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Collaborative Creative Thought and Practice in Music
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Table of Contents

Contents: Part I Introduction: Collaborative creativity and creative collaboration: troubling the creative imaginary, Margaret S. Barrett. Part II Collaborative Creativity in Compositional Thought and Practice: The scattering of light: shared insights into the collaborative and cooperative processes that underpin the development and performance of a commissioned work, Margaret S. Barrett, Andrew Ford, Patrick Murphy, Patricia Pollett, Elizabeth Sellars and Liam Viney; No stone unturned: mapping composer-performer collaboration, Elliott Gyger; Learning to collaborate in code: negotiating the score in a symphony orchestra composers' school, Karlin Love and Margaret S. Barrett; Collaborating across musical style boundaries, Robert Davidson; We are all musical: investigating improvisation as collaborative creativity, Raymond MacDonald; Rimsky-Korsakov and Musorgsky: a posthumous collaboration?, Simon Perry. Part III Collaborative Creativity as Boundary Crossing: Perspectives from Music Performance and Musicology: Creative collaborative thought and puzzle canons in Renaissance music, Denis Collins; The spirit of Chinese creativity in 21st-century Cantonese culture, Samuel Leong; An historical perspective on creative collaboration: the composition of theatrical dance music at the early modern German court, Samantha Owens; Collaboration in duo piano performance - 'piano spheres', Liam Viney and Anna Grinberg; Creative collaboration in generating an affective contemporary production of a 17th-century opera, Jane W. Davidson; Collaborative re-creation: a case study of a pianist recording Australian women composers, Katie Zhukov. Part IV Emergent Creativity in Collaborative Thought and Practice: Perspectives from Music Education: Supporting collaboration in changing cultural landscapes: operabyyou.com as an arena for creativity in 'kaleidoscopic music', Heidi Partti; Thorns and joys in creative collaboration: a project with music education and visual arts students, Graca Mota; Towards pedagogies of creative collaboration: guiding secondary school students' music compositions, Oscar Odena; 'Literacy through music' - a multidisciplinary and multilayered creative collaboration, Jo Saunders, Julian Knight, Angela Hobsbaum, Evangelos Himonides and Graham Welch. Part V Postlude: Musical performance as collaborative practice, Keith Sawyer. Index.

About the Author

Margaret S. Barrett is Professor and Head of the School of Music and Director of the Creative Collaboratorium Research Group at The University of Queensland, Australia. She has served as President of the International Society for Music Education (2012-2014), Chair of the World Alliance for Arts Education (2013-2015), Chair of the Asia-Pacific Symposium for Music Education (2009-2011) and President of the Australian Society for Music Education (1999-2001). Her research has investigated creative thought and practice across the lifespan and the use of narrative and arts-based research methods in music. Margaret's research is supported by grants from the Australian Research Council and has been reported in the major journals and edited collections of the field. Recent publications include: A Cultural Psychology of Music Education (2011), and Narrative Soundings: An Anthology of Narrative Inquiry in Music (with Sandra Stauffer, 2012).

Reviews

'This collection of articles questions our deeply-rooted individualistic - and often elitist - view of creativity by illustrating the plethora of ways collaboration both underpins creative musical activities and can significantly expand the possibilities for creative thought and practices. The book is important and much-needed reading for the profession across the disciplines of composition, performance, music education, musicology and beyond.' Heidi Westerlund, Sibelius Academy, Helsinki, Finland 'Creative collaboration is increasingly recognized as a key issue in understanding music practice. This new book provides a rich buffet of exciting topics within the area of creative collaboration, from compositional thought and practice, through crossing boundaries to music performance and musicology across settings and cultures. Sophisticated, creative and very well informed by broader literature in education and the social sciences, this is a thought-provoking and enriching book. Warmly and enthusiastically recommended!' Liora Bresler, College of Education at Illinois, Champaign, USA

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