A phenomenological research of world music creativity: a TCTF study of international music teachers' conceptions of creativity

Abstract

This phenomenological study was an investigation of four U.S. international music teachers’ experiences in music teaching, performing, creating, as well as their conceptions of musical creativity. A music educational conceptual model, Twelve Continuum Transmission Framework (TCTF), provided the theoretical framework for identifying culturally diverse aspects of participants’ music teaching and cultural features in their perspectives on creativity. Research questions included: What does the participants’ music teaching consist of in terms of cultural aspects, How do the participants conceive of creativity in regards to cultural aspects, and What are the implications of these participants’ conception of creativity, within their culturally diverse musical realities, on the music education profession? Four international music teachers who participated in this study experienced in teaching their ethnic music, responded to changes in cultural context, and music teaching adaptation. They represented different musical practices and cultural backgrounds. Data were collected from in-depth individual interviews, observations, artifacts, and researcher memos relating to their music teaching, performing, and creating practices. The analysis included thick descriptions of the international music teachers’ cultural realities and essays on their common conceptions of creativity that emerged from the variation of music tradition and teaching practices. Findings suggest that the international music teachers’ encounter with another cultural context, the U.S., recontextualized their teaching methods and expanded their conception of creativity. In this study, shifting ownership was considered an overall disposition in which various aspects can play key roles. A disposition or attitude of shifting musical ownership was evident in the international music teachers’ conception of creativity. This shift in musical ownership seemed to be related to their personalization of music through performing and creating, flexible approach to authenticity, freedom of students’ musical expression, and approach to other cultures’ music.