소통의 관점에서 본 접촉즉흥에 관한 연구

안신희 한국무용예술학회 2010 무용예술학연구 Vol.30 No.-

Study of Contact Improvisation which solves problems of communication with direct reaction between the body and another body has a very significant meaning in twenty first century where communication is considered as a big issue. Therefore, a purpose of this study is to abstract the common conditions which communicate to a concept of communication and, based on that, to identify communicating components expressed in Contact Improvisation. Process of this study is as follows. In chapter two, communication which contains a relationship is reviewed, and conditions of communication which can have a particular relationship are analyzed. In chapter three, ‘mart body which reacts’which is an important concept in Contact improvisation is looked at. In chapter four, based on the previous conditions of communication, components of communication expressed in Contact Improvisation are identified. As a result, it has been found out that communication does not simply mean understanding one another but provides opportunities to create more values of ourselves. A human joys of being alive when he becomes aware of hisexistence though meeting others rather than though his existence itself. True communication warms relationships between people and lead to change. Contact Improvisation is a dance which continues to develop and speaks for true communication with movement. Components of communication that Contact Improvisation has are as follows. Firstly, Contact Improvisation is only achieved by dancing with someone. If communication is achieved through a relationship, Contact Improvisation starts the relationship by a contact. A contact in Contact Improvisation contains cooperation and recognition of a partner as well as ‘transcendence’to develop myself to make the best harmony with the partner. Secondly, as a relationship can flow smoothly only when my reaction towards the partner’ reaction(demand) is appropriate Contact Improvisation is highly interested in reaction. This reacting is, as a part of communication, not a passive reaction but to make the most out of being with a partner. Wise people in the world says to identify differences from others and to maximize self’ capabilities(conditions) in order to decrease the differences. ‘est reaction’in contact is an opportunity for a self to grow up, and having an opportunity to enhance self’ life to its greatest potentials. Thirdly, a main subject of reacting is the body. Contact dancers define a body as ‘Smartly reacting body’and accept that it can achieve every potentials. Also, they try to get ‘Objective attitude’as a smart body, outstanding reflexes and intuition. This is a condition to obtain true communication and a method that approaches to deeper unconscious level than which masters of contact suggested of. Fourthly, Contact Improvisation stresses a body which is open to make a good contact, “seeing though the body”and “listening though the skin” Contact dancers extend their bodies with nature to create the best movement. They also try to listen intently to the voice of the body coming from their partners with all their senses in order to become one. An extreme harmony from ‘he third power’leads me and you who are transcendent to dance. Sharing a dance together helps creating strong team spirit and friendship. A purpose of communicating is to get better. I believe communicating is a certain space of life which gives a precious gift that I can get better when we strive ourselves to get better. It is hoped that this study is used as a basic resource for other studies on communicating or Contact Improvisation.

초등음악수업에서 단계적 접근 모형을 이용한 즉흥연주지도

최미영 ( Mi Young Choi ) 한국예술교육학회 2010 예술교육연구 Vol.8 No.3

음악수업에서 즉흥연주는 아이들에게 매우 유익한 음악 활동이다. 학생들은 즉흥연주를 통해 음악적 창의력을 계발할 수 있을 뿐만 아니라 음악적 개념을 활용하여 악곡을 표현하는 경험을 거침으로써 음악에 대한 종합적 이해를 도모할 수 있다. 또한 학생들의 즉흥연주를 통해 교사는 학생들의 음악 개념에 대한 이해를 평가하고 음악 학습의 부족한 부분을 파악할 수 있다. 그럼에도 불구하고 실제 음악교육 현장을 살펴보면 대부분의 음악교사들은 즉흥연주에 대한 경험이 부족하거나 즉흥연주를 지도하는 교수 기술을 갖추지 못하기 때문에 즉흥연주는 전체 음악교육과정에서 상대적으로 작은 비중을 차지하고 있다. 즉흥연주의 지도가 음악교사에게 매우 도전적인 일이기는 하나 즉흥연주활동은 2007 개정 음악과 교육과정에서도 계속해서 강조될 정도로 모든 학생들이 습득할 수 있는 중요한 음악 기술이다. 이에 본 연구는 Kratus가 개발한 단계적 즉흥연주 모델을 바탕으로 초등학교 5학년 음악수업에서의 즉흥연주를 위한 학습 활동을 제안함으로써 학생들에게 의미 있는 음악학습의 기회를 제공하고, 음악교사들에게 즉흥연주와 관련하여 새로운 교수전략과 지도방안을 모색하고자 한다. Teaching improvisation is one of the most worthwhile musical activities. Improvisation is an outlet for creativity and musical expression. Like no other form of music making, improvisation allows students to express music in the moment that is uniquely theirs. Another benefit of improvisation proposed by advocates of teaching improvisation is that students who improvise may develop improved technical skills, aural skills, and music-reading ability. Many music educators believe that improvisation may be one of the best ways to assess a student`s understanding of musical concepts or skills. Although improvisation has been a vital part of music making, it is inexplicably missing from most school music curricula today. With some exception, improvisation occupies a comparatively small place in a comprehensive music education. General music teachers are often so busy teaching their students how to sing and play instruments, read music, and perform pitch and rhythm correctly that they may neglect to teach improvisation. Part of this hesitation may be because many music educators were never taught how to improvise in their own formal music training, nor were they taught how to teach improvisation to their students. Coming from musical backgrounds with little or no emphasis on improvisation, many music teachers find that to incorporate into their teaching is a challenge. However, it is obvious that improvisation is a valuable musical skill for all music students to some degree the publication of the revised music curriculum in 2007 has continued to aware of its importance. Therefore this study suggests practical beginning improvisational activities for the 5th grade based on the seven sequential levels of improvisation model developed by Kratus. The suggestion presented in this study encourage experimentation by providing teachers with activities for creating a classroom environment that lends itself to risk taking and improvising on a regular basis.

