This diploma thesis deals with a children's musical creativity development at primary school with the Step-by-step program. The thesis introduces an overview of the current topics in alternative education, reveals main ideas of the Step by step program and describes a creativity in general with focus on the area of musical creativity and its development. The main goal of this thesis was to analyze usage of activities stimulating musical creativity development in normal classes at primary school and compare the results with the classes where the Step by step program is in use.

Made available in DSpace on 2016-04-25T16:44:28Z (GMT). No. of bitstreams: 1 Marcio Cardoso Santos.pdf: 917591 bytes, checksum: 3d78047b902051ade0d2a382dfcd9e6d (MD5) Previous issue date: 2012-05-24 / The expression of creativity in organizations has been seen as an important factor for institutions who want innovation. The constant changes in the environment which organizations operate has required of individuals, within institutions, creative actions in order to promote organizational innovations. It becomes necessary for organizations to build an environment that fosters the creative expression of people as a means of achieving the desired results. Organizational culture consists of the principles, values, beliefs, constitutes an important element in the process of building a favorable environment for the expression of creativity within organizations.This work studies the influence of organizational culture in the management of creativity, as a case study with the samba school Vai Vai. Aims to reflect and analyze the issue of organizational culture and its influence on the management of creativity in the samba school Vai Vai. The samba school is an entity that, by its very nature, creativity flows, having been created as a means for the population could play the carnival. Regulations established by the Carnival parade the samba schools promote big shows on the avenue, aiming to surprise and thrill the viewing public and the jury, with a view to winning the championship. The theoretical studies show the importance of building a culture of creativity as one of the elements inserted in the process of managing creativity. Moreover, they express the difference between creativity and innovation, essential to a proper understanding of the subject matter. The field study was conducted through interviews with board members of the Vai Vai, as well as by direct observation of events and testing by the club. It was identified that the Vai Vai presents an organizational culture that encourages creative expression in the institution, it was concluded that the guild has the characteristics of creative organizations / A expressão da criatividade nas organizações tem sido observada como fator importante para as instituições que almejam a inovação. As constantes mudanças no ambiente onde as organizações atuam tem exigido das pessoas, dentro das instituições, ações criativas de modo a promoverem inovações organizacionais. Torna-se necessário que as organizações construam um ambiente que favoreça a expressão da criatividade das pessoas como meio de atingirem os resultados almejados. A cultura organizacional constituída pelos princípios, valores, crenças, constitui um elemento importante no processo de construção de um ambiente favorável à expressão da criatividade dentro das organizações. O presente trabalho estuda a influência da cultura organizacional na gestão da criatividade, tendo como estudo de caso a escola de samba Vai Vai. Tem como objetivo refletir e analisar a questão da cultura organizacional e sua influência na gestão da criatividade na Escola de Samba Vai Vai. A escola de samba é uma entidade que, por sua própria natureza, flui a criatividade, tendo sido criada como meio para que a população pudesse brincar o carnaval. Pelas regulamentações implantadas no desfile carnavalesco, as escolas de samba promovem grandes espetáculos pela avenida, almejando surpreender e empolgar o público espectador e os jurados, tendo em vista a conquista do campeonato. Os estudos teóricos apresentam a importância da construção da cultura da criatividade como um dos elementos inseridos no processo da gestão da criatividade. Ademais, expressam a diferenciação entre criatividade e inovação, fundamental para a devida compreensão do assunto tratado. O estudo de campo foi realizado através de entrevistas com integrantes da diretoria do Vai Vai, bem como pela observação direta em eventos e ensaios realizados pela agremiação. Foi identificado que o Vai Vai apresenta uma cultura organizacional que favorece a expressão da criatividade na instituição, tendo sido concluído que a agremiação possui as características das organizações criativas

Organizations strategically design the physical work environment to enhance employees' creativity. Understanding the impact of workspace layout on individual perceptions of creativity across generational cohorts can be vital to sustaining organizational competitiveness. Researchers have theorized that workspace layout affects employees' perceptions of creativity; however, few studies have looked at the effect of generational cohort on this relationship. A quantitative study was conducted to examine the effect of workspace layout on individual perceptions of creativity across generational cohorts. A sample of 162 participants completed an online demographics questionnaire as well as aKEYS, a modified version of the KEYS to Creativity and Innovation instrument. An ANOVA was used to determine whether generational cohort and workspace layouts affected the participants' individual perceptions of creativity. Results did not support the theory that workspace layout and generational cohort affected individual perceptions of creativity. However, these nonsignificant results can be used strategically by organizations to design physical workspaces that foster individual perceptions of creativity in order to attract and retain a diverse workforce by accommodating employees equally rather than on generational cohort membership. Social change implications are that the results can provide organizations with an understanding of ways in which they can effectively treat and meet the needs of the workforce as a whole, rather than develop strategies based on generational cohort membership.

