Music in American higher education: an annotated bibliography 9780899900421

Table of contents :
Frontmatter
Preface (page vii)
PART 1 General Non-Music Sources (page 3)
PART 2 General Music Sources (page 11)
PART 3 The Role of Music in Higher Education: Philosophy, Objectives, Curricula, Degrees (page 23)
PART 4 Students: Characteristics and Qualifications (page 155)
PART 5 Faculty (page 163)
PART 6 Administration and Accreditation (page 189)
PART 7 Histories and Historical Sketches of Individual Institutions (page 197)
PART 8 Special Topics (page 213)
Author Index (page 221)
Subject Index (page 235)

Citation preview

, BIBLIOGRAPHIES IN AMERICAN MUSIC Editor James R. Heintze The American University

Founding Editor Frederick Freedmant

, THE COLLEGE MUSIC SOCIETY

President David Willoughby | Eastern New Mexico University PUBLICATIONS COMMITTEE

Chairman Stephen Kelly , Carleton College

James R. Heintze

The American University _ Editor, Bibliographies in American Music Jan Herlinger Louisiana State University Editor, College Music Symposium — William E. Melin Lafayette College

, | Editor, CMS Proceedings | Robby D. Gunstream ex officio

| - College Music Society

, BLANK PAGE

MUSIC IN AMERICAN HIGHER EDUCATION AN ANNOTATED BIBLIOGRAPHY

, EDWARD BROOKHART

BIBLIOGRAPHIES IN AMERICAN MUSIC NUMBER TEN PUBLISHED FOR THE COLLEGE MUSIC SOCIETY

HARMONIE PARK PRESS 1988 _

Copyright ©1988 by Edward Brookhart Printed and bound in the United States of America | Second Printing, 1990

Publisher Harmonie Park Press (formerly Information Coordinators) 23630 Pinewood Warren, Michigan 48091

Editor J. Bunker Clark, University of Kansas Book Design Elaine Gorzelski

Art Director Nicholas Jakubiak , Typographer Colleen Osborne

Library of Congress Cataloging in Publication Data

: Brookhart, Edward, 1928Music in American higher education : an annotated bibliography / Edward Brookhart.

p. cm. — (Bibliographies in American music ; no. 10) “Published for the College Music Society.” Includes indexes. ISBN 0-89990-042-9 1. Music—Instruction and study— United States — History —

Bibliography. I. Title. II. Series. ML120.U5B77 1988

016.78'07'2973 —dcl19 87-33238

C.. | Preface vii , , MUSIC IN AMERICAN HIGHER EDUCATION | AN ANNOTATED BIBLIOGRAPHY

PART 1 General Non-Music Sources 3 SELECTED REFERENCES ON THE HISTORY OF HIGHER EDUCATION IN THE UNITED STATES 3

PART 2 General Music Sources 11 ENCYCLOPEDIAS, YEARBOOKS, DIRECTORIES 12

BIBLIOGRAPHIES 15

PERIODICALS 18 | | PART 3. The Role of Music in Higher Education: Philosophy, Objectives, Curricula, Degrees 23 HISTORIES, SURVEYS AND OTHER DESCRIPTIVE STUDIES OF DEGREES AND GENERAL CURRICULAR PATTERNS 23

GENERAL CURRICULUM PHILOSOPHY AND OBJECTIVES 33

33 Undergraduate 49 Graduate THE LIBERAL TRADITION 54

54 Music in the Liberal Arts College 64 Music for the General College Student TEACHER TRAINING 73

73 The First Hundred Years (1830-1930) 78 1930 to 1985 91 Graduate Study and Research in Music Education 99 Music Education and Musicology 100 Music for the General Classroom Teacher CONSERVATORIES AND PROFESSIONAL TRAINING 102 JUNIOR AND COMMUNITY COLLEGES _ 107

MUSIC HISTORY, MUSICOLOGY, ETHNOMUSICOLOGY 112

COMPOSITION, THEORY AND ANALYSIS 126 OTHER CURRICULA AND CURRICULAR ELEMENTS 134

134 Comprehensive Musicianship and the Contemporary Music Project 137 Music Therapy 138 Performance 147 Jazz and Popular Music 150 Miscellaneous Curricular Elements

PART 4 Students: Characteristics and Qualifications 155

PART 5 Faculty 163 QUALIFICATIONS AND CHARACTERISTICS OF MUSIC

FACULTY 163 PROFESSIONAL ASSOCIATIONS 170 BIOGRAPHIES AND BIOGRAPHICAL SKETCHES 175

PART 6 Administration and Accreditation 189 PART / Histories and Historical Sketches of Individual — Institutions 197

PART 8 Special Topics 213 NATIONAL CONSERVATORY OF MUSIC 219

Author Index 221 Subject Index 235

P.. INITIAL WORK ON COMPILING this bibliography of music in American higher

education was begun in 1973 by Professor Henry L. Cady, then at Ohio State University. Three years later, having amassed a cardfile of more than two

thousand individual titles, he found that he would be unable to complete the project as planned. At that point I was asked to assume the task of completing the bibliography. After receiving Professor Cady’s cardfile and description of what he planned, I realized that neither time nor the available resources would allow me to complete the project as he had conceived it. Consequently, I decided to limit the scope of the study by focusing on sources that were historical

in nature or of probable historic significance. The final product then is not the comprehensive bibliography of the subject envisioned by Professor Cady, but a more limited and selective compilation intended for those whose primary interests are the history of music in American higher education. The time span covered is from ca. 1830 to 1985. It is my hope that this bibliography will give an overall impression of the subject area, and that it will serve as a stimulus for research needed

to provide the basis for a comprehensive history of the subject. In addition to the above mentioned cardfile, many sources were searched

vil

Preface

for the titles of books, articles, published papers, reports, transcripts of panel discussions, souvenir brochures, theses, and dissertations that are cited in

this bibliography. The sources consulted are described in Part 1, General Non-Music Sources, and Part 2, General Music Sources. Bibliographies of

, most of the doctoral dissertations cited were also searched for titles of particular significance. At the beginning of each part or primary subdivision

of the bibliography I have included some general comments or brief , descriptions of the sources included in that section. As a bibliography for historical researchers this one is incomplete in one important respect. No attempt has been made to include what is, after all, one of the chief sources of primary evidence for the historian, namely, archival

materials. For researchers who have a clear idea of what they seek, the following guides can be helpful: the National Union Catalog of Manuscript Collections (Washington, D.C.: Library of Congress, 1959-), the Directory of Archives and Manuscript Repositories in the United States (Washington, D.C.: National Historical Publications and Records Commission, 1978), and Resources in American Music History (Urbana: University of Illinois, 1981; see entry number 47). Obviously, college and university archives are very

important, not only for what one may find about the history of a single institution, but potentially as a depository of information about other institutions. A guide to college and university archives may be found in section 29 of Modern Archives and Manuscripts: A Select Bibliography

, (Society of American Archivists, 1975) compiled by Frank B. Evans. Two noteworthy collections housed by university libraries are the Music Educators

National Conference Historical Center at the University of Maryland in | - College Park, and the archives of the College Music Society at the University of Colorado in Boulder. The citations in this bibliography are listed alphabetically by author (or

| title) in each of the subdivisions outlined in the Table of Contents. Items that are relevant to more than one topic are listed only once under the major topic heading and cross-referenced in the Subject Index.

, The annotations, for the most part, are descriptive in nature; but some contain value judgments that may be taken as an indication of the usefulness — of a particular source. In many instances related sources by the same author

are given in an annotation. Also, a related group of papers by different authors published in the same source are cited in a single entry rather than separately; however, the separate titles are indicated and each author’s name is indexed.

Many of the citations are not accompanied by annotations. Some of , these citations have titles which are sufficiently descriptive, thus making any

| annotation redundant. Doctoral dissertations included in Dissertation Abstracts International have not been annotated except to call attention to some subject not evident in the title, to indicate the source of a critical review,

| viil

or to cite the source of a published article based on the dissertation. References to the abstracts are included at the end of each of these citations. Master’s theses and doctoral dissertations that I have personally examined

and which are not abstracted in DAT are annotated. Some other citations without annotations are titles I was unable to examine, but which seemed

important enough to make note of their location. ,

| It is with sincere appreciation and thanks that I acknowledge the assistance and cooperation of a number of persons, some of whose names

are unknown to me. I mention again Professor Henry L. Cady and his graduate assistants at Ohio State University who supplied the cardfile and some abstracts that became the initial list of titles I examined. Samuel Hope, executive director of the National Association of Schools of Music, provided copies of NASM Proceedings and Bulletins. Dean Robert F. Kruh and Dean Jack Carpenter of Kansas State University assisted in securing funds for the purchase of microfilms. Nelda Elder and the staff of the Interlibrary Loan

Division of Ferrell Library, Kansas State University, gave invaluable

been available. |

assistance in obtaining many books and articles that otherwise might not have

I also wish to thank the following individuals who provided some of the photographs used as illustrations: Richard Colwell, University of Illinois; Michael Yaffe, National Association of Schools of Music; Bruce Wilson,

MENC Historical Center; Anthony R. Crawford, University Archivist, Kansas State University. EDWARD BROOKHART

Kansas State University Manhattan May 1987

ix

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MUSIC IN AMERICAN HIGHER EDUCATION AN ANNOTATED BIBLIOGRAPHY

BLANKPAGE

PART 1 General Non-Music Sources

Selected References on the History

of Higher Education in the United States | The sources listed in this section are for the convenience of those who have

had no previous introduction to the literature on American educational history. These entries represent only a sample of important publications drawn from an imposing body of literature on the history of higher education in the United States. Included are the most important bibliographic guides

, and general ‘histories of the field, along with selected historical studies of certain aspects of higher education. For an annotated list of important journals in the field of higher education see no. 37.

1975. |

1 BEACH, Mark. A Bibliographic Guide to American Colleges and Universities from Colonial Times to the Present. Westport, Conn.: Greenwood Press, A listing by states of major books, articles, and dissertations related to the history

of specific institutions. , 3

General Non-Music Sources

2 BEACH, Mark. A Subject Bibliography of the History of American Higher Education. Westport, Conn.: Greenwood Press, 1984. Lists more than 1,300 books, articles, and dissertations grouped by topic. Intended as a companion volume to no. 1, this bibliography lists only historical writings.

Author and subject indexes are included.

3 BEAUCHAMP, Edward R. Dissertations in the History of Education, 19701980. Metuchen, N.J.: Scarecrow Press, 1984.

4 BEN-DAVID, Joseph. American Higher Education: Directions Old and New. New York: McGraw-Hill, 1972. Reprint under new title: Trends in American

Higher Education. Chicago: University of Chicago Press, 1981. Observes major trends and comments on institutional autonomy, administration, teaching and research, general education, and egalitarianism.

5 BERELSON, Bernard. Graduate Education in the United States. New York: McGraw-Hill, 1960. A major study of the history and nature of graduate education, and of institutions,

students, and programs.

6 BLESSING, James H. Graduate Education: An Annotated Bibliography. Bulletin no. 26. Washington, D.C.: U.S. Department of Health, Education, and Welfare, 1961. Lists almost 900 books, pamphlets, and periodical articles in a classified arrangement. Covers primarily the four-year period 1957-60, but includes some

important earlier publications. Does not include studies limited to graduate education in a single field. Contains an index of names, institutions, and principal topics.

7 BREWER, Deborah J., ed. ARBA Guide to Education. Littleton, Colo.: Libraries Unlimited, 1985. . A comprehensive guide to important reference works in education that includes complete bibliographical data and reviews of more than 450 sources.

8 BRICKMAN, William W. “A Bibliographic Introduction to History of U. S. Higher Education.” In A Century of Higher Education: Classical Citadel to Collegiate Colossus, ed. William W. Brickman and Stanley Lehrer, 4

SELECTED REFERENCES

257-85. New York: Society for Advancement of Education, 1962. Reprint, Westport, Conn.: Greenwood Press, 1974. Other chapters by various authors examine influences on the growth of higher education in America.

9 BRICKMAN, William W., and Francesco CORDASCO. A Bibliography of American Educational History: An Annotated and Classified Guide. New York: AMS Press, 1975. References pertaining to higher education appear in several sections. Chapter 9, prepared by Elliott S. M. Gatner, is devoted primarily to sources concerned with problems and practices in higher education during the period 1960-75.

10 BRUBACHER, John S., and Willis RUDY. Higher Education in Transition: A History of American Colleges and Universities, 1636-1976. 3rded. New York: Harper & Row, 1976. This most important general history of the field has four major divisions: 1) The Colonial College, 2) Nineteenth-Century Innovations in the Colonial College, 3) The Rise of Universities in Nineteenth-Century America, and 4) Higher

Education in the Twentieth Century.

11. BUTTS, R.Freemann. The College Charts Its Course: Historical Conceptions and Current Proposals. New York: McGraw-Hill, 1939. Reprint, New York: Arno Press, 1971. Historical treatment of some aspects of curriculum change in liberal arts colleges.

Developments at many institutions are described.

12 CHAMBERS, Fredrick. Black Higher Education in the United States: A Selected Bibliography on Negro Higher Education and Historically Black Colleges and Universities. Westport, Conn.: Greenwood Press, 1978. Entries are grouped under the headings of doctoral dissertations, institutional histories, articles, master’s theses, and general references. A subject index is included as well as a prefatory discussion of the literature by James P. Louis.

13 COHEN, Sol, ed. Education in the United States: A Documentary History. 5 vols. New York: Random House, 1974; Westport, Conn.: Greenwood Press, 1974. This is probably the most recent and comprehensive documentary history. Sources

are grouped in three parts: 1) The Planting, 1607-1789; 2) The Shaping of

5

General Non-Music Sources : American Education, 1789-1895; and 3) The Transformation of American Education, 1895-1973. | ~ 14 CURTI, Merle, ed. American Scholarship in the Twentieth Century. Cambridge: Harvard University Press, 1953. Reprint, New York: Russell and Russell,

— 1967. |

Essays by Curti and others on the development of scholarship in five areas: social

sciences, history, literature, the classics, and philosophy.

15 DRESSEL, Paul L., and Sally B. PRATT. The World of Higher Education: An Annotated Guide to the Major Literature. San Francisco: Jossey-Bass,

1971.

Entries are grouped into seven categories: 1) Institutional Research as a Field of Activity; 2) Governance, Administration, Management; 3) Students; 4) Faculty

and Staff; 5) Curriculum and Instruction; 6) Research Methodology; and 7) Related Bibliographies and Other Reference Materials.

16 EDDY, Edward D. Colleges for Our Land and Time: The Land-Grant Idea in American Education. New York: Harper, 1957. Reprint, Westport, Conn.:

Greenwood Press, 1973. ,

_ Background and development of the landgrant system from 1862 to 1956.

17. EELLS, Walter Crosby. College Teachers and College Teaching: An Annotated Bibliography on College and University Faculty Members and Instructional Methods. Atlanta: Southern Regional Education Board, 1957. Supplement

| No.1, 1959. Supplement No. 2, 1962. Third Supplement, 1967, compiled | by Maurice L. Litton and W. Hugh Stickler. The main volume plus the supplements contain more than 7,000 entries for books, monographs, and periodical articles published after 1945. More than fifty articles

related to college music teaching are cited.

18 HANDLIN, Oscar, and Mary HANDLIN. The American College and American

Culture: Socialization as a Function of Higher Education. Carnegie | - Commission on Higher Education Sponsored Research Studies. New York: McGraw-Hill, 1970. A historical evaluation of the role of socialization is the focus of this description of the development of colleges in the United States.

6

SELECTED REFERENCES

19 HOFSTADTER, Richard, and Walter P. METZGER. The Development of

past. | |

Academic Freedom in the United States. New York: Columbia University Press, 1955. An account of the development from the founding of the first college to the recent

1961. , ,

20 HOFSTADTER, Richard, and Wilson SMITH, eds. American Higher Educa-

tion: A Documentary History. 2 vols. Chicago: University of Chicago Press, The only documentary history limited to higher education.

21 JENCKS, Christopher, and David RIESMAN. The Academic Revolution. Chicago: University of Chicago Press, 1977. A comprehensive sociological and historical analysis of American higher education, focusing on important transformations. 22 KNIGHT,E.W. A Documentary History of Education in the South before 1860. 5 vols. Chapel Hill: University of North Carolina Press, 1949-53. ~The five volumes are titled: I. European Inheritances; 11. Toward Educational

Independence; Ill. The Rise of the State University; IV. Private and Denominational Efforts; V. Educational Theories and Practices.

23 McCARTHY, Joseph M. An International List of Articles on the History of Education Published in Non-Educational Serials 1965-1974. New York: |

Garland, 1977. a

Contains more than 800 entries pertaining to the history of education in the U.S.

Includes an author index but no subject index.

24 NEWCOMER, Mabel. A Century of Higher Education for American Women. New York: Harper, 1959. Reprint, Washington, D.C.: Zenger, 1975. Emphasis is on older women’s colleges.

25 OHLES, JohnF., ed. Biographical Dictionary of American Educators. 3 vols. Westport, Conn.: Greenwood Press, 1978. Contains biographical sketches of 1,665 major figures in the development of American education. One of several appendixes lists names of individuals by their field of specialization. Forty-eight music educators are included.

