Music as creative practice:
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 attemp...
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
New York, NY, United States of America
Oxford University Press
[2018]
|
| Schriftenreihe: | Studies in musical performance as creative practice
volume 5 |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Zusammenfassung: | 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. - Nicholas Cook is Emeritus Professor of Music at the University of Cambridge and a Fellow of the British Academy. His book Music: A Very Short Introduction (1998) has been translated into seventeen languages, and his The Schenker Project (2007) won the Society for Music Theory's Wallace Berry Award. His most recent monograph is Beyond the Score: Music as Performance (2013). |
| Beschreibung: | xiv, 248 Seiten Illustrationen |
| ISBN: | 9780199347803 |
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| 520 | |a 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. - Nicholas Cook is Emeritus Professor of Music at the University of Cambridge and a Fellow of the British Academy. His book Music: A Very Short Introduction (1998) has been translated into seventeen languages, and his The Schenker Project (2007) won the Society for Music Theory's Wallace Berry Award. His most recent monograph is Beyond the Score: Music as Performance (2013). | ||
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Datensatz im Suchindex
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|---|---|
| adam_text | CONTENTS
Acknowledgements ix
List of illustrations xi
Introduction: creativity in context 1
1 Making music together 15
Listening together 15
From the inside out 22
You do an up-bow, I do a down-bow 29
Beyond real time 37
Production as relational practice 45
Assemblages in action 52
Creativity on the other side 64
2 Rethinking the garret 69
Cultures of imagination 69
Composition by stages 75
Improvisations on paper 85
Seeing through the myths 96
Sonic ontology 108
The extended musical mind 117
Talking back 128
3 Creative in a different sort of way 135
The ghost in the machine 135
Significant others 145
The composer’s alter ego 155
Traditions of creative learning 163
Pathways to creative performance 170
Owning creativity 177
A culture of creative repetition 187
Conclusion: creativity everywhere 196
Notes 213
References 219
Index 238
|
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| discipline | Musikwissenschaft |
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| language | English |
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| spelling | Cook, Nicholas 1950- Verfasser (DE-588)114097305 aut Music as creative practice Nicholas Cook New York, NY, United States of America Oxford University Press [2018] © 2018 xiv, 248 Seiten Illustrationen txt rdacontent n rdamedia nc rdacarrier Studies in musical performance as creative practice volume 5 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. - Nicholas Cook is Emeritus Professor of Music at the University of Cambridge and a Fellow of the British Academy. His book Music: A Very Short Introduction (1998) has been translated into seventeen languages, and his The Schenker Project (2007) won the Society for Music Theory's Wallace Berry Award. His most recent monograph is Beyond the Score: Music as Performance (2013). Music / Performance Composition (Music) / Collaboration Creation (Literary, artistic, etc.) Musizieren (DE-588)4170838-6 gnd rswk-swf Kreativität (DE-588)4032903-3 gnd rswk-swf Musik (DE-588)4040802-4 gnd rswk-swf Musik (DE-588)4040802-4 s Musizieren (DE-588)4170838-6 s Kreativität (DE-588)4032903-3 s DE-604 Erscheint auch als Online-Ausgabe, Oxford Scholarly Online 978-0-19-934783-4 (DE-604)BV044908033 Studies in musical performance as creative practice volume 5 (DE-604)BV045002566 5 Digitalisierung BSB München - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=030305113&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Cook, Nicholas 1950- Music as creative practice Studies in musical performance as creative practice Music / Performance Composition (Music) / Collaboration Creation (Literary, artistic, etc.) Musizieren (DE-588)4170838-6 gnd Kreativität (DE-588)4032903-3 gnd Musik (DE-588)4040802-4 gnd |
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| title | Music as creative practice |
| title_auth | Music as creative practice |
| title_exact_search | Music as creative practice |
| title_full | Music as creative practice Nicholas Cook |
| title_fullStr | Music as creative practice Nicholas Cook |
| title_full_unstemmed | Music as creative practice Nicholas Cook |
| title_short | Music as creative practice |
| title_sort | music as creative practice |
| topic | Music / Performance Composition (Music) / Collaboration Creation (Literary, artistic, etc.) Musizieren (DE-588)4170838-6 gnd Kreativität (DE-588)4032903-3 gnd Musik (DE-588)4040802-4 gnd |
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