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University Microfilms, a XEROX Company , Ann Arbor, Michigan K 71-17,040 CROFT, James Edwin, 1929- A RELATED ARTS APPROACH TO THE BAND: AESTHETIC GROWTH THROUGH PERFORMANCE. The University of Oklahoma, D.Mus.Ed., 1970 Music f University Microfilms, A XEROX Company , Ann Arbor, Michigan K: (s) Copyrighted by James Edwin Croft 1971 THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED THE UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE A RELATED ARTS APPROACH TO THE BAND: AESTHETIC GROWTH THROUGH PERFORMANCE A DISSERTATION SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the degree of DOCTOR OF MUSIC EDUCATION BY JAMES EDWIN CROFT Norman, Oklahoma 1971 A RELATED ARTS APPROACH TO THE BAND; AESTHETIC GROWTH THROUGH PERFORMANCE APPROVED BY q L- DISSERTAn O N COMMITTEE ACKNOWLEDGEMENTS The writer is deeply indebted to his advisor, Dr. Robert B. Glidden, for his interest, his perceptive guidance and, above all, for his patient and scholarly en­ couragement . Gratitude is also extended to committee.members. Dr. Gail Boyd de Stwolinski, Dr. Margaret Smith Haynes, Dr. Eugene Draught— all from the School of Music— and to Dr. Larry Gleeson, Associate Professor of art history. Their suggestions, comments, and counsel have been appre­ ciated. This dissertation marks the end of one chapter in a family adventure that has been an especially rich experience. It had to be a cooperative adventure. To my wife, Diana, who has shared at every step the frustrations and satisfactions and to Tim and Nancy, who are now released from the bond of whispering while Dad ponders, reads or types, go the heart­ felt thanks of a grateful husband and father. Ill TABLE OF CONTENTS Page LIST OF TABLES ....................................... vi LIST OF ILLUSTRATIONS..................................... vlii INTRODUCTION .......................................... 1 Chapter I. THE HUMANITIES--ALLIED ARTS— RELATED ARTS. 13 II. THE AESTHETIC RATIONALE........................ 25 III. AESTHETIC THEORY ..................... 39 IV. AESTHETIC THEORY AND EDUCATIONAL THEORY IN THE CURRICULUM ..................... !+5 V. THE CLASSROOM RATIONALE AND METHODOLOGY. 64 VI. EVALUATION..................................... 107 VII. SUMMARY AND CONCLUSIONS........................ 135 BIBLIOGRAPHY.......................................... l40 APPENDIXES A. A BRIEF INTRODUCTION AND SURVEY OF SOCIO­ CULTURAL HISTORY, 1600-1800................. l4? Introduction The Socio-Cultural Climate of the Baroque Period Painting in the Baroque Period Architecture in the Baroque Period Sculpture in the Baroque Period Music in the Baroque Period IV Page The Socio-Cult'ural Climate of the Classic Period Painting in the Classic Period Architecture in the Classic Period Sculpture in the Classic Period Music in the Classic Period B. EXEMPLARS OF THE BAROQUE AND CLASSIC PERIODS .......... 220 Baroque Painting Baroque Architecture Baroque Sculpture Baroque Music Classic Painting Classic Architecture Classic Sculpture Classic Music C. COPIES OF THE EXPERIMENTAL INSTRUMENTS USED IN THE STUDY ............ 253 Musical Styles Examination Attitude Inventory Musical Styles Examination Key and Musical Sources Attitude Inventory Key D. EXPERIMENTAL DATA ............. .. 259 E. SELECTED LISTS OF SUPPLEMENTARY RESOURCES . 265 Slides Prints Films Music V LIST OF TABLES Table Page 1 . Mean Scores, Standard Deviations and Per­ centile Average of Intelligence and Achievement Tests for the 1969-70 Blazer B a n d ............................................ Ill 2. Mean Scores, Standard Deviations and Per­ centile Average of Intelligence and Achievement Tests for the 1969-70 Varsity B a n d ............................... ■ ......... 112 3. Mean Scores, Standard Deviations and Per­ centile Average of Intelligence and Achievement Tests for the 1969-70 Concert B a n d ............................................ 113 k. Mean Scores and Standard Deviations on Pre­ test and Posttest Experimental Design.......... 123 5. Correlation Coefficient Matrix of Pretest and Posttest Experimental Data of Combined G r o u p s .......................................... 12^ 6. Correlation Coefficients Matrix of Pretest and Posttest Experimental Data of the Blazer Band. ............................... 125 7 . Correlation Coefficients Matrix of Pretest and Posttest Experimental Data of the Varsity Band ................................. 126 8 . Correlation Coefficients Matrix of Pretest and Posttest Experimental Data of the Concert Band ................................. 126 9 . Correlation Coefficients Matrix of Pretest and Posttest Experimental Data for All Boys in All Bands. ...................... 127 VI Table Page 10. Correlation Coefficients Matrix of Pretest and Posttest Experimental Data for All Girls in All B a n d s ........................... 