TheDialecticalEroticismof

Improvisation

TordGustavsen,May2008
PrelimenaryEssaypreparedfortheconference
Improvisation:BetweenTechniqueandSpontaneity
UniversityofPadova,Italy,May20th2008


INTRODUCTION
AnAustralianjournalistwroteinapreviewofourconcertinMelbourne:Musicisallaboutsex.It'sabout
tensionandrelease,eagernessandrestraint,gratificationandgenerosity,controlandsurrender,andother
1
delicatelyopposedforcesinamoreorlessgracefulfumbletowardsecstasy.
Letusstarthere.Althoughtabloid,thissentencesummarizesalotofwhatthedialecticaleroticismof
improvisationisabout.Ibelievetherearecrucialparallelsbetweentherealmofmusicmakingandthe
manyrealmsofintimacy.Challengesfacingusinonefieldcanhelpusunderstandparallelchallengesin
otherfields.Themetaphoricalsometimesalmostpoeticalqualityofunderstandingonethinginthelight
ofanothercanbeofgreatimportance.Wecangaininspirationandselfdevelopmentbothaspersonsand
asmusicians.
Mymainargumentisthataspecificlistingoffivebasicdialecticaldilemmasorthemescanbehighly
relevanttounderstandingthechallengesofmusicalimprovisation.Thislistingofdilemmasiscollectedfrom
apsychologicaltheoryofdevelopmentthatinitselfbridgestheinfantsearlyformingofaselfwithadult
challengesinclosepersonalrelationshipsatlaterstagesinlife.Thus,wehavethreelevelsconstantly
presentinmydealingswiththesedilemmas:
1)

Theinfantformingaselfthroughinteractionwiththeprimarycaretakers

2)

Theadultengaginginintimaterelationshipsbothaseroticismandaslastingcompanionship,and

3)

Theimproviserrelatingto,makingsenseof,actingon,andbeingformedbyhisorhermusical
surroundings,thatis,thesoundingmusic,bythephysicalinstrument,andbythefellowmusicians
(ifany).

Now,insteadofbeginning(asIdidinmymorelengthythesis)withsummarizinganddiscussingexisting
theoreticalapproachesthuslayingoutextendedbackgroundandterminologyforourprojectletmemove
directlytothefivepolaritiesordilemmas.FirstImustrushintoacknowledging,then,mysourcesforthe
listingofthedilemmas.PrimarilywehaveNorwegianpsychologistAnneLiseLvlieSchibbye,whoisinturn
buildingontheoryfromGermanpsychoanalystHelmStierlinaswellasavastbodyofexistentialist
psychology.IamdeeplygratefultoLvlieSchibbyeforwritingthebeautifullittlebookcalledTheSelf
Yours,Mine,orOurs?(Lvlie1982),whichwaswhereIwasfirstexposedtothislineofthinking.For
empiricaldataIuseinterviewquotescollectedfromPaulBerlinersbookThinkingInJazzheavily(Berliner
1994).Thisiscoupledwithbasicinsightsfromthesocalledscenicmusictheoryasdeliveredtome
throughRolfIngeGodyandhisrenderingsofPierreSchafferswritings.Thekeyconceptsherearethoseof
musicalobjectsandtheiremergentqualitites.
Thefivepolaritiesaredescriptionsofdilemmasthatmankindisdoomedtolivewithandencounterona
multitudeoflevelsdilemmasthatmustalwaysbeworkedthroughinchangingrelationsandchanging
situationsthroughoutourlifespan.Theyareasfollows:

Momentvs.duration

Differencevs.sameness

Gratificationvs.frustration

PreviewarticlefortheMelbourneJazzFestival2008,printedinthecitysmajornewspaperTheAge,April2008
journalistunknown.

Stabilityvs.stimulation

Closenessvs.distance

Fundamentally,eachpolarityordilemmacomeswithasetofdynamicpotential,andasetofdangers.
Dangersthreatenwhendialecticsarefrozenthatiswhenthereisnocreativemovement,whentheflow
ofrelations(ortheflowofmusic)isstalledinrepetitiveconflict.Dialecticpotential,ontheotherhand,lies
indynamicresolutionofconflict,andinfruitfulintegrationofopposingforces.Andimportantlyweare
notaiminghereforthedullnessofamiddlewayamiddlewaywithoutanyclearprofileandstriking
qualities.Youneedtoreallyembraceandexploreeachsideofeveryparadox,butinwaysthatdontbring
aboutthefrozennessandtherepetitiveconflicts.
Nowletsintroducethefivedilemmaswithafewremarksthatbindthemtogether.Theartof
improvisationisafieldwhereyoudevelopstorytelling,narratives,form,harmony,etc.prettymuchinthe
wayacomposerdoes.Theseareparametersofmusicfrequentlydealtwithinexistingliterature.Butthisart
formisjustasmuchaliveactwherethemusicianconfrontsandfacesthemusic,herfellowmusicians,and
theaudienceinaveryrealtimesituation.Avirtuosoimprovisernotonlyhastopossessimpressing
analytical,creativeandtechnicalabilities,butequallyimportanttheabilitytoputtheseforcesintoplayin
themidstofmultifaced,oftenchaoticsituations.Theimproviserhastobuildamusicalunfoldingthat
worksonalllevelsfromindividualphrasesuptotheconcertexperienceasawholewithouthavingmuch
timetofocusoneachlevelseparately.Theimprovisermustattachmusicalactivitytoabasicgrooveand
mood,whileatthesametimechallengeandtranscendtheserelativelystablequalities.Theimproviser
mustbringouthisorherintensityandemotionalpresencewithoutlosingtechnicalcontrol,andwithout
losingtheabilitytocreateoverviewsandorientherselfinthemusicallandscape.Allthis,inmyopinion,ties
theartofimprovisationcloselytothebasicchallengeswehavewhendevelopingashumanbeings.And,I
believethatpsychologicalandphilosophicaltheorydealingwithpreciselythesekindsofdialectical
challengesinclosepersonalrelations,insexualityandinchilddevelopment,mayshedaveryfruitfullight
ontheanalogouschallengesinmakingimprovisedmusic.
First,wehave

I.MOMENTVS.DURATION
Theabilitytonegotiatemusicaltimeatdifferentlevelsofresolutionsiscrucialforanimproviserallthe
wayfromtheproductionofasinglenoteviaagestureorphrase,achorusorabarstructure,uptoanentire
piece.Andeventheconcertasawholethereareshapesunfoldingintimeonalltheselevels.Andagood
improvisermustmakeherstuffworkoneverylevel.
Thefirstdialecticalthemeexplorestheintensedilemmabetweenthehereandnowandtheunfoldingin
time.Creativepotentialinthisfieldcanbesummarizedasthefruitfultensionbetweeninvolvementand
intensityinthemomentontheonehand,andthefullnessandthereliabilityinthatwhichlastsandbuilds
itselfovertime,ontheother.
Thedangersthreateningonthedarksideofthispolarity,however,lieintheblind,restlessandisolated
momentvs.theemptyandboringdurationadurationwithoutintensity,withoutafocusandpresence
thatcansweepyouawayandabsorbyou.
Aswithallfivepolarities:thepotentialawaitingintheattractiveversionsofthedilemmahasatendencyto
transformintoitsdestructiveshadowsifwearenotabletoinitiateadialecticalmovement.Onesidehas
tobebroughtintodialoguewiththeotherandnewconsciousnessthuscreatedinaprocessofsynthesis.

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M OMENTVS . D URATION
Frozendialectics
blind,restless,
isolatedmoments

empty,boring
durationwithout
intensityandfocus

DynamicPotential
involvement&intensity fullness&
inthemoment
reliabilityinthat
whichlastsand
buildsitselfover
time

Theinfantmustgothroughaprocessfromanundifferentiatedstateofbeingwhereeverythingis
experiencedimmediatelyinanallembracingnowtowardsafamiliaritywiththepassingoftimebythe
experienceofrhythmsandcycles,andtowardsacomingtotermswithdeferredgratification.Allofthishas
ahugepotentialforcreatingfearandanxiety.Foranintimaterelationshiptogrowandlast,youhaveto
findwaystounitechildlikeinvolvementinthemomentwithreliabilityandasenseofrhythmandan
appreciationofcommitment.Whenitworks,momentsgainreliabilityfromduration,anddurationgains
intensityfrommoments.Whenitdoesntworkyougetboredoremptyinduration,andthemoments
becomeblindintheirsearchforfulfillmentwithoutperspective.
Byanalogy,theimprovisermustalsolearntounitehisorherintensefocusonthemomentwithabackward
orientationandaforwardorientation.Backwardsinafeelingfortheimplicationsofmusicaleventsthat
havealreadytakenplace.Forwardsasadeepfeelingfortheuniqueloadingofanymusicalsituations,a
penetratingunderstandingofmusicalqualitiesthatcanbedevelopedfurtherinthecourseofthe
improvisation.Heorshemustlearntoholdback,todistributeintensity,andthusshapemusicalsubstance
overtime.Thisisdifficult,becausethefuelofspontaneityandchildlikeinvolvementmustbemaintainedat
thesametime.

NEGOTIATINGMUSICALFORM
Orientingoneselfinformsandchordchangesunderlyingtheimprovisationalsohastomeetsuchamulti
directionalimperative.Youhavetonegotiateallthedifferentlevelsatthesametime,andatanygiven
nowrelateyourselftothegivenlocationinthebasicunfoldingofform.Advancedimprovisersoften
possesshugeandimpressingflexibilityinthisrespect.Improvisersmustdevelopanabilitytoexperience
andtothinktheirmusicalnowindifferentcontextswithamanifold,yetintenselyfocusedfullnessin
perspective.Anygivenmusicalincidentgainsitsmeaningpartlyfromitsrelatednesstotheoverallform,its
relatednesstothemusicalprocessesactivatedindynamics,timbre,rhythm,andinlinearimprovisation,
atleasttothegesturalaspectsofwhathasbeengoingoninthemusicsofar.Youhavetobecompletely
there,intheheatofthemoment.Atthesametime,youhavetobeincontroloftheunfolding,tobe
intuitivelyawareofthetimelineandtheinternalrelationsinthemusicaltexture.Andforgreat
improvisationtoreallyhappen,thiscannotbeanacademicanalysis,noratroublesomeshiftingoffocus
backandforth;itmustbealivedsynthesisofman'sbasicdilemmabetweenthemomentandtheduration.

STRATEGIESANDCROSSMODALITY
Theabilitytounitemomentanddurationisfundamentalforimprovisedstrategymaking.Shortterm,
intermediatetermandlongtermgoalsmustflowinanorganicdecisionmakingprocess.Forthistohappen,
theimprovisermustorientherselfthroughflexibleandefficientcognitiverepresentationsofmusical
substance.Theabilitytocreatesnapshotoverviewsiscrucial.Overviewscanfacilitatespontaneousanalysis
ofthemusicalprocessesgoingon,andspontaneousanalysisofoptionsforfurtherdevelopmentembedded
inanygivensituation.Musiccanalwaysbeunderstoodandencodedinaninfinitenumberofways,ranging
frompurelytheoreticalencodingbasedonforexampleharmonyandrhythmicpatterns,viavisualizationsof
texture,timbrequalitiesetc.,intomoreinformallargescalechunkingofcontentforexample:Yes,there
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wegoagain.Weredoingthesofttouchapproachtoswingingeigthscoupledwithuseofextremeregisters
inthepianoandmalletsondrums.Thesekindsofinformallabelingofmusicalsituationsareconstantly
developedbothinindividualmusiciansandamongensemblesplayingtogetherovertime.Thecomplexityof
differentwaysofunderstandingthemusicpresentinmusiciansconsciousnessisenormous.Andthis
complexitycanofcoursepotentiallycausetheimprovisationtostallbecauseofsheeroverflowor
becauseofinefficiencyinprocessingandchunking.
Crucialtoachievingrequiredefficiencyinthisfield,then,isemployingcrossmodalrepresentations.The
tensionbetweenmomentanddurationishandledbytheuseofboth

muscularmotormemory,

visualimagesofcontourandtexture,and

moreconventionaltheoreticalcategorizationbasedonharmonyandotherparameters.

Thedifferentkindsofrepresentationareallimportantinmakingupthetotalityofmusicalorientation.An
improvisermustpossessahighlydevelopedsenseofintegrationintheselandscapes,aswellasaspecial
kindofintenseconcentration,inordertoholdtheseelementstogetherandusethemcreativelyin
composinginthemoment.Whensuchabilitiesarepresent,itispreciselytherichnessofthispluralistic
universeofimagesaswellasthedevotionincreativeconcentrationamidsttherichnessthatassiststhe
musicianinproducingmusicalmeaning.
"Asartistsexploredifferentapproachestoimprovisationwhethervocallyorinstrumentally,or
conceptuallyimprovisingawayfromaninstrumentwithoutvocalizingtheircreationstheirideas
canassumedifferentformsofrepresentation.Improviserssometimesemphasizeauralthinking.At
othertimes,theyemphasizetheoreticalthinking.Additionally,theirrichfieldofimaginationcan
featureabstractvisualdisplays.CurtisFuller'triestopaintlittlepictures'whenheimprovises.Fred
Hersch,too,'seesthingsverygraphicallythatway.'Hevisualizeswhatheplaysas'akindofbig
playgroundwiththingsjumpingaroundonit,usuallyintermsofmelodicmovement:thingsgoingup
thisway,balancedbysomethinggoingdownthatway'.Orhewillse'largemassesofthingsmoving
along:onestringofnotesjumpingupanddown,stopping,twitchingaround.Musichasafeelingof
spacearoundit;itexistsinspace,theselittlemobilesofthings.Iliketothinkofmusicvisuallylike
that',Herschexplains"(Berliner1994:175).

