This paper discusses an exploration of collaborative methods for performers and composers, from an individual study to group trials, to offer suggestions for future collaborations. This was conducted with a goal of breaking down the conventional hierarchy of the composer – interpreter commissioning process and giving all parties creative agency to create a work which one of them could create on their own. This research began with a personal collaboration trial involving the author, harpist Margarida Martins, and composer Robin Fiedler in which they explored different methods of working together to compose a suite. Following this, recommendations were taken and applied to trials conducted with other musicians in a shorter time frame, in which they composed singular movements collectively. From this it can be derived that improvisation surrounding an agreed upon external theme serves as an effective method of generating material, but without composition training, most performers and composers revert to traditional roles after initial material is generated and refined. The impact of the poetry and images, though difficult to measure directly, was felt palpably by most groups. Groups benefitted greatly from structure, both the individual trial and group trials. From this, specific recommendations can be made for groups wishing to work collaboratively and for individuals seeking out collaborative partners for music composition. keywords: collaboration, composition, improvisation
Jack Price (Tue,) studied this question.