2.1.2- Identify and describe aspects of a classical training
which act as a barrier to improvisation
In order to facilitate accuracy, it is first fundamental to
define what the characteristics are of a classical training compared with a
popular training.
‘Popular music education in and for itself,
and for ‘other’ music: current research in the classroom’ (Green 2006) is a
journal article that discusses how popular music has been introduced to the
school curriculum within a formalized context. The author argues that this
ignores the informal approach of popular musicians (For example see Green 2006
Abstract) An informal approach to learning is at odds with the formalised
approach that classical musicians partake in: ‘These differ greatly from
formal music educational procedures and from the ways in which classical
musical skills and knowledge have been acquired and transmitted, at least over
the last two centuries or so’ (Green 2006 P8) The author
identifies key characteristics of a classical training. This concentrates on
the emphasis on notation, having pieces chosen for the classical musician,
supervision by a teacher who has more advanced skills than the learner and
reproduction. (For example see Green 2006 P8) ‘In the formal realm,
pupils follow a progression from simple to complex, which often involves a
curriculum, syllabus, graded exam, specially composed piece or exercises.’(Green
2006 p8) This contrasts with the characteristics of popular musicians learning
which focuses on: playing by ear, choosing pieces based on musicians ‘own
preferences, learning in a group, improvisation and an emphasis on creativity .
(For example see Green 2006 P8)
This view is further evidenced by quantitative research into
the practice regimes of classical and non classical musicians. ‘Investigating musical performance:
commonality and diversity amongst classical and non-classical musicians’, (Creech,et,al 2008) is a review
article focussing on what the characteristics are of classical musicians and non-classical musicians. ‘While classical musicians emphasized
the drive to excel musically and technically and prioritized notation-based
skills and analytical skills, non-classical musicians attached greater
importance to memorizing and improvising.’(Creech,et,al 2008)
Both of these journal
articles help to confirm that the reliance on the written score is one of the
most apparent reasons for a classical musician’s difficulty in making the
transition to improvisation. This difficulty
is exemplified when considering that the process of improvisation focuses on
spontaneity. It is defined as ‘A performance according to the inventive whim of
the moment, i.e. without a written or printed score and not from memory.’
(Oxford 2007) The ABRSM classical
syllabus represents perhaps the most common example of the curriculum, syllabus
and graded exam that as Green discusses is a common characteristic of a
classical training. ‘As the world's
leading specialist in music assessment, our consistent and rigorous
approach carries recognized international authority. ‘(Exams from ABRSM N.D) In recognition of
the fact that the syllabus has limitations regarding how broad an education it
provides, the ABRSM states, ‘Exam syllabuses are not intended to provide a
complete curriculum. Students are encouraged to play and experience as much
music as possible, embracing a wide range of genres.’ (Exams from ABRSM N.D)
Further evidence of this is that the ABRSM have an entirely different syllabus
for the study of jazz. For the classical
syllabus learners are required to learn pieces which are from different
periods. This is always in full notation form from the bottom grade to grade 8,
the highest grade. (For example see Jones.R.Ed.,(2010).Selected piano exam pieces 2011 and 2012 Grade 8, (Music
scores),ABRSM Publishing) It is therefore conceivable that a classical musician
could reach grade 8 level and have no experience in playing anything other than
the written score. Indeed the results from ‘Investigating musical
performance...’ would seem to highlight this: ‘Classical musicians... prioritized
notation-based skills... Classical musicians ranked the ability to improvise as the least
important musical skill, the non-classical musicians assigned the least
importance to the ability to sight-read.’ (Creech,et,al 2008 P8) Each of the pieces within the syllabus has
short performance notes which describe the background of the piece and give
guidance to the effect that should be achieved.
For example, ‘Its forte passages
often sound like imitations of orchestral tuttis, and it makes a special
feature of sharp dynamic contrasts...The cross hands development falls
harmonically into two-bar phrases, and the f
at b.60 suggests quieter tone in the preceding eight bars.’ (Sadie 1978 P32)
In addition to the performance notes, the ABRSM also publishes teaching notes
for further advice on how the piece should be played. Although the player is afforded room for
interpretation, (For example see Jones
2010 Pieces) this highlights the
emphasis in classical music placed on reproduction. (For example see Green 2006
P8) Within improvisation however, the
improviser does not have such guidance as they themselves are the composer. It
is therefore arguable that a classical musician who has always had this level
of instruction may have some reliance on it due to it being an integral part of
their musicality. What is also a
fundamental component in jazz is swung rhythm. (For example see Cooke, Horn
2004 P4) The ABRSM syllabus presents learners with pieces from the baroque,
classical and twentieth century periods. From analysis of these pieces, it
seems possible that a candidate could choose one piece from each of the three
periods and not encounter swung rhythms.
This contrasts with notated jazz where it is often assumed that quavers
are to be swung, even if they are not notated this way. (For example see Cooke Horne 2004 P117)
Other than the
reliance on the written score, it is possible that the environment of learning
within a classical education may be of detriment in respect of improvisation.
For example, both of the journals state that classical musicians don’t tend to
place an emphasis on learning within a group context. ‘Not only is the informal
learner self-taught, but crucially, learning takes places in groups... This is
quite distinct from the formal realm, which involves adult supervision and
guidance from an expert with superior skills and knowledge’ (Green 2006 P8) ‘Although
both classical and non-classical musicians assigned relatively high relevance
to practising alone, classical musicians were found to assign significantly
greater relevance to this activity (t = 3.14(214), p = .002) than did
the non-classical musicians.’ (Creech et al 2008 p11) It is arguable that the
process of improvisation is aided when it is within the context of a
group. A fundamental component of jazz
improvisation is call and response. (For
example see Cooke, Horn 2004 P4) It can be appreciated that this is a component
that lends itself well to improvisation within an ensemble. Within the study of jazz pedagogy, an emphasis
on teaching improvisation within the context of an ensemble is often advocated.
David Barker’s ‘Jazz Pedagogy’, discusses methodologies for this. ‘In large heterogeneous
classes...Very often we play a game of call and response with various students
alternating as leader’. (Barker 1979 P168)
‘Music Theory through improvisation’, by Edward Sarath also describes an
ideal methodology for teaching within an ensemble. ‘Sit in a circle if possible. Select a scale that everyone knows. Each musician
is to play only long tones, selecting notes only from the designated scale.
Listen carefully to the collective sonority as you enter and try to hear in
advance how your tone will fit in’. (Sarath 2009 P3) In both cases there is evidence of pedagogy that
takes place in the most conducive environment for the learning of
improvisation.
In summary, it has been evidenced that both the emphasis on
notation and learning in isolation are key factors within a classical education
that are at odds with the freedom of improvisation and the importance of the
group within improvisation. This acts as crucial research as how to contextualize
the pedagogy that is to be applied to the proposers guide. For example, teaching concepts within the
context of notation could be a way of targeting learning to the intended user
of the guide. ‘A Classical approach to
jazz improvisation’, (Alldis 2003) uses this as a main theme. As the proposer’s method is to be a
self-development guide, the importance of the group within improvisation could
be recognised with the addition of a CD.
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