Keller, D., Lima, M. H., Pimenta, M. S. & Queiroz, M. (2011). Assessing musi al reati!

it"# material, $ro e%ural an% onte&tual %imensions. 'n Proceedings of the National Association of Music Research and Post-Graduation Congress - ANPPOM ($$. (0)*(1+). ,-erl.n%ia, M/# A0PP1M. 2tt$#33444.an$$om. om.-r3anais.$2$.

Assessing Musical Creativity: Material, Procedural and Contextual Dimensions

Damin Keller NAP, U AC ! d"eller#at$ccrma%stanford%edu Maria &elena de 'ima CAP, U RG( - eu%helena%l#at$gmail%com Marcelo (oares Pimenta 'CM, U GR( ! m)imenta#at$inf%ufrgs%*r Marcelo +ueiro, -M., U(P-(P - m/,#at$ime%us)%*r Abstract# 5e re!ie4 eig2t mo%els o6 reati!it" in musi an% %is uss 2o4 t2e" are relate% to t2ree reati!it" %imensions# materials, $ro e%ures an% onte&t. 72roug2 a stru tural anal"sis o6 t2e mo%els, 4e i%enti6" t4o met2o%ologi al s2ort* omings in t2eir a$$li ation# 8earl" restri tion o6 material %omain8 an% 8la 9 o6 material an% so ial groun%ing8. 5e also $oint to a on!ergen e -et4een a t2eoreti al onstru t la-ele% 8 om$ositional $ara%igm s2i6t8 an% re ent %e!elo$ments in om$ositional $ra ti es. 5e $ro!i%e gui%elines on t2e e&$erimental $ro e%ures to -e em$lo"e% to test t2e !ali%it" o6 t2e mo%els %is usse%. Keywords: musi al reati!it", reati!it" %imensions, reati!e $ro%u t $ro6ile. Avaliao da Criatividade Musical: Materiais, Procedimentos e Contexto Abstract# 0este artigo %is utimos oito mo%elos %e riati!i%a%e musi al e a sua rela:;o om tr<s %imens=es %e riati!i%a%e# materiais, $ro e%imentos e onte&to. Atra!>s %a an?lise estrutural %os mo%elos i%enti6i amos %uas la unas meto%ol@gi as# 8restri:;o %o %omAnio material8 e 86alta %e onte&tualiza:;o so ial e material8. 1 onstruto 8mu%an:a %e $ara%igma om$osi ional8 > a$onta%o omo uma ontri-ui:;o %esses mo%elos e 6orne emos %es ri:=es %os m>to%os e&$erimentais $ara estu%ar a !ali%a%e %as $ro$ostas te@ri as analisa%as. Palavras-c ave: riati!i%a%e musi al, %imens=es %a riati!i%a%e, $er6il %o $ro%uto riati!o.

!" Material, #rocedural and contextual dimensions Mo%els o6 reati!it" in musi an -e grou$e% a or%ing to t2eir em$2asis on intrinsi an% e&trinsi 6a tors. 72ese 6a tors %etermine t2e met2o%olog" a%o$te% 42en a$$l"ing t2e mo%el in t2e 6iel%, so an un%erstan%ing o6 t2e t2eoreti al -a 9groun% s2oul% t2ro4 lig2t onto t2e relations2i$s -et4een t2e mo%el an% its a$$li ations. 72ree %imensions an -e e&tra te% 6rom t2e eig2t mo%els t2at 4e 4ill -e %is ussing# material (42at), $ro e%ural (2o4) an% onte&tual (42ere 3 42en). 72e material an% $ro e%ural %imensions 2a!e alrea%" -een t2oroug2l" o!ere% in t2e

literature. Bollins (200C) D 6ollo4ing S2a28s lea% (S2a2 et al. 2002) D suggests t2at reati!it" mo%els are eit2er $ro%u t -ase% or $ro ess -ase%. Pro%u t*-ase% mo%els 6o us on t2e e!aluation o6 om$ositional results, t2us a!oi%ing Euestions regar%ing 2o4 t2ose results 4ere o-taine%. He $ro$oses t2e a%o$tion o6 $ro ess*-ase% mo%els in or%er to stu%" t2e strategies use% -" om$osers %uring t2e a t o6 om$osition. For Bollins, t2ese stu%ies s2oul% -e longitu%inal an% as little in!asi!e as $ossi-le.