Emotionally disconnected employees, about 70% in the U.S., do not experience positive affect at work, are disengaged, and not creative. The purpose of this quantitative quasi-experimental study was to investigate the effects of leaders' endorsement of idiosyncratic workplace fun (independent variable) and organizational playfulness climate (independent variable) on organizational creativity (dependent variable). Complexity-based theoretical perspectives on organizational creativity framed this quantitative study. Data were collected via three survey instruments at two data points from 7 project teams, divided into two experimental groups, at 6 companies in northwestern United States. One group received an intervention for 1 month. Pearson's correlation analysis showed no significant relationships between leaders' endorsement of idiosyncratic workplace fun and organizational playfulness climate with organizational creativity. Repeated measures analysis of variance revealed that the 2 experimental groups did not differ significantly in terms of their creativity when team leaders endorsed idiosyncratic workplace fun and when project teams worked in an organizational playfulness climate. Bivariate regression analysis and multiple regression analysis showed that leaders' endorsement of idiosyncratic workplace fun and organizational playfulness climate did not predict organizational creativity, neither individually nor collectively. Although the study's findings cannot be used to affect social change, the examination of the relationships between leaders' endorsement of idiosyncratic workplace fun, organizational playfulness climate, and organizational creativity in the future might yield important insights about the mechanisms facilitating the emergence of organizational creativity at companies.

The construct of self-regulation has been well researched, however, no comprehensive approach is available for promoting self-regulation as a strength operating in an integrated process, and, furthermore, current research gives limited consideration regarding the role of creativity in the self-regulation process. The objective of this study was to explore the relation between self-regulation and creativity, and to promote self-regulation as a psychological strength by means of a creativity programme in the field of painting in a group of individuals. Self-regulation is described in the literature as a skill that is acquired through an interaction of neurological and environmental factors that enables a person to intentionally accept agency of his or her actions. Creative self-regulation is conceptualised as the ability to generate original, novel and appropriate behaviour while constantly adjusting and adapting behaviour with a view to attain goals and promoting psychological well-being. A qualitative, interpretative design was used in the initial empirical inquiry to explore the subjective experience of 14 established painters in terms of their creativity as a self-regulatory process during the practice of their art. Data was obtained from a questionnaire specifically designed for this study. Thematic data analysis supported the findings of the literature regarding the crucial similarities between self-regulation and creativity, and particular themes concerning the self-regulatory aspects of creativity, such as intrinsic motivation, self-efficacy, self-control, and mindfulness were identified. Additionally, creativity appeared to strongly favour assimilation, which was ascribed to perseverance and a strong identification with goals. Based on the findings of the first two phases of the study, a painting programme was developed with a view to promote self- regulation as an adaptive life skill through the facilitation of creativity. Relevant guidelines for effective programme development have been incorporated into this programme. In the subsequent empirical study the painting programme was assessed, by means of a mixed experimental control group consisting of 18 patients in a private psychiatric clinic. Pre- and post-testing were conducted by means of the Basic Psychological Needs Scale (General) (BPNS-Gen); the 14 item Freiburg Mindfulness Inventory (FMI), as well as the Shortened Self Regulation Questionnaire (SSRQ) to determine whether any improvement in self-regulation occurred within the group. Quantitative data provided information on differences within and between the experimental and control groups, while an additional qualitative m South African children are exposed to an enormous amount of risk