Conflict in collaborative musical composition: A case study

Hill, Matthew; Hill, Barry; Walsh, Robert

doi:10.1177/0305735617704712

Cited by 11 publications

(15 citation statements)

References 14 publications

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“…Similar to Morrow (2013), Hill, Hill, andWalsh (2018) found that the process of making a collaborative instrumental composition was not only marked by instruction, cooperation, and collaboration, which were conducive to collective flow, but also conflict. In their autoethnographic work, a band member used abusive language when challenge-skill balance was absent, while another completely stopped playing when he lost concentration and became uncertain of a clear goal.…”

Section: Review Of Qualitative Studiessupporting

confidence: 58%

“…The complexity of ensemble performance, in contrast to solo acts, demands different roles and instruments which necessitate interdependence, and as such, the collective desire and involvement of its members is crucial for peak performance (Carter, 2014). The type of communication between members is also essential to collective flow, with Morrow (2013) and Hill et al (2018) positing the destabilizing effect of conflict and abusive language on an ensemble.…”

Section: Discussionmentioning

confidence: 99%

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A PRISMA review of collective flow experiences in music contexts

Tay

Tan

Goh

2019

Psychology of Music

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This PRISMA (Preferred Reporting Items for Systematic Reviews and Meta-Analyses) review examines collective flow experiences in music contexts. Articles ( N = 598) were searched using a publicly available scholarly literature search engine and critically evaluated for inclusion. The result of 20 articles matching the search criteria reveals a scarcity of theoretical and empirical studies that examine collective flow in music contexts. Our meta-analysis indicated that collective flow is an emergent phenomenon and the available studies reiterate the importance of (1) subsuming of individual goals to the collective level, such that “I” becomes “we”; (2) coalescing of individual skills to meet collective challenges; and (3) coordination of the contributions of individuals to a coherent collective performance. The work of R. Keith Sawyer, in particular, was the most salient and frequently cited among scholars studying collective flow in music contexts. We hope that this review provides the groundwork for further research, and for scholars to further examine the prerequisites, characteristics, and benefits of collective flow as experienced by musicians through collaborative musical activities.

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Section: Review Of Qualitative Studiessupporting

confidence: 58%

Section: Discussionmentioning

confidence: 99%

A PRISMA review of collective flow experiences in music contexts

Tay

Tan

Goh

2019

Psychology of Music

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“…Across all of the settings, the methods used were primarily qualitative, with the exception of one self-report rating scale questionnaire (Morgan et al, 2015 ), statistical analyses of features of expressivity extracted from multimodal recordings (Marchini et al, 2014 ) and quantitative analysis of computer code (Freeman and Van Troyer, 2011 ). Among the qualitative studies, approaches to analysis included thematic analysis (e.g., Barrett, 2006 ; Barrett and Gromko, 2007 ), discourse analysis (MacDonald and Wilson, 2006 ; Wilson and MacDonald, 2012 ; Dobson and Littleton, 2016 ), content analysis (Freeman and Van Troyer, 2011 ; Virkkula, 2016 ; de Bruin et al, 2019 ), interpretative phenomenological analysis (IPA: Wilson and MacDonald, 2017 ) and finally, the constant comparative method (Blom, 2012 ; Biasutti, 2015 , 2018 ; Hill et al, 2018 ).…”

Section: Resultsmentioning

confidence: 99%

“…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 ).…”

Section: Resultsmentioning

confidence: 99%

Creative Collaboration and Collaborative Creativity: A Systematic Literature Review

2021

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Studies of creativity emerging from cultural psychology and social psychology perspectives challenge individualist conceptions of creativity to argue that social interaction, communication, and collaboration are key elements in creativity. In recent work creative collaboration has been proposed to be “distributed” between audiences, materials, embodied actions, and the historico-socio-cultural affordances of the creative activity and environment, thus expanding the potentialities of creative collaboration beyond instances of direct human interaction and engagement. Music performance, improvisation and composition may be viewed as exemplary “laboratories” of creative collaboration through the combined elements of audiences, materials, embodied actions and historico-socio-cultural affordances and constraints. This article reports the findings of a systematic literature review of creative collaboration and collaborative creativity in music. We sought to identify what has been currently investigated in relation to these terms and concepts in music, with what methodologies and in what settings. Findings indicate that studies were undertaken in higher education, professional development and professional practice predominantly, leading to an emergent phenomenon of interest, collaborative creative learning. Musical genres were jazz, popular, western classical, contemporary and world musics across the musical processes of composing, improvising and performing. Studies in higher education and professional development settings focused on identifying those practices that supported learning rather than the nature of collaborative creative approaches or the outcomes of creative collaboration. Participants were primarily male, with small sample sizes. Methodologies were largely qualitative with an emphasis on case study using observation, interview and reflective diary methods. Further areas for research include: the investigation of gendered approaches to creative collaboration, collaborative creativity, and collaborative creative learning; the use of more diverse research methodologies and methods and techniques including large-scale quantitative studies and arts-based and arts-led approaches; and the investigation of more diverse music settings.

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“…Gaggioli and colleagues (2017) applied the "Networked Flow" model to examine group collaboration among 75 musicians from Italy and found associations between intrinsic motivation (autotelic experience) and emotional connection (emotional contagion), supporting the notion that the emotional aspects of social presence facilitate group flow. Most recently, Hill, Hill, and Walsh (2018) examined group flow in a collaborative compositional context while Bishop (2018) argued for the need to clarify group flow through further research.…”

Section: Collective Flow In Music Contextsmentioning

confidence: 99%

“Ngeli”: Flowing together in a Gamelan ensemble

Tan

Tjoeng

Sin

2020

Psychology of Music

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The purpose of this study was to examine the collective flow experiences of participants while playing in a Gamelan ensemble. Participants were 15 members of a Gamelan ensemble in Singapore who were prompted to articulate their phenomenological experiences through extensive semi-structured interviews. Their responses were then transcribed and analyzed for emergent themes with initial codes guided by flow and collective flow theories. Three themes emerged from the data: community, chemistry, and collective peak. The Javanese term “ ngeli” surfaced from the interviews as a parallel notion to the Western concept of flow. Implications for theory and practice were proffered in light of the findings.

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Conflict in collaborative musical composition: A case study

Cited by 11 publications

References 14 publications

A PRISMA review of collective flow experiences in music contexts

A PRISMA review of collective flow experiences in music contexts

Creative Collaboration and Collaborative Creativity: A Systematic Literature Review

“Ngeli”: Flowing together in a Gamelan ensemble

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