A Survey and Evaluation of the Class Wind Instrument Programs in Some Representative Music Teacher Training Institutions, With Some Suggestions for an Ideal Course of Study

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A SURVEY ANIJ EVALUATION OF THE CLASS WIND INSTRUMENT PROGRAMS IK SOME REPRESENTATIVE MUSIC TEACHER TRAINING INSTITUTIONS, WITH SOME SUGGESTIONS FOR AM IDEAL COURSE OF STUDY

by Thomas Clark Collins

A dissertation submitted In partial fulfillment of the requirements for the decree of Doctor of Philosophy» in the Department of Music, in the Graduate College of the State University of Iowa August 1950 State University of Iowa library

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TABLE OF CONTENTS Chapter I

Page

Introduction •

1

{ The P r o b l e m ................................. Need for the Study Purpose of the Study . . » • • « • • • * • • Scope of the Study Sources of Information * ............... The Procedure Reliability of the Information . . . . . . . ^Organization of the study . . . . . . . . . II

Survey of Present Practices in the Teaching of Class Wind Instrument Programs . . . . . . School School School School School school school School School School School School SChOOl School SChOOl School School school School School

III

1 1 6 7 8 9 11 11

MAW *B* *0" ttD M me w

"fm "a" "H" "IH "L*1 HM H mn m

"0" MP M MpH w Hm "s” l,Tfl

12

. . . ............... * ............. 12 . . . . . . . . . . . . ......... 17 . . . . . . . ...................... 20 . . * . . .......................... 25 * * * .......... # 28 ......... . ....................... 32 . . . ...............................35 ....................* ............ . 39 * ................................... 43 48 ....................... 52 • 56 ................... 61 ................... 65 e e e e e e e e e e e e e e . e e 70 ..................................... 73 . . . . . . e. e . . . . . . e e 76 ... . . . . . . . . . 80 ................. * S3 * e . ............................ 85

Analysis and Evaluation of Present Practices .

88

Titles of Courses . . . . . . . . . . . . . Catalogue Descriptions of Courses . . . . . Degree R e q u i r e m e n t s ............ Credit Offered • « « • • . * • • • . • • • •

88 90 91 92

ii

TABLE OF CONTENTS

(Continued) Chapter

p©£©

Amount of Instructor Time Devoted to the Courses * • • Content of Course® Methods of Organization and Teaching of Classes Degree of Playing Skill Required . . . . . . . Instructional Material and Method Books Used . Equipment » « • • * * • « » • • * « * « • « « • Instruments « . • . • » * « ** • * * » • * Rental Fees • • • « • • • « •* . • » . * • Insurance • * • • • • . . . ** • * * * • • Effectiveness of Courses ae Judged by Graduates Comparison of Curricula in schools and Departments of Music . ............. * . IV

Suggestions for a Class Wind Instrument Course

•

Organization of the Course Within the Curriculum » » * * » . # • . . .. . . • . • * Content of the Course • • * « * *• • * * • * * Equipment and Materials • . Summery « . * # * * ........... • •

94 96 107 111 114 122 122 126 126 127 129 137 137 139 144 150

Appendices A* B* C* D» E. F*

Materials Used in Securing the Data . • • . 154 Written Examinations tTsed in Class Wind Instrument Courses • . . . « • * . * * . • 160 Degree Plans and a Check-Llst for Teachers of Instrumental Music Education Courses ♦ * 166 Courses of Study and Recommended Lists of Materials 176 Suggestions for Playing and Teaching tke Instruments 205 List of Jurors . . . . . . . . . . . . . . 2J0

Bibliography

233

111

TABLE Oi? TABLES Table I* II* III* IV* V* VI* VII* VIII*

page Supplementary Wind & Percussion Instruments Progression of Courses for Various Majors * . Titles of Class Wind Instrument Courses*

68

• *■

89

Comparison of Credit Offered for Class wind Instrument Courses * « * • * * • * « * * * •

93

Number of Students per Four of Instructor Time .......... . * * * ♦ • ♦ * * . . . * • •

95

Instruments Taught In Class wind Instrument Courses • • * • • • * * * * • • • * • • • * •

97

Individual Instruction Books Used In wind Instrument Classes « * * « • • • • • * # » •

115

Class Instruction Books Used

121

* * * * * * * *

Number of School Owned Instruments

* * * * • 124

IX*

Number of Semesters of Class Wind Instrument Study Required in Schools of Music as Compared with Departments of ^uelc * • « * • • • * • * 130

X*

Number of Students per Hour of Teacher Tim© In schools of Music as Compared with Departments of Music • * • • * » • • « * • * • • • • * • 13?

XI* XII* XIII* XIV*

Instruments Studied in Classes in Schools of Music as Compared with Department© of Music *

134

Instruments Provided by Schools of Music as Gompared with Departments of Music * * * * •

135

Suggested Sequence of Instruments to be studied In Wind Instrument Classes • * • * * * • • * 143 Band Class Methods

* * • « » * * • • * • * «

Iv

146

aokwowledowknts

This study has Involved th© co-operation of many people*

Without th© assistance of the administration

and staff of the twenty institutions of higher learning who furnished the data, and the fifty graduates of these schools who evaluated the training which they had received, the survey could not have been made*

To these people the

author wishes to express his grateful appreciation* Gratitude Is also due to Professors Himle Voxman, and Philip Greeley Clapp for their constructive criticism and guidance*

Iowa City, Iowa

Thomas C* Collins

July 12, 1950

v

1

Chapter I INTRODUCTION The Problem Praotically every Music Teacher Training Institution offers a course, or courses,

in the study of

the Instruments of the Band and Orchestra from the ele­ mentary playing and teaching standpoint*

No two Insti­

tutions seem to use the same plan, have the same goals of achievement, use the same (or any) syllabus.

The

Problem is one of investigating what Is being done at several leading schools, of evaluating and trying to formulate some standards which would be of use to all. Every student training to be a Music Teacher should have developed artistic proficiency in playing at least one instrument by the time he graduates.

He may

also have developed adequate or some shill on one or more secondary Instruments.

But the limitation of time pre­

vents him from becoming proficient on all the Instruments of the Band and Orchestra.

The Class Wind Instrument

Course offers him his only opportunity to become at all familiar with the instruments. Need for the Study The writer has taught courses of this nature for

2 several years and has not been entirely satisfied with the results.

He has talked to teachers of these courses in

other institutions who seem to feel the same way.

Each

teacher has a few good ideas concerning the teaching of the oourses.

A composite of these ideas might be very

revealing and lead to the formulation of a better course. No previous

work has been done on this subject.

An investigation of writings and theses brings to light only a paragraph here and there, usually citing the importance of thorough training in all the instruments. James L. Mursell says, "Compare the work of s band leader who merely waves a stick and issues a few orders and an occasional general scolding, with the man who knows every instrument in the ensemble so well he can not only indicate with precision each fine shade of effect he desires but also show each player how to get it, and why he has failed to do so."^ (Engelhart and Cvern state, "The well qualified music teacher should have a reasonable degree of musician­ ship which includes a historical and theoretical background in music and considerable skill in performance.] He should be a skillful performer on a number of orchestral instru­ ments.

xt is not sufficient that the teacher be a college

1. James L . Mursell, Human Values In Music Education, p. 281.

3 graduate trained in Public School Music Courses.

Colleges

which wiah to train music teachers should provide for and give credit for intensive training in applied music."2 E. E. Mohr states, "Instrumental Class Instruction teachers are largely concerned with the fundamental technics of playing each instrument.

In a few cases such practical

points as how to buy the instrument, how to repair it, how to care for it, etc., are taught.

Even though the fre­

quencies are low on the items mentioned In the foregoing sentence, it would be well for all instrumental teachers to consider them. Kate E. Moe found that, "It seems to be a rather serious discrepancy to eliminate subjects such as con­ ducting, instrumental methods, and literature and vocal music from a curriculum In music education, since the knowledge offered in these courses forms the main back­ ground in the music educator's equipment for teaching. Chauncey B. King says, "What Is of more Import2. Kngelhart and Overn, Secondary Education. Principles and Practice, pp. 403-464. 3• B. S. Mohr, A Study of Hepresentstive Courses in Music in Teachers Sollegea and Normal Schools, p. 105. 4. Kate E, Moe, A Study of Music Education Curricula in 126 State Teachers Colleges and Normal Schools, p. 19.

4 anoe than the addition of curricula in instrumental music, is better selection and organization of instrumental courses that already are being offered.

There seems to be consider­

able confusion as to the courses to offer*

There is little

uniformity to be found, one institution offering one type of instrumental work and another something entirely different.And,

"Investigation brought out the import­

ance of the formulation and use of course syllabi.

It Is

believed that instructors in music education can effect immediate Improvements in the content and teaching of their courses through this means better than through any other. Robert Hargreaves has observed, "The training of Public School Music Supervisors to meet the responsibilities imposed by the organization and maintenance of bands and orchestras of full symphonic Instrumentation and competitive performance standards demands increasingly systematized Instruction at the collegiate level.

It is a physical

Impossibility for the beginning instrumental music teacher to have spent on each of the Instrument types he Is expected to teach the years of study necessary to the assimlliation of the vast store of knowledge and skills associated with 5. Chaunoey B. King, The Content and Teachlng of College Courses in Music Education, pp. 119-120. 6* Ibid. p. 143*

that medium of performance." "For this reason, survey courses In which the humble efforts of the supervisor-In-training to master the technical requirements of a dozen unfamiliar Instruments are guided by lecture and textual material seem imperative. Such materials,

it would appear, ought to provide the

student with a variety of facts pertinent to advancing facility with the Instrument, and by doing so, to attempt the establishment of a certain critical and pedagogical maturity much in advance of whatever performance skills may be required in the relatively brief periods of "minor" instrument study. Harold A Thorn has this to say about the import­ ance of studying the minor instruments: "If you are going to teach Instruments, learn Instruments.

This seems a silly

and obvious thing to say, but it Is surprising to see how many music educators are advocates of slighting the more concrete studies of performance for the abstract and theoretical.

If you are a good performer on an instrument,

you unconsoiously know many fine points that you can never get in abstract theory.

I do not think that it is too much

to ask of a person who is going to spend a lifetime In f TTm Robert Hargreaves, The Teaching, of Brass Instruments in School Music S u pervisors bourses. Preface, p. iii.

6 music that he be an excellent performer on three instru­ ments, one from each of the families of the brass, wood­ wind, and strings*

I will be even more specific and name

the three instruments that would be most useful: trumpet, clarinet, and violin.

In elementary music, these three,

along with saxophone, constitute ninety percent of th© music enrollment.

