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The Oxford Handbook of the Creative Process in Music最新文献

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Ethnomusicology of the Creative Process 创作过程的民族音乐学
The Oxford Handbook of the Creative Process in Music Pub Date : 2021-07-14 DOI: 10.1093/oxfordhb/9780190636197.013.2
E. Olivier
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引用次数: 0
Choreographers and Musicians in Collaboration, from the Twentieth to the Twenty-First Century 编舞家与音乐家的合作，从二十世纪到二十一世纪
The Oxford Handbook of the Creative Process in Music Pub Date : 2018-05-08 DOI: 10.1093/OXFORDHB/9780190636197.013.6
S. Jordan
{"title":"Choreographers and Musicians in Collaboration, from the Twentieth to the Twenty-First Century","authors":"S. Jordan","doi":"10.1093/OXFORDHB/9780190636197.013.6","DOIUrl":"https://doi.org/10.1093/OXFORDHB/9780190636197.013.6","url":null,"abstract":"Traditionally, dance has always needed music, although over the last century, this relationship has frequently been questioned. This chapter charts key historical shifts in choreomusical thinking, followed by a series of contemporary case studies demonstrating a range of approaches to, as well as commonalities across time in, the theories and practices of collaboration. Evidence shows increasingly independent, multidimensional, even oppositional relations between music and dance and a new fluidity in the behavior of artists, enabled partly by the advent of super-fast technology. In dance, relatively little information is available on the nature of creative processes, especially on musical issues. For the case studies, this chapter incorporates new interview material with choreographers and musicians based in the UK: Wayne McGregor, at home in both contemporary dance and ballet; Shobana Jeyasingh, who draws from South Asian classical and Western dance practices; and the performance duo Jonathan Burrows and Matteo Fargion.","PeriodicalId":413007,"journal":{"name":"The Oxford Handbook of the Creative Process in Music","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-05-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130354392","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Songwriting, Digital Audio Workstations, and the Internet 歌曲创作、数字音频工作站和互联网
The Oxford Handbook of the Creative Process in Music Pub Date : 2018-05-08 DOI: 10.1093/OXFORDHB/9780190636197.013.28
J. Bennett
{"title":"Songwriting, Digital Audio Workstations, and the Internet","authors":"J. Bennett","doi":"10.1093/OXFORDHB/9780190636197.013.28","DOIUrl":"https://doi.org/10.1093/OXFORDHB/9780190636197.013.28","url":null,"abstract":"This chapter investigates the interrelationship between songwriting process and product, focusing on two digital tools that became available to songwriters toward the end of the twentieth century: the digital audio workstation (DAW) and broadband internet connectivity. Two songwriter case studies are used—a “digital immigrant” who began to write songs professionally before either of these tools were available, and a “digital native” who has always used DAWs and an internet connection in his songwriting. The participants were asked to describe their creative processes in detail, and to reflect on how these tools may have influenced their decision making and artistic direction. From these and other studies the author attempts to describe behaviors and affordances engendered by digitally enabled songwriters and to speculate regarding these tools’ influence on the creative product.","PeriodicalId":413007,"journal":{"name":"The Oxford Handbook of the Creative Process in Music","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-05-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116001997","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 4
Cultural Heritage, Information Science, and the Creative Process 文化遗产、信息科学与创造过程
The Oxford Handbook of the Creative Process in Music Pub Date : 2018-05-08 DOI: 10.1093/OXFORDHB/9780190636197.013.33
G. Boutard, C. Guastavino
{"title":"Cultural Heritage, Information Science, and the Creative Process","authors":"G. Boutard, C. Guastavino","doi":"10.1093/OXFORDHB/9780190636197.013.33","DOIUrl":"https://doi.org/10.1093/OXFORDHB/9780190636197.013.33","url":null,"abstract":"The creative process has recently garnered research attention in the field of information science. Multiple authors have proposed original research directions and methods relating to the creative process with the goals of preserving, curating, and disseminating cultural heritage. This body of research provides empirical grounds for the development of better tools for artistic practice and, at a theoretical level, brings another interdisciplinary perspective on the creative process. The field of information science investigates the creative process through the lens of different theoretical frameworks, stemming notably from psychology, sociology, and linguistics. Research areas include empirical studies on music information–seeking behavior, creative process modeling, digital humanities projects for repertoire analysis, performance documentation methodologies, preservation frameworks, and theoretical investigations of the relationship between creative processes and archival documents. Together, these studies provide new insights into the field of information science by re-examining established categories of inquiry, as well as methodologies and ontologies pertaining to the field. The relationship between cultural heritage, information science, and the creative process highlights the singularity of the creative process as an object of research and provides a new critical perspective on the domains within which it is being investigated.","PeriodicalId":413007,"journal":{"name":"The Oxford Handbook of the Creative Process in Music","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-05-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129198248","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Musicians’ Strategies for Sustaining Creativity over the Lifespan 音乐家在一生中保持创造力的策略
