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Expanding the Space for Improvisation Pedagogy in Music : A Transdisciplinary Approach
- 2019
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Samlingsverk (redaktörskap) (refereegranskat)abstract
- Expanding the Space for Improvisation Pedagogy in Music is a critical, research-based anthology exploring improvisation in music pedagogy. The book broadens the understanding of the potentials and possibilities for improvisation in a variety of music education contexts and stimulates the development of knowledge and reflection on improvisation.The book critically examines the challenges, cultural values, aims and methods involved in improvisation pedagogy. Written by international contributors representing a variety of musical genres and research methodologies, it takes a transdisciplinary approach and outlines a way ahead for improvisation pedagogy and research, by providing a space for the exchange of knowledge and critique. This book will be of great interest to scholars, researchers, and postgraduate students in the fields of arts education, music education, improvisation, music psychology, musicology, ethnomusicology, artistic research and community music. It will also appeal to music educators on all levels in the field of music education and music psychology.
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| 2. |
- Johansen, Guro Gravem, 1973-
(författare)
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Children’s Guided Participation in Jazz Improvisation : A Study of the ‘Improbasen’ Learning Centre
- 2020
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Bok (refereegranskat)abstract
- Improbasen is a Norwegian private learning centre that offers beginner's instrumental tuition within jazz improvisation for children between the ages of 7 and 15. This book springs out of a two-year ethnographic study of the teaching and learning activity at Improbasen, highlighting features from the micro-interactions within the lessons, the organisation of Improbasen, and its international activity.Music teachers, students, and scholars within music education as well as jazz research will benefit from the perspectives presented in the book, which shows how children systematically acquire tools for improvisation and shared codes for interplay. Through a process of guided participation in jazz culture, even very young children are empowered to take part in a global, creative musical practice with improvisation as an educational core.This book critically engages in current discussions about jazz pedagogy, inclusion and gender equity, beginning instrumental tuition, creativity, and authenticity in childhood.The Open Access version of this book, available at https://www.taylorfrancis.com, has been made available under a CC BY NC ND Creative Commons Attribution-NonCommercial-NoDerivatives (CC-BY-NC-ND) 4.0 International license
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| 3. |
- Johansen, Guro Gravem, 1973-, et al.
(författare)
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Expanding the space for improvisation pedagogy in music : An introduction
- 2019. - 1
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Ingår i: Expanding the Space for Improvisation Pedagogy in Music. - London : Routledge. - 9781351199957 - 9780367728403 - 9780815392101 ; , s. 1-14
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Bokkapitel (refereegranskat)abstract
- In music education contexts, improvisation is currently a rapidly evolving field across musical genres. Writing on improvisation has so far been largely concerned with justifying improvisation’s place in music education, by making visible its many practices in a broad range of music cultures and by highlighting its beneficial and positive dimensions. However, there are challenges and unexploited potentials within improvisation pedagogy, such as deficiency in teacher qualification, or tensions between contrasting pedagogical purposes, values, and ideologies. In this chapter, the authors problematise improvisation pedagogy and its legitimation, and present the scope of the book as a whole, through posing the questions: Who defines the artistic expectations of improvisation activities, who are the gatekeepers? How much freedom is involved? Who has creative agency – teacher or students? What professional ethical standards do teachers have? The various chapter contributions all relate to these issues from a wide array of contexts and research disciplines. The overall objective is to broaden the understanding of the potentials and possibilities for improvisation in a variety of music education contexts, and stimulate the development of knowledge and reflection on improvisation in music pedagogy.
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| 4. |
- Johansen, Guro Gravem, 1973-
(författare)
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Explorational instrumental practice : An expansive approach to the development of improvisation competence
- 2018
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Ingår i: Psychology of Music. - : Sage Publications. - 0305-7356 .- 1741-3087. ; 46:1, s. 49-65
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Tidskriftsartikel (refereegranskat)abstract
- This article seeks to discuss approaches to instrumental practicing directed towards developing improvisation competence, by analyzing empirical data from a qualitative study on jazz students' instrumental practicing. The concept explorational practice is derived from the theory of expansive learning, and compared against the concept deliberate practice. Findings show a variety of open-ended strategies to develop students' improvisation competence, which are framed as explorational practice.
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| 5. |
- Johansen, Guro Gravem, 1973-
(författare)
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"Playing jazz is what she does" : The impact of peer identification and mastery experiences on female jazz pupils' self-efficacy at Improbasen
- 2023
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Ingår i: Frontiers in Education. - : Frontiers Media S.A.. - 2504-284X. ; 7
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Tidskriftsartikel (refereegranskat)abstract
- This article is a conceptual analysis of the concepts of enactive mastery experience and vicarious learning experience from Albert Bandura's socio-cognitive theory, applied to the empirical case of the Norwegian learning centre Improbasen. I outline some historical and socio-psychological contexts that posits jazz practice as a masculine stereotyped activity, to indicate various mechanisms that may cause a low self-efficacy for playing jazz in girls and non-binary children. When presenting the empirical case, I highlight the learning center's strategies to promote gender equality. Finally, I discuss theoretically how these strategies may strengthen self-efficacy in children, relating them to experiences of mastery and vicarious learning. In conclusion I suggest that a diverse learning environment that facilitates peer identification works better for all genders than, when iconic male jazz musicians are treated as models for learning.
