A job analysis in instrumental music education: Its relation to the undergraduate curriculum of the University of Southern California

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A JOB ANALYSIS IN INSTRUMENTAL MUSIC EDUCATION: ITS RELATION TO THE UNDERGRADUATE CURRICULUM OF THE UNIVERSITY OF SOUTHERN CALIFORNIA

A Thesis Presented to the Faculty of the School of Music University of Southern California

In partial Fulfillment of the Requirements for the Degree Master of Music

by Jerome Glass August

19^0

UMI Number: EP67605

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u.

'Si

6- s

9

T h i s thesis, w r i t t e n by

............. ^ 0 ^ . . GLASS..... u n d e r the g u id a n c e o f

i.S__F a c u l t y C o m m it te e ,

a n d a p p r o v e d b y a l l its m em bers, has been presen ted to a n d a cce p te d by the C o u n c i l on G r a d u a te S t u d y a n d R e search in p a r t i a l f u l f i l l ­ m e n t o f the r e q u ire m e n ts f o r the degree o f

Master of Music

D a te .........

F a c u lty Committe.

TABLE OP CONTENTS CHAPTER I.

PAGE

I N T R O D U C T O R Y ..................................

1

The p r o b l e m ........................... • • • • •

1

Statement of the p r o b l e m ................... .. Importance of the study

• • • • . . ....

1 2

Definitions of terms u s e d ................... .. Job analysis • • • • ..................... Music Education

Ij. ...........

Organization of the remainder of the thesis II.

METHOD OP PROCEDURE AND CLASSIFICATION VIEWEES

3

..............

Review of previous related studies

• .

8

Considerations ................................

III.

*

9

* • • • • • • • • • • • • • •

10

............. -.............

11 1$

THE INTERVIEWS IN THEORY AND MUSIC HISTORY . . . . Solfeggio

...................

Solfeggio described

15

.................

15

The n e e d ................

l£

H a r m o n y ................... ................... .. Harmony described The need .

8

....................... .' . . •

The interviewees The jobs

7

OFINTER­

............. .*

The interview

3

16

............... ..

.......................

Specific applications

17

........................

Undergraduate requirements .................

16

•

18 20

iii CHAPTER

PAGE Form and a n a l y s i s ................................ Form and analysis d e s c r i b e d ............

. . .

20

The need and a p p l i c a t i o n .....................

21

Undergraduate requirement .....................

21

Counterpoint

....................................

22

........................

22

The n e e d .......................................

22

Undergraduate requirement .....................

23

Orchestration ....................................

2l±

Counterpoint described

Orchestration d e s c r i b e d ............

2l_|_

The need

25

....................................

Specific applications .......................

.

26

Undergraduate requirement .....................

28

Music History and L i t e r a t u r e ...................

29

Music History and Literature described

IV.

20

. . . .

29

The need and a p p l i c a t i o n .....................

30

Undergraduate requirement . . .

...............

31

THE INTERVIEWS IN APPLIED M U S I C ...................

32

C o n d u c t i n g ....................................... Conducting described

..........................

32 32

The n e e d ......................................

32

Specific application

33

.

..........

Undergraduate requirement ......... P i a n o ..........

33 35

iv CHAPTER

PAGE Piano study described .........

. . . . . . . .

35

.........

The need and application

35

Undergraduate requirement . • • • • • • • • • .

37

Voice . . • • • • • • • • • • • • ....... .........

39

Study of voice d e s c r i b e d .......... . . . . . .

39

The need and a p p l i c a t i o n .......... ..........

39

Undergraduate requirement ......................

39

Band and orchestral i n s t r u m e n t s .............

1+0

Band and orchestral instruments described . . .

1+0

The n e e d .................................... ..

1+1

Undergraduate preparation

........

1+2

Ensemble groups • • • . • • • • • • • • • • • • .

1+5

Ensemble groups described • • • • • • • • • • •

1+5

The need and application

• • • . • • • • • • *

1+5

..........

1+6

Undergraduate requirement Major i n s t r u m e n t .......... The need and application

1+7 .............

Undergraduate r e q u i r e m e n t ............ . V.

1+7 1+8

THE INTERVIEWS IN MUSIC EDUCATION AND PEDAGOGY'.

.

5l

Music Education Methods and Directed Teaching . .

5l

Elementary Music Education Methods described

5l

.

.

The need, application, and undergraduate require­ ment

.............................................

51

Observation and Directed Teaching in Public School Music described • • • • • • • • • •

•

52

V

CHAPTER

VI.

PAGE The need and a p p l i c a t i o n ..................... *

52

Undergraduate requirement

52

• • • • • • • • • •

Pedagogy electives • .............................

53

Pedagogy electives described .................

53

The n e e d .................

. ............

5b

Undergraduate requirement

• .................

5b

. ...................

56.

SUMMARY AND RECOMMENDATIONS

BIBLIOGRAPHY

. . . . . . .

6l

LIST OP TABLES TABLE I. II.

PAGE Classification of Interviewees ................... Courses Taught on the Job and the ^umber of Inter­ viewees Teaching Each

.........

13

III.

Description of Individual Jobs of Interviewees • •

IV.

Undergraduate Requirement in Solfeggio as Request­

VI.

How and to What Extent Harmony Was Used on the Job

............................

.............

.............

....................................

26

Undergraduate Requirement in Orchestration as Re­ quested by I n t e r v i e w e e s .......................

XII.

2l+

How and to What Extent Orchestration was used on the Job

XI.

22

Undergraduate Requirement in Counterpoint a s Re­ quested by I n t e r v i e w e e s ........................

X.

21

Undergraduate Requirement in Form and Analysis as Requested by Interviewees

IX.

20

Importance of Form and Analysis as Part of the Musical Background of the Teacher

VIII.

19

Undergraduate Requirement in Harmony as Requested by Interviewees

VII.

1I4.

l6

ed by I n t e r v i e w e e s ................. V*

12

28

Importance of Music History and Literature in R e ­ lation to the Musical Background of the Inter­ viewees

XIII.

....................................

30

Undergraduate Requirement in Music History and >

Literature as Requested by Interviewees

. . . .

31

vii TABLE XIV.

PAGE Number of Periods Taught per Day that Require C o n d u c t i n g ....................................... .

XV.

Undergraduate Requirement in Conducting as Request­ ed by I n t e r v i e w e e s .............................

XVI.

.......................... ..

0

Undergraduate Requirement in Strings as Requested by I n t e r v i e w e e s ................................

XX.

• • • • •

l\.3

Undergraduate Requirements in Brass-Percussion as Requested by I n t e r v i e w e e s .....................

XXII.

I|_3

Undergraduate Requirement in Woodwinds as Requested by Interviewees

XXI.

38

Undergraduate Requirement in Voice as Requested by I n t e r v i e w e e s .................

XIX.

36

Undergraduate Requirement in Piano as Requested by I n t e r v i e w e e s ................................

XVIII.

3^4-

Extent to which Piano was used on the Job by Interviewees

XVII.

33

I4J4.

Importance of Participation in College Ensemble Groups as Related to the Learning of Skills, and Techniques of the Organization and Training of Public School G r o u p s .......................... ..

XXIII.

1|.6

Importance of Participation in College Ensemble Groups as Related to the Musical Development of the P a r t i c i p a t o r s .............................

Ip6

viil TABLE XXIV*

PAGE Undergraduate Requirement in Participation in College Ensemble G r o u p s .......................

XXV.

Extent to which the Interviewees Performed on their Major Instruments on the Job

XXVI.

...........

1^9

Undergraduate Requirement in Directed Teaching as Requested by I n t e r v i e w e e s .......................

XXVIII.

I4.9

Undergraduate Requirement for Major Instrument as Requested by I n t e r v i e w e e s ........................

XXVII.

lj.7

53

Curriculum for Bachelor of Music with Major in Music Education ...............

58

CHAPTER I

INTRODUCTORY Most teachers, at one time or another, have arrived at the conclusion that certain courses that had been offer­ ed to them as part of their undergraduate training were un­ necessary.

On the other hand, there are many instances

where teachers have discovered that their jobs have re­ quired certain knowledges and techniques for which they were not prepared.

To date there has been no formal in­

vestigation of this problem as it pertains to the instrument­ al music teacher# I.

THE PROBLEM

Statement of the problem.

It was the purpose of

this study (1) to determine of what the job of instrumental music in the public school consists and what’knowledges and techniques are necessary to the successful execution of that job;

(2) to discover whether or not the teacher was

adequately prepared, during his undergraduate training, to meet the demands of his teaching position;

(3) to determine

what the teacher believes his undergraduate preparation should have been;

and (ip) to make certain recommendations

concerning possible changes in the curriculum as offered to the undergraduate students of the Music Education De­ partment of the University of Southern California#

2 Importance of the study.

Every teacher-training

institution bears a responsibility (l) to the state depart­ ment of education from which it receives its license;

(2)

to the community school districts from which its students accept positions;

and (3) to the students themselves#

That responsibility embraces the determination of the in-, stitution to make the utmost effort in setting up a curri­ culum which is most efficient in preparing the student for his job.

