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Ann.N.Y. Acad.Sci.ISSN0077-8923

ANNALSOFTHE NEWYORKACADEMY OFSCIENCES

SpecialIssue:TheNeurosciences andMusicVI

REVIEW

Rapidandfle xible creativityinmusicalimprovisation: reviewandamodel

PsycheLoui

DepartmentofPsychologyandPr ogramin Neuroscience &Behavior, WesleyanUniversity,Middletown,Connecticut

Addressforcorrespondence:Psyche Loui,Depar tmentofPsychology,Wesleyan University, 207HighSt, Middletown,CT

06459.ploui@wesleyan.edu

Creativityhasbeendefinedasth eability toproduceoutpu tthatisnovel,usef ul,ben eficial,an ddesiredbyan

audience.Butwhatismusicalcr eativity,a ndrelatedly, to whatextentdoescreativit ydependondomain-generalor

domain-specificneuralandcognitiveprocesse s?Towhatextentcanmu sicalcre ativitybetaught?Toanswerthe se

questionsfromareductioni stscientifica ppr oach,wemustattempttoisolatethecreati veprocessasitpertainsto

music.Recentworkin theneuroscienceofc reativityhast urned tomusical improvisationasawindowintoreal-time

musicalcreativeproces sinthebrain.Here,Iprovide anoverviewofrecent resear chinthene uroscienceofmusica l

andaesthe ticallyrewardingimprovisedmusicaloutput. Keywords:creativity;improvisation;entropy; defaultnetwork;perceptionaction; executivecontrol

Introduction

Thecur rentworkseekstodefinear igorousbut

nuancedmodelofmusical improvisation,bycon- ceptualizingitasacomplexsystemtha tincl udes computational,algorithmic,andimplementa tional levelsofanalysis. 2

Themountingr esearch literature

suggeststhatm usicalimpr ovisation,suchas that whichiscommon lytaught inmodernjazztraining, offersausefulwind owt hroughwhichtounder- standreal-timecreativity. 3

Thus,amodelofmusical

improvisationasacomplexsystemwillbeinf orma- tiveforcognitiv escientists,m usicaleducators,and anyoneseekingtobetterunderstandcreati vit y.

Conceptualizingt hereal-timecreative

musicalprocess

Followingclassicworkinco gnitivescience,acom-

plexsystemcanb edescribedatthr eelev els. 2 Atthe highest,computational level,themodeladdresses musicalimprovisati on.Atthemiddle,algorithmic level,themodeldescribestheco gnitiv epr ocesses andtr ansformationsthatmustoccurto acco mplish thegoal. Andatthelow est,implementationallevel, themodel providesa physicalrealizationofneural substratesnecessaryforimplementingther equired cognitiveprocesses.

Musicalimprovisati onlendsitselfwelltoscien-

plexbutrapid interac tionsofmanyc omponents.

Inco ntrasttootherformsofmusi cal creativity,

(e.g.,melodic,harm onic,andrhythmicpattern s) musicalideasarealso generatedandev aluatedov er thecourse oflong-termtr ainingin theclassroom aswe llasinprivateinstruc tion. 4,5

Trainingand

experiencegiverisetothepsycho logicalcons traints thatenable thereal-timeimpro visato ryexperience.

Thesepsychologi calconstraintsincludetherefer-

ent(c ognitive/perceptual/emotionalguidelinesor andrep ertoire),anddomain-specificmemoryfor previouslyencountereda uditory-motorpatterns. 6

Also,guidingimprov isationsare motor(or

doi:10.1111/nyas.13628

1Ann.N.Y .Acad.Sci.xxxx(2018) 1-8C⃝2018NewYorkA cademyofS ciences.

Creativityinm usicalimprovisationLoui

rience.Thegoalofsu ccessfuli mprovisation s,the n, ownknowled gebasetogeneratefluent,c ohe- siveauditory -motorsequencesthatareintrinsically rewarding.

Howdoesth ecognitivesys temaccom plishthis

goal?Atan algorithmiclev el,modelsofcreati vity entailideagener ationand evaluation,inacognitive cycleakinto theblindvariationand selective retentionprocess 7 thatisassess edbyps ychometric studiessuc hasDivergentThinking tests. 8,9 Idea generationistheprocess ofm entally combining orre combiningexistingelementstogiverise to entailsselectingfromth earrayofgeneratedideas, usinginter nallyorexternallygenerated feedback. andevaluation occursatm ultipletimescales. 10-12

Atan implem entationallevel,thisinterplayof

ideagenerati onandevaluationlikelyentailsth e coordinatedactivityofthedefa ultmodeandexec- utivecontrolnetwor ksinthebrainasdetailedin thenext section. 13

Asid easinimprovise dmusic

areimplem entedasauditory-motorsequences,th e perceptionandproduc tiono fthesesoundtar- network, 14,15 whichisstrengthenedinitsconnectiv- itybym usicaltraining. 16

Figure1showsa modelof

musicalimprovisati onatthecomputational,algo- rithmic,andimplementat ionlevel s.

