Proceedings, the 77Th Annual Meeting, 2001
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PROCEEDINGS The 77th Annual Meeting 2001 NATIONAL ASSOCIATION OF SCHOOLS OF MUSIC NUMBER 90 JULY 2002 PROCEEDINGS The 77th Annual Meeting 2001 NATIONAL ASSOCIATION OF SCHOOLS OF MUSIC © 2002 by the National Association of Schools of Music. All rights reserved including the right to reproduce this book or parts thereof in any form. ISSN 0190-6615 National Association of Schools of Music 11250 Roger Bacon Drive, Suite 21 Reston, Virginia 20190 Tel. (703) 437-0700 Web address: www.arts-accredit.org E-mail: [email protected] CONTENTS Preface vii Keynote Speech Music as Metaphor Jaroslav Pelikan 1 Alternative Certification: Threat Or Opportunity? Alternative Certification: Threat Or Opportunity? Janice Killian 15 Alternative Routes to Teacher Certification in Michigan Randi L'Hommedieu 20 Alternative Certification: Threat Or Opportunity? Michael Palumbo 25 Alternative Certification: Threat Or Opportunity? Mary Dave Blachnan 30 Rehearsals, Accompaniment And Scheduling: What Can New Technology Do? Rehearsals, Accompaniment And Scheduling: What Can New Technology Do? Timothy Hester 33 Theory Pedagogy: Current Trends, New Ideas Sparking the Connections between Theory Knowledge, Ear-Training, and the Daily Lives of Musicians: An Appropriate Role for Technology James Faulconer 46 Goals, Core Issues, and Suggestions for the Future in Music Theory Pedagogy Michael Rogers 50 Music Business Programs: Content and Achievement Music Business Programs: Content and Achievement Edward J. Kvet and Scott Fredrickson 57 Management Basics: Faculty Loads Faculty Workload: Current Practice and Future Directions Charlotte Collins 62 Open Forum: Historically Black Colleges and Universiti^ Historically Black Colleges and Universities Josephine C. Bell 68 Justifying the Need for Financial Support of Recruitment Programs and Scholarships with Limited Budgets Jimmie James, Jr. 70 New Dimensions: Innovative Ideas For The Undergradnate Curriculum Reconsidering the Goals for the Undergraduate Music History Curriculum J. Peter Burkholder 74 Innovative Ideas for the Undergraduate Curriculum: Music Theory Elizabeth Marvin 80 New Directions for Ethnomusicology in U.S. Tertiary Institutions Ricardo D. Trimillos 84 Meeting of Region Three: Developing Future Leaders in Music Administration Cultural Context of Leadership Richard Kermell 93 Developing Leadership in Music Larry Mallett 97 Characteristics of Music Executives Kathleen Romtree 100 Joint Meeting of Region Four and Region Seven: The School of Music in the Year 2020 The Music Curriculum in 2020: Is It Tune for a Major Overhaul? John J. Deal 103 The School of Music in the Year 2020 Kenneth Fuchs 107 Toward 2020: Collaborative Partnering John William Schaffer 114 Meeting of Region Six: Distance Learning in Music Music Learning Online: Evaluating the Promise Eric J. Isaacson 120 Distance Learning in Music Education: The Fredonia Experiment W. Stephen Mayo 127 Meeting of Region Nine A Comparison of Faculty Evaluation Documents and Procedures Joe Stuessy 136 OPEN FORUM: The Organ, flie Hymnal, the Choir-What's Their Future in Church Music? Choirs in Worship: Present Practice and Future Directions Milbum Price 139 OPEN FORUM: Rethinkii^ Content and Context: Muidc Education in the Musical Academy Music Education and the Future of the Musical Academy J^ey Kimpton and Garry Owens 142 The Plenary Sessions Minutes of the Plenary Sessions Jo Ann Domb : 150 Report of the President David J. Tomatz 154 Report of the Executive Director Samuel Hope 162 Oral Report of tiie Executive Director Samuel Hope 166 Reports of the Regions 168 Report of the Committee on Ethics Cynthia R. Curtis 173 Actions of the Accrediting Commissions 175 NASM OfBcers, Board, Commissions, Committ^, and Staff for 2002 178 PREFACE The Seventy-Seventh Annual Meeting of the National Association of Schools of Music was held November 17-20, 2001, at the Fairmont Hotel in Dallas, Texas. This volume is a partial record of various papers deliv^ed at that meeting, as well as the official record of reports given and business transacted at the three plenary sessions. Papers published herein have been lightly edited for certain stylistic consis- tencies but otherwise appear largely as the authors presented them at the meeting. vu KEYNOTE ADDRESS MUSIC AS METAPHOR JAROSLAV PELIKAN John W. Kluge Scholar, The Library of Congress "All people," Aristotle tells us, "cany on their conversation with meta- phors.'" It is a corollary to that Aristotelian observation about "all people" that the metaphors used by a particular people at a particular point in their history are a significant key to the soul of that people—no less significant a key than the "daily life" and "material culture" so beloved of recent social history— and that this is true of individuals as well. Alexis de Tocqueville opined that "the inhabitants of democratic countries set no store by those sorts of naive, unruly, coarse entertainments to which in aristocracies the people are often addicted. They find them childish or stupid."