MUSIC TEACHERS NATIONAL ASSOCIATION 2011 National Conference NATS Spring Workshop Pedagogy Saturday Why Collaborate? By Janice Wenger, NCTM M ost musicians eventually discover the solitary aspect of life as a musician: practicing. In order to make progress, both technically and musically, one must “do the time” individually on an instrument or singing. Beyond the practice room, however, higher joy can be found through performance for others. For organists, percussionists and pianists, that can mean playing exactly what one rehearsed as a solo. But for almost everyone else, the performance Janice Wenger, NCTM, is professor of piano and collaborative piano at the University of Missouri, where she also teaches piano literature and coordinates the keyboard studies area. She has chaired the MTNA Year of Collaborative Music steering committee, as well as the Pedagogy Saturday program committee for 2011. 26 means another step: rehearsing and interacting with an accompanist. The opportunity to form a partnership in the pursuit of the music’s meaning is one of the true pleasures of our profession; the creativity inspired by the meshing of two minds can produce a greater expressive result than the sum of the two parts. Even better is the opportunity to become involved in musical ensembles that are larger than two persons: trios, quartets and on up to large conducted choirs, bands and orchestras. Experiences with such ensembles definitely provide a mental high for the performer, with musical products far out-pacing what the solo practice room product might have been alone. The unconducted chamber group is the gold standard for many musicians—that is, a trio, quartet or quintet, where each performer is uniquely responsible for a stand-alone part. Accompanist, Chamber Musician, Collaborative Pianist Perhaps a short side trip into the vocabulary would be enlightening. To “accompany” can be applied to almost all music, referring to those parts of the composition that are not the primary melody. Any part of any ensemble, or any voice in a solo composition, at a moment in time can be considered to be the leading line (melody) or the accompaniment. Both aspects are needed for a complete composition in most historical styles. Blurring the clarity of the term is the convention of calling the pianist in a duo “the accompanist.” This person provides much more to the ensemble than mere rhythmic or harmonic accompaniments, often carrying the music forward with the leading voice and important melodic material. Even though common usage of the verb in everyday life (“I will accompany you to the grocery store”) implies no secondclass status, the concept of soloist versus accompanist tends to bring baggage to what should be a partnership between equals. “Chamber music” is a term often used for ensembles greater than two; all members of the group ideally have equal say in the musical whole and, indeed, all members will lead the ensemble with individual musical DECEMBER/JANUARY 2010/2011 material at some point. Pianists in a chamber ensemble don’t carry any more or any less weight than any other member and are not usually called “accompanist” in this situation. So the label “chamber musician” has a more desirable subtext for the pianist, but often doesn’t cover the vast majority of one-on-one ensembles happening daily in their lives. Out of a desire to find a better title for the pianist in the duo setting, the term “collaborative pianist” has become popular in the last few decades. This is more of an umbrella term, embracing both the best elements of the older “accompanist” and the broader “chamber musician” labels. As pianists started utilizing the term, it easily expanded to include everyone who might play in an ensemble: “collaborative musician” or to the music that is performed by these persons: “collaborative music.” The “accompanist” title is still embraced proudly by many, as is “chamber musician.” Both remain appropriate for amateurs or professionals, and having all three names provides a deeper vocabulary to a vital branch of music making. Who Can Collaborate? Although the label “collaborative musician” doesn’t yet easily roll off the tongue of the general public, it is useful to help describe a large number of people. The term can refer to literally anyone making music with at least one other person. The collaboration could be by rote, improvised, read from the score or memorized, and might include children playing duets with their teachers, adult beginners rehearsing scales on two violins, three jazz musicians improvising on a tune, an elementary class clapping and singing or chamber orchestras performing larger repertoire. One does not have to have an up-town pedigree to collaborate. Indeed, the opportunity to interact with other musicians can be an AMERICAN MUSIC TEACHER important pedagogical tool from the beginning, as well as a vehicle for the highest degree of professional performance, and everything in between. In addition to this intrinsic value, one can appreciate the many musical skills that emerge from a collaborative experience. For example, a performer’s sense of rhythm is challenged in every measure when tested with another musician; setting and maintaining the proper tempo is a discipline easily ignored when practicing alone. The listening skills of a collaborative musician are also heightened; being aware of the composite sound of an ensemble, and each performer’s role in that, helps one understand the various dynamic levels needed to create a desirable end. And one could point to some of the pedagogical tools that are acquired in a collaborative experience: having to A Sampling Of Resources Intermediate Chamber Music MTNA