Additional categories #2
In contrast to the preceding chapter, this second part of additional categories introduces tools designed for more extended sessions or independent courses. Ideally, these tools are connected to in-depth discussions and research, providing a foundation for inspiration in creative practices. Three examples are highlighted, each delving into distinct areas that can be explored for creative inspiration.
USE NON-WESTERN MUSIC TRADITIONS
This category confines the utilization of materials and sounds to those rooted in non-Western musical traditions. While there may naturally be an overlap with participants' personal cultural backgrounds, introductory sessions on this theme could actively engage individuals in exploring the sounds of non-Western instruments through imitation or even attempting to learn and perform non-Western music on Western instruments.
The examples mentioned below are just a few, and there are many more non-Western musical traditions, each with its own rich heritage and unique musical categories. Understanding and appreciating these traditions involve delving into their cultural contexts, historical backgrounds, and specific musical practices.
a) Indian Classical Music: Categories are Hindustani and Carnatic classical music. Each has its own system of scales, ragas (melodic frameworks), and talas (rhythmic cycles). Common instruments include sitar, tabla, and sarod.
b) Chinese Traditional Music: Chinese music includes classical, folk, and regional traditions. Traditional Chinese instruments include guzheng, pipa, erhu, and dizi.
c) Japanese Traditional Music: Traditional Japanese music includes both classical (hogaku) and folk genres. Instruments like the koto, shamisen, and shakuhachi are commonly used.
d) African Music: African music is incredibly diverse, with various genres such as Highlife, Afrobeat, Juju, and various traditional and folk music styles. Different regions and ethnic groups have their own musical traditions and instruments.
e) Arabic Music: Arabic music includes classical and popular genres. Traditional instruments like the oud, qanun, and ney are used, and maqamat (musical modes) play a crucial role in shaping melodies.
f) Indonesian Gamelan Music: Gamelan music is characterized by ensembles of percussion instruments, including gongs, metallophones, and drums. It is central to Indonesian traditional music.
g) Korean Traditional Music: Gugak encompasses traditional Korean music, including court music (Jeongak), folk music (Minyo), and various genres for specific occasions. Instruments include the gayageum and haegeum.
h) West African Griot Tradition: Griots are oral historians and musicians in West Africa, particularly in regions like Mali and Senegal. They use instruments like the kora and balafon to accompany storytelling.
i) Maori Music from New Zealand): Maori music includes traditional chants (waiata) and songs, often accompanied by instruments like the pūtātara (conch shell trumpet) and the koauau (flute).
Readings:
The Garland Encyclopedia of World Music (several editions)
USE THE BODY
The second category focusses on the body and the use of moving it. It is purely about physicality and what’s connected to that. Body movements and music are inherently connected, and the relationship between the two is a fundamental aspect of the human experience. Music often inspires and influences various types of body movements, and conversely, body movements can enhance and express the emotions and rhythms found in music.
Consider incorporating warm-up exercises that involve a combination of singing (or counting out loud) and playing (if possible with the instrument), or playing while walking. However, the exploration of this topic can be expanded by incorporating a diverse range of movements—whether weird, fast, slow, unusual, complex, harsh, or soft. As the group endeavors to emulate these movements not only physically but also on their instruments, a myriad of musical outputs will emerge. In Hip-Hop, there are rhythms known as the "drunk-groove" or "drunk-rhythm," which are played to mimic the movements of a person walking inebriated
Readings:
Dilla Time, chapter 1 'wrong' (Dan Charnas, 2022)
Standard body movements that could be musically explored, are walking, running, moving, jumping, sitting, standing, kneeling, crawling, crouching, stretching, bending, twisting, gesturing, waving, nodding, shaking head, pointing, clapping, dancing, exercising or gesticulating.
The possible connections between body movements and music is diverse and culturally influenced. It enhances the emotional and sensory experience of music, allowing individuals to express themselves, connect with others, and engage with the artistic elements of sound and motion.
To mention some ways in which body movements and music interact:
a) Dance is one of the most direct connections between body movements and music. Various dance forms, from traditional folk dances to contemporary styles, involve coordinated movements in response to the rhythm, melody, and mood of the music.
b) Gesture and Expression: When listening to music, people often use gestures and facial expressions to express their emotional responses. Movements like head nodding, foot tapping, or swaying can accompany different musical styles.
c) Instrument Playing: Musicians who play instruments often engage in specific body movements to produce sound. For example, a guitarist strums or plucks the strings, a drummer moves hands and feet to strike different parts of the drum kit, and a flutist uses breath and finger movements to control the instrument.
