We base our debate on the potential values of bringing improvisational practices into schools. Through using a specific primary school production (Bråkebøtta) as case study, with data collected from both the musicians involved as well as selected teachers, we compare the two perspectives, and consider to what extent improvisational practices may enrich a learning and teaching environment. Indeed, letting three professional improvisers «do their thing» in a school concert setting, represents a situation in which the two perspectives meet in «playful» dialogue. We describe this as a playroom; and by that, we recognise both the playful and adhockery based character of improvisational practices, as well as see how such practices are adaptable to ever changing contexts in various schools. Through trial workshops, interviews and observations we see a link between the musicians’ improvisational tools and strategies, and teachers’ reflections on the production. We describe the performance strategies and tools behind Bråkebøtta as facilitating a communal playroom for all participating parties (pupils, teachers, musicians), and scrutinize the interactive elements in play within such a space.

Keywords: improvisation, relational music didactics, improvisational tools, adhockery, school concerts.