Download or read book The Integration of Improvisation in the Curriculum of String Orchestral Music Education for K 12 written by Felipe Tobar Blanco and published by . This book was released on 2021 with total page 0 pages. Available in PDF, EPUB and Kindle. Book excerpt: "Music improvisation has been part of many forms of traditional and folk music since the beginning of human civilization. However, it seems that improvisation has been left out of the curriculum for traditional western music education, especially in the last 100 years. By pairing the instrumental abilities that students are learning within a specific curriculum with abilities in improvisation, students will develop a deeper perspective of music as a whole. Strengthening skills in improvisation will help students to develop a set of skills that is necessary for any musician in the twenty-first century. Through the experience of integrating music improvisation skills to a traditional curriculum, this thesis explores the tradition of improvising, the approach of some of the masters of classical music to improvisation, other experiences using improvisation in the classroom, and the available material created to implement creativity to the world of classic string instruments. This thesis also takes a look at the preliminary studies on how the art of improvising music appears to change some parts of the brain related to creativity and self expression, the possibility of learning new abilities through the study of improvisation, the challenges of implementing improvisation skills in a classroom setting, the use of technology as a tool for teaching and practicing improvisation and overall the benefits of incorporating improvisation as a necessary and vital part of learning music. The main focus of this thesis will be on how to incorporate all these different skills including improvisation, diverse repertoire and modern techniques related to music (basic knowledge of acoustics and use of technology) into a more traditional curriculum, based on the experience of different music schools, educators and the experience of teaching these skills to young students."--

Download or read book Improvisation and Music Education written by Ajay Heble and published by Routledge. This book was released on 2016-02-19 with total page 309 pages. Available in PDF, EPUB and Kindle. Book excerpt: This book offers compelling new perspectives on the revolutionary potential of improvisation pedagogy. Bringing together contributions from leading musicians, scholars, and teachers from around the world, the volume articulates how improvisation can breathe new life into old curricula; how it can help teachers and students to communicate more effectively; how it can break down damaging ideological boundaries between classrooms and communities; and how it can help students become more thoughtful, engaged, and activist global citizens. In the last two decades, a growing number of music educators, music education researchers, musicologists, cultural theorists, creative practitioners, and ethnomusicologists have suggested that a greater emphasis on improvisation in music performance, history, and theory classes offers enormous potential for pedagogical enrichment. This book will help educators realize that potential by exploring improvisation along a variety of trajectories. Essays offer readers both theoretical explorations of improvisation and music education from a wide array of vantage points, and practical explanations of how the theory can be implemented in real situations in communities and classrooms. It will therefore be of interest to teachers and students in numerous modes of pedagogy and fields of study, as well as students and faculty in the academic fields of music education, jazz studies, ethnomusicology, musicology, cultural studies, and popular culture studies.

