Portada
The Improvising Mind - Cognition and Creativity in the Musical Moment Aaron L. Berkowitz (2010)
The Improvising Mind Cognition and Creativityin the Musical Moment
OXFORD UNIVERSITY PRESS
Dedication v
Acknowledgements vii
Prelude xiii
Overview
Contents
Part I
PART II
Coda
Chapter 1 Introduction 1
Defining improvisation: Spontaneous creativitywithin constraints 1
Stylistic constraints 2
Performance/Performer constraints 3
Learning and memory 7
Implicit and explicit learning 7
Implicit and explicit memory 8
Declarative and procedural memory 8
Comparisons of music and language 10
Part I Cognition in the Pedagogy and Learningof Improvisation
Chapter 2 The pedagogy of improvisation I: Improvisation treatises of the mid-eighteenth and early nineteenth centuries 15
The treatises of the present study 18
Prerequisites for learning to improvise 24
Formulas in the pedagogy of improvisation 27
Cadences 31
Rule of the octave 33
Movimenti 34
Conclusion 35
Chapter 3 The pedagogy of improvisation II: Pedagogical strategies 39
Transposition 41
Transposition cross-culturally 42
Transposition, automatization, and proceduralization 42
Variation 46
Variation cross-culturally 50
Variation: Concepts for cognitive economy 52
Recombination 56
Combinatoriality in eighteenth-century musical thought 64
Recombination cross-culturally 67
Recombination, transitional probabilities, andstatistical learning 69
Models and the acquisition of style 73
Conclusion 77
Chapter 4 Learning to improvise: Learners' perspectives 81
Incubation, internalization, and assimilation: Exercisesand repertoire 82
Rehearsal: Finding paths through the knowledge base 88
Learning to improvise through improvising in performance 94
Learning through teaching 94
Chapter 5 Music and language cognition compared I: Acquisition 97
Competence and performance: Perceptual competence and productive competence 97
The knowledge base in language and music 100
Phonology 102
Morphology, the lexicon, and semantics 103
Syntax 107
Acquisition of the knowledge base in language and music 108
Phonology 109
Semantics, syntax, and pragmatics 109
Nativist approaches to language acquisition: Noam Chomsky and universal grammar Ill
Empiricist approaches to language acquisition: constructivism andcognitive-functional usage-based linguistics 112
A cognitive-functional usage-based approach to learning to improvise 115
Conclusion 118
PART II Cognition in Improvised Performance
Chapter 6 Improvised performance: Performers' perspectives 121
Creator and witness 121
Creator and witness cross-culturally 125
(No) memory and improvisation: A neuropsychological explanation for the creator-witness phenomenon 128
Chapter 7 The neurobiology of improvisation 131
Studying music cognition in the laboratory 131
The neural correlates of improvisation I: Berkowitz and Ansari (2008) 132
Study design 132
Behavioral results 136
Quantification of rhythmic improvisation: lnterpress interval variability 137
Quantification of melodic improvisation: Variety of note combinations and percentage of unique sequences 137
Brain imaging results 138
The neural correlates of improvisation II: Limb andBraun (2008) 142
Conclusion 144
Chapter 8 Music and language cognition compared II: Production 145
Speaking and improvising: Theoretical perspectives 146
Speaking and improvising: Neurobiological perspectives 150
Chapter 9 Cadenza 153
Cadenza pedagogy in the eighteenth century 154
Definition of cadenza 154
TUrk's guidelines for cadenzas 155
Models: Mozart's cadenzas 157
Background 157
Structure 158
Mozart's cadenzas to the first movement ofK. 271; Nr. 16 (Figure 9.8) and Nr. 15 (Figure 9.9) 162
Cadenzas Nr. 16 and Nr. 15 162
Cadenza Nr. 16 continued 162
Cadenza Nr. 15 continued 164
Robert Levin's Mozart cadenzas 165
Note on the transcriptions 166
Levin l (Figure 9.10) 166
Levin 2 (Figure 9.11) 168
Levin 3 (Figure 9.12) 170
Conclusion 174
Coda Constraints and freedom: Improvisation in music, language, and nature 177
Bibliography 185
Primary sources
Treatises
Interviews
Recordings
Lectures and Masterclasses
Secondary sources
Index 197
Abrahams, S. 150-1
Bach, Car] Philipp Emanuel 21
cadences
declarative memory/knowledge 8-10
Eckert, Stefan 64, 66, 67
fantasies 74, 75
galant music
harmony 26-7, 29-30, 31-2, 35-8
implicit learning/memory/knowledge 7-8, 78
Jackendoff, Ray I 08
Karnatak music see South Indian Classical
language ix-x, xv
McMullen, Eric 12
Nardone, Patricia 125-6
O'Malley, J. Michael 55
Paradis, Michael
Quantz, Johann Joachim 77
Racy, Ali Jihad 127
Sacks, Oliver 129
talas 42, 93
unique sequences, percentage of (Berkowitzand An sari study) 13 7, 138
Wearing, Clive 128-9, 130
Zbikowski, Lawrence 65-6
Critical Improvisation Studies (2016) 1-2
Portada
The Oxford handbook of critical improvisation studies, Volume 1 (2016)
CONTENTS
1
2
3
Preface
Acknowledgments
Contributors to Volume 1
Introduction: On Critical Improvisation Studies GEORGE E. LEWIS AND BENJAMIN PIEKUT
PART I COGNITIONS
1. Cognitive Processes in Musical Improvisation ROGER T. DEAN AND FREYA BAILES
2. The Cognitive Neuroscience of lmprovisation AARON L. BERKOWITZ
3. Improvisation, Action Understanding, and Music Cognition with and without Bodies VIJAY IYER
4. The Ghost in the Music, or the Perspective of an Improvising Ant DAVID BORGO
PART II CRITICAL THEORIES
5. The Improvisative TRACY McMULLEN
6. Jurisgenerative grammar (for alto) FRED MOTEN
7. Is Improvisation Present? MICHAEL GALLOPE
8. Politics as Hypergestural Improvisation in the Age of Mediocracy YVES CITTON
9. On the Edge: A Frame of Analysis for Improvisation DAVIDE SPARTI
10. The Salmon of Wisdom: On the Consciousness of Self and Other in Improvised Music and in the Language that Sets One Free ALEXANDRE PIERREPONT
11. Improvising Yoga SUSAN LEIGH FOSTER
PART III CULTURAL HISTORIES
12. Michel de Montaigne, or Philosophy as Improvisation TIMOTHY HAMPTON
13. The Improvisation of Poetry, 1750-1850: Oral Performance, Print Culture, and the Modern Homer ANGELA ESTERHAMMER
14. Germaine de Stael's Corinne, or Italy and the Early Usage of Improvisation in English ERIK SIMPSON
15. Improvisation, Time, and Opportunity in the Rhetorical Tradition GLYN P. NORTON
16. Improvisation, Democracy, and Feedback DANIEL BELGRAD
PART IV MOBILITIES
17. Improvised Dance in the Reconstruction of THEM DANIELLE GOLDMAN
