Musical Creativity: Multidisciplinary Research in Theory and Practice

Contents

• Foreword. I. Deliege and G. Wiggins, Prelude. I. Deliege and M. Richelle, The Spectrum of Musical Creativity.
• Section 1: Philosophy. N. Cook, Playing God: Creativity, Analysis and Aesthetic Inclusion. B.H. Merker , Layered Constraints on the Multiple Creativities of Music. M.M. Reybrouck, Musical Creativity between Symbolic Modelling and Perceptual Constraints: t
• Section 2: Listening. I. Deliege, Analogy: Creative Support to Elaborate a Model of Music Listening. M. Baroni, Hearing Musical Style: Cognitive and Creative Problems.
• Section 3: Music Education. M. Hickey and S.D. Lipscomb, How Different Is Good? How Good Is Different? The Assessment of Children's Creative Musical Thinking. P. Burnard, Understanding Children's Meaning-Making As Composers. J. Tafuri, Processes and teac
• Section 4: Performance. A. Williamon, S. Thompson, T. Lisboa and C. Wiffen, Creativity, Originality and Value in Music Performance. J. Davidson and A. Coulam, Exploring Jazz and Classical Solo Singing Performance Behaviours: A Preliminary Step towards Un
• Section 5: Music Therapy. T. Wigram, Musical Creativity in Children with Cognitive and Social Impairment. C. Lee, Aesthetics of Creativity in Clinical Improvisation. J.P. Sutton, Hidden Music: An Exploration of Silence in Music and Music Therapy.
• Section 6: Neuropsychology. M. Lotze, G. Scheler and N. Birbaumer, From Music Perception to Creative Performance: Mapping Cerebral Differences between Professional and Amateur Musicians. E. Brattico and M. Tervaniemi, Musical Creativity and the Human Bra
• Section 7: Computer Models of Creative Behaviour. F. Pachet, Creativity Studies and Musical Interaction. F. Pachet, Enhancing Individual Creativity with Interactive Musical Reflective Systems. P.M. Todd, Putting Some (Artificial) Life into Models of Music
• Postlude. How can we Understand Creativity in a Composer's Work? A Conversation between Irene Deliege and Jonathan Harvey.