How do expert jazz musicians practice for creativity in performance?

现有的关于音乐家如何练习的研究大多集中在音乐家互动和解读书面乐谱的方式上。然而，并不是所有的音乐都是基于乐谱的。在爵士乐中，团体即兴创作是一个基本要素，是表演者实时创作音乐的一项高度创造性和对认知要求高的任务。小组互动是很常见的，爵士音乐家必须做好准备，在表演过程中遇到新的情况，并能够做出相应和适当的反应。为了实践这一点，音乐家必须从事所谓的探索性练习，也就是没有预先确定的结果的练习，在那里可以探索新的想法，然后结合现有的知识。研究表明，有效的练习不仅限于身体上的演奏，还包括仔细的计划和评估，但我们对音乐家如何计划和评估探索性练习的理解还不够深入。我的研究目的是探索音乐家如何计划、参与和评估他们的个人练习，所开发的材料随后如何用于表演，以及表演如何提供影响未来练习的评估功能。它将利用艺术家的访谈和对实践和表演的观察来加深我们对一般音乐实践的理解，并朝着爵士乐即兴创作的本体论的方向发展。

Much of the existing research into how musicians practice is focused on the ways in which musicians interact and interpret a written score. However, not all music is score-based. In jazz, group improvisation is an essential element, a highly creative and cognitively demanding task in which performers create the music in real-time. Group interaction is common, and the jazz musician must be prepared to encounter novel situations during performance and able to react accordingly and appropriately. To practice this, musicians must engage in what has been called explorational practice, that is, practicing without predefined outcomes and where new ideas can be explored and subsequently synthesised with existing knowledge.Research has shown that effective practice goes beyond physically playing the instrument and involves careful planning and evaluation, but our understanding of how musicians plan and evaluate explorational practice is undeveloped.The aim of my research is to explore how musicians plan, engage with and evaluate their individual practice, how the material developed is subsequently used in performance and how performance may provide an evaluative function which influences future practice. It will draw upon artist interviews and observations of practice and performance to further our understanding of musical practice in general and towards the development of an ontology of jazz improvisation.