Aimed at lay, student, and academic readers alike, this book
concerns the imagination and, specifically, imagination in music.
It opens with a discussion of the invalidity of the idea of the
creative genius and the connected view that ideas originate just in
the individual mind. An alternative view of the imaginative process
is then presented, that ideas spring from a subconscious dialogue
activated by engagement in the world around. Ideas are therefore
never just of our own making. This view is supported by evidence
from many studies and corresponds with descriptions by artists of
their experience of imagining. The third subject is how
imaginations can be shared when musicians work with other artists,
and the way the constraints imposed by trying to share subconscious
imagining result in clearly distinct forms of joint working. The
final chapter covers the use of the musical imagination in making
meanings from music. The evidence is that music does not
communicate meanings directly, and so composers or performers
cannot be looked to as authorities on its meaning. Instead, music
is commonly heard as analogous to human experience, and listeners
who perceive such analogies may then imagine their own meanings
from the music.
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