part i: composition portfolio ; part ii: the integration

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1-30-2013

Part I: Composition Portfolio ; Part II: TheIntegration of Free-Improvisation in the CollegeMusic CurriculumAndrew Saletta

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Recommended CitationSaletta, Andrew. "Part I: Composition Portfolio ; Part II: The Integration of Free-Improvisation in the College Music Curriculum."(2013). https://digitalrepository.unm.edu/mus_etds/7

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i

Andrew Saletta Candidate Department of Music Department This thesis is approved, and it is acceptable in quality and form for publication. Approved by Thesis Committee: Dr. Karola Obermueller , Chairperson

Dr. Regina Carlow

Dr. Richard Hermann

Dr. Bruce Dalby

ii

PART I: COMPOSITION PORTFOLIO

And

PART II: THE INTEGRATION OF FREE-IMPROVISATION IN

THE COLLEGE MUSIC CURRICULUM

BY

ANDREW SALETTA

BACHELOR OF MUSIC EDUCATION

THESIS

Submitted in Partial Fulfillment of

Requirements for the Degree of

Master of Music

The University of New Mexico

Albuquerque, New Mexico

December, 2012

iii

Dedication

This one is dedicated to all who know that they have something to give to this world, who

are willing to search for it within, and who then willingly give it. I give this to you, but I

still have more searching to do.

iv

Acknowledgements

I would like to thank all the teachers in my life whether in academic settings or

not. I would also like to thank all of my professors who have guided me in my musical

and college studies. The expertise, wisdom, passion, and creativity that you have shared

with me keep me inspired to share my own contributions with the world.

Thank you to my family and friends who have supported me along this journey. I

am so grateful for the consistent encouragement that you all were so willing to provide

for me.

And lastly I would like to thank the great, beautiful mystery that is life.

v

PART I: COMPOSITION PORTFOLIO

And

PART II: THE INTEGRATION OF FREE-IMPROVISATION IN

THE COLLEGE MUSIC CURRICULUM

By

Andrew Saletta

B.M.E., Music Education, University of Wyoming, 2005

M.Mus., Music, University of New Mexico, 2012

ABSTRACT

Part I: Composition Portfolio includes the scores of seven of my original

compositions. Pelayo Finds the Old Man is a piece for flute, clarinet in B-flat,

percussionist, and recording. Sre Koit is a choral piece written for a musical, and it

incorporates vocal percussion, spoken text, and traditional singing technique. Silent State

is an improvisatory piece for two performers, rocks, flags, piano, and body movement.

The first three pieces above demonstrate collaborative works with theater and/or dance

groups. I attended rehearsals with each group and this process informed my

compositional choices. The following four pieces demonstrate a variety of styles, and

include compositions for a diverse set of instrumental families. They show a spectrum of

vi

harmonic, temporal, and structural frameworks that I explored throughout the process.

Joy Within from String Quartet no. 1 is the first of a three-movement piece. Guitar

Quartet no. 1 explores the techniques unique to guitar. …now…here for flutes and

percussion, is a large ensemble work that incorporates a number of extended techniques

for the flute. absolute elsewhere was written for Gamelan Encantada, a Javanese

influenced American gamelan in pelog scale.

Part II: The Integration of Free-Improvisation in the College Music Curriculum is

a Music Education Project that argues for the inclusion of a free-improvisation forum in

college music curricula. The diverse manifestations of improvisation are presented in a

variety of published materials including histories, research, and methods. Non-academic

sectors in which improvisation is practiced are explored, specifically the practices of

music-therapists and their clients, and performing artists. A brief survey then

demonstrates the status of improvisation course content in select colleges in the United

States. Two original free-improvisation activities that I created are next presented in two

field studies. I discuss the results of each session, through which I assert that the

inclusion of free-improvisation in a college curriculum serves to fulfill three important

objectives for musicians: 1) to reduce musical inhibitions by creating a safe space in

which to explore musical creativity, 2) to allow participants to construct their own

knowledge and meaning in music, thereby giving them more ownership of their

education, and finally, 3) to expand the definition of music thereby broadening one’s

understanding, acceptance, and appreciation of a diversity of musical languages.

vii

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ix

-./!&01&!23-4/& Table 1 - Course offerings in Common Practice Period Improvisation ……………… 147

Table 2 - Course offerings in Jazz, World Music, and Popular Music

Improvisation…………………………………………………………………...149

Table 3 - Course offerings in Non-traditional Improvisation…………………………..151

!

!

!

!

PART I: COMPOSITION PORTFOLIO BY

ANDREW SALETTA

1

Pelayo Finds the Old Man

for Recording, Flute, Clarinet in B-flat, and Percussionist from music for

Seraphic Circus

Andrew Saletta

2

!

"

!

"

Copyright © September 17, 2009

Recording

Flute

Clarinet in Bb

Percussion:Triangle

MaraccasWind Chimes

q = 48

mf

mp poco poco poco

Rec.

Fl.

Cl.

Perc.

5

p mf

poco mf mp

mf mp pp f pp

!! "! !! "!!! "! !! "!

!! "! !! "!

!! "! !! "!

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$ %& % % %

Andrew SalettaFermata indicates approximately 23 seconds of recording

4. Pelayo Finds the Old Manfrom Seraphic Circus

' & ad lib. poco vib.

'(( %&ad lib. poco vib.

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$ % % % % %

'

'((

$(Wind Chimes)

))))))

(Triangle) (Maraccas)(Triangle)

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, . # , . # / , . #

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10

p f

p f

mf pp p mf

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Cl.

Perc.

poco rit. A Tempo15

pp mp

pp mf

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20

mf

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4

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24

p f

p f

molto vib.

p mf

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28

poco vib.

mp

poco vib.

mf

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Cl.

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33

non vib.

n

mp

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n

mf n

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5

Sre Koitfrom the musical

Red Umbrellas

Andrew Saletta

6

Instrumentation:

Alto SoloistBoy SopranoSopranoMezzo-SopranoAltoTenorBass

Performers Notes:

-Synthesizer - with basic synth sound

-Singers- "rrrung dung*"- as in m. 9- rolled "r" and close back of tongue to "ng" through the sustained pitch, do not hold the open vowel.

-Singers will perform spoken text and vocal percussion (V.P) figures in addition to sung lines.

-Perform the vocal percussion with as much percussive emphasis as possible. It is to imitate military drums.

-Perform words with an asterisk, such as ch*, or tk*, as short as possible.

-Perform "whispered," "breathy," or "full" voice as indicated in score.

-Alto Soloist should perform the text in as natural of a spoken flow as possible. The indicated rhythms do not have to be followed as long as the melodic phrase isadhered to and she realigns with the other musicians according to the actual phraselengths. The indicated rhythms are one possible interpretation for a natural spoken flow. She should be heard above all other musical texture throughout the work at alltimes.

-A pause can be taken between m. 76 and 77 if staging/choreography needs it,but the pause should not be too long. No more than five seconds.

7

!

"

#

!Copyright © January 19, 2010

Synthesizer(true synth sound)

q = 69

mp

S.

M-S.

A.

T.

B.V.P.

Synth.

rrrung

mf

dung* .- - - - - -

p9

rrrung

mf

dung* .- - - - - -

p

rrrung

mf

dung* .- - - - - -

p

chung

mp

che ke che chk chk chk chk chung che ke che chung chk chk chk

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Music by Andrew SalettaLyrics by Beth Iha

Sre Koit

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12

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mp

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f

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mp

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f

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15

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I am srei koit. Post Khmer Rouge

21

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p

rrrung

mp

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p

rrrung

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Phnom Penh Toul Kork Dis trict.-

23

rrrung

mp

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mp

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rrrung

mp

dung* - - - - - -

A. SoloV.P.

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Synth.

26

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30

.

ff

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ff

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M-S.

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Khmer Rouge, dead ly- rule las ting-

33

Slaved,

f

starved, tor tured,- ki lled!-

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f

starved, tor tured!-

Slaved,

f

sta rved!-

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f

starved, tor tured, killed! Sla ved!- -

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f

powh bohm- Powh!

mf

powh bohm-

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f

che ke- te- tahh Doom

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che ke- te- tahh

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37

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22

Silent State An improvisation for two performers,

piano, stones, flags, and body movement

Conceived by Andrew Saletta

Premier realization performed by Andrew Saletta and Sabine Wilden - 4/27/2012 UNM Composition Studio Recital

Notes for Performance:Materials and Setup:

-Performance space: The performers need enough space to have the piano on stage, and room for one or both performers to be moving their bodies, the stones, and flags around the stage in dynamic ways. The lighting should be enhanced with colored lights or visual effects if possible, and according to the performer’s own choices. For the premier, the audience was in a theater in the round style seating, but this is up to the performers and the performance space limitations. There were red, green, blue, and white lights positioned around the room.

-The piano must have its lid either fully up or off if using a grand piano. If using an upright, the piano should be prepared so that the performers have easy access to the strings. For the premier, the piano was on one end of the stage, but this is up to the performers.

-The stones should vary in size, but be comfortable to hold easily in the hands, or even in one hand. Ranging in size from a deck of cards to a baseball. The performer should feel comfortable enough to move with them, to roll them, spin them, drop them, and strike or rub them together. River stones are likely the best option because of their smoothness, and solidness; and they will not crumble upon striking together.

23

For the premier, the stones began on the floor in a cluster on the opposite end of the stage as the piano. There were fourteen stones, one of which had broken into multiple parts during one of the rehearsals (it was not a hard enough consistency to take repeated striking!). The broken pieces were still used in performance.

-The flags are long pieces of cloth varying in size. There should be at least two cloths of solid color. Like the stones the performer should be able to dynamically move and manipulate them with ease. They can begin on stage anywhere the performers desire. For the premier, the flags, two red and two purple, approximately 6ft x 2.5ft, began on the the floor with the reds completely covering the purples. They were situated as rivers connecting the stones to the piano.

-The performers should wear all black._____________________________

The Piece:

This piece is framed by a few loose rules of performance.

1. It begins with performers behind the audience, or at least off-stage. They need to have eye contact with each other so they can start the piece by both shouting or screaming loudly at the same time and rush into position, through the audience if possible. One person goes to the piano, one person goes to the open stage, stones, or flags.

2. They begin freely improvising sound and movement with the given materials. The general flow is that one person improvises at the piano, while one person improvises with their body, stones, and/or flags.

3. When either performer is compelled, they can shout, cry, scream, moan - or somehow activate their voice. These moments of vocal activation signal that the performers are to change roles. Pianist to movement, mover to piano. The transition can be immediate or slow, smooth or abrupt, but it is given that the

24

voice should signal the beginning of this change. This interchanging can happen as often or as sparsely as desired. However, it is important for this piece that the performers do not use actual words.

4. These rules are loose and can be amended to fulfill the performer’s own intentions. For example, if so compelled, both performers may be on the piano at the same time, or both may find themselves moving their bodies, performing with rocks, or flags at the same time. They may find the vocal activation might turn into singing.

5. It is recommended to rehearse the piece multiple times, striving to make each realization of the piece different from any other. The rehearsals allow the performers to play with their materials and understand the flow, the possibilities of creation, reaction and response, the possibilities of change.

6. The piece will end when both performers are ready to end; through enough practice together, an understanding of when exactly that ending moment is will feel more and more comfortable. The premier realization lasted 13 minutes and 30 seconds. But need not last this long, or this short.

The Intentions:

Using the vocal activation as transitions, the piece can be interpreted as a flow of changing states of consciousness. Perhaps as if being woken from a dream, or transitioning from a daydream back to “reality” as if startled by a loud noise, or sudden movement. Perhaps from being overwhelmed by a deep cry emerging from within that suddenly changes one’s frame of mind, or laughing out loud at something unexpected. Regardless, one’s level of awareness is suddenly different, whether more or less acute.

The improvisation is NOT intended to fit into any particular musical or dance “style.” I even refrain from labeling the improvisation “experimental,” for if the performer is compelled to improvise in the style of Bach, or a jazz ballade, or in a pentatonic scale, then they should! If the dancer is compelled to dance like a classically trained dancer, or a flamenco dancer, then they should. However, one of the intentions of this piece being improvisatory is that there should not be a feeling of right or wrong. It should be something that the performer wants or is compelled to do in that moment.

25

Lastly, the performers should strive to:

...listen deeply to one another

...play, explore, experiment

...expand one’s own limits- musically, physically, dramatically

...be a leader or a follower at the appropriate time

...create, react, and respond

...be dynamic, take risks

...be patient and clear with one’s intentions

26

Andrew Saletta

String Quartet no. 1Mvt. 1- Joy Within

27

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Vln. 2

Vla.

Vc.

pp mf

norm.

molto accel. molto rit. q = 60

29

pp

norm.

mf

pp

norm.

mf

pp mf

norm.q = 60

Vln. 1

Vln. 2

Vla.

Vc.

poco rit. molto accel. A tempo34

sul tasto norm.

sul tasto norm.

L.H. pizz. arco

Vln. 1

Vln. 2

Vla.

Vc.

pizz.

mf p

arco

f p

sul tastoq = 12038

pizz.

mfp

arco

f p

sul tasto

f p f p legatopizz.

mf

arco

p f p

arco

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45 6" 45 6"

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29

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Vln. 2

Vla.

Vc.

semi sul pont.

ff ff

norm.43

semi sul pont.

ff ff

norm.

semi sul pont.

ff ff

norm.

semi sul pont.

ff ff

norm.

Vln. 1

Vln. 2

Vla.

Vc.

pizz.

f

48

norm. legato

f

pizz.

f

mf

simile

Vln. 1

Vln. 2

Vla.

Vc.

mp f p

q. = 66rit.54

mp f p mf

mp f p

mp

simile

f mp

rit.

6" 45

6" 45

6" 45

6" 45

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,, # , # , # , #

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,- , , , , , , , , # ,- , , , , , 1 # : =, =, : =, =, : =, =, : =, =,

, # , # , # , # ,0 # , # ,0 # , # ,/ # , # ,/ # , # , # , # 1 # , ,-

, # , # , # , # , # , # , # , # , # , # , # , # , # , # , # , #

, # , # , # , # , # , # , # , # , # , # , # , # , # , # , # 1 #

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30

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Vln. 1

Vln. 2

Vla.

Vc.

62

f p ff

Vln. 1

Vln. 2

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Vc.

arco

f

pizz.

f

arco

fff

70

legato

fff

arco

fff

p

legato

fff

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Vln. 2

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Vc.

legato

pp

75

legato

mplegato

mp

mf

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2

2

(00

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Vln. 2

Vla.

Vc.

f

pizz.arco

fff ff

79

f fff

legato

f fff

legato

ffff

Vln. 1

Vln. 2

Vla.

Vc.

p

87

p

p mf p

p

Vln. 1

Vln. 2

Vla.

Vc.

96

p f p

p ff p p

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&&& & & &&& 7 7 7 72 2

2 2

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8 8 8

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(00 7 7 7

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,,,,, , ,,,,,, , # , # , # , # , , , , , ,,, ,/ # ,0 # , , ,, # , # , , , ,

,,,,, ,/ ,,,,,, , # , # , # , # . # , # , # , # , , , , # , # , , , ,

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, , , , , ,. # . # . # . # . # . # . # . #

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. # . # ./ # .0 # ./ #

32

!

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Vln. 2

Vla.

Vc.

ff p

legato

mf p

molto vib.

mf

101

mf ff mp

legatonon vib.

mf p

ff p

legato

mf p

ff p

legato

mf p

Vln. 1

Vln. 2

Vla.

Vc.

p

111

sfz p

sfz p f

sfz p f

Vln. 1

Vln. 2

Vla.

Vc.

lunga

sfz

short

p

q = 126119

lunga

sfz

short

plunga

sfz

short

p

p

lunga

sfz

short

p

6" 45

6" 45

6" 45

6" 45

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2

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(00 &

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& & 8 8 & & &2

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(00 & 7 7 7 7 7 7 7 8 8 8 & & & 8 8 8 8 82

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7 78 8 8 & & &

2

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(00 7+ 8 8 &

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,0 # ,/ # ./ # ./ # .% # .% # ./ # . # ./ # . # .% #

,'%( # ,% ,% ,/ # ,% # : ,% ,/ , # : ,/ , , # : , ,/ , # ,%3 : : ,/ ,% ,/ , # ,% # .% #

&&&&&.'%( # .% # .% # ./ # ./ # ,% ,/ ,% , # ,/ ,% , , # ,% ,% ,,,,,,,,,,

&&&&&.'%( # ,% # , # ,% # ,% # ,/ # ,/ # . # ,/3 1 ,3 1 ,%3 1 ,% ,/ , ,% ,% ,% ,% ,%

&&&&&.'%( # ,% # , # ,% # ,% # ,/ # ,/ # . # ,/ - 1 ,- 1 ,%3 1 ,% ,/ . #

.% # .% # . # ,%1 ,3 : ,3 : , #

,% ,% ,,,,,,,,,, , ,/ ,,,,,,,,,, , ,/ ,,,,,,,,,, ,% 1 ,- : ,- : , #,% # ,% # .% #

.% # ,% 1 ,3 : ,3 : , #

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Joy Within

33

!

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Vln. 1

Vln. 2

Vla.

Vc.

ff p

124

ff p

ff mp

ff mp

Vln. 1

Vln. 2

Vla.

Vc.

f p f

131

f p f

sfz mp sfz p

f

Vln. 1

Vln. 2

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Vc.

137

p

p

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>5 45

>5 45

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45 "" 45 ""

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8 8 & 8 8& & & 8 8 8 8 8 8 8 8 8 8 8 8

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8 8 & 8 8& & &

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8 8 8 8 & & && 8 8 8 8 8 8 8

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8 8 8 & 8 8 8 &

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,- : ,- : , # ,- : ,- : , # ,- : ,- : , # , , , , , , 1 # , , , , 1 # , , , , 1 # , , , , 1 #,3 : ,3 : , # ,3 : ,3 : , # ,3 : ,3 : , # , , , , , , 1 # 1 , : , 1 , : , 1 , ,0 #

,3 : ,3 : , # ,3 : ,3 : , # ,3 : ,3 : , # , , , , , , 1 # , ,/ , # , ,/ , # , ,/ ,0 #

$,0 ? ./ ,0 , , . , # . , # ./ , # $,0 ? ./ ,0 , ,

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, ,

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34

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Vln. 2

Vla.

Vc.

ff mf

144

ff p ff mf p

ff mf

ff p ff mf p

Vln. 1

Vln. 2

Vla.

Vc.

non vib.

p

vib.sul tasto

mp

rit.q = 72

151

vib.sul tasto

p mf

Vln. 1

Vln. 2

Vla.

Vc.

mf

molto espressivo

p f p

157

molto espressivo

mf p

mf

molto espressivo

f p

mf

molto espressivo

p

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77

7

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3

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1 # , , 1 ,/ 1 , 1 ,/ 1 ,

, , , , . . . .. , # , , , # , , 2 ,0 1 2 ,0 1

1 , 1 ,/ 1 .. ## ;; , , . # 1 , , , , , , . #

1 ,/ 1 , : ,- , , , ,0 , . # . # ,/ ; . , , , ,/ , ,% ,

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,/ # 1 , , , , ,

. . ; . . 1 . ,

Joy Within

35

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Vln. 2

Vla.

