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Case study (Reading (Who's Afraid of the Big Bad Dragon (The tale told…

- - - - Although there are differing perceptions about the use of quantitative and qualitative methods, it does appear that those in the social sciences make less use of quantitative approaches than those in the physical sciences. p36
        
        Quantification has met considerable resistance in music education. The general outlook is that music is so complex and deals with aesthetic elements that are so far beyond tangible matters that it is impossible to quantify musical behaviour, objects or events.
        
        low level - teacher / student experience
- - - - Combinational creativity involves the generation of unfamiliar (and interesting) combinations of familiar ideas. In general, it gives rise to the first type of surprise mentioned above. Just as one does not expect the outsider to win the Derby because that is, statistically unusual, so one does not expect ideas X and Y to be combined. On the contrary, they are normally regarded as being mutually irrelevant.
        
        The first is to enlarge the variety of concepts in the person’s mind. Someone who does not possess a host of concepts, drawn from a wide range of domains, will be very unlikely to come up with startling new combinations. So an essential part of helping someone to be creative in this particular way is to widen their general knowledge, encouraging them to engage in many different interests and activities, and perhaps also to draw on more than one culture. However, there is no guarantee that a well-stocked mind will generate large numbers of novel associations. p248
        
        It follows that exploratory creativity is not primarily an exercise in ‘free thinking.’ Indeed, even combinational creativity is not wholly unconstrained, since the novel association (which may have been— though usually is not—produced by random processes) must be evaluated for aptness. In other words, the belief that one can best equip children (or adults) for creativity by encouraging them to ignore all conceptual constraints and think only ‘for themselves,’ is mistaken. As that term ‘constraints’ suggests, creativity involves personal discipline as well as freedom. Where exploratory creativity is in question, that discipline may require years of painstaking practice. Ultimately, to be sure, the style may become so familiar that the person can explore it effortlessly. But a great deal of effort will have been needed to learn it in the first place.
      - In exploratory creativity, the existing stylistic rules or conventions are used to generate novel structures (ideas), whose possibility may or may not have been realized before the exploration took place. To continue the analogy mentioned in Section I, you may or may not have had some reasons to expect to find an unknown village nestling between the Motorways. The vast majority of creative work in the arts and sciences is of this kind (philosophers of science call exploratory creativity ‘normal’ science).5
      - Transformational creativity is different, because here the variation is greater and the stylistic dimension being varied is deeper. The resulting change is so marked that the new idea may be difficult to accept, or even to understand. Sometimes, many years will have to pass before it can be valued by anyone outside a small group of aficionados. Picasso’s pioneering cubist canvas of Les Demoiselles d’Avignon, for instance, was initially spurned even by his close circle of fellow artists. He kept it hidden in his studio for several years before exhibiting it.
        
        Changing history - Schoenberg
      - If we want to know how creativity can be discouraged, the answer is simple. Since all types of creativity involve novelty and surprise, any cultural attitudes that punish people for providing these will thereby hinder their creativity. Suppose that someone—schoolchild or adult— comes up with an unexpected (surprising) answer to a question. If their answer is immediately dismissed as a ‘mistake,’ or—still worse—if the individual is scorned as ‘stupid,’ they will be much less likely to offer new answers (or perhaps any answers) in the future. p247
        
        Evidence suggests that what makes for an especially H-creative person is not their having any special idea-generating mechanisms in their heads. Rather, it is their motivation, self-confidence, and single-minded commitment to the domain in question.14 P247
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