PROCEEDINGS The 75th Annual Meeting 1999 NATIONAL ASSOCIATION OF SCHOOLS OF MUSIC NUMBER 88 JUNE 2000 PROCEEDINGS The 75th Annual Meeting 1999 NATIONAL ASSOCIATION OF SCHOOLS OF MUSIC © 2000 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, Musicians, and the Art of Listening: Seven Truths About Music in 2000 IJbby Larsen 1 Career Preparation: Moving into the American Marketplace with die Bachelor of Music in Performance Innovation and New Thoughts about Performance Training for the Future Peter J. Schoenbach 6 Responahility-Based Management Responsibility-Centered Budgeting David D. Woods 12 Music Study in the Liberal Arts Setting How Can NASM Better Serve the Liberal Arts College? John F. Strauss 23 The Struggle To Meet the Professional Standards of NASM and Maintain Integrity as a Department in a Liberal Arts Institution Trudy Faber 27 A Liberal Arts Imperative for the Music Professions Linda C. Ferguson 32 Liberal Arts and Professional Music Study: Coexistence or Cooperation? James Woodward 37 The Future of Muacology and Ethnomusicology The Future of Ethnomusicology in the School and Department of Music of the Twenty-First Century Philip V. Bohlman 40 New Directions in Musicology and What They Mean Michael Broyles 47 Changing Faces of Musicology Denise von Glahn 51 The Future of Music Theory Music Cognition Research and the Music Theory Program David Butler 56 Restoring Music Practice to Music Theory Kevin Holm-Hudson 62 Music Theory Research and Curricula: Past, Present, and Future Elizabeth W. Marvin 67 Preparing for Freshman Theory throi^ Distance Learning Toward Establishing a National Prerequisite for Freshmen in Music Theory: An Interactive Web Site Tutorial Pamela L Poulin 77 Faculty Retention and Development: Administering for Success When You Call Them, Do they Come? Leadership and Participation in Schools of Music Patrick D. McDonough 82 Taping Potential: Inspired Flow Karen Bauer 90 New Dimensions: Graduate Programs New Concepts and Formats for Graduate Diagnostic Examinations Paul Boylan, James Scott, and Robert Sirota 94 Meeting of Region One Innovative Solutions in a Climate of Budget Constraints Terry B. Ewell 109 Meeting of Region Six Trends in B.A. Enrollments Richard D. Green 115 What Is the Role of the Bachelor of Arts Degree for the Future? A Present Case Study: Lebanon Valley College Mark Mecham 120 A Survey of NASM Region Six Members Regarding the Status and Future of the Bachelor of Arts Degree in Music Ronald Lee 125 Open Forum: The Preparation of School String Orchestra Teachers Standards—What Was? Robert Cowden 133 Standards—What Is? Robert A. Gillespie 137 Standards—What Can Be? Louis Bergonzi 139 String Project Grants Robert Cowden 141 The Plenary Sessions Minutes of the Plenary Sessions Jo Ann Domb 144 Greetings from the Association of European Conservatoires Ian Horsbrugh 149 Report of the President William Hipp 152 Report of the Executive Director Samuel Hope 158 Oral Report of the Executive Director Samuel Hope 162 Reports of the Regions 165 Report of the Committee on Ethics Wayne Bailey 170 Actiom of the Accrediting Conunissions 171 NASM OfBcers, Board, Commissions, Committer, and Staff for 2000 174 PREFACE The Seventy-Fifth Annual Meeting of the National Association of Schools of Music was held from November 20 to 23, 1999, at the Fairmont Hotel in Chicago, Illinois. 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 during two 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. Vll KEYNOTE SPEECH MUSIC, MUSICIANS, AND THE ART OF LISTENING: SEVEN TRUTHS ABOUT MUSIC IN 2000 LIBBY LARSEN I am particularly delighted to be with you today because I am both a composer of twenty-five years and a product of the seventy-five years of vision and work of the National Association of Schools of Music's approach to music education. My formal music education came through parochial grade school and public high school (Southwest High School in Miimeapolis, Minnesota) and at the University of Minnesota, a land-grant university, where I earned my B.A., M.A., and Ph.D. I am a composer. And, as a composer, I have learned that I work from inspiration and idea and that I must hone all the techniques 1 can possibly muster, so that those techniques can be in service of inspiration and idea. I Usten proactively. 1 listen to the culture. I listen to those who would be professional musicians in the culture and to those who would be ardent listeners to the music that we compose. With this in mind, I think that 1 have some insights that I can share with you today. Insights about music: how music treats us in our lives, and how we treat music in our lives. It is my personal belief that to compose music is to learn all of the various instruments of a culture and what they represent emotionally, culturally, and psychologically. Because my instrument is really the air, 1 use aU of the instru- ments of our culture in order to excite the air in ways that stimulate conununication in a deeply emotional and abstract nonlinear way. I believe that to compose music is to gather what is already in the air, make an arrangement of it by ordering sound in time and space, and present this music mediated through performers who also are products of this culture in an effort to communicate something of what it is to be alive. I also believe that cultures evolve the instruments and the ensembles they need in order to smdy themselves through music. 1 beheve that music is the mystical practice of making sense of infinity. You know composers are notorious for pushing their deadlines. Sometimes we wait until literally the last minute to put the double bar on a piece of music and deliver it to the commissioning party. This drives performers and music administrators to the brink. However, deadline pressure is a topic that we creative artists talk about amongst ourselves quite often. I've come to think that one of the reasons we need deadlines as creative artists is that, in fact, when we are trying to make a work of art where there hasn't heen one, we have to imagine the kinds of choices that need to be made. And for me, I believe that sound is infinite, and since I believe that, any time I make a choice I am trying to make some sense of infinity—some reason for creating a piece about the emotion of love or fear, some way of distilling those emotions into the symbols of a note that has pitch, duration, dynamic. Composing is a terribly, terribly abstract art form. And yet any composer will tell you that a piece that is well composed and conununicates deeply is their reason for being, their reason for life. That journey of seeking a way in which to communicate through sound, pitch, time, and duration is their raison d'Stre. The results of the journey, which we call a piece of music, are firagile at best and corrununicative at its deepest. And if we are very fortunate and work very hard, that ordering of sound in time and space has meaning across the ages, across the cultures, and across time. In the nearly thirty years that I have been thinking seriously about music every day of my life, I have come to think that music is the most generous of aU the art forms. It encourages itself to he used in any way, in any individual community, or in any business endeavor. But, while music will allow itself to be used, it wiU always, without fail, let us know when we have misused it, contrived it, or assumed the egotistical position of owning it. Yes, music is the most generous of all the arts. It is a true muse and, like any true muse, it is impossible to own. Instead, when definition, methodology, and commerce overburden music, it frees itself, redefines itself and, with arresting audacity, stands squarely in the way of those who would own it. We composers are acutely aware of this since we deal with music's audacity in every composition. Time and again we set out meaning to compose one work only to discover that music has other ideas for the piece. Those of us who love music history have observed music's audacity and independence at work in western European culture at critical junctures in society. It may be that now, at the end of this miUeniiun and the beginning of the next, we are at a critical juncture in society. Perhaps it is American society, perhaps it is a global society, but it does appear to be a critical juncture. And at this moment music is audacious and definitely independent. Also at this moment we music educators face our moments of truth—the moment when our definition of music and the meaning of our lives as musicians are spread out before us with blinding clarity. When we can see beyond the paradox, we are faced with a choice—the choice to listen. Do we listen? To what do we listen? How do we hsten—reactively or proactively? Listening, as we all know, is a complex affair.