The Role of Improvisation in Higher Music Education

Sušić, Blaženka Bačlija; Habe, Katarina; Mirošević, Jasna Kudek

doi:10.21125/iceri.2019.1120

Cited by 4 publications

(3 citation statements)

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“…It is thus not surprising that classical musicians show more performance anxiety, which is negatively correlated to the flow state (Fullagar et al, 2013;Kirchner et al, 2008;Mao et al, 2020), than musicians in other genres (Papageorgi et al, 2011). Not only do music students fail to get enough experience to feel confident in more creative activities such as improvisation (Bačlija Sušić et al, 2019), they also face the daunting task of achieving an abstract aesthetic ideal.…”

Section: Discussionmentioning

confidence: 99%

Improvisation as the Foundation of Flow in Music Education: Connections to Attitudes, Gender and Genre

Korošec

Susić

Habe

2022

REI

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The aim of our study was to explore the connection between improvisation and flow. Data were collected from 252 tertiary music students from Slovenia and Croatia (121 male and 131 female musicians), who filled in The Questionnaire on Attitudes to Music Improvisation, The Inventory on Feelings associated with Music Improvisation, and the Work-related Flow Inventory. The results show that the female students have significantly more negative feelings and attitudes toward improvisation, and they experience less flow while improvising. Differences were even more pronounced when comparing students who only played classical music with those who played other genres, as well. Regression analysis showed that we can explain 71% of the variance in flow with attitudes toward improvisation.

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Section: Discussionmentioning

confidence: 99%

Improvisation as the Foundation of Flow in Music Education: Connections to Attitudes, Gender and Genre

Korošec

Susić

Habe

2022

REI

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“…However, a child needs support to develop these skills, as well as the ability to listen attentively. Teaching music in preschool by ear, or 'aural learning', is an important mode of learning at various levels of music education (Bačlija Sušić et al, 2019;Zećo et al, 2023).…”

Section: Musical Vibrational Instruments and Early Educationmentioning

confidence: 99%

5. Sound Experience and Imagination at Early School Age

Zećo,

Videnović,

Silajdžić

2024

Psychological Perspectives on Musical Experiences and Skills

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This study describes a novel approach to facilitating children’s musical development, creativity, and imagination by introducing unconventional vibrational, percussive instruments (gongs, Himalayan singing bowls, and Koshi Chimes) in early music education. One of the advantages of these instruments is that children can very quickly become involved in music-making regardless of their previous knowledge and musical affinity. We traced children’s sound experiences during twelve workshops for 6–7-year-olds. Results showed that listening and improvisation with these instruments enhanced rich fantasy and careful listening. We argue for encouraging children to express their experiences, fostering their ability to focus attention and reflect on sound qualities. This research illustrates the strength of introducing listening and playing with simple but rich sounds in early music education.

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Section: Musical Vibrational Instruments and Early Educationmentioning

confidence: 99%

Psychological Perspectives on Musical Experiences and Skills

2024

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Psychology of Music is a flourishing area of research in the Western Balkans. However, much of its findings and insights have remained relatively unknown outside the region. Psychological Perspectives on Musical Experiences and Skills features recent research from the Western Balkans, foregrounding its specific topics, methods, and influences, and bringing it into productive conversation with complementary research from Western Europe and further afield. The essays in this collection investigate the psychology of listening and performance and their relevance to music practice. Employing a range of research methodologies, they address divergent themes, from a cross-cultural understanding of aesthetic experiences and innovations to attract new audiences, to developmental perspectives on musical growth and the challenges of mastering performance skills. Authors reflect independently and collaboratively on how these psychological processes are shaped by the different traditions and geopolitical conditions inside and outside the Western Balkans. The result is a volume that emphasizes how musical experiences and practices happen not in isolation but in socio-cultural environments that contribute to their definition. This work will appeal to musicians, music educators, students, researchers, and psychologists with an interest in the psychology of music and exemplify ways forward in decolonizing academia.

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The Role of Improvisation in Higher Music Education

Cited by 4 publications

References 0 publications

Improvisation as the Foundation of Flow in Music Education: Connections to Attitudes, Gender and Genre

Improvisation as the Foundation of Flow in Music Education: Connections to Attitudes, Gender and Genre

5. Sound Experience and Imagination at Early School Age

Psychological Perspectives on Musical Experiences and Skills

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