South Central Music Bulletin

ISSN 1545-2271 Volume II, Number 1 (Fall 2003) Refereed Journal & Newsletter of the South Central Chapter — The College Music Society ______

Editor:

Dr. Nico Schüler, Texas State University-San Marcos

Editorial Review Board:

Dr. Paula Conlon, University of Oklahoma Dr. Lynn Job, University of North Texas Dr. Kevin Mooney, University of Texas at Austin Sunnie Oh, University of Oklahoma Dr. Deborah Schwartz-Kates, University of Texas at San Antonio Dr. Robin Stein, Texas State University-San Marcos Dr. Paolo Susanni, Clavier Werke School of Music (Austin) Dr. Lori Wooden, University of Central Oklahoma

Subscription: Free This Journal can be downloaded from http://www.txstate.edu/scmb/

Publisher:

South Central Chapter — The College Music Society c /o Nico Schüler, Ph.D. Texas State University-San Marcos School of Music 601 University Drive San Marcos, TX 78666 USA

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Ó Copyright 2003 by the Authors. All Rights Reserved. South Central Music Bulletin II/1 (Fall 2003) ______

Table of Contents

Message from the Editor by Nico Schüler ... Page 3

Visit the CMS South Central Website ... Page 3

President’s Message by Richard Davis ... Page 4

CMS Information on Car Rentals ... Page 4

Annual Meeting 2004: Call for Papers, Compositions, and Performers ... Page 5

Articles:

Gianfrancesco de Majo (1732-1770): A Case of a Forgotten Eighteenth Century Composer by Sheryl K. Murphy-Manley ... Page 6

Online Music Appreciation: A New Course at UTPA by Richard Davis ... Page 12

Judging the Effectiveness of Music Methods Courses for Elementary Classroom Teachers by Marlowe Robin Stein ... Page 16

Reviews:

Tosca’s Talent Shines Through Tia Pamelita by Jenny Raschke ... Page 24

»Duo Savage« Performs Music by Phillip Schroeder by Brian Marks ... Page 26

A Critical View at Tonal Harmony by Stefan Kostka and Dorothy Payne by Ryan Davis ... Page 28

Report(s):

Philosophy of Music Education International Symposium V by Khin Yee Lo ... Page 33

Southwest Texas State University Re-Named to “Texas State University-San Marcos” / New Director of its School of Music by Nico Schüler ... Page 35

Upcoming Regional Conferences ... Page 36

South Central Chapter Officers and Board Members ... Page 37

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Message from the Editor

Nico Schüler, Texas State University-San Marcos, E-Mail: [email protected]

Although this is already the third issue, it is - short reviews of books, printed music, the first that is refereed, as suggested at our CDs, and software (length: max. 1,500 CMS South Central general meeting this words); past March. We also received an Interna- - short reports on recent symposia, con- tional Standard Serial Number (ISSN) from ferences, and concerts (length: max. the library of congress for this journal (and 1,000 words); newsletter). In addition, this issue is the first - announcement of our 2004 chapter that is relatively large, containing three arti- meeting program; cles, three reviews, a conference report, and - news and announcements of regional some CMS South Central news. conferences, concerts, festivals, research I would like to thank our peer-review activities, honors, etc. board members for their hard work and I would like to call for submissions that fit wonderful comments on all submitted arti- any of these categories. The submission cles. They surely set the bar high. At the deadline for the Spring 2004 issue is No- same time, I would like to encourage new vember 15, 2003. All submissions are ex- submissions, or revisions of those that were pected via e-mail with attachments in Word rejected. The Spring 2004 issue, to be re- format or in Rich Text Format. leased in January 2004, will again contain I would especially like to encourage articles and announcements in the following submissions on “Local Music Traditions”, categories (please, not the extended lengths): which may include local research and com- - articles that deal with any aspect of mu- posing & performing music with a local idea sic, but especially with issues related to / program. Points of discussions could be, the mission of CMS and / or to our re- for instance: what are areas of interest re- gion (length: max. 3,500 words); garding the musical life of a specific geo- - interviews with composers, musicians, graphical area; what are the methodologies educators, scholars, etc. (length: max. for local music research; how do musicians 2,500); and composers express local “ideas” and - short responses to articles published in “programs”; examples of, and reports on, this issue (length: max. 1,000 words); such activities; etc.

Visit the CMS South Central Website: 1. Go to http://www.music.org/southcentral.html 2. Log in with your CMS user ID and password.

Visit the South Central Music Bulletin (SCMB) Website: 1. Go to http://www.txstate.edu/scmb/ 2. No log-in necessary.

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President’s Message

[Note from the Editor: This message was tions by our members represented the depth written for our website in March 2003. Since and scope of our chapter. At the business websites will be updated and President’s meeting, it was decided that the chapter Messages will change from time to time, we would pursue the electronic publication of a will preserve them here in our Journal / refereed journal which would contain, in Newsletter.] article form, the presentations made at the Welcome to the College Music Soci- Regional Conference. This publication ety South Central Chapter’s Web Site. Our would allow our members refereed publica- chapter has been very fortunate to procure tion credit, and would stand somewhere the services of Nico Schüler who has gra- between the CMS Newsletter and the Sym- ciously volunteered to run the Chapter’s web posium in scholarship. Only presenters at site. Please send him information, such as the Regional Conference would be invited articles on CMS-related subjects, reviews of for inclusion, leaving those who desired a books, CDs or conferences, or announce- wider audience for their work to either the ments of conferences or festivals in the CMS Newsletter or the Symposium. Sub- South Central Region. It would be a shame mission guidelines and an invitation to pub- to have a web site with no content. lish will be sent to all who presented at Our South Central Regional Meeting Baylor. was held at Baylor University in Waco, Elections were held at the business Texas, February 28 - March 1, 2003. Terry meeting and the results appear below. The Lynn Hudson organized a very effective South Central Chapter is still looking for meeting that made good use of Baylor’s ex- board members in general studies and jazz tensive resources. The composer’s concert studies. If you are interested, please let me presented on Friday night in Jones Concert know. Hall by the Central Oklahoma Orchestra and the Guest Lecture by Peter Webster stand Richard Davis out as unique features in the history of our President, College Music Society South chapter meetings. As always, the presenta- Central Chapter

CMS Information on Car Rentals

Our national CMS office negotiated special car rental rates. They worked with Avis to offer on- line reservations for our upcoming South Central chapter meeting in March 2004. The URL is: http://www.avis.com/AvisWeb/html/meetings/go.html?1231 Members can go to this site to reserve the discounted meeting rate. Under the section ‘Discount Codes’ while making the reservation, members should check ‘Check Lowest Rate’ and not ‘Check My Corporate Rate’ to receive the applicable rates. For those who would like to make their reservation by phone for the meeting, contact Avis at 1-800-331-1600 and use the CMS Avis Worldwide Discount (AWD) number T623899.

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Annual Meeting 2004: Call for Papers, Compositions, and Performers The College Music Society - South Central Chapter March 11-13, 2004 · Henderson State University, Arkadelphia, Arkansas

Call for Research Papers and Lecture movements, performers, etc., a biography Recitals for each performer if the composer is pro- viding players, and a recording of the sub- Submission Guidelines: mitted music if available. 1. Proposals on any topic are welcome. 2. Presenters are allowed 20 minutes, fol- Available instruments include: piano(s), or- lowed by a five-minute question-and- gan, flute, clarinet(s), bassoon, saxophone, answer session. trumpet(s), trombone, horn, euphonium, 3. Please include the following: a cover let- tuba, percussion, and soprano, mezzo- ter containing contact information, three soprano, and baritone voices. copies of the proposal, a list of equipment needed for the presentation, and a biogra- Composers are encouraged to submit pro- phy or vita. posals that include providing performers. Topics and proposals for panel discussions are strongly encouraged, and a 50-minute * session will be scheduled if required. Please send all proposals and submissions with supporting materials postmarked no Call for Performers and Compositions later than Friday, October 31, 2003, to: (2 concerts) Phillip Schroeder, coordinator Concert 1: open to all performers presenting CMS South Central Regional Conference music of any style. Committee Submission Guidelines: Department of Music Please include the following: complete in- Henderson State University formation for a concert program – the title, Arkadelphia, AR 71999-7671 composer, year composed, composer birth / death, movements, performers, etc., a biog- Presenters, performers, and composers will raphy for each performer, and a recording of be notified no later than Friday, December the submitted music and performers if avail- 12, 2003. Biographies and a short presenta- able. tion synopsis or program note will be re- quired for the conference program via e-mail Concert 2: new compositions, chamber mu- or attachment. sic. Submission Guidelines: Please feel free to contact Phillip Schroeder Please include the following: complete in- at [email protected] or 870.230.5253 if formation for a concert program - the title, there are any questions. composer, year composed, composer birth,

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Articles

Gianfrancesco de Majo (1732-1770): style (one that we see as Mozart’s) devel- A Case of a Forgotten Eighteenth oping. One invaluable piece of information Century Composer that we have extracted from this effort is the observation that Mozart rose above the typi- by Sheryl K. Murphy-Manley cal conventions of the day, stylistically, and Sam Houston State University created his masterworks by extending the E-Mail: [email protected] musical language, on many levels, beyond the norm. We also observe that he was not As music educators we are painfully aware always the most favored composer by his that there are hundreds of composers about contemporary audience, especially in the whom we know very little. There are thou- field of opera, and often received less ac- sands of pieces of music that lay collecting claim than did his fellow composers. What, dust in libraries and collections around the then, did eighteenth-century audiences look globe. We are not so naïve to believe that for in their music? We find the answer to the works in our musical canon that we pre- this question, and many others, by examin- sent to our students in Music Appreciation ing the works of the many busy and success- are the only ‘good’ pieces of music from our ful composers who worked in the main- historical past. (How we came to arrive at stream music business of the eighteenth our present canon is the subject of yet an- century. The most successful music and its other discussion.) We also know that these conventions, even though popular, was not pieces do not necessarily represent the main- necessarily beneath greatness or even gen- stream musical style of a particular genera- ius, and indeed, the compositional practices tion. Our famous pieces of today are often of the day were used in a variety of ways by the ones that were exceptional in some way, the majority of composers, including the and therefore not the clearest examples of an great composers in our musical canon today, era’s more successful music. So, the conclu- such as Haydn and Mozart. One of these sions and assumptions that we have made many conventions, for example, is use of the about the aesthetics and conventions of a tonic-dominant alternations and the ham- particular time period’s musical style have, mering of the tonic chord in cadential fig- for the most part, been based on our limited ures. (See Mozart’s Symphony No. 8, K. 48, knowledge. We musicologists realize that it movement I, mm. 32-33 as one of many ex- is our duty to the musical community of amples). Against the backdrop of the more educators to constantly re-examine and ver- popular musical style, we can see the ify these conclusions, making our findings uniqueness of the canonized composers available to scholars who then educate the whose music has come down to us today and students of our musical future. has taken a place in our concert repertoire. In the second half of the twentieth When we focus on the lesser-known century, researchers tried to increase our un- composers (those who are often included derstanding of the style and general musical reluctantly on music-history exams as an- language of the eighteenth century, particu- other name the student must remember), we larly of those years that saw the classical can enlighten our perception of the musical

