7.1 INTRODUCTION
7.2 SUMMARY OF RESEARCH
7.3 RESEARCH FINDINGS
7.3.1 Pilot Study Findings
7.3.2 Case Study Findings
How Collaboration Affects Creative Practice Transmission
Modes of Collaboration Models of Good Practice
7.4 DISCUSSION AND RECOMMENDATIONS
7.5 FINAL THOUGHTS-TOWARDS THE FUTURE
7.6 EPILOGUE
7.1 INTRODUCTION
This chapter begins with a summary of the core research issues discussed in this thesis. Following this summary, a series of short sections present a clear account of what was planned, what happened, and what was discovered in the course of the research. The findings from the investigation will be outlined, giving an indication of the outcomes that emanated from this work. These findings will be discussed and inferences will be drawn, including references made to my particular perceptions, insights and judgements. This discussion section will be followed by some suggestions for the future and further questions will be proposed for ensuing investigations.
7.2 SUMMARY OF RESEARCH
This thesis began as a generic investigation of collaboration, with an underlying view that western thinking is currently in a phase of transition. It was suggested that (in the western world) we are moving away from a philosophy of individualism (particularly associated with the twentieth century) towards a more socially oriented vision of collectivism in the twenty-first century. Old ideologies of independence are being contested and new challenges of collaboration and
interdependence are being promoted. This concept of interdependence is underpinned by Vygotskian principles of working together productively towards shared goals, and the recognition that collaboration is a human activity valuable in its contributions to individual and social well being (Feldman in Steiner, 2000: xi). However, as yet, no common and agreed understanding of collaboration has emerged. Various classifications have been developed, including four types of collaboration suggested by John-Steiner (2000) namely: distributed, complementary, family and integrative collaborations. In any case, it is clear that collaborative working necessitates not only new thinking but also new social and communication skills.
Artists including Samuel Beckett and John Cage adapted pragmatic strategies for working together to maintain personal artistic integrity whilst working collaboratively. Sometimes these interactions were more simultaneous monologues than true collaborations. Nonetheless integrated forms of collaboration have the potential for the transformation of artistic domain, as demonstrated by the collaboration between Picasso and Braque that led to the development of Cubism.
Music, being inherently experiential and ephemeral, lends itself to collaboration, with most forms of music promoting collective working methods. Musical genres including pop, rock, jazz and many forms of ‘world’ music tend to focus on social cohesion, cooperation and complementarity. These forms of music encourage mutuality, with opportunities for individual expression embedded within their respective musical structures. With classical music, in contrast, specialization and separation between composer and performer does little to enhance collaboration. The hierarchical promotion of product over process and works over performance hinders communication between musicians and audience. The dominance of the notated score limits oral processes and multi-layered approaches to music-making. Nevertheless, classical music is changing and musicians are increasingly working together collegially and in various social communities. Collaborations between composers and other artists have been seen to be an effective way to increase creative potential, although collaborative working between composers and performers needs continuing support and promotion. Over many years, the role of the performer in musical scholarship has been marginalized. This situation is changing, however, with practice-based research becoming more accepted in the academic world.
The original phase of this research involved a pilot study, which proved to be of significance in terms of practice and procedure. This study provided an opportunity to try out ideas, test questions and examine the efficacy of the research argument and procedures. Various issues were explored, including sketching, compositional process, transmission, improvisation and composer-performer collaboration. A variety of questions were selected to discuss these topics. The methods chosen to elicit information were deliberately exploratory, allowing for substantial learning on my part regarding subjects and procedures. Without this pilot study it is conceivable that errors of procedure and strategy could have significantly undermined the ensuing research project. The pilot study effectively provided practical research training. The overarching concept of investigating collaboration between five Irish composers and myself as a contemporary music performer was confirmed by this original study. The five composers concerned were Ed Bennett, Rob Canning, Stephen Gardner, Ronan Guilfoyle and Jane O’Leary.
The research sought to consider how collaboration affected a core group of musicians. Some research into collaboration amongst artists had been investigated in the past by a variety of authors including John-Steiner (2000), Miell and Littleton (2004) and Sawyer (1999); but prior to this research there existed little research into the collaborative practices of contemporary composers and performers. The practical phase of this research took place over the course of one year, 2004-2005.
The enquiry utilized a variety of methodologies and methods including action research, phenomenological research and practice-based methods within a case study framework. The epistemology (constructionism) and theoretical perspective (interpretivism) underpinning this research were chosen in an attempt to understand and explain human and social reality (Crotty, 1998: 67). There was no attempt at objective posturing, with the findings suggestive and not prescriptive. The advantage of a phenomenological approach is the provision of an interesting and revealing narrative that is also humanistic; it is neither scientific nor overtly analytical. Practice-based methods and action research were important aspects of the project, with each phase evaluated and modified to improve subsequent phases. The core structural components of this research were multiple case studies, which provided a
rich source of data and experiences of real people in real situations, allowing for vivid description and a linear narrative.
7.3 RESEARCH FINDINGS
Typically research findings are intended to demonstrate academic rigour and provide a window for future investigations. The matching of findings to research questions also provides coherence and unity in making a research argument. In the context of the current research these criteria apply, but it is also the case that findings emerging from this research were utilized incrementally to inform and influence subsequent phases of the investigation. This applied in particular to the strategic and procedural findings that emerged out of the pilot study. These pilot study findings will be examined first, with the findings from the case studies related subsequently.
Before considering these findings it is important to add a caveat acknowledging that the research had certain limitations. In particular, the small number of participants involved in this study, as discussed in chapter 3 (3.8), means that the findings are suggestive and not conclusive. Nonetheless this is apposite in the context of the epistemology and theoretical perspective adopted. There are, however, two further issues to address by way of qualification and completeness. Firstly, it is conceivable that the prescriptive nature of the methodological procedures could have impinged on the collaborative processes themselves, and it is also possible that my position as a performer writing about collaboration between performer and composers could have affected the way these interactions were perceived. However, I recognized the implications of my full-participant status as a performer-researcher, and have sought to relate an honest and pragmatic story through appropriate documenting of data and analysis.
The second issue I wish to discuss is the collaboration with Canning. This collaboration did not come to a final completion; there was in fact only one meeting with no composition produced (as of yet). As referred to in chapter 5 (5.2.3), there