Improvisation as the Foundation of Flow in Music Education: Connections to Attitudes, Gender and Genre
Keywords:
attitudes, flow, higher music education, improvisation, music students
Abstract
The aim of our study was to explore the connection between improvisation and flow. Data were collected from 252 tertiary music students from Slovenia and Croatia (121 male and 131 female musicians), who filled in The Questionnaire on Attitudes to Music Improvisation, The Inventory on Feelings associated with Music Improvisation, and the Work-related Flow Inventory. The results show that the female students have significantly more negative feelings and attitudes toward improvisation, and they experience less flow while improvising. Differences were even more pronounced when comparing students who only played classical music with those who played other genres, as well. Regression analysis showed that we can explain 71% of the variance in flow with attitudes toward improvisation.
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References
Azzara, C. (1993). Audiation-based improvisation techniques and elementary instrumental students’ music achievement. Journal of Research in Music Education 41, 328–42.
Azzara, C. D. (2002). Improvisation. In R. Colwell and C. Richardson (Eds.), New Handbook of Research in Music Teaching and Learning (pp.171–187). Oxford: Oxford University Press.
Bačlija Sušić, B. B., Habe, K., and Mirošević, J. K. (2019). The role of improvisation in higher music education [conference paper]. Proceedings of ICERI2019 Conference. Seville, Spain.
Bakker, A. B. (2008). The work-related flow inventory: Construction and initial validation of the WOLF. Journal of Vocational Behavior, 72, 400–414. doi: 10.1016/j.jvb.2007.11.007
Bandalos, D. L., & Finney, S. J. (2010). Factor analysis: Exploratory and confirmatory. In G. R. Hancock & R. O. Mueller (Eds.), The reviewer's guide to quantitative methods in the social sciences (pp. 93-114). New York, NY: Routledge.
Beaty, R. E. (2015). The neuroscience of musical improvisation. Neuroscience & Biobehavioral Reviews, 51, 108–117. doi: 10.1016/j.neubiorev.2015.01.004
Beegle, A. (2010). A classroom-based study of small-group planned improvisation with fifth-grade children. Journal of Research in Music Education, 58, 219–239. doi: 10.1177/ 0022429410379916
Belden, A., Zeng, T., Przysinda, E., Anteraper, S. A., Whitfield-Gabrieli, S., and Loui P. (2020). Improvising at rest: Differentiating jazz and classical music training with resting state functional connectivity. Neuroimage. 207:116384. doi: 10.1016/j.neuroimage.2019.116384.
Berkowitz, A. L., and Ansari, D. (2008). Generation of novel motor sequences: The neural correlates of musical improvisation. NeuroImage, 41, 535–543. doi:10.1016/j.neuroimage.2008.02.028
Biasutti, M. (2015). Pedagogical applications of cognitive research on musical improvisation. Frontiers in Psychology, 6. doi:10.3389/fpsyg.2015.00614
Biasutti, M. (2017). Teaching improvisation through processes. Applications in music education and implications for general education. Frontiers in Psychology, 8. doi:10.3389/fpsyg.2017.00911
Biasutti, M., and Frezza, L. (2009). The dimensions of music improvisation. Creativity Research Journal, 21, 232–242. doi: 10.1080/10400410902861240
Bonaiuto, M., Mao, Y., Roberts, S., Psalti, A., Ariccio, S., Ganucci Cancellieri, U., et al. (2016). Optimal experience and personal growth: Flow and the consolidation of place identity. Frontiers in Psychology. 7:1654. doi:10.3389/fpsyg.2016. 01654
Burnard, P. (2012). Musical Creativities in Practice. Oxford: Oxford University Press.
Caudwell, J. (2010). The jazz–sport analogue: Passing notes on gender and sexuality. International Review for the Sociology of Sport, 45, 240–248. doi:10.1177/1012690209357120
Costa, J. A., and Creech, A. (2020). Teaching and learning in unfamiliar territory. In G. G. Johansen, K. Holdhus, C. Larsson, and U. MacGlone (Eds.), Expanding the Space for Improvisation Pedagogy in Music: A Transdisciplinary Approach, 1st Edition (pp. 147—163). London: Routledge.
