ABSTRACT
It is difficult to talk about creativity – musical creativity in particular – in a scientific context. Creativity has been addressed for some time by various research communities in social science, psychology, cognitive science, and artificial intelligence, with the surprising effect of turning an elusive word into a research theme, and sometimes even into a fully-fledged scientific “issue”. There are now formal definitions of creativity, theories of how it can happen, how it can be explained, and even how to train oneself to become more creative. As a consequence, creativity has been trivialized to a point where many researchers profess to find it in the behaviour of virtually anything human or artificial. This dense but paradoxical landscape makes it difficult to say something new about creativity, let alone something creative.
