Composing and Improvising

R. Woody
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Abstract

Creativity is often associated with great composers or performers of the past who have been ascribed some kind of "creative mystique." In order to attain better explanatory power, the psychological perspective usually begins by defining musical creativity not by divine inspiration but rather as a generative process, that is, the act of generating new musical material or new renderings of pre-existing music. Musical generativity is best understood as a component of basic musicianship, rather than part of a specialized skill set. Despite creativity being of great interest to scholars for a very long time, only recently has scientific study of creativity borne some useful insights for musicians. This chapter shows how broader principles of human creativity, revealed by research across many domains, are also specifically applicable to music. It also explains the specific processes of composing and improvising music, showing that both require musicians to investment time and energy to build these creative skills to an expert level. Finally, this chapter encourages nurturing the naturally creative behaviors of childhood and facilitating in young musicians a exploratory mindset as a basic part of their musicianship.
作曲与即兴创作
创造力通常与过去的伟大作曲家或表演者联系在一起,他们被赋予某种“创造性的神秘感”。为了获得更好的解释力,心理学视角通常首先定义音乐创造力,而不是神圣的灵感,而是一个生成过程,即产生新的音乐材料或对已有音乐的新呈现的行为。音乐创造性最好被理解为基本音乐能力的组成部分,而不是专业技能的一部分。尽管很长一段时间以来,创造力一直是学者们非常感兴趣的问题,但直到最近,对创造力的科学研究才为音乐家带来了一些有用的见解。本章展示了许多领域的研究揭示的人类创造力的更广泛的原则,也特别适用于音乐。它还解释了作曲和即兴创作音乐的具体过程,表明两者都需要音乐家投入时间和精力来建立这些创造性技能到专家水平。最后,本章鼓励培养儿童天生的创造性行为,并促进年轻音乐家的探索心态,作为他们音乐素养的基本组成部分。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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