Group Creativity: Music, Theater, Collaboration

By R. Sawyer. 2003

435 citations recorded by the source corpus.

Subfields: Computational Theory and Mathematics, Experimental and Cognitive Psychology, Music

View Paper: https://www.semanticscholar.org/paper/2998b18fe0e106fde440e7bc34ef35908865f9f9

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In Computational Theory and Mathematics

In Experimental and Cognitive Psychology

In Music

Citations in the corpus

Modes of communication during jazz improvisation (2005, background): “Few studies have attempted to explain the psychological processes involved in jazz musicians’ collaborative communication (although see Sawyer, 2003).”
Collective Mathematical Understanding as Improvisation (2006, background): “In writing about creativity, Sawyer (2003) offered two main reasons for the need to also consider the collective.”
Distributed creativity: How collective creations emerge from collaboration. (2009, methodology): “…the director guided the group through an improvisational, collaborative writing technique that is often used to develop sketch comedy and other ensemble-based performances (Sawyer, 2003b); each of the scenes was improvisationally and collaboratively developed by the actors over many rehearsals.”
A Sociocultural Theory of Creativity: Bridging the Social, the Material, and the Psychological (2020, background): “…is meant by “acting on difference” is placing perspectives in relation to each other in productive dialogues; it means inviting group members to reflect on their position and perspective in view of the position and perspective of others, a process that has emergent properties (R. K. Sawyer, 2003).”
Creative Teaching: Collaborative Discussion as Disciplined Improvisation (2004, background): “Improvising ensembles are similarly heteroglossic, as the voices of the performers meld together through a give and take whereby intersubjectivity is collaboratively emergent (Sawyer, 2003c).”
Educating for innovation (2006, background): “Business theorists are essentially rediscovering Piaget's original insight that learning and creating are fundamentally the same process (Sawyer et al., 2003); it is a commonplace today among business scholars that a creative organization must also be a learning organization (Senge, 1990).”
Theoretical and Pedagogical Perspectives on Orchestrating Creativity and Collaborative Learning. (2011, background): “At its best, collaborative learning (see Littleton & Häkkinen, 1999) is a shared and creative knowledge construction process between team members committed to the divided evaluation of the learning process (Barnes & Todd, 1995; Sawyer, 2003; Wells & Arauz, 2006).”
Group creativity: musical performance and collaboration (2006, methodology): “For the cover of my 2003 book Group Creativity, I wanted to use a classic black and white jazz photograph of an entire group, visibly engaged in group interaction (Sawyer, 2003a).”
Musical creativity and the embodied mind (2018, background): “In what follows we will attempt to support and develop this situated and socially interactive perspective on (musical) creativity through the lenses of the 4E approach to cognition and DST (see Sawyer, 1999, 2003; Schuldberg, 1999).”
A Call to Action: The Challenges of Creative Teaching and Learning (2015, background): “Creative learning requires unpredictability, irreducibility, and novelty (according to the basic tenets of constructivism: Sawyer, 2003a), and creative learning is more likely with collaborative emergence—with moment-to-moment contingency and retrospective interpretation (Sawyer, 2004).”