Canonized repertoire as conduit to creativity

Abstract

Evidence found throughout the history of Western European art music reveals traditions that encompassed improvisation. This furthers the idea that without improvisation, music education based on canonized works of Western European art music is incomplete. When the goal of music education is to preserve works exactly as notated, improvisation occupies a marginal role in representations and practices commonly associated with the canon. Drawing upon participant observation and semi-structured interviews, this ethnographic case study investigates narratives of experience and pedagogical strategies of two Dalcroze music teacher-participants who treat canonized repertoire as an impetus to creative thought. Field sites included a kindergarten and an adult music class. Several themes emerged from the data analysis, providing a basis for understanding how previous experiences influence classroom practices and pedagogical strategies for opening creative processes in interaction with canonical repertoire. Findings show that the teacher-participants consider improvisation as inextricably linked to other musical processes and conceive of teaching itself as improvisation, treating features of repertoire as material for creative development. By revealing pedagogical practices that offer exceptions to an established model, this study illuminates patterns of interaction that challenge a widespread view of music education based on Western European art music as enacting static preservation.

Instrument teachers’ practices, beliefs, and barriers regarding musical creativity: Exploring the creative process of interpretation

“…It only became detached from Western, classical-music practice at the end of the nineteenth century (Moore, 1992). In the past, also composition was more integrated with musical performance (West, 2019). Musicians from the classical period were trained as a performer, composer, improviser, multi-instrumentalist, and conductor (Dolan et al, 2018;Gould & Keaton, 2000;Moore, 1992).…”