This dissertation describes a compositional model rooted in cross-influential methodology between complementary musical compositions that share generative source material. In their simultaneous construction, two composition pairs presented challenges that influenced and mediated the other's development with respect to timbre, transposition, pitch material, effects processing, and form. A working prototype first provides a model that is later developed. The first work Thema is for piano alone, and the companion piece Am3ht is for piano and live computer processing via the graphical programming environment Max/MSP. Compositional processes used in the prototype solidify the cross-influential model, demanding flexibility and a dialectic approach. Ideas set forth in the prototype are then explored through a second pair of compositions rooted in cross-influential methodology. The first work Lusmore is scored for solo contrabass and Max/MSP. The second composition Knockgrafton is scored for string orchestra. The flexibility of the cross-influential model is revealed more fully through a discussion of each work's musical development. The utility of the cross-influential compositional model is discussed, particularly within higher academia.

Sammanfattning  Jag har länge velat skriva musik men känt att det är något som håller mig tillbaka. Känslor av prestationsångest förpestar mitt liv och hindrar mig från att utvecklas musikaliskt. Den här studiens syfte är att utforska och lära av relationen mellan min upplevelse av prestationsångest och min kompositionsprocess utifrån ett fenomenologiskt perspektiv. Följande tre frågeställningar används för det: 1) När i samband med komponerande av musik upplever jag prestationsångest? 2) Hur påverkas min skapandeprocess av att jag upplever eller inte upplever prestationsångest? 3) Vilka verktyg/strategier kan man använda för att hantera prestationsångest? Studien baseras på självobservationer i form av loggboksanteckningar som under tre månader följer min upplevelse av skapandeprocessen att skriva musik från blankt papper till konsertframförande. Med hjälp av tematisk analysmetod och ett fenomenologiskt livsvärldsperspektiv analyseras och bearbetas det insamlade materialet. Resultatet delas in i tre rubriker, prestationsångestens uppkomst, prestationsångestens effekter på skapandeprocessen samt hanteringsstrategier, och presenteras sedan med hjälp av följande tre teman: försvagande perfektionism, flow och insikter. Slutligen förs en diskussion kring studiens resultat i relation till tidigare forskning, vald litteratur samt det fenomenologiska perspektivet.   Nyckelord: musik, komposition, skapandeprocess, prestationsångest, perfektionism, flow, fenomenologi / Abstract  For a long time I have wanted to write music but felt that something is holding me back. Feelings of performance anxiety plague and prevent me from developing my musicality. The purpose of this study is to investigate and learn from the relationship between my experience of performance anxiety and the process of composing music from a phenomenological perspective. The following three questions will be used: 1) When do I experience performance anxiety in association with composing music? 2) How is my creative process affected in how I experience or not experience performance anxiety? 3) Which tools/strategies can be used to deal with performance anxiety? The study is based on self-observations through a journal which during three months records my experiences in the creative process of composing music from blank paper to concert performance. Thematic analysis and the phenomenological lifeworld-perspective is being used to process and analyze the collected material. The result is divided into three headlines, the origin of the performance anxiety, the performance anxieties impact on the creative process and coping strategies, which are then presented using the three following themes: weakening perfectionism, flow and insights. Finally, the result of the study is discussed in relation to previous research, chosen literature and the phenomenological perspective.    Keywords: music, composition, creative process, performance anxiety, perfectionism, flow, phenomenology.

These pages include parts of the process diary, notes on process, reading, as well as photos from my research process.  These are abstracts of my research and therefore curated in their own right to show not only my somewhat sprawling process but also my honest attempt to share how I document and research in my process. These “written expositions” mirrors how I gather material when I work as a performer and performance maker. This document is as much about me finding out what I did in the project as you are attempting to understand the project´s content, methods and results. It is me looking at the produced material from the outside, curating it to try out words on the method, content and material. I have written about the work reflectively at the same time as I invite you into this action. It´s speculative and intimate.   During my master studies in Performing Arts, I have reflected on what it means to be a performer beyond the symbolic meaning of it- such, as being material or representation for someone else work. I have investigated what the performer spends time doing and reflecting on beyond what is seen “on stage”, and present that, whatever it is and looks like. I have then, in my final degree project, looked at how I can use my gained knowledge as a mainly interactive performer in relation to performance arts and black feminism theory to create my own artistic practice.   My aim has been to do this by being, meaning to exist with, breathing with, becoming part of, attending to and situating myself in relation to performance arts and black feminism theory in a mindful manner.

