Overcoming the Obstacles

Psychologists understand that these obstacles can be overcome. A study by Jarymowicz and Bar-Tal (2006) concluded that individuals and organizations “can overcome their fear with much determination and establish an orientation of hope which allows change in situations dominated by fear” (p. 367). Two of the obstacles—musical and pedagogical—can be addressed with curriculum revision at the collegiate level.

The other two obstacles—psychological and sociological—will be more difficult to overcome. It is unlikely that musical deficiencies regarding composition will soon be the norm in collegiate classes for applied music and music theory. Hope may be on the horizon, however. The College Music Society, an organization of thousands of college music professors from the United States and Canada, recently noted in a manifesto that the collegiate music school has been “resistant, remaining isolated and, too frequently, regressive rather than progressive in its approach to undergraduate education. While surface change has occurred to some extent through additive means (that is, simply providing more courses, more requirements, and more elective opportunities), fundamental change (that is, in priorities, values, perspectives, and implementation) has not occurred” (Task Force on the Undergraduate Music Major [TFUMM], 2016).

The report added, “TFUMM takes the position that creativity (defined for purposes of this report as rooted in the ability to improvise and compose) provides a stronger basis for educating musicians than does interpretation (the prevailing model of training performers in the interpretation of existing works)” (TFUMM, 2016). That is quite a remarkable statement! It remains to be seen whether the College Music Society’s manifesto will result in a greater emphasis on composition and improvisation in the college curriculum. But at least there is a recognition that change needs to occur.

Until then, it may be necessary to teach prospective music teachers to compose in music education methods classes. In many collegiate methods classes, students are now learning music by ear, arranging music, composing music, and employing the technological tools for composing and recording music. In-service sessions and summer classes can help current music teachers to develop these skills.

Regarding pedagogical deficiencies, there are a variety of new resources that explain how to teach composition in various settings. Certainly, this book is an important resource (Kaschub, 2021), as are Musicianship: Composing in band and orchestra (Randles & Stringham, 2013), Music outside the lines: Ideas for composing in K-12 music classrooms (Hickey, 2012), and Composing our future: Preparing music educators to teach composition (Kaschub & Smith, 2013). In addition, Music Educators Journal has published special issues on composition (2016), creativity (2017), and popular music education (2019) to provide new pedagogical approaches to teaching composition.

The musical and pedagogical obstacles can be addressed through curriculum reform at the college level, additional sessions after graduation, and published and online resources. The psychological and sociological obstacles will be more difficult to overcome. Consider the psychological issues regarding the development of student musicians. Student visual artists usually create their works individually. Their teacher offers minimal guidance and instead offers a nurturing environment for individual development. Student musicians in a large ensemble are directed by a teacher to perform as a member of a large group, all contributing to a single music product. There is no wonder that music students who have experienced six to 10 years of being directed by others may be lacking in their own creativity.

One solution would be to create more opportunities for music learners to think creatively in music on their own and with other learners. One approach toward this end would be the inclusion of more chamber music, with the teacher acting as a resource rather than as a director. Large ensembles could also break into smaller groups for the purpose of composing their own music.

The sociological obstacle is that the teacher’s control will be diminished if the teacher is no longer the person in control of the music. From my own experiences teaching songwriting classes, I can say that when a teacher allows the class to assess each other’s work, the teacher’s role is strengthened, not weakened.

The work of Austrian philosopher Martin Buber can offer some guidance in this regard. In his 1924 book, Ich und Du (I and Thou), he described two type of relations that we have with people and things around us: I-It and I-Thou. The more common of the two is I-It, in which we consider the objects and even people around us to have a particular function in relation to us. This is a chair; I can sit in it. This is a book; I can read it. These are my students (or trombones or sopranos); I can teach them. I-Thou relations involve more of a mutual regard for the intentions and uniqueness of each other. To apply this to education: an I-It approach would reward achievement, and an I-Thou approach would reward growth. I-It would regard the learning space as a classroom or rehearsal room; It-Thou would consider it to be a community. I-It has assignments; I- Thou has growth opportunities. I-It is more subject-centered; I-Thou is more learner- led. Certainly, the teacher and student have different roles and responsibilities, but the respect that teachers may fear they would lose in an I-Thou setting is increased, not diminished.

Applying Buber’s ideas to ensemble performance would require teachers to ask students more questions about the music being performed and to include students in more of the decision-making. What repertoire should be studied? How fast should the allegro tempo be? To what extent should student compositions be performed?