Intermediate Chamber Music Repertoire Database: www.mtna.org (look under “Resources” tab) Hinson, Maurice. The Piano in Chamber Ensemble, 2nd ed. Indiana University Press, 2006. How-to Books For The Pianist Adler, Kurt. The Art of Accompanying and Coaching. University of Minnesota Press, 1965. Bos, Coenraad V. The Well-Tempered Accompanist* Cranmer, Philip. The Technique of Accompaniment* Evans, Edwin. How to Accompany at the Piano. Fredonia Books, 2002 (1917). Grill, Joyce. Accompanying Basics. Kjos, 1987. Katz, Martin. The Complete Collaborator: The Pianist as Partner. Oxford, 2009. Moore, Gerald. Am I Too Loud? * Moore, Gerald. Furthermoore, Interludes in an Accompanist’s Life* Moore, Gerald. The Unashamed Accompanist* Price, Deon Nielsen. Accompanying Skills for Pianists* Spillman, Robert. The Art of Accompanying: Master Lessons from the Repertoire* Art Song Translation And Interpretation Bernac, Pierre. The Interpretation of French Song. Kahn & Averill, 2002 (1970). Emmons, Shirlee, and Stanley Sonntag. The Art of the Song Recital. Waveland, 2001 (1979). Fischer-Dieskau, Dietrich, ed. The Fischer-Dieskau Book of Lieder. Limelight, 1995. Miller, Philip L. The Ring of Words: An Anthology of Song Texts. Norton, 1973. Moore, Gerald. Singer and Accompanist: The Performance of Fifty Songs. Thorndike, 2008 (1982). Spillman, Robert, and Deborah Stein. Poetry into Song: Performance and Analysis of Lieder. Oxford, 1996. *Currently out of print, but may be available in libraries or in used editions through online book sources. 27 describe to another member of the ensemble what one perceives is needed to improve the whole, requires both descriptive vocabulary and diplomacy. If you are a musician, likely a pianist, who has rarely experienced the joy of collaboration, perhaps now is the time to jump in. Seek out a book by a great artist, find a friend to read a duet or volunteer at your local school as choir accompanist. One doesn’t have to find a violinist and a cellist for the first experience with a trio—good options exist for unusual combinations that would match your circle of willing friends. Or, if you are a teacher seeking opportunities for your students, on any instrument or voice, befriend the local school music educators. They could perhaps assist in selecting students of like age and interest in an informal collaborative project. The goal does not have to be public performance, particularly at the beginning; simply enjoying each other’s company and making music together is reason enough to plan a collaborative experience. [See “A Sampling of Resources”] Why MTNA? MTNA, as the pre-eminent organization for music teachers, is passionately interested in promoting collaborative music making. In addition to the obvious benefits described above, collaborative music reflects a partnership between the professional association and our members. Knowing that superb musical results come from efforts undertaken collectively, MTNA has promoted a collaborative leadership style with its elected boards, commissions and officers. Further, our association has collaborated with the Canadian Federation of Music Teachers’ Associations (CFMTA) and the Royal Conservatory of Music (RCM) in a joint conference and continues to promote an active partnership with the National Association of Teachers of Singing (NATS). 28 Additionally, MTNA has long recognized that pianists who are keenly interested in accompanying or collaborative performance should find a home in the association. This group of hardworking musicians has rarely had opportunities to come together for artistic, pedagogical and networking benefits. So recent years have seen an increase in offerings at the national conference for collaborative pianists, and now for other collaborative musicians as well. Starting with the Pedagogy Saturday presentations for the 2008 Conference in Denver: “Making Music Together: Preparing Students for a Lifetime of Ensemble Experiences,” MTNA is now annually offering sessions, performances and master classes specifically aimed at the collaborative musician. The Year Of Collaborative Music To continue the momentum, the MTNA Board has created the Year of Collaborative Music (YCM). The goal of YCM is to invite our brother and sister professional music organizations to join us in an activity that involves all types of members, all instruments and voice. What better way to promote our goals than the common ground of making music together? MTNA has designated the current year (April 2010 to March 2011) as YCM, and has provided special programming and publicity. Many partner organizations are also programming collaborative sessions and performances, as well as featuring articles in their journals. One event that is a part of YCM is the International Day of Collaborative Music (IDCM). All MTNA affiliates, including local and state associations, are encouraged to make a special effort to promote collaborative music on January 22, 2011. Our partner organizations, including many abroad, are also embarking on performances or gatherings that day in an effort to raise awareness around the world for the joy of making music together. Why not take the opportunity to meet the violin teacher down the street, make contact with the public school music teacher or promote music in your community? If you have not yet planned something for your studio or your local association, you should join the party! Pedagogy Saturday The culminating event of the YCM celebration will be at Pedagogy Saturday: “All Together Now ” on March 26, 2011, in Milwaukee. The opening interactive session, “From the Page to the Stage” will feature teaching videos from distinguished collaborative pedagogues: Anne