DIRECTION
Handlingthemomentinrelationtotheflowoftimealsodemandsaspecialsenseofmusicaldirection.By
necessity,anypointinthemusicalunfoldingispartofmovementintime,butitistheimproviser'staskto
makethesedirectionalmovementsgood,interesting,andorganic.
Harmony,ofcourse,mattersalotinthisrespect,andabasicchallengeforbeginnersinjazzimprovisationis
forexampletheneedtoanticipatethechordchanges.Anestheticallysatisfyingjazzimprovisationwithin
stylesbasedonchordchanges,demandsthatyoualwayscombineanexplorationofthevariouschordsas
universesinthemselveswithmovementsthatforeshadowandpreparethechordtocome.Bassplayer
RufusReidstates:"WhenI'mplayingwalkingbasslines,Itrytohavethelinemovingsomewhere....This
hasalottodowithharmonicphrasing.IfI'mplayingaiiVIprogression,I'mnotjustplayingthenotesof
thechord.I'mmovingtowardVwhenI'mplayingii.I'mconstantlyflowing,pushingtowardI.Ifyouthink
consciouslyofmovingsomewhereharmonicallywhenyouplay,itassimilatesthisswingingsound,because
harmonicsoundismotion"(RufusReidcitedin(Berliner1994:352)).Moregenerally,DavidSudnowsays
that"[t]ogoforasoundistogoforasoundwithinacourse.Itisintermsofsecurelytargeted
movements,implicatedbyprecedingforthcomingpositionalconfigurations,thatthedefinitionofsoundis
tobesoughtinthefirstplace"(Sudnow1993:74).

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Here,Sudnowtouchesuponsomethingverycrucialinthemomentvs.durationdialecticsofimprovisation.
Theimproviser'sintentionalmovementbothmentallyandphysicallywhenheorsheexecutesagofora
sound,isthemaincomponentofimprovisationasanactivity.Thewayasoundworksandacquires
meaningindifferentmusicalandmotorrelations,mustbeapartoftheimproviser'sinternalizedand
embodiedknowledge.Thisknowledgeisfundamentaltotheabilitytoformanticipatinghypothesis
concerningpotentialsoundevents.Itisalsoanimportantcomponentintheabilitytoefficientlyinterpret
eventsthathaveactuallytakenplacewhichinturninitiatesfurtherstrategymakingbyprocessesof
association,repetition,variationetc..
TheseinsightscanalsobecoupledwithAlfredPike'sconceptsofintuitivecognitionandprevisionfrom
hisessay"APhenomenologyofJazz"(Pike1974).Thesenotionscapturetheimproviser'sabilityto
immediatelydiscoveranddigintofundamentalqualitiesandpossibilitiesforfurtherdevelopmentina
givenmusicalevent.Pikestates:"Whatisfirstgivenmustbedeveloped.Theincipientjazzimagehasits
futurehorizons,andtheimprovisersuccessivelychangeshisviewpointashestrivesforthesehorizons.The
immediateperceptualfieldcontainswithinitselfthepotentialstructureoffuturefields"(Pike1974:89).
Accordingly,inmusicalimprovisationthepresentisalwaysinlaborwiththefuturelaborbothinthesense
ofworkandasgivingbirth.

PERCEPTION"INANOW"DURATIONCONCEPTUALIZEDINTHEMOMENT
Now,letsturntothecrucialtermofmusicalobject.Theparadoxriddenrelationshipbetweenaconstant
fluxofsensationsandrelativelystableperceptionsintheformofobjectsinconsciousnessisofgreat
interesttomodernmusictheoryandpsychology.Youhavetostepoutoftime,sotospeak,toform
objectsinconsciousnessintheconstantstreamofsensations.Anobjectinconsciousnessisacrystallized
discontinuityinthecontinuoussoundscape,andsuchcrystallizationisnecessaryinordertoorient
ourselvesandmakesenseofwhat'sgoingon."Thecontinuousisonlyperceivablethroughthe
discontinuous,as'theintuitionofatemporalintervaltakesplaceinanow'"(Gody1997a:63witha
quotationformEdmundHusserl).AsubjectivenowinHusserl'stermscontainsbothprotentionsand
retentionsthatis,bothforeshadowsoftimetocomeandimpressionsfromprecedingportionsoftime.
Theimproviser'schainofmomentsisasophisticatedchainofsubjectivenowsalongtheselines.Amusical
objectcanbeformedinconsciousnessonalllevelsofresolutionoftimefromasinglenoteviaagesture
oraphraseuptoaconcertasawhole.

EMERGENTQUALITIESASPRAGMATICSYNTHESIS
Here,weneedtogointothebasicnotionofamusicalobjectsemergentqualities.Basically,emergent
qualityisanythingstrikingaboutanobjectacontour,atexture,arhythmicpattern,etc..Frommy
experience,focusingonemergentqualitieshassignificantpotentialforrealtimepracticalsolutionstosome
oftheproblemsfacingtheimproviserinthedilemmabetweenmomentandduration.
Amoment'sexperience;anappealingsoundquality,aperceivedcontour,asubtleharmonicresolution,a
ticklingtension,etc.,etc.allisbasedonadistributedsubstratesensedovertime,butcapturedina
now.Tocontemplatethisfundamentalparadoxinourperceptionofsound,canbeveryusefultothe
improviser.
Thewishtobeexistentiallypresentinthedetailsofthemusiccanharmtheabilitytoorientoneselfinthe
broadersoundscape.Theurgetoenterintodeepnesscanharmtheabilitytogetagripofwhatoneis
actuallydelivering;thatwhichcanbeperceivedbylisteners.Ithinkthatthesedangerscanbemetby
developingahabitoflisteningfortheemergentqualitiesinphrasesormusicaleventswhiletheyarestillin
themakingintheimprovisationalprocess.Thereby,onestrengthenstheskilltoperceiveandcontrolthe
relevantconnectionsbetweendetailsonamicrolevelandperceivablequalitiesonotherlevelsof
resolutions.Whileoneisperforminganimprovisedphrase,distinctemergentqualitiesusuallymanifests
|TheDialecticalEroticismofImprovisationpage6|

themselvesoftentothesurpriseoftheimproviser,tooqualitiesthatcanbepurified,developed,
deepenedorcontrastedefficientlyiftakenseriouslyandunderstoodintherightway.Ifconsciousness
duringperformanceisactivelysearchingforthesequalitiesasqualitiestoencounter,andnotonlyfocusing
ontechnique,theoryanddevices,norexclusivelyontheinnercreativepressureescapingobjectivity,the
improvisercancomeclosertoalistener'srealitywithouthavingtoturntopopulist,andoftentimes
alienating,waysofcommunicatingwiththeaudience.
Thisisreallyaboutgettingthedialoguehappeninginplaying;notonlywiththeothermusicians(ifany)and
theaudience(ifany),butwithoneselfasacreativesubjectandanappreciatingreceiver.Hereby,the
improviserstrengthensherabilitytobuildmusicalsubstancethatworks,inthesensethatitoffersstriking
andintriguingemergentqualities.Thisdialogicimperativedemandstheabilitytonegotiaterelationships
betweenunfoldingintime(productionofadistributedsoundsubstrate)andexistentialmoments
(crystallizedmusicalobjectswithemergentqualitiesperceivedinanow);atamultitudeoflevels,the
improvisermustconversedifferentpresencesandintimatelyfeelconnectionsbetweenseparatedetails
buildingthelargerunitsandtheoverallqualitiesoftheseunits.Althoughthedialecticsbetweenmoment
anddurationwillalwaysrepresentafieldofchallengeandriskevenforadvancedimprovisers,animportant
pathtopracticalsolutionsanddevelopmentofimprovisationsskillsinthisarealiespreciselyinthecommon
humanmechanismsofsoundperceptioninthependulumthatisalwaysmovingbetweenfloating
substanceandstableobjects.Contemplatingthesemechanisms,anddevelopingthemtoamaximum,is
likelytodotheimproviseralotofgood.
Toputitintoaslogan:Playforyourselfasalistenerbyfocusingcreativelyonemergentqualitiesof
objectsonamultitudeoflevelsgetthedialoguegoingbetweeninnerurgeandobjectivesound.

II.DIFFERENCEVS.SAMENESS
Here,wealsostartbylayingoutthedifferencebetweenaconstructiveandastallingversionofthepolarity.
Creativepotentialinthisfieldliesinthefruitfultensionbetweenindividualityandclarityontheonehand
andofbelonginginimmediateathomenessandfamiliarityontheother.Onthedarksideofthispolarity
liesthealienatingisolationandlackofintegrationorunderstandingontheonehand,andthe
undifferentiatedsymbiosisontheother.Inthissymbiosisonelivesinrepetitivepatternswithoutreally
recognizingotherness,withoutanytoolsofbreakingoutofpatterns,withoutanyclarityofvisionto
separatebetweenbreathing,evolvingpatternsandlifelesslyrepeatingones.

D IFFERENCEVS . SAMENESS
Frozendialectics
alienatingisolation,
lackofunderstanding

undifferentiated
symbiosis,repetitive
patternswhetherthey
actuallybreatheornot

DynamicPotential
clarityofobjects,
individualityofideas

belonging,at
homeness,
familiarityand
understanding

Asinthedilemmadiscussedintheprevioussection,thedangeroftransformationfromgrowththrough
synthesisintostalling,unfruitfulconflictfacesuswhenweareunabletoencountertheonesideofthe
polaritywiththeotherinadialecticalmovement.Humanshaveanacuteneedofbothsidesinthepolarity
intheirclosestrelationsandalsointheircreativework.Butthetwosidescaneasilygetintoadifficult
opposition,andthedialecticalmovementiseasilyfrozeninrepetitiveconflict.
Comingtotermswithbeingseparateandbeingconnected;indeed,developingdialecticalwaysofbeing
fulfilledinindividualitythroughtightconnections,andbeingrelaxedinconnectedbelongingthroughthe
|TheDialecticalEroticismofImprovisationpage7|

acquisitionofsecureseparateness;theseareallbasicchallengesfortheinfant'sformingofaself.Andthey
arebasicchallengesfortheadultlivingtheexistentialthemesofthehumanconditionagainandagain.
EmmyvanDeurzenalsoexplorestheseparadoxesinheraccountofexistentialistpsychotherapy:"The
balancingactthatweallhavetoworkwithisthatofgoingouttowardstheworldwhilstmaintaininga
centerednessandequilibriumatthecore.Intermsofhumanrelationships,thisleadstotheexperienceof
thepolaritiesofbelongingandisolation,dominanceandsubmission,powerandimpotence,contactand
disconnection,recognitionandrejection,participationandavoidance"(vanDeurzen:1988:39).
Relatingthistomusicalimprovisation,wegettwosubfieldsoftension:First,thetensionbetweenentering
intothemusicontheonehand,andanalyzingitassomethingoutsideofoneselfontheother.Second,
therelationshipbetweencontinuity/similarityandvariation/contrastinthemusicalsubstance.Thelatter
subfieldisalreadywellresearchedinmusictheory,althoughnotoftenwithinanexplicitdialectical
framework.