7

General Non-Music Sources

26 OLESON, Alexandra, and John VOSS, eds. The Organization of Knowledge in Modern America, 1860-1920, Baltimore: Johns Hopkins University Press, 1979.

Describes the growth and development of learning in the U.S. in relation to colleges, universities, and other organizations.

27 POWER, Edward J. Catholic Higher Education: A History. New York: Appleton-Century Crofts, 1972. Traces the development from 1786 to 1972.

28 QUAY, Richard H. Research in Higher Education: A Guide to Source Bibliographies. 2nd ed. Phoenix: Oryx Press, 1985.

| Organized into 15 subject areas, one of which is “History and Philosophy of Higher Education.” One of two appendixes included is a bibliography of higher

education as a field of study.

29 RARIG, Emory W., Jr., ed. The Community Junior College: An Annotated Bibliography. New York: Teachers College Press, 1966. A classified and annotated list of more than three hundred books and articles on the history, functions, curriculum, and other aspects of the community junior college.

30 RUDOLPH, Frederick. The American College and University: A History. New York: Alfred A. Knopf, 1962. A good survey history of higher education in the United States. The bibliography of this book, subtitled “Historiography of Higher Education in the United States,”

is an informative discussion of the writing of educational history as well as a guide to many important works in the field.

31 RUDOLPH, Frederick. Curriculum: A History of the American Undergraduate Course of Study since 1636. San Francisco: Jossey-Bass, 1977; reprint, 1981. A lively account of more than three centuries of change, reflecting the diversity and flexibility of American culture. Emphasis is given to the intellectual and social forces, as well as the events and individuals, that shaped the curriculum.

32 SCHMIDT, George P. The Liberal Arts College: A Chapter in American Cultural History. New Brunswick, N.J.: Rutgers University Press, 1957. Reprint, Westport, Conn.: Greenwood Press, 1975.

8

SELECTED REFERENCES

This study tells the story of the liberal arts college from colonial times to the mid-twentieth century.

33 STORR, Richard J. The Beginning of the Future: A Historical Approach to Graduate Education in the Arts and Sciences. New York: McGraw-Hill, 1973.

Reviews the history of graduate study in the U.S. and traces the influence of early educators.

34 THELIN, John R. Higher Education and Its Useful Past: Applied History in Research and Planning. Cambridge, Mass.: Schenkman, 1981. The author sees this book as “applied history” —a collection of essays, “each of which discusses past and present implications of some perennial issue in higher education.”

35 THOMAS, Russell. The Search for a Common Learning: General Education, 1800-1960. New York: McGraw-Hill, 1962. The first part of this book is an account of “conceptions and applications of the idea of general education in America from the beginning of the nineteenth

century.” As such, it is an important contribution to the history of liberal education in American colleges and universities.

36 VEYSEY, Laurence R. The Emergence of the American University. Chicago: University of Chicago Press, 1965; Phoenix Books, 1970. This book considers “each of the principal academic philosophies which vied for dominance of higher learning in the United States during the decades after 1865,” and describes the development of the academic structure after 1890.

37. WHITE, Jane N., and Collins W. BURNETT, eds. Higher Education Literature: An Annotated Bibliography. Phoenix: Oryx Press, 1981. - Contains more than 1,600 entries classified under six major headings and numerous sub-headings. One of 11 appendixes is an annotated bibliography of 40 professional journals related to higher education. Author and subject indexes are also included.

9

»

PART 2 General Music Sources

Reference materials contained in this section are listed primarily in order to call attention to their value for research in the history of music in higher education. The encyclopedias included here are those with several relevant articles or references to music in colleges and conservatories. Yearbooks and periodicals listed are those with papers, articles, or other references to higher

music education in the United States. The bibliographies cited are those which focus on some aspect of music in higher education, or they are tools I have found particularly helpful in locating sources. No attempt has been made to include all references that might be useful as guides to information

about music education’s past. I have assumed that those who use this bibliography will already be familiar with such aids as Vincent Duckles’s Music Reference and Research Materials (3rd ed., New York: Free Press, 1974) and Keith Mixter’s General Bibliography for Music Research (2nd ed.,

Detroit: Information Coordinators, 1975), RILM Abstracts of Music Literature, and the standard indexes in the fields of music and education including Music Index, Education Index, Current Index to Journals of Education, Resources in Education (ERIC Documents Abstracts and Index),

Dissertation Abstracts International, American Doctoral Dissertations, Masters Abstracts, Music Article Guide, and Music Therapy Index.

Il

General Music Sources

Two other references that do not readily fit the categories below, but were useful in my search for relevant titles, are the Dictionary Catalog of the Music Collection of the Research Libraries of the New York Public Library (including the annual supplements Bibliographic Guide to Music) and America: History and Life, Part C: American History Bibliography. The latter is a valuable tool for locating titles of music-related articles in state historical journals. The following two guides are also noteworthy: James R. Heintze’s Scholars’ Guide to Washington D.C. for Audio Resources: Sound Recordings in the Arts, Humanities, and Social, Physical, and Life Sciences (Washington, D.C.: Smithsonian Institution Press, 1985) and Annette Melville’s Special Collections in the Library of Congress: A Selective

Guide (Washington, D.C.: Library of Congress, 1980).

Encyclopedias, Yearbooks, Directories 38 American Society of University Composers. Proceedings of the Annual Conference. New York: Columbia University, 1966-. Contains the text of speeches and panel discussions presented since 1966 at annual meetings of the society.

39 BENTON, Rita, comp. Directory of Music Research Libraries: Part I: Canada and the United States. Iowa City: University of Iowa, 1967. Contains information on holdings collected from 333 libraries in Canada and

, the United States.

40 BOHLE, Bruce, ed. The International Cyclopedia of Music and Musicians. llth ed. New York: Dodd, Mead and Co., 1985. Contains several articles on individual conservatories as well as significant articles on “Musicology” (by Paul Pisk), “Degrees in Music” and “Education in Music”

: (by Robert E. Mueller). |

41 College Music Society. CMS Proceedings: The National and Regional Meetings,

1983-84. Edited by Robert E. Foltz. Boulder, Colo.: the Society, 1985. The first of an annual series published in the spring of the year.

42 Directory of Music Faculties in Colleges and Universities, U.S. and Canada, 1984-86. 10th ed. Compiled by Craig R. Short. Boulder, Colo.: College Music Society, 1985. Biennial.

12

ENCYCLOPEDIAS, YEARBOOKS, DIRECTORIES

Published in December of even-numbered years, the first three editions — 1967-68, 1968-70, 1970-72 — were titled Directory of Music Faculties in American Colleges and Universities. “Commencing with the 4th ed., the Directory includes material in Part IV which was originally published in 1971 as a separate publication entitled

Index to Graduate Degrees in Music, U.S. and Canada.”

43. Grove’'s Dictionary of Music and Musicians: American Supplement. Edited by Waldo Selden Pratt. New York; Macmillan, 1920. Reprinted with new

material in 1928, 1935, and 1952. ,

Several articles on individual conservatories are included, and other aspects of music in higher education are discussed in articles entitled “Colleges,” “Degrees in Music,” “State Normal Schools,” and “State Universities.”

44 International Directory of Music Education Institutions. New York: UNESCO Publications Center, 1968. Published by UNESCO and the International Society for Music Education, this contains information on major educational institutions devoted to music in 71 countries.

45 International Music Education: ISME Yearbook. Mainz, New York: B. Schott’s Sohne, 1973-. Annual. Supersedes the International Music Educator, published twice each year from 1962 through 1972. Beginning with volume 2, 1974, the Yearbook contains the main papers delivered at conferences and seminars of the International Society for Music Education. Principal speeches and papers of the Fourth International Conference are published in Comparative Music Education: Vergleichende Musikerziehung, edited by Egon Kraus (Mainz: B. Schott’s Sohne, 1962).

46 JONES, F. O., ed. A Handbook of American Music and Musicians, Containing Biographies of American Musicians, and Histories of the Principal Musical Institutions, Firms and Societies. Canaseraga, N.Y.: the editor, 1886. Reprint, New York: Da Capo Press, 1971. A limited but useful source for nineteenth-century data, arranged in dictionary form.

47 KRUMMEL, D. W., Jean GEIL, Doris J. DYEN, and Deane L. ROOT. Resources of American Music History. Urbana: University of Illinois Press, 1981.

13

General Music Sources

Subtitled “A Directory of Source Materials from Colonial Times to World War II,” this volume contains brief descriptions of public and private library holdings of music, programs, catalogs, archives, personal papers, pictures, and sound

recordings. |

48 Music Educators (Supervisors) National Conference. Journal of Proceedings and Yearbook. Madison, Wisc., Chapel Hill, N.C., Ithaca, N.Y., and

Chicago, 1910-. ,

The Journal of Proceedings was first published in 1910, and appeared annually

through 1926, except for 1911. In 1927 it was replaced by the Yearbook, containing material from the biennial national meetings in even-numbered years

and from the sectional conferences in odd-numbered years. The 1939-40 combined volume, the last, includes the index for the 1925-40 volumes. Foran — index of earlier years, see Valeta Jeffrey’s “Index to Articles of the Yearbooks of the Music Supervisor’s National Conference (1910, 1912-1934)” (M.M. thesis, Northwestern University, 1935). Of note also is the Research Council Bulletin. Published occasionally during the years 1921-36, these were reprints of reports

first published in the Journal of Proceedings or the Yearbook.

49 Music Industry Directory. (Formerly The Musicians Guide: The Directory of

the World of Music.) 7thed. Chicago: Marquis Professional Publications, 1983.

Included are lists of musical associations, societies, colleges, conservatories, music

periodicals, and music libraries. |

50 Music Teachers National Association. Papers and Proceedings. Hartford, Conn., Oberlin, Ohio, and Pittsburgh, 1906-50. Annual. The papers and some committee reports published in these volumes are an important source for historical research in higher music education during the first half of the twentieth century. The most significant ones are entered individually in this bibliography. Indexes for the preceding volumes may be found in the 1915 and 1929 volumes. For a complete subject-matter index of the papers see no. 1009. The main title for the first 21 volumes in this series is Studies in Musical Education, History and Aesthetics. From 1927 through 1950

the title used was Volume of Proceedings of the Music Teachers National Association or Papers and Proceedings of the Music Teachers National Association. In this bibliography they are always cited as Proceedings of the Music Teachers National Association. According to Waldo S. Pratt in the preface to the 1906 Proceedings, the Official Reports of the MTNA were published from 1876 to 1897.

14

BIBLIOGRAPHIES

51 National Association of Schools of Music. Bulletin and Proceedings. Memphis; Galesburg, Ill.; Washington; Reston, Va.: the Association, 1934-. Occasional. Bulletin Nos. 1 through 55 were published from time to time between 1934 and - 1967. The title was changed in 1968 to Proceedings. (See no. 71 for an index of these through 1980.) Many of the individual papers, addresses, and committee reports published in these volumes through 1985 are cited elsewhere in this bibliography. Other NASM publications are the annual Directory of member institutions and individual members and the Handbook containing the Association’s constitution,

bylaws, code of ethics, and standards for accreditation. Since 1967 the Association has published annually Music in Higher Education, statistical summaries compiled from the annual reports of member institutions. 52 The New Grove Dictionary of American Music. Edited by H. Wiley Hitchcock and Stanley Sadie. 4 vols. London: Macmillan, 1986. Information on specific colleges and universities is included in entries on the city

, of their location. In addition to numerous biographical sketches, the following | entries are relevant: Bands, 4 (ii); Bibliographies; Choral music, 3; College songs; Dictionaries; Education in music, II; Ethnomusicology; Libraries and collections; Musicology; Music therapy; Opera, 6; Periodicals; Theory.

53. The New Grove Dictionary of Music and Musicians. Edited by Stanley Sadie.

20 vols. London: Macmillan, 1980. ; Articles relevant to music in higher education are “Education in Music,” section

Via.2, “Musicology,” sections I and III.8, and “Periodicals,” section IV, 2: America (North), United States (US). Of note also are individual articles on music educators.

54 Who’s Who in American Music: Classical. 2nd ed. New York: R. R. Bowker, 1985.

Includes data on 6,800 composers, performers, educators, writers, librarians, administrators, and others actively involved with serious music in America.

_ Bibliographies §5 ADKINS, Cecil, and Alis DICKINSON, eds. Doctoral Dissertations in Musicology. Seventh North American. Edition/Second International Edition. Philadelphia: American Musicological Society, 1984. 15

General Music Sources

A classified list of over 6,500 titles. Supplements for January 1983 — April 1984 and May 1984— November 1985 are also available. This publication continues the work of Helen Hewitt begun in 1952. Also by the same editors and publisher is an International Index of Dissertations and Musicological Works in Progress,

Ist edition, 1977. |

56 BAILEY, Dee, comp. A Checklist of Music Bibliographies and Indexes in Progress and Unpublished. MLA Index and Bibliography Series, 3. Edited by Linda I. Solow. 4thed. Philadelphia: Music Library Association, 1982. Particularly valuable as a source of titles of completed but unpublished works.

57 COLLINS, Thomas C. A Survey of Music Education Materials and the Compilation of an Annotated Bibliography: Final Report. Arlington, Va.: ERIC Document Reproduction Service, ED 020 194, 1967. The annotations in this compilation are limited in number, and the entries related

to music in higher education are not particularly representative. A list of the categories and sub-headings may be found in Council for Research in Music Education 14 (Fall 1968): 30-35.

58 COLWELL, Richard J., ed. Institutional Directory of Approved Music Education Dissertations in Progress. Urbana, Ill.: Council for Research in Music Education, 1977-. Annual. Prior to 1983 the title of this publication was Approved Doctoral Dissertations in Progress in Music Education.

59 GRIMES, Calvin Bernard. “American Music Periodicals, 1819-1952: Music Theory and Musical Thought in the United States.” Ph.D. diss., University of Iowa, 1974. DAI 35/12 (June 1975): 7943-A. Although this study is concerned with the theoretical content of the periodicals, it is cited here because of the bibliographic value of its appendixes.

60 HARRIS, Ernest E. Music Education: A Guide to Information Sources. Education Information Guide Series, no. 1. Detroit: Gale Research, 1978. An annotated, comprehensive bibliography of a wide range of sources, divided into five major categories, including “General Reference Sources,” “Music in Education,” “Subject Matter Areas,” “Special Uses of Music,” and “Technology, Multimedia Resources, and Equipment.”

16

BIBLIOGRAPHIES

61 HEINTZE, James R. American Music Studies: A Classified Bibliography of Master's Theses. Bibliographies in American Music, 8. Detroit: Information Coordinators, 1984. Contains more than seventy entries related to music in higher education. Most of these are included in this bibliography.

62 LARSON, William S. Bibliography of Research Studies in Music Education, 1932-48, Chicago: Music Educators National Conference, 1949. This is the first of two bibliographies of master’s and doctoral studies completed at U.S. colleges and universities. The second, covering the years 1949-56, was

published as the Fall 1957 issue, vol. 5, no. 2, of the Journal of Research in Music Education. The studies are listed by institution and indexed by subject. Roderick Gordon has continued Larson’s work in compiling bibliographies entitled Doctoral Dissertations in Music and Music Education. These are published as entire issues of Journal of Research in Music Education. To date there are four: 12/1 (Spring 1964) for the years 1957-63; 16/2 (Summer 1968) for the years 1963-67; 20/1 (Spring 1972) for the years 1968-71; and 26/3 (Fall 1978) for the years 1972-77. See also nos. 55, 58, 64, 65, 73, and 453 for other bibliographies of doctoral dissertations.

63 McCONNELL, Fraiser. “Jazz and Education: A Selected Bibliography.” NAJE Educator, Oct-Nov 1975, 8-9, 30. Briefly annotated and divided into three parts — “Curriculum Development in Jazz Education,” “Graduate Research in Jazz History,” and “Reference and Research Materials.”

64 MATHISON, Curtis. “A Bibliography of Research on the Evaluation of Music Teacher Education Programs.” Journal of Research in Music Education 19/1 (Spring 1971): 106-14. An annotated bibliography of twenty-two doctoral dissertations completed during

the years 1965-69. See also no. 453.

’ 65 MEAD, Rita. H. Doctoral Dissertations in American Music. 1.S.A.M. Monographs, 3. New York: Institute for Studies in American Music, Brooklyn College, 1974. Divided into six main sections: “Reference and Research Materials,” “History,” “Theory,” “Ethnomusicology,” “Organology,” and “Related Fields.” See review in Notes 32/3 (Mar 1976): 548-49.

17

General Music Sources

66 MEGGETT, JoanM. Music Periodical Literature: An Annotated Bibliography _ of Indexes and Bibliographies. Metuchen, N.J.: Scarecrow Press, 1978. | Contains 335 sources grouped in six categories. See review in Notes 35/3 (Mar

| 1979): 637-38. ,

67 WAGER, Willis J. “Liberal Education and Music: A Bibliography.” New York: Institute of Higher Education, Teachers College, Columbia University, 1959. (Mimeograph.) An annotated bibliography of sources concerned primarily with the ideal of liberal

education and the training of musicians in the United States. 68 WAGNER, Majorie K. “Music Librarianship in the United States: An Annotated

Classified Bibliography.” M.S. in L.S. thesis, Catholic University of America, 1957.

