The notion of the individual creator, a product in part of the Western romantic ideal, is now troubled by accounts and explanations of creativity as a social construct. While in collectivist cultures the assimilation (but not the denial) of individual authorship into the complexities of group production and benefit has been a feature, the notion of the lone individual creator has been persistent. Systems theories acknowledge the role of others, yet at heart these are still individual views of creativity - focusing on the creative individual drawing upon the work of others rather than recognizing the mutually constitutive elements of social interactions across time and space. Focusing on the domain of music, the approach taken in this book falls into three sections: investigations of the people, processes, products, and places of collaborative creativity in compositional thought and practice; explorations of the ways in which creative collaboration provides a means of crossing boundaries between disciplines such as music performance and musicology; and studies of the emergence of creative thought and practice in educational contexts including that of the composer and the classroom.
The volume concludes with an extended chapter that reflects on the ways in which the studies reported advance understandings of creative thought and practice. The book provides new perspectives to our understandings of the role of collaborative thought and processes in creative work across the domain of music including: composition, musicology, performance, music education and music psychology.
Contents: Part I Introduction: Collaborative creativity and creative collaboration: troubling the creative imaginary, Margaret S. Barrett. Part II Collaborative Creativity in Compositional Thought and Practice: The scattering of light: shared insights into the collaborative and cooperative processes that underpin the development and performance of a commissioned work, Margaret S. Barrett, Andrew Ford, Patrick Murphy, Patricia Pollett, Elizabeth Sellars and Liam Viney; No stone unturned: mapping composer-performer collaboration, Elliott Gyger; Learning to collaborate in code: negotiating the score in a symphony orchestra composers' school, Karlin Love and Margaret S. Barrett; Collaborating across musical style boundaries, Robert Davidson; We are all musical: investigating improvisation as collaborative creativity, Raymond MacDonald; Rimsky-Korsakov and Musorgsky: a posthumous collaboration?, Simon Perry. Part III Collaborative Creativity as Boundary Crossing: Perspectives from Music Performance and Musicology: Creative collaborative thought and puzzle canons in Renaissance music, Denis Collins; The spirit of Chinese creativity in 21st-century Cantonese culture, Samuel Leong; An historical perspective on creative collaboration: the composition of theatrical dance music at the early modern German court, Samantha Owens; Collaboration in duo piano performance - 'piano spheres', Liam Viney and Anna Grinberg; Creative collaboration in generating an affective contemporary production of a 17th-century opera, Jane W. Davidson; Collaborative re-creation: a case study of a pianist recording Australian women composers, Katie Zhukov. Part IV Emergent Creativity in Collaborative Thought and Practice: Perspectives from Music Education: Supporting collaboration in changing cultural landscapes: operabyyou.com as an arena for creativity in 'kaleidoscopic music', Heidi Partti; Thorns and joys in creative collaboration: a project with music education and visual arts students, Graca Mota; Towards pedagogies of creative collaboration: guiding secondary school students' music compositions, Oscar Odena; 'Literacy through music' - a multidisciplinary and multilayered creative collaboration, Jo Saunders, Julian Knight, Angela Hobsbaum, Evangelos Himonides and Graham Welch. Part V Postlude: Musical performance as collaborative practice, Keith Sawyer. Index.