Evaluation of materials for advanced elementary school orchestras

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EVALUATION OF MATERIALS FOR ADVANCED ELEMENTARY SCHOOL ORCHESTRAS

A Thesis Presented to the Faculty of the School of Education The University of Southern California

In Partial Fulfillment of the Requirements for the Degree Master of Science in Education

by R. H. Parrett August

1950

UMI Number: EP56194

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T h is thesis, w r it t e n u n d e r the d ir e c t io n o f the C h a ir m a n o f the c a n d id a te ’s G u id a n c e C o m m itte e a n d a p p r o v e d by a l l m em bers o f the C o m m itte e , has been pre se n te d to a n d accep ted by the F a c u lt y o f the S c h o o l o f E d u c a t io n o f the U n iv e r s it y o f S o u th e rn C a l i f o r n i a in p a r t i a l f u l f i l l m e n t o f the re q u ire m e n ts f o r the degree o f M a s t e r o f Science in E d u c a tio n .

Date.

Dean Guidance Committee

Chairman

TABLE OF CONTENTS CHAPTER I.

PACE

THE PROBLEM AND DEFINITIONS OF TERMS

USED

. . . .

The p r o b l e m .............................. Definitions of Terms Used

1

2

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

7

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

9

Limitations of The Study

Organization of Remainder of theThesis

. . . .

II.

REVIEW OF RELATED L I T E R A T U R E ................. 13

III.

METHODS OF P R O C E D U R E .......................... 17

11

H oy/ Criteria were E s t a b l i s h e d ............ IB Criteria S e l e c t e d .............. ...............

19

How Methods of Procedure Differ from Those Used in Related S t u d i e s ............ ; . . . . S u m m a r y ..................................... ... IV.

21 23

AN EVALUATION OF ORCHESTRAL MATERIALS FOR ELEMENTARY S C H O O L S ................... ........... 23 Ability Orchestra Folio

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

Achievement Orchestra Folio

25

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

28

Activity Orchestra Folio .......................

33

Advancement Orchestra Folio

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

37

All Popular Orchestra Folio

..........

. . . .

41

. . . .

45

All Service Folio for Orchestra or Band Aschers Favorite Melodies Album Attainment Orchestra Folio

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

48

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

52

iii CHAPTER

PAGE Choice Melodies from the Master Composers.

...

55

Concert Miniatures for Orchestra ...............

59

Concert Time for O r c h e s t r a ........................ 62 Easiest Orchestra Collection ...................

67

Exhibition Orchestra Folio

71

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

Fox Musical Moments for Orchestra Vol. 1 . . . .

74

Fox Young A m e r i c a ................................ 79 Jenkins Junior Orchestra B o o k ................. 8 3 Our Own Orchestra F o l i o .......................... 88 Sympho.nette Orchestra Folio Vol. 1 ............... 92 V.

SUMMARY, CONCLUSIONS AND RECOMMENDATIONS ........... 97 Summary of F i n d i n g s .............................. 98 R e c o m m e n d a t i o n s ................................. 102

BIBLIOGRAPHY

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

104

A P P E N D I X .................................................. 109

CHAPTER I THE PROBLEM AND DEFINITIONS OF TERMS USED Each year the instrumental music departments of the elementary school districts are faced with the question of obtaining newer and more suitable materials for the orchestra*

Many districts lie in areas not readily

accessible to the large metropolis where the large music distributors are to be found.

Most local music dealers, in

other than the larger of the metropolitan areas, have found that it is unprofitable to keep in stock complete sets of all available orchestral collections on the chance that some of them will be adopted by the school. vicious circle.

Thus, there is a

The school will buy only after it has

seen and evaluated the materials, and the dealer will stock only materials that the school adopts for use.

As

a result the teacher in the outlying district often can see and evaluate at his local music dealer only such materials that have been used at some time in the past. To evaluate orchestral collections for elementary school instrumental groups then takes more time and more trips to the large cities than the heavy schedules of most instrumental instructors and supervisors will allow. Often school budgets are set up so that materials for the coming year must be ordered in the spring when most

2

instructors are too busy with concerts and programs to allow enough time for this all important task of evaluating and selecting materials, I.

THE PROBLEM

Statement of the problem.

It was the purpose of the

present investigation to make a comparative survey and to evaluate the orchestral materials available for elementary school orchestras grades one to six.

The California State

Course of Study has made no recommendations as to which materials may be used.

Many collections of orchestral

pieces have been published, but these may not be readily available for inspection by all elementary school orchestra teachers or supervisors.

It was the intent of this in­

vestigation to evaluate current publications of elementary school orchestral music according to selected criteria (1) to aid instrumental music supervisors in selecting suitable materials;

(2) to improve the performance of the

school orchestra through the avenue of better materials; (3) to bring more enjoyment to.the child and a greater appreciation of music through participation in a better musical group and through the playing of suitable music; (4) to effect an economy of the school budget by reducing the probability of error in selecting materials. A further and more specific purpose of this study was

(1) to analyze by means of certain criteria all available elementary school orchestral collections;

(2) to compare

by discussion these collections in the light of certain criteria to be established;

(3) to determine by this

comparison certain basic trends and needs in elementary school orchestral music;

(4) to segregate such material

that through lack of foresight of the arranger is not adaptable to changing conditions. Importance of the study.

Music education has pro­

bably been the last of various important phases of educa­ tion to respond to modern concepts of education.

These

changes can be best expressed by the slogan of the Music Educators National Conference in 1933 entitled ”Music for Every Child— Every Child for Music.”

Karl W. Gehrkens ex­

pressed an awareness of change when he stated: I am impelled to express the opinion once more that in the course of a very few years, grade school music will consist of some combination of singing, playing, listening and creating instead of just singing. . . Almost every child that has seen instruments wants to play one of them.

Instrumental is the apex of the auditory experience therefor the music educator must plan to include some of it in the grade schools. And these plans are not to be limited to the talented few:.i

^ Karl W. Gehrkens, ”A Page or Two of Opinion,” Educational Music Magazine. 27:8-9, January-February,.1948

4 Music teaching is not new to the curriculum.

The

first record of music as a subject dates back to 1837 in Boston, Massachusetts, and to 1848 in Providence, Rhode 2 Island. According to Birge, the earliest available re­ cord of instrumental music in the public schools is that of a group in Aurora, Illinois in 1878.

It was not until

1900, however, that the instrumental program really got under way.

By then many orchestras had been formed in

different school systems of the country.

For the most

part they consisted of the usual solo instruments,

such as

violins, cornets, and occasionally a trombone, flute, or clarinet.^

.

As a result of the instrumental program thus

started, bands began to attract attention about 1910.

The

fact that there were more band instruments than the orchestra could absorb helped to facilitate band organiza­ tions.^ In the last three decades educators have witnessed a transposition of emphasis from the orchestra as a basis of artistic expression to the outlet proferred by the band.

^ Elwood P. Cubberly, Public Education in the United States. (Boston: Houghton Mifflin Co., 1934)* 2 Edward Bailey Birge, History of Public School Music in the United States, (Boston: Oliver Ditson Co.), 174 PP. 4 Ibid.. p. 182.

5 The band as a musical unit not only has gained the respect of the discriminating musical public but also has far outstripped the orchestra in expansion.5

The incident of

this swing to band movement is felt in the elementary schools by the notable increase of wind instruments and by a marked decline in the string section.

The relative

importance, however, of the wind instruments in the band is vastly different in comparison with their status in the orchestra.

The winds are of prime importance in the band,

whereas in the orchestral plan they are subordinate to the Grand Quintet of Strings.^ Music has not attained an established place in the educational system of this country, and is today considered fundamental in the education of every child.

The California

State Department of Education emphasizes the importance of music in the school program by saying: Music merits the support and encouragement in the school program equal to that given any other subject or area of experience. It is neither a fad or a frill, but represents one of the supreme forms of art through which the human spirit has found expression. The general acceptance of this point of view is confirmed by even the casual observation of the place of music

y Gene Chenoweth, "Shall We Save the Orchestras," Music Educators Journal. 26:14, May, 1940. c Stanisloo Gallo, The Modern Band. (Boston: C. C. Birchard and Co., 1935)> p. v.

6

in modern education,7 In the light of these findings, it would seem that the elementary school orchestra of today and tomorrow is likely to have (1) more wind instruments than in the past, and (2) more players with a wider variation of ability. This means that materials to meet present day requirements must make greater provision for the group that may not be predominately strings, or possess any combination of in­ struments in balanced proportions.

Also, arrangers of in­

strumental music, when writing new materials in order to meet these modern concepts, will probably include more provision for individual differences to provide for greater variances in the playing skills of the pupils. Mursell recognized the importance of studying, eval­ uating, and making use of good materials when he stated: Ever since the appearance of the New England Primer in colonial times, published teaching materials have always been very influential in American Education . . .

. . . In no field has the development of excellent teaching materials been carried further than in music. The profession owes a very considerable debt to the publishing houses whose enterprise has produced these results. . . And one may remark that teachers and school people generally have as yet by no means taken full advantage of what has been- made available.

7 "Music Education in the Elementary School," compiled by the Committee on Music Education in the Elementary School. (Sacramento, California: California State Department of Education, 1939), p. v.

7

The wisest and finest of instructional plans are stultified if appropriate materials cannot be had . . . So a teacher should regard it as a definite and im­ portant professional obligation to familiarize himself with the material available in the field* William D. Revelli, in a speech at the annual Music Merchants National Convention in Chicago, 1947, stated that our mode of living is ever changing. is old today.

What was new yesterday

The attitudes of the music teachers towards

their profession is rapidly changing from that of pioneering it to that of teaching it.

From this evolution comes the

need for improved techniques and skills, organization and administrative abilities, appreciation for community interest, and the need for greater knowledge of materials and equipment. More clinics and material conferences sponsored by music merchants would certainly prove valuable as a means for acquainting music teachers with the latest publications.9 DEFINITIONS OF TERMS USED The advanced orchestra *refers to elementary school groups* grades one to six, who have at least a basic playing

6

James L. Mursell, Music in American Schools. (New York: Silver Burdett Co., 1943), PP* 97-99• 9

Dr. William D. Revelli, "Music Educator Meets the Music Dealer", Etude, 65:493, S*47.

8

knowledge of their instruments *

It is assumed that they

meet as a group for regular rehearsal at least once a week. String instrument is a term used to identify the four instruments of the violin family.

Each may be played

with the bow, or plucked, and are namely the violin, viola, cello, and bass. The woodwinds include all of the reed instruments such as the clarinet, saxophone, oboe, bassoon, and English horn, plus the flute and piccolo. The brass instruments are interpreted to mean those upon which the tone is produced by "buzzing” the lips in the mouthpiece.

These are the trumpet, cornet, trombone,

bass horns, melophone, alto horn, baritone, and the french horn. The percussion instruments are those associated with rhythm including the drums, cymbals, bells, xylophone, woodblocks, cowbells, triangle, tamborine, etc. The orchestra is a group of performers on various musical instruments including those of the violin class. The band is a unit composed only of wind, and per­ cussion instruments.

The strings are not included in this

group with the exception of the string bass which is some-

times used in the symphonic band. Easier parts as used in this study referred to music written for pupils of less than average ability but who enjoy playing. Special parts referred to those*parts written for pupils of more than average ability. Orchestration is the arrangement of a musical com­ position so that it may be played by an ensemble, band, or orchestra. LIMITATIONS OF THE STUDY Scope.

Since this study was made in the San Diego

Elementary Schools, it has been modified in certain respects to conform to the aims and objectives of the instrumental music department in that district.

For many years San Diego

City Schools have been outstanding in the orchestral field, but relatively little emphasis has been placed on bands in the upper secondary schools. Plans are being made to inaugurate an instrumental program which will include a larger percentage of students. This will automatically include a wider range of instruments and playing abilities.

The use of more brass and reed

instruments will make it possible for many more children to

10

participate.

The former emphasis, which stressed string

work primarily, will give way to instrumental classes which will include all instruments.

In many cases wind instru­

ments will be predominant. The choice and selection of music to fit the needs of classes which contain definite individual difference problems, therefore, will be of very vital importance. This study proposes to investigate the available elementary instrumental materials with emphasis upon good music expressiveness contained in materials which provide for individual differences-and the unbalanced orchestral combination which the classes necessarily well embraced. Although instrumental music in the elementary school is a comparatively new addition to the curriculum, more materials have been written than it was possible to evaluate. Since this study was made in an effort to facilitate the selection of materials for the San Diego Elementary Schools, only those were evaluated that would be suitable for ele­ mentary school orchestra in that district. made of eighteen orchestral collections.

Evaluation was Since San Diego

uses the six-three-three plan of grade grouping, materials for evaluation were selected for children ranging from grades one to six.

Some beginners1 orchestra materials

were included for use in the first semester, while the more advanced folios were evaluated for use later in the year. In this study, only current publications, which are

11

in print and easily available by order from the local music dealers, have been selected for evaluation. Weaknesses.

In view of the fact that the material

was selected by the investigator, it was necessarily sub­ jective.

The investigator was aware of these subjective

elements and has endeavored to be as objective as possible. No attempt has been made nor can any standard be found to judge musical value of a musical selection.

It

is assumed that music written by the masters, which has stood the test of time, is good music.

However, other

music, original compositions by modern arrangers may also be as good or better for small children because, in their composition, technical difficulties of the instrument were considered.

It therefore has been assumed in this study

that each is of equal musical value. ORGANIZATION OF REMAINDER OF THE THESIS The remainder of the thesis is organized as follows: Chapter II is a review of the surveys made in closely re­ lated fields of instrumental music. The materials evaluated and methods of procedure used in this study are explained in Chapter III.

Criteria

as determined by the director of music in a large city for evaluating materials are outlined.

12

Chapter IV deals with the analysis and evaluation of elementary school orchestra materials in the light of criteria established. Chapter V is concerned with a summary of the thesis. It contains recommendations and conclusions drawn from evaluations of materials studied. An annotated bibliography follows Chapter V.

CHAPTER I I REVIEW OF RELATED LITERATURE Although much has been written about the changing concepts of music education in the elementary school, very little has been written to help the instrumental teacher to select proper materials to meet these changes.

