Digital tools and discourse in music: The ecology of composition
Göran Folkestad · Oxford University Press eBooks · 2011
The aim of this chapter is twofold: firstly, to summarize and reflect the experiences and results of the past two decades of research on musical creativity in a mirror of ‘sociocultural theories’; and secondly, to present a methodology for further research on composition and collaborative musical creativity. What governs the way in which music is created seems to be the musical experience of the participants/composers — and not the tools of composition, in this case the digital tools as such. In the process of musical creation the computer rather becomes ‘transparent’, and adopts a mediating function in the musical discourse between the composers and their musical experiences when creating music. The music is the context, and the music situates the creator, thus defining the referential framework, and the discourse in music may provide not only the stylistic features and aesthetic values for the tune, but also the means of creating it.