Keller, D., Lima, M. H., Pimenta, M. S. & Queiroz, M. (2011). Assessing musi al reati!it"# material, $ro e%ural an% onte&tual %imensions. 'n Proceedings of the National Association of Music Research and Post-Graduation Congress - ANPPOM ($$. (0)*(1+). ,-erl.n%ia, M/# A0PP1M. 2tt$#33444.an$$om. om.-r3anais.$2$.

72e t2ir% %imension o6 musi al reati!it" mo%els D t2e onte&t D en om$asses t2e e&ternal 6a tors t2at in6luen e t2e om$ositional $ro esses, in lu%ing material an% so ial 6a tors. Material (or $2"si al) 6a tors an -e relate% to t4o !aria-les# time an% $la e. 't is interesting to o-ser!e t2at most o6 t2e mo%els treate% in t2is $a$er li!e in a-stra t s$a etime. Material onte&t is usuall" in lu%e% as an ad hoc 6a tor. For e&am$le, 5e-ster8s (200G) 8ena-ling on%itions8 en om$ass onte&t, tas9, $eer in6luen e an% $ast e&$erien e. Hut t2ese 6a tors are lin9e% to 8 on!ergent t2in9ing8. 72us, t2e" are onl" rele!ant 6or t2oug2t $ro esses. Hi 9e"8s (200G) mo%el a ounts 6or so ial 6a tors, su 2 as $eers, 6amil" an% tea 2er su$$ort (8so ial en!ironment8). A or%ing to t2e to$olog" o6 t2is mo%el, t2ese 6a tors are onl" rele!ant to 8tas9 moti!ation8, im$l"ing t2at t2e en!ironment onl" in6luen es t2e reati!e a t t2roug2 t2e ogniti!e 6a tors t2at %ri!e 8tas9 i%enti6i ation8 an% 8res$onse generation8. Des$ite some limitations D su 2 as t2e se on%ar" role o6 t2e $2"si al en!ironment D t2is mo%el $ro!i%es an initial %ri!e to4ar% t2e in lusion o6 onte&t as a rele!ant %imension in musi more onsistent su$$ort 6or onte&tual 6a tors. $" Creativity models in music Breati!it" mo%els in musi 2a!e -een 2ea!il" in6luen e% -" an earl" mo%el o6 reati!it". Ha 9 in 1I2J, 5allas $ro$ose% t2at reati!e $ro esses o ur in 6our stages# $re$aration, in u-ation, illumination an% !ali%ation. For 5allas, t2e ogniti!e %imension is at t2e ore o6 reation. 'n u-ation in!ol!es time s$ent a4a" o6 t2e reati!e a ti!it" an% illumination D or insig2t D is t2e mental $ro ess t2roug2 42i 2 i%eas oales e. As 4e 4ill see, -ot2 t2e seEuential*stage to$olog" an% t2e o!er%ue stress on ognition 2a!e le6t t2eir im$rint on se!eral urrent mo%els. Hennett8s mo%el (1I(J) mo%i6ies 5allas8s stage stru ture -" se$arating s9et 2ing, ela-oration $lus re6inement, an% re!ision as in%e$en%ent stages (see Hennett 1I(J 6or illustration). 72e material %imension is 6eature% as a 9e" as$e t o6 t2e mo%el. Bom$ositional a ti!it" is triggere% -" a germinal i%ea. 72is i%ea is e&$an%e% into a 6irst %ra6t o6 t2e 4or9. At t2is $oint o6 t2e om$ositional $ro ess, Hennett suggests t2at an iterati!e " le is esta-lis2e% in 42i 2 t2e om$oser re!ises t2e initial i%ea, $ro%u es a ne4 s9et 2 an% mo%i6ies t2e 6irst %ra6t. 72e ne&t stage om-ines ela-oration an% re6inement o6 materials lea%ing to4ar% t2e 6inal %ra6t o6 t2e 4or9. A6ter t2e 6inal %ra6t is $ro%u e%, re!isions ma" still -e un%erta9en. reati!it". 5e 4ill %is uss in more %etail 2o4 t2e stru tural as$e ts o6 t2e mo%el oul% -e a%a$te% to $ro!i%e

Keller, D., Lima, M. H., Pimenta, M. S. & Queiroz, M. (2011). Assessing musi al reati!it"# material, $ro e%ural an% onte&tual %imensions. 'n Proceedings of the National Association of Music Research and Post-Graduation Congress - ANPPOM ($$. (0)*(1+). ,-erl.n%ia, M/# A0PP1M. 2tt$#33444.an$$om. om.-r3anais.$2$.

