Music as creative practice
著者
書誌事項
Music as creative practice
（Studies in musical performance as creative practice, 5）
Oxford University Press, c2018
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注記
Includes bibliographical references (p. 219-237) and index
内容説明・目次
内容説明
Until recently, ideas of creativity in music revolved around composers in garrets and the lone genius. But the last decade has witnessed a sea change: musical creativity is now overwhelmingly thought of in terms of collaboration and real-time performance. Music as Creative Practice is a first attempt to synthesize both perspectives. It begins by developing the idea that creativity arises out of social interaction-of which making music together is perhaps the clearest possible illustration-and then shows how the same thinking can be applied to the ostensively solitary practices of composition. The book also emphasizes the contextual dimensions of musical creativity, ranging from the prodigy phenomenon, long-term collaborative relationships within and beyond the family, and creative learning to the copyright system that is supposed to incentivize creativity but is widely seen as inhibiting it.
Music as Creative Practice encompasses the classical tradition, jazz and popular music, and music emerges as an arena in which changing concepts of creativity-from the old myths about genius to present-day sociocultural theory-can be traced with particular clarity. The perspective of creativity tells us much about music, but the reverse is also true, and this fifth and last instalment of the Studies in Musical Performance as Creative Practice series offers an approach to musical creativity that is attuned to the practices of both music and everyday life.
目次
Table of Contents
List of figures
Acknowledgements
Introduction: creativity in context
1 Making music together
1 Listening together
2 From the inside out
3 You do an up-bow, I do a down-bow
4 Beyond real time
5 Production as relational practice
6 Assemblages in action
7 Creativity on the other side
2 Imagining music
1 Cultures of imagination
2 Composition by stages
3 Improvisations on paper
4 Seeing through the myths
5 Sonic ontology
6 The extended musical mind
7 Talking back
3 Creative in a different sort of way
1 The ghost in the machine
2 Significant others
3 The composer's alter ego
4 Traditions of creative learning
5 Pathways to creative performance
6 Owning creativity
7 A culture of creative repetition
Conclusion: creativity everywhere
References
Index
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