JazzFlow-Analyzing "Group Flow" Among Jazz Musicians Through "Honest Signals"

In this project we aim to analyze “honest signals” between Jazz musicians by using sociometric badges with the goal of identifying structural properties of self-organizing creative teams. In particular, we are interested in the pre-requisites for “flow,” the state of work where “time flies,” and workers are at their most-productive best. We extend the concept of individual “flow” as defined by Csikszentmihalyi (Flow: the psychology of optimal experience. Harper Row, New York, 1990) to the group level (Sawyer in Group creativity: music, theater, collaboration. Psychology Press, Oxford, 2003; Group genius: the creative power of collaboration. Basic Books, New York, 2007), trying to identify some of the conditions indicative of the group flow state. We speculate that a band of Jazz musicians is particularly well suited to study group flow, because they are an archetype of a self-organizing creative team, involved in highly creatively work while passing leadership of the tune for the solo part from one band member to the next

A space for collaborative creativity : how collective improvising shapes ‘a sense of belonging’

In this contribution, we draw on findings from a non-formal, community music project to elaborate on the relationship between the concept of eudaimonia, as defined by Seligman, the interactive dimensions of collective free improvisation, and the concept of collaborative creativity. The project revolves around The Ostend Street Orkestra (TOSO), a music ensemble within which homeless adults and individuals with a psychiatric or alcohol/drug related background engage in collective musical improvisation. Between 2017 and 2019 data was collected through open interviews and video recordings of rehearsals and performances. Participant data was analyzed through inductive analysis based on the principles of grounded theory. One interesting finding was the discrepancy in the participant interviews between social relationships indicative of a negative affect about social group interaction versus strong feelings of group coherence and belonging. Video recordings of performances and rehearsals showed clear enjoyment and pleasure while playing music. Alongside verbal reflection through one-on-one interviews video recordings and analysis of moment-to moment observations should be used, in order to capture the complexity of community music projects with homeless people. The initial open coding was aligned with the five elements of the PERMA model. Overall, we observed more focus on Relationship (sense of belonging), Engagement (flow in rehearsals and performances) and Meaning (belonging to something greater than yourself) and less on Positive Emotion and Accomplishment (goal setting)

Physiological synchrony and shared flow state in Javanese gamelan: positively associated while improvising, but not for traditional performance

The experience of shared flow refers to the optimal balance between challenge and ability for a given task, resulting from interpersonal action in a group situation. The performance of Javanese gamelan is an ideal setting to investigate shared flow, due to the requirement that all performers on varying instrumental parts work harmoniously, allowing for shared flow and its native equivalent, ngeli. To minimise the disruption of flow, while still measuring it continuously, one way to assess a person’s state is by measuring physiological responses of the sympathetic (i.e., fight-or-flight) system, namely heart rate and skin conductance. Flow has been related to physiological signatures, and shared actions in music-making have been related to synchronised physiology. However, to our knowledge, no study yet has directly investigated the links between shared physiology and shared flow. Therefore, this study aimed to assess the associations between flow states, physiological synchrony, and Javanese gamelan playing. Subsequently, we tested for differences between advanced and beginner groups playing traditional gamelan pieces and improvising. Firstly, a factor analysis revealed a two-factor solution of Awareness and Absorption for self-reported shared flow. Next, using inter-subject correlation to assess synchrony and circular shuffling to infer significance, we found a greater proportion of significance in traditional playing compared to improvised playing for the experienced group, and the opposite for the beginner group. Lastly, linear mixed models revealed largely positive associations between synchronised physiology and shared flow during improvised playing, and negative associations during traditional playing, regardless of experience levels. This study demonstrates methodological possibilities for the quantitative study of shared flow in music-making contexts, and potential differences in shared flow experience in improvised and traditional, or prescribed, playing

Controllers as musical instruments, controllerism as musical practice - practices of a new 21st century musical culture

