The Dynamics of Mutuality in the Composer and Performer Relationship

Abstract

This PhD composition portfolio explores through practice the collaborative relationship between composer and performer. The work demonstrates an inter-dependence between the desire to work with a person or group of people and exploration of an abstract or conceptual idea. Many of these conceptual ideas are from the Jungian school of psychology, or drawn from the real life experiences of composer and/or performer. The commentary reflects on the differing nature of these relationships, and the effect this has on the work. Ideas laid out in Vera John-Steiner’s book Creative Collaboration—such as ‘integrative’ and ‘complementary collaboration’, ‘supportive partnerships’, ‘self-in-relation’, ‘thought communities’, ‘enterprises’, and ‘life-span approach’—provide context. The portfolio follows and diverges from the atelier model used by composers like George Aperghis and Meredith Monk, and the director/composer auteur model as outlined by Eric Salzman and Thomas Desi in their book The New Music Theatre. It demonstrates that placing collaborators at the subjective centre of the work gives them autonomy within the compositional creative process, and the role of composer becomes more facilitator, less auteur. This contributes to knowledge by enabling the composer to look beyond the self and towards society. One aim is composing pieces that are immediate, meaningful and have lasting resonance with the creators, audiences and future performers. This is achieved by writing music rooted in human psychology and personal experience. Another aim is to legitimise the total integration of emotion and reason within the creative process. Ultimately, the portfolio presents research into the composer’s role as psychologist, the pieces as therapy, and the impact this has on the individual, the collaborators and society