Canadian Music in Education

Shand, Patricia. “John Adaskin Project Commissions.” CMEA Newsletter No. 103 (Winter 1999).

Keywords Canadian music in education Canadian music education commissioning Canadian composers student performers Composer-in-the-Classroom programs contemporary compositional techniques John Adaskin Project

Summary Shand describes the work of the John Adaskin Project in commissioning new music for student performers and classroom use, beginning in the 1960s. In her role as Adaskin Project Director Shand has overseen and facilitated the commissioning of many new works, through the Adaskin Project and through other organizations like Music Educators’ Associations, as well as at the request of individual teachers. She discusses some of the many benefits that can be reaped from composer-in-the-classroom interactions, and lists some of the useful and enjoyable music that has resulted.

John Adaskin Project Commissions Patricia Shand

Reproduced with the permission of CMEA/Acme.

The John Adaskin Project, a joint venture of the Canadian Music Centre and CMEA, provides teachers with information on Canadian music for educational use, and promotes the creation of new music for student performers. This column focuses on the Adaskin Project commissioning program.

During the 1960s, the Adaskin Project was sponsored by the Canadian Music Centre. Through a grant to CMC from the Canada Council, fifteen composers visited schools in the Toronto area, observing and writing music for student performers. Among the compositions resulting from this early "composer-in-the classroom" venture were the following:

Keith Bissell, Two Songs from Shakespeare

Robert Fleming, Madrigal and You Name It Suite

Harry Freedman, Three Vocalises

Talivaldis Kenins, “Nocturne” from Nocturne and Dance 2

Alfred Kunz, A Clear Night and Slow, Slow Fresh Fount and To Hear an Oriole Sing

Clermont Pépin, Three Miniatures for Strings

Murray Schafer, Statement in Blue

Harry Somers, The Wonder Song and Theme for Variations

John Weinzweig, Clarinet Quartet

In 1973, CMEA joined CMC as co-sponsor of the Adaskin Project, forging closer ties with music educators across Canada. Among the compositions commissioned by the Adaskin Project during the 1970s, through Canada Council and Ontario Arts Council grants, were the following:

Keith Bissell, “When I Set Out for Lyonesse” and “Weathers” for choir (premiered at the 1978 ISME Conference in London, Ontario)

Morley Calvert, Introduction and Scherzo for band (premiered at the 1978 ISME Conference in London, Ontario)

Donald Coakley, Songs for the Morning Band (premiered in Scarborough, Ontario on a 1979 Education Week program)

Talivaldis Kenins, Simfonietta for orchestra (premiered at the 1977 CMEA National Conference in St. John’s, Newfoundland)

Harry Somers, Variations for string orchestra (premiered at the 1979 OMEA Conference in Toronto)

In addition to compositions commissioned directly by the Adaskin Project, there are compositions which have been commissioned by other organizations co-operating with the Adaskin Project. For example, Michael Millers’ Song of the Woods, an operetta for children, was commissioned by the New Brunswick Teachers’ Association Music Education Council as its contribution to Phase Three of the Adaskin Project. Premiered in 1980 in Sackville, New Brunswick, Song of the Woods was performed again at the 1983 CMEA National Conference in Sackville. As Adaskin Project Director, I worked with the 1983 CMEA conference committee in commissioning two composers to write new works especially for that conference. Robert Bayley’s three choral pieces and Janis Kalnins’ Spring Song for choir and orchestra were premiered at the 1983 CMEA Conference in Sackville. Through an Ontario Ministry of Education grant, the Adaskin Project provided some financial support for the Kalnins commission.

As Adaskin Project Director, I have also worked with the Ontario Music Educators’ Association in several commissioning projects. The following works were commissioned by OMEA through an Ontario Arts Council grant, and were premiered at the OMEA 1979 workshop and Annual General Meeting in Toronto: 3

Keith Bissell, “Old Grandma” and “All Around my Heart” for elementary school choir

Daniel Foley, Carmina Antiqua for band

Michael Pepa, Simple Suite for string orchestra

I have also acted as liaison with other provincial Music Educator’s associations, encouraging them to seek commissioning money within their own provinces and to involve local teachers and composers in commissioning projects. I have provided advice and guidance as requested by the local organizers.

In addition, I have worked with individual teachers interested in undertaking commissioning projects. I have produced a list of suggestions for people wanting to commission a composition for a particular situation, and I have tried to put interested teachers and composers in touch with each other. For example, I helped a high school band teacher in Elliot Lake in northern Ontario to make contact with composer Victor Davies. Through an Ontario Arts Council grant, the teacher commissioned Mr. Davies to write Urcapo, a band piece dedicated to the retiring school principal. Through the Canadian League of Composers’ Composer-in-the-Classroom program, Davies visited Elliot Lake, working with the students and teacher, creating a piece well suited to the students’ capabilities. The students devised the title, basing it on the first letters of the words “Uranium Capital Overture.”

During the 1990s, the Adaskin Project has continued its emphasis on commissioning music for student performers, providing advice and financial assistance to teachers interested in working directly with composers. The following recent works were commissioned with Adaskin Project assistance:

Jim Duff, “A Suite of Irish,” commissioned for Arnprior District High School Senior Concert Band

André Jutras, “A Barrie North Celebration,” commissioned for Barrie North Concert Band

Michael Matthews, “Three Echoes,” commissioned for the University of Manitoba Suzuki Program

Jerome Summers, “Whispers of Handel,” commissioned for Fredericton High School Bands

Nancy Telfer, “Processional of the Aliens,” commissioned for Barrie North Concert Band

At present, I am working with the ISME 2000 planning committee to encourage the commissioning of Canadian music to be premiered by choral and instrumental ensembles performing at the ISME 2000 conference in Edmonton. 4

The importance of having composers work directly with teachers and students cannot be over-emphasized. It is valuable for composers to have opportunities to discuss with teachers the problems and objectives of school music teaching. Teachers may be able to suggest to composers the sorts of teaching materials which they need. Many teachers and students are unfamiliar with contemporary compositional techniques, and they can learn a great deal from working with a composer who is able to describe the kinds of musical effects he or she is seeking. For the teacher and student there is real excitement and a sense of responsibility and achievement in preparing a new work and presenting a premiere performance. If teachers can share their ideas with sympathetic, interested composers, and if composers can react to those insights into the educational process and can use their imaginations to create music for the classroom, there are possibilities for development and musical growth for everyone—students, teachers, and composers.

For additional information on the Adaskin Project, write to 20 St. Joseph St., Toronto, Ontario M4Y 1J9.