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PROCEEDINGS the 79Th Annual Meeting 2003 NUMBER 92 FEBRUARY 2004 PROCEEDINGS The 79th Annual Meeting 2003 NATIONAL ASSOCIATION OF SCHOOLS OF MUSIC 11250 Roger Bacon Drive, Suite 21 Reston, Virginia 20190 Telephone: (703) 437-0700, Facsimile: (703) 437-6312 Web Address: www.arts-accredit.org E-mail: [email protected] TABLE OF CONTENTS Prefiace vii Keynote Speech American Music and the Future Gerard Schwarz 1 Managing Restructuring in Today's Economy, Part I: Programs And Budget From Growth to Value: Finding Opportunity in Adversity Ernest D. May 11 Reinventing the Institution James Simmons 19 Starting And Building Pre-School Programs Starting and Building Pre-School Programs Joyce Jordan-DeCarbo 23 Starting and Building Pre-School Programs Catharine Lysinger 26 University Audio Recording Policies in the Digital Age: Managing Rights and Permissions, Resources, and Institutional Priorities University Audio Recording Policies in the Digital Age: Managing Rights and Permissions, Resources, and Institutional Priorities Randi L 'Hommedieu, Mary Roy, Scott Burgess, and James Hageman 27 Preparing Performance Majors For Teaching In Community Music Schools And Studios Preparing Performance Majors for Teaching in Conummity Music Schools and Studios Amy Dennison 41 Preparing Performance Majors for Teaching in Community Music Schools and Studios MimiZweig 46 The Role of Performance in Liberal Arts Degrees, Part I: The Nature of the Bachelor of Arts Degree and the Nature of Performance Liberal Arts and Performance Harold Best 49 • A Matter of Liberal and Musical Arts PaulC.Boylan 54 Historical Roles of Musicianship and Metanarratives in the Liberal Arts Robert Rathmell 57 The Role Of Performance In Liberal Arts Degrees, Part II: Performance Expectations For Students The Interdisciplinary Nature of Musical Performance and Its Relevance to the B.A. Degree in Music Ulrike Brinksmeier 63 The Role of Performance in the Liberal Arts Degree John F. Harrison 68 The Role of Performance Studies in the Liberal Arts Curriculum Stuart Sharp 72 Developing Connections with European Institutions: The Music Study, Mobility, and Accountability Project The Music Study, Mobility, and Accountability Project: Ten Steps on How To Implement Your International Exchange Program Martin Prchal 75 The Benefits to Your Institution of International Exchange RinekeSmilde 92 Creative Approaches to Certification: Addressing the Music Teacher Crisis in the Public Schools Altemate Route Certification: Present Practice and Future Directions Carlotta Parr 95 Altemative Routes to Certification: The Challenges to Music Education Roosevelt O. Shelton 104 New Dimensions: Creativity in the Curriculum New Dimensions: Creativity in The Curriculum - Panel Tayloe Harding, Charles Rochester Young, Mary Natvig, and John Buccheri 107 New Dimensions: Revenue Enhancement Through Community Service? Music Education for Adults and Seniors: A Perspective for the Future Frank Little 117 Revenue Enhancement Through Community Service: Community Schools within University Programs Douglas Lowry 122 Summer Programs George Riordan 126 New Dimensions: The Music Executive As Cultural Leader - Composition The Music Executive as Cultural Leader—Composition Alan Fletcher 134 The Music Executive as Cultural Leader—Composition William Hipp 137 Meeting of Region One: The Challenges of Ethnic Diversification University Music Schools: A Progress Report on the Ethnic Diversification of Music Faculty Mary Anne Rees 139 Meeting of Region Two: "Libera Nos: Songs of Liberation" "Libera Nos: Songs of Liberation" Geoffrey Boers 151 Meeting of Region Three: To E or Not To E: Communication Skills for the New Millennium To E or Not To E: Communication Skills for the New Millennium Paul Bauer 158 E-Mail And Legal Issues Victor Ellsworth 161 Meeting of Region Four: Maintaining a Vibrant Arts Environment During Tough Times Maintaining a Vibrant Arts Environment in Tough Times Kathleen Rountree, William McCoy, Randy Pembrook, Donald McGlothlin, and William E. Watson, moderated by Cathy Albergo 165 Meeting of Region Five: "Wellness in the Music Curriculum" "Wellness" in the Music Program James Gardner and David Sternbach, moderated by Linda C. Ferguson 171 Meeting of Region Six: "Faculty Mentoring: Approaches to Guiding New Faculty to an Understanding of Their Roles and Responsibilities" Faculty Mentoring: Approaches to Guiding New Faculty to an Understanding of Their Roles and Responsibilities—^A Practical Checklist Edward Kocher and Arthur E. Ostrander 183 Meeting of Region Seven: "Music and Recording Technology Programs: Structures, Needs, and Impacts" Music and Recording Technology Programs: Structures, Needs, and Impacts William Moylan 185 Meeting of Region Eight: "Alternatives to Traditional Delivery Systems for the Master of Music Degree" Online Education in Music: Why? Charles Elliott 201 Collaboration in On-line Graduate Education in Music PaulKreider 204 On-line Degrees in Music: Barriers and Solutions Barbara Payne McLain 209 Meeting of Region Nine: "Collegiality in Faculty Evaluation and Retention" Collegiality as a Factor in Faculty Evaluation JoeStuessy 215 Open Forums: Community/Junior Colleges Community/Junior Colleges Robert Ruckman 220 Open Forums: Issues in Sacred/Church Music: Unceasing Worship and Artistic Action: A Seeking of Commonality Harold M. Best 227 Unceasing Worship and Artistic Action: A Seeking of Commonality Donna Cox 234 The Plenary Sessions Minutes of the Plenary Sessions Jo Ann Domb 23 8 Report of the President David Tomatz 243 Greetings from the Association of European Conservatories Johannes Johansson 249 Report of the Executive Director Samuel Hope 251 Oral Report of the Executive Director Samuel Hope 256 Reports of the Regions 259 Report of the Committee on Ethics Ulrike Brinksmeier, Chair 264 Actions of the Accrediting Commissions 267 NASM Officers, Board, Commissions, Committees, and Staff for 2004 271 This page intentionally left blank PREFACE The Seventy-Ninth Annual Meeting of the National Association of Schools of Music was held November 22-25, 2003, at the Westin Hotel in Seattle, Washington. This volume is a partial record of various papers delivered at that meeting, as well as the official record of reports given and business transacted at the three plenary sessions. Papers published herein have been lightly edited for certain stylistic consistencies but otherwise appear largely as the authors presented them at the meeting. This page intentionally left blank KEYNOTE SPEECH AMERICAN MUSIC AND THE FUTURE GERARD SCHWARZ Music Director, Seattle Symphony Today I will talk about two major things. One is American music, which is so important to me and to all of you, and the other is the future. There has been so much doom and gloom aroimd the symphony orchestra field, but certainly not here. I thought I'd tell you why it is not here, at least as I see it; and what we all can do together to foster the extraordinary audiences that exist throughout our coimtry. When my wife and I were being interviewed about twelve years ago for the Seattle Times, our three-year-old daughter was around. They wanted a picture of the three of us together (our son not yet bom), and the writer for the Seattle Times, Melinda Bargreen, said to my daughter, "Do you like music?" "Oh, I love music." "Well... do you know composers?" "Oh yes, I know composers" (a very precocious three year old) "Well, who are your favorite composers?" "Beethoven and Diamond." Melinda laughed, as of course we all did, but it was a very interesting comment, wasn't it? Beethoven of course—^but David Diamond? Why would she say David Diamond? Well how could she know the music of David Diamond? She Imew David Diamond because he often came to our house and she cared about him and she cared about his music. She didn't know that she wasn't supposed to love his music as much as that of Mozart, Brahms, Schubert, or Schuman; it's all about how we are brought up. It's about great music and it's about who touches us—a teacher, an institution, our guides. I thought I'd give you a little history about how 1 came to do all these recordings of American music. It happened when I went to The National Music Camp, as it was called in those days, now it's called Interlochen Center for the Arts. I was twelve and my mother (who should have known better, being a psychiatrist) put me on a train from New York—thinking that it would be good for me to get away from home. It was a twenty-four-hoirr train ride and I'd never been away from home... going from New York to Traverse City with a change in Chicago or someplace. Of course I was hysterical and homesick when I arrived at Interlochen. I discovered that actually I was a pretty decent trumpet player, which I didn't know; coming from the toAvn of Weehawken, New Jersey, who would have known? Of course, the level of trumpet playing at Interlochen in the intermediate division that year was dismal, and I got to be the first trumpet, which I never should have been. One of the pieces that we played was the Sibelius Second Symphony and it said, "trumpet in F." What is a "trumpet in F"? My trumpet's in B flat, I don't know about "trumpet in F"! Needless to say, I didn't execute the part exceptionally well, but it was that piece and that summer that inspired me to want to be a musician. I tumed thirteen that summer and decided from that moment on that I would be a musician and I would be a trumpet player. My father and mother were Viennese doctors and in disbelief that this was happening to their family. It was all their fault anyway, because they started me on piano when I was five, and I would go to concerts in New York—^the New York Philharmonic, Metropolitan Opera, New York City Opera, New York City Ballet, and so forth from the time I was very young. So I always would have to blame them or give them credit, let's say, for what ever happened later in my life.
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