The role of improvisation in music education: the educative potential of the quest for (musical) freedom

Panagiotis A. Kanellopoulos

Which are the possible roles that improvisation can play in music education? This is the central question pursued in this paper. A basic precondition for answering this question is a systematic examination of the notions of improvisation that emerge through different discursive practices that are formed around various musical traditions and approaches music research. Hence, the first part of the paper proposes that the different conceptual representations of the improvisation phenomenon can be clustered around a set of three large categories: (1) Improvisation as a wellspring: Improvisation as a slow process through which particular musical practices are being born and crystallized. (2) Improvisation as immanent: improvisation as an inherent, ‘natural’, ‘organic’ aspect of particular musical practices. (3) Improvisation as rupture. This largely modern sense of improvisation is built around a core antinomy: improvisation is recognized as a process that makes inroads towards musical, personal and sociopolitical freedom, and at the same time it is cast as a ‘pre-artistic’, fatally incomplete and largely marginal creative process. Against the backdrop of this threefold categorization, the second part of the paper proposes a geography of the possible educative roles of musical improvisation: (1) Improvisation as a learning tool for the acquisition of procedural knowledge, for developing a deep and embodied understanding of core musical concepts, and for cultivating musicality through the development of particular perceptual and performing skills. (2) Improvisation as heuristic: improvisation as a process of experimentation, of discovering musical ideas, of probing different ways of transforming musical material; here improvisation is used as a pre-compositional experimental process leading to a gradual building up of compositions. (3) Improvisation as a means for entering musical traditions where improvisation features as an organic aspect of their performance practice. (4) Improvisation as a topos of musical autonomy. This strand has its roots in the performance practice and the theoretical foundations of contemporary free improvisation. Here free improvisation becomes an exercise in learning without pre-formulated goals, without predetermined rules, and in a context of explicit rejection of any authority (institutional, cultural or musical) – an approach this emphasizes the role of improvisation in pursuing political autonomy.

The role and status of singing in the educational act: Qualitative research in the course manuals of A and B grades of Primary School

Aggeliki Konstantakopoulou

Incorporating Mariza Koch’s songs for children in language courses: Anactionresearch

Elissavet Perakaki

Current research and implementations have shown that the incorporation of songs in language courses helps pupils learn the structure, the Grammar, the intonation and the vocabulary of their mother tongue, second or foreign language more pleasantly and without anxiety. Mariza Koch is a worldwide known Greek singer and composer, who has created plenty of children’s songs. Some of them aim to help pupils learn the Greek language and its rules. These songs have the approval of the Greek Pedagogical Institute and have been already implemented at Cornell University in New York with the participation of students, who were taught Greek. The action research, which is described in this article, aims to realize whether the integration of Koch’s songs in the second and third grade is possible in language courses, as well as when and in what way (listening, singing, etc) such implementation can take place during the teaching procedure. This research also examines children’s involvement and reactions during the lesson. It lasted from January to June 2011 and four teachers were involved (totally 18 lessons). The data was collected by questionnaires, participatory observation and semi-structured interviews.  The analysis shows that teachers were reluctant at the beginning of the research, having difficulties in lesson planning. In time, they realized that by using Koch’ songs in their lessons, pupils learned more efficiently and enjoyably, target lessons were also achieved and pupils were able to recall grammatical rules through singing. Although the music knowledge of teachers was not obligatory in this implementation, it was proved that it enables teachers to enrich their lesson plan with creative activities. Nevertheless, this kind of implementation has a beneficial effect on children’s knowledge and personality, allowing them to enjoy the lesson and participate actively.

Music Therapy through the eyes of parents with children with disabilities: A new path to essential improvement in quality of life

Dora Psaltopoulou, Maria Micheli, Nikos Kavardinas

A statistic research, designed to unravel the effectiveness of Music Therapy to children and adults with disabilities in Greece, shows that, Music Therapy is: 1) effective regardless the pathology of the subjects; 2) most effective with severe pathology conditions; 3) effective regardless the co-practice of other therapies. The key objective was to assess the effectiveness of music-therapy through the personal evaluations made by the parents of the subjects. The subjects’ characteristics and parental environments were documented as populations who participate in the practice of music therapy in Greece. Quantitative research was conducted upon 149 subjects with disabilities. Questionnaires were used as research instruments, which were answered by the subjects’ parents. The data was processed with the statistical instrument SPSS v.12 with hypothesis validity set at a=0,05 and twofold crosschecking. Amongst conclusions drawn following the analysis of the findings, three appear to be of greatest importance:  1) Music Therapy is effective regardless the pathology of the subjects. The subjects participating in Music Therapy sessions in Greece are mainly children and young adults with mental disabilities such as Autism, Down syndrome, Cerebral palsy, etc. 2) Impressively, the research shows that the more severe the preliminary pathology conditions of the subjects, the greatest the improvement of the subject’ s condition. 3) Music Therapy is proven to be effective regardless the co-practice of other therapies such as Occupation Therapy, Speech Therapy and Psychotherapy. The research shows that Music Therapy can be a main therapy for the studied populations in Greece. The general impression is that music therapy can contribute positively in the improvement of well-being.

The Feldenkrais method and musicians

Irene Zachou, Eleni Fotiadou, Dimosthenis Fotiadis

Many musicians suffer from various physical problems caused by playing a musical instrument, preventing them from enjoying their music and achieving continuous improvement. The purpose of this article is to present the Feldenkrais method and associate it with the musicians as far as the prevention, treatment and rehabilitation of injuries are concerned. First of all, the article presents the method, how it 'works', what its characteristics are and which people can benefit from it. Then, it deals with the connection that exists between the musicians, the movement and the Feldenkrais method. Furthermore, the article refers to the causes of the usual injuries of musicians. Elements concerning the restoration and retraining of motion, the ergonomics of movements and some of the numerous results and benefits of the method are also presented. Thereafter, a comparison is made with other methods (Alexander technique, yoga, Pilates) followed by a reference to researches and testimonies related to the method.           Finally, there is a commentary on the presence and the application of the method in Greece.