A Matter of Taste: Evaluating Improvised Music

Eisenberg, Jacob; Thompson, William Forde

doi:10.1080/10400419.2003.9651421

Cited by 26 publications

(26 citation statements)

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“…In the case of jazz, no relation between ratings of complexity and liking was found, whereas in the bluegrass case, a negative relation was found. When asking evaluations of expert judges, Eisenberg and Thompson (2003) found a linear relationship between complexity and ratings of 16 pieces of improvised music. Smith and Melara (1990) found that graduate music students preferred atypical harmonic progressions, whereas novices and undergraduate music students preferred prototypical progressions.…”

mentioning

confidence: 95%

The Relationship Between Creative Potential, Aesthetic Response to Music, and Musical Preferences

Ziv

Keydar

2009

Creativity Research Journal

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confidence: 95%

The Relationship Between Creative Potential, Aesthetic Response to Music, and Musical Preferences

Ziv

Keydar

2009

Creativity Research Journal

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“…The emerging product is seen as the original thought process that occurred and as such is regarded to be the raw creative process (Eisenberg & Thompson, 2003;Nooshin, 2003). Our focus on improvisation arises because work in the domain of musical improvisation has shown that improvisation and divergent thinking ability are Running head: Improvisation, divergent thinking, creativity and education 6 strongly related.…”

Section: Introductionmentioning

confidence: 99%

Improvisation facilitates divergent thinking and creativity: Realizing a benefit of primary school arts education.

Sowden

Clements

Redlich

et al. 2015

Psychology of Aesthetics, Creativity, and the Arts

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The benefit of arts education for cultural engagement, wider academic achievement, and as a contributor to the creative economy is a subject of significant debate. In the present work we focus on the potential for simple arts-based improvisation activities to enhance divergent thinking skills and creativity in primary school age children. In a first experiment we compared the effect of children taking part in an improvised vs. non-improvised dance class on their subsequent performance on the Instances Task (Wallach & Kogan, 1965) and on a creative 'toy' design task. In a second experiment children took part in verbal and acting improvisation games or in matched control games before completing figural activity 1 of the Torrance Tests of Creative Thinking (Torrance, 1974). In both experiments we found that children who took part in the improvisation interventions showed better divergent thinking and creativity after the intervention. Our findings suggest that simple, arts-based improvisation interventions could have domain general benefits for creative cognition processes. Further, they indicate one way in which simply making better use of existing arts education provision could provide a cost-effective way to increase creativity relevant skills in primary school children. We consider putative mechanisms for the improvisation effects and specify directions for future work.

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“…Moreover, soundpainting opens the way to a sociosemiotic analysis, in which it is susceptible to examination in the light of some theories of language. Lastly, practice of soundpainting raises questions, such as the evaluation of a live performance by an audience [8]. A soundpainter gesture recognition system could help in these studies by indexing performance video recordings automatically, and also by reproducing and creating new performances when the computer is used as a performer.…”

Section: Analysis Of Practicementioning

confidence: 99%

“…In a musical band or orchestra, the interaction between musicians is always a key point, which becomes crucial in improvised music [10]. Thus, the different roles and decisions to take in real time produce complex situations that are difficult to analyze and evaluate [8]. This remains true in the context of soundpainting, even if some supervision is brought by the soundpainter.…”

Section: Introductionmentioning

confidence: 99%

Towards soundpainting gesture recognition

Pellegrini

Guyot

Angles

et al. 2014

Proceedings of the 9th Audio Mostly: A Conference on Interaction With Sound

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In this article, we describe our recent research activities on gesture recognition for soundpainting applications. Soundpainting is a multidisciplinary live composing sign language for musicians, actors, dancers, and visual artists. These gestures are produced by a soundpainter, which plays the role of a conductor, in order to lead a live performance. Soundpainting gestures are normalized and well defined, thus they are a very interesting case study in automatic gesture recognition. We describe a first gesture recognition system based on hidden Markov Models. We also report on the creation of a pilot corpus of soundpainting RGB/depth videos. The use of a computer could have many interesting applications listed in the paper. These applications are not limited to live performance, in which the computer would act as a performer. It could also help to investigate the balance between improvisation and planned creation in the particular context of soundpainting.

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A Matter of Taste: Evaluating Improvised Music

Cited by 26 publications

References 0 publications

The Relationship Between Creative Potential, Aesthetic Response to Music, and Musical Preferences

The Relationship Between Creative Potential, Aesthetic Response to Music, and Musical Preferences

Improvisation facilitates divergent thinking and creativity: Realizing a benefit of primary school arts education.

Towards soundpainting gesture recognition

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