How can the institution be sure it I s ,fulfilling *

that obligation unless it investigates the job and deter­ mines whether or not the teacher has been adequately prepared? The teaching of music in the secondary schools encom­ passes a wide range of experience and its spread into choral, instrumental, theoretical, and "general” music require of the teacher a host of skills,

techniques, and knowledges.

In many actual teaching situations the instructor has been allowed to specialize in that field of music education for which he is best qualified.

If specialization was the

universally accepted thing, the colleges could set up separate curricula and thoroughly prepare the student In those areas of knowledge and skill that dealed directly with and are demanded by the particular branch of music education in which he is interested. not the case.

Such, however, is

Frequently, teachers are assigned to more

3 than one phase of music and occasionally, to all.

It is

not the purpose of this investigation to determine which method of assignment is most beneficial to all concerned* The situation as it exists is the basis upon which the in­ vestigation must proceed and that situation is the crux of the problem, for it makes it necessary that the teachertraining institution set up its curriculum in such a man­ ner as to prepare all of its music education students for all of the phases of music offered in the school systems. The development of musicianship and the preparation for .music teaching includes the theoretical subjects of harmony, solfeggio, form and analysis, and counterpoint; the func­ tional areas of conducting, orchestration, piano, voice, and the orchestral instruments; and finally, pedagogy with its various method courses.

It is important that the

number of units required in each element listed be not set up arbitrarily nor merely in accord with an opinion or collection of opinions as to what the teaching situation should be, but rather determined by the results of careful considerations based on a scientific investigation of the needs and demands of music education. II.

DEFINITIONS OF TERMS USED

Job analysis.

The term job analysis is applied to

the investigation of any job in an effort to determine of

k what that job consists, environmental factors under which the job is executed, and all other elements which serve to describe it.

As conditioned by the objectives of this

investigation, job analysis shall deal only with the con­ sideration of those factors that are directly concerned with the problem;

that is, the specific courses taught

and the equipment, in the way of knowledges, techniques, and skills, that the teacher must bring to the job* Music education.

The scope of music education in

the public schools, for the purposes of this investigation, is limited to regularly scheduled music classes, taught by accredited music teachers. III.

REVIEW OP PREVIOUS RELATED STUDIES

The study made by Jesse A. Bond^ included a portion devoted to high school music teachers.

The training of

these teachers was referred to in terms of years of study and degrees received.

In these terms he concludes that,

Music classes in high schools in the State of Cali­ fornia are taught by teachers who are, generally speak­ ing, better qualified than are the teachers in any other special subject field .2

1 Jesse Albert Bond, "The Activities and Training of High School Teachers in California,” (unpublished Doctor’s dissertation, The University of Southern California, Los Angeles, 1937), p. 101. 2

Loc. cit.

5 E© supports this statement with the revelation that nearly seventy percent or the music teachers included in the study had completed at least thirty-one semester hours of train­ ing music, a figure which was equalled only by the training of foreign language teachers in their specific field# The implications of this study in relation to the present analysis are negative in that Doctor Bond is con­ cerned with neither the specific needs nor the specific requirements for the training of public school music teachers. Jewell T. Alexander3 made a study by means of a printed questionnaire that, in general terms, described the teaching activities and the training of three hundred and sixty-two California school music teachers.

The interview­

ees indicated (1) which music subjects they taught, which subjects other than music they taught,

(2)

(3) degrees

held, (1|) credentials held, (5) the distribution, in terms of percentage, of college courses taken and college courses recommended; i.e., distribution of general education, prac­ tice teaching, music education, academic, and music courses, (6) distribution, in terms of percentage, of music courses taken and recommended, divided into four categories of

3 Jewell Tharp Alexander, "The Activities and Train­ ing of School Music Teachers in California," (unpublished Master*s thesis, The University of Southern California, Los Angeles, 19lp.)#

applied music, music theory and literature, ensemble, and others, and (7) the total number of years taught and the number of years taught in their current position. A l e x a n d e r s study is purely a collection of data from which he makes no attempt to draw conclusions and as such, has no value in terms of reference to the present analysis. The study of Persis C. Terhun©^- is an attempt to arrive at the status of teacher-training as it was and as it should have been at the time of writing and is based upon the writings of leading music educators and the analyzation of the catalog requirements of sixteen universities and other teacher-training institutions.

It presents, in

general terms, concepts and ideals which should be the basis of consideration for the organization of music teachertraining curricula.

It is specifically concerned with the

organization of a methods course in secondary school music with a detailed outlining of lecture topics and student projects. The status of teacher-training in public school music has progressed immeasurably since the date of Terhune’s

h- Persia Carter Terhune, 11An Investigation of the Necessary Content of Courses for the Training of Music Teach­ ers,” (unpublished Masterfs thesis, The University of South­ ern California, Los Angeles, 1932).

7 IV.

ORGANIZATION OF THE REMAINDER OF THE THESIS

Chapter II.

At this point, the method of procedure

by which the analysis was executed is fully explained and set forth in detail.

The chapter also presents the class­

ification of interviewees and their jobs. Chapters III. I V . and V.

In these chapters, the

investigator has set forth the factual findings of the job analysis as well as syntheses of the many pertinent con­ cepts and ideas as related by the interviewees. Chapter V I .

The summary, conclusions, and recommen­

dations based on the findings of this investigation will conclude the thesis.

CHAPTER I I

METHOD OF PROCEDURE AND CLASSIFICATION OF INTERVIEWEES Considerations.

The factors that form the basis of

the problem are the teacher, his job, and his undergraduate preparation for that job.

These are the only factors that

are important insofar as the collection of data Is concerned. If such a collection of data was sufficient to arrive at proper conclusions, there would result a completely object­ ive analysis, which indeed, all scientific investigation should attempt to be.

If such was the case, the most

efficient method of analysis would be the printed question­ naire demanding yes and no answers and requiring the listing of certain courses studied in college. Unfortunately, such was not the case.

The main con­

cern was not merely the data, but rather

theeffect of the

Inter-relationships of the three factors

(the teacher, his

job, and his undergraduate preparation) in the light of such data.

When it had been determined of what the job

consists and what the undergraduate training was, it was necessary to discover whether or not the teacher considered such preparation adequate in fulfilling the needs and re­ quirements of his job.

Obviously, the analysis was no

longer completely objective; a very subjective matter had come into being.

The opinion of the teacher, as such, was

subjective and the attempt had to be made to insure the fact

9 that his thinking remained objective*

This could only he

accomplished by means of the personal interview and it was this method that was used in executing the analysis# The interview*

The investigator met privately with

each of the twenty-eight teachers, who were the subjects of the analysis, during the spring of 1950.

The average time

consumed by each interview was forty minutes.

Each teacher

was asked the same specific questions and after a definite answer was stated and recorded, he was allowed to elaborate and expound that particular answer.

The resultant exposi­

tions, some more articulate than others, unfortunately could not be recorded verbatim.

The remaining chapters, however,

have attempted to reveal their essence. The headings under which the questions were asked correspond with the subject titles as they appear in the cur­ riculum for a Bachelor of Music degree with a major in Music Education and as required by The University of Southern Cali­ fornia.

The headings appeared as follows: Solfeggio Harmony Form and Analysis Counterpoint Orchestration Music History and Literature Conducting

10 Piano Voice Band and Orchestral Instruments Pedagogy Electives Ensemble Groups Music Education Methods Directed Teaching Major Instrument Under each heading, the teacher was asked questions that would determine the extent to which he used that knowledge and training on his particular job.

He was then asked to

list his undergraduate requirements for each subject and to evaluate such preparation in terms of his job and its needs. Finally, he was requested to make recommendations and sugges­ tions in regard to what the undergraduate requirements in each subject should be. The specific questions asked and the answers received were filed, cross-filed, and synthesized and will be found in ensuing chapters. The interviewees.

The twenty-eight teachers who were

interviewed for the purposes of this analysis were selected on the basis of (l) registration and study in the Music Educa­ tion Department of The University of Southern California, (2) proximity to the residential location of the Interviewer,

11 i.e., Los Angeles, and (3) a record of applied teaching in the field of instrumental music in the public schools. The classification of interviewees, appearing in Table I, page 12, indicates that (1) all interviewees, have know­ ledge of and are conversant with the courses taught in the School of Music at the University of Southern California,

(2)

all teaching levels, for which a teacher with the maximum preparation of A Bachelorfs degree is qualified, as included in the analysis, and (3) all types of teaching situations as governed by economic and social levels are represented. The jobs.

All of the courses,.music and otherwise,

taught by the interviewees are indicated in Table II, page 13, and also indicated as the number of teachers who teach each subject.

The importance of the content of this table is the

depiction of the range of activity and knowledge required of Instrumental music teachers in the public schools* Table III, page li|, is a description of the individual jobs held by the interviewees.

It is noteworthy that fifteen

of the twenty-eight are purely instrumental music positions* This might indicate that there is a fair possibility that a candidate for a teaching position desiring to limit his teaching to his specialization of instrumental music will find such a job*

The same table, however, indicates that there is just as

strong a possibility that he will be required to teach in other fields of music.

Only two of the interviewees were required to

teach subjects other than music.

