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The Study of Two Canadian Composers Teaching Through Composition: The Study of Two Canadian Composers A. Nicholle Martin Schulich School of Music McGill University, Montreal May 8, 2006 A thesis submitted to McGill University in partial fulfilment of the requirements of the degree of Doctorate of Music. © Avril Nicholle Martin, 2006 Teaching Through Composition: The Study of Two Canadian Composers Introduction Page 2 Schafer's Biographical Information Page 2 Schafer's Pedagogical Writings Page 3 Workshops with Schafer, A Personal Perspective Page 6 Pedagogical Discussion of Schafer's Choral Works Page 8 alcides lanza Biographical Information Page 15 alcides lanza as Pedagogue Page 16 From lanza's Students' Point of View Page 17 un mundo imaginario Page 22 Conclusion Page 25 Appendixes Page 27 Reference List Page 37 1 Teaching Through Composition: The Study of Two Canadian Composers This paper will demonstrate how Canadian composers R. Murray Schafer and alcides lanza teach through composition (lanza's name is written in lower case at the request of the composer). Through the study of their choral music, illustrations of how both lanza and Schafer use their compositions to teach various musical, educational and environmental topics will be presented. Both lanza and Schafer are pedagogues, but their educational approaches are quite different. The study of Epitaph for Moonlight, Snowforms, Miniwanka and Gamelan will demonstrate how Schafer uses his compositions to teach environmental and social issues. Discussions with lanza's former students and the study of his choral work un mundo imaginario, will show how lanza uses his pieces to teach his composition students. Schafer's Biographical Information Raymond Murray Schafer was born on July 18, 1933 in Samia, Ontario. His mother was an amateur pianist and his father an accountant for an oil company (Adams, 1983). His parents supported his artistic endeavors and encouraged him to study both music and visual arts. As a young child, Schafer sang in a boys' choir where he developed an understanding and respect for the human voice and choral music (Adams, 1983). Schafer's intention was to become a visual artist, however he developed childhood glaucoma in his right eye and after two unsuccessful operations, he lost his eye (Adams, 1983). As can be seen from his scores, it is obvious through his use of graphic notation that his visual artistry was never lost. 2 At fifteen years of to study music theory with well-known "",,,,11"'''''1'''' composer John claims to have most ......... ..,..u'.. u Weinzweig gave him the "'''''''''''''''1H to create music, while teaching the rudiments of contemporary cornO()Sltlon Schafer believes that as a ............."".., .. , he was misunderstood abilities as a musician were never respected or (Adams, 1983). was to leave the of Toronto due to confrontations with professors, and as a result has never finished his Bachelor Music The only diploma that possesses, the numerous k;"",..·"...., £1""1-,....-"1-,,,, is a Licentiate ;:)CflOOIS of 1......"1"'. London, England (Adams, Given the fact that ...:"t,,>,,",,... was a poor sruaeltlt it is ironic that he is known teaching. R. Murray Schafer IS known both as a composer and educator. His "'''',,'U'-''''-1' writings have many languages demand internationally as a clinician. His compositions are equally famous are performed worldwide. Schafer has written books on his philosophy education. Beyond the Music Room (Schafer, 1986), The Composer in the Classroom (Schafer, 1976), When Words Sing (Schafer, 1970), Rhinoceros in the Classroom 1975), The New Soundscape (Schafer, 1969), Cleaning (Schafer, 1967), (Schafer, 2005) A Sound Education 1 focus on <len,",,'-e of pedagogy and had a significant ",.,TII""",,,,,,,, on development of music "'.... '.."'CI'..VI1 3 The common Tn.,'rn~>" that run through books include education in and out classroom, environmental concerns, and pedagogical exercises. Beyond the Music Room 1986), Composer in the Classroom 1976), and Words Sing (Schafer, 1970) discuss with teaching both children and adults in the classroom community ensembles. >J'V'''"",-'''' experiments with something "descriptive music" where he students imitate various sounds from their environments with their or instruments. He also students to improvise and aurally create the pictures that he provides in his scores. The Rhinoceros in the Classroom (Schafer, 1975) gets its title from Schafer's view that teacher is the only modem-day dinosaur. that many teachers were apprehensive about trying new pedagogical techniques and therefore hindered the development of their This book is a collection of VIews on music education, which focus on areas: L To try to whatever creative potential children may for making oftheir own. 2. To introduce students of all ages to the sounds of the environments, to treat the world soundscape as a musical composition which man is principal composer, and to make critical judgments which would to its improvement. 