The stream of inspiration.

The stream of inspiration. In our previous column, we quoted Franz Liszt Liszt - A Franz Lisp compiler in C which emits C, by Jeff W. Dalton <jeff@festival.ed.ac.uk>.Mailing list: franz-friends-request@berkeley.edu. and suggested thatmusic, to be an art, must flow from inspiration--not mechanism. How canteachers invite inspiration and creativity into their lessons? We encourage our students' natural desire to create and beexpressive by giving them simple, imaginative musical patterns fromwhich they can spontaneously spontaneouslyMedtalk Without treatment create melodies. Soon, melodies beginflowing from their hands like sentences from their mouths. Most of us learned to make music by reading notes, so the idea thatmelodies can flow like sentences may sound rather far-fetched. But giventhe opportunity and a reliable approach, many of our students quicklydevelop speech-like fluidity in their playing. It is natural to makemusic via feeling and exploring, so students who have not yet learnedotherwise will often do so with surprising ease. Here is a pattern we use often with our students. We call this"Reflecting" in our Pattern Play book. [ILLUSTRATIONS OMITTED] Press the damper damp��er?n.1. One that deadens, restrains, or depresses: Rain put a damper on our picnic plans.2. An adjustable plate, as in the flue of a furnace or stove, for controlling the draft. pedal pedal/ped��al/ (ped��'l) pertaining to the foot or feet. ped��aladj.Of or relating to a foot or footlike part. and play this softly. The repeat signs meanto repeat each measure as many times as you like. Move back and forthbetween these two measures many times. Say to your student, "Feelthe mood, then create sounds using only black keys." (We avoidsaying "create melodies" because this can be intimidating in��tim��i��date?tr.v. in��tim��i��dat��ed, in��tim��i��dat��ing, in��tim��i��dates1. To make timid; fill with fear.2. To coerce or inhibit by or as if by threats. .)Ask your student to close her eyes, listen, feel and explore. Vary theway you play your part in response to what she plays. Next, ask your student to play the pattern as you create sounds andmelodies. If the student is a beginner, she can play just the first twonotes in each measure (a fifth). Finally, ask your student to play both parts as a solo. Use imagery("make waves of tone") to engage your student'simagination and awaken her sensitivity to touch, tone, phrasing, rhythm,mood and feeling. Remind your student to keep it simple and not to stop. To invite astream of inspiration, there is nothing more important than to keep themusic going and flowing. When the student is ready, give her another pattern to play, onethat provides a break from the main pattern. We usually call this secondpattern a "vacation." [ILLUSTRATION OMITTED] Ask your student to return to the original pattern when she feelslike it, then move back and forth between the pattern and vacation. Inthis way, the student can create long improvisations with a two-partform that is open-ended. Though the resulting music doesn't compare with Chopin, thestudent is actually creating music in the manner of Chopin. The soundsand the performer's accuracy are not what are important here. Weare helping our students discover and dive into the endlessly refreshingstream of inspiration. [ILLUSTRATION OMITTED] This is a pattern we call "You're a Winner!" As youplay this, ask your student to create melodies with thirds or sixths onwhite keys and play as if she is walking into her own long-awaitedbirthday party. Repeat each measure many times. Then switch places andcreate. Finally, ask the student to play both parts. Once students learn to create music from inspirations and feelings,they will instinctively in��stinc��tive?adj.1. Of, relating to, or prompted by instinct.2. Arising from impulse; spontaneous and unthinking: an instinctive mistrust of bureaucrats. do this with literature. They will naturally andartfully "inflect in��flect?v. in��flect��ed, in��flect��ing, in��flectsv.tr.1. To alter (the voice) in tone or pitch; modulate.2. Grammar To alter (a word) by inflection.3. " the notes as they read them. Many students take delight in creating. The composer FredericDelius once wrote, "The only joy is to create." Creatingstarts with simple, imaginative patterns that allow the stream ofinspiration to begin to flow. Akiko Kinney teaches improvisation improvisationCreation of music in real time. Improvisation usually involves some preparation beforehand, particularly when there is more than one performer. Despite the central place of notated music in the Western tradition, improvisation has often played a role, from the and literature to all of her 40private students. She earned a master of music in piano performance andis now working on a master's degree master's degreen.An academic degree conferred by a college or university upon those who complete at least one year of prescribed study beyond the bachelor's degree.Noun 1. in psychotherapy psychotherapy,treatment of mental and emotional disorders using psychological methods. Psychotherapy, thus, does not include physiological interventions, such as drug therapy or electroconvulsive therapy, although it may be used in combination with such methods. . Forrest Kinney is an educator devoted to reviving re��vive?v. re��vived, re��viv��ing, re��vivesv.tr.1. To bring back to life or consciousness; resuscitate.2. To impart new health, vigor, or spirit to.3. personalcreativity in the classical music tradition. He is the author of thePattern Play series on improvisation and Creativity-Beyond Compare.