12 TABLE I

CLASSIFICATION OF INTERVIEWEES EDUCATIONAL

No* of Teachers

......... . . Bachelorfs degrees conferred U.S.C* Master*s degrees conferred by U.S.C. * ........ Graduate work In progress at U.S.C...............

12*9 12

GRADE LEVEL TAUGHT Senior High S c h o o l .............................. Junior High S c h o o l .............................. Elementary S c h o o l s .......................

llj. 10 ij.

LOCATION Los Angeles City School D i s t r i c t .................. Bellflower School District ................... • Long Beach School District ................. Santa Monica School District • Beverly Hills School District ....................... Garvey School District .............................. Burbank School District .............................. Paramount School District... * ....................... Alhambra School District • ....................... Glendale School District ..................... .

l5*-*> 1 1 2 2 2 2 1 1 1

*The remaining sixteen interviewees received their Bachelorfs degrees from various institutions including: Okla­ homa City University, Pomona (Calif.) College, Huron (S.D.) State Coll., Univ. of Calif, at Los Angeles, North-Western University, Univ. of Kansas, San Jose (Calif.) State Coll., Jamestown (N.D.) Coll., New York Univ., Illinois Wesleyan, and Redlands (Calif.) Univ.. -**-The Los Angeles High Schools represented were: Banning, Roosevelt, Polytechnic, Huntington Park, Jefferson, John Mar­ shall, Venice, San Pedro, and North Hollywood. The Los Angeles Junior High Schools represented were: Dana, Luther Burbank, Kern Ave., South Gate, Forshay and Samuel Gompers.

13

TABLE II COURSES TAUGHT ON THE JOB AND THE NUMBER OF INTERVIEWEES TEACHING EACH Courses taught

No. of Teachers

B a n d ............................................... O r c h e s t r a .......................................... Instrumental classes . ........................ H a r m o n y ...................................... Music A p p r e c i a t i o n ................................ General Music ............ Music History ................................ Choral groups .................................... Dance B a n d ........................................... M a t h e m a t i c s ........................................ Social S t u d i e s ............................ Speech A r t s ........................................

23 2§ 26# 3 *8 * 3 1 2 1 1

1 1

^-Instrumental classes Include Junior bands and orch­ estras as well as beginning and intermediate instrumental groups.

TABLE I I I

DESCRIPTION OP INDIVIDUAL JOBS OP INTERVIEWEES

1 2

Band, Orchestra, and Instrumental Classes Band, Orchestra, and Instrumental Classes Band, Orchestra, and Instrumental Classes Band, Orchestra, and Instrumental Classes 5 Band, Orchestra, and Instrumental Classes 6 Band, Orchestra, and Instrumental Classes 7 Band, Orchestra, and Instrumental Classes 8 Band, Orchestra, and Instrumental Classes 9 Band, Orchestra, and Instrumental Classes 10 Band, Orchestra, and Instrumental Classes 11 Band, Orchestra, and Instrumental Classes 12 Band, Orchestra, and Instrumental Classes 13 Band, Orchestra, Instrumental Classes, and Dance Band llj_ Band and Instrumental Classes 15 Orchestra and Instrumental Classes 16 Band, Orchestra, Music Appreciation, G i r l fs Chorus and A Capella Choir 17 Band, Orchestra, Instrumental Class, Music Appreciation and Harmony 18 Band, Orchestra, Instrumental Classes, and General Music 19 Band, Orchestra, Instrumental Class, Music Appreciation and Harmony 20 Band, Orchestra, Instrumental Class, Music Appreciation 21 Band, Instrumental Classes, and General Music 22 Band, Orchestra, Mixed Chorus, Boy s Glee Club, and Music Appreciation 23 Orchestra, Instrumental Classes, and General Music 2l\. Band, Instrumental Classes, Music Appreciation and Music History 25 Band, Orchestra, Instrumental Classes, Music Appreciation 26 Band, Orchestra, Instrumental Class, Harmony and Music History 27 Orchestra, Instrumental Classes, and Mathematics 28 Orchestra, Instrumental Classes, Social Studies, Speech Arts

i

CHAPTER I I I

THE INTERVIEWS IN THEORY AND MUSIC HISTORY I.

SOLFEGGIO

Solfeggio described# Solfeggio I-II: Dictation, sight reading, keyboard application of One-, two-, three-, and four-part music; rhythmic combinations of tones, in­ tervals, chords in key relation; reading and dictation of melodies of section, phrase, and period length based on the harmonic material of 112ab (Harmony I-II)#i Solfeggio III-IV: Continuation of two-, three-, and four-part dictation diatonic and diminished seventh chord tic alterations; advanced modulation; The need#

Solfeggio I-II; one-, of melodies; simple modulations; chroma­ keyboard application^

The objective of the study of solfeggio is

to develop the fluent use of the inter-relationships among mental, aural, and graphic musical representations to the ex­ tent that the student can recognize mentally that which he sees graphically or hears aurally and can reproduce graphically or in performance that which he hears mentally or aurally.

The

study of solfeggio deals with the vocabulary of music, the lack of which will direct the simplest musical task to failure# These knowledges are the teacher's most basic tools. deal of learning,

A great

such as fingerings, embouchure, tone pro­

duction concepts, and so forth, can be accomplished by public

^

Bulletin of the University of Southern California# (Institute of the Arts, Vol. IJJ, No. 7* Los Angeles: The University of Southern California, July 15, 191-J-9), p. 83 . 2

Ibid., p. 85.

16 school students without such knowledges but the limitations imposed by such conditions are painfully apparent when students with this lack, perform.

The importance of solfeggio, there­

fore, is undeniable and the knowledges gained through the study of solfeggio are applied constantly in all successful teaching situations* The following table indicates that the present require­ ment of six units of study in Solfeggio is justified* TABLE IV UNDERGRADUATE REQUIREMENTS IN SOLFEGGIO AS REQUESTED BY INTERVIEWEES

No. of Units 2 No. of Teachers 1

3

k

6

8

10

12

1

3 17

k

1

1

Average No. Units

Median

6.1

6

Present Req rm n t .

6

Most of the teachers further agree with the present requirements in that Solfeggio should be taught concurrently with Harmony in four semesters of two, two, one, and one units respectively* II.

HARMONY

Harmony described* Harmony I-II: intervals, scales, triads, inversions through primary harmonies; supertonic; embellishing tones; harmonizations; keyboard application*

17 Submediant and mediant; chromatic alterations; keyboard application .3 Harmony III-IV: diatonic harmonies with extended melodies; common chord, common tone, diminished seventh modulation. Chromatic harmonies; augmented sixth and Neopolltan sixth; harmonic styles; written and keyboard modulation; contemporary harmonic experiments.]^ The need.

When three or more, and sometimes as few

as two, musical tones are sounded simultaneously, harmonic implications come into being except in certain highly advanced types of contemporary writing and in purely linear contra­ puntal music where harmonic implications are negated.

The

vast bulk of music performed in the public schools today was written by composers whose lives terminated by the end of the nineteenth century or by contemporary composers who write in idioms common to eras preceding the twentieth century.

The

latest music of this time is still a development of the har­ monic principles as derived from the music of the eighteenth century composer, Johann Sebastian Bach.

Some of the school

music is of or in the style of the Impressionistic period of the early twentieth century and a little of it is in the con­ temporary idiom.

The emphasis on the study of pre-twentieth

century harmony is therefore justified but the fact that more and more contemporary music is being introduced into the

3

Ibid.. p. 83 .

^

Ibid., p. 86 .

13 schools supports the contention of many of the interviewees that progressively more and more of the study of contemporary harmonic idioms should be included in the harmony courses. The importance of the study of harmony is self-evident.

It

is an element with which the instrumental music educator is concerned daily and, as such, must be an integral part of his musical makeup and background. Specific applications.

The fact that every time a

teacher reads a musical score, his knowledge of harmony comes into play is a foregone conclusion and needs no elaboration here.

As regards specific applications, it is noteworthy

that six of the twenty-eight interviewees teach harmony as such.

Four of these teachers have regularly scheduled har­

mony classes and the remaining two have definite programs of harmony instruction incorporated in their instrumental class­ es.

Other specific applications are recorded in Table V on

page 19 . While the extent to which the interviewees improvised accompaniments at the keyboard is little more than "seldom” , each and every one stressed the Importance of keyboard ap­ plication in their harmony and solfeggio courses because they felt that such a practice gave them a much more vivid repre­ sentation and understanding of harmonic machinations. The extent to which the interviewees corrected print-

19 TABLE V

HOW AND TO WHAT EXTENT HARMONY WAS USED ON THE JOB

Extent Used# Number of Teachers who:

Improvise acc* at keyboard Correct print­ ers * errors Write arrange­ ments Write original music

Average Extent

0

1

2

3

if

5

15

2

2

if

3

2

i'.u

0

2 18

5

0

3

0

l.ij.

