The difficulty of discerning between composed and improvised music

Musicae Scientiae

Volumn 14, Issue 2_suppl, 2010, Pages 113-129

  Lehmann, Andreas C ^a   Kopiez, Reinhard ^b  

^a UNIVERSITY OF WÜRZBURG   (Germany)

^b Hanover University of Music and Drama   (Germany)

Author keywords

composition; creativity; improvisation

Indexed keywords

EID: 84991279003     PISSN: 10298649     EISSN: 20454147     Source Type: Journal    
DOI: 10.1177/10298649100140S208     Document Type: Article

References (36)

1. Ashkenazy V. (1989). Scriabin piano sonatas [CD]. London: Decca.
2. Auslander P. (in press). Jazz improvisation as a social arrangement. In Cook N., & Pettengill R., (Eds.), Music as performance: New perspectives across the disciplines. Ann Arbor: Michigan University Press.
3. Brendel A. (1992). Mozart: Sonatas KV533/494 & 282 [CD]. Hollywood: Philips Digital Classics.
4. Berliner P. A., (1994). Thinking in jazz. Chicago: Chicago University Press.
5. Bertsch M., & Waldherr K., (2005). Reliability of trumpet players’ judgments during instrument blind-tests. In Proceedings of the Second Congress of Alps-Adria Acoustics Association and First Congress of Acoustical Society of Croatia (pp. 207–216), Opatija, Croatia, 23-24 June.
6. Chaffin R., Lemieux A. F., & Chen C., (2006). Spontaneity and creativity in highly practised performance. In Deliège I., & Wiggins G. A., (Eds.), Musical creativity (pp. 200–218). Hove, UK: Psychology Press.
7. Cook N. (1987). The perception of large-scale tonal closure. Music Perception, 5(2), 197–206.
8. Copland A. (1952). Music and imagination. Cambridge: Harvard University Press.
9. Deliège I., (1987). Grouping conditions in listening to music: an approach to Lerdahl and Jackendoff ‘s grouping preference rules. Music Perception, 4(4), 325–360.
10. Deliège I., (2006). Creative support to elaborate a model of music listening. In Deliège I., & Wiggins G. A., (Eds.), Musical creativity: Multidisciplinary research in theory and practice (pp. 63–77). Hove: Psychology Press.
11. Distler J. (2004). Nikolai Kapustin piano music [CD booklet]. London: Hyperion
12. Eisenberg J., & Thompson W. F., (2003). A matter of taste: evaluating improvised music. Creativity Research Journal, 15(2/3), 287–296.
13. Fox C., & Osmond-Smith D., (2009). “Scelsi, Giacinto.” In Grove Music Online. Oxford Music Online, (accessed December 27, 2009).
14. Gjerdingen R. O., & Perrott D., (2008). Scanning the dial: The rapid recognition of music genres. Journal of New Music Research, 37(2), 93–100.
15. Goydke K., Altenmüller E., Möller J., & Münte T., (2004). Changes in emotional tone and instrumental timbre are reflected by the mismatch negativity. Cognitive Brain Research, 21(3), 251–359.
16. Kopiez R., & Platz F., (2009). The role of listening expertise, attention, and musical style in the perception of clash of keys. Music Perception, 26(4), 321–334.
17. Lachmund C. V., (1970). Mein Leben mit Franz Liszt. Aus dem Tagebuch eines Liszt-Schülers [My life with Franz Liszt. From the diary of a Liszt student] Eschwege: Schröder.
18. Lehmann A. C., & Ericsson K. A., (1998). Historical developments of expert performance: public performance of music. In Steptoe A., (Ed.), Genius and the mind (pp. 67–94). Oxford: Oxford University Press.
19. Lehmann A. C., & Kopiez R., (2002). Revisiting composition and improvisation with a historical perspective. In M. Britta, & M. Mélen (Eds.), Proceedings of the 10th Anniversary Conference of the European Society for the Cognitive Sciences of Music (ESCOM): Musical Creativity, Liège, Belgium, 5-8 April [CD-ROM].
20. Lehmann A. C., (2005). Komposition und Improvisation: Generative musikalische Performanz [Composition and improvisation: Generative musical performance]. In Stoffer T. H., & Oerter R., (Eds.), Allgemeine Musikpsychologie (pp. 913–954). Göttingen, Germany: Hogrefe.
21. Lehmann A. C., (2006). Historical increases in expert music performance skills: optimizing instruments, playing techniques, and training. In Altenüller E., Wiesendanger M., & Kesselring J., (Eds.), Music, motor control, and the brain (pp. 3–22). Oxford: Oxford University Press.
22. Limb C. J., & Braun A. R., (2008). Neural substrates of spontaneous musical performance: An fMRI study of jazz improvisation. PLoS ONE, 3(2), e1679. doi:10.1371/journal. pone.0001679.
23. Neitzert L. (1991). Der Komponist, sein Werk und die subversive Kraft des Extempore [The composer, his work, and the subversive power of extemporization]. In Knauer W., (Ed.), Jazz und Komposition (pp. 37–53). Hofheim, Germany: Wolke.
24. Nettl B. (1998). Introduction: An art neglected in scholarship. In Nettl B., & Russell M., (Eds.), In the course of performance (pp. 1–23). Chicago: Chicago University Press.
25. Nettl B., & Russell M., (Eds.) (1998). In the course of performance. Chicago: Chicago University Press.
26. Ockelford A. (2007). A music module in working memory? Evidence from the performance of a prodigious musical savant. Musicae Scientiae, Special Edition on Performance, 5–36.
27. Philipp G., & Pruggmayer-Philipp U., (1999). Klavierimprovisationen [CD]. Berlin: Eterna.
28. Reuter C. (2001). Musikalische Würfelspiele von Mozart, Haydn und anderen großen Komponisten [CD-ROM] [Musical dice games by Mozart, Haydn and other great composers]. Mainz: Schott.
29. Rissi M., Mazzalo G., & Geisser H., (1996). Fuego [CD]. Root, Switzerland: Creative Works.
30. Sedlmeier P., & Renkewitz F., (2008). Forschungsmethoden und Statistik in der Psychologie [Research methods and statistics in psychology]. München: Pearson Studium.
31. Seidel W. (1987). Werk und Werkbegriff in der Musikgeschichte [Works and the concept of works in music history]. Darmstadt: Wissenschaftliche Buchgesellschaft.
32. Sloboda J. A., (1985). The musical mind. Oxford: Clarendon.
33. Sidran B. (1995). Talking jazz. An oral history. New York: Da Capo.
34. Sternberg R., (Ed.) (1999). Handbook of creativity. Cambridge: Cambridge University Press.
35. Wilson P. N., (1999). Hear and now. Hofheim, Germany: Wolke.
36. Ziv N., & Moran O., (2006). Human versus computer: The effect of a statement concerning a musical performance's source on the evaluation of its quality and expressivity. Empirical Studies of the Arts, 24(2), 177–191.