d) Conducting: Conductors guide orchestras and ensembles using specific hand and body gestures. Their movements convey instructions related to tempo, dynamics, and phrasing, shaping the overall musical performance.
e) Ritual and Traditional Movements: In many cultures, music is an integral part of rituals and ceremonies, accompanied by specific body movements. These movements may have cultural or religious significance, connecting the community to its traditions.
f) Physical Responses to Tempo and Rhythm: Different tempos and rhythms in music can influence the body's physiological responses. Upbeat and fast-paced music may energize and encourage more dynamic movements, while slow tempos can lead to more relaxed or contemplative gestures.
g) Expressive Movements in Performance: Vocalists often use body movements and gestures to enhance their expressive delivery of lyrics. Movements can convey emotions and contribute to the overall performance.
h) Social Dancing: In social settings, people often engage in partner or group dancing, synchronizing their movements to the beat and style of the music. This form of movement serves both as a social activity and a creative expression.
i) Choreography: In addition to spontaneous dance, choreographers create structured and planned movements to accompany specific musical compositions. This is common in various dance genres, including ballet, contemporary dance, and jazz.
IMPLY ELEMENTS FROM IMPROVISATIONAL THEATER
This final category centers on improvisational theater and its parallels with creative and collaborative music-making. Specific tools employed in theater improvisation can prove highly valuable for navigating improvisational situations in music playfully. Additionally, these tools can open up creative sessions in general, as seen in the current discussed game-situation.
Improvisational theater, often referred to as improv theater, is a form of live performance in which the plot, characters, and dialogue of a scene or story are created spontaneously by the performers. Unlike scripted theater or traditional plays, improvisation involves unscripted and unrehearsed content, relying on the creativity, quick thinking, and collaboration of the performers. Improv can take various forms, from short scenes and games to long-form narratives.
Key characteristics of improvisation theater include:
a) Unscripted Dialogue: In improv, performers create dialogue on the spot without pre-written scripts. This requires them to respond to each other in real-time, building the narrative collaboratively.
b) Scene Creation: Improv scenes can be inspired by audience suggestions, prompts, or a central theme. The performers use these inputs to create characters, relationships, and situations on the fly.
c) Spontaneity: The essence of improv lies in its spontaneity. Performers must adapt to unexpected developments and build on each other's ideas, creating a dynamic and unpredictable performance.
d) Ensemble Collaboration: Improv is often performed by a group of actors working together. The success of an improv scene depends on the performers' ability to support and build upon each other's contributions.
e) Games and Formats: Improv often involves structured games or formats that provide a framework for scenes. These games may have specific rules or constraints, adding an element of challenge and creativity.
f) Audience Interaction: Some forms of improv incorporate audience suggestions or participation, bringing spectators into the creative process and making each performance unique.
g) Emphasis on "Yes, And...": The principle of "Yes, And..." is a fundamental rule in improv. It encourages performers to accept and build upon each other's contributions rather than rejecting ideas. This fosters a positive and collaborative atmosphere.
h) Physicality and Expression: Improv can include physical gestures, facial expressions, and body language to enhance the storytelling. Physicality is often used to convey emotions, relationships, and actions.
i) Long-Form Improv: In addition to short scenes and games, long-form improv involves creating an extended narrative or story arc. Performers may connect multiple scenes to form a cohesive and often humorous storyline.
The "yes, and…" principle, particularly, can serve as a stimulating tool for initiating and sustaining creative processes. This principle encourages a proactive response that contributes to the musical process instead of halting or slowing it down with minimal or no response, or simply copying the phrase. Improvisation teachers within the Royal Conservatory, exemplified by Robert De Bree, (website) employ this technique playfully as a tool for teaching improvisation. Notably, creative musicians such as drummer and composer Questlove embrace this principle to consistently propel creative processes forward.
Readings:
Improvisation and theater (Keith Johnstone, 1979)
Creative Quest (Questlove, 2019)
Further information:
- Robert de Bree - Scroll Ensemble, improvisation blog: website
- Youtube channel on improvisation in classical music:
https://www.youtube.com/@TheScrollEnsemble/videos
Discussions and conclusions
Through my exploration, I discovered that many techniques offered in creative contexts often guide participants towards free improvisation, rhythmical games, or tonal improvisation. However, these approaches frequently lack the broader and less technical aspects of creation and playfulness. Composer John Zorn's "Cobra," for example, employs game rules that leave the content of the performance open to interpretation. Similarly, Stockhausen's piece "Plus-Minus" provides a framework that allows for significant freedom within certain rules and limitations.
My previous research has indicated that when students are given the appropriate space and framework for their ideas, including certain limitations, they will naturally develop their own rules, games, and strategies. This suggests that detailed limitations do not need to be imposed by the instructor in advance.