6 South Central Music Bulletin II/1 (Fall 2003) ______style of the eighteenth century as a whole. 1761). It is interesting to read that Charles Then, we can recreate the musical scene into Burney (1726-1814) wrote that Francesco which our young Mozart was submersed, Feo was “one of the greatest Neapolitan thereby recognizing with greater accuracy masters of his time.” (Burney 1782, II: 919) the genius of his accomplishments, com- By 1747, the young De Majo was pared to the other successful composers who performing as a harpsichordist in perform- have not yet made it into our present musical ances at the Royal Chapel in Naples, where canon. his father had been appointed primo maestro One of those successful musicians, in 1745. That same year, the 15-year-old who often has been referred to as a member boy was appointed organist (without pay) in of that large group of “Lesser Composers” the Royal Chapel. in the 18th century, is Gianfrancesco de As evidence of De Majo’s successful Majo, born in Naples in March of 1732, adult career, we see that he received com- making him an exact contemporary of Franz missions for his operas from Livorno, Ven- Joseph Haydn. During the eighteenth cen- ice, Turin, Naples, Vienna, Mannheim, and tury, De Majo was a respected and sought- Madrid. He was included in the circle of after Italian opera and church-music com- musicians of such fame as that of Metastasio poser. He was especially active in the 1750s (1698-1782), the court poet and important and 60s. De Majo has been recognized in librettist in Vienna. De Majo also knew several modern textbooks (including Gerald Farinelli, the famous castrato and brother of Abraham’s The Concise Oxford History of Riccardo Broschi, both subjects of the film Music, published in 1985) as one of the from 1995 entitled “Farinelli.” (Farinelli’s Italian-opera composers who was responsi- real name was Carlo Broschi.) Also included ble for bringing a reform to serious opera. in the circle of De Majo was the well-known (As a side note, De Majo, along with Nic- youngest son of Johann Sebastian Bach, Jo- colò Jommelli [1714-1774], and Tommaso hann Christian Bach (1735-1782), who was Traetta [1727-1779] were the three most in- in Italy in 1756 and settled then in London fluential reform opera composers, even in 1762. though Christoph Gluck [1714-87] still gets Another central figure in eighteenth- most of the credit for these reform achieve- century Italy was Padre Giovanni Battista ments today.) Martini (1706-1784). Living in Bologna, he De Majo probably received his was a Franciscan priest, theorist, historian, training from his father, the successful Nea- teacher, composer, and the prime defender politan composer Giuseppe de Majo (1697- of the older style of sacred counterpoint. He 1771). Gianfrancesco was often referred to was a teacher to, and mentor of, many com- as “Ciccio de Majo,” meaning the “little posers and musicians through his personal one” so as to distinguish him from his fa- instruction and also through the art of letter ther. De Majo’s mother, Teresa Manna, also writing. These musicians under his tutelage came from a family of successful Neapolitan included the young Johann Christian Bach composers. De Majo might have studied (who coincidentally converted to Catholi- with his uncle, Teresa’s brother and profes- cism), Mozart, André-Ernest-Modeste Gré- sional composer Gennaro Manna (1715- try (1741-1813), De Majo, and Jommelli. 1779). Additionally, Teresa’s uncle was also This list is abbreviated here, for he actually an important Neapolitan composer, and De taught 69 composers and, additionally, 35 Majo might have studied with this great un- others received some sort of instruction, al- cle of his as well, Francesco Feo (1691- though perhaps not on a regular basis.

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Martini wrote to, and received letters art critic and important author of early Ro- from, important eighteenth-century musi- mantic literature named Johann Jacob Wil- cians. Many of these working musicians helm Heinse (1746-1803). He had a passion were his students. Additionally, he corre- for Italian art and music. In 1795 and 1796 sponded with the English historian and critic (25 years after De Majo’s death), he wrote a Charles Burney (1726-1814), the Italian novel entitled Hildegard von Hohenthal. In violinist and composer Pietro Locatelli this partly autobiographical novel, Heinse (1695-1764), the German theorist Friedrich praises De Majo as a “true living source of Wilhelm Marpurg (1718-1795), Metastasio natural genuine melody and harmony; and (1698-1782), the flutist and composer in overall, the most favorable original com- Berlin Johann Joachim Quantz (1697-1773), poser.” He goes on to say: “No other com- the French theorist and composer Jean- poser has awakened such cheerfulness in my Philippe Rameau (1683-1764), the theorist, soul.” (cited in Di Chiera 1962, 3) It is also priest, monk, and extremely prolific Spanish interesting to note that Heinse groups the composer Antonio Soler (1729-1783), and reform opera composers together, that is, the Italian composer, violinist, and innovator Jommelli, Gluck, Traetta, and De Majo, and Giuseppe Tartini (1692-1770). This impres- he says: “I pass my time at the piano with sive list of composers, theorists, and musi- the great works of Jommelli, Gluck, Tra- cians includes De Majo. jetta, and Majo, and with reading the exalted Perhaps the most interesting, al- Greeks. . . .” (Heinse 1796, 260) We can though brief, connection that De Majo had remind one another that the 1790s were a with our more well-known circle of eight- time in which Haydn was revered among all eenth-century musicians occurred in Naples musicians, and the death of Mozart, in 1791, in 1770. The then 14-year-old Mozart heard was still being mourned by many. Yet, it is De Majo’s music in Naples and wrote back not Haydn or Mozart, but rather De Majo, to his sister, Nannerl, on 29 May, 1770, that who Heinse praises as his most favored he had been to a church to hear some of the composer. (Heinse does mention Mozart composer’s music. He wrote to her that it twice in his novel and praises his keyboard was “a most beautiful music” (“una bel- works. But, he never compliments Mozart’s lißima Musica”). (Deutsch and Bauer 1962- operatic music like he does De Majo’s.) 75, I: 355) By this time De Majo was al- We have other contemporary ac- ready recognized as a successful opera com- counts of De Majo’s success as an opera poser. We observe in Mozart’s letters that he composer. For instance, in 1759 when his was mostly honest in his musical opinions semi-serious opera Ricimero was performed and judgments. So, to hear Mozart specifi- in Rome, the famous librettist Carlo Goldoni cally complimented De Majo’s church mu- (1707-93) recorded in his Memoirs the great sic, demonstrates Mozart’s appreciation of success of the performance. He said that the his musical style and an admiration of its audience at Rome had “hissed, laughed, and mainstream conventions. yelled rudely at the previous performance Well, today we have forgotten about (which was by the way, also a semi-serious De Majo and his music, but this was not so opera by Baldassare Galuppi [(1706-1785) directly following his death. In fact, we have Melite Riconosciuta)] but when De Majo’s copies of De Majo’s music dating as late as opera was performed, Goldoni writes: “A the 1860s. The following demonstrates just part of the pit [audience] went out at the how popular this young composer was to close of the entertainment, to conduct the some of his contemporaries. There was an musician home in triumph, and the remain-

8 South Central Music Bulletin II/1 (Fall 2003) ______der of the audience stayed in the theatre, visiting Farinelli, and then returned to calling out without intermission, ‘Viva Naples, retiring from the stage, but continu- Mayo!’ till every candle was burnt to the ing to sing in cantatas and serenatas (Dean socket.” (Goldoni 1877, 330) 2001, 794). Some writers rank Caffarelli After discovering the success and second only to Farinelli in skill; others rank praise that was awarded De Majo in his life- him equal in ability. Porpora trained both time and the decades following, and reading Caffarelli, and Farinelli and was a well- Mozart’s praise of the composer’s church respected teacher and composer of vocal music, one cannot help but wonder, what music. He hated Caffarelli for his insolence, does this music sound like? We have about but, according to Charles Burney, Porpora 74 sacred works by De Majo and 17 operas, used to say that Caffarelli was the greatest the last of which remained incomplete at his singer Italy had ever produced. It is likely unfortunate death at age 38, from tuberculo- that Caffarelli sung De Majo’s Salve Regina sis. The operas and De Majo’s biography that was specifically written for him, as the have been studied by David Di Chiera in his title pages indicate, sometime after 1756. dissertation of 1962, entitled “The Life and Below, is an example from the first Operas of Gian Francesco de Majo.” This movement of this Salve Regina in D Major. dissertation still remains the ultimate source The soprano line demonstrates a beautiful concerning De Majo’s operas. and lyrical quality. The multi-movement sacred works When making judgments about De roughly include 20 motets, each containing Majo’s music, one is placed in a juxtaposi- arias and recitatives, 10 Salve Reginas, each tion to the Baroque style (the characteristics also containing multiple arias and recita- that include the use of basso continuo, quick tives, four Choral Masses, three Dixit Domi- harmonic changes, and, generally, the style nus for choir and soloists, 10 large-scale embodied in the music of Vivaldi, Handel oratorios or cantatas, and a number of other and J. S. Bach), and to the Classic style. The smaller works, some only one movement in new Italian operatic style that emerged early length. The majority of his music remains in in the eighteenth century demonstrated char- European libraries. (See Murphy 1996 for acteristics which included more emphasis on detailed locations.) Only two of his operas the melodic shape and the Italianate singable have been published, and only one of his quality of the melody, slower harmonic sacred works has been published in a format rhythms which often gave way to overlap- useful for performance. None of his music ping cadences of the tonic and dominant, has been professionally recorded. and the shaping of the melodic phrase into De Majo composed much of his mu- antecedent and consequent phrases. The lat- sic for well-known performers. These fa- ter describes the style of Mozart, although mous musicians were the same celebrities we know it emerged long before he was that Mozart knew. For instance, De Majo’s born. The music "between" Mozart and Salve Regina in D Major was composed for Bach offers us a chance to gain insight into the celebrated castrato Caffarelli, whose real the changes that were taking place in eight- name was Gaetano Majorani (1710-1783). eenth-century musical style. And, it is the Caffarelli sung his last operatic perform- music of these neglected composers that will ances in 1754. Winton Dean’s research direct our conclusions with greater pi- shows that Caffarelli was in Madrid in 1756, quancy.

