A Matter of Taste: Evaluating Improvised Music

Creativity Research Journal

Volumn 15, Issue 2-3, 2003, Pages 287-296

  Eisenberg, Jacob ^a   Thompson, William Forde ^b  

^a Cyprus International Institute of Management   (Cyprus)

^b UNIVERSITY OF TORONTO   (Canada)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 0141639701     PISSN: 10400419     EISSN: None     Source Type: Journal    
DOI: 10.1207/s15326934crj152&3_19     Document Type: Article

References (50)

1. Abeles, H. F. (1980). Responses to music. In D. A. Hodges (Ed.), Handbook of music psychology (pp. 105-140). Lawrence, KS: National Association for Music Therapy.
2. Aldrich, V. C. (1963). Philosophy of art. Englewood Cliffs, NJ: Prentice Hall.
3. Amabile, T. M. (1983). The social psychology of creativity. New York: Springer-Verlag.
4. Amabile, T. M. (1996). Creativity in context. Boulder, CO: Westview Press.
5. Amabile, T. M., Goldfarb, P., & Brackfield, S. (1990). Social influences on creativity: Evaluation, coaction, and surveillance. Creativity Research Journal, 3, 6-21.
6. Balkwill, L. L., & Thompson, W. F. (1999). A cross-cultural investigation of the perception of emotion in music: Psychophysical and cultural cues. Music Perception, 17, 43-64.
7. Belgrad, D. (1988). The culture of spontaneity: Improvisation and the arts in post-war America. Chicago: The University of Chicago Press.
8. Berlyne, D. E. (1960). Conflict, arousal, and curiosity. New York: McGraw-Hill.
9. Berlyne, D. E. (1971). Aesthetics and psychobiology. New York: Appleton-Century-Crofts.
10. Berlyne, D. E. (1974). Novelty, complexity, and interestingness. In D. E. Berlyne (Ed.), Studies in the new experimental aesthetics: Steps toward an objective psychology of aesthetic comparison (pp. 175-180). Washington: Hemisphere.
11. Bragg, B. W. E., & Crozier, J. B. (1974). The development with age of verbal and exploratory responses to sound sequences varying in uncertainty level. In D. E. Berlyne (Ed.), Studies in the new experimental aesthetics: Steps toward an objective psychology of aesthetic comparison (pp. 91-108). Washington: Hemisphere.
12. Brownell, J. (1994). Drum set improvisation: Towards a conceptual model. Unpublished master's thesis, York University.
13. Csikszentmihalyi, M. (1988). Society, culture, and person: A systems view of creativity. In R. J. Sternberg (Ed.), The nature of creativity (pp. 325-339). Cambridge: Cambridge University Press.
14. Crozier, B. J. (1974). Verbal and exploratory responses to sound sequences varying in uncertainty level. In D. E. Berlyne (Ed.), Studies in the new experimental aesthetics: Steps toward an objective psychology of aesthetic comparison (pp. 27-90). Washington: Hemisphere.
15. Deci, E. L., & Ryan, R. M. (1985). Intrinsic motivation and self-determination in human behavior. New York: Plenum.
16. Dissanayake, E. (1995). Homo aestheticus: Where art comes from and why. Washington: University of Washington Press.
17. Dowling, W. J., & Harwood, D. L. (1986). Music cognition. Orlando: Academic Press.
18. Dufrenne, M. (1979). Artistic creation. In M. Dufrenne (Ed.), Main trends in aesthetics and the sciences of art (pp. 202-236). New York: Holmes & Meier.
19. Eisenberg, J. (2001, August). Effects of performance-contingent and performance non-contingent rewards on project team members' motivation. Paper presented at the Annual Academy of Management Meeting, Washington, DC.
20. Frances, R. (1979). The experimental approach. In M. Dufrenne (Ed.), Main trends in aesthetics and the sciences of art (pp. 104-113). New York: Holmes & Meier.
21. Farnsworth, P. R. (1969). Social psychology of music. Ames: The Iowa State University Press.
22. Gabrielsson, A. (1999). The performance of music. In Diana Deutsch (Ed.). The psychology of music (2nd ed., pp. 501-602). New York: Academic Press.
23. Gridley, C. M. (1985). Jazz styles: History and analysis. Englewood Cliffs, NJ: Prentice Hall.
24. Hanslick, E. (1957). The beautiful in music. Indianapolis, IN: Bobbs-Merrill. (Original work published 1854).
