The Improvising Musician's Mask

THE IMPROVISING MUSICIAN’S MASK: USING MUSICAL INSTRUMENTS TO BUILD SELF-CONFIDENCE AND SOCIAL SKILLS IN COLLECTIVE FREE IMPROVISATION KATHRYN LADANO A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO June 2018 © Kathryn Ladano, 2018 ii ABSTRACT This study explores the idea that musical instruments can function as masks, allowing for greater creative expression and self-confidence, in the context of collective free improvisation. The use of masks has been well documented in various cultures throughout history and is still used in drama today, including in drama improvisation. Masks have traditionally been used to facilitate a deeper expression of the self. Musicians can use their instruments in similar ways, increasing their level of comfort and allowing for connection and communication with others in ways not available through traditional social exchanges. Through a series of interviews, questionnaires, and performances, thirty young instrumentalists and vocalists participated in this study in order to better understand their relationship to their instruments when improvising. All subjects were under the age of thirty, had studied improvisation in university and self-identified as non-professional improvisers. Through analysis of their recorded performances during the study, interview and questionnaire responses, it was discovered that the vast majority of participants identified with the idea that their instruments functioned as masks. Furthermore, most of these individuals believed their instruments helped them express parts of themselves that could not be expressed through other means. Some also believed their instruments allowed for the creation of a persona, in which they felt they could “be” someone else when performing. While all participants were accomplished performers in a variety of styles of music, the idea of musical instruments functioning as masks was only relevant to them in the context of free improvisation; they did not feel this same relationship to their instruments when performing any other style of music. iii DEDICATION I wish to dedicate this thesis to my family and music teachers that helped shape my development as an artist and researcher. Specifically my parents, Don and Bonnie Ladano, my brother Mike Ladano, my grandmother Doris Winter, my aunt Lynda Mason, my cousin Geoff Mason, and my grandfather Crawford Winter who unknowingly started me on my path in music by purchasing a keyboard before passing away that would ultimately start me on my journey. The music teachers that I dedicate this thesis to are Michelle Bergauer, Mike Bergauer, Tilly Kooyman, Stan Climie, Lori Freedman, and Casey Sokol – all of whom helped shape me as an artist. I would not have gotten this far without their unwavering support and encouragement. iv ACKNOWLEDGEMENTS I would like to acknowledge and thank some of the many people involved with the completion of this study. Firstly I wish to thank my supervisor, Dr. Dorothy de Val for the countless hours given to reading my research, offering guidance, knowledge, and support. I also wish to thank my other committee members, Casey Sokol and Sundar Viswanathan, both of whom offered great insight and encouragement. In particular, Casey has been a significant influence and source of inspiration (both as a teacher and musician) throughout my degree, encouraging me to pursue this line of research. I also wish to thank the participants that gave their time to partake in this study and the professors who helped recruit them. Specifically, Dr. D. Andrew Stewart from the University of Lethbridge who was essential in finding subjects specializing in electronic music, and Dorothy de Val and Casey Sokol, who invited me to talk to their classes and work with their students as a way of building interest in participating. I would also like to thank Conrad Grebel College at the University of Waterloo, Wilfrid Laurier University, and York University for allowing me to use their facilities to complete this study. I would also like to express my sincere gratitude to Dr. Glenn Buhr for encouraging me to pursue a PhD at York University, supporting my teaching work at Wilfrid Laurier University and providing me with so many important opportunities that greatly shaped me as an educator and researcher. I wish to thank Martin LePage, who made me believe that I could pursue this degree and helped me make it a reality. Lastly, I would like to thank my parents, Don and Bonnie Ladano, who supported my crazy journey into “weird” music on an v “unconventional” instrument since the beginning. I most certainly would never have reached this point without their endless support and encouragement. vi TABLE OF CONTENTS ABSTRACT ............................................................................................................................................... ii DEDICATION .........................................................................................................................................iii ACKNOWLEDGEMENTS .................................................................................................................. iv TABLE OF CONTENTS ...................................................................................................................... vi LIST OF FIGURES ............................................................................................................................. viii CHAPTER 1: INTRODUCTION ........................................................................................................ 1 CHAPTER 2: LITERATURE REVIEW ........................................................................................... 7 Free Improvisation ............................................................................................................................... 7 Studies involving the use of free improvisation as a therapy for anxiety ......................... 23 Phenomenology and Improvisational Performance .......................................................... 26 Mask Theories .................................................................................................................................... 32 Summary.............................................................................................................................................. 43 CHAPTER 3: METHODOLOGY .................................................................................................... 44 Subjects ................................................................................................................................................ 44 Interviews ............................................................................................................................................ 47 Questionnaires ................................................................................................................................... 48 Audio and Video Documentation ................................................................................................. 49 Exercises .............................................................................................................................................. 50 The Warm-Up ............................................................................................................................... 50 The Dark Room ............................................................................................................................ 52 Instrument Switch ........................................................................................................................ 53 Voice Alone ................................................................................................................................... 54 Masks ............................................................................................................................................... 56 The Mirror ...................................................................................................................................... 58 Threats to Validity ............................................................................................................................ 59 CHAPTER 4: RESEARCH FINDINGS ......................................................................................... 62 The Warm-Up .................................................................................................................................... 62 The Dark Room ................................................................................................................................. 71 Instrument Switch ............................................................................................................................. 78 Voice Alone ........................................................................................................................................ 87 Masks .................................................................................................................................................. 101 The Mirror ......................................................................................................................................... 112 Individual Exercises – Other Responses .................................................................................. 123 Post-Study Questionnaires ..........................................................................................................

Load more