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  • Today were going to speak a little bit about improvisation, and I’m going try to

  • help us understand how central it is to music learning and music making, and many times

  • in the formal instruction of music it’s a step that’s skipped, where students use

  • notation as a point of departure for learning their music, and there’s not an opportunity

  • for creativity. In fact, much of what’s taught actually impedes someone’s natural

  • inclination to be creative and improvise. So if we can get a better understanding of

  • what improvisation is, it might help us to make it more central to music learning and

  • music making. How many of you all think of yourselves as improvisers? Ah, got some good

  • hands going up there. Really, were all born improvisers, and the idea is to keep

  • that spirit alive as we learn and grow as musicians and as people living our lives,

  • and primarily in music, the best thing to think about maybe would be that improvisation

  • is the spontaneous expression of musical ideas. Improvisers interact in the moment. Theyre

  • able to group things into meaningful chunks, and anticipate and predict what might come

  • next. So, for example, if youre paying attention to me right now in language, you

  • are improvising with me, because you can probably tell me the nextword I was going to

  • say before I… so why should I talk? Thank you very much. No. The idea of learning to

  • improvise really happens when we learn by ear, and it’s really fundamental that we

  • remember that learning by ear is central to music making. We should be inspired by the

  • repertoire were learning by ear, and then use that as a context for improvising, and

  • then improvisation can inspire our composition, and that provides context for when we read.

  • So when you say learn by ear, people immediately think, maybe, in today’s world, that somebody

  • who’s an improviser might be a jazz musician, say would expect some kind of music like that.

  • This kind of jazz expression came out of dance and also out of the spontaneous interactions

  • of folks who had some interactions together around this music. But if we think about it,

  • Beethoven, and Bach, and Mozart, and all of the heroes of what people call classical music

  • were also great improvisers, and you might think of, if I say that a way to be inspired

  • to improvise is through really understanding the stories that are told through the songs

  • and the repertoire we know, we can think of a Beethoven symphony in the same way. If you

  • think about the seventh symphony, realizing that Beethoven is an exuberant improviser,

  • this is one of my favorite pieces. Really if we pay attention to that, really what makes

  • that tick is ba ba-ba ba ba. Everybody say that. Ready, go. Keep it going, for 9 minutes?

  • Right? And that continues, if you keep going and ba ba, he layers another layer on there.

  • He goesba-ba. So, the idea of improvisation isn’t exclusive to jazz. It’s actually

  • something that we do as a part of active music making and actual understanding for music.

  • If you think about a song from Trinidad, like the song, “Mary Ann”. Do you know that

  • song? “All day, all night Miss Mary Ann.” Have you ever heard that song? “Down by

  • the sea shore, sifting sand. All the little children love Mary Ann. Down by the seashore

  • sifting sand.” It’s not far from that to think about how a lot of music from all

  • over the globe actually has this idea of grouping this idea and comparing it to this idea this,

  • this vocabulary. This happens in Mozart. This idea is something that we can learn by ear

  • and be inspired to generate our own thoughts and our own stories this way. So if you, for

  • example, think about the crux of the matter, we really want to be really good at understanding

  • what were listening to so that we can make a choice. If we have this idea of, “do do

  • do do do do do do do do do do doas one choice. Another choice might be to sing this

  • do, do do do do do do do”. Sing that for me. “do do do do do do do”. There’s

  • more of you then medo do do do do do do do do”. And the bassline isdo do do

  • do or you could choose this linedo do do do do do do do”. Think about those three

  • options for making some music, and then choose one, and then sing it, ready? “ Do do do

  • do do do do”. So in that choice that you made, youre beginning to improvise, and

  • we could go more and more into detail about that, but that provides a context for learning

  • names of notes and learning time values of things that are symbolic for the thing that

  • were doing that’s oral. Now one of the important things that I want to not forget

  • to mention is that this is true about music throughout history. So when I play that Mozart

  • example it uses the same harmony and he’s making choices about the harmony as well.

