3.4 Creativity

Building on the understanding of affordances and reflexivity outlined in the previous chapters, it is important to consider the nature of creativity itself when composing music. In this project, I approached songwriting by using alternate tunings as a method to stimulate creative exploration. However, working creatively requires an awareness of different cognitive processes that shape how ideas are generated and refined.

Joy Paul Guilford, a leading figure in creativity research, introduced the concepts of divergent and convergent production, offering a useful framework for understanding the creative processes involved in this study (Deliège & Richelle, 2006, p. 2). Guilford’s work challenged the traditional view of creativity by proposing that creative thinking should be studied scientifically, particularly through structured processes. As he explains,

“In divergent production we are generating the logical possibilities from given information, whereas in convergent production we are generating logical necessities” (Guilford, 1967, p. 215).

Later interpretations, such as those by Deliège and Richelle (2006), suggest shifting the focus even further towards analysing specific creative acts rather than treating creativity as a fixed trait. This development led to the modernised terminology of divergent and convergent thinking. As Deliège and Richelle note,

“We might, more straightforwardly, look at those behaviours that eventually lead to novelty in a given field of arts or sciences, and try to account for them by identifying the processes involved. In simple terms, get rid of creativity, and look at creative acts” (Deliège & Richelle, 2006, p. 2).

In this view, creativity is not a fixed personal quality but something that emerges through action. Research should therefore focus on observing and understanding the creative process, rather than attempting to measure an abstract notion of how creative a person is.

Divergent and convergent thinking are not isolated stages but dynamically coexist throughout the creative process. Divergent thinking enables the free exploration of musical possibilities, while convergent thinking focuses on refining and structuring these ideas into coherent compositions. This interplay plays a crucial role in my approach to examining how alternate tunings affect my songwriting. Alternate tunings allowed me to explore more freely and fluently during the early stages of composition, while the later stages relied increasingly on convergent thinking to shape, structure, and finalise the musical ideas into complete songs. Guilford identified four key abilities underlying divergent production: fluency, flexibility, originality, and elaboration (Guilford, 1967, p. 138). These abilities completed Guilford’s model on divergent thinking.

In this context, alternate tunings can be understood not only as technical tools but as affordances that support divergent thinking. By disrupting familiar patterns and offering fresh tonal possibilities, they promote open-ended exploration and idea generation, key aspects of the creative process in this study.

3.2 Affordances

During my research, I became increasingly aware of how my creative process was influenced by the alternate tunings I used on the guitar. In James J. Gibson’s ecological theory of affordances (2015), the environment “offers” actions to an individual depending on their capabilities and situation (Gibson, 2015, p. 120). He writes,

“The human species in some cultures has the habit of sitting as distinguished from kneeling or squatting. If a surface of support with the four properties is also knee-high above the ground, it affords sitting on. We call it a seat in general, or a stool, bench, chair, and so on, in particular” (Gibson, 2015, p. 120).

While this illustration, that a surface at the proper height allows sitting, may appear obvious or unrelated to creative activity, the basic idea is still important. Gibson emphasises what the environment objectively offers whether or not the person sees it. Donald Norman broadens this perspective by adding the idea of perceived affordances.

Norman (2004) explains that in many cases, particularly dealing with tools or interfaces, it is not only the affordance itself that counts but also whether the user acknowledges it as such. He notes,

“In product design, where one deals with real, physical objects, there can be both real and perceived affordances, and the two need not be the same” (Norman, 2004, para. 3).

Working with alternate tunings makes this difference especially important. Although a tuning may technically allow certain harmonic or melodic patterns, it is only when I see these affordances, when I see the musical options they provide, that they start to shape the course of my songwriting. Norman claims that perceived affordances are what a user believes is possible in a particular context, not what is actually available. This thesis thus applies the idea of affordances particularly in relation to the alternate tunings, which shaped the musical choices and compositional direction of every songwriting session, so acting as perceived creative affordances.

