Abstract
This project explores the link between emotional awareness in children and the use of musical improvisation, looking at whether musical improvisation can be used as a tool to stimulate a change in emotional awareness. Whilst this study focuses on musical improvisation and emotions, musical listening was also looked at to determine how susceptible the children were to hear emotions in music. Often children in school face challenges in regulating and identifying their own, and other’s emotions, which has potentially been exacerbated by periods of isolation during the COVID19 pandemic (Haleemunnissa et al., 2021). This project was undertaken in a co-ed public school in South Croydon, by 7 year 5 children of mixed genders, all of whom had had limited prior musical experience within and outside school. The children were a mixed ability of emotional awareness, as measured by observations in school. The project sessions took place first thing in the morning, 08:45 to 09:30, to allow access to the music hut – providing a creative space away from the school and also allowed access to the wide range of stored instruments. The findings of this project indicate connections between emotional awareness and the ability to firstly identify emotions in music, but to also portray them in musical improvisation.
Key Words: emotional awareness, emotional intelligence, emotional regulation, musical improvisation, musical elements, representation.
- Introduction
Emotional awareness or emotional intelligence, (EI) can be defined as the “ability to describe and recognise your own emotional experiences as well as other people’s” (Veirman et al., 2011, p. 265). Having higher emotional awareness has strong links to greater inter-personal skills in many different areas (Côté & Miners, 2006). Obtaining and developing these skills starts as soon as we are born and primary school marks an important social step, where a lack of intervention and socialisation with peers can lead to large disparities of emotional awareness levels between children (Hojnoski & Missall, 2020). Wilson (2017) states that when choosing a research topic, one should “identify a classroom issue that you want to change” (p. 107). As a result, the issue of emotional awareness was chosen due to a high number of students observed struggling to accept, manage and label their own and other’s emotions.
1.1 The connection between music and emotional awareness.
There are strong links between different types of musical engagement and emotions, including musical listening, (Koelsch et al., 2005), musical composition, (Juslin & Laukka, 2003) and musical improvisation (Campayo–Muñoz, E., & Cabedo–Mas, 2017). Identifying and portraying emotions in music can be a subjective task, however a study by Resnicow et al., (2004) found that the greater emotional intelligence level you have, the greater your ability to recognise emotions in music. Looking at improvisation, Landau and Limb (2017) highlight the possibility that musical improvisation can be used to highlight emotional awareness levels and enhance them, believing improvisation to be an “insight into the mechanisms of the creative mind” ( p. 31). Macdonald and Wilson (2020) also highlight the wide benefits that musical improvisation can have, in particular, the benefits to types of human interactions. Taking into account all these links between music, emotions and other extra musical benefits, musical improvisation was chosen to be the creative medium through which the children could express their emotions.
- 2 Age Appropriateness and National Curriculum
This project fits within the national curriculum for music for year 5 level as the children were improvising and composing music “for a range of purposes using the inter-related dimensions of music” (Department for Education, 2013, p. 197). More specifically, manipulating and discussing the different musical elements. Gooding and Standley’s (2011) meta-review results show that the majority of children aged 7-11 should have developed greater motor skills, (used to play instruments), as well as have similar levels of aesthetic responses to music as adults. The tasks chosen for the children to complete in the project align with the meta-review results.
- Literature Review
Looking at literature, there are strong links between music and emotions. Koelsch et al., (2005) examine changing brain scans whilst listening to music, highlighting the effects that different types of music have on the brain. Furthermore, Juslin and Laukka (2003) conducted a review of 104 studies looking at what they describe as the “intimate relationship between vocal expression and music performance regarding emotions” (p. 805). This review came to the conclusion that music provides a way of “training encoding and decoding of emotions in a fairly non-threatening way” (p.805). Resnicow, Salovey and Repp (2004) examined whether the identification and portrayal of emotion in music was an aspect of emotional awareness. Their study found a significant correlation between measured emotional intelligence and the ability to recognise emotion in music. Looking more closely at improvisation, MacDonald and Wilson (2020) list the musical and extra musical benefits of improvisation such as building confidence, increasing self-esteem and expressiveness as well as many other social benefits.