Furthermore, when students are afforded greater freedom while still being guided, the resulting musical outcomes tend to be more diverse. This diversity is closely linked to the emphasis on the students' creativity rather than rigid improvisational rules.
Creativity is often equated with improvisation or even free improvisation. While improvisation can be an element of creative work, it is not necessarily a required component. Analyzing the teaching methods and approaches of several leading improvisers reveals that despite the detailed documentation of their different approaches and theories, the musical outcomes are not as varied as one might expect. It raises the question of whether participants, in a more open and playful context, would eventually develop similar musical rules, limitations, or restrictions on their own during the creative process.
Addendum
For those with a keen interest in the integration of creativity within music education, an examination of various institutions, educators, and music programs that emphasize unique creative concepts is recommended. The following sources have provided both information and inspiration for this exploration:
- The Art Science program at the Royal Conservatoire and the Royal Academy of Art, The Hague
- Gerry Hemmingway, former lecturer at the Lucerne Conservatory
- Lucas Niggli, lecturer in improvisation at the Lucerne University of Applied Sciences and Arts
- The Musician 3.0 program at the Utrecht Conservatory
- The Centre for Creative Performance and Classical Improvisation at the Guildhall School of Music and Drama
Additional categories #1
The categories outlined below are particularly designed as versatile tools for shorter sessions or additional inputs during warm-up sessions within a group setting. Their simplicity in format makes them adaptable to various group sizes and instrumentations.
This chapter presents a collection of intriguing approaches, with the understanding that the possibilities are virtually limitless. The exploration of these categories can be as creative as the students' approach to each one.
USE A CERTAIN TOPIC OR NON-MUSICAL PARAMETER
Closely related to the aforementioned category centered around a story or narrative, this particular approach is more open and straightforward. It involves selecting a specific topic rather than crafting an entire narrative. It can alternatively be referred to as a non-musical parameter. In this context, the creative process initiates from a designated focal point, yet still requires a clear direction. While it often leads to the incorporation of some form of narrative, the simplicity of topics such as weather, food, or animals can equally serve as sufficient catalysts for initiating the creative process.
USE RHYTHM ONLY
This category encourages a concentration on counterpoint, specifically emphasizing contrasting or complementary rhythmic patterns rather than pitch relationships. The approach to this "game" can take various forms, as exemplified by some instances on the METRIC platform. Please visit: https://metricimpro.eu/exercises/
USE SOUND ONLY
In this category, the broad concept of sound serves as the starting point. The interpretation of this concept is highly versatile and depends on the participants, their instruments, and musical backgrounds. Additionally, the topic invites students to contemplate 'sound only' and encourages exploration and experimentation within the confines of this constraint. The outcome, whether tonal or atonal, open or rhythmic, is determined by each unique situation. It's important to clarify that 'sound only' implies the absence of defined melodic structures and certainly excludes the use of existing material.
NOTE: This theme can seamlessly evolve into a more profound exploration of the nature of sound. It may also be linked to previously mentioned techniques and perspectives on improvisation. Within the Royal Conservatory, various intriguing approaches to sound exploration can be found, with colleagues like Richard Barrett consistently delving into the realms of sound experimentation.
Improvisation, according to Barrett, could involve the exploration of new sonic possibilities. This might include the use of extended techniques on acoustic instruments, unconventional sound sources, or the manipulation of electronic sounds in real-time.
Please visit for more information Richard's Research Catalogue entry:
Richard Barrett - A YEAR IN THE LIFE OF THE SONOLOGY ELECTROACOUSTIC ENSEMBLE
USE EXTENDED TECHNIQUES
Building on the preceding category, this one outlines rules for employing extended techniques to generate non-conventional sounds on one's instrument. This approach necessitates a focused exploration of each participant's instrument, fostering creativity and prompting students to envision new possibilities. The resulting musical outcomes are expected to exhibit considerable diversity. While the process is intended to be enjoyable, a serious approach to the exploration of extended techniques is encouraged.
USE THE SPACE YOU ARE IN
This category introduces a distinct approach, prompting participants to engage with the space they inhabit. It emphasizes the importance of not necessitating a change in locations for the group during the process and potential performance. This open-ended approach welcomes various influences, such as theatrical elements utilizing specific attributes in the room, movements (including dance) that integrate the room's structure with music, or even the exploration of how the room's acoustics can impact musical expression.
NOTE: Crucially, participants should be conscious of the vast array of possibilities that emerge once they unleash their imagination.
