This dissertation has been microfilmed exactly as received
Mic 61-046
STOLL, Forrest Duane. AN EVALUATION OF THE MUSIC EDUCATION CURRICULUM AT THE UNIVERSITY OF UTAH, WITH RECOMMENDATIONS FOR FUTURE DEVELOPMENT.
The Ohio State University, Ph.D., 1960
University Microfilms, Inc., Ann Arbor, Michigan AH EVALUATION CP THE MUSIC EDUCATION CURRICULUM
AT THE UNIVERSITY OP UTAH, WITH RBCOIMEHDATIOHS
FOR FUTURE DEVELOPMENT
DISSERTATION
Presented In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University
By
FORREST DUAHE STOLL, B.M., M.M
The Ohio State University I960
Approved by:
A d v i s e r 1 Department of Education ACKNOWLEDGMENTS
The vrlter is deeply grateful to Profeaaor
H. Gordon Hullfleh for his friendly help, vise
counseling, and his unselfish sharing of
valuable tine while this study vas in progress.
Professor William B. McBride provided inspiration
and offered many helpful suggestions, as did
Professor Norman F. Phelps.
Gratitude is also extended to graduates and
students of the University of Utah, public school
administrators, and music teachers throughout the
state of Utah for their response to the question
naires and their helpful interviews. Thanks are
also extended to the administrative officers of the University of Utah for their Interest and aid
In this study.
ii CONTENTS
Chapter Page
I STATEMENT OF THE PROBLEM...... 1
Purposes of Music in Secondary Education...... 3
Development of Music Education in the Public Schools. 10
Development of Music Teacher Education...... 13
I I PURPOSE OF THE STUDY...... 19
Procedure for the Study...... 19
Construction of the Questionnaire...... 19
Gathering of Data ...... 20 oo Definitions of Terminology...... ‘--I
I l l OBJECTIVES FOR MUSIC COURSES ITT THE MUSIC TEACHER EDUCATION PROGRAM...... 26
Discussion of Objective:?...... 28
IV NATURE OF TIUJIC TEACHING SITUATION IN UTAH...... bn
Nature of Music Teaching Positions in Utah...... 50
Administrators' Vievs of Preparation of Music T each ers ...... 57
Responses to Selected Characteristics of Music Teachers ...... 57
Suggestions for Improving the Music Teacher P rep aration Program...... 6b
P reparation o f .Music Teachers T eaching in U tah ...... I'
Reasons for Attending Universities In Utah ...... ll Reasons for Attending Universities Outside Utah ...... 76
Reasons for Coming to Utah to Teach...... 77
ii iv
Chapter Page
Evaluation of Preparation by Music Teachers ...... 77
Preparation of Teachers at Institutions Outside U t a h ...... 79
Suggestions for Improving the Music Teacher Preparation Program Made by Graduates of Institutions Outside Utah...... 80
Preparation of Teachers at University A ...... 324-
Evaluation of Preparation by Graduates of U n iv e r sity A...... 86
Suggestions for Improving the Music Teacher Preparation Program Made by Graduates of University A ...... 93
Preparation of Teachers at University B ......
Evaluation of Preimration by Graduates of University B ...... 101
Reactions to Certain Elements or Areas in Their Preparation by Teachers Prepared at University B. 10b
Suggestions for Improving the Music Teacher Preparation Program Made by Graduates of University B ...... 107
Cumnnry ...... l l o
V EVALUATION OF THE MUEIC EDUCATION CURRICULUM AT THE UNIVERSITY CF UTAH...... llh
Professional Activities of Utah Graduates ...... llA
Summary...... IP 6
Development of Music Teacher Education at the University of Utah., ...... IPO
Evaluation of the Music Education Program at the University of Utah by Graduates andGcniors ...... 131
Computations and Numerical Meaning of R a tin g s .... 133
Evaluation of the .Music History and Literature Area by Graduates ...... 133 Chapter Page
Evaluation of the Music History and Literature Area by Seniors ...... 1**2
Evaluation of the Music Theory Area by Graduates. 1^3
Evaluation of the Music Theory Area by Seniors... 153
Evaluation of the Music Performance Area by G raduates ...... 15^
Evaluation of the Music Performance Area by S e n io r s ...... 165
Evaluation of the Music Education Area by G raduates ...... 166
Evaluation of the Music Education Area by Seniors 179
Senior Evaluations in Contrast to Tnose of Graduates ...... 181
Evaluation of the Music Education Curriculum by Critic Teachers ...... 18E
Extent to which Student Music Teachers from the University of Utah Demonstrated Capabilities and Effectiveness with Aspects of Music Teaching ...... 185
dtrengths and Weaknesses Doted in Preparation.... 138
Euggcstion3 for Improvement...... 13°
examination of Critic Teachers 1 ^valuation ...... 192
v i recommendation :- ...... 103
Echeduling of Classes in Proposed Program...... 232
Factors D elating to the Proposed Program...... 23 U
Cuggestions for Further Atudy...... 230
APPENDIX ? LETTER AND QUECTlOIffiAIRE TO UTAH PUBLIC CCIIOOL ADMINICTRATORC ph • v i
Page
APPENDIX C LETTER AND QUESTIONNAIRE TO UTAH PUBLIC SCHOOL MUSIC TEACHERS...... 250
APPENDIX D LETTER AND QUESTIONNAIRE TO UNIVERSITY OF UTAH GRADUATES AND SENIORS...... 253
APPENDIX E QUESTIONNAIRE COVERING INTERVIEW WITH CRITIC TEACHERS...... 261
APPENDIX F FOLLOW-UP LETTERS TO GRADUATES FROM UNIVERSITY CF UTAH, MUSIC TEACHERS, AND SCHOOL ADMINISTRATORS HI UTAH...... 262
APPENDIX G CERTIFICATION REQUIREMENTS IN UTAH...... 2o4
APPENDIX K COMPARISON OF SUGGESTIONS FOR IMPROVEMENT CF MUSIC TEACHERS' PREPARATION AND REMARKS SHOWING AREAS CF CONCERN MADE BY MUSIC TEACHERS AND THEIR SCHOOL ADMINISTRATORS...... 265
APPENDIX I COMPOSITE LIST OF SUGGESTIONS AND COJCIEHTS OF MUSIC TEACHERS IN UTAH (IESS UNIVERSITY OF UTAH GRADUATES) REGARDING THEIR UNDER GRADUATE PREPARATION FOR TEACHING...... 260
APPENDIX J COMPARISON CF FELT VALUE OF ELEMENTS IN ARE/E CF MUSIC TEACHER PREPARATION AND DEGREE OF PROVISION IN THE PROGRAM AS OPINED BY UNIVER SITY OF UTAH GRADUATES WHO PAVE TAUGHT MUSIC AND THOSE GRADUATES WHO HAVE NOT TAUGHT MUSIC. 26?
APPENDIX K COMPARISON OF FELT VALUE OF ELEMENTS IN AREAS OF MUSIC TEACHER PREPARATION AND DEGREE OF PROVISION IN THE PROGRAM AG OPINED BY UNIVER SITY OF UTAH GRADUATES WHO ARE NOW TEACHING AND GRADUATES WHO AT ONE TIME TAUGHT MUSIC BUT HAVE SINCE LEFT THE PROFESSION...... 2 71
APPENDIX I, IXTSTC TEACHER EDUCATION IROGRAM, UNIVERSITY OF tJTAll, 1 9 5 7 -5 6 ...... 273
APPENDIX M IROPOSED CURRICULUM - UNIVERSITY OF UTAH...... P75
BIBI.IOGRAPHY 276 LIST OF TABLES
T able Page
1. Number of Questionnaires Mailed and the Number Returned by Various Groups of Respondents...... 22
2. Public Schools in Utah in Relation to Music Teaching Positions...... 50
3. Public Schools in Utah with Number of Music Teachers in Each School...... 51
4. Kinds of Music Teaching Jobs in Utah at Various Grade Levels ...... 51
5- Analysis of Music Teachers' Teaching Duties at Various Grade Levels in the Public Schools of Utah.. 52
6. Number of Academic Classes Taught by Music Teachers in Addition to Music Teaching Assignments......
7. Number of Subjects Taught Outside Music in Relation to Size of School Enrollment...... 55
8. Academic Subjects Taught in Addition to Music by Music Teachers in the Secondary Schools of Utah 5 6
0. Response of School Administrators as to the Adequacy of Preparation of Music Teachers as T eachers...... 57
10. Response of Cchool Administrators as to the Adequacy of Preparation of Music Teachers as Musicians ...... 58
11. Response of Cchool Administrators as to the Effective ness of Music Teachers to Fit into the Musical Life of the Community...... 5 p
12. Response of Rchool Administrators at to the Effectiveness with which Music Teachers Fit into the Non-musical Life of the Community...... 50
1 3 . Responses of Echool Administrators as to the Effectiveness with which Mu3ic Teachers Fit the Music Program into the Total School Program...... 60
1U. Responses of Echool Administrators to the Question, Do You F e e l Music T eachers Should be Prepared to Teach an Academic Eubject...... 6 l
vii v iii
Table Page
15- Reaction of School Administrators to the Question, Is it Essential that the Music Teacher be Proficient in Some Performing Medium...... 62
16 . Response of School Administrators to the Question, Is it Essential that the Music Teacher be Able to P la y P la n o ...... 63
IT- Suggestions Made by School Administrators for Improvement of the Preparation of Music Teachers... 6k
18. Where Teachers Teaching Music in Utah Received their Undergraduate Preparation ...... 71
19. Undergraduate Music Preparation of Teachers Teach ing Music in Utah vith No College D egree...... 71
2 0 . Undergraduate Music Preparation of Teachers Teach ing Music In Utah with Degree in a Field Other than M u sic ...... 72
21. Length of Preparation of Teachers at Institution from Which Graduated ...... 72
2 2 . Kind of Music Preparation of Teachers at Various Institutions...... 72
23. Major Fields of Music Teachers Prepared as Music M inors...... 73
2k. Minor Fields of Music Teachers Prepared as Music Majors...... 73
25. Reasons Stated by Music Teachers for Attending Universities in Utah ...... 7L
2 6 . Reasons Utated by Music Teachers for Attending Colleges Outside of Utah...... 75
2 7 . Reasons Ctated for Coming to Utah to Teach Music by Teachers Prepared in Universities Outside Utah or Vfho Taught Outside Utah...... 77
2 8. Reaction of Music Teachers to Certain Areas and Elements in Their Undergraduate Preparation for Teaching ...... 70 Reaction of Music Teachers Graduated from Institutions Outside Utah to Certain Areas and Elements in their Undergraduate Preparation for T each in g ......
Suggestions for Improvement Made by Graduates of Institutions Outside Utah......
Reaction of Music Teachers Graduated from University A to Certain Areas and Elements in Their Under graduate Preparation for Teaching as Viewed in Three Chronological Periods......
Reaction of Music Teachers Graduated from University A to Certain Areas and Elements in Their Under graduate Preparation for Teaching ......
Suggestions for Improvement of the Music Teacher Preparation Program at University A made by Graduates of that Institution ......
Reaction of Music Teachers Graduated from University B to Certain Areas and Elements in their Under graduate Preparation for Teaching as Viewed in Three Chronological Periods......
Reaction of Music Teachers Graduated from University B to Certain Areas and Elements in their Under graduate Preparation for Teaching ......
C u ggestion3 for Improvement of the Music Teacher Preparation Program at University B Made by its G rad u ates ......
Occupations of Persons Who Graduated from the Music Teacher Preparation Program at the University o f Utah C ince 19**6 ......
Occupations of Arsons Uho Graduated from the Music Teacher Preparation Program at the University of Utah since 19**6 and Entered Fields Related to Public Gchool Music Teaching......
Occupations of Persons Uho Graduated from the Music Teacher Preparation Program at the University of Utah since 19J+6 and Entered Fields Unrelated to Public Gchool Music Teaching...... X
Table Page
40. Occupations of Persona Certified to Teach Music from the University of Utah in 1959 as Compared with Occupations of Comparable Graduates in 44 States Graduating in 1955 Graduates in 14 States in 1953 ...... 117
41. Reasons Stated by Graduates of the Music Teacher Preparation Program at the University of Utah since 1946 for not Entering Public School Music Teaching. 118
42. Reasons Stated by Graduates of the Music Teacher Preparation Program at the University of Utah since 1946 for Leaving the Music Teaching Profession 121
4 3 . Number of Years of Muaic Teaching of University of Utah Graduates before Leaving the Profession ...... 123
44. Grade Levels Taught by Graduates of the University of Utah as Music Teachers before Leaving the P r o fe s s io n...... 124
45. Reasons for Leaving Utah to Teach Muaic in Other Utates Advanced by Graduates of the Music Teacher Preparation Program of the University of Utah 12 5
46. Number of Hours of Music Study of Graduates from the University of Utah Participating in the Study.. 132
47. Number of Graduates by Year of Graduation Participating in Study in Relation to Total Number of Graduates for Each Year ...... 132
48. Evaluation by Graduates of Elements in the Music History and Literature Aren of the Music Teacher Preparation Program During Four Periods in it3 Development at the University of Utah ...... 134
4o. Comparison of Differentials Resulting from Felt Value Ratings of Elements in the Music History and Literature Area by Graduates and the Degree of Provision in the Program According to Periods in the Development of the Teacher Preparation Curri culum at the University of Utah ...... 135
5 0 . Evaluation of Elements in the Music History and Literature Area of the Music Teacher Preparation Curriculum at the University of Utah by it 3 G rad u ates ...... 1 3 7 x i
T able Pace
51. Weaknesses Listed by Graduates In the Area of Music History and Literature of the Music Teacher Preparation Program at the University of Utah ...... 139
5 2 . Suggestions Made by Graduates for the Improvement of the Music History and Literature Area of the Music Teacher Preparation Program at the University o f U ta h ...... IkO
53 . Evaluation of Elements in the Music History and Literature Area of the Music Teacher Preparation Program at the University of Utah by Seniors in the Program...... Ik2
5k. Weaknesses Listed by Seniors in the Area of Music History and Literature of the Music Teacher Preparation Program at the University of Utah ...... Ik 3
5 5 . Suggestions Made by Seniors for the Improvement of the Music History and Literature Area of the Music Teacher Preparation Program at the University of Utah...... Ik 3
5 6 . Evaluation by Graduates of Elements in the Music Theory Area of the Music Teacher Preparation Program During Four Periods in its Development at the University of Utah ...... lkk
57* Comparison of Differentials Resulting from Felt Value Ratings of Elements In the Music Theory Area by Graduates and the Degree of Provision in the Program According to Periods in the Development of the Teacher Preparation Curriculum at the University o f Utah...... Iks
5o. Evaluation of Elements in the Theory of Music Area of the Music Teacher Preparation Program at the University of Utah by its Graduates ...... ikp
5 9 , 'Weaknesses Listed by Graduates in the Area of Music Theory...... ik o
6c. Ctrengths Listed by Graduates in the Area of Music Theory...... I 50
6 l. Suggestions Made by Graduates for the Improvement of the Music Theory Area of the Music Teacher Preparation Program at the University of Utah ...... 151 x i i
T able Page
62. Evaluation of Elements in the Music Theory Area of the Music Teacher Preparation Program at the University of Utah by Seniors in the Program ...... 153
6 3 . Evaluation by Graduates of Elements in the Music Performance Area of the Music Teacher Preparation Program During Four Periods in its Development at the University of Utah ...... 155
64. Comparison of the Differentials Resulting from Felt Value Ratings of Elements in the Music Performance Area by Graduates and the Degree of Provision in the Program According to Periods in the Development of the Teacher Preparation Curriculum at the University o f Utah...... 156
6 5 . Evaluation of Elements in the Performance Area of th e Music Teacher Preparation Program at the University of Utah by its Graduates ...... 158
6 6 . Weaknesses Listed by Graduates in the Area of Music Performance in the Music Teacher Preparation Program at th e U n iversity o f Utah ...... 159
6 7 . strengths Listed by Graduates in the Area of Music Performance in th e Music Teacher Preparation Program at the University of Utah ...... l 6 l
68 . Suggestions Made by Graduates for Improvement of the Music Performance Area of the Music Teacher Preparation Program at the University of Utah ...... 162
6 9 . Evaluation of Elements in the Music Performance Area of the Music Teacher Preparation Program at the University of Utah by Seniors in the Program.... 165
7 0 . Weaknesses Listed by Seniors in the Aren of Music Performance in the .Music Teacher Preparation Program at the University of Utah ...... 165
71. Guggestions Made by Leniors for Improvement of the Music Performance Area in the Muoic Teacher Preparation Program at the University of Utah ...... 166
72. Evaluation by Graduates of Elements In the Music Education Area of the Music Teacher Preparation Program During Four Periods in it3 Development at the University of Utah ...... 167 x i i i
T a b le Page
73* Comparison of Differentials Resulting from Felt Value Ratings of Elements in the Music Education Area by Graduates and the Degree of Provision in the Program According to Periods in the Development of the Teacher Preparation Curriculum at the University of Utah ...... 169
7h. Evaluation of Elements in the Music Education Area of the Music Teacher Preparation Program at the University of Utah by its Graduates ...... 171
75- Weaknesses Listed by Graduates in the Area of Music Education in the Music Teacher Preparation Program a t the University of U ta h ...... 173
76. Suggestions Made by Graduates for the Improvement of the Mu3ic Education Area of the Music Teacher Preparation Program at the University of Utah ...... 17*+
7 7 . Evaluation of Elements in the Music Education Area of the Music Teacher Preparation Program at the University o f Utah by Seniors in the Program... l8 c
73. Weaknesses Listed by Seniors in the Area of Music Education in the Music Teacher Preparation Program at the University of Utah ...... l 8 l
79- Suggestions Unde by Geniors for Improvement of the Music Education Aren in the Uu3ic Teacher Preparation Program at the University of Utah ...... led
Comparative Means in Arens of the Curriculum Reflecting Felt Value of Geniors and Graduates at University of Utah ...... '•■O
Comparative Means in Areas of the Curriculum Reflecting Degree of Provision at University of Utah as Rated by Geniors and Graduates ...... ldp
D i f f e r e n t i a l B etw een .Means o f F e l t V a lu e and D egree of Provision Between Areas of the Curriculum as Recorded by Geniors and Graduates ...... 183
Evaluation of Teaching Candidates as to Elements in Their Preparation as Music Teachers in the Music Teacher Preparation Program at the University of Utah by Critic Teachers in the Ctudent Teaching e x p e r ie n c e ...... 185 x iv
T ab le Page
84. Listing of Strong Pointa in Music Teacher Preparation Program at the University of Utah by Critic Teachers a 3 Noted in Teacher Candidates in the Student Teaching Experience ...... 188
8 5 . Listing of Weaknesses in Music Teacher Prepara tion Program at the University of Utah by Critic Teachers as Noted in Teacher Candidates in the Student Teaching Experience ...... 1.88
8 6 . S u g g e s tio n s Made by C r it ic T ea ch ers f o r th e Improvement of the Music Teacher Preparation Program at the University of Utah ...... 18 ?
8 7 . Schedule of Classes in Proposed Music Education Program for the University of U tah ...... 231 CHAPTER I
STATEMENT Of THE PROBLEM
Within the past four decades the length of eusic teacher education
programs has risen fron two to four years, and recently there hare been
those who feel that four years are insufficient. Before the period of
preparation ie extended, however, there should be reasonable assurance
that aaxlnuD results are being obtained fron the present program.
When the writer became associated with the University of Utah in
1 9 5 6 , one of hie assignments was to improve the music teacher education
program at the University. The need for a revision in this program was felt and voiced by the Dean of the College of Fine Arts, under whose Jurisdiction falls the musical preparation of the secondary teacher. The single stipulation made was that there should be no change in the total number of hours devoted to the program.
The revision of any educational program can properly be made, of course, only as present and past practices are evaluated. If the program was to remain a four-year course, moreover, the only point of attack was ( 1 ) to increase teaching efficiency and ( 2 ) to improve the curricular offerings within the time span of the existing program.
The problem, therefore, became one of recommending changes in curri culum and instruction. In order to do this in relationship to both the purposes such a program should serve and the specific situation within which it functions, it became necessary to consider, first, the general purposes of music in secondary education, since the Utah program is concerned with the preparation of teachers for secondary 2 school Instruction; and, second, to study the products of the curri culum who, after graduation, had either entered the teaching profession or, for whatever reasons, had failed to do so.
The value of preparation can he determined in terns of the pro- gran's effectiveness in enabling graduates to fu lfill the obligations of their profession. If graduates fron the University of Utah anong the ranks of nuaic teachers adjudge their preparation inadequate for nesting certain denands In their teaching duties, then the preparation program is remiss, providing this Inadequacy la felt by a significant number. Graduates are in a position to evaluate this progran In terns of both weaknesses and strengths.
The end product of the progran, the music teacher, must be con sidered in light of the requirenents of his duties, necessities arising fron the kind and nature of music teaching positions must provide direction for the preparation program*
The proportion of graduates prepared vho enter the profession may, in some neasure, reflect, also, either credit or discredit on the pro gram. A cursory examination of the teaching activities of graduates from the program at the University of Utah revealed that less than half of the graduates since 19^6 vere employed as nuaic teachers in the state of Utah during the acadenlc year 1957-53. This small repre sentation gives further reason for the curriculum to cone under scrutiny and raises several questions, the answers to which are pertinent in an evaluation of the program:
1. How many graduates prepared to teach music accept teaching positions following graduation? 3
2. What factors are operative vhen graduates do not enter the nuaic teaching profession?
3* What are the factors resulting in the relatively snail nunber of graduates teaching in Utah?
The study undertook, therefore, to secure Information on the
folloving points, all vlth a view, of course, of providing a ground
fron vhich recnmnenil at Ions for revision could be nade:
1. The nature of nuaic teaching duties In the state of Utah
2. The "felt" needs nuslc teachers feel were not net in their educational preparation
3. The expectations held by administrators
The character of the music education curriculum within the College of Fine Arts at the University of Utah
5. The careers of University of Utah graduates in nuslc educa tion, including those vho leave the state and those vho leave the teaching profession
Purposes of Music in Secondary Education
In attempting to establish music more firmly In the public school curriculum and to gain increased acceptance of the idea that nuslc
Is an essential part of general education, some nuslc educators have
Justified nuslc education on the basis of its contribution to many or all of the objectives of vhat we conceive as the educated person. For example, the often-quoted seven cardinal principles of secondary edu cation, Including health, conmand of fundamental processes, worthy home menbershlp, good citizenship, and the others^- are accepted, then
^see Committee on the Reorganization of Secondary Education, Cardinal Principles of Secondary Education, U. S. Bureau of Education B ulletin Wo. XXXV (Washington: Government Printing Office, 1918), p. 9 . the contribution of music study In meeting each of these object ire*
or outco—a la stated. Nuaic la said to contribute to good health
In emphasizing correct poature and deep breathing; the contribution
to a command of fundamental proceaaea by muaic performance la aald
to involve to an exceptional degree the combination of mental and
nuecular control and coordination, and the like. So the H at 2 c o n tin u e * .
This manner of Justifying the Importance of muaic education has
led to aerloua queationlng. *^he danger to muaic education la that,
by claiming contribution to a variety of specific and nonmuaical out
comes, music educators w ill unintentionally give support to the
feeling that music is an unessential frlll."^
Study In music may contribute to most or all such objectives, but largely In a peripheral sense in vhich these contributions are not
unique to music study. Certainly, physical education and hygiene
classes contribute to good health at least as much, and undoubtedly
more, than does music study. Typing can contribute Just as effec tively to developing a cotnand of fundamental processes as can music.
The same can be said of most means in the realization of the basic
objectives of education.
The Important point Is that music education in the past has been
Justified on unmusical grounds. In fact, of course, as has been
2nee John B eattie, Osbourne McConathy, and Russell Morgan, Music In the Junior High School (Sew York: Silver Burdette Company, 1938), p . W- ^Helson Henry (ed.), Basic Concepts in Music Education (Chicago: The University of Chicago Press, 1958), p. 195* 5
noted, "Muaic, aa one of tha seven liberal art a, haa formed an inte
gral part of the educational systems of Veatam civilization from
Hellenic tinea to the present."^
Among the neceaaltlea of living, aome values areJbund in the practical arts and science, while other values are found in the expressive arts. Man must survive both physically and economically; but, in addition to this, he needs stimulation and encouragement in hia search for the leas material benefits and accomplishments. In any scheme of purposeful general education, therefore, man's control over himself, aa veil aa over nature, must have a place. Education should enable young people to grov in the appreciation of values. It is here that the place of music la unquestioned. Schools of today must enable students: ( 1 ) to become aware of the full play of their faculties, ( 2 ) to fu lfill their purpose of existence In right relation to others, (3 ) to cultivate equability of emotional balance and imagi nation both active and disciplined, and (4) to combine these with the power to interpret the world about them.'’
Cultural and esthetic values in music are needed to counteract the general tendency to overemphasize vocational and utilitarian values in all programs of study, including music. Fundamentally, people live in their emotions, and no art haa, potentially, a more refining Influence on the emotions than does music.
Slelson Henry (ed.) loc. c lt., p. 195.
^Guy Whipple (ed.), Music M ucation. (Bloomington, 111.: Public School Publishing Company, 1936), P* 17* Music has a contribution to aaka to tha general education of
students within the secondary schools of today* Though nuslc Is not
so unique as to be the sole neons by which a given goal of education
■ay be achieved, It nevertheless nay contribute substantially and,
in particular Instances, is unexcelled as a naans of attaining a
specific goal. Three areas in vhich nuslc nukes unique contributions
In this sense are listed by C. A. Bumelster as: aesthetic growth,
productive use of leisure, and enotlonal development.^
There Is no reason to doubt that m ale belongs In the general
education of the student. Foster McMurray, in underscoring the signi
ficant part nuslc education has for everyone, states the ains of music
education thusly:
To help everyone to further awareness of patterns of sound as an aesthetic component in the world of experience; to Increase each person's capacity to control the availability of aesthetic richness through music; and to transforn the public nos leal culture Into a recognised part of each person's environment.'
Music education ains at the development of a richer, more abundant
life for each Individual. It can be of significance to everyone.
Sound and nuslc play a prominent part in everyone's world. But what
is imnediately evident in hearing music Is a relatively snail part of what is potentially there. When prejudices, negative biases, and
other hindrances to perception are replaced with a sensitiveness to
the less obvious, the less evident qualities which only directed
kelson Henry (ed.), Basic Concepts In Music Education (Chicago: The University of Chicago Press, 1958),P* 219. 7 experience can bring Into awareness, the listener w ill find In nuslc what he would not hare been able to find otherwise. In doing so, he w ill expand his environment and Increase his power to find a good life through an Increased power to control what happens to hie nuslcally.
The aesthetic quality of his experience w ill then be less a natter of a c c id e n t.
In the consunptlon of nuaic, we are Involved with the hunan nature of the consuner. A heterogeneity of tastes exists, and the nuslc progran mist allow opportunities to Illuminate the divergencies and fluctuations of taste on mundane grounds. Barriers to understand ing and musical growth must be replaced with a responsivenesa to the expressive qualities which nay be found In the better nuaic of every ty p e .
The heritage of nuaic la ao abundant and Its practice la ao wide spread in our society that it takes ita place with literature and the hunanltiea In the curriculum. The many aspects of nuaic instruction
Include a combination of skills, not only for actual performance and creativity, but also for the enhancement of perspective listening and appreciation. Musical forms, historical Information, styles, and trends of nuslc may quite properly be emphasized for the purpose of inducting the student Into the musical traditions of his culture.
Carry-over of musical experiences In post-school life may appear
In aa many different guises as there are phases of musical life
Itself. The ex-orchestra masher now becomes a nucleus for public opinion vhich may support musical programs in the schools; the music appreciation student becomes a motivating force in bringing professional artists to perform in the r rnnnltj; others display selectivity in their support of local bus leal activities. Each becoaes a contributor to cultural affairs in accordance vlth his sympathies. Such attitudes are clearly important to every citizen.
Music education may be aald to contribute to the individual in the following vays: it helps the individual to understand and to control his musical envlrooseut; it enriches life and satisfies a need for and the love of beauty; it pronotes self-realization through the cowand of an expressive medium; it provides a means of expression for emotional release; it provides, through insights and understanding, for the cultivation of a sense of values leading to discrimination and appreciation; it provides opportunity for greater enjoyment of life; it provides opportunity for understanding the cultural heritage; and It offers opportunity to discover outstanding talent.
James Mursell emphasizes the place of music in social life as an
Important outcome to the music education program, saying:
The vitality of any scheme of education turns on the extent to vhich it is an agency for favorable social adjustment. Persons responsible for any such scheme should be concerned critically and anxiously vlth the uses to vhich learners w ill put the things they are taught - the effect that those things have upon them In social living.
He then enumerates the social situations which should serve as guide lines for the music education program:
%uy Whipple (ed.), Music Education, (Bloomington, 1 1 1 . : P u b lic School Publishing Company, 1936), p. 10. 1. Social situations In vhich music nay be used vlth beneficial effects:
a. Music is an Important agency for the enrichment of boms life . . . (through the development of) a heightened interest In listening, a eore discrimi nating use of mechanical music, of course Including the radio, and performance by members of the family for horns enjoyment. It should be one of the alms of the program of music education to promote such activities.
b. The muaic program should have definite outcomes In the Church . . . through increased Interest and participation In congregational singing, church choirs, and the musical aspects of vorshlp generally.
c. The nuslc program should be planned for definite outcomes In secular coosunlty music. Both rural and urban coasunlty life can be enriched and bettered measurably by setting up and maintaining a variety of musical activities. . . . Musical organisations that exist largely for their ovn sake or for general recreative purposes, such as choirs, orchestras, small ensembles, music clubs, study groups, groups active in promoting concert courses, and the like, can serve a valuable social purpose.
2. Music is a pursuit open to moat persons. The veil- planned program of music education, emphasizing esthetic and social factors, can appeal to and benefit practically all children In school. . . .
3* Musical activities that vlll transfer to social use should be fostered. First, directed listening must have an important and continuing place, and It should be organized to promote discriminating listening outside the school. Second, singing must be our typical and central activity. . . . Third, the mastery of the major Instruments evldentally opens possibilities for use of a superior and desirable kind.°
^lbId., pp. 1 0 - 1 2 . 10
Development of Music Education In the Public Schools
B efo re 1838, nuslc Instruction was conceived as being appropriate only for the talented few. As the result of an experiment carried on by Lovell Mason In 1838, the doctrine of the talented few vas refuted, and nuslc vas Introduced as a recognized part of the curriculum in the elementary public schools. It vas a meager beginning, however, and instruction in the schools vas scattered, without focus or p la n .
Music vas the first of the expressive subjects to take its place In the curriculum of the public schools. The fact that this could occur at a time when the value of a school subject in practical everyday affairs vas the criterion by vhich it vas Judged is evidence that music had become so strongly interwoven In community life that its u tility could be taken for granted. Indeed, It is noticeable that the advocates of the introduction of music into the schools always built up their arguments on a basis of practical rather than aesthetic values, though they did not wholly ignore the latter.
In the period following the Civil War, interest Increased in public school music as a result of a fourfold influence upon the general musical culture. These influences were (1) the rapid rise of the private music teacher, ( 2 ) a widespread choral activity marked by numerous choral clubs and societies, ( 3 ) the formation of sympnony orchestras and concert bands, and (fc) the development of music in colleges and the establishment of independent conservatories . 11
This change in cultural climate brought into existence a distinct musical profession and gave an impetus to the school music program.
10Edvard Birge, History of Public School Music in the United States (Philadelphia: Theodore Preaser Co., 1937), p. 3 5 . n Ibld., pp. 8 3, 8fc. 11
At the turn of the century, with the emergence of the child study
movement, emphasis in music instruction shifted from knowledge about
music and musical skills as an end in themselves to one of experience
with music, enjoyment of music, and skills as a means of expression.
Music materials became the focus of attention and were published in
great proliferation.
Music entered the high school in the first decade of the
twentieth century. Musical offerings expanded step by step from a
single assembly chorus, meeting once a week without credit, to a
curriculum giving credit for chorus, orchestra, band, music apprecia
tion, and music theory. The greatest development In high school music
came after the first World War. Instrumental music received an
emphasis at that time as a result of the interests of returning sol
diers, who had received instrumental training in the service.
A problem facing music in the high school today arises from
counselors and educators encouraging students to schedule more than
the required number of academic courses for graduation in a school
day often divided into only six periods. The number of elective
courses, among them music, is being curtailed in the student's program.
A study recently completed by James B. Conant calls for a vide general
education background for all students, and a total of eighteen aca
demic subjects in the four-year program as a minimum for the academi- 12 cally talented. At the same time, Conarrt recommended a seven- or
eight-period school day to allow greater flexibility in scheduling.
Ip James B. Conant, The American High School Today, (Rev York: McGrav-Hill Book Co., Inc., 1959), PpTVf, 57- 12
With a slx-perlod day, one period of which la taken up by physical education, the academically talented student cannot elect the wide academic program recom mended above and at the same time elect art, music, and practical courses. The Importance of this recommendation can hardly be overemphasized . . . . 3
The problem for music Is acute in high schools In the face of
emphases as exemplified above and the recent popularization of the
sciences as a result of the sputnik age. It Is particularly critical
since apparently a number of high schools still employ the slx-perlod
school day. Among 22 high schools surveyed, Conant found 12 w ith
such a division in their day.^ While the small number of samplings
may not be representative, It nevertheless indicates the problem
facing music Is significant In many situations. It Is hoped Conant'a
recommendation for a seven- or eight-period day w ill become a
reality In all high schools.
As Conant has noted, the high school of today faces the gigantic
task and responsibility for educating the bright and the not so bright
children with different vocational and professional ambitions and with various motivations. In pointing up this diversity In obligations, the main objectives of the high school as listed by Conant are:
F irst, to provide a general education for all the future citizens; second, to provide good elective programs for those who wish to use their acquired skills immediately on graduation; third, to provide satisfactory programs
^ I b ld . , 6 5 -
lUIbld., 24f. 13
for those whose vocations v lll depend on their subse quent education In a college or university.15
Thle recaeaeendatlon provides an Important function to be performed
by muelc in the education of secondary school youth.
Development of Music Teacher Education
When music vas first introduced into the elementary schools,
music teachers received meager preparation In singing schools. The
musical offerings, moreover, consisted of the teacher leading children
in hymn-singing sessions.
In the latter part of the nineteenth century, as music began to
gain stature In the schools, music teachers received their preparation
largely in conventions, normal Institutes, and summer schools (the
latter sponsored mainly by book-publishing concerns). While this
Instructional service vas intended primarily to publicize music books
and m aterials, the companies nevertheless contributed significantly to the remarkable growth of early music and supplied training not to be found In the colleges of that day. This preparation sufficed as long as the qualifications of the music teacher were decided by the individ ual superintendent and the school conmlttee, and as long as musical activity In the school vas confined to singing.
As the end of the century drev near, both the singing schools and conventions ceased to exist as sources of supply for the preparation of music teachers. The first normal school of music, the Potsdam
Musical Institute, vas estaolished In 188U to give music instruction to elementary school teachers. The rise of normal schools vas slow
15lbld., p. 1 7- and they did not achieve the status of college rank until past the
turn of the century.
Several institutions, such as the Rev England Conservatory and
Cincinnati Conservatory, vere preparing professional auslcians in
performance during the last half of the nineteenth century, sons of
whom vent into public school teaching. By 1900 the demand for musi
cians trained in pedagogy vas great; the supply, however, vas limited.
As the public school music program expanded into the high school,
with increased offerings in the curriculum, the need for added
emphasis on teacher preparation and the responsibility of teacher
preparation Institutions for assuming leadership in this area became
evident. Institutions of higher learning began to offer courses in
music pedagogy and to establish teacher-training departments. Among
the first of these vere Teachers College, Columbia University and
the University of Missouri, both in 1903.^ Eastern universities vere,
on the vhole, slow to respond to the pressure from teachers of public
school music.
The first organized course of study for the preparation of school
music teachers consisted of one year's work. This proved inadequate
and soon the most comnonly offered course required two years, and upon
completion the graduate vas given a certificate for teaching. As lavs
governing certification of teachers became more standardized and more
exacting, states began to regulate the amount of preparation. A
^^Vincent Jones, Music Education in the College (Boston: C. C. Birchard and Company, 15^9J > P* 9* 15 four-year court* leading to a degree v u etarted in aucb place* a*
Oberlln College and Korthveatern University around 1922. ^
The enawnr schools and nuaic Institute*, In bringing music teacher* together from all section* of the country, prepared the vay for the development of music teacher organization* which had a power ful effect upon music education and auslc teacher education. The
Music Teacher* Rational Association first aet In 1876 . It* objective was to raise the professional standard* of auslc teaching. As the normal muelc institute* began to change into permanent music schools, and as the number of private mu*lc teachers rapidly increased, the
Music Teacher* Rational Association became the representative body of this profession. Committees of this Association conducted surveys and studies for the purpose of clarifying alma of school music and to raise standards. In 1923 on Inquiry vas made as to preparation required in the various states for those who taught and supervised m usic.
Another organization vhlch became very influential In music edu cation and music teacher education, the Music Supervisors Conference, had its beginning In 1907. This later became the Music Educators Ra tional Conference. Committees of this Conference conducted studies similar to the ones mentioned above, and, in 1922, the Conference made reconmendatlons for a four-year music teacher program. Thirty hours
^Guy Whipple (ed.), Music Education, p. 212.
l8Karl W. Gehrkena (ed.), Music Teachers Rational Association Proceedings for 1923 (Hartford, Conn.: The Association, 19^), pp. 167-173- of general academic courses, thirty hours of education courses
(including music education), and sixty hours of music consisting of
music theory and applied music constituted the program.^
The conservatories and recently developed schools of auslc in
colleges and universities, represented by the Rational Association
of Schools of Music, recommended In 1930 another distribution of
course content for a four-year music teacher program. This placed
more emphasis upon the study of music, vlth a tendency to stress the 20 study of applied music.
