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Symposium
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Improvisation in the Aural Curriculum:
An Imperative
KateCovington
has long been a part of the music curriculum, at least in certain areas
study. It is a staple of jazz studies where students learn the skill through ensem
and specific courses. Organists are taught improvisation as a means of addressing serv
playing needs, such as creating bridges, accompanying, and modulating. Recent in
in improvisation is evidenced by an increasing number of publications about this topi
musicians and psychologists, as well as the Handbook of NASM (the National Ass
tion of Schools of Music) where there is a recommendation that music students de
improvisational and compositional skills. Improvisation is important because it is able
fuse the three primary musical activities of composition, performance, and critical li
ing/analysis; it involves all three simultaneously. One area in which improvisation cou
be incorporated into the music curriculum and which would reach all music maj
aural training. Improvisation in aural pedagogy should not be just a discretionary choi
but an essential component; theories of learning and cognition are demonstrating that
skill like improvisation has the potential to be the catalyst for a level of aural synthe
and understanding not being attained by more traditional means.
Recent research studies in cognition and learning theory, specifically in the areas
constructivism and schema theory, have revealed that meaningful knowledge acquisiti
of complex concepts cannot occur unless learners interact with these concepts
active environment. That is, learners cannot be expected to comprehend the complexi
of musical elements and their integration, nor can they be expected to transfer musi
knowledge and skills to real-life situations unless they have the opportunity to
actively with these elements in some mode of performance.
The importance of learning by doing has long been recognized by writers such as
psychologist Jean Piaget, who expressed the idea that concepts are never truly a
lated into one's working knowledge unless they have first been reformed or rediscov
by some activity. A more recent psychologist, Carl Rogers, believed that signif
learning is acquired through doing. Much of what we have learned has been acqui
an experiential context, whether it is bike riding, basics of cooking, car repair, or ba
ball. When we learned to ride a bike, we did not study its history, learn the names of
its parts, or explore the physics of wheels and motion. Nor did we learn this skill seq
tially, spending a week on braking, then a week on steering, and so forth. And y
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50 COLLEGE MUSIC SYMPOSIUM
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IMPROVISATION IN THE AURAL CURRICULUM: AN IMPERATIVE 5 1
tion, it is helpful to examine its antithesis, objectivist learning, where the goal is t
for complete and correct understanding of a distinct set of facts and skills. Specif
are identified and their frequency and order of presentation are determined. These
might be procedures for identifying intervals or the process for deciding in which
sion a chord is arranged. Information is simplified for comprehensibility, and extr
information is eliminated; tasks are isolated, subject complexity is reduced, and
aries are artificially neatened. An objectivist learner experiences instruction d
from real-world contexts. Objectivism may call for an active learner, but "the pur
that activity is to cause the student to pay closer attention to the stimulus ev
practice, and to demonstrate mastery of the knowledge" by retrieving and res
with the correct answer as validation that learning has occurred.5 Responses g
can be classified as correct or incorrect, and the assessment is highly quantitat
In the constructivist environment, the natural complexity of the subject's cont
supported and over-simplification is avoided. Each learner is essentially constructin
her own knowledge out of authentic, performance-based tasks, with knowledg
usable as different situations occur. Prior experiences are important, as new in
tion is integrated with that learning already present. The goal is not the final prod
rather the flexible capability of applying pre-existent knowledge to new situa
constructivist curriculum is presented whole to part, with the teachers behavi
interactive manner. An apprenticeship is an excellent model of constructivist l
and certainly one which is important to performers, conductors, and composers.
For both objectivist and constructivist learning, it is informative to consider k
edge as units called schemata, which are structures for representing concepts, how
tiple concepts are interrelated, or the procedures for using those concepts.6 S
which we have already learned may be simply recalled, or may be changed b
experiences, or may be restructured into new schemata. Schemata have variab
example, we have a schema for what to do in a restaurant, and whether we
McDonalds or to a cafe where the waiter presents the menu on a small chalk b
are able to place orders, find places to sit, locate the restrooms and know whether
to leave a tip. These variables are dependent on contextual and situational fact
usually if we are given certain variable values, we are able to make successful
tions about the others. For example, if we are listening to a passage by Bach
certain accidentals consistently used, we can with fair certainty predict the tonalit
next cadence. Rumelhart has said that "the bulk of the processing in a schem
system is directed toward finding those schemata which best account for the total
the incoming information."7
Schemata are constructed in a way that reflects the contexts in which th
learned. Schemata of concepts that are trained in isolation from other concept
5Thomas M. Duffy and David H. Jonassen, "Constructivism: New Implications for Instructional Techn
Educational Technology 31 ÍMav 1991), 7-12.
6David E. Rumelhart, "Schemata: The Building Blocks of Cognition," in Theoretical Issues in Reading Compre-
hension, ed. Rand J. Spiro, Bertram C. Bruce, and William F. Brewer (Hillsdale, NJ: Lawrence Erlbaum Associates, 1980).
