SOURCES

Footnotes:


Introduction

  1. Vera John-Steiner, Creative Collaboration. (New York: Oxford University Press, 2000), 204.
  2. Ibid, 192 
  3. Nicholas Cook, Between Process and Product: Music and/as Performance (Music Theory Online 7, no. 2, 2001). Copyright © 2001 Society for Music Theory 
  4. Marina Pereyra Cyrino, The Vocal Flute: Creative Uses of the Flutist's Voice in a Collaborative Context. (Thesis Submitted in Partial Fulfillment of the Master Program in Music Performance, Luleå University of Technology Department of Arts, Communication and Education 2013). URN: urn:nbn:se:ltu:diva-48489
  5. Michela Garda, L’Estetica Musicale del Novecento: Tendenze e Problemi. (Rome: Carocci Editore, (2007) 2014), 108-109. “[T]estimoniano che, soprattutto nei momenti di rinnova­ mento del linguaggio musicale, è necessaria una sorta di passaggio di testimone tra il compositore e l'esecutore, grazie al quale si inaugura una tradizione esecutiva.” Personal translation.
  6. Mark Takeshi McGregor, Of Instrumental Value: Flutist - Composer Collaboration in the Creation of New Music. (Vancouver: University of British Columbia, 2012). Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor in Musical Arts in the Faculty of Graduate Studies.
  7. Marina Pereyra Cyrino, The Vocal Flute: Creative Uses of the Flutist's Voice in a Collaborative Context. (Thesis Submitted in Partial Fulfillment of the Master Program in Music Performance, Luleå University of Technology Department of Arts, Communication and Education 2013). URN: urn:nbn:se:ltu:diva-48489
  8. From a personal conversation with the composer
  9. From Michael Jarrell’s website page about the work ...Un temps de silence... Concerto pour flûte. https://www.michaeljarrell.com/en/oeuvres-fiche.php?cotage=28494. Last accessed February 21, 2024.
  10. https://kingmaflutes.com/wpfk/kingma-system/. Last accessed February 21, 2024.
  11. https://robertdick.net/the-glissando-headjoint/. Last accessed February 21, 2024.
  12. Arnold Whittall, "Composer-performer collaborations in the long twentieth century". In Distributed Creativity: Collaboration and Improvisation in Contemporary Music. (New York, NY: Oxford University Press, 2017), 21-36.
  13. Ibid, 23-24.
  14. Nicholas Cook, Between Process and Product: Music and/as Performance (Music Theory Online 7, no. 2, 2001). Copyright © 2001 Society for Music Theory
  15. Paul Roe, A Phenomenology of Collaboration in Contemporary Composition and Performance, (Thesis Submitted for the Degree of PhD, The University of York Department of Music October 2007), 13. 
  16. Vera John-Steiner, Creative Collaboration. (New York: Oxford University Press, 2000), 3, quoted in Paul Roe, A Phenomenology of Collaboration in Contemporary Composition and Performance, (Thesis Submitted for the Degree of PhD, The University of York Department of Music October 2007), 13. 
  17. Vera John-Steiner, Creative Collaboration. (New York: Oxford University Press, 2000), 187.
 

