1. Improvisation is the core fun of jazz/blues, and playing music according to notes is a labor job comparing to improvisation. Improvisation is to play with the ear, that is, after hearing it, use the fastest speed, aesthetic resonance, and play it out with your fingers. Therefore, even the best improvisation requires reaction time, which is an inevitable natural lag. In order to make up for this lag, the musician will estimate the next few notes, so that the beat will not be disturbed. So there could be wrong beats and there could be lag, but there will be no obvious mess. And this kind of laging-but-not-chaotic structure is aesthetically different from classical or pop music, and it is self-contained.
2. Jazz requires a master's degree from a professional music school before it can be mastered theoretically, but aside from the difficulties of jazz academies, in fact, the roots of this kind of music are nothing more than a few black musicians who have a good sense of music but have no formal musical foundation, and no strict disciplines. They added a lot of free will, a lot of unreliable, a lot of mistakes and omissions and make up in their performances. Of course, this kind of music has a sense of lag. There are many mistakes, but as long as the player enjoy and echoes the music, mistakes become unique aesthetics through the previous stated lagging tactics. This is determined by the origins of grassroots jazz. When it comes to the academic school, the mechanism of mistakes and omissions has become a difficult theory, and even requires scientists to study and then publish it in a natural journal? Hahaha. This is exactly why I am humored by this Nature article today.
