Many music educators (myself included) are very quick to discuss and explain the "academic nature" of this profession. As music educators, we often encounter individuals who do not understand the process of music education, focusing only on the end product of countless hours in rehearsal. In the past six years, my discussions with those individuals have focused on the importance of music education for its own sake, because of its many evidenced extramusical benefits, its positive impact on both standardized test scores as well as other academic areas, its and many other benefits. Oftentimes, I am quick to mention that music teachers have academic content standards (on both the state and national level). How many of my ensemble teacher colleagues are guilty of failing to address the standards that relate to composition and improvisation? I am.
National standards have existed that address both composition and improvisation since 1994. For more that twenty years, the National Association for Music Education (formerly known as the MENC) has recognized these two skills as essential). NAfME recognized these two skills so important, they each stood as an individual standard (among nine total). William Bauer addresses my primary problem in implementing them in the classroom. "Some teachers, however, have found these creativity standards challenging to implement since their personal background in improvisation or composition was not strong. Many music educators have also been uncertain about the pedagogy for effectively helping students learn to improvise and compose. (Bauer, p. 46)" My primary and secondary school experience with composition and improvisation was nonexistent. My undergraduate training in composition and arranging was too advanced to develop a pedagogy for teaching composition to my middle and high school students. Even in college, I received literally no training in improvisation.
I've used much of the technology addressed in the chapter. I'm excited to explore the pedagogical implications of this software through the lens this chapter presents. Looking various activities that make-up improvisation, my choirs already engage in some of these activities as part of their regular rehearsal process. They regularly "echo rhythm[ic] and tonal patterns... and occasionally... perform familiar melodies and harmonies by ear (Bauer, p. 47)." As I posted a few days back, I believe that one excellent technological resource I can use to assist students with improvisation is Noteflight. It would be easy to create and share a repeating blues progression for students to improvise along with using this web application.
Improvisation begins with audiation and is contingent upon the creation of a safe classroom environment. Kids should be aurally exposed to excellent performances and common pitch/rhythmic combinations. This aural exposure gives them different aural tools they can use while improvising. Students need to be comfortable making music to improvise. The instrument (whether voice, cello, saxophone, percussion, iPad drum pad, Android piano app) can vary. In the end, however, each student must be willing to take risks. Without mistakes, the pursuit of excellence rings hollow.
How do you teach creativity? "Individuals who consistently produce creative works do not just sit around waiting for inspirational ideas to suddenly appear (Bauer, p. 48)." Simply put: they create! Have your students create music daily. Some days, the compositions your students create may be uninspired and forced. Other days, they will be brilliant. Creativity is a learned skill. Develop specific guidelines for student composition to teach specific skills. As their skill and comfort in compositional techniques and improvisational facility improve, broaden your guidelines.
I really appreciate and identify with your post. I, too, am guilty of failing to address our composition and improvisation standards. This is mostly due to lack of training in these areas. I have never had ANY training in improvisation because I received classical training throughout my high school and undergraduate careers. I didn't have any experience with music theory (besides basic music notation) until I got to college, and then I spent all my time trying to learn music theory to the level that was expected in my undergrad. In my music education classes, we never learned how to teach composition/improvisation from a pedagogical perspective except for brief introductions to Orff and Kodaly for elementary students. I feel that this part of my training has been completely skipped over, in a way.
ReplyDeleteYour last paragraph is absolutely true. Students need to practice being creative. They need to create every day, all the time, in order for it to become a learned skill. I think that means that I need to practice too! I get so used to reading the "lines and dots" that I forget the entire other end of the spectrum. If my own creativity is not awakened, I can't possibly help facilitate that in others. Thanks for the encouragement, Ben!
Ben,
ReplyDeleteLike Christen, I also identify with your post about composition and improvisation - I don't do enough of it in my classroom, across the grades...
I have tried to implement composing units in my fourth and fifth grade classes. Even beyond the fact that I also never revieved training on how to teach composing, and with very little improvisation practice (a clarinet player doesn't get to improvise while playing Brahms!), the biggest factor that I have found is a lack of time. I see my students once a week for 40 minutes, and that's not including snow days, holidays, etc. I simply don't have enough time to model how to compose and to have them effectively produce their own works....
... Until I realized that I could use technology. Using MuseScore, GarageBand, and other music technologies, the students will - I'm hoping - be able to produce works faster because they aren't also struggling with actually writing the notes on the staff. In addition, when the students use a program like MuseScore, they can't add more notes in a measure than are allowed... which is one of the largest issues my students have!
Have you gotten a good look at the new Music Standards that are aligned across the Arts? They are fascinating, confusing, and are going to force us music teachers to have our students think more about the music that they are producing (whether playing or composing). I'm just hoping that it doesn't stifle their creativity!
It is incredibly wonderful to know that I am not alone in this!!!
ReplyDeleteI have looked at the new Music Standards that are aligned across the Arts. I can't say that I am fluent in them yet, but if we venture, in earnest, to meet them I wholeheartedly agree. They will force us to work with students as creators, not simply producers/performers.
I'm trying to implement a few of the technologies that we are exploring currently in my 6th grade general music class. With some luck, I can get some of my "little ones" to create every day. I am certain that they will surprise me. With some luck, they will also surprise themselves!