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1
Musical creativity: multidisciplinary research in theory and practice
2006, Psychology Press
in English
1841695084 9781841695082
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Book Details
Table of Contents
Prelude.
The spectrum of musical creativity
Page 1
PART I.
Creativity in musicology and philosophy of music
Page 7
1.
Playing God: Creativity, analysis, and aesthetic inclusion
Page 9
2.
Layered constraints on the multiple creativities of music
Page 25
3.
Musical creativity between symbolic modelling and perceptual constraints: The role of adaptive behaviour and epistemic autonomy
Page 42
PART II.
Creativity in musical listening
Page 61
4.
Analogy: Creative support to elaborate a model of music listening
Page 63
5.
Hearing musical style: Cognitive and creative problems
Page 78
PART III.
Creativity in educational settings
Page 95
6.
How different is good? How good is different? The assessment of children’s creative musical thinking
Page 97
7.
Understanding children’s meaning-making as composers
Page 111
8.
Processes and teaching strategies in musical improvisation with children
Page 134
PART IV.
Creativity in musical performance
Page 159
9.
Creativity, originality, and value in music performance
Page 161
10.
Exploring jazz and classical solo singing performance behaviours: A preliminary step towards understanding performer creativity
Page 181
11.
Spontaneity and creativity in highly practised performance
Page 200
PART V.
Creativity in music therapy
Page 219
12.
Musical creativity in children with cognitive and social impairment
Page 221
13.
Aesthetics of creativity in clinical improvisation
Page 238
14.
Hidden music: An exploration of silence in music and music therapy
Page 252
PART VI.
Neuroscientific approaches to musical creativity
Page 273
15.
From music perception to creative performance: Mapping cerebral differences between professional and amateur musicians
Page 275
16.
Musical creativity and the human brain
Page 290
17.
Beyond global and local theories of musical creativity: Looking for specific indicators of mental activity during music processing
Page 322
PART VII.
Computer models of creative behaviour
Page 345
18.
Creativity studies and musical interaction
Page 347
19.
Enhancing individual creativity with interactive musical reflexive systems
Page 359
20.
Putting some (artificial) life into models of musical creativity
Page 376
Postlude.
How can we understand creativity in a composer’s work? A Conversation between Irène Deliège and Jonathan Harvey
Page 397
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Feedback?August 11, 2024 | Edited by MARC Bot | import existing book |
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October 22, 2010 | Edited by Geraint A. Wiggins | Edited without comment. |