Improvisation. 4: Rhythm and Texture

Dickinson, Peter

doi:10.2307/950998

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“…The second type of task, Improvisation on a Rhythmic Pattern, has been used to develop improvisational ability (Baker, 1969;Berkowitz, 1975;Campbell, 1990Campbell, , 1991Chase, 1988;Dean, 1989;Dickinson, 1964aDickinson, , 1964cFrazee, 1987;Harvey, 1988;Hunt, 1968;Moore, 1990;Rowley, 1955;Schlieder, 1927;Simpson, 1963;Stubington, 1940;Texter, 1979;Thackray, 1978). As for the first task, the basis for a simple, well-balanced melody is predetermined by the rhythmic pattern, which students use to construct their own melody (see Figure 25.3).…”

Section: Test Of Ability To Improvise (Tai)mentioning

confidence: 99%

“…The fourth type of improvised response, Improvisation to an Accompaniment, is the basis from which most jazz and popular music is improvised (Baker, 1969;Coker, 1964;Dean, 1989). In addition, traditional forms of improvisation (Berkowitz, 1975;Chase, 1988;Dickinson, 1964c;Rosfeld, 1989;Rowley, 1955;Sawyer, 1923;Stubington, 1940;Thack ray, 1978) and classroom/instrumental music instruction abound with examples of this form of improvisation (see Figure 25.5). Likewise, early creativity measures such as Vaughan's (1971) measure adopted this technique by asking students to improvise a melody over an ostinato accompaniment.…”

Section: Test Of Ability To Improvise (Tai)mentioning

confidence: 99%

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Developing Tests of Music Performance Improvisation

McPherson

2019

The Oxford Handbook of Assessment Policy and Practice in Music Education, Volume 1

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This chapter presents a survey of research on the development and validation of a measure to assess instrumentalists’ ability to improvise music. It begins by framing efforts to distinguish between visual, aural, and creative forms of music performance, and the types of assessment tasks required to evaluate music performance improvisation. The chapter surveys a range of related measures that have been used to assess improvisational abilities in young developing musicians and provides a detailed description of the author’s own Test of Ability to Improvise (TAI) that he has used with beginning, intermediate, and advanced level school instrumentalists. Included also are examples of the instrumentalists’ improvisations and a discussion of the implications of the research findings for conceptions of musical development and practical applications within music education.

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