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Musical ImaginationsMultidisciplinary perspectives on creativity, performance and perception$
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David Hargreaves, Dorothy Miell, and Raymond MacDonald

Print publication date: 2011

Print ISBN-13: 9780199568086

Published to Oxford Scholarship Online: May 2012

DOI: 10.1093/acprof:oso/9780199568086.001.0001

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PRINTED FROM OXFORD SCHOLARSHIP ONLINE (oxford.universitypressscholarship.com). (c) Copyright Oxford University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in OSO for personal use. date: 26 September 2021

Creativity in performance

Creativity in performance

(p.17) Chapter 2 Creativity in performance
Musical Imaginations

Eric F. Clarke

Oxford University Press

This chapter examines the different ways in which performance can be said to be creative, discusses the significance of these different varieties of creativity, and explores some of the varied manifestations of creativity that can be found in performance. It discusses improvisation, arguing that existing literature tends to focus upon the cognitive aspects of real-time music creation and that there is still much to be learned about its social and contextual aspects, and how these influence the process and outcomes of improvisational practices. Creativity in performance takes place at the interface between socially constructed musical materials and performance practices, the possibilities and constraints of the human body and instruments with which it interacts, and the perceptual, motor, and cognitive skills of individual performers. The psychology of music has made some progress in studying this complex phenomenon, particularly in understanding the cognitive processes that underlie this highly regarded behaviour.

Keywords:   musical performance, creativity, improvisation, music psychology, cognitive process

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