In addition, a good performer on those

three can, with a few weeks practice, be a fair performer on any other instrument.”® These exoerpts show that there has been some concern and thought regarding the collegiate offerings in courses of Wind Instrument instruction for the future public school music teacher.

The need is to evaluate the

present offerings in enough institutions to make the findings meaningful, and to try to formulate a set of standards and objectives which will be of value to all teacher training institutions. Purpose of the Study The purpose of the study is to make a critical analysis of present practices in the teaching of the "minor” wind instruments and to evaluate them from the dm Harold A. Thorn, "So You Want to Be a llusic Teacher?” fouslo Supervisors Journal. April-Hay, 1949, pp. 20-23.

standpoint of content, organization, and future value to the teacher* Scope of the Study The study is limited to colleges, departments, and conservatories of music which offer e four-year degree curriculum for the education of school music teachers*

It

is further limited to those which offer a complete course for Instrumental music teachers.

The institutions repre­

sented in this survey range from large to small, from older, well-known schools with curricula developed after much thought and trial, to those which are relatively young and still trying to develop a curriculum which fits Its needs* The study is further limited to institutions located geographically so that the writer could visit them personally.

In order to make the study somewhat represent­

ative nationally, a few institutions have been considered which could not be visited because of their location* these oases the information was procured by letter.

In No

attempt was made to gather a representation of any parti­ cular type of Institution* The following Institutions were included in the survey:

Schools of Music

Departments of Music

University of Illinois

University of Iowa

Eastman Sohool of Music

Eastern Illinois State College

University of Miami (Florida) New York University University of Oklahoma

San Jose State College (Calif.)

University of Miohigan

Iowa State Teachers College

Northwestern University

Ohio State University

Indiana University

Ithaca College (Mew York)

North Texas State College

Columbia University (Teachers College)

University of Southern California

Wayne University (Detroit) Fresno State College (Calif.)

Conservatories Oberlin Conservatory Sources of the Information The writer has visited all of the Institutions included in the survey except those located In California, Oklahoma, and Texas*

Information was obtained from those

three by letter* Information was gathered first-hand where at all possible*

As Randall Thompson has pointed out In connection

with a survey of this typo, "Owing to the almost universal unpopularity of questionnaires, no all-inclusive list of questions was imposed upon the groups of students or

teachers*

This concession to the prevailing mood was

rewarded by an outpouring of facts and opinions*

Related

specifically to the college at hand, they often surpassed in fullness and frankness what could have been hoped for through any formal set of questions."9 The writer used these same tactics and found that practically all of the persons interviewed were very glad to impart all the information which they could.

The

writer visited the classes, talked with administrators, teachers, and students. As a check on the content of the course and its effectiveness in actual practice, graduates of the schools were asked to give their opinion of the value of the course. The Procedure The first stepj in the survey was to send a letter^ to the dean, head, or director of each school, deportment, and conservatory of music describing the survey and its purpose, and requesting permission to visit the Institution. Next, a questionnaire

form was composed covering the

9* Retnda 11 Thompson, College Music. An Investigation for the Association of American Colleges* Preface, p. ix. 10* See Appendix A. 11. See Appendix A*

information wanted.

This was taken on the visitation by

the writer and the information recorded by him, usually after th© interviews with teachers, administrators, and students, and after visiting the classes and inspecting th© equipment.

The writer tried to have a complete picture

In his mind of the class wind instrument program In each school before recording any information on the questionnaire. In this way, the questionnaire served mostly as a means for the writer to keep his notes, and as a reminder of the information to be gathered. Fifteen of the twenty cooperating schools were visited during April and May, 1950.

In each case the

writer was able to spend a complete day on each campus, talking to everyone concerned with the organization and administration of the Wind Instrument Glasses, and coming away with complete Information.

The three schools which were

not visited were asked to complete the questionnaire which the writer used on the visitations. To five recent graduates of each institution who are now teaching instrumental music in the public schools was sent a questionnaire

asking for his opinion of the

Wind Instrument Courses which he received as to their

127 Dee Appendix A.

11 effectiveness in preparing him for th© work he is now doing. Eellability of the Information The only attempt to check on the reliability was the contact with graduates of each institution now teaching in the public schools.

Of ninety-five question­

naires sent out, forty-seven were answered, and since the purpose of the study Is not to criticize, but to try to be helpful, there is no reason to believe that the opinions are not truthful and frank. Organization of the Study Chapter I states the problem, the need for the study, the scope and sources of the information, and the procedure.

Chapter IX gives the information gathered.

Chapter III consists of the discussion, analysis, and evaluation of the information.

And Chapter IV oontains

the writer’s opinions and suggestions on improving such courses In the light of present day needs.

12 Chapter II SURVEY OF PRESENT PRACTICES IN THJB TEACHING OF CLASS WIND INSTRUMENT PROGRAMS School "A" This is a School of Music in a state university* It is a member of the National Association of Schools of Music.

There are 109 members of the faculty and an under­

graduate enrollment of 470.

Degrees given are the Bachelor

of Arts and the Bachelor of Music, both in applied Music, end the Bachelor of Music in Music Education.

At the time

this survey was made there were 102 students majoring In Instrumental Music Education, 75 in Vocal Music Education, 2^0 in Applied Music, and 11S In other fields such as Theory, Composition, History of Music, and History and Literature. The Class Wind Instrument Courses required for Instrumental Music Education students are entitled "Secondary Courses: Class Instruction".

The Applied Music majors are

required to study two minor instruments, and this instruction is given in courses called "Secondary Courses: Private Instruction".

The University Catalogue describes the

/

"Secondary Courses: Class Instruction" as follows: "Designed to give those students whose major is in another field a practical approach to another instrument."

13 It Is this "Class Instruction" course which serves the needs for the public school music majors.

The

courses are primarily designed for the lusic Education students, although there is always a sprinkling of compo­ sition students and applied music majors (particularly In piano) who take them in order to become acquainted with the Instruments* The courses are required for the Bachelor of huslc degree in Ijus Ic -Education,

Seven or eight semesters

are required depending upon the student’s major Instrument, Two semesters each of Class Clarinet and Cornet are re­ quired, and one semester each of Oboe, Flute, Bassoon, Horn, Trombone, and Percussion*

The student is allowed

to skip the class of his major instrument.

For instance,

the clarinet major will omit the Class Clarinet course; the cornet major will omit the Cornet Class, etc*, and they will devote their time to the instruments unfamiliar to them* hach course receives two semester hours credit and meets four days a week for fifty-minute periods.

They

are considered to be laboratory courses and no outside practice Is required.

A fifth meeting Is required for all

students registered in the Secondary Courses, at which time they play as an ensemble and read materials.

Sixty-

nine hour® a week of instructor time is devoted to teach­ ing the Secondary Courses,

The average enrollment of all

th© Secondary Courses is one hundred* Th© courses are offered In the first, second, and third years, and are completed by the senior year so as to create no conflict with senior recitals. The instruments studied in the course are the Clarinet, Flute, Oboe, Bassoon; Corxiet, horn, Trombone, and Percussion*

Tuba was offered during the spring sem­

ester, 1950, but for the first time, and It is not known whether this will be continued*

Two semesters are devoted

to the study of the clarinet and two semesters to the study of the cornet.

One semester is devoted to the study of

each of the other Instruments. The classes are organized Into groups of like instruments and the classes are confined in size to groups of four to eight.

Lectures supplant the playing instructio

in order to give advice on the care, upkeep, and selection of Instruments, and to call attention to teaching problems. Th© degree of playing skill expected to be developed varies with the student and the instrument being studied.

As a general rule, the common scales (up to and

Including four sharps and four flats for the treble clef instruments, and six flats for the bass clef instruments)

15

are required for the first semester courses, plus the performance of solos of second and third grade difficulty* At the end of the second semester of study on the clarinet and cornet, a jury examination is held*

The jury Is com­

posed of the instructors of the courses, and the students are graded on their ability to sight-read as well as to play solos and exercises from the instruction books* Instructional material and method books used include the following: Clarinet - The Study of the Clarinet* by Wm* H. Stubbins Flute

- Foundation to FIate Flaying* by Wagner Solos end Quartets

Oboe

- The Flaying of the Oboe* by Fitch Solos, Intermediate level Reedmaking* Each student must make a playable reed during the semester*

Bassoon

- Practical Method for Bassoon* by Weissenborn Solos and Quartets* Heed making* Bach student must make a playable reed during the semester*

Cornet

- Elementary Method for Cornet* by Fdwards-Hovey Cornet Method* by Lillya

Horn

- Foundation to Horn Flavin#* by Hauser Golden Melodies for Horn (Pub*, Witmark)

Trombone - Trombone Method* by Eidson Quartets Tuba

- Tuba Method* by Qidson The instruments used in these courses are supplied

by the school.

There is no rental fee.

This is taken care

16

of by a general fa© of $145#00 P©r semester for music students, which includes all tuition and fees. The Instruments are insured. The following is a list of school-owned instru­ ments which are available for the express use of the Secondary Instrument Classes: 14 10 6 6

Clarinets Flutes Oboes Bassoons

15 Cornets 7 Horns 8 Trombones 8 Tubas

The instruments are all of first and second grade quality and are kept In good condition.

Ho student conducting is

done in this group; it is provided for in other courses. About half of the Secondary Classes ere taught by graduate students.

The work is closely supervised by the

heads of the Music Education and Band Departments and the jury examinations at the end of th© semester serve to check the quality of the teaching as well as the progress of the students. Two of the five graduates responded to the questionnaires which were sent to them.

Both were 1949

graduates who have been teaching on© year In the public schools.

One of them thought that the training which he

received on the secondary instruments was sufficient for his teaching needs.

Th© other thought likewise, except

for Clarinet and Percussion.

Both agreed that the emphasis

in such courses should b© placed upon actually playing the instruments, although the study of methods, materials and teaching problems should not be slighted.

Both felt that

there was proper balance between the emphasis on the major Instrument and emphasis on the secondary instruments in th© curriculum (which they had completed)• School "B" This Is a Department of Music in the School of Education of an endowed University* enrollment is 200.

The total undergraduat

There are twenty members of the faculty

not including an approved list of Applied Music teachers who teach in private studios away from the campus. The degree off€sred is the Bachelor of Science in Music Education.

Thor© are ninety to one hundred Instru­

mental Music Education majors. The Glass ?/ind instrument Courses are entitled "Class Clarinet" and "Class Brass".

The catalogue descrip­

tion of the course "Class Clarinet" is as follows: "Comprises the fundamentals underlying the playing of the Clarinet: position of body, hands, fingers; correct breathing; tone production; technique; dynamics; relationship of pitch to other Woodwind Instruments; care of the. instrument." The "Class Brass" course is described as: "A study of methods and procedures in the teaching of classes in Trumpet and Trombone. Each member of

th© class learns the technique by actually playing the instrument•" There is only one purpose for the course and that is for the accomodation of the Music Education students.

