Improvisation in Choral Settings by Frances Farrell A thesis submitted in conformity with the requirements for the degree of Doctorate of Musical Arts Faculty of Music University of Toronto © Copyright by Frances Farrell 2018 Improvisation in Choral Settings Frances Farrell Doctorate of Musical Arts Faculty of Music University of Toronto 2018 Abstract While improvisation in music education settings is widely endorsed as an approach to music- making, research suggests that improvisation in these settings is not widely practiced. Improvisation is often associated with jazz curricula and certain pedagogies relating to elementary music. Researchers have identified fear, lack of time, and lack of training as key barriers to implementing improvisation in several music education contexts, including elementary, general music, band, and jazz ensemble settings. Little research exists, however, with regards to the use of improvisation in choral settings at the secondary school and university levels. The purpose of this study was to examine the phenomenon of improvisation in choral settings. Using a case study methodology, I collected and categorized data comprising observations and semi-structured interviews of three choral educators in North America, two at the university level, and one at the high school level, who utilize improvisation with their students. The results of the data yielded several findings related to improvisation strategies, facilitating improvisation, defining success in these contexts, as well as rationales for and perceived benefits of using improvisation. ii The findings of the study will provide choral educators wishing to utilize improvisation with their students a number of improvisation strategies, as well as suggestions for facilitating improvisation that will mitigate typical reservations related to its implementation. The results of this study also suggest that improvisation can counter common criticisms of traditional choral settings, while at the same time, provide opportunities to enhance and transform choral music- making for students and educators alike. iii Acknowledgments I am grateful to my advisor, Dr. Hilary Apfelstadt, for her support of this project. Her guidance, expertise, and unyielding encouragement have been instrumental in completing this dissertation. Her leadership as a choral educator was a part of the inspiration for the topic of this dissertation, and her words of wisdom continue to inform my teaching to this day. I would also like to acknowledge the dissertation committee members, Dr. Nasim Niknafs and Dr. Jeff Packman, for their assistance with this dissertation. Both members played a key role in helping me to define my research topic and in pointing me to initial resources for this dissertation. As well, their feedback and suggestions were tremendously helpful in clarifying and extending the ideas presented in this document. I am also especially indebted to the participants for their willingness to take part in this study. They were extremely generous with their time and knowledge, and their insights about improvisation in choral settings form the bedrock of this dissertation. I would also like to acknowledge family members who have continued to encourage me in this process. Thanks to Dennis (Dad) and Carolyn. Thank you also to other family members Tim, Mark, Alex, Elizabeth, Matthew, Jack, Ryan, and Allyson. I also owe a debt of gratitude to my mother, Mary Jo. Her sense of play and fearlessness have no doubt influenced my interest in improvisation. I am always mindful of her unfailing support of this project, and of me throughout my life. Though she is no longer with us, I dedicate this work to her. I am also grateful to Mark Ramsay, Melissa Morgan, and other colleagues from the U of T choral conducting cohort for their support. Similarly, I am indebted to the colleagues and students from the Halifax Schools’ Music Centre, Citadel High School, and the Nova Scotia Choral Federation. My interactions with these educators, musicians, and choristers have helped me to become the conductor/teacher I am today and act as a constant reminder that there is still much more to learn. Lastly, to my partner Anders, who, throughout this process has acted as a sounding board, cheerleader, research consultant, and so much more. I am grateful for your love and support. iv Table of Contents Abstract .......................................................................................................................................... ii Acknowledgments ........................................................................................................................ iv Table of Contents .......................................................................................................................... v List of Figures ................................................................................................................................ x List of Appendices ........................................................................................................................ xi Chapter 1 Introduction................................................................................................................. 1 1.1 Overview .....................................................................................................................................1 1.2 Background ................................................................................................................................1 1.3 Preparing for Improvisation: Improvisation in School Settings ...........................................2 1.4 From Inertia to Innovation .......................................................................................................5 1.5 Improvisation and the Performance-Pedagogy Paradox .......................................................9 1.6 Improvisation: Enhancing Artistry and Autonomy ..............................................................15 1.7 Rationales for Improvisation in the Choral Setting ..............................................................17 1.8 Need for this Study ...................................................................................................................24 1.9 Objectives ..................................................................................................................................25 1.10 Situating the Researcher ........................................................................................................25 1.11 Definition of Terms .................................................................................................................27 1.12 Parameters of the Study .........................................................................................................28 1.13 Outline of Dissertation ............................................................................................................28 Chapter 2 Review of the Literature .......................................................................................... 30 2.1 Mapping Improvisation ...........................................................................................................30 2.2 Improvisation and the Politics of Western Art Music ..........................................................31 2.3 Composition vs. Improvisation ...............................................................................................34 2.4 Binding Contradictions: The Parametrics and Politics of Improvisation ..........................36 2.5 Cognitive Considerations ........................................................................................................39 2.5.1 Jeff Pressing ...........................................................................................................................39 2.5.2 Improvisation and Language .................................................................................................41 2.5.3 Neuroscience and Improvisation ...........................................................................................42 2.6 Surveying Performers about Improvisation ..........................................................................43 2.7 Mystery, Transcendence, and Flow ........................................................................................45 2.8 Social Interactions ....................................................................................................................46 v 2.9 Improvisation: An Art Neglected in Practice ........................................................................51 2.10 Improvisation in Choral Settings ...........................................................................................56 2.11 Implementing Improvisation .................................................................................................58 2.11.1 Frameworks for Improvisation ..........................................................................................59 2.11.2 Developing an Improvisation Culture ...............................................................................63 2.11.3 Strategies for Improvisation ..............................................................................................64 2.11.4 Strategies for Improvisation in Choral Settings ................................................................67 2.11.5 Pedagogical Tensions in Music Education Settings ..........................................................70 2.11.6 Rethinking the Choral Paradigm