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Salve Regina in D Major, before 1756, Movement I, measures 46-52:

vn I

46

vn II

46

sopr

46 et spes nos - tra Sal

basso

46

- ___ ve

One finds in De Majo’s music a ity in their dramas that the more common beautiful gift for melody and an equally so- composer could not deliver. Paul Henry phisticated gift for phrasing. This classical Lang also said that the daring chromaticism style of De Majo that Mozart heard in of De Majo’s melodic lines might have Naples was already in full swing by the made a strong impression on the young Mo- 1750s and 60s. De Majo’s music, along with zart in 1770. One could argue the point for many of his equally neglected contempo- and against this suggestion, but if one ex- raries, is refreshing in its simplicity of har- amines just the vocal writing of the two monic language, clarity of phrasing, and composers, one does discover striking simi- beauty in expressive phrasing. Early on, larities. Hermann Abert pointed out the relationships De Majo composed within the po- between De Majo’s operatic style and that of pular musical style, offering innovations in Mozart. Both composers presented continu- melodic chromaticism. His music offers us

10 South Central Music Bulletin II/1 (Fall 2003) ______graceful melodies, indicating a genius for tion. The University of Texas at Austin, phrasing. However, his seemingly rapid 1996. The following sacred works are pub- compositional practice sometimes exposes a lished in score format in the dissertation: lack of refinement in cadential aspects. As a - Motet in G Major for Soprano: Clamando composer in the 1750s, he is among the best. a spes When compared to Mozart and the refine- - Salve Regina in D Major for Soprano ments of the following decades, his music - Salve Regina in F Major for Soprano will be criticized by those who still hold to - Et Jesum benedictum in D Major for So- the belief that this earlier music is “Pre- prano classic”. When, however, we view De - Kyrie, from Mass in G Major for SATB Majo’s music in context of the 1750s and - Qui sedes in E-flat Major for Soprano, 60s, we find him every bit the genius as Mo- 1749 zart was in the 1770s and 80s. - Qui tollis, from Mass in D Major for De Majo was merely one of the SATB / SATB mainstream composers, with whom Mozart - Virgam virtutis, from Dixit Dominus in F was acquainted and for whom he held re- Major for SSATB spect. Mozart recognized the lyrical chro- - Domine ad adiuvandum in G Major for maticism and beauty in De Majo’s music, SSAA not as a popular convention to be avoided, - Tantum ergo in F minor for Soprano but rather as a musical language to embrace as his own. In studying the music of this one forgotten composer, we find that Mozart not Discography only appreciated this Neapolitan’s music, but was also influenced by the beauty of its Gian Francesco De Majo: Ipermestra (in the style. series “Teatro in Musica”) (to be issued). This is a planned CD, produced by the Dis- coteca di Stato, for use by libraries. As of Published Works June 2003, the project has been put on hold for financial reasons. Majo, Gian Francesco de. Ifigenia in Tauride, ed. by Paul Corneilson. Recent Re- searches in the Music of the Classical Era References: vol. 46. Madison: A-R Editions, 1996. Abert, Hermann. 1973-76. W. A. Mozart, 9th Maio, Gian Francesco de. Adriano in Siria, ed. 3 vols. Leipzig: Breitkopf & Härtel. ed. by Howard Mayer Brown. New York and London: Garland Publishing, 1978. Burney, Charles. [1782]. A General History of Music. 2 vols. New York: Dover, 1957. Majo, Gian Francesco de. Sicut cerva, quae per valles für Sopran und Konzertierende Dean, Winton. 2001. “Caffarelli,” The New Orgel, ed. by Rudolf Ewerhart. In Cantio Grove Dictionary of Music and Musicians, sacra, Geistliche Solokantaten. vol. 36. ed. by Stanley Sadie, vol. 4. London: Mac- Köln: Edmund Bieler, 1962. millan. pp. 794-795.

Murphy, Sheryl K. “The Sacred Music of Gian Francesco de Majo.” Ph.D. disserta-

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Deutsch, Otto Erich, and Wilhelm A. Bauer. Goldoni, Carlo. 1877. Memoirs of Carlo 1962-75. Mozart: Briefe und Aufzeichnun- Goldoni, transl. by John Black. Boston: gen. 7 vols. Kassel: Bärenreiter. James R. Osgood and Company.

Di Chiera, David. 1962. The Life and Op- Lang, Paul Henry. 1941. Music in Western eras of Gian Francesco de Majo. Ph.D. dis- Civilization. New York: W. W. Norton. sertation, University of California, Los An- geles. Murphy, Sheryl K. 1996. The Sacred Music of Gian Francesco de Majo. Ph.D. disserta- Heinse, Wilhelm. [1796]. Hildegard von tion, The University of Texas at Austin. Hohenthal in Sämmtliche Werke, ed. by Carl Schüddekopf et. al., vol. 10. Leipzig: Insel- Ratner, Leonard G. 1980. Classic Music: Verlag, 1910. Expression, Form, and Style. New York: Schirmer Books.

Online Music Appreciation: general courses, offered as part of the liberal A New Course at UTPA arts core curriculum, have been expanding their aural and visual media components by by Richard Davis vending cassettes and CDs with their texts. University of Texas Pan American Further media enhancements have been of- E-Mail: [email protected] fered by McGraw Hill’s online course, On- Web: http://panam2.panam.edu/~davisw/ Music. It is very rich in audio / visual mate- rial which is supplied via CDs, coordinated Distance learning has moved from high con- with an online text from the company’s cept buzz-phrase to pedestrian reality at servers. This particular model assures a rich many colleges and universities. The tech- multimedia environment for the course, nology behind online learning has advanced while conserving bandwidth. OnMusic is the to the point that many courses which would text for one of our general music apprecia- have been impossible just a few years ago, tion courses, and inspired the creation of the are now staples of the educational land- new course. scape. Who would have thought that chem- While these general courses make up istry and biology lab could be delivered on- the majority of university offerings, many line, much less media driven courses like art schools have developed specialized music and music appreciation? This article will appreciation courses that reflect the interest discuss the background, design philosophy, of individual faculty members. Courses on and technical execution of a new online mu- the Beatles, movie music, Latino popular sic appreciation course at the University of music, Mexican folk music, the Broadway Texas-Pan American (UTPA). musical, and so on are popping up every- where. In line with the trend, the online Background course considered here is a survey of music Music appreciation courses of the past have theatre from the ancient Greeks to Rent, and been dominated by the inspired texts of Ka- is offered as a traditional course as well as mien, Ferris, and many others. These broad, online.

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Design Philosophy find online classes that are just Powerpoint® Why would a course exist in traditional and presentations and a few tests bound together online form at the same time? The answer is by a snazzy piece of authorware. These that they benefit each other. A good online courses were produced with little thought course builds upon the successful activities, about the students’ learning experiences or discussion topics, classroom interactions, interactions. reading and writing assignments, and lec- Online teaching is different from the tures of the traditional classroom. The tradi- traditional classroom in many ways. Com- tional course benefits from trend data ob- munication in the majority of ‘seat-time’ tained from the online course. In the online classes is often one-way, from teacher to course, students are evaluated by assign- student. Online classes, thanks to discussion ments or quizzes every day. It is easy to tell topics, chat, and email are more likely to be which materials and methods are successful, student to teacher and student to student. based on the daily feedback. Similarly, Interaction through the electronic medium is learning readiness as reflected in student likely to have both qualitative and quantita- enthusiasm and prior knowledge is easier to tive differences from the classroom. Stu- assess, because students are more candid in dents, particularly the reticent ones, tend to discourse with peers and teachers in the on- interact more and are refreshingly candid line environment than they are in the class- online. Every facet of a student’s work can room. Perhaps the greatest benefit of offer- be monitored online. Page visits, time ing the same content in two mediums is the logged on, web assignments, discussion and creativity inspired by having to solve the chat transcripts, and of course quizzes are same educational challenge from two differ- easily monitored by the professor. Asyn- ent perspectives. chronous work (logon in your pajamas) is While the traditional and online mu- addictive to both the student and the teacher. sic appreciation course serves the same stu- Web-based instruction conforms to dent population (undergraduates from all the same models of interaction found in the majors), the online student population has traditional classroom (Moore, 2001), but different needs. The population for online uses the medium to accomplish them. The classes includes (1) adults reentering school, most important learning interaction is that of particularly those with day jobs, (2) concur- the learner with the content. If we define rent enrollees from other schools, including learning as a change in understanding and high school students, (3) students who are perspective, then interacting with the course pursuing distance education because they material affects most of this change. Some live far from campus, (4) students with dis- learning programs, like self-help books or abilities, and (5) free spirited students who do-it-yourself guides are entirely based on want to study anywhere and anytime. For learner to content interaction. Learners in- these students, the online class is not only teract with the content in this music appre- the best educational solution, it may be the ciation course by reading from the texts (di only one available to them. Gaetani, 1986; Green, 1996), viewing pic- Although the same data is offered in tures and video from musical theatre, and the online and traditional class, the learning listening to excerpts. The second type of in- method must be oriented to the medium. The teraction, the proof of the value of teachers, earliest online classes were little more than is learner to instructor. Modern students correspondence courses transferred from have access to all the knowledge in the paper to the small screen. It is still easy to world. It is the teachers job to motivate the

13 South Central Music Bulletin II/1 (Fall 2003) ______student to access information, to help the plot synopsis, names of important musi- student understand its significance, to relate cal numbers, names of composer and li- it to knowledge already acquired, and apply brettist, and names of source material knowledge with character and discrimina- and so on. tion. The teacher uses evaluative procedures 2. Students will discourse on theatre tech- to judge how well both teacher and student nology, musical styles and forms, and are doing at accomplishing the learning out- performance practice (periodization). comes. Learner to instructor interaction is 3. Students will be able to write an in- accomplished by reports, presentations, dis- formed (not scholarly) critique on music cussions, email, quiz results, and teacher theatre production. evaluations. The last, and often latent, in- The learning outcomes that express structional interaction is learner to learner. the facts are important, but perhaps the most Students learn from other students. (Notice important outcome, and the one most diffi- how fast students get the ‘low-down’ on cult to measure, is the change in the stu- new music file swapping sites on the inter- dent’s attitude and perspective toward mu- net!) Students interact learner to learner, sic. While students can write about how they learner to group, and group to group. Be- view musical theatre after they have had the cause memory is enhanced by the unique- class, no one can be sure they will support it ness of stimuli, students often retain large with their donations, time, and attendance. amounts of data presented by many different Student assessment is an important personalities. Learner to learner interaction part of any course design. Research (Rown- is accomplished in the present class by dis- tree, 1995) has shown that the following cussions, email, chat, and presentations. competencies are necessary for students to Interactivity has evolved into a hot succeed in an online course. topic among online designers. Many have 1. Computer skills -- students should be noted that early courses focused on student- able to effectively use the word proc- content interaction, and that the medium essing and communication software that could support the other two modes of inter- is required for on-line discussions. action. Interactivity as expressed by on-line 2. Literacy / discussion skills -- students reading and writing promotes cognitive and should be able to read and respond criti- metacognitive skills (Hannafin, Hill & Land, cally to complex and sometimes lengthy 1997). Students must translate their ideas messages. The students must be able to and the depth of their knowledge into narra- use relevant written comments to de- tive interesting enough to hold an audience velop ideas, raise questions, challenge (Greenberg, 1988; Repman & Logan, 1996). students thoughts, and share their feel- Online courses develop skills in writing and ings. critical thinking that are so often listed as 3. Time management skills -- students must outcomes for the liberal arts core curricu- have flexible education plans that assist lum. Some of the writing and critical think- them in completing assignments in a ing outcomes of this course are : timely manner. The students should have 1. Students will be able to write a detailed the necessary skills to read, comprehend, history of music theatre, noting how and discern written course materials and prevailing aesthetic concepts and tech- a host of on-line discussion messages. nology resulted in specific genres, names 4. Interactive skills -- students must have of shows, dates of first productions, a the cognitive ability to create alternative description of the show which includes a ideas or illustrations while encouraging