18. Improvising Social Exchange: African American Social Dance THOMAS F. DEFRANTZ
19. Fixing Improvisation: Copyright and African American Vernacular Dancers in the Early Twentieth Century ANTHEA KRAUT
20. Performing Gender, Race, and Power in Improv Comedy AMY SEHAM
21. Shifting Cultivation as Improvisation PAUL RICHARDS
PART V ORGANIZATIONS
22. Improvisation in Management PAUL INGRAM AND WILLIAM DUGGAN
23. Free Improvisation as a Path-Dependent Process JARED BURROWS AND CLYDE G. REED
PART VI PHILOSOPHIES
24. Musical Improvisation and the Philosophy of Music PHILIP ALPERSON
25. Improvisation and Time-Consciousness GARY PETERS
26. Improvising Impromptu, Or, What to Do with a Broken String LYDI AGOEHR
27. Ensemble Improvisation, Collective Intention, and Group Attention GARRY L. HAGBERG
28. Interspecies Improvisation DAVID ROTHENBERG
29. Spiritual Exercises, Improvisation, and Moral Perfectionism: With Special Reference to Sonny Rollins ARNOLD I. DAVIDSON
30. Improvisation and Ecclesial Ethics SAMUEL WELLS
Index
The Oxford handbook of critical improvisation studies, Volume 2 (2016)
Portada
Title Page
Copyright Page
Dedication
Contents
Preface
Acknowledgments
Contributors to Volume 2
Introduction: On Critical Improvisation Studies
Part I Cities
1. Improvisation Technology as Mode of Redesigning the Urban
2. Lots Will Vary in the Available City
3. Improvising the Future in Post-Katrina New Orleans
Part II Creativities
4. Billy Connolly, Daniel Barenboim, Willie Wonka, Jazz Bastards, and the Universality of Improvisation
5. A Computationally Motivated Approach to Cognition Studies in Improvisation
6. A Consciousness-Based Look at Spontaneous Creativity
7. In the Beginning, There Was Improvisation
Part III Musics
8. Landmarks in the Study of Improvisation: Perspectives from Ethnomusicology
9. Saving Improvisation: Hummel and the Free Fantasia in the Early Nineteenth Century
10. Negotiating Freedom and Control in Composition: Improvisation and Its Offshoots, 1950 to 1980
11. Musical Improvisation: Play, Efficacy, and Significance
12. Improvisation in Freestyle Rap
13. Speaking of the I-Word
Part IV Writings
14. Modernist Improvisations
15. Diversity and Divergence in the Improvisational Evolution of Literary Genres
16. Improvisatory Practices and the Dawn of the New American Cinema
17. Brilliant Corners: Improvisation and Practices of Freedom in Sent for You Yesterday
18. Improvisation in Contemporary Experimental Poetry
Part V Media
19. Subjective Computing and Improvisation
20. Improvisation and Interaction, Canons and Rules, Emergence and Play
21. Imposture as Improvisation: Living Fiction
22. Role-Play, Improvisation, and Emergent Authorship
23. Bodies, Border, Technology: The Promise and Perils of Telematic Improvisation
24. She Stuttered: Mapping the Spontaneous Middle
Part VI Technologies
25. Live Algorithms for Music: Can Computers Be Improvisers?
26. Improvisation of the Masses: Anytime, Anywhere Mobile Music
Index
The Oxford Handbook of Music and the Brain (2019)
Halftitle page
Title page
Copyright page
Table of Contents
List of Contributors
Section I: Introduction
1. The Neuroscientific Study of Music: A Burgeoning Discipline
Introduction
Vignettes from a Burgeoning Discipline
Chapter Overviews
Section II: Music, the Brain, and Cultural Contexts
2. Music Through the Lens of Cultural Neuroscience
Introduction to Cultural Neuroscience
Genetic Influences on Musical Behavior
Neural Plasticity
Cultural Influences on Innate Infant Responses to Music
The Search for Music Universals
Cross-Cultural Music Research
Conclusion
3. Cultural Distance: A Computational Approach to Exploring Cultural Influences on Music Cognition
Introduction
Related Literature
Cultural Distance
Conclusion
4. When Extravagance Impresses: Recasting Esthetics in Evolutionary Terms
Introduction
Squandering as Asset, I: The Evolutionary Logic
Squandering as Asset, II: A Bulwark against Bluff
Squandering as Asset, III: Surrendering to Mastery
Transposing to the Human Case
The Psychological Impact of Music: Neither “Meaning” nor “Emotion”
Conclusion
Section III: Music Processing in the Human Brain
5. Cerebral Organization of Music Processing
Introduction
Neural Basis of Music Processing in the Healthy Brain
Summary
6. Network Neuroscience: An Introduction to Graph Theory Network-Based Techniques for Music and Brain Imaging Research
Introduction
Implications for Music and Brain Research
7. Acoustic Structure and Musical Function: Musical Notes Informing Auditory Research
Introduction and Overview
Grouping Notes: Deconstructing Chords and Harmonies
Grouping Harmonics: Deconstructing Individual Notes
Acoustic Structure and Musical Timbre
The Use of Temporally Varying Sounds in Music Perception Research
On the Methodological Convenience of Simplified Sounds
Conclusions
8. Neural Basis of Rhythm Perception
Introduction
Feeling the Beat
Oscillatory Mechanisms
Language and Music
Development of Rhythm
Comparative Psychology and Evolution of Rhythm Perception
Cross-Modal Investigations of Rhythm Perception
Individual Differences and Musical Training
Mirroring and Joint Action
Conclusion
9. Neural Basis of Music Perception: Melody, Harmony, and Timbre
Introduction
We Do Not Only Hear with Our Cochlea
Auditory Feature Extraction in Brainstem and Thalamus
Echoic Memory and Gestalt Formation
Musical Expectancy Formation: Processing of Local Dependencies
Musical Structure Building: Processing of Nonlocal Dependencies
Concluding Remark
10. Multisensory Processing in Music
Introduction
Multisensory Processing
Auditory Processing
Multisensory Perception of Pitch
Multisensory Perception of Timbre
Multisensory Perception of Rhythm
Summary and Conclusions
Section IV: Neural Responses to Music: Cognition, Affect, Language
11. Music and Memory
Introduction
Human Memory in General
Memory Processes during Music Listening
Music as Memory Enhancer
A Model for Music Memory
12. Music and Attention, Executive Function, and Creativity
Introduction
Music and Attention
Music and Executive Function
Music and Creativity
Conclusions
13. Neural Correlates of Music and Emotion
Introduction
Musical Affect: Definitions and Distinctions
Psychological Mechanisms: A Theoretical Framework
Review of Empirical Studies
Towards a More Principled Approach
Concluding Remarks: A Field in Need of an Agenda?
