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.
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