Collaborative Creative Thought and Practice in Music

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I: Introduction
1: Collaborative Creativity and Creative Collaboration: Troubling the Creative Imaginary
II: Collaborative Creativity in Compositional Thought and Practice
2: The Scattering of Light: Shared Insights into the Collaborative and Cooperative Processes that Underpin the Development and Performance of a Commissioned Work
3: No Stone Unturned: Mapping Composer–Performer Collaboration
4: Learning to Collaborate in Code: Negotiating the Score in a Symphony Orchestra Composers' School
5: Collaborating Across Musical Style Boundaries
6: We Are All Musical: Investigating Improvisation as Collaborative Creativity
7: Rimsky-Korsakov and Musorgsky: A Posthumous Collaboration?
III: Collaborative Creativity as Boundary Crossing: Perspectives from Music Performance and Musicology
8: Creative Collaborative Thought and Puzzle Canons in Renaissance Music
9: The Spirit of Chinese Creativity in Twenty-first-century Cantonese Culture
10: An Historical Perspective on Creative Collaboration: The Composition of Theatrical Dance Music at the Early Modern German Court
11: Collaboration in Duo Piano Performance – ‘Piano Spheres'
12: Creative Collaboration in Generating an Affective Contemporary Production of a Seventeenth-century Opera
13: Collaborative Re-creation: A Case Study of a Pianist Recording Australian Women Composers
IV: Emergent Creativity in Collaborative Thought and Practice: Perspectives from Music Education
14: Supporting Collaboration in Changing Cultural Landscapes: http://operabyyou.com as an Arena for Creativity in ‘Kaleidoscopic Music'
15: Thorns and Joys in Creative Collaboration: A Project with Music Education and Visual Arts Students
16: Towards Pedagogies of Creative Collaboration: Guiding Secondary School Students' Music Compositions
17: ‘Literacy Through Music' – A Multidisciplinary and Multilayered Creative Collaboration
V: Postlude
18: Musical Performance as Collaborative Practice

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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.

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