즉흥을 사용한 무용실험그룹들의 특성연구

장지원 한국춤문화자료원 2013 춤과 지성 Vol.5 No.-

본 논문의 목적은 즉흥이라는 안무의 방법론을 사용해 미국무용의 실험적인 측면에 있어서 지 대한 역할을 담당했고 중요한 변화를 가속화시켰다고 사료되는 무용그룹들의 전반적인 활동사항과 안무방식․특성들을 분석해 그 중요성을 강조하는 것이다. 이를 위해 발생시기별로 그룹들을 조명 하면서 특히 이들을 하나로 연대시킬 수 있는 즉흥에 관해 규명하고 실험그룹들의 특성을 안무방 식의 측면과 정치․사회적 측면, 예술적 측면에서 분석해 즉흥성향을 논의하였다. 20세기에 급진적이고 실험적인 정신이 가장 비약적으로 전개되던 시기인 1960년대를 기점으로 저드슨 무용단(Judson Dance Theater)과 그랜드 유니온(Grand Union)은 개인의 창의성에 몰두하 면서 해프닝의 성격을 지녔고 이들의 강조점은 자발적인 즉흥(Improvisation)에 있었다. 이 시기는 타 장르인 연극분야도 역시 실험성이 촉구되었는데, 특히 리빙 시어터(Living Theater)와 오픈 시어 터(Open Theater)가 즉흥을 바탕으로 아방가르드적인 성격을 보여주었다. 무용계에서는 60년대 다 니엘 나그린(Daniel Nagrin)의 워크그룹(Workgroup)과 리차드 불(Richard Bull)의 뉴욕 챔버 댄스그 룹(New York Chamber Dance Group), 70년대 그랜드 유니온과 다이엔 멕킨타이어(Dianne McIntyre)의 사운즈 인 모션(Sounds in Motion)․스티브 팩스톤(Steve Paxton)의 접촉즉흥 (Contact Improvisation)이 즉흥을 사용해 새롭게 관객에게 접근했다. 이와 같은 실험그룹들의 대표적인 특성은 즉흥이라는 방법론을 통해 무용 분야에서 공연의 활 력소 역할을 했으며 기존의 전통에 대한 강한 반발과 재검토를 촉구했다. 따라서 특성분석을 통해 얻어진 결과로 안무방식의 측면에서는 일상적인 행위들을 수용해 공연 전체를 일상성으로 확대시 켰으며 공연과정에서 자발성․임의성․개별성이 부각되었다. 또한 즉흥작업에 있어서 완성된 형 태보다는 과정이 중시되었고 공연현장에 따라 유동성과 가변화되는 특성이 포함되었으며 동양적 정신세계가 폭넓게 반영되었다. 정치․사회적 측면에서 민주주의 사상을 표명했고 민족적․성적 정체성에 눈뜨기 시작했으며 신체에 대한 강조가 돋보였다. 예술적 측면에서는 타 분야인 음악 특 히 그 중에서도 재즈와 관련을 가지면서 즉흥성이 강조되었고, 더불어 무용의 본질인 신체훈련에 대한 관심이 고조되었으며 관객들은 기존 관객으로서의 이미지를 벗고 공연에 직접 참여․제작하 는 적극적인 역할을 담당하게 되었다. 결론적으로 본 논문을 통하여 그룹들의 특성을 바탕으로 무 용언어를 재발견할 수 있는 기회와 동작에 있어서의 다양한 접근법, 여러 매체의 활용들이 최대한 통합되어 독창적 방식을 전개할 수 있는 새로운 가능성을 발견할 수 있었다. This thesis is aimed to analyze various activities, choreographical methods, and characteristics of such dance groups as are regarded to have played a pivotal role in and brought about important experimental changes of dances in the United States by using the choreographical method of improvisation, with emphasis on the importance of the groups. To do that, the present author researched into such groups according to their generation time, examined ‘improvisation’ which can help incorporate the groups into one, and analyzed the characteristics of the experimental groups in the terms of their choreographical methods, political and social viewpoints. A radical and experimental spirit was spread the most rapidly in the 1960’s. The Judson Dance Theater was a pioneer of post-modern groups and The Grand Union is also focused on personal creativeness and inclined to happening, which makes much of voluntary improvisation. In a word, in the 1960’s~1970’s, many dances were staged via happening, performance, multimedia art event, and improvisation, and experimentality was also applied to other genres such as play, in which avant-garde representative troupes include the Living Theater and the Open Theater. The attention of people was drawn to such dance groups as the Workgroup of Daniel Nagrin and the New York Chamber Dance Group of Richard Bull in the 1960’s, and to the Sounds in Motion of Dianne McIntyre and the Contact Improvisation of Steve Paxton in the 1970’s. The said groups are characterized by the dance method of improvisation, which activates the performance of dances, and by their strong opposition to and request for reconsideration on the existing traditions. The analysis of the characteristics of the existing traditions results in the extensive application of ordinary actions to choreography and the incorporation of voluntaries, spontaneity, and individuality into dance performances. In the meantime, a focus is not put on a finished product of the improvisation work but on its process, and each of the dance performance has its own flexibility and changeability, extensively reflecting the Oriental spirit. Dances applied with improvisation represent democratic thoughts, become aware of racial and sexual identity, and value human body. They are also related to other fields of art or music, especially, jazz while maintaining the importance of improvisation and the heightened interest in the training of human bodies which is essential to dances. Unlike in the past, audience personally participates in the production of dance performances. In this thesis, the author could freshly find the characteristics and dance language of the said groups, varied approaches to dance motions, and a possibility of integrating as many media as possible and developing a unique method of performance. Furthermore, the present author could reconfirm that improvisation has been an important factor for choreographical methods and dance training methods and that improvisation is an excellent skill to represent the inner instincts of human beings in a natural manner and develop a rigid bodily training into a flexible one. The value of improvisation cannot be too much emphasized, because many of the characteristics of the aforesaid improvisation groups are applicable to rapidly changing modern dance circles.

