‘Recercar’ – The Collaborative Process as Invention

Fitch, Fabrice; Heyde, Neil

doi:10.1017/s1478572207000539

Cited by 18 publications

(5 citation statements)

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“…Following examples by Clarke et al (2005), Fitch and Heyde (2007), and Clarke et al (2013), first-hand insight and knowledge involves participants as researchers in the creative process. Co-authorship with the composer enables more searching questions to be considered and reconsidered through the composer–researcher dialogue than might otherwise have been the case.…”

Section: Methodsmentioning

confidence: 99%

Creative layers and continuities: A case study of Nicole Lizée and the Kronos Quartet

Bayley

Lizée²

2016

Musicae Scientiae

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This study examines the creative layers and continuities evident within the composition and rehearsal processes of Nicole Lizée's Golden Age of the Radiophonic Workshop (Fibre-Optic Flowers), written for the Kronos Quartet in 2012. Lizée's compositional approach to the historic and the new, and the mechanical and the human, are interpreted through Simon Emmerson's three themes of combination, transformation, and control, and his three "impulses within composition" that combine live and acousmatic soundworlds-integration, antithesis, and coexistence. These concepts also help to articulate the way the players engage with the physical, psychological, and expressive demands of the piece. Discussions arising from the Kronos Quartet rehearsing the piece with the composer reveal how extensions are made to the performers' mind and body experiences when they are required both to initiate and integrate sounds emanating from unfamiliar, analogue machines into their acoustic, yet amplified soundworld. Creative layers and continuities are seen to evolve from compositional experimentation and from composer-performer and co-performer dialogues in rehearsal in the BBC Maida Vale studio prior to the world premiere at a BBC Prom concert on

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Section: Methodsmentioning

confidence: 99%

Creative layers and continuities: A case study of Nicole Lizée and the Kronos Quartet

Bayley

Lizée²

2016

Musicae Scientiae

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“…Such pragmatic approaches may well be beneficial to both parties, but they come at the cost of reinforcing the boundaries inherent in their respective roles. We have felt it worthwhile to present an account of our work, in so far as it represents a more dynamic model of the collaborative process, in order to articulate some of the ways in which creative practice may be understood as research (FITCH;HEYDE, 2007, p. 93).…”

Section: Collaborationmentioning

confidence: 99%

Shared musical creativity: teaching composer-performer collaboration

Cardassi¹,

Bertissolo²

2020

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This paper focuses on teaching composerperformer collaboration as a path to new paradigms of 21st century art-making. First, we discuss the interplay between theory and practice in creative musical processes, with special attention to the performative modality of composition.Then, we approach collaboration itself, considering how the term has been both overused and misunderstood for decades.Finally, we present a case study of teaching composerperformer collaboration at the graduate level, in the "Atelier for Composition and Performance" (Ateliê de Composição e Performance Contemporânea), at the Federal University of Bahia.

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“…This growing attention to the subjective experience of the performer has led musicians to become increasingly involved in the research process, whether as participants or as researchers themselves. A recent but rapidly expanding body of literature seeks to document the creative process from “within,” with performer-researchers investigating their own professional practice (Barrett et al, 2014; Doğantan-Dack, 2012; Fitch & Heyde, 2007; Gyger, 2014; Hayden & Windsor, 2007; Kanga, 2014; Roche, 2011; Roe, 2007). Following investigations into expert pianists’ rehearsal and performance practices led by Roger Chaffin (Chaffin, Imreh, & Crawford, 2002; Chaffin, Imreh, Lemieux, & Chen, 2003), a study by Eric Clarke, Nicholas Cook, Bryn Harrison, and Philip Thomas (2005) was one of the first of its kind to incorporate the perspectives of the composer, performer, and analyst, synthesising qualitative and quantitative methods in order to investigate the preparation and performance of a complexly notated piano work.…”

Section: Musical Performance Studies: a Move To The “Real World”mentioning

confidence: 99%

Creativity beyond innovation: Musical performance and craft

Payne

2016

Musicae Scientiae

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While creativity has been defined in a multiplicity of ways across disciplines, scholars generally agree that it involves the generation of ideas or products that are novel, of value, and appropriate to the field. Yet by too readily connecting creativity in musical performance to innovation, does this model neglect the more inconspicuous and Op. 28 (1969). My argument draws attention to "everyday" aspects of music-making, in which musicians make decisions in engaging with their work which are less explicit than the conventional "moments of revelation" that are prevalent in the literature, but which are nonetheless significant. Acknowledging these attributes of musicians' performance practices can serve to develop a more nuanced understanding of creativity based on processes rather than outcomes, in order to move beyond a paradigm that opposes notated permanence to improvised transience.

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‘Recercar’ – The Collaborative Process as Invention

Cited by 18 publications

References 0 publications

Creative layers and continuities: A case study of Nicole Lizée and the Kronos Quartet

Creative layers and continuities: A case study of Nicole Lizée and the Kronos Quartet

Shared musical creativity: teaching composer-performer collaboration

Creativity beyond innovation: Musical performance and craft

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