-
-
almost all girls in choir
-
-
First schools before 1900: Wichita, Kansas; Chelsea, Mass; Edinberg, Penn; Hartford, Conn; New Albany, Indiana
-
Supervisor of music in Denver
Chorus-Master at Metropolitan Opera
Specialized in unaccompanied singing - new -
Co-Founded Boston Conservatory of music. Served as first NAFME president. Brought in the idea that students can be taught in classes.
-
Wrote first defined music ed book.
- only 29% of bands self-reported schools
'Committee on Instrumental Affairs' -
-
-
-
-
Organized a band in Indiana/ DpOM in Milwaukee
spoke at St. Louis Music Supervisors conference to push for greater emphasis on instrumental music
Boys going through puberty wouldn't want to keep singing -
Everything separated by age
Sold instruments
Tried to pull in as many people as possible
Carnivals for the arts
Childrens' chorus of 1,500
'Penny a lesson" -
popularized brass music
used to justify mass production of instruments
At first had all arts
entertainment was taken way too far, so regulations were introduced.
Soon no one was up to standards -
popularized in the Irish community
First held in Chicago
Michigan incorporated it into the state fair -
In St. Olaf Choir
Took them on the first international tour
Produced so many acapella pieces. -
Founded an influential acapella group at Northwestern
-
Memorized music
Pitch pipes
Made college around
Auditioned for ensemble every year -
John Williamson
Resonance - tight jaws
Students had to work out -
Survey put out in 1920
- 359 said choir was now required
Oratorio performances increased in 1910 before glee clubs took over in 1920's.
New interest in operetta performances
'concept of required choral practice is doomed' -
Acapella
-
high school music department brought in three music teachers
-
Evolved out of acapella
focused on modern music.
based on need for entertainment -
Jacob Evanson performance
George Bowen was president at the time -
-
heavily based on utilitarian rationals favored in western music.
Historical vs. Enjoyment vs. quality
"book published to argue for 'educational centricity' of music" -
-
Created by ford foundation to enrich the cultural life of America
Ties into young composers project -
First book
-
Ford foundation exploring relationship between arts and society
composers assigned to schools
comprehensive musicianship
31 people participated -
Before:
- The purpose was to find issues addressing American schools as it relates to music
- used a lot of non-music educators to try and find issues
- of course, they didn't really know what was going on either and didn't provide educated insight.
After:
- Little publication to reach the general public of educators
- Flaws: not enough MENC/NAFME support, couldn't actualize proposals, no music ed system to lead
- The concept of critiquing music ed pedagogy became popular. -
Gideon Waldrop submitted a grant application to the DpOE
JRP established in 1964
Vittorio Giannini was the first director -
Sponsored by MENC
Used to discuss music ed in society
- Quality versus popularity
-Tanglewood goals and declaration project
- 8 objectives were highlighted Development of Professional Standards -
Reviewed in 1993
International renewed interest -
Contrast, learning sequences, teaching modes, pattern delivery, rhythms, audiation, and learning by rote.
-
National Commission of Construction
Response to Tanglewood -
-
goals for future National Standards of Arts and Education
Progress reported by Arts in School: State by State
The economy, Teacher certification requirements, and academic curricula would not allow for the goals to be reached -
Music is a process, not a noun. it's not its own independent idea.
-
1st time national standards advance
All arts were included -
Housewright symposium was intended to be an updated tanglewood
MENC: From Tanglewood to Present (Michael L. Mark)
MENC did not follow up on this symposium -