1

5

8

9

3

2

1

1.7

2

22

if

0

2

0

0

0.3

0

Median

* 0-never, 1-seldom, 2-more than seldom, 3-often, [j_-more than often, 5>-great extent*

ers* errors in the music is also little more than ”seldom”. Many of the teachers who had been in the field for a number of years revealed that such errors are becoming less and less frequent and that a few years ago the number of such errors found was greater*

These errors are bound to occur and with­

out a good harmonic understanding, many of them go unnoticed. A sound working knowledge of harmony is a prerequi­ site for writing either choral or instrumental arrangements and while the extent to which such arrangements are written is almost ’’more than seldom” , it is noteworthy that only five of the twenty-eight interviewees write no arrangements. The importance of harmony in writing original music is

20 perfectly obvious but since the extent to which original music was written by the interviewees was almost "never11, such im­ portance must be denied for the purposes of this analysis. Undergraduate requirements.

The following table in­

dicates that the present requirement for the study of Harmony is justified. TABLE VI UNDERGRADUATE REQUIREMENT IN HARMONY AS REQUESTED BY INTERVIEWEES

No. of Units 6 No. of Teachers 1

9

12

15

7

19

l

III.

Average No. Units

6.1

Median

6

Present Req. .

6

FORM AND ANALYSIS

Form and Analysis described. Form and Analysis Is Review and analysis of the simple structural elements such as section, phrase, and period; the binary, ternary, three rondo and sonata-allegro forms. Practise in writing the smaller forms.J Form and Analysis II: Detailed formal and harmonic analysis of the larger forms, including opera and oratorio; different periods and styles of composition. Some practice in composition .5 5

Ibid., p. 88 .

6

Ibid.. p. 92 .

21 The need and application* form.

All coherent music has

Whether such form is regular or irregular, symmetri­

cal or asymmetrical, does not alter the fact that some form exists.

Recognition of forms in music is a basis for inter­

pretation, makes memorization easier, and makes listening, more satisfying* Of the twenty-eight teachers interviewed, eleven or

38i per cent taught music appreciation and included the study of form and analysis.

The interviewees were asked to place

a value on the study of form and analysis in relation to its importance as an element in the general musical background of the teacher.

The results, indicated in the following table,

rate the study of form and analysis as "fairly important*1. TABLE VII THE IMPORTANCE OP FORM AND ANALYSIS AS PART OF THE MUSICAL BACKGROUND OF THE TEACHER

Import ance-*

0

1

2

3

k

5

No. of Teachers

2

3

2

8

7

6

Average Importance

3.1

Median

3

*-0-no importance, 1-little importance, 2-less than fair­ ly important, 3 -fairly important, i^-less than extremely im­ portant, 5 -extremely important* Undergraduate requirement.

The following table, at­

tempting to determine the unit requirement in form and analysis,

22 is not quite as decisive as similar tables dealing with other sub jects# TABLE VIII UNDERGRADUATE REQUIREMENT IN FORM AND ANALYSIS AS REQUESTED BY INTERVIEWEES No. of Units

0

2

No. of Teachers

3

12

k

6

Average No. Units

Median

11

2

3.07

2

Present Req.

2-I4-

Since none of the interviewees requested three units, the computed average, and such a number falls between two and four units, the investigator decided to concur with the pre­ sent requirement of a choice of two or four units.

The con­

siderations which led to this decision will be revealed in the following pages concerned with the study of counterpoint. IV.

COUNTERPOINT

Counterpoint described. Counterpoint I: two-part counterpoint, all species; strict and linear styles .7 The need.

Counterpoint, which has to do with the

writing of two or more melodic lines, designed to sound si­ multaneously, is a highly specialized field of music study. 7

Ibid.. p. 88 .

23 In the realm of music composition it is a basic need but its use in instrumental music in the public schools is not as apparent.

A knowledge of counterpoint would be most prac­

tical when writing arrangements or original music.

We have

already seen, however, that the extent to which such writing is practiced in the public schools is almost negligible.^ One might assume that performances of contrapuntal works, particularly of the Baroque and Classic periods, would bene­ fit by an understanding of counterpoint and its forms.

The

study of counterpoint, however, does not deal with its forms until the third and fourth semesters.

The first two semesters

deal only with the mechanics of contrapuntal tone relationships. It is the conclusion of the investigator, after consideration of the views expressed by the interviewees, that the study of counterpoint by public school music teachers has value only if all four semesters are included. Undergraduate requirement.

The following table show­

ing unit requirements in counterpoint, has implications other than those shown by the computed results# While the average number of units is two and twotenths and the median, two, it is noteworthy that ten or 3 5 per cent of the interviewees felt there should be no require­ ment in counterpoint. ®

This fact, when considered side by

Supra, p. 19* '

2k TABLE I X

UNDERGRADUATE REQUIREMENT IN COUNTERPOINT AS REQUESTED BY INTERVIEWEES No. of Units

10

9

k

6

8

Average No. Units

Median

5

1

2

2.2

2

Present Req. CM

2

1 0

No. of Teachers

0

side with the average three units requested for the study of form and analysis, lends support to the University*s present policy of allowing the student a choice of four units of form and analysis or two units of form and analysis and two units of counterpoint.

The investigator further recommends, in

view of the limited application of counterpoint^, that the two-unit course in counterpoint be a course dealing with the understandings of the forms in counterpoint rather than a technical writing course# V.

ORCHESTRATION

Orchestration described. Orchestration Is range, technique, timbre, transposition of orchestral instruments; exercises in orchestration for individual choirs and small combinations. Orchestration II: scoring for small orches­ tral combinations and for full orchestra .10 9

Supra, p. 23.

3-0 Bulletin of the University of Southern California, 19^9-5>1 (Institute of the Arts, Vol. 115, NoV 7), p. 88 .

25 The need*

In professional instrumental performing

groups instrumentation is adapted to comply with the require­ ments of the compositions to be played.

This is achieved by

the simple expediency of hiring the proper performers.

In

the school situation, however, the objective of standardized instrumentations is not as readily attained.

In some schools,

because of financial limitations, the more expensive instru­ ments are not obtainable and In others, where the instruments are on hand, the proper performers may not be available. Another factor which deters standardized instrumentation is the constant shifting of personnel due to semi-annual gradua­ tions, scheduling conflicts, and the transient characteristic of some parents* jobs.

There are many other contributing

factors peculiar to specific teaching situations.

The one

major factor, which is perhaps applicable to all performing school instrumental groups, is the variance of proficiency that exists among the group choirs.

In one school the wood­

winds may be advanced far beyond the brasses while in another, the lower brasses may be far behind the upper brasses.

Each

variation, as it exists, prevents the conductor from indis­ criminately selecting a printed arrangement of any composition and expecting his group to perform it well.

In the school

situation, as opposed to the professional, the music must be adapted to the performers.

26 Specific applications.

Orchestration, as such, is

not taught by any of the teachers interviewed for this analysis.

The importance of the study of orchestration was

clearly defined, however, when the interviewees were asked how and to what extent they used their knowledge of orchestra­ tion in fulfilling the needs of their job. The following table lists the more direct uses to which orchestration is put but does not take into consideration the great importance of a thorough knowledge of orchestration in relation to score-reading. TABLE X HOW AND TO WHAT EXTENT ORCHESTRATION WAS USED ON THE JOB

Number of Teachers who write:

Extent^ Rearrange­ ment s Original Music Complete Arrangement s

0

1

2

3

k

5

Average Extent

0

3

3

9

6

7

3 -b

3

22

h

0

2

0

0

0.3

0

5

8

?

3

2

1

1*7

2

Median

*K)-never, 1-seldom, 2-more than seldom, 3-often, l+-more than often, 5-great extent. The results indicate that all of the teachers inter­ viewed, rearranged the printed music to varying degrees.

For

27 the purposes of this analysis, rearrangement referred to any change of the printed score*

While seven of the teachers

certainly felt the need to change, in some respect, almost every piece of music played by their performing instrumental groups, the computed results indicate that about half of all the music played by the combined groups was altered to some degree* The same table indicates that while five of the twentyeight interviewees never wrote complete arrangements for their instrumental performing groups, one teacher almost always wrote complete arrangements and the computed result is "more than seldom” .

Complete arrangements referred to writing all

of the individual band or orchestra parts based on a piano score, melodic line, or lead sheet of an existent musical composition* The extent to which the teachers wrote original music and arranged it for their performing groups is also indicated* Twenty-two teachers found no occasion to do so; six did to varying degrees, and the computed results indicated that "less than seldom” and ”almost never” , original music was required to fulfill the needs of the job* These findings Indicate that the most important appli­ cation of orchestration to the teaching of instrumental music in the public schools is the rearrangement of printed music* The ability to write complete arrangements is important to* a

28

much lesser degree and the ability to write and arrange ori­ ginal music is apparently unimportant* Undergraduate requirement*

The number of units re­

quested for the undergraduate requirement in orchestration, as indicated in the following table, is two more than is pre­ sently required* TABLE XI UNDERGRADUATE REQUIREMENT IN ORCHESTRATION AS REQUESTED BY INTERVIEWEES

No* of Units

2

k

6

8

Average Units

No. of Teachers

k

18

5

1

I)..2

Median

Present Req.

k

2

The implication of a requirement in terms of units is the time element.

The interviewees felt that the orchestra­

tion requirement.should be two semesters, class meeting twice weekly.

