Ensemble Thinking

The article claims that establishing a creatively open environment is necessary for achieving success in the improvisational group. According to the article, the concept of openness is everything but a setting where competitors are encouraged to take a chance when submitting their ideas and are allowed to make their own decisions without interference (Martin). Additionally, Ensemble Thinking is a tool for creating spontaneous dance as well as one that accelerates its training. The author cites his experience of guest-tutoring at various colleges, where he found improvisation incorporated into the course for the mere reason of helping performers’ choreography: as opposed to the artistic language. In most cases, the tutor assigned to take students on improvisation may be awful of teaching it. At this point, an effective improvisation calls for an authentic and spirited environment to attain refined levels. Moreover, both the learner and the instructor require an atmosphere that enhances learning. According to the author, the aspect of culture plays a huge role when it comes to the students’ experience improvisation. While Japanese learners execute these performances effortlessly, because of a cultural emphasis in which much emphasis is attached on the needs of the group, on the other hand, American students, for instance, find it a bit complex (Martin). In short, through improvisation, the author aimed at developing a new method of making a performance that is not only fused but leverages the two magnitudes of prearranged, written content and free invention. Moreover, the author’s composition vacillates along an axis or continuum between the prearranged and the offhand. Essentially, the process deals with determining the point where the compositional ideas blend perfectly with other musician’s creativity. In the end, the author’s aim had been to establish space that leads to successful improvisation.

Works Cited

Martin, Nina. “Ensemble thinking: Compositional strategies for group improvisation.” Contact Quarterly 32.2 (2007): 10-15.