In 1951* a permanent liaison comsilttee vas established vith
representation from the Music Educators Rational Conference, the
Music Teachers Rational Association, and the Rational Association of
Schools of Music. One year later the Committee on Accreditation and
C ertification in Music Education of the MERC, in collaboration vith
RASM, MIRA, and the American Association of Colleges for Teacher
Education, developed standards for the evaluation of the college curri- 21 culum for the training of the school music teacher.
Today, many institutions of higher learning are providing excel
lent programs for the preparation of music teachers. In addition to
some 200 conservatories, colleges, and universities affiliated vith
the Rational Association of Schools of Music, there are several
^ p p . clt. , p. 21^.
^Guy Whipple (ed.), Music Education, p. 2lU. 21 See Music Educators Rational Conference, Committee of Accreditation and Certification in Music Education, "The Evaluation of Music Education" (Washington: The Conference, 1933). 17 hundred acre vhich have auslc departments vhers teacher preparation la emphasised. Although agreement has been reached to a large extent by the various musical organizations working In collaboration to evaluate the curriculum and arrive at a balance between the various areas, one of the major problems remains that of a college curriculum which must yield to demands for a heavy concentration of general and professional education, with the consequent cut-back In specialized e d u c a tio n .
As the teacher training program has evolved, certain significant trends have been noted in recent years vhich give a hint and a promise of continued development for the future. These trends can be summarized as follows:
1. Increased professional autonomy enjoyed by music educators in the fields of music and education
2 . Increased realization of the fact that the music education profession demands teachers trained in two professions - music and education
3. Increased recognition by music educators, adminis trators of school systems, boards of education, and directors of curriculum of the importance of a well- balanced program of appropriate music courses which w ill contribute to the objectives of general education
U. Increased recognition by administrators of Schools of Music and Schools of Education within State Univer sities and Colleges of Education, of the professional organizations, the Music Educators national Conference, the Music Teachers National Association and the National Association of Schools of Music, as the source for guidance in developing curricula for the education of music teachers
5* Increased insistence upon balance in education of the music teachers, as Musicians and as educators. 18
6 . Increased opportunities for cooperation betveen auslc educators and musicologists, composers, private teachers, and professional musicians,*®
^Hazel N. Morgan (ed.), Music In American Education (Washington: Music Educators Rational Conference, 1955 )* pp. k9, 50 . CHAPTER I I
PURPOSE OF THE STUDY
The purpose of this study is to make recommendations for the
future developownt of the auslc education curriculum within the
College of Pine Arts at the University of Utah on the basis of data
obtained from the following sources:
1. Public school anisic teachers teaching in the state of Utah
2. School adm inistrators In the schools of Utah employing music teachers on their teaching staffs
3* C ritic teachers working with student teachers enrolled in the music education program at the University of Utah
h. University of Utah graduates from the music education p rogram
3* Seniors enrolled in the music education program at the University of Utah
Procedure for the Study
The first step in the study was to construct questionnaires which would yield the information needed from each group to be surveyed.
Construction of the Questionnaires
A survey of the literature was made, and a number of sources were used for building the questionnaires. Printed materials Included the f o llo w in g :
1. "The Evaluation of Music Education.” Standards for the Evaluation of the College Curriculum for the Training of the School Music Teacher, developed by the Commission On A ccreditation and C ertification in Music Education of the Music Educators Rational C o n fe re n c e
2. Music in American Education, edited by Hazel N. Morgan. Source Book Humber II of the Music Educators National Conference
19 20
Two doctoral dissertations were drawn upon heavily for content:1
1. "An Evaluation and Recommended Development of the Music Education Program at Capital University" by Guy G. Taylor
2. "A Study of Professional Music Education at the Ohio State University" by Georgs H. Wilson
University educators and auslc educators, as veil as representa
tives froa the auslc theory and history areas and music supervisors in
public school systems, vere also consulted.
The completed questionnaires vere submitted to three representa
tives froa each group to be surveyed to determine clarity of instruc
tions and Information requested. Ho changes resulted from this
sam pling.
Gathering of Data
Questionnaires vere sent as follows:
1. School administrators. For the purposes of this study, this
category included music supervisors, school superintendents,
secondary and elementary school principals. Names vere obtained froa
the "1958*59 Utah Public School Directory," and only those principals
whose schools Included auslc teachers vere Included in the study.
(See Appendix B)
2. Music teachers. All persons listed as auslc teachers in the
"1958-59 Utah Public School Directory," less graduates from the
University of Utah since 19^6 who received a more detailed question
naire, vere sent questionnaires. (See Appendix C)
^For a list of relevant studies and summary statements, see Appendix A. 3* University of Utah graduates as auslc Majors or auslc coaposites In auslc education since 19^6 , as deteralned froa records in the Registrar's Office of the University of Utah and cosnencement programs, vere nailed a acre detailed questionnaire. Undergraduate records of auslc students before 19*t6 vere not retained by the
Registrar's Office or any other office of the University. Only those graduates vith a minimum of tvo years preparation at the University vere sent this questionnaire. (See Appendix D)
The groups designated above vere sent questionnaires on April 26,
1959* On May 21, a follow-up mailing vas made and/or a telephone call. (See Appendix F)
The same questionnaire that vas sent to University of Utah graduates vas circulated among seniors in the music education com posite program at the University on May 9. All eleven seniors responded to the questionnaire. 22
TABLE 1
HUMBER CT QUESTIOHMAIRES MAILED AID THE HUMBER RETURHED BY VARIOUS GROUPS OT HESFOHBB KTS
Humber Humber T o ta l P e rc e n ta g e M ailed R eturned Humber R etu rn ed Respondents May 21 R etu rn ed in each C ateg o ry
Music supervisors 11 8 10 9 1 .0 School superintendents 32 27 31 9 7 .0 High school principals 72 63 71 9 7 .0 Junior high school p r in c ip a ls 69 61* 66 9 5 .6 Elementary school p r in c ip a ls 23 18 22 9 6 .0 Music teachers in Utah (less U. of Utah graduates since 19^6 ) 195 127 159 8 1 .5a U. of Utah graduates 122 61 95 7 7. 9b
aTwo additional questionnaires vere received too late to Include In the study. bOne additional questionnaire vaa received too late to Include in the study.
Another source of data vas critic teachers who supervised stu dent teachers during the period under study of University of Utah graduates. These persons vere contacted by personal lntervlev. (See
Appendix E) Of the thirty names available from University records, all but tvo vere located and intervleved. Respondents represented
93.3 per cent of the critic teachers.
Additional information on the preparation of teachers and the nature of music teaching positions used in the study vas obtained from the files of the State of Utah Department of Public Instruction. 23
Definitions of Terminology
The term most frequently used In thle diaeertetlon are here
d e fin e d .
Applied eualc. Applied music pertains to those courses In the
curriculum which Include participation and/or performance in large or
small enaenbles or the study of an instrument or voice which is con
sidered the student's major performance medium.
Administrators. This term denotes superintendents, principals,
music supervisors in the public schools who are responsible for
the employment of music teachers in the state of Utah.
Composite music education curriculum. This term Is defined as
a curriculum that Includes two majors In music; namely, vocal and
instrumental.
Credit hours. All credit hours mentioned in this study are based
on the quarter division of the school year.
Critic teachers. Critic teachers are defined as those music
teachers In the public schools In whose classes student teachers are temporarily assigned to teaching responsibility under guidance and
supervision. The terms, supervising teacher and cooperating teacher
are generally considered synonymous vith critic teacher.
Elementary school. The elementary school Is defined as grades one through six.
General music class. This term designates a survey type of course designed to provide a better understanding and appreciation of music. It includes, in addition to music appreciation, related facts on music theory, music history, and music literature. The 2k clast Is aost cooBDonly offered In the Junior high school and soMetlnes
In the high school, and consists of students Meeting together to participate In a vide variety of m u s I c activities. I t is intended and organized to neet the needs, interests, and abilities of a l l .
Graduates. Graduates, as used in this study, denote those vho received their undergraduate preparation In the nuslc education progran at the University of Utah, unless otherwise specified.
Major instrument. This term denotes the instrument (voice) upon vhich the student la most capable in performance due to study and past experience. This is synonymous vith major performance medium.
Minor instruments. This term la defined as those Instruments of the band or orchestra vhich lie outside the major performance medium of a student and vhich are studied for the purpose of gaining insights into teaching techniques. These instruments are also referred to as secondary instrumenta.
Music education. This term designates that area of the program vhich gives the particular information, understandings, attitudes, tools, and techniques needed for the preparation of music teachers.
It is that area of the curriculum vhich enables the prospective teacher to understand the purposes of music in the public schools and to develop skills of teaching auslc.
Music theory. Music theory is the name of an area of the music curriculum vhich is concerned vith the science of nuslc encompassing notation, ear training, slghtsinglng, dictation, harmony counterpoint, harmonic analysis, form, composition, and other phases dealing with 25 the technical aspects of auslc. For the purpose* of this study, nuslc theory has been divided Into two parts, the structural and aural techniques.
Music supervisor. A auslc supervisor Is a auslc teacher In an administrative capacity responsible for the auslc program In the school system vho supervises other auslc teachers In the same system.
Musicianship. This term denotes the sum of Innate and acquired abilities in auslc, or the cognitive response and nature sensitivity to a u s lc .
Observation. An observation may be defined as the act of vatch- ing a classroom situation with regard for both the learner and the teacher. The role of the observer is passive In that no part Is taken
In the classroom procedure.
Outside Institutions. Outside institutions include those insti tutions of higher education other than the three directly referred to
In this study and located outside Utah from vhich auslc teachers teaching in Utah received their undergraduate preparation.
Secondary school. The secondary school is defined as grades seven through twelve. CHAPTER I I I
OBJECTIVES PC® MUSIC COURSES H THE
MUSIC TEACHER EDUCATION PROGRAM
To determine objectives to be net by the music education program preparing secondary teachers, several sources vere used. Lists of objectives for such a program vere compared and a composite list, arrived at vith rewording to fit this particular situation, vas d e v e lo p e d .
The following sources vere used in the compilation of the list of objectives:
1. ’'The Evaluation of Music Education," Marguerite V. Hood, chairman. Standards for the Evaluation of the College Curriculum for the Training of the School Music Teacher, approved by the Music Educators Rational Conference, the Rational Association of Schools of Music, the Music Teachers Rational Association, and the American Association of Colleges for Teacher Education.
2. Music in American Education, edited by Hazel R. Morgan. Source Book Humber 11 of the Music Educators Rational Conference.
3. "An Evaluation and Recommended Development of the Music Education Program at Capital University" (an unpublished doctoral dissertation by Guy G. Taylor).
4. "The Selection and Education of Public School Music Teachers" (an unpublished doctoral dissertation by Jackson K. Ehlert).
5. "A Study of Professional Music Education at the Ohio State University" (an unpublished doctoral dissertation by George H. Wilson).
In arriving at objectives within areas of the curriculum, it must be understood that there is much overlapping of purposes among courses
26 2 7
and aaong area*. For example, moat couraea vlthln the realm of con
cern of this atudy make their appropriate contribution to the develop
ment of musicianship. Likewise, many couraea contribute to developing
understanding of the teaching proceaa. These facta v ill be evident
aa the objectives proposed are first presented in summary form and
then discussed.
Objectives for Music Courses In the Music Teacher Education Program
A good program of music teacher education should provide each
student vith the opportunity to develop or acquire:
1. Knowledge and appreciation of the history and literature of m u s ic .
2 . Skill and understanding of the structure of music.
3* Skill and understanding in aural techniques.
4. Skill and understanding In music creativity.
5- Skill and understanding In the arranging of music.
6. Skill and understanding as a performer and Interpreter of m u sic.
7. Skill and understanding in conducting techniques.
8. An understanding of the art of singing.
9. An understanding of the art of piano playing.
10. An understanding of the art of teaching all families of instruments.
11. Skill and understanding in organizing and teaching various phases of the secondary school music program.
12. A functional knowledge of the business aspects of music e d u c a tio n . 2 8
13* A functional knowledge of music teaching m aterials appro priate to the secondary school level.
lU. An understanding of the role of the nuslc program In the life of the school and cooeunlty.
15. An understanding of methods of teaching music.
16. An understanding of human growth and development and the learning process with especial reference to the learning of music.
Discussion of Objectives
1. A good program of music teacher education should provide each student with the~opportunity to acquire knowledge and apprecia tion of the history and literature of mualc.
One of the chief alms of this area is to develop an appreciation of music through a fam iliarity vith great music from the past to the present. This appreciation implies an understanding of music based upon knowledge of musical forms, fam iliarity with characteristic styles of outstanding composers, and a knowledge of composers and compositions and the social and cultural settings from vhich the great music emerged. A broad understanding based, not on isolated dates, facts, and biographical anecdotes, but, rather, on the music
Itself and its relation to the other art forms vhich contribute to the cultural life of each period in history. Aesthetic enjoyment is deepened for the listener when new avenues of understandings are opened through a discovery of relationships between various media of art forms. The music teacher vho can relate the teaching in his specialty to that in art, literature, history, and the social studies v ill be making a great contribution to the education of his pupils.
The prospective teacher needs a broad base of musicianship to help others enjoy and comprehend the beauty of musical expression. 2 9
The key to appreciation la knowing what to listen for and bow to
listen. The teacher should be a discriminating listener, if he
expects to guide others in the Joys of discovering musical meanings
in listening to music.
Music of today can best be understood In terms of music of
yesterday. The evolution of musical forms and styles in music offer
a basis for authentic musical Interpretation of all music in perform
ance. From this acquaintance with music comes growth in dlscrlmlnatioik
The purpose of this area, therefore, of the curriculum can be summed
up as follows: to provide
...fam iliarity with the literature of music, Its manifes tations in everyday life, its personalities, traditions and history, its social and cultural affiliations, and its aesthetic significance. Very obviously musical cul ture in this sense is an essential resource for anyone who wishes to work effectively as a musical leader and organizer.1
2. A good program of music teacher education should provide each student with the opportunity to develop skill and understanding of the structure of music.
An understanding of mualc becomes more complete vith a knowledge
of Its constituent elements and of their structuring. Some questions
which need to be answered are: What makes music sound as It does?
What makes music effective or ineffective? What gives music Its
style? How must music be performed to release Its expressive content?
How must music be w ritten to make it sound well?
These questions imply the need for the development of a working
■kjuy Whipple (ed.), Music Education, p. 216. 30 knowledge of such elements as melody, harmony, counterpoint, rhythm,
and form toward an understanding of how composers blend them into a great work of art. It is of importance to the music teacher to know how composers fit melodic lines together, with their rhythmic and tonal complexities, and achieve unity and balance throughout a composition.
This detailed knowledge of music is an important factor in the interpretation of music, in composition, and in the development of discrimination. The elements of music are the tangible tools vith which the composer works. An understanding of the use of these ele ments and the reasons for their use can release the expressive content in music for the interpreter. Knowing what to look for in music also assists the performer in exercising discrimination in selecting music to be programmed.
Written music makes demands upon the individual for the develop ment of skill in reading and transposition. Insights into the struc tural scheme of music, when accompanied by a vide fam iliarity vith music, offer an excellent opportunity for the music teacher to develop sound musicianship. The close relationship between two aspects of the curriculum, the structure of music, or music theory as it is commonly known, and that of music history and literature, is Indicated by
Manfred Bukofzer: "History without theory is as blind as theory without history is arid."2
Manfred Bukofzer, The Place of Musicology in American Institu tions of Higher Learning (New York: The Liberty Arts Press, Inc., 19571, P- 11. 3. A good program of music teacher education should provide each student vith the opportunity to develop skill and understanding In aural techniques.
The auslc teacher works In a world of sound which Is related
Intimately with his experiences In auslc. Either as a performer, a
listener, or an evaluator, the teacher's need for acuity of aural perception Is obvious. Teacher preparation must go one step further.
Skill must be developed in tonal Imagery. This ability enables a performer or conductor to "hear" music as he reads from the printed
score. James Mursell has said:
Hearing is the very center of musicianship. The word should be understood to cover two different but very closely related meanings, and to Include both 'outer* and 'inner' hearing - that is to say, the perception of tonal content and structure, and the imaging of It. The properly educated musician Is above all a person who is able to hear music as he should In these two senses.3
When the music teacher, as a conductor, has a clear-cut idea of the effects he wants to produce from reading the score, It can both guide him and serve as a critical standard against which he can com pare the audible results.
Skill in aural perception, or vith "outer" hearing In Mursell's terms, Is often the difference between success and failure for a music teacher. When Judging and correcting the performances of others, the teacher must be able to discriminate exactly what is happening.
Moreover, the community and school officials tend to Judge success of the school music program In terms of the quality of a performance by
3james Mursell, Music In American Schools (New York: Silver Burdette Company, 1953), P* 1^^ 32
one of the school music organizations. If the teacher la unaware of
wrong notes, bad Intonation, bad tone quality, or lack of precision
or balance In the performance, a satisfactory musical experience w ill
not be had by anyone.
Acuity in hearing is developed through experiences In listening
to music, guided, of course, by the knowledge of what to listen for.
Listening not only breeds fam iliarity, it also is the means by which
the structural content of music can be analyzed in the development
of discrimination. The teacher can assist his students In its develop-
ment only to the degree that he has achieved this capability.
The importance of skill in hearing is indicated in the report of
a study conducted by Ehlert. From a list of 1^5 competencies ranked
in order of importance by music teachers, four of the first ten
competencies related to hearing sk ills.1*
k . A good program of music teacher education should provide each student with the opportunity to develop skill and understand1ng in muaic creativity.
Creative expression should be encouraged in any music program
designed to help students gain a wholehearted identity vith music and
a recognition of it as a means of conveying Individual Insights, pur
poses, and attitudes. Musical composition is the most obvious example.
Even before a student has received formal experience with the elements
of music, experimentation with composition w ill reveal new insights to him. As these insights are deepened by accumulating a working knovl-
^Jackson Ehlert, "The Selection and Education of Public School Music Teachers" (Unpublished Ph.D. dissertation, University of Colorado, 19**9), P* 333* 33
edge of the constituents of music, composition remains an excellent device for demonstrating an understanding of these constituents, while
at the same time revealing to the student a need for further knowledge
and skill. Ho device can quicken appreciation for music as effec tively as composition. Rules of harmony become functional tools in personal expression. Use and correct application make concepts meaningful.
Creativeness in music writing gives the student a chance to make choices, to display and develop initiative. Freedom of personal decision, a goal to be sought continuously, is gained not by talking about it, but by actually encouraging it and making it possible in every appropriate situation. Effective teaching requires creativity in meeting ever-changing situations. Initiative is to be sought and encouraged throughout the entire teacher preparation program.
5. A good program of music teacher education should provide each student with the opportunity to develop skill and understanding in the arranging of music.
The music teacher is faced often with the problem of adapting music from one medium to another or adapting it to a particular organization. These adaptations require thorough background In music, along with a knowledge of performing media. A blend of creativity and musicianship in arranging music for school organizations can increase the repertoire. There appears to be little excuse for per forming music of questionable quality when the teacher has the wide literature from past and present from which to draw. Neither large nor snail ensembles need be limited to published arrangements for
their particular medium.
The music teacher w ill feel the need many times to make minor changes in an arrangement to compensate for poor balance within the parts or, in the case of bands and orchestras, for lack of the proper
instrumentation. Rather than forego the experience of performing the composition, Judicial substitutions can be made vhich fit the musical context and maintain the composer's intentions, thus rendering a performance possible. The success of such undertakings often hinges upon the musical taste of the arranger and his proficiency in musical
Im agery.
Many music teachers find it necessary to arrange music suitable for football or basketball band shows. Occasions also arise when the school turns to the music teacher to arrange the school song for a particular organization. The teacher should be competent in ful filling these obligations.
As minimum requirements in arranging for the prospective music teacher, Mursell makes the following recommendations:
a. To rearrange the parts of a vocal ensemble to secure more ready and effective performance by groups of young singers
b. To arrange for performance by instrumental ensembles of varied types and components the type of material found in collections of music for high school use
c. To reorchestrate and rearrange standard instrumental works for effective performance by small, ill-balanced, or unusual ensembles.^
^Hazel Morgan, Editor. Music in American Education, p. 142, 35 6. A good program of music teacher education ehould provide each student vith the opportunity to develop skill and understanding as a perfonssr and interpreter of auslc.
Through participation in a variety of performing groups, the
future teacher can experience interpretation of music and the neces
sary rehearsal and performance techniques to make this interpretation
possible. The musical background of understandings, vhen coupled
vith the necessary skills of a medium, culminate in a means of
expression. This experience should be at a high level of musical
taste *tvi in & style consistent vith the dictates of the music and
the period it represents. Such a level of expression gives opportunity
for the complete musical study and preparation to culminate in a
single experience.
Harry Wilson views this objective of the teacher preparation
program as one of great significance. "A phase of musicianship vhich
should be given added emphasis for the teacher of mUsic is performance
proficiency. It is through participation that one increases his
understanding of the highest aesthetic qualities of an art and his „6 sensitivity to these qualities.
Mere technical mastery, void of expressive qualities in a rendi tion, does not provide a musical experience. Technical mastery of a
performance medium is a necessary tool, of course. Through it music
can be brought to life consistent vith its significance as intended by the composer.
^Harry Robert Wilson, Music in the High School (New York: Silver Burdette Company, 19^1)> P* 375* 36
One of the moat difficult hurdles for the music student to Jump la that elusive one of making a performance a 'musical' one rather than a 'display of technique.' This business of 'musical taste* in performance is hard to define, difficult to teach, and difficult to learn, but all of the various facets of the student's training are pointed toward that objective. His vork in theory, history, literature, pedagogy and the development of skills should all contribute to a higher quality of musicianship and musical performance. We believe that everything which contributes to a better understanding of the music must result in a better performance.<
The music teacher must be able to use these skills in perform ance and interpretation of music In dealing with educational situa tions. As a teacher and conductor, he must bring an authentic and musical interpretation to groups so that they may have a musical experience of quality. A teacher with high musical standards can help to impart this same level of standards to every group with which he comes in contact. If cooprehension takes place, the students understand the full meaning of the music they are playing and singing.
They comprehend to the extent that they can critically analyze their own musical performance and determine what are its good and bad f e a tu r e s .
The music teacher is often regarded as a cultural leader in the corasunity. This is particularly true in small or remote districts in which he must feel an especial obligation to supply the cultural atmosphere of the community through his own musical activities, as well as those of his school organizations.
^Elwyn Carter, "Recordings Teach Musicianship," Music Journal, XV (January, 1957), 3^* 37
Capability In voice or lnatrument can be of great value in
demonstrating tone quality, phrasing, nuances, or the many aspects
which comprise Interpretation. This capability also makes possible
a vide exploration of the literature which adds to the resources of
the teacher.
7. A good program of mualc teacher education should provide each student with the opportunity to develop skill and understanding in conducting techniques.
The music teacher as a conductor has the responsibility of
unifying all nestbers of a chorus, orchestra, or band In an appropriate
and musical interpretation of a composition. Upon him falls the
duties of setting mood and tempo, indicating dynamics, shadings, and
phrasing to the performers. He must have at his disposal every
possible means for securing responses to produce an artistic and
satisfying performance. He must be able to communicate all sensitive*
ness of interpretation through adequate baton technique, facial gestures,
and bodily stance.
An effective performance requires a cultivated ability on the
part of the conductor to rehearse a group, which presupposes that he
has a command of music terminology and 1 b fluent at score reading.
Preparation for proficiency as a conductor should Ideally include
experience in working under actual rehearsal conditions, preferably with a group of secondary school students. In preparation for this the student (and, later, the teacher) should have at his comnand both vocal and Instrumental conducting techniques. The music teacher is called upon many times to conduct works which combine vocal and
Instrumental groups. 38 8* A good program of amlc teacher education ahould provide each student vlth tne~opportunity to develop an understanding of the art o^ aingTwg.
Almost every music teacher, regardleea of hie field of teaching vlthin music, uaes his singing voice for illustrative purposes.
When dealing vlth expressive qualities In music, many Ideas defy
verbalization, and at these times a demonstration with the singing
voice la an effective vehicle for coneninlcation. The conductor
Illustrates phrasing and nuances to his groups by singing, the
teacher of music appreciation identifies some important musical com
position for the class by singing a fev themes, and the teacher of
beginning or intermediate instrumental classes demonstrates tone
quality by singing. In each Instance, he is probably more effective
than he would be vere he to try to convey his meaning verbally. For
the teacher of music, the singing voice is Invaluable.
The accomplished vocalist has many occasions to sing In the
conounlty, and his performances should be rendered vlth good diction
in a clear, pleasing voice, vlth accuracy of pitch. Not all music
teachers v lll reach this level; however, all the basic skills
Involved in tone production and diction should be acquired. Every
teacher should develop accuracy of pitch and an ability to sight-read,
as veil as cultivate the means of conveying the mood and message of
a song to the listener.
The Instrumentalist needs to develop a feeling for voice and
some practical awareness of its problems. His general musical development Is impaired, If he can handle only a single medium of performance. The study of another medium can and usually does throv 3 9
much light upon the educational *«d teaching problems or one' s
principal medium. There la also ever present the practical considera
tion of the fact that a background In both instrumental and vocal music
opens more opportunities for teaching positions. Development of the
ability to sing by the Instrum entalist should be accomplished In a
class situation in vhleh pedagogical problems and their solutions
can be observed.
James Mursell states the minimum standards for competence In
voice for music teachers as the ability—
1. To sing simple melodic m aterial vlth musicianly feeling, and vlth the voice consciously controlled according to good production principles and practices.
2. To demonstrate the basic techniques of good voice production.
9. A good program of music teacher education should provide each student vlth the opportunity to develop an understanding of the art of piano playing.
The school music teacher finds many uses for planlstic ability.
Accompanying soloists Is perhaps one of his greatest needs, though he may be called upon also to accompany small groups or school assem blies. The community looks to him for accompaniments to any kind of singing activity, and on many occasions the ability to improvise Is indispensable. Creative endeavors in composition are greatly facili t a t e d by a command o f th e p ia n o , a s i s th e p ro c e ss o f a rra n g in g compositions for various groups. Moreover, the piano is an excellent
®Hazel Morgan, Editor. Music in American Education, p. lUo. 40 device for 1 H urt rating such things as balance, phrasing, harmonic structure, and melodic lines to music groups.
Sight-reading can be Improved through the reading of a vide range of literature. Study of the standard piano repertoire at the same time serves to viden one's musical understanding.
The minimum level of attainment In piano proficiency Is set by
Mur sell as the ability—
1. To play the piano sufficiently to read at sight m a te ria l o f th e d i f f i c u l t y o f hymn tu n e s .
2. To play the piano sufficiently to execute fluently and vlth musiclanly feeling material on the level of his contemplated teaching.°
The Evaluation of Music Education recousends that all music educa tion majors be expected to demonstrate piano facility as follovs;
a. Ability to sight-read songs of the type found In a community song book.
b. Ability to harmonize at sight, improvising a simple piano accompaniment for songs requiring the use of tonic, subdominant and dominant chords and some simple modulations; also to transpose the songs and harmonizations to other keys.
c. Ability to sight-read fairly fluently simple accompani ments . . . and simple piano compositions. . .
10. A good program of music teacher education should provide each student vlth the opportunity to develop an understanding of the art of teaching all families of Instruments.
Most school music teachers come Into frequent contact vlth band
^Hazel Morgan, Editor. Music In American Education, p. 140.
10Music Educators National Conference, "Evaluation of Music Education," p. 4. h i and orchestra instruments. The teacher in a small school district can conceivably have both the choral and instrumental phases of the school music program. A knowledge of instruments, how they are played, and the problems the students normally encounter as they are learning, is considered to be indispensable to the effective teacher.
It is recounended that the teacher have sufficient command of one or more representative Instruments from each of the four choirs (string, woodwind, brass, percussion) and be able to perform m aterial of the difficulty of'elementary school songs, and that he acquire the basic manipulative techniques of these instruments.11
An awareness of the relationships that exist among instruments of a given family w ill facilitate the prospective teacher's grasp of instrumental problems. The experience of learning to perform on these instruments in a class situation should reveal the many approaches that must be used in solving Instructional problems as they arise among class members. This kind of a background should make the teacher more sympathetic to the problems of the Instrum entalist and enable him to assist in their solution.
Along with the acquisition of knowledge and skills in the perform ance of these instruments, the future teacher should receive instruc tion In their care and in how to make simple adjustments and repairs.
Time and unnecessary expense can be saved as a result.
1]-Hazel Morgan, Editor. Music in American Education, p. lUO. *2
11. A good urogram of male teacher education should provide each student vlth the "opportunity to develop sk ill ‘and understanding In organizing and teaching various phases of toe secondary school m ale program.
The secondary music program in the public schools often Includes the following activities:
a . Beginning and Intermediate instrumental classes
b . Orchestras and bands
c . Marching band
d . Plano classes
e . Small ensembles
f. Choral groups and ensembles
g* General music classes
h . Music theory and appreciation classes
The organization and development of these activities are the con cerns of the music teacher. Problems unique to the operation of each of the above activities, therefore, should receive special emphasis.
For example, the treatment of the boy changing voice la a distinct problem facing Junior high school vocal groups. Conceiving, charting, and producing a football band show is one of the first problems encountered by many beginning music teachers. An awareness of these and the many other problems concerned w ill help the music teacher to adapt to the many varying situations that may confront him.
12. A good program of music teacher education should provide each student vlth the opportunity to acquire a functional knowledge of the business aspects of music education. ”
The following constitute some of the adm inistrative duties »*** concerns commonly faced by the music teacher: *3
a . Budgets
b. Ordering music
c . R ep o rts
d. Care and storage of materials and equipment
e. Management of public performances
f. Long-range plans for purchasing school music supplies and equipm ent
g. Business relations
This aspect of the curriculum Includes both the long-range and day-to-day operational duties of music teachers. While some of the duties seem remote from actual music Instruction, nevertheless they are essential to a veil organized and smoothly functioning program.
A vord should be said about business relations. The music teacher must be ethical in all his business association*. Many times he is in a position to direct the spending of substantial sums of money for instruments and equipment, and he should alvays make such expenditures on the basis of the quality of products, and not upon personalities Involved. The teacher must be warned of the dire consequences of accepting refunds in appreciation for instrument orders or favors from private music teachers for encouraging students to study with certain of these teachers. The school teacher can unknowingly Jeopardize his position if he yields to some of the temptations vhlch arise.
*3* A good program of music teacher education should provide each student vlth the opportunity to acquire a functional knowledge of music teaching materials appropriate to the secondary school level.
Music teaching materials v lll include— kh
1. Several series of graded music books and songs consonly used In schools.
2. Books, phonograph records, and films suitable for class room teaching In music appreciation, music theory, and general music classes.
3. Instruction books for beginning and Intermediate string, voodvlnd, brass, percussion, and piano classes.
U. Choral music for small and large ensembles suitable for beginning and advanced groups.
3. Music for beginning and advanced bands and orchestras.
6. Music for small instrumental ensembles.
7. Standardized music achievement and aptitude tests.
8. General professional literature in the field of music e d u c a tio n .
The student, in his preparation to become a music teacher, should
have the opportunity to gain fam iliarity with a vide range of music
appropriate for school use. In a survey of music graduates, Ehlert
found that contact vlth music literature of the level used in schools
ranked sixth in importance as to usefulness in preparation for teach
ing in a total of 1^5 elements.12
The student must knov hov to select music vlth an understanding of the needs, desires, and capabilities of the group. Materials should
also be examined to determine effective methods of presentation and use.
lU. A good program of music teacher education should provide each student vlth the opportunity to acquire an understanding of the role of the music program in the life of the school and consamity.
The music teacher must be aware of the contributions that the
12Jackson Ehlert. r%The Selection and Education of Public School Music Teachers,1' p. 333* music program can make to the total school program. He should realize, further, that the exact role of the program may vary vlth the situa t io n .
It Is Important that the teacher work effectively vlthin the school and with fellow staff members, If he expects music to make its maximum contribution to the school and to the students. A variety of musical offerings should be available. At the same time, the more talented students should have an opportunity to develop their abilities.
No one phase of the music program, however, should be stressed at the expense of another. In achieving balance vlthin the music program, care must be exercised to make certain, whatever the range of offerings, that the quality of the experience is a prime concern.
The music teacher has a responsibility to the comnunlty as he develops and produces musical performances - namely, to help people receive joy and understanding frc*n their contacts vlth music. He has a further responsibility to the students and community to present music at their level of understanding. He should not be content to maintain this level, however. He should take appropriate steps to encourage musical growth through an increased appreciation of the various types of music. The music teacher at the same time has an obligation to the students in the performing groups to hold community demands for performances to a reasonable number. Exploitation of student talent ought never to be condoned.
The nature of the music teaching role in the community calls for careful consideration in matters of public relations. Music groups often represent the school in a variety of community appearances, and k6 the music director 1 b In & position to gain much Bupport for music
and school causes and for education in general. He must also be aware
of the need for close cooperation in all matters within the school community and vlth his teacher colleagues. The music teacher who
seeks or expects special considerations at the expense of other sub ject areas is creating an intolerable situation. He must be acutely aware of all ramifications of this vital role of public relations which can often spell success or failure to a teaching career.
15. A good program of music teacher education should provide each student with the opportunity to acquire an understanding of methods of teaching mislc.
There Is no one way of teaching music, no one method which is equally productive for all teachers at all times with all students.
Morgan emphasizes this point. "Techniques should not be regarded as good or bad, but rather as effective or Ineffective in a specific situation with a specific group of c h i l d r e n . Methodology cannot be effective unless the total picture of the learner and his back ground are taken into consideration.
Teaching is rather a complexity of many things that change from teacher to teacher and from situation to situation. The education of music teachers should therefore be a broad experience that guides young music teachers in the ability of using their knowledge i n many p l a c e s and u n d e r many c ircum Btances.^
This implies that emphasiB in the preparation of music teachers must be upon the "why" rather than upon the "how" of methods. The
^^Russell Van Dyke Morgan and Hazel Nohavec Morgan, Music Education in Action (Chicago: Hell KJos Music Co., 195*0> P* 9**-
^N eal E. Glenn, Teaching Music in Our Schools (Dubuque, Iowa: William C. Brown Co., 1951), p. 1. general end to be achieved and the broad effects which are being pro duced relative to the learner should be important considerations.
While there are general principles of method, their application w ill
and ought to vary with the situation and the learner. "Clearly what we need is a creative and flexible grasp of method,- a comprehension of it in the light of broad principles.
It Is not enough that the student learn about methods of teach ing through lectures and reading text books. Observations and labora tory experiences are extremely important to the comprehension of con cepts involved.
16. A good program of music teacher education should provide each student with the opportunity to develop an understanding o? human growth and development and the learning process with especial reference to the learning of music.
As is implied under the preceding objective, the personality of the teacher and the nature of the learner are considerations in effec tive teaching procedure. "Such items as previous experience, heredity, environment, maturity, and individual differences; as well as under standings, satisfactions, attitudes, skills, and appreciations will influence the process of learning and therefore have a bearing upon the teaching technique used."^
An understanding of the learning process and the nature of secondary school students w ill help the music teacher to know what
15James M u rs e ll, Human V alues in M usic E d u c a tio n (Hew York: Silver Burdette Company, 193M, p. 296.
^-^Morgan and Morgan, loc. cit., p. 9*+. to expect and when to expect it. The place of such things as d rill, repetition, motivation, interest, maturation, and reflection are considerations which directly affect the teacher and his effectiveness in his daily teaching. Understanding the principles of human growth and development and the learning process Influence not only method ology but the choice of materials as veil. CHAPTER IV
NATURE OP MUSIC TEACHING SITUATION 331 UTAH
Pertinent to a study of the music teacher preparation program at the University of Utah Is a knowledge of where the music teachers teaching in the state were prepared and the nature of this preparation.
The teacher's evaluation of this preparation in terms of the demands of his teaching duties should serve to point out weaknesses and strengths in music teacher preparation programs. Music teachers should be in a position to advance constructive suggestions for the improvement of teacher training programs.
The University of Utah is a state-supported institution and it is logically assumed that most teachers receiving preparation therein w ill remain in Utah to teach. A teacher preparation program must be designed in terms of the ends to be served, and the nature of music teaching positions in the public schools of Utah is one such end.
Another end to be acknowledged is the view of the public BChool administrator. This person Is charged vlth the public education of every child, and he must be responsible for an integrated, balanced program in his school. His plans in terms of an evolving educational program should have significance for the preparation of the music teacher if the music teacher is to fit into the educational program of the school. The adm inistrator's evaluation of how veil muBic teachers are being prepared should be of distinct value in examining a teacher education program.
*+9 50
Nature of Music Teaching Positions In Utah
A survey vas made to determine the number of public schools In
Utah vhlch list music teachers as members of their staffs. The
"1958-59 Utah Public School Directory"* vas the source of this informa
ti o n .
TABLE 2
PUBLIC SCHOOLS IN UTAH IN RELATION TO MUSIC TEACHING POSITIONS
T o ta l Number o f Number o f Number Schools Listing Schools Without Grade Level of Schools Music Teachers Music Teachers on F a c u lty on F a c u lty
Senior high* 9 or 10-12 58 5* (93*1*) * (6-9)6) Junior higj, 7, 8, (9) 72 69 (95*8) 3 0**2) Combined Junior-sr. high 21 19 (9 0 .5 ) 2 (9*5) E lem entary 388 23 (5*9) 365 (9**1)
From Table 2, it Is evident most secondary schools include music teachers on their faculty. Those without music teachers are in communities involving small population and few faculty members.
On the other hand, a very large majority of elementary schools do not list music teachers among their faculty. In the 365 schools, if music is taught at all the regular classroom teacher provides music instruction.