69 WEICHLEIN, William. A Checklist of American Music Periodicals 1850-1900. Detroit Studies in Music Bibliography, 16. Detroit: Information Coordi-

nators, 1970. Reprint, 1979.

The essential facts about each periodical are arranged in alphabetical order by the original title. See review in Notes 27/3 (Mar 1971): 489.

70 WUNDERLICH, Charles Edward. “A History and Bibliography of Early American Music Periodicals, 1782-1852.” Ph.D. diss., University of Michigan, 1962. DAT 23/2 (Aug 1962): 651-A. The bibliography is chronologically arranged and includes notes on the contents of the periodicals as well as publication data.

71. YAFFE, Michael. Annotated Bibliography of Publications 1934-1976, The National Association of Schools of Music. Reston, Va.: National Association of Schools of Music, 1976. “Organized into four sections: 1) president’s addresses, 2) committee reports, 3) signed articles, 4) subject index for signed articles.” A supplement (14 pp.) is available for 1977-80.

Periodicals | 72 American Music Teacher. Cincinnati: Music Teachers National Association, May 1951-. Supersedes Music Teachers National Association Bulletin. I8

PERIODICALS

Official magazine of the MTNA. This periodical includes occasional articles and convention papers relevant to music in higher education.

73 Bulletin of Historical Research in Music Education. Lawrence: Department of Art and Music Education and Music Therapy, University of Kansas, July 1980-. Semiannual. A relatively new journal containing articles, book reviews, and news of interest to historical researchers. A bibliography of doctoral dissertations in the history of music education and related topics is included in the first four issues.

74 College Music Symposium. Boulder, Colorado: College Music Society, Fall 1961-. Semiannual. Begun as an annual publication; since 1977 there have been two issues each year, and annual again beginning in 1986. This journal contains papers and proceedings of annual meetings of the Society, book reviews, and articles. A regular feature, “Campus Focus,” describes various musical activities at individual institutions. Volume 12 (Fall 1972) contains an author-subject index for the first 12 issues.

75 Council for Research in Music Education. Bulletin. Urbana: University of Illinois. Issued by the Office of the Superintendent of Public Instruction (Illinois), 1963-. Quarterly. | Begun as a semiannual journal in 1963; published quarterly since 1967. Contains feature articles and critiques of doctoral dissertations in music, some of which are related to music in higher education. Indexes for preceding issues may be found in no. 13 (Spring 1968), no. 27 (Winter 1972), and no. 39 (Fall 1974).

76 Current Musicology. New York: Music Department, Columbia University,

, Spring 1965-. Semiannual. A regular section of this periodical features reports from campus correspondents

(graduate students) on graduate seminars, lectures, and other significant musicological events at U.S. colleges and universities.

71 Dwight’s Journal of Music. Edited by John Sullivan Dwight. 41 vols. Boston, Mass., 10 April 1852 —3 September 1881. Reprint, New York: Arno, 1968. This important nineteenth-century periodical contains many references to music in higher education. The following is a partial list of those issues having such references: 1 (10 July 1852): 111; 5 (29 July 1854): 133; 11 (29 August 1857): 170; 24 (3 September 1864): 302-03; 33 (23 August 1873): 78-79; 33 (6 September

19

General Music Sources 1873): 84-85; 35 (21 August 1875): 78; 37 (18 August 1877): 78; 37 (29 September 1877): 102; 37 (13 October 1877): 110-11.

78 Ethnomusicology. Ann Arbor: Society for Ethnomusicology, December 1953-. Supersedes Ethnomusicology Newsletter. Three issues a year. The first 11 issues are designated volume 1. Volume 2, number 1 is dated January 1958.

Occasionally contains articles which are related to the discipline.

719 The Instrumentalist. Northfield, Illinois: The Instrumentalist Co., September 1946-. Monthly. Contains articles devoted to the band and orchestra in public schools and colleges.

80 Jazz Educators Journal. Manhattan, Kansas: National Association of Jazz Educators, 1968-. Supersedes NAJE Newsletter and NAJE Educator. The title NAJE Newsletter was changed to NAJE Educator in December 1969, and again in December 1981, to Jazz Educators Journal. Included are articles

and news items pertaining to jazz in higher education. An index of NAJE periodicals was first published by the Association in 1982. A limited number of copies of the Proceedings of the Eighth, Ninth, and Tenth National Conventions have also been published.

81. Journal of Aesthetic Education. Urbana: University of Illinois Press, Spring 1966-. Quarterly. Contains many articles indirectly related to the arts in higher education. Those related to music in higher education are cited in this bibliography.

82. Journal of Band Research. Troy, Alabama: Troy State University Press, for the American Bandmasters Association, Fall 1964-. Semiannual. Contains reports of research on a wide variety of topics related to school and college bands, including occasional papers on band history.

83 Journal of Music Theory. New Haven, Conn.: School of Music, Yale University, March 1957-. Semiannual. Occasional articles on theory pedagogy are included along with various papers related to the discipline of music theory and analysis.

20

PERIODICALS

84 Journal of Music Therapy. Lawrence, Kansas: National Association for Music Therapy, March 1964-. Supersedes the Bulletin of the NAMT (National Association for Music Therapy), which was published between 1952 and 1963. Quarterly. Occasionally articles are included that concern the training of music therapists.

85 Journal of Research in Music Education. Reston, Virginia: Society for Research in Music Education of the Music Educators National Conference, Spring 1953-. Quarterly. Begun as a semiannual, it became a quarterly with volume 12. An index for volumes 1-10 may be found in volume 10 (Fall 1962). Reports of research related

to music in higher education appear from time to time. Volume 32, number 4 (Winter 1984) contains three articles related to the history of this journal: Cornelia Yarbrough’s “A Content Analysis of the Journal of Research in Music Education, 1953-1965” (pp. 213-22); Fred Anthony Warren’s “A History of the Journal of Research in Music Education, 1953-1965” (pp. 223-32); and Allen P. Britton’s “Founding JRME:; A Personal View” (pp. 233-42).

86 Journal of the American Musicological Society. Philadelphia, Penn., Spring 1948-. Three issues a year. Contains a number of landmark articles focusing on the discipline of musicology.

87 MUSART. Washington, D.C.: National Catholic Music Educators Association, 1948-. Supersedes Catholic Music Educators Bulletin (1948-53). Quarterly. For an index of this periodical see Vincent P. Walter, Jr., “An Author and Subject Index of the Periodical MUSART, September 1962 through June 1972” (M.M.Ed. thesis, Catholic University of America, 1972).

88 Music. Edited by W. S. B. Mathews. Chicago, Illinois, November 1891 — December 1902. Monthly. Regular features of this magazine entitled “Editorial Bric-a-brac” and “Things Here and There” contain frequent references to music in universities, conservatories, and colleges, as well as items concerning the Music Teachers National Association

and the American College of Musicians.

89 Music Educators Journal. Reston, Virginia: Music Educators National Conference, 1914-. Supersedes Music Supervisors’ Journal (1914-34). Monthly.

21

General Music Sources

The title Music Supervisors Journal was changed in 1934 when the Music Supervisors National Conference became the Music Educators National Conference. Many articles related to higher music education have been included during the years of its publication.

90 Music Journal. New York: Hampton International Communications, January

7 1943-. Six issues a year. _ Occasionally articles are included on topics related to music in higher education and news of music schools.

91 The Musical Quarterly. New York: G. Schirmer, January 1915-. Quarterly. | Contains significant articles and editorials related to the discipline of musicology

| and music in higher education. For a related entry see entry 685. A Cumulative Index, 1915 thru 1959 to the Musical Quarterly was compiled by Herbert K.

Goodkind in 1960. |

; 92. The Musician. Philadelphia, Boston, and New York, 1896-1948. Monthly. Contains articles and news items related to music in higher education.

93 NACWPI Journal, Kirksville, Missouri: National Association of College Wind and Percussion Instructors, 1952-. Quarterly.

94 Sigma Alpha Iota Quarterly: Pan Pipes. (Formerly Pan Pipes of Sigma Alpha

. , fota.) Published quarterly, Des Moines, lowa, 1907?-. 95 Sinfonian Magazine. (Formerly Sinfonian Newsletter.) Published quarterly in

Evansville, Ind., 1950-. Oo

Official publication of Phi Mu Alpha Sinfonia Fraternity of America.

96 Woodwind— Brass and Percussion. Deposit, N.Y.: Evans*Publications for

Association of Concert Bands of America, 1957-. Supersedes The Clarinet. Eight times a year. Initially Woodwind World; merged with Brass and Percussion in 1974. Contains

, articles on teaching and accounts of college activities.

22

3 The Role of Music in Higher Education: PART Philosophy, Objectives, Curricula, Degrees

Histories, Surveys and Other Descriptive Studies

of Degrees and General Curricular Patterns The sources cited in this section are “general” in the sense that they are concerned with degrees or curricular patterns in more than one or two _ institutions. Most are regional and national in scope. Historical studies of individual schools are included in part 7. Prescriptive studies related primarily to the curriculum of a single institution are not included in this bibliography.

97. ALLEN, Lillian Mitchell. The Present State of Accredited Music Instruction in American Universities. Washington, D.C.: Catholic University of America Press, 1954. A doctoral study based on an early 1950s survey of 64 music schools and departments accredited by the National Association of Schools of Music. Data were obtained by questionnaire, catalog study, and personal visits to eight institutions. See Allen Britton’s review in Journal of Research in Music Education 2/2 (Fall 1954): 173. .

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The Role of Music in Higher Education

98 BASHAM, Rosemary. “The Development of Music Curricula in American Colleges and Universities.” M.M.Ed. thesis, University of Louisville, 1971.

99 BROOKS, Catherine. Opportunities for Advanced Study of Music in the United

States. Pan American Union Music Series, no. 8. Washington, D.C.: Government Printing Office, 1943. A classified index of courses in music offered by colleges, music schools, conservatories, and universities during the academic year 1941-42.

100 BRYANT, Lawrence C. “A Study of Music Programs in Public Negro Colleges.” Journal of Negro Education 32/2 (Spring 1963): 188-92. A report of certain aspects of undergraduate music programs based on a questionnaire survey of 25 institutions with predominantly black enrollment.

101 BUTLER, Harold L. “Education in Music.” Bulletin of the Association of American Colleges 17/3 (Nov 1931): 351-54. A brief article reviewing the “chaotic” state of requirements for the B.M. degree

that led to the formation of the National Association of Schools of Music.

102 CHOATE, Robert A. “Music Education.” Higher Education, December 1953, 53-61. Also published under the same title in Lloyd E. Blauch, comp., Education for the Professions (Washington, D.C.: U.S. Department of Health, Education, and Welfare, 1955), 144-51. A summary of many aspects of the music teaching profession, with particular emphasis on the various types of training offered in higher education. A slightly altered version of this article was published under the title “Music in Colleges and Universities” in Music in American Education, ed. Hazel Nohavec Morgan (Chicago: Music Educators National Conference, 1955), 118-21. It was also reprinted in pamphlet form by MENC under the title Music in Higher Education.

103 COLLINS, Thomas Clark. Music Curriculum Trends in Higher Education. Atlanta: Southern Regional Education Board, 1960. Data for this study were obtained by means of a questionnaire sent to selected colleges and universities, primarily in a 16-state southern region. A review of the study may be found in College Music Symposium 2 (1962): 64-67.

104 COOLIDGE, ArlanR. “College Degrees in Music.” Proceedings of the Music

Teachers National Association 40 (1946): 191-209. , 24

HISTORIES, SURVEYS AND OTHER DESCRIPTIVE STUDIES

Report of a questionnaire survey of 225 music departments, not member institutions of the NASM, concerning requirements for the A.B. degree in music.

105 COOP, Squire. “The Status of Music in Colleges and Universities in 1876 and Since.” Proceedings of the Music Teachers National Association 23 (1928): 234-43.

A limited survey based largely on information found in Elson’s History of American Music (see no. 111), MTNA Proceedings, and the personal recollections

of Arnold J. Gantvoort.

106 DAVIS, Edna L. “A Study of Trends and Developments in Music Education in the United States from 1930 to 1960.” D.M.A. diss., Boston University, 1964.

107. DOTY, E. William, and Leigh GERDINE. “The Proliferation of Music Degrees.” Bulletin of the National Association of Schools of Music 50 (Feb 1962): 43-45. Two brief papers that describe practices in degree titles in the early 1960s and recommend a move toward standardization.

108 DUERKSEN, Walter. “A Survey of Instrumental School Music Activities in Colleges and Universities of the United States.” M.M. thesis, Northwestern University, 1938.

109 EARHART, Will, and Charles N. BOYD. “Recent Advances in Instruction in Music.” In Biennial Survey of Education, 1920-22, 439-59. Bulletin 1924, no. 13, U.S. Bureau of Education. Washington, D.C.: Government Printing Office, 1924. Includes some discussion of teacher preparation in music and statistics on the number of music schools.

110 EELLS, Walter Crosby. “First American Degrees in Music.” History of Education Quarterly 1/1 (March 1961): 35-40.

111 ELSON, Louis Charles. The History of American Music. New York: Macmillan Co., 1904.

25

The Role of Music in Higher Education

| Chapter 17, “The Musical Education of the Present,” gives a turn-of-the-century view of the progress made in American higher music education. This is a useful source of names of individuals involved in this early development, and one which has been cited often by later writers.

112. ERB, J. Lawrence. “Report of the Committee on Colleges and Universities.” Proceedings of the Music Teachers National Association 22 (1927): 215-20. The first of some 20 reports by this active committee published in the Proceedings

over a 22-year period. This report concerned the requirements for the B.M. degree and is based on a survey of 51 schools. Subsequent reports dealt with a variety of topics, such as music for the general college student (1930, 1949), college entrance credit in music (1931), employment of graduates (1935), curricular changes (1937, 1939, 1946, 1947), use of radio (1937), effects of the war on music

programs (1942, 1945), quality of work by returning veterans (1947), general education and core requirements (1948), and concerts by visiting artists (1949).

113 FAULKNER, Maurice Ervin. “The Roots of Music Education in American Colleges and Universities.” Ph.D. diss., Stanford University, 1956. DAI 16/4 (Apr 1956): 704.

114 FULLBRIGHT, Wilbur Dale. “The History and Development of the Master’s Degree in Music in the United States.” Ph.D. diss., Boston University, 1960. DAT 21/4 (Oct 1960): 921.

115 GLIDDEN, Robert. “The DMA: An Historical Perspective.” Proceedings of the 57th Annual Meeting of the National Association of Schools of Music 70 (1982): 157-61. A brief review of the history of the D.M.A. degree focusing on the debate between Howard Hanson and Paul Henry Lang over the necessity of the degree.

116 GOINES, Leonard. “Music and Music Education in Predominantly Negro Colleges and Universities Offering a Four-Year Program of Music Study Terminating in a Degree.” Ed.D. diss., Columbia University, 1963. DAI 24/8 (Feb 1964): 3365-66. See Henry Cady’s review in Council for Research in Music Education 8 (Fall 1966): 70-73.

117 GORTON, Thomas, moderator. “Music in Higher Education: Challenge and Opportunity.” Bulletin of the National Association of Schools of Music 55 (Feb 1967): 64-85.

26

HISTORIES, SURVEYS AND OTHER DESCRIPTIVE STUDIES

Transcript of a panel discussion which included Grant Beglarian, Henry Bruinsma,

Frank Dickey, Warner Lawson, Robert Shaw, and Robert Trotter.

118 HAMLIN, Lydia Harris. “Musical Culture in Negro Schools and Colleges.” Proceedings of the Music Teachers National Association 11 (1916): 144-55. Report of an informal survey of the status of music in these schools. Concluded that more was being done in private than in public schools and colleges for blacks.

119 HANSON, Howard. “The Doctorate in Music: A Progress Report.” Bulletin of the National Association of Schools of Music 46 (Feb 1958): 4-7. Impressions of the status of the doctorate in music in U.S. graduate schools, with particular reference to the D.M.A.

120 HOLVIK, Karl M. “Music in the Evangelical Lutheran Church Colleges.” M.A.

, thesis, University of Rochester, 1947.

121 HOOPER, William Loyd. “The Master’s Degree in Church Music in Protestant Theological Seminaries of the United States.” Ph.D. diss., George Peabody College for Teachers, 1966. DAI 27/12 (June 1967): 4279-80-A.

122 HOUSEWRIGHT, Wiley L. “Music in Higher Education.” Music Educators Journal, Oct 1967, 39-41, 107-09. A general description of various types of music curricula, including some observations on their historical backgrounds.

123 JONES, Vincent. “A Report on Higher Degrees.” Yearbook of the Music Educators National Conference (1938), 134-37. Summarizes the results of a study of graduate degree requirements in 24 colleges and universities.

124 KENNEDY, Arthur Ward. “The Doctoral Degree in Music in Universities and Colleges of the United States.” Ph.D. diss., Northwestern University, 1955. DAT 16/1 (Jan 1956): 132.

125 KILENYI, Edward. “Music in the American Colleges and Universities.” Musical Observer, July 1915, 402-03.

27

The Role of Music in Higher Education

A general statement of the author’s views on the status of music in American colleges.

126 LaDUE, George William. “Music in Twenty Midwestern Colleges and Universities.” M.M. thesis, Northwestern University, 1949.

