This dissertation has been microfilmed exactly as received Mic 60-6373
HINTON, Jr., William G. VOCAL COMPETENCIES DESIRABLE FOR PUBLIC SCHOOL MUSIC TEACHING AND THEIR RELATION TO CLASS VOICE INSTRUCTION IN TEACHER EDUCATION.
The Ohio State University, Ph.D., 1960 M usic
University Microfilms, Inc., Ann Arbor, Michigan VOCAL COMPETENCIES DESIRABLE FOR PUBLIC SCHOOL MUSIC
TEACHING AND THEIR RELATION TO CLASS VOICE
INSTRUCTION IN TEACHER EDUCATION
DISSERTATION
Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University
By
WILLIAM G. HINTON, JR., B.S.Ed., M.Mus.
*****
The Ohio State University I960
Approved by
Co-Advisers Department of Education and the School of Music ACKNOWLEDGMENTS
The writer thanks Professor William B. McBride for his wise counsel and encouragement in the preparation of this dissertation. Professor Earl W. Anderson has been most kind and helpful. Assistant Professor David McKenna's editorial advice has been exceptionally constructive and is deeply appreciated by the writer.
The assistance given the writer by the many public school music supervisors and college music educators has furnished most of the data upon which this dissertation is based. The writer's warm thanks goes out to each of them.
ii TABLE OF CONTENTS
Chapter Page
I. INTRODUCTION ...... 1
The Problem ...... 1 Statement of the Problem .... 3 Specific Objectives of the Study 3 Definitions ...... 4 Survey of the Literature ...... 4 Identification of Competencies ...... 5 Class Voice Instruction in Higher Education 7
Need for the Study 13
Procedural Techniques ...... 16 Design of the Research Instrument • * 16 Selection of Population . . . . , 19 Public School Music Supervisors 19 College Music Educators . . . . 20 Expansion of College Educators' Questionnaire ...... , 22 Use of the Questionnaire . . . . , 24
Summary ...... 26
II. REPORT OF DATA, MUSIC SUPERVISORS' QUESTIONNAIRE ...... 28
Competency Groupings ...... 29 Personal Skills ...... 29 Most important...... 29 Least Important ...... 33 S u m m a r y ...... 36 Personal Knowledge...... 36 Most important ...... 37 Least Important ...... 41 S u m m a r y ...... 43 Ability to Teach ...... 44 Most Important...... 44 Least Important ...... 48 S u m m a r y ...... 50
Cross Reference: Factor Groupings ...... §1 Functional Skills and Abilities ...... 51 Musicianship and Musical Facts ...... 52
ill TABLE OP CONTENTS (CONTD.) Chapter Page
Ensemble and Group Techniques ...... 52 Professional Understandings ...... 53 Psychological, Physiological and Philosophical F a c t o r s ...... * • • 5^
Total R e s p o n s e s ...... 5^ Most Important...... 5^ Least Important ...... 56
Summary ...... 58
III. REPORT OP DATA, COLLEGE MUSIC EDUCATORS1 QUESTIONNAIRE ...... 60 Competency Groupings ...... 61 Personal Skills ...... 61 Most Important ...... 61 Least Important ...... 65 Summary ...... 67 Personal Knowledge ...... 67 Most Important...... 69 Least Important ...... 72 S u m m a r y ...... 7^ Ability to Teach ...... r4 Most Important ...... 75 Least Important ...... 78 Summary ...... 81 nr Cross Reference: Factor Groupings ...... 81 Functional Skills and Abilities ...... 82 Musicianship and Musical Fa c t s ...... 82 Ensemble and Group Techniques ...... 8 Professional Understandings ...... 8 Psychological, Physiological, and Philosophical Factors...... 85
Total Responses ...... 85 Most Important...... 85 Least I m p o r t a n t ...... 87
S u m m a r y ...... 89
IV. RECONCILIATION OF DATA FROM MUSIC SUPERVISORS1 AND COLLEGE MUSIC EDUCATORS* QUESTIONNAIRES . 91
Comparison of F i n d i n g s ...... 91
iv T&BLE OF CONTENTS (CONTJD.)
Chapter Page
Agreements of Opinion ...... 91 Differences of Opinion ...... 96 Significant Comparison ...... 105
Summary ...... 112
V. REPORT OF DATA RELATED TO CLASS VOICE INSTRUCTION...... 114
The Relation of Class Voice to Factors on Music Supervisors1 and College Music Educators' Questionnaires ...... 114
Feasible Inclusions of Factors in Class Voice Instruction...... 115 Present Inclusion of Factors in Class Voice Instruction...... 122 Comparison of Feasible and Present Inclusion of Factors ...... 128
S u m m a r y ...... 134
VI. INTERPRETATION OF DATA FROM THE STUDY OF COMPETENCIES AND APPLICATION OF FINDINGS TO CLASS VOICE INSTRUCTION IN THE TEACHER EDUCATION CURRICULUM ...... 136
Interpretation of Findings ...... 136
Most Important ...... 136 Moderately Important ...... 143 Least Important...... 145
Relation of Importance to Present and Feasible Inclusion of Factors in Class Voice Instruction...... 150
S u m m a r y ...... 165
VII. SUMMARY, CONCLUSIONS, RECOMMENDATIONS, AND FURTHER STUDIES N E E D E D ...... I67
Summary ...... 167 Report of the D a t a ...... 168 Application of the D a t a ...... 169 v TABLE OP CONTENTS (CONTD.)
Chapter Page
Conclusions ...... 171
Relative Importance of Factors ...... 171 Inclusion of Competencies in Class Voice . 17^
Recommendations ..... 175
Further Studies Needed ...... 181
APPENDIXES APPENDIX A. STatements of Purpose of Class Voice from College Catalogs and Percentages of Schools and Colleges Including Each Statement . . 185
APPENDIX B. Public School Music Supervisors1 Questionnaire ...... 191
APPENDIX C. List of Supervisors of Music in Large C i t i e s ...... 196
APPENDIX D. College Music Educators’ Questionnaire . . 205
APPENDIX E. List of Colleges and Universities, and Persons Addressed in College Music Educators’ Survey ...... 210
APPENDIX F. Letters to Public School Music Supervisors and College Music Educators...... 215
APPENDIX G. Information Sheet Sent to College Music Educators...... 217
APPENDIX H. Cross Reference Information from Public School Music Supervisors ...... 219
APPENDIX I. Cross Reference Information From College Music Educators...... 213
APPENDIX J. Factors Possible to Include in Class Voice Instruction, from College Music Educators1 Questionnaire ...... 2^4
vi TABLE OP CONTENTS (CONTD.) Page
APPENDIX K. Factors Presently Included in Class Yoice Instruction, from College Music Educators1 Questionnaire...... • . . 2^9
BIBLIOGRAPHY ...... 25^
AUTOBIOGRAPHY ...... 256
vil LIST OP TABLES Table Page
1. Personal Skills, Percentages of Response as to Importance from Music Supervisors* Questionnaire ...... 30
2. Most Important Factors in Personal Skills from Music Supervisors* Questionnaire ...... 32
3. Least Important Factors in Personal Skills from Music Supervisors * Questionnaire ...... 35
4. Personal Knowledge, Percentages of Response as to Importance from Music Supervisors’ Questionnaire ...... 38
5. Most Important Factors from Personal Knowledge from Music Supervisors * Questionnaire ..... 40
6. Least Important Factors from Personal Knowledge from Music Supervisors' Questionnaire ...... 42
7. Ability to Teach, Percentages of Response as to Importance from Music Supervisors' Questionnaire ...... 45 8. Most Important Factors from Ability to Teach from Music Supervisors' Questionnaire ...... 47
9. Least Important Factors from Ability to Teach from Music Supervisors' Questionnaire ..... 49
10. Most Important Factors from Music Supervisors' Questionnaire...... 55
11. Least Important Factors from Music Supervisors' Questionnaire ...... 57
12. Personal Skills, Percentages of Response as to Importance from College Music Educators' Questionnaire ...... 62
13. Most Important Factors in Personal Skills from College Music Educators' Questionnaire .... 64
viii LIST OP TABLES (CONTD.)
Table Page
14. Least Important Factors from Personal Skills from College Music Educators' Questionnaire . . 66
15. Personal Knowledge, Percentages of Response as to Importance from College Music Educators' Questionnaire ...... 68
16. Most Important Factors from Personal Knowledges from College Music Educators' Questionnaire . . 71
17. Least Important Factors from Personal Knowledges from College Music Educators' Questionnaire . . 73
18. Ability to Teach, Percentages of Response as to Importance from College Music Educators' Questionnaire ...... 76
19. Most Important Factors from Ability to Teach from College Music Educators' Questionnaire . . 79
20. Least Important Factors from Ability to Teach from College Music Educators' Questionnaire • . 80
21. Most Important Factors from College Music Educators' Questionnaire ...... 86
22. Least Important Factors from College Music Educators' Questionnaire ...... 88
23. Factors Considered Most Important which Appear on Lists from Both Music Supervisors' and College Educators' Questionnaires ...... 93
24. Factors Considered Least Important Appearing on Lists from Both Music Supervisors' and College Educators' Questionnaires ...... 94
2 5 . Factors Appearing on List of Most Important Factors from Music Supervisors' Questionnaire, Not Found on the Similar List from College Music Educators ...... 97
26. Factors Appearing on List of Most Important from College Music Educators' Questionnaire not Found on Similar List from Music Supervisors . 98
ix LIST OP TABLES (CONTD.) Table Page
27. Factors on List of Least Important Factors from Music Supervisors' Questionnaire, Not Found on List of Least Important Factors from College Educators' Questionnaire ...... 100
28. Factors on List of Least Important Factors from College Educators" Questionnaire Not Found on List of Least Important Factors from Music Supervisors' Questionnaire ...... 101
29. Combined List of Most Important Factors Not Appearing on Both Lists from Questionnaire, Both Forms ...... 103
30. Combined List of Least Important Factors Not Appearing on Both Lists from Questionnaire, Both Forms ...... 104
31. Most important Competencies from Both Forms of the Questionnaire ...... 107
32. Moderately Important Competencies from Both Forms of the Questionnaire...... 109
33. Least Important Competencies from Both Forms of the Questionnaire ...... 110
34. Feasibility of Including Factors in Class Voice Expedience from College Music Educators' Questionnaire ...... 118
35. Response as to Factors Presently Included in Class Voice Experience from College Educators' Questionnaire ...... 121
36. Response as to Factors Presently Included in Class Voice Experience from College Educators' Questionnaire ...... 124
37. Factors Not Presently Included in Class Voice Instruction from College Music Educators' Questionnaire ...... 126 LIST OF TABLES (CONTD.)
Table Page
38. Factors Determined to be Both Feasible to Include and Presently Included in Class Voice Instruction, in the Opinions of College Music Educators ...... 129 39. Factors Determined to be Not Feasible to Include in Class Voice Instruction, and Not Presented Included In the Opinions of th& College Music Educators...... 131 40. Factors Appearing as Both Feasible to Include and Not Presently Included in Class Voice Instruction, in the Opinions of the College Music Educators ...... 133 41. Factors from Music Supervisors' and College Music Educators' Questionnaires, Relative Importance and Recommendation as to Inclusion in Class Voice Instruction ...... 151 42. Most Important Factors, Considered Both Feasible to Include and Presently Included in Class Voice Instruction...... 156
43. Moderately Important Factors, Considered Both Feasible to Includf and Presently Included in Class Voice Instruction ...... 158 44. Least Important Factors, Considered Both Feasible to Include, and Presently Included in Class Voice Instruction ...... 160
45. Least Important Factors, Considered Both Not Feasible to Include, and Not Presently Included in Class Voice Instruction ...... 161
46. Ehetors of Varying Importance Not Part of Other Listings as to Inclusion in Class Voice Instruction...... 163
xi CHAPTER I
INTRODUCTION
The Problem
Thirty-five million children of the United States are 1 attending the elementary, junior and senior high schools.
Since 1838, when Lowell Mason, who is known as the "founder of public school music," was successful in establishing 2 music in the curriculum of the schools of Boston, music has been taught for these children in the schools. Britton states "education in music is not very new in our country, as seems to be the general opinion . . . on the contrary, instruction in music has always formed a part of our educa tional system."3 Music, since the time of Mason, has grown as an educational offering and is found in many forms, mak ing it an "integral part of the curriculum, consisting of
■'■U.S. Department of Health, Education, and Welfare, Fall. 1959. Statistics and Enrollment. Teachers, and School- housing. U.S. Government Printing Office. Washington. 1959. pTTTTExact enrollment reported as 35,286,177 pupils.)
2Birge, Edward Bailey, History of Public School Music in the United States (Boston: Oliver Ditson Co., 1939), p. 57. ■^Britton, Allen P., "Music in Early American Public Educations A Historical Critique," from Basic Concents in Music Education. National Society for the Study of Education Yearbook, LVIII, Part I, 1958, University of Chicago Press, P.197. the experiences planned and organized for students in con nection with school music activities."^
The teaching of music at the present time involves the services of an estimated sixty-thousand music teachers.5
These teachers have pursued courses in colleges and univer sities in preparation for school music teaching. Many of the teacher education curricula have developed empirically, and no record of a study specifically designed to determine the needs of vocal music teachers has been found. The con tents of the teacher education curricula may well be ade quate and geared to the actual needs of teachers; conversely, they may fail to prepare for the competencies which teachers will be called upon to exercise in accordance with the demands of their positions.
The present study is designed to determine the com petencies desirable for public school teachers of vocal music, and to draw conclusions and make recommendations concerning the possible implementation of the teacher edu cation curricula to prepare the needed skills, knowledges, and teaching abilities. One course incorporated into many
^House, Robert, "Curriculum Construction in Music Education," from Basic Concepts in Music Education. National Society for the Study of Education Yearbook, LVIII, Part I, 1958, University of Chicago Press, p. 237.
^Estimate from National Headquarters of the Music Educators National Conference, Washington, D.C., by tele phone, July 20, i960. 3 teacher education curricula is class voice. The determina tion of the extent to which class voice instruction is able to prepare for the specific needs is a second phase of this study.
Statement of the Problem
The problem is stated as follows; What skills, knowledges, and teaching abilities do music educators con sider desirable for vocal music teachers in the public schools, and how effectively can class voice instruction in the teacher education curriculum anticipate and prepare for these needs?
Specific Objectives of the Study
In the development of the problem, the objectives of the study are as follows:
1. To determine insofar as possible, the competencies necessary for a beginning teacher of vocal music in the public schools, as seen by public school music supervisors and college music educators.
2. To determine which of the competencies, in the opinions of college music educators, can be developed, and can be taught, through group voice instruction.
3. To discover which of the skills, knowledges, and teaching abilities are being included in group voice instruction in schools and colleges offer ing it as a course.
4. To compare the needs of vocal music teachers with what is considered possible to include, and what is actually being included in class voice instruc tion on the college level. 4
5. To draw conclusions, and make recommendations con cerning the use of class voice instruction in the teacher education curriculum in music.
Definitions
Several terras used throughout this study are here defined, in order to clarify the discussion which follows.
These definitions are stated below.
Vocal competencies: Those skills, knowledges, and teaching abilities, related to the teaching of music, which make a teacher adequate as a vocal music specialist in the public schools.
Class Voice: Class instruction in the proper use of the singing voice. The use can be for perform ance, or for teaching, or for both. Also referred to as group voice.
Teacher Education Curriculum: Specific instruction designed to develop teaching ability and understand ing of the educative process. This might be related to a single subject, or to teaching in general.
Survey of the Literature
In order to identify the competencies desirable for music teachers in public schools, for later application to class voice content, it was necessary to make a bibliograph ical study. This part of the research made it possible to not only identify the competencies for later use in the questionnaire, but also to identify aims and purposes of class voice instruction, the second phase of this project. Identification of Competencies
A thorough search of books, periodicals, and year books and proceedings of professional groups, was made for references to teaching competencies of vocal music teachers, and to class voice Instruction. Little of value pertaining to this study was found In any of the sources. Three year books made some contribution: two of these were from the
Music Educators National Conference: "Music Educators
Sourcebook," and "Music in American Education." The third,
"Basic Concepts in Music Education," is Part One of the
Fifty-seventh Yearbook of the National Society for the Study of Education. The latter, published in 1958, deals with class voice instruction as a unique subject. Most helpful of other references were music teaching methods books, books on vocal pedagogy, and books related to college music.
Theses and dissertations related to this study were found through a search of Dissertation Abstracts, The Music
Educators National Conference Publication, "Bibliography of
Research In Music Education," "Research Studies in Educa tion," edited by Phi Delta Kappa, and The Ohio State
University Music Education Seminar in Higher Education
Bibliography. This search failed to find any study, or studies which are felt to be similar to the one being pursued.
Two studies were of assistance In the establishment of criteria and categories in the development of the /r questionnaire. Housewright1s study deals largely with the classroom procedure, printed methods, printed material, and the philosophy of class voice, all based upon the writings of voice teachers. Rezatto*s study7 had the purpose of sur veying and appraising the organization of class voice on the college level, and the techniques incorporated. The methods of presenting the factors in these studies were of great assistance to the writer in formulating his research instrument.
There has been more activity in the area of class voice methods and song collections related to the study than in any of the other bibliographical material surveyed.
Introductions to song collections for class singing Include much in the way of pointing out values and purposes of this song approach to group voice instruction. Methods books, including song material to be taught, point out purposes, values, skills to be developed, attitudes and learnings.
However, these seem to fail to make the applications neces sary for teacher education.
“Housewright, Wiley,"An Investigation and Evaluation of Present Theories and Techniques in the Teaching of Class Voice as Projected in the Writings of Certain American Teachers" (unpublished doctoral dissertation, School of Education, New York University, 1943).
^Rezatto, John L., "An Appraisal of the Organization and Techniques of Yocal Music Classes in Selected Teachers Colleges" (unpublished doctoral dissertation, College of Education, University of Colorado, 1951). 7
Class Voice Instruction in Higher Education
The second phase of the problem Is concerned with the efficacy of class voice instruction in the preparation of vocal music teachers. A brief summary of the literature related to the definition, availability, objectives, and content of class voice instruction, provides background for this part of the research.
Thompson gives additional insight into the definition of college group voice by stating that ’’group instruction represents the grouping together of students for the same type of work as in individual instruction, partly to save time for the teacher, partly to reduce the expense to the individual student, and partly to give each student the advantage of working with others. His list of more specific advantages of group instruction includes the followings
An instructor may cover ground with a group of students in one practical demonstration which he would otherwise have to discuss separately with all of his pupils.
Constant exchanges with the group help to over come shyness and to develop self-confidence so that appearances in recitals become less taxing.
Fellowship and competition in the group pro vide some special musical stimulus.
^Thompson, Randall, College Music (New York; The Macmillan Co., 1935)> P. 46. The less gifted student may benefit by the examples of the more gifted.9
As a course offering, class voice instruction is not available In all higher education institutions. The abstract of Rezatto's dissertation states one of the difficulties of his research as follows: "Class voice teaching is of such comparatively recent development that in many state teachers colleges, instruction in vocal music class is not generally
available."10 Catalogs of the various colleges and univer
sities included in the present study were obtained to determine the extent of the class voice offering.
Of the sixty-eight schools considered, forty-one
offer class voice, furnishing course descriptions in the catalogs; seven offer class voice but do not describe the course; three have offerings which may be class voice with
a different title, but offer no description to provide the clue. The remaining seventeen definitely do not include the course among the offerings. Thus 71 P©*1 cent of the schools
offer instruction in class voice.
The class voice course objectives, in the various institutions studied, vary in terms of student application
of the learnings. The emphasis may be in any one or more
of the following: Choral music Solo singing and choral music
9Ibid., p. 64. in ^Rezatto, op. clt.. abstract, p. ii. 9 Music supervision knowledge Public school teaching Voice teaching Singing skill Minor applied music skill Beginning voice instruction Avocational singing Service area to non-music students
This listing is based upon the writer’s interpretation of the catalog statements.
Appendix A shows the results of the catalog survey undertaken to determine the extent of class voice offerings, the percentages of schools including each of the above listed objectives in their course descriptions, and the key to the list of schools making these specific statements.
The 19^7 Music Educators National Conference Source
Book states that the following three purposes are fundamental in voice training classes:
a. To present correct use of the^ singing and speaking voice, with a progressive study of good song literature and its intelligent interpretation.
b. To lay the groundwork for an appreciative concept of the art of singing, and of fine repertoire, from the standpoint of the listener as well as the performer.
c. To provide further training and individual help for the talented student who may become a professional singer and teacher.11
31Morgan, Hazel N., Music Education Source-Book. Music Educators National Conference, 19^7* P. 109. The course content of class voice instruction is felt by
some authorities to need teacher education emphasis:
The need for more voice instruction for all mu&ic students is imperative, but instruction in how to teach voice in classes is not generally available in teacher training institutions. However, stu dents in a voice class do acquire some knowledge of teaching procedures from their own training in such classes. It is generally recommended that teacher train ing schools should provide more class voice instruction (a) to teach voice and (b) to teach students to teach voice classes so that when they are teaching they may teach voice class more effectively.12
Wilson recommends that “voice classes should place
more emphasis on methods of presenting problems to children,
and that "students (in teacher education) received propor
tionately more skill in singing . . . than in teaching
others how to develop (a singing sklll).,ll3 Thus an addi
tional reference shows a need for specific design and course
intent in class voice instruction in the teacher education
curriculum.
Sur and Schuller state that “for all music teaching
. . . a functional knowledge of vocal and choral techniques
. . . should be developed through course work and independ
ent study."1** The word all assumes a breadth of knowledge
12Ibid., p. 112.
1^Wilson, George H., ”A Study of Professional Music Education at The Ohio State University" (unpublished doc toral dissertation, The Ohio State University, 1958), p. 274
^Sur, William Raymond, and Charles Francis Schuller, Music Education for Teenagers (New York: Harper and Bros., 1958), p.'2£>F, 11 desirable and possible through crossing the specialty lines by means of vocal and Instrumental classes.
Gelvin is concerned with the preparation of Students for student teaching, and notes the value of class and group experience:
Instrumental and vocal classes offer opportuni ties for rich experience in many phases of music education. Basically the purpose of such classes Is to develop knowledge and experience in the techniques of playing or singing. However, such classes can be workshops for learning methodology and materials for instrumental and vocal teach ing in the schools . . . and as such these classes become centers for laboratory experience.15
It follows that with class voice as a center for laboratory experience, students can learn much more than skills in singing, and that "deeper teaching" results by giving con sideration to the vocal needs of the public school teacher, and the uses to which these vocal skills are to be employed.
It is then a direct follow-up to state uses of class voice in terms of the needs of music teachers.
The literature also shows a variety of other uses of class voice instruction in colleges and universities. The listing of objectives of class voice instruction on pages 8 and 9 points out possible transfer of the course work to choral singing, as well as for beginning voice study.
■^Gelvin, Miriam P., "A Comparative Analysis of the Preparation and Practices in Student Teaching In Music" (unpublished doctoral dissertation, Northwestern University, 1956), p. 87. 12
Taylor feels that choral singers benefit from voice study, in groups, and indeed feels that all vocal study should start with group voice. He states that the "ideal plan, even for professional students, would include at least one group lesson a week, in addition to the regular private instruction."1^
The possible relationship of singing to general education occurs in the statements of but two schools. The first of these states in its catalog: "Members whose aims are purely avocational will be assigned to sections of not more than four."1^ This refers to class voice enrollees being in classes of not more than four members each. The second school's catalog says that group voice is "open to all beginners, exclusive of music majors."1® This is inter preted to mean that it is offered to non-music majors, which might well be for appreciation of singing, avocational
learning, and transfer to choral groups made up of students other than those preparing for music careers.
Class voice as a service area is offered at the State
University of New York at Fredonia for elementary and speech
^Taylor,Bernard, Group Voice (New York: G. Schirmer, Inc., 1936), p. 2.
^ Michigan State University Catalog. 1958-59> Michi gan State University, East Lansing, Michigan, p. 321.
^University of New Mexico, Bulletin. 1959-60 Oatalog Issue, Albuquerque, New Mexico, p. 276. 13 students.^ As seen In practice, certain elementary educa tion students, pursuing a music sequence at The Ohio State
University, can take class voice instruction as an elective.
This is doubtless true at many other schools as well.
Responses made to direct questioning as to the availability of class voice to non-music students imply that the offering is for both general education electives and for meeting other curriculum requirements.
The literature shows that in higher education pur poses of class voice instruction range widely. The appro priateness of the course in teacher education, for all music education students, is seen by preparation for personal singing skills, as well as for later transfer to other music areas as teaching skills. Other uses of class voice instruction in colleges and universities are seen in offer ings for non-music students, as service courses for element ary education students, and for speech majors.
Need for the Study
Literature has revealed no precise listings of skills, knowledge, or teaching abilities desirable for public school vocal music teachers, nor has it shown any direct study of these competencies. At the same time that it anticipates a
^State University of New York, College of Education at Fredonia, Bulletin. 1960-61, 1961-62, Fredonia, New York, P. 103. need for teachers of class voice in the public schools, it shows a lack in the instructional preparation for this teach ing requirement. Purposeful teaching of class voice on the college level is needed to provide for transfer of the experience to all forms of music teaching in the public schools.
Purposes of group voice instruction, on both the pre-college and college levels, are not succinctly defined, and though not in opposition, are not in complete accord.
College class voice offerings range widely in scope, as well as in purpose. This is evidenced by catalog statements
The inclusion of the course of class voice in the music teaching certification requirements of the State of
Ohio, is evidence that some value for teacher education is assumed.20 Wolfe's study of the state certification of teachers makes the statement that "pre-service experience for each prospective music teacher should . . . include crossing special fields, both elementary and secondary, both vocal and instrumental, both applied and theoretical, both individual and class instruction, both performing and conducting.With the breadth of the preparation thus
20State of Ohio Department of Education, Laws and Regulations. Columbus, Ohio, 1957t P. 5.
21Wolfe, Irving W., State Certification of Music Teachers. Bureau of Publications (Nashville, Tennessee: George Peabody College for Teachers, 195*01 P. 15 stated, including implied references to class voice instruc
tion, the writer feels that the identification of vocal com petencies needed by beginning music teachers and the appli
cation of them to some specific course area, as in this
study, is justifiably. The American Association of Colleges for Teacher
Education publication, '‘Needed Research in Teacher Educa
tion," states a need for "definitive research as to what
are effective and ineffective procedures for teaching pro- 22 fessional courses." Assuming class voice in an institution
of higher education to be professional education, a compila
tion of needed vocal competencies, as determined by profes
sional music educators, can possibly be directly related to
course content, or the "oughtness" factor desirable in
teacher education courses,
Jones states that the post-World war II years have
Implications that "may change the philosophy of music
educators . . . concerning methods of teaching music on the
college level."23 xn the present study this is Interpreted
to mean the designing of courses to anticipate and fulfill
the needs of teachers. The identification of these needs
precedes the course designing.
22American Association of Colleges for Teacher Educa- tion, Needed Research in Teacher Education. 1954, p. 45.
23Jones, Vincent, Music Education in the College (Boston: C. C. Birchard, 1949), p. I&9. 16
This study is an effort first to determine the needed competencies, and secondly to ascertain which of these are possible to include, and presently included in class voice instruction on the college level. The application of these findings to class voice instruction for teacher education is felt to be a justifiable attempt to give purpose to the course, and thus provide for the needs that are evident in the literature surveyed.
Procedural Techniques
Literature has provided an insight into vocal study by the class method, identified competencies desirable for public school music teaching, and pointed out needs for specific content in class voice instruction. An outgrowth of this survey of the literature was a list of competencies, both general and specific. These were incorporated into a questionnaire, developed to determine the relative impor tance of each of the specific factors.
Design of the Research Instrument
All aims, purposes and objectives of class voice, and their adjuncts as found, were listed. These were carefully scrutinized for similarities and differences, then grouped in accordance with their common relationships.
It was found that these competencies could be classified in two ways. The first, and the most obvious way was to group them according to the skills which the 17 teacher must have, the knowledge necessary for him in the teaching situation, and the teaching abilities desirable.
These are used as the large categories in this study, and are referred to as Competency Groupings. They are named:
Personal Skills, Personal Knowledge, and Ability to Teach.
Some of the factors could be stated in all three ways and were used in each Competency Grouping. Factors thus appearing were found rated consistently high, or low, in the results, showing a conscientious and congruous response from those persons who returned the completed questionnaires.
The second classification is more specifically deline ated, and has to do with Functional Skills and Abilities,
Musicianship and Musical Facts, Ensemble and Group Tech niques, Professional Understandings, and Psychological,
Physiological, and Philosophical Factors. Each of these headings breaks down into specific factors. They are, for this reason, referred to throughout the study as Factor
Groupings. The ninety-two individual elements were then grouped under these classifications and Incorporated into the questionnaire (see Appendix B). The Competency Groupings were used as the primary divisions of the questionnaire, with open questions used, which are completed by the qpecific factors in each of the Factor Groupings. The
latter are used for organizational purposes as sub-classi
fications in the questionnaire. No attempt was made to 18 weightvarious factors, or to group them in respect to pre determined, or anticipated degrees of importance* Some are quite general in intent and meaning, others are most definite and specific.
The Factor Grouping referred to as Professional
Understandings does not appear to be as integral a part of vocal competencies as do the other four, for two reasons.
First, it does not apply in all three of the competency grouping sections. It is omitted in the section entitled
Ability to Teach because it is not appropriate. This area is important for a teacher in relation to his personal skills and knowledge, but is not something which could, or should, be imparted to students of high school age. Second, it does not appear to relate as specifically to vocal music teaching in the schools, as do some of the others.
However, as stated earlier, all factors noted in the bib liographical research, as being aims, goals, and objectives cited, were included in the listing. The importance of these factors was to be rated, as well as the vocal and classroom teaching needs. The part of this research relat ing to the possible application of the class voice instruc tion to the competencies, is the place where the vocal implications will be made.
For response, a check sheet form was provided, using a four part scale. The respondents were a&ked to react to each factor as being either "most important," "rather Important," "slightly important," or "not important." The four part form was used with the intention of forcing a choice either toward importance or unimportance. Two groups of music educators were asked to supply the desired informa tion, public school music supervisors and college music educators. A spontaneous and quick response to the factors was desired, and for this reason, the check-mark response was requested.
Selection of Population
Public school music supervisors. In order to deter mine the relative importance of the ninety-two factors included in the questionnaire, assistance of the supervisory personnel in public school music was requested. Supervisors of music in cities with populations of 100,000 or over were selected to be recipients of the questionnaire. Two reasons for limiting this survey to the group indicated are; they were considered to be well-prepared to give significant opinion, due to their professional positions; they were con sidered to be sufficiently Interested In teacher education to give the time and attention necessary for making con scientious replies. A list of these supervisors was avail able from the office of the Executive Secretary of the
Music Educators National Conference (see Appendix C). 20
College muslo educators. It was determined that to corroborate the opinions of the supervisors who work with the vocal music teachers, and thus know the need, it would be meaningful to get the opinions of those persons who are responsible for the preparation of the teachers. For this reason the second form of the basic questionnaire was devised and sent to college and university teachers (see
Appendix D).
Following the decision to survey college and univer sity personnel, the problem of how to determine which ones to question became evident. It was decided to make an attempt to reach a cross-section of schools that are con cerned with the education of teachers. As the musical emphasis of teacher education is an integral part of this research, schools that were members of the National Associ ation of Schools of Music were selected. This was estab lished as the first criterion.
A second criterion was the desire to survey schools that prepare teachers for public school music. The assump tion that state supported schools have teacher education curricula helped to establish this second basic qualifica tion. Thus state-supported schools that are full members of the NASM were selected to be recipients of this form of the questionnaire.
The National Association of Schools of Music list of institutional members which was? published in January of 21
1959 was used. The publication lists two hundred and nine members. Of these, sixty-eight were listed as being state- supported institutions. The list of these schools, and the persons to whom the request for information was addressed is found in Appendix E. An effort was made to go as directly as possible to persons concerned with teacher edu cation, vocal music, or class voice, or those responsible for the teaching in these areas. A brief catalog study of the bulletins of these sixty-eight schools was made to identify purposes of class voice, and at the same time, to list teachers of class voice, chairmen of voice departments, and heads of music education departments. These people were included as recipients of this phase of the research. In some cases deans and directors of schools were used, due to the lack of specific listing of other personnel in the catalogs. The letter to the person who received the ques tionnaire Included this requests "if for some reason this shohld have been addressed to someone in your school other than yourself, please forward it to that person with the request that proper action be taken." This letter, and one to the public school music supervisors, make up Appendix F.
Inconsistencies of replies to the College Educators'
Questionnaire are possible, and can be attributed to the variation in the population surveyed. As stated above, it was not possible to list any one group of college music
educators, nor was It particularly desired. As a result, it 22
Is Impossible to describe the respondents as class voice instructors, music education department heads, voice department chairmen, or deans and directors of schools.
Obvious limitations of this phase of the research are then due to the personal interest in, and knowledge of the sub
ject area surveyed, on the part of some respondents. It must be assumed that the respondents were sufficiently well informed, and relatively unbiased, to give construc tive responses.
Expansion of College Educators* Questionnaire
Two additional responses to each factor were desired from the college people surveyed. For this purpose two double columns were added to the right of the ones provided for the levels of importance, which were the only responses received from music supervisors. These levels of response columns were used identically here. The first added column was titled "Possible Inclusion in Class Voice," and was placed there for the opinions of the college teachers as to the possibility of including the skill, knowledge or teach ing ability as a part of the class voice Instruction. The cption was to cheolf It appropriately, "yes," or "no." All of the factors, groups, and sub-group classifications
remained the same. A second added double-column, again requesting a positive or negative response, was directed
only to those schools that offer class voice. This request 23 was to state whether the specific factor was, or was not, included in the class voice experience.
An information sheet was included with the question naires sent to the college and university people selected as respondents (see Appendix G). It was thought to be helpful to know such information as the availability of class voice to certain classifications of students, method, materials, and sorgcollections used; the felt need for materials; and desirable qualifications for the class voice instructor in colleges and universities. A statement as to the basic purpose of class voice was also requested of schools that repotted class voice as being included in their current offerings.
The schools not offering class voice were asked an alternate set of questions, including whether class voice had been offered and discontinued, and why; if it were anticipated as a class offering at some future date; specific possibilities of achievement through class voice; and the reason that class voice was not offered, if known. The information thus obtained is intended to augment the part of the research concerned with the possibility of, and importance of including the factors in a class voice course of study, and for use in further research and writing. 24
Use of the Questionnaire
The returns from the public school music supervisors, and the college and university teachers were tabulated and factors listed as "most important," and "least important."
A third group of factors falling in the middle of the importance scale was considered "moderately important.”
The results, compared to a further response of possible and present inclusion of the factors in class voice instruction, were used in drawing conclusions, and making recommendations in relation to class voice instruction as a professional education course.
All of the questionnaires returned were tabulated by percentage, based upon the number of usable returned forms.
Some questionnaires were returned completely blank, others were incomplete in various places. In the Instances where the returns were sufficiently complete to be usable, the unanswered factors can be identified by referring to the column headed "Percentage Answering." This column presents, on a 100 per cent basis, the percentage of response to that factor from all returned usable questionnaires. The responses in the varying levels of importance are then based on 100 per cent of the response to each specific factor.
All percentages have been rounded off to the nearest whole number. The interpretation given the data will be based upon the percentage of response to each factor, in 25 each of the levels of importance. The greater the percent age listed, the greater the amount of response to the factor at that level of importance.
For the purpose of later compiling lists of the most and least important factors, a limitation of 80 per cent response or above was established as significant for "most important." A combined total of 10 per cent or more in the levels of "slightly important" and "not important" was used for the lesser important listing. These minimum percentages were established arbitrarily by the writer in order to deter mine the relative importance of each factor. In this way they give, an indication either toward or away from impor tance. All factors will be used in application of the data, the ones of most importance, those of moderate importance, and those of lesser importance.
In most cases a factor will have been rated as most important and rather important by a far greater percentage of respondents than those of slightly important and not
Important. This will not be used as indication that the factor is to be considered as most important, if it has gained sufficient response in the two lower levels to be indicative of doubtful importance In the opinions of 10 per cent or more of the respondents. In the few instances where a factor has received 80 per cent or more response as being of "most" importance alone, and still gets 10 per cent 26 or more response at the combined "slightly" and "not impor tant" levels, the least important rating will be eliminated.
