We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.
Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)
References
Becker, H.2009. Do You Know …?: The Jazz Repertoire in Action (Chicago, IL, University of Chicago Press)Google Scholar
Berliner, P.1994. Thinking in Jazz: The Infinite Art of Improvisation (Chicago, IL, University of Chicago Press)CrossRefGoogle Scholar
Csikszentmihalyi, M.1990. Flow: The Psychology of Optimal Experience (New York, Harper Collins)Google Scholar
Clayton, M., Dueck, B., and Leante, L. (eds.) 2013. Experience and Meaning in Music Performance (Oxford, Oxford University Press)CrossRefGoogle Scholar
Monson, I.1995. Saying Something: Jazz Improvisation and Interaction (Chicago, IL, University of Chicago Press)Google Scholar
Peretz, I.2006. ‘The nature of music from a biological perspective’, Cognition, 100, pp. 1–32CrossRefGoogle ScholarPubMed
Simonton, D.2013. ‘The evolution of the music–emotion relation’, Physics of Life Reviews, 10, p. 277–78CrossRefGoogle ScholarPubMed
Sudnow, D.1978/2001. Ways of the Hand: A Rewritten Account (Cambridge, MA, MIT Press)Google Scholar
Werner, K.1996. Effortless Mastery: Liberating The Master Musician Within (New Albany, IN, Jamey Aebersold)Google Scholar