14. Neurochemical Responses to Music
Introduction
Dopamine Systems
Endogenous Opioid Systems
Serotonin Systems
Neuroendocrine Systems I (Posterior Pituitary)
Neuroendocrine Systems II (Anterior Pituitary)
Norepinephrine Systems
Peripheral Immune System
Cholinergic Systems
Discussion and Future Directions
15. The Neuroaesthetics of Music: A Research Agenda Coming of Age
Introduction
The Need to Study the Neural Determinants of Art
Neuroaesthetics: A Research Agenda also for Music
Existing Models of the Musical Aesthetic Experience
Main Brain Structures Related to Aesthetic Responses to Music
Present Advances: Neural Interactions for Music Aesthetic Responses
Future Challenges and Promises
16. Music and Language
Introduction
On Modularity of Music and Language
Common Functions and Operations in Music and Language
Overlap and Resource Sharing
Music Training and Language Skills
Bridging Music and Language
A Temporal Focus into Music and Language
Section V: Musicianship and Brain Function
17. Musical Expertise and Brain Structure: The Causes and Consequences of Training
Introduction
Structural Brain Differences in Adult Musicians
Developmental Impacts on Training-Related Plasticity
The Interaction between Development and Training
Aptitude and Short-Term Training
Bringing It All Together
Why Is Music Such an Effective Driver of Brain Plasticity?
Where Do We Go From Here?
18. Genomics Approaches for Studying Musical Aptitude and Related Traits
Genomic Approaches to Study Human Traits
Musical Aptitude as a Biological Trait
Evolution of Musical Aptitude
Genome-Wide Linkage and Association Analyses of Musical Traits
The Effect of Music Perception and Performance on Human Transcriptome
Convergent Analysis
Biological Background of Creative Activities in Music
Conclusion
19. Brain Research in Music Performance
Introduction
Performing Music as a Driver of Brain Plasticity
Brain Regions Involved in Performing Music: A Quick Overview
The Effects of Musical Training on Brain Function
The Effects of Musical Training on Brain Structure
De-Expertise: Musician’s Dystonia as a Syndrome of Maladaptive Plasticity
Brain Changes Associated with Loss of Sensorimotor Control
Brain Plasticity as Prerequisite and Result of Expert Performance in Musicians
20. Brain Research in Music Improvisation
Introduction
Functional Magnetic Resonance Imaging (fMRI)
Positron Emission Tomography (PET)
Transcranial Direct Current Stimulation (tDCS)
Electroencephalography (EEG)
Summary and Discussion
Conclusion
21. Neural Mechanisms of Musical Imagery
Introduction
Imagery and Perception of Music
Involuntary Musical Imagery
Embodied Musical Imagery
Summary and Conclusions
22. Neuroplasticity in Music Learning
Introduction
Electrophysiological Markers of Enhanced Cortical Sound Processing in Musicians
Sound Encoding along the Auditory Pathway
Musical Training and the Developing Brain
Transfer beyond Sound Processing: Does Music Improve Executive Functions?
Predispositions in Musical Abilities and their Neural Correlates
Conclusions and Future Directions
Section VI: Developmental Issues in Music and the Brain
23. The Role of Musical Development in Early Language Acquisition
Introduction
The Music of Speech
Music and Language Perception Abilities at Birth
Co-development of Music and Language Perception from 6 to 12 Months of Age
Co-development of Music and Language in Childhood
Is the Newborn Brain Specialized for Language Perception?
Linked Developmental Disorders
Entanglement of Music and Language in Adults
Conclusion
24. Rhythm, Meter, and Timing: The Heartbeat of Musical Development
Introduction
Early Perception of Beat, Meter, and Rhythm
Timing and Rhythm in Infant-Directed Singing
Rhythm, Prediction, Neural Oscillations, and Deviations from Regularity
Timing and Musical Emotion
Development of Auditory–Motor Entrainment and Social Effects of Synchronous Movement
Applications to Developmental Disorders
Conclusion
25. Music and the Aging Brain
Introduction
Normal Aging: Music for Cognitive Preservation and Well-Being
Pathological Aging: Neuroscience-Informed Training and Rehabilitation with Music
Conclusion and Future Directions
26. Music Training and Cognitive Abilities: Associations, Causes, and Consequences
Introduction
A Review of Existing Evidence
One Way Forward: Measuring Music Aptitude and Music Training
Conclusion
27. The Neuroscience of Children on the Autism Spectrum with Exceptional Musical Abilities
Introduction
Gaver’s Ecological Theory of Listening and Autism
Zygonic Theory
Towards a New Developmental Model of Auditory Perception
The Development of Auditory Perception in Some Children on the Autism Spectrum
Absolute Pitch
The Impact of AP on Musical Engagement of Children and Young People Who Are on the Autism Spectrum
Conclusion: The Neuroscience of Autistic Children with Exceptional Musical Abilities
Section VII: Music, the Brain, and Health
28. Neurologic Music Therapy in Sensorimotor Rehabilitation
Introduction
Neurologic Music Therapy
Acquired Motor Dysfunction
Degenerative Movement Disorders
Developmental Disorders
Summary and Conclusion
29. Neurologic Music Therapy for Speech and Language Rehabilitation
Introduction
Dysarthria
Apraxia of Speech
Aphasia
Fluency
Sensory Deficits
Voice Disorders
Dyslexia
Conclusion
30. Neurologic Music Therapy Targeting Cognitive and Affective Functions
Cognitive and Affective Functions: Central to Functional Recovery
Cognitive Remediation: Treatment Method to Improve Cognitive Functions
Music and Brain Plasticity
Music Therapy: From a Social Science Model to a Neuroscience Model
An Overview of Neurologic Music Therapy and its Two Explanatory Models
Techniques of NMT Targeting Cognition and Emotion
Scientific Basis of NMT Techniques Targeting Cognition, Emotion, and Psychosocial Functioning
Summary and Future Directions
31. Musical Disorders
Introduction
Pitch-Based Amusia
Beat Finding Disorder
Acquired Amusia
Musical Anhedonia
What Have We Learned from Studying Amusia?