14 South Central Music Bulletin II/1 (Fall 2003) ______

other classmates by being patient and by rates 40 video clips, 42 audio excerpts, and respecting their needs to share online many pictures and diagrams. One of the (net etiquette). Students must display re- high-tech features of the course is a diagram spect for others by being flexible in the of the orchestra wherein individual instru- amount of, and frequency of, their on- mental sections are highlighted as the Brit- line comments. Students should be will- ten Young Person’s Guide to the Orchestra ing to work with other students and help is played. foster a dynamic learning group. Summary Technical Execution Designing and building an online course re- The technology used for delivering a course, quires a rethinking of the whole course. Stu- which is heavy in audio and visual content, dent assessment, content selection, activi- and interactivity, is considerable. The author ties, and evaluation all have to be considered was very fortunate to have at his disposal the in light of the strengths and weaknesses of advice of an instructional designer and a the medium that delivers it. Online learning media staff to apply the content in an online can be superior to the traditional classroom, environment. This course is delivered via an if (1) the content and activities are well easy to navigate authorware program called thought out, (2) a superior delivery system is WebCT®. Many other authoring programs used, (3) and the students are motivated to are available, but this is the one supported succeed via an attraction to the delivery by UTPA. The basic elements of WebCT® system or the subject matter. Distance -- syllabus, instructions, assignment tem- learning has progressed to the point that few plates, quizzes and tests, presentation area, classes need to be excluded from the me- email, chat, and calendar are supplemented dium. Like it or not, distance learning is a with a fairly detailed timeline. The timeline part of everyone’s future, whether as a has fields that make the development of mu- teacher or a student. sic theatre easier to assimilate. The fifteen week course encourages students to login 3 times a week by dividing the content in Note: roughly forty-five minute modules. Some- times the day’s logon is nothing more than a Screen shots of the course are available at: reading assignment and a quiz. At other http://homepage.mac.com/wendellrdavis/Mus times all the reading and activities (writing, ApprecScreenShot/FileSharing13.html discussion posting, presentation, e-mail, web research, listening, and viewing) are online. One of the pivotal technologies of the course References: is supplying audio and video, not by streaming from the server (as the rest of the di Gaetani, John Louis. 1986. An Invitation course is), but through CDs the student gets to the Opera. New York: Anchor Books. with the course. Scripting in WebCT® and RealNetworks® call up the compressed Green, Stanley. 1996. Broadway Musicals: audio and video from the CDs instead of Show by Show, 5th ed. Milwaukee: Hal downloading it, saving time and bandwidth. Leonard. The high compression technologies used are MPEG1, MPEG3, and MPEG4. Course Greenberg, Karen L. 1988. “Assessing content currently fills 5 CDs which incorpo- Writing: Theory and Practice,” Assessing

15 South Central Music Bulletin II/1 (Fall 2003) ______students’ learning, ed. by J. H. McMillan. moorethreetypesofinteraction.htm (accessed San Francisco: Jossey-Bass. pp. 47-59. July 5, 2003).

Hannafin, Michael J., Janette R. Hill, & Su- Repman, Judi & Logan, Suzanne. 1996. san M. Land. 1997. “Student-Centered “Interactions at a Distance: Possible Barriers Learning and Interactive Multimedia: Status, and collaborative solutions,” TechTrends, 41 Issues, and Implications,” Contemporary (6): 35-38. Education 68 (2): 94-99. Rowntree, Derek. 1995. “Teaching and Moore, Michael. 2001. Three Types of In- Learning Online: A Correspondence Educa- teraction. tion for the 21st Century?” British Journal http://cdl.panam.edu/dayoung/professional/ of Educational Technology 26 (3): 205-215.

Judging the Effectiveness of Music classroom teachers’ perception of ability or Methods Courses for Elementary willingness to teach music. The attitude of Classroom Teachers the classroom teacher toward the importance or value of elementary general music has by Marlowe Robin Stein often been of secondary or only incidental Texas State University-San Marcos interest; yet this may be the most significant E-Mail: [email protected] outcome of the course and the true measure of course effectiveness. Musical training for the elementary class- Don Coffman (1987) capsulated the room teacher was introduced in certain history of the classroom teacher and various teacher training schools as early as 1839. aspects of music education from 1885 to This musical training continued, with vari- 1905. Teacher training in music during the ous instructional goals, for the next 172 earliest years usually consisted of the rec- years. There has always been interest on the reational singing by the students between part of researchers and training institutions classes. It was hoped that this practice would as to how effective this musical training was establish “a habit which will be of great for students who were, for the most part, service to them in leading their schools in non-musicians. Those educators with an in- this exercise” (Coffman 1987, 94). As music vestment in the course, such as preservice instruction was added to training require- teachers, in-service teachers, course in- ments in the next few years, the course of structors, and course administrators, do not study focused on music fundamentals with always agree upon how to judge effective- no real effort to show how to translate these ness. Stakeholders should recognize that fundamentals into lessons for children. Mu- eventually those with the most vital link to sic training for teachers in the State Normal the course will be the countless elementary Schools ranged from twenty minutes a day school students who are influenced by their for six weeks during a summer teaching in- classroom teachers. The literature seems to stitute, to as much as thirty minutes a day for indicate that the effectiveness of a course is twenty weeks in the two-year normal college measured by the amount of time a classroom program. Coffman suggested that students teacher uses music in the classroom or the were “presented an extensive amount of

16 South Central Music Bulletin II/1 (Fall 2003) ______theoretical material in an exceedingly short - Creative experiences (5 subsets) amount of time” (Coffman 1987, 102). This - Experiences involving music history and corresponds with comments by Hilary literature (17 subsets) Apfelstadt (1996) who also voices concern Later studies, in other colleges and with the amount of material in courses and regions, would find that many of these same the relatively little time to successfully course components were taught in music master it. courses for preservice elementary teachers. Jesse L. Fleming (1953) worked to Gary A. Kinder (1988) completed a survey determine what musical competencies were of classroom teachers who were elementary needed by classroom teachers in order to education majors graduating from Indiana lead musical activities, and what music ex- University from 1971 to 1973. The purpose periences should be provided for preservice of the study was to gather information on the elementary school teachers in their music music teaching activities of classroom training courses in the state of Maryland. A teachers with implications for undergraduate list of eighty-eight musical competencies music courses for elementary education was compiled and this list was then used as majors at Indiana University. There were a basis to determine the musical experiences fifteen music skills and experiences that that should be taught at the teachers colleges more than 75 percent of the graduates rated in Maryland. A sampling of elementary as “Important” or “Very Important” for the school teachers, principals, general supervi- classroom teacher to possess. Combining sors, and music supervisors in Maryland some of the common experiences, Kinder’s completed the rating sheet. Fleming thought list (Kinder 1988, 105-106) is similar to it significant that experiences in music the- Fleming’s experience list and includes: ory and music history and literature made up - How to use game or action songs to only about one third of the list created by the teach music concepts classroom teachers, yet a much higher pro- - How to organize musical activities portion of time was spent on these experi- around a holiday ences in the current course offerings. Jesse - Ability to use rhythm and melody in- L. Fleming (1953, 60) lists the following struments to accompany songs musical experiences that should be provided - Ability to sing in courses for elementary classroom teach- - Knowledge of rhythms ers: - How to correlate music with other sub- - Experiences involving singing (with 10 jects subsets) - How to read notation and have knowl- - Experiences involving the piano (11 edge of rhythms subsets) - How to use a piano to teach songs & - Experiences involving instruments other play a melody on the piano. than the piano (5 subsets) - How to use a record player to teach - Experiences involving rhythms and songs rhythmic activity (8 subsets) - Knowledge of musical terms, scales and - Experiences involving conducting (7 key signatures. subsets) According to Kinder, the classroom teachers - Experiences involving music theory (19 wanted the opportunity to observe music subsets) being taught to students in an elementary - Experiences involving elementary school by a music specialist and by a class- school musical materials (6 subsets) room teacher. They also wanted an opportu-

17 South Central Music Bulletin II/1 (Fall 2003) ______nity to teach music lessons to students in an Saunders and Baker (1991) con- elementary school. cluded that preservice elementary teachers A study by T. Clark Saunders and are more motivated to acquire skills that Dawn S. Baker (1991) to identify the music they consider to be useful, and that leads to skills and understandings that in-service better feelings about themselves, about their early-childhood and elementary classroom success in the course and the development teachers perceived as useful was intended to of a positive attitude about the discipline. gather information helpful in developing a Delores Gauthier and Jan McCrary music course. The course needed to address (1999) surveyed 530 NASM schools to ex- both fundamentals and methods in a three- amine the types of courses offered to ele- credit-hour course, and be focused on the mentary classroom teachers, the content of competencies that in-service teachers con- the courses, the instructors’ purposes for sider the most useful. An underlying prem- each course, and factors that influenced cur- ise of this study was the belief that pre- ricular decisions. Questionnaires were re- service teachers were most likely to be mo- turned from 316 schools. Respondents were tivated if they considered the content useful, divided into three course categories: 1) 103 and in addition, if these preservice teachers taught fundamentals courses, 2) 101 taught were successful during the course of study, methods courses, and 3) 132 taught courses they would develop a positive attitude to- combining music and fundamentals. Most of ward music. The sample group (N = 159) the fundamentals teachers stated that devel- was comprised of in-service elementary oping basic music skills and understandings classroom teachers randomly selected in was the most important objective. Most of four Maryland counties. Eighteen compe- the methods teachers reported that teaching tencies were listed and respondents marked students how to use music in the elementary whether they received undergraduate in- classroom, developing basic music skills and struction in that competency and if that understandings, and developing teaching competency was used or considered useful. skills were the most important objectives. The nine skills and understandings the ma- The respondents who taught combined jority of teachers indicated they had studied courses believed that developing basic mu- and actually used were: sic skills and understandings, and learning to a) using music to supplement other cur- use music effectively were the important ricular areas (83%), objectives for the course. None of the teach- b) providing creative experiences (80%), ers believed attitude to be a high priority. c) developing movement activities (78%), The statement of purpose, “Increase positive d) selecting recordings for children (75%), attitudes for working with the music spe- e) selecting appropriate songs (74%), cialist” was ranked much lower by all the f) developing listening lessons (70%), instructors. Combined course teachers and g) leading and teaching songs (64%), methods course teachers ranked it fifth, h) characteristics of children’s voices while fundamentals course teachers ranked (62%), and it fourth. i) using rhythm instruments (60%). Gauthier and McCrary also looked Music theory and reading notation were the into the backgrounds of the instructors. They highest listed competencies that had been found that 7% of respondents had never studied in music courses and were not used taught K-12 music courses, 34% had taught by classroom teachers. K-12 music for 1 to 5 years, 31% had taught K-12 for 6 to 8 years and 28% had taught

