An Application of Amabile's Consensual Assessment Technique for Rating the Creativity of Children's Musical Compositions

By M. Hickey. 2001

173 citations recorded by the source corpus.

Subfields: Experimental and Cognitive Psychology, Music, Visual Arts and Performing Arts

View Paper: https://www.semanticscholar.org/paper/e9b9f4f6d70eea961f416fd72bf8a504780789c8

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In Experimental and Cognitive Psychology

In Music

In Visual Arts and Performing Arts

Citations in the corpus

Beyond New and Appropriate: Who Decides What Is Creative? (2012, methodology): “Hickey (2001) conducted an extensive study of novice and expert ratings of children’s musical compositions.”
Evaluation of Self-Perceptions of Creativity: Is It a Useful Criterion? (2012, methodology): “Other tasks that have been used include dramatic performance (Myford, 1989), music compositions (Brinkman, 1999; Hickey, 2001), poetry (Kaufman, Baer, Cole, & Sexton, 2008), scientific questions (Kaufman, Evans, & Baer, 2010), and writing mathematical problems (Baer, 1994).”
Approaches to Measuring Creativity: A Systematic Literature Review (2017, background): “First, there is an ongoing debate about the selection of the most appropriate judges and the level of expertise needed to evaluate creative products (Galati, 2015; Hickey, 2001; Kaufman & Baer, 2012; Runco, McCarthy, & Svenson, 1993).”
Furious activity vs. understanding: How much expertise is needed to evaluate creative work? (2013, background): “(Myford, 1989), and music compositions (Hickey, 2001).”
General, Artistic and Scientific Creativity Attributes of Engineering and Music Students (2007, background): “Music creativity researchers apparently have tended to utilize the divergent versus convergent thinking processes or have focused on creative products (Hickey, 2001; Hong, Milgram, & Gorsky, 1995; Runco, 1986). According to Hickey, consensual assessment is one approach that has been used to assess t”
A Comparison of Expert and Nonexpert Raters Using the Consensual Assessment Technique (2008, background): “Indeed, if a studio wants a gauge of how well a movie will perform at the box office, an assessment from novices may be quite preferable to an assessment from traditional experts (and these concepts have been discussed in the marketing literature; see Holbrook, 1999; Holbrook, Lacher, & LaTour, 2006”
The Definition and Measurement of Creativity: What Do We Know? (2004, background): “A typical CAT item for rating the creativity of a painting reads: “On a scale of 1 to 5, and using your own subjective definition of creativity, rate the degree to which the painting is creative” (Hickey, 2001, p. 235).”
Creativity and flow in musical composition: an empirical investigation (2006, background): “This may be partly due to our limited knowledge of the creative process (Hickey, 2001; Sloboda, 1985).”
Modes of communication during jazz improvisation (2005, background): “Although there are many positive aspects to this kind of expert consensual assessment evaluation (see Amabile, 1996; Hickey, 2001; Webster & Hickey, 1995), the lack of explicitness and transparency is problematic in the current evaluative education environment.”
The Creative Process (2005, unknown): “Similarly, Hickey (2001) relied on consensual assessment to measure the creativity of children’s musical compositions.”
Assessing Creativity Using the Consensual Assessment Technique (2009, methodology): “The Consensual Assessment Technique has also been used to judge the creativity of such diverse tasks as dramatic performance (Myford, 1989), musical compositions (Hickey, 2001), mathematical equations created by children and adolescents (Baer, 1993), captions written to pictures (Sternberg & Lubart,”
Do Gifted Student Writers and Creative Writing Experts Rate Creativity the Same Way? (2005, background): “2 6 0 G I F T E D C H I L D Q U A R T E R L Y • S U M M E R 2 0 0 5 • V O L 4 9 N O 3 artwork (Haritos-Fatouros & Child; Runco, McCarthy, & Svenson, 19 94), dramatic perfo rmance (Myfo rd , 1989), and music (Hickey, 2001).”
Measuring Functional Creativity: Non‐Expert Raters and the Creative Solution Diagnosis Scale (2012, methodology): “The availability of a reliable instrument like the CSDS may serve to smooth differences between experts that have confounded previous studies (e.g., Hickey, 2001) by balancing individual, expert conceptions of creativity with a uniform framework of categories (effectiveness, novelty, elegance,…”
Captions, consistency, creativity, and the consensual assessment technique: New evidence of reliability (2007, unknown): “Poems, collages, and stories have been widely used in CAT studies, but the potential range of creative products that might work using the CAT is quite wide and includes musical compositions (Hickey, 2001) and drawings (Dollinger & Shafran, 2005).”