Best Minds on Music: Composition for Creative and Critical Thinking By Michele Kaschub
Best Minds on Music: Composition for Creative and Critical Thinking By Michele Kaschub
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Ebook About This textbook enhances preservice and practicing music educators' understanding of ways to successfully engage children in music composition. It offers both a rationale for the presence of composition in the music education program and a thorough review of what we know of children's compositional practices to date. Minds On Music offers a solid foundation for planning and implementing composition lessons with students in grades PreK-12.Book Minds on Music: Composition for Creative and Critical Thinking Review :
We have a duty towards music, namely, to invent it.-Igor StravinskyIn the above quote, Stravinsky states an undeniable truth for musicians, music lovers, music educators, and many would generalize, humans. Music and the creation of sound is part of our innate beings, so much so that we have the responsibility of creating it. As a music educator, I would only append one thing: we have a duty towards music to invent it ourselves and to teach others to invent as well. This statement is one that I am sure Michele Kaschub and Janice Smith would agree with. Their book entitled, Minds on Music: Composition for Creative and Critical Thinking is one of the most complete and practical books that I have read concerning composing and the practice of teaching composition. This book greatly impacts the music education profession. If applied, Kaschub and Smith's proposed pedagogy and strategies for teaching composition would increase teacher effectiveness and revolutionize music programs by equipping teachers to empower students to be makers of meaningful music.Kaschub and Smith wrote this book as an attempt to fill a gap in the field of music education. In the book's preface, they confirm the need for their book by quoting Betty Anne Younker who noted, "There is little guidance for music educators - both in the field and in training - about how to devise, structure, and engage students in appropriate compositional activities, and to assess their outcomes in school-based music programs." (Page xv) Through this text, the authors deflate the concept that composing cannot be done effectively in the classroom and can only be done at the professional level. They reveal that the ability to teach composition is accessible for teachers and that composition is doable in music classrooms of all grades and age levels on a daily basis.One of the positive attributes of this book is its organization. Kaschub and Smith divided the text into four sections. The first examines foundational research and presents the rationale for teaching composition. The second expounds the pedagogy used in teaching composition. The third section addresses teaching composition for specific grades and the final section provides a practical outline of the possible composition program in a given school. The logical succession of information makes the text simple to follow and, at the same time, difficult to counteract. Kaschub and Smith set forth the building blocks of their reasoning for teaching composition in the schools so carefully that any possible questions the reader may have are answered before the question can even be formulated.From the beginning of the first section, it is evident that the authors possess extensive knowledge of child development. In fact, they are not only knowledgeable, but they have built their pedagogical strategies sequentially to respect the nature of child development. In Chapter 1, they present a five-point rationale that "honors children's natural curiosities and ways of making sense of the world and their existence in it through means uniquely offered by music." (Page 5) In addition to the five-point rational, they offer thirteen more beliefs to support the teaching of composition for children. These include children require high quality compositional experiences in order to grow and develop, composition is a tool for developing musical thinking, and composition is a form of research leading to the generation of new knowledge, just to name a few. (Pages 9-10)Kaschub and Smith continue by identifying five foundational principles that are experienced in music and in the body as the basis for teaching composition. They are sound/silence, motion/stasis, unity/variety, tension/release and stability/instability. (Page 15) They explain that by teaching composition through these principles, teachers are now allowing students to not only identify musical events, but also analyze why composers made certain musical decisions. This standard in itself impacts the field of music education because it challenges teachers to push students to think beyond the understanding level of Bloom's Taxonomy and operate at the top three tiers of analyzing, evaluating and creating. Kaschub and Smith certainly raise the bar. They bring awareness to the fact the we as music educators are responsible for leading children into the discovery of the music of the world through activities that allow children to think not just about music but in music. (Page 20) This is only possible through composition.The rest of the first section, chapters two and three, give detailed accounts about composing characteristics, capacities, contexts, products and outlines the process of composition from inspiration to performance and evaluation. Kaschub and Smith identify the tools that one would need to teach composition, supply suggestions for structuring tasks and discussed the role of the teacher in the composition process. Both chapters are informative yet are written simply enough for teachers of any level of experience to understand and be able to apply.The second section of Minds on Music, conceptualizes compositional pedagogy. This segment of the text is the "how to" of applying the principles of teaching music composition. Once again, the authors present their strategies in an understandable down to earth way and provide every resource possible to enable teachers to teach children how to compose. On page 64, they supply a detailed, thorough template to guide teachers through the planning process. Kaschub and Smith continue to explain each section of the planning template and even provide a scenario and model to ensure that teachers reading this text are sure how the template is utilized. The template itself is a great tool for the music education field. It allows teachers to go in depth and address every aspect of a compositional lesson or project. I would even say that the template is a practical tool for all music lessons, not just those in composition.Chapter five addresses assessment. Kaschub and Smith do an excellent job differentiating between assessment and evaluation. They also suggest creative alternatives to traditional grading that may be more effective in the music composition classroom. It was in this chapter, however, that I found a point to disagree with. When discussing grading for a composition class, the authors state, "Not all work in class should be graded." (Page 98) While I understand what the author meant by this premise, it is idealistic. I believe that all work done in class should be graded. Music, whether performance or composition, is a participatory class, and therefore, a participation grade should be awarded. If a student participates in class by working on their composition, they have had a successful class and should receive a passing grade for the period. Students should be graded on how well they participate in class on a daily basis. The participation grade can then be factored into the grades students receive on their composition evaluations. This will allow music teachers to have documentation that will support Johnny's report card grade. Chances are, if Johnny did not participate in class by working on his composition as diligently as he should have, his performance of the composition may need improvement. A grade that has taken participation into consideration would reflect that. In the same way, a student that participates