An interesting 6eature o6 t2e Hennett mo%el is t2at -a 9*tra 9ing is onsi%ere% an integral $art o6 musi reation. 72e iteration -et4een t2e 6irst t2ree stages an% t2e $ossi-ilit" o6 intro%u ing re!isions a6ter t2e 4or9 is 6inis2e% $oint to t4o $ossi-le organizational me 2anisms at 4or9# (1) on!ergen e# t2e om$oser a$$lies su essi!e re6inements to t2e same musi al materialsK (2) %i!ergen e# t2e om$oser $ro%u es ne4 materials 42i 2 are in or$orate% as $art o6 t2e om$ositional $ara%igm. 0e!ert2eless, a t2ir% $ossi-ilit" D t2e -rea9%o4n o6 t2e e&isting organizational $ara%igm D %eman%ing a s4it 2 to a %i66erent set o6 materials an% stru tural relations2i$s is not ontem$late% -" t2is mo%el. Ha 9*tra 9ing an% iteration are stru turall" 6eature% in Ding4all8s mo%el (200)) (see Ding4all 200) 6or illustration). 72e mo%el %eals almost e& lusi!el" 4it2 t2e material %imension. Bogniti!e as$e ts are in lu%e% t2roug2 t2e 6a tors 8ins$irations an% $arameters.8 72e om$ositional $ro ess itsel6 is summarize% -" t2ree inter onne te% stages# generation, %e!elo$ment (o6 materials), an% $utting (t2e $ie e) toget2er. 72e result o6 t2e $ro ess is a 8 om$lete% om$osition.8 5e-ster (200G), B2en (200J) an% Bollins (200C) em$2asize t2e ogniti!e %imensions o6 musi om$osing. B2en la"s out a t2ree*stage mo%el t2at resem-les 5allas8s $ro$osal (see B2en 200J 6or illustration). 8L&$loration8 en om$asses a ti!ities su 2 as re or%ing, $la"ing an% listening to materials. 8A$$li ation8 in!ol!es s"n 2ronous musi al %e isions D 8im$ro!ising8 D an% as"n 2ronous e!aluation o6 materials (8e!aluating8). 72e last stage D 8re6le tion8 D gat2ers %i!erse a ti!ities su 2 as 8e%iting8, 8$ro-lem*sol!ing8 an% 8re!ising.8 B2en also in lu%es 8$u-lis2ing8 as $art o6 t2e 8re6le tion8 stage. 'n 5e-ster8s mo%el, t2e material %imension is re$resente% -" t2e results o6 t2e om$ositional a ti!it"# t2e 8 reati!e $ro%u ts8 (see 5e-ster 200G 6or illustration). 72ese in lu%e 8s ores an% re or%ings o6 om$ose% musi 8, 8re or%e% $er6orman es8, 8re or%e% im$ro!isations8, an% 84ritten anal"ses.8 5e-ster also mentions t2e 8mental re$resentation o6 t2e musi 2ear%8 as a t"$e o6 reati!e $ro%u t -ut gi!en t2at t2is is a onstru t t2at an onl" -e o-ser!e% in%ire tl", it mig2t -e -etter $la e% 4it2in t2e ogniti!e %imensions o6 t2e mo%el, i.e., t2e 8t2in9ing $ro ess.8 72e om$ositional $ro ess initiates -" %e6ining a 8$ro%u t intention.8 72is 6a tor en om$asses 6i!e $ossi-le a ti!ities, t2ere6ore t2is $art o6 5e-ster8s mo%el %eals 4it2 $ro e%ural as$e ts o6 t2e reati!e $ro ess. 72e om$oser ma" 2oose to 8 om$ose8, 8$er6orm musi o6 ot2ers8, 8listen

Keller, D., Lima, M. H., Pimenta, M. S. & Queiroz, M. (2011). Assessing musi al reati!it"# material, $ro e%ural an% onte&tual %imensions. 'n Proceedings of the National Association of Music Research and Post-Graduation Congress - ANPPOM ($$. (0)*(1+). ,-erl.n%ia, M/# A0PP1M. 2tt$#33444.an$$om. om.-r3anais.$2$.

