1. How Creative is Musical Improvisation? Louise Gibbs Leeds College of Music Performance Studies Network International Conference University of Cambridge 14-17 July 2011

2. The “question” Creativity, creative process and outcome define musical improvisation and constitute its value as art and consequently its value in music education But how creative is improvisation? What aspects of musical improvisation are creative or bring about creativity? What aspects of musical improvisation are creative or bring about creativity? How do we appraise or evaluate creativity in improvisation? How do we appraise or evaluate creativity in improvisation? Can creativity in improvisation be taught? Can creativity in improvisation be taught? How Creative is Improvisation? Louise Gibbs - Leeds College of Music

3. The “problem” 1) The relation between creativity and improvisation is assumed and potentially problematic if employed to justify claims made for creative music education 2) The exigencies of educational accountability (morally) require consistency between theoretical claims and their practical realisation in the curriculum 3) Few theories are available to address the role of creativity in musical improvisation in the detail necessary to inform how we evaluate or teach its (essential) values 4) The criteria by which musical practitioners and teachers judge the presence, absence or quality of creativity in musical improvisation is not fully articulated How Creative is Improvisation? Louise Gibbs - Leeds College of Music

4. The solution offered here… A framework which identifies core categories for thinking about and for evaluating musical improvisation - A Generic Framework A framework which identifies core categories for thinking about and for evaluating musical improvisation - A Generic Framework A more nuanced way of thinking about creativity and its relation to musical improvisation – particularly in making a distinction between invention and originality A more nuanced way of thinking about creativity and its relation to musical improvisation – particularly in making a distinction between invention and originality A re-emphasis on judging creative outcomes as the focus for evaluating improvisation, and for teaching inventiveness and fostering creativity A re-emphasis on judging creative outcomes as the focus for evaluating improvisation, and for teaching inventiveness and fostering creativity How Creative is Improvisation? Louise Gibbs - Leeds College of Music

5. The argument Not much of musical improvisation is creative Not much of musical improvisation is creative Most of musical improvisation is craft. Invention is an aspect of craft. Most of musical improvisation is craft. Invention is an aspect of craft. Invention is the regenerative aspect of craft in music (and musical improvisation) Invention is the regenerative aspect of craft in music (and musical improvisation) Inventiveness in musical improvisation can be taught and can be assessed (because conventional criteria can be pre-specified). Inventiveness in musical improvisation can be taught and can be assessed (because conventional criteria can be pre-specified). There are two dimensions of creativity in musical improvisation. One is invention (craft) and the other is originality. There are two dimensions of creativity in musical improvisation. One is invention (craft) and the other is originality. Originality of improvisational outcomes cannot be predicted- only recognised. Originality of improvisational outcomes cannot be predicted- only recognised. How Creative is Improvisation? Louise Gibbs - Leeds College of Music

6. 1. Most of improvisation is craft Musical improvisation is based on music craft (of the composing and presenting of repertoire). Music craft constitutes the known and established body of knowledge and practice of the field or domain Musical improvisation is based on music craft (of the composing and presenting of repertoire). Music craft constitutes the known and established body of knowledge and practice of the field or domain Music craft is concerned with Music craft is concerned with 1. Coherence (finding and building meaning) 2. Instrumental Fluency (media and expression) 3. Ensemble Interaction (communication) 4. Invention (regeneration from the known) Outside craft Outside craft 5. Originality (regeneration that changes a field or domain) How Creative is Improvisation? Louise Gibbs - Leeds College of Music

7. 2. Invention is the regenerative aspect of craft Invention is the regenerative aspect of craft in music (and musical improvisation) demonstrated in the production of new musical outcomes which show a mix of model and novel gestures authentic to the rubrics of known musical styles. Invention is the regenerative aspect of craft in music (and musical improvisation) demonstrated in the production of new musical outcomes which show a mix of model and novel gestures authentic to the rubrics of known musical styles. The outcomes are new through accident, play, experiment, or deliberate alteration or re-organisation of musical elements and form The outcomes are new through accident, play, experiment, or deliberate alteration or re-organisation of musical elements and form The outcomes are new to the individual and conform to the rubrics of known musical styles The outcomes are new to the individual and conform to the rubrics of known musical styles How Creative is Improvisation? Louise Gibbs - Leeds College of Music

