Collective Talent: A Study of Improvisational Group by Jacqueline Jong de

By Jacqueline Jong de

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Additional info for Collective Talent: A Study of Improvisational Group Performance in Music

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We often refer to the language of music as a means of communication and emotional expression (Cooke, 1963; Raffman, 1993), and to user interfaces to define how we play musical instruments. 3 Languages, interfaces and the making of music In the previous section I introduced the notion of an SCC as a way to facilitate my research design. As a scientific object, it enables to reconstruct instances of SCCs (‘flamenco-like’ sessions) in research. This is not possible when using the ‘standard’ objects of study.

Central to this study will be the question how to bring up instances of collective talent in research, and hence, what is to be chosen as 'scientific object'. As will be argued later, making this choice requires the additional notion of a conversation. With my research on collectives I hope to acquire knowledge that can be used in teaching to help people discover the collective quality of making music and to add to their experiences. There is an extra advantage to the choice of music, moreover.

It may even force highly individually talented people to drop out from musical experience. Emphasizing environmental influences may also lead to impositions, moreover, for example to too strong regulations on a collective level. It is not claimed, of course, that the notion of collective talent fully avoids such limitations. It is not a panacea. The main advantage of adding and exploring the notion of collective talent is the possibility to be more precise and flexible—in teaching, in cultural development and in research.

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