Barry J. Kenny and Martin Gellrich

in The Science & Psychology of Music Performance

Published in print April 2002 | ISBN: 9780195138108
Published online October 2011 | e-ISBN: 9780199849291 | DOI:

More Like This

Show all results sharing this subject:

  • Music Theory and Analysis


Show Summary Details


Depending upon its sociocultural function, the term improvisation incorporates a multiplicity of musical meanings, behaviors, and practices. A feature common to all improvisation, however, is that the creative decisions of its performers are made within the real time restrictions of performance itself. Improvisation is therefore considered to be a performance art par excellence, requiring not only a lifetime of preparation across a broad range of musical and nonmusical formative experiences, but also a sophisticated and eclectic skills base. This chapter reflects on psychological models and their attempts to simulate improvising processes and constraints; the means by which improvisers acquire performance skills; improvisation as part of a larger, co-collaborative creative endeavor; recent studies highlighting the benefits of improvisation in a learning situation; and improvisation as a means of revitalizing Western education. Practical implications and an integrated model for learning to improvise are discussed in the final section.

Keywords: improvisation; performance; performance skills

Chapter.  7377 words.  Illustrated.

Subjects: Music Theory and Analysis

Full text: subscription required

How to subscribe Recommend to my Librarian

Buy this work at Oxford University Press »

Users without a subscription are not able to see the full content. Please, subscribe or login to access all content. subscribe or login to access all content.