By M. Ross
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He provides fellow artists with a framework within which they are able to express their own individual perspective. THE MEDIUM Is an artistic tradition contingently necessary for the production of an artistically creative work? Or is it possible to produce original work in isolation from established practices and conventions? g. marks, words, movements, and sounds) gain meaning and thus make it possible for a work to be peculiar to, and representative of, one person's unique perspective rather than another's.
The Tiwi of Northern Australia think and talk about songs and dances composed by particular individuals, just as the Balinese refer to composers and specific compositions rather than to Balinese music. Similarly, I appreciate the music of Schubert and Mozart primarily as beautiful music, rather than as specimens of Austrian or Viennese culture. Ethnomusicological research has revealed not only that recognized individual composers and performers exist in societies with traditions of unwritten music, but that their identity is widely known and that the music is discussed in terms of individual contributions to creation and performance, and not in cultural terms.
John White (1972) for example, in his article Creativity and Education: A Philosophical· Anal·ysis insists on the primacy of a publicly identifiable object. He argues against the notion that creativity refers to an inner mental faculty. He writes: "Creative" ... picks out not something about a person's inner processes but about what he publicly produces. (p. 135) White maintains that the term "creative" is inescapably normative, that its main function is to commend persons and activities in terms of valuable results produced.