The construction of creativity: using video to explore secondary school music teachers’ views

This paper is taken from research which seeks to illustrate how English secondary school music teachers view creativity. It explores methodological issues regarding the eliciting of the views of teachers regarding creativity, with particular reference to the use of videotaped extracts of lessons during in-depth semi-structured interviews. Various research designs and results from previous studies are examined and the implications pointed out. A pilot study using a theoretical four-fold framework (pupil-environment-process-product) is reported. A qualitative research design was used to allow teachers to reflect on their own ideas. Music lessons on composition and improvisation from three schools were observed and videotaped. The teachers were interviewed and asked to complete a ‘Musical Career Path’. The process of analysis was assisted by a software package for qualitative research (i.e. NUDIST). The conclusions presented some subcategories that supported the initial framework and exemplified the complexities in defining the term ‘creativity’, pointing to a need for further enquiry. It is suggested that the use of videotaped extracts of lessons for the purpose of discussion with participants during the interviews, proved beneficial in exploring the teachers’ views of creativity. This method may have relevance for both researchers and practitioners interested in teachers’ attitudes

How do secondary school music teachers view creativity? A report on educators' views of teaching composing skills

This paper explores secondary school music teachers' views of creativity and some of their ideas about teaching composing skills. In order to do this, firstly an initial explanation of past and present controversies surrounding the meaning of the term creativity is given. The centralised production of music curricula during the 1990s has unified the knowledge pupils are expected to ‘attain’. However, issues concerning creativity, its meanings and their interpretation remain because they have not been resolved by centralised policy production. Secondly, different approaches taken by several studies on creativity are reviewed and a four-fold framework for researching music teachers' views of creativity is suggested (i.e. Pupil - Environment - Process - Product). Finally, preliminary results of an enquiry carried out in England with six teachers are presented for consideration. A qualitative research design was used to allow teachers to reflect on their ideas. Selected videotaped extracts of their own lessons on composition and improvisation where used for the purpose of discussion with participants during later interviews. The process of analysis was assisted by a software package for qualitative research (i.e. NUDIST). The conclusions drawn from the interviews indicated to some new categories and subcategories that supported the initial framework. The focus in this paper is on the teachers' definitions of creativity, their role in teaching composing skills and the positive influence of teaching in developing their own creativity. The teachers' comments revealed some of the complexities embraced within the concept of creativity and its use in music education

Playing at the crossroads

Objectives; The Design Research Group (DRG) at The University of Northampton has been engaged in a number of Knowledge Transfer Partnerships (KTP). Three of these KTP's have involved designing toys, games and playthings. The first exhibition's aim was to act as a research tool to contextualize, analyse and draw conclusions from the KTP experience and collaborations with local enterprises. Then use the knowledge to further research the creative value of play and toy design to all in the community. The curating process for ALL PLAY informed the second exhibition. The data collected will be analysed and any findings will add to the overall outcomes of ALL PLAY. The objective of this research is to establish greater insight into the impact in the form of benefits of design initiatives in the production and use of toys and the role of play in society. Prior Work; This research is informed by a series of Knowledge Transfers partnerships undertaken by the DRG for Sue Ryder, John Crane Ltd and BCE (Distribution) Ltd. The group has gone on to research the design management implications of these projects for designers and social enterprises. Approach; Two exhibitions and a symposium were planned for 2013 (June-July and October-November) to showcase, review and extend the collaboration with the KTP partners. The first was held at the Collective Collaboration Gallery in the Northampton Town Centre. It enabled the DRG to examine and disseminate the experience and demonstrate the benefits of the KTP projects. It enabled further research about the value and impact of the local toy industry in the Northamptonshire, past and present and to forge links with local community and business organizations. The symposium and second exhibition held at the University provides an opportunity to explore current global trends in design for play in the publishing, health, leisure, gaming and interior design industries in more depth. The process of curating the exhibition involved networking and bringing a wide range of experience, theory and case studies together. Creating a ludic play space in the galleries provides for another level for theoretical exploration, research and design. Results; Primary research in the form of interviews undertaken into the local toy and play, complements work being undertaken by the Museum of Childhood, indicating that a specific study needs to be undertaken into the regional history of the toy industry. There is scope for DRG to support and investigate further into the international role of toy design and distribution organizations that are based in the East Midlands. The exhibitions highlighted the impact of the DRG’s KTP research on different communities and industry sectors. The event emphasized the diverse and shared perceptions of the creative benefits of play. Knowledge was transferred back to the University feeding into teaching and learning and particularly in further collaborative research work. Implications; Oral History on the British Toy-Making Industry has yet to be published and its focus is recording the past manufacturing experience and not the dynamic role of creativity and design management in this sector today. The curatorial process has brought together past and present, the local and the global, the practitioner and the academic. The initial research indicates the increasing international importance of creativity and design in the play sector with a focus of enterprises based in the UK. There is an expectation that second set of events will explore and extend the debate further. Value; ALL PLAY is the umbrella title for the events and the paper showcases the benefits of the curating process, allowing the DRG to share their Knowledge Transfer research and account for the impact of it and at the same time continue to build collaborations and information about the value of play locally, to the creative industries, social well being across all groups and enterprise internationally