During the project it became clear that improvisation structure was something to be researched further. Solis and Nettl (2009) identify the need for structure in composition in schools, especially improvisation. This was due to the fact that some students in the study struggled to make sense of the music well enough to incorporate their ideas successfully. A stronger structure was incorporated later into the project when it became clear that a stimulus was necessary.
As most of the tasks were completed within small groups, research was conducted into positive group practice. Fuss and Gleason (2016) stated that “active learning almost always starts with students talking” leading me to plan all activities around an initial group discussion element to share ideas and get everyone involved (p. 1). Harwood and Marsh (2012) believe that in order to have as much creative freedom as possible, children should be allowed to choose their own groups. However, whilst working with groups with varying levels of emotional awareness, it was important to have a balance of abilities in each group.
One concept that arose frequently was that of creativity and freedom of expression. Whilst examining teaching strategies of improvisation, Fautley (2004) believed that teachers intervene too frequently for the purpose of assessment, imposing too many design constraints. Adding to this, Sætre (2011) stated that “within the field of creativity”, imposing too many rules on the improvisation process is an “educational paradox” (p. 43). Whilst working with these children, it was clear that their improvisations required more structure and facilitator input than those described by both Fautley and Sætre. These differences in findings could be attributed to the fact that Fautley’s research was conducted with secondary aged students. After reading suggestions to improve creativity by Sætre (2011) I allowed the students to choose their own instruments as well as how they organised and presented their ideas.
- Methodology
Emotional intelligence can be measured using different models of testing, one of which is the Mayer-Salovey-Caruso emotional intelligence test (MSCEIT). The MSCEIT identifies 4 “branches” of emotional intelligence which are perceiving emotions, using emotions, understanding emotions and managing emotions (Fiori et al., 2014, p. 2). The activities completed in this project were all designed so as to provide qualitative evidence towards these 4 test areas in order to obtain a wide view of the children’s emotional awareness levels.
- Methods
The data collected during this study was all qualitative. Data type varied and included observations, discussions, written work and improvisational performance (recorded with audio). The findings include children’s responses as well as necessary session adaptations. There were seven children who all attended each session and were selected for their varying levels of observed emotional intelligence levels in and around the classroom. My role as an insider researcher was to be able to see first hand the responses and interactions that were taking place, so they could be recorded promptly. Being present in the room provided the opportunity to present each participant’s emotional responses to the stimuluses that they were being presented with.
- Musical Listening
The project began with a musical listening exercise where students were asked to listen to 6 pieces of music and identify the emotion that they either felt, or thought the performer(s) was trying to portray. This provided an opportunity to discuss and observe their reactions to the music and tested both their ability to perceive as well as use emotions. This exercise provided an interesting insight into both the children’s prior experience in musical listening, but also was successful in highlighting their initial ability in recognising emotions and articulating their thoughts.
3.3 Looking at facial expressions
Pictures of people with 24 different facial expressions were provided for the children and they were asked to write down what they thought the person was feeling. They were asked to take their time and not discuss their thoughts with the rest of the group. Whilst it had no link to music, this task provided data towards their ability to perceive emotions in a more general sense which, combined with prior classroom observations, would provide the bases for their approximate emotional awareness abilities before using musical improvisation as a tool. Overall, this exercise took longer than expected and the group was very eager to discuss their thoughts about each facial expression as a group, rather than complete the task independently. This meant that the answers that children gave were very similar.
- Musical improvisation
The first improvisation task was to improvise a short piece of music in a small group, based around a pre-written scenario I provided. The groups had to discuss what emotions would likely be present in the scenario and how they would change. This task was adapted from a study by Pellitteri et al., (1999) where the different groups had to first perform their improvisations, and then guess the intended emotions they heard in the other groups performance. This both tested the branches of perceiving, using and understanding emotions.