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| 6. |
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| 7. |
- Johansen, Guro Gravem, 1973-, et al.
(författare)
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The Practicing Workshop : A Development Project
- 2019
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Ingår i: Frontiers in Psychology. - : Frontiers Media S.A.. - 1664-1078. ; 10
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Tidskriftsartikel (refereegranskat)abstract
- In music academies and conservatoires, the culture of teaching and learning seems to nurture individuality and hierarchic structures at the cost of collaboration and sense of community. This could indicate a privatized conception of teaching and learning musical skills. As current research suggest that students' learning may benefit from collaborative learning with their peers, the present article addresses music performance students' understanding of the learning potential from participating in a specific social learning context. The study investigated students' perceptions of outcomes from participating in a practicing workshop in a music academy, on both an individual and social level. The workshop aimed at helping music performance students develop their understanding of instrumental practicing. The course allowed for sharing ideas and experiences, and for collaborative exploration, discussion, and reflection. We conducted qualitative interviews with five volunteering students that had followed the workshop. Although identifying direct outcomes of the workshop in general proved to be difficult, we found that the students reported positive learning experiences from planning, implementing, and presenting their individual development projects, and that their awareness of variations in the group strengthened their confidence in how they tailored their own individual practicing. However, they also described more mixed outcomes in relation to learning about practicing directly from other students. The study also revealed that just providing a group forum for students does not in itself lead to positive learning experiences. Implications of the study are discussed.
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| 8. |
- Johansen, Guro Gravem, 1973-, et al.
(författare)
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What have we learned about improvisation pedagogy?
- 2019
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Ingår i: Expanding the Space for Improvisation Pedagogy in Music. - London : Routledge. - 9781351199957 - 9780367728403 - 9780815392101 ; , s. 261-272
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Bokkapitel (refereegranskat)abstract
- In music education contexts, improvisation is currently a rapidly evolving field across musical genres. Writing on improvisation has so far been largely concerned with justifying improvisation’s place in music education, by making visible its many practices in a broad range of music cultures and by highlighting its beneficial and positive dimensions. However, there are challenges and unexploited potentials within improvisation pedagogy, such as deficiency in teacher qualification, or tensions between contrasting pedagogical purposes, values, and ideologies. In this chapter, the authors problematise improvisation pedagogy and its legitimation, and present the scope of the book as a whole, through posing the questions: Who defines the artistic expectations of improvisation activities, who are the gatekeepers? How much freedom is involved? Who has creative agency – teacher or students? What professional ethical standards do teachers have? The various chapter contributions all relate to these issues from a wide array of contexts and research disciplines. The overall objective is to broaden the understanding of the potentials and possibilities for improvisation in a variety of music education contexts, and stimulate the development of knowledge and reflection on improvisation in music pedagogy.
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| 9. |
- Larsson, Christina, 1956-
(författare)
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Att lära genom improvisation : en didaktisk studie i grundskolans musikundervisning
- 2019
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- In the growing field of research on improvisation, it is argued that improvisation should be at the core of music education, and in many curricula improvisation is in fact emphasized. However, in general music education, as well as research, improvisation is still overlooked. There seem to be a discursive gap between ‘everyday’ and artistic perceptions of improvisation and the way it is perceived didactically. Improvisation is also a creative music activity form and as such it cannot have prescribed outcomes. Yet, the current goal- and result driven schooling system focuses on achieving prescribed knowledge requirements. This situation constitutes an educational paradox. Through a systematic literature review, interviews with teachers and a practice-based study, this thesis explores the conditions and the role of improvisation in general music education. The theoretical perspective is based on Dewey’s pragmatist philosophy, and his concepts of aesthetic experience and transaction. Results show that improvisation is conceptualised in a continuum between structure and freedom and that teachers’ didactical approaches to improvisation can be oriented towards the process, the subject or Bildung. However, teachers’ perceptions of improvisation as related to jazz and blues sometimes present a hindrance. Combining a practical epistemology analysis with Dewey´s concept of the esthetic event (Dewey´s spelling) provides new insights into the process and content of aesthetic meaning-making. Improvising pupils who have an aesthetic experience can develop expressivity, agency and responsivity (EAR) as well as aspects of embodied, cognitive and ethical knowledge. The transactional perspective and 5 concepts developed here provide new insights in how to understand improvisation in education: as ethically co-creative action, co-learning action, explorative action, a space for imagination and emotional engagement and finally a room for subjectification. This implies a negotiated role for the teacher as co-player. A practical aesthetic analysis (PESA) is suggested which emphasises the specific nature of the aesthetic experience.
