Cognition In Improvisation

The ability to improvise represents one of the highest levels of musical achievement. Yet what musical knowledge is 3equired for improvisation? How does a musician learn to improvise? What are the neural correlates of improvised performance? These are some of the questions explored in this unique and fascinating new book.

V. 1. Cognitions -- v. 2. Critical theories

Stop negative thoughts, assuage anxiety, and live in the moment with these fun, easy games from improv expert Clay Drinko. If you’ve been feeling lost lately, you’re not alone! Even before the Covid-19 pandemic, Americans were experiencing record levels of loneliness and anxiety. And in our current political turmoil, it’s safe to say that people are looking for new tools to help them feel more present, positive, and in sync with the world. So what better way to get there than play? In Play Your Way Sane, Dr. Clay Drinko offers 120 low-key, accessible activities that draw on the popular principles of improv comedy to help you tackle your everyday stress and reconnect with the people around you. Divided into twelve fun sections, including “Killing Debbie Downer” and “Thou Shalt Not Be Judgy,” the games emphasize openness, reciprocation, and active listening as the keys to a mindful and satisfying life. Whether you’re looking to improve your personal relationships, find new meaning at work, or just survive our trying times, Play Your Way Sane offers serious self-help with a side of Second City sass.

This book reviews progress and describes original research in the cognitive psychology of the arts. The invited contributors are leading authorities, and the topics which they cover include psychological approaches to symbols and meaning in art, issues in experimental aesthetics, the development in children of artistic production and appreciation, and the perception of musical and pictorial material.

From the dance floor of a tango club to group therapy classes, from ballet to community theatre, improvised dance is everywhere. For some dance artists, improvisation is one of many approaches within the choreographic process. For others, it is a performance form in its own right. And while it has long been practiced, it is only within the last twenty years that dance improvisation has become a topic of critical inquiry. With The Oxford Handbook of Improvisation in Dance, dancer, teacher, and editor Vida L. Midgelow provides a cutting-edge volume on dance improvisation in all its facets. Expanding beyond conventional dance frameworks, this handbook looks at the ways that dance improvisation practices reflect our ability to adapt, communicate, and respond to our environment. Throughout the handbook, case studies from a variety of disciplines showcase the role of individual agency and collective relationships in improvisation, not just to dancers but to people of all backgrounds and abilities. In doing so, chapters celebrate all forms of improvisation, and unravel the ways that this kind of movement informs understandings of history, socio-cultural conditions, lived experience, cognition, and technologies.

Improvisation teachers have long known that the human mind could be trained to be effortlessly spontaneous and intuitive. Drinko explores what these improvisation teachers knew about improvisation's effects on consciousness and cognition and compares these theories to current findings in cognitive neuroscience, psychology, and philosophy.

A landmark in jazz studies, Thinking in Jazz reveals as never before how musicians, both individually and collectively, learn to improvise. Chronicling leading musicians from their first encounters with jazz to the development of a unique improvisatory voice, Paul Berliner documents the lifetime of preparation that lies behind the skilled improviser's every idea. The product of more than fifteen years of immersion in the jazz world, Thinking in Jazz combines participant observation with detailed musicological analysis, the author's experience as a jazz trumpeter, interpretations of published material by scholars and performers, and, above all, original data from interviews with more than fifty professional musicians: bassists George Duvivier and Rufus Reid; drummers Max Roach, Ronald Shannon Jackson, and Akira Tana; guitarist Emily Remler; pianists Tommy Flanagan and Barry Harris; saxophonists Lou Donaldson, Lee Konitz, and James Moody; trombonist Curtis Fuller; trumpeters Doc Cheatham, Art Farmer, Wynton Marsalis, and Red Rodney; vocalists Carmen Lundy and Vea Williams; and others. Together, the interviews provide insight into the production of jazz by great artists like Betty Carter, Miles Davis, Dizzy Gillespie, Coleman Hawkins, and Charlie Parker. Thinking in Jazz overflows with musical examples from the 1920s to the present, including original transcriptions (keyed to commercial recordings) of collective improvisations by Miles Davis's and John Coltrane's groups. These transcriptions provide additional insight into the structure and creativity of jazz improvisation and represent a remarkable resource for jazz musicians as well as students and educators. Berliner explores the alternative ways—aural, visual, kinetic, verbal, emotional, theoretical, associative—in which these performers conceptualize their music and describes the delicate interplay of soloist and ensemble in collective improvisation. Berliner's skillful integration of data concerning musical development, the rigorous practice and thought artists devote to jazz outside of performance, and the complexities of composing in the moment leads to a new understanding of jazz improvisation as a language, an aesthetic, and a tradition. This unprecedented journey to the heart of the jazz tradition will fascinate and enlighten musicians, musicologists, and jazz fans alike.

