This article argues that contemporary systems theory explanations are insufficient when accounting for ‘in the moment’ creative musical performance. The system model's focus on a domain-changing contribution from an individual fails to offer a satisfactory account of the construction and assessment of the more everyday distributed and collaborative creativity undertaken by many popular music instrumentalists. A cultural psychology perspective, in contrast, situates distributed creativity inbetween people and objects rather than within them. Glăveanu's ‘Five As framework’ has particular utility in capturing the ordinary creativity that does not seek to change the domain but nevertheless contributes to it. The model is applied here to four case studies of expert instrumentalists that draw upon a combination of primary evidence, lived experience and original research.

中文翻译：

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不同的品种和下面的品种：创意音乐表演和专家鼓手

本文认为，在解释“当下”的创造性音乐表演时，当代系统理论的解释是不够的。系统模型对来自个人的领域变化贡献的关注未能提供令人满意的解释，以构建和评估许多流行音乐乐器演奏家所承担的更日常的分布式和协作创造力。相比之下，文化心理学的观点将分布式创造力置于人和物体之间，而不是在它们内部。Glăveanu 的“五个作为框架”在捕捉不寻求改变领域但仍对其做出贡献的普通创造力方面特别有用。该模型在这里应用于专家乐器演奏家的四个案例研究，这些案例研究结合了主要证据，