Composing in Performing Ensembles: Baby Steps Towards Musical Independence
Spiros D. Xydas
The National Coalition for Core Arts Stan- dards (NCCAS) recently released new na- tional standards which featured eleven anchor standards within four artistic processes: Creat- ing, Performing, Responding, and Connecting (SEADAE, 2014). Teachers and school districts are often asked to revaluate their own teaching when new or improved standards or expecta- tions are presented to them. Sometimes this type of self-assessment is reassuring, enlight- ening, and even motivational. Other times, the possible holes in our programs and instruction are exposed, leaving us with concerns and frus- trations. Refocused teacher evaluation systems also highlight some of our shortcomings when it comes to authentically assessing student growth and preparing instruction in a student-centered, inquiry-focused way. Looking at our new na- tional core standards and what our students, even those in performance ensembles, are ex- pected to know and understand, the area that many feel least prepared for is composition and providing opportunities for students in perfor- mance ensembles to create. NCCAS defines the Creating standard as “conceiving and develop- ing new artistic ideas and works” (p. 13). This is achieved through three anchor standards: a) generate and conceptualize artistic ideas and work, b) organize and develop artistic ideas and work, and c) refine and complete artistic work.
I have grown in my teaching over the past six- teen years to realize that students develop a greater understanding of music through com- posing it than by performing it. Performance is limited to ability. It takes a long time to de- velop as an instrumentalist or vocalist and per- formance can often be demonstrated by rote, memorization, or responding to the director’s directions rather than through true understand- ing. I engage my students in composition regu- larly throughout the year. We learn a new topic then the students compose. We learn a new style or genre then the students compose. Instead of
practice logs, students are often assigned a small composing experience to ensure that they are thinking with music at home. Some composi- tions are simple etudes to demonstrate or assess for understanding. Some compositions are re- vised and edited within groups or with the entire ensemble’s input to develop a thought, idea, or curiosity. Many compositions are rehearsed and performed in class or at concerts. Other com- positions are beyond the student’s ability and left on the computer and are shared aloud us- ing the notation software. Composition, again, is not limited by how strong one can perform. Students are able to experience and demonstrate musical concepts at a much deeper understand- ing with composition than through performance.
Not enough music teachers utilize composition in their ensembles. This may be because they never did it themselves in secondary school or even as undergraduates (Kaschub & Smith, 2013). I don’t teach composition. I just give room in my ensembles for composing to be used as a tool to enhance learning and allow students to take more ownership in their musi- cal experiences. Technology can make the com- positional process easier and everyone can now be a composer and easily share their musical ideas with the entire world (Randles, 2013). The teacher can be the facilitator to foster students’ own curiosity and musical understanding into meaningful musical experiences. Students un- derstanding music at a higher level can result in better performing students (and better perform- ing ensembles). Further, when students have the opportunity to share and perform their own compositions, they feel empowered. It becomes their music and their learning.
What About Time? Time is always a tough topic in the music class- room. Most of the composing that occurs with my students is done at home. I have a weekly expectation for students to engage with music
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