FAMILIARITYANDCURIOSITYTHEUNSTABLENATUREOFTHEACTINGSUBJECT
INMAKINGMUSIC
Anattentivecreativeimproviserissituatedthefundamentaldialoguebetweendoingandreceiving.The
improviserisandmustbedifferentandseparatefromthemusicinsofarasheorsheismakingup
strategies,doinginformalmusicalanalysis,labelingmusicalunits,identifyingmusicalprocesses,and
challengingthematerialinevernewways.Atthesametime,theimproviserisonewiththemusicinan
infantmotherlikesymbiosis,constantlynurturinganeedforfamiliargrooveandsecurebelonging.The
stateofcombinedchildlikedevotionandadultlikecontrolinrelatingtothemusiciscrucial.
PaulBerlineridentifiesthisparadoxinhisinterviewswithjazzmusicians;thecallsforlettinggoandletthe
musicplayyouareasfrequentasthecallsfortakingcontrolandbeingactiveinshapingthemusic.He
statesthat"[t]hisparadoxicalrelationshipsbetweenmusicalactionscallingforapassiveperformance
postureandotherscallingforpreciseartisticcontrolcontributestothemystiquethatsurrounds
improvisation"(Berliner1994:219).Surely,itisakindofmystique.Atthesametime,though,itisnotvery
differentfromthemystiquethatweallliveinourcomingtotermswiththeneedforbelonginginfamiliar
intimacyandwarmth,andindividualizationinaction,divergenceandselfevaluation.
ThiscorrespondstothestrugglebetweenthediscontinuousandthecontinuousinGeorgeBataille's
classicbookErotism(Bataille1986).Wearediscontinuousbeingsinkeepingourselvesasseparated
individuals,butwelongforthecontinuousinbeingfundamentallytiedtotheworldandtootherpeople.
Eroticismisthefieldofmostintensetensionsandbattleshere."Eroticactivity,bydissolvingtheseparate
beingsthatparticipateinit,revealstheirfundamentalcontinuity,likethewavesofastormysea"(ibid.p.
22).Westriveforunityandcontinuity,butthesestatesarealsothreateningtous,astheyviolateourstable
senseofindividuality,thusbringingtheintensityoflifeclosetoextinctionanddeath.Ibelievethat
contemplatingthisanalogybetweenthehumanconditionandmusicalchallengeshasacreativepotential
formusicians.
Apartfrommerecontemplation,howdoesonedevelopskillsforhandlingthismystiqueinpractice?
Impressiveanalytical,technicalandcreativeskillsmustbeunitedwiththecouragetoletgoofcontrol,and
thecouragetoengageinsomethingthatyoucanneverknowtheoutcomeofonbeforehand.Youhaveto
darelosingyourselfwithoutguarantiesastohowandwhenyougetyourselfback.Youhavetodarethe
encounterwiththechallengingunknownwithinwhatisfamiliar.
HelmStierlintalksofalabornecessaryinhumanrelationsinordertolivethedilemmabetweensymbiosis
andseparatenessfruitfullyanddialectically:"Throughthisworkwetranscendthenarcissismthatkeepsus
fromrecognizingintheotheranythingbutwhatisalreadyknownandfamiliarthatis,ourselves.Thiswork
makesuscapableofincorporatingtheother'sdifferenceinus.Thereby,weourselvesbecomemore
|TheDialecticalEroticismofImprovisationpage8|

complex,andgaingreateropportunitiesfordevelopingtherelationshipandourpsychological
understanding.Butthereby,weenvisagedifferencesonadeeperlevel,differencesthatagainhastobe
accommodatedandtranscended[opphevet]"(Stierlin1974:53mytranslation,fromtheNorwegian
version).
Idothinkthatthislaborinmanywayscorrespondstotheimproviser'schallengesinconstantlydiscovering
themusicanew,inseeingnewwaysandnewsolutions,andinbringingfreshcuriositytothesituation,
whileatthesametimehangingontofamiliarityandintimacywiththemusicallandscape.When
improvisationisflowing,itispreciselytheseoppositionsthatareconstantlyenrichingeachotherina
dynamicmovement.Whenthemusicisnotflowing,thechallengesareexperiencedasburdensomeand
alienating.Neitheronenessnorcuriosityisthenblooming.Still,thesearemomentsthatshouldbelived
withouttoomuchfear,becausetheynonethelessrepresentpotentialforbreakthroughsandradical
synthesisthroughhonestsearch,craftsmanshipandstrokesofluckaswell.
Ofcourse,nosingletechniqueorfixedmethodofpracticingcanensuresuccessinthisdynamicfield.Still,I
wouldliketosuggestthetaskofplayingphrasesormakingmusicaleventswithanexplicitfocuson
combiningathomenessandsurprise;withtheaimofgettingafirmergripofpracticalwaystounitewith
themusicandconfrontitatthesametime.Thiscanbedonethroughexploitationofintervals,harmonic
contents,registraldirection,differentvoicings,etc.inshort,everymusicalparameterroutinelyworkedon
byaspiringimproviserscanbesubjecttothiscreativework.
Furthermore,inpracticing,theimprovisershouldopenuptothepowerfulexperiencingofanalogies
betweenlifeandartalongthelinesdrawnabove.Muchistobegainedforskilledmusiciansbyjust
lettingthemusichappenwhilereachingforanexistentialencounterwiththesituationassuch:reachingfor
thefeelingofbeingonewiththemusicwhileatthesametimebeinganagentconfrontingit.

VARIATIONANDCONTINUITY
Thisworkcaninvolvedrasticpersonaldevelopmentandtherapeuticprocesses.Butitcanalsobefoundon
averypracticallevel,whereembracingfamiliaritycanbeexperiencedinelementsofrepetitionand
coherence,whiledifferentiatedmanipulationliesinvariationandmusicalcontrast.Thus,oursomewhat
speculativepsychologicaluseofthispolarityiscloselyconnectedtothatwhichtiesittoestablishedmusic
theory,infieldslikemotiveanalysisandrhythm;fieldsthatarealsoheavilycommenteduponbyjazz
musiciansininterviews.Inthesestatements,onecanoftenidentifyabasicpreferenceforbalancebetween
repetitionandvariation.
Thewaysinwhichyoucaninventmotives,repeatthemandmanipulatethroughcompositionaltechniques,
arewellknowntomostjazzimprovisers.Relatinghispsychodynamictheorytoestheticexperience,Helm
Stierlinsaysthat"weloveapictureoramelodywhentheycombinethebeautyoftheunknownwiththe
beautyofthatwhichisknowntous"(Stierlin1974:55fmytranslation).Thebasicnotionisthatoflust:"In
ourstrivingforlust,chasingthatwhichisnewalwayswalkshandinhandwiththeneedforthatwhichisthe
same,theneedforwhatisknown"(ibid.p.53).Inthesematters,Stierlindrawsexplicitparallelsbetween
estheticexperienceandthepsychologyofrelationsandsexology,andtheseareparallelsthatIbelieveare
veryusefulforthephenomenologyofimprovisation.Theimproviser'sworkindevelopingskillsfor
establishingcontinuityandvariation,coherenceanddeviationinthemusicalsubstanceandmore
generally,toachievethesynthesisofsecurefamiliarityandcreativesurpriseresemblestheworkneeded
todevelopanddeepenanintimaterelationship.Youhavetobedevotedinworshippingthefamiliar,the
ritualsandtheathomenessofbelonging.Atthesametimeyouhavetobedevotedtolookingfor
possibilitiesofdevelopmentandgrowth,fornewthemesandmeaningfulcontrastsininteractionpatterns.

|TheDialecticalEroticismofImprovisationpage9|

SCHEMATATHEORYPROTOTYPESANDGENERATIVEACTS
Atthisstage,weshouldalsorefertoacompletelydifferentfieldofpsychologicaltheorycognitive
schematatheory.Thereis,ofcourse,noroomforanythoroughintroductiontosuchavastandimportant
field,butIstillwanttooutlinethislinkagebecauseitoffersinsightsthatareparticularlyvaluabletousin
exploringthedifferencevs.samenessdialectics.Incognitiveschematatheorywedealwithresearchon
informationpackagesandonprescriptionsforaction,bywhichrelevantknowledgeofacertainkindof
situation,sceneoractivityisheldtogetherandintegratedinawaythatmakesiteasierfortheactorto
selectsensorydata,organizethemmeaningfully,interpretthemquickly,andchooseappropriateactionon
thebasisofthis.Humanshavethiskindofschematasforstandardizedtypesofactionandcategorizedfields
ofobjectsencounteringusinourperception.
Thebuildingofanimproviser'scognitiveapparatusforinterpretingthemusicallandscapeandfinding
waysinitcanbeunderstoodintermsofschematatheory.Theinteractionbetweenmoreorlessfixed
schematasandaconstantlyflowingsensoryinputisbasic.Thisresemblestheinteractionbetweentop
downandbottomupprocessingofinformationoftenreferredtoincognitivepsychology.Weorient
ourselvesusingstereotypes,modelobjectsandpreunderstanding.Butwelivedynamicallyfromthefuelof
sensoryinputchallengingandenrichingpreciselythispreunderstanding.Ifschematasarenotthere,
nothingmakessense.Ifschematasarenotefficientlynegotiated,selected,combinedandprocessed,the
flowofimprovisationwillstallanddisintegrate.Butifschematasaretootightandrigid,ifwearenotable
toopenuptobeingchallenged,toformnewclassesofobjects,todigintothequalitiesofobjectswith
acuteattentiontodetail,andtolookforfreshlinksbetweenobjects,thenimprovisationbecomesadull
andpredictableprocedure.
Amainpointinschematatheoryisthatscriptsandscenesareoftengeneralizedorinexactrepresentations
ofsituationsoractions(orcomplexesofactions).Thiskindofrepresentationfacilitatesinformation
processingwhilealsoopeningupfornewbehaviorandcreativesolutions.Whenorientingyourselfthrough
inexactschematas,yougetaquickergriponthelandscape,andyouenvisionpossibilitiesforactioninthe
formof"sketches",notalwayshighlydetailedprograms.Thus,therewillalwaysemergedifferentvariants
ofthesameschemata,withdifferingdegreesofdeviationandnewness.Whenaschemataistreatedso
freelythatitrunstheriskofdisintegration,wehavethefollowingoptions:Either,theactorcanwithdraw
towardacceptablevariationsandactinmoreconventionalwaysaccordingtotheoriginalschemata,orhe
orshecanestablishanewschematarelatedto,butdistinctfrom,theoldone.
Thus,schematatheoryintegratesandspecifiesfamiliarityandcreativedifferentiationinoneandthesame
model.Forming,sustainingandmodifyingschematasisabasichumancapacityandnecessity.Onavery
fundamentallevel,then,theimproviserworkswithaninnatecapacityofcreativeinnovationinsecure,
familiarlandscapes.Iwouldsaythatthedilemmabetweensamenessanddifferencehasapotentialfor
practicalsolutionsrighthere.Exploringandcontemplatingthisbasichumanmechanismislikelytobea
usefultoolinthepedagogiesofimprovisation.Weshouldfocusonhavingasufficientnumberofrelevant
schematastointerpretandhandlethemusicalsituationsthatarise.Weshouldhelpstudentsdeveloping
sufficientlyprofiledandworkedtroughschematastofacilitateaquickandefficientretrievalprocessfrom
longtermmemory.Atthesametimeweshouldchallengethemtowardsgettingsufficientlyflexible
schematastopreventtheirmusicalactionsfrombeingautomatedandpredictable.Thesearebasickeysto
flowingmusicalimprovisation.

CREATIVITYINOTHERMETAPHORSLANGUAGEANDTHOUGHT
PaulBerlinerusesthenotionofmusicalideasasthebasicunitintheimproviser'sLebensweltandits
creativeprocesses,andherelatesthistocreativityinlanguageandverbalthinkingingeneral:

|TheDialecticalEroticismofImprovisationpage10|

"[I]mprovisersconstantlystrivetoputtheirthoughtstogetherindifferentways,goingoverold
groundinsearchofnew.Theactivityismuchlikecreativethinkinginlanguage,inwhichtheroutine
processislargelydevotedtorethinking.Byruminatingoverformerlyheldideas,isolatingparticular
aspects,examiningtheirrelationshipstothefeaturesofotherideas,and,perhaps,strugglingto
extendideasinmodeststepsandrefinethem,thinkerstypicallyhavethesenseofdelvingmore
deeplyintothepossibilitiesoftheirideas.Thereare,ofcourse,alsotherarermomentswhenthey
experiencediscoveriesasunexpectedflashesofinsightandrevelation"(Berliner1994:216).
Themainfocushereishowtheformationoffreshnessandnewnessinmusicalimprovisationcanbeseen
analogoustotheproductionofnewsentenceswithfamiliarwordsincommonlanguage,andanalogousto
theonedevelopsone'schainsofthoughtbyconstantlygoingoveroldmaterialanew,searchingfornew
constellationsandinterrelations.
ThisquotationfromBerlineroffersapowerfultoolforapproachingtheproblemofnoveltyorinnovationin
jazztheendlessdiscussionofwhatcanpassascreativeimprovisation.Here,weoftenfindaconflict
betweenavantgardeattitudesontheonehandandneoclassicistonesattheother,wherethefirstparty
triestomonopolizethedefinitionofnoveltyand,infact,ofcreativityatlarge.UsingBerliner'sanalogy,
onecanclaimthatitistotallyarrogantnottorecognizethefreshnessandnewnesshappeningwithin
familiarstylisticboundarieseverytimeamusicianapproachesthestylisticareawithopennessandthe
desireto"saysomething"inhisorherhereandnowsituation.Basically,onedoesnothavetoinventanew
languagetotellanewstory.Anythingthatisexperiencedasacreativeencounterbetweenadevoted
musicalconsciousnessandamusicalsubstance,isinfactfreshnewnessfromthepointofviewofthis
particularmusicianattheveryleastandmustberecognizedassuch.Thefactthatothermusiciansor
criticsmaynotnecessarilyhavesimilarexperiencesofthismusicalhappeningcan,ofcourse,bebrought
intoadiscussionofwhatkindofcreativityonefavors.Butitshouldnotbeusedinoutdefiningother
people'sbranchesofmusicalactivityasuncreative.
Furthermore,thequotedpassagehintstothepossibilityoftheoverwhelminginexperiencingcreative
processes.Whenencounteringsacredothernessininnovationsinflowingmusicalimprovisationbeitthe
freshnessinsideofknownstylisticborders,noveltyinplayingwiththeseborders,orinnovationsinbraking
themsuccessfullyfamiliarityanddifferentiationisinourtermsdialecticallyunitedingrowth.The
improviserhasenteredintothemusicandachievedintimacy,whileatthesametimetranscendedwhatis
knownandsafeinadaringactofcreativity.Thesemomentsarecrucial:"Itisindramaticmovementsfrom
formerlymasteredphrasestounrehearsedpatterns,fromcommonlytransactedphysicalmaneuversto
thoseoutsidethebody'snormalreachorhold,andfromfamiliarframesofreferencewithincompositional
formstouncalculatedstructuralpositions,thatimproviserstypicallypushthelimitsoftheirartistry"
(Berliner1994:217).
Now,ontothethirdbasicdilemma

