Creativity, alongside awareness and intelligence, is one of the most difficult issues currently facing scientific psychology. Study of creativity is relatively
rare in the cognitive sciences, especially in artificial intelligence, where some authors have sometimes actively argued against even beginning a research
programme. Nonetheless, in recent years, some success has been achieved.
However, much of this success has been in areas of creativity related to science, architecture, visual arts and literature (or at least “verbal” activity).
Music has not often been viewed as an object of study in the creativity field, except in the area of education, which is surprising, because in at least one
sense it has a major advantage: it is usually possible to study music and musical behaviour without the added complication of referential meaning,
which, while it may illuminate the output of other creative processes, also may obfuscate the mechanisms that underpin them. The objective of this anthology is to help initiate a research dynamic specifically concerning musical creativity.
rare in the cognitive sciences, especially in artificial intelligence, where some authors have sometimes actively argued against even beginning a research
programme. Nonetheless, in recent years, some success has been achieved.
However, much of this success has been in areas of creativity related to science, architecture, visual arts and literature (or at least “verbal” activity).
Music has not often been viewed as an object of study in the creativity field, except in the area of education, which is surprising, because in at least one
sense it has a major advantage: it is usually possible to study music and musical behaviour without the added complication of referential meaning,
which, while it may illuminate the output of other creative processes, also may obfuscate the mechanisms that underpin them. The objective of this anthology is to help initiate a research dynamic specifically concerning musical creativity.
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