This paper describes my own personal journey as a jazz musician and how the practice of improvisation has led me to a more humanistic view of life. Through the practice of meditation and introspection, I began to contemplate the nature of music-making and its many benefits for the mind, body and spirit. This has led me to pursue graduate studies in music therapy, a field devoted to the science and art of using music to help people achieve non-musical goals which vary from self-awareness, expressive communication, physical rehabilitation, cognitive development, and quality of life enhancement. I will briefly introduce the philosophy of Paul Nordoff and Clive Robbins, the founders of Creative Music Therapy and discuss my own approach. I will also describe how improvisation is incorporated in a music therapy session and how it can be used clinically. Finally, I will close with a personal vignette about an adolescent client who has achieved focus, self-expression and self empowerment through improvisational work in music therapy.
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My music is the spiritual expression of what I am — my faith, my knowledge, my being … When you begin to see the possibilities of music, you desire to do something really good for people, to help humanity free itself from its hang-ups...I want to speak to their souls.
– John Coltrane
From John Coltrane (n.d.) (online quote)
Discovering the Spirit of Jazz
I remember the night my soul was awakened to jazz. It was while I was studying at McGill University doing my bachelor’s degree in music. I was sitting in a jazz bar named Biddles (now the House of Jazz). Charles Biddles, the bass player and owner of the restaurant has been recognized for his tireless efforts to promote jazz and making the first steps to establish the International Jazz Festival in Montreal. That night as I listened to his quartet I had an epiphany. I was so entranced by the music that I told myself that some day I would be on stage playing this kind of music. Of course I knew a long time before then what jazz was, but I had not yet truly experienced it like I did that night.
All my life I was trained in classical music, but improvisation was something that came naturally to me. I used to compose music with a friend down in his cold basement at the age of 12. I delighted in the infinite possibilities of sound, especially harmony. I took classical piano through the Royal Conservatory of Toronto. It took me a long time to realize why I found it a struggle to practice classical music. The simple answer was that it was not my music. I was in need of more freedom because I had a composer’s mind. I would practice my Beethoven sonatas and my Bach preludes and fugues, but although I learned to enjoy it, I always preferred improvising at the keyboard and exploring harmonies. I wanted to understand the ‘matrix’ of music. What was it that these genius composers tapped into? How did their compositions work? I needed to understand at a deeper level what the process of musical creation was all about.
It was not until I came to Montreal for my university degree that I realized that it was time to change my identity as a musician. Until I met my last teacher, Tom Plaunt, I had no one to communicate with about this whole other aspect of music-making. I had no one to share my love of improvisation with. I still remember the feeling of liberation I had when he asked me to join his improvisation course for non-jazz majors. Finally, I could express myself in the way I always wanted—freely—and be recognized for it!
During this period, I listened to many jazz artists such as Oscar Peterson, Bill Evans, Miles Davis, John Coltrane and Keith Jarrett. Smaller combos (trios, quartets and quintets) of the 1950-60s were my main interest. What I loved about jazz improvisation was its immediacy, spontaneity and boundless creativity. I also marveled at each performer’s distinct personality and sound at the instrument. Nowadays, one must appreciate Miles Davis’s talent for combining musical personalities to create some of the most memorable ensembles in the history of jazz. This gave me the insight that jazz was not only an affirmation of the individual but that combos could be compared to a kind of ‘micro-society’ where each individual performer had a chance to speak his or her mind as the other members listened and commented. This communicative aspect of jazz was reflected in individual solos: as the soloist told his story, he or she was inspired by the sound of the ensemble, while the ensemble supported and responded to the soloist’s musical sentences. As each player listened and surrendered to the moment, the effect resulted in a coherent whole.
The immediacy of self-expression was one of the aspects I valued most about improvisation. I believe that the true spirit of jazz is to create in the present moment. The true joy of listening to jazz is to witness the artist in the act of creation in the here and now and to capture the moments that reveal the sacredness of life. I believe that it was this sacredness that I experienced the night I listened to Biddles’ quartet. That’s when I finally understood jazz. I did not yet know its language, techniques, conventions or history; but I knew that one day I would be up on stage doing it. Thus, I set foot on a new path as a musician: I was to study the art of improvisation and learn the language of jazz.