127 LEONHARD, Charles, and Gary R.SUDANO. “Music Education: Colleges.”

In The Encyclopedia of Education, vol. 6, 452-59. Edited by Lee C. Deighton. New York: Macmillan Co. and the Free Press, 1971. A general overview of the different music curricula offered in U.S. colleges and universities.

128 LEVY, Alan Howard. “Music’s Proper Place: Trends in the Status of Music at Selected Institutions of Higher Education in America, 1870-1920.” Council for Research in Music Education 72 (Fall 1982): 16-39. The selected institutions include Harvard, Yale, Columbia, and several of the principal conservatories. Important schools and departments in state universities are given only the briefest mention in one paragraph.

129 McCONATHY, Osbourne. Present Status of Music Instruction in Colleges and High Schools, 1919-20. U.S. Bureau of Education Bulletin 1921, no. 9. Washington, D.C.: Government Printing Office, 1921. This publication is subtitled “Report of a Study Made under the Direction of , the United States Bureau of Education by a Joint Committee of the National Education Association, Music Teachers’ National Association, and Music Supervisors’ National Conference.” Included is the third major survey of music in higher education, based on 419 replies to a questionnaire sent to 585 institutions.

130 McWHOOD, Leonard B. “The Present Status of Music in Colleges.” Proceedings of the Music Teachers National Association 2 (1907): 40-45. Report of a questionnaire survey of 123 colleges.

131 MANCHESTER, Arthur L. Music Education in the United States Schools and Departments of Music. U.S. Bureau of Education Bulletin 1908, no. 4. Washington, D.C.: Government Printing Office, 1908. Report of the first national survey which attempted to present a comprehensive overview of the status of music in higher education. Despite weaknesses noted by the author in his “Foreword,” it is the best descriptive study of its time and thus remains an important source.

28

HISTORIES, SURVEYS AND OTHER DESCRIPTIVE STUDIES

An earlier progress report on this survey was published as “The Statistics of Musical Education in the United States,” Proceedings of the Music Teachers National Association 2 (1907): 46-55. Some of the author’s later observations on the study are published as “A Conclusion Drawn from the Inquiry into the Status of Music Education in Secondary Schools, Colleges and Universities,” Proceedings of the Music Teachers National Association 3 (1908): 191-98.

132 MAUST, Earl Marion. “The History and Development of Music in MennoniteControlled Liberal Arts Colleges in the United States.” Ed.D. diss., George Peabody College for Teachers, 1968. DAT 30/3 (Sep 1969): 1196-A.

133 MILLS, Charles H. “The History of Musical Degrees.” Proceedings of the

Music Teachers National Association 7 (1912): 159-70. | Surveys the history of musical degrees in European universities and suggests that

the problem of music degrees in American universities remains unsolved.

134 MOORE, Earl V. Music in Michigan’s State Supported Institutions of Higher Learning. Ann Arbor: J. W. Edwards, 1956. A report by the Music Study Group of the Michigan Council of State College Presidents.

135 MORGAN, Hazel Nohavec, ed. Music Education Source Book. Chicago: Music Educators National Conference, 1947. “A compendium of data, opinion and recommendations —compiled from the reports of investigations, studies and discussions conducted by the MENC Curriculum Committees during the period 1942-1946.” Several chapters are concerned with aspects of music in higher education—junior college music programs, curricula for training music teachers, college bands, music education, and musicology.

} 136 MORGAN, Hazel N.,ed. Music in American Education: Source Book Number Two. Chicago: Music Educators National Conference, 1955. Contains the reports of investigations and studies conducted by the Music in American Education Committees of the Music Educators National Conference during the period 1951-54.

137 MORRISON, Donald Eugene. “The Sacred Music Degrees (Protestant) in the Colleges, Universities, and Seminaries of the United States (1956-57).” S.M.M. thesis, Union Theological Seminary, 1957.

29

The Role of Music in Higher Education

138 MORRISON, Jack. The Rise of the Arts on the American Campus. New York:

McGraw-Hill Book Co., 1973. ,

Contains a brief historical sketch of music in U.S. colleges and universities and some statistical data along with profiles of selected institutions.

139 MOUNTNEY, Virginia Ruth. “The History of the Bachelor’s Degree in the Field

of Music in the United States.” D.M.A. diss., Boston University, 1961. In addition to tracing the development of the bachelor’s degree in music, this study describes some of the attitudes toward music as a university or college subject and the numerous types of music degrees which have been conferred. The

influence of professional music, educational, and accrediting organizations is also examined.

140 NORMANN, Theodore F. “Trends in Music Instruction in Institutions of Higher

Learning in the United States.” In Report of the Third International Conference on the Role and Place of Music in the Education of Youth and Adults, Copenhagen, 1958, 114-24. N.p.: International Society for Music

Education, 1958.

, Briefly notes trends with regard to organization, administration, teacher training, extension divisions, curricula, and graduate study.

141 PAVLAKIS, Christopher. The American Music Handbook. New York: Free Press, 1974. A compendium of information on all areas of organized musical activity in the United States. Contains statistical data on 863 post-secondary institutions.

142 PIERCE, Charles L. aN History of Music and of Music Education of the Seventh-Day Adventist Church.” D.M.A. diss., Catholic University of America, 1976. DAT 38/1 (July 1977): 20-21-A.

143. RAHN, D. Jay, ed. “A Survey of the Relationship between Musicology and Performance in the Music Departments of Thirty-Nine North American Graduate Schools.” Current Musicology 14 (1972): 9-44. |

144 REILLY, Patricia Margaret. “A History of the Development of Baccalaureate Degrees in Music Education in Virginia Colleges.” Ed.D. diss., Indiana

University, 1966. DAT 27/6 (Dec 1966): 1691-92-A. 30

HISTORIES, SURVEYS AND OTHER DESCRIPTIVE STUDIES

145 RIEMENSCHNEIDER, Albert. “Music Education in Higher Institutions.” North Central Association Quarterly 15/2 (Oct 1940): 174-84. Text of an address delivered before the Commission on Institutions of Higher Education that is, for the most part, a report of a questionnaire survey of 56 member schools of the Association. The report of the second phase of the survey,

based on visits to 10 institutions, is published as “Survey of Music Education in the North Central Association,” North Central Association Quarterly 16/2 (Oct 1941): 161-72.

146 RITSCHEL, Robert Eugene. “Music in Higher Education: Its Future During the 1980’s —A Delphi Study.” Ed.D. diss., University of Illinois at Urbana-

Champaign, 1981. DAI 42/9 (Mar 1982): 3900-A. 147. SCHAUM, David W. “The Music Program in Catholic Colleges and Universities in the United States.” Ph.D. diss., Catholic University of America, 1961.

148 SCOTT, Carlyle M. “The Changing Curriculum.” Proceedings of the Music Teachers National Association 34 (1939): 158-62. A brief description of some of the changes in college music curricula during the preceding quarter of a century.

149 SEASHORE, CarlE. “Advanced Degrees in Music.” Music Educators Journal, Apr 1945, 34, 50. Sketches the development of graduate work in music with emphasis on the program at the State University of Iowa (now, University of Iowa) where the author was dean of the Graduate College. 150 SLEEPER, Henry Dike. “Music as a College Study.” Proceedings of the Music Teachers National Association 1 (1906): 43-54. Summary of 48 responses to a questionnaire sent to heads of music departments.

151 SPELL, LotaM. Music in Texas: A Survey of One Aspect of Cultural Progress. Austin: the author, 1936. Chapter 15 contains information on music in higher education in Texas. 152. STOUT, Kemble, and Henry BRUINSMA. “Music in Land-Grant Colleges and Universities.” Bulletin of the National Association of Schools of Music 50 (Feb 1962): 38-42.

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The Role of Music in Higher Education

Two brief papers on the development and present status of music curricula in these institutions.

153. SUR, W.R. “Institutions Offering the Doctorate.” Music Educators Journal, June-July 1950, 54. Brief report of a survey conducted by the Music Education Research Council in 1949,

154 Survey of College Entrance Credits and College Courses in Music. New York: National Bureau for the Advancement of Music, 1930. Prepared by the Research Council of the Music Supervisors National Conference, this survey of 594 institutions was another attempt to present a comprehensive overview of the status of music in higher education. Data are presented in tabular

form and as summary statements from each of the participating schools. A preview of this report was given by the chairman of the Research Council, Peter W. Dykema, and published as “The Attitude of Colleges toward Music,” Journal of Proceedings of the Music Supervisors National Conference (1929), 46-57.

155 WAGNER, L. J. “The Present State of Music in Catholic Colleges and

Universities.” Caecilia 90 (Winter 1963-64): 166-78. :

156 WATSON, Jack M. “Twenty-Five Years of Music in Higher Education.” Music Journal, 25th Anniversary Issue (1966), 72, 114-16. Impressions of significant trends of the preceding years.

157 WEAVER, Paul J. “Report on Music in Higher Education.” Yearbook of the Music Educators National Conference (1938), 138-39. Considers the scope of the field of music in higher education and recommends that MENC adopt a comprehensive plan for the study of all aspects of the field.

158 YONT, Rose. Status and Value of Music in Education. Lincoln, Neb.: Woodruff Press, 1916. Part II of this doctoral study gives a state by state report of the results of a survey

of music teaching in colleges, universities, and state normal schools. Brief histories of the music departments of many are included.

32

GENERAL CURRICULUM PHILOSOPHY AND OBJECTIVES

} General Curriculum Philosophy and Objectives Divided into two parts —undergraduate and graduate — this section includes books, articles, and papers that for the most part are argumentative in nature. The range of topics covered is broad and the discussions are not limited to

a specific curriculum or type of institution.

UNDERGRADUATE

159 ALLEN, WarrenD. “Different Objectives in Music Education.” Yearbook of the Music Educators National Conference (1939-40), 24-30. A plea for tolerance among musicians, scholars, and educators — “tolerance of each other and of each other’s objectives.”

160 ALLEN, Warren D. “Teaching, Education and Musicology.” Proceedings of the Music Teachers National Association 34 (1939): 193-98. Urges cooperation among all teachers of music in order that American music education at all levels “is steered into constructive channels, not into blind alleys.”

Allen seems to imply that new curriculum theories espoused by professional educators are the “blind alleys.”

161 ASHTON, Joseph N. “Where Should the Emphasis Be Laid in Musical Studies in the College?” Proceedings of the Music Teachers National Association 2 (1907): 251-54. Expresses the view that mastery of a particular body of knowledge should be secondary in importance to “the development of various faculties of the

student... .”

162 BARZUN, Jacques. Music in American Life. New York: Doubleday, 1956. Reprint, Bloomington: Indiana University Press, 1969. A noted historian’s observations and reflections on what he calls the “musical revolution” of the mid-twentieth century —a revolution in which the universities play no small part. See John H. Mueller’s review in Journal of Research in Music Education 2/2 (Fall 1956): 133-34.

163 BERGSMA, William. “L &M Revisited.” Juilliard Review 2/3 (Fall 1955): 29-36. The author’s view on the workings of the Juilliard Literature and Materials Program after seven years. See also no. 217.

33

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164 BELLAMANN,H.H. “Notes on the Problems of Music Teaching in Colleges.” Proceedings of the Music Teachers National Association 20 (1925): 59-63. Deplores a trend toward too much uniformity and standardization in college music teaching and too much emphasis on “talk about music” in order to secure music’s

place in the academic environment.

165 BENWARD, Bruce. “Music Appreciation Goes to College.” Music Educators Journal, May-June 1949, 43. Discusses three functions of a college music department —to provide for 1) the general college student, 2) the professional and 3) public school teachers —and suggests that too much emphasis is given to the second of these to the neglect

of the first. |

166 BIERBOWER, Austin. “Are We Making Too Music of Music?” Education 28/6 (Feb 1908): 361-63. An argument against the inclusion of music in education.

167 BROUDY, HarryS. “Arts Education Substantiated.” Music Educators Journal, Dec 1967, 43-46. A justification for aesthetic education at all levels.

168 BUKOFZER, Manfred F. “Changing Standards and Goals in Music Education.” Proceedings of the Music Teachers National Association 43 (1949): 3-7. Emphasizes the importance of distinguishing between the academic and nonacademic functions of music in higher education and stresses the need for quality

as opposed to quantity.

1649 BURCHARD, John E. “The Administration Looks at the Department of Music.” Proceedings of the Music Teachers National Association 43 (1949): 51-66. Expresses the view that too much emphasis is given to preparing students for - careers in music and not enough to offering courses for the non-major.

170 CADY,HenryL. “The Department of Music in the Contemporary University.” College Music Symposium 18/1 (Spring 1978): 45-54. Reviews briefly the history of the controversy over the academic versus the practical in higher music education and suggests that “we have entered the era

of scholarly-based performance.” : 34

GENERAL CURRICULUM PHILOSOPHY AND OBJECTIVES

171 CARRIUOLO, Ralf. “American Pluralism, the University, and Ethnomusicology: Some Comments on Their Interrelationships.” College Music Symposium 16 (Spring 1976): 50-63. An attempt to show how the methodology and approach of ethnomusicologists can provide solutions for what is seen as a crucial need for universities to develop

curricula more appropriate to a pluralistic society.

172. CLAPP, Philip Greeley. “The Place of the State University in Our National Scheme of Music Education.” Proceedings of the Music Teachers National Association 16 (1921): 57-63. Argues that the state university should set the pace in three areas of music education — the wide dissemination of musical culture, the training of professional

musicians, and the training of teachers. The state university should also strive to eliminate the economic factor in access to musical studies in higher education.

173 CLAPP, Philip Greeley. “The University Man in Music.” Harvard Monthly, Christmas 1908, 144-50. Contrary to popular opinion at the time, Clapp argues that to study music in college is not unmanly or immoral. Rather, it is a desirable part of man’s individual culture and social training.

174 CLARKE, Eric. Music in Everyday Life. New York: W. W. Norton, 1935. A highly personal view of the American musical scene in 1935, including in chapters 4 and 5 a discussion of the role of music in general education and the specialized study of music in colleges and conservatories.

175 COLE, Rossetter G. “Musical Degrees in American Colleges.” Proceedings of the Music Teachers National Association 2 (1907): 31-39. Discusses the merits of the granting of music degrees by colleges, concluding that the most desirable condition for doing so is the development of a highly coordinated and organized curriculum in music for elementary schools through the college.

176 COOLIDGE, ArlanR. “The Arts as Part of the Core Curriculum: A Challenge to Music Educators.” College Music Symposium 15 (Spring 1975): 78-86. Essentially a plea for more effort on the part of music teachers at all levels, but especially college teachers, in planning for the projected decline in enrollments and increased financial restrictions.

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The Role of Music in Higher Education

177. DAVISON, Archibald T. Music Education in America. New York: Harper and Brothers, 1926. Subtitled “What Is Wrong with It? What Shall We Do About It?” Reviewers at the time saw Davison’s criticisms as somewhat extreme and unfair, and his recommendations for improvement too idealistic. The greatest controversy centered on his recommendation that credit should not be given for applied study.

178 “The Department or School of Music in 1980.” Proceedings of the 47th Annual Meeting of the National Association of Schools of Music 60 (1972): 62-77. Five views of the problems and prospects of the near future. Papers presented by Thomas W. Miller, Lawrence DeWitt, Robert Y. Hare, Bruce Benward, and Allen Wortman.

179 DICKINSON, Edward. Music and the Higher Education. New York: Charles

Scribner’s Sons, 1915. ,

One of the earliest extended treatments of the aesthetic and educational values of music. More than half a century later Dickinson’s philosophy still sounds contemporary in many ways.

180 DICKINSON, Edward. “The Teaching of Music.” In College Teaching: Studies in Methods of Teaching in the College, ed. Paul Klapper, 457-74. New York: World Book, 1920. A discussion of the reasons why music should be taught in college, giving a good

picture of what were the major issues of the time.

181 DICKINSON, George Sherman. “Correlation in Higher Music Education.” Proceedings of the Music Teachers National Association 22 (1927): 22-36. An early advocate of the need to synthesize the various branches of musical study argues for less specialization and the need to view these branches as “what they really are —interlocked approaches to the same subject.” This concept is further

developed in another paper, no. 183.

182 DICKINSON, George Sherman. “Mutual Objectives of Music Education in School and College.” Proceedings of the Music Teachers National Association 33 (1938): 175-84. “The one primary objective of all music education . . . is the affording of a high order of aesthetic experience as a significant and valuable thing in itself.”

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183 DICKINSON, George Sherman. “The Study of Style as the Clue to Higher Musical Education.” Proceedings of the Music Teachers National Association

38 (1944): 200-15. ,

The concept of musical style is the “bond par excellence among the various branches of musical study. ... Style is the essence of music [and recognition of this] is indispensable to a mature view of higher music education.”

184 DOTY,E. William. “A Pattern for Producing an Educated Man.” Bulletin of the National Association of Schools of Music 41 (Jan 1956): 17-20. An argument for the liberalizing value of music and other professional courses, suggesting that music in the university should be viewed “as an indispensable part of the training of the liberally educated man” and as a service to society through the training of professionals.

185 DUNHAM, Rowland W. “Music Teaching Chaos.” Music Journal, Sept-Oct 1949, 15, 36-40. Compares the relative strengths and weaknesses of college music departments with independent conservatories, concluding that there is a place for both types of school.