Csíkszentmihályi, M. (1990). Flow: The psychology of optimal performance. New York, NY: Harper and Row.
De Manzano, Ö., and Ullén, F. (2012). Goal-independent mechanisms for free response generation: Creative and pseudo-random performance share neural substrates. NeuroImage, 59, 772–780. doi:10.1016/j.neuroimage.2011.07.016
Després, J.-P., Burnard, P., Dubé, F., and Stévance, S. (2017). Expert western classical music improvisers’ strategies. Journal of Research in Music Education, 65, 139–162. doi:10.1177/00–22429417710777
Dolan, D., Jensen, H. J., Mediano, P. A. M., Molina-Solana, M., Rajpal, H., Rosas, F., and Sloboda, J. A. (2018). The improvisational state of mind: A multidisciplinary study of an improvisatory approach to classical music repertoire performance. Frontiers in Psychology, 9. doi:10.33–89/fpsyg.2018.01341
Forbes, M. (2020). Giving voice to jazz singers’ experiences of flow in improvisation. Psychology of Music, 49, 789-803. doi: 0305735619899137.
Fullagar, C. J., Knight, P. A., and Sovern, H. S. (2013). Challenge/skill balance, flow, and performance anxiety. Applied Psychology, 62, 236–259. doi: 10.1111/j.1464-0597.2012.00494.x
Gruenhagen, L. M. (2017). Developing musical creativity through reflective and collaborative practices. Music Educators Journal, 103(3), 40–45. doi:10.1177/0027432116685158
Hart, E., and Di Blasi, Z. (2013). Combined flow in musical jam sessions: A pilot qualitative study. Psychology of Music, 43, 275–290. doi:10.1177/0305735613502374
Hickey, M. (2009). Can improvisation be “taught”?: A call for free improvisation in our schools. International Journal of Music Education, 27, 285–299. doi:10.1177/0255761409345442
Higgins, L., and Mantie, R. (2013). Improvisation as ability, culture, and experience. Music Educators Journal, 100(2), 38–44. doi:10.1177/0027432113498097
Hong, N. H. (2019). Structured surround soundscapes: A three-pronged strategy for effective and meaningful collective improvisation. Music Educators Journal, 106, 51–57. doi:10.1177/00274–32119870584
Hytönen-Ng, E. (2013). Experiencing “Flow” in Jazz Performance. Farnham, UK: Ashgate.
Jackson, S. A., and Csíkszentmihályi, M. (1999). Flow in Sports: The keys to optimal experiences and performances. Leeds, UK: Human Kinetics.
James, J. (2019). Crossing the divide: the ‘reinvention method’ for creative collaborative learning in pairs between advanced classical and jazz students [doctoral thesis]. The University of Bristol, Great Britain. https://research-information.bris.ac.uk/files/197005343/Th–esis_June5.pdf
Kee, Y. H., and Wang, C. K. J. (2008). Relationships between mindfulness, flow dispositions and mental skills adoption: A cluster analytic approach. Psychology of Sport and Exercise, 9, 393–411. doi:10.–1016/j.psychsport.2007.07.001
Kenny, B. J., and Gellrich, M. (2002). Improvisation. In R. Parncutt and G. E. McPherson (Eds.) The Science and Psychology of Music Performance: Creative Strategies for Teaching and Learning (pp. 117–134). New York, NY: Oxford University Press.
Kirchner, J., Bloom, A., and Skutnick-Henky, P. (2008). The relationship between performance anxiety and flow. Medical Problems of Performing Artists, 23(2), 59–65.
Kohfeld, J. M., Coppola, W. J., Mena, C., Shakerifard, S. and Shenan Campbell, P. (2020). Teaching and learning improvisation: Culture-specific cases of cross-cultural musical act. In G. G. Johansen, K. Holdhus, C. Larsson, and U. MacGlone (Eds.). Expanding the Space for Improvisation Pedagogy in Music: A Transdisciplinary Approach, 1st Edition (pp. 17–32). London: Routledge.
