Search results for: musical creativity

Authors: Hsing Yuan Liu

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Background: Considerable theoretical and empirical work has identified a relationship between collaboration interactions and creativity in an organizational context. The mechanisms underlying this link, however, are not well understood in healthcare education. Objectives: The aims of this study were to explore the impact of collaboration interactions on team creativity and its underlying mechanism and to verify a moderated mediation model. Design, setting, and participants: This study utilized a cross-sectional, quantitative, descriptive design. The survey data were collected from 177 nursing students who enrolled in 18-week capstone courses of small interdisciplinary groups collaborating to design healthcare products in Taiwan during 2018 and 2019. Methods: Questionnaires assessed the nursing students' perceptions about their teams' swift trust (of cognition- and affect-based), conflicts (of task, process, and relationship), interaction behaviors (constructive controversy, helping behaviors, and spontaneous communication), and creativity. This study used descriptive statistics to compare demographics, swift trust scores, conflict scores, interaction behavior scores, and creativity scores for interdisciplinary teams. Data were analyzed using Pearson’s correlation coefficient and simple and hierarchical multiple regression models. Results: Pearson’s correlation analysis showed the cognition-based team swift trust was positively correlated with team creativity. The mediation model indicated constructive controversy fully mediated the effect of cognition-based team swift trust on student teams’ creativity. The moderated mediation model indicated that task conflict negatively moderates the mediating effect of the constructive controversy on the link between cognition-based team swift trust and team creativity. Conclusion: Our findings suggest nursing student teams’ interaction behaviors and task conflict are crucial mediating and moderated mediation variables on the relationship between collaboration interactions and team creativity, respectively. The empirical data confirms the validity of our proposed moderated mediation models of team creativity. Therefore, this study's validated moderated mediation model could provide guidance for nursing educators to improve collaboration interaction outcomes and creativity on nursing student teams.

Keywords: team swift trust, team conflict, team interaction behavior, moderated mediating effects, interdisciplinary education, nursing students

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Authors: Mohammad Moussa Khalaf

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As a significant term in Arab music, ṭarab identifies a particular expression of feelings and emotions, especially in the vocal practice of Arab music. Ṭarab aims to take both the performer and the audience from a normal feeling state to a new state of spiritual feeling through the art of mawwāl. Because of the expertise required for mawwāl, the ability to reach ṭarab has long been considered an indication that a musician has reached a high musical level. Another significant Islamic concept related to feelings and emotions is khushūʿ. It is known that one of the ways to get Khāsheʿ (humble to God) is the artistic reading of the holy Qur’ān. The artistic recitation of the Qur’ān is tajwīd. Like mawwāl, tajwīd requires a high-level rendition to lead the listener to the special emotional state. The research will focus on the relationships between ṭarab, khushūʿ, tajwīd, and mawwāl in Islamic-Arab culture in a way that has not been addressed previously. The relationships between tajwid and mawwāl, ṭarab and khushūʿ would be identified through the examination of musical factors, socio-cultural factors, and emotional factors.

Keywords: Arab music, Ṭarab, Mawwāl, Khushūʿ, Tajwīd, Islam

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Authors: Toledo-Fernandez Aldebaran

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Introduction: One of the least explored cognitive functions in relation with depression is the one related to musical stimuli. Music perception and memory can become impaired as well. The term amusia is used to define a type of agnosia caused by damage to basic processes that creates a general inability to perceive music. Therefore, the main objective is to explore performance-based and self-report deficits in music perception and memory on people with major depressive disorder (MDD). Method: Data was collected through April-October 2021 recruiting people who met the eligibility criteria and using the Montreal Battery of Evaluation of Amusia (MBEA) to evaluate performance-based music perception and memory, along with the module for depression of the Mini International Neuropsychiatric Interview, and the Amusic Dysfunction Inventory (ADI) which evaluates the participants’ self-report concerning their abilities in music perception. Results: 64 participants were evaluated. The main study, referring to analyzing the differences between people with MDD and the control group, only showed one statistical difference on the Interval subtest of the MBEA. No difference was found in the dimensions assessed by the ADI. Conclusion: Deficits in interval perception can be explained by mental fatigue, to which people with depression are more vulnerable, rather than by specific deficits in musical perception and memory associated with depressive disorder. Additionally, significant associations were found between musical deficits as observed by performance-based evidence and music dysfunction according to self-report, which could suggest that some people with depression are capable of detecting these deficits in themselves.

Keywords: depression, amusia, music, perception, memory

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Authors: Liza Michaeli

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Fermata, from fermare, means to be on hold, conjoining contenere (contain), fissare (fasten), and rimanere (stay). It is a musical indication that a note should be (that is, calls to be) prolonged beyond the "normal duration" the note value would indicate. To be "held up" is to be held impractically in the lunga pausa, where the breath "is to be taken," taken in, but the release is impeded. In this pause of unspecified length, life is being prolonged against your discretion but given to you to inhabit. That is why the note value, the recognized "normative value," does not "accept" the significance of the prolongation. The value is interested in "saving time." The query at the heart of "Life in the fermata" will therefore be: is this life on hold, or rather, life holding. The paper shall meditate, via musical notation, on the significance of experience "inside": namely, the hold.

