The following discussion presents an examination of non‑verbal communication within contemporary jazz. My attention is directed particularly toward recent developments in composition and improvisation. To do so, I first establish a clear definition of “communication” as it operates in contemporary jazz, drawing on ideas proposed by professional composers. Analysing this definition allows me to uncover the intricate connections between expressive musical behaviour and communicative processes. The central argument put forward in this article is that strengthening one’s musical ear directly enhances a musician’s capacity to communicate. Ear training, therefore, becomes the most crucial element in cultivating communicative skill within musical practice. My interest in exploring this topic arises from a combination of academic, artistic and professional engagements. My own musical work is closely tied to the notions of expressivity and communication in contemporary jazz, and I employ these concepts not only as a performer and composer but also in my role as a teacher. As an artist, I continually interrogate what communication and expressivity mean in practice. These ongoing reflections have generated a series of questions and uncertainties that have yet to be addressed in the literature, and which I examine in the sections that follow.
Download
Download XML