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It traces how that model influenced perceptions at the 1965 Sydney UNESCO Conference, and how Victoria, Australia later developed pioneering work by Frank Higgins, Keith Humble, and Geoffrey D’Ombrain during the 1960s–1970s.",{"@graph":69,"@context":123},[70,84,106],{"@type":71,"itemListElement":72},"BreadcrumbList",[73,77,79,82],{"item":74,"name":75,"@type":76,"position":8},"https://docshare.wps.com","Home","ListItem",{"item":78,"name":9,"@type":76,"position":14},"https://docshare.wps.com/document/",{"item":80,"name":40,"@type":76,"position":81},"https://docshare.wps.com/document/research-report/",3,{"item":83,"name":65,"@type":76,"position":19},"https://docshare.wps.com/document/influential-pioneers-of-creative-music-education-in-victoria-australia-harry-burke-abstract/593637/",{"url":83,"name":65,"@type":85,"image":86,"author":91,"headline":65,"publisher":94,"fileFormat":97,"inLanguage":63,"description":67,"dateModified":98,"datePublished":99,"encodingFormat":97,"isAccessibleForFree":100,"interactionStatistic":101},"DigitalDocument",{"url":87,"@type":88,"width":89,"height":90},"https://docshare.wps.com/thumbnails/influential-pioneers-of-creative-music-education-in-victoria-australia-harry-burke-abstract/593637.png","ImageObject",300,407,{"name":92,"@type":93},"Jasmine","Person",{"url":74,"name":95,"@type":96},"DocShare","Organization","application/pdf","2026-11-03","2026-10-15",true,{"@type":102,"interactionType":103,"userInteractionCount":105},"InteractionCounter",{"@type":104},"ViewAction",11,{"@type":107,"mainEntity":108},"FAQPage",[109,115,119],{"name":110,"@type":111,"acceptedAnswer":112},"Why is studying creativity difficult in a school context?","Question",{"text":113,"@type":114},"Creativity is multifaceted and hard to define, making it a difficult field to apply in schools. Research lacks a widely accepted methodology and agreed definition even after extensive study.","Answer",{"name":116,"@type":111,"acceptedAnswer":117},"What role did England’s 1960s music educators play?",{"text":118,"@type":114},"Innovative music educators acted as their own research practitioners and developed a practical model of creative music education designed to apply to all students.",{"name":120,"@type":111,"acceptedAnswer":121},"How did the 1965 Sydney UNESCO Conference influence Victorian teachers?",{"text":122,"@type":114},"Peter Maxwell-Davies’ teaching experiences in England showed Victorian music teachers the need to consider establishing creative music in their schools.","https://schema.org",{"og:url":83,"og:type":125,"og:title":65,"og:site_name":95,"og:description":67},"article",{"robots":127,"canonical":83},"index,follow",{"doc_id":129,"site_id":62},593637,1792171265,{"code":4,"msg":5,"data":132},{"doc_id":129,"user_id":133,"nickname":92,"user_avatar":134,"doc_module":4,"category_id":39,"category_name":40,"doc_title":65,"doc_description":67,"doc_content":135,"file_id":136,"file_url":137,"file_type":138,"file_size":139,"view_count":105,"is_deleted":4,"is_public":8,"is_downloadable":8,"audit_status":8,"page_count":140,"language":141,"language_code":63,"site_id":62,"html_lang":63,"table_of_contents":142,"faqs":143,"seo_title":144,"seo_description":67,"update_tm":145,"read_time":146,"preview_page_count":4},2336478487870,"https://ap-avatar.wpscdn.com/davatar_085a072bc5b1113ac321206ff7593b45","Influential pioneers of creative  \nmusic education in Victoria, Australia  \nHarry Burke  \nMonash University, Australia  \nAbstract  \nThroughout history, societies have been fascinated with creativity and the creative personality. Researching creativity and its place in music education however has been fraught with difficulties. After sixty years of intensive study mainly in the USA, there is still no accepted methodology for researching creativity or an agreed definition. In England during the 1960s, innovative and idiosyncratic music-educators acting as their own research practitioners developed a practical based form of creative music education that was applicable to all students. Although still controversial, this model has helped to revolutionize the teaching of general classroom music in England and to an extent Victoria. Australia however was slow to establish innovative concepts in classroom music after the Second WorldWar. Discussions by