Compositional Idea Selection and Development

All children can compose music. Some seem naturally inclined to compose, with and without invitation from music teachers; some only respond to opportunities to compose in class. A student may feel surprised to discover that they can sing a song they have written, or that they can compose a piece that others enjoy hearing or performing. Students enjoy working together in groups to create music and write songs with themes of social justice, personal experiences, and humor. Presenting work to peers can provide inspiration. This chapter presents a philosophy for placing music composition at the forefront of music teaching and learning.

For educators, idea generation, idea selection, and idea development are organizational parts of the musical knowledge-building process. Generation and selection of ideas come from an educator’s experiences, training, and style of approach. Idea development comes from the strength of original ideas, experience of student response, and reorganizing expectations of students’ interests and capabilities. Re-generation, reselection, and re-development are also integral parts of this process for educators as extension and revision.

Hickey (2003 & 2012), Webster (1977, 1987, & 1988), and Kaschub (2009) present compelling ideas for teaching music composition in K-12 classrooms. While research has not extensively considered compositional idea selection and development, there are useful articles about “creative music” with young children from the early and mid- 20th century (Coleman, 1922; see also Volk, 1996; Snyder, 1957; and Pierce, 1959). These authors present good ideas for music educators in presenting opportunities for students to compose.

More recently, music education scholars continue to write about creating music with K-12 students (Barrett, 1995, 1996, 2006, & 2012; Glover, 2002; Hickey, 1999, 2003, & 2013; Kaschub & Smith, 2009; Kratus, 1989; Paynter, 2000; Upitis, 1989 & 1990, and 1992; Staufer, 2002; Webster, 2012 & 2013; and Wiggins, 1990, 2005, & 2007). Studies have been developed for band directors (Koops & Whitener, 2020), orchestra ensembles (Love & Barrett, 2019), choir directors (Childs et al., 2007; Mulholland & Walker, 2007), and elementary-level general music (Kaschub & Smith, 2013).

Research supports working at all levels with popular music (Smith et al., 2016), jazz (Sarath, 2013), rock music (Little Kids Rock, 2017), and technology and music production (Freedman, 2013; Oswinsky, 2017; Ruthmann & Mantie, 2017; Williams & Webster, 2002, 2020, 2022; Wise, 2016). International support of these from the National Association for Music Education (2014), South African Department of Basic Education (de Villiers, 2015), The Arts— Australian Curriculum (2020) and England Department for Education (2021) have renewed and updated music education standards that include application for music composition.

Compositional idea selection and development across the music teaching and learning landscape may find materials written for educators of all musical subjects, grade levels, and musical disciplines (Webster, 2016a, 2016b). Extending beyond the Western canon, resources for working compositionally with young students may be found about integrating popular music (Waksman and Bennett, 2014): new journals, for example, Journal of Popular Music Education (Intellect Books, 2021); dissertations focusing on composition through group work in elementary and secondary classrooms with technology (Crawford, 2016; Preston, 2010); and articles about songwriting for student teachers working with K-12 students (Kratus, 2013). Additionally, digital applications early musical learners, such as Chrome Music Lab, Musicfirst (Noteflight, and Soundtrap), and industry-standard music production software such as ProTools, Logic, Bandlab, and others have influenced deeper understanding from perspectives such as equipment, or “gear” basics, to composing with digital devices, and issues of compositional devices and style (Tobias, 2017).

Inclusion of composition in music education for some may be challenged by discomfort or perceived elements of “time” Crawford (2004) completed a national survey of music education professors finding that 1) time, 2) focus on Western ensembles and performance, and 3) relatively limited experience with presenting compositional lesson plans are the primary reasons for not presenting opportunities to compose with students. Students in college environments may also feel challenged, as identified in Dammers’ (2007) study considering composing during band.

Here, students’ compositional output and understanding of their project seemed limited. Ackles (2018) has written about creating opportunities for students to think and respond musically (p. 34), student-centered music education. I communicate frequently that I am not the “boss,” that I am not a judge, that students are the creators who make choices and decisions I could never think of. Student-centered education where self-assessment is part of the educational process is well-supported through beginning with composition in music teaching and learning.

These many studies have set the stage for this chapter by advancing discussion toward specific goals and objectives leading to compositional idea selection and development for creating and composition projects with students. It is promising, with certain effort, that the challenges music educators may experience when first interested in composing with K-12 or tertiary environments can be eliminated. Project ideas provided in this chapter are available to try and then expand. Your personal experience and creative ideas will go a long way to formulate, extend, and further develop composition experiences for your students that may be shared with other music educators. Composition ideas presented here will transfer to any group of students, no matter a student’s age, musical interests, instrument, ability level, or past musical experience.