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Process-Based Pedagogies for Creative Practice Studies

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  • By Chris Whiting
  • Source: The Intellect Handbook of Popular Music Methodologies , pp 455-471
  • Publication Date: June 2025
  • DOI: https://doi.org/10.1386/9781835951033_29
  • Language: English
  • Accessibility Summary:  EPUB 3 and pdf file included; compatible with devices and software which can read these formats. Adjustable font size, spacing, contrast, text justification, number of columns (ePUB only). Alternative text for images. Tagged with a logical reading order to assist screen readers. Navigation between in-text citations and reference list, and endnotes and endnote markers.
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Process-Based Pedagogies for Creative Practice Studies
Intellect , 455 (2025); https://doi.org/10.1386/9781835951033_29
/content/books/9781835951033.c27
/content/books/9781835951033.c27
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References

  1. Amabile, Teresa (1982), ‘Social psychology of creativity: A consensual agreement technique’, Journal of Personality and Social Psychology, 5:43, p. 16.
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  2. Becker, Howard Saul (2008), Art Worlds, updated and expanded 25th anniversary ed., Berkeley, CA: University of California Press.
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  3. Bennett, Joe (2014), Constraint, Creativity, Copyright and Collaboration in Popular Songwriting Teams, Guilford: University of Surrey.
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  4. Bennett, Joe (2015), ‘Creativities in popular songwriting curricula’, in P. Burnard and E. Haddon (eds), Activating Diverse Musical Creativities: Teaching and Learning in Higher Education, London: Bloomsbury, pp. 37–55.
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  5. Bennett, Joe (2016), ‘Towards a framework for creativity in popular music degrees’, in G. D. Smith , Z. Moir, M. Brennan , S. Rambarran and P. Kirkman (eds), The Routledge Research Companion to Popular Music Education, Florence: Taylor and Francis, pp. 285–97.
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  6. Biggs, John B. and Tang, Catherine So-kum (2011), Teaching for Quality Learning at University (ed. J. Biggs and C. Tang) , 4th ed., Maidenhead: Open University Press.
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  7. Boden, Margaret A. (2003), The Creative Mind: Myths and Mechanisms, 2nd ed., London: Routledge.
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  8. Bryson, Colin (2016), ‘Engagement through partnership: Students as partners in learning and teaching in higher education’, International Journal for Academic Development, 21, pp. 84–86.
     [Google Scholar]
  9. Collins, David (2007), ‘Real-time tracking of the creative music composition process’, Digital Creativity, 18:4, pp. 239–56.
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  10. Coltrane, John , Hammerstein, Oscar and Rogers, Richard (1961), ‘My Favourite Things’, CD, New York: Atlantic.470
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  11. Csikszentmihalyi, Mihalyi (2003), ‘Implications of a Systems Perspective for the Study of Creativity’, in R. Sternberg (ed.) Handbook of Creativity, Cambridge: Cambridge University Press, pp. 313–35.
  12. Csikszentmihalyi, Mihalyi (2014), The Systems Model of Creativity: The Collected Works of Mihalyi Csikszentmihalyi, London: Springer.
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  13. Finlay, L. (2008), ‘Reflecting on “reflective practice”’, January 2008, Practice Based Professional Learning Centre (A Discussion Paper Prepared for PBPL CETL), 22 May 2018, Milton Keynes: The Open University, https://www.open.ac.uk/pbpl. Accessed 22 March 2020 .
  14. Fulton, Janet and Paton, Elizabeth (2016), ‘The systems model of creativity’, in P. McIntyre , J. Fulton and E. Paton (eds), The Creative System in Action, Basingstoke: Palgrave Macmillan, pp. 27–44.
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  15. Gooderson, Matt and Henley, Jennie (2017), ‘Professional songwriting: Creativity, the creative process and tensions between higher education and industry practice in the UK’, in G. D. Smith , Z. Moir , M. Brennan , S. Rambarran and Kirkman, P. (eds), The Routledge Research Companion to Popular Music Education, Oxon: Taylor Francis Group, pp. 257–71.
