From the Prescriptive Model to the Informative Model: Formula and Forms of Creativity in Jazz Improvisation

This article deals with jazz improvisation, attempting to finding a way to define a model through which it could be conceived, developed and practiced. To begin with, we will investigate the traditional schema through which musical ontology has always considered musical entities, i.e. a prescriptive one. Later on, we will focus on a dynamic conception of formula – i.e., patterns that are able to express the musician’s individuality in a given performative context – and sketch the difference between figural and generative models. Particular emphasis will be given to the distinction between formula and mere licks, that can be defined as conventional, fixed and ossified formulas. In conclusion, we will see how jazz music can be based on a different, not pre-determined kind of structure, which we may call informative model. This allows us to abandon an inveterate prejudice, i.e. that jazz is an anarchic music, and, in addition, to better understand what criteria should we refer to in evaluating the creativity which is at stake into a jazz performance. I do not want to establish a qualitative hierarchy between the prescriptive and the informative model, but I would only like to highlight the fact that they give rise to different productive paths in making music.