search of our own music Patricia Shand University of Reproduced with the permission of CMEA/Acme.

This paper was originally published in 1976 in Volume 17 Nr. 2, pps. 7-14.

Teachers should certainly not What Canadian music is available? Canadian were chosen to out all but Canadian music How technically difficult is it for observe and work in classrooms. They their school libraries. But a young performers? How musically were then commissioned to write balanced performance program interesting is it? How effective is it as music for student performers. In 1965

;',,';'ILUI,tLU include music of a variety of teaching and performance material? It a follow-up seminar was held where ""'r-'-' periods, and countries, and is not enough for the teacher to pick many of the pieces written were Canadian repertoire has a place up a publisher's catalogue and select a demonstrated. Some of the music was such a program, piece just because it is Canadian. The subsequently published, but further decision should be made on aesthetic development of the project was John Beckwith received a ques- and educational grounds, not on curtailed be .aise of CMC's heavy tionnaire from a high school student purely nationalistic grounds. Inferior commitments to preparations for doinga survey of Canadian compos- music cannot be justified just because Canada's Centennial. In November ers.Question One asked: "As a it is Canadian. And so teachers need 1967 a policy conference on the John Canadian do you feel your guidance. Adaskin Project was organized in work is sufficiently well known?" In response to the need for refer- Toronto by CMC. Educators from While considering whether to answer ence material to assist teachers, many parts of Canada gathered with "Yes" or "No," Beckwith glanced at CMEA and the Canadian Music Canadian composers and with special Question Two: "What do you propose Centre have undertaken to produce a guests Peter Maxwell Davies, who to do about it?" Guidelist of Canadian music suitable had done outstanding creative work The questionnaire's rather too for performance by student ensembles with children in England, and John obvious assumption was probably (bands, , , string Davies, who was then Assistant justified - the music of Canadian orchestras, and chamber ensembles). Director of the MENC-Ford Founda- composers is generally not well Each piece listed will be described in tion Contemporary Music Project for enough known. But what to do about terms of its musical worth, stylistic Creativity in Music Education. Al- it? An obvious answer would be features, technical problems, degree though enthusiasm at the policy "Introduce and develop the study of of difficulty, pedagogical value, conference ran high, CMC itself could Canadian music in the schools. Show effectiveness in performance, and no longer maintain the Adaskin children that they have a national appeal for students. Only the best Project. CMC felt that further initia- cultural heritage of which they can be music, based on the recommendations tive should come from educators, but proud. Stimulate their interest today, of experienced educators who have the project was a major undertaking challenge their minds and ears with actually used the repertoire with and for some time no initiative was the best of our music, and you will be students, will be listed. 1 actually taken. It was not till 1973 that developing a knowledgeable, inter- The preparation of the Guidelist is the CMEA decided to join with CMC ested audience for the future." the first phase of a joint CMEA - in undertaking a reactivation of the But it is a far cry from proposing Canadian Music Centre project on Adaskin Project. It was felt that the this to actually implementing it. Canadian music for schools. This is in first step should be to survey what is Teachers who out of personal interest fact a reactivation of the John Adaskin currently available by Canadian or a sense of patriotic commitment set Project, begun by CMC in 1963 to composers for student performers, and out to select Canadian music for their develop a body of Canadian teaching then acquaint music educators with students to perform are immediately material and to encourage creativity in Canadian repertoire chosen and faced with a number of problems. music education. In 1963 fifteen described for its suitability for school

