Conducting the in-between: improvisation and intersubjective engagement in soundpainted electro-acoustic ensemble performance

Creative Collaboration and Collaborative Creativity: A Systematic Literature Review

“…Within higher education, van Nort ( 2018 ) carried out a piece of practice-based research using participant observation to explore intersubjectivity within an electroacoustic orchestra performance where the music-making was guided by a form of improvised conducting known as Sound-painting. With a similar interest in electronic music contexts, Freeman and Van Troyer ( 2011 ) explored processes associated with real-time creativity, or the fusion between improvisation and composition.…”

“…Of those concerned with collaborative creative learning , six studies were carried out in higher education (Barrett, 2006 ; Barrett and Gromko, 2007 ; Blom, 2012 ; Dobson and Littleton, 2016 ; Virkkula, 2016 ; de Bruin et al, 2019 ) and two in the context of professional development (de Bruin, 2016 ; Brinck, 2017 ). Where the phenomenon of interest was conceptualized as creative collaboration , one study was carried out in the context of higher education (van Nort, 2018 ), four studies were located in professional practice contexts (Khodyakov, 2007 ; Hill and Fitzgerald, 2012 ; Morgan et al, 2015 ; Hill et al, 2018 ), and one was undertaken in a community context (Tan et al, 2020 ). Finally, among the papers where collaborative creativity was the core concept, one study was located in higher education (Freeman and Van Troyer, 2011 ), three were concerned with professional development (Biasutti, 2015 , 2018 ; de Bruin, 2019 ), five were concerned with professional practice (MacDonald and Wilson, 2006 ; Wilson and MacDonald, 2012 , 2017 ; Marchini et al, 2014 ) and one study was located in a community context (Kenny, 2014 ) ( Table 9 ).…”

“…Papers were coded in the creative collaboration category when their focus was on collaborative processes, with creativity embedded within the collaboration. Studies within this category drew upon sociocultural perspectives (e.g., Khodyakov, 2007 ), the theory of flow (e.g., Morgan et al, 2015 ; Hill et al, 2018 ; Tan et al, 2020 ) and intersubjectivity (e.g., van Nort, 2018 ). Key facets of creative collaboration, as discussed in this group of papers, were non-hierarchical approaches, a collectivist mindset where all members of the group have “equal contributional potential” (van Nort, 2018 , p. 68) and unpredictable outcomes, alongside the idea of emergent intentionality in creative practice unfolding over time.…”

“…Studies within this category drew upon sociocultural perspectives (e.g., Khodyakov, 2007 ), the theory of flow (e.g., Morgan et al, 2015 ; Hill et al, 2018 ; Tan et al, 2020 ) and intersubjectivity (e.g., van Nort, 2018 ). Key facets of creative collaboration, as discussed in this group of papers, were non-hierarchical approaches, a collectivist mindset where all members of the group have “equal contributional potential” (van Nort, 2018 , p. 68) and unpredictable outcomes, alongside the idea of emergent intentionality in creative practice unfolding over time. A feature of creative collaboration is that “the nature and quality of the interactions between ensemble members is a critical determinant of musical outcomes” (Hill and Fitzgerald, 2012 , p. 169), or as discussed by Tan et al ( 2020 ), the intersection of relationship, community and peak musical experiences.…”

Design Considerations for Real-Time Collaboration with Creative Artificial Intelligence

“…In human-human music improvisation it is through the music that communication and negotiation primarily takes place. Whilst a plethora of extra-musical communication channels are involved, such as physical gestures, eye contact, and even verbal cues, these are often seen as secondary across jazz [35], free [36], and electroacoustic [37] improvisation genres. Similarly, interactive music systems such as Cypher [38], OSCAR [39], Voyager [40] and CIM [41] privilege this mode of "performance-as-interface" [42] whether or not some additional parametric controls are exposed.…”