Vc.

f ff

short

p p

163

f ff

short

mf

f ff

short

mf

f

pizz arcoshort

ff mf

Vln. 1

Vln. 2

Vla.

Vc.

f p f p

pizz.

mp

q = 120

169

pf p

pizz.

mp

f p f p

p

pizz. arco pizz.

ff

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Vln. 2

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Vc.

176

arco

f

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1, ,

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: , . 2 . . ;

1 ,, , , ,

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, ,- , , , , , , , , , , ,

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36

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Vln. 1

Vln. 2

Vla.

Vc.

183

Vln. 1

Vln. 2

Vla.

Vc.

arcomolto vib.

mp f

190

arcomolto vib.

mp f

f mp f mp

molto vib.

f

f mp f mp sffz

Vln. 1

Vln. 2

Vla.

Vc.

sfzp f sub. p

198

sfzp f sub. p

sfzp f sub. p

sfz

pizz.

mp

arco

$00 &&

&&

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' ' ' ' 7 8

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$00 7 8 7 8 7 8 7 8

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(00 7 8 7 8 7 8 7 8

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Joy Within

37

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Vln. 1

Vln. 2

Vla.

Vc.

f mp ff

206

f mp ff

f mp ff

pizz.

sffz

pizz.

ff

Vln. 1

Vln. 2

Vla.

Vc.

p

L.H. pizzarco legato

f p

h = 54poco rall.212

p

pizz. arco legato

f p

p

arco legato

f

p f

legato

Vln. 1

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Vla.

Vc.

f pp

accel. 219

f pp

pp

pp

arco

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!6 66

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(00 7 8 7 8 7& 7 7 8 8 75

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7 8 8 7

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3

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7

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,, ## .. ,,,,,, .. ,,- : : 2 , # , , , , , ,3 ,- : 1 , # , , , , ,

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, . # . . , . # ; ,/ , , , , , , , ,0 , , , , , ,

.. .. .. .. . . . 2 , , , , , ,/ , ,0 , ,0 , , , , , , ,

38

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Vln. 1

Vln. 2

Vla.

Vc.

fff p

h. = 60

226

fff p

fff p

fff p

Vln. 1

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Vla.

Vc.

f p p

molto rall.237

f p p

f p p

f p

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39

dedicated to my brother Stephen

guitar quartet no. 1

Andrew Saletta

40

Harmonics (Harm.---) are notated with a diamond shape to indicate the desired sounding pitch,and are additionally sometimes specified with string and position, but placement is open to the player's discretion as long as the sounding pitch is achieved.

Pinch Harmonics (P.H.---) can be played where the player decides, again as long as the sounding pitch is achieved.

N.B.- Fermatas- as in mm. 58-59 and 66-67are intended to break the flow of theprevious pulse streams, the first angular fermata should be shorter in duration while the curved fermata should be slightly longer.

Pitch bends- make these very audible, but do not bend beyond a semi-tone (half-step). In this instance, arrive at the upper pitch and stay there for the rhythmic duration. Continue to repeat this figure after sim.

Always play this figure dedillo, in as fluid of a sound as possible, matching the energy of the musical phrase.

Rasgueado attack, dedillo portamento with forceful attack followed by very audible dedillo portamento. Arrival note is attacked but non rasgueado.

... in this instance bend to the upper pitch then back down to the starting pitch.

Performers Notes:

sl. (slides) and port. (portamento)- these are to be very audible. In some cases, the portamento is to be accompanied with a dedillo accentuating the figure.

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63

Andrew Saletta

...Now...Here

for Flutes and Percussion

64

Nota Bene-

- flz. = flutter tongue

- mm. 1-12- Bass Drum- small gradients of relative pitch change are notated on the two line staff showing relative pitch changes. Notes on the bottomline of the two line staff indicate no pitch adjustment. For notes above the bottom line, use either your hand or another mallet to depress the drum head to raise the pitch.

- mm. 38-40 - Flute 1 and Flute 4 - embouchure bends are to be as dramatic as possible.

- mm. 39-48 - Percussion 4 "water bowl"- this is a large metal bowl filled with a shallow depth of water. When the bowl is struck on the bottom surface from below, tilt the bowl from horizontal to angled or vice versa to achieve pitch changes. Experiment with angles and water depth to arrive at the best possible tone. Strive for more tone and less attack, softer mallets will help with this.

- Multipe pairs of maracas should be used throughout to obtain different timbres throughout the piece, especially in mm. 102-117, the maraca timbre should change seemlessly along with the volume fluctuations.

- This piece was premiered with a conductor. It is not necessary but will likely assist with keeping the group together.

Performer's notes:

Whistle Tones- To achieve this sound form a very narrow lip embouchure, and blow very gently to sustain the desired pitch. For more information on this technique see Robert Dick's The Other Flute: A Performance Manualof Contemporary Techniques 2nd ed.

Undertones- To achieve this sound, finger the top note fingering ("fingered note"), and blow less air than normally required for that pitch, so that the approximated pitch results ("sounding tone"). There are multiple undertone levels per fingered note, so be sure to catch the right one; you can cross check the pitch against the normal fingering for thesounding tone.

Percussion- 6 players - set up should be arranged so that Percussion 1-4 have smooth easy access to the instruments they needOrchestral Bells are shared between Percussion 1, 3, and 4; Timpani are shared between Percussion 3 and 4, and Wind Chimes are shared between Percussion 1 and 4.

Percussion 1: Snare Drum, Water Bowl, Wind Chimes, Orchestral Bells

Percussion 2: 2 Bongos and 2 Congas - tuned approximately minor 3rds apart

Percussion 3: Bass Drum, Timpani, Orchestral Bells

Percussion 4: Wood Block, Maracas (preferably multiple makes), Timpani, Wind Chimes, Tambourine, Orchestral Bells

Marimba- some optional octaves are indicated depending on the instrument being used

Vibraphone - no motor

In some instances both levels of undertone are played (by different players) as in mm. 28-30. Flute 4 plays the higher pitched undertones, while flutes 1 and 2 play the lower pitched undertones.

65

!

Copyright © December, 2011

Piccolo

Flute 1

Flute 2

Flute 3

Flute 4

Alto Flutein G

Bass Flute

Percussion 1Snare Drum

Percussion 2Bongos/Congas

Percussion 3Bass Drum

Percussion 4Wood Block

Marimba

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67

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68

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69

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Picc.

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Fl. 2

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70

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71

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Picc.

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++,,++-

++++-- #####

++, #####++,

( ' '

3

' ' :

3

$3

' ' :;<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<

3

+ +, + +4 +- +4 + +4 + +, +- + +4 +- + +, + +- +4 +- +4 + +, +- + +4 + +,+ +, +- +- +4 +- +4 + 6- )

9+4

9+-, 9

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+) 9+-, 9

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+ +, +- +- +4 +- +4 +- 6- )

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9+-, 9

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+) 9+-, 9

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+-9+,,

+ +, +- +- +4 +- +4 +- 6- )

* " + +0

9+% 9+, 9+ 9+4% 9+- 9+4- 9+- 9+4% 9+ 9+, 9+-% 9+- 9+4% 9+-- 9+ 9+,9+- 9+-, 9+4- 9+-- 9+4% 9+- 9+, 9+-% 9+- 9+4% 9

+- 9+,,+ +, +- + +4 +- +4 +- 6- )

+4 +- + +4 +- +4 + +4 + +- +4 + +4 +- + +- + +- +4 +- +4 + +- +4 + +4 + +,+ +, +- +- +4 +- +4 + 6 )

+ +, + +4 +- +4 + +4 + +, +- + +4 +- + +, + +- +4 +- +4 + +, +- + +4 + +,+ +, +- +- +4 +- +4 + 6 )

#####5 #####+ " #####+2 )

) " / )

) " / )

#####++ #####

++ ++.++44 )

++ +-++ +

++4.+4 + + + + + +- + + + + +

)

...Now...Here

72

!

!

Perc. 1Snare

Perc. 2Bon./Con.

Perc. 3B. D.

Perc. 4Wood Block,

Timp. Wind Chimes

Mar.

Vib.

B31

p

p

pp f pp

p

mf

B

Perc. 1Snare

Perc. 2Bon./Con.

Perc. 3B. D.

Perc. 4Wood Block,

Timp. Wind Chimes

Mar.

Vib.

34

mf

f pp pp

p

pp

"" !""" !"

"" !"

"" !"

"" !"

"" !"

"" !"

>" !" ""

>" !" ""

>" !" ""

>" !" ""

>" !" ""

>" !" "">" !" ""

& % % %

&secco

&B.D. normal slight mute with hand/arm3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3

&Percussion

%

$secco

%

( % %'

$ %

& % % %

& % %

&3 3 3 3 3 3 3 3 no mute' '

%

&To Timp. (

Timpani

$ %

( % %

$ % % %

0 / +. ) 1 + / ) / + 1 + + 1 1 + / 1 + 1 +

/" +7 + + + + + + 1 + + + + + + 1 + + + + + + + + 1 + + 1 1 + + 1 + + + 1 + 1

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +

++++,,,, ) +- 2 #####*- ###+- 0

0++++,,,,

0 +2 ###* ###+ 0

/ + / + )

+ + 1 + + + 1 + + + /" +7 +

+ + + + + + + + + + + + + + + + + + + + + + + + +2 / ) ) #####*

) +4 + 1 += + + ++4 ++4 1 ++= ++4 ++

++4 ++44 / ++4.++

(

...Now...Here

73

!

Picc.

Fl. 1

Fl. 2

Fl. 3

Fl. 4

Perc. 1Snare

Perc. 2Bon./Con.

Perc. 3B. D.

Timp.

Mar.

Vib.

mf

C37

mf

molto vib.

p mf

mf

molto vib.

p mf p

mf

molto vib.

p mf p

mf

ffmf

ppp

ff

ff mf

p

p

dampened- seccoC

"" !"

"" !"

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"" !"

"" !"

"" !"

"" !"

"" !"

"" !"

"" !"

"" !"

"" !"

$ % %13 beat cycles=4+3+3+3

$ %

$ %

$ %

$ %bend down with embouchure

** ** ** **

&' To Water Bowl

%water bowl

&

Glissandorelative pitch slide

gliss.

&w/ soft yarn mallets

&'

% %

( To W.Ch.'&

Wind Chimes

<<<<<<<<< %

$ % %+ + +4 + + + " + " +4 + + +

(

'

$3 3 3

) / +. +

0 / +. + 09+%

9+4 9

+%9+,4 9

+) 9+-, 9

+4-

0 / +,. + ) / +. +

0 / +2 + ) / +2 +

9+%

9+4 9

+%9+,4 9

+) 9+-, 9

+4- 9

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+- """" 9+

9+44 "

"/

9+

9+44 "

"/

9+

9+44 "

"/ )

+ + +2 / ) 0 ) ) / 6.#####5 #####* " #####+ #####*

+ ) 0

+. / 0 / +2 +2 / 0

/ +- 2 + +- +, +,

0+ + +, + + +4 +- + + +4 + + / +. / +. / +,.

...Now...Here

74

!

Picc.

Fl. 1

Fl. 2

Fl. 3

Fl. 4

A. Fl.

B. Fl.

Perc. 1Water Bowl

Perc. 2Bon./Con.

Perc. 3B. D.

Perc. 4W.Ch., Tamb.

Mar.

Vib.

p p

non vib.

mf p

40

p

non vib.

mf p mf

molto vib.

p

non vib.

mf p mf

molto vib.

p f

non vib.

mf

molto vib.

p f

molto vib.

mf

molto vib.

p mf

molto vib.

p mf

molto vib.

p

molto vib.

mf p mf

molto vib.

f pp mf

mf

ff p

legatosecco

legato pedal ad libitum

"" !"

"" !"

"" !"

"" !"

"" !"

"" !"

"" !"

"" !"

"" !"

"" !"

"" !"

"" !"

"" !"

"" !"

$ %'

%5

$bend down with embouchure ** **

norm. '

5

$'

5

$' ' ' ' '

5

$ %norm. '

' ' ' '5

$ %'

5

$ %'

5

& %simile

gliss.

&subito

& %3 3

% %

& % <<<<<<<<<< % %

$ % %+ + +4 + + + + + + " + + +4 +4 + " + ###**( '

' '

3

$ 33 3 3 3 3 3 35 3 3

+, + + +4 +- +. / / +4. + 0"

9+44 9

+-- "" /

9+

9+-- "" / ) +, + + +4 +- +. / / +4. + 0" ) /

+-. +

0" +, + + +4 +- +. / / +. + 0" ) / +. +

0" +, + + +4 +- +. / / +-. + " + + + + + " + + + / +-. +

+, + + +4 +- +. / / +- 2 + " + + + + + " + + + / +- 2 +

+, + +4 +4 +- +. / / +4. + 0" ) / +- 2 +

+, + + +4 +- +. / / +-. + 0" ) / +-. +

. / ) ) ) ) / 6..

/ ) )

#####+ #####* #####5 #####* " #####+ #####*+2 / / +2 0

) / +.+. / )

+ ++++, + + +, ###++4

/ +2 ) / 1+ + +, + + +4 +- + + " +4 + " + " + + +, + + " +- + +, + + +4 +- + +

...Now...Here

75

!

Picc.

Fl. 1

Fl. 2

Fl. 3

Fl. 4

A. Fl.

B. Fl.

Perc. 1Water Bowl

Perc. 2Bon./Con.

Perc. 3B. D.

Perc. 4W.Ch., Tamb.

Mar.

Vib.

p

secco44

p ff

molto vib.

mf

p ff

molto vib.

mf

p ff

molto vib.

mf

p

molto vib.

mf

p

secco

mp

molto vib.

mf

p

secco

mp

molto vib.

mf

pp

p

mf

ff p

"" !"

"" !"

"" !"

"" !"

"" !"

"" !"

"" !"

"" !"

"" !"

"" !""" !"

"" !"

"" !"

"" !"

$ % 3 3 3 3 3 %

$3 3 3 3 3 3 3 3

$3 3 3 3 3 3 3 3

$3 3 3 3 3 3 3 3

$

$3 3 3 3 3

35

$ 3 3 3 3 3 35

& %gliss.

%

& %

& % %

& <<<<<<<<<<<< % <<<<<<<<<<<<<

$ % '

( ' '' ' %

$

+ + + + +. / )

+ 9+4 9

+4- 9

+-4 9

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+,4 9

+)- 9+-, 9

+4- 9

+--= 1 / 0" /

+. + *

+ /9+4- 9+-, 9+4- 9+-- 9+4% 9+- 9+, 9+-4 9+-- 1 0" / +. + *

+ )9+4 9

+4- 9

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+ 0 0" / +2 + *

+ 0 ) + + + + +4 +2 / / +2 + *

+ 0 ) + + + + + +2 / / +2 + *

) / 6.. / )

#####+ #####* + ) 0

) #####*/ +2 +2 / ) / +.

+. / )

0 +, + + +4 +- + ###+ ###+

###++&4' ###+ " +. + + + 0

+4 + + " +. + +, " +2 + + + +, + + + +4+ + + +

...Now...Here

76

!

Picc.

Fl. 1

Fl. 2

Fl. 3

Fl. 4

A. Fl.

B. Fl.

Perc. 1Water Bowl

Perc. 2Bon./Con.

Perc. 3B. D.

Perc. 4W.Ch., Tamb.

Mar.

Vib.

ff

molto vib.A temporit.

47

ffsubito mp

f ff mp

non vib.

ff subito mp f ff mp

non vib.

ff subito mp f ff mp

non vib.

ffsubito mp

f ff

molto vib.

mf

ff mf

molto vib.

ff

molto vib.

mf

ff pp

ffff ff p

f p

ff pp

ff fff p

ff mp

A temporit.

"" !"

"" !"

"" !"

"" !"

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"" !"

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"" !"

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"" !"

"" !"

"" !"

$' 3 ' 3 ' 3 ' 3' %

3

$3 3 3 3 3 3 3 3 ' '

' '6 6

$3 3 3 3 3 3 3 3 '

6 6

$3 3 3 3 3 3 3 3 '

6 6

$3 3 3 3 3 3 3 3 '

'6 6

$ % % '

$ % %

&gliss.

gliss.

To S. D. Snare Drum ' 3 3 3 3 33 35

& % %norm.- w/ hands' '

%3

3

& % % %3 3

&(prepare tambourine)

<<<<<<<To Tamb.<<<<<<<<<<<<<<<<<<< Tambourine

$' ' ' ' ' ' ' ' ' '''

3 3

( % % % %

$'3

3

0 +4 " + + " + +- " +, +- " +++ + + + / +2 + )

*++ +, ++ + +, + + +++++++ +4 + +- + + + +4 + + + +, + +- 0 )

9*-

* ++ +, ++ + +, + + +++++++ +4 + +- + + *0 )

9*%

* ++ +, ++ + +, + + +++++++ +4 + +- + + + +4 * 0 )9*4%

* ++ +, ++ + +, + + +++++++ +4 + +- + + + +4 + + 0 / +2 +2 / / +2

* ) / +4. + / +4.

* ) / +2 + / +2

/ 6..

/ ) ) / 6.. / 0 + + ++++ ++ +++++67 /" )

+ + + ) + + ++++ ++

+ ) / +++ ++

0 / +2 +2 / ) / +.+2 / #####* " #####* "

###+++ "" ++ ++ ++ ++ ++ "" ++ ++ ++ ++ + + + + ++++++) + + + +

+, +,

+ + +,+ +- ++ + + + + +, + + + + +4 +- + + +4 + + + +, + +- ++44 ++++++ ++, + /

+2 + +,

...Now...Here

77

!

Picc.

Fl. 1

Fl. 2

Fl. 3

Fl. 4

A. Fl.

B. Fl.

Perc. 1S. D.

Perc. 2Bon./Con.

Perc. 3B. D.

Perc. 4Tamb.,

Orch. Bells

Mar.

Vib.

f p

51

p f p

p

p

mf

mp

mp

"" !" ""

"" !" ""

"" !" ""

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"" !" ""

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$ % % ' '' '

% %

$ %?

$ % % % % %

$ %?

$ ' ' ' ' '' ' ' '

% %

$ ' ' ' ' ' % % % %

$ ' ' ' ' ' % % % %

& %

& % % 3 3 3 3 3 3 3 3

& % % % % % %

&3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3

$ ' ''

( % % % % % %

$

+ "" + + + + " + + + +) )

9* ) 0 /

9+

9+4.

9+4.

9+4 9

+49+-4.

9+.

9+

9+

9+4-.

9+4.

9+4 9

+4- 9

+-4.

9*% )

9*4% ) 0 /9+ 9+,.

9+,.9+4- 9+- 9+4,.