7David E. Rumelhart and Andrew Ortony, The Representation of Knowledge in Memory, Technical Report no. 55
(San Diego: Center for Human Information Processing, Department of Psychology, University of California at San Diego,
1976), 112.
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52 COLLEGE MUSIC SYMPOSIUM
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IMPROVISATION IN THE AURAL CURRICULUM: AN IMPERATIVE 53
While composition is taught in nearly every music school and department, imp
sation as a separate course rarely is. And yet, improvisation has had an impact on
every musical field and has influenced in a major way most musical techniques or
of composition.12 Malcolm Goldstein notes that it is ironic that many composers
part of the European classical repertory were noted as great improvisers, bu
composers rarely study it.13 Nor is it included in most performance study. H
pianists today would even think of improvising a concerto cadenza on the spo
improvisation has not been a standard component of musical study in higher educ
except in specialized studies such as jazz and Baroque performance, it has be
integral aspect of some prominent elementary methods such as Dalcroze Eur
and Orff-Schulwerk.
1 'M. David Merrill, "Constructivism and Instructional Design," Educational Technology 3 1 (May 199
12Derek Bailey, Improvisation: Its Nature and Practice in Music (Ashbourne, Derbyshire: Moorland P
1980), 2.
13Malcolm Goldstein, Sounding the Full Circle (Published by the author, 1988), 9.
"Richard Parncutt, "How to Teach Reading," In [SMT-LIST] (Santa Barbara, California: Society for Music Theory,
1995 [cited 4 June 1995], Available from boethius.music.ucsb.edu/pub/smt-list/smt-talk.
15Marie-Laure Bachmann, Dalcroze Today (New York: Oxford University Press, 1991), 107.
16 Goldstein, Sounding the Full Circle, 1 0.
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54 COLLEGE MUSIC SYMPOSIUM
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IMPROVISATION IN THE AURAL CURRICULUM: AN IMPERATIVE 55
language; "you speak it fluently when you reach the stage of not having to think ab
each and every word you enunciate; you can concentrate entirely on the conten
communications."18 According to Dalcroze, this skill cannot be learned sequentially
an objectivist manner. John Sloboda compares improvisation with the re-tellin
story.19 The teller has knowledge of a particular set of episodes which constit
'plot' of the story. The 'frame' of the story is compared to characteristic harm
melodic progressions that underlie many different types of music. Sloboda imp
efficacy of setting certain parameters, whether tonal, harmonic, metric, etc. a
continuing evolvement of this skill within each musician.
There is no general or widely held theory of improvisation instruction. Imp
tional strategies and pedagogical methods are found in jazz methods, keyboard harm
sources, organ books, and more general sources. Jazz improvisation is primarily me
and style specific, but offers ideas for melodic embellishment and the use of a
structural line, and demonstrates melodic concepts strongly influenced by harmony
gan improvisation methods are service oriented and are harmonically and tonally dr
An organ improviser needs to adapt to flexible lengths and learns to be sens
melodic motives and the influence of tonal goals. Keyboard harmony methods
marily influenced by harmonic function considerations. Other sources, such as
Roger Dean, offer insights into improvisation in a contemporary idiom and reflect
est in polyphonic textures and in music which is less tonally oriented.
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56 COLLEGE MUSIC SYMPOSIUM
1st day: Each student improvises a rhythmic phrase in 2/4, 4 measures long (# 2).
2nd: Each student improvises a rhythmic phrase in 3/4, 4 measures long (# 2).
3rd: Each student improvises a rhythmic phrase using a given motive (# 1 ).
Each student improvises a melody using a suggested rhythm,
8 beats long, using only tonic and dominant pitches (# 5).
20The aural training program at the University of Kentucky was developed by the author and Charles Lord. For more
information on this curriculum, see our article, "Epistemology and Procedure in Aural Training: In Search of a Unification
of Music Cognitive Theory with Its Applications," which was published in Music Theory Spectrum 1 6 (1994), 1 59-1 70.
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IMPROVISATION IN THE AURAL CURRICULUM: AN IMPERATIVE 57
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IMPROVISATION IN THE AURAL CURRICULUM: AN IMPERATIVE 59
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60 COLLEGE MUSIC SYMPOSIUM
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IMPROVISATION IN THE AURAL CURRICULUM: AN IMPERATIVE 6 1
ever is requested of the students, and in fact, they can serve the important functi
modelling. The following guidelines are offered for the inclusion of improvis
aural training or in other courses.
(1) Set certain parameters, such as key, rhythm, and length. You may wish to
include certain materials in written notation and have that information
transposed for those playing transposing instruments.
