The Integrated Instrumental Teacher: Learning to Play Through Performance, Listening and Composition

Abstract

This article is written to show that composition can become an integral part of an instrumental teacher's methodology. Current musical education in schools in England and Wales is trying to give children a broad understanding of what music can contribute to the lives of all - listeners and performers. The starting point for this is composition. If instrumental teachers can introduce children to this discipline along with the disciplines of instrumental technique and a love of performing, we can create true, well-balanced musicians.Through this approach it is possible that we can develop an integrated music curriculum that joins together the expertise of the classroom music teacher and the instrumental teacher, with resulting benefits to children, who can then see that music is not divided between the creative classroom and the re-creative instrumental and performing worlds.

Mapping Music Education Research in the UK

“…The effects of class size (Jackson, 1980) have been studied and several authors have addressed the ways in which instrumental teachers can integrate their work with class teachers (Bunting, 1992;Hallam, 1998a;Incorporated Society of Musicians, 1996;Verney, 1991). This strand of research has provided an important contextual framework for understanding instrumental learning.…”

“…Recently there have been several surveys which have mapped out the instrumental music teaching systems within which teachers operate (Associated Board of the Royal Schools of Music, 1997;Cleave and Dust, 1989;Hallam and Prince, 2000;Hallam and Rogers, 2003;Performing Rights Society, 1999;Sharp, 1991), the cultures within which they work (Cope and Smith, 1997;Everitt, 1997) and the ethos underlying those structures (Schenck, 1989). The effects of class size (Jackson, 1980) have been studied and several authors have addressed the ways in which instrumental teachers can integrate their work with class teachers (Bunting, 1992;Hallam, 1998a;Incorporated Society of Musicians, 1996;Verney, 1991). This strand of research has provided an important contextual framework for understanding instrumental learning.…”

Compositions of elementary recorder students created under various conditions of task structure

“…A number of product studies examined compositions created under various conditions of task structure (Doig, 1942;Laczo, 1981;Loane, 1984;Rooke, 1991;Salaman, 1988;Scripp Meyaard & Davidson, 1988;Swanwick, 1988;Swanwick & Tillman, 1986;Verney, 1991). These researchers did not examine the impact of the initial directions (conditions of task structure) to the composers on the musicality of the compositions produced.…”

Bridging the divide: embedding voice-leading analysis in string pedagogy and performance

“…Thè Introduction' employs Koda Âly's system of hand-signs, with sol-fa nomenclature, and French time-names, in the belief that instrumental technique, analytical understanding, aural awareness (see Priest, 1989), and basic vocal training, go hand-inhand. Each element serves to strengthen the others (for further endorsement of integrated approaches, see Verney, 1991) Useful analogies here include the idea of skeletal vertebrae, or a tree without foliage; these denote an essential framework (i.e. structural pitches, normally of consonant harmony) which is completed through the addition of¯esh or leaves (i.e.…”