18 South Central Music Bulletin II/1 (Fall 2003) ______this level for at least 11 years. It is unknown, represented a sample of the prospective however, how many of those college in- classroom teacher population at the univer- structors had taught only in secondary sities surveyed and that the courses were (grades 7-12) positions and had never been representative of offerings at similar institu- involved with elementary general music. It tions in the regions selected. Students in may well be that the instructors with no K-6 these classes were of varied age, gender and general music experience do not understand ethnic background. They represented the fragile relationship between the class- sophomores, juniors, and seniors in their re- room teachers, the administrator, and the spective programs at the time of participa- music teacher. The strength of support from tion in this course. each component of this triangle builds the Thirty universities were selected to framework for the success of the entire gen- participate in this study. Five sites were se- eral music program. lected from each of the six national divisions Research shows a mismatch between of the Music Educators National Confer- what classroom teachers indicate the value ence: Eastern, North Central, Northwest, of music is and the philosophies of music Southern, Southwestern, and Western. Se- education being promoted by the profession lected universities had several common (Gray 2000). By far, the majority of research characteristics. All institutions were state has had as its focus the elementary class- supported public universities, with accredi- room teachers’ attitude toward teaching mu- tation from the National Association of sic (Picerno 1970; Gelineau 1960; Reifsteck Schools of Music, and had an enrollment of 1980; Goodman 1985; Lewis 1991; Barry 10,000 students or more. 1992; Kvet & Watkins 1993; and Gray Each university instructor was to 2000). There is limited research primarily administer the attitude behavior survey, us- focused on the study of attitude toward the ing a pretest / posttest method, to their sec- value of elementary general music, as sepa- tions of the basic music course intended for rate from attitude toward ability to teach elementary education or early childhood music, or attitude toward the student’s own majors. The courses were classified as music perceived musical ability. Researchers have fundamentals, teaching methods, or a com- suggested that this positive attitude forma- bination of both. In many institutions, the tion of elementary classroom teachers is vi- same instructor did not teach all sections. Of tal to the wellbeing of the general music the original 30 selected universities, 29 program (Kritzmire, 1991; Barry, 1992; sponsoring faculty agreed to participate. Austin, 1995; Loring, 1996 and Gray, 2000). Participants for the survey were then re- The primary purpose of my recent cruited from sections of the music course research was to determine whether a univer- taught at 29 universities, with approximately sity music fundamentals / methods course 1,500 elementary education majors, in 58 for elementary education majors does, in classes. fact, affect a change in attitude of preservice The Attitude Behavior Scale - Ele- elementary classroom teachers toward the mentary General Music (ABS-EG), devel- value of general music in the elementary oped by Thomas Tunks in 1973, had a school. Subjects in the sample population proven reliability (.91) based on Hoyt’s in- for this study were preservice elementary ternal consistency measure and validity de- teachers enrolled in music methods / funda- termined by the known-group method mentals courses at selected universities in (Tunks 1973). Additional reliability on the the United States. It was assumed that they instrument was established with data from

19 South Central Music Bulletin II/1 (Fall 2003) ______both the pretest and posttest and was calcu- pre- and posttest. During the final week of lated at .90 using Cronbach’s index of inter- the course, the ABS-EGM was repeated as a nal consistency. posttest. The survey tool included 40 state- Data from this population sample in- ments that the respondent was asked to rank dicated that a university level music course on a four point Likert-type scale. Statements could have a positive effect on preservice were grouped in two sections, with two dif- elementary teachers attitudes toward the ferent response scales. On part one, respon- value of music. A gain of 2.33 points oc- dents indicated a level of agreement from curred between the pretest and posttest strongly agree to strongly disagree to state- scores, and while that was statistically sig- ments concerning elementary general music nificant, it only represented a standardized and what they would do if they were in mean difference of d = .2. According to Ja- charge. The second section concerned actual cob Cohen (1988), this small effect size of .2 feelings that respondents had about elemen- indicates two tenths of a standard deviation tary general music. Response options ranged difference, which is not extremely meaning- from very good to very bad. Difference on ful. Therefore, while it was statistically sig- pretest / posttest scores provided class nificant, it was not of great practical impor- means to answer the research question: Does tance. Our university classes should be able an elementary music methods course for to bring about a more substantial gain over classroom teachers affect a change in atti- the course of the semester. It was interesting tude toward the value of elementary general that in some specific sections of the course, music? the attitude scores actually were lower in the During the semester prior to data posttest. collection, Institutional Review Boards at Support for the elementary music the selected universities were contacted to program must come from a wide base of complete protocols for Human Subjects educators. Classroom teachers will influence Compliance and secure permission to survey the value base of the next generation of students. One Music Education faculty learners in a more profound manner than member was contacted at each university most music educators, because of the limited about willingness to participate and to gather contact time afforded to music instruction information about the number of course sec- each week. Students spend the majority of tions, the number of instructors, dates of the every day with the classroom teacher, whose course, and the estimated number of stu- attitude about each subject area, including dents. The ABS-EMG survey questionnaire, music, will have influence upon the student instructions, electronic response forms, and attitudes. Teacher training institutions can- a postage paid return mailer were compiled not afford to graduate teachers who are un- in a packet and sent to the sponsoring fac- aware of the value of music in the lives of ulty member at each university in December young students and do not understand their 2001 and early January 2002. important role in supporting and funding The course instructor or the faculty viable programs of music instruction. sponsor administered the pretest during the If classroom teachers and adminis- first week of spring semester 2002, with the trators were firm in their attitudes toward the classes meeting at the normally scheduled value of a comprehensive music program, time and place. Students used a university then support at both the building level and code and the last four digits of their Social district level would be much easier to main- Security number for purposes of matching tain. Unfortunately, music specialists must

20 South Central Music Bulletin II/1 (Fall 2003) ______constantly justify music’s place in the cur- References: riculum, fight for funds and teaching posi- tions, and seek assistance from community Atsalis, Linda Ann. 1988. A comparison of members who might be able to influence curricula requirements in music for students administrators, teachers, and school board majoring in elementary education at selected members toward the value of retaining and colleges and universities in Southwestern funding music programs. Cutbacks of ele- Ohio. Ohio State University, 1987. Disser- mentary music programs in public schools tation Abstracts International 48 (07), run in cycles, and although we experienced a 1688A. resurgence of support for these programs in the 1990s, world events in 2001 redistrib- Apfelstadt, Hilary. 1989. “Do we have to uted tax priorities and reduced education sing? Factors affecting elementary education revenues. Music educators must be proactive majors’ attitudes toward singing,” Update 8 and prepare for this downward cycle as mu- (1), 24-26. sic once again faces program cuts. Under- standing how to build and foster positive Apfelstadt, Hilary. 1996. “Less is more attitudes in the future administrators and (more or less!),” Journal of Music Teacher teachers who eventually will form the edu- Education 6, 4-5. cational community would seem of utmost importance. These are the educators who are Austin, James R. 1995. “Future classroom in a position to make a major difference in teachers’ ability, self-perceptions, and at- music programs and influence society at a tributional responses to failure in music: Do very fundamental level (Malin 1987; Gam- music fundamentals classes make a differ- ble 1988). ence?” Research Perspectives in Music Due to the fact that the elementary Education 5, 6-15. music methods class is perhaps the pre- service teacher’s last structured involvement Barry, Nancy H. 1992. “Music and educa- with music and because of their potential tion in the elementary music methods class,” impact on the attitudes of the next genera- Journal of Music Teacher Education 2 (1), tion of students, it would be prudent for re- 16-23. searchers to determine effective strategies for building positive attitudes toward ele- Beatty, Rodger James. 1997. “Teacher edu- mentary general music. Attitude should be a cation students’ orientations towards teach- primary goal of the course and steps should ing music in the elementary classroom,” Ab- be taken to limit the amount of theory that is stract presented at the Colloquium for presented in one semester. We should build Teachers of General Music Methods, in opportunities to observe and to teach mu- Mountain Lake, VA. May, 1997. sic lessons in local schools. Research into instructor characteristics and course compo- Birge, Edward B., 1937. History of Public nents that correlate with improved attitude School Music in the United States. Bryn would also help to improve university cur- Mawr, Pennsylvania: Oliver Ditson Com- riculum and design effective courses for this pany. (Reprinted Washington, D.C.: Music important population of non-majors. Educators National Conference, 1966.)

Brown, Richard Lee. 1989. A descriptive study of college level music courses for the

21 South Central Music Bulletin II/1 (Fall 2003) ______elementary education majors at NASM in- Harwood, Eve. 1993 “Learning characteris- stitutions in the Western Great Lakes Region tics of college students: Implications for the of the United States. Michigan State Univer- elementary music education methods class,” sity, 1988. Dissertation Abstracts Interna- The Quarterly Journal of Music Teaching tional 49 (10), 2959A. and Learning 4 (1), 13-19.

Cohen, Jacob. 1998. Statistical power analy- Kinder, Gary A. 1987. A survey of the mu- sis for the behavioral sciences, 2nd edition. sical activities of classroom teachers with Hillsdale, New Jersey: Lawrence Erlbaum implication for undergraduate music courses Association. for elementary education majors. Indiana University, 1988. Dissertation Abstracts In- Coffman, Don. 1987. “Vocal music and the ternational 48 (07), 1691A. classroom teacher, 1885 to 1905,” Journal of Research in Music Education 35, 92-102. Kritzmire, Judith A. 1991. “Elementary gen- eral music: What difference does it make?” Fleming, Jesse L. 1953. “The determination Southeastern Journal of Music Education 4, of musical experiences designed to develop 101-116. the musical competencies required of ele- mentary school teachers in Maryland,” Kvet, Edward J., and Rosemary C. Watkins. Journal of Research in Music Education 1 1993. “Success Attributes in teaching music (1), 59-67. as perceived by elementary education ma- jors,” Journal of Research in Music Educa- Gamble, Sue. 1988. “The elementary class- tion 41, 70-80. room teacher: an ally for music education,” Music Educators Journal 75 (1), 25-27. Lewis, Barbara. 1991. “The effect of a mu- sic methods course on elementary education Gauthier, Delores, and Jan McCrary. 1999. majors’ attitude toward the teaching of mu- “Music courses for elementary education sic in the elementary school,” Southeastern majors: an investigation of course content Journal of Music Education 3, 61-78. and purpose,” Journal of Research in Music Education 47 (2), 124-134. Loring, Lauralee Rose. 1996. Differences in intentions, beliefs, and feelings of two Goodman, Jerry Lee. 1985. Perceived music groups of elementary education majors con- and music-teaching competencies of class- cerning music education in the classroom. room teachers in the state of Ohio. Ohio University of Arizona, 1996. Dissertation State University, 1985. Dissertation Ab- Abstracts International 57 (04), 1534A. stracts International 46 (12), 3642A. Malin, Sue A. 1988. “Classroom teachers: Gray, Tonya Ellen. 2000. The relationship Elementary to music education,” Music between the undergraduate music methods Educators Journal 75 (3), 30 -33. class curriculum and the use of music in the classrooms of in-service elementary teach- Malin, Sue A. 1993. Music experiences in ers. Ball State University, 2000. Dissertation the elementary classroom as directed and Abstracts International 61 (02), 418A. reported by in-service elementary classroom teachers. Pennsylvania State University,

22 South Central Music Bulletin II/1 (Fall 2003) ______

1993. Dissertation Abstracts International Saunders, T. Clark, and Dawn S. Baker. 54 (12), 4384A. 1991. “In-service classroom teachers’ per- ceptions of useful music skills and under- Picerno, Vincent J. 1970. “Opinions of standings. Journal of Research in Music classroom teachers: A study of their role in Education 39 (3), 248-261. the elementary music education program,” Journal of Research in Music Education 18 Stein, Marlowe Robin. 2002. Music courses (3), 248-256. for preservice elementary classroom teach- ers: Factors that affect attitude change to- Price, Harry E., and Vernon Burnsed. 1989. ward the value of elementary general music. “Classroom teachers’ assessments of ele- University of Northern Colorado, 2002. Dis- mentary education music methods,” Update sertation Abstracts International 63 (07), 8 (1), 28-31. 2488A.

Reifsteck, Carole Suzanne. 1980. A com- Tunks, Thomas Wayne. 1973. Attitudes of parison of field and peer teaching experi- elementary classroom teachers toward ele- ences on the development of music teaching mentary general music: The effects of cer- competencies of pre-service elementary tain aspects of preservice training. Michigan classroom teachers. Pennsylvania State Uni- State University, 1973. Dissertation Ab- versity, 1980. Dissertation Abstracts Inter- stracts International 34 (09), 6030A. national 41 (09), 3937A.

