The question of this research is approached from multiple angels: First and foremost the result of this research is a practice method. However, it also includes experiences performing interludes on stage, as well as the perception of the audience and experts.
The different exercises from chapter II and the structure ideas from chapter III were the main starting point to create and practice my version of an improvised interlude. The emphasis in this statement is on 'starting point'. Every exercise pool, exercise or structure idea could be developed in further detail. Every composer or style that was briefly touched, could be studied in its own research. Nevertheless, I think this research succeeded in its goal to be a generic method that could be applied on any classical piece chosen by the performer, as described in chapter I.
In hindsight, I can at the same time conclude that the performances where I tried out different formats could be considered a bit academic. I tried to show off in a more literal way what I was learning in my research. I was not yet in a place where I could use my research only as means to an end. However, I believe this had to be part of my process. This mindset allowed me to test out different structures for the interludes and presentation of the concert itself. Thus, reflection on these aspects was possible.
I would like to point out that these exercises can be used not only for the means of interluding. Every instrumentalists that would like to make a start with improvising could pick a few exercises. Also the pitfalls described in this conclusion apply to most improvisation practices in general. I hope to have brought more awareness on the role improvisations has had and could still have today.
Now the general conclusions that can be drawn from the questionnaires of the audience and the feedback conversations with the experts from chapter IV will be discussed.
From the audience feedback one can learn that in order for people to identify improvised material based on an existing composition, it needs to be stated extremely clearly. Also, in the questionnaire a lot of people apologized for their opinions, because as a ‘non-expert’ they considered their opinion as less valuable. They connected this to being insecure with when to clap or found it hard to exactly follow the program booklet. In the future I would like to create a more informal atmosphere where the audience can worry less about their own expertise. It could be a possibility to not choreograph beforehand when the people should clap, read, listen,... Because there are improvisations in the concert it would be more logical to go with what the audience does in the moment. That way also the structure of the concert has a more improvisational approach. This might solve some of the doubts people expressed.
The conversations with experts proved to be very illuminating. Practicing exercises and thinking out different structures are only means to an end. The provided exercises and structure ideas are a good start. Nevertheless, it is very important to break out of the practiced exercises, prepared structures and pre-planned concepts at some point. This is the only way to make the interludes not sound academic and as a result of strict research. This research can be a start to spike creativity. The mindset should never be to show off on a stage what possibilities are practiced. It is also a danger to do this subconsciously.
To help setting aside this insecurity Karst pointed out it is good to remember that there is always a gap between the knowledge of the audience and the one of the performer. Most listeners are also able to enjoy the more premature steps of the improvisation journey, as I experienced on the 30th of October. I learned that I can trust my ability to improvise. My first attempts were already enjoyable for an audience. There were moments in the process that I was insecure about my improvising skills. Going forward, I think I will have this feeling less. The experts emphasized that to get this necessary confidence to take risks and be creative, one needs to improvise on a stage as much as possible. In addition to the exercises, actual on-stage experience is absolutely crucial to learn how to interlude or improvise in general. There is no substitute for that.
To end this research I would like to look a bit into the future. This process started with this research will be continued: First, I think my improvisation skills will benefit from going over all the exercises and ideas again with new repertoire. As an addition to the exercises and to improve tonal improvisation I suggest to further study partimento. I certainly plan to do that myself.
I am happy with the steps I was able to make in one year. Now I have a clear vision about how one can approach the study of classical improvisation. Even though I feel that on a stage I have not yet been able to show off the full potential of this research, I have already been able to play some performances that were enjoyable for me and received well by an audience.
The upcoming results of this continued process will be heard in the research symposium exam in March 2023 and at my final exam in May 2023 at the Royal Conservatoire of The Hague. For the concert tour with the project Ruth Invites… in October 2023 I will add duo improvisations to the program. For both programs I aspire to freely mix the guide-line ideas in chapter II and III with personal creativity and interaction with my colleague-musicians and audience. Finally, I plan to play some more jazz next year. Already now I could see similarities in my study approach. I am curious to discover more common grounds in the practice room and maybe even on a stage.