Of the 23 schools listing music teachers, they are in most cases
State of Utah Department of Public Instruction," 1958-59 Utah Public School Directory," Salt Lake City. E. Allen Bateman, Superintendent. 51
Instrumental specialists vho Include several schools vlthin their teaching assignment.
Among secondary schools listing music teachers on their faculty, one half (51.4 per cent) have one teacher, 38 per cent have 2 m usic te a c h e r s , 7*7 per cent list 3 > end. on ly 2 .6 per cent have 4 teachers.
TABLE 3
PUBLIC SCHOOLS IN UTAH WITH HUMBER OF MUSIC TEACHERS IN EACH SCHOOL
Humber of Music Teachers in Each School Grade Level of Schools 1 2 3 4
Senior high 9 or 10-12 30 23 1 0 Ju n io r h ig h 7* 8, (9) 27 29 10 3 Combined junlor-ar. high 16 2 0 1
The ”1958-59 Utah Public School Directory" lists 232 persons as music teachers In the public schools of Utah. Of this number, 193 o r
8 3 .2 per cent are men and 39 o r 1 6 .8 p er c e n t a re women.
TABLE 4 KINDS OF MUSIC TEACHING JOBS IN UTAH AT VARIOUS GRADE LEVELS « Kind of Music Teaching Grade Levels Instrumental C horal Instrumental Music App. T o ta ls Only Only and C horal Gen. Music Elementary 15 0 0 0 15 (7 .7 # ) Elementary & J r . h igh 5 0 4 0 9 (4 .6 ) Junior high 20 33 13 8 74 (37-9) Ju n io r and S r. h igh 8 7 16 0 31 (1 5 .9 ) Senior high 13 19 9 0 4 l (21. 0 ) A ll grades 7 1 17 0 25 (12. 8)
Table 4, as is true of the following tables, is based upon the 52 responses of music teachers in the state participating in the study.
From the table above, the following conclusions can be made:
M usic te a c h in g a t E lem en tary le v e l - 15 7-796 Music teaching at Secondary level - lb 6 7 b . 8 Music teaching - Elementary and Secondary - 3b 17*5
TABLE 5 ANALYSIS OF MUSIC TEACHER'S TEACHING DUTIES AT VARIOUS GRADE LEVELS III THE PUBLIC SCHOOLS OF UTAH
Grade Levels on ly o ffe rin g s Instrumental and Instrumental Instrumental and Instrumental Other Other Music C lass Choral and Other Music C lass All musical Choral only Choral and General Music Choral and General Music general music only Music Music appreciation or
E lem en tary o n ly 15 0 0 0 0 0 0 0 0 Junior high o n ly lb 8 b 6 25 0 0 9 8 Senior high o n ly 12 15 9 0 2 1 2 0 0 J u n io r and senior high 8 1 5 0 5 0 1 11 0 Elementary & Junior high 5 0 3 0 0 0 0 1 0 A ll g rad es 7 0 7 0 1 0 0 10 0
From Table 5> some conclusions can be drawn relative to the nature of music teaching positions. Slightly more than one third
( 3 5 *b per cent) of the positions are concerned with instrumental music with or without additional music classes. Slightly less than one t h i r d ( 30*0 P*r cent) are concerned with choral music with or without additional music classes, and approximately the same number ( 30*3 p e r cent) Include the combination choral and instrumental music vlth or without music classes.
Over four times as many teaching positions at the Junior high school level Include the teaching of general music along vlth choral music as are found vlth the combination general music and Instrumental m u sic.
According to the number of positions vhich offer instrumental music only with no other music classes, it appears to be more specialized than is choral music. Exclusive instrumental teaching assignments account for 31*3 per cent of the positions while only
12.3 par cent are concerned solely vlth choral music.
Music teaching positions vary in respects other than the kinds of musical offerings. Of the total number of teaching assignments of music teachers responding in the study, over half teach music or music classes vlth no other teaching field, and slightly more than one third teach In one academic field in addition to their music teaching.
When those teaching in two academic fields are considered, ve find almost half of the music teachers Involved vlth academic teaching as part of their teaching assignment. 54
TABLE 6 NUMBER OF ACADEMIC CLASSES TAUGHT BY MUSIC TEACHERS IN ADDITION TO MUSIC TEACHING ASSIGNMENTS
Number of Academic Fields taught in Addition to Music One Two Kind of Music Teaching Music Only Academic Academic F ie ld F ie ld s
Instrumental only 43 16 2 Choral only 15 7 2 Choral and Instrumental 13 13 2 Instrumental and general music 3 2 1 Choral and general music 18 13 2 Instrumental and music c la s s 1 0 0 Choral and music class 3 0 0 Instrumental, choral, general music and class 10 15 6 General music only 0 3 3 Music appreciation only 0 2 0
T o ta ls 106 (54-4%) 71 ( 36 . 4%) 18 (9.2% )
It can be deduced from Table 6 that only 26.2 per cent of all
instrumental teaching positions are accompanied by teaching in fields
outside music. A substantially larger percentage of combination
choral and Instrumental teaching positions, 53*6 per cent, have teach
ing in other fields. Of the combination choral and general music,
45.5 per cent of the assignments include outside academic fields, and
instances where the music teacher teaches instrumental and choral music in addition to music classes, 67*7 per cent also teach in fields
other than music.
One could logically expect to find music teachers in schools with small enrollment spending more time in academic teaching than 55
their counterpart In larger school systems. This supposition Is con
firmed by the Information In Table 7* In small schools, one teacher
w ill teach all music courses, vlth his teaching load rounded out In
an academic field or fields.
TABLE 7 NUMBER OF SUBJECTS TAUGHT OUTSIDE MUSIC IN RELATION TO SIZE OF SCHOOL ENROLLMENT
Nature of Teaching Assignment
S chool M usic Music M usic % Jo b s Number P ercen tag e E n ro llm en t o n ly and 1 and 2 w ith o f o f Academic Academic Academic T e ach ers T o ta l T each in g In c lu d e d
1- lk9 2 1* 1* 8 0 .0 10 5 -6 150- 299 0 8 2 1 0 0 .0 10 5 .6 300- 1*1*9 3 10 3 8 1 .3 16 8 .9 U50 - 599 9 8 2 5 2 .1 19 1 0 .6 600 - 749 9 9 1 5 2 .1 19 1 0 .6 750- 899 8 10 1 5 7 .8 19 1 0 .6 900- 10U9 8 11 1 6 0 .0 20 l l . l 1050-1199 9 2 0 1 8 .2 11 6 .1 1200- 13U9 8 6 1* 5 5 .5 18 1 0 .0 1350-1^99 6 0 0 0 6 3-3 1500 - 161*9 5 0 0 0 5 2 .8 1650-1799 5 0 0 0 5 2 .8 1800- 191*9 6 2 0 2 5 .0 8 U.l* 1950-2099 6 1 0 11*.3 7 3 -9 o v e r 2100 7 0 0 0 7 3 .9
Table 7 does not include music teaching positions in elementary
schools since those teachers serve several schools which would tend
to confuse the issue. Furthermore, considerations herein are not
pertinent to elementary music teaching.
An inquiry into what academic fields were represented in the teaching assignments of music teachers revealed that over half the 56 academic fields Included the areas of mathematics, English, and history, as evidenced in Table 6.
TABLE 8 ACADH4IC SUBJECTS TAUGHT IN ADDITION TO MUSIC BY MUSIC TEACHERS IN THE SECONDARY SCHOOLS OF UTAH
Academic Fields As th e In Combination Grand Taught in Addition o n ly with Another P e rc e n ta g e t o M usic Academic F ie ld T o ta ls Math 21 5 26 2 4 .3 E n g lis h 11 5 16 1 4 .9 H is to r y 8 6 14 13 .I S c ie n c e 4 5 9 8 .4 A rt 4 3 7 6 .5 Social Studies 5 2 7 6 .5 R ead in g 4 1 5 4 .7 F re n ch 3 1 k 3 .7 T yping l 3 k 3 -7 H e a lth 2 1 3 2 .8 B io lo g y 2 0 2 1 .9 G eography 0 2 2 1 -9 C iv ic s 1 1 2 1 .9 Physical Education 1 1 2 1 .9 Industrial Arts 1 0 1 0 .9 S p a n ish 1 0 1 0 .9 L i t e r a t u r e 1 0 1 0 -9 Library Science 1 0 1 0 .9
A comparison of fields In which music teachers were teaching against their preparation for teaching in academic fields revealed
30.4 per cent of the teachers have at least a teaching minor in this field, while 69*6 per cent are teaching in fields with little or no formal undergraduate preparation. The quality of instruction received by students in such instances is questionable. It is hoped teaching assignments throughout the school systems are made with more discretion than appears to be the case here. 57
Administratore * Views of Preparation of the Music Teacher
In addition to the nature of teaching assignments of music teachers just discussed, another extremely important part of the music teaching environment Is that performed by school administrators.
No one can question the fact that they contribute substantially to the nature of music teaching positions. Their opinions and their wishes have a marked effect on what the music program is and what it w ill become In future years, and as such, they should be among the consid erations which guide the preparation of people who w ill implement their programs.
Responses to Selected Characteristics of Music Teachers
To obtain an evaluation of the adequacy of preparation of music teachers, administrators were asked to respond to related questions.
Table 9 represents response to the question: Do you feel that music teachers are being adequately prepared as teachers?
TABLE 9 RESPONSE OF SCHOOL ADMINISTRATORS AS TO THE ADEQUACY OF PREPARATION OF MUSIC TEACHERS AS TEACHERS
Responses Yes Percentage No Percentage Kind o f Administrator Making Making Response Response in each in each Category Category Music supervisors 4 4o.ojG 6 6 0 . o£ School superintendents 14 1*8.3 15 51.7 High school principals 45 64.3 25 35.7 Junior high school principals 4o 64.6 2 2 35-U Elementary school principals ? 45.0 11 55.0 T otals 112 7? 41.4 The position that music teachers are being adequately trained as
teachers was held by over half, although the 5 8 .6 per cent does not
reflect a conclusive opinion. Music supervisors as a group are not
impressed with music teachers' teaching abilities. Secondary school
principals, on the other hand, were better satisfied, with a 6k p e r
cent affirmative opinion. Music supervisors, perhaps by the very
nature of their duties, would probably tend to be the most critical.
One can conclude that strengthening of teaching techniques would be
desirable, particularly since this phase of the teacher's preparation
was rated low by the teachers themselves and the concern expressed
by many comments and suggestions In this direction.
TABI£ 10 RESPONSE OF SCHOOL ADMINISTRATORS AS TO THE ADEQUACY OF PREPARATION OF MUSIC TEACHERS AS MUSICIANS
R esponses Yes Percentage No Percentage Kind of Administrator Making Making Response Response in each in each C ategory C ategory Music supervisors 6 6 0 . 0)6 k kO.Of) School superintendents 25 8 3 .4 5 16.6 High school principals 61 8 7 .2 9 12.8 Junior high school principals 55 8 5 .9 9 lk.1 Elementary school principals 16 80.0 U 2 0 .0 T o ta ls 163 81*.1 31 1 5 .9
In answer to the question, Do you feel that music teachers are
being adequately prepared as musicians, the large affirmative response
would seem to indicate music teachers are adequate musicians. Again, music supervisors who have undergone extensive muBical preparation 59 vould tend to be more critical of the musicianship of their colleagues than vould the remainder of adm inistrators.
TABLE 11 RESPONSE OF SCHOOL ADMINISTRATORS AS TO THE EFFECTIVENESS OF MUSIC TEACHERS TO F IT INTO THE MUSICAL LIFE OF THE COMMUNITY
R esponses Yes Percentage No Percentage Kind of Administrator M aking M aking R esponse R esponse in each In eac h C a te g o ry C ate g o ry
Music supervisors 9 9 0. 0)6 1 1 0 . 0)6 School superintendents 29 1 0 0 .0 0 0 High school principals 63 95*5 3 * .5 JUnlor high school principals 61 9 6 .8 2 3 .2 Elementary school principals 18 9 0 .0 2 1 0 .0 T o ta ls 180 9 5 .7 8 4 .3
The overwhelming affirm ative responses to the question, Do you feel that music teachers fit veil into the musical life of the com munity, vould suggest that music teachers are taking their place as music leaders in the community.
TABLE 12 RESPONSE CF SCHOOL ADMINISTRATORS AS TO THE EFFECTIVENESS WITH WHICH MUSIC TEACHERS FIT INTO THE NON-MUSICAL LIFE OF THE COMMUNITY
R esponses Yes Percentage No Percentage Kind of Administrator M aking M aking R esponse R esponse In each I n e ach C a te g o ry C a te g o ry Music supervisors 9 90.0)6 1 10.0)6 School superintendents 21 8 0.8 5 1 9 .2 High school principals 48 7 3 .8 17 2 6 .2 Junior high school principals 48 8 4 .7 9 1 5 .3 Elementary school principals *7 . _8_9*5 2 1 0 .5 T o ta ls 143 8 0 .8 34 1 9 .2 60
Responses to the question, Do you feel that music teachers fit veil into the non-musical life of the conmunlty, vould seem to indi cate music teachers become quite veil oriented in community life.
While the composite opinion Is not as convincing as vas the cu e vlth regard to the teacher's effectiveness in community music life, It remains quite positive. Of all administrators, high school principals were the least convinced of this assertion.
TABLE 13 RESPONSE OF SCHOOL ADMINISTRATORS AS TO THE EFFECTIVENESS WITH WHICH MUSIC TEACHERS FIT THE MUSIC PROGRAM INTO THE TOTAL SCHOOL PROGRAM
R esponses Yes Percentage No Percentage Kind of Administrator M aking M aking R esponse R esponse in ea c h in each C ateg o ry C ateg o ry
Music supervisors 6 6 o.cj, k ko.ofi School superintendents 20 6 9 .0 9 3 1 .0 High school principals U9 7U.2 17 2 5 .8 Junior high school principals k2 6 7 .7 20 32.3 Elementary school principals lk 73.7 5 26.3 T o ta ls 131 7 0 .4 55 2 9 .6
From ansvers to the question, Do you feel that music teachers fit the music program into the total school program effectively, ve can conclude administrators are moderately satisfied that such is being done. Supervisors and junior high school principals were least con vinced of this vhlle high school principals took the most firm stand, although the range betveen the tvo extremes vas not wide. 61
TABLE lk RESPONSES OF SCHOOL ADMINISTRATORS TO THE QUESTION, DO YOU FEEL MUSIC TEACHERS SHOULD BE PREPARED TO TEACH AN ACADEMIC SUBJECT
R esponses Yes Percentage No Percentage Kind of Administrators Making M aking R esponse R esponse in each in each C ateg o ry C ateg o ry Music supervisors 7 77.8J6 2 22.216 School superintendents 30 9 6 .8 1 3 .2 High school principals 6k 9 0 .1 7 9 -9 Junior high school principals 58 9 0 .6 6 9.k Elementary school principals 13 6 5 .O 7 3 5 .0 T o ta ls 172 8 8 .2 23 1 1 .8
Administrators were convincing in their opinion that music
teachers should be prepared to teach an academic subject. Music
supervisors and elementary school principals were not as enthusiastic
in this opinion as were the others. It is reasonable to assume some music supervisors would rather see music teachers devote their entire teaching energies within the field of music. Elementary school prin cipals seldom face the problem of fillin g out teaching assignments for music teachers since most music teachers at this level are specialists serving a limited number of hours each week in several schools. Obviously, preparation of the music teacher to teach in other fields would give much flexibility to the school administrator in working out teacher loads. Unfortunately, as was noted in the previous section, some administrators apparently make teaching assignments in fields regardless of the teacher's proper preparation to carry out the assignment. 62
The list of academic fields in which music teachers should be prepared to teach in addition to music, suggested by administrators in order of preference, is as follows:
1 . E n g lish 25 3 1 .6 * 7* Language a r t s 2 2 .5 * 2. Social studies 16 2 0 .3 8. H ealth 2 2 .5 3. Mathematics 10 12.7 9. Speech 2 2 .5 It. Foreign language 7 8 .9 10. Science 2 2 .5 5. Social science 6 7 -6 11. A rt 2 2 .5 6 . H is to ry it 5 .1 12. Drama 1 1 .3
More than half of the administrators named as their preference of academic fields in which music teachers should be prepared to teach either English of Social studies. This does not quite correspond with the fields in which music teachers are actually teaching in addition to music. The three fields moat frequently represented were mathe matics, English, and history, in that order. It 1 b altogether possible that views of administrators may be swayed by the needs of the moment.
It is also possible that were music teachers prepared to teach in the fields as listed by preference, perhaps more of them would be engaged in these fields.
TABLE 15 REACTION OF SCHOOL ADMINISTRATORS TO THE QUESTION, IS IT ESSENTIAL THAT THE MUSIC TEACHER BE PROFICIENT IN SOME PERFORMING MEDIUM
R eaponses Yes Percentage No P ercen tag e Kind of Administrator Making Making Response Response in each in each C ategory C ategory Music supervisors 9 90. 0* 1 10. 0)6 School superintendents 2k 7 7 .* 7 2 2 .6 High school principals 52 7 3 .2 19 2 6 .8 Junior high school principals 56 8 8 .9 7 11.1 Elementary school principals 16 7 6 .2 5 2 3 .8 T otalB 157 8 0 .1 39 1 9 .9 One can conclude administrators feel proficiency In some perform ing medium is essential for the music teacher. A greater percentage of music supervisors held this view than did any other group. Perhaps supervisors more than any others realize a person capable of demon strating his musicianship through some performing medium is at a great advantage as a music teacher.
TABLE 16 RESPONSE OF SCHOOL ADMINISTRATORS TO THE QUESTION, IS IT ESSENTIAL THAT THE MUSIC TEACHER BE ABLE TO PLAY PIANO
Responses Yes Percentage No Percentage Kind of Administrator Making Making Responses Responses in each in each C ategory C ategory Music supervisors 6 60.0* 1+ 1+0.0* School superintendents lit 1+6.7 16 53-3 High school principals 21+ 34.8 *5 6 5 .2 Junior high school principals 1+2 6l+.6 23 35-1* Elementary school principals 11 55.0 9 1+5.0 T o ta ls 97 5 0 .0 97 50.0
Apparently administrators consider ability to play piano at the
Junior high Bchool level most helpful and less essential In the high school grades. Although administrators as a whole are evenly divided in considering this ability as essential to music teaching, a number of the above who answered to the negative qualified their answer with the comment such ability would be desirable or helpful. Among those that made such comments modifying the negative response were 50 p er cent of the supervisors, 37*5 per cent of the superintendents, 26.6 per cent of high school principals, 3°. 5 per cent of Junior high school principals, and 1+1+.1+ per cent of the elementary school principals. 64
Of the affirmative responses made by Junior high school princi p a ls , 3 or 7.1 per cent Indicated piano playing ability va a essential for vocal teaching only.
Suggestions for Improving the Music Teacher Preparation Program
School administrators were asked for suggestions of ways In which the preparation of music teachers could be Improved. Their responses are summarized in Table 17•
TABLE 17 SUGGESTIONS MADE BY SCHOOL ADMINISTRATORS FOR IMPROVEMENT OF THE PREPARATION OF MUSIC TEACHERS Number Suggestions made by Administrators Making P e rc e n ta g e S u g g estio n
1. More student teaching 19 9 .7 2. Need better acquaintance with teaching techniques and the learning process 17 8 .7 3. Need greater appreciation for place of music in total school program 16 8 .2 4. Need more preparation for teaching general music and music appreciation 16 8 .2 5. Need to be given practical helps in maintaining good discipline 11 5 .6 6. More attention should be given to public relations 9 4 .6 7. Preparation for both vocal and instrumental teaching 8 4 .1 8. Need more preparation in classroom management 8 4 .1 9. Need to be prepared to teach an academic subject along with music 8 4 .1 10. Better preparation for teaching instru ments of band and orchestra 5 2 .6 11. Screening on personality basis of candidates for music teaching 5 2 .6 12. Need better organization and management of music program 4 2 .1 13. Dissatisfied with music instruction in self-contained classroom situation 3 1.5 14. Courses and instruction should be more practical and realistic; too theoretical 3 1-5 65
TABU! 17 (cant'd)
Number Suggestions made by Administrators Making P erc e n ta g e S u g g estio n
15* Better preparation in rehearsal tech n iq u es 2 1 .0 16. Need better, more realistic orientation into music teaching 2 1 .0
Emphases In the suggestions of administrators for the Improvement of music teacher preparation listed in Table 17 vere:
1. Suggestions relative to lengthening or improving the student teaching experience vere made by representatives of each group of administrators. Better supervision and student teaching in at least tvo different situations vere suggested as means of increasing effec tiveness. One respondent called for student teaching at both ele mentary and secondary levels.
2. Concerns relating to teaching techniques and the learning process centered mainly on knowing how to work with students. A more thorough understanding of the characteristics of students vas recom mended.
The feeling vas expressed by tvo music supervisors that more music teachers need to know how to teach music to children rather than resorting to methods of rote due to the minimal appreciation for and knowledge about music resulting from such practice.
It w ill be remembered that slightly over half, or 5 8 .6 p e r c e n t of the administrators indicated music teachers vere adequately pre pared as teachers. 66
3- Music teachers in many instances are not sympathetic vith the educational alma of the school nor do their music programs con form with these alms. One respondent pointed out the need for a thorough knowledge of the philosophy of education with an insight into the ways music can help to accomplish the objectives of educa tion. Another pointed out the music teacher should be aware his work is of no more importance than that of other departments in the school.
One can conclude from the comments that a number of music teachers expect special considerations in carrying out their music programs, often times at the expense of other departments in the school. Perhaps school administrators should accept part of the blame for the lack of proper orientation into the school program along with the teacher-preparatlon institutions. Without a doubt, the prepara tion of the teacher should Include an understanding of what the schools are attempting to accomplish and how music teaching can and should foster these alms. Likewise, when a teacher enters a school system, the adm inistrator should be concerned that the new music teacher is properly oriented into his particular situation and that there Is complete understanding and accord with aims and how they are to be a c h ie v e d .
U. Administrators, in citing the need for preparation of teachers to teach general music and music appreciation, were critical of the music program in the school with emphasis placed on performance by the musically talented at the expense of an adequate program for all the other students. The colleges vere blamed for this emphasis in the preparation of the teacher; that often tinea teachers vere not
qualified to carry out an effective general mualc program. This
concern vas noted to be strongest among Junior high school principals,
and logically so because general music is a required course at this
l e v e l .
There is no doubt that emphasis in the past in music teacher
preparation has been aimed at performing groups, and the majority of
music teachers are perhaps more eager to work with musically-talented
students. Administrators have questioned gearing the music program
to these musically-gifted students, and concern has svung around to
the far larger numbers vho are consumers of music. The requirement
of a general music course at the Junior high school level along vlth
the strong feelings expressed on this point by administrators should
be sufficient reason for the teacher preparatory institutions to exam
ine their music curricula in this aspect.
5. Secondary school principals vere of the opinion that music
teachers are generally poor disciplinarians. One high school princi
pal said: "In all cases I know of the music teacher has been a poor teacher when it comes to control. Plainly stated, he has poor disci pline in class. He needs help in this area."
The problem of poor discipline is more acute In the Junior high school, as evidenced by the fact that 73 per cent of those making consents to this point vere Junior high school principals. School superintendents and music supervisors are perhaps more removed from the problem of discipline and did not volunteer comments or suggestions. 68
6 . Administrators seemed to feel greater emphasis on natters of public relations vould ease friction often noted between music teachers and the community, faculty, and students. One school superin tendent noted: "If by some 'magic’ act we could have our music people feel they should be human and normal persons, asking no special privi leges, there vould be less friction between nuslc teachers and other faculty members."
Many of the suggestions vere aimed at a personality screening of music teacher candidates. It w ill be remembered that 80.8 per cent of the adm inistrators answered affirm ative to the question, Do you feel that music teachers fit Into the non-musical life of the conmunlty? Perhaps much of the concern here lies with music teacher- facuity relations as veil as those of student-teacher, and not so much music teacher-community relations.
7. Administrators volunteered the declaration that music teachers should be prepared to teach both vocal and Instrumental music for the reason that In schools with small enrollment, the music teacher must teach all music, including both vocal and instrumental.
The analysis of duties of music teachers in Utah revealed that 30.3 per cent of all teaching positions involve work In both phases of m u sic .
8 . The need for preparation in clasaroom management centered on
Inadequate evaluation and grading practices.
9 . Preparation for teaching in fields in addition to music vas volunteered as an additional comment after 8 8 .2 per cent of all administrators had already subscribed to this position. One principal vent so far as to suggest tvo teaching areas In addition to music.
An interesting consideration vas brought to light by one of the
comments. "Music teachers need an academic area in which to teach
contrasting with music to provide variety in daily, weekly and yearly
routine. I substitute In areas of this school when teachers are ill,
and I find a special strain on my nervous system In teaching music
that I do not find in other subject areas. ..." This Idea vas
advanced by three administrators. Another saw teaching In an academic field as being beneficial to the music teacher in providing a different perspective.
10. The appeal for more preparation of the music teacher for teaching instruments of the band and orchestra singled out the advantages of being able to demonstrate points in teaching on a variety of instruments.
11. While screening of teacher candidates on a personality basis vas implied in previously discussed comments, some administrators left no doubt as to their feelings. In recommending such a screening,
administrators pictured some music teachers as unrealistic Introverts
lacking in leadership qualities.
12. Concern for better organization and management of music programs focused on the lack of ability of music teachers to organize the music program maintaining good continuity.
13. Elementary school principals expressed dissatisfaction with music teaching at the elementary level, particularly in the self- contained classroom situation In vhlch music is taught by the grade 70 teacher. The practice vas termed ineffective and completely unsatis- factory for proper mualcal development.
1U. Comments that couraea and instruct ion vere too theoretical and lacked practicality vere directed at the psychology of teaching classes. Workshop sessions vere recosmended to improve this experi en c e .
15* Ho elaborations or recommendations vere made to the comments to the effect that music teachers needed better preparation in rehearsal techniques.
16. The need for better orientation into music teaching cited the extra time consumed on the Job by the music teacher. The adminis trators making this observation did not specify if the extra time should be devoted to duties relating to music teaching or to outside assignments and extra duty.
Preparation of Music Teachers Teaching In Utah
A large majority of the music teachers teaching in the public schools of Utah in the academic year 1937-58 vere prepared in one of the three four-year universities in Utah. The number so educated represents 8 5 .6 per cent of the total respondents who are so teaching.
While there is a relatively small number teaching music vlthout a college degree (2.6 per cent), they do possess some college prepara tion in music in most caseB, though meager in several instances. What is more disconcerting is the realization that there are some music teach ers with absolutely no college preparation in music. Fortunately, this number is small (1.5 per cent), though vhen viewed with the meager 71 preparation of others with neither a major nor a minor In music, together vlth those who hold no degree, 5 .6 per cent of the total music teaching personnel is Involved. With present certification 2 standards, it is reasonable to expect this figure to diminish as these teachers are replaced. In each case the teacher has been certified by the State Department of Education. In the instances of people teaching without college degrees, they have been teaching for a great number of years and entered the profession before the three and later the four year college teaching programs vere Instituted.
TABLE 16 WHERE TEACHERS TEACH IMG MUSIC IN UTAH RECEIVED THEIR UNDERGRADUATE REPARATION
Percentage of Institution from vhlch Graduated Number Total Number
University A (in Utah) 73 37.1* University B (in Utah) 37 1 8 .9 University of Utah 57 2 9 .2 Institutions outside Utah 17 8 .7 Misc. (No degree or degree not in music) 11 5 .6
TABLE 19 UNDERGRADUATE MUSIC PREPARATION OF TEACHERS TEACHING MUSIC IN UTAH WITH NO COLLEGE DEGREE
Quarter hours of music study Number
Mb 1 8 1 1 3^ 1 53 1
2See Appendix G for Utah C ertification requirements. 72
TABLE 20 UNDERGRADUATE MUSIC PREPARATION OF TEACHERS TEACHING MUSIC IN UTAH WITH DEGREE IN A FIELD OTHER THAN MUSIC
Quarter hours of ausic study Number
none 3 12 1 2 l£ 1 30 1
TABLE 21 LENGTH GEF PREPARATION OF TEACHERS AT INSTITUTION FROM WHICH GRADUATED
Institution Graduated From 4 y e a r s 3 y e a r s 2 y e a rs
University A 43 (53.9%) 18 (24.7% ) 12 (16.4%) University B 23 (62.2% ) 6 ( 1 6 . 2%) 8 (21.6% ) University of Utah 39 (68.4%) 9 (15-3% ) 9 (1 5 . e%) Institution outside Utah 8 (47.1% ) 3 ( 17. 6 %) 6 (35.3% )
TABLE 22 KIND OF MUSIC PREPARATION OF TEACHERS AT VARIOUS INSTITUTIONS
Kind of music curriculum
Institution C om posite Music major Music minor
University A 22 ( 3 0 . 1%) 49 (67.1%) 2 ( 2.7% ) University B 8 (2l.w % ) 23 (6 2 . 2%) 6 ( 16 . 2%) University of Utah 24 (42.1%) 29 (50.9%) 4 ( 7.0% ) Institution ourside Utah 7 (41.2% ) 10 (58.8% ) none
The composite offering In the universities of Utah has been a relatively recent development. The music composite Includes both a major end minor in music, the combination being vocal and Instrumental music. University A first graduated a composite major in 1949; Uni versity B in 1952; and the University of Utah in 1950. 73
TABLE 23 MAJOR FIELDS OF MUSIC TEACHERS PREPARED AS MUSIC MINORS
Number o f Number o f T eachers T eachers
Elementary education 3 Speech 1 Secondary education 2 A rt 1 E n g lish 2 Physical education 1 H isto ry 2
TABLE 2k MINOR FIE IDS OF MUSIC TEACHERS PREPARED AS MUSIC MAJORS
Number o f Numbei T eachers Teach<
E n g lish 28 Spanish 3 Speech 15 Physical education 3 German 13 Social studies 2 Math 9 Political science 2 French 8 I t a l i a n 2 H isto ry 7 P hysics 2 Sociology 6 Industrial arts 1 Psychology k Engineering 1 B iology k Geology 1
Reasons for Attending Universities in Utah
Forces that attract students to a university, if they exist, pro
vide an insight into the quality of the program at that institution.
If such attractive forces are lacking, this also reflects on the
quality of the program in a derogatory sense.
In the Instance of University A, a majority of graduates indicated they vere attracted to that institution as students through the reputa tion of the faculty and the department. The high percentage of persons motivated by this reason to attend is an index to the fine reputation enjoyed by that institution. The second most frequently mentioned reason for selecting this university related to the church affiliation. 7^
Geographic proximity, a factor vhlch vas rated highest as reasons
for attending the other tvo Institutions, vas rated third in frequency
by graduates of University A. Both University B and the University of
Utah rely upon their location in drawing a student body from the
lunediate surroundings. The small enrollment of University B and
personal acquaintance vith faculty vere both responsible in a small measure for attracting students. Reputation of faculty and department
appears to be a relatively insignificant reason for attendance at
University B.
Aside from the attractiveness of location, the University of Utah
seems to enjoy only a slightly better reputation than does University
B, though far belov that of University A.
TABLE 25 REASONS. STATED BY MUSIC TEACHERS FOR ATTENDING UNIVERSITIES IN UTAH (123 respondents)
School A School B Univ. of Utah p e rc e n ta g e p e rc e n ta g e p e rc e n ta g e o f o f o f Respondents Respondents Respondents S ta tin g S ta tin g S ta tin g Stated Reason No. Reason No. Reason No. Reason G eographic p ro x im ity 19 28 .4 * 22 6 6 .7 * 15 65-2* Financial - a id o f scholarship 3 2 6 .1 0 T r a d itio n , fa m ily In flu e n c e 3 4 .5 1 3 .0 0 Reputation of faculty and dep artm en t 41 6 1 .2 3 9 .1 4 17.4 C u r r ic u la r o f fe r in g s 3 4 .5 0 0 75
TABLE 25 (cont'd)
S c h o o l A S c h o o l B Univ. of Utah P e rc e n ta g e P e rc e n ta g e P e rc e n ta g e o f o f o f Respondents Respondents Respondents S t a t i n g S t a t i n g S t a t i n g Stated Reason No. R eason No. R eason No. R eason
Religious 20 2 9 .9 0 0 S iz e o f school (small) 0 U 1 2 .1 0 Acquaintance with faculty 1 1 .5 k 1 2 .1 1 ^ •3 H ousing f a c i l i t i e s 0 1 3 -0 0 F r ie n d s i n a tte n d a n c e 1 1 .5 0 0 Credit evalua tion favorable i n t r a n s f e r r i n g In 0 1 3 .0 0 A vailability of work in the | c i t y 0 0 2 8 .7
TABLE 26 REASONS STATED BY MUSIC TEACHERS FOR ATTENDING COLLEGES OUTSIDE OF UTAH (17 respondents)
Percentage of Total Respondents Stated Reason Number Stating Reason
Geographic proximity 9 5 2 -9 * Reputation of faculty and department 9 5 2 .9 Tradition, family influence 4 2 3 .5 Curricular offerings 1 5 .9
Availability of part time work in a city the size of Salt Lake City reflects no credit on the Institution. Rather, It can spell trouble for the student with diverse purposes. 7 6
On the basis of Table 25, University A can be said to possess the greatest drmrlng power with Its reputation and the relative unimportance of Its geographic location.
Reasons for Attending U niversities Outside Utah
The attraction of institutions outside Utah vas divided equally between geographic proximity and reputation of faculty and department, with half the graduates naming each reason. Percentage vise, geo graphic proximity does not account for as many students as is the case in University B or the University of Utah. Reputation, on the other hand, plays a more Importand part than for either of the other two institutions Just mentioned, but not as pronounced as for
University A. Tradition and family influence is a considerably more important factor for students attending institutions outside Utah than for those attending within the state.
The geographic location of a university In or near populated centers w ill probably always be a factor In prompting enrollment.
Reputation, on the other hand, must be developed over a period of time.
It embraces, in addition to library and physical facilities, curri cular offerings, as well as the quality of instruction and eminence of faculty. Reputation is closely associated with the competence and effectiveness of the institution*s graduates, and graduates normally actively support and expand the reputation of their alma mater pro vided they are satisfied with their preparation. Reputation, there fore, is a factor of paramount importance and is probably the most reliable index of the effectiveness of an institution, or, more specifi cally, of a department of instruction. 7 7
Reasons for to Utah to Teach
Information vas requested from respondents who either vere
educated outside Utah or previously taught In other states as to
their reasons for coming to Utah to teach. Twenty-two persons
provided the Information revealed In Table 2 7 . Some stated more than
one reason for coming to Utah. The fact that 17 respondents
graduated from out-of-state institutions Indicates 5 persons supply
ing this Information probably graduated from a Utah institution but
taught previously in another state. Under these circumstances,
reasons given for coming to Utah to teach are about what one vould
e x p e c t.
TABLE 27 REASONS STATED POR COMING TO UTAH TO TEACH MUSIC BY TEACHERS PREPARED IN UNIVERSITIES OUTSIDE UTAH OR WHO TAUGHT OUTSIDE UTAH (2 2 respondents)
Stated Reasons Number of P e r c e n ta g e Times Given
F a m ily 11 5 0 .0 More and better opportunities 6 2 7 .3 Better salary 5 2 2 .7 R e l i g i o u s k 1 8 .2 Home vas in Utah 3 1 3 -7 Geographic - enjoyed living in Utah 3 1 3 -7 Climate attractive 2 9 .1 Personal acquaintances 1 *♦.5
Evaluation of Preparation by Music Teachers
Music teachers in Utah were asked to rate their preparation on the basis of ten elements or areas according to strong or weak, whichever term they felt most appropriate. University of Utah 78 graduates teaching in the state who received a more detailed ques tionnaire, vere not Included in these ratings.
TABLE 26 REACTION GF MUSIC TEACHERS TO CERTAIN AREAS AND ELEMENTS IN THEIR UNDERGRADUATE PREPARATION FOB TEACHING3
Reaction by teachers Element or area S tro n g Weak a. Development of musicianship 71.6)6 23.9J6 b. Performance ability on instrument or voice 7 3 .2 2 6 .8 c. Theoretical knowledge of music 8k . 3 15.7 d. General music and music appreciation 51.* * 8 .6 e. Conducting procedures and rehearsal te c h n iq u e s 3 3 .8 6 6 .2 f . Organization and classroom management 23-5 7 6 .5 g. Knowledge and skill with instruments of band and orchestra * 8 .2 5 1 .8 h. Relating music to children 1 7 .8 8 2 .2 1. Acquaintance with music teaching materials 31.1 6 8 .9 j. Acquaintance with music teaching techniques 3 5 .3 6 * .7
It la interesting to note in Table 28 that the first three items which teacherB viewed as strong in retrospect to their preparation could be considered the acquisition of skills of music and perform ance, and that in items which vere concerned with the techniques of teaching music, the preparation vas viewed as decidedly weaker. This indicates the teachers feel more adequately prepared as musicians than as music teachers.
In addition to rating the above items, six persons volunteered their student teaching experience as being weak.
^Evaluations of only those graduates vho had a degree in music and had attended the institution graduated from a minimum of tvo years vere tabulated. University of Utah graduates vere excluded. As one examines the preparation of teachers teaching In Utah
Indicated In Table Id, It la obvious that most received their prepara tion in Utah at one of three institutions. In order that a teacher's evaluation of the strengths and weaknesses in preparation and his suggestions for Improvement vould be more meaningful, the curriculum vhlch prepared that teacher vas reviewed vlth the exception of those instances in vhlch teachers vere prepared out of state. Vlth the small number of outside institutions Involved and their diversity, such a review of those programs vas felt to be unimportant. The opinions and suggestions of all these graduates vere treated in one g ro u p in g .
In addition to the University of Utah, programs of the tvo Utah institutions which prepared a large number of teachers, to be referred to as Universities A and B, vere examined. A catalog study of both institutions' programs of each year revealed that groupings covering a number of years could be made in which there vere only minor curricular changes or none at all.
