While working with conservatory students on a multitude of collaborative, creative projects over the past years, I have gradually discovered the profound paradigm change these projects require and bring about. As described in the analysis/reflection section, some of the persistent habits we have developed in our contemporary classical music world have made us less flexible, less social, and less creative as musicians than many of our colleagues elsewhere. We should learn how to rely more on our hearing, respond better and adapt ourselves based on complete aural awareness of what happens around us, and understand how to work better in a collaborative environment.
It is interesting to realize there is an unlimited variation of possible creation processes. Some strategies that have developed over time have become recipes that can be followed, but the surprise is that outcomes are always vastly different. This is where creativity comes into play: depending on the participants, their interaction and their inventiveness, their musical imagination and ability to find solutions, each process is ultimately unique and rewarding. I am looking forward to more of these experiences and hope for a paradigm change in the world of classical music education.
ANSWERS TO THE RESEARCH QUESTIONS
As detailed answers to the research questions can be found in the analysis/reflection section, I would like to summarize the main points in this section.
RESEARCH QUESTION 1 • While working with conservatory students on the creation of new music, how do collaborative creative processes work, how is material created and developed, and what do students gain from such an experience?
The most common denominator of all collaborative projects described in this exposition is the shared development of musical ideas. These ideas are developed with a shared responsibility of selecting, expanding, and refining them. Other essential elements are interaction, playing off each other and negotiation. Participants need to learn how to respond to what they hear and see, and how to take responsibility for their contributions to the whole. They learn how materials can be created from various inspirations, limitations, and associations. Concerning the participating students, by allowing them to experience their own ideas growing into something beautiful and successful, they will achieve a sense of empowerment and ownership. Collaboration and communication through music creates a sense of connection, a sense of security and a sense of achieving something together that goes far beyond words. It inspires great confidence, and, maybe even more importantly, it is fun, gives energy and excitement, and involves achieving a state of play that completely overshadows the importance of the final outcome.
RESEARCH QUESTION 2 • What has been my role and influence as a facilitator and coach of these processes, and how did I contribute to the final outcomes?
As described in the analysis/reflection section, my role has varied from teacher to coach, facilitator, collaborator, co-creator, and band leader. In all roles, I have tried not to impose my ideas from the start, but instead to let them come from students and co-creators, without immediate judgement. While trying to be a facilitator rather than a boss, there is a delicate balance between trusting, letting go and intervention. In all situations, creating challenges has sparked creativity, and a sense of urgency to find solutions. When necessary, I have tried to share my knowledge and experience to show how things could work, and contributed concrete ideas or materials in order to keep the flow of the process going.
RESEARCH QUESTION 3 • What potential implications could arise from this research on others, and on developing the collaborative music creation minor?
I hope that some of my experiences described in this exposition can serve as inspiration to colleagues and students to set up new projects and engage themselves in collaborative, creative music making. The evaluation of working methods and processes as described in the analysis/reflection section can also be applied to new projects, and new and exciting ideas (especially ones related to the use of technology) that emerged
during the COVID period can be developed further. Through my involvement with the recently developed Minor of Collaborative Music Creation at the Royal Conservatoire of Den Haag, I will use input and experiences from these projects at the Yong Siew Toh Conservatory in Singapore and vice versa. Since this new Minor consists of students from diverse departments like jazz, classical, sonology, early-music and composition, all working together, it has a huge potential to develop into a platform where successful ideas and methods can be developed and reflected on.