Layered constraints on the multiple creativities of music

Musical Creativity: Multidisciplinary Research in Theory and Practice

Volumn , Issue , 2006, Pages 24-41

  Merker, Björn H ^a  

^a UPPSALA UNIVERSITY   (Sweden)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 33847774740     PISSN: None     EISSN: None     Source Type: Book    
DOI: 10.4324/9780203088111     Document Type: Chapter

References (73)

1. Abler, W. L. (1989). On the particulate principle of self-diversifying systems. Journal of Social and Biological Structures, 12, 1-13.
2. Aparicio, F., & Jaquez, C. (Eds.). (2003). Musical migrations. Transnationalism and cultural hybridity in Latinlo America (Vol. 1). New York: Palgrave Macmillan.
3. Arom, S. (1990). La "mémoire collective" dans les musiques traditionelles d'Afrique Centrale. Revue de Musicologie, 76, 149-162.
4. Arom, S. (1991). African polyphony and polyrhythm: Musical structure and methodology. Cambridge, UK: Cambridge University Press..
5. Belkin, A. (2002). Encouraging musical creativity. Retrieved June 30, 2003, from http://www.musique.umontreal.ca/personnel/Belkin/creativity.html.
6. Bell, A. (2002). Musical ratios in geometrical spacing of outer hair cells in the cochlea: Strings of an underwater piano? Proceedings of the 7th International Conference on Music Perception and Cognition, Sydney, Australia, pp. 740-743.
7. Berliner, P F. (1994). Thinking in jazz: The infinite art of improvisation. Chicago: University of Chicago Press..
8. Berman, B. (2000). Notes from the pianist's bench. New Haven, CT: Yale University Press..
9. Braun, M. (2000). Inferior colliculus as candidate for pitch extraction: Multiple support from statistics of bilateral spontaneous otoacoustic emissions. Hearing Research, 145, 130-140.
10. Bregman, A. (1990). Auditory scene analysis. Cambridge, MA: MIT Press..
11. Brown, S., Merker, B., & Wallin, N. L. (2000). An introduction to evolutionary musicology. In N. L. Wallin, B. Merker, & S. Brown (Eds.), The origins of music (pp. 3-24). Cambridge, MA: MIT Press.
12. Catchpole, C. K. (1976). Temporal and sequential organization of song in the sedge warbler (Acrocephalus schoenobaenus). Behaviour, 59, 226-246.
13. Catchpole, C. K., & Slater, P J. B. (1995). Bird song: Biological themes and variations. Cambridge, UK: Cambridge University Press..
14. Chan, S. Y. (1998). Exploding the belly. Improvisation in Cantonese opera. In B. Nettl & M. Russell (Eds.), In the course of performance: Studies in the world of musical improvisation (pp. 199-218). Chicago: University of Chicago Press.
15. Chomsky, N. (1956). Three models for the description of language. IRE Transactions on Information Theory, 2, 113-124.
16. Darwin, C. (1871). The descent of man and selection in relation to sex. London: Murray..
17. Donald, M. (1998). Mimesis and the executive suite: Missing links in language evolution. In J. R. Hurford, M. Studdert-Kennedy, & C. Knight (Eds.), Approaches to the evolution of language: Social and cognitive bases (pp. 44-67). Cambridge, UK: Cambridge University Press.
18. Donald, M. (1993). Origins of the modern mind. Cambridge, MA: Harvard University Press..
19. Dorian, F. (1942). The history of music in performance. The art of musical interpretation from the renaissance to our day. New York: W.W. Norton & Co..
20. Gabrielsson, A. (1999). The performance of music. In D. Deutsch (Ed.), The psychology of music (2nd ed., pp. 501-602). San Diego, CA: Academic Press.
21. Geissmann, T. (2000). Gibbon song and human music from an evolutionary perspective. In N. L. Wallin, B. Merker, & S. Brown (Eds.), The origins of music (pp. 103-123). Cambridge, MA: MIT Press.
22. Gushee, L. (1998). The improvisation of Louis Armstrong. In B. Nettl & M. Russell (Eds.), In the course of performance: Studies in the world of musical improvisation (pp. 291-334). Chicago: University of Chicago Press.
23. Hanslick, E. (1854). Vom Musikalisch-Schönen. Ein Beitrag zur Revision der Aesthetik der Tonkunst. Leipzig, Germany: Weigel..
24. Hauser, M. D. (2000). The sound and the fury: Primate vocalizations as reflections of emotion and thought. In N. L. Wallin, B. Merker, & S. Brown (Eds.), The origins of music (pp. 77-102). Cambridge, MA: MIT Press.
