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2 results

Creative Interactions in Collaborative Songwriting

Creative Interactions in Collaborative Songwriting
  • Adam Martin, Remy Haswell-Martin
  • Published online:
    02 July 2026
    Print publication:
    30 July 2026
    • Element
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  • This Element offers insight into the creative interactions that shape collaborative songwriting in the twenty-first Century. It explores how musical creativity is distributed and affectively framed by interactions between people, spaces, tools, and industrial forces. It features the analysis of in-depth interviews with professional songwriters and integrates conceptual resources from phenomenology, enactive cognitive science, and ecological psychology to offer a novel understanding of creative consciousness as involving individual and shared affective resonances and atmospheres. Section 1 explores how patterns of affect are manifest and regulated in creative interactions. Section 2 confronts the relation between affective experience and musicians' senses of autonomy and agency. Section 3 illuminates songmakers' experiences of solitary and shared worlds during collaborations with a focus on environment and creative atmospheres.

  • Chapter 23 - Film

  • from Part IV - Arts
  • Edited by Julian Onderdonk, West Chester University, Pennsylvania, Ceri Owen, University of Birmingham
  • Book:
    Vaughan Williams in Context
    Published online:
    28 March 2024
    Print publication:
    04 April 2024, pp 196-204

  • Summary

    Vaughan Williams’s film scores are considered in light of the state of the British film industry from the 1930s into the post–Second World War period, and of the implications of the composer’s bold decision to try his hand at what many of his contemporaries might have regarded as a rather inferior use of music. His contribution of scores for both feature films and documentaries involved some interesting ideas of his own about the genre of cinematic music. The responses of contemporary critics reflected the complexity of British attitudes to the dominance of Hollywood as much as the inventive ways in which Vaughan Williams negotiated the specific constraints upon British film-making during the Second World War and the demands for ‘propaganda’.