‘Compositional Mode’ of Improvisation in Dance

Jindeok Park 한국예술종합학교 무용원 2020 무용과 이론 Vol.2 No.-

This paper proposed multiple definitions of improvisation in dance practices; three different forms of improvisation (open, contact, and structured), as well as five different modes of improvisation. It aimed to address different uses of improvisation for different purposes in dance. In particular, among Conroy’s five different modes, ‘compositional mode’ was focused to exposure the significant role of visual stimuli in choreographing dance improvisation. As concerned a theoretical framework, I brought Henri Bergson’s “framing perception” and Gabrella Giannachi’s discussion in order to contextualize the process of transferring visual stimuli into the present improvised dance. In terms of artistic contexts, three key choreographers, including William Forsythe, Deborah Hay, and Wally Cardona, were investigated in this study. It offered to analyze how a practical field of dance within improvisation explores visual stimuli as the present environment.

동물관련 표제음악을 활용한 움직임을 위한 즉흥연주 지도방안

유승지 ( Seung Ji Ryu ) 이화여자대학교 음악연구소 2014 이화음악논집 Vol.18 No.2

Dalcroze put an emphasis on the importance of improvisation in music education, and the Dalcroze teacher training courses place great importance on the cultivation of the abilities to express movements through improvisation. Students can learn various composition techniques, and easily come up with creative ideas through imitation. Animal-related program music reflects the characteristic movements of animals in music and offers good materials to learn improvisation and how to effectively connect them with movements. This study thus extracted the pieces of animal-related programs in piano teaching materials at the intermediate level, analyzed the common composition techniques among composers, and explored the materials of improvisation for movements. The pieces were analyzed according to rhythm, meter, scale, interval, harmony, register, articulation, dynamics, phrase, and tempo. The analysis results show that a variety of musical elements were selected and used according to the animal characters. Improvisation activities with the analyzed elements were applied in the following processes: 1) appreciating and creating imagery to match the music, 2) moving to the music, 3) analyzing the music, 4) improvising based on the analyzed music information, and 5) purifying the created music. Going through those processes, the students experienced the following changes. First, they had profound reflection on the various elements of music in the process of experiencing improvisation for the movements. This raised their understanding level of the music and developed their ability to interpret music autonomously. Secondly, they took interest in the uses of the body to make musical sounds after receiving the lesson with unique processes of imagining animal movements, expressing their characteristic movements with their entire body, and improvising. Third, they improved their motor skills, naturally improved their techniques, and made preparations for a sophisticated and expressive performance after the process of conveying animal movements through the various uses of gross and fine-motor skills. And finally, they improved their music dictation skills by training to concentrate and listen to sounds in the process of expressing the movements they imagined or experienced through improvisation. It thus seemed that experiencing improvisation for movements helped to enhance not only improvisation skills but also excellent performance skills. The findings of the present study will provide useful information for the creative works of piano teachers or composers who are interested in the creation of piano practice pieces as well as the field of music education and are utilized in the creation of animation, movies, and advertisement music. The study will hopefully be followed by future research on more diverse topics adapted to this area so that improvisation through program music will be utilized more actively across various fields.

