Maud Hickey
Northwestern University
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International Journal of Music Education | 2009
Maud Hickey
The purpose of this article is to present the idea that the music education profession’s current drive to include improvisation in school music is limited in its approach, and that teaching improvisation, in the traditional sense, is not possible. These beliefs are based on an examination of current methodologies and texts in light of the historical evolution of both improvisation and the teaching of improvisation. The article provides an examination of Jeff Pressing’s historical conceptions of improvisation as a continuum model and then briefly looks at the short history of improvisation in American music education in the 20th century. Current methods are examined in light of free improvisation techniques. This leads to a final argument for more free improvisation in school music balanced with the current skills approach used in the USA. The conclusion of this article examines the issues and realities for current practices in music education in light of the beliefs set forth. Peut-on ‘enseigné’ l’improvisation? Un appel pour l’improvisation libre dans nos écoles Le but de cet article est de présenter l’idée que la commande courante de notre profession pour inclure l’improvisation dans l’école de musique est limitée dans son approche, et que l’enseignement de l’improvisation, dans le sens traditionnel, n’est pas possible. Ces appréciations sont appuyées sur l’examen des méthodologies actuelles et des textes à la lumière de l’évolution historique de l’improvisation et de l’enseignement de l’improvisation. Ce papier fournit un examen des conceptions historiques de l’improvisation en utilisant le travail de Jeff Pressing comme un modèle continu et examine brièvement la brève histoire de l’improvisation dans l’éducation musicale américaine au 20ème siècle. Des méthodes courantes sont examinées à la lumière des techniques libres d’improvisation. Il défend une improvisation plus libre dans l’école de musique et équilibrée avec l’approche courante des compétences. La conclusion de cet article examine les questions et les réalités pour des pratiques en vigueur dans l’éducation musicale à la lumière des points de vue déterminés. Kann Improvisation ‘unterrichtet’ werden? Ein Aufruf für freie Improvisation in unseren Schulen Der Ursprung dieses Bericht ist es, die Idee aufzuzeigen,dass die gegenwärtige Tendenz in unserem Beruf,die Improvisation in die Schulmusik einzubringen, in ihrem Zugang limitiert ist und dass der Improvisationsunterricht, im traditionellen Sinn nicht möglich ist. Diese Ansicht basiert auf einer Überprüfung der geläufigen Methodologie und Texte im Licht der geschichtlichen Entwicklung von beiden, Improvisation und Improvisationsunterricht. Der Bericht stellt eine Überprüfung dar, zu Jeff Pressings historischer Vorstellung über Improvisation als ein fortlaufendes Modell mit einem kurzen Überblick der Geschichte der Improvisation im 20.Jahrh. der amerikanischen Musikerziehung. Aktuelle Methoden werden im Lichte der freien Improvisationstechniken intersucht. Dies führt abschliessend zum Argument für mehr freie Improvisation in der Schulmusik in einem Ausgleich mit den gängigen Methoden. Der Abschluss dieses Berichts überprüft die Ausgangslagen und Realitäten für geläufigePraktiken in der Musikerziehung im Blickwinkel der dargelegten Ansichten. ¿Puede ‘enseñarse’ la improvisación? Una invitación a la improvisación libre en nuestras escuelas El propósito de este artículo es presentar la idea de que el enfoque actual sobre la improvisación en la música escolar es limitado, y que enseñar improvisación, en el sentido tradicional, no es posible. Esta idea está basada en un examen de metodologías y textos actuales a la luz de la evolución histórica tanto de la improvisación como de la enseñanza de la improvisación. El artículo examina las concepciones históricas de Jeff Presing sobre la improvisación como un modelo continuo, y luego analiza la corta historia de la improvisación en la educación musical norteamericana del siglo XX. Se estudian los métodos actuales a la luz de las técnicas de improvisación libre. Esto lleva a una propuesta final de más improvisación libre en la música escolar, que equilibre el enfoque actual de desarrollo de destrezas. En las conclusiones se discuten las prácticas contemporáneas en educación musical a la luz de la idea propuesta.
Journal of Research in Music Education | 2015
Maud Hickey
There is a growing interest in alternative forms of pedagogy for students in K–12 settings. Free improvisation, a relatively new and unfamiliar genre, offers potential as an ensemble for teachers to provide in order to offer more egalitarian and creative music experiences for their students. The purpose of this multiple case study was to determine common elements of instruction among four university free-improvisation instructors in order to inform K–12 music education. Pauline Oliveros, Fred Frith, Ed Sarath, and David Ballou were interviewed and observed in order to find common elements among their teaching. Data collection included transcripts from interviews and field notes, recordings, course materials, and other documents, such as course syllabi, university catalogues, texts, and press material about the pedagogues. The common themes that emerged among the four pedagogues included an array of unique teaching exercises, facility with nontraditional vocabulary, the establishment of a safe and egalitarian teaching space, lack of evaluation, leader as guide, comfort with spontaneity, and pedagogue as performer/improviser. The conclusion offers ideas for implementing these ideas in K–12 and music teacher education.