Two

semesters of the work is required and it is divided be­ tween the two courses:

one semester of Clarinet, and one

semester of Brass instruments. is given for each course.

Two semester hours credit

The classes meet twice per week

for fifty-minute periods and outside practice is required. Four hours of instructor time per week is devoted to the teaching of the classes.

The courses are limited to

eighteen students in each, for a total enrollment of thirty-six.

Both courses are offered each semester.

At present only Clarinet, Cornet, and Trombone are studied in the classes.

But it is hoped that soon

the other Woodwinds and Brasses can be added to the con­ tent of the oourses.

The classes are organized into groups

of individual instruments.

They are large, a combination

of lecture and playing classes,

instruction is given on

the care, upkeep, repair, and selection of the instruments. There is no particular goal of attainment as far as playing skillexpected to be attained.

It is just a

matter of taking th© students as far as they can progress in one semester. Th© Instructors of the courses are regular

19

faculty members* Method books used are the Elementary Method for Clarinet by Bovey, and the Weber-Hovey, Belwin Elementary Band Method for th© Brass Instruments* Instruments are provided by theschool*

A rental

fee of $5*00 per semester is charged* The instruments are not insured* School-owned instruments, available for use in the courses are as follows: 25 Clarinets 15 Cornets 9 Trombones In addition, the school owns the following instruments which could be shared by the Wind Instrument Class students and members of the Band and Orchestra: 8 2 2 1

Flutes Oboes Bassoons Baritone Saxophone

6 Horns 2 Tubas

Next year it is hoped that another semester of Class Wood­ winds and another semester of Class Brass can be added to the curriculum in order to include the remainder of the Instruments in the families. There Is no possibility of combining the Clarinet and Brass Classes for ensemble playing because they meet at different times, but there is the opportunity for ensemble playing in a training orchestra in which one yers.r’s experi-

ence is required*

There is no student conducting done in

this group* Three of the five alumni responded to the questionnaire mailed to them*

The three were unanimous in

feeling that the classes in the minor instruments were adequate as far as they went, but felt that they should have had training on the other instruments of the families. They also felt that the actual playing of the instruments was more important than the emphasis on methods and mater­ ials, but that this latter phase should not be slighted. They also indicated that more emphasis should be placed on the minor instrumentsf study. School "C" This is a Department of Music in a State Teachers College.

It is a member of the National Association of

Schools of Music. ISO*

Total enrollment of the Department is

There are twenty-seven members of the faculty.

An

undergraduate school only, the degree offered is the Bachelor os Arts with a major in Music Education or Applied Music.

There is only one course in Music Education which

is followed by both Vocal and Instrumental majors.

There

are 150 Music Education majors and thirty Applied Music majors. The Class Wind Instrument Course is called

21

"Orchestral Instruments” and is described briefly In the catalogue as: "Glass study of the instruments including their selection and care.” The courses are designed specifically for the Music Educa­ tion students and is required for the degree.

The

sequence consists of one quarter devoted to Clarinet; one quarter to all the Brass Instruments; one quarter to Flute, Saxophone, and Percussion; and one quarter to Oboe and Bass­ oon, which includes reed-making.

Three quarters, or three

courses in the sequence, are required. elective.

The fourth is

Most students elect to take the fourth quarter

course, depending upon the student's major instrument.

For

instance, a Clarinet major Is allowed to skip the course devoted to Clarinet, but a Brass major usually takes all four courses.

One quarter-hour credit is given for each

course which meets twice a week for fifty-minute periods. Eight hours of instructor time is devoted to teaching the courses and usually each course is offered each quarter.

Enrollment in each course is limited to ten

students and averages seven, making a total of twentyeight students in the four courses each quarter, about average).

(which Is

With the equipment which this school

possesses it is usually possible for all the students in each course to study the same instrument at the same time.

22

There are enough oboes and bassoons so that during the course devoted to these instruments, the entire class can ell study oboe at the same time and then all switch to bassoon. instruments studied in the courses are the Clarinet, Oboe, Flute, Bassoon, Saxophone; Oornet, Horn, Trombone, Tuba, and Feroussion.

The number of instruments

studied in one quarter varies with the course.

An entire

quarter is devoted to Clarinet, but in each other course from two to four instruments are studied. The courses Involving the Woodwind Instruments are organized into classes of individual instruments.

The

Brass Class is organized into a family group, i.e., all the Brass Instruments together,

lectures and demonstrations

supplement the instruction in playing. For the students In the courses the instructors of these courses have carefully prepared, mimeographed Instructions on the care, upkeep, repair, and selection of the instruments, also lists of instructional materials, solos and ensemble materials suiteble for use in public school groups. Because of the short time devoted to the study of the individual instruments, the degree of playing skill expected is not high.

The emphasis Is placed on knowing

23

the fingerings* principles of embouchure and tone pro­ duction and mat©rials, rather than upon actual playing skill.

However, the students in the Clarinet class are

expected to be able to play the nine most common major scales and the chromatic scale from low E to high G. For Saxophone and Oboe the students are expected to know the chromatic fingerings to high D.

On Bassoon the

chromatic fingerings to high G and on Flute the chromatic fingerings to high G are expected to bo learned.

The Brass

students must know the harmonic series and its application to the instruments, the fingerings and slide positions for the chromatic scale and most common major scales. The following individual instruction books are used: Clarinet

- Modern Clarinet Method, by Gower and Yoxman

Flute

- Elementary Method for Flute, by Petersen

Oboe

- Method for Oboe, by Gekeler

Bassoon

-

Saxophone

- Elementary Method for Saxoohone. by Hovey Be^innimz: Studies for Snare Drum, by Gardner

Percussion Brass

Elementary Method for Bassoon, by Skornicka

•

The following Class Methods: £asy Step3 to the Band, by Taylor Belwln Elementary Band Class Method. by Weber and Hovey World of Music Band Course, by Bevelli, et. si

The instruments are provided by the school and there is no rental fee. The instruments are not insured. Some of the school-owned instruments* such as the oboes* bassoons* and tubas* must be shared with students playing them in Band and Orchestra.

The following are the

instruments which are available for use by students in the Orchestral Instruments Courses: 20 9 6 12 11

Clarinets Oboes Bassoons flutes Saxophones

13 12 13 11

Cornets Horns Trombones Tubas

Students furnish their own snare drum sticks for the Percussion Course*

The instruments are of excellent qual­

ity, mostly first and second quality makes* and ore kept in fine condition. The four Orchestral Instruments Classes are sche­ duled at th© same time during the day so that it is possible for them to be combined for ensemble playing. some during each quarter.

This is done

The students take turns conducting

this group and read through materials and methods. Of the five graduates contacted all of them answered the questionnaire.

Four of them did not think the

training on the minor instruments was sufficient to meet their needs in public school teaching.

One felt that his

training was sufficient.

All five agreed that the most

important part of the courses was learning to play the Instruments, and after that is accomplished as much time as possible should be spent in getting acquainted with materials.

Again all five believed that the balance of

emphasis placed on the study of the major instrument was too great in comparison with the time allotted to the study of the minor instruments. School "D" This is a Department of Music in a State College, in which the enrollment of the Department is seventy-one. It Is entirely an undergraduate department. numbers eight.

The faculty

The degree Bachelor of Science in Education

with a major in Music is awarded.

Of the seventy-one majors

in the department, twenty-five are Instrumental Music Education majors and th© remaining forty-six are divided between Vocal Music Education and Applied Music. The title of the Glass Mind Instrument Courses Is "Class Methods In Woodwinds and Brass” and they are described thus in the catalogue: "Designed to teach the techniques, musical possi­ bilities, basic theories and methods of teaching the instruments of the Band and Orchestra. Instruments are studied simultaneously with methods of teaching. Materials and methods suitable for public schools are surveyed."

The courses ere intended for the Instrumental Music Education majors, although the Vocal Music Education majors are encouraged to take them, and many do so.

This

school operates on the quarter system, and four quarters of study are required on the minor instruments for the Instrumental Music majors#

One quarter i3 devoted to

Clarinet, one quarter to Flute, Oboe and Bassoon, one quarter to Cornet and Horn, and one quarter to Trombono, Baritone, Tuba and Percussion.

Two quarter hour credits

are given for each course which meets four times per week for fifty-minute periods*

No outside preparation is

required since it is set up as a laboratory course.

The

necessity of sharing the instruments with Applied Music majors, players In the Band and Orchestra make it difficult for the instruments to be made available for practice outside of class meetings. Eight hours of instructor time per week is devoted to the teaching of the courses, ohly two of which (one Woodwind and one Brass) are offered concurrently.

The

average enrollment Is thirty, fifteen in each course. The instruments studied in the courses are Clarinet, Flute, Oboe, Bassoon; Cornet, Horn, Trombone, Baritone, Tuba, and Percussion.

The number of instruments

studied In one quarter varies from one to four.

The method of organization of the classes varies with the course.

The Clarinet class is a group of like

instruments, but the other courses are organized in family groups.

The classes include instruction on the care, upkeep

repair, and selection of instruments. The degree of playing skill expected on each instrument consists of being able to play four major scales and selected easy solos from such collections as Everybody1s Favorites.

Four rudiiaents are required on

snare drum. Glass method books are used in the courses.

The

Brass classes use the Smith-Yoder-Bachman Ensemble Band Book, the Boosey-Kawkes Band Method by Skornicka and Bergeim, and the Taylor lasy Steps to the Band.

The

Woodwind classes us© the Bo o sey-Hawkea Band Method, and the Metcalf Short Cut Band Method. The instruments are furnished by the school, for which there is a rental fee of B2.00 per quarter. The Instruments are not insured. The following is a list of school-owned instru­ ments which are used in the courses, although some of them must b© shared with other students and other organizations: 10 Clarinets 2 Flutes 2 Oboes

2 Bassoons 10 Cornets 5 Horns

5 Baritones 3 Trombones 6 Tubas

The instruments are of medium quality. The only opportunity for ensemble playing on these minor instruments is in the classes.

There is no

provision for combining the Woodwind end Brass classes for the purpose of forming a complete ensemble*

However, the

students do take turns conducting in the classes. This school has rather intensive requirements In Applied Music.

All students are expected to study their

major instrument for four years and present a senior recital.

^Iso, they must study one minor Instrument for

tv/o years and in addition devote one y ear’s study to a second minor instrument* Since this is the first year that this program of Instrument Classes has been in effect, it was not possible to contact any graduates of the school who ore now in public school music positions. School "iS" A member of the National Association of Schools of Music, this is a School of Music in a State University. There are fifty members of the faculty.

