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)