Making Music for a Museum: An Insider’s View of the Collaborative Creative Process
Dan McKinna (BIMM)
ABSTRACT: To be able to gain an understanding of the creative process in popular music, it is helpful to examine the relationships and motivations at work from the perspective of an insider. Creativity in popular music is often discussed with reference to its social production and in particular to Bourdieu’s concepts of field and habitus. This, and Becker’s Art Worlds (1982) will be used as starting points, particularly in connection with the different roles and relationships, but the paper al-so seeks to address notions of individual agency and expression; a concept is often at odds with social perspectives on the production of art. In order to explore both the expressive ideals and the roles involved in the music’s crea-tion, a layered, auto-ethnographic approach is adopted so that the work is presen-ted with intertwined interviews, narrative and an analytical voice so as to bring to-gether the divergent themes. I argue that the auto-ethnographic approach has ena-bled the relationships involved in the collaborative production of the music to come to the fore, while allowing for the initial emotional connection and need to ex-press to be addressed. A reading of Bourdieu’s habitus is put forward whereby there can be a predisposition to express emotion in a musical way without losing sight of it being constructed through social interaction between creative collaborators.