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115 5 RITUALS OF CREATIVITY Inhabiting the Echoes of the Past Th eir Mystical Experience, My Modern Discomfort One morning, I found myself sitt ing in a high-level improvisation class at Berklee. Th is week, the students had to transcribe any of pia- nist McCoy Tyner’s solos and play it in synchrony with the original recording. Tyner’s style is characterized by the ample use of penta- tonic and tetratonic scales and out-of-scale playing, oft en in neck- breaking tempos. Th ese features render his solos diffi cult to transcribe and play in real time

231 The point of a proper and eff ective intersection of the labels, publishers and advertisers is on the not too distant horizon. Hopefully, the actual music, as opposed to the commodity of the music, will be king again. —Josh Rabinowitz, senior vice president / director for music at Grey Worldwide (advertising agency), 2007 If you don’t have originality, you’re not in the advertising business. —Steve Karmen, interview by author, 2009 9 New Capitalism, Creativity, and the New Petite Bourgeoisie In this fi nal chapter, I analyze the world of the production

96 C h a p t e r S e v e n Conclusion: The Particularities of Aging and Creativity It is difficult enough to make convincing models to account for the ev- eryday behavior and activity of people who we might describe, rightly or wrongly, as “normal”— how much more difficult, and perhaps even fruitless, to make generalizations about artists whose individuality is their calling card. —Michael Beckerman, “Leoš Janáček and ‘The Late Style’ in Music” In exploring the lives of these four composers, we were struck by how, as they aged, their creativity functioned

139 6 TRANSCRIBING CREATIVITY AS CREATIVE TRANSCRIBING Legitimizing Theory and Expertise Performing Exegesis in the Classroom Imagine you enter a room full of people. Th e people are sitt ing. Each of them is leaning over the same writt en manuscript. Th e manuscript is also projected on a screen and a person is talking while pointing at the projected manuscript with a pointer. When you ask the people what this manuscript represents, they tell you it represents the words of wise people who lived in the past. Th e people in the room are col- lectively trying

: F I V E : B L O W I N G A W AY T H E S E L F Creativity and Control S O L O T I M E After the bridge, the band restates the head, and then it’s time to cut loose and start blowing. Jazz musicians refer to improvisatory solos as “blow- ing”—derived originally from horn puffing, but now used for all instru- ment soloing. Our tenor player steps up, and the drummer switches to a gentle wash of ride cymbal while everyone drops volume to get under- neath the soloist as he takes flight. When the soloist stretches out to perform his craft, he knows the scales

6 Calculating Machines, Creativity, and Humility from Leibniz to Turing As soon as someone gets a computer to do it, people say: “That’s not what we meant by intelligence.” People subconsciously are trying to preserve for themselves some special role in the universe. m i c h a e l k e a r n s , 20041 In 1844, the satirical periodical Punch carried a series of testimonials about the power of one J. Babbage’s “New Patent Mechanical Novel Writer” (fig- ure 6.1). An E. L. Bulwer of Lytton, Bart., proclaimed himself “much pleased with Mr. Babbage’s Patent Novel

T H R E E “Listening to the Voice of the Product” Human Creativity Displaced His Product’s Voice To better understand Brandnew’s innovation strategy, I enrolled in a class at one of the best business schools on the East Coast. The teacher, Dan, based his class in large part on Brandnew’s core strategy of business innovation. I became aware of Dan’s class when Tom, one of Brandnew’s consultants, mentioned it to me. I then wrote an email to Dan to ask whether it would be OK for me to attend his class. Dan immediately wrote back that he wel- comed my presence

his view. While con- ducting their business, however, the political representatives appeared to wish to perform in a particular way. As if, by having been elected to their political Epilogue: On the Dignity and Importance of Politics A Eulogy of the Human Creativity unto Government1 124 e p i l o g u e office, they had experienced a transformation, they engaged in modes of be- havior that could undoubtedly be read as signs of a firm faith in the dignity and importance of politics. Their behavior seemed to imply that their meetings were a sort of stage, where, of

believe he’s just pulling this shit out of thin air?” chapter One The Complicated Story of Improvisation models and methods, creativity and conceptual space 22 · chapter One I nod and smile back; the saxophonist really is very good. But I suspect that what he’s actually doing is much more complicated, and much cooler than that! Finding the Boundaries of Creativity It’s hardly radical to claim that virtually no improvised music is wholly spon- taneous. Unlike the bar brawler improvising weapons from chair legs and pool cues, or the intrepid dinner host improvising a

26 Syncretism and Creativity in the Hellenistic Period: The Promise of Salvation 205. The Mystery religions As we observed earlier (§ 184), the promise of salvation consti- tutes the novelty and principal characteristic of the Hellenistic religions. Uppermost, of course, was individual salvation (al- though the dynastic cults had a similar purpose-salvation of the dynasty).· The divinities who were believed to have undergone death and resurrection were closer to individual men than were the tutelary gods of the polis. Their cult included a more or less