There are

a number of thesis that show that there is increased interest in instrumental music, and a few studies have been made pertaining to the selection of certain instruction books for secondary school orchestras and bands.

The investigator has

found no studies of orchestral materials at the elementary school level but analysis and evaluations have been made of certain instruction books for developing the musical tech­ nique of junior and senior high school bands and orchestras. Because of the decline in the number of string players, Valdemar N. L. Johnson, in.1942, made a study to search for and to analyze newer and better string class teaching materials,1 by:

Analytical criteria were established

(1) collectively examining the books in the experiment

and retaining emphasized standards of each;

(2) securing

1 Valdemar N, L. Johnson, "An Analysis of Method Books for Teaching Stringed Instrument Classes in the Public Schools," (unpublished Master’s thesis. The University of Southern California, Los Angeles, 1942J, 159 pp.

14 the collaboration of twenty-five music teachers in develop­ ing judgment standards;

(3) using criteria already set

up in similar investigation;

(4) accepting standards said

by prominent music educators and performers to be necessary o in books of this type. The study brought to light a need for a more inclusive string method book with improvement in all of the important phases of string instrument instruction. It was shown that view of these deficiencies, several books should be used in complement of each o t h e r . 3 In response to demands of adjudicators and music educators for higher technical skill for high school bands, Harold Byron Howe, in 1937, made an evaluation of ten band books containing principally technical e x e r c i s e s . 4 tion criteria were set up according to:

Evalua­

(1) personal

opinions of band directors and prominent musicians;

(2)

current standards of adjudication used in band contests; and (3) an examination, comparison and selection of 5 techniques found in individual instruction books.

Each

book was compared with the others on the basis of rhythmic

2 Ibid.. p. 21. 3 Ibid.. pp. 131-132. * H. B. Howe, "An Evaluation of Ten Band Books of Technical Exercises,” (unpublished Master’s thesis, The University of Southern California, Los Angeles, 1937), 120 pp. ^ Ibid., p. 36.

15 studies, interval studies, articulation exercises, scale studies, arpeggio and broken chord exercises, dynamic mark­ ings, intonation studies, tone exercises, and embellishments, From the general rating made from these comparisons, Howe found that a need existed for a book which would include all phases of technical training.

Such a book was not found

and it was advised that several books be used in complement of each other.^ A similar investigation was carried on in 1935 by Arthur Conrad Forsblad in a study of group methods for band instruction used in the secondary schools of Fresno County, 7 California. Criteria based on general objectives of music education were chosen jointly by a group of ten music educators.

Forsblad agreed with Howe existing publications

were insufficient necessitating the use of several methods c> complementary to each other. He expressed a wish for a method which in itself would:

(1) be sufficient for proper

advancement of an average group;

(2) be accompanied by better

teacher*s manuels; and (3) be better g r a d e d . 9

6 Ibid., p. 108 ' Arthur Conrad Forsblad, "An Evaluation of Group Methods in Band Instruction,** (unpublished Master*s thesis, The University of Southern California, Los Angeles, 1935)# 99 pp. 8 Ibid., p. 79. ^ Loc. cit.

16

E. M. Lewison, in 1933, made a study of ten piano class methods.

10

The purpose of the study was to evaluate

the methods in a general way according to aims, organization, appearance, course content, method of approach, and supple­ mentary aids of devices to instruction. materials studied were found wanting in: organization; children;

Most of the (1) progressive

(2) avoidance of technical drill for

(3) appearance; and (4) completeness.'1"1

As in

the other studies, the need was expressed for more than one book. Summary.

In this review of previous studies it is

seen that there is an increasing awareness on the part of music educators of the importance of good materials for school instrumental groups.

As a result of these studies

all of the investigators agreed that there was a need for a more comprehensive method book in each field.

They found

that existing materials necessitated the use of several methods complementary to each other.

E. M. Lewison, ”A Comparative Study of Certain Class Piano Methods” , (unpublished Master’s thesis, The University of Southern California, Los Angeles, 1933), 190 pp. 11 Ibid.. p. 182

CHAPTER XIX METHODS OF PROCEDURE In order to attempt scientific, analysis of elementary school orchestral materials, a set of criteria must first be established to function as a standard of measurement. Only such criteria could be chosen by which selected materials could be measured objectively.

Many desirable criteria by

necessity were omitted because of their subjective elements. Helen M. Hannen, Supervisor of Music in the elementary schools, Cleveland, Ohio, recognized the importance of establishing criteria for use by music educators in the selection of teaching materials when she said: In the choice of materials use these questions as criteria: (1) (2) (3) (4) (5) (6) (7)

Is the appearance attractive? Is the page easy to look at or is it cluttered? Is it suitable to the needs of the group (can it be used for older beginners as well as younger)? Does it have lasting value? Is it so presented that children can work by themselves? Is the price prohibitive? Does it favor strings or winds?

For beginning groups separate classes: (1) (2) (3) (4.) (5) (6) (7) (8)

Are the selections short? Are the meters simple? Are the rhythms simple? Is the approach melodio or technical? Is the material well graded? Are new.problems introduced too soon and too often? Will it hold the interest of the child? Is it well suited to the peculiarities of the instrument?

18

For beginning ensembles, bands, and orchestras we must include all the above questions, plus the follow­ ing: (1) (2) (3)

Are the beginning selections in unison or in three or four part harmony? If in parts, are the rythmic figures the same for each instrument at the same time? Is the material well arranged instrumentally?

And for the more advanced groups: (1) (2) (3)

Are the selections usable for public performance? Are they fairly easy to play and yet difficult in effect? Are they a challenge without being beyond the technical limits of the players?1 HOW CRITERIA WERE ESTABLISHED

It is the purpose of this chapter to show how criteria were established to be used as a measuring stick in the making of evaluations.

Because this study was made primarily

in the hope of aiding elementary school orchestra teachers in the San Diego City School District, it was necessary that standards of measurement be compiled,by those most familiar with the particular problems of that district.

It therefore

seemed fitting that these be established by the Director of Music of the San Diego City Schools,^ in colaboration with

1

Helen M. Hannen, nInstrumental Classes, Band and Orchestras in the Elementary School", Music Educators National Conference Yearbook, 1938,.Chicago, Illinois, Pp. 301-5. 2 Dr. Alex Zimmerman.

19 the teaching staff of the Elementary School Instrumental Music Department.

These criteria evolved as the result

of various problems experienced by these teachers and administrators as discussed at various departmental meetings. Seven members of the music teaching staff participated in these meetings including the director of music, the coordina­ tor of elementary school instrumental music, and five instructors of instrumental music in the elementary schools.3 All were in the San Diego City Elementary Schools. CRITERIA SELECTED Criterion No. 1.

Are arrangements adaptable to the

unbalanced orchestra that may not be predominately strings, by the inclusion of solo parts in the wind section, and are parts so cued that the music is just as effective without the presence of certain instruments? Criterion No. 2.

Do the parts provide adequate growth

for the players of all instruments by an efficient use of the players time? Criterion No. 3*

3

Po the arrangements stress the

Dr. Alex Zimmermand, Director of Music; William DeEorest Cay, Coordinator of Elementary School Instrumental Music; Paul E. Popejoy, Instructor of Instrumental Music; Wendell C. Waterman, Instructor of Instrumental Music; Eugene 0. Holloway, Instructor of Instrumental Music; Andrew B. Gallant, Instructor of Instrumental Music; Robert H. Parrett, the present investigator, Instructor of Instrumental Music •

20

utmost of musical value and growth to the pupil by the inclusion of: (a)

Full string section.

(b)

Three cornet or trumpet parts.

(c)

Full saxophone section of three or four parts.

(d)

Three clarinet parts.

(e)

Two flute and oboe parts.

(f)

Adequate percussion parts to incorporate all of

/

the possibilities of numerous kinds of rhythm instruments and the opportunity for a large number of players. Criterion No* 4.

Are provisions made for individual

differences by the inclusion of special parts that challenge the accelerate pupils?

Are these easier which hold the

interest of the less experienced pupils? Criterion No. 5.

Do parts favor the string or the

wind instruments, or has the arranger maintained a balance between the two? Criterion No. 6.

Are selections taken from the

masters, from folk music, etc., or are they original com­ positions written for school orchestras? Criterion No. 7.

Does the material include selections

from several or all culturals so as to make the pieces integrate with social sciences and the intercultural program.

21

Criterion No* 8.

Do the arrangements use the various

registers of the instruments to advantage both for acoustical effect and for the growth of the pupils technique? Criterion No. 9*

Are conductors scores arranged in

sufficient detail to give the instructor a satisfactoryunderstanding of the music being played by the various instruments?

Is there a full score?

Is there a piano-

conductor score? Criterion No. 10.

Do the selections or pieces give

the pupil playing experience in a number of different keys? Did the arranger favor sharps, flats, or natural keys? Criterion No. 11.

Are selections of sufficient length

to be appropriate for use in programs and concerts? Criterion No. 12.

Do,collections contain appropriate

program music for the various seasons including Thanksgiving, Christmas, Easter, graduation, etc. Criterion No. 13. it small?

Is the page cluttered?

Criterion No. 14. large?

Is print large and readable or is

Is the size of the folio small or

Can the folio be placed safely in most instrument

cases for home practice. HOW METHODS OF PROCEDURE DIFFER FROM THOSE USED IN RELATED STUDIES Unlike previous studies in related fields, no attempt

22

has been made here to select any one orchestral collection as being the best.

Foremost in importance is that several

suitable collections be found for use in the various phases of an elementary school instrumental program composed of pupils grades one to six. Previous studies have been much more limited in scope than is the present investigation.

Since many good or

acceptable orchestral collections are needed, the number evaluated by necessity had to be greater than those in the related literature. 2

Howe , in his evaluation of band books for group instruction, limited his study to ten methods for developing technical proficiency.

Evaluation and comparison was made on

the basis of quantitative analysis of the rhythmic studies, interval studies, articulation exercises, scale studies, arpeggio and broken chord exercises, dynamic markings, in­ tonation studies, tone exercises and embellishments.

By

tabulating quantitatively all of these factors according to established criteria a general rating was made of the ten books. Since the present study dealt to a lesser degree, than was the case with H o w e ’s study, with quantitative elements, it did not seem feasible to follow the latter’s procedure in

o

Howe, L o c . cit.

this investigation. In a survey of band method books used in Fresno County, Forsblade rated each book grafically.

Having

established criteria for judgment, a check sheet was sent to music educators and the results tabulated.^ The evaluation of string methods by Johnson^" classi fied the books into homogeneous or heterogeneous groupings As in the other two studies, the approach stressed the quantitative aspects, but also detailed consideration was given to qualitative and structural factors. Eighteen orchestral collections or folios were selected by the present investigator for evaluation with the recommendation of the large music distributors.

In

selecting materials for evaluation two criteria were used as follows: (1)

Is the material a current publication that is still easily available?

(2)

Is the material easy enough to be played by children grades one to six? SUMMARY

In this chapter it was shown how criteria were

^ Forsblade, L o c . cit. 4

Johnson, L o c , cit.

24 developed which were used as a standard for evaluating selected Elementary school orchestral materials* Fourteen criteria were selected by the Director of Music in San Diego City Schools.

Criteria which would best

meet the needs of the elementary school instrumental program of the San Diego City Schools were chosen as the result of discussion of problems concerning materials at various staff meetings.

Participating in these meetings

were the director of music, coordinator, and the teaching staff of the elementary school instrumental department. The fourteen criteria, used in this study as a standard of measurement by which elementary school orchestral materials were evaluated, have been enumerated.

How the methods of

procedure differed from those used in related studies has been explained in this chapter.

CHAPTER IV AN EVALUATION OF ORCHESTRAL MATERIALS FOR ELEMENTARY SCHOOLS In this chapter is presented the various musical publications which were selected for comparison by means of the criteria presented in an earlier chapter*

A general

analysis follows each orchestral collection evaluated giving a brief resume’ of the outstandingly good points or weaknesses.

As many good collections are needed in the

elementary schools, no attempt has been made to establish any one collection as being the best.

The segregation of

materials which seem to be unsuitable for use in the San Diego City Elementary Schools, grades one to six, has been stressed. ABILITY ORCHESTRA FOLIO Effective Program Compositions for the Active Orchestra Selected, Arranged and Edited by Robert Crawford Copyright,MCMXLVIII by Rubank, Inc., Chicago, 111. INSTRUMENTATION First Violin A First Violin B First Violin C Second Violin Viola Cello String Bass Flute 1st Clarinet 2nd Clarinet

26 Oboe Bassoon Eb Alto Sax Bb Tenor Sax 1st Trumpet Bb 2nd Trumpet Bb Horns (lb & 1) Trombone Baritone Tuba (Eb & BBb) Drums & Percussion Guitar Piano Accordion Piano Conductor Criterion No. 1.

This collection is adaptable for use

by the unbalanced orchestra that may not be predominately composed of string instruments since the first trumpet for the most part plays only melody.

All but one of the selections

can be played effectively by using only the wind instrument players.

Cue notes are included so the music can be played

effectively without the presence of all of the instruments. Criterion No. 2.

All players play all the time to

provide for maximum interest, musical growth and experience. Criterion No. 3«

These arrangements contain only a

minimum of parts in the wind section. very complete.

The string section is

A practical aspect is the inclusion of a

guitar and piano accordion part.

The drum parts include the

use of the snare drum, bass drum, tom tom and castinets.

No

bell parts are included. Criterion No. 4.

No provision is made for individual

differences in most of the parts.

An easier part was

provided in 2nd clarinet by writing it entirely in the lower

27 register.

The 1st clarinet uses both register.

No advanced

parts are included for any of the instruments. Criterion No. 5.

A balance between strings and winds

is maintained, and the orchestrations can be effectively played without the presence of one or the other. Criterion No. 6.

The selections are original composi

tions written for children’s orchestras. Criterion No. 7.

Themes symbolic of Indian, Mexican

and American music form the content of this collection. Criterion No. 8. A & E string.

The first violin A plays mostly on

The D string is used only once, and the G-

string not at all.

All violins play only in 1st position.