186 ENGEL, Carl. “Views and Reviews.” Musical Quarterly 11/4 (Oct 1925): 617-29. An editorial criticizing the influence of the “music appreciation movement” on college curricula.

187 EPPERSON, Gordon. “University Music: Theoretical or Applied?” Bulletin of the American Association of University Professors 44/3 (Sept 1958): 616-21. A defense of the place of applied music (performance) in higher education.

188 ERB, J. Lawrence. “The College Conservatory of Music.” Proceedings of the Music Teachers National Association 7 (1912): 60-69. A discussion of what should be the different aims or functions of college music departments and independent conservatories.

189 ERB, J. Lawrence. “Musical Education in the U.S.—Some Observations.” Musical Quarterly 10/1 (Jan 1924): 95-106. Argues that the “over-commercialization” of music education has led to an undesir-

able emphasis on the saleability of methods and materials and to the lowering of standards.

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190 ERB, J. Lawrence. “The Place of the State University in the General Scheme of Public Music Instruction.” Papers and Proceedings of the Music Supervisors National Conference (1919), 93-96. 191 ERB, J. Lawrence. “A Professional Education for Music.” Musician, Nov 1939,

190, 197. ,

Argues the need to change curricula, to discard outworn ideals and methods.

192 FARNSWORTH, Charles Hubert. “Music on an Accredited Basis in Colleges and Universities.” Proceedings of the National Education Association

, (1909), 681-87. ,

Discusses the growing trend toward granting college entrance credit for music and advocates more emphasis on producing and hearing music in college and university studies.

193 FINNEY, Theodore M. “The American College and University as a Center of Musical Activity.” Proceedings of the Music Teachers National Association 30 (1935): 46-52. Provoked by some of Randall Thompson’s recommendations in his book College

Music (see no. 340), the author of this paper argues that the attainment of the goals of music in colleges and universities is dependent upon performance and the granting of credit for applied study.

194 GEHRKENS, Karl W. “The Ideal of Continuity in Music Education through

Schools and College.” Proceedings of the Music Teachers National

Association 33 (1938): 138-44. |

Extols the virtues of cooperation, correlation, and continuity among all phases of music study at all levels.

195 GILMORE, Lee. “The Arts in the College Program in General Education.” Music Educators Journal, Feb 1967, 119-24.

196 GOULD, Samuel B. “Arts in Higher Education: Valid or Valueless?” Music Educators Journal, Jan 1968, 33-35, 89-91. 197 GROUT, Donald J. “The Divorce of Music and Learning.” In The Humanities: An Appraisal, ed. Julian Harris, 152-66. Madison: University of Wisconsin Press, 1950.

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Reprinted in Perspectives in Music Education: Source Book III, ed. Bonnie C. Kowall, 131-38. Washington, D.C.: Music Educators National Conference, 1966. ,

The separation of the musician from established intellectual life is blamed on two false doctrines which have long histories. The ideal musician-scholar and his working environment are described.

198 GUMMERE, RichardM., Jr. “Art Subverts the Curriculum.” Nation, 19 Oct 1970, 368-71. Develops the thesis that the arts, particularly in their creative dimension, are bringing about a second great academic revolution in American higher education, comparable in significance to the influence of science in the nineteenth century.

199 HALL, G. Stanley. “The Function of Music in the College Curriculum.” Proceedings of the Music Teachers National Association 2 (1907): 13-24. An important figure in the history of psychology expresses his views on the principal functions of music in colleges. His arguments are based on Platonic conceptions of the ethical value of music.

200 HANDCHETT, HenryG. “College and University Work in Music.” Education 25/6 (Feb 1905): 345-53. Stresses the need to look upon the study of music in colleges as primarily

intellectual work, as the study of a language and culture. , 201 HANDCHETT, Henry G. “University Work in Music.” Music, Aug 1896, 360-69.

| Discusses the primary aim of university work in music and the facilities needed

for the study of music as literature.

202 HANSON, Howard. “Music in the Atomic Age.” Bulletin of the National Association of Schools of Music 48 (Feb 1960): 17-24. Argues that in order for the creative arts to survive the university must become their sanctuary. Yet, in his view, the university is and has been too anti-creativity.

203 HARLOW, Gale. “Musical Education.” Musical Quarterly 8/1 (Jan 1922): 96-107.

39 ,

Essentially a plea for more emphasis on the “cultural teaching” of music in schools

and colleges with professional training relegated to the conservatories.

The Role of Music in Higher Education

204 HAYDON, Glen. “Aims and Objectives of the College and Conservatory Curricula in Music.” Yearbook of the Music Educators National Conference (1935), 384-86. “The fundamental objectives are similar. ... The differences .. . are matters

of degree... .” 205 HAYDON, Glen. “Coordination between Music Courses in Junior College and

Upperdivision Work in Higher Institutions.” Yearbook of the Music Supervisors National Conference (1931), 19-27. Most of this paper is devoted to a general philosophical discussion of the nature

of music, its relation to life, and its place in education as the basis for a few observations on the coordination of lower and upper division courses.

206 HAZARD, Caroline. From College Gates. Boston: Houghton Mifflin, 1925. Contains two addresses given by the President of Wellesley College: “Musical Training,” delivered at the New England Conservatory on 28 January 1901, and “The Place of Music in Education,” given at the Barnard Club, Providence, on 16 March 1901.

207 HEARN, Thomas K. “The Arts and the American Consciousness: Reflections on ‘Coming to Our Senses.’” Proceedings of the 54th Annual Meeting of the National Association of Schools of Music 67 (1979): 39-56. A discussion of certain philosophical implications of the Rockefeller Panel report Coming to Our Senses: The Significance of the Arts for American Education.

208 HINDEMITH, Paul. A Composer’s World: Horizons and Limitations. Cambridge: Harvard University Press, 1952. Reprint, Gloucester, Mass.: P. Smith, 1969. In the section entitled “Education” Hindemith gives his views on several aspects of music in higher education.

209 HOLMBERG, Fredrick. “Standardization of Musical Degrees.” Proceedings of the Music Teachers National Association 18 (1923): 141-48. A plea for MTNA support for his recommended curriculum for the B.M. degree.

210 HOOD, Mantle. “Musical Literacy in the 1970’s.” College Music Symposium 11 (Fall 1971): 96. Briefly noted “overdue” changes in undergraduate and graduate curricula.

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211 HOUSE, Robert. “The Future of Music Education in Higher Education.” In Music Education for Tomorrow’s Society: Selected Topics, ed. Arthur Motycka, 61-72. Jamestown, R.I.: GAMT Music Press, 1976. Speculating on the next 50 years of music in higher education, the author sees a number of significant changes.

212 HUTCHINSON, William. “Arts Management and the Art of Music.” Arts in Society 12/1 (1975): 110-20. Discusses the relationship between society and the musical arts, and the role of higher education in nurturing musicians during the 1960s and 1970s.

213 “Issues in Undergraduate Music Curricula.” Proceedings of the 56th Annual Meeting of the National Association of Schools of Music 69 (1981): 177-254. One of three topic areas included in the 1980 Annual Meeting of NASM. “Within each topic area, participants met together to hear major presentations. ... After

the major presentations, participants attended small seminars to discuss the statements of the presenters. Summaries of the areas discussed in the small seminar groups are included in the ‘Report of the Recorder’ for each topic area.” Bibliographies are also included. The 10 presentations in this topic area are related to one of three sub-topics: teacher certification in music, the liberal arts degree in music, or interdisciplinary

studies in music and theater. Other topic areas in this volume are “National Arts and Arts Education Policy,” pp. 1-80 (two presentations), and “Approaches to Faculty Policies,” pp. 81-176 (eight presentations).

The longest and perhaps the most significant paper included is Samuel Hope’s “Policy Issues for NASM Member Institutions,” pp. 9-62. Here the executive director of NASM presents a comprehensive, yet brief discussion of major policy issues in arts education.

214 JOHN, Robert W. “Degrees, Titles, and College Music Teaching.” Music Educators Journal, Oct 1979, 58-59. Briefly traces the development of conflicting philosophies of music in higher education.

215 JONES, Vincent. Music Education in the College. Boston: C. C. Birchard, 1949. This book “endeavors to survey briefly the various phases of music taught in our American colleges, to advance some basic philosophy, and to suggest pedagogical procedures which apply to the college level.” Emphasis is on teacher preparation.

4]

The Role of Music in Higher Education —

216 JORDAN, Bryce. “Address to the College Music Society.” College Music

| Symposium 14 (Fall 1974): 7-12. Briefly reviews some changes of the preceding decade and suggests the need to view higher education in relation to the concept of “lifetime education,” and the

need to “understand, practice, and teach our discipline in the light of other disciplines.”

217. The Juilliard Report on Teaching the Literature and Materials of Music. Prepared by Richard Franko Goldman, with an Introduction by William Schuman. New York: Juilliard School of Music, 1953. A detailed statement of the school’s philosophy, aims, administration, and description of the “new” Literature and Materials of Music curriculum. The Introduction summarizes the background of this curriculum, and Schuman’s article “On Teaching the Literature and Materials of Music,” Musical Quarterly 34/2 (Apr 1948): 155-68, describes the beginning of the program in the academic

7 year 1947-48.

218 KAUFMAN, Henry W. “Editorial.” College Music Symposium 3 (Fall 1963): 9-12.

Argues that the differences in philosophical orientation that exist in the field

, of music are not irreconcilable. A remedy for the problem may come from a search for “points of contact, understanding, and mutual interdependence rather than separation.”

219 KELLER, Marcello Sorce. “Music in Higher Education in Italy and the United States: The Pros and Cons of Tradition and Innovation.” College Music

Symposium 24/1 (Spring 1984): 140-47. , Suggests an ideal that combines traditional elements of the Italian system with innovative elements of the American system.

220 KIMBALL, Willard. “The School of Music as a Place for Study.” Proceedings of the Music Teachers National Association 1 (1906): 37-42. A discussion of the respective advantages and limitations of four types of music schools or conservatories.

221 KINKELDEY, Otto. “American Higher Music Education Compared with That in Europe.” Proceedings of the Music Teachers National Association 29 (1934): 20-28.

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GENERAL CURRICULUM PHILOSOPHY AND OBJECTIVES

The comparison leads the author to conclude that American universities should follow the European plan of separate schools for training professional artistmusicians and music scholars. Kinkeldey expresses the same view in an earlier paper “Music in the Universities of Europe,” Proceedings of the Music Teachers National Association 10 (1915): 79-91.

222 KINKELDEY, Otto. “The Artist and the Scholar.” Proceedings of the Music Teachers National Association 35 (1940): 67-79. An elaboration of the views expressed in the previous sources.

223 LAMB, Gordon H. “Undervalued Music Courses.” College Music Symposium 19/1 (Spring 1979): 183-91. Discusses problems created by so many music courses valued at less than three

semester hours. Recommends an upward revaluing combined with serious curriculum revision.

224 LANG, PaulHenry. “The Department of Music and Its Functions.” Proceedings of the Music Teachers National Association 35 (1940): 259-64. After noting that the topic of his paper is a perennial one “at every congregation of the music teaching fraternity,” Lang argues that the separate and distinct functions

of music schools and music departments require the issue to be kept alive.

225 LUTKIN, Peter C. “The School of Music in the University.” Proceedings of the Music Teachers National Association 1 (1906): 32-36. Gives a brief history of the development of music studies at Northwestern University from 1873, emphasizing the mutual benefits for the school of music associated with the university. The need for greater uniformity in the granting

, of degrees is also discussed. 226 MacDOUGALL, Hamilton C. “The Development of Musical Power in the College Student.” Proceedings of the Music Teachers National Association 1 (1906): 61-65. Concerned primarily with clarifying the different purposes of the university school of music, the conservatory, and the music department of a liberal arts college.

227 McGRATH, Earl J. “General Education in Music: A Review and an Appraisal.” Bulletin of the National Association of Schools of Music 47 (Feb 1959): 3-9.

43

The Role of Music in Higher Education Discusses the role of liberal education in the training of the professional musician

and music teacher, as well as the role of music in the liberal education of the general student.

228 MARPLE, Hugo Dixon. “Contemporary Philosophies of Music Education.” Ph.D. diss., University of Rochester, 1949. A study of some controversial issues in the field of music education based on interviews with administrators, a questionnaire survey of 90 institutions in 37 states, and questionnaires answered by 263 senior music education students in 50 schools. The author concluded “that contemporary philosophies in music education are not what music educators profess or ascribe to, but rather are similar

to those which have occupied the thinking of education and music education for the last century.”

229. MAYER, Fred C. “Performance Major or Music Education Major: Caught in

the Middle.” Proceedings of the SIst Annual Meeting of the National Association of Schools of Music 64 (1976): 88-94. Argues the necessity of offering more than two options for music majors in their undergraduate curricula.

230 MAYHEW, Lewis B. “The Arts and Protest: A Possible Synthesis.” Music Educators Journal, May 1972, 22-24, 87-89. Compares the new climate on the college campus and in the nation to that of earlier days, and promotes the view that the arts now have a chance to become a central part of the campus and the nation.

111-15. ,

231 MILLS, CharlesH. “Types of College Curricula and Their Appropriate Degrees.” Journal of Proceedings of the Music Supervisors National Conference (1930), A consideration, in general terms, of what should be the requirements for the Bachelor of Music degree, stressing that one function of the degree should be to prepare students for graduate study.

232 MOORE, Earl V. “Readjustments in Education in Music in the New Era.” Proceedings of the Music Teachers National Association 38 (1944): 99-111. An examination of some of the trends in educational philosophy, social relations, and economics growing out of World War II, and the problems presented by these trends for music education in general.

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GENERAL CURRICULUM PHILOSOPHY AND OBJECTIVES

233 MOORE, Earl V. “The Standardization of the Bachelor of Music Degree in the

| United States.” Proceedings of the Music Teachers National Association 25 (1930): 21-35. Gives background and some explanation of the Commission on Curriculum Report as published in 1927 by the National Association of Schools of Music.

234 PALISCA, Claude V. Music in Our Schools—A Search for Improvement. U.S. Department of Health, Education and Welfare, Office of Education Bulletin 1964, no. 28. Washington, D.C.: Government Printing Office, 1964. Report of the Yale Seminar on Music Education, the first such seminar in music financed under P. L. 83-531, the Cooperative Research Act. The seminar was unique in the sense that it “brought together for the first time in such an extended and comprehensive session leading representatives of the many disparate elements which comprise the field of music.” This report is also reproduced in ERIC Documents under the title “Seminar in Music Education,” ED 003 429.

A news release issued on the final day of the conference is printed in the Music Educators Journal, Sept-Oct 1963, 86-87.

Two short articles related to the seminar, by Joseph Turner and Kenneth L. Wendrich, may be found in the Council for Research in Music Education 6 (Fall 1965S): 1-11. The entire issue of Council for Research in Music Education 60 (Fall 1979) is devoted to 17 articles presenting the views 15 years later of both

participants and non-participants on some of the outcomes of the Seminar.

235 PALISCA, Claude V. “The Quality of Life and the Education of the Musical Amateur.” College Music Symposium 16 (Spring 1976): 42-49. An address delivered at the Eleventh International Conference of the International Society for Music Education in Perth, Western Australia, on 5 August 1974. It

is essentially a plea for giving high priority to the training of gifted amateurs in colleges, universities, and conservatories. 236 Papers and Reports from Conferences Sponsored by the Contemporary Music Project. National Association of Schools of Music Series Monographs on Music

in Higher Education, no. 1. Washington, D.C.: by the Association, 1973. Contains the papers and reports from the Airlie House Conference on “College Music Curricula” (Warrenton, Va., 28-31 October 1970), the invitational forum on “The Education of the Performing Musician” (Yale University, 9-10 April

1973), and the invitational forum on “The Graduate Education of College Music Teachers” (Northwestern University, 22-24 January 1973). Condensed reports of the two 1973 conferences are published as “Symposium —The Contemporary Music Project Forums,” College Music Symposium 13 (Fall 1973): 78-96.

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The Role of Music in Higher Education

237 PARKER, Horatio. “Music in Colleges.” Art World, Nov 1916, 101-03. A composer’s view on the role of music in the college curriculum and the training

of composers, performers, and teachers.

238 PERKINS, James A. “Should the Artist Come to the Campus?” Saturday Review, 17 July 1965, 54-56, 71. 7 Text of a speech by the President of Cornell University given at Lincoln Center, 9 March 1965. Also published as “The University and the Arts,” Music Educators

Journal, Feb-Mar 1966, 49-51, 210-13. It is a plea for mutual understanding on the part of artists and scholars that will allow the creative and performing arts to become a more important part of the university.

239 PRATT, Waldo S. “Music as a University Study.” Music, Aug 1894, 413-32. Text of an address delivered at Cornell University setting forth the role of music in the university and suggesting the establishment of a department of music.

240 “Recommendations for Theory, Music History, and Literature.” Bulletin of the National Association of Schools of Music 45 (Jan 1958): 1-8. “Defines objectives in theory and music history and literature which member institutions might reasonably expect of all students completing undergraduate degrees in music,” thereby indicating “a common core of knowledge essential to basic musicianship.”

241 “Report of the College Music Committee.” Music Educators Journal, Mar 1941,

| 54-55.

