CRITERIA FOR JUDGING QUALITY IN MUSIC
During my years in the music classroom, my teaching was significantly influenced by the ideas and writings of Bennett Reimer. According to Reimer, “Music must be assessed for its value as art on the basis of its effectiveness in providing opportunity for musical experience.” (A Philosophy of Music Education, 2nd Edition, pg. 133)
If Reimer is on target, and if the responsibility of assessing value in print music falls squarely on the music teacher, then the selected repertoire will ultimately impact the musical experience that happens in both the rehearsal room and concert hall. Consequently, it is imperative that music teachers are equipped to find the best repertoire for their students. In addition to musical experience, repertoire selection will directly influence learning goals and learning outcomes.
But what criteria can be used when choosing repertoire? Reimer suggests the following four benchmarks: 1) Craftsmanship, 2) Sensitivity, 3) Imagination, and 4) Authenticity.
Says Reimer, “Craftsmanship is the expertness by which the materials of art are molded into expressiveness.” (A Philosophy of Music Education, 2nd Edition, pg. 135) In instrumental print music, craftsmanship deals with the construction of the composition. If a work is well crafted, its construction will match the capabilities of the instrument and performer. This means that any instrument part will be written within the practical range for that instrument. In addition, parts will contain smooth voice leadings, while avoiding awkward skips. If a work is based on a compositional form, then the unfolding scheme of the work will be true to that form. Harmonically, the work will be free from unintended dissonances. As far as articulations or dynamics are concerned, they must be cleanly and effectively playable for the assigned tempo. As you assess craftsmanship, think of yourself as a musical home inspector whose job is to find compositional imperfections, while signing off on sound construction.
Sensitivity is the emotional depth captured within the work. While a piece may be well constructed, it may lack feeling. On the other hand, some works not only possess deep feeling, but they contain a complex scheme that allows for developed ebb and flow. In my RWS composition STRONGER TOGETHER, I create rising and subsiding tides of emotions that eventually lead to a climactic and joyful restatement of the primary theme. (As an experienced composer, I can attest that delivering the “it” factor within a work is challenging to achieve. And ironically, when it is captured, it is often overlooked buy the buyer.) As you assess sensitivity, think of yourself as a musical counselor whose job is to gage and understand the emotional density of a piece.
In Reimer’s writings, imagination is tied into the vividness of the art object. In a more practical sense, one can think of imagination as that which embodies the unique, attention-grabbing qualities of a work. While many compositional forms unfold in predictable ways, a work with imagination may contain unique twists and turns that evade expectation. These detours can surprise the listener, resulting in an eye-brow-raising facial expression accompanied with a chuckle or a smile. In other instances, such unexpected diversions may challenge our anticipations, leaving us shaken to the core. Imagination can also embody the use of unique melodic and harmonic elements, including whole-tone scales, chromaticism, and unexpected dissonances. It can also manifest itself through aleatoric devices. During my years in the classroom, I found that while predictable works helped me efficiently teach specific musical concepts, such works did not sustain my students’ interest compared to the innovative or adventurous pieces. As you assess imagination, think of yourself as a talent scout whose job is to discover that next unique musical voice or unbelievable circus act.
Authenticity is perhaps the most elusive criteria to understand as it deals with artistic morality. In this case, we are not referring to subject matter (as in “viewer discretion is advised”), but we are dealing with how the composer treats the music and its interacting elements. In other words, are the styles, forms, and interacting elements of the music treated with integrity? Is the composer genuine in how he or she treats the music? And, does that treatment take us to a noble destination, or guide us on a fruitless journey? Furthermore, does studying a given piece help our students gain musical knowledge, improve musical skills, and engage in profound musical thinking? Or, does it waste valuable instruction time? Regarding arrangements of non-Western music, do they present a genuine and accurate depiction of a culture, its practices, values, and identity? Or, do they propagate stereotypes? When assessing authenticity, think of yourself as an artistic restaurant critic whose job is to assess the musical cuisine for its preparation (proper combination of ingredients), freshness, harmony of flavors, and how the musical dish fits with the establishment’s (genre’s) narrative.
As you search for repertoire, remember that your choices will impact the musical experiences of your students. Also, understand that while the aforementioned criteria present a sound basis for judging quality in music, not every piece has to embrace all four criteria at once; indeed, there are works that may shine in one area, while keeping a low profile in another. Finally, know that taking the time to find quality music will result in teaching that is exceedingly enjoyable and learning that is profoundly meaningful. Best wishes as you search for that next great piece!