9+.9+

9+- 9+-,.

9+,.9+4- 9+-- 9+4,.

+ " + + + + + " + + *+ "" + + + + " + + +4 + ) )

+&4' " +4 + + + + " + + *

+ " + + + + + " + + *

6 6 ) ) / 62 ) ) / 62 0 / 62 0 / 62 ) / 62 )

) / +. / +. ) / +. / +. ) / +. / +. ) / +. ) / +.

#####* " #####* " / + + / + + / + + 1 + + 1 / + + / + + 1 + + 1 / + + / + + 1 + + 1 #####* "

+ ++ + +, +, +4 +4

+ ++ + + +

+ + +4 +4+ + + +

+- +- +, +, + + + + + ++ + + + + +

+&,' + + + + +4 + +- + + + + + +4 +2 + +2 +, ++4 2 + +2 +, +

+- +4 + +

...Now...Here

78

!

Picc.

Fl. 1

Fl. 2

Fl. 3

Fl. 4

A. Fl.

B. Fl.

Perc. 1S. D.

Perc. 2Bon./Con.

Perc. 3B. D.

Perc. 4Tamb.,

Orch. Bells

Mar.

Vib.

fff ppf

D57

fff ppf

fff pp f

fff

fff

fff f

fff f

ff f

ff

fff sfz sub. pp mf

f p mp

fff

mp

pp mf

D

"" !" ""

"" !" ""

"" !" ""

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"" !" ""

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"" !" ""

$'

'' ' ' ' ' '

'3 3

$norm.- full tone ' ' ' ' ' '

'3 3

$gliss. ' ' '

'3

$norm.- full tone gliss.

% % %' ' '

3

$gliss.

% % %' ' '

3

$' ' ' ' ' ' ' ' ?

3 3 33

$'

'' ' ' ' ' ' ? ?

3 3 3 3

&' ' ' ' To W.Ch.

%Wind Chimes

%3 <<<<<<<<<<<<<<<<<<<<

&'

% % %

&' ' ' '3

&To Orch. Bells

$Orchestral Bells

soft rubber, or medium yarn mallets

$ ' ' ' ' ' % % %3

( %' ' '

'3 3 3 3

$3 3 3

3

3

3

+ + + +, + + +4 + + + + + * +4 + + +4 + + "" + *4)

0 +4 + + + +, + * +4 + + +4 + + "" + *4)

* + + + +4 +* +4 + + +4 + + "" + *4 )

0 +4 + + +4 +

*4 + + + +4 +

+ +4 + +, + + +4 + + + + + +- + +- +4 + +4 + +,+ + +- +4 + +4 +

+4 + + +4 + +4 + +, + + + + + +

+ + + +, + + +4 + + + + + +-+ +- +4 + + + +,

+ + +- +4 + + ++ + + +4 + + + +, + + + + + +

+ + + + + + + + + ++ + + + 0 +

#####* +2 / )

+ + + / / +2 ) + ) 0 + + 0

#####* +2 / )* + + + + + + "" + * )

+ + + + ++ ++ ++ )

+ +4 + + + +, +-+- +4 +4 + +-

+ + +4 + + + + +, + + ++- + ++

+ + + +, + +- +4 + + + + + + + +, + +-+4 + + + +, + +- +

+ + + +4 + + + +, +-/ ++.

...Now...Here

79

!

Picc.

Fl. 1

Fl. 2

Fl. 3

Fl. 4

A. Fl.

B. Fl.

Perc. 1W.Ch.

Perc. 2Bon./Con.

Perc. 3B. D.

Perc. 4Wood Block

Mar.

Vib.

ff

61

fff mp p ff

fff mp p ff

fff f

fff f

fff mp mp p

fff mp mp p

pp mf

"" !" !"

"" !" !"

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"" !" !"

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$ % % 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3

$ ? ? ? ? ? ? ? ? ? ? ? 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3

$ ' ' ' ' ' ' ' ' ' ' '3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3

$' ' '

3 3

$' ' '

3 3

$ ' ' '

$ ' ' '

&<<< To Orch. Bells % % %

& % % % %

& % % % %

$ % % % %

$ % % % %

( optional 8va (end opt. 8va)'

$

0" ) +, + +, + + + + + +, + +- + + + +, +

+ +- +, + + + + + + + + + + + +, + + + + + + + + +, + + + + + + + + +, +, + + + + + + + +, + +- + + + +, +

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +, + +, + + + + + +, + +- + + + +, +

+ + + + + + + +, + + +- + + *4 + + + + +4 +4 +, + +

+ + + + + + + +, + + +- + + *4 + + + + +4 +4 *,

+ + / + + / + + / + * " *4 + + + + +4 +4 +, + +

+ + / + + / + + / + * " * + + + + +4 +4 *,

+2 / ) 0

+ ++ + ++ + ++ ###+- ###* " ++,, ++ ++ ++ ++ ++ ++ ++ ++ ++ ++-- ++++44. / )

) / ++++

++2 ++

++ /++. ) / ++

++,, . /++442 ++,,

++

...Now...Here

80

!

Picc.

Fl. 1

Fl. 2

Fl. 3

Fl. 4

A. Fl.

B. Fl.

Perc. 1W.Ch.

Perc. 2Bon./Con.

Perc. 3B. D.

Perc. 4Wood Block

Mar.

Vib.

p

65

p

mf

molto vib.

mf

p f mf

molto vib.

p mf mf

molto vib.

ff f

ff f

pp

fppp

ff

""

""

""

""

""

""

""

""

""""

""

""

""

""

$' ' '3

$'

%3

$ '

chromatic glissando- as far as you can go in an eighth note value! ' glis

s. ' gliss. ' glis

s. 'glis

s.

$'

? ? ? ?

$'

chromatic glissando- as far as you can go in an eighth note value! ' glis

s. ' gliss. ' glis

s. 'glis

s.

%

$3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 ' ' ' ' ' ' '' 3 3 3 3 3 3 3 3 3 3 3 3 3 3

$3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 ' ' ' ' ' ' ''

3 3 ' 3 3 3' 3 3 3 3 3' 3 3 3'

& % $Orchestral Bells

%rubber mallets

& % % % %

& % % % %

$ % Wood Block % % % &

$ % % % %

( 3 3 3 3' %

$ % %

0++ + + +4 + + +4 + + "" + *4

) 0"

+ + + + +4 + + +4 + + "" + *4)

+ ) $+2+. . $+2 +. . $+2+. . $+2+. . *4 " * "

*+- + + + 0" *4 "

* $+- 2+. . $+2 +. . $+2+. . $+2+. . *4 "+- + +4 + + + +- + +, + +- +++ +, + +- + + + + + + + / ) + + + + + + + + / ) + + + + + +

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0+ + + +, +4 + )

0 +4 +4 ++ ++++ ++-- ++ ++ ++ #####++ +

+++ + + + + )

/++,, / /

++2 / ++,,

++.++,

...Now...Here

81

!

Picc.

Fl. 1

Fl. 2

Fl. 3

Fl. 4

A. Fl.

B. Fl.

Perc. 1S.D.

Perc. 2Bon./Con.

Perc. 3B. D.

Perc. 4Maracas

Mar.

Vib.

pp

flz.

fff

69

flz.

fff

f

flz.

fff

f

flz.

f fff

f

f

ff

ff

ff

cresc.

mp f

f

""

""

""

""

""

""

""

""

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""

""

""

""

$'

%

$ % % % %

$'

%

$'

%

$'

%

$ 3 3 3 3 3 3 3 3 3 3 % ' 3 3 3 3 ' ' 3 3 3 3 ' ' 3 3 3 3 '

$3 3 3 3 3' 3 3 3' 3 3 % ' 3 3 3 3 ' ' 3 3 3 3 ' ' 3 3 3 3 '

$To S. D.

% &Snare Drum

%'

& % % % %

& % %to Timpani Timpani

( %

& % $ %W.B.

%

$ % % % %

( % %

$ ' % %5

54 * ) /+.

+= 1 / ) 0

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+ + + +, +4 + ) 0 ) /" $+ + +7

+ 0"

+ 0"

++,@ ++ ++ ++ ++, ++ ++ ++ ++,- ++ ++ ++ ++ ++ ++ ++

0" + + +4 +4 + * 0

...Now...Here

82

!

Picc.

Fl. 1

Fl. 2

Fl. 3

Fl. 4

A. Fl.

B. Fl.

Perc. 1S. D.

Perc. 2Bon./Con.

Perc. 3Timp., B.D.

Perc. 4Maracas

Mar.

Vib.

ff

flz.

sfzp ff mp

E73

ff

flz.

sfzp ff mp

mp ff f

mfmp ff f

mp

opt. 8va

ff

mf

mf

pp f pp

mf p ff

ff p

mp p

f mp

mf

E

$' ' ' 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3

3 3 5 6 6 6

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83

!

Picc.

Fl. 1

Fl. 2

Fl. 3

Fl. 4

A. Fl.

B. Fl.

Perc. 1S. D.

Perc. 2Bon./Con.

Perc. 3Timp., B.D.

Perc. 4Maracas

Mar.

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84

!

Picc.

Fl. 1

Fl. 2

Fl. 3

Fl. 4

A. Fl.

B. Fl.

Perc. 1S. D.

Perc. 2Bon./Con.

Perc. 3Orc. Bells

Perc. 4Maracas

Mar.

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85

!

Picc.

Fl. 1

Fl. 2

Fl. 3

Fl. 4

A. Fl.

B. Fl.

Perc. 1S. D.

Perc. 2Bon./Con.

Perc. 3B.D.

Perc. 4Maracas

Mar.

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86

!

Picc.

Fl. 1

Fl. 2

Fl. 3

Fl. 4

A. Fl.

B. Fl.

Perc. 1S. D.

Perc. 2Bon./Con.

Perc. 3B.D.

Perc. 4Maracas

Mar.

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87

!

Picc.

Fl. 1

Fl. 2

Fl. 3

Fl. 4

A. Fl.

B. Fl.

Perc. 1S. D.

Perc. 2Bon./Con.

Perc. 3B.D.

Perc. 4Maracas

Mar.

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88

!

Picc.

Fl. 1

Fl. 2

Fl. 3

Fl. 4

A. Fl.

B. Fl.

Perc. 1S. D.

Perc. 2Bon./Con.

Perc. 3B. D.

Perc. 4Maracas

Mar.

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89

!

Picc.

Fl. 1

Fl. 2

Fl. 3

Fl. 4

A. Fl.

B. Fl.

Orch. Bells

Perc. 4Maracas

Mar.

Vib.

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90

abso

lute

els

ewhe

refo

r G

amel

an in

Pel

og S

cale

And

rew

Sal

etta

91

Dem

ung

Slen

them

Ken

dang

Kem

pul/K

enon

g/ K

etuk

(typ

ical

ly p

laye

d by

one

pla

yer)

Key

Gon

g/G

ong

(typi

cally

pla

yed

by o

ne p

laye

r)

abso

lute

els

ewhe

re w

as w

ritte

n fo

r the

Gam

elan

Enc

anta

da o

f Alb

uque

rque

New

Mex

ico,

as a

par

t of

a p

erfo

rman

cefo

r the

UN

M Jo

hn D

onal

d R

obb

Com

pose

r's S

ympo

sium

, 201

2. M

y si

ncer

est t

hank

s go

to a

ll m

embe

rs o

f the

gro

upfo

r the

ir ha

rd w

ork

on th

is p

iece

.

Inst

rum

enta

tion:

Gam

elan

in P

elog

scal

eB

onan

g 1

Bon

ang

2Pe

king

Saro

n

Perf

orm

ers'

Not

es:

-As e

ach

Gam

elan

is u

niqu

ely

tune

d to

itse

lf, a

nd is

not

an

equa

l tem

pere

d or

ches

tra, p

itche

s in

the

pelo

g sc

ale

that

is u

sed

byth

e G

amel

an E

ncan

tada

app

roxi

mat

ely

corr

elat

e to

the

follo

win

g nu

mer

ic sc

ale:

D

=1, E

-flat

=2, F

=3, G

-sha

rp=

4, A

=5, B

-flat

=6, a

nd C

=7.

-In a

dditi

on to

the

staf

f not

atio

n, th

e nu

mer

ic p

itche

s hav

e be

en in

clud

ed in

this

scor

e be

caus

e m

any

Gam

elan

's pl

ay a

ccor

ding

to

num

eric

not

atio

n ra

ther

than

con

vent

iona

l not

atio

n.

-Gon

g- A

ll to

nes a

re to

be

play

ed l.

v.

-Gon

g- m

m. 6

-8, p

lay

on th

e ed

ge o

f the

key

with

a st

rong

strik

e in

ord

er to

get

as m

any

of th

e ov

erto

nes a

s pos

sibl

e. T

hen

mut

e th

e pi

tche

s ind

icat

edw

ith x

not

ehea

ds o

n th

e be

at in

dica

ted,

allo

win

g th

e on

e no

n-m

uted

tone

to ri

ng th

roug

h. L

et th

is to

ne ri

ng a

whi

le b

efor

e m

ovin

g to

the

next

mea

sure

.

-At r

ehea

rsal

mar

k C

, the

mel

ody

is sh

ared

bet

wee

n de

mun

g an

d sa

ron/

peki

ng, a

s ind

icat

ed b

y th

e ar

row

.

-At r

ehea

rsal

mar

k E

, pla

yers

are

to p

lay

ad li

b. q

uick

arr

hyth

mic

pul

ses o

n th

e in

dica

ted

pitc

hes,

in a

n at

tem

pt to

be

play

ing

out o

f rhy

thm

fom

the

othe

r pla

yers

. A

dditi

onal

ly th

ey a

re d

irect

ed e

ither

to p

lay

the

tone

dam

pene

d by

thei

r fre

e ha

nd, o

r to

let t

he to

nes r

ing.

Ove

r the

se th

ree

mea

sure

s, th

e di

rect

ions

cha

nge

for e

ach

play

er.

Be

care

ful t

o fo

llow

the

dire

ctio

ns e

xact

ly.

-At t

he e

nd o

f E, m

. 89,

the

kend

ang

lead

s the

orc

hest

ra fr

om th

e ar

rhyt

hmic

pul

sing

slow

ly to

war

ds a

stea

dy a

nd c

onfid

ent 7

/8 p

ulse

slow

ly a

ccel

erat

ing

to th

e te

mpo

at r

ehea

rsal

mar

k F.

Tak

e yo

ur ti

me

with

this

sect

ion,

the

kend

ang

play

er sh

ould

onl

y gi

ve th

e tw

o m

easu

res o

f cue

whe

n he

/she

feel

s the

or

ches

tra h

as fi

rmly

lock

ed in

to th

e 7/

8 pu

lse.

-Kem

pul,

Ken

ong,

and

Ket

uk- T

his t

rio o

f dis

c sh

aped

inst

rum

ents

is tr

aditi

onal

ly p

laye

d by

one

per

son.

Kem

pul (

top

line)

and

Ket

uk (b

otto

m li

ne) a

re

non-

pitc

hed

tone

s, w

hile

Ken

ong

(mid

dle

line)

follo

ws t

he p

elog

scal

e. K

enon

g is

indi

cate

d by

the

appr

opria

te n

umer

ic p

itche

s. T

radi

tiona

lly, K

etuk

ispl

ayed

with

a lo

ose

mal

let l

ettin

g th

e m

alle

t dra

g or

buz

z sl

ight

ly a

long

the

disc

; ple

ase

aim

for t

his t

radi

tiona

l tec

hniq

ue.

92

! " ! "! "

Slow

ly a

nd F

reel

y

q = 4

0q =

84

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115

PART II: THE INTEGRATION OF FREE-IMPROVISATION IN THE COLLEGE MUSIC CURRICULUM

BY

ANDREW SALETTA

116

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Historically, [free-improvisation] pre-dates any other music—mankind’s first

musical performance couldn’t have been anything other than a free

improvisation—and I think that it is a reasonable speculation that at most times

since then there will have been some music-making most aptly described as free

improvisation.

-Derek Bailey (p. 83)

Musical practice has come a long way over the millennia since these

aforementioned musical utterances. To think about how fast musical sounds have

evolved, and how quickly they have then been perceived as new and distinct styles, is an

absolute mystery to me. In this paper, I’ll be discussing one of those mysterious musical

phenomena: improvisation. Specifically, I’ll be discussing free-improvisation.

Defining Improvisation and Free-Improvisation

It is important to consider how improvisation in general is defined, practiced, and

perceived, because it directly informs the way that improvisation currently exists, and

might potentially exist in new ways, in any institution’s music curriculum. How does one

define improvisation? Solis (2009) describes it as “...in the broadest sense, the practice of

making compositional decisions in the moment of performance...” (p. 1). Countless

variations on its definition exist, however as one can see, Solis’ definition and most

others include mention of extemporaneousness and intention within real-time musical

creation. However, in Solis’ definition we are limited by the word “performance.”

Kratus (2012) addresses this and describes two different ways of improvising:

117

One can improvise with either a process or product orientation. Adults tend to be

oriented to improvisation as a product, that is, as something to be shared with

others and that conveys some musical sense (i.e., that is nonrandom). Young

children tend to be oriented to improvisation as a process and to engage in it for

the pure joy of making musical sounds. (p. 371).

For the purposes of this paper, I would like not to limit it to “performance” but to include

music created publicly, or privately, alone, or with others.

So then, what is free-improvisation? There are other names and a variety of

approaches, but one of the unifying elements beyond extemporaneousness and

compositional decisions is that it is improvisation that does not necessarily reference any

particular style, period, or culture and therefore is not reliant on those musical

vocabularies (Bailey, 1992, p. 83). Further, twentieth-century trends in music such as

experimentalism, or non-traditional techniques, timbres, and materials (Schafer, 1969, p.

5-6) directly inform free-improvisation. Therefore for the purposes of this paper free-

improvisation is defined as: Extemporaneous and intentional musical creation that does

not refer necessarily to any particular style of music; that can exist in a variety of settings

including those settings shared only by those participants involved, or in settings shared

with an audience; by participants in a group or by participants alone; and with either a

process or product oriented objective.

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I grew up improvising all the time, and mostly I was trying to fit into the styles

that I listened to on the radio or that I played in band. I also played in a community flute

choir, and took flute and piano lessons; but I outside of these groups, I found myself with

118

my friends, my brother and his band just jamming—learning to create on the spot, to go

with the flow of the music, to play those sounds that simply fit even though we didn’t

know why. I quickly learned that the patterns – consisting of different harmonic sets,

melodic shapes, rhythmic figures – that I used in one style didn’t necessarily fit with

another and my ears were challenged to decipher on their own what fit and what didn’t. I

learned countless skills during these hours of exploration, and I believe they have been a

major factor in how I was able to learn and make sense of traditional music theory. Upon

reflection, even today I continue to learn and make music theory connections when I find

myself improvising in a style or freely.

