In this regard, improvisation is an appropriate test-case for executive-controlled processing ( Norgaard et al., 2013 Rosen et al., 2017). This is because the intricacy and temporal constraints of competent real-time improvisation should restrict dependence on conscious, effortful, Type-2 executive processing. Jazz improvisation has been adopted by researchers for this purpose ( Limb and Braun, 2008 Beaty, 2015 Loui, 2018). Alternative methodologies that employ complicated, realistic problems may better depict creative cognition as it occurs in real-world circumstances ( Boccia et al., 2015). While certain tasks are useful for disentangling elements of creative cognition, their ecological validity and domain specificity are limited ( Zeng et al., 2011). To evaluate creativity, the body of research in this field has employed “standardized psychometric tests or laboratory-based divergent or convergent thinking activities” ( Rosen et al., 2020). Since the DMN’s discovery, considerable research has been undertaken to elucidate its fundamental function, which may serve as a neural basis for the dual-process model ( Gronchi and Giovannelli, 2018). While an artist’s attention is drawn to achieving “more explicit and deliberate response” requirements during a timed audition or an examination, the necessity for controlled processing may increase significantly, resulting in the “suppression of default processing” ( Mok, 2012). When given an external task, this network’s activity decreases, whereas when not given an external task, its activation increases ( Raichle et al., 2001 Buckner et al., 2008). The DMN is composed of the posterior cingulate cortex (PCC), the precuneus, the medial prefrontal cortex (mPFC), and both the inferior parietal lobes on either side ( Gusnard and Raichle, 2001). Several studies of spontaneous cognition have revealed large-scale functional networks in creativity, notably in areas of the default mode network (DMN) ( Fink et al., 2009a, Fink et al., 2012 Ellamil et al., 2012 Beaty et al., 2014 Benedek et al., 2014). However, there is relatively little evidence that musicians in the non-improvising domain may be perceived to encounter a spontaneous processing mode during the course of performance. The establishment of dual-processing modes in improvising musicians is used to examine the nature of creative cognition, specifically how the experience of improvisers change the balance between spontaneous (Type-1) and regulated (Type-2) processes. These interactions may open new possibilities for expanding the repertoire of executive functions, creativity, and the coordinated activity of cortical-subcortical regions that regulate the free flow of artistic ideas and expressive spontaneity in future neuromusical research. Elucidating the cortical-subcortical activity in the dual-process model may extend to non-improvising musicians explored in the paradigm of neural correlates. This article discusses the implementation on the concurrence of spontaneous (Type-1) and controlled (Type-2) processing modes that may be apparent in the perception of non-improvising artists on how melodic lines are perceived in music performance. With advances in neurocognitive measures, the state of one’s artistic intuition and execution has been a growing interest in understanding the creative thought process of human behavior, particularly in improvising artists. The musical and artistic execution of a player, as well as the product of this phenomena can become determinant causes in a creative mental state. The confluence of creativity in music performance finds itself in performance practices and cultural motifs, the communication of the human body along with the instrument it interacts with, and individual performers’ perceptual, motor, and cognitive abilities that contribute to varied musical interpretations of the same piece or melodic line.
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