Complete 9 pages APA formatted article: Hindrance of Music Creativity by Post Secondary Music Institutions. Creativity is therefore defined as the application of divergent thinking (Humphreys, 2006).
Our traditional approach to music education typically is the 19th century ethic of the teacher-directed sequential instructions. This is coupled with repetitive practicing of the students and regular testing of the rote skills. It, therefore, seems that the skills required to play are taught before the knowledge to comprehend what is actually playing. As a result classroom management overwhelms the best-intentioned teacher. the curriculum is to be covered at the expense of music creativity in our classrooms.
According to Sullivan (2005) asserts that in essence, creativity is three skills: the ability to generate, relate, and develop ideas with fluency and sensitivity. the ability to select and organize ideas in a perceptual and intellectual manner. the ability to effectively express ideas through a medium. Ultimately, it is our task to establish how creativity can be determined or measured, how can it be recognized and encouraged. The music schools while teaching about musical performance, theory and history should squeeze in a creativity unit whenever it is possible. The music schools do not encourage the skills that are prerequisite to creativity.
To commence with, the essential skill to creativity is problem formulation. The ability to isolate and formulate a problem in its essence it’s akin to the eyes of a creative person. Having the knowledge of what the problem is setting the mind in motion to begin searching for solutions. Observation and experimentation follow, perhaps leading to an innovation technique or approach.
Another skill not encouraged by conventional teaching id tolerance to ambiguity. Holding of two opposing yet plausible truths simultaneously, the wrestlings of questions that have no clear cut answers.