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Title: Improvisation as real-time thinking and rehearsing: An exploratory study in Singapore
Authors: Dairianathan, Eugene
Stead, Eric Peter
Issue Date: Jul-2006
Citation: Paper presented at the Proceedings of the 27th International Society for Music Education, Kuala Lumpur, Malaysia, 16-21 July 2006, p. 316-333
Abstract: The skill of improvisation is seen to be important in the development of any musician, although its relative importance varies according to period and genre. Christopher Azarra (2002, 171) asserts that as an essential component of music throughout history…improvisation involves an ability to make music spontaneously within specified musical parameters. Improvisation is then dependent on the condition that performers are able, first of all, to be ‘proficient in the language they speak’. Musical improvisation, therefore, seems comfortably positioned in the training of those who are well-versed “in this language”. As language differs from culture to culture, so do expectations of musical improvisation. John Blacking (1973, 100) argues what is ultimately of most importance in music cannot be learned like other cultural skills: it is there in the body, waiting to be brought out and developed, like the basic principles of language formation.
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