What is more significant Is the fact that fifteen

or 5>3‘ per cent of the teachers interviewed requested that the study of orchestration, as defined, should be altered.^ Orchestration, as taught at the University of Southern Cali-

Supra* p* Sip*

29 fornia, does not deal with band problems nor does it concern itself directly with music education.

It is the desire of

the interviewees that the second semester of orchestration be set up as a special section for music education students only and shall deal directly with the problems of orchestration as they are met in teaching instrumental music in the public schools with recognition of the limited capabilities of school performing groups and with emphases on substitution of parts and revoicings in order to reduce the apparence of such limi­ tations* VI.

MUSIC HISTORY AND LITERATURE

Music History and Literature Is music in history, change and to the

and Literature described* Music History Music in general culture; the place of with emphasis on its relation to social history of the other arts .12

Music History and Literature II: Masterpieces of sym­ phonic music from the eighteenth century to the present; study of recordings; reviews of symphony concerts and re­ hearsals .13 Music History and Literature III: Masterpieces of vocal music from the Renaissance to the present; study of recordings; reviews of solo and chorus performances*i 4

12 Bulletin of The University of Southern California, 19i4.9-5l (Institute of the Arts, Vol. ijJH* N o . 7), p 7 '8T *

13

Ibid., p. 91.

lip

Loc. cit.

30 The need and application.

The study of music history

and literature provides, to a great extent, what is usually called musical background.

This knowledge forms a basis for

the understanding of the progress and development of music in its varied forms and the motivations thereof.

It is through

such knowledges that the performer or conductor can determine the proper style, tempo, and general character of specific works of music.

Performances lacking in these understandings

are apt to be inconsistent in their interpretations and con­ sequently, meaningless.

In these respects, the interviewees

have evaluated the importance of the study of music history and literature. TABLE XII THE IMPORTANCE OP MUSIC HISTORY AND LITERATURE IN RELATION TO THE MUSICAL BACKGROUND OF THE INTERVIEWEES

Importance-*

0

No. of Teachers

O

1 2 i

l

3

k

5

11

$

' 10

Average Importance 3.7

Median k

«-0-no importance, 1-little importance, 2-less than fairly important, 3 -fairly important, ij.-less than extremely important, 5>-©xtremely important. The interviewees were a little reserved in their eval­ uations because they felt that the true value of these courses

31' lay in their ability to furnish an impetus for more intensive individual investigation and study.

Of the twenty-eight

interviewees, eleven teach music history, music appreciation, or general music, and so use these knowledges in a direct academic manner# Undergraduate requirement#

The results shown in the

following table not only concur with the number of units pre­ sently required, but the interviewees who requested six units were also in concordance with the three particular courses in­ cluded in this series as taught at the University of Southern California# TABLE XIII UNDERGRADUATE REQUIREMENT IN MUSIC HISTORY AND LITERATURE AS REQUESTED BY INTERVIEWEES

No. of Units No. of Teachers

k

6

8

9

10

12

3

15

6

2

1

1

Average Units 6.7

Median 6

Present Req. 6

CHAPTER I V

THE INTERVIEWS IN APPLIED MUSIC I.

CONDUCTING

Conducting described* Choral: Conducting community singing and choral works suitable for school choral groups; technic of the baton and use of the left hand for expres­ sive purposes.^ Instrumental: Reading and conducting from full score of orchestral and band compositions and orchestral accompani­ ments; study of band and orchestral works suitable for high school groups .2 The need.

Music educators recognize the fact that it

is not the purpose of instrumental music in the public schools to prepare boys and girls for professional music careers. There is an immediate performance objective, however, that de­ mands the attainment of performance proficiency to the extent that the individual student may successfully participate in school performing groups.

; The musical quality of these per­

forming groups Is determined to a great extent by the baton technique and the understandings of interpretation as possess­ ed by the conductor.

Public and administrative approval or

disapproval is based, to an extreme degree, upon the perform­ ance ability of these groups.

It behooves the teacher-

training institution, therefore, to insure the proper training 1 Bulletin of the University of Southern California, 191+9-51 (Institute of the Arts, Vol. IE* No. 7), p. 90. ^

Loc. cit.

33 of instrumental music teachers in the realms of baton tech­ nique and interpretative powers* Specific application*

Based on a five-period teach­

ing load, in a six-period day, the number of periods taught each day in which conducting is used, as shown in the fol­ lowing table, stresses the importance of a highly developed conducting technique* TABLE XIV NUMBER OP PERIODS TAUGHT PER DAY THAT REQUIRE CONDUCTING'

No. of Periods No. of Teachers

0

1

2

3

k

5

Average Periods

Median

0

0

1

5

17

5

3.9

k

Undergraduate requirement.

It was the general opin­

ion of the interviewees that great progress occurs in the development of baton technique as it is used on the job.

In

their opinion, the major function of the conducting courses is to provide instruction and the opportunity to practice the basic physical movements required by conducting to the extent that such movements become automatic*

Interpretation, musi­

cal style, and personal baton style are important to a lesser

3k degree because such things are dependent upon compounded con­ ducting experiences and the sum total of all musical exper­ iences of the individual* As expressed in terms of semester units, the interview­ ees indicated their needs in the following table# TABLE XV UNDERGRADUATE REQUIREMENTS IN CONDUCTING AS REQUESTED BY INTERVIEWEES

No. of Units No. of Teachers

k

6

8

Average Units

17

6

5

5.1

Median k

Present Req. k

In recognition of the expressed needs of the inter­ viewees, the investigator recommends that the descriptions and titles of the conducting courses be changed from their present status3 to two progressive semesters entitled Con­ ducting I and Conducting II#

Conducting I should be a two-

unit course devoted almost exclusively to the instruction and practical application of baton movements to the extent of having such movements become automatic and subconscious*

The

performing medium by which this is done, that is, instrumental 3

Supra, p. 32.

35 or choral, is of no consequence because the basic baton tech­ nique is constant.

Conducting II should be a two-unit course

where opportunity for further application of basic baton tech­ nique is afforded but with some exploration into interpreta­ tive powers*

Here too, the medium of performance is of no

consequence, for the characteristics of music capable of interpretation are constant.

The investigator suggests that

the elective courses in advanced choral and instrumental con­ ducting will afford the opportunity for desirous individuals to develop the styles and techniques peculiar to either field* II.

PIANO

Study of piano described*

Private piano study is the

development of skills and techniques required to perform upon the piano.

Class piano for music education majors:

Application of harmonic principles to develop the key­ board facility demanded in the public schools; transposi­ tion, choral score reading, sight reading, improvisation of accompaniments and directing from the piano*[j_ The need and application.

The piano, with the excep­

tion of the organ, is the most complete musical instrument in that its limits of musical expression extend far beyond those of the other Instruments.

It has been called the composer's

^ Bulletin of the University of Southern California. I9ip9-5l (Institute of the Arts, Vol. Ipp, No. 7) 7 P«

36 instrument, for the great majority of serious composers do their work at the keyboard.

Its capabilities, harmonically

and polyphonically, make it an ideal instrument through which to study musical scores of all types.

When used for demon­

stration purposes, for example, theme recognition,

style and

form analysis, harmonic progressions and implications, and so forth, its value increases.

For the purposes of ear train­

ing and accompanying, the piano has no peer.

These are the

ways the piano is capable of being used in the instrumental music programs of the public schools. The extent to which the piano was actually used by the interviewees is shown in the following table. TABLE XVI EXTENT TO WHICH THE PIANO WAS USED ON THE JOB BY THE INTERVIEWEES

Ext ent^Used No. of Teachers

0 13

1

2

3

b

5

Average Extent

3

b

b

0

1.3-

Median 1

-:K)-never, 1-seldom, 2-more than seldom, 3 -often, ip-more than often, 5-great extent Fifteen of the interviewees used the piano on the job to varying extents and purposes including accompanying, score

reading, ear training, and general demonstration.

While

thirteen, or I4.6 per cent, of the interviewees never used piano on the job, all but two were convinced that the study of piano was important.

Some of the teachers who did not

use piano felt they would have if they had had sufficient proficiency on the piano.

Others gave extremely vague reas­

ons why they considered piano important but did not use it* Because of the contradictory theories and application of piano on the job, the investigator is of the opinion that the low extent to which the piano was used on the job does not con­ stitute conclusive evidence in arriving at the importance of the piano and the study of piano for instrumental music teachers in the public schools and for the purposes of this analysis, these results shall not be considered. Undergraduate requirement.

With the exception of two,

all of the interviewees agree wholeheartedly with the objec­ tives of piano study as put forth by the University of Southern California and as described previously.5 The importance of this type of piano study is stressed by the words of Paul Van Bodegraven, presently on the Music Education staff of New York University.

5

Supra, p. 35.

