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SUMMARY:Improvisation as a way of knowing - Dr Andrew Goldman\, Columbia U
 niversity
DTSTART:20160119T180000Z
DTEND:20160119T193000Z
UID:TALK63256@talks.cam.ac.uk
CONTACT:Gabriela Pavarini
DESCRIPTION:The lack of a single widely accepted definition of improvisati
 on has not hindered the development of the field of improvisation studies\
 , and in fact a critical literature is flourishing by questioning its hist
 orical\, sociological\, philosophical\, and musicological foundations.  Ho
 wever\, in order to do scientific experiments on improvisation\, an interi
 m concrete definition must be chosen.  Psychological and neuroscientific e
 xperimental work has defined the phenomenon in the problematic and cultura
 lly contingent terms of novelty and spontaneity\, asking how the mind and 
 brain facilitate such behavior.\n\nIn that improvisation is described in t
 erms of cognitive and neurological characteristics that are not necessaril
 y specific to music performance\, these studies take an important step in 
 providing a model that is potentially translatable between multiple styles
  and forms of improvisation.  However\, I argue that without being more cr
 itically sensitive to what it means for a performance to be “novel” or
  “spontaneous\,” the scientific theories that are built upon these con
 cepts remain equally ambiguous and problematic.\n\nI propose a different c
 onceptual foundational for scientific study that can ultimately contribute
  to the broader critical discourse as well.  Improvisation can be consider
 ed as a way of knowing.  Cognitive-scientific research has demonstrated th
 at musical training changes how people perceive and perform music.  Given 
 that different groups of musicians train through different pedagogies and 
 practice methods\, it is reasonable to theorize that cognitive differences
  between groups of musicians can be similarly described.  \nSpecifically\,
  improvisers emphasize truly hearing and anticipating what they are playin
 g\, not just in expressive characteristics of performance\, but harmonical
 ly\, melodically\, and rhythmically as well.  Experimental paradigms devel
 oped for theories of perception-action coupling could be used to investiga
 te whether groups of musicians differ in this regard\, and whether those c
 haracteristics correspond to and facilitate the skills and performance typ
 es normally identified as “improvisatory.”\n\nThese scientific theorie
 s and experiments are not based on the problematic terms of novelty and sp
 ontaneity\, and can inform critical work on improvisation.  For instance\,
  the ability to efficiently interact with fellow members of an ensemble ma
 y rely on similar mechanisms to be identified in the experiments I propose
 . 
LOCATION:Lecture Room 1\, Faculty of Music\, 11 West Road\, CB3 9DP
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