Canadian Music Educator. 41 (3 & 4) Spring & Summer 2000 41 .. use, this through the publication (in education in our country. If we can ments are introduced, but only the English and French) of a selective, share our ideas with sympathetic, easiest notes for each instrument are annotated Guidelist. interested composers, and if those used in the beginning stages, and The second phase of the current composers can react to our insights textures are transparent so the players project will deal with unpublished into the educational process and can can hear themselves and can concen- Canadian repertoire, again carefully use their imaginations to create trate on developing embouchure and selected as being of good musical exciting sound materials for the tone. From his contact with schools, quality and discernable pedagogical classroom, there are possibilities for Freedman has learned to think educa- value. The plan is to collect and development and musical growth for tionally as well as musically. When evaluate unpublished music for school everyone - students, teachers, and his band series is completed and band, , , string orches- composers. published it will provide valuable tra, and chamber ensemble, then to Implicit in what I am saying is musical learning opportunities.2 In the prepare a selective, annotated list of this - composers writing for schools choral field, Freedman's Keewaydin the best of this material, and finally to need to be in contact with teachers for SSA and optional tape (G' V, approach publishers, recommending and students. This was the assumption Thompson) and Three Vocalises for that they publish the selected music. behind the first John Adaskin Project stirs (Leeds) are useful in familiariz- The prestige of national organizations Seminar in 1963, and behind the ing students with contemporary like CMEA and CMC, backed up with Contemporary Music Project in the sounds and devices. Keewaydin the specific recommendations of United States. Commission money is employs tone clusters, a combination experienced teachers across the not enough. Composers need opportu of singing and speaking styles, country, should have some influence nities to work with students and to graphic notation, and exploration of with publishers. Also, since the discuss with teachers the problems the sounds of Ojibwa place names. Guidelist will be distributed interna- and objectives of school music. A Chorale, the first of the Three Vocal- tionally as well as nationally, it is number of Canadian composers know ises, explores dissonances. The hoped that Canadian publishers will this at first hand. second, Soliloquy exploits chromati- be encouraged at the prospect of an Harry Freedman underlines the cism, while the third, Chant, intro- increased market for the recom- importance of actual experience with duces irregular meter and mended music. At the moment one of students. Some years ago he received jazz-influenced style. Keewaydin and the most unfortunate problems in the a Canada Council grant to compose Three Vocalises require careful area of Canadian music for schools is music for school band. After a sum- listening and are in fact ear training that some of the best material has not mer in his studio he produced music exercises as well as performance been published. which was unuseable. It was too pieces. Like Freedman, Murray The third phase will involve difficult, primarily because the young Schafer is introducing students to commissioning composers to add to players had not been prepared for the contemporary compositional tech- the existing repertoire. After the sounds and techniques of the contem- niques. And both composers stress the research in phases one and two, it porary idiom in which Freedman was importance of "ear cleaning" and should be evident what age and grade working. At that point Freedman thoughtful, focussed listening. But in levels and which types of performing recognized the importance of consul- his educational music Schafer does medium are particularly in need of tation with teachers and classroom not have Freedman's interest in repertoire, and it should be possible to trial with students, and also the need developing instrumental performing offer specific guidance to composers for sequential preparatory studies technique per se . Schafer's concern is as to what helps to make a good introducing young performers to more with encouraging and develop- teaching piece. It is, I think, important contemporary techniques. Out of that ing students' creativity. For example, that we as educators be willing to experience grew Freedman's ongoing Minimusic (Universal, available in assume some responsibility here. project - the preparation of a series Canada from Berandol) is not so much What do we in fact want to do in our of musical studies for junior band, a musical composition as a collection music programs? What sorts of each piece classroom-tested and of sound exploration ensembleactivi- teaching materials would help us revised in the light of student and ties for classroom use ideas and better achieve our aims? The possibil- teacher reaction. Dissonant harmo- stimuli to encourage students to work ity for intelligent, creative interaction nies, tone clusters, interesting with, listen to, make decisions about between educators and composers rhythms, mixed metres, tone produc- and express themselves through holds real hope for the future of music tion exploration and aleatoric ele- sound. All Schafer's music for