38 Piano becomes a tool subject when the student's major field of performance is on some other instrument or voice. As soon as the student has developed enough mastery of mechanical problems, he should be given considerable prac­ tice in playing accompaniments and in doing as much read­ ing as time will permit. In this case, piano is not used so much to develop musicianship as It is to aid the teacher in everyday situations he will meet in .the teaching field .5 The differences of opinion occurred when the interview­ ees tried to determine how many units of Individual and class Instruction were necessary to accomplish these objectives* Their decisions are shown in the following table. TABLE XVII UNDERGRADUATE REQUIREMENT IN PIANO AS REQUESTED BY INTERVIEWEES

No* of (private) 0 0 Units (class) No. of Teachers

2 2

2 20

1* 0 2 k

hk

2

1

1

6 k

8 0

Average Units

1

1

Pvt. 2.3 Cls. 2

Median

2 2

Present Req.

2 2

The results apparently justify the present requirements of the University of Southern California, which also conditions the individual study of piano for two units with a prerequi­ site of previous piano study.

6 Paul Van Bodegraven, “Problems in Music Teacher Pre­ paration,” Music Educators Journal, 33:29, September, 191-1-6 .

39 III. VOICE Study of voice described.

The study of voice is con­

cerned with tone production, focus, breath control, diction, and all the other elements which go toward the production of musical vocal performance. The need and application.

The study of voice is of

value to instrumental music teachers in the public schools in several ways.

The principles of tone production, breathing,

and support of the tone are, with minor deviations, constant for both vocal and instrumental performance.

Another rela­

tionship occurs when the teacher demonstrates style, intona­ tion, phrasing, and so forth to an instrumental group.

It

is a tendency of the students to imitate instrumentally what is demonstrated vocally.

A teacher with poor vocal tone

quality is apt to receive in turn, poor instrumental tone quality.

The most direct application of vocal knowledges

occurs when instrumental music teachers are assigned to teach, along with their instrumental program, some type of choral group or general music classes.

Although only five of the

interviewees were affected in this manner, the instrumental teacher never knows when such courses will be assigned and it behooves him to be prepared for such contingencies. Undergraduate requirement.

'Although three of the

Uo interviewees found no use for voice or voice study, the re­ maining twenty-five teachers expressed their desires in such a way as to justify the present requirement in voice train­ ing* TABLE XVIII UNDERGRADUATE REQUIREMENT IN VOICE AS REQUESTED BY INTERVIEWEES

No. of (class) 0 Units (priv.) 0 No. of Teachers

3

0 2 3

IV.

0 k k

2 0

2 2

5

8

2 k

Average Units

$

class 1.2 priv. 2.07

Median

2 2

Present Req.

2 2

BAND AND ORCHESTRAL INSTRUMENTS

The study of stringed instruments described. Elemen­ tary instruction in violin, viola, cello, bass; tone pro­ duction, bowing, technic, care of the instrument; planning course of study in teaching stringed instruments .7 The study of woodwind instruments described. Elemen­ tary instruction; correct tone production, technic, care of the instrument; planning a course of study in teaching woodwinds. Is clarinet, II: woodwind instruments other than clarinet. Designed to simulate school classroom sit­ uations and method .8 The study of brass and percussion instruments described.

7 Bulletin of the University of Southern California. 19li9-5l (Institute of the Arts, Vol. 55, No. 7), p • 89 • ®

Loc. cit.

>

la Elementary instruction; correct tone production, technic, care of the instrument; planning a course of study in teaching these instruments. Designed to simulate school classroom situations and methods #9 The need.

The instrumental music teacher in the public

schools has as one of his immediate objectives, the teaching of skills in the performance of band and orchestral instru­ ments*

The teacher must be qualified to teach absolute be­

ginners on these instruments as well as continuing instruction for those students who already play an instrument*

The

necessity of having an intimate knowledge of these instruments, how the tone is produced, fingerings, problems peculiar to each instrument, and so forth, besides a working knowledge of the methods required to teach these instruments is perfectly obvious*

Even when the teacher has only performing groups

and does not directly teach the instruments, as is the case with two of the interviewees, the complete knowledge of the instruments is just as important for it is through these know­ ledges that the teacher can control and develop the level of performance achievement*

In every rehearsal, problems of

intonation, fingering combinations, and tone production arise and without prompt and immediate solution, such problems develop and magnify themselves*

Sound musicianship, energy,

and a great desire to succeed plus strict adherence to accepted 9

Loc. cit*

U2 educational principles are only part of the instrumental music teacher*s preparation for success*

Without a sound and thor­

ough knowledge of his subject matter, a teacher is ineffective. Undergraduate preparation.

The interviewees felt that

the number of units required for each group of instruments was not nearly as important as the method of instruction.

Their

attitude was directed primarily toward the string classes, as taught at the University of Southern California, where the major emphasis is placed upon performance rather than pedagogy. While they did not minimize the importance of performance, the general feeling, as regards all of the band and orchestral in­ struments classes, place major importance on learning how to teach the instruments.

Some of the teachers included in this

analysis, who are of the Los Angeles City Schools and under whom many of the University of Southern California undergrad­ uate students do their directed teaching, stated that these practice teachers, generally, displayed weaknesses in the stringed instruments.

This is due partly, the investigator

feels, to the fact that for some reason, most of the instru- • mental music education students are wind instrument players. The following tables show the distribution of required units in the band and orchestral instruments as requested by the interviewees. One of the six teachers who requested eight units sug-

TABLE XXX

UNDERGRADUATE REQUIREMENT IN STRINGED INSTRUMENTS AS REQUESTED BY INTERVIEWEES

No. of Units No. of Teachers

2 3

Average Units

k

6

8

18

1

6

Median

4.7

4

Present Req. 2-4

gested four years of study In strings with one unit credit per semester but meeting twice weekly.

Three of the teachers who

requested eight units suggested that four units be used in class instruction and four units in individual instruction on any one of the stringed instruments.

TABLE XX UNDERGRADUATE REQUIREMENT IN WOODWINDS AS REQUESTED BY INTERVIEWEES

No • of Units No. of Teachers

2

k

6

8

7

18

0

3

Average Units 3.9

Median k

Present Req.

2—14.

As In the case of the stringed Instruments, one of the

kk teachers who requested eight units, suggested four years at one unit credit per semester and another teacher suggested four units in class instruction and four units in individual instruction* TABLE XXI UNDERGRADUATE REQUIREMENT IN BRASS AND PERCUSSION INSTRUMENTS AS REQUESTED BY THE INTERVIEWEES

No. of Units No* of Teachers

2

k

Average Units

19

9

2.6

Median

2

Present Req*

2

Generally, the interviewees felt that there was more transfer of concepts and knowledges among the brass instruments than among the strings or woodwinds; hence, the few units re­ quested* Two of the teachers who requested two units of brass also suggested that a separate two-unit course in percussion be set up because under existing conditions, there was no time for practice and application with the percussion instruments* These results justify the-existing requirements of four, four, and two units for strings, woodwinds, and brasspercussion respectively*

The present understanding is, as

b$ regards the strings and woodwinds, that a student whose major instrument is either string or woodwind, need take only two units in that particular course* V.

ENSEMBLE GROUPS

Ensemble groups described*

The heading of this sec­

tion refers to participation in any of the following: M e n fs Glee Club, Women's Glee Club, A Cappella choir, Madrigal Singers, University Concert Choir, University Orchestra, Tro­ jan Varsity Band, University Concert Band, Woodv/ind Ensemble, and Brass Ensemble* The need and application*

The most important part of

the instrumental music teacher*s job in the public schools is the organization and the training of his performing groups* The interviewees felt that a great deal was to be learned, in respect to organization, rehearsal procedures, and skills and techniques of training, through participation in such groups on the college level.

The degree of importance they placed

on this phase is shown in the following table* Of almost equal importance is the effect of these mu­ sical experiences in relation to the development of the parti’ cipators, musically.

Such importance was indicated by the

interviewees and is revealed in Table XXIII.

TABLE X X I I

IMPORTANCE OF PARTICIPATION IN COLLEGE ENSEMBLE GROUPS AS RE­ LATED TO THE LEARNING OF SKILLS AND TECHNIQUES OF THE ORGANIZATION AND TRAINING OF PUBLIC SCHOOL GROUPS

Import ance*No. of Teachers

0

1 2

0

0

3 1 1

k

5

Average Importance

6

20

1+.6

Median 5

*-0-no importance, 1-little importance, 2-less than fair­ ly important, 3-fairly important, !p-less than extremely impor­ tant, j?-extremely important*

TABLE XXIII IMPORTANCE OF PARTICIPATION IN COLLEGE ENSEMBLE GROUPS AS RELATED TO THE MUSICAL DEVELOPMENT OF THE PARTICIPATORS

o

H

CM

Import ance*No • of Teachers

0

0

1

5 3

6

18

Average Importance

Median

5

•sc-O-no importance, 1-little importance, 2-less than fair­ ly important, 3-fairly important, L|.-less than extremely impor­ tant, 5-extremely important. Undergraduate requirement.

The. interviewees found

difficulty in assigning unit value to the amount of participa­ tion they deemed necessary.

Their decisions are disclosed in

i+7

the following table. TABLE XXIV UNDERGRADUATE REQUIREMENT IN PARTICIPATION IN COLLEGE ENSEMBLE GROUPS

Require­ ment No. of Teachers

Units 0

Units k

Units 5

Years k

Median

1

k

6

17

4 years

Because of the lack of a common denominator, it was impossible to arrive at an average unit requirement but the median falls in the four-year group.