고든의 오디에이션 이론에 기초한 초등음악수업에서의 즉흥연주지도

최미영 ( Mi Young Choi ) 부산대학교 과학교육연구소 2014 교사교육연구 Vol.53 No.3

성공적인 즉흥연주를 하기 위해서는 인간의 사고과정 속에서 조직화된 음악적 의미를 만들어낼 수 있어야 한다. 고든은 음악적 의미를 만들어내는 정신과정을 오디에이션이라는 용어를 사용하여 설명하고 있는데, 오디에이션이란 물리적으로 소리를 듣지 않고도 마음으로 음악을 재현해내는 능력이다. 오디에 이션을 통해 음악의 구조를 내재화하고 조직하는 능력은 성공적인 즉흥연주를 위해 매우 필요하다. 이에 본 연구의 목적은 고든의 오디에이션 이론에 기초한 단계적 즉흥연주활동과 예시 학습 지도안을 제안함으로써 초등음악수업에서 학생들의 즉흥연주능력을 향상시키고 더 나아가 그들의 음악적 이해를 높이고자 한다. 예시 학습 지도안은 음악교사에게 평소 가르치는 관행 속에서 학생들의 오디에이션 능력을 계발시킬 수 있는 지식과 방법 뿐만 아니라 음악교사들이 이미 잘 하고 있는 것들을 증진시킬 수 있는 효과적인 방법을 제공한다. 설령 고든의 음악학습이론을 음악수업에 직접적으로 적용하지 않는다 하더라고 이를 적용한 음악수업에서 가르치는 기술과 내용을 지도함으로써 학생들의 오디에이션 능력 계발 및 이에 기초한 즉흥연주능력의 계발을 도울 수 있다. 제시한 즉흥연주활동과 예시 학습 지도안의 실제 적용에 있어 고려해야 할 사항은 다음과 같다: 첫째, 충분한 듣기 경험을 통해 오디에이션 하여 노래 불러본 후, 즉흥연주를 한다. 둘째, 정확한 모델링과 피드백을 제공하기 위해 교사의 듣는 귀와 역량이 중요하다. 셋째, 모델링, 오디에이트, 반 전체 즉흥연주, 개별 즉흥연주의 순으로 접근하는 것이 바람직하다. 마지막으로 오디에이션의 충분한 계발을 위해 음악 기호에 대한 학습은 다소 지연될 수 있다. 본 연구를 바탕으로 오디에이션에 기초한 즉흥연주 학습 지도안의 연구와 개발이 광범위하게 수행되어야 할 것이며, 즉흥연주 학습 지도안의 효과에 대한 후속연구가 이루어져야 할 것이다. Successful improvisation is dependent on the recognition of relationships among musical elements and the assimilation of the syntactic feature of the music. In order to be able to manipulate the structures of music into an organized, spontaneous, meaningful performance, students should create organized musical meaning in their thought process. Gordon coined the term “audiation” to describe the process of making musical meaning. Audiation is the ability to hear and to comprehend music for which the sound is not physically present, is no longer physically present, or may never have been physically present. Audiation is the ability to think musically. Although music is not a language, the process is the same for audiating and giving meaning to music as for thinking and giving meaning to language. The highly skilled audiators can recognize familiar music, identify unfamiliar parts on the basis of their relationship to familiar parts, and give meaning to the whole. They can also retain the understanding of musical sound over and over and draws on their understanding to improvise music. The more accurately students are able to audiate musical patterns, the better they can improvise music and eventually establish music understanding. For successful improvisation, it is vital to develop a larger vocabulary of musical patterns, and organize and restructure the patterns. Therefore the purpose of this study is to improve students` audiation and improvisation abilities and enhance their musical understanding using Gordon`s audiation-based improvisation activities and sample lesson plans in elementary music class. The sample lesson plans provide music teachers with knowledge and tools to develop students` audiation within the context of traditional music teaching practice. Gordon`s music learning theory gives a powerful way to enhance the many things music teachers already do well. Although they do not directly apply Gordon`s music learning theory to their music class, they would be able to help the enhancement of students` audiation and improvisation ability by teaching the skills and contents students learn in music class applied to music learning theory. Some guidelines that help teachers apply the suggested improvisation activities and sample lesson plans to their music class are as follows: First, to improvise meaningfully, students should spend enough time listening to a song and sing it while audiating, then improvise. Second, teachers have musical ear and competency so that they can provide accurate modeling and feedback. Third, it is desirable that the steps to improvisation should be modeling, audiating, whole class improvising, and individual improvising. Last, the introduction of music notation is somewhat delayed until stu- dents` executive audiation vocabulary of rhythm patterns and tonal patterns are developed. Based on this study, it is expected that the effectiveness of the audiation-based improvisation activities and sample elementary music lesson plans would be carried out in the further study.