Summary
The bibliographical data search served a twofold pur pose. The first was to provide raw data from which to com pile lists of personal skills, personal knowledges, and teaching abilities. These were to be reacted to by authori ties in the field of public school music and teacher preparation. The second purpose was to acquaint the author with all available information written on the subject of class voice. Books, periodicals, research studies, year books, class voice methods, and song collections were used in this research.
In order to determine the importance accorded the ninety-two factors identified, a questionnaire was devised in two forms. Supervisors of music in cities of the United States with populations of 1 0 0 , 0 0 0 or over were recipients of the first form; the secdnd one was sent to representatives of state-supported colleges and universities that were full members of the National Association of Schools of Music.
Additional information desired from the college and university personnel replying to the questionnaire was obtained by the expansion of the questionnaire to include opinions as to the possibility of incorporating each factor into the instruction of class voice, and a "yes," or "no" answer as to whether that specific factor is presently included. An additional sheet of questions asked for further information related to the teaching of class voice.
A consistent tabulation procedure was used on both forms of the questionnaire, based upon 100 per cent of the usable responses to each individual factor. CHAPTER II
REPORT OP DATA, MUSIC SUPERVISORS' QUESTIONNAIRE
One hundred and fourteen questionnaires were sent to music supervisors. Of these eighty-one were returned, or
71 per cent of them, with 29 per cent not acknowledged. Of the eighty-one, nine were returned blank. The remaining
seventy-two questionnaires were used in this survey,
representing a return of 62 per cent.
The findings will be presented in two ways. First the gross data will be presented for each large Competency
Grouping, and refined in relation to the Factor Groupings.
Second, the refinement of the gross data for each of the
Factor Groupings throughout the questionnaire will be presented, considering the groups to be sub-divided by the
Competency Groupings. The refinement of the gross data will result in the compiling of two lists, those of most importance, and those of least importance for a public
school vocal music teacher, In the opinions of the public
school music supervisors who responded to the question naire.
28 29 Competency Groupings
Personal Skills
Table 1 shows the percentages of response In the five
Factor Groupings under the Competency Grouping of Personal
Skills. The four levels of importance ares Is "most impor tant,” 2 : "rather important," 3 s "slightly important," and
4; "not important." A fifth column appears, representative of the percentage of response to each individual factor.
Most Important. Table 2 lists all of the factors in this group which received 80 per cent or more response in the level of ihost important. The highest response given to any of the factors is to the "ability of a teacher to achieve good group tone." This factor rates high by being given 97; per cent of the response in the column of most important.
The remaining 3 per cent of the responses appear in the rather important column. The second highest response in this first section is to the ability of a vocal music teacher to "conduct vocal groups effectively." Here again the second column in relative importance accounts for the balance of the responses, or 92 per cent as most important, and 8 per cent as rather important.
One factor which rates equally with the second one mentioned above, with 92 per cent-of the response in the highest level of importance, could be stated as "it is most important that a vocal music teacher have the ability to motivate in students a desire to learn to sing." This again TABLE 1
PERSONAL SKILLS, PERCENTAGES OP RESPONSE AS TO IMPORTANCE FROM MUSIC SUPERVISORS' QUESTIONNAIRE
How Important is it that a Vocal Per Cent______Music Teacher Be Able To: Answer- Importance Levels* ins 1 2 3 4 A, Functional 1. Recognize musical needs of singers? 99 $7 12 1 Skills and 2. Recognize technical needs of singers? 99 87 12 1 Abilities 3. Pronounce foreign song texts? 99 14 52 28 6 4. Translate foreign song texts? 99 3 30 47 20
B. Musician 1. Sing creditably himself? 100 45 50 4 1 ship and 2. Exercise an understanding of Musical aesthetic sense? 97 80 14 6 Facts 3. Classify types of songs? 97 29 52 16 3
C, Ensemble 1. Achieve skill in a choral group? 100 86 14 and Group 2. Achieve balance in a choral group? 97 90 10 Techniques 3. Achieve good group tone? 100 97 3 4. Conduct vocal groups effectively? 100 92 8 5. Lead recreational singing? 97 52 27 4
Profes 1. Relate music to the home? VO 19 64 17 sional 2. Encourage the singing of serious Understand music in the home? 100 15 58 22 5 ings 3. Operate audio-visual aids? 99 10 46 37 7 4. Assist students in the. identification of goals, objectives, and outcomes? 100 68 2 6 6 5. Achieve mutual cooperation with other staff members? 100 78 22 TABLE 1 (CONTINUED)
How Important is it that a Vocal Per Cent Music Teacher Be Able Tos Answer Importance Levels* ing 1 2 3 4 E. Psychologi-1, Recognize musical talent? 100 86 13 1 cal, Physio-g. Challenge musical talent? 99 86 13 1 l&gl&fOLyand 3* Motivate in students a desire to Philosoph learn to sing? 100 92 :8 ical 4. Establish and develop standards? 100 86 14 Factors 5, Adapt procedure to individuals, circumstances and conditions? 100 79 20 1 6. Inspire students toward the establishment of goals? 100 78 22 7. Exercise a breadth of musical taste? 100 74 26 8. Administer and interpret tests and measurements in music? 100 4 57 31 8 9. Develop a mutuality of participation? 94 59 32 9 10. Incorporate voice instruction into larger musical growth? 99 56 41 3 11. Exercise extreme patience? 99 68 28 3 1
*1. Most important; 2. Rather important; 3. Slightly important; 4. Not important.
U) M TABLE 2
MOST IMPORTANT FACTORS IN PERSONAL SKILLS PROM MUSIC SUPERVISORS' QUESTIONNAIRE
Per cent of Response Identi fica Most Rather Impor- Impor tion Factor tant tant Total How Important Is It That a Vocal Music Teacher be Able To: I A 3 Achieve good group tone? 97 3 100 I A 4 Conduct vocal groups effectively? 92 8 100
I E 3 Motivate in students a desire to learn to sing? 92 8 100 I C 2 Achieve balance in a choral group? 90 10 100
I A 1 Recognize musical needs of singers? 87 12 99 I A 2 Recognize technical needs of singers? 87 12 99 I C 1 Achieve skill in a choral group? 86 14 100
I E 4 Establish and develop standards? 86 14 100
I E 1 Recognize musical talent? 86 13 99
I E 2 Challenge musical talent? 86 13 99 I B 2 Exercise an understanding of aesthetic sense? 80 14 94 (Others, 79$ or less in most important rating) Ii Personal Skills. E. Psychological, Physi- A. Functional Skills and Abilities. ological, and Philo- B. Musicianship and Musical Facts. sophical Factors. C. Ensemble and Group Techniques. 1*2,3* etc: order of D. Professional Understandings. appearance in ques tionnaire. 33 includes the balance of responses in the second level of importance, with 8 per cent of the respondents considering it to be rather important. The fourth listed factor received 90 per cent of the responses as most important, with the remaining 10 per cent as rather important#> It is the “achievement of balance in a choral group.”
At 87 per cent response in the highest importance level, there are two factors: “the recognition of technical needs of singers," from the Factor Grouping Functional Skills and Abilities, and the “recognition of musical needs of singers," from the same sub-group. Four factors received 86 per cent each response in the level of most important.
They are: “the ability of a vocal music teacher to achieve skill In a choral group," “the ability to establish and develop standards," and the abilities to "recognize " and
"challenge musical talent." These eleven factors under the
Competency Grouping of Personal Skills all are rated as most important by 80 per cent or more of the respondents to this form of the questionnaire. None of the factors from the Factor Grouping of Professional Understandings appear in this listing.
Least important. In referring to the percentages of respondents to each factor in Table 1, it is evident that they are inclined to rate the factors in the two highest importance levels. However, some notice must be given to 34 i the factors receiving the highest percentages of response in the not important and slightly important ratings.
The ability of a vocal music teacher to "translate foreign song texts" is considered to be not important by 20 per cent of the music supervisors responding to the question naire, and an additional 47 per cent considered it only of slight importance. This makes a total of 67 per cent response in the lower half of the importance scale. This factor is found in the Factor Grouping of Functional Skills and Abilities. This is by far the highest percentage of response for the combined slightly and not important ratings in the entire questionnaire. The nearest approach to this total is found in the response to the factor of the "ability to operate audio-visual aids." The responses to this factor are 7 per cent as not important, and 37 per cent as slightly important, for a total of 44 per cent in the two lower rat ings. The third highest percentage of response in the lower level is 8 per cent not important for the factor "ability to administer and interpret tests and measurements in music," with an additional 31 per cent in slightly important, for a total of 39 per cent.
For purposes of reporting, the factors listed in Table
3, as least important in the area of Personal Skills, all total 17 per cent or more response in the combined slightly and not important ratings. This represents the opinions of twelve or more people, and is above the lower limit 35 established for reporting. All other factors received 9 pe*1 cent or less In the combined ratings.
TABLE 3
LEAST IMPORTANT FACTORS IN PERSONAL SKILLS FROM MUSIC SUPERVISORS* QUESTIONNAIRE
Per Cent of Response Identi Slightly Not fica- Impor- ImporI m m tion Factor tant tant Total How Important Is It that a Vocal Music Teacher be Able To: I A 4 Translate foreign song texts? 47 20 67
I D 3 Operate audio-visual aids? 37 7 44 I E 8 Administer and interpret tests and measurements in music? 31 8 39
I A 3 Pronounce foreign song texts? 28 6 34
I C 5 Lead recreational singing? 27 4 31 I D 2 Encourage singing of serious music in the home? 22 5 27
I B 3 Classify types of songs? 16 3 19
I D 1 Relate music to the home? 17 0 17 (Others total 9# or less in least important rating.)
I: Personal Skills.
A. Functional Skills and Abilities. B. Musicianship and Musical Facts. C. Ensemble and Group Techniques. D. Professional Understandings. E. Psychological, Physiological, and Philosophical Factors.
1, 2, 3, etc.: Order of appearance in questionnaire. 36
Summary. Under this Competency Grouping, "Personal
Skills," music supervisors were asked to respond to the question "How important is it that a vocal music teacher be able to . . .?" A total of twenty-eight factors are phrased to complete the question. These factors are listed in five
Factor Groupings. The eleven factors which rate the highest in the most important level of importance range from 97 cent to 80 per cent of the respondents.
Six of the eleven highest received the remainder of all of the responses in the second-highest rating, that of rather important. Of these six, three are from the sub classification group "Ensemble and Group Techniques."
Nine factors are open to question as to relative im portance, having received responses from 17 per cent to 67 per cent in the combined slightly important and not impor tant ratings. These are well above the lower limit set by the writer for inclusion on the list of least important factors.
Personal Knowledge
Thirty-two factors are included in the Competency
Grouping of "Personal Knowledge," which opens with the ques tion: "How important is it that a vocal music teacher have the knowledge of . , .?" Again this large category is broken down into five Factor Groupings. The total responses in each of the four levels of importance, with a fifth column 37 showing the percentage of response to each of the specific factors, appear in Table 4. Tables 5 and 6 show the factors determined to be relatively most and least important.
Most important. The percentage of responses to the rating of most important in this group is quite widespread, ranging from a low of 12 to the factor of "knowledge of the availability and limitations of tests and measurements in music," to a 94 in response to "diagnosis of faulty tone."
This latter factor is not only the most highly rated factor in this grouping, but also rates fourth from the highest for the entire questionnaire. The second most highly rated factor in Personal Knowledge is the "care of, limitations of, and capabilities of the adolescent voice." This one is rated second only by 1 per cent, as most important.
Third in rank of importance is also in the first fac tor grouping and is very closely related to the two Just mentioned. This factor has to do with the knowledge of
"prescription for faulty tone," and rates 93 per cent in most important, and 6 per cent In rather important. The fourth factor, and the last one to receive response of 90 per cent or above at the level of most important, is the
"knowledge of singing and the use of the voice." This fac tor also rates 93 per cent as most important, and 6 per cent rather important, for a total of 99 per cent in the upper two levels of Importance. TABLE 4
PERSONAL KNOWLEDGE, PERCENTAGES OP RESPONSE AS TO IMPORTANCE PROM MUSIC SUPERVISORS' QUESTIONNAIRE
How Important is it that a Vocal Music Per Cent Teacher Have the Knowledge of: Answer- Importanc e Levels* ..... 1 2 3 4 Functional 1. Voice classification? 100 89 10 1 Skills and 2. Male and female voices? 100 89 10 1 Abilities 3. Care of, limitations of, and cap abilities of the adolescent voice? 100 93 7 4. Voice teaching terminology? 99 33 54 10 3 5. Current pedagogical practice? 100 44 53 3 6. Diagnosis of faulty tone? 100 94 I 1 7. Prescription for faulty tone? 100 93 6 1 8. Available materials and methods? 100 68 31 1 9. Solo and choral materials? 100 71 25 4 10. Vocalises and their use? 9^ 42 48 10
Musician 1. Sight-singing? 100V 81 19 ship and 2. Harmony? 99 69 30 1 Musical 3. Ear-training? 100 81 19 Pacts 4. Keyboard harmony? 99 42 55 3 5. Musical history and literature? 99 45 48 7 6. Form and analysis 99 37 55 8 7; Great song literature? 99 67 30 3 8. Singing and the use of the voice? 99 93 6 1 9. Classification of types of songs? 100 35 57 7 1 10. The development of auditory sensitivity? 99 80 20
C. Ensemble 1. Principles of group voice procedure? 100 85 15 and Group 2. Techniques of group voice procedure? 100 83 17 Techniques TABLE 4 (CONTINUED)
How Important is it that a Vocal Music ______Per Cent______Teacher Have the Knowledge of: Answer- Importance Levels* -ing 1 2 3 4 D. Profes- 1. The relationship of school music sional to the community? 100 65 32 3 Understand- 2. The relationship of music to the ings total school curriculum? 100 82 18 3. Availability of current audio visual aids? 99 23 56 20 l
E. Psycholog- 1. The availability and limitations of ical, Physio- tests and measurements in music? 99 12 67 21 local, and 2. Voice production and tension? 99 75 22 3 Philsophical3, ways of releasing a voice from Factors tension? 97 80 16 4 4. Physiological terms related to voice production? 100 25 53 21 1 5. The coordination of the large muscles of the vocal mechanism? 97 53 43 4 6. The potential of music in the development of personality? 100 53 38 9 7. The potential of music in character building? 100 49 40 10 1
*1, Most important; 2. Rather important; 3, Slightly important; 4. Not important, 40 TABLE 5 MOST IMPORTANT FACTORS FROM PERSONAL KNOWLEDGE FROM MUSIC SUPERVISORS* QUESTIONNAIRE
Per Cent of Resnonse Identi Most Rather fica Impor Impor tion Factor tant tant Total How Important is It that a Vocal Music Teacher Have the Knowledge of: II A 6 Diagnosis of faulty tone? 94 5 99
II A 3 Care of, limitations of, and capabilities of the adoles cent voice? 93 7 100
II A 7 Prescription for faulty tone? 93 6 99 II B 8 Singing and the use of the voice? 93 6 99
II A 1 Voice classification? 89 10 99
II A 2 Male and female voices? 89 10 99 II C 1 Principles of group voice procedure? 85 15 100 II C 2 Techniques of group voice procedure? 83 17 100 II D 1 The relationship of music to the total school curriculum? 82 18 100
II B 3 Ear-training? 81 19 100
II B 1 Sight-singing? 81 19 100 II B 10 The development of auditory sensitivity? 80 20 100
II E 3 Ways of releasing a voice from tension? 80 16 96
(Others 75# or less in most important rating.)
IIs Personal Knowledge. A. Functional Skills and Abilities. 41
TABLE 5 (CONTINUED)
B. Musicianship and Musical Pacts. C. Ensemble and Group Techniques. D. Professional Understandings. E. Psychological, Physiological, and Philosophical Factors. 1, 2, 3, etc.: Order of appearance on questionnaire.
These four factors, plus the next nine in sequence,
are reported in Table 5. Five of the lowest six rate only between 80 per cent and 85 per cent as most important, but
are sufficiently important to warrant the total remaining
respondents rating them in the second highest level of
importance, or 100 per cent in the top two importance levels.
Five of the thirteen factors are from the first Factor Group
ing, Functional Skills and Abilities, four from Musicianship
and Musical Facts, two from Ensemble and Group Techniques,
and one each from Professional Understandings and Psycholog
ical, Physiological, and Philosophical Factors.
Least important. In the large grouping of "Personal
Knowledge," there are no factors rated not important by more
than 3 per cent of the respondents, and that rating is found
in but one factor. In addition t© this one factor, only
three factors were rated not important by one person or 1 per cent each.
The factors listed in Table 6 are the six receiving
the highest percentages of response in the combined two
lower levels of importance. The 22 per cent response in the 42
TABLE 6
LEAST IMPORTANT FACTORS FROM PERSONAL KNOWLEDGE FROM MUSIC SUPERVISORS* QUESTIONNAIRE
Per Cent of Response Identi Slightly Not fica Imp or- Impor i« tion Factor tant tant Total How Important is It that a Vocal Music Teacher Have the Knowledge of:
II E 4 Physiological terms related to voice production? 21 1 22
II E 1 Availability and limitations of tests and measurements in music? 21 0 21
II D 3 Availability of current audio visual aids? 20 1 21
II A 4 Voice teaching terminology? 10 3 13 II E 7 Potential of music in charac ter building? 10 1 11 .
II A 10 Vocalises and their use? 10 0 10 (Others total 9% or less in least important rating.)
II: Personal Knowledge.
A. Functional Skills and Abilities. B. Musicianship and Musical Facts. c. Ensemble and Group Techniques. D. Professional Understandings. E. Psychological, Physiological, and Philosophical Factors. 1, 2, 3, etc,: Order of appearance on questionnaire. combined slightly important and not important ratings for the factor "Knowledge of physiological terms related to voice production," represents the opinion of sixteen music supervisors. The second highest rating in this group of lesser important factors was received by the factor pre sented as; "How important is it that a vocal music teacher have the knowledge of the availability and limitations of tests and measurements in music?" This factor received responses totalling 21 per cent in the level of slightly important. The third highest rating was given to "Availabil ity of current audio-visual aids," receiving 20 per cent in slightly important and 1 per cent in not important, for a total of 21 per cent in the two lower importance levels.
Three more factors are listed in the table of least impor tant factors from the area of Personal Knowledge.
Summary. Thirteen factors from the area of Personal
Knowledges were rated as most important with percentages ranging from 80 to 9^, which represents from fifty-seven to sixty-eight individuals responding. Seven factors of this total of thirteen received all of the remainder of response in the rather important level of importance, with the total of 100 per cent. Five of the remaining Six factors totalled
99 per cent response in the top two levels of importance.
Five of the thirteen highest rated factors for most impor tant, are in the sub-classification titled "Functional Skills and Abilities." These five all relate to the voice itself and tone production. Six factors received ratings of 10 per cent and above in the lower two importance levels.
Ability to Teach
In addition to the skills and knowledge that a begin ning vocal music teacher should have, the writer sought the opinions of public school music supervisors as to "how important is it that a vocal music teacher have the ability to develop" certain functional skills, and abilities, musicianship and musical facts, ensemble and group tech niques, and psychological, physiological, and philosophical factors in his teaching of others. Thirty-two factors are included in the four sub-classifications. Responses of music supervisors to the request for ratings of importance for each of these factors are reported in the following section. Table 7 shows all of the responses for all factors.
Once again a fifth column shows the percentage of responses to each specific factor, in comparison to the response to the entire questionnaire.
Most Important. Six factors are rated sufficiently high to warrant special mention. "Functional breathing," as a basis for singing skill rates 95 per cent as being most important, whereas "singing skill" rates merely 79 per cent as most important. "Beauty in tone" rates 9^ per cent as most important, with an additional 6 per cent in rather
Important, making a total of 100 per cent, or all of the TABLE 7
ABILITY TO TEACH, PERCENTAGES OF RESPONSE AS TO IMPORTANCE FROM MUSIC SUPERVISORS * QUESTIONNAIRE
How Important is it that a Vocal Music Per Cent Teacher have the Ability to Develops Answer Importance Levels* ing 1 2 3 4 Functional 1. Acceptable solo singers? 99 24 67 8 1 Skills and 2 . Singers for contests and auditions? 99 8 60 28 4 Abilities 3. Proper and effective use of the singing voice? 100 90 10 4. Beauty in tone? 100 94 6 5. Functional breathing? 100 95 4 1 6 . Clear enunciation? 100 93 7 7. Sight-singing skill? 100 55 42 3 8 . A working relationship between singing skill and speech? 97 50 40 10 9. Workable remedial techniques? 99 67 32 1 10. Out-of-school practice techniques? 96 20 65 15
B. Musician 1. Singing skill? 79 21 ship and 2 . Understanding of harmony? 100 43 50 7 Musical 3. Functional ear-training? 100 65 35 Facts 4. Facility in keyboard harmony? 100 20 64 15 1 3. Knowledge of music history and literature? 100 29 61 10 6. Understanding of form and analysis? 99 23 57 20 7. Appreciation of great song litera- twre? 100 53 43 4 8 . Listening skill? 100 75 24 1 9. A more conscious aesthetic sense? 97 67 31 1 1 10. Enjoyment of music? 100 87 10 3 11. Understanding of music? 96 82 17 1 TABLE 7 (CONTINUED)
Per Cent Teacher have the Ability to Develops Answer Importance Levels* ing.. 1 2 3 4 B. Continued 12. Standards of judgment? 100 71 26 1 13. Powers of interpretation? 100 72 25 3 C . Ensemble 1. Techniques of mutual constructive and Group criticism? 99 46 49 5 Techniques 2 . A functional usage of audio visual aids? 100 15 53 28 4
E. Psycholog 1. Functional usage of tests and ical, Phys measurements in music? 97 6 52 38 4 iological, 2 . Good citizenship through musical and Philo activity? 99 62 29 9 sophical 3. Understanding of and respect for Factors common problems? 100 54 40 6 4. Music as an opportunity for self-expression? 100 71 28 1 5. Poise? 100 65 35 6. Self-assurance? 99 64 36 7. Respect for variety in musical taste? 99 65 31 4 *1. Most important! 2. Rather Important! 3. Slightly important! 4, Not important.
4=- ON 47 TABLE 8
MOST IMPORTANT FACTORS FROM ABILITY TO TEACH FROM MUSIC SUPERVISORS1 QUESTIONNAIRE
Per Cent of Responses Identi Most- Rather fica Impor- Impor tion Factor tant tant Total How Important is It that a Vocal Music Teacher Have the Ability to Develop: III A 5 Functional breathing? 95 4 99 III A 4 Beauty in tone? 94 6 100
III A 6 Clear enunciation? 93 7 100
III A 3 Proper and effective use of the singing voice? 90 10 100
III B 10 Enjoyment of music? 87 10 97
III B 11 Understanding of music? 82 17 99 (Others, 79# or less in most important rating.) III. Ability to Teach.
A. Functional Skills and Abilities. B. Musicianship and Musical Facts. C. Ensemble and Group Techniques. E. Psychological, Physiological, and Philosophical Factors. 1, 2, 3, etc.: Order of appearance in questionnaire. response in the top two levels-of importance. The third most highly rated factor is "clear enunciation," receiving
93 per cent of the responses in most important, and 7 per cent In rather important. These three factors could be com bined as component parts of the factor rating fourth, stating it positively as "it is most important that a vocal music teacher have the ability to develop proper and effective use of the singing voice.“ Ninety per cent of the supervisors responding would be in complete agreement with this factor so stated, while the remaining 10 per cent would support the statement using the word rather in place of most. The fifth ranking factor in this list is quite general, being in the
Factor Grouping of Musicianship and Musical Facts, as the
“enjoyment of music,11 Ratings are 87 per cent and 10 per cent respectively for most impoi'tant, and rather important.
“Understanding of music" follows this factor in ranking sequence. Remaining factors are rated somewhat lower for the most important level, but relatively high for rather important. The factors included in Table 8 show percentages from 82 to 95 as most important.
Least important. In the list of ten factors receiv ing the greatest number of responses in the combined slightly important and not important levels, none' is suffi ciently high in the not important rating alone to merit consideration. The first three to appear in Table 9 rate
4 per cent response each at this lowest level, however, these same factors received relatively high percentages of response in the slightly important range, with 38 per cent,
28 per cent, and 28 per cent response each.
The most highly rated factor as being both slightly and not important, is the ability to develop a"functional usage of tests and measurements in music," at a total of 49 TABLE 9
LEAST IMPORTANT FACTORS FROM ABILITY TO TEACH FROM MUSIC SUPERVISORS' QUESTIONNAIRE
Per Cent of Resnonse Identa Slightly Not fica- Impor- Impor tion Factor tant tant Total How Important is It that a Vocal Music Teacher Be Able to Develop: III E 1 Functional usage of tests and measurements in music? 38 4 42
III C 2 A functional usage of audio visual aids? 28 4 32
III A 2 Singers for contests and auditions? 28 4 32
III B 6 Understanding of form and analysis? 20 0 20
III B 4 Facility in keyboard harmony? 15 1 16 III A 10 Out-of-school practice techniques? 15 0 15 III A 8 A working relationship between singing skill and speech? 10 0 10
III B 5 Knowledge of music history and literature? 10 0 10
(Others total 9$ or less in least important rating.)
III. Ability to Teach.
A. Functional Skills and Abilities. B. Musicianship and Musical Facts. C. Ensemble and Group Techniques E. Psychological, Physiological, and Philosophical Factors. 1, 2, 3, etc.: OJbder of appearance in questionnaire. 5° 42 per cent. The second least Important factor, receiving a total of 32 per cent of the responses, is the ability to develop "a functional usage of audio-visual aids."
There is an Interval of twelve percentage points between the third and fourth factors, the third beinjjg the ability to develop "singers for contests and auditions," rating 28 per cent as slightly important and 4 per cent as not Important. The fourth factor listed represents the rating of a total of fourteen respondents, all considering the "understanding of form and analysis" to be slightly important, or 20 per cent compared to the total of 32 per cent for the preceding factor. The four remaining factors in Table 9 represent the opinions of from seven to twelve respondents, or from 10 to 16 per cent of the music super visors replying to each of the separate factors listed.
Summary. In the four sub-divisions used in the Com petency Grouping "Ability to Teach," six factors were found to be rated as most important by 80 per cent or more of the respondents. Eight factors are rated at 10 per cent or more total response in the combined slightly important and not important levels. These factors appear in Tables 8 and
9. 51
Cross Reference: Factor Groupings
Each of the preceding sections deals with one of the
Competency Groupings, Personal Skills, Personal Knowledge, or Ability to Teach. These groups contain specific items in factor groupings, which will now be used as section headings, with the factors combined in areas using the
Competency Grouping titles. The purpose of this cross-
reference is to have an additional refinement of data with the factors in the sub-groups related through the large groups. Tables showing the gross data, and factors listed
as most important and least important from each factor grouping appear in Appendix H.
Functional Skills and Abilities
There are twenty-four factors listed in the question
naire as Functional Skills and Abilities. The important
factors under this grouping center about musical and techni
cal needs of singers, particularly as to knowledge, care,
use and classification of the voice, including the factors
of functional breathing, tone production, and enunciation.
Responses as to lesser important ratings given point out a
feeling against a need for the ability to translate foreign
song texts, with considerable doubt as to the need for
pronunciation ability related to foreign song texts. There
is also a significant question as to the need for the ability
to develop siegers for contests and auditions. Eleven 52 factors rate 87 per cent and above as most important, and seven factors received 10 per cent or more response in slightly and not important.
Musicianship and Musical Facts
Twenty-six factors under the heading musicianship and musical facts are included in the questionnaire. The responses to these factors show little tendency toward or away from importance. Only one factor was rated above 90 per cent as being most important, that of the music teacher having the ’’knowledge of singing and the use of the voice.”
The second highest rating is concerned with the "development of an enjoyment of music.” Five additional factors are inc:l]uufea in the listing of most important. Four factors show a rating of lesser importance, receiving 10 per cent or more response each in the combined lower two levels. None of these factors is sufficiently high to deserve special mention here. These are shown listed in Table 13.
Ensemble and Group Techniques
Only nine factors from the total of ninety-two found in the entire questionnaire appear in this category.
Respondents agree 100 per cent that six of the nine factors found in this grouping are of either most importance, or are rather important. These concern working with choral groups to achieve good group tone, skill and balance, the conducting of vocal groups, and the knowledge of principles 53 and techniques of group voice procedure. The two factors which are listed as least important deal with audio-visual aids, and recreational singing.
Professional Understandings
This grouping is also made up of relatively few fac tors, due in part to its being applicable in only two of the large groups: Personal Skills and Personal Knowledge. As previously reported, factors in this group are felt to be
t important for the vocal teacher to be able to practice, and to know, but are not applicable as factors in Ability to
Teach.
Eight factors appear in this group, none of which received relatively high ratings from the respondents.
These factors failed to elicit higher than 82 per cent of the responses as most important, however, one at this level received sufficient response in the second level of impor tance, that of rather important, to make it total 100 per cent in the two upper levels of importance. It is: “The knowledge of the relationship of music to the total school curriculum." Pour of the factors rate sufficiently high responses as being of slight Importance to be given consid eration. The factor "the ability to operate audio-visual aids," received a far greater percentage of responses as sLightly and not important than the other least important factors listed. 54 Psychological. Physiological, and Philosophical Factors Twenty-five factors are included in this sub-classi fication. Although not receiving particularly high percent ages of response in the most important rating, the five fac tors which range highest at this level received sufficient support from the rather important level to total 100 per cent of the responses in these two upper levels. The atten tion to individuals, in recognizing and challenging talents, and motivating in them a desire to learn to sing, all group together in this area and rank relatively high in importance.
The need of the vocal music teacher to work with tests and measurements in music is mentioned three times in the list ing of lesser important factors.
Total Responses
Total responses to this questionnaire show the fac tors to fall into three groupings, those of most importance, those of moderate importance, and those of least importance.
This section brings together the highest rated factors, and the lowest rated factors from the entire questionnaire to make up a master list of competencies that represent the opinions of music supervisors.
Most Important
Table 10 lists the factors from the entire question- naire that rate the highest percentages in most important alone, and in sequence from one through thirty. In the case 55 TABLE 10
MOST IMPORTANT FACTORS FROM MUSIC SUPERVISORS' QUESTIONNAIRE
. Per Cent of Identification Factor Response 1. I c 3 Achieve good group tone 97 2. III A 5 Functional breathing 9? 3. III A 4 Beauty in tone 94 4. II A 6 Diagnosis of faulty tone 94 5. II A 3 Care of, limitations of, and capabilities of the adolescent voice 93 6. II A 7 Prescription for faulty tone 93 7. III A 6 Clear enunciation 93 8. II B 8 Singing and the use of the voice 93 9. I C 4 Conduct vocal groups effectively 92 10. 2 3 Motivate in students a desire to 1 learn to sing 92 11. III A 3 Proper and effective use of the singing voice 90 12. I C 2 Achieve balance in a choral group 90 13. II A 1 Yoice classification 89 14. II A 2 Male and female voices 89 15. I A 2 Recognize technical needs of singers 87 1 6 . I A 1 Recognize musical needs of singers 87 17. III B 1 Enjoyment of music 87 18. I E 1 Recognize musical talent 86 19. I E 4 Establish and develop standards 86 20. I C 1 Achieve skill in a choral group 86 21. I E 2 Challenge musical talent 86 22. II C 1 Principles of group voice procedure 85 23. II C 2 Techniques of group voice procedure 83 24. II D 2 The relationship of music to the total school curriculum 82 25. III B 11 Understanding of music 82 2 6 . II B 3 Ear-training 81 27. II B 1 Sight-singing 81 28. I B 2 Exercise an understanding of aesthetic sense 80 o\ CJ
• II B 10 The development of auditory sensitivity 80 30. II E 3 Ways of releasing a voice from tension 80 I. Personal Skills (to be able to). II* Personal Knowledge (to have knowledge of). III. Ability to Teach (to have the ability to develop). 56
TABLE 10 (CONTINUED)
A. Functional Skills and Abilities. B. Musicianship and Musical Facts, C. Ensemble and Group Techniques. D. Professional Understandings. E. Psychological, Physiological, and Philosophical Factors. 1, 2, 3, etc.: Order of appearance on questionnaire. of equal percentage ratings, the factors are listed accord ing to their positions on the questionnaire, rather than of value or importance priority. A key to the table is included.
There are thirty factors presented, for a total of 32 per cent of the total number of factors on the questionnaire.
Least important. Table 11 lists the factors with the highest percentages of response In the combined lower levels of importance, slightly important, and not important.
These range from a high of 67 per cent down to 10 per cent.
These percentages represent from 48 down to 7 respondents, respectively. There are twenty-two factors listed as being of least importance.
Again a key is included for interpretation of the data, and again factors which were rated at these levels by the same percentages of respondents are listed according to the order of appearance on the questionnaire. The over-all list arranges the factors in descending order, from the highest percentage of response as being slightly important and not important to the lowest. 57 TABLE 11
LEAST IMPORTANT FACTORS FROM MUSIC SUPERVISORS' QUESTIONNAIRE
~ Per Cent of Identification Factor Responses 1. I A 4 Translate foreign song texts 67 2. ID 3 Operate audio-visual aids 44 3. III E 1 Functional usage of tests and measurements in music 42 4. IE 8 Administer and interpret tests and measurements in music 39 5. IA 3 Pronounce foreign song texts 34 6. III C 2 Functional usage of audio-visual h aids 32 7. III A 2 Singers for contests and auditions 32 8. I C 5 Lead recreational singing 31 9. I D 2 Encourage the singing of serious music in the home 27 10. II E 4 Physiological terms related to voice production 22 11 II E 1 Availability and limitations of tests and measurements in music 21 12. II D 3 Availability of current audio visual aids 21 13. III B 6 Develop an understanding of form and analysis 20 14. IB 3 Classify types of songs 19 15- I D 1 Relate music to the home 17 16. III B 4 Facility in keyboard harmony 16 17. III A 10 Out-of-school practice techniques 15 18. II A 4 Voice teaching terminology 13 19. II E 7 Potential of music In character building 11 20. III A 8 Working relationship between song and speech 10 21. II A 10 Vocalises and their use 10 22. III B 5 Knowledge of music history and literature 10 I. Personal Skills (to be able to)^ II. Personal Knowledge (to have knowledge of). III. Ability to Teach (to have ability to develop). A. Functional Skills and Abilities. B. Musicianship and Musical Facts. C. Ensemble and Group Techniques. D. Professional Understandings. E. Psychological, Physiological, and Philosophical Factors. 1, 2, 3, etc.s Order of appearance on questionnaire. 58
Summary
This chapter has presented all of the responses to each factor In relation to Its relative importance in the opinions of public school music supervisors. Tables show the combined lists of the factors that are considered to be most important and least important. Music supervisors show by their responses to each factor that the personal skills
relating to groups are of most importance, in comparison to
other factors. Group tone and balance, the conducting of groups, and the resultant group skill, are considered most
important. The motivation of individuals, the recognition
and challenge of talent, and the recognition of musical and
technical needs of individuals are also rated high in rela
tive importance. Also considered of most importance are knowledge of
individual voices, singing and the use of the voice, group
voice procedure and techniques, the relation of music to
the curriculum, sight-singing, and ear-training. Teaching
abilities related to the act of sihging itself, and the
furthering of the enjoyment and understanding of music are
also rated as most important.
In all of the competency groupings, factors dealing
with audio-visual aids and tests and measurements in music
are rated of lesser importance. The teacher's skill in
pronouncing and translating foreign song texts, the knowl edge of terminology related to voice teaching and the physiology of voice production, and the ability to teach form and analysis, music history and literature, and key board harmony are rated as least important.
These factors will be compared to factors in a similar list from college music educators. The resultant master listing will be used in the consideration of class voice instruction as related to competencies found to be desirable for vocal music teachers. CHAPTER III
REPORT OF DATA, COLLEGE MUSIC
EDUCATORS' QUESTIONNAIRE
In order to have some basis for determining the rela tive importance of competencies desirable for public school vocal music teachers, it was felt necessary to obtain opinions from the persons directly concerned with the development of these teachers, in the pre-teaching experi ence. This form of the questionnaire, which is an expan sion of the one sent to the music supervisors, was sent to sixty-eight representatives of colleges and universities.
Of the sixty-eight forms used, forty-six usable ones were received and processed, resulting in the data which follows.