factors to their development and adjustment. Research reveals that, in all probability, they do not have sufficient protective factors at their disposal to cope with such stressors. The resilience (in other words the exposure to risk factors and the presence of protective factors) of a group of children, Grade R to Grade 2, in the Klerksdorp area, was analysed by means of focus groups and questionnaires. The focus groups were conducted with 14 teachers and the questionnaires were completed by 30 parents. The study reveals that the children in this group do not exhibit adequate resilience. The results identified themes such as self-esteem, creativity, assertiveness, emotional expression, emotional regulation, impulsivity, self-motivation, social responsibility and empathy. A programme (based on the Alvord-Baker model of social skills), focusing these themes, was developed in order to facilitate resilience. The Alvord-Baker model of social skills focuses on a pro-active orientation. The Resilience programme consists of eight sessions of one hour duration. During the sessions, music, dance and art activities are presented by way of groups. The themes of the sessions were intrapersonal factors (for example self-esteem and assertiveness), interpersonal factors (for example empathy and social responsibilty), stressmanagement (for example emotional expression and emotional regulation, as well as impulse control), general mood (for example self-motivation) and problem solving (for example creativity and emotional creativity). To determine the effectiveness of the compound programme, quantitative dominated, mixed methods were used. This means that, even though a quantitative research design was used (namely a two group, pre-test, post-test design), a qualitative procedure (namely a focusgroup and interviews), was used in addition. The selected group consisted of 22 children (Grade R=7, Grade 1=7, Grade 2=8), of whom 11 were male and 11 female. The participants were selected systematically from two schools (School1=12, School 2=10). The experimental (n=10) and control (n=12) groups underwent pre- and post-testing (30 days after completion of the intervention). The Resilience programme was only presented to the experimental group. The battery of tests that was compiled to evaluate the effectiveness of the Resilience programme consisted of the Torrance Tests of Creative Thinking (Torrance, 1974) and the Behavior and Emotional Rating Scale-BERS (Epstein & Sharma, 19980. In addition, focus groups with the teachers involved were used, as well as interviews with the parents of the children from the experimental group. The experimental group showed improvement in certain aspects of resilience, for example intrapersonal strengths, interpersonal strengths, affective trengths, school functioning, family involvement, verbal fluancy, flexibility and originality, as well as figurative fluancy, flexibility and originality. The differences between the experimental and control groups were smaller than expected. It can be stated, however, that the Resilience programme was effective in facilitating resilience in the group of children. A limitation of the study was that the practical significance was small and only statistically significant in a few cases. The parents and teachers could have been involved more actively in the process. Furthermore, it seems as if that future resilience programmes should be of longer duration in order for participants to have more opportunity to internalise and generalise the acquired skills. It is recommended that resilience programmes should form part of the school curriculum in learning areas such as Life orientation. ethod was used for examining the progress of the experimental group during the course of the programme. The results indicated that the programme brought about a significant positive change in self-regulation among the experimental group. Certain self-regulation factors, especially mindfulness, but also autonomy, decision-making, and self-evaluation appeared to have improved to a practically significant degree, whilst perseverance showed a lesser improvement of medium effect. This study therefore concluded that creativity appears to equip a person with specific skills that play a crucial role in the facilitation of self- regulation in all the phases of goal-directed behaviour. The limitations of this study were discussed and recommendations for further research and practical implementation were made. / Thesis (PhD (Psychology))--North-West University, Potchefstroom Campus, 2013.

