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Playing Together: Four Levels of Improvisation and Two Axes of Appreciation 9.2 193 Two Axes of Musical Appreciation With this statement, Roder alludes to one of Improvised Musicâs greatest conundrums - his admission that âIt cannot work!â raising all manner of questions as to why an audience should pay money to hear music that doesnât work, why the musicians donât try and make it work better, and, from an even more basic point of view, what it means to say that an improvisation âworksâ, or doesnât work, at all. A recurring theme throughout fieldwork, musicians and listeners alternated between two levels of appreciation and analysis (in addition to the differentiation between individual and group levels outlined in section 8.1), and these axes of appreciation directly suggested the need to separate the musical/aesthetic/sounding outcomes of an Improvised Music performance from the processes and interactions that generated it. As well as facilitating the subsequent discussion of levels of improvisation (section 9.3), this section acts as a precursor to Chapter 10 (which explores what musicians and expert listeners considered to be âgoodâ and âbadâ Improvised Music in more general terms), and proposes a theory which allows for a meaningful differentiation between performances with good âmusicalâ outcomes, and those which exhibited good interactional processes but which âfailedâ on the âsoundingâ/aesthetic level. These axes of appreciation were by no means mutually exclusive, and, just like the four levels of improvisation that this chapter is concerned with, an understanding of these axes necessitates the clarification of Improvised Music-specific definitions of âworkingâ and âgoodâ music, as well as concepts including âriskâ, âhonestyâ and âsearchingâ. Axis 1: The âMusicalâ Level and Unified Sonic Outcomes Improvised Music performances that worked on the âmusicalâ level were generally considered to be musical outcomes so clear, well-structured and united that âevery note fits - it could have been written outâ,27 where âeveryone actually finds their absolute place in the thingâ, or, as 48-year-old Greek drummer Yorgos Dimitriadis described, where: You have your place, your space, what youâre supposed to do [and] so does everybody else... itâs like rock... [when] everything clicks together, and when it all clicks, it rolls. [This] happens also with our music. [...] What I love, is this kind of groove that you cannot put your finger on, you cannot say âOK, bass drum goes âboom boomâ, the bass goes âda daâ, guitar goes âjagada jagadaâ. â [...] It locks together, it changes all the time, but it 27 See also Rudi Mahallâs comments on p. 157.