ABSTRACT
This chapter presents scientific traditions that emphasize group performance, resulting in interactional semiotics a micro-interactional model of group creativity based on traditional semiotic concepts, particularly Peirce's notions of indexicality as extended by Jakobson and Silverstein. The author drews on Peirce, Jakobson, and Silverstein to develop an interactional semiotics appropriate for verbal and musical ensemble performance. The model is related to the pragmatism of G. H. Mead and John Dewey. Symbolic interactionism developed out of Mead's writings, focuses on social acts, or joint action 'the larger collective form of action that is constituted by the fitting together of the lines of behavior of the separate participants'. It reviews how music scholars have contrasted improvisation and composition. Improvisation is qualitatively different from composition because it requires a focus on practice, emergence, and interaction. Jazz musicians universally describe their interaction on stage as a conversation. The subgenre of free jazz is known for its ensemble interaction and an extremely democratic style.
