Improvisation is an important element of global musical practices. However, musical improvisation is often neglected in K-12 and collegiate music education programs, with some music educators suggesting that improvisation cannot be taught. Rather, improvisation must be facilitated, enabled, and fostered. In this review of literature, I examined…

The purpose of this study is to explore the life and work of Pierre Sancan (1916-2008), an exemplary piano teacher who, like many masters in the apprenticeship tradition, is chiefly remembered today by his pupils alone. An all-round musician, Sancan had early success as a composer when he won the Prix de Rome in 1943, and enjoyed a flourishing…

Collective free music improvisation (CFMI) develops musicians' relationships, identity, and communication skills and engages musicians from different cultures by tapping into their diversities in the music-making process. It also develops an open attitude toward working with children's creative potential--by paving the way for open, egalitarian…

Critical analyses of experimental music and free improvisation have uncovered multiple educational benefits embedded within this broad collection of genres. However, by rooting this work primarily within formal classrooms, scholars have yet to discover how musicians conceptualise teaching and learning within communities outside of schools. To…

This paper investigates the impact of Dalcroze Eurhythmics on fostering creativity and autonomy in classical instrumental pedagogy. The research took the form of an arts practice investigation which included devising, rehearsing, performing and documenting two performance events, drawing on Dalcroze Eurhythmics techniques rather than conventional…

Much like an effective speaker, a flexible musician is competent across multiple settings. The sociolinguistic theory of code-switching can be a useful tool to better understand how musicians acquire a set of skills and knowledge to support music-making in a range of activities in and outside of school and throughout society. In this article,…

In 2017, I developed a computer application entitled "Sanka Play," which enables audience members to participate in improvisational performances by making real-time requests to performers. In most cases of free improvisation, the audience atmosphere influences performers. While audience--performer interaction is generally nonverbal,…

A four-month research period into the practice of free music improvisation in Brazil during February-June 2014 allowed intriguing insights into how musicians think about, play and teach the music practice that is referred to as 'free improvisation.' An overview of the term 'free improvisation' with some historical context on its development will…

In secondary ensembles, teachers navigate the demanding balance of developing music literacy skills while preparing for concerts. This challenge intensifies in online learning environments due to limited opportunities for instant feedback, ensemble synchronization, and fostering a sense of community. The problem was the lack of understanding of…

This ethnographic study examines the development of agency in students with special needs during an experiment of classroom music teaching in a special school. The experiment took place from August 2015 to March 2016 and was based on Emile Jaques-Dalcroze's ideas of music and movement as a means of developing competencies, skills and understanding…

Instrumental tuition has predominantly been conceptualized in terms of a master-apprentice model that facilitates the transmission of skills, knowledge and cultural intellect through teaching and learning. Research suggests the one-to-one tuition model needs to evolve and adapt to meet the demands of the 21st century musician. Within the…

People who do not know theatre may think the only creative artist in the field is the playwright--with actors, directors, and designers mere "interpreters" of the dramatist's vision. Historically, however, creative mastery and power have passed through different hands. Sometimes, the playwright did the staging. In other periods, leading…

Paulo Freire was an important figure in adult education whose pedagogy has been used in music education. In this act of praxis (reflection and action upon the world in order to transform it), I share an autoethnography of my teaching of a university-level small ensemble jazz class. The purpose of this autoethnography was to examine my teaching…

Many people divide musicians into two types: those who can read music and those who play by ear. Formal music education tends to place great emphasis on producing musically literate performers but devotes much less attention to teaching students to make music without notation. Some would suggest that playing by ear is a specialized skill that is…

The purpose of this mixed methods study was to examine the effect of ear playing instruction on adult amateur wind instrumentalists' musical self-efficacy. Ten volunteer members of a community band in a small town in Ohio completed the "Ear Playing Profile" both prior to and following an eight-week period of instruction in playing by ear…