Put young people's voices first
Principles for Composing in Music Education
The New Year is always a time of reflection for me, a point each year when I stop to draw breath, consider where I’ve been in the last year and what changes the new year might bring. And in this spirit, I’ve been reflecting on what actions could be made by the music education sector, so that we can change how we support young people in composing their own music.
To clarify: composing means creating new original music or sound, in any style or genre. It encompasses electronic music, grime, notated music, improvised music, singer-songwriting or any other kind of original music. And it’s an activity that can take place anywhere, in or out of school.
In October 2019, we published our #CanCompose report, drawing on the results of our National Educator’s Survey. In our survey, 97% of respondents agreed that composing should be a core part of every young person’s music education, and 96% of respondents valued the positive impact that creating their own music can have on young people’s sense of identity and wellbeing.
Yet respondents were almost unanimously in agreement (97%) that there are insufficient opportunities for young people to compose or create their own music. Between them, our they shared over 600 barriers faced by young people, pointing to serious structural deficiencies in how young people are supported to create their own music.
This might all sound very daunting. How can “serious structural deficiencies” possibly be overcome? What can any of us as individuals or organisations do to make things better?
Here are Sound and Music, we’ve been thinking about the first steps…
In the second part of the #CanCompose report, we identified a number of changes (or outcomes) to help to focus our efforts, alongside 21 recommendations.
So, in this article I want to focus on the positive changes we should make, starting with young people themselves and reflecting on their musical and creative journeys.
More opportunities for young people to compose in and out of school
More relevant and diverse opportunities to compose
Improved progression pathways through better networks and signposting
Principles for Composing in Music Education
We need to talk to young people to find out what their musical intentions are, what music do they want to compose? Where, how, and who with? This will ensure that young people are engaged and connected with the music they are creating, enabling them to develop their musical voices and shape their own musical journeys.
Young people should receive support and guidance from at least one educator (who might be a teacher, a mentor, an industry specialist or a professional composer) who has the skills and expertise to support their creative learning, and knowledge of possible progression routes. This will mean that young people can learn, acquire new musical and cognitive skills and find their own, personal progression pathways.
A variety of individual progression routes should be available and accessible to young people. This is in recognition that young people have different creative journeys depending on their interests, needs and motivations.
Young people should be able to connect with other young composers and performers. This will mean that young composers and music creators have a peer group to create music with and don’t feel isolated.
Young people should have access to the resources they need including live musicians, software, recording studios and assistive technology. This is because young people need the tools to create and share their music.
Music educators should be networked through their local music education hubs to other music education providers including arts organisations, youth organisations, Higher and Further Education institutions. This will enable progression opportunities to be spotted and signposted, and gaps in provision to be filled.
The development of creative music skills should start early as part of the curriculum in early years and primary schools. This will mean that children’s natural creativity is nurtured, and they experience all the positive effects that our respondents identified.
We would love to know your feedback on these principles, to hear about your experiences and to better understand what has worked well for you! We have learned so much from our #CanCompose respondents and the value of sharing our experiences cannot be underestimated.
Judith Robinson has extensive experience of working in music education settings over the last 30 years. In her current role at Sound and Music, Judith is Head of Education, leading the strategic development of its education work and the delivery of its programme including Listen Imagine Compose, Minute of Listening and the annual Summer School for young composers.
