Most not only never find their individual voices, but remain unaware that such a thing exists. They learn their instruments with emphasis on accuracy and conformity and without allowing them to use the instrument to explore both music and their inner selves. Students commonly learn a great deal of music theory without any connection to practice.

The exclusion of musical creation from performance and separation of performance from composition has led to a decline in audiences and in a lack of interest from the general public in music education and widespread doubt in the need for music education at all.

Contemporary music education tends to ossify tradition, split and isolate disciplines (performance, composition, theory, etc.), to define standard practice and to discourage those who are innovative and experimental. Performers, educators, students, conductors, music therapists, theory teachers, even jazz players. It is useful for any size group from solo to a roomful, and for any level, any instrument or combination of instruments. This book provides a considerable resource for anyone who would like to learn to improvise but who does not wish to have to learn jazz to do so. 'These games were developed through years of teaching a semester class in nonjazz improvisation at the University of Iowa, as well as giving workshops and improvised concerts nationally and internationally.

Aural training for musicians