Burnard’s seminal work, Musical Creativities in Practice, has begun to change the way creativity is viewed in music (2012) . In this work Burnard rejects the view of a single concept of creativity that encompasses all aspects of music and instead proposes ‘a multiplicity of musical creativities deriving from complexity of the social world in which the musician is located’ (ibid. : 225) . Burnard draws on the work of key practitioners to identify different types of creativity, sometimes informed by technology, and how new creativities and intersections between areas are being formed. The view and use of technology as a tool in developing diverse creativities has been developing for some time. This has had a profound effect not only on the industrial landscape but also the curricula within higher education.