The committee represented privately-endowed liberal arts colleges and state universities and was chaired by Warren D. Allen. The report contains a wide

variety of recommendations. |

242 “Report of the Committee on the Bachelor of Music Degree.” Bulletin of the , National Association of Schools of Music 48 (Feb 1960): 49-53. An interim report giving a brief historical background of the degree and general recommendations for the curriculum. The revised report that was adopted appears

, in Bulletin of the National Association of Schools of Music 49 (Feb 1961): 48-52.

243. ROSENSTIEL, Leonie, ed. “The Spheres of Music: Harmonic and Discord.” Current Musicology 14 (1972): 81-172; 15 (1973): 81-100.

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A collection of 22 articles concerned primarily “with past, present, and possible future problems of communication among the various branches of music and related fields and with the positive and negative effects that these disciplines may

have on each other.”

244 “Round Table: Undergraduate Preparation for Graduate Study in Music.” College Music Symposium 7 (Fall 1967): 91-102. Three short papers by Claude V. Palisca, Donald J. Grout; and Allen Winold

, originally presented at the ninth annual meeting of the College Music Society, 26-28 December 1966.

245 SAYLOR, Richard. “Curriculum Considerations for the 1970’s.” College Music Symposium 12 (Fall 1972): 29-33. Recommendations for curriculum revisions, primarily with reference to the music

, education curriculum. 246 SCHULLER, Gunther. “Keynote Address.” Proceedings of the 48th Annual

| Meeting of the National Association of Schools of Music 61 (1973): 23-32. , Predictions about the future of music in the educational process. 247. SEEGER, Charles Louis, Jr. “Musicin the American University.” Educational Review 66/1 (Sept 1923): 95-99. The subject of music in the university is viewed as being “without genuine academic paternity.” Nevertheless, Seeger believes it should be assumed that all universities ought to have departments of music.

248 SLOANE, Joseph C. “The Arts and Humanities: Brothers or Strangers?” Music Educators Journal, Sept 1967, 38-41. _ Argues that to expect the fusing of the deep-rooted division between the arts and the humanities in higher education is unrealistic. Nevertheless, the two can complement each other if we do not forget “that man is at the center of both, ... that he creates both, and through them, studies himself.”

249 SLOANE, Joseph C. “Arts/Worth: A Project of the National Council of the Arts in Education.” College Music Symposium 10 (Fall 1970): 21-30. A detailed description of a four-year project of the NCAIE designed to examine the role of the arts in the entire educational process and to promote the arts as an essential part of education at all levels.

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250 STONE, James H. “Mid-Nineteenth Century American Beliefs in the Social Values of Music.” Musical Quarterly 43/1 (Jan 1957): 38-49. Suggests that many of the ideas which later influenced music in higher education

were perhaps the outgrowth of Jacksonian democracy.

251 SUZZALLO, Henry. “The Place of Music in Higher Education.” Proceedings of the Music Teachers National Association 3 (1908): 96-109. Expresses the view that the social values of music can best be attained if the university assumes the responsibility for advanced work in both music appreciation

and in training the music specialist.

252. “The Tanglewood Symposium: Music in American Society.” Music Educators Journal, Nov 1967, 49-80. This is the initial published report of the Symposium, one section of which is devoted to “Implications for Music in Higher Education and the Community.”

The Tanglewood Symposium, held in Stockbridge, Mass., from 23 July to 2 August 1967, has been described as “one of the most significant meetings ever | held on the assessment and improvement of American Music Education.” Even if this is an overstatement, the influence of the recommendations made (referred to as the “Tanglewood Declaration”) during the ensuing decade may readily be noted in developments in higher education in music. Other sources pertaining to the symposium are: CHOATE, Robert A., ed. Documentary Report of the Tanglewood Symposium. Washington, D.C.: Music Educators National Conference, 1968. McKENNA, Gerard, and William R. SCHMID, eds. The Tanglewood Symposium Revisited: Music in American Society Ten Years Later. Milwaukee: University of Wisconsin-Milwaukee, 1978.

MURPHY, Judith, and George SULLIVAN. Music in American Society. Washington, D.C.: Music Educators National Conference, 1968.

253 TROMBLE, William Warner. “The American Intellectual and Music: An Analysis of the Writings of Susanne K. Langer, Paul Henry Lang, Jacques Barzun, John Dewey, and Leonard Bernstein — With Implications for Music Education at the College Level.” Ph.D. diss., University of Michigan, 1968. DAT 29/3 (Sept 1968): 925-26-A.

254 VALENTINE, Alan. “Music and Reconstruction in American Education.” Proceedings of the Music Teachers National Association 40 (1946): 17-25.

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Text of an address given by the president of the University of Rochester setting forth his views on the status of music in academia and how its status might be improved. Included is a witty criticism of the famous Harvard Report on General Education in a Free Society.

255 WELCH, Roy D. “The College and University as Patron of Music.” Proceedings of the Music Teachers National Association 42 (1948): 20-31. An answer to the question “What is it that a Music Department does?”

256 WILLIAMS, Thomas W. “The Influence of General Education on Music Curricula.” Proceedings of the Music Teachers National Association 37 (1942): 80-84. Suggests that one way to combat the encroachment of general education requirements in the music curriculum is to place more emphasis on the contribution of music courses to general education in other fields.

257 WOODWARD, Henry, ed. “Report of the Fourteenth Annual Meeting.” College Music Symposium 12 (Fall 1972): 130-50. Summaries of comments and other papers given at the four sessions of this annual meeting that were not published elsewhere in this issue of Symposium. Topics of the sessions were “The Undergraduate Curriculum,” “Music in Community College —Education and Service,” “The Performer in Academia,” and “NonWestern Music in the College Curriculum.”

258 ZASLAW, Neal. “Music Curricula in the ’70’s.” College Music Symposium 11 (Fall 1971): 108-11. Argues the need for alternate routes of access to music degrees without the abandonment of standards.

GRADUATE

259 The Assessment of Graduate Programs in Music. Reston, Va.: National Association of Schools of Music, 1985. A guide for planning and evaluating graduate curricula in music.

260 BENWARD, Bruce. “In Defense of the Ph.D.” Music Journal, Nov-Dec 1949, 13, 35-36.

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The Role of Music in Higher Education

A short rebuttal of what is believed to be a “trend in musical circles to deplore academic degrees and their meaning and to belittle those who attempt to enrich

our culture with philosophical and factual information... .”

261 CADY, Henry L. “The Preparation of College Teachers.” College Music Symposium 13 (Fall 1973): 7-17. The needs and important questions of our time challenge those who prepare college teachers to broaden their modes of inquiry, to reconsider the role of a college teacher, and at the same time to be economical, efficient, and accountable

for what they do.

262 CERNY, William. “The Present and Future Value of the Master’s Degree.” Proceedings of the 55th Annual Meeting of the National Association of Schools of Music 68 (1980): 49-54. Suggests that the degree has, and will continue to have, value “for careers emphasizing the practical involvement with music in all areas.”

263 DOTY, E. William. “Graduate Work in Music.” Pan Pipes, May 1954, 2-3, 10. Briefly surveys the scope and objectives of graduate study in music.

264 FLEMING, William. “Wanted: A New Program for the Preparation of College Teachers in Art and Music.” Journal of General Education 3/2 (Jan 1949): 107-12.

Proposes a new doctoral program for the preparation of music and art teachers who can function effectively within the framework of the humanities and who can participate in general education courses.

265 FORTE, Allen. “Basic Competencies, the Comprehensive Examination and the

| Final Report.” Proceedings of the 54th Annual Meeting of the National Association of Schools of Music 67 (1979): 137-46. Suggests answers to two questions: “What are basic and common graduate-level competencies for scholars, composers, and performers?” and “What is the purpose

of comprehensive examinations and the final report?”

266 HANSON, Howard. “Some Suggestions Concerning Graduate Study in Music

in the United States.” Proceedings of the Music Teachers National Association 28 (1933): 99-104.

50

GENERAL CURRICULUM PHILOSOPHY AND OBJECTIVES

Argues that the German model of graduate study, and the separation of the practical and the scholarly it entails, is not appropriate for the U.S., particularly in that this model would preclude graduate work in composition.

267 HAYDON, Glen. “Music Theory and Music History.” Journal of Music Theory 7/2 (Winter 1963): 249-55. Comments on the nature and objectives of graduate studies in music, followed by a discussion of the role of music theory in relation to music history in advanced graduate study.

268 IMIG, Warner L. “The Development of the Degree ‘Doctor of Musical Arts’ in the USA.” JSME Yearbook 4 (1977): 116-19.

| Traces the history and institutionalization of the degree. 269 MILLER, Thomas W. “To DMA or Not?” Proceedings of the 52nd Annual Meeting of the National Association of Schools of Music 65 (1977): 88-90. Expresses the view that the D.M.A. degree is a logical vehicle for preparing doctoral students with “the capacity for true life-long education,. . . the total well-educated musician.”

270 MORGAN, Hazel B. N. An Evaluation of the Adequacy of Graduate Music Offerings at California Colleges and Universities. Arlington, Va.: ERIC Document Reproduction Service, ED 017 066, 1967. A condensation of this report is published in Council for Research in Music Education 12 (Winter 1968): 9-18. 271. “The Music Doctorate —Status Quo or Change.” Proceedings of the 53rd Annual Meeting of the National Association of Schools of Music 66 (1978): 220-38. Five brief papers, which consider the topic in the light of the increasing demands of a more complex society.

272 “Music Educators’ Round Table.” Music Journal, Feb 1956, 21-24. The views of five concert pianists associated with colleges and universities on the D.M.A. degree.

273 MYERS, Marceau C. “Research Degrees in Music: Reflections and New Directions.” Proceedings of the 52nd Annual Meeting of the National Association of Schools of Music 65 (1977): 91-97.

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In considering the implications of “the changing role of graduate education” for the research doctorate in music, Myers stresses that the traditional functions of the degree must be continued with greater emphasis on improving the quality of research.

274 PHELPS, Roger P. “The Doctoral Dissertation: Boon or Bane?” College Music Symposium 18/2 (Fall 1978): 82-93. Describes the “stumbling blocks to attaining a doctorate,” emphasizing the difficulty many students have in defining a topic for the dissertation. Suggestions

for dealing with the problem are given.

275. “Pre-Meeting Workshop: Graduate Studies in Music.” Proceedings ofthe60th Annual Meeting of the National Association of Schools of Music 73 (1985): 129-56.

Included is a brief introduction by Paul Boylan, followed by three papers: “The : Terminal Master’s Degree,” by Charles Bestor; “The Ph.D. Degree,” by Gerard Behague; and “The Doctor of Musical Arts Degree in America,” by Frank Tirro

and Louis Auld. , 276 RARIG, Howard R. “Scholarship and Teaching in Tomorrow’s World.” Proceedings of the 53rd Annual Meeting of the National Association of Schools of Music 66 (1978): 147-51. Develops the argument that there is a need to redefine the responsibilities of the scholar in graduate education. Music scholars must “accept the notion that their graduate students may be destined for careers somewhat different from those of their mentors.”

277 “Report of the Committee on Graduate Study in Music.” Proceedings of the Music Teachers National Association 29 (1934): 328-41. This is the first major report on the subject, and it was prepared by a committee jointly authorized in 1933 by the Music Teachers National Association and the National Association of Schools of Music with Howard Hanson as chairman. The recommendations of the report were adopted by NASM in 1937 and published as Bulletin of the National Association of Schools of Music 9 (July 1938): 1-12. A

revision was published as “Recommendations of the Graduate Commission,” Bulletin of the National Association of Schools of Music 35 (Apr 1952): 1-15. Revisions of Bulletin no. 35 have been made from time to time since 1952 and may be identified by a later publication date.

278 “Report of the Graduate Commission.” Bulletin of the National Association , of Schools of Music 51 (Feb 1963): 68-71.

: 52

GENERAL CURRICULUM PHILOSOPHY AND OBJECTIVES

The chairman, Howard Hanson, summarizes and discusses the results of a survey

of member institutions offering a doctorate in music.

279 SHOEMAKER, JohnR. “Is the Price Tag on the Doctorate Too High?” Music Educators Journal, Dec 1970, 87-92. Discusses the decisions that will need to be made by someone considering a doctoral program in music as well as those decisions required during the pursuit of the degree.

280 SOYARS, M. Douglas. “Future Approaches: Multi-Disciplinary Curricula.” Proceedings of the 55th Annual Meeting of the National Association of Schools of Music 68 (1980): 55-62. Sets forth five possible approaches to master’s level multi-disciplinary programs.

281 SPRENKLE, Charles A. “Essential Components for All Master’s Degrees.” Proceedings of the 55th Annual Meeting of the National Association of Schools of Music 68 (1980): 63-66.

282 STANLEY, Albert Augustus. “Graduate Work in Music in America, with a Survey of the Conditions on Which It Rests.” Proceedings of the Musical Association (London, 1912), 117-39. An account of the status of graduate study in music (ca. 1910) with emphasis on how the relatively few existing programs differed from the English.

283 STANLEY, Albert Augustus. “Music in the University.” Proceedings of the Music Teachers National Association 1 (1906): 21-31. A general discussion of what should constitute a graduate music curriculum, with

emphasis on providing a rationale for graduate study in composition and performance.

284 STEVENS, Denis. “Higher Musical Education in American Universities.” | Tempo 42 (Winter 1956-57): 31-34; 43 (Spring 1957): 29-30. A British musicologist’s impressions of the scope of musical scholarship in America.

285 SUTTON, Robert. “On Graduate Education in Music —The Sky Hasn’t Fallen, and We’ve Got Work to Do.” Proceedings of the 52nd Annual Meeting of the National Association of Schools of Music 65 (1977): 98-107.

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, A discussion of trends and predictions concerning the need for, and the production of, doctorates in music.

286 TROTTER, Robert. “The Structure of Graduate Education in Music and Future Needs of the Profession.” Proceedings of the 54th Annual Meeting of the National Association of Schools of Music 67 (1979): 147-58. “|. .aseries of assertions of various kinds related to graduate degree programs in music.”

287 WERNER, Robert J. “Graduate Education of the Musician-Teacher.” College Music Symposium 11 (Fall 1971): 103-07. Essentially a recommendation that the philosophy of “comprehensive musician-

ship” should serve as the basis for graduate as well as undergraduate music curricula.

The Liberal Tradition | | _ Toward the end of the nineteenth century the idea of “liberal culture” began to compete with the established notions of “pure scientific learning” and “utilitarianism” in American colleges and universities. The increasing influence of “liberal education” was a major factor in promoting the academic study

of the fine arts, particularly in smaller colleges. Much was written about the “liberal” values of music in higher education, and even today one may find an occasional article or paper that continues the discussion. The sources cited in this section have been divided into two parts —1) those concerned primarily with the role of music in the liberal arts college and the Bachelor of Arts degree with a major in music, and 2) those that focus on the place of music in general education and courses for the general college student.

MUSIC IN THE LIBERAL ARTS COLLEGE |

288 ALLEN, Warren D. “The Place of Music in a Liberal Education.” Musician, Dec 1935, 18-19. Sees the potential role of music in the university as a powerful cultural force _ if faculties become concerned about developing more enlightened amateurs and

fewer professional musicians. 54

THE LIBERAL TRADITION

289 ~=BAIN, Wilfred C. “How Important Are the Applied and Performing Arts as a Part of a Liberal Arts Curriculum?” In 1960 Current Issues in Higher Education, Proceedings of the Fifteenth Annual Conference on Higher | Education (Washington, D.C.: Association for Higher Education, 1960), 67-69.

Expresses the view that, properly taught, “the traditional objectives of the liberal

education can be met through specialization in the field of the arts.”

290 BELLAMANN,H.H. “Some Steps Toward Making the Music Department of . a College Soundly and Progressively Educational.” Proceedings of the Music

, Teachers National Association 14 (1919): 114-20. Suggests that the most glaring weaknesses are a lack of academic rigor and the coordination of various aspects of musical study. A condensed version of this paper was published as “Outline of a Progressive Policy for a College Music Department,” Musician (Mar 1920): 13.

291 BOYD, W. W. “Music in a Liberal Arts Course.” Proceedings of the Music Teachers National Association 20 (1925): 33-40. Describes what differentiates the liberal arts college from other colleges, and argues that music definitely belongs in the curriculum.

292 BUTLER, Nicholas Murray. “Address of Welcome.” Proceedings of the Music - Teachers National Association 2 (1907): 9-14. In his brief remarks to the twenty-ninth annual meeting of the MTNA, the noted president of Columbia University expresses his belief in the necessity of music

as an integral part of liberal education. ,

293 CADY, Henry Lord. “Music in the Liberal Arts Colleges of Kansas and Missouri: An Investigation of Mutations in Philosophy from 1900 to 1960.” Ph.D. diss., University of Kansas, 1962. DAT 24/2 (Aug 1963): 764. See Richard Werder’s review of this dissertation in Council for Research in Music Education 3 (May 1964): 40-44.

294. CANTRICK, Robert. “Music: Liberal Art and Fine Art.” Journal of General Education 8/3 (Apr 1955): 189-94. Proposes “three principles by which the teaching of music. . . may pursue those same goals common to all liberal arts subjects without ceasing at all to be a fine

art in the most thoroughly professional sense of the word.”

