AMEB Theory Specialist, Andrew Raiskums, is a passionate educator, performer, composer and author behind the AMEB Theory of Music publication series and online music theory courses.
Andrew shares his journey from a childhood immersed in music to a fulfilling career teaching and inspiring future musicians. We explore how music theory serves as a cornerstone for unlocking creativity and understanding the complexities of music, and how Andrew’s diverse musical experiences have shaped his teaching philosophy.
We also discuss the evolving landscape of music education and the essential skills needed to prepare students for success in higher education and professional careers.
Key themes: music theory as a foundation, music teaching philosophy, music education landscape, inspiring future musicians,
What first ignited your passion for music? Did that passion always lead you towards education, or did that evolve over time?
I gravitated to music from my earliest years. Whether it was listening to my dad’s records, learning instruments, reading books or working out chords to things I was hearing on the radio, I was a music-obsessed child, in the same way that I am a now a music-obsessed adult. The move to education happened while I was at university. I loved bringing my passion for music to them, and seeing how that passion could also help students discover and nurture their own love of music and skills for playing music.
You wear many hats in the music world! From your experience as a performer and composer, how does music theory unlock creativity for musicians?
Solid music theory skills lie at the heart of all that I do musically. Whether it’s thinking about voice leading, intervals, keys, modulations, rhythms, time signatures – all these things are constantly in your mind, both as performer and composer.
You've had a long and fulfilling career teaching music theory. Can you share some of those moments that stand out as the most rewarding for you?
There are many, where students come to understand how to write a successful harmonic progression and are delighted by their work. There were others who became more interested in the historical side of music theory. Students who would start writing their own music and bring it in for me to look at. But I think the one student that stands out was one who was extremely gifted but also sight impaired. Her ear was absolutely extraordinary, and her memory was razor sharp. She kept me on my toes!
It seems like all your musical endeavours – performing, composing, conducting, and teaching – are interconnected. How has each of these areas shaped your approach to music theory?
The same theoretical principles come into play in all these endeavours. The rules are there, and the rules get broken. But why are they broken? Often, it’s because compromise is necessary to find musical solutions. Or a particular effect is being sought. Students often ask why they can’t write consecutive fifths when Debussy, for example, uses them freely. To answer that adequately, you need a thorough knowledge of music history, how styles changed and evolved. But the fundamental precepts are always there. Music is far from being a dead art; it moves simultaneously forwards and backwards.
In today's ever-evolving music world, what essential skills do you think a good music theory curriculum should address to prepare students for higher education and professional careers?
The rudiments are vital – scales, keys, intervals, chords, rhythms, time signatures, modulation. Four-part harmony; writing independent lines with solid voice leading and effective chord choices. Knowing your instruments and how to write idiomatically for them. And even if you’re an instrumentalist, start singing and join a choir. Remain open-minded about all the various genres of music and start to appreciate how they all interconnect. Learn to improvise. And because music can sometimes feel like a solitary pursuit, make sure you share your musical passions and vision with others.
As an educator, what are some of the most effective bridges you've built to connect music theory with the practical side of music making, like performing or composing?
It’s about seeing how simple precepts get extended and developed. Is there a simpler, better way to do it? For example – if I were conducting a piece, would it be easier to do a passage in two beats, or four? What is better for the performers? The notion of simplicity is often fraught for composers because they are used to filling a page with notes – but is that the best way to render an idea? Would a clearer, more transparent scoring get the idea across more effectively?
In your experience, what are some common misconceptions students have about the role of music theory in their musical journey? How can we better address those misconceptions?
I lost count of the number of times I’ve heard ‘theory is boring’, in the same way that ‘scales are boring’. Understanding music theory is a holistic thing – the student should try to gain an appreciation of what they are learning as it appears in the pieces they are playing, singing, or listening to. For long-term learning, the key is to be patient, breaking large concepts up into smaller, digestible fragments and always listening to your work. Play or sing it through, critique it. Remember that what you’re writing down exists in another dimension – as sound.
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Delve into the world of AMEB's Theory Specialist, Andrew Raiskums.
