ABSTRACT
In Part I of the book, I reviewed theoretical and empirical developments in the fi elds of creativity studies, music psychology, and creative cognition. While examining their corresponding disciplines and practices, I also suggested how the theories of embodied cognition could be directly applied to our understanding of compositional creativity. While I continue this exploration of the interdependence of cognitive and performative processes, in Part II of the book I will now turn my focus to the more pragmatic nature of the compositional process. Following this chapter on the relationship between musical sound and the sense of self, I will in the next chapter continue my discussion of the practical facets of embodied compositional creativity by shedding light on the embodied contingencies of the compositional process. In doing this, I will continue to draw on empirical and theoretical studies in music psychology and related fi elds of study to support a cross-disciplinary view of how cognitive and performative causality has an effect on the emergence of embodied compositional creativity.
