Module 23: Post 1

I have a few questions, a disagreement, and some minor confusion about some material in this module. Which of the 5 hypotheses that attempt to explain the difference between creativity and intelligence would be the best for me to go on when applying the concepts in my classroom? Second, what is the difference between acceleration and cross-grade grouping, unless cross-grade grouping simply involves acceleration? In my opinion, one can’t determine someone’s “level” of creativity only through the "creative checklist" that rates certain personal qualities that can change dramatically simply with a change of mood or energy in the person. The consensual assessment technique is a much BETTER way of assessing creativity because it focuses on the specific PRODUCTS of creativity, rather than focusing on the level of a person’s supposed “creative disposition”. Finally, because I would have to set aside patient time to allow students to be creative, I would like to obtain more information about how to include activities to promote creativity into my regular lesson plan without losing too much class time to get through all of the course’s material throughout the semester?

Creativity is a form of higher order thinking for several reasons. Being creative means one is “thinking outside of the box”, or figuring out new ways to reach a goal, rather than the unoriginal convergent way of reaching a goal or solving a problem. Being creative also sometimes involves trial and error, where the person learns from their mistakes and forces them to come up with alternate routes to test.

Despite the misconception that playing music is the ultimate form of creativity and expression, playing music is actually a technical skill that is mastered through knowledge, imitation and tedious practice. Playing music is not much more creative than playing a sport. BUT, there is creativity in music when it involves composing/arranging a piece of music or song. I could have students in my performing ensemble classes arrange a new version of a piece of music that was originally composed for a full band of instruments, into smaller chamber music ensemble arrangements. The instrumentation of their chamber group is up to them, and they’re encouraged to try out new textures and phrase interpretations of their choosing. From a vote from the class, I could have the top 3 chamber ensemble arrangements of the piece of music be played at the next concert.