Objective
"Why does creativity flourish in some music scenes? What makes other scenes seem creatively stifling? And what can educators, administrators, and policymakers do to provide and enhance enabling conditions for creativity?
This project examines the sociocultural factors that enable and inhibit creativity in music. The majority of previous research on creativity analyzes internal processes – more research is urgently needed to examine external influences on creativity. Using ethnographic field research methods, which have rarely been applied to creativity studies, I will investigate how ideology, learning methods, social pressures, financial infrastructures, and copyright practices encourage or restrict musical creativity.
Primary case study data will come from fieldwork on music-cultures in Finland, which offer exemplary models of creativity enhancement strategies. Comparative fieldwork will be conducted in contrasting musical environments in California, and analyzed with reference to published ethnographic data on music scenes in diverse cultures. Cambridge University and the Research Centre for Musical Performance as Creative Practice will provide training in creativity research in musicology, psychology, education, arts policy, and copyright. I will synthesize these multidisciplinary perspectives with cross-cultural data to develop new theories of musical creativity. These theories will be relevant and applicable to creativity in other domains and sectors. Results will be disseminated through a monograph published at a major university press and through publicly accessible online materials designed to train educators and policymakers in the enhancement of creativity enabling conditions.
This research answers the European Council's recent (2007, 2009) call for more research on how culture, policies, and education stimulate creativity, for models of good practices and strategies for enhancing cultural creativity, and for more evidence to inform policymaking"
Fields of science (EuroSciVoc)
CORDIS classifies projects with EuroSciVoc, a multilingual taxonomy of fields of science, through a semi-automatic process based on NLP techniques. See: The European Science Vocabulary.
CORDIS classifies projects with EuroSciVoc, a multilingual taxonomy of fields of science, through a semi-automatic process based on NLP techniques. See: The European Science Vocabulary.
- social sciences educational sciences didactics
- social sciences psychology
- social sciences sociology ideologies
- humanities arts musicology
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Programme(s)
Multi-annual funding programmes that define the EU’s priorities for research and innovation.
Multi-annual funding programmes that define the EU’s priorities for research and innovation.
Topic(s)
Calls for proposals are divided into topics. A topic defines a specific subject or area for which applicants can submit proposals. The description of a topic comprises its specific scope and the expected impact of the funded project.
Calls for proposals are divided into topics. A topic defines a specific subject or area for which applicants can submit proposals. The description of a topic comprises its specific scope and the expected impact of the funded project.
Call for proposal
Procedure for inviting applicants to submit project proposals, with the aim of receiving EU funding.
Procedure for inviting applicants to submit project proposals, with the aim of receiving EU funding.
FP7-PEOPLE-2010-IEF
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Funding Scheme
Funding scheme (or “Type of Action”) inside a programme with common features. It specifies: the scope of what is funded; the reimbursement rate; specific evaluation criteria to qualify for funding; and the use of simplified forms of costs like lump sums.
Funding scheme (or “Type of Action”) inside a programme with common features. It specifies: the scope of what is funded; the reimbursement rate; specific evaluation criteria to qualify for funding; and the use of simplified forms of costs like lump sums.
Coordinator
CB2 1TN CAMBRIDGE
United Kingdom
The total costs incurred by this organisation to participate in the project, including direct and indirect costs. This amount is a subset of the overall project budget.