The 1st clarinet parts are written in both registers.

The

2nd clarinet uses lower register only. Criterion No. 9*

Piano Conductor scores are

sufficiently marked to give the director an understanding of the music.

No full score is provided.

Keys— The arranger has favored the natural and flat keys rather than sharps. Number of measures in each key: G 17

C 278

Criterion No. 11.

F 363

Bb 158

Eb 35

The selections are of sufficient

length for programs. Criterion No. 12.

There is no program music

appropriate for the seasons in this collection.

28

Criterion No. 13-

The printing is large and readable.

Criterion No* 14.

The folio 6 7/& inches by 10 1/8,

will fit easily into most instrument cases. GENERAL ANALYSIS The more favorable aspects of this collection are its adaptability to the unbalanced orchestra, the efficient use of the players time, recognition of individual differences by the inclusion of easier parts, and an adequate piano conductors score. Less favorable aspects are the inclusion of only a minimum number of parts, the inclusion of no advanced parts, and the use of only certain registers of the instruments. General analysis indicates that this collection can be played by most elementary school orchestras and, therefore, would be an asset to the instrumental music department. ACHIEVEMENT ORCHESTRA FOLIO Volume 1 A Collection of Original Compositions for'Young Orchestras Selected and Arranged by Merle J. Isaac Copyright 193# by Carl Fischer Inc., Cooper Square, N.Y., N.Y. INSTRUMENTATION Piano Conductor Advanced Violin (ad lib) 1st Violin A 1st Violin B 2nd Violin

29 3rd Violin (Viola in treble Clef) Viola Cello Bass Flute Oboe 1st Clarinet in Bb 2nd Clarinet in Bb Bassoon 1st Trumpet in Bb (Cornet) 2nd Trumpet in Bb (Cornet) Solo Bb Cornet (ad lib) Horns in F Eb Altos (Substitute for F Horns) Trombone Tuba Percussion Eb Alto Saxophone Bb Tenor Saxophone Criterion No. 1.

By using the Solo Cornet part these

arrangements can be played by groups that may not be pre­ dominately strings.

Since the 1st violin A carries the melody

all of the way, they will also work with just violin and piano or any string combination including these.

Important

parts are cued to facilitate satisfactory performance with­ out the presence of the rare instruments such as-oboes, flutes, bassoons and horns. Criterion No. 2.

Efficient use of the players time

is assured by keeping them playing if the cue notes are used. There are a few 8 measure rests in some of the wind parts. Longer rest periods appear in the percussion sections. Criterion No. 3.

In the wind section, only two parts

are included for each of the single reed instruments and

30 one part for the double reeds (bassoon and oboe).

Includ­

ing the solo cornet with the trumpet section there are three parts to help use the excess trumpet players, but for the most part they do not work as a section.

The solo cornet in

always plays melody while the 1st and 2nd trumpets often play after beats.

In other places, the solo cornet doubles

melody with the 1st or 2nd trumpet.

Rarely do these instru­

ments work together in three part with the same rhythmic pattern.

Only one trombone and flute part was included.

The percussion parts include the use of many instruments including timpani and orchestra bells.

The string section

is very full and can be used very well for string ensemble combinations. Criterion No. 4.

Provision for individual differences

are provided for the accelerate pupils only in the violin and trumpet section by the inclusion of an advanced violin and solo cornet part.

No other special parts are included.

No easier parts are included for the less experienced pupils. Criterion No. 5.

The arranger has maintained a balance

between the string and wind section with a slight edge given to the string section in the choice of keys.

The 1st violin

and solo cornet are the only instruments that carry the melody all of the way through. Criterion No. 6.

Except for two corals, all of the

selections in this collection were written as original

31 compositions for school orchestras.

Many were composed by

the arranger Merle J. Isaac. Criterion No. ?•

Original melodies capturing the

mood of the music from Japan, Spain, and of the American Indian are included in this collection. Criterion No. 8.

Growth of the players technique by

use of all of registers of the instrument is provided in all parts except the 2nd and 3rd violins which play mostly on the lower strings. Criterion No. 9.

The piano-conductors score provides

a guide for the director but is not complete.

As an example,

the 1st and 2nd clarinet figures in section 2 of the Novelette entitled October by Robert Leland, do not appear at all in the score. Criterion No. 10.

The arranger has used extensively

the keys of G and F and to a lesser degree the keys of C and B.

Only four keys were used.

Distribution by the

number of measures in each key is as follows: Key Measures

G 361

Criterion No. 11.

C 143

F 243

Bb 172

All selections in this folio except

each of the two corals are of sufficient length for concert programs. Criterion No. 12.

No appropriate music for seasonal

programs is included in this collection.

Criterion No. 13.

The printing is large and readable

Criterion No. 14.

The size of the folio is of the

standard 6 7 /S inches by 10 l/2 inches which can be placed in most instrument cases. GENERAL ANALYSIS The more favorable aspects of this orchestral collection as determined by the criteria are as follows: 1.

The arrangements are adaptable to the unbalanced

orchestra which may not be predominately composed of string instruments.

The parts are well cued.

2.

Efficient use of the players time is provided.

3.

Provision for individual differences are provided

in the violin and trumpet parts.

4 . An adequate conductors score is included. 5.

Some selections of other than American culture

are included. Less favorable aspects are that piano conductors scores are not complete enough. General analysis would indicate that this is an excellent collection of original pieces for young orchestras

33 ACTIVITY ORCHESTRA FOLIO A Collection of Original Compositions for Young Orchestras Selected and Arranged by Merle J. Isaac, M. A. Copyright 1939 by Carl Fischer, Inc. 56 Cooper Square-and-119 W. 57th Street, New York, N.Y. INSTRUMENTAT ION Piano -conductor Advanced Violin (ad lib) 1st Violin A 1st Violin B 2nd Violin 3rd Violin (Viola in treble clef) Viola Cello Bass Flute Oboe 1st Clarinet in Bb 2nd Clarinet in Bb Bassoon 1st Trumpet 2nd Trumpet Solo Cornet in Bb (ad lib) Horns in F lb Altos (Substitute for F Horns) Trombone Tuba Percussion Eb Alto Saxophone (ad lib) Bb Tenor Saxophone (ad lib) Criterion No. 1.

By using the solo cornet part, these

arrangements are adaptable to the unbalanced orchestra that may not be predominately strings.

Parts are so cued that

the music is effective without the presence of certain instruments.

For example, important horn parts are cued

in on the trumpet and saxophone parts. Criterion No. 2.

Rest periods of 31 measures appear

in the saxophone parts, 32 measures in the percussion parts,

34 and up to 16 measures rest appear in the trumpet parts. Otherwise the arranger has provided for growth and develop­ ment of the pupil by efficient use of the players time. Criterion No. 3.

Three trumpet or cornet parts are

provided but they do not play as a section.

The solo cornet

in many instances plays the melody while the 1st and 2nd trumpets play a harmony in a different rhythm pattern or afterbeats.

No second parts are provided for trombone,

flute, or oboe. were included.

Only two saxophone and two clarinet parts Percussion parts include the use of timpani,

bass drum, snare drum, tom tom, triangle, cymbal, wood block, gong, and bells.

The string section is very complete and

would adapt readily to string ensemble combinations. Criterion No. 4.

Provision for individual differences

are provided in the violin and trumpet sections by the inclusion of an advanced violin part which uses the higher positions of the instrument.

The solo cornet part uses

the higher register going up as high as A with an alternate lower A written in for those pupils who cannot take the higher note.

No easier parts are included to hold the

interest of the less experienced pupils. Criterion No. 5.

The arranger has maintained a balance

between string and wind instruments in that the violin A, advanced violin and solo cornet are the main melody instru­ ments.

Strings have been favored in the choice of keys in

35 that the key of G has been used extensively and the key of D appears once, throwing the wind instruments in from three to five sharps. Criterion No. 6.

Except for carols, all of the

selections are original compositions written for children*s orchestras. Criterion No. 7.

One of the original compositions was

written to capture the oriental mode of the Chinese culture. An old German Coral (1530) is also included. Criterion No. 8.

Growth of the pupils technique is

provided in the arrangement by using all of the easier registers of the instruments.

The 1st violin A does not

go above 1st position. Criterion No. 9.

No full' score has been written but

the piano-conductors score contains sufficient cues and mark­ ings to give the director a satisfactory understanding of the music being played by the various instruments. Criterion No. 10.. The arranger has used four keys in this collection. of C or G or both.

Most of these pieces are in'the keys Distribution as to the number of

measures in each is as follows: Key Measures

D 32

Criterion No. 11.

G 288

C

366

F 80

Except for the few corals in this

collection, the pieces are of sufficient length to be appro-

36 priate for programs and concerts. used by combining two together.

The corals could be Keys have been chosen so

that the First Coral can be followed by the Second Coral. The First Coral can then be repeated without modulation. Criterion No. 12. is a German Coral,

The only seasonal program music

(1530) the Song of Thanksgiving.

Criterion No. 13.

The printing if large to facilitate

reading by small children. Criterion No. 14.

The folio is of convenient size to

fit into an instrument case.

The dimensions are 6 7/6

inches by 10 1/2 inches. GENERAL ANALYSIS The more favorable characteristics of this collection as determined by the criteria are as follows: 1.

The arrangements are adaptable to -orchestras

that may not be predominately composed of string instruments. 2.

Parts are cued in order that the music may be

played effectively without the presence of.certain instru­ ment s . 3.

Efficient use of players time is provided for

most of the instruments. 4.

Provision for individual differences is included

in the violin and trumpet sections. 5.

A balance is maintained between string and wind

37 instruments. 6.

Special program music by the inclusion of a

Thanksgiving coral is provided. 7.

A satisfactory piano conductors score which is

sufficiently cued and marked.is included. Less favorable characteristics are that keys con­ taining sharps have been used extensively to the disadvantage Bb and Eb instrument players. General analysis reveals that this is an excellent group of original pieces for elementary school orchestras. ADVANCEMENT ORCHESTRA FOLIO A Collection of Light Classics for Young Orchestras Selected and Arranged by Merle J. Isaac, M.A. Copyright 1941 by Carl Fischer, Inc. Cooper Square, New York, N.Y. INSTRUMENTATION Piano Conductor Advanced violin (ad lib) First violin A First violin B (ad lib) 2nd violin 3rd violin (Viola in treble clef) Viola Cello Bass Flute

Oboe 1st Clarinet in Bb 2nd Clarinet in Bb Bassoon 1st trumpet in Bb (Cornet) 2nd trumpet in Bb (Cornet) Solo B Cornet (ad lib) Horns in F Eb Altos (substitute for F Horns) Trombone

33

Tuba Percussion Eb Alto Saxophone (ad lib) Bb Tenor Saxophone (ad lib) Criterion No, 1.

These arrangements can be adapted to

an unbalanced orchestra that may not be predominately strings if the director has a capable pupil to play the solo cornet part.

They can be played moderately effectively with a string

group if there are enough good violin players to play the advanced violin, 1st violin A, 2nd violin and 3rd violin parts, the viola and cello are not necessary.

These

orchestrations are so well cued that most of the desired acoustical effects may be obtained with a minimum of instrumentation. Criterion No. 2.

Adequate growth and development by

efficient use of the players time is provided in most of the parts.

By playing all of the cues, most of the wind players

are playing all of the time except for some short rests up . to four measures.

There are however some eight measure rests

in the horn parts and longer rest periods in the percussion section. Criterion No. 3.

Since the arranger attempted to stay

as close as possible to the original scores as created by the masters, no 3rd clarinet, 3rd or 4th saxophone, 3rd trumpet, 2nd trombone, 2nd flute or 2nd parts are included. The string section is very complete.

The percussion parts

includes the timpani, snare drum, tom tom, cymbal, triangle,

39 tamborine, triangle bass drum, and bells. Criterion No. 4.

Provision for individual differences

was provided in the string section in the form of an advanced violin part.

In the brass section a solo cornet part was

provided which goes into a higher range than does the 1st or 2nd trumpet.

No easier parts were included.

Criterion No. 5*

The arranger has maintained a balance

between strings and winds, but much of the effectiveness would be lost without a strong 1st violin section. Criterion No. 6.

This folio contains a collection

of light classics for young orchestras taken from the masters. Criterion No. 7.

Material in this collection was

taken from master works from many lands and could well be integrated with social science and intereultural programs. Criterion No. 8.

Except in the 2nd and 3rd violins

all parts include the registers of the instruments both upper and lower. Criterion No. 9.

No full score was written, but the

piano-eonductor*s score contains sufficient cues to give the director a satisfactory understanding of the music. Criterion No. 10.

The arranger has in this

collection favored the natural and sharp keys. measures are as follows: Keys Measures

D 52

G 235

C 308

F 155

Distribution

40 Criterion No. 11.

The selections are of sufficient

length for concert programs. Criterion No. 12.

No program music for seasonal

events was included in this collection. Criterion No. 13.

The printing is large and readable.

Criterion No. 14.

The size of the folio 6 7/8 inches

by 10 1/2 inches will fit easily into most instrument cases. GENERAL ANALYSIS The more favorable aspects of this collection as determined by the criteria are as follows: 1.

Arrangements are adaptable to the unbalanced

orchestra which may not be predominately string instruments. Parts are well cued. 2.

Efficient use of the players time is provided.

3.

Provision for individual differences is included

in the violin and trumpet parts. 4.

An adequate piano conductors score is provided.

Less favorable aspects are that the sharp keys have been used extensively to the disadvantage of the wind instrument players. General analysis reveals that this is an excellent and well orchestrated collection of light classics for young orchestras.

41 ALL POPULAR ORCHESTRA FOLIO Compiled and Arranged by C. Paul Herfurth Copyright 1939 by: The Boston Music Company, Boston, Mass* INSTRUMENTATION First Violin Violin obligato Second Violin Viola Violoncello or Bassoon String Bass Flute Oboe, or C Soprano Saxophone First Bb Clarinet Second Bb Clarinet Eb Alto Saxophone Bb Tenor Saxophone Bassoon or Cello First Bb Cornet Trumpet Second Bb Cornet-Trumpet Trombone or Baritone (Bass clef) Trombone or Baritone (Treble clef) Horns in F Horns in Eb (Altos or Mellophones) Tuba Drums -Timpani Piano accompaniment (conductor) Criterion No. 1.