Music as Meditation
The year after I completed my B.Mus, I was free to do what ever I wanted with my music. I would spend much more time at the piano, inspired to become a jazz pianist. It was nice to have a piano at home accessible 24 hours a day. When inspiration came I played. Other times I practiced my routines following a structured schedule. When I got tired I stopped. I was practicing for myself only and it is then that I began to truly discover the art of mastery. It was also a period when I experimented with meditation.
I never considered myself as highly disciplined when it came to practicing. When I practiced my sonatas, I would often stop on a chord and then begin to improvise with it. I would explore for half an hour and then, as I suddenly woke up from my musical dream, I would remember why I was truly at the piano: to learn my sonata. But I later recognized that this was not wasted practice time. I was taking the time to familiarize myself with sound. Although it was not the traditional kind of practicing, I got to know the keyboard and the language of western harmony. I believe that simply playing and listening are vital parts of any musician’s training. I would even consider them forms of practicing for it is through these activities that one learns to internalize music--to receive it rather than produce it. As long as a musician is mindful about what he/she is doing, he/she is most certainly practicing.
Through meditation, I became gradually more aware of my body and mind and noticed that my playing was more inspired. When I improvised, I became familiar with the different states of mind a performer could experience while improvising. More importantly, I learned that improvisational states of mind were very similar to meditative states of mind. When I improvised at the piano and got into a groove, I felt my awareness expanding and a deep sense of calm taking over me to a point where I simply surrendered to the music. Once or twice, I felt that it was no longer me that was playing but rather music playing through me. This state of mind—whether one chooses to call it a trance or a peak experience—had a definite deep healing quality, one that was quite undistinguishable from the effects of meditation. After it, I felt comfortable in my body mind and spirit. This led me to contemplate the nature of music and, more specifically, improvisation.
I came across a book by Kenny Werner entitled Effortless Mastery (Werner 1996) which not only gave me many insights about musical performance and its relationship with the self but confirmed many of my own intuitive discoveries. I was overjoyed to learn of another musician who was aware of the connection between music and meditation! I soon found out that it was not only this author, but many authors, including the great Sufi master Hazrat Inayat Khan, who devoted a lot of time speaking and writing about the topic. Kahn (1996) takes Werner’s insights much further in that he explains in his book Mysticism of Sound and Music the nature of music and its metaphysical relationship to human beings. He claims that music is all there is, for the universe is composed of nothing but vibration: “What makes us feel drawn to music” he says, “is that our whole being is music: our mind, our body, the nature in which we live, the nature that has made us, all that is beneath and around us—it is all music” (Kahn 1991, p. 12). Although this concept is not easily intuited or accepted by many people, perhaps some quantum physicists would agree with his statement, as they continue to uncover the true nature of the universe. Certainly, Kahn’s metaphysical perspective sheds light onto the mystery behind humanity’s love for music.
However, it would be preposterous to believe that the idea of music’s potential for healing is an entirely new one. Music has been considered sacred for centuries, but we have collectively forgotten it. As our culture throughout history gradually put more emphasis on rational thought, I believe it caused us to loose faith in our intuitive faculties. As I discovered the spirit of jazz and practiced the art of improvisation, I started to perceive music as something sacred--something to be treated with seriousness and respect.
Towards a New Vision
One day, I asked myself: What is music? What is it about music that I delight in so much? I think it was these sorts of searching questions that brought me to the field of music therapy. I started answering them by listing all the benefits music gave me. I noted that music helped me regain focus and developed my ability to concentrate. It also had the power to express all of my emotions often acting as a catharsis. It brought a sense of intimate community when people were visiting or when I performed with other musicians. Music even had beneficial physical effects. My blood circulation would increase, my anxiety faded away, and my muscles relaxed. But most importantly, through music-making, I gained many insights not only about my personality--through self-awareness-- but about life in general. It stimulated my thoughts and inspired me constantly. Perhaps I can even attribute my discovery and love of meditation to music itself. In sum, music had benefits on a holistic level. It was good for body, mind and spirit.
Having discovered this, I then asked myself a more daring question: Why do I want to become a professional jazz pianist? Obviously my passion for jazz was very strong (and still is today), but was it simply to become a great entertainer in jazz clubs and have an adventurous life, travelling from city to city with a trio or quartet? Perhaps all of this came into my decision, but I believe I was searching for something deeper. I wanted to help people with my music. I was thinking about choosing a career path. I wanted my career to involve what I was most passionate about, yet I wanted to contribute to society in a humanitarian way. There was no turning back now. I could not keep all these musical benefits to myself. I wanted to offer my music to others, some who perhaps needed it urgently. Thus, I committed myself to the field of music therapy.
