Brainscape's Knowledge GenomeTM

Browse over 1 million classes created by top students, professors, publishers, and experts.


See full index

Creative Final > Creative Final > Flashcards

Creative Final Flashcards

1
Q

Mozart’s compositional process

A

Mozart’s creative process was controlled by
a consistently practical approach to the
business aspects of music. He carefully edited
and revised his work–lots of hard work

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
2
Q

All famous composers engage in long periods

All famous composers engage in long periods of

A

preparation and frequent revision

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
3
Q

Composition is 99% _________ and 1%

_________.

A

perspiration,

inspiration.

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
4
Q

Composition in the

Recording Studio

A

Not created by solitary artists. Songs are not

written down.

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
5
Q

Composition in the

Recording Studio

A

Songs are created as a work in progress by

the entire band.

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
6
Q

Composition in the

Recording Studio

A

Bootleg versions of songs by popular artists
show the hard work and revision that goes
into creating the song that everyone hears.

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
7
Q

tribute bands

A

get little respect from serious
music critics; they seem to be nothing more
than wannabe rock stars, basking in reflected
glory. Some may ask, “Why don’t they write
their own songs and perform them instead?”

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
8
Q

tribute bands

A 
But they’re doing the same thing as a
modern symphony orchestra performing a
written composition by Beethoven or
Brahms. No one thinks to ask, “Why is the
orchestra performing a song written by
someone else? Why doesn’t each city’s
orchestra perform its own music?”
How well did you know this?
1
Not at all
2
3
4
5
Perfectly
9
Q

To explain performance, one must focus on

the creative _______, not the creative______.

A

process,

product.

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
10
Q

In the European fine art tradition,

performers aren’t supposed to be _______

A

creative

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
11
Q

Only through the performer is the listener
brought into contact with the musical work.
In order that the public may know what a
work is like and what its value is, the public
must first be assured of the merit of the
person who presents the work to it and of
the conformity of that presentation to the
composer’s will” (1947). Who said this?

A

Stravinsky

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
12
Q

Stravinsky’s view is seen as a bit,

according to most composers.

A

extreme

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
13
Q

Many composers believe that the __________ of
human performance is an important part of
musical creativity.

A

variation

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
14
Q

In the Western Classical creativity myth,

_____________is less than _____________.

A

performance

composition.

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
15
Q

Jazz improvisation works well because
musicians have internalized the jazz language
well–not only the notes of the songs, but
also how influential players have played________________________________.
.

A

particular pieces in the past

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
16
Q

Schutz (1964) compared an orchestra
performance to a____ ____ _____. Both
require ‘group interaction’ and ‘collective
creativity’.

A

campfire sing-along

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
17
Q

Performance creativity is like a __________

___________.

A

collaborative

conversation.

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
18
Q

Musicians are a bit more ______________ , and a

bit more ___________________.

A

introverted

anxious.

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
19
Q

Music teachers are more __________ than

the average musician.

A

extroverted

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
20
Q

Famous musicians were generally not ____________ _______________.
. Rather, they realized
their full potential as adults.

A

childhood prodigies

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
21
Q

Ritualized

A

ossification

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
22
Q

Improvisational

A

revivalism

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
23
Q

ossified (ritualized) performance:

A 
performances
lose semantic
meaning and
are primarily a
formal
structure.
How well did you know this?
1
Not at all
2
3
4
5
Perfectly
24
Q

ritualized performance

A

Low creative

involvement

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
25
Q

improvisational performance

A

high creative

involvement

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
26
Q

Indexically

reflexive.

A

ritualized

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
27
Q

Indexically

entailing

A

improvisational

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
28
Q 
The degree to
which a
performer’s
actions have
implications for
the next
actions to
follow.
A

reflexive

entailing

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
29
Q

Narrow genre

definition

A

ritualized

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
30
Q

Broad genre

definition

A

improvisational

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
31
Q 
\_\_\_\_\_\_-\_\_\_\_\_\_\_\_\_\_\_\_
are the
formulaic
phrases and
bits that all
performers
memorize.
A

Ready-mades

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
32
Q

large ready-mades

A

ritualized

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
33
Q

small ready-mades

A

improvised

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
34
Q 
In many
\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_
genres, the
boundary
between
performer and
audience is
fluid.
A

improvised

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
35
Q 
\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_
genres undergo
more rapid
historical
change.
A

Improvised

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
36
Q

ritualized

A

Changes

long-lasting

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
37
Q

improvised

A

Changes

short-lasting

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
38
Q

Improvisitory theatre groups work to nurture a ______ mind.

