Getting Out of the Garret

Cook, Nicholas

doi:10.1093/oxfordhb/9780190636197.013.16

Cited by 5 publications

(6 citation statements)

References 6 publications

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“…We argue that such relational aspects of musical creativity extend well beyond the case of collective improvisation—and even collective musical practices—and could be fruitfully investigated in a wide range of musical activities. The underlying social dimension of music has already been highlighted numerous times (see e.g., Cook, 2018), but we now suggest to go one step further, by exploring how the many different ways we have to relate to others could fit into the different facets of musical creativity.…”

Section: Discussionmentioning

confidence: 90%

“…First, on a theoretical level, collective free improvisation (CFI) provides a paradigmatic example of group creativity (Cook, 2018). CFI is both a case of emergent creativity (Sawyer, 2003), in which the performance emerges entirely from the musicians’ interactional dynamics, and a case of distributed creativity (Sawyer & DeZutter, 2009), in which individual roles and creative contributions to the overall output are constantly shifting and renegotiated over the course of the performance.…”

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confidence: 99%

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Beyond togetherness: Interactional dissensus fosters creativity and tension in freely improvised musical duos.

Wolf¹,

Goupil²,

Canonne³

2023

Psychology of Aesthetics, Creativity, and the Arts

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While coordination in joint-music making is often associated with synchronized and converging behaviors, research on group creativity routinely emphasizes the importance of dissensus and individual autonomy in collective creative endeavors. When musicians perform together, there might thus be a tension between the demands of coordination and that of creativity, which could lead them to inject some degree of dissensus in their interactions to foster the creativity of their musical output. In this article, we investigate in two listening experiments the possibility that dissensual interactions between musicians might increase the perceived creativity of the musical output, using collective free improvisation as a paradigm for creative joint action. Relying on a recorded corpus of forty tracks in which improvisers annotated their performances in terms of the various interactional intents they had toward one another (playing “with,” “against,” or “without” the other), we show, first, that musical snippets exhibiting interactional dissensus were rated as more creative by expert third-party listeners than consensual snippets, and second, that the degree of interactional dissensus between the performers predicts the tension perceived within the music by expert third-party listeners. Taken together, our results provide additional empirical ground to the idea that dissensus might play a key role in enabling group creativity, and extend its relevance to artistic situations relying on nonverbal communication.

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Section: Discussionmentioning

confidence: 90%

mentioning

confidence: 99%

Beyond togetherness: Interactional dissensus fosters creativity and tension in freely improvised musical duos.

Wolf¹,

Goupil²,

Canonne³

2023

Psychology of Aesthetics, Creativity, and the Arts

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“…Examined lately in a range of contexts, from business innovation to the arts, creativity has drawn the attention of psychologists, linguists, health scientists, psychotherapists, sociologists, neuroscientists, and musicologists (see, e.g., Carson & Becker, 2004; Cook, 2018; Dietrich, 2004; Green et al, 2016; Odena, 2018). Current research in the field of creativity studies has made important advancements for our understanding of creative thought (see, e.g., Abraham, 2018; Forgeard & Kaufman, 2016).…”

Section: Discussionmentioning

confidence: 99%

Grounding Creativity in Music Perception? A Multidisciplinary Conceptual Analysis

et al. 2022

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To what extent can we understand and account for music perception as a creative process? In this paper we draw on recent work in music, creativity, and the cognitive humanities to suggest that the fundamentally creative aspect of music perception is not yet satisfactorily examined in existing research. We briefly review the state of scholarship into both creativity and music perception, and identify key points of convergence, which are prominent in work that investigates the mutuality of action and perception, and the exploratory bases of the latter, among others. Inspired by a growing number of contributions in 4E music cognition research, we argue that listening to music can involve mechanisms of active bodily engagement, along with the imaginative exploration of novel possibilities for thought and action. We put forward the view that this approach is important because of the way in which it can bring to the analytical centre stage a creative dimension that may not otherwise be apparent. The contribution of this paper involves this presentation of a multidisciplinary framework for the study of music perception, highlighting the integration of perception and action, and foregrounding this conception of creative cognition as a central aspect of music perception.

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“…And indeed, the empirical work we surveyed in the last section points to the key role of emotion and social dynamics in this coupling process, in both musical as well as non-musical contexts. A focus on meaning-making through interaction is also central to recent research on creativity (e.g., Montuori and Purser, 1995 , 1999 ; Glãveanu, 2014 ) and musical creativity (e.g., Cook, 2018 ; Odena, 2018 ; Schiavio et al, 2022c ). In this section, we present insights concerning the bio-cognitive nature of entrainment and its potential role as ontogenetic enabler of creativity.…”

Section: Entrainment As a Potential Building Block Of Creativity?mentioning

confidence: 99%

Meaning-making and creativity in musical entrainment

Schiavio,

Witek,

Stupacher

2024

Front. Psychol.

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In this paper we suggest that basic forms of musical entrainment may be considered as intrinsically creative, enabling further creative behaviors which may flourish at different levels and timescales. Rooted in an agent's capacity to form meaningful couplings with their sonic, social, and cultural environment, musical entrainment favors processes of adaptation and exploration, where innovative and functional aspects are cultivated via active, bodily experience. We explore these insights through a theoretical lens that integrates findings from enactive cognitive science and creative cognition research. We center our examination on the realms of groove experience and the communicative and emotional dimensions of music, aiming to present a novel preliminary perspective on musical entrainment, rooted in the fundamental concepts of meaning-making and creativity. To do so, we draw from a suite of approaches that place particular emphasis on the role of situated experience and review a range of recent empirical work on entrainment (in musical and non-musical settings), emphasizing the latter's biological and cognitive foundations. We conclude that musical entrainment may be regarded as a building block for different musical creativities that shape one's musical development, offering a concrete example for how this theory could be empirically tested in the future.

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Getting Out of the Garret

Cited by 5 publications

References 6 publications

Beyond togetherness: Interactional dissensus fosters creativity and tension in freely improvised musical duos.

Beyond togetherness: Interactional dissensus fosters creativity and tension in freely improvised musical duos.

Grounding Creativity in Music Perception? A Multidisciplinary Conceptual Analysis

Meaning-making and creativity in musical entrainment

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