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Musical Creativity Musical Creativity This collection initiates a resolutely multidisciplinary research dynamic specifically concerning musical creativity. Creativity is one of the most chal- lenging issues currently facing scientific psychology and its study has been relatively rare in the cognitive sciences, especially in artificial intelligence. This book will address the need for a coherent and thorough exploration. Musical Creativity: Multidisciplinary Research in Theory and Practice comprises seven sections, each viewing musical creativity from a different scientific vantage point, from the philosophy of computer modelling, through music education, interpretation, neuroscience, and music therapy, to experi- mental psychology. Each section contains discussions by eminent inter- national specialists of the issues raised, and the book concludes with a postlude discussing how we can understand creativity in the work of eminent composer, Jonathan Harvey. This unique volume presents an up-to-date snapshot of the scientific study of musical creativity, in conjunction with ESCOM (the European Society for the Cognitive Sciences of Music). Describing many of the different aspects of musical creativity and their study, it will form a useful springboard for further such study in future years, and will be of interest to academics and practi- tioners in music, psychology, cognitive science, artificial intelligence, neuro- science and other fields concerning the study of human cognition in this most human of behaviours. Irène Deliège obtained her qualifications at the Royal Conservatory of Brussels. After a twenty-year career as a music teacher, she retrained in psychology and obtained her PhD in 1991 from the University of Liege. A founding member of ESCOM, she has acted since its inception as permanent secretary and Editor of its journal, Musicae Scientiae. She is the author of several articles and co-edited books dedicated to music perception. Geraint A. Wiggins studied at Corpus Christi College, Cambridge and at Edinburgh’s Artificial Intelligence and Music Departments. He is Professor of Computational Creativity in the Department of Computing at Goldsmiths College, University of London, where he leads the Intelligent Sound and Music Systems (ISMS) group. He is a past chair of SSAISB, the UK learned society for AI and Cognitive Science, whose journal he co-edits, and is also an Associate Editor of Musicae Scientiae, the journal of ESCOM. Musical Creativity Multidisciplinary Research in Theory and Practice Edited by Irène Deliège and Geraint A. Wiggins Published with the support of the University Foundation of Belgium First published 2006 by Psychology Press an imprint of Taylor & Francis 27 Church Road, Hove, East Sussex, BN3 2FA Simultaneously published in the USA and Canada by Psychology Press 270 Madison Avenue, New York, NY 10016 This edition published in the Taylor & Francis e-Library, 2006. “To purchase your own copy of this or any of Taylor & Francis or Routledge’s collection of thousands of eBooks please go to www.eBookstore.tandf.co.uk.” Psychology Press is an imprint of the Taylor & Francis Group, an informa business © 2006 Psychology Press All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. The publisher makes no representation, express or implied, with regard to the accuracy of the information contained in this book and cannot accept any legal responsibility or liability for any errors or omissions that may be made. This publication has been produced with paper manufactured to strict environmental standards and with pulp derived from sustainable forests. British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloging in Publication Data Deliège, Irène. Musical creativity: multidisciplinary research in theory and practice / Irène Deliège and Geraint A. Wiggins.—1st ed. p. cm. ISBN 1–84169–508–4 1. Music—Psychological aspects. 2. Music—Performance— Psychological aspects 3. Composition (Music)—Psychological aspects. I. Wiggins, Geraint A., 1962– . II. Title. ML3838.D35 2006 781′.11—dc22 2005012185 ISBN13: 978-1-84169-508-2 ISBN10: 1-84169-508-4 Contents List of figures viii List of tables xi List of contributors xii Preface xv Prelude: The spectrum of musical creativity 1 IRÈNE DELIÈGE AND MARC RICHELLE PART I Creativity in musicology and philosophy of music 7 1 Playing God: Creativity, analysis, and aesthetic inclusion 9 NICHOLAS COOK 2 Layered constraints on the multiple creativities of music 25 BJÖRN H. MERKER 3 Musical creativity between symbolic modelling and perceptual constraints: The role of adaptive behaviour and epistemic autonomy 42 MARK