Theoretical framework

  1. "Collaborare" definition by Treccani. https://www.treccani.it/vocabolario/collaborare/. Personal translation. Last accessed October 22, 2023.
  2. "Collaborate" definition by Merriam-Webster Dictionary. https://www.merriam-webster.com/dictionary/collaborate . Last accessed October 22, 2023.
  3. Seana Moran and Vera John-Steiner, "How Collaboration in Creative Work Impacts Identity and Motivation". In Miell and Littleton (eds.), Collaborative Creativity: Contemporary Perspective. (London: Free Association Books, 2004), 11-25.
  4. Paul Roe, A Phenomenology of Collaboration in Contemporary Composition and Performance, (Thesis Submitted for the Degree of PhD, The University of York Department of Music October 2007), 24-28.
  5. Patricia Montiel-Overall, A Theoretical Understanding of Teacher and Librarian Collaboration (TLC). (School Libraries Worldwide Vol. 11, 2005), 24-48.
  6. Dave Pollard, “Will that be Coordination, Cooperation, or Collaboration?,” How to save the world (blog), March 25 2005, https://howtosavetheworld.ca/2005/03/25/will-that-be-coordination-cooperation-or-collaboration/. Accessed February 15, 2024.
  7. Vera John-Steiner, Creative Collaboration. (New York: Oxford University Press, 2000), 63-96.
  8. Sam Hayden and Luke Windsor, “Collaboration and the Composer: Case Studies from the End of the 20th Century.” Tempo 61, no. 240 (2007): 28–39. http://www.jstor.org/stable/4500495.
  9. Elizabeth G. Creamer, Collaborators’ Attitudes about Differences of Opinion. (The Journal of Higher Education 75, no. 5, 2004), 562. http://www.jstor.org/stable/3838763.
  10. Ibid, 566.
  11. Ibid, 569.
  12. Vera John-Steiner, Creative Collaboration. (New York: Oxford University Press, 2000), 188-192.
  13. Luigi Gariglio, Autoetnografia: tra arte, scienze sociali e letteratura. (Roma: Carocci, 2024), 20. “Il punto centrale della pratica autoetnografica […] «L’elogio del noi, la sua comprensione attraverso la consapevolezza di sé e delle proprie esperienze».” Personal translation.
  14. Ibid, Prologo.
  15. Ibid. 
  16. Vera John-Steiner, Creative Collaboration. (New York: Oxford University Press, 2000), 63-96.
  17. Ibid.
  18. Ibid, 161. 

 

Methodology

  1. Vera John-Steiner, Creative Collaboration. (New York: Oxford University Press, 2000), 191.
  2. Patricia Montiel-Overall, A Theoretical Understanding of Teacher and Librarian Collaboration (TLC). (School Libraries Worldwide Vol. 11, 2005), 24-48.
  3. Vera John-Steiner, Creative Collaboration. (New York: Oxford University Press, 2000).
  4. Dave Pollard, “Will that be Coordination, Cooperation, or Collaboration?,” How to save the world (blog), March 25 2005, https://howtosavetheworld.ca/2005/03/25/will-that-be-coordination-cooperation-or-collaboration/. Last Accessed February 15, 2024.
  5. Sam Hayden and Luke Windsor, “Collaboration and the Composer: Case Studies from the End of the 20th Century.” Tempo 61, no. 240 (2007): 28–39. http://www.jstor.org/stable/4500495.
  6. Paul Roe, A Phenomenology of Collaboration in Contemporary Composition and Performance, (Thesis Submitted for the Degree of PhD, The University of York Department of Music October 2007). 
  7. Martin van Hees, A Musicians' View on Cooperating with Composers. (Thesis Submitted in Partial Fulfillment of the Master Program in Classical Guitar, Royal Conservatory of Den Haag Department of Classical Music, 2014). Last accessed September 22, 2023.
  8. Mark Takeshi McGregor, Of Instrumental Value: Flutist - Composer Collaboration in the Creation of New Music. (Vancouver: University of British Columbia, 2012). Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor in Musical Arts in the Faculty of Graduate Studies.
  9. Michelle Pritchard, Emergence out of the ‘Engine Room’ – a Collaborative Approach: the Roles and Responsibilities of the Violist when Collaborating with Living Composers. (Thesis Submitted in Partial Fulfillment of the Master Program in Classical Viola, Royal Conservatory of Den Haag Department of Classical Music, 2022). Last accessed February 21, 2024.
  10. The scout method: https://www.scout.org.hk/article_attach/16488/Scouting_An_Educational_System.pdf. Accessed September 23, 2023.
  11. Bob Dick, "Thesis resource paper. You want to do an action research thesis?". Action Research Thesis (blog), 1993, http://www.aral.com.au/resources/arthesis.html. Accessed October 21, 2023.
  12. Ibid.
  13. This notions were introduced to me by my Research Supervisor Bastiaan van der Waals during a meeting we had on the 17th of May 2023. 
  14. Chittaranjan Andrade, Internal, External, and Ecological Validity in Research Design, Conduct, and Evaluation. (Indian of psychological medicine 40, no. 5, 2018): 498-499. doi:10.4103/IJPSYM.IJPSYM_334_18.

