Free to Be Musical: Group Improvisation in Music

by Lee Higgins, Patricia Shehan Campbell Music, Education, and Diversity: Bridging Cultures and Communities, Gary McPherson (Foreword by)

Overview

Free to Be Musical: Group Improvisation in Music is for those who lead musical experiences in the lives of children, youth, and adults. Offering a set of experiences to inspire creative musical expression, this book will prove useful for music education majors, practicing music teachers, community musicians, and music therapists alike. The experiences (or 'events') are designed to reduce the musical barriers that Western societies pass on to children by the time they reach the 'age of reason,' when the natural childhood penchant to sing, dance, and play musically gives way to perfect performances of standard repertoire preserved in Western staff notation. The authors present ways to encourage music that is expressive and inventive, spontaneous yet thoughtful, communal and collaborative, and unlimited in its potential to bring fulfillment to those who make it. You'll find opportunities to release the musical imagination in ways that are free and expansive, playful and instructive, personal and interpersonal. Higgins and Campbell have created a context that validates the experiments and explorations of all people who are potential makers of all styles of music. Their musical events embrace the belief that music-making is 'a trail of no mistakes,' a celebration of the many and varied musical pathways that both teacher and student can take.

Product Details

ISBN-13:	9781607094982
Publisher:	R&L Education
Publication date:	10/16/2010
Edition description:	New Edition
Pages:	150
Product dimensions:	5.90(w) x 8.90(h) x 0.20(d)

About the Author

Lee Higgins is a visiting associate professor of music in the School of Music Education at Boston University. Patricia Shehan Campbell is Donald E. Petersen Professor of Music in the School of Music at the University of Washington.

Table of Contents

Part 1 Foreword
Part 2 I. Orientations
Chapter 3 Context
Chapter 4 Event
Chapter 5 Workshop
Chapter 6 Facilitation
Chapter 7 Toolkit
Chapter 8 Play and Participation
Chapter 9 Welcome
Chapter 10 Safe Space
Chapter 11 "Let the Wild Rumpus Begin" - Preparation
Chapter 12 Prior to Launch
Part 13 II. Events
Chapter 14 Badge of Identity
Chapter 15 Be Free
Chapter 16 Blues
Chapter 17 Building Blocks
Chapter 18 Clapping Community
Chapter 19 Criss Cross Rhythm
Chapter 20 Dig a Dum
Chapter 21 Drone on
Chapter 22 Ensemble
Chapter 23 Journey
Chapter 24 Keep Breathing
Chapter 25 Keep Moving
Chapter 26 Muscal Realizations of Art
Chapter 27 On Becoming a Character
Chapter 28 Pentagroove
Chapter 29 Poeting-Musicking
Chapter 30 Rhythmic Chairs
Chapter 31 Riff Around
Chapter 32 Sending It Home
Chapter 33 Signs
Chapter 34 Sonic-Sphere
Part 35 III. Connectives

Editorial Reviews

Free to be Musical provides an ideal introduction to creativity and music making. This resource should be in the library of every novice through seasoned music teacher, whether teaching public school or a community group. The activities are flexible, fun, non-intimidating and open ended; they would be a joy to share with others! Most teachers and musicians will see these as springboards to a myriad of further musical explorations.

Dr. Jeffrey Bush

No other book provides what Higgins and Campbell have created—a uniquely practical curriculum for musical improvisation designed around collaborative 'workshops' of imaginative 'events' and 'connectives.' This book is brilliant in its scope, sequence, and flexibility.

David J. Elliott

This book will provide a valuable resource if you would like to incorporate more improvisational activities into your classes.

American Music Teacher

Free to Be Musical is a beautifully written invitation to improvisation that acknowledges the past but leads us to a musical future that is full of possibilities. An intelligent yet approachable resource for those who want to help guide musicians to celebrate their musical voice, this book provides valuable guidance from experienced practitioner-scholars about how to open our doors to the global concept of music making.

Debbie Rohwer

In the previous decade, music making received increased attention within schools of music, K-12 classrooms, and community music-making endeavors. Often these experiences required participants to be able to translate musical notation into sound. This approach is limiting and often forecloses music-making experiences for those unable to read music. Free to Be Musical serves as a resource for educators who want to create inclusive and meaningful musical experiences for all. Higgins (Boston Univ.) and Campbell (Univ. of Washington) use the perspective of community music making and group improvisation. The book is structured in three parts. 'Orientation' introduces the foundations for music making and the terminology used throughout the text. 'Events' presents 21 musical experiences. Each event is aligned with National Standards for Music Education, and necessary materials and ideas for event extensions are provided. Finally, 'Connectives' provides ideas for the further development of the 21 events through curriculum, community music-making experiences, and music therapy. The emphasis on the making of music through events that are inclusive makes this text a welcome addition to the library of music teachers, music therapists, and organizers of community music-making experiences. Summing Up: Recommended. General readers, undergraduate students, and practitioners.

Choice Reviews

In the previous decade, music making received increased attention within schools of music, K-12 classrooms, and community music-making endeavors. Often these experiences required participants to be able to translate musical notation into sound. This approach is limiting and often forecloses music-making experiences for those unable to read music. Free to Be Musical serves as a resource for educators who want to create inclusive and meaningful musical experiences for all. Higgins (Boston Univ.) and Campbell (Univ. of Washington) use the perspective of community music making and group improvisation. The book is structured in three parts. 'Orientation' introduces the foundations for music making and the terminology used throughout the text. 'Events' presents 21 musical experiences. Each event is aligned with National Standards for Music Education, and necessary materials and ideas for event extensions are provided. Finally, 'Connectives' provides ideas for the further development of the 21 events through curriculum, community music-making experiences, and music therapy. The emphasis on the making of music through events that are inclusive makes this text a welcome addition to the library of music teachers, music therapists, and organizers of community music-making experiences. Summing Up: Recommended. General readers, undergraduate students, and practitioners.

CHOICE

In the previous decade, music making received increased attention within schools of music, K-12 classrooms, and community music-making endeavors. Often these experiences required participants to be able to translate musical notation into sound. This approach is limiting and often forecloses music-making experiences for those unable to read music. Free to Be Musical serves as a resource for educators who want to create inclusive and meaningful musical experiences for all. Higgins (Boston Univ.) and Campbell (Univ. of Washington) use the perspective of community music making and group improvisation. The book is structured in three parts. 'Orientation' introduces the foundations for music making and the terminology used throughout the text. 'Events' presents 21 musical experiences. Each event is aligned with National Standards for Music Education, and necessary materials and ideas for event extensions are provided. Finally, 'Connectives' provides ideas for the further development of the 21 events through curriculum, community music-making experiences, and music therapy. The emphasis on the making of music through events that are inclusive makes this text a welcome addition to the library of music teachers, music therapists, and organizers of community music-making experiences. Summing Up: Recommended. General readers, undergraduate students, and practitioners.

Choice