Jazz as Narrative: Narrating Cognitive Processes Involved in Jazz Improvisation

This chapter examines jazz improvisation, using the concept of narrative in two ways. First, it addresses narrative as a problematic metaphor- “improvisation is story-telling.” Although jazz musicians must remain aware of the narrative frame or schema of the song form while improvising variations for their own “story,” they also must react instinctually in real time to the other musicians who are also creating variations. Thus, the improviser’s intention with respect to their own “story” may not be so simply defined. Secondly, it then addresses the problem with narrating how jazz improvisation happens, with respect to current neuroscience research. Improvisation requires the engagement of three coexisting forms of time cognition, and two distinct but competing forms of musical cognition: top-down "Projective Apprehension," while preparing for improvisation; and bottom-up "Proprio-Sentience," which enables unconscious interaction during performance. This model of improvisation becomes visible particularly in dysfunction, when jazz improvisers become "lost.”