Undergraduate

enrollment is 350, of which eighty ar© majoring in Instru­ mental Music Education and 110 in Vocal Music Education. Degrees offered are the Bachelor of Music in Applied Music or Composition; the Bachelor of Arts in Music; and the

Bachelor of Public School Music, with emphasis on either Vocal or instrumental Music* The Class ’ W ind Instrument Courses are called "Instrumental Techniques" and are described in the cata­ logue as follows: "Laboratory classes in the playing of band and orchestra instruments, with emphasis on class teaching procedures, tone production, bowing, fingering, care and minor repairs of instruments*" Th© courses are required for all Music Education students, Vocal and Instrumental*

The Vocal Music Education

students are required to take one semester each of Clarinet and Cornet*

Th© Instrumental Music Education students are

required to take two semesters each of Clarinet and Cornet (unless one of these is th© major instrument) and in addition, one semester each of Woodwind Techniques, which includes th© remainder of the Woodwind Instruments, and Brasa-Percussion Techniques*

These courses are offered in

th© second, third, and fourth years of the curriculum. Th© Instrumental Techniques courses meet daily five days par week for fifty-minute periods.

They are

rated as laboratory courses and no outside practice is required. course.

Two semester hours credit is given for each Twenty-on© hours of instructor time is devoted

to th© teaching of th© courses. ment is 115*

The average total enroll­

30

The Instrumants 3tudied in the courses are Clarinet, Flute, Oboe, Bassoon; Cornet, Horn, Trombone and Percussion#

As entire semester, or two semesters in

the case of Instrumental husio Education students,

is

devoted to th© study of the Clarinet, and the same to the Cornet#

Three Woodwind Instruments (Oboe, Bassoon, and

Flute) are studied in one semester In the Advanced Tech­ niques course, and two Brasses,

(Born and Trombone) and

also Percussion are taken up in one semester in the Advanced Brass-Percussion course*

The Clarinet and Cornet

Techniques classes are organized on a basis of Individual instruments, but large classes# Techniques)

The other (the Advanced

courses ore grouped on a heterogeneous basis#

This Is done expressly for the purpose of allowing the students to become acquainted with th© procedures of class instruction# Instruction is given on the care, upkeep, repair and selection of instruments# In regard to the playing skill expected of the students, the Cornet and Clarinet classes have rather high standards*

The instructors give written tests covering

playing principles, embouchure problems, fingerings, materials, as well as a playing test which includes sightreading and scales*

There is a jury examination at th© ©nd

of each semester# The Clarinet and Cornet Techniques classes use Individual Instruction books#

The following are used by

the Clarinet Techniques Class: First Semester

- modern Clarinet method* by Gower and V b'atliaan

Tone a, Day, by Herfurth Second Semester - Bupp1ernentary Btudes* by Andresen Complete hethod. Book 1, Lazarus (Complete Method* Book I I , Baerxnann The Cornet Techniques class uses no text during the first semester and the Clark Studies,, Book IX. in the second semester.

The Advanced Woodwind Techniques and the Ad­

vanced Brass-Percusaion courses use the following Class Methods: Loore and Daniel, Step by Step Smith-Yoder-da chinn, Ensemble Band Book Hindsley, Bend Class Method Skornicka and Bergelm, Boosey-IIawkes Bend Method The instruments are provided by the school with­ out rental fee, but are checked in end out of a supply room daily. The Instruments are insured. The following school-owned instruments are used

32

primarily in the Techniques coursesi

20 6 3 1 2

Clarinets Flutes uboes Bassoon Saxophones

16 Cornets 4 Horns 6 Trombones 3 Baritones 2 Tubas

The Advanced Techniques Courses, the Woodwinds and the Bress-Percussion are combined two days a week for ensemble playing. Three of the five alumni responded to the questionnaire.

All three felt that the Techniques courses

furnished them with a nearly adequate knowledge of the instruments, but all had much to learn after their teaching began.

The three were unanimous in stating that knowledge

of mat©rials and methods was just as important as playing the instruments and that this school had done a good job of combining the two.

Two of the responders felt that the

be*la nee between emphasis on major and minor instruments was proper.

The third felt that there was too much emphasis

on the major instrument. School

w r This is a School of husic in a State University.

It is a member of the Rational Association of Schools of luusic.

The undergraduate enrollment is 214.

twenty-seven full-time members of the faculty.

There are Degrees

offered are the Bachelor of L usic and the Bachelor of Husic

33

Education*

There are 200 music majors, of which thirty-

six are taking Instrumental liusic Education, sixty-four Vocal lusic Education, and eighty-eight Applied Kusic. There are three Class Wind Instrament courses; the "Brass instrument Class", the "'Woodwind Instrument Class", and the "Percussion instrument Class".

The cata­

logue does not give a description of the courses, but the objectives of the courses are: "to become familiar with the working principles of all wind and percussion instruments, and to be able to converse intelligently about them.” Each of the courses listed above covers one semester, and two of the three are required for the Pusie education degree.

Two semester hours credit is given for

each class, which meets three times each week for fiftyminute periods.

Three hours of instructor time per week

is devoted to each course.

Average enrollment i^ twelve

in each class. Clarinet, Flute, Oboe, Bassoon; Cornet, Horn, Trombone, Baritone, Tuba, and all Percussion are the instru­ ments offered for study in the courses.

However, each

student studies only one Woodwind instrument in th© Woodwind Class, three brass instruments in the Brass Class, and all Percussion instruments in the third class*

Instruction is

given in family groups of Woodwinds and Brass Instruments.

34

Th© courses include lectures, demonstrations, and ensemble playing*

Individual

A manual on th© care, upkeep, repair

and selection of instruments is used* The degree of playing skill expected to be developed involves the playing of six diatonic scales, th© chromatic scale and the completion of the Class Band method which is used* A Class lethod is used--the Skornicko-Bergeim. Boosey-Hawkes Band method*

This is supplemented by other

materials in the ensemble playing. The Instruments are owned by the school and furn­ ished without charge to members of the classes* The instruments are not insured. The following school-owned instruments are used in the classes: 10 3 1 2

Clarinets Flutes Obo© Bassoons

2 6 3 1 1

Cornets Horns Trombones Baritone Tuba

The instruments are of medium quality* &a©emble playing is done in the classes,

hach

student also writes an arrangement for the class and conducts it. Four of the five former students now in the public school music teaching field replied to the question*

35

nalre#

All felt that not enough instruments were covered

in th© courses; that only one of each family was not enough*

They also agreed that playing the instruments was

of first importance, and only after that was accomplished should time be devoted to materials*

Three believed, too,

that there was too much emphasis on the major instrument, not enough on minor instruments*

One said that there was

proper balance in the emphasis on major and miner instru­ ments. School nG” This is an example of a Departx&ent of Music within the College of Education of an endowed University. The undergraduate degree offered is the Bachelor of Science in Music Education*

The undergraduate enrollment is

approximately one hundred and the faculty numbers twentyfive.

Most of the Applied Music teaching is done by

approved studio teachers away from the campus.

The courses

considered here are offered to graduate as well as under­ graduate students.

Th© undergraduate enrollment at this

school is sfcall compared to the graduate enrollment, and most of the undergraduates ©re transfer students at the Junior and senior levels. Th© Class Wind Instrument courses are called here "Glass Instruction in Orchestra and Band Instruments” .

The description In the catalogue reads thus: "A practical course in learning to ploy the main instruments of the Band and Orchestra. Modern methods of class instruction are discussed, arid practiced. Specific problems pertinent to class instruction, pro­ cedures, materials, etc., arc studied. Performance'in ensemble.r? A series of four courses are offered, the first two of which are required for the Bachelor of Science degrei in Music Education.

All the classes meet four days a week

and a fifth day all the classes meet together for ensemble. Two quarter hours credit is given for each course.

The

first course includes the study of Violin and Percussion. Two days a week are devoted to the study of Violin a n days a week to Percussion.

two

The next course in th© series

is the Brass and Woodwind Course and consists mainly of the study of the Clarinet and Cornet.

Here again, two days a

week the class studies Clarinet and the other two days everyone studies th© Cornet.

These two courses are

offered every quarter. Offered only in the Pall quarter is © course in Advanced Strings and Percussion in which the remainder of th© string Instruments are studied. heterogeneous group.

This class meets as a

Offered only in th© Spring quarter is

th© Advanced Woodwind and Brass Class, which covers the remainder of th© wind instruments in a heterogeneous group.

37

Again* two quarter hours credit is given for each course*

The class meetings are fifty minutes in length and four hours of instructor time is devoted to the teaching of each class*

Only one section of each class is maintained regard­

less of

the size of the enrollment * The average enrollment

in each

class is fifty students* Clarinet, Flute, Oboe* Bassoon, Saxophone;

Cornet, Born, Alto Born, Hellophone, Trombone, Baritone, Tuba, and Percussion instruments are studied in

the courses.

The two

Percussion,

first year courses study the Violin and

and the Clarinet and Cornet,

The Advanced courses are

devoted to the study of the remaining Aoodwlnd Instruments and the Brass Instruments*

The first year courses are of

a homogeneous nature and the Advanced courses are hetero­ geneous*

The classes are large and handled by a single

instructor*

There is a separate course offered which

covers the purchase and selection of instruments, their care, upkeep, and repair* At the end of each quarter, the students are

expected to give a demonstration before the class on the instruments studied In the course,

‘ This Indicates the

degree of playing skill expected. No text books or method books are used*

Exer­

cises are composed by the class for the problems which

arise, and all playing and drill Is by rote*

On the fifth

day of the week, when all the groups are combined for on ensemble period, the Church and Dykema, Modern Band Train* ing Series is used The instruments are provided by the school for a rental charge'cl* $5*00 per quarter* .A blanket coverage insurance policy is held on the instruments which covers the m only in case of a total loss* The following is a list of the school-owned instruments available for use in the classes: 45 3 9 5 4

Clarinets Jflutes Oboes Bassoons Saxophones

26 5 4 5 16 4 6

Cornets Korns Alto Korns hellophones Trombones Baritones Tubas

Tne instruments are mostly of medium quality.

It is inter­

esting to note that this school includes the Alto Born and Mellophone in the content of the Brass Instrument Course* This is because it is felt that many of the future music teachers will have to teach these instruments because of necessity, not choice, and they should get acquainted with them, Tho students have an opportunity to conduct during the ensemble meetings once a week.

39

Four of th© five graduates of this school re­ sponded to th© questionnaire.