M. REYBROUCK PART II Creativity in musical listening 61 4 Analogy: Creative support to elaborate a model of music listening 63 IRÈNE DELIÈGE 5 Hearing musical style: Cognitive and creative problems 78 MARIO BARONI vi Contents PART III Creativity in educational settings 95 6 How different is good? How good is different? The assessment of children’s creative musical thinking 97 MAUD HICKEY AND SCOTT D. LIPSCOMB 7 Understanding children’s meaning-making as composers 111 PAMELA BURNARD 8 Processes and teaching strategies in musical improvisation with children 134 JOHANNELLA TAFURI PART IV Creativity in musical performance 159 9 Creativity, originality, and value in music performance 161 AARON WILLIAMON, SAM THOMPSON, TÂNIA LISBOA, AND CHARLES WIFFEN 10 Exploring jazz and classical solo singing performance behaviours: A preliminary step towards understanding performer creativity 181 JANE DAVIDSON AND ALICE COULAM 11 Spontaneity and creativity in highly practised performance 200 ROGER CHAFFIN, ANTHONY F. LEMIEUX, AND COLLEEN CHEN PART V Creativity in music therapy 219 12 Musical creativity in children with cognitive and social impairment 221 TONY WIGRAM 13 Aesthetics of creativity in clinical improvisation 238 COLIN LEE 14 Hidden music: An exploration of silence in music and music therapy 252 JULIE P. SUTTON Contents vii PART VI Neuroscientific approaches to musical creativity 273 15 From music perception to creative performance: Mapping cerebral differences between professional and amateur musicians 275 MARTIN LOTZE, GABRIELA SCHELER, AND NIELS BIRBAUMER 16 Musical creativity and the human brain 290 ELVIRA BRATTICO AND MARI TERVANIEMI 17 Beyond global and local theories of musical creativity: Looking for specific indicators of mental activity during music processing 322 MARTA OLIVETTI BELARDINELLI PART VII Computer models of creative behaviour 345 18 Creativity studies and musical interaction 347 FRANÇOIS PACHET 19 Enhancing individual creativity with interactive musical reflexive systems 359 FRANÇOIS PACHET 20 Putting some (artificial) life into models of musical creativity 376 PETER M. TODD AND EDUARDO R. MIRANDA Postlude: How can we understand creativity in a composer’s work? A Conversation between Irène Deliège and Jonathan Harvey 397 Author index 405 Subject index 417 Figures 2.1 Schematic space of four major arenas of musical creativity 29 2.2 Schematic depiction of the contrast between a blending system and a non-blending, or particulate, system 31 2.3 Open Venn diagram illustrating the nested relationship between music, other arts that employ sound as their medium, and human arts more generally 33 3.1 Basic schema of a control system 43 3.2 Epistemic rule system 45 3.3 Three kinds of artificial devices: formal-computational or non-adaptive device; adaptive computational device; structurally adaptive device 47 3.4 Assimilation and accommodation: matching between elements of music and cognitive representation in the mind 50 4.1 Groupings in vision (the source domain) and transposition in music perception (the target domain) 68 6.1 Rating scale samples 101 6.2 The two-measure rhythmic sequence provided to students as a basis for their musical composition 104 6.3 Overlaid cantometric profiles for “more different” and “more similar” compositions 105 7.1 The research design 118 7.2 The analysis process model 120 7.3 The lived experience of children as composers 126 8.1 Interaction between culture and creative ability 136 8.2 Categories of beginnings 147 8.3 Categories of endings 148 8.4 Improvisation from the fourth group (nine-year-old child) 149 8.5 Improvisation from the sixth group (ten-year-old child) 149 8.6 Percentages of improvisations according to the use of organizational procedures at different ages 149 9.1 A hypothetical normal distribution of perceived originality 173 9.2 The originality–value curve, depicting the relationship Figures ix between mean perceived originality of a performance and mean perceived value of that performance 176 11.1 Schematic representation of the hierarchical organization of performance cues 203 11.2 Performance cues that pianist reported attending to during practice for subsection of the Presto 207 11.3 Record of practice of section 208 15.1 Distributed representation sites of amateurs and professionals 281 15.2 Areas of increased activation in professionals 282 15.3 Mental performance of Mozart violin concerto in amateurs and professionals 284 15.4 Comparison of activation maps of amateurs and professionals 286 16.1 Schematic dorsolateral view of the human auditory cortex after removal of the overlying parietal cortex 294 16.2
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