re$eate%l"8, 8listen on e8, or 8im$ro!ise8. 72ese 6i!e intentions 2a!e 6our

orres$on%ing

out omes D t2e reati!e $ro%u ts mentione% -e6ore $lus t2e 8mental re$resentation.8 72e ore o6 5e-ster8s mo%el %eals 4it2 t2e ogniti!e %imension D t2e 8t2in9ing $ro ess.8 72ree o6 t2e 6our stages o6 t2e mo%el 6ollo4 5allas8s $ro$osal# 8$re$aration8, 8!eri6i ation8 an% 8in u-ation8. 'n 5e-ster8s mo%el 8in u-ation8 -e omes 8time a4a"8 an% a ne4 stage is a%%e%, 84or9ing t2roug2.8 5or9ing t2roug28 in!ol!es 6orming, e%iting an% re!ising i%eas, t2us 42at 4ere t2ree se$arate stages in Hennett8s mo%el 2a!e -een om$a te% into one. 72e to$olog" in%i ates an iterati!e " le -et4een t2e 6our stages 4it2 t2e $ossi-ilit" o6 going 6rom 8$re$aration8 to 84or9ing t2roug28 4it2out $assing t2roug2 t2e interme%iate 8time a4a"8 or 8!eri6i ation8 stages. 72e 6our 6a tors t2at %ri!e t2e ogniti!e %imension are# ena-ling s9ills, ena-ling on%itions, on!ergent t2in9ing an% %i!ergent t2in9ing. Lna-ling s9ills are 2ara teristi s o6 t2e in%i!i%ual an% ena-ling on%itions en om$ass -ot2 $ersonal an% so io* ultural 6a tors. 't is not lear 42" so ial as$e ts 4ere in lu%e% as $art o6 t2e ogniti!e %imension instea% o6 -eing a se$arate ategor", su 2 as onte&t. 'n an" ase, 6or 5e-ster t2e in6luen e o6 t2e ena-ling on%itions on t2e reati!e $ro ess is onl" in%ire t# so ial an% $ersonal 6a tors 6oster on!ergent an% %i!ergent t2in9ing 42i 2, in turn, s2a$e t2e reati!e a t. Bollins (200C) suggests t2at om$osing is a 6orm o6 $ro-lem*sol!ing a ti!it" (see Figure 1). 72ere6ore, om$osing ta9es $la e as a seEuen e o6 8solution s$a es8 42i 2 are %ri!en -" 6our ogniti!e a ti!ities# 8$ro-lem $roli6eration8, 6in%ing 8solutions8, 8%e6erring solutions8, an% 8restru turing8 o6 t2e $ro-lem s$a e. 72e material %imension is re$resente% -" 8general i%eas 3 t2emes 3 moti!es8 D 6ollo4ing losel" Hennett8s 8germinal i%eas8 D 42i 2 are arrie% into t2e 8solution s$a e8 -" %e6ining a 8su-goal.8 5it2in ea 2 solution s$a e, t2e ogniti!e %imension is re$resente% -" t2ree seEuential $ro esses# 8$ostulating -roa% aims8 (t2is lea%s to ne4 8moti6s 3 i%eas8), 8small*s ale e%iting8 (it $ro%u es general or s$e i6i solutions), an% 8sees t2e -roa%er $i ture8 (t2is on%u ts to a 8restru turing8 o6 t2e $ro-lem s$a e). A6ter ea 2 iteration, t2e out ome ma" onsist o6 general or s$e i6i solutions. '6 no solution 4as 6oun%, t2e material is sim$l" ta9en to t2e ne&t iteration# t2e solution is %e6erre%. Fin%ing a solution %ri!es t2e ogniti!e $ro ess to4ar% a ne4 su-goal 42i 2 ma" onsist o6 om-ine% solutions (8an%8) or alternati!e solutions (8or8). Alt2oug2 -a 9*tra 9ing is not e&$li itl" s$e i6ie% in Bollins8s mo%el to$olog", it is im$lie% t2at $re!ious solutions ma" -e re!isite% or t2at t2e" ma" -e in or$orate% 4it2in t2e onte&t o6 ne4 solution s$a es.