Peter Maxwell-Davies of his experiences of teaching creative music in England at the 1965 Sydney UNESCO Conference on school music demonstrated to many Victorian music teachers the need to consider establishing creative music in their schools. In Victoria, Frank Higgins, Keith Humble and Geoffrey D’Ombrain, together with a small number of classroom music teachers pioneered creative music education based on the English creative music movement during the 1960s and 1970s. Unfortunately, there was little understanding in Victoria of the difficulties creative music teachers were encountering in England. This paper discusses the development of creative music education in England and Australia and the pioneering work in creative music education undertaken by Frank Higgins, Keith Humble and Geoffrey D’Ombrain in Victoria during the 1960s-1970s.  \nKey words: Classroom music, contemporary music, creativity, creative music education, innovators, progressive education  \nAustralian Journal of Music Education 2014:2,23-35  \nIntroduction  \nThere has always been an interest in creativity and the creative personality going back to ancient times.1 By the early twentieth century, writers and researchers began to reflect on creativity in a more scientific manner.2 The multifaceted nature of creativity and the problem of defining it, has made creativity a difficult field to employ in a school setting. Hargreaves, an English music psychologist writes that,“Creativity is one of the most complex, mysterious, and  \n1. J. Piirto. (1998) . Understanding Those Who Create (2nd ed.) . Scottsdale: Gifted Psychology Press, pp. 8-9.  \n2. D. Simonton. (1999) . Creativity from a Historiometric Perspective. In R. J. Sternberg (Ed.), Handbook of Creativity (pp. 116-136) . Cambridge: Cambridge University Press, pp. 118-119.  \nfascinating aspects of human behaviour”.3 Kneller, an early writer on creativity research, pointed out that verbal skills or quickness of mind are often associated with creativity but do not define it.4 Albert added that giftedness is no predictor of creativity either.5 Talent and creativity also present problems. Csikszentmihályi argued that talent,“focuses on an innate ability to do  \n\n| 3. D. J. Hargreaves. (1986) . The Developmental Psychology of Music. Cambridge: Cambridge University Press, p. 143. |\n| --- |\n| 4. G. F. Kneller. (1965) . TheArt and Science of Creativity. Los Angeles: |\n| Holt, Rinehart and Winston. |\n\n5. R. S. Albert. (1990) . Identity, Experiences, and Career Choice among the Exceptionally Gifted and Eminent. In M. A. Runco &  \nR. S. Albert (Eds.), Theories of Creativity (pp. 13-34) . Newbury Park: Sage Publications, pp. 13-14.  \nsomething very well” which may not be creative.6 Maslow maintained that there are two levels of creativity, a genius level like Mozart, and a selfactualized model that most people can attain to a degree.7 Plummeridge, an English music educator noted the pervasive use of the word by actors, sportsmen, teachers and housewives in England during the 1960s.8 S","cbCaifvCZ38Sj6Ky","https://ap.wps.com/l/cbCaifvCZ38Sj6Ky","pdf",139880,13,"English","# Introduction\n## Creativity research and definitional challenges\n## Early twentieth-century views on creativity\n## Creativity in music education\n# Creative music education in England and Australia\n## England’s progressive secondary-school experiments\n## Victorian adoption and pioneering figures","[{\"question\":\"Why is studying creativity difficult in a school context?\",\"answer\":\"Creativity is multifaceted and hard to define, making it a difficult field to apply in schools. Research lacks a widely accepted methodology and agreed definition even after extensive study.\"},{\"question\":\"What role did England’s 1960s music educators play?\",\"answer\":\"Innovative music educators acted as their own research practitioners and developed a practical model of creative music education designed to apply to all students.\"},{\"question\":\"How did the 1965 Sydney UNESCO Conference influence Victorian teachers?\",\"answer\":\"Peter Maxwell-Davies’ teaching experiences in England showed Victorian music teachers the need to consider establishing creative music in their schools.\"}]","Influential Pioneers of Creative Music Education in Victoria, Australia - Harry Burke - Abstract | PDF",1792077617,33]