Sunday, June 19, I was asked to present both of my most recent opera scenes in the Lyric Opera Words + Music Showcase at the UMKC Composers' Workshop. I was very excited to present my pieces and get the reactions of the young composers in the audience, but little did I know that I would have to do a Q & A with the young artists about my process and how the pieces were written. I had never thought of what I’d say about my process to a group of impressionable creators who were essentially looking up to me for advice on how to perfect their craft, something I myself strive for in each piece still.
After the first piece was presented, I was met with quite a bit of questioning about how to set text, how I approached the use of motifs and structure and other in-depth questions. I felt good about the responses I gave for these questions and I felt like I really contributed to their understanding of how to write for the voice and gave a good insight into my own method for composition. My second piece was met with equal enthusiasm and, again, more questions about my process and questions about the structure of the piece. Yet again, I felt satisfied in my responses.
The experience gave me an idea about what it would be like to teach students music composition. It was very much give and take, with myself learning a few things about how others may perceive my art and how they may get the desired results differently.
It got me wondering, how would you really go about this? How do you teach somebody a deeply personal and creative art? While there are many ways to go about it, I guess my personal answer would be to try and foster their own curiosity while showing them what tools are available to them. I think there are three different techniques that when used together can best instruct somebody in the art of composition.
Firstly, I’d suggest score study, either in their own personal time or through different assignments. Learning just how Beethoven made that majestic moment, or how Wagner structured that allusive chord can help inspire the artist and show them just how the greats did it. However I do think that for a modern composer, more modern works should be the focus of one’s score study, to see what people in recent times were and are currently doing. However, that isn’t to say to encourage the student to write like that. If the student doesn’t want to write anything else but tonality, they should be free to do so, but encouraged to look at other avenues for their expression.
One way I feel this can be updated for the 21st century is integrating technology into the study. For example, downloading scores onto an iPad or other tablet (personally, I use ForeScore). You can highlight, make notes, circle, mark up and, the best part, ERASE! Without any marks left behind (also great for your lesson music, which I also do for my gigs). It's also convenient for quick reference to your score in rehearsals of pieces. YouTube also has lots of videos of pieces with scores on the screen, saving your students time and money on physical music (though if you're like me and you're a habitual score hoarder, then that won't matter). Though YouTube wouldn't be useful for actual analysis, if could be good for quick references.
Secondly, in regards to making composition assignments, personally I’m not a fan of the composition teacher giving writing assignments. Instead, I prefer to let the student work on their own schedule, coming up with their own ideas for pieces and letting the teacher guide them with their advice, making suggestions on the way. This way the student can choose their own path that reflects their desires. Slowly, the student will start to learn what they like and dislike and find their particular style.
Thirdly, listening is key to figuring out what you like and dislike as a composer. While I stated before that I believe composition teachers assigning pieces to be fruitless, I do believe that the composition teacher should occasionally assign a piece of contemporary music to listen to while the student makes notes on what they think about it (i.e. what they like and dislike in the piece in terms of structure, harmony, texture and style). People tend to listen to what they are familiar with, and composers are not exempt from that. I see it as a way to break the student of listening to only composers that they are familiar with or already like.
There are other factors that go into teaching a student the art of composition. However, these three seem to be consistently the most useful for myself. UMKC currently uses this method; however, I’ve been at schools where the method was the teacher being the “Grail of Knowledge,” making assignments for years saying, “Write a string quartet in the style of (insert composer here).” Then at the end of the degree they say, “Now write a piece in your own style,” and they don’t know what their own style is, because they spent their education career writing like other people. That isn’t to say that that method has no place. It is, in the case of beginners, very useful. However, for somebody of high school level who has been composing small works for a little while, it would be more appropriate to start exploring their own curiosity and creativity by giving the reigns to them, while not completely abandoning the carriage.
