Collaborative and Distributed Processes in Contemporary Music-Making
This volume represents the second proceedings of the Royal Musical Association’s (RMA) Music and/as Process Study Group. It is not surprising that a large number of the contributors to the Music and/as Process Study Group are active practitioners in the performance and composition of contemporary music. The collaborations documented here represent the bringing together of disciplines, joint work between practitioners who contribute their own specific areas of expertise to a composite creative activity, and work that crosses disciplines in order to make a critical comment in each of them. In this collection, these three types of collaborative work describe an increasing amount of contemporary music practice.
In addition to the increasing involvement of practice in research, the understanding and prevalence of practice methodologies in the form of practice research has also increased in musicology. This volume reflects these concerns through contributions from authors who are all active practitioners in their respective fields of music performance, composition, improvisation, and conducting. The diversity of these contributions shows the variety of processes and practices that are currently being undertaken by proponents of the field of contemporary music.
These essays provide a snapshot of the current collaborative and distributed processes that are employed by today’s contemporary music practitioners. The chapters contained in this volume reveal the varied nature of the approaches to creativity in music making, and the ways that these are distributed across its practitioners during each stage of the development of musical works.
Lauren Redhead is Senior Lecturer in 20th and 21st Century Music at Goldsmiths, University of London. Her primary research interests are the aesthetics and socio-semiotics of music. She is a composer of experimental music and a performer of music for organ and electronics.
Richard Glover is a composer and writer. His music explores gradual process and perception within reductionist sound environments, and his writing addresses experimental and minimalist approaches to music-making. He is Reader in Music at the University of Wolverhampton, UK.
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