Improvisation Is The Center Of Music Making - 1587 Words

When one thinks of improvisation, perhaps the thought that comes to mind is that of jazz improvisation or even a definition close to that of what Merriam Webster provides, â€Å"to speak or perform without preparation†. However, improvisation is more than just a single â€Å"technique† or narrow minded definition; it encompasses a communicative tool to project a unique language unto its listeners. It provides relief from structured music writing experiences. But most importantly, improvisation is the center of music making. Although making music cannot be said to have a definitive means of creation, there are many different theories as to how music is made and the schemas that are followed to do so. Among these is one of the more controversial†¦show more content†¦By denouncing the concept that music in and of itself is discrete and an autonomous entity, we can then look into the phenomenology of improvisation. Music in and of itself is non-restrictive and so i t would only make sense that the means of making music would be improvisatory in nature. Improvisation is then both the cause and the effect, the foundation and the revenue of music making. There is no beginning and end when it comes to improvisation and making music, but rather more of a fluid motion of constant interplay between the composer, performer, and listener alike. The first thing that Benson addresses in his quest to prove the theory that music making is essentially improvisational, is the actual phenomenology of music. He goes on to explain that in order to convince his readers that it is indeed the heart and soul of composing, performing, and listening to music, ones needs to apply the actual structure or logos of music, â€Å"to bring to light the phenomena† of the music making process (Benson, 2003, xi). When speaking of the music making process it can be defined as, the way in which the composer chooses to write a piece, a performer chooses to play a piece as well as the way in which the listener interprets the piece. He suggests that there is not just one guideline or model for the way in which music is to be made as suggested by stereotypical constructs such as that of counterpoint. Only in the beginning of the