APSMER2017 PROCEEDINGS

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Proceedings of the 11th Asia-Pacific Symposium for Music Education Research (APSMER 2017) 19th to 21st July 2017, Melaka MALAYSIA collaboration of a choreographer and dancers during a rehearsal to create a dance performance. Thirdly, the teachers gave scaffolding (Wood et al. 1976, p.98) including Direction maintenance, Making critical features, Reduction in degrees of freedom and Frustration control. Ken said to players “Play as you feel while watching my conducting” in the last half of his session. As previously mentioned, the players were encouraged to exceed their limit in the performance. That is to say that Ken’s conducting reduced in degrees of freedom in the change of tempo and phrasing to focus the players’ attention on musical energy, and maintained direction of musical expression to encourage their spontaneous performance. Taku requested the players to play only the first note of each measure in succession to focus their attention to the critical feature of code progression of the music. All of the teachers took care to keep the atmosphere bright in their session by delivering a joke. As mentioned above, the tactics of reduction in the degree of freedom also eased the players’ mental load by narrowing their scope of attention. That could be frustration controls. Indication Taken together, when the performance with deadpan style metamorphosed into the richly expressive one, the direction of musical expression was collectively determined by the entire members including the teachers in the session. Which is to say that the building of musical expression in the ensemble rehearsal with the teacher could be regarded as the process of group creativity (Sawyer 2003) or Vygotsky’s Zone of Proximal Development (Holzman 2010), in which an emergent process with all participants progressed. The teacher was a facilitator in this creative community. The teachers’ metaphorical direction that tried to inspire the players’ imagination and the scaffolding support were not controlling the players unilaterally, but complemented by players spontaneous searching activity for a new expression. In other words, those had reciprocal process (Suga & Kobae 2016; Schön 1987). The experienced teachers’ instruction for improving musical expression were characterized by teaching as improvisation (Sawyer 2004) or pedagogical creativity (Abramo & Reynolds 42
Proceedings of the 11th Asia-Pacific Symposium for Music Education Research (APSMER 2017) 19th to 21st July 2017, Melaka MALAYSIA 2015). The teachers inspired the players’ imagination, and accepted, combined and expanded the unexpected ideas. They consolidated those ideas as a coherent work by interaction with the players. I don’t think this observation is able to be generalized. Because there were only a few participants. The title and all of the musical marks were withheld from the teachers and the players in this experimental situation. However, it corresponded with my former investigation that unexperienced teachers were inclined to focus on making “an accurate performance.” It included collections of pitches and timings of each note. While experienced teachers inspired players spontaneous musical expression based on the players’ understanding of musical construction (Suga 2009). Further research is needed to develop curriculums for music teacher training to cultivate future music teachers’ improvisational ability to improve students’ musical expression by interaction with them. References Abramo J.M., Reynolds A. (2014). "Pedagogical Creativity" as a Framework for Music Teacher Education. Journal of Music Teacher Education, 25, 37-51. Ebie B.D. (2004). The effects of verbal, vocally modeled, kinesthetic, and audio-visual treatment conditions on male and female middle-school vocal music students’ abilities to expressively sing melodies. Psychology of Music, 32(4), 405-417. Fournier J.E. (2011). Productive improvisation and collective creativity: Lessons from the dance studio. In K. Sawyer (Ed.), Structure and improvisation in creative teaching (pp.184-206). New York, NY: Cambridge University Press. Holzman L. (2010). Without creating ZPDs there is no creativity. In M. Cathrene Connery, V. John-Steiner & A. Marjanovic-Shane (Eds.), Vygotsky and creativity: A cultural-historical approach to play, meaning making, and the arts (pp.27-39). New York, NY: Peter Lang. Karlsson J. & Juslin P. (2008). Musical expression: an observational study of instrumental teaching. Psychology of Music 36(3), 309-334. Kanai T. & Kusumi T. (2012). Practical Intelligence of Professional 43
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