The final project involved the group improvising to a short animation film in order to provide structure. The group watched the video, which was muted, and were then given the instruction to create an improvised piece of music to be played while the video was playing, to portray the emotions the characters were feeling. Together, they created a timeline for the video which was structured around the emotions. This final project demonstrated their abilities to perceive, use, understand and manage emotions with their peers (emotions and interpersonal relationships). This final piece was created over two sessions and was audio recorded. Each student got very involved and enjoyed the task, however letting them have too much freedom in instrument and creative choices meant that they were not always focused on task, for example, changing instruments too frequently and only focusing on playing the instrument as much as possible.
- Action Research Cycle
After the tentative start to improvisation using a pre-written scenario, an adaptation to the project was undertaken. Using a version of the action research cycle, the use of film was introduced for the final project not only to provide an interesting stimulus (it was evident early on that the group was interested in film) but was included to provide a structure for their whole group improvisation (Wilson, 2017). This adaptation worked well for the group as their ensemble playing had a greater purpose, and the group knew the direction of their composition as well as when to include the emotions.
One other point during the project where the action research cycle was used, was while the different musical elements were being taught and practice. At first, the children were allowed to select their own choice of percussion instruments to practice on, however it was observed that this lead to distracting behaviour and a continuous desire to change instruments as some instruments did not always work well to express the desired musical change. The adaptation was made to the session that followed, where the whole group practiced on various types of African drums. This was highlighted by Ehrlin and Wallerstedt (2014) as being a particularly successful group activity for practicing dynamics and tempo in particular. This adaptation resulted in a more uniform approach to learning as well as a dramatic increase in concentration levels and a focus on children’s own input.
3.6 Ethical Considerations
This project followed the British Educational Research Associations, (BERA), guidelines (2018). Consent was obtained via opt-in letters sent home to parents/carers, and verbal consent was obtained from the children participating during the first session. The children were all made aware of the purpose of the project to ensure transparency. All children were given the right to withdraw at any point, and were also told they could re-join if desired. All names that are included in this report are pseudonyms that the children selected themselves and have no personal connection to any of them. All evidence collected was stored on UCL’s one drive system and deleted from any external devices used to record.
- Findings and Data Analysis
This section will outline the qualitative findings and data interpretations of the project, examining the different types of data that were collected during the sessions. Below, table 1, shows the qualitative findings of each of the exercises compared to the previous observed emotional awareness levels of the children (excluding outliers (see 5.1)).
| Musical Listening – Discussion | Musical Listening – Responses | Facial Expressions | Improvisation on a pre-written scenario | Final improvisation project | |
| Lower observed emotional Awareness | Children were less able to accept other’s ideas and initially believed there could be one possible emotion. | Could only hear/feel three or four basic emotions (sad, happy, angry, scared). | Struggled to focus on task. They struggled to determine facial expressions that were shown. Focused on basic emotions – anger, happiness, sadness and fear. | Less able to contribute towards emotional input into the music. Focused on scenario’s sound effects – rain, thunder. Found lack of structure challenging. | Chose to focus on sound effects rather than emotional queues. Less able to include different musical elements within music at appropriate time. Found having structure easier. |
| Higher observed emotional awareness | Children were able to discuss different possible emotions with each other, bouncing ideas off of each other, sometimes changing their minds after hearing a different idea. | Were able to be more specific in the emotions they heard and were able to justify answers to compliment responses. | Struggled to focus on task. More varied response in the emotions that they thought they saw such as surprise, shock and confusion. | Planned and discussed both the emotional and sound effect prompts that were given and attempted to include them in improvisations. Found the lack of structure given challenging. | Structured their musical element changes around emotional queues as well as sound effects. Found having a structure easier to follow. |
Table 1. (Above)
4.1 Musical Listening
During the first session the group was asked to write down, and later discuss, the emotions that they heard within different pieces of music. Before the first excerpt was played, I asked the group a series of questions that they might ask themselves during their listening, one of which was ‘what event can you imagine taking place alongside this music?’. This question sparked their use of describing film settings with music, which helped them vocalise their thoughts. I began the task by asking the children to listen with their eyes shut. Before playing each excerpt twice, there was silence. There were some disagreements as to the different emotions being heard and the group had difficulties accepting that there were different possible interpretations, leading to arguments. It was important as the facilitator, to emphasise that we might not all hear or feel the same emotions from music. Van Velsor (2017) discussed the importance of listening tasks and perspective taking for children in order to augment their collaborative skills. I took the time to listen to each individual and then ask the group if they wanted to add to the answer or give a different response.