Preparation of Teachers at Institutions Outside Utah
All teachers prepared to teach music in states other than Utah rated the same ten elements or areas of their preparation either strong or weak. The results of these ratings are given in Table 29. 8o
TABUS 2 9 REACTION CF MUSIC TEACHERS GRADUATED FROM INSTITUTIONS OUTSIDE UTAH TO CERTAIN AREAS AND ELEMENTS IN THEIR UNDERGRADUATE PREPARATION FOR TEACHING (17 respondents)
Reaction by teachers to preparation Element or area S tro n g Weak
a. Development of musicianship 13 (7 6 .5 * ) 4 (2 3 .5 * ) b. Performance ability on instrument or v o ic e 13 (7 6 .5 ) 4 (2 3 .5 ) c. Theoretical knowledge of music 15 (8 8. 2 ) 2 ( 11. 8 ) d. General music and music appreciation 11 (6 4 .7 ) 6 (3 5 .3 ) e. Conducting procedures and rehearsal te c h n iq u e s 7 (4 1 .2 ) 10 ( 5 8 . 8 ) f. Organization and classroom management 5 (2 9 .4 ) 12 (7 0. 6 ) g. Knowledge and sk ill with Instruments of band and orchestra 11 (6 4 .7 ) 6 (3 5 -3 ) h. Relating music to children 4 (2 3 .5 ) 13 (7 6 .5 ) 1. Acquaintance with music teaching m a te r ia ls 6 (3 5 .3 ) 11 (6 4 .7 ) J. Acquaintance vlth music teaching te c h n iq u e s 9 (5 2 .9 ) 8 (4 7 .1 )
In comparison vith the evaluation of all teachers of their preparation as indicated in Table 28, the same general tendency can be noted, however not so marked, of weaker ratings in areas directly related to music teaching techniques. There are notable exceptions, such as item g in Table 29 which would seem to indicate institutions outside Utah are stronger in this aspect. It should also be noted that every Item was rated higher by out>of-state graduates than were those rated by all the teachers in Utah.
Suggestions for Improving the Music Teacher Preparation Program Made by Graduates of Institutions Outside Utah
Each teacher was asked for ways in which a music teacher preparation program could be improved. The suggestions and 81
recounendatlons listed In Table 30 vere the responses of graduates of
out-of-state institutions to this request.
TABLE 30 SUGGESTIONS FOR IMPROVEMENT MADE BY GRADUATES OF INSTITUTIONS OUTSIDE UTAH
Number making Suggestions listed by graduates Suggestions
1. More emphasis needed on minor instruments 7 1*1.2* 2. More attention should be given to preparation for teaching general music 6 3 5 .3 3. Need for acquaintance vlth music m aterials appropriate to various age levels 5 2 9 .4 1*. Not enough student teaching - lengthen the e x p e rie n c e k 2 3 .5 5» Need better acquaintance with teaching techniques k 2 3 .5 6* Courses and instruction too theoretical; should be more practical, realistic 3 1 7 .6 7* Need more information on how to organize groups, the music program, etc. 2 1 1 .8 8. Need college professors vlth public school teaching experience 2 1 1 .8 9> Need more experience conducting and rehearsing musical groups 2 1 1 .8 10. Need for more observations of teaching in the s c h o o ls 2 1 1 .8 11. Need closer guidance and counseling in music program 2 1 1 .8 12. Need better orientation into problems of te a c h in g 2 1 1 .8
Emphases in the suggestions represented in Table 30 were:
1. Although 6 k.7 per cent of the teachers rated their preparation
as strong in knowledge and skill with instruments of the band and
orchestra, almost half Indicated by voluntary comment that this knowl
edge and skill was worthy of more attention. As one respondent said,
t h e r e i s "Need for strong emphasis upon ability to play all instruments
and to take a comprehensive examination in playing each one prior to graduation.” 82
2. Graduates rated aa strong their general music and music appreciation preparation by the sane 6 k. 7 per cent, but as In the
Instance above, a significant number felt the need for Increased emphasis In this area. The Junior high school vas singled out as being the level at vhlch this preparation should largely be aimed.
3* The need for acquaintance vlth music m aterials appropriate to various age levels Is understandable since 6 k. 7 per cent rated this aspect of their preparation weak. More work in studying m aterials under experienced teachers vlth secondary school experience vas called f o r .
U. Suggestions by almost one fourth of the teachers ranged from lengthening the student teaching experience to having tvo or more separate experiences vlth at least one experience coming before the senior year.
5• Acquaintance with music teaching techniques, vhlle rated as strong by over half the teachers, vas mentioned as deserving more stress as these techniques apply to various age level groups.
6 . Pleas for more practical courses and instruction vere con cerned primarily vith opportunities for application of theoretical principles.
7> A concern for the administrative duties of the music teacher vas voiced by tvo teachers. ThiB is one aspect of organization and classroom management vhlch 70.6 per cent of the teachers rated their preparation as veak. Interest in the suggestions centered on organizing and developing a good music program.
8 . The appeal for college professors vlth public school teaching experience la another facet of the stand for instruction along more practical lines. The need for better orientation into the problems of teaching vas also related to this point.
9* Preparation In conducting procedures and rehearsal tech niques vas rated as strong by only kl.2 per cent of the teachers.
The concern seemed to be there vas too little opportunity to conduct and rehearse groups. One respondent vould have the university orchestra, band, and chorus devote some of their rehearsal time to provide this opportunity rather than spending all their time in rehearsing for performances.
10. The suggestion of more observations of teaching In the schools might be considered another attempt at keeping instruction and courses pertinent and practical, and tovard more realistic orientation into the problems of teaching. Observations should start in the freshman year and run throughout the program vas the consensus. One respondent suggested each observation be folloved vlth discussions about (1) vhat vas observed, (2) how it related to material studied in class, (3) how one could better the class situation.
11. A finer screening of teacher applicants as to their person ality qualifications vas called for.
12. Suggestions for more realistic orientation into the problems of teaching vould exchange the idealistic situations so often dis cussed in classes vlth the practical problems such as inadequate budget, lack of understanding of the music department's needs, pressures on teachers for outside efforts, and scheduling problems. 8k
The Preparation of Teachere at University A
Over one third of the music teachers teaching in Utah vere
prepared by University A. This institution la church affiliated vlth
a student body heavily predominate of that religion. During the
last few years, enrollment has Increased rapidly from approximately
three thousand to more than ten thousand. For the academic year
1957~58> almost 56 per cent of the students were from outside the
state of Utah, and this percentage has been increasing every year.1*
The Department of Music is a part of the College of Fine Arts.
A student preparing for a music teaching career must complete the required professional education courses and the necessary subject matter and other courses for the teaching certificate under the joint direction of advisers from both the College of Education and the
Department of Music. In addition to filling the general and profes
sional education requirements and those in music, each student is required to study religion for tvo credit hours each quarter of regis t r a t i o n .
In tabulating the reaction of graduates to the teacher prepara tion program at University A, only those vlth a minimum of tvo years of enrollment In the program vere included vho graduated vlth music degrees. Not all graduates responded to every item.
The program for the preparation of teachers at University A over the years seems to fall into three broad categories vlthin vhlch the
S*his information vas gained from the 1959-60 Catalogue of Institution A (the appendix l i s t B all catalogues of the various insti tutions examined in connection vlth this study). 8 5
program and course offerings changed only slightly. These three
categories or periods are 1935-^5* 19^6-55* and 1956 - 5 8 *
The basic program vhlch prepared students for both vocal and
instrumental teaching during the period 1935-^5 vas as follows:
History of music 6 qtr. hr s. Philosophy and appreciation of music If qtr. hrs. Music theory ...... 26 qtr. hrs. Harmony 18 qtr. hrs. S o l f e g g i o...... 6 q t r . h r s . Advanced sightslnglng . . . 2 qtr. hrs. Public school methods (elementary and secondary) . 5 qtr. hrs. P lan o 3 ? t r . h r s . Voice cu ltu re ...... 3 q t r . h r s . Vocal or Instrumental ensemble ...... _6 qtr. hrs. Total 53 qtr. hrs.
Between 19^6 and 1955 the program vas expanded considerably,
particularly In the areas of applied music and the study of minor
instruments:
History of m usic ...... 9 qtr. hrs. Harmony ...... 30 q t r . h r s . Conducting if qtr. hrs. Instrumental methods 2 qtr. hrs. Major instrum ent ...... 12 qtr. hrs. Minor instruments* and v o ice ...... 10 qtr. hrs. Ensemble - major fie ld ...... 6 qtr. hrs. Ensemble - minor fie ld ...... 6 qtr. hrs. P la n o ...... 6 qtr. hrs. Total qtr. hrs.
* Study of a representative instrument in each family of the orchestra accepting the field in which the major instrument lies.
In 1955 the composite offering vhich prepared for both vocal and
instrumental teaching vas changed. Tvo programs vere offered, one vlth vocal emphasis and the other Instrumental. The tvo programs differed only slightly, and this mainly in the disposition of time in
the major applied area. Instrumentalists vere still required voice
study, vocal ensemble and vocal methods; and those vlth vocal 66 emphasis also studied Instrumental methods, participated in instrumen ta l ensembles and studied minor instruments.
Perhaps the most significant change In the curricular offerings after 1955 vas the addition of workshops. Laboratory sections were added as a supplement to class time in most of the courses. For example, conducting classes were supplemented with the use of choral and instrumental groups for students to gain actual conducting experience.
A typical program of the period 1955-58 is as follows:
Instrumental emphasis Vocal emphasis
History of music . . . 6 qtr. hrs. History of music . . . 6 qtr. h r s . Music theory .... .25 q t r . h r s . Music th e o ry . . . . .25 q t r . h r s . Conducting and Conducting and rehearsal techniques • 3 q t r . h r s . rehearsal techniques. 3 qtr. h r s . Instr. & choral Instr. St c h o ra l m ethods ...... 6 q t r . hrs. methods ...... h r s . Major instrument . . . 6 q t r . h r s . V o ice...... h r s . Minor instruments. . .15 q t r . h r s . Minor instruments. . . 15 q t r . h r s . Instr. ensembles . . . 6 q t r . h r s . Choral ensembles . . . 6 qtr. hrs. Choral ensembles . . u qtr. hrs. Instr. ensembles . . ^ t r . h r s . T o ta l 70 qtr.hrs. Total 70 q t r . h r s .
During the last two years of this period the major applied requirement vas raised substantially to 16 hours for the major instru ment or lU hours for voice. This vas in addition to the same ensemble requirements in both the instrumental and choral areas.
Evaluation of Preparation by Graduates of University A
It appears that graduates from this university approved of most of the curricular changes through the years and vere satisfied with the caliber of instruction. In eight of the ten categories rated, improvement has been consistent. TABLE 31
REACTION CP MUSIC TEACHERS GRADUATED FROM UNIVERSITY A TO CERTAIN AREAS AND ELEMENTS IN THEIR UNDERGRADUATE PREPARATION FOR TEACHING AS VIEWED IN THREE CHRONOLOGICAL ffiRIODS
Reaction of teachers to program of periods 1935^5 j 19*16-55 1956-58 Element or Area ixr.vm Tm a w * -* a:rn a
Development of musicianship 10 3 7 6 .9 2* 5 8 2 .8 19 0 100.0 Performance ability on instrument or voice 11 2 81*. 6 22 6 7 8 .6 18 1 9**7 Theoretical knowledge o f music 10 3 7 6 .9 27 2 93.1 18 1 9*.7 General music and music appreciation 5 8 38.5 18 11 62.1 5 1* 26.3 Conducting procedures & rehearsal techniques 2 11 15.* 9 20 31.0 11 8 57.9 Organization and class* room management 1 12 7 .7 6 21 22.2 9 10 * 7 .* Knovl. & skill with instr. of band & orchestra k 8 33-3 17 12 58.6 12 7 63.2 Relating music to children 2 11 15.* 0 28 0 2 17 10.5 Acquaintance with music teaching materials k 9 15 . 1* 0 28 0 2 17 10.5 Acquaintance with music teaching techniques 1 12 7 .7 5 23 17.9 11 9 55.0
3 68
The development of musicianship, development of performance
ability on instrument or voice, and theoretical knowledge of music
all received overwhelming approval by graduates since 1955 *
The development of musicianship cannot be traced exclusively to
a specific subject. Many courses can contribute to this aspect, and the significantly high responses in Table 31 Indicate the course work vas carried on at a high level and obviously aimed in the direction of musicianship. The courses where musicianship is perhaps most obvious are music theory and all aspects of performance, including conducting.
Reasons for the drop reflected in the development of performance ability on instrument or voice for the period 19^6 -5 5 are not readily apparent. Before 19^ 6 , only nine hours of vocal and instrumental ensemble were required. Following 19^6, twelve hours on the major instrument or voice were required in addition to the nine hours of ensemble. This most certainly should have resulted in a more sub stantial development in this area providing all students were held to these requirements. The quality of instruction and the level of ensemble participation may have been factors. A "halo” effect of graduates who have been away from the institution for a long period of time may be in effect here. The sharp rise in regard for this area a f t e r 1955 may be traced in part to the increased emphasis reflected in the Bharp increase in hours required for the major applied.
It should be noted that since 19^*6, participation in both choral and Instrumental ensembles is required of all students. It is also 8 9
noteworthy that levels of achievement In the major applied are speci
fied beginning in the second period.
Plano study Is required or implied throughout the three periods.
The Increase from three to six hours in the first two periods Is
replaced by the attainment of a level of proficiency in the last
period with no hours set aside for its accomplishment. This accounts
partially for the reduction in total hours required in the programs
of the last period.
Regard for the development of theoretical knowledge of music
increased considerably between the first two periods under discussion.
Four hours were added and solfeggio and advanced sightsinging were
combined with the study of harmony. It is interesting to note the
slight increase in regard for preparation during the last period in
view of the decrease in hours from thirty to twenty-five. Graduates
apparently were in favor of the five weekly classes supplemented with
three weekly laboratory classes for first year theory and two labora
tory sections weekly the second year.
It can be pointed out that nowhere in any of the programs throughout the years is there a course of arranging, instrumentation
or orchestration.
Preparation for general music and music appreciation vas rather weak throughout according to the reaction of graduates, and noticeably so the last period. One can speculate this weak rating resulted from a lack of emphasis in the music education courses. A course in public school methods for five hours credit in the first two periods was increased to six hours in 1955* Two years later, the study of methods 90
vas absorbed in various workshops devoted to specific areas of vocal
and instrumental performance. Perhaps effectiveness in the general music area is lost by not including a methods course devoted to this
consideration.
It is significant to note a course in the first period that has
as one emphasis the appreciation of music, and further that this course
is in addition to a course on the history of music. This particular
emphaslB seems to be lost in the last two periods, although it should be realized that much can be accomplished In music appreciation and preparation for its teaching in the area of music history and litera ture. It is reasonable to conclude that such vas the case in the second period in comparison vith the last period.
Over the three periods of programs in University A under observa tion, the study of conducting and rehearsal techniques has shown con siderable improvement. During these same periods, offerings expanded from no formal conducting course required to a course meeting five times per week on a laboratory basis for three hours credit. While this method of study vas apparently more successful than the more con ventional conducting class vith no laboratory in the second period, It is not apparent why an even larger number of recent graduates did not view this area vith more favor. The trend toward rehearsal techniques coupled vith conducting vith its vorkshop appendage is significant in the last period.
The two areas, organization and classroom management and relating music to children have, it appears, been meeting vith doubtful success. While effectiveness seems to have Increased consistently and rather
substantially In the case of organization and classroom management, nevertheless, it would appear the effectiveness s till leaves much to be desired.
Relating music to children must have been much more spasmodic and relatively nonexistent. Apparently lnstinctlon vas not aimed in this direction.
A marked improvement can be noted in knowledge and sk ill with instruments of the band and orchestra. This improvement coincides vith increased emphasis as reflected by an Increase in the number of hours devoted to this area. Only representative instruments of each family were studied during the middle period for six hours, although a prescribed level of attainment vas required in playing performance
In each Instance. The last period is characterized by study on all instruments in each family for fifteen credit hours. This appears to have met vith modest success.
Hours for the study of voice and voice pedagogy by instrumental ists were Increased from three to six from the first to the second period. Three hours of practical phonetics vas included in the total of six, but this course vas dropped in the third period and five hours of vocal workshop vas the total requirement.
Acquaintance vith music teaching materials does not appear to have been met satisfactorily. Rather than a specific course to meet this need, it customarily is a part of several courses, and one can conclude in the program under observation the emphasis and attention has not been directly sufficiently along these lines. 92
A substantial gain in effectiveness In acquaintance with music teaching techniques to a position of moderate success, coming mainly after the second period, would seem to speak well for the workshop idea of combining teaching techniques along with the study of all phases of musical performance. For example, the combination of con ducting and rehearsal techniques would seem to be a logical means of developing teaching techniques for performing organizations. The figure of 55 P*r cent In testimony to the strength of the program would not indicate the problem was met to the complete satisfaction of the graduates. It is a matter for speculation that other means must be resorted to in addition, and one obvious possibility would be observations of teachers in school situations vith discussions of techniques observed.
The composite ratings for listed elements relating to the teacher preparation program at University A are given in Table 32.
TABLE 32 REACTION OF MUSIC TEACHERS GRADUATED FROM UNIVERSITY A TO CERTAIN AREAS AND ELEMENTS IN THEIR UNDERGRADUATE PREPARATION FOR TEACHING
Reaction by teachers to preparation Element or area S tro n g Weak a. Development of musicianship 60 (88. 2*) 8 (1 1 .8 * ) b. Performance ability on instrument or v o ic e 56 (8 2 .4 ) 12 (1 7 .6 ) c. Theoretical knowledge of music 62 ( 91. 2 ) 6 { 8 .8 ) d. General music and music appreciation 35 (5 1 -5 ) 33 (1*8. 5 ) e. Conducting procedures and rehearsal te c h n iq u e s 26 (38. 2 ) 1*2 ( 6 1 . 8 ) f. Organization and classroom management IT (2 5 . 0 ) *9 (75*0) g. Knowledge and skill vith instruments of band and orchestra 36 ( 5 2 . 9 ) 31 0*7-1) h. Relating music to children 6 ( 9 -1 ) 60 ( 90. 9) 1. Acquaintance with music teaching m a te ria ls 21 (3 1 .3 ) 1*6 (6 8 . 7 ) j. Acquaintance with music teaching te c h n iq u e s 20 (2 9. 9 ) 1*7 (7 0 .1 ) 93
A comparison of the reaction of graduates from University A to those of graduates from institutions outside of Utah in Table 29 reveals ratings are definitely higher for University A for the first three items. The graduates regard University A as being very strong in musical preparation. The same relative drop is noted in Items concerned vith the teaching techniques of music. These items were rated consistently lover by the graduates of University A, and especially so in the Instance of acquaintance with music teaching techniques.
Suggestions for Improving the Music Teacher Preparation Program Made by Graduates of University A
The suggestions of graduates of University A for Improving the college music education program are listed in Table 33*
TABLE 33
SUGGESTIONS FOR IMPROVEMENT OF THE MUSIC TEACHER PREPARATION PROGRAM AT UNIVERSITY A MADE BY GRADUATES OF THAT INSTITUTION
Number making Suggestions made by graduates suggestions 1. Courses and instruction should be more practical, realistic 18 2 6 .9 * 2 . More attention to preparation for teaching general music 15 2 2 .1 3* More emphasis needed on minor instruments 13 19.1 U. Improve student teaching experience 12 17.6 5- Need for acquaintance vith teaching materials appropriate to various age levels 11 16.2 6 . Need more attention on lavs of learning and psychology of music teaching 7 10.3 7* Need Instruction in making minor repairs on instruments 5 7.k 8 . Need to be given practical helps in maintaining good discipline 5 7.fc TABLE 33 (co n t'd )
Number making Suggestions made by graduates suggestions
9* Need more careful screening and guidance of candidates for music teaching 5 10. Need experience conducting music groups 4 5 - 9 1 1 . Future teachers should be prepared in both vocal and Instrumental music 4 5 - 9 12. Need to concentrate more on rehearsal techniques 4 5*9 1 3 . More concentration on how to organize groups, the music program, etc. 4 5 - 9 14. Need college professors with public school teaching experience 3 4 .4 1 5 . Need for more observations of teaching in the schools 3 4 .4 16. Need for more attention to public relations 2 2 .9 17* Need more functional piano study 2 2 . 9 18. Need more help with marching band techniques 2 2 . 9 19* Need for more attention to business aspects of music education 2 2 . 9
Interestingly enough, suggestions by graduates of University A
concerning their preparation follow the same general pattern in some
what sim ilar frequency as do those made by graduates from all the
Institutions outside of Utah. With the much larger number Involved
from University A, it could be expected a wider range of suggestions would be volunteered. Most suggestions are concerned directly with
the music education area of preparation.
Emphases In the suggestions of graduates of University A for the
improvement of the music teacher preparation program listed in Table
33 w e re :
1. Comments suggesting more practical courses and instruction pointed out the need for practical application. The workshop or laboratory idea was viewed as a means of providing opportunity for 95 this application. Class time, it vas observed, should be taken up
vith realistic problems rather than the pursuit of Impractical
know ledge.
2. Graduates feeling the need for better preparation for teach
ing general music singled out an acquaintance vith appropriate sources
and materials as a means of improving Instruction in this subject.
Three respondents named the piano as offering advantages in teaching this course, consequently recommended the development of planistic
abilities of teacher candidates.
3. Suggestions relative to increased emphasis on the study of minor instruments indicated a longer period of time In the curriculum
devoted to study along vith more intensive concentration vould be desirable. Five respondents felt detailed study on one instrument of each family vould be most useful. All seemed to agree that attention
Bhould be focused on the teaching techniques in these classes, and
one third of the respondents recommended opportunities for participat
ing in small ensembles or training bands and orchestras.
U. With regard to the student teaching experience, most sugges
tions called for extending the length of time. Four felt it should
consist of tvo separate experiences vith one coming earlier than the
senior year, and three outlined the need for good supervision and m ore h e lp .
5 . Comment b relative to the need for greater acquaintance vith teaching materials appropriate to various age levels vere scornful
of the fact that much repertoire and literature encountered in
preparation vere not adaptable to school teaching situations. 9 6
6. Suggestions made by 10 per cent of the graduates for more stress on lavs of learning and the psychology of music teaching could be expected since 9°*9 per cent rated their preparation in relating music to children as veak. This coupled vith the fact that 70.1 per cent rated acquaintance vith music teaching techniques as veak vould give reason for concern In this area. Comments of graduates centered on understanding the nature of the learner.
7. Three graduates vere of the opinion a separate class is needed in vhlch to learn the making of minor repairs to instruments, though the majority felt this instruction should be incorporated in the minor instrument classes along vith the study of the proper care of instruments.
8. Requests for practiced, helps in maintaining good discipline as a means of Improving teacher preparation vere made. This lack may veil be directly related to the voiced need for attention to lavs of learning, psychology of music teaching, and music teaching tech niques referred to earlier. Assistance vas called for, but no sugges tions or recommendations advanced.
9. More careful screening and guidance of teacher candidates, and those not possessing the proper qualifications should be strongly discouraged vas the consensus of opinion on this point.
10. Feeling vas prevalent that conducting technique and all that it involves cannot properly be developed in absence of practical application. "Early introduction into actually conducting ensembles and larger groups to allow time for rehearsal techniques to develop," in the words of one respondent, express the sentiments of the others. 9 7
11. In citing the need for preparation of both vocal and instru mental music by teachers, graduates pointed out that many teachers are
Involved vith both areas while prepared to teach In only one.
12. Suggestions that more concentration be directed toward the acquisition of rehearsal techniques vere slanted toward the use of laboratory sessions for this purpose. The importance of working with a chorus, band and orchestra to develop these techniques under good supervision and preceding student teaching vas voiced by many,
13. Preparation at University A In the area of organization and classroom management received a very feeble rating by graduates vith o n ly 2 ^ per cent naming it strong. Assistance vas called for in organizing large performing groups and the organization and promotion of a beginning instrumental program.
lit. The plea for college professors with public school teaching experience vas based on the conviction that impractical situations and theoretical misinformation result from teachers who lack this background.
1 5 . Recommendations for more observations of teaching in the schools emphasized a large variety of situations starting early in the candidate's preparation and including some of the "problem" s c h o o ls .
16. Stress on public relations vas summed up by one respondent as salesmanship. He pointed out the importance of "Ability to sell self to students, faculty, custodians, etc."
1 7. Respondents did not amplify their comments on the need for more functional piano study other than to advocate that keyboard
experiences should be required of all students.
16. Help vith marching band techniques Included an appeal by one
respondent for a background In training such a band and another for
techniques of show planning.
19. The feeling vas voiced that business aspects of music educa
tion should include a "Realistic approach to budgetary problems."
The Preparation of Teachers at University B
University B is a land grant institution. The Department of Fine
Arts is Included In the College of Education, and music is one area
In this department. The curricula for the preparation of music
teachers has undergone frequent changes over a number of years. The
changes of the last decade can be grouped into four periods during which the curricula remained relatively unchanged.
In the first period, 19 1+7- 1*9» the curricula consisted of two
programs; one vith instrumental emphasis and the other with vocal
em phasis:
Instrumental Vocal
History of Music ...... History of Music ...... • 3 Music Appreciation .... Art of Listening ...... • 3 Harmony ...... Harmony ...... Keyboard Harmony ...... 3 Sightsinging & Dictation . . . 6 Conducting ...... Conducting ...... • • 3 Minor Instruments .... . 9 School Music Methods . . .• . 3 Instrumental Ensembles . .. 18 Minor Instruments .... • • 9 Principles of Singing . .. 2 Vocal Ensembles ...... Total 58 T otal ¥0
While neither program allowed credit for study on major applied or piano, a solo recital was a requirement in the major applied and the student was required to pasB a piano proficiency examination. 9 9
The second period chosen for the purpose of this study Included th e y e a rs 1950 - 5 2 :
Instrumental Vocal
History of Music ...... 3 History of Music ...... 3 Music Appreciation .... 4 Harmony...... 18 Harmony ...... 18 Conducting ...... 3 Conducting & Score Heading 6 School Music Methods ...... 5 Instrumental Methods . . . 9 Instrumental Methods ...... 6 Minor Instruments .... 6 Choral Ensembles ...... 7 Instrumental Ensembles . . 13^ P la n o ...... P la n o ...... k* T o ta l T o ta l
No credit vas allowed for Instruction In the major applied, although three quarters of Instruction vere specified as a requirement.
In the next period, 1953-55* only one curriculum for the training of music teachers vas presented, and this program vas designed pri marily for the instrumental student:
Music History ...... 3 Music A ppreciation ...... 3 Theory...... 20 Instrumentation ...... 6 Score Heading ...... 2 Secondary School Methods . . 3 Minor Instruments ...... 9 Major I n s tr u m e n t...... Instrumental Ensembles . . . 13y T otal tk
Standards of proficiency had to be met in the major applied, piano, and v o ic e .
In the fourth period, 1956-57* tvo curricula vere again intro duced, one for the instrumentalist and the other for the vocalist:
Instrumental Vocal
History of Music 6 History of Music ...... 6 T h e o r y ...... 21 T h e o r y ...... 21 Instrumentation & Arranging . 3 Instrumentation & Arranging . 3 Instrumental & Choral Conduct. 5 Instrumental & Choral Conduct. 5 100
Secondary School Methods . . . 3 Voice ...... • • ?! Major Instrument ...... * * Piano ...... Minor Instruments ...... 4 Minor Instruments .... V oice...... Phonetics...... * . Plano...... Choral Ensembles...... Choral Ensemble ...... 7 Instrumental Ensembles. . . . 6 Instrumental Ensembles . . . . 18 T otal T otal 06 ^ It is interesting that in the first two periods under considera
tion, there vas considerable variance between requirements for the
instrumental and vocal majors. The program for the Instrumentalist
vas more complete and more hourB vere required in this curriculum.
Unfortunately, the respondents who graduated from these programs gave
no indication which curriculum they followed.
In the first period, the absence of a school music methods course
is noticeable in the Instrumental program. The instrum entalist, however, was required to study 27 hours of theory, while his vocal
counterpart completed his program vith only 15 h o u rs.
Short of the school methods course, the instrumental program vas rather strong as a composite, although all ensemble participation vas directed toward instrumental groups.
The second period saw a decided reduction in theory in the instru mental program. At this time, however, a methods course vas added.
Harmony requirements were raised in the vocal program to equal that of the instrumental curriculum. The minor Instrument requirement in the vocal program vas replaced vith another methods course.
The third period in which the two programs vere unified vas in effect a strengthening of the choral program, vith the inclusion of the applied major within the structure for the first time. 101
Instrumentation and arranging bolstered the theory requirements to
26 hours, considerably more than for the previous period.
The last period reveals a substantial strengthening of programs vith the addition of 22^ hours, though the programs are separate once again. Participation In both Instrumental choral ensembles vas required for the first time, and more emphasis vas put upon the area of applied music.
Evaluation of Preparation by Graduates of University B TABLE 3^
REACTION OF MUSIC TEACHERS GRADUATED FROM UNIVERSITY B TO CERTAIN AREAS AND EIBJHITS IN THEIR UNDERGRADUATE PREPARATION FOR TEACHING AS VIEWED IN THREE CHRONOLOGICAL PERIODS
191*7-49 1950-52 1953-55 1956-57 Element or Area S tr . Weak * s S tr . Weak * s S tr . Weak * s S tr . Weak Its
Development of musicianship 2 3 40 3 2 60 4 1 80 3 4 42.9 Performance ability (Instrument or Voice) 4 1 80 3 3 50 3 2 60 4 2 6 6 .7 Theoretical knowledge 2 3 40 3 2 60 4 1 80 5 2 71.4 Gen. MubIc & Music Apprec. 3 2 6o 1 4 20 2 3 40 5 2 71.4 Conducting Procedures & Rehearsal Techniques 1 4 20 1 4 20 1 4 20 2 5 2 8 .6 Organization & Classroom Management 1 4 20 1 4 20 1 4 20 0 7 0 Knowledge & Skill with Minor Instruments 4 1 80 0 5 0 3 2 60 6 1 05.7 Relating Music to Children 2 3 40 0 5 0 0 5 0 2 5 2 8 .6 Acquaintance with music teaching materials 2 3 40 2 3 40 1 4 20 2 5 2 8 .6 Acquaintance vith music teaching techniques 1 4 20 1 4 20 2 3 4o 5 2 71.4 103
The first three periods shov a considerable gain in the develop* meat of musicianship, vith a drastic drop in effectiveness in the last period. The total number of hours in the curriculum vas increased by approximately tventy for this last period, so it can be assumed a decided shift of emphasis occurred. Further speculation is impossible from the information at hand.
Regard for the development of performance ability vas highest in the first period, then dropped to a position of moderate effective ness in the last period. It vould be impossible to conclude that the solo recital requirement in the first period, vhlch vas replaced in subsequent periods by study vithln the program, vas responsible for the success in this area at that time, although it most certainly could have been a factor.
The effectiveness in performance ability suffers in comparison vith that of University A. University B required much more ensemble participation than did University A, vhile University A concentrated more on instruction in major instrument or voice.
The theory program has shown improvement through the periods, but can be termed moderately effective in the last period. In comparison vith the same area in University A, this area is not as effective, nor are as many hourB devoted to theory study in University
B. Courses for Instrumentation and Arranging are listed in the last tvo periods of this program. This seems to be the basic difference in this area between the second tvo periods as compared vith the first tvo periods. lOh
Music appreciation has received emphasis through the programs,
as evidenced by specific courses for this purpose. All periods
except the last have such courses. The moat emphasis in credit hours
Is found In the first period. When music appreciation vas dropped
in the last period, the history of music added three hours, and it
is reasonable to assume music appreciation is an important aspect of
this expanded course.
Methods classes vould appear to be the logical place for prepara
tion in general music, and such courses appear rather consistently
throughout these programs. This Is much more so than vas evident in
the programs of University A, and a comparison of the effectiveness
of this area in the tvo schools vould Indicate University B to be— —
far superior.
Conducting procedures and rehearsal techniques appear consist
ently ineffective. ThiB is not readily explained by observing the
programs. Both choral and Instrumental conducting vere offerings
during the last period. In comparison vith University A, more credit
hours vere devoted to conducting, although the graduates did not
rate the courses as effective as did the graduates of University A.
One obvious difference betveen the courses in the tvo schools is the
emphasis in University A on laboratory experience. We can assume
this is a factor in the effectiveness of the courses.
The area of organization and classroom management received low
ratings throughout and the lovest possible rating for the last period.
Relating music to the child fared little better. These same areas
rated relatively low in the programs of University A also. As vas 105
suggested In the discussion of the progran in University A, observa
tions of school situations might help these areas. Seminars in
connection vith student teaching might also contribute to effective
n e s s .
Effectiveness of the study of minor instruments dropped to zero
in the second period after considerable stress during the first period
and a correspondingly high rating. In the second period, the study of
minor instruments vas completely dropped in the Vocal Major and
reduced in the Instrumental program. Perhaps the respondents vere
products of the Vocal program. All students since 1953 have been
required to study minor instruments. In comparison vith University A,
graduates of University B rated this area more effective. The reason
for this difference is difficult to understand, particularly since
University A required participation in ensembles in the minor instru
ments in addition to the regular course offerings.
Voice instruction or pedagogy vas not required of the Instru
mentalist until 1953* This is in contrast to the programs of
University A, vhich required voice study by all graduates throughout the periods under observation.
Acquaintance vith music teaching materials vas not effective in these programs. This same area vas relatively ineffective In
University A also. It vould appear more stress on materials 1 b needed
in all courses that are concerned vith pedagogy.
Acquaintance vith music teaching techniques has increased over the years, and sharply into the last period. In this area, graduates 106 vere more enthusiastic than vere the graduates of University A. The basic difference betveen the programs of the tvo schools is the
Inclusion of methods courses throughout all periods in University B.
Reactions to Certain Elements or Areas in Their Preparation by Teachers Prepared at University B
The composite ratings for listed elements relating to the teacher preparation program at University B are given in Table 35•
TABLE 35 REACTION CF MUSIC TEACHERS GRADUATED FROM UNIVERSITY B TO CERTAIN AREAS AND ELEMENTS IN THEIR UNDERGRADUATE PREPARATION FOR TEACHING Reaction of teachers to preparation Element or Area Strong Weak Development of musicianship 19 (55-956) 15 (W .l* ) Performance ability on Instrument or voice 21 (61 .8 ) 13 (38.2 ) Theoretical knowledge of music 23 (6 7 .6 ) 11 (32.4 ) General music and music appreciation 21 (61 .8 ) 13 (3 8.2 ) Conducting procedures and rehearsal techniques 9 (27-3) 2h (72. 7 ) Organization and classroom management 7 (20.6 27 (79-M Knowledge and sk ill vith Instruments of band and orchestra 17 (5 1 .5 ) 16 (U8. 5 ) Relating music to children 6 (1 7 .6 ) 28 (82.10 Acquaintance vith music teaching materials 11 (32 .M 23 (6 7 . 6 ) Acquaintance vith music teaching techniques 13 ( 38.2 ) 21 (6 1 . 8)
Graduates of University B, in comparison vith those of University
A, rated their musical preparation considerably weaker. The prepara tion in general music and music appreciation received a stronger rating in University B, as did several of the areas pertaining to teaching techniques* 107
SuggestIona for Improving the Mualc Teacher Preparation Program Made by Graduates of University B
The suggestions of graduates of University B for Improving the college music education program are listed In Table $6.
TABLE 36 SUGGESTIONS FOR IMPROVEMENT OF THE MUSIC TEACHER PREPARATION PROGRAM AT UNIVERSITY B MADE BY ITS GRADUATES
Number making Suggestions made by graduates suggestions
1. More emphasis needed on minor Instruments 11 32 M 2 . More attention to preparation for teaching general music and music appreciation 8 2 3 .5 3. Not enough student teaching - lengthen e x p e rie n c e 7 2 0 .6 U. Need for acquaintance with m aterials appropriate to various age levels 6 17.6 5. Courses and instruction Bhould be more practical, less theoretical 5 1U.7 6 . More stress needed on teaching techniques h 1 1 .8 7. Need more attention on classroom management and procedures k 1 1 .8 8. Need more concentration on lavs of learning and psychology of music teaching 3 8 .8 9. Teachers should be prepared in both vocal and Instrumental music 3 8 .8 10. Need greater concentration on rehearsal te c h n iq u e s 3 8 .8 11. More information on hov to organize groups, the music program, etc. 3 8 .8 12. Need more observations of teaching in the sc h o o ls 2 5 .9
Again, one Is struck by the sim ilarity in concerns and suggestions for improvement by the graduates of the differing institutions.
Although musical preparation vas rated substantially lover by grad uates of University B than ratings given University A for similar preparation, still none of the suggestions offered by graduates of 108
University B for the improvement of the program vere pointed in this
direction. Instead, most concerns centered in the music education area.
Emphases in the suggestions of graduates of University B for the
improvement of the music teacher preparation program listed in
T a b le 36 v e re :
1. Suggestions relating to increasing the preparation in minor
instruments vere aimed at developing more performing ability on
representative instruments from each family vith more time in the
curriculum devoted to this study. The need for small ensembles as a
vehicle for the development of performance ability vas mentioned
repeatedly.
2. Although responses from all graduates indicated 6l.8 per cent regarded their preparation strong for teaching general music and music appreciation, almost one fourth suggested improvement in and strengthen
ing of this area of preparation. Recommendations accentuated the need for a better understanding of the nature of general music; logical course content, sources of materials, and hov to "set the stage" for music appreciation.
3 . Comments regarding student teaching asked that more time in the curriculum be devoted to this activity and pointed out the advan tages of having student teaching earlier than the senior year. It vas felt more classes vould have greater significance following this experi ence and that it vould provide an earlier orientation into music teach in g .