III.GRATIFICATIONVS.FRUSTRATION
Withoutgratificationfromone'sneedsbeingmet,therecanbenowarmfeelingofsafety.Butwithout
challengingencounterswithobstaclesandresistance,wewillnotbuildindependenceandskillsinproblem
solving.Theinfantfirstandforemosthastoexperiencetheworldastrustworthy.A"warmcarereceivedby
theinfantinresponsetohisneeds"(Lvlie1982:93)isprobablyalsocrucialtothebuildingoftrustful
relationsatlaterstagesinlife.Butatthesametime,asAnneLiseLvlieputsit:"[W]ithoutobstaclesthe
infantbecomesunawareofhimselfasthecentreforhisownactions"(ibid.).Thus,theselfisbuiltthrough
experiencesoflimitsandchallenges.

|TheDialecticalEroticismofImprovisationpage11|

Furthermore,itissuggestedthattheabilitytoconceptualizeandcometotermswithdeferredgratification
isgroundedintheinitialfeelingofsafetyandofneedsbeingmet.Lvlietalksofanoptimalfrustration;
whichisakindofresistancefacingtheinfantintherightamountandattherighttime,werethefeelingof
masteryisdevelopedinanenvironmentofchallengesinasafeterrain,andwheregratificationisintensely
enjoyedwithoutgettingstuckinnarcissism.
Importantly,frustrationhasadualmeaninghere;itisrelevantbothinthesenseofpostponing
gratificationandinthesenseofdisappointmentordisaster.Wearenowreadytospecifythedialectical
theme:Positively,thispolarityembracessensuouswellbeingandsecuritythroughgratificationontheone
hand,anddevelopmentthroughchallengesandbuildingoflustovertimeontheother.Onthedarkside,
whenthepolarityisnotliveddynamicallyandthedialecticisfrozen,itsnegativecounterpartemerges:On
theonehand,ablinddesirethatrecognizesneitherthepassingoftimenortheotherasaseparateentity
thatkeepsonefromachievingthedeepersatisfactionbasedonpatienceandlustbuiltovertime.Onthe
otherhand;yougetaconstantlyfrustratedbeingintheworldorinthemusic,whereyoudontreallytake
inmomentsofjoyorsatisfaction,andwheretheencounterswithproblemsandchallengesfailtobring
securedevelopment,becauseonealwaysmovesfromonedisappointment/dissatisfactiondirectlyto
another.

G RATIFICATIONVS . F RUSTRATION
Frozendialectics
blinddesire,lostin
shortsight,unableto
buildovertime

constandfrustration,
notabletotakein
andreallyenjoy
satisifaction

DynamicPotential
developmentthrough
challenges,buildingof
lustovertime

sensuouswell
being,security
throughneeds
beingmet

DISAPPOINTMENTSAND"MUSICALSAVES"
Relatingthistomusicalimprovisation,westartbyconsideringdisappointmentsinthesenseoferrorsor
musicaleventsthatareexperiencedasunsatisfying.Jazzmusiciansoftentalkofthechallengeinusingsuch
eventsconstructively.Intheartofthemomentthereisnoundobuttonwhatyouhaveplayedis
unquestionablythere.Whenyoudisappointyourself,itisthereforecrucialtobeabletotransform
disappointmentintoakindofchallengethatcanenterintoadynamicdialecticalmovementtoward
satisfyingtotalities.PaulBerlinerstatesthat"[i]mproviserscannotretrievetheirunintendedphrasesor
unsuccessful'accidents'.Rather,theyreacttothemimmediately,endeavoringtointegratethemsmoothly
intotheirperformances.Mistakes,inparticular,theytreatasspontaneouscompositionalproblems
requiringimmediatemusicalsolutions.Thesolutionsresultinwhatmayproperlybedescribedasmusical
saves"(Berliner1994:210).
Theprocessofimprovisationisalwaysrisky,andpianistKennyBarronsays:"[P]artoftheactofperforming
jazzistakingchances,andsometimesthechancesyoutakedon'twork.Butthecraftistakinganideathat
doesn'tworkandturningitintosomethingthatdoeswork"(KennyBarronin(ibid.p.210)).Thishasthe
potentialofreducingtheimpressionofamistakeasamistake,andifintegrationissuccessful,whatwasin
theoutsetanonfittingalienelement,canbecomemeaningfulandathomeinthemusicalsetting.
Differentmusicalsavescanintimeenterintothereservoirofstandardizedimprovisationaltoolsavailable
forquickretrievalanduse."Beyondtheimmediacyoftheseoccurrences,artistssometimes'remember
theirsuccessfulsolutionstopastaccidents'.Themusicalsavesbecomepartoftheirmusicalknowledge,and
theycandrawonthemwhentheycomeacrossothermusicalcircumstancesinvolvingsimilarelements"
(ibid.p.215,quotationsfrombassplayerChuckIsraels).Thus,representationsoftroublesomesituations
andtheirrespectivestrategiesforsolutionsarepartsofamimproviser'scognitiveapparatus,bywayof
|TheDialecticalEroticismofImprovisationpage12|

scriptsforthehandlingofcertainscenes.Sometimes,whatwasinitiallyexperiencedasaproblem,
coupledwithaspontaneouslyproducedsolutionsofthiskind,canmakeupatotalityofsomuch
satisfactionthattheimproviserestablishanewlickoranewtoolfromit.Thesetoolscanbeused
intentionallyonlateroccasions,alsowithoutanyfeelingofinitialdisappointment.Thus,asuccessful
dialecticalmovementinatroublesomesituationcanresultinanewtotalitythatwillinitselfproducelustat
laterstages,becauseitincorporatestensionandreleaseinasecureunfolding.

SATISFACTIONANDLONGING
Inthedialecticbetweengratificationandfrustrationinthesenseofpostponingresolutionorbuildinglust
thereisaclearconnectiontothemomentvs.durationdialectictreatedearlier:Thisfrustrationisakindof
frictioninwhichyouhavetoletgoofimmediategratificationinordertoachievesatisfactiononthebasisof
theunfoldingovertime.Thisofteninvolvesalotofhardworktoembodyandcarryout.
Still,theexperienceofgratificationfromamusicallandscapewillalwaysbebasedonwhatwehaveearlier
labeledemergentqualitiesinamusicalobjectonsomelevelofresolution.Andunfoldingovertimecan
onlybeconceptualizedasawholeorasaGestalt,experiencedinasubjectivenow,andassuchtheyare
momentsofintensity.Hence,gratificationonthebasisofextendeddurationandunfoldingwillalwaysbe
phenomenaofthemoment,althoughperhapswithadifferentfeelingoffullnessresultingfromitsbeing
basedonperceptionoractivityspanningoveralargerperiodoftime.
Theimproviserswitchesbetweendifferentlevelsofresolutioninherzoominginonthemusicallandscape,
andtheforsakingfrustrationoftenliesexactlyintheseparationbetweenlevels:youhavetogiveupyour
tendencytofocusallyourlustandattentionononelevel,becauseofthedangeroflosingthegripof
anotherimportantlevel.Orbecauseofthedangeroflustbasedapproachestoseparatemomentsleading
toalackofsatisfactionwiththeflowoftheunfoldingatlarge.Puttingyourlustintodetailsisnecessary.But
puttingallyourlustintoadetailisalsodangerousasyoucanloseyourperspective,harmyourtechnique,
andseriouslyinterrupttheflow.

SEXOLOGYASAGUIDEFORIMPROVISERS?
Here,theconnectionbetweenthephenomenologyofimprovisationandthatoferoticismandintimate
relationsissocrucialthatwehavetodevelopitabitfurther.HelmStierlinalsocouplesestheticexperience
tothefieldoferoticismatthispoint:"Youhavetobeabletoliveinforsaking,workwithit,toprevent
desirefrombeingextinguishedinenjoyment.Thisgoesforthegratificationofvegetativeandsexualneeds
,aswellasfortherelativelycomplexandoftenindependentesthetic,affective,socialandotherhuman
needs"(Stierlin1974:62mytranslation).Thepossibilitiesforgratificationwillalwaysoutnumbertheones
youchoosetopursue.Itisabasicchallengetoliberategratificationfromthelackofgratification(ibid.),
sothatyoucanenjoythereleases,culminationsandjoysthatareactuallyrealizedwithouttoomuch
sorrowoverthepossibilitiesforgratificationthatarenot.
Thisis,Ithink,immenselyimportantinhumanrelationsandlustseekingmusicalactivityalike.Improvisers
canfindgrowthhere:Youhavetobedesirefocusedandlustseekinglypresentinthemusic,bothasa
processandasstationeriesofreleaseandenjoyment.Oversimplifyingforheuristicreasonsavastand
nuancedfield,wecandrawonthestereotypesofmaleandfemalesexualityhere;stereotypeswherethe
masculineischaracterizedbyitsdirectedness,linearityandclimaxorientationbutalsoitsswiftnessand
unreliability,whilethefeminineismoreorientedtowardatmosphere,presenceandduration,amoresubtle
ecstasy,andlesstowarda"one,majorrelease"astheultimategoal.
Thisfieldbringsaboutawidevarietyofpotentialdifficultiesinintimaterelations,butalsoawidevarietyof
possibilitiesfordevelopment,growthandfertilizationofourintensities.Wehavetoliveourownintensities
inopennessandrespectforthequalitiesoftheother'sintensity.Amusicalimprovisationshouldperhaps
|TheDialecticalEroticismofImprovisationpage13|

havearesoluteanddeterminedfeeling,directedtowardaclimax(oralimitednumberofclimaxes),
thereaftergettingswiftlydowntowardanending.However,itisjustasimportanttobeconstantlypresent
in,andattentiveto,thesmallerandsubtlepointsofgratification,andtobedevotedtothesacrednessof
everydetail.Youcanchoosetorefineandisolateanaggressive,uncompromisingstyleofplayingandyou
canchoosetorefineandisolateasearching,humbleandreceivingstyle.But,inmostcasesthereismuch
moretogainbyworkingondialecticalsolutionsinthisdilemma.Thismeansgoingfordeterminedclarity
unitedwithcontemplativehumbleness,withoutgettingstuckinamiddleoftheroadkindofnonprofiled
playing.Preciselyhere,Idobelievethatimproviserscandrawimportantinspirationfromandrogynous
characters,characterswherethetwosidesofthedilemmaareintegratedinasinglepersonality.And
improviserscandrawinspirationfromexperiencesofsuccessfulencountersbetweendifferentkindsof
intensitiesandformsofsexuality.Thepotentialforliberationandfertilityisactualizedandreleasedbythe
unitingofoppositionsineroticismandmusicalike.

IV.STABILITYVS.STIMULATION
Stabilitythroughorderandrhythmisnecessary.Butstagnationisjustaroundthecornerifwearenotfaced
withelementsofstimulatingdeviationornovelty.Thedialecticatthispointcanbeoutlinedasfollows:Inits
constructiveversionthispolarityembracesthesecureandstableexperienceofreliablerhythmand
recognizableorderthatgivesthepredictabilityneededtofreecognitiveandemotionalenergyforcreativity
anontheotherhand,thenewnessofinterestingstimuliandcreativecomponentsthataretakenintothe
system.Byfrequentintrusionoffreshelementsthewholeischallenged,andbyintegrationand
accommodation(cf.Piaget)oftheseelementsthewholeisdevelopeddialectically.Thus,theeverchanging,
butstillreliable,whole,ismadebothstableandexciting/pulsating.Initsdestructivecounterpartonthe
darkside,however,thispolaritycoversthefatigueofstabilitywhererepetitivepatternsbecomeun
dynamicallystallinginsteadofgroovingontheonehand.Ontheotherhand,itcoverstherestlessnessof
overstimulation,wherefreshelementscravingattentionandofferingnoveltyarenevergiventhetimeor
spacetoreallyworkandbeintegratedinthewholeinthoroughprocesses.

S TABILITYVS . S TIMULATION
Frozendialectics
fatigue,repetitionas
stallingboredom

restlessover
stimulation

DynamicPotential
interestingstimuli,
freshelements

reliablerhythm,
predictability,
repetitionaslife
andgroove

Stierlinformulatestheneedfordialecticmovementhere:"Weneedstabilityinarelationship,sothatwe
cansatisfyourneedforsecurityandsafety.Butifstabilityislefttodominate,itleadstostagnation,andthe
bondsofsafetyaretransformedintoheavyburdens.Thus,inarelationshipthatistodevelop,onemust
alwayssearchforanequilibriumbetweenstabilizationandstimulation,andalwaysinnewandmore
complexareas"(Stierlin1974:66mytranslation).
Thispolarityiscloselyrelatedtothedifferencevs.samenessdialectictreatedabove.Whatisstimulating
willoftenbesomethingotherthanordifferentfromwhatispresentlypresent.And,ofcourse,stabilityis
oftenrootedinrepetitionandsameness.Still,thereisaneedtothematizestabilizationvs.stimulationon
itsownespecially,infact,withregardtoimprovisedmusicwithitspeculiarities.Foritisnotthecasethat
stimulatingandstabilizingelementsnecessarilymustalternateandreplaceoneanotherovertimeduring
improvisation.Thedialecticintegrationoftheseoppositesinthemusicalunfoldingdoesnothavetohappen
aschangesfromonesectiontoanother(say,fromuptempotoballad,fromsofttoloud,etc.).Onthe
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contrary,integrationcanhappenallthetime,ineachphrase,andimmenselyimportantinthe
fundamentalgroove.

