Abstract

Students often see innovation or creativity as beyond them. No doubt many educators hear “I’m not creative” or “I don’t know how to come up with ideas” from their students. This manual explains how the case can help students innovate by (1) articulating the need or problem, (2) plumbing the depths of personal experience, (3) staying focused on the objective and (4) assuming away obstacles. While this is a practical approach, Clayton Christensen’s concept of “disruptive innovation” provides some theoretical context that is interwoven in the case. Questions for discussion are posed along with brief answers offered by the case.

Highlights

  • Students often see innovation or creativity as beyond them

  • Clayton Christensen formalized the concept of disruptive innovation in the early 1990s

  • Arts and Artists from an Economic Perspective

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Summary

Theory Discussion

Clayton Christensen formalized the concept of disruptive innovation in the early 1990s. In 2003, Powell recognized that the value equation for the flute headjoint was extremely strong, whereas the value equation for the flute body was weak Based on this insight Powell introduced its Sonaré model by marrying a professional headjoint to a student flute. This new hybrid instrument disrupted the step-up market. Powell’s radical product conception greatly expanded the step-up flute market. An example of just such a disruptive product is a music synthesizer that creates the sound of a flute electronically. They defined modular innovation as “innovation that changes only the core design concepts of a technology.” They regarded this as distinct from architectural innovation, which they defined as “the reconfiguration of an established system to link together components in a new way.”. The change to stainless steel resulted in keys that would not tarnish, an art deco aesthetic and keys that were stronger so that they stayed in adjustment longer

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