The interviewees who

so recommended, felt that the teachers-in-training should be required to participate in at least one ensemble group each semester they are enrolled.

They further agreed that the unit

value was of no importance and could best be determined after the rest of the curriculum was set up* VI.

MAJOR INSTRUMENT

The need and application.

It was.the general opinion

of the interviewees that there was a direct positive relation­ ship between calibre of musicianship and the ability to per­ form on a selected instrument*

Whereas, the music education

curriculum at the University of Southern California provides

lj.8

ample opportunity for the student to develop theoretically and along the lines of musical background, the study of a major instrument would provide the best means to develop purely musically* The importance of musicianship in school music teach­ ers cannot be overestimated*

The investigator would like to

support this statement with the words of Robert W. Winslow, Associate Professor of Music Education at the University of Minnesota: Effective leadership in music is dependent in large measure upon the degree of one's musicianship. There is an all-too-prevalent notion on the part of some musicians that public school music is a step down from musical ar­ tistry. The future of music in American life depends upon the extent to which school music educators possess musi­ cianship and the ability to transmit it to others.^o The interviewees were asked to state the extent to which they performed on their major instrument, formally or informally, on the job.

Formal performance referred to con­

cert or recital appearances and informal performance referred to the use of the major instrument as a demonstration medium in the instrumental classes. following table.

The results are shown in the

(Table XXV, page I4.9 )

Undergraduate requirement.

Of the twenty-eight teach-

-*-0 Robert W. Winslow, "Some Basic Considerations in Teacher Education," Educational Music Magazine, 2lj.:19* March, 191+5.

k9 TABLE XXV EXTENT TO WHICH THE INTERVIEWEES PERFORMED ON THEIR MAJOR INSTRUMENT ON THE JOB

Extents No. of Teachers

0

1

2

3

k

5

b

3

8

6

b

3

Average Median Extent

2

2 .11-

•*K)-never, 1-seldom, 2 -more than seldom, 3-often, !{.more than often, 5-great extent ers interviewed, five refused to set a unit requirement for study of the major instrument but rather preferred to require enough study to pass a performance test of professional cali­ bre.

The preferences of the remaining twenty-three teachers

are shown in the following table. TABLE XXVI UNDERGRADUATE REQUIREMENT FOR MAJOR INSTRUMENT AS REQUESTED BY INTERVIEWEES

No. of Units No. of Teachers

0

2

10

1

1*

6

8

Average Units

Ij-

1

7

3 .h

Median

2-i].

Present Req.

0

The results were computed on the basis of twenty-three answers.

If the remaining five requests for sufficient study

50 to pass a performance test were indicated in the central group of four units, the average would rise to three and fivetenths and the median to a definite four*

It is the opinion

of the investigator therefore, that four units in the study of a major instrument should be required and that for vocal majors, an additional four units of individual voice instruc­ tion should be similarly required.

CHAPTER V

THE INTERVIEWS IN MUSIC EDUCATION AND PEDAGOGY I.

MUSIC EDUCATION METHODS AND DIRECTED TEACHING

Elementary Music Education Methods described* Aims, scope, organization of materials and activities; develop- * ing attitudes, appreciations, skills through singing, rhythms, dramatizations, playing simple instruments, com­ posing simple songs; providing for individual differences.^ The need, application, and undergraduate requirement* Elementary Music Education Methods deals with music in the classroom and as such does not come into the immediate pro­ vince of the instrumental music teacher.

A music program,

however, can only succeed through the concerted efforts of all the personnel of the department and especially since the stu­ dents who are enrolled in the instrumental music program will have participated in the music activities and experiences of the classroom music program, it is important that the instru­ mental music teacher know their background and if need be, make efforts to condition that background.

While four of the

interviewees felt no need for this subject, twenty-four were of the opinion that, for the above-stated reasons, the present requirement of three units is justified and necessary. Observation and Directed Teaching in Public School

^ Bulletin of the University of Southern California, 19i|-9"5l (Institute oF tEe Arts, Vol. Ip]!, Uo* ?), p* ^i.

52 Music described#

"Study of classroom activities under guidance

of University supervisor and critic teacher# tary schools#

If

7^4-b: in secondary

The need and application#

in elemen­

s c h o o l s #"2

In directed teaching, the

student teacher has the opportunity to experience, at first hand, the application of methods of instruction and principles of education and can witness reactions of students to these applications.

He has also the opportunity to observe pro­

fessional teachers at work#

By the time the student approaches

his first job, he has tried several experiments in pedagogy and has proved or disproved some of the ideas and concepts he had accumulated#

What is more important, he has had the feel

of classroom situations and can meet his first position v/ith more assurance than a rank novice# Undergraduate requirement#

The following table indi­

cates the interviewees requests for requirements in directed teaching.

(See Table XXVII, page 53*)

While seven of the interviewees were opposed to direct­ ed teaching on the elementary level, a sufficient number made such requests as to justify the present requirement of four units in elementary and four units in secondary directed teaching# ^

IBid.* P* 96*

53 TABLE X X V I I

UNDERGRADUATE REQUIREMENT IN DIRECTED TEACHING AS REQUESTED BY INTERVIEWEES

No. of (Elem.) Units (Sec.) No. of Teachers

h.

k

Ij. I4.

7

18

3

0

8

Average Units Elem. 1 Sec. 5-. I4.

Median b b

Present Req. h b

Pour oD the interviewees felt that every studentteacher should have opportunity to practice-teach on each of the elementary, junior high, and senior high school levels. One of the teachers interviewed was of the opinion that the total absence of supervision would allow the student-teacher more opportunity to develop freely his particular attributes and techniques.

On the other hand, four interviewees recom­

mended that the student-teacher may derive the most benefit possible from the criticisms of the critic teacher. II.

PEDAGOGY ELECTIVES

Pedagogy electives described. Creative Music Activi­ ties: Ways of enriching the child's musical experience; making and playing simple instruments, writing melodies and descants, taking part in choirs and musico-rhythmic and dramatic activities .3

3

ibid.. p. 88.

514Class Plano Methods: Fundamentals of piano teaching; application in classes of elementary or high school age; class organization, conduct, equipment; review of litera­ ture on methods.^ Teaching of Choral Music: Problems in teaching glee clubs and choirs in public schools and the youth choirs of churches Band and Orchestra Development: Materials, instruction; tone quality, balance, interpretation; organization of the orchestra and band, point systems, grading; organizing the library; planning and conducting concerts.6 Teaching of Theory: Comparison of standard harmony texts; teaching methods, practice in teaching, and correct­ ing papers; daily observation.y Advanced Choral Conducting and Literature: Choral schools and composers since the sixteenth century; study of style and interpretations based on scores, recordings, and class performances.Q The need.

The student who is reasonably sure of the

particular aspect of music education in which he will special ize or recognizes a particular need may elect that particular course which best suits his requirements.

These courses are

all highly technical and deal comprehensively with their sub­ jects. Undergraduate requirement. 1*

Ibid.»$ P • 89*

5

L o c . cit.

6

Ibid.

7

L o c . cit.

8

Loc . cit.

P* 93*

All of the interviewees

55

agree that the practice of allowing a choice of one of these courses is excellent.

Since they were all instrumental music

teachers, they selected, without exception, the course in band and orchestra development.

In fact, they designated

this course to be required; however, since the curriculum is not set up for instrumental teachers alone, but rather for all teachers of music education, it is necessary that the present system of electives in pedagogy courses be upheld with the recommendation that all students desiring to specialize in instrumental music education elect to take this course.

CHAPTER V I

SUMMARY AND RECOMMENDATIONS At the termination of the interview, the teachers were asked to express their views as to the general character of the proposed curriculum, its tendencies and major emphases* Expressed in varied forms, the results were overwhelmingly in favor of a curriculum which took intense consideration of the ultimate use to which its contained courses will be applied* Paul Van Bodegraven has this to say: Applied music, theory, ear-training, conducting, and such allied courses have been included in the curriculum for so long that they often become stereotyped and the reason for including them in the curriculum becomes ex­ tremely hard to define* Generally speaking, these courses are taught with little regard for the actual uses to which they will be put by the school teacher*! The words of Dr* Bodegraven imply that the content of music courses and the manner in which they are taught should be reorganized so they will serve the purpose for which they are intended in actual teaching situations*

The twenty inter­

viewees who are in accord with this point of view desire a highly technical course of study which deals with the specific problems in instrumental music education and the solutions thereof.

Five of the interviewees took a broader and more

cautious view when they expressed the fear that the prevalent *» 1 Paul Van Bodegraven, Problems in Music Teacher Preparation," Music Educators Journal, 33:28, September, 19I1.6 . _

57 tendency of over-specialization in a narrow field of education may upset the balance required to produce broad-thinking and well-rounded teachers.

While they agree that the major empha­

sis should fall upon technical training in the field of music education, extreme caution should be exercized to insure the promulgation of sound musicianship and the complete understand­ ings of the principles and concepts of general education.