8. Video clip showing a group of students (from Classical-Jazz-Pop genres) executing a 2 minute time-limited Paper Improvisation exercise How Creative is Improvisation? Louise Gibbs - Leeds College of Music

9. 3. Inventiveness can be taught Inventiveness in musical improvisation can be taught in terms of the skills necessary for composing in real time performance with the intention of generating something new (to the individual): Inventiveness in musical improvisation can be taught in terms of the skills necessary for composing in real time performance with the intention of generating something new (to the individual): -analysing existing repertoire and the inventiveness within it -playing, and experimenting with musical content -employing a media -re-organising known content according to principles of form and expression -projecting to and communicating with others -evaluating means to musical ends The inventive success of improvisational outcomes (and not merely process) can be evaluated by how well they conform to known conventional models (whose criteria can be pre-specified). The inventive success of improvisational outcomes (and not merely process) can be evaluated by how well they conform to known conventional models (whose criteria can be pre-specified). How Creative is Improvisation? Louise Gibbs - Leeds College of Music

10. 4. Two dimensions of creativity: invention and originality There are two dimensions of creativity in musical improvisation. One is invention (craft) and the other is originality. There are two dimensions of creativity in musical improvisation. One is invention (craft) and the other is originality. Invention is defined by an object or idea generated within the convention practices of a domain, with novelty, surprise and value significant to the individual (what Boden (2010) calls P- (psychological) creativity) Invention is defined by an object or idea generated within the convention practices of a domain, with novelty, surprise and value significant to the individual (what Boden (2010) calls P- (psychological) creativity) The pre-specifiable criteria for the identity and value of creative outcomes which are inventive, mean that such outcomes can be taught for and evaluated. The pre-specifiable criteria for the identity and value of creative outcomes which are inventive, mean that such outcomes can be taught for and evaluated. How Creative is Improvisation? Louise Gibbs - Leeds College of Music

11. What is creativity? “An ability to produce work that is both novel (ie, original, unexpected) and appropriate (ie, useful, adaptive concerning task restraints).” Sternberg (1999) “An ability to produce work that is both novel (ie, original, unexpected) and appropriate (ie, useful, adaptive concerning task restraints).” Sternberg (1999) “ideas or artefacts that are new, surprising, and valuable.” Boden (2010) “ideas or artefacts that are new, surprising, and valuable.” Boden (2010) How Creative is Improvisation? Louise Gibbs - Leeds College of Music

12. What is creativity? A systems definition “Creativity is any act, idea, or product that changes an existing domain, or that transforms an existing domain into a new one. And the definition of a creative person is: someone whose thoughts or actions change a domain, or establish a new domain.” Csikszentmihayli (1996) “Creativity is any act, idea, or product that changes an existing domain, or that transforms an existing domain into a new one. And the definition of a creative person is: someone whose thoughts or actions change a domain, or establish a new domain.” Csikszentmihayli (1996) “creativity cannot be recognized except as it operates within a system of cultural rules, and it cannot bring forth anything new unless it can enlist the support of peers. If these conclusions are accepted, then it follows that the occurrence of creativity is not simply a function of how many gifted individuals there are, but also of how accessible the various symbolic systems are and how responsive the social system is to novel ideas.” Csikszentmihayli (in Sternberg, 1999). “creativity cannot be recognized except as it operates within a system of cultural rules, and it cannot bring forth anything new unless it can enlist the support of peers. If these conclusions are accepted, then it follows that the occurrence of creativity is not simply a function of how many gifted individuals there are, but also of how accessible the various symbolic systems are and how responsive the social system is to novel ideas.” Csikszentmihayli (in Sternberg, 1999). How Creative is Improvisation? Louise Gibbs - Leeds College of Music

