"Cultivating Ownership through Creativity: Three Curriculum-Integrated Activities for Beginner Clarinetists"
(2025)
author(s): Chelli Sara
published in: KC Research Portal
Cultivating a sense of ownership in beginner music students is important for fostering engagement and self-confidence in their educational journey. This study explores how integrating creative activities into a beginner clarinet curriculum promotes ownership among students aged 9–11. Focusing on three specific activities tested in multiple case studies, the research investigates students' relation with their musical development. Findings reveal that using creative activities as part of a personalized, student-centered teaching approach enhances students' motivation and engagement, ultimately fostering a stronger sense of ownership in their learning experiences. The study also offers practical insights for music educators seeking to creatively teach instrumental skills while creating a meaningful musical experience for young clarinetists.
Solastalgia – Toward new collaborative models in an interdisciplinary context
(2025)
author(s): Karin Emilia Hellqvist
published in: Norwegian Academy of Music
This artistic research exposition unfolds the collaborative work on the violin, electronics and video work Solastalgia, from the viewpoint of violinist Karin Hellqvist. Solastalgia is created together with composer Carola Bauckholt and video artist Eric Lanz. During the process, Hellqvist develops the concept of the artistic palette, helping her understand her agency and creativity as a performer. Through sharing materials and reflections from within the artistic process, Hellqvist describes the new work methods that emerge and how they affect the roles of composer and performer. Focus is directed toward ownership, safe space, resources and eco-anxiety. The work’s title is an homage to environmental philosopher Glenn Albrecht’s neologism solastalgia, describing existential distress connected to environmental change. Theory on collaborative composition situate the reflections in the research field that includes Alan Taylor’s typology of working relationships and Lydia Goehr’s concept of Werktreue.
Conference: Decentralised Creativity and Agential Systems in Music (Schedule)
(last edited: 2025)
author(s): Adam Łukawski, Martin Zeilinger, Paulo de Assis
This exposition is in progress and its share status is: visible to all.
This conference will explore how emerging technologies—especially generative AI and blockchain—reimagine the current notions of creative agency. Conveners: Adam Łukawski, Martin Zeilinger
Artificial intelligence (AI), with its learning algorithms operating at scale, can mimic human creative agency, and blockchain technologies, through smart contracts, can augment works of art with more or less autonomous behaviours that correspond to the agency of human participants in socio-economic interactions. While such developments can destabilise traditional notions of ownership, provenance, and agency in musical practices, they can also empower artists. Those working creatively with sound and music are today increasingly becoming system-builders and curators of musical ecosystems, turning their focus from the creation of singular, standalone musical works (in any traditional sense of the term) to the design of systems capable of generating artworks. This suggests an evolving role of music-producing systems today: from fixed intellectual constructs and creative expressions to dynamic, more-than-human technological networks that not only actively participate in the production of artworks with increasing levels of agency, but which can themselves be considered as artworks that constitute generative, expressive assemblages. This shift is further emphasised in distributed contexts, where varying levels of automation blur the boundaries between human and non-human contributions, creating environments where agency is negotiated and shared across diverse actants.