Collected Creativities [ARJazz]

Emma Hedrick

When starting a composition, waiting for the fabled “inspiration to hit” can be unreliable at best and frustrating at worst. To investigate this issue, I look at how experts in other art disciplines approach the practice of creativity, specifically when beginning a new project, which, in composition, equates to starting a new piece. This paper explores how encounters with six creativity exercises originating from the disciplines of writing, choreography, and visual art can result in new possible approaches to jazz composition. The approaches explored include a Daily Method from author Julia Cameron, an Animal Method from poet Ted Hughes, a Haiku Method from authors Linda Anderson and Derek Neale, an Improvisational Method from choreographer Twyla Tharp, a Habit Method from choreographer Jonathan Burrows, and a Modeling Method from visual artist Austin Kleon. Throughout my research, I tested these six methods in my compositional practice and recorded the musical outcomes. I then shared three methods with musical colleagues to try before collecting their thoughts. In each method, I will recount my writing process using the method, my journal entries, and my overall thoughts. In the animal, haiku, and improvisation methods, I will also compare this to the experience of my colleagues. Each section will conclude with a musical work created from the method and my own evaluation of the resulting composition. The research demonstrates viable conceptual strategies for approaching jazz composition derived from other art disciplines and suggests that creative practice can be both accessible and sustainable over the long term.

Prior to this research, I felt my process of writing based on emotions was unsustainable. I strive to have longevity in my writing and music career and wanted to find a repeatable process for my creativity practice. Because creativity is a practicable skill, and I thought finding exercises to spark creativity could assist the creative process. Although creativity practice may not be discussed frequently in jazz composition, many other forms of art have adaptable ideas on the subject. This experiment attempted to answer the question: how can creativity exercises from the disciplines of writing, choreography, and visual art be used to explore the jazz compositional process?

I have explored six methods for the application of creativity exercises to the jazz compositional process. Overall, this experiment challenged me to write consistently (Daily Method), write from new perspectives (Animal Method, Modeling Method), and use new techniques or known techniques in a new way (Haiku Method, Habit Method, Improvisation Method).

Before this research, I had only thought of approaching other art forms in terms of performance centered multi-disciplinary collaboration. However, there is more exchange possible. This research applied the process from other art disciplines to jazz composition demonstrating this is an avenue for more knowledge to be gained. More research across art disciplines comparing, adapting and experimenting with process could prove to be very exciting. I believe the most valuable part of this research is in showing my process and experimentation so that others can experiment with these concepts as well.

This research has greatly impacted my creative process by showing that creativity can exist in the approach and the guidelines/exercises used to get started. Now my compositional practice begins even before the first idea for a piece. I have added a new step to my process of looking for composition methods. As I continue to store these methods, I will have more inspiration to draw from.

This work proved to be invaluable to the consistency of my personal practice. As discussed in the introduction, the original need for this research was to provide a more reliable source of inspiration. I not only found six methods that could do that but, I also found this field to be a wealth of methods waiting to be adapted. My colleagues also demonstrated the demand for more exercises and research into this area. Many of them suggested they look forward to trying more of these methods in their practices.

An overarching characteristic of most of the methods is a time constraint. This proved to be very helpful for overcoming blockages and judgemental feelings. I noticed this occurrence in the Daily Method, Animal Method, and Improvisation Method. My colleagues had a similar experience, especially in the Animal Method. Although, as I mentioned in the start of the paper, I consider myself to be a jazz composer, the Improvisation Method and Modeling Method led to results that need not necessarily be classified as jazz. This brings up an interesting outcome that suggests these methods are not genre-specific and could be applied to other genres of music.

These methods can make great starting points but they are just ideas and can be customized. One of my favorite results from this process is “Spring Cleaning” which was my attempt that was the least “by the book”. A colleague mentioned they also had more success with the Haiku Method when they modified the guidelines slightly. The point of the research is to help to inspire the writing process in some way so, if a modification of the method leads to this, then I also consider this to be a success.

These methods are straightforward and could easily be implemented in workshops, composition or songwriting classes, and personal practice. There is variety in the approach of each method leading to varied musical results. These methods are not meant to replace theoretical study but can provide different approaches and frameworks to put one’s personal style and knowledge into.

I intend to continue this research by sourcing more methods. I came across many exercises that I was not able to test throughout this research and I am looking forward to continuing the experimentation in the future.

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Emma Hedrick - Collected Creativities [ARJazz] - 2025