13. 5. Originality cannot be predicted – only recognised Originality in musical improvisation cannot be predicted or pre- specified – and its outcomes seem both surprising and inevitable. Originality in musical improvisation cannot be predicted or pre- specified – and its outcomes seem both surprising and inevitable. Originality is defined by an object or idea that is recognised to possess significant novelty, surprise and value to the field or domain (ref: Czikszentmihalyi, 1996) or significantly re-defines it (ref: Sternberg, Kaufman, & Pretz, 2002). Originality is defined by an object or idea that is recognised to possess significant novelty, surprise and value to the field or domain (ref: Czikszentmihalyi, 1996) or significantly re-defines it (ref: Sternberg, Kaufman, & Pretz, 2002). What is judged as creative now will become tomorrow’s craft What is judged as creative now will become tomorrow’s craft Because criteria for the identity and value of original outcomes cannot be pre-specified, such outcomes cannot be taught for – only fostered. Because criteria for the identity and value of original outcomes cannot be pre-specified, such outcomes cannot be taught for – only fostered. How Creative is Improvisation? Louise Gibbs - Leeds College of Music

14. Conclusions Invention – as craft creativity - is attainable – and provides a deliberate way forward for learning and teaching musical improvisation Invention – as craft creativity - is attainable – and provides a deliberate way forward for learning and teaching musical improvisation Originality – as artistic creativity - is aspirational Originality – as artistic creativity - is aspirational How Creative is Improvisation? Louise Gibbs - Leeds College of Music

15. Appendix A Generic Framework for Evaluating Musical Improvisation Louise Gibbs – louise@jazzmine.co.uk The framework is an attempt to provide an explicit guide to the evaluation of musical improvisation The framework is an attempt to provide an explicit guide to the evaluation of musical improvisation The criteria are deliberately generic and, to be really useful, need to be expressed in more detail according to musical style. The criteria are deliberately generic and, to be really useful, need to be expressed in more detail according to musical style. A distinction in the criteria is made between critical assessments and diagnostic assessments. A distinction in the criteria is made between critical assessments and diagnostic assessments. Critical judgements focus on the improvised outputs (public performances, final recitals and examinations) Critical judgements focus on the improvised outputs (public performances, final recitals and examinations) Diagnostic judgements focus on the processes that produce improvised outputs (constructive and formative assessments in rehearsal or educational settings) Diagnostic judgements focus on the processes that produce improvised outputs (constructive and formative assessments in rehearsal or educational settings) (Diagnostic criteria are articulated in italics.) How Creative is Improvisation? Louise Gibbs - Leeds College of Music

16. THE FRAMEWORK for Evaluating Musical Improvisation Version 6. (July 2011) Categories of Criteria Coherence Coherence Instrumental Fluency Instrumental Fluency Ensemble Interaction Ensemble Interaction Invention Invention Originality Originality How Creative is Improvisation? Louise Gibbs - Leeds College of Music

17. Coherence Improvisations are expected to show musical content, organisation and cohesiveness; that performances have form and continuity with reference to a musical tradition, style and repertoire Improvisations are expected to show musical content, organisation and cohesiveness; that performances have form and continuity with reference to a musical tradition, style and repertoire Players are expected to demonstrate that they can deliver coherent and stylistically appropriate gestures with reference to the repertoire and forms of a musical style and tradition Players are expected to demonstrate that they can deliver coherent and stylistically appropriate gestures with reference to the repertoire and forms of a musical style and tradition How Creative is Improvisation? Louise Gibbs - Leeds College of Music

