Is it possible to teach music composition today? A search for the challenges of teaching music composition to student composers in a tertiary context

Abstract

Our aim is to identify the challenges of teaching music composition to today's students of composition at a tertiary or professional level. We undertake this by two different approaches: on one level, by establishing a context through reviewing literature on the teaching practices of three renowned teachers from the twentieth century; on a second level, by considering current practice in the UK through a qualitative case study of six distinguished composers involved in the professional and academic world: George Benjamin, Robert Saxton, Michael Finnissy, Judith Weir, Michael Zev Gordon and Nicola LeFanu. Together these two complementary approaches will provide our first look at an insufficiently researched area.

Exploring Spanish studio music teachers’ views on topics related to creativity

“…On the contrary, the pursuit of a personal imprint as a creative behavior is not equally prevalent in the broader context of creativity research. However, there is research that supports its significance within the specific domain of creativity in art education (Glăveanu, 2018; Mateos-Moreno, 2011). In addition, our participants regarded “innovation,” “originality,” and “adaptation to context” as indicators of creativity, which are typical constructs associated with creativity in any field (Ozenc-Ira, 2023).…”

Learning and music composition: An analysis of composers’ testimonies

“…Also, teachers' feedback seems to play a significant role in students' compositional intent and action (Ruthmann, 2008). Nevertheless, it is complex and even doubtful that individuals learn to compose through teaching, especially at a time where individual originality has become the main goal, as testified by many composers and musicians themselves (Mateos-Moreno, 2011;Saetre, 2011). This assertion is in line with the notion that learning music composition is not only done explicitly (in school or using books) but mostly implicitly or self-evidently from direct experience in the global environment (Wiggins, 2012).…”

Expanding models of music composition: Exploring the value of collaboration

“…It is perhaps unsurprising then that collaboration between composers rarely features in the teaching and learning of specialist music composition at a tertiary level. What does feature varies between institutions and teachers, with Mateos-Moreno’s review of leading 20th century composition pedagogues and interviews with prominent 21st century British composer/educators revealing that ‘there is no clear agreement on what is essential and what is not in the training of a composer’ (2011, p. 422). Simon echoes this, suggesting that tertiary music composition education lacks the consensus around graduate benchmarks that exist in performance studies (2019, pp.…”