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An Historical Study of the Contributions of Jane Frazee to Music Education in the United States

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An Historical Study of the Contributions of Jane Frazee to Music Education in the United States University of Mississippi eGrove Electronic Theses and Dissertations Graduate School 2015 An Historical Study Of The Contributions Of Jane Frazee To Music Education In The United States Erica Kupinski University of Mississippi Follow this and additional works at: https://egrove.olemiss.edu/etd Part of the Music Education Commons Recommended Citation Kupinski, Erica, "An Historical Study Of The Contributions Of Jane Frazee To Music Education In The United States" (2015). Electronic Theses and Dissertations. 1090. https://egrove.olemiss.edu/etd/1090 This Dissertation is brought to you for free and open access by the Graduate School at eGrove. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of eGrove. For more information, please contact [email protected]. AN HISTORICAL STUDY OF THE CONTRIBUTIONS OF JANE FRAZEE TO MUSIC EDUCATION IN THE UNITED STATES A Dissertation presented in partial fulfillment of requirements for the degree of Doctor of Philosophy in the Department of Music The University of Mississippi by ERICA KUPINSKI August 2015 Copyright Erica Kupinski 2015 ALL RIGHTS RESERVED ABSTRACT This study documents Jane Frazee’s career as a teacher, an administrator, and an author. The aim is to survey her contributions to music education and Orff Schulwerk in the United States from 1960 to 2015. The methodology includes email correspondences with Frazee, as well as interviews and email correspondences with her former students and colleagues. Relevant books, journal articles, master’s theses, and dissertations were also reviewed. Jane Frazee is an American Orff teacher, author, and a pioneer member and past- president of the American Orff Schulwerk Association (AOSA). She has taught music to both children and adults using the Orff approach for over fifty years. Frazee has been a presenter at workshops, clinics, and conferences throughout the United States, as well as internationally. Her essays and articles have been published in prestigious professional journals. The dissertation comprises six chapters, a bibliography, and appendices. Chapter one presents an introduction, statement of purpose, research questions, methodology, and limitations. Chapter two examines the related literature. Chapter three is an overview of Frazee’s early life, training, influential individuals, and her teaching of children and adults. Additionally, her work with AOSA was summarized. Chapter four discusses her role in the founding and administration of Orff certification and Graduate Programs in Music Education in Minnesota. Chapter five explores Frazee’s role as an author and the influences of her publications in the United States. Lastly, chapter six summarizes the findings, the author’s concluding thoughts, and suggestions for future research. The appendices consist of: a) a chronology of Frazee’s life and career, b) ii Frazee’s publications, c) a letter from Dr. Doug Orzolek, d) the interview questions, and e) the keynote presenters of the Jane Frazee Distinguished Scholar/Artist Seminar from 1990 to 2015. Keywords: Jane Frazee, Music Education, Orff Schulwerk, American Orff Schulwerk Association (AOSA), Teacher, Administrator, Author iii DEDICATION I dedicate this dissertation in loving memory of my dad, Richard Edward Kupinski (1950-2013), who inspired me to never, ever stop fighting for or give up on myself and my dreams. I miss you and love you always! iv ACKNOWLEDGMENTS I would first like to thank my major professor, Dr. Alan Spurgeon, for his unwavering support and encouragement. My time at the University of Mississippi has not been easy, and his confidence in my abilities is greatly appreciated. Dr. Spurgeon has graciously shared his time and knowledge with me. He is one of my most influential mentors and teachers. Next, I would like to thank Jane Frazee. Without her assistance, this project would not have been possible. I am grateful for the direction she provided, as well as the individuals and resources she suggested I consult during my research. Jane Frazee has influenced the lives of many music educators and I thank her for allowing me to document her contributions. I was fortunate to interact with several delightful people while writing my dissertation. I would like to acknowledge and thank: Dr. Angela Broeker, Dr. Doug Orzolek, Dr. Judith Bond, Mr. Steven Calantropio, Dr. Robert Amchin, Mr. Michael Chandler, Mr. Leonard Davis, and Ms. Diana Larsen. I sincerely appreciate your willingness to assist in my project. I would like to say thank you to my dissertation committee: Dr. Alan Spurgeon, Dr. Debra Spurgeon, Dr. George Worlasi Kwasi Dor, and Professor Kevin Herrera, for