In

support of this idealism, Philip Gordon, a Newark, New Jersey, music teacher says: The heavy emphasis of methodology in the training col­ leges also makes it possible for unmusical people to qual­ ify as music teachers, when they would probably be elimin­ ated long before graduation if the emphasis was on musicianship .2 The interviewees have demanded no revolutionary reor­ ganization of the present curriculum,

in fact, the results

might well be considered, generally, a substantiation of the current requirements. Based upon the findings of this analysis, the following table is a synthesis of the needs and demands of the inter­ viewees in terms of unit requirements in music and music educa­ tion courses.

^ Philip Gordon, "Today* s Needs in High School Music,’1 National Association of Secondary School Principals Bulletin. 31:122, February, l$lp7.

TABLE X X V I I I

CURRICULUM FOR BACHELOR OF MUSIC WITH MAJOR IN MUSIC EDUCATION

Cour30 Titlos___________ Solfeggio 1, II ................. Solfeggio III, IV ............... Harmony I, II, III, IV ......... Form and Analysis I . ........... Form and Analysis II ........... or Counterpoint ............... Orchestration I ................. Orchestration II (Mus. Educ.) . • Music History and Literature I . Music History and Literature II * Music History and Literature III Eurhythmies or P.E. activity • . Conducting (Choral) ........... . Conducting (instrumental) • . . • Piano (Individual) • ........... Piano (Class) ................... Voice (Individual) • ........... Voice (Class) • ................. Instruments (Strings) ........... Instruments (Woodwinds) • . • . • Instruments (Brass & Percussion) Pedagogy Electives ............. Ensemble Groups . . . . ......... Elementary Mus. Educ. Methods. . . Elementary Mus. Directed Tchg*. • Secondary Mus. Educ. Methods . . Secondary Mus. Directed Tchg. • • Major Instrument or Voice . . . . Music Elective .................

Present Proposed Proposed Req,____ Req. A# Reg. B## k 2 12 2

• * • • •

• • •

• •

• •

• •

• •

•

•

•

•

♦

•

2 2 0 2 2 2 2 2 2 2to 2 2 2 2-k-SHf 2-LpiHH* 2 2 5 3 k 3 k 0 2 75

to -JHf

■jfiHi-H# ##

k 2 12 2 2 2 2 2 2 2 2 2 2 (2to 12 (2 12 2-k** 2 2 2

k 2 12 2 2 2 0 2 2 2 2 2 2 6

0

k 2 2 2 2 k 3 k 3 k 3 0

75

75

3 k 3

Previous piano study required Two units for string major Two units for clarinetist Four years participation required, credit for last semester only Results of this analysis Results of similar analysis executed by Jack Lemons in choral music education

59

The proposed "Requirements B", referred to in Table XXVIII, are the results of a job analysis in choral music education, concurrently executed by Jack Lemons, candidate for the Master of Music degree at the University of Southern California* The proposed "Requirements A" recommend only a few changes in unit credit.

Such changes include (1) an addition­

al two units of orchestration,

(2) the initiation of a four-

unit requirement in the study of a major instrument or voice, (3) a four-year requirement for participation in ensemble groups with a four-unit credit reduction to help balance the additional units requested for orchestration and major instru­ ment, and (Ip) the omission of a two-unit music elective in order to completely balance the added unit requirements. More significant than the proposed changes in unitcredit requirements is the demand of the interviewees that the content and the manner of teaching the courses included in the curriculum effect a reorganization to the extent of providing, whenever possible, instruction in the skills, tech­ niques, knowledges and understandings specifically required to successfully teach music in the public schools. This concept is to be applied generally throughout the entire curriculum.

Specific changes in course content

or method of teaching, as requested by the interviewees, are summarized thusr

Harmony:

mors emphasis on contemporary developments*

Counterpoint: a course dealing with contrapuntal forms rather than a technical writing course* Orchestration: The second semester shall be special section dealing with the specific and peculiar prob­ lems of music education* Conducting:

Two progressive semesters dealing with

basic baton technique with no consideration of the pe­ culiarities of either choral or instrumental conducting Stringed instruments: major emphasis upon pedagogy rather than performance. It is noteworthy that the three sets of requirements indicated in Table XXVIII, page $ 8 , are by no means incompat­ ible.

^’he investigator joins with the interviewees in the

hope that the necessary adjustments and compromises will be effected, thereby providing for a more valid and efficient training program, for public school instrumental music teachers

BIBLIOGRAPHY

62 A.

BOOKS

Barnett, David, They Shall Have Music. Inc., 1 9 k b * lOo pp.

New York: G.W. Stewart,

Birge, -^dward Bailey, History of ^ublic School Music in the United States. Boston: Oliver Ditson Co., 192d. 296 pp. Dykema, Peter W . , and Karl W. Gehrkens, The Teaching and Ad­ ministration of High School Music. Boston: C.C. Birchard and Company, 191+1 • 6ll+ pp. Fryklund, Verne C., Trade and Job Analysis. Bruce Publishing C'omp'any, lPtf?. 167 pp.

Milwaukee:

The

Hindsley, Mark H . , School Band and Orchestra Administration. New York: Boosey and Hawkes, Inc ., 191+6.” 107 pp. Jones, Llewellyn Bruce, Building the Instrumental Music Depart­ ment. New York: Carl Fischer, Inc., 1$1+9Y EJ3 PP* Lytle, Charles W. , Job Evaluation Methods. Ronald Press Company^ 191+6. 329 pp.

New York? The

Morgan, Hazel N . , editor, Music Education Source Book. Music Educators National Conference, 191£7• 236 pp.

Chicago:

Normann, Theodore F., Instrumental Music in the Public Schools. Philadelphia: Oliver Ditson Company, 1S3+1. 3l+9 pp. Pitts, Lilia Belle, The Music Curriculum in a Changing World. New York: Silver Burdett Company, lpl+l+. 163 pp. Prescott, Gerald R., and Lawrence W. Chidester, Getting Results with School Bands. New York: Carl Fischer, Inc., 193^7 ~2?3 pp. Righter, Charles B., Success in Teaching School Orchestras and Bands. Minneapolis: Paul A. Schmitt Music 6o7^ 1 9 k £ * 211 pp. Stanway, H. Geddes, Applied Job Evaluation. Ronald Press ^ompany, 191+7. 8l pp.

New York:

Wilson, Harry Robert, Music in the High School. Silver Burdett Company, ■lPl+1. i+lpOpp.

The

New York:

63 B.

BULLETINS

Bulletin of The University of Southern California, Institute of the Arts, 19l+9-5l, Vol. 1+1+, No* 7* Los Angeles: University of Southern California, 191+9* 112 pp. Doll, Edgar D * , "Job Analysis as a Basis for Teaching,11 Bull­ etin of the Taylor Society, ll+:13I1-—1^.1, June, 1929* Gordon, Philip, " T o d a y s Needs in High School Music," National Association of Secondary School Principals Bulletin. 31:

12I^"TeBruiry7T^T.------------------C.

PERIODICAL ARTICLES

Beattie, John W . , "Specialist or General Practitioner," Educa­ tional Music Magazine. 29:8-9, March-April, 1950* Bodegraven, Paul Van, "Problems in Music Preparation," Music Educators Journal, 33:28-9* September, 191+6# Christmann, Arthur Henry, "Course in Orchestral Instruments for Music Educators," Etude, 65:1+38, August, 191+7* Cuthbert, Kenneth N . , "Needed Emphases in Music Education," Music Educators Journal, 35*21-2, September, 191+8* Foltz, Donald G., "In the Brief Time Allotted,” Educational Music Magazine, 29:31-6, March, 1950* Gaston, Everett Thayer, "Values of Functional Music for Music Education," Education, 69:396-8, March, 191+9* Larson, William S*, "Present Status of Research in Music Educa­ tion,” Educational Music Magazine. 2l+: 16-17, November, 191+1+* Revelli, William D . , "Music Education Curriculum," Etude, 66: 71+0-, December, 191+8# Silvey, Clel Thurman, "More Inclusive Bachelor of Music Degree," School and Society. 65:1+01-3# May 31, 191+7* "Training of Teachers in Music Education," Music Educators Journal. 31: 22-3, May, 19h$.

6kWinslow, Robert W . , ”Some Basic Considerations in Teacher Ed­ ucation,” Educational Music Magazine, 2l|.:19-, March, 19k-5* ------- , 11Teach the Know-how,” Educational Music Magazine, 26: li^-15-, September, 19^4-6» D.

UNPUBLISHED MATERIALS.

Alexander, Jewell Tharp, ”The Activities and Training of School Music Teachers in California#” Unpublished Master*s thesis, The University of Southern California, Los Angeles,

I9ip.v 87

pp«

Bond, Jesse Albert, ”The Activities and Training of High School Teachers in California.” Unpublished Doctor*s dissertation, The University of Southern California, Los ^-ngeles, 1937# 368 pp. Terhune, Persis Carter, ”An Investigation of the Necessary Con­ tent of Courses for the Training of Music Teachers.” Un­ published Masterfs thesis, The University of Southern Cali­ fornia, Los Angeles, 1933* 131 PP«

‘^Xtivarsity of Southern

California