TENSIONANDRELEASEINDIFFERENTMUSICALPARAMETERS
Inimprovisation,dialecticsofstimulatingexcitementandstabilizingreleaseorcontinuitycanbe
constructedinanumberofdifferentmusicalparameters.

Rhythm

Symmetryvs.asymmetricalstatements
playwiththeunderlyingforminphrasesandbuildingblocks.

Harmony
withtheplayofinsideandoutsidechoiceofnotes;withchordsubstitutions,andthegeneral
playonestablishingexpectationsinthelistenerandchoosingtowhatdegreetofulfillthem(cf.
LeonardMeyersEmotionandMeaninginMusic(Meyer1956)).

Otherparametersliketexture,registralmovement,tonecolour,phraselengths

RHYTHM
Rhythmictensioncanbeestablishedbyshiftsinplacementrelatedtothesteadypulseorbeat;youcan
playontopofthebeat,behindthebindoraheadofthebeat,asjazzmusiciansputit.Asinglephrase
canencompassitsowntensionandreleaseherewithsubtlevariationsandchallengestotheunderlying
pulsebeingbuiltupandreleased.Thepossiblevariationsandnuancesatthispointarehugeindeed,and
thewayanimproviserhandlesrhythmicplacementandvariationisconstitutiveofhisorherstyleof
playing;boththedegreeofflexibilityandvariationemployed,andtheunifyingcharacteristicsofhisorher
preferredtendenciesinrhythmicplacement.
InBerliner'sinterviewswecanalsofindreferencestoakindofrhythmicsynthesisthatisespecially
interestinginourcontexthere.Considerthistellingstatement:
"See,thetripletfeelinginrhythm,'dahdahdah,dahdahdah',makesyourelax.Itmakesyouhold
back;youcan'trushtriplets.Buttheduplepartoftherhythmislikemarches,'oneandtwoand'or
'oneandtwoandthreeandfourand'.Thatkindofdivisionoftimemakesyoumoveahead,forge
ahead,march'boom,boom,boom,boom'.That'sthepushoftherhythm.Andthat'swhyitisso
nicewhenyoucombinethosetwofeelings.Thenyougetacompleterhythmthatmarchesandstill
relaxes"(CharliPersipquotedin(Berliner1994:153)).
WhetherornotitisactuallyimpossibletorushtripletsisapointupfordiscussionButthisstatement
pointstowhatisprobablyanessentialaspectofintriguingjazzrhythms(andfolkmusicfrommanypartsof
theworldforthatmatter).Theincorporatingofdifferentfeelingsinoneandthesamebasicgroove
throughpolyrhythmbringsamultifacedyetintegratedwhole,thatperformedbythebestmusicians
combinesstabilityandstimulationinaverysophisticatedway.Musiccancombineforwardmotionwith
relaxation,directednesswithcoolness,repetitionwithvariationetc.inoneandthesamegesture,andin
oneandthatsamebasicgroove.

SYMMETRYANDEDGES
Tensionfromchallengestotheunderlyingsymmetrycanbeestablishedbyphrasinginwaysthatare
contrarytothestructureonwhichtheimprovisationisbuiltortowhichitrefers:"createinterestand
suspensebyimprovisingmelodicphrasesthatcrossoverbarlinesandassumeabstractrhythmic
relationshipstothemeter"(Berliner1994:198).TheformofcooljazzdevelopedinNewYorkinthe1950's
|TheDialecticalEroticismofImprovisationpage15|

withpianistLennieTristanoandsaxophonistsWarneMarshandLeeKonitzaskeyfigures,standsoutin
particularatthispoint;tomeitrepresentsauniquefusionofstimulationandstabilizationthroughits
immenselycomplexandhighlysophisticateduseofintriguingcrossmeterstructurechallengingphrasing,
coupledwithacarefulnessinvolume/loudness,andakindoflaidbackattitudethatitsharedwiththerest
ofthecooljazzmovement.

HARMONY
Stimulatingelementscanbebroughtintothemusicbywayofharmoniccontent,too."[I]tistherelative
mixtureofpitchesinsideandoutsideoftheharmonythatcreatesinterestingmelodies"(Berliner1994:250).
Whatpassesforarightbalanceinthisrespectwillvarystronglybetweendifferentstylisticareas,butmost
branchesofjazzdoindeedhavesomeconceptionofthisfundamentalbalanceofwhatisthecorrectly
intriguingharmonictension,andofwhatisthecorrectwaytotreatdissonances:"[W]hateverthepitch
relationshipsplayerschoosetodefineasdissonantwithintheboundsoftheirjazzidiomorpersonalstyle,
theyregardtheartfulhandlingofdissonanceasanindicationofmatureartistry"(ibid.s.252).Here,thereis
clearlyaparallelbetweenjazzhistoryandthehistoryofWesternartmusic,inthattheconceptionof
dissonance,togetherwithdirectionsforestheticallysatisfyingtreatmentofthem(thatis,thosedissonances
thatareatalltoleratedingivencontexts),makeupaconstitutiveelementofstylisticdevelopment.The
transitionsfrommodalityviasimpletonicsubdominantdominantharmony,complexfunctionalharmony,
advancedmodalsystems,atonalityandbacktoneoclassicalandneoromanticidealsareinmanyrespects
thesameinjazz(themodalblues[priortoitsrigidstandardizationintonic,subdominantanddominant
chords]NewOrleansjazzrelatedtodancetunes,marches,ragtime,etc.withtheirsimplechord
changesSwingmusicians'carefulexplorationoftheupperstructureofchordsleadingintothebe
boprevolutionincomplexharmony[althoughstillrootedinstandardchordprogressions]modalmusic
employingsophisticatedWestern(Impressionist)techniquesofvoicingsandharmoniccoloring[cf.Bill
Evans'workonthelegendaryKindofBluealbum]andorientalflavorsfreejazzwithmoreorless
completeatonalityreturntotonalityinbothjazzrockfusionandneobop,althoughoftenincorporating
theexperienceandtechniquesofradicalfreedominvariousways).
Berendtoffersasummaryofharmonyinthehistoryofjazzin(Berendt1992:177ff).Thischapteris
informativeandwellworthreading,butBerendtisprobablyoversimplifyingtherelationshipbetweenwhat
isAfricanandWesternandinmyopinionunderevaluatingtheoriginalityandfundamentalnatureof
jazz'intriguingharmonicambiguityandfuzziness,alsoinitsearlydecades.Berendtsimplysuggeststhatjazz
borroweditsharmony,whilecontributingauniquerhythmicintensitynotfoundinWesternmusicthe
bluenotebeingtheonlyoriginalharmoniccontributionbyjazz.Thereis,ofcourse,sometruthinthis,
butIthinkwehavetorealizethatthefeelingproducedbywhatItaketobethesynthesisofstabilityand
stimulationinbluenotesnotesthatareinfactbothdissonancesandnondissonancesatthesametime
isboth1)deeplyconstitutiveofjazzfeelingand2)infact,highlyoriginalinmusichistoryatlarge.The
ambiguouslyflexiblyflattedfifths,thirdsandseventhsareclearlypointsofstimulationinthattheymust
appearasdissonancesofsomekindtoanyearatallfamiliarwiththeexperienceofstraight,welltempered
Westernharmony.Still,thesenotesareclearlypointsofrestandfinalityinjazz,inawaythatdissonances
areusuallynotexperiencedinWesterntonalmusic.Thebluenotesdonotnecessarilyresolveinto
consonance;theyareemphasizedandappreciatedinthemselvesasfullnessandasintense,fuzzy
completion.Ithinkthispointstoaveryfundamentalstimulation/stabilizationdialecticintrinsictojazz
experienceandperformance.
Onalessspeculativelevel,PaulBerlineralsoidentifiesakindofharmonicsyncopationthatisinteresting:
"subtlyoffsettingpitchselectionfromthepiece'sstructure,drawingonpitchesthateitheranticipatethe
followingchordordelaytheprecedingchord'sresolution"(Berliner1994:198).Theintegrationofsubtleties
likethisis,again,abalancingofstimulatingdeviationandstablenormality.Inimprovisedmusicbasedon
chordchanges,thepredictabilityandstrictnessofthechangesiscounterworkedbytheuseof
|TheDialecticalEroticismofImprovisationpage16|

foreshadowinganddelayingoftheharmonicprogression.Butthemusicalunfoldingstandsinriskof
disintegrationifyouoverstimulateyourimprovisationthisway,notbeingabletobringitdown.
Advancedimprovisersoftenbringalltheseformsofharmonicsynthesizinginsidevs.outsidepitches,
bluenoteschallengingthetemperedsystem,andharmonicsyncopationinforeshadowinganddelayingto
impressinglevels.Therichnessofvariationandambiguityisintegratedinasecurehandlingofthemulti
layeredness,andyougetaspecialkindoffullnessintheharmoniccontentofanimprovisation,basedon
constantsynthesisofwhatischallengingandwhatisfamiliar.

OTHERPARAMETERS
Otherareas,too,canstagethedialecticsbetweenstabilizationandstimulation.Again,PaulBerliner
identifies:"movementscreatingothercontrasts:forexample,betweenincreasedanddecreased
rhythmicactivity,inflectedanduninflectedpitches,andregistralascentsanddescents.Eachproduces
schemesoftensionandrelease,ultimatelyimpuringinventionswithasenseofflow.So,too,doesthe
progressionamongsuchdifferentmusicaleventsaslyricalphrases;driving,fingergeneratedpatterns;
intricatechromaticallyembellishedlines;swingingbebopgestures;anddiminishedchordpatternsthat
departfromaprevailingmeter"(Berliner1994:198).Developmentovertimeinphraselengthandregister
canalsobeeffective:"[A]rtistsmaycreateasenseofbalanceandcontinuitywithinthelargerdesignsof
longconsecutivephrasesbyrememberingandusingphraselengthitselfasamodel.Alternatively,players
developideasbyinventingconsecutivephrases,eachslightlylongerthantheonebefore,asifanoutgrowth
fromit.Inotherinstances,soloistsconveyasenseofdevelopmentbygraduallyexpandingtherangeof
consecutivephrases"(ibid.).Elsewhere,Ihavedevisedaquantitativemethodofrevealingpatternslikethis
intranscribedsolos.Itreatphraselength,harmonicdeviationandaccentingcontrarytothebasicmeterin
awaythatproducessimplegraphsshowingdevelopmentovertimeeffectively(Gustavsen1997).

REPOSEINTENSION
Inaphilosophyofmusicwrittenseveraldecadesago,thedialecticsbetweentensionandreleaseinesthetic
experienceisdescribedlikethis:
"Theaestheticexperienceisafeelingforanobjectofsuchintensityastoresultintheidentificationofthe
personwiththeobjectofexperience;hebecomesonewithitandreposesinit.Theaestheticexperienceis
thusaconditionofreposeintension,thetensionbeingduetotheintensefeeling,whilethereposearises
fromthepersondwellingintheobject.Thisconditionofreposeintensionturnsaestheticexperienceinto
perfectexperience,andthereforeleadsalsototheculminationofhumanexperience"(MaxSchoenin
(Edwards1956:16)).
Eventhoughthemusicianintheactofplayingislikelytobemorefocusedonthecraftandtheproduction
sideofthemusicthanthisidealofcontemplativeexperienceallows,animproviserisalsoconnectedtohis
orhermusicthroughasimilarcombinationofreposeinabeinginthemusicalobjectsandthelandscape
producedbytheirrelations,andatensionintheconstantintensitywishingtocreatesomething.In
successfulimprovisationtheimproviseroftenexperiencebeingabletotrustthemusicassomethingthat
carriesandgives.Then,intensityandstimulationisstagedinasecureenvironment,andthefreshproducts
ofeffortsandcreativityareinfusedinthewholeinconstantmovementsofintegration.However,whenthe
musicisnotflowing,soothingreposeistransformedintofrozenundynamics,andthemusicaleffortsyou
make,becomeunorganicforcingoftheunfolding.Youtrytoestablishtheflow,butinsteadyougeta
frozenconflictwherereposeisreplacedbyuncomfortableundynamics,andwherecreativetensionis
reducedtoanunresolved,unreleased,evermorefrustratederoticestheticdriveoryearning.Thekindof
frozendialecticstallingthecreativeflowattimesliketheseisdifficultyetnotnecessarilyimpossibleto
transformbackintoamoreconstructiveprocess.
|TheDialecticalEroticismofImprovisationpage17|

Reposeintensionisthestateofalertcalmness,ofexcitedease,offlexiblestringencythatweshouldalways
gofor.Itisamysteriousthing,butyoucanpracticeit,andthusincreasethelikelihoodofithappening.
Employacombinationof
a) practicaltraininginplayingtechnique(notatallcoveredinthisessay)focusingonmuscular
alertnesscalmness,
b) trainingin"musicalsaves"(cf.above)tostrengthentheabilitytotransformdisappointmentsinto
creativehappenings,
c)

practical/theoreticalexercisesinharmonyandrhythmcreateyourownnormalitydeviation
dialecticsetudesontheseandothermusicalparameters,and

d) mentaltrainingcontemplatingthequasisacredparadoxofintensityinthemidstofdilemmasand
flexibilityinthemidstofdirectednessandgoingforit.

