Hostname: page-component-cd9895bd7-dk4vv Total loading time: 0 Render date: 2024-12-28T00:37:06.884Z Has data issue: false hasContentIssue false
  • English
  • Français

Creativity and Special Needs: A Suggested Framework for Technology Applications

Published online by Cambridge University Press:  18 December 2008

David Collins
Get access Rights & Permissions [Opens in a new window]

Extract

One of the many roles of music teachers is to stimulate creative thinking and creative activity in their pupils. This obligation to help unlock latent musical talent in young people is no less applicable to the disabled than it is to the able-bodied. Music technology has a central place within this process. There are conditions for creativity, some of which may be precluded from the disabled. It is necessary, therefore, for the special needs music teacher to be aware of these conditions and the way in which a particular disability may bar access to any of them. Those involved in the design of either music hardware or software need to be responsive to these factors, through ongoing collaborative work. This paper was presented at a Conference of the Drake Research Project, University of York, November, 1990.

Type
Research Article
Information
British Journal of Music Education , Volume 9 , Issue 2 , July 1992 , pp. 103 - 110
Copyright
Copyright © Cambridge University Press 1992

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Bamberger, J. (1978) Intuitive and formal musical knowing: parables of cognitive dissonance. In Madeja, S. S. (Ed.), The Arts, Cognition & Basic skills. St. Louis, Missouri: EMREL Inc.Google Scholar
Chew, S. L. et al. (1982) The abstraction of musical ideas. Memory and Cognition, 10 (5), 413–23.CrossRefGoogle ScholarPubMed
Collins, D. (1990) Music education and technology: towards a broader perspective. Roland/IMPAC conference proc.Google Scholar
Emig, J. (1983) The Web of Meaning: Essays on Writing, Teaching, Learning and Thinking. Boynton-Cook.Google Scholar
Fischer, E. (1963) The Necessity of Art. Harmondsworth: Penguin.Google Scholar
Lerdahl, F. (1988) Cognitive Constraints on Compositional Systems. In Sloboda, J. A. (Ed.) Generative Processes in Music – the Psychology of Performance, Improvisation and Composition. Oxford: Science Publications.Google Scholar
Ross, M. (1980) The Arts and Personal Growth. London: Pergamon Press.CrossRefGoogle Scholar
Self, J. (1985) Micros in education – the AI dimension. In Smith, D. J. (Ed.) Information Technology & Education; Signposts and Research Directions. London: ESRC.Google Scholar
Sharples, M.(1985) Tools for learning. Greater Manchester Primary Contact, Special Issue no. 3.Google Scholar
Stravinsky, I. (1974) The Poetics of Music. Cambridge, Mass: Harvard University Press.Google Scholar
Swanwick, K. & Tillman, J. (1986) The sequence of musical development: a study of children's composition. British Journal of Music Education. 3 (iii), 305–39.CrossRefGoogle Scholar
Swanwick, K. (1982) The Arts in Education; dreaming or wide awake? University of London, Institute of Education, Special Professorial Lecture.Google Scholar
Torrance, E. P. (1972) Can we teach children to think creatively? Journal of Creative Behaviour, 8 (2), 114–42.CrossRefGoogle Scholar
Witkin, R. W. (1974) The Intelligence of Feeling. London: Heinemann.Google Scholar