Some thoughts
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Introduction
Scottish education is going through a period of significant and important change to its curriculum, learning and teaching, and the processes that underpin them. As learners journey through a broad general education and into the senior phase, they are experiencing a breadth and depth to their learning, with a focus on skills progression. Music composition plays an important role in developing a sense of self within learners and an understanding of the world around them.
What are the features of great learning in music composition?
The message at the heart of the principles and practice papers for Expressive Arts is the role they play in shaping in each learner a lifelong appreciation of and participation in the Arts. Approaching composition with this in mind opens up the possibility of supporting learners in a different way. The learning is centered around the composition process where young people will have the opportunity to reflect on both their learning and skills they are developing. Through exploring sound and with a focus on skills progression, learners will develop their musical voice and sense of compositional identity.
Young people need to be given time and space to create and to focus on the compositional process. In this way they will fully understand their own learning and develop the ability to reflect on the acquisition and development of skills. Time should be spent exploring sound, listening to and analysing music, using music technology and reflecting on the development of their own skills. Doing this will help the learner to grow in confidence and support them in nurturing their own compositional voice.
Music composition is an engaging and creative process. Planning for progression will ensure there is breadth and depth to learning through composition. A balance also needs to be struck between teacher scaffolding learning and pupils being given time to explore their own creativity. Embedding personalisation and choice within course delivery and, where appropriate, engaging with partners will inspire learners and build teacher confidence.
A composer sets out with an intention to engage and interact with an audience through their music. Connections are made with their audience through a range of responses on a physical level, for example through dance or movement, an emotional response, for example a piece of music which moves the listener in some way, a social response, for example a shared experience through group performance, or an intellectual response, for example developing an understanding of the compositional process. In their book “Minds on Music,” Michele Kaschub and Janice Smith set out three compositional capacities which appear in varying degrees in young composers. These are intention, expressivity and artistic craftsmanship. These capacities shape the development of a composer and are a strong foundation for analysis and personal reflection.
What is different about this approach?
A breadth of evidence has been gathered from across the country. This has helped to generate the bigger picture about the teaching of composition in schools. Evidence has been gathered from dialogue with teachers, dialogue with composers, surveys, working groups, school visits, and research into current practices. There is a strong focus in secondary schools, for example, on style based composition lessons. Learners will progress their skills through composing in a range of different styles and genres with a focus on analysing music concepts. This is an important aspect in the development of the young composer, but tends to lead entire groups to undertake the same composition activity. The skills developed through teaching composition in this way will be centred around building the learners’ ‘artistic craftsmanship,’(Kaschub and Smith 2009).
Spreading the composition activities wider and with a sharper focus on the other compositional capacities of intention and expressivity can help to shape a learners interaction and understanding of the world around them. Successful teaching of composition recognises that out with both learning and practising technique, learners should develop their capacity to communicate through expression. While it is important to develop the tools and craft for music composition, it is equally important to ensure that the interactions learners have with composition allow for freedom of expression, creativity and individualism. Building in ways for learners to express themselves through music should be central to the development of composition activities.
“Predicting is the core working principle of the brain (Jeff Hawkins).”
This statement gives an insight into the way in which we perceive music. The element of risk surrounding what we hear and what we expect to hear next points us towards a different approach for teaching composition skills.
This article describes how the patterns we hear in music can impact on the relationship between prediction and what we are actually listening too.
The tensions contained within the music were highlighted by Kaschub and Smith in their 2009 publication “Minds on Music.” In this book they clearly set out the tensions in music and how developing an awareness of these in young composers can unlock expressivity. These tensions are: sound/silence, motion/stasis, stability/instability, unity/variety and tension/release. The tensions are not dictated by style as they underpin all types of music. They open up opportunities for learners to explore their own creativity and begin to develop their own compositional voice.
The role of the teacher
“Sensitive music teaching (as opposed to hothousing of little virtuosos) will bring out one of music’s most valuable attributes, which is the nurturing and education of emotion.” (Philip Ball – The Music Instinct).
A teacher plays a vital role in guiding and shaping how a young person interacts with the creative process of composing music. This interaction is key to the development of a pupil’s confidence as a young composer and to the progression of their individual style and skills.
