Improvisation, Creativity, and Consciousness: Jazz as Integral Template for Music, Education, and Society

490 Pages·2013·3.994 MB·English

by  Edward Sarath

Improvisation, Creativity, and Consciousness
SUNY series in Integral Theory
—————
Sean Esbjörn-Hargens, editor
Improvisation, Creativity, and Consciousness
Jazz as Integral Template for
Music, Education, and Society
Edward W. Sarath
Cover image © Stephen Moore / iStockphoto.com
Published by State University of New York Press, Albany
© 2013 State University of New York
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Library of Congress Cataloging-in-Publication Data
Sarath, Edward.
Improvisation, creativity, and consciousness : jazz as integral template for music,
education, and society / Edward W. Sarath.
p. cm. — (SUNY series in integral theory)
Includes bibliographical references and index.
ISBN 978-1-4384-4721-6 (hardcover : alk. paper)
1. Music—Psychological aspects. 2. Improvisation (Music) 3. Jazz—
Instruction and study. 4. Interdisciplinary research. 5. Wilber, Ken. I. Title.
ML3838.S19 2013
781.65'11—dc23 2012027592
10 9 8 7 6 5 4 3 2 1
Contents
List of Illustrations vii
Acknowledgments ix
Introduction 1
Part I. Creativity, Consciousness,
and the Integral Vision
1. The AQAL Framework 25
2. Improvisation-driven Growth of Creativity and Consciousness 37
3. Meditation-driven Growth of Creativity and Consciousness 79
4. Integral Evolutionary Dynamics 123
Part II. Jazz: An Integral Reading
5. Jazz and the Academy 149
6. Invention: Improvisation and Composition as Contrasting
Pathways to Transcendence 169
7. Interaction: A Systems View of the Improvisation Process 207
8. Individuation: An Integral View of Personal and Collective
Style Evolution 223
9. Jazz: An Integral Reading 245
vi Contents
Part III. Change
10. The Music School of the Future 291
11. Paradigmatic Change and the Twenty-first-century Academy 347
12. Planet Earth Takes a Solo 397
Notes 415
Bibliography 449
Index 467
Illustrations
Figure 1.1 Four Quadrants (after Wilber) 27
Figure 2.1 Indicators of Creativity and Consciousness
Development 43
Figure 2.2 Four Levels of Creativity and Consciousness
Awareness 52
Figure 2.3 Indicators of Level I Awareness (Modernism) 54
Figure 2.4 Emergent Indicators of Level IIA Awareness
(Postmodern A) 57
Figure 2.5 Emergent Indicators of Level IIB Awareness
(Postmodern B) 61
Figure 2.6 Emergent Indicators of Level III Awareness (Integral) 65
Figure 3.1 Ordinary Consciousness 85
Figure 3.2 Transcendence in Meditation 87
Figure 3.3 Active Transcendence 91
Figure 3.4 Distinctions Between Various Processes According
to Self-Mediated and Object-Mediated Parameters 111
Figure 3.5 Nested Synergies: Primary, Secondary, and Ancillary
Creative Processes 114
Figure 3.6 Nested Synergies Expanded: Meditation and Primary,
Secondary, and Ancillary Creativity 115
Figure 5.1 Four Perspectives of the Jazz Tradition 155
viii Illustrations
Figure 9.1 West-African Polyrhythmic Patterns Possibly Seminal
to Swing (after Chernoff) 259
Figure 9.2 Jazz’s Process-structure Scope and Great Nest of
Musical Being 271
Figure 10.1 Primary Differences Between Conventional and
Integral Schools of Music 295
Acknowledgments
Inasmuch as it would be impossible to acknowledge all the individuals to
whom I owe gratitude, the following list is partial at best. I begin with
a big thanks to my colleagues, past and present, in the Department of
Jazz and Contemporary Improvisation at the University of Michigan: Geri
Allen, Andrew Bishop, Vincent Chandler, Gerald Cleaver, Sean Dobbins,
Michael Gould, Marion Hayden, Robert Hurst, Andy Kirschner, Mark
Kirschenmann, Bill Lucas, Frank Portolese, Ellen Rowe, Stephen Rush,
Martha Travers, Roland Vazquez, and Dennis Wilson, with the fond-
est memories of my friend, colleague, and ascended jazz master Donald
Walden, always close to my heart. Great appreciation goes to Paul Boylan,
Dean of Michigan’s School of Music for the first half of my tenure there,
for creating a climate conducive to asking big questions in a field not
always conducive to such, to Professor Donald Sinta for supporting me
in those fragile early years, and Senior Vice Provost Lester Monts for his
ongoing support and inspiration for a number of projects as well as com-
mitment to diversity and the arts. Special thanks to Richard Mann for
being such a great colleague and cohort in bringing consciousness studies
to the academy, to Henryk Skolimowski for his inspiring wisdom and
support of my work, and to David Liebman for being a great inspiration
and mentor throughout my professional career.
All appreciation to everyone who worked with me in launching
and sustaining the International Society for Improvised Music, includ-
ing Douglas Ewert, Mitchell Gordon, Maud Hickey, Betty Anne Younk-
er, Karlton Hester, James Ilgenfritz, Billy Satterwhite, Michael Nickens,
Ladonna Smith, India Cook, Jin Hi Kim, Stephen Nachmanovitch, Kate
Olson, Bill Johnson, and Sarah Weaver.
Thanks as well go to Terri Adams, Kwasi Ampene, Molly Beauregard,
Judith Becker, Dan Barbezat, Phillip Bowman, Mirabai Bush, Marionette
Cano, Rui Carvalho, Mark Clague, Richard Crawford, Allan Combs, Nancy
Cook, Robert Culver, Diana Denton, Jane Dutton, Shekinah Errington,
ix