GROOVETHEEMBODIEDSYNTHESISOFSTIMULATIONANDSTABILIZATION?
Movingonfromtheparadoxofreposeintension,weshouldnowfocusexplicitlyonatermthatisalready
usedseveraltimes:groove.Inresearchtryingtoexplainaspectsotherthantheharmonicandmotivicones
ofethnicorrhythmicmusic,thistermisoftenapointofbothinspirationandconfusion.Numerous
attemptshavebeenmadetodefineit.Here,weshallneithertrytoreviewtheseattempts
comprehensively,norsetouttomakeourownconcisedefinition.Sufficeittosaythatmostscholars
approachingthequalitiesofgroovefindthatitembracesabasic,repetitiverhythmicpattern,butthatthe
termalsoimpliesamystifyingsomethingmore.Agrooveisanextensivelyrepeatedrhythmicmotionor
patternthatcanbevariedandstretched,butneverthelessmakesupastablefoundationforthemusical
unfolding.Agrooveisalsoakindofstatebasedontheserhythmicqualities.Inevaluatingmusic,the
adjectivegroovywillmeantheembodiedsuccessfulnesswithwhichthisisachieved.Agrooveis
somethingyouenterinto(gettingintothegroove)orestablish,and,havingentered,thegroovethenisa
stimulatingspace,placeorenvironmentforactivityandenjoyment;"[a]grooveisacomfortableplaceto
be"(Feld1994).Simultaneously,agrooveisaplacethatcanbechallengedandtransformed.Agrooveisan
embodiedmusicalphenomenon,wherecyclicrhythmandcompellingdriveinviteustoparticipationand
motion.
So,agrooveisafieldofcompellingpotentialforenjoyment,afieldofsecurecyclicmovement,afieldof
challengingsubtlevariation,etc.Inallofthis,wecanspotaclearconnectiontothedialecticbetween
stimulationandstabilization.Ibelievethatstronggroovequalitycanbetakentorepresentanoptimized
dialecticalunifyingofstimulationandstability.Inagroovethatworkswell,youarebeingmet,bothinyour
needforsafetyandinyourneedforchallengeandtranscendence.Orderandtransgressionisstagedinone
andthesameact.
Now,forthelastpolarity

V.CLOSENESSVS.DISTANCE
InthelastoneofStierlin'sdialecticalthemeswehighlightthetensionbetweendevotionandcontrolbythe
useofametaphorofdistanceinrelatingtothemusic.First,letusseehowStierlinhimselfexpressescentral
aspectsofthispolarity:
"Desireandpleasurerequestcloseness.However,thisclosenesswillbetheendofdesireandpleasure
properifonedoesnotworkforacertaindistanceadistancetoone'sownneeds,andtotheother
whocansatisfytheseneeds.Itisthroughthisworkofdistancingthatwecanoverandoveragain
rediscovercloseness"(Stierlin1974:68mytranslation).
|TheDialecticalEroticismofImprovisationpage18|

Fromtimetotime,wehaveto"breakouremotionalattachmenttotheotherinordertounderstandhim"
(ibid.p.69)andthisinvolvesgreatstruggles:
"Thisworkofdistancingisalwaysdifficult.Itcanonlyhappeninapainfulfeelingofbeinglonely
andexiled.Whenmovingawayfromothers,wehurttheprimitiveanimalinsideusthatseeksits
vitalityandpowerthroughaprimaryemotionalparticipationinothers.Weleavethetribe[ortree
trunktheNorwegianwordstammencanhavebothmeanings]thatcarriesus.Thedifficulties
andpainintheworkofdistancingequalsthedifficultiesandpainintheworkofcreatingcloseness.
Weareoverandoveragainpresentedwithbothkindsofwork"(ibid.).
FromStierlin'ssomewhatdramaticdescriptionswemoveontospecifyingthisdilemmatowardsour
context.Creativedialecticalpotentialinthisfieldliesontheonehandindevotionalclosenesswhereyou
giveintobeingsurroundedbythemusic,tobeintimatelyatitsmercy,andtorespondtoitsqualitiesfrom
anorganicsymbiosis:musicianandmusicisone.Ontheotherhanditembracesthedistanceneededto
switchbetweendifferentlevelsofresolutionoftime,andfocusesoraspects,todifferentiatemusical
objects,tounderstandwhatprocessesareatwork,andtosemusicaltrapsintimetoavoidthem.
Transformedintoitsdestructivecounterpartsonthedarkside,however,frozendialecticsleadstothe
helplessnessofundifferentiatedclosenessandthekindofatitsmercinesswhereyouareavictimof
circumstancesanddon'tknowhowtocontrolyouractionsandtheirconsequences.Ontheotherhandof
thedarkdestructivesideliesthealienationindistancewhereyoudon'tgetintouchwiththemusicorthe
flowoftherelationship,andcannotbreakthebarrieragainstemotionalparticipation;whereyouoperatein
themusicallandscapefromstrategiesthatareunorganicinthattheyarenotfoundedinarealmusical
presence.
Whentheonesideofthedialecticislefttodominateinaromanticrelationship,inaparentchildrelation,
orsoIsuggestinamusicalmind;frozen,destructive,repetitivepatternsarelikelytodevelop.Weneed
closenessanddistance,yettheyarecontradictory.

C LOSENESSVS . D ISTANCE
Frozendialectics
alienation,blocked
emotional
participation,
unorganicstrategies

helplessnessin
undifferentiated
closeness,
victimofcircumstances,
nocontroloveraction

DynamicPotential
distanceenoughto
switchbetween
differentaspectsof
music,
zoominondifferent
levelsresolution,
differentiatemusical
objects,
understand
processes,
identifytraps

beingsurrounded
andintimately
exposed,
organicsymbiosis

Thisdilemmaisinmanywaysconnectedtotheonesalreadypresented.Closenesswilloftenbeaqualityof
theimmediatemoment,whiledistanceopensthedoorforextendedconceptualizationofunfoldingsover
timecf.thethemeofmomentvs.duration.Furthermore,closenesswillimplysamenessandidentification,
whiledistanceoffersdifferentiationandperceptionofseparatenesscf.thethemeofdifferencevs.
sameness.Still,itishighlyrelevanttotreatclosenessvs.distanceasaseparatedialecticalthemeit
thematizestherelationshipbetweenmusicianandmusicintheverycompellingphysicalembodied
metaphorofdistance,ametaphorthatisinfactexperiencedbymanymusiciansasveryreal,andina
fascinatingwayitfocusesonamultidimensionalityofbeingpresentinthemusic.

|TheDialecticalEroticismofImprovisationpage19|

THESINGINGMIND
Letustakethisdilemmafurther,andmentionacoupleofhealingtoolsthatcanhelpusmovefrom
stagnationintofruitfuldynamics:Jazzmusiciansfrequentlymakereferencestosingingasasignificant
devicefortheircreativemusicalagency.Singingcanworkinmanywaysforinstrumentalists.
First,asapedagogictoolyoudevelopyourinnerearandyourphrasingskillswhenyousupplement
playingyourinstrumentwithvocalimprovisationandvocalimitationsduringpractice.
Second,singingcanalsobeagreathelpinperformanceyoucansingwhatyouplay,eitherconstantlyorin
partsofthemusicalunfolding,eitheroutloudorasbarelyaudiblehumming,andthisoftenhelpsyou
phrasebetterandcreatemorelyricalandorganiclines.
Finally,singingalsoworksonamoreabstractlevelasametaphorforplayingtoplayistosing.The
specialkindofembodiednessorintimacywiththeimprovisedlinethatthesongmetaphorexpressesisvery
interesting.SaxophonistLeeKonitzstates:"Improvisingisasinging,whistlingphenomenonwhenit'sreally
happening.It'samatterofgettingintricatelyandsophisticatedlyinvolvedwithamelodiclinesothatitis
onewiththeperformer"(LeeKonitzin(Berliner1994:180)).PaulBerlinergoesontoconclude:"Ifyoucan't
singit,youcan'tplayit.Itmaybepossibletoperformphrasesonaninstrumentmechanicallyby
translatingrepresentationslikechordsymbolsdirectlyintofingerpatternswithoutprehearingthesounds
forwhichtheystand,butsingingrequiresthatartistsbothgraspideasfirmlyintheirimaginationsand
investthemwithexpressivequalities"(ibid.s.181).
DavidSudnowusestheexpressionbeingsinginglypresentaboutthekindoflyricaldevotionalcloseness
thatreleasesstrongmelodicimprovisationinhisownplaying(Sudnow1993:87).Thisisakindofcloseness
tothesortsofactionsandsortsofplaces(orscenesandscriptsincognitiveterms),thatisnottotally
symbiotic,yetstilldeeplyconnectedandinvolved.Itpointstoacrossmodalityinthecognitive
representationsofthemusic,andinthecognitivestructuresguidingthecreativeact;acrossmodalitythat
givesfullnessanddialogueinimprovisationalintensity.Theimproviserconversestheoretical
representation,rehearsedmotorprograms,abstractimagesofstructures,textureetc.,andspontaneous
song.Thisconversingiscrucialbothtotakinginandunderstandingthepresentmusic,andtocreatingnew
elementsinthemusicalunfolding.
Whentheimprovisedlinebecomesonewiththeperformerthroughthecombinationofasinging
approachandaninstrumentalapproach,weavoidthelackofperspectiveinsymbioticunitythatcanfollow
fromamusicianonlyfocusingonhisorherinstrument,orontheinnerpressureinisolation;wegetaunity
betweenmusicandmusicianwhichisexcessivelydialogicbecauseofitsextendedmultidimensionality,and
yetorganicbecauseofitsintimatelyembodiedsource.
Tome,themetaphorofsingingreallyshowsaliberatingwayintheproblematicsofclosenessvs.distance.
Singingwhatyouplayhelpsyougetafullerperspectiveorfeelingforwhatyouredoing.Itoffersdistance
becauseitinvolvesadualpresenceinthemusic(bothyourfingersandyoursingingmindisworking),while
atthesametimefacilitatingorganicunitybetweenmusicianandmusic,becausesingingreallycomesfrom
theinnercoreofeartrainedmusicality.Thus,alienationindistanceisfoughtbytheverysametoolthat
helpsyouavoidthestiffenedclosenessfromgettinglostinthephysicalinstrumentandyourtechnique
struggles.Justasgrooverepresentsanoptimizeddialecticalsynthesisofstimulationandstability,sodoes
singingrepresentasynthesisofclosenessanddistance.

CLOSENESSVS.DISTANCEASBODYVS.MIND
Anotherwayofapproachingtheproblematicsofthisdialecticalthemeistotakeclosenessasthephysicalor
immediate,anddistanceastheintellectualorreflective.Thisis,ofcourse,averyquestionable
|TheDialecticalEroticismofImprovisationpage20|

simplification.Thephysicalisnevertotallyimmediateeverythingwefeelismediatedinsomeway.Still,
thisclichcanopenupforsomeinterestingperspectives.Thechallengeofreachingdialecticaldynamics
betweenintimateclosenessontheonehandandclarityfromadistanceontheother,liesinfindingaunity
ofnonverbalsensingandintuitiveactingontheonehand,andconceptualizedreflectionontheother.
Theimprovisermustfindawaytobemusicallypresentthatreleasesthebody'spotentialforsmooth
executingofcomplicatedmovementswithouthavingtospendmuchattentionalresourcesoncontrolling
andmonitoringthesemovements.Butthepresenceonstagealsohastoreleasecreativeand,toacertain
extent,criticalconversationwiththelearnedmovements.Anditmustreleasetheabilitytodiscoverfresh
musicalobjectsonamultitudeoflevelsofresolution.Analyzingfromadistancecannotbeallowedto
constituteatotallydifferentbeinginthemusicthanthespontaneouscloseness;theymustintegratein
dialecticdynamics.
PaulBerlinerreflectsuponhisempiricaldatainconnectionwiththenotionofthesingingmind:"Under
theaegisofthesingingmind,therearemomentsinwhichmusiciansseenofurtherintotheirevolvingline
thanafewpitches,theirbodyandmindsotightlyjoinedastobefullyabsorbedintotheperformance's
immediateprogress"(Berliner1994:189)."Atothermomentstheideasthatsoloistsrealizeduring
performancesdependasmuchonthebody'sownactionsasonthebody'ssynchronousresponsetothe
mind.Thebodycantakemomentarycontroloverparticularactivities...whilethemindshiftsitsfocusto
thenextidea"(ibid.p.190).Here,weseethatthebodilypresenceinimprovisationcanunitewithreflection
inmutuallyenforcingprocesses,itcanalmostabsorbreflection,anditcanalsosupplementitsothatthe
improviserhasseveralmechanismsofcontrolormonitoringthatworkinparallel.However,thefeelingof
totallyseparateentitiesofunderstandingandagencyinmusiccannotbesustainedoveralongperiodof
timewithoutthedangerofalienation.Toavoiddisintegrationofthemusicalunfolding,onehastomove
towardsfusioninimprovisationalcontrolorgansandmonitoring,andthenperhapstosubsequentre
differentiationforfurthernuancesandflexibility.

