composition & improvisation


Changing the Culture of “As Long As…” Matt Turner, WMEA State Chair, Composition & Improvisation


Recently, I asked my college students to each name three composers, and these names were men- tioned: Schubert, Chopin, Beethoven, Mozart, Bach, etc. All of the names were those of white


men and all were European, barring an American jazz composer. No people of color and no women were mentioned (the majority of the class is composed of wom- en). I asked this question because I was shocked that not one student could name a blues musician. Why could they name dozens of classical composers but were unable to name one blues performer?


The students explained that they did not know the names of blues musicians be- cause they had not been exposed to blues music. Fair enough. But, I was not willing to let them off the hook. I explained that blues (like jazz and other American styles) is Black American Music, and it must have a place at the table. Blues is an integral component of American music – we hear it in pop, soul, rock, funk, jazz, R&B, hip-hop and other styles. It is pervasive, and yet, many of us in the U.S. know very little about it. Why is this, especially when diversity and inclusiveness are embraced more than ever? Are we unintentionally avoiding teaching music from numer- ous cultures? Why are students unable to name women composers or know that Duke Ellington was a prolific (if not the most prolific) American composer? Is it because many of us have been educated in a eurocentric vacuum? If yes, how do we break the cycle?


“Diversity and inclusiveness” is a com- mon catchphrase today. Disputably, more than ever, public school teachers, college faculty and administrators are working towards creating more diverse and inclu- sive learning environments. In previous


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articles, I tipped my hat to teachers who embrace diversity and inclusiveness us- ing various approaches: changing the mechanism of the ensemble, incorporating improvisation and composition into the curriculum as a core element, teaching/ learning music outside of the canon and supporting cultural affirmation. But, are we really adopting diversity and inclu- siveness, or do we just like the idea of both? While many educators are making an effort to change, we have a long way to go with transforming what I call the “Eurocentric Pillar of Power” and the culture of “As long as…”


The Eurocentric Pillar of Power


Imagine this picture: seemingly durable and indestructible, this pillar represents the canon and its efforts to play museum keeper in maintaining the past. At the base of the pillar are numerous flowers and vines. Beautiful and colorful (and easily trampled), they represent contemporary music outside of the canon. They add interest to the “pillar blanc” but have dif- ficulty in affecting change – the pillar’s color remains unchanged and the vines are unable to climb above the base. Sound familiar? It should; this is how most music schools operate – maintain the tradition and throw a few bones to appease those interested in music outside of the canon. Now imagine creating a new object: a malleable pillar with vivid flowers and vines intertwining within and all over the stone, and the result is a wonderfully un- recognizable permutation of the original. The pillar is gone and something else is in its place.


As Long As…


Some would argue that since the pillar had colorful flowers and vines at its base di- versity was achieved. Was it, though? The pillar remained the bastion of maintaining tradition, but the flora was powerless to affect change. As long as the eurocentric model remains intact (powerful), we al- low for other kinds of music making to


be on the menu. But, not so fast. Is that really diversity? Is this really embracing inclusiveness? No, because the power still lies with the exclusive eurocentric-based music school environment. It does not allow for music outside of the canon to be included in the core. In other words, “this music” is more important than “that music” which creates a hierarchy. As long as you perform Schubert, you are allowed to perform Ella Fitzgerald. As long as you study Mozart, you have permission to be in gamelan. As long as you perform an aria, you may consider performing hip-hop. And, so on.


Truly embracing diversity and inclusive- ness means that educators must make some intense sacrifices. Many of us talk the talk, but will we walk the walk? Again, we like the idea of diversity and inclu- siveness but may be unwilling to make changes ourselves. If we want inclusive- ness, we must change what and how we teach, and that may entail letting go and giving up what and how we usually teach and what and how we’ve been taught. In other words, we have to leave behind the notion that because we were taught a cer- tain way that this is the “right way.” The unfortunate reality is that the “right way” often does not have inclusivity on the menu. Moreover, the “right way” might be irrelevant or antiquated.


I am hopeful that we can truly adopt di- versity and inclusiveness by integrating improvisation and composition into the curriculum, by modeling appropriate rep- ertoire for our students (what they perform as well as what we teachers perform), by emphasizing the importance of creating music, and by adopting a transcultural methodology – one that includes a conver- gence of multiple musical cultures.


Matt Turner is a cellist, pianist and composer. He teaches improvisation at Lawrence Univer- sity. Email: matthew.l.turner@lawrence.edu


April 2018


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