Syftet med det här examensarbetet är att presentera process och erfarenheter från mitt konstnärliga musikproduktionsprojekt som genomförts under mitt sista år av min masterutbildning. Genomförandet har bestått av att skapa ett svenskt popmusikalbum där låtar har skapats enskilt, genom samarbeten och tre verk har blivit slutförda och distribuerats på streamingtjänster så som Spotify och YouTube. Vidare är syfte att presentera en modell med hjälp av mitt konstnärliga arbete där det prövas potentiella omformuleringar för yrkesroller inom låtskapande. Dessa termer ska i sin tur underlätta rolldefinition inom låtskapande och även ge utrymme för att förtydliga den ideella rätten som medverkande i ett konstnärligt verk har. Med utgångspunkt till att musikproducenten ofta hamnar i en multikompetent position så har jag valt att låna begrepp från systemutvecklarens yrkesvärld för att skapa modellen. Begreppen jag valt att låna består av back-end, front-end och full-stack och avsikten är att bryta upp paraplybegrepp såsom ”låtskrivare, producent och performer” och även kunna bidra till tydligare rekryteringsprocesser för samarbeten inom låtskapande. / The purpose of this master’s thesis is to present the process and experiences of my music production project that was carried out during the last year of my masters’ studies. The project’s creative content is a Swedish pop album which created through collaborative and independent work. Three single releases and one music video have been released and distributed through the course of the project on streaming platforms such as Spotify and YouTube. In addition to the making of the album I have chosen to create a model to use as a frame for potential recruitment instances of creative collaborations, improve role definition and develop a more accurate method to credit rights holder’s moral credentials as a contributor to an artistic work. The root cause of this model is that a music producer often finds themselves as a multicompetent keyperson in creative collaborations where the lines between different professions overlap. The model is inspired of the software developers job terminology and aims to break up umbrella concept roles such as “songwriter, producer and performer” to facilitate the recruiting process of creative collaborations within the crafting of songs. The terminologies inspired out of the software developer’s professions are back-end, front-end and full-stack.

Online creative collaboration is challenging our basic assumptions about how people can create together. Volunteers from around the world who meet and communicate over the Internet have written the world's largest encyclopedia, developed market-leading software products, solved important open problems in mathematics, and produced award-winning films, among many examples. A growing body of research refutes the popular myth that these projects succeed through "self-organization" and instead points to the critical importance of effective leadership. Yet, we know little about what these leaders actually do, the challenges they must manage, and how technology supports or hinders their efforts. In this dissertation, I investigated the role of leadership in online creative collaboration. I first conducted two empirical studies of existing leadership practices, focusing on the domain of online, collaborative animation projects called "collabs." In the first study, I identified the major challenges faced by collab leaders. In the second study, I identified leader traits and behaviors correlated with success. These initial findings suggested that many collab leaders, overburdened and lacking adequate technological support, respond by attempting less ambitious projects and adopting centralized leadership styles. Despite these efforts, leaders frequently become overburdened, and more than 80% of collabs fail. To ease the burden on leaders and encourage more complex, successful projects, I led the development of a web-based, open-source software tool called Pipeline. Pipeline can support leadership by reinforcing a traditional, top-down approach, or transform leadership by redistributing it across many members of a group. This latter approach relies on social processes, rather than technical constraints, to guide behavior. I evaluated Pipeline's ability to effectively support and transform leadership through a detailed case study of Holiday Flood, a six-week collaboration involving nearly 30 artists from around the world. The case study showed that formal leaders remained influential and Pipeline supported their traditional, centralized approach. However, there was also evidence that Pipeline transformed some leadership behaviors, such as clarifying, informing, and monitoring, by redistributing them beyond the project's formal leaders. The result was a significantly more ambitious project which attained its goals and earned high praise from the community. The main contributions of this dissertation include: (1) a rich description of existing leadership practices in online creative collaboration; (2) the development of redistributed leadership as a theoretical framework for analyzing the relationship between leadership and technological support; (3) design implications for supporting and transform leadership; (4) a case study illustrating how technology can support and transform leadership in the real world; and (5) the Pipeline collaboration tool itself, released as open-source software.

「兩人」是團隊組成的最小單位，回顧人類社會經濟活動的發展，許多重要的創新，經常是從兩人團隊開始。特別是以創意為核心的任務或作為，更易於以兩人為基礎，個別尋覓契合自我價值觀、專業能力，和人格特質的合作搭檔。雖然兩人團隊是人類社會經濟活動的常態，存在著重要的學理和實務意涵需要探討；但是，目前有關兩人團隊的文獻仍不多見。本研究的目的，即在回應此一文獻缺口，探討兩人團隊創意交融的系絡。 研究採取比較個案研究法，以八個兩人設計團隊進行半結構的深度訪談，正式研究前則進行了兩個前導個案的研究。經彙整訪談逐字稿之文本分析內容後，本研究有三個主要發現。第一，兩人設計團隊創意協作的歷程，從成員對產品核心概念的探索開始，之後會經歷共同建構創意、精緻化創意和實踐創意等過程。而產品核心概念的頓悟，通常是兩人在相近的問題意識下，從參與共享的情境當中浮現。此一情境浮現之頓悟並不專屬哪一方，但又必須仰賴兩人共同參與情境而獲得。第二，友誼是促進兩人設計團隊發展交融記憶系統的重要因素，友誼不僅帶動了兩人從玩票接案到正式形成團隊，同時也在團隊運作過程中，增強交融記憶系統本身的能量。第三，成員會透過不同形式的溝通互動，促進資訊的交流並精緻彼此的創意，這些形式包括了競爭型互動、合作型互動，和基於玩興的互動。 整體而言，本研究拓展了吾人對於兩人團隊及其創意交融的理解，也對團隊經營和團隊創意管理的實務有所貢獻。團隊發展實務上，可培養交融記憶系統成為團隊賴以運作的核心能耐，並透過成員共同參與情境的方式，營造有利於兩人從事創意交融活動的場域。 / ‘Two person’ is a basic unit of the composition of a team. Looking back on the historical development of the social and economic activities of the human, many radical innovations were often invented by two-person teams. Especially, creative workers, based on the two-person team structure, are more likely to search for the right partner that whose vision, value, expertise, and personality are best fit with each other. Despite the research on two-person team could provide valuable theoretical and practical implications for team literature; very little attention has given to such phenomena. Using a multi-case of eight two-person design teams, this dissertation explores the creative collaboration within the two-person teams. Through the qualitative analysis of the data, this dissertation provides three major findings. First, the creative collaboration processes within the two-person team contain four stages which begin exploring the core concept of the product. Then, team members collectively co-construct, elaborate and execute the core concept of the product. The insight of core concept of the product usually emerges from the two persons who have similar problem awareness and collectively engage in a shared context. This insight is not exclusive which party, but must rely on both sides to collectively engage in the shared context to develop. Second, friendship plays an important role for facilitating the development of the team’s transactive memory system (TMS). Friendship not only helps the two persons to build a team, help the team’s TMS function well in the team development processes. Third, members within the two-person team use three kinds of dialogue communication for exchanging information and elaborating creative ideas of the members. The three kinds of dialogue are: competitive dialogue, collaborative dialogue, and playfulness dialogue. Overall, this dissertation extends the current knowledge in management area about the creative collaboration within the two-person teams. Results of this dissertation also contribute to the management for two-person teams and the management of team members’ creative ideas. This dissertation suggests the two-person teams can build TMS as a team’s core capability and engage in shared contexts where beneficial for the creative collaboration.