This return accounts for 68 per cent of the questionnaires sent to the Institutions of higher learning.
Tables reporting the most and least important factors are presented consecutively following the table from which they are drawn. These tables refine the data, and report only the factors found to be above the minimum response levels established by the writer. They will be used in compiling a master list of competencies.
60 6l
Competency Groupings
PersonalkSfcills
Table 12 presents all of the response to the factors
In the large grouping of "Personal Skills." This section is preceded by an open-ended question relating to importance.
Each of the factors, under the factor groupings, can be used to complete the question.
Most important. Table 13 lists ten factors which received 80 per cent or more response asrbeing most impor tant in this section of the questionnaire dealing with per sonal skills, exclusive of teaching. For further support and interest, the second highest rating level, that of rather important is also included in the table. It will be noted that six of the ten listed factors total 1©0 per cent response in the top two levels of importance, with an additional three factors totalling 98 per cent. The tenth factor listed totals 93 per cent.
Two factors rate seven percentage points higher as most important than the remaining ones. These are the
Recognition of musical needs of singers," and the need of a vocal music teacher to be able to "motivate in students a desire to learn to sing." These received 96 per 9 ent of all responses as most important. The remaining 4 per cent of responses, in both instances, were in the level of rather important. TABLE 12
PERSONAL SKILLS, PERCENTAGES OP RESPONSE AS TO IMPORTANCE FROM COLLEGE MUSIC EDUCA TORS* QUESTIONNAIRE
How Important is It that a Vocal Per Cent______Music Teacher Be Able Toi Answer- Importance Levels* i]2S- 1 2 ,3 4 A. Functional 1. Recognize musical needs of singers? 100 96 4 Skills and 2. Recognize technical needs of singers? 100 89 11 Abilities 3. Pronounce foreign song texts? 98 31 47 18 4 4. Translate foreign song texts? ' 98 18 40 22 20
B. Musician 1. Sing creditably himself? 100 72 26 2 ship and 2. Exercise an understanding of Musical aesthetic sense? 100 76 ,24 Facts 3. Classify types of songs? 98 54 33 11 2
C. Ensemble 1. Achieve skill in a choral group? 96 ’ 64 32 4 and Group 2. Achieve balance in a choral group? 98 67 22 11 Techniques 3. Achieve good group tone? 98 82 11 7 4. Conduct vocal groups effectively? 98 69 11 11 9 5. Lead recreational singing? 98 27 40 22 11
D. Profes 1. Relate music to the home? 98 16 47 27 11 sional 2. Encourage the singing of serious Under music In the home? 96 25 41 25 9 standings 3. Operate audio-visual aids? 98 11 38 31 20 4. Assist students in the identification of goals, objectives, and outcomes? 100 72 20 4 4 5. Achieve mutual cooperation with other staff members? 98 73 18 2 7 TABLE 12 (CONTINUED)
How Important is It that a Vocal Per Cent Music Teacher Be Able Tos Answer1 Importance Levels* insc 1 2 3 4 E, Psycholog 1. Recognize musical talent? 96 86 14 ical, Physi-2, Challenge musical talent? 98 89 11 ological, and3.Motivate in students a desire to Philosophi learn to sing? 98 96 4 cal 4, Establish and develop standards? 98 89 9 2 Factors 5, Adapt procedure to individuals, circumstances, and conditions? 98 89 9 2 6. Inspite students toward the establishment of goals? 98 89 11 7. Exercise a breadth of musical taste? 98 89 9 2 8. Administer and interpret tests and measurements in music? 98 16 51 24 9 9. Develop a mutuality of participation? 98 67 25 4 4 10, Incorporate voice instruction into larger musical growth? 96 68 32 11, Exercise extreme patience? 96 75 21 2 2 *1. Most important; 2. Rather important; 3. Slightly important; 4. Not important.
ON 00 64
TABLE 13
MOST IMPORTANT FACTORS IN PERSONAL SKILLS FROM COLLEGE MUSIC EDUCATORS1 QUESTIONNAIRE
Per Cent of Response IdentlfI- Most Rather cation Factor Impor- Impor- ______tant tant Total How Important Is It That a Vocal Music Teacher be Able To: I A 1 Recognize musical needs of singers? 96 4 100
I E 3 Motivate in students a desire to learn to sing? 96 4 100
I A 2 Recognize technical needs of singers? 89 11 100
I E 2 Challenge musical talent? 89 11 100
I E 4 Establish and develop standards? 89 9 98
I E 5 Adapt procedure to individuals, clrculstances and conditions? 89 9 98 I E 6 Inspire students toward the establishment of goals? 89 11 100
I E 7 Exercise a breadth of musical taste? 89 9 98 I E 1 Recognize musical talent 86 14 100
IC 3 Achieve good group tone? 82 11 93 (Others 76# or less in most important rating.) - personai skills. : A. Functional Skills and Abilities. B. Musicianship and Musical Facts. C. Ensemble and Group Techniques. D. Professional Understandings. E. Psychological, Physiological, and Philosophical Factors. 1, 2, 3, etc.: Order of appearance in questionnaire. 65
Seven of the ten factors are from the sub-group concerned with Psychological, Physiological, and Philosoph ical Factors, with only two from the first sub-group and one from the third. No factors from sub-group B (Musician ship and Musical Facts), or D (Professional Understandings) appears on this list of ten most highly rated factors.
Least Important. A study of Table 14 shows very few factors receiving any appreciable response in the lowest importance rating, that of not important, whereas the respondents were more inclined to rate a factor as being of slight importance. For this reason, the listing of least
Important factors is based upon the combined percentages in the two lower levels of importance, and includes only those representing the opinions of five or more individuals.
Three of the four highest rated factors as being of slight or non-importance, as shown in Table 14, are from the sub-group of “Professional Understandings." As reported above, none of this group was rated sufficiently high to appear on the list of most important factors. Fifty-one per cent of all representatives of colleges and universi ties replying feel it to be relatively unimportant that a vocal music teacher be able to "operate audio-visual aids."
Second on this list, as shown on the table, is the ability to "translate foreign song texts," with 42 per cent response.
Over on@t-third of the respondents rated the "relation of 66 TABLE 14
LEAST IMPORTANT FACTORS FROM PERSONAL SKILLS FROM COLLEGE MUSIC EDUCATORS* QUESTIONNAIRE
Per Cent of ResDonse Identi Slightly Rather fica Impor- Impor- tion Factor tant tant Total How Important Is It that a Yocal Music Teacher be Able to: I D 3 Operate audio-visual aids? 31 20 51 X A 4 Translate foreign song texts? 22 20 42
I D 1 Relate music to the home? 27 11 38 I D 2 Encourage the singing of serious music in the home? 25 9 34
I C 5 Lead recreational singing? 22 11 33 I E 8 Administer and Interpret tests and measurements in music? 24 9 33
I A 3 Pronounce foreign song texts? 18 4 22 I C 4 Conduct vocal groups effec tively? 11 9 20
I B 3 Classify types of songs? 11 2 13 I C 2 Achieve balance in a choral group? 11 - 11 (Others total 9$ or less in least important rating.)
I: Personal Skills. A. Functional Skills and Abilities. B. Musicianship and Musical Facts. C. Ensemble and Group Techniques. D. Professional Understandings. E. Psychological, Physiological, and Philosophical Factors. 1, 2, 3t etc.: order of appearance in questionnaire. music to the home," and the "encouragement of the singing of serious music in the home," as being relatively unimpor tant. One additional factor received over 10 per cent response as not important and an additional 22 per cent response as slightly important." This factor is stated as the "ability to lead recreational singing."
Summary. Ten factors received 80 per cent or more response in the level of most important, with six of the ten receiving all of the remaining responses in the rather important level of importance. Three additional factors, of the ten appearing in Table 13, totalled 98 per cent in the two highest levels.
Seven of the ten factors receiving 80 per cent or more response as most important are from the sub-group
"Psychological, Physiological, and Philosophical Factors," while three of the top four in the least important rated factors are from the sub-group "Professional Understandings.
None of the latter group appears on the list of most impor tant or highest rated, factors. Ten factors, in all, received 10 per cent or more of the responses in the two lower levels of importance.
Personal Knowledge
Table 15 shows all of the responses for the thirty- two factors preceded by the question: "How important is it that a vocal music teacher have the knowledge of:" TABLE 15
PERSONAL KNOWLEDGE, PERCENTAGES OP RESPONSE AS TO IMPORTANCE PROM COLLEGE MUSIC EDUCA TORS1 QUESTIONNAIRE
Music Teacher Have the Knowledge of; Answer Importanc e Levels* ing 1 2 3 4 Functional 1. Voice classification? 9S 96 4 Skills and 2. Male and female voices? 98 96 4 Abilities: 3. Care of, limitations of, and capa bilities of the adolescent voice? 98 87 13 4. Voice teaching terminology? 96 61 33 6 5. Current pedagogical practice? 91 29 14 6. Diagnosis of faulty tone? 98 96 4 7. Prescription for faulty tone? 9 6 98 2 8. Available materials and methods? 98 71 25 4 9. Solo and choral material? 98 80 16 4 10. Vocalises and their use? 98 67 29 2 2
Musician 1. Sight-singing? 98 85 13 2 ship and 2. Harmony? 98 64 34 2 Musical 3. Ear-training? 98 82 16 2 Pacts 4. Keyboard harmony? 98 54 40 6 Musical history and literature? 5* 96 59 36 5 6. Form and analysis? 96 55 39 4 2 7. Great song literature? 98 85 11 4 8. Singing and the use of the voice? 96 100 9. Classification of types of songs? 96 70 23 7 10. The development of auditory sensitivity? 96 86 14
ON 00 TABLE 15 (CONTINUED)
How Important is It that a Vocal Per Cent Music Teacher Have the Knowledge of: Answer Importance Levels* ing 1 2 3 4 C, Ensemble 1 . Principles of group voice procedure? 9o 25 2 and Group 2. Techniques of group voice procedure? 96I? 64 34 2 Technique D. Profes 1. The relationship of school music sional to the community? 96 57 39 4 Under 2. The relationship of music to the standings total school curriculum? 96 66 30 4 3. Availability of current audio visual aids? 98 29 47 24
E. Psycholog 1 . The availability and limitations of ical, Phys tests and measurements in music? 98 33 47 18 2 iological, 2. Voice production and tension? 98 93 7 and Philo 3. Ways of releasing a voice from sophical tension? 96 93 7 Factors 4. Physiological terns related to voice production? 100 48 39 13 5. The coordination of the large muscles of the vocal mechanism? 96 71 16 11 2 6. The potential of music in the development of personality? 98 54 40 6 7. The potential of music in character building? 91 40 ;6 14 10 *1. Most important; 2. Rather important; 3. Slightly important; 4, Not important.
cr\ vo 70
Most Important. Table 16 shows the factors which received percentages of response In the most important level of 80 per cent or over, that figure having been set as a lower limit of significance. The percentages of response to rather important are also listed, primarily to show which of these received 100 per cent or 98 per cent of the responses in the two higher levels of importance. Nine of the thirteen listed total 100 per cent, with an addi tional two totalling 98 per cent response. This group includes the only factor on the entire questionnaire receiv ing 100 per cent response as being most important. One hundred per cent of the respondents to this specific factor felt that it was most important that a vocal music teacher have the "knowledge of singing and the use of the voice," as a factor in the grouping of "Musicianship and Musical
Pacts."
Factor Groupings C and D, Ensemble and Group Tech niques, and Professional Understandings, are not represented in this listing of highest rated factors. The largest num bers of factors are from sub-groups A and B, Functional
Skills and Abilities, and Musicianship and Musical Facts.
Two factors fran sub-group E, Psychological, Physiological, and Philosophical Factors, are included as most important. 71 TABLE 16
MOST IMPORTANT FACTORS FROM PERSONAL KNOWLEDGES FROM COLLEGE MUSIC EDUCATORS' QUESTIONNAIRE
Per Cent of Response Identi Most Rather fica Impor Impor tion Factor tant tant Total How Important Is It that a Vocal Music Teacher Have the Knowledge of: II B 8 Singing and the use of the voice? 100 100
II A 7 Prescription for faulty tone? 98 2 100
II A 1 Voice classification? 96 4 100
II A 2 Male and female voices? 96 4 100
II A 6 Diagnosis: of faulty tone? 96 4 100
II E 2 Voice production and tension? 93 7 100 II E 3 Ways of releasing a voice from tension? 93 7 100
II A 3 Care of, limitations of, and capabilities of the adolescent voice? 87 13 100 II B 10 The development of auditory sensitivity 86 14 100
II B 1 Sight-singing? 85 13 98 H H 7 Great song literature? 85 11 96 II B 3 Ear-training? 82 16 98
II A 9 Solo and choral materials? 80 16 96 (Others below 80# as most Important rating.) IIj Personal Knowledge. Professional Under- A. Functional Skills and standings. Abilities. E. Psychological, Physio- B. Musicianship and Musical logical, and Philosoph- Facts. ical Factors. C. Ensemble and Group Techniques. 1,2,3.etc.: Order of ap pearance on question naire . 72
Least important. Only six factors rate 10 per cent or over in the two lower levels of importance for Personal
Knowledge, and in comparison the lesser important factors from the preceding large group report, are relatively lower percentage-wise. The highest rated as being both slightly and not important is "knowledge of audio-visual aids." It did not receive any response as not important, however, 24 per cent were received in the level of slightly important.
Only one factor received any significant response of not important, it being the knowledge of the "potential of music in character building." Ten per cent of the respondents rated this as not important, and an additional
14 per cent response was gained in the level of slightly important.
The knowledge of "availability and limitations of tests and measurements in music" received 20 per cent of response in the two lower levels of importance. The remain ing three of the lowest rated factors in Table 17 were rated as being of slight importance by 14 per cent, 13 per cent, and 11 per cent of the respondents. An additional 2 per cent of respondents rated the last one on the list as being not important.
Pour of the six factors are in sub-group E, that of
Psychological, Physiological, and Philosophical Factors.
Whereas this group accounts for only 22 per cent of the 73 TABLE 17
LEAST IMPORTANT FACTORS FROM PERSONAL KNOWLEDGES FROM COLLEGE MUSIC EDUCATORS* QUESTIONNAIRE
Per Cent of Resnonsd Identi Slightly Not fica Impor- Imp or tion Factor tant tant Total How Important Is It that a Vocal Music Teacher Have the Knowledge of: II D 3 Availability of current audio-visual aids? 24 24
II E 7 The potential of music in character building? 14 10 24
II E 1 The availability and limita tions of tests and measure ments in music? 18 2 20
II A 5 Current pedagogical practice? 14 - 14 II E 4 Physiological terms related to voice production? 13 - 13.
II E 5 The coordination of the large muscles of the vocal mechanism? 11 2 13 (Others total 7# or less in least important rating.) II : Personal Knowledge. A. Functional Skills and Abilities. B. Musicianship and Musical Facts. C. Ensemble and Group Techniques. D. Professional Understandings. E. Psychological, Physiological, and Philosophical Factors. 1, 2, 3 t etc.: Order of appearance on questionnaire. total list of factors in "Personal Knowledge," it accounts for 67 per cent of the factors listed as being of least
importance.
Summary. Thirty-two factors are included in the group headed "Personal Knowledge," These are again sub divided into five sub-classifications. Of the thirteen
factors appearing on the list receiving 80 per cent or more response as being most important, six are from the sub classification of "Functional Skills and Abilities." None
of the factors from "Ensemble and Group Techniques," or
"Professional Understandings" appear as most important.
Four of the six least important factors are from the sub-
classification of "Psychological, Physiological, and Philo
sophical Factors." The one factor on the entire question naire to receive 100 per cent response as being raofet impor
tant, is from this group, it being the one which states that
it is "most important that a vocal music teacher have the knowledge of singing and the use of the voice."
Ability to Teach
Thirty-two factors are included in the large group
"Ability to Teach," in four sub-classifications. The sub group "Professional Understandings" is omitted here because although professional understandings can be included in a teacher's skills, and he should have knowledge of them, he
is not called upon to teach them to public school students. 75
Thus the four sub-classifications, "Functional Skills and
Abilities," "Musicianship and Musical Facts," "Ensemble and
Group Techniques," and "Psychological, Physiological, and
Philosophical Factors," are the ones used here.
The general open-question: "how important is it that a vocal music teacher have the ability to develop"; pre cedes the sub-classification, with the opportunity to check
a response as most important, rather important, slightly
important, or not important, for the reply. All of the responses to each factor are shown in Table 18. Tables 19
and 20 are drawn from Table 18, and show which factors rate
over 80 per cent as being of most importance, and which ones total 10 per cent or over in the two lower levels of impor tance.
Most important. Eleven factors of the thirty-two in
the large grouping "Ability to Teach? 1 rate 80 per cent or more in response in the most important level. Eight of
these factors total 100 per cent by including the responses
in the rather important rank. The other three factors total
98 per cent in these two upper levels of importance.
The highest rated factor, receiving 98 per cent of
its responses in the most important level, can be stated positively as "It is most important that a vocal music
teacher have the ability to develop proper and effective
use of the singing voice." I
TABLE 18
ABILITY TO TEACH, PERCENTAGES OP RESPONSE AS TO IMPORTANCE FROM COLLEGE MUSIC EDUCA TORS' QUESTIONNAIRE
How Important is It that a Vocal Music Per Cent Teacher Have the Ability to Develops Answer- Importance Levels* ing 1 2 .3 4 Functional 1. Acceptable solos singers? 89 54 46 Skills and 2. Singers for contest and auditions? 94 40 49 11 Abilities 3. Proper and effective use of the singing voice? 94 98 2 4. Beauty in tone? 94 93 7 Functional breathing? 94 95 5 6. Clear enunciation? 94 93 7 7. Sight-singing skill? 94 68 23 7 8. A working relationship between singing skill and speech? 94 74 19 7 9. Workable remedial techniques?- 91 86 12 2 10. Out-of-school practice techniques? 94 65 28 7
Musician 1. Singing skill? 91 83 17 ship and 2. Understanding of harmony? 91 39 47 12 2 Musical P * Functional ear-training? 91 74 17 9 Facts ^ • Facility in keyboard harmony? 91 39 36 19 6 5. Knowledge of music history and literature? 91. 45 42 13 6. Understanding of form and analysis? 91 39 45 13 7. Appreciation of great song literature? 91 71 25 4 8. Listening skill? 91 79 21 9. A more conscious aesthetic sense? 89 88 12 10. Enjoyment of music? 90 8 2 *-3 91 o\ 11. Understanding of music? 91 86 14 TABLE 18 (CONTINUED)
How Important is It that a Vocal Music Per Cent______Teacher Have the Ability to Develops Answer- Importance Levels* ing 1 2 3 4 Continued 12. Standards of Judgment? 91 86 12 2 13. Powers of interpretation? 91 93 7
Ensemble 1. Techniques of mutual constructive and Group criticism? 91 64 29 7 Technique 2. A functional usage of audio-visual aids? 91 26 45 24 5
Psycholog 1. Functional usage of tests and ical, Phys measurements in music? 87 15 50 28 7 iological, 2. Good citizenship through musical and Philo activity? 85 33 44 18 5 sophical 3. Understanding of and respect for Factors common problems? 89 61 24 15 4. Music as an opportunity for self- expression? 89 66 32 2 Poise? 22 §• 89 73 5 6. Self-assurance? 89 75 25 7. Respect for variety in musical taste? 91 69 29 2
*1, Most important! 2. Rather important; 3. Slightly important; 4. Not important.
-a 78
Although factors are included in only four sub classifications, all of them in the list of eleven most important are from the groups "Functional Skills and Abili ties," and "Musicianship and Musical Facts." These are listed in Table 19. Least important. Nine factors total more than 10 per cent in the two lower levels of importance, although none of the factors received over 7 per cent response in the level of not important alone. The factor concerned with the tests and measurements in music is found to be represented on the list of least important as it was in each of the two preceding lists as shown on Tables 14 and 17. In the area of Ability to Teach, as shown in Table 20, the "ability of a vocal music teacher to develop functional usage of tests and measurements in music" received 35 per cent response in the combined slightly and not important levels of importance.
On the two previous lists the related factor received 33 per cent and 20 per cent response in these two combined levels.
The ability of a vocal music teacher to "develop a functional usage of audio-visual aids" was found in first place on the two previous listings of lesser important factors with totals of 51 per cent in the area of "Personal
Skills," and 24 per cent in the group entitled "Personal
Knowlelge." It is found in second place here, rating a total of 29 per cent in the two lower levels of importance. 7 9
TABLE 19
MOST IMPORTANT FACTORS FROM ABILITY TO TEACH FROM COLLEGE MUSIC EDUCATORS* QUESTIONNAIRE
Per Cent of Response Identl- Most Rather fica- Impor- Impor- tlon Factor ______■ ______tant tant Total How Important Is It that a Vocal Music Teacher Have the Ability to Develop: Ill A 3 Proper and effective use of the singing voice? 98 2 100
III A 5 Functional breathing? 95 5 100
III A 4 Beauty in tone? 93 7 100
III A 6 Clear enunciation? 93 7 100
III B 13 Powers of Interpretation? 93 7 100 III B 10 Enjoyment of music? 90 8 98
III B 9 A more conscious aesthetic sense? 88 12 100
III A 9 Workable remedial techniques? 86 12 98 IIIB 11 Understanding of music? 86 14 100
III B 12 Standards of judgment 86 12 98
IIIB 1 Singing skill 83 17 100 ______(Others, 79# or less in most important rating.) III. Ability to Teach. A. Functional Skills and Abilities. B. Musicianship and Musical Facts. C. Ensemble and Group Techniques. E. Psychological, Physiological, and Philosophical Factors. 1, 2, 3* etc.: Order of appearance in questionnaire. 80
TABLE 20
LEAST IMPORTANT FACTORS FROM ABILITY TO TEACH FROM COLLEGE MUSIC EDUCATORS' QUESTIONNAIRE
Per Cent of Response Identi Slightly Not fica Impor- Impor tion Factor tant Tant Total How Important Is It that a Vocal Music Teacher Be Able to Develop: III E 1 Functional usage of tests and measurements in music? 28 7 35 III C 2 A functional usage of audio visual aids? 24 5 29
III B 4 Facility in keyboard harmony? 19 6 25 III E 2 Good citizenship through musical activity? 18 5 23 III B 6 Understanding of form and analysis? 16 - 16
III E 3 Understanding of and respect for common problems? 15 - 15 IIIB 2 Understanding of harmony? 12 2 14
III B 5 Knowledge of music history and literature 13 t m 13 III A 2 Singers for contest and auditions 11 M l 11 (Others total 9% er less in least important rating.) III. Ability to Teach. A. Functional Skills and Abilities. B. Musicianship and Musical Facts. C. Ensemble and Group Techniques. E. Psychological, Physiological, and Philosophical Factors. 1, 2, 3* etc.: Order of appearance in questionnaire. 81
Of the four sub-groups used In this section, one fac tor from "Functional Skills and Abilities," and one from
"Ensemble and Group Techniques" are found on this list of
lowest rated factors, leaving four from "Musicianship and
Musical Facts," and three from "Psychological, Physiological,
and Philosophical Factors."
Summary. Eleven factors of the thirty-two in the
group Ability to Teach are included as being most important
for a vocal music teacher to be able to develop. All of
these are from the sub-groups A and B: Functional Skills
and Abilities, and Musicianship and Musical Facts. Nine
factors are listed as being least important. The factor
most highly rated as most important, at 98 per cent response,
is related to the one most highly rated on the entire ques
tionnaire, and refers to the "development of proper and
effective use of the singing voice."
Cross-Referencet Factor Groupings
For further interpretation of the response to this
form of the questionnaire, factors are re-grouped according
to the five sub-classlfications. This will make it possible
to compare all of the factors under "Functional Skills and
Abilities," "Musicianship and Musical Fact," "Ensemble and
Group Techniques," "Professional Understandings," and
"Psychological, Physiological, and Philosophical Factors," in
relation to the highest percentage of response as most 82
Important, and in the two combined lower level responses.
Tables showing the gross data, and factors listed as most important and least important from each Factor Grouping appear in Appendix 1.
Functional Skills and Abilities
Twenty-four factors appear in this sub-classification from the three large groups, Personal Skills, Personal
Knowledge, and Ability to Teach. Over one-half of the fac tors in this Factor Grouping rated 80 per cent response or over in the level of most important. Of twenty-four factors in the group, thirteen are listed as being highest rated, and four are listed In the lowest importance level. Eleven of the highly rated factors total 100 per cent of responses in the two upper importance levels, and two rate 98 per cent as most important alone.
Two factors stand out as being of lesser importance, due to receiving relatively high percentages of response as being of slight importance, and not important. Each is related to the abilities of the teacher in working with foreign song texts.
Musicianship and Musical Facts
Whereas the discussion immediately preceding dealt with twenty-four factors concerning "Functional Skills and
Abilities," this section is concerned with twenty-six 83 factors which are considered to be parts of the sub-classi fication group "Musicianship and Musical Pacts."
The percentage of response to each factor ranges from 89 per cent to 100 per cent, showing the percentage of persons who responded to the entire questionnaire, reacting to each of the specific factors. In the most important column the percentages of response varied from thirty-nine to one hundred.
Factors listed under the sub-classification of
Musicianship and Musical Facts generally failed to gain as high a percentage of most important response as did factors
in the preceding sub-classification group. Similarly, the factor receiving the highest percentage of response as being either slightly or not Important was seventeen percentage points lower than the factor in that position under "Func tional Skills and Abilities." There were nearly the same number of factors rating above 80 per cent as most important, and above 10 per cent as slightly or not important, with thirteen and four factors respectively in Group A, and twelve and five factors respectively here.
Ensemble and Group Techniques
In spite of being second to the smallest group in numbers of factors, with nine included, 44 per cent of the factors from this group appeared on the list of least impor tant, and only one, or 11 per cent of the group, appeared on 84 the list of highest rated factors as most Important. The one factor rating above 80 per cent as most important, received only 82 per cent response at that level.
Professional Understandings
Eight factors are grouped under the title of Profes sional Understandings, in the two larger groupings, "Personal
Skills," and "Personal Knowledge." Skill in, and knowledge of, professional understandings are included in the competen cies desirable for public school vocal music teachers, how ever, it is felt inappropriate to include this category under the heading of "Ability to Teach." For this reason there are no factors from thiB sub-classification used in the large group with that title.
From 96 per cent to 100 per cent of the respondents reacted to each of the eight factors included here, and the percentages of response at each level of importance are based upon the total responses to each factor. None of the factors grouped as Professional Understandings rated high enough to be included in the list of highest rated factors.
Four of the eight factors rated between 24 and 51 per cent
in the two lower importance levels, and lead the complete list of all of the lesser Important factors from the entire
questionnaire from college music educators. These four
least important factors all deal with either music in the home, or audio-visual aids. 85 Psychological. Physiological, and Philosophical Pactors
This sub-classification contains more factors than the two immediately preceding, there being a total of twenty-five. Nine appear on the list of most important factors, and eight appear on the list of lesser importance.
Seven of the nine most important factors are from the large group "Personal Skills." Only one factor from this group appears as least important. Three of the first five listed factors in the least important ranks are related to tests and measurements in music.
/ Total Responses
Most Important
Tabl# 21 presents a composite listing, in order of the importance of the factors on the College Music Educa tors 1 Questionnaire, which received 80 per cent or more response as being most important. It must be remembered that different phases of the same factor were often used in designing the instrument for the survey, with the result that a factor may seem to appear several times. In reality it is presented in one, two, or three ways: as skill in, as knowl edge of, or as ability to teach. Thirty-four factors are listed, of the total of ninety-two. Thus the factors con
sidered significant, within the limitations established, represent 36 per cent of the total factors on the entire
questionnaire. 86
TABLE 21
MOST IMPORTANT FACTORS FROM COLLEGE MUSIC EDUCATORS' QUES TIONNAIRE
Per Cent of Identification Factor Response
1. II B 8 Singing and the use of the voice 100 2. II A 7 Prescription tot faulty tone 98 3. III A 3 Proper and effective use of the singing voice 98 4. II A 1 Voice classification 98 5. II A 2 Male and female voices 96 6. II A 6 Diagnosis of faulty tone 96 7. I A 1 Recognize musical needs of singers 96 8. I E 3 Motivate in Students a desire to learn to sing 96 9. III A 5 Functional breathing 95 10. II E 2 Voice production and tension 93 11. II E 3 Ways of releasing a voice from tension 93 12. III A 4 Beauty in tone 93 13. III A 6 Clear enunciation 93 14. III B 13 Powers of interpretation 93 15. III B 10 Enjoyment of music 90 16. I A 2 Recognize technical needs of singers 89 17. I E 2 Challenge musical talent 89 18. I E 4 Establish and develop standards 89 19. I E 5 Adapt procedure to individuals, circumstances and conditions 89 20. I E 6 Inspire students toward the establishment of goals 89 21. I E 7 Exercise a breadth of musical taste 89 22. III B 9 A more concious aesthetic sense 88 23. II A 3 Care of, limitations of, and capabilities of adolescent voice 87 24. I E 1 Recognize musical talent 86 25. II B 10 The development of auditory sensitivity 86 2 6 . III A 9 Workable remedial techniques 86 27. IIIB 11 Understanding of Music 86 28. III B 12 Standards of judgment 86 29. II B 1 Sight-singing 85 87 TABLE 21 (CONTINUED)
» Per Cent of Identification Factor Response
30. II B 7 Great song literature 85 31. H I B 1 Singing skill 83 32. I C 3 Achieve good group tone 82 33. II B 3 Ear-training -82 34. II A 9 Solo and choral materials 80 I, Personal Skills (to be able to). , II. Personal Knowledge (to have knowledge of). III. Ability to Teach (to have the ability to develop). A. Functional Skills and Abilities. B. Musicianship and Musical Facts. D. Professional Understandings. E. Psychological, Physiological, and Philosophical Factors. C. Ensemble and Group Techniques. 1, 2, 3, etc.: Order of appearance on questionnaire.
Least Important
Limitations were placed on the least important fac tors, as follows: (1) they must have received 10 per cent or more total response in the combined slightly and not
Important ratings; (2) the mention of the factors does not eliminate the possibility that they might also be mentioned with some frequency by others as being either, rather or most important; (3) although the 10 per cent minimum is set, which could be representative of as few as five individuals, this is sufficient doubt as to relative importance to be included here.
The percentages in these two lower levels of impor tance range from a low of 10 per cent, as stated above, to 88 TABLE 22
LEAST IMPORTANT FACTORS FROM COLLEGE MUSIC EDUCATORS» QUESTIONNAIRE
per Qent Df Identification Factor Response
1. I D 3 Operate audio-visual aids 51 2. I A 4 Translate foreign song texts 42 3. I D 1 Relate music to the home 38 4. III E 1 Functional usage of audio-visual aids 35 5. I D 2 Encourage the singing of serious music in the home 34 6. IC 5 Lead recreational singing 33 7. IE 8 Administer and interpret tests and measurements in music 33 8. III C 2 A functional usage of audio visual aids 29 9. III B 4 Facility in keyboard harmony 25 10. II D 3 Availability of current audio visual aids 24 11. II E 7 The potential of music in character building 24 12. III E 2 Good citizenship through musical activity 23 13. I A 3 Pronounce foreign song texts 22 14. I C 4 Conduct vocal groups effectively 20 15. II E 1 The availability and limitations of tests and measurements in music 20 16. III B 6 Understanding of form and analysis 16 17. IIIE 3 Understanding of and respect for common problems 15 18. II A 5 Current pedagogical practice 14 19. III B 2 Understanding of harmony 14 20. I B 3 Classify types of songs 13 21. II E 4 Physiological terms related to voice production 13 22. II E 5 The coordination of the large muscles of the vocal mechanism 13 23. III B 5 Knowledge of music history and litei&ure 13 89 TABLE 22 (CONTINUED)
Her Cent of Identification Factor Response 24. I C 2 Achieve balance in a choral group 11 25. Ill A 2 Singers for contest and auditions 11 I. Personal Skills (to be able to). II. Personal Knowledge (to have knowledge of). III. Ability to Teach (to have ability to develop). A. Functional Skills and Abilities. B. Musicianship and Musical Facts. C. Ensemble and Group Techniques. D. Professional Understandings. E. Psychological, Physiological, and Philosophical Factors. It 2, 3, etc.: Order of appearance on questionnaire. a high of 51 per cent of the responses. Twenty-five factors received responses in the two lower levels of importance ranging between these two extremes.
Summary
All of the responses to each factor have been reported, representing the opinions of college music educators who responded to the questionnaire. Tables of most important and least important factors from each of the Competency Groupings have been combined to compile lists of factors in these two importance levels from the entire questionnaire.
College music educators show by their responses that the skill in working with individuals, their talents, their needs, the establishment and development of standards and goals for them, and the skill in exercising a breadth of 90 musical taste, are of most importance for public school music teachers. The knowledge of individual voices, and of solo and choral literature and materials are also highly rated as to importance. The ability to develop singing skill, and the enjoyment and understanding of music are considered most important.
Of least importance, in all groupings, are the fac tors related to tests and measurements in music, and audio visual aids. The knowledge of terminology in voice teach ing, and physiological terms related to voice production are of lesser importance, as are the abilities to develop singers for contests and auditions, and the development of keyboard harmony, harmony, form and analysis, and music history and literature.
These factors, found to be outstandingly most impor tant, or least important, in the opinions of the college music educators surveyed, will be compared to the list from the public school music supervisors. A master list, com bining the findings of the two groups will then be compared to findings in relation to the possibility of including the various factors in class voice Instruction. CHAPTER IV
RECONCILIATION OF DATA FROM MUSIC SUPERVISORS'
AND COLLEGE MUSIC EDUCATORS' QUESTIONNAIRES
In order to give further interpretation to the find ings of both questionnaires, it is necessary to compare the findings of each and state where they are in agreement and where they disagree. The implications of the comparison will be stated, resulting in further refinement of the data.
Master lists of competencies found to be “most important" and "least important" in the opinions of both the public school music supervisors and the college music educators will then be compiled. The factors not incorporated into either of the above lists will then be considered to be of
"moderate Importance" and listed as such.
Comparison of Findings
Agreements of Opinion
Of thirty items appearing on the list of most Impor tant factors according to the results from music supervisors, twenty-three also appear on the parallel listing of thirty- four factors from the College Music Educators' Questionnaire.
Of the thirty-four factors from the returns of the college
91 92 educators, rated as most important, eleven fail to appear on the listing from the other questionnaire. Twenty-three factors are common to both lists. The importance rating indicated with each factor was determined by arbitrarily striking a mid-point between the two percentages reported as most important, from each form of the questionnaire.
These factors, listed in descending order of this resultant importance rating, appear in Table 23.
Of twenty-two competencies appearing on the list of factors with the highest percentage of response in the two lowest importance levels, from music supervisors, eighteen are also found on the comparable list from college music educators. Of the twenty-five factors on the list of lesser importance from the college persons, seven are not found on the list from the supervisors. Eighteen factors are common to both lists. These appear in Table 24. Once again, they are in order of the rating arrived at by taking the mid-point between the percentages reported in tabulat ing returns from both groups of respondents. On these tables and the ones immediately following Form I refers to the Public School Music Supervisors’ Questionnaire, Form II refers to the College Music Educators’ Questionnaire. 93
TABLE 23
FACTORS CONSIDERED MOST IMPORTANT WHICH APPEAR ON LISTS FROM BOTH MUSIC SUPERVISORS1 AND COLLEGE EDUCATORS' QUESTIONNAIRES
Identi Impor flca- tance Per Cent on tlon Factor Rating Form I Form II II B 8 Singing and the use of the voice 96.5 93 100
II A 7 Prescription for faulty tone 95.5 93 98
II A 6 Diagnosis of faulty tone 95 94 96
III A 5 Functional breathing 95 95 95
I E 3 Motivate in students a desire to learn to sing 94 92 96
III A 3 Proper and effective use of the singing voice 94 90 98
II A 1 Voice classification 93.5 89 98
III A 4 Beauty in tone 93.5 94 93
III A 6 Clear enunciation 93 93 93
II A 2 Male and female voices 92.5 89 96 I A 1 Recognize musical needs of singers 91.5 87 96
II A 3 Care of, limitations of, and capabilities of adolescent voice 90 93 87
I C 3 Achieve good group tone 89.5 97 82
III B 10 Enjoyment of music 88.5 87 90 I A 2 Recognize technical needs of singers 88 87 89
I E 2 Challenge musical talent 87.5 86 89 I E 4 Establish and develop standards 87.5 86 89 94
TABLE 23 (CONTINUED)
Identi Impor fica tance Per Cent on tion Factor Rating Form I Form II II E 3 Ways of releasing a voice from tension 86.5 80 93 I E l Recognize musical talent 86 86 86
III B 11 Understanding of music 84 82 86
II B 1 Sight singing 83 81 85 II B 10 The development of auditory sensitivity 83 80 86
U... B . i . Ear-training 81.5 81 82 I. Personal Skills (to be able to). II. Personal Knowledge (to have knowledge of). III. Ability to Teach (to have ability to develop). A. Functional Skills and Abilities. B. Musicianship and Musical Facts. C. Ensemble and Group Techniques. D. Professional Understandings. E. Psychological, Physiological, and Philosophical Factors. 1, 2, 3> etc.: Order of appearance on questionnaire.