I tried incorporating more open ended questions to prompt more complex responsesand show that within the topic of emotions, there is usually not one correct answer. For some students, more prompting had to be provided to encourage and delve deeper into their thinking. Once this level of discussion had been established, it was clear that they felt most comfortable and able, to express their reasoning by linking the music to fictitious emotional film scenes.
One observation to note was that Ace, a member of the group with an observed low emotional awareness level, heard the piece of happy/jolly music, and proceeded to cover their ears and fall to the floor. When asked about the reaction, the following conversation took place;
Teacher: “Are you okay? Do you not like the music?”
Ace: “I really don’t like the music. Like, I know it is supposed to sound happy, but it makes me feel bad. I don’t really like happy music.”
Following such a strong and unexpected response, I observed Ace intently during the subsequent musical excerpts but did not see anything as unexpected. It was only the happy music that made him react in this way. Once I had stopped the music, Ace calmed down immediately. This reaction shows that even at a basic emotional level, different music can have a profound effect on people.
This response stimulated the thought that whilst an emotion can be heard in music, it is not always felt/induced in the listener. Juslin (2010) states that “the term communicate can be used regardless of whether the transmitted emotions are generally felt or simply portrayed” (p. 455). With Ace it is clear that the music transmitted the opposite emotional effect.
4.2 Facial Expressions
I introduced the facial expression task to the children by first asking them to sit at a table (something we had not done in previous sessions). Whilst they worked separately and were instructed not to discuss, because of how challenging some of the members found it, they were keen to have a group discussion – this discussion was had at the end of the session once answers were completed. Possibly, the students might not have enjoyed doing this task independently because of the change of setting – going from sitting in a circle, to a more formal desk setup. If I were to repeat this task, I would keep the original circle structure, to present a less rigid environment, which might help the students feel more at ease with their individual responses.
4.3 Group Scenario based Improvisation
One session of the project was allocated to practicing and manipulating the musical elements of texture, dynamics, tempo and timbre, to then use them to portray emotions. They had very limited previous knowledge in the musical elements. The start of the session was focused on introducing the words and meanings, as well as doing call and response exercises, to show and practice manipulating them. In the following session, the children were given a short scenario to discuss in their groups, and to then improvise a piece of music to portray the scene and emotions that they agreed upon. An example of one of the scenarios is transcribed below.
You are on a sandy beach. There are horses galloping past. It is very hot and you feel really relaxed. Your ice cream falls and splats on the floor. This really upsets you. It starts to rain so you slowly go home.
The thought for this scenario was the change of emotions in the music from a relaxed/happy feel, to one of sadness. Both groups managed to identify the emotions that were changing but did not create any form of structure for their improvisations to follow. As a result, the emotions that they had correctly discussed, were not identifiably portrayed in their music.
4.4 Final Improvisation Project
The final improvisation project was completed over two sessions. After watching the muted, short animation film for the first time, the children decided to create a timeline of the film, structuring the events by the emotions the characters felt. This linked back to the article by Solis and Nettl’s (2009), outlining the importance of structure for anyone improvising. This was a progressive step from their previous improvisation as it provided a clear structure that the whole group agreed on, completely based on the emotions they perceived. The group was allowed to choose their own instrumentation to use and watched the film as many times as they liked. Whilst it was highlighted by Sætre (2011) that imposing too many limitations on the creative process should be avoided, the group required this structured film stimulus to help channel their ideas.
- Discussion and Conclusions for Practice
Observing the children interact with each other, through disagreements as well as amicable discussions and performances, it became apparent that they had limited experience in hearing about other people’s emotions. The group often challenged each other’s answers claiming they were wrong. This lead to further discussions as a group and most often lead to collaborative solutions to their improvisation. Most often the children who struggled to accept the other group member’s ideas, were the children who had lower observed emotional awareness levels.