This thesis consists of an ethnomusicological approach to the development of Controllers as musical instruments, and conceptualizes Controllerism as a musical practice. I make a case for a revision in organology that includes Controllers, and other instruments of the computer society, by seeking out commonalities and providing comparative analyses between historical instruments and modern Controllers. I then provide definitions of the term Controllerism; by discussing its origins, history, musical logics, strains of musical practice, and current technological explorations. By situating the Controller and Controllerism in a cultural and historical timeline, I have traced informing logics that have led to the development of this new instrument and musical practice. Ethnography has been undertaken with informants from Europe, America and Japan in order to ascertain generalized understandings of the instrument and musical practice; and participatory action research undergone in three separate artist residencies with the intent of determining common perspectives and concerns of international Controllerists. A Portuguese case-study has provided a unique glimpse, by comparison, of this emerging art-form and growing mind-set in modern music.Esta tese é uma aproximação etnomusicológica ao desenvolvimento dos controladores como instrumentos musicais, e conceitualiza o chamado Controllerism como uma prática musical. Defendo a ideia de uma revisão no campo da organologia que inclua os controladores e outros instrumentos da computer society, procurando pontos em comum e providenciando análises comparativas entre instrumentos históricos e controladores modernos. Apresentarei definições do termo Controllerism; discutindo as suas origens, história, lógicas musicais, vertentes de prática musical, e as atuais explorações tecnológicas. Situando o controlador e o Controllerism numa linhagem cultural e histórica, identifico as lógicas que levaram ao desenvolvimento deste novo instrumento e desta nova prática musical. Para tal, elaborei uma etnografia com informantes da Europa, América e Japão com o objetivo de compreender noções comuns sobre o instrumento e a prática musical; fiz também pesquisa participativa em três residências artísticas, com a intenção de determinar perspetivas e preocupações comuns entre Controllerists internacionais. Finalmente, através de um estudo de caso em Portugal, providencio uma visão única, comparativamente falando, desta forma de arte emergente e estilo de vida na música moderna

Effects of improvisation techniques in leadership development

Studies show that improvisation in leadership decision making is on the rise, and it transpires in organizations 75-90% of the time, yet very little research has explored this skillset. No other leadership skillset that is applied two thirds of the time has ever been so underdeveloped. The purpose of this study was to assess the effects of a pilot workshop applying a Holistic Improvisational Leadership Model as developed by the researcher and based on the latest improvisation research. The study employed a mixed methods design to gather qualitative and quantitative data for a descriptive evaluation of the pilot training workshop. Nonproportional quota sampling and triangulation were used to maximize cross verification and validity of the data. This study explored the skills leaders acquired and applied during, immediately after, 1 month after the workshop, and in 3 months. The study was pilot-tested on 6 different groups and a total of 67 leaders from various regions, industries and organizations. Primary findings revealed that participants gained the highest benefits in working with others and their ability to lead. Executive and educational leaders gained the awareness that 79% of their decisions at work were made spontaneously as opposed to 71% for all leaders. 100% of executives and senior leaders indicated acquiring more effective listening skills. Moreover, the concept of competent risks and celebrating failure appeared to have the most transformational impact on the participants\u27 sense of self, willingness to take risks, and acquire new skills. The workshop seemed to bring participants\u27 stress level down to an optimal level and enhance mindfulness. Ultimately, it was concluded the study\u27s workshop was most effective as a continuous 3.5 hours. Learning to improvise experientially includes a process of unlearning old routines of decision making and re-learning more effective skills. Hence, the researcher recommends follow-up learning sessions to complete the cycle of learning. Utilizing grounded theory, the findings from the study led to the revision of Tabaee\u27s Holistic Improvisational Leadership Model. The researcher recommends following the model by teaching the competencies not only to leaders but to all employees for achieving OPTIMAL strategy and performance for the organization

Beyond Repetition: Investigating how Sanford Meisner’s training process diminishes self-consciousness and enhances spontaneity in actors

Investigating how Sanford Meisner's training process diminishes self-consciousness and enhances spontaneity in actors