Abstract
This chapter discusses early 21st century undergraduate music student responses to preparing and performing improvisatory framed scores from the 1960s-1970s that engage a large number of players in group music-making. The scores offer non-traditional approaches to score reading and improvisation, and an engagement with a seminal time in the history of music education when contemporary composers and educational thinking aligned and elements of musical organisation seldom discussed in classical music were bought to the fore. This chapter explores our students’ responses to all of these aspects, their thinking on the relationship between composer and performer in the scores, their familiarity with the music and the musical approaches represented, and what they thought of their engagement with the pieces.
Original language | English |
---|---|
Title of host publication | Teaching and Evaluating Music Performance at University: Beyond the Conservatory Model |
Editors | John Encarnacao, Diana Blom |
Place of Publication | U.K. |
Publisher | Routledge |
Pages | 85-97 |
Number of pages | 13 |
ISBN (Electronic) | 9780429328077 |
ISBN (Print) | 9781138505919 |
DOIs | |
Publication status | Published - 2020 |
Keywords
- education, higher
- improvisation (music)
- music
- music education
- music students
- performance
- scores