What is composing and how is it valued? What does a good education in composing look like; what constraints hinder it and is it possible to overcome such constraints? Can composing be a personal, creative and valuable activity for the school student? What role does the teacher play in all of this? These are questions that I discuss in this reflective study of composing in the classroom.

Task: You have 15 minutes to write a piece of music. You will then perform your composition to your peers

At a recent conference, I presented the above task to a group of music teachers. It was clear, when reflections were fed back, that the initial response was one of panic concerning the vagueness of the task. Further discussion confirmed however that, underlying this panic, was the fear of sharing what had been created. The teachers lacked confidence, not only as teachers of composition but as composers and this is something with which I, a secondary school music teacher of eight years, empathise completely.

Teachers wear many metaphorical hats. My favoured, most prominent, hat is that of ‘teacher’. ‘Musician’ is secondary in my identity (in and outside of my profession) and, interestingly, I don't believe I owned a ‘composer’ hat until recently. ‘Composer’ is a term that I have never engaged or identified with and I often wonder how I arrived at this stage of my career with significant insecurities in such an integral area of music. Western society generally pigeonholes the musician into separate categories (composer, performer and theoretical/historical expert) and this is promoted in an education system where these categories are so often taught as discrete and only loosely related subjects. Perhaps it is not surprising, therefore, that at an early age I considered composing to be either something you could do or something you couldn't do and that those who couldn't ‘do’ composing would soon be able to specialise in some other area of musical activity. Consequently a restricted skill-set in this area need not cause too much concern.

I was a ‘couldn't do’ student. Within the world of composing I felt inexperienced, idea-less and out-of-my-depth; I associated the term with uncomfortable feelings of exposure, judgement and risk and inevitably ‘dropped’ composing at the first possible opportunity. Criteria for success when composing seemed ambiguous and contradictory; was the concept of composing one of self-expression or academic rigour, higher-order thinking and rule following? If composing was purely a form of self-expression, should it perhaps not be interfered with? Or should composing rather follow a path of refined thought? Paynter wrote that:

After many years of confusion I now understand and embrace the idea that the compositional process should involve careful, considered placing, and the editing and refining of personal expressions (if only I had been exposed to this idea sooner!). However, this revelation is seemingly irrelevant because, having distanced myself from composing so early in my musical development, I still feel those same insecurities and uncertainties. I feel inexperienced; unsure of how to create, never mind develop, good ideas and completely unaware of how to value or measure my success as a composer.

In this article I reflect on my recent journey as a composing teacher, identifying significant influences, desires and constraints on my practise. One inevitable and, no doubt, widely shared constraint is that of assessment (the requirement to meet externally imposed criteria) and its potential impact upon creativity. I will briefly discuss the perceived compatibility of assessment and creative composition before reflecting on six key themes that have played a significant role in my quest to facilitate a better composition education for my students: (i) searching for solutions; (ii) identity; (iii) student desire; (iv) addressing the problem; (v) time and (vi) resources.

Assessment v. creativity

The relationship between composing and assessment is something I constantly struggle with. I believe that assessment, if used correctly, can transform and significantly enhance the development and output of a composer but I fear that the constraints of assessment and the curriculum can strangle the creative experimentation and exploration that is fundamental to the compositional process. Winters (Reference WINTERS2012) strengthens this notion by commenting on how:

Within this sphere of assessment, criteria, accountability and league tables I also question the validity, ownership and authenticity of the voice of the composer. Given the constraints of exam board criteria, the demands of the Senior Leadership Team and my intervention (as a teacher) throughout the composing process, who does the composing and who does the composition belong to? Is all of this important to consider when teaching composing?

(i) Searching for solutions

The above experiences and questions inevitably have implications for the way I teach composing, and though my students achieve respectable grades I am not confident that I am giving them sufficient support in this area of their musical education. Thus, the invitation to participate in a research project surrounding composing was much needed and appreciated. Though the idea of working alongside a professional composer in the classroom filled me with dread it presented me with an opportunity to face my demons and address my weaknesses. The very nature of the project challenged me to reflect further upon my attitude towards and feelings about my teaching. After some guided thought I established that the constraints affecting my practice could be grouped into three key areas: identity, time and resources.

(ii) Identity

Having established that teacher identity can restrict a student's development as a composer, I needed to work on improving my confidence in this area. Immediately, the research team challenged my perception of the word ‘composing’, and thus my identity. Like all music teachers, I regularly write musical arrangements for both classroom and extra-curricular ensembles; I constantly create differentiated parts for lower attainment and gifted performers, often ‘on the spot’. This is composition many music teachers do daily. Why then, did the term ‘composer’ not form a more significant part of my identity? This, coupled with the earlier discussed idea of compartmentalising the musician, prompted me to consider how my students might perceive themselves as musicians. Did they see the terms ‘composer’, ‘performer’ and ‘analyst’ as being discrete, mutually exclusive concepts? Did they consider themselves to be a specialist in one of those areas? Were they threatened by the term ‘composer’?