=>&C"+G&+'?"@H&(@%%IABC@'DA,"+A'*&As an aural theory instructor for two years at the University of New Mexico I

worked with students with a variety of musical backgrounds and competencies. I

observed that when I had prepared activities in which students were able to freely create

and make music out of the strict confines of prescribed examples, they rode a roller-

coaster from being tentative and unsure at first, to delighted and excited by the end of

each activity. They appeared to be glad to have been given that musical freedom. I

began to wonder how much learning was happening during this activity. I didn’t have the

means to quantify it, but I do know their vocal intonation suddenly improved, their group

communication was impressive and exciting to witness, and in my mind the biggest

indicator of success was that they all had smiles on their faces.

I don’t deny the extreme importance and necessity of the exercises and drills we

did every day, however I made sure that my lessons included at least a little time for

improvisation. I began envisioning a forum where students could freely improvise

119

together, and have it be an integral part of their musical education. To be clear, however,

I knew that from the beginning I was not envisioning improvisation in any specific style.

I was really curious what students would create when told it didn’t have to follow any

rules. I therefore began envisioning a forum where this could happen for students. I

began exploring free-improvisation.

Research Problem: Free-improvisation in the college music curriculum

Bailey (1992) writes about free-improvisation: “[d]iversity is its most consistent

characteristic. It has no stylistic or idiomatic commitment. It has no prescribed idiomatic

sound. The characteristics of freely improvised music are established only by the sonic-

musical identity of the person or person’s playing it” (p.83). The more I thought about

these descriptions, and the more free-improvisations I listened to, the more I wondered if

this existed in college music curricula. If so, where? And how was it presented?

The National Association of Schools of Music (NASM) lists in its competencies,

“the creation of original compositions or improvisations, variations, or improvisations on

existing materials... and manipulating the common elements in non-traditional ways”

(NASM, 2012 b, p. 2). Additionally, one of the goals is to “continue to develop

improvisational skills whether as an aspect of composition, musicianship, or performance

studies” (NASM, 2012 b, p. 3). Clearly, this accreditation board considers improvisation

to be an integral part of musical studies. Not only do they consider it to be integral, but

they also specify “manipulating the common elements in non-traditional ways.” This

suggests a need to go beyond the conventional views of improvisation, specifically the

traditions of jazz, rock, and certain classical music practices.

120

At the University of New Mexico (UNM) where I worked on my master’s degree,

students in either jazz studies, or music education are the only music majors required to

take an improvisation credit (Kostur, personal communication, June 29, 2012). Why is

this a requirement of only certain majors? Additionally the only four courses meeting

that requirement are “Introduction to Improvisation” (a non-jazz improvisation course)

which promotes audiation skills within the tonic and dominant harmonic functions, and

“Jazz Improvisation” levels I, II, and III (Dalby, personal communication, June 20,

2012). Of course jazz ensembles and combos also exist as forums where students have

ample opportunity to engage in improvisation. The main point is that music students

seem mostly to have traditional improvisation forums as their primary option and few

options exist.

So where does “non-traditional” fit into the picture? One unique option exists for

music students at UNM, the “Electric Ensemble” and is a course offered only as an

ensemble credit. Unfortunately, due to a technicality, the Electric Ensemble does not

count as an improvisation credit for those students who do take the course (Sheinberg,

personal communication, August 17, 2012).

While I am grateful to see these courses, it is the premise of this research that

most collegiate music institutions offer only a limited spectrum of improvisation courses;

Borgo (2005) also points to a similar trend in the American college system that “[t]here

were no courses on free-improvisation at UCLA where I did my Ph.D. in

ethnomusicology, and there are few courses of this kind in the university setting

anywhere” (Borgo, p. 8). As one will see in my own research methods, my evidence

suggests a similar trend.

121

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The purpose of this study is to argue for the inclusion of a free-improvisation

forum in college music curricula and open the dialogue about how free-improvisation can

benefit musicians interested in all areas of study. In this paper, I will first discuss how

improvisation is presented in a variety of published materials including histories,

research, and methods. Along the way, I will also discuss non-academic sectors in which

improvisation is practiced, specifically by music-therapists and their clients, and by

performing artists. I will discuss how models for improvisation used by music therapists

may offer an important perspective into refreshing ways to integrate improvisation into

an academic setting.

Next, I will present a brief survey that suggests the status of improvisation course

content in selected colleges in the US. Then I will describe and discuss two field

sessions in which I presented a series of original free-improvisation activities that I used

within my own college teaching. I assert that the inclusion of free-improvisation in a

college curriculum serves to fulfill three important objectives for musicians: 1) to reduce

musical inhibitions by creating a safe space in which to explore musical creativity, 2) to

allow participants to construct their own knowledge and meaning in music, thereby

giving them more ownership of their education and, finally, 3) to expand the definition of

music thereby broadening one’s understanding, acceptance, and appreciation of a

diversity of musical languages.

122

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The problem of integrating free-improvisation in the college music curriculum

requires a review of literature related to improvisation. In this section I will present a

review of literature including published materials in common practice period

improvisation, jazz, world music, and popular music improvisation, and free-

improvisation. I will then review studies on musical creativity, music therapy, and

philosophical dialogue about improvisation.

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The common practice period commonly accepted and defined as western art music

that is situated in the Baroque, Classical, and Romantic periods (approximately 1650-

1900). The practice of improvisation has existed in Western art music since the late 15th

century (Horsley, 2001, p. 98). However as historical research has shown, it existed in

different ways from what people today consider as improvisational practice. In the

eighteenth-century music “improvisationally-influenced forms include the prelude, fugue,

ricercar, toccata, cadenza, canzona, variations, tombeau, recitative, and the capriccio”

(Espinosa, 2000, p. 6). Depending on the musical form, they could be realized as

embellishments of existing musical lines such as ornamentation and elaboration, or as

completely new lines (Gould and Keaton, 2000, p. 143).

Cadenzas, emerging from the concerto, were another popular form of

improvisation; but by the 19th century, these too became completely notated by the

123

composers (Rink, 2001, p. 120). The cadenza is a musical practice in which the

performer is free to extemporize on their instrument or with their voice; the performer fits

their performance of the cadenza within a certain structurally, or sometimes tonally

informed framework and it is then realized through a degree of improvisation (Bribitzer-

Stull, 2006, p. 220).

Today this degree of improvisation in the classical idiom is not as widely practiced,

but such historical research provides us an insight into what improvisatory practice across

the centuries may have been like. McGee (2003) explores the importance of

improvisation in late Medieval Italy:

[t]he poet/musician was far more than an entertainer; he was the person entrusted

with passing on the history of the tribe—including myths, beliefs, and tales of good

and evil—and he did this by setting his stories to music. In Italy during the late

Middle Ages there were many such singers in each community, and there are

numerous literary references to improvised song and music... (p. 31).

Amateurs on up to professionals practiced these strong traditions of musical

improvisation set to poetry, and depending on the occasion, certain styles would be used

in order to best fit the poetry (p. 35). Polk (2003) explains that by 1475, professional

instrumental musicians would perform via three typical approaches: to play a notated

piece just as written, to play a piece using ornamentations and embellishments, or to

improvise (p. 98). To point to the broad reach of this practice, he notes that these

conventions of performance were accepted across nations and were not unique to any

singular country (p. 100). Lutterman (2011) examines eighteenth-century musical

treatises, practice of thorough-bass, and notated viol and cello music to understand the

124

way musicians may have used improvisation. Espinosa (2000) discusses C.P.E. Bach’s

Fantasia’s, being largely influenced by rhetorical structures, and their relation to

improvisatory practice of the period. Edin (2011) explores how the practice of

extemporizing at the fermata sign became the common practice of eighteenth- and

nineteenth-century solo piano music, leading to what we know of as the cadenza. Petho-

Vernet (2011) uncovers the dichotomous relationship between composed and improvised

Hungarian popular music of the nineteenth-century influencing what became a distinct

national style. These and many other historical inquiries give us a glimpse into

improvisation of ages past.

In addition to historical research, modern practical methodologies have been

written in order to preserve and continue common practice period informed

improvisation; most are woven into a structure simultaneously teaching tonal music

theory. Today, keyboard performance is one specialty in which improvisation of

common practice music still exists, particularly by church pianists or organists. Countless

keyboard methods have been printed over the decades. First Lessons in Extemporizing

on the Organ (Macdougall, 1922) offers an early 20th-century American method of

keyboard improvisation clearly directed towards organists who are required to lead

church congregations.

Rabinoff’s (1970) The Improviser: Companion Book to Musicianship Through

Improvisation at the Keyboard has a logical progression with rhythmic exercises, melodic

patterns, and harmonic contexts framing the method. She guides the musician to learn to

embellish pre-existing musical examples according to the tonal vocabulary in which she

is situated, that of course being the tonal and rhythmic patterns typical of the common

125

practice period. Lloyd (1975) offers another method through the same tonal theory type

exercises with a similar aim as Rabinoff’s.

Azzara (1997) provides a simple yet effective framework utilizing folk songs and

tonal patterns, and it is strongly rooted in tonal harmony. Sarath (2010) provides a

method for learning the basic skills of musicianship, through a similar progression as

compared to other theory manuals for beginning music students - from diationic to non-

diationic, and from conventional harmony to more modern practices including jazz, rock,

and other popular and cultural inclusions; however, students are guided through

improvisation and composition as the basis for apprehending the music theory

fundamentals. The publication provides a CD with audio examples and play-along

tracks. Improvisation serves here again as a vehicle for learning theory of the tonal

practice of Western art music. Unlike Rabinoff and Lloyd, both Azzara’s and Sarath’s

methods are not instrument specific. Sarath additionallly provides, as mentioned,

examples from a variety of other musical practices.

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Improvisation is an integral part of jazz. “Improvisation…has long been seen as

the hallmark that sets jazz apart from other musics, even though many musical cultures of

the world do improvise to one degree or another” (Szwed, 2000, p. 43). And as I will

show later through my college survey (Tables 1, 2, and 3), a notable amount of courses

offer direct instruction in jazz improvisation; further, improvisation from other cultures is

beginning to be offered in more and more college programs.

Pioneering work by Hall (1944, as cited in Prouty, 2004) in his “The

Development of a Curriculum for the Teaching of Dance Music at a College Level”

126

helped pave the way for jazz in the colleges. As Mark (1987) reminds us, jazz music and

jazz improvisation were not always widely accepted parts of the music college

curriculum; but over the decades, a slow change in cultural values, among other factors,

ushered in a paradigm in which students can now study jazz as their main focus through

their college career (p. 21). With this new paradigm, of course came the publication of

methods and manuals.

Theory and practice based methods or guides to jazz improvisation are numerous

and most deal with the techniques, building jazz vocabularies, and the how-to of

improvising in the jazz idiom. Guides such as Jazz Improvisation, a four volume set by

Mehegan (1962), Jazz Improvisation by Kynaston and Ricci (1978), among similar

publications provide rhythmic, melodic, harmonic pattern exercises for the learners and

guide them through jazz theory: scales, arpeggios, chord progressions, etc. Creative Jazz

Improvisation (Reeves, 2007) offers an extensive method with a similar progression

through rhythm, melody, and harmony. This publication comes with a CD for the player

to practice with, as do many other practical guides on the market today. All three of the

above books offer examples of transcriptions of original recorded improvisations to point

to real musical models from notable musicians; they get to hear the rules broken, and to

hear musicians make “mistakes” and hear how they fix them in real time; for Kenny and

Gellrich remind us of “the old jazz adage that its not a mistake if you play it twice”

(2002, p. 120). Clearly, hearing and witnessing the real world experiences of practicing

jazz musicians is an invaluable experience for jazz students.

Baker (1983) wrote Jazz Improvisation: A Comprehensive Method for all

Musicians among numerous other jazz manuals with guided instruction through jazz

127

theory via exercises and tunes. Publications such as Aebersold’s (1980-2011) Play-A-

Long Series (Volumes 1-128) are popular among musicians at any level wanting to learn

the basics of jazz on up to specific jazz styles as represented by famous musicians.

Aebersold published some manuals which are devoted to specific musicians such as

Charlie Parker, Duke Ellington, and Herbie Hancock among voluminous others. These

are some of the most popular manuals for step-by-step, individually guided and

motivated jazz instruction. It should be noted that it is prerequisite that a musician be

able to read notated music in order to work through Aebersolds and all of the above

methods.

Other authors provide manuals and resources for educators. Poulter’s (2008)

Teaching Improv in Your Jazz Ensemble: A Complete Guide for Music Educators begins

by first providing a background in jazz history, the art of improvisation, and jazz

education and its evolution. Then it continues into step-by-step methods for including all

the elements of jazz. Working through the technical considerations of jazz theory: scales,

chords, progressions, and forms, he proceeds to the sequencing of instruction, and

activities for improvisation.

It is important to consider how these jazz improvisation methods function on a

pedagogical and cognitive level. In the above methods, many authors focus and rely on

the schemata, syntax, or vocabulary of the jazz idiom. These are defined by the specific

referents or patterns that make jazz unique, such as a 32-bar structure, or commonly used

rhythms or chords (Pressing, 1998, p. 52). So, a melodic line in the style of Mozart’s

keyboard music contains different pitch patterns from those in a passage of Miles Davis’

music; and the same goes for harmonic collections, functions, and motions, and rhythmic

128

sequences. Additionally these referents can exist for each individual musician in a

variety of ways: “[m]emory is one repository for the referent; real-time display, that is,

notation, is another. Many improvisation traditions use no notation; of those that do,

there is a range of relations between notation and production” (Pressing, 1998, p. 58). So

in music education we learn the patterns for a particular style through visual, aural, and

kinesthetic modes, and they are likewise catalogued in a variety of ways.

Sloboda (1985) reports that it is these referents that effectively limit a performer’s

choices and therefore directly structures the perceptual framework for the audience—it is

what makes an improvisation sound like a blues improvisation versus a country-western

improvisation. Sloboda however argues a difference in the presentation of the referents;

in regards to these melodic, rhythmic, and harmonic patterns, Sloboda argues:

[s]uch devices are almost exactly analogous to the formulas of epic poetry. They

constitute the vocabulary of jazz. However, just as Yugoslav singers do not

memorize a dictionary of formulas, so jazz improvisation is not normally learned

by arming oneself with a list of characteristic chords and progressions. Jazz is

learned through listening intently to other musicians and performing with them.

Books and notation are not necessary; many great jazz performers could not read

a note of music (p. 143).

Sloboda places his emphasis on the listening skills of the musician to effectively build up

their musical memory, while Pressing suggests that learning the referents can come from

any number of methods. The authors of the jazz methods described above, which all

offer rich, notationally driven resources for learning jazz improvisation would surely

agree that listening is key—if not the fundamental component to learning to improvise—

129

however, their publications rely on notational explanations and analyses of these jazz

formulae. Regardless of where these referents begin—in one’s memory, a recording, or

on notation—they are the specific elements that make up a jazz improvisation, and

ultimately the goal is for them to work their way into a musician’s improvisations in the

heat of the moment.

As world music programs become more and more integrated into music

departments, interest in the improvisational practices of our world’s diverse cultures

grows too. Certainly, studies of each unique practice exist, and any textbook on world

music would provide a good introduction to a variety of musical cultures. However,

regarding specific cultural improvisatory practices Nettl and Russell (1998) offer a

collection of authors’ essays spanning from improvisation in Java (Sutton, 1998), to Latin

American dance music (Manuel, 1998), to Cantonese Opera (Chan, 1998) and more.

These are, however, investigations more into improvisation and its connection to a

culture rather than practice based methods of how to improvise in that style.

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Free-improvisation, not being directly linked to any specific stylistic formulae or

patterns, understandably has fewer published methods per se; but some can be found, and

surely there are others I have not included here. A few notable works that have definitely

influenced and inspired improvisers through the decades are Cornelius Cardew’s Scratch

Music (1970), and Karlheinz Stockhausen’s Aus den sieben Tagen (trans. From the Seven

Days) (1970). Scratch Music is a series of experiments with graphic notation that

Cardew collaborated on with more than a dozen other musicians. The graphic notations

serve as the score for the performer. From the Seven Days offers written descriptions,

130

often meditation like, for the musician to prepare his/her mindset before beginning to

create whatever music will emerge. These non-traditional scores offer the musician the

interpretive control, which are categorized by both composers as improvisation to a

manner of degree. Cardew states “Scratch Music was halfway between composing and

improvising. I saw it as a necessary curb on the combined free expression of fifty

players, and as a training ground” (1970, p. 9). He used it as a tool for promoting “free

expression.”

Music education at the college level has arguably become a training ground for

musical technicians rather than musical creative artists. Musicians over the decades have

become concerned about this trend and have created their own methods to keep the

practice of improvisation alive and not so narrowly defined. Konowitz (1973) offers his

Music Improvisation as a Classroom Method and he breaks his improvisational activities

into three phases: Phase 1- Exploratory Activities, Phase 2- Experiential Activities, and

Phase 3- Developmental Involvement. He utilizes three “Creativity Sources” throughout

the phases: voice, keyboard, and other instruments. The method is not entirely devoid of

stylistic implications, however it offers an open enough scope that activities could be

adapted toward any specific style or open style.

Some methods blend the practice of composition and improvisation. Spiegelberg

(2008) offers his hybrid curriculum, called “Comprovisation”. A balancing of

composition and improvisation activities which he focuses around what he believes to be

the three most important skills for musical creativity: temporal awareness, memory, and

application of appropriate schemata (p. 77). The fusion of activities eases the student

from the structure of a composition to the more free and nebulous improvisation.

131

Because, as Spiegelberg has found, the blank canvas of improvisation is a frightening

place to begin and may in fact deter certain students from exploring improvisation

altogether (p. 79). Composition activities are therefore used as stepping-stones toward

improvisational activities.

Borgo (2005) offers a wealth of essays on all topics of improvisation in Sync or

Swarm: Improvising music in a complex age. In this work he offers his own reflections

on the art of improvisation, and examines the invaluable work, theories, and ideas of

other notable improvisers. A CD is provided offering recordings of pieces that he has

uniquely analyzed, using fractal correlation diagrams to help phenomenologically explain

the organization in a variety of improvisations. Additionally he uses tables to

chronologically guide the reader through discussion about what is happening moment-by-

moment in the given musical selection.

Since the advent of computer technologies, there has been the inevitable

integration of synthesized sound into composition and improvisation, and therefore into

educational methods. Hyperimprovisation: Computer-Interactive Sound Improvisation

(Dean, 2003) is not specific to any musical style. It is, however, an instrument specific

work - that instrument being the computer - and therefore he covers a wide scope from a

history of “interactive electronic ensembles,” to what types of instruments and gear are

available on the market, to how to use them in practice, and more. Although the use of

electronic instruments can be referential to a particular sound of music, improvisation in

this work places no strict adherence to any particular style of music. Before digging into

Hyperimprovisation, an interested student would benefit from a familiarity with sound

132

synthesis programs such as MAX. It comes with web applications and an interactive

software disc.