Keywords: fermata, experience, significance, the hold, prolongation

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Authors: Atara Shriki, Ilana Lavy

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In a rapidly changing technological society, creativity is considered as an engine of economic and social progress. No doubt the education system has a central role in nurturing all students’ creativity, however, it is normally not encouraged at school. The causes of this reality are related to a variety of circumstances, among them: external pressures to cover the curriculum and succeed in standardized tests that mostly require algorithmic thinking and implementation of rules; teachers’ tendency to teach similarly to the way they themselves were taught as school students; relating creativity to giftedness, and therefore avoid nurturing all students' creativity; lack of adequate learning materials and accessible tools for following and evaluating the development of students’ creativity; and more. Since success in academic studies requires, among other things, creativity, lecturers in higher education institutions should consider appropriate ways to nurture students’ creative thinking and assess its development. Obviously, creativity has a multifaceted nature, numerous definitions, various perspectives for studying its essence (e.g., process, personality, environment, and product), and several approaches aimed at evaluating and assessing creative expressions (e.g., cognitive, social-personal, and psychometric). In this framework, we suggest nurturing students’ creativity through engaging them in problem posing activities that are part of inquiry assignments. In order to assess the development of their creativity, we propose to employ a model that was designed for this purpose, based on the psychometric approach, viewing the posed problems as the “creative product”. The model considers four measurable aspects- fluency, flexibility, originality, and organization, as well as a total score of creativity that reflects the relative weights of each aspect. The scores given to learners are of two types: (1) Total scores- the absolute number of posed problems with respect to each of the four aspects, and a final score of creativity; (2) Relative scores- each absolute number is transformed into a number that relates to the relative infrequency of the posed problems in student’s reference group. Through converting the scores received over time into a graphical display, students can assess their progress both with respect to themselves and relative to their reference group. Course lecturers can get a picture of the strengths and weaknesses of each student as well as the class as a whole, and to track changes that occur over time in response to the learning environment they had generated. Such tracking may assist lecturers in making pedagogical decisions about emphases that should be put on one or more aspects of creativity, and about the students that should be given a special attention. Our experience indicates that schoolteachers and lecturers in higher education institutes find the combination of engaging learners in problem posing along with self-assessment of their progress through utilizing the graphical display of accumulating total and relative scores has the potential to realize most learners’ creative potential.

Keywords: creativity, problem posing, psychometric model, self-assessment

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Authors: Sandy Ng

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This study explores how women asserted their identities through vanity case design that increased their visibility and affirmed their sense of self. It discusses a history of vanity case design intersected with women as agents of social changes, represented in images that express the modern lifestyle created in the twentieth century. The discussion will emphasize how consumption transformed women’s appearances and mentality and whether vanity cases mediated the ways they perceived and presented themselves. Consumption in modern material culture imparted a sense of respectability to the modern woman while she introduced modern lifestyle and good taste through creativity and specific materials in the designs she carried that redefined her social status. Visual evidence, such as advertisements and photographs, as well as designs including vanity cases and jewelry worn by women, will be examined in the context of Pierre Bourdieu’s concept of cultural capital, enhancing understanding of women’s cultural and social roles in the modern era. Creativity articulated in fashion accessories specifically designed for women was instrumental in asserting their identities and ornamentation on design served vital cultural and social functions in the modern epoch.

Keywords: creativity, design, femininity, modern women, vanity case

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Authors: Robert Roznowski

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The thought process of the character is never more evident than when singing alone onstage. The composer scores the emotional state and the lyricist voices the inner conflict as the character shares with an audience her or his deepest feelings. It is at these moments that a character may be thought of as voicing her or his inner monologue. Using examples from several musical theatre songs, this presentation will look at a codified approach to analyze a song from a more psychological perspective. Using the clues from the score, traditional character analysis and a psychological-based scoring method an actor may explore more fully inhabit and express the sung and unsung thoughts of the character. The approach yields a richer and more complex approach to acting the song.

Keywords: acting, analysis, musical theatre, psychology

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Authors: Maheen Zia

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Near the early twenty-first century, LEGO decided to diversify its product range which resulted in more specific and single-outcome sets occupying the store shelves than classic kits having fairly all-purpose bricks. Earlier, LEGOs came with more bricks and lesser instructions. Today, there are more single kits being produced and sold, which come with a strictly defined set of guidelines. If one set is used to make a car, the same bricks cannot be put together to produce any other article. Earlier, multiple bricks gave children a chance to be imaginative, think of new items and construct them (by just putting the same pieces differently). The new products are less open-ended and offer a limited possibility for players in both designing and realizing those designs. The article reviews (in the light of existing research) how classic LEGO sets could help enhance a child’s creativity in comparison with single sets, which allow a player to interact (not experiment) with the bricks.

Keywords: constructive play, creativity, LEGO, play-based learning

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Authors: Michael Filimowicz, Veronika Tzankova

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This paper discusses the practical implementation of Derek Pigrum’s multi-mode model of transitional practices in the context of upper division production courses in an interaction design curriculum. The notion of teaching creativity directly was connected to a general notion of “discursivity” by which is meant students’ overall ability to discuss, describe, and engage in dialogue about their creative work. We present a study of how Pigrum’s transitional modes can be mapped onto a variety of course activities, and discuss challenges and outcomes of directly engaging student discursivity in their creative output.

