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Proceedings, the 72Nd Annual Meeting, 1996

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Proceedings, the 72Nd Annual Meeting, 1996 PROCEEDINGS The 72nd Annual Meeting 1996 NATIONAL ASSOCIATION OF SCHOOLS OF MUSIC NUMBER 85 AUGUST 1997 PROCEEDINGS The 72nd Annual Meeting 1996 NATIONAL ASSOCIATION OF SCHOOLS OF MUSIC © 1997 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 CONTENTS Preface vi Principal Address Dwelling with Music Nicholas Wolterstorff. 1 The Basic Value of Music Study The Basic Value of Music Study Robert Freeman 13 What Eveiy Music Students Needs To Know about Values and Be Able To Express Carlesta Henderson Spearman 18 Legal/Ethical Issues Can Educational Innovation of Music Blossom in Light of Current Copyright Controls? M. William Krasilovsky and Matthew J. Fortnow 25 Composition and Improvisation Improvisation and Composition: Agents for Synthesis Nathalie Gail Robinson 37 Improvisation and Composition in the Core Curriculum: Strategies for Reform Edward W.Sqrath 43 Composition and Improvisation in Class Piano: Curricular Approaches Martha F. Hilley 47 Composition and Improvisation in Class Piano Andrew Hisey 50 Composition and Improvisation in the Preparation of K-12 Teachers E. L. Lancaster 57 Composition and Improvisation in K-12 Teacher Preparation: Key Changes Ahead Carolynn A. Lindeman 59 120-Hour Rules, Four-Year Guarantees, and SimUar Mandates Overview Shirley Howell 65 Positive Aspects of Curricula Limitations David Cordle 69 Negative Aspects of Legislative Mandates Lyman A. Brodie 71 Four European Music Schools: An NASM Perspective Four European Music Schools: An NASM Perspective David Tomatz 73 Response from the Royal Academy of Music Jonathan Freeman-Attwood 103 Response from the Royal Northem College of Music Colin Beeson 107 Response from the Paris Conservatory Gretchen Amussen 110 Response from the Berlin University of the Arts ChristophRichter 112 Preparing Mmicians and Teachers for Their Musical Future The Role of the Musician in the Twenty-First Century: Rethinking the Core Elizabeth G. Larsen 115 Open Forum for Smaller Music Units The Significance of Institutional Culture | Jonah C.Kliewer 125 Open Forum on Curricula, Purpose, and Outcomes in Graduate Music Programs Learning about Teaching Marvin Lamb 129 What Is a Graduate Degree? RussA. Schultz 135 The Status of Graduate Studies in Music in the United States: A Preliminary Report Ronald D.Ross 139 Open Forum on Church Music: Where Music, Language and Theology Meet Introductory Remarks Carolyn Jennings 143 Church Music: Where Music, Language, and Theology Meet Cynthia Uitermarkt 145 Church Music: Where Music, Language, and Theology Meet C. Michael Hawn 151 Church Music: Where Music, Language, and Theology Meet Jane Marshall 160 Meeting of Region Eight A Music Executive's Retrospective Robert R. Fink 165 The Plenary Sessions Minutes of the Plenary Sessions Dorothy Payne 173 Report of the President Harold M. Best 178 Report of the Executive Director Samuel Hope 184 Reports of the Regions 188 Report of the Committee on Ethics UndaJ. Snyder 195 Actions of the Accrediting Commissions 197 NASM Officers, Board, Commissions, Committees and Staff for 1997.... 201 PREFACE The Seventy-Second Annual Meeting of the National Association of Schools of Music was held November 23-26, 1996, at the Wyndham Anatole Hotel in Dallas, Texas. This volume is a partial record of various papers delivered at that meeting, as well as the official record of reports given and business transacted at the three plenary sessions. Papers published herein have been lightly edited for certain stylistic consisten- cies but otherwise appear largely as the authors presented them at the meeting. PRINCIPAL ADDRESS DWELLING WITH MUSIC NICHOLAS WOLTERSTORFF Yale University I aim to celebrate music in all its rich diversity—^to celebrate it for what it does for us, and for what we do with it. We know of no human society from which music has been absent. To be human is to have ears for music, and music in one's ears. Without music, we are impoverished and our actions limp. Musically we live and act. We dwell with music. Many of you are of an age to share with me this memory: standing in a row, arms linked crosswise so that one's right hand grasps the left hand of the person to one's left rather than the left hand of the person to one's right, the entire row swaying gently from side to side, eyes closed or uplifted, singing slowly: "We Shall Overcome." Garbage collector and college professor, black and white, young and old, employed and unemployed, male and female, devotee of the Beatles and devotee of