ABSTRACT

This article explores issues relating to interdisciplinary work between heritage and creative practice. In particular, issues in conceptualising music heritage are raised through an example of research integrating heritage and creativity in a project aimed at highlighting jazz heritage in Queensland, Australia. The project, titled ‘Trading Fours’, was an extension of heritage research that sought to add oral histories, recorded music and ephemera to the Queensland Jazz Archive. The Trading Fours project, based in artistic practice, archival and heritage work, sought the creation of new music from composers and musicians interacting with newly recovered jazz heritage. The aim of the project was to better connect artists and communities with local cultural histories. This article problematises the usefulness of existing conceptual and methodological approaches to the combination of music, heritage, memory, and performance within the project. In reviewing the project methodology, the article suggests that a new approach, termed ‘creative heritage’, could prove valuable for producing and understanding artistic works based around and within heritage work, with the potential to provide greater insight into connections between the arts, creativity and heritage.

摘要

本文探讨了与遗产和创意实践之间的跨学科工作相关的问题。特别是，通过在旨在突出澳大利亚昆士兰爵士乐遗产的项目中整合遗产和创造力的研究的例子，提出了音乐遗产概念化的问题。该项目名为“Trading Fours”，是遗产研究的延伸，旨在为昆士兰爵士档案馆添加口述历史、录制的音乐和蜉蝣。Trading Fours 项目以艺术实践、档案和遗产工作为基础，寻求作曲家和音乐家与新恢复的爵士乐遗产互动，创作新音乐。该项目的目的是更好地将艺术家和社区与当地文化历史联系起来。本文对现有的概念和方法论方法在项目中结合音乐、遗产、记忆和表演的有用性提出了问题。在回顾项目方法时，本文提出一种称为“创意遗产”的新方法，可以证明对基于遗产工作和在遗产工作内部的艺术作品的创作和理解很有价值，并有可能更深入地了解艺术、创造力之间的联系。和遗产。