Toop (2008) surveys the history of the European free-improvisation movement to

the present and also explores the introduction of electronic instruments. He discusses

some of the fundamental objectives behind his own digital improvisation workshops that

he has developed:

1. To encourage an awareness of musical, interpersonal and technical issues involved

in sonic improvisation.

2. To develop listening skills and cooperation.

3. To nurture confidence, sensitivity and analytical ability.

4. To [instill] professionalism.

5. To progress towards the evolution of a coherent group sound (p. 125).

From an educational perspective these are very valuable objectives. Uniquely, it does not

posit any stylistic limitations on the musicians, or mandate adherence to any particular

musical vocabulary. Notice in objectives two and three, Toop indirectly encourages

students to arrive at and create his/her own understanding.

The resources for free-improvisation are fewer and further between, but there

clearly exist many potential resources that can be used to guide a free-improvisation

curriculum. Furthermore, these resources can inspire composers and teachers to create

their own activities building a free-improvisation repertoire.

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What does it mean to be musically creative? Some studies dig into broader

questions about musical creativity, and others address how best to encourage and foster

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creativity. There also exists a growing body of quantitative research into the actual

effectiveness of such methods that are designed to encourage creativity.

A 2010 study by Huovinen et al, contrasted a dramaturgical pedagogy with a

music-theoretical approach. The dramaturgical approach is defined as a “...music

pedagogy that relies less on concepts of music theory and more on holistic images,

broader ‘architectonic’ features of improvisations and ideas of subjective expression”

(p.84). They found that the dramaturgical approach lead to an increase in playing more

rhythmically diverse improvisations, while a music-theoretical approach tended to be

more rhythmically rigid; however, the music-theoretical group played more dissonantly

interesting, or pitch informed improvisations. These participants likely strove to play

against the given chord changes (p. 91). An implication in this study is that

improvisation often does in fact come down to a matter of style, and as the authors point

out:

In the pluralistic musical atmosphere of the 21st century, further questions are

raised by an increasing openness to an ever wider range of improvisatory

traditions, each of which carries its own pedagogical implications. Even if the

typical pedagogical approaches to, say, jazz improvisation and free-improvisation

differ from one another, so do also the styles of music in question, which makes

any evaluative comparison between the respective pedagogical approaches

difficult (p. 83).

Therefore, each approach to teaching different types of improvisation would likely be

very different from one another; and therefore would rely on different foundational

understandings, and possibly different definitions of music altogether.

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Merker (2006) explores the multiple variables that exist within a single musical

performance, and finds that “musicians accordingly are expected to supply specifics from

their own resources as they go along. These resources typically include a capacious stone

of learned musical materials and principles, including previous performances [...] by

others as well as by themselves” (Merker, p. 26-27). Pressing (1998) would boil these

down to the referents (p. 52). Basically an improviser is limited by what he has

experienced, and has therefore catalogued whether through memory, notation, or

recording.

Kenny and Gellrich (2002) provide the example that “[h]owever individual one

artist’s interpretation of the jazz standard ‘Body and Soul’ may be, for example, it is still

likely to share many similarities with another artist’s version, thereby providing a

perceptual degree of commonality for listeners. The same cannot be said for each artist’s

knowledge base, which may be as unique as each musician’s experiences and

personalities” (Kenny and Gellrich, p. 118). It is therefore a familiarity with these

referents that helps us appreciate different styles, interpretations, and types of creativity:

“... the essence of what it means to understand and recognize [the histories] and

in the end to appreciate them... [and] [t]o listen to a sequence of music

appreciatively requires a background of familiarity with at least vaguely related

materials on the basis of which the structure as well as distinctions of the present

sequence are apprehended, recognized and known. Such familiarity can only be

acquired through a listening history” (Meker, p. 36).

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To draw a connection back to the jazz improvisation manuals previously discussed,

Merker’s statements here are just the reason that so many of the jazz methods stress the

importance of listening to recordings, concerts, and other musicians.

Edwin Gordon’s (1989; 1995; 1996) work offers multiple inquiries into music

acquisition and provides measurement tools for assessing a student’s musical aptitude.

His Musical Aptitude Profile (1995), the Primary, Intermediate, and Advanced Measures

of Music Audiation (1989), and the Harmonic Improvisation Readiness Record (1996)

offer music instructors objective measurement tools to assess student musical aptitude.

Gordon (1997) also offers his Music Learning Theory, which is built on audiation and

pattern sequencing to develop musical behaviors. Other quantitative measures of musical

creativity have also been constructed. Webster (1987) provides the Measure of Creative

Thinking in Music- Version II (MCTM-II). Intended to measure children from first

through third grades, it includes “a series of 10 scored tasks, divided into three parts:

exploration, application, and synthesis” (p. 266).

Tafuri (2006) investigated and reported on “Processes and Teaching Strategies in

Musical Improvisation with Children.” She writes that “…creativity requires a

confluence of six distinct but interrelated resources: intellectual abilities, knowledge,

styles of thinking, personality, motivation, and environment” (p. 135). She considers

novelty and intention in her definition of creativity, and she posits that “…novelty could

simply mean that it is something produced for the first time… [and further] a product is

creative when it is novel for it’s author, not for the society to which the subject

belongs…” additionally, “ ‘[i]ntentionally’ means that it is not produced by chance, but

it does not necessarily involve the awareness of what has been done” (p. 135). In her

136

study, Tafuri compared the resulting improvisations obtained according to three differing

degrees of instructions to the participant: 1) instructions that suggested meaning, such as

“ ‘a robot’, [or] ‘it is sunny and I am happy,’” 2) “instructions [that] refer to certain

structural aspects such as to invent a piece with a beginning, a middle, and an end,” and

3) and the loosest instruction, to invent a piece, simply providing the student with

instruments (p. 142).

Tafuri concludes that a successful structure to encourage and promote student

creativity and originality would be achieved through exploration, improvisation given

specific tasks, reflection on the outcome, chance to rework considering the prior

reflections, listening to works by others, and the chance to repeat the process. This

process looks particularly similar to Konowitz’s model and to models used by music-

therapists as we will discover in the next section. It is important to note here that Tafuri

specifically recommends the opportunities for students to arrive at novel creations on

their own regardless of if it has already been done before.

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Music therapy may be one of the most important and commonly accepted

practices in which a degree of free-improvisation is used. “Music-centered music therapy

is theoretically and philosophically taken from the proviso that clinical practice can be

informed equally by musical structures and theories as by psychological,

psychotherapeutic, or medical ones” (Lee, 2006, p.238). Improvisation thus serves as a

vehicle for letting the individual create, then identify and explain his/her own meaning in

the creation. Together with a qualified therapist they can explore the meaning of the

creation.

137

Relationship is at the heart of the music therapy process and it is the therapist’s

understanding of the creative process that defines the developing aims of the

work. Just as a psychotherapist interprets, either actively or tacitly, verbal

contributions from the client, so a music-centered music therapist interprets the

client’s musical offerings. Thus in music centered music therapy it is the music

itself from which clinical interpretations and responses are made and understood

(Lee, 239).

Lee offer’s a nine-stage method to analyze a client’s musical improvisations; it includes

steps to be taken by both the client and the therapist. A client’s improvisation is first

recorded then the nine steps below are to follow:

1) “Holistic listening” – this means multiple and focused sessions listening to the

recorded improvisation,

2) “Reactions of therapist to music as process” – this is a written narrative by the

therapist concerning the improvisation and the “therapeutic experience,”

3) “Client listening” – “stop the [recording] each time the client speaks and make

note of exactly where in the improvisation they were moved to react. Record the

conversation and make a complete transcription,”

4) “Consultant listening” – this includes sharing the recorded improvisation with

other experts, musicians, psychotherapists, etc.,

5) “Transcription into notation,”

6) “Segmentation into music components,”

7) “Verbal description” – this distills the improvisation down to the most “striking or

substantial” elements,

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8) “In-depth analysis of segments and comparison of data” – this is where musical

components of the improvisation are analyzed and compared with the verbal data, and

lastly

9) “Synthesis” (pp. 247-8).

Clearly, this is a very in-depth and human-centric model and a major contribution to

music therapy that might offer insight into ways that student creativity can be deeply

explored in an academic setting.

The sounds in music can be therapeutic, but additionally the silence can be just as

important. Sutton (2006) surveys the use of silence in music and music therapy. Making

due mention to the cultural perception of silence and how our understanding of silence

has changed since John Cage’s 4’33”, she discusses the experience of silence through an

individual’s life, in musical creations, in improvisations, and in the use of silence in

music therapy. In discussing silence in relation to life and death she remarks, “[i]n this

way, as with the reality of our sound world and the links between sound as life and

silence as death discussed above, the eternal music and its underlying silence are another

symbol for life and death. Creativity might also be seen as a paradoxical avoidance of

and connection with life and death itself” (pp. 255-256). She also reminds us that,

“[m]usical silences have potential to connect us with the deepest sense of ourselves,

whether as a totally present being or with a deep sense of loss” (p. 268). Improvisational

exploration with silence would therefore allow the participant in either a clinical or

academic setting to evaluate their own meaning in silence.

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Be they politically, spiritually, or somehow otherwise driven to explore free-

improvisation, practitioners have firm beliefs and positions on what it is they do and what

free-improvisation means to each individual being, to society, to the times in which we

live. Musicians clearly think about the impact of their practice. George Lewis of the

AACM (Association for the Advancement of Creative Musicians) said in an interview

with Parker (2005): “Creativity is not a special gift, but a kind of birthright” (p. 84). This

becomes a major theme across this dialogue.

Peterson (2006) investigated what the top names in improvisation think and say

about music and creativity. He chose 42 musicians with whom he conducted interviews

to understand their work, processes, and ideas. In an interview with Myra Melford, free-

improviser, and professor of improvisation and jazz at the University of California, he

asks her: “Does society today have difficulty with creativity that’s not easily

understood?” She replies:

...it is a generational thing to the extent that each generation is affected by its

economic, political, and cultural milieu. Hopefully things will turn around again.

The economy may bounce back in a few years and we may start putting more

money into the arts. I believe people want and need music and art that’s truly

stimulating and challenging and inspiring. Great art stimulates the imagination

and opens the way for all kinds of creative solutions to the problems in the world,

and it also nourishes the soul (p. 186).

A similarly rich understanding and perspective is gained through these, and the many

other inspiring voices throughout Peterson’s work.

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Much insight and knowledge of the free-improvisation movement and culture can

be found through musicians’ personal involvements with the music. Derek Bailey was an

improviser with the free-improvisation group “Joseph Holbrooke” from the years 1963-

1965 (Bailey, 1992, p. 86). In reflecting on his and his group-mates’ experiences with

free-improvisation, he writes, “[i]n fact, in all cases it was more an emotional, or

instinctive, search to find something that was logical and right, or at least appropriate, to

replace the inherited things which we found stilted, moribund and formal” (p. 87).

Regarding a process oriented approach to improvisation, one of Bailey’s group-mates,

Tony Oxley, states, “[s]ometimes there were disappointments, sometimes it was good.

But the whole thing, the two or three years process, that was the important thing to me”

(p. 89), and further, “[o]ne of the remarkable things about the... experience for me was

that I felt that I suddenly wasn’t involved with the jazz language but that I was involved

in a universal language. And I feel that now” (p. 89).

When it comes to the differences between improvisation and formal training in

music, Bailey argues that:

[o]ne reason why the standard Western instrumental training produces non-

improvisors (and it doesn’t just produce violinists, pianists, cellists, etcetera: it

produces specifically non-improvisors, musicians rendered incapable of

attempting improvisation) is that not only does it teach how to play an instrument,

it teaches that the creation of music is a separate activity from playing that

instrument. Learning how to create music is a separate study totally divorced

from playing an instrument (p. 98).

Bailey continues this argument by quoting John Stevens:

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[s]tudying formally with a teacher might be the right way to achieve certain

specific aims, but to do only that is a very distorted way of approaching a musical

instrument. It has to be realised that a person’s own investigation of an

instrument—his exploration of it—is totally valid” (Stevens, quoted in Bailey,

1992, p. 98).

This last point is a theme I found in my many interviews with professors at UNM.

Kostur (personal communication, June 29, 2012) quipped that “reinventing the wheel can

be a good thing.”

Dr. Steven Block (personal communication, July 16, 2012), department head at

the UNM department of music, related a story to me about when he was a college student

in an improvisation group. A keyboardist by training, he was trying his hands at the

saxophone. He was really excited and intrigued by all the strange, extended technique

type sounds that he was stumbling upon in his personal explorations of the instrument,

however after sharing the discoveries with his group, they more or less told him to stick

to the keyboard. However, Block agrees that the journey and process of playing the

saxophone, “discovering” those different sounds was a base of knowledge that he

personally arrived at and was then able to transfer to the other realms of his musicianship,

and even back to the keyboard.

Among countless other philosophical musings on this topic, Schafer (1965, 1969)

provides two succinct but potent publications that encourage unique ways of considering

the creation of, our understanding of, and approach to music. He focuses on our modern

lives and how they are largely informed by the human and technological sonic landscapes

that intersect our perceptions of music and sound. Resources like these are vital to a

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modern music educator whether they be promoting improvisation, or playing in and

orchestra.

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Improvisation has been an important part of musical practice over the centuries.

It has become integrated into many musical styles and cultures to serve a variety of

functions from telling stories as in medieval Italy (McGee, 2003), to being an integral and

even foundational part of such musical styles today as jazz and rock (Prouty, 2004). Jazz

was slow in coming to be accepted by the academic world as a legitimate musical form,

but finally it gained firm ground, and is now a staple of most colleges (Mark, 1987;

Prouty, 2004). Research shows that the practice of improvisation is directly linked to an

individual’s database of patterns (Pressing, 1998) collected over the years through each

person’s unique listening histories, and it is these patterns that have the potential to be

incorporated into one’s improvisational music making. At the same time they are also

considered to be the limiting factors in that creativity (Merker, 2006; Kenny and Gellrich,

2002). Therefore one’s memory, or their ability to actually recall these referents, is a

vital component in the actual practice of improvisation (Spiegelberg, 2008).

From the educational perspective, some researchers have developed tools in order

to measure musicians’ aptitude (Gordon, 1989; 1995) or musical creativity (Webster,

1987). Foundational methods in building audiation and musical memory skills such as

the Music Learning Theory (Gordon, 1997) have had profound influence on music

education, and they are specifically pertinent to the art of improvisation as audiation, like

memory skills, is vital to improvising in specific styles.

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Free-improvisation or other non-traditional practices of improvisation emerged in

the 20th-Century (Bailey, 1992), simultaneously expanding a cultural definition of music

and creativity, and also the extra-musical practices that improvisation can serve,

specifically music-therapy (Lee, 2006; Sutton, 2006). In our modern world, with so

many sounds to negotiate day-to-day, our perception and interaction with sound has

changed and therefore our relationship with music has also (Shafer, 1969, 1965).

The outcome of any given improvisation depends upon the specific referents, or

vocabulary of a specific style (Pressing, 1998), and therefore a method for teaching

“improvisation” in its broadest sense is not one-size-fits-all (Huovinen et al., 2011);

Arguments have been made that a majority of college music programs tend to disregard

the practice of improvisation and that they ignore its contribution to being a well rounded

musician (Bailey, 1992; Block, 2012). Thus, additionally due to a product-oriented

culture, the stage is not set for widespread acceptance of free, open, or non-traditional

types of improvisation (Kratus, 2012), especially at the college level. However, the facts

remain that free-improvisation offers a wealth of benefits to musicians of all different

levels, styles, and interests (Bailey, 1992).

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Survey of Collegiate Institutions

This study, dealing with the integration of free-improvisation into the college

music curriculum, demands an investigation into what types of improvisation courses are

offered at music colleges. In order to understand this status, I have collected data by

surveying and comparing six American college music programs’ course descriptions

from the 2011-2012 academic year. Through reading the diversity of course descriptions

it was largely found that improvisation is included as either 1) the main topic of study, 2)

a substantial portion of the course content, but not the primary focus, or 3) a superficial or

unsubstantial level.

The six schools are the University of Northern Colorado (UNC), the University of

Arizona (UA), the University of New Mexico (UNM), the Eastman School of Music,

Wesleyan University, and the Herb Alpert School of Music, CalArts. The reason that

UNC, UA, and UNM were chosen is because of their representation of state schools with

relatively comprehensive music departments; meaning they all offer similar degree

options at undergraduate and graduate levels (however, UA and UNC offer Doctoral

degrees, UNM does not) in the most common courses of study, including, but not limited

to: performance (keyboard, instrumental, and voice), jazz studies, theory and

composition, string pedagogy, and music education. Eastman was chosen to represent a

conservatory music program, and Wesleyan and CalArts were chosen on

recommendation from colleagues of mine, due to both schools’ progressive inclusion of

improvisation. As one can see, the course offerings at all schools are rather similar when

145

it comes to the more traditional inclusions of improvisation, namely jazz; however the

disparity is found when it comes to courses in free-improvisation.

With this brief survey of music conservatories’ and departments’ course offerings,

one can see that improvisation exists in colleges primarily within the following three

broad categories: 1) improvisatory practices of the common practice period, 2) jazz,

world music, or popular types of improvisation, and 3) non-traditional approaches to

improvisation. This model is not intended to simply reduce a course down to fit perfectly

in one of these three categories; however, for the purposes of this paper, it is important to

recognize some functional differences between these improvisation types. An

historically, culturally, and idiomatically informed practice of improvisation is

represented in categories 1 and 2 above, and non-traditional type of improvisation not

necessarily conforming to idiomatic schemata, or cultural expectations is represented in

category 3 above.

One final note about the data collected from this survey is that as course offerings

often change from year to year, it must be considered that this is simply a snapshot in

time of what was offered at these schools, during the terms that I researched. Quite

possibly in any other given term, or at other institutions there may be other courses that

could very well serve as data for this survey.

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The six schools surveyed exhibit the least amount of instruction in common

practice period improvisation compared to what is offered by other improvisation

courses. Table 1 shows common practice period courses that include “improvisation” in

the course titles or descriptions.

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Table 1 Course offerings in Common Practice Period Improvisation

Institution – Catalogue Year 2011-

2012: Course Titles:

Univ. of Northern Colorado

Acting for Singers, Collegium Musicum

Univ. of Arizona No courses found

Univ. of New Mexico Opera Studio

Eastman School of Music

Organ Improvisation, Graduate Organ Improvisation, Performance Practice: Baroque, Schola Cantorum (performance ensemble), Aural Musicianship I and II, Theory/Analysis/Musicianship Review, Advanced Keyboard Skills

Wesleyan Univ. Baroque and Classical Music

Herb Alpert School of Music - CalArts

Stagecraft for Singers, Figured Bass Realization, Trumpet Improvisation (offered upon faculty availability), and Winds Improvisation (offered upon faculty availability)

Note: “Improvisation,” “Improvise,” “Improvised,” “Improviser,” or “Improvisational” is included in the course title or description of all the above courses Note: For the Eastman course descriptions I was only able to access information from Spring 2011 and Fall 2012, therefore courses not from the same academic year, but the information is still representative of courses commonly offered at the institution. Table 1

As Table 1 shows, only a handful of courses mention improvisation specifically;

and while the other institutions surveyed include courses with similar titles, they do not

make specific mention of improvisation in the course title or description. More likely

than not, however, improvisation may come up in such classes as minor inclusion in the

course content, but actual improvisatory experience is not likely. For example, “Music of

the Baroque” a historical survey course found at UNM, which is not listed in Table 1

because it does not include improvisation in the description, would not provide practical

147

hands-on experience in the improvisatory techniques of the period, but again, it is

possible that improvisation might be included as a supplemental discussion.