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  16. Gore, Martin (1990), ‘Personal Jesus’, London: Mute Records.
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  17. Gore, Martin (2002), ‘Personal Jesus’, Los Angeles, CA: Universal.
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  18. Green, Lucy (2002), How Popular Musicians Learn: A Way Ahead for Music Education, Aldershot, Hants and Burlington, VT: Ashgate.
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  19. Green, Lucy (2008), Music, Informal Learning and the School: A New Classroom Pedagogy, London: Ashgate.
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  20. Hammerstein, Oscar and Rogers, Richard (1959), ‘My Favourite Things’, New York: Williamson Music.
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  21. Healey, Mick , Flint, Abbi and Harrington, Kathy (2014), Engagement through Partnership: Students as Partners in Learning and Teaching in Higher Education, York: The Higher Education Academy.
     [Google Scholar]
  22. Henson, David and Zagorski-Thomas, Simon (2019), ‘Setting the agenda: Theorizing popular music education practice’, in Z. Moir , B. Powell and G. D. Smith (eds), The Bloomsbury Handbook of Popular Music Education: Perspectives and Practices, London: Bloomsbury Academic, pp. 11–28.
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  23. Hess, Juliet (2019), ‘Popular music education: A way forward or a new hegemony?’ in Z. Moir , B. Powell and G. D. Smith (eds), The Bloomsbury Handbook of Popular Music Education: Perspectives and Practices, London: Bloomsbury Academic, pp. 29–44.
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  24. Kleiman, Paul (2005), ‘Beyond the tingle factor: Creativity and assessment in higher education’, ESRC Creativity Seminar, University of Strathclyde, 7 October 2005.
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  25. Kleiman, Paul (2007), Negotiating Assessment, York: The Higher Education Academy.
     [Google Scholar]
  26. Kleiman, Paul (2019), ‘Taking a note for a walk: Improvising assessment/assessing improvisation’, in Z. Moir , B. Powell and G. D. Smith (eds), The Bloomsbury Handbook of Popular Music Education, London: Bloomsbury Academic, pp. 232–48.
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  27. Krikun, Andrew and Matthews, Stephen Ralph (2019), ‘Songwriting pedagogy in higher education: Distance collaboration and reflective teaching practices’, in Z. Moir , B. Powell and G. D. Smith (eds), The Bloomsbury Handbook of Popular Music Education: Perspectives and Practices, London: Bloomsbury Academic, pp. 153–70.
     [Google Scholar]
  28. Long, Paul and Barber, Simon (2017), ‘Conceptualizing creativity and strategy in the work of professional songwriters’, Popular Music and Society, 40:5, pp. 556–72.
     [Google Scholar]
  29. McIntyre, Phillip (2001), ‘The domain of songwriters: Towards defining the term “song”’, Perfect Beats, 5:3, p. 12.
     [Google Scholar]
  30. McIntyre, Phillip (2008), ‘The systems model of creativity: Analyzing the distribution of power in the studio’, Journal on the Art of Record Production, 1:3, https://www.arpjournal.com/asarpwp/the-systems-model-of-creativity-analyzing-the-distribution-of-power-in-the-studio/. Accessed 15 July 2016
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  31. McIntyre, Phillip , Fulton, Janet and Paton, Elizabeth (2016), The Creative System in Action: Understanding Cultural Production and Practice, Palgrave Macmillan, http://link.springer.com/10.1057/9781137509468. Accessed 14 January 2017 .
     [Google Scholar]
  32. McVitty, Debbie (2022), ‘Building back learning and taching means changing assessment’, WonkHE, 28 February, London, https://wonkhe.com/blogs/building-back-learning-and-teaching-means-changing-assessment/. Accessed 2 March 2022 .
  33. Neary, Mike (2020), Student as Producer: How Do Revolutionary Teachers Teach, Winchester: Zero Books.
     [Google Scholar]
  34. QAA (2019), Subject Benchmarking in Music, London: Quality Assurance Agency.
     [Google Scholar]
  35. Sadler, D. Royce (1989), ‘Formative assessment and the design of instructional systems’, Instructional Science, 18:2, pp. 119–44.