TABLE 24
FACTORS CONSIDERED LEAST IMPORTANT APPEARING ON LISTS FROM BOTH MUSIC SUPERVISORS" AND COLLEGE EDUCATORS' QUESTIONNAIRES
Identifi- Impor- fica- tance Per Cent on tion Factor Rating Form I Form II I A 4 Translate foreign song texts 54.5 67 42
I D 3 Operate audio-visual aids 47.5 44 51 III E 1 Functional usage of tests and measurements in music 38.5 42 35 I E 8 Administer and interpret tests and measurements in music 36 39 33 95 TABLE 24 (CONTINUED)
Identi Impor fica- tance Per Cent on tion Factor Ratine Form I Form II I C 5 Lead recreational singing 32 31 33 I D 2 Encourage singing of serious music in the home 30.5 27 34
III C 2 A functional usage of audio visual aids 30.5 32 29
I A 3 Pronounce foreign song texts 28 34 22
I D 1 Relate music to the home 27.5 17 38
II D 3 Availability of current audio-visual aids 22.5 21 24 III A 2 Singers for contests and auditions 21.5 32 11 II E 1 Availability and limitations of tests and measurements in music 20.5 21 20
IIIB 4 Facility in keyboard harmony 20.5 16 25 III B 6 Understanding of form and analysis 18 20 16
II E 4 Physiological terms related to voice production 17.5 22 13
II E 7 Potential of music in charac ter building 17.5 11 24
IB 3 Classify types of songs 16 19 13
IIIB 5 Knowledge of music history and literature 11.5 10 13 I. Personal Skills (to be able to). II. Personal Knowledge (to have knowledge of). III. Ability to Teach (to have ability to develop). A. Functional Skills and Abilities. B. Musicianship and Musical Facts. C. Ensemble and Group Techniques. D. Professional Understandings. E. Psychological,Physiological,and Philosophical Factors. 1, 2, 3, etc.: Order of appearance on questionnaire. Differences of Opinion
As reported above, seven factors rated high enough percentage-wise to be included on the list of most impor tant from the music supervisors, that are not found on the opposite list. The differences in percentage points range from four to twenty-three. These factors, with their percentages of difference are as follows:
Conduct vocal groups effectively: 23 Achieve balance in a choral group: 23 Achieve skill in a choral group: 22 Techniques of group voice procedure: 19 The relationship of music to the curriculum: 16 Principles of group voice procedure: 12 Exercise an understanding of aesthetic sense: H
It will be noted that five of the seven deal with group work. These factors appear in Table 25.
On the listing of highest rated factors from college and university teachers, there are eleven factors which are not on the list compiled from the public school music super visors reports. Table 26 shows that these range from four to twenty-one percentage points difference from the responses to the same factors from the supervisors. Of the
eleven factors, four of the first five, in order of the per centage points of response as most important on the College
Educators' Questionnaire, are in the sub-classification of
Psychological, Physiological, and Philosophical Factors, and
range from 89 to 93 per cent response on this form. Five 97 TABLE 25
FACTORS APPEARING ON LIST OF MOST IMPORTANT FACTORS FROM MUSIC SUPERVISORS' QUESTIONNAIRE, NOT FOUND ON THE SIMILAR LIST FROM COLLEGE MUSIC EDUCATORS
Identi Rank on fica Per Cent on Form I tion Factor Form I Form II 9 I C 4 Conduct vocal groups effec tively 92 69 12 I C 2 Achieve balance in a choral group 90 67
20 I C 1 Achieve skill in a choral group 86 64
22 II C 1 Principles of group voice procedure 85 73
23 II C 2 Techniques of group voice procedure 83 64
24 H H 2 The relationship of music to the curriculum 82 66
28 I B 2 Exercise an understanding of aesthetic sense 80 76
I. Personal Skills (to be able to), II, Personal Knowledge (to have knowledge of), III. Ability to Teach (to have ability to develop). A. Functional Skills and Abilities. B. Musicianship and Musical Facts. C. Ensemble and Group Techniques. D. Professional Understandings. E. Psychological, Physiological, and Philosophical Factors. 1, 2, 3* etc.: Order of appearance on questionnaire. 98 TABLE 26
FACTORS APPEARING ON LIST OF MOST IMPORTANT FROM COLLEGE MUSIC EDUCATORS' QUESTIONNAIRE NOT FOUND ON SIMILAR LIST FROM MUSIC SUPERVISORS
Identi Rank on fica- Per Cent on Form II tion Factor Form I Form II 10 II E 2 Voice production and ten^ sion 93 75
14 III B 13 Powers of interpretation 93 72
19 I E 5 Adapt procedures to individ uals circumstances, and conditions 89 79 20 I E 6 Inspire students toward the establishment of goals 89 78
21 I E 7 Exercise a breadth of musical tests 89 78
22 III B 9 A more conscious aesthetic sense 88 67
26 III A 9 Workable remedial techniques 86 67
28 III B 12 Standards of judgment 86 71
30 II B 7 Great song literature 85 67
31 III B 1 Singing skill 83 79
34 II A 9 Solo and choral material 80 71
I. Personal Skills (to be able to). II. Personal Knowledge (to have knowledge of). III. Ability to Teach (to have ability to develop).
A. Functional Skills and Abilities. B. Musicianship and Musical Facts. C. Ensemble and Group Techniques. D. Professional Understandings. E. Psychological, Physiological, and Philosophical Factors. 1, 2, 3, etc.j Order of appearance on questionnaire. 99 other factors of the eleven are from the sub-group of
Musicianship and Musical Facts.
In relation to factors appearing on the list of les ser importance from the supervisors, which are not found on the similar list from college educators, all four are from the sub-classification of Functional Skills and Abilities.
The differences between percentages in the lower levels of importance range only from 3 to 8 per cent. These appear as Table 27. There is a greater difference of opinion evident in the list of lowest rated factors from the College Music
Educators* Questionnaire, particularly in the ones which do not appear on the parallel list from the music supervisors.
The smallest difference in percentage points is seven, all others range from nine to twenty. These are higher than the differences which were reported above. The factors repre senting the four highest differences of opinion, will be considered in making up the master list. These factors have percentage points of difference of twenty, fourteen, eleven, and eleven, respectivelys
Conduct vocal groups effectively Good citizenship through musical activity Current pedagogical practice Achieve balance in a choral group 100
TABLE 27
FACTORS ON LIST OF LEAST IMPORTANT FACTORS FROM MUSIC SUPERVISORS' QUESTIONNAIRE, NOT FOUND ON LIST OF LEAST IMPORTANT FACTORS FROM COLLEGE EDUCATORS' QUESTIONNAIRE
Identi fica Per- Cent on Rank tion Factor Form I Form II 17 III A 10 Out-of-school practice techniques 15 7
18 II A 4 Voice teaching terminology 13 6 20 III A 8 Working relationship between song and speech 10 7
21 II A 10 Vocalises and their use 1 0 I, Personal Skills (to be able to). II. Personal Knowledge (to have knowledge of). III. Ability to Teach (to have ability to develop). A. Functional Skills and Abilities.
The other two, at 9 point higher percentage of response as of lesser importance than from the other form are:
Understanding of and respect for common problems The coordination of the larger muscles of the vocal mechanism
These factors are presented as Table 28.
In order to compile as complete a listing of most and least important factors, for later use in building a list of competencies for music teachers, the factors reviewed above, as being reported significantly on one questionnaire form, and not on the other, will be included on the following basis: the factors on each list will be given an importance 101
TABLE 28 FACTORS ON LIST OF LEAST IMPORTANT FACTORS FROM COLLEGE EDUCATORS* QUESTIONNAIRE NOT FOUND ON LIST OF LEAST IMPORTANT FACTORS FROM MUSIC SUPERVISORS* QUESTIONNAIRE
Identi fica Per Cent on Rank tion Factor Form II Form I 12 III E 2 Good citizenship through musical activity 23 9 14 I C 4 Conduct vocal groups effectively 20 0
17 III E 3 Understanding of and respect for common problems 15 6
18 II A 5 Current pedagogical practice 14 3
19 III B 2 Understanding of harmony 14 7
22 II E 5 The coordination of the larger muscles of the vocal mechanism 13 4 24 I C 2 Achieve balance in a choral group 11 0
I. Personal Skills (to be able to). II. Personal Knowledge (to have knowledge of). III. Ability to Teach {to have ability to develop). A. Functional Skills and Abilities B. Musicianship and Musical Facts. C. Ensemble and Group Techniques. D. Professional Understandings. E. Psychological, Physiological, and Philosophical Factors. 1, 2, 3, etc.: Order of appearance on questionnaire. 102
rating, as were the unquestioned ones, and Included with the
new rating listed, thus representing both groups of
respondents. The resultant ratling will fall below the
minimum percentage used for importance in many cases. For
example, the factor concerning the "ability of a vocal music
teacher to conduct vocal groups effectively, receiving 92
per cent response as most important from supervisors, but
only 69 per cent from college teachers, will have the new
importance rating of 80.5, and will be included in the list,
with the reservations as stated.
Table 29 is a listing of these factors, as compiled
from Tables 25 and 26. Table 30 is a listing of factors
from Tables 27 and 28, presenting the least important fac
tors. Those appearing on one list as being least important,
and not on the other, will assume a new rating derived from
the two percentages on both forms of the questionnaire, and
included as least important with reservations. It will be
noted that some of the factors fall below the percentage
minimum stated earlier of 10 or above as combined slightly
and not important.
Two factors Included on Table 30 also appear on Table
29, as being not common to both on the highest rated factors list. For this reason they will be included as highest, and
not considered as lowest. 103
TABLE 29
COMBINED LIST OP MOST IMPORTANT FACTORS NOT APPEARING ON BOTH LISTS PROM QUESTIONNAIRE, BOTH FORMS
Identi Impor fica- tance Per Cent of tion Factor Ratine Form I Form II I E 5 Adapt procedures bp individ uals, circumstances, and conditions 84 79 89
II E 2 Yoice production and tension 84 75 93 IE 6 Inspire students toward the establishment of goals 83.5 78 89
III B 13 Powers of interpretation 82.5 72 93
IE T Exercise a breadth of musical taste 81.5 74 89
IIIB 1 Singing skill 81 79 83 IC 4 Conduct vocal groups effec tively 80.5 92 69 II C 1 Principles of group voice procedure 79 85 73 I C 2 Achieve balance in a choral group 78.5 90 67
IIIB 12 Standards of judgment 78.5 71 86 IB 2 Exercise an understanding of aesthetic sense 78 80 76
III B 9 A more conscious aesthetic sense 77.5 67 88
III A 9 Workable remedial techniques 76.5 67 86
II B 7 Great song literature 76 67 85
II A 9 Solo and choral material 75.5 71 80 I C 1 Achieve skill in a choral group 75 86 64 104 TABLE 29 (CONTINUED)
Identi- Impor fica- tance Per Cent on tion Factor Rating Form I Form II II D 2 The relationship of music to the curriculum 74 82 66
II C 2 Techniques of group voice procedure 73.5 83 64 I. Personal Skills (to be able to). II. Personal Knowledge (to have knowledge of). III. Ability to Teach (to have ability to develop). A. Functional Skills and Abilities. B. Musicianship and Musical Facts. C. Ensemble and Group Techniques. D. Professional Understandings. E. Psychological, Physiological, and Philosophical Factors. 1, 2, 3, etc.: Order of appearance on questionnaire.
TABLE 30
COMBINED LIST OF LEAST IMPORTANT FACTORS NOT APPEARING ON BOTH LISTS FROM QUESTIONNAIRE, BOTH FORMS
Identi Impor fica tance Per Cent on tion Factor Rating Form I Form II III E 2 Good citizenship through musical activity 16 9 23 III A 10 Out-of-school practice techniques 11 15 7
III B 2 Understanding of harmony 10.5 7 14
III E 3 Understanding of and respect for common problems 10.5 6 15 *1 C 4 Conduct vocal groups effectively 10 0 20
II A 4 Voice teaching terminology 9.5 13 14 II A 5 Current pedagogical practice 8.5 3 14 105 TABLE 30 (CONTINUED)
Identi Impor fica tance Per Cent on tion ...Eafcto, Rating Form I Form II II E 5 The coordination of the large muscles of the vocal mechanism 8.5 4 13 III A 8 Working relationship between song and speech 8.5 10 7
II A 10 Vocalises and their use 7 10 4 *1 C 2 Achieve balance in a choral group 5.5 0 11 I. Personal Skills (to be able to). II. Personal Knowledge (to have knowledge of). III. Ability to Teach ( to have ability to develop). A. Functional Skills and Abilities. B. Musicianship and Musical Facts. C. Ensemble and Group Techniques. D. Professional Understandings. E. Psychological, Physiological, and Philosophical Factors. 1, 2, 3, etc.: Order of appearance on questionnaire. *These factors also appeared on the list of factors to be added to the ones rated most important, and so will be discounted here.
Significant Comparison
Of ninety-two factors used in the two forms of the questionnaire, twenty-three have been found, by the process described in detail earlier, to be most important in the preparation of a public school music teacher. These are included as being most important by taking those that were rated in that category by 80 per cent or more of the per sons answering the questionnaire. An additional group of 106 eighteen factors has been discussed as having been rated this high by 80 per cent or more on one form of the ques tionnaire, but not on the other. This brings to a total of forty-one, the factors which, within these limitations, are being considered significantly important on one or the other forms, in the opinions of public school music supervisors, and representatives of teacher education institutions.
Likewise, a listing of eighteen factors has been identified as being of lesser importance by both groups of respondents. These total 10 per cent or more response in the combined slightly and not important levels of impor tance. An additional group of eleven factors is rated of lesser importance by one or the other of the groups sur veyed. Two of this group of eleven, however, also appear in the most important list with reservation, so are being eliminated here. This remaining nine, plus the eighteen identified above makes a total of twenty-seven factors that are being considered as being of significantly lesser importance.
Twenty-four factors are of the middle group, not receiving sufficient mention as being of either greater, or lesser, importance to include on one or the other lists.
Prom these findings, the listing of the factors from the combined ratings by the two groups of respondents is presented. They are presented in questionnaire order. The first list, appearing as Table 31, is the composite list of all factors rated as most important by 80 per cent or more of the respondents on both forms of the questionnaire, or on one or the other of the forms. The second list, Table
32, is a presentation of the middle group, and is stated as being moderately important. The third list, Table 33 is
stated as least important. Percentages of response are
eliminated at this point in the development of the research, due to their having served their purpose: the refinement
of the data as to relative importance.
TABLE 31
MOST IMPORTANT COMPETENCIES FROM BOTH FORMS OF THE QUESTIONNAIRE
Identification Factor It is most important that a vocal music teacher be able to:
I A 1 Recognize musical needs of singers. I A 2 Recognize technical needs of singers. IB 2 Exercise an understanding of aesthetic sense I C 1 Achieve skill in a choral group. I C 2 Achieve balance in a choral group. IC 3 Achieve good group tone. I C 4 Conduct vocal groups effectively. I E 1 Recognize musical talent. I E 2 Challenge musical talent. I E 3 Motivate in students a desire to learn to sing. I E 4 Establish and develop standards. IE 5 Adapt procedure to individuals, circum stances, and conditions. I E 6 Inspire students toward the establishment of goals. I E 7 Exercise a breadth of musical taste. 108
TABLE 31 (CONTINUED)
Identification Factor It is most Important that a vocal music teacher have the knowledge of:
II A 1 Voice classification. II A 2 Male and female voices. II A 3 Care of, limitations of, and capabilities of the adolescent voice. II A 6 Diagnosis of faulty tone. II A 7 Prescription for faulty tone. II A 9 Solo and choral material. IIB 1 Sight-singing. II B 3 Ear-training. II B 7 Great song literature. II B 8 Singing and the use of the voice. II B 10 The development of auditory sensitivity. IIC 1 Principles of group voice pan cedure. IIC 2 Techniques of group voice procedure. II D 2 The relationship of music to the total school curriculum. II E 2 Voice production and tension. II E 3 Ways of releasing a voice from tension. It is important that a vocal music teacher have the ability to develops III A 3 Proper and effective use of the singing voice. III A 4 Beauty in tone. III A 5 Functional breathing. III A 6 Clear enunciation. III A 9 Workable remedial techniques. IIIB 1 Singing skill III B 9 A more conscious aesthetic sense. III B 10 Enjoyment of music IIIB 11 Understanding of music. IIIB 12 Standards of judgment. III B 13 Powers of Interpretation. I: Personal Skill (to be able to). II: Personal Knowledge (to have knowledge of). Ill; Ability to Teach (to have ability to develop). A. Functional Skills and Abilities. B. Musicianship and Musical Facts. C. Ensemble and Group Techniques. D. Professional Understandings. E. Psychological, Physiological, and Philosophical Factors. 1, 2, 3, etc.: Order of appearance in questionnaire. 109 TABLE 32
MODERATELY IMPORTANT COMPETENCIES PROM BOTH FORMS OF THE QUESTIONNAIRE
Identification Factor It is moderately important that a vocal music teacher be able tos
IB 1 Sing creditably himself. I D 4 Assist students in the identification of goals, objectives, outcomes. ID 5 Achieve mutual cooperation with other staff members. I E 9 Develop a mutuality of participation. I E 10 Incorporate voice instruction into larger musical growth. I E 11 Exercise extreme patience. It is moderately important that a vocal music teacher have the knowledge of: II A 8 Available materials and methods. II B 2 Harmony. II B 4 Keyboard Harmony. IIB 5 Music history and literature. IIB 6 Form and analysis. II B 9 Classification of types of songs. II D 1 The relation of the school to the community. II E 6 The potential of music in the development of personality. It is moderately important that a vocal music teacher be able to develop: III A 1 Acceptable solo singers. III A 7 Sight-singing skill. III B 3 Functional ear-training. III B 7 Appreciation of great song literature. III B 8 Listening skill. III C 1 Techniques of mutual constructive criticism. III E 4 Music as an opportunity for self-expression. III E 5 Poise. III E 6 Self-assurance. III E 7 Respect for variety in musical taste.
I: Personal Skill (to be able to). II: Personal Knowledge (to have knowledge of). Ills Ability to Teach (to be able to develop). A, Functional Skills and Abilities. 110
TABLE 32 (CONTINUED)
B. Musicianship and Musical Facts. c. Ensemble and Group Techniques. D. Professional Understandings. E. Psychological, Physiological, and Philosophical Factors • 1 , 2, 3, etc.: Order of appearance in questionnaire.
TABLE 33
LEAST IMPORTANT COMPETENCIES FROM BOTH FORMS OF THE QUESTIONNAIRE
Identification Factor It Is least Important that a vocal music teacher be able to:
IA 3 Pronounce foreign song texts. I A 4 Translate foreign song texts. _ I B 3 Classify types of songs. I C 5 Lead recreational singing. ID 1 Relate music to the home. I D 2 Encourage the singing of serious music in the home. ID 3 Operate audio-visual aids. IE 8 Administer and interpret tests and measure ments in music.
It Is least important that a vocal music teacher have the knowledge of:
II A 4 Voice teaching terminology. II A 5 Current pedagogical practice. II A 10 Vocalises and their use. II D 3 Availability of current audio-visual aids. II E 1 The availability and limitations of tests and measurements in music. II E 4 Physiological terms related to voice production. II E 5 The coordination of the large muscles of the vocal mechanism. II E 7 The potential of music in character building. 111
TABLE 33 (CONTINUED)
Identification Factor
It is least important that a vocal music teacher be able to develop:
Ill A 2 Singers ftor contests and auditions. III A 8 A working relationship between singing skill and speech. III A 10 Out-of-school practice techniques. III B 2 Understanding of harmony. IIIB 4 Facility in keyboard harmony. III B 5 Knowledge of music history and literature. IIIB 6 Understanding of form and analysis. IIIC 2 A functional usage of audio-visual aids. III E 1 Functional usage of tests and measurements in music. III E 2 Good citizenship through musical activity. III E 3 Understanding of and respect for common problems.
I: Personal Skills (to be able to). II: Personal Knowledge (to have the knowledge of). Ill: Ability to Teach (to be able to develop).
A. Functional Skills and Abilities. B. Musicianship and Musical Facts. C. Ensemble and Group Techniques. D. Professional Understandings. E. Psychological, Physiological, and Philosophical Factors.
1, 2, 3, etc.: Order of appearance in questionnaire. 112
Summary
In comparing the findings of both forms of the ques tionnaire, it was found that certain factors were common to both listings, those of most importance, and those of least importance. Other factors appeared on the appropriate list from one group of educators, and not from the other. Both lists were combined, in the two extremes of importance, and a middle group, considered to be of moderate importance, was formed.
It was found that public school music supervisors are more concerned with the teacher’s ability to work with the students in groups than are the college music educators.
This is substantiated by the fact that the greatest differ ence appeared in the Ensemble and Group Techniques classifi cation, with many more ratings of most important from public school music supervisors than from college educators in relation to group conducting, balance, skill, and principles and techniques of group voice procedure.
Five factors were rated significantly higher by college respondents than by supervisors: the knowledge of great song literature, workable remedial techniques, and voice production and tension; and the ability to develop In others the powers of interpretation, and a more conscious aesthetic sense. A considerably greater percentage of col lege and university educators than music supervisors feel that it is of lesser importance that a public school music 113 teacher be able to conduct vocal groups effectively. The ability to develop good citizenship appeared as least important from a significantly larger representation of college persons than supervisors. Forty-one of the ninety-two factors are considered to be most important, twenty-four are listed as moderately important, and twenty-seven as least Important. These will be used in the application of the relative importance of each factor to class voice instruction, the second phase of the study. CHAPTER V
REPORT OP DATA RELATED TO CLASS YOICE INSTRUCTION
The Relation of Class Voice to Factors on Music Supervisors * and College Music Educators 1 Questionnaires
The problem as stated on page three pointed out two purposes of the study, to identify competencies felt by two groups of music educators to be desirable for public school vocal music teachers, and to determine how effectively
class voice instruction can anticipate and prepare for
these needs. The college music educators, who work exten
sively with vocal music teacher candidates, were asked to
respond to the questionnaire in three ways to assist in the
determination of this data.
As previously reported, the first reaction was to the
relative importance of each factor for the college or uni versity student preparing to teach vocal music in the public
schools. A second response, relating to the feasibility of
including each specific factor as a part of the class voice
experience in the teacher education curriculum, provided an
opportunity for the respondent to reply "yes" or ‘’no ’1 by
using a check mark. The third consideration given to each factor was an optional portion requesting persons 114 115 representing schools offering class voice at the present time, to state whether or not the specific factor was included in the class voice course of study. The latter two reactions will be presented in the following two sec tions, and the data reconciled for later application to the relating importance determined earler.
Feasible Inclusion of Factors in Class Voice Instruction
For purposes of making this phase of the research as meaningful as possible, the author has listed the factors in order of percentage of response as to the feasibility of their inclusion in a class voice experience. These percent ages represent the opinions of the college and university persons responding to the questionnaire, and refer to the affirmative answer to ‘'the possibility of including this training as a part of the class voice experience.” In cases of identical percentages of response, the factors are listed in order of their appearance on the questionnaire. For pur poses of reporting, the term "possible” in "possible to include" is being interpreted as meaning feasible— or
"wisely possible."
The column headed "Percentage of Answers to Factors" represents the percentage of persons, of all those respond ing to the entire questionnaire, who actually answered questions relating to these factors. It will be noted that 116 these percentages are comparatively small, when compared with the percentages of response to the degree of Impor tance. This relatively small percentage may he due to one of two factors: the reluctance of respondents to state whether or not the specific factor can be included in the class voice experience, or it may be due to a misunderstand ing of the instructions.
The instructions stated: “Please indicate the degree of importance which give to each of the factors by placing an X in the appropriate column, then give your opinion as to the possibility of including this training as a part of the class voice experience by checking “yes" or "no.” In the third column check "yes" or "no" only if class voice is actually being offered in your institutions, indicating that the specific factor either is, or is not, being taught through the course content. If your school does not offer class voice, please leave the double column to the far right blank."
The writer feels that a great many of the respondents who do, offer class voice left the center column blank, which refers to "possible inclusion in course." This could be due to a feeling that the check-mark in the column "presently included" would suffice. The reader's attention to Appendix
D will make this point more clear.
Appendix J shows all of the responses as to whether each specific factor on the College Music Educators' 117 Questionnaire can be wisely included in the class voice experience for music teacher education students.
Of the ninety-two factors, 62 per cent, received responses from 80 per cent or more of the college and uni versity persons, that they could be included in class voice.
For purposes of organization, this is considered to be Part A of Table 34. Another 18 per cent were considered possible to include in class voice by from 60 per cent through 79 per cent of the respondents. These are listed as Part B of
Table 34.