This study explores how self-imposed limitations affect anxieties about art-making and the art-making process. As a teacher, I was interested in how limitations affected student art-making. I used arts-based research methodology to explore spiritual and personal quandaries in my own life through the process of art-making. A consistent thread throughout this investigation was using the process of making art as a way to gain understanding about my own life and teaching. I was also able to create a culture of vulnerability and honesty in my classroom and help my students embrace themselves and their physical, emotional, and situational limitations through the art-making process.

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No description available.

För att lyckas med omställningen till ett mer hållbart samhälle behövs en kombination av kompetenser och förmågor hos framtidens civilingenjörer. Världsledare och forskare har pekat ut kreativitet som avgörande för att kunna hantera och lösa de komplexa problem mänskligheten står inför. Civilingenjörsutbildningar har som mål att utbilda studenterna till att bli kreativa problemlösare, men flera forskare inom kreativitet hävdar att kopplingen mellan kreativitet och ingenjörsutbildningar är bristfällig. En del av kritiken handlar om att studenter i för stor utsträckning inte tränas i att lösa vagt definierade problem som kräver kreativt tänkande. Oavsett vilket fokus som läggs på att främja kreativitet under utbildningen, kommer det finnas yttre hämmande faktorer som inte går att undkomma inom utbildningsmiljön. Det finns därför unika förutsättningar att främja kreativitet utanför utbildningsmiljön och fylla en kompletterande funktion genom ett kreativt utbyte mellan studenter och näringsliv. I en kreativitetstävling initierad av Skogsindustrierna fick studentgrupper i uppgift att komma på vad morgondagens innovation från skogsindustrin är. Med utgångspunkt i kreativitetsteori genomfördes en tematisk analys av insamlade enkätdata från nio kreativitetstävlingar. Resultaten visade att en kreativitetstävling kan bidra till att främja kreativitet hos civilingenjörsstudenter, men enbart under rätt förutsättningar. En grundförutsättning är att en kognitiv brygga skapas mellan studentens kunskaper och området för skogsindustrin. Ett annat exempel är att studenten själv ska identifiera problemet för att få en hög nivå av inre motivation. / To succeed in the transition towards a more sustainable society, a combination of skills and abilities is needed among the engineers of the future. World leaders and researchers have identified creativity as crucial skill to solve the complex issues facing humanity. Engineering education aims to educate students to become creative problem solvers, but several creativity researchers argue that the link between creativity and engineering education is flawed. Part of the criticism is that students are often not trained to solve vaguely defined problems that require creative thinking. No matter the focus on promoting creativity in education, there will be external inhibiting factors that cannot be completely removed within the educational environment. There are therefore unique opportunities for parties outside the educational environment to play a role in promoting creativity in other contexts, such as student-industry collaborations. In a creativity contest initiated by the Swedish Forest Industries Federation, groups of students were asked to identify tomorrow's innovation from the forest industry. Based on creativity theory, a thematic analysis was carried out on the survey data collected from nine creativity contests. The results showed that a creativity contest can help promoting creativity among engineering students, but only under certain conditions. One essential condition is that a cognitive bridge is created between the student's knowledge and the field of forestry. Another example is that the students must identify the problem themselves to achieve a high level of internal motivation.

