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<meta content="The image of the composer as a lone seeker of creative inspiration is embedded in popular views of the creative artist. This isolationist view ignores the 'thought communities' on which composers draw in their development as musicians, composers and teachers, the relationships that hold between composer-teacher and student-composer, and the role of these relationships in the ongoing development of all participants in the teaching and learning process. This article draws on 'eminence' studies of creativity to investigate the teaching and learning beliefs, processes and practices, of an eminent composer-teacher when working with a tertiary-level student-composer over the course of one academic semester. The emergent view of the teaching and learning process in music composition is one of a dyad working towards shared goals in a process characterized by collaboration, joint effort, and social support. This suggests that the teaching and learning process in composition may be a form of creative collaboration. " name="eprints.abstract" />
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DATE: (1987) 
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DATE: (1986) 
'The Sequence of Musical Development: A Study of Children's Composition', British Journal of Music Education 3(3): 305-39. 
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DATE: (1989) 
'Towards a Model of Development of Children's Musical Creativity', Canadian Music Educator 30(2): 169-74. 
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DATE: (1989) 
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DATE: (1987) 
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DATE: (1994) 
'Children's Strategies for Solving Compositional Problems with Peers', Journal of Research in Music Education 42(3): 232-52. 
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DATE: (2000a) 
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DATE: (2000b) 
'Thought Processes and Strategies of Students Engaged in Music Composition', Research Studies in Music Education 14: 24-39. 
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W. H Smith
DATE: (1996) 
'Comparing and Modelling Musical Thought Processes of Expert and Novice Composers', Bulletin of the Council for Research in Music Education 128: 25-36. 
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    <h1 class="ep_tm_pagetitle">'Creative collaboration': an 'eminence' study of teaching and learning in music</h1>
    <p style="margin-bottom: 1em" class="not_ep_block"><span class="person_name">Barrett, Margaret S.</span> (2006) <xhtml:em>'Creative collaboration': an 'eminence' study of teaching and learning in music.</xhtml:em> Psychology of Music, 34 (2). pp. 195-218. ISSN 0305-7356</p><p style="margin-bottom: 1em" class="not_ep_block"></p><table style="margin-bottom: 1em" class="not_ep_block"><tr><td valign="top" style="text-align:center"><a href="http://eprints.utas.edu.au/1986/1/Creative_Collaboration.pdf"><img alt="[img]" src="http://eprints.utas.edu.au/style/images/fileicons/application_pdf.png" class="ep_doc_icon" border="0" /></a></td><td valign="top"><a href="http://eprints.utas.edu.au/1986/1/Creative_Collaboration.pdf"><span class="ep_document_citation">PDF (Author Version)</span></a> - Full text restricted - Requires a PDF viewer<br />130Kb</td></tr></table><p style="margin-bottom: 1em" class="not_ep_block">Official URL: <a href="http://dx.doi.org/10.1177/0305735606061852">http://dx.doi.org/10.1177/0305735606061852</a></p><div class="not_ep_block"><h2>Abstract</h2><p style="padding-bottom: 16px; text-align: left; margin: 1em auto 0em auto">The image of the composer as a lone seeker of creative inspiration is embedded in popular views of the creative artist. This isolationist view ignores the 'thought communities' on which composers draw in their development as musicians, composers and teachers, the relationships that hold between composer-teacher and student-composer, and the role of these relationships in the ongoing development of all participants in the teaching and learning process. This article draws on 'eminence' studies of creativity to investigate the teaching and learning beliefs, processes and practices, of an eminent composer-teacher when working with a tertiary-level student-composer over the course of one academic semester. The emergent view of the teaching and learning process in music composition is one of a dyad working towards shared goals in a process characterized by collaboration, joint effort, and social support. This suggests that the teaching and learning process in composition may be a form of creative collaboration. </p></div><table style="margin-bottom: 1em" cellpadding="3" class="not_ep_block" border="0"><tr><th valign="top" class="ep_row">Item Type:</th><td valign="top" class="ep_row">Article</td></tr><tr><th valign="top" class="ep_row">Additional Information:</th><td valign="top" class="ep_row">Published by SAGE, in Association with the Society for Education, Music and Psychology Research http://www.sempre.org.uk/journals.html</td></tr><tr><th valign="top" class="ep_row">Keywords:</th><td valign="top" class="ep_row">composer-teacher, creative dyad, creativity, learning dyad, student-composer</td></tr><tr><th valign="top" class="ep_row">Subjects:</th><td valign="top" class="ep_row"><a href="http://eprints.utas.edu.au/view/subjects/330199.html">330000 Education &gt; 330100 Education Studies &gt; 330199 Education Studies not elsewhere classified</a></td></tr><tr><th valign="top" class="ep_row">ID Code:</th><td valign="top" class="ep_row">1986</td></tr><tr><th valign="top" class="ep_row">Deposited By:</th><td valign="top" class="ep_row"><span class="ep_name_citation"><span class="person_name">Mrs Anita Cubit</span></span></td></tr><tr><th valign="top" class="ep_row">Deposited On:</th><td valign="top" class="ep_row">27 Sep 2007</td></tr><tr><th valign="top" class="ep_row">Last Modified:</th><td valign="top" class="ep_row">09 Jan 2008 02:30</td></tr><tr><th valign="top" class="ep_row">ePrint Statistics:</th><td valign="top" class="ep_row"><a target="ePrintStats" href="/es/index.php?action=show_detail_eprint;id=1986;">View statistics for this ePrint</a></td></tr></table><p align="right">Repository Staff Only: <a href="http://eprints.utas.edu.au/cgi/users/home?screen=EPrint::View&amp;eprintid=1986">item control page</a></p>
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