The Aesthetics of Music and Sound -              

Cross-Disciplinary Interplay between the Humanities, Technology and Musical Practice    


Project Descriptions



3. Learning through Music


f) Understanding Musical Creativity and Aesthetics in a Digital-Based Youth Cultural Context  



According to the main part of creative theory, expertise is considered a precondition for creativity. The assumption is that the individual must master the common and accepted rules and techniques in order to create something new and valuable. Much empirical documentation supports this hypothesis. On the other hand ”real life” cases demonstrate that this assumption may be a bit too simple. Occasionally people achieve great success as creative individuals without much expertise. Furthermore, empirical studies show that expertise sometimes may inhibit creativity instead of promoting it. Thus, it calls for a discussion of the suggested relation between expertise and creativity.


In the research project creativity and expertise are studied, with a specific focus on computer-based music-making. Theoretical references are made to actor-network theory, creativity theory in general, and the aesthetics of technology. Empirical data is provided by several case studies involving experienced and inexperienced musicians making music by the computer.


The analysis of the empirical data leads to several questions that affects our basic understanding of music, aesthetics, creator and creation, e.g. what is a creative product, what is a creative process, and what constitutes a creative individual? The starting point is that an investigation of creativity must be grounded in a specific domain and a specific context. However, the ambition is that the study might be of interest beyond the field of music and technology.


(Mikkel Snorre Wilms Boysen)



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Institute for the Study of Culture

Institut for Kulturvidenskaber (IKV)


Research Director for

The Aesthetics of

Music and Sound


Editor and Webmaster for

Cynthia M. Grund





(For descriptions, please click on the tabs at the top of the page.)


1.Understanding Music through Modern Technology

a) Recognizing Music

b) Recognition of Expressive Styles in Music Performance

c) Autonomous Agents – An Accompanist in VR

d) The Composition and Its Role in the Ensemble

2. Intermediality

a) Intermediality

b) Lyric and Meaning in Music

c) Towards an Aesthetic Theory of Correlativity

d) Are Treatments of the Metaphysics of Music in Medieval Literature Relevant for Current Theories of Musical Meaning and Significance?

3. Learning through Music

a) Music Communication

b) Children's Knowledge Creation with Intelligent Agents in Music Education - Understanding for Optimizing Motivations

c) Adaptable Interfaces & Augmented Avatar - Introducing Tools for the Disabled and Musicians in VR

d) Community Singing and/or Ideology

e) Creating Creativity

f) Understanding Musical Creativity and Aesthetics in a Digital-Based Youth Cultural Context

g) The Sound of Movement - the Sound of Learning 

4. Practice-based Research

a) Analysis and Implementation of Practice-Based Research

b) Relationship of Gesture to Communicative Authenticity in Performance

c) Musical Implications of the Work of Selected Philosophers

d) Employing the Methods of Discourse Narrative to Support Interpretive Choices Faced by the Practicing Musician

e) Soundmapping the Genes

f) A Program of Practice-based Research Designed to Examine Listener Reaction to Olivier Messiaens Vingt Regards sur l'Enfant Jesus

g) The Interrelationship of Notation and Performance

h) Technological and Aesthetic Investigations of the Physical Movements of Pianists

5. Selective Bibliography