The improvisatory approach to classical music performance: An empirical investigation into its characteristics and impact

This paper explores the characteristics and impacts of adopting an improvisatory approach to the performance of classical chamber music. Improvisatory approaches to the classical repertoire, once widespread, are now rare in contemporary professional performance practice and so there are few opportunities to study it. This study attempts to fill a gap in knowledge by obtaining data during a live professional concert performed by a chamber trio. Each of five pieces was performed twice, with and without the adoption of an improvisatory approach. The contrasting timing and dynamic features of the two performances were analysed, differential audience response was measured by questionnaire, and synchronised comparative EEG analyses were undertaken on data from all three performers and two audience members. Audience members rated the improvised performances more improvisatory in character, more innovative in approach, more emotionally engaging, more musically convincing, and more risk-taking than the non-improvised (regular) performance. During the improvised performances, the musicians showed less activity in cortical areas associated with sustained attention and more activation of motivational areas and areas related to free will as well as planning and coordination of movements. The improvised performances resulted in greater activation of areas for motor planning in both performers and audience members. Improvised performances were characterised by a larger tactus and a more coherent phrase structure than the regular performances, which displayed a regular and somewhat rigid shortterm pulse. The data provide prima facie evidence that improvised performances of the classical repertoire can heighten musical quality and audience engagement.