Two agreed that th© class

work was not sufficient to meet their needs in teaching; that th© emphasis should be equally divided between playing the instruments and studying materials and methods; and also that the balance of stress between major and minor instruments at this sohool leaned too heavily toward the major instrument and not enough time was allowed for study of the minor instruments.

Two persons were satisfied with

the preparation which they received on the minor instru­ ments.

They felt that playing th© Instruments and surveying

methods and materials wore of equal importance and that the balance between the emphasis on th© major instrument and the minor instruments was satisfactory. Sohool "H" This School of Music in an endowed University is a member of the National Association of Schools of Music. There are thirty-five members of the faculty.

Degrees

offered are the Bachelor of Music in Applied Music or School Musio; and the Bachelor of Arts in Music.

The

School Music curriculum is divided into two courses: the General Supervision, which has a Vocal emphasis, end the Instrumental Supervision.

Of the present 264 undergrad­

uate majors, ninety-two are in the Instrumental Supervision

40

course, fifty in General Supervision, and one hundred in Applied Music. There are two separate courses offered in Class Wind Instruments: one is the "Class Woodwind Instruments" and the other Is the "Class Brass Instruments".

The

catalogue describes the Woodwind course as follows: "The fundamentals of technique of woodwind instruments. General technical advancement comparable to one year of private study. Teaching problems." The Class Brass Instruments course bears the description: "Fundamentals of playing. Position, tonguing, and tone production. Scales, exercises, and vocalises. General technical advancement comparable to one year of private study. Teaching problems." The courses are designed primarily for the Instrumental Music Education majors, although there are a few General Supervision, Applied Music, and Composition students who take them. These courses each consist of two semesters and are required for the Instrumental Supervision majors, making a total of four semesters of Class Instrument study which are required.

Bach course Is given two semester

hours credit and meets twice a week for fifty-minute periods.

The enrollment of the classes Is limited to

twelve, and if more students wish to take It, another section is added.

One instructor handles the Woodwind

courses and another teaches the Brass courses, so there

41

are two hours of Instructor time per week devoted to each class and each section*

The average enrollment in all the

courses combined is forty# instruments studied in the courses are the Clarinet, Flute, Oboe, Bassoon, Saxophone; Cornet, Horn, and Trombone#

Since there are two semesters allotted for

study of each family of instruments there is an average of about seven weeks for each of the Woodwinds and twelve weeks for each of the Brass Instruments.

The Woodwind

Classes have been organized on a rather flexible and in­ dividual basis.

The students are allowed to pass the

definite requirements for each instrument whenever they think they are ready, and then to take up the next instru­ ment#

The requirements ere somewhat greater for the Clari-

. net, which is the first instrument studied, and more than seven weeks is sometimes necessary, but this is usually adjusted by the shorter time necessary to pass the Saxophone after having studied Clarinet.

If a student completes the

requirements of all five Woodwind Instruments before the two semesters are over, he then returns to one of the instruments and does further study upon it.

The require­

ments for Clarinet are the seven major scales, the chromatic scale to high JS, and the Haydn, Theme and Variations found on the last page of the Gower-Voxman, foodera Clarinet Hethod.

42

The same scales are required for all the other Woodwind instruments, and th© chromatic seal© to high D for Oboe, to high G for Flute, to high F for Saxophone, and to high A for Bassoon#

The Brass course required about the

same degree of playing skill plus transpositions# A written test has been given in the Woodwind course which covers fingerings, care, upkeep, selection of the instruments, and teaching problems#

Informat ion

on these subjects is given by lecture and by means of mimeographed material*

There is a separate course offered

in minor repairing of instruments# The Gowor and Voxmsn, Modern Clarinet fc'ethod is used as an instruction book for the Clarinets*

The remain­

der of the woodwind family used the Hindsley, Band Class method, end the Belwin Band Class hethod by Weber and Hovey. For the Brass Classes, individual instruction materials are used: the Arban, Complete liethod for Cornet* the Sansone, Method for Horn, end the kiueller, Trombone Hethod. Book X* The school provides the instruments except for Clarinet mouthpieces#

The students are required to provide

these themselves, which must be of a specified make and lay, and it is suggested that they keep them and make use of them later*

There is no rental fee for the instruments

used in the classes*

Th© instruments are insured, but only in the specified place where they are kept#

There is no coverage

when they are in the possession of the student# School-owned Instruments are as follows: 11 5 4 4 2

Clarinets Flutes Oboes Bassoons Saxophones

14 Cornets 4 Horns 4 Trombones

One or two of the Oboes and Bassoons usually have to be shared with students majoring on those instruments and who are playing them In Band and Orchestra.

The instruments

are all of good quality# Of the five alumni of this school to whom were sent questionnaires,

four responded.

One thought that the

training he had received on the minor instruments was sufficient for his teaching needs* feel that it was enough.

The other three did not

All four agreed that actual play­

ing of the instruments and developing as much playing skill as possible was most important, but that as much information on methods and teaching materials as possible should be given.

The four also agreed that too much emphasis was

placed upon study of the major Instrument and not enough time devoted to learning the minor instruments. Sohool "I" A School of music in an endowed University,

it

44

is a member of the National Association of Schools of liUsio*

There are seventy-seven members of the faculty.

Degrees offered are the Bachelor of Euslo in Applied kiusic, Composition, or History of hiusle; and the Bachelor of music Education*

The total enrollment is 818, of which

approximately 500 are undergraduates.

There are eighty-

four students majoring in music Education and seventythree in Applied musio. The Class Wind Instrument courses are listed in the catalogue as "Yvind and Brass Instruments” and are described as: "Practical instruction in methods of tone prod fiction, tuning, fingering, and the care of the instruments, methods of school room Instruction." The Vocal and instrumental music Education curricula are slightly different.

The Vocal music

Education students are required to take two quarters of the Wind and Brass Instruments courses, and the Instru­ mental music Education students must have four quarters. Three quarter hours credit is given for each course, which meets two times a week for fifty-minute periods.

Two hours of instructor time each week is allotted

for each course.

The average enrollments are fifty in the

first year course and thirty in the second year course. The instruments studied in the complete course

k r>

of four quarters are the Clarinet, Flute, Oboe, Saxophone, Bassoon; and Cornet, Horn, Trombone, Baritone, Tuba, and Snare Drum*

In the first year course, seven instruments

are required to be studied in the two quarters*

These are

reviewed and the remainder studied in the two quarters of the second year course* The class meets as a heterogeneous group during the first year*

During the second year the students receive

individual instruction on the instruments, but are checked and graded by the instructor of the Y/ind and Brass Instru­ ment courses.

In the first year course the class is large,

numbering fifty students, playing all instruments*

In the

second year course, the class is broken down into small classes of individual.instruments under specialist in­ structors. During the first year’s study on each of the seven insti’uments required, the student is expected to be able to play any exercise in the first year instruction book, play any scale, and on the Brass instruments, be able to transpose.

There is a double standard in so far as the

quality of these performances are ooncerned.

That is, the

Vocal majors are not expected to play with the finish that Is expected of the Instrumental majors.

In addition, each

student must pass a written fingering test on each

instrument which he studies.

The same process is repeated

during the second year, but on a higher level* Individual Instruction books are used in this first year, heterogeneous class, so that no ensemble play­ ing is possible, except to play scales and exercises by rot The following method books are used: Clarinet

- DeCaprio, hethod for Clarinet

Flute

- Bek, hethod for Flute

Oboe

- G-ekelar, Method for Cboe

Bassoon

- Bassoon hethod

Saxophone

- Hovey, Blementary Method

Cornet

- Pease, Universal Fundamental Pethod for Cornet

for Saxophone

Horn

- i'otta g-Hovey, method for Horn

Baritone and Trombone

- Cimera-Hovey, Method for Trombone or Baritone

Tuba

- Bndresen, Tuba Method

Drums

- Harr, Drum Method Instruments are provided by the school and there

is a rental fee of M2.00 per quarter. The Instruments are insured. The school owns a large number of instruments. The following list is that of the instruments being used in the Spring quarter, 1950. needed.

More are available if

10 7 3 2 2

Clarinets Flutes Oboes Bassoons Saxo p/hones

10 6 5 3

Cornets Horns Trombones Baritones 2 Tubas

The instruments are all of medium quality. An ensemble exists in the first year course, but since individual instruction books, not class instruc­ tion materials, are used, and since the students must change instruments about every three weeks, it is not possible to do much beneficial ensemble playing.

There

Is no student conducting done in this group. Information is given in the courses on the care upkeep, and selection of instruments.

There are also other

courses which deal specifically with these problems. Two of the i’ive alumni responded to the questionnaire*

Both felt that their training on the minor

instruments fell short of their teaching needs.

They ex­

pressed the belief that the minor instrument courses should confine themselves to offering the student the opportunity to learn to play the instruments as well as possible, and that other courses should survey and acquaint the student with methods and materials*

They also felt

that more time should be devoted to learning to play the minor instruments, and not so much time spent on the major instrument.

School "J" This is a Department of Music within the College of Education of a State University#

It is a member of the

national Association of Schools of Music#

Degrees offered

are the Bachelor of Apts and the Bachelor of Music, both in Music Education#

The total number of undergraduate

students in the department is 357 end the faculty numbers thirty-two.

There ere one hundred Instrumental Music

Education majors. The Class Wind Instrument Courses are entitled "Applied Music Methods and Materials" with separate sections for strings, winds, and piano.

The courses are described

in the catalogue as: "This is an exploratory course and is designed to give facility in performance of each instrument, together with the study of the methods of these instruments." Six quarters of study of the minor instruments are required for the degree: three quarters each of Strings, Woodwinds, or Brass Instrument a— the family of the major instrument being eliminated.

A Brass major {a cornet

player, for example) would study Strings for three quarters and Woodwinds for three quarters.

A String major would

study Brass and Woodwinds, and a 'Woodwind major would take Strings and Brass.

Th© ©lasses are set up us laboratory classes and require no outside preparation.

They meet four times a

week for fifty-minute periods and receive two quarter hours credit.

Twelve hours a week of instructor time is allotted

for the courses and the average enrollment is fifteen in ©a ch. class. The instruments studied in the class are the Olsrinet, Flute, Cboe, Bassoon, Saxophone; Cornet, Horn, Trombone, and Baritone. given in Percussion.

A separate one-quarter course is

It is elective but students are

strongly advised to take It. The Woodwind courses are arranged so that all students study Clarinet the first quarter.

The second

quarter is devoted to the study of the remaining four Woodwinds.

The third quarter consists of ensemble playing

on the Instrument selected by the student. The Brass courses devote the first quarter to a single instrument, selected by the student.

The second

quarter involves playing on the other three Instruments, and then in the third quarter the students study the Instru­ ment of their choice and do ensemble playing. Organisation of the classes is by families, except for the first quarter Woodwind course which Is a group of like instruments.

