In the core of every human being, conscience appears to be the most « subtle» dimension. And as any other human dimension, it can fill our musical reality. There is indeed a « conscience in the sound » that should not be confused with the conscience « of » the sound which is generally limited to considering the quality of the sound, its aesthetics and beauty. It is rather the conscience that we put in a sound, and I have no doubt that a sound can convey this conscience. Otherwise Coltrane would not be Coltrane, Stevie Wonder would not be Stevie Wonder, Rostropovitch would not be Rostropovitch.

In the improvised musics, in jazz as in Indian music, in the Arab maqams or other forms of improvised musics, the meaning of present is systematically sharp as it is in the mean time a composition which is spontaneous and interacting with others. The conscience of present and the conscience of others are therefore components of the musical creation field. The conscience of time and of the relationships with others is here inherent not to the note-bubble but to the practice of improvisation itself.

Overall, it is clear that all these wonderful human virtues – depth, love, opening, generosity, the gift of self or empathy – can be evoked and nourished by this mysterious language, music. At different levels, from form to content, composition to arrangements, improvisation to interpretation, we can therefore find or transmit this purest energy to music.