4. Acquaintance vith materials appropriate to various age levels could be fostered if classes vould provide publishers' lists of graded 109
materials to serve as sources in the early years or teaching. One
respondent suggested student recitals vere an excellent means of hearing repertoire for solos and ensembles, and It vas his feeling attendance of all music students should be required for this purpose.
5 . It vas the consensus of opinion that courses and instruction vould be more practical If more work vere carried on In actual appli cation situations. Students teaching their classmates under super vision of the college Instructor vas viewed as a means of accomplishing this. Frequent observations vere also mentioned for keeping class work practical.
6 . Clinical help vas reconsnended In assim ilating teaching tech niques of a nature sim ilar to that discussed above In vhich the stu d e n t 1b given constructive criticism s of hiB techniques followed by opportunities in vhich to correct them.
7* There vere no elaborations on the particular phase of class room management and procedures vhich provided clues as to felt needs.
One respondent considered this area of sufficient Import to recommend a separate class devoted to this topic.
8 . Suggestions for Increased concentration on lavs of learning and the psychology of music teaching vere surprisingly few In view of the low rating given by these same graduates to the problem of relating muBic to children. While the 1 7 .6 per cent strong vas above the 9.1 per cent accorded University A f it is hard to understand why more concern vas not evidenced, particularly since this was the weakest rating given in the evolution of the program. 110
Concern vas centered on the need to know about the characteris
tics of the learner.
9* The variety of music offerings taught in the small schools
of Utah vas given as the reason all teachers should be prepared to
teach both vocal and instrumental music.
10. Suggestions relating to rehearsal techniques underscored the desirability of experiencing actual situations. Clinical help of the nature mentioned previously in a situation of actually rehearsing
a group of performers was called for. An interesting comment vas made in regard to stressing good performance fundamentals in rehearsals:
"Performance pressures force music instructors to 'polish his shoes over the mud* Instead of tackling the basic fundamental problems.”
11. There vas no elaboration on the need for more information on how to organize music groups, the music program, and other administra tive functions.
12. Suggestions for more observations of teaching in the schools stressed observations throughout the entire training program of good teachers at a variety of grade levels.
Summary
Music teaching positions in the state of Utah are predominantly at the secondary level. Slightly more than one third of the positions are instrum ental, w hile somewhat fewer are e ith e r choral or the combination choral and instrumental. Academic subjects are taught in addition to music in slightly less than half the teaching assignments.
The music teacher has a greater probability of teaching in an academic I l l field In schools vlth small enrollment. Mathematics, English, and history are the subjects most often taught by the music teacher, and over tvo thirds of the teachers teaching In academic areas are doing bo vlthout formal undergraduate preparation in these subjects.
School rfministrators felt the preparation of the music teacher as a teacher was relatively weak In contrast to his strong prepara tion as a musician. Neither does the music teacher fit the music program into the total school program as effectively as is desired.
The music teacher assumes hiB place effectively in both the musical and non-musical life of the community, and he should be prepared to teach an academic subject in addition to music, preferably English, social studies, or mathematics. The music teacher should be pro ficient in some performing medium. While it Is not essential that he be able to play the piano, it is desirable, particularly if the teacher is involved with vocal music.
Most music teachers in Utah were prepared at one of three institutions in Utah; University A, University B, or the University of Utah. Of the three institutions, University A has prepared the largest number of teachers. Graduates of Universities A and B regarded University A as possessing a significantly stronger program for the preparation of musicians than does University B, and both institutions were less effective in their preparation of the teaching aspects of music. The same general tendencies were noted by graduates from out-of-state institutions regarding their own preparation.
University A enjoys the best reputation of the Utah institutions for 1X2
its program and faculty, while geographic location was the determining
factor In enrollment at both the University of Utah and University B.
Suggestions for improvement or areas of concern most frequently
indicated by music teachers regarding their preparation for teaching
were as follows:
1. Need more emphasis on instruments of the band and orchestra
2. Need more preparation for teaching general music and music
appreciation
3. Need better acquaintance with music teaching materials
appropriate to various age levels
It. Need more student teaching with better supervision
5- Need more practical courses and instruction
6 . Need better acquaintance with teaching techniques and the
learning process.
The most frequently mentioned suggestions for Improvement or
areas of concern mentioned by school administrators regarding the
preparation of music teachers were as follows:
1. Need more Btudent teaching
2. Need bitter acquaintance with teaching techniques and the
learning process
3- Need greater appreciation for the place of music in the
total school program
1+. Need more preparation for teaching general music and music
appreciation
5. Need to be given practical helps in maintaining good disci p lin e . There vas common agreement betveen school adm inistrators and music teachers in that there should be more student teaching, more attention should be devoted to preparation for teaching general music and music appreciation, and there should be a better acquaintance vith teaching techniques and the learning process in the undergraduate preparation of music teachers. CHAPTER V
EVALUATION OP THE MUSIC EDUCATION CURRICULUM AT THE UNIVERSITY CT UTAH
One consideration In determining the effectiveness of a college preparatory program is the use to which graduates apply their preparation in their occupations. If a very large number of graduates of a music teacher preparation program go into music teach ing as a profession, this fact in itself would seem to reflect credit upon the preparation. If, on the other hand, significant numbers seek occupations outside of their field of preparation, then the reasons for these actions w ill in all probability be pertinent in an evaluation of their preparation. One has to recognize, of course, that many other factors (i.e ., the economic situation at a particular time) bear upon these decisions. Yet the fact remains that the character and quality of preparation for a profession is of major importance upon the career decision, in a ll professions.
Professional Activity of Utah Graduates
Almost half of the graduates are teaching music in the public schools. In addition to this, 16*9 per cent are either still studying music or are in occupations related to school music teaching. Of the seven studying music, five are attending the University of Utah, one
University A, and one is attending a university outside Utah. Those that are continuing their studies in music can be considered likely candidates for teaching positions in the near future.
While 9*5 per cent of the graduates are not actively engaged in
111* 115 the profession for vhlch their preparation vas primarily oriented,
nevertheless, the preparation In all cases could be considered a
distinct asset In these occupations. If this assumption Is correct,
then one can conclude that 6 5 .3 per cent of the graduates are engaged
In pursuits for vhlch their preparation should have been directly beneficial.
Of the total of 95 graduates Included In this study, 67 o r 7 0 .5
per cent now teach music In the schools or have at one time taught music in the schools.
TABLE 37 OCCUPATIONS OF PERSONS WHO GRADUATED FROM THE MUSIC TEACHER PREPARATION PROGRAM AT THE UNIVERSITY OF UTAH SINCE 19^6
Occupation Number P e rc e n ta g e
Teaching music in Utah public schools 36 3 7 .9 Teaching music in schools outside of Utah 10 10.5 S till studying music 7 7 .^ In fields related to public school music teaching 9 9 .5 In fields unrelated to public school music te a c h in g 33 3 ^ .7
TABLE 38 OCCUPATIONS OF PERSONS WHO GRADUATED FROM THE MUSIC TEACHER PREPARATION PROGRAM AT THE UNIVERSITY OF UTAH SINCE 19^6 AND ENTERED FIELDS RELATED TO PUBLIC SCHOOL MUSIC TEACHING
O ccupation Number P ercen tag e
Professional musician (performer) 2 2 2 .2 College Instructor in dance 1 11.1 Private music teacher 1 11.1 Music store operator 2 2 2 .2 Music teacher in college 3 33.3 116
TABLE 39
OCCUPATIONS CP PERSONS WHO GRADUATED FROM THE MUSIC TEACHER PREPARATION PROGRAM AT THE UNIVERSITY OF UTAH SQICE 19^6 AND ENTERED FIEIDS UNRELATED TO PUBLIC SCHOOL MUSIC TEACHING
Occupation Number P erc e n tag e
Housewife 11 33.3 Teaching in other fields 11 33.3 Office worker k 12.1 Salesm an 3 9 .1 C ounselor 1 3 .0 Police department 1 3 .0 Studying in another field 1 3 .0 In d u s try 1 3 .0
A standard for comparison for the professional activity of
University of Utah graduates Is provided In Table 40. Figures for the 1 2 y e a rs 1955 1953 represent a composite picture of a number of
states In vhlch persons were educated as music teachers.
^National Education Association Research Division, "The 1956 Teacher Supply and Demand Report/' Journal of Teacher Education, Vol. VII, No. 1, March, 1956 , p . 55*
National Education Association Research Division, "The I 95 I* Teacher Supply and Ecmand Report," Journal of Teacher Education, Vol. V, No. 1, March, 195^, p. 21. 117
TABLE 40 OCCUPATIONS OP PERSONS CERTIFIED TO TEACH MUSIC FROM THE UNIVERSITY OF UTAH IN 1959 AS COMPARED WITH OCCUPATIONS OP COMPARABLE GRADUATES IN 44 STATES GRADUATING IN 1955 AND GRADUATES IN 14 STATES GRADUATING IN 1953
Teaching Not teaching Out Other In o f Cont. Home- w ise s ta te s ta te T otal stu d ies making emp. M isc T otal U o f U graduates on May 1, 1959 37*9 10.5 4 8 .4 7*4 1 1 .6 3 2 .6 5 1 .6
GradB. in 44 s ta te s on Nov. 1 , 1955 51*5 1 7 .3 6 8 .8 5 .8 5*5 1 2 .0 7*9 3 1 .2
Grads. in 14 s ta te s on no no Nov. 1, 1953 f i g . f i g . 6 3 .6 6 .6 2 .7 14.7 1 2 .3 36.3
Graduates include those vho graduated between September 1, 1954 and A ugust 31> 1955*
^Graduates include those vho graduated between September 1, 1952 and August 31» 1953*
The percentage of Utah graduates teaching, either in-state or out-of-state, does not compare favorably with either comparison group.
It should not be expected that the figures for the University of Utah graduates would approximate those of the other two groups. The Utah graduates represent graduating classes over twelve years, while the comparison groups are composed of more recent graduates and, as will be indicated later in this section, the casualty rate to the profession of Utah graduates Is high the first two years. If thiB same fact is operative in graduates everywhere, this would account for some of the difference in figures in Table 40. It is extremely doubtful, however, that this fact can explain the entire difference. The higher 118
percentage of graduates continuing studies In Utah represents a
healthy situation, unless, of course, these graduates were not able
to secure teaching positions. The significantly higher percentage
of women going into homemaking represented by the figures of Utah
graduates can also be partially explained by the longer time-span
covering these graduates.
Of th e 27 University of Utah graduates vho never entered the
music teaching profession represented in Table Ul, one fourth gave a
reason that no suitable jobs were available, and most of these grad
uates named this as their primary reason. One can speculate as to
the possibilities of vhat would constitute a "suitable" Job. Perhaps
Jobs were available, though not in the proper geographic location for
the teaching candidate, or it is conceivable that working conditions were
not to the candidate's liking, or perhaps he was unable to Becure a
position after applying, or no positions were available. Whatever the
situation, in the largest number of instances either the profession
rejected the candidate or the candidate rejected the profession.
TABLE Ul REASONS STATED BY GRADUATES OF THE MUSIC TEACHER PREPARATION PROGRAM AT THE UNIVERSITY OF UTAH SINCE I 9U6 FOR NOT ENTERING PUBLIC SCHOOL MUSIC TEACHING Second T h ird P e rc e n ta g e P rim ary in in p e o p le Reasons stated re a s o n imp. imp. s t a t i n g No suitable jobs were available 6 1 0 2 5 .9 Feeling of Inadequacy for music te a c h in g 2 U 0 2 2 .2 Continued studies 5 1 0 2 2 .2 Desired other field of teaching 6 0 0 2 2 .2 No desire to enter teaching field U 0 1 1 8 .5 Salary not adequate l 1 0 7-U Family considerations (marriage, etc.) 1 1 0 7.U B etter employment elsewhere 2 0 0 7.U 119
The reason listed by the second highest number as being of
primary Importance for not entering the teaching field vas that of
a desire to get into another area of teaching. It Is difficult to
understand why a person would pursue a preparation lasting four years
for teaching in an area in which he vas not vitally interested.
Speculation suggests several possibilities. The student may not have realized what music teaching vas actually like until his student teaching experience, and with this experience normally coming in the
latter part of the senior year, the time may have been too late to consider a change in program. Orientation to the profession may have been entirely lacking; and this, of course, should come early in the program.
Another possibility giving rise to the stated reason may have been an unpleasant experience or series of experiences late in the
preparation which altered the student*s desire to enter music teach
ing. Whatever the cause, the reason does not speak veil for the
preparation of those people for the profession they initially chose.
One can only conclude there were bitter disappointments and disillusion to give rise to the feeling of rejection. If the stu dents were not suited or qualified to pursue their preparation, then they should not have been allowed to do so.
Another reason which received support vas that of continuing music study. These people cannot be considered lost to the profession.
It can be presumed these graduates are potential teaching candidates
and still interested In the profession. 120
A reason listed by 22.2 per cent vas that of a feeling of
Inadequacy for music teaching. This may In some cases have been a
personality problem In vhlch the graduates suffered an Inferiority
complex, or the preparation may have left so many unansvered questions vhlch the student teaching experience brought to light that the
graduates vere filled vlth doubts. In either case, the preparation
apparently left something to be desired In providing good experiences
and arousing confidence in students. A lack of counseling and
personal guidance and interest in the Btudent vould also be indicated.
Obviously the graduates did not share in the University's confidence
in them .
No desire to enter the teaching field vas the reason listed by
18.5 per cent of those vho did not enter music teaching. The dis
cussion above centering around the desire to teach In another field
is pertinent here, also. In addition, a practice folloved by music
students vho have performance ambitions is to pursue the music educa tion curriculum and receive certification for teaching vhich they
consider as a security measure to be resorted to in the event their plans for performance or other primary ambitions are thwarted.
The remaining reasons received little support. 121
TABUS 4 2 REASONS STATED BY GRADUATES OP THE MUSIC TEACHER PREPARATION ntOGRAM AT THE UNIVERSITY OEP UTAH SINCE 1946 FOR LEAVING THE MUSIC TEACHING PROFESSION
Listed by former teachers as: Second Third P e rc e n ta g e P rim ary in in p e o p le Reasons for leaving music teaching re a so n imp. imp. stating Inadequate salary 4 3 0 3 3 .3 Family considerations (marriage, etc 6 0 0 2 8 .6 Problems vith school administration 1 3 0 1 9 .0 Frustration in dealing vith young people 1 1 1 14.3 Too many hours consumed on the Job 2 0 1 Ilf. 3 To return to school for further stu d y 2 1 0 1 4 .3 Enjoyed other fields of teaching more 2 1 0 14.3 Social restrictions on personal life 1 0 1 9-5 Feeling of inadequacy to cope vith musical problems 1 0 1 9 -5 Unhappy in role as a teacher 0 1 1 9 .5 Too much traveling in connection vith teaching 1 0 0 4 .8 More interesting vork elsevhere 0 1 0 4 .8
Of the 21 graduates vho left the profession, 17 or 8 0 .9 p e r c e n t
previously taught in Utah and four or 19*1 per cent outside Utah.
The primary reason given most frequently by these former teachers for
leaving the profession vas that of family considerations. This seems
reasonable for oftentimes vomen resign from teaching after marriage.
The next most frequently mentioned primary consideration vas that of inadequate salary. When secondary reasons are considered
along vith primary, inadequate salary vas mentioned the most number of times and could be considered a major factor in the dissatisfaction of at least one third of the teachers vho changed occupations. This is particularly interesting vhen compared vith the fact that inadequate 122 salary apparently kept a very snail percentage from entering the pro fession as stated In Table Hi.
Problems vith school administration were a factor vith approxi mately one fifth of the former teachers. Perhaps the graduates vere unsympathetic vith the administrator's role, or perhaps proper orientation to the school situation and personal relations vere not given sufficient emphasis in the graduate's preparation. At the same time, it is probable that some problems arose over vhlch the teacher vas rendered relatively helpless. Serious scheduling problems or inadequate administrative support may veil have led to strained relationships.
Frustration in dealing vith young people vas indicated by one seventh of the group in varying degrees of importance. Implications may be tvofold here. Either the teacher's personality vas not compat ible to the teaching function or he had an inadequate understanding of young people—their interests, capabilities, and hov they learn. In either instance, repeated exposure to actual teaching situations and a study and observation of children in learning situations may be a step to eradicate this problem by moving more in this direction in the teacher preparation program.
The dissatisfaction vith too many hours consumed on the job expressed by three people vould seem to indicate an idealistic picture of music teaching vas shattered vith the actual situation. Every teacher candidate is entitled to a realistic, practical orientation to the profession for vhich he is preparing. Problems and disadvan tages should receive thorough consideration by the candidate before he 1 23
has pro greased far in his preparation. It is also possible that
Job demands vere unreasonable and teachers are entitled to some free
time to refresh themselves, Intellectually and emotionally.
The remaining reasons advanced have little significance for
this study, except that three persons preferred teaching in other
fields. This adds weight to the problem brought to light elsewhere
in this study of the strain connected vith music teaching.
The one item vhich could have been named by a larger number of
persons that vould have indicated a healthy trend was that of return
ing to school for further music study.
TABLE U3
NUMBER CfF YEARS OF MUSIC TEACHING OF UNIVERSITY OF UTAH GRADUATES BEFORE LEAVING THE PROFESSION
Y e a rs o f Number leaving P e r c e n ta g e T e a c h in g music teaching
1 9 1+2.9 2 8 3 8 .1 3 1 1+.8 1+ 1 1+.8 5 0 0 6 l i+.e 7 0 0 8 1 1+.8
The heaviest casualties to music teaching occur during the first
two years. When this is considered in light of the two most prevalent
reasons for leaving the profession, one can observe a relationship.
It is understandable when women quit teaching after marriage (they may be "recaptured" several years later). Men, however, take on
added responsibilities vith marriage and Inadequate salaries may force
some to look elsewhere for financial security. 124
If teachers can survive the first tvo years, their chances of remaining in the profession become much greater. Their financial status should begin to improve at this time also.
TABLE 44 GRADE LEVELS TAUGIfT BY GRADUATES CF THE UNIVERSITY OF ITT AH AS MUSIC TEACHERS BEFORE LEAVING THE PROFESSION
Percentage of graduates Level(s) taught Number Percentage now teaching at grade level
E lem en tary 4 1 9 .0 17.4 Elementary and se c o n d a ry 5 2 3 .8 8 .7 Junior high 6 2 8 .6 2 6 .1 Senior high 2 9 .5 3 4 .8 S econdary 4 1 9 .0 1 3 .0
An examination of Table 44 of the grade levels taught by teachers vho left the profession is revealing, when compared vith the grade levels being taught by all the University of Utah graduates. The per centage of teacher drop-outs at a given grade level should be commen surate vith the percentage of teachers teaching at that particular level. The percentages correspond rather closely for all grade levels except tvo. A large discrepancy exists betveen the number of teachers teaching all the grades and the teachers of those grades leaving the profession. The loss of teachers here 1 b significantly greater than is the percentage of positions at this level. This vould seem to
Indicate more dissatisfaction among teachers teaching all the grades.
Another discrepancy is found at the senior high school level.
Here the situation is reversed. There are a considerable number of teachers teaching at this level, but few teachers at this level leave 125 the profession. It vould appear teachers are deriving a greater amount of satisfaction at this level. Other factors undoubtedly enter for consideration. The school Bystem in vhich a teacher teaches music at all grade levels is in all probability lov in enrollment. A music teacher devoting all his time to a high school, on the other hand, deals vith a moderately large enrollment and a certain degree of specialization in music teaching.
TABLE 1*5 REASONS FOR LEAVING UTAH TO TEACH MUSIC IN OTHER STATES ADVANCED BY GRADUATES OF THE MUSIC TEACHER PREPARATION PROGRAM OF THE UNIVERSITY OF UTAH
Second T h ird P e rc e n ta g e Reasons for leaving Utah Prim ary in in peo p le to teach elsewhere Reason imp. Imp. s t a t i n g
Better salary 12 3 0 8 3 .3 Better Job, more opportunities 1 5 1* 55*5 Better vorking conditions 1 3 1* 1*1*. 1* Geographic or family considerations 2 2 0 2 2 .2 Less religious domination 2 0 0 11.1
Of the 18 people vho left the state and accepted teaching jobs elsevhere, but not necessarily teaching at present, the large majority advanced the reason of a better salary opportunity. The fact that they did secure teaching positions outside the state vould indicate that teachers' salaries in Utah suffer by comparison vith those of some of the neighboring states.
While a better job and better vorking conditions vere not men tioned in many Instances as the prime reason for leaving the state, nevertheless, they vere mentioned as contributing factors by a con siderable number. 126
The remaining reasons stated did not receive widespread support as being representative for prompting teachers to leave Utah to seek teaching positions elsewhere.
Summary
Slightly more than one third (37*9 per cent) of the graduates s in c e I 9U6 are teaching music in Utah. The number of Utah graduates who are in music teaching does not compare favorably with those of other states. Reasons stated most frequently by University of Utah graduates for not entering music teaching were: no suitable jobs available, feeling of inadequacy for teaching, continued studies, or desired other field of teaching.
Of the graduates included in the study, 70.5 per cent taught music at one time or do so now. Reasons most often stated for leaving music teaching vere inadequate salary, family considerations, and problems vith school administration. By far the largest majority left teaching during the first tvo years of their teaching career. Positions vhich had the highest incidence of losses to the profession vere those vhich involved music teaching assignments in elementary grades through high sc h o o l.
Reasons given moat frequently by those graduates vho left Utah to teach music vere better salary, better Job with more opportunities, and better vorking conditions.
Development of Music Teacher Education at the University of Utah
The first offering in 1917 of a teaching major in music at the 127
University of Utah consisted of 19^ quarter hours divided as follows:
6 hours of vocal music literature, 8 hours of orchestra and If hours of band participation, and 1^ hours in a study of methods and plans for music teaching.^
The following year the minimum hours In music vere raised to 31* with the addition of theory and history of music courses. An expan sion of methods and practice teaching raised the total number of hours t o 36 in 1922.
In 1933 the music requirements vere expanded again. A teaching major vas set by the University as containing 36 t o U5 hours, but the music major of the same year constituted V 7 hours. The require ments included 12 hours of history and appreciation, 21 hours of theory, 4 hours of public school methods, and 10 hours of applied music. Student teaching vas included in the professional education requirements after 1923-
In 1937 a teaching minor in music of from 18 to 30 hours vas added to the offerings. Curriculum requirements vere left to the discretion of the head of the music area.
^The University of Utah vas first organized as the University of the State of Deseret in 1850 by the Incorporation Act vhich fixed authority in a Chancellor and a Board of Tvelve RegentB elected by the state legislature. When a new charter vas granted in 1892, th e governing board, under appointment of the governor, vas reduced to nine members, including the Chancellor. It vas at this time that the name of the University vas changed to the University of Utah. State legislation in 1911 again altered the governing body to include the Secretary of State and the President of the University. In 1875 a Normal Department vas created for the preparation of teachers. Vocal music entered the Normal course offerings in 1882, and six years later a Department of Music vas established as a part of the School of Arts and Sciences. The Normal School developed into the State School of Education in 1910. 1 2 8
The Public School Muaic Major vaa first offered in 1940; it con
s i s t e d o f 9 hours of history and appreciation, 27 hours of theory
including orchestral arranging, 4 hours of music methods in the
schools, and It hours of m aterials and conducting for a curriculum total of 44 hours. In addition, 10 to 15 hours of applied music were reconmtended. This vas an obvious attempt to increase the program substantially beyond the 45 hour maximum set for the teaching major.
For practical purposes, the recommendation may be considered the same as a requirement. Observation and student teaching remained an education requirement; it was offered for 12 hours credit and con sisted of one-half day of teaching in the schools of Salt Lake City for one quarter under supervision of the education faculty.
From this point, all curricula were designed to prepare music teachers for teaching in secondary schools.
In 1946 the curriculum for the Public School Music Major was as f o llo w s :
Music appreciation ...... 9 Music theory ...... 32 Sightsinging and ear training .... 3 H a rm o n y ...... 18 Form and analysis ...... 2 Keyboard harmony ...... 6 Orchestration & orchestral arranging. 3 Music methods in the schools ...... 2 Choral & Instrumental materials and conducting . . . 4 T o ta l 47 Band, Orchestra & Chorus recommended 10-15
In 1947 the College of Fine Arts was established, and music became a department within this college. The curricular offering remained the same, vith the exception that applied music study was now added to the formal requirements, instead of being recommended only. The following year the School of Education became the State
College of Education. At thla time the program underwent further
expansion with the Introduction of a study of minor Instruments.
Orchestration and arranging were eliminated from the program.
Music Theory 36 Elementary and advanced theory 30- S o lfe g g io ...... 6 Music Methods in the Schools ...... k Minor Instruments ...... 6 Choral conducting and materials ( Band conducting and materials ( choice Orchestra conducting and m aterials( T o ta l U9 Recommended: Music Survey (History) . . 9 Band, orchestra and chorus T o ta l
Again, certain courses were recommended and the total hours far exceeded the U 5 hour maximum f o r th e te a c h in g m ajo r. I t i s in c o n c e iv able that students would be allowed to graduate without study in music history. Until this time such a course was included within the requirements; here, however, along with applied music, it is simply a recommended course.
Teacher candidates presently maintain dual enrollment in the
University College and the College of Education until the general edu cation requirements have been met. These requirements consist of 9 hours in each of the following areas: biological sciences, humanities, physical sciences, social sciences, basic communications, and 5 h o u rs in orientation and physical education to complete 50 h o u rs.
Admission to teacher education is on the basis of grade point average, health examination, and personality aptitude. Upon comple tion of the general education requirements, the candidate maintains 130
enrollment only In the College of Education. Professional education
requirements consist of 35 hours, Including 8 hours of student
teaching and 3 hours of music teaching methods, although the latter
is administered in the Department of Music.
The first composite teaching major vhich combined preparation
in both choral and instrumental music vas offered in 1950. The curri
culum vas expanded considerably vith the folloving additions: three
separate courses vere set up in arranging; instrumental conducting
vas divided and combined vith band methods and orchestra methods for
3 hours each, and choral conducting separate from choral methods and
m aterials for combined 6 credit hours; group voice vas introduced for
2 hours and the study of minor instruments increased to 8 h o u rs.
This vas the composite program:
MubIc h i s t o r y ...... 12 Music th eory ...... 35 Music theory ...... 2b Keyboard harmony ...... 2 M usical s t y le s and f o r m ...... 2 Band arranging ...... 2 Orchestra arranging ...... 2 Choral arranging ...... 3 Band methods and conducting ...... 3 O rchestra methods and c o n d u c t in g ...... 3 Choral methods and materials ...... 3 Choral conducting ...... 3 Minor instrum ents ...... 8 Group v o i c e...... 2 One year participation in instrumental organizations One year participation in choral organizations .... T o ta l
The next significant change in the curriculum, and the last, came
in 1953 * vith the addition of the 26 -hour applied music requirement.
This, of course, added to the total hours in the program. Other changes included separating conducting and instrumental methods. 131
The program from 1953 through 1958 vas as follows:
Music histo ry ...... 12 Music th eo ry ...... 35-36 M usic t h e o r y ...... 23 Advanced theory or keyboard ...... If o r 3 Band arranging ...... 3 Orchestra arranging ...... 3 Choral arranging ...... 3 Choice from following (after consultation) ...... 10 Minor Instrum ents ...... 6 Voice class ...... 2 Conducting (either choral or band) . . . 3 Instrumental methods and m aterials ...... 3 Choral methods and m aterials ...... 4 Private applied ...... 26 Private Instruction ...... 18 Ensemble participation ...... 8 __ T o ta l 91
In addition to the above requirements, the student must also
" . . . acquire a thorough practical knowledge of the pianoforte."^
Evaluation of the Music Education Program at the University of Utah by Graduates
Graduates were asked to rate the value of certain elements within the areas of music history and literature, music theory, performance, and music education to them as musicians and teachers. In addition, they were asked to indicate the degree to which each of the elements in the four areas was provided in their undergraduate preparation.
Academic records at the University of Utah of graduates from the music teacher preparation program go back only to 19^6, so this study is limited to graduates of that year and those who have since graduated.
For the purpose of this study, graduates are considered to be those
\lniversity of Utah Catalogue, Vol. U 3 , No. 8, May, 1953, P* 199. University of Utah Press, Salt Lake City. 132 vho have successfully completed the music teacher preparation program, vith either a teaching major in music or a composite in music.
TABLE 46 NUMBER OF HOURS CF MUSIC STUDY OF GRADUATES FROM THE UNIVERSITY OF UTAH PARTICIPATING IN THE STUDY
Quarter hours in music Number of graduates Percentage
110 o r over 5 5.3 105-109 1 1.1 100-104 2 2 .1 95-99 7 7.4 90-94 9 9-5 85-89 15 15.8 80-84 17 17.9 75-79 10 10.5 70-74 11 11.6 65-69 10 10.5 60 -64 7 7.4 585 1 1.1
TABLE 47 NUMBER OF GRADUATES BY YEAR OF GRADUATION PARTICIPATING IN STUDY IN RELATION TO TOTAL NUMBER CF GRADUATES FOR EACH YEAR
Percentage Total number Percentage of Year o f Number o f o f T o ta l of Graduates Grads for Year G rad u atio n Respondents Respondents f o r Year Responding
1946 4 4 .2 5 8 0 .0 1947 2 2 .1 5 4 0 .0 1948 5 5.3 8 6 2 .5 1949 7 7 .4 9 77-7 1950 7 7 .4 10 7 0 .0 1951 10 10.5 15 6 6 .6 1952 7 7 .4 10 7 0 .0 1953 9 9 .5 13 6 9 .2 1954 6 6 .3 10 6 0 .0 1955 6 6 .3 7 8 5 .0 1956 6 6 .3 8 7 5 .0 1957 13 13.7 14 9 2 .9 1958 13 13.7 18 7 2 .2 133
Computations and Numerical Meaning of Ratings
To determine the value and degree of provision of the various
elements In the curriculum, the responses for each element vere
averaged to determine the mean response for the graduates. Mean
response vas determined by:
Each category of response vas given a numerical value. Not at
all vas represented by 1, Meager vas 2, Considerable vas 3, and Great
vas 4. The total number of responses vas multiplied by the numerical
value of the category in vhich the responses vere made. The totals
vere added and the sum vas divided by the total number of responses.
For example, If 5 graduates responded 'not at all' to the value
of a certain item, 21 responded meager, 62 responded considerable,
and 7 responded great, the calculations vould be as follovs:
5x1.5 21 x 2 • 42 6 2 x 3=186 7 x 4 . 28
5 / 42 / 186 / 28 . 261 261 ♦ 95 • 2*747
The mean response iB 2.747, vhich falls betveen the "meagern and
"considerable" categories. This numerical value vas used to veigh the
composite responses.
Evaluation of the Music History and Literature Area by Graduates
Evaluation of the Music History and Literature Area by graduates,
in order to ascertain emphases over the years, is considered within
four periods betveen 1946 and 1958 vithin vhich curriculum changes
vere slight. These evaluations are summarized in Tables 48 and 4 9. TABLE 1*8 EVALUATION BY GRADUATES OF ELEMENTS IN THE MUSIC HISTORY AND LITERATURE AREA OF THE MUSIC TEACHER PREPARATION PROGRAM DURING FOUR PERIODS IN ITS DEVELOPMENT AT THE UNIVERSITY OF UTAH
Elements in Music History 191*6-1*8 19*9-50 1951-53 195*-5B and Literature Area V alue P ro v isio n V alue P ro v is io n V alue Provision Value Provision
4usic of ancient, medieval and polyphonic periods 2.1*83 2 . 1*1*0 2 . *76 2.6 1 9 2 .9 1 9 2.876 2 . 8*6 2.835 ^usic of the classical and romantic periods 3.21k 2.895 3.103 2.93* 3.312 2.917 3.305 3.032 Modern and contemporary m usic 3.226 2.011 2.973 2 .0 8 2 3. 28* 2.*51 3-112 2 .3 0 6 Comparison of styles of music 3.201* 2.33* 3 -0*2 2.256 3.513 2.650 3.*77 2 . 33* Integration of the various arts 3.156 1.889 2.922 1.623 2.985 1.990 3.065 1.912 Lives of composers 3.1*9 2 . 6 UU 2 . 82* 2 . 2*2 3 .O87 2 .6 1 9 3.19* 2 .6 2 2 135
TABLE 49 COMPARISON OF DIFFERENTIALS RESULTING FROM FELT VALUE RATINGS OF ELEMENTS IN THE MUSIC HISTORY AND LITERATURE AREA BY GRADUATES AND THE DEGREE OF PROVISION IN THE PROGRAM ACCORDING TO PERIODS IN THE DEVELOPMENT OF THE TEACHER PREPARATION CURRICULUM AT THE UNIVERSITY OF UTAH
D ifferential betveen felt value Elements in Music History and and degree of provision Literature Area 1946-48 1949-50 1951-53 1954-58
4uslc of ancient, medieval and polyphonic periods -0 .0 4 3 /0 .1 4 3 - 0 .0 4 3 - o . o i l 4uslc of classical and romantic p e rio d s - 0 .3 1 9 - 0 .1 6 9 -0 .3 9 5 -0 .2 7 3 Modern and contemporary music -1 .2 1 5 -0 .8 9 1 - 0 .8 3 3 - 0 .8 0 6 Comparison of styles of music - 0 .8 7 0 - 0 .7 8 6 - 0 .8 6 3 -1 .1 4 3 Integration of the various arts -1 .2 6 7 -1 .2 9 9 - 1.005 -1 .1 5 3 Lives of composers -0 .5 0 5 - 0 .5 8 2 -0 .4 6 8 -0 .5 7 2
As the area of music history and literature is viewed during the various stages of development in the music education program at the
University, one should keep in mind the apparent changes have been small. The first period saw emphasis on music appreciation, though little is indicated in the ratings to reflect an emphasis different from that in other periods. The one striking discrepancy in this period as compared vith those following seems to be greater unfulfill- ment within the realm of modern and contemporary music. Other than thiB, lacks in the remaining elements appear relatively consistent with those noted in other periods.
The second period saw the removal of music history from the curriculum, but nevertheless, recommended. The responses of graduates would indicate the recommendation may be considered as a requirement for all practical purposes, for all respondents took the course. 136
Emphasis changed from appreciation aa described above to one of a survey of music in this period, as evidenced by the title of the course. This survey apparently focused predominantly on music of ancient, medieval, and polyphonic periods, or so the degree of provision vould reflect in terms of the felt value of the graduates.
The degree of provision significantly surpasses the expressed value.
The third period saw the survey course re-enter the list of required courses with the added prestige of an additional 3 c r e d i t hours. It can be assumed this four-hour course per quarter signified increased emphasis and a proportionate amount of increased prepara tion time. There is little from the responses to indicate the cover age of material was more adequate or included greater depth.
There was no apparent change in the offering in thiB area in the last period, nor vere the reactions of graduates significantly different. The over-all areas of inadequacies remain relatively con sistent throughout the four periods for each of the elements under consideration.
The three elements which stand out by reason of their high differentials during the last period, as well as throughout all the periods, are modem and contemporary music, comparison of styles of music, and integration of the various arts. One can conclude prepara tion has been consistently inadequate with regard to these elements.
The mean differential of the entire area for the last period is -O. 658 .
Composite valuations and opinions as to degree of provision of elements in this area of all graduates throughout the twelve-year period are presented in Table 5 0 . 1 3 7 TABLE 5 0 EVALUATION OF ELEMENTS IN THE MUSIC HISTORY AND LITERATURE AREA OF THE MUSIC TEACHER PREPARATION CURRICULUM AT THE UNIVERSITY OF UTAH BY ITS GRADUATES
V alu e a s a D eg ree o f Element in the Music History M u sic ia n Provision in D ifferential and Literature Area and Undergraduate T e a c h e r Program
Music of ancient, medieval and polyphonic periods 2 .6 8 1 2 .6 9 2 / 0 .0 1 1 Music of classical and romantic periods 3*23^ 2 . 9U7 - 0 .2 8 7 Modern and contemporary music 3 .1 ^ 9 2 .2 1 3 - 0 .9 3 6 Comparison of styles of music 3 .3 0 9 2 .3 9 3 - 0 .9 1 6 Integration of the various arts 3 .0 3 2 1.851 - 1.181 Lives of composers 3 . 06 U 2 .5 3 2 - 0 .5 3 2
The responses indicate that one element vithin this area is
receiving more emphasis than its apparent value vould warrant. Music
of the ancient, medieval and polyphonic periods as an element was valued the least and received stress beyond the felt need. Two possibilities present themselves. Either too much time was devoted to music of these periods, or the instructors did not successfully relate the significance of these periods to those which followed down to music of today. The differential in excess of provision over felt value is, however, very slight.
The element valued most highly was that of comparison of styles of music. This Implies a desire for more stress on music an! the ways in which it has changed as it progressed through history. It also suggests a closer examination of the differences in styles of writing of composers of a given period. 138
The greatest need reflected by the largest differential In Tsble
50 is for Increasing awareness of the arts and their development of styles, along with those in music. This broadening would seem to have merit, particularly in face of the need for general music teachers to idiom such a background would be of great value.
The second greatest need within this area is for a deepening of concentration on modern and contemporary music.
Graduates indicated a desire to know more about the lives of composers. The inference has been drawn in a foregoing discussion that concentration properly belongs on the music, and it is hoped that music of the composers be the focal point with only enough facts about the composer and the circumstances in which the work was com posed to provide a deeper and more complete understanding of the music.
It Is all too easy and common to dwell on insignificant, Irrelevant facts or statistics which do not result in deeper insights. The fact that a composer had nine children, or none, is normally irrelevant.
The widespread travels of a composer, on the other hand, may be signi ficant, if it can be demonstrated that as a result of this traveling, certain influences of other composers appear in compositions after that time. Unfortunately, a detailed study of the life of a composer is no assurance that his music will be better understood. Inferences must be drawn throughout.
