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Expanding the Space for
Improvisation Pedagogy in Music

Expanding the Space for Improvisation Pedagogy in Music is a critical, research-based

anthology exploring improvisation in music pedagogy. The book broadens the
understanding of the potentials and possibilities for improvisation in a variety of
music education contexts and stimulates the development of knowledge and
reflection on improvisation.
The book critically examines the challenges, cultural values, aims and meth-
ods involved in improvisation pedagogy. Written by international contributors
representing a variety of musical genres and research methodologies, it takes a
transdisciplinary approach and outlines a way ahead for improvisation pedagogy
and research, by providing a space for the exchange of knowledge and critique.
This book will be of great interest to scholars, researchers, and postgraduate stu-
dents in the fields of arts education, music education, improvisation, music psychol-
ogy, musicology, ethnomusicology, artistic research and community music. It will
also appeal to music educators on all levels in the field of music education and music
psychology.

Guro Gravem Johansen is Associate Professor of Music Education at the

Norwegian Academy of Music (Oslo, Norway) and holds a PhD on instru-
mental practising on improvisation. Johansen’s research interests are instru-
mental practising and teaching and learning of jazz and improvisation.

Kari Holdhus is Associate Professor at Western Norway University of Applied

Sciences. Her research interests are relational aesthetics, aesthetic learning pro-
cesses, and equity based music education practices.

Christina Larsson is a classical singer and music teacher and is currently a PhD
candidate at The School of Music and Theatre at Örebro University in Sweden.

Una MacGlone is a double bassist and founder member of the Glasgow

Improvisers Orchestra. She lectures on free improvisation courses at the Royal
Conservatoire of Scotland and is completing a PhD at the University of
Edinburgh.
Expanding the Space for
Improvisation Pedagogy in Music

A Transdisciplinary Approach

Edited by
Guro Gravem Johansen, Kari Holdhus,
Christina Larsson and Una MacGlone
First published 2020
by Routledge
2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN
and by Routledge
52 Vanderbilt Avenue, New York, NY 10017
Routledge is an imprint of the Taylor & Francis Group, an informa business
© 2020 selection and editorial matter, Guro Gravem Johansen, Kari
Holdhus, Christina Larsson and Una MacGlone; individual chapters, the
contributors.
The right of Guro Gravem Johansen, Kari Holdhus, Christina Larsson and
Una MacGlone to be identified as the authors of the editorial material, and
of the authors for their individual chapters, has been asserted in accordance
with sections 77 and 78 of the Copyright, Designs and Patents Act 1988.
All rights reserved. No part of this book may be reprinted or reproduced
or utilised in any form or by any electronic, mechanical, or other means,
now known or hereafter invented, including photocopying and recording, or
in any information storage or retrieval system, without permission in
writing from the publishers.
Trademark notice: Product or corporate names may be trademarks or
registered trademarks, and are used only for identification and explanation
without intent to infringe.
by Taylor & Francis Books
British Library Cataloguing in Publication Data
A catalogue record for this book is available from the British Library
Library of Congress Cataloging-in-Publication Data
Names: Johansen, Guro Gravem. | Holdhus, Kari. | Larsson, Christina
(Musicologist) | MacGlone, Una.
Title: Expanding the space for improvisation pedagogy in music : a
transdisciplinary approach / edited by Guro Gravem Johansen, Kari Holdhus,
Christina Larsson and Una MacGlone.
Description: Abingdon, Oxon ; New York, NY : Routledge, 2019.
Identifiers: LCCN 2019008159 (print) | LCCN 2019017771 (ebook) |
ISBN 9781351199957 (eBook) | ISBN 9780815392101 (hardback)
Subjects: LCSH: Music--Instruction and study. | Improvisation (Music)
Classification: LCC MT1 (ebook) | LCC MT1 .E83 2019 (print) | DDC
781.3/6071--dc23
LC record available at https://lccn.loc.gov/2019008159

ISBN: 978-0-8153-9210-1 (hbk)

ISBN: 978-1-351-19995-7 (ebk)

Typeset in Bembo
by Taylor & Francis Books
Contents

List of illustrations viii

Preface x
List of contributors xii

1 Expanding the space for improvisation pedagogy in music: An

introduction 1
GURO GRAVEM JOHANSEN, KARI HOLDHUS, CHRISTINA LARSSON AND
UNA MACGLONE

PART I
Distinctive features: Empowering practices using
improvisation 15
2 Teaching and learning improvisation: Culture-specific cases of a
cross-cultural musical act 17
J. MIKE KOHFELD, WILLIAM J. COPPOLA, CHRISTOPHER MENA,
SOLMAZ SHAKERIFARD AND PATRICIA SHEHAN CAMPBELL