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The Role of Music in Higher Education

295 CARTER, Elliott. “Music as a Liberal Art.” Modern Music 22/1 (Nov-Dec 1944): 12-16. Argues the need to place less emphasis on the practical and more emphasis on the philosophical and historical aspects of the study of music. A rebuttal to Carter’s article that points out certain anti-humanistic influences of the social, biological, and physiological sciences is Cecil Michener Smith’s “Music and the Humanities,” Modern Music 22/2 (Jan 1945): 99-102.

296 CAVANAUGH, Robert W. “Contemporary Problems in Music Departments

, in Liberal Arts Colleges.” Association of American Colleges Bulletin 38/2

(May 1952): 320-28. ,

Two principal problems are identified: 1) acquainting the entire student enrollment with music, and 2) the balance of special and general studies for the music major.

297 CHRISTIANSEN, F. Melius. “Music in Colleges.” Christian Education Magazine, Apr 1937, 257-62. A plea for church-supported liberal arts colleges to give more emphasis to the “professional” study of music in their curricula.

298 CLAPP, Philip Greeley. “The Dilemma of Crediting Applied Music in the Bachelor of Arts Course of Study.” Proceedings of the Music Teachers National Association 29 (1934): 150-54. Suggests that the cause of the dilemma is to be found in the quality of teachers and students, rather than in the nature of applied study.

299 CLAPP, Philip Greeley. “Music as a Subject of Concentration in the Liberal Arts College.” Proceedings of the Music Teachers National Association 25 (1930): 36-49. Drawing on data gathered in his own 1927-28 survey, the author concludes that the principal issues of the day may be found in the question “Is a liberal education

with music as the major item desirable; can it be administered; and can it be financed?”

300 CLARKE, Henry. “Music Is a Liberal Art.” Bulletin of the National Association of Schools of Music 40 (Apr 1955): 24-27. This paper is concerned with the “Bachelor of Arts Teacher Training Program” as an alternative to more professionally oriented music education curricula, an alternative that is believed to be particularly suited to music departments in liberal arts colleges.

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THE LIBERAL TRADITION

301 COOLIDGE, Arlan R. “A Liberal Applied Music Program.” Proceedings of the Music Teachers National Association 43 (1949): 107-10. A “middle-of-the-road” solution to the problem of how much applied music should be in the B.A. curriculum. An abbreviated version of this paper appears under the title “Music in Liberal Arts,” Music Journal, Mar-Apr 1949, 18, 38.

302, DAVISON, Archibald T. “The Humanistic Approach to the Teaching of Music.” Proceedings of the Music Teachers National Association 43 (1949): 67-79. From the vantage point of a long and uninterrupted career as student and teacher at Harvard, the author gives his views of humanistic music teaching and music

as a liberal art.

303 DELLO JOIO, Norman. “Music in the College.” In Essays in Teaching, ed. Harold Taylor, 164-75. New York: Harper and Bros., 1950. Sees the study of music as one of the best ways of becoming generally educated.

304. DICKINSON, George Sherman. “The Senior Field Examination in Music in the

Liberal Arts College.” Proceedings of the Music Teachers National Association 36 (1941): 254-62. By discussing the character and advantages of such an examination, the author admits that in reality he has been defining higher music education.

305 DICKINSON, George Sherman. The Study of Music as a Liberal Art. Poughkeepsie, N.Y.: Vassar College, 1953. An extended essay setting forth a theory of liberal music education which begins with the premise that “the distinguishing mark of the liberal education in the arts is its intent to cultivate the aesthetic experience.” A number of similarities between Dickinson’s views and the philosophy of comprehensive musicianship - may be noted.

For a relatively concise statement of Dickinson’s musical aesthetics, see The Pattern of Music (Poughkeepsie, N.Y.: Vassar College, 1939).

306 DICKINSON, George Sherman. The Study of the History of Music in the Liberal Arts College. Poughkeepsie, N.Y.: Vassar College, 1953. In this published version of an address presented at the 1950 annual meeting of the Society for Music in the Liberal Arts College, the author develops the thesis that the proper approach to the study of music history, particularly in the liberal arts college, is through the style-critical process.

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307 DRINKER, Henry S. “The Place of Music in Our Colleges.” Association of American Colleges Bulletin 24/4 (Dec 1938): 499-504. Discusses certain popular misconceptions about the nature of music study which he feels have contributed to the reluctance of colleges to offer the subject in their curricula.

308 EAMES, Henry Purmort. “Music Culture as a Required and a Major College Study.” Proceedings of the Music Teachers National Association 26 (1931):

: 45-54.

Presents the author’s views on the teaching of music as “an historical, literary, philosophical, and artistic interpretation of past and present thinking and feeling.” See also nos. 365 and 366.

309 ERB, J. Lawrence. “Music in the American University.” Musical Quarterly 3/1 (Jan 1917): 28-33. A consideration of the nature of music study in relation to the cultural and service

| functions of the American university. Differences in attitude between the Eastern and Western parts of the U.S. are stressed.

310 ESCHMAN, Karl. “College Degrees in Music.” Proceedings of the Music Teachers National Association 39 (1945): 97-102. | Report of a survey of 131 NASM member schools concerning the A.B. degree in music.

311 FERRY, Frederick C. “Progress of the American Colleges in Two Decades in Artistic Appreciation.” Association of American Colleges Bulletin 21/2

(May 1935): 34-40. :

312 FISHER, Charles M. “The Performing Arts in Akademia.” Music Journal, Apr

, 1968, 36-37, 66-67. ,

Argues that the performing arts can be the basis of a liberal education on a par with the traditional studies of language, literature, and science.

313 GOERCKE, Paul Francis. “A Study of the Music Major Leading to the Bachelor of Arts Degree.” Ed.D. diss., Teachers College, Columbia University, 1961. Report of a questionnaire survey of liberal arts colleges. Replies received from 345 schools showed a wide variance in degree requirements among schools.

58 |

THE LIBERAL TRADITION

314. GOW, George C. “The Place of Music in the College.” Smith Alumnae Quarterly 6 (Nov 1914): 150-55. Develops a rationale for music in the liberal arts curriculum based on the premise

that the proper approach to the study of music is as a body of literature.

315 GROSBAYNE, Benjamin. “Music in the Liberal Arts Colleges During — Before—After the War.” Proceedings of the Music Teachers National Association 37 (1942): 52-65.

316 HARPER, Earl Enyeart. “Music in Liberal Arts.” North Central Association Quarterly 15/3 (Jan 1941): 265-73. A wide-ranging discussion of many aspects of the growth and development of

music departments in liberal arts colleges. ,

317 HAUPTFUEHRER, George. “The Music Department in the Liberal Arts College.” Association of American Colleges Bulletin 34/4 (Dec 1948): 477-81. A discussion of the functions.

318 HAYDON, Glen. “Music.” In A State University Surveys the Humanities, ed. Loren C. MacKinner, et al., 92-101. Chapel Hill: University of North Carolina

Press, 1945. Reprint, Freeport, N.Y.: Books for Libraries Press, 1972. Contains a brief historical sketch and a discussion of the role of music in liberal

education. 319 JACOBSON, George H. “Music Teacher Education and the Liberal Arts College.” Music Educators Journal, Sept-Oct 1964, 61-62.

320 JONES, Vincent. Music asa Part of the Liberal Arts Curriculum. New York: n.p., 1929. This 31-page pamphlet offers a justification of music as a part of liberal education,

a historical sketch of its development as a subject in liberal arts colleges, and a comparison of certain statistical data on music in higher education.

321 LANG, Paul Henry. “Editorial.” Musical Quarterly 35/4 (Oct 1949): 602-08. A criticism of professional musicians and their attitudes toward music in liberal arts colleges and toward the nonprofessional liberal arts students. A second and longer editorial, which replies to the reponse evoked by the first, may be found in Musical Quarterly 36/1 (Jan 1950): 83-91.

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322 LANG, Paul Henry. “Music in the Liberal Arts College.” Proceedings of the Music Teachers National Association 42 (1948): 32-44. Much of this paper is concerned with defining the role of music scholarship and

the study of music history. The author concludes that the liberal arts college is the best environment for the blending of the professional and humanistic approaches to music.

323 LeBARON, Harrison D. “The Valuation of Performance, The Problem of the B.A. College.” Proceedings of the Music Teachers National Association 19 (1924): 213-24. Offers suggestions on the standardization and computation of grades for performance.

324 McWHOOD, Leonard B. “The Mission of Music in Colleges.” Proceedings of the Music Teachers National Association 3 (1908): 110-17. Views the primary mission of music in the liberal arts college as the promotion of musical culture in the nation at large. McWhood’s paper is followed (pp. 118-27) by brief statements on the same theme by five other college professors. Another version of the paper is published under the same title in Educational Review 35 (Sept 1909): 132-38.

325 MANCHESTER, Arthur L. “The Small College as a Factor in the Development of a Musical Nation.” Musical Quarterly 8/4 (Oct 1922): 595-604. The most important objectives for the music program of small colleges in the U.S. should be cultural rather than professional or vocational. Achievement of this goal would require colleges to change their “commercial attitude” toward their music departments.

349-65.

326 MATHEWS, W.S.B. “Music as Discipline and Culture.” Music, July 1894, Having noted the growth in the number of institutions offering music instruction,

this article goes on to discuss the intellectual and cultural values of the study of music in college.

327 MURSELL, James L. “The Place of Music in the Liberal Arts Curriculum.” Association of American Colleges Bulletin 19/2 (May 1933): 230-33.

328 “Music and Art as College Studies.” Educational Review 27 (Jan 1904): 104-06.

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THE LIBERAL TRADITION

Excerpt from the annual report to the trustees in which the president of Smith College discusses the place of music and art in collegiate study for women.

329 NOBLE, EugeneA. “The Study of Music in the Liberal College.” Association of American Colleges Bulletin 12/2 (Apr 1926): 74-81. Expresses the view that the liberal arts college need not be concerned with the training of the talented, but should devote its efforts to “training young people

to know, to judge, to admire, and to support good music, and if possible to make it.”

330 POOLEY, Robert C. “Music in the Liberal Tradition.” American Music Teacher, Mar-Apr 1955, 4-5, 18-19. Suggests that the liberal tradition inherited from the 18th century has not been generous to the fine arts in higher education. The author sees no reason why this tradition should continue to set the pattern.

331 “Report of the A.B. Committee.” Bulletin of the National Association of Schools of Music 42 (Jan 1957): 9-13. Includes a rationale and recommendations for the A.B. curriculum in music and some discussion of the degree’s appropriateness for training music teachers.

332 “Report of the College Conference.” Proceedings of the Music Teachers National Association 4 (1909): 118-40. Five short papers concerned primarily with the place of performance courses in the music curriculum of liberal arts colleges and the basis for granting credit for such courses.

333 RINGER, Alexander L. “Music in the Commonwealth of Learning.” Journal of Higher Education 32/4 (Apr 1961): 179-84. The author believes that a long overdue renewal of the liberal tradition in the teaching of music in higher education is needed.

334 RUSSELL, Carlton T. “Can Music Performance Be a Liberal Study?” College Music Symposium 11 (Fall 1971): 79-89. The question is answered in the affirmative, and six ideas for “liberalizing” the performance area without “emasculating the practicality” are offered.

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335 SHERMAN, Martin A. “Music in the Liberal Arts Curriculum.” College Music

Symposium 3 (Fall 1963): 77-84. ,

In opposition to the editorial of this issue of Symposium, Sherman argues that differences in orientation among music faculty are in a sense irreconcilable. A music department that tries to be all things to all people “is an anomaly that should be banished from the college music scene.”

336 SQUIRE, Russel N. Introduction to Music Education. New York: Ronald Press, 1952. Chapter 8, “Music in the College,” discusses the philosophy and status of music

in the liberal arts college, stressing the role of this type of department in the

training of music teachers. ' .

337 SURETTE, Thomas Whitney. “Music in the Liberal College.” In The Effective

College, ed. Robert Lincoln Kelly, 171-80. New York: Association of

American Colleges, 1928. |

338 }3=“Symposium: Performance as Humanistic Study.” College Music Symposium 4 (Fall 1964): 38-58.

Short papers by Putnam Aldrich, John Kirkpatrick, William S. Newman, and Luise Vosgerchian offering justifications of credit for performance courses in the B.A. curriculum.

339 TAYLOR, Clifford. “Music and Liberal Education.” College Music Symposium

2 (Fall 1962): 53-59. , :

Inthe liberal context, the study of music history, stylistic theory, and performance should be viewed as means to the study of musical language as a symbolistic

“activity.” ,

structure. The emphasis should be on music as “thought” rather than as

340 THOMPSON, Randall. College Music: An Investigation for the Association of American Colleges. New York: Macmillan, 1935. . : This report is based on visits to 30 liberal arts colleges during the academic year 1932-33, supplemented by data furnished by other institutions. It is not directly concerned with teacher training or professional B.M. programs. Appendix A

contains brief historical sketches for selected departments. Appendix B is a | collection of excerpts from letters, interviews, and conversations which Thompson

offers as additional data in support of his conclusions. _

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THE LIBERAL TRADITION

The publication of this report generated considerable heat in the discussion of the issue of credit for performance courses in a B.A. curriculum. Thompson concluded that credit should not be given. Opposing views by members of the

Sponsoring Committee—Howard Hanson, Harold L. Butler, and Paul J.

| Weaver —are included as supplements to Chapters 7 and 8. Some of the background and events that led to Thompson’s study may be found in Ernest H. Wilkins, “A Survey of the Study of Music in Colleges,” Yearbook of the Music Supervisors National Conference (1932), 200-02.

341 THOMPSON, Randall. “College Music in the Post-War World.” In On General and Liberal Education, 52-56. Bulletin no. 1 of the Association for General and Liberal Education. Washington, D.C., 1945. A brief review of some changes in college music during the preceding 25 years.

342 TYLER, Abram Ray. “Music in the College.” Proceedings of the Music Teachers National Association 1 (1906): 55-60. Argues that the claim of music to a place in college curricula should be based on its study as a form of literature. Therefore, colleges should provide intellectual

| but not technical training in music.

343 WAGER, Willis J., and Earl J. McGRATH. Liberal Education and Music. New York: Teachers College Columbia University Bureau of Publications, 1962. A highly controversial book that received mixed but largely negative reviews. As

, one reviewer suggested, a less misleading title would have been “The Place of the Liberal Arts in the Education of Musicians and Music Teachers in the United

States: History, Survey of Current Practices, and Some Recommendations” (William Austin in College Music Symposium 3 [Fall 1963]: 93-95). Herbert Livingston (Journal of Music Theory 8/1 (Spring 1964]: 123-26) characterized the historical chapters as “distorted and irresponsible.” Allen Britton (Music _ Educators Journal, Feb-Mar 1963, 148-50) felt that “as a whole, this work is so full of misinformation, illogic, bias, tokens of ignorance, and general mindlessness that one hardly knows how to begin a review.” See also the comments of Thomas Gorton, president of NASM, in Bulletin of the National Association of Schools of Music 51 (Feb 1963): 10-13.

344 WELCH,R.D. “Music as a Humanistic Discipline.” Association of American Colleges Bulletin 34/2 (May 1948): 242-48. } Although the humanistic study of music should give primary emphasis to history, literature, theory, and philosophy, provision must be made for composition and performance.

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345 WELCH, Roy Dickinson. “Music Department and Music School.” American Association of University Professors Bulletin 36/2 (Summer 1950): 276-89. Text of an address presented at the annual meeting of the Society for Music in Liberal Arts Colleges, December 1949. Most of the remarks are concerned with the function and proper teaching of music in a liberal arts college. Only briefly are comparisons made with the conservatory.

346 WELCH, Roy Dickinson. The Study of Music in the American College. Northhampton, Mass.: Smith College, 1925. In this essay Welch suggests that any attempt to combine the professional and the liberal into one curriculum can only result in a disproportionate amount of time for music. For the liberal arts college the only legitimate choice between professionalism and culture is the latter.

347 WHEELWRIGHT, D. Sterling. “Music in Campus Living. Association of American Colleges Bulletin 32/4 (Dec 1946): 547-59. Observations and recommendations on courses, facilities, performance groups, and concert activities based on visits to 16 liberal arts colleges.

348 WOODWARD, Henry. “The Question of Applied Music.” Proceedings of the Music Teachers National Association 43 (1949): 111-14. Concerned with the place of applied music in the liberal arts college and specifically in the B.A. curriculum with music as the major. An abbreviated version of this paper may be found under the title “Music in the Liberal Arts,” Music Journal, Mar-Apr 1949, 18, 38.

349 ZUKERKANDL, Victor. “Music Education in the Liberal Arts College.” Harvard Educational Review 14/1 (Jan 1944): 49-58. According to this political refugee, the teaching of music in liberal arts colleges has suffered from too much European influence. His own views are presented in the belief that they are more appropriate to the American educational scene.

MUSIC FOR THE GENERAL COLLEGE STUDENT

350 The Arts, Liberal Education, and the Undergraduate Curriculum. A Statement of the Working Group on the Arts in Higher Education. Reston, Va.: by the Group, [1985].

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THE LIBERAL TRADITION

“The Working Group on the Arts in Higher Education is a cooperative project of the National Association of Schools of Music, National Association of Schools

of Art and Design, National Association of Schools of Theatre, National Association of Schools of Dance, and International Council of Fine Arts Deans.”