Keywords: teaching creativity, multi-mode transitional practices, discursivity, rich dialogue, art and design education, pedagogy

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Authors: Nino Naneishvili

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The study of religious minorities and their musical culture has attracted scant academic attention in Georgia. Within wider Georgian society, it would seem that the focus of discourse to date has been on the traditional orthodox religion and its musical expression, with other forms of religious expression regarded as intrinsically less valuable. The goal of this article is to study Georgia's different religious and musical picture which, this time, is presented on the example of the Pentecostals. The first signs of the Pentecostal movement originated at the end of the 19th Century in the USA, and first appeared in Georgia as early as 1914. An ethnomusicological perspective allows the use of anthropological and sociological approaches. The basic methodology is an ethnographic method. This involved attending religious services, observation, in-depth interviews and musical material analysis. This analysis, based on a combined use of various theoretical and methodological approaches, reveals that Georgian Pentecostals, apart from polyphonic singing, are characterised by “ bi-musicality.“ This phenomenon together with Georgian three part polyphony combines vocalisation within “social polyphony.“ The concept of back stage and front stage is highlighted. Chanters also try to express national identity. In some cases however it has been observed that they abandon or conceal certain musical forms of expression which are considered central to Georgian identity. The famous hymn “Thou art a Vineyard” is a case in point. The reason given for this omission within the Georgian Pentecostal church is that within Pentecostal doctrine, God alone is the object of worship. Therefore there is no veneration of Saints as representatives of the Divine. In some cases informants denied the existence of this hymn, and others explain that the meaning conveyed to the Vineyard is that of Jesus Christ and not the Virgin Mary. Others stated that they loved Virgin Mary and were therefore free to sing this song outside church circles. The results of this study illustrates that one of the religious minorities in Georgia, the Pentecostals, are characterised by a deviation in musical thinking from Homo Polyphonicus. They actively change their form of musical worship to secondary ethno hearing – bi-musicality. This outcome is determined by both new religious thinking and the process of globalization. A significant principle behind this form of worship is the use of forms during worship which are acceptable and accessible to all. This naturally leads to the development of modern forms. Obtained material does not demonstrate a connection between traditional religious music in general. Rather, it constitutes an independent domain.

Keywords: Georgia, globalization, music, pentecostal

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Authors: Aber Salem Aboalgasm, Rupert Ward

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Teaching art by digital means is a big challenge for the majority of teachers of art and artistic design courses in primary education schools. These courses can clearly identify relationships between art, technology and creativity in the classroom .The aim of this article is to present a modern way of teaching art, using digital tools in the art classroom in order to improve creative ability in pupils aged between 9 and 11 years; it also presents a conceptual model for creativity based on digital art. The model could be useful for pupils interested in learning drawing and using an e-drawing package, and for teachers who are interested in teaching their students modern digital art, and improving children’s creativity. This model is designed to show the strategy of teaching art through technology, in order for children to learn how to be creative. This will also help education providers to make suitable choices about which technological approaches they should choose to teach students and enhance their creative ability. To define the digital art tools that can benefit children develop their technical skills. It is also expected that use of this model will help to develop social interactive qualities that may improve intellectual ability.

Keywords: digital tools, motivation, creative activity, technical skill

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Authors: Shanti Swaroop Mokkapati

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The unstruck sound, or the Anahata Nada, holds the key in elevating the consciousness levels of the practitioner. This has been well established by the great saints of the eastern tradition over the past few centuries. This paper intends to explore in-depth the common thread of the practice of Anahata Nada by the musical saints, examining the subtle mention in their compositions as well as demystifying their musical experiences that throw insights into elevated levels of consciousness. Mian Tansen, one of the greatest musicians in the North Indian Hindustani Classical Music tradition and who lived in the 15th century, is said to have brought rain through his singing of Raga Megh Malhar. The South Indian (Carnatic) Musical Saint Tyagaraja, who lived in the 18th Century, composed hundreds of musical pieces full of love for the Supreme Being. Many of these compositions unravel the secrets of Anahata Nada, the chakras in the human body that hold key to these practices, and the visions of elevated levels of consciousness that Saint Tyagaraja himself experienced through these practices. The spiritual practitioners of the Radhasoami Faith (Religion of Saints) in Dayalbagh, India, have adopted a practice called Surat Shabda Yoga (Meditational practices that unite the all-pervasive sound current with the spirit current and elevate levels of consciousness). The practitioners of this Yogic method submit that they have been able to hear mystic words including Om, Racing, Soham, Sat, and Radhasoami, along with instrumental sounds that accompany these mystic words in the form of a crescendo. These prolific experiences of elevated consciousness of musical saints are numerous, and this paper intends to explore more significant ones from many centuries in the past till the present day, where elevated consciousness levels of practitioners are being scientifically measured and analyzed using quantum computing.

