This article examines three improvisations by the Miles Davis Quintet from their recording The Complete Live at the Plugged Nickel 1965 through the lens of a new theory of musical interaction. It shows how the quintet favored divergent over convergent interactional strategies in the interpersonal, referent, role, and style domains in its quest to create what one band member called "anti-music."[1] Miles Davis's second "great" quintet, which consisted of Davis on trumpet, Wayne Shorter on tenor sax, Herbie Hancock on piano, Ron Carter on bass, and Tony Williams on drums, reassembled at the end of 1965 after a seven-month hiatus. During their break, Shorter, Hancock, Carter, and Williams had a creative outlet composing new music and recording for Blue Note Records. When the quintet began performing again in November, Davis's bandmates found themselves dissatisfied with the band's touring repertoire, which consisted mostly of jazz standards and original compositions popularized by Davis's earlier ensembles. According to Hancock, "even within our very creative and loose approach to the music, everybody did things according to certain kinds of expectations. I knew if I did this, Ron would do that, or Tony knew that if he did this, I would do that. It became so easy to do that it was almost boring" (Mercer 2004, 108-9). As a result, Davis's bandmates decided to approach a set of late December dates at Chicago's Plugged Nickel club with the goal of subverting each other's typical expectations as much as possible. Williams described this approach as "anti-music": "whatever someone expects you to play, that's the last thing you play" (Mercer 2004, 109; italics original). (1) By happenstance, Davis's producer Teo Macero recorded seven sets over two nights, December 22 and 23, at the club, which were released in 1995 as The Complete Live at the Plugged Nickel 1965.(2)[2] In this article, I will examine three improvisations from the Plugged Nickel recordings through the lens of a new theory of musical interaction. This theory is based on a way of hearing a musical source as being composed of separate parts that influence or intervene in each other's paths. The processes of influence and intervention that occur between these parts are based on each part's projection of similar or dissimilar continuative events, or what I call convergence and divergence. These analyses of convergence and divergence will often occupy the immediate back-and-forth occurring between different players-the interpersonal domain-but they can also extend to three other interactional domains: referent, role, and style. In this way,