127 11. Correlation Coefficients of Pretest- Posttest Experimental Data from All Sources........................................ 128 12. Analysis of Covariance for Musical Styles Recognition.................................... 132 13. Analysis of Covariance for Attitude............. 133 1^-. Analysis of Covariance for Combined Musical Styles Recognition and Attitude............... 133 VI1 LIST OF ILLUSTRATIONS Figure Page 1. The Band's "Color-Triangle"................... 8*+ 2. The Relationship of Unity in Variety to the Elements of Visual A r t ................. 90 3- The Relationship of Art Principles to Visual Elements.............................. 91 h. The Relationship of Winold's Musical Elements to Visual Elements................. 102 5. Pretest-Posttest Control Group Design With Two Variables......................... 122 6. Line Diagram of the Baroque Ex e m p l a r ......... 22^ 7 . The Rape of the Daughter's of Leucippus. 225 8. San Carlo alle Quattro Fontane ............... 230 9 . The Ecstacy of St. Theresa................... 23^ 10. Line Diagram of the Classic Ex e m p l a r......... 2^+3 11. The Oath of the Horatii....................... 2^^ 12. Chiswick H o u s e ................................ 2^+7 13. Pauline Borghese as Venus..................... 250 Vlll INTRODUCTION On September 29, 1965, President Johnson authorized the establishment of the National Foundation on the Arts and the Humanities, thus formally recognizing a growing concern in educational circles for a re-appraisal of Sputnik's ef­ fect on the entire educational community. In essence, it recognized that even though we live in a technological so­ ciety that confuses and confounds, the answers to the com­ plex questions this society raises are not to be found in technology alone. Society continues to consist of those human kind who interact in a highly mechanized, sociologi­ cally perplexing and psychologically challenging environment. To live in this environment with some degree of success re­ quires considerable understanding of how these various com­ ponents relate one to another. "All the King's slide rules and all the King's computers do not put a society together again." Science and technology can help, of course, but it is in the area of humanities education that the writer finds guidelines for a more human existence. The current renaissance of interest in the humanities is evident everywhere. The states of Missouri, New York and Pennsylvania have divisions of the arts and humanities as 1 2 distinct members of their state departments of education. Articles in the professional magazines, even at a cursory glance, give evidence of this renewed interest. The April, 1969, issue of the Journal of Aesthetic Education was de­ voted to the humanities. Symposia and workshops at uni­ versities across the nation testify to the need for guidance and evaluation of established and experimental humanities courses and endeavors. Secondary schools are increasingly considering the inclusion of some type of humanities oriented course offering in the curriculum. The establishment in 1969 of a professional organization, the National Associa­ tion for Humanities Education— complete with house journal-- is one more of many manifestations of this widespread interest. The performing and/or applied arts continue to be a part of this enterprise, but somewhat peripherally. "Teachers of fine and applied arts have fought a lonely battle to secure a foothold in the regular school curriculum and to maintain it. Sputnik did not help."”' Perhaps it is enough, at this point, to recognize that the focus of this dissertation— the school band— does not fit into the general definition of humanities education and that the writer sub­ mits that it can and should. This is the first of two primary motivations for this study. ^ John Goodlad, The Changing School Curriculum (New York: The Fund for the Advancement of Education, 1966), p . 8 3 . 3 There are a number of ways that a student body can be given definition when separation is an objective. One convenient'.method is to divide the students into two groups, those involved in an activity, course or function, and those who are not. This study is concerned with those participants in the performing or applied arts as opposed to those who have no identity with the performing or applied arts. Hu­ manities courses are most often concerned with those stu­ dents not involved in the performance areas. The emphasis is frequently, but not always, on the college preparatory stu­ dent. It equips him with an understanding of Western civilization, generally from the Golden Age of Greece to the interrelatedness^ of contemporary culture, often including Eastern and Oriental ideas. The performing arts student, because of his directed emphasis, is
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