Creativity In Concert: Centering Creative Musicianship In The Orchestra Classroom

Miller encourages ensemble teachers to incorporate a broad range of learning opportunities to address student creativity, musicianship, and musical experience. Miller presents a common scenario where ensemble teachers introduce a project/assignment that encourages student creativity, however, the project/assignment is often a separate experience from the ensemble rehearsal/performance. Miller offers several pathways to merge creative musicianship experiences and rehearsal/performance together - “improvisation, composition, soundscapes, and creative narrative” (Miller, p. 18, 2022).

With so many notes to choose from and tonalities to fit within keys, improvisation can be a daunting task for students. Depending on the age group, Miller recommends scaffolding improvisation by limiting choices. Begin with simple rhythms (quarter and eighth notes) and only a few notes. For more advanced students, educators might consider introducing the pentatonic scale. The focus is not on the product, Miller writes, but on the process and developing student agency.

So what does improvisation look like in concert? Educators can rely on repertoire that incorporates opportunities for students to improvise. Students should have had time to experiment and experience improvisation during class/rehearsal in preparation for the concert. Now, what happens if educators are performing repertoire without improvisation opportunities? Educators might consider taking the “start small” approach and ask students to modify a measure or a phrase within the concert repertoire. To Miller’s point, rhythmic improvisation is a great place to start. I would go one step further for beginners and recommend clapping a rhythm and lessening the pressure of playing our instrument.

Similar to his improvisation approach, Miller recommends educators to set specific parameters for students to experiment. This prevents choice overload. Educators can scaffold the process by presenting an opening melody phrase and having students complete the second half of the phrase. As students gain confidence in writing, students can expand to various components (e.g. bass line, harmony, ostinati, etc.). Educators should consider a mode of writing that is comfortable for students if students choose to write their composition. Digital composition software, pencil/staff paper, and student invented notation are good places to start.

Soundscapes can be introduced to students as a concept similar to landscapes, seascapes, and/or cityscapes, but with sound. Miller’s approach is to have students tell stories of a scene through the use of sound. In rehearsal/practice, Miller acknowledges that the classroom will sound chaotic, however, when students are ready to share their soundscape, this is an opportunity for performing and listening students to really engage. Performers present their soundscape with their instrument while listeners are attentive to the sounds and encouraged to interpret the soundscape.

The creative narrative component is accessible through improvisation, composition, and soundscapes. Students are encouraged to write the story of the music created/played. These are also wonderful opportunities for students to make connections between musical nuances and imagery. Narratives can also be created by students with existing programmatic works.

Miller concludes his article by addressing safe learning environments - how educators must embrace a practice of open mindedness among self and students. Students will gain more critical and creative experiences when educators set parameters that welcome vulnerability. At the end of the day, isn’t that what education is? I see Miller’s approach as a way of cultivating musical courage among learners and giving/accepting feedback from one-another.