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Reviews

Tosca’s Talent Shines Through Tia “Walking Life.” Gill has also composed mu- Pamelita sic for several student films in Austin. He continues to make his living as a profes- by Jenny Raschke sional performing musician and as an ar- E-Mail: [email protected] ranger of music for pop bands. Gill is still affiliated with the Tosca String Quartet Tia Pamelita by Tosca. Noris Records, 1905 through the arrangements and original com- Goodrich, Austin, TX 78704; Web: positions he provides for them. Also fea- http://www.buymusichere.net/stores/waterloo tured in Tia Pamelita are contrabass player Luis Amado Guerra, pianist Jeanine At- The Tosca Tango Orchestra, an Austin- taway, and slapstick player Robert Ashker based string and percussion ensemble, has Kraft. expanded the popularity of tango music. Tia Track one, titled “Lastima Grande,” Pamelita, recorded in 1998, is the second of is essentially a theme and variation. The first four albums and has not been awarded the statement is played by the accordion and attention it deserves. The compositions for piano, after which other instruments gradu- Tia Pamelita are written by the accordion ally join in. The theme has an almost over- and piano player Glover Johns Gill, with the powering bass line that forces the listener to exception of one piece which is credited to feel the beat. The element of surprise is pre- violinist Thomas Michael Sender. sent through the use of a six measure theme The Tosca Tango Orchestra has bro- (often presented twice), followed by a break ken up since this recording was released. which sometimes consists of quick runs and Glover Gill formed a new ensemble named slides, both very characteristic of Tosca’s Glovertango. The string musicians, Leigh style. This division is especially dramatic, Mahoney, violin, Thomas Michael Sender, because it does not occur after every varia- violin (later replaced by Laura Hicks), S. tion, and it only sometimes is filled with Ames Asbell, viola, and Sara K. Nelson, runs. The length of the break is also vari- violoncello, formed the Tosca String Quar- able. The crafty theme and the form are tet. All studied at the School of Music at the slightly deterred by the high pitched accor- University of Texas at Austin, completed a dion in the final variation, which is reminis- year long tour with David Byrne (of the cent of a nagging mosquito, but all other former pop band Talking Heads) and for the variations are very entertaining, and the second time won Austin Chronicle’s Music pauses force the listener to be attentive. Award for Best Strings in Austin in 2001. “Noche de la Iguana” is multi- The quartet is currently the Armstrong thematic with a piano introduction. The first Community Music School of Austin Lyric theme features fabulous sforzandos. Begin- Opera’s string quartet in residence. Addi- ning with the solo bass, the second theme tionally, they continue to give concerts in personifies an iguana creeping through the the Austin area. night. The last theme is more symbolic of a The Tosca Tango Orchestra became circus than an iguana and the final ending known for having played Glover Gill’s mu- creates visions of a bumblebee hive. Al- sic in Richard Linklater’s animated film though the melodies of both the first and

24 South Central Music Bulletin II/1 (Fall 2003) ______second themes are very tasteful, the inner dundant, however the ending is very clever parts are not agreeable to a tonally trained and surprising: the theme begins again at a ear, but those more accustomed to 20th cen- very slow tempo but ends prematurely. This tury music will probably appreciate them section really boasts the group’s cohesive- more. Overall, this composition lacked ness as an ensemble, because of the frequent unity. A pause always serves as the transi- tempi changes and exact articulations played tion from one part to the next which makes by each instrument. it difficult to understand how the themes re- The first violinist has her moment in late to one another. “Holiday.” Accompanied by a thudding Track 3, titled “Mignon 2,” opens bass, the violin’s enchanting melody carries with a violoncello melody which is followed the listener up to the stratosphere and back by a second theme. Theme one is repeated down with gracious slides and impeccable on three different occasions, and the second intonation. Just before the conclusion, the theme twice, in rondo form (ABABA). Be- violin performs a solo, bringing out the in- cause of this construction, the piece does not strument’s beauty and fabulous tone. As a suffer from any lack of a unifying element, transition from theme two to theme one, a as the previous one did. Additionally, the 16 measure piano and bass interlude occurs, transitions don’t have extreme breaks; the with the last eight measures receiving orna- transition from theme two back to theme one mentation from other instruments. This part is especially fluent with the melody note in might have not seemed so lengthy had the the cello carrying over from one theme to violin, playing a single note, not been mixed the next. When the second theme begins, as loudly. Although the pitch did transition there are several measures in which the pi- nicely into the first theme, the bass line is ano plays a stationary chord repeatedly, es- much more interesting than this overpower- tablishing the tempo and key, however the ing stationary sound. passage is quite lengthy and verges on “Gil 2 2nd Mov’t” begins with strings trance music. A similar feeling is evoked in forte and the feelings of anger, and rest- later in this section as well with the upper lessness are brought on by rhythmic pas- string and bass. sages with exact sforzandos. String slides The fourth piece, “Humoresque,” is serve as a transition into the next section, in ternary form with a slow A section, fea- which prepares for a developmental portion turing both the piano and accordion with and for the restatement of the first theme. two very rhythmically free themes. With an The first two themes are both undergoing ingenious transition, the listener is launched variation processes. The mixture of anger into a world of seduction in section B, which and sadness elicits a very unsettled reaction. utilizes the other instruments in the ensem- However, the arpeggiation of the final chord ble. As a transition back to the A section, the seemed too generic for an ending to such a solo piano plays the theme at the tempo of powerful piece. the first section a final time. The fluency of In great contrast to the previous the sections in this composition stands above piece, “Tracy Baliando” is a more lyrical all others on this album. work. The first melody has relatively little “El Omnibus” is a set of variations direction, but fortunately is short enough on a single theme, each with different ar- that there is not much time to lose the lis- ticulation, tempos, and instrumentation. The tener’s interest. The tempo for the next part, simplicity of the eight measure theme, re- set by the slapstick, is much more lively. peated for almost five minutes, becomes re- The first theme is entertaining, but becomes

25 South Central Music Bulletin II/1 (Fall 2003) ______more and more scalar, until it verges on mo- dition, the slowly ending episodes contrast notony. At the very end, the first section is nicely with the A section. The C section is referenced, fusing the piece together. an unusual ending, especially since it is far “Mignon 3"’s first notes are slow less crafty than the A section. However, the string sounds like “Mignon 2,” but all re- beauty of the last chord justifies the ar- semblance is instantly annihilated with the rangement. violoncello and violin entrance. This portion The last track has a slow, gypsy-like with repetitious chords played consecutively quality. Being the title cut, it would be ex- by violoncello and upper-strings includes pected that it would somehow tie the entire the first melodies Gill has produced on this album together, either by a thematic link or album that are undeniably catchy. On sev- the group’s musical style. As in other pieces, eral occasions, the melody is passed from “Tia Pamelita” exemplifies Tosca’s style of the cello upward through the instruments slides and rhythms, but it is quite different with perfectly matching articulations. In the from the other works. The almost tranquil middle as well as just before the final end- quality of the instruments is unmatched by ing, deceptive pauses fool the listener. This the other pieces. At certain points, it is remi- piece is well-constructed; however, the in- niscent of soap-opera background music. troduction has little to do with what follows The CD Tia Pamelita is definitely and could have been omitted. worth listening to. As with any CD it has its “Capricco Valentino” has a catchy imperfections, but the ensemble plays to- first theme, traded off between the violin gether flawlessly and, for the most part, the and piano, perfect for this rondo-like piece mix is excellent. Although many melodies in ABACABAC form. The B and C sections tend to be overly scalar, it still has a beat are not as impressive; the B section theme is that forces the listener to tap along. A few excessively scalar, and although the C sec- tracks have enough surprise elements to tion begins with a moderate tempo, it slows keep the listener’s undivided attention, but to an unreasonably lethargic tempo. The overall the recording is more appropriate for contrast between the beginnings of the B background music. and C sections adds an artistic touch. In ad-

»Duo Savage« Performs Music by Phillip attractive, sensuously appealing music for Schroeder oboe, English horn, and piano. The five works represented on the disk have in com- by Brian Marks mon a rich and open harmonic language Baylor University based on extended triadic structures with E-Mail: [email protected] carefully ameliorated dissonance. The re- sulting harmonic dimensions are spacious all rivers at once: Duo Savage performs mu- and colorful, and exemplify one of the most sic by Phillip Schroeder. Music for Oboe, successful aspects of the composer’s style. English Horn, Piano, Synthesizer, and Elec- If the five works on this recording tronics. Capstone Records CPS-8709. are generally representative of Schroeder’s In all rivers at once, composer writing, then we may count him among Phillip Schroeder presents an hour of very those currently active composers who are

26 South Central Music Bulletin II/1 (Fall 2003) ______seeking a rapprochement with modern audi- sent in the solo piano pieces, and also be- ences by writing in a harmonically accessi- cause both employ a digital delay system ble musical language. In other respects, that echoes the performers’ live playing at a however, listeners might find the music predetermined time interval. The digital de- more challenging. In four of the works (the lay is especially effective when utilized with exception being Songs Without Words), long the arpeggio patterns that dominate the pi- caesuras of musical activity separate quite ano part, creating successive waves of di- similar musical gestures, causing the music minishing ripples underneath the solo part. to unfold at a leisurely pace sometimes The solo line in both pieces is constructed verging on stasis. The lack of concise and from long tones and repeated melodic mo- quickly comprehended musical statements tives consisting of relatively few notes. might deter those not willing to adjust their Change is incremental, sometimes caused by temporal scale. an evolution of the motives of the solo line, For instance, in From the Shadows of sometimes by the harmonic progression, and Angels, one of two works on the CD for solo occasionally by alterations in the underlying piano, very quiet and gently swirling arpeg- piano textures. As in the solo piano works, gios in the middle register are framed by dynamic levels are restrained so that each long sustained tones in very low and very piece progresses according to the slow un- high registers. This basic harmonic / textural dulations created by the rising and falling idea is sometimes varied or extended, but patterns of the piano textures and the broad rarely substantially changed. Incremental melodic gestures of the solo line. alterations to the harmonies of each gesture, In these four works, the composer is subtle changes in rhythmic flow, and an clearly aiming for an articulation of musical overall increase in the density of musical time that stretches the boundaries of much events are the primary means of musical of Western art music. One is reminded of progression. The culmination of the piece the relative stasis encountered in the early occurs when a repeated C-sharp leads into a Minimalist works of Phillipp Glass and new harmony played mezzo piano (a re- Steve Reich, although the absence of a markably extroverted dynamic level in this clearly audible process and the quiet rhyth- context). The piece is framed by the return mic surface differentiate Schroeder’s ap- of the opening material, ultimately stated an proach. “Meditative” is a term that could octave higher than at its initial appearance. easily be used to describe the character of This tripartite structure unfolds over an un- these works, although the New Age conno- hurried span of just over nine minutes. tations of that term do a disservice to the The other, shorter solo piano work, subtle care with which the composer handles Stillness, is similarly structured, although the ebbs and flows of his material. here the prevailing texture is built from si- Given the systematically unorthodox multaneously-struck chords, with simple way in which time is articulated in the pre- rising arpeggiations providing a textural viously mentioned works, the five pieces contrast in the middle section. that make up Songs Without Words for oboe Borne by Currents, for English horn, and piano are strikingly conventional in this piano and synthesizer, and No Longer a regard. This could be due to their origins as Stranger, for oboe and piano, present a more songs for soprano and piano, where perhaps complex textural space than the relatively the composer felt that a text setting was not austere piano works, partly because the solo well suited to the extended time fields of his wind instrument provides a melodic line ab- other works. Thus, not only are the pieces