A

group

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
39
Q

Improvisitory theatre : The cast doesn’t prepare anything in
rehearsal; they never _____ lines, even lines
that get a huge laugh.

A

repeat

40
Q

They value pure _____________ , where no one

knows what will happen next.

A

improvisation

41
Q

Improvisitory theatre: No single actor takes on the ____role

and guides the performance.

A

director’s

42
Q

Improvisitory theatre: The dialogue and the plot emerge from

—————- —————-.

A

group collaboration

43
Q

Improv theater takes the emphasis on

________________ to an extreme.

A

spontaneity

44
Q

3 Stages of Acting Creativity

A

Preparation
• Rehearsal
• Performance

45
Q

When the actor learns the basics of acting
through academic training, ________ other
actors in theater and films, _________ people
interacting in everyday life.

A

observing

observing

46
Q

Actor training is ______and ________

A

social and collaborative

47
Q

Actor Rehearsal:
1. _________something in the character that
the actor can relate to.
2. _______ personal experiences as substitutes for
the character’s feelings.
3. ______ the character’s objectives.
4.________ the physical persona of the
character–how the character acts and moves.
5. _______ the script to learn what the other
characters think about the character.

A 
Identifying
Using
Discovering
Creating
Studying
48
Q

Actor Performance
1. —————- on the moment–what has just
happened and how the character would
perceive the situation in the moment, with no
knowledge of how the rest of the play unfolds.
2. _________ to the other actors.
3. ________ with the audience.
4. _________the concentration and energy level
high.
5. __________the performance and keeping it
fresh over repeated performances.

A 
Focusing
Adjusting
Interacting
Keeping
Improving
49
Q

Acting: Increased stress levels improve ——–.

A

performance.

50
Q

Acting: An important ability in performing a script is

the believable —————— of emotion.

A

communication

51
Q

Acting:“Groups attain their best performances by
staying in a zone between complete
———————and being out of control.”

A

predictability

52
Q

Actors: Many improvising actors talk about both the
high they get from a good —————, and
the terror they feel when a performance is not
going well.

A

improvisation

53
Q

Actors: Jim Belushi famously said that the high that
comes from group performance was, “better
than ——-.”

A

sex

54
Q

Actors: The ensemble has to let it emerge from a

group ———— ————-.

A

creative process

55
Q

Science: Theory drives ————- research.

A

empirical

56
Q

Science: Knowledge is produced both by —————.
(empirical research builds theory) and ————–.
(theory prompts experimental research).

A

deduction

induction

57
Q

Science: Creative scientists have strong self——-
and self——–. They often seem egocentric
and stubborn.

A

confidence

reliance

58
Q

Science: Expert scientists build models that make use
of———–, ——- and ———-. They
constantly test their theories against empirical
evidence.

A

analogy, metaphor, and visual imagery

59
Q

Science: Target

A

Phenomenon being explained.

60
Q

Science: Source

A

Metaphorical comparison.

61
Q

Science: Dual Space Framework: Experiment Space

A

Always testing in some

way.

62
Q

Science: Dual Space Framework: Hypothesis Space

A

Always formulating new

questions.

63
Q

Science: Dual Space Framework: [Data Representation Space

A

Problem-solving
related to representing data, getting the right
things out there.

64
Q

Citation Patterns
• The top –% of the most prolific researchers
generate half of the published work.

A

10

65
Q

Citation Patterns
—— %of all PhDs from tier one research
universities never publish anything.

A

50

66
Q

Citation Patterns
• Having success —— —– is a predictor of
future success and competitive job offers.

A

early on

67
Q

In public discourse, creativity is:

  1. A form of self———–
  2. A means to ———– growth.
A

realization.

economic

68
Q

The future for creativityresearch:

A

Arts and sciences will be combined for a collaborative interdisciplinary creativity.

69
Q

Research has proven that creativity is —-

hereditary.

A

NOT

70
Q

You can be creative if you —— ——–.

A

work hard.

71
Q

Are creative people “right brained”?

A

Both hemispheres work in concert when

engaged in creative activity. Most creative people are quite balanced.

72
Q

Are reative people are more likely to be mentally ill?

A

A few visual artists and writers have been accused of this! It is very difficult to be creative and crazy.
Most of the time this just isn’t the case.
Normal, well-balanced people tend to make
the most creative contributions.

73
Q

Is creativity a healing, life-affirming

activity?

A

This belief is supported by the research.
• People do not flock to creativity to heal themselves.
They are normal already.
• This point is more pronounced in individualist
cultures than collectivist cultures.

