We need Creativity

Written by Simon Mitchell

Continued from page 1

Aspects of specialisation (the mystification of knowledge into 'closed shops') and a centralised government system shift responsibility away from people. Many factors make it harder for an individual to act on their own behalf, on their own belief and to face uncertainty and possibly ridicule by doing something non-conformist. In education individual behaviour is still often construed as insulting and rebellious. Creativity, an Open University guide for teachers states:

"One ofrepparttar problems with teaching for creativity in schools is that many ofrepparttar 147746 personality characteristics and kind of behaviour associated with them are unpleasing torepparttar 147747 teacher. Independent children who will not accept whatrepparttar 147748 teacher says, simply because they say it, can be disliked byrepparttar 147749 teacher, particularly when such behaviour occurs on a heavy day or with a tired teacher".

The potential for divergent, self assertive thought and action is diminished in many sectors of society. People who 'rockrepparttar 147750 boat' and question authority are too often seen as a threat to established patterns. This has led to a breakdown in sensitivity to needs,repparttar 147751 generation of ideas andrepparttar 147752 production of creative solutions. Financial reward and security are conditioned to berepparttar 147753 primary motivations for work and life.

Withrepparttar 147754 coming of automation and factories seekingrepparttar 147755 cheapest labour in third world countries,repparttar 147756 emphasis in a successful economy needs to be more biased towardsrepparttar 147757 production of ideas that create meaningful and sustainable employment. The education organisations we have are slow to realise this and much ofrepparttar 147758 training they provide is still geared towards values established duringrepparttar 147759 Industrial Revolution.

The didactic education system we have is still partly based on training small boys forrepparttar 147760 priesthood, five-hundred years ago. The development of creative potential in individuals is an issue thatrepparttar 147761 system simply does not know how to handle. Presently we are between two worlds, leaving generations high and dry concerning meaningful work andrepparttar 147762 generation of identity.

"Whilst assimilating that which he has inherited, and adapting himself to it, man [sic] must also preserve his essential individuality. Education must assistrepparttar 147763 society which nurtures it by inspiring each generation to add torepparttar 147764 culture it has received by creating something new; there should be no passive acceptance of what has been handed down fromrepparttar 147765 past. Serious consideration must therefore be given torepparttar 147766 extent that non-conforming ideas can be considered as an asset for life in a conforming society". (T.Powell Jones. Creative Learning in Perspective)

A revolutionary ebook from a top internet author. This ebook gives you the ULTIMATE POWER TO CREATE with structured courses to improve your personal creativity. Unleash your SECRETS OF CREATIVITY at:

Chord Voicings

Written by Ron Worthy

Continued from page 1

2. When you are taking a solo and not "comping" (accompanying) for another soloist you should play your chord voicings in your left hand, so thatrepparttar right hand can be free to improvise, do fills, doublerepparttar 147640 left hand, add extensions, etc.

3. The range of your voicings is also very important. A good rule of thumb to remember when voicing your chords, is to always try to voice your chords around middle C. Keeping your voicings around middle C will sound full and clear. Limits of approximately an octave above or below will assure best results by preventingrepparttar 147641 voicing from assuming a quality of thinness or muddiness.

Ron Worthy is a Music Educator, Songwriter and Performer. He offers online piano instruction for all ages at: http://www.mrronsmusic.com/playpiano.htm

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