How Learned Patterns Allow Artist-Level Improvisers to Focus on Planning and Interaction During Improvisation

Abstract

In this paper, I argue that stored auditory and motor patterns are inserted into ongoing musical improvisations. This position aligns with the theoretical framework suggested by [11]. In support of this theory, I cite research in which artist-level improvisers describe their own thinking and mention learned patterns as one of the central mechanism underlying improvisation. I further outline how known solos by tonal jazz artists contain a large number of repeated patterns and that a computer algorithm using patterns is capable of producing new solos in similar style. Finally, an experimental study shows that improvisers use more patterns when their attention is diverted during improvisation. According to interviews with advanced improvisers in solo settings, their attention is focused on larger architectural structures during improvisation. Other research with advanced improvisers in group settings point out that interaction with other ensemble members also may be at the front of the improvisers mind in that setting [1, 5]. Therefore, I conclude that it may be the partially automatic process of inserting learned patterns into ongoing improvisations that allows the artist-level improviser to focus on planning and interaction.