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Teaching Music with Keyboard Improvisation: a Pedagogical Journey Involving Four Older Adults

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Teaching Music with Keyboard Improvisation: a Pedagogical Journey Involving Four Older Adults Teaching Music with Keyboard Improvisation: A Pedagogical Journey Involving Four Older Adults by Lisa Tahara A thesis submitted in conformity with the requirements for the degree of Doctor of Musical Arts Faculty of Music University of Toronto © Copyright by Lisa Tahara 2015 Teaching Music with Keyboard Improvisation: A Pedagogical Journey Involving Four Older Adults Lisa Tahara Doctor of Musical Arts Faculty of Music University of Toronto 2015 Abstract The life expectancy of individuals has risen in the twentieth-century, due largely to improvements in health, technology, and nutrition. Accordingly, the older adult population has been increasing rapidly and, as a result, there is a need for greater attention and emphasis to be placed on their wellbeing. Research has shown that the older adult population is interested in music learning programs where they may be given the opportunity to actively create music in group settings. However, music programs have traditionally been based on notation and reading, and this approach may not be optimal for a student entering a music learning program later in life. This research study began as an exploration of how music instruction with improvisation may impact the wellbeing, enjoyment, and confidence levels of older adults. Four older adults between the ages of 83 and 90 participated in a music learning program involving a basic curriculum and improvisation over a period of three months. Qualitative data was collected in the form of audiovisual materials, individual interviews, and through focus group sessions. Quantitative data was gathered using pre and post-test surveys to examine differences in quality of life, musical aptitude, and mood. The researcher kept a personal journal ii including observations of the class and reflections on the videotapes to construct a personal narrative on her experiences in a reflective approach. At the end of the study, participants showed higher levels of confidence, and demonstrated improvement in musical and improvisational achievement. Further, their levels of enjoyment during music lessons were reported at their post-study individual interviews. The results suggest that a music curriculum involving improvisation may be an effective way for older adults to engage in spontaneous creativity while enhancing their musical learning experience. iii Acknowledgments This dissertation paper and my entire DMA degree would not have been possible without the support and guidance of the following professors with whom I have had the honour of working over the last few years: Dr. Midori Koga, your knowledge and experience in the field of pedagogy has always been an inspiration and you have been my biggest role model. Over the years, you have helped me in countless ways and have given me the confidence to succeed as a teacher, musician, and researcher. I cannot thank you enough for all of your guidance. Dr. Lee Bartel, your expertise in research has made a monumental difference in the direction of this paper. I am so grateful that I was able to turn to you with my endless questions. Thank you so much for your support. Dr. Jamie Parker, thank you for being so encouraging over the years. Your ability to tell stories and your sense of humour always made my lessons very entertaining and it was a pleasure to study with you! Thank you for taking me under your wing. Dr. Henri-Paul Sicsic, I will never forget your inspirational lessons and masterclasses. Thank you so much for your support, and for always making me strive to be a better musician. I would like to thank Dr. Michelle Conda who kindly agreed to serve as an external reviewer and Dr. Bina John for her support on my final dissertation committee. I would also like to thank the Dunfield Retirement Residency for allowing me to use their home as my research site. Moreover, my heartfelt appreciation goes to the participants of my iv study who enthusiastically devoted their time and energy to provide me with invaluable teaching experience and lasting memories. To all my former mentors who made a significant impact on my musical journey, thank you from the bottom of my heart. Mr. & Mrs. Olsen, Dr. Robin Wood, and May Ling Kwok, your inspiration and support helped me to believe in myself as a musician, and to realize the true beauty of a life devoted to music. Lastly, I would like to acknowledge two very special people in my life: Brent Pidborochynski and Kana Tahara. Brent, my partner in life: you have been there for me since day one of my journey through the DMA program. In addition to all of the help that you gave me with this paper, you have always been by my side to calm me down through stressful times. You are my rock, and my foundation. Without your shoulder to lean on, I would not be where I am today. I love you with all my heart! Kana, although we talk almost every day, I miss you so much and it makes me so sad that you are on the other side of the country. You are the best sister that I could have asked for, and I want to thank you for being my best friend who I can talk to about anything. Thank you for always pushing me to succeed! This paper is dedicated to my mother and father. Their support through the years has made a significant difference in my life and I am so grateful to have such loving parents. v Table of Contents Acknowledgments ........................................................................................................................ iv List of Tables ................................................................................................................................ xi List of Figures .............................................................................................................................. xii List of Appendices ...................................................................................................................... xiv Prelude ......................................................................................................................................... xv Chapter 1 ....................................................................................................................................... 1 1 Foundation for this Study ...................................................................................................... 1 1.1 Why is this Study Important to the Field? .................................................................... 1 1.2 Purpose of the Study ........................................................................................................ 2 1.3 Research Questions .......................................................................................................... 3 Chapter 2 ....................................................................................................................................... 4 2 Music, the Older Adult Population and Improvisation ....................................................... 4 2.1 The Aging Population ...................................................................................................... 4 2.2 Music & Quality of Life ................................................................................................... 7 2.3 Working with the Older Adult Population .................................................................. 10 2.4 Learning Styles of Older Adults ................................................................................... 12 2.5 Studies in Music and the Older Adult Population ...................................................... 16 2.6 Defining Improvisation .................................................................................................. 22 2.7 The Benefits of Improvisation....................................................................................... 26 2.8 Studies in Improvisation and Music Education .......................................................... 27 2.9 Developing a Curriculum Involving Improvisation for Older Adults ...................... 30 Chapter 3 ..................................................................................................................................... 35 3 Methodology .......................................................................................................................... 35 3.1 Research Methods .......................................................................................................... 35 3.1.1 Mixed Methods Research ....................................................................................... 35 3.1.2 Qualitative Research ............................................................................................... 36 vi 3.1.3 Quantitative Research ............................................................................................ 38 3.2 Design of this Study ....................................................................................................... 39 3.2.1 Participants .............................................................................................................. 39 3.2.2 Curriculum .............................................................................................................. 41 3.2.3 Repertoire ................................................................................................................ 43 3.2.4 Improvisation .......................................................................................................... 44 3.2.5 Classroom Keyboards ............................................................................................
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