351 BARNETT, David. Living with Music. New York: Geo. W. Stewart, 1944. 352. BARNETT, David. They Shall Have Music. New York: Geo. W. Stewart, 1944. These two books include a discussion of the place of music in liberal education along with detailed descriptions of the author’s teaching of music to the general college student.

353 BARTHOLOMEW, Marshall. “The Cart Before the Horse in Music Education.” Musician, July 1922, 3-4. Advocates more emphasis on training listeners and less on training the virtuoso performer.

354 BLAKE, J.P. “Musicin College.” University Quarterly 3 (Jan 1861): 126-42. An early argument for including music in the education of the general college

student, based on the aesthetic and moral values of this art, “the purest of them all.”

355 BRICKEN, Carl. “Music in the Liberal Arts Program.” Yearbook of the Music Educators National Conference (1934), 132-35. Includes descriptions of courses for the general student at the University of

Chicago. ,

356 BURNS, S. T. Music Programs for Non-Music Majors in State Universities. Madison: School of Music, University of Wisconsin, 1968. This report is based on data obtained primarily from a catalog survey of 26 institutions.

357 CADY, Henry L. “Music as a Liberal Art: A Critique.” Liberal Education 49/2 (1963): 282-88. An understanding of the “whole nature” of man requires that music be given a role in liberal education.

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358 CHAMBERS, Will Grant. “What Company Should Music Keep? Some Considerations as to the Appropriateness of Music in College and College Preparatory Courses.” Journal of Proceedings of the Music Supervisors National Conference (1929), 40-46. A defense of the intrinsic, practical, cultural, and preparatory values of music.

359 CLARKE, Garry E. “The Introduction to Music Course: Some Observations and Suggestions.” Proceedings of the 54th Annual Meeting of the National

Association of Schools of Music 67 (1979): 75-82. Suggests a more flexible, open, and inclusive approach to teaching this course.

360 DICKINSON, Edward. The Education of a Music Lover. New York: Charles Scribner’s Sons, 1911. Essentially an “Introduction to Music” for the music lover, but containing an initial chapter that discusses in some detail the philosophy and methods of teaching

music appreciation.

361 DICKINSON, George Sherman. “The Basic Course in a Humanistic Study of

, Music.” Proceedings of the Music Teachers National Association 42 (1948):

45-56.

Describes the purposes, approaches, and procedures for an introductory course in music intended for both the general student and the potential major.

362 DICKINSON, George Sherman. “The College Type of Music Student.” Proceedings of the Music Teachers National Association 29 (1934): 127-32. Views on what the typical college student wishes to gain from the study of music.

363 DICKINSON, George Sherman. “The Musical Prerogatives of the General College Student.” Yearbook of the Music Educators National Conference (1936), 120-23. Defines the “prerogatives” by describing the nature of music courses that should

be offered to the general student. :

364 DICKINSON, George [Sherman]. “A Review of Materials and Methods in Teaching Music Appreciation in the College.” Proceedings of the Music Teachers National Association 13 (1918): 190-203. The author’s own views on the subject are cogently expressed, but little is said

about the methods and materials of others. | 66

THE LIBERAL TRADITION

365 EAMES, Henry Purmort. “Music as a Required College Study.” Musician, Oct 1940, 170.

1940, 189, 197. :

366 EAMES, Henry Purmort. “Music as One of the Humanities.” Musician, Nov These two short articles give a rationale for and brief description of the music courses required as part of humanities courses for all students at Scripps College.

367 ERSKINE, John. “Music in the Curriculum.” Association of American Colleges Bulletin 17/1 (Mar 1931): 66-73. In this address to the annual meeting of the Association, the President of the Juilliard Foundation makes an eloquent appeal for the inclusion of practical musical studies in the curriculum for the general college student. An excerpt from this address is also published in American Association of University Professors Bulletin 17/4 (Nov 1931): 546-48.

America, Sept 1949, 35.

368 FIREBAUGH, Joseph J. “Music in the Liberal Arts Curriculum.” Musical A rationale for music, both theoretical and applied, in the liberal arts curriculum.

369 GANTVOORT, A. J. “Music Appreciation in the University.” Proceedings of the Music Teachers National Association 21 (1926): 122-27.

370 GERDINE, Leigh. “Music in the University.” Bulletin of the National _ Association of Schools of Music 39 (Feb 1955): 27-32. A discussion of music for the general college student.

371 HANSON, Howard. “General Education Re-Examined.” Bulletin of the National Association of Schools of Music 47 (Feb 1959): 10-15.

| Remarks covering a fairly broad range of topics related to the place of music in general (or as he would prefer to call it, “cultural”) education.

372 HANSON, Howard. “Music in the Liberal Arts College.” Journal of General

| Education 1/2 (Jan 1947): 156-59. , Concerned primarily with the method of teaching an effective music appreciation

course for the general college student.

67

The Role of Music in Higher Education

373 HENNING, Lindsey. “Music for the General College Student.” Music Educators Journal, Nov 1942, 39-40, 53. Report of a questionnaire survey of 106 colleges and universities.

374 HOWLAND, R.H. “Musicina Liberal Education.” Music, Dec 1900, 138-44. Gives reasons for including music in liberal education.

375 HUGHES, Royal D. “The Special Objectives of Courses in Music Appreciation and History.” Proceedings of the Music Teachers National Association 29 (1934): 133-37.

Concerned primarily with methods of teaching introductory courses.

376 ISENBERG, Meyer W. “The Emphasis on Music and the Fine Arts in General Education.” Journal of General Education 11/2 (Jan 1958): 51-55. Discusses various views on the role of the arts in general education, and suggests

the acceptance of a comparatively elementary level of study in these subjects

as a part of a student’s general education.

377 JEFFERS, Edmund V. Music for the General College Student. New York: King’s Crown Press, 1944. A well written doctoral study of the development of the philosophy and practice of music in liberal education in American colleges. Chapters 1 and 2 trace this

development from the founding of Harvard to ca. 1940. Chapter 3 provides a good summary and classification of arguments for including music as a part of liberal education. The 46-page appendix gives an even more detailed account

of the development of music at Harvard, Oberlin, and Vassar, with the data taken primarily from catalogs and annual reports of these three colleges. A selected and briefly annotated bibliography on music for the general college student is included, along with an extensive list of all works cited in the text.

378 JONES, Sara Ellen. “Music Appreciation in America: Its History and Typical Units of Study.” M.M. thesis, Northwestern University, 1946.

379 KINTZER, Frederic C. “General Education and the College Music Program.” Journal of Research in Music Education 2/1 (Spring 1954): 49-56. Outlines several plans or patterns of general education programs, indicating briefly

how music may function in each.

68

THE LIBERAL TRADITION

380 KLEIN, Lothar. “Reflections on Music and the Liberal Arts.” Music Educators Journal, Dec 1966, 22-24, 77-81. Concerned primarily with the revitalization of teaching music appreciation courses.

381 KLENZ, William. “Music in the Liberal Arts Curriculum.” American Music Teacher, Nov-Dec 1960, 14, 19-24. Traces briefly the history of music in the liberal arts tradition and expresses concern for what he sees as a tendency to abandon that tradition for the sake of conformity or expedience.

382 LLOYD, Norman. “Music and Education.” In The Arts on Campus: The Necessity for Change, ed. Margaret Mahoney, 81-92. Greenwich, Conn.: New York Graphic Society, 1970. Suggests that there is a large, potentially receptive student body awaiting proper instruction in music, provided that faculty and administration adopt the right approach.

383 MASON, Daniel Gregory. “The College Man and Music.” Outlook, 9 Apr 1910, 808-10. Discusses what music has to offer to college students and how it should be studied. Several quotations of other prominent music professors are included. Continued

by Mason in “Music in the Colleges,” Outlook, 23 Apr 1904, 982-87.

384. MOORE, Douglas. “The General Music Course for College Students.” Yearbook of the Music Educators National Conference (1936), 124-29. Considers some of the problems of teaching the general college student to be a perceptive listener.

385 MURPHY, Howard A. “Music in General Education.” Teachers College Record 54/7 (Apr 1953): 380-92. Discusses the relationship of music’s cultural and humanistic values to the “major

contemporary life.” |

objectives of both a liberal and a practical educational philosophy adapted to

4, 1982. |

386 Music in General Studies. Report of a Wingspread Conference sponsored by the College Music Society in cooperation with the Johnson Foundation, 10-12 July 1981. Prepared by Chappell White. College Music Society Report No.

69

The Role of Music in Higher Education

Summarizes the background of the conference, the issues discussed, and recommendations. See also no. 406, and Leon Dallin’s “In Response to Wingspread,”

| College Music Symposium 23/2 (Fall 1983): 7-9. 387 “Music in the Liberal Arts Curriculum.” Bulletin of the National Association of Schools of Music 38 (Mar 1954): 16-31. , Report of a panel discussion concerned with how the non-music major may be served in a professional music school and in small colleges.

388 OTTAWAY, Ruth Haller. “What Does a College Graduate Know about Music?” Journal of Proceedings of the Music Supervisors National Conference (1930), 115-22.

Summary of replies from 23 “deans of music in the largest and most influential universities and colleges” to a questionnaire concerned primarily with music for the general college student.

389 Papers from the Forum on the Education of Music Consumers. National Association of Schools of Music Series, Monographs on Music in Higher Education, no. 2. Reston, Va.: by the Association, 1974. A collection of 16 short papers covering a variety of topics grouped under five

Viewpoint.”

headings — “Music in General Studies,” “Extension to the Community,” “Extension

to the Campus,” “Educating through the Media,” and “The Administrator’s

390 PARRISH, Carl. “Music Education in the Colleges and Universities of America.” In Music in Education, 140-44. International Conference on the Role and Place of Music in the Education of Youth and Adults, Brussels, 29 June

to 9 July 1953. Paris: UNESCO, 1955. A generalized description of offerings in music for the general college student.

391 PRATT, Waldo S. “The Isolation of Music.” Forum, J une 1896, 501-12. Suggestions as to how the isolation of music from other subjects, from general culture, may be removed.

392. PRATT, WaldoS. “New Ideals in Musical Education.” Atlantic Monthly, Dec 1900, 826-32.

70

THE LIBERAL TRADITION

An argument for more music instruction in colleges, and a discussion of the study

of music as a part of general education.

393 QUARLES, James T. “Music in the Life of the Average College Student.” Proceedings of the Music Teachers National Association 25 (1930): 50-60. After noting the progress made during the decade of the 1920s, the author suggests

that much more needs to be done to bring music into the life of the majority of college students.

394 RUBIN, Emanuel. “‘... Our Daily Bread.’” College Music Symposium 12 (Fall 1972): 103-15. Compares the orientation of current and older music appreciation textbooks, and includes a 122-item “Checklist of American Textbooks for the Introductory Music Literature Class at the College Level.”

395 SCHOEN, Max. “The Teaching of Music Appreciation.” Musical Quarterly 13/1 (Jan 1927): 39-58. Concerned primarily with some basic questions related to aesthetic experience. Schoen concludes that music appreciation cannot be taught, and criticizes methods

in vogue at the time. ,

396 SCHOLES, Percy A. Music Appreciation: Its History and Techniques. Edited by Will Earhart. New York: M. Witmark and Sons, 1935. A historical and critical review of the study of “Musical Appreciation” as found mainly in England, but with references to parallel developments in the United States. Part I contains lengthy quotations from a letter to the author from Frances E. Clark concerning the genesis and early development of the subject in the U.S.

397 SHELDON, David A. “A Comparative Approach to Music for the Humanities Student.” Journal of Aesthetic Education 5/1 (Jan 1971): 129-37. A proposal for historical and stylistic integration of music and painting.

398 SILVEY, Clel T. “Music for the General College Student.” In Music in American Education, ed. Hazel N. Morgan, 129-33. Chicago: Music

Educators National Conference, 1955. , an

A brief discussion of the evolving concept of general education and the aims of an introductory course for the general college student. Also included are

| summaries of two questionnaire surveys. 71

The Role of Music in Higher Education

399 SMITH, Cecil Michener. “Music in the Colleges.” Association of American Colleges Bulletin 21/4 (Dec 1935): 555-67. Primarily a discussion of how music appreciation courses should be taught in the liberal arts college.

400 SMITH, David Stanley. “The Education of the Average Student in Music.” Proceedings of the Music Teachers National Association 20 (1925): 11-19.

401 STERNFELD, Frederick W. “Music as a Humanistic Study.” Proceedings of the Music Teachers National Association 43 (1949): 85-92. . Views on how the general college student should approach the humanistic study of music.

402 STIVEN, Frederic B. “The Contribution of a University School of Music to the State and University.” Musical Quarterly 9/3 (July 1923): 395-400. Describes a variety of means for bringing music to a majority of the student body.

403 TROTTER, Robert. “General Education in Music.” Bulletin of the National Association of Schools of Music 52 (Feb 1964): 43-46. “Professional schools of music connected with institutions of higher learning do not have the right to abdicate responsibility to provide opportunities for

. musically educating students not interested in music as a career.” 404 WEAVER, Paul J. “Music in the Liberal Arts College.” Yearbook of the Music Educators National Conference (1937), 204-07. A discussion of history, theory, and applied music courses as they should be offered to the general college student.

405 WHEELWRIGHT, D. Sterling. “Music in the Humanities.” Proceedings of the Music Teachers National Association 41 (1947): 87-93. A “blueprint” for including music in the core of general education.

. 72

406 WILLOUGHBY, David. “Wingspread Conference on Music in General Studies: Music Programs Exist for Everyone.” Music Educators Journal, Sept 1982, 54-56.

Describes a 1981 Conference sponsored by the College Music Society. See no. 386.

TEACHER TRAINING

Teacher Training In the literature on music in higher education, sources that deal with some aspect of music teacher education are the most numerous. Consequently, greater selectivity has been exercised in deciding which to include in this bibliography. For the most part, the sources listed are those which pertain to the curriculum as a whole, or which seemed to have some particular historical significance. Not included are studies concerned only with specific elements within the teacher training program, such as student teaching and other field experiences or comparisons of teaching methodology. Likewise, studies that are primarily surveys of the attitudes and opinions of graduates of an institution have not been included. Most of the studies omitted may be readily located by a search of the ERIC and Datrix II databases. The more than 175 sources included here have been subdivided into five parts. Part 1, “The First Hundred Years (1830-1930),” and Part 2, “1930 to 1985,” focus on the undergraduate curriculum, while graduate music

teacher education is the subject of Part 3. The common interests and concerns of musicologists and music educators are the focus of Part 4. Part 5 lists sources concerned with the musical training offered to elementary general classroom teachers.

THE FIRST HUNDRED YEARS (1830-1930)

407 AMIDON, Fanny C. “Minimum Requirements in Music Curricula of Two-Year Teacher-Training Schools.” Journal of Proceedings of the Music Supervisors National Conference (1927), 285-88.

408 BAKKEGARD,B.M. “A History of Music Education in Texas.” Journal of Research in Music Education 5/1 (Spring 1957): 36-45. Includes a summary of the development of music teacher training in Texas. | 409 BEATTIE, John W. “The Need of a Musical Background in Teacher Training:

How This Is to Be Guaranteed.” Journal of Proceedings of the Music Supervisors National Conference (1930), 80-84. Discusses the content of the music portion of the curriculum for training music teachers.

410 BIRGE, Edward Bailey. History of Public School Music in the United States. Boston: Oliver Ditson, 1928.

73

The Role of Music in Higher Education

Chapter 1 provides some background on the Boston Academy of Music and the early conventions, our earliest “schools” for training music teachers. Chapter 8 is valuable for what it contains on the development of music teachers’ associations.

411 ERB, J. Lawrence. “The Training of the Teacher.” Proceedings of the Music Teachers National Association 10 (1915): 9-19. , Citing statistics which indicate the expansion of music education programs, the author sees in this a need for more depth and breadth in the training of music

teachers. , ,

412 GANTVOORT, Arnold J. “The Training of the Supervisor.” Journal of Proceedings of the Music Supervisors National Conference (1919), 81-83.

| Outline of a curriculum. ,

413 GARTLAN, George H. “Music Education for Supervisors.” Journal of Proceedings of the Music Supervisors National Conference (1927), 333-35. Advocates the need for more music in the curriculum for supervisors. 414. GEHRKENS, Karl Wilson. “The Development of a College Curriculum in Music

Education.” Music Educators Journal, Nov-Dec 1960, 31-34. Recalls the events leading to the establishment of a four-year curriculum in music

education at Oberlin in the early 1920s. A year-by-year description of the

curriculum is given. , |

415 GEHRKENS, Karl W. “Training the Music Supervisor.” Proceedings of the Music Teachers National Association 10 (1915): 137-47. Discusses four aspects of the training of elementary school music supervisors — native endowment, musical training, general education, and training in teaching.

416 GRIMM, Walter. “The Need for a Two-Year Course with a Major in Music.”

, 288-91. ,

Journal of Proceedings of the Music Supervisors National Conference (1927),

417 JAMES, Richard L. “A Survey of Teacher Training in Music from the Early Musical Convention to the Introduction of Four-Year Degree Curricula.” Ed.D. diss., University of Maryland, 1968. DAJ31/6 (Dec 1970): 2958-A.

sources. |

Appendices contain almost 100 pages of excerpts from many important primary

74

TEACHER TRAINING

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