There’s almost no research on group musical improvisation, and I’ve wondered about that for years. I’m a jazz pianist, and I’m fascinated by how different people can come together, and collectively create something that no one could have thought of alone.
So I’m excited to see a new study, of group free improvisation in music trios.* Two of my most respected British colleagues co-authored the study: Graeme Wilson and Raymond MacDonald.
They brought together 3 trios of improvising musicians, from Scotland and the North of England. The musicians were from a range of backgrounds, including voice and electronics. And just for extra measure, they also studied 2 more trios of visual artists who work with sound performance. The trios improvised in a studio for about five minutes. Then, the researchers interviewed each performer separately, replaying the tape of their improvisation, and asking them to explain “what they understood to be communicated by their own and other improvisers’ contributions” (p. 1032).
The main finding was that the musicians spent a lot of time thinking about whether to “maintain” what they were playing, or to “change” to something different. If they decided to change, either it was an initiation on their part, or a response to someone else’s contribution. This is an “active and iterative” process.
If a change was a response, it was either an adoption (doing something really similar to the other musician’s initiation), an augmentation (adopting one element of the partner, but modifying another element), or a contrast (play something really different, but that’s complementary). Here’s the bottom line:
The representation is of an open-ended iterative cycle where all choices lead to a subsequent reconsideration, with each trio member constantly “scanning” the emergent sound of the piece and actions of their collaborators. The improvisation was sometimes characterized by interviewees as an external entity or process, within which events arose independently of those creating it. (p. 1035)
That’s exactly my own experience with group improvisation, and in my own research, every musician that I interviewed spoke in very similar terms, about iteration, interaction, and the emergence of something greater than the individual musicians.
* Wilson, Graeme B., Macdonald, Raymond A. R. (2016). Musical choices during group free improvisation: A qualitative psychological investigation. Psychology of Music, 44(5), 1029-1043.