Spela utan facit - en kvalitativ studie i att introducera improvisation för ovana improvisatörer
(2025) MULM65 20242Malmö Academy of Music
- Abstract
- From personal experience we have observed how critical the beginner stage of learning musical improvisation is to future studies in the subject, and how there seems to be lacking a consistent approach to introduce beginner students to improvisation. This study aims to examine how improvisation is introduced to beginner improvisers as well asidentify which factors facilitate a student’s progression. The study is focused on teachers teaching ensemble, singing and instrumental performance to students between the ages of 16-19. The questions this study aims to answer are the following: How is improvisation viewed as a part of the teaching of instrumental, singing and ensemble teachers? Which teaching methods and strategies are used by teachers... (More)
- From personal experience we have observed how critical the beginner stage of learning musical improvisation is to future studies in the subject, and how there seems to be lacking a consistent approach to introduce beginner students to improvisation. This study aims to examine how improvisation is introduced to beginner improvisers as well asidentify which factors facilitate a student’s progression. The study is focused on teachers teaching ensemble, singing and instrumental performance to students between the ages of 16-19. The questions this study aims to answer are the following: How is improvisation viewed as a part of the teaching of instrumental, singing and ensemble teachers? Which teaching methods and strategies are used by teachers working with beginner improvisers? Which teaching strategies are viewed by teachers as facilitators to a student's improvisational success? What are the differences in how improvisation is taught to singers and instrumentalists, respectively, and how can these be explained? Basing our
study of qualitative methods, we performed four semi-structured interviews in which all teachers identified a safe teaching environment as essential to student’s daring to improvise and seeing mistakes as a natural part of the learning process. The informants viewed improvisation as an all-encompassing phenomenon, which is not bound by genre, present in all performance of music. Our results showed that methods based in music theoretical frameworks as well free improvisation were both used in teaching improvisation while common feature was the use of limitations. While our informants viewed teaching differences as specific to individual instruments, we observed an emphasis on ear-based training for singers, compared to instrumentalists. (Less) - Abstract (Swedish)
- Med bakgrund av egna erfarenheter har vi sett att nybörjarstadiet är kritiskt i improvisationsundervisningen samt att det ofta saknats konkreta verktyg för att lära sig att improvisera. Syftet med studien har därför varit att undersöka hur man introducerar improvisation för ovana improvisatörer, samt att identifiera vilka faktorer som underlättar elevens utveckling. Vårt fokus för studien har varit sång-, instrumental- och ensemblelärare med elever i gymnasieålder. Studien har genomförts utifrån följande frågeställningar: Hur ser instrument- och sånglärare på musikalisk improvisation i sin undervisning? Vilka metoder och strategier använder lärare för att arbeta med improvisation tillsammans med ovana improvisatörer? Vilka... (More)
- Med bakgrund av egna erfarenheter har vi sett att nybörjarstadiet är kritiskt i improvisationsundervisningen samt att det ofta saknats konkreta verktyg för att lära sig att improvisera. Syftet med studien har därför varit att undersöka hur man introducerar improvisation för ovana improvisatörer, samt att identifiera vilka faktorer som underlättar elevens utveckling. Vårt fokus för studien har varit sång-, instrumental- och ensemblelärare med elever i gymnasieålder. Studien har genomförts utifrån följande frågeställningar: Hur ser instrument- och sånglärare på musikalisk improvisation i sin undervisning? Vilka metoder och strategier använder lärare för att arbeta med improvisation tillsammans med ovana improvisatörer? Vilka undervisningsstrategier anser lärare bidrar till att elever lyckas med improvisation? Vilka skillnader finns det i hur lärare undervisar i improvisation för instrumentalister respektive sångare, och hur kan dessa förklaras? Med den kvalitativa metoden som grund genomförde vi fyra semistrukturerade intervjuer där samtliga informanter lyfte fram vikten av en trygg läromiljö som essentiell för att eleven ska våga improvisera och se misstag som en naturlig del av läroprocessen. Informanterna såg improvisation som ett allomfattande fenomen som sker i allt musicerande och som inte är genrespecifik. Resultaten visade att såväl metoder med en teoretisk som friare ingång användes där begränsningar var en gemensam nämnare. Även om skillnaderna mellan instrumentalisters och sångares improvisationsundervisning snarare ansågs vara instrumentspecifik, kunde vi se en viss skillnad där en gehörsingång var vanligare för sångelever. (Less)
Please use this url to cite or link to this publication:
http://lup.lub.lu.se/student-papers/record/9192270
- author
- Jonnergård Stensson, Andreas LU ; Wierup, Carolina and Åkerblom, Sofie
- supervisor
- organization
- course
- MULM65 20242
- year
- 2025
- type
- H3 - Professional qualifications (4 Years - )
- subject
- keywords
- Improvisation, Improvisationspedagogik, Utbildningsvetenskap, Musikundervisning, Improvisation Pedagogy, Educational Science, Music Education, Musikpedagogik
- language
- Swedish
- id
- 9192270
- date added to LUP
- 2025-06-18 16:03:29
- date last changed
- 2025-06-18 16:03:29
@misc{9192270,
abstract = {{From personal experience we have observed how critical the beginner stage of learning musical improvisation is to future studies in the subject, and how there seems to be lacking a consistent approach to introduce beginner students to improvisation. This study aims to examine how improvisation is introduced to beginner improvisers as well asidentify which factors facilitate a student’s progression. The study is focused on teachers teaching ensemble, singing and instrumental performance to students between the ages of 16-19. The questions this study aims to answer are the following: How is improvisation viewed as a part of the teaching of instrumental, singing and ensemble teachers? Which teaching methods and strategies are used by teachers working with beginner improvisers? Which teaching strategies are viewed by teachers as facilitators to a student's improvisational success? What are the differences in how improvisation is taught to singers and instrumentalists, respectively, and how can these be explained? Basing our
study of qualitative methods, we performed four semi-structured interviews in which all teachers identified a safe teaching environment as essential to student’s daring to improvise and seeing mistakes as a natural part of the learning process. The informants viewed improvisation as an all-encompassing phenomenon, which is not bound by genre, present in all performance of music. Our results showed that methods based in music theoretical frameworks as well free improvisation were both used in teaching improvisation while common feature was the use of limitations. While our informants viewed teaching differences as specific to individual instruments, we observed an emphasis on ear-based training for singers, compared to instrumentalists.}},
author = {{Jonnergård Stensson, Andreas and Wierup, Carolina and Åkerblom, Sofie}},
language = {{swe}},
note = {{Student Paper}},
title = {{Spela utan facit - en kvalitativ studie i att introducera improvisation för ovana improvisatörer}},
year = {{2025}},
}