Creative teaching for creative learning in higher academic music education

1. 'Creative Teaching and Learning in the 21st century conservatoire’Dr. Peter Argondizza, Ruth Slater and Dr. Christina K Guillaumier Department of Creative and Contextual Studies - Royal Conservatoire of Scotland Creative teaching for creative learning in higher academic music education

2. Rameau “Sound is to sound as string is to string. Each string contains in itself all other strings shorter than it, but not those which are longer. Therefore, all high sounds are contained in low ones, but low ones, conversely, are not contained in high ones. It is thus evident that we should look for the higher term in the division of the lower...” Gossett, P. (1971). Jean-Philippe Rameau: Treatise on Harmony, New York: Dover.

3. 'Creative Teaching and Learning in the 21st century conservatoire' • Baroque Music and Ensemble class • Historically Informed Performance Practice (henceforth HIPP)

4. Burnard • Current theory and practice can be examined and challenged by asking such pivotal questions as: • 1) who makes the music? • 2) where is being made? • 3) for whom is it being made? (an important point, but perhaps not relevant to the Baroque Music Ensemble course). Burnard, P. (2012). Rethinking ‘musical creativity’ and the notion of multiple creativities in music. Musical Creativity: Insights from Music Education Research. O. Odena. England, Ashgate Publishing, Ltd 5-27.

5. Mihaly Csikszentmihalyi “…for creativity to occur, a set of rules and practices must be transmitted from the domain to the individual. The individual must then produce a novel variation in the content of the domain. The variation then must be selected from the field for the inclusion in the domain.” Csikszentmihalyi, M. (1999). "16 Implications of a Systems Perspective for the Study of Creativity." Handbook of creativity: 313.

6. McIntyre • an interdependence of agency • a structure within the workings of the creative system. Within the genre of popular music the performer/creator is both circumscribed and facilitated by his or her knowledge of the domain of the particular period, whether they are aware of it or not. McIntyre, P. (2006). "Paul McCartney and the creation of ‘Yesterday’: the systems model in operation." Popular Music25(02): 201-219.

7. Both popular music and HIPP share the following practices: • 1) improvisation • 2) flexibility in the choices of performance forces • 3) collaboration and performance participation.

8. Developing independent thinking: e.g. reading from facsimiles/ originals/ urtext and making informed decision as to how to interpret given markings, etc • Reading treatises from the period, (as mentioned above with Muffat) specifically those that give instructions on performance that is, J.J. Quantz On Playing the Flute as well as modern guides such as Baroque String Playing for Ingenious Learners byJudy Tarling • Encouraging Performance choices through understanding differences National styles and choosing how performances can link these ideas successfully. • Repertoire choices: will be chosen to fit in with other aspects of the module being studied at the particular time; for example tuning systems. Furthermore, repertoire choice will be made, to some extend, based on the availability of players and the instrument they play.

9. Morris Stein “ the creative work is a novel work that is accepted as tenable or useful or satisfying to a group in some point in time” Stein, M. I. (1953). "Creativity and culture." The Journal of Psychology36(2): 311-322.

12. Baroque Music and Ensemble • Independent thinking • Applied research methods • Performance choices • Repertoire choices • Creativity

13. Bibliography Bartel, D. (1997). Musica poetica: musical-rhetorical figures in german baroque music, Unp-Nebraska. Bourdieu, P. (1983). "The field of cultural production, or: The economic world reversed." Poetics12(4): 311-356. Burnard, P. (2012). Rethinking ‘musical creativity’ and the notion of multiple creativities in music. Musical Creativity: Insights from Music Education Research. O. Odena. England, Ashgate Publishing, Ltd 5-27. Csikszentmihalyi, M. (1999). "16 Implications of a Systems Perspective for the Study of Creativity." Handbook of creativity: 313. Gossett, P. (1971). Jean-Philippe Rameau: Treatise on Harmony, New York: Dover. Handel, G. F. and D. Ledbetter (1990). Continuo playing according to Handel: his figured bass exercises, Oxford University Press on Demand. McIntyre, P. (2006). "Paul McCartney and the creation of ‘Yesterday’: the systems model in operation." Popular Music25(02): 201-219.

14. Bibliography (cont.) Muffat, G. and D. K. Wilson (2001). Georg Muffat on Performance Practice: The Texts from FlorilegiumPrimum, FlorilegiumSecundum, and AuserleseneInstrumentalmusik--A New Translation With Commentary, Indiana University Press. North, N. (1987). Continuo Playing on the Lute, Archlute, and Theorbo, Indiana University Press. Playford, J. 1651. The English dancing master of plaine and easie rules for the dancing of country dances, with the tune to each dance, London: Thomas Harper. Quantz, J. J. (1976). On Playing the Flute. Translated by Edward R. Reilly, London: Faber and Faber. Stein, M. I. (1953). "Creativity and culture." The Journal of Psychology36(2): 311-322. Tarling, J. (2000). Baroque string playing for ingenious learners, Corda Music. Tarling, J. (2004). The weapons of rhetoric: A guide for musicians and audiences, Corda Music.