Table of Contents
Are musicians more creative?
Research using divergent thinking tasks to measure creativity generally supports the idea that musicians are more creative than non-musicians. (2009) found that musicians scored higher on creativity tasks, including a version of Guilford’s (1967) alternative uses task, than non-musicians.
How does creativity change with age?
New research by UC Berkeley psychologists suggests that creativity generally tends to decline as we age. Through a series of experiments, it was found that adults resorted to less creative thought processes than children. By understanding our adult tendencies, we can be as creative as children.
Why are musicians more creative?
Musicians are so creative and imaginative because of how amazing it is that they can make a simple group of words become meaningful and inspire and touch everybody’s heart. New research suggests that musicians may be at their most creative when they are not playing their instrument or singing.
Is the creative brief more important than creativity in advertising?
Communication – including the creative brief- is the cornerstone of success for any marketing campaign. And yes, it’s more important than the creativity. As Will Burns of Ideasicle says, the creative brief is the “most sacred of all sacred ad documents”.
Why did we start making music?
We felt we were making music (in the mid ’80s) for a sector of society including ourselves who seemed uncatered for. We could only imagine that there were other people out there wanting something more than what was currently on offer and in the realm which interested us.
What is the social aspect of music?
There are also the social aspects of music to consider. As musicologist Charles Seeger notes, “Music is a system of communication involving structured sounds produced by members of a community that communicate with other members” (1992, p.89).
What are the funfunctions of music?
Functions of music as they derive from specific approaches or theories. More generally, Schubert ( 2009) has argued that the fundamental function of music is its potential to produce pleasure in the listener (and in the performer, as well). All other functions may be considered subordinate to music’s pleasure-producing capacity.