MORE INFO I want to challenge my students to get out of their comfort zone.

I plan to engage with University level MORE INFO

students, who have more experience reading music than playing by ear. I want to encourage my
students to get experimental with music, and to get out of the “conservatory mindset”, and to interact
with music in a personal way.

● According to Hargreaves (2012), musicians use ● According to Lord (2001), improvisation

three strategies to choose ideas for improv; happens in moments when performers felt
○ Strategy-generated: Practiced techniques, theory comfortable enough with their environment
knowledge, anything planned and scripted performance to try something
○ Audiation-generated: By ear, like a singer new.
○ Motor-generated: Knowing how patterns feel on ● According to Moran (2010), improvisation
the instrument tends to happen when performers are
● According to Thompson and Lehmann (2004), interacting with each other visually.
improv is generated similarly to sight-reading, as ● According to Hargreaves (2012), higher levels of
creating performance in the moment is required improv are accessed through the development
for both. of personal strategies (learning licks, shedding,
etc.)

● Transcribing existing music, so that they can ● Whether or not using sight-reading is a
develop their internal musical ear. good tool for teaching improvisation
● Asking students to play without giving them any ● Whether or not using dance improv is a
notation or direction. Truly creating in the moment good tool for teaching music improv
based on conducting gestures, and the people ● Do motor-generated and
around them. audiation-generated ideas come from
● Sight-reading a piece of music once a week internalization of strategy-generated?
● =Burnard, P. (2000). How children ascribe meaning to improvisation and composition: Rethinking pedagogy in music education. Music Education Research, 2(1),
7-23, DOI: https://www.tandfonline.com/doi/abs/10.1080/14613800050004404
● Hargreaves, W. (2012). Generating ideas in jazz improvisation: Where theory meets practice. International Journal of Music Education, 30(4), 354–367.
https://doi.org/10.1177/0255761412459164
● Lord, M. (2001). Fostering the growth of beginners' improvisational skills: A study of dance teaching practices in the high school setting. Research in Dance
Education, 2(1), 19-40, DOI: 10.1080/14647890120058294
● Moran, N. (2010). Improvising musicians' looking behaviours: Duration constants in the attention patterns of duo performers. In S. Demorest, S. Morrison, & P. S.
Campbell (Eds.), Proceedings of the 11th International Conference on Music Perception and Cognition (ICMPC11) Seattle: ICMPC.
● Miksza, P. (2005). The effect of mental practice on the performance achievement of High School trombonists. Contributions to Music Education, 32(1), 75–93.
Purpose of the Study: To study whether informal methods of practice, especially audiation-based mental practice, are effective.
● Thompson, S., & Lehmann, A. C. (2004). Strategies for sight-reading and improvising music. In. A. Williamon (Ed.) Musical excellence (pp. 143-159). Oxford
University Press.