EXPLORE THE OPPOSITE
Utilize this category to explore playing your instrument in a manner opposite to your usual approach. While the results may overlap with those from other categories, this approach provides a distinct method for entering the creative process. Following the perspective of the renowned American record producer Rick Rubin there's value in considering the opposite of established rules. For every rule adhered to, exploring the possibility that its opposite could yield similarly interesting outcomes is encouraged.
Similarly, experimenting with the opposites or extremes of ideas proposed in previous categories can be attempted, offering potential utility. In this context, the emphasis lies not just on the outcomes but on the process itself and the creativity it stimulates.
Start exploring simply applying general parameters:
soft-loud (dynamics), Fast-slow (tempo), High-low (range/register), Close-far (sound / mic-position / placement on stage), Bright-dark (sound / harmony), Large-small, (orchestration / density / setting), Curved-straight (melody / form), Rough-smooth, (articulation / sound), Before-after (form / development / interpretation and variation), Inside-outside (harmonic), Same-different (form / development)
Readings:
The creative act (Rick Rubin, 2023)
USE TWO MUSICAL PARAMETERS
This category employs limitation as a concrete and frequently utilized method to initiate the creative process. The group collectively decides on two musical parameters from the key elements such as pitch, harmony, melody, rhythm, meter, tempo, dynamics, timbre, texture, form, articulation, expression, and phrasing. To infuse an element of enjoyment, a brainstorming session on these musical parameters can precede the selection, with two parameters chosen through a lottery. The resulting combinations could range from straightforward pairings like rhythm and harmony or texture and form, to more unconventional and less obvious pairings.
USE OTHER ART FORMS THAN MUSIC
Examples from various art forms have always wielded significant influence and served as inspiration for musicians and composers, and the reciprocal is equally true. Modest Mussorgsky's "Pictures at an Exhibition" stands as a renowned testament to this intersection. The realms of dance, film, poetry, literature, photography, and the fine arts, in general, have consistently found connections with music. This category, which could easily span a year-long course, delves into this multidimensional topic in various ways.
Here, it beckons participants to explore their broader cultural interests while fostering discussions about art in its entirety among themselves. It functions as a catalyst for creative processes, serving as a launching point where participants, undoubtedly familiar with and appreciative of non-musical art, can investigate the similarities and connections between different art forms. By delving into the parallels between two distinct artworks, the creation of music becomes a more fluid process compared to an exclusive focus on a single artwork. Essentially, this category revolves around the theme of inspiration.
NOTE: For those instances where time allows a more in-depth exploration beyond a condensed session, a nuanced approach to the topic becomes intriguing. Examining the works of artists such as Mark Rothko, profoundly influenced by Mozart's clarity in music, or Jackson Pollock, whose art resonates with the intricate improvisations of jazz, illustrates how abstract art can be intricately connected to music. Further insights can be gleaned from examples like the relationship between David Bowie and Andy Warhol or the parallels between Claude Debussy's "La Mer" and Hokusai's painting "The Great Wave."
Exploring connections in terms of structures, form, and color between two pieces of art added another layer of personal interest. Instances like the interplay between Anselm Kiefer's work and Albert Giacometti's creations, or the correlation between Francis Bacon's paintings and the eerie creatures in David Lynch's films, provided fertile ground for investigation. Overall, this category encourages a closer examination of visual aesthetics and their potential connections to music.
Readings:
Interlude: Intersections of Art and Music – Rothko and Pollock (Ursula Rehn Wolfman, 2016)
Transforming Moments (Richard Barrett, 2023)
USE THE PERSONAL CULTURAL BACKGROUND
In an esteemed international institution such as the Royal Conservatoire The Hague, it would be a missed opportunity if the diverse cultural backgrounds of the students did not significantly influence their artistic endeavors. This category seeks to foster cultural exchange among participants, encouraging them to showcase and elucidate the rich tapestry of their origins. The outcome of this exploration is inherently shaped by the composition of the group; a collective of German students will undoubtedly yield different results compared to a group comprising individuals from Turkey, India, South Korea, and Iceland.
To refine the title, a more specific subtitle like 'based on traditional music' could be added. Alternatively, it could encompass not only music but also draw inspiration from various traditional or folkloric elements, such as art, clothing, food, or traditions. While multiple traditional elements could serve as creative stimuli, traditional music appears to be the most direct and immediate choice. The example below illustrates a group of students from the jazz, classical, and early music departments collaboratively exploring a Turkish traditional piece titled "Adaletin Bu Mu Dünya".
NOTE: While traditional music is an evident and powerful tool in a creative context, it becomes even more impactful in collaborative situations. My earlier research has revealed that students sometimes hesitated to introduce their traditional music, whether due to not growing up with it, the waning celebration of such traditions in their home countries, or the perception that a folk song might be deemed too simplistic. These reservations can be addressed in-depth when more time is allocated for this category, affording students the opportunity to authentically present and discuss the significance of 'their' traditional music within the group.
