Improvisation: An Always-Accessible Instrument of Innovation

Kutschke, Beate

doi:10.2307/833513

Cited by 4 publications

(6 citation statements)

References 6 publications

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“…The roots of this vision can be traced back to the experimental music practices of the post-war era (Kutschke, 1999; Nyman, 1999; Reynolds, 1965). Envisioning improvisation in education as a means of creative becoming is closely connected to approaching improvisation as an open form , as a particular way of approaching time and musical material in improvisation, an attitude that figures prominently in non-idiomatic, free improvisation contexts (Ford, 1995; Hickey, 2009; Wright & Kanellopoulos, 2010).…”

Section: Results – Research Question 2: What Visions Of Improvisationmentioning

confidence: 99%

Mapping visions of improvisation pedagogy in music education research

Siljamäki

Kanellopoulos

2019

Research Studies in Music Education

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This systematic literature review aims to identify and critically examine the prevailing general trends of music education research that addresses issues of improvisation from 1985 to 2015. The study examined the main features of studies with impact that focus on musical improvisation and have been published in peer-reviewed music education journals. Data were organised on the basis of the following: 1) General publication features; 2) Topic; 3) Methodological approach; 4) Participant features; 5) Type of improvisation; 6) Definition of improvisation; 7) Findings; 8) Suggestions for practice. The study also takes a close look at the construction of the discourses through which improvisation has been framed in the field of music education, providing insights on how such discourses create particular pedagogical visions of improvisation. To this end, we have created a map of the different visions of improvisation pedagogy that the studied works point towards. These visions have been clustered in the following five categories: (i) from rupture of certainties to creative problematisation; (ii) return to the “natural” beginning—in search of humanness; (iii) improvisation as a learning tool; (iv) conserving and enlivening traditions; (v) improvisation as an impetus for creativity. The map proposed in this study is meant as a possible representation of the general trends that underpin music education research focusing on improvisation. This map can also be seen as a “tool” through which music educators can situate their practice and reflect on their particular ways of working with improvisation, possibly envisioning alternative ways forward.

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Section: Results – Research Question 2: What Visions Of Improvisationmentioning

confidence: 99%

Mapping visions of improvisation pedagogy in music education research

Siljamäki

Kanellopoulos

2019

Research Studies in Music Education

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“…A par das revoluções artísticas que vigoravam no pensamento criativo do século passado, a instituição de uma notação musical que incitasse maior liberdade ou "livre-arbítrio" (OLIVEIRA FILHO, 2008: 1) proveio da necessidade de existir um movimento estético e ideológico que confrontasse a racionalização radical do dodecafonismo e do serialismo integral onde o emprego de uma notação não-determinista era visto como um defeito técnico (KUTSCHKE, 1999. OLIVEIRA FILHO, 2008.…”

Section: Indeterminismounclassified

Da tradição às formas abertas: o papel da hermenêutica na constituição do texto musical contemporâneo

Peruzzolo-Vieira

2019

OPUS - Rev. Elet. Anppom

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Este trabalho pretende examinar a epistemologia da notação musical contemporânea e o seu meio comunicativo tanto no que se refere à qualidade semântica quanto à potência criativa. No momento em que o compositor elege uma notação que faz frente ao sistema vigente, a materialização do fazer composicional amplia o espaço ontológico da interpretação por meio de uma atividade que procura aproximar significado e compreensão. Neste sentido, procurou-se dialogar, por diferentes frentes, com o estado da arte atual sobre notação, representação e interpretação, numa tentativa de incutir um sentido de unidade e lógica próprias da hermenêutica moderna. A partir de uma discussão sobre a visão paradigmática da notação tradicional (ZAMPRONHA, 2000), a faculdade de desenvolver formas de notação não convencional ganha força à medida que se apresenta como multiplicadora de possibilidades. Em conclusão, a perspectiva apresentada neste artigo revela um modelo atual de pesquisa artística centrada sobre uma interação mediada entre compositor e intérprete, servindo-se da hermenêutica como fio condutor.

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“…18 18 The rise and prevalence of an anti‐metaphysical concept of creativity after the second World War (Elliott, 1971; for its role in the renewal of New Music's interest in improvisation see Kutschke, 1999) has been accompanied by the development of a particular model of scientific inquiry, which constitutes an eloquent example of what Castoriadis has referred to as modernity's ‘ unlimited expansion of “rational” mastery ’ (1991g, p. 272). The idea that penetrated a large part of research about creativity during the fifties and the sixties is eloquently manifested in the following statement: ‘America must treasure and foster all the creative ability that she has in her’ (Toynbee, 1964, p. 9).…”

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confidence: 99%

Envisioning Autonomy through Improvising and Composing: Castoriadis visiting creative music education practice

Kanellopoulos

2012

Educational Philosophy and Theory

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Do psychological perspectives constitute the only way through which the role of musical creativity in education can be addressed, researched and theorised? This essay attempts to offer an alternative view of musical creativity as a deeply social and political form of human praxis, by proposing a perspective rooted in the thought of the political philosopher and activist Cornelius Castoriadis (1922–1997). This is done in two steps. First, an attempt is made to place the pursuit of the concept of musical creativity within a larger educational and societal context of conflicting trajectories that run through (a) Modernity and (b) Education. Then, I revisit the issue of educational value of improvising and composing through creating conceptual links between the process of music‐making through improvisation and composition and the project of political autonomy as conceived by Castoriadis. By foregrounding instituting imaginary over instituted imaginary, improvising and composing become active processes of positing new legitimacies, and of creating a music‐making context that searches for its own foundations. It is in and through creative musical praxis that we can think about issues of hierarchies, musical values, social dimensions of different music‐making processes, our relationship to past values and to historical dimensions of music. By arguing that improvisation and composition might be seen as ways of positing the issue of political autonomy in musical terms, this paper emphasises the role of improvisation and composition as a mode of potentially transformative educational practice that may foster the development of critical consciousness, linking music education to a larger project of re‐discovering and at the same time re‐defining democracy.

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Improvisation: An Always-Accessible Instrument of Innovation

Cited by 4 publications

References 6 publications

Mapping visions of improvisation pedagogy in music education research

Mapping visions of improvisation pedagogy in music education research

Da tradição às formas abertas: o papel da hermenêutica na constituição do texto musical contemporâneo

Envisioning Autonomy through Improvising and Composing: Castoriadis visiting creative music education practice

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