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Abstract

This thesis presents an investigation into the nature of interpretive processes within the classical piano canon, and the incorporation of improvisational concepts, attitudes and methods in the development of interpretations amidst a culture that is beginning to reignite interest in classical improvisation. This research seeks to illuminate the impact of learning such improvisational techniques in the context of canonical repertoire, and how this may enhance the interpretive processes of pianists, especially those without prior improvisational experience. Using reflective auto-ethnographic and phenomenological methods, this project contributes to qualitative research that examines personal lived experiences of performers who engage with classical improvisation approaches, and how this may affect their interpretive processes of learning repertoire.

The project was carried out in two phases: Phase 1 examines my typical interpretive approach to learning a work, the Sonata No 7 in B flat major by Prokofiev. While representative of existing research into repertoire-learning and interpretive processes, this Phase highlights most importantly a kernel of ‘discovery’ and the search for a deeper understanding of the score inherent throughout each stage of the learning process. This search was geared towards one personally fixed ideal interpretation of the work, a concept that was challenged and eventually dismantled in Phase 2. Incorporating the learning, reflecting, teaching and discussion of classical improvisation techniques into both my practice and performance, the analysis of Phase 2 mainly revealed a gradual shift from goal-oriented to process-oriented thinking, opening up opportunities for discovering (through practice and experimentation) a more pluralistic view towards my interpretations, embracing spontaneity through a practised and cumulative ‘improvisational frame of reference’. An emphasis was placed on the importance of improvisational and interpretive ‘process’ over performance ‘product’ (Doffman & Calvin). Phase 2 also interrogated a complexified relationship with the score and its significance in measuring creativity, the personal and socio-cultural elements to measuring success, as well as unearthing potential cultural barriers to the teaching and learning of improvisation in the current Western art music environment. Through the challenging discussions regarding score relevance, ‘taste’, and creativity through performance, this research has relevance for musicians with experience of a master-apprentice ‘artisanal’ pedagogy who wish to begin learning or teaching classical improvisation and incorporating it (or the attitudes improvisation represents) into performances.

Publication Type:	Thesis (Doctoral)
Subjects:	M Music and Books on Music > M Music M Music and Books on Music > MT Musical instruction and study
Departments:	Doctoral Theses

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