AUDIO EXAMPLE:
USE GAME STRATEGIES
While the title is straightforward, the possible subtitle 'by inventing a game' serves as a prompt to discourage the reliance on existing musical game structures. This approach provides a creative carte blanche, encouraging participants to forge new rules and structures while ensuring a sense of organization. The realm of possibilities is vast, ranging from adapting rules of board games to musical forms, incorporating dice for decisions on harmonic directions or structures. Additionally, participants might opt for the use of colors and symbols for musical cues, drawing inspiration from John Zorn's Cobra ensemble.
The outcomes of this approach are as diverse as the imaginative possibilities explored. Even if participants choose to incorporate rules from an existing musical game, the final result is ultimately shaped by their creativity. The group setting and instrumentation naturally play a role, with the example below showcasing a trio of recorder, traverso, and bassoon inventing a game with rules and signs for movement and musical changes within a mere 25 minutes of preparation.
NOTE: In this context, the interdepartmental composition of the group may be less relevant since the focus lies on creativity and playfulness. However, sharing a common musical language could facilitate communication and understanding of cues. Conversely, an interdepartmental group might introduce additional challenges, potentially leading to more exciting outcomes. In longer projects, participants could delve into various examples from music history and explore how conventional game strategies can be adapted to enhance the musical creative process.
USE THE MUSIC YOU LISTEN TO
This category is very different, but explains itself. Its primary aim is to foster a sense of unity and establish common ground among participants. Past experiments, particularly during the warm-up rounds of this game-project, revealed that most students engage with a diverse range of music beyond their conservatory studies. This musical diversity spans genres such as jazz, pop, fusion, hip-hop, folklore, and other eclectic styles, with hip-hop and pop often serving as common denominators.
The unique feature of this category lies in its ability to spark discussions among participants about their musical interests, which may not receive as much attention within the formal confines of their studies but hold significant positions in their artistic visions. The starting point for the creative process is derived from any element of the music they personally connect with, be it from jazz, pop, or any other genre.
NOTE: The connection to the warm-up round, 'The most recent listening' (as mentioned above), is particularly beneficial here. Since students have already shared the music they currently listen to, an ideal situation involves them exclusively choosing influences from styles they are not studying but have a keen interest in. In cases where groups may not naturally gravitate towards this, a gentle nudge or guidance from the teacher can facilitate the exploration of diverse musical influences. Everybody knows Yesterday by the Beatles or Billie Jean by Michael Jackson.
USE GENRE-SPECIFIC IMPROVISATION TECHNIQUES*
This category possesses the potential to form the foundation for a comprehensive year-long course or can function effectively within a more condensed, educational, and exploratory setting. The core concept is straightforward: the application of improvisation techniques intricately linked to specific musical genres, universally adaptable to any instrument. Peer learning takes center stage here, as participants naturally commence the process by discussing the improvisation techniques inherent in the musical genres they are already engaged with in their studies. While the discussion could initially revolve around the participants' respective genres, the scope extends to improvisation techniques ranging from the Renaissance, Baroque, and Classical eras to contemporary classical music, jazz, world music, pop, and even contemporary free improvisation techniques.
In a concise encounter related to this category, participants might be tasked with selecting two improvisation techniques to serve as the launching pad for their creative endeavors.
NOTE: For a more extensive exploration of this category, there's ample room to delve into significant variations in improvisational techniques and the fundamental question of what improvisation truly entails. Recognizing that the notion of improvisation can evoke apprehension, particularly among classical musicians and students, a peer learning setting provides a conducive environment for addressing and mitigating these concerns. An insightful examination of styles such as early music or traditional jazz, highlighting their improvisational parallels, can prove instructive. Additionally, discussions on improvisational elements in contemporary music, with references to the ideas and techniques about free improvisation of Royal Conservatoire colleagues like Richard Barrett, can enrich the discourse. Barrett understands free improvisation as “a method of creating music whose style and structure, as well as its material, is brought into being collectively and/or individually at the moment of performance.”
A comprehensive exploration should also shine a spotlight on noteworthy examples from recent decades, including the ICP Orchestra, John Zorn's Cobra, the Art Ensemble of Chicago, and the contributions of Derek Bailey.
http://www.icporchestra.com
http://www.artensembleofchicago.com
Readings:
The Instant Composers Pool and Improvisation Beyond Jazz (Floris Schuiling, 2019)
Thinking in Jazz (Paul F. Berliner, 1994)
Improvisation (Derek Bailey, 1993)
The Field of Musical Improvisation (Marcel Cobussen, 2017)
Video:
BBC documentary: ‘On the edge – improvisation in Music'
*This multifaceted approach aims to provide a nuanced understanding of improvisation, fostering a dynamic and inclusive learning environment.
