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PROCEEDINGS the 80Th Annual Meeting 2004 PROCEEDINGS The 80th Annual Meeting 2004 NATIONAL ASSOCIATION OF SCHOOLS OF MUSIC 11250 Roger Bacon Drive, Suite 21 Reston, Virginia 20190 Telephone: (703) 437-0700, Facsimile: (703) 437-6312 Web Address: www.arts-accredit.org E-mail: [email protected] NUMBER 93 FEBRUARY 2006 PROCEEDINGS The 80th Annual Meeting 2004 NATIONAL ASSOCIATION OF SCHOOLS OF MUSIC 11250 Roger Bacon Drive, Suite 21 Reston, Virginia 20190 Telephone: (703) 437-0700, Facsimile: (703) 437-6312 Web Address: www.arts-accredit.org E-mail: [email protected] Copyright © 2006 ISSN Number 0190-6615 NATIONAL ASSOCIATION OF SCHOOLS OF MUSIC 11250 ROGER BACON DRIVE, SUITE 21, RESTON, VA 22090 All rights reserved including the right to reproduce this book or parts thereof in any form. CONTENTS Prefiace v Keynote Speech Making the Past Work for the Future: Forlorn Hope or Essential Tool? Sir John Tusa 1 Critical Issues in Music Education Teacher Preparation: Issues and Challenges Andre de Quadras 11 Nurturing Music Education Students and Graduates Strategies for Cultivating, Recruiting, Developing, and Retaining High-Quality Music Education Majors James R. Austin 17 Nurturing Music Education Students and Graduates Colleen Conway 24 Briefing: Completion of the Music Study, MobUity, and Accountability Project Music Study, Mobility, and Accountability Project David Tomatz 29 The Changing Face of Career Development, Outreach, and Service Learning The Changing Face of Career Development, Outreach, and Service Learning Angela Myles Beeching, Jose A. Diaz, and Ellen M. Shantz 33 New Dimensions: Developing a Positive Future for Music Education Creating a Positive Future for P-12 Music Education: Background Paper Samuel Hope 43 New Dimensions: Developing a Positive Future for Music Education Catherine Jarjisian, Jo Ann Domh, Karen Wolff, and David Woods 57 New Dimensions: Curricular Questions for a New Century Music's Future in America: Curricular Questions for a New Century" Robert Freeman 69 Response to "Music's Future in America: Curricular Questions for a New Century Robert A. Cutietta 82 Meeting of Region One: The Internet For Ensemble Performance? Distributed Immersive Performance Elaine Chew and Alexander Sawchuk 85 Meeting of Region Two: Who's Protecting the Student Musician? Who's Protecting the Student Musician? James R Brague 95 Superstars, Ensembles, Directors, and Us: A View from a Chair's Desk Julia C. Combs 97 Meeting of Region Four: Baptism by Fire or Water: Preparing Men and Women Faculty for the Challenges and Rewards of Music Leadership Baptism by Fire or Water: Preparing Men and Women Faculty for the Challenges and Rewards of Music Leadership Linda J Snyder 103 Meeting of R^ion Five: Developing and Mentoring Faculty on the Tenure Track Developing and Mentoring Faculty on the Tenure Track ToddE. Sullivan Ill Meeting of Region Six: Increasing Demands, Disappearing Applicants: Problems with Faculty Searches in Music Education Increasing Demands, Disappearing Applicants: Problems with Faculty Searches in Music Education Robert A. Cutietta 123 Response to Robert Cutietta and Jim Forger Richard D. Green 128 Meeting of Region Seven: Establishing and Maintaining Exchange Programs in Music with Puerto Rico and Latin America Latin American Music in the United States Today Peter J. Schoenbach 131 The Plenary Sessions Minutes of the Plenary Session 135 Report of the Executive Director Samuel Hope 139 Oral Report of the Executive Director Samuel Hope 144 Reports of the Regions 147 Report of the Committee on Ethics 154 Actions of the Accrediting Commissions 157 NASM Officers, Board, Commissions, Committees and Staff for 2004 161 PREFACE The Eightieth Anniial Meeting of the National Association of Schools of Music was held November 20-23,2004, at the Manchester Grand Hyatt Hotel in San Diego, California. This volume is a partial record of various papers delivered at that meeting, as well as the official record of reports given and business transacted at the three plenary sessions. Papers published herein have been lightly edited for certain stylistic consistencies but otherwise appear largely as the authors presented them at the meeting. KEYNOTE ADDRESS MAKING THE PAST WORK FOR THE FUTURE: FORLORN HOPE OR ESSENTIAL TOOL? SIR JOHN TusA Managing Director, Barbican Centre, London Let me begin by saying what a real honour and pleasure it is to have been asked to talk to you this morning; a daunting prospect, too. For you are all musicians, or people intimately involved in the musical world. I am not. I was a journalist and broadcaster for many years and turned to the world of the arts just a decade ago. But I always heard a lot of music when I was a joumahst—^it kept me sane. Indeed it was my boast, and a fact, that in all the years as a journalist, I