5.1 Outliers
There was an exception to this statement seen in Chase, who although struggled with expressing their own emotions, was much more able to identify emotions being expressed in music, as well as portray them through improvisation. This was heard through the different musical elements that they chose to use, expressing sadness with a slower, quieter type of music. Contrary to this, Jane, who in class was observed to have a high level of emotional awareness, found presenting their desired emotions through music challenging, most often choosing to create background sound effects.
These differing abilities to express emotions through music could perhaps be down to confidence in adapting the musical elements, as well as differing experience in listening to emotionally stimulating music (Hallam & Papageorgi, 2016).
5.2 Conclusions for Practice
Upon beginning this project, it was clear that the prior musical knowledge the group had was far less than I had assumed. Repeating this project, it would be important to access their prior learning to determine where to start. Looking at the musical elements took far longer than planned as they had almost no knowledge of what they were or how to use them successfully. I have also learnt the importance of maintaining a supportive and relaxed environment. This was helped for me by being able to access and use the music hut. I unfortunately stopped maintaining this when I changed the set up and asked the group to work at desks, almost destroying the supportive, equal environment that I started with in order to complete the facial expression task. The group was much more interested in talking to each other and sharing ideas than I had assumed, which made the infrequent independent tasks more challenging to facilitate.
This project has identified the need for structure when facilitating improvisation with this age group. After introducing the short animated film, the structure of the improvisations became clear, and the emotional and musical elements of their playing were a lot easier to hear.
One aspect of facilitating improvisation that was difficult to uphold, was allowing the group their creativity in composing their improvisations, whilst maintaining their focus on the task. Often, the group lost focus, starting off-topic discussions or playing their instruments without purpose. It was important for me to keep them aware of the topic, but not give too many ideas for their improvisation. This was more apparent with this group due to the limited experience they had with composition. For future similar projects, I would provide examples of other improvisation tasks for them to listen to and experience how they can fit together. Furthermore, providing more visual stimuluses towards the beginning of the project, and slowly withdrawing them, could provide a scaffolded learning where they gradually become more independent.
- Limitations and Next Steps for Practice
The limitations for this project included time constraints and a small group size. Furthermore, the group contained some members with behavioural needs, which slowed sessions down, especially group discussions. This would most often be because members had trouble accepting each other’s ideas which took up time resolving and managing.
- Improvisation as an effective tool?
The use of musical improvisation was not an easy medium to observe emotional awareness levels. As observed with Chase and Jane, different members of the group reacted differently to the use of improvisation and music in relation to their observed emotional awareness levels. More time would need to be spent on mastering control and knowledge of the different musical elements, as well as musical listening to experience emotions portrayed successfully in music. Removing the limitations of group size and time constraints, improvisation could be used effectively to provide an outlet for emotional expression, in particular for some children who struggle with emotional awareness and communication.
6.2 Next Steps
It would be interesting to trail a similar project in the classroom, including a larger group size with multiple improvisation projects. This would identify more clearly how/if musical improvisation has an effect on emotional awareness in children. The study undertaken by Resnicow, Salovey and Repp (2004) shows that there is a link between the ability to interpret improvisation and emotional intelligence in adults. It is therefore likely that this is a outcome transferable to children.
It is worth noting the other positive effects that musical improvisation has. As mentioned previously, MacDonald and Wilson (2020) identified improvisation as having the power to promote and develop different social skills through non-verbal communication. Furthermore, Juslin and Laukka’s review highlights the ability of music performance to aid in developing emotional awareness in a “non-threatening way” – perfect for children (p. 805, 2003). Thinking about the study completed by Koelsch et al., (2005), a careful sequence of lessons beginning with listening to different types of emotionally stimulating music, and ending with musical improvisation could be most beneficial. If brain scans are changed by listening to different types of music, then first getting the children used to experiencing these sensations would be an important first step. For future practice, the use of improvisation could be used through cross curricular work, bringing greater depth and enjoyment to different topics, whilst developing various important social skills.
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