No solo part is included in the wind

instrument section, but the first trumpet part plays melody enough of the time so that many of the pieces can be played effective by the unbalanced orchestra that may not be pre­ dominately string instruments.

Cue notes are included in

many of the parts so that the music can be played effectively without the presence of some of the instruments. Criterion No. 2.

The parts provide for adequate

growth for the players of most of the instruments by an efficient use of the players time.

A few rest periods of

42 from eight to sixteen measures appear in the flute, trumpet, and trombone parts. Criterion No. 3-

These arrangements do not stress

the utmost of musical value and growth to the pupil by way of fullness of instrumentation.

Only two trumpet,

two saxophone and two clarinet parts are included.

One

flute, one oboe and one trombone or baritone is included. The violin section includes only first violin, violin obligato, and second violin.

Drum parts call for the use

of snare drum; bass drum, tamborine, castanets, and bells. Tympani parts were written for only one selection. Criterion No. 4.

Provision for individual differences

is provided for by the inclusion of an easier part for the second clarinet.

This part was written entirely in the

lower register of the instrument.

The first clarinet was

written entirely in the upper register of the instrument. Some brilliance had to be sacrificed by this arrangement, but it enables the players of the second clarinet parts to gain valuable musical experience by playing in the ensemble at an earlier date than would be the case if he first had to master the upper register and the register change of the instrument. Criterion No. 3.

The arranger has slightly favored

the string instrument, but much of the melody is also in the wind instrument section, and some of the selections can

43 be played effectively without the presence of the violins. Criterion Ho. 6.

The selections are a mixture of

original melodies written for young orchestras, folk music, and excerpts from the masters. Criterion No. 7.

Music from several cultures is

included in this collection. Criterion No. 8.

The arrangements use various re­

gisters of all instruments except for the clarinets.

The

first clarinet plays only in the upper register except v&ien playing cue notes.

The second clarinet plays only in the

lower register. Criterion No. 9.

There is no full conductors score

for this collection of pieces.

The piano conductor score

contains sufficient cues to give the director a satisfactory understanding of the music being played.

Most of the cue

notes in this score are marked indicating which instrument or instruments play each part. Criterion No. 10.

The selections give the pupils

playing experience in five different keys. has used the keys of G, C, F, Bb, and Eb.

The arranger The arranger has

favored the flat keys as is seen by the distribution as to the

total number of measures which Key G Total number of measures 161 Criterion No. 11.

follows: C 233

F 502

Bb 334

Eb 10

All of the selections are of suf-

44 ficient length to be suitable for programs and concerts. Criterion No. 12.

No selections are included for the

seasonal programs of Thanksgiving, Christmas or Easter. A selection entitled The Graduation Overature" would be appropriate for that occasion. Criterion No. 13.

The printing is large and readable.

Criterion No. 14.

The size of the folio is 9 inches

by 12 inches which is larger than most folios.

It is quite

difficult to get this into a one-half size violin case without damaging either the music or the instrument. GENERAL ANALYSIS Because of melody parts in the wind instrument many of these arrangements can be played by groups which are not predominately string instruments.

Some recognition of

individual differences was found in the clarinet section in the nature of an easier second part.

Efficient use of

the players time has been provided. The weaknesses of this collection are that not all of the selections can be played with an unbalanced group. More parts would be desirable such as a solo trumpet, third trumpet, third and fourth saxophone, a solo clarinet, a third clarinet, and a second trombone part. In view of the strong and weak points of this collec­ tion, analysis reveals that many of the selections can be

45 played effectively by most elementary school orchestras, and therefore this collection would be an asset to the in­ strumental music department. ALL SERVICE FOLIO FOR ORCHESTRA .OR BAND Compiled and Arranged by C. Paul Herfurth Copyright, 1935, by The Boston Music Co., Boston, Mass. INSTRUMENTATION 1st violin (Melody 1st Position) Solo violin (Advanced Positions) . Violin A (Obbligato) Violin B (Obbligato) Second Violin Viola Cello or Bassoon Bass (String) Flute Oboe Solo Clarinet Bb (Melody with embellishments) 1st Clarinet Bb (Harmony) 2nd Clarinet Bb (Harmony and melody) 1st Alto Sax Eb (Harmony) 2nd Alto Saxophone lb (Melody lead) Tenor Saxophone - Bb 1st Cornet or Trumpet - Bb 2nd Cornet or Trumpet - Bb 3rd Cornet or Trumpet - Bb Horns in F Horns in Eb (Altos or Mellophones) Trombone or Baritone (Bass Clef) Bairitone (Band) Bass Clef Baritone (Band) Treble Clef Tuba Drums, Tympani, Cymbals, etc. Piano (Conductor) Criterion No. 1.

Inasmuch as these arrangements were

written for either orchestra or band, they can be played effectively if the

by a group which may not bepredominately strings

wind section is reasonably well balanced.

There

is no

46 solo trumpet or cornet part but there is solo clarinet which is melody with embellishments.

The second alto saxo­

phone is also a melody part. Criterion No. 2.

The arranger has provided for pupil

growth by keeping the players busy most of the time.

There

are some short rest passages in some of the parts. Criterion No. 3*

These arrangements are very fully

orchestrated by the inclusion of 3 trumpet parts, 3 saxo­ phone parts, a baritone part (difficult from trombone), 3 clarinet parts, solo violin, first violin, violin A, Yiolin B, and second violin.

Percussion parts include the use of

bells. Criterion No. 4.

Provision for individual differences

is found in some sections of these orchestrations.

In the

string section there is the solo violin employing advance positions.

The first violin uses only first position, and

is a melody part. In the saxophone section the 2nd alto saxophone is an easier part playing only melody.

The solo clarinet is more

difficult than the first or second in that it in many places goes up into the third register and includes a few embellish­ ments.

The 2nd clarinet contains much melody and easier

harmony passages. Criterion No. 5.

The arranger has maintained a balance

between the string and the wind instruments in that the

47 orchestration is effective with or without a strong string section.

This was done by use of solo clarinet, melody 2nd

alto, saxophone and first and second trumpet.

The 2nd

clarinet also plays much melody. Criterion No. 6.

The selections are a mixture com­

posed of original compositions, folk music, excerpts from the masters, religious, and patriotic songs. Criterion No. 7. several cultures

This

material includes music from

which should contribute to the inter-

cultural and social science programs. Criterion No. 8.

All registers are used in these

arrangements to advantage for acoustical effect and for growth of pupil technique. Criterion

No. 9.

There is no full score written but

the piano conductors score is

well cued to give the conduc­

tor a satisfactory understanding of the music. Criterion No. 10.

These selections were arranged

using five different keys.

For the most part the sharp

keys were carefully avoided.

The keys used, and the number

of measures in each are as follows: Key Measures

G 40

C 272

Criterion No. 11.

F 955

Bb 435

Fb 91

Selections are of sufficient length

for assemblies, programs and concerts. Criterion No. 12.

In this collection was included

m

1+3 appropriate music for Christmas, graduation, and patriotic music for school assemblies. Criterion No. 13*

The printing is large and readable.

Criterion No. 14.

The size is 11 1/3 inches by 9

inches which is a little large to fit into many violin cases without danger of damage either to the copy or to the instrument. GENERAL; ANALYSIS Analysis by means of the criteria reveal the following favorable aspects; 1. 2.

Material is adaptable to the unbalanced orchestra. Arranger has provided for efficient use of

players time. 3.

Provision has been made for individual differences.

4.

Excellent program music is included.

Since no marked unfavorable aspects were found, these arrangements should be an excellent collection for elementary school orchestras. A3CHERS FAVORITE MELODIES ALBUM For Beginners Orchestra Compiled and Arranged by Rosario Bourdon Copyright 1946 by Emil Ascher, Inc., New York, New York INSTRUMENTATION Violin (A and B) Viola

1st and 2nd part 1st and 2nd part

49 1st 1st 1st 1st 1st 1st 1st 1st 1st 1st 1st 1st 1st 1st 1st 1st 1st

Cello Bass Flute Bb Clarinet Bb Cornet (Trumpet) Trombone (Bass clef) Baritone (Bass clef) Baritone (Treble clef) Eb Alto Saxophone Bb Tenor Saxophone Oboe or C Saxophone Bassoon Eb Alto or Eb Horns F Horns Guitar or Banjo Tuba Drums and bells Accordion Piano-eonductor Criterion No. 1.

and and and and and and and and and and and and and and and and and

3rd 4th 2nd 2nd 2nd 3rd 3rd 2nd 3rd 2nd 2nd 3rd 3rd 3rd 4th 4th 4th

part part part part part part part part part part part part part part part part part

There arrangements may be played

with or without strings in as much as the melody part is included for each instrument. Criterion No. 2.

No cue notes are included.

Adequate growth and development

of the pupils by efficient use of the players time is assured by keeping the pupils playing all of the time. There are no empty rest periods. Criterion No. 3. for any given instrument.

Only two part music has been written If the combination contains a

wide variety of instruments, it is possible to get full three or four part harmony for all the instruments. Criterion No. 4. individual differences.

No provision has been made for There are no advanced parts nor

are there easier parts. Criterion No. 3.

The parts favor neither string in

50 struments nor wind instruments in that each part is equal inasmuch as melody lines are included in all parts. Criterion No. 6.

The pieces in this collection are

taken from folk music, excerpts from the masters, popular, patriotic and religious songs.

No original compositions

are included# Criterion No. 7.

Selections included in this folio

include short excerpts from music written by composers from many lands. Criterion No. 8.

In the violin part, the melody is

written quite low which does not provide for growth of the pupil by means of playing experience on all of the strings. Much brilliance and color is lost by so little use of the E string.

The clarinet part does not go above G on the first

space above the staff.

The trumpet part, however, goes to

the same G which may be too high for beginning players. Criterion No. 9*

The piano-conductor score contains

melody cues and piano accompaniment.

Harmony parts are

not cued in this.part. Criterion No. 10.

Only the keys of C, F, and Bb

have been used in this collection. ing sharps have been avoided.

All of the keys contain­

Distribution by the total

number of measures in each key is as follows: Key Total number of measures

C 246

F 26^

Bb 187

51 Criterion No. il.

Most of the pieces in this

collection are quite short making them unsuitable for concert programs. Criterion No. 12.

Some short selections appropriate

for special seasonal programs such as Thanksgiving and Christmas are included. Criterion No. 13.

The printing is smaller than other

collections surveyed and the staffs are crowded giving the page the appearance of being cluttered. Criterion No. 14.

The size of the folio is 6 7/&

inches by 10 1/2 inches which is convenient size for a child to carry in his instrument case. GENERAL EVALUATION In view of findings in criteria number one and two, these arrangements can be played effectively only by orchestras with certain combinations.

Because of the short­

ness of the pieces, as indicated in criterion number 11, these arrangements would best be used only at the beginning of the school year.

52

ATTAINMENT ORCHESTRA FOLIO Arranged by Merle I. Isaac, M. A. Copyright MCMXLIV by: Carl Fischer, Inc. Cooper Square, Hew York INSTRUIOTTATION Piano conductor Advanced violin (ad lib) 1st violin A 1st violin B (ad lib) 2nd violin 3rd violin (viola in treble clef) Viola Cello Bass Flute Oboe

1st Clarinet in Bb 2nd Clarinet in Bb Bassoon 1st Trumpet in Bb (cornet) 2nd Trumpet in Bb (eomet) Solo Cornet in Bb (ad lib) Horns in F Eb Altos (Substitute for F Horns) Trombone Tuba Percussion Eb Alto Saxophone (ad lib) Bb Tenor Saxophone (ad lib) Criterion No. 1.

These arrangements are adaptable to

the unbalanced orchestra that may not be predominately string instruments by the inclusion of a solo cornet part in the wind instrument section.

Cue notes are included in

most parts but are not complete enough that the arrangements can be played effectively without a strong violin section or by use of the solo cornet part. Criterion No. 2.

Adequate growth for many of the

53 players by efficient use of the players time is provided for in many of the instrumental parts.

The follow parts, how­

ever, contain several rest periods of various lengths up to sixteen measures:

oboe, Eb alto saxophone, Bb tenor

saxophone, flute, horns, first and second trumpet, trom­ bone, and percussion. Criterion No. 3.

These arrangements contain only

the essential number of parts and do not provide for a larger number of players in any of the sections.

Three Bb

cornet parts have been included but they do not work as a section.

No second or third trombone, oboe or flute parts

are included. Criterion No. 4.

Provision for individual

differences was provided for the violin and cornet or trumpet players by the inclusion of more difficult parts for these instruments. Criterion No. 5.

No easier parts were included. The arranger has maintained a

balance between the string instruments by the inclusion of a solo cornet part in the wind section.

The arrangements

can thereby be played effective by an all string instru­ ment ensemble, an all wind instrument group, or a com­ bination of the two. Criterion No. 6.

With the exception of one Bach

corale, these arrangements are a collection of original compositions selected and arranged for young orchestras.

54 Criterion No. 7.

The selections in this folio

contain original compositions written in the mode of such cultures as Chinese, Spanish and others from European countries. Criterion No. 8.

Provision for growth of the pupils

technique is provided for the players by the use of all of the registers of the instruments. Criterion No. 9*

There is no full conductors score,

but the piano conductors parts are well cued with suffi­ cient notations as to which instrument is playing each part so as to give the director a satisfactory understand­ ing of the music being played. Criterion No. 10.

The arranger has provided for

playing experience in five different keys. containing flats have been favored.

Those keys

Distribution as to

the total number of measures in each key is as follows: Key Total number

of measures

Criterion No. 11.

G 180

C

84

F 262

Bb 180

Eb 26

These selections are of sufficient

length to be appropriate for performance at programs and concerts. Criterion No. programs is included

12. No appropriate music for

seasonal

in this collection.

Criterion No.

13. The printing is large and

readable.

Criterion No.

14. The folio is 6 7/S inches

by

55 10 1/2 inches which will conveniently fit into most instrument cases. GENERAL EVALUATION Analysis in the light of the fourteen criteria would indicate that these arrangements can be played effectively by most orchestras regardless of whether or not there is a balanced combination.

