The paradigm of enactive music cognition offers an anti-representational framework for understanding musical activity as both corporeal and culturally-situated. In this paper, I discuss live electronic musical improvisation as an exemplary model for the enactive framework in its ability to demonstrate the importance of participatory, relational, emergent, and embodied musical activities and processes. Following Gallagher, I argue that the Dreyfus model of skill acquisition, where performers develop from novices to experts who may eventually achieve a state of ‘mindless flow’, does not adequately account for what can happen during various forms of musical play. A critical study of improvisation reveals that a more generous conception of meaningful musical activity is needed, particularly in terms of who is able to take part as an improviser. I contextualise these ideas from the position of being an improviser of live electronic music performed on self-built, hybrid analogue/digital instruments, my background in creating expressive musical systems for people with profound and complex learning difficulties, and through my recent explorations of both pedagogical and research approaches to interdisciplinary improvisation.

中文翻译：

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超越技能习得：即兴创作、跨学科和积极的音乐认知

生成音乐认知范式提供了一个反表征的框架，用于将音乐活动理解为有形的和文化的。在本文中，我讨论了现场电子音乐即兴创作作为生成框架的示范模型，它能够证明参与性、关系性、突发性和具身性的音乐活动和过程的重要性。继加拉格尔之后，我认为德雷福斯的技能习得模型，即表演者从新手发展成为最终可能达到“无意识流动”状态的专家，并没有充分说明在各种形式的音乐表演中可能发生的事情。一项对即兴创作的批判性研究表明，需要对有意义的音乐活动有一个更宽泛的概念，尤其是在谁能够作为即兴演奏者参与的方面。