27 South Central Music Bulletin II/1 (Fall 2003) ______much shorter here, more dynamic musical the mood of the two longer works, and her processes also take place: greater variety in sense of line and shape convincingly convey accompanying textures, melodic participa- the more urgent musical message of the tion in the piano part, stronger dynamic Songs Without Words. Mr. Savage balances contrasts, greater rhythmic variety, and a the need for clarity in accompanying tex- clear sense of direction in the phrase struc- tures with a keen ear for harmonic color, tures. Although the level of dissonance is tonal beauty, and supple rhythmic pacing. moderately increased in comparison to the The solo piano works are likewise beauti- other works on the disk, Schroeder’s ear for fully colored and subtly shaped. rich and interesting harmonic combinations Composer Phillip Schroeder displays remains a constant. a distinctive compositional voice in this re- The composer has found two able cording. Patient listeners will be rewarded interpreters in oboist Susan Savage and pi- with an interesting and appealing sound- anist Dylan Savage. Ms. Savage’s rich and scape. nicely modulated tone contributes much to

A Critical View at Tonal Harmony by the previous edition, but has undergone revi- Stefan Kostka and Dorothy Payne sions of the text and musical examples which help to clarify the main issues. by Ryan Davis As in the fourth edition, twenty-eight E-Mail: [email protected] chapters of this text encompass six major sections: Fundamentals, Diatonic Triads, Stefan Kostka & Dorothy Payne: Tonal Diatonic Seventh Chords, Chromaticism I Harmony: With An Introduction to Twenti- (Secondary Functions, Modulatory Tech- eth-Century Music. Boston: McGraw-Hill, niques, and Simple Forms), Chromaticism II 2004 (ISBN 0-07-285260-7); with CD-Set (Mode Mixture, Neapolitan and Augmented (ISBN 0-07-285262-3), Student Workbook Sixth Chords), and Late Romanticism and (ISBN 0-07-285261-5), and Finale Work- the Twentieth Century. Each chapter is sub- book (ISBN 0-07-291822-5). divided into smaller sections, separated by According to the “Music Theory Checkpoints, sets of review questions, or Undergraduate Core Curriculum Survey - Self-Tests. The answers to all Self-Tests are 2000” conducted by the College Music So- given in the appendix of the book. Each ciety (coordinated by Richard B. Nelson and chapter also includes a concise summary for published at http://www.music.org), Tonal further reinforcement or for a quick review. Harmony with an Introduction to Twentieth- In the latest edition, the authors have slightly Century Music by Stefan Kostka and Doro- revised the format by placing the chapter thy Payne is one of the most popular music summary after the last Self-Sest of the theory textbooks in the United States. The chapter. This improvement makes the Self- textbook’s first edition, originally published Tests more of a challenge, but also gives in 1984, has gone through many revisions students easier access to a previous chapter and additions, culminating with the recent summary, located on its final page, before publication of its fifth edition. This newest beginning a new one. edition retains many user-friendly aspects of

28 South Central Music Bulletin II/1 (Fall 2003) ______

Already in the fourth edition, several be utilized through this teaching tool. First additions and alterations were made. The of all, it would be easier for the students to authors included jazz and pop music exam- find the excerpt on the CD if the track num- ples to illustrate the use of common-practice bers were located in the textbook rather than harmonies. Information concerning forms only in the CD insert. Also, there are a num- and genres, such as the twelve-bar blues and ber of very basic musical elements which the American Popular Ballad, was also are not contained on the audio discs. For ex- added. Other additions included sections on ample, the various scale types are not avail- “Consonant and Dissonant Intervals“, able on the disc. Some students, particularly “Harmonizing a Simple Melody,” and vocalists and percussionists not accustomed “Resolutions to Tonic.” A section concern- to pitched instruments, might find it useful. ing Set Theory was also revised, but re- In addition, examples of folk tunes, for mains, unfortunately, very difficult to under- which students must determine the time sig- stand. Excerpts from Clara Schumann and natures in Chapter 2, should be included. Fanny Mendelssohn Hensel were included. Some students and even instructors may not Furthermore, each chapter was equipped be familiar with some of the traditional with at least one Checkpoint. American folk songs; even students who are In the most recent fifth edition, addi- familiar with them may have a unique tional 20th Century musical examples have rhythmic interpretation of them. If these ex- been included. However, the most signifi- amples were recorded then all students cant revisions in this edition involve the would hear the same interpretation. Another larger text size and attributes, such as the important addition to the listening CDs bold print now associated with important should be several of the musical examples terms. These terms are also often given their written specifically for the textbook. Often, own paragraphs, which makes it much easier students are asked to play at the piano vari- to locate them. Also, the text itself has un- ous examples and compare them. These ex- dergone a slight revision, usually involving amples may illustrate weak versus strong the reorganization of material presented or part writing or improper resolutions of the the rewording of modifiers such as “never” leading tone, yet since they are not specifi- or “sometimes” when appropriate. Gener- cally from a composer’s work, they have not ally, the text revisions are slight. Most im- been recorded. Certainly, not every piece of portantly, the musical examples have been music in the textbook should be contained highlighted to illustrate the important as- on the CD, but several important examples pects. This is a wonderful addition and should be. makes new material very easy to see in a Another important accessory for the musical context. Kostka & Payne textbook is the workbook. Several examples in the text have a The Tonal Harmony Workbook is organized headphone icon beside them, which indi- in chapters which parallel the textbook, but cates that the example can be heard on the also includes review exercises. The new accompanying CD-set. This is a necessary edition also comes with the Finale workbook tool for students, especially those lacking software to aid students in composition ex- piano skills, who otherwise would not be ercises, though at the possible expense of able to hear these examples. The CD-set has notational skills. The Tonal Harmony been revised with new recordings of popular Workbook gives the students various exer- and jazz examples which are more appropri- cises which reinforce the lessons from the ate to the style. However, much more could text and encourage them to apply that

29 South Central Music Bulletin II/1 (Fall 2003) ______knowledge. The authors have made a few learn to aurally identify weak spots in their additions to the workbook as well. A few own writing. Chapter five also contains pas- more simple alterations could clarify some sages which may seem contradictory to a assignments and make grading these as- student. On page 79, students are informed signments easier. Some of the assignments that “consecutive perfect 5th and 8ves by contain a completed example which demon- contrary motion were also generally avoi- strates what the student is to complete. The ded, at least in vocal music.” At the bottom appearance of these examples are somewhat of the same page, the text states: “Octaves erratic and a more uniform use of them, es- by contrary motion are occasionally found at pecially in early chapters where this is more cadences in instrumental music and espe- appropriate, would clarify what information cially in vocal writing.” On page 81, we find was required of an assignment or at least the following passages: “You should use give them one more example to compare parallel 5ths and 8ves sparingly, if at all, and their work against. in such a way that the listener’s attention One of the most important aspects of will not be drawn to them.” and “In piano the study of music theory is part writing. writing accompaniment figures frequently This subject is first addressed in the fifth outlined 5ths or 8ves.” These last two state- chapter of the textbook, “Principles of Voice ments provoke questions such as “How of- Leading.” The specific sections of Chapter 5 ten is sparingly?” or “How do I draw the concern building strong melodic lines, no- listener’s attention away from my (sparingly tating chords, voicing triads in open or used) parallel fifth?” These statements also closed structure, and avoiding parallel fifths present a rule and its exceptions. and octaves. The information contained in Although the highlighted musical Chapter 5 serves as a building block for part examples provide a great deal of clarity, writing and analysis in later chapters of the perhaps Chapter 5 could be improved with book. It is therefore paramount that the stu- even simpler musical examples. For in- dent comprehends the information fully. stance, the first examples demonstrating However, this also seems to be one of the parallel fifths and octaves are four-part cho- most confusing chapters for students. The rales. Parallel fifths and octaves can be confusion may come from a lack of neces- demonstrated with more clarity and simplic- sary explanations which are extremely diffi- ity with two-part writings. The text should cult to express with text. There is little men- also include a part writing checklist of tion as to why composers “avoid augmented things to avoid and tendencies of the scale intervals” (p. 72), why the seventh scale de- degrees near the chapter summary. This gree has a strong tendency to move up to would allow the student to spend more time tonic, etc. Later in the chapter, there is no working on part-writing exercises, rather explanation as to why parallels were avoided than hastily rereading the chapter. A student or why exactly unequal fifths involving the practically has to reread the entire chapter to bass and another voice are considered unac- do a part writing assignment correctly. This ceptable. Perhaps the simplest explanation checklist could also help the student to re- might be provided on the listening CD. As member all the various rules by giving them mentioned earlier, students should be given an ordered visualization of them. examples of strong and poor tonal writing, Another concept which is often mis- so that they can begin to differentiate the understood by students is presented in two aurally. They should hear the signifi- Chapter 16, “Secondary Functions 1.” In cance of good voice leading and possibly general, the text here is much more clear

30 South Central Music Bulletin II/1 (Fall 2003) ______than in Chapter 5. Again, some of the musi- supporting role in a text concerning har- cal examples might be the root of some un- mony. Generally, the information concern- certainty. For instance, example 16-3 is ti- ing form is insufficient, and the information tled “Secondary dominants in F major” (p. which is presented needs more reinforce- 247). There are three staves in this example: ment throughout other chapters in the text. the top staff contains the diatonic chords that The workbook at times does help to rein- can be tonicized; the second staff contains force this information and the textbook at the secondary dominant triad of the chord in least offers references to further information the top staff directly above it; and the third in Chapter 20. There is very little informa- staff shows the secondary dominant seventh tion regarding counterpoint, though the on- chord of the diatonic triad that is two staves line resource at the publisher’s website above. Reading these staves linearly will not (http://www.mhhe.com/kp5) should contain help the student grasp the concept. The sec- additional information. (At this time, how- ondary functions do not resolve to the next ever, the online resource is not functioning.) chord but rather to the top staff. Perhaps ar- There is no description of rhythmic aug- rows could help illustrate the example, or mentation or diminution. Although it is de- example 16-7, in which secondary domi- fined, there is little discussion of motivic nants are introduced in context, could be in- development or melodic development, and troduced earlier in the text. A student, possi- these elements which have remained com- bly discouraged by not understanding the mon in 20th Century compositions should be concepts originally introduced, might not included to help demonstrate connections read that far in the text. Unfortunately, the between the old and new styles. highlighted musical examples new to this Several topics in the Introduction to edition do not help a student early in this 20th Century Music (chapter 28) are also chapter. The first secondary dominant is not lacking. Some features of 20th Century mu- highlighted in example 16-2. Also, the na- sic, such as modern treatment of cadences or ture of the confusing examples 16-3 and 16- lack of them, double pedal tones, passing 4 do not lend themselves to being high- chords over a sustained harmony, micro to- lighted. nality, and multimedia works, are not men- Kostka & Payne’s textbook is mainly tioned. Bimodality, bitonality, and poly- concerned with the concept of harmony, as tonality are discussed very briefly and the title suggests, which is an extremely im- should be clarified. Improvisation and jazz portant aspect of theory. There are only two is addressed only with regard to chance mu- chapters of the book which concern musical sic and the locrian mode in the 20th Century organization and form: Chapter 10, “Ca- music chapter. The influence of jazz rhythm dences, Phrases, and Periods,” and Chapter is not mentioned. Minimalism and some 20, “Binary and Ternary Forms.” It is un- unique musical notations are located under fortunate that so little attention and time is Aleatory or Chance Music, when they spent on this important aspect of music the- should have their own sub-chapters. Elec- ory. Chapter 10 is concerned with cadence tronic music is mentioned, but computer types, motives, phrases, and periods. Chap- music is not included. The 20th Century ter 20 builds off this information (though it chapter is extensive, spanning 80 pages, but has been about one semester since students not extensive enough for an introduction to have studied Chapter 10) to deal with larger the music (theory) of modern times. forms. Form relies heavily on harmony, The Kostka & Payne Tonal Harmony therefore form should play an important with and Introduction to Twentieth-Century