Working as a researcher and practitioner in this thesis, I unavoidably bring certain biases and subjective opinions. Artistic research and action research especially highlight this since personal insight and creative intuition are part of the methodological foundation. Combining my personal reactions with analytical thinking requires a conscious effort to remain reflexive throughout the process.

3.1 Theoretical framework

The theoretical foundation for this thesis is presented in this chapter. It delves deeper into the use of alternate tunings in songwriting by examining key concepts such as affordances, reflexivity, and creative theory. It also establishes the foundation for the subsequent methodological decisions and situates this study within the body of existing literature.

3.5 Theoretical Perspectives on Alternate Tunings

Exploring the creative potential and influence of alternate tunings in songwriting was an experience filled with reflection on the sonic qualities of each tuning. Each tuning offered a different palette of sounds and textures, contributing to a wide range of emotional responses. This diversity strongly influenced my own emotional interpretation of the tunings, which I could connect to the concept of perceived affordances. Feelings such as warmth, forward momentum, heroism, coldness, and supportiveness often emerged during the creative process, inspiring new pathways in my songwriting. However, I became curious whether other musicians experienced similar emotional responses when using alternate tunings. During my research into alternate tunings, I examined a study by Richard Stewardson (1994), which highlighted the role of alternate tunings in supporting creative exploration and emotional expression. Stewardson’s research involved five Canadian folk and New Age guitarists, investigating how alternate tunings could expand harmonic possibilities, evoke specific moods, and encourage originality in composition.

“Central to these guitarists’ aesthetic values is ‘richness of sound.’ This richness often involves: (i) an extended bass range, (ii) open strings ringing together, (iii) harmonics, (iv) unusual chord voicings, especially sonorities comprising a combination of open strings and strings fretted high up on the neck, (v) sympathetic vibration, and (vi) percussive effects” (Stewardson, 1994, p. 20).

In addition to these technical features, Stewardson (1994) also identified originality and variety as key aesthetic ideals among the musicians. Alternate tunings not only provided richer sonic textures but also enabled the creation of distinctive musical voices, offering greater diversity and expressive depth. These findings closely align with the observations and experiences gathered during the course of this research.

Together, these theoretical perspectives offer a framework for understanding the creative process explored in this thesis. By linking affordances, reflexivity, and divergent thinking with alternate tunings, the study is grounded in a practice-based approach. The following chapter outlines the methodological choices and structure used to investigate these ideas through artistic research and action research.

3.3 Reflexivity

In an educational web article published by ATLAS.ti (n.d). They talk about the importance of being aware of reflexivity when conducting qulatative research.

“Reflexivity, in the context of qualitative research, refers to the process of continually reflecting upon the researcher's role, biases, values, and relationships, both with the research subject and the data collection and analysis processes”. (ATLAS.ti, n.d.)

Adapting this to my artistic and action-based research approach, there were several reflexive factors I needed to consider. My years of experience playing the guitar, combined with formal education and guidance at university level, have shaped how I interact with the instrument. This skill level significantly influenced how I perceived and responded to the affordances of each tuning. As such, my reflections and creative decisions are rooted in a level of technical fluency that may not reflect the experience of a beginner or intermediate player. The ATLAS.ti article also distinguishes between two types of reflexivity: personal and epistemological. I have adapted these categories to my research and interpreted them as follows:

Personal reflexivity:
When I played certain tunings, they evoked different emotions in me. A tuning might feel cold or distant because I associate it with something from my own personal past, and this directly shaped the outcome of the lyrics or the chord progressions. These emotional responses were not neutral but rooted in my individual background and experiences.

Epistemological reflexivity:
Because I am using artistic research, the focus of this thesis is on my own experience while writing and composing music, particularly the emotional aspects. However, by concentrating on my process, the research does not explore how other people, such as listeners or audiences, experience the music. This approach allows for a deep insight into my creative process but does not aim to evaluate the reception or interpretation of the music by others.

Building on this understanding of perceived affordances and reflexivity, the creative process in this thesis can be further framed through the concepts of divergent and convergent thinking.