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When a young musician asking you to talk about improvisation, it is more difficult to answer. If we want to know what is exactly what is meant by the expression at the same time more difficult and more immediate - perhaps the least discussed - do not know if you're more ignorant or more insinuating her. Why find in her eyes a kind of complicity, an insistent gaze, like someone who wants more than one answer. Our thoughts turn to the word 'provocation': try to get in trouble, he wants to know precisely what that expression means that you have used many times without ever defining it and then your answer is an answer to her, only her? You have to find the words that you expect. We will test them as male, as a musician, as a 'master'. Ti rises to the dignity of his master and you have to keep the place you placed: you can not back or pretend not to understand. He does not want to talk about music. He wants you to know what the source farther away, the root of a musical practice that establishes itself, is set up radical contingency , indeed! From which region you come from the fact that you get to improvise? What precedes you? What follows then that 'say' in music? More. How to get to be 'radical' the contingency of which you speak and what kind of 'contingency' is that which is established in practice? and that means 'practice'? And how your practice is different from that which would have her, she's a woman? There is a feminine way of 'performing' in musical improvisation? (I thought of the name Rita Marcotulli, but a name is enough to justify a 'theory', even to justify the idea that there is a specifically feminine way of doing improvisation?)
There 's been the case. It made me all these questions and maybe more. These are the most important, at least for me. Surely, I will not answer all, judging from the wry smile with which he departed at the end of the lesson.
For me, this is eternal arrive instantly when everything is in order, inside and out more than me. It 's easy to have the tools and people to the desired location, after you create the right atmosphere, but if we have never met you soon discover that they are only excuses that camp when there is no order in it. Not we are ready. Here is another 'secret' of Mark Serrani revealed! I will be so much as you want, but you try it to have eternity in time! Should fire at the same time a clear mind, you need to see what he stands there in front of you ...
The practice of music is a bit 'as a journey. [...] We should not necessarily know how long the journey, or where we are going. It can not happen to enter any territory, or that it proves a dismal swamp that no one desiderererà visit again, but when we appear, albeit briefly, new beautiful landscapes, all will be even more surprising because unexpected. (M. Vitale Looking for a shared sound: the musical improvisation between education and training , Franco Angeli, 2004, p.9)
Music Improvisation is therefore experiment of identity. The thought of improvising music focuses on the experience of his own universe that connects a subject - himself, his musicianship - an object - the sound - a living history, emotional, rational, but that is only partially known .
My student was particularly Critics appreciated these accents, and I could hear the deep sincerity. Maybe you expected me to say: it takes temperament, and strong knowledge of the science instruments ... I spoke to, however, identity uncertain, even frail. I am convinced that it grows with your music. I have found another 'secret' of Mark Serrani! Shyness? You still think it's a way to behave like mine is a sign of poverty, lack?
also find themselves facing a young musician, without being able to say with certainty what it hides his soul is an easy task? I am not speaking of respect, to which it is due, otherwise I would not be a man worthy of the name and she would not be a student who is entrusted to me ... I mean I respect you want, but we also want to contact, transport, and enthusiasm. And how do these things without falling into the ambiguity, ie not you think an interest that goes beyond music?
Some time ago I wrote an existence suspended? ". Here, these are the times when you may doubt me, what I'm doing. In reality, there is always to find a measure of human relationships. I'm on this side. I prefer to lose valuable opportunities to be in ecstasy in front of a woman, not because it's my woman and then only because I believe that music should bind us. A student is a student. It 'a challenge the request that threw me when I asked what you think about a woman who improvises. You will understand the emotion I felt, if you think the fact that some people believe that women have no soul, they are just impulse and desire ... So, should I venture into its territory: to say that she has a soul, that I see and appreciate ... Do you understand where is the challenge? They are called into question. It 's like I was saying, try to say I am not a woman, I do not have feeling ... So, if you are not a piece of wood, try instead to say what you feel when you find yourself in front of me, I am a woman ... Of course, talking about music is an emotion unknown to her. Even this 'zero degree' of communication between us threw me the center of the terra incognita that we call 'radical contingency' of our practice.
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