Kratus, J. (1991). Growing with improvisation. Music Educators Journal, 78(4), 36–40. doi:10.2–307/3398335
Kratus, J. (1995). A developmental approach to teaching music improvisation. International Journal of Music Education, 26, 27–38. doi:10.1177/025576149502600103
Landau, A. T., and Limb, C. J. (2017). The neuroscience of improvisation. Music Educators Journal, 103(3), 27–33. doi:10.1177/0027432116687373
Lewis, G. (2009). The condition of improvisation. Keynote address, International Society for Improvised Music, Santa Cruz, New Mexico.
Limb, C. J., and Braun, A. R. (2008). Neural substrates of spontaneous musical performance: An fMRI study of jazz improvisation. PLoS ONE, 3, e1679. doi:10.1371/journal.pone.0001679
Loui, P. (2018). Rapid and flexible creativity in musical improvisation: Review and a model. Annals of the New York Academy of Sciences, 1423, 138–145. doi:10.1111/nyas.13628
Lovakov, A., and Agadullina, E. (2017). Empirically derived guidelines for interpreting effect size in social psychology. Retrieved from https://psyarxiv.com/2epc4/ (Accessed: 2. 11. 2020)
MacDonald, R., Byrne, C., and Carlton, L. (2006). Creativity and flow in musical composition: An empirical investigation. Psychology of Music, 34, 292–306. https://doi.org/10.1177/03–05735606064838
McPherson, M. J., Barrett, F. S., Lopez-Gonzalez, M., Jiradejvong, P., and Limb, C. J. (2016). Emotional intent modulates the neural substrates of creativity: An fMRI study of emotionally targeted improvisation in jazz musicians. Scientific Reports, 6. doi:10.1038/srep18460
Mao, Y., Yang, R., Bonaiuto, M., Ma, J., and Harmat, L. (2020). Can Flow Alleviate Anxiety? The Roles of Academic Self-Efficacy and Self-Esteem in Building Psychological Sustainability and Resilience. Sustainability, 12(7), 2987. https://doi.org/10.3390/su12072987
Menard, E. (2013). Creative thinking in music: Developing a model for meaningful learning in middle school general music. Music Educators Journal, 100, 61–67. doi:10.1177/0027432113500674
Merriam-Webster (2020). Improvise. Retrieved from: https://www.merriam-webster.com/diction–ary/improvising (Accessed: 2. 11. 2020)
Monk, A. (2013). Symbolic interactionism in music education: Eight strategies for collaborative improvisation. Music Educators Journal, 99, 76–81. doi:10.1177/0027432112467823
Moreno, J. A., Cervelló, E., and González-Cutre, D. (2008). Relationships among goal orientations, motivational climate and flow in adolescent athletes: Differences by gender. The Spanish Journal of Psychology, 11, 181–191. doi: 10.1017/ S1138741600004224
Nakamura, J., and Csikszentmihalyi, M. (2009). Flow theory and research. In C. R. Snyder, and S. J. Lopez (Eds.), Oxford Handbook of Positive Psychology (pp. 195–206). New York: Oxford University Press. doi:10.1093/oxfordhb/9780195187243.013.0018
Papageorgi, I., Creech, A., and Welch, G. (2011). Perceived performance anxiety in advanced musicians specializing in different musical genres. Psychology of Music, 41(1), 18–41. doi:10.11–77/0305735611408995
Pinho, A. L., de Manzano, O., Fransson, P., Eriksson, H., and Ullen, F. (2014). Connecting to create: Expertise in musical improvisation is associated with increased functional connectivity between premotor and prefrontal areas. Journal of Neuroscience, 34, 6156–6163. doi:10.15–23/jneurosci.4769-13.2014
Quinn, R. V. (2005). Flow in knowledge work: High performance experience in the design of national security. Administrative Science Quarterly, 50, 610–641.
R Core Team. (2016). R: A language and environment for statistical comput¬ing. Vienna, Austria: R Foundation for Statistical Computing. Retrieved February 24, 2019, from www.R-project.org
Ramshaw, S. (2010). The creative life of law: Improvisation, between tradition and suspicion. Critical Studies in Improvisation/Études critiques en improvisation, 6, 1–13.
