Acknowledgments |
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13 | (1) |
Gratitude |
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13 | (1) |
Family |
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14 | (1) |
The River |
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14 | (1) |
Prologue |
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15 | (4) |
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PART I Life, Music, and the Pursuit of Happiness |
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19 | (94) |
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Chapter 1 Creativity At The Heart Of Life |
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21 | (30) |
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23 | (3) |
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Dispositions and Self-Efficacy |
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26 | (1) |
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27 | (1) |
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Creativity as a Part of Eudaimonia |
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28 | (2) |
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Joseph Campbell's Lens: Comparative Mythology |
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30 | (3) |
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33 | (5) |
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34 | (1) |
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34 | (1) |
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The Destination (Product) |
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34 | (1) |
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35 | (1) |
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Perspective of Where We Are (Position) |
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35 | (2) |
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37 | (1) |
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38 | (1) |
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Spirituality and Creativity |
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39 | (1) |
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40 | (2) |
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42 | (2) |
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44 | (1) |
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45 | (3) |
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48 | (3) |
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Chapter 2 Musician And Teacher |
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51 | (34) |
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52 | (2) |
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"Get the Led Out" in Jazz Band |
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54 | (1) |
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55 | (1) |
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56 | (1) |
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The 96-Year-Old Saxophone Player |
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57 | (3) |
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60 | (2) |
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Master's in Music Education: Meeting John Kratus |
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62 | (2) |
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A Recording Studio for Every Computer and Every Teacher |
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64 | (1) |
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65 | (3) |
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68 | (1) |
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First-Time World Traveler |
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69 | (3) |
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72 | (1) |
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73 | (1) |
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74 | (3) |
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77 | (1) |
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78 | (2) |
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80 | (4) |
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80 | (1) |
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81 | (1) |
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81 | (1) |
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82 | (1) |
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82 | (1) |
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83 | (1) |
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83 | (1) |
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84 | (1) |
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Chapter 3 Creative Performance |
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85 | (28) |
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86 | (1) |
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87 | (2) |
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Be the Change You Wish to See |
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89 | (1) |
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Creative Performance Chamber Ensemble |
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90 | (1) |
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91 | (3) |
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Rules for Creative Performance |
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94 | (10) |
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104 | (3) |
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A Disruptive Technology: Being a Professional Musician and Music Education Scholar/Researcher |
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107 | (2) |
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109 | (4) |
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PART II Making Sense of Creativity |
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113 | (114) |
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Chapter 4 Creativity Conceptions |
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115 | (42) |
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On the Origins of Creativity and Spirituality |
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119 | (5) |
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124 | (2) |
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Imagination and Listening |
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126 | (4) |
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Creativity Takes Different Forms |
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130 | (4) |
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130 | (3) |
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133 | (1) |
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134 | (4) |
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Novelty and Appropriateness |
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136 | (1) |
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Originality and Effectiveness |
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137 | (1) |
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138 | (12) |
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138 | (1) |
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139 | (1) |
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140 | (1) |
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141 | (1) |
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142 | (3) |
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145 | (2) |
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147 | (3) |
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150 | (1) |
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151 | (1) |
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Creativity as a Part of Eudaimonia |
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152 | (1) |
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153 | (1) |
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154 | (2) |
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Hitting the Road and Enjoying the Journey |
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156 | (1) |
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Chapter 5 you, the artist |
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157 | (38) |
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158 | (3) |
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Music Education's Hero's Journey |
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161 | (7) |
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162 | (1) |
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163 | (1) |
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163 | (1) |
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164 | (1) |
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164 | (1) |
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Tests, Allies, and Enemies |
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165 | (1) |
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165 | (1) |
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166 | (1) |
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166 | (1) |
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167 | (1) |
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167 | (1) |
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The Return with the Elixir |
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168 | (1) |
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168 | (5) |
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173 | (2) |
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Sociocultural Nature of Music |
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175 | (2) |
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177 | (2) |
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179 | (2) |
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Be Around People Who Are Better Than You |
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181 | (2) |
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Conflict Produces Experience |
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183 | (1) |
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184 | (7) |
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185 | (1) |
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186 | (1) |
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187 | (1) |
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188 | (1) |
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188 | (2) |
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190 | (1) |
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191 | (1) |
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192 | (3) |
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Chapter 6 Learning From Musicians |
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195 | (32) |
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Musicians and the One Song |
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200 | (25) |
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U2 in Dublin, Ireland, and Mount Temple School |
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200 | (7) |
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207 | (8) |
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215 | (10) |
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225 | (2) |
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PART III Positioning Ourselves for a Better Tomorrow |
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227 | (92) |
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Chapter 7 Diversifying "Good" |
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229 | (32) |
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231 | (7) |
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Creativity as Part of the Good Life |
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231 | (4) |
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Good as the Primary Outcome of Our Creativity |
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235 | (3) |
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Narratives of Different Versions of Good in Music Making |
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238 | (12) |
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238 | (3) |
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241 | (3) |
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244 | (2) |
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246 | (4) |
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250 | (1) |
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251 | (4) |
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252 | (1) |
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253 | (2) |
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255 | (6) |
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255 | (2) |
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257 | (4) |
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Chapter 8 What We Can Learn From Teachers |
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261 | (32) |
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Lessons from an Accordion Soloist |
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263 | (2) |
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Lessons from New Zealand and Australia Music Teachers |
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265 | (25) |
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265 | (4) |
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269 | (4) |
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273 | (3) |
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276 | (2) |
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278 | (4) |
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282 | (3) |
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285 | (2) |
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287 | (3) |
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290 | (3) |
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Chapter 9 Where The End And The Beginning Meet |
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293 | (26) |
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295 | (4) |
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299 | (1) |
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300 | (2) |
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Revisiting the Main Themes |
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302 | (6) |
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302 | (1) |
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303 | (1) |
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304 | (1) |
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304 | (1) |
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305 | (1) |
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306 | (1) |
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307 | (1) |
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308 | (1) |
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309 | (5) |
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309 | (2) |
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311 | (1) |
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312 | (1) |
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313 | (1) |
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314 | (3) |
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317 | (2) |
Bibliography |
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319 | (6) |
About the Author |
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325 | |