32. When Blue Turns to Gray: The Enigma of Musician’s Dystonia
Introduction
Assessment
Treatment
Pathophysiology
Pathogenic Theory
Future Directions
Section VIII: The Future
33. New Horizons for Brain Research in Music
Introduction: The Flaws of Predictions
Ten New Horizons for Future Research
Coda
Index
The Routledge Handbook of Philosophy and Improvisation in the Arts (2022)
Cover
Half Title
Series Page
Title Page
Copyright Page
Table of Contents
Figures
Contributors
Acknowledgments
Introduction
PART I: Art and Improvisation: Theoretical Perspectives
1 Improvisation as Normative Practice
2 Improvisation as Resonance
3 Improvisation as Creative Performance
4 Material and Improvisation in the Formative Process
5 Ontology of Improvisation and Jazz
6 Improvisation and Orientation
7 Improvisation and Action Theory
8 Improvisation, Actions, and Processes
9 Rethinking Realtimeness in Improvisation
PART II: Art and Improvisation: Aesthetical, Ethical, and Political Perspectives
10 Appreciating Improvisations as Art
11 Transformative Aesthetics: When the Unforeseen Emerges
12 Improvisation as Spontaneous Creation versus “Making Do”
13 Improvisation as Aesthetic Appearance
14 The Expressivity of Musical Improvisation
15 Jazz Improvisation, Authenticity, and Self-Expression
16 Manyness in Music Improvisation
17 Forms of Improvisation and Experimentalism
18 Improvisational Phronesis
19 Improvisation’s Ethical and Epistemological Challenge
20 Street Art and the Politics of Improvisation
21 Improvisation and Political Emancipation
PART III: Improvisation in Musical Practices
22 Competing Ontologies of Musical Improvisation: A Medieval Perspective
23 Improvisation and Essential Ornamentation in Vocal Music (1600–1900)
24 Freedom and Form in Piano Improvisation in the Early 19th Century
25 Improvisation and Authenticity in Early 20th Century Western Music
26 Improvisation and Composition: A Schoenbergian View
27 Repeatability versus Unrepeatability in Free Improvisation
28 The Risk of Improvised Music: An Ethnographic Approach
29 Empathy in Improvisation
30 Improvisation in Pop-Rock Music
31 “Improvisation” in Play: A View Through South Indian Music Practices
32 Improvisation in Arab Musical Practices
PART IV: Improvisation in the Visual, Narrative, Dramatic, and Interactive Arts
33 Dance Improvisation as Experimental Inquiry
34 The Springs of Action in Butō Improvisation
35 Stage Improvisation in the Commedia dell’Arte
36 Performance Art and Improvisation
37 Improv, Stand-Up, and Comedy
38 Improvisation, Machines, Cinema
39 Improvisation and Poetry
40 Improvisation in Painting
41 Improvisation in Sculpture
42 Improvisation and Artistic Photography
43 Improvisation and Installation Art
44 Installed Improvisation: The Case of Erwin Redl
45 Improvisation in Design Processes
46 Urban Improvisations
47 Improvisation in Cooking and Tasting
48 Creativity and Improvisation in Games
Index
Springer Handbook of Systematic Musicology (2018)