25. Hedenius, I. (1980). On the musically beautiful. In L. Aagaard-Mogensen & G. Hermeren (Eds.), Contemporary aesthetics in Scandinavia (pp. 57-80). Lund: Bokforlaget Doxa.
26. Hennessey, B. A. (1994). The consensual assessment technique: An examination of the relationship between ratings of product and process creativity. Creativity Research Journal, 7, 193-208.
27. Hodges, D. A. (1980). Neuropsychology and musical behavior. In D. A. Hodges (Ed.), Handbook of music psychology (pp. 195-224). Lawrence, KS: National Association for Music Therapy.
28. James, L. R., & Brett, J. M. (1984). Mediators, moderators, and test of mediation. Journal of Applied Psychology, 69, 307-321.
29. Konečni, V. J. (1982). Social interaction and musical preference. In D. Deutsch (Ed.), The psychology of music (pp. 497-516). New York: Academic Press.
30. Margolis, J. (1962). Philosophy looks at the arts: Contemporary readings in aesthetics. New York: Charles Scribner's.
31. McPherson, G. E. (1993). Evaluating improvisational ability of high school instrumentalists. Bulletin of the Council for Research in Music Education, 119, 11-20.
32. McPherson, G. E. & Thompson, W. F. (1998). Assessing music performance: Issues and influences. Research Studies in Music Education, 10, 12-24.
33. North, A. C., & Hargreaves, D. J. (1996). Responses to music in a dining area. Journal of Applied Social Psychology, 24, 491-501.
34. Nunnally, J. C. (1978). Psychometric theory (2nd ed.). San Francisco: Jossey-Bass.
35. Palmer, C. (1992). The role of interpretive preferences in music performance. In M. R. Jones & S. Holleran (Eds.), Cognitive bases of musical communication (pp. 249-262). Washington, DC: American Psychological Association.
36. Palmer, C. (1997). Music performance. Annual Review of Psychology, 48, 115-138.
37. Pressing, J. (1984). Cognitive processes in improvisation. In W. R. Crozier & A. J. Chapman (Eds.), Cognitive processes in the perception of art (pp. 345-363). Amsterdam: Elsevier.
38. Pressing, J. (1987). The micro- and macrostructural design of improvised music. Music Perception, 5, 133-172.
39. Pressing, J. (1988). Improvisation: Methods and models. In J. A. Sloboda (Ed.), Generative processes in music: The psychology of performance, improvisation, and composition (pp. 129-178). Oxford: Clarendon Press.
40. Rentschler, I., Herzberger, B., & Epstein, D. (1988). Introduction. In I. Rentschler, B. Herzberger, & D. Epstein (Eds.), Beauty and the brain (pp. 9-11). Basel: Birkhauser Verlag.
41. Ryan, R. M., & Deci, E. L. (2000). Self-determination theory and the facilitation of intrinsic motivation, social development, and well-being. American Psychologist, 55, 68-78.
42. Sawyer, R. K. (1992). Improvisational creativity: An analysis of jazz performance. Creativity Research Journal, 5, 253-263.
43. Sawyer, R. K. (1997). Pretend play as improvisation. Mahwah, NJ: Lawrence Erlbaum Associates, Inc.
44. Shrout, P. E., & Fleiss, J. L. (1979). Intraclass correlations: Uses in assessing rater reliability. Psychological Bulletin, 86, 420-428.
45. Simonton, D. K. (1988). Creativity, leadership, and chance. In R. J. Sternberg (Ed.), The nature of creativity (pp. 386-426). Cambridge: Cambridge University Press.
46. Stevens, J. (2001). The philosophy of Aikido. Tokyo, Japan: Kodansha International Ltd.
47. Thompson, W. F., Schellenberg, E. G., & Husain, G. (2001). Arousal, mood, and the Mozart effect. Psychological Science, 12(3), 248-251.
48. Thompson, W. F., Diamond, C. T. P., & Balkwill, L. L. (1998). The adjudication of six performances of a Chopin etude: A study of expert knowledge. Psychology of Music, 26, 154-174.
49. Wellek, A. (1979). The psychology of music hearing. In M. Dufrenne (Ed.), Main trends in aesthetics and the sciences of art (pp. 115-120). New York: Holmes & Meier.
50. Yerkes, R. M., & Dodson, J. D. (1908). The relation of strength of stimulus to rapidity of habit formation. Journal of Comparative Neurology and Psychology, 18, 459-482.