Download or read book Music Discovery written by Daniel J. Healy and published by Oxford University Press, USA. This book was released on 2020 with total page 225 pages. Available in PDF, EPUB and Kindle. Book excerpt: ""Improvisation is spontaneity in music. It can be beautiful, uplifting, and unnerving all at the same. It happens instantaneously, in a unique context, with ideas never to be performed the same way again. It can be the result of years of practice or an unexpected reaction to a collaborative musical moment. As Spolin so eloquently explains, it provides musicians with an opportunity to explore a musical situation where boundaries can be stretched and new ideas can be enacted. Out of these experiences comes a sense of freedom and agency that can inspire a young musician. We have seen the power of these experiences in our own students, and we hope to foster those same experiences for students through the teaching approaches and activities discussed in this book. Where do improvised musical moments live in the typical music curriculum? We know that it is a challenge to incorporate improvisation on a consistent basis. As new music teachers, we often incorporated improvisation as a culminating experience at the end of a unit, or we saved improvisation experiences until concerts were completed. Improvisation did not seem like something that we could address year-long when the demands of content or performance were so great. It changed our teaching when we realized that we could integrate music improvisation activities consistently into the ensemble or music classroom curriculum. Furthermore, we realized that we did not need to hit the ""pause"" button on concert preparation to work on an improvisation unit, both repertoire and improvisation could advance our students' performance abilities. A music teacher can do this in a group setting by tapping into students' diverse personalities and voices. Improvisation is often framed as an independent enterprise, but an eclectic group of students provides boundless opportunities for rich and varied musical collaboration. Moreover, the teacher can be essential in facilitating vibrant group improvisation experiences. There is something different that happens in musical development when we set up opportunities for students to make spontaneous musical choices for themselves. Students begin to listen differently, watch differently, feel differently, and perform differently if we give them the space to stretch musical boundaries and create their own musical ideas. How do we know that students change when they begin to improvise? By focusing on musical elements in improvised activities such as melody, harmony, rhythm, timbre/texture, articulation, and dynamics consistently over time-we have seen students transform. By grounding musical improvisation in these musical elements, students can begin to connect and produce music that reflects layered levels of musical understanding. Furthermore, when lessons are exploratory, interdisciplinary, or inspired by principles in various genres students will experience more fluid musical interactions, become more attuned to their neighbors, and more open and adaptive to musical ideas. This book is designed to provide an accessible approach to including musical improvisation in the large ensemble and classroom setting. It is largely based on the transformative musical experiences we have had with students when we began incorporating improvisation into our teaching. The spontaneous and unpredictable nature of musical improvisation can be challenging, but the rewards far outweigh any momentary trepidation that teachers and students might feel. The pedagogical suggestions and lesson plans presented will make the benefits of teaching and learning improvisation clear and provide an approach that is adaptable and manageable for music teachers working with large numbers of students. In doing so, teachers will learn more about students' musical thinking and will enhance musicianship skills for their entire ensembles. The 2014 National Music Standards call for music teachers to engage students in the musical process of creation and describes improvisation as an integral experience. Yet we know, many teachers, particularly in large ensembles and classroom settings, still struggle to find ways to make improvisation a reality (Bernhard, 2013; Bernhard & Stringham, 2016; Schopp, 2006). The book is framed around practical and flexible ideas for implementing improvisation activities. The lesson activities borrow broad principles from different musical styles and genres to provide a variety of improvisation settings and appeal to diverse student interests. Many activities are exploratory in nature allowing students to play and respond to each other while also focusing on core musical elements such as melody and rhythm. Interdisciplinary teaching approaches and resources are suggested throughout many of the lessons to enhance creative expression and build connections between the arts. Lessons include learning objectives, detailed procedures, assessments, benefits, recordings, and mp3 examples. ""--

Download or read book Forging Pathways to Improvise Music written by Joseph Montelione and published by Taylor & Francis. This book was released on 2023-08-22 with total page 239 pages. Available in PDF, EPUB and Kindle. Book excerpt: A step-by-step resource on forging one’s own pathway to improvise music, this book guides the musician through a clear and simple method that will easily translate to the reader’s genre of choice. Many musicians struggle with improvisation. Coincidentally, educators also find it challenging to integrate improvisation into curriculum. This book breaks down the barriers most performers and educators combat in the learning and teaching of improvisation, and is a helpful approach to demystify the complicated sphere of music improvisation. Divided into three sections, the first part of the book helps the reader develop an improvisatorial mindset to mentally conceive musical ideas, regardless of genre. The second portion then connects the improviser’s mindset to translating those ideas into a compelling musical performance in real time. The book’s final third assists the reader with discovering how to apply this method of improvisation to the nuanced liturgical, comedic, jazz, and classical styles. Forging Pathways to Improvise Music offers a practical introduction to improvisational methods essential for educators, students, and musicians of diverse educational backgrounds and musical genres.

Download or read book Rationale and Curriculum for Jazz Improvisation in the Middle School Heterogeneous String Class written by Leyla Sanyer and published by . This book was released on 1987 with total page 148 pages. Available in PDF, EPUB and Kindle. Book excerpt:

Download or read book Music Theory Through Improvisation written by Ed Sarath and published by Routledge. This book was released on 2013-07-04 with total page 434 pages. Available in PDF, EPUB and Kindle. Book excerpt: Designed for Music Theory courses, Music Theory Through Improvisation presents a unique approach to basic theory and musicianship training that examines the study of traditional theory through the art of improvisation. The book follows the same general progression of diatonic to non-diatonic harmony in conventional approaches, but integrates improvisation, composition, keyboard harmony, analysis, and rhythm. Conventional approaches to basic musicianship have largely been oriented toward study of common practice harmony from the Euroclassical tradition, with a heavy emphasis in four-part chorale writing. The author’s entirely new pathway places the study of harmony within improvisation and composition in stylistically diverse format, with jazz and popular music serving as important stylistic sources. Supplemental materials include a play-along audio in the downloadable resources for improvisation and a companion website with resources for students and instructors.