Regelski, T. A. (2003). Implications of aesthetic versus praxial philosophies of music for curriculum theory in music education. Didacta Varia, 8, 63–92.
Riveire, J. (2006). Using improvisation as a teaching strategy. Music Educators Journal, 92(3), 40–45. doi:10.2307/3401139
Rowe, E. (1995). Gender and swing. Jazz Changes, 2(1), 5–7.
Russell, W. D. (2001). An examination of flow state occurrence in college athletes. Journal of Sport Behavior, 24(1), 83–107.
Sarath, E. W. (2013). Improvisation, Creativity, and Consciousness: Jazz as integral template for music, education, and society. Albany, NY: State University of New York.
Sawyer, R. K. (Ed.) (2011). Structure and Improvisation in Creative Teaching. Cambridge: Cambridge University Press
Skoogh, F. and Frisk, H. (2019). Performance values – an artistic research perspective on music performance anxiety in classical music. Journal for Research in Arts and Sports Education, 3(1). doi: 10.23865/jased.v3.1506
Smilde, R. (2016). Biography, identity, improvisation, sound: Intersections of personal and social identity through improvisation. Arts and Humanities in Higher Education, 15, 308–324. https://doi.org/10.1177/1474022216647374
Steinberg, E. N. (2001). “Take a solo”: An analysis of gender participation and interaction at school jazz festivals [Doctoral dissertation]. Retrieved from ProQuest Dissertations and Theses database. (UMI No. 3029732)
Wehr, E. L. (2016). Understanding the experiences of women in jazz: A suggested model. International Journal of Music Education, 34, 472–487. doi:10.1177/0255761415619392
Wehr-Flowers, E. L. (2006). Differences between male and female students’ confidence, anxiety, and attitude toward learning jazz improvisation. Journal of Research in Music Education, 54, 337–349. doi: 10.1177/002242940605400406
Wehr-Flowers, E. L. (2007). An exploratory model of jazz self-efficacy and gender. [Doctoral dissertation]. Retrieved from ProQuest Dissertations and theses database. (UMI No. 3281418)
Azzara, C. D. (2002). Improvisation. In R. Colwell and C. Richardson (Eds.), New Handbook of Research in Music Teaching and Learning (pp.171–187). Oxford: Oxford University Press.
Bačlija Sušić, B. B., Habe, K., and Mirošević, J. K. (2019). The role of improvisation in higher music education [conference paper]. Proceedings of ICERI2019 Conference. Seville, Spain.
Bakker, A. B. (2008). The work-related flow inventory: Construction and initial validation of the WOLF. Journal of Vocational Behavior, 72, 400–414. doi: 10.1016/j.jvb.2007.11.007
Bandalos, D. L., & Finney, S. J. (2010). Factor analysis: Exploratory and confirmatory. In G. R. Hancock & R. O. Mueller (Eds.), The reviewer's guide to quantitative methods in the social sciences (pp. 93-114). New York, NY: Routledge.
Beaty, R. E. (2015). The neuroscience of musical improvisation. Neuroscience & Biobehavioral Reviews, 51, 108–117. doi: 10.1016/j.neubiorev.2015.01.004
Beegle, A. (2010). A classroom-based study of small-group planned improvisation with fifth-grade children. Journal of Research in Music Education, 58, 219–239. doi: 10.1177/ 0022429410379916
Belden, A., Zeng, T., Przysinda, E., Anteraper, S. A., Whitfield-Gabrieli, S., and Loui P. (2020). Improvising at rest: Differentiating jazz and classical music training with resting state functional connectivity. Neuroimage. 207:116384. doi: 10.1016/j.neuroimage.2019.116384.
