- Copyright Page
- Acknowledgments
- Contributors
- The Companion Website
- Introduction: Volume 2
- Improvisation: An Ideal Display of Embodied Imagination
- Anticipated Sonic Actions and Sounds in Performance
- Motor Imagery in Perception and Performance of Sound and Music
- Music and Emergence
- Affordances in Real, Virtual, and Imaginary Musical Performance
- Systemic Abstractions: The Imaginary Regime
- From Rays to Ra: Music, Physics, and the Mind
- Music Analysis and Data Compression
- Bioacoustics: Imaging and Imagining the Animal World
- Musical Notation as the Externalization of Imagined, Complex Sound
- “… they call us by our name …”: Technology, Memory, and Metempsychosis
- Musical Shape Cognition
- Playing the Inner Ear: Performing the Imagination
- Music in Detention and Interrogation: The Musical Ecology of Fear
- Augmented Unreality: Synesthetic Artworks and Audiovisual Hallucinations
- Consumer Sound
- Creating a Brand Image through Music: Understanding the Psychological Mechanisms behind Audio Branding
- Sound and Emotion
- Voluntary Auditory Imagery and Music Pedagogy
- A Different Way of Imagining Sound: Probing the Inner Auditory Worlds of Some Children on the Autism Spectrum
- Multimodal Imagery in the Receptive Music Therapy Model Guided Imagery and Music (GIM)
- Empirical Musical Imagery beyond the “Mind’s Ear”
- Imaginative Listening to Music
- A Hopeful Tone: A Waltonian Reconstruction of Bloch’s Musical Aesthetics
- Sound as Environmental Presence: Toward an Aesthetics of Sonic Atmospheres
- The Aesthetics of Improvisation
- Sonic Materialism: Hearing the Arche-Sonic
- Imagining the Seamless Cyborg: Computer System Sounds as Embodying Technologies
- Glitched and Warped: Transformations of Rhythm in the Age of the Digital Audio Workstation
- On the Other Side of Time: Afrofuturism and the Sounds of the Future
- Posthumanist Voices in Literature and Opera
- Index
Abstract and Keywords
Justin Christensen deals with the bond between improvisation and imagination in artistic experience. Starting with a reassessment in continental philosophy both of how imagination is conceived and can be demonstrated, Christensen observes that the connection between improvisation and imagination has previously had little value in classic aesthetic theories. He then goes on to argue for the value of improvisation as a reflection of perception–action coupling that is central to newer theories that favor embodied approaches to music cognition. In the light of such theories, where perception, action, and imagination are seen as interdependent properties, Christensen proposes a greater recognition of the processes of musicking—including improvisation—to better understand meaning-making and the role of imagination in musical experience.
Keywords: improvisation, perception–action coupling, art, aesthetics, creativity, musicking
Postdoctoral Researcher, University of Saskatchewan
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- Copyright Page
- Acknowledgments
- Contributors
- The Companion Website
- Introduction: Volume 2
- Improvisation: An Ideal Display of Embodied Imagination
- Anticipated Sonic Actions and Sounds in Performance
- Motor Imagery in Perception and Performance of Sound and Music
- Music and Emergence
- Affordances in Real, Virtual, and Imaginary Musical Performance
- Systemic Abstractions: The Imaginary Regime
- From Rays to Ra: Music, Physics, and the Mind
- Music Analysis and Data Compression
- Bioacoustics: Imaging and Imagining the Animal World
- Musical Notation as the Externalization of Imagined, Complex Sound
- “… they call us by our name …”: Technology, Memory, and Metempsychosis
- Musical Shape Cognition
- Playing the Inner Ear: Performing the Imagination
- Music in Detention and Interrogation: The Musical Ecology of Fear
- Augmented Unreality: Synesthetic Artworks and Audiovisual Hallucinations
- Consumer Sound
- Creating a Brand Image through Music: Understanding the Psychological Mechanisms behind Audio Branding
- Sound and Emotion
- Voluntary Auditory Imagery and Music Pedagogy
- A Different Way of Imagining Sound: Probing the Inner Auditory Worlds of Some Children on the Autism Spectrum
- Multimodal Imagery in the Receptive Music Therapy Model Guided Imagery and Music (GIM)
- Empirical Musical Imagery beyond the “Mind’s Ear”
- Imaginative Listening to Music
- A Hopeful Tone: A Waltonian Reconstruction of Bloch’s Musical Aesthetics
- Sound as Environmental Presence: Toward an Aesthetics of Sonic Atmospheres
- The Aesthetics of Improvisation
- Sonic Materialism: Hearing the Arche-Sonic
- Imagining the Seamless Cyborg: Computer System Sounds as Embodying Technologies
- Glitched and Warped: Transformations of Rhythm in the Age of the Digital Audio Workstation
- On the Other Side of Time: Afrofuturism and the Sounds of the Future
- Posthumanist Voices in Literature and Opera
- Index