Creativity is a concept that refuses to yield total analytic or experimental satisfaction, while at the same time remaining steadfast in our construction of musicality, musical works, and objectives in music education. As an idea, it emerged in the old factor psychology of a past century, reappeared in different guise in Guildford's 1967 Structure of the Intellect model with its divergent thinking as opposed to convergent thinking, and has surfaced again in the form of neo-factor psychology we call multiple intelligences. Each major development in our understanding of creativity has given us a better, even if not ultimate, grasp of what it is that makes for creativity's kind of pleasing, risk-taking, enlarging, simple, surprising innovation and opens up a new range of possibilities in both theory and practice. Many of our colleagues devote their academic careers to exploring creativity's manifestations, development, and assessment. And yet, despite normative and stipulative meanings of the word creativity, in thinking and doing we are still less likely to be able to say definitively what creativity is than we are to recognize it when we see it.