Berkowitz, A. L., and Ansari, D. (2008). Generation of novel motor sequences: The neural correlates of musical improvisation. NeuroImage, 41, 535–543. doi:10.1016/j.neuroimage.2008.02.028
Biasutti, M. (2015). Pedagogical applications of cognitive research on musical improvisation. Frontiers in Psychology, 6. doi:10.3389/fpsyg.2015.00614
Biasutti, M. (2017). Teaching improvisation through processes. Applications in music education and implications for general education. Frontiers in Psychology, 8. doi:10.3389/fpsyg.2017.00911
Biasutti, M., and Frezza, L. (2009). The dimensions of music improvisation. Creativity Research Journal, 21, 232–242. doi: 10.1080/10400410902861240
Bonaiuto, M., Mao, Y., Roberts, S., Psalti, A., Ariccio, S., Ganucci Cancellieri, U., et al. (2016). Optimal experience and personal growth: Flow and the consolidation of place identity. Frontiers in Psychology. 7:1654. doi:10.3389/fpsyg.2016. 01654
Burnard, P. (2012). Musical Creativities in Practice. Oxford: Oxford University Press.
Caudwell, J. (2010). The jazz–sport analogue: Passing notes on gender and sexuality. International Review for the Sociology of Sport, 45, 240–248. doi:10.1177/1012690209357120
Costa, J. A., and Creech, A. (2020). Teaching and learning in unfamiliar territory. In G. G. Johansen, K. Holdhus, C. Larsson, and U. MacGlone (Eds.), Expanding the Space for Improvisation Pedagogy in Music: A Transdisciplinary Approach, 1st Edition (pp. 147—163). London: Routledge.
Csíkszentmihályi, M. (1990). Flow: The psychology of optimal performance. New York, NY: Harper and Row.
De Manzano, Ö., and Ullén, F. (2012). Goal-independent mechanisms for free response generation: Creative and pseudo-random performance share neural substrates. NeuroImage, 59, 772–780. doi:10.1016/j.neuroimage.2011.07.016
Després, J.-P., Burnard, P., Dubé, F., and Stévance, S. (2017). Expert western classical music improvisers’ strategies. Journal of Research in Music Education, 65, 139–162. doi:10.1177/00–22429417710777
Dolan, D., Jensen, H. J., Mediano, P. A. M., Molina-Solana, M., Rajpal, H., Rosas, F., and Sloboda, J. A. (2018). The improvisational state of mind: A multidisciplinary study of an improvisatory approach to classical music repertoire performance. Frontiers in Psychology, 9. doi:10.33–89/fpsyg.2018.01341
Forbes, M. (2020). Giving voice to jazz singers’ experiences of flow in improvisation. Psychology of Music, 49, 789-803. doi: 0305735619899137.
Fullagar, C. J., Knight, P. A., and Sovern, H. S. (2013). Challenge/skill balance, flow, and performance anxiety. Applied Psychology, 62, 236–259. doi: 10.1111/j.1464-0597.2012.00494.x
Gruenhagen, L. M. (2017). Developing musical creativity through reflective and collaborative practices. Music Educators Journal, 103(3), 40–45. doi:10.1177/0027432116685158
Hart, E., and Di Blasi, Z. (2013). Combined flow in musical jam sessions: A pilot qualitative study. Psychology of Music, 43, 275–290. doi:10.1177/0305735613502374
Hickey, M. (2009). Can improvisation be “taught”?: A call for free improvisation in our schools. International Journal of Music Education, 27, 285–299. doi:10.1177/0255761409345442
Higgins, L., and Mantie, R. (2013). Improvisation as ability, culture, and experience. Music Educators Journal, 100(2), 38–44. doi:10.1177/0027432113498097
Hong, N. H. (2019). Structured surround soundscapes: A three-pronged strategy for effective and meaningful collective improvisation. Music Educators Journal, 106, 51–57. doi:10.1177/00274–32119870584
Hytönen-Ng, E. (2013). Experiencing “Flow” in Jazz Performance. Farnham, UK: Ashgate.
Jackson, S. A., and Csíkszentmihályi, M. (1999). Flow in Sports: The keys to optimal experiences and performances. Leeds, UK: Human Kinetics.
