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The Dynamics of Composer-Performer R...

Smith, Jonathan.

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The Dynamics of Composer-Performer Relationships: A Study of Long-Term Creative Collaboration.

Record Type:	Electronic resources : Monograph/item
Title/Author:	The Dynamics of Composer-Performer Relationships: A Study of Long-Term Creative Collaboration./
Author:	Smith, Jonathan.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2020,
Description:	205 p.
Notes:	Source: Dissertations Abstracts International, Volume: 82-06, Section: A.
Contained By:	Dissertations Abstracts International82-06A.
Subject:	Music. -
Online resource:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=28024958
ISBN:	9798698546184

The Dynamics of Composer-Performer Relationships: A Study of Long-Term Creative Collaboration.
Smith, Jonathan.

The Dynamics of Composer-Performer Relationships: A Study of Long-Term Creative Collaboration. - Ann Arbor : ProQuest Dissertations & Theses, 2020 - 205 p.

Source: Dissertations Abstracts International, Volume: 82-06, Section: A.

Thesis (D.M.A.)--University of Toronto (Canada), 2020.

This item must not be sold to any third party vendors.

This dissertation investigates the dynamics of long-term collaborative relationships between composers and performers, particularly percussionists, with the aim to present useful models of artistic collaboration. It surveys the history of the composer-performer relationship in the Western concert music tradition, examining the historically rooted assumptions regarding the roles of composers and performers and the function of the score. It also discusses the importance of composer-performer collaboration throughout the history of Western percussion music, highlighting particularly significant examples of collaboration between John Cage and his West Coast Percussion Ensemble; Karlheinz Stockhausen and Christoph Caskel; Steve Reich, Russell Hartenberger and other members of the Steve Reich Ensemble; as well as Iannis Xenakis, Les Percussions de Strasbourgs, and Sylvio Gualda. An argument is made that composer-performer collaboration has been and continues to be especially important to the development of Western percussion music.This dissertation also looks critically at some of the scholarship on collaborative practices in order to establish a theory and methodology for studying collaboration. Beginning with the argument that artistic creativity is inherently a social process (presented by Howard Becker, Dorothy Miell, and Vera John-Steiner), the implications of this idea for the concept of authorship are discussed. Recent scholarship centred specifically on composer-performer interactions has presented various models and criteria for defining degrees of collaboration. This dissertation summarizes and compares these various approaches, assessing their usefulness for the present study.Finally, this dissertation presents the findings from eight interviews conducted with composers and percussionists who have engaged in long-term collaborations spanning at least a decade. These interviews sought to illuminate how these collaborators began working together, how their working relationships developed over time, how they have communicated about their shared work, and what the effects of long-term collaboration have been on their individual practices. Through a qualitative analysis of these interviews, comparing and contrasting the experiences of the interview subjects, this dissertation presents conclusions regarding what general attitudes and approaches can facilitate artistic collaboration. Furthermore, it addresses how these conclusions lead to a deeper understanding of the roles and practices of both composers and performers.

ISBN: 9798698546184Subjects--Topical Terms:

516178
Music.
Subjects--Index Terms:

Collaboration

The Dynamics of Composer-Performer Relationships: A Study of Long-Term Creative Collaboration.
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520 $a This dissertation investigates the dynamics of long-term collaborative relationships between composers and performers, particularly percussionists, with the aim to present useful models of artistic collaboration. It surveys the history of the composer-performer relationship in the Western concert music tradition, examining the historically rooted assumptions regarding the roles of composers and performers and the function of the score. It also discusses the importance of composer-performer collaboration throughout the history of Western percussion music, highlighting particularly significant examples of collaboration between John Cage and his West Coast Percussion Ensemble; Karlheinz Stockhausen and Christoph Caskel; Steve Reich, Russell Hartenberger and other members of the Steve Reich Ensemble; as well as Iannis Xenakis, Les Percussions de Strasbourgs, and Sylvio Gualda. An argument is made that composer-performer collaboration has been and continues to be especially important to the development of Western percussion music.This dissertation also looks critically at some of the scholarship on collaborative practices in order to establish a theory and methodology for studying collaboration. Beginning with the argument that artistic creativity is inherently a social process (presented by Howard Becker, Dorothy Miell, and Vera John-Steiner), the implications of this idea for the concept of authorship are discussed. Recent scholarship centred specifically on composer-performer interactions has presented various models and criteria for defining degrees of collaboration. This dissertation summarizes and compares these various approaches, assessing their usefulness for the present study.Finally, this dissertation presents the findings from eight interviews conducted with composers and percussionists who have engaged in long-term collaborations spanning at least a decade. These interviews sought to illuminate how these collaborators began working together, how their working relationships developed over time, how they have communicated about their shared work, and what the effects of long-term collaboration have been on their individual practices. Through a qualitative analysis of these interviews, comparing and contrasting the experiences of the interview subjects, this dissertation presents conclusions regarding what general attitudes and approaches can facilitate artistic collaboration. Furthermore, it addresses how these conclusions lead to a deeper understanding of the roles and practices of both composers and performers.
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