![]() McIntyre and Thompson lead readers through an illuminating, multifaceted exploration of McCartney’s long and winding career as musician, songwriter, record producer, and collaborator. ” (Amy Hughes,, March 8, 2022) “Two leading researchers on the creative process in popular music focus their theoretical apparatus on one of music’s most prolific creators. … I give this scholarly book 4 out of 4 …. “This book’s function, it is a serious, academic-minded reader for those interested in McCartney’s one-of-a-kind creative process. His book ‘Creativity in the Recording Studio: Alternative Takes’ was published in early 2019 by Palgrave MacMillan. He is currently a Reader in Popular Music at Leeds Beckett University in Leeds School of Arts, and his research is centered on record production, audio education, popular music heritage, creativity and cultural production in popular music. Paul Thompson is a professional recording engineer and producer who has worked in the music industry for over 15 years. Phillip also has extensive experience within the music industry. He is the author of Creativity and Cultural Production: Issues for Media Practice (2012), co-editor of Creativity as a System in Action (2016), and co-author of Educating for Creativity within Higher Education (2018). Phillip has published widely with a particular focus on the creative processes involved in various aspects of music including songwriting, sound engineering, and record production. Phillip McIntyre is a Professor of Communication and Media at the University of Newcastle, Australia where he researches creativity and innovation. This engaging work will have interdisciplinary appeal to students and scholars of the psychology of creativity, popular music, sociology and cultural studies. Using this tripartite system, the book includes analysis of McCartney’s creative collaborations with musicians, producers, artists and filmmakers and provides a critical analysis of the Romantic myth which forms a central tenet of popular music. It also locates his work within social fields and cultural domains, all crucial aspects of the creative system that McCartney continues to be immersed in. This systems approach is built around the basic structures of idiosyncratic agents, like McCartney himself, and the choices he has made as a creative individual. It frames its examination of McCartney’s work through the lens of the systems model of creativity developed by Mihaly Csikszentmihalyi and combines this with the research work of Pierre Bourdieu. This book provides fresh insight into the creative practice developed by Paul McCartney over his extended career as a songwriter, record producer and performing musician.
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