Composition in the Ensemble Classroom: Ideas From Eight Researcher-Designed Methods

Abstract

Composition is a natural human activity that can both support other music instruction and help students develop creativity that is applicable to their extramusical endeavors. It also constitutes a major strand within national and state music standards. However, it is not consistently taught in ensemble classrooms, which are often students’ only form of music education past elementary school. In this article, I briefly summarize arguments in favor of composition instruction, then describe and analyze eight composition units and activities developed by researchers for use in the ensemble classroom. I conclude the article with a synthesis of the implications of the methods, along with other research on composition, into eight key ideas to help ensemble directors implement composition instruction in their classrooms. This article serves as a starting point for ensemble directors hoping to implement composition while also directing them to several other resources they might use.

A View From the Inside: Ensemble Directors’ Perspectives on Standards-Based Instruction

“…Researchers attempting to offer support for the additional focus on literacy called for in the NCAS noted that ensemble directors, particularly at the secondary level, may be slow to adopt appropriate literacy pedagogies, particularly in the areas of composition and assessment (Myers, 2021;Taft, 2019;Weidner, 2018).…”

“…For example, Kassner (2014) puzzled over the “complete absence” (p. 21) of the fundamentals of music-making, stating, “The framers of the CSs [core standards] seem to value abstract thought over technical skill” (p. 21). Researchers attempting to offer support for the additional focus on literacy called for in the NCAS noted that ensemble directors, particularly at the secondary level, may be slow to adopt appropriate literacy pedagogies, particularly in the areas of composition and assessment (Myers, 2021; Taft, 2019; Weidner, 2018).…”

“…While there is a dedicated ensemble strand of the NCAS, it may not fully address the specific needs of ensemble directors and their students. Regarding the difficulty of standards implementation in ensembles, Taft (2019) asserted that "ensemble directors have prioritized performance at the expense of other musical activities" (p. 26). Relatedly, Weidner (2018) noted that music teachers lacked resources for incorporating activities not directly related to the rehearsal process.…”

Opportunities for Creativity in Beginning Band Method Books

“…For ways to systematically introduce improvisation in the classroom, teachers can look to the work of Kratus (1991, 1995) whose model for improvisation development distinguishes seven levels of ability, beginning with simple, unorganized exploration of sounds. Teachers wanting to include more composition in the ensemble classroom can examine the work of Taft (2019) who provides eight researcher-designed composition units for those who want to incorporate composition in their classrooms. Teachers may find it beneficial to schedule class time to introduce these pedagogical strategies, and for students to practice and share their creative skills.…”

“…Other teachers felt that they lacked time to teach creative skills due to music performance expectations (Langley, 2018) or had too many other learning activities to accomplish (Strand, 2006). However, new music technology tools (Yoo, 2021) used in coordination with effective teaching strategies for improvisation and composition (Kratus, 1995; Taft, 2019) may benefit ensemble directors wanting to provide creative outlets for students. By including creative activities in the ensemble classroom, directors may better “develop complete musicians who ‘speak,’ understand, and create music in addition to being able to read and perform it” (Feldman et al, 2016, p. 54).…”