Journal of Music Teacher Education | 2002
Maud Hickey; Fred Rees
The purpose of this article is to share information about a process that brought together interested music educators who had the common goal of creating change in higher music education. The products that emerged from this process are still in undeveloped form, but it is hoped that they will provide steps toward further quests for change. Issues highlighted at the beginning of this article as important to music education emerged as needs and were discussed by participants at the first College Music Society Institute on Music Teacher Education, held in June 2001. This article will provide background information on concerns facing music teacher education, explain the process of putting together the CMS institute, and describe the institute itself as it provided a beginning for addressing needs in music teacher education.
Music Education Research | 2007
Betty Anne Younker; Maud Hickey
How do issues of equity inform music teaching and learning? What does it mean to teach music through the lens of social justice with social consciousness? The two authors of this paper challenged each other to reflect on these questions and how they pertain, past and present, to their lives as performers, pedagogues, and researchers in various educational settings. In our examination, we explored evidence, if any, of social justice within spaces that typically define school-based music programs and classrooms, and Schools of Music practices.
Journal of Music Teacher Education | 1999
Sam Reese; Maud Hickey
The music education profession is in the early stages of determining how and to what extent the Internet and music technologies, such as MIDI, might be used to promote music teacher education in collaborative and asynchronous distance-learning settings (Rees & Downs, 1995; Taylor & Deal, 1997). In this paper, we will describe and compare two recent projects in music teacher education that have focused on the teaching and learning of music through technology-based compesition, These projects, based at two large universities in the Midwest, are the Musical Internet Connections (MICNet) project and the Network for Technology, Composing, and Music Mentoring (NETCOMM) project. We were concerned about a number of issues as we initiated these pro-
General Music Today | 1995
Peter R. Webster; Maud Hickey
Peter Webster is professor of music education in the School of Music of Northwestern University. Maud Hickey isassistant professor of music education in the School of Music at Ithaca College. when we are reexamInIng and reaffirming our curricula standards in the arts and in all of education. For the first time, activities like composition and improvisation have become fundamental elements of what we ought to do with students. For many, this signals a much-needed broadening and deepening of our understanding of music experience and the form such experience must take in our classrooms, rehearsal halls, and studios. What follows are a few reasons why this is so important and why it is worth your precious time to consider. We offer some conceptual background for creative thinking in music, and we join others in this special issue by offering a few practical suggestions.
International Journal of Offender Therapy and Comparative Criminology | 2018
Maud Hickey
The purpose of this long-term qualitative study was to uncover evidence that might support components of positive youth development (PYD) in a music composition program at an urban youth detention center. The constructs of PYD come from self-determination theory—competence, autonomy, and relatedness—and formed the theoretical lens from which the data were analyzed. Over a period of 5 years, more than 700 youth participated in the program and created primarily rap music compositions. Comments from their feedback, as well as interviews, were analyzed using qualitative content analysis. Findings point to the emergence of two main categories as reasons for enjoying the program: competence and positive feelings. Creativity also emerged as linked to competence and autonomy as well as the “Good Lives Model” of detainee development. Further research on using culturally relevant and creative music programming as a tool in PYD is discussed.
Music Education Research | 2016
Maud Hickey; Kimberly Ankney; Daniel Healy; Donna Gallo
While improvisation in K-12 schools in the USA has gained some traction since the inception of the US National Standards in 1994, there is still a dearth of improvisation activities in schools because of the lack of music teacher preparation in improvisation. The purpose of this study was to determine if providing group free improvisation instruction and activities to collegiate non-music majors would help them become better and more confident improvisers. An additional purpose was to examine the relationship between improvisation achievement and selected variables. A repeated measures design was utilised to test improvisation achievement through solo improvisations of college non-music majors enrolled in a free improvisation class. There was no statistical difference in improvisation achievement by time of solo recording; however, improvisation confidence improved over time. Improvisation confidence was correlated with risk-taking personality as well as a pretest self-assessment of improvisation comfort. The findings are discussed in relation to improving improvisation confidence among future music teachers in order to expand more improvisation activities in US K-12 schools.
Journal of Research in Music Education | 2001
Maud Hickey
Music Educators Journal | 1999
Maud Hickey