The empirical literature on auditory imagery is reviewed. Data on (a) imagery for auditory features (pitch, timbre, loudness), (b) imagery for complex nonverbal auditory stimuli (musical contour, melody, harmony, tempo, notational audiation, environmental sounds), (c) imagery for verbal stimuli (speech, text, in dreams, interior monologue), (d) auditory imagery's relationship to perception and memory (detection, encoding, recall, mnemonic properties, phonological loop), and (e) individual differences in auditory imagery (in vividness, musical ability and experience, synesthesia, musical hallucinosis, schizophrenia, amusia) are considered. It is concluded that auditory imagery (a) preserves many structural and temporal properties of auditory stimuli, (b) can facilitate auditory discrimination but interfere with auditory detection, (c) involves many of the same brain areas as auditory perception, (d) is often but not necessarily influenced by subvocalization, (e) involves semantically interpreted information and expectancies, (f) involves depictive components and descriptive components, (g) can function as a mnemonic but is distinct from rehearsal, and (h) is related to musical ability and experience (although the mechanisms of that relationship are not clear).

/pdf/auditory-imagery-empirical-findings-2n1vcrwxpn.pdf

Auditory imagery: Empirical findings.

Within the creativity domain, inspiration is a motivational state posited to energize the actualization of creative ideas. The authors examined the construct validity, predictive utility, and function of inspiration in the writing process. Study 1, a cross-lagged panel study, showed that getting creative ideas and being inspired are distinct and that the former precedes the latter. In Study 2, inspiration, at the between-person level, predicted the creativity of scientific writing, whereas effort predicted technical merit. Within persons, peaks in inspiration predicted peaks in creativity and troughs in technical merit. In Study 3, inspiration predicted the creativity of poetry. Consistent with its posited transmission function, inspiration mediated between creativity of the idea and creativity of the product, whereas effort, positive affect, and awe did not. Study 4 extended the Study 3 findings to fiction writing. Openness to aesthetics and positive affect predicted creativity of the idea, whereas approach temperament moderated the relation between creativity of the idea and inspiration. Inspiration predicted efficiency, productivity, and use of shorter words, indicating that inspiration not only transmits creativity but does so economically.

Mediating between the muse and the masses: inspiration and the actualization of creative ideas.

Being creative is considered a desirable trait, yet most empirical studies emphasize how to increase creativity rather than explore its possible benefits. A natural connection is how creativity can enhance life's meaning. Many of the core concepts in work on the meaning of life, such as the needs for coherence, significance, and purpose or the desire for symbolic immortality, can be reached through creative activity. The synthesis of these two constructs-creativity and the meaning of life-is discussed with a temporal model encompassing past, present, and future pathways to creativity. The past pathway can help one understand and reflect on life. The present pathway can remind one of life's joy and the many possible connections with humanity. Finally, the future pathway strives to ensure some type of legacy that may resonate with younger generations.

Finding Meaning With Creativity in the Past, Present, and Future.

This thesis explores the relationship between information literacy and learning. In formal education, students are frequently required to independently find and use information to learn about a topic, and information literacy is often claimed to be a generic skill and graduate attribute. However, to date; the experienced relationship between information literacy and learning has not been investigated.



In order to investigate this experience, I have based this research on interviews with 19 students enrolled in third year music composition courses, and 18 students enrolled in a third year tax law course at an Australian university. My primary research question was 'What is the experienced relationship between information literacy and learning?' The secondary research question was "What are the generic and situated aspects of information literacy?'



In this study, I have used phenomenography to describe the qualitatively different ways that students in two distinct disciplines experience the relationship between information literacy and learning. I have suggested curriculum implications of this description based on a relational approach to learning and teaching. The outcomes of the study include two related sets of categories which map the experience of students in music composition and tax law, and the theoretical GeST windows model for information literacy which is based upon literacy models and theories.



The key findings of this study include:

*	A description of the nature of the experienced relationship between information literacy and learning in music composition and tax law as 1) Applying, 2) Discovering and 3) Expressing (music) or Understanding (tax law);

*	the theoretical GeST windows model and alignment of the model with the empirical study; 

*	the presentation of curriculum implications in music and tax law, and 

*	an exploration of the nature of information as-it-is-experienced.