Before the project started, Tim (the professional composer I was working alongside) asked one question and made one comment, both of which resonated strongly with me. In hindsight I have, in the past, completely overlooked these two ideas, which should be integral to my teaching:

On reflection, it seems absurd that I have not required my students to practise composing. All music students are expected to devote time to daily instrumental rehearsal, so why not composing? Yes, when starting a project, students may work through task-related exercises but daily rehearsal of composing is something I had not previously considered. That single question changed my perception of composing; how could I expect my students to become composers without frequent rehearsal? Very quickly, my adopted mind-set of composing being something you could or couldn't do evaporated. An exciting prospect!

I rarely compose outside of school (and certainly do not share my compositions), nor do I attempt the activities I set within class, predominantly because it has not occurred to me to do so. Often as teachers we are driven (for whatever reason) by professional development, yet something as simple as the idea of being an active learner and facilitator, which could transform our practise, is overlooked. Though I struggle to find the time, I have and will continue to prioritise this in my work because the benefits are valuable.

Tim passionately advocates the idea of students editing and refining ideas and constantly searching for their unique sound and voice, but more specifically an ‘excellent’ voice. In the world of assessment and accountability the term ‘striving for excellence’ reminds me of a requirement to meet set criteria; of regular constructive criticism and never quite being good enough; and of students being encouraged to fit a mould. In the world that Tim had created, free from external imposition, this notion of ‘striving for excellence’ was an exciting term; it required a living creativity and engagement with a set of musical challenges.

(iii) Identity: Student desire

Fuelled and inspired by Tim's comments, I felt passionate about my students striving for excellence in every aspect of their musical lives; for the term ‘musician’ to form a strong part of their identity; and for ‘composer’ to be seen as equal to and inseparable from ‘performer’ and ‘analyst’. I wanted such terms to be secondary to the idea that my students are excellent, creative and practicing ‘musicians’. In order to help facilitate this I needed to address the two remaining constraints: resources and time.

(iv) Addressing the problem

The variety and extremity of student background, need and ability in each class is always striking and often induces intense worry about how to facilitate a good enough education for each individual. Teaching composing to classes of 20 or more GCSE Music students with just three small practice rooms, eight unreliable computers (with outdated software), one small recording device and an incomplete complement of classroom instruments can seem impossibly difficult. It may be that a small number of the class are Grade 8, classically/formally trained musicians, whilst others have has little to no formal musical education experience. Some students may live for hip-hop; some may love their folk; some may live in the world of classical piano and some may care very little for music (perhaps for them, music was the most preferable/seemingly easiest subject on offer). There may be those students who have no voice in music lessons whilst others demand attention throughout, whether in a needy or undisciplined way. When considering that music teachers see this diverse group for just one triple period per week, the task of promoting an inspiring, musical and meaningful composing education seems very difficult. The additional daily pressure to meet imposed criteria (at a school, local and national level) means that the job of a music teacher is, at points, overwhelming.

The above represents my opening sentiment to Tim. His response was one that, at the time, I treated with great cynicism but which since (through guidance and experience) has become central to my teaching: ‘make use of the resources you do have’. Tim did not see my predicament as I did; he saw useful resources and great opportunity. He also saw the ‘predicament’ as a reflection of the professional world of the composer. For, as a professional composer, when Tim receives a commission he is required to write for the resources, abilities and time frames stipulated within the commission. There are restrictions imposed and creative solutions must be sought. Tim does not consider this an additional problem or constraint but rather, an integral and vital part of the composing process. This alternative perception of ‘constraints’, seeing them as exciting challenges, is refreshing and energising not to mention reassuring to know that the ‘real’ composers grapple with similar problems to teachers. Surely this reinforces how useful and relevant classroom experiences of composition can be for our students?

(v) Time

When considering the constraints posed by (often a lack of) time, there are three themes that I would like to discuss in relation to supporting composing in the classroom: best use of time; meeting individual needs; and preparing for continuity.

(vi) Resources

An all too often overpowering constraint for music teachers is that of resources or the lack of, whether in terms of the physical environment, equipment or teaching material. The three key resource constraints I have identified in terms of composition are discussed below.

Final thoughts

My search for solutions to the problems presented when composing in the classroom has been a steep learning curve fuelled with challenging self-reflection, interesting revelation and exciting musical development. The topic of composing in the classroom will always trigger debate and require further investigation, but perhaps by addressing issues surrounding teacher (and student) identity, adapting our perceptions of the constraints posed by time and resources and responding to the challenges presented by Tim we can facilitate a positive and inspiring composing education.

After such a fruitful learning journey filled with ideas, opportunity and creativity I am now inspired by composing and the musical challenges it embodies. I enjoy creating, refining and editing ideas and am proud of my students, who are vibrant, confident musicians with clear composing voices. Composing in the classroom does not need to be an insurmountable challenge, asphyxiated by external factors of scrutiny and accountability; it can be a fresh and vibrant practice.