Dialogue as a way of knowing: Understanding solo improvisation and its implications for an education for freedom.

Abstract

Much has been written about the dialogical nature group improvisation (Bailey, 1992; Berliner, 1994; Borgo, 2004; Fischlin & Heble, 2004). Dialogue sits nicely in a situation where many people are 'speaking' musically to each other around a common 'topic' or referent. But what about improvisation when it occurs outside the social setting group playing? Is the act solo improvisation a monologue given the absence fellow 'speakers'? Building on research in cognitive studies (Sarath, 1996; Pressing, 1987; Gustavsen, 1999) as well as empirical research in the field pedagogy improvisation, this paper argues that the act solo improvisation is inherently dialogical - a dialogue between musician and musical entity as 'Other' - and proposes that the existence that dialogue is predicated on the art listening. This art listening will be discussed in light two opposing directionalities or listenings: (1) inner directionality is expressed in the musician's audiating her inner musical imaginings and translation those imaginings into what the fingers play and (2) outer directionality: perception and response to the emergent qualities the musical idea (Gustavsen, 1999) as it manifests itself in the sacred space play (Huizinga, 1949) between the musician and the improvisational continuum which constitutes the musical entity. Field research will be discussed which suggests that successful mastery these two types listenings in tandem is what allows the improviser to engage in dialogue with the musical entity, and affords the improviser a new 'way knowing' the musical entity. same research suggests that in the course mastering these listenings, the improviser calls into play a number socio-cognitive functions which, in turn, reflect multiple social positionings. These include: decision- making (authorship), divergent thinking and willingness to embrace the unknown (diversity and inclu- sion), risk-taking and problem-seeking (unsettling certainty), accountability and self-assessment (respon- sibility, integrity, and challenging assumptions). Herein, the dialogue improvisation affords the improviser an 'epistemology self'. Acknowledging solo improvisation as a way knowing through dialogue may allow educators to construct models engagement which can lead students toward personally meaningful dialogue between self and art. Additionally, an understanding the socio- cognitive functions and social positioning traits inherent in acts solo improvisation suggests that it could play an important role in education for freedom as envisioned by such thinkers as Maxine Greene and Paulo Freire, a freedom exemplified by conscious imagining possibilities, creating and sharing meanings, and dialogue between self and other.Keywords: solo improvisation, dialogue, music educationDeleuze (2006) wrote, The phrase, let's discuss it,isanactof terror (p. 313). sentiment behind this statement is that dis- cussion invites theorizing, talking about, and attempted conclu- sions universalities. And because improvisers, like it or not, leave their cherished realm practice and become theorists the moment they their mouths to speak (Peters, 2009, p. 147), I will attempt to be diligent in this regard. I am an improviser and I am about to open my mouth to speak about solo improvisation. However, what I wish is to suggest not a theory of but rather a of solo improvisation that is grounded in the con- crete, the observed, and offers a method progressing (p. 150); a philosophy that begins by offering an understanding the cognitive processes inherent in the act solo improvisation and then, in light that understanding, offers a possible conceptual- ization solo improvisation's implications for an education for freedom as proposed by such thinkers as Paulo Freire and Maxine Greene. Given that I am an improvising musician and an educator, my end objective will be to spark creative dialogue in the field improvisation pedagogy. …