hardly ever had to miss a concert or a play for which we had booked in advance. Since that time, I have listened to a huge amount of music during the last decade—everything, you might say, from Monteverdi to Messiaen, from Lully to Ligeti, from Bach to Berio, to stretch the envelope wide. This does not constitute a qualification in the technical sense, but it certainly helps. In any case, I deliberately chose the subject for my talk to let me spread my thoughts over the performing and visual arts, rather than limiting them daigerously to a world which is far more yours than mine. One of the many advmitages of running a multiform arts centre is that it does let you spend time with mmiy art forms and many different artists. The question of how the past and the present relate to one another is important for every art form, in much the same ways to each discipline. So when I take my examples from forms other than music, I hope you will find it challenging and tiiought provoking rather than remote and irrelevant. Because the question of how past and present connect and relate to one another; how far excessive reverence for the past ends up being a ball and chain on creativity; how far it is possible or desirable to break with a past regarded as a burden rather than a foundation; whether the very notion of a break is an illiision, a fantasy, a dangerous illusion—these seem to be matters of interest and concern to all the arts and not merely performance arts. Let me delay things a httle by explaining something about what the Barbican is and who pays for it. We are a twenty-two year old, multiarts performance complex, consisting of a 2,000-seat conceit hall; two theatres—one of 1,100 seate and a studio theatre of 200 seats; two visual art galleries that can be configured into three if we want; three cinemas; many yards of open space in the foyers for freestage performances; six conference suites; two exhibition halls; three restaurmits; and the usual clutch of bars, coffee points, and car parks. The Barbican's revenue budget is some $56 million in U.S. dollars, of which a third is earned at the box office and from other commercial activities; and the rest comes from—^where? You probably won't believe this, but let me try to convince you. The Barbican is situated in the City of London, the Square Mile, the financial heart of the city. Imagine an arts complex of the middle of Wall Street. Imagine a situation where the local authority for Wall Street decides that it—not the city of New York—^will build and fund the running aad capital costs of an arts complex at the rate of some $40 million a year. It's hard to believe, but that is the plain truth. One further point of special interest to you: Gin immediate neighbour, actually in a continuous part of tiie Centre, is one of London's four music schools, the Guildhall School of Music and Drama (GSMD), also funded by the City of London. So that's my institutional visiting card. Because I am a musical amatem, I am allowed to say things that serious musicians like yourselves might not admit to. There is a famous article about Shakespeare's Macbeth titled "How Many Children Had Lady Macbeth?" It is of course a very serious question, based on remarks she makes in the play but not answered directly in the text. But the reference to giving suck to a child might suggest that the answer to the question is "one." Analogous questions in the world of music might include: "How mean was Beethoven?" "Was Salieri a far worse composer than the play Amadeus makes out?" (Answer, on the basis of Cecilia Bartoli's last CD of his music, a resounding 'y®s.') "How simple minded was Anton Bruckner?" "Did Hindemith know he was bad or could he just not help it?" And the clincher: "Who taught Hildeg^de of Bingen about marketing?" After all, she chose to be a woman composer in a man's world. She worked in the huge growth area of liturgical music. And she devised the best marketing catch phrase of all time: "A little feather on the breath of God." Don't tell me she knew about marketing without somebody to help her. And while I'm on the subject of riddles, here are some numbers for you to think about. What associations do you have with the following numbers? (Don't think too hard!) 51/2; 8; 9; 12; 24; 41; 48; 64; 104; 237; 273; and 836. And die answers are: Don Gillis's Symphony SVi; 8, the number of notes in the scale; 9, the number of symphonies you are allowed to write after Beethoven without risking premature death; 12, the tones of serialism; 24, "hours to Tulsa"; 41, Mozart's sjmiphonies; 48, Bach's preludes and fugues; 64, Haydn's string quartets; 104, Haydn's symphonies; 237, Honnegger's Pacific railway engine; 273, the number of seconds in Cage's " 4'33" and also the temperature of absolute zero; 863, the number of Schubert songs.
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