Part A of Table 34 is being interpreted to mean the section including those factors possible to include in class voice, due to the factors having received affirmative answers from eight out of ten respondents or higher. Part B is being used as somewhat feasible to include, as the answers repre sent from 60 per cent through 79 per cent of respondents to each factor. The remaining factors received responses of
59 per cent and lower. This section is presented as a sep arate table, in reverse, in order to facilitate later appli cation, and for contrast. Table 35 presents the factors receiving responses of 41 per cent and above as "not pos sible to include." The minimum percentages in each section have been chosen arbitrarily, as means of refining the data. 118
TABLE 34
FEASIBILITY OF INCLUDING FACTORS IN CLASS VOICE EXPERIENCE FROM COLLEGE MUSIC EDUCATORS' QUESTIONNAIRE
Identi- Percent- fica- age tion "yes" Factor PART "A” II A 4 100 Voice teaching terminology II A 10 100 Vocalises and their use II A 1 97 Voice classification II A 6 97 Diagnosis of faulty tone II A 7 97 Prescription for faulty tone III C 1 96 Techniques of mutual constructive criticism III E 5 96 Poise III E 6 96 Self-assurance I E 4 94 Establish and develop standards II A 2 94 Male and female voices II E 3 94 Ways of releasing a voice from tension III A § 94 Functional breathing III A 6 94 Clear enunciatbn I A 4 93 Beauty in tone III A 8 93 A working relationship between singing skill and speech III A 9 93 Workable remedial techniques III A 10 93 Out-of-school practice techniqes III E 7 93 Respect for variety in musical taste ■ I A 1 91 Recognize musical needs of singers I A 2 91 Recognize technical needs of singers I B 3 91 Classify types of songs I E 10 yi Incorporate voice instruction into larger musical growth II B 8 91 Singing and the use of the voice I E 2 90 Challenge musical talent I E 3 90 Motivate in students a desire to learn to sing I E 5 90 Adapt procedures to individuals, cireurn stances, and conditions I E 11 90 Exercise extreme patience II A 8 90 Available materials and methods II E 2 90 Voice production and tension III A 3 90 Proper and effective use of the singing voice III B 10 90 Enjoyment of music III E 4 89 Music as an opportunity for self- expression TABLE 34 (CONTINUED)
Identi- Percent fica- age tion “yes11 Factor I E 6 88 Inspire students toward establishment of goals I E 7 88 Exercise a breadth of musical taste II B 7 88 Great song literature II B 10 88 The development of auditory sensitivity II C 1 88 Principles of group voice procedure II C 2 88 Techniques of group voice procedure II E 5 88 The coordination of the larger muscles of the vocal mechanism I B 1 87 Sing creditably himself I E 1 87 Recognize musical talent II E 4 87 Physiological terms related to music III B 9 87 A more conscious aesthetic sense III B 12 87 Standards of judgment III B 1 86 Singing skill III B 11 86 Understanding of music II B 1 85 Sight-singing II A 9 84 Solo and choral material IIIB 7 83 Appreciation of great song literature II B 3 82 Ear-training II B 9 81 Classification of types of songs I E 9 80 Develop a mutuality of participation III A 1 80 Acceptable solo singers III B 3 80 Functional ear training III B 8 80 Listening Skill PART "B" II A 3 79 Care of, limitations of, and capabili ties of the adolescent voice III A 7 79 Sight-singing skill II E 6 78 The potential of music in the development of personality IC 3 77 Achieve good group tone II A 5 76 Current pedagogical practice I D 4 76 Assist students in the identification TABLE 34 (CONTINUED) Identi Percent fica age tion "yes" Factor III B 5 63 Knowledge of music history and litera ture I D 5 61 Achieve mutual cooperation with other staff members II D 1 61 The relationship of music to the community II D 3 61 Availability of current audio-visual aids III B 6 61 Understanding of form and analysis III A 2 60 Singers for contests and auditions Is Personal Skills (to be able to). II: Personal Knowledge (to have the knowledge of). Ill: Ability to Teach (to be able to develop). A. Functional Skills and Abilities. B. Musicianship and Musical Facts. C. Ensemble and Group Techniques. D. Professional Understandings. E. Psychological, Physiological, and Philosophical Factors. 1, 2, 3, etc.: Order of appearance in questionnaire. 12£ TABLE 35 FACTORS NOT FEASIBLE TO INCLUDE IN CLASS VOICE INSTRUCTION FROM COLLEGE MUSIC EDUCATORS* QUESTIONNAIRE Identi Percent fica age .. tion yes" Factor IA 4 68 Translate foreign song texts I D 3 68 Operate audio-visual aids I E 8 61 Administer and Interpret tests and measurements In music III E 1 60 Functional usage of tests and measure ments In music IC 4 59 Conduct vocal groups effectively III B 4 55 Facility in keyboard harmony II E 1 54 The availability and limitations of tests and measurements in music III E 2 50 Good citizenship through musical activity II E 7 49 The potential of music in character building I D 1 46 Relate music to the home I B 2 46 Harmony II B 4 46 Keyboard harmony III C 2 46 A functional usage of audio-visual aids IC 5 45 Lead recreational singing I D 2 43' Encourage the singing of serious music in the home III B 2 42 Understanding of harmony II B 5 4l Musical history and literature Is Personal Skills (to be able to). II: Personal Knowledge (to have the knowledge of). Ill: Ability to Teach (to be able to develop). A. Functional Skills and Abilities. B. Musicianship and Musical Facts. C. Ensemble and Group Techniques. D. Professional Understandings. E. Psychological, Physiological, and Philosophical Factors. 1, 2, 3, etc.: Order of appearance in questionnaire. The Present Inclusion of Factors In Class Voice Teaching Table 36 lists all of the factors Included in the questionnaire in the order of percentage of response as to the present inclusion of the factors in schools actually teaching class voice as a course area. In cases where the percentages of response, based upon the total number of answers to each specific factor, are the same, they are listed in the order of appearance on the questionnaire. A third column lists the total percentage of answers to each factor, compared to the total response to this sec tion of the questionnaire. The "yes" and "no" answers are based on 100 per cent of the replies to each factor. The table is divided into two sections. Part A includes those factors receiving responses as presently included by from 80 per cent to 100 per cent of the schools. This section makes up 54 per cent of the questionnaire. Par;t B includes 18 per cent of the total number of factors, which received from 60 per cent through 79 per cent response. Appendix K is a list of all the factors included in the questionnaire and the responses of the college and uni versity persons answering to each specific factor as to whether the factor is "presently included in the class voice teaching." Part "A" of Table 36 is being interpreted to mean that the factors listed are presently Included in class 123 voice, due to having received the "yes” response from 80 per cent to 100 per cent of the college music educators to each of the specific factors. Part "b" is being considered as those factors presently included in class voice in many schools, having received responses of from 60 per cent through 79 per cent to that effect. The remaining factors appear as Table 3t* Responses indicated that these factors are not being included in class voice instruction by from 41 per cent to 84 per cent of the respondents. TABLE 36 124 RESPONSE AS TO FACTORS PRESENTLY INCLUDED IN CLASS VOICE EXPERIENCE FROM COLLEGE EDUCATORS' QUESTIONNAIRE Iddnti- Percent- fica- age tlon "Yes11 Factor Part A I A 1 100 Recognize musical needs of singers I B 1 100 Sing creditably himself IB 2 100 Exercise an understanding of aesthetic sense II A 4 100 Voice teaching terminology ' II A 6 100 Diagnosis of faulty tone II A 7 100 Prescription for faulty tone II B 8 100 Singing and the use of the voice II E 2 100 Voice production and tension II E 3 100 Ways of releasing a voice from tension III A 4 100 Beauty in tone III A 3 100 Functional breathing III E 5 100 Poise III E 6 100 Self-assurance I A 2 98 Recognize technical needs of singers II A 1 98 Voice classification III A 3 9 6 Proper and effective use of the singing voice III A 6 96 Clear enunciation III B 13 96 Powers of interpretation I E 3 94 Motivate In students a desire to learn to sing I E 4 94 Establish and develop standards II A 10 94 Vocalises and their use II A 2 93 Male and female voices II B 7 93 Great song literature III B 1 93 Singing skill III C 1 93 Techniques of mutual constructive criticism III B 9 92 A more conscious aesthetic sense III B 10 92 Enjoyment of music ! III B 12 92 Standards of judgment III E 4 92 Music as an opportunity for self- expression I B 3 90 Classify types of songs I E 5 90 Adapt procedures to individual, circum stances, and conditions I E 7 90 E3Cei?cise a breadth of musical taste II A 8 90 Available materials and methods III A 9 89 Workable remedial techniques III B 7 89 Appreciation of great song literature 125 TABLE 36 (CONTINUED) Identi- Percent fica- age a m . , ...... "Yes11 Factor Ill E 7 89 Respect for variety in musical taste I E 2 87 Challenge musical talent I E 6 87 Inspire students toward establishment of goals I E 10 87 Incorporate voice instruction into larger musical growth II B 9 87 Classification of types of songs II E 5 87 The coordination of the larger muscles of the vocal mechanism I E 11 86 Exercise extreme patience III A 10 85 Out-of-school practice techniques III B 11 85 Understanding of music II B 10 84 The development of auditory sensitivity II A 9 83 Solo and choral material II E 4 83 Physiological terms related to voice production I E 9 82 Develop a mutuality of participation III E 3 81 Understanding of and respect for common problems III B 3 80 Functional ear-training Part B III A 1 79 Acceptable solo singers II A 5 78 Current pedagogical practice II A 3 77 Care of, limitations of, and capabili ties of the adolescent voice III B 8 77 Listening skill I E 1 76 Recognize musical talent III A 7 76 Sight-singing skill I D 4 75 Assist students in identification of goals, objectives, and outcomes III A 8 74 A working relationship between singing skill and speech I C 3 72 Achieve good group tone II C 1 72 Principles of group voice procedure II C 2 72 Techniques of group voice procedure II B 3 71 Ear-training II B 1 70 Sight-singing I C 1 69 Achieve skill in a choral group I E 6 67 The potential of music in the develop ment of personality 126 TABLE 36 (CONTINUED) Identi- Percent fica- age tlon "Yes" Factor I A 3 64 Pronounce foreign song texts III B 5 60 Knowledge of music history and literature I: Personal Skills (to be able to). IIs Personal Knowledge (to have the knowledge of). Ill: Ability to Teach (to be able to develop). A. Functional Skills and Abilities. B. Musicianship and Musical Facts C. Ensemble and Group Techniques D. Professional Understandings E. Psychological, physiological, and philosophical Factors. 1, 2, 3, etc.: Order of appearance in questionnaire. TABLE 37 FACTORS NOT PRESENTLY INCLUDED IN CLASS VOICE INSTRUCTION FROM COLLEGE MUSIC EDUCATORS* QUESTIONNAIRE Identi- Percent fica- age tion Factor I D 1 84 Relate music to the home I E 8 83 Administer and interpret tests and measurements in music I D 3 82 Operate audio-visual aids III E 1 76 Functional usage of tests and measure ments in music II E 1 73 The availability and limitations of ~ tests and measurements in music I A 4 72 Translate foreign song tests III C 2 70 A functional usage of audio-visual aids I D 2 67 Encourage the singing of serious music in the home II B 4 67 Keyboard harmony 127 TABLJg 37 (CONTINUED) Identi Percent- fica ^ S 6 .. tion "No" Factor I C 4 66 Conduct vocal groups effectively II D 3 64 Availability of current audio-visual aids II E 7 64 The potential of music in character building II B 2 Harmony III B 4 6l Facility in keyboard harmony II D 1 59 The relationship of music to the community III E 2 58 Good citizenship through musical activity II B 6 55 Form and analysis II D 2 55 The relationship of music to the total school curriculum III B 2 54 Understanding of harmony I D 5 53 Achieve mutual cooperation with other stflff members II B 5 48 Musical history and literature III B 6 44 Understanding of form and analysis III A 2 43 Singers for contests and auditions I C 2 41 Achieve balance in choral groups I: Personal Skills (to be able to). IIs Personal Knowledge (to have the knowledge of). Ill: Ability to Teach (to be able to develop). A. Functional Skills and Abilities. B. Musicianship and Musical Facts. C. Ensemble and Group Techniques. D. Professional Understandings. E. Psychological, Physiological, and Philosophical Factors. 1, 2, 3, etc.: Order of appearance in questionnaire. 128 Comparison of Feasible and Present Inclusion of Factors In order to compare the reports from college and university personnel who responded to the questionnaire as to feasible and present inclusion of the various factors in class voice instruction, Parts "A” and "b" of the two lists shown in Tables 3^ and 36 will be combined. These will be used as a basis for later comparison to the importance levels determined in Chapter V. The factors receiving ^3- per cent or more response as being not feasible to include, and not presently included (Tables 35 and 37) will be com bined and considered as not to be included in class voice instruction. Table 38 presents a listing of factors considered both feasible to include and presently included in class voice instruction on the basis of the responses of the college music educators. It appears in the order first presented in the questionnaire. For clarity, the percent ages of response used for organization and refinement of the data, are omitted here. Table 39 lists the factors considered both not feasible to include, and not presently included in class voice. Again the factors are presented in questionnaire order, and the percentages are omitted. 129 TABLE 38 FACTORS DETERMINED TO BE BOTH FEASIBLE TO INCLUDE AND PRESENTLY INCLUDED IN CLASS VOICE INSTRUCTION, IN THE OPINIONS OF COLLEGE MUSIC EDUCATORS Identification ______Factor I A 1 Recognize musical needs of singers I A 2 Recognize technical needs of singers I A 3 Pronounce foreign song texts IB 1 Sing creditably himself IB 2 Exercise an understanding of aesthetic sense IB 3 Classify types of songs IC 1 Achieve skill in a choral group IC 3 Achieve good group tone I D 4 Assist students in the identification of goals, objectives, outcomes I E 1 Recognize musical talent I E 2 Challenge musical talent I E 3 Motivate in students a desire to learn to sing I E 4 Establish and develop standards I E 5 Adapt procedure to individuals, circum stances, and conditions I E 6 Inspire students toward the establishment of goals IE 7 Exercise a breadth of musical taste I E 9 Develop a mutuality of participation I E 10 Incorporate voice instruction into larger musical growth IE 11 Exercise extreme patience II A 1 Voice classification II A 2 Male and female voices II A 3 Care of, limitations of, and capabilities of the adolescent voice II A 4 Voice teaching terminology II A 5 Current pedagogical practice II A 6 Diagnosis of faulty tone II A 7 Prescription for faulty tone II A 8 Available materials and methods II A 9 Solo and choral materials II A 10 Vocalises and their use II B 1 Sight-singing II B 3 Ear-training IIB 7 Great song literature II B 8 Singing and the use of the voice IIB 10 The development of auditory sensitivity 130 TABLE 38 (CONTINUED) Identification ______Factor II C 1 Principles of group voice procedure IIC 2 Techniques of group voice procedure II D 2 Voice production and tension II D 3 Ways of releasing a voice from tension II D 4 Physiological terms related to voice pro duction II D 5 The coordination of the large muscles of the vocal mechanism II D 6 The potential of music in the development of personality III A 1 Acceptable solo singers III A 3 Proper and effective use of the singing voice III A 4 Beauty In tone IIIA 5 Functional breathing III A 6 Clear enunciation IIIA 7 Sight-singing skill IIIA 8 A working relationship between singing skill and speech III A 9 Workable remedial techniques IIIA 10 Out-of-school practice techniques IIIB 1 Singing skill IIIB 3 Functional ear-training IIIB 5 Knowledge of music history and literature IIIB 7 Appreciation of great song literature IIIB 8 Listening skill III B 9 A more conscious aesthetic sense IIIB 10 Enjoyment of music III B 11 Understanding of music IIIB 12 Standards of judgment III B 13 Powers of interpretation IIIC 1 Techniques of mutual constructive criticism III E 3 Understanding of and respect for common problems III E 4 Music as an opportunity for self-expression III E 5 Poise III E 6 Self-assurance UJ E 7 , Respect for variety in musical taste______ II: Personal Knowledge (to have the knowledge of). Ill: Ability to Teach (to be able to develop). A. Functional Skills and Abilities. B. Musicianship and Musical Facts. C. Ensemble and Group Techniques. 131 TABLE 38 (CONTINUED) D. Professional Understandings. E. Psychological, Physiological, and Philosophical Factors. 1, 2, 3 t etc.: Order of appearance in questionnaire. TABLE 39 FACTORS DETERMINED TO BE NOT FEASIBLE TO INCLUDE IN CLASS VOICE INSTRUCTION, AND NOT PRESENTED INCLUDED IN THE OPINIONS OF COLLEGE MUSIC EDUCATORS Identification Factor I A 4 Translate foreign song texts I C 4 Conduct vocal groups effectively I c 5 Lead recreational singing ID 1 Relate music to the home I D 2 Encourage the singing of serious music in the home ID 3 Operate audio-visual aids E 8 Administer and interpret tests and 1 measurements in music IIB 2 Harmony II B 4 Keyboard harmony II B 5 Musical history and literature II B 6 Form and analysis II E 1 The availability and limitations of tests and measurements in music IIE 7 The potential of music in character building III B 2 The understanding of harmony IIIB 4 Facility in keyboard harmony III C 2 A functional usage of audio-visual aids III E 1 Functional usage of tests and measurements .in music IIIE 2 Good citizenship through musical activity I: Personal Skills (to be able to). II: Personal Knowledge (to have the knowledge of). Ill: Ability to Teach (to be able to develop). A. Functional Skills and Abilities. B. Musicianship and Musical Facts. 132 TABLE 39 (CONTINUED) C. Ensemble and Group Techniques. D. Professional Understandings. E. Psychological, Physiological, and Philosophical Factors. 1, 2, 3, etc.: Order of appearance in questionnaire. Seven factors are considered debatable in this reconciliation of the data. These are listed in Table 40. In each case the percentages used for the listing as feasible to include are sufficient for inclusion, but the percentages of response as to being presently included are high enough to list them as not presently included. These factors will be left as debatable and applied as such. Other factors originally appearing at the minimum percentage level, 60 per cent, or just above it, for list ing as either feasible to include, or presently included, have gained sufficient response in the combining of the lists to remove them from any debatable consideration for the purpose of this report. 133 TABLE 40 FACTORS APPEARING AS BOTH FEASIBLE TO INCLUDE AND NOT PRESENTLY INCLUDED IN CLASS VOICE INSTRUCTION, IN THE OPINIONS OF COLLEGE MUSIC EDUCATORS Identi Per Cent fica Possible Not tion Factor to Include Included I C 2 Achieve balance in a choral group 67 47 I D 5 'Achieve mutual cooperation with other staff members 61 53 II D 1 The relationship of school music to the community 61 59 II D 2 The relationship of music to the total school curriculum 63 55 II D 3 Availability of current audio visual aids 61 64 III A 1 Singers for contests and auditions 60 43 III B 6 Understanding of form and analysis 61 44 I: Personal Skills ( to be able to). II: Personal Knowledge (to have the knowledge of). Ill: Ability to Teach (to be able to develop). A. Functional Skills and Abilities. B. Musicianship and Musical Facts. C. Ensemble and Group Techniques. D. Professional Understandings. E. Psychological, Physiological, and Philosophical Factors. 1, 2, 39 etc.: Order of appearance in questionnaire. 134 Summary \ S T " * 1 1 m 'w College educators who responded to the questionnaire, were asked to react to a large number of individual factors as to the feasibility of the inclusion of each in class voice instruction. Those persons representing schools that include class voice in their course offerings were requested to state whether each factor was presently included in class voice. Lists of factors in the order of response present this data. For purposes of clarity those factors receiving appreciable negative responses are listed sep arately. Sixty-seven factors were found to be both feasible to include and presently included in class voice instruc tion, eighteen not feasible and not presently included, and seven debatable as to inclusion. The latter were rated both feasible to include and not presently included. The factors not feasible to include deal with tests and measurements in music; audio-visual aids; music in relation to the home, citizenship and character; other specific areas in music such as harmony, keyboard harmony, music literature and history, form and analysis, and con ducting; the translation of foreign song texts; and the leading of recreational singing. Seven debatable factors deal^with the knowledge of music related to the school cur riculum and the community; the knowledge of the availability of current audio-visual aids; the ability to achieve balance 135 in a choral group; ability to achieve mutual cooperation with other &aff members; and the ability to develop singers for contests and auditions and an understanding of form and analysis. The lists of factors wisely possible to Include, and presently included, are combined, as are the lists not feasible to include, and not presently included. Seven factors are debatable. These lists will be applied to the class voice area by further comparison to the importance levels of response determined earlier. CHAPTER VI INTERPRETATION OF DATA PROM THE STUDY OP COMPETENCIES AND APPLICATION OP FINDINGS TO CLASS YOICE INSTRUCTION IN THE TEACHER EDUCATION CURRICULUM The competencies identified through a survey of literature have been classified as most important, moderately important, and least important. This was achieved through a questionnaire survey of public school music supervisors and college music educators. These same listed competen cies have been determined to be either feasible to include and presently included, not feasible to include and not presently included, or debatable as to inclusion, in class voice instruction. It is necessary to interpret the data, draw conclusions, and apply the findings to class voice instruction. It will then be possible to make recommenda tions for course content in the teacher education curriculum for music. Interpretation of Findings Most Important College music educators and public school music supervisors are in agreement that twenty-three factors (Table 23), are of most importance for a public school vocal music teacher. These are listed in all three of the 136 •) 137 Competency Groupings*-2 Personal Skills, Personal Knowledge, and Ability to Teach. It Is evident from this finding that much more than the development of a singing skill can be achieved through class voice instruction in teacher education. The respondents agreed that the beginning vocal music teacher should have the personal skills as follows: "the ability to motivate in students a desire to learn to sing," "the ability to recognize musical needs of singers," the "ability to achieve good group tone," "the ability to recog nize technical needs of singers," and "the ability to recog nize and challenge musical talent." These were all rated as most important in accordance with the limitations used in this study. These skills on the part of the music teachers in the public schools can all be achieved through working with individuals or with groups. In the group relationship the teacher must be on the alert to identify individual needs and talent, and should feel a compulsion to give the necessary attention to the individuals in filling their needs, and in challenging the talent identified. The atten tion thus given to individuals can further the effectiveness of the group. The public school teacher must be able to work with individuals, in relation to their needs, their talent, and their motivation. In addition, the public school teacher must be able to draw upon his ability to work 138 with individuals for the strengthening and development of group effectiveness. The personal knowledge of the public school music teacher must have breadth and be developed to such a degree that it is readily available to Implement his teaching. Public school music supervisors and college music educators agree that it is most important that this knowledge Include: ”singing and the use of the voice"; "the diagnosis of and prescription for faulty tone"; "voice classification"; "both male and female voices"; "the care of, limitations of, and capabilities of the adolescent voice"; "ways of releasing a voice from tension"; "sight-singing"; "ear-training"; and "the development of auditory sensitivity." Seven of these ten factors can be directly related to the act of singing itself, and the proper use of the singing voice. The teacher's knowledge of sight-singing, ear-training, and the development of auditory sensitivity must be called upon to further this singing ability, in working with either indi viduals or groups. The public school teacher must have a breadth of knowledge of the use of the voice, in relation to faulty tone, voice differences and capabilities, as well as a command of supporting information to implement this knowledge. The teaching ability of the public school vocal music teacher must include the ability to develop in others: "func tional breathing," "proper and effective use of the singing 139 voice,*' "beauty in tone," and "clear enunciation." The "ability to develop the enjoyment of music," and "the ability to develop an understanding of music" are also of most importance. Proper breath support in the production of a beautiful tone, and the use of clear enunciation in articulating sounds can result in proper and effective use of the singing voice. A prime responsibility of the vocal music teacher is to further the enjoyment of music by his students. This can be achieved by a development of an understanding of music as a concomitant of the development of singing skill. All of the factors discussed above were found to be both feasible to include, and presently included in class voice instruction. These findings are based on the opin ions of the college music educators who responded to this part of the questionnaire. Seven factors were rated as most important by music supervisors, but not by the college music educators (Table 25). None of these was from the Competency Grouping titled Ability to Teach. Five of the seven deal with group work; the ability to conduct vocal groups effectively, the ability to achieve balance in a choral group, and the ability to achieve skill in a choral group; plus the knowledge of both principles and techniques of group voice procedure. College educators rated the first two of lesser importance. It is possible that these educators do not recognize the needs of 140 public school teachers in working with groups of students. Public school music supervisors show great consideration for the personal skills and knowledge of vocal music teachers in their relation to groups, whereas college music educators consider group work to be of lesser importance. Music in the public school curriculum, the sixth factor, is likewise more evident in the thinking of the music supervisors than in that of the college music educators. Although it is less necessary to justify the inclusion of music in the offerings of the public schools than in the past, the music supervisors show concern that music be con sidered an integral part of the curriculum, and remain in proper perspective. The seventh factor as stated below received only four points difference in the percentage of response as most important in the groups surveyed, showing less disagreement than the listing may imply. Thus there is little difference in the feeling as to the relative importance of the vocal music teacher's ability to "exer cise an understanding of aesthetic sense.11 This ability is evidenced in his teaching and the degree of musicianship developed in his students. Pour of these factors were found to be both feasible as to inclusion, and presently included, in class voice instruction in college. Two factors were debatable as to inclusion and will be discussed later. The one factor, 141 "the ability to conduct vocal groups effectively," although rated as most important, is not considered by the respond ents to be within the scope of class voice instruction. Whereas public school music supervisors rated many factors related to groups as most Important, college music educators were more Inclined to feel that factors related to working with individuals were of most importance (Table 26). Eleven factors that were rated as most important by college music educators were rated lower by public school music supervisors. The personal skills stated as "the ability to adapt procedure to individuals, circumstances, and conditions," "the ability to inspire students toward the establishment of goals," and "the ability to exercise a breadth of musical taste," were all included as most important. The latter two were close to the minimum limit set by the writer for inclusion as most important, and show little disagreement. In the "Personal Knowledge" grouping "the knowledge of voice production and tension" was rated considerably higher by college educators than by the public school group. This rating is interpreted to mean that these persons are more concerned with specifics of voice production. This is further evident in the other two factors of the same Competency Grouping, Personal Knowledge, listed as most important by college music educators, and not so listed by public school music supervisors. These are "the knowledge 142 of great song literature," and "the knowledge of solo and choral materials." Similarly the factors stated as "the ability to develop powers of interpretation," "the ability to develop a more conscious aesthetic sense," and "the ability to develop standards of judgment in public school students" were all rated as more important by college music educators than by public school music supervisors. All are from the Factor Grouping called Musicianship and Musical Facts. This may be interpreted to mean that the elements of musicianship, and the hope that the public school teachers will be able to develop them in others, are prominently in the minds of the college?educators. The ability to develop workable remedial techniques is further indication of the possibility of development of musicianship through a func tional skill. College music educators are more concerned with the need of public school music teachers to develop and strengthen the elements of musicianship in their students than are public school music supervisors. They also place a degree of responsibility for the awakening of aesthetic realization on the vocal music teachers. One additional factor, "the ability to develop sing ing skill," was rated only four percentage points lower by music supervisors than by col%e music educators, so is not considered debatable. All of these factors were found to be 143 both feasible to include and presently included in class voice instruction in the additional responses made to each factor by the college music educators. Moderately Important Twenty-four factors were found to be moderately important for public school vocal music teachers (Table 32). Of these, eighteen are considered to be feasible to include in class voice instruction on the college level. Prom the Competency Grouping "Personal Skills," the ability to "sing creditably himself," and the ability to "assist students in the identification of goals, objectives, and outcomes," were rated of moderate importance, as were the abilities to "develop a mutuality of participation," "to incorporate voice instruction into larger musical growth," and the ability to "exercise extreme patience.” The three factors from the Competency Grouping designated as "Personal Knowledge," are interpreted to be contributors to the effectiveness of teaching, but not essential. These factors ares "the knowledge of available materials and methods,".the "knowledge of the classifica tion of types of songs," and the "knowledge of the potential of music in the development of character." Four factors rated moderately important were determined to be not feas ible to Include in class voice instruction, and two factors were debatable as to inclusion. 144 Ten of the eighteen factors rated as moderately Important, which are feasible to Include, are from the Competency Grouping called "Ability to Teach." These ten have the distinct attribute bf breadth, ranging from mental concepts, such as are found in the "development of respect for variety in musical taste," through the personal quali ties of "poise," and "assurance," to the more specific factor of "sight-singing skill." i Although rated of lesser importance for the beginning vocal music teachers than those listed of most importance, the writer interprets the moderately important rating given these factors as a demand for making relationships to other areas of music instruction. These relationships can pro vide the resources for teaching skill. The college class voice instructor, in preparing for these needs, would of necessity have to use somewhat different, and more intense approaches. Similarly the class voice students would have totbe more advanced and be able to see the need for the incorporation of these factors in their preparation. The moderately important factors which are feasible to include, and presently included in class voice instruction, are widely distributed in scope. They demand both breadth and depth in teacher preparation. 145 Least Important Eighteen factors are listed as being least important, within the limitations set by the writer. These are found in Table 24. In each Competency Grouping the factors relating to both tests and measurements in music, and audio-visual aids are found to be of least importance in the opinions of the public school music supervisors and college music educators surveyed. In practice, public school music teacfters are not generally called upon to deal with these two areas. Public school music supervisors and college music educators do not show a need for preparation in tests and measurements in music, on the part of potential music teachers. The use of audio-visual aids in the teach ing of music is considered to be of lesser importance by persons who could possibly be responsible for the develop ment of their utilization in vocal music teaching. The teacherfe skill in leading recreational singing, the relating of music to the home, and the encouragement of the singing of serious music in the home, the pronunciation of and translation of foreign song texts, and the classifi cation of types of songs are also considered to be least important by the groups of educators who responded to the questionnaire. The first three listed above, relating to recreational singing and music In the home, seem to be indicative of a lack of a home-school relationship. 146 Two factors from the Grouping of "Personal Knowledge" are of least importance. They are: "the knowledge of physiological terms related to voice production" and "the knowledge of the potential of music in character building." Teaching abilities of vocal music teachers which are considered to be of least importance deal with the develop ment of "singers for contests and auditions," the development of "a facility in keyboard harmony," "an understanding of form and analysis," and "a knowledge of music history and literature." By observation it is seen that many schools participate in contests and auditions, but the responses of public school music supervisors and college music educa tors show that this activity, in relation to public school music, is of lesser importance. Howdver, the writer believes that the vocal teacher, in recognizing and challenging talented students, can often find time to work with indi viduals, with contests and auditions as a motivating factor in the effective use of the singing voice. As a teaching responsibility, however, it does not rate with the more important factors. In working with talented students, the larger schools with adequate staffs, might well offer Instruction in key board harmony, form and analysis, and music history and literature. The teacher®s knowledge of these musical fields is not in question, but the ability to develop them in m i others Is considered to be of lesser importance in compari son to other factors on the questionnaire. With the pos sible increase in the offering of general music courses, or areas in the humanities for high school students, the inclusion of the areas of harmony, form and analysis, and music history and literature as teaching responsibilities for vocal music teachers is a distinct possibility. Due to the responses of public school music super visors and college music educators as to relative importance of the specific factors involved, it follows that vocal music teachers in the public school may not be fully aware of the possibilities of including more than the minimum of musical knowledge in the instruction of specific course areas. Harmony, form and analysis, fcnd music history and literature are important as knowledge for a teacher, but not to develop in others. Eleven of the eighteen factors, which were found to be least important, were found to be not feasible to include, and not presently included in class voice instruction on the college level. Three were found to be debatable as to inclusion. The four remaining factors were found to be both possible to include, and presently included in college level class voice instruction. The writer believes that the factors "the ability to develop singers for contests and auditions," and the "ability to develop a knowledge of music 148 history and literature," can be included in class voice, and developed in daily routine teaching without eliminating other phases of the teaching. The teacher's ability to pronounce foreign song texts and to classify types of songs are skills which, although of lesser comparative importance, can be included in class voice instruction in the teacher education curriculum. Pour factors were rated by public school music super visors as least important that were not listed as least important by college music educators (Table 27)* These were all found to be feasible to include in college class voice instruction. They are "the ability to develop out-of-school practice techniques," "the ability to develop a working relationship between singing skill and speech," "the knowl edge of voice teaching terminology," and "the knowledge of vocalises and their use." All of these can be cord-dered to be tools of the private voice teacher. In the opinions of the public school music supervisor they are of lesser importance than in the opinions of college teachers. How ever, they can be interpreted as being of somewhat more importance, and feasible to Include in class voice instruc tion for the potential public school vocal music teacher due to the greater importance accorded them by the college educators. The knowledge of voice teaching terminology and vocalises and their use can well be desirable" for public 149 school teachers, although the use of them In working with public school students will doubtless be limited. Public school uses of the abilities to develop out-of-school prac tice techniques, and a working relationship between singing skill and speech are also limited due to the particular requirements of the work. College music educators rated seven factors as least important, that were not so rated by public school music supervisors (Table 28). Three of them are considered to be feasible to include in class voice instruction on the col lege level. They are: "the knowledge of current pedagogi cal practices," "the knowledge of the coordination of the larger muscles of the vocal mechanism," and the "ability to develop an understanding of and respect for common problems." The first two, although it is felt that they are again tools of the private voice teacher, do not seem to be significantly important for public school teachers, except as they enter into class voice instruction incidentally. The third is a group technique which can be developed in the laboratory type of experience often found in group voice instruction. This is interpreted further as evidence that college music educators are not completely sympathetic toward group work. The possibility that public school teachers can be called upon to teach pre-college group voice makes it important that this experience be included in college preparation to teach. College music educators do not show, in the 150 importance ratings given the factors related, a recogni tion of the potential of group voice instruction for the development of more than the singing skill alone. The application of voice instruction and group techniques to public school music teaching is not evident. Three factors were felt by college educators to be not feasible to include in class voice instruction. They are: "the ability to conduct vocal groups effectively," "the ability to develop good citizenship through musical activity," and "the ability to develop an understanding of harmony." The first one can be b,etter handled through choral conducting, and participation in choral groups, although it can be furthered in some class voice work in which the class has the potential for and time for ensemble singing. A methods course for music teaching can include the discussion of the development of good citizenship through musical activity. Harmony and theory courses are better equipped to approach the methods of developing an understanding of harmony in the public school. Relation of Importance to Present and Feasible Inclusion of Factors in Class Voice Instruction Table 41 presents the findings of the data thus far refined, in relation to factors being most important, mod erately important, and least important, as well as the ones to include, those not to include, and those debatable as to 151 TABLE 41 FACTORS FROM MUSIC SUPERVISORS1 AND COLLEGE MUSIC EDUCATORS' QUESTIONNAIRES, RELATIVE IMPORTANCE AND RECOMMENDATION AS TO INCLUSION IN CLASS VOICE INSTRUCTION Identi- Impor- fica- tance Include In tlon Factor 12 3 Class Voice IA 1 Recognize musical needs of singers * Include I A 2 Recognize technical needs of singers X Include I A 3 Pronounce foreign song texts X Include I A 4 Translate foreign song texts X Not include IB 1 Sing creditably himself X Include I B 2 Exercise an understanding of aesthetic sense X Include IB 3 Classify types of songs X Include I C 1 Achieve skill in a choral group X Include IC 2 Achieve balance in a choral group X Debatable IC 3 Achieve good group tone X Include I C 4 Conduct vocal groups effectively X Not include IC 5 Lead recreational singing X Not include ID 1 Relate music to the home X Not include ID 2 Encourage the singing of serious music in the home X Not Include I D 3 Operate audio-visual aids X Not include ID 4 Assist students in the identifi cation of goals, objectives, outcomes X Include ID 5 Achieve mutual cooperation with other staff members X Debatable IE 1 Recognize musical talent X Include I E 2 Challenge musical talent X Include I E 3 Motivate in students a desire to learn to sing X Include I E 4 Establish and develop standards X Include IE 5 Adapt procedure to Individuals, circumstances, and conditions X Include I E 6 Inspire students toward the establishment of goals X Include IE 7 Exercise a breadth of musical taste X Include 152 TABLE 4-1 (CONTINUED) Identi Impor fica tance Include in tion Factor 1 2 3 Class Voice I E 8 Administer and Interpret tests and measurements in music X Not include I E 9 Develop a mutuality of partici pation X Include I E 10 Incorporate voice Instruction into larger musical growth X Include I E 11 Exercise extreme patience X Include II A 1 Voice classification X Include II A 2 Male and female voices X Include II A 3 Care of, limitations of, and capabilities of the adolescent voice X Include II A 4 Voice teaching terminology X Include II A 5 Current pedagogical practice X Include II A 6 Diagnosis of faulty tone X Include II A 7 Prescription for faulty tone X Include II A 8 Available materials and methods X Include II A 9 Solo and choral materials X Include II A 10 Vocalises and their use X Include II B 1 Sight-singing X Include II B 2 Harmony X Not include IIB 3 Ear-training X Include II B 4 Keyboard harmony X Not include II B 5 Musical history and literature X Not include IIB 6 Form and analysis X Not include II B 7 Great song literature X Include II B 8 Singing and the use of the voice X Include II B 9 Classification of types of songs X Include II B 10 The development of auditory sensitivity X Include II C 1 Principles of group voice procedure X Include II C 2 Techniques of group voice procedure X Include II D .1 The relationship of school music In the community X Debatable II D 2 The relationship of school music to the total school curriculum X Debatable II D 3 Availability of current audio visual aids X Debatable 153 TABLE 44 (CONTINUED) Identi- Impor- fica- tance Include in tlon Factor______1 2 3 Class Voice II E 1 The availability of and limita tions of tests and measurements in music X Not include II E 2 Voice production and tension X Include II E 3 Ways of releasing a voice from tension X Include II E 4 Physiological terms related to voice production X Include II E 5 The coordination of the large muscles of the vocal mechanism X Include II E 6 The potential of music in the development of personality X Include II E 7 The potential of music In character building X Not include III A 1 Acceptable solo singers X Include III A 2 Singers for contests and auditions X Debatable III A 3 Proper and effective use of the singing voice X Include III A 4 Beauty in tone X Include III A 5 Functional breathing X Include III A 6 Clear enunciation X Include III A 7 Sight-singing skill X Include III A 8 A working relationship between singing skill and speech X Include III A 9 Workable remedial techniques X Include III A 10 Out-of-school practice tech niques X Include III B 1 Singing skill X Include III B 2 Understanding of harmony X Not include III B 3 Functional ear-training X III B 4 Facility in keyboard harmony X Not include III B 5 Knowledge of music history and literature X Include III B 6 Understanding of form and analysis X Debatable III B 7 Appreciation of great song literature X Debatable III B 8 Listening skill X Include III B 9 A more conscious aesthetic sense X Include III B 10 Enjoyment of music — X Include III B 11 Understanding of music X Include III B 12 Standards of judgment X Include III B 13 Powers of Interpretation X Include TABLE 44 (CONTINUED) Identi Impor fica tance Include In tion Factor 1 2 3 Class Voice III C 1 Techniques of mutual construc tive criticism X Include III C 2 A functional usage of audio visual aids X Not include III E 1 Functional usage of tests and measurements in music X Not include III E 2 Good citizenship through musical activity X Not Include III E 3 Understanding of and respect for common problems X Include III E 4 Music as an opportunity for self-expression X Include III E 5 Poise X Include III E 6 Self-assurance X Include III E 7 Respect for variety in musical taste X Include Is Personal Skills (to be able to). II: Personal Knowledge (to have knowledge of) III: Ability to Teach (to be able to develop) A. Functional Skills and Abilities. B. Musician ship and Musical Facts C. Ensemble and Group Techniques. D. Professional Understandings. E. Psychological, Physiological, and Philosophical Factors. 