Improvisation teachers have long known that the human mind could be trained to be effortlessly spontaneous and intuitive. Drinko explores what these improvisation teachers knew about improvisation's effects on consciousness and cognition and compares these theories to current findings in cognitive neuroscience, psychology, and philosophy.

The ability to improvise represents one of the highest levels of musical achievement. An improvisor must master a musical language to such a degree as to be able to spontaneously invent stylistically idiomatic compositions on the spot. This feat a one of the pinnacles of human creativity, and yet its cognitive basis is poorly understood. In this dissertation, I explore cognition in improvisation, seeking to answer the following three questions: What is the knowledge base necessary for improvisations? How is this knowledge acquired? How is this knowledge used in performance?

The first systematic collaboration between cognitive scientists and sports psychologists considers the mind–body relationship from the perspective of athletic skill and sports practice. This landmark work is the first systematic collaboration between cognitive scientists and sports psychologists that considers the mind–body relationship from the perspective of athletic skill and sports practice. With twenty-six chapters by leading researchers, the book connects and integrates findings from fields that range from philosophy of mind to sociology of sports. The chapters show not only that sports can tell scientists how the human mind works but also that the scientific study of the human mind can help athletes succeed. Sports psychology research has always focused on the themes, notions, and models of embodied cognition; embodied cognition, in turn, has found striking confirmation of its theoretical claims in the psychological accounts of sports performance and athletic skill. Athletic skill is a legitimate form of intelligence, involving cognitive faculties no less sophisticated and complex than those required by mathematical problem solving. After presenting the key concepts necessary for applying embodied cognition to sports psychology, the book discusses skill disruption (the tendency to “choke” under pressure); sensorimotor skill acquisition and how training correlates to the development of cognitive faculties; the intersubjective and social dimension of sports skills, seen in team sports; sports practice in cultural and societal contexts; the notion of “affordance” and its significance for ecological psychology and embodied cognition theory; and the mind's predictive capabilities, which enable anticipation, creativity, improvisation, and imagination in sports performance. Contributors Ana Maria Abreu, Kenneth Aggerholm, Salvatore Maria Aglioti, Jesús Ilundáin-Agurruza, Duarte Araújo, Jürgen Beckmann, Kath Bicknell, Geoffrey P. Bingham, Jens E. Birch, Gunnar Breivik, Noel E. Brick, Massimiliano L. Cappuccio, Thomas H. Carr, Alberto Cei, Anthony Chemero, Wayne Christensen, Lincoln J. Colling, Cassie Comley, Keith Davids, Matt Dicks, Caren Diehl, Karl Erickson, Anna Esposito, Pedro Tiago Esteves, Mirko Farina, Giolo Fele, Denis Francesconi, Shaun Gallagher, Gowrishankar Ganesh, Raúl Sánchez-García, Rob Gray, Denise M. Hill, Daniel D. Hutto, Tsuyoshi Ikegami, Geir Jordet, Adam Kiefer, Michael Kirchhoff, Kevin Krein, Kenneth Liberman, Tadhg E. MacIntyre, Nelson Mauro Maldonato, David L. Mann, Richard S. W. Masters, Patrick McGivern, Doris McIlwain, Michele Merritt, Christopher Mesagno, Vegard Fusche Moe, Barbara Gail Montero, Aidan P. Moran, David Moreau, Hiroki Nakamoto, Alberto Oliverio, David Papineau, Gert-Jan Pepping, Miriam Reiner, Ian Renshaw, Michael A. Riley, Zuzanna Rucinska, Lawrence Shapiro, Paula Silva, Shannon Spaulding, John Sutton, Phillip D. Tomporowski, John Toner, Andrew D. Wilson, Audrey Yap, Qin Zhu, Christopher Madan