Courage to Create by Phillip C. Wise
Aleatory music: an alternate approach to improvisation
Tradition is a wonderful thing. Without it, we have no foundational basis for reasoning. Defined, tradition is a time-honored set of practices based upon solvent rationale and philosophy. Each of us is grounded in an understanding of musical tradition and should hold firm to these values.
Traditionalism, on the other hand, is the quasi-philosophy of teaching ideas and concepts based only upon past experience, without reasonable justification for continuance. In other words, because something has always been done a particular way, and for no other reason, we continue to do it. Traditionalism has no place in music education.
Band directors must discern whether they are nurturing the creative potential that exists in each of their students or choosing the path of least resistance. Are they basing their curriculum, and more specifically, their literature selection, on traditionalism?
History clearly shows us that musical improvisation (creativity) has been with us since time immemorial. However, for many years, the teaching of creativity (improvisation) has been made the responsibility of the jazz program when, in reality, improvisation is not genre-specific. There is a springboard that will allow students in the concert-band setting to experience this creativity, and this vehicle is aleatory music.
Aleatory music is that in which the composer introduces elements of chance or unpredictability with regard to either the composition or its performance. Although compositions differ widely with regard to form, notational practices, and so on, all aleatory (chance) music offers the individual and the ensemble the freedom to create and improvise, thus producing a real sense of musical mystery and spontaneity. Aleatory is that intricate balance of performance and composition at the same time.
Because we do not have a complete understanding of the creative process, it is difficult to state the precise methodology needed to teach it. We do know, however, that creativity is dependent on many internal and external forces. There are five stages inherent to the creative process: problem presentation, preparation, incubation, validation and outcome assessment.
Problem presentation is the stage at which someone asks us to move out of our comfort zone and enter a new arena. This is accomplished by simply offering our students the opportunity to create.
Preparation involves gathering the necessary information to successfully begin the project. We must research and provide the proper selection of aleatoric literature.
Incubation is the inspirational stage of creativity — in essence, the rehearsal process. Unfortunately, we have been led to believe that creativity simply flows from those gifted few, when it fact, all creative people have to re-create, rewrite, alter, change, throw away and curse numerous drafts to finalize the process. Beethoven often discarded more of his inspirations than he used. Teachers and students alike will have to experiment with the inspiration of creativity, and it will take time and practice.
Validation is the fourth stage, in which we seek edification toward the solvency of our creativity. This is especially important among our peers.
Outcome assessment is the final stage, in which we feel that our task is complete. We are pleased with the results — the performance. This could also be the stage at which we decide to abandon the project and begin other work.
The objection may be raised that creativity is born, not made. And yes, creativity is certainly born! Domain skills should be considered the raw talent one is born with, referred to by some as God-given ability. Our culture places great emphasis on intelligence, talent, skill and hard work, and it is true that these qualities (often innate) make up two-thirds of the creativity ingredients. However, the other third of the recipe is often overlooked: motivation through opportunity.
There is no doubt that Mozart had a natural talent, but without the special training, opportunity and experience that his father gave him, he may never have written a single note. Granted, the chances of one of your students becoming the next Mozart may be very slim, yet there are many levels of creativity, and we should not stifle our students' creative process because the odds seem overwhelming.
There seem to be four imaginary barriers that face the director with regard to teaching aleatory music, those being (1) inhibition, (2) the scarcity of playable literature, (3) the process of actually teaching something so abstract and seemingly removed from traditional practice, and (4) the belief that music of this idiom will detract from foundational musicality. None of these are viable excuses.
Inhibitions toward this musical style must be overcome in order to feel comfortable teaching or directing such a work, let alone promoting these ideas to students. As educators, we can kill creativity without ever realizing it. Albert Einstein observed in his autobiography, "It is a very grave mistake to think that the enjoyment of seeing and searching can be promoted by means of coercion and a sense of duty." People tend to be most creative when they feel motivated by interest, enjoyment, satisfaction and the challenge of the opportunity itself.
There is good aleatory literature available. Daniel Bukvich s compositions are perfect examples, and more works are being published each year. Of course, you can always tap into your own creative forces and compose original material.
The process required to teach aleatory style is similar to the presentation of other stylistic concepts. First, know the material you are teaching. This may take some time, but it will pay big dividends. Most aleatoric scores include a composer's preface explaining the work and outlining the concepts for your study. Prepare handouts to standardize avant-garde or graphic notations, and place them in the music folders for quick reference. Of course, you will need to teach these notations prior to your first rehearsal.
Be aware that much aleatoric music tends to focus on setting, texture, density and color as opposed to traditional melody, harmony and rhythm. Aleatory music will not just happen. It requires a human agent willing to foster creative forces, and you are that agent. A well-accepted improvisational and creative model is: Imitate, assimilate, innovate. Expose this technique to your students through short aleatory pieces such as those written by Sydney Hodkinson (A Contemporary Primer for Band, Volumes I, II and III, Theodore Presser Publishing).
As with any other first-time endeavor, it will take time and effort to teach this style of music. Every journey, after all, begins with a single step. Believe in what you are doing, regardless of what others might think, for there will always be antagonists.
Music traditionalists may argue that aleatory music is best performed when "left in the file cabinet." Offer your students the opportunity to experience this music firsthand, then make your own decision. Don't allow others to tell you such a work is not music. Who is so all-knowing that he can define "music"?
As to the issue of foundational musicality, many directors have found that the inclusion of aleatory music in their programs brings musicality to the fore. Students are so enthralled with these new musical sounds and their own artistic process, that aural skills are heightened as extraordinary demands are placed on their attention to all musical concepts.
If your large ensemble lacks the musical emotion you wish it had, aleatory is a vehicle that can bring this out. And remember, there is no substitute for an experience. Consider this Chinese proverb: I hear — I forget; I see — I remember; I do — I understand.
The inclusion of aleatory literature should be a requirement of every instrumental music program. In truth, the phrase "foster creativity" is probably found in your current curriculum document but may remain unpracticed. We cannot simply talk and write about teaching creativity; we must allow each student to experience its wonder.
If you are not open to promoting creativity to all of your students, then you become a limited instructor who has allowed traditionalism to impede contemporary thought. With an understanding of the relationship between creativity, musicality and the education process, you can better offer your students the opportunity to probe and search for the music "beyond" and "within".
Do you have the courage?
Phillip C. Wise, Ph.D., serves as department head at Missouri Southern State University in Joplin. An active researcher in music cognition, he has published numerous articles in professional journals, and his instrumental music education textbook, So, You're the New Band Director: Now What?, is published by C. L. Barnhouse.
