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Collective thoughts: a collaborative approach to preparation and performance of open form compositions for groups

Collective thoughts: a collaborative approach to preparation and performance of open form compositions for groups

Porfyriadis, Alexios

The aim of my research is to investigate, both in theory and in practice, the ways groups work and behave when they are asked to work collectively on the preparation of an open form verbal and/or graphic composition's version. It also investigates the often-neglected topic of who might take decisions regarding the performance of open form pieces for groups, when these decisions are to be made, and the effects on the relationships between performers or between performers and composer. Furthermore, it investigates the potential growth of group creativity and of a group state of mind through collective work between players of open form pieces as well as the problems of working in groups. A theoretical context for the term 'open form' is provided using historical and recent examples from the work of composers of the last and present century, as well as for the terms 'group' and 'group creativity', followed by a discussion of the different manifestations of group creativity and 'group flow' in music and especially in open form musical compositions. These issues are discussed in the context of my own work in composing verbal and graphic open form pieces for groups, which cultivate collective work and responsibility. The commentary explains the way I work as a composer, and the theoretical, musical and social driving force behind my music. It also describes working practices that could present models for other composers to consider when making notated music for groups

Thesis. English.
Published Newton St Loe: Bath Spa University, 2016
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Details

Statement of responsibility: Alexios Porfyriadis
Dissertation note: Dissertation - Bath Spa University, 2016.
Physical Description: 153p + compositions portfolio.
Subject: Composers; Group dynamics; 20th century music; Group work; Creativity; 21st century music; Score reading; Experimental music; Composition; Musical performance