Keller, D., Lima, M. H., Pimenta, M. S. & Queiroz, M. (2011). Assessing musi al reati!it"# material, $ro e%ural an% onte&tual %imensions. 'n Proceedings of the National Association of Music Research and Post-Graduation Congress - ANPPOM ($$. (0)*(1+). ,-erl.n%ia, M/# A0PP1M. 2tt$#33444.an$$om. om.-r3anais.$2$.

Figure 1. Bollins8s (200C) reati!it" mo%el. Figure 2. Hurnar%8s an% Moun9er8s (200+) reati!it" mo%el.

Hi 9e"8s mo%el (200G) en om$asses 6i!e or%ere% stages 42i 2 an -e reiterate% (see Figure G). 72e $ro e%ural %imension in lu%es 8tas9 i%enti6i ation8, 8$re$aration8, 8res$onse generation8, an% 8res$onse !ali%ation8. 72e 6inal stage is t2e 8out ome8 42i 2 6eatures a %e ision 6or9# t2e om$oser 6inis2es t2e reati!e $ro ess (sa!es or t2ro4s t2e om$osition a4a") or returns to one o6 t2e $re!ious stages (re!ise t2e 4or9). Bogniti!e 6a tors are learl" %e$i te% as se$arate 6rom t2e reati!e $ro e%ures. Pre!ious reati!it" resear 2 is a ounte% 6or -" i%enti6"ing 8tas9 moti!ation8, 8%omain*rele!ant s9ills8 an% 8 reati!it"*rele!ant $ro esses8 as in%e$en%ent onstru ts. 72e material %imension is 6use% 4it2 t2e $ro e%ural %imension t2roug2 re6eren es to musi al 8i%eas8 an% 8 om$osition8 4it2in t2e stages 8$re$aration8, 8res$onse generation8, an% 8out ome.8 'n ontrast 4it2 Hennett8s mo%el, Hi 9e" in%i ates t2e $ossi-ilit" o6 a 2ange in om$ositional $ara%igm -" lin9ing tas9 moti!ation 4it2 reati!it"*rele!ant $ro esses t2roug2 8set*-rea9ing.8 Bonte&t is -roug2t into Hi 9e"8s mo%el t2roug2 a 6a tor la-ele% 8so ial en!ironment8, 6eaturing $eers, 6amil" an% tea 2er su$$ort. Bom$lementaril", among t2e a ti!ities t2at Hi 9e" lists in 8res$onse generation8, 8sear 2 t2e en!ironment8 suggests an a ti!e engagement 4it2 t2e material onte&t. An% t2e a ti!it" 8see9 6ee%-a 98 4it2in t2e 8res$onse !ali%ation8 stage im$lies intera tion 4it2 t2e so ial onte&t. So 4e oul% on lu%e t2at alt2oug2 t2e mo%el8s to$olog" %oes not gi!e a signi6i ant $osition to onte&t, t2is is a %imension t2at $la"s a rele!ant role in Hi 9e"8s musi al reati!it" mo%el. 16 t2e mo%els %is usse% in t2is $a$er, Hurnar%8s an% Moun9er8s (200+) is t2e most streamline% (Figure 2). 72e aut2ors $ro$ose an iterati!e D 8 " li al8 in t2eir terms D to$olog" om$rising 6our a ti!ities# 6in%, 6o us, 6i& an% time a4a". 72us, t2e mo%el is stri tl" $ro e%ural. Arro4s in%i ate t2at a ti!ities are not rigi%l" or%ere%. All a ti!ities ma" lea% to 8time a4a"8 an% !i e* !ersa. Fin%, 6o us an% 6i& ma" 6ollo4 an" seEuential or%er.

Keller, D., Lima, M. H., Pimenta, M. S. & Queiroz, M. (2011). Assessing musi al reati!it"# material, $ro e%ural an% onte&tual %imensions. 'n Proceedings of the National Association of Music Research and Post-Graduation Congress - ANPPOM ($$. (0)*(1+). ,-erl.n%ia, M/# A0PP1M. 2tt$#33444.an$$om. om.-r3anais.$2$.

Figure G. Hi 9e"8s (200G) reati!it" mo%el.

