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The parallel study of music in science and creative practice can be traced back to the ancients; and paralleling the emergence of music neuroscience, creative musical practitioners have employed neurobiological phenomena extensively in music composition and performance. Several examples from the author’s work in this area, which began in the 1960s, are cited and briefly described. From this perspective, the author also explores questions pertinent to current agendas evident in music neuroscience and speculates on potentially potent future directions