Group creativity: musical performance and collaboration

By Ingrid Monson’s. 2006

339 citations recorded by the source corpus.

Subfields: Cognitive Neuroscience, Experimental and Cognitive Psychology, Music

View Paper: https://www.semanticscholar.org/paper/8db6d3c18f115f3fca11f6a4b2914e381f93d1a2

How researchers see this paper

The researchers whose trusted networks rank it highest, strongest advocate first. Every researcher gets a different order.

In Cognitive Neuroscience

1. A. Schiavio
2. Michele Biasutti
3. S. Høffding
4. R. Sawyer
5. Luigi Frezza
6. Anthony Chemero
7. Valerio Velardo
8. A. Lamont

In Experimental and Cognitive Psychology

1. Alastair Henry
2. Z. Dörnyei
3. A. Schiavio
4. Anthony Chemero
5. Valerio Velardo
6. Ashley Walton
7. Dylan van der Schyff
8. S. Høffding

In Music

1. Michele Biasutti
2. S. Høffding
3. R. Sawyer
4. Luigi Frezza
5. A. Lamont
6. A. Schiavio
7. Ingrid Monson’s
8. Keith Sawyer

Citations in the corpus

• The Anatomy of Directed Motivational Currents: Exploring Intense and Enduring Periods of L2 Motivation (2015, background): “In this work flow is conceptualised as “a property of the entire group as a collective unit” (Sawyer, 2006, p. 158).”
• Emotion, engagement and meaning in strong experiences of music performance (2012, background): “Research with jazz musicians (Sawyer, 2006) has suggested the importance of a link between flow and group cohesion in generating a state of intense emotional empathy through improvisation.”
• Dimensions of Music Improvisation (2009, background): “The flow state can be on one level an individual experience (e.g., unaccompanied performance) and on another level a collaborative experience employing empathetic creativity (e.g., group performance; Sawyer, 2006; Seddon, 2005).”
• Playing together without communicating? A pre-reflective and enactive account of joint musical performance (2015, background): “On the other hand, adopting notions such as “being in a groove together” (Berliner, 1994) or “group flow state” (Hart & Di Biasi, 2013; Sawyer, 2006), other researchers maintain that, to clarify the mechanisms underlying musicians’ perceptual coupling, we should investigate more complex, high-level,”
• Educating for innovation (2006, background): “The most effective classroom interaction balances structure and script with flexibility and improvisation, as teachers improvisationally invoke and apply routines and activity structures (Sawyer, 2004a).”
• Musical creativity and the embodied mind (2018, background): “This said, it appears that much of this work tends to examine creativity in terms of two general assumptions (see Sawyer, 2003, 2006).”