Camp Strikes Creative Chord with Young Composers the Walden School Nurtures Lifelong Appreciation for the Arts

By Kirsten A. Conover, writer of The Christian Science Monitor | The Christian Science Monitor, July 28, 1997 | Go to article overview

Camp Strikes Creative Chord with Young Composers the Walden School Nurtures Lifelong Appreciation for the Arts


Kirsten A. Conover, writer of The Christian Science Monitor, The Christian Science Monitor


If you're ever near Mt. Monadnock in New Hampshire on a Saturday in July, you might see a group of hikers from the Walden School.

But more than likely, you will hear them. When they reach the top of a peak, they sing - not campfire songs, but classical music.

The Walden School is a summer music school for young composers, ages 9 to 18. They are all musically inclined, but not what you would call prodigies. What makes Walden unique is that it is the only school specifically tailored to give preteens and teenagers the tools to compose. The school is located on the campus of the Dublin School, a boarding school. Each summer at the end of June, some 14 pianos arrive along with an impressive cadre of faculty and about three dozen students. Then, for five weeks, musical notes become almost as plentiful as dewdrops. This year, 38 students from around the country - and two from Israel - have come to learn how to compose at Walden. The school, which has stayed deliberately small, is celebrating its 25th anniversary. Sarah Robinson, a student from Lambertville, N.J., who plays the flute, says she likes Walden's unique atmosphere. "You're surrounded by talented musicians and composers, but it's not intimidating." The core of the teaching here is "musicianship," where improvisation and composition are considered pathways to discovery. This misty morning, executive director Pat Plude teaches a musicianship class to seven students. They do drills gathered around a piano. "Think the notes, see them in your head," Ms. Plude encourages. Seth Brenzel, Walden's outreach director, explains that such teaching encourages creativity organically. "Here, they sing it, read it, write it, play it, hear it, and then they create with it." Many compare the process to learning a language, whereby you must be fluent to create literature. Down at the performance hall, third-time student Peter Krag is doing a self-critique. At age 11, he has composed a work being performed by cellist Tom Kraines, a visiting artist in the Peabody Trio; violist Jason Haney; and flutist-student Sarah Robinson. Gary Monheit, Peter's composition teacher, sits beside him in the auditorium while the three musicians play Peter's piece-in-progress, lovely chamber music. One can only imagine that this is a magic moment for the 11-year-old: hearing his creation being played by accomplished musicians. They try different phrasing and ask Peter which he prefers. Sitting in the audience, Mr. Brenzel whispers, "What really gives me goosebumps about this place is we take kids very seriously, especially adolescent kids. Who else does that?" Most Walden students will go on to study music at college, but not all will make music their profession. Two things are sure to happen, say faculty members: Students will take this grounding on how to learn as a way to approach other things in life, and they will be arts supporters and advocates for life. The philosophy behind Walden's creative approach to musical education originated with Grace Newsom Cushman, founder of the Junior Conservatory Camp, Walden's predecessor from 1940 to 1972. She believed that the most successful way to teach young people was through creativity, whereby students discover things for themselves and learn to think independently. In Mr. …

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