 

Comparative analysis

  1. Vera John-Steiner, Creative Collaboration. (New York: Oxford University Press, 2000), 162.
  2. Elizabeth G. Creamer, Collaborators’ Attitudes about Differences of Opinion. (The Journal of Higher Education 75, no. 5, 2004), 564. http://www.jstor.org/stable/3838763.
  3. Vera John-Steiner, Creative Collaboration. (New York: Oxford University Press, 2000), 189.
  4. Ibid, 189-190. 
  5. Elizabeth G. Creamer, Collaborators’ Attitudes about Differences of Opinion. (The Journal of Higher Education 75, no. 5, 2004), 564. http://www.jstor.org/stable/3838763.
  6. Vera John-Steiner, Creative Collaboration. (New York: Oxford University Press, 2000), 114-122.
  7. Marty Field Belenky, Blythe McVicker Clinchy, Nancy Rule Goldberger & Jill Mattuck Tarule, Women's ways of knowing: The development of self, voice, and mind. (1986; reis., New York: Basic Books, 1997).

 

Conclusions

  1. Vera John-Steiner, Creative Collaboration. (New York: Oxford University Press, 2000), 166.
  2. Gaspar’s observation during the last feedback (Session 13).
  3. Elizabeth G. Creamer, Collaborators’ Attitudes about Differences of Opinion. (The Journal of Higher Education 75, no. 5, 2004), 564. http://www.jstor.org/stable/3838763.
  4. Nancy Rule Goldberger, preface to the tenth anniversary edition of Women's ways of knowing: The development of self, voice, and mind. (1986; reis., New York: Basic Books, 1997), xxi.

All the audiovisual material present in the exposition was filmed during the creative session with the consent of all involved parties.

Where not otherwise specified, the sketches are also from the sessions or from the "homeworks" we did in between the session or the result of collaborative composition during the meetings.

Bibliography entries (ordered alphabetically):

 

Andrade, Chittaranjan. “Internal, External, and Ecological Validity in Research Design, Conduct, and Evaluation.” Indian journal of psychological medicine vol. 40,5 (2018): 498-499. doi:10.4103/IJPSYM.IJPSYM_334_18.

 

Belenky, Marty Field, Clinchy, Blythe McVicker, Goldberger, Nancy Rule &Tarule, Jill Mattuck. Women’s ways of knowing: The development of self, voice, and mind. New York: Basic Books, 1997. First published 1986. 

 

Cook, Nicholas. "Between Process and Product: Music and/as Performance", Music Theory Online 7, no. 2 (April 2001) Copyright © 2001 Society for Music Theory.

 

Creamer, Elizabeth G. “Collaborators’ Attitudes about Differences of Opinion.” The Journal of Higher Education 75, no. 5 (2004): 556–71. http://www.jstor.org/stable/3838763.

 

Dick, Bob. “Thesis resource paper. You want to do an action research thesis?”. Action Research Thesis (blog), 1993. http://www.aral.com.au/resources/arthesis.html . Last accessed October 21, 2023.

 

Garda, Michela. L’Estetica Musicale Del Novecento: Tendenze E Problemi. Rome: Carocci Editore, (2007) 2014.

 

Hayden, Sam and Windsor, Luke. "Collaboration and the Composer: Case Studies from the End of the 20th Century". Tempo 61, No. 240, 28-39. Published by: Cambridge University Press. Stable URL: https://www.jstor.org/stable/4500495

 

Hees, Martin van. A Musicians' View on Cooperating with Composers. 2014. Thesis Submitted in Partial Fulfillment of the Master Program in Classical Guitar, Royal Conservatory of Den Haag Department of Classical Music. Last accessed September 22, 2023 on the Research Catalogue: https://www.researchcatalogue.net/profile/show-exposition?exposition=64917.

 

John-Steiner, Vera. Creative Collaboration. New York: Oxford University Press, 2000.