(2) It may be helpful to use unfamiliar instruments, tuned and untuned, so
that students do not lapse into stereotypical patterns. The use of less
familiar instruments will also reduce inhibitions.22
(3) People think that creativity is an innate ability for a limited few, and yet
everyone has the capacity to create and to create with feeling. The most
troubling obstacles stem from our inhibitions. The use of rhythmic
improvisation, the use of less familiar instruments, and the absence of
critical judgment from the instructor will lessen the stress associated with
improvisation.
(4) There is no wrong improvisation; an error may be only an unintentional
Tightness.23 Don't stop when improvising; keep playing and incorporate mistak
An organist once said, "Salvation is never more than a half step away."24
(5) Provide an environment that is non-threatening, one in which students
feel comfortable experimenting and playing something that does not sound
polished. The instructor should be non-judgmental and receptive to all
efforts, especially at the beginning.
(6) Students' improvisations may sound contrived and often mechanical, but
over time their skill and freedom in improvisation will improve. Be aware
that students will mature in their improvisational skills at different rates.
In the end, improvisation cannot really be taught, only suggested, guided, and
allowed. The musician will become his or her own teacher. And, in a sense, tha
goal of all instruction.
22Eric F. Clarke, "The Role of Improvisation in Aural Perception," in A Conference on Aural Training
ings, ed. Michael Henson (Huddersfield, England: Huddersfield Polytechnic, 22-24 April 1987), 87.
23T. Carl Whitmer, The Art of Improvisation: A Handbook of Principles and Methods for Organists,
Teachers and All Who Desire to Develop Extempore Playing, Based upon Melodic Approach (New York: M. W
& Sons, 1934).
24 Gerre Hancock, Improvising: How to Master the Art (New York: Oxford University Press, 1994).
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62 COLLEGE MUSIC SYMPOSIUM
SELECTED BIBLIOGRAPHY
Aebersold, Jamey. How to Play Jazz and Improvise. Published by the autho
Bachmann, Marie-L&urG.Dalcroze Today. New York: Oxford University Pre
Bailey, Derek. Improvisation: Its Nature and Practice in Music. Ashbourne, D
Moorland Publishing, 1980.
Baker, David. Jazz Improvisation. Chicago: Maher Publications, 1969.
Berkowitz, Sol. Improvisation through Keyboard Harmony. Englewood Cliffs
Prentice-Hall, 1975.
Berliner, PaulF. Thinking in Jazz: The Infinite Art of Improvisation. Chicag
sity of Chicago Press, 1 994.
Bransford, John D., Robert D. Sherwood, Ted S. Hasselbring, Charles K. Kinz
Susan M. Williams. "Anchored Instruction: Why We Need It and How Tec
Can Help." In Cognition, Education and Multimedia: Exploring Ideas in H
Technology, edited by Don Nix and Rand Spiro, 115-141. Hillsdale, N J: L
Erlbaum Associates, 1990.
Brooks, Jacqueline G. In Search of Understanding: The Case for Constructiv
rooms. Alexandria, VA: Association for Supervision and Curriculum Develo
1993.
Brown, John S., Allan Collins, and Paul Duguid. "Situated Cognition and the
Learning." Educational Researcher IS (1989), 32-42.
Clarke, Eric F. "Improvisation, Cognition, and Education." In Companion to
porary Musical Thought, edited by John Paynter, Tim Howell, Richard Or
Peter Seymour, 787-802. London: Routledge, 1992.
Clarke, Eric F. "The Role of Improvisation in Aural Perception." In A Confer
Aural Training: Proceedings, edited by Michael Henson, 42-48. Huddersfíe
land: Huddersfield Polytechnic, 22-24 April 1987.
Coker, Jerry. Improvising Jazz. Englewood Cliffs, NJ: Prentice-Hall, 1964.
Conley, James. A Guide to Improvisation: An Introductory Handbook for Ch
ganists. New York: Abingdon Press, 1975.
Covington, Kate and Charles H. Lord. "Epistemology and Procedure in Aural
In Search of a Unification of Music Cognitive Theory with its Application
Theory Spectrum 16 (Fall 1994), 159-170.
Dean, Roger T. Creative Improvisation: Jazz, Contemporary Music and Bey
Philadelphia: Open University Press, 1989.
Duffy, Thomas M. and David H. Jonassen. "Constructivism: New Implication
structional Technology?" Educational Technology 3 1 (May 1991), 7-12.
Dunlap, Joanna C. and R. Scott Grabinger. "Rich Environments for Active Le
the Higher Education Classroom." In Constructivist Learning Environm
ited by Brent G. Wilson, 65-83. Englewood Cliffs, NJ: Educational Techn
Publications, 1996.
Fosnot, Catherine Twomey, ed. Constructivism: Theory, Perspectives, and
Practice. New York: Teachers College Press, 1996.
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IMPROVISATION IN THE AURAL CURRICULUM: AN IMPERATIVE 63
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64 COLLEGE MUSIC SYMPOSIUM
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