Keywords: Anahata Nada, Nada Yoga, Tyagaraja, Radhasoami

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Authors: Hatem Radwan Ibrahim Radwan

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Leadership is crucial for hotel survival and success. It enables hotels to develop and compete effectively. This research intends to explore the implementation of six leadership styles by frontline hotel managers in four star hotels in Cairo and assess its impact on employees’ creativity and organizational commitment. The leadership patterns considered in this study includes: democratic, autocratic, laissez-faire, transformational, transactional, and ethical leaderships. Questionnaire was used as a research method to gather data. A structured survey was established and distributed on employees in Cairo’s four star hotels. A total of 284 questionnaire forms were returned and usable for statistical analysis. The results of this study identified that transactional and autocratic leadership were the prevalent styles used in four star hotels in Cairo. Two leadership styles proved to have significant high correlation and impact on employees’ creativity and organizational commitment including: transformational and democratic leadership. Besides, laissez-faire leadership was found had a smaller effect on employees’ creativity and ethical leadership had a lesser influence on employees’ commitment. The autocratic leadership had strong negative correlation and significant impact on both dependent variables. This research concludes that frontline hotel managers should adopt transformational and/or democratic leadership style in managing their subordinates.

Keywords: creativity, hotels, leadership styles, organizational commitment

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Authors: Casey Keenan Joiner, Shayna Tayloe

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Classical voice training for the novice singer has long relied on the guidance and instruction of vocalise collections, such as those written and compiled by Marchesi, Lütgen, Vaccai, and Lamperti. These vocalise collections purport to encourage healthy vocal habits and instill technical longevity in both aspiring and established singers, though their scope has long been somewhat confined to the classical idiom. For pedagogues and students specializing in other vocal genres, such as musical theatre and CCM (contemporary commercial music,) low-impact and pertinent vocal training aids are in short supply, and much of the suggested literature derives from classical methodology. While the tenants of healthy vocal production remain ubiquitous, specific stylistic needs and technical emphases differ from genre to genre and may require a specified extension of vocal acuity. As musical theatre continues to grow in popularity at both the professional and collegiate levels, the need for specialized training grows as well. Pedagogical literature geared specifically towards musical theatre (MT) singing and vocal production, while relatively uncommon, is readily accessible to the contemporary educator. Practitioners such as Norman Spivey, Mary Saunders Barton, Claudia Friedlander, Wendy Leborgne, and Marci Rosenberg continue to publish relevant research in the field of musical theatre voice pedagogy and have successfully identified many common MT vocal faults, their subsequent diagnoses, and their eventual corrections. Where classical methodology would suggest specific vocalises or training exercises to maintain corrected vocal posture following successful fault diagnosis, musical theatre finds itself without a relevant body of work towards which to transition. By analyzing the existing vocalise literature by means of a specialized set of parameters, including but not limited to melodic variation, rhythmic complexity, vowel utilization, and technical targeting, we have composed a set of vocalises meant specifically to address the training and conditioning of adult musical theatre voices. These vocalises target many pedagogical tenants in the musical theatre genre, including but not limited to thyroarytenoid-dominant production, twang resonance, lateral vowel formation, and “belt-mix.” By implementing these vocalises in the musical theatre voice studio, pedagogues can efficiently communicate proper musical theatre vocal posture and kinesthetic connection to their students, regardless of age or level of experience. The composition of these vocalises serves MT pedagogues on both a technical level as well as a sociological one. MT is a relative newcomer on the collegiate stage and the academization of musical theatre methodologies has been a slow and arduous process. The conflation of classical and MT techniques and training methods has long plagued the world of voice pedagogy and teachers often find themselves in positions of “cross-training,” that is, teaching students of both genres in one combined voice studio. As MT continues to establish itself on academic platforms worldwide, genre-specific literature and focused studies are both rare and invaluable. To ensure that modern students receive exacting and definitive training in their chosen fields, it becomes increasingly necessary for genres such as musical theatre to boast specified literature and a collection of musical theatre-specific vocalises only aids in this effort. This collection of musical theatre vocalises is the first of its kind and provides genre-specific studios with a basis upon which to grow healthy, balanced voices built for the harsh conditions of the modern theatre stage.

Keywords: voice pedagogy, targeted methodology, musical theatre, singing

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Authors: D. S. Denchuk, O. M. Zamyatina, M. G. Minin, M. A. Soloviev, K. V. Bogrova

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The article considers invention activity in Russia and worldwide, its modern state, and the impact of innovative engineering activity on the national economy of the considered countries. It also analyses the historical premises of modern engineer-ing invention. The authors explore the development of engineering invention at an engineer-ing university, the creation of particular environment for scientific and technical creativity of students on the example of Elite engineering education program at Tomsk Polytechnic University, Russia. It is revealed that for the successful de-velopment of engineering invention in a higher education institution it is neces-sary to apply a learning model that develops the creative potential of a student, which is, in its turn, inseparably connected with the ability to generate new ideas in engineering. Such academic environment can become a basis for revealing stu-dents' creativity.

