Abstract
The aim of this qualitative, abductive, and phenomenological inquiry was to develop categories based on participants' perceptions of their improvisation and listening experiences. As using improvised music in clinical music therapy is an important method, this study expanded the knowledge of and language needed to describe this very sensitive and insightful communication process. If there is something in the air—what is it and is it something significant? Research questions included: 1. What kind of process is experienced when one improvises with an unknown person in an unfamiliar musical style? 2. What is in the air during live interactive improvisation? 3. What are the links between processes of self-actualization and peak experiences introduced by Abraham Maslow (1968) and the experiences described by the participants regarding their live improvised/interactive musical processes? The data of this study consisted of two audio-taped improvisations, three interviews, and the written reflections of six participants who participated in interactive live improvisation sessions. Ferrara's method was adapted for the data collection and analysis. Research results are presented in the form of descriptive categories which give a clearer picture of what happens during the process of musical improvisation.
Highlights
When one hears a great performance of live solo or interactive improvisation, there often seems to be something in the air[3]
What does this imply? What are we referring to exactly when we speak of something being in the air?[4] After participating in a session of live improvised music, the participants of this research described their experiences with such words as "awakened", "insightful", "heightened", "meaningful", "signi cant", or even "life changing." Could these musical experiences be comparable with Abraham Maslow s (1968) notion of peak experiences, which is described as moments of great wonder, feelings of oneness with the universe, moments of seeing the de nitive truth, and the ultimate ful llment of selfactualization?
Since the use of improvised music is an important tool for music therapists (Bruscia, 1987; Lee, 2003; Wigram, 2004), it is hoped that the results of this study will help music therapists gain a deeper understanding of the subtle and complex communication process inherent in such an activity and enhance the vocabulary needed to discuss such abstract experiences
Summary
When one hears a great performance of live solo or interactive improvisation, there often seems to be something in the air[3]. Lee (2003) and Arnason (2002) analyzed and categorized the music listening experience. Bonny (2002) introduced the guided imagery and music (GIM) method and categorized different levels of imagery (see Bruscia & Grocke, 2002). Ahonen-Eerik inen (1999, 2004, 2007) introduced the similarity between dreams and images created during music listening
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