This study considers the role of music in developing creativity in school-aged children and adolescents. The concept of "reframing creativity teaching" in music education at the secondary level represents a significant shift in how educators understand creativity itself and their role in its development in students. The subject of this study is the work of educators with children whose musical abilities have not yet been identified and are not readily apparent. Throughout the world history, music instruction has been used to develop character, a sense of rhythm, perseverance, and good manners. Students may not become great composers or performers, but the skills they acquired in music lessons would help them in future life and creative work. Even in Ancient Greece, the beneficial effects of music on the health, students’ mental and physical development, as well as the profound psychotherapeutic effect of music lessons, were noted. Ancient philosophers and educators (Pythagoras, Plato, Aristotle) noted that music serves not only an educational but also a harmonizing function, developing and deepening the emotional sphere of the individual. They considered music a powerful educational tool, capable of shaping ethics, harmonizing the soul, and even healing the body. Music was seen as a reflection of cosmic harmony (the cosmos), influencing the emotional state and "purifying" (catharsis) spiritual passions, fears, and despondency. The research methodology, the approaches employed, and the music teaching methods all indicate that creativity is not an internal, mystical gift. Rather, it is an ability that can—and should—be cultivated through specific educational strategies and technologies. Creativity education is based on Ronald Beghetto's three-dimensional model, which includes creativity knowledge (understanding concepts, models, and definitions), teaching for creativity (using educational strategies to develop students' creative abilities), and, finally, teaching with a creative approach (translating theoretical knowledge into creative teaching practice). This three-dimensional model can be a useful tool not only for students but also for teachers to reframe and reevaluate their professional knowledge.
Elena A. Makarova (Thu,) studied this question.