ABSTRACT
There are relatively few classical musicians who learn to improvise as part of their professional practice. In this chapter an experienced concert musician investigates why existing knowledge in interpreting scores and instrumental technique is not in itself sufficient for the development of improvisation skills. ‘What kind of specialised knowledge do expert improvisers possess? How could I acquire this knowledge?’ are central questions. The author reports on his own experience of overcoming former training in interpretive performance to learn how to improvise on Baroque models of composition. Cognitive and emotional ‘barriers’ to improvising are identified and learning strategies described through which the author gained new insights into musical structure enabling him to see ‘beyond the score’. Based on an autoethnographic account, this chapter is a reflective and personal exploration of knowledge and skill acquisition which aims to motivate others to mobilise their own learning. Implications are also drawn for teaching improvisation which suggest that a student-based, supportive, and flexible approach is more effective than general pedagogic methods and prescribed exercises.