Preface
About the Editor
List of Authors
Contents
List of Abbreviations
1 Systematic Musicology: A Historical Interdisciplinary Perspective
1.1 Systematic Musicology: Discipline and Field of Research
1.2 Beginnings of Music Theory in Greek Antiquity
1.3 From the Middle Ages to the Renaissance and Beyond: Developments in Music Theory and Growth of Empiricism
1.4 Sauveur, Rameau and the Issue of Physicalism in Music Theory
1.5 Concepts of Systems and Systematic Research
1.6 Systematic Approaches: Chladni, Helmholtz, Stumpf, and Riemann
1.7 Gestalt Quality and Gestalt Psychology
1.8 Music Psychology: Individual and Sociocultural Factors
1.9 Some Modern Developments
1.10 Systematic Musicology as a Musicological Discipline
References
Part A Musical Acoustics and Signal Processing
2 Vibrations and Waves
2.1 Vibrations
2.2 Waves
2.3 Wave Equations 1-D
2.4 Solution for 1-D-Waves
2.5 Stiffness
References
3 Waves in Two and Three Dimensions
3.1 Waves on a Surface
3.2 Solution for Waves on a Surface
3.3 Sound Waves in Space
References
4 Construction of Wooden Musical Instruments
4.1 Scope
4.2 Physical Properties of Wood
4.3 Tonewoods
4.4 Framewoods
4.5 Construction
4.6 Conclusion
4.A Appendix
References
5 Measurement Techniques
5.1 Measurement of Airborne Sound
5.2 Measurement of Deflection
5.3 Measurement of Impedance
5.4 Conclusions
References
6 Some Observations on the Physics of Stringed Instruments
6.1 Three Classes of Stringed Instruments
6.2 Common Components and Issues
6.3 The Story of Three Instruments
6.4 Summary
References
7 Modeling of Wind Instruments
7.1 A Classification of Wind Instruments
7.2 The Clarinet
7.3 The Oboe
7.4 The Harmonica
7.5 The Trombone
7.6 The Flute
References
8 Properties of the Sound of Flue Organ Pipes
8.1 Experimental Methodology
8.2 Steady-Sound Characteristics
8.3 Edge and Mouth Tones
8.4 Characteristics of the Attack Transients
8.5 Discussion and Outlook
References
9 Percussion Musical Instruments
9.1 Drums
9.2 Mallet Percussion Instruments
9.3 Cymbals, Gongs, and Plates
9.4 Methods for Studying the Acoustics of Percussion Instruments
References
10 Musical Instruments as Synchronized Systems
10.1 Added versus Intrinsic Synchronization
10.2 Models of the Singing Voice
10.3 Harmonic Synchronization in Wind Instruments
10.4 Violin Bow–String Interaction
10.5 Fractal Dimensions of Musical Instrument Sounds
10.6 General Models of Musical Instruments
10.7 Conclusions
References
11 Room Acoustics – Fundamentals and Computer Simulation
11.1 Fundamentals of Sound Fields in Rooms
11.2 Statistical Room Acoustics
11.3 Reverberation
11.4 Stationary Excitation
11.5 Room Impulse Responses
11.6 Computers in Room Acoustics
11.7 Auralization
11.8 Current Research Topics
11.9 Final Remarks
References
Part B Signal Processing
12 Music Studio Technology
12.1 Microphones and Microphone Arrangements
12.2 Signal Preconditioning and Effects
12.3 Digitalization
12.4 Mixing Consoles
12.5 Synthesizer and Sequencer
12.6 Historical and Contemporary Audio Formats and Restoration
12.7 Signals, Connectors, Cables and Audio Networks
12.8 Loudspeakers, Reference Listening and Reinforcement
References
13 Delay-Lines and Digital Waveguides
13.1 Digital Delay Lines
13.2 Simulating Sound Wave Propagation
13.3 Digital Waveguides
References
14 Convolution, Fourier Analysis, Cross-Correlation and Their Interrelationship
14.1 Convolution
14.2 Fourier Frequency Analysis and Transformation
14.3 Cross-Correlation
References
15 Audio Source Separation in a Musical Context
15.1 REPET
15.2 Pitch-Based Source Separation
15.3 Leveraging the Musical Score
15.4 Conclusions
References
16 Automatic Score Extraction with Optical Music Recognition (OMR)
16.1 History
16.2 Overview
16.3 OMR Challenges
16.4 Technical Background
16.5 Adaptive OMR
16.6 Symbolic Music Encoding
16.7 Tools
16.8 Future
References
17 Adaptive Musical Control of Time-Frequency Representations
17.1 State-Space Analysis/Synthesis
17.2 Recursive, Infinite-Length Windows
17.3 Kalman Filter-Based Phase Vocoder
17.4 Additive Layer and Higher-Level Architecture
17.5 Sound Transformations
17.6 Adaptive Control of Sound Transformations
17.7 Chapter Summary
17.A Appendix 1: Chandrasekhar Implementation
17.B Appendix 2: Example 2 EKF Derivation
References
18 Wave Field Synthesis
18.1 Overview
18.2 Wave Equation and Solutions
18.3 Wave Front Synthesis
18.4 Current Research and Development
References
19 Finite-Difference Schemes in Musical Acoustics: A Tutorial
19.1 The 1-D Wave Equation
19.2 The Ideal Bar Equation
19.3 Acoustic Tubes
19.4 The 2-D and 3-D Wave Equations
19.5 Thin Linear Plate Vibration
19.6 Extensions to Nonlinear Systems
References
20 Real-Time Signal Processing on Field Programmable Gate Array Hardware
20.1 Overview
20.2 Digital Binary Logic
20.3 FPGA – A Structural Overview
20.4 Hardware Description Language (HDL)
20.5 FPGA Hardware Overview
20.6 FPGA Chips
20.7 Interfacing With a FPGA
20.8 Real-Time DSP Applications
20.9 Real-Time Filtering Applications
20.10 Real-Time Physical Modeling of Large-Scale Geometries
20.11 Summary and Outlook
References
Part C Music Psychology – Physiology
21 Auditory Time Perception
21.1 Methods for Studying Interval Processing
21.2 Processing Time Intervals: Variability
21.3 Processing Time Intervals: Perceived Duration
21.4 Theoretical Perspectives
21.5 Conclusion
References
22 Automatic Processing of Musical Sounds in the Human Brain
22.1 Perceiving the Music Around Us: An Attentive or Automatic Process?
22.2 The MMN as a Measure of Automatic Sound Processing in the Auditory Cortex
22.3 Neural Generators of the MMN
22.4 The MMN for Studying Automatic Processing of Simple Musical Rules
22.5 ERAN as an Index of Semiautomatic Processing of Musical Rules
22.6 Environmental Exposure Modulates the Automatic Neural Representations of Musical Sounds
22.7 Disrupted Automatic Discrimination of Musical Sounds
22.8 Conclusions
References
23 Long-Term Memory for Music
23.1 Long-Term Memory and the Semantic System
23.2 Semantic Memory for Music
23.3 Evidence from Neuropsychology
23.4 Concluding Comments
References
24 Auditory Working Memory
24.1 The Baddeley and Hitch WM Model: Theoretical Considerations and Empirical Support
24.2 WM: Behavioral Data
24.3 Neural Correlates Underlying WM
24.4 Sensorimotor Codes – Auditory WM and the Motor System
24.5 The Influence of LTM on Auditory WM Performance
24.6 Summary and Conclusion
References
25 Musical Syntax I: Theoretical Perspectives
25.1 Outline
25.2 Theories of Musical Syntax
25.3 Models of Musical Syntax
25.4 Syntactic Models of Different Complexity
25.5 Discussion
25.A Appendix: The Chomsky Hierarchy
References
26 Musical Syntax II: Empirical Perspectives
26.1 Computational Research
26.2 Psychological Research
26.3 Neuroscientific Research
26.4 Implications and Issues
References
27 Rhythm and Beat Perception
27.1 Temporal Regularity and Beat Perception
27.2 Behavioral Investigations
27.3 Electrophysiological Investigations
27.4 Hemodynamic (fMRI/PET) Investigations
27.5 Patient and Brain Stimulation Investigations
27.6 Discussion
References
28 Music and Action
28.1 Coupling Action and Perception Through Musical Experience
28.2 Responding to Music with Action and (Social) Interaction
28.3 Conclusion and Perspectives
References
29 Music and Emotions
29.1 The Rise of Music and Emotion Research
29.2 Structure of Emotions
29.3 Mechanisms and Modifiers of Emotions
