(And, I would add that this manifesto should extend well beyond composers…)
Years back, when I was regularly involved in helping artists prepare for work in K-12 schools and the community, I often said that if they would be sensitive to how children were responding to the arts they were bringing to the classroom, that they would learn a great deal about how people respond to art on a fundamental level.
It was part encouragement for the teaching artist and part a tip on how to become more tuned to the arts and human experience. Ultimately, I believe that work with K-12 students will make for a better artist.
And, I have always been interested in the issue of new work for young people. It was something I wanted to develop during my days at The American Music Center–a commissioning program for new music and young people, but alas…
Belinda Reynolds, a terrific composer and member of the arts community in the Bay Area, has written a splendid piece about composing for young people that was recently published on my very favorite new music website, NewMusicBox.org.
I think there’s a lot to think about in what Belinda has presented and here’s just a tease, I hope you will click on through and give this one a good read:
Why is there still an oversight in composing for children? Does it have
to do with our training as composers? Most of us were never taught how
to compose music for an elementary technical level. In my own
experience, not once did any of my beloved teachers discuss the issues
surrounding writing for young players. I had the privilege of going to
two top schools: one a university, one a conservatory. I was shown all
the possibilities of what instruments can do. I was exposed to writing
for incredible players. But, never was I introduced to writing for less
skilled musicians. I was never encouraged to compose for any level lower
than that of the professional player. It was simply overlooked.
