The language of a band
The central concept in Mark Holub’s research project is that of “group language.” It is a term that sometimes causes confusion in German-speaking countries, while it has long been familiar in Anglo-American jazz practice. “In improvised music, group language means that I play a certain way in one band and a different way in another,” says Holub. Over time, every band develops its own musical identity as a result of a shared way of listening, reacting, and making decisions as a group. Holub compares this to code-switching: just as people speak differently in different social contexts, musicians also behave differently in different ensembles.
Group Language is a kind of tacit knowledge that is difficult to explain in all details. “We are unable to identify precisely how we play a specific way in a specific band. Yet we know that we do,” explains Holub. But how does this language emerge? Less through rules or scores than through time spent together: concerts, recordings, conversations, and even shared flops. “It takes time to play together. That’s probably the most important thing,” explains Holub. The social dynamics away from the stage and rehearsal room are also crucial.
Boundaries between genres are opening up
The reason why Holub considers the notion of a group language as being particularly relevant today also relates to changes within jazz and improvised music. In the past, many musicians were more strongly guided by stylistic traditions. Today, the boundaries between genres are much more fluid. Jazz, electronic music, rock, and metal blend into one another. Holub describes this state as “trans-idiomatic” – when a group’s social dynamics become more important than stylistic conventions. Holub sees this as closely linked to the concept of “real-time music,” which he prefers to the term “improvised music.”
The focus shifts to the moment when decisions are made. Music does not arise from exhaustive planning, but from immediate reactions to what is happening in the moment. “If I overthink things in this kind of music, then it’s probably not going to be that good,” notes Holub. He also refers to past debates within the field of improvisational music. Guitarist Derek Bailey was critical of the concept of a group language, because he feared that a shared history might curb spontaneity. Holub sees no contradiction in this. He regards history as a resource: “It may not be as spontaneous as it is during a first meeting. But in return, we can dig deeper.
Between rehearsal room and the research lab
If group language is indeed one of the central forces behind improvised music, there is one question that inevitably arises: how can one study something that is mostly intuitive, unspoken, and created in the moment? The research design for the three-year project, which has just begun, has already been finalized. Two ensembles – one led by Holub, the other by Cath Roberts – will work with the same compositions. Each will write a set consisting of one or more compositions of approximately 45 minutes, which both bands will rehearse – Roberts in London, Holub in Vienna. The goal is not to determine which version is “better,” but to understand why different versions emerge.
The scores are designed for open instrumentation so that they remain interchangeable between the ensembles. The composition phase will be followed by separate rehearsal phases, studio recordings, and focus groups for reflecting on musical decisions. The outcome will be presented at four concert-symposia in Austria and the United Kingdom. For Holub, it is particularly important to treat music and academic research as equals: “I hope that the two can be on the same level.” The concerts and recordings are intended not only to provide research material for scholarly publications but also to be part of the process of discovery. “You don’t have to read the articles to understand the concepts of the project – you can also experience the results through the music itself,” Holub points out. The research aims to make these experiences visible and to bridge the gap between musical practice and theory.
At the core of the project lies the question of how people with different perspectives, experiences, and ways of working can find common ground. For Holub, this question is not only musical but also social in nature. “I think it’s important to look for common ground. Because I believe it always exists.” Since the project is still in its very early stages, Holub also emphasizes how vital it is for him to remain open to the results. In the end, the process is more important to him than confirming a specific thesis. Or, as he puts it: “Maybe in two weeks I’ll already be thinking differently about it. That’s what makes it exciting. New influences are constantly coming in, and it’s important to stay receptive.”
About the researcher
Mark Holub is a drummer, composer, bandleader, and researcher from the U.S. who has been living in Vienna for many years. He is best known as the founder and bandleader of the band Led Bib, which was nominated for the Mercury Music Prize in 2009 and won the Peter Whittingham Jazz Award. Next to Led Bib, Holub leads projects such as Anthropods and is a member of numerous ensembles in Europe’s jazz and improvisation scene. Holub earned his Ph.D. in Creative Music Practice from the University of Edinburgh and conducts research on band leadership and group language in jazz and improvised music. He also works as a composer for dance and theater. Set to run until 2029, the research project “What Are They Building in There?” receives funding by the Austrian Science Fund FWF.