The construct of self-regulation has been well researched, however, no comprehensive approach is available for promoting self-regulation as a strength operating in an integrated process, and, furthermore, current research gives limited consideration regarding the role of creativity in the self-regulation process. The objective of this study was to explore the relation between self-regulation and creativity, and to promote self-regulation as a psychological strength by means of a creativity programme in the field of painting in a group of individuals. Self-regulation is described in the literature as a skill that is acquired through an interaction of neurological and environmental factors that enables a person to intentionally accept agency of his or her actions. Creative self-regulation is conceptualised as the ability to generate original, novel and appropriate behaviour while constantly adjusting and adapting behaviour with a view to attain goals and promoting psychological well-being. A qualitative, interpretative design was used in the initial empirical inquiry to explore the subjective experience of 14 established painters in terms of their creativity as a self-regulatory process during the practice of their art. Data was obtained from a questionnaire specifically designed for this study. Thematic data analysis supported the findings of the literature regarding the crucial similarities between self-regulation and creativity, and particular themes concerning the self-regulatory aspects of creativity, such as intrinsic motivation, self-efficacy, self-control, and mindfulness were identified. Additionally, creativity appeared to strongly favour assimilation, which was ascribed to perseverance and a strong identification with goals. Based on the findings of the first two phases of the study, a painting programme was developed with a view to promote self- regulation as an adaptive life skill through the facilitation of creativity. Relevant guidelines for effective programme development have been incorporated into this programme. In the subsequent empirical study the painting programme was assessed, by means of a mixed experimental control group consisting of 18 patients in a private psychiatric clinic. Pre- and post-testing were conducted by means of the Basic Psychological Needs Scale (General) (BPNS-Gen); the 14 item Freiburg Mindfulness Inventory (FMI), as well as the Shortened Self Regulation Questionnaire (SSRQ) to determine whether any improvement in self-regulation occurred within the group. Quantitative data provided information on differences within and between the experimental and control groups, while an additional qualitative m South African children are exposed to an enormous amount of risk factors to their development and adjustment. Research reveals that, in all probability, they do not have sufficient protective factors at their disposal to cope with such stressors. The resilience (in other words the exposure to risk factors and the presence of protective factors) of a group of children, Grade R to Grade 2, in the Klerksdorp area, was analysed by means of focus groups and questionnaires. The focus groups were conducted with 14 teachers and the questionnaires were completed by 30 parents. The study reveals that the children in this group do not exhibit adequate resilience. The results identified themes such as self-esteem, creativity, assertiveness, emotional expression, emotional regulation, impulsivity, self-motivation, social responsibility and empathy. A programme (based on the Alvord-Baker model of social skills), focusing these themes, was developed in order to facilitate resilience. The Alvord-Baker model of social skills focuses on a pro-active orientation. The Resilience programme consists of eight sessions of one hour duration. During the sessions, music, dance and art activities are presented by way of groups. The themes of the sessions were intrapersonal factors (for example self-esteem and assertiveness), interpersonal factors (for example empathy and social responsibilty), stressmanagement (for example emotional expression and emotional regulation, as well as impulse control), general mood (for example self-motivation) and problem solving (for example creativity and emotional creativity). To determine the effectiveness of the compound programme, quantitative dominated, mixed methods were used. This means that, even though a quantitative research design was used (namely a two group, pre-test, post-test design), a qualitative procedure (namely a focusgroup and interviews), was used in addition. The selected group consisted of 22 children (Grade R=7, Grade 1=7, Grade 2=8), of whom 11 were male and 11 female. The participants were selected systematically from two schools (School1=12, School 2=10). The experimental (n=10) and control (n=12) groups underwent pre- and post-testing (30 days after completion of the intervention). The Resilience programme was only presented to the experimental group. The battery of tests that was compiled to evaluate the effectiveness of the Resilience programme consisted of the Torrance Tests of Creative Thinking (Torrance, 1974) and the Behavior and Emotional Rating Scale-BERS (Epstein & Sharma, 19980. In addition, focus groups with the teachers involved were used, as well as interviews with the parents of the children from the experimental group. The experimental group showed improvement in certain aspects of resilience, for example intrapersonal strengths, interpersonal strengths, affective trengths, school functioning, family involvement, verbal fluancy, flexibility and originality, as well as figurative fluancy, flexibility and originality. The differences between the experimental and control groups were smaller than expected. It can be stated, however, that the Resilience programme was effective in facilitating resilience in the group of children. A limitation of the study was that the practical significance was small and only statistically significant in a few cases. The parents and teachers could have been involved more actively in the process. Furthermore, it seems as if that future resilience programmes should be of longer duration in order for participants to have more opportunity to internalise and generalise the acquired skills. It is recommended that resilience programmes should form part of the school curriculum in learning areas such as Life orientation. ethod was used for examining the progress of the experimental group during the course of the programme. The results indicated that the programme brought about a significant positive change in self-regulation among the experimental group. Certain self-regulation factors, especially mindfulness, but also autonomy, decision-making, and self-evaluation appeared to have improved to a practically significant degree, whilst perseverance showed a lesser improvement of medium effect. This study therefore concluded that creativity appears to equip a person with specific skills that play a crucial role in the facilitation of self- regulation in all the phases of goal-directed behaviour. The limitations of this study were discussed and recommendations for further research and practical implementation were made. / Thesis (PhD (Psychology))--North-West University, Potchefstroom Campus, 2013.

