared to the TTCT-Figural. Implications and recommendations for future research are discussed.

Baigiamajame darbe nagrinėjamas universalumo fenomenas architekto meninėje veikloje. Sinkretiška kūryba būdinga įvairių laikotarpių architektams nuo seniausiųjų civilizacijų kultūrų iki šių dienų. Vis dėl to, meistro sąvoka, kuri ne tik Renesanso bet ir ankstesniaisiais laikotarpiais turėjo sinkretiško kūrėjo reikšmę, kinta ir siaurėja specializacijos bei fragmentacijos reiškinių skaidomoje visuomenėje. Gilesnis šios temos tyrimas ir aktualizavimas pasaulio ir Lietuvos architektų kūrybos kontekste reikalingas norint pabrėžti sinkretiškumo svarbą architekto veikloje. Šis akcentas svarbus ne tik formuojant architektūros ir meno objektus, bet ir įprasminant platesnes šiandienos kultūrines, socialines bei gamtines-ekologines aktualijas. Pirmajame darbo skyriuje – „Renesanso žmogus” – universalaus tipo kūrėjas“ – analizuojamos prielaidos ir istorinė patirtis, kurioje iškyla universalaus kūrėjo-architekto figūra. Nagrinėjama pati „universalaus kūrėjo“ samprata, jos genezė, raida bei aktualumas. Tyrinėjami „meistro“ ir „talento“ apibrėžimai, jų tarpusavio priklausomybė, ryšys bei sąsajos su sinkretiško kūrėjo paveikslu. Antrajame skyriuje – „Architekto kūrybinio universalumo priežastingumai“ – apžvelgiami kontekstualūs (politiniai-ekonominiai, kultūriniai-tradiciniai, religiniai) aspektai, formuojantys sinkretiškos architektų raiškos poreikį. Trečiajame skyriuje – „sinkretiškumo fenomeno raiškos formos“ – nagrinėjamos ir tipologizuojamos universaliõs architektų kūrybos sritys... [toliau žr. visą tekstą] / The phenomenon of universality in the architect‘s creative activity is examined in the MA Thesis. Syncretism in the artistic expression is a characteristic feature of an architect from the earliest cultures up to the contemporary times. Nevertheless, the concept of a Master which not only in the Renaissance epoch, but also in the earlier historic periods had the meaning of a universal artist, has changed radically due to the processes of fragmentation and specialization in the society. A deeper research in the topic and its actualization is required to accent the importance of universality in the architect‘s activity while forming the objects of art and architecture as well as addressing the contemporary contextual cultural, social and ecological issues. The historical origins of the phenomenon of universality in the architect‘s creative activity are studied in the first chapter. The notions of the „Universal artist“, „Master“ and „Talent“ as well as their historical interpretations and relevance are analysed. Contextual political-econimic, cultural-traditional and religious aspects of the phenomenon of universality in the architect‘s creative activity are analysed in the second chapter. Various fields of the architects‘ universal creative activity are studied in the third chapter. First of all, the traditional forms of the universal artistic expression are analysed. Secondly, the change of concepts of creativity and art in the beginning of the modern era are examined... [to full text]

Syftet med denna uppsats var att undersöka personlighet och dess eventuella kausala samband med konstnärlig kreativitet. Femfaktormodellen användes för att undersöka personlighetsdragen öppenhet, extroversion och neuroticism. Begreppet kreativitet beskrivs genom tidigare forskning och konstnärlig kreativitet utgör grunden för studien. En kortare pilotstudie genomfördes för att testa förståelsen av mätinstrumentet för kreativitet, som tidigare översatts från engelska till svenska. I undersökningen ingick 89 respondenter som besvarade en online-enkät utlagd i facebookgruppen “studenter vid högskolan i Skövde”. Resultatet visade att personlighetsdraget öppenhet predicerar konstnärlig kreativitet. Resultaten för personlighetsdragen extroversion och neuroticism visade inte på någon predicering av konstnärlig kreativitet. Dock visade resultatet att facetten sällskaplighet för personlighetsdraget extroversion predicerar den konstnärligt kreativa domänen dans, medan personlighetsdraget neuroticism och facetten depression predicerar den konstnärligt kreativa domänen kreativt skrivande. Därigenom kunde följande slutsats dras: ett flertal av studiens respondenter uttrycker sig på ett konstnärligt kreativt sätt och vilken typ av konstnärligt kreativt uttryckssätt som individen föredrar beror på individens personlighet. / The purpose of this study was to investigate personality and it’s potential causality with artistic creativity. The five-factor model was used to investigate the personality traits openness, extraversion and neuroticism. Creativity is described by earlier research and artistic creativity creates the basic of this study. A short pilot-study was performed to evaluate the understanding of the instrument for creativity, that had been translated earlier from english to swedish. The sample used consisted of 89 respondents, who participated in an online-survey posted at a facebook-group named “studenter vid högskolan i Skövde”. The results showed that the personality trait openness predicts artistic creativity. The results of the personality traits extraversion and neuroticism did not show any predictability of artistic creativity. However, the results showed that the facet gregariousness from the personality trait extraversion predicts the artistic creative domain of dance, while the personality trait neuroticism and the facet depression predicts the artistic creative domain creative writing. Thereby the following conclusion could be made: several respondents of this study are expressing themselves in an artistic creative way and what kind of artistic creative expressions they use is defined by the personality of the person.

L'objectif général de cette thèse est d'étudier l'évaluation de la créativité dans le domaine du design. Plus précisément, ce travail se centre sur l'évaluation de productions créatives en design graphique et il repose sur des méthodes complémentaires d'analyse des critères utilisés par des juges. L'approche adoptée vise à explorer les variations de jugements, dans différents contextes d'évaluation, afin d'identifier les facteurs influant sur les critères (ou les « référents évaluatifs ») qui sont pris en considération par les juges. Deux facteurs ont plus particulièrement été pris en compte : les points de vue adoptés par les juges en fonction de leur parcours professionnel (designers, directeurs artistiques, enseignants en design et public visé) et le niveau d'expertise en design (experts affirmés, experts intermédiaires et non-experts).Cette recherche a été réalisée dans différents contextes d'évaluation et elle tente d'identifier les éléments caractéristiques des jugements, selon le profil des juges émettant ces jugements. La première étude vise à comprendre les représentations mentales des juges, en explorant les critères qu'ils déclarent importants pour la créativité. La seconde étude analyse les corrélations entre les scores attribués aux productions en design sur un ensemble des critères, ainsi que les niveaux d'accords inter-juges pour chacun de ces critères. La troisième étude permet une analyse qualitative des verbalisations spontanées exprimées par des juges durant leurs évaluations de productions en design. / The present thesis aims to study creativity assessments in design. More precisely, this research focuses on the evaluation of creative productions in graphic design area and it is based on complementary methods of analysis of used criteria and "evaluative referents". It aims to identify, in various assessment contexts, factors that exert an influence on the judgments of creative productions. It develops a multiple feedback approach by exploring assessments made by judges with different professional backgrounds (designers, art directors, design teachers and targeted audience) and levels of experience in design (asserted experts, intermediary experts and laypeople).The research frame includes different contexts of assessment situations and tries to capture the characteristics of judges' approaches to creativity in design, on the basis of three complementary studies. The first study focusses on judges' mental representations by exploring criteria they declare important to creativity in design. The second study allows an analysis of correlations between scores attributed to design productions with regard to different criteria as well as an analysis of inter-judge agreement on them. The third study aims to perform qualitative analyses of spontaneous verbalizations expressed by judges during their analyses of design outcomes.