One of the most well-known parallels in the field of improvisation company about jazz. The masters of jazz composing and playing at once its musica.Non are second chances and you can not program or plan, just as sometimes happens in company, faced with unexpected problems and under pressure of time. Frank J. Managing Barrett in their work and Improvising: Lessons from Jazz [1998] takes care of this parallelism. Jazz can be a wonderful experience, says the author, where songs serve as a minimal structure within which it takes place spontaneous interaction between musicians. What prevents the breakdown of music is the anticipation of the future, based on the musical expressions passate.All 'notes and listening to the reasons just played by gentlemen, jazz players try to guess and anticipate what will follow and choose what to play accordingly. At any given time you can introduce new unexpected elements that change radically during the performance. Within the narrow limits 's Shared Music Convention, takes shape between musicians continued collective bargaining and an endless finish mutual preventing the music turn into chaos and noise. It should not be misled by the apparent freedom of the musicians and think that the improvisations are produced extemporaneously and without any preparation . On the contrary, jazz musicians are constantly practice of their art and constantly repeated the pieces and arrangements of the great soloists . To prepare for the spontaneity, the jazz train incessantly, trial and error the music, so that their knowledge become dormant, but do not turn into habits. The fall nell'automatismo is one of the greatest dangers for the jazz musician, who could precisely known to take refuge in pieces instead of involuntarily prevail let their creativity, taking the risk of failing in an attempt to produce something new and genuine. To gain confidence, according to Barrett, you need to train constantly to address new 'territories', to live with the unknown. Only so it becomes possible to let go, allowing the music to take over and flow. In the mid-sixties, Miles Davis formed a band of artists complete beginners. Its members Herbie Hancock and Tony Williams were fresh high school, Wayne Shorter and Ron Carter, completely new on the jazz scene newyorkese.Davis, contrary to what just pointed out by Barrett, absolutely forbade the band to practice and try. He explained that they did not have to learn any song automatically, in order to reach maximum when their cognitive ability was essential during the concerts. In the midst of performance, Davis notes in songs drew different key, to displace all the four and prevent them from refer to any known material. frequently interrupting their music, but letting them a minimum of structure, the jazz musician practicing what the author defines competence provocative. The three underlying principles of that jurisdiction - incremental management of anxiety, competence in the affirmative (ie transmission of the strong confidence in the ability of the musicians) and collective movement in time ( unconditional participation of musicians due to lack of time to reflect and stop ) - allowed the band to play Davis those that are still considered among the best pieces of the jazz world. Similarly, the author argues, managers who themselves are in to deal with ambiguous situations and unstructured can refer to the principles of improvisation in jazz. To enhance employees' ability to improvise, companies should submit them to the greatest possible number new experiences and destabilizing, in a sort of job rotation taken to extremes. Like jazz musicians, managers should be used more often to retrospective review of the events in an attempt to explain and give meaning to those in practical actions were totally improvised. is also necessary that the company's resources to acquire the ability of jazz musicians to build on their own mistakes (emphasizing, integrating, turning, changing its current action). Errors that do not will absolutely be punished, but understood as new opportunities on which to create competitive advantage for the company. To allow an opening so vital for the organizations will apply, within company, the 'unconditional appreciation. " Rather than judge, criticize or comment the actions of colleagues and events, will take principle that every event, every action, both positive and contains in itself a growth potential to grow and support collectively. Thus, it is of great help, according to Barrett, the sense of the game and the joke. In fact it is an alternative seriousness, does not inhibit the ability to improvise and allows the establishment of an atmosphere of trust and cooperation .
BY Imanuel Baharier 
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