Creativity

Creativity is largely defined by what it is not: it is “not a deliberate imitation of something that already exists” (Abeles, Hoffer, & Klotman, 1995, p. 172). Several factors define what creativity is, however, which can be connected to musical creativity. Once the traits related to creativity are clear, music educators must then decide the best structure and procedures in which to encourage creativity in all students.

Creativity can be divided into three traits: fluency, flexibility and originality. According to Abeles et al. (1995), who summarize J. P. Guilford’s ideas, “Fluency is the ease with which people can make associations of words or ideas. Flexibility involves changing procedures to solve a problem…. Originality is a trait involving the ability to think in unusual ways, to see relationships that others have not seen, and to think of new and different uses for ideas and objects” (pp. 172-173). Originality is often referred to as divergent thinking, and many psychologists and educators focus more on this factor of creativity than on the other traits. John Gardner describes creativity differently by citing the four traits of openness, independence, flexibility, and “the capacity to find order in experience” (p. 174). Many other psychologists offer overlapping views of the creative process and creative behaviors. Abeles et al. suggest that hard work, an artist’s place in history, and technological or cultural developments are factors that also contribute to perceived creativity.

There are two contrasting views on the best way to foster creativity in schools, and there is evidence to support each view: either imposing strict structures, or not imposing any structure. Proponents of structure/restrictions cite how overwhelming it could be for children to compose with no guidelines and that beginning with limited pitches and rhythms is an effective way to gradually become more creative. Similarly, it is important for improvisers of any genre to stay within a rhythmic and tonal structure that is appropriate for the style of music. However, some studies have shown that encouragement and freedom are the best approach to creativity, as further evidenced by creative “flowerings” within certain societies at specific periods in history in various artistic disciplines (Abeles et al., 1995, p. 179). Looking to the histories of different famous composers doesn’t offer much help in determining the best approach to creativity: some composers were discouraged and restricted by their family members, while others were highly encouraged.

Regardless of the approach music educators take, it is important for all students to make attempts at creative efforts. There are three reasons for this: one, students trying out musical ideas are learning ways of expressing themselves. Two, students are much more motivated by personal creative efforts. And three, students will learn music better through active engagement in the creative process (Abeles et al., 1995, pp. 177-178). Although it is difficult to pinpoint specific procedures that music educators can use to encourage creativity in the classroom, a general rule of thumb is to foster a positive atmosphere through student praise of creative efforts.


Abeles, H. F., Hoffer, C. R., & Klotman, R. H. (1995). Foundations of music education (2nd ed.). Belmont, CA: Thomas Higher Education.