No description available.

Bakgrund och problemdiskussion: Intresset för kreativitets- och innovationsforskning har ökat starkt i modern tid, särskilt under 2000-talet och framåt. Kreativitet och innovation kan beskrivas utifrån flera olika perspektiv och definitioner beroende på kontext och fenomen som undersöks. Samtidigt växer betydelsen av projektstyrning vilket anses bero på den komplexa affärsmiljön och den höga konkurrens som råder. Rätt projektstyrning anses viktigt för lyckade projekt. Det finns en potentiell konflikt mellan styrning och kreativitet, som därför kräver en balansgång för att uppnå önskat resultat. Syfte: Genom att studera hur projektprocesser sker i projekt och hur styrning och styrsystem balanseras med de kreativa processerna kommer vi att bidra till en ökad förståelse för vilken typ av styrning som är mest utmärkande i varje projektprocess och hur det samverkar med kreativitet. Syftet blir därmed att identifiera och jämföra det undersökta företagets anpassning av styrsystem gentemot kreativitetsprocesser med existerande teori inom kreativitetsforskning. På så sätt föreslår vi en modell för hur projekt kan styras beroende på både situationsbehov och typ av kreativt tänkande, uppdelad på de olika projektfaserna. Metod: En fallstudie har gjorts på IST, ett utvecklande IT-företag. Studien har ett kvalitativt förhållningssätt, där semistrukturerade intervjuer av projektledare har använts för att samla in det empiriska materialet. Slutsats: Olika förhållningssätt till kreativitet i olika situationer behövs för att lyckas med projektstyrning. Projektstyrning kan resultera i ökad inre motivation för medarbetarna om styrsystemen är utformade på rätt sätt. Att förstå när olika typer av tänkande krävs inom olika projektprocesser är då nödvändigt. I de olika projektprocesserna krävs fokus på olika former av styrning, i stängda problem. Alla fyra typer av styrsystem var aktiva under de olika projektprocesserna. Alla styrsystem fanns inte vara lika relevanta under varje process, under initiering används exempelvis boundary och interactive mer medan boundary och diagnostic används mer under planeringsstadiet. / Background and problem discussion: The interest for research in creativity- and innovation has strongly increased in the modern time, especially during the 21th century. Creativity and innovation can be described from several different perspectives and definitions depending on the context and phenomenon being studied. At the same time, the importance of project management is increasing which is considered to depend on the complex business environment and the high competitiveness. Proper project management is considered to be of large importance for successful projects. There is a potential conflict between control and creativity, and a balance between the two is thus required to achieve the desired result. Purpose: By studying how project processes occurs in projects and and how control and control systems are balanced with the creative processes, we will contribute to increase the understanding what type of control that is characteristic in each project process and how it interacts with creativity. The purpose is therefore to identify and compare the studied company’s adaptation of control system in relation to creativity processes with existing theory in creativity research. In this manner we propose a model for how projects can be controlled depending on situation and type of creative thinking, depending on the different project processes. Method: A case study has been conducted at IST, a developing IT-company. The study has a qualitative approach, where semi-structured interviews of project managers have been used to gather the empirical material. Conclusion: Different approaches to creativity in different situations are required in order to be successful in project management. Project management can result in increased intrinsic motivation for employees if the control systems are designed in the right way. Understanding when different types of creativity is needed in the different project processes is essential. The different project processes requires different types of control, in closed problems. All four types of control system were active during the different project processes. Although all four control systems aren’t considered to be equally active during respective process, boundary and interactive are for example more active during initiation, while boundary and diagnostic were more active during planning.

