Reframing+Creativity+and+Technology

=Burnard, Pamela. "Reframing Creativity and Technology: Promoting Pedagogic Change in Music Education."= //Journal of Music, Technology and Education// 1.1 (2007): 37-55. Print.

**Abstract**
This paper integrates theoretical framing and practical insights into a set of basic principles that may be useful for researching the interrelationship between creativity (as an essential human attribute lying at the heart of all learning and as processes of making something new) and technology (as tools that mediate how creative activity occurs). Several ways of driving pedagogical evolution, in ways that resemble the relationship between creativity and technology as we see in the world beyond school, are introduced. These include consideration of the potential contribution of sociocultural, post-Vygotskian Activity Theory (AT) to overcome some of the problems that have plagued both music educational theorizing and practice. While outlining potentials for future research, the article highlights how these processes may be brought into a productive relation as agents of pedagogic change in music education.

Argument
Creativity and technology, while long thought to be unrelated, are inseparable, interrelated tools of education.

Key Passages
...technology is deeply embedded in the contemporary lexicon of young people’s musical lives (Folkestad 2006). The Internet, for example, is their new playground and creates different social rooms for them. In addition, many young people are already high-end or passive, consumption-bound users and consumers of music technology, mass media and the production technologies when they come to school.

We have seen that technology frees time for creative development through automation. Several studies have pointed to time saved when teachers use online technologies and collaborative tools, which include blogs, podcasts and wikis used instrumentally in their practice to amplifyand extend pre-existing instructional practices (Loveless et al 2001;Nordkvelle and Olson 2005) and develop reflective practices which increase collaboration within and beyond formal school settings (Ruthmann, 2007b).

...digital technologies offer the opportunity to extend the spaces for creativity by bringing communities together – for example, in collaborative partnerships between schools and other learning sites at the level of individual artist, arts organization, school and university. Composers, performers, audiences and artists offer teachers new, collaborative kinds of interactivity (see for example Musical Futures2 and Interconnected Musical Networks or IMNs3) which extend the spaces available for interaction and exhibition.

**Selected Works Cited**
Burnard, P. (2006a), ‘Reflecting on the creativity agenda in education’, Cambridge Journal of Education, 36: 3, 313–18. Challis, M. (2007), ‘The DJ Factor: teaching performance and composition from back to front’, in J. Finney and P. Burnard (eds), Music Education with Digital Technology, pp. 112–24, London: Continuum. Deaney, R. and Hennessy, S. (2007), ‘Sustainability, evolution and dissemination of information and communication technology-supported classroom practice’, Research Papers in Education, 27: 1, pp. 65–94. Fautley, M. and Savage, J. (2007), Creativity in Secondary Education, Exeter: Learning Matters.