Let’s Rebrand the Alt-Styles Movement
We need to define what is missing from classical-music education
The so-called ‘alternative styles’ movement needs to be rebranded and a clear manifesto declared. In fact, the term itself is misleading and confusing. What does it really stand for? What are its members advocating? It’s like a political party without a clear message.
Much like a “party of no,” the term seems to rely on its opposition to the status quo of classical-music education, rather than standing for something. Like “alternative rock” or “alternative schools,” this term can only last for so long. Let’s find a clear, positive purpose, instead of saying “we are the other guys. ”
I mean, sure, I get that the movement advocates for the legitimacy of musical styles outside of classical music. But isn’t there more to it?
The term itself begs all sorts of other questions. For example, just which styles qualify as alternative? We should take a more comprehensive look at what’s been missing from classical-music education and encourage the development of these skill sets and knowledge.
But first, let me say, I’m both a proud Suzuki dad and a classically trained violinist. I’m on your side! I’m grateful for all the things I learned from my classical teachers. But there were some things missing, and these are what proponents of alternative styles should stand for.
1. Teach improvisation and composition
Classical-music education does not generally encourage or foster creativity in these ways. I would argue that improvisation and composition are among the most valuable aspects of music making and music education, and that this idea is in line with the value that every person is unique, with his or her unique contribution to make. Improvisation and composition should be valued as highly, or more highly, than anything else. After all, creativity is the ultimate equalizer (for example, there are many violinists who might play faster than me and more in tune, but because I’ve practiced so much improvisation, there is no one who can sound like me).
The cellist at the back of the section will always feel inferior to the principal cellist when measured only according to orchestral repertoire, but if the same cellist is encouraged to create his or her own music, then that musician also can be judged in terms of originality.
Think about your favorite artists. The Beatles, Joni Mitchell, and Jimi Hendrix all stand out based on their originality and not just their virtuosity.
A common purist response to this notion goes something like this: before we teach improvisation, a student must first learn proper technique. But I’ve never heard any justification for this claim. In fact, I’d suggest that creativity, when taught early, helps to build better technique.
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