Hostname: page-component-848d4c4894-5nwft Total loading time: 0 Render date: 2024-06-07T19:09:50.446Z Has data issue: false hasContentIssue false
  • English
  • Français

Teaching repertoires and pedagogical improvisation in music teacher practices

Published online by Cambridge University Press:  09 March 2021

Åsmund Espeland  and
Brynjulf Stige
Åsmund Espeland*
Affiliation:
Faculty of Education, Arts and Sports, Western Norway University of Applied Sciences, PB 7030, 5020Bergen, Norway
Brynjulf Stige
Affiliation:
Faculty of Fine Arts, Music and Design, University of Bergen, The Grieg Academy Music Therapy Research Centre (GAMUT), PB 7800, 5020Bergen, Norway
*
Corresponding author. Email: asmund.espeland@hvl.no
Get access Rights & Permissions [Opens in a new window]

Abstract

In this article, we describe the characteristics of repertoires in music teaching and discuss how these repertoires are related to pedagogical improvisation. The empirical background for the article is classroom observations and interviews with two experienced music teachers. Video-taped examples of teacher repertoires and improvisational teaching practices are included in the article, where we argue that repertoires should be viewed as emerging practices. They can be identified and categorised as ‘techniques’ and ‘teaching acts’ performed by the teachers in constant interplay with the pupils within the context of overall learning activities in the music classroom.

Keywords

Teaching repertoirespedagogical improvisationculture schoolmusic education
Type
Article
Information
British Journal of Music Education , Volume 38 , Issue 3 , November 2021 , pp. 207 - 218
Check for updates
Copyright
© Cambridge University Press 2021