"TRAVELINGALONGTHECONTOUROFANEVOLVINGPHRASE"
PaulBerlinerformulatesatellingmetaphorforapresencethatincorporatesfocusingondetailsand
overviewingthewholeonthelevelofsinglephrasesinlinearimprovisationwhenhedescribesthe
improviseras"travelingalongthecontourofanevolvingphrase"(Berliner1994:187).Thismetaphor
highlightsboththedetails,themovementandthecontourasawhole,orinotherwords:thedistributed
substrate,theunfoldingtrajectoryandtheemergentqualitiesoftheresultingmusicalobject.The
travelingalongamusicalcontourstillinthemakingistheimproviser'sattentive,sensibleandcreative
workwherethebasiccurvesanddotsoftheevolvingmusicalhappeningarenegotiatedandexperienced
relationally,inaholisticmovement.Theimproviserembracestheclosenessneededtoappreciatethetiny
nuancesandthepotentialforexpressionlyingonthemicrolevel,aswellasthedistanceneededtobe
presentonseverallevelsofresolutions,wheresumsofchoicesmadeonthemicrolevelmakeupmusical
Gestalts.Here,thereisatightconnectionbetweenthepolarities"momentvs.duration"and"closenessvs.
distance",andtheadvicedevelopedearliertolistenfortheemergentqualitieswhileamusicalobjectisstill
inthemaking,appliesequallywellatthispoint.
Also,thismetaphorpointstotheparadoxriddenrelationshipbetweenimprovisationassettingcoursesand
directingflowontheonehand,andimprovisationasgoingwiththeflowandobeyingtheimplicationsof
whatisalreadythereontheotherhand.Whentheimprovisertravelsalongacontour,thisimpliesboth
followingamovementinobedienceandcreatingtheverysamemovement.Improvisationalchoicesofpath
mustbetakenonthebasisofaclosenessthatmakestheimproviserreallyexperiencethemusicalunfolding
andadjusthumblytoit,butalsoonthebasisofadistancethatmakeshimorhercapableofcreating
overviewsanddevelopingfreshdirectionsorcurvesinthecontoursofthemusic.

|TheDialecticalEroticismofImprovisationpage21|

THESCULPTOR
WeincludeanothertellingmetaphorfromBerliner'sbook:thesculptor'sworkwithhisorherphysical
materialinaconstantdialoguebetweenthematerialfactsofthestoneandtheintentionsorstrategiesof
theartist."Asculptorchippingatamarbleblockmediatesbetweentheinitialvisionforthesculptureand
itsevolvingshape.Eachchiselstrokepotentiallyaltersitsforminunintendedwaysorrevealsnewfeatures
inthegrain'sinternalflowthatsuggestsmodificationoftheartwork'sdesign"(Berliner1994:219).Thisisin
manywaysparalleltotheimproviser'srelationshiptothemusicalsubstancealthoughasculptorwill
frequentlyemployamorethoroughlyworkedoutmodelofthewholeoftheworkbeforethechipping
reallystarts.Bothformsofartdemandsclosenessinthattheartiststunetheirbodiesinlinewiththe
materialandletthemselvesbeformedbywhatisactuallytakingplace,whileatthesametimedistance
enoughtoavoidgettinghelplesslystuckwhenproblemsarise,anddistanceenoughtoconceiveofideas
thatdonotjustfollowthematerialalongthemostobviouspatternsbutimposechallengesandsurprise.
Again,itisimportanttofocusonevolvingGestaltsorwholes;tobeattentivetopotentialsinthematerial
(bothobvious/familiarandsurprising/freshpotentials)potentialsforestablishingemergentqualitiesin
objectsinaprocessofconstantdialoguebetweengivenphysicalsubstanceandyourcreativeenergy.

SUBJECTIFICATIONVS.OBJECTIFICATION
Thecapacityforconstantmovementsofdifferentiationandsubsequentintegrationisacentralthemefor
AnneLiseLvlie.Perceivingtheworldfromone'sownstandpoint,withone'sownneedsanddesiresasa
basis,isimportant.Butnarcissismisaroundthecornerifonedoesnotsimultaneouslyunderstandobjects
asexistingoutsideofoneself,andifonedoesnotseeothersasseparateagentswithontologicalstatusof
theirown.Theimmediate,selfcenteredwayofexperiencingtheworldwhere"theworldisexperienced
onlyasitrelatesto[my]needs"(Lvlie1982:29)iscalledsubjectification,whereasthedifferentiated
approachiscalledobjectification.Subjectificationandobjectificationinrelationtooursurroundingsmust
takeplacesimultaneouslytoachievethesynthesisofpassionateclosenessandluciddistance.Onemust
expand,interpretandintegrateone'ssurroundingsinamanifoldLebensweltofmeanings,relationsand
emotions.Thisdemandscouragetoundertakethemovementfromthesafeandfamiliarintotheinsecure
andunknownandback.Andthatweestablishanintimacypreciselyinthismovementanintimacythat
opensupforrealintegratedintegration.
Theimprovisermustaswehaveexploredinmanywaysbynowtakechances.Makingmusicisanactof
courage,andgreatmomentsoftenarisewhensecureathomenessandbreakingofnewgroundsare
mutuallyenforcingeachother.Youaresafeenoughtorisksomething,andthegratificationinsuccessful
encounterswiththeunknownstrengthensandexpandstheathomenessandreadinessforevernew
challenges.Thisidealsituationrequiresanapparatusoforientationwithwhichyourelatetofellow
musiciansandsoundingmusicoutofacombinationofsincere,desiredrivensubjectificationandattentive,
differentiatingobjectification.Thefeelingofsafetyrequiresacertaingratificationandabasic
subjectificationintheplayingsituation.Thissafetycaninturnopenupforflexibilityandcourage.Whenan
improvisationalpotentialpresentingitselftotheimproviseristobepursuedanddeveloped,thesituation
requiresobjectificationtounderstandthepotentialanditsrelationalplacementinthemusicallandscape.In
theactofmaterializingnewstuffintotheflowofmusicalunfolding,youfocusagainonyourdesirefor
musicalgratificationfromthisplacement,howeverwithakindofobjectiveclarityneededforthefreshness
toreallytakeitsplacewithoutbeingswallowedbytheimpatienturgeforthemostfamiliarformsof
gratification.Thus,thedialecticofsubjectificationandobjectificationiscrucialfortruemusicaldynamics.

STATESOFTHEBODYBRINGINGCLOSENESSANDDISTANCEINTOPLAY
Beforeleavingthelastdilemma,weshouldalsotouchupononeofthemostpersonalandpoorly
researchedaspectsofmakingimprovisedmusic:posturesandmovementsofthebody.Thereis,ofcourse,
|TheDialecticalEroticismofImprovisationpage22|

avastamountofphysiologicalinformationconcerningcorrectpositionsandtechnique,andthereare
pedagogicalsystemsforachievingefficientuseofthebodyefficientinthesenseofgettingamaximumof
controlandpotentialwithaminimumofphysicaleffort.However,amongperformerstherearesignificant
stocksofembodiedknowledgeinthisareathatareseldomformalizedorverbalized.Howyousitorstand,
andhowyoutuneyourselfintoyourinstrumentisconstitutivetotheevolvingoftheLebensweltofmaking
music,andthusalsotothekindofmusicyouareabletoproduce.
DavidSudnowtriestoverbalizesomethinghere,andtalksofthebody'sbeingatthepiano(Sudnow
1993:83).Hewritesabouthowhisownplayingdevelopeddrasticallywithinspirationfromthemeresightof
aparticularpianist's(JimmyRowles')characteristicmovementsofthehead,shoulders,armsandback
duringballadplaying.ItisclearfromSudnow'sdescriptionsthattheestablishmentofakindofintimate
dialoguewasacrucialbreakthroughforhimwhenemployingsimilarmovementshimselfadialoguewith
hisownbodyanditspotential,whereclosenessanddistancetogethermadeupafullness.InSudnow'sown
embellishedlanguage:"[C]onversationwithmyselfnowbegantotakeacertainform,lookingdownatthese
handsofmine,theirways,mywaysofemployingthem,seekingpracticallyusefultermsforconceiving'my
relationshiptotheirways',reflectinguponhowIcouldemploythem,andwhatitmeant,asmanageable
practicesatthekeyboard,to'employthem'forthismusictohappen"(ibid.s.84).
Sudnowdiscoveredthatacertainkindofcircularmovementsofthearmsexpressingandstrengtheningthe
flowingandflexiblequalitiesofthemusic,combinedwithatappingmovementofthefootexpressingand
strengtheningthemoremetronomelikepulseaspectsofthemusic,releasedcompletelynewthingsinhis
ownplaying.Thereisaninterestingparallelheretothequotationpresentedearlieraboutrhythmic
synthesisbetweenmarchingfeelingandrelaxedfeelinginthecombinedstagingof"dahdahdah"and
"boomboom".Aforwardconfidentmarchingattitudeandarelaxedcoolnesscanthusbeunitedinboth
musicalrhythmandphysicalpresence.Andthiscouplingofthebody'sandthemusic'srhythmiscrucial,
whetherthebodilyinvolvementtakestheformoftiny,subtlemovementsormoreovert,spasticordance
likemovements.
Often,weneedhelpingdevicesortechniquestoachievetherightsynthesisofdistanceandcloseness,also
bodywise.Itiseasytobecaughtinside,anditiseasytobeleftstandingoutside.Frommyown
experienceIknowthatIcansometimesfacilitatetheoverallmusicaldialoguewithjustminoradjustments
ofthewayIsitatthepiano:increasingthedistancefrommyheadtothekeyboardslightlycanreleasea
feelingoffreedomandcontrolthatiseasilylostwhenthedesireforintimateinvolvementinthemusic
leadstoajerkyandclosedclosenesswiththeinstrument.Thefundamentalparadoxofthisisthatthe
closenesstothemusicasanunfoldingflowingwholeisstrengthenedbyaminordistancingtothephysical
instrumentortooneparticularangleintheinvolvement.Andparadoxeslikethisarefoundallthetime.You
workyourwaythroughinvolvementandoverviews,throughintimacyanddistancing.

THEFEAROFEXTINCTION
Finally,inkeepingwithStierlin'sownwork,wewilltaketheseissuesevenfurther;towardsaverygeneral
andperhapsalsosomewhatspeculativelevel.InStierlin'swriting,thechallengesofclosenessvs.distance
arerelatedtoabasicanxietyorAngst:afearofdeathorextinctionandtothefundamentalintrapersonal
workofcomingtotermswiththisanxietyinamultitudeofsituationsandrelationsthroughoutourlife
span.
"anydevelopmenttowardsacloserrelationshiptotheotherwillpresentachallengetothedefense
mechanismsdescribedasourdefenseagainstthefearofdeath.Wearechallengedtofindanew
equilibriumbetweendependenceandindependence.Ourrewardwillbetheintimacy,thecomplete
recognition,thatisthesafestguaranteeagainstloosingthegripofthebalancing.Butthisreward
canonlybeachievedifwedaretowaketheslumberingmonsters,thearchaicanxietiesfrom
childhood.Thecloserelationshiptotheothercanthusawakendesire,greedanddestructiveness
|TheDialecticalEroticismofImprovisationpage23|

fromearlychildhood,andpointthesedrivestothepersontowhomwestandhelpless,andtowhom
wehavetherebyinawayreinstatedthechild'sdependentrelationship.Wemustriskloosingourown
egolimits,andbeexposedtoaninnerterror"(Stierlin1974:69fmytranslation).
Stierlinidentifiestwobasicformsoffearofdeath:thefearofextinctioninenormousloneliness,andthe
fearofextinctioninbeingswallowed(ibid.p.70).Thiscorrespondstoourreflectionsconcerningleft
standingoutsideandgettinghelplesslycaughtinthemusic.Youwillhavetofaceboththesedangersin
theprocessofimprovisation.Youhavetodaretoremoveyourselffromthesafeandfamiliarthrougha
creativedistancing,andyouhavetodaretolosecontrolandbeabsorbedincloseness.Theseactsof
couragemusttakeplaceinadialecticalmovement,orelseyouwilleventuallyencounterprecisely
deathorextinction.Themusicstopsflowingnaturallyifyouaretoofarawayfromit.Anditstops
developingifyouloseyourperspectiveandkeeprepeatingthingsweathertheysoundgoodornot.Death
inthissense,then,takestheformofadisintegratedmusicalunfolding,alackofgratificationthrough
playing,andalossofselfesteemasamusician.
Ofcourse,transferringdramaticmotiveslikethesefrompsychoanalytictheorytomusicperformanceis
questionable,butIhavenodoubtthatthetensionbetweeninvolvementandcontrolisreallyworkingin
analogouswayshere.Andthatsuccessfulimprovisationwillnormallytakeadialecticalsublationor
Aufhebenofthisdilemma.Whenthedilemmaishandleddialectically,youplayinanintimateatits
mercinesstothemusicwhileatthesametimebeingabletochangeitsdirections,createnewforms,
objects,directionsorsoundsetc.outofoverviewsandcontrol.Thiscombinationisagreatfeelingitcan
surelybringaboutaquasireligiouseroticfulfillment.

SUMMINGUPANDMOVINGON
Bynow,wehaveexploredthesituationofmusicalimprovisationeclecticallyusingthefivedilemmasfrom
StierlinandLvlie,andthefundamentaldialecticallineofreasoningthatliesbehindthistheory.Eachoneof
thepolaritiesshedsadifferentlightonthechallengesfacingtheimproviser.Atthesametime,thereare
clearconnectionsandoverlappingsbetweenthem,someofwhichwehavealsodemonstrated.
Beforeendingthistalk,Iwouldlikenowtofocusonathemefromjazzhistorythatis,oncloser
examination,tightlyconnectedtomostoftheahistoricaltheorypresentedsofar.

