Archive for October, 2012|Monthly archive page
Today I want to share and celebrate some of the joyful musical learning that is a hallmark of the MSO ArtPlay Ensemble program. Our last workshop for 2012 took place recently, and as always, the combination of playful exploration, creative invention, links to orchestral repertoire, and carefully-chosen musical challenges revealed just how exciting it can be to be a young beginning musician with a big imagination.
Before you read any further, click ‘play’ on this Soundcloud file, so that you have last week’s creation playing in the background as you read:
(If the embedded file is not working for you, you can start the recording in a new page/tab here).
Let’s look at some of the learning that goes on:
Before the third and final workshop period for 2012, the children had attended 3 different MSO concerts, exposing them to the visual and aural intensity of a large orchestral piece being performed live. For this last project, the focus was on Tchaikovsky’s Pathetique Symphony and at the concert, I asked the children to pay particular attention to the second movement, a “lopsided waltz” in 5/4.
Learning 1 – Focused, thoughtful listening to unfamiliar music
At the start of the workshop, the children reported on the 5/4 time signature (I’d asked them to work out what meter they thought it was in). They also noticed the structure (“in the middle it was a different melody, and then the first melody came back again”) – ternary form.
We then used these observations in our composing, for example, asking each group to work in 5/4 or to make a “feature of 5” (interpreting that instruction however they wanted, not necessarily in the time signature), and to use ternary form. One young cellist noticed in the concert that Tchaikovsky gave the cellos the melody first, so his small group also opted to give the cellos the melody first, before re-stating it in other instruments.
Composing music makes children stronger and more focused listeners. Their experience in making musical choices gives them insights into what those choices are, and makes them listen out for decisions the composer has made. It becomes a reflexive loop – the more they listen to new music in this way, the more ideas they get for their next composition experience, which feeds into the way they listen, which feeds into the way they compose… and so on.
Learning 2: Taking responsibility for the notes
Each child works out their own part in the composing process. I remind the MSO musicians to not “problem-solve” for the children, rather, to give them parameters from which to make their own choices. The music is memorised rather than written down (yes, the music you are listening was performed by the Ensemble from memory), which means that each children needs to remember their own part – their MSO musician won’t necessarily remember what everyone in the group was playing.
This might seem a risky way of doing it but the fact that the children are actively involved in making their own choices about what to play means that the memorisation process starts immediately the choice is made. If they forget their part, they can always create a new one, I remind them. So it is no great pressure, but it is their responsibility. It means too, that the music is theirs. It is not imposed, or someone else’s idea. They become invested in the music and take ownership of it, and this is reflected in the way that they play it.
Learning 3: Acute ensemble awareness
Freed from reading their part from a score or page, the children’s eyes and ears are wide open. The musical structure progresses through various cues – musical cues and conductor cues – all of which are worked out and learned together. This is the focus of the second workshop day – while the first day of a 2-day project is spent in small groups, composing and inventing, the second day is spent as a whole ensemble, working through each of the small group creations and drawing them together into one large composition.
The second day is intense and hard work. We go through each piece in detail, finding sections of music that would benefit from having more players join (eg. in order to enhance a dramatic crescendo), and then teach the children in the other groups the part (or get them to create their own according to given parameters). More memorisation, more choices! And lots of sitting quietly and listening.
The benefit is that the children are involved in deciding the inner workings of the music, and play an active role throughout the piece. They observe me and the MSO musicians, and individuals among the children, problem-solve as we figure out the best way to deliver the different cues that we need.
The result is an incredibly focused, tuned-in, alert group of performers who remain inside the music for the whole piece. The intensity of their focus is a characteristic of the Ensemble that is always commented on by audience members. It means that they are sensitive to all sorts of aural and visual cues – including those that take place when something doesn’t quite go according to plan. They learn to trust the cues and the leaders, and to hear from the music where things are up to. It’s a very intuitive ensemble skill.
Learning 4: Personal challenges
The Ensemble attracts a wide range of playing abilities, because we accept members on their personalities and imaginations ahead of their playing ability. Some are therefore almost total beginners, while others are incredibly accomplished. Each Ensemble member establishes their own learning goals – we don’t ask them what these are, but the way they participate in the workshops and respond to set tasks gives some clues. In their end of year feedback, two of the young musicians shared these personal challenges:
“Looking at the audience when I played my solos felt very hard for me. I didn’t quite overcome this but I got better at it.”
“I learned about listening to others ideas and seeing how these became music.”
“I have learnt many things – to be brave enough to put forward ideas, to trust each other, to have inner creativity, and above all to COUNT BEATS CAREFULLY.”
Learning 5: The importance of fun
This is perhaps more of a significant learning for the adults. The MSO ArtPlay Ensemble workshops happen during school holidays and everyone who takes part does so because they want to be there. I build in as much fun and lightness as I can. Yes, we are involved in a fairly intense and fast-paced process, but it’s vitally important that everyone feels happy at the end of it, satisfied and not too tired! The social relationships that the children build over the year are incredibly important (we know from previous years that these friendships last a long time and that the children often cross paths in other musical projects later in life). ArtPlay is next door to a wonderful modern children’s playground, and many children nominate the time they spend playing outside as another highlight of the project.
Therefore, joy, laughter, playful ways into composing and ensemble music, an emphasis on abilities and what is already known with some new challenges thrown in (as are relevant to the context of the project), are crucial characteristics and components, alongside the children’s musical development. We know that the more enjoyment they experience, the greater their engagement. The greater their engagement, they more they will learn. The more they learn, the more satisfaction they feel. The more satisfaction, the greater the motivation to be part of the next creative project. Which leads to lively, dynamic creative musicians, music-makers and music-lovers. Which is good for all of us in society!
About the MSO ArtPlay Ensemble:
In this annual program, 27 children aged 9-12 work alongside Melbourne Symphony Orchestra musicians to create and perform their own music. I created the program in 2006 for the MSO and ArtPlay and have directed it ever since – this year’s was my 7th Ensemble! The program’s focus is on children composing, and developing their ideas by hearing the MSO perform in concert. Each workshop period lasts for an intensive 2 days. That means that the music you are listening to was created, rehearsed and performed over just nine hours.
Read here to learn more about how children are selected to be part of the program each year. Workshops for the 2013 Ensemble will take place at ArtPlay on 2-3 February 2013.
Read here for a description of the Ensemble’s Pines of Rome project, July 2012.
Do you know a young musician aged 9-13 who would like to be part of this program? Forward them this blog post and get them to join my mailing list for workshop updates!