Areviewofneuroimagingstudieson

musicalimprovisation

Someinsights intotheneuralimplementation of

musicalimprovisati oncomefromfunctionalneu- roimaging.Severalfunctional magneticresonance imaging(fMRI)studiesha veaskedjazzmusici ans toim proviseinthescanner,andcom pared brain activityorconnectivityag ainstc ontroltasksof producingnonimprovised sequences(suchas musicalscalesormemori zedpassages).I nthe firstfMRIstud yon jazzimprovisation, Limband

Brauncompared brainactivityinjazzpian ists

betweenimprovised andoverlearnedproductions ofpe rformancesofapreviouslymemorizednovel melody. 17

Thisfirststud yshow edincreasedacti vity

duringimprovisatio ninseveralregionswithinthe frontallobe,includingthe medialprefrontal cort ex, cingulatecorte x,inferiorfrontalgyrus,andsup- plementarymotor areas,aswell asintheauditory processingareasinthete mporallobe,including superiorandmiddletempor algy ri.Incontrast, thed orsolateralprefrontalcortexwas mostlydeac- tivatedduringimprovisation.These differences werenotexpl ainedbydi fferencesinthenumberor variabilityofnotesplay edduringtheimpro visation condition,asthesewere cont rol ledinthisstudy. hypothesisthatcreati vity entailsanupregulation ofmesialpr efrontal regions(e.g.,medialpr efrontal cortexandcingulatecortex)acc ompaniedb ya downregulationoflateralprefrontalregions( e.g., dorsolateralprefrontalcortex(DLPF C)).However, thespecifi cdecreaseinDLPFCactiv itycouldalso arisefrom therelativelylowworking memory demandsoftheimprovisa tionta skrelativ etothe controltask,whichrequi redtherecall andpro- ductionofanewlylearned melod y.N evertheless, thebalan ceofmesialtolateralact ivity canbean importantmeasure ,inpartbecausethesemesial andlatera lprefrontalstructu resbelongtodifferent restingstatebrainne tworks,includi ngthedefault modenetw orkandtheexecutiv econtrolnetw ork. ity,Liuetal .investigatedfunctionalactivityand paringspontaneouslyr icalimpro visationagainst conventional,rehearsedperformancecondi tionsin freestyleartists. 18

Again,improvisa tionwasasso-

ciatedwithincr easedactivity inthemedialpre- frontalcorte x,especiallyinthelefthemisphere, anddecr easedactivityinthedo rsolateralprefrontal cortex,especiallyinth erighthemisphere.Fur- thermore,functionalconnec tivitya nalysesshowed thatseedregio nsintheme dialprefrontalcortex wereposit ivelyassociatedwiththeinferio rfrontal gyrusandcingu latecorte x,andnegativelyasso- ciatedwiththed orsolateralprefr ontalc ortexand intraparietalsulcus.Theseresultsprov idefur ther supportforther oleofdissociatedac tivi tybetween mediala nddorsolateral prefrontalcorticesinguid- ingimpro visatorybehavior.Theauthorsspecu- latethatthemedialp refr ontalcor tex mightguide behaviorthrough"alt ernatecingulatepathway s" thateffec tmotorcontrol by"linkingintention, affect,language,and action." 18

Accordingtothis

2Ann.N.Y .Acad.Sci.xxxx(2018) 1-8C⃝2018NewYorkA cademyofS ciences.

LouiCreativityinmusical improvisation

ReferrentPatternsReward

noitcAnoitpecreP

Generation

Evaluation

Auditory

motor

Default

Executive control

base

Knowledge

Figure1.Amod elofmusicali mprovi sationatcomputationa l,algorithmic,andimplementationlevels .Theco mputationallevel

specifiestheg oalof real-timemusical creativity viaimprovisationas asystem.Thisiscloselytied tothealgorithmiclevel,which

describeshowthegoalsspecifi edattheto plevelare accomplished.A tthelowestlevelaretheneu ralsys temsthat implement the

stepsofpercepti onanda ction,ideagenerationandevalua tion,and learningandmotorplans electionassh owninthealgorithmic

level. eachother,ar enevertheless abletoactt ogether. 19

Thecingul atecortexmayserveasahubtha tacts

appropriateauditory-motorpatternst omaximize reward. 20

Theaudit oryperception-actioncyc lehasbeen

extensivelystudiedduetoitsimporta ncenotonly inmusic, butalsoinspeech andlanguageas wel las inhearing moregeneral ly.Thefirst cortical waystationoftheauditor yper ception-act ion pathwayliesinthesuper iortempor allob e,where inputfr omsubcorticalareasalong theauditory pathwayiscodedinthe core,belt, andparabelt areasoftheaudit orycorte x.Fr omthelevelof the auditorycortex,much evidencesupportsadual- streammodelofauditor ypr ocessing.The dorsal streamsupportssensorimotorco ntrol/integra tion, whereastheventr alst reamsupportsobject-based soundcategorization. 21,22

Thesignificanceofdorsal

versusventralpath waysinmusichasals obeen shown,notablyinbehavioral andneu roimag ing workontone- deafne ss,orcongenitalamusia. 23-25

Specifically,thedorsalnetwork inv olvesareas

connectedbythearcuatefasci culus, whichisaquotesdbs_dbs12.pdfusesText_18

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