29.4 Measures and Musical Materials
29.5 Current Challenges
References
Part D Psychophysics/Psychoacoustics
30 Fundamentals
30.1 Theoretical and Methodological Background
30.2 Types of Sound and Sound Features Relevant for Hearing and Music Perception
30.3 Some Basics of Sound in a Sound Field
References
31 Pitch and Pitch Perception
31.1 Pitch as Elementary Sensation and as Perceptual Quality
31.2 Sketch of the Auditory Pathway (AuP)
31.3 Excitation of the Auditory System: From the Tympanum to the BM, the IHC and OHC
31.4 Place Coding and Temporal Coding of Sound Features
31.5 Auditory Models and Pitch Extraction
31.6 Psychophysics
31.7 Categorical Pitch Perception, Relative and Absolute Pitch
31.8 Scales, Tone Systems, Aspects of Intonation
31.9 Geometric Pitch Models, Tonality
References
32 Perception of Timbre and Sound Color
32.1 Timbre and Sound Color: Basic Features
32.2 Sensation and Perception of Timbre and Sound Color
References
33 Sensation of Sound Intensity and Perception of Loudness
33.1 Physical and Physiological Basis of Sound Intensity Sensation
33.2 Models of Loudness Sensation
33.3 From Lab to Disco: Measurements and Perceptual Variability of Loudness
33.4 Summing up
References
Part E Music Embodiment
34 What Is Embodied Music Cognition?
34.1 Ontological and Epistemological Foundations
34.2 The Architecture of Embodied Music Cognition
34.3 Empirical Evidence for Embodied Music Cognition
34.4 Embodiment and Dynamic Cognition
34.5 Contributions to a Paradigm Shift in Systematic Musicology
34.6 Conclusion
References
35 Sonic Object Cognition
35.1 Object Focus
35.2 Ontologies
35.3 Motor Theory
35.4 Timescales and Duration Thresholds
35.5 Chunking
35.6 Sound Generation
35.7 Constraints and Idioms
35.8 Sound Synthesis
35.9 Feature Taxonomy
35.10 Shape Cognition
35.11 Typology and Morphology of Sonic Objects
35.12 Singular, Composed, Composite and Concatenated Objects
35.13 Textures, Hierarchies, Roles and Translations
35.14 Analysis-by-Synthesis
35.15 Summary
References
36 Investigating Embodied Music Cognition for Health and Well-Being
36.1 Transitions in Musicology and Society
36.2 Models of Music, Health and Well-Being
36.3 From Theory to Therapeutic Approaches
36.4 Conclusion
References
37 A Conceptual Framework for Music-Based Interaction Systems
37.1 A Conceptual Model of Music-Based Interaction Systems
37.2 The Human Reward System
37.3 Social Interaction
37.4 Monitoring, Motivation, and Alteration
37.5 The Evaluation of Music-Based Interactive Systems
37.6 Some Case Studies of Applications and Supporting Research
37.7 Conclusion
References
38 Methods for Studying Music-Related Body Motion
38.1 Some Key Challenges
38.2 Qualitative Motion Analysis
38.3 Video-Based Analyses
38.4 Sensor-Based Motion Capture
38.5 Synchronization and Storage
38.6 Conclusion
References
Part F Music and Media
39 Content-Based Methods for Knowledge Discovery in Music
39.1 Music Structure Analysis
39.2 Feature Representation
39.3 Music Synchronization and Navigation
39.4 Self-Similarity in Music Recordings
39.5 Automated Extraction of Repetitive Structures
39.6 Conclusions
References
40 Hearing Aids and Music: Some Theoretical and Practical Issues
40.1 Assessment of Musicians
40.2 Peripheral Sensory Hearing Loss
40.3 Direct Assessment of Music with a Peripheral Hearing Loss
40.4 Acoustic Properties of Music versus Speech
40.5 Some Strategies to Handle the More Intense Inputs of Music
40.6 Some Hearing-Aid Technologies to Handle the More Intense Inputs of Music
40.7 General Recommendations for an Optimal Hearing Aid for Music
40.8 Conclusions and Recommendations for Further Research
References
41 Music Technology and Education
41.1 Background
41.2 Music Education Tools
41.3 Sound Source Separation for the Creation of Music Practice Material
41.4 Drum Transcription for Real-Time Music Practice
41.5 Guitar Transcription Beyond Score Notation
41.6 Discussion and Future Challenges
References
42 Music Learning: Automatic Music Composition and Singing Voice Assessment
42.1 Related Work on Melody Composition
42.2 Related Work on Voice Analysis for Assessment
42.3 Music Composition for Singing Assessment
42.4 Singing Assessment
42.5 Summary
References
43 Computational Ethnomusicology: A Study of Flamenco and Arab-Andalusian Vocal Music
43.1 Motivation
43.2 Background
43.3 Case Study
43.4 Conclusion and Future Perspectives
43.5 Complementary Material
References
44 The Relation Between Music Technology and Music Industry
44.1 Recording and Performance
44.2 Music Creation
44.3 Music Distribution and Consumption
44.4 Conclusion
References
45 Enabling Interactive and Interoperable Semantic Music Applications
45.1 IM AF Standard
45.2 Implementation of the IM AF Encoder
45.3 IM AF in Sonic Visualiser
45.4 Future Developments and Conclusions
References
46 Digital Sensing of Musical Instruments
46.1 Digital Music Instruments
46.2 Elements of a Hyperinstrument
46.3 Acoustic Instrument
46.4 Hyperinstrument
46.5 Direct Sensors
46.6 Indirect or Surrogate Sensors
46.7 Instrument Case Studies
46.8 Application Case Studies
46.9 Conclusions
References
Part G Music Ethnology
47 Interaction Between Systematic Musicology and Research on Traditional Music
47.1 Background
47.2 Folk/Traditional Music Research
47.3 Comparative Musicology
47.4 Cognitive Approaches – Cross-Cultural Music Cognition and Cognitive Ethnomusicology
47.5 Anthropology of Music – Ethnomusicology – Cultural Musicology
47.6 New Trends
47.7 Function of Ethnomusicology in Systematic Musicology
47.8 Summary
References
48 Analytical Ethnomusicology: How We Got Out of Analysis and How to Get Back In
48.1 Ethnomusicology's Analytical Roots
48.2 The Mid-Century Pendulum Swing: The Rise of Anthropology-Based Studies
48.3 Analysis in Modern Ethnomusicology
References
49 Musical Systems of Sub-Saharan Africa
References
50 Music Among Ethnic Minorities in Southeast Asia
50.1 Singing Manners
50.2 The Sounds of Bamboo and Metal
50.3 Music and Village Life
50.4 Village Music and Modern Society
50.A Appendix: Recordings
References
51 Music Archaeology
51.1 Methods
51.2 Research Topics
51.3 Musical Practice
51.4 Music Theory
51.5 Ancient Sounds
51.6 Conclusion
References
52 The Complex Dynamics of Improvisation
52.1 The Study of Improvisation
52.2 The Field of Improvisation Studies
52.3 Challenges in Defining Improvisation
52.4 Some Contemporary Research Directions
52.5 Referent-Based Improvisation
52.6 Referent-Free Improvisation
52.7 Final Thoughts
References
53 Music of Struggle and Protest in the 20th Century
53.1 Historical Antecedents of Music of Protest and Struggle in the United States
53.2 The Poet Walt Whitman's Influence on the Image of the Protest Singer-Songwriter
53.3 Ballad Collectors, Songs of Struggle, and Versions of the American Identity
53.4 The Vocal Style and Performance Practice of US Protest Music
53.5 20th Century Politics and Protest Music
53.6 African-American Musical Traditions and Social Protest
53.7 The Conservative Reaction
53.8 The Folk Music Revival and The Commercialization of Folk Music
53.9 Conclusion
References
About the Authors
Detailed Contents
Subject Index
The Improvisation of Musical Dialogue - A Phenomenology of Music (2003)
Cover
Half-title
Title
Copyright
Dedication
Contents
Preface
ONE Between Composition and Performance
Composition, Works, and Performance
Beethoven or Rossini?