Since these arrangements are more

difficult, performance of them by musicians who have achieved some competence in ensemble playing has been recommended by the arranger.^

In view of these findings

it would be appropriate that this collection be used in the elementary schools, but be held in reserve until the spring of the year. CHOICE MELODIES FROM THE MASTER COMPOSERS Orchestrated by R. E. Hildreth Copyright MCMXXXVIII by: Walter Jacobs, Inc., Boston, Mass. INSTRUMENTATION 1st Violin (lead) Violin AA (ad lib) Violin A (obligato) Violin B (obligato) 2nd Violin 3rd Violin (Sub. for viola) Viola Cello

Merle J. Issac, M. A.

56 String bass Tuba Flute Oboe Bassoon 1st Clarinet in Bb 2nd Clarinet in Bb Eb Alto Saxophone Bb Tenor Saxophone 1st Trumpet in Bb 2nd Trumpet in Bb 1st and 2nd Horns in F 1st and 2nd Eb Horns Trombone or Baritone (B. C.) Trombone or Baritone (T. C.) Drums Conductor-Piano Criterion No. 1.

These arrangements are not adapt­

able to the unbalanced orchestra that may not be predominate­ ly string instruments.

The string instruments carry most

of the melody with the wind instruments built around it to add brilliance. ment section.

There is no solo part in the wind instru­ Lead or melody cues have not been included

in the wind instrument parts. Criterion No. 2.

Adequate provision for growth of

the player by efficient use of the players time has been provided in the string section, but long rest periods up to sixteen measures are found in the wind instrument parts. Criterion No. 3*

Only two parts are included for the

trumpets, saxophones, and clarinets.

One trombone-baritone,

one flute and one oboe part is included.

The string in­

strument section is very full containing all essential parts for a complete string ensemble.

57 Criterion Ho, 4*

Provision for individual differences

is found in the violin section in the form of a violin AA part using the registers above first position.

No easier

parts are provided. Criterion No. 5.

The arranger has favored the strings

instruments in that they are the main lead or melody players. The wind instruments are subordinate to the string instru­ ments, and are used mainly to add variation of color. Criterion No. 6 .

All selections have been chosen

from the works of the master composers. Criterion No. 7.

Music from many European cultures

has been chosen for this collection. Criterion No. 8 .

The arranger has used all of the

registers of the instruments both for acoustical effect and for growth of the pupils technique. Criterion No. 9-

There is no full conductors score,

but the conductor-piano part is well marked with cues and captions to give the director a good understanding of the music being played. Criterion No. 10 .

The arranger has provided for play­

ing experiences in a number of different keys. ent keys were used in this collection.

Six differ­

A balance between

sharp key and flat keys has been maintained.

Distribution

as to the total number of measures in each key is as

58 follows: Key Total number of measures Criterion Ho. 11.

D

G

18

207

.G 6l

F

148

Bb 128

Eb 32

Selections in this folio are of

sufficient length for programs and concerts. Criterion Ho. 12.

Ho special music for seasonal

programs or assemblies has been included in this collection. Criterion Ho. 13.

The printing in this collection

is unusually large and readable. Criterion Ho. 14.

The folio is of convenient size

measuring 6 7 / 8 inches by 10 l /2 inches which would fit conveniently into most instrument cases for safe keeping. GENERAL EVALUATION In view of weaknesses illustrated in criteria number one, two, and three, these arrangements would not be appropriate in schools where the orchestra is not pre­ dominately composed of string instruments.

Where the

school district is so organized that all of the school orchestras assemble occasionally for an all city concert, it is necessary that all schools play the same music at their weekly rehearsals.

Since all school orchestras

could not play these arrangements it would be appropriate that they be used only as supplementary material.

59 CONCERT MINIATURES FOR ORCHESTRA Selected and Arranged by E De Lamater Copyright MCMXLVII by Eubank, Inc., Chicago, 111. INSTRUMENTATION 1st Violin A 1st Violin B 1st Violin C ‘ 2nd Violin Viola Cello String bass Flute 1st Bb Clarinet 2nd Bb Clarinet Oboe Bassoons Eb Alto Saxophone Bb Tenor Saxophone Solo Bb Cornet 1st Bb Trumpet 2nd Bb Trumpet Horns (Eb and F) Trombone (Bass clef) Trombone (treble clef) Baritone (Bass Clef) Baritone (Treble clef) Tuba (Eb and Bb) Guitar Drums and Percussion Piano Accordian Piano conductor Criterion No. 1.

These arrangements are adaptable

to the unbalanced orchestra that may not be predominately strings provided that there is an excellent cornet player capable of playing the solo cornet part.

All parts contain

cues so that the music can be played effectively without the presence of some of the instruments. Criterion No. 2.

Growth and development of the pupil

60 by efficient use of the players time was provided for the string players, solo cornet player, and clarinets players. For the rest of the wind instrument players and drummers there are numerous long rest periods.

The following is a

tabulation of the rest periods for the more common of the wind instruments. Total Instrument measures rest Flute 1-71 1 st trumpet 165 2nd trumpet 272 Trombone ■ 174 Eb Alto Saxophone 131 Bb Tenor Saxophone 243 Drums and Percussion 292

Average per piece 13

13 21 13 10 19 22

Averages have been rounded to the nearest whole measure. Criterion No. 3.

The arranger has included three

cornet or trumpet parts but they do not play as a section. The solo cornet part plays melody while the first and second trumpets are included mostly for color and rhythm.

Only two

saxophone, two clarinet, one oboe, one flute, and one trom­ bone parts were included.

The percussion parts call for

timpani, bass drum, snare drum, cymbal, tamborine, triangle, marimba or xylophone. Criterion No. 4.

No provision for individual

differences was provided for in this collection.

There are

no advanced parts for the accelerate pupil nor are there easier parts for the less experienced. Criterion No. 5.

The arranger has favored string

61 instruments in that they do more of the playing than does the wind instruments section. Criterion No. 6 . this collection.

No original compositions appear in

All pieces are taken from selections by

the masters. Criterion No. 7*

Since these selections are excerpts

from the masters, the music is from many lands including many European cultures. Criterion No. 8 .

Growth and development of the

pupilrs technique is provided for in these arrangements by the use of all of the registers of the instruments. Criterion No. 9*

No full conductors were provided.

The piano-conductor part is cued for the melody and some harmony parts, but there are very few markings to indicate which instrument is supposed to play each part.

This does

not facilitate a satisfactory understanding for the director of the music being played by the various instruments. Criterion No. 10.

The arranger has favored the

natural and sharp keys over those containing flats.

Dis­

tribution of the total number of measures in each key is as follows: Key Number of measures Criterion No. 11.

D 68

G 142

C 320

F 44

Except for two corals, the

selections are of sufficient length in order to be appropri-

62 ate for concerts and programs. Criterion No. 12.

No special program music for

various seasonal occasions has been included in this collection of orchestral materials. Criterion No. 13.

The printing is large and readable.

Criterion No. 14.

The folio is of the standard size

6 7/3 inches by 10 1/2 inches which can be placed safely within most instrument cases. GENERAL EVALUATION As shown in criteria No. 1 these arrangements were written for an orchestra composed mostly of string play­ ers. Because of the long rest periods as shown in criterion number 2 , and because of certain characteristics of criter­ ion number 1 , this collection would not be appropriate for use in all schools for children in grades one to six. "CONCERT TIME" FOR ORCHESTRA An Introduction to Standard Repertoire Compiled, arranged and edited by Robert Crawford Published and Copyright MCMXLIX by Rubank, Inc., Chicago,111. INSTRUMENTATION First Violin A First Violin B First Violin C Second Violin Viola Cello

63 String Bass C Flute First Bb Clarinet Second Bb Clarinet Oboe Bassoon E. Alto Saxophone Bb Tenor Saxophone First Bb Trumpet Second Bb Trumpet Horns (Eb & F) Trombone Baritone Tuba (Eb & BBb) Brums & Percussion Guitar Piano Accordion Piano Conductor Criterion Ho. 1. either strings or winds.

Arrangements may be played with The first trumpet is a melody

part as is the first violin A.

Parts are cued where the

melody is taken by a particular instrument in order that these arrangements may be played effectively by most any combination of instruments. Criterion Ho. 2.

The arranger provided for technical

growth of all players by keeping the players busy. are no long rest periods.

There

All of the instruments play all

of the time. Criterion Ho. 3.

The arrangements stress the utmost

of musical and growth to the pupil by the inclusion of four violin parts; 1st Violin A, B. & C, and second Violin; Viola, Cello and String bass. fare as well.

The wind section did not

(a) 1 st and second trumpets only,

One trombone part is included.

(b)

The cello part, however,

64 has been written in easy trombone range and in many cases could be substituted for the 2nd trombone. double but many are different,

Many notes

(c) The saxophone parts

consist of only one alto saxophone and one tenor saxophone. There is no 2nd or 3rd alto or baritone saxophone, Two clarinet parts were written.

(d)

(e) Percussion parts are

written with rhythm instruments of some kind going on all of the time.

These parts incorporate the use of bass

drum, snare drum, triangle, cymbal, tambourine, and castanets. No bell parts are included. Criterion No. 4.

Little provision for individual

differences is included by way of special parts for the accelerate pupil or easier parts to hold the interest of the less experienced pupils.

Some provision for individual

differences is included in the clarinet parts.

The 1st

clarinet part is a harmony part written entirely in the upper register.

At no time does it go through the middle

or lower register except for two cue notes for the basses. The second clarinet part' is exactly the reverse using only the lower register. Criterion No. 5.

The arranger maintains a very good

balance between the string and wind instruments, since these pieces can be played as effectively without the presence of either.

Keys are well chosen including not.more than one

65 sharp and no more than two flats. Criterion No. 6 .

The selections chosen for this

collection are an assortment of modern compositions and special simplified arrangements of themes taken from the masters. Criterion No. 7.

The musical selections in this

group of orchestral pieces includes excerpts from the works of composers from many lands.

Among these composers are

found bits from Sousa, Strauss, Seitz, Haydn, Beethovan, Brahms, Foster, Tschaikowsky, Canne, Bizet, Hall, Moon, and Widdel.

This wide spread of music from various cultures

is•adaptable to integration, and could be of value to social science and the intercultural programs. Criterion No* 8 .

In arranging these selections the

arranger takes full advantage of the brilliance of the upper register of the violin at the same time keeping the first trumpet below G, the first space above the staff. None of the violin parts go above first position.

This

collection has the unique feature of the first clarinet parts having been written in the upper register only, and the second clarinet in the lower register only.

Some

brilliance was sacrificed by using this combination but there are other advantages to be gained.

Players of less

experience can be used on these lower register parts than could be used on parts that went through the middle from

66 upper to lower register.

Children of less experience may

thereby gain valuable musical experience playing with the orchestra at an earlier date than would be possible with the conventional type of part. Criterion No. 9*

No full score is published for this

collection, the piano-conductor part is adequate for the lead instruments,

cello and flute.

No cues are given to

indicate which notes are to be taken by each instrument ■playing the inside parts.

No percussion is indicated in the

piano-conductors score. Criterion No. 10.

The arranger of this collection

has made an excellent choice of keys for music to be played by young children.

Key signatures containing sharps

have for the most part been avoided.

In the entire

collection, G is the only sharp key used and for only 106 measures.

The following is a tabulation of the keys used

and the number of measures in each key including endings: Key Number of measures Criterion No. 11 .

G 106

C 60

F 443

B 167

These selections are of sufficient

length to be appropriate for programs and concerts.

Most

of them contain a change of key to add color. Criterion No. 12.

No program music is included for

the seasons such as Thanksgiving, Christmas, or Easter. Criterion No. 13.

The printing is large and notes

67 are well spaced to make reading easy for small children. Criterion No. 14.

The size of the folio is about

7 7/8 inches by 10 3/4 inches, which is small enough that it may be put into a three quarter violin case by bending the corners a little bit. GENERAL ANALYSIS Evaluation by means of the criteria indicate that this collection can be played effectively by a combination of either string or wind instruments. players time has been provided.

Efficient use of the

Recognition of individual

differences is included by way of an easier clarinet part. The themes have been taken from master works from many lands. The general analysis of the evaluation indicates this to be an excellent collection of orchestral selections for elementary school musicians. EASIEST ORCHESTRA COLLECTION With Band Parts Compiled and Orchestrated by Rob Roy Peery Copyright 1932 by Theodore Presser Company, 1712 Chestnut St., Philadelphia, Pa. INSTRUMENTATION 1st Violin Solo Violin Violin obligato A Violin obligato B 2nd Violin Viola Cello

68 Bass or Eb Bass Flute Bassoon 1st Clarinet in Bb 2nd Clarinet in Bb C Melody Saxophone or Oboe Eb Alto Saxophone Bb Tenor Saxophone 1st Trumpet in Bb 2nd Trumpet in Bb Trombone (Bass clef) or Baritone Trombone (Treble clef) or Baritone 1 st and 2nd Horns in F 1st and 2nd Eb Altos or Mellophones Tuba Brums Tenor Banjo Piano, four hands Piano (conductor's score) Criterion No. 1.

These arrangements are not adaptable

to the unbalanced orchestra which is not predominately strings. No solo used

Much of the melody is carried only by the violins. cornet part has been included.

No cue notes are

in this collection to help make effective performance

of the pieces possible without the presence of certain instruments. Criterion No. 2.

The arranger has provided for ade­

quate growth and interest of all the players by the efficient use of the players time.

The few rest periods

in these arrangements are of four measures or less. Criterion No. 3* in this collection.

A minimum of parts are included

Only two trumpet, two saxophone, and

two clarinet parts are published.

Percussion parts call

only for the use of snare drum, bass drum and bells.

The

69 string instrument section is quite full containing all of the parts for a complete string ensemble. Criterion No. 4.

Provision for individual differences

are provided in the string section by the inclusion of a solo violin part.

This is a more difficult part containing

notes higher than can be played in first position.