     [Google Scholar]
  36. Sadler, D. Royce (2010), ‘Beyond feedback: Developing student capability in complex appraisal’, Assessment and Evaluation in Higher Education, 35:5, pp. 535–50.
     [Google Scholar]
  37. Smith, Gareth Dylan (2011), ‘Freedom to versus freedom from: Frameworks and flexibility in assessment on an Edexcel BTEC Level 3 diploma popular music performance program’, Music Education Research International, 5, p. 12.
     [Google Scholar]
  38. Stefanie, Renee (2019), ‘How do i get the grades? Creativity and conflicts of motivation, risk, and reward’, in Z. Moir , B. Powell and G. D. Smith (eds), The Bloomsbury Handbook of Popular Music Education: Perspectives and Practices, London: Bloomsbury Academic, pp. 395–414.471
     [Google Scholar]
  39. Thompson, Paul (2016), ‘Scability of the creative system in the recording studio’, in P. McIntyre , J. Fulton and E. Paton (eds), The Creative System in Action, Basingstoke: Palgrave Macmillan, pp. 74–86.
     [Google Scholar]
  40. Thompson, Paul (2019), Creativity in the Recording Studio Alternative Takes, Cham: Springer International Publishing, Imprint: Palgrave Macmillan.
     [Google Scholar]
  41. Wenger, E. (1999), Communities of Practice: Learning, Meaning, and Identity, Cambridge: Cambridge University Press.
     [Google Scholar]
  42. Whiting, Chris (2022), Theorising and Observing the Learning in Songwriting through Autoethnography, Newcastle: Newcastle University.
     [Google Scholar]
  43. Whiting, Chris (2023), ‘Valuing in songwriting’, IASPM Journal (Practice-Based Research), 13:1, pp. 140–56.
  44. Zembylas, Tasos and Niederauer, Martin (2018), Composing Processes and Artistic Agency: Tacit Knowledge in Composing, Oxon: Routledge.
     [Google Scholar]

References

  1. Amabile, Teresa (1982), ‘Social psychology of creativity: A consensual agreement technique’, Journal of Personality and Social Psychology, 5:43, p. 16.
     [Google Scholar]
  2. Becker, Howard Saul (2008), Art Worlds, updated and expanded 25th anniversary ed., Berkeley, CA: University of California Press.
     [Google Scholar]
  3. Bennett, Joe (2014), Constraint, Creativity, Copyright and Collaboration in Popular Songwriting Teams, Guilford: University of Surrey.
     [Google Scholar]
  4. Bennett, Joe (2015), ‘Creativities in popular songwriting curricula’, in P. Burnard and E. Haddon (eds), Activating Diverse Musical Creativities: Teaching and Learning in Higher Education, London: Bloomsbury, pp. 37–55.
     [Google Scholar]
  5. Bennett, Joe (2016), ‘Towards a framework for creativity in popular music degrees’, in G. D. Smith , Z. Moir, M. Brennan , S. Rambarran and P. Kirkman (eds), The Routledge Research Companion to Popular Music Education, Florence: Taylor and Francis, pp. 285–97.
     [Google Scholar]
  6. Biggs, John B. and Tang, Catherine So-kum (2011), Teaching for Quality Learning at University (ed. J. Biggs and C. Tang) , 4th ed., Maidenhead: Open University Press.
     [Google Scholar]
  7. Boden, Margaret A. (2003), The Creative Mind: Myths and Mechanisms, 2nd ed., London: Routledge.
     [Google Scholar]
  8. Bryson, Colin (2016), ‘Engagement through partnership: Students as partners in learning and teaching in higher education’, International Journal for Academic Development, 21, pp. 84–86.
     [Google Scholar]
  9. Collins, David (2007), ‘Real-time tracking of the creative music composition process’, Digital Creativity, 18:4, pp. 239–56.