3. To a nexus or gathering-place all the arts meet and develop LV"',",LH...,' harmoniously (Schafer, p.243). The New Soundscape (Schafer, 1969) is a collection of writings on the of noise pollution in the twentieth century_ This book deals with the evolution of noise since the revolution, and implores musicians to must stop this environmental 4 pollution, a theme that can found in many of his compositions Cleaning (Schafer, 1967), HearSing (Schafer, 2005) and A Sound Education 1992) present a of pedagogical title Ear Cleaning comes Schafer's belief beginning ear one must experience ear .'."''''·'.lHV (Schafer, 1967). wrote, "I have tried always to induce students to sounds they have never really listened to before, like mad to the sounds of their own environment and sounds they themselves inject into their environments" 1969, p. 46). HearSing and A Sound .catlCUJ~wn (Schafer, 1992) are poy ~'''l'1 .,po., and activities teachers can use in their classroom without use of expensive musical instruments. From trying to a piece of newspaper around the room silently, to compose, these encourage creativi ty, individuality, and Illaeptmaem thinking (Schafer, significant number of the are to be blindfolded or in .......,.LAu...... believes depend primarily on and when that is taken away, ....""·n"""''' much more acute 2005) . Activities in HearSing (Schafer, 2005) such as to the Centre, Locate the I With My Find the and Sheep, Pigs, Roosters, Cows p. 2-7) all on participants' sense hearing (Schafer, Key shows how something as personal as sound of our keys unnoticed in our daily routine (Schafer, p. 8). The Name requires participants to their own name in as many ways as possible (Schafer, p. 9). 5 Once students have learned how to hear indoors, HearSing (Schafer, 2005) takes them for different ear-cleaning Ear is a process by Schafer to prepare a student for ear training 1967). Bring it Back a participant to run around school while singing a note, return to point singing same pitch p. 15). He even created a of musical football instead of a the team to pass around a short melodic or rhythmic phrase (Schafer, p. 18-19). One chapter of HearSing (Schafer, 2005) is called Drawing Sounds (Schafer, 20). exercises have the students draw a sound real time, and then sing the drawing produced (Schafer, p. 22-23). interpreting painting Paul Klee's Twittering Machine to the exercise Taking a Note for a Walk students are required to improvise and make sound and vision one art (Schafer, p. A Sound Education (Schafer, 1992) is similar to HearSing (Schafer, 2005) in that it is a collection of however, this collection is more towards adults. Let them how a soundscape designer could shape environments to produce acoustic effects (Schafer, p. 95), Eliminate a disagreeable sound from your home or garden (Schafer, p. 127) are examples activities that """r.r.. ... Schafer's "P"'P';:lIrl'n with soundscape. I have attended many Schafer's workshops, with teachers, college students and elementary school children, and can attest to the his teaching tools work with a1l ages. He an ability to change his expectations for the he is working with, to 6 ensure his on the new soundscape and music education are fully understood. first time I with Dr. Schafer was as an undergraduate Music Education student. Having found his approach fascinating and unique, I was excited about his workshop. However, once in the workshop environment, I became quite shy and introverted. end the day I was "",.ni"r.rl<l and all My last experience with him was at McGill University, where was a workshop to Music Education and Composition students. Again, I could see the certain but much like myself at age, within a few minutes, they were participating fully. Schafer's ability to include aU races, backgrounds, and IS a reflection of his teaching philosophy found in HearSing, "The music room is neither the nor the end of Music is the whole sounding universe. We are all listeners and and composers of the universal symphony" .... ""aT..... 2005 p. xii). Implementing the activities and exercises found in his educational writings will support a teaching curriculum. manner in which Schafer presents activities teachers to adjustments to meet the needs and of their SlUuelrllS. His activities students "",,,,,un aware of their u'""J ... .:.~''"'' environment which will in turn aid in development musicians. He said on many that it is unfortunate we do not have lids' to keep out undesirable sounds as we have 'eye lids' to looking at undesirable sights (Schafer, 7 In introduction to The Rhinoceros in the Classroom (Schafer, 1975), Schafer tells reader that above his is posted list of principles for e<1IJcatton: 1. The first practical step in any educational reform is to take it. 2. education, are more important successes. is nothing so dismal as a success on the of peril. 4. are no more teachers. is just a community of learners. Do not a philosophy of education for Design one yourself.
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