1, 2, 3j etc.: Order of appearance on questionnaire. Importance: 1. Most important 2. Moderately Important 3. Least Important Include in Class Voice Includes Found to be possible to include, and presently Included in class voice instruction. Debatable: Found to have inconsistent response; will be discussed separately. Not Include: Found to be not possible to include, and not presently included in class voice instruction. 155 inclusion. The gross data breakdown into five distinct categories; 1. Thirty-eight factors were found to be most impor tant, and both feasible to include and presently included in class voice instruction. The factors are considered to be basic in the preparation of vocal music education stu dents, instrumental music education students, and general supervision music education students. These factors appear as Table 42. As on the original form of the questionnaire, these are presented as factors in Personal Skills, Personal Knowledge, and Ability to Teach. The percentage of response as to importance was used to refine the data only, so is now eliminated. The fact that each of these was found to be both feasible to include, and presently included in class voice instruction, by the method described earlier, is indi cation that these vocal competencies are primary needs of the vocal music teachers in the public schools. The factors found to be most important, and feasible to include in class voice instruction, are thus Judged basic in the preparation of vocal music teachers for public school teach ing. 2. The eighteen factors which were found to be mod erately important, and again both feasible to include, and presently included in the content of class voice instruction in the schools represented in the survey, are listed in Table 43. Many of these are such integral parts of the 156 TABLE 42 MOST IMPORTANT FACTORS, CONSIDERED BOTH FEASIBLE TO INCLUDE AND PRESENTLY INCLUDED IN CLASS VOICE INSTRUCTION Identi- flea- tlon Factor I A 1 Recognize musical needs of singers I A 2 Recognize technical needs of singers IB 2 Exercise an understanding of aesthetic sense I C 1 Achieve skill In a choral group IC 3 Achieve good group tone I E 1 Recognize musical talent I E 2 Challenge musical talent I E 3 Motivate in students a desire to learn to sing I E 4 Establish and develop standards I E 5 Adapt procedure to individuals, circumstances, and conditions IE 6 Inspire students toward the establishment of goals I E 7 Exercise a breadth of music taste II A 1 Voice classification II A 2 Male and female voices II A 3 Care of, limitations of, and capabilities of the adolescent voice II A 7 Diagnosis of faulty tone II A 7 Prescription for faulty tone II A 9 Solo and choral material II B 1 Sight-singing II B 3 Ear-training II B 8 Singing and the use of the voice IIB 10 The development of auditory sensitivity II C I Principles of group voice pro cedure II C 2 Techniques of group voice procedure II E 2 Voice production and tension II E 3 Ways of releasing a voice from tension III A 3 Proper and effective use of the singing voice III A 4 Beauty in tone III A 5 Functional breathing III A 6 Clear enunciation III A 9 Workable remedial techniques IIIB 1 Singing skill IIIB 9 A more conscious aesthetic sense III B 10 Enjoyment of music 157 TABLE 42 (CONTINUED) Identl- fica- tion Factor III B 11 Understanding of music III B 12 Standards of Judgment IIIB 13 Powers of interpretation I: Personal Skills (to be able to). II: Personal Knowledge (to have knowledge of). Ill: Ability to Teach (to be able to develop). A. Functional Skills and Abilities. B. Musicianship and Musical Facts C. Ensemble and Group Techniques. D. Professional Understandings. E. Psychological, Physiological, and Philosophical Factors. 1, 2, 3, etc.: Order of appearance on questionnaire. 158 TABLE 43 MODERATELY IMPORTANT FACTORS* CONSIDERED BOTH FEASIBLE TO INCLUDE AND PRESENTLY INCLUDED IN CLASS YOICE INSTRUC TION Identi fica tion Factor I B 1 Sing creditably himself I D 4 Assist students in the identification of goals, outcomes, and objectives I E 9 Develop a mutuality of participation I E 10 Incorporate voice Instruction into larger musical growth I E 11 Exercise extreme patience II A 8 Available materials and methods II B 9 Classification of types of songs II E 6 The potential of music In the development of personality III A 1 Acceptable solo singers III A 7 Sight-singing skill III B 3 Functional ear-training III B 7 Appreciation of great song literature III B 8 Listening skill III C 1 Techniques of mutual constructive criticism III E 4 Music as an opportunity for self-expression III E 5 Poise III E 6 Assurance III E 7 Respect for variety in musical taste Is Personal Skills (to be able to). II: Personal Knowledge (to have knowledge of). Ill: Ability to Teach (to be able to develop). A. Functional Skills and Abilities. B. Musicianship and Musical Facts C. Ensemble and Group Techniques. D. Professional Understandings. E. Psychological, Physiological, and Philosophical Factors. 1, 2, 3, etc.: Order of appearance on questionnaire. 159 specific factors included as most important, that they can be included with ease, so are considered to be secondary aims. The additional need of the skills, knowledges, and teaching abilities listed as moderately important, which are both feasible to include, and presently included in class voice Instruction is evidenced by the survey. 3. Table 44 shows factors considered to be least Important for vocal music teachers, but still possible to include and presently included in an appreciable percentage of schools surveyed. Again, many of these factors can be included in the content of class voice instruction with the factors found to be most important and moderately important. The writer believe that they are not as basic, nor as impor tant for the public school vocal music teachers to have skill in, to have knowledge of, or to be able to develop in others, and are thus incidental aims. Factors listed as least important, but feasible to Include, are contributing factors to teaching effectiveness, although comparatively rated as being of lesser Importance. 4. The least important factors listed In Table 45, as being neither feasible to include, nor presently included in class voice instruction, can all be delegated to some other class instruction, If used at all. Factors in all importance levels, considered not feasible to include in class voice are often possible to Include in class voice 160 TABLE 44 LEAST IMPORTANT FACTORS, CONSIDERED BOTH FEASIBLE TO INCLUDE AND PRESENTLY INCLUDED IN CLASS VOICE INSTRUCTION Identi fica tion Factor I A 3 Pronounce foreign song texts I B 3 Classify types of songs II A 4 Voice teaching terminology II A 5 Current pedagogical practice SOI A 10 Vocalises and their use II E 4 Physiological terms related to voice production II E 5 The coordination of the large muscles of the vocal mechanism III A 8 A working relationship between singing skill and speech III A 10 Out-of-school practice techniques III B 5 Knowledge of music history and literature III E 3 Understanding of and respect for common problems I: Personal Skills (to be able to). II: Personal Knowledge (to have knowledge of). Ill: Ability to Teach (to be able to develop). A. Functional Skills and Abilities. B. Musicianship and Musical Facts. C. Ensemble and Group Techniques. D. Professional Understandings. E. Psychological, Physiological, and Philosophical Factors. 1, 2, 3, etc.: Order of appearance on questionnaire. 161 TABLE 45 LEAST IMPORTANT FACTORS, CONSIDERED BOTH NOT FEASIBLE TO INCLUDE, AND NOT PRESENTLY INCLUDED IN CLASS VOICE IN STRUCTION Identi- f ica- tion Factor I A 4 Translate foreign song texts I C 4 Conduct vocal groups effectively I D 1 Relate music to the home I D 2 Encourage the singing of serious music in the home I D 3 Operate audio-visual aids I E 8 Administer and interpret tests and measurements in music II E 1 The availability of and limitations of tests and measurements In music II E 7 The potential of musIc in character building III B 2 Understanding of harmony III B 4 Facility in keyboard harmony III C 2 A functional usage of audio-visual aids III E 1 Functional usage of tests and measurements in music III E 3 Good citizenship through musical activity Is Personal Skills (to be able to). II; Personal Knowledge (to have knowledge of). . Ills Ability to Teach (to be able to develop). A. Functional Skills and Abilities. B. Musicianship and Musical Facts. C. Ensemble and Group Techniques. D. Professional Understandings. E. Psychological, Physiological, and Philosophical Factors. 1, 2, 3, etc.s Order of appearance on questionnaire. 162 incidentally with the other subject matter at hand. Many of these factors should be left to other courses as appro priate, or omitted. 5. Table 46 lists factors not appropriate in any of the preceding four categories. These will be discussed briefly. The ability to achieve balance in a choral group is difficult to develop in class voice sections, due to the scheduling, and variation in the sizes and makeup of groups. It is believed that the proper use of the singing voice developed in class voice, and the group experience itself, particularly in ensemble singing, can do much toward fur thering the awareness and desirability of choral group balance. This factor was rated as most important, but was debatable as to Inclusion in class voice instruction. One more factor of most importance, and two of mod erate importance, are felt by the writer to be within the scope of the music education methods of teaching classes, rather than the one being considered here. They are respectively, the knowledge of the relationship of music to the total school curriculum, the ability to achieve mutual cooperation with other staff members, and the knowledge of the relationship of music to the community. The informed and alert college instructor of class voice can further the understanding of, and awareness of the importance of, these 163 TABLE 46 FACTORS OF VARYING IMPORTANCE NOT PART OF OTHER LISTINGS AS TO INCLUSION IN CLASS VOICE INSTRUCTION Identi fica tion Factor Imnortance Inclusion I C 4 Conduct vocal groups effectively Most Not Include II B 2 Harmony Moderate Not Include II B 4 Keyboard Harmony Moderate Not Include II B 5 Musical history and literature Moderate Not Include II B 6 Form and analysis Moderate Not Include I C 2 Achieve balance In a choral group Most Debatable II D 2 The relationship of music to the total school curriculum Most Debatable I D 5 Achieve mutual coopera tion with other staff members Moderate Debatable II D 1 The relationship of school music to the community Moderate Debatable II D 3 Availability of current audio-visual aids Least Debatable III A 2 Singers for contests and auditions Least Debatable III B 6 Understanding of form and analysis Least Debatable I: Personal Skills (to be able to). IIs Personal Knowledge (to have the knowledge of). Ills. Ability to Teach (to be able to develop). A. Functional Skills and Abilities. B. Musicianship and Musical Facts. 164 TABLE 46 (CONTINUED) C, Ensemble and Group Techniques. D£J Professional Understandings. E. Psychological, Physiological, and Philosophical Factors. 1, 2, 3, etc.j Order of appearance on questionnaire. Inclusion: Not Include: fleceived responses as not feasible to include, and not presently included. Debatable: Found to have inconsistent response; will be discussed separately. factors, even though they do not align themselves as a part of the class voice instruction. These three factors are considered as debatable as to inclusion in class voice due to their having received responses as being possible to include in class voice, but not presently included. The one factor rated as most important which was not considered to be a part of the class voice instruction, "the ability to conduct vocal groups effectively"is the responsi bility of the choral conducting class. It is believed, how ever, that much can be done toward developing this factor through ensemble singing in class voice, with the students conducting as well as listening for tone quality, balance and blend in the group for further application to the diagnos tic and remedial skills incorporated into the course content. The four moderately important factors, "the knowledge of harmony, keyboard harmony, musical history and literature, 165 and form and analysis," are important parts of other areas of instruction in the preparation of music teachers. The writer does believe that singing skill, taught through the medium of vocal literature, can further the appreciation of harmony, as well as aquaint the students with the periods of musical composition which result in typical vocal literature, and the song form. The three least important factors, which were consid ered to be debatable as to inclusion in college class voice instruction, have been discussed earlier. The author believes that some research should be made of the potential of audio-visual aids in vocal music teaching, that the development of singers for contests and auditions can be accomplished, if desirable, as an adjunct to the prime responsibilities of the teacher, and that some measure of understanding of form and analysis can be developed through attention to song literature. Summary The writer has reviewed the relative importance rating given the various groups of factors in relation to group voice instruction in the college, interpreted the findings, and also reviewed the findings in relation to the feasibility of including the factors in the course content of college level class voice instruction. The relative importance 166 listings have been reconciled with the feasibility of including each factor in class voice instruction. This refinement of the data has resulted in the listing of five categories of factorss most important and feasible to include, moderately Important and feasible to include, least important and feasible to include, least important and not feasible to include, and a fifth group of twelve factors which are not a part of any of the categories for varying reasons. The conclusions drawn from this chapter will be pre sented, and attendant recommendations made in the follow ing chapter. Further studies needed in the field will also be suggested. CHAPTER VII SUMMARY, CONCLUSIONS, RECOMMENDATIONS, AND FURTHER STUDIES NEEDED A survey of literature related to class voice Instruction, teacher education, vocal music education, and voice instruction resulted in the identification of ninety- two factors felt to be of some possible degree important in the preparation of vocal music teachers in public schools. The survey of the literature also made it possible to delineate the problem, which was stated as follows: MWhat skills, knowledges, and teaching abilities do music educa tors consider desirable for a vocal music teacher in the public schools, and how effectively can class voice instruc tion in the teacher education curriculum anticipate and prepare for these needs?" In order to determine the importance accorded these factors, a questionnaire was devised in two forms. One hundred and sixteen supervisors of music In cities of the United States with populations of 1 0 0 , 0 0 0 or over were recipients of the first form, and findings are based on the returns of seventy-two questionnaires. The second form was sent to representatives of state-supported colleges and universities that are full members of the National Association 168 of Schools of Music. Sixty-eight questionnaires were sent to these college and university educators, and forty-six returns were used in the tabulation of the findings. Additional information desired from the college and university personnel replying to the questionnaire was obtained by the expansion of the questionnaire to include opinions as to the possibility of incorporating each factor into the instruction of class voice. A consistent tabula tion procedure was used on both forms of the questionnaire, based upon 100 per cent of the usable responses to each factor. Report of the Data All of the responses to both forms of the question naire were presented in relation to their relative importance in the opinions of the groups of music educators surveyed. Factors receiving 80 per cent or more response in the "most important" level were listed, as were the ones receiving 10 per cent or more total response in the combined levels of "slightly Important" and "not important." The latter group was considered to be of "least importance." The middle group of factors, not included within the above lim itations as "most important" or "least important," was considered to be of "moderate importance." The two groups of factors, from each group of edu cators surveyed, were then reconciled, with differences resolved by striking a mid-point between the percentages reported, arriving at an importance rating. These were then compiled into three master lists for later application to the class voice instruction. Additional responses from the college music educators made it possible to determine which of the factors were feasible to include in class voice instruction, as well as which of them were being presently Included by schools offering the course. These were then applied to the importance groupings of the com petencies, for further rS&nement, resulting in five groups of factors: those found to be "most important" and feasible to include, and presently included in class voice; those found to be of "moderate importance" and both possible to include and presently included in class voice; those found to be "least importantV and neither possible or presently included in class voice; those found to be "least important" and possible to include and presently Included in class voice; and a fifth group of factors, of varying Importance, which were found to not belong to any of the four other groups. Implication of Data After the importance levels of the competencies were reviewed and interpreted, the master lists were interpreted in the light of class voice requirements for music education students. It was found that of the ninety-two factors, 170 thirty-eight were determined to be "most important" in the preparation of vocal music teachers, and both feasible to include and presently included in class voice instruction. Forty-one factors appeared as most important before the data were reconciled with respect to the feasibility of including the factors in class voice course content. Thus 93 per cent of the factors identified as being of most importance can be effectively included in class voice instruction. The three remaining factors were determined to be the responsibilities of other courses of instruction. Twenty-four factors were determined to be moderately important, of which eighteen received responses as being feasible to include in class voice infetruction. The six remaining factors were again determined to be more readily included in some other area of instruction. Seventy-five per cent of the moderately important factors can be effec tively included in class voice instruction. Twenty-seven factors were listed as least important according to the limitations set by the writer in refining the data, and according to the responses of the public school music supervisors and college music educators. Eleven of these were found to be wisely possible to include in class voice instruction by the process used in the determin ation of the Inclusion of factors. Thirteen factors were found to be not feasible to include, and three were found to be debatable as to inclusion. Two of the debatable ones 171 were determined by the writer to be factors more readily presented in other areas, and the third as possible to include as a concomitant of other teaching, if desirable in the particular school It was reported that forty-one per cent of the least important factors could be wisely included in class voice instruction. Of the total of ninety-two factors, thirty-eight rated as most important, eighteen moderately important, and eleven least important factors were determined to be feasi ble to include in class voice instruction in teacher educa tion. Seventy-three per cent of the total number of factors included on the questionnaire, of the three levels of impor tance as stated, can be effectively included in class voice instruction for teacher education. Conclusions In the previous chapter the findings of the data were interpreted in relation to their importance and to the feasibility of including them in class voice instruction in teacher education. This interpretation resulted in the drawing of the following conclusions. Relative Importance of the Factors Prom the most important factors, based on the agree ment of opinions of the groups surveyed, the conclusions arej 1. It is evident that much more than the development of a singing skill can be achieved through class voice in struction in teacher education. 172 2. The public school vocal music teacher must be able to work with individuals, in relation to their needs, their talent, and their motivation. 3. The public school vocal music teacher must be able to draw upon his ability to work with individual students for the strengthening and development of group effectiveness. 4. The public school vocal music teacher must have a breadth of knowledge of the use of th& voice, in relation to faulty tone, voice differences and capabilities, as well as a command of supporting information to implement this knowledge. 5. A prime responsibility of the vocal music teacher is to further the enjoyment of music by his students. This can be achieved by a development of the understanding of music as a concomitant of the development of singing skill. Prom the most important factors, which include dif ferences of opinion of the groups surveyed, the conclusions are: 6 . Public school music supervisors show great consid eration for the personal skills and knowledge of the vocal music teachers in their relation to groups, whereas college music educators consider group work to be of lesser impor tance. 7. College music educators are more concerned with the need of public school music teachers to develop and strengthen the elements of musicianship in their students 173 than are the public school mu&lc supervisors. College music educators also place a degree of responsibility for the awakening of aesthetic realization upon the vocal music teacher. From the moderately Important factors, the conclusion Is: 8 . The moderfetely Important factors which are feasible to include In class voice instruction in teacher education are quite widely distributed in scope. They demand a breadth and a depth of teacher preparation. From the least important factors, based on the agree ment of opinions of th& groups surveyed, the conclusions are: 9. Public school music supervisors, and college music educators, do not evidence a need for preparation in the field of tests and measurements in music, on the part of potential music teachers. 10. The use of audio-visual aids in the teaching of music is considered to be of lesser importance by persons who could possibly be responsible for the development of their utilization in vocal music teaching. 11. Due to the responses of public school music super visors and college music educators as to the relative impor tance of the specific factors involved, it follows that these vocal music teachers in the public schools may not be fully aware of the possibility of including more than the 174 minimum of musical knowledge in the instruction of specific course areas. Harmony, form and analysis, and music history and literature are important as knowledge for the teacher, but not as learnings to develop in others. Prom the least important factors, which include dif ferences of opinions of the groups surveyed, the conclusion is: 12. College music educators do not show a recognition of the potential of group voice instruction for the develop ment of more than a singing skill alone. The application of voice instruction and group techniques to public school music teaching is not evident. Inclusion of Competencies in Class Voice Conclusions based on the application of findings to class voice instruction are as follows: 1. The factors found to be most important, and feasi ble to Include in fclass voice instruction (Table 42), are basic for vocal music teaching in the public schools, and can be considered as primary aims of the course. 2. The additional need of the skills, knowledge, and teaching abilities listed as moderately important (Table 43), which are feasible to include and presently included In class voice instruction, Is evidenced by this survey. These competencies are considered to be secondary aims of class voice Instruction. 175 3. Factors listed as least Important, but feasible to Include in class voice instruction (Table 44), are con tributing factors to teaching effectiveness, although com paratively rated as being of lesser importance, and are felt by the writer to be incidental aims. 4, Factors in all importance levels, considered not feasible to include in class instruction, are primarily the responsibilities of other course areas (Tables 45 and 46). Recommendations The following recommendations are made as an out growth of the research, discussion, and conclusions presented. 1. In keeping with the large percentage of vocal competencies found to be not only important for vocal music teachers in the public schools, but also feasible to include in class voice instruction in teacher education, it is recommended that class voice teachers and other college music educators be made fully aware of the needs of public school vocal music teachers that are feasible to Include in class voice instruction. 2 . I>ue to the agreement of both groups of educators surveyed that individual needs of students must be recog nized by the vocal music teacher, it is recommended that public school vocal music teachers- be advised of the need of ability to work with individuals, in terms of their needs 176 their talent, and their motivation in the public school music situation. 3. Public school music supervisors, more than college music educators, stress the fact that group techniques, and the ability of teachers to work with groups are of most importance. In order to relate this to the emphasis placed upon individual needs by college music educators, it is recommended that public school vocal music teachers be pre pared, through teacher education, to recognize the contri bution that working with individuals makes to group effec tiveness. ■4. Conclusions drawn from the data show that vocal techniques, and all of their manifestations, are of primary importance for a public school vocal music teacher. There fore it is recommended that class voice instruction on the college level stress the necessity for knowledge of singing and the use of the voice for application to public school teaching of vocal music. 5. The findings of this research add to the logic of the oft-quoted statement that one most enjoys that which he understands. The enjoyment of, and understanding of music rate high in importance. For this reason it is recommended that the preparation of public school vocal music teachers stress the fact that the enjoyment of music is of prime Importance, and that this enjoyment can be furthered:;by .the 177 development of an understanding of music through singing activities* 6 . College music educators give lesser importance to group skills and techniques, and to some degree more impor tance to individual work. Public school music supervisors seem to hold the opposite premise. In an effort to help each group of educators to realize the proper relationship, and the contribution of both types of instruction, it is recommended that each group of educators investigate and give attention to the use of both individual instruction and group experience in teacher education and public school music teaching. 7. The conclusion that college music educators give more concern to elements of musicianship than public school music supervisors do, gives rise to the recommendation that public school vocal music teachers be made aware of their responsibility for the development of musicianship in public school students. 8 . The relatively high percentages of response to those factors rated as moderately important, and the con clusion that the factors so rated range widely in scope, results in the recommendation that college class voice Instructors attempt to include as many of the factors as possible in class voice instruction for music teacher candidates. 178 9. Findings showed a low importance rating for all factors related to tests and measurements in music. Due to the belief of the writer that the possibilities for uses of tests and measurements are relatively unexplored, and that an unrealized need is possible, it is recommended that a study be made of the potential of tests and measurements in music for music teaching in the public schools, and that the findings of this study be made known to public school music supervisors, college music educators, public school music teachers, and music teacher candidates. 10. Audio-visual aids, in all forms, are becoming more a part of educational equipment. Due to this observa tion, accompanied by the results of this study showing all factors related to them to be of lesser importance, it is recommended that a study be made of the possible uses of audio-visual aids in public school music teaching, and that the findings be made known to public school music supervisors, college music educators, public school music teachers, and music teacher candidates. 11. The college teacher of class voice, as well as the public school vocal music teacher, has need of the knowledge of various areas of music, including harmony form and analysis, and music history and literature. Research has shown that these same areas are of lesser importance in relation to a public school teachers ability to develop than in others. The writer believes that the incorporation 179 of these knowledges In all phases of music teaching can result in more meaningful teaching. It is recommended that the Inclusion of music learnings, in addition to and to augment the singing skill, be Included in class voice Instruction to point out the relationships of harmony, form and analysis, and music history and literature particularly, to song literature. 12. The interpretation of the findings, and the con clusions drawn show a need for the college class voice instructor to show relationships of college group voice experience to the public school music teaching situation in which the teacher candidates, who are students in class voice, will find themselves. For this reason it is recom mended that college instructors of class voice be made aware of the potential of the application of content of group voice instruction to public school vocal music teach ing. 13. Research findings show that thirty-eight specific factors are found to be "most important" for vocal music teachers in the public schools. By observation it is seen that instrumental music teachers often accept combination positions, teaching both vocal and instrumental music, and that some element of transfer Is possible from vocal to instrumental teaching techniques. For these reasons it is recommended that class voice Instruction for vocal music education students, Instrumental music education students, 180 and general supervision music education students be required, and that course content include all.of the factors found by this research to be most important, and feasible to include in college level class voice instruction. 14. Vocal music specialists in the public school have need of more than the basic skills, knowledge, and teaching abilities listed as most important in this research. Due to the fact that the limitations established by the writer were strictly arbitrary, and that the "moderately important" fac tors gained relatively large percentages of response, it is recommended that vocal music education students be required to gain the additional skills, knowledges, and teaching abilities found to be moderately important and feasible to include in class voice instruction. 15. Due to the arbitrary limitations set by the writer for the refinement of data, and for drawing factors from the findings for listing as "least important," and the fact that eleven factors so listed are found to be both feasible to include, and presently included in class voice instruction in the colleges and universities surveyed, it is recommended that class voice instructors attempt to include not only the most important, and moderately impor tant, factors, but also the least Important factors that relate to, and are feasible to include in, class voice instruction as appropriate. 181 16. Many of the competencies in this research were found to be of some importance, but either debatable as to feasible inclusion in class voice, or not feasible to Include. This is quite appropriate, as the first phase of the study was of competencies in some way related to vocal music teaching in the schools, and the second phase was the relationship of the factors, and their importance ratings, to class voice instruction in teacher education. Because this was the procedure pursued, and due to the fact that Importance ratings are available for all of the competen cies, it is recommended that college music educators be made cognizant of the relative importance of all of the competencies on the list, for curriculum inclusion in class voice instruction, or other areas of music instruction as suitable. Further Studies Needed As a follow-up to the preceding recommendations, further studies are needed in relation to the class voice area and various factors of the music education curriculum, and public school teaching. These are presented briefly as follows: 1. A study of recent graduates who have had, or have not had, class voice instruction should be made in an effort to determine what vocal competencies they need as 182 beginning teachers, which were provided by class voice, or could have been developed through this medium. 2. Observations of class voice sessions in various schools, college, and universities should be made, in an effort to develop course structure techniques. This could combine the best skills found in all areas of class voice, resulting in a master list of teaching techniques. A feel ing of contribution to course content in class voice could be developed. 3. A study of voice teaching terminology which could have meaning to music educators and both vocal and instru mental teachers should be made. This could result in increased communication and an understanding of vocal com petencies desirable for public school teaching, through improved class voice teaching. 4. A study of the Psychological, Physiological, and Philosophical Factors related to public school music teach ing should be made. It Is felt that much of the present teaching is done empirically, and that scientific research in the various areas could result in more soundly based teaching in the public schools. 5. A study of the preparation of students for public school teaching with specific attention being given to their fields of major interest, and the scope of their first job responsibilities is needed. In relation to this present study, it would give support to the requirement for more 183 vocal music methods and instruction for the instrumental music teacher and more instrumental training for the vocal teacher. 6 . A study of the effectiveness of the development of personal singing skill through class voice is needed. 