     [Google Scholar]
  10. Coltrane, John , Hammerstein, Oscar and Rogers, Richard (1961), ‘My Favourite Things’, CD, New York: Atlantic.470
     [Google Scholar]
  11. Csikszentmihalyi, Mihalyi (2003), ‘Implications of a Systems Perspective for the Study of Creativity’, in R. Sternberg (ed.) Handbook of Creativity, Cambridge: Cambridge University Press, pp. 313–35.
  12. Csikszentmihalyi, Mihalyi (2014), The Systems Model of Creativity: The Collected Works of Mihalyi Csikszentmihalyi, London: Springer.
     [Google Scholar]
  13. Finlay, L. (2008), ‘Reflecting on “reflective practice”’, January 2008, Practice Based Professional Learning Centre (A Discussion Paper Prepared for PBPL CETL), 22 May 2018, Milton Keynes: The Open University, https://www.open.ac.uk/pbpl. Accessed 22 March 2020 .
  14. Fulton, Janet and Paton, Elizabeth (2016), ‘The systems model of creativity’, in P. McIntyre , J. Fulton and E. Paton (eds), The Creative System in Action, Basingstoke: Palgrave Macmillan, pp. 27–44.
     [Google Scholar]
  15. Gooderson, Matt and Henley, Jennie (2017), ‘Professional songwriting: Creativity, the creative process and tensions between higher education and industry practice in the UK’, in G. D. Smith , Z. Moir , M. Brennan , S. Rambarran and Kirkman, P. (eds), The Routledge Research Companion to Popular Music Education, Oxon: Taylor Francis Group, pp. 257–71.
     [Google Scholar]
  16. Gore, Martin (1990), ‘Personal Jesus’, London: Mute Records.
     [Google Scholar]
  17. Gore, Martin (2002), ‘Personal Jesus’, Los Angeles, CA: Universal.
     [Google Scholar]
  18. Green, Lucy (2002), How Popular Musicians Learn: A Way Ahead for Music Education, Aldershot, Hants and Burlington, VT: Ashgate.
     [Google Scholar]
  19. Green, Lucy (2008), Music, Informal Learning and the School: A New Classroom Pedagogy, London: Ashgate.
     [Google Scholar]
  20. Hammerstein, Oscar and Rogers, Richard (1959), ‘My Favourite Things’, New York: Williamson Music.
     [Google Scholar]
  21. Healey, Mick , Flint, Abbi and Harrington, Kathy (2014), Engagement through Partnership: Students as Partners in Learning and Teaching in Higher Education, York: The Higher Education Academy.
     [Google Scholar]
  22. Henson, David and Zagorski-Thomas, Simon (2019), ‘Setting the agenda: Theorizing popular music education practice’, in Z. Moir , B. Powell and G. D. Smith (eds), The Bloomsbury Handbook of Popular Music Education: Perspectives and Practices, London: Bloomsbury Academic, pp. 11–28.
     [Google Scholar]
  23. Hess, Juliet (2019), ‘Popular music education: A way forward or a new hegemony?’ in Z. Moir , B. Powell and G. D. Smith (eds), The Bloomsbury Handbook of Popular Music Education: Perspectives and Practices, London: Bloomsbury Academic, pp. 29–44.
     [Google Scholar]
  24. Kleiman, Paul (2005), ‘Beyond the tingle factor: Creativity and assessment in higher education’, ESRC Creativity Seminar, University of Strathclyde, 7 October 2005.
     [Google Scholar]
  25. Kleiman, Paul (2007), Negotiating Assessment, York: The Higher Education Academy.
     [Google Scholar]
  26. Kleiman, Paul (2019), ‘Taking a note for a walk: Improvising assessment/assessing improvisation’, in Z. Moir , B. Powell and G. D. Smith (eds), The Bloomsbury Handbook of Popular Music Education, London: Bloomsbury Academic, pp. 232–48.
