ABSTRACT

Defining categories of musical actions in improvisation with young children is challenging due to the spontaneous, creative and emergent nature of interactions. Following a literature review, two new constructs were proposed to circumscribe and classify different types of events in improvisation, Creative Musical Agency (CMA) and Socio-Musical Aptitude (S-MA). These were refined and tested through eight phases of mixed-methods research. Two cycles of improvisation workshops were video-recorded. Multimodal Video Analysis of musical, gaze and gestural Modes of Communication contextualized with field notes was used to refine constructs. Two raters independently observed and rated children’s improvisations as showing CMA, S-MA or neither, giving reasons for difficulty or ambiguity in using constructs in separate interviews. Raters demonstrated fair agreement for CMA (Κappa 0.21) and moderate agreement for S-MA (Kappa 0.5). Development of these constructs offers a valuable way of understanding the complexity of young children’s musical actions and mental processes in improvisation.

摘要

由于互动的自发性、创造性和涌现性，定义与幼儿即兴创作的音乐动作类别具有挑战性。在查阅文献之后，提出了两个新的结构来限制和分类即兴创作中不同类型的事件，即创意音乐机构 (CMA) 和社会音乐能力 (S-MA)。通过八个阶段的混合方法研究对这些进行了改进和测试。两个周期的即兴创作研讨会被录像。使用现场笔记背景下的音乐、凝视和手势交流模式的多模态视频分析来完善结构。两名评估员独立观察并评价儿童的即兴表演，显示 CMA、S-MA 或两者都没有，给出在单独访谈中使用结构的困难或含糊不清的原因。评分者对 CMA (Κappa 0.21) 表现出公平的一致性，对 S-MA (Kappa 0.5) 表现出中等的一致性。这些结构的发展为理解幼儿音乐行为的复杂性和即兴创作的心理过程提供了一种宝贵的方法。