FAQ

Is ISIM mainly devoted to stylistically open, or eclectic forms of improvisation?
Where do traditional stylistic approaches fit in?

ISIM embraces all forms of improvised music. This includes stylistically open and eclectic improvised music, which is where ISIM is unique and why the organization appeals to improvisers coming from that perspective. But many such improvisers come up through intensive engagement in one or more traditions, which are not only rich sources of skills but great music as well. Musical evolution is inclusive; new developments do not supplant past practices, but rather extend the continuum whereby past and present coexist. Some creative artists orient toward more traditional forms of the continuum, others toward more hybrid or contemporary forms. ISIM embraces the entire musical landscape through the lens of the core improvisation process that has given rise to and sustains that landscape.

How does one develop stylistically open improvising skills?

Here is where there is a great need for new approaches to learning and teaching improvisation. Style-based approaches abound, and there is no question that these are invaluable. But alternative methodologies are hard to come by, even though some ISIM members have developed approaches of this nature they use in their own work. ISIM will promote further development and availability of these resources.

How can ISIM help classical musicians who have never improvised but would like to learn?

Stylistically-open methods can be highly valuable for classical musicians because they tend to be process-oriented, particularly at the outset. This allows beginning improvisers to tap into familiar stylistic terrain rather than having to deal with new style constraints. Once musicians gain confidence and comfort in stylistically open formats, they have an internal basis that enables them to plunge into whatever styles they choose.

Where does jazz, which many would argue is the predominant improvised music of our times, fit into the ISIM vision?

Jazz is an important genre in the musical world for several reasons. Aside from its deep improvisational aspects, it is rooted in rhythmic, tonal, structural, and inflective devices that have had enormous impact on, and have infused influences, from much of the broader musical landscape. Jazz is also a potent source of tools for contemporary improvisers of a variety of orientations. Moreover, inherent in the jazz tradition is the interplay of exploration of new possibilities and celebration of past treasures that is central to ISIM’s vision, as is jazz’s spiritual legacy.

How does ISIM’s perspective on jazz education differ from that of mainstream jazz education?

ISIM views the improvisation process as a gateway to a broader creative expanse, which includes jazz.  Jazz education views jazz as the gateway to that broader creative expanse, even if the argument might be made that jazz education has not kept up with the creative vitality of the jazz tradition which, since its inception, has continually probed new terrain.  Here it is important to acknowledge that jazz education has made significant strides against formidable obstacles—many of which are still in place—in the course of its evolution. Where ISIM can enhance jazz studies is in the expanded palette of improvisatory strategies it advocates. Trans-stylistic, or stylistically-open improvising methodologies, for example, can expand the horizons of aspiring and competent jazz improvisers, and allow them to not only integrate new influences into their jazz playing and writing, but also to see the jazz tradition anew.

What about overall music curriculum reform—how will ISIM’s efforts differ from conventional reform approaches?

ISIM embraces efforts to diversify musical study and include improvisation in a greater capacity for all music students. There has been no dearth of appeals along these lines in National Association of Schools of Music, Music Educators National Conference, International Music Council, and other music learning circles. However, few would disagree that, overall, progress has been minimal. At best, improvising and composing are ancillary aspects of the curriculum, available as one or two term introductory courses, or electives. Many music majors still graduate with no experience in these basic processes. ISIM advocates wholesale reform, from the core curriculum on up, so that today’s music students graduate with extensive experiences in improvisation, composition, and diverse musics; basic requisites for musicianship in our times.

Could you say more about improvisation-based research and what directions ISIM might pursue in this regard?

Musicology has generally neglected both composition and improvisation processes, favoring instead the historical and structural aspects of compositions. In short, product has taken precedence over process, and improvisation, lacking notated scores for analysis, has received scant attention in research circles. Even with the flood of jazz research in recent years, there is still very little about the cognitive or psychological dimensions of improvisation: the decision-making process, the genesis of ideas, how time is experienced, transformations in consciousness, etc. Inquiry into these areas is essential to a substantive understanding of improvisation, and arguably the musical world.

Where did ISIM originate?

The idea for ISIM was initially conceived by Ed Sarath, Professor of Music and Chair of the Department of Jazz and Contemporary Improvisation Studies at The University of Michigan, and was inspired by the UM Creative Arts Orchestra. The idea was brought to life with the help of Sarah Weaver, Mark Kirschenmann, and many other individuals who share its ideals.

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