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Jazz improvisers' shared understanding: a case study.

ABSTRACT: To what extent and in what arenas do collaborating musicians need to understand what they are doing in the same way? Two experienced jazz musicians who had never previously played together played three improvisations on a jazz standard ("It Could Happen to You") on either side of a visual barrier. They were then immediately interviewed separately about the performances, their musical intentions, and their judgments of their partner's musical intentions, both from memory and prompted with the audiorecordings of the performances. Statements from both (audiorecorded) interviews as well as statements from an expert listener were extracted and anonymized. Two months later, the performers listened to the recordings and rated the extent to which they endorsed each statement. Performers endorsed statements they themselves had generated more often than statements by their performing partner and the expert listener; their overall level of agreement with each other was greater than chance but moderate to low, with disagreements about the quality of one of the performances and about who was responsible for it. The quality of the performances combined with the disparities in agreement suggest that, at least in this case study, fully shared understanding of what happened is not essential for successful improvisation. The fact that the performers endorsed an expert listener's statements more than their partner's argues against a simple notion that performers' interpretations are always privileged relative to an outsider's.

SUBMITTER: Schober MF

PROVIDER: S-EPMC4126153 | biostudies-literature | 2014

REPOSITORIES: biostudies-literature

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Jazz improvisers' shared understanding: a case study.

Schober Michael F MF Spiro Neta N

Frontiers in psychology 20140808

To what extent and in what arenas do collaborating musicians need to understand what they are doing in the same way? Two experienced jazz musicians who had never previously played together played three improvisations on a jazz standard ("It Could Happen to You") on either side of a visual barrier. They were then immediately interviewed separately about the performances, their musical intentions, and their judgments of their partner's musical intentions, both from memory and prompted with the aud ...[more]

PMID: 25152740

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Project description:When musicians improvise freely together-not following any sort of script, predetermined harmonic structure, or "referent"-to what extent do they understand what they are doing in the same way as each other? And to what extent is their understanding privileged relative to outside listeners with similar levels of performing experience in free improvisation? In this exploratory case study, a saxophonist and a pianist of international renown who knew each other's work but who had never performed together before were recorded while improvising freely for 40 min. Immediately afterwards the performers were interviewed separately about the just-completed improvisation, first from memory and then while listening to two 5 min excerpts of the recording in order to prompt specific and detailed commentary. Two commenting listeners from the same performance community (a saxophonist and drummer) listened to, and were interviewed about, these excerpts. Some months later, all four participants rated the extent to which they endorsed 302 statements that had been extracted from the four interviews and anonymized. The findings demonstrate that these free jazz improvisers characterized the improvisation quite differently, selecting different moments to comment about and with little overlap in the content of their characterizations. The performers were not more likely to endorse statements by their performing partner than by a commenting listener from the same performance community, and their patterns of agreement with each other (endorsing or dissenting with statements) across multiple ratings-their interrater reliability as measured with Cohen's kappa-was only moderate, and not consistently higher than their agreement with the commenting listeners. These performers were more likely to endorse statements about performers' thoughts and actions than statements about the music itself, and more likely to endorse evaluatively positive than negative statements. But these kinds of statements were polarizing; the performers were more likely to agree with each other in their ratings of statements about the music itself and negative statements. As in Schober and Spiro (2014), the evidence supports a view that fully shared understanding is not needed for joint improvisation by professional musicians in this genre and that performing partners can agree with an outside listener more than with each other.

Project description:Studying the way athletes predict actions of their peers during fast-ball sports, such as a tennis, has proved to be a valuable tool for increasing our knowledge of intention understanding. The working model in this area is that the anticipatory representations of others' behaviors require internal predictive models of actions formed from pre-established and shared representations between the observer and the actor. This model also predicts that observers would not be able to read accurately the intentions of a competitor if the competitor were to perform the action without prior knowledge of their intention until moments before the action. To test this hypothesis, we recorded brain activity from 25 male tennis players while they performed a novel behavioral tennis intention inference task, which included two conditions: (i) one condition in which they viewed video clips of a tennis athlete who knew in advance where he was about to act/serve (initially intended serves) and (ii) one condition in which they viewed video clips of that same athlete when he did not know where he was to act/serve until the target was specified after he had tossed the ball into the air to complete his serve (non-initially intended serves). Our results demonstrated that (i) tennis expertise is related to the accuracy in predicting where another server intends to serve when that server knows where he intends to serve before (but not after) he tosses the ball in the air; and (ii) accurate predictions are characterized by the recruitment of both cortical areas within the human mirror neuron system (that is known to be involved in higher-order (top-down) processes of embodied cognition and shared representation) and subcortical areas within brain regions involved in procedural memory (caudate nucleus). Interestingly, inaccurate predictions instead recruit areas known to be involved in low-level (bottom-up) computational processes associated with the sense of agency and self-other distinction.

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Jazz improvisers' shared understanding: a case study.

Publications

Jazz improvisers' shared understanding: a case study.

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