No

easier parts are provided. Criterion No. 5*

The string instruments have been

favored since the first and solo violins are the only parts containing all of the melody, and these instruments are necessary for satisfactory performance of these arrangements. Criterion No. 6 .

The selections are original pieces

composed for young orchestras except for one overture consist­ ing of a medley of Yankee Doodle, Pop Coes the Weasel, and Dixie, and a melody by Haydn. Criterion No* 7.

Except for one selection by Haydn,

no music from other than North American culture is included in this collection. Criterion No* 8 .

The arrangements use the various

registers of the instruments for acoustical effect and growth of the pupils technique. Criterion No. 9*

There is no full conductor’s score.

The piano conductors score gives only the melody line which is not marked to indicate which instruments play it. parts other than melody are indicated in the score.

No This

70 part has not been arranged in sufficient detail to give the conductor a satisfactory understanding of the music being played by the various instruments. Criterion No. 10.

The arranger provides for playing

experience in four different keys. between the sharp and flat keys. F and Bb.

A balance is maintained The keys used are G, C,

Distribution as to the total number of measures

in each key.is as follows: Key Total number of measures Criterion No.

G 214

C 230

F 2

Bb 2

6

11. The pieces in this collection are

of sufficient length to be suitable for programs and concerts. Criterion No.

12. No appropriate programs music for

the various seasons is included in this collection. Criterion No.

13. The printing is large and readable.

Criterion No,

14. The size of the folio is 6 7/&

inches by 10 l/2 inches which can conveniently be placed in most instrument cases for safe keeping. GENERAL ANALYSIS The stronger points as indicated by the criteria seem that the players are kept busy by the inclusion of very few rest periods.

Provision for individual differ­

ences is provided for the accelerate pupil by the inclusion of a solo violin part.

71 The outstanding weak points are found in criterion numbers 1 and 5.

Since these arrangements can be played

effectively only by orchestras containing a strong string section, they would not be adaptable for use in many elementary schools. EXHIBITION ORCHESTRA' FOLIO Compiled and Arranged by E De Lamater Copyright MCMXXXI by: Rubank, Inc., Chicago, 111, INSTRUMENTAT ION 1st Yiolin A 1st Yiolin B 2nd Yiolin 3rd Yiolin Yiola Cello Bass Flute in C Piccolo in Db First Bb Clarinet Second Bb Clarinet Alto Clarinet Solo Bb Cornet First Bb Trumpet Second Bb Trumpet Trombone Bass clef Trom or Bariton, T, C, Baritone-Bass clef Soprano Saxophone Eb Alto Saxophone Bb Tenor Saxophone Oboe or C Melody Saxophone Bassoon Horns in Eb Horns in F Tenor Banjo Tuba Brums Piano Criterion No. 1.

These orchestrations are adaptable

72 to the unbalanced orchestra that may not be predominately string instruments by the inclusion of a solo cornet part in the wind instrument section.

No cue notes are used in

this collection. Criterion No. 2.

Growth of the player by efficient

use of the players time is provided in most of the parts. The trumpet parts, however, contain a number of rest periods of from one to eight measures in length. Criterion No. 3•

Three trumpet parts are included

but they do not work as a section.

Much of the first

trumpet part doubles lead with the solo cornet part. saxophone, and two clarinet parts are included.

Two

The string

instrument section is quite full and could be used for string ensemble combinations.

Drum parts include the use of snare

drum, bass drum, wood block, gong, tom-tom, cymbal and bells. Criterion No. 4.

No provision for individual

differences is provided in this collection.

The solo

cornet is a melody part but not a more advanced part than are the other two trumpet parts. Criterion No. 5.

The arranger has maintained a

balance between the string instruments and wind instruments and the pieces can be played effectively without the presence of one or the other. Criterion No. 6 .

All pieces in this collection are

73 original compositions written especially for orchestras composed of small children* Criterion No. 7.

No selections other than American

have been included. Criterion No. 8 .

The arrangements use the various

registers of the instruments to advantage both for the acoustical effect and for the growth of the pupils tech­ nique. Criterion No. 9*

No full score is provided.

The

piano part contains melody cues only with no markings to indicate which of the instruments play them. Criterion No. 10.

The arranger has used only three

keys and has favored the natural and flat keys.

Distri­

bution as to the total number of measures in each key is as follows: Key Total number of measures Criterion No. 11.

C 391

F 319

Bb 279

The selection in this folio are of

sufficient length to be appropriate for programs and concerts. Criterion No. 12.

No appropriate program music for

seasonal events is included in this collection. Criterion No. 13.

The printing is large and readable

but the measures have been pushed so close together that in many of the pieces the page appears cluttered.

74 Criterion No. 14.

The size of the folio is 6 7/#

inches by 10 1/2 inches which may be placed conveniently in most instrument cases for safe keeping. GENERAL EVALUATION Inasmuch as this collection can be played by most any combination of string or wind instruments it would be appropriate for use in the average elementary school.

This

Collection has no outstandingly good points nor are there any special weaknesses.

Evaluation on the basis of the

criteria would indicate that this collection would be an asset to the elementary school instrumental music depart­ ment . FOX MUSICAL MOMENTS FOR ORCHESTRA VOL 1. Sam Fox Publishing Company, RCA Building, Radio City, N.Y. All Compositions Arranged by Mathew Lake Copyright MCMXLV by Sam Fox Pub. Co., New York, N.Y. INSTRUMENTATION First Violin (A) First Violin (B) First Violin (C) Second Violin Third Violin (In absence of Viola) Viola Cello Bass and Tuba Flute Oboe 1st Clarinet 2nd Clarinet Bassoon

75 1st Saxophone (Eb Alto) 2nd Saxophone (Bb Tenor) 3rd Saxophone (Eb Alto) 1st Trumpet (Bb) or Cornet 2nd Trumpet (Bb) or Cornet 3rd Trumpet or Cornet 1st & 2nd Horns in F lst'& 2nd Horns in Eb (Eb Altos or Eb Saxophones) 1st Trombone (B.C.) 2nd Trombone (B.C.) 1st & 2nd Trombones (T.C.) Drums and Vibraphone Piano Accordian Piano-Conduetor Criterion No. 1 .

These arrangements were written

primarily for a full orchestra predominately of string instruments.

The parts are so cued that the music is

effective if the orchestra does not have all of the instruments, but more attention has been given to the cueing of the harmony or counter melody parts than has been given to the lead or melody parts. cornet or solo clarinet part.

There is no solo

All necessary melody cues

are in the first violin (A) part but have been omitted at least in part from the first cornet and first clarinet parts.

Therefore, it is essential that the orchestra be

so fortunate as to have a strong string section to effectively play these very colorful arrangements. Criterion No. 2.

Growth of the players by good

use of the pupils time is assured for those playing the first parts.

For those playing other than first parts

there is a great deal of sitting and counting measures.

76 As an example, the total number of measures rested in the first trumpet parts is 59 or an average of about five in each piece.

The total for the second trumpet is 281 for an

average of 23 measures rest in each selection. Criterion No. 3.

The instrumentation is very full

including: 3 Trumpet parts

1st and 2nd trombones 3 Saxophone parts 2 Clarinets Percussion parts include many rhythm instruments plus vibraharp, bells and chines. These parts are not written for many participants as only two or three instruments play at one time. 1 Flute and 1 oboe part are included. Criterion No. 4. differences.

No provision is made for individual

There are no advanced parts nor easier parts.

Criterion No. 5.

The arranger favors string

instruments slightly inasmuch as these arrangements can be played with a strong string section without necessarily a balanced wind section. An unbalanced wind section however cannot play these selections effectively without a string section. Criterion No. 6 .

The selection of pieces has been

chosen from original compositions written to the abilities and interests of children.

Excerpts of folk music are

introduced in the form of novelties. Criterion No. 7.

Only themes from North American

77 cultures are included in this collection. Criterion No. £.

The arranger uses the registers of

the instruments to advantage keeping in mind the limitations of players.

The 1st violin A is written as high as possible

within the limits of 1st position.

The clarinets use the

upper and lower register but do not go into the high or 3rd register.

The trumpets do not go above G and this note

appears only once. Criterion No. 9*

Piano-conductor*s score is well

marked to give the director a satisfactory understanding of the content of the composition.. Criterion No. 10. A, D, G, C, F and B.

Several keys are used including

The arranger has favored the flat

keys for a total of 476 measures as to 162 measures for the sharp keys.

240 measures are in the key of C.

contain at least one change of key.

All selections

Distribution of the

number of measures in each key are as follows: Key Key Key Key Key Key

of of of of of of

A, D, G, C, F, Bb,

16 8 136 240 322 154

Measures Measures Measures Measures Measures Measures

Criterion No. 11.

These selections are of sufficient

length to be used for.school programs and concerts. Criterion No. 12.

No appropriate program music for

the seasons is included in this collection.

7a Criterion No. 13.

The printing is large and readable,

but in many parts, especially in the violins, the inclusion of cue notes causes the page to appear cluttered. Criterion No. 14.

The folio is of standard size,

6 7/a inches by 10 l/2 inches, and will fit into most instrument cases for safe keeping. GENERAL ANALYSIS Outstanding in this collection is the fullness of orchestration by the inclusion of parts for many different instruments. Some outstanding weaker points are: 1.

The arrangements cannot be played effectively by

orchestras that do not contain a balanced combination of string and wind instruments or else a strong string instru­ ment section. 2.

There are many rest periods for those pupils

playing other than the first parts.

3.

Concert keys containing three sharps put some

of the wind instrument players in the key of six sharps. General analysis indicates that in view of these weaker points, this collection would not be suitable for use in all elementary schools.

79 FOX YOUNG- AMERICA Orchestra Folio Vol. 1 Copyright MCMXXXVT by Sam Fox Publishing Co., Cleveland, Ohio Arranged by I. S. Zamenick INSTRUMENTATION 1st Yiolin (A) 1st Yiolin (B) 1st Yiolin (C) 2nd Yiolin Yiola Cello Bass and Tuba Flute 1st Clarinet (Bb) 2nd Clarinet (Bb) 1st Trumpet (Bb) 2nd Trumpet (B b ) 3rd Trumpet (Bb) 1st Trombone (Bass clef) 2nd Trombone (Bass clef) 1st & 2nd Bb Trombones (treble clef) 1st Saxophone (Eb Alto) 2nd Saxophone (Bb Tenor) 3rd Saxophone (Eb Alto) Guitar or Tenor Banjo Oboe (or C Melody Saxophone) 1st & 2nd Horn in F 1st Sc 2nd Eb Altos Bassoon Drums Piano accompaniment Criterion No, 1,

These arrangements are not adaptable

to the unbalanced orchestra that may not be predominately strings in that there is no solo or melody part in the wind section.

The melody is always somewhere in the wind section

but jumps around from one part to another in such a manner that the effectiveness is lost without a well balanced section. Except in the 1st Yiolin A and cello, the parts have not been

cued therefore the music is not as effective without the presence of certain instruments. Criterion No. 2.

Adequate growth and development

of the pupil by efficient use of the players time was provided in the string and reed instrument sections, but in the brass instrument and percussion sections there are many rest periods of various lengths up to thirty five measures. Criterion No. 3 .

These arrangements have stressed

the utmost in musical value and growth to the pupil by the inclusion of three trumpet parts, 1 st and 2nd trombone parts, and three saxophone parts.

Only two clarinet parts,

one oboe and flute part were included.

The drum parts

include the use of bass drum, snare drum, tom-tom, wood block, triangle cymbal and bells.

No timpani part was

included. Criterion No. 4 .

No provision for individual

differences was made in the orchestration of these selec­ tions.

No advanced parts for the accelerate pupils were

included, nor were there easier parts to hold the interest of the less experienced. Criterion No..3.

The arranger has favored the string

section in that the 1st violin A is the only instrument that carries the melody all of the time and is therefore quite essential to satisfactory performance.

The arrange­

ments can be played effectively with strings only, but not with winds unless there is a well balanced section. Criterion No. 6 .

-

The pieces in this collection are

original compositions written for children’s orchestras. Criterion No. 7.

Original melodies descriptive of

American Indian, Chinese, and Swiss alpine music are included in this collection. Criterion No. S.

Growth of the pupils technique

was provided by the use of all of the easier registers of the instruments.

Violins do not go above 1st position.

The trumpet parts do not go above F$. Criterion No. 9-

No full conductors score was

included in this collection.

The piano-conductors score

contains melody cue notes only. than the melody are shown.

None of the parts other

Cues are not marked to denote

which instrument plays these melodies. Criterion No. 10.

To give the pupils playing

experience in a number of different keys, the arranger has used four keys in this collection.

Most of the pieces

contain a change of key within the composition.

Flat keys

have been favored slightly over the natural and sharp keys Distribution as to the total number of measures in each key is as follows: Key Number of measures

C 113

C 174

F 406

Bb 132

Criterion Ho. of sufficient length

11.The pieces in this collection are to be appropriate for programs and

concerts. Criterion No. 12.

No appropriate music for seasonal

programs such as Thanksgiving, Christmas, Easter or gradua­ tion has been included. Criterion No.

13.

The printing is large and readable

Criterion No.

14.

The folio is 6 7/8 inches by 10

1/2 inches, which can conveniently be placed in most instru­ ment cases for safe keeping. GENERAL ANALYSIS The strong* characteristics of this orchestral collection as indicated by the criteria are as follows: 1.

The instrumentation for this collection is very

full including different parts for a large number of players 2.

Music from such cultures as Indian, Chinese,

and Swiss alpine are included.

3.

Keys are well chosen.

The weaker characteristics

are:

1.

not adaptable to

These arrangements are

be

played by the unbalanced orchestra which may not be predomi­ nately composed of string instruments. 2. section.

Cue notes are omitted

from the wind instrument

£3 3.

Efficient use of the players time is not

provided in the brass instrument and percussion sections.

4.

No provision for individual differences is

included. 3.

The piano conductor’s score is inadequate.

