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• W2093948113 abstract "An Invitation to Play:A Response to Patrick Schmidt's What We Hear is Meaning Too:Deconstruction, Dialogue, and Music Patrice Madura Ward-Steinman The aims of dialogue-as-deconstruction, as described by Patrick Schmidt, are concepts I have pondered as a result of a five-week sabbatical visit to Melbourne, Australia. My research focus there was improvisation, and early in my visit I attended two concerts at the premier jazz club, Bennett's Lane. There I heard twelve improvisers in a variety of ensembles, all in celebration of the seventieth birthday of their mentor, Tony Gould, who also performed. Gould is cited by John Whiteoak and Aline Scott-Maxwell as an outstanding player who has never ceased to develop as an improviser and who as a pianist, records prolifically across a wide musical spectrum.1 While the music was jazz, it was freer and fresher than usual. There was striking interaction among the musicians, including facial expressions that reflected genuine ecstasy, and body movement that was naturally in sync with the music. I began to ask many questions, including: Is Australia's jazz different from that [End Page 82] in the U.S.? Is Tony Gould's influence as a teacher the reason for the difference? What accounts for the sensation of freshness in this music? And why is this musical experience so gripping, both aurally and visually? Serendipitously, I discovered answers through the opportunity to respond to Schmidt's aims of dialogue-of-deconstruction. I shall illustrate how those aims, namely decentralized power and conflict, multiplicity and meaning, and mis-listening may be met in the improvising music ensemble. Decentralized Power and Conflict The lifeblood of free jazz and free improvisation ensembles is de-centralized musical interaction, which may be considered a metaphor for dialogue-as-deconstruction. Case in point: the Tony Gould Quartet was an improvising unit with each musician contributing to the musical whole. The air was electric with each musician poised in both the anticipation of what the other might play and in the moment of creation. A recent trend in studies of organizational behavior is on self-directed or self-managed groups, as identified by Keith R. Sawyer.2 David Borgo3 explains that the characteristics of these self-organizing systems or SOSs are threefold: they operate without centralized control, they exhibit both complex and adaptive dynamics, and they are comprised of autonomous individuals who demonstrate a high degree of connectivity. Both authors assert that an ideal SOS is the free improvising ensemble, where musical ideas are allowed to emerge and adapt, and even musical mistakes may be manipulated into the context, thus creating new directions in dialogue. However, SOSs have some inherent problems. For example, they are slow to emerge. . . . The more complex they are, the longer it may take them to warm up: hierarchical layers have to settle down . . . and individual(s) have to acquaint themselves with one another.4 Borgo explained that even advanced improvisers often need to pursue a musical idea for a long while for it to achieve coherence. Philip Alperson adds: As the number of designing intelligences increases, the greater is the difficulty in coordinating all the parts; the twin dangers of cacophony and opacity lurk around the corner.5 It seems that interactional synchrony6 can develop among musicians who have good chemistry after a warm-up period, but those with conflicting personalities, aesthetic dispositions, or musical styles may have a more difficult time of it. When members of the Tony Gould Quartet were asked how they are able to achieve musical unity, they explained that they have played together for many years, they hang out and drink together when not on the bandstand, and they trust each other. Even when one of the members feels out of sorts, their improvisations are respected as authentic expressions. Others' differences are honored, [End Page 83] rather than felt in opposition to one's self.7 Ingrid Monson8 quotes several musicians who use the metaphor of marriage to describe the musical relationship during a peak performance; on the other hand, jealousy, competition, and even hostility on the bandstand are not uncommon and can destroy an ensemble. So, it appears..." @default.
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• W2093948113 date "2012-01-01" @default.
• W2093948113 modified "2023-09-27" @default.
• W2093948113 title "An Invitation to Play: A Response to Patrick Schmidt's “What We Hear is Meaning Too: Deconstruction, Dialogue, and Music”" @default.
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• W2093948113 doi "https://doi.org/10.2979/philmusieducrevi.20.1.82" @default.
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