all performed at the annual conference on silent film in Pordenone, Italy, Le Giornate del Cinema Muto. In improvising for silent film, performers have to play music that matches the mood, style and pacing of the films they accompany. In some cases, musicians had to accompany films at first sight, without preparation. Improvisers needed to know a wide range of musical styles and have the stamina to play for sequences of films which occasionally ran over three hours. In addition to the performances, some pianists also taught master classes for those who wanted to develop their skill in improvising for films. When talkies–motion pictures with sound–were introduced, these talented improvising musicians had to find other jobs. In the 2010s, there are a small number of film societies which present vintage silent films, using live improvising musicians to accompany the film. Venues Worldwide there are many venues dedicated to supporting live improvisation. In Melbourne since 1998, the Make It Up Club (held every Tuesday evening at Bar Open on Brunswick Street, Melbourne) has been presenting a weekly concert series dedicated to promoting avant-garde improvised music and sound performance of the highest conceptual and performative standards (regardless of idiom, genre, or instrumentation). The Make It Up Club has become an institution in Australian improvised music and consistently features artists from all over the world. Music education A number of approaches to teaching improvisation have emerged in jazz pedagogy, popular music pedagogy, the Dalcroze method, Orff-Schulwerk, and Satis Coleman's creative music. Current research in music education includes investigating how often improvisation is taught,<ref>"Composition and Improvisation in Instrumental Methods Courses: Instrumental Music Teacher Educators' Perspectives", Bulletin of the Council for Research in Music Education, 205, 2015.</ref> how confident music majors and teachers are at teaching improvisation, neuroscience and psychological aspects of improvisation, and free-improvisation as a pedagogical approach. In Indian classical music A raga is one of the melodic modes used in Indian classical music. Joep Bor of the Rotterdam Conservatory of Music has defined Raga as "tonal framework for composition and improvisation". Nazir Jairazbhoy, chairman of UCLA's department of ethnomusicology, characterized ragas as separated by scale, line of ascent and descent, transilience, emphasized notes and register, and intonation and ornaments. A raga uses a series of five or more musical notes upon which a melody is constructed. However, the way the notes are approached and rendered in musical phrases and the mood they