PLAY ALTERNATIVE SCORES
In this approach, alternative sheet music is employed to ignite the creative spark in students. Emphasis is placed on alternative formats such as drawn or graphic scores, eschewing traditional music notation and providing ample room for imaginative interpretation. Well before the session, participants are furnished with the chosen chart along with necessary explanations. These scores establish a thematic thread, varying in degrees of specificity, and are intended as open-ended frameworks for participants to embellish.
NOTE: Within the spectrum of preferred scores, the guiding teacher for this project has the flexibility to select any example that resonates. Options range from graphic scores reminiscent of Cage or Haubenstock, to those by Brian Eno, ancient Egyptian notations, and even AI-generated scores (examples).
In this instance, a captivating, narrative-driven score by the Dutch composer Oene van Geel has been selected (see example score and video of student presentation).
Further research could involve exploring Christopher Williams' thesis, 'Tactile Paths: On And Through Notation For Improvisers,' accessible at www.tactilepaths.net.
Additionally, a closer examination of his score "Apples are Basic" could provide valuable insights.
USE A STORY (NARRATIVE)
This category enters the process from a different angle. A story, or a narrative, optionally narrowed down with the subtitle ‘in a social context or environment’, needs to be formulated first, and then the music will follow. Former projects, in which students did not get any limitation for their creational process, have shown that the majority chooses to come up with a story in order to create structure and form of the piece. It is an extremely helpful and often used tool, that still can create the most versatile results. Also, participants might chose for an existing story, like a fairy tale or a tv series, or come up with their own story, as the two examples below show. The first example has been created in 25 minutes during a pressure cooker project, the second one is an excerpt from a 60-minute play, students worked out during one semester of my Royal Conservatoire elective 'The Collective Approach'.
NOTE: The challenge of working in this category is to still come up with a musical result that matters. It easily can turn into a play, where the musical content gets a rather light role, making the outcome childish and funny. It is important to let the participants work in creative freedom, but guard the final artistic quality, by at least discussing it during after talks. Again, longer running sessions offer opportunities to discuss and reflect. During repeated tries certain aspects could be adjusted.
SWITCH INSTRUMENTS
The title says it all. A sub-title could be added, saying ‘sound like another instrument’.
This category unfolds with multifaceted dimensions and opportunities for peer learning. Participants not only delve into the techniques of each other's instruments but also gain insights into their history, tuning, and materials. This exchange provides valuable perspectives on their own instruments and potential connections between them. Opting for the sub-title "Sound Like Another Instrument" compels students to explore the sonic intricacies of diverse instruments.
Playing an unfamiliar musical instrument for the first time creates an environment reminiscent of childlike playfulness, curiosity, and an innate drive to explore. This experience may lead participants into a realm of creativity or improvisation, unencumbered by preconceived notions associated with their primary instruments (see video examples from student project).
NOTE: As elucidated earlier, this explorative category often evolves into experimentation and improvisation. In more seasoned instances, the sub-title encourages a broader interpretation of the term 'instrument.' Since it doesn't specify "musical instrument," students may venture into imitating a wide array of objects, such as kitchenware or medical equipment, fostering entirely unique and creative situations.
Fostering Creativity in Higher Music Education through the Category Game
Utilizing playful tools to initiate semi-structured creative processes in interdepartmental group settings
The concepts outlined for initiating semi-structured creative processes in interdepartmental group settings, as detailed in this document, have evolved as an extension of earlier strategies and ideas originating from my previous research projects 'Learning Pods' (see chapter: Creative Collaboration Pod) and 'Crossing Borders' (see chapter: Strategies and Concepts), conducted in 2022 and 2023. It is advisable to delve into the key findings of the reports as they lay the groundwork for the exercises detailed in this document.
These previous findings demonstrated that engaging in creative interdepartmental activities presents unique opportunities for music students to collaborate with peers from diverse departments, backgrounds, and genres. These activities not only foster students' motivation, competence, and autonomy but also stimulate their creativity, confidence, and self-efficacy.
One may question the need for tools in fostering free creative processes when the essence is creativity itself. Creative processes within group settings often find their initial momentum when there's a focus on a specific starting point or area, rather than adopting the blank page method. However, it's important to note that the blank page method is intricately linked to the fundamental tenets of improvisation, which underscore spontaneity, creativity, and the ability to adapt to the unexpected. The central notion is to embrace the uncertainty of the unknown and respond to cues from fellow participants.
