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ItemMusical futures in the primary (elementary) yearsMcLennan, Rebecca Louise ( 2012)Music is an important part of young people’s lives for self-expression, enjoyment and identity formation, and it is vital that school music is able to engage all young people. A music classroom approach, Musical Futures has been found to have a positive impact on the re- engagement of young people at the secondary level (Hallam, Creech, & McQueen, 2009, 2011; Jeanneret, 2010; Jeanneret, McLennan, & Stevens-Ballenger, 2011). Years Five and Six (10-12 year olds) are grouped into the middle years of Five to Nine (10 – 15 year olds) who share common engagement needs. This study explored whether Musical Futures could have a similarly positive impact in the upper primary years as it has had in the lower secondary level. The research was a collective case study following two Australian schools which used the Musical Futures approach to music education in Years Five and Six. The study used a mixed methods approach including interviews, focus group discussions, observations and surveys to gather data. The results of the study found that Musical Futures had a positive impact on students’ engagement, musical skills and knowledge and social learning in the two case study schools. The conditions supporting the positive impact were closely aligned with principles of engaging middle years students. The study provided a number of key recommendations for schools considering implementing Musical Futures in the primary years. While it acknowledged that each case is different, the study suggested that the age of primary students should not discourage teachers from using this learning approach in their music classroom.
ItemThe map is not the territory: reconsidering music improvisation educationWallace, Michael Edmund ( 2012)This paper examines contemporary theory on music improvisation learning and teaching. It highlights how music improvisation education is being reconsidered, and the implications of this reconsideration for academic practice. The aim of the research is to emancipate. In this sense the topic engages critical theory to evaluate literature so as to provide a way forward for music improvisation education. The inductive document analysis undertaken examines a variety of document forms to seek recurring themes and thematic relationships. This qualitative investigation is framed by ecological systems theory/methodology (Borgo, 2007; Clarke, 2005), which sees knowledge as embodied, situated and distributed. Music education centres on the performance of repertoire, often neglecting the creative processes of improvisation and composition. This study finds the dominant improvisation education methods which stem from jazz as limited in scope. Jazz improvisation education commonly centres on patterns and models and a harmonic imperative (chord–scale theory). Such approaches do not holistically embrace the immediacy, preparation, embodiment and social interaction of the improvisation process, which ecological systems theory seeks to acknowledge. In a broader setting, the Dalcroze, Kodály and Orff early childhood methods centre on improvisation as play, perhaps reflecting Piaget’s concrete operational stage. Subsequent levels of music education, perhaps viewing play as immature, neglect the embodied, situated and distributed elements of ecological improvisation. Paynter and Schafer, through their Cagean prioritisation of critical listening, exhibit some elements of ecological systems thinking. I conclude that the educational methods utilised by free improvisers, such as Stevens, Dove, Dresser and Bennink, engage the learner holistically through embodied, situated and distributed practice. It is recommended that such educational methods, which involve community practice, be introduced into music academies to reflect the ecological nature of improvisation.
ItemIntroducing instrumental students to improvisationDipnall, Mark Fairlie ( 2012)Improvisation has been an integral component of music practice throughout a variety of world musics, such as the Indonesian Gamelan, Japanese Kabuki Theatre, African drumming, Australian Indigenous music, Klezmer music, the Indian Raga, Jazz and Popular music. Instrumental tuition, within the present system of Western Education, on the other hand, tends to emphasise an early and ongoing commitment to the reading of notated music. Some of the literature in the area suggests that the emphasis for instrumental tuition should be concerned with improvisation thus producing opportunities to achieve a more personalised and independent result with music expression. By including improvisation within regular tuition the student instrumentalist could feel more at one with his or her own voice and imagination, rather than attempting to take on the role of reproducing the character and style of another person's notation. This thesis focussed on the development and provision of improvised music activities with high school students from Years 10 and 11. Consideration was given to how these improvised music activities might have impacted not only their improvisational skills but also broader attitudes to music. The study included a specifically designed curriculum emphasising improvisational techniques. It was constructed and implemented over a ten-week period with accompanying interviews, questionnaire and video. The aim of the study was to assess the impact of the implementation of this curriculum and how it could assist the learning and teaching of improvisation. The study's performance-ensemble consisted of rhythm and lead instrumentalists where all participants had the opportunity to engage with specific instrumental techniques that assisted the expression of improvisation. Simultaneously, all participants had the liberty of managing the lesson-content with original extemporised melody and composition. The results showed the participants experienced increased confidence with improvisation. The conclusion suggests that improvisation be viewed as an integral component within the teaching and learning of instrumental music.