The classes ore kept full; that is, they

ere not broken Into sub-groups.

50

information is given on the core, upkeep, repair end selection of the instruments during the classes. Individual instruction books are used during the

first quarter of the Woodwind Course and the second quarter of the Brass Course#

They are us follows:

Clarinet - Gower and Voatman, Modern Clarinet Method Cornet

- nrban, Complete method for Cornet

During the other quarters of both courses. Class methods are used.

The following are included:

Taylor, ha sy steps

to the Bond; Y/eber-Hovey, Belwin Band Class frethod: SmithYoder-Baoilman, Ensemble Band Book: and Skcrnicka-Bergelm,

Boosey-Hav/kes Band method* The Instruments are furnished by the school and are given to the students without a rental charge* The instruments are insured. Following is a list of instruments which are available for use in the classes; 8 Clarinets

7 Cornets

4 1 4 4

7 Horns

Flutes Cboe Bassoons Bezophones

4 Trombones 3 Baritones

H e x t year the Cboe end Bassoon are to be dropped

from the content of the rToodwind Courses on the undergraduate level.

The administrators feOl that too few of

the Bachelor degree students go Into teaching jobs where

51

the schools own these instruments to make the study of them worth while.

They feel that the study of these instruments

will fit better into the graduate curriculum. The following Is an outline of the minor instru­ ment courses, a four, year plan including strings, which is to go into effect in the Fall of 1950: Quarters

1 Freshman

Sophomore

1 unior Senior

2

3

Brass Woodwind Exploratory Exploratory (wholesale) (wholesale) Cornet Clarinet Born Flute Trombone Saxophone Baritone Tuba

String Exploratory (wholesale)

Br a s s Yvoo dw ind Exploratory Exploratory (ifami ly) (Fa mi l y )

String ' w o ro 3 g

Oil p ® d d © o £3 *o a d d M p 01 © d d M o •H CJ M o «J •H t> 03 m d a o o u d © © fn © © «s5 d d nd o d o "H 5= *H o >» d d © o P *H d © © w d © © d ip t}0 a, o

d

0 •H C O 01

p © © Xl 01 *© o © © d3 rH s d •rl > •H 'd

5

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4

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4

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for thta plan to bo workable, there would have to be a staff of at least eight instructors devoting a total of sixteen hours per week to th© individual instruction classes#

There would hove to be a separate instructor

for each of the woodwind instruments, the horn, and percussion#

The remainder of the brass instruments

could be taught in a family grouping#

As the table shows,

this course is designed to occupy four semesters.

The

woodwind majors study woodwinds the first two semesters and brass the following semester*

This arrangement is

reversed for the brass majors, who would study brass th© first year and woodwinds the second year#

This sequence

could easily be broken if enough instruments were avail­ able so that the individual classes could be larger. Also, it need not be a closed, two year sequence#

A stu­

dent could join the course at the beginning of any semester* Bculpment and Materials Two items of equipment are essential in order to offer the course properly: instruments, and library#

Even

if the course is not essentially a methods and literature survey course, there should b© some connection between learning to play the instrument and learning the commonly used teaching material for that instrument.

Scores and

145

parts to as many of the class methods given in Table XXV as can be procured should be in the school library and read through during the ensemble meetings of the course* The student should leave the course with a first-hand knowledge of as many of these methods as possible, plus a knowledge of at least a four-year course of study for

IQ

each of the individual instruments,

From the analysis of this survey, and from con­ sidering the ideal and actual needs of courses of this type, the following ratio of instruments to be provided for use in the course is suggested; for each sixteen students in the woodwind section of the course, there should be provided six clarinets, four flutes, three oboes, three bassoons, and three saxophones. reduced to the following; 16:(6:4:3:3:3)#

This can be

The same ratio

can be used for the brasses: for each sixteen students there should be six cornets, four horns, three trombones, three baritones, and three tubas.

Percussion students can

furnish their own snare drum sticks and practice pads* These figures would b© the same if the class were a single one made up of both the woodwind and brass students: in which case the ratio would be 32:(6:4:3:3:3)2 .

This is

the reasoning followed in reaching these figures: the 19 * Appehdix W

146

Table XXV Band Class Methods Barnhouae, The Educator Book: I and II. Barnhouse Ohenette, Building, the B an d , Eubank Church & Dykema, Modern Band Training; aeries* Bart I & II, Birchard ~ Dayton, Band Builder* Fred Jewell Dippolito, JL* J*, Modern way Method* Volkwein Evand & Leak, Events Tralnarr Hubank Fulton, The Fillmore Beginners; Band Book. Fillmore Goldman & JLeidzen, The Goldman Band System* Book X & IX* Fischer Griffen, Foundation to Band Flaying* Jenkins Griffan, Grlffenfs Improved Course of Band Flaying* Jenkins Hlndsley, The Mark Hindaley Band Method* Fox Jones, The Builder of Bands and orchestras* Jenkins Keenan and Schlager, Bowing and Blowing* Jenkins Inke, l a k e E l e m e n t a r y Band Method* Fischer lookhart and Goehrlng, The 4&&khaxt BnMzCIaafl, Method* Book X & XI* Witmark Maddy & Giddings, The Universal Teacher* Willis Maneini & Bartlett, Band Training* Keller Metcalf, Folk Tune Band Book* Fillmore Metcalf, Short Cut Band Method* Fillmore Moehlmann, Eubank Group Method* Book I, & II* Hubank

U7

Table XIV (Continued) Moore & Daniels, 3tep by Step. Eubank Revelli, Eebxaan, Kighter & Holmes, World of Music Band Course* Ginn Skornioka & Bergeim, Booaey & Hawkes

Hawke a Band Method* Boosey

Smith. Yoder. & Bachman. The Smith. Yoder. Bachman Ensemble Band Method. KJoa Storer, The New Way Method for Band and Orchestra Ensemble Training, Jenkins Taylor, Easy Steps to the Band. Mills Kustodowieh & Ban Deauaen, Eubank Elementary hand Course. Hubank Victor Method of Class Instruction.

Victor

Webber, Band fundamentals. Jenkins Webber, Modern Approach to Scale Flaying & fluency. Jenkins Weber~Hovey, Belwin Elementary Band Method. Belwin Weber, Belwin Intermediate Band Method. Belwin Wheeler, Jenklns* B e g i n n e r ^ Band Book and Instructor, Jenkins Yaus & Miller, 150 Original Exercises in Unison for Band or Orchestra. Belwin Whistler & Hummel, first Steps in Band Flaying. Eubank Whistler & Hummel, E^aontlfiia & £ Band Flaying. Eubank Whistler & Hummel, Paying the Way. Hubank

143

greater number of clarinets end cornets are for those stu­ dents who have never before played an instrument of that family,

Allowing for five changes of instrument assign-

ments during the two semester duration of the course, the oboes, bassoons, and saxophones would be used by fifteen of the sixteen students in the woodwind section, or the brass section of the course.

This one left over, It is

safe to consider, will play one of these instruments as his major, so will not have to study it.

The flute and

horn will likewise have to be studied longer by some students than others, so an extra instrument in that sec­ tion will allow it to be used for a longer time.

If the

number of students enrolled in the class should be larger or smaller than this hypothetical thirty-two total, this same ratio should be used in Sections or multiples. The instruments should be of the best quality that the school can provide.

It is difficult enough for

a student to try to learn any amount of technique on an instrument in the short time allowed in the class wind instrument courses without the handicap of a poor quality instrument*

The instruments should, for the same reason,

be kept in good playing condition.

There should be an

allowance in the school budget for keeping the instruments in good condition.

Also an allowance for eventual re­

149

placement would be a wise one*

If five per cent of the

total value of the instrument a were set aside over a twenty-year period for total replacement, the problem would be solved* With the amount of money which must be invested to provide the instruments necessary for this course, the item of insurance coverage should be considered.

Many of

the state supported schools have a policy of not insuring their property or equipment*

In schools where this is the

caBe, it is possible to do what one school is doing, i.e., charge the students a rental fee sufficient to pay the premium for insurance on the instruments*

This sum would

not be large and would protect the school as well as the student who is using th© instrument* Instrument rental fees should be kept as low as possible.

A musical education is quite expensive, and it

seems hardly just to penalize the student for what it is the obligation of the school to give him.

Two state uni­

versities which are included in this survey, have remedied this problem.

One, by means of an Increased budget, makes

it possible to keep tuition and fees for music majors the same as for any other college in the university.

The

other school has worked out an all-inclusive tuition which covers all fees and extra charges*

150

Some schools are allowed to keep the revenue from Instrument rentals and use it to cover the coat of keeping the Instruments in condition,

This is rather

difficult to administer and not too desirable*

The cost

to the student for the use of the instruments should be kept as low as possible* Summary The survey shows that the following conclusions can be made regarding Claes Wind instrument courses; 1* The course should b© offered early in the four-year teacher-training curriculum (preferably the sophomore and junior years)

so that the skills gained can be

put to use in ensemble playing, and so that the study of these minor instruments will cause less interference with the student's study of the major instrument* 2. The course should be set up as a regular class in regard to the credit offered*

There should be one

semester hour given for each class meeting.

Most

common is a class meeting twice a week for technical instruction, and drawing two hours credit.

Highly

advisable is one ensemble meeting per week, for no additional credit, which affords opportunity for the students to get conducting practice end also become acquainted with Class methods of teaching end ensemble

151

literature*

OutaIda praotie© should be required for

the technical study of the instruments* 3* The size of the technique classes should be kept small (a maximum of six students per hour of instructor time) and enough instructors should be available so that the classes can be organized on a basis of individual instruments.

This instruction in classes of like instru­

ments is more important in the study of the woodwinds than in the brass instruments, which classes can be organized in family groupings. 4 . A minimum of four semesters, or six quarters, should be devoted to the study of the instruments. 5* The instruments to be studied in th© course should b© the clarinet, saxophone, bassoon, oboe, flute; and the cornet, baritone, trombone, tuba, and horn, in this sequence if possible. 6 . There should be twelve weeks devoted to the study of the clarinet and the same for the cornet*

Six weeks

should be allotted to the study of each of the other instruments.

