{"title":"On Genre, History, and Invention in the Analysis of Creative Processes in Music","authors":"Georgina Born","doi":"10.1093/oxfordhb/9780190636197.013.4","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190636197.013.4","url":null,"abstract":"The chapter opens by reviewing recent directions in analyzing the creative process in music: research focused on the performer as creative actor, the contributions of nonhuman actors, the conditions within which the composer works, and the creative process as underdetermined and emergent. The chapter assesses the explanatory power of these directions and the extent to which they can be integrated, arguing that such approaches are necessary but not sufficient. Instead, the chapter proposes the need for anti-reductionist, explanatory accounts that probe the historicity of the creative process, the temporalities in which it is entangled, and how these relate to both the complexities of aesthetic identification and disidentification and the institutional conditions within which creativity proceeds—the last two issues highlighted by theories of genre. Thinking of the creative process in music in relation to genre highlights its profoundly social and temporal nature and how it cannot be reduced to individual creators and their actions.","PeriodicalId":413007,"journal":{"name":"The Oxford Handbook of the Creative Process in Music","volume":"1 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":"114076547","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}
{"title":"“Study, practice, and a reasonable working method”","authors":"M. Aschauer","doi":"10.1093/oxfordhb/9780190636197.013.11","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190636197.013.11","url":null,"abstract":"This article presents the first step toward a hitherto unwritten history of creative process pedagogy in the territories of the Holy Roman Empire between 1500 and 1850. In answering the question of how musical creativity was taught and learned beyond the obvious theoretical aspects of composition such as counterpoint, harmony, and instrumentation, it analyzes a plethora of treatises, composer’s sketches, and study manuscripts to identify and describe important pedagogical trends and methodologies. These include, for example, the use of principles from classical Latin rhetoric and, as a derivative technique, the study and use of loci or musical commonplaces. Musical “shorthand” notation such as partimento and figured bass are investigated as basis for the sketches and drafts by composers of the Classical period which, in 19th-century treatises, became the foundation for creative process pedagogy themselves.","PeriodicalId":413007,"journal":{"name":"The Oxford Handbook of the Creative Process in Music","volume":"17 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":"125620101","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}
{"title":"Creative Process as Labor","authors":"Pierre-Michel Menger","doi":"10.1093/oxfordhb/9780190636197.013.8","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190636197.013.8","url":null,"abstract":"This chapter synthesizes a large body of sociological research dedicated to artistic creation as a labor-intensive activity. Questioning the nineteenth-century expressivist ideal of self-actualization, contemporary ontologies—whether defined by artists, scholars, or various professional assessors—function within two opposing regimes: elite egalitarianism and competing differentiation. Adopting a processual perspective, the chapter first turns to creation as a sequence of choices and tests realized under strict uncertainty of results, with an extreme discrepancy between accumulated efforts and reputational as well as monetary outcomes. Second, the chapter follows the downstream production of aesthetic value, turning to scores and performances and the reallocation of creative roles they rest upon. Third, the chapter sketches a genealogy of finishedness, from Romantic idealization to modern relativization, with a special focus on the completion of uncompleted works. Finally, the chapter outlines several caveats regarding the study of the creative process and their consequence for the sociology of labor, work, and innovation.","PeriodicalId":413007,"journal":{"name":"The Oxford Handbook of the Creative Process in Music","volume":"6 4 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":"129294060","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}
{"title":"On Composers and Computers","authors":"G. Nierhaus","doi":"10.1093/oxfordhb/9780190636197.013.27","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190636197.013.27","url":null,"abstract":"The chapter describes the manifold interactions between composers and computers in the creative process. Over time, this dialogue dating back to the 1950s has transcended the paradigm of the traditional compositional process and lead to a number of interesting implications and side effects in the context of current trends in algorithmic composition, generative music, and computational creativity. It is not just the computer but also the choice of software and a specific view on the musical material that are the decisive factors in generative and analytical approaches (which are often interlinked), where strategies of musical representation and the choice of a particular mapping are of crucial importance. Finally, the chapter examines how creativity can be defined and located in this interaction between human and machine.","PeriodicalId":413007,"journal":{"name":"The Oxford Handbook of the Creative Process in Music","volume":"209 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":"128765319","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}