Title: The improvising mind : cognition and creativity in the musical moment / Aaron L. Berkowitz.
Personal Author: Berkowitz, Aaron, 1978-Holdings:

Call Number Status Location FormatML3838 .B46 2010 c.1 Available
Faculty Desktop Delivery&rft.cnum=ML3838 .B46 2010" target=_blank> Music Library -- Stacks Book

Publisher: New York : Oxford University Press, 2010.Subject Headings: Improvisation (Music)--Psychological aspects.
Description: xxv, 205 p. : ill. ; 25 cm.Notes: Includes bibliographical references and index.
CONTENTS: 1. Introduction -- Defining improvisation: Spontaneous creativity within constraints -- Stylistic constraints -- Performance/Performer constraints -- Learning and memory -- Implicit and explicit learning -- Implicit and explicit memory -- Declarative and procedural memory -- Comparisons of music and language -- PART I. Cognition in the Pedagogy and Learning of Improvisation -- 2. The pedagogy of improvisation I: Improvisation treatises of the mid-eighteenth and early nineteenth centuries -- The treatises of the present study -- Prerequisites for learning to improvise -- Formulas in the pedagogy of improvisation -- Cadences -- Rule of the octave -- Movimenti -- Conclusion -- 3. The pedagogy of improvisation II: Pedagogical strategies -- Transposition -- Transposition cross-culturally -- Transposition, automatization, and proceduralization -- Variation -- Variation cross-culturally -- Variation: Concepts for cognitive economy -- Recombination -- Combinatoriality in eighteenth-century musical thought -- Recombination cross-culturally -- Recombination, transitional probabilities, and statistical learning -- Models and the acquisition of style -- Conclusion -- 4. Learning to improvise: Learners' perspectives -- Incubation, internalization, and assimilation: Exercises and repertoire -- Rehearsal: Finding paths through the knowledge base -- Learning to improvise through improvising in performance -- Learning through teaching -- 5. Music and language cognition compared I: Acquisition -- Competence and performance: Perceptual competence and productive competence -- The knowledge base in language and music -- Phonology -- Morphology, the lexicon, and semantics -- Syntax -- Acquisition of the knowledge base in language and music -- Phonology -- Semantics, syntax, and pragmatics -- Nativist approaches to language acquisition: Noam Chomsky and universal grammar -- Empiricist approaches to language acquisition: constructivism and cognitive-functional usage-based linguistics -- A cognitive-functional usage-based approach to learning to improvise -- Conclusion -- PART II. Cognition in Improvised Performance -- 6. Improvised performance: Performers' perspectives -- Creator and witness -- Creator and witness cross-culturally -- (No) memory and improvisation: A neuropsychological explanation for the creator-witness phenomenon -- 7. The neurobiology of improvisation -- Studying music cognition in the laboratory -- The neural correlates of improvisation I / Ansari -- Study design -- Behavioral results -- Quantification of rhythmic improvisation: Interpress interval variability -- Quantification of melodic improvisation: Variety of note combinations and percentage of unique sequences -- Brain imaging results -- The neural correlates of improvisation II / Braun -- Conclusion -- 8. Music and language cognition compared II: Production -- Speaking and improvising: Theoretical perspectives -- Speaking and improvising: Neurobiological perspectives -- 9. Cadenza -- Cadenza pedagogy in the eighteenth century -- Definition of cadenza -- Turk's guidelines for cadenzas -- Models: Mozart's cadenzas -- Background -- Structure -- Mozart's cadenzas to the first movement of K. 271: Nr. 16 (Figure 9.8) and Nr. 15 (Figure 9.9) -- Cadenzas Nr. 16 and Nr. 15 -- Cadenza Nr. 16 continued -- Cadenza Nr. 15 continued -- Robert Levin's Mozart cadenzas -- Note on the transcriptions -- Levin 1. (Figure 9.10) -- Levin 2. (Figure 9.11) -- Levin 3. (Figure 9.12) -- Conclusion.
ISBN: 9780199590957
0199590958