General analysis reveals that in view of the weaker characteristics, this collection could be played effective only by elementary schools with large well balanced orchestras predominately composed of string instruments. JUNK ENTS JUNIOR ORCHESTRA BOOK With Band Parts Arranged. .by W. D. McOaughey Copyright MCMKKXIY by Jenkins MusiG Company, Kansas City, Mo. INSTRUMENTATION 1st Violin (A) 1st Violin (B) 1st Violin (c) . 2nd Violin Viola Viola Obligato Cello String bass C Flute Oboe 1st Bb Clarinet 2nd Bb Clarinet Bassoon Solo Bb Cornet 1st Bb Trumpet 2nd Bb Trumpet Horns in F Horns in Eb Trombone B C Trombone T C Baritone B C Baritone T C

84 C Soprano Saxophone Bb Soprano Saxophone Eb Alto Saxophone C Melody Saxophone Bb Tenor Saxophone Alto Clarinet Tuba or 2nd Cello Drums Piano accompaniment Piano Solo (conductor) Criterion No. 1.

These arrangements can be played

effectively by an unbalanced orchestra that may not be predominately strings by using the solo cornet part.

Since

1st violin (A) and solo cornet carry the melody all of the time, satisfactory presentation of these compositions can be made with a cornet or violin and piano up to, and includ­ ing any combination of players.

The other instruments

occasionally double on the melody for short passages but for the most part play straight harmony, rhythm, or em­ bellishments.

Pew cue notes are needed because the melody

is all in the 1st violin (A) and solo cornet parts. Criterion No. 2.

Growth and development of the pupil

by keeping the players playing all of the time is assured in most parts.

There are some long rest periods twelve

measures in 1 st & 2nd trumpet parts and percussion parts. Criterion No. 3.

Three trumpets parts were included

in these arrangements but the solo part often doubles lead with the 1st trumpet.

Only one alto saxophone, flute, oboe,

and trombone part are included.

No solo or 3rd clarinet

35 are included.

The string section is full enough that these

arrangements can be played effectively by a string ensemble. The percussion parts include the use of timpani, bass drum, snare drum, tom-tom, triangle, cymbals, bells, castenets, wood block and gong.

A large'number of players can be

used on these parts. Criterion No. 4*

No provision for individual differ­

ences was made in this collection. part.

There is no advance violin

The solo cornet part is a melody part but not more

difficult in range or execution than the 1 st or 2nd part. No easier parts are included. Criterion No. 5. balanced between strings

The arranger has maintained a and winds and can be

played

effectively by either group without the presence of the other.

For example, most of the harmonies embellishments

and figures played by the wind instrument can be found in the lower string parts. Criterion No. 6 .

All of the pieces in this collection

are original compositions written for school orchestras. Criterion No. 7.

An original Chinese characteristic

and an original Mexican Serenade are included in this collection.

All others are North American.

Criterion No. 8 .

Effective use of all of the

registers of 1st position is found in the 1st and clarinet parts.

violin (a)

The trumpet parts are quite low, the

86 1st trumpet going up to D in only one selection and the solo cornet to a G in the same selection. Criterion No. 9.

No full score was provided in this

collection but the piano conductors score contains suffi­ cient melody cues.

Harmony parts are not cued nor are there

marks to indicate which instrument plays each part.

A

separate piano accompaniment is provided. Criterion No. 10.

The arranger has avoided the use

of sharps by writing only in the keys of G, F and Bb.

All

but one of the selections contain at least one change of key.

Distribution by measures in each key is as follows: Key Number of measures Criterion No. 11.

C 394

F 458

Bb 171

All of the selections in this

collection are of sufficient length to be appropriate for use in programs and concerts. Criterion No. 12.

This collection contains no music

appropriate for Thanksgiving, Christmas, or Faster but does contain a selection which could well be used as a graduation march. Criterion No. 13.

The printing is large and readable.

Criterion No. 14.

The folio is 6 7/8 inches by

10 1/2 inches, which will fit into most instrument cases to safeguard against loss or damage.

87 GENERAL ANALYSIS The more favorable aspects of this collection as determined by the criteria are as follows: 1.

The arrangements may be played by groups that

may not be predominately string instruments by the inclusion of a solo cornet part in the wind instrument section. 2.

Efficient use of the players time is provided.

3*

Some pieces written in the mode of other than

American culture are found in this collection. 4.

The arranger has maintained a balance between

string and wind instruments. 5.

Program music appropriate for graduation is

included. Less favorable aspects of this collection are as follows: 1.

There is no provision for individual differences.

2.

Higher register of trumpets are not used.

3.

Piano conductors score is not marked nor cued

in sufficient detail. General analysis favors the strong points over the weak points and would indicate this to be an excellent orchestral collection for elementary school orchestras.

BB OUR OWN ORCHESTRA FOLIO Selected and Arranged by Lorrain E. Watters Copyright 1942 by Carl Fischer, Cooper Square, Hew York, N.Y. INSTRUMENTATION Piano conductor Advanced Yiolin (ad lib) 1st Yiolin A 1st Yiolin B 2nd Yiolin 3rd Yiolin (Yiola Treble clef) Viola Cello Bass Flute Oboe 1st Clarinet Bb 2nd Clarinet in Bb Bassoon 1st Trumpet in Bb (cornet) 2nd Trumpet in £b (cornet) 1st & 2nd Horns in F 1st & 2nd Horns in Eb (Altos) Substitute for F Horns Trombone (Baritone) Tuba Percussion Eb Alto Saxophone (ad lib) Bb Tenor Saxophone (ad lib) Criterion No. 1. solo part

Since these arrangements include no

in the wind section, they

a groupwith a strong

would bebestplayed

1st violin section.

In some

by

of the

pieces, the melody skips around from one part to another in the wind instrument section in a manner that would make them playable only by a wind instrument section containing most of the instruments.

Many cues are included, but not

extensively enough that all of the arrangements could be

S9 played with a small unbalanced combination.

The "Seventh

Symphony", for example, would not be very effective if played by a combination consisting of four alto saxophones, five trumpets and one violin. Criterion No. 2.

The arranger provided for growth

and development of the player by efficient use of the players time.

Rest periods for as long as six measures

appear in the brass.

The flute part has rests up to 13

measures. Criterion No. 3* minimum of parts.

These arrangements contain a

There is no 3rd trumpet, 3rd or 4th

saxophone, 2nd trombone, 2nd flute or oboe.

The string

section has adequate parts so that these arrangements could be effective with a string ensemble.

The percussion

parts call for the use of timpani, bass drum, snare drum, cymbals, triangle and bells. Criterion No. 4.

Provision for individual differences

are provided for the accelerate violin pupils by the in­ clusion of an advanced violin part.

No easier parts are

included. Criterion No. 5.

The arranger has favored strings

to some extent over winds in that the 1st violin A and advanced violin are the only parts that carry the melody all of the time.

90 Criterion No. 6 .

The selections were taken from

many well known compositions of the masters plus traditional and folk music.

No original pieces were included.

Criterion No. 7.

The selections were taken from

several cultures so the pieces would integrate with social science and inter-cultural programs. Criterion No. 8 .

With the exception of the 2nd and

3rd violins the arrangements make use of the various registers of the instruments to advantage both for acoustical effect and for the growth of the pupils technique. Criterion No. 9*

No full conductors score is

provided, but the piano conductor part has sufficient cues and markings to give the director a satisfactory under­ standing of the music. Criterion No. 10.

The arranger has used four keys

in this, collection and has favored the keys of C and F. Distribution as to the number of measures in each key is as follows: Key Measure Criterion No. 11.

C 66

C 220

F 143

Bb 29

Ten out of the fourteen selections

in this folio are of sufficient length to be played on concert programs. Criterion No. 12. included.

Little seasonal program music was

The March of the Crusaders can, however, be used

91 as an appropriate selection for Christmas programs. Criterion No. 13 .

The printing is large and readable.

Criterion No. 14.

The book is of the standard folio

size, 6 7 /S inches by 10 l /2 inches. GENERAL ANALYSIS The more favorable characteristics as indicated by the criteria are as follows: 1.

Many of the pieces in this collection can be

played by an orchestra that may not be predominately com­ posed of string instruments. 2.

Efficient use Of the players time is provided.

3.

Provision for individual differences is in­

cluded in the violin section.

4. 3.

Music is from several cultures. Piano conductors score is sufficiently marked

and cued. 6.

This collection contains a Christmas Hymm.

Less favorable characteristics are that this collection is not instrumented very fully by the inclusion of solo parts in the wind instrument section. General analysis would indicate that, in spite of the less favorable characteristics, these arrangements are for the most part excellent for young orchestras.

92 SYMPHONETTE ORCHESTRA FOLIO-VOL. 1 Arranged by S. De Lamater Copyright MCMXXXV by Eubank, Inc., Chicago, 111. INSTRUMENTATION 1st Yiolin A 1st Yiolin B 1 st Yiolin C Second Yiolin Yiola Cello Bass Flute 1st Bb Clarinet 2nd Bb Clarinet Solo Bb Cornet 1st Bb Trumpet 2nd Bb Trumpet Trombone (Bass clef) Baritone (Bass clef) Eb Alto Saxophone Bb Tenor Saxophone Oboe or C Melody Saxophone Bassoon Horns in Eb and F Guitar Tuba Drums Piano Criterion No. 1.

These arrangements are well adapted

to the unbalanced orchestra that may not be predominately string instruments by the inclusion of Melody or lead parts in the wind instrument section.

Not only is there a solo

cornet part but the alto saxophone also is mostly a melody part.

Parts are so completely cued that these arrangements

can be played effectively with most any combination of instruments.

Criterion No. 2.

The arranger provides for adequate

93 growth of the players by efficient use of the players time in all of the lead or melody parts.

In the second trumpet,

trombone and flute parts there are several long rest periods.

This does not make for good acoustieal effect

because it leaves only the melody parts playing much of the time. Criterion No. 3*

Much more could have been done to

increase the musical value of these arrangements by the inclusion of more parts to increase the fullness of the orchestra.

Three trumpet parts are included but the solo

trumpet doubles melody with the first trumpet much of the time. cluded. part.

Only two saxophone and two clarinet parts are in­ There is only one flute, oboe, and trombone The string instrument section is very complete

including four violin parts, viola, cello, and bass. The drum part incorporates the use of bass drum, snare drum, cymbal, triangle, bells, and vibraphone. Criterion No. 4. individual differences.

Little provision is made for There is a solo cornet part which

is more difficult than the music written for the first and second trumpets. Criterion No. 3.

The arranger has maintained a balance

between the string instruments and the wind instruments by including melody in several of the wind instrument parts. Criterion No. 6.

The pieces are a mixture of

94 selections from folk music, excerpts from operas, symphonies, and origin compositions for young orchestras. Criterion No* 7.

The material in these arrangements

includes selections from several European and American cultures. Criterion No. 8 .

The arrangements use all of the

registers of the instruments both for acoustical effect and growth of the pupils technique. Criterion No. 9*

There is no full conductors score.

The piano score is cued with melody and harmony parts, but there are no markings to indicate which instrument or in­ struments should be playing each part.

Not enough detail

is given to give the director a satisfactory understanding of the music being played. Criterion No. 10.

The arranger provides for playing

experience for the pupils in four different keys.

The

natural and the keys containing flats have been favored. Distribution as to the total number of measures in each key is as follows: Key Total number of measures Criterion No. 11.

C 295

F 248

Bb 213

Eb 41

The selections in this folio are

of sufficient length to be suitable for programs and concerts. Criterion No. 12.

No program music suitable for

seasonal occasions such as Thanksgiving, Christmas, Easter, or graduation.

95 Criterion No. 13.

The printing is large and readable.

Criterion No. 14.

The size of the folio is 6 7/8

inches by 10 l/2 inches -which can be conveniently placed in most instrument cases for safe keeping. GENERAL ANALYSIS The stronger points of this collection as indicated by review of the criteria are that the arrangements can be played effectively by an unbalanced combination.

Individual

differences have been provided for in the trumpet section. The pieces are from several cultures and master composers. The weaker points as indicated are that the arrange­ ments do not have enough harmony parts which is amplified by long rest periods in those parts which have been provided. The piano score is inadequate to serve also as a conductors score. Inasmuch as this collection can be played effectively with many combinations of players it would be an asset to the instrumental music department. SUMMARY In this chapter eighteen elementary school orchestral materials were evaluated by means of the fourteen criteria enumerated in Chapter III. A brief summary of the general analysis indicates

96 that little provision has been made for the unbalanced orchestra, efficient use of players time, individual differences, special program music, or for adequate piano conductor*s scores. Adequate provision was made for the inclusion of music from many cultures, the use of the registers of the instruments, the use of several keys, and for large printing in the score. Twelve orchestral collections were found suitable to be played by elementary school orchestras.

CHAPTER V SUMMARY, CONCLUSIONS AND RECOMMENDATIONS The problem.

The purpose of this study has been to

make a survey of eighteen elementary school orchestra folios to be played by children from grades one to six in the San Diego City Elementary Schools, and to evaluate these orchestral collections by means of criteria that conform to the most modern concepts of music education and to the particular problems of that school district.

A

further and more specific purpose has been to determine by this comparison certain basic trends and needs in elementary school orchestral music, and to segregate such material that through lack of foresight of the arranger is not adaptable to changing conditions. Methods of procedure.

In order to attempt an objective

scientific analysis of elementary school orchestral materials for grades one to six, a number of criteria had to be established to function as a standard of measurement. Because this study was made in the hope of aiding elementary school orchestra teachers in the San Diego City School District, it was necessary that the standards of measurement be compiled by those most familiar with the particular problems of that district.

It therefore

98 seemed fitting that these criteria be established by the director of music of the San Diego City Schools, in collaboration with the teaching staff of the elementary school instrumental music department. Modern concepts of music education were determined by means of a study of authoritative material in the field of music education.

In the light of these concepts, and

as the result of discussion of various teaching problems at departmental meetings, fourteen criteria were selected by the Director of Music to be used as a standard for evaluating elementary school orchestral materials. Eighteen orchestral collections were selected for evaluation by the investigator with the aid and recommenda­ tions of a large music dealer and distributor.

Since many

good collections of orchestral materials are needed, no attempt has been made to rate any collection as the best. The segregation of unsuitable materials has been stressed. SUMMARY OF FINDINGS In this chapter section the findings of the thesis are summarized in the order presented by chapters. Basic trends in elementary school music education, disclosed by.the investigators survey of library materials are as follows:

1.

