[Smt-talk] COMPOSITION PEDAGOGY
Chair of Music
jablonsky at optimum.net
Fri Mar 20 07:40:16 PDT 2009
David,
Your inquiry raises an interesting question: Why is composition taught
separately from theory? An investigation of the major theory textbooks
reveals that most of them do not discuss the fundamentals of the
composition process at all. The only writing they encourage is the
addition of bass lines or inner voices to already composed melodies,
but there is virtually no discussion of how to write a melody. If you
look in the index, the word "melody" rarely appears or there is a
reference to a very brief discussion in the text.
Melody is where the world of composition begins--the creation of a
musical line that is coherent and has proper musical syntax.
Students in theory classes should be introduced to the process of
composition by instructing them how to write folk melodies in the
first semester of their studies. In the second semester they can learn
how to do soprano-bass counterpoint and compose more complicated
melodies they can arrange for piano or small instrumental ensembles.
In the third semester they can learn to write more sophisticated short
binary or ternary form pieces. After that they are ready to move on to
a composition class where they can explore a variety of styles and
structures. This curricular scheme is based on the premise that music
theory instruction should include composition and analysis, not just
analysis and filling in Bach chorales or completing perfunctory
exercises. I believe that everyone of my students is a potential
composer and should be allowed to explore that possibility as early in
the theory sequence as possible. With that in mind I included a
chapter entitled "How to Write a Melody" in my Tonal Facts & Tonal
Theories.
I have had great success with this program. By the end of the first
semester my best students have written four-phrase folk tunes that
people want to hum. By the end of the second semester they can write
their own sequence-based tune over chord progressions from American
Standards (Gershwin, Berlin, Porter, etc.). And, by the end of the
third semester they can write a binary or ternary piece for solo
instrument and piano that makes sense from beginning to end and
employs modulation.
The most important thing any beginning composer has to learn is how to
hear--how to listen to what makes sense in the work of others and then
use this skill to assess their own compositions. It is the job of the
composition (theory) teacher to determine where a student's work goes
off the track and to offer a set of options for fixing the problem.
This is not always easy for theory teachers who are not composers. One
of the big problems today is that many (most?) of our students do not
have much experience listening to good music from a variety styles and
genres. If all they know is House, Hip-hop or video game music you
will have a difficult time getting them to understand Mozart, Richard
Rogers, or even the Beatles. That is why I get them listening to
"model" pieces that they can imitate after they get it in their ears.
Over three semesters they listen to tunes sung by Burl Ives and Pete
Seeger and end up with Mel Torme and Frank Sinatra.
Finally, what I try to leave with my students is an understanding that
the most important part of the compositional process is the editing,
hoping that eventually they will be able to supply their own solutions
to the problems they find in their pieces and they won't need me.
Prof. Stephen Jablonsky, Ph.D.
Music Department Chair
The City College of New York
160 Convent Avenue S-72
New York NY 10031
(212) 650-7663
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