3 A broadened approach towards musical improvisation as a

foundation for very young children’s agency 33
MARIA WASSRIN

4 Musical improvisation for Japanese children today 51

HIROMI TAKASU

5 A Deweyan take on improvisation as an experience: An example

from a Swedish Year 4 music class 66
CHRISTINA LARSSON
vi Contents

6 The play of vocal actors: Exploring performative agency through

opera improvisation 82
SARA WILÉN

INTERLUDE 103
7 When mixed-skill ensemble becomes social practice art 105
ADAM TINKLE

PART II
Semantic possibilities: Meaning-making through
improvisation 113
8 Young children’s talk about improvising: How conceptual tools and
workshop roles are formed through musical improvisation workshops 115
UNA MACGLONE

9 Improvisation in primary school settings: Discovering the play of

music making 133
RUNE REBNE AND JON HELGE SÆTRE

10 Teaching and learning in unfamiliar territory 147

JOÃO A. COSTA AND ANDREA CREECH

11 Communication in musical improvisation performances: Common

languages across practices in real-time arts 164
TAPANI HEIKINHEIMO

INTERLUDE 181
12 Sonic Bothy: Improvisation, art, and equality 183
CLAIRE DOCHERTY

PART III
Pedagogical consequences: Plural teaching and learning
in improvisation 193
13 Pedagogical improvisation: Musical improvisation’s little sister? 195
KARI HOLDHUS
 Contents vii

14 A life of its own: Teaching group improvisation through

responsive choices 211
GRAEME B. WILSON AND RAYMOND A. R. MACDONALD

15 Crossing the line: Collective improvisation and artistic ownership

in The Norwegian Wind Ensemble 229
BRIT ÅGOT BRØSKE AND GEIR LYSNE

16 Seven steps to heaven?: An epistemological exploration of learning

in jazz improvisation, from the perspective of expansive learning
and horizontal development 245
GURO GRAVEM JOHANSEN

17 What have we learned about improvisation pedagogy? 261

GURO GRAVEM JOHANSEN, KARI HOLDHUS, CHRISTINA LARSSON AND
UNA MACGLONE

Index 273
Illustrations

Figures
4.1 ‘The Tortoise and the Hare’ 52
4.2 Valkyrie (‘Macross Delta’ anime theme song), sung by Tomoko 58
4.3 Jyon jyo no jyorikakushi (‘Slipper’s Hide and Seek Song’) warabe
uta, sung by Sakura 59
4.4 Melodic and lyrical sections of Tsubasa (‘Wings’), an original song
by Haruka 60
5.1 An experience of improvisation 76
7.1 Youth members of the ULO performing in impromptu
collaboration with adult improvisers Adam Goodwin, Bonnie
Lander, and Joe Mariglio, at Sweetwater Summit Regional Park,
Spring Valley, CA. Photograph by Jessica Sullivan 110
7.2 Members of the ULO perform a site-specific musical response to
contemporary sculpture on invented and homebuilt instruments,
encircling an iconic Sol LeWitt cube at the Museum of
Contemporary Art, San Diego. Photograph by Adam Tinkle 111
8.1 Workshop plan 118
12.1 Sonic Bothy Ensemble, Mono, Glasgow, March 2018 184
12.2 Ellen Philip, Alex South, Allan Wright. Sonic Bothy Ensemble,
CCA, Glasgow, June 2018. Photograph by Brian Hartley 188
14.1 Model for the process of individual choice during group musical
improvisation 214
14.2 Performance of Stones, Clouds at Concurrent#1, Edinburgh 2016.
Sculpture: Cath Keay; Dancer: Ana Almeida. Photograph by Full
Zoom Photography 216
14.3 Improvised performance at Concurrent#2, Edinburgh 2017. L to
R: Christian Ferlaino, Cath Keay, Simón Ortega, Ceylan Hay,
Mike Parr-Burman, Una MacGlone. Photograph by Full Zoom
Photography 217
15.1 Crossing the line. Photograph by Veronica van Groningen 230
 List of illustrations ix

Tables
8.1 Thematic outline 118
11.1 Conceptual schema of Method of Voices 166
11.2 Social languages of improvisation performances 176
12.1 Past and present ensemble members of Sonic Bothy 185
Preface