For an example of one of these descriptions, “Opera Studio” at UNM reads

“[s]tudy of opera through performance including improvisational technique, movement,

and character development.” (UNM Music Course Descriptions, 2011) This description

clearly lists improvisation as one of the primary modes of learning about opera.

Presumably courses with such descriptions would cover improvisation to a substantial

degree.

Additionally, the cadenza is one common form of improvisation of this period

that is often encountered in repertoire. Instructors of private studio lessons would likely

provide guidance for students working on concertos that have cadenzas. However, the

improvisatory nature of cadenzas is not necessarily what it once was, due to many

publications today providing pre-written cadenzas (Rink, 2001, p. 120). Given the above

table, one might deduce that the improvisatory practices of baroque, classical, and

romantic music seems to appear mostly at Eastman (a conservatory style institution), and

not to be as integral of a part of the other surveyed college music departments.

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When one reviews the course offerings of these six music schools regarding jazz,

world music, and popular music, one finds a relatively equitable distribution of courses

with similar titles (and presumably similar content) at each school, see Table 2.

However, as one will note, there are also some unique offerings presented.

148

Table 2 Course offerings in Jazz, World Music, and Popular Music Improvisation

Institution - Catalogue year 2011-2012: Course Titles:

Univ. of Northern Colorado Advanced Jazz Studies, Small Jazz Ensembles, Jazz Improvisation (levels I, and II), Class Jazz Piano

Univ. of Arizona Jazz History, Jazz Improvisation, and Arab and Asian Music

Univ. of New Mexico Introduction to Improvisation, Jazz Improvisation (levels I, II, and III)

Eastman School of Music Jazz Theory and Improvisation (levels I and II), Jazz Theory/Improvisation for Non-Jazz majors, Jazz Performance (including workshops, ensembles, and labs), History, Analysis, and Theory of Early Jazz, Analysis/Theory of Modern Jazz, History of Jazz, Jazz Piano for Keyboard Majors (levels I and II), Practical Piano Pedagogy

Wesleyan Univ. Theory of Jazz Improvisation, Improvisation Techniques in South Indian Music, Materials and Principles of Jazz Improvisation I and II, Jazz Improvisation Performance, Improvisation in cross cultural perspective, South Indian Voice (Intermediate and Advanced)


World Percussion Ensemble, Applied Experiments in World Music, Jazz Composition: Analysis in Improvisational Forms & Traditions (Undergraduate and Graduate), Music Improvisation Out of this World, Creative Orchestra, Undergraduate Jazz Improvisation (Class or Individual), Beginning Shakuhachi Workshop, North Indian Svar Graam – Instrumental (Beginning and Advanced), North Indian Theory


149

Through this list, one observes that jazz, world music, and popular music are

offered in a variety of forums for musicians at beginning to advanced levels to learn

about style specific improvisational forms. Some courses do appear in the catalogues that

one would think would include improvisation yet do not mention it in the description or

title, such as “History of Rock and R&B” found at Wesleyan. Note the diversity of

World Music types of improvisation courses at Wesleyan and CalArts.

Additionally, the majority of hands-on experience with improvisation seems to

exist mostly in the jazz idiom because of its now accepted status in most music

institutions (Kostur, personal communication, June 29, 2012). Considering what exactly

college jazz improvisation instruction looks like, Prouty (2004), of Indiana State

University, points out that:

[t]he most common curricular sequences in jazz improvisation last two or four

terms, although variations do occur. Prerequisites for coursework in improvisation

generally imply some level of theoretical understanding and instrumental ability

before students are allowed to enroll, but again, these requirements display a great

deal of variance (p. 2).

As Table 2 shows, jazz improvisation courses at most institutions do present up to three

levels of instruction. Prouty goes on to observe that a broad repertoire helps unify a jazz

curriculum because it can be gradated and applied to the varied abilities of students who

come through jazz studies programs. He also points out that there are both theory-based

and practice-based approaches to improvisation (p. 3). We have seen a variety of these

theory- and practice- based methods in chapter 2.

150

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The majority of improvisation courses seen thus far appear in Table 2, and they

are jazz focused; also note that the course content seems relatively standard across

institutions. Non-traditional improvisation courses are listed here in Table 3. Notice the

course titles and total amounts of courses offered by each school.

Table 3 Course offerings in Non-traditional Improvisation

Institution - Catalogue year 2011-

2012: Course Titles:

Univ. of Northern Colorado

Choreography and Improvisation (a dance class that can be taken for a music credit), Integrated Elementary Music Education

Univ. of Arizona No courses found

Univ. of New Mexico No courses found

Eastman School of Music

Advanced Studies: Improvisation, Theory of Improvisation, Improvising Musician, Creative Music Making, Improvisation

Wesleyan Univ. Special Studies in Contemporary Music


Circuit & Speaker, Music and Video Ensemble, New Century Players Ensemble, Grids Beats and Groups, Contemporary Performance Practice for Winds, Improvisation Ensemble, Advanced Improvisation Ensemble, Improvised Music Theater, Explorations Into the Ontology & Aesthetics of Free Improvisation, Systemic Improvisation, The Spirituality of Improvisation, Harmonic Improvisation, Creative Music Electronic Ensemble, Improvisers’ Visiting Artist’s colloquium, Survey of 20th -and 21st -Century Music, The Piano Since 1900


151

Again, here as in Tables 1 and 2, there are courses at each institution that imply

the possibility of improvisation, but since the descriptions do not include improvisation,

they are not included here. For example, at UNM, “Music Essentials for Contemporary

Dance,” more accurately described as an historical-survey course, provides an overview

of significant music and dance collaborations of the 20th century, and would likely touch

on improvisation. When I took “Studies in Twentieth Century Music,” the discourse

briefly mentioned improvisational forms of the period, yet due to it being a history

course, not a practice based course, no actual experience in improvisation was offered. I

know also through personal experience that at UNM the “Electric Ensemble” does in fact

base the whole experience on improvisation; however it is not included in the table above

because it does not state improvisation in the course description. Likewise at Wesleyan,

the “Laptop Ensemble” implies that an element of improvisation might be used in stating

“knowledge and skills in live electronic performance” (Wesleyan University, 2011).

Note in Table 3 that the course offerings at the Herb Alpert School of Music at

CalArts provide a large selection of non-traditional improvisation-focused classes. Based

on information from Tables 1, 2, and 3, CalArts offers a total of 28 improvisation

courses, 15 of which are non-traditional improvisation (Table 3). Clearly improvisation,

and non-traditional improvisation are focuses at the school. As Dr. Steven Block

(personal communication, July 16, 2012) points out, this institution is able to offer such a

diversity of courses because of it’s being a private liberal arts school that has more

authority and autonomy to offer such courses with such specialized focuses.

Through such a diverse set of course offerings, CalArts’ exhibits a wide

philosophical scope, and one can infer the mindset and values at the school. Even the

152

goals and outcomes at CalArts include improvisation as a cornerstone of many of their

degree plans. For the Performer/Composer program they want their graduating students

to “...have developed systematic, individualized performance practices needed for the

realization of their own original work, including knowledge of extended techniques, and

also developed high–level comprehension and skills in a range of styles and methods for

systematic improvisation...” (Herb Alpert School of Music, 2011, p. 268). Graduates of

the Jazz Studies degree will “... have highly developed improvisation, orchestration and

arranging, and composition skills, facilitating spontaneous communication and

interaction and developing an individual voice as a composer...” (Herb Alpert School of

Music, 2011, p. 271). I am struck by the words “spontaneous communication and

interaction.” To me this is something that I’ve always tried to pursue through my own

free-explorations of sound. What this information tells us is that musicians do indeed

desire to be asking these types of questions, engaging in the dialogue, and creating and

sharing together in non-traditional improvisational outlets. However, as the survey

shows, it is most likely to exist at private institutions.

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As a part of my project of integrating free-improvisation into the college music

curriculum, I have created two free-improvisation lessons, or sets of activities, that I have

administered in two separate field studies to two different groups of participants. I have

documented each field study with video camera and with notes taken by myself after each

session. The documents prepared for each activity can be found in Appendices A and B.

I will first describe each of the participant groups, the activity we worked on, and then

discuss my observations of each session in chronological order. The activities created

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were intended to be structured just enough to encourage participation, but also free

enough to encourage musicians to make their own musical decisions.

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The participants in this field study were a combination of music students,

undergraduate and graduate, enrolled in the composition studio at UNM, and professors

in the music department. It was held during one of their weekly Composition

Colloquium classes. The activity (See Appendix A for full activity plan) includes a series

of ideas for vocal improvisations that are based on elaborations of any text; in this case

we used “The Jabberwocky” from Lewis Carroll’s (Gardner, 1960, pp. 191-198) Through

the Looking Glass. After a brief introduction and discussion of my project to the

participants, the group worked through the activities addressing each of the specific

objectives and then reflecting as a group on the process, as is indicated to do in the

activity. After the session, I took notes, and watched the video to take more notes and

make reflections. The results will be discussed in chapter 4.

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The participants in this field study were students who had been in my freshman

level Aural Theory class the two previous semesters. There were six students, all

freshmen, who chose to participate in the session; and for the session, they played a

variety of instruments, not necessarily their major instrumental or vocal focus for their

studies. Three students are guitar majors—one used his guitar, one played a djembe

which I provided, and one played a su-ling (bamboo flute) which I provided; one student

who was at that point undecided about an instrumental focus, played a melodica which I

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provided; two students who are voice majors, chose to use their voices in the activity.

So, three students participated within their main musical focus, and three students

participated on instruments new to them. This provided for an interesting and deeply

exploratory element to the activity. The activities in this session are a collection of

simple rule-based instructions that guide the musicians toward working in a group and

stretching their limits of musical choices. The full activity can be seen in Appendix B.

We worked through each of these activities as a group, taking time for discussion or

clarification as needed. The results will also be discussed in chapter 4.

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Results and Discussion of “Improvising with Composers”

The participants of this study seemed to engage deeply in each step of the activity

and seemed to follow the suggestions of the lesson to achieve dynamic improvisations, as

was hoped for. Of course with this set of participants being students of composition, it is

possible that they may have worked on similar principles of dynamic sound creations in

their own compositions and in lessons with their instructors; so granted, many of these

ideas of shaping sound were not necessarily new to them. However, the chances to

actually practice these ideas in group settings and in real time is a less frequently

occurring reality. In discussion of the session with the participants, a number of ideas

surfaced that are important and noted below.

My initial observation after watching the video-documentation was that through

my improvisation of “The Jabberwocky” text in front of the group, even before asking

anyone to do anything, I was attempting to set the environment and hopefully create a

safe space where they knew what they were to expect from the activity. After this, I

proceeded to invite everyone to read the poem aloud with me and to explore their own

voice and shaping of the stanzas. Whether or not everyone did feel safe in this activity is

indeterminable. However, due to seemingly comfortable and active participation by the

participants, I safely presumed them to have felt safe in this environment.

In the discussion before beginning a round of activity, I asked “Why

improvisation? Why is this an important part of being a musician?” One participant

stated that it “forces us to use our creative muscles in a way that producing music in other

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ways doesn’t necessarily.” Another commented “…it’s a form of collaboration that even

when you work with someone on [composing] something, you don’t get quite the

interactiveness of improvisation.” Lastly, another participant quipped that it is “on the

spot composing.”

In round one of the activity, a small group of three participants practiced the

activity in front of the whole group. The discussion that followed among the participants

offered a chance for everyone to observe and talk about what they noticed about balance,

blend, timing, energy, communication, and anything else they had experienced. I noted

that each participant was dynamically exploring a variety of dimensions of sound. On

post observation, the dimension that was least compelling to me was timing (rhythm and

tempo). One student observed how “they really shaped the voice to the word.” The

group agreed there was a dominance, or abundant energy, of one student’s voice and

character over the other two, and this influenced the balance. I believe this was a display

of the student’s unique personality; additionally this was obviously an environment

where he felt safe and comfortable to “let it go,” or to reduce his inhibitions.

I also believe that the emergence of personality is an important element in group

collaborations. Other participants who see this person’s breaking of boundaries and

inhibitions may be inspired to let go of their own inhibitions. Arguably some may not

have appreciated the abundant (possibly overwhelming for some) energy, but others may

have been intrigued and inspired to replicate this behavior. This topic begs the questions:

What boundaries do we place culturally on music and art? And what boundaries do we

individually place on music and art? Hopefully an activity like this will provide an

opportunity for individuals to address their own thresholds and tolerances, and their own

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preferences in music. Furthermore, it’s a chance for musicians to see what those

thresholds, tolerances, and preferences are for other musicians. A wrap-up discussion

after an activity like this might very closely resemble a music-therapy session, in which

the group can collectively discuss its experience through the improvisation. It can also

confront those moments perhaps where disagreement arose, and where preferences are

challenged and defended.

Regarding timing, one student observed that it tended to sink into a call and

response, “I really liked the way occasionally there was a quick echo, it was just like a

shadow after [one participant] did [his part].” This particular element of the

improvisation clearly struck a chord with that student and he was therefore able to derive

his own meaning about the collaborative creation. Another participant observed that they

“stuck to being chronological... persons two and three could have taken [material] from

the end [of the poem].” This concept was discussed as a group and everyone agreed that

in round two, participants two and three would feel free to draw from any material in the

poem at any time, not necessarily staying chronological.

Regarding communication, one person noticed that “at first they weren’t quite

sure what they wanted to do, then visually they were able to communicate, so by the

second stanza it was really neat, they found their roles and what they wanted to do.”

Through discussion about their observations of round one, four new participants were

ready to try it again for round two.

In round two, I observed that exploration of a wide variety of vocal timbres was a

new compelling element. One participant did attempt to play with the timing on a more

dynamic and intriguing level this round. Finally, in regards to our discussion of a-

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chronological drawing of material, the participants capitalized on this element and it

helped to add a rich layer to the improvisation. A strong display of humor and fun was a

big part of this improvisation, as was also the case with the first. Unfortunately, due to

time constraints, we did not have a detailed discussion about round two, but moved to the

next section of the activity.

The next segment encouraged the participants to create a list of dichotomous word

groups that can describe musical creations. The pairs they presented were “gritty and

smooth,” “dainty and oafish,” “loud and soft,” “shadowy and sharp or focused,” and

“chaotic and calm.” Through the use of a simple graph to visualize, we practiced as a

group flowing from “calm” to “chaotic” over the first few stanzas of the poem.

The discussion afterwards helped them to understand what they were doing

sonically with their voices to achieve that calmness changing to chaos. “You want the

[pitch] range of your voice [to] expand,” commented one participant. “We also did a lot

of soft to loud,” said another. “We got faster as we got more chaotic.” And another

student described how “the way you emphasize the words... if you say each syllable

differently from the way you normally would, it makes it more chaotic.” Again, on the

issue of timing, one student noticed how “there was a temporal shift where we all started

in unison, but we all ended everywhere.” They discussed how these graphs could be

structured and loosely prepared in advance to give a simple predetermined structure to an

improvisation if participants would so choose.

Lastly, on post-reflection I had hoped to have discussed ideas of “groove” and

locking into some kind of agreed upon pulse—or contrarily trying to avoid common

pulse—but we unfortunately did not have time for that discussion. However, it could be

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discussed as a group and even be experimented and explored in another round of these

activities. I believe it is an important discussion related to musician’s experience of time,

and that improvising within (or without) parameters of groove offers musicians exciting

musical territory to explore.

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Through observing this session, I have noticed that personality is an extremely

important factor in what a student brings to the improvisational setting. For example, one

of the vocalists who was always slightly shy and timid in my Aural Theory class and

during any of our one-on-one assessments (held four of five times per semester),

struggled here in this improvisation setting possibly suggesting that the student might

benefit from activities that allow them to loosen up, to let it go, and to play more freely.

However, I would argue that this student did in fact begin to loosen up through the

activities and began to seem more and more comfortable in the exploratory nature of this

activity. There is too little data here, however, to assess if repeated activities such as this

would help the student open up further and become less inhibited in overall musicianship.

Clearly, this could be studied more quantitatively, but my initial observations here do

suggest a degree of her overcoming inhibitions.

As I stated, a few participants were playing instruments new to them and they

were excited at first about this newness but were also slightly frustrated in overcoming

their “lack” of knowledge about it. I encouraged them not to worry about it. One student

on the su-ling asked “How do I know what’s a whole step, or a half step?” In this, he was

implying that he wanted me to teach him “correct” technique on the instrument and I

encouraged him to use his ears and to just explore; as he had been in my Aural Theory

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class all year long, I knew that through brief exploration time on the instrument, he would

begin to understand and make musical sense of the sounds that he could produce on the

instrument - whether technically “correct” or not. I also encouraged these students on

new instruments to “act like professionals [on the instruments], act like ‘I know what…

I’m doing.’” The purpose of this exercise was to shift to a mindset of readiness, rather

than to dwell on what they don’t know.

One of the first activities, “Sound Effects,” asks each member of the group to

mimic a given sound effect provided by one of the participants, no matter what type of

instrument they are on. I provided the first effect on my flute, which was then mimicked

by everyone. I noticed that students were hesitant to really spend ample time with their

first attempt at mimicking. One student, a singer, presented her first attempt and we all

agreed that it was not nearly as long as my performance. She tried again but still barely

increased her length. Whether this was a lack of attention to temporal detail or shyness

cannot be determined, but over the course of the activities this particular student did

begin to seem more comfortable with these activities, as she became more patient with

herself. Spiegelberg (2008) addresses this temporal awareness as a vital component of

improvisational creativity (p. 77). With practice in improvisational settings, musicians

can learn to be more sensitive to timing details out of the context of counting and

measuring.

One student presented an airy texture on the su-ling that the group was to mimic.

Students utilized their instrument’s unique qualities to mimic as best as they could. I was

particularly impressed with the student on the djembe who slowly and softly slid his

fingernails over the drumhead to mimic the airiness of the flute. Another notable success

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was when a participant presented his model of a single strummed harmonic chord on the

guitar, and everyone attempted to mimic it. The student on the su-ling obviously knew

that it would be difficult to get multiple pitches at once on the su-ling, and monophonic

instruments in general; but he adjusted the ways he played, he spent some time with it,

and in fact he was able to achieve some multi-phonics on the su-ling—remember this

student picked the instrument up for his first time barely 30 minutes before! He was

genuinely attempting to act like an expert on that instrument, and the results showed it.

