Collaborative Creative Thought and Practice in Music

Margaret S. Barrett is Professor and Head of the School of Music and Director of the Creative Collaboratorium Research Group at The University of Queensland, Australia. She has served as President of the International Society for Music Education (2012-2014), Chair of the World Alliance for Arts Education (2013-2015), Chair of the Asia-Pacific Symposium for Music Education (2009-2011) and President of the Australian Society for Music Education (1999-2001). Her research has investigated creative thought and practice across the lifespan and the use of narrative and arts-based research methods in music. Margaret's research is supported by grants from the Australian Research Council and has been reported in the major journals and edited collections of the field. Recent publications include: A Cultural Psychology of Music Education (2011), and Narrative Soundings: An Anthology of Narrative Inquiry in Music (with Sandra Stauffer, 2012).

I: Introduction; 1: Collaborative Creativity and Creative Collaboration: Troubling the Creative Imaginary; II: Collaborative Creativity in Compositional Thought and Practice; 2: The Scattering of Light: Shared Insights into the Collaborative and Cooperative Processes that Underpin the Development and Performance of a Commissioned Work; 3: No Stone Unturned: Mapping Composer–Performer Collaboration; 4: Learning to Collaborate in Code: Negotiating the Score in a Symphony Orchestra Composers' School; 5: Collaborating Across Musical Style Boundaries; 6: We Are All Musical: Investigating Improvisation as Collaborative Creativity; 7: Rimsky-Korsakov and Musorgsky: A Posthumous Collaboration?; III: Collaborative Creativity as Boundary Crossing: Perspectives from Music Performance and Musicology; 8: Creative Collaborative Thought and Puzzle Canons in Renaissance Music; 9: The Spirit of Chinese Creativity in Twenty-first-century Cantonese Culture; 10: An Historical Perspective on Creative Collaboration: The Composition of Theatrical Dance Music at the Early Modern German Court; 11: Collaboration in Duo Piano Performance – ‘Piano Spheres'; 12: Creative Collaboration in Generating an Affective Contemporary Production of a Seventeenth-century Opera; 13: Collaborative Re-creation: A Case Study of a Pianist Recording Australian Women Composers; IV: Emergent Creativity in Collaborative Thought and Practice: Perspectives from Music Education; 14: Supporting Collaboration in Changing Cultural Landscapes: http://operabyyou.com as an Arena for Creativity in ‘Kaleidoscopic Music'; 15: Thorns and Joys in Creative Collaboration: A Project with Music Education and Visual Arts Students; 16: Towards Pedagogies of Creative Collaboration: Guiding Secondary School Students' Music Compositions; 17: ‘Literacy Through Music' – A Multidisciplinary and Multilayered Creative Collaboration; V: Postlude; 18: Musical Performance as Collaborative Practice