접촉즉흥에 내재된 음양적 성격과 기에 관한연구

안신희 한국무용예술학회 2011 무용예술학연구 Vol.34 No.-

The aim of this study is, with harmony and creativity as a base, to find out the correspondence of Chi and Yin Yang with Contact Improvisation. Contact Improvisation usually takes place as a duet. Regardless of whether man or woman,tall or short and heavy or light, it leads the dance with new movements coming from harmony through interactive relationships. Contact must be accompanied by a partner. They move as one mass. It is individual but also a collective energy, and creates new energy by transcending You and I. The researcher of this study focused on ‘two entities’, ‘change’, ‘harmony’ and ‘another creation’ which are the unique characteristics of the contact. These features are very similar to keywords of Eastern Philosophy , “Yin Yang of the two elements and One as a Taiji” and “extreme harmony and creation”. Hence, this study examined Chi and Yin Yang aspects dissolved in Contact Improvisation. Firstly as a result, Contact Improvisation was born in the norm of nature, harmony, and equality which are the backgrounds of Eastern Philosophy that influenced the intellects and artists of that period. It was also developed from performance of oriental martial arts, such as Aikido and Tai shi chuan that Steve Paxton, thecreator, and the dancers of Contact Improvisation practiced. Therefore,Contact Improvisation fundamentally includes the characteristics of Chi and Yin Yang. Secondly, In Contact Improvisation when some power, which originated from cooperation and interaction creates unpredictable movements, it is called ‘it’ or ‘the third power’, and it can be considered as ‘Chi’ of the oriental martial arts. Chi is the kinematic origin of the universe, and makes life and characteristic of all livings and phenomenon of the nature through its diverging and converging characteristic. From Chi’s perspective, even though performers have different body structure and spirit,the moment they become one as they make contact is status when the individual’s Chi diverges and re-integrates. This is creation of another character beyond You and I, and the stage of Chi’s extreme harmony. Thirdly, various movements occurring from improvisation by the contact, have characteristic elements of activeness,passiveness, request and response in common. However, these four characteristics are quite contrastive. This distinctiveness isn’t much different from the characteristic of Yin Yang where the two of the contrast exist as one. From a perspective of Yin Yang, activeness and request are at the side of Yang, and passiveness and response are at the side of Yin. The four characteristics of movement which has Yin Yang aspects generates a new movement by situationally circulating and harmonizing one another. In the end, a union of Contact Improvisation’s activeness, passiveness,request and response parallels with a Yin Yang law of all things and phenomena are created by the harmony of Yin Yang. Thus, Contact Improvisation Dance contains the ‘Yin Yang’ law of the eastern and the aspects in relation to operation of ‘Chi’