James, J. (2019). Crossing the divide: the ‘reinvention method’ for creative collaborative learning in pairs between advanced classical and jazz students [doctoral thesis]. The University of Bristol, Great Britain. https://research-information.bris.ac.uk/files/197005343/Th–esis_June5.pdf
Kee, Y. H., and Wang, C. K. J. (2008). Relationships between mindfulness, flow dispositions and mental skills adoption: A cluster analytic approach. Psychology of Sport and Exercise, 9, 393–411. doi:10.–1016/j.psychsport.2007.07.001
Kenny, B. J., and Gellrich, M. (2002). Improvisation. In R. Parncutt and G. E. McPherson (Eds.) The Science and Psychology of Music Performance: Creative Strategies for Teaching and Learning (pp. 117–134). New York, NY: Oxford University Press.
Kirchner, J., Bloom, A., and Skutnick-Henky, P. (2008). The relationship between performance anxiety and flow. Medical Problems of Performing Artists, 23(2), 59–65.
Kohfeld, J. M., Coppola, W. J., Mena, C., Shakerifard, S. and Shenan Campbell, P. (2020). Teaching and learning improvisation: Culture-specific cases of cross-cultural musical act. In G. G. Johansen, K. Holdhus, C. Larsson, and U. MacGlone (Eds.). Expanding the Space for Improvisation Pedagogy in Music: A Transdisciplinary Approach, 1st Edition (pp. 17–32). London: Routledge.
Kratus, J. (1991). Growing with improvisation. Music Educators Journal, 78(4), 36–40. doi:10.2–307/3398335
Kratus, J. (1995). A developmental approach to teaching music improvisation. International Journal of Music Education, 26, 27–38. doi:10.1177/025576149502600103
Landau, A. T., and Limb, C. J. (2017). The neuroscience of improvisation. Music Educators Journal, 103(3), 27–33. doi:10.1177/0027432116687373
Lewis, G. (2009). The condition of improvisation. Keynote address, International Society for Improvised Music, Santa Cruz, New Mexico.
Limb, C. J., and Braun, A. R. (2008). Neural substrates of spontaneous musical performance: An fMRI study of jazz improvisation. PLoS ONE, 3, e1679. doi:10.1371/journal.pone.0001679
Loui, P. (2018). Rapid and flexible creativity in musical improvisation: Review and a model. Annals of the New York Academy of Sciences, 1423, 138–145. doi:10.1111/nyas.13628
Lovakov, A., and Agadullina, E. (2017). Empirically derived guidelines for interpreting effect size in social psychology. Retrieved from https://psyarxiv.com/2epc4/ (Accessed: 2. 11. 2020)
MacDonald, R., Byrne, C., and Carlton, L. (2006). Creativity and flow in musical composition: An empirical investigation. Psychology of Music, 34, 292–306. https://doi.org/10.1177/03–05735606064838
McPherson, M. J., Barrett, F. S., Lopez-Gonzalez, M., Jiradejvong, P., and Limb, C. J. (2016). Emotional intent modulates the neural substrates of creativity: An fMRI study of emotionally targeted improvisation in jazz musicians. Scientific Reports, 6. doi:10.1038/srep18460
Mao, Y., Yang, R., Bonaiuto, M., Ma, J., and Harmat, L. (2020). Can Flow Alleviate Anxiety? The Roles of Academic Self-Efficacy and Self-Esteem in Building Psychological Sustainability and Resilience. Sustainability, 12(7), 2987. https://doi.org/10.3390/su12072987
Menard, E. (2013). Creative thinking in music: Developing a model for meaningful learning in middle school general music. Music Educators Journal, 100, 61–67. doi:10.1177/0027432113500674
Merriam-Webster (2020). Improvise. Retrieved from: https://www.merriam-webster.com/diction–ary/improvising (Accessed: 2. 11. 2020)
Monk, A. (2013). Symbolic interactionism in music education: Eight strategies for collaborative improvisation. Music Educators Journal, 99, 76–81. doi:10.1177/0027432112467823
Moreno, J. A., Cervelló, E., and González-Cutre, D. (2008). Relationships among goal orientations, motivational climate and flow in adolescent athletes: Differences by gender. The Spanish Journal of Psychology, 11, 181–191. doi: 10.1017/ S1138741600004224
Nakamura, J., and Csikszentmihalyi, M. (2009). Flow theory and research. In C. R. Snyder, and S. J. Lopez (Eds.), Oxford Handbook of Positive Psychology (pp. 195–206). New York: Oxford University Press. doi:10.1093/oxfordhb/9780195187243.013.0018
Papageorgi, I., Creech, A., and Welch, G. (2011). Perceived performance anxiety in advanced musicians specializing in different musical genres. Psychology of Music, 41(1), 18–41. doi:10.11–77/0305735611408995
Pinho, A. L., de Manzano, O., Fransson, P., Eriksson, H., and Ullen, F. (2014). Connecting to create: Expertise in musical improvisation is associated with increased functional connectivity between premotor and prefrontal areas. Journal of Neuroscience, 34, 6156–6163. doi:10.15–23/jneurosci.4769-13.2014
Quinn, R. V. (2005). Flow in knowledge work: High performance experience in the design of national security. Administrative Science Quarterly, 50, 610–641.
