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.
’This collection of articles questions our deeply-rooted individualistic - and often elitist - view of creativity by illustrating the plethora of ways collaboration both underpins creative musical activities and can significantly expand the possibilities for creative thought and practices. The book is important and much-needed reading for the profession across the disciplines of composition, performance, music education, musicology and beyond.’ Heidi Westerlund, Sibelius Academy, Helsinki, Finland ’Creative collaboration is increasingly recognized as a key issue in understanding music practice. This new book provides a rich buffet of exciting topics within the area of creative collaboration, from compositional thought and practice, through crossing boundaries to music performance and musicology across settings and cultures. Sophisticated, creative and very well informed by broader literature in education and the social sciences, this is a thought-provoking and enriching book. Warmly and enthusiastically recommended!’ Liora Bresler, College of Education at Illinois, Champaign, USA
The theme for the series is the psychology of music, broadly defined. Topics include (i) musical development at different ages, (ii) exceptional musical development in the context of special educational needs, (iii) musical cognition and context, (iv) culture, mind and music, (v) micro to macro perspectives on the impact of music on the individual (from neurological studies through to social psychology), (vi) the development of advanced performance skills and (vii) affective perspectives on musical learning. The series presents the implications of research findings for a wide readership, including user-groups (music teachers, policy makers, parents) as well as the international academic and research communities. This expansive embrace, in terms of both subject matter and intended audience (drawing on basic and applied research from across the globe), is the distinguishing feature of the series, and it serves SEMPRE’s distinctive mission, which is to promote and ensure coherent and symbiotic links between education, music and psychology research.