Music of the classical and romantic periods was valued second highest of all elements rated, and one can conclude from the degree of provision that this element has been receiving more consideration 139 than did other elements, though not quite to the degree graduates vould wish.
Weaknesses felt to be true of preparation In this area as noted by graduates are summarized in Table 51*
TABLE 51 WEAKNESSES LISTED BY GRADUATES IN THE AREA OF MUSIC HISTORY AND LITERATURE OP THE MUSIC TEACHER PREPARATION PROGRAM AT THE UNIVERSITY OP UTAH
G rad u ates Listed weakness T eachers o f m usic* O ther P ercen tag e Class served also as humanities, thus content "watered down" 3 (A.5) 1 (3 .7 ) A. 3 M aterial and presentation unorganized 2 (2 .9 ) 1 (3*7 3-2 Integration of various arts received little or no emphasis 3 (A .5) 0 3 .2 Too much emphasis upon ancient and technical aspects of musicology 2 (2 .9 ) 1 (3 .7 ) 3 .2 Too little emphasis on modem and contemporary music 3 (A .5) 0 3 .2 Too much concentration on composers' lives, too little on their music 2 (2 .9 ) 1 (3 .7 ) 3 .2 Classes too large 1 (1 .5 ) 2 (7*A) 3 .2 Too much emphasis upon minute detail, lacks integration 2 (2 .9 ) 0 2 .1 Lack in comparison and under standing of musical styles 1 (1 .5 ) l (3 -7 ) 2 .1 Classes uninteresting 1 (1.5) 1 (3.7) 2 .1 T o ta ls 20 (2 9 .9 ) 8 (2 9. 6 )
^Teachers of music Include all graduates who are presently teach ing In the public schools or those who have taught. The remaining graduates are included In the "other" category.
Five teachers listed the music history and literature area as a strong area, adequately treated; they accounted for 7. A per cent of their group and one non-teacher, representing 3 .7 per cent of h is i 4 o colleagues. The total of six making this response constitute 6.4 per cent of the total graduates.
A complaint arose from the fact that the music history and litera ture class also served as a humanities class for non-music majors, therefore content vas "watered down" and geared to students with little or no background in music. In known instances, this situation arose because of scheduling problems in which music majors were forced to take the humanities section. It can be presumed that this would account for some if not all of the criticisms pointed in this direc tion. The humanities course at best Is a very bad substitution, and class scheduling should be worked out so that this choice is not necessary.
Many of the listed weaknesses speak for themselves and need no elaboration.
Suggestions made by graduates for improving this area are sunmarlzed in Table 52. TABLE 52 SUGGESTIONS MADE BY GRADUATES FOR THE IMPROVEMENT OF THE MUSIC HISTORY AND LITERATURE AREA OF THE MUSIC TEACHER PREPARATION PROGRAM AT THE UNIVERSITY OF UTAH Respc rise 8 Suggestions Teachers Other Percentage 1 . Music students should be given instruction separate from humanities 6 (9 .0 ) 4 (1 4 .8 ) 1 0 .6 2 . More emphasis upon in teg ra tio n of the various arts 9 (1 3 .4 ) 1 (3 -7 ) 10.6 3. Increased attention to modern and contemporary music 8 (1 1 .9 ) 2 (7 .4 ) 10.6 4 . More listening to & discussion of music, fewer lectures about raus ic 6 ( 9. 0 ) 2 (7 .4 ) 8 .5 [ Ikl
TABLE 52 ( c o n t ’d )
R espon se s Suggestions a c h e rs O th er P e rc e n ta g eTe
5. More emphasis upon recognition & comparison of musical styles 5 (7 .5 ) 2 (7 .* 0 6 . Better organization of material for presentation 1 ( 1 . 5 ) 1 ( 3 .7 ) 2 .1 T o ta l 35 12
Emphases in the suggestions of graduates for improvement in the
music history and literature area listed in Table $2 w ere:
1. Music history classes containing both humanities and music
students are not able to progress as rapidly as the background of
music students would permit, and content is "watered down." Much
time is consumed in orienting humanities students to the subject,
a practice which music students feel superfluous to their needs. By
grouping music students separately, technicality and progress could
be in proportion to interest and ability.
2. There were no elaborations to the recommendations for more
emphasis upon integration of the various arts.
3* Comments relating to the need for increased attention to modern and contemporary music noted the fact music of these periods was left to last and was only hastily dealt with due to insufficient remaining time. The music of today should receive strong emphasis for better understanding. Application resulting from this acquaintance
i s g r e a t .
L. Comments calling for more involvement with music and fewer lectures pointed out that too much time is devoted to irrelevant ll+2 details about music. Graduates would hope for discussions growing out of listening to music.
5- The appeal for more emphasis In the recognition and compari son of musical styles again seemed to be rooted in a more detailed study of the music, as this respondent indicates:
Classes in this area could be Improved considerably by the study of actual music in identifying styles, forms, harmonic structure, and the classification of music In periods by the identifying elements in it. I see no reason for memorizing themes.
6 . The request for better organization of material for presenta tion centered on instructors holding more closely to syllabi. The discussion to point 3 above is a case in point.
Evaluation of the Music History and Literature Area by Seniors
Seniors in the music education program valued various elements in the Music History and Literature Area as indicated in Table 53 along with their indication of the degree of provision in the program.
TABLE 53 EVALUATION OF ELEMENTS IN THE MUSIC HISTORY AND LITERATURE AREA OF THE MUSIC TEACHER PREPARATION PROGRAM AT THE UNIVERSITY OF UTAH BY SENIORS IN THE PROGRAM V alue a s a D eg ree o f Element in the Music History M u sician Provision in D ifferential and Literature Area and Undergraduate T e a c h e r Program
Music of ancient, medieval, & polyphonic periods 3.1+55 2.727 -0.728 Music of classical and romantic periods 3 .6 3 6 2 .6 3 6 - 1 .0 0 0 Modern & contemporary music 3 . 5^5 2.091 -1.1+51+ Comparison of styles of music 3-5^5 2 .1 8 2 -I .363 Integration of the various arts 3 - 36U 1.1+55 -1.909 Lives of composers 3 .0 9 1 2 .1 8 2 -0.909 3*3
Seniors listed a few weaknesses they considered to be true of
thla area. These weaknesses are given in Table 5^*
TABLE 5k WEAKNESSES LISTED BY SENIORS IN THE AREA CF MUSIC HISTORY AND LITERATURE OP THE MUSIC TEACHER PREPARATION PROGRAM AT THE UNIVERSITY OF UTAH
T im es Listed Weakness L i s t e d P e r c e n ta g e
Too much emphasis upon minute detail, lacks integration 2 1 8 .2 Integration of the various arts received little or no emphasis 1 9 .1 Too much emphasis upon ancient and technical aspects of musicology 1 9 -1
No strengths in this area were volunteered by seniors.
Suggestions for improvement of the Music History and Literature
Area are summarized In Table 55*
TABLE 55 SUGGESTIONS MADE BY SENIORS FOR IMPROVEMENT OF THE MUSIC HISTORY AND LITERATURE AREA OP THE MUSIC TEACHER PREPARATION PROGRAM AT THE UNIVERSITY OP UTAH
T im es Suggestions L i s t e d P e r c e n ta g e
Better organization of m aterial for presentation 3 2 7 -3 More emphasis upon recognition and comparison of musical styles 2 1 8 .2 More emphasis upon integration of the various a r t s 2 1 8 .2 Increased attention to modern and contemporary m u sic 2 1 8 .2
Evaluation of the Music Theory Area by Graduates
Evaluations of the Music Theory Area by graduates as considered in four periods during the development of the curriculum are presented in Tables 56 and 57* TABLE 56 EVALUATION BY GRADUATES OF ELEMENTS IN THE MUSIC THEORY AREA OF THE MUSIC TEACHER PREPARATION PROGRAM DURING FOUR PERIODS IN ITS DEVELOPMENT AT THE UNIVERSITY OF UTAH
Elements In the Music 1 ^ 6 -4 8 l9**9-50 1951-53 195^-58 Theory Area V alue Provision Value P ro v isio n Value Provision Value P ro v isio n Sightsinging and ear t r a in in g 3.727 2.920 3.786 2.939 3,81*0 3.170 3.750 2.965 Melodic, rhythmic and harmonic dictation 2.979 2.798 3.570 2.912 3.630 3.083 3.1*31* 3.100 Knowledge of scales and modes 3-333 2.798 3.203 2 .814 3.580 3.196 3.515 2.991 Harmonizing melodies 3.303 2.957 3.21*1* 3.373 3.390 3.360 3.1*62 3.591 Keyboard 3.222 2.353 3.397 2.223 3.560 2.81*0 3.1*29 2.535 Harmonic analysis 3.031 2.786 2.887 2.732 2.992 2.91*0 3.189 3.11*8 Contrapuntal techniques 2.595 2.535 2.631 2.776 2.662 2.792 2.796 2 . 60 I* Rules for port-writing 3.076 2.827 2.981 3.311* 3.198 3.300 3.31*2 3.1*89 Original composition (smaller forms) 2.767 2.5^5 2.611 2.357 2.61*0 2.280 2.813 2.1*09 Form and analysis 2.836 2 . 1*98 2.71*9 2.1*37 3.160 2.687 2.987 2.679 W riting simple accompani ments 3.363 2.373 3.000 2.171 3.320 2 . 1*20 3.318 2.805 Orchestra arranging 2.515 2.388 2 .9 8 9 2.175 2 . 91*0 3.280 2.901 3.129 Band arranging 2.680 2.367 2.957 2.092 3.160 3.026 3-01*5 3.110 Choral arranging 2.986 2 .6 8 9 3.029 2.762 3.296 3.169 3.327 3.380 Clef reading 3.1^1 2.31*3 3-264 I. 78I* 3.1*50 2.590 3.323 2 . 1*11 li*5 TABI£ 57 COMPARISON OF DIFFERENTIAL RESULTING FROM FELT VALUE RATINGS OF ELMENTS IN THE MUSIC THEORY AREA BY GRADUATES AND THE DEGREE OF PROVISION IN THE PROGRAM ACCORDING TO PERIODS IN THE DEVELOPMENT OF THE TEACHER PREPARATION CURRICULUM AT THE UNIVERSITY OF UTAH
Differential between felt value Elements in Music Theory Area and degree of provision 191*6-48 191*9-50 1951-53 1954-58 SightsInging and ear training -0 .8 0 7 -0.81*7 - 0.6 7 0 - 0.785 Melodic, rhythmic and harmonic d ic ta tio n - 0.181 - 0.658 -0 .5 4 7 -0 .3 3 4 Knowledge of scales and modes -0 .5 3 5 -O.389 - 0 . 381* -0 .5 2 4 Harmonizing melodies -0 .3 4 6 /0 .1 2 9 -0 .0 3 0 / 0 .1 2 9 Keyboard - 0 .8 6 9 -1 .1 7 4 - 0.720 - 0.894 Harmonic analysis -0 .2 4 5 -0 .1 5 5 -0 .0 5 2 - 0 . 01*1 Contrapuntal techniques - 0.060 /0 .1 4 5 / 0.130 - 0.192 Rules for part-writing -0 .2 4 9 /0 .3 3 3 / 0.102 / 0.147 Original composition (smaller form s) - 0.222 - 0.254 - 0.360 -o .4 o 4 Form and analysis -0 .3 3 8 - 0.312 -0 .4 7 3 - 0.3 0 8 W riting simple accompaniments -0 .9 9 0 -0 .8 2 9 - 0.900 - 0.513 Orchestra arranging -0 .1 2 7 -0.814 /0.340 / 0.2 2 8 Band arranging -0 .3 1 3 - 0.865 - 0.134 / 0.065 Choral arranging -0 .2 9 7 - 0.267 -0 .1 2 7 / 0.053 Clef reading - 0.798 -1 .4 8 0 - 0 .8 6 0 - 0.912
The music theory area throughout the four periods at first glance appears to have undergone numerous changes, although on clo ser observation it is apparent much of the content remained the same but was organized differently. The total number of hours in the area rose from 32 to36 between l$h6 and 1958* The various organization of courses, however, does reveal certain changes in emphases on occa sion. For example, keyboard was a separate course required for 6 hours credit in the first period. Differential between felt value and degree o f provision was -O86 . 9 . The second period had no separate course in keyboard, and it is assumed this was absorbed into elementary and advanced theory courses. A drop in effectiveness is noted in 146 keyboard during this second period with the rise In the differential to >1.174. Keyboard harmony again appears as a separate course during the third period, although this time for 2 hours credit, and the differential drops to - 0 . 720, indicating better satisfaction vlth this element in relation to the second period, but still an indica tion of inadequate preparation. Keyboard was again absorbed into the theory course during the last period, vlth an option of a separate
3 hour keyboard class; there is little change in apparent effective ness of preparation, however.
Other than the arranging courses, the differences reflected in the ratings of various periods cannot be explained from an examination of the curricula of those periods.
Orchestral arranging was required in the program of the first period. It will be noted that differential ratings were relatively low during the first period for all three elements of arranging. This can perhaps be explained by the fact that many techniques in arranging for orchestra also apply to arranging.for band. A number of instru ments are the same and much transposition is common to both; thus, it would be logical for the graduate to feel somewhat grounded in arranging for band. Choral arranging, on the other hand, is based for the most part on the four-part writing usually basic to most harmony courses, and a person with two years of harmony or theory study should certainly not be at a loss for the basic tecnhiques of choral a rra n g in g .
In the second period, the orchestra arranging class was dropped from the requirements, and a high differential results when values 11*7 are compared vlth degree of provision. Significantly, the differen tia l in choral arranging remains low.
The third period includes the addition of three arranging courses vlth a drastic drop in differentials for the Instrumental arranging. The differential for orchestra arranging indicates a greater degree of provision than was deemed necessary. There are tvo possible explanations. The first and most obvious is that dupli cation existed betveen orchestra and band arranging. The second is that the need is not aa great for orchestral arranging because of the fever string programs in the schools as compared vlth bands. The last period saw greater emphasis put on these same courses, vith the addition of one credit hour each to orchestra and band arranging.
The relatively low differential ratings received in this area in the last period, as veil as throughout all periods, vould suggest preparation has been consistently strong, vith few exceptions. Clef reading, keyboard, sightsinging, and eartraining vould appear to be in need of attention. A shift in emphasis vould seem to be indicated.
A very low mean differential of -0.286 for the entire area in the last period is an indication of the high regard held by graduates for their preparation in the music theory area.
Composite valuations and opinions as to degree of provision of elements in this area of all graduates throughout the twelve-year period are presented in Table 58* 148
TABLE 5 8 EVALUATION OF ELEMENTS Bf THE THEORY OF MUSIC AREA OF THE MUSIC TEACHER PREPARATION PROGRAM AT THE UNIVERSITY OF OTAH BY ITS GRADUATES
Value as a Degree o f Element in the Theory M usician Provision in Differential of Music Area Anri Undergraduate Teacher Program Sightsinglng and ear training 3 .7 6 6 3 .0 0 0 - 0 .7 6 6 Melodic, rhythmic and harmonic d ic ta tio n 3 .4 0 4 2 .9 7 9 -0 .4 2 5 Knowledge of scales and modes 3 .4 1 5 2 .9 5 7 -0 .4 5 8 Harmonizing melodies 3 .3 6 2 3 .3 6 2 - Keyboard 3.1+04 2 .5 0 0 -0 .9 0 4 Harmonic analysis 3 .0 3 2 2 .9 1 5 - 0 .1 1 7 Contrapuntal techniques 2 .6 9 2 2 .6 7 0 - 0 .0 2 2 Rules for part-writing 3 .1 6 0 3 .2 3 4 /0 .0 7 4 Original composition (smaller forms) 2 .7 1 3 2 .3 8 3 -0 .3 3 0 Form and a n a ly sis 2 .9 3 6 2 .5 1 1 -0 .4 2 5 Writing simple accompaniments 3 .2 5 5 2 .U57 -0 .7 9 8 Orchestra arranging 2 .8 3 0 2 .6 9 4 - 0 .1 3 0 Band arranging 2 .9 3 6 2 .6 4 3 -0 .2 9 3 Choral arranging 3 .1 6 0 2 .9 9 5 -0 .1 6 5 Clef reading 3 .3 0 9 2 .2 9 8 - 1.0 1 1
The element of moat value to graduates in the music theory area was that of sightsinglng and ear training. Although the graduates indicated they received considerable emphasis in this aspect, they d e s ir e s t i l l more con cen tration .
The next tvo elements listed include many of the rudiments of music. These were valued very highly also, but the needs are being met more adequately than was true in the instance of sightsinglng and ear tr a in in g .
Clef reading, while rating quite high in felt value, has not been adequately provided. Likewise, keyboard received a high value 149 rating and a substantially lower rating for degree of provision in the curriculum, indicating that more stress should be placed here, also.
The same thing could be said for the writing of simple accompaniments.
It should be noted that harmonizing melodies, while receiving
a high value rating, likewise has been stressed to the graduate*s complete satisfaction. Rules for part-writing, on the other hand, received more emphasis than the value vould warrant. This is not to
suggest that graduates did not value this element; it was rated of more than "considerable" value.
Weaknesses felt to be true in the Music Theory Area by graduates are listed in Table 59-
TABLE 59
WEAKNESSES LISTED BY GRADUATES IN THE AREA OF MUSIC THEORY
Graduates Listed weaknesses Teachers® Other Percentage Too little ear training and sightsinglng 5 (7-5) 1 (3-7, 6.4 Weak in keyboard 4 (5-9) 2 (7.h] 6.4 Arranging classes not geared to teachers' problems, but rather, geared to the professional arranger 3 (4.5) 2 (7.V 5-3 No unified approach among teachers or between classes 2 (2.9) 1 (3-7 3-2 Duplication in various arranging classes - wasted time 3 (4.5) 1 (3-7. 4.3 Contrapuntal techniques over emphasized 2 (2.9) 0 2 .1
teachers of music include all graduates who are presently teach ing in the public schools, or thOBe who have taught. The remaining graduates are included in the 'Other* category.
The need for more sightsinging and ear training indicated by the listed ratings is underscored by 6.4 per cent of the graduates volun 150 teering this lock as a weakness. The same weight is alBO In support of the lack of sufficient keyboard experiences as constituting a weakness. This substantiates the rating differential between felt value and degree of provision in the program relating to keyboard.
Two separate elements, both relating to the arranging classes, reveal weaknesses. Classes are criticized for covering much of the same material, and the emphasis In those classes is addressed to the needs of the professional arranger. These two elements, when taken together, would indicate that 8.5 per cent of the total graduates consider the arranging classes as constituting a weakness in this area.
The lack of a unified approach to the teaching of theory would make articulation between theory classes difficult, and continuity would be lacking. While a relatively small number of graduates singled this out as a weakness, it still constitutes a consideration which should not be overlooked.
Strengths volunteered by graduates regarding this area are listed in Table 60 .
TABLE 60 STRENGTHS LISTED BY GRADUATES IN THE AREA OF MUSIC THEORY
Graduates Listed strength Teachers Other Percentage Very strong area 10 (14.9) 6 (22.2) 17.0 Arranging classes good 1 (1.5) 1 (3-7) 2 .1 Good coverage of a ll phases of the area 1 (1.5) 0 1.1
The fact that 26.6 per cent of the graduates listed weaknesses in this area, while 20.2 per cent listed strengths, would indicate, 151 in general, that the area la held In high regard. Of interest la the f a c t t h a t 2 .1 per cent considered arranging classes as a strength, w h ile 8 .5 per cent were of the opinion they constituted a weakness.
The suggestions of graduates for Improvement In the music theory area are summarized In Table 6 l .
TABLE 61 SUGGESTIONS MADE BY GRADUATES FOR THE IMPROVEMENT OF THE MUSIC THEORY AREA OF THE MUSIC TEACHER PREPARATION PROGRAM AT THE UNIVERSITY OF UTAH
R esponses Suggestions Teachers Other P erc e n ta g e
1. More extensive work in sight singlng and ear training 12 (1 8 .0 ) 2 (7 .M 1U.9 2. Eliminate duplication in arranging classes, make more p r a c t i c a l 9 (13-M 1 (3 .7 ) 10.6 3. More emphasia upon functional keyboard experiences 6 (9 .0 ) 2 (7 .^ ) 8 .5 U. Performance of works arranged in class for evaluation 7 ( 10. k) 0 7 -1* 5. Student consultation, individ u a l h e lp 5 ( 7 .5 ) 0 5 .3 6 . Unity of approach used by all theory teachers, continuity of c la s s e s 3 (^ .5 ) 1 (3 -7 ) fc.3 J. More practical application to music teaching 3 0 3 .2 8. Use of placement teste, classes segregated according to ability 1 (1 -5 ) 1 (3 . 7 ) 2 .1
Emphases In th ese suggestions fo r improvement o f the music theory area given in Table 6l were:
1. In suggesting more extensive work in sightsinglng and ear training, one graduate not in teaching suggested that a "separate class devoted entirely to ear training, sightBinging and dictation would help," and a music teacher suggested the need for a laboratory 152
each quarter devoted to these same things. This suggestion received
considerable support. An interesting observation of one respondent vas echoed by two others. It was, "Dictation vould be a more practi
cal medium for most teachers if presented by vocal and instrumental
g ro u p s."
2. Either arranging classes should be coordinated or combined to eliminate duplication. The latter view was supported by the majority since there is much in common between band and orchestra arranging. Classes should be geared to the needs of the music teacher,
and not those of the professional arranger or composer.
3* Keyboard was slighted or omitted entirely from the prepara tion of some of the graduates which prompted the recommendation for more emphasis here.
U. It vas emphasized that arranging class offered most graduates no opportunity to hear works they arranged, and such lack, it was felt, rendered questionable the learning experiences in these classes.
5* In suggesting student counseling and individual help, graduates recommended frequent consultations throughout the courses based upon noted weaknesses at entrance. It vas also indicated that instructors were frequently not available for help outside of class tim e .
6 . A lack of a uniform approach to teaching music theory by instructors prompted suggestions that classes be taught on a depart mental rather than individual basis in a correlated program of instruction. 153
7' Desirability for more practical application to music teaching
received no elaboration. Two instances vere discussed previously, those of arranging classes geared to music teachers, and the use of
instrumental and choral ensembles for dictation as a more realistic
practice in preparing teachers.
8. Segregation of classes according to nuslcax ability through placement tests vas looked upon as a means of gearing progress more realistically to all members of the class, also the tests vould serve
as providing an excellent basis for a counseling program.
Evaluation of the Music Theory Area by Seniors
Valuations and opinions as to degrees of provision of elements
in the Music Theory Area by seniors are given in Table 62.
TABLE 62 EVALUATION OF ELEMENTS IN THE MUSIC THEORY AREA OF THE MUSIC TEACHER PREPARATION PROGRAM AT THE UNIVERSITY OF UTAH BY SENIORS IN THE PROGRAM
Value as Degree of Elements in the Music Musician Provision in Differential Theory Area and Undergraduate Teacher Program
Sightsinglng and ear training 3.818 3.000 - 0.818 Melodic, rhythmic and harmonic dictation 3*545 3.182 - 0.363 Knovledge of scales and modes 3-727 2.909 - 0.818 Harmonizing melodies 3.364 3-364 - Keyboard 3.727 2.091 -I .636 Harmonic analysis 3.636 3.091 -0.545 Contrapuntal techniques 3.000 2.455 -0.545 Rules for part-vrit ing 3.727 3.545 - 0.182 Original composition (smaller forms) 3.000 2.455 -0.545 Form and analysis 3.273 2.091 - 1.182 Writing simple accompaniments 3.455 2.909 -0.546 Orchestra arranging 3.545 3.091 -0.454 Band arranging 3.636 3.091 -0.545 Choral arranging 3.545 2.909 - 0.636 Clef reading 3.455 2.545 - 1.000 15^
Seniors listed no weaknesses In the music theory area. Rather, f o u r o r 3 6 .U per cent listed this area as being the strongest and best part of the training.
Suggestions for improvement In the music theory area were limited to two reconmendatlons that more emphasis Bhould be placed upon func tional keyboard experiences. This number represented 18.2 per cent of the seniors.
Evaluation of Music Performance Area by Graduates
Evaluations of elements in the Music Performance Area by graduates as considered in four periods during the development of the curriculum are presented in Tables 63 and 6k. TABLE 63 EVALUATION BY GRADUATES OF ELEMENTS IN THE MUSIC PERFORMANCE AREA OF THE MUSIC TEACHER PREPARATION PROGRAM DURING FOUR PERIODS IN ITS DEVELOPMENT AT THE UNIVERSITY OF UTAH
Elements in the Music 191*6-48 191*9-50 1951-53 195^-58 Performance Area V alue P ro v isio n V alue P ro v isio n V alue Provision Value P ro v is io n
Private study in major performance medium 3*727 3.066 3.786 2.824 3.560 2.7 7 6 3.602 3.201
Large choral ensembles 3-*55 2.5*5 3-286 2 . 711* 3.320 2.61*0 3.3*1 2.727 Small vocal ensembles 3.182 2.000 2.857 1.786 3.120 2.198 3.136 2 . 0*5 Band and orchestra 2.813 2 .U98 3.571 3.029 3.590 3.220 3-*11 3.123 Small instrumental ensembles 2.817 1.973 3.376 2.053 3.531 2.521 3 .3 9 8 2.*95 Solo performance 3.000 1.872 3-1*29 1.706 3 . 1*80 2.990 3.3 8 9 2.036 Attendance at concerts 3.293 3.000 3 . 1*1*9 2.786 3-7*0 3 . *00 3.588 3.250 Instrumental conducting 3**55 2 .2 7 9 3-571 1.986 3 . 1*1*0 2 . 1*51 3.*77 2.**8 Choral conducting 3-*3* 2.1 5 9 3.551 1.961* 3.1*62 2.210 3**59 2 .* 0 9 Actual conducting experience 3.889 1.756 3.691 I .691 3.659 1.996 3 . 8** 1.902
Score reading 3-3*2 2 .ll* l’ 3.786 I .836 3.790 2.3 3 0 3.671 2.232 Knowledge of musical terms 3.656 2 .9 3 9 3.601 2 . 21*1* 3.810 2.710 3.702 2.871
\J! VI 156
TABLE 61+ COMPARISON OF THE DIFFERENTIALS RESULTING FROM FELT VALUE RATINGS OF EIEMENTS IN THE MUSIC PERFORMANCE AREA BY GRADUATES AND THE DEGREE OF PROVISION IN THE PROGRAM ACCORDING TO PERIODS IN THE DEVELOPMENT OF THE TEACHER PREPARATION CURRICULUM AT THE UNIVERSITY OF UTAH
D ifferential between felt value Elements id Music and degree of provision Performance Area 191+6-1+8 191+9-50 1951-53 195 I+-58 Private study in major perform ance medium - 0 .6 6 1 - 0 .9 6 2 -0 .7 8 4 - 0 . 1+81 Large choral ensembles - 0 .9 1 0 -0 .5 7 2 - 0 .6 8 0 - 0 . 611+ Small vocal ensembles - 1 .1 8 2 -1 .0 7 1 - 0 .9 2 2 - 1 .0 9 1 Band and orchestra -0 .3 1 5 -O.5 I+2 - 0 .3 7 0 -0 .2 8 8 Small instrumental ensembles - 0 . 8M+ -1 .3 2 3 - l . o i o - 0 .9 0 3 Solo performance - 1 .1 2 8 -1 .7 2 3 - 0 . 1+90 -1 .3 5 3 Attendance at concerts -O .293 -0 .6 6 3 - 0 . 31+0 - 0 .3 3 8 Instrumental conducting - 1.176 -1 .5 8 5 - 0 .9 8 9 -1 .0 2 9 Choral conducting -1.275 -1.587 - 1 .2 5 2 -I .0 5 0 Actual conducting experience -2 .1 3 3 - 2 .0 0 0 - 1 .6 6 3 - 1 . 11+2 Score reading - 1 .2 0 1 - 1 .9 5 0 - 1 . 1+60 -1.1+39 Knowledge of musical terms -0 .7 1 7 -1 .3 5 7 - 1 .1 0 0 - 0 .8 3 1
Several curricular changes are reflected in the ratings of graduates of the various periods. Private study on the major perform ance medium, while available, vas not required through the first three periods. It can be assumed more students entered into private study during the last period with the requirement, and the differential between felt value and degree of provision dropped noticeably.
While band, orchestra, and chorus were recommended for participa tion during the first three periods, participation was required in the fourth. Ratings reflect no apparent change due to this. The factor of the value of participation of an instrumentalist in a choral group or a choral person whose primary interest is choral of participation in an instrumental group presents a problem in rating. 157
Each person is likely to value participation only in the group of his primary concern, or wherein lies his major performance medium. With
Buch Interests, he vould not likely seek participation in other
groups, and vould thus respond to the negative both as to value and degree of participation in regard to the groups lying outside his realm of interest. This tendency vas noted in the responses of
graduates, and would point to a weakness in the questionnaire.
Neither instrumental nor choral conducting vas required during
the first period, though the choice of band, orchestra, or choral
conducting combined vith the study of appropriate materials vas
required for three hours in the second period. In light of this
change, the rise in differentials betveen felt value and degree of
provision for both instrumental and choral conducting betveen the
first two periods is inexplainable. The addition in the third period
of courses including conducting in each of the fields brought a drop
in the differential, though not to the extent one might expect.
Perhaps the combination of band or orchestra methods vith the study of
conducting was Ineffective. In the last period conducting came into
its own as a course, although here the student had to choose betveen band or instrumental conducting and choral conducting. The high differentials would indicate this was not a satisfying solution.
The differentials for the last period point to deeply felt needs
in all elements dealing vith conducting. All four items concerning
conducting, and score reading is so included, received a differential
rating of over -1.0. Opportunities for solo performance with a
-1.353 rating, as veil as opportunities to participate in small 158
ensembles, vould seem to be the elements in which preparation or
participation have been most inadequate. A mean differential of
-O.879 for all elements in the area for the last period indicates the dissatisfaction felt by graduates for their preparation and oppor tunities in this area.
Composite valuations.and opinions as to degree of provision of elements in this area of all graduates throughout the twelve-year period are presented in Table 65 .
TABLE 65 EVALUATION OF ELEMENTS IN THE PERFORMANCE AREA OF THE MUSIC TEACHER PREPARATION PROGRAM AT THE UNIVERSITY OF UTAH BY ITS GRADUATES
V alue as a D egree of Element in Performance Area M usician Provision in Differential and Undergraduate T eacher Program Private study in major perform ance medium 3.670 2.947 -0 .7 2 3 Large choral ensembles (chorus, etc.) 3-340 2 . 66 o - 0.680 Small vocal ensembles 3.096 1.979 -1 .1 1 7 Band and orchestra 3.351 2.9 6 8 -O.383 Small instrumental ensembles 3.287 2.287 -1 .0 0 0 Solo performance 3.319 1.915 -1 .4 0 4 Attendance at concerts 3.521 3.106 -0 .4 1 5 Instrumental conducting 3.457 2.287 - 1.170 Choral conducting 3.468 2.202 - 1.260 Actual conducting experience 3.766 1.862 -1 .9 0 4 Score reading 3.638 2.149 -1.489 Knowledge of musical terms 3.691 2.703 - 0.988
The high regard held by graduates for the value of the perform ance area is reflected by the fact that every element received a composite value rating of more than 3*0 which is above the "consider able" category. The high differentials between felt value and degree 159 of provision indicate many of the needs in this area are not being
adequately met. Of similar significance is the fact that actual con ducting experience, while receiving the highest felt value rating,
is being provided for least adequately in the curriculum. Score reading, a related practice, follows closely behind conducting experience in both respects.
It was found that elements pertaining solely to vocal or exclu sively to instrumental music were rated generally high or low, depending upon the involvement of the graduate with choral or instru mental music. Those participating in both areas tended to value each area equally high, and occasionally a specialist in one phase found value In its counterpart. The resulting composite value ratings include these occasional wide discrepancies in valuation.
Weaknesses in this area noted by graduates are listed In Table 66.
TABLE 66 WEAKNESSES LISTED BY GRADUATES IN THE AREA OF MUSIC PERFORMANCE IN THE MUSIC TEACHER PREPARATION PROGRAM AT THE UNIVERSITY OF UTAH
G raduates Listed Weaknesses Music Other Percentage T eachers No opportunity for practical conducting experience and score re a d in g 6 (9 .0 ) 3 (1 1 .1 ) 9 .6 Little or no solo opportunities 5 (7-5) 3 (11-1) 8.5 Lack of emphasis in study on major p erform ing medium 7 ( 10.U) 1 (3-7) 8.5 Too little opportunity for ensemble participation at all levels of a b i l i t y * (5-9) l (3-7) 5-3 Scheduling conflicts betveen vocal and instrumental participation 2 (2 .9 ) l (3-7) 3 .2 1 6 0
The high differentials betveen felt value and degrees of pro vision for both actual conducting experience and score reading are verified by 9.6 per cent of the graduates listing this most frequently as a weakness in the performance area.
Opportunities for solo performance likewise received a high differential and is substantiated by the frequency this vas mentioned as constituting a weakness. Nowhere in the program is the student required to perform a solo, and only rarely is the opportunity avail able, A rare opportunity is provided for a soloist to appear with one of the large performing groups, and in these instances, only the most talented are so honored.
Lack of emphasis in study on a major performance medium can possibly be accounted for in the manner in which study is conducted.
A rather large number of teachers of voice and instruments throughout the metropolitan area of Salt Lake have been certified by the
University of Utah to give instruction for which University students may receive credit. A fee of from thirty-five to fifty dollars is charged, depending upon the reputation and background of the teacher, for each two credit hours of study. There has been little or no known attempt to standardize objectives of this instruction or to set uniform levels of attainment. Emphasis in instruction is entirely of the instructor's choosing, and students are at liberty to study with any of the instructors approved by the University. Much of this instruction is carried on off campus, and the student is never required to appear before a member of the University faculty to play an i6 i
examination or audition to determine the adequacy of performance.
Grades are given solely by the Instructor. While some of the instruc
tion Is of the highest calibre, it is understandable how graduates or
students can arrive at the conclusion that little emphasis Is devoted
to this aspect of their study.
Tne last fev years have seen some small ensembles organized vithin the program, but participation has been neither required nor
stressed. On occasion, an ensemble has been organized for a public performance, and for this purpose only the best talent is encouraged.
Scheduling conflicts arise between participation in chorus and band. Both groups have for many years been scheduled at 12:00 noon.
For a Btudent wishing to participate in both, this is definitely a problem .
Strengths felt to be true in this area by graduates are listed in
T a b le 6 7 .
TABLE 67
STRENGTHS LISTED BY GRADUATES IN THE AREA OF MUSIC PERFORMANCE IN THE MUSIC TEACHER PREPARATION PROGRAM AT THE UNIVERSITY OF UTAH
G ra d u a te s Listed strength T e a c h e rs O th e r P e rc e n ta g e Good opportunity to participate in large musical organizations 2 (2 .9 ) 1 (3 .7 ) 3 .2 Availability of excellent concerts t o a tte n d 2 (2 .9 ) 0 2 .1 Excellent training and experience in this area 2 (2 .9 ) 0 2 .1
Both the choral and instrumental large musical organizations have been unusually active in presenting concerts and participating In 162 various kinds of musical productions. Students wishing to participate vith these groups are very rarely denied membership.
Each of the University groups presents several concerts on campus each year. In addition, the Utah Symphony has a regular yearly series of concerts with veil known guest artists from time to time. These concerts are available at reduced rates to University students. The
Utah Symphony also provides several on-campus concerts each year which are of no expense to students. Soloists and small ensembles, as well as symphony orchestras and m ilitary bands, come regularly for appear ances either on campus or somewhere in the Salt Lake area. A ballet department within the College of Fine Arts presents several produc tions yearly, and a sunnier festival series features musical shows and o p e r a s .
The suggestions of graduates for improving the music performance area are summarized in Table 68.
TABLE 68 SUGGESTIONS MADE BY GRADUATES FOR IMPROVEMENT OF THE MUSIC PERFORMANCE AREA OF THE MUSIC TEACHER PREPARATION PROGRAM AT THE UNIVERSITY OF UTAH R esp o n ses Suggestions T e a c h e rs Other Percentage 1. More conducting experience with live groups 3*+ (5 0 .7 ) 11 0 * 0 .7 ) **7*9 2. More opportunity for solo performance - encouraged and/or required 16 (2 3 .9 ) 5 (1 8 .5 ) 2 2 .3 3. More opportunity for participa tion and performance in small ensembles at all levels o f a b i l i t y 1U (2 0 .9 6 (2 2 . 2 ) 2 1 .3 L. More emphasis on private study 6 ( 9 .0 ) 2 ( 7 - 1*) 8 .5 163
TABLE 6 8 (cont'd)
R esponses Suggestions Teachers Other P erc e n ta g e 5. More opportunity for partici pation in band, orchestra and chorus (5*9) 2 (7 -1*) 6 .U 6 . More should be done with student recitals 5 (7*5) 1 (3*7) 6 .U 7 * Heed for student musical productions (5*9) 2 (7**0 6 . 1* 8. Orchestra personnel limited to students, no professionals 3 (^*5) 1 (3*7) 9. Students should be required to participate in both vocal and instrumental groups 3 ( M ) 0 3 .2
Emphases in these suggestions for improvement as listed in
T ab le 68 w ere:
1. Feeling was unanimous that conducting cannot be learned effectively without experience in conducting groups of musicians.
Four ways were suggested in which this opportunity could be provided:
(a) by small ensembles, (b) by classmates performing for student conductors, (c) by organizing a band, orchestra, and chorus in which participants perform on minor instruments, and (d) by the University band, orchestra, and chorus. Music conducted should be appropriate for school use. Criticisms by both performers and the instructor were seen as an important adjunct to the practical conducting experi en ce.