25. Hood, M. (1998). The musical river of change and innovation. The 4th John Blacking memorial lecture, ESEM Rotterdam, 14 September 1995. Oideion, Issue 2, September 1998. Retrieved June 30, 2003, from http://iias.leidenuniv.nl/oideion/journal/issue02/hood/front-a.html.
26. Jackendoff, R. (2000, August 4). Songs from the hominids. Times Literary Supplement, 20.
27. Janik, V. M., & Slater, P. J. B. (1997). Vocal learning in mammals. Advances in the study of behavior, 26, 59-99.
28. Kaeppler, A. L., & Love, J. W. (Eds.). (1998). The Garland encyclopedia of world music, Volume 9, Australia and the Pacific Islands. New York: Garland Publishing..
29. Krumhansl, C. L. (1990). Cognitive foundations of musical pitch. New York: Oxford University Press..
30. Krumhansl, C. L., & Kessler, E. J. (1982). Tracing the dynamic changes in perceived tonal organization in spatial representations of musical keys. Psychological Review, 89, 334-338.
31. Kwak, S., & Kendall, R. A. (2002). The effect of otoacoustic emissions on the efferent auditory feedback in music cognition. Proceedings of the 7th International Conference on Music Perception and Cognition, Sydney, Australia, pp. 534-537.
32. Lerdahl, F., & Jackendoff, R. (1983). A generative theory of tonal music. Cambridge, MA: MIT Press..
33. Lomax, A. (1968). Folk song style and culture. New Brunswick, NJ: Transaction Books..
34. Mache, F.-B. (2000). The necessity of and problems with a universal musicology. In N. L. Wallin, B. Merker, & S. Brown (Eds.), The origins of music (pp. 473-479). Cambridge, MA: MIT Press.
35. Machlin, P. S. (Ed.). (2001). Thomas "Fats" Waller: Performances in transcription, 1927-1943. Music of the United States of America [Recent researches in American Music]. Middleton, WI: A-R Editions..
36. Marler, P. (1970). Bird song and speech development: Could there be parallels? American Scientist, 58, 669-673.
37. Marler, P. (2000). Origins of music and speech: Insight from animals. In N. L. Wallin, B. Merker, & S. Brown (Eds.), The origins of music (pp. 31-48). Cambridge, MA: MIT Press.
38. Merker, B. (2000). Synchronous chorusing and human origins. In N. L. Wallin, B. Merker, & S. Brown (Eds.), The origins of music (pp. 315-328). Cambridge, MA: MIT Press.
39. Merker, B. (2002). Music: The missing Humboldt system. Musicae Scientiae, 6, 3-21.
40. Miller, G. (1997). Protean primates: The evolution of adaptive unpredictability in competition and courtship. In A. Whiten & R. W. Byrne (Eds.), Machiavellian intelligence, Vol. II: Extensions and evaluations. Cambridge, UK: Cambridge University Press..
41. Miller, G. (2000). Evolution of human music through sexual selection. In N. L. Wallin, B. Merker, & S. Brown (Eds.), The origins of music (pp. 329-360). Cambridge, MA: MIT Press.
42. Napier, J. (2002, April). A subtle novelty: The valorisation of creativity within North Indian classical music. Paper presented at the ESCOM 10th Anniversary Conference, Liege, Belgium..
43. Nettl, B. (1978). Eight urban musical cultures: Tradition and change. Urbana: University of Illinois Press..
44. Nettl, B., & Russell, M. (Eds.). (1998). In the course of performance: Studies in the world of musical improvisation. Chicago: University of Chicago Press..
45. Nottebohm, F. (1975). A zoologist's view of some language phenomena, with particular emphasis on vocal learning. In E. H. Lenneberg & E. Lenneberg (Eds.), Foundations of language development (pp. 61-103). New York: Academic Press.
46. Nottebohm, F. (1976). Discussion paper: Vocal tract and brain: A search for evolutionary bottlenecks. In S. R. Harnad, H. D. Steklis, & J. Lancaster (Eds.), Origins and evolution of language and speech (pp. 643-649). Annals of the New York Academy of Sciences, 280.
47. Okanoya, K. (2002). Sexual display as a syntactic vehicle: The evolution of syntax in birdsong and human language through sexual selection. In A. Wray (Ed.), The transition to language (pp. 44-64). Oxford: Oxford University Press.
48. Palmer, C. (1997). Music performance. Annual Review of Psychology, 48, 115-138.
49. Payne, K. (2000). The progressively changing songs of humpback whales: A window on the creative process in a wild animal. In N.L. Wallin, B. Merker, & S. Brown (Eds.), The origins of music (pp. 135-150). Cambridge, MA: MIT Press.
