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Project

Throw them in the deep end. The potential of musical improvisation in connecting participatory music activities and formal music education.

There is a growing evidence that musical improvisation has the potential to promote a music education for all. This perspective calls for a critical consideration of the social and musical dimensions of music education and improvisation. In this respect, participatory music activities often use improvisation and especially, collective free improvisation (CFI), to promote inclusive music making. The pedagogical-artistic strategies of the coaches in such projects play a crucial role, not only in enhancing a sense of belonging but also in facilitating the musical process. In this respect, participatory music projects might demonstrate alternative pedagogical approaches to joint music making and may enrich formal music educational practices by creating a more democratic and inclusive learning environment. This doctoral project consists of an academic and an artistic part, which are intertwined and brought together on a designated website: www.throwtheminthedeepend.com. The artistic component includes artistic-educational videos, music performance and a self-reflective story. The academic dissertation contains three related empirical studies that start from a global research question: How and why can participatory music projects using collective free improvisation serve as an inspiration for formal music education? To answer this question, findings from a participatory music project are connected to formal music education, in the context of Flanders (Belgium). These findings encompass the relationship between wellbeing and CFI (Study 1), the lived experience of students in general education engaging in CFI (Study 2) and the pedagogical-artistic strategies employed by the coaches in the participatory music project (Study 3). 

Study 1 draws on findings from The Ostend Street Orkestra (TOSO), an inclusive orchestra that works with homeless people and everyone who wants to join. This study elaborates on the relationship between the concept of eudaimonia (wellbeing) and the interactive dimensions of CFI. Participant data were analyzed following a Grounded Theory approach. Next, the initial coding was aligned with the five elements of the PERMA model of wellbeing. Results show more focus on Relationship, Engagement and Meaning and less on Positive Emotion and Accomplishment. An interesting finding was the discrepancy between reporting negative affect about social interactions versus strong feelings of group coherence and belonging. Study 2 is a mixed method study exploring the lived experience of students (N = 1,282) in secondary schools engaging in CFI. Fourteen music teachers implemented an improvisation lesson in 69 classes. The students’ lived experience was measured using a Dutch version of the Flow State Scale for Occupational Tasks. This scale reflects the degree of Sense of Control, Positive Emotional Experience and Absorption by Concentrating. In addition, teachers’ reflections were mapped by means of an online survey. The findings show positive outcomes for both students and teachers. Students who already play an instrument score significantly higher on the factor Sense of Control but not on the other two factors. We conclude that this type of musical engagement allows for personal musical expression and creativity, regardless of the level of technical and musical skills. Study 3 examines the pedagogical-artistic strategies of the coaches in TOSO in working with a very diverse group of participants and using CFI as a central musical activity. Data collection included in-depth semi-structured interviews as well as video-stimulated recall. Data were analyzed through Thematic Analysis. Seven themes emerged from our analysis: Embodied interaction, Co-coaching, Re-thinking musical parameters, Personal musical skills, Collaboration, Inclusion, and Collective experiential learning.

Our research results show that engaging in CFI not only enhances a flow experience but also offers the possibility of an equal exchange of musical ideas. Collective free improvisation has the potential to strengthen inclusive musical and social interaction, thereby resulting in a comprehensive and meaningful music education that nurtures creativity. Furthermore, the strong interconnection between well-being, flow, improvisation and musical development reflects a ‘caring’ stance towards music education. 

Date:21 Mar 2018 →  22 Mar 2024
Keywords:Jazz - Improvisation
Disciplines:Other psychology and cognitive sciences, Music improvisation, Music pedagogy
Project type:PhD project