There is an increased popularity of bands.

99 2.

A marked increase of wind instruments and a

decline in the string instrument section is felt in the .elementary schools.

3.

Orchestras no longer contain any combination

of instruments in balanced proportions. 4.

There are more players with a wider variation

of ability. 5.

Participation in an instrumental group should

not be limited to the talented few. Basic music educational needs as disclosed by the investigators survey of library materials are as follows: 1.

Materials are needed that make greater provision

for the unbalanced orchestra that may not be predominately composed of string instruments. 2.

Materials are needed to include more provision

for individual differences to provide for greater -variances in the playing skills of the pupils. A recapitulation of all orchestral materials surveyed as evaluated by each criterion is as follows: Criterion No. 1.

In eleven of the collections

surveyed the arrangements can be played by an unbalanced orchestra.

In ,three collections, part of the selections

can be played.

Four of the collections were found unadapt­

able to the unbalanced group.

Ten collections are well cued,

two are partly cued, and six are not cued.

100 Criterion No. 2.

Eleven of the collections provide

for efficient use of the players time.

Seven collections

contain long rest periods. Criterion No. 3*

Only three of the eighteen orchestral

collections contain complete instrumentation. Criterion No. 4. differences was found, violin or cornet parts, Criterion N o . 5•

Little recognition of individual light collections contain advanced lour contain easier clarinet parts. I& eleven of the collection, the

arranger maintains a balance between string and wind instru­ ments.

In seven of the folios, strings are favored. Criterion No. 6 .

Seven collections are excerpts

from the master composers.

Two are a combination of

original and master works, and nine are original melodies written for young orchestras. Criterion No. 7.

Fifteen of the eighteen collections

contain music from other than American cultures. Criterion No. 8 .

Sixteen collections provide for

growth of pupil technique by the use of the various registers of the instruments. Criterion No. 9. found.

No full conductors scores were

Nine of the piano conductors scores are inadequate

to give the director a satisfactory understanding of the music being played.

Criterion No. 10.

Tabulation of the total number of

101 measures used In eaoh key reveals that the arrangers have favored the flat keys by the following amounts: Key A D

Total number of measures 16 178

a

2196

C

4319

F

5246

Bb lb

2766 225

Criterion No. 11.

In seventeen out of the eighteen

collections the pieces were found to be of sufficient length to be suitable for programs and concerts. Criterion No. 12.

Appropriate music suitable for

special programs such as Thanksgiving, Christmas, Easter and Graduation were found wanting. Criterion No. 13.

In all but one collection the

printing was found to be large and readable. Criterion No. 14.

Sixteen out of the eighteen folios

were found to be small enough to fit into most instrument cases. A summary of the general analysis given at the end of each collection of orchestral materials evaluated, in­ dicates the basic needs have not been met by the arrangers of materials for elementary school orchestras as follows: 1.

Arrangers have not kept up with basic trends by

providing for the marked increase of wind instrument players, nor has adequate provision been made for the unbalanced orchestra.

102 2.

Arrangers have not met the basic trends by pro­

viding for more players with a wider variation of ability by means of the inclusion of more difficult parts to hold the interest of the accelerate pupils, and the in­ clusion of easier parts for the less experienced pupils. Of the eighteen collections evaluated, twelve were found suitable to be played by most elementary school orchestras. RECOMMENDATIONS On the basis of the findings of this study, the following recommendations are presented: 1.

There is a need for more elementary school

orchestral materials adaptable to the unbalanced orchestra that may not be predominately composed of string instru­ ment s , 2.

There is a need for more arrangements that pro­

vide maximum interest and growth of the pupils technique by efficient use of the players time.

More interest and

growth should be provided for pupils who come to orchestra to play and not to sit and count measures of rests. 3.

More complete instrumentation is needed

especially in the wind instrument section by the inclusion of third and fourth parts for certain instruments.

These

arrangements should convey to the child that he is part of

103 a team by orchestrating parts to work as a section*

This

includes the use of identical rhythm patterns for each instrument in a particular section.

In this field the

arrangers of school orchestra music might well take a few tips from the modern dance band arrangers who are master technicians in the art of creating interest. 4.

There is need for recognition of individual

differences by the inclusion of parts for the accelerate pupil who may play an instrument other than the violin or cornet.

It does not always follow that a child who

loves music or loves to play in instrument is necessarily talented.

If easier yet interesting parts were provided

for these less talented boys and girls the advantages to be gained by participation in orchestral groups could also be enjoyed by these pupils. 5.

There is also a need for more complete piano

conductors scores, adequately cued for melody and harmony parts and marked in sufficient detail to give the director a satisfactory understanding of the music being played by the different instruments.

6.

More special program music is needed especially

for Christmas where the orchestra is often an integrated part of the Christmas pageants.

BIBLIOGRAPHY

BIBLIOGRAPHY A* BOOKS Birge, Edward B ., History of public . School Music in the United States. Boston; Oliver Ditson Company, 1928. 295 PP. An excellent history of the development of music in the public schools. California,- Dept, of Education, Music Education in the Elementary School. Compiled by the committee on Music Education in the elementary School. Sacramento, California: 1939. 152 pp. A plan for a comprehensive program of music education in the elementary schools. Cubberly, llwood P., Public Education in the United States. Boston: Houghton Mifflin Company, 1934, 782 pp. A study and interpretation of American educational history. Dewey, John, Democracy and Education. McMillan Company, 1933. 434 PP.

New York:

The

A testbook on the philosophy of education* Gallo, Stanislao, The Modern Band. and Company, 1935. 165 pp.

Boston:

C. C. Birchard

A treatise on wind instruments, symphony bands, and military bands. Mursell, James L., Music in American Schools. Silver Burdett Co., 1943. 312 pp.

New York:

A textbook for methods and philosophy of music education. Righter, C. B., Success in Teaching School Orchestras and Bands. Minneapolis: Paul A. Schmitt Music Co., 1945. 211 pp. A textbook on the methods of teaching orchestras and bands.

106 B.

PERIODICAL ARTICLES

Brown, C. W . , "Preparatory Bands in the Grade School," Music Educators Journal, 29:16, February, 1943* Stresses the importance of including grade school instrumental music in the curriculum. Chenoweth, Gene, "Shall We Save the Orchestras," Music Educators Journal, 26:14, May, 1940. Stresses the desirability and methods that can be used by teachers and colleges to effect an increase in string instrument playing. Cheyette, Irving, "The educational Values of Instrumental Music", Education, pp. 5^3-572, May, 1941. Discusses values of instrumental music training in terms of social benefits, community spirit, enriched home life, health advantages, recreational advantages, economic value, and professional opportunities. Cheyette, Irving, "Course of Study in Instrumental Music," Educational Music Magazine. 22:10-11, January, 1943. A course of study designed to aid the classroom teacher who must teach her own instrumental music. Church, Norval L . , "Present Practices and Needs in the Field of Elementary School Instrumental Music", A symposium, Music Educators National Conference. Yearbook. '1939-40. p p . 228-36. A comparative study of orchestras in fifty five cities in 34 states as to size of orchestra, time allotted, and equipment. Gerhrkens, Karl W., "A Page or Two of Opinion", Educational Music Magazine. 27:£-9, January-February,.194$. Expresses the opinion that in the course of a few years, grade school music will consist of a combina. tion of playing, singing, listening, and creating instead • of just singing.

107 Hannen, Helen M., "Instrumental Classes, Bands, and Orchestras In the Elementary Schools," Music Educators National Conference Yearbook, 1938, pp. 301-305. Discusses the importance of establishing criteria for use by music educators in the selection of teaching materials. A list of criteria is given. Kerslake, Victor, "I Donft Want to Practice", Parents Magazine, 19:27 March, 1944. Discusses methods of increasing efficiency and re­ ducing drudgery by effective use of practice time. Neal, B. N., "The Place of Instrumental Music in the Grades” , Texas Outlook 24:51? October, 1940. Emphasizes the importance of playing instrumental music as a means of building a better life and wider person­ ality for the pupil. Bevelli, William D., "Music Educator Meets the Music Dealer", Etude 65:498, September, 1947. Discusses the values of having teachers familiarize themselves with the available publications. Schneider, M. F., "Music for Every Child— Every Child for Music", Educational Music Magazine 21:19, March, 1942. Stresses the value of beginning instrumental music training and group playing as young as five years of age to develop harmony consciousness, group responsi­ bility, social adjustment. Shuck, Lenel, "An Experiment in Instrumental Music," Music Educators National Conference, Yearbook. Chicago, 1938, pp. 310-313. An experiment performed in the College Elementary School in Fresno, California. Elementary school children were picked for in school instrumental training on the basis of physical characteristics and pitch perception. Wilson, George C., "Instrumental Music in the Grades", Music Educators National Conference, Yearbook. Chicago, 111., 1937, PP. 293-294.

108

Stresses the importance of pre-instrumental study in the pre-school age child through kindergarten and primary grades in the foxrn of rhythm instruments* Real instrumental training is recommended at the fourth grade. C.

UNPUBLISHED MATERIALS

Forsblad, Arthur Conrad, "A Study of group Methods in Band Instruction.” Unpublished Master’s thesis, University of Southern California, Los Angeles, 1935. 95 PP. A survey and evaluation of *fifteen method books for band instruction in the Junior and Senior High Schools in Fresno County. Howe, Harold Byron, "An Evaluation of Ten Band, Books of Technical Exercises” i Unpublished Master’s thesis, University of Southern California, Los Angeles, 1937. 125 pp. A survey and evaluation of ten band technical method books for advanced band using selected criteria set up by authorities in the field of instrumental music. Johnson, Valdemar N. L., ”An analysis of Method Books for Teaching Stringed Instrument Classes in the Public Schools.” Unpublished Master’s Thesis, University of Southern California, Los Angeles, 1942. 159 pp. A study to search for and to analyze newer and better string class teaching materials. Lewison, E. M., ”A Comparative Study of Certain Class Piano Methods,” Unpublished Master’s Thesis, University of Southern California, Los Angeles, 1933. 190 pp. A study evaluating ten piano class methods in a general way according to aims, organization, appearance, course content, method of approach and supplementary aids of devices to instruction.

APPENDIX

APPENDIX COMPLETE LIST OF MATERIALS EVALUATED Ability Orchestra Folio. Selected, arranged, and edited by Robert Crawford. Copyright MCMXLVIII by Rubank Inc., Chicago, 111. A collection of original compositions written for children’s orchestras. Achievement Orchestra Folio. Vol. 1 . Selected and arranged by Merle J. Isaac. Copyright 193& by Carl Fischer Inc., Cooper Square, New York, N. Y. A collection of original compositions for young orchestras. Activity Orchestra Folio Selected and arranged by Merle I. Isaac, M. A. Copyright 1939 by Carl Fischer Inc., Cooper Square, New York, N. Y. A collection of original compositions for young orchestras. Advancement Orchestra Folio Selected and arranged by Merle I. Isaac., M. A. Copyright 1941 by Carl Fischer, Inc., Cooper Square, New York, N. Y. A collection of light classics for young orchestras. All Popular Orchestra Folio Compiled and arranged by C. Paul Herfurth. Copyright 1939, by The Boston Music Co., Boston, Mass. A collection of original melodies written for young orchestras, folk music, and excerpts from the master composers. All Service Folio for Orchestra or Band. Compiled and arranged by C. Paul Herfurth Copyright 1935, by The Boston Music Co., Boston, Mass.

Ill A collection of pieces chosen from original com­ positions, folk melodies, excerpts from the Masters, religious, and patriotic songs. Aschers Favorite Melodies A l b u m . Compiled and arranged by Rosario Bourdon. Copyright 1946, by Emil Ascher, Inc., New York, N. Y. A collection of short orchestral pieces chosen from popular, folk songs, excerpts from the masters, patriotic and religious songs. Attainment Orchestra Folio Arranged by Merle J. Isaac, M. A. Copyright MCMXLXV, by Carl Fischer, Inc., Cooper Square, New York, N. Y. A collection mostly of original compositions for young orchestras. Choice Melodies from the Master Composers Orchestrated by R. E. Ileldreth Copyright MCMXXXVTII by Walter Jacobs, Inc., Boston, Mass. A collection of light classics arranged for young orchestras. Concert Miniatures for orchestra. Selected and arranged by E. DeLamater Copyright MCMXLVII by Rubank, Inc., Chicago, 111. . A collection of light classics arranged for young orchestras. Concert time— Compiled, arranged and edited by Robert Crawford Copyright MCMXLHi by Rubank, Inc., Chicago, 111. An introduction to standard repertoire. Easiest Orchestra Collection, with band parts. Compiled and orchestrated by Rob Roy Peery. Copyright 1932 by Theodore Presser Co. 1712 Chestnut St., Philadelphia, Pa. A collection of orchestral pieces containing original melodies, popular, and a light classic.

112 Exhibition Orchestra Folio Compiled and arranged by E. DeLamater Copyright MCMX2XE, by Eubank, Inc., Chicago, 111. A collection of original compositions written for young orchestras. Fox Musical Moments for Orchestra Vol. 1 . Arranged by Mathew Lake Copyright MCMXLV by Sam Fox Publishing Co., New York, N.Y. A group of original compositions written for children1s orchestras. Fox Young America Orchestra Folio. Vol. 1 Arranged by I; S. Zamenick Copyright MCMXXXVT by Sam Fox Publishing Co., Cleveland, Ohio. A collection of original compositions written and arranged for youig orchestras. Jenkins Junior Orchestra Folio, with band parts. Arranged by W. D. McCaughey Copyright MCMXXXIV by Jenkins Music Company, Kansas City, Mo. A collection of original compositions for young orchestras. Gur own orchestra Folio Selected and Arranged by Lorrain E. Waters Copyright 1942 by Carl Fischer, Inc., Cooper Square, New York, N. Y. A collection of light classic, folks, and religious music for young orchestras. Symphonette Orchestra Folio Vol. 1 Arranged by E. DeLamater Copyright MCMXKXV by Eubank, Inc., Chicago, 111. A collection of light classic, symphonic, original concert compositions for young orchestras.