7. There is need for a study of the relationship of tests and measurements in music, to the public school music teacher. This study would be to investigate possible ways in which the music instructor could implement his teaching by such assistance, either with or without guidance counselor or school psychologist help. 8 . There is a need for a study of the feasible appli cation of audio-visual aids to the teaching of music in the public schools, and the effectiveness of the possible use of such assistance in the teaching situation. APPENDIXES APPENDIX A-l STATEMENTS OP PURPOSE OF CLASS VOICE PROM COLLEGE CATALOGS 1. Choral: Study of basic principles of voice production and how to apply them in glee clubs and choruses. (University of (Georgia) A class in technique of singing, which should develop standards for and procedures for securing, good tonal quality in choral groups. (Murray State) 2. Solo and Choral: A general study of fundamental problems in vocal tone producing, breathing, pronunciation and articulation, phrasing, blending, voice classification, and choir organization. (State University of South Dakota) Applied vocal techniques. Laboratory course of elementary vocal instruction and practice combined with methods and procedures for choral use of the voice. (University of Minnesota) Singing from the teaching and performance standpoint . . . Designed to enable students . . . to have a knowledge of . . . good voice production . . . in dealing with vocal problems of individuals, and with standard materials and methods to use in Junior and Senior High School choruses. (Appalachian State) A practical course in the study of voice . . . breathing exercises, diction, stage deportment, the acquaintance of familiar voftal literature, and the treatment of the high school vocal groups will be considered. (Central Missouri) 3. Supervision: Fundamental processes of breath control and tone produc tion, some individual instruction, opportunity to study standard song literature . . . to gain a knowledge of voice class procedures and to candidates for certifica tion as general supervisors to prepare for basic achieve ment exams. (Western Michigan) 185 Group instruction in voice production, required of vocal supervisors. (Louisiana State) Group instruction, required of general music education supervision. (Eastern Carolina) Fundamentals of voice production, breathing, simple vocalises, singing, of simple songs with English texts, emphasis on interpretation and phrasing. Designed for general supervisor's course in music education. (Lincoln University) Public School Music : Application of vocal principles to develop singing facil ity required in public schools. Preparation for muiic education voice examination. (Univ. of Southern California) Study of voice problems involved in the teaching of music in the elementary and secondary schools, (University of Oregon) Minimum instruction required for passing proficiency examinations; offer practical training in the basic prin ciples, Introductory techniques and methods for the elementary and secondary schools. (Southern Illinois) A practical study of voice methods and techniques appli cable to the vocal program of the public schools. (Kansas State at Emporia) Fundamentals of voice production and application to song material. Planned to call attention to vocal problems and possible remedies which may be encountered in field of music education. (Howard University) Elementary class instruction in voice, with attention directed at utilization in school music. (Arkansas State) Voice Teaching: Breathing, resonance, vowel formation, posture, as related to tone production. Simple vocalises, methods of producing crescendo, diminuendo, legato, staccato, flexibility, velocity, sight-reading, the teaching of vocal techniques illustrated. (Montana State) Class lessons in voice stressing the fundamentals of voice production and pedagogy. (West Virginia) 187 To gain knowledge of voice class procedure, (western Michigan— also group 3) 6 . Singing Skill: , Correct tone production and diction. Opportunity for individual aid. (Florida State) Fundamentals of breathing, vowel and consonant production, phrasing, development of good tone, correct posture, proper diction, and interpretation of simple song classics. (Georgia State College for Women) Elementary course in singing. Voice diagnosis; proper consideration of the fundamentals of voice production as related to each individual; study of breath control, resonance, diction; application to song material. (Indiana University) Correct tone production, diction. Opportunity for individual aid. (Mississippi Southern) Fundamentals of correct voice production; breathing, breath control, elementary study of vowel forms, and consonants. Elementary songse (Northeast Missouri, KIrksville) Principles of breathing, fundamentals of tone production, suitable songs for voice building, phrasing and improve ment of diction. (Oklahoma College, Women) 7. Minor or Secondary Applied Area: Beginning instruction, introduction and development of basic skil3$ breathing, diction, tone, rhythm, sight- singing, repertory songs in English. Practical training in singing without specialization. ^University of Arizona) Required of music major if not voice primary. (Oklahoma State) Required of instrumental major in music education. -(Bowling Green) Fundamentals of singing for school of music students who do not major in voice. Required in music education. (University of Illinois) Class applied for music education major, and vocal minor. (State University of New York at Fredonia) 188 Class Instruction in singing for students whose major performance field is instrumental. (Arkansas State) Minor study of instrument or voice. (150 series.) (Ball State) Primarily for majors (music) not specializing in per formance. (Univ. Washington) Credit only if minor. Required of band instrument and string instrument majors for music education. (University of Texas) Open only to music majors for secondary vocal study. (State Univ. of Iowa) Music majors who desire some knowledge of voice. (Michi gan State) 8 . Beginning Voices Applied music, class instruction; recommended for students who have had no previous instruction in music. (University of Alabama) Beginning course in fundamentals of singing. (University of Kentucky) Beginning group instruction in voice; requires of vocal freshmen, and general (sophomores) in music education. (McNeese) Beginning class in voice for music majors and minors only. (State College of Washington) Basic fundamentals for beginning students not taking private lessons, (University of Mississippi) 9 . Avocational: Members whose aims are purely avocational will be assigned to sections of not more than four. Music majors who desire some knowledge of voice assigned to special sec tion. (Michigan State) (Also group 7) Group instruction in voice, open to all beginners, exclusive of music majors. (University of New Mexico) 189 10. Non-Music Service Area: ' Not music education, but for elementary and speech. Also different number for minor and music education major. (State University of New York at Fredonia) (Also group 7) 11. No Course Description: Music 54: Group voice instruction, music education. (University of Utah) 86 : Class instruction in piano, voice, et al. (Univer sity of Nebraska) 12 cfwj Voice: Class lessons. ^University of Minnesota s,t Minneapolis) 524.1 - 5: Voice techniques: University of Arkansas at Fayetteville) 511B: Applied music: voice; methods and materials. (Ohio State University) l45s Voice class, methods and materials. (Miami Uni versity) 365: Voice: public school applied music, fUniversity of Wyoming) 12. Indefinite course description, may be class voice content: 265: Vocal techniques and materials. (Ohio University) Instrumental music education curriculum requirement, secondary minor class. (University of Colorado) Class offered as far as practicable, apply at office, (University of N. Carolina) APPENDIX A-2 PERCENTAGES OF SCHOOLS AND COLLEGES INCLUDIN G EACH STATE MENT OF PURPOSE IN COLLEGE CATALOGS Number Percent Code of Stated Purpose: of age of Institutions* Schools Total Choral Application 2 5 2 6 , 45 Solo Singing and Choral Music 4 9 2,7,40, 51 Music Supervision Knowledge 4 9 8 ,18,19,66 Public School Teaching 6 14 4,12,16,35,58, 59 Voice Teaching 3 7 2 5 ,65,66 Singing Skill 6 14 9,11,13,23,28, 31 Minor Applied Music Skill1 11 25 3,5,6,22,32, 38,39,42,46, 60,62 Beginning Voice Instruc' tion 5 10 20,37,41,48,52 Avocational Singing 2 5 22,55 Service Area to Non music Students 1 2 38 Totals 44** 100 ^Numbers refer to listed institutions in Appendix E. Total of 44 includes statements of forty-two schools, two of which made dual purpose statements. 190 COMPETENCIES DESIRABLE FOR PUBLIC SCHOOL TEACHERS OF VOCAL MUSIC ■Die following listing of competencies, skills, abilities, knowledges, and techniques Has been identifled in relation to teaching goals stated in various class voice methods, collections of songs lor group study, and in professional music education tchctsa This study is feeing undertaken in an effort to discover -which of these many factors are most important, and -which least important for a beginning music teacher * A follow—up study will then fee made to determine which of these can fee taught through the group approach to vocal instruction in the teacher education institution * Please indicate the degree of importance which you give to each of the factors fey placing an X in the appropriate column. Space is provided at the end of each of the three major sections for any comments, suggestions, or additions which you might care to maIce* I« Personal Skills: (Exclusive of teaching) How important is it that a vocal music teacher fee able to r Most P^thor 3 lightly NOrfc A „ Functional Skills and Abilities: Impottnnt Important Important Tmpfit-tPJit 1 1* Recognize musical needs of singers •> 2. Recognize technical needs of s i n e o J s ? 3 - Pronounce foreign song texts? U • Translate foreign sons texts? Musicianship and Musical Facts s 1. Sine creditably himself? 2. Exercise an understanding of aesthetic sense? 3• Classify types of sones? Ensemble and Group Techniques s X- Achieve skill in a choral erouo? 2* Achieve balance in a choral erouo? i 3. Achieve good erouD tone? i*. Conduct vocal groups effectively? Lead recreational sineine? Professional Understandings: X- Relate music to the home? .2- Encourage the singing of serious music in the home? 3 - Cberate audio-visual aids? 1*.. Assist students in the identificati o n of goals* objectives* and outcomes? *>♦ Achieve mutual cooperation with Other staff members? I« Personal Skillsg(continued) How * rnTjOt^t^LTvt. ± 3 ±~fc. 'btin.'b a. vocal music teacher “bo able to: E. Psychological, Physiological, and Most Rath er SXiglvfeXy Not X. Recognize musical ta Xervfc? 2. Challenge musicaX talent? 3. Motivate in students a desire -fco learn to sine? а. B&'fca.bXXsh and develop standards? s. Adapt procedure to individuals9 circumstances, a nd c onditions? б. Inspire students toward the establishment of goals? 7. Exercise a breadth of musical tastej7» Administer and interpret tests and measurnments in music? Develop a mutuaXitv of participatic m? XO. Incorporate voice instruction into Xaarficor* musical growth? XX. Exorcise extrsne patience? Comments, suggestions, additions: XX. Personal Knowledges How Important Xs it that a vocaX music teacher have the knowledge of: Most Rather Slightly Not actional Skills and Abilities * Important Important Important Important Voice classification? Male and female voices? Caro of, limitations of, and capabilities of the adolescent voice? Voice teaching terminoloev? Current pedagogical practice? Diagnosis of faulty tone? Prescription for faulty tone? Available materials and methods? Solo and choral material? Vocalises and tlaeir use? 193 p0 h0 2 S s\ T) 0 !C 3 o C •H •H P P C 0 rl 11 0 *0 0 V) n id 0) Cto C.H o 4 ■H (!) CO P p a ID H H -u- III. Ability to Teach: How mportant is it that a. vocal music teacher have the ability to develops Most; Rather Slightly Not; A • Functional SKI 11s and Abilities s Important Important Important Important 1* Acceptable solos singers?______2• Singers for contest and auditions' 3. Proper sand effective use of the singing voice?______ U« Beauty in tone?______ 5* Functional breathing? 6«. Clear enunciation? 7 • Sight—singing sleill? 8• A working relationship between singing skill and, speech.? _____ Workable remedial techniques? lO« Out"—of-»school practice techniques' B- Musicianship and. Musical Facts s 1*. Singing skill?______ 2 • Understanding of harmony1; 3 • Functional ear-training? it* Facility in keyboard harmony? 5* Knowledge of music history and literature?______ 6* Understanding of form and analysis? ' T- Appreciation of great song literature? ______8« listening skill?______*______9• A more conscious aesthetic sense? 10* En.joyment of mus 1c? 11m Understanding of music? 12. Standards of .judgment? 13» Powers of interpretation. C • Ensemble and Group Techniques Techniques of mutual constructive criticism? 2* A functional usage of audio visual aids? D* Professional Understandings : This item is not one to he taught to others, therefore is not applicable to this section and is not included* XXX. Ability to Teach: (continued) How ~important is it that a. vocal music teacher have the ability to develop s E« Psychological, Physiological, and Most Rather Slightly Not Philosophical Factors s Important Imp or tant Important Important y 1. Functional -usage of tests and measurements in music? 2. Good citizenship through musical activity? 3 • Understanding o f and respect for common problems? I4.. Music as an opportunity for self- expression? Poise? & « Self "-assurance? 7« Respect for variety in musical taste? Comments, suggestions, additions : VJiVO ______Please aend me a copy of the report o f the findings o f this research. Nam as______ Street Address s City, Zone, State s______APPENDIX C LIST OP SUPERVISORS OF MUSIC IN LARGE CITIES Akron. Ohio Ralph Gillman, Director of Music Education, Akron Public Schools Address: 70 North Broadway, Akron 8, Ohio. Albany. New York Anna E. Gardner, Supervisor of Music, 449 Western Avenue, Albany, N.Y. Allentown. Pennsylvania Mildred Kemmerer, 27 W. 11th Street, Allentown, Pennsylvania Arlington. Virginia Miss Florence Bookar, In Charge of Vocal Music, Arlington County Public Schools, 1426 North Quincy Stree, Arlington, Virginia. Atlanta. Georgia Anne Grace O'Callaghan, 1260 Fairview Road, N.E., Atlanta, Georgia. Austin. Texas Nelson G. Patrick, Supervisor of Music, 3103 Oakraont, Austin, Texas. Baltimore. Maryland Qnile H. Serposs, Director of Music Education, Department of Education, Kennedy and Gorsuch Avenues, Baltimore 18, Maryland. Baltimore. Maryland Corwin H. Taylor, Supervisor of Instrumental Music, Depart- ment of Education, Kennedy and Gorsuch Avenues, Baltimore 18, Maryland Baton Rouge. Louisiana Roy C. Welch, 1267 Aberdeen, Baton Rouge, Louisiana (State Supervisor of Music) Berkeley. California Eunice Skinner, Supervisor of Music, Berkeley Public Schools, 1414 Walnut Street, Berkeley, California. 196 197 Birmingham. Alabama Reuben A. Martinson, Supervisor of Music, 2015 7th Avenue, N, Birmingham 3, Alabama Boston. Massachusetts Daniel D. Tierney, Director of Music Education, Public Schools Address: 248 Stratford, West Roxbury, Massachusetts Buffalo. Mew York Mr. Carroil C. Geiger, Director of Music, Board of Educa tion, Buffalo, 2, N.Y. (#711 City Hall) Cambridge. Massachusetts James W. Anderson, Supervisor of Music, Cambridge Schools, 22 Winter Street, Westwood, Massachusetts. Camden. New Jersey Joseph J. Rizzo, Jr., 340 Hillside Ave., Camdep, New Jersey Canton. Ohio Ruth Dixon, 901 15th Street, N.E., Canton, Ohio Chattanooga. Tennessee Mrs. Anita Gann Jones, Supervisor of Music, Box 182, Route 7, Chattanooga, Tennessee Chicago. Illinois Helen Howe, Supervisor of Music, Board of Education 228 North LaSalle Street, Chicago, Illinois Cincinnati. Ohio Harvey L. Wilson, Director of Music, Cincinnati Public Schools, 608 East McMillan St., Cincinnati 6 , Ohio Cleveland. Ohio D. Ernest Manring, Directing Supervisor of Music, Board of Education, 1380 East 6th St., Cleveland, Ohio Columbus. Ohio Kenneth Keller, Board of Education, Columbus, Ohio Dallas. Texas Marion Flagg, Consultant in Music Education, Dallas Inde pendent School District, 3700 Ross, Dallas 1, Texas (Home: 6218 Llano, Dallas 14) Dayton. Ohio S. Norman Park, 1472 Benson Drive, Dayton 6 , Ohio 198 Denver. Colorado John T. Roberts, Director, Department of Music Education, Denver Public Schools, Administration Building, *114 4th Street, Denver 2, Colorado Des Moines. Iowa Lorrain E. Watters, Director of Music Education, Board of Education, 629 Third Street, Des Moines, Iowa. Detroit. Michigan Homer C. LaGassey, Director of Music Education, Public Schools, 467 West Hencock, Detroit 1, Michigan Duluth. Minnesota Clayton Hathaway, Board of Education Building, 226 North First Street, Duluth, Minnesota Elizabeth. New Jersey Arthur H. Brandenburg, 1128 Coolidge Rd., Elizabeth, New Jersey Fall River. Massachusetts Frances C. Shaughnessy, 56 New Boston Rd., Fall River, Massachusetts Flint. Michigan Ray Gerkowski, Director of School and Community Music, 1006 South Kensington, Flint 3, Michigan Fort Worth. Texas Miss Sara Dunn Sistrunk, Supervisor of Music, 3210 W. Lancaster, Fort Worth 10, Texas Gary. Indiana Clarence V. Hendrickson, 536 Pierce Street, Gary, Indiana Grand Rapids. Michigan Donald D, Armstrong, Director of Music, Board of Education, 143 Bostwick, N.E., Grand Rapids, Michigan Hartford. Connecticut Elmer M. Hintz, Director of Music Education, Board of Edu cation Building, 249 High Street, Hartford 5 , Connecticut Honolulu. T.H. Norman D. Rion, Chairman of the Music Department, University of Hawaii, Honolulu, T.H., Zone 14 Houston. Texas Walter E. Purdy, University of Houston, Houston 4, Texas 199 Indianapolis. Indiana Ralph W. Wright, Director of Curriculum & Supervision, 1644 Roosevelt Ave., Indianapolis 18, Indiana (Home: 3&15 Carrollton Ave., Indianapolis). Jacksonville. Florida Caroline Day, Supervisor of Music Education, 605 Ocean St., Jacksonville, Florida Jersey City. New Jersey Dorothy Fackert,’ 2700 Boulevard, Jersey City, New Jersey Jersey City. New Jersey Margaret F. Brown, 150 Clinton Ave., Jersey City, New Jersey Kansas City. Kansas James Milford Crabb, Director of Music, Library Building, Kansas City, Kansas (Home: 818 North Washington, Blvd., Kansas City, Kansas) Kansas City. Missouri Robert w. Milton, Director of Music Education, Public Schools, 1840 East 8th St., Kansas City 24, Missouri Knowville. Tennessee Ed Hamilton, Supervisory, Secondary Vocal Music, Board of Education Building, Fifth Avenue at Central, Knoxville 17, Tennessee (Home: 3317 Orlando St., N.E., Knoxville 17) Little Rock. Arkansas Ruth Klepper Settle, Supervisor of Yocal Music, Little Rock Public Schools, Administration Building, 800 Louisiana, Little Rock, Arkansas Long Beach. California Fred Ohlendorf, Acting Director of Music Education, Long Beach City Schools, Long Beach, California Los Angeles. California William C. Hartshorn7 Supervisor in Charge, Music Education Branch, Los Angeles City Board of Education, 450 North Grand Avenue, Los Angeles 15, California Louisville. Kentucky Helen Boswell, Supervisor of Music, Louisville Public Schools, 506 West High St., Louisville 8, Kentucky Miami. Florida Howard A. Doolin, Supervisor of Music Education for the Dade County Schools, 275 N.W. 2d St., Miami 36, Florida 200 Memphis, Tennessee Lala A. Stephens, Music Supervisor, 8 North Holmes, Memphis, Tennessee Milwaukee. Wisconsin Herman F. Smith, Director of Music Education, Board of Edu cation, 111 North 10th St., Milwaukee, Wisconsin Minneapolis. Minnesota C. Wesley Anderson, Supervisor of Music, Board of Education, Minneapolis 13, Minnesota Mobile. Alabama Louis P. Stookey, Barton Academy, 504 Government St., Mobile, Alabama Montgomery. Alabama Mrs. George B. Wagner Morgan, Supervisor of Music, 422 Herron St., Montgomery 5, Alabama Nashville. Tennessee Howard F. Brown, Nashville City Schools, 700 Broad St., Nashville 3> Tenn. Nashville. Tennessee Floyd H. Rodgers, Nashville City Schools, 700 Broad St., Nashville 3, Tenn. Newark. New Jersey Agnes C. Murphy, Supervisor of Music, Board of Education, 31 Green St., Newark, New Jersey New Bedford. Massachusetts Mrs. Mildred L. Bailey, 166 William St., New Bedford, Mass. New Haven. Connecticut Harry H.' Schyde, Supervisor of Music, 90 Marvelwood Drive, New Haven 15, Conn. New Orleans. Louisiana Rene A. Louapre, Jr., Supervisor of Instrumental Music, Orleans Parish School Board, 703 Carondolet St., New Orleans 12, Louisiana New Orleans, Louisiana Alma Peterson, Supervisor, Vocal and Choral Music, Orleans Parish School Board, 703 Carondolet St., New Orleans, 12, La. New York. New York Peter Wllhousky, Supervisor of Music, Board of Education, 110 Livingston St., Brooklyn, N.Y.(Home: 67OI Colonial Road, Brooklyn) 201 Norfolk. Virginia Cecil W. Wilkins, Supervisor of Music, 712 Michigan Ave., Norfolk, Va. Oakland. California Harold C. Youngberg, Director of Music Education, Oakland Public Schools, 1025 Second Ave., Oakland, California Oklahoma City. Oklahoma Henry S. Poth, Supervisor of Secondary Music, Public Schools Address: 4604 N.W. 45th Terrace, Oklahoma City, Oklahoma Oklahoma City. Oklahoma Mildred Richard, Supervisor of Elementary Music, Public Schools, Address: 1132 Campbell Rd., Oklahoma City 6, Okla. Omaha. Nebraska Lytton S. Davis, Director of Music, Omaha Public Schools, Board of Education, 3902 Davenport St., Omahan, Nebraska Pasadena. California H. Leland Green, Coordinator, Music Education, 351 ''South Hudson Ave., Pasadena 5 , California Patterson. New Jersey Katherine M. O ’Connor, 534 Broadway, Patterson 4, New Jersey Peoria. Illinois Eva G. Kidder, Supervisor of Music, 2717 N. Madison Ave., Peoria 4, Illinois Philadelphia. Pennsylvania Louis G. Wersen, Director of Music Education, Board of Education, The Parkway at 21st, Philadelphia, Pa. Phoenix. Arizona Ralph Hess, Supervisor of Music, Elementary Schools, 125 E. Lincoln St., Phoenix, Arizona • Pittsburgh. Pennsylvania Jacob A. Evanson, Supervisor of Vocal Music, Board of Edu cation, Beliefield, Ave., at Forbes, Pittsburgh 32, Pa. Portland. Oregon A. Verne Wilson, Supervisor of Music, - Portland Public Schools, 631 N.E. Clackamas St., Portland 8, Oregon Providence. Rhode Island Louis Pichierri, Director of Music for the City of Provi dence, 20 Sumner St., Providence 2, Rhode Island 202 Reading, Pennsylvania Charles S. Keller, Jr., 2037 Hampden Blvd., Reading, Penna. Richmond. Virginia Wendell Sanderson, Supervisor of Music, School Board Office, Richmond Public Schools, Richmond, Virginia Rochester. New York Howard W. Hinga, Chief Consultant, Music Department, Board of Education, 13 Fitzhugh St., South, Rochester 14, New York Sacramento. California Mrs'. Flay Young Potter, Supervisor of Music, Sacramento City Unified School District, P.O. Box 227, Sacramento 14, California St. Louis. Missouri Helen Louise Graves, General Consultant in Music, St. Louis Public Schools, Board of Education, 1520 South Grand Boulevard, St. Louis 4, Mo. St. Paul. Minnesota Mathilda A. Heck, Supervisor of Music, Board of Education, St. Paul, Minnesota Salt Lake City. Utah Vernon J. LeeMaster, Supervisor of Music, 4948 Marilyn Drive, Salt Lake City, Utah San Antonio. Texas G-T Lewis Doll, Director of Music Education, San Antonio Inde pendent School District, l4l Lavaca St., San Antonio, Texas San Diego. California Alex H. Zimmerman, San Diego City Schools, 4100 Normal St., San Diego 3, California (Home: 825 Union St., San Diego) San Francisco. California Karl D. Ernst, Director of Music, San Francisco Unified School District, 135 Van Ness Ave., San Francisco 2, Calif. Savannah. Georgia Lola E. Stevens, 720 E. 51st St., Savannah, Georgia Savannah. Georgia Fred G. Weigand, 911 Habersham St., Savannah, Georgia Scranton. Pennsylvania Ruth Davis Davies’, "344’ N. Garfield Ave., Scranton, Penna. 203 Seattle, Washington Jack E. Schaeffer, Director of Music, Seattle Public Schools* 815 Fourth Avenue North, Seattle 9, Washington Shreveport. Louisiana Mrs. Elaine Thigpen, 29-3 Mertis, Shreveport, Louisiana Somerville. Massachusetts Paul 0. Kelly, Supervisor of Music, Somerville Public Schools, Somerville, Massachusetts South Bend. Indiana Barbara Kantzer, Supervisor of Music, 630 Ostemo Place, South Bend 17, Indiana Spokane. Washington Gretchen A. Stieler, Supervisor of Music, 627 S. Bernard, Spokane 4, Washington Springfield. Illinois Esther Duncan, President, Illinois Music Educators Associa tion, Lanphier High School, Springfield, Illinois. Springfield. Massachusetts Fern Zipse, 30 Bridle Path Road, Springfield, Massachusetts Syracuse. New York G. Frank Lapham, Director of Music, 325 Kensington Road, Syracuse 10, New York Tac oma. Washlngt on Frank Anarde,' 815 North Grant, Tacoma 6 , Washington Tampa. Florida Florence R. Stumpf, Box 3408, Tampa, Florida Toledo. Ohio Clarence R. Ball, Director of Music Education, Toledo Public Schools, Address: 2648 Meadowood Drive, Toledo 6 , Ohio Toronto. Ontario. Canada Eldon Brethour, Board of Education, Toronto Toronto. Ontario. Canada G. Roy Fenwick, Ontario Dept, of Education, Rm. 417, Parlia ment Building, Queens Park, Toronto Toronto. Ontario. Canada L. G. Queen, Department of Education, Parliament Building, Toronto 204 Trenton, New Jersey Albert W. Wassell, Board of Education, 9 S. Stocker St., Trenton, New Jersey Tulsa. Oklahoma Gerald Whitney, Director of Music, Tulsa Public Schools, P.O. Box 131, Board of Education Building, Tulsa, Oklahoma Utica. New York Marcella C. Lalley, Supervisor of Vocal Mush, 13 Elizabeth Street, Utica, New York Vancouver. Washington Wallace Hannah, Director of Music Education, Vancouver Public Schools, Address: 7011 Corregidor Rd., Vancouver, Washington Washington. D.C. Paul D. Gable, 1908 Hanover St., Silver Spring, Maryland Washington. D.C. Alfred Johnson, 3119 Warder St., N.W., Washington, D.C. Waterbury, Connecticut Denis Moore, Supervisor of Music, Public Schools, Waterbury, Conn. Waterbury. Connecticut Joseph Ruggiero, 24 Wall St., Waterbury, Conn. Wichita. Kansas Arthur G. Harrell, Director of Music Education, Wichita Public Schools, 428 South Broadway, Wichita, Kansas Wilmington. Delaware David B. Kozinski, 807 East Matson Run Parkway, Wilmington 2, Delaware Worcester. Massachusetts Stanley W. Norwood, Supervisor of Music, 310 Highland St., Worcester 2, Massachusetts Yonkers. New York Richard C. Berg, Director of Music, Board of Education, 138 S. Broadway, Yonkers, N.Y. (Home: 21 Odell Ave., Yongers) Youngstown. Ohio J. Collins Lingo, Supervisor of Music, 20 W. Wood St., Youngstown 3, Ohio COMPETENCIES DESIRABLE FOR PUBLIC SCHOOL TEACHERS OP VOCAL MUSIC The following listing of competencles, skills, abilities, and knowledges has been Identified In relation to teaching goals stated In various class voice methods, collections of songs for group study, and In professional music education texts. This study is the second phase of research being undertaken in an effort to discover which of these many factors are most Important, and which least Important for a begriming music teacher. The first phase of the study was through a survey of music supervisors in cities of 100,000 or more population, and you are being asked for your opinion representing the teacher education Institution, Please indicate the degree of Importance which you give to each of the factors toy placing an X in the appropriate-! column, then give your opinion as to the possibility of including this training a3 a part of the class voice experience toy checking "yes,” or "no." In the third column check either "yes" or "no" only if class voice is actually toeing offered in your institution, indicating that the ■specific factor either is or is not being taught through the course content. if your school does not offer class voice, please leave the double column to the far right blank. I. Personal Skill3: (Exclusive of teaching)_____ “P O S S I B L E How important is it that a vocal RELATIVE I N C L U S I O N PRESENTLY music teacher toe able to; IMPORTANCE I N C O U R S E TMf!TTTr)KT) si si 1 , Relate music to the home? 2, Encourage the singing of serious music in the home? Operate audio-visual aids? Assist students in the identification of goals, objectives, and outcomes? Achieve mutual cooperation with staff members? H > 10 3 a *H 3|B • jn H o S p) (I) H H is 0 VO oo S Ov U) •fc U)10 « • • > • H >W M 0 3 H 0 VO 03 S O Ul t 4IB H O W M • < t • . 3C OM 4 d • • * 30 M3 cm 0 C9 3 > dW (OO PPG g < HO dO§ 0 MfUdHfOOSrtWS WOHOOO wag0 » o 1 3 3 0 0< 04 s 3asp p 0 Md 0 0 3 4M3 COB CM 03 o pado 0 0 3 0 W3 0 P 0 H dp 30 p M0B4 H M dM P 4 P 000 4< oo 30 0 do 3 HP Pd a d 30 4 H p 0 3H 00 HHU HH4 a g o ZZO Yes OC0 Yes OC0 opca OWM OG H OCH gmu No WHC' 82? No 030 E WZas® MZ HW HU Yes oza w Yes C0 PM GW gm No No s s 89DP OC * K 90S - 3 - P O S S I B L E How Important is it that a vocal R E L A I'lVE I N C L U S I O N PRESE NTLY music teacher have the knowledee I M P OR TAN OE I N C O U R S E INCLU h e d o f s ...... ■P> OQ +> B. Musicianship and Musical Slight Rather Yes F a c t s ; ES Yes S s 1_ Sight-slnelns ? 2. Harmony ? 3. Ear-training? A. Keyboard harmony? 5- Musical history and literature ? 6. Form and analysis? 7- Great sons literature? 8- Singing and the use of the v o i c e ? S3. t i r a s s i f l c a t l o n o f t y p e s of s o n g s ? lO. The (development of auditory sensitivity? C . Ensemble and Group Technique: Principles of group voice p r o c e d u r e ? | Techniques of group voice p r o c e d u r e ? ! Z>. P r o f e s s i o n a l U n d e r s t a n d i n g s : The relationship of school music to the community? The relationship of music to the total school curriculum? Availability of current audio—visual aids? E. Psychological, Physiological, and Philosophical Factors: 1. The availability and limitations of tests and measurements in music? 2. voice production and t e n s i o n ? 3. Nays of. releasing a voice from tension? aj „ Physiological terms related to voice production? 5 „ The coordination of the large muscles of the vocal mechanism? fc>. The potential of music in the development of personal!tv? 7. Tlie potential of music in character building? lommenta „ suggestions, additions: Ill. Ability -bo Teach; P O S S I BLE How important is it that a vocal R E h VTI'VE I N C L U SION PRESENTLY music teacher* have the ability XM POI OTA MCE X N C O URSE INCLUDED to develop* S-i a> *> J3 to ->-» -4-3 to A. Functional Skills and <2 to Slight s Yes s A b i l i t i e s i S t t-t s 1 . Acceptable solo singers? 2. Singers for* contest and a u d i t i o n s ? 3. Proper* and effective use of the slnslne voice? 4 . Beauty in tone? 5 - Functional breathing? 6. Clear* enunciation? 7. Sight—singing skill? fci. A working relationship between singing skill and speech •? 9. Workable remedial technlaues? IQ Out —of—school practice | technlaues? : B. Music1anshtp and Musical Facts: * 1. singing skill? Understanding ol' h a r m o n v ? 3. Functional ear—training? 4. Facility in keyboard h a r m o n y ? 5. Knowledge of music history and literature? o. understanding of form and analysis? 7. Appreciation of great 1 song literature? j 8. Listening skill? j y . A more conscious j aesthetic sense? j lO. Enjoyment of music? j 11. Understanding of music? 1 1 2 . standards of Judgment? j 1 3 . Powers of interpretation? jj I ! C . E n s er.it> 1 e a n d G r c up T e c h n i q u e z Techniques of mutual constructive criticism? | A functional usage of audio-visual aids? 1 - 5 - III. Ability to Teaofaa (eontlnued) How Important 3.3 It that a vocal music teacher have the abili’by to develop; D. Professional Iftiierstandings: Tills item is not one to t>e taught to others, therefore is not applicable to tills section and is not included. P O S S I B L E Psychological, physiological, RIL L A T I VE I N C L U S I O N P RE SE N T L Y and Philosophical Factors: T M 1 P O R T AN CE I N C O U R S E INCLUDED +> ca Slight Rather Yes Yes s 1. Functional usage of tests and measurements in music? 2. Good citizenship through musical activity? 3 - Understanding of and respect for common p r o b l e m s ? *4 . Music as an opportunity for self-expression? 5 . P o i s e ? 6, Self-assurance? 7- Respect for variety in musical taste? Comments , suggestions, additions; APPENDIX E LIST OP COLLEGES AND UNIVERSITIES, AND PERSONS ADDRESSED IN COLLEGE MUSIC EDUCATORS* SURVEY li Dr. Arthur M. Fraswer, Director, Dept, of Music, Alabama College, Montevallo, Alabama 2. Dr. W. G. Spencer, Head of Department, Department of Music, Appalachian State Teachers College, Boone, North Carolina. 3. Dr. Duane H. Haskell, Head of Music Division, Fine Arts College, Arkansas State Teachers College, State College, Arkansas. 4. Dr. Howard Groth, Head of Music Department, Arkansas State Teachers College, Conway, Arkansas. 5. Dr. Robert Hargreaves, Chairman of Music Dept., Ball State Teachers College, Muncie, Indiana. 6. Dr. James P. Kennedy, Chairman of Music Dept., Bowling Green State University, Bowling Green, Ohio. 7. Dr. Ralph E. Hart, Chairman of Music Division, Central Missouri State College, Warrensburg, Missouri. 8. Professor Earl E. Beach, Director of Music Department, East Carolina College, Greenville, N&rth Carolina. 9. Dr. Wiley Housewright, Head of Music Education, Florida State University, Tallahassee, Florida. 10. Dr. Lloyd K. Herren, Director of Music Dept., Fort Hays Kansas State College, Hays, Kansas. 11. Dr. Max Noah, Director of Music Department, George State College for Women, Milledgeville, Georgia. 12. Professor Carolyn Grant, School of Music, Howard Univer sity, Washington, D.C. 13. Drs Wilfred C. Bain, Dean, School of Music, Indiana University, Bloomington, Indiana. 210 211 14. Professor Harold B. Holst, Department of Music, Iowa State Teachers College, Cedar Palls, Iowa. 15. Dr. Robert M. Taylor, Head of Department of Music, Kansas State Teachers College of Bnporia, Bmpbria, Kansas. 16.Professor Luther 0. Leavengood, Chairman of Music Depart ment, Kansas State College, Manhattan, Kansas. 17. Dr. Millard 0. Laing, Head of Music Department, Kansas State Teachers College, Pittsburg, Kansas. 18. Dr. 0. Anderson Puller, Head of Music Department, Lincoln,University, Jefferson City, Mo. 19. Professor Ilda M. Schriefer, School of Music, Louisiana St±e University, Baton Rouge, Louisiana. 2 0 . Dean Ralph Squires, Division of Music and Pine Arts, McNeese State College, Lake Charles, Louisiana. 2 1 . Professor Harold E. Mohr, Music Department, Miami Uni versity, Oxford, Ohio. 2 2 . Dr. Roy Underwood, Director of Division of Fine Arts, Michigan State University, East Lansing, Michigan. 23. Professor Jack L. Iyall, Department of Music, Mississippi Southern College, Hattiesburg, Mississippi. 24. Dr. Siegfried C. Matson, Director of Department of Music, Mississippi State College for Women,' Columbus, Mississippi. 25. Dr. Luther Richaman, Dean of School of Music, Montana State University, Missoula, Montana. 26. Professor Richard W. Parrell, Director, Department of Fine Arts, Murray State College, Murray, Kentucky. 27. Dr. Walter H. Hodgson, Dean, School of Music, North Texas State College, Denton, Texas. 28. Professor Phradie Wells, Department of Music, Northeast Missouri State Teachers College, Kirksville, Missouri. 29. Professor Dale V. Gilliland, School of Music, The Ohio State University, Columbus, Ohio. 212 30. Professor Robert Darnes, Director of Music Education, Music Department, Oklahoma College for Women, Chickasha, Oklahoma. 31. Dr. Karl Ahrendt, Director of School of Music, Ohio University, Athens, Ohio 32. Dr. Max A. Mitchell, Head of Music Department, Oklahoma State University, Stillwater, Oklahoma. 33. Dr. Donald B. Tennant, Head of Music Education Depart ment, Richmond Professional Institute, 901 W. Franklin St., Richmond, Va. 34. Dr, Ralph R. Pottle, Head of Music Department, South eastern Louisiana College, Hammond, Louisiana. 35. Dean Burnett H. Shryock, School of Fine Arts, Southern Illinois University, Carbondale, Illinois. j 3 6 . Professor Willis Ducrest, Head of Music Department, Southwestern Louisiana Institute, Lafayette, Louisiana. 37. Dr. Kemble Stout, Chairman of Music Department, State College of Washington, Pullman, Washington. 38. Professor Francis H. Diers, Director of Music Education Department, State University of New York, Teachers College at Fredonia, Fredonia, New York. 39. Professor Himie Voxman, Chairman, Department of Music, State University of Iowa, Iowa City, Iowa. 40. Professor Usher Abel, Head of Music Dept., State Uni versity of South Dakota, Vermillion, South Dakota. 41. Mr. Edgard E. Eklof, Music Department, University of Alabama, University, Alabama. 42. Professor John H. Bloom, School of Music, University of Arizona School of Fine Arts, Tucson, Arizona. 43. Dr. Bruce Benward, Chairman, Department of Music, University of Arkansas, Fayetteville, Arkansas. 44. Mr. Charles Myers, College of Music, University Colorado, Boulder, Colorado. 45. Professor Byron H. Warner, Department of Music, Univer sity of Georgia, Athens, Ga. 213 46. Professor L. R. Hamp, School of Music, University of Illinois, Urbana, Illinois. 47. Dean Thomas Gorton, School of Pine Arts, University of Kansas, Lawrence, Kansas. 48. Professor A. J. Kiviniemi, Department of Music, Univer sity of Kentucky, Lexington, Kentucky. 49. Professor James Wallace, Assistant Dean, School of Music, University of Michigan, Ann Arbor, Michigan. 50. Dr. Robert W. House, Director, Department of Music, University of Minnesota, Duluth Branch, Duluth, Minnesota. 51. Dr. Paul Knowles, Department of Music, University of Minnesota, Minneapolis, Minn. 52. Professor Juanita Moore Kirpatrick, Department of Music, University of Mississippi, University, Mississippi. 53. Professor Herbert Gould, Department of Music, University of Missouri, Columbia, Mo. 54. Professor Leon Lishner, Department of Music, University of Nebraska, Lincoln, Nebraska. 55. Professor Jane Snow, Department of Music, University of New Mexico, Albuquerque, New Mexico 56 . Professor Joe}. Carter, Department of Music, University of North Carolina, Chapel Hill, North CaxdLina. 57. Professor Ernest John Schultz, Acting Director, School of Music, University of Oklahoma, Norman, Oklahoma. 58. Dr. John M. Gustafson, School of Music, University of Oregon, Eugene, Oregon. 59. Professor Margaret Dayton, School of Music, University of Southern California, 3518 University Ave., Los Angeles 7, California. 60. Professor Floyd C. Townsley, College of Fine Arts, University of Texas, Austin, Texas. 61. Professor Jessie Perry, Department of Music, University of Utah, Salt Lake City, Utah* 214 62. Professor E, D. Harris, School of Music, University of Washington, Seattle, Washington. 6 3 . Professor Allen A. Willman, Chairman, Division of Music, University of Wyoming, Laramie, Wyoming. 64. Dr. Thomas C. Bridge, Dept, of Music, Virginia State College, Petersburg, Va. 6 5 . Professor Bernard R. McGregor, School of Music, West Virginia University, Morgantown, W. Va. 6 6 . Dr. Elwyn Carter, Music Administrator, Western Michigan University, Kalamazoo, Michigan. 6 7 . Professor Birdie H. Holloway, School of Music, Women's College of the University of North Carolina, Greensboro, North Carolina, 6 8 . Dr. Jess T. Casey, Director, Music Dept., Winthrop College, Rock Hill, South Carolina. APPENDIX F-l LETTER TO PUBLIC SCHOOL MUSIC SUPERVISORS March 26, 1959 Your assistance Is being solicited due to your posi tion in your school system, and to the leadership you are exercising in music education. The following paragraph will briefly outline the research project which I am under taking here at Ohio State University In relation to a doctoral dissertation in education. I am attempting to determine which of the accompany ing listed competencies, skills, and knowledges are felt by you to be Important in the basic preparation of public school music teachers. A later part of the research will concern whether the ones found by you and other music supervisors in the larger cities of the United States, to be most important are being provided through group voice instruction in teacher education institutions. For this reason, many of the listed factors are closely related to vocal training. Your reply to the enclosed questionnaire will be greatly appreciated, and for your convenience a stamped self-addressed envelope is enclosed. If, however, you feel you do not wish to reply to the questions asked, please return the incomplete form to me. I will send you a brief report of the findings of this research if you so indicate on the final page of the questionnaire. Your cooperation is earnestly invited and indeed appreciated. Very sincerely, William G. Hinton, Jr., Instructor School of Music, Hughes Hall The Ohio State University Columbus 10, Ohio 215 APPENDIX F-2 LETTER TO COLLEGE MUSIC EgUgAgORS^ Dear This letter is being addressed to you with the hope that you will be willing to give assistance to a research study being undertaken here at the Ohio State University. This study is in r£.ation to the place of class voice instruction in the music teacher education curriculum. If for some reason this should have been addressed to someone in your school other than yourself, please forward it to that person with the request that proper action be taken. This past spring letters and questionnaires were sent to supervisors of music in the public schools of the United States in cities over 100,000 population. This was done in an effort to determine which of the accompanying listed competencies, skills, and knowledges were felt by them to be important in the basic preparation of public school music teachers. A great many of these were completed and returned. The tabulation of these, along with this second phase of the research should make it possible to draw some conclusions and make some recommendations which will be of value to schools and departments of music in institutions of higher learning. Your response to the same questionnaire is desired, with additional reactions as to whether you feel that the specific factor can be either accomplished or taught through the group voice procedure. A second list of questions for background information is included, which will help to make the research more meaningful. Your cooperation is very earnestly requested, however, if you feel that you are unable to complete this, please return it, uncompleted, in the.addressed, stamped envelope which is provided. Thank you for your assistance in this matter. Very sincerely, William G. Hinton, Jr., Instructor School,of Music The Ohio State University 1899 North College Rd. Columbus 10, Ohio 216 INFORMATION SHEET s A. Does your- institution offer voice Instruction by claas or group; Yes ______No __ B„ If "yes " please answer1 this section^ if go on "to section C s 1. How many students to a group? __ 2 H o w - m a n y class sessions weekly? 