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Discovering the Musical MindA view of creativity as learning$
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Jeanne Bamberger

Print publication date: 2013

Print ISBN-13: 9780199589838

Published to Oxford Scholarship Online: January 2014

DOI: 10.1093/acprof:oso/9780199589838.001.0001

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The typology revisited

The typology revisited

Chapter:
(p.31) Chapter 4 The typology revisited
Source:
Discovering the Musical Mind
Author(s):

Jeanne Bamberger

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780199589838.003.0004

Some years after constructing the typology of drawings, I had occasion to look back at the 186 drawings from which I had developed the typology. The framework for this analysis was stimulated by questions raised by Sidney Strauss, as editor of a volume titled U-Shaped Behavioral Growth. Strauss suggested that I look among the 186 drawings for possibly conflicting representations. These, he posited, might be seen as instances that could account for apparent dips in development and might also illuminate transitional behavior. Thus, with Strauss’s challenge, I went back into the data in search of new insight. Revisiting the data, I saw the prototypes as focused instances within a continuing generative process. In this new context, drawings that I had discounted, because they seemed “odd” and bothersome “hybrids”, instead came to illuminate and confirm the more distinct prototypes that made up the original typology. Indeed, it was only in this context that the significance of the hybrids became clear. The new analysis focused on another one of the six rhythms that the children were asked to clap and draw, because it seemed most effectively to differentiate among them.

Keywords:   typology, development, rhythm, transition, notation

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