Este estudo teve como objetivo investigar se o Teste Wartegg é um instrumento capaz de avaliar a criatividade em seleção de pessoal. Foi realizada uma validade de construto através de estudos correlacionais entre indicadores de criatividade nos protocolos do Wartegg e do Torrance – Forma Figural. Participaram desta pesquisa 68 candidatos de processos seletivos, 47% homens e 52,7% mulheres, com idades entre 18 e 41 anos. Foram observadas evidências de fidedignidade no Wartegg correlacionando-se os itens que compõem as categorias que se acredita estarem relacionadas com a função básica imaginação – criatividade, flexibilidade, visão convencional e rigidez – com seus totais. O melhor indicador no Wartegg para investigar a criatividade foi o somatório da criatividade com a flexibilidade. Além disso, verificou-se uma correlação direta entre o campo 5 do Wartegg e os índices criativos figurais do Torrance (ICF 1 e ICF 2). Ainda que o estudo em questão apresente alguma evidência de validade, novos estudos são necessários. Por fim, constata-se que o objetivo do Wartegg, tanto pelo rapport como pela construção teórica, está muito mais direcionado para o entendimento de questões mais amplas da personalidade do que para a investigação de uma função básica específica. Entretanto, a correlação das funções básicas com testes que investiguem o mesmo construto talvez seja uma das únicas formas de validar o instrumento, tendo em vista a dificuldade de encontrar um teste que avalie as condições de personalidade de maneira tão ampla. / This study it had as objective to investigate if the Wartegg Test is an instrument capable to assess the creativity in personnel selection. A construct validity has been verified through correlation studies between creativity indicators in the protocols of the Wartegg Test and those of the Figural Form of the Torrance Test. Sixty eight candidates for selective processes, 47.0% men and 52.7% women, were involved in this research, ranging from 18 to 41 years of age. Evidences of trustworthiness in the Wartegg Test had been observed correlating items of categories which were assumed to be related with the basic function imagination - creativity, flexibility, conventional vision and rigidity - with its totals. The best Wartegg indicator found to investigate creativity is the sum of creativity plus flexibility. Moreover, a direct correlation was verified between field 5 of the Wartegg and the figural creativity index of the Torrance (ICF 1 e ICF 2). Despite the study presents some evidence of validity, new studies are required. Finally, it is evident the objective of the Wartegg, as much for rapport as for the theoretical construction, is more directed to understanding of ampler questions of personality than to investigation of a specific basic function. However, the correlation between basic functions and tests which investigate the same construct may be the only way to validate the instrument, due the difficulty in finding a test that evaluates conditions of personality in so ampler way.

Syftet med vårt examensarbete var att skapa en djupare förståelse för förskollärares syn på arbetet med normkreativitet i förskolan. För att besvara studiens syfte och frågeställningar har vi använt oss av kvalitativa intervjuer som genomförts med ändamålsenligt utvalda förskollärare. Resultatet i studien har visat en tydlig koppling mellan normer och kränkande behandling. Förskollärarna beskriver att normer kan skapa utanförskap och att verksamheten behöver utvärderas och utvecklas till en miljö där barnen respekteras och stärks i sina olikheter. Förskollärarna har även beskrivit hur de ser på normer, normkritik och normkreativitet, vad begreppen betyder för dem, hur de arbetar med dessa och vilket ansvar de anser att de som förskollärare har gällande normkreativitet. Vid intervjuerna har vi träffat både förskollärare som arbetat begreppet normkreativitet tidigare samt förskollärare som känner sig oförmögna att definiera begreppet, men där det framgår i empirin att de till viss del arbetar normkreativt. / The aim of the study is to create a deeper understanding of preschool teachers view on norm creativity as a way of working in their organization. In order to address the study´s aims we used qualitative interviews implemented with selected preschool teachers. The results of our study have shown an association between norms and offensive treatment. The preschool teachers have described that norms can create exclusion and that the organization have to be evaluated and developed into an environment where the children are respected and strengthened in their differences. The preschool teachers have also described their view on norms, norm criticism and norm creativity mean to them, how they work with it and what responsibility they believe they have in work with norm creativity. During the qualitative interviews we met teachers who have worked with norm creativity and teacher who is unable to describe the term, but we can see in the collected data that they partly work with norm creativity after all.