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

ALTERHAUG, B. (2004) Improvisation on a triplet theme: Creativity, jazz improvisation and communication. Studia Musicologa Norvegica, 30, 97–118.10.18261/ISSN1504-2960-2004-01-06CrossRefGoogle Scholar
BEGHETTO, R. A. & Kaufman, J. C. (2011). Teaching for creativity with disciplined improvisation. In K. Sawyer (ed.), Structure and Improvisation in Creative Teaching (pp. 94–109) Cambridge: Cambridge University Press.Google Scholar
BERLINER, P. F. (1994) Thinking in Jazz. Chicago/London: University of Chicago Press.10.7208/chicago/9780226044521.001.0001CrossRefGoogle Scholar
BERNSTEIN, B. (1999). Vertical and horizontal discourse: An essay. British Journal of Sociology of Education, 20(2), 157–173.CrossRefGoogle Scholar
BIESTA, G. J. J. (2014). The Beautiful Risk of Education. Boulder: Paradigm Publishers.Google Scholar
BJERSTEDT, S. (2014) Storytelling in Jazz Improvisation: Implications of a Rich Intermedial Metaphor (Vol. 17). Lund University, Malmö Faculty of Fine and Performing Arts, Department of Research in Music Education.Google Scholar
BRAUN, V. & CLARKE, V. (2006). Using thematic analysis in psychology. Qualitative Research in Psychology, 3(2), 77–101.10.1191/1478088706qp063oaCrossRefGoogle Scholar
CAMPBELL, P. S. (2009) Learning to improvise music, improvising to learn music. In Solis, G. & Nettl, B. (eds.), Musical Improvisation: Art, Education, and Society (pp. 199–142). Urbana and Chicago: University of Illinois Press.Google Scholar
DEMPSEY, N. P (2010) Stimulated recall interviews in ethnography. Qualitative Sociology, 33(3), 349–367.CrossRefGoogle Scholar
DEZUTTER, S. (2011) Professional improvisation and teacher education: Opening the conversation. In Sawyer, K. (ed.) Structure and Improvisation in Creative Teaching. (pp. 27–50). Cambridge: Cambridge University Press.CrossRefGoogle Scholar
ERICKSON, F. (1982). Classroom discourse as improvisation: Relationships between academic task structure and social participation structure in lessons. In Wilkonson, L. C. (ed.), Communicating in the Classroom, (pp. 153–181). New York: Academic Press Google Scholar
ESPELAND, Å. & STIGE, B. (2017). The teacher as co-musician: Exploring practices in music teaching. International Journal of Education & the Arts, 18(22). http://www.ijea.org/v18n22/.Google Scholar
ESPELAND, Å., KVILE, S. & HOLDHUS, K. (2019). Teacher agency and teacher improvisation: A study of experienced teachers and student teachers in music classrooms. Research Studies in Music Education. https://doi.org/10.1177/1321103X19861003.Google Scholar
GERSHON, W. (2006). Collective improvisation: A theoretical lens for classroom observation. Journal of Curriculum and Pedagogy, 3(1), 104–135.10.1080/15505170.2006.10411586CrossRefGoogle Scholar
HAGLUND, B. (2003). Stimulated recall: Några anteckningar om en metod att generera data. [Stimulated recall: Some notes on a method to generate data]. Pedagogisk forskning i Sverige, 8(3), 145.Google Scholar
HATTIE, J. (2008) Visible Learning: A Synthesis of Over 800 Meta-analyses Relating to Achievement. New York: Routledge.CrossRefGoogle Scholar
HOLDHUS et al. (2016). Improvisation in teaching and education—roots and applications. Cogent Education, 3(1), 1204142.10.1080/2331186X.2016.1204142CrossRefGoogle Scholar
HOLDHUS, K. (2019). Pedagogical improvisation: Musical improvisation’s little sister. In Gravem Johansen, G., Holdhus, K., Larsson, C. & MacGlone, U. (eds.), Expanding the Space for Improvisation Pedagogy in Music: A Transdisciplinary Approach. New York: Routledge.Google Scholar
JARNING, H. (2006). Dewey square: Lærerarbeid, yrkesrepertoar og didaktisk gehør. [Dewey square: Teacher work, professional repertoire and educational ear]. In Steinsholt, K. & Sommero, H. (eds.), Improvisasjon. Kunsten å sette seg selv på spill. [Improvisation. The Art of Putting Oneself at Stake], (pp. 215–238). Oslo: N. W. Damm & Søn AS.Google Scholar
KARLSEN, G. (2006). Stilt overfor det som ennå ikke er. Om undervisningens improvisatoriske nødvendighet. [Faced with what is not yet existing. About the improvisatory necessity of teaching]. In Steinsholt, K. & Sommero, H. (eds.), Improvisasjon. Kunsten å sette seg selv på spill. [Improvisation. The Art of Putting Oneself at Stake] (pp. 115–131). Oslo: Damm & Søn AS.Google Scholar
KOHFELD, J. M., COPPOLA, W. J., MENA, C., SHAKERIFARD, S. & CAMPBELLP, S. (2019). Teaching and learning improvisation. In Johansen, G. G., Holdhus, S. K., Larsson, C. & Macglone, U. (eds.), Expanding the Space for Improvisation Pedagogy in Music: A Transdisciplinary Approach, 2. New York: Routledge.Google Scholar
KRUSE, B. (2016). Thinking Art: An Interdisciplinary Approach to Applied Aesthetics. Vol. 2. Oslo: Norwegian Academy of Music.Google Scholar
MERRIAM, S. B. (2009) Qualitative Research: A Guide to Design and Implementation: Revised and Expanded from Qualitative Research and Case Study Applications in Education. San Francisco: Jossey-Bass.Google Scholar
SALDANA, J. (2015). The Coding Manual for Qualitative Researchers. Los Angeles/London/New Dehli/Singapore/Washington DC: Sage.Google Scholar
SAWYER, K. (ed.) (2011) Structure and Improvisation in Creative Teaching. Cambridge: Cambridge University Press.CrossRefGoogle Scholar
SORENSEN, N. (2015). Improvisation and teacher expertise: Implications for the professional development of outstanding teachers. In The Art and Science of Improvisation in Education: Rommetveit Summer School, Norway, 8. 11 of June 2015.Google Scholar
SORENSEN, N. (2017). Improvisation and teacher expertise: implications for the professional development of outstanding teachers. Professional Development in Education, 43(1), 6–22.CrossRefGoogle Scholar
STEINSHOLT, K. (2006) På den andre siden av ingensteds – Improvisasjon, kreativitet og ansvar for den Andre. [On the other side of nowhere – Improvisation, creativity and responsibility for the Other]. In Steinsholt, K. & Sommero, H. (eds.) Improvisasjon. Kunsten å sette seg selv på spill. [Improvisation. The Art of Putting Oneself at Stake] (pp. 23–43). Oslo: Damm & Søn AS.Google Scholar
TIMMERMANS, S. & TAVORY, I. (2012) Theory construction in qualitative research from grounded theory to abductive analysis. Sociological Theory, 30(3), 167–186.CrossRefGoogle Scholar
TURINO, T. (2009) Formulas and improvisation in participatory music. In Solis, G. & Nettl, B. (eds.), Musical Improvisation: Art, Education, and Society (pp. 103–116). Urbana and Chicago: University of Illinois Press.Google Scholar
YIN, R. K. (2014). Case Study Research: Design and Methods (5th ed.). Los Angeles/London/New Dehli/Singapore/Washington DC: Sage Publications Ltd.Google Scholar
ZORZI, E. & SANTI, M. (2016) Teacher as Improviser: A jazz perspective for reciprocal learning. In Santi, M. & Zorzi, E. (eds.). Education as Jazz. (pp. 177–203) Newcastle upon Tyne: Cambridge Scholar Publishing.Google Scholar