50. Pinker, S. (1997). How the mind works. New York: W.W. Norton & Co..
51. Plomp, R., & Levelt, W. J. M. (1965). Tonal consonance and critical bandwidth. Journal of the Acoustical Society of America, 38, 548-560.
52. Powers, H. S. (1984). Musical art and esoteric theism: Muttuswami Dikshitar's ananda bhairavi kirtanams on Siva and Sakti at Tirivanur. In M. W. Meister (Ed.), Discourses on Siva: Proceedings of a symposium on the nature of religion. Philadelphia: University of Pennsylvania Press..
53. 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: North-Holland.
54. Racy, A. J. (1998). Improvisation, ecstasy, and performance dynamics in Arabic music. In B. Nettl & M. Russell (Eds.), In the course of performance: Studies in the world of musical improvisation (pp. 95-112). Chicago: University of Chicago Press.
55. Reck, D. (1983). A musician's tool-kit: A study of five performances by Thirugokarnam Ramachandra Iyer (2 Vols). PhD Thesis, Wesleyan University, Middletown, CT.
56. Reynolds, S. (1998). Generation ecstasy: Into the world of techno and rave culture. Boston: Little, Brown & Co..
57. Robinson, J. G. (1984). Syntactic structures in the vocalizations of wedge-capped capuchin monkeys, Cebus olivaceus. Behaviour, 90, 46-79.
58. Roederer, J. G. (1995). Introduction to the physics and psychophysics of music (3rd ed.). Heidelberg, Germany: Springer-Verlag.
59. Sachs, E. (1967). Dissociation of learning in rats and its similarities to dissociative states in man. In J. Zubin & H. Hunt (Eds.), Comparative psychopathology: Animal and human (pp. 249-304). New York: Grune & Stratton.
60. Sethares, W. A. (1998). Tuning, timbre, spectrum, scale. London: Springer-Verlag. Shelemay, K., & Jeffery, P. (Eds.). (1993, 1994, 1997). Ethiopian Christian liturgical chant, an anthology (Vols. 1-3). Recent researches in the oral traditions of music. Middleton, WI: A-R Editions.
61. Slater, P. J. B. (2000). Birdsong repertoires: Their origins and use. In N. L. Wallin, B. Merker, & S. Brown (Eds.), The origins of music (pp. 49-63). Cambridge, MA: MIT Press.
62. Slawek, S. (1998). Keeping it going: Terms, practices, and processes of improvisation in Hindustani instrumental music. In B. Nettl & M. Russell (Eds.), In the course of performance: Studies in the world of musical improvisation (pp. 335-368). Chicago: University of Chicago Press.
63. Sundin, N.-G. (1983). Musical interpretation in performance. Växjö, Sweden: Mirage..
64. Sundin, N.-G. (1994). Aesthetic criteria for musical interpretation. Jyväskylä, Finland: University of Jyväskylä..
65. Sutton, R. A. (1998). Do Javanese gamelan musicians really improvise? In B. Nettl & M. Russell (Eds.), In the course of performance: Studies in the world of musical improvisation (pp. 69-92). Chicago: University of Chicago Press.
66. Takeuchi, A. H. (1994). Maximum key-profile correlation (MKC) as a measure of tonal structure in music. Perception and Psychophysics, 56, 335-346.
67. Timmers, R. (2002). Freedom and constraints in timing and ornamentation: Investigations of music performance. Maastricht, The Netherlands: Shaker Publishing..
68. Todd, P. M. (2000). Simulating the evolution of musical behavior. In N. L. Wallin, B. Merker, & S. Brown (Eds.), The origins of music (pp. 361-388). Cambridge, MA: MIT Press.
69. Ujhelyi, M. (1996). Is there any intermediate stage between animal communication and language? Journal of Theoretical Biology, 180, 71-76.
70. Viswanathan, T., & Cormack, J. (1998). Melodic improvisation in Karnatak music. The manifestations of raga. In B. Nettl & M. Russell (Eds.), In the course of performance: Studies in the world of musical improvisation (pp. 219-236). Chicago: University of Chicago Press.
71. Wright, A. A., Rivera, J. J., Hulse, S. H., Shyan, M., & Neiworth, J. J. (2000). Music perception and octave generalization in Rhesus monkeys. Journal of Experimental Psychology: General, 129, 291-307.
72. Yung, B. (Ed.). (1997). Celestial airs of antiquity: Music of the seven-string zither of China. Recent researches in the oral traditions of music. Middleton, WI: A-R Editions..
73. Zahavi, A., & Zahavi, A. (1997). The handicap principle: A missing piece of Darwin's puzzle. Oxford: Oxford University Press..