In this paper I present outline findings of my research, with the aim of considering the ways in which musicians characterise creativity in relation to their practice beyond ‘doing something different’ in performance. A reading of creative activity that emphasises the more pragmatic and skilful qualities of a musician’s response to notation might be a more useful characterisation, as in Richard Sennett’s understanding of ‘craftsmanship’ as ‘the skill of making things well … an enduring, basic human impulse, the desire to do a job well for its own sake’ (2008: 8-9). This avoids the word ‘creativity’ and instead suggests a coming together of ‘practice, method and skill’ (Godlovitch 1998: 56). The notion of performance as craft or even engineering offers an alternative that allows for the development of skill and expertise through activities such as repetition and problem-solving.
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