R Core Team. (2016). R: A language and environment for statistical comput¬ing. Vienna, Austria: R Foundation for Statistical Computing. Retrieved February 24, 2019, from www.R-project.org
Ramshaw, S. (2010). The creative life of law: Improvisation, between tradition and suspicion. Critical Studies in Improvisation/Études critiques en improvisation, 6, 1–13.
Regelski, T. A. (2003). Implications of aesthetic versus praxial philosophies of music for curriculum theory in music education. Didacta Varia, 8, 63–92.
Riveire, J. (2006). Using improvisation as a teaching strategy. Music Educators Journal, 92(3), 40–45. doi:10.2307/3401139
Rowe, E. (1995). Gender and swing. Jazz Changes, 2(1), 5–7.
Russell, W. D. (2001). An examination of flow state occurrence in college athletes. Journal of Sport Behavior, 24(1), 83–107.
Sarath, E. W. (2013). Improvisation, Creativity, and Consciousness: Jazz as integral template for music, education, and society. Albany, NY: State University of New York.
Sawyer, R. K. (Ed.) (2011). Structure and Improvisation in Creative Teaching. Cambridge: Cambridge University Press
Skoogh, F. and Frisk, H. (2019). Performance values – an artistic research perspective on music performance anxiety in classical music. Journal for Research in Arts and Sports Education, 3(1). doi: 10.23865/jased.v3.1506
Smilde, R. (2016). Biography, identity, improvisation, sound: Intersections of personal and social identity through improvisation. Arts and Humanities in Higher Education, 15, 308–324. https://doi.org/10.1177/1474022216647374
Steinberg, E. N. (2001). “Take a solo”: An analysis of gender participation and interaction at school jazz festivals [Doctoral dissertation]. Retrieved from ProQuest Dissertations and Theses database. (UMI No. 3029732)
Wehr, E. L. (2016). Understanding the experiences of women in jazz: A suggested model. International Journal of Music Education, 34, 472–487. doi:10.1177/0255761415619392
Wehr-Flowers, E. L. (2006). Differences between male and female students’ confidence, anxiety, and attitude toward learning jazz improvisation. Journal of Research in Music Education, 54, 337–349. doi: 10.1177/002242940605400406
Wehr-Flowers, E. L. (2007). An exploratory model of jazz self-efficacy and gender. [Doctoral dissertation]. Retrieved from ProQuest Dissertations and theses database. (UMI No. 3281418)
Published
2022-09-23
How to Cite
Korošec K., Bačlija Susić B., & Habe K. (2022). Improvisation as the Foundation of Flow in Music Education: Connections to Attitudes, Gender and Genre. Journal of Elementary Education, 15(3), 339-356. https://doi.org/10.18690/rei.15.3.339-356.2022
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Section
Scientific Articles
Copyright (c) 2022 Kaja Korošec, Blaženka Bačlija Susić, Katarina Habe
This work is licensed under a Creative Commons Attribution 4.0 International License.