Beethoven, lieder singer and he who can't carry a tune—^all singing in unison, differences making no difference. We were united in the music because we were united in the cause of civil rights, our unity in the music contributing, in tum, to our unity in the cause. We sang it on the streets, in meeting halls, around camp fires, in front of city halls, wherever we happened to be. We didn't go to special places to sing it It didn't matter if there was noise in the surroundings. Did the music give pleasure? Did it give delight? Strange question. It brought tears to the eyes, that's what it did. Where did the music come from? I have no idea. I blush to admit that not until I sat down to write this speech did it even occur to me to wonder. I'm sure some among you know where it came from; now that the question has occurred to me, I would like to know the answer. But for me, at the time, it was just there. When I listen to music from the classical tradition and to music that has been absorbed into the classical tradition, I want to know who wrote it, and when. Such music functions for me, as I dare say it does for you, as relics of musical geniuses—^relics of saints in the Order of Music. So I want to know of which genius the work before me is a relic. Not so for "We Shall Overcome." The words—oh yes, the words—^they went like this: "We shall overcome, we shall overcome, we shall overcome some day, some day; Oh, I do believe, we shall overcome, we shall overcome some day." Scarcely to be numbered among the memorable lines of the English poetic tradition. In themselves they have no comeliness. What they did is enable us all together to give voice to our determined confidence; in that lay their significance. Nonetheless, can you imagine standing there just reciting those bland, prosaic words? The music transformed those hum- drum words into a truly memorable whole. Is it good music? That's an ambiguous question, wouldn't you say? Do you mean. Is it aesthetically good music? To my ear, it's not bad: a rather elegant pat- tern of rising and falling. It begins with a phrase, once repeated, which rises just a bit and then falls with a skip; then there's a phrase that rises higher before falling, with no skips either in its rising or falling; finally, there's the climactic phrase, which moves upward with a skip to the highest pitch in the whole composition, then falls a bit, then rises a bit again, falls a bit more, falling reluctantly as it were, until we arrive at the lowest pitch in the entire composition. Not bad. But as I have already mentioned, the music takes those prosaic words and catches them up into a greater whole; the determined, hopeful, and confident quality of the music itself makes of the whole something immeasurably greater than the words by them- selves. The music enables the group to express its determined confidence with an intensity impossible with the mere words; at the same time, singing it intensifies that confidence. By enabling us to express our confidence, it gives us confidence. So is the music good? Yes, it's good for that! Now for another memory. It must be about twenty years ago, but I remember it as if it were yesterday: the first time I heard a performance of Ohvier Messiaen's Quartet for the End of Time, composed, as most of you know, for the somewhat surprising combination of clarinet, piano, violin, and cello. At the time, I knew next to nothing of Messiaen. I certainly did not know that he was on the way to becoming one of the major figures in music of the latter half of the twentieth cen- tury. About the piece itself, the program mentioned little more than it was com- posed when the composer was incarcerated in a prisoner-of-war camp, and that the instrumentation was determined by the instruments and performers available in the camp. The program did not inform me that the composition was inspired, and to some extent shaped, by St. John's Apocalypse; nor did I leam that individual movements had such titles as "Liturgy of Crystal," "In Praise of the Eternity of Jesus," and "Furious Dance of the Seven Trumpets." In short, I knew nothing at all of the mystical program attached; and though I remember thinking that little phrases sounded rather like bird songs, though none of birds I knew, I think I must have dismissed that as accidental. What I remember is being gripped and trans- fixed. At the conclusion of the second movement, the pianist, violinist, and cellist all departed from the stage, leaving only the clarinetist to perform the third move- ment. That movement moved me to tears; the tears remained throughout the remainder of the performance.
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