Keywords: engineering invention, scientific and technical creativity, students, project-based approach

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Authors: Yu-Chu Yeh, WeiChin Hsu, Chih-Yen Chang

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Substitution, combination, modification, putting to other uses, elimination, and rearrangement (SCAMPER) has been regarded as an effective technique that provides a structured way to help people to produce creative ideas and solutions. Although some neuroscience studies regarding creativity training have been conducted, no study has focused on SCAMPER. This study therefore aimed at examining whether the learning of SCAMPER through video tutorials would result in alternations of neural activation. Thirty college students were randomly assigned to the experimental group or the control group. The experimental group was requested to watch SCAMPER videos, whereas the control group was asked to watch natural-scene videos which were regarded as neutral stimulating materials. Each participant was brain scanned in a Functional magnetic resonance imaging (fMRI) machine while undertaking a creativity test before and after watching the videos. Furthermore, a two-way ANOVA was used to analyze the interaction between groups (the experimental group; the control group) and tasks (C task; M task; X task). The results revealed that the left precuneus significantly activated in the interaction of groups and tasks, as well as in the main effect of group. Furthermore, compared with the control group, the experimental group had greater activation in the default mode network (left precuneus and left inferior parietal cortex) and the motor network (left postcentral gyrus and left supplementary area). The findings suggest that the SCAMPER training may facilitate creativity through the stimulation of the default mode network and the motor network.

Keywords: creativity, default mode network, neural activation, SCAMPER

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Authors: Stefana Francisca Lupu, Jasmin Chantah, Mara Krone, Ingo Roden, Stephan Bongard, Gunter Kreutz

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Long-term music interventions could enhance both musical and nonmusical skills. The present study was designed to explore cognitive, socio-emotional, and musical development in a longitudinal setting. Third-graders (N = 184: 87 male, 97 female; mean age = 8.61 years; 115 native German and 69 migrant children) were randomly assigned to two intervention groups (music and maths) and a control group over a period of one school-year. At baseline, children in these groups were similar in basic cognitive skills, with a trend of advantage in the control group. Dependent measures included the culture fair intelligence test CFT 20-R; the questionnaire of emotional and social school experience for grade 3 and 4 (FEESS 3-4), the test of resources in childhood and adolescence (FRKJ 8-16), the test of language proficiency for German native and non-native primary school children (SFD 3), the reading comprehension test (ELFE 1-6), the German math test (DEMAT 3+) and the intermediate measures of music audiation (IMMA). Data were collected two times at the beginning (T1) and at the end of the school year (T2). A third measurement (T3) followed after a six months retention period. Data from baseline and post-intervention measurements are currently being analyzed. Preliminary results of all three measurements will be presented at the conference.

Keywords: musical training, primary-school German and migrant children, socio-emotional skills, transfer

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Authors: Mohd Hassan Abdullah, Mohd Azam Sulong, Mohd Nizam Nasrifan, Nor Azman Mohd Ramli, Suflan Faidzal Arshad

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The Bajau Samah is a maritime ethnic community that inhabits the west coast of Sabah, Malaysia. The majority of these ethnicities embrace Islam and practice their own culture. Bertitik music ensemble is one of the musical practices performed in various social events, especially weddings. The ensemble, which combines several musical instruments including gongs, drums and kulintangan is played by six musicians to accompany various social events in the community. The position of the Bajau Samah in a multi-ethnic community such as Kadazandusun, Rungus, Suluk, Malay, Iranun and others exposes to the cultural activities with various artistic elements of the surrounding community. Western influences have also played an important role in the process of hybridity and acculturation in this society. Cultural change and the influx of foreign cultures have threatened the sustainability of this musical practice. This study aims to musicologically analyze the elements of bertitik ensemble that form the uniqueness of the cultural identity of the Bajau Samah Ethnic group. An ethnomusicological approach has been used to parse the essence of the bertitik music repertoire in depth. Ethnographic study design which comprises fieldwork, interviews, observations and document analysis as the main methods were utilized to collect data. Music recordings were transcribed in the form of musical notation and then analyzed based on the theory of "the norms of musical styles". This study reveals that musical elements featured in the ensemble represent the symbol and cultural identity to this ethnic group. The findings of the study were documented in the form of musicological analysis, audio and video as well as transcriptions of the musical notation of the repertoire of the music ensemble. This study is in line with the National cultural policy gazetted by the government, which is "Conservation, preservation and development of culture towards strengthening the foundations of National Culture through joint research, development, education, expansion and cultural relations" It will benefit various parties including students, teachers, academics, cultural arts activists and so on towards preserving the nation's cultural heritage as well as strengthening the spirit of nationhood among the people of various races and ethnic group in Malaysia.

Keywords: ethnomusicology, ethnic music, Malaysian music, cultural identity

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Authors: Chu Liu

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With the development of society and the changes of the times, the requirements for the cultivation of learners are different. In the 21st century, STEM education has become a boom in the development of education in various countries, aiming to improve the comprehensive ability of learners in science, technology, engineering, and mathematics. The rise of robot education provides an effective way for STEM education to cultivate computational thinking ability, interdisciplinary ability, problem-solving ability, and teamwork ability. Although robot education has been developed in China for several years, it still lacks a standard curriculum system. This article uses programming software as a platform, through the research and analysis of 'Basic Education Information Technology Curriculum Standards (2012 Edition)', combines with the actual learning situation of learners, tries to conduct teaching project design research, and aims at providing references for the teaching ideas and method of robot education courses. In contemporary society, technological advances increasingly require creativity. Innovative comprehensive talents urgently need a radical and effective education reform to keep up with social changes. So in this context, robot teaching design can be used for students. The tendency of creativity to influence is worth to be verified.

