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In this article, I focus on three defining characteristics of group creativity: improvisation, collaboration and emergence. To demonstrate these three characteristics, I present several examples of group creativity in both music and theater. Then I explore how structure and improvisation are always both present in group creativity. Improvisations contain elements of structure and structured performances contain improvisational elements. I conclude by suggesting some implications for musical education and for education in general.

Observing young children find and make meaning by manipulating and transforming teacher-presented music material provides a unique lens to view collaborative efforts. Collective music-making reveals the fundamental role of others as children make ‘in-the-moment’ adjustments based on their perception of challenge presented and requisite skill. Combining two theoretical frameworks, flow experience and Vygotskian theory, and analyzing the data visàvis event sampling, I examine young music-makers’ interactions in an educational context and how those exchanges influence their learning experiences. Three themes emerge: the power of social influence, the children's transforming behaviors, and the provision of temporal space to explore the music content. Descriptive narratives of 10 musical activities illustrate the children's negotiating strategies and complementary processes. Discovering where to situate themselves and with whom, the 12 children, ranging from 4.3 to 5.9 years old, ‘played off of ’ each other, much like jazz musicians improvising, and intensified their experience through shared ideas.

This article addresses the inherently relational nature of musical agency, drawing upon interdisciplinary research. It argues that music does not exist in isolation but within social and emotional contexts shaped by a network of relationships among musicians. These interactions create a collaborative space that transcends mere technical execution, fostering a collective experience enriched by shared sensitivity and emotional engagement. Consequently, musical practice, whether compositional or performative, entails a moral responsibility, particularly challenging the perspectives of Levinas; Bauman; and Wilde, who traditionally separated art from ethics. As outlined in Nielsen and Cobussen’s work “music contributes to a better understanding of one’s place within the world, and thus, to an ethical sensibility”, emphasizing how musical practice cultivates ethical awareness through its relational nature. Music is thus conceived as a moral endeavor, where care extends not only to the music itself but also to the individuals involved in its creation and performance. Moreover, this moral responsibility extends to future generations, as musical tradition is conceived as a temporal bridge linking the past, the present, and the future. The tradition is composed of individuals actively engaged in the practices that shape the tradition or traditions. Musicians bear an intergenerational responsibility toward those who will inherit and reinterpret current practices—a responsibility not grounded in direct reciprocity, but in what Randall describes as “conceptual ties”. The continuity of musical tradition and its aesthetic value depend on the care and responsibility each generation shows toward both the participants and the evolving cultural products of this process. Thus, the discussion elucidates the ethical dimensions of musical agency and practice, particularly in Western classical music, and highlights how our obligations to future generations are intrinsic to the practice itself, thereby contributing to broader debates on intergenerational care ethics.

The author presents her Preparedness Policy for vocalists and discusses etiquette for collaborative pianists as studio accompanists, etiquette for collaborative pianist in rehearsals, and etiquette online and in written correspondence.

The Web site for this ongoing collaboration between two nonprofit institutions - Ketebul Music and the Abubilla Music Foundation - is reviewed (www.singingwells.org).

Ravikiran recalls his early interaction with composer Robert Morris and how the concept of melharmony came to him. He also talks about his collaboration with Morris and discusses Indian raga and Chennai December music festival.

Leslie Holmes interviews David Kravitz, a singer who is involved with new music and working with several composers.

How do musicians performing together coordinate their actions to achieve a unified performance? We observed a singer (the first author) and pianist/conductor (the third author) as they prepared for two performances of Ricercar 1 from Stravinsky's Cantata, one for voice and piano and one for voice and ensemble. This article reports a content analysis of the musicians’ verbal commentaries made in two individual practice sessions and their discussions during two joint rehearsals at the beginning and end of the rehearsal period. In their individual sessions, the musicians began identifying features of the music to use as performance cues that would serve as landmarks to guide their performances. In their joint sessions, some of these features were turned into shared performance cues that could be used to coordinate their actions. The musicians’ comments show how they resolved differences in their conceptualizations of the compositional structure of the piece and how they coordinated their music-making through the use of shared performance cues.

Edwards describes a partnership initiative between singers in voice studies at the University of Toronto's 1,2,3...Opera program for undergraduate voice majors and the choir students from North Toronto Collegiate Institute (with Carol Ratzlaff as instructor). Together, they successfully performed a workshop concert of William S. Gilbert and Arthur Sullivan's \"HMS Pinafore.\"

This study focuses on collaboration between student musicians in a wind quartet, saxophone quartet and string quartet. Devised as an explorative investigation using observation and interview methods, the roles of student musicians are defined within and across quartet rehearsals over a period of four weeks. The data indicate that there are common roles assumed by student musicians in a quartet: leader, deputy-leader, contributor, inquirer, fidget, joker, distractor and ‘quiet one’. The students represented one or more of these roles during a rehearsal and sometimes changed roles across rehearsals, normally through compensating for each other's mood changes. Quartets with a regular leader exhibited more stable team-role behaviour, a consistently focused group dynamic and better progress than those without one did, highlighting the impact of leadership on non-leadership roles and the success of a group.