The Impact of Organizational Improvisation on Market Orientation

Kim, Seung-Ho,Shim, Joon-Sup The Korea Contents Association 2012 International Journal of Contents Vol.8 No.1

Organizational improvisation, the convergence of planning and execution, has emerged as an alternative approach to the limitations in strategic planning. Organizational improvisation has a significant impact not only on organizational performance, but also on market orientation, which has emerged as a key issue in the field of technology commercialization. This study investigates both the effect of organizational improvisation on market orientation, as well as the effect of environmental turbulence and time pressure on organizational improvisation. Results show that organizational improvisation has a positive influence on market orientation, with a stronger effect on the diffusion of market information. This is greatly impacted by environmental turbulence and time pressure. As a result, promoting competencies in organizational improvisation at the corporate level is suggested as a significant means to enhance market-oriented organizational innovation.

The Impact of Organizational Improvisation on Market Orientation

김승호,심준섭 한국콘텐츠학회 2012 International Journal of Contents Vol.8 No.1

Organizational improvisation, the convergence of planning and execution, has emerged as an alternative approach to the limitations in strategic planning. Organizational improvisation has a significant impact not only on organizational performance, but also on market orientation, which has emerged as a key issue in the field of technology commercialization. This study investigates both the effect of organizational improvisation on market orientation, as well as the effect of environmental turbulence and time pressure on organizational improvisation. Results show that organizational improvisation has a positive influence on market orientation, with a stronger effect on the diffusion of market information. This is greatly impacted by environmental turbulence and time pressure. As a result, promoting competencies in organizational improvisation at the corporate level is suggested as a significant means to enhance market-oriented organizational innovation.

재즈 즉흥연주(improvisation)에서 이루어지는 미감적 이념의 소통에 관하여 -칸트의 음악미학에서 나타난 "미적 예술(schone Kunst)"의 개념에 따라서-

남정우 ( Jung Woo Nam ) 한국미학회 2011 美學 Vol.67 No.-

칸트의 미학에서 아름다운 예술은 상상력과 오성의 놀이를 통해 ``미감적 이념``을 현시하는 것을 목표로 하는 기술이다. 미감적 이념을 산출하고 소통하는 것과 관련하여 천재 및 공통감 등의 개념은 칸트 철학에서 다양한 논의를 불러일으키는 문제적 개념들이다. 칸트에게 음악예술은 미감적 이념을 현시하는 능력 면에서 다른 예술에 비해 하위에 속한다. 그러나 『판단력비판』의 논의에서 칸트는 음악이 고유의 수학적 형식성과 결합될 때 미감적 이념을 전달하는 데 있어 고유의 탁월성을 가질 수 있다는 점을 시사한다. 본 논문은 음악의 미감적 이념을 전달하고 소통하는 예술의 한 사례로 재즈음악의 즉흥연주를 들어 논의한다. 재즈음악의 즉흥연주는 연주가들이 되는 대로 벌이는 연주가 아니다. 그것은 음악 고유의 수학적 형식성을 기반으로 작품에 대한 지적 이해와 재해석, 나아가 음악적인 소통을 통해 새로운 미감적 이념을 산출하는 예술적 논의 과정이며, 이것이 재즈음악 고유의 미학을 이룬다. The most remarkable point in Kant`s aesthetics is that the beautiful art is an art to represent ``aesthetical idea`` through the play of imagination and understanding in cognitive subject. But in the sense of the production and communication of this ``aesthetical idea``, it`s related concepts of ``genius`` and ``common sense(sensus communis)`` has been controversial, making his theory of art as problematic. To him musical art is the lowest than any other art form, in that it has lowest faculty to represent or express the aesthetical idea its own. However, in the discussion of his third Critique, he remarks that if music is united with its own mathematical formality, it can have its own outstanding faculty of communicating musical-aesthetical idea. This paper discusses ``musical improvisation of jazz music`` as an exemplary which communicates aesthetical idea in the theory of Kant`s aesthetics. The improvisation of jazz music is not thoughtless or form-free play style, but it plays on the ground of its own form. Jazz is also a music, therefore it has musical-mathematical formality(tone, rhythm, harmony, etc.), and the improvisation, a specific play style of jazz music, proceeds on the various formal grounds. Through these formality, that of improviser`s understanding and reinterpretation to the original musical score, playing chorus form and collective improvisational communication, this art form communicates and reproduces new musical idea as if it is a discourse of everyday language world. And this is the aesthetics of jazz improvisation in Kant`s aesthetical point of view.