  • Or if I do something that’s a jazz piece, what happens is a question of style and style

  • is really impossible to write down the style. You can write down jazz, but unless you understand

  • it, it’s going to be difficult for you to really sound convincing. So the last thing

  • I’d like to point out is that this is something that were all borne doing, and I’ve got

  • examples of young children doing it because they show us some of these features of what

  • it means to improvise. Theyre in the moment, theyre making choices, and theyre personalizing

  • the music theyre learning. The first example is of a child who’s two years old who’s

  • very enthusiastic about all the songs she knows

  • Jingle bells, jingle bells, jingle all the way, oh what fun it is to ride in a one

  • horse open sleigh. Hey! Jingle bells, jingle bells, jingle all the way, oh what fun it

  • is to ride in a one horse open sleigh.” “Okay

  • Oh My Darling”, Oh My Darling”, Oh My Darling Clementine. You were lost and won’t

  • you ever read the story Clementine. Okay, what next song?”

  • Twinkle, twinkle” “Twinkle, Twinkle, Little Star. How I wonder

  • where you are. Up above the world so high. Like a diamond in the sky. Twinkle, twinkle

  • Little Star, how I wonder where you are. Another song

  • So that goes on for 8 minutes, right. And if you think about twinkle, twinkle, that’s

  • a piece that Mozart was attracted to, it’s a French folk song. Mozart wrote variations

  • on it. I have a feeling it’s because thatba ba ba ba ba ba bais the only rhythm

  • idea in the whole melody. The whole song, “ba ba ba ba ba ba ba”, and to have some

  • vocabulary like that and to vary it and play with it is what it means to improvise. Now

  • there’s another video I’m going to show you of a two year old who takes the vocabulary

  • of a song. I’ve asked her to singThis old man”. You know that one? “This old

  • man, he played one, he played knick knack..” You know? The good thing about it is you get

  • to singKnick knack patty-whack”. That’s a good thing, and the other thing about it

  • is you get to hear it 10 times. A two year olds favorite words areagainandno”,

  • right? “Againbecause they realize that they want to learn how to do this by ear,

  • andnobecause they want to be somewhat independent. And so instead of singing the

  • song she saysnooo”. I said well at least singdooand she saysmiand then

  • she singsso doand starts to improvise with, again, the vocabulary of the song.

  • Go ahead sing, sing it. Bum-bum-bum”. Go ahead.

  • No Nooo” “do do doBump butadaum butadum bumpdumDut dut dut dut dut dut

  • dut dut dut dut dut dut duta da do Do Stop it Mi..Mi..So Do..RightMi so do”, Mi

  • so doOkay, now please sing this old man

  • You just did it in tune in E-flat” “No

  • This ba ba bum” “no no no

  • no no noMum, mum, mum, mum mum mum mum mum mum mum

  • mum mum mum mum mum mum mum mum mum mum mum mum mum mum bup bup bup bup buppa buppa bup

  • Dup Dup Dup da Dup Dup Dup da

  • Dat ta dat ta dat ta dat da Ta ta ta ta ta ta ta ta ta

  • Bum bum bum bum bum bum bum bum bum bubum Bum bum bum bum bum bum bum it it it it it

  • it it it it it itt Lum lum lum I’m readyLa la la do

  • Thank you! There you go. So yeah, you can show here some

  • love. That’s nice. So the idea here is that artists are trying to remember what they already

  • knew in early childhood and that the idea is if we can be spontaneous and in the moment

  • and act and interact as improvisers, we have a way to connect with each other that’s

  • very meaningful and very powerful, and that we need to understand that as we begin to

  • teach more of the formal ideas of how you read and make symbols out of the music that

  • is embodied, and the spirit of embodiment should really be context for it all. So thank

  • you very much, I appreciate your time.

Today were going to speak a little bit about improvisation, and I’m going try to

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創造性與即興。音樂教與學的靈感與意義。 (Creativity and Improvisation: Inspiration and Meaning for Music Teaching and Learning)

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    songwen8778 發佈於 2021 年 01 月 14 日
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