This will vary according to the student’s

major instrument and should be somewhat flexible depend­ ing upon the ability and needs of'the individual student. 7 . The oourse should give the student sufficient instruction in the care, upkeep, adjustments, minor repairs and

1$2

criteria for selecting instruments*

He should be

able to handle each instrument with confidence* 8 * There must be a sufficient supply of instruments available for use in the course*

The proper ratio of

instruments for the size of the classes must be pre­ served in order for the students to have the proper opportunity to study them*

The sharing of instruments

should be kept at a minimum*

The instruments should

be of the best possible quality

:nd kept in good

playable condition* 9; There should be a sufficient library of class methods and ensemble materials so that the student can become acquainted with the commonly used materials and criteria for evaluating them*

The student should be

encouraged to begin the acquisition of a library of his own which will include not only scores of class methods, but individual instructional material for the instruments. 1 0 . The rental fee for use of the instruments used in the course should be kept as low as possible, so that the expense involved in studying the course will be kept at a minimum. 11. Above all, the instructors must know not only the instruments which they are teaching, but must have an

153

understanding of the problems which the future public school instrumental music teacher will face and endeavor to prepare him for them*

154 appendix

materials tjsed

in

a

SEGUEING the data

1. Preliminary letter to heads of Departments and schools* Dear Dr* --— - j For my doctoral dissertation at the University of Iowa I am making ”A Survey and Evaluation of the Class Wind Instrument Teaching in Some Representative Teacher Training Institutions«M I have chosen your School as one of the twenty from which I would like to have Information* I am writing to ask your permission to vist your campus and observe these classes in action, and to use the information In my thesis* The phase of the work in which I am interested Is the "minor* instrument training given to prospective public sohool music teachers* I hope to evolve a common set of aims and objectives for suoh courses, compare meth­ ods and materials used in teaching the courses, and to determine the per-pupll cost of the Instruction and equip­ ment * I sincerely hope that I may have your co-operation in this study* I assure you that I will not take much of your time with needless questionnaires* Right now, I would like to know the name or names of the instructors in charge of these courses in your institution and also the days and hours of the week in which the courses will meet during the months of April and May, at which time I hope to make my visit* As a follow-up procedure I want to contact, per­ sonally if possible, from three to five of your recent graduates now act ive in the field Of public school music, who have received their minor instrument training in your Wind Instrument Classes* I will get this information during my visit* I hope I have given you an idea of what I want to do and what information I will need* Return of the en­ closed form will indicate that T have your approval and will give me the data needed to plan my itinerary* Sincerely yours, T. C. Collins

155 2* Questionnaire used in Visitations questionnaire

Doctoral Dissertation A SURVEY AND EVALUATION OF THE CLASS WIND .INSTRUMENT PROGRAMS IN SOME REPRESENTATIVE MUSIC TEACHER TRAINING INSTITUTIONS BY Thomas C * Collins

Name of Institution

Location

School, Department, or Conservatory of Music (Indicate which)

Total enrollment of Department

M embers of Faculty

Name of Dean, Head, or Chairman of Department Undergraduate degrees offered Present number of undergraduate music majors (all decrees)

Present number of undergraduate instrumental music education ma -Tors Present number of applied music majors Present number of music majors in any other field Title of Class Wind Instrument Course

156 Catalogue description of course

Objectives of course Is course required for degree or elective Number of semesters required How distributed Credit offered _

Number of class meetings per week

Length of class meetings Amount of instructor time per week Number of students enrolled in course at present time Average number of students enrolled in course Instruments studied in course Instruments studied in one semester

■

Method of o r g a n i z a t i o n of classes (wholesale, families, or individual) ,

. .

.

.....

Method of Instruction (Individual, small or large classes, lectures, demonstrations) What instruction Is given on care, upkeep, repair and selec tlon of instruments Degree of playing skill expected to be developed on each instrument

.„r........rr.... .......... .

Instructional material and method books used

How are instruments provided,

..

,.

157 Is there a rental fee, laboratory fee, deposit, or extra tuition oharge for th© course or for the use of the instru­ ments Are the instruments insured List the number of school-owned instruments used in the course*

Indicate the quality of the instruments by the

roman numerals I, II, and III, meaning first, seoond, or third line price classes.

Does the course offer any opportunity for ensemble playing and conducting Names and addresses of five recent graduates now teaching instrumental music in the public schools;

3. Letter and Questionnaire sent to the five graduates of each school Dear sir; AS a ph. D. dissertation I am makiner a survey of the Glass Wind Instrument Courses In Teacher Training Insti­ tutions. I have already Investigated the courses as set-up In the college which you attended and as a follow-up pro­ cedure I would like to have some Information from you re­ garding the training which you received. Your name was given to me by the head of the Music Education department of your college as having completed the wind Instrument courses now offered at that school, and as now teaching in the public schools.

156 * would greatly appreciate your answers to the following questions and your returning this form to me as soon as 1© convenient* I hope that you will feel free to offer criticism and constructive comments* We are all interested in thi© vital phase of the instrumental music teacher's training and are hoping to improve it, not Just criticise what some school© are doing# I will not us© your name or the name of your alma mater in my dissertation, but X would appreciate your signature so that I can keep my records straight as to the replies which I receive* Sincerely, T* C* Collin©

College attended Year degree was conferred

D egree received. M aior Instrument^

What Instruments did you study in classes

Wae the study of the minor instruments which you received in class course sufficient to meet the needs of public school teaching

Do you think the emphasis should be placed upon learning to play the instruments yourself, or upon methods, materials, and teaching problems Would you ©ay that the emphasis placed upon study of the major instrument at the school which you attended is in balance with the attention given to study of minor instru­ ments................................

-........ • .....

159 Us© th© other side of this page for any comments or suggestions you might have regarding the class wind instrument courses which you took in college and any changes you mls'ht suggest for their improvement* S ignatu r© Present Position

...... .

160

APPENDIX B Written Examinations Given In Glass wind tnstrument Courses 1. A written examination given In a brass class*

This course

consists of three quarters of study and this test Is given at the end of the third quarter* 1*

Fingering

Tone

Legato

Range

Placement

Intonation

Teohnique

Attack

Of these problems common to all Braes Instruments, which are th© most liable to be th© major problem o n i

2#

a*

Comet

(1)

b#

Horn

(2)

o*

Trombone (1)

d.

Tuba

(1)

The tone quality and Intonation of a braes instrument are greatly affected by the mouthpiece*

In choosing

one,

3*

a*

Give some deslreable specifications,

b*

Ctive some undesireabl© specifications*

List in fingering groups those brasses: a*

Related by reading

or sight,

b*

Related by sound (two

grouns).

4*

If you had some students having difficulty in developing high range, what devices (teaching procedures) would you use?

5«

What are the factors determining good character­ istic quality of tone on the french horn?

6*

When should “legato" be taught on the trombone?

7*

What are the steps (in order) for teaching “legato" on the trombone? 2•

A Series of Three Examinations given at different times in a Class Clarinet course which comprises three quarters &« 1.

Describe the correct points for formation of the embouchure.

2*

what is the interval overtone of the Clarinet?

Pow,

then, would you finger chromatically the F sharp, the fifth line of the staff? 3.

Give the chromatic and regular fingerings for F sharp first space In the staff?

4.

What sort of reed should be chosen for a beginning student?

5*

What is a ligature, and how should it be adjusted?

162 6*

What do th® two figures in a time signature signify?

7*

Give th© fingering for B flat on the third line of the staff*

8#

What

is th© first rule of a performing musician before

he starts to play a song or exercise? 9*

What are the throat tones?

What is their tendency as

far as tone and intonation are concerned? 10* What

are some of the causes of a thin, reedy, tone?

11* What reason© can you give for requiring a space, or

a

"lift" between tones? 12* Give th© fingerings for B above the staff, G second line in th© staff, and G below the staff* b. 1*

Describe a few of th© principle elements for a correct tongoing technique*

2*

Give correct fingering for middle G to B flat (first line);

3,

third ©pace C to E flat (fourth space),

Give the chromatic fingering for F ©harp, first space and fifth line*

When are these fingerings employed?

4*

Give three different regular F sharp fingerings*

5,

Give three fingerings for high B flat and tell when they are employed*

6*

Complete th© following sentence: n o t e ________________________

"The shorter the •"

Give several reasons for putting a space between each note* What might b© the causes for a thin* reedy tone? How did w© agree to number the Keys using the little fingers on the right and left side of the clarinet? What particular thing would you watch In regard to the throat of a beginning student? ■Phat technique can w© employ for Improving intonation of throat tones and facilitate register change? o• (a) Give the five chromatic fingerings which are different from the regular ones in scales from low E to high E. (b) Give regular fingerings for the same notes* What are the main rhythmic difficulties In presenta­ tion of eix-elght time? Define a "triplet” « Describe the funatlons of a "dot". Give the three different fingerings for high B flat and how they are used* G-lve fingerings which are different from the regular ones 5 Third space C to fourth space E flat, Middle Q to first line £ flat, B flat below staff to first line E flat, A flat below staff to B flat above staff*

164 7*

Marne some method booV:s to follow a first year elemen­ tary method*

8*

Give the proper method of presentation of

*Alla Breve*

time * 9*

Give the proper method of presentation of © dotted eighth note followed by a sixteenth note*

10* Clive th© fingering© for all notes above high 0* 3. An Examination Given at the Conclusion of a Class Cornet Course 1*

Give the ohromatio fingerings from the lowest note to high 0 , with alternate fingerings.

2*

Describe the breathing process.

3*

Define the word "embouchure"«

4.

Describe in general the effeot on tone* attack, etc., of a shallow ©nd a deep cup mouthpiece*

5*

What happens to the lip muscles in the high register? Xn the low register?

6*

Tell what you know about the care of the comet*

How

to clean, break a "frozen” slide, etc* 7*

Describe the prooess involved In making a staccato articulation*

A legato articulation*

move for a change of register? lips?

