Sean C. McGowan
Assistant Professor of Music
Music and Entertainment Industry Studies
University of Colorado Denver
Arts Building, Suite 274 C
Campus Box 162, P.O. Box 173364
Denver CO 80217-3364
303-352-3934
Sean.McGowan@ucdenver.edu
The Study of Improvisation: Scope, Emphasis & Inquiry
The concept, along with process and delivery, of improvisation is one of the most compelling and fascinating attributes of modern American art music. Improvisation is particularly integral to the successful performance of Jazz music. Indeed, improvisation is a fundamental concept inherent in many styles of art, theatre, and certain literary disciplines. However, improvisation is certainly not restricted to the arts; often people in every facet of life are required to “ad lib” or “think on their feet”.
What is the true nature of improvisation? Is there a fundamental difference between ‘organic’ improvisation and programmed response? If so, can improvisation be taught? These are the overarching questions I intend to explore in a variety of situations in the classroom and the music studio. Subsidiary questions include, “Will learning improvisatory skills inform and aid students in other academic disciplines?” and “Does the ability to function in an ‘unprepared’, spontaneous environment foster creativity, interpersonal skills, and multiple layers of awareness?”
Exploration, Reflection & Documentation Leading to Innovation
Students will engage in a variety of (public) performance and non-performance situations to develop different stages of improvisation ability. Over the course of two semesters, performance majors in applied studio lessons (PMUS 1572) and the classroom (PMUS 3300) will study and document several approaches to improvisation in group settings. Students will be required to keep journals assessing progress, frustrations and triumphs throughout the fifteen-week course. They will also examine numerous examples of ‘high-level’ improvisation and analyze with pertinent theoretical applications. Students will use this theory to examine their own work. These reflections, or ‘self-assessments’, will occur three times in the semester. Students will also be recorded using mobile digital audio computer equipment. Reflections will be based on these recorded performances, with significant opportunities for growth over the course of the semester.
Data will be collected from students’ analyses, reflections and recorded digital audio and/or video performances. Qualitative in nature, the data will provide insight into successful and unsuccessful teaching/learning methodologies. It is expected that ‘one size won’t fit all’ with regard to modality; however, any insight provided by reflection and/or performance documentation will result in a better understanding of curricular development, and even innovation in teaching approaches across disciplines.
Literature Review
There is a considerable void in peer-reviewed scholarly material available in the field of contemporary jazz education. Relatively speaking, jazz education is a recent development and addition to traditional music pedagogy. Therefore, studies pertaining to concepts inherent to jazz education such as improvisation should be a welcome addition to the literature. With the recent dissolution if IAJE, there is currently no opportunity for discipline-specific publication or conference proposal. However, scholarly organizations such as MENC and the newly formed Jazz Education Network are attempting to fill the void and are planning regular conferences and publication journals in an effort to unite colleagues interested in research and performance.
In addition to my own personal resources, I intend to examine important publications exploring improvisation, creative thinking and jazz pedagogy including: Bailey, D. (1992) Improvisation: Its Nature and Practice in Music, Da Capo Press, New York / Coker, J. (1964) Improvising Jazz, Prentice-Hall, Englewood Cliffs / Dahlke, A. (2007) Teaching Improvisation in the Applied Studio, Jazz Education Journal, vol. 40, no. 2-3, 2007 / Green, B. (1986) The Inner Game of Music, Anchor Press, New York / Kane, B. (2006) Teaching Beginning Improvisation with the Blues Scale, Jazz Education Journal, vol. 38, no. 5, April 2006 / Kelley, B. (2006) Design For Change: Creating Significant Learning Experiences in the Music Classroom, College Music Society Symposium, vol. 46, 2006 / Lawn, R. (1996) Jazz Theory and Practice, Alfred, Los Angeles / Levine, M. (1995) The Jazz Theory Book, Sher Music, Petaluma / Mathieu, W.A. (1997) Harmonic Experience, Inner Traditions, Rochester / Nachmanovitch, S. (1990) Free Play: Improvisation in Life and Art, Jeremy P. Tarcher, Los Angeles / Pink, D. (2005) A Whole New Mind: Why Right-Brainers Will Rule the Future, Riverhead, New York / Parncutt, R. and McPherson, G., eds., (2002) The Science and Psychology of Music Performance: Creative Strategies for Teaching and Learning, Oxford, New York / Steinel, M. (1995) Building A Jazz Vocabulary: A Resource for Learning Jazz Improvisation, Hal Leonard, Milwaukee / Werner, K. (1996) Effortless Mastery, Aebersold, New Albany.
Record of Teaching and Additional Considerations
This project will add significantly to my own area of research that includes improvisation, creative thinking, performance, injury prevention and wellness, and personal development through artistic development and awareness. I have taught and facilitated workshops in these areas for colleges such as University of Maine and Bowdoin College and arts organizations such as the Maine Arts Commission for ten years. I am starting my second year at University of Colorado Denver with a full time appointment as an Assistant Professor of Music. Last year, I served as a mentor to student Stephen Hill who was the recipient of the UCD Outstanding Research and Creative Activity Award at the Symposium 2007. I have received several grants from the College of Arts & Media, YUMPS and the Center for Faculty Development to assist with recording projects, health education research, and performance workshop at the 2008 College Music Society Super-Regional Conference in Missoula, MT.
As an additional consideration, I would like to work with Dr. Judith Coe as a mentor/process coach for this project. Of course, if selected I would be honored to serve in the future as a coach or mentor in the PTLC program.