Nevertheless, introducing certain limitations can aid participants in focusing and expedite the development of their ideas or facilitate a collaborative consensus on the way forward. My previous research projects have demonstrated the effectiveness of semi-guided settings, particularly in a conservatory context. Students benefit from guidance and introduction to challenging situations outside their comfort zones. Yet, it is crucial to emphasize that during the creative process itself, they are given autonomy without prescriptive coaching.
The group setting serves as the standard format in the conducted projects, creating a peer learning environment that fosters mutual teaching, inspiration, and reflection on ideas, processes, and outcomes.
In my activities, I found that a preliminary warm-up and introductory session before immersing into the creative process proved to be invaluable. Here, the group familiarizes itself, briefly learning about the backgrounds, instruments, and personalities of participants. This can be adapted for any group size, preferably up to around 20 people and ideally including students from diverse departments.
The ultimate formats of these sessions and projects are as open-ended as the potential outcomes. It might manifest as a single afternoon workshop, extend into a multi-day project, or evolve into a course with weekly meetings. The group can either be maintained as a whole throughout the process or subdivided into smaller groups. The flexibility of these approaches is encouraged and should be explored. The research project 'Learning Pods' has affirmed that the smallest group setting, the duo, forms an ideal, peer-learning-based structure for interdepartmental creative processes, ensuring each participant contributes equally.
Numerous concepts outlined in this document are accompanied by examples from student projects that I facilitated. In these instances, typically, around 20 students from various music disciplines convened for an afternoon project. Starting as a group during warm-up sessions, they later divided into smaller groups for the subsequent creative sessions.
The manual for the 'Category Game,' as crafted in this document, elucidates how any instructor can effectively guide a group of students through a concise or extensive creative process. The categories outlined function as both constraints and guidelines, serving as initial prompts rather than prescriptive directives for content creation. The primary objective is to stimulate imagination and possibilities, placing emphasis on inspiring creativity rather than prescribing the creative act itself. Consequently, the trajectory and ultimate outcome of the students' creative process are at their discretion.
First and foremost, the manual furnishes precise instructions regarding the sequence of activities during the crucial introductory session. It also provides insights into potential variations in content and the duration of the game components.
Secondly, each category is expounded upon with tangible examples drawn from previous research projects. In addition to this, for each category, suggestions are presented to elucidate the potential starting points for the creative processes. These suggestions encompass examples from past projects and references to artworks, literature, or materials created by colleagues in the field.
It is worth noting that any supplementary ideas for both the introductory session and the Category Game itself, which contribute to the existing material, are not only welcome but encouraged. This collaborative approach aims to enhance the richness of the overall experience.
The game
Before commencing the game, it may be necessary to form sub-groups, with the number of sub-groups contingent upon the overall group size. While the game is adaptable to any group composition, practical experience suggests that, particularly in short, pressure-cooker-style projects, subdividing a larger group into smaller units of 2, 3, or 4 participants can enhance the effectiveness of the process. If time permits, a second round of the game can be undertaken with the entire group.
For instance, in a scenario where there are around 20 participants from diverse departments, the objective is to create 5–7 sub-groups, ideally comprising genre-mixed trios, quartets, and possibly duos. To illustrate, a sample group might include participants from jazz, classical, early music, and sonology departments (composition/electronic music). The selection for the sub-groups should occur by lottery, infusing an immediate game-like element. Once formed, each group draws cards with categories, remaining unaware of the content.
It is crucial that the categories are not shared with other groups until the post-concert discussion. It's worth noting that each of the categories provided could be a standalone workshop topic, offering valuable exploration opportunities for students. In a more extended course, the approach could involve touching upon all categories, introducing one per session.
NOTE: Examples are provided per section to offer coaching teachers an insight into potential expectations and effective strategies that could work in case students seek guidance or concrete examples. Ideally, this information is not shared with students before their creative process. The decision to reveal these examples could be made after the first creative session, particularly in longer projects where brainstorm sessions with concrete examples might prove beneficial.
Introductory session
Preferable order of events:
1. Brief introduction round:
Participants mention name, country of origin, instrument and department.
2. The most-recent-listening round:
A fast tool for opening up the group and create the feel of common ground is asking what song or style of music each participant most recently listened to. Surprises guaranteed!
3. ‘This is me’ round:
During a brief musical introduction round each participant plays a short musical phrase or sound that is representing him or her.
4. Playing moments:
During musical warm-ups and exercises the participants, arranged in a circle, are asked to
- Make sound as a group; just play with no further introduction, on the spot, for approximately one minute.
