Theoretical Approaches to Musical Creativity: The Ubimus Perspective

Abstract

We tackle the theoretical implications of an emergent field of study, ubiquitous music (ubimus). Striving to place musical research within the wider field of creativity studies, this paper covers theoretical background and critical discussions of three music creativity models - a model proposed by Mannis (2014), the In-group, Out-group model (MDF - Ferraz and Keller 2014) and the ecologically grounded perspective (Keller and Lazzarini 2017). Data and on-site observations of creative activities provide the raw materials to test musical theories. Recent ubiquitous music research features multiple experimental initiatives, involving children (Pereira et al. in press), adolescents (Lima et al. 2012) or the elderly, and targeting trained musicians (Ferreira et al. 2015), novices (Miletto et al. 2011) and cognitively challenged adults. We chose three ubimus studies to exemplify empirical research that brings to light issues that have not been considered by some of the current theoretical approaches to musical creativity.

Abordagens musicais onipresentes da segunda onda para o compartilhamento de conhecimento

“…These strategies point to the need to revisit the standard concepts employed in music theory as a way to align the theoretical constructs with the post-2020 reality of a growing diversity of artistic practices that are not supported, and much less encouraged, by 20th-century music theory (cf. Keller and Lazzarini 2017;Keller et al 2021).…”

compartilhamento de conhecimentos no segundo ciclo da música ubíqua

“…Essas estratégias apontam para a necessidade de revisitar os conceitos padrões utilizados na teoria musical como forma de alinhar os construtos teóricos à realidade pós-2020, caracterizada pelo crescimento acentuado da diversidade de práticas artísticas que não recebem apoio e tampouco são encorajadas pela teoria musical do século XX (cf. Keller;Lazzarini 2017;Keller et al 2021).…”

Editorial: Ecologically grounded creative practices and ubiquitous music – interaction and environment

“…Whilst this may be considered an obvious fact by most practitioners in the arts, surprisingly, it took the field of interaction design many decades to acknowledge the centrality of aesthetics (Löwgren 2009). Nevertheless, if a musictheoretic framework is restricted to a single genre, then it tends to lose relevance as a scaffold for design (Keller and Lazzarini 2017b). Consequently, ubimus frameworks often treat aesthetic biases as factors to be made explicit by the design process (Keller, Otero and Costalonga 2015), rather than as universal truths to be imposed upon the stakeholders.…”