The Oxford Handbook of the Creative Process in Music Pub Date : 2018-05-08 DOI: 10.1093/OXFORDHB/9780190636197.013.13
Aaron Kozbelt
{"title":"Musicians’ Strategies for Sustaining Creativity over the Lifespan","authors":"Aaron Kozbelt","doi":"10.1093/OXFORDHB/9780190636197.013.13","DOIUrl":"https://doi.org/10.1093/OXFORDHB/9780190636197.013.13","url":null,"abstract":"This chapter examines the claim that high-level creativity may be sustained throughout musicians’ lifespans. It describes two theories of lifespan creativity, the “expertise acquisition” and “blind variation and selective retention” views, and examines historiometric evidence on typical patterns of lifespan creativity, largely based on classical composers. Many results to date suggest that composers often show longitudinal improvement and sustainability as a general trend, but with wide-ranging individual differences in their career trajectories. The chapter also surveys perspectives on cognitive processes undergirding musical creativity and provides some illustrative examples of variability in composers’ creative processes, focusing on self-regulatory themes of evaluation and monitoring as means by which some creators may achieve greater creative sustainability. Finally, the chapter extends the discussion of self-regulation and metacognition to sustainability in other modes of musical creativity: performance and improvisation.","PeriodicalId":413007,"journal":{"name":"The Oxford Handbook of the Creative Process in Music","volume":"117 2","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-05-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114044711","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Getting Out of the Garret 走出阁楼
The Oxford Handbook of the Creative Process in Music Pub Date : 2018-05-08 DOI: 10.1093/OXFORDHB/9780190636197.013.16
Nicholas Cook
{"title":"Getting Out of the Garret","authors":"Nicholas Cook","doi":"10.1093/OXFORDHB/9780190636197.013.16","DOIUrl":"https://doi.org/10.1093/OXFORDHB/9780190636197.013.16","url":null,"abstract":"The previous focus of musical creativity studies on the solitary composer has given way to a focus on collaborative, real-time performance. This chapter discusses a unified approach to both practices, according to which musical creativity is social, but the social is inherent in ostensively solitary work. At the core of this approach is ‘unpredictable emergence’ (Sawyer 2003) out of networks of human and nonhuman agents; this chapter extends Sawyer’s model of creative collaboration in jazz in such a way that it becomes equally applicable to classical and contemporary music making. The same approach is applied to compositional imagination, with particular emphasis on the materiality of bodies, instruments, and notations, and on how representations of music “talk back” to composers and prompt the emergence of unforeseen outcomes. The aim is to provide a more realistic account of musical creativity than the Romantic mythologies that have long skewed research in this area.","PeriodicalId":413007,"journal":{"name":"The Oxford Handbook of the Creative Process in Music","volume":"57 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-05-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128477581","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Pedagogies of Creativity in Music 音乐创造力教学法“，
The Oxford Handbook of the Creative Process in Music Pub Date : 1900-01-01 DOI: 10.1093/oxfordhb/9780190636197.013.10
Margaret S. Barrett
{"title":"Pedagogies of Creativity in Music","authors":"Margaret S. Barrett","doi":"10.1093/oxfordhb/9780190636197.013.10","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190636197.013.10","url":null,"abstract":"This chapter explores the notion of pedagogies of creativity and creative pedagogies in music composition. Drawing on Amabile’s categorization of “domain-relevant” and “creativity-relevant” skills, the chapter uses historical and contemporary examples to indicate the interrelated nature of these skill sets, specifically through a historical case study of the pedagogy of Nadia Boulanger. The chapter presents the notion of composition pedagogy as a “signature pedagogy” that operates as a series of collaborative apprenticeships undertaken in spaces and places of professional practice that promote the cognitive, practical, and moral aspects of composition as a professional practice. In a world where the notion of music creativities is ever expanding, the interdialogic relationship of pedagogies of creativity and creative pedagogies provides a way forward for composition learning and teaching.","PeriodicalId":413007,"journal":{"name":"The Oxford Handbook of the Creative Process in Music","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126975928","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Borrowing in Music 音乐上的借用