18. Instrumental Fluency Improvisations (as individual solos within group performances) are expected to be communicative performances, expressive and fluent, if not virtuosic, in real time Improvisations (as individual solos within group performances) are expected to be communicative performances, expressive and fluent, if not virtuosic, in real time Players are expected to demonstrate technical and expressive command, if not virtuosity, of their instrument in playing by ear and from memory to generate fluent solos and provide accompaniments in real time; and to project their performance to an audience Players are expected to demonstrate technical and expressive command, if not virtuosity, of their instrument in playing by ear and from memory to generate fluent solos and provide accompaniments in real time; and to project their performance to an audience Invention Invention Improvisations (both as individual solos and group ‘pieces’) are expected to show a mix of model and novel gestures authentic to the rubrics of known musical styles Improvisations (both as individual solos and group ‘pieces’) are expected to show a mix of model and novel gestures authentic to the rubrics of known musical styles Players are expected to show that they are able, by ear and in real time, to generate unpremeditated solos and supporting textures for ensemble play from known stylistic modelsPlayers are expected to show that they are able, by ear and in real time, to generate unpremeditated solos and supporting textures for ensemble play from known stylistic models Originality Originality Improvisations (both as individual solos and as group ‘pieces’) are expected to present a unique and personal sound and set of novel musical gestures that offer an element of “surprise”, “freshness” and yet maintain coherence Improvisations (both as individual solos and as group ‘pieces’) are expected to present a unique and personal sound and set of novel musical gestures that offer an element of “surprise”, “freshness” and yet maintain coherence Players are expected to show that as individual players and as a group they are able to generate unique, original, personally expressive and unpremeditated musical events within a performance, respond imaginatively to them, and yet maintain coherencePlayers are expected to show that as individual players and as a group they are able to generate unique, original, personally expressive and unpremeditated musical events within a performance, respond imaginatively to them, and yet maintain coherence How Creative is Improvisation? Louise Gibbs - Leeds College of Music

19. Ensemble Interaction Improvisations are expected to show ensemble cohesion and fluency and offer a variety of responsive musical gestures and textures appropriate to the style and tradition of music Improvisations are expected to show ensemble cohesion and fluency and offer a variety of responsive musical gestures and textures appropriate to the style and tradition of music Players are expected to demonstrate their ability to listen, respond to and interact with each other within a group; that they can cooperate and take both leading and supporting roles within an ensemble; and that they are aware of performance practices and protocols appropriate to the musical style and tradition Players are expected to demonstrate their ability to listen, respond to and interact with each other within a group; that they can cooperate and take both leading and supporting roles within an ensemble; and that they are aware of performance practices and protocols appropriate to the musical style and tradition How Creative is Improvisation? Louise Gibbs - Leeds College of Music

20. Invention Improvisations (both as individual solos and group ‘pieces’) are expected to show a mix of model and novel gestures authentic to the rubrics of known musical styles Improvisations (both as individual solos and group ‘pieces’) are expected to show a mix of model and novel gestures authentic to the rubrics of known musical styles Players are expected to show that they are able, by ear and in real time, to generate unpremeditated solos and supporting textures for ensemble play from known stylistic models Players are expected to show that they are able, by ear and in real time, to generate unpremeditated solos and supporting textures for ensemble play from known stylistic models How Creative is Improvisation? Louise Gibbs - Leeds College of Music

21. Originality Improvisations (both as individual solos and as group ‘pieces’) are expected to present a unique and personal sound and set of novel musical gestures that offer an element of “surprise”, “freshness” and yet maintain coherence Improvisations (both as individual solos and as group ‘pieces’) are expected to present a unique and personal sound and set of novel musical gestures that offer an element of “surprise”, “freshness” and yet maintain coherence Players are expected to show that as individual players and as a group they are able to generate unique, original, personally expressive and unpremeditated musical events within a performance, respond imaginatively to them, and yet maintain coherence Players are expected to show that as individual players and as a group they are able to generate unique, original, personally expressive and unpremeditated musical events within a performance, respond imaginatively to them, and yet maintain coherence How Creative is Improvisation? Louise Gibbs - Leeds College of Music