Does th© tongue

Does it go between th©

165 8*

Give the names of: a* to* o* d* e*

9*

Representative cornet methods for ayoung beginner* Representative oornet methods for an older beginner; Supplementary studies for cornet; Solo collections for cornet* Conservatory methods for cornet*

List th© pre-requisites of a good Instruction book for young students*

10* Give the fundamentals of brass technique*

166

appendix

o

Degree Plans and Instrumental Music Education Curricula 1* Degree Plan Bachelor of Music In Music Education Instrumental University of --— — — To be Completed 1 '" ’1 Completed ' — ....134 hr e# No* Hra* Basis m & m U m 2 Introduction to Teaching Elementary Eduo* Psych* 3 Adv* Educ# Psychology 3 Principles of Instr* in 3 High Schools Secondary Eduo* & Ouid* 3 2 Methods In Elem# Schools 2 Teaching of High Sch* Music 2 Survey of Mua* Educ* Idt# Supervised Teaching: Grades 3 Supervised Teaching * ^ total .............. Hlgh...SChQOl.. _ v.r_.. ... Required APPUtifl A a l f t Applied Concentration 1-2-3-4-5-6-7-8 16 1-2 4 Plano Proficiency Exam Violin Techniques ) 4 4 Clarinet Techniques) Omit one 4 Cornet Techniques ) Cello & uass Tech* 2 Woodwind Technique 2 Brass & Percussion 2 Fund# of Singing 1 Voice 2 37 total •

12 8 8 4 2 2 24 total

i2§rfr4rf_6_7-8 Theory Theory Theory Theory Elem# Orchestration Elem* Conducting

167 Degree Plan (Continued) To b© Completed T^T'hrs* No * hrs* Etisla M&sirates! 6 Introduction to Music History of Music ... ..Music Hours J W l . Adf.fi 4 English 3 Literature 3 Social Sciences 3 Physical or Biological Sciences 8 Electives Pi total 2 Uiifiiakl M u o a U ^

134

Completed

Grand Total of Hours

Bachelor of Music Education, Instrumental Emphasis A student for this decree with Piano as his con­ centration should plan to take at least one extra summer session to complete the requirements: 4 semesters of orch­ estral instruments (8 hrs.) in addition to the 8 semesters of Piano* prerequisite to entering this curriculum is proficiency on the second instrument sufficient to play in in a performing organization* FIRST YEAR Hours Hours 4 Theory 4 Theory Intro* to History & Intro* to History & Lit. of Music 3 Lit* of Music 3 2 English (Elem. Comp.) English (Elem. Comp, )2 2 Piano 2 Piano Concentration Instrument 2 Concentration Tnstru -2 ment 1 Physical Educ* 1 Physical Educ* 1*VEnsemble Ensemble l?r 2 Intro, to Teaching Ed. 1 ^und. of Singing I S f ..

117-i

168 Degree Plan (Continued) second

Hour© Theory 4 &lem» Educ* Psych* or Intro* Psychology 3 Concentration Instr* 2 Instr* Technique© 2 Voice 2 ♦Electives(Liberal Arts) 2 Ensemble 1|

year

Theory Adv# Educ* Feyoh. Concentration Iner* Conducting Inetr* Technique© ♦Electives (L* A*) Ensemble

Hours 4 3 2 a 2 2

-ts

THIRD YEAR Theory Concentration Instr* Instr. Technique© History of Music Electives (L* A#) Ensemble

4 a 4 3 a

2

Concentration Instr. Instr. Techniques History of Music ♦Elective© (L. A.) Ensemble Method© in Mu©* Educ* in Elem* Schools

4 3 4 lh 2 w

FOURTH YEAR Teaching of High School Music 2 Principles of Instruc­ tion in High schools 3 Secondary Educ. & Quid*3 •blem* Orchestration 2 Ensemble 3/A Supervised Teaching of Elem* Music 3 Supervised Teaching of Hltfh Sob* Tueic „3. 16375 ♦

Survey of Fus. EducLiterature 2 Major Instr* (£r. Recital) 4 Instr* Techniques 2 ♦Electives (L* A.) 7 Ensemble

Liberal Arts Electives must include Literature (3)» Social Studies (3), Physical or Biological Science (3)*

169 2. A Cheok-llst Used by On© University School of Music AREAS OF STUDY FOR THE B M

E - INSTRUMENT OU.RRIOULUM

Where is the student being given sential tools?

a

chance to acquire es­

What University course, if any, should be

expected to prepare him to do each of the tasks listed? 12. 3» 4* 5* 6* 7-

Violin Technics? 8* Clarinet Technics? 9* Cornet Technics? 10* Cello & Bass Technics?11. Woodwind Technics? Brass Technics? 12* Proposed Methods 13* sessions of combined 14. 2nd semester technic® claeses?

Later V G courses? Conducting class? Orchestration class? University Band or Orchestra? High School Music Methods? Elem. Music Method b ? Survey of School Music Materials?

1* Plan a recruiting program in a school for beginning classes. 2* Develop an interest in strings* 3* Utilize

pupils (rhythm band and/or song-flute) experience

in recruitment * 4. Test students for aptitude* 3* Test students for physical limitations for particular instruments• 6 . Guide parents in rental or purchase of instrument®. 7. Determine best organization of beginning classes within limits of time and personnel available. 8 . Work out schedule of teacher time to provide instruction at levels needed.

170 Oheok-llat (Continued) 9* Suggest to principals how schedule may be fitted to school program# 1 0 * Set up and operate a rotating (or staggered) schedule If necessary# 11* Improve the Instrumentation of groups (through 1 , 2 # and 6 above) (long range planning) (through logical transfers from one instrument to another)* 12* Order music intelligently for band and orchestra# 1 3 * SubetltutuIon of parte* 14* Transpose music written for one instrument for another* 15* Devise effective rehearsal and/or concert settings# 16# Make recommendations for Improvement of rehearsal room and departmental quarters* 1 7 * Flan a system for handling school owned instruments (records of issuance, rentals* instruction in care)* 18* Make recommendations for purchase of Instruments by the school* 19* Establish proper storage and housekeeping for all the instrument b * 20# Select and purchase uniforms* 21* Provide for storage* issuance, adjustment, and care of uniforms* 22# Instruct student librarians in their duties#

171 Chech-llet (Continued) 23*

24*

Select materials Intelligently: for individual study for class instruction for beginning bands, Intermediate bands, and advanoed bands for orchestras of various performing levels for solo competition for ensembles (small)* Hequesting notices of new publications from r^ublisbers•

25*

Establish a system of band and orchestra personnel records*

26*

Devise an award system*

27•

Securing outside financial aid for instrumental organizations•

28*

Use rehearsal time efficiently.

29*

30*

Use a variety of class technics to Insure: motivation individual progress individual recitation allowance for individual differences. Use singing apnroaoh to Improve performance*

31.

Try-outs and challenges*

32*

Plan a course of study for Instrumental classes or individual players*

33.

Use section rehearsals to advantage*

34.

Tune the band or orchestra*

35*

Improve the general intonation of a group.

36.

Insist on correct postures.

37.

Selection of a woodwind Instrument (some familiarity with brands).

172 Checklist

(Continued)

3 ^#

Instruct in th© oar© of woodwind instruments*

39*

Selection and oar© of a woodwind mouthpiece#

40*

Select, adjust and oar© for reeds (trimming, scraping, adjusting wires)*

41*

Demonstrate and teaoh flute embouchure#

42*

Indicate proper flute fingerings#

43#

Distinguish between Military, Conservatory, and Plateau system oboes#

44*

Demonstrate and describe the oboe embouchure#

45*

Knowledge of basic oboe fingerings.

46*

Distinguish between Albert and Boehm system clarinets#

47#

Demonstrate and describe clarinet embouchure#

48#

Knowledge of fingerings including common alternate fingerings for clarinet*

49#

Diagnose faulty tone quality.

50*

Distinguish between Military, French (Conservatory), and Heckel system bassoons#

51#

Demonstrate and describe bassoon embouchure*

52.

Knowledge of common bassoon fingerings and ability to read a fingering chart for the others.

53*

Saxophone embouchure.

54#

Saxophone fingering#

55.

Discover the cause of faulty woodwind intonation#

Check-llst (Continued) 56*

57*

Make minor repairs on woodwinds* replace pads reconnect springs reoork Joints replace springe discover leaks adjust articulated keys Instruct in oare of woodwind instruments*

58*

Demonstrate and describe correct brass embouchure#

59*

Posture and hand position for brass players#

60#

Diagnose faulty attack, tone and release in brasses#

61#

Finger any brass instrument (including knowledge of slide positions)#

62#

Explain breath support and control#

63 *

Test a used instrument for playing condition (brass or woodwind)•

64*

Select a suitable brass mouthpiece*

65 *

In dbruct pupils in proper lubrication of slide,valves, and tuning slides*

66#

67 * 68*

Make minor repairs to brasses* remove stuck mouthpiece thaw "frozen” slide correct ©ticking valves find leaks# Use alternate brass fingerlngB to improve intonation# Instruct students to play Eb parts on an F horn,

or on

the double horn In F and Eb.

69 *

Instruct students in the correct use of the right hand in the french horn bell#

70*

Distinguish a mellophone from a french horn and deter­ mine key In which it Is pitched*

71.

Distinguish between Eb and BBb tubas and know fingerings for each#

Check-11at (Continued)

*

72*

Production of legato on trombone*

73*

Care of brasBes*

74*

75*

Violin bowing® - how they are done and when to uee thems detaohe ©plocato staccato lour©, etc. First position fingerings for all strings•

76*

Shifting positions - how and when*

77*

Teaching vibrato for strings*

78* 79*

Violin position demonstrated and explained* (both right and left hands) Cello position - right and left*

80*

Bass bow holds - French and German*

81*

selection of string Instruments for purchase*

82*

Putting on new strings*

83*

Correction of sticking or slipping pegs*

84*

Ordinary care of strings*

85* Minor repairs 1 86.

fasten a chin rest fit new bridge replace broken tail gut set sound post* Drum rudiments - demonstrate, show when to uee each, apply in making the sticking of easy band music*

87*

Care of percussion equipment.

88 .

Tuning snare and bass drums.

89*

Basic technics for cymbals, bells, marimba, tambour­ ine, etc*

90*

Fundamentals of marching*

91.

inspection for marching bands*

92*

Instrumentation for marching bands*

ITS Cheok-llst (Continued) 93*

Charting a special maneuver for marching bands#

94*

Planning music and maneuvers for marching spectacle*

95*

Teach drum major baslo signals*

96*

Instruct twlrlers*

97#

Justify the instrumental program on educational grounds#

98*

State one's own philosophy regarding the place of the Instrumental program In the public school scheme.

99. 100.

Co-operate with the school administration# Understand the function, the advantages and disad­ vantages of parents booster clubs.

101.

Maintain proper ethical relatione toward local deal­ ers, private teachers, and professional.musicians*

102.

103*

Plan concertss program building publicity ° ticket sale physical arrangements* Decide whether or not to enter competition-festivals#

104*

Make proper entries in and effective preparations for oompetitlon-festivals *

105*

Promote and schedule summer classes#

106*

Us© recording equipment effectively*

107*

Special methods for the student's own major instrument and major areas.

176 APPENDIX D Courses of Study and Recommended Lints of Materials 1. Author

Ouly, 1950

STATE UNIVERSITY OF ---Department of Muele

Gouree Numbers

fflMOTp aaBSBs m m m . E M WOODWIND INSTRUMENTS g W 3 t Literature 1* Elementary Method

Petersen

Rubahk

2* Intermediate Method

Rubank

3* Advanced Method

Petersen and Shorn!oka Voxraan & Gower

4m 23 Pieces Recreative®

Gagnebin

Rubank

Leduc (Andraud) Concurrently with the above four units the use of the Wagner, Foundation £o Flute Rlaxla£