Keywords: STEM education, robot teaching, primary and secondary school students, tendency of creativity

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Authors: Adam Rosiński

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This paper discusses an experiment conducted with two groups of participants, composed of musicians and non-musicians, in order to investigate the impact of the speed of a sound sequence and the order of sounds on the grouping of sounds into sequences of six tones. Significant differences were observed between musicians and non-musicians with respect to the threshold sequence speed at which the sequence was split into two streams. The differences in the results for the two groups suggest that the musical education of the participating listeners may be a vital factor. The criterion of musical education should be taken into account during experiments so that the results obtained are reliable, uniform, and free from interpretive errors.

Keywords: auditory scene analysis, education, hearing, psychoacoustics

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Authors: Antonio M. Oliveira, Patricia Oliveira-Silva, Jose Matias Alves, Gary McPherson

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The music teaching is oriented towards offering formal music training. Due to its specificities, this vocational program starts at a very young age. Although provided by the State, the offer is limited to 6 schools throughout the country, which means that the vacancies for prospective students are very limited every year. It is therefore crucial that these vacancies be taken by especially motivated children grown within households that offer the ideal setting for success. Some of the instruments used to evaluate musical performance are highly sensitive to specific previous training, what represents a severe validity problem for testing children who have had restricted opportunities for formal training. Moreover, these practices may be unfair because, for instance, they may not reflect the candidates’ music aptitudes. Based on what constitutes a prerequisite for making an excellent music student, researchers in this field have long argued that motivation, task commitment, and parents’ support are as important as ability. Thus, the aim of this study is: (1) to prepare an inventory of admission requirements in Australia, Portugal and Ireland; (2) to examine whether the candidates to music conservatories and parents’ level of motivation, assessed at three evaluation points (i.e., admission, at the end of the first year, and at the end of the second year), correlates positively with the candidates’ progress in learning a musical instrument (i.e., whether motivation at the admission may predict student musicianship); (3) an adaptation of an existing instrument to assess the motivation (i.e., to adapt the items to the music setting, focusing on the motivation for playing a musical instrument). The inclusion criteria are: only children registered in the administrative services to be evaluated for entrance to the conservatory will be accepted for this study. The expected number of participants is fifty (5-6 years old) in all the three frequency schemes: integrated, articulated and supplementary. Revisiting musical admission procedures is of particular importance and relevance to musical education because this debate may bring guidance and assistance about the needed improvement to make the process of admission fairer and more transparent.

Keywords: music learning, music admission requirements, student’s motivation, parent’s motivation

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Authors: Ajmal Hussain

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In Indian music parlance, Rasa denotes a distinct aesthetic experience that builds up in the mind of the listeners while listening to a piece of Indian classical music. The distinction of the experience is rooted in the concept that it gives rise to an enhanced awareness about the Self or God and creates a mental state detached from mundane issues of everyday life. The theory of Rasa was initially proposed in the context of theatre but became a part of Indian musicological discourse roughly two thousand years ago, however, to this day, it remains shrouded in mystery due to its religious associations and connotations. This paper attempts to demystify the theory of Rasa in the light of available scientific knowledge fund particularly in Brain and Mind sciences. The paper initially describes the religious context of the theory of Rasa and then discusses its classical formulations by Bharata and Abhinavagupta including the steps and stages laid down by the latter to explain the creation of musical experience. The classical formulations are then interpreted with reference to the scientific knowledge fund about the human mind and mechanics of perception. The study uses the model of human mind as proposed by Portuguese-American neuroscientist Antonio Damasio in his theory ‘A Nesting Principle’. On the basis of the findings by Damasio, the paper interprets the experience of Rasa from a scientific perspective and clarifies the sequence of steps and stages involved in the making of musical experience. The study concludes that although the classical formulations of Rasa identify key aspects of musical experience, the association of Rasa with religion is misleading. The association with religion does not depend upon musical stimulus but the intellectual orientation of the listener. It further establishes that the function of Rasa is more profound as, from an evolutionary perspective, it can be seen as a catalyst for higher consciousness.

Keywords: aesthetic, consciousness, music, Rasa

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Authors: Dimitra Marini, Konstantinos Bakogiannis, Spyros Polychronopoulos, Georgios Kouroupetroglou

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Archaemusicology cannot entirely depend on the study of the excavated ancient musical instruments as most of the time their condition is not ideal (i.e., missing/eroded parts) and moreover, because of the concern damaging the originals during the experiments. Researchers, in order to overcome the above obstacles, build replicas. This technique is still the most popular one, although it is rather expensive and time-consuming. Throughout the last decades, the development of physical modeling techniques has provided tools that enable the study of musical instruments through their digitally simulated models. This is not only a more cost and time-efficient technique but also provides additional flexibility as the user can easily modify parameters such as their geometrical features and materials. This paper thoroughly describes the steps to create a physical model of a woodwind ancient Greek instrument, Plagiaulos. This instrument could be considered as the ancestor of the modern flute due to the common geometry and air-jet excitation mechanism. Plagiaulos is comprised of a single resonator with an open end and a number of tone holes. The combination of closed and open tone holes produces the pitch variations. In this work, the effects of all the instrument’s components are described by means of physics and then simulated based on digital waveguides. The synthesized sound of the proposed model complies with the theory, highlighting its validity. Further, the synthesized sound of the model simulating the Plagiaulos of Koile (2nd century BCE) was compared with its replica build in our laboratory by following the scientific methodologies of archeomusicology. The aforementioned results verify that robust dynamic digital tools can be introduced in the field of computational, experimental archaemusicology.

