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  1. Music, Neuroscience, and the Psychology of Well-Being: A Précis.Adam M. Croom - 2012 - Frontiers in Psychology 2:393.
    In Flourish, the positive psychologist Seligman (2011) identifies five commonly recognized factors that are characteristic of human flourishing or well-being: (1) “positive emotion,” (2) “relationships,” (3) “engagement,” (4) “achievement,” and (5) “meaning” (p. 24). Although there is no settled set of necessary and sufficient conditions neatly circumscribing the bounds of human flourishing (Seligman, 2011), we would mostly likely consider a person that possessed high levels of these five factors as paradigmatic or prototypical of human flourishing. Accordingly, if we wanted to (...)
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  • Music, Neuroscience, and the Psychology of Wellbeing: A Précis.Adam M. Croom - 2012 - Frontiers in Theoretical and Philosophical Psychology 2 (393):393.
    In Flourish, the positive psychologist Martin Seligman (2011) identifies five commonly recognized factors that are characteristic of human flourishing or wellbeing: (1) “positive emotion,” (2) “relationships,” (3) “engagement,” (4) “achievement,” and (5) “meaning” (p. 24). Although there is no settled set of necessary and sufficient conditions neatly circumscribing the bounds of human flourishing (Seligman, 2011), we would mostly likely consider a person that possessed high levels of these five factors as paradigmatic or prototypical of human flourishing. Accordingly, if we wanted (...)
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  • Toward a Dynamical Theory of Body Movement in Musical Performance.Alexander P. Demos, Roger Chaffin & Vivek Kant - 2014 - Frontiers in Psychology 5.
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  • Seeing Music Performance: Visual Influences on Perception and Experience.William Forde Thompson, Phil Graham & Frank A. Russo - 2005 - Semiotica 2005 (156):203-227.
    Drawing from ethnographic, empirical, and historical / cultural perspectives, we examine the extent to which visual aspects of music contribute to the communication that takes place between performers and their listeners. First, we introduce a framework for understanding how media and genres shape aural and visual experiences of music. Second, we present case studies of two performances, and describe the relation between visual and aural aspects of performance. Third, we report empirical evidence that visual aspects of performance reliably influence perceptions (...)
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  • A Grammar of Action Generates Predictions in Skilled Musicians.Giacomo Novembre & Peter E. Keller - 2011 - Consciousness and Cognition 20 (4):1232-1243.
    The present study investigates shared representations of syntactic knowledge in music and action. We examined whether expectancy violations in musical harmonic sequences are also perceived as violations of the movement sequences necessary to produce them. Pianists imitated silent videos showing one hand playing chord sequences on a muted keyboard. Results indicate that, despite the absence of auditory feedback, imitation of a chord is fastest when it is congruent with the preceding harmonic context. This suggests that the harmonic rules implied by (...)
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  • The Referential Dynamics of Cognition and Action.Jeff Pressing - 1999 - Psychological Review 106 (4):714-747.
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  • Ways of the Hand: The Organization of Improvised Conduct.David Sudnow - 1978 - Harvard University Press.
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  • Improvisation, Temporality and Embodied Experience.Vijay Iyer - 2004 - Journal of Consciousness Studies 11 (3-4):159-173.
    This journal's well-intentioned consideration of the arts has turned out to be quite the Pandora's box. As soon as we broach the subject of aesthetics, we are already in the realm of ideology; as soon as we impose the frame of scientific inquiry upon any subject, we invoke another kind of ideology. The previous issues in this series have depicted the unfolding of an ideological clash of cultures between sciences and the humanities, enough to make C.P. Snow blush. For the (...)
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  • The Improvising Mind: Cognition and Creativity in the Musical Moment.Aaron Berkowitz - 2010 - Oxford University Press UK.
    The ability to improvise represents one of the highest levels of musical achievement. An improviser must master a musical language to such a degree as to be able to spontaneously invent stylistically idiomatic compositions on the spot. This feat is one of the pinnacles of human creativity, and yet its cognitive basis is poorly understood. What musical knowledge is required for improvisation? How does a musician learn to improvise? What are the neural correlates of improvised performance? In 'The Improvising Mind' (...)
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  • Flow: The Psychology of Optimal Experience.Mihaly Csikszentmihalyi - 1990 - Harper & Row.
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  • Optimal Experience: Psychological Studies of Flow in Consciousness.Mihaly Csikszentmihalyi & Isabella Selega Csikszentmihalyi (eds.) - 1988 - Cambridge University Press.
    What constitutes enjoyment of life? Optimal Experience: Psychological Studies of Flow in Consciousness offers a comprehensive survey of theoretical and empirical investigations of the "flow" experience, a desirable or optimal state of consciousness that enhances a person's psychic state. "Flow" can be said to occur when people are able to meet the challenges of their environment with appropriate skills, and accordingly feel a sense of well-being, a sense of mastery, and a heightened sense of self-esteem. The authors show the diverse (...)
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