TWO Composing
Die Fassung letzter Hand
THREE Performing
Unbestimmtheitsstellen and the Irrelevanzsphäre
Restoring Early Music
FOUR The Ergon within Energeia
The Elusive “Work Itself”
Premeditated Spontaneity
Dwelling Musically
On Musical Identity
FIVE Being Musical with the Other
The Voice of the Other
Living Voices
The Responsibility of Stewardship
Index
Jazz Improvisation and Organizing 1998
Front Matter
Introduction: Jazz Improvisation as a Metaphor for Organization Theory
The Organization Science Jazz Festival: Improvisation as a Metaphor for Organizing: Overture
Introductory Essay: Improvisation as a Mindset for Organizational Analysis
Jazz as a Metaphor for Organizing in the 21st Century
Minimal Structures within a Song: An Analysis of "All of Me"
The Process of Improvisation
Organizing for Jazz
Organizing for Improvisation: The Backstage Story of the Vancouver Jazz Concert and Symposium
Unsung Heroes: An Interview with Steve Havlovic
Working the Jazz Metaphor: Musings Driving down I-5 Past Midnight
Practice Improvisation
Improvisation in Action
Critics Corner: Critical Resistance to the Jazz Metaphor
Coda: Creativity and Improvisation in Jazz and Organizations: Implications for Organizational Learning
Liner Notes
Back Matter
Jazz Improvisation and Organizing: Once More from the Top
Improvisation as Art Conceptual Challenges, Historical Perspectives (2011)
Cover
Contents
Acknowledgments
Introduction: On Conceptualizing Improvisation
1 Performance, Inventiveness and Improvisation: Theoretical Contentions
1.1 Derrida’s Inventiveness
1.2 Calculating Incalculability: The Neocybernetic Alternative
1.3 From Iteration to Improvisation
2 Indescribability, Perfection, Unpredictability: Improvisation and Aesthetic Autonomy
2.1 Instrumentalizing Improvisation? Johann Wolfgang von Goethe
2.2 Improvisation and Aesthetic Autonomy
2.3 Improvisation and Aesthetic Perfection: Karl Philipp Moritz
2.4 Improvisation and the Artist-Genius
3 Staged Improvisation: The Generative Principles of Romantic Irony
3.1 Reframing the Space of the Theater
3.2 Staged Improvisation
3.3 Romantic Principles of Artistic Production
3.4 Social Bearings
4 Improvisation, Agency, Autonomy: Heinrich von Kleist and the Modern Predicament
4.1 Facilitating Prohibitions
4.2 Improvisation as Political Practice
4.3 The Incalculability of Calculation
4.4 Kleist’s Pedagogical Program
Conclusion: Experiencing Improvisation as Art
Works Cited
Index
A
B
C
D
E
F
G
H
I
J
K
L
M
N
P
Q
R
S
T
V
W
Z
Musical Creativity - Strategies and Tools in Composition and Improvisation (2011)
Cover
Computational Music Science
Musical Creativity
ISBN 9783642245169
Preface
Contents
Part I:
Introduction
1 What the Book Is About
2 Oniontology: Realities, Communication, Semiotics, and Embodiment of Music
2.1 Realities
2.2 Communication
2.3 Semiotics
2.4 Embodiment
2.5 The Baboushka Principle
Part II:
Practice
3 The Tutorial
4 The General Method of Creativity
5 Getting Off the Ground
6 Motivational Aspects
6.1 What Is Your Open Question?
6.2 Let Us Describe the Context!
6.3 Find the Critical Concept!
6.4 We Inspect the Concept's Walls!
6.5 Try to Soften and Open the Walls!
6.6 How Can We Extend Opened Walls?
6.7 Final Step: Testing Our Extension
7 Rhythmical Aspects
7.1 What Is Your Open Question?
7.2 Let Us Describe the Context!
7.3 Find the Critical Concept!
7.4 We Inspect the Concept's Walls!
7.5 Try to Soften and Open the Walls!
7.6 How Can We Extend Opened Walls?
7.7 Final Step: Testing Our Extension
8 The Pitch Aspect
8.1 What Is Your Open Question?
8.2 Let Us Describe the Context!
8.3 Find the Critical Concept!
8.4 We Inspect the Concept's Walls!
8.5 Try to Soften and Open the Walls!
8.6 How Can We Extend Opened Walls?
8.7 Final Step: Testing Our Extension
9 The Harmonic Aspect
9.1 What Is Your Open Question?
9.2 Let Us Describe the Context!
9.3 Find the Critical Concept!
9.4 We Inspect the Concept's Walls!
9.5 Try to Soften and Open the Walls!
9.6 How Can We Extend Opened Walls?
9.7 Final Step: Testing Our Extension
10 Melodic Aspects
10.1 What Is Your Open Question?
10.2 Let Us Describe the Context!
10.3 Find the Critical Concept!
10.4 We Inspect the Concept's Walls!
10.5 Try to Soften and Open the Walls!
10.6 How Can We Extend Opened Walls?
10.7 Final Step: Testing Our Extension
11 The Contrapuntal Aspect
11.1 What Is Your Open Question?
11.2 Let Us Describe the Context!
11.3 Find the Critical Concept!
11.4 We Inspect the Concept's Walls!
11.5 Try to Soften and Open the Walls!
11.6 How Can We Extend Opened Walls?
11.7 Final Step: Testing Our Extension
12 Instrumental Aspects
12.1 What Is Your Open Question?
12.2 Let Us Describe the Context!
12.3 Find the Critical Concept!
12.4 We Inspect the Concept's Walls!
12.5 Try to Soften and Open the Walls!
12.6 How Can We Extend Opened Walls?
12.7 Final Step: Testing Our Extension
13 Creative Aspects of Musical Systems: The Case of Serialism
13.1 What Is Your Open Question?
13.2 Let Us Describe the Context!
13.3 Find the Critical Concept!
13.4 We Inspect the Concept's Walls!
13.5 Try to Soften and Open the Walls!
13.6 How Can We Extend Opened Walls?
13.6.1 Another Extension
13.7 Final Step: Testing Our Extension
14 Large Form Aspects
14.1 What Is Your Open Question?
14.2 Let Us Describe the Context!
14.3 Find the Critical Concept!
14.4 We Inspect the Concept's Walls!
14.5 Try to Soften and Open the Walls!
14.6 How Can We Extend Opened Walls?
14.7 Final Step: Testing Our Extension
15 Community Aspects
15.1 What is Your Open Question?
15.2 Let Us Describe the Context!
15.3 Find the Critical Concept!
15.4 We Inspect the Concept's Walls!
15.5 Try to Soften and Open the Walls!
15.6 How Can We Extend Opened Walls?
15.7 Final Step: Testing Our Extension
16 Commercial Aspects
16.1 What Is Your Open Question?
16.2 Let Us Describe the Context!
16.3 Find the Critical Concept!
16.4 We Inspect the Concept's Walls!
16.5 Try to Soften and Open the Walls!
16.6 How Can We Extend Opened Walls?
16.7 Final Step: Testing Our Extension
Part III:
Theory
17 Historical Approaches
17.1 The Concept of Creativity through (Western) History
17.2 Creativity in Early Psychology
17.3 Creativity Research in Recent Years
18 Present Approaches
18.1 The Creative Process Today
18.1.1 The Four P's of Creativity
18.1.2 The Creative Process
18.2 Musical Creativity
19 Our Approach
19.1 Approach to Creativity: A Semiotic Presentation
19.1.1 The Open Question's Context in Creativity
19.1.2 Motivation for a Semiotic Extension
19.1.3 The Critical Sign
19.1.4 Identifying a Concept's Walls
19.1.5 Opening a Wall and Displaying Its New Perspectives
19.1.6 Visual Representation of the Wall Paradigm
19.1.7 Evaluating the Extended Walls
19.2 Approach to Creativity: A Mathematical Model
19.3 The List of the Creativity Process
20 Principles of Creative Pedagogy
20.1 Origins of Creative Pedagogy
20.2 Applying Our Concept of Creativity to Creative Pedagogy
20.3 Creative Pedagogy for Musical Creativity
20.3.1 Conceiving Our Tutorial in Creative Pedagogy for Musical Creativity
21 Acoustics, Instruments, Music Software, and Creativity
21.1 Acoustic Reality
21.1.1 First Sound Anatomy
21.1.2 Making Sound
21.1.3 Fourier
21.1.4 FM, Wavelets, Physical Modeling
21.2 Electromagnetic Encoding of Music: Audio HW and SW
21.2.1 General Picture of Analog/Digital Sound Encoding
21.2.2 LP and Tape Technologies, Some History
21.2.3 The Digital Approach, Sampling
21.2.4 Finite Fourier Analysis
21.2.5 Fast Fourier Analysis (FFT)
21.2.6 Compression
21.2.7 MP3, MP4, AIFF
21.2.8 Filters and EQ
21.3 Symbolic Formats: Notes, MIDI, Denotators
21.3.1 Western Notation and Performance
21.3.2 MIDI: What It Is About, Short History
21.3.3 MIDI Networks: MIDI Devices, Ports, and Cables
21.3.4 MIDI Messages: Hierarchy and Anatomy
21.3.5 Time in MIDI, Standard MIDI Files
21.3.6 Short Introduction to Denotators
21.4 Creativity in Electronic Music: Languages and Theories
22 Creativity in Composition and Improvisation
22.1 Defining Composition and Improvisation
22.2 Creativity in Composition
22.2.1 Composition by Objectivation
22.2.2 Creativity in Composition with Symbolic Objects
22.3 Creativity in Improvisation
22.3.1 Improvisational Creativity in the Imaginary Time-Space
22.3.2 Improvisational Creativity with Gestural Embodiment
22.4 Instant Composition and Slow-Motion Improvisation
Part IV:
Case Studies
23 The CD Passionate Message
23.1 The General Background of This Production
23.1.1 The Overall Strategy
23.1.2 Joomi's Compositional Approach
23.1.3 Guerino's Improvisational Approach
23.2 Softening One's Boundaries in Creativity
23.2.1 Embodied Creation and the Crisis of Contemporary Composition
23.3 The Problem of Creativity in a Dense Cultural Heritage of Compositions
23.3.1 First Wall: Composition, an Object?
23.3.2 Second Wall: Originality
24 The Escher Theorem
24.1 A Short Review of the Escher Theorem
24.1.1 Gestures and Hypergestures
24.1.2 The Escher Theorem
24.2 The Escher Theorem and Creativity in Free Jazz
24.3 Applying the Escher Theorem to Open Walls of Critical Concepts
25 Boulez: Structures Recomposed
25.1 Boulez's Idea of a Creative Analysis
25.2 Ligeti's Analysis
25.3 A First Creative Analysis of Structure Ia from Ligeti's Perspective
25.3.1 Address Change Instead of Parameter Transformations
25.3.2 The System of Address Changes for the Primary Parameters
25.3.3 The System of Address Changes for the Secondary Parameters
25.3.4 The First Creative Analysis
25.4 Implementing Creative Analysis on RUBATO
25.4.1 The System of Boulettes
25.5 A Second More Creative Analysis and Reconstruction
25.5.1 The Conceptual Extensions
25.5.2 The BigBang Rubette for Computational Composition
25.5.3 A Composition Using the BigBang Rubette and the Boulettes
25.5.4 Was This ``Creative Analysis'' a Creative Success?
26 Ludwig van Beethoven's Sonata opus 109: Six Variations
26.1 Uhde's Perspective Metaphor
26.2 Why a Sixth Variation?
Part V References, Index
References
Index
The Oxford Handbook of Music Psychology (2016).pdf
Contents
List Of Contributors
PART 1 The Origins And Functions Of Music
1. The nature of music and its evolution
2. Universals in music processing
3. Music and meaning
4. The social and personal functions of music
PART 2 Music Perception
5. The perception of pitch
6. Absolute pitch
7. Tonal cognition
8. The perception of musical timbre
9. Musical time
10. Tonality and contour in melodic processing
11. Memory for music
PART 3 Responses To Music
12. Bodily responses to music
13. Emotional reactions to music
14. The relationship between musical structure
15. Aesthetics
16. The neuroaesthetics of music
17. Musical preferences
PART 4 Music And The Brain
18. The neurobiology of musical expectations
19. Disorders of music cognition
20. Music and brain plasticity
21. The relationship between music and language
22. The neuroscience of rhythm
PART 5 Musical Development
23. Prenatal development and the phylogeny and ontogeny
24. Infant musicality
25. Musical development from the early years onwards
26. Music training and nonmusical abilities
PART 6 Learning Musical Skills
27. Musical potential
28. Practicing
29. Individuality in the learning of musical skills
30. Motivation to learn
31. The role of the family in supporting learning
32. The role of the institution and teachers in supporting learning
PART 7 Musical Performance
33. Planning and performance
34. Sight-reading
35. Performing from memory
36. Bodily mediated coordination, collaboration
37. Emotion in music performance
38. Expression and communication of structure in music
39. Optimizing physical and psychological health
PART 8 Composition And Improvisation
40. Making a mark: The psychology of composition
41. Musical improvisation
42. Pathways to the study of music composition
PART 9 The Role Of Music In Our Everyday Lives
43. Choosing to hear music: Motivation, process, and effect
44. Music in performance arts: Film, theater, and dance
45. Peak experiences in music
46. Musical identities
47. The effects of music in community and educational settings
48. Music and consumer behavior
PART 10 Music Therapy
49. Processes of music therapy: Clinical and scientific
50. Clinical practice in music therapy
51. Research in music therapy
52. Music therapy in medical and neurological rehabilitation settings
PART 11 Conceptual Frameworks, Research Methods, And Future Directions
53. Beyond music psychology
54. History and research
55. Where now?
Index