Pockets of improvisation practices and research are emerging in different parts

of the world, and practitioners as well as scholars are actively seeking more
knowledge to support their work in improvisation. This book is aimed at
scholars in various fields of arts education, including postgraduate students, and
music educators on all levels, as well as researchers in music education and
music psychology. Therefore, we hope the book will have a wide appeal, both
in advancing the existing field, and in offering ways forward to other interested
practitioners and institutions with less established practices of improvisation.
The book came about as a result of the symposium ‘Challenges and Possibilities
for Improvisation in Music Education’ presented at the European Conference on
Educational Research (ECER), in Dublin, August 2016, by doctoral candidates
Christina Larsson (Örebro University, Sweden), Una MacGlone (University of
Edinburgh, Scotland), and Eeva Siljamäki (Sibelius Academy, Helsinki, Finland),
and Associate Professor Guro Gravem Johansen (Norwegian Academy of Music,
Oslo, Norway). Through subsequent correspondence with Routledge, the sym-
posium developed into the idea of creating an anthology, and we started the pro-
cess of gathering chapters. Eeva Siljamäki played a vital part in forming the idea of
the book, but had to withdraw from the project in its initial phase. Fortunately,
Associate Professor Kari Holdhus (Western University of Applied Sciences, Stord,
Norway) was able to take Eeva’s place in the editorial group.
The result is a critical and predominantly research-based anthology on
improvisation in music pedagogy. It consists of chapters from both theoretical
and empirical research as well as shorter, practice-based interludes, situated in a
number of different educational contexts.
The contributors represent a variety of musical genres and research methodol-
ogies, rooted in a wide range of disciplines, such as music education, music psy-
chology, ethnomusicology, sociology, artistic research, and community music.
They span from experienced researchers who are central in the field of improvi-
sation to early career researchers contributing chapters from their recent PhD
projects. Thus, the book ensures both historical weight and updated and innova-
tive perspectives. Authors hail from Canada, Finland, Iran, Japan, Norway, Por-
tugal, Scotland, Sweden, and the USA, and we hope that this broad geographical
 Preface xi

reach reflects some of the musical, pedagogical and academic practices in these
areas. We wish to thank the authors for their exciting and thought-provoking
contributions, their persistent work with chapters in the process, and for allowing
us to include all their different voices in this book.
All chapter drafts have been subject to peer review, and we wish to thank our
reviewers for their valuable recommendations and suggestions: June Boyce-Till-
man, Live Weider Ellefsen, Magne Espeland, Monica Esslin-Peard, Cecilia Ferm,
Hanne Rinholm, Jan-Olof Gullö, Per-Henrik Holgersson, Panagiotis Kanello-
poulos, Alexandra Kertz-Welzel, Chiao-Wei Liu, Ken Prouty, Gareth Dylan
Smith, Adam Tinkle, Ketil Thorgersen, Peter R. Webster, Sara Wilén, and Betty
Ann Younker. As editors, we can assert that their contributions have heightened
the quality and transdisciplinarity of the book. We also want to thank Chloe
Barnes, Will Bateman, Emilie Coin, Aiyana Curtis, and Heidi Lowther at Rou-
tledge for their enthusiasm and support in various phases of this project.
Finally, the editors would like to thank each other for the excellent collaboration
during the process of making this book. We all agree that it has been a privilege.
Guro Gravem Johansen, Kari Holdhus, Christina Larsson, Una MacGlone
Oslo, Stord, Linköping, Glasgow, January 2019
.
Contributors

Guro Gravem Johansen is a jazz singer and Associate Professor of Music

Education at the Norwegian Academy of Music (Oslo, Norway) and holds a
PhD on instrumental practising on improvisation. Johansen’s research inter-
ests are instrumental practising and teaching and learning of jazz and
improvisation. She is the author of the forthcoming ethnographic book
Children’s Guided Participation in Jazz Improvisation: The Case of Improbasen.
Kari Holdhus is Associate Professor at Western Norway University of Applied
Sciences. Her research interests are relational aesthetics, aesthetic learning pro-
cesses, and equity-based music education practices. Holdhus is a co-researcher
within the project Improvisation in Teacher Education (IMTE), and she cur-
rently leads the four-year innovation project School and Concert – From
Transmission to Dialogue, funded by the Norwegian Research Council.
Christina Larsson is a classical singer and music teacher and currently a PhD
candidate at The School of Music and Theatre at Örebro University in Sweden.
Her thesis is about improvisation in general music education in primary school
year 4 with an emphasis on children’s meaning-making in aesthetic experiences
of improvisation and teachers’ development of teaching practice.
Una MacGlone is a double bassist and founder member of the Glasgow
Improvisers Orchestra. She lectures on free improvisation courses at the
Royal Conservatoire of Scotland and is completing a PhD at the University
of Edinburgh. Her thesis investigates approaches and methods in teaching
and evaluating improvisation with preschool children.
Brit Ågot Brøske is Senior Lecturer in Music Didactics at the Norwegian
Academy of Music. Brøske’s research focuses on multicultural music educa-
tion, community music activities, teacher training, student music teachers’
practicum experiences and performing music students’ learning experiences
from work practice situations.
Patricia Shehan Campbell is Donald E. Peterson Professor of Music at the
University of Washington. She is author of Music, Education, and Diversity:
 List of contributors xiii