The findings may be used by teachers, students, librarians, academic skills advisors,

academic developers and policy makers in higher education.

/pdf/information-literacy-and-learning-pii4ms6tgd.pdf

Information literacy and learning

Creativity is the hallmark of human cognition and is behind every innovation, scientific discovery, piece of music, artwork, and idea that have shaped our lives, from ancient times till today. Yet scientific understanding of creative processes is quite limited, mostly due to the traditional belief that considers creativity as a mysterious puzzle, a paradox, defying empirical enquiry. Recently, there has been an increasing interest in revealing the neural correlates of human creativity. Though many of these studies, pioneering in nature, help demystification of creativity, but the field is still dominated by popular beliefs in associating creativity with “right brain thinking”, “divergent thinking”, “altered states” and so on (Dietrich and Kanso, 2010). In this article, we discuss a computational framework for creativity based on Baars’ Global Workspace Theory (GWT; Baars, 1988) enhanced with mechanisms based on information theory. Next we propose a neurocognitive architecture of creativity with a strong focus on various facets (i.e., unconscious thought theory, mind wandering, spontaneous brain states) of un/pre-conscious brain responses. Our principal argument is that pre-conscious creativity happens prior to conscious creativity and the proposed computational model may provide a mechanism by which this transition is managed. This integrative approach, albeit unconventional, will hopefully stimulate future neuroscientific studies of the inscrutable phenomenon of creativity.

/pdf/mind-the-gap-an-attempt-to-bridge-computational-and-3vn7xgzglv.pdf

Mind the gap: an attempt to bridge computational and neuroscientific approaches to study creativity

A three-year single case study of a composer was undertaken in order to track the compositional process in real time. A combination of data collection techniques was used to attempt to map cognitive processes: digital MIDI save-as files, analogue audio files, semi-structured interviews, immediately retrospective verbal accounts and verification sessions between composer and researcher. Findings indicated a chunking of processes and strategies at micro and macro levels. A hypothetical model is presented which points to a generative process of problem proliferation and successive solution implementation, occurring not only in a linear manner but also recursively. Moments of creative insight were observed which related to Gestalt theory problem restructuring; some were seen to overlap in real time with others, indicating an element of parallelism in creative thinking. A synthesis of differing creative process theories is suggested to explain the compositional process observed in the study.

A synthesis process model of creative thinking in music composition

Contents: Preface Empirical and historical musicologies of compositional processes: towards a cross-fertilization, Nicolas Donin Process, self-evaluation, and lifespan creativity trajectories in eminent composers, Aaron Kozbelt Musical imagery in the creative process, Freya Bailes and Laura Bishop Meaningful engagement with music composition, Andrew R. Brown and Steve Dillon The practice of diverse compositional creativities, Pamela Burnard Constraint, collaboration and creativity in popular songwriting teams, Joe Bennett The influence of the extra-musical on the composing process, Shira Lee Katz Improvisation as real-time composition, Simon Rose and Raymond MacDonald On computer-aided composition, musical creativity and brain asymmetry, Eduardo Reck Miranda Defining inspiration? Modelling the non-conscious creative process, Geraint A. Wiggins Rules, tactics, and strategies for composing music, David Cope Index.

The Act of Musical Composition: Studies in the Creative Process

Verbal protocol methodologies have been used in a variety of research settings, and have, to some extent been used in music composition cognition studies. However, there has been little evaluation of such a research methodology. This paper discusses outcomes from a longitudinal single-case-study where immediately retrospective verbal reporting was combined with real-time digital data collection procedures. By triangulating data from computer ‘save-as’ files, transcription of the verbal protocol, semistructured interviews and verification sessions with the composer, it was possible to examine aspects of creative problem-solving and moments of insight in such activity. Mapping of the emerging structure was also possible and this, combined with analysis of procedures and strategies outlines in the verbal protocol, allowed a view into the compositional ‘flow’, and a resultant hypothetical model of composition process to be presented. Practical issues around the use of verbal protocol methodology are ...

Real-time tracking of the creative music composition process

Problem-solving strategies and processes in musical composition: Observations in real time

'Getting there': Do we need to study how people compose music?

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