Musicians and students are prone to a bit ranting as to how improvisation occurs and whether or not the analogy with language acquisition is appropriate. In supervising students’ (and their own) personal practice, teachers of improvisation can encounter blocks to progression and development, spending a lot of time untangling a student’s perception of their learning experience.
While Improvising is fun, once studied or practiced, it is my experience that inexperienced students and some seasoned musicians can mistake the sensations associated with play or the “flow state” with the slower and “creaky” mind that learns the initial stages of concrete skills. You might say confusing the self-expressive state is confused with the learning state.
“Watching a musician in the throes of an improvisational solo can be like witnessing an act of divine intervention, but embedded memories and conspiring brain regions, scientists now believe, are the source of ad-hoc creativity” So suggests Amanda Rose Martinez … see her article in SEED MAGAZINE – click here.
I suggest that our experiences as students of improvisation will be easier if we undertstand the learning process, so thank you Ms Rose… but now the community of jazz educators will be well advised to consider precisely how the research can be applied to enhance schemes of work, learning strategies and practice in general – and to be fair, the findings of this research have been alluded to for at least 30 years through applied (as distinct to cognitive) psychology. This is where the work of figures such as Guy Claxton et al, George Odam and the tried and tested Inner Game authors is useful.
What’s stopping us?