Page 31 - Composing Processes and Artistic Agency

20 The topography of composing work

scores, have been sorted and are kept in file cabinets in a separate office space,
accessible at all times. The studio is not just where current production occurs,
but also where past work and the knowledge associated with it are stored and
where there is anticipatory reflection on the various work phases (see also
O’Doherty 2007: 18; Morgner 2016: 41ff.).
On the whole, workspaces are equipped for a purpose and express a reified
self-discipline. Ultimately, the objects they contain and the way in which these
have been arranged reveal each composer’s personal understanding of creative
work. Creative work needs creative impulses, is predicated upon maintaining
good social and professional contacts, and requires both order and organisa-
tion. The functionality of the workspace is also related to individual needs
and work habits – especially where composers require technical equipment.
As Katharina Klement explains, her workspace “[is] a bit cluttered. Because
I’ve got these two loudspeakers for stereo playback. And here’s my desk
without computer. It’sa tried-and-tested arrangement [our italics]. There’s the
hifi for my record-player. […] My main stereo playback is via bigger PA
boxes, which might be a bit oversized, but I really like them because I’ve used
them for years.” Again, this demonstrates the extent to which the auditory
layout and appropriation of a space also helps to make it a workplace. Since a
separate personal studio generates additional costs that may not be affordable,
many composers make do as best they can. Alexandra Karastoyanova-
Hermentin explains that “before I had children, I found it very disruptive to
hear anything that disturbed me when I needed quiet. When you have children,
you learn to work more quickly. You just need the time. Then you can switch
off completely and start work right away.” Some composers remember their
college years, when spatial conditions for composing were less than ideal.
Judith Unterpertinger lived in a small one-room flat and went to a café in the
evening: “For me, the café was a place to think. A creative place where I was
served. Where I couldn’t jump up from my seat. I’m often very restless when
I’m composing. When I’m at the start of a piece, my flat’s always very clean.
Because I start cleaning the flat or doing other unnecessary things.” Judit
Varga lived in a student hall of residence. “Usually, at least three people
would be practising in my room at the same time. It’s impossible to compose
like that. So I often went to McDonald’s to compose there instead.” Even in
later stages of life, some composers are professionally very mobile and use
public spaces for working, as Marko Ciciliani describes: “Basically, I can
compose pretty much anywhere. […] But I do have to feel uninterrupted.”

1.2 Peers and non-peers
Artists work within complex “cooperative networks” (Becker 1982/2008: 1)
with people from different professions. And “all of the people who participate
in making the work have some effect on the final choice of the ‘work itself’”
2
(Becker 2006: 24). In general, sociology of the professions views peers as
people with a comparable level of education and comparable professional