The next activity “Spectra” asks the musicians to create a list of dichotomous

pairs of descriptive words as we also did in the first field study, “Improvising with

Composers.” This time, each student picked a pair from the list to present and attempted

to produce a musical gesture that flowed along that spectrum from one description to the

other. After I modeled an example of “calm” to “chaotic,” the first participant attempted

the adjectives “smooth” to “jagged.” After his first attempt he chuckled uncomfortably

and mumbled “I don’t know,” to which I replied, “I encourage you to know,” much like

how I had previously asked them to act like professionals on their instruments. The next

attempt was much more exploratory and confident, he spent more time with it, energizing

his sound from beginning to end.

The next two participants attempted “active” to “stagnant,” and “happy” to “sad”

respectively. Both spent quality time in their attempts, having patience with themselves,

letting the sound emerge and develop over time. The explicit use of major and minor

references for “happy” and “sad” was clear and was a confident and intentional choice. It

was at this point that I observed the students to really become more comfortable with the

freeness and openness of this activity

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The student on the djembe tried “bright” to “dark.” He utilized a variety of

different strokes on the drumhead to achieve different timbres. I asked the group what

they thought about his choices, and they all agreed that his choices were accurate; for a

“bright” sound he attempted more resonance and more upper harmonics, while the “dark”

sound was dampened, did not ring as long, and no harmonics were allowed to resonate.

My activity plan (Appendix B) states: “[t]his activity is not intended to achieve

any particular musical style. Therefore it is important to try not to think in terms of

conventional music theory.” Upon retrospection, I see how this statement can be

misleading, so we actually had a brief discussion about it. My intention was to make it

clear that I still want the musicians to think about all the dimensions of sound, and if

using conventional music theory terms or ideas helps them to do that, then by all means

they should use it. But if thinking of their creations in terms of conventional music

theory inhibits them, then they should attempt to stretch beyond those parameters. My

intention in making this statement was to help them know that they are not required to

incorporate notions like contrapuntal motion, or to play in a certain key, or other such

Western musical conventions.

I assert that if we can talk about the sound in different ways that don’t rely on

conventional terminology, we can begin to create our own meaning in these sonic

explorations. The discussion that the participants and I had about this issue was vital to

the process, and in future activities I would include this as an integral part of the pre- and

post-activity discussion. To demonstrate how we can still use an analytical mind but take

it out of conventional terms, I gave a vocal improvisation using the spectrum “soft” to

“hard.” In discussing it, the group observed that I utilized volume and timbre of my

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voice to create contrast between soft and hard. They simply paid attention to the

technical elements that I used to create the improvised gesture.

“The Scrambler” is an activity that asks the participants to go from a chaotic,

scrambled group sound on the director’s cue, to single sustained pitches on the next cue,

which combine across the group to create random tone clusters. On a third cue, they are

to change their tone, being forced to predict what others will do, and also be confident

with their own choice. The group really got into this activity and listened deeply to the

group sound and to how it changed from the first tone cluster to the second. For

example, upon going from the scrambled sound to the first tone, the two vocalists picked

two tones that were, technically speaking, dissonant minor seconds. But each vocalist

remained steadfast in their own pitches against all the other tones, and a magical cluster

of tones emerged. The musicians and myself sank into the sound and a balanced blend of

all the voices and instruments surfaced.

Unfortunately, technology failed us in that moment, and the camera stopped

recording unbeknownst to anyone; so, the remaining activities were not recorded, and

therefore my handwritten notes taken after the session, and my memory will have to

serve for the remaining reflections on the activities.

“The Scrambler Part Two” has the same flow as part one. However, instead of

musicians picking only single tones on the director’s signals, a brief ostinato - a repeated

pattern - is to be played. One hurdle in this activity is that a steady pulse is often

subconsciously agreed upon across the group within the first few seconds of the ostinati

interacting with one another. However, I encouraged them to try to know in advance

what kind of tempo they each of them would attempt and to remain committed to it even

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if their pulse does not “lock” with the other ostinati. If they do this, then interesting

polyrhythms can emerge. My notes about these attempts show that even after this

directive, rhythms and tempi still tended toward locking into some common agreement.

This element, however, could be practiced and developed over time. Many musicians

would agree that common agreement of pulse is not necessarily a bad thing - in fact much

music relies on it. There are times when that agreement is desired and also instances

when being steadfast and true to one’s own musical decisions is also desired. This is also

how patterns across an improvisation slowly change and interact in dynamic and

interesting ways rather than becoming stagnant and fixed.

For the sake of time we did not practice “The Kaleidoscope” but discussed the

potential benefits of the activity and how it contrasts against what emerges from “The

Scrambler” activities. Finally, as a group, we practiced a pure, unadulterated

improvisation, which I remember lasted nearly ten minutes. I simply encouraged them to

keep in mind some of the strategies and mindsets that we had worked on in the session. I

truly wish this had been recorded because there were some enchanting and beautiful

moments; but as the muse often has it, some of the best moments in music are never

captured in recording.

The improvisation activities described above could be said to have been

successful. Of course, this being a qualitative study, I can present no numerical data to

point to that success. But I can assess the impact and possible benefits of this free-

improvisation curriculum by looking at three overarching goals that have emerged from

my observations of these field study and research into improvisation. From an

educational perspective, I believe that free-improvisation benefits a person in their

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musical education through the following three objectives: Free-improvisation can 1)

reduce musical inhibitions by creating a safe space in which students can freely explore

collaborative musical experiences, 2) allow participants to construct their own knowledge

and meaning in music, thereby giving them more ownership of their education and,

finally, 3) expand the definition of music thereby broadening one’s understanding,

acceptance, and appreciation of a diversity of musical languages.

The sessions described above show some ways in which each of these goals was

achieved to some degree. One participant (at least) observably seemed to overcome some

musical inhibitions. Many insightful statements were made by participants showing that

they were developing meaning and shaping their own understandings about the musical

creations. One of my aural theory students said he felt excited to be playing without the

stylistic limitations that other musical activities place on him. He further stated that he

was very intrigued by the sounds the group was producing.

Furthermore, these three goals could be the overarching principles that guide a

free-improvisation curriculum taught by any collegiate instructor who has the drive to

work with students in such a capacity. The instructor would not necessarily be “trained”

in free-improvisation, but the most important qualification would be to have the desire to

work with students in an open-ended constructivist environment.

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I would like to further discuss these three overarching goals for my improvisation

curriculum but situate it in a larger context. Following Solis (2009), we can understand

improvisation to be performed, intentional, and extemporaneous creation of music; and

based on Kratus (2012), we can understand it not necessarily bound to a performance

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setting, but that the process of participating in improvisation is a fundamental factor. So,

my hybrid definition of free-improvisation is extemporaneous and intentional musical

creation that does not refer necessarily to any particular style of music; that can exist in

a variety of settings, including those settings shared only by those participants involved,

or in settings shared with an audience; by participants in a group or by participants

alone; and with either a process- or product- oriented objective. Given this operational

definition, I would argue free-improvisation is a forum where objectives 1, 2, and 3 can

be achieved.

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Because of the changes in learning habits through a human’s life, our individual

psychological histories, and each person’s unique technical abilities, we cannot

conveniently place every college music student into the same category—and this

obviously goes for any group setting. Although many college musicians may be in the

same age range, they do not have the same aptitudes, preferences for musical style, or

even educational objectives. Gordon (1989) has found that “[a] person’s potential to

learn music remains throughout his life what it was when he was nine years old” (p.2).

Over the years then (after this nine year mark), it is a person’s own seemingly cemented

limitations that might slow their musical participation, understanding, and success.

Inhibitions of all types and degrees likely creep in over the years, and in the severest case

an individual may be, metaphorically speaking, musically paralyzed. Yet sometimes

these are the same students enrolling as music majors!

In my years of teaching grade-school aged students and college students, I had a

number of students who I would venture to say actually fit this description of musical

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paralysis. However, it is logical to assume that musical inhibition can more likely be

broken if the student feels safe in the musical environment. So the first step is to create a

safe space where a musician can explore her own interests.

When students cannot find a musical forum in which they feel comfortable

participating, it is possible that they will give up the search. For example, ensemble

paradigms such as audition-based groups, or when there are too limited ensemble

offerings, are factors that could potentially deter musicians from participating in music

departments. Unbeknownst to oneself, a beginning college musician might just be

looking for a safe space to explore, to hone in on their interests. What ensemble is there

to join, for the hypothetical college student who doesn’t play an instrument (I’ve seen an

increased number of students who have no experience on a traditional instrument), but

who also doesn’t want to sing in a choir?1 Not much exists.

To a degree, gradated levels of ensembles help account for the wide spectrum of

student abilities —those who don’t qualify for the top group are placed in one of the

groups below. However, that structure still doesn’t account for differences in type

(which would address an individual’s preference). At most institutions, the traditional

triumvirate of band, orchestra, and choir are the typical options, and occasionally options

like guitar ensembles, early music ensembles, or world music ensembles exist; but most

likely, these too demand a certain degree of proficiency on an instrument. Still, none of

these ensembles seem like an appropriate fit for our hypothetical student. A free-

improvisation forum would allow musicians of a diversity of abilities and preferences to

1 Oftentimes undeclared music students are encouraged into choir. I agree that every musician should sing, and that singing itself is one of the most liberating musical activities, and is in fact fundamental to improvisation, but that is another argument. In this hypothetical situation the problem is simply trying to find an outlet for that student who is not yet interested in singing.

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come together and explore new sounds and new instruments in a safe environment, where

their potential is encouraged, not limited, by just the very notion that they are who they

are at their own level.

Lastly, to argue this same point, in relation to course offerings at colleges, I pose

this question: should a music department only cater to those musicians who are already

at some higher level in their training, or should it additionally offer participatory music

courses that are more inclusive of students not pursuing music degrees? The way that an

engineering student can take “Drawing 101” and walk away from the class with tangible

creations of their own, that same engineering student should be able to take a music class

and walk away from the class having produced something from their own creativity.

Of course the discussion doesn’t end there, but with all those factors aside, once a

safe space is established, musicians are in an environment where they can more freely

break their musical inhibitions. Many “non-musicians” (I don’t really believe they exist)

are intimidated to begin exploring music because of these inhibitions and because of the

complexities of music that they do not understand, and arguably many have convinced

themselves that they cannot understand. However, it would logically follow then that

once a safe space has been found, a musician can explore and muddle their way through

sound, pleasing and unpleasing as it may be; they might quickly learn how to fix those

“errors” and find instead what pleases their own ears. They might begin to stumble upon

patterns that remind them of a band that they love. Soon they will learn how to make

these “good” sounds, all the while breaking those inhibitions that made them fearful to

produce a sound in the first place. A knowledgeable instructor can provide theoretical

information to students along the way if the student so inquires.

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I think again about a few of my students in my Aural Theory class who were so

extremely inhibited in attempting anything from their own creativity; specifically the one

musician in the “Fresh(man) Sounds” field study who was somewhat tentative and shy.

However, in our “Scrambler” activity she sang what appeared to be a sour note (implied

by her facial expression) only to take it upon herself to adjust her pitch to what she found

to be a more in tune sound. In this instance she was able to reduce that innate fear of

making a mistake. She simply dove in, made a “sour” sound, then fixed it. Through this

process a musician is bravely breaking her own inhibitions and also creating her own

knowledge and meaning in music.

Breaking inhibition may also be related to therapy. The therapeutic role of music

cannot be denied, and arguably some degree of practice of music therapy should be

available to everyone. We all need that chance to let loose. I recall one of my instructors

once suggesting that college musicians on up to professional practicing musicians are in

need of music therapy as much as anyone else. Humor aside, I know many musicians

who would genuinely agree with this notion, and who would appreciate activities in

which they can create and assess their own musical improvisations with peers or guided

by instructors or facilitators.

One could grossly boil my argument down to mean that I’m asking that colleges

provide a forum for music students to “jam.” Such a critique may further ask “shouldn’t

these young musicians take it upon themselves to get together and jam?” The answer is:

not necessarily. If we consider that certain personalities provide for some people to be

very social, then we see that more opportunities to engage in meaningful dialogue about

the world around them are apprehended by this type of person and they therefore have the

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potential to learn about themselves and about others during those experiences. Due to

their extroverted personalities, these same people are more likely to be the ones who get

together with classmates or fellow musicians and play music. Great! But on the

converse side those who are less socially extroverted are less likely to get together with

other musicians for a social musical experience, and therefore all the accompanying

benefits are lost – benefits such as knowing about oneself and knowing about others. It

seems to me that we tend to forget that in fact we are all special needs learners, and this

notion is unfortunately all the more overlooked in the college classroom.

Howard Gardner (1983/2011) proposed the personal intelligences (intra- and

inter-personal), which are the abilities to discriminate one’s own feelings, or other’s

feelings respectively:

…the individual himself, desirous of more skills in the personal realm, will

seek help in effecting the proper kinds of discrimination. The recourse to therapy

in the West may certainly be seen as an effort to train one’s ability to make finer

and more appropriate discriminations within one’s realm of personal feelings, and

with respect to “reading” the signals of other individuals. (p. 268)

The opportunity to practice and perhaps strengthen the personal intelligences would

clearly be available in a free-improvisation setting. Furthermore, I believe it is the music

department’s job to model all sorts of different musical behaviors and practices, freely

improvising in group-settings being one of those fundamental behaviors. Free-

improvisation activities would thus offer safe environments for exploratory learning

where musical inhibitions can be broken.

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Some musicians may argue that free-improvisation should only be practiced by

experts, but Bailey (1992) argues otherwise:

[f]ree improvisation, in addition to being a highly skilled musical craft, is open to

use by almost anyone—beginners, children and non-musicians. The skill and

intellect required is whatever is available. It can be an activity of enormous

complexity and sophistication, or the simplest and most direct expression: a

lifetime’s study and work or a casual dilettante activity. (p. 83-4)

Free-improvisation provides opportunities for students to construct their own knowledge

and meaning in the music that they are creating and therefore in other music they go on to

experience. Campbell (2009) observes that in many cases there is in fact a degree of

“expertise on the instrument... before improvisation skills can be developed,” however

“[f]ar from the expertise of professional musicians, improvisation is nonetheless at play

in the lives of children... [t]hey improvise because they must” (p. 130). A constructivist

approach to learning is at play here. “Instructional theorists believe that concepts and

skills are best learned when the knowledge is ‘situated’ or constructed from active

experiences (Campbell, 2009, p. 133). So, the more play-time the better.

One argument might go like this: we don’t teach our children Shakespeare when

they are beginning to learn the English language, instead we begin with the sounds and

the words and we let them construct their own knowledge through simple stories and

talking. The progression continues until they are able to participate in and understand

Shakespeare. Of course, hearing Shakespeare throughout the years doesn’t hurt, but the

child would clearly not be expected to mimic or understand it. The same goes for music:

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we don’t teach our children Beethoven in the beginning, we teach the sounds and the

simple patterns of music, and we let them construct their own knowledge through simple

songs and music making. Again, hearing Beethoven along the way doesn’t hurt, and here

too they would not be expected to mimic or understand it. Thus, the progression

continues until they are able to participate in and understand Beethoven. Arguably, a

large amount of music instruction does in fact adhere to this progression rather

effectively, however I would argue that oftentimes there are some missing vital elements

in this process: depth and consistency.

How much time is afforded to a child, or beginning college musician for that

matter, to explore deeply within the sounds of a menagerie of instruments? Sadly,

because of the limited amount of time music teachers are afforded to have with their

classes in our current system, this exploratory stage is profoundly overlooked, and they

dive directly into patterns. To be clear—I am not arguing that patterns are an

inappropriate way to begin. I am arguing that the exploration of sound and improvising

with sound is a step that can only add to any musician’s depth of knowledge, and their

appreciation of and understanding of a diversity of musical styles. Allowing beginning

musicians to create their own patterns that they can proceed to incorporate and situate in

their knowledge base is one way of providing more depth. The understanding they obtain

can then become more meaningful.

Karpinski (2000) describes the diversity of aural skills programs at universities

and explores different methodologies. Most college music theory programs do afford

students the chance to begin with basic courses geared around simple pattern recognition

and repetition exercises; and successive semesters rapidly progress to the more complex

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Western music theory principles, as it should since they are in college where high level

work is the expectation. However, some students who struggle in this first level are

required to work through it again in order to move on. I argue that these students need to

be provided an alternate forum in which to explore, to participate in a musical

community, and to make mistakes then fix them, in a natural, constructivist approach to

learning music. This would likely afford them the chance to work at their own pace and

build their own knowledge and meaning in music. Shuffling students through a

curriculum before they are truly prepared does not offer them the depth of understanding

that they need. I heartily acknowledge that the ideal situation would be one in which

student is enrolled in a free-improvisation course in conjunction with traditional theory

courses; I am by no means saying that it should replace any undergraduate requisite

courses.

The other element I argue which could be further promoted is consistency. It is

simplest to make an analogy to methods of jazz improvisation pedagogy. In this model,

the student must listen to a lot of music, and play a lot of music to apprehend the patterns.

I agree to the effectiveness of this model. However, if we look at how much clock-time

students spend playing their instruments during their school week, arguably a large

percentage, if not a majority of that playing is alone in the practice room, drilling for their

lesson and perhaps repertoire for a jazz or orchestra rehearsal for example. They are

consistently playing, but consistently playing alone. In the analogy of learning a

language, this is like going to a room alone and talking to oneself for hours on end! As

humorous as this idea is, it is also slightly frightening. Why not provide for some of that

exploratory time to be in actual musical dialogue with other musicians? Perhaps there is

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less of a tangible outcome in the end, and therefore it would be difficult to justify such a

model. Remember however that a product-oriented objective is not essential to free-

improvisation, the process is just as important.

Models with a deep and intricate process, like those of Lee (2006) and Tafuri

(2006) discussed in the literature review, could be adopted for promoting depth and

consistency. Tafuri specifically lists the following as her recommendations for an

improvisational exercise progression:

-explorational activity of sound (voice, instruments, objects, electronic

production);

-improvisational activity with specific tasks;

-analysis of process and results, made individually and collectively, in order to

acquire more awareness;

-assessment of compliance with the instructions and of the internal coherence

necessary for the meaningfulness of the action/product;

-work on different technical-formal properties, encouraging decisions that can

lead to transformations and changes;

-knowledge of different decisions made by other authors (listening to repertoire)

-increasing awareness in subsequent improvisations. (p. 152)

Lee’s (2006) music-therapy steps may also serve in improvisation activities with music

students because it would offer the student the chance to freely create, reflect on their

own work, or a group’s work (through the use of recordings), and discuss with peers and

professionals (in Lee’s case, therapists; in a classroom case, the instructor). Through this

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process, there would be valuable understandings for students to obtain, allowing each

music student to make unique connections on their own.