%" Dimensions and assessment 52at are t2e met2o%ologi al im$li ations o6 a%o$ting one o6 t2ese mo%els an% 2o4 an 4e %e i%e 42et2er one t2eor" s2oul% $re!ail o!er anot2er t2eor"N 1!erall, t2ese eig2t musi reati!it" mo%els 6eature t4o 9e" %i66eren es. 72eir to$olog" is s2a$e% -" t4o stru tural 2ara teristi s# stage% an% iterati!e. An% t2e" !ar" in t2e %egree o6 em$2asis t2e" gi!e to material, $ro e%ural an% onte&tual %imensions. /i!en t2e s$a e onstrain 4e 4ill %is uss t2e as$e ts relate% to materials, $ro esses an% onte&t onl". Mo%els t2at em$2asize t2e material %imension $ro!i%e t2e most %ire t 4in%o4 to e&$erimental o-ser!ation. 74o o6 t2e t2ree interrelate% stages suggeste% -" Ding4all (200)) D t2e generation stage an% t2e %e!elo$ment stage D an easil" -e assesse% -" measuring t2e Euantit" o6 material $ro%u e%. Putting t2e $ie e toget2er ma" in!ol!e sele tion, grou$ing an% %is$osal o6 materials (focusing, in Hurnar%8s an% Moun9er8s terms), t2ere6ore su-Oe ti!e Eualitati!e assessment ma" -e ne essar". 72is t"$e o6 assessment an -e %one t2roug2 Ama-ile8s (1IIJ) Bonsensual Assessment 7e 2niEue * BA7. Pegar%ing materials, Hennett8s mo%el suggests t2at om$ositional $ro esses start 6rom a single germinal i%ea. Bollins also a%o$ts t2is !ie4 -ut allo4s 6or se!eral musi al i%eas (t2emes, moti6s) at t2e initial stage. Bontrastingl", Hi 9e", Hurnar% an% Moun9er, B2en an% Ding4all suggest t2at e&$lorator" a ti!ities $re e%e t2e sele tion o6 materials. 72e met2o%ologi al %i66i ult" resi%es in t2e tas9 2oi e 6or reati!it" assessment e&$eriments. '6 t2e materials are gi!en -" t2e e&$erimenter or i6 t2e 4or9ing en!ironment $re%etermines 42at materials are ma%e a!aila-le to t2e su-Oe t* om$oser, t2en it 4ill not -e $ossi-le to %ra4 an" on lusions. 5e an la-el t2is $ro-lem as 8earl" restri tion o6 material %omain8. 5e %e6ine %omain as t2e a ess to resour es a!aila-le to t2e om$oser. 'n t2is ase, 4e are %ealing 4it2 soun% sour es or tools use% to generate musi al $ro%u ts. 72us t2e onne tion to materials is %ire t. 72e un%erl"ing 2"$ot2esis D as

Keller, D., Lima, M. H., Pimenta, M. S. & Queiroz, M. (2011). Assessing musi al reati!it"# material, $ro e%ural an% onte&tual %imensions. 'n Proceedings of the National Association of Music Research and Post-Graduation Congress - ANPPOM ($$. (0)*(1+). ,-erl.n%ia, M/# A0PP1M. 2tt$#33444.an$$om. om.-r3anais.$2$.