Download or read book Teaching Improvisation Within the General Music Methods Course written by Bridget Dawn Rinehimer and published by . This book was released on 2012 with total page 86 pages. Available in PDF, EPUB and Kindle. Book excerpt: The purpose of this study was to investigate the teaching of improvisation in general music methods courses for music education majors. Subjects (N = 45) were university general music methods course teachers who participated in the Mountain Lake Colloquium for Teachers of General Music Methods on May 15-18, 2011, in Mountain Lake, Virginia. A researcher-designed questionnaire was used to collect information on instructor experiences, approaches, and perspectives relating to the teaching of improvisation in general music methods courses. Results showed that instructors were diverse in age and in educational degrees held. Almost all (96%) of participants agreed that improvisation skills should be taught in the university general music methods course. The majority (93%) of instructors reported that they currently address improvisation in a general music classroom. Half of those that provided improvisation instruction spend 10% of a typical semester's class time on it. The majority (69%) held specialized certifications, the most popular being Orff Schulwerk. The Orff approach, followed by Dalcroze and Kodály methods, respectively, were used frequently when teaching improvisation in university classrooms. Strategies favored included modeling (71%), group improvisation (67%), and the use of Orff instruments (62%). Emphasis was placed on performance-based assessment, with peer-teaching (81%) and class improvisation sessions (73%) the most popular. Almost all (96%) had experience teaching general music in K-12 grade school settings, and in elementary schools in particular. Elementary K-4 national standards for improvisation were also addressed consistently in university class meetings. While only 40% of the instructors had formally studied improvisation, over 88% were interested in learning more about teaching improvisation. Although 71% of participants believed that others who play their primary instrument improvised better, and that others had more talent for improvisation (56%), these individuals still felt confident in their ability to teach teachers how to address improvisation (89%), to teach others improvisation (73%), and to become proficient in improvisation (73%). They also enjoyed the challenge of improvisation (59%). Those with higher teaching self-efficacy were also more likely to have formal training in improvisation, and use group improvisation and modeling as teaching strategies. Those with higher composite self-efficacy were more likely to use group improvisation as a teaching strategy.

Download or read book Improvisation Creativity and Consciousness written by Ed Sarath and published by SUNY Press. This book was released on 2013-06-01 with total page 490 pages. Available in PDF, EPUB and Kindle. Book excerpt: Using insights from Integral Theory, describes how the improvisational methods of jazz can inform education and other fields.

Download or read book Improvisation in the Music Classroom written by Edwin Gordon and published by Boydell & Brewer Ltd. This book was released on 2003 with total page 156 pages. Available in PDF, EPUB and Kindle. Book excerpt: With Improvisation in the Music Classroom, author Edwin E. Gordon, one of the world's foremost experts in the fields of music aptitude, music education, and audiation, offers a compelling case for expanding today's general music curriculum to include improvisation. And with this book, Dr. Gordon provides the sequential tools general music teachers and students need to begin improvising. Beginning with rhythm, Dr. Gordon thoroughly explains improvisation and then makes practical suggestions for classroom learning. He continues with lessons in tonalities, melodic patterns, harmonic patterns, harmonic improvisation, and advanced harmonic improvisation. The book concludes with suggestions for making the transition from vocal improvisation to instrumental improvisation. Based on Dr. Gordon's own observational and experimental research, this book takes the intimidation out of improvising and provides practical and fun education exercises to help students become ready to improvise [Publisher description]