Cette recherche étudie la possibilité pour les enseignants d’arts plastiques au secondaire de permettre à leurs élèves de créer des oeuvres à partir de questions plus sensibles, comme le feraient de véritables artistes. Elle part de l’hypothèse que certains enseignants hésitent à approuver les intentions sensibles soumises spontanément par leurs élèves, allant même jusqu’à les interdire, ne sachant pas comment y répondre de façon satisfaisante. Elle souligne le fait que ce type de questions peut favoriser la création d’oeuvres pertinentes, authentiques et signifiantes, mais que cela exige des pratiques de régulation capables d ’amener les élèves à créer dans un contexte scolaire où le regard du public compte. Elle mise ainsi sur la possibilité de découvrir, de comprendre et de décrire le phénomène de la pratique de régulation des enseignants face aux questions sensibles soumises par leurs élèves afin de cibler les gestes susceptibles d’amener les élèves à développer une posture similaire à celle d’artistes professionnels. Elle s’appuie sur six composantes inhérentes à ce type de régulation : les questions sensibles, l ’enseignant, l’adolescent, la création, le contexte et le public. Il s’agit d ’une recherche descriptive, qui emprunte des éléments à la recherche phénoménologique et qui adopte un parcours en partie heuristique. Elle fait état de l’expérience de régulation des questions sensibles de la chercheure et de celle de cinq autres enseignants participants oeuvrant auprès d’élèves du secondaire dans un établissement scolaire du Québec. Les résultats de la recherche mettent en relief la nature et les finalités des gestes de régulation recensés par les participants et ils démontrent l ’importance de certains de ces gestes, dont ceux favorisant l’action conjointe ainsi que ceux servant à identifier les conditions favorables au travail des questions sensibles. La recherche prouve l’importance de la réflexion en continu dans le processus de régulation de ce type de questions, processus soutenu à la fois par les élèves et l ’enseignant qui travaillent de concert afin de faire progresser les intentions sensibles initiales qui s’actualisent et se précisent au fur et à mesure que progresse le travail de création. Elle montre également l ’importance de mettre en place une régulation qui tienne compte du public, de la diffusion des oeuvres sensibles faites en classe ainsi que des visées d ’exposition. / This research questions the possibility for secondary school visual arts teachers to allow their students to create artworks dealing with sensitive issues, the way real artists would. It is based on the hypothesis that some teachers are reluctant to accept sensitive intentions that are spontaneously submitted to them by their students, even going so far as to forbid them, because they do not know how to address these issues properly. The research emphasizes that exploring these issues can promote the creation of relevant, authentic and meaningful artworks, however, this requires regulatory measures capable of engaging students creating in a school context where public perception matters. The research is committed to the possibility of discovering, understanding and describing teachers’ regulatory measures when dealing with sensitive issues proposed by their students. It aims to identify actions that may help them develop a personal point of view, similar to those of professional artists. The study is based on six components that are inherent to these types of regulations: sensitive issues, teachers, teenagers, creation, context and audience. This research is descriptive, drawing from elements of phenomenological studies and adopting a partly heuristic approach. It reports on the researcher’s own experience addressing sensitive issues with these regulatory measures, as well as the experiences of five other participating teachers working with students in a secondary school in Quebec. The results of this research highlight the nature and purposes of the regulatory measures identified by the participants and reveal the significance of some of these measures, including those that promote joint action and those that help identify the most conducive conditions for working with sensitive issues. It proves that continuous reflection is essential during the process of regulating these types of questions. This process is carried out by both students and teachers, working together to develop the initial sensitive intentions that are actualized and clarified as the creative work progresses. The study also illustrates the importance of implementing regulations that consider the audience, the display of sensitive work in class and the objectives of the exhibit.

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[pt] O propósito desta pesquisa é qualificar O Livro Vermelho de C. G. Jung como obra de arte. Para isso buscou-se primeiramente quais os conceitos e critérios de validação do livro como tal. Circunscritas as espécies que transitam nessa categoria – livros raros e livros de artista – contemplamos, por meio de um percurso histórico pela história do livro, suas especificidades, pressupostos e aproximações, pois, se por um lado, semelhante aos manuscritos medievais iluminados, tal publicação revigora o livro como obra de arte, por outro lado o processo de criação da obra rompe com o paradigma da feitura do livro através de um processo colaborativo e especializado em vigor desde aquela época, no qual, tradicionalmente, o autor escreve textos, não produz livros. Essa mudança de paradigma vem a ser um dos principais pressupostos da categoria que recoloca na história o livro como obra de arte por meio do campo do livro de artista – em seu sentido lato –, segundo o qual o autor não apenas escreve, mas faz o livro, e estuda-se a si mesmo no processo, então como circunscrevê-lo? Com isso esperamos atingir o objetivo subjacente ao tema central – resgatar o valor cultural e artístico do livro, ressaltando o potencial plástico e criativo que ele oferece. / [en] The purpose of this research is to qualify The Red Book of C.G. Jung as a work of art. For this, we first sought what concepts and validation criteria of the book as such. Circumscribed the species that pass through this category – rare books and artist books – we contemplate, through a historical journey, through the history of the book, its specificities, assumptions and approximations, because, if on the one hand, similar to the illuminated medieval manuscripts, such publication reinvigorates the book as a work of art, on the other hand, the process of creation of the work breaks with the paradigm of book making through a collaborative and specialized process in force since that time, in which, traditionally, the author writes texts, does not produce books. This paradigm shift is one of the main assumptions of the category that relocates in history the book as a work of art through the field of the artist s book – in its broad sense – according to which the author not only writes, but makes the book, and is studied to himself in the process, so how to circumscribe it? With this we hope to achieve the objective underlying the central theme – to rescue the cultural and artistic value of the book, highlighting the plastic and creative potential it offers.