- Pass on short phrases or sounds (singles notes, sounds, phrases or arpeggiated chords etc) to another participant to react on it, do that random through the circle by making eye contact with the next player. Spin a bottle to choose the starting participant.
- Make sound as a group for approximately one minute using exclusively concrete parameters as loud / soft / short / long / densed / not-densed / silence etc.
- Make sound as a group for approximately one minute by combining two or more from the above-mentioned parameters.
- Make sound as a group for approximately one minute by only focusing on rhythm or by only focusing on sound without rhythm.
- Make sound as a group for approximately one minute and create different atmospheres, optionally combined with a parameter, like ‘very spooky and very soft, or ‘very spooky and extremely loud’ or ‘happy and loud’ or ‘dreamy and soft’ etc.
- Make sound as a group for approximately one minute but make individual decisions on which parameter or direction to choose and react on each other’s choices.
- Come up with more options if the group is up for more playing. Be creative! Keep it short so attention span and flow do not get interrupted.
NOTE: By structuring the warm-up exercises in this manner, every participant in the group, regardless of their level of improvisational experience, feels equally encouraged to contribute to the process. Keeping each section concise ensures that each musical result is distinct and, due to its brevity, remains intriguing to all participants. The versatility of these warm-up exercises allows for various interpretations and implementations. Several colleagues in higher music education, especially in the classical music departments, have developed comparable or supplementary ideas and concepts that can seamlessly integrate, be combined, or simply experimented with.
Please visit METRIC, with contributions of Royal Conservatoire colleagues Bert Mooiman and Karst de Jong. METRIC (Modernizing European Higher Music Education through Improvisation) is a cooperative network of several leading European conservatoires and the AEC (European Association of Conservatoires) with the aim to focus on the modernisation of higher music education through intensive international cooperation in the field of improvisation.
Another noteworthy initiative to explore is Pass The Sound, which features contributions from Royal Conservatoire colleague René Jonker. Pass The Sound is a shared learning resource, offering free warm-up, skills, creative, and workshop exercises for musicians to use whilst facilitating group music-making contexts.
5. Brainstorm Sessions:
Brainstorm sessions can take on a short pressure cooker format involving the entire group, as demonstrated in the examples mentioned in this document. Alternatively, they can be part of a broader creative process, initially conducted in smaller sub-groups, depending on the contextual requirements. As the overall creative process extends, regular brainstorming sessions become increasingly essential, providing participants ample opportunities to contribute their ideas and strategies.
6. Making a chart:
This tool proves highly beneficial, commencing with fundamental questions such as 'WHAT?' and 'HOW?'. Participants can then supplement these with additional responses to questions like, 'Which parameters or aspects are crucial when embarking on a collaborative creative process within an interdepartmental group setting?' This example chart illustrates the outcomes of a brief brainstorming session (approximately 20 minutes) conducted by a larger group during an afternoon project. It's advisable to initiate this process broadly to preserve imaginative possibilities. As the brainstorming progresses and becomes more detailed, the chart naturally adapts and becomes more intricate, with the actions in this stage blending into the subsequent ones.
7. Explain the general idea:
Engage in a brief discussion about the overarching idea behind the project, emphasizing the collaborative creation of something meaningful together. Participants should understand that all content is subject to their imagination, and essentially, anything is possible as long as it resonates with them. In this 'game,' the only given aspect is a limitation for the starting point of the process.
8. Start the 'Category-Game' (See Below):
The categories
INTERPRETE EACH OTHER’S REPERTOIRE
This easily comprehensible and enjoyable concept is versatile and can be applied across various settings. It not only fosters a sense of fun but also delivers a robust educational impact. Within this framework, participating students are prompted to engage in discussions about their own musical creations and articulate the nuances of their repertoire to peers from different departments. Furthermore, they are challenged to consider appropriate pieces and spontaneously adapt their chosen repertoire to fit the existing instrumentation and group size. This involves selecting pieces already played in their primary subjects or ensemble lessons.
NOTE: In an ideal scenario, students opt for repertoire that allows for interpretation and is adaptable to multiple instrumentations. This might encompass straightforward melodies or phrases, such as compositions with a strong melodic focus, exemplified by the works of jazz drummer and composer Paul Motian (see example). Alternatively, students might explore transforming a jazz standard into a format suitable for their needs. Elements from classical music pieces, like excerpts from orchestral works such as the Adagietto from Mahler's 5th Symphony, or works like Mozart's Horn Quintet or Händel’s ‘Tochter Zion, freue dich (see examples) could be introduced. Students might also incorporate fragments from a basso continuo or a melody from an Early music piece, like "Cold Song" by Purcell (see example). Additionally, participants may bring in experimental electronic or conceptual music to enrich the creative tapestry.