31 South Central Music Bulletin II/1 (Fall 2003) ______

Music is extremely popular, and, admittedly, and the inclusion of Finale Workbook soft- it remains one of the best theory books ware. However, there are still numerous available today. The Fifth edition surpasses elements which can be improved, and im- the previous editions with its additions of portant 20th Century contributions should highlights and easily accessible definitions, not be overlooked. online resources for students and teachers,

32 South Central Music Bulletin II/1 (Fall 2003) ______

Report(s)

Philosophy of Music Education the event due to wartime travel restrictions. International Symposium V Nevertheless, their note of regret and paper presentations (on Iranian music education by Khin Yee Lo and music philosophies) were shared and Indiana University distributed to all, so that attendees were able E-Mail: [email protected] to cherish the Iranians’ good will and keen determination in forging international bonds. The Fifth Philosophy of Music Education (Due to space constraints, I have resorted to International Symposium took place this highlighting a cohort of papers based on year between June 4th and 7th at Lake Forest their contrasting themes and approaches.) College, a small but enchanting liberal arts The conference officially commenced with institution located a mere 30 miles north of the presentation by Kingsley Price (Johns downtown Chicago, Illinois. Central to the Hopkins University), who gave an interest- goals of the symposium is the exchange and ing and thought-provoking account on How circulation of current thoughts on music Can Music Seem to be Emotional? Having philosophy and practice as an essential as- explored and challenged Susanne Langer’s pect of music education, as well as the pro- theory of music meaning, Price drew the motion of philosophical debate and research conclusion that the seeming emotionality of at an international level to help widen the music remained a quandary that was not scope of the music profession. All in all, 57 easily explicable via its perception, mean- participants representing 11 countries and ing, and expressive context. Still, music consisting mainly of university professors teachers should be indefatigable in their pur- and doctoral students attended this tri-annual suit to cultivate well-trained ears and well- conference. informed minds, so that students can intui- This year’s symposium featured 16 tively identify the emotional content of mu- paper presentations, each preceding two or sic without explicit instruction. three responses, which in turn provided fur- In the discussion on Four Philoso- ther opportunities for shared anecdotes and phical Models of Theory and Practice, stimulating dialogues in the audience. An Estelle Jorgensen (Indiana University) ex- array of significant issues concerning music amined the relationship between theory and teaching and learning were discussed and practice by means of four philosophical augmented upon, such as those relating to models comprising dichotomy, polarity, fu- the perception and meaning of music, the sion, and dialectic. Notwithstanding its in- domain of theory and practice, phenomenol- herent weaknesses and limitations, each ogy, paradigm shifts in music education, the model uncovers new and different perspec- ecology of musical experience, choral and tives on theories and practices as well as the general music programs, race and feminism, nature of praxis. Taken together, all four and teacher education. philosophical models are crucial in con- During the warm, welcoming speech serving and reshaping the path of music given by the symposium program co-chair education, which is as multifaceted as it is Iris Yob, it was announced that two Iranian filled with possibilities. On the domain of scholars were sadly unable to participate in phenomenology, Swedish scholars Eva

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Alerby and Cecilia Ferm (Luleå University and the selection of content in music educa- of Technology) jointly presented their article tion through a study of the interrelationship Learning of Music from a Life-World Ap- between subject and pedagogy, as well as proach, based on the view that learning is between the four levels of didactica, scien- constituted through bodily experience, tia, ars, and natura. Turning to postmodern which occurs in temporal, spatial, and cul- and feminist themes in The Nomadic Turn: tural contexts. From this vantage, music Epistemology, Experience and Women Col- learning may be broadly construed as inter- lege Band Directors, Elizabeth Gould (Uni- subjective formation of meaning, or to sum versity of Toronto) made a strong call for up in two words, living music. substantive research studies that address the In his paper Once More with Feel- prevalent issue of occupational gender and ing: Reconciling Discrepant Accounts of racial segregation in the music profession, Musical Affect, Bennett Reimer (Northwest- including that in university band settings. ern University) put forth the age-old debate Conversely, Masafumi Ogawa (Joetsu Uni- concerning the dichotomy between inherent versity of Education, Japan) offered a dis- and delineative meaning in music, along tinctive window that shed light upon Music with two personal stories illustrating the two Teacher Education in Japan: Structure, positions. According to Reimer, while the Problems, and Perspectives. In his closing distinct characteristics of each view were remarks, Ogawa reiterated the importance of identified, the possibility of their coexis- a music curriculum that not only enhances tence in music offered a profound insight students' self-growth and intuitive knowl- into subject-specific themes as well as life- edge, but also one that affords music teach- centered themes. In marked contrast to Rei- ers the freedom and courage to teach with mer's approach, June Boyce-Tillman (King passion. Alfred’s College, England) gathered in her Besides attending daily paper pres- research article Toward an Ecology of Music entations, participants of the symposium Education a collection of interviews and were given the rare treat to enjoy the youth- narratives from pupils, music teachers, head ful, charming sounds of the Second Presby- teachers, music inspectors, and parents in terian Chamber Choir of Noblesville, Indi- London to investigate the ecology of peo- ana. Yet another highlight of the four-day ple's musical experience. Adhering to a event was a scrumptious picnic dinner at the more holistic view of music education, Ravinia Festival, while listening to the Chi- Boyce-Tillman created a five-fold model, cago première of El Nino by John Adams. consisting of value, construction, expres- Indeed, the symposium was filled with su- sion, materials, and spirituality, that encom- perb memories, in both a mindful and soul- passes the broad spectrum of life. ful way. The delightful setting at Lake For- Danish academic Frede Nielsen est College was most conducive to informal (Danish University of Education), in his ex- conversation and intellectual exchange tensive writing on The Domain of "Didac- among international scholars at different tology" as a Field of Theory and Research stages of their career path. Late 19th-century in Music Education, delved specifically into stone buildings, along with some modern two problematic areas: the examination of but remarkable architecture scatter across the practical (didactics) versus theoretical the spacious and wooded college grounds. (didactology) character of music pedagogy, Towering oak trees line the pathway from which forms a necessary criterion for the North Campus toward Middle Campus. A aim and rationale of teaching and learning; happy hour could be spent meandering along

34 South Central Music Bulletin II/1 (Fall 2003) ______the wooded ravines and then taking a short place in a lovely chapel, which added a spe- walk to either picturesque Lake Michigan or cial tint to the whole event. the cozy town of Lake Forest. Often times Details of the Philosophy of Music these short walks turn easily into long ones, Education International Symposium and its as one admires and gazes in awe at some of society can be found at the Indiana Univer- the most beautiful and grandiose mansions sity website that line the winding roads away from cam- http://www.indiana.edu/~ispme/index.html. pus territory. Most of the presentations took

Southwest Texas State University Re- cology, jazz studies, sound recording tech- Named to “Texas State University-San nology, and a Kodaly certification. The uni- Marcos” / New Director of its School of versity will celebrate it’s new name at a Music ceremony on September 9, 2003 -- the 100th anniversary of the first day of classes at by Nico Schüler “Southwest Texas State Normal School” Texas State University-San Marcos (initial name). New university logos and E-Mail: [email protected] signs are now being designed. The new Web: http://www.txstate.edu/~ns13/ website address is http://www.txstate.edu. Texas State’s School of Music also Texas Governor Rick Perry signed a name- hired a new director, the composer Dr. Joe change bill on June 18, 2003, that changed Stuessy. Dr. Stuessy was Professor and Di- Southwest Texas State University’s name to rector of the Division of Music at the Uni- Texas State University-San Marcos, effec- versity of Texas at San Antonio until 2003. tive September 1, 2003. The name change, His music has been recorded by the Moscow according to the authors of this legislative State Orchestra, the Dallas Symphony, the act, reflects a reputation of excellence that Bolshoi Orchestra, the Eastman-Rochester has broadened in scope and strengthened Symphony, Voices of Change, jazz trum- over the years. Texas State University-San peter Clark Terry, and various other soloists Marcos has more than 25,000 students and and ensembles. Dr. Stuessy's book Rock and offers programs through the doctoral level. Roll: Its History and Stylistic Development The School of Music has more than 400 stu- is currently in its fourth edition (2003), pub- dents, and offers Bachelor’s and Master’s lished by Prentice Hall. degrees in music education, most perform- For more information, visit ance areas, conducting, music theory, musi- http://www.finearts.txstate.edu/music/.

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Upcoming Regional Conferences

2004 TMEA Clinic / Convention Texas Society for Music Theory Henry B. Gonzales Convention Center (Annual Meeting) San Antonio, TX Texas State University-San Marcos February 11-14, 2004 San Marcos, TX http://www.tmea.org February 27-28, 2004 http://tsmt.unt.edu/

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South Central Chapter Officers and Board Members

Officer Institution E-Mail Address Richard Davis University of Texas - Pan American [email protected] President (2003-2005) Department of Music Sam Magrill University of Central Oklahoma [email protected] Past President (2003-2005) Department of Music Terry Lynn Hudson Baylor University [email protected] President Elect (2003-2005) School of Music Daniel Adams Texas Southern University [email protected] Vice-President (2003-2005) Department of Fine Arts Andrew Hudson McLennan Community College [email protected] Secretary (2003-2004) Department of Music Deborah Schwartz-Kates Univ of Texas-San Antonio [email protected] Treasurer (2003-2004) Department of Music Nico Schüler Texas State University-San Marcos [email protected] Journal / Website (2002-2004) School of Music

Board Member Institution E-Mail Address Nancy Barry University of Oklahoma [email protected] Music Education (2002-2004) School of Music Paula Conlon University of Oklahoma [email protected] Ethnomusicology (2002-2004) School of Music Lynn Job University of North Texas [email protected] Composition (2003-2005) Collegeof Music Jason Oby Texas Southern University [email protected] Vocal Performance (2002-2004) Department of Fine Arts Manuel Prestamo Oklahoma City Community College [email protected] At Large (2003-2005) Cultural Programs and Community Development Chris Thompson Williams Baptist College [email protected] Music Theory (2003-2005) Department of Music Lori Wooden University of Central Oklahoma [email protected] Instrumental Performance (2003- School of Music 2005) Laurel Zeiss Baylor University [email protected] Musicology (2003-2005) School of Music

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Dr. Nico Schüler, Editor Texas State University-San Marcos, School of Music, 601 University Drive, San Marcos, TX 78666 Phone: (512) 245-3395 · [email protected] · http://www.finearts.txstate.edu/music/faculty/bios/schuler.html

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