Adults are quick to applaud children as they stumble on something new and novel

during musical creation; likewise freshmen in college innocently experience those same

“Eureka!” moments. Kostur (personal communication, June 29, 2012) also agrees that

for developing musicians, “reinventing the wheel can be a good thing” because it

provides a deeply meaningful connection with knowledge that simply reading it from

someone else’s experience does not provide. In the act of creation, something a student

improvises may sound or even feel new to them, and that experience of originality is a

valid step in their cognitive process. Of course, other listeners with more expansive

listening histories may think otherwise, downplaying the importance of the discovery

arguing that “its been done before.” However, most teacher’s would strive to create an

environment where negative judgment and criticism are suspended for the sake of

learning; the student is praised for their discovery, rather than be told its already been

discovered.

It may appear as though such a free-improvisation curriculum is geared only

towards very beginners, but I hope my argument is clear that it does not strictly cater to

beginners. As Bailey wrote of free-improvisation’s accessibility by all levels of students

(1992, pp. 83-84), what better place to have extremely proficient musicians serving as

models side-by-side with beginners? The advanced players could simultaneously be

enriching their own musical understanding, whether from a performance standpoint,

educational, or philosophical.

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0#X%F+AD%&R9&&4EC"*H&C%@,'*"$&"*H&FJ$+J@"$&#'J*H"@A%,&'(&BJ,AF&

In this discussion, one certainly needs to address the question: why free-

improvisation versus other types of improvisation? The answer lies in a number of

considerations. As I stated above, a forum in which a musician is provided with a safe

place to explore creatively, to create their own understanding and meaning in the sounds

they would produce, are crucial components to a constructivist approach to learning. We

must further keep in mind one overarching question: what is music? For once we limit

our definition of music, do we not instantly put limitations on the creative potential? We

simply cannot ignore some of the potent boundary-expanding trends of 20th-century

music.

One example of expanding definitions is the incorporation of silence. In traditional

ensembles, only the rare gem of an orchestra or band director will provide the chance to

explore silence amidst the turbulent schedule rehearsing for an upcoming concert. So,

what forum do college musicians have to more deeply explore silence as a musical

element? Composition lessons are the first forum, of course, to come to mind. Yet a

practice based, improvisational group setting suggests another rich and possibly more

active setting for the exploration of silence, or other non-traditional techniques. At

UNM, the Composition Colloquim held weekly for composition students is one such

place where explorations like this do happen. But only a small percentage of music

students enroll in composition class or lessons during their college career. Surely I’m not

the first to propose that all music students be required to enroll in at least a semester of

composition lessons or some similar forum.

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Conduction® is one emergent practice of ensemble improvisation developed by

Lawrence D. ‘Butch’ Morris in the early 1980s (Conduction®, n.d.). The practice

involves a series of hand signals and movements as cues and directions given by the

director to the ensemble. These directions inform the musical choices made by the

orchestra; and additionally, in this practice, the performers strive to avoid any actual

stylistic reference (Deane, personal communication, March 31, 2012). I attended a

Conduction® workshop given by Dino J.A. Deane and the Out of Context Orchestra and

a concert by the group. The energy was thrilling, the sounds were like nothing I’ve ever

experienced, and the interaction between all the musicians was electric. This and many

other fresh innovations are helping to expand not only a definition of music, but also how

we interact with each other to create music.

Prouty (2004) and countless others discuss how as music educators, our very

definition of music informs the way we teach (p. 11). We must therefore be careful what

we say about what is or is not music – for this is shaky ground and often stirs a very

heated debate. Through the Music Education as Aesthetic Education (MEAE) movement

of the 70’s and 80’s, and through particularly notable contributions by Bennet Reimer,

Charles Leonhard, and Susan Langer, among many others, music’s role in education

claimed a new stance and became linked to aesthetic experience (Elliot, 1995, p. 28-29).

Over the decades, countless educators have been influenced by the MEAE model.

However, holes in the philosophy began to be exposed by a number of authors, and as

David Elliot (1995) points out:

[t]he aesthetic concept of music education is reductionistic in two basic senses. As

I have explained, it begins with the implausible claim that music is a collection of

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objects. It then proceeds to narrow our musical understandings and experiences

even further by insisting that listeners always listen aesthetically – with exclusive

attention to the formal designs of musical works (in the nineteenth-century sense).

(p. 33)

As we have seen with jazz education however, it is no surprise that this is exactly how

training proceeds. Students learn to listen to the structural components of the music,

which gives jazz its unique identity. There is no harm in this, as long as it is explained

that this structure is not the only structure but is one of many possible musically creative

traditions. And more importantly that structure and design are human constructs. This is

a basic consideration, but how often is this dialogue actually encouraged? When do we

give our music students the chance to deeply grapple with this concept? If we only

discuss the designs and the how-to and we don’t situate them in the larger picture, then

the younger, immature music student can quickly develop false notions about the nature

of music. Elliot points to the dangers of such a narrow scope and continues “[i]t seems

clear enough from this discussion that teaching music students to ‘perceive and react’

aesthetically amounts to inculcating the ethnocentric ideology of a bygone age” (p. 33).

Specifically, Elliot is arguing against “perceiving” and “reacting” in a limited scope that

seems to have emerged from the aesthetic education model.

Clearly he is not against musicians perceiving and reacting altogether. What he is

opposed to is MEAE’s reliance on these “ethnocentric ideologies” as being the only

things a musician or listener should perceive and react to. This dangerous mindset almost

entirely ignores the most important contributions of 20th century musicians, such as the

profound integration of silence, deep listening, or other experimental practices. This is

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exactly why it is easy to attack non-traditional types of improvisation and not provide

them a place in a music curriculum.

Musical style is of course partly what makes music such a diverse field of study;

and as I’ve discussed, style is linked to being able to reproduce appropriate patterns and

schemata. Prouty (2004) relates a personal experience calling into question just what

“style” is taught in a jazz curricula:

... I vividly recall a comment that one of my teachers gave me after a class

performance, that I did not sound like “university jazz” (it was meant a

compliment), which left me to wonder, if a university jazz musician is not supposed

to sound like university jazz, what should they sound like? The implication is that

there is more to jazz than what is in the curriculum. I certainly would not argue this

point, as it is true of any field. (p.12)

It cannot be denied that patterns and schemata are what differentiate styles of music

(Pressing, 1998, p. 52); and clearly students do need to learn these patterns. Prouty here

suggests, however, that there is more to learn than patterns. And there is more to all of

the music that music students experience during their college careers. Music needs to be

experienced away from the printed page as often as possible, and free-improvisation

activities would directly offer this opportunity. This is exactly why the dialogue about

improvisation such as that exemplified by CalArts (Table 3) is so refreshing and exciting.

7%F"CA+J$"+A'*&

To review, the overarching goals of my free-improvisation activities are: 1) to

reduce musical inhibitions by creating a safe space to explore musical creations, 2) to

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allow participants to construct their own knowledge and meaning in music, thereby

giving them more ownership of their education and, finally, 3) to expand personal and

cultural definitions of music thereby broadening one’s understanding, acceptance, and

appreciation of a diversity of musical languages. If we assess what is currently

happening in music colleges, and look at these objectives, we can see that the creation of

free-improvisation ensembles, classes, or other such forums for discussion is a valid need

and valuable niche in music departments. As evidenced by some course offerings at a

few institutions (Tables 1, 2, and 3), we can see that non-traditional types of

improvisation are becoming a very popular and emergent realm of musical study;

however, these same types of courses are substantially lacking at state schools and even

other private music schools.

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On a personal note, I feel very fortunate to have attended the University of New

Mexico at a time when the John Donald Robb Composers’ Symposium was in its 39th,

40th, and 41st years—the last three years under the artistic direction of Dr. Christopher

Shultis. A wealth of rich experiences was packed into each symposium. Many exciting

guests, concerts, and discussions at each of these symposia offered amazingly mind-

opening experiences. I heard the exciting live improvisations by Noam Sivan and a

student group during the 2010 symposium. At the 2012 symposium, I was in the

audience of a presentation by Julio Estrada on the use of graphic notation in

improvisatory settings with chamber music groups in 2012; and the performances and

workshops presented by Dino J.A. Deane and his Out of Context Orchestra also provided

an example of the rich potential for free-improvisation. These experiences gave me

confidence that this dialogue does happen, and it happens here in New Mexico. In fact,

there are many people interested in joining these discussions, as evidenced by all the

people who come out of the woodworks during this annual event. Begbie (2000)

proposes:

All this suggests that the customary picture of improvisation as a discrete and

relatively frivolous activity on the fringes of music-making might need to be

replaced by one which accords it a more serious and central place. Instead of

regarding thoroughly notated and planned music as the norm and improvisation as

an unfortunate epiphenomenon or even aberration, it might be wiser to recall the

pervasiveness of improvisation and ask whether it might be able to reveal

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fundamental aspects of musical creativity easily forgotten in traditions bound

predominantly to extensive notation and rehearsal. (p. 182)

It additionally impresses me that so many improvisation-minded composers have

presented over the years at the UNM Composers’ Symposium: Cecil Taylor, George

Lewis, and more recently Noam Sivan, Julio Estrada, Myra Melford, and Dino J.A.

Deane to name a few.

Perhaps it is the lack of physical materials (scores, notations) on which a musician

can rely that scares some musicians from improvising. Prouty (2004) points out that a

repertory is one of the unifying elements for the jazz education curriculum (p.3). The

term repertory would include both the vocabulary of musical patterns, and the huge

library of recordings and scores that exist in the jazz world. On the contrasting side, there

is far less contemporary, a-stylistic improvisation “repertoire” per se, and it is more

obscure. Also, due to its nature, it is ephemeral, rapidly evolving, and is not rooted in a

deep culture like jazz is. Perhaps building a repertoire is what composers like Cornelius

Cardew (1972) with his Scratch Music, or Karlheinz Stockhausen (1970) with Aus den

sieben Tagen were attempting by creating their non-traditional scores. Additionally,

innovations such as Conduction® which help define the ways musicians interact during a

free-improvisation, are necessary bridges toward a wider acceptance of free-

improvisation.

Regardless of these artists intentions, I propose that the following elements may

also help in promoting wider acceptance of free-improvisation: 1) repertoire- existing in a

variety of forms such as curricula or recordings, 2) a forum for dialogue about this

practice to a wider population – this function could be served through college courses

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and/or workshops, and 3) a call for more literature discussing theory and practice of free-

improvisation.

Lastly, we should consider our possible future. If more free-improvisation courses

were to actually emerge at colleges, then who would be instructing such courses? An

instructor would not necessarily have to be an expert improviser him/herself; he would

simply need to have that desire to engage in an exploratory setting with students. It is

clear that not just anyone can do it, for obviously they would need to be a trained

musician with an educational background meeting the institutional requirements and be

in accordance with departmental policy and philosophy. To reiterate, however, the most

qualifying characteristic would be to have the desire to go exploring with their class.

My favorite part about free-improvisation is that beginning point... that point when

you or someone simply... starts! People join in, things lead to things, and suddenly

through each person’s own creative contribution, all involved are making the universe

expand in original and fascinating directions—or at least that’s what it feels like! So, I

leave you with this last quip from my favorite jam band, Phish: “You decide what it

contains, how long it goes, but this remains: the only rule is it begins. Happy, happy, oh

my friend!” (Anastasio & Marshall, 2009).

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-A,+&'(&2CC%*HAF%,&

Appendix A……………………………………………………………………………186 Appendix B…………………………………………………………………………….189

&

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2CC%*HAE&2& Vocal Exploration! Objective: -To explore the seemingly infinite sounds our voices can make. -To collaborate in a small ensemble -To create a dynamic and interesting improvisation from beginning to end. -To explore unique parameters of sound using flow charts and graphic notation to guide our improvisations. Materials: Texts of any kind, paper, markers, chalkboard Method: In this activity, we will read an agreed upon text. It could be anything from poetry, to a text book, to a short story, to a legal document. We will use that text to explore our voices and create improvised speech pieces in small groups. Part 1: 2.Begin by reading the text from beginning to end aloud as a group. 3.Circle the words, or groups of words, that make you most excited to read. Take

turns sharing some of your circled words, but speak them in an interesting way! Maybe, low like a growl, short and broken like a bird chirping, or long and slow like slow motion.

4.Break into groups of 3 for small ensemble work with the text. In each group

there are three roles. 1. This person will be reading the poem from beginning to end with no

repeated words or phrases. Before improvising, find moments in the text that seem to be natural pauses. Choose some of these moments to take long pauses during which the texture will change to just person 2 and 3.

2. This person will be elaborating on the first personʼs speech with groups of words of his/her own choice, in a variety of ways. These word groups can be repeated as often as desired.

3. And the last person will elaborate with singular words of his/her own choice and repeat these as often as desired, in a variety of ways.

5.Go ahead and try it! Listen deeply to each other. Take musical risks. Be

dynamic. No matter which role you are, attempt to make the words as alive, dynamic, and engaging as possible.

6.Now that youʼve tried it once, consider the following questions

1. What did you notice about balance?

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2. What did you notice about blend? 3. What did you notice about timing? 4. What did you notice about energy? 5. What did you notice about communication? 6. What else did you notice? 7. What can you do to enhance these above items? Try it again working to

focus on these items. ____________________ Part two: 7.Now we are going to use some graphs to help us think about how we might

shape our individual lines during the improvisation. 1. Discuss descriptive words that we can use to define our speech. Write

these up on the board. What are the opposites of these words. Talk about and practice the spectrum that connects these pairs. For example: Chaotic flows along a spectrum to calm. The point is to perform in a way that YOU think makes it chaotic or calm or in between. You may focus on one element of sound, for example, volume to help you achieve the difference between the two, but through practicing it you may find that you are actually using other elements of sound... speed, timbre, attack, etc.

2. Pick a spectrum and draw a graph that describes how you may move along the spectrum of that descriptor. Practice it.

3. And now the options of shaping the piece using the graphs becomes exciting!

i.We could use one graph that all three performers follow... ii.We could make different graphs with different parameters for each

performer... iii.We could make a single graph with a number of parameters on

it... iv.What else can you think of?

8.Repeat the activity until you feel like youʼre achieving a dynamic improvisation!

9.Lastly, through this process of creating a multilayered, and dynamic speech

piece, we can use any of the tools weʼve used to create any number of differently shaped improvisations. Explore your own imagination for how this activity may be done in a other ways! Alternative suggestions:

1. Incorporate a mixing board, and effects board, with microphones for the

speakers. Musicians can explore the combination of their own manipulation of the speech sounds, with electronic manipulation.

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2. Perform it as a solo! Incorporate any combination of the three ensemble roles.

3. Perform it as a larger ensemble. 4. Take a random text that youʼve never seen, and jump right in! Skip step

one of “reading the text from beginning to end aloud as a group.” This forces you to think creatively and quickly.

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2CC%*HAE&3&

Open Improvisation Activities: Objective: In this set of activities we will explore sound and music through basic descriptions of music and sound, in non-musical technical language, striving only to use musical technical language when it helps a student’s understanding. These descriptions will guide us toward creating live improvisations and toward having tools for composition. We will work together in large and small ensemble settings to produce live improvisations. We will explore the use of flow charts to guide our improvisational and compositional process Intention and Ground Rules: This activity is not intended to achieve any particular musical style. Therefore it is important to try not to think in terms of conventional music theory. Some ideas follow to get you in the mindset of this activity. This list is by no means complete! -Don’t be afraid to sound like crap! -Then don’t be afraid to fix it! -Push your own limits with what you think you can do,

and with what you can accept as musically creative.

-Begin to learn what you like in a sound and what you don’t like in a sound. -Understand that we all have different backgrounds and therefore different ideas to contribute. -Each sound you make will be your choice, so make it fit. -Don’t be afraid of silence! -It is each of our responsibilities to listen deeply. Lastly, it is our job to create an environment of mutual respect. Others might not be playing what you would play if you were on that instrument, but guess what... you’re not on that instrument! So fit with their sound in a way that you believe works - make it work.

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Materials: An ensemble of at least 3 musicians, but it could theoretically work for a group of any larger size. Multiple timbres are desired, but also not necessary. Instruments of all kinds, human voice, or other non-traditional sound makers can and should be used. Method: Activity 1: Sound Effects Go around the circle and each musician will produce a “sound effect” on his/her instrument. Everyone else attempts to imitate it as best they can, on their own instruments. Offer discussion about extended techniques that may help players achieve the desired results. Do as many rounds as desired. Activity 2: Spectra Create a list of adjectives and their polar opposites that can describe music and sound. Discuss how there is a spectrum that exists between the two ends of each descriptor set. Practice some of them on your instruments. Are there instruments that achieve a certain spectrum more effectively than others? Practice drawing some flow charts that can be used to direct your playing within the chosen spectrum. Some adjectives to get the conversation going are... calm and chaotic, smooth and rough... Activity 3: The scrambler part 1 On the director’s cue (1)- held in the air with their finger, everyone will play chaotically. Then on the next cue (2), everyone is to pick one tone to play, a long sustained tone. If you like your tone stay there, if you want to change it, then change on the next cue (3). The cycle can be repeated in this order. Or alternatively, once the two tone clusters have been established, the director can go back and forth between signal (2) and (3) multiple times so that the group can get a feeling for the change of mood between the two chords. Lastly, the director can cut everyone off for silence. Remember to listen to the contrast between these 4 stages: (1)- chaos,

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(2)-first tone cluster, (3)-second tone cluster, and (4)-silence. Discuss the ways that musical decisions were made when moving from one tone cluster to another. Is there an element of tension and release? What else might drive the musicians to “want” to change their tones? Do they end up resolving to something they were expecting? Activity 4: The scrambler part 2 This activity has the same steps as The scrambler part 1, however for signals (2) and (3), instead of picking a single tone, play some more complex ostinato (repeated pattern) of your own choice. Be steadfast and stick with your pitches, rhythms, and tempo, don’t slip into the tempo of others. In that steadfastness, listen to the interaction that emerges between each of the patterns. Perhaps when signal (3) arrives you will choose to mimic or assimilate into another tempo that you hear, as a choice to move from tension to relaxation. But be aware that the person whose tempo you may choose to model, might switch theirs! Activity 5: The kaleidoscope This is one more valuable variation on the scrambler. Repeat the similar steps to the scrambler, however after signal (2) is given to the ensemble, the director picks one or a small number of musicians to change their tone’s or ostinato on signal (3). The signal should be clearly given only to the intended musicians. This way, when they are chosen to change they are given the chance to make extremely informed decisions about how they want it to change without the variable of others changing at the same time. Each person will get the chance to change their tone or pattern, and the process could be repeated ad infinitum! Improvisation session: 1. Dive right into a group improvisation! Utilize your understanding of sound effects, spectrums, and tonal or pattern decision making to inform the way you play, the way you react to others. 2. After the first improvisation, discuss how you could make a group plan using the diagrams as described in introductory activity 2.

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3. Try varying sizes of ensembles, or try an open improvisation in which musicians are encouraged to participate when they are so compelled or inspired; and likewise, sit out when they are so compelled. Remember, an integral part of sound is silence.

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