Creativity in music is often mythologised as purely intuitive or spontaneous, yet practitioners across genres employ sophisticated deductive strategies alongside inductive experimentation. This project explores how musicians use conceptual frameworks, constraints and systematic approaches to generate creative possibilities and solve aesthetic problems. Rather than positioning planning and spontaneity as opposites, we aim to examine how they interact productively in actual creative practice. Areas of investigation include:

• Exploring creative friction at component intersections. How do musicians generate new possibilities by working to build connections between lyrics and music, composition and production, or by bringing biographical and historical knowledge into interpretative decisions?
• Understanding constraints as generative tools. How do self-imposed rules, limitations and systematic processes function not as restrictions but as engines for creativity? What can we learn from practices like Oulipo in literature, serialism in composition, genre conventions in popular music or Eno’s Oblique Strategies?
• Analysing intertextual creativity. How do musicians use quotation, sampling, stylistic reference and cultural memory as active creative strategies? What is the relationship between influence, homage, appropriation and originality?
• Developing frameworks for intentional experimentation. How can deductive approaches structure exploratory practice without foreclosing unexpected discoveries? What role do theoretical models, analytical tools and conceptual frameworks play in guiding creative development?