Improvisation is the practice of acting and reacting, of making and creating, in the moment and in response to the stimulus of one’s immediate environment. Musical improvisation involves the act of composing immediately before or even during the performance. Improvisation usually occurs in music either in individual rendition or in a duet, or in a group. Also referred to as ‘extemporisation’, improvisation in music is the practice of creating music extempore, in the very moment it is sung or played to the stimulus of one’s immediate environment.
Improvisation may take place as a solo performance, or interdependently in an ensemble with other players. Music improvisation and music composing are both creative methods in music therapy. The former is achieved extemporaneously while the latter is not. Further, the improviser produces his/her own music, while the composer often relies upon a performer or an orchestra to execute his or her ideas.Ip
For a music therapist, improvisation is a process whereby the client and therapist relate to each other as either of them freely improvises a musical piece extemporaneously.
The client may use any musical (voice, instrument such as key-board or drums or body sound) or non-musical (of images, titles, stories and the like) medium within his capabilities. As improvisation is a creative process, it can help the client to explore aspects of self, in relation to others, in a positive way.
Using musical improvisation in a therapeutic setting can also result in enhancement of the client’s confidence levels to cope with the problems faced by him. Improvising is advised when one wants to explore experiences of structure as well as freedom.
According to psychologists, music can result in the invention of new thought patterns, new practices, new structures or new symbols. Improvisation also results in new ways to sing or play and hence musical improvisation is considered an important aspect of music training.
Philosophically speaking, improvisation focuses on bringing one’s personal awareness “into the moment,” and on developing a profound understanding for the action one is doing (say, singing or playing an instrument). This fusion of “awareness” and “understanding” is known to bring the practitioner to the point where he or she can act with a range of options that best suit the situation, even if he or she has never experienced a similar situation previously.
In music therapy settings, the clients/patients are encouraged to write songs and sing for a simple melodic structure played to them. This exercise is known to fuel creative approaches in the client’s minds. People with mental problems are often encouraged to do such exercises. In addition to singing, aspects of body movements (dance), comedy and showmanship are also encouraged in such sessions. These sessions are found to give vent to those who suffer from emotional suppression in life.
In all therapy sessions, it has been observed that improvisation elicits gratifying emotional responses from the clients/patients. The skills of improvisation are known for their importance in all forms of communication and expression across all artistic, scientific, physical, cognitive, academic, and non-academic disciplines, including music. The study of the skills and techniques of improvisation thus can influence one’s efficiency.
It is interesting to note that the mental and emotional states needed to practise the art of improvisation are identical to those needed for the practice taught in the spiritual and religious texts. This invention cycle occurs most effectively when the practitioner has a thorough intuitive and/or technical understanding of the necessary skills and concerns within the improvised domain.
Bruscia (1987) and Wigram (2004) have introduced a variety of improvisational techniques and methods for therapeutic sessions, based on ‘improvisation principles. They are:
Imitating: A technique of empathy. The music therapist copies or repeats a client’s response musically. The music therapist may focus on any tone, sound, rhythm, interval or even facial expression of the client.
Reflecting: A technique in which the music therapist expresses the same moods or emotions which have been displayed by the client.
Rhythmic grounding: A technique which is implemented by establishing a steady beat or rhythm, supporting the client’s improvisation. The use of a rhythmic ostinato is an example of rhythmic grounding.
Dialoguing: A technique in which the music therapist and the client communicate through their improvisations.
Accompanying: A technique in which the music therapist supports the client’s improvisation by giving an accompaniment which may consist of rhythm, melody and melodic or chordal progression.
It is important that improvisation is made using more than just one or two of these methods. It is critical to maintain flexibility during the improvisation. For example, the music therapist can preserve a flexible session flow by incorporating several methods, such as imitating, accompanying, dialoguing, and rhythmic grounding .
According to Bruscia (1987), improvisation is possible with both musical and non-musical references. ‘Referential improvisations’ are those in which the client improvises to portray a non-musical reference (e.g., an event, feeling, image, relationship, etc.) Non-referential improvisations are those in which the client improvises without reference to anything other than the sounds of music.
