Composition and Improvisation in Instrumental Methods Courses: Instrumental Music Teacher Educators’ Perspectives

Abstract

Many musical traditions value creative music making in the form of composition and improvisation. However, research indicates American public school teachers consider improvisation and composition among the least important and most difficult skills to teach. Because instrumental methods courses serve as one source for preparing future instrumental teachers, this mixed methods study elicited experiences, values, and decisions from a national population (N = 321) of instrumental methods instructors. The results of the national survey and interviews with selected participants (n = 8) served as the data sources. Results indicated general support for improvisation and composition in teacher preparation, but low levels of prioritization in instrumental methods courses. Instructors’ comfort with those skills, curricular space, and preparation for existing jobs were among reported barriers to prioritizing composition and improvisation in coursework. Recommendations include greater intentionality in planning for composition and improvisation by teacher educators, professional development opportunities for in-service teachers, and encouraging future music teachers to seek musical experiences beyond typical requirements.

The residue of composition and improvisation activities in a woodwind lab course

“…The lack of emphasis on composition and improvisation may be the result of what Deemer (2016) calls the “overly limiting performance-based mind-set” (p. 43) of instrumental music education, where the emphasis is placed on the technique and performance of previously composed music. Stringham et al (2015) concur: “based on our data, a change in preservice preparation curriculum would seem to necessitate a change in culture—a new definition of what teaching instrumental music means” (p. 21).…”

“…Composition, improvisation, and arranging are rarely addressed in instrumental methods courses. Compared with other musical skills and knowledge, composition and improvisation are a lower priority for instrumental methods instructors (Forsythe et al, 2007; Hewitt & Koner, 2013; Stringham et al, 2015; Wagoner & Juchniewicz, 2017). Often, instructors themselves do not have experience with improvisation outside of a jazz setting, and they do not feel comfortable incorporating composition and improvisation activities into methods classes (Stringham et al, 2015).…”

“…Compared with other musical skills and knowledge, composition and improvisation are a lower priority for instrumental methods instructors (Forsythe et al, 2007; Hewitt & Koner, 2013; Stringham et al, 2015; Wagoner & Juchniewicz, 2017). Often, instructors themselves do not have experience with improvisation outside of a jazz setting, and they do not feel comfortable incorporating composition and improvisation activities into methods classes (Stringham et al, 2015). The lack of emphasis on composition and improvisation may be the result of what Deemer (2016) calls the “overly limiting performance-based mind-set” (p. 43) of instrumental music education, where the emphasis is placed on the technique and performance of previously composed music.…”

“…Scholars have suggested methods courses as places of opportunity where composition and improvisation could be included in music teacher education (Deemer, 2016; Stringham et al, 2015). Eros et al (2020) implemented composing and arranging assignments into a brass methods course.…”

Instrument teachers’ practices, beliefs, and barriers regarding musical creativity: Exploring the creative process of interpretation

“…These results are important for instrumental teacher educators. Research suggests that music teacher educators present the same arguments as instrument teachers for not engaging in improvisation or composition (Hewitt & Koner, 2013;Stringham et al, 2015). Breaking -Abramo, 2015;Biasutti, 2010;Nussipzhanova et al, 2016).…”