ABSTRACT
The lack of a comprehensive definition of creativity and, as a consequence, of a shared model of musical creativity, as well as the difficulties caused by different neuroimaging techniques, when one attempts to underpin complex mental activities that are essentially intermodal and not task-dependent, make the choice among the following theories challenging: a global theory (according to which musical creativity is mediated by the same global neural state as in other forms of creativity); a local theory (according to which musical creativity is mediated by neural mechanisms tied to specific music regions in the brain); and an intermediate theory postulating global principles, applied to specific regions associated with music, when the approach is neuroscientific.