The Oxford Handbook of the Creative Process in Music Pub Date : 1900-01-01 DOI: 10.1093/oxfordhb/9780190636197.013.19
F. Sallis
{"title":"Borrowing in Music","authors":"F. Sallis","doi":"10.1093/oxfordhb/9780190636197.013.19","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190636197.013.19","url":null,"abstract":"This text examines the idea and practice of musical borrowing in the composition of art music in two distinct historical contexts: the age of music conceived as oration (ca. 1600–1800) and the age of the strong work concept (ca. 1800 to the present). It shows that the idea of musical borrowing is an evolving, historical concept that needs to be examined contextually in order to understand what it meant in the period within which the music in question was composed, as well as for the specific composer. The text also briefly examines related topics: authorship, plagiarism, imitation vs. emulation, music conceived as oration, and the strong work concept.","PeriodicalId":413007,"journal":{"name":"The Oxford Handbook of the Creative Process in Music","volume":"86 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134314901","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Musical Creativity and Well-Being 音乐创造力与幸福感
The Oxford Handbook of the Creative Process in Music Pub Date : 1900-01-01 DOI: 10.1093/oxfordhb/9780190636197.013.14
R. MacDonald, G. Wilson, F. Baker
{"title":"Musical Creativity and Well-Being","authors":"R. MacDonald, G. Wilson, F. Baker","doi":"10.1093/oxfordhb/9780190636197.013.14","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190636197.013.14","url":null,"abstract":"Participating in musical activities involves an immersive spectrum of psychological and social engagement. Connections between musical participation and health have been discussed for centuries, and relationships between the processes of music making and well-being outcomes have garnered considerable research interest. This chapter reviews studies investigating such associations to identify how creative aspects of musical engagement in particular can be understood to enhance health. The chapter begins by offering some suggestions about why these processes may have beneficial effects. Three key contexts for beneficial musical engagement (music education, music therapy, and community music) are examined: an organization (Limelight) that delivers music activities for individuals from disadvantaged groups; group improvisation music therapy sessions for individuals with cancer; and songwriting sessions for individuals following spinal injury. The relative contributions of creative process and creative product are considered, and psychological concepts such as identity, flow, agency, and scaffolding are suggested as important. The discussion extrapolates wider implications of this work to include general music making beyond clinical, educational, and community contexts.","PeriodicalId":413007,"journal":{"name":"The Oxford Handbook of the Creative Process in Music","volume":"38 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122966608","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Freedom and Spontaneity in the Creative Process: Lessons from Experimental Music 创作过程中的自由和自发性:实验音乐的经验教训
The Oxford Handbook of the Creative Process in Music Pub Date : 1900-01-01 DOI: 10.1093/oxfordhb/9780190636197.013.18
David W. Bernstein
{"title":"Freedom and Spontaneity in the Creative Process: Lessons from Experimental Music","authors":"David W. Bernstein","doi":"10.1093/oxfordhb/9780190636197.013.18","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190636197.013.18","url":null,"abstract":"This chapter focuses on composers who explored freedom and spontaneity in the creative process as alternatives to compositional systems with various formal rules and constraints. John Cage used chance operations and indeterminacy to compose music that allowed listeners unlimited interpretative freedom. Pauline Oliveros designed human/machine interfaces that created feedback resembling human intuitive and spontaneous interactivity. David Tudor created “live” electronic music in its most literal sense with idiosyncratic sound systems that produced sounds that took on a “life of their own.” Frederic Rzewski viewed spontaneous music as a transcendent and transformative creative process available to both musicians and non-musicians. Roscoe Mitchell developed composition/improvisation hybrids that challenge traditionally held assumptions about musical works in the Western canon. Embracing freedom and spontaneity as aesthetic values made it possible for these composers to challenge the dominant political ideology and its social conventions.","PeriodicalId":413007,"journal":{"name":"The Oxford Handbook of the Creative Process in Music","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132764958","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
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