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Derrington 2012 thesis.pdf - Anglia Ruskin Research Online

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time!” he shouts and I react “That’s so good!” As he turns to rush off at the end, I<br />

make a clear ending using a catchy riff and he turns back to join in with me, smiling<br />

and looking at me in recognition of the shared music we have played.<br />

The second video example (4.4.1.1b) also shows how familiar rhythmic structure<br />

helps Lewis, 13, to feel able to improvise. My repeated chord sequence (C major, A<br />

minor, F major and G major) does not vary and supports him and enables us to<br />

interact. For Lewis, this level of involvement and shared fun in an activity, as well as<br />

focusing in this way for an extended period of time, is extremely rare and the fact that<br />

his reaction is to laugh shows how much he relishes in it.<br />

4.4.1.2 Improvisation supported by melodic structure<br />

(DVD clip 3)<br />

The third video example (4.4.1.2) illustrates how melody supports an improvisation<br />

and encourages the student to play. Prior to the clip I was listening to Lewis<br />

experiment with beatboxing and being inventive with various wind instruments.<br />

When the clip begins, he is using the penny whistle to create a beat and I join in with<br />

a tune. Although Lewis usually prefers me to listen and would stop when I play, he<br />

relinquishes his control in this instance and allows us to play together. It is the<br />

melody that provides the support and is a suitable match for his beat.<br />

4.4.1.3 Improvisation encouraged by humour and playfulness (DVD clip 4)<br />

The importance of humour in sessions is documented by Amir (2005), Haire (2008)<br />

and Haire and Oldfield (2009). Humorous and playful exchanges are helpful ways to<br />

begin interactions. A shared sense of fun can produce an environment which feels<br />

free, creative and spontaneous. Winnicott’s (1971) theory that ‘children play more<br />

easily when the other person is able and free to be playful’ (p.45), underpins the<br />

importance of responding in a way that allows healthy playfulness to develop.<br />

The fourth video (4.4.1.3) example shows William, 13, and I using kazoos to<br />

communicate, make sound effects and play. We take turns to introduce new ideas<br />

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