Texas Bandmasters Association
Bandmasters Review • April 2016
17
Music Creation
Have All Students Compose.
Part of taking ownership of a program is taking ownership
of the music performed. Technology has changed the
way we compose and create music, particularly in that
the creative process no longer requires a semester of
music theory to get started. Using software, students can
experiment and compose their own music easily, from
anywhere. This is a pedagogical shift from how most of us
were taught to compose in college, so here are a few tips:
1. Start with short lessons. A composition lesson does
not have to be a large, time-consuming project; instead, it
can be as simple as an 8-measure melody. Get started right
away with easy and consistent assignments.
2. Build off of what you have. Using the music
you are already playing in class, have students write
alternative melodies, counter melodies, re-harmonize
current melodies, rearrange sections for small ensembles,
or experiment with various keys and modes.
3. Focus on a skill. Start by breaking down composition
into elements and use assignments that just work onmelodic
shape, or harmony, or counter melody, or orchestration. You
can gradually build up to larger composition assignments
that include a combination of these elements.
4. Create, Perform, Respond, and Connect in every
lesson. Have students share their music, provide feedback,
perform their pieces, and connect their ideas to the outside
world in every lesson, no matter how big and small. It is
important to include the whole process from creation to
connection starting at the very first lesson.
5. Build confidence. Remember that a student
composition represents a creative idea which they are
sharing with others, so always be sensitive in feedback and
continuously build confidence.
Create a Course.
A well-rounded secondary music program in the 21
st
century should include a thriving band, choir, orchestra,
and music creation course. The music creation course can
use any variety of software and hardware, but the most
important element is that we are providing a course where
any student can join the music program at any level and
where students are learning to create and market music for
the entire school program.
The necessity of strong recruitment at key entry points,
traditionally sixth grade, is driven by the barriers to entry into
a music program in subsequent grades. So often students in
8th grade cannot join a beginning music ensemble because
of grade-level elective scheduling, and a high school student
with no musical training struggles to join a performing
ensemble where students have four to seven year’s experience.
A music creation course allows an entry point for any student
at any level to join a music program.
A school music program should be cooperative and
collaborative, where all courses work toward common
goals of engaging more students in musical activities and
creating better human beings through the arts. The music
creation course can serve as a central hub where students
are recording and promoting the ensembles, creating music
for ensembles, and marketing the program. In many ways
a music creation course that functions in this manner can
serve as the best recruiting tool for performance ensembles.
Conclusion
We need to take a cue from the technological and device-
driven world in which students live and start thinking
about how we can recruit and retain the current and
future generation of music students. This process should
be student-driven and our focus should be to cultivate an
organic culture of consistent enthusiasm for school music
programs among our students and their peers. In fact, isn’t
this why we teach music in the first place?
Retaining the Tech-Savvy Generation
John Mlynczak is President-Elect of the Technology Institute for Music Educators, Adjunct Professor of Music Technology at LSU, and the Director of
Educational Technology for Noteflight, a Hal Leonard company. Mr. Mlynczak is also a passionate advocate for music education, serving on the NAMM Support
Music and State Advocacy Coalitions, the NAfME Advocacy Leadership Force, and is Advocacy Chairman for the Louisiana Music Educator’s Association.
