Abstract
Two theoretical accounts of human creativity are presented as heuristic means to contextualize challenges and vicissitudes encountered in the process of generating new music, technology, and methodology. Firstly, Sternberg's (2001) cultural-evolutionary perspective on creativity as a dynamic, dialectical, antithetical challenge to orthodox modes of musicianship is outlined to situate experimental new music on the periphery of cultural hegemony. Secondly, Rogers (1954) view of creativity as an essential process of self-actualization is outlined as a means of making sense of contrariant creative acts within a climate of aesthetic resistance and popular eschewal. Examples of antithetical musical movements and enterprise are employed throughout.
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