This post is based on, “A spiral model of musical decision-making,” written by Daniel Bangert, Emery Schubert and Dorottya Fabian that appeared in Frontiers of Psychology on April 22, 2014. Although based on thin research, my intuition likes it, and it would seem to have applicability beyond music. It splices together ideas of Ken Hammond (post Cognitive Continuum), Jonathan Evans (post Dual Process Theories of Cognition), and Amy Baylor (post U-Shaped Intuition).
Research has shed light on how both intuition and deliberation are used by musicians. Bangert et. al. refer to Hallam who interviewed twenty-two performers about their practice habits and found differences between those who were “intuitive/serialists” who allowed their interpretation to evolve unconsciously versus “analytic/holists.” who relied on deliberate, conscious analysis of the piece. Other research has shown that while performing, musicians pay deliberate attention to certain specific musical aspects (performance cues) and also have spontaneous performance thoughts.