Music-Centered Music Therapy
There are many different philosophies of music therapy, each having their own methods. I am currently trained from a music-centered approach. This entails that the music produced by both client and therapist is of paramount importance to the therapeutic process. My personal approach is based on the pioneering work of Paul Nordoff and Clive Robbins who have opened new possibilities for children and adolescents with special needs. Together they founded a model named Creative Music Therapy in the early 1970s which is based on the core belief that within every human being lies a musical ‘child’. This musical child is a metaphor for the part within our selves that is pure creativity and free from disease. When the musical child is allowed to express itself it brings healing and liberation from all negative conditions. This philosophy is concisely outlined in the recent textbook by Wigram, Pedersen & Bonde (2002), A Comprehensive Guide to Music Therapy:
“It is the belief in music itself as the medium of growth and development that
is at the core of this approach, and the belief that in each person, regardless
of disability, ill health, disturbance or trauma, there is a part which can be
reached through music and called into responsiveness, thereby enabling healing
and the subsequent generalization into the client’s life” (Wigram, Pedersen
& Bonde 2002, p. 128).
It would be important to mention that a person is not cured, but temporarily relieved of suffering. What is remarkable however is the amount of cases that have demonstrated long term progress or a significant change in behaviour during and after the therapeutic process. Although it is so far impossible to scientifically measure the deep changes that can occur in people, music undoubtedly has the power to move the spirit and awaken it permanently. When Albert Einstein was asked how he came to discover the theory of relativity he replied: “It occurred to me by intuition, and music was the driving force behind that intuition. My discovery was the result of musical perception” (The Language… 2006, Section: Albert Einstein Quotes on Music). Inspiration is a huge aspect of this work. People who suffer are often in need of inspiration, and music therapy strives most of all to fulfill this need.
One of the main tools of music-centered music therapy is the use of improvisation. One may be lead to believe that improvisation could never be musical if a person is not trained in music; it is not the case. Although an improvisation in music therapy differs greatly in aesthetic quality from an improvisation by two professional musicians, a trained music therapist learns to perceive the subtly of human expression in sound. It is my belief that no matter what sort of musical training a person has, his/her core personality and state of mind are directly transmitted in the music. The great saxophonist of the 1940s, Charlie Parker, once said: “Music is your own experience, your thoughts, your wisdom. If you don't live it, it won't come out of your horn” (The Evolution… 2006, Section: Spiritual Jazz Quotes). Therefore, the task of a music therapist is to give his client the opportunity to become aware of his or her highest self and to express it freely. In other words, the music therapist must support and contain the client’s music and allow it to grow. Since this approach is client-centered, it is important to adapt improvisation techniques to each client’s style and need. Trained in a music-centered approach, I take much effort in analysing recordings of my client’s musical interaction through improvisation. Through this medium, it is possible to gain insight into clients’ cognitive processes as well as emotional states.
Why is improvisation such a great tool? First, many clients who receive music therapy treatment are non-verbal (e.g. Autism or CP). The communicative aspect of improvisation allows them to express a wide range of emotions that perhaps cannot be communicated otherwise. As a matter of fact, music can often be a safer medium to express deep emotions for even the most verbal clients. Secondly, it gives clients a freedom that many do not have in their daily lives. For example, an autistic child who is constantly monitored and told how to behave properly in school can benefit from his freedom to express himself in a safe environment. Thirdly, improvisation is an in-the-moment process akin to meditation. It requires attention and focus which are prerequisites for conscious change. Finally, I believe improvisation is by nature a social activity. It often creates intimacy between people fairly rapidly. Throughout the therapeutic process a musical dialogue is created between client and therapist. As the interpersonal relationship evolves, so does the music.
Clinical Vignette: Client A
A was 15 years old at the time of therapy. His diagnosis was unknown as this information was kept strictly confidential by the group home where he had been residing for several years. In fact, very little was known about his personal life outside of music therapy. However, he has had previous music therapy sessions with another student music therapist at Wilfrid Laurier University. Upon observation, A was highly functional and verbal. His expressive language was slightly less developed than his receptive language. His IQ appeared to be slightly below the norm. I was told by A at the time of therapy that he was learning life skills and thus assumed he had psychosocial difficulties. A was referred to music therapy because he enjoyed music-making and was always pleased to attend music therapy in the past. He had a total of ten 30 minute music therapy sessions with me from January 19 to April 6, 2006. After the initial assessment sessions, I determined two goals for A:
1) A will improve his ability to focus for longer periods of time while playing music.
2) A will develop his musicality and self-expression
A was successful in achieving both goals which allowed him to gain a sense of empowerment, identity and accomplishment. It is evident, when comparing the first 3 sessions to the final 3 sessions, that A demonstrated much more focus. At the beginning of the process, A could not complete a single activity without beginning another one. His attention on an activity lasted from 1-2 minutes in general. Starting in Session 6 he played for 12 minutes without stopping and his musical responses were appropriate and unified. On average, improvisations lasted from 4-7 minutes. Some of the most musical ones, in my opinion, were achieved at the opening of sessions when A’s focus was at a peak. However, in later sessions, A displayed a high level of focus and musical sensitivity to the very end, in Session 9 playing more than 10 minutes near the end of the session.
A also made much progress in the areas of musicality and self expression. At first, although he showed a high level of musical ability and sensitivity, his progress in musicality was minimal due to his lack of focus. Once focus was maintained, musical development was possible. At first, he imitated my own rhythmic cells when I initiated musical dialogue. Eventually, he began to initiate dialogue on his own. Midway through the process it became apparent that A was aware of musical form and communicated it by playing appropriate phrases to signal the end of the form or phrase. At this time he also began to listen more to the music I was providing which made our improvisations more a product of two people. In other words, just as he drew me into his music, I was able to draw him in mine.
This example is taken from session 7. As we made our schedule for this session, I offered A a blues improvisation since he had requested it the previous week. He appeared excited to try it. The improvisation lasted only 4 minutes, but demonstrated A’s musical intelligence more than any other we had produced so far. A played intelligent phrases, sometimes simply following my pulse, other times playing in between my fillers in the right hand. More importantly, his musical ideas were coherent and out of them emerged a theme of glissandos. He recognized the blues form by finishing his phrases at the end of the form. Our strongest musical connection came at the end cadence as I left a silence for A to fill with a definitive final phrase ending on the tonic. In addition, we both finished with a simultaneous glissando in acknowledgement of our theme. Everyone in the room laughed.
Conclusion
As John Coltrane and Charlie Parker made the realization that music has deeper origins than what we can imagine, my goal as a music therapist is to pass on their message an advocate the link between musical improvisation, spirituality and healing. The field of music therapy not only bases its findings on rigorous quantitative and qualitative research but on direct experience with clients. It also requires the strongest musicians, for the work is of a serious nature and can affect people for the remainder of their lives. Music therapist must not only have the ability to understand the musical process but also music in its largest sense: the rhythms and tones that are innate in each individual person.
There is meaning in the world if we only take the time to look for it. The task of music therapists is to witness people’s personal stories and to uncover their beauty. This field takes a first step in consciously and systematically examining music’s therapeutic potential. As our health care system continues to evolve, striving for a more holistic approach to healing, I believe music therapy will become an essential part of it and will make a remarkable impact in the next few years.
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References
John Coltrane. (n.d.). Retrieved on June 2, 2006 from
http://photomatt.net/jazzquotes/John-Coltrane.
References
John Coltrane. (n.d.). Retrieved on June 2, 2006 from
http://photomatt.net/jazzquotes/John-Coltrane.
Khan, H.I. (1996). The mysticism of sound and music. Boston, MA: Shambala
Publications, Inc.
The evolution of jazz to spirit-music. (2006). Retrived on June 1, 2006 from
http://www.miqel.com/jazz_music_heart/jazz-spirit-evolution.html.
The language of spirit. (2006). Retrieved on June 1, 2006 from
http://www.miqel.com/jazz_music_heart/language-of-spirit.html.
Werner, K. (1996). Effortless mastery: liberating the master musician within. New
Albany, IN: Jamey Aebersold Jazz, Inc.
Wigram, T., Pedersen, I.N. & Bonde, L.O. (2002). A comprehensive guide to music
therapy: theory, clinical practice, research and training. Philadelphia, PA: Jessica Kingsley Publishers.
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