Composing strategies and pedagogy

Musical material suggests itself to composers in a variety of ways, many unexpected. But is the way in which a composer comes to particular decisions of importance to the teaching process? This paper examines the ideas of experimentation and testing with respect to research into composition. A model of the learning process is elaborated which seeks to disentangle the self-supporting justifications which grew up in the wake of post-war serial composition and analysis. An approach based on aural testing and ‘experimental analysis’ is advocated. The contribution of electroacoustic music is examined. It is argued that criteria of judgement in the learning process should be broadened to include those of a wider ‘community of interest’ and that compositional tools should be developed for the community as a whole, especially in the area of research into large scale forms. Finally, some observations on the consequences of this model to the broader world of music promotion are made.