composition & improvisation
From Mozart to Hip Hop and Beyond: Cultural Responsiveness in the Large Ensemble
Matt Turner, WMEA State Chair, Composition & Improvisation
In the April 2015 edition of WSM, I wrote “Bridging the Gap,” an article in which I raised concerns about the disconnect between what we teach at the university level and what public school
music teachers are expected to teach, especially regarding composition and improvisation. A bit of good news: I am pleased to share that all music education students at Lawrence University will be required to learn improvisational skills and relevant improvisational pedagogical methods as part of their Intro to Music Ed class beginning this year. The advantages are many, but in particular, students who are unfamiliar with improvising will now have this experience in the first year of college. As a result, students will be more likely to seek out additional improvisation classes and ensembles over the course of their college experience and be better equipped to teach improvisation in the classroom. This decision is a wonderful start; my dream is to have every music ma- jor take at least one improvisation course regardless of their focus – an ambitious goal to say the least.
Another issue weighing on my mind these days is the gap between what we teach our students at the college level and how those experiences relate to the diverse popula- tions that those future teachers will serve. Is what we offer relevant in today’s world? Young people listen to electronic dance music (EDM), hip-hop, rock, alternative, pop, dubstep, etc. It’s no secret that very few people – especially teens – listen to classical music or jazz. Yet, classical and
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jazz are the more prevalent styles taught at the college level. And, what will our future teachers teach? You guessed it – classical and jazz. Does it make sense to focus almost exclusively on two styles of music that, in the public’s mind, are barely on the musical radar? In other words, are we as college and public school educators presenting a culturally responsive musical environment? I’m not sure anymore.
Please know that I am not advocating the dismissal of classical and jazz studies, nor am I advocating the elimination of orches- tras, bands, choirs, jazz ensembles or other existing ensembles. I am, however, advo- cating that we put these ensembles under the lens and augment the mechanism. Hip-hop in orchestra? Yes. Pop music in choir? Yes. North Indian classical ragas in band? Why not?
I also see a future in which music teach- ers will have to teach ensembles of mixed instrumentation – it may not be unusual to have an ensemble composed of oboe, cello, laptop, electric guitar, tuba and a small choir. Students will be encouraged to compose and improvise their own pieces. Music teachers will have to be savvy at arranging pieces and guiding students through the at-times challenging compositional and improvisational cur- rents. Technology and electronic music will play a significant part of what we teach and perform. We will need teachers who can both interpret and create.
My concern is reaching that segment of the student population interested in per- forming diverse music and music that is relevant to them. It isn’t about using “gim- micks” to keep students in our ensembles and music programs – it’s about creating
“It isn’t about using “gimmicks” to keep students in our ensembles and music programs – it’s about creating an atmosphere of ownership.”
an atmosphere of ownership. Years ago I had the pleasure of working with a group of string students in Wisconsin whose assignment was to select a piece of their choosing, learn the piece by ear, arrange the piece for a small group and then per- form the piece on the orchestra concert. I heard quite a variety of pieces by disparate composers: Eric Clapton, Lady Gaga, 50 Cent, and so on. I was especially taken with five young men who chose to perform a piece by rap artist 50 Cent. The group, composed of two cellists, a bass player and two violinists, struggled initially to arrange the music for their ensemble. After I showed them some percussion and groove techniques they could apply (yes, on their string instruments), they took the ball and ran with it. Hip-hop in orchestra? Why not?
Matt Turner is a cellist, pianist and com- poser. He teaches improvisation at Lawrence University.
Email:
matthew.l.turner@lawrence.edu
April 2016
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