suggeste% -" Hi 9e", Hurnar% an% Moun9er, B2en an% Ding4all mo%els D is t2at restri ting t2e a ess to materials is $art o6 t2e om$ositional $ro ess. 72ere6ore, -" sele ting materials or tools t2e e&$erimenter is ta9ing t2e $la e o6 t2e om$oser an% t2e resulting %ata annot -e use% to %etermine 42et2er t2e om$ositional a ti!it" -egins -" e&$lorator" a tions or -" a gi!en set o6 materials. Pro e%ural %imensions $resent a 2ar%er $ro-lem 6or e&$erimental %esign. /i!en t2at most om$ositional a$$roa 2es D $arti ularl" t2ose in t2e mainstream o6 musi al resear 2 D 2a!e 6o use% on musi al $ro%u ts rat2er t2an $ro esses, reati!e a ti!ities are usuall" not t2oroug2l" %o umente% -" om$osers. Bontrastingl", Bollins (200C) a%o$te% a single*su-Oe t, e&tensi!e $ro e%ure to tra 9 om$ositional a ti!ities s$anning a t2ree*"ear $erio%. Bollins8s stu%" $oints to an iterati!e " le in 42i 2 t2e om$oser alternates -et4een 6o using on s$e i6i om$ositional $ro-lems an% general (or 6un tional) issues. 72is $arallels Hurnar%8s an% Moun9er8s $ro$osal o6 an iterati!e " le -et4een e&$lorator" a ti!it" (6in%) an% re6ining a ti!it" (6o us). Hut Bollins intro%u es a stru tural 6eature not $resent in t2e ot2er mo%els. La 2 iteration ma" lea% to t2ree $ossi-le out omes# a om$ositional out ome, %e6erring t2e out ome or restru turing t2e om$ositional $ara%igm. 72is last o$tion means t2at t2e om$ositional $ro ess not onl" a66e ts t2e material %imension, it also mo%i6ies t2e $ro e%ural %imension. 72us, om$osing not onl" 2anges 5HA7 is -eing om$ose% -ut also H15 it is %one. 72is $ro$osal goes against t2e grain o6 most %ominate% t2e musi al s ene %uring t2e t4entiet2 s2i6t8. 16 t2e eig2t mo%els %is usse% in t2is $a$er, Hi 9e"8s is t2e onl" one 6eaturing t2e onte&tual %imension as a $rominent 6a tor. Hut 2o4 oul% onte&tual in6luen e -e measure% in e&$erimental settingsN Bonsensual Assessment 7e 2niEue %oes not seem to -e t2e -est 2oi e. BA7 utilizes musi all" e&$erien e% e!aluators. So unless t2e e!aluators t2emsel!es are t2e e&$erimental su-Oe ts, t2e so ial onte&t o6 t2e Ou%ges 4ill -e %i66erent 6rom t2e so ial en!ironment o6 t2e om$osers. Sin e BA7 measures t2e $ro%u ts8 reati!it" le!els, in6eren es a-out t2e $2"si al onte&t an onl" -e ma%e t2roug2 t2e anal"sis o6 t2e $ro%u ts8 2ara teristi s. For om$ositional te 2niEues t2at 9ee$ materials an% onte&t losel" relate% D su 2 as tra%itional Soun%s a$e a$$roa 2es D t2is t"$e o6 anal"sis ma" su66i e. Hut 6or a-stra tion*oriente% om$ositions, it ma" -e !er" 2ar% to %etermine t2e onte&t Oust 6rom stu%"ing t2e $ro%u t. om$ositional t2eories t2at 2a!e omes loser to re ent entur" an%

om$ositional %e!elo$ments. A suita-le la-el 6or t2is 2"$ot2esis is 8 om$ositional $ara%igm

Keller, D., Lima, M. H., Pimenta, M. S. & Queiroz, M. (2011). Assessing musi al reati!it"# material, $ro e%ural an% onte&tual %imensions. 'n Proceedings of the National Association of Music Research and Post-Graduation Congress - ANPPOM ($$. (0)*(1+). ,-erl.n%ia, M/# A0PP1M. 2tt$#33444.an$$om. om.-r3anais.$2$.