and remains engaged in the lesson every day would most likely put on a performance reflecting their hard work. The participation grade would reflect that as well. In this day and age, when administrators are asking for data, progress reports and grade justification for all fifty students for a music teacher's six to ten classes, it is impossible not to grade work that is done in class. Kaschub and Smith might want to consider keeping this in mind when editing the second edition of this book.Chapter six is, in my opinion, the most foundational when it comes to applying a composition curriculum in the classroom. Creating a positive and supportive learning community is essential in order to implement a successful composition program. Teachers can spend weeks, and months planning a spectacular curriculum that engages students in meaningful music making, however, without a positive, organized, community of learners that respect the process, it would have all been for naught. The importance of good classroom management is expressed by the authors in the passage below."Within every community there are givers and takers. Givers contribute to the growth of the community by offering their time, talents, and resources as they forge supportive relationships. Takers, on the other hand, usually offer little effort but great complaint. As community leaders, it is important to help redirect the energy of takers so that the entire community moves forward together." (Page 124)Kaschub and Smith clearly define the appropriate role of the student as a giver and stress this as a requisite for moving forward.Another way Kaschub and Smith outline the creation of a positive learning community is by defining the role of the teacher as the analytical guide, nurturer, model (Page 105), and facilitator. (Page 111) The practicality of this book shines through once again in this chapter as the authors provide realistic questions that students may ask and various possible teacher responses. These parameters and suggestions in chapter six ensure that the teacher creates a safe environment for children to be creative without feeling like the teacher is imposing his or her ideas on their compositions. These guidelines are another positive contribution to the music education field. They help provide the least restrictive environment for music making.Section three of this text is all about application and is of great benefit to teachers and the field of music education by supplying ideas for lessons that can easily and readily be used in the music classroom. Kaschub and Smith utilize the planning guide on page 64 as a framework for teaching composition for specific age groups with age appropriate suggested lessons and scenarios. This section provides insight to the evolution of musical development throughout grade levels with tips or "touch points" to keep each age group challenged and engaged through musically, age appropriate activities. It must also be mentioned that composing within performance ensembles only becomes part of the composition program in upper middle school and high school.Kaschub and Smith must have known how inspiring and motivating their text would be for music educators because they conclude their book by outlining the ideal composition program as if to say "now get to it!" Their argument for developing and implementing a composition program in schools as compelling. "Children should compose because it allows them to create - to exercise their abilities to generate unique expressions of their understandings and feelings. The process of composing allows children to grow artistically, to discover meanings, and to create aspects of themselves"(Page 262). Knowing that such intrinsic growth is possible through the creation of music is inspiring.Bennett Reimer states this book's impact on the profession of music education perfectly in the conclusion of the book's foreword by stating,"It makes so much sense, demystifying this seemingly mysterious musical role and demonstrating that this role [of the composer] is, in every way, playable successfully by students and teachers. Both will benefit significantly from this exemplary book, as will our profession as a whole from the wider contribution it enables us to make to our culture's musical fulfillments. The authors' wisdom takes a big step forward toward ensuring the continuing viability of music education." (Page xiii)Ultimately, teaching music should go beyond preparing performance ensembles. The priority should be making meaningful musical experiences. This principle is a constant impact in the field of music education.This text and the summer workshop I took with Dr. Smith has impacted the way I teach. Reading this book has helped me pinpoint mistakes in my teaching and has provided suggestions and resources for improvement. For example, on page 72, Kaschub and Smith write, "one of the quickest ways to discourage budding composers is to insist they notate their music or to limit their compositions to only what they know how to write in standard notation." I learned this the hard way. My first year teaching in a public school, I was teaching a general music class and had come to a benchmark in the unit on rhythms. One of the assessments I designed required the students to compose a short song using only the rhythms we had learned which was whole notes to sixteenth notes and rests (no dotted rhythms or obvious syncopation yet). Students began the project with excitement. They began singing lyrics and rhythmic patterns that were beautiful, however, when the songs were outside of the project parameters, I told them that the song was beautiful but needed to be changed to fit the assessment. Yes, I am ashamed to say that I was one of those teachers. The students lost morale and I could not figure out why. This book helped me to realize that students need to have limitless possibilities when composing in order for creativity to flow freely and to restructure my assessments accordingly.Another teaching strategy that impacted me from this book is the principle of creating more musical lessons. I learned that effective musical lessons are achieved when the lesson focuses on one principle and incorporates several elements of music. (Page 67) Musical lessons result in musical compositions and would, therefore, improve my students' compositions.It is important for a music teacher to teach his or her students to be attentive listeners and able encouragers. Kaschub and Smith reminded me of the importance of teaching and training my students to fulfill their roles by providing respectful and insightful feedback. I need to do a better job teaching them how to give constructive criticism. They write, "Learning to offer criticism that is constructive and useful to other composers is an important skill that contributes greatly to the establishment of trust between the community members." (Page104)Lastly, the practicality of the text was a huge benefit. There were so many suggestions and model lessons that I have taken ideas from and used them in my classroom. I have used the planning guide a few times, but now that I have revisited the text to write this review, I am reminded of its thorough and helpful nature and plan to use it again more often.I have been inspired to teach composition but also to compose again and pursue it enthusiastically. (Page 269) I plan to establish a composition and performance class in the fall for my middle school classes. Kaschub and Smith conclude Minds on Music by stating that "Composition programs allow teachers and students to capture their feelings, experiences, and understandings in ways that are intellectually satisfying, emotionally engaging and deeply human." I want my music classroom to personify such a program. Great book by two great music educators!! Composition is often overlooked by many music teachers, and this book gives you a new approach for including it in your classroom. Had one of the authors as a professor, and she was passionate about teaching composition in the classroom. I can say I will never overlook it in my own future teaching! 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