3 Outside practice iss Required? Desirable ? Not necessary ? U What is the availability of this class to the following groups of students? N o t E l e c t i v e Vocal music education students? Instrumental music education s t u d e n t s ? General supervision music education students? Music students other than music education? Elementary education majors? Other student 3 for cultural, humanities, or general education electives? What methods and/or materials are used? Y e s N o a. Professional printed method? b. Own course outline? c . No specific method? d. Combination of (a) and (b) above? If a specific method is u s e d , please give the name, author. and publisher; If a song collection is u s e d regularly, please name it, editor, and publishers State briefly what you f e e l to be the need for materials in t h i s a r e a s What qualifications are felt desirable and/or necessary for the Instructor? lO. What is your opinion concerning the following specific quail- cations for an instructor of class voice? V e r y D o u b t N o t D e s i r f u l N e c e s R e a u i r e d a b l e v a l u e s a r y a . Training as a public school music teacher? b . Public school -beaching experience? c . Extensive 0 oncert and recital experience? d. Broad musical training and background? e . Intensive and specific training as soloist? — 2 — INFORMATION SHEET a (continued) 1 1 . what is the basic purpose of class voice Instruction in your music education currlouluB? ______ If your answer to please answer this section; 1 Has your school tried and discontinued the class method of voice teaching? Yes _____ N o ______S. Does your school anticipate including the class method of voice teaching in the near future? Yes ______No ______3. Do you feel it is possible for voice instruction through the class or group approach to achieve the following? (please chech as appropriate) a . Development of personal sinelne shill? b . Knowledge of voice produc tion for transfer to choral w o r k ? Sufficient knowledge of voice production for diagnosis of vocal faults for soloists? d . Suffielent vocal shill for rof—■ nubile school teaohine? CD e . Development of musicianship for transfer to teaching of Instrumental music? Would you write a short statement concerning why voice is not taught by the group or class method in your school? (To the best of your knowledge.) D. Do you wish to have a concise report of the findings of this research sent to you when it is completed? Yes No If so. please fill out the following completely. Thla portion of the form will be detached immediately upon receipt of this m a t e r i a l . OPTIONAL (In accord with " D" a b o v e . ) N a m e ; ______Title and Position; ______School, College, university; ______'/tailing Address: ______APPENDIX H CROSS REFERENCE INFORMATION FROM PUBLIC SCHOOL MUSIC SUPER VISORS I PERCENTAGE OF RESPONSES TO FUNCTIONAL SKILLS AND ABILITIES FROM PUBLIC SCHOOL MUSIC SUPERVISORS' QUESTIONNAIRE Large Per Cent Grouping Factor Importance Answer Levels ing . 1 . 2 3 4 I. Personal Recognize musical needs Skills of singers 99 87 12 1 Recognize technical needs of singers 99 87 12 1 Pronounce foreign song texts 99 14 52 28 6 Translate foreign song texts 99 3 30 47 20 II. Personal Voice Classification 100 89 10 1 Knowl Male and female voices 100 89 10 1 edges Care of, limitations of, and capabilities of the adolescent voice 100 93 7 Voice teaching termin ology 99 33 54 10 3. Current pedagogical practice 100 44 53 3 Diagnosis of faulty tone 100 94 5 1 Prescription for faulty tone 100 93 6 1 Available materials and methods 100 68 31 1 Solo and choral materials 100 71 25 4 Vocalises and their use 99 42 48 10 III. Ability Acceptable solo singers 99 , 24 67 8 1 to Singers for contests and Teach auditions 99 8 60 28 4 Proper and effective use of the singing voice 100 90 10 Beauty in tone 100 8 Functional breathing 100 95 4 1 Clear enunciation 100 93 7 219 220 APPENDIX H-l (CONTINUED) Per Cent Large Importance Grouping Factor Answer - Levels ing 1 2 3 4 Sight-simging skill 100 55 42 3 A working relationship between singing skill and speech 97 50 40 10 Workable remedial tech niques 99 67 32 1 Out-of-school practice techniques 96 20 65 15 Key: 1. Most Important; 2. Rather Important; 3. Slightly Important; 4. Not Important. APPENDIX H-2 MOST IMPORTANT FACTORS FROM FUNCTIONAL SKILLS AND ABILITIES® PUBLIC SCHOOL MUSIC SUPERVISORS’ QUESTIONNAIRE Per Cent of Response Identi Most Rather fica Impor- Impor tion Factor tant tant Total How Important is It that a Vocal Music Teacher Have: III A 5 Functional breathing? 95 4 99 III A 4 Beauty in Tone? 94 6 100 II A 6 Diagnosis of faulty tone? 94 5 99 II A 3 Care of, limitations of, and capabilities of the adolescent voice? 93 7 100 III A 6 Clear enunciation? 93 7 100 II A Prescription for faulty tone? 6 7 99 99 , III A 3 Proper and effective use of the singing voice? 90 10 100 II A 1 Voice classification? 89 10 99 II A 2 Male and female voices? 89 10 99 I A 2 Recognize technical needs of singers? 87 12 99 221 APPENDIX H-2 (CONTINUED) Per Cent of Response Identi Most Rather fica Impor- Impor tion Factor tant tant. Total I A 1 Recognize musical needs of singers? 87 12 99 (Others 71$ and below as most important.) A: Functional Skills and Abilities. I. Personal Skills. II. Personal Knowledge. III. Ability to Teach. 1, 2, 3, etc.: Order of appearance In questionnaire. APPENDIX H-3 Per Cent of Response Identi Slightly Not fica i Impor Impor tion Factor tant tant Total How Important is It that a Vocal Music Teacher Have: I A 4 Translate foreign song texts? 47 20 67 I A 3 Pronounce foreign song texts? 28 6 34 II A 2 Singers for contests and auditions? 28 4 32 III A 10 Out-of-school practice techniques? 15 0 15 II A 4 Voice teaching terminology? 10 3 13 III A 8 Working relationship between singing skill and speech? 10 0 10 II A 10 Vocalises and their use? 10 0 10 (Others total and below.) A. Functional Skills and Abilities. I. Personal Skills. II. Personal Knowledge. III. Ability to Teach 1, 2, 3> etc.: Order of appearance on questionnaire. 222 APPENDIX H-4 PERCENTAGE OF RESPONSES TO MUSICIANSHIP AND MUSICAL FACTS FROM PUBLIC SCHOOL MUSIC SUPERVISORS' QUESTIONNAIRE Per Cent Large Importance Grouping Factor Answer- Levels - ...... 1 2 3 4 I. Personal Sin^ creditably himself 100 45 50 4 1 Skills Exercise an understanding of aesthetic sense 97 80 14 6 Classify types of songs 97 29 52 16 3 II. Personal Sight-singing 100 81 19 Knowledges Harmony 99 69 30 1 Ear-training 100 81 19 Keyboard harmony 99 42 55 3 Musical history and literature 99 4548 7 Form and analysis 99 37 55 8 Great song literature 99 67 30 3 Singing and the use of the voice 99 93 6 1 Classification of types of songs 100 35 57 7 1 The development of audi tory sensitivity 99 80 20 III. Ability Singing Skill 94 79 21 to Teach Understanding of harmony 100 43 50 7 Functional ear-training 100 65 35 Facility in keyboard harmony 100 20 64 15 1 Knowledge of music history land literature 100 29 6land 10 Understanding of form and analysis 99 23 57 20 Appreciation of great song literature 199 53 43 4 Listening skill 100 75 24 1 A More conscious aesthetic sense 97 67 31 l 1 Enjoyment of music 100 87 10 3 Understanding of music 96 82 17 1 Standards of Judgment 100 71 28 1 Powers of interpretation 100 72 25 1. Most Important; 2. Rather Important; 3. Slightly Important; 4,. Not Important. 223 APPENDIX H-5 MOST IMPORTANT FACTORS FROM MUSICIANSHIP AND MUSICAL FACTS, PUBLIC SCHOOL MUSIC SUPERVISORS' QUESTIONNAIRE Per Cent of Response Identi Most Rather fica Impor Impor tion Factor tant tant Total How Important is It That a Vocal Music Teacher Have: II B 8 Singing and the use of the voice? 93 6 99 III B 10i Enjoyment of music? 87 10 97 III B 11 Understanding of music? 82 17 99 II B 1 Sight-singing ? 81 19 100 II B 3 Ear Training? 81 19 100 II B 10i The development of auditory sensitivity? 80 20 100 I B 2 Exercise an understanding of aesthetic sense? 80 14 94 (Others 79$ or below as most important.) B. Musicianship and Musical Facts • I. Personal Skills II. Personal Knowledge. III. Ability to Teach 1 . 2, 3, etc.: Order of appearance on questionnaire. APPENDIX H-6 LEAST IMPORTANT FACTORS FROM MUSICIANSHIP AND MUSICAL FACTS, FROM PUBLIC SCHOOL MUSIC SUPERVISORS' QUESTIONNAIRE Per Cent of Response Identi- Slightly Not f ica-r Impor Impor tion Factor tant tant Total How Important is It that a Vocal Music Teacher Have: III B 6 Understanding of form and analysis? 20 0 20 I B 3 Classify types of songs? 16 3 19 III B 4 Facility in Keyboard harmony? 1 16 III B 5 Knowledge Of music history and literature? 10 0 10 (Others total 8$ or below.) Key: Same as Appendix H-5 above. 224 APPENDIX H-7 PERCENTAGE OP RESPONSE TO ENSEMBLE AND GROUP TECHNIQUES PROM PUBLIC SCHOOL MUSIC SUPERVISORS' QUESTIONNAIRE Per Cent Grouping Factor Importance Answer- Levels ine 1 2 3 4 I. Personal Achieve Skill In a Skills choral group 100 86 14 Achieve balance In a choral group 97 90 10 Achieve good group tone 100 97 3 Conduct vocal groups effectively 100 92 8 Lead recreational singing 97 17 52 27 4 II. Personal Principles of group voice Knowledges procedure 100 85 15 Techniques of group voice procedure 100 83 17 III. Ability Techniques of mutual to Teach constructive criticism 99 46 49 5 A functional usage of audio-visual aids 100 15 53 28 4 1. Most Important; 2. Rather Important; 3. Slightly Important; 4. Not Important. 225 APPENDIX H-8 MOST IMPORTANT FACTORS FROM ENSEMBLE AND GROUP TECHNIQUES, PUBLIC SCHOOL MUSIC SUHERYISORS* QUESTIONNAIRE Identi Per Cent of Response f ica- Most Rather tion Factor Impor Impor tant tant Total How Important is It that a Vocal Music Teacher Have I C 3 Achieve good group tone? 97 3 100 I C 4 Conduct vocal groups effec tively? 92 8 100 I C 2 Achieve balance in a choral group? 90 10 100 I C 1 Achieve skill in a choral group? 86 14 100 II c 1 Principles of group voice procedure? 85 15 100 II c 2 Techniques of group voice procedure? 83 1? 100 (Others 79$ and below as most important C: Ensemble and Group Techniques. I: Personal Skills. II: Personal Knowledge. Ill: Ability to Teach. 1, 2, 3, etc.: Order of appearance on questionnaire. APPENDIX H-9 LEAST IMPORTANT FACTORS FROM ENSEMBLE AND GROUP TECHNIQUES, PUBLIC SCHOOL MUSIC SUPERVISORS' QUESTIONNAIRE Per Cent of Response Identi Slightly Not fica Impor- Impor- tion Factor tant tant Total How Important is It th&t a Vocal Music Teacher Have: Ill C 2 Functional usage of audio visual aids? 4 32 I C 5 Lead recreational singing? 27 4 Ji. (other factor rated' 5% in slightly important.) Key: Same as Appendix H-8 above. 226 APPENDIX H-10 PERCENTAGE OP RESPONSES TO PROFESSIONAL UNDERSTANDINGS, PROM PUBLIC SCHOOL MUSIC SUPERVISORS' QUESTIONNAIRE Per Cent Importance Grouping Factor Answer Levels ing. 1 2 3 4 I. Personal Relate music to the home 97 19 64 17 Skills Encourage the singing of serious music in the home 100 15 58 22 5 Operate audio-visual aids 99 10 46 37 7 Assist students in the identification of goals, objectives, and outcomes 100 68 26 6 Achieve mutual cooperation with other staff members 100 78 22 II. Personal The relationship of school KNOWLEDGES music to the community 100 65 32 3 The relationship of music to the total school curriculum 100 82 18 Availability of current audio-visual aids 99 m 56 20 1 III. Ability This item is not one to be taught to others, to Teach therefore is not applicable to this section and is not included. 1. Most Important; 2. Rather Important; 3. Slightly Important; 4. Not Important. 227 APPENDIX H-ll MOST IMPORTANT FACTORS FROM PROFESSIONAL UNDERSTANDINGS, PUBLIC SCHOOL MUSIC SUPERVISORS’ QUESTIONNAIRE Identi Per CBnt of Response Most Rather fication Irapor- Impor Factor tant tant Total How Important is It that a Vocal Music Teacher Have: II D 1 The relationship of music to the total school curricumum? 82 18 100 (Others 78$ or below as most important) D: Professional Understandings. II: Personal Knowledge. 1. Order of appearance on questionnaire. APPENDIX H-12 LEAST IMPORTANT FACTORS FROM PROFESSIONAL UNDERSTANDINGS, PUBLIC SCHOOL MUSIC SUPERVISORS* QUESTIONNAIRE Per Cent of Response Identi Slightly Not fica Impor- Impor tion Factor tant tant Total a Vocal Music Teacher Have: I D 3 Operate audio-visual aids? 37 7 44 I D 2 Encourage the singing of serious music in the Home? 22 5 27 II D 3 Availability of current audio-visual Aids? 20 1 21 I D 1 Relate muSL c to the home? 17 0 17 (Others 6$ or below in combined lower ratings.) D: Professional Understandings. I: Personal Skills. II: Personal Knowledge. Ill: (Not included here.) 1, 2, 3, etc.: Order of appearance on questionnaire, 228 APPENDIX H-13 PERCENTAGES OF RESPONSE TO PSYCHOLOGICAL, PHYSIOLOGICAL, AND PHILOSOPHICAL FACTORS, FROM PUBLIC SCHOOL MUSIC SUPERVISORS' QUESTIONNAIRE Per Cent Importance Answer Levels Grousing; Factor ing 1 2 3 4 I. Personal Recognize musical talent 100 86 13 1 Skills Challenge musical talent 99 86 13 1 Motivate in students a desire to learn to sing 100 93 8 Establish and develop standards 100 86 14 Adapt procedures to indi viduals, circumstances, and conditions 100 79 20 1 Inspire students toward the establishment of goals 100 78 22 Exercise a breadth of musical taste 100 74 26 Administer and interpret tests and measurements in music 100 4 57 31 8 Develop a mutuality of participation 94 59 32 9 Incorporate voice instruc tion into larger musical growth 99 56 41' 3 Exercise extreme patience 99 68 28 3 1 II. Personal The availability and Knowledges limitations of tests and measurements in music 99 12 67 21 Voice production and tension 99 75 22 3 Ways of releasing a voice from tension 99 80 16 3 Physiological terms re lated to voice produc tion 100 25 53 21 1 The coordination of the large muscles of the vocal mechanism 97 53 43 4 The potential of music in the development of personality 100 53 38 9 229 APPENDIX H-13 (CONTINUED) Per Cent Importance Answer Levels Growing Factor ing___ 1 2 3 4 The potential of music in character building 100 ^9 40 10 1 III. Ability Functional usage of tests to Teach and measurements^ 1ft music 97 6 52 38 4 Good citizenship through musical activity 99 62 29 9 Understanding of and respect for common problems 100 54 40 6 Music as an opportunity for sel£-expression 100 71 28 1 Poise 100 65 35 Self-assurance 99 64 36 Respect for variety in musical taste 99 65 31 4 1. Most Important; 2. Rather Important; 3. Slightly Important; 4. Not Important. APPENDIX H-14 MOST IMPORTANT FACTORS FROM PSYCHOLOGICAL, PHYSIOLOGICAL, AND PHILOSOPHICAL FACTORS, OF COLLEGE MUSIC EDUCATORS1 QUESTION NAIRE Per Cent of Response Identi- Most Rather fica- Impor- Impor- tlon Factor______tant tant Total How Important is It that a Vocal Music Teacher Haves IE 3 Motivate in students a desire to learn to sing? 92 8 100 I E 1 Recognize musical talent? 86 13 99 I E 4 Establish and develop stand ards? 86 14 100 I E 2 Challenge musical talent? 86 13 99 230 APPENDIX H-14 (CONTINUED) Per Cent of Response Identi Most Rather fica Impor- Impor tion Factor tant tant Total How Important is It that a Vocal Music Teacher Have: II E 3 Ways of releasing a voice from tension? 80 16 9 6 (Others below 79$ as most important) E: Psychological, Physiological, and Philosophical Factors. I: Personal Skills II: Personal Knowledge III: Ability to Teach 1, 2, 3, etc.: Order of appearance on questionnaire. APPENDIX H-15 LEAST IMPORTANT FACTORS FROM PSYCHOLOGICAL, PHYSIOLOGICAL, AND PHILOSOPHICAL FACTORS, COLLEGE MUSIC EDUCATORS' QUES TIONNAIRE Per Cent of Response Identi- Slightly Not fica1- Impor Impor tior:1 Factor tant tant Total How Important is It that a Vocal Music Teacher Have: III E 1 Functional usage of tests and measurements In music? 38 4 42 I E 8 Administer and interpret tests and measurements in music? 31 8 39 II E 4 Physiological terms related to voice production? 21 1 22 IIE 1 The availability and limita tions of tests and measure ments in music? 21 0 21 II E 7 The potential of music in character building? 10 1 11 (Others total 9$ or below.) Key: Same as"'Appendix H-l^l above. APPENDIX I CROSS REFERENCE INFORMATION FROM COLLEGE MUSIC EDUCATORS APPENDIX 1-1 PERCENTAGE OF RESPONSES TO FUNCTIONAL SKILLS AND ABILITIES FROM COLLEGE MUStC EDUCATORS* QUESTIONNAIRE Per Cent Importance Answer'- Levels Grouping Factor ing 1 2 3 4 I. Personal Recognize musical needs Skills of singers 100 96 4 Recognize technical needs of singers 100 89 11 Pronounce foreign song texts 98 31 47 18 4 Translate foreign song texts 98 18 40 22 20 II. Personal Voice classification 98 96 4 Knowledges Male and female voices 98 96 4 Care of, limitations of, and capabilities of the adolescent voice 98 87 13 Voice teaching termin ology 96 61 33 6 Current pedagogical practice 91 57 29 14 Diagnosis of faulty tone 98 96 4 Prescription for faulty tone 96 98 2 Available materials and methods 98 71 25 4 Solo and choral materials 98 80 16 4 Vocalises and their use 98 67 29 2 2 III. Ability Acceptable solo sipgers 89 54 46 to Teach Singers for contest and auditions 94 40 49 11 Proper and effective use of the singing voice 94 98 2 Beauty in tone 94 93 7 Functional breathing 94 95 5 Clear enunciation 94 93 7 Sight-singing skill 94 68 23 7 2 231 232 APPENDIX 1-1 (CONTINUED) Ber Cent Importance Answer - Levels Grouping Factor ine 1 2 3 4 A working relationship between singing skill and speech 94 74 19 7 Workable remedial tech niques 91 86 12 2 Out-of-school practice techniques 94 65 28 7 1. Most Important; 2. Rather Important; 3. Slightly Important; 4. Not Important. APPENDIX 1-2 MOST IMPORTANT FACTORS FROM FUNCTIONAL SKILLS AND ABILITIES FROM COLLEGE MUSIC EDUCATORS' QUESTIONNAIRE Per Cent______Most Rather Impor- Impor- Group Factor______tant tant Total Hotr Important Is It that a Vocal Music Teacher Have II Prescription for faulty tone? 98 2 100 III Proper and effective use of the singing voice? 98 2 100 I Recognize musical needs of singers? 96 4 100 II Voice classification? 96 4 100 II Male and female•voices? 96 4 100 II Diagnosis of faulty tone? 96 4 100 III Functional breathing? 95 5 100 III Beauty in tone? 93 - 7 100 III Clear enunciation? 93 7 100 I Recognize technical needs of singers 89 11 100 !I Care of, limitations of, and capabilities of the adolescent voice 87 13 100 233 APPENDIX 1-2 (CONTINUED) Per Cent of Response Most Rather Impor- Impor Group Factor tant tant Total III Workable remedial techniques 86 12 98 II Solo and choral materials 80 16 96 (Others rated or less as most important,) I: Personal Skills (to be able to). II: Personal Knowledge (to have knowledge of). Ill: Ability to Teach (to be able to develop). APPENDIX 1-3 LEAST IMPORTANT FACTORS FROM FUNCTIONAL SKILLS AND ABILITIES, COLLEGE MUSIC EDUCATORS' QUESTIONNAIRE Per Cent of Response Slightly Not Impor Impor Group Factor tant tant Total How Important Is It that a Vocal Music Teacher Have: I Translate foreign song texts? 22 20 42 I Pronounce foreign song texts? 18 4 22 II Current pedagogical practice? 14 - 14 III Singers for contest and auditions 11 11 (Others total 9$ or less in two lowest ratings.) I: Personal Skills (to be able to). II: Personal Knowledge (to have knowledge of). Ill: Ability to Teach (to be able to develop). 2 3 4 APPENDIX 1-4 PERCENTAGE OF RESPONSES TO MUSICIANSHIP AND MUSICAL FACTS FROM COLLEGE MUSIC EDUCATORS' QUESTIONNAIRE Per Cent Importance Answer- Levels Grouping: Factor ing _ 1 2 3 4 I. Personal Sing creditably himself 100 72 26 2 Skills Exercise an understanding of aesthetic sense 100 89 11 Classify types of songs 98 54 33 11 2 II. Personal Sight-singing 98 85 13 2 Knowledges Harmony 98 64 34 2 Ear-training 98 82 16 2 Keyboard harmony 98 54 40 6 Musical history and literature 96 59 36 5 Form and analysis 96 55 39 4 2 Great song literature 98 85 11 4 Singing and the use of the voice 96 100 Classification of types of songs 96 70 23 7 The development of auditory sensitivity 96 86 14 III. Ability Singing skill 91 83 17 to Teach Understanding of harmony 91 39 47 12 2 Functional ear-training 91 74 17 9 Facility in keyboard harmony 91 39 36 19 6 Knowledge of music history and literature 91 45 42 13 Understanding of form and analysis 91 39 45 16 Appreciation of great song literature 91 71 25 4 Listening skill 91 79 21 A more conscious aesthetic sense 89 88 12 Enjoyment of music 91 90 8 2 Understanding of music 91 86 14 Standards of judgment 91 86 12 : 2 Powers of interpretation 91 93 7 - 1. Most Important; 2. Rather Important; 3. Slightly Important; 4. Not Important. 235 APPENDIX 1-5 MOST IMPORTANT FACTORS FROM MUSICIANSHIP AND MUSICAL FACTS, COLLEGE MUSIC EDUCATORS' QUESTIONNAIRE Per Cent Beiaponse Most Rather Impor- Impor- Group Factor tant tant Total How Important Is It that a ■ Vocal Music Teacher Have: II Singing and the use of the voice? 100 - 100 III Powers of interpretation? 93 7 100 III Enjoyment of music 90 8 98 I Exercise and understanding of aesthetic sense89 11 100 III A more conscious aesthetic sense 88 12 100 II The development of auditory sensitivity86 1H 100 III Understanding of music 86 1*4 100 III Standards of judgment 86 12 98 II Sight-singing 85 13 98 II Great song literature 85 11 96 III Singing skill 83 17 100 II Ear-training ~82 16 98 (Others 79# or less in most important.) I: Personal Skills (to be able to). II: Personal Knowledge (to have knowledge of). Ill: Ability to Teach (to be able to develop). 2 3 6 APPENDIX 1-6 LEAST IMPORTANT FACTORS FROM MUSICIANSHIP AND MUSICAL FACTS, COLLEGE MUSIC EDUCATORS' QUESTIONNAIRE Per Cent Response Slightly Not Impor- Impor- Group Factor tant tant Total How Important is It that a Vocal Music Teacher Have: III Facility in keyboard harmony 19 6 25 Ill Understanding of form and analysis 16 16 III Understanding of harmony 12 2 14 III Knowledge of music history and literature 13 13 I Classify types of songs 11 2 13 (Other 9$ or less in the two lowest ratings.) I: Personal Skills (to be able to). II: Personal Knowledge (to have knowledge of). Ill: Ability to Teach (to be able to develop). 237 APPENDIX 1-7 PERCENTAGE OF RESPONSES TO ENSEMBLE AND GROUP TECHNIQUES FROM COLLEGE MUSIC EDUCATORS' QUESTIONNAIRE Per Cent Importance Answer- Level Group Factor ing 1 2 3 4. I. Personal Achieve skill in a choral Skills group 96 64 32 4 Achieve balance in a choral group 98 67 22 11 Achieve good group tone 98 82 11 7 Conduct vocal groups effectively 98 69 11 11 9 Lead recreational singing 98 27 40 22 11 II. Personal Principles of group voice Knowledges procedure 96 73 25 2 Techniques of group voice procedure 96 64 34 2 III. Ability Techniques of mutual con to Teach structive criticism 91 64 29 7 A functional usage of audio-visual aids 91 26 45 24 5 1. Most Important; 2. Rather Important; 3. Slightly Important; 4. Not Important. APPENDIX 1-8 MOST IMPORTANT FACTORS FROM ENSEMBLE AND GROUP TECHNIQUES, COLLEGE MUSIC EDUCATORS' QUESTIONNAIRE Per Cent Response Most Rather Irapor- Irapor- Group Factor______tant tant Total How Unport ant is It that a Yocal Music Teacher be Able to: I Achieve good group tone? 82 11 93 (Others 75# or less in most important.) II Personal Skills (to be able to) 238 APPENDIX 1-9 LEAST IMPORTANT FACTORS FROM ENSEMBLE AND GROUP TECHNIQUES, COLLEGE MUSIC EDUCATORS' QUESTIONNAIRE Per Cent Response Slightly Not Impor- Impor Group Factor tant tant Total How Important is It that a Vocal Music Teacher Have: I Lead recreational singing? 22 11 33 III A functional usage of audio visual aids? 2h 5 29 I Conduct vocal groups effec tively? 11 9 20 I Achieve balance In a choral group? 11 - 11 (Others 5$ or less in two lowest ratings.) I: Personal Skills (to be able to). II: Personal Knowledge (to have knowledge of). Ill: Ability to Teach (to be able to develop).' 239 APPENDIX 1-10 PERCENTAGE OF RESPONSES TO PROFESSIONAL UNDERSTANDINGS, FROM COLLEGE MUSIC EDUCATORS' QUESTIONNAIRE Per Cent Importanc e Answer- Level Group Factor ing 1 2 3 4 I. Personal Relate music to the home 98 16 47 27 11 Skills Encourage the singing of serious music in the home 96 25 41 25 9 Operate audio-visual aids 98 11 38 31 20 Assist students In the identification of goals, objectives and outcomes 100 72 20 4 4 Achieve mutual cooperation with staff members 98 73 18 2 7 II. PERSONAL The relationship of school KNOWLEDGES music to the community 96 57 39 4 The relationship of music to the total school cur riculum 96 66 30 4 Availability of current audio-visual aids 98 29 47 24 III. Ability This category not used in this section, due to to Teach the fact that professional understandings are not to be taught to public school students. ~ 1. Most Important; 2. Rather Important; 3. Slightly Important; 4. Not Important. APPENDIX Irll MOST IMPORTANT FACTORS FROM PROFESSIONAL UNDERSTANDINGS, COLLEGE MUSIC EDUCATORS' QUESTIONNAIRE Per Cent Response Most Rather Irapor- Impor Group Factor tant tant Total How Important is it that a Yocal Music Teacher Haves No factor rated higher than 73 per cent of the responses in "Most Important." As other sub-classification reports listed only those of 82 per cent or above, none of those in this classification is considered significant. ______240 APPENDIX 1-12 LEAST IMPORTANT FACTORS FROM PROFESSIONAL UNDERSTANDINGS, COLLEGE MUSIC EDUCATORS' QUESTIONNAIRE Response Per Cent Slightly Not Impor- Impor- Group Factor______tant_____ tant Total How Important is it that a Vocal Music Teacher Have: I Operate audio-visual aids? 31 20 51 I Relate music to the home? 27 11 38 I Encourage the singing of serious music in the home? 25 9 3^ II Availability of Current audio-visual aids? 24 mm mm 24 (Other factors total 9# or less in two lowest ratings.) I: Personal Skills (tobe able to). II: Personal Knowledge (to have knowledge of). Ill: Ability to Teach (to be able to develop). APPENDIX 1-13 PERCENTAGE OF RESPONSES TO PSYCHOLOGICAL, PHYSIOLOGICAL, AND PHILOSOPHICAL FACTORS FROM COLLEGE MUSIC EDUCATORS' QUES TIONNAIRE . Per Cent______Importance Answer- Level Group Factor Ing 1 -2 3 I, Personal Recognize musical talent 96 86 14 Skills Challenge musical talent 98 89 11 Motivate in students a desire to learn to sing 98 96 4 Establish and develop standards 98 89 9 2 Adapt procedure to indi viduals, circumstances, and conditions 98 89 9 2 Inspire students toward the establishment of goals 98 89 11 241 APPENDIX 1-13 (CONTINUED) Per Cent Importance Answer- Level Groun Factor ine 1 2 3 4 Exercise a breadth of musical taste 98 89 9 2 Administer and interpret tests and measurements in music 98 16 51 24 9 Develop a mutuality of participation 98 67 25 4 4 Incorporate voice instruc tion into larger musical growth 96 68 32 Exercise extreme patience 96 75 21 2 2 II Personal The availability and Knowledges limitations of tests and measurements in music 98 33 47 18 2 yoice production and tension 98 93 7 Ways of releasing a voice from tension 96 93 7 PhysiologicalIterms related to voice production 100 48 39 13 The coordination of the large muscles of the vocal mechanism 96 71 16 11 2 The potential of music in the development of per sonality 98 54 40 6 The potential of music in character building 91 40 36 14 10 III. Ability Functional usage of tests to Teac# and measurements in music 87 15 50 28 7 Good citizenship through musical activity 85 33 44 18 5 Understanding of and re spect for common problems 89 61 24 15 Music as an opportunity for self-expression 89 66 32 2 Poise 89 73 22 5 Self assurance 89 75 25 Respect for variety in musical taste -21___ 69 89 2 1. Most Important; 2. Rather Important; 3, Slightly Important; 4, Not Important. 242 APPENDIX 1-14 MOST IMPORTANT FACTORS FROM PSYCHOLOGICAfe, PHYSIOLOGICAL, AND PHILOSOPHICAL FACTORS FROM COLLEGE MUSIC EDUCATORS' QUESTIONNAIRE Per Cent Response Most Rather Impor Impor Group Factor tant tant Total How Important is it that a Vocal Music Teacher Have: I Motivate in students a desire to learn to sing 96 4 100 II Voice production and tension 93 7 100 II Ways of releasing a voice from tension 93 7 100 I Challenge musical talent 89 11 100 I Establish and develop standards 89 9 98 I ■ Adapt procedure to individuals circumstances and conditions ' 89 9 98 I Jnspire students toward the establishment of goals 89 9 98 . I Exercise a breadth of musical taste 89 9 98 I Recognize musical talent 86 14 100 (Others 75$ or less In most Important rating.) I: Personal Skills (to be able to). II: Personal Knowledge (to have knowledge of). Ill: Ability to Teach (to be able to develop). 243 APPENDIX 1-15 LEAST IMPORTANT FACTORS FROM PSYCHOLOGICAL, PHYSIOLOGICAL, AND PHILOSOPHICAL FACTORS, COLLEGE MUSIC EDUCATORS1 QUESTIONNAIRE Per Cent Response - Slightly Not Impor Impor Group Factor tant tant Total How Important is it that a Vocal Music Teacher Have: III Functional usage of tests and measurements in music 28 7 35 I Administer and interpret tests and measurements in music 24 9 33 II The potential of music in character building 14 10 24 III Good citizenship through musical activity 18 5 23 II The availability and limita tions of tests and measure ments in music 18 2 20 III Understanding of and respect for common problems 15 - 15 II The coordination of the large muscles of the vocal mechanism 11 2 13 II Physiological terms related to voice production 13 — 13 (Others total 8$ or less in the two lower ratings. ) i: Personal Skills (to be able to). II: Personal Knowledge (to have knowledge of). Ill: Ability to Teach (to be able to develop). APPENDIX J FACTORS POSSIBLE TO INCLUDE IN CLASS VOICE INSTRUCTION, FROM COLLEGE MUSIC EDUCATORS* QUESTIONNAIRE Per Cent Answer- J k H f i L - . - Yes No I. PERSONAL SKILLS A. Functional Skills and Abilities: 1. Recognize musical needs of singers 72 91 9 2. Recognize technical needs of singers 72 91 9 3. Pronounce foreign song texts 67 71 29 4. Translate foreign song texts B. Musicianship and Musical Facts 1. Sing creditably himself 65 87 13 2. Exercise an understanding of aesthetic sense 65 93 7 3. Classify types of songs 67 91 9 C. Ensemble and Group Techniques 1. Achieve skill in a choral group 65 70 30 2. Achieve balance In a choral group 65 67 33 3. Achieve good group tone 65 77 23 4. Conduct vocal groups effectively 63 41 59 5. Lead recreational singing 63 55 45 D. Professional Understandings 1. Relate music to the home 76 54 46 2. Engourage the singing of serious music in the home 76 57 43 3. Operate audio-visual aids 74 32 68 4. Assist students in the identifi cation of goals, objectives. and outcomes 72 76 24 5. Achieve mutual cooperation with other staff members 72 61 39 244 2 4 5 APPENDIX J (CONTINUED) Per Cent Answer ina Yes No E. Psychological, Physiological, and Philosophical Factors 1. Recognize musical talent 65 87 13 2. Challenge musical talent 67 90 10 3. Motivate in students a desire to learn to sing 67 90 10 4. Establish and develop standards 67 94 6 5. Adapt procedure to individuals, circumstances, and conditions 67 90 10 6. Inspire students toward the establishment of goals 70 88 12 7. Exercise a breadth of musical taste 70 88 12 8. Administer and Interpret tests and measurements in music 67 39 71 9. Develop a mutuality of partici pation 65 80 20 10. Incorporate voice Instruction into larger musical growth 70 91 9 11. Exercise extreme patience 76 90 10 II. PERSONAL KNOWLEDGE A. Functional Skills and Abilities 1 . Voice classification 70 97 3 2. Male and female voices 70 94 6 3. Care of, limitations of, and capabilities of the adolescent voice 74 79 21 4. Voice teaching terminology 70 100 M MB 5. Current pedagogical practice 63 76 24 6. Diagnosis of faulty tone 72 97 3 7. Prescription for faulty tone 7° 97 3 8. Available materials and methods 67 90 10 9. Solo and choral material 70 84 16 10. Vocalises and their use 72 100 — B. Musicianship and Musical Facts 1. Sight-singing 72 85 15 2. Harmony 72 54 46 3. Ear-training 72 82 18 4. Keyboard harmony 72 54 46 246 APPENDIX J (CONTINUED) Per Cent Answer iQS_, _ Yes No 5. Musical history and literature 70 59 41 6. Form and analysis 72 49 51 7. Great song literature 72 88 12 8 Singing and the use of the voice 72 91 9 9. Classification of types of songs 70 81 19 LO. The development of auditory sensitivity 72 88 12 Ensemble and Group Technique 1. Principles of group voice procedure 70 88 12 2. Techniques of group voice procedure 70 88 12 Professional Understandings 1. The relationship of school music to the community 67 61 39 2. The relationship of music to the total school curriculum 65 63 37 3. Availability of current audio visual aids 67 6l 39 Psychological, Physiological, and Philosophical Factors 1. The availability and limitations of tests and measurements in music 72 46 54 2. Voice production and tension 65 90 10 3. Ways of releasing a voice from tension 67 94 6 4. Physiological terms related to voice production 65 87 13 5. The coordination of the large muscles of the vocal mechanism 70 88 12 6. The potential of music in the development of personality 70 78 22 7o The potential of music in character building 67 51 49 247 APPENDIX J (CONTINUED) Per Cent Answer ing______Yes No III. ABILITY TO TEACH A. Functional Skills and Abilities 1. Acceptable solos singers 65 80 20 2. Singers for contest and auditions 65 60 40 3. Proper and effective use of the singing voice 65 90 10 4. Beauty in tone 65 93 7 5. Functional breathing 67 94 6 6. Clear enunciation 67 94 6 7. Sight-singing skill 63 79 21 8. A working relationship between singing skill and speech 63 93 7 9. Workable remedial techniques 61 93 7 10. Out-of-school practice techniques 63 93 7 B. Musicianship and Musical Facts 1. Singing skill 6 3 86 14 2. Understanding of harmony 67 58 42 3. Functional ear-training 65 80 20 4. Facility in keyboard harmony 67 45 55 5, Knowledge of music history and literature 65 63 37 6. Understanding of form and analysis 67 61 39 7. Appreciation of great song literature 65 83 17 8. Listening skill 65 80 20 9. A more conscious aesthetic sense 67 87 13 10. Enjoyment of music 63 90 10 11. Understanding of music 63 86 14 12. Standards of Judgment 67 87 13 13. Powers of interpretation 63 97 3 Ensemble and Group Technique 1. Techniques of mutual constructive criticism .61 96 4 2. A functional usage of audio visual aids 61 $4 46 248 APPENDIX J (CONTINUED) Per Cent______Answer ing Yes No D. Professional Understandings; This item is not one to be taught to others, therefore is not applicable to this section and is not included. E. Psychological, Physiological, and Philosophical Factors 1. Functional usage of tests and measurements in music 65 40 60 2. Good citizenship through musical activity 61 50 50 3. Understanding of and respect for common problems 59 74 26 4. Music as an opportunity for self- exprsssion 6l 89 11 5. Poise 61 96 4 6. Self-assurance 61 93 4 7. Respect for variety in musical taste 61 93 7 APPENDIX K FACTORS PRESENTLY INCLUDED IN CLASS VOICE INSTRUCTION, FROM COLLEGE MUSIC EDUCATORS' QUESTIONNAIRE Per Cent______, Answer ing Yes No I. PERSONAL SKILLS A. Functional Skills and Abilities 1. Recognize musical needs of singers 97 100 2. Recognize technical needs of singers 97 97 3 3. Pronounce foreign song texts 90 64 36 4. Translate foreign song texts 81 28 72 Musicianship and Musical Facts 1. Sing creditably himself 90 100 2. Exercise an understanding of aesthetic sense 93 100 3. Classify types of songs 97 90 10 Ensemble and Group Techniques 1. Achieve skill in a choral group 93 69 P1 2. Achieve balance in a choral group 93 59 41 3. Achieve good group ton© 93 72 28 4. Conduct vocal groups effectively 93 34 66 5. Lead recreational singing 87 30 70 Professional Understandings 1. Relate music to the home 81 16 84 3. Encourage the singing of serious music in the home 87 33 67 3* Operate audio-visual aids 17 18 81 4„ Assist students in the identifica tion of goals, objectives, and outcomes 90 75 25 5. Achieve mutual cooperation with other staff members 90 47 53 249 250 APPENDIX K (CONTINUED) Per Cent______Answer ing Yes No E. Psychological, Physiological, and Philosophical Factors 1. Recognize musical talent 93 76 24 2 . Challenge musical talent 97 87 13 3. Motivate In students a desire to learn to sing 100 94 6 4. Establish and develop standards 100 94 6 5. Adapt procedure to individuals, circumstances, and conditions 97 90 10 6 . Inspire students toward the establishment of goals 100 87 13 7, Exercise a breadth of musical taste 100 90 10 8 . Administer and interpret tests and measurements in music 97 17 83 9. Develop a mutuality of partici pation 90 82 18 10. Incorporate voice instruction into larger musical growth 97 87 13 11. Exercise extreme patience 93 86 14 II. PERSONAL KNOWLEDGE A. Functional Skills and Abilities 1. Voice classification 97 97 3 2 . Male and female voices 97 93 7 3. Care of, limitations of, and capabilities of the adolescent voice 97 77 23 4. Voice teaching terminology 97 100 5. Current pedagogical practice 87 78 22 6 . Diagnosis of faulty tone 100 100 7. Prescription for famity tone 100 100 8 . Available materials and methods 97 90 10 9. Solo and choral material 97 83 17 10. Vocalises and their use 100 94 6 B. Musicianship and Musical Facts 1. Sight-singing 97 70 30 2 . Harmony 97 37 63 3. Ear-training 100 71 29 251 APPENDIX K (CONTINUED) Per Cent Answer- ing Yes No 4. Keyboard harmony 97 33 67 5* Musical history and literature 100 52 48 6. Form and analysis 100 45 55 7. Great song literature 97 93 7 8. Singing and the use of the voice 100 100 9. Classification of types of songs 97 87 13 10. The development of auditory sensitivity 100 84 16 Ensemble and Group Technique 1. Principles of group voice procedure 94 72 28 2. Techniques of group voice procedure 94 72 28 Professional Understandings 1. The relationship of school music to the community 94 41 59 2. The relationship of music to the total school curriculum 94 45 55 3. Availability of current audio visual aids 90 36 64 Psychological, Physiological, and Philosophical Factors 1. The availability and limitations of tests and measurements in music 84 27 73 2. Voice production and tension 94 100 3. Ways of releasing a voice from tension 97 100 4. Psychological terms related to voice production 94 83 17 5. The coordination of the large muscles of the vocal mechanism 97 87 13 6. The potential of music in the development of personality 97 67 33 7. The potential of music in charac ter building 90 36 64 252 APPENDIX K (CONTINUED) Per Cent______Answer- ing Yes No . ABILITY TO TEACH Functional Skills and Abilities 1. Acceptable solos singers 94 79 21 2. Singers for contest and auditions 90 57 43 3. Proper and effective use of the singing voice 87 96 4 4. Beauty in tone 87 100 5. Functional breathing 87 100 6 . Clear enunciation 87 96 4 7. Sight-singing skill 81 76 24 8 . A working relationship between singing skill and speech 87 74 26 9. Workable remedial techniques 87 89 11 10. Out-of-school practice techniques 87 85 15 B. Musicianship and Musical Pacts 1 . Singing skill 87 93 7 2 . Understanding of harmony 84 46 54 3. Functional ear-training 81 80 20 4. Facility in keyboard harmony 84 39 61 5. Knowledge of music history and literature 81 60 40 6 . Understanding of form and • analysis 81 66 44 7. Appreciation of great song literature 84 89 11 8 . Listening skill 84 77 23 9. A more conscious aesthetic sense 81 92 8 10. Enjoyment of music 84 92 8 11. Undetstanding of music 84 85 15 12. Standards of jusgment 84 92 8 13. Powers of interpretation 81 96 4 Ensemble and Group Technique 1. Techniques of mutual constructive criticism 87 93 7 2 .A functional usage of audio-visual aids 81 28 72 D. Professional Understandings % This item is not one to be taught to others, therefore is not applicable to this section and is not included. 253 APPENDIX K (CONTINUED) Per Cent Answer ing Yes No E. Psychological, Physiological, and Philosophical Factors 1. Functional usage of tests and measurements in music 81 24 76 2. Good citizenship through musical activity 77 42 58 3. Understanding of and respect for common problems 84 8 i 19 4. Music as an opportunity for self- expression 84 92 8 5. Poise 84 100 6 . Self-assurance 84 100 7. Respect for variety in musical taste 84 89 11 BIBLIOGRAPHY American Association of Colleges for Teacher Education, Needed Research in Teacher Education. Committee on Standards, Oneonta, New York, 195^. Birge, Edward Bailey. History of Public School Music in the United States. New York: Oliver Ditson Co., 1939. Britton, Allen P. “Music in Early American Public Educa tion; A Historical Critique," in Basic Concepts in Music Education. National Society for the Study of Education Yearbook, LYIII-,- Fart One, 1958, Univer sity of Chicago Press. Gelvin, Miriam P. “A Comparative Analysis of the Prepara tion and Practices in Student Teaching in Music." Unpublished doctoral dissertation, Northwestern University, 1956. House, Robert. "Curriculum Construction in Music Education,” in Basic Concepts in Music Education. National Society for the Study of Education Yearbook, LVIII, Part One, 1958, University of Chicago Press. Housewright, Wiley. "An Investigation and Evaluation of Present Theories and Techniques in the Teaching of Class Voice as Projected in the Writings of Certain American Teachers." Unpublished doctoral disserta tion, School of Education, New York University, 1943. Jones, Vincent. Music Education in the College. Boston: C. C. Birchard, 19^9. Michigan State University Catalog. 1958-59, East Lansing, Michigan. Morgan, Hazel N. Music Education Source-Book. Music Educators National Conference, 1947. Rezatto, John L. "An Appraisal of the Organization and Tech niques of Vocal Music Classes in Selected Teachers Colleges." Unpublished doctoral dissertation, Col lege of Education, University of Colorado, 1951. 254 255 State of Ohio Department of Education. Laws and Regulations. Columbus, Ohio, 1957. State University of New York, College of Education at Fredonia, Bulletin. 1960-61, 1961-62, Fredonia, New York, Sur, William R., and Charles F. Schuller. Music Education for Teenagers. New York: Harper and Brothers, 1958• Taylor, Bernard. Croup Voice. New York: G. Schirmer, Inc., 1936. Thompson, Randall. College Music. New York: The Macmillan Co., 1935. United States Department of Health, Education and Welfare, Fall. 1959. Statistics and Enrollment. Teachers and Schoolhousing. Washington, D.C.: U.S. Government Printing Office, 1959. University of New Mexico, Bulletin. 1959-60 Catalog Issue, Albuquerque, New Mexico. Wilson, George H. "A Study of Professional Music Education at The Ohio State University." Unpublished doctoral dissertation, The Ohio State University, Columbus, Ohio, 1958. Wolfe, Irving W. State Certification of Music Teachers. Bureau of Publications, George Peabody College for Teachers, Nashville, Tennessee, 195^. AUTOBIOGRAPHY I, William G. Hinton, Jr., was born in Dayton, Ohio, April 25, 1919. I received my elementary and secondary school education in the public schools of Dayton, and my undergraduate training at Otterbein College, Westerville, Ohio, and the University of Dayton. The latter institution granted me the Baehelor of Science in Educatinn degree in 19^3. I taught in the public schools of Ohio for five years, and served as an officer in the United States Navy during both World War II and the Korean Conflict. The Master of Music degree was granted me by the University of Michigan, Ann Arbor, in 1952. I taught at Wilmington College, Wilmington, Ohio, for four years, and served concurrently as Supervisor of Music in the public schools of Clinton County. In 1956 I became an assistant instructor in the School of Music of The Ohio State Univer sity, and after two years was appointed as an instructor. During these four years I taught in the Music Education and Voice Departments of the school while completing requirements for the degree Doctor of Philosophy. 256