Some of the variations in improvisation methods that are commonly used are explained in the table:
| improvisation Methods | Notes |
| Instrumental referential | It refers to creating tunes, melodies or rhythms with the help of selected musical instrument(s) in accordance with a reference such as an event, feeling, image or relationship in the client’s life. The musical piece, so created, is soaked with such feelings that could induce catharsis. |
| Instrumental non-referential | This refers to creating music with the help of selected musical instrument(s) without any reference (For example, a person is handed over a drum or xylophone and is asked to play it freely without any restriction whatsoever.) |
| Song improvisation | This refers to creating lyrics for a melody or singing a song along with the singer with a different/deviated melody. The method is known to give more creative opportunities. |
| Vocal non-referential | This refers to creating a vocal piece mindlessly without words or images or meanings. |
| Body improvisation | It refers to creating various kinds of body sounds with different rhythms, decibels and frequencies. |
| Mixed media | It refers to creating a musical piece with any possible combination of instrumental, vocal, or body sounds. |
| Conducted improvisation | This refers to creating a musical stanza or a musical piece by giving directive cues to one or more improvisations. |
Bruscia (1998) has identified the following clinical goals, that can be achieved through the various improvisation methods:
- To establish a nonverbal channel of communication, and a bridge to verbal communication;
- To provide a fulfilling means of self-expression and identity formation;
- To explore various aspects of self in relation to others;
- To develop the capacity for interpersonal intimacy;
- To develop group skills;
- To develop creativity, expressive freedom, and playfulness with various degrees of structure;
- To stimulate and develop the senses;
- To play, on the spot, with a decisiveness that invites clarity of intention.
- To develop perceptual and cognitive skills.
In several music therapy settings, improvisation is found to be quite effective for those clients who need to develop spontaneity, creativity, and confidence, freedom of expression, communication, and interpersonal skills in their daily life. It is yet another story that these very qualities are badly needed for working on improvisation! Improvisation is recommended for a wide range of clients: from emotionally deranged to developmentally delayed children and from adults with psychiatric disorders.
Improvising enables these clients to communicate and share feelings with others, while also helping them to organise their thoughts and ideas in a meaningful way.
There are also the following methods/techniques used by the music therapists who endeavour to address the needs of individuals or groups they work with. These include:
- Music and movement/dance
- Music facilitated discussion
- Music and relaxation techniques
- Song singing
It goes without saying that each of these methods requires proper skills, experience and training on the part of a music therapist in order to use them effectively to achieve therapeutic outcomes. The co-creative sessions between the therapist and the patient, aimed at activating the innate musicality, using a variety of standard and specialised instruments has become popular in recent times in all music therapy circles, more particularly in the West.
| Musical improvisation can result in the invention of new thought patterns, new practices, new structures or new symbols. Improvisation also results in new ways to sing or play and hence musical improvisation is – considered an important aspect of music training. |
Combining aesthetic sensibilities with ongoing analytical assessment, such improvisational music has helped patients to overcome physical, emotional and cognitive barriers.
Such improvisational, creative music is administered for helping disabled children, victims of accidents and trauma, individuals under psychiatric or geriatric care and self-referred adults seeking to overcome their emotional problems and stress. Known as Nordoff Robbins System, this approach has its growing popularity in the U.S.A, U.K., Germany, Australia, Scotland and Japan.
Improvised Singing:
Singing improvisation is not something new. It is known from ancient times as an art form. In some parts of the world, improvised singing is a mixture of musical improvisation and improvisational theatre. In Wales, centuries ago, such a form was in vogue.
In an annual competition conducted there for poets and musicians, improvised singing was used. A style of music called penillion became popular. This was often improvised, and sung to a harp accompaniment. The singer here was obliged to follow the harp, which changed its tune to bring in so many variations, ad libitum.
The vocalist was to struggle to keep time, and end precisely with the initiated strain.
In Indian classical music, it is often the vocalist (who is the main performer) in a concert, who breaks the ice to initiate the `dialogue’, which is taken up by the accompanying instruments.
The article was published in Bhavans Journal – November 2009 – Pages 96 to 102
Edited by Geeta Shreedar, July 26, 2021