Keywords: archaeomusicology, digital waveguides, musical acoustics, physical modeling

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Authors: Murilo G. Mendes

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This text presents part of the results presented in the Ph.D. thesis that has used John Baily's theory and method as well as its ethnographic application in the context of the fife flutes of the Banda Cabaçal dos Irmãos Aniceto in the state of Ceará, northeast of Brazil. John Baily is a British ethnomusicologist dedicated to studying the relationships between music, musical gesture, and embodied cognition. His methodology became a useful tool to highlight historical-social aspects present in the group's instrumental music. Remaining indigenous and illiterate, these musicians played and transmitted their music from generation to generation, for almost two hundred years, without any nomenclature or systematization of the fingering performed on the flute. In other words, his music, free from any theorization, is learned, felt, perceived, and processed directly through hearing and through the relationship between the instrument's motor skills and its sound result. For this reason, Baily's assumptions became fundamental in the analysis processes. As the author's methodology recommends, classes were held with the natives and provided technical musical learning and some important concepts. Then, transcriptions and analyses of musical aspects were made from patterns of movement on the instrument incorporated by repetitions and/or by the intrinsic facility of the instrument. As a result, it was discovered how the group reconciled its indigenous origins with the demand requested by the public power and the interests of the local financial elite from the mid-twentieth century. The article is structured from the cultural context of the group, where local historical and social aspects influence the social and musical practices of the group. Then, will be present the methodological conceptions of John Baily and, finally, their application in the music of the Irmãos Aniceto. The conclusion points to the good results of identifying, through this methodology and analysis, approximations between discourse, historical-social factors, and musical text. Still, questions are raised about its application in other contexts.

Keywords: Banda Cabaçal dos Irmãos Aniceto, John Baily, pífano, spatial-motor thinking

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Authors: Aber Salem Aboalgasm, Rupert Ward

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This study investigated some results of the use of digital art tools by junior school children in order to discover if these tools could promote artistic ability and creativity. The study considers the ease of use and usefulness of the tools as well as how to assess artwork produced by digital means. As the use of these tools is a relatively new development in Art education, this study may help educators in their choice of which tools to use and when to use them. The study also aims to present a model for the assessment of students’ artistic development and creativity by studying their artistic activity. This model can help in determining differences in students’ creative ability and could be useful both for teachers, as a means of assessing digital artwork, and for students, by providing the motivation to use the tools to their fullest extent. Sixteen students aged nine to ten years old were observed and recorded while they used the digital drawing tools. The study found that, according to the students’ own statements, it was not the ease of use but the successful effects the tools provided which motivated the children to use them.

Keywords: artistic ability, creativity, drawing digital tool, TAM model, psychomotor domain

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Authors: John McNamara

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Growing up creative is an important idea in today’s classrooms. As education seeks to prepare children for their futures, it is important that the system considers traditional as well as non-traditional pathways. This poster describes the findings of a research study investigating creative potential in children with learning disabilities. Children with learning disabilities were administered the Torrance Test of Creative Problem Solving along with subtests from the Comprehensive Test of Phonological Processing. A quantitative comparative analysis was computed using paired-sample t-tests. Results indicated statistically significant difference between children’s creative problem-solving skills and their reading-based skills. The results lend support to the idea that children with learning disabilities have inherent strengths in the area of creativity. It can be hypothesized that the success of these children may be associated with the notion that they are using a type of neurological processing that is not otherwise used in academic tasks. Children with learning disabilities, a presumed left-side neurological processing problem, process information with the right side of the brain – even with tasks that should be processed with the left side (i.e. language). In over-using their right hemisphere, it is hypothesized that children with learning disabilities have well-developed right hemispheres and, as such, have strengths associated with this type of processing, such as innovation and creativity. The current study lends support to the notion that children with learning disabilities may be particularly primed to succeed in areas that call on creativity and creative thinking.