42 Canadian Music Educator, 41 (3 &4), Spring & Summer 2000 schools utilizes graphic notation, not sounds. It can be played by any experience, and are physically ready, only because this is a contemporary combination of instruments and is they can move on to string or wind technique with which students should thus particularly useful in school instruments. Bissell has in fact written be familiar, but also and more impor- ensemble programs where finding for all these stages of the process - a tantly because it is the sort of notation repertoire for odd assortments of large quantity of choral music ranging which students themselves will instruments is often a major problem. from unison to SATB; collections for probably use in classroom composi- , Little Suite for String Orchestra percussion instruments and voice; and tion work and because such notation (Berandol) is an attractive setting of instrumental works for small and large provides young performers with three Canadian folk , idiomati- ensembles. In his instrumental as well interesting opportunities for creativity cally scored for strings, well con- as choral music, he often utilizes in interpreting and realizing symbols. trasted from movement to movement, Canadian folk material. The following Statement in Blue for youth orchestra technically challenging but not too are some of Bissell's most useful and (Berandol) also includes opportunities demanding for intermediate level interesting pieces and collections: for improvisation within an estab- players, and with leadership responsi- Andante and Scherzo (Ke. Kerby) for lished framework. Miniwanka (Uni- bilities for all instruments in the full orchestra; Folk Suite for versal, available from Berandol) and ensemble. Two Songs for the Coming Woodwinds (Boosey and Hawkes) for Epitaph for Moonlight (Berandol) of Spring for SATB (Berandol) 2 flutes, 2 clarinets, and bass clarinet encourage vocal sound exploration, as contain effective stylistic and dynamic or bassoon; Go and Leave Me If You Statement in Blue encourages instru- contrasts, varieties of note values, Wish, Love (G.v. Thompson), a mental sound experimentation. All meter, and choral textures which Newfoundland folk song arranged for three of these pieces require sensitive provide excellent teaching and per- SATB and soprano solo: His Majesty's listening. Threnody (Berandol) is the formance opportunities. Five Songs of Pie (Waterloo), an operetta for upper most complex of Schafer's music for the Newfoundland Outports for SATB elementary and junior high level young people. It includes electronic and piano (G.v. Thompson) present students; Let's Sing and Play (Water- tape and a collage of spoken descrip- exciting challenges to a well.trained loo), folksongs in French and English tions of the horrors of war in addition high school choir.3 with Orff instrument accompaniments to the choral and orchestral parts. It is While Somers, Schafer, and for the elementary school level; a concert piece of emotional power Freedman have spent some time in Sayings (Variations on sundry max- rare in music for young -perforrners, schools, Keith Bissell has spent a ims) (E.C. Kerby) for unison voices Its social message challenges the 'lifetime in education. He has contrib- and percussion, suitable for upper minds of performers and audience. uted a large body of fine music, elementary and junior high; Singing Since the first John Adaskin including repertoire for the important and Playing (Waterloo), for unison Project seminar in 1963, Schafer and but generally neglected elementary voices and percussion at the primary Freedman have worked from time to level where few composers of stature level; Three Pieces (E.e. Kerby) for time in schools, trying out their music have deigned to venture. His music senior string orchestra; Two Songs and their ideas about music education. for young children is technically from Shakespeare (Berandol) for Harry Somers also participated in the simple but musically tasteful and SATB. 1963 seminar, observing and working interesting. The influence of Orff is Bissell's output has been large. with students and writing for them. He often evident As an educator, Bissell Other composers have concentrated followed this brief experience with a believes in a strong and varied music less on music for schools. Some have year in schools throughout North York program with exposure to good written a few pieces specifically for as a Special Consultant. He has a real singing materials from the very students, or have produced music concern for the development of music beginning and with instrumental which, although not originally in- education, and he has contributed experiences developing out of the tended as educational material, can be some valuable additions to the school basic choral foundation. He feels the performed by good high school repertoire. The Wonder Song for logical place for children to begin ensembles. John Weinzweig, for SATB (Berandol), commissioned in instrumentally is with simple percus- example, wrote a Clarinet Quartet 1963 for the Adaskin Project, cleverly sion, since ensemble playing can thus (Leeds) for the original Adaskin explores rhythmic complexities. be introduced without all the technical Project His Round Dance (Leeds), Theme for Variations (Berandol) problems of traditional orchestral arranged by Howard Cable, is a provides opportunities for improvisa- instruments. When students have difficult work, presenting real musical tion and exploration of contemporary acquired basic music literacy and and technical challenges to a good

