Collective improvisation demonstrates a universal capacity for social, spontaneous and non-verbal creativity. Although the complexity of this unique artistic and psychological process is poorly conceptualised, it has parallels to discourse models of interaction, suggesting that insight can best be gained through close attention to how specific performance events are rationalised by performers.

This dataset consists of sound recordings of improvisations by free improvisers. They were recorded for the purpose of qualitative psychological investigation by Raymond MacDonald and Graeme Wilson (Reid School of Music, ECA, University of Edinburgh) into the processes of group improvisation.

The recordings were used to structure subsequent individual interviews with the improvisers, exploring their understanding of the choices made during their piece. Future items in this collection will come from projects under the research network Concurrent funded by the Royal Society of Edinburgh, which explores improvisation between performing arts practitioners across disciplines.

Items in this Collection

  • Meanings of Interaction Among Musicians Improvising (MIAMI) 

    Wilson, Graeme B; MacDonald, Raymond AR; Duff, Malcy; Duncanson, Lindsay; Gabrysch, Marek; Green, Owen; Keay, Cath; Knox, Dawn Felicia; Lloyd, Emma; Lozano-Thornton, Dario; Masson, Sheila; Parr-Burman, Michael; Robertson, Ali; Stockbridge, Jamie; Smith, Grant; Wallder, Dan; Williams, Sean
    Post-genre improvisation is a key direction in current music, and is aligned with trends in other arts (e.g. performance and sound art, collaborative or process-based practice). Collective improvisation demonstrates a ...