‘Collaborative creativity’ within a jazz ensemble as a musical and social practice

Kenny, Ailbhe

doi:10.1016/j.tsc.2014.02.002

Cited by 33 publications

(56 citation statements)

References 11 publications

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“…Within the study, motifs were interpreted as technical (pre-composed) 11 , tactical 15 (improvised) 11 or, strategical 15 knowledge. Thus, a technical motif was considered a hit 'down the line' (1) or a 'tip' (2) , but could also be a tactic, such as a pre-planned quick attack behind the setter, or an in-the-moment improvised strategy such as a backcourt attack (3) . These sorts of observations were commonly reported in the reflective logs, especially during the second and third cycles.…”

Section: (Hellen Fg 2)mentioning

confidence: 99%

“…(2) Slow hit, usually landing on the empty spaces, away from the defenders. (3) Any attack from the defensive zones (1, 6 and 5).…”

Section: (Hellen Fg 2)mentioning

confidence: 99%

“…In contrast, jazz ensembles encourage creative endeavours, which are framed as a collaborative, socially situated and collective process. 2,3 Such creative actions are associated with novelty, 4,5 and produced as a result of interactions between the participants and the challenges raised during learning opportunities. 6 Creativity often emerges from improvisation 3 rooted in the interactions between the members of a musical ensemble.…”

Section: Introductionmentioning

confidence: 99%

“…2,3 Such creative actions are associated with novelty, 4,5 and produced as a result of interactions between the participants and the challenges raised during learning opportunities. 6 Creativity often emerges from improvisation 3 rooted in the interactions between the members of a musical ensemble. 7 Indeed, jazz musicians have been found to engage in a type of 'conversational exchange' in improvised activities.…”

Section: Introductionmentioning

confidence: 99%

“…Some of the musicians, particularly those from different musical backgrounds (e.g., folk), found this both exhilarating and frightening, corroborating the peculiar culture of creativity within jazz ensembles. This type of creativity and improvisation was practiced within the group and facilitated by the tutor through musicians being challenged to leave their 'comfort zone' and 'move beyond' playing what was obvious and unchallenging 3 . Challenge had a strong association with creativity and a heavy workload was viewed as necessary to achieve creativity in performance.…”

Section: Introductionmentioning

confidence: 99%

See 4 more Smart Citations

Developing creative team games players: From jazz to sport coaching

Santos

Morgan

2019

International Journal of Sports Science & Coaching

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Traditional coaching methods position coaches at the centre of the learning process and do not encourage players to think creatively. This study challenged this assertion, through the application of pedagogical principles reported in jazz-related literature, which argue that creativity is best developed through collaboration. As such, the study aimed to develop players' creativity, through the application of pedagogical principles reported in jazz-related literature. An action research design was implemented, during a 14 weeks period, with a youth volleyball squad. Results demonstrated an impact upon match play; players showed their enhanced appreciation of the game's complexity, by experimenting, collaborating, and generating creative solutions to challenges emerging within matches. In addition, the implementation of collaborative practices positively impacted upon the players' communication habits, which were both more frequent and effective. Although players demonstrated a similar modus operandi to jazz musicians, this study represents the first step in what coaches can learn from jazz creativity, and therefore further research is required to corroborate or challenge the results attained.

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