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| 10. |
- Larsson, Christina, 1956-, et al.
(författare)
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Challenges and Possibilities for Improvisation in Music Education : A symposium presenting different aspects of improvisation
- 2016
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Konferensbidrag (refereegranskat)abstract
- Improvisation holds a problematic position – in music education as well as in music education research. According to music education syllabi in most European countries, improvisation is a part of the subject content and, as such can even be even mandatory. Previous studies have, however, shown that music teachers find it difficult to incorporate improvisation activities in their teaching (e.g. Ferm Thorgersen & Zandén 2014; Whitcomb 2007). As a result, the concept of improvisation has received an increasing interest from scholars and educators. Yet, at present it is an under developed field in music education contexts.This symposium brings together researchers in music education with special interests in questions related to research in improvisation and improvisation pedagogy. All presenters conduct research on improvisation in music education, based in either ethnography or participating action research. In addition, the researchers represent four European countries – Finland, Norway, Scotland and Sweden – where new curricula quite recently have been introduced. According to these, improvisation activities are expected to take place in music education and the common argument is it is assumed that improvisation can develop creativity and in turn nurture a critical mind (Gonzales, 2015). Similar ideas are apparent in key documents related to education and training in Europe (see e.g. OECD, 2013). Music education research is, in other words, confronted with several challenging questions about the role of, and assumptions about, improvisation.This symposium focuses on how we can understand improvisation in educational contexts. Within this symposium, we will address a number of fundamental questions designed to take the audience to the heart of current debates around improvisation. Two main questions guide this symposium: How can we theoretically understand improvisation in an educational context? What are the implications and challenges for music education research on improvisation?Firstly, we will present a literature review of improvisation in music education research, setting the background and illustrating the current situation. We will then consider particular challenges and/or possibilities music education researchers and music educators perceive and encounter. Following this, we will discuss different visions of improvisation pedagogy which have emerged from the music education research.Secondly, the symposium will bring forth and reflect on new methodological approaches to research improvisation exemplified in three different educational environments: kindergarten/preschool, elementary school and adult education. Approaches to free improvisation will be presented instrumentally and vocally, as well as individually and collaboratively. Importantly, the concept of free improvisation is suggested to include social, visual and bodily engagement with potential forcreating a space for facilitation of individual and collaborative creativity. Also original methodological and theoretical constructs that have been developed will be presented, constructs, which delineate the strengths that participants may build through practices of free improvisation,We suggest key approaches and methodologies in music education research, and in teaching music through improvisation, which are drawn from research and practice, thus benefitting both music education research and future teachers that approaches to teaching music through improvisation have potential benefits in broader music education and developing these is an important research priority that as interest seems to be growing amongst music educators in utilising improvisation in music education, effective teaching materials and robust methods of delivery are needed the importance to advance theoretical and critical appraisals for comprehension of practice and research concerning improvisation in music education.ReferencesGonzales, Anita (2015). (Pre-)Scripted Creativity: An Examination of the Creativity Movement in Spain’s Contemporary MusicEducation Literature. Paper presentation at ECER conference 2015Ferm Thorgersen, Cecilia; Zandén, Olle (2014). Teaching for Learning or Teaching for documentation? Music teacherśperspectives on a Swedish curriculum reform. In British Journal of Music Education. September 2014, pp1-14. DOI:10.1017/S0265051714000166Education Scotland, Curriculum for Excellence, http://www.educationscotland.gov.ukhttp://www.educationscotland.gov.uk/nqmusic/learningandteaching/composingskills/index.asp 2016-01-10Finnish National Board of Education (Utbildningsstyrelsen) (2004). National core curriculum for basic education (Grundernaför läroplanen för den grundläggande utbildningen) http://www.oph.fi/lp2016/grunderna_for_laroplanenFinnish National Board of Education Utbildningsstyrelsen (2014). National core curriculum for basic education (Grunderna förläroplanen för den grundläggande utbildningen Föreskrifter och anvisningar 2014:96)http://www.oph.fi/lp2016/grunderna_for_laroplanenNational Agency for Education (Skolverket), (2011). Curriculum for the compulsory school, preschool class and the recreationcentre 2011. www.skolverket.se/publikationerOECD (2013), PISA 2012 Results: Ready to Learn: Students’ Engagement, Drive and Self-Beliefs (Volume III), PISA, OECDPublishing. http://dx.doi.org/10.1787/9789264201170-enWhitcomb, Rachel (2007). Improvisation in elementary general music: A survey study. The Kodály Envoy, 34(1), 5-10.Winner, E., T. Goldstein and S. Vincent-Lancrin (2013), Art for Art's Sake?: The Impact of Arts Education, EducationalResearch and Innovation, OECD Publishing. http://dx.doi.org/10.1787/9789264180789-en
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