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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.