Improvisation

Abstract

Abstract Many music educators have advocated the development of students’ creativity and improvisation skills in music classrooms (Biasini, Thomas, & Pogonowski, 1970; Consortium of National Arts Education Associations, 1994; Contemporary Music Project, 1966, 1971; National Association of Schools of Music, 1999; Richmond, 1989). Despite such advocacy, much of the literature on the topic of improvisation in music education points to the fact that it is rarely part of the core of music education curricula (e.g., Azzara, 1993; Kratus, 1989; Schmidt & Sinor, 1986; Webster, 1987a). With the publication of National Standards for Arts Education (Consortium of National Arts Education Associations, 1994), music educators have become increasingly aware of the importance of the art of improvisation as a valuable musical skill for all music students. Researchers have continued to articulate the need for improvisation instructional materials, teacher education in improvisation, and, in general, emphasis on improvisation as a vital part of music curricula (e.g., Azzara, 1999; Bitz, 1999; Brown, 1991; Della Pietra & Campbell, 1995; Gregory, 1996; Jorgensen, 1998; Lubart, 1998; Richmond, 1989; Riveire, 1998; Rosfeld, 1989; Townsend, 1998).