2. In recommending that there be more opportunity for solo per formance, five teachers suggested such appearances be required regularly, while the remainder suggested these performances should be l6U encouraged. All agreed the appropriate vehicle for the soloist vould be student recitals,
3- Those suggesting more opportunity for participation and per formance In small ensembles at all levels of ability vere divided among those who vould require such participation (9) end those who vould recommend participation (ll),
4. Concern for study In the major performance medium was that there should be definite published standards and requirements for study and that they be adhered to rigidly. Two respondents recom mended increasing the length of time required for this study.
5 . Opportunity for participation in band, orchestra, and chorus has been limited due to scheduling conflicts caused by two groups rehearsing at the same time.
6. Attendance at and participation as a soloist or in an ensemble in student recitals should be required of all students studying privately.
7. Opportunities for participation in student productions should be provided as preparation for working with school musicals as music t e a c h e r s .
8. Comments pertaining to the use of professional musicians in the University orchestra were prompted by the practice of employing musicians to supplement the orchestra at performances. Feelings expressed vere that this practice robs student participants of valu able experiences; that emphasis should be on the development of the
Btudent rather than on the performance. 165
9. The recommendation that students should participate In both vocal and instrumental groups received no elaboration.
Evaluation of Music Performance Area by Seniors
Valuations and opinions as to degrees of provision of elements
in the Music Performance Area by seniors are presented in Table 69-
TABLE 69 EVALUATION OF ELEMENTS IN THE MUSIC PERFORMANCE AREA OF THE MUSIC TEACHER PREPARATION PROGRAM AT THE UNIVERSITY OF UTAH BY SENIORS IN THE PROGRAM
V alu e as D eg ree o f Element in the Music M u sic ia n Provision in Performance Area and Undergraduate D ifferential T e a c h e r P rogram Private study in major perform ance medium 3-5*5 3 -2 7 3 - 0 .2 7 2 Large choral ensembles 3.36U 3 .0 0 0 -0 .3 6 4 Small vocal ensembles 3 .0 0 0 1.818 - 1.182 Band and orchestra 3-727 2 .5 * 5 - 1.182 Small instrumental ensembles 3-**55 2 .* 5 5 -1 .0 0 0 Solo performance 3.102 2 .1 8 2 - 1 .000 Attendance at concerts 3 .7 2 7 3.000 -0 .7 2 7 Instrumental conducting 3 -8 1 8 2 .5 * 5 -1 .2 7 3 Choral conducting 3.8 1 8 2 .3 6 * -1 .4 5 4 Actuax conducting experience 3 .9 0 9 2 .2 7 3 -I .636 Score reading 3 .9 0 9 1 .9 0 9 - 2 .0 0 0 Knowledge of musical terms 3 .7 2 7 2 .* 5 5 - 1.272
TABLE 70 WEAKNESSES LISTED BY SENIORS IN THE AREA OF MUSIC PERFORMANCE IN THE MUSIC TEACHER PREPARATION PROGRAM AT THE UNIVERSITY OF UTAH
Tim es Listed Weakness L is te d P e rc e n ta g e
Lack of participation opportunities, b o I o and ensemble 2 1 8 . 2 Too little opportunity for conducting experience and score reading 1 9.1 166
There vere no strengths listed In the music performance area by s e n io r s .
TABLE 71 SUGGESTIONS MADE BY SENIORS FOR IMPROVEMENT OF THE MUSIC PERFORMANCE AREA IN THE MUSIC TEACHER PREPARATION PROGRAM AT THE UNIVERSITY OF UTAH
Times Suggestions Listed Percentage Actual conducting experience with live groups 5 *5-5 More opportunity for participation and perform ance in small ensembles at all levels of a b i l i t y 3 27.3 More emphasis in major applied, requirements standardized 2 18.2
Tvo suggestions offering ideas new to the discussion vere:
"System of testing in applied - grading, etc. should be improved, possibly through appearing before a jury of faculty"; and "Instrumental people should be required to participate in vocal groups, and vice v e r s a ."
Evaluation of the Music Education Area by Graduates
Evaluations of the Music Education Area by graduates as consid ered in four periods during the development of the curriculum are presented in Table 72 and Table 73* TABLE 7 2 EVALUATION BY GRADUATES OF ELEMENTS IN THE MUSIC EDUCATION AREA OF THE MUSIC TEACHER PREPARATION PROGRAM DURING FOUR PERIODS IN ITS DEVELOPMENT AT THE UNIVERSITY OF UTAH
Elements In Music 19l*6 -U8 19*+ 9-50 1951-53 1951+-58 Education Area Value Provision Value P ro v isio n V alue Provision Value P ro v isio n Voice class - methods and m a te ria ls 3.385 2.5U5 3.359 2-357 3.370 2.600 3.295 2-591 String class - methods and m a te ria ls 3,000 2.060 3-571 2 . 27I* 3.320 2 . 1*20 3.182 2.1*92 Woodwind class - methods and materials 3.000 I .858 3.571 2.183 3.1+00 2 . 2U0 3.205 2-335 Brass class - methods and m a te ria ls 2.81+8 1.939 3.530 2.101 3.350 2.310 3.257 2.371 Percussion class - methods and materials 2.818 I .636 3.1+29 1.723 3 . 1*00 1.960 3. HU 1.998 Private study of instruments of band and orchestra 2.756 2.030 3.1+29 1.959 3.21*0 2.231 3.205 2.280 Care & repair of instruments 2.687 1. 2U1 3.211* 1.361* 3.380 1.710 3.236 1.877 Functional piano class study 3.162 1.828 3.123 1.796 3.100 2.130 3.116 2.033 Music methods at the secondary level 3.303 2.969 3.673 2 . 31*6 3.510 2.620 3.553 2.858 Relating music teaching to c h ild re n 3-*+55 2 .511+ 3-61*3 2.293 3.680 2.110 3-568 2.582 Rehearsal procedures and te c h n iq u e s 3.222 1.938 3.611 2.191 3 . 8U0 2 . 21*0 3.676 2.711 Survey of music teaching m a te ria ls 3.363 1 . 9*+8 3.61*3 1.987 3 . 6 U0 2 . 1*10 3.51+5 2.630 Organization of music groups 3*355 2.261 3.1+71 2.056 3.500 2.250 3.377 2 . 1*11 Classroom procedure and management 3.363 2.1*71* 3.786 2.110 3.680 2.230 3 . 61 U 2.633 Business aspects of music education 2.980 1.818 3.286 1.823 3.300 1.920 3-159 2.295 TABLE 72 (cont'd)
Elements In Music 19^6-48 19^9.50 1951-53 195^-58 Education Area Value P ro v isio n V alue P ro v isio n V alue Provision Value 'P ro v isio n
Place of music in the public schools 3.273 2.838 3-357 1.9^9 3.1*80 2.100 3.389 2.588 Staging of operettas, etc. 3.010 1. 1*1*0 2.796 1.311* 3.050 1.380 2.987 1.532 Techniques of band p ag ean try 2.298 2.021 3.000 2 . 1*02 3*120 2 . 1*20 2.932 2.381* Teaching general music and other music classes 3.232 1.908 3.621 2.019 3.650 2.070 3 .U82 2.297 4
169
TABLE 73 COMPARISON OF DIFFERENTIALS RESULTING FROM FELT VALUE RATINGS CfF ELEMENTS IN THE MUSIC EDUCATION AREA BY GRADUATES AND THE DEGREE OF PROVISION IN THE PROGRAM ACCORDING TO PERIODS IN THE DEVELOPMENT OF THE TEACHER PREPARATION CURRICULUM AT THE UNIVERSITY OF UTAH
D ifferential between felt value Elements in Music and degree of provision Education Area 19»»6 -U8 19**9-50 1951-53 1954-58 Voice class - methods and m a te r ia ls -0.81*0 - 1.002 -0 .7 7 0 - 0 . 701* String class - methods and m a te r ia ls - 0 . 9U0 *1.297 - 0 .9 0 0 - 0 .6 9 0 Woodwind class - methods and m a te r ia ls - 1 . 1U2 - 1 .3 8 8 - l . l 60 - 0 .8 7 0 Brass class - methods and m a te r ia ls - 0 .9 0 9 - 1. 1*29 - 1. 01*0 - 0 .8 8 6 Percussion class - methods and m a te r ia ls - 1.182 - 1 .7 0 6 - 1 . 1*1*0 - 1 .1 1 6 Private study of instruments of band and orchestra - 0 .7 2 6 -1.1*70 - 1 .0 0 9 - 0.925 Care and repair of instruments - l . 1*1*6 - 1 .8 5 0 - 1 .6 7 0 -1 .3 5 9 Functional piano class study -1 .3 3 ^ - 1.327 - 0 .9 7 0 - 1.083 Music methods at the secondary le v e l * 0 . 331* - 1 .3 2 7 - 0 .8 9 0 - 0 .6 9 5 Relating music teaching to c h ild r e n - 0 . 9U1 - 1.3 5 0 - 1 .5 7 0 —0 .9 8 6 Rehearsal procedures and te c h n iq u e s - 1. 281* - 1 . 1*20 - 1 .6 0 0 - 0 .9 6 5 Survey of music teaching m a te r ia ls -1.1*15 -1 .6 5 6 - 1 .2 3 0 - 0.915 Organization of music groups -I. 09I* - 1 . 1*15 - 1 .2 5 0 - 0 .9 6 6 Classroom procedure and management -O.8 8 9 -1 .6 7 6 - 1 . 1*50 - 0 .9 8 1 Business aspects of music e d u c a tio n - 1.162 -1.1*63 - 1 .3 8 0 - 0 . 861* Place of music in the public s c h o o ls - 0 . 1*35 - 1 . 1*08 - 1 .3 8 0 - 0 .8 0 1 Staging of operettas, etc. -1 .5 7 0 - 1 . 1*82 - 1 .6 7 0 -1.1*55 Techniques of band pageantry -0 .2 7 7 -O .5 9 8 - 0 .7 0 0 - 0 . 51*8 Teaching general music and other music classes -1.321* - 1 .6 0 2 - 1 .5 8 0 -1 .1 8 5
D ifferentials resulting from the felt value ratings of graduates as compared vith the degree of provision in their preparation do not 170 reflect directly the curricular changes that occurred between the four periods In the music education area. This results, in part, from the fact that as a group, graduates of the first period gave generally lover value ratings throughout than did those of the other three periods. Area offerings vere lim ited to 2 hours in a music methods class with some coverage of m aterials in a 4-hour conducting course.
With the addition of minor instrument study and a doubling of hours devoted to music methods in the second period, differentials were predominantly higher than those of the first period, but this results from the substantially higher value rating placed upon the elements. The curricular changes for the most part are reflected in greater degree of provision ratings by graduates.
As the study of methods and m aterials was increased to seven hours, including a three-hour instrumental and a four-hour choral course in the last period, differentials related to all elements exclusive of minor instrument, voice and piano study dropped substantially. Most if not all of the elements in this category would be included in these two courses. This would seem to indicate the study of conducting and m aterials of the second period and the combination of methods and conducting of the third period are not sufficient in themselves.
It is reassuring to note differentials of the last period are, in every Instance, lower than those of the preceding two periods. It would appear expansion in this area over the years has had its effect in strengthening preparation, though at the same time s till falling far short of what graduates would describe as adequate or effective.
While In a number of instances the degree of provision ratings 171 centered around the 2 .5 point which is midway between "meager” and
"considerable," the great stress placed by graduates on the importance of these elements still resulted in high differentials in most cases.
The mean differential for the entire area during the last period is
- 0 . 9^7 , which reflects the inadequacy felt by graduates in this entire area.
Composite valuations and opinions as to degree of provision of elements in this area of all graduates throughout the twelve-year period are presented in Table 71*.
TABLE 7b EVALUATION OF ELEMENTS IN THE MUSIC EDUCATION AREA OF THE MUSIC TEACHER PREPARATION PROGRAM AT THE UNIVERSITY CF UTAH BY ITS GRADUATES
V alue a s a D egree o f Element In Music M u sician Provision in D ifferential Education Area and Undergraduate T e a c h e r Program Voice class - methods and m a te r ia ls 3-351 2.522 -0.829 String class - methods and m a te r ia ls 3.287 2.319 -0.968 Woodwind class - methods and m a te r ia ls 3.298 2.170 - 1.128 Brass class - methods and m a te r ia ls 3.2V5 2.181 - 1. 06 U Percussion class - methods and m a te r ia ls 3.191 1.862 -1.329 Private study on instruments of band and orchestra 3.159 2 .1 2 8 -1.031 Care and repair of Instruments 3.127 1.51*3 -I. 58 U Functional piano class study 3.H 7 1.957 - 1.160 Music methods at the secondary level 3.521 2.703 -0.818 Relating music teaching to c h ild r e n 3.56H 2.k0b - 1.160 Rehearsal procedures and te c h n iq u e s 3.596 2 .2 8 7 -1.309 172
TABLE 74 (cont'd)
V alue a s a D egree o f Element in Music M usician Provision in Differential Education Area and Undergraduate T eacher Program Survey of music teaching m a te r ia ls 3.543 2.255 - 1.288 Organization of music groups 3.415 2.244 -1 .1 7 1 Classroom procedure and management 3.617 2.372 -1.245 Business aspects of music e d u c a tio n 3.181 2.064 - 1.117 Place of music in the public schools 3-372 2.372 - 1.000 Staging of operettas, etc. 2.9 7 9 1.415 -1 .5 6 4 Techniques of band pageantry 2.840 2 .3 0 8 -0 .5 3 2 Teaching general music and other music classes 3 .5 H 2.085 -1 .4 2 6 (appreciation, theory, etc.)
At first glance, one Is struck vith the exceedingly high differen tials between felt value and degree of provision in the program, also the great preponderance of these high differentials. One can draw an immediate inference that the music education area haB been inadequate in meeting the needs as felt by the graduates. This situa tion is entirely consistent with that of graduates from other institu tions, both in and outside Utah, who rated their institutions lowest in this same regard.
It is interesting to note that some elements, while receiving a relatively low value rating, were accorded a high differential when degree of provision was considered. Even though value was low, provision was little more than meager, therefore highly inadequate.
The care and repair of instruments and staging of operettas are two instances in point. On the other hand, preparation for teaching 173 general music and music classes has a very high value rating and likewise has a high differential resulting from Inadequate provision.
There was also much concern expressed by graduates from other univer sities regarding their inadequate preparation for this aspect.
Valuation ratings, with but two exceptions, are above the
"considerable" rating of three.
Weaknesses noted by graduates in the music education area are listed in Table 75*
TABLE 75 WEAKNESSES LISTED BY GRADUATES IN THE AREA OF MUSIC EDUCATION IN THE MUSIC TEACHER PREPARATION PROGRAM AT THE UNIVERSITY OF UTAH
G rad u ates Listed weaknesses TeacherB O ther P ercen tag e
Inadequate emphasis upon instruments of band and orchestra 6 (9.0) 2 (7.M 8.5 L ittle or no preparation for teaching general music or music appreciation 5 (7.5) 1 (3-7) Little or no instruction in care and repair of instruments 5 (7-5) 1 (3.7) 6. b Courses too theoretical, not p r a c t i c a l 5 (7.5) 1 (3-7) 6.1+ Weakest area in Music Department 3 (U.5) 1 (3.7) 3.2 Too few hours required in area 2 (2.9) 1 (3.7) 3.2 Inadequate instruction on minor instruments 1 (1.5) 1 (3-7) 2.1
There were no strengths in this area indicated by graduates.
Suggestions for improvement in this area made by graduates are summarized in Table j6. 17^
TABLE 76 SUGGESTIONS MADE BY GRADUATES FOR THE IMPROVEMENT OF THE MUSIC EDUCATION AREA OF THE MUSIC TEACHER REPARATION PROGRAM AT THE UNIVERSITY OF UTAH
Responses Suggestions T eachers O ther P ercen tag e 1. More minor Instrument study 21 (31-3) 5 (1 8 .5 ) 27.7 2. More practicality and appli cation, less theoretical 20 (29-9) 2 (7.U) 23. k 3 . More attention to materials and repertoire 18 (2 6 .9 ) 2 (7**0 21.3 k. More preparation for teaching general music and music apprec. 16 (23. 9) 0 17.0 5 . Lengthen student teaching ex p erien ce 13 (19-10 3 (11.1) 17.0 6 . Institute laboratory type experiences or workshops Ik (20 . 9) 2 (7.U) 17.0 7 . More efficient instruction, instructors competent on instruments 12 (18. 0 ) 2 (7.U) 1U.9 8. More training on piano 9 (13-1+) 3 (11.1) 12.8 9* Study of instrument selec tion, care and repair 9 (13-10 1 (3.7) 10.6 10. Opportunity for performance on minor instruments 7 ( 10. k) 3 ( l l . l ) 10.6 11. More observations in the sch o o ls 8 (1 1 .9 ) 1 (3 .7 ) 9.6 12, Extend music methods classes - more tim e 8 (1 1 .9 ) 1 (3 .7 ) 9.6 13. Music teacher from Music Dept. should supervise student te a c h in g 7 ( 10. U) 0 l.k ll+. Better counseling and guidance program 7 ( 10.M 0 l.k 15. Training to handle disciplinary problem s 6 ( 9-0 ) 1 (3 .7 ) l.k 16. Support of Music Department of music education program 5 (7-5) 2 (7.1+) l.k 17. More attention to personal and public relations 5 (7-5) 1 (3 .7 ) 6.k 18. More preparation for staging o p e re tta s 5 (7 .5 ) 1 (3-7) 6.k 19- More concentration on rehearsal procedures and techniques k (5-9) 2 (7.M 6.k 20. Stress relating music to c h ild re n 6 (9. 0 ) 0 6.k 21. More attention to classroom procedure and management 5 (7 .5 ) 0 5-3 175
TABLE 7 6 ( c o n t 'd )
R esp o n s e s Suggestions Teachers Other P e r c e n ta g e
22. Specialization of either vocal or instrumental 3 ( k .5 ) 2 (7 *k) 5 .3 2 3 . College professors with school teaching experience 3 (k.5) 1 (3.7) k .3 2k. Music education and education classes better coordinated or Integrated k ( 5 -9 ) 0 k .3 25. Organization of music program in the schools k ( 5 -9 ) 0 k .3 26. More attention to business aspects of muBic education k ( 5 .9 ) 0 k .3 27. No specialization - vocal and Instrumental 2 ( 2 .9 ) 1 ( 3 . 7 ) 3 .2 28. Preparation for music teach ing with an academic minor 2 ( 2 .9 ) 0 2 .1
Emphases in the suggestions for improvement of the music educa tion area listed in Table 76 w e re :
1. The length of time devoted to minor instrument study in the curriculum is insufficient. Two quarters of study for each family of instruments was felt to be the minimum time in which one could receive adequate preparation. As a result of more time and study, higher performance standards could be required on each instrument s t u d i e d .
2. The plea for more practicality and less theory was addressed mainly to course content of a realistic nature and frequent oppor tunities for application in all classes. The comments of two respondents summarize the concerns: "Not enough emphasis upon actual problems and situations which w ill be met, nor study of techniques to meet these problems," and "More practical experience would be helpful.
This kind of program cannot be a lecture series, it must be applied." 176
3. Graduates vere concerned mainly with becoming acquainted
vith repertoire for band, orchestra, and chorus. A chance to hear
this literature performed was considered essential. One respondent
outlined categories of music for each organization:
Emphasis could Include order of difficulty, music available for reading and fun, music for concert, good sounding arrangements of the classics, music geared to the tastes of a rural community in contrast to music appropriate for the tastes of a metropolitan a re a .
4. Other than the fact that more should be done to prepare
teachers to teach general music and music appreciation, no respondents
made suggestions as to the nature of this preparation.
5. Over half the suggestions pertaining to student teaching
mentioned, in addition to lengthening the experience, the need for
seminars to be held along vith student teaching under the direction
of a music instructor who also supervises student teaching. Two
separate experiences vith one coming before the senior year vere also m en tio n ed .
6 . More laboratory, clinic, or vorkshop sessions in connection vith as many classes as possioie vould improve preparation in the music education area.
7. Graduates expressed the desire that instruments of the band
and orchestra should be taught by persons competent on each instru
ment. Instruction on all instruments in these graduates' preparation vas supplied by one man unless schedule conflicts prevented this, in vhich case private instruction from an approved teacher on the
instrument vas substituted. 177
8 . Some keyboard facility is essential, particularly of the nature of simple chording and piano accompaniments.
9* There vere no elaborations on comments pointing out the need for study In Instrument selection, care and repair.
10. A large majority of suggestions urged the organization of a band and orchestra for the purpose of providing opportunity for performance on minor instruments. Several indicated conducting and rehearsal techniques vould fit in vith this kind of experience.
11. Graduates Indicated observations vere an excellent vay of becoming acquainted vith actual problems facing teachers. More observations vere recommended vithin a variety of situations followed with talks and discussions vith public school teachers for a realistic orientation into problems.
12. Suggestions for providing more time in the curriculum for music methods classes vere not amplified.
13* The suggestion that a music instructor should supervise student teaching vas prompted by the fact that this supervision, coming as a part of the education department offerings, is carried on by education faculty. The opinion vas expressed that a music instructor vould be in a position to offer more helpful suggestions and thereby increase the value of the experience.
lU. Comments indicated students vere left to their own devices in planning their programs which often resulted in scheduling con flicts. A closer system of counseling vas recommended to prevent t h i s .
1 5 - A lack of adequate preparation in obtaining and maintaining *178 good discipline vas outlined as being evident In teacher preparation.
One respondent recommended that a class should be devoted to meeting this problem. Others pointed to the need but offered no recommenda t i o n s .
16. A feeling vas voiced that the music department administra tion vlevs the music education function In an unfavorable light, and that, as a result, courses and instruction are aimed at fulfilling the needs of musicologists, performers, and composers.
17. Comments pertaining to personal and public relations pointed out the need for establishing and promoting good faculty and administrative relations. As one respondent said, ’'The prospective teacher should, above all, be shovn how to fit into things. ...”
18. Graduates did not elaborate on the need for preparation in staging operettas.
1 9. Opinion vas unanimous that rehearsal techniques must be learned by first observing, then applying the techniques under actual rehearsal conditions. Good supervision vas viewed as essential to a successful experience.
20. Suggestions for relating music to children did not elaborate f u r t h e r .
21. Concern within classroom procedure and management centered upon grading practices.
22. The reason stated for recommending specialization in either vocal or instrumental teaching was, in the words of one respondent,
"It is obvious in the packed schedule of under-graduate study a person cannot become proficient in more than one area.” 179
2 3 . College instructors lacking a public school teaching back ground vere blamed for preparation not consistent vith problems faced in the schools. As one graduate indicated, "Some teachers are far removed from the actual school situations and teach on a theo retical basis rather than from a first hand, practical knowledge of situations and subjects."
2k. In recommending that music education and professional edu cation classes be better coordinated or integrated, half suggested coordination and half suggested Integration. The common criticism vas duplication In course content.
2 5 . Organizational problems in the music program in the schools received no elaboration from respondents.
26. Concern in business aspects of music education centered on budgetary problems.
2 7. Suggestions that teachers be prepared for both vocal and instrumental teaching vere supported by the observation that a music teacher cannot assume he w ill be teaching in only one area of music.
28. The large number of teacherB teaching academic subjects vas cited by respondents as reason for preparing to teach an academic f i e l d .
Evaluation of Music Education Area by Seniors
Valuations and opinions as to degrees of provision of elements in the Music Education Area by seniors are presented in Table 77. 100
TABLE 77 EVALUATION OP ELQffiMTS IN THE MUSIC EDUCATION AREA OF THE MUSIC TEACHER PREPARATION HtOGRAM AT THE UNIVERSITY OF UTAH BY SENIORS IN THE PROGRAM
V alue a s D eg ree o f Element in the Music M u sician Provision in Education Area and Undergraduate D ifferential T e ac h e r Program Voice class - methods & m aterials 3 .6 3 6 2 .6 3 6 - 1 .0 0 0 String class - methods & m aterials 3 .8 1 8 2 .6 3 6 - 1.1 8 2 Woodvlnd class - methods & m a te r ia ls 3 .8 1 8 2 .7 2 7 - 1.0 9 1 Brass class - methods & m aterials 3 .8 1 8 2 .7 2 7 -1 .0 9 1 Percussion class - methods & m a te r ia ls 3.5*5 2 .1 8 1 -1 .3 6 * Private study on instruments of band orchestra 3.5*5 1-5*5 - 2 .0 0 0 Care & repair of Instruments 3 .7 2 7 1.6 3 6 - 2 .0 9 1 Functional piano class study 3 .2 7 3 I .636 -1 .6 3 7 Music methods at secondary level 3 .7 2 7 3 .0 9 1 -O.6 3 6 Relating music teaching to c h ild r e n 3 .6 3 6 2 .* 5 5 - ..1 8 1 Rehearsal procedures and tech n iq u e s 3 .7 2 7 2 .8 1 8 -O.9 0 9 Survey of music teaching m a te r ia ls 3 .7 2 7 2 .7 2 7 - 1 .0 0 0 Organization of music groups 3 .7 2 7 2 .* 5 5 - 1 .2 7 2 Classroom procedure and management 3 .7 2 7 2 .5 * 5 - 1.1 8 2 Business aspects of music e d u c a tio n 3 .9 0 9 2 .0 9 1 -1 .8 1 8 Place of music in the public s c h o o ls 3 .7 2 7 2 .5 * 5 - 1.182 Staging of operettas, etc. 3.273 1.273 - 2 .0 0 0 Techniques of band pageantry 3 .6 3 6 2 .7 2 7 -0 .9 0 9 Teaching general music and other music classes 3 .7 2 7 2 .2 7 3 -1 .^ 5 4
Weaknesses felt to be true of this area by seniors are summarized i n T a b le 7 8. 181
TABUS 78 WEAKNESSES LISTED BY SENIORS IN THE AREA OF MUSIC EDUCATION IN THE MUSIC TEACHER PREPARATION PROGRAM AT THE UNIVERSITY OF UTAH
Times Listed weakness Listed Percentage
Inadequate instruction in care and repair 3 2 7 .3 of Instruments Inadequate emphasis upon instruments of band and orchestra 2 18.2 Courses too theoretical, not practical 2 18.2 Inadequate knowledge of repertoire 1 9 .1
Seniors listed no outstanding strengths In the area of music e d u c a tio n .
TABLE 79 SUGGESTIONS MADE BY SENIORS FOR IMPROVEMENT OF THE MUSIC EDUCATION AREA IN THE MUSIC TEACHER PREPARATION PROGRAM AT THE UNIVERSITY OF UTAH
Times S u g g estio n Listed Percentage Study of Instrument selection, care and repair k 36 .U Courses more practical vith application (clinics and workshops) 3 2 7 .3 More attention to materials and repertoire 3 27.3 More minor instrument study 2 18.2 Music teacher should supervise student teaching 2 18.2 Extend music methods classes - more Instruction tim e 2 18.2 Training to handle disciplinary problems 2 18.2 Extend student teaching experience 2 18.2
Senior Evaluations In Contrast to Those of Graduates
It Is interesting to observe that seniors vere Inclined to evalu ate their experience somewhat more highly than were graduates, as the following tables and discussions reveal. 182
There vas a narked tendency for seniors to give higher ratings than graduates* Table 80 indicates that seniors valued the music education area above all others, then musical performance, theory of music, and music history and literature in that order. In every instance of both Beniors and graduates, the felt value exceeded the
"considerable" level. Graduates valued musical performance the highest, then music education, theory of music, music history and literature in that order.
TABLE 80 COMPARATIVE MEANS IN AREAS CF THE CURRICULUM REFLECTING F E U VALUE OF SENIORS AND GRADUATES AT UNIVERSITY OF UTAH
Area of Curriculum Seniors G ra d u a te s
Music History and Literature 3*439 3 .0 7 8 Theory of Music 3 .4 9 7 3 .1 5 8 Musical Performance 3 -5 9 8 3 .^ 6 7 Music Education 3 .7 2 7 3 .3 1 3
TABLE 81 COMPARATIVE MEANS IN AREAS CF THE CURRICULUM REFLECTING DEGREE OF PROVISION AT UNIVERSITY OF UTAH AS RATED BY SENIORS AND GRADUATES (Degree of provision In your undergraduate program) Area of Curriculum S e n io r s G ra d u a te s Music History and Literature 2 .2 1 2 2 .4 3 6 Theory of Music 2.824 2 .7 3 6 Musical Performance 2 > 8 5 2 .4 2 2 Music Education 2 .3 lf9 2 .1 6 8
Seniors, as shown in Table 8l, rated the degree of provision highest in the area of the theory of music, with musical performance, music education, and music history and literature following.
Graduates agreed vith seniors in that the theory area was most 183
adequately provided for, though they named music history and litera
ture aa next highest and musical performance vith music education
l a s t .
TABLE 82 DIFFERENTIAL BETWEEN MEANS CF FELT VALUE AND DEGREE d FPROVISION BETWEEN XREX s"?F tHE curriculum “Xs recorded by seniors and graduates
Areas of Curriculum S e n io rs G ra d u a te s
Music History and Literature - 1 . 22? -0.61*2 Theory of Music -0 .6 7 3 - 0 . 1*22 Musical Performance -1 .1 1 3 -1.01*5 Music Education -1 .3 2 1 -1.11*5
The differences between value and degree of provision in each of
the areas of the curriculum, as evidenced in Table 82, saw the seniors
listing the greatest difference in the area of music education. The
next biggest discrepancy vas in the field of music history and liters-
ture, with musical performance and theory of music following In th a t’
order. Seniors apparently feel muBic education courses at the Univer
sity leave the most to be desired, and that music theory courses are
the most effective in accomplishment.
Graduates agree with the seniors in both extremes, that the music
education area is least effective and theory of music is the most
effective. Musical performance was rated next to music education in
ineffectiveness and music history and literature next to music theory
in effectiveness.
When valuation ratings of graduates were analyzed with respect to graduates who possessed public school music teaching experience
and those who lack this experience, it waB found that the latter group 18k
gave a larger number of higher ratings, though usually slight, in all
areas than did their fellow graduates vith teaching experience.5
Valuation ratings of graduates engaged in teaching, when compared with
ratings given by those who left the teaching profession, varied little
in areas other than Music Education. Teachers valued this area higher
than did the former teachers, though mostly by small margins
Evaluation of Music Education Curriculum by C ritic Teachers
For the purposes of this study, critic teachers, who had worked
with teacher candidates as public school music teachers, were con
tacted for their evaluation of the music teacher preparation program.
On the basis of their observations of students as student teachers in
classroom and rehearsal situations, they responded in an interview to
prepared questions covering various phases of music teacher prepara
tion, and responses were tabulated on the same basis as that used by
the graduates. Only critic teachers who worked with student teachers
graduating during the period under study were contacted. The critic
teachers responded only to those questions which were pertinent to their own situation. For example, if a critic teacher was engaged in
only instrumental teaching, his evaluation of the student teachers'
preparation would be concerned with only those questions pertaining
to instrumental teaching.
The student teaching experience at the University of Utah is
^See Appendix J.
^See Appendix K. ( 185
under the direction of the Education Department. Personnel from this
department make all student teaching assignments and supervise
student teaching. This experience normally consists of from two
hours to a half day of teaching In a public school within the Salt
Lake City area and lasts for one quarter. Sometimes the winter
quarter, but more often the spring quarter of the senior year
includes the student teaching experience.
Extent to which Student Music Teachers from the University of Utah Demonstrated Capabilities and Effectiveness vith Aspects of Music T each in g
C ritic teachers were asked to rate music teacher preparation at
the University of Utah on the basis of the qualifications demon
strated by student teachers under their direction. Ratings given to
differing aspects of preparation are presented in Table 83.
TABLE 83 EVALUATION OF TEACHING CANDIDATES AS TO ELEMENTS IN THEIR PREPARATION AS MUSIC TEACHERS IN THE MUSIC TEACHER PREPARATION PROGRAM AT THE UNIVERSITY OF UTAH BY CRITIC TEACHERS IN THE STUDENT TEACHING EXPERIENCE
Degree candidates show acceptable musicianship 3*385 " " are able to maintain interest of the c la s s 2.5 1 9 " " maintain control of the classroom s i t u a t i o n 2 . 5 OO H " relate music to boys and girls 2.5 3 6 " " use effective teaching procedures 2 ,h6k " " show interest in the music teaching profession 3 . 6 U3 " " teach general music classes effectively 1*909 " " have knowledge of materials for music te a c h in g 2.033 AS TEACHERS OF CHORAL MUSIC Degree candidates play piano accompaniments acceptably 2.^55 " " s in g a c c e p ta b ly 2.692 186
TABI£ 83 (c o n t'd )
Degree candidates demonstrate adequate conducting technique 2.1*29 f t f t shov awareness of diction problems 2.857 tt tf show effectiveness in solving diction problem s 2.357 If If seek to develop phrasing and dynamics in group performance 3 . OCX) If f t show awareness of Intonation problems 2.929 If f t show effectiveness in solving intonation problem s 2.071 II If demonstrate concept of musical styles 3.286 II ff work effectively with operettas 1 . 0 0 0 Tl Tf demonstrate adequate vocal teaching te c h n iq u e s 2 . 11*3
AS TEACHERS CF INSTRUMENTAL MUSIC Degree candidates demonstrate adequate conducting technique 2.666 M f t demonstrate concept of musical styles 2.917 If II shov awareness of Intonation problems 2.750 tf shov effectiveness in solving intonation problem s 2.000 If ft seek to develop phrasing and dynamics in group performance 3.000 II 11 demonstrate functional knowledge of instruments 1.750 Tf II teach small groups of instruments effectively 3.000 If t t demonstrate adequate instrument teaching te c h n iq u e s 2 . 1*17
Critic teachers, on the basis of their ratings, Judged preparation
in musicianship to be quite good ( 3 *385 )t and student teachers show
more than a considerable interest for music teaching (3*61*3).
Candidates' abilities with children appear to be somewhat limited.
Their abilities to maintain interest of boys and girls, to control the
classroom situation, and relate music to boys and girls lie between
meager and considerable (approximately 2.5)* Their teaching proce
dures can be included in the same category. Teacher candidates suffer
from a lack of knowledge of materials for rauBic teaching. This 187 knowledge van described as meager, and the preparation for teaching general music Is slightly less than meager (I.909). Short of the teaching of general music, one can say they have a fair teaching technique but they are limited In their lack of knowledge of m a te r ia ls .
As teachers of choral music, the candidates' musicianship rates highest. They are aware of problems In choral technique, but not always competent in handling these problems. Their rehearsed tech nique is slightly more than meager (2 . 1^ 3 ), and their preparation in staging operettas has been sadly neglected (1.000). The candidates can sing better than they can play piano or conduct.
As teachers of instrumental music, teacher candidates, by virtue of their own musicianship, seek to elicit from groups under their direction the elements of musical style and the niceties of perform ance. They are quite successful in working with small ensembles.
Their lack of adequate preparation in the various Instruments hampers their effectiveness in teaching instrumental techniques and renders them ineffective in tackling such problems as intonation.
An effort was made to evaluate candidates' preparation on two additional points pertaining to their instrumental teaching. Critic teachers were asked how effectively the student teachers worked with band shows, and if they played piano accompaniments acceptably. To the first question, all critic teachers indicated the student teaching experience did not coincide with the time of school year in which shows were a part of the teaching assignment. To the second question, without exception all critic teachers maintained there was never an 188
occasion vhen the need for piano playing ability arose in the Instru mental student teaching experience.
Strengths and Weaknesses Noted in Preparation
Strengths and weaknesses In the preparation program at the
University of Utah as deduced by critic teachers from the perform
ance of student teachers are indicated in Table 6 b and T a b le 6 5 .
TABLE 8b LISTING OF STRONG POINTS IN MUSIC TEACHER PREPARATION PROGRAM AT THE UNIVERSITY OP UTAH BY CRITIC TEACHERS AS NOTED IN TEACHER CANDIDATES IN THE STUDENT TEACHING EXPERIENCE
Number Listed strong point L is tin g P e rc e n ta g e
Musicianship 7 2 5 .0 Background in music theory 2 7 .2 C onducting 1 3 .6 Awareness of problems encountered in school s itu a tio n s 1 3 .6 Preparation for choral work 1 3 .6 A ttitu d e 1 3*6 E nthusiasm 1 3 .6 Interest in individual students 1 3 .6
TABLE 85 LISTING OF WEAKNESSES IN MUSIC TEACHER PREPARATION PROGRAM AT THE UNIVERSITY OF UTAH BY CRITIC TEACHERS AS NOTED IN TEACHER CANDIDATES IN THE STUDENT TEACHING EXPERIENCE
Number Listed weakness L is tin g Percentage Inadequate knowledge of teaching techniques and procedures 18 6k. 3 Lack of knowledge of children, their capacities and how they learn 8 28.6 Knowledge of instruments of the orchestra and band 8 28.6 Lack of fam iliarity with materials, sources, repertoire at appropriate levels 7 25.0 Rehearsal procedures and techniques k lb. 3 I89
TABLE 85 (cont’d)
Number Listed weakness L is tin g P e rce n tag e Performance experience 3 10.T Fam iliarity with teaching general music 3 1 0 .7 C onducting 3 1 0 .7 Inability to cope wrtn discipline problems 2 7 .2 Piano background 1 3 .6
Suggestlone for Improvement
Suggestions volunteered by critic teachers for the improvement of music education at the University of Utah are summarized in Table 86 .