their guidance. Each of you has challenged me to become a better writer and researcher. I would also like to thank the music department faculty of the University of Mississippi. Many of you have encouraged and advised me in a variety of ways. I appreciate your kind words and warm wishes. Special thanks are extended to my closest friends, Leigh and Charlie. You both believed in me when I could not believe in myself and never allowed me to walk away. Thank you for caring enough to stand by me always. I treasure our friendships! v Lastly, to my entire family, especially my mother, Carmen, my aunt, Elizabeth, and my incredible brother, David, I cannot thank you enough. Our lives have been filled with ups and downs but we have somehow managed to get through it together. Thanks for the laughter, love, and support you have each given me. I love you always! I could never have accomplished this goal without any of you. Thank you! vi TABLE OF CONTENTS ABSTRACT ……………………………………………………………………………….......... ii DEDICATION ………………………………………………………………………………….. iv ACKNOWLEDGMENTS ……………………………………………………………………..... v I CHAPTER 1: INTRODUCTION ……….………………………….………………….... 1 II CHAPTER 2: REVIEW OF LITERATURE ……….……………..…………………….. 9 MUSIC EDUCATION MODELS ………..…………………….……………...………. 10 AMERICAN GENERAL MUSIC EDUCATION …………….……………………..… 13 JUSTINE WARD AND THE WARD METHOD ……………..…………………...….. 14 AMERICAN ADAPTATION: DALCROZE EURHYTHMICS ……...………………. 16 AMERICAN GENERAL MUSIC EDUCATION SINCE 1950 .…….………………... 19 CONTEMPORARY MUSIC PROJECT (CMP) ……………….……………………… 20 MANHATTANVILLE MUSIC CURRICULUM PROGRAM (MMCP) ………..…… 21 BARBARA ANDRESS AND EARLY CHILDHOOD MUSIC EDUCATION …..….. 22 GORDON’S MUSIC LEARNING THEORY ...………...…………………….…….… 23 ADAPTATIONS OF EUROPEAN MUSIC EDUCATION MODELS ……………….. 24 AMERICAN ADAPTATION: KODÁLY CONCEPT ………..………………………. 25 ORFF SCHULWERK IN THE UNITED STATES ……..……...................................... 34 AMERICAN ORFF TEACHER TRAINING …..………..……………………………. 37 AMERICAN ORFF PUBLICATIONS ………………………………………………... 38 AMERICAN ORFF PIONEERS ..………..……………………………………………. 41 vii SUMMARY ……………………………………………………………………………. 49 III CHAPTER 3: EARLY LIFE, MUSICAL TRAINING, AND TEACHING ……...…… 51 IV CHAPTER 4: ADMINISTRATIVE ……….…………………………………………... 97 V CHAPTER 5: PUBLICATIONS ……………………………………………………... 126 VI CHAPTER 6: DISCUSSION ………………………...………..…………………….... 169 CONCLUSIONS ……………………………………………………………………... 180 SUGGESTIONS FOR FUTURE RESEARCH ……………………………………..... 183 VII BIBLIOGRAPHY ………………………………………………………………….…. 186 VIII LIST OF APPENDICIES ……………………………………………………………...196 APPENDIX A: JANE FRAZEE CHRONOLOGY ……………………………….….. 197 APPENDIX B: JANE FRAZEE PUBLICATIONS LIST ……………………….….... 202 APPENDIX C: RECOMMENDATION LETTER FROM DR. ORZOLEK ................ 206 APPENDIX D: INTERVIEW QUESTIONS ………………………………………… 209 APPENDIX E: JANE FRAZEE DISTINGUISHED SCHOLAR/ARTISTS ………... 211 IX VITA ……………………………………………………………………………….…. 214 viii CHAPTER 1 INTRODUCTION And so, as we conclude this investigation of the role of Orff Schulwerk in helping students to comprehend—as well as to perform and create music—we realize the potential of the original idea to propel us into a new world of music making and understanding. Orff Schulwerk has found a home in the world because of its universality of expression and acceptance of the many ways that cultures express themselves in music. This is a timeless idea. But it is an idea with a broader promise—to learn about learning while developing musical skills and understandings. -Jane Frazee: Artful-Playful-Mindful1 Jane Frazee, an American music educator and Orff pedagogue, has contributed to the expansion of Orff Schulwerk in the United States for more than fifty years. She has impacted the lives of countless children and adults through her teaching, administrative roles, and written publications.2 Her interpretations of Orff Schulwerk expressed in her articles and books continue to influence the teaching practices of music educators worldwide. This study examined Frazee’s contributions to music education and Orff Schulwerk including her role in the founding and administration of the Graduate Programs in Music Education and Orff Schulwerk Certificate program at Hamline University and the University of St. Thomas in St. Paul, Minnesota. In addition, the researcher investigated Frazee’s responsibilities as a pioneer member and past- president of the American Orff Schulwerk Association (AOSA), a reputable workshop and levels course instructor, and a Fulbright Lecturer at the Orff Institute in Salzburg, Austria. 1 Jane Frazee, Artful-Playful-Mindful A New Orff-Schulwerk Curriculum for Music Making and Music Thinking (New York: Schott Publications, 2012), 82. 2 Jane Frazee, “My Walk in the Wildflowers,” in A Walk in the Wildflowers: Essays of Orff Schulwerk Gardens, Vol. 1. Edited by Judith Thomas Solomon, 93-101. Cleveland:
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