Keywords: learning disabilities, educational psychology, education, creativity

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Authors: Vusala Amirbayova

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The science of modern musicology, based on the achievements of a number of neighboring science fields, has more deeply penetrated into the sphere of artistic content of the art of music and developed a new scientific methodology, methods and approaches for a comprehensive study of the problem. In this regard, a new theory developed by the famous Russian musician-scientist, professor V. Kholopova – the specific and non – specific content of music – draws the attention with its different philosophical foundation and covering historical periods of the art of composing. The scientist related her theory to the art of European composer’s creativity, and did not include musical professionalism and especially, folklore creativity existing in other continent in her circle of interest. The researcher made an effort to explain triad (the world of ideas, emotions and subjects) which is included in the general content of music in the example of composers’ works belonging to different periods and cultures. In this respect, the artistic content of works has been deeply and comprehensively analyzed new philosophical basis. The theme ‘Leyli and Majnun’ was developed by many poets as one of the ancient legends of the East, and each artist was able to give a unique artistic interpretation of the work. This literary source was successfully developed in cognominal opera of great U. Hajibeyli in Azerbaijani music and its embodiment with symphonic means required great skill and courage from Gara Garayev. Unlike opera, as there is the opportunity to show the plot of ‘Leyli and Majnun’ in the symphonic poem, the composer achieved to reflect the main purpose of its idea convincingly with pure musical means, and created a great work with tragic spirit having a great emotional impact. Though the artistic content and form of ‘Leyli and Majnun’ symphonic poem have been sufficiently analyzed by music theorists until now, in our opinion, it is for the first time that the work is considered from the point of specific music content. Therefore, we will make an effort to penetrate into a specific layer of its artistic content after firstly reviewing the poem with traditional methods in the general plan. The use of both national fret – intonations and the system of major – minor by G. Garayev is based on well-tempered root. The composer, widely using national fret – intonations and model harmonic means on this ground, achieved to express the spirit and content of the poem. It perfectly embodies the grandeur and immortality of divine love, and the struggle of powerful human personality with the forces of despotism. Gara Garayev said about this work: “My most sublime goal and desire is to explain the literary issue that love endures to all obstacles and overcomes even death”. The music of ‘Leyli and Majnun’ symphonic poem is rich with deep desires and sharp contradictions. G.Garayev reflected these wonderful ideas about the power of music in his book ‘Articles, schools and sayings’: “Music is the decoration of life and a powerful source of inspiration”.

Keywords: content, music, symphonic, theory

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Authors: Johan Loeckx, Joeri Bultheel

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Recently, the application of deep learning to music has gained popularity. Its true potential, however, has been largely unexplored. In this paper, a new idea for representing the dynamic behavior of music is proposed. A ”forward” conditional RBM takes into account not only preceding but also future samples during training. Though this may sound controversial at first sight, it will be shown that it makes sense from a musical and neuro-cognitive perspective. The model is applied to reconstruct music based upon the first notes and to improvise in the musical style of a composer. Different to expectations, reconstruction accuracy with respect to a regular CRBM with the same order, was not significantly improved. More research is needed to test the performance on unseen data.

Keywords: deep learning, restricted boltzmann machine, music generation, conditional restricted boltzmann machine (CRBM)

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Authors: Leila Niroomand, Reza Rafigh

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Nowadays, the world is going under a dramatic change from an industry-centered society to an information-centered one. In other words, we are experiencing a transition from real, physical world into a virtual one. Stepping into the information age and running an effective life within the information-centered society demands getting acquainted with characteristics peculiar to such society. Recently, new technologies such as telecommunication and mobile technologies have changed vehemently and accumulation of achievements and information has become so important and brought about changes in occupational structures. The intellectual structure of this day and age depends on deep attention to creative and knowledge-based human resource collaboration instead of merely functioning human resource. Present study scrutinizes the contribution of different dimensions of mobile technologies including perceived use, perceived enjoyment, continuance intention, confirmation and satisfaction to the creativity of personnel. The statistical population included infrastructure communications company employees totaling 2431 persons out of which 331 individuals were chosen as sample based on Morgan and Krejcie table. This research is descriptive and the questionnaire was used for data gathering and it was distributed among those who used telegram application. 228 questionnaires were analyzed by the researcher. Applying SPSS software, Pierson correlation coefficient was analyzed and it was found out that all dimensions of mobile technologies except satisfaction correlate with the creativity of employees.

Keywords: mobile technologies, continuance intention, perceived enjoyment, confirmation, satisfaction, creativity, perceived use

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Authors: Houyem Kotti

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The development in societies requires that these societies are continuously changing in various aspects, a change that requires continuous adaptation to the data of the technical age. In order for the individual to perform his/her duty or task in a perfect way, it is necessary to provide all the basic requirements and necessities to increase the efficiency and effectiveness of the personnel working to accomplish their tasks, requirements, and work successfully. The success of the industries and organizations are linked to the need to create individuals in the creative and innovative field. Formation process is considered an economic development and social prosperity, and to improve the quantity and quality of artistic work. Therefore, creativity and innovation play an important role in improving the performance of the artistic organization as it is one of the variables affecting the organization's ability to grow and invest. In order to provide better services to their customers, especially in the face of competition and traditional methods of work, and in an environment that discourages and hinders creativity and impairs any process of development, change or creative behavior. The research methodology that will be performed for this study is described as qualitative by conducting several interviews with artistic people, experts in the artistic field and reviewing the related literature to collect the necessary and required qualitative data from secondary sources such as statistical reports, previous research studies, etc. In this research, we will attempt to clarify the relationship between innovation and its importance in the artistic organization, the conditions of achieving innovation and its constraints, barriers, and challenges. The creativity and innovation and their impacts on the performance of artistic organizations, explaining this mechanism, so as to ensure continuity of these organizations and keeping pace with developments in the global economic environment.

Keywords: artistic work, creativity and innovation, artistic organization, performance

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