Lucia Angelino
Université paris 1
The kind of collective improvisation attained by the “free jazz” at the beginning of the sixties sets a challenge to analytic theories of collective intentionality, that emphasize the role played by future-directed plans in the interlocking and interdependent intentions of the individual participants, because in the free jazz case the performers’ interdependence or [interplay] stems from an intuitive understanding between musicians. Otherwise said: what happens musically is not planned in advance, but arises from spontaneous interactions in the group. By looking at the way jazz improvisers take up the challenge of making music together without a pre-conceived notion as to what kind of effect they will achieve and without a pre-set code of agreements, my aim has been to clarify what kind of strategies — other than advanced action plans and joint commitments — are used by improvising musicians to integrate their improvisations into a unified shared activity. In developing this proposal I initially drawn pre-theoretically on one paradigmatic study case — Ornette Coleman’s double quartet Free Jazz, A collective Improvisation and brought it in conversation with Husserl’s phenomenology of time. In a final move, I brought this phenomenological frame into dialogue with some recent readings of the predictive coding model. All in all, what we learned from the Free Jazz case is that the interdependence and interlocking of attitudes among individual participants characteristic of shared intention is not determined by a future-directed plan and the rational pressure to be responsive to and coordinate with others, it typically engages. Rather, in the free jazz case, the performers’ connection and interplay depend on the players’ readiness to feel each other out, by listening to each other playing, in a way that no doubt presupposes the Husserlian retention-protention scheme.
Keywords No keywords specified (fix it)
Categories (categorize this paper)
DOI 10.1007/s11097-019-09640-7
Edit this record
Mark as duplicate
Export citation
Find it on Scholar
Request removal from index
Translate to english
Revision history

Download options

PhilArchive copy

Upload a copy of this paper     Check publisher's policy     Papers currently archived: 69,160
External links

Setup an account with your affiliations in order to access resources via your University's proxy server
Configure custom proxy (use this if your affiliation does not provide a proxy)
Through your library

References found in this work BETA

Phenomenology of Perception.Maurice Merleau-Ponty - 1962 - Atlantic Highlands, New Jersey: The Humanities Press.
On Social Facts.Margaret Gilbert - 1989 - Ethics 102 (4):853-856.
The Free-Energy Principle: A Rough Guide to the Brain?Karl Friston - 2009 - Trends in Cognitive Sciences 13 (7):293-301.

View all 36 references / Add more references

Citations of this work BETA

No citations found.

Add more citations

Similar books and articles

Improvisation as Liberation: Endeavours of Resistance in Free Jazz.Thomas Kocherhans - 2012 - Cuadernos de Filosofía Latinoamericana 33 (106):39-52.
Knowing as Instancing: Jazz Improvisation and Moral Perfectionism.William Day - 2000 - Journal of Aesthetics and Art Criticism 58 (2):99-111.
Notes on Aristotle’s Concept of Improvisation.Andrew Haas - 2015 - Journal of Aesthetics and Phenomenology 2 (1):113-121.
Jazz Improvisation, the Body, and the Ordinary.William Day - 2002 - Tidskrift För Kulturstudier 5:80-94.
The Freedom of Collective Agents.Frank Hindriks - 2008 - Journal of Political Philosophy 16 (2):165–183.
Adorno on Jazz and Society.Joseph D. Lewandowski - 1996 - Philosophy and Social Criticism 22 (5):103-121.


Added to PP index

Total views
33 ( #343,494 of 2,499,375 )

Recent downloads (6 months)
2 ( #278,163 of 2,499,375 )

How can I increase my downloads?


My notes