Bridging Cultures and Communities (2018), editor of the Routledge World Music
Pedagogy Series (2018–19), and co-editor of the Oxford Global Music Series.
She is recipient of the Taiji Award (2013) and the Koizumi Price (2017) for
work on the preservation of traditional music.
William J. Coppola is Assistant Professor of Music Education at the University
of North Texas, where he teaches courses in K–12 teacher preparation, ele-
mentary and secondary teaching methods, and jazz pedagogy. He is co-author
of World Music Pedagogy, Vol. 4: Instrumental Music Education, and his primary
research interest examines the role of humility and egoism as they are mani-
fested in and through musical participation. Originally from New York, Cop-
pola was an elementary music director with NYC Public Schools.
João A. Costa is a cellist and artistic director of Escola de Música de Perosinho
(Portugal), possessing relevant experience in artistic and pedagogical projects.
He is a member of I2ADS (Research Institute in Art, Design and Society)
from Porto’s University Faculty of Fine Arts and his research focuses on the
questioning of music teaching practices, addressing alternative approaches to
ensemble work with students.
Andrea Creech is Professor at the Faculty of Music, Université Laval, where
she holds a Canada Research Chair in Music in Community. Andrea has
published widely on topics concerned with musical development and life-
long learning and participation in the arts, including Active Ageing with Music
and Music Education in the 21st Century in the UK.
Claire Docherty is a facilitator, composer, and performer who has worked in
participatory settings for 12 years. She is creator and Creative Director of Sonic
Bothy, and completed an MMus at Glasgow University in 2008. She has written
for chamber ensembles, choirs, theatre, the Edinburgh Quartet and Glasgow
Madrigirls. She tutors in composition and participation at Glasgow University.
Tapani Heikinheimo is Senior Lecturer of cello and pedagogy at the Helsinki
Metropolia University of Applied Sciences, and teaches at the Sibelius
Academy. The topic of his dissertation in 2009 was Intensity of Interaction
in Instrumental Lessons. He leads improvisation projects and performs as a
cellist and improviser constantly.
J. Mike Kohfeld is a PhD candidate in Ethnomusicology at the University of
Washington, where he has spent several years teaching online undergraduate
courses in US American popular music. While Mike’s current work focuses
on the intersection of identity, digital media, and popular culture, he spent
three years working with the Seattle Garifuna community in funding,
planning, and implementing educational workshops on Garifuna culture.
Geir Lysne is Professor at the Norwegian Academy of Music. Lysne works today
as musical director for The Norwegian Wind Ensemble, and is the chief
xiv List of contributors

conductor of NDR radio jazz orchestra of Hamburg. As conductor, arranger

and musician Lysne has received German, Danish and Norwegian awards.
Raymond A. R. MacDonald is Professor of Music Psychology and Impro-
visation at Edinburgh University and lectures and runs workshops inter-
nationally. He has published over 70 peer reviewed papers and book
chapters and co-edited five texts. He is also a saxophonist and composer has
released over 60 CDs and toured and broadcast worldwide.
Christopher Mena is a PhD student in Music Education at the University of
Washington. With ten years of teaching experience (including as high
school band director), his research encompasses shared issues in music edu-
cation, ethnomusicology, and ethnic studies. He is musically involved in the
Seattle Fandango Project, the Give Back Brass Band, and the De Cajon
Project, and serves as a consultant in the University of Washington part-
nership with Gitameit Academy of Music, Yangon Myanmar.
Rune Rebne graduated with a diploma in composition from the Norwegian
Academy of Music in 1997. He is currently a PhD Candidate Research
Fellow and Associate Professor in Composition at the same institution. In
recent years, Rebne has collaborated with Ludvig Elblaus (PhD) from KTH
in Stockholm, creating music and video projections for ensembles, theatre
and dance productions.
Solmaz Shakerifard is a PhD student in Ethnomusicology at the University
of Washington. A native of Iran, her research interest lies at the inter-
section of Ethnomusicology, Music Education, and the post-colonial
study of modern Middle East. Solmaz’s PhD project focuses on Iranian
classical music’s modes of transmission, and the interactions of this
musical tradition with those of Euro-American musics, examining the
relationship between (perceived) musical aesthetics and the modernisation
of musical modes of transmission in the Middle East in general and in
Iran in particular.
Jon Helge Sætre is Associate Professor of music education (MA, PhD) and
Director of the Centre of Excellence in Music Performance Education
(CEMPE) at the Norwegian Academy of Music, Oslo. Author of several
scholarly articles on music education topics, published nationally and inter-
nationally. Sætre holds several national and international positions of trust.
He is a former performing pianist, with several performances and recordings
of contemporary chamber music.
Hiromi Takasu is an Associate Professor of Early Childhood Education at
Nagoya College. She holds a Master’s degree in Voice from the Cleveland
Institute of Music. In 2010 and 2011, she was also a visiting scholar at the Uni-
versity of Washington in the music education department. Takasu’s primary
research interests are children’s musical identity and musical improvisation.
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