Abstract

In this chapter I examine the role touch plays in musical improvisation. First, I discuss which methods I hold to be productive when conducting artistic research into musical improvisation. Next, by using these methods I analyze an improvisatory performance of my trio Molloy. The results of this analysis are used in the construction of an account of the function of touch in musical performance in general, and in musical improvisation in particular. In this construction theories about touch as developed by Erin Manning and Matthew Fulkerson are incorporated, as well as David Borgo’s ideas regarding improvisation and Mine Doğantan-Dack’s interpretation of gesture. I conclude that touch is exploratory and that it depends on improvisation, on in-the-moment actions and reactions, a process that is exemplified in musical improvisation. Improvisation thus may be considered an articulation of the manners in which we communicate and create identities through touch in our daily lives, how we use touch to express ourselves, to communicate who we are and connect with others. Touch is improvised, just as improvisation is grounded in touch, and by investigating the function of touch in musical improvisation we may learn about the role of touch in our everyday lives as well.

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