^ To the contrary, foreign visitors have often pointed out that American speech is pervaded by the metaphors of organized athletics:' 'being a good sport,'' "stepping up to the plate,'' ' 'dropping the baU," "down for the count," "foul play," "a level playing field," "the ball is in your court," "taking one for the team," "letting the side down," "teamwork." Indeed, there is even a dictionary of sports metaphors.' In the business world, in government, and even in the academy, for example, the last of those metaphors, "teamwork," seems to have become the standard way of speaking about the relation between the individual and the community. But for my part, when 1 look at my daily conversation as well as at my publications going back more than fifty years, 1 find that 1 have much more regularly drawn on the metaphors of music. For example, when 1 speak about the inability of some historian afflicted with a myopic presentism to understand a system of thought from "a long time ago" (like a single century!), the epithet "tone-deaf' is the metaphor that immediately springs to my mind. In my five- volume lifework. The Christian Tradition, published between 1971 and 1989, handling the delicate and controversial relation between what an individual theolo- gian may have taught and what the Church believes, teaches, and confesses, 1 say that 1 "concentrate on the chorus rather than the soloists."^ In 1983, when 1 had the high honor of receiving the Jefferson Award of the National Endowment for the Humanities, it was not surprising to those who knew my work that 1 should have chosen "The Vindication of Tradition" as my topic. But it was no less natural that the opening of my Jefferson Lectures, and of the book that came out of them, should have been Tevya's celebration of "Tradition!" from Fiddler on the Roof, and that the conclusion was the closing aria of Die Meistersinger von NUmberg, celebrating the power of Tradition, "Verachtet mir die Meister nicht, Und ehrt mir ibre Kunst!'" (Now that I am in my late seventies, I have been saying, "If I cannot be Sarastro, then let me be Hans Sachs!" But since 11 September, I must admit that I have been listening more to the earlier aria of Sachs from Die Meistersinger, "Wahn, Wahn, llberall Wahni") When the Harvard University Press commissioned me to write what they called "an intellec- tual autobiography in small bites" in the form of a "philosophical dictionary," it was also natural that 1 should entitle the book, published in 1988, The Melody of Theology, a quotation from the ninth century Byzantine monk and defender of icons, SL Theodore of Studios.® My Jerome Lectures at the American Academy in Rome and the University of Michigan in 1996 are subtifled "Timaeus and Genesis in Counterpoint." And when my late Mend Robert Shaw invited me to become the lecturer for his annual Choral Workshops, 1 was even able to boast that 1 had made my Carnegie Hall debut: "Practice, practice!" It is, of course, a special gratification whenever 1 find that 1 am not the only one who has recourse to this metaphor, as 1 learned on reading an interesting volume published a decade ago in Australia and edited by Jamie C. Kassler.' On 26 July of this year, several months after 1 had supplied Samuel Hope with the title "Music as Metaphor," The New York Times published an article entitled "Allegro, Andante, Adagio, and Corporate Harmony: A Conductor Draws Man- agement Metaphors from Musical Teamwork,"' in which Roger Nierenberg predicted that the use of orchestra conducting to train business administrators "can revolutionize executive training and redefine the role of music education in the twenty-first century." (1 must confess that 1 am more apprehensive about what it could do to orchestra conducting!) But the opportunity to prepare for this presentation by examining my theme of "Music as Metaphor" on a grand scale, in fact the grandest of all possible scales, came to me in an invitation from Maestro Speight Jenkins, Jr., the impresa- rio of the Seattle Opera, to participate in a symposium for his new production of Der Ring des Nibelungen in August 2001. (As many of you know, the produc- tion was severely challenged—and the music, not even to mention my lecture, was in danger of being overshadowed—when our SiegMed, Alan Woodrow, tore a quadriceps muscle the day before Siegfried, and with Gdtterddmmerung looming two days later. As a true Heldentenor not just vocally, but morally, he heroically sang what may well be the most demanding tenor role in aU opera, while his understudy, Richard Berkeley-Steele, wielded the formidable "Nothung," slew Fafher the Warm, clambered over the crags of the set, and lip-synched all those Wagnerian alliterations.) In anticipation of this present assignment, then, 1 took as my lecture title in Seattle: "The Decline and Fall of the Wotan Empire: Some Gibbonesque Reflections on Der Ring des Nibelungen by Richard Wagner." For that enabled me to examine music-as-metaphor in the setting of music-as-performance, and not just of any performance, but of a Gesamtkunstwerk with a range, a grandeur, and a complexity that could uniquely prepare me for these reflections today.