Cover -- Half Title -- Title Page -- Copyright Page -- Table of contents -- Acknowledgements -- Introduction -- The subjects covered in the book -- How the subjects are tackled -- Note -- References -- 1 The redundant genius, who won't lie down and die -- Introduction -- The last refuge of the scoundrel genius -- The work of composition -- Distributed musical creativity -- Bach didn't write musical works -- History -- Performance -- Why the scoundrel won't just lie down and die -- Ideology -- Mental processes -- Conclusion -- Notes -- References -- 2 The musical imagination as dialogue
Introduction -- Part 1: Theory -- Complexity and dialogue -- Environmental engagement and imaginative learning -- The subconscious dialogue -- Implications of this view -- Part 2: Accounts by composers (and others) -- Two features of the imagination -- Two distinct imaginative activities -- Conclusion -- Note -- References -- 3 Sharing imaginations -- Introduction -- The misuse of the term 'collaboration' -- As a synonym for 'influenced by' -- As a synonym for 'working together' -- Suggestions for better definitions -- Going back to first principles -- four types of working relationships
Are there intermediate types of working? -- Performers -- Choreographers -- Implications -- The experience of different types of working -- The need for a language of communication -- Conclusion -- Notes -- References -- 4 Making musical meanings: The imaginative listener -- Introduction -- Part 1: The sources of meaning in music-- Author or authority? -- Opposition and qualifications -- Listener meaning making -- Part 2: How the sense of musical meaning may arise -- Music perception and cognition -- Embodied cognition and analogies. Mirrors in the mind? -- Music of the hemispheres
A view of meaning making from music-- Conclusion -- Notes -- References -- A final word -- References -- Index
Notes
Online resource; title from PDF title page (viewed February 15, 2021)
