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Studio Based Composers in Collaboration: a Socioculturally Framed Study

Dobson, E.D., Flewitt, R., Littleton, K. and Miell, D. (2011) Studio Based Composers in Collaboration: a Socioculturally Framed Study. Proceedings of the International Computer Music Conference 2011, 2011. pp. 373-376.

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This paper presents research from an ongoing study analyzing the co-creative practice of two undergraduate studio based music composers working with two peers from dance and video production. Whilst empirical research has explored joint creativity and group working processes within and across performing arts disciplines (including music), situations that bring undergraduate studio based composers into interdisciplinary collaborative creating have not previously been studied. Framed by a sociocultural theory of human activity, this research is looking at how creative achievement and the local social context for creative work is constituted through interaction. This paper explains the sociocultural methods used to build a sequential analysis of joint activity, presenting an extracted analysis before concluding with a summary of some early observations of the issues music technology students can face when creating new work collaboratively.

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Item Type: Article
Uncontrolled Keywords: collaboration, creativity, music technology, sociocultural theory
Subjects: H Social Sciences > H Social Sciences (General)
L Education > L Education (General)
L Education > LB Theory and practice of education > LB2300 Higher Education
M Music and Books on Music > M Music
Schools: School of Music, Humanities and Media
Related URLs:
References: [1] Arvaja, M. “Discursive approach for studying contexts in students’ collaborative activity” International Conference on Learning Sciences, Proceedings of the 8th international conference for the learning sciences, 2008. [2] Barnes, D. “Exploratory Talk for Learning” in in Mercer, N., and Hodgkinson, ed., Exploring Talk in Schools Sage Publications, 2008. [3] Gee, J.P. and Green, J.L., “Discourse Analysis, Learning, and Social Practice: A Methodological Study” Review of Research in Education 23 pp119-169,1998 [4] John-Steiner, V . “Creative Collaboration” OUP, USA, 2000 [5] Kovalainen, M., and Kumpulainen, K. “Discourse-Enriched Instruction in the Mathematics Classroom” in Kumpulainen, M,. Hmelo-Silver, C., & César, M., ed., Investigating Classroom Interaction pp43-71, 2000, p48 [6] Linell, P., “Approaching Dialogue: Talk, interaction and contexts in dialogical perspectives” John Benjamins Publishing Company, 1998 [7] Masutov, E., “Intersubjectivity Without Agreement” Mind Culture and Activity 3, pp25-45, 1996, pp31-32 [8] Mercer, N., “Words and Minds: How we use Language to Think Together” Routledge, 2000 p10 [9] Mercer, N., and Littleton, K., “Dialogue and the development of children’s thinking: a sociocultural approach” Routledge, 2007 [10]Moll, L., Amanti, C., Neff, D. and González, N., “Funds of Knowledge for Teaching: Using a Qualitative Approach to Connect Homes and Classrooms” Theory Into Practice XXXI Spring 1992 [11] MacDonald, R., and Miell, D., “Children’s Creative Collaborations: The Importance of Friendship when Working Together on a Musical Composition” Social Development 9 pp348-369, 2000 [12] Nuhn, R., Eaglestone, B., Ford, N., Moore, A. and Brown, G., “ A Qualitative Analysis of Composers at Work” Proceedings of the International Computer Music Conference, Gothenburg, International Computer Music Association, pp597-599, 2002 [13] Sawyer, K. R., “Group Creativity: Music, Theatre, Collaboration” London: Lawrence Erlbaum Associates, 2003 [14]Sawyer, K. R., & DeZutter, S., “Distributed Creativity: How Collective Creations Emerge From Collaboration” Psychology of Aesthetics, Creativity and the Arts 3 pp81-92, 2009 [15]Vygotsky, L., “Mind in Society” Library of Congress Cataloging Publications Data, 1978 [16]Wertsch, J. V., “Mind as Action” OUP, 1998
Depositing User: Eddie Dobson
Date Deposited: 28 Feb 2012 11:42
Last Modified: 28 Aug 2021 20:59


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