Page 64 - Composing Processes and Artistic Agency

The topography of composing work 53
concepts of interaction and cooperation of masking the objective structures of the
artistic field, which arise from the unequal distribution of resources and power, as well
as the antagonisms and struggles that this generates. Arguing from a perspective of
symbolic interactionism, Becker (1982/2008: 372–386) responds that Bourdieu’s
concept of the field looks as if social relationships were shaped by some sort of invi-
sible forces. Becker, on the other hand, focuses on interactions to explain how human
beings develop their activities and attitudes in these interactions with others.
2 A network analysis for British composers can be found in McAndrew & Everett 2015.
3 Similarly, many writers who mainly work on a computer will print out partial prose
texts because printed paper creates a certain distance and at the same time provides
a better overview (see Zembylas & Dürr 2009: 31, 47, 110f., 114).
4 The embedding of artists in existing traditions has been associated with the notion
of influence. The art historian Michael Baxandall (1987: 59) has elaborated an
alternative interpretation of influence which emphasises the manifold and active
relations of an artist to artistic models. This relation might be to “draw on, resort
to, avail oneself of, appropriate from, have recourse to, adapt, misunderstand, refer
to, pick up, take on, engage with, react to, quote, differentiate oneself from, assim-
ilate oneself to, align oneself with, address, paraphrase, absorb, make a variation on,
revive, continue, remodel, ape, emulate, travesty, parody, extract from, distort,
attend to, resist, simplify, reconstitute, elaborate on, develop, face up to, master,
subvert, perpetuate, reduce, promote, respond to, transform, tackle”.
5 As a kind of text, the diary possesses certain formal and characteristic features – for
instance, text media, format, type of writing, writing tools, and others – that con-
firm its identity as an autobiographical text.

Bibliography
Barnes, Barry (2001) “Practice as collective action”. In Theodore Schatzki, Karin
Knorr-Cetina and Eike von Savigny (eds.) The Practice Turn in Contemporary
Theory. London: Routledge, 17–28.
Barrett, Margaret S. (ed.) (2014) Collaborative Creativity in Musical Thought and
Practice. Farnham: Ashgate.
Barthes, Roland (1968/2005) “The death of the author”. In Roland Barthes, Image –
Music – Text. Essays selected and translated by Stephen Heath. London: Fontana
Press, 142–148.
Baxandall, Michael (1987) Patterns of Intention: On the Historical Explanation of Pic-
tures. New Haven: Yale University Press.
Becker, Howard S. (1982/2008) Art Worlds. Berkeley: University of California Press.
Becker, Howard S. (2006) “The work itself”. In Howard S. Becker, Robert R. Faulkner
and Barbara Kirshenblatt-Gimblett (eds.) Art from Start to Finish: Jazz, Painting,
Writing, and Other Improvisations. Chicago: University of Chicago Press, 21–30.
Blaukopf, Kurt (1989/2012) “The mediamorphosis of music as global phenomenon”.
In Tasos Zembylas (ed.) Kurt Blaukopf on Music Sociology: An Anthology. Frank-
furt am Main: Peter Lang, 63–91.
Blumer, Herbert (1986) Symbolic Interactionism: Perspective and Method. Berkeley:
University of California Press.
Böhle, Fritz (2010) “Arbeit als Handeln”. In Fritz Böhle, Günter G. Voß and Günther
Wachtler (eds.) Handbuch Arbeitssoziologie. Wiesbaden: Verlag für Sozialwissenschaf-
ten, 151–176.
Böhle, Fritz, Orle, Karin and Wagner, Jost (2012) “Innovation work: artistic,
experience-based, playful”. In Fritz Böhle, Markus Bürgermeister and Stephanie