Page 86 - Composing Processes and Artistic Agency

The processuality of composing 75
2.3 The artistic creative processes as a dynamic interlinking of actions

In the introduction to this chapter, we mentioned several characteristics of the
concept of process. They were not at all intended to provide a universal defi-
nition of the term, but a clarification meant for artists’ creative processes. The
starting-point is the temporal interlinking of actions. Our entire empirical
material confirmed that composition processes are goal-orientated but not
goal-directed, since the piece still has to be created and since even detailed
specifications do not determine the final gestalt of the piece. Katherina Kle-
ment compares the creative process to a “hike”, during which you have to
adapt to the terrain on the ground because “you’ll be sorry if you take a path
that you believe you absolutely have to take”. This metaphorical comparison
also contains the reason why we assign such attributes as “open”, “explora-
tory” or “experimental” to these processes.
Composition processes are open as to their results, but beyond that they are
shaped by a fundamental cultural expectation: they are expected to produce
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something new (Groys 1992/2014; Zembylas 2004: 187–204). This culturally
generated expectation has a transindividual effect and influences not just
composers’ professional self-image, but also their composition practices.
Hence the receptiveness and willingness to experiment of many composers
whom we met, interviewed and observed are not primarily characteristics of
their individual psychology, but rather of their practice community. Here, we
posit a fundamentally different interpretation from many other analyses of the
creative psychology involved in composition processes (see Csikszentmihalyi
1996: 58ff., 110ff.; Feist 1998; Katz & Gardner 2012; Schubert 2012).
Our rejection of individualistic or actor-centric attempts to explain creative
processes should not automatically be taken to imply that we favour collectivistic
analyses or indeed analyses drawing primarily on system theory instead. We have
emphasised that every process is characterised by different results, which are the
foundations of its particularity and contingency. Some results can open up new
paths for a composer to pursue (or not). Others can cause disruptions in the work
process and lead to certain guiding principles being abandoned. All in all, unpre-
dictable and unplanned results mean that composition processes are non-linear
and non-deterministic. By emphasising the uniqueness and particularity of com-
position processes, however, we also stress the individually skilled and intelligent
response to various artistic, technical, pragmatic and emotional challenges. These
challenges are the subject of the next chapter.
The myriad different facets of the creative process can be clearly outlined
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using “thick descriptions”. We have identified the activity clusters presented
above – exploring, understanding, valuing and making – in other composition
processes as well. As such, we consider them to be transferable as abstractions –
as long as the particularity of individual composition process, work habits
and abilities is not ignored. To that extent, no overarching theory can
be derived from the case studies, but they do provide results that elucidate
composition processes and make them comprehensible.