Musicianship

I have spent many afternoons reflecting on my classroom teaching and considering how the day's activities give students not only immediate knowledge that applies to that lesson, but knowledge that they can apply to a lifetime of musicianship. Are the students learning concepts or parts? Although learning a new piece of music can challenge students and provide inspiration, there are more significant goals to reach than impressing friends and family at the spring concert. 

For me, becoming a good musician involves a number of key concepts:

Having Big Ears 

Musicians, regardless of the style of music they desire to pursue should be able to learn and play music by ear at some basic level. This doesn't mean being able to transcribe bebop solos sitting on a park bench, sit in with a new group for a whole set of music you've never heard, and so on. However, musicians should be able to transcribe simple, diatonic melodies and chord progressions with ease, almost on-the-spot. And, with some effort, be able to tackle those bebop solos and challenging harmonic progressions.

Music Literacy

Musicians should be able to read music! If for no other purpose than to present opportunities. What musician could ever sub on a theater gig without some reading chops? Also, my main argument for skeptics of reading is that music literacy shortens the timeframe for learning new music. Strong readers who sight read can learn hours of music virtually on the spot! How cool is that?! It's also worth mentioning the amount of music on paper that is so easy to obtain. What musician can afford not to read?

Technique

Good musicians have the appropriate technique and knowledge of their instruments to be able to act on the extent of their musical creativity. If a musical idea can be thought but not executed, there is a need to improve technique. It's also worth mentioning that great musicians use their technique for the benefit of the music, not for being technical.

History and Style

This is one area where the demands of a musician have changed from 150 years ago, and will continue to change in the future depending on the seriousness of the musician. Good musicians can perform and have a basic historical understanding of various musical styles, or genres. 

Listening/Reaction/Interaction

As someone who plays primarily Jazz, Rock, and Contemporary music, I find that this is uber important. Good musicians know how to make music with other good musicians! They know what adjustments to make and how to listen, accompany, follow and lead when in playing in a group. 

Theory and Composition

Good musicians should have a basic understand of music theory. Musicians should have a basic understanding of melody, harmony, and form. Understanding the theory is important, though applying it is much deeper. With that said, musicians should be able to apply theory to their performances and compositions. 

 

I just finished reading  Brandt Schneider's February 2012 article Creating Musicial Flexibility Though the Ensemble and found it extremely inspiring and refreshing. The article discusses his ensemble curriculum over the course that does not rely strictly on repertoire and music literacy. Instead, the students were practicing concepts that will help their overall musicianship - learning various styles, transposition, applying solfege, composing, and ear training. 

Although this entire article provided great inspiration, one line in particular struck me - "Finding ways to move them beyond a mere “button pushing” experience and towards a broader conception of “musician” proved to be my biggest challenge". It is unfortunate that so many school groups spend the majority of time in class preparing literature and learning parts. In many ways, that band experience becomes a muscle memory experience. The students may learn their parts and play them well, but do they know why that 16th note diatonic run is important, or why they must play the three repeated notes on their Tenor 2 part? Usually, the answer is no. Students do not understand the bigger picture of how their part fits in the composition, or how their part relates to other members in the ensemble. They often do not understand the structure of the music they perform, and that is a problem. 

Brandt offers a step-by-step list of recommendations on how to get away from this "button pushing" kind of music learning experience. His concept of learning simple melodies in all 12 keys and various styles is knowledge that his students can apply to every musical experience they will have in a lifetime! The solfege analysis and ability to play all four parts of "Watchet Auf" fosters a much deeper sense of musical understanding. 

Although generally I agree with Mr. Schneider's concept - a few questions come to mind. Would his students be as inspired, learning simple melodies and deep concepts (that they may not understand the value of, yet) as they would if they were learning a rousing march? Perhaps some of the students will lose interest. How would these students fair in CMEA style competitions? Would their ability to read and perform advanced literature put them behind students in the same age group? In general, it frustrates the hell out of me that we judge student ability primarily on reading in All-State and other similar competitions, but getting owned in that setting could be detrimental to a student's drive and motivation.

Overall, Creating Musicial Flexibility Though the Ensemble was inspiring and fun to read. It made me feel like their is hope for music education. I highly recommend this article and considering some of the concepts that Brandt lays out. Perhaps adding some of these concepts to our own ensemble programs would provide our students with a much more meaningful music education experience.