Second Person Attributions in Jazz Improvisation

This article aims at identifying the second person attributions carried out by duets of musicians during jazz improvisation and to relate them to the sonic-kinetic features that express the musicians’ attributed intentional states. We conducted a mixed-methods study where duets produced improvisatio...

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Bibliographic Details
Published in:	Teorema Vol. 41; no. 2; pp. 81 - 107
Main Authors:	Tanco, Matías, Pretti, Patricio, Valles, Mónica, Pérez, Joaquín, Marchiano, María, Milomes, Luciana, Pissinis, Juan Félix, Martínez, Isabel Cecilia, Damesón, Javier, Gimenez, Mariel Yanina
Format:	Journal Article
Language:	English
Published:	2022
Subjects:	atribuciones de segunda persona improvisación en jazz interacción Interaction Jazz Improvisation Music música Second Person Second Person Attributions segunda persona
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Summary:	This article aims at identifying the second person attributions carried out by duets of musicians during jazz improvisation and to relate them to the sonic-kinetic features that express the musicians’ attributed intentional states. We conducted a mixed-methods study where duets produced improvisations under different visual and auditory conditions of mutual perception. Results show that (i) musicians mutually attributed musical intentions based on their direct ‘reading’ of the partner’s sonic gestures; (ii) improvisations showed idiosyncratic features that persisted across trials; and (iii) jazz interaction bear similarities with communicative musicality in early infancy: imitation-variation emerges as an indicator of communication between musicians. Este artículo propone identificar las atribuciones de segunda persona realizadas por dúos de músicos de jazz y relacionarlas con los rasgos sonoro-cinéticos que expresan los estados intencionales atribuidos. Se realizó un estudio de método mixto donde los dúos produjeron improvisaciones bajo diferentes condiciones de percepción visual y auditiva mutua. Los resultados indican: (i) atribuciones realizadas mediante la ‘lectura’ directa del gesto sonoro del otro; (ii) rasgos idiosincráticos que persisten a través de las condiciones; (iii) las interacciones de jazz guardan similitudes con la musicalidad comunicativa temprana: la imitación-variación es un indicador de la comunicación entre los músicos.
ISSN:	0210-1602