An alternati!e to t2e BA7 a$$roa 2 D t2e Breati!e Pro%u t Pro6ile D 2as -een use% -" our resear 2 grou$ in a re ent stu%" (Har-osa et al. 2010). 'nstea% o6 6o using on 42et2er a musi al $ro%u t is more or less reati!e t2an anot2er $ro%u t, 4e 2ange t2e e&$erimental Euestion to 2o4 a grou$ o6 listeners e!aluates a single $ro%u t along a set o6 gi!en reati!it" %imensions. 'n line 4it2 Ama-ile8s (1IIJ) $ro$osal, t2e %imensions are %etermine% -" e&$erien e% musi ians D i.e., t2e e&$erimenters. Hut in ontrast to BA7, 42at is -eing measure% is not t2e reati!it" o6 t2e $ro%u t -ut t2e su-Oe ts8 reati!it" assessment. 52at 4e are tr"ing to o-ser!e is 42et2er t2ere are s$e i6i in%i!i%ual 2ara teristi s t2at $re%i t 2o4 su-Oe ts e!aluate t2e $ie e. 72e un%erl"ing 2"$ot2esis is t2at t2e $ro%u t 4ill -e rate% a or%ing to t2e $ro6ile o6 t2e listener. 72us, e&$erien e% musi ians D t2e t"$i al Ou%ges o6 BA7 e&$eriments D 4oul% $ro!i%e Euantitati!e reati!it" $ro6iles t2at %o not ne essaril" mat 2 nai!e listeners8 ratings. 72is e&$erimental Euestion -e omes $arti ularl" rele!ant i6 t2e onte&tual %imension is ta9en as a !aria-le to -e assesse%. '6 4e are tr"ing to stu%" t2e reati!e Eualities o6 a om$ositional $ro%u t, isolating t2at $ro%u t 6rom its onte&t %oes not seem to -e t2e -est strateg" to a%o$t. 72e so ial an% t2e $2"si al onte&t D in e o om$ositional terms, t2e e ologi al ni 2e D ma" %etermine t2e 6un tion an% t2e %"nami o6 t2e reati!e $ro esses in!ol!e%. 52at8s reati!e 6or nai!e listeners ma" not -e reati!e 6or e&$erien e% listeners. 52at8s reati!e 6or 2il%ren ma" -e anno"ing 6or a%ults. 52at 6osters reati!it" %uring e&$lorator" a ti!ities ma" 2in%er attaining results 42en re6ining an% 6o using are ne essar". 'n s2ort, onte&t matters. Ac&nowledgements: Pesear 2 su$$orte% -" B0PE (G01I)23200)*2, +()0I23200)*G, C(1++G3200)*() an% BAPLS. 'e(erences: AMAH'LL, 7. Creati0it1 in Conte2t% Houl%er, B1# 5est!ie4 Press, 1IIJ. HAPH1SA, P. H., L'MA, M. H., Q,L'P1Q, M., P'ML07A, M. S. & KLLLLP, D. Rali%a:;o %e Pro e%imentos Bom$osi ionais# Lstu%o L&$lorat@rio. 'n# .ncontro de M3sica e M4dia, J, 2010, S;o Paulo, SP. HL00L77, S. 72e $ro ess o6 musi al reation# 'nter!ie4 4it2 eig2t om$osers. 5ournal of Research in Music .ducation, 2+, G*1G, 1I(J. H,P0APD, P. & M1,0KLP, H. A. Pro-lem*sol!ing an% reati!it"# insig2ts 6rom stu%entsS in%i!i%ual om$osing $at24a"s. -nternational 5ournal of Music .ducation, 22, CI*(J, 200+. BHL0, B. 5. 6he creati0e )rocess of com)uter-assisted com)osition and multimedia com)osition7 8isual images and music. Mel-ourne, 200J. Do tor o6 P2iloso$2" 72esis. Po"al Mel-ourne 'nstitute o6 7e 2nolog".

Keller, D., Lima, M. H., Pimenta, M. S. & Queiroz, M. (2011). Assessing musi al reati!it"# material, $ro e%ural an% onte&tual %imensions. 'n Proceedings of the National Association of Music Research and Post-Graduation Congress - ANPPOM ($$. (0)*(1+). ,-erl.n%ia, M/# A0PP1M. 2tt$#33444.an$$om. om.-r3anais.$2$.

B1LL'0S, D. A s"nt2esis $ro ess mo%el o6 reati!e t2in9ing in musi Ps1cholog1 of Music, GG(2), 1IG*21J, 200C.

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D'0/5ALL, B. Rational and intuiti0e a))roaches to music com)osition7 6he im)act of indi0idual differences in thin"ing9learning st1les on com)ositional )rocesses. Si%ne", 200). Ha 2elor o6 Musi Dissertation. ,ni!ersit" o6 S"%ne". H'BKLM, M. Breati!e t2in9ing in t2e onte&t o6 musi om$osition. 'n# H'BKLM, M. (L%.), :h1 and ho; to teach music com)osition7 A ne; hori,on for music education% Peston, RA# ML0B, 72e 0ational Asso iation 6or Musi L%u ation, 200G, G1*CG. SHAH, T. T., RAP/AS*HLP0A0DLQ, 0., & SM'7H, S. M. Metri s 6or measuring i%eation e66e ti!eness. Design (tudies, 2+, 111D1G+, 200G. 5ALLAS, /. 6he Art of 6hought. 0e4 Mor9, 0M# Har ourt Hra e an% 5orl%, 1I2J. 5LHS7LP, P. As9ing musi stu%ents to re6le t on t2eir reati!e 4or9# Ln ouraging t2e re!ision $ro ess. 'n# M'P, L. B. P., LL,0/, B. B. Leung & LA,, 5. 7. (L%s.), Curriculum -nno0ation in Music% Hong Kong# 72e Hong Kong 'nstitute o6 L%u ation, 200G, 1J*2(.