Epperson, University of Texas; and Jean Barr, Eastman School of Music; led by Gail Berenson, Ohio University. The morning breakout sessions will give participants an opportunity to select topics of interest, including 1) a demonstration of how to teach ensemble techniques to everyone, away from instruments; 2) reviewing beginning skills for the pianist just starting to collaborate; and 3) assisting young singer/pianist duos with their first rehearsals. Later in the afternoon, three more sessions will address 1) the history of collaborative pedagogy; 2) youth chamber music repertoire for non-traditional instrumentation; and 3) how to effectively prepare orchestral reductions at the piano. Musicians all recognize the value in observing master performer/teachers in the act of teaching. As an extension of the opening session, the program committee has selected the tried-and-true live master class format for a significant portion of Pedagogy Saturday. Multiple classes will be offered, one each in woodwinds, brass and strings, and two in voice. The master classes will be presented with a more collaborative approach, befitting our theme. First, two presenters will work together to teach each class, including one instrumentalist (or vocalist) and one DECEMBER/JANUARY 2010/2011 collaborative pianist. Second, the two artists will instruct established student duos from the region; this has the added benefit of providing meaningful sessions for MTNA members who are vocalists or who play other instruments. With an intentional tip of the hat to Noah, who understood partnerships, these master classes are “Two by Two.” [For the Pedagogy Saturday master class presenters, see “Two by Two”] In the spirit of YCM, and wishing to promote collaborative music making in the early years of musical training, MTNA has commissioned three established composers to each create a new collaborative work at an interme- “Two By Two” Pedagogy Saturday Master Classes Woodwinds Martin Schuring, oboe, is an award-winning teacher at Arizona State University, and has held orchestra positions with the Hong Kong Philharmonic, the Florida Orchestra and the Phoenix Symphony. He is a regular participant at the Grand Teton Music Festival. Andrew Campbell, piano, received a doctorate degree in piano chamber music and accompanying from the University of Michigan, where he studied with the renowned collaborative artist Martin Katz. He is a past national prizewinner in the MTNA collegiate competition. Brass Patrick Sheridan, tuba, has thrilled audiences across the United States with his amazing virtuosity and musicianship since the age of 20. He has performed more than 3,000 concerts in more than 50 countries. Jennifer Snow, piano, is a diverse and active recitalist, appearing as a solo and collaborative pianist throughout Canada, Europe and the United States. She teaches piano and collaborative piano at the University of California-Los Angeles. Voice Karen Brunssen, mezzo-soprano, is associate professor of voice and opera, and co-chair of music performance at Northwestern University. Her performing career throughout the United States and Europe spans more than 30 years in concert, oratorio, recital and opera. J. J. Penna, piano, has performed with a variety of eminent singers, including Kathleen Battle and Denyce Graves. He received his training under Martin Katz, Margo Garrett and Diane Richardson, and currently teaches at Westminster Choir College and the Juilliard School. Strings James Buswell, violin, has performed as soloist with virtually all the major orchestras throughout the world. He is well known for championing new music. Buswell is professor of violin at the New England Conservatory. Anne Epperson, piano, is a noted collaborative partner, teacher and clinician. She is currently professor of collaborative piano at the Butler School of Music at the University of Texas at Austin and is head of the new collaborative piano program she created there in 2008. AMERICAN MUSIC TEACHER diate level. The three new trios are being written by Nancy Faber, Eugenie Rocherolle and Robert Vandall, and their works will be unveiled at the final event of the afternoon on Pedagogy Saturday: “From the Pen to the Premiere.” In addition to the premieres, each composer will speak about their piece and discuss together the process and challenges of composing at an intermediate level and for unusual instrumental combinations. Ann Rivers Witherspoon, chair of the MTNA Composer Commissioning Program, will lead the session. Copies of the new compositions are expected to be available for purchase at the exhibits on Sunday. The Pedagogy Saturday event, focused on collaborative music, would not be complete without live performances of chamber works. The box (“Bach’s”) lunch hour will feature informal performances of chamber music presented by PianoArts of Milwaukee, coordinated by Sue Medford. The day will come to an inspiring end at the evening Opening Session of the conference, featuring a performance by the Artists of the Royal Conservatory (ARC), the innovative ensemble-in-residence at Toronto’s Royal Conservatory of Music. Please consider adding collaborative music to your own repertoire and to your teaching, if you aren’t already. Plan a duet recital or just sight read with another instrumentalist or vocalist from your neighborhood. If you are already actively involved with other musicians, contemplate a special performance this year in celebration of YCM, or (even better!) an event on January 22, 2011, for IDCM. And everyone should plan to attend “All Together Now,” the exciting Pedagogy Saturday program in Milwaukee. See you there! AMT 29 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