JAZZASSPRINGINGFROMTHECROSSROADSBETWEENAFRICANANDEUROPEAN
Treatingthestimulationvs.stabilizationdialecticsofjazzharmony,wehavealreadytouchedupontheissue
ofAfricanandWesternelementsofjazz.Thisis,ofcourse,anenormousfieldofstudy,inwhichmusic
theoryandAmericanhistorycometogetherinaveryintriguingway.Naturally,noattemptcanbemade
heretopresentathoroughreviewofexistingresearch.NorwillIcontributeacomprehensiveaccountof
thefieldfrommyownpointofview.Still,makingreferencestothishistorical/musicological/theoretical
puzzleiscrucialfortheempiricalplacementofourdialecticaltheory.WhatIhavebeentreatingasthe
existentialhereandnowchallengesofimprovisation,areofcoursejustasmuchchallengespresentedina
specifichistoricalandculturallocation,withtheburdensandthetoolsdeliveredbythepastoperatingas
flexibleconstantsdefiningandlayingoutthemusicalsituation.
AwholemythologycanbetracedintheresearchonjazzhistoryconcerningAfricanvs.
European/White/Western,withrespecttothemusicitself(asifmusiccaneverreallybeseparatedfrom
peopleplayingandlistening)aswellasthesociologyandsocialpsychologyofitssubcultures.Here,
sensualityisseenasclashingcreativelyorantagonisticwithintellectuality,groovewithsemanticmusical
content,hotwithcool,etc.,etc..TheAfroAmericantraditionsofbluesandspiritualsareseenassources
ontheAfricanside,whileragtime,marchingbandsandtoacertainextent(whileundoubtedlyplayinga
|TheDialecticalEroticismofImprovisationpage24|

veryimportantroleonlaterstagesofjazz'development)Westernartmusic,onthewhiteside.TheAfrican
elementsofcollectiveimprovisation,modal/staticharmonyandgroovewithrepetitivepatternsanddriving
polyrhythmswereputinafruitfulplayoffusionwithEuropeanidealsofsectionbasedform,harmonic
2
progression,individualvirtuosity and,importantly,ofaconstantinnovativepraxisinallofthesefields.
TheprocessoffusionbetweentheAfricanandtheEuropeandidnothappenonceandforall.Inaddition
totakingplacehistoricallyinthebeginningofthepreviousCentury,italwayskeepsonhappeninginjazz
oratleastinjazzthatisaliveandbreathing.Youconverseunfoldingofformwithmusicasastateofbeing.
Youconverseharmonicprogressionwithmodallandscapes.Youconversecompositionalclaritywith
groove.OnecanseetheschismbetweentheAfricanandtheWesternasathemethatmustbere
workeddialecticallythroughoutjazzhistory,andathemethatisalsoreworkeddialecticallyinthepersonal
developmentofmusicians.Comparingwiththedilemmaspresentedearlier,theAfricanwillcorrespondto
theheatofthemoment,thestabilizationinrepetition(remember,however,theinherentstimulation
stabilizationsynthesisingroove),theimmediategratificationingrooving,theclosenessandsamenessin
physicalsensualsymbiosiswiththemusic.TheWestern,ontheotherhand,willcorrespondto
conceptualizationoftrajectoriesandduration,thestimulationanddifferenceofcontrastsandnovelty,the
toleratedfrustrationinvolvedindeferredgratification,andthedistanceofanalysisandcomparative
listening.Iwouldsuggestthatimprovisedmusichasaverysignificantpotentialforhealingorunitingthe
gapbetweentheseclichdextremes.Jazzatitsbestbuildsbridgesoveraschismthatisparalyzingpost
colonialculture;thestrangeandseldomveryfruitfulcombinationofantagonism,mystificationand
idealizationintherelationshipbetweenOccidentandOrient.Weenvyeachother,idealizeeachother,and
dislikeoneanotherinmostlynonfusionways.Thereisaneedforhealingdialectics.NotinMarxistlike
totalitarianrevolutionaryutopias,butinaresponsible,postmoderndialecticalway;openingupforthe
freedomtotranscendandsublatedilemmasonapersonallevelwhilenotforgettingthelinkstosocio
historicalprocessesandtoculturalheritage.
Onceagain,letusturntothepracticalleveltoexemplifythis:

UNFOLDINGOFFORMVS.MUSICASASTATEOFBEING
CharlesO.Harmandescribesthepotentialforsynthesisinform.HetalksoftheAfricanheritageofmusicas
astateofbeingvs.theEuropeantraditionofpiecesofmusicwithabeginning,differentsections,andan
end,andhestatesthat"[t]hestandardstructureofasmallgroupjazzperformancebringsthesedifferent
ontologiesofmusictoatruceorcompromiseideally,asynthesis"(Hartman1991:10).Thestandard
conventionforjazzperformanceinsmallensemblesis:themepresentation(tutti)anumberofsoli,each
ofwhichinthemselvesanunfoldingwithadistinctdramaturgy,andwiththepossibilityofotherplayers
enteringinto"comment"orbackuptheimprovisationasecondthemepresentation,oftenwithaCoda.
Thus,wehaveaformwithsubformsacomplex,yetstraightlinear,unfolding.Butthewholeofthis
unfoldingderivesitsmusicalintensityand,ultimately,itsmeaningandsignificancefromagrooveanda
state.Youdon'tnecessarilyhavetopayattentiontothethemetoenjoythesolos,andabrilliantmotif
connectionbetweenpartsoftheunfoldingisreallynotofmuchvalueiftheoverallmusicalintensityisnot
happening(ItDon'tMeanaThingIfItAin'tGot).Thegrooveis,ifoneisforcedtochoosewhich,ideally,
oneshouldnotultimatelymoreimportantthaneachsectioninitself.Furthermore,musiciansshouldbe
willingtosacrificeanyplannedschemeorformifarepetitiveintensityisdevelopedthatisstrongenoughto

Thefocusonindividual,soloistvirtuosityisofcoursealsofoundinmuchAfricanmusic,forinstanceinthe
"masterdrummer"function,whereaparticularlyskilleddrummerimprovisesolocrossrhythmstotheever
repeatingrhythmicgroundlaidbytheotherdrummers.Surely,inensemblework,performersofEuropeanart
musicalsoexperiencecollectivismandstatesofbeingpartofalargerbodyofmusic.However,Idothinkthat
itisfairtomakeadistinctionbetweenindividualityandcollectivismasageneralemphasisinEuropeanart
musicandAfricanmusicrespectively,aslongaswekeepinmindthatthisisanovertoversimplificationdone
forheuristicpurposes,notforhistoricalcorrectness.
|TheDialecticalEroticismofImprovisationpage25|

demandmoretime.Thelengthintimeofeachsectionismoredependentontheintensitydevelopedin
thisparticularsectionthanonaproportionlikerelationshiptothelengthoftheothersections.Thus,the
logicofplansandschemesiscoupledwiththelogicofspontaneityandsituation.Andso,themostwidely
usedjazzperformanceidiomisinitselfadialecticalsolutiontothetensionbetweenthedemandformusic
asastateofbeing,andthedemandformusicasanuancedunfolding.

TEMPEREDVS.NONTEMPEREDUNIVERSESOFSOUND
WecanalsolookattherelationshipbetweenwelltemperedWesterntonalityandtheuseofbluenotesin
jazzfromthepointofviewofAfricanvs.Western(cf.theremarksmadeconcerningthebluenote
earlier).Whenjazzdevelopedinthefuzzyencounterbetweenspirituals,blues,ragtime,marchingband
traditionsandothers,afieldoftensionwassimultaneouslyactivatedbetweentonalitybasedontempered
intervalsandtonicsubdominantdominantharmonyontheonehand,andmodalmusicwithahigh
toleranceforindeed,preferencesforsubtlenuancesinthesizeofintervalsontheotherhand.Thisfield
oftensionisbroughtintoplayintheparticularitiesofeveryinstrumentanditspossibilitiesandlimitations
inrelationtothetemperedsystem.Idothink,inpassing,thatonecouldwritethewholehistoryofjazz
pianoasaseriesofattemptstocometotermswiththeparadoxofplayingmusicthatactuallyrequires
flexiblebluenotesonacompletelystiff,temperedinstrumentakindofcontinuinggriefprocessoverthe
lackofbluenotes.Thedifferentstyles,voicingtraditions,andapproachesontheinstrumentrepresent
differentwaysoftryingtoincorporatetheambiguityofbluenotesandtheirconsonanceindissonance
statuswithoutlosingwhatis,afterall,thefascinatingqualitiesofthepianocomparedtothemorepitch
flexibleinstruments.
So,Imaintainthatthetensionbetweentemperedandnontempereduniversesofsoundisalsoconstitutive
tothesynthesisofAfricanandWesterninjazz(and,subsequently,inmostofjazz'childreninWestern
popularmusic).Itisconnectedtothetensionbetweenthesubtleflexibilityofstaticharmony(bringing,in
successfulrituallikemusic,ecstaticresults),andtherichness,yetoftentherigidstiffness,ofharmonic
progressioninchordchanges.Andpreciselythistensionisdialecticallydealtwithandplayedwithingood
jazz.Youhaveharmonicprogressionandyouhaveamodalorbluesyfeel.
Inclosing,Idonotthinkthattheimpliedlinkbetweenmusicalsynthesisandhumanliberationindilemmas
betweenorderandopenness;logicandecstasy;directionandcycles;analysisandspontaneity;isatall
arbitraryordangerous.Aslongaswesticktoanonauthoritarian,metaphorembracing,locallysituated
dialecticalviewofhistoryandliberation,Ibelievethislinkingcandonothingbutinspireusfruitfully.

CONCLUSIONS?
Thepuzzlesofjazzactionsarenowsituatedinabroadercontext,involvingeventhehistoryofcivilization.
Howeverbrieflycarriedout,Idothinkthatthisexcursionofferedaverynecessaryperspective.
Nevertheless,ourmainfocusisthechallengesfortheindividualimproviserhereandnow,andthe
processesinconsciousnessoftheindividualimproviserhereandnow.Myconceptionofthishasboth
expandedandintegrateditselfalongtheworkinvolvedinmythesis,anditalwaysseemstotakeonanother
circlewhenIrevisitthematerial,asIhavedoneforthislittletalk.Ihavetriedtoprovideabridgebetween
terminologyfromscenicmusictheory;thefivedialecticalthemesofStierlin;andallthepractical
musicianshiptoucheduponinourexplorationofthem.
Wehavetoendhere,leavingforlatertheveryinterestingtaskofdevelopingfurtherthepractical
3
implicationsofourtheory. Still,mindyou,mostofwhatwehavepresenteddoesindeedhavethedouble

TheNorwegianthesisonwhichthisessayisbuilthasaseparatesectionsuggestingrehearsaltasksforexpanding
one'smusicalconsciousnessdevelopedfromthetheorypresented.
|TheDialecticalEroticismofImprovisationpage26|

statusofbeingmanifestationsofwhatisactuallyhappeninginflowingimprovisationontheonehand,and
implicitsuggestionsforpracticingimprovisationontheother.Inthisway,Ibelievewehavealready
outlinedageneralframefordialecticalpracticingofimprovisation.Toillustrate:Oneshouldpractice
handlingthetensionbetweenlongtermandshorttermmusicalperception.Oneshouldpracticehandling
thetensionbetweengoingwiththeflowandcontrollinganddirectingthemusic.Oneshouldpracticebeing
insidethemusicandlisteningfromoutsideinanintimatedialogicpresenceoneshouldplayforoneself
asalistener.
Dilemmasaretheretobeexploredandexperiencedwehavesomuchtogainfrompersonaldevelopment
ingoingfortheextremitiesandgoingfortheintriguingmovementsofsynthesis,whiletryingtoavoid
endingupintheboringmiddleoftheroad.Weshouldpracticegivingandreceiving,beingcoolandbeing
hot,beinghardandbeingsoft.Weshouldexpandourconsciousnesscontemplatingthedialecticaleroticism
ofimprovisation.

|TheDialecticalEroticismofImprovisationpage27|

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[FirstEnglishedition:DeathandSensuality:aStudyofEroticismandtheTaboo,Walker&Co.,NewYork
1962|Originaltitle:L'Erotisme,LesEditionsdeMinuit,Paris1957]
Berendt,JoachimE.1992:TheJazzBook,LawrenceHillBooks,NewYork
Berliner,PaulF.1994:ThinkinginJazz:theInfiniteArtofImprovisation,TheUniversityofChicagoPress,
Chicago
Collier,JamesLincoln1993:Jazz:theAmericanthemesong,OxfordUniversityPress,NewYork
Edwards,ArthurC.1956:TheArtofMelody,PhilosophicalLibrary,NewYork
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DubuqueIowa
Gody,RolfInge1997a:Formalizationandepistemology,ScandinavianUniversityPress/
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Gody,RolfInge1997b:"KnowledgeinMusicTheorybyShapesofMusicalObjectsandSoundProducing
Actions"inLeman,Mark(ed.):Music,GestaltandComputing,SpringerVerlag,Berlin
Gody,RolfInge1998:"Crossmodalityandconceptualshapesandspacesinmusictheory"in
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Lvlie,AnneLise1982: TheSelf,Universitetsforlaget,Oslo
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Stierlin,Helm1969:ConflictandReconciliation,AnchorBooks,NewYork
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