
Contents
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Introduction Introduction
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Creativity in Traditional, Modern, and Post-Modern Contexts Creativity in Traditional, Modern, and Post-Modern Contexts
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Key Perspectives Key Perspectives
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Creative products Creative products
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Creative processes Creative processes
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Creativity in action Creativity in action
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Creativity as socially distributed Creativity as socially distributed
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Creativity as technologically distributed Creativity as technologically distributed
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An ecological perspective An ecological perspective
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Affordances Affordances
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Self-organization Self-organization
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Creative Performers in Practice Creative Performers in Practice
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Skilled coping, flow, and risk Skilled coping, flow, and risk
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Musical creativity in four dimensions Musical creativity in four dimensions
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Conclusion Conclusion
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Key Sources Key Sources
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Reflective Questions Reflective Questions
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Acknowledgment Acknowledgment
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References References
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20 Musical Creativity in Performance
Get accessDylan van der Schyff holds master’s degrees in humanities (Simon Fraser University) and music psychology (University of Sheffield). He received his PhD from Simon Fraser University in 2017. His postdoctoral work was hosted by the University of Oxford and was funded by a full fellowship from the Social Sciences and Humanities Research Council of Canada. He is currently Senior Lecturer in music at the Melbourne Conservatorium of Music, University of Melbourne. His scholarship draws on cognitive science, phenomenological philosophy, and musicology to explore questions related to how and why music is meaningful for human beings. Much of this research develops possibilities for thought and action in practical areas such as music performance and music education, with a special focus on creativity and improvisation. As a performer, he has toured extensively throughout North America and Europe, and appears on numerous recordings, spanning the fields of jazz, free improvisation, and experimental music.
Andrea Schiavio studied philosophy, musicology, classical guitar, and music composition in Milan, before completing a PhD in music psychology at the University of Sheffield. After his doctoral studies, he held post-doctoral positions in the United States, Turkey, and Austria. He currently works at the University of Graz, where he leads an interdisciplinary research project on musical creativity and embodied cognitive science. Schiavio serves as Vice President of ESCOM—the European Society for the Cognitive Sciences of Music. He gave keynote addresses as well as invited talks at institutions in Finland, Germany, Austria, Italy, United States, Spain, Norway, Switzerland, and Poland. His research focuses on the relationship between creative cognition and musical skill acquisition, the embodied and enactive roots of human musicality, and the development of musical expertise in early infancy.
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Published:13 January 2022
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Abstract
Creativity research has generated an impressive body of literature that spans a range of disciplines. Despite this diversity, however, creativity studies have traditionally tended to focus on the evaluation of products generated by creative people, which are categorized in various ways according to their reception and impact on society. This orientation has been advanced in various ways by including factors such as process, personality, and cultural pressures. While these approaches have produced many important insights, it may be argued that the types of creativity involved in music performance involve additional aspects. Musical performance necessarily entails developing forms of bodily skill that play out in real-time interactive contexts that involve other people, musical instruments and technologies, acoustic spaces, and various socio-cultural factors. Accordingly, some scholars have recently posited relational, environmentally distributed, and cooperative models that better capture the complex nature of musical creativity in action. In this chapter, we review some key approaches to creative cognition, with a special focus on understanding creativity as it unfolds in the real-time dynamics of musical performance. In doing so, we introduce a number of concepts associated with recent work in cognitive science that may help to capture the adaptive interplay of body and environment in the co-enactment of musical events.
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