74
Q

Hassler, Birbaumer, & Feil(2002)
The relationship between “musical talent” and
“visual-spatial ability” was investigated.
•

A

Three groups were tested:
1. Children with musical talent and the ability
to compose/improvise
2. Children with musical talent without the
ability to compose/improvise
3. Non-musicians (control group)

75
Q

Hassler, Birbaumer, & Feil(2002)
Musical ability was measured by Wing’s
Standardized Tests of Musical Intelligence.
• Ability to compose/improvise was evaluated by
performing an original composition/
improvisation, and having “four scientists of the
Department of Music Sciences” rate them.
• Orientation was measured by the Spatial
Relations Test.
• Visualization was measured by the “Hidden
Pattern Test.”

A

The spatial-visualization factor was found to be
significantly related to musical talent in boys
and in girls

76
Q

•
• They wanted to test the following hypotheses:
1. Musical talent–the ability to compose/
improvise music–is related to above average
test scores for spatial tasks.
2. Boys show a right hemisphere dominance
for spatial reasoning. In girls, there will be a
bilateral representation.
3. Visual-spatial ability is related to androgyny.They wanted to test the following hypotheses:
1. Musical talent–the ability to compose/
improvise music–is related to aboveaverage
test scores for spatial tasks.
2. Boys show a right hemisphere dominance
for spatial reasoning. In girls, there will be a
bilateral representation.
3. Visual-spatial ability is related to androgyny.

A

Creative musical ability was significantly
related to spatial orientation in both boys and
girls and to spatial orientation in both boys
and girls and to spatial visualization in boys.

77
Q

In the Western cultural model, —— ——– is one of the highest compliments
you can give a person.

A

“being

creative”

78
Q

Most teachers associate creative behavior
with —— ——— ——like
being stubborn, critical, rebellious, and
nonconforming.

A

undesirable student behaviors

79
Q

Evidence has been provided to suggest that
all teachers approved of ——– ———-
including obedience and courtesy.

A

uncreative behaviors

80
Q

Arts Education

A

Creativity is rarely found outside of the arts.
• “Art for art’s sake” has a hard time in today’s
test-driven, performance-based, educational
system.

81
Q

————– ———- ————– ———- ———- proposed
a broadening of our definition of
intelligence. He suggested that we are too
narrowly focused on math and science.

A

Howard Gardner’s Frames of Mind

82
Q

Experiencing qualitative relationships and
making judgements.
2. Working with flexible goals that emerge
from the work.
3. Form and content are inseparable.

A

What Arts Education SHOULD be.

83
Q

Some forms of knowledge cannot be
represented propositionally.
5. Thinking with a medium that has unique
constraints and affordances.
6. Thinking and work that results in satisfaction
and flow that are inherently engaging.

A

What Arts Education SHOULD be.

84
Q

—————— proposes that giftedness
emerges from the combination of ability,
creativity, and commitment.

A

Renzulli (1999)

85
Q

Identification methods that focused on this
theory located a larger proportion of
women minorities than identification
methods based solely on intelligence tests.

A

Renzulli (1999)

86
Q

————– found that when creative
or practical intelligence is used for selection,
that the resulting group is more diverse.

A

Sternberg (1999)

87
Q

—————– —————– can be useful, but should not
be used exclusively.
• These types of tests should never be used to
exclude someone from participation.

A

Creativity tests

88
Q

“If math and science continue to be taught in
a way that doesn’t foster creative thinking
and problem solving, then no amount of
general creativity training or arts education
can help.”

A

Constructivism

89
Q

The conceptual understanding that underlies
creative behavior emerges from learning
environments in which students build their
own knowledge.

A

Constructivism

90
Q

Learning is always a creative process.

A

Constructivism

91
Q

Creativity Assessments

A

A growing number of admissions committees
would like to see some measure of
creativity, in addition to cognitive measures
like IQ or SAT.

92
Q

Creativity Assessments

A

Emotion, motivation, and creativity would be
excellent places to start, according to
researchers in this area.

93
Q

Robert Sternberg has theorized in this area

A

IQ (analytic), creativity, performance

practical abilities

94
Q

The ability to work with people to solve
problems is what Wagner and Sternberg
(1986) call ______ _________.

A

tacit knowledge.

95
Q

Teacher Preparation

A 
Most teacher programs do not mention
creativity.
• Teachers feel pressure to “cover” the subject
matter to prepare for the test, thus being a
“mile wide and an inch deep.”
• We need assessments for creative work
(writing example).
• Curricular demands shouldn’t emphasis
breadth over depth.

Creative Final (1 decks)

Brainscape helps you reach your goals faster, through stronger study habits.
© 2024 Bold Learning Solutions. Terms and Conditions