ABSTRACT
The music is the pedagogy. As a creative musician, the author felt that his own formal music education was too conservative. His performance practice was the seed. And the ideas and ideals that emerged from the work over many years were later supported by investigations into established pedagogical theories. In identifying Nameless Sound facilitator, the author also find resonance with the role of the dialogical 'teacher-student' as defined by critical pedagogue Paulo Freire, who said 'The teacher is of course an artist, but being an artist does not mean that artists can make the profile, can shape the students. What the educator does in teaching is to make it possible for the students to become themselves'. As a practitioner of musical free improvisation, the Nameless Sound facilitator is positioned as uniquely qualified dialogical 'teacher-student' and an empathetic steward of a secure frame for creative work. Also like the improviser on stage, the facilitator must be open about a workshop's results.
