Improvisational Practices in Elementary General Music Classrooms

Abstract

Despite historic and ongoing support for the inclusion of improvisation in the elementary general music curriculum, music educators consistently report challenges with implementation of improvisational activities in their classes. This study was designed to examine (a) the extent to which improvisational activities were occurring in the participants' elementary general music classrooms, (b) the nature of these improvisational activities, and (c) participants' perceptions of the quality of their students' improvisations. The most common improvisational activities reported by these teachers were question-and-answer singing, improvising on unpitched and pitched percussion instruments, and improvising rhythmic patterns using instruments. Analysis of their reflections on these activities revealed three broad themes: (a) process, practice, and experience, (b) sequencing, scaffolding, and modeling in instruction; and (c) collaboration, reflection, and creation. These teachers stated they were most interested in the quality of the improvisational process rather than with the product and indicated that sequencing was crucial in the instruction of improvisation. While some put less importance and priority on improvisation, the majority perceived it as necessary to the development of students' musical skills, as an important way for students to show musical understanding, and as an empowering creative process that produces independent thinkers and musicians.

Improvisation in general music education – a literature review

“…Studies involving teachers as research objects in themselves have explored to what extent improvisational activities are taking place in music classrooms (Koutsoupidou, 2005; Gruenhagen & Whitcomb, 2014) and noted how teachers’ different educational orientations, teaching styles and input affect the development of children's creative thinking via improvisation (Koutsoupidou, 2008; Koutsoupidou & Hargreaves, 2009; Saetre, 2011). As with children and students, also studies on teacher's perceptions and practices as well as their views on conditions for musical improvisation (Koutsoupidou, 2005; Gruenhagen & Whitcomb, 2014) are somewhat unnoticed. Researchers points to these gaps and invite more studies considering what improvising mean to both teachers and children (Burnard, 2000a; Kanellopoulos, 2007; Beegle, 2010; Saetre, 2011).…”

“…This approach can be understood as child-directed more than teacher-directed and includes a view of improvisation as a process of discovery where mistakes are seen as new opportunities and possibilities rather than failure. Frames that provide a safe and trusting environment are viewed as important, so that children, without fear of being criticised by peers or teachers, can make mistakes (Burnard, 2002; Koutsoupidou, 2005, 2008; Kanellopoulos, 2007; Higgins & Mantie, 2013; Monk, 2013; Gruenhagen & Whitcomb, 2014).…”

“…A view of children's improvisations as ‘naïve’ (Brophy, 2005) displays a top-down perspective where adults do not value children's improvisation and creative music-making, are they not successful according to norms and conventions within a Western music tradition. Some authors in the reviewed articles argue that teachers should take into account the different ways in which children think and create music according to their age and experiences and not force their own preconceptions of improvisation on their students (Burnard, 2000a, 2002; Koutsoupidou, 2005; Kanellopoulos, 2007; Rozman, 2009; Whitcomb, 2013; Gruenhagen & Whitcomb, 2014).…”

“…This is not only in order to fully understand how teachers and students perceive improvisation, but also to explore how improvisation practice in general music classrooms could be developed. Hitherto, in the reviewed articles, teachers’ and children's perspectives have mostly been gauged through surveys (Koutsoupidou, 2005; Coulson & Burke, 2013; Gruenhagen & Whitcomb, 2014) with three exceptions: Burnard (2000a), Kanellopoulos (2007) and Beegle (2010), who conducted interviews with children, focusing on their experiences of improvisation.…”

Improvisation i musikundervisningen: Tre lärares didaktiska förhållningssätt

“…De beskriver aktiviteter där utforskande och elevernas egna improviserade skapande i stunden ingår, men under beteckningar som gestaltning, rytmik och/eller uppvärmningsövningar. I samstämmighet med några tidigare studier är den improvisation som sker vanligen fokuserad på improvisation och imitation med rytminstrument eller med röst(Gruenhagen & Whitcomb, 2014) och rörelse(Rozman, 2009).…”