ABSTRACT
In order to better understand communication in musical improvisatory performances, this chapter explores examples of creative communication within three artistic dissertations dealing with improvisation in folk singing, opera improvisation, and contact improvisation, respectively. Since real-time arts such as music, dance, and theatre share similar processes of reciprocity, the practices of dance and theatre improvisation can offer perspectives in articulating the various means of communication applicable to musical improvisation.
As a working method, my data collection for this chapter included the authors’ descriptions of communicative means, goals, and values in improvisation. My analysis then divides the descriptive terms of communication into categories with similar meanings. The interpretation focuses on two theoretical categories: the object of the activity and modes of communication within the activity. A matrix then briefly summarises the suggested common features of communication in improvisation. These suggestions are based on the findings presented in the written theses and on my own observations. The concluding discussion connects these findings to the activity of teaching and learning in music.
