Musical Creativity Versus Other Forms of Creativity While creativity shares features across fields, there are aspects of musical creativity that are relatively unique to it. 1. Speed. The act of creating music, particularly in the case of improvisation, is often extremely rapid. Such “real-time composition” (as improvisation is often called) requires not only a precise command of fine-grain musculature (e.g., the fingers, mouth, and/or larynx), but also the capacity to execute those commands at sub-second levels temporal precision. 2. Temporal extension. Like film, dance, and storytelling, but unlike painting, sculpture, and architecture, music is a temporal art, requiring time to unfold. Thus for both the composer/improviser and the listener, the working memory apparatus plays a critical role in assembling a mental representation of the whole of the musical work—since the whole does not really “exist” at any single point in time except in the form of memory (ignoring “prosthetic” memory representations such as written scores and audio recordings). 3. Symbolic structure. Just as spoken words and sentences are constructed from a limited set of phonemes, so too are musical melodies constructed from a limited set of notes and durations. In this sense they are both “symbolic,” i.e., composed of “symbols” (or “elements”) which in themselves have no meaning. However, an important distinction between speech and music is that phonemes, when combined in specific ways, do produce recognizable “words” which can refer to events and objects outside of the language system itself, and thereby take on meaning. In contrast, recombinations of musical elements only rarely refer to anything outside of the realm of music. The fact that these different combinations of musical elements can still feel “meaningful” to a listener, therefore, is a peculiarity of the art of music that is worthy of paying special attention to. Bashwiner, David, and Donna Bacon. “Neuroscience: Music and the Brain.” (2020).

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Clarity or ambiguity aren’t absolute in storytelling because literature is a participative process. Looking up the etymology of the word “literature” I find interesting things: _Great literature is simply language charged with meaning to the utmost possible degree. [Ezra Pound, “ABC of Reading”]_ which sheds some light. Interestingly, https://en.wikipedia.org/wiki/Literariness focuses on form such as meter and rhythm to distinguish between literary and non-literary texts. So from a point of view of literariness, the distinction between literature and non-literature would be amoral, which is contradiction to Ezra Pound’s view of what Great literature is.

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Ok. “Law of excluded middle”? It’s Cognitive. Comes from moving from room to room through doorways, from living in confined spaces. Looked up “Ancient Greek homes” to confirm. Poor to wealthy, most but the absolute poorest lived in homes with many doorways. Many doorways = cognitive event boundaries where contexts change and brain remaps. [Why you lose items when you move them to another room]. Possible contrast might be found by comparing storytelling/event recollection among people who live as nomads, out in open areas, collectively, agriculturally. Is time circular? Logic more flexible and intuitive? Do stories freely mix past, present and future, myth and event flowing freely between? ========= “Figure 1. Shared Features of Spatial and Nonspatial Contextual Boundaries. Boundaries between events may be detected on the basis of spatiotemporal context shifts. During navigation, decision-points act as boundaries between road segments. This segmentation is most obvious when turns are made due to a concurrent shift in visual information. Similarly, movement between compartments elicits the remapping between spatial representations. Evidence from event narratives suggests that boundaries produce a peak in hippocampal activity that is preceded by shifts in cortical activity patterns [5,81]. Computational modeling of episodic memory suggests a transient increase in the speed at which contextual representations change over time (temporal context drift) immediately following a spatial boundary [36], repelling events on a mental timeline. Both these phenomena enable the separation of events in space and time, and may stem from the same underlying neural mechanism which requires updating at the boundary to signal a shift in contextual properties. ” =============== Brunec, I. K., Moscovitch, M., & Barense, M. D. (2018). Boundaries Shape Cognitive Representations of Spaces and Events. Trends in Cognitive Sciences, 22(7), 637–650. doi:10.1016/j.tics.2018.03.013

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Looks like Garrison Keilor caught the creepy to women syndrome from Charlie Rose in 1991. Well, he retired last year from Prairie Home Companion and him speaking out in defense of Al Franken yesterday was a career disaster move and history will get another washing now. Will another of his style of storytelling come around? Probably, but maybe without the Russian hands and Roman fingers.

Looks like Garrison Keilor
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