In the research I have found that the inner images of the improvisers play an important role in the interaction. Below is a session focusing a performance with Impromans, where the inner images of the pianist Conny Antonov and me as a singer are presented in relation to the film. For more material similar to this, please see II. The improvisers’ inner images (p. 137) in the dissertation.
We can stop there. I remember what I thought, because just before, until that comment, I think I had another musical idea in my head… When we get the words “through”, and “cellar”, it is crystal clear to me what it is, in my brain. Then I have a word, cellar, that says very much, it has sort of a, a direction, in the music, but also a place, or an image and a place, which gives a lot of colors, and I can see it immediately. I see the cellar and I see what it is that I want to express in the music at that point…
I had thought of something very dramatic, which would be very dark. Pretty sort of thick…But when we get the year, at the same time, it is a layer too much, I think, which complicates it for me… I suddenly felt some sort of demand that the musical style was supposed to be from this decade. And then it suddenly became Barber, Menotti…. Copland, that sort of style, and it’s possible that it was helpful…. In this way I could focus on something, my motive or something that I have played a lot, and I thought that I could use this. But this didn’t occur anyway…. It became some kind of strange mixture between what I had thought of at first and what it became later. These two got to color each other, and in my body I couldn’t quite get them to click…
Interview with Conny, 130827