A teacher’s guiding role throughout this process will naturally change from individual pupil to individual pupil and from activity to activity. At times lessons may begin at whole class level, whether this is explaining specific listening and analysis activities or specific composition starters. Learners should be encouraged to work on individual activities, relevant to their needs which are facilitated by the teacher. The expertise a teacher can bring to work will help to shape how young people listen to and analyse music, and will also support the process of self-reflection.
Teachers should have confidence in how they balance time between teacher led and pupil led activities. There are certain conditions to help a teacher develop their confidence in supporting composition in the classroom. In ‘Composing Our Future,’ Kaschub and Smith set out three conditions for successful teaching of composition:-
Teachers must themselves compose. This will enable practitioners to develop theory own experiences which can be shared with pupils.
Build a network for support or for sharing ideas. There are a range of approaches to building networks, these can involve establishing partnerships with professional composers, but also through effective moderation activities within a department or across a local authority. Developing a shared understanding will have a positive impact on teacher confidence in assessment, and guidance for this can be found on the Education Scotland website.
Keep up to date with the latest pedagogical approaches to delivering composition in the classroom. Social networking is a great way of connecting with composers and arts organisations. Through following news feeds and discussion boards, research studies and new approaches to learning and teaching can be accessed. The new Expressive Arts network on GLOW is also a great way to share experiences and resources with practitioners from across the country.
The Role of Technology
The development of technology has transformed the way in which young people can capture and document their music. These technological developments offer young people greater flexibility in the way they can work. For example there is no longer a need for a young composer to rely on others to perform their music. However, having the opportunity to be involved in group music making activities and hearing their work performed by others is a great experience for any composer. Establishing partnerships with local ensembles or choirs could provide learners with a platform to workshop ideas for different combinations of instruments.
The range of hardware and the number of software applications which can turn a mobile device or computer into a creative tool are being developed daily. These broadly take the form of stereo and multi-track recording hardware devices, score writing packages, sequencing software, audio editing software and Digital Audio Workstations (DAWs). It is important for teachers to recognise which music technology is the most appropriate to enhance the creative experience and workflow of a young person.
Central to all composition experiences should be listening activities. The most effective forms of listening look behind the music and explore how the music impacts on the listener. A useful listening activity structure entitled “Compositional Forensics,” can be found on this website:
Technology has also opened doors for young people to access music from a range of internet sources at the touch of a button. The internet is an incredibly useful resource for opening up a palette of sound and colour for learners and where they can discover styles of music which are new to them. Through listening and research, young people can reflect on what they are hearing and begin to build an appreciation of how music is constructed. Carefully structured listening activities will help to develop an awareness of different sound colours, what a composer is trying to communicate, the ability to reflect and analyse what they like about a particular piece of music, and key elements which can inspire their own compositions.
The role of assessment
Well balanced assessment of composition activities can build confidence in young composers as they develop their skills. Most assessment of composition should be formative and allow dialogue between pupil and teacher. This will help to inform next steps of the composition journey. It is important, however, to ensure that pupils take ownership over their compositions. Suggestions made by a teacher may or may not be adopted by the pupil, which should be expected as part of the acquisition of skills and exploring their own creativity. Peer assessment has an important role to play in the development of a young composer’s skills. It has to take place in a well managed environment, and allow pupils opportunities to share their thoughts and to give and receive constructive feedback. At first it is more than likely that the process will be guided by a teacher. Over time, as young people grow in confidence and experience, it can become a self-regulating environment. Reflecting on their own progress and learning is very important for the young composer. Throughout the composition process, learners will reflect on what they are doing and how they are going to develop their ideas further. Reflection in composition should not be viewed as an activity which just happens at the end of the work. Composers reflect on their work on an on-going basis. The internal dialogue a composer has throughout the process shapes both the current and future work. For a learner, this level of reflection will help to build confidence in the development of their own skills and decision making.
“Music is the sentiment of a man’s soul….” (Mary John - Stax recording artist)
Composing music plays a vital role in the development of children. In early and first level, play based composition can help young children to make sense of the world around them, when they soundtrack their own play, for example. Older composers can bring their own experiences and personal feelings to their compositions in order to express themselves. Starting from the learner’s own experiences of and engagement with music composition will connect their learning both in and out of school and ensure activities remain relevant to the young composer.
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