Canadian Music Educator. 41 (3 & 4) Spring & Summer 2000 43 senior band. , Robert Fleming's You Cantos (B.C. Kerby) for band, Morley is available only on rental from the Name It' Suite (G'V, Thompson) for Calvert Suite from the Monteregian publishers. And in any case most of strings and A Two-Piece Suite (Leeds) Hills (Berandol) for brass quintet, and the repertoire, if playable at all by for clarinet trio are useful for young W.H. Belyea Slumber Song (Frederick student performers, can only be instrumentalists. His Madrigal (Wa- Harris) for SA or contralto solo with attempted by top calibre senior level terloo) for SA or unison with piano, optional descant. groups. with words by Shakespeare, and folk This list of people writing for To summarize the overall reper- song arrangements like A Kangaroo schools is by no means complete. It toire situation then, there is a real Sat On An Oak (Leslie) for SATB with could also include Richard Johnston, need for more published music for full tenor solo, Old Man (Leslie) for Udo Kasemets, Derek Healey, Alfred orchestra, especially at the junior and SATB with soprano solo, and Three Kunz, James Gayfer, Kenneth intermediate levels. A handful of Nova Scotia Folk Songs (Waterloo) Campbell, Quenten Doolittle and effective pieces are available for for SSA are worthwhile additions to others, to say nothing of the people school string orchestra but more the school choral repertoire. Interme- whose suitable compositions remain repertoire is needed. There is a lack of diate strings are challenged by unpublished. And almost all the good chamber ensemble music, Talivaldis Kenin' Nocturne and composers listed have music which particularly for strings and for mixed Dance (Boosey and Hawkes). Louis could be performed in schools if it or variable instrumentation ensem- Applebaum's Suite of Miniature were published. bles. Much choral music is available, Dances (B.C. Kerby) for band is of John Beckwith, for example, but there is not enough simple but high quality musically and is techni- wrote a clever and interesting choral musically interesting repertoire for the cally demanding. His Three Stratford piece called GAS! The required elementary school level. The Cana- Fanfares (Leeds) for brass ensemble precision in choral speech, the inde- dian band repertoire, although fairly with optional percussion are very pendence of parts, the necessity for extensive, leans heavily towards street effective. Such Howard Cable compo- careful listening and the graphic marches. Historically these have been sitions as Newfoundland Rhapsody notation would challenge high school the mainstays of town bands, but they (Chappell), Quebec Folk Fantasy performers, and the spatial effects, the are generally cliched, of limited (Chappell), Scottish Rhapsody variety of textures and dynamics and musical and formal interest, and of (Leeds), and Stratford Suite the production of sound effects would little intellectual challenge in the (Chappell) are difficult but can pro- be intriguing. And how refreshing to teaching situation. Very few serious vide an excellent senior band with have a piece with some humour in the Canadian composers have written for challenging, effective repertoire. classroom or on the school concert bandA There is a particular lack of Choral music such as Violet Archer's program! It was recently performed by interesting music for junior and Landscapes (Waterloo) for SATB the Concert intermediate level bands. In other divisi and her arrangements of Three Choir, and was well received by words, then, work needs to be done in French Canadian Folk Songs audiences in Toronto, Ottawa, Quebec all area. Because of time limitations (Berandol) for SATB divisi, John City and Montreal. But to date three and because the focus of the present Beckwith's Ten English Rhymes Canadian publishers have turned Adaskin Project is on music for (Berandol) for unison voices, Derek down the manuscript as being too school use, solo repertoire is not being Holman's Weatherscapes (G.y' avant-garde and therefore too risky. included in the Guidelist. But that is Thompson) for SATB and optional And an English publisher specializing another area of real need, particularly brass quintet, Godfrey Ridout's Ave in contemporary music for' student at the junior and intermediate levels. Maria (G.y' Thompson) for SSA and performers, rejected GAS! because its Gathering repertoire suggestions his arrangement of Sainte Marguerite text contained too many Canadian and evaluations from educators all (Waterloo) for SATB, and Healey local phrases! And so GAS! remains across Canada is a huge job, but it is Willan's Rise Up My Love, My Fair unpublished. It can be rented or important that recommendations come One (Oxford U.S.A.) for SATB divisi purchased at cost from the Canadian from experienced teachers, and from are all pedagogically useful. Contribu- Music Centre. as wide a range of levels and teaching tions to student repertoire have come Rental rather than purchase of situations as possible. People ap- not only from career composers but music is particularly common with proached have included elementary, also from practising educators with orchestral repertoire. Most of the secondary, and university music extensive school experience. Among Canadian orchestral music which educators, administrators, people others, Donald Coakley has produced teachers might like to consider using involved in amateur community

44 Canadian Music Educator. 41 (3 & 4), Spring & Summer 2000 activities, private teachers, who are not familiar with Canadian repertoire particulary suited to Cana- .dents,and composers. University repertoire but have expressed a desire dian music education. Students, siceducation classes and school for the sorts of information which the teachers, and composers, working sseshave co-operated inreading GuideIist will provide. In a country together, can help create the future. oughless familiar repertoire. where education is a provincial matter adingsessions at regional music and where we are so widely separated Endnotes ucators' workshops have also been geographically, it is heartening that . Id.(For example, Nancy Vogan of teachers from all regions are willing I. In defining "Canadian" for purposes of the he Mount Allison University Music to co-operate on a project like this. Guidelist, the CMC rule-of-thumb is being used. If a composer is not a Canadian citizen, he . epartmentheld a choral reading Teachers should certainly not should have lived in Canada for at least five essionfor the New Brunswick throw out all but Canadian music years. .E.A.in October, 1975.) from their school libraries. But a 2. For a fuller description of Freedman's work for junior band, see my article "Freedman in the Anyone undertaking a national balanced performance program should Classroom" in the Ontario Music Educators' projectin Canada has communication include music of a variety of styles, I Association journal, The Recorder (Vol. \VII. periods, and countries, and good No.1, Sept. 1974), pp. 10-15. problems,and certainly it has not been 3. For discussions of Somers' work in North easyto make contact with teachers in Canadian repertoire has a place in York, see Somers' article Composer in the au parts of the country. And yet the such a program. Kodaly and Orff, for School: A Composer's View' (Musicanada No:=T9, May a-operation received has been V'ery example, developed musical materials 1969, p. 7 ff.) and (C. Laughton Bird's "Com- ncouraging, not only in terms of the and approaches particularly suited to poser in the School: The Role of the Music evaluationsand suggestions from the educational needs of their coun- Supervisor" (Musicanada No. 19-May 1969, p. 5 ft.). thosewho know and use Canadian tries. We can rightly use their music 4. See Allen Fisher, "Canadian Identity in 't;'n~pelioireand are willing to share and adapt it to Canadian needs. But School Music" (The Canadian .Music Educator. experience and opinions, but also we should also be working with our Vo1.16, No.4, Summer 1975), pp. 5-11. terms of the response from teachers own composers to foster a varied

45 Canadian Music Educator, 41 (3 & 4) Spring & Summer 2000