     [Google Scholar]
  27. Krikun, Andrew and Matthews, Stephen Ralph (2019), ‘Songwriting pedagogy in higher education: Distance collaboration and reflective teaching practices’, in Z. Moir , B. Powell and G. D. Smith (eds), The Bloomsbury Handbook of Popular Music Education: Perspectives and Practices, London: Bloomsbury Academic, pp. 153–70.
     [Google Scholar]
  28. Long, Paul and Barber, Simon (2017), ‘Conceptualizing creativity and strategy in the work of professional songwriters’, Popular Music and Society, 40:5, pp. 556–72.
     [Google Scholar]
  29. McIntyre, Phillip (2001), ‘The domain of songwriters: Towards defining the term “song”’, Perfect Beats, 5:3, p. 12.
     [Google Scholar]
  30. McIntyre, Phillip (2008), ‘The systems model of creativity: Analyzing the distribution of power in the studio’, Journal on the Art of Record Production, 1:3, https://www.arpjournal.com/asarpwp/the-systems-model-of-creativity-analyzing-the-distribution-of-power-in-the-studio/. Accessed 15 July 2016
    [Google Scholar]
  31. McIntyre, Phillip , Fulton, Janet and Paton, Elizabeth (2016), The Creative System in Action: Understanding Cultural Production and Practice, Palgrave Macmillan, http://link.springer.com/10.1057/9781137509468. Accessed 14 January 2017 .
     [Google Scholar]
  32. McVitty, Debbie (2022), ‘Building back learning and taching means changing assessment’, WonkHE, 28 February, London, https://wonkhe.com/blogs/building-back-learning-and-teaching-means-changing-assessment/. Accessed 2 March 2022 .
  33. Neary, Mike (2020), Student as Producer: How Do Revolutionary Teachers Teach, Winchester: Zero Books.
     [Google Scholar]
  34. QAA (2019), Subject Benchmarking in Music, London: Quality Assurance Agency.
     [Google Scholar]
  35. Sadler, D. Royce (1989), ‘Formative assessment and the design of instructional systems’, Instructional Science, 18:2, pp. 119–44.
     [Google Scholar]
  36. Sadler, D. Royce (2010), ‘Beyond feedback: Developing student capability in complex appraisal’, Assessment and Evaluation in Higher Education, 35:5, pp. 535–50.
     [Google Scholar]
  37. Smith, Gareth Dylan (2011), ‘Freedom to versus freedom from: Frameworks and flexibility in assessment on an Edexcel BTEC Level 3 diploma popular music performance program’, Music Education Research International, 5, p. 12.
     [Google Scholar]
  38. Stefanie, Renee (2019), ‘How do i get the grades? Creativity and conflicts of motivation, risk, and reward’, in Z. Moir , B. Powell and G. D. Smith (eds), The Bloomsbury Handbook of Popular Music Education: Perspectives and Practices, London: Bloomsbury Academic, pp. 395–414.471
     [Google Scholar]
  39. Thompson, Paul (2016), ‘Scability of the creative system in the recording studio’, in P. McIntyre , J. Fulton and E. Paton (eds), The Creative System in Action, Basingstoke: Palgrave Macmillan, pp. 74–86.
     [Google Scholar]
  40. Thompson, Paul (2019), Creativity in the Recording Studio Alternative Takes, Cham: Springer International Publishing, Imprint: Palgrave Macmillan.
     [Google Scholar]
  41. Wenger, E. (1999), Communities of Practice: Learning, Meaning, and Identity, Cambridge: Cambridge University Press.
     [Google Scholar]
  42. Whiting, Chris (2022), Theorising and Observing the Learning in Songwriting through Autoethnography, Newcastle: Newcastle University.
     [Google Scholar]
  43. Whiting, Chris (2023), ‘Valuing in songwriting’, IASPM Journal (Practice-Based Research), 13:1, pp. 140–56.
  44. Zembylas, Tasos and Niederauer, Martin (2018), Composing Processes and Artistic Agency: Tacit Knowledge in Composing, Oxon: Routledge.
     [Google Scholar]

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