 

McGregor, Mark Takeshi. Of Instrumental Value: Flutist - Composer Collaboration in the Creation of New Music. Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor in Musical Arts in the Faculty of Graduate Studies. Vancouver: University of British Columbia, 2012.

 

Montiel-Overall, Patricia. 2007. “A Theoretical Understanding of Teacher and Librarian Collaboration (TLC)”. School Libraries Worldwide 11 (2):24-48. https://doi.org/10.29173/slw6962.

 

Moran, Seana and John-Steiner, Vera. “How Collaboration in Creative Work Impacts Identity and Motivation". In Miell and Littleton (eds.), Collaborative Creativity: Contemporary Perspective. 11-25. London: Free Association Books.

 

Pereyra Cyrino, Marina. The Vocal Flute: Creative Uses of the Flutist's Voice in a Collaborative Context. Thesis Submitted in Partial Fulfillment of the Master Program in Music Performance, Luleå University of Technology Department of Arts, Communication and Education 2013. URN: urn:nbn:se:ltu:diva-48489.

 

Pollard, Dave. “Will that be Coordination, Cooperation, or Collaboration?” How to save the world (blog), March 25 2005. https://howtosavetheworld.ca/2005/03/25/will-that-be-coordination-cooperation-or-collaboration/. Accessed February 15, 2024.

 

Pritchard, Michelle. Emergence out of the ‘Engine Room’ – a Collaborative Approach: the Roles and Responsibilities of the Violist when Collaborating with Living Composers. 2022. Thesis Submitted in Partial Fulfillment of the Master Program in Classical Viola, Royal Conservatory of Den Haag Department of Classical Music. Last accessed February 21, 2024 on the Research Catalogue: https://www.researchcatalogue.net/profile/show-exposition?exposition=1300044.

 

Roe, Paul (2007). A Phenomenology of Collaboration in Contemporary Composition and Performance. Thesis Submitted for the Degree of PhD, The University of York Department of Music October 2007. DOI: 10.21427/pdys-mm48 

 

Whittall, Arnold. "Composer-performer collaborations in the long twentieth century". In Distributed Creativity: Collaboration and Improvisation in Contemporary Music. New York, NY: Oxford University Press, 2017.

 

Other sources:

 

Treccani. https://www.treccani.it/vocabolario/collaborare/. Personal translation. Last accessed October 22, 2023.

 

Merriam-Webster Dictionary. https://www.merriam-webster.com/dictionary/collaborate . Last accessed October 22, 2023.

 

Michael Jarrell’s website: https://www.michaeljarrell.com/home.html. Last accessed February 21, 2024.

 

https://kingmaflutes.com/wpfk/kingma-system/. Last accessed February 21, 2024.

 

https://robertdick.net/the-glissando-headjoint/. Last accessed February 21, 2024.

 

The scout method: https://www.scout.org.hk/article_attach/16488/Scouting_An_Educational_System.pdf. Accessed September 23, 2023.


Videos by Alberto Valtellina and Carlo Valtellina

Figures:


Title page and hand designs by Filippo Mannucci


Fig. 1: Paul Roe, A Phenomenology of Collaboration in Contemporary Composition and Performance, (Thesis Submitted for the Degree of PhD, The University of York Department of Music October 2007), 24-28. Design by Petra Valtellina.


Fig.2: Vera John-Steiner, Creative Collaboration. (New York: Oxford University Press, 2000), 197. Design by Petra Valtellina.


Fig. 3: Bob Dick, "Thesis resource paper. You want to do an action research thesis?". Action Research Thesis (blog), 1993, http://www.aral.com.au/resources/arthesis.html. Accessed October 21, 2023. Design by Petra Valtellina.


Fig. 4: Bob Dick, "Thesis resource paper. You want to do an action research thesis?". Action Research Thesis (blog), 1993, http://www.aral.com.au/resources/arthesis.html. Accessed October 21, 2023. Design by Petra Valtellina.


Fig. 5: Toti Scialoja "Tre per un topo". Soure: Il Manifesto. https://static.ilmanifesto.it/2014/11/22/toti-scialoja-tre-topo-lr1.jpg. Accessed 22nd of February 2023.