| Summary: | <p>This thesis examines creativity as manifested in an online and transnational network of musicians who compose chipmusic, a kind of electronic music characteristic of 1980s early home computers and videogame sounds. The primary argument is that creativity in chipmusic worlds is networked, meaning that it is dispersed across various activities that are labelled as creative: chipmusic-making, technology-hacking practices that underpin the music, digital cultural practices such as use of social media, online releases, crowdsourcing, staged and screened performances, and any other activity related to chipmusic. The thesis examines the ways in which networked creativity is mediated in the chipscene from an interdisciplinary methodological viewpoint informed by ethnomusicology, anthropology, and sociology.</p> <p>Although the chipscene is geographically dispersed across more than thirty countries worldwide, the chipscene network is well-connected. Communication and music circulation practices of chipmusicians are enabled by the internet. This thesis primarily discusses chipmusic culture that suggests a rich context where creativity discourse is as intensely diverse as the chipscene itself, in which it is embedded.</p> <p>In looking at the creative process and performance practices, I employ a mixed methods approach based on ethnographic research methods and social network analysis, to examine how intrinsic and extrinsic aspects of chipmusic-making, such as ideology, cultural values, network infrastructure, chiptune poetics and aesthetics, distribution of creative roles, authenticity, differentiation, genre dynamics, and intellectual property issues, shape creativity.</p>
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