TABLE 86 SUGGESTIONS MADE BY CRITIC TEACHERS FOR THE IMPROVEMENT OF THE MUSIC TEACHER PREPARATION PROGRAM AT THE UNIVERSITY OF UTAH
Suggestions No. P ercen tag e 1 . More preparation for teaching general music classes and music appreciation 11 3 9 .3 2 . More work with instruments of band and orchestra and related teaching techniques 11 39-3 3. More actual conducting experience with musical groups 8 2 8 .6 k. Extend student teaching, reorganize experience 8 2 8 .6 5* More observations 8 2 8 .6 6 . Need for laboratory experiences and more practi cal type of instruction 5 1 7 .8 7 . More concentration on rehearsal procedures and te c h n iq u e s 5 1 7 .8 8. Increase emphasis on music m aterials appro priate to various age levels 5 1 7 .8 9- Relate muBic teaching to child growth and development and the learning process 1+ 14.3 1 0 . Need for college professors with public school teaching experience 2 7 .2 11. More attention on public relations 2 7 .2 1 2 . Strengthen choral teaching preparation 2 7 .2 13- Experience needed with instrument care, adjustment and repair 1 3 .6 14. Need for piano background 1 3 .6 190
Emphases In these suggestions for improving the music education program listed in Table 86 w ere:
1. Preparation for teaching general music can be strengthened vlth observations of general music teaching in the schools and doing part of student teaching in this subject. Information on sources for materials vaa also noted as a need.
2. In addition to increasing time in the curriculum for studying minor instruments, critic teachers recommended small ensemble work to provide performance experience. More attention should also be devoted to the teaching techniques of various instruments, and not allowing performance on these instruments to be the only aim.
3. Respondents emphasized the need for students to have experi ence conducting musical groups before the student teaching experience.
Many indicated the students were extremely self-conscious before groups and did not know how to proceed. Moreover, their concern was for their own conducting rather than for leading and rehearsing the groups. It was further pointed out that a better background in con ducting would enable the student to realize more benefit from his student teaching in that he would be prepared to focus attention on the group and responses that were aroused.
U. One half the respondents making comments relating to student teaching suggested two separate situations vlth the first in the junior year. One third recommended a different procedure In setting up the experience. The following comment presents one plan that was proposed: "Student teaching experiences should be more carefully selected. Critic teachers should be experienced, competent, and 191
approved by the music supervisor. Supervisors should be consulted before appointments are made." A full day of student teaching was reconmended in a majority of the comments.
5. Observations of many good teachers in the schools were reconmended as a means of keeping class Instruction pertinent, of becoming aware of the nature of children, and of problems that arise daily in the classroom.
6 . Students should work more in laboratory or clinic situations to keep classes of a relevant nature. This need was voiced by one respondent in the following words: "Approximate a teaching situation with classmates and have each student work with the class under super vision of the instructor so he would gain more of an idea how to solve problems before getting to student teaching."
7- Actual experience is needed in conducting and rehearsal tech niques before student teaching.
3. Respondents did not elaborate on the need for a better acquaintance with music m aterials.
9. Suggestions relating to learning and child growth and develop ment were concerned mainly with the nature of the learner and individ ual differences. One respondent would have the teacher candidate
"know more about what to expect of high school people - musically, emotionally, physically."
10. Respondents called for the use of college teachers who have had successful school experience to prepare teachers for problems they w ill encounter. 192
11. The need In public relations focused on promoting the muaic program in the echool and to adm inistrators. Emphasis was also placed on getting along vlth the administration.
C ritic teachers did not elaborate on the remaining suggestions listed In Table 8 6 .
Examination of C ritic Teachers 1 Evaluation
Tventy-five per cent of the critic teachers listed development of musicianship as a strong point In University of Utah students' preparation, and this vas supported by a high rating given by all teachers averaging 3 * 3 8 5 # vfaich is between "considerable” and "great" on the rating scale. Knowledge of music theory, which can be con sidered an aspect of musicianship, vas also listed as a strong point
In preparation by seven and two-tenths per cent of the teachers.
The ability of student teachers to maintain Interest of the class vas rated as 2 . 5 1 9 , or midway between meager and considerable, so one can assume student teachers are fair in this ability. The students received approximately the same rating on their ability to maintain control of the classroom situation. It vas frequently expressed that student teachers are in a unique position when assuming instruction of a class. There are likely to be some control problems Inherent in the situation in which school students realize the role of the student teachers, their lack of experience, their hesitancy to be strict disciplinarians, and their remoteness with their own grading evaluation.
Inability to cope with disciplinary problems was listed as a weak point in the preparation by a few critic teachers ( 7*2 per cent) regard less of the student teacher's dilemma. 193
Student teachers vere rated as being fairly able to relate music teaching to boys and girls ( 2 . 5 3 6 ), although quite a large num ber ( 2 8 .6 per cent) listed as a weakness students* lack of knowl edge of children, their capabilities, and hov they learn. The apparent conflict between these two factors would seem to suggest relating music teaching to boys and girls Is extremely valuable and should conceivably warrant a rating of at least "considerable" in degree of provision. A number of critic teachers (14.3 P®* cent) suggested the University do more to relate music teaching to child growth and development and the learning process.
There was some inconsistency in the critic teachers' response relating to the use of effective teaching procedures by student teachers. Their rating (2.46*0 showed an almost fair effectiveness here, although a very large percentage (64.3 ) listed inadequate knowledge of teaching techniques and procedures as a weak point in the preparation of the student teachers. The explanation of this inconsistency is not apparent.
The critic teachers rated student teachers as having a very high degree of interest in the profession (3-643). Attitude, enthusiasm, and interest in individual students appeared in the list of strong points (3-6 per cent each). This impression may also be interpreted as a high degree of interest and enthusiasm for the student teaching experience.
Student teachers were rated quite low on their effectiveness in teaching general music* The 1.909 rating vas less than meager.
Inability in this area was reflected also by critic teachers (10 .7 p e r 194 cent), who listed this as a weak point in the candidates' preparation.
A large number of critic teachers (39-3 per cent) suggested more preparation for teaching general music and music appreciation be included in preparation of the teaching candidate. The deep concern expressed elsewhere in this study for teaching this subject is matched by that of critic teachers.
Student teachers were rated as possessing only a meager knowledge of m aterials for music teaching ( 2 . 0 3 3 ). A substantial number ( 2 5 .0 per cent) listed this lack of fam iliarity as being weak, and several
(17*8 per cent) suggested emphasis in University preparation be increased in this phase.
As teachers of choral music, student teachers received a com posite rating of 2.474 for responses to questions directed at this specific preparation. As one would expect, many ratings for aspectB of preparation centered around 2 .5 with a few notable deviations.
Factors relating to musicianship, such as concept of musical styles and seeking to develop phrasing and dynamics in group performances, were well above this rating, which is consistent with the high regard held for musicianship discussed earlier. Awareness of problems in choral technics has been apparent to teacher candidates to a high degree, but their ability to solve these problems is significantly be low this awareness. Vocal teaching techniques were rated 2.143 which is only slightly better than "meager.” Effectiveness in working with operettas was rated 1.000 or "not at a ll.” Since this did not appear in the lis t of weaknesses and no recommendations took note of 195 this lack, one can assume critic teachers attached very little signi ficance to this aspect.
As teachers of instrumental music, student teachers received a composite rating of 2 .5 6 2 vhich is only slightly higher than that resulting from the ratings for choral preparation. Again, aspects relating to musicianship in performance were rated veil above the composite rating. The same discrepancy noted above between a definite avareneas of problems and ability to solve them exists for teacher candidates as instrumental teachers. A functional knowledge of band and orchestra instruments can be regarded as the greatest lack in this area of preparation on the basis of the 1.750 rating given this aspect.
There appears to be some inconsistency between this rating, that of
2.It-17 for adequacy in teaching techniques, and the 3*OCX) rating for teaching effectiveness in working with small groups of instruments.
One logical explanation for the high rating given the last element may be the nature of work carried on by student teachers whereby small ensembles or sections of bands or orchestras are turned over to student teachers to rehearse. In such cases, more attention may be focused on aspects of interpretation, musicianship, and ensemble playing such as precision rather than concern for how to play the instruments. This would be particularly true at the high school level.
Following this assumption, one could conclude teacher candidates experience much more difficulty in working with less advanced per formers who are s till concentrating on developing the playing funda mentals of instruments. Nevertheless, the discrepancy between ade quacy in Instrument teaching techniques (2.417) and functional 1 9 6 knowledge of instruments (1.750) 1* difficult to reconcile. The large amount of concern in comments suggesting improvements for more time in the curriculum made by 39*3 per cent of the critic teachers their appeal for more stress on related teaching tech- nlques would lead one to question the 2.417 rating given adequacy in
Instrumental teaching techniques.
Hot a single critic teacher had occasion to rate student teachers on their ability to play piano.
Adequacy in choral conducting was rated only slightly lover
(2.429) than that for instrumental conducting ( 2 . 6 6 6 ), though both ratings are what one could term average. Conducting was listed as a strength by 3*6 per cent of the critic teachers while 1 0 .7 p a r c e n t regarded this as a weakness. The unimpressive rating given conducting together with the fact that a considerable number of suggestions were made by critic teachers ( 2 8 .6 per cent) would seem to suggest the study of conducting could be improved. The main emphasis contained
in the conmentB vas on desirability of actual conducting experience before groups.
The concept of choral musical styles (3.286) appears to be more
adequate than does that of instrumental styles ( 2 . 9 1 7)> though both ratings were relatively high. One might postulate that text in choral music gives an advantage to capturing the Intended style vhich
is more remote in the instance of instrumental music, or perhaps choral experiences have been more rewarding in the college experience than have those in instrumental music. Rehearsal techniques and procedures was listed as a weakness by lit.3 P®r cent of the critic teachers. Low ratings given to solution of vocal and Instrumental problems, along vlth those for vocal and instrumental teaching techniques, would tend to support the view of inadequacy in this area. In addition, 17.8 per cent of the critic teachers favored stressing rehearsal procedures and techniques in music education courses.
Critic teachers, like most of the other groups of respondents concerned in this study, made recommendations for extending student teaching, augmenting instruction vlth frequent observations in schools, and using laboratory and clinic settings in connection with classvork to provide opportunity for application of ideas discussed. CHAPTER VI RECOMMENDATIONS
On the b a s ia of data pertaining to the nature of the music teach ing situation In Utah; in terms of the objectives of a good music teacher preparation program accepted earlier in this study and around vhich this study is centered; and in consideration of the evaluation of the program by graduates, seniors, and critic teachers, the following recommendations^ are made. Objectives for a good music education program, as presented in Chapter III, will precede related recommendations.
1. A good program of music teacher education should provide each student vlth the opportunity to acquire knowledge and apprecia tion of the history and literature of music.
A. Humanities sections of Music 6 l, 62, and 63 (Music
Survey) should be designated with a letter after the number, such as
6 lH. ThiB section should not be considered a substitute for the fulfillm ent of requirements by music teacher candidates, nor should
In recommendations involving credit hours for classes and laboratories, the following basis is used with reference to outside preparation time: 1. One credit hour denotes one class hour and tvo outside hours per week required of the average student to earn a grade of C in the course. 2. One credit hour denotes three hours of laboratory vork per week where no additional outside preparation is required. When outside preparation time is required, then the above applies.
198 199
the humanities students be allowed to register for Music 6 l u n le s s
they possess the proper musical background.
The teacher candidate is entitled to acquire knowledge and
a p p re c ia tio n w ith in t h i s a re a t o th e maximum o f h is a b i l i t y . T h is ,
however, is not possible If time must be spent in orienting humanities
students In a subject In which music students are likely to possess
a broader background of experience. Such vaa the case which prompted
a significant number of graduates to list mixed classes as a weakness
and also suggest music students be segregated from those in the
humanities.
B. Emphases In course content should Include music of
the modern and contemporary periods, Integration of the various arts,
and recognition of styles of music of various periods without
slighting the other important facets of this area. Stress should be
on the literature of music in all periods, with integration of other
arts and factual information emerging as corroborative minutiae.
Appreciation Bhould be built on a knowledge of music, not knowl
edge about music. Further, this knowledge of music should encompass
the music of today. Comments from both graduates and seniors supported
the above-indicated emphases. The objective cannot be met unless the
teacher candidate becomes conversant with music of all periods, and
he cannot become truly appreciative of music of a given period if
viewed and listened to in isolation. Social and other forces temper
music, as they do all art forma, and this perspective is of importance
in appreciation. This background of appreciation should also prove mOBt effective in allowing the candidate to help others appreciate 2 0 0 music when he Is called upon to teach general music or music appre c ia tio n *
C. A course syllabus should be prepared vhich would serve to insure continuity and a certain degree of uniformity among and between classes taught by various Instructors, to insure a logical progression of material involved for presentation, and to enable
all periods of music history to be treated adequately*
A number of comments were made by graduates and seniors relating to the unorganized presentation of m aterials. While a syllabus is not, admittedly, a panacea, it nevertheless necessitates preplanning
and organization. If followed, the student should benefit from an
organized presentation. Continuity from quarter to quarter and between Instructors is necessary if the program is to meet the stated objective for this area.
D. Music 6l, 62, and 63 # Survey of Music, should be reduced from four credit hours per quarter to three vlth the class meeting three times weekly.
It is believed by the writer that if the emphases in this course
are as recommended above, the objective for this area can be met vlth fever than tvelve credit hours. This will be true if outside
preparation time conforms in proportion to credit hours as outlined
at the beginning of this chapter. It may be pointed out that both
University A and University B have only six quarter hours devoted to this area, and graduates from those institutions gave no indication that they felt preparation to be lacking in this area. The 2 0 1 roc amend at ion reduces the total number of hours at Utah to nine, still veil above the programs In the two sister Institutions.
2. A good program of music teacher education should provide each student vlth the opportunity to develop skill and understanding of the structure of music.
A. Keyboard should be carried on conjointly vlth each quarter of music theory study consisting of veekly assignments of vork to be covered. In addition to the practical application of theory study, keyboard should include chords, chord progressions, resolutions, modulations, and improvisation of simple chordal accom paniments to melodies.
One can come to an understanding of the structure of music best through learning to manipulate the elements of music. Keyboard not only offers this opportunity, but it translates printed notes into sound. A person may see a chord, but he must learn further that each chord possesses a quality, and keyboard provides the stepping stone for the student to capture the quality of chords and intervals.
Keyboard is application of music theory study.
Graduates pointed to lack of sufficient keyboard in their preparation as constituting a weakness, and seniors Joined graduates in recommending the strengthening of keyboard experiences in this a re a .
B. All instructors should agree upon definitions, terrain- ology, and a common over-all approach to be used in teaching music theory sections to allow continuity when students progress from one section to another. 2 0 2
This recounendation la not Intended to regiment the instructor
Into a pre-conceived pattern of Instruction, but It la intended that all inetruetora should consult and decide on the framework of the course and upon a vocabulary so that Instructors and students repre senting several theory sections can converse on the subject vlth complete understanding. Each Instructor should be free within the fram ework t o o p e ra te In term s o f h i s maximum e f f ic ie n c y . Work in sections should have enough conmon denominators that the same test could be given to all sections of a comparable level. Lacking such common elements, the student Is not free to develop to the optimum of his capabilities in this area over a period of time unless, perchance, he retains the same Instructor.
Lack of continuity vas listed as a weakness in this area.
C. Theory placement tests should be given each student before he registers for his first theory class, with the results of the test to be used for class placement and as a basis for guidance and assistance.
Students grouped according to similar abilities should allow each class to progress at its own effective rate without penalizing those at either extreme of ability. Homogeneous groupings provide each student a better chance to approach his potential. This kind of grouping vas recommended by graduates.
Results of placement tests should be used both for guidance and teaching purposes. If a student rates particularly low in one or two phases of the area, this lack should be pointed out to him, and his instructor may be able to offer suggestions for Improvement. 2 0 3
D. The study of music theory should be set up as a two- credit-hour course meeting twice weekly for three quarters, then as a three-hour course with three meetings per week In the second year for three quarters.
This series of courses should start with the rudiments of music and, as the study becomes more involved the second year, complex chords are studied ending with elementary composition and an intro duction into form and analysis.
The present curriculum contains three quarters of music theory for five hours each the first year and three four-hour classes the second year. This pattern is felt by the writer to be unrealistic.
Much of first-year theory work is of a laboratory nature, and the amount of outside preparation time on this basis in terms of a five- hour course is impractical for a freshman student first entering a subject. In actual practice, the question may well be raised, is this not giving too much credit for the amount of time and work in v o lv e d .
The above recommendation is made with the idea of creating a laboratory section to operate in conjunction with these classes.
The calibre of work in the music theory area is held in high regard by all groups giving opinions on the preparation program at the University of Utah. Volunteering the fact that theory was a strong area were 1 8 .1 per cent of the graduates, 3 6 .U per cent of the seniors, and 7*2 per cent of the critic teachers. It is with reluctance, therefore, that the number of hours is recommended for 2014- reduction, although It la the contention of the vriter this reduction w ill not constitute a de-emphasis In this area, hut rather, v lll be a more realistic apportionment of credit for work involved. In com parison to the 27 hours in music theory at the University of Utah,
University A has 2 5 hours and University B has 21 hours. Theory preparation at University A vas reportedly strong by 91-2 per cent of graduates from that institution.
3 . A pood program of muBic teacher education should provide each student vlth the opportunity to develop skill and understanding
In aural techniques.
A. A laboratory course should be initiated meeting three hours veekly under proper supervision for one hour of credit for three quarters, and six hours veekly for tvo credit hours the follow
ing three quarters; the content of the laboratory sessions to parallel work done in the corresponding music theory sections and containing
sightsinging, ear training, rhythmic, melodic, and harmonic dictation.
The integrated program of music theory has not been giving
sufficient emphasis to the development of aural techniques. Too
little ear training and sightsinging vas singled out as a weakness
in the theory area. The felt needs of graduates were not realized by
a differential rating of -O. 766 . Seniors likewise indicated a lack
in the degree of provision to the extent of -O. 818. Recommendations that more extensive work in sightsinging and ear training be carried
on in the curriculum were made by lU .9 per cent of the graduates, vlth five suggesting a separate laboratory claBS. Seniors and graduates 205 both rated this element of the highest value of any element In the entire music theory area.
The development of sk ill and understandings In aural techniques can be accomplished best In a laboratory situation, and for this purpose, a laboratory course must be set up. With laboratory courses in a tvo-year sequence under proper supervision, this Important area of aural techniques cannot be neglected nor slighted.
Proposed theory program
Music 71 (2) Elements of music, development of notation skills, intervals, keyboard
Music 71L (1) Development of aural skills: interval studies, sight- singing, dictation
Music 72 (2) Chords, chord progressions, complex intervals, dominant seventh chords, secondary triads, keyboard
Music 72L (1) Interval studies, rhythmic drill, sightsinging, dicta tion, dominant seventh chords, primary harmonies
Music 73 (2) Seventh chords, common chord modulations, complex intervals, secondary triads, non-chordal tones, keyboard
Music 73L (1) Sightsinging, dictation, secondary triads, complex intervals, non-chordal tones
Music 101 (3) Seventh chords, chord progressions, common chord modulations
Music 101L (2) Sightsinging, clef reading, dictation, keyboard
Music 102 (3) Secondary dominants, modulations to remote keys, chromatic chord forms
Music 102L (2) Sightsinging, clef reading, dictation, keyboard
Music 103 (3) Chromatic modulations, elementary composition, intro duction to the formal structure of music
Music 103L (2) Sightsinging, clef reading, dictation, keyboard. 206
Although graduates felt the value of form and analysis to be
"considerable," It vas not recommended as an additional course in the theory area. Since there 1 b insufficient time vlthln a four-year program to develop a significant degree of specialization In any one area, it is felt that only an introduction to the study of the formal structure of music can be Incorporated In the undergraduate program. It is strongly urged, however, that a form and analysis course receive serious consideration in the theory area of the graduate music education program.
U. A good program of music teacher education should provide each student vlth the opportunity to develop skill and understanding in musical creativity.
A. Every instructor in every course should promote the development of initiative and musical imagination by allowing students freedom of musical expression and by working toward the development of musical creativity In every possible way.
There Is no single course in the curriculum to which the develop ment of musical creativity can be relegated any more than there is a single course which can be relied upon to teach musicianship.
Musical creativity is an attitude, a projection of one's personality through the medium of music in some manner. Composition, arranging, and interpretation embody this creativity to a large extent. Program planning can utilize, to a lesser degree admittedly, musical creativity In the kinds of compositions selected and their sequence.
Every Instructor must encourage and kindle the spark of originality, 207 he must help every student to Identify himself In music somehow so that music becomes an expressive Idiom for him. This can come only through a variety of experiences in which a certain degree of "guided" freedom 1b allowed to prevail.
5. A good program of music teacher education should provide each student with the opportunity to develop skill and understanding in the arranging of music.
A. The three arranging courses now in the curriculum should be replaced with a single three-hour course to be known as Music 133,
School Music Arranging. The purpose of this course will be to acquaint the student with the basic techniques of arranging and instrumentation and to work with problems commonly confronting public school music teachers such as arranging for small ensembles, rescoring, and arranging for marching bands.
I t iS felt by the writer that the limited time available in the curriculum does not allow nine hours to be devoted to this subject.
Duplication w ill naturally result from three such courses because of the nature of their content, llusic theory with its four-part writing
is in itself an introduction to choral arranging. Orchestral and band arranging involve many o f the same instruments and their trans p o s itio n s .
Duplication in arranging courses vas mentioned repeatedly by graduates to the extent of its constituting a weakness in the music theory area. Practicality of course content was also an expressed co n cern . 200
The vrlter maintains that basic arranging techniques can be developed vhlle aimed at functions normally carried on by school music teachers. J In contrast to the nine hours devoted to arranging in the curri culum at the University of Utah, University A has no equivalent course and University B has a three-hour Instrumentation and arranging course.
When differentials between felt value and degree of provision are considered by periods in the development of the curriculum at the
University of Utah, it should be noted that in most instances after
195° when three arranging classes were introduced, differentials changed from minus values to plus. This indicates more provision in the curriculum that felt value would warrant. This would also seem to suggest reducing the number of hours devoted to arranging.
B. Small ensembles should be used to perform student arrangements early in the quarter of Music 133> and either the
University orchestra, band, and chorus, or a newly created instrumental and choral group of performers on secondary performance media set aside time to perform and record student works for the purpose of evaluation.
Verbal criticism s of instructors are meaningless to students when talking about what '’sounds" or what does not "sound." Instru mental tone colors cannot be described accurately by words. Arrange ments are merely notes until they are performed. A student will learn to grow in arranging ability only if he hears what he is doing.
As a result of much experience in hearing what one arranges, one can develop the ability to look at an arrangement on paper and at the 209 same time convert this Into an auditory Image. Our Instruction cannot start at this point vlth students. The Instructor cannot bypass this experience of the student and te ll him how his arrangement sounds, the student must hear It himself. Short of this, the course
Is not fulfilling the objective accepted for this area.
This recommendation conforms vlth suggestions made for Improve ment in this area.
6. A good program of music teacher education should provide each student vlth the opportunity to develop skill and understanding as a performer and interpreter of music.
A. Minimum standards should be vorked out for each year of private study, and a list of solos and studies commensurate vlth each level of proficiency to be attained at the end of each year should be published.
A staff of applied teachers vho are teaching in terms of their ovm objectives cannot alvays be vorking to the student’s best interests. This faculty has never conferred on vhat each is trying to obtain. Lack of aims and the ununiformity of objectives held by teachers can be particularly distressing to the student vho changes from one teacher to another. Without objectives consistent vith the musical grovth of the student, progress is difficult, if not impossible, to determine.
Among administrators, 80.1 per cent held that proficiency in some performance medium is essential to the teacher's effectiveness. The recommendation stated above is to insure that candidates reach 2 1 0
minimum levels of proficiency through standards* This Important
development cannot be left to chance.
D issatisfaction vas expressed In this area of preparation by 8.5
per cent of the graduates vho named lack of emphasis as a veaknesa
In the program. The same percentage recommended the establishment
of standards to provide more emphasis, as did 18.2 per cent of the
s e n io r s .
B. An examination should be administered at the conclusion
of each quarter in vhich each student receiving credit for private
study appears before an examining board of three faculty members of
the Applied Area for the purposes of: (l) determining the level of
attainment in relation to the standard, (2) giving helpful suggestions
to the student, and (3) recommending to the applied teacher a composite
grade on the examination to be a consideration in the final grade
received by the student.
This recommendation is to insure that standards of performance are
being met by all students. Such an examination constitutes a check on
both student and teacher that work is being guided in the pursuit of
the accepted objectives. The administering of examinations would also
bring the study of private applied in line with University policy which maintains that examinations must be given in all courses for which credit is received. It might be pointed out also that Univer
sities A and B both administer examinations in private applied.
C. Weekly student recitals should be instituted at which
attendance is required of all music education students to the extent 2 1 1 of six per quarter, and In which participation la required, either aa a soloist or in an ensemble, a minimum of twice every year of study as one requirement for applied music study.
The writer maintains that the objective accepted for this area cannot properly be met without performances In which the performer can demonstrate his own accomplishments, both as an Interpreter and performer. Incentive is provided toward excellence and approval, and poise and stage presence can be developed, providing some atten tion is so directed. No one can question the value of this kind of an experience in preparation of the music teacher. Attendance should be required for the purposes of: (1) gaining musically from perform ances, (2) becoming acquainted with a vide range of repertoire,
(3) observing stage deportment, and (U) providing an audience for performers.
Recitals and opportunities they provide for performance were mentioned repeatedly by graduates, seniors, and critic teachers as deserving consideration. The lack of solo performance opportunities is revealed by the differentials between felt value and degree of provision which amounted to -1.000 for seniors and -1.404, both of which are significantly high. Recital participation is required at both Universities A and B In the teacher preparation program.
D. Small ensembles should be organized under competent direction with one hour credit for three hours of rehearsal weekly, and participation in small ensembles should be required of every stu dent to the extent of three credit hours. 2 1 2
This recommendation is made to insure that students receive a variety of musical experiences which, in the opinion of the w riter,
is necessary for a student to develop his skills aa a performer and
Interpreter of music. Ensemble participation combines the demands
of reliance and dependability of solo participation and the responsi bility of intonation, precision, balance, and unity of interpretation provided by participation in large groups. As such, the small
ensemble makes its unique contribution to the development of the
student’s musical and performance growth.
The value of ensemble participation was recognized and indicated by the high differential ratings of - 1 .1 1 7 for vocal ensembles and
- 1 .0 0 0 for instrumental ensembles resulting from evaluations of
graduates and - 1 .1 8 2 and - 1 . 0 0 0 , the corresponding differentials
resulting from evaluations by seniors. Graduates pointed out the lack of opportunity for ensemble participation as a weakness, with 2 1 .3 p e r cent recommending that such opportunity be provided. Seniors con curred in this recommendation to the extent of 2 7 .3 p e r c e n t .
E. Scheduling of band, orchestra, and chorus should be
shifted so that rehearsals w ill not conflict.
A student should be able to participate in as many of the large groups as possible, and he should be encouraged to do so. Schedule conflicts prevent this practice. Graduates recognized the value in participating in several large groups by naming schedule conflicts as a weakness and recommending these conflicts be resolved to allow greater and wider participation. 213
7. A good program of muaic teacher education should provide each student with the opportunity to develop eklll and understanding in conducting techniques.
A. A course Including both choral and instrumental con ducting techniques should be required of all teacher candidates, the course to be Music 132 for three hours credit.
In a program that prepares students for both vocal and instru mental teaching, it is inconceivable that a choice must be made between either band conducting or choral conducting. Unfortunately, time lim itations do not allow the inclusion of both courses in the program, so the above recommendation is made to allow the meeting of the stated objective of this area in terms of the purpose of the program. The recommendation is based on the assumption that there are common elements in choral and instrumental conducting techniques, and that some time will be available after basic techniques for a treatment of techniques unique to each area of conducting.
B. Conducting studentB should have opportunities provided for conducting and rehearsing musical groups, both large and small.
This opportunity should be provided by; (l) the University band, orchestra, and chorus whenever possible, (2) small ensembles,
(3) classmates in conducting class performing on their own instruments or singing, and (U) a laboratory course which should be set up meeting three hours for one hour of credit to serve, in addition to a laboratory for conducting and rehearsing under supervision, as
(a) an opportunity for student arrangements to be performed, (b) a playing and singing experience for students both on minor instruments 2lk and voice, (c) an opportunity to acquaint students with repertoire suitable for use In the schools. Time In this course should be divided between chorus, band, and orchestra. The course would be known as School Music Workshop and would meet In the spring quarter for two one-hour-and-a-half blocks of time for one credit hour.
Each teacher candidate would be required to take the course twice.
Skill and understanding of conducting techniques are impossible to acquire in the absence of application. Just as one cannot learn to swim by reading a book and practicing the strokes on land, a conductor cannot learn his techniques in the absence of actually conducting musicians. To conduct, means to lead a person or persons.
Without persons to conduct, one cannot truly conduct. Conducting in front of a mirror will reveal certain faults in technique, but the important fact of how performers w ill respond to the movements remains unanswered.
Dissatisfaction with preparation in conducting because of the lack of opportunities to conduct performers is revealed by the biggest discrepancy resulting in the entire area between felt value and degree of provision, that of - 1 . 90k in the instance of graduates.
The rating of seniors likewise resulted in a high differential of
-I.636 . The fact that opportunities for conducting is held in high esteem is attested by the fact the highest valuation ratings in the entire area were accorded this element. Seniors rated the value of this experience 3*909> and graduates 3*766. The lack of opportunity accounted for 9*6 per cent of the graduates and 9.1 per cent of the seniors rating this aspect as a weakness in the area along with 10.7 215
per cent of the critic teachers. The percentage of persons recom mending provision for conducting opportunities ran exceedingly high.
This recommendation vas listed the most times for improving the
area by both graduates and seniors, vith U7 .9 per cent of the
graduates and W5.5 per cent of the seniors contributing suggestions.
Additional recommendations along this line vere provided by 2 8 .6 per
cent of the critic teachers.
Justifications for the addition of the course, School Music
Workshop, in addition to its function in serving as a laboratory for
conducting, can be found through its provision of opportunities
for students to listen to arrangements they have done; to apply the
techniques of rehearsal procedures; to perform on voice and many
instruments in a chorus, band, and orchestra; and to read through a variety of music for these media suitable for school use. Repeatedly throughout this study respondents indicated the need for these kinds of opportunities was great. The writer feels this course will do much to integrate the work carried on, not only in the courses directly related, but in all courses of the music education program
if supervision of this laboratory is so planned.
8. A good program of music teacher education should provide
each student with the opportunity to develop an understanding of the
art of singing.
A. Emphasis in voice class, in addition to the fundamentals of singing, should be aimed at the techniques of teaching Binging, with opportunity provided in class for studentB to instruct their 216 classmates In the techniques of singing. No recommendation for change
In the curriculum Is deemed necessary to meet this objective.
The purpose In developing an understanding of the art of singing for the music teacher is to be able to teach others. Obviously, this requires an understanding of singing; it also requires insights into analyzing problems and suggesting remedies. Both aspects are reinforcing in that deeper insights into one aspect w ill also benefit th e o th er.
The relatively high differentials resulting from a consideration of felt value and degree of provision of -0.829 by graduates and -1.000 by seniors indicate a certain degree of inadequacy in preparation.
This inadequacy comes into clear focus as a result of the responses of critic teachers. Ratings for elements of this preparation were: singing ability, 2.692; awareness of diction problems, 2.857* effec tiveness in solving diction problems, 2.357; awareness of intonation problems, 2.929; effectiveness in solving intonation problems, 2.071; demonstrate adequate vocal teaching technique, 2.IU3. These responses indicate students know how to sing rather well and are definitely aware of problems related to singing, but are ineffectively prepared in teaching voice techniques or solving related problems.
Suggestions for improving choral teaching preparation were made by critic teachers.
9. A good program of music teacher education should provide each student with the opportunity to develop an understanding of the art of piano playing.
A. Study in a piano class, meeting four times weekly for 217 tvo hours credit for a minimum of one quarter, should be required of all Btudents not proficient in piano, vith the study to start simul taneously with the first course in music theory. Further, that a min imum piano proficiency level be set vith abilities consistent with the normal needs of choral music teacher b in the schools, the standards of which should be published, and candidates should be required to pass this level of proficiency.
While there are statements to the effect students must acquire a "thorough knowledge" of the piano, this thorough knowledge has never been defined in terms of abilities. Moreover, the writer feels it is unjust to make requirements to be met without providing time within the curriculum in which to meet them.
Administrators held piano playing not to be essential, but desirable for teaching effectiveness, and critic teachers demonstrated by their response and absence of response (in the instance of instru mental teachers) that pianistic ability was most helpful in choral tea ch in g .
Understandably in the absence of piano instruction in the curri culum, differential ratings of -1.160 and -1.818 resulted from ratings by graduates and seniors. Among graduates, 12.8 per cent further recommended more work in piano as part of teacher preparation.
10. A good program of music teacher education should provide each student with the opportunity to develop an understanding of the art of teaching all families of instruments.
A. The number of hours devoted to the study of minor 2 1 8
Instruments should be Increased and organized vith a quarter of study receiving tvo credit hours for four hours of classes per veek as
follows: (l) violin, (2) Instruments of Btrlng (orchestral) family,
(3) clarinet, (4) voodvlnd family, (5) trumpet, and (6) brass family.
In addition, one quarter of percussion study meeting tvice weekly
for one credit hour should be required.
B. Within each class of minor instrument study, each stu dent should assume the teaching duties of his classmates in class at
frequent intervals under supervision of the instructor, and attention
should be devoted to the following items in each class: (1) materials
appropriate to instruction at various degrees of advancement,
(2) development of good playing fundamentals, (3) concentration upon
techniques for teaching playing fundamentals, and (4) a study of the
selection, care, adjustment, and minor repair of instruments.
These tvo recommendations can best be discussed at the same time.
The objective specifies an understanding in the art of teaching Instru ments, and responses of graduates indicate the program has not met this objective. Differential ratings of graduates for these various
classes range from -0.968 to -I.329, vith differential ratings of
seniors for corresponding classes ranging from -1.091 to -1.364.
Recommending more time in the curriculum be devoted to this study vere 27.7 per cent of the graduates and 18.2 per cent of the seniors.
Further concern for preparation in this area vas added when critic teachers* evaluation of the preparation of teacher candidates revealed students had only a fair command of instrumental teaching techniques (2.417), though demonstrated a poor functional knowledge 219
of instruments (1*750)* Students vere aware of intonation problems
(2*750), but were ineffective in their ability to solve them (2.000).
Lack of knowledge of minor instruments was listed by 28.6 per cent
of the critic teachers as a weakness in preparation, and 39*3 P©r
c e n t recommended more work w ith th e se instrum ents and r e la te d te a c h
ing techniques.
School administrators singled out the need for music teachers
to be better prepared to teach instruments of the band and orchestra.
Even though both Universities A and B have more hours devoted
to this study in their curricula than doeB the University of Utah,
19*1 per cent of graduates from University A and 32.1*. per cent of
graduates from University B nevertheless feel additional emphasis is
still needed.
In view of the foregoing discussion, it is obvious that addi
tional hours were needed in the curriculum in which to meet the stated
objective. Equally obvious w ill be the reason for some of the
emphases listed in Recommendation B.
One emphasis about which no discussion has centered is the care
and rep a ir of instrum ents. This was c le a r ly shown to be a need by
the exceedingly high differential resulting from the evaluation of
graduates (-I.58U) and seniors (-2.091) to this element. Graduates
(6.k per cent) and seniors alike (27*3 per cent) cited this lack as
a weakness in the area. Making recommendations for Its inclusion in
instruction vere 10.6 per cent of the graduates and 36.U per cent of the seniors. 22 0
The need for attention to teaching materials w ill be discussed in a later section.
C. The instructor of each class of minor instruments should be a competent performer on at least one Instrument within the family of Instruments he is teaching.
All minor Instruments over a number of years have been taught by one person at the University of Utah. It is the contention of the writer that it is impossible for one person to be familiar enough with all instruments to be able to give adequate demonstrations and instruction to allow this area to fu lfill the stated objective.
Instruction In these courses was listed as a weakness and Ilf.9 per cent of the graduates recommended more effective Instruction be made available in these courses.
D. Students should receive large ensemble playing experi ence on minor Instruments in the School Music Workshop.
Students logically w ill develop more competency if provided the opportunity to participate in a variety of groups on secondary instruments. This is one means of developing a greater understanding of the instruments and their problems, both of which are essential in teaching. Recommending band and orchestra performance opportunities on minor instruments were 10.6 per cent of the graduates.
11. A good program of music teacher education should provide each student with the opportunity to develop sk ill and understanding in organizing and teaching various phases of the secondary school music program. 221
A. A course entitled General Music, with two hours credit and meeting twice weekly for one quarter, should be required of all students. This new course w ill concentrate entirely on preparation for teaching general music with appropriate materials and techniques.
General music is a required subject in the Junior high schools of Utah, and concern for improving preparation is widespread, as evidenced by the following responses. Making recommendations for improvement in general music teaching vere 35*3 per cent of the graduates from institutions outside Utah, 22.1 per cent of graduates from University A, and 23.5 per cent of graduates from University B.
To thiB concern can be added similar appeals by 8.2 per cent of the administrators.
The felt lack in preparation for teaching general music is reflected in a differential resulting from ratings by graduates of
-1.426, and from ratings by seniors of -1.4-54. Recommending strengthening of this preparation vere 17 per cent of the graduates.
Critic teachers Judged preparation 1.901 which approaches "meager."
Of these teachers, 39-3 per cent recommended improving preparation.
Preparation for teaching general music at the University of
Utah has been treated as a part of Music 151, Choral Methods and
Materials. In creating a new course for one specific purpose, there can be little doubt the subject w ill receive increased emphasis.
B. Music 151, Choral Methods and Materials, should be reduced to three meetings per week for three hours credit, and should include in content the staging and production of operettas and musical shows. 222
The reduction of one hourly meeting per week and one credit was due to the removal of general nruslc preparation from this course.
Preparation fo r sta g in g and producing o p eretta s and m usical shovs was singled out as a result of responses which Indicated preparation for thiB has been lacking. This item was not held as being extremely important in relation to other elements in the curri culum, as evidenced by valuation ratings given by graduates (2.979) and seniors (3*273)# nevertheless, preparation has been