Download or read book Approaches to Qualitative Research written by Colleen Conway and published by Oxford University Press, USA. This book was released on 2020 with total page 241 pages. Available in PDF, EPUB and Kindle. Book excerpt: "Music education researchers who are looking to understand the "dim secrets that startle our wonder" look to qualitative research. Approaches to Qualitative Research: An Oxford Handbook of Qualitative Research in American Music Education is a resource for music education researchers, music education graduate students, and P-16 music teachers. I begin this Preface by locating qualitative research in music education within the larger field of qualitative research in social sciences and humanities research, within qualitative research in education, and within music education research in general"--

Download or read book A Study of Improvisation in High School Alternative String Ensembles written by Kimberly Lansinger and published by . This book was released on 2006 with total page 276 pages. Available in PDF, EPUB and Kindle. Book excerpt:

Download or read book Teaching Music Improvisation with Technology written by Michael Fein and published by . This book was released on 2017 with total page 0 pages. Available in PDF, EPUB and Kindle. Book excerpt: Incorporating technology in music classrooms can take the mystery out of improvisation. What music technology does is establish a strong foundation for chord, scale, phrase, ear training, and listening exercises, creating a solid backdrop for student expression. As author and educator Mike Fein shows, technology is a valuable tool that can be used effectively to supplement student practice time while also developing the skills necessary to become a proficient improviser. Complete with notated exercises, accompaniment tracks, and listening resources, this book gives teachers methods to set their students free to make mistakes and to develop their own ear for improvisation at their own pace. Broken down into significant areas of music technology, each chapter focuses on developing a new skill and guides readers to tangible outcomes with the assistance of hands-on activities that can be immediately implemented into the classroom. In addition to these hands-on activities, each chapter provides the reader with an "iPad Connection" to various iOS applications, which allows teachers and students another, albeit significantly less expensive, medium through which to learn, share, and create art. This book will appeal to music educators of students in grades K-12. It will serve collegiate music education courses secondarily, and will also appeal to those music educators who work with improvisation and technology.

Download or read book The Oxford Handbook of Qualitative Research in American Music Education written by Colleen M. Conway and published by Oxford University Press. This book was released on 2014-04-01 with total page 697 pages. Available in PDF, EPUB and Kindle. Book excerpt: Qualitative research has become increasingly popular in music education over the last decade, yet there is no source that explains the terms, approaches and issues associated with this approach. In The Oxford Handbook of Qualitative Research in American Music Education, editor Colleen Conway and the contributing music educators provide that clarification, as well as models of qualitative studies within various music education disciplines. The handbook outlines the history of qualitative research in American music education and explores the contemporary use of qualitative approaches in examining issues related to music teaching and learning. It includes 32 chapters that address a range of topics, from ways of approaching qualitative research and ways of collecting and analyzing data, to the various music teaching and learning contexts that have been studied using qualitative approaches. The final section of the book tackles permission to conduct research, teaching qualitative research, publishing qualitative research, and provides direction for the future. An ambitious and much-needed volume, this handbook will stand as a key resource for drawing meaning from the experiences of students and teachers in music classrooms and communities both in America and in other countries.

Download or read book Improvising Violin written by Julie Lyonn Lieberman and published by Hal Leonard Corporation. This book was released on 1997-06-01 with total page 208 pages. Available in PDF, EPUB and Kindle. Book excerpt: (Fretted). Written for the violinist who longs to leave the confines of the written page, Improvising Violin is a comprehensive guide to the art and science of successful string improvisation. With clear, step-by-step explanations and instructions, acclaimed teacher and performer Lieberman breaks down all of the components necessary to master improvisation in jazz, blues, swing, folk, rock and new age styles, offering dozens of helpful tips on theory and technique along the way. Preface by Darol Anger.

Download or read book Creativity Through Improvisation for Strings written by Stohlberg Darrin and published by LAP Lambert Academic Publishing. This book was released on 2015-06-05 with total page 132 pages. Available in PDF, EPUB and Kindle. Book excerpt: This research is designed to show the importance of incorporating creativity in the orchestra classroom through the musical art of improvisation. Included in the research are discussions on the history of improvisation, the importance of improvisation, the importance of creativity in the classroom. This research includes lesson plans designed specifically for orchestra/string educators to teach improvisation to string players.

Download or read book Improvisation and Composition in a High School Instrumental Music Curriculum written by David Andrew Stringham and published by . This book was released on 2010 with total page 0 pages. Available in PDF, EPUB and Kindle. Book excerpt: Common practice instrumental music pedagogy prioritizes performance from music notation. Certainly a worthy pursuit, such an exclusive objective often neglects other essential musical behaviors, such as singing, improvising, and composing. Local, state, and national music education policymakers, as well as authorities in the profession, agree that these behaviors are important. Nevertheless, singing, improvising, and composing are rarely included in instrumental music curricula. With the intent of improving music teaching and learning in secondary instrumental music, the purpose of this mixed methods study was to describe music achievement and personal perspectives of high school students who learned to improvise and compose using a sequential music curriculum in a non-auditioned wind and percussion ensemble. In this study, curriculum emphasized development of individual musicianship and emerging behaviors for improvisation and composition (i.e., singing, movement, and playing by ear to learn melodies, bass lines, tonal patterns, rhythm patterns, and voice leading). Quantitative measures revealed relationships between music aptitude and music achievement. Three judges rated student performances. Overall, mean scores were highest for singing, followed by mean scores for playing and writing music. Stabilized music aptitude scores were predictive of performance achievement, improvisation achievement, and composite music achievement; these aptitude scores were a relatively weak predictor of composition achievement. Several statistically significant correlations emerged among musical tasks. Analysis of variance revealed significant effects for gender and instrument group. Student perspectives on improvisation and composition were examined in a focus group comprising eight students who participated in the research. Students in this focus group found the sequential nature of this curriculum helpful, and reported success in learning to improvise and compose. Students generally agreed that learning musical elements by ear was beneficial. Several participants indicated that the processes of improvising and composing are related. Recorded class meetings and fieldnotes were examined to describe teaching and learning of improvisation and composition in this setting. Based on this examination, it was evident that musicianship, understanding of music teaching and learning, interaction, making connections, and a positive learning environment are important when learning to improvise and compose. Singing, moving, performing, improvising, composing, and analyzing were ongoing elements of the curriculum. Quantitative and qualitative data presented in this study provide preliminary evidence to suggest that teaching improvisation and composition in a non-auditioned secondary wind and percussion ensemble is a practical, meaningful, and musical objective.

Download or read book Instrumental Music Education written by Evan Feldman and published by Routledge. This book was released on 2015-12-21 with total page 459 pages. Available in PDF, EPUB and Kindle. Book excerpt: Instrumental Music Education: Teaching with the Musical and Practical in Harmony, 2nd Edition is intended for college instrumental music education majors studying to be band and orchestra directors at the elementary, middle school, and high school levels. This textbook presents a research-based look at the topics vital to running a successful instrumental music program, while balancing musical, theoretical, and practical approaches. A central theme is the compelling parallel between language and music, including "sound-to-symbol" pedagogies. Understanding this connection improves the teaching of melody, rhythm, composition, and improvisation. The companion website contains over 120 pedagogy videos for wind, string, and percussion instruments, performed by professional players and teachers, over 50 rehearsal videos, rhythm flashcards, and two additional chapters, "The Rehearsal Toolkit," and "Job Search and Interview." It also includes over 50 tracks of acoustically pure drones and demonstration exercises for use in rehearsals, sectionals and lessons. New to this edition: • Alternative, non-traditional ensembles: How to offer culturally relevant opportunities for more students, including mariachi, African drumming, and steel pans. • More learning and assessment strategies • The science of learning and practicing: How the brain acquires information • The philosophies of Orff and El Sistema, along with the existing ones on Kodály, Suzuki, and Gordon. • The Double Pyramid of Balance: Francis McBeth’s classic system for using good balance to influence tone and pitch. • Updated information about copyright for the digital age Evan Feldman is Conductor of the Wind Ensemble and Associate Professor of Music at the University of North Carolina at Chapel Hill Ari Contzius is the Wind Ensemble Conductor at Washingtonville High School, Washingtonville, NY Mitchell Lutch is Associate Professor of Music and Director of Bands at Central College in Pella, Iowa