Free improvisation in choral settings: An ecological perspective

Abstract

This instrumental case study explores and theorizes on the educational potential and value of free collaborative vocal improvisation, a process that enables equal access to music regardless of musical skills. The focus of the article is on the musical activities of an adult choir in Finland that applied tenets from improvisational theatre to facilitate the social and musical processes of free improvisation. This study applies an ecological perspective to understand how improvisation can offer asylum—a physical or conceptual safe space within which an individual can flourish socially and musically—and explore how it is sought, constructed, and supported, and what opportunities it can afford to those participating in it. The analysis shows how the participants used various techniques for seeking asylum, both in and away from their shared social space, when they encountered the inherent discomforts of improvisation. Depending on the social ecology of each situation, the musicking activities provided the participants with the resources to construct both social and musical agency as well as experiences in playful collaborative musical learning and wellbeing. The present study calls for an ecological framework for music education and improvisation that supports musicking in a safe and playful learning environment with a focus on social processes, and which could be considered the starting point for music education at all ages.

Experiences of Musical Improvisation: Self-Individuation and Participatory Sense-Making

“…Free musical improvisation can be enjoyed by anyone willing to try it, because in free improvisation no prior musical experience is required (Bailey, 1993; Wilson & MacDonald, 2012). In group musical improvisation, students can explore musical possibilities and develop a sense of musical agency while creating shared meaning as they listen carefully and respond meaningfully to fellow improvisers (Lange, 2011; Siljamäki, 2021; Wilson & MacDonald, 2012). By facilitating music improvisation activities, teachers can help students cultivate their musical voices and grow as musical meaning-makers.…”

“…Fear of negative responses from other improvisers or anxiety about what to play can stifle participation and block self-expression (Siljamäki, 2021; Smith, 2014; Willox et al, 2011). Siljamäki (2021) found that singers in a free improvisation choir overcame fear and inhibition by creating a safe musical/social space.…”

“…Fear of negative responses from other improvisers or anxiety about what to play can stifle participation and block self-expression (Siljamäki, 2021; Smith, 2014; Willox et al, 2011). Siljamäki (2021) found that singers in a free improvisation choir overcame fear and inhibition by creating a safe musical/social space. Members agreed to treat improvisation as play, to consider repetition and silence as valid musical contributions, and to accept or adapt all musical and movement offerings made by their collaborators.…”

“…Even in the Western classical music tradition, musicians were expected to improvise in performance until the late 19th century when the written score assumed primacy (Azzara, 2002; Goertzen, 1996; Jaques-Dalcroze & Rothwell, 1932). Research findings indicate that improvisation activities can promote musical originality (Biasutti & Frezza, 2009; Lage-Gómez & Cremades-Andreu, 2019; Lange, 2011), enhance individual performance abilities (Lange, 2011; Lewis, 2013), encourage independence in young musicians (Beegle, 2010; Pignato, 2013; Wall, 2018), and help students understand the social value of music (Kanellopoulos & Wright, 2012; Siljamäki, 2021; Willox et al, 2011). However, musical improvisation is often neglected in K-12 and collegiate music education programs (Biasutti, 2017; Pignato, 2013; Wall, 2018).…”

“…Scholars have identified a need for studies that address questions concerning how students feel about improvisation and what they perceive happens when they improvise (Azzara & Snell, 2016; Beegle, 2010; Burnard, 2002; Hickey, 2015). This understanding of students’ music improvisatory experiences could help educators incorporate improvisation into school music in ways that foster student self-expression (Lange, 2011; Lewis, 2013; Sansom, 2007; Willox et al, 2011), deep connection to and understanding of music (Sawyer, 2006), musical exploration and experimentation (Burrows, 2004; Jaques-Dalcroze & Rothwell, 1932; Kanellopoulos, 2011a), and development of connections between peers (Burrows, 2004; Kanellopoulos, 1999; Lange, 2011; Siljamäki, 2021; Willox et al, 2011). Furthermore, Sawyer (1999) suggested that if improvisation were taught before notation, music education programs could attract and retain more students because they could avoid the tedium of learning notation before playing music.…”