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it's getting stopped right now

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improvisation and anomalies in music and

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I thought I would play for a few seconds

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you know some as soon as I walked into

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this hall I realize that the flugelhorn

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is gonna sound incredible here so I

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could not I could not resist it's okay

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to applause if you keep plus I didn't

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have anything as juicy as ayahuasca or

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lucid dreaming orgasm so I thought okay

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okay great well I thought I'd start by

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talking a little bit about what I do I

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technically I'm a professor of music as

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Tom mentioned and so I'm qualified to

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talk about jazz and what's interesting

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is that there's a colleague's that

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outside of music are unaware of the fact

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that a musical study is largely oriented

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towards classical music so jazz

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departments even though this is America

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jazz apartments are sort of you know

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outlying areas and so when you if you go

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to jazz education conventions and I know

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this is going to kind of ring true in a

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sense if you transpose it to your area

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we have often thousands of people

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dealing with this kind of thing all over

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the world commiserating about life at

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the edge as a jazz musician you know

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teaching music and a largely classical

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field and and I realized you know you

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know those of us do those of you dealing

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with in the sciences with anomalies you

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have this the same thing about in the

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last 10 years or so a very discernible

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movement in higher education to bring

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meditation practices into the classroom

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has been has been seen and I've been

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somewhat involved in this kind of thing

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too so when I go to Mike when I go to

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jazz conventions I say hey listen I get

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to commiserate on on three fronts now

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not just one and it's been a very

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interesting kind of experience and you

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know what's what's really fascinating

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about it is that in all of these areas

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if you look to the roots of the respect

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of knowledge traditions what what things

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are the areas that are sort of treated

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as anomalous are actually practices or

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areas that were core to the respective

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knowledge traditions for instance in the

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European classical tradition Mozart and

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Brahms and Chopin and Liszt and mainly

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the you know like it just a two or three

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hundred years ago the most of the

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musicians in in that tradition were

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improvisers and now in in musical study

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improvisation is anomalous in a sense

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it's not that word is not used so very

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interesting and when you look at

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meditation you know even in even in the

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Western intellectual tradition I think

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there's increasing awareness coming up

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now that the you know going back to the

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Greeks that that you know that whole

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philosophy culture dition was very much

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I get not just an intellectual

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philosophical tradition but a Content

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that if a content of tradition and

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Pierre had those happens to be a

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philosopher who's been writing about

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this quite a bit that you might know of

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and then this whole idea of anomalies

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which you know it's a very you know we

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sort of create these categories around

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things that seem to be you know on the

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fringes but the fringes are in

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relationship to kind of perspective in

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itself I mean so what we saw is when you

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look deeper into the tradition of

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scientific inquiry there I think there

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was a much more kind of robust

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receptivity to or towards things that

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are considered anomalous so there's in

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recent years has been kind of a

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resurgence of interest in improvisation

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not just in music but in a wide variety

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of fields and I think of improvisation

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is kind of a you know the surface of

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different kinds of improvising

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improvisation would appear quite

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different from one another

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musicians we create sounds you know

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Binet business entrepreneurs are dealing

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with sort of you know marketing

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strategies and that sort of thing but

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when we look at this sort of the inner

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workings of the improvisational

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experience especially as evidenced in

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peak episodes that we see a considerable

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common ground between these modes of

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creativity and I think of improvisation

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its kind of a core creative awareness

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heightened a moment-to-moment conception

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freedom from conditioning communion with

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surroundings heightened receptivity to

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new developments and I'll go into this

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in a little bit more that in music we

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don't really use the term anomaly

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anomaly so much but I mean that parallel

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is clear there is sort of in these

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heightened States and I'm sure that the

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great sign that you know they like to

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see the artists scientists and you know

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creative practitioners in many fields

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kind of tapped into the same thing where

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new developments that kind of challenged

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you know existing norms would not regard

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they were they were regarded with the

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sort of the sense of judgment that that

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kind of prevails in a more ordinary

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state of consciousness there I think

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when we get into this height creative

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state or improv is the Tauri state what

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regardless of feel that there's a

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cognitive stuff a more fluid engagement

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with whatever objects of perception that

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we're dealing with so in a certainly in

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music you know the idea of sort of

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radical departures from the norm sort of

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in that improv Tory state it's you know

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for improvisers

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you know it's kind of like you know it's

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a much lower stakes kind of variation

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from the norm you might say and so there

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may be insights from musical

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improvisation that to be gained in that

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can be applied to other fields in

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particularly science now here's a few

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here's a few quotes this is one of my

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favorite ones from jazz so even even

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you know there's is it possible that

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there are anomalies within anomalies

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such as is anomalous in the broader

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spectrum of musical study and then even

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within jazz we have what we call the

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Jazz Wars I don't know if you have

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things like that in science but I'm sure

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I'm sure you different and so this is

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from Andre oh dear each of us has been a

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classifier and when you get to any time

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you get to the word jazz here you can

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just put it put in the word science and

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yield there we have liked a certain

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quality and a certain kind of jazz a

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certain kind of science and this is this

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is if another kind lacks that quality

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our reflex may be to exclude it from the

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world of jazz we need to be protected

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and be assured familiar sound or

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surroundings are the best shield against

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fear we wear which a preventive war you

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all know what that is destroying the

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enemy before he can destroy us anything

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that can't be immediately assimilated

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already familiar and admired Merle is

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destroyed before it can affect our

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sensibility in any way and you know I

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was actually frantically looking for now

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sort of parallels in science and I

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couldn't find anything I know you have

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them where you have this militaristic

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sort of reaction to anomalous sort of

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things but I just picked up Dean

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Raiden's two books ago I guess now and

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found a few things my opinion concerning

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the findings of parapsychologists is

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that many of them are dependent on

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clerical statistical errors in fraud and

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this is a kind of a juicy one too if

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such results are correct we might as

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well turn the National Institute of

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Standards technology into a casino in

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our physics classes into seances I don't

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know if we have now we have division for

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sure and music but I guess not quite

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like that so let's go into a little bit

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what you might call the inner mechanics

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of the improvisation anomalies

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relationship I have this thing called by

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the artist paradox which is it can

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really be applied to just about any

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field where you'd have you have the

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necessity to develop the craft in your

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field you have to you know what music we

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call our chops and to develop

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laughter you have to and I think music

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and sports are actually particularly

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vivid in this way you have to practice

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every day in many hours a day over years

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and you kind of internalize certain you

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know kind of your skill set at the same

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time there's a price tag that comes with

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that and what is that that is there's an

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inherent tendencies towards conditioned

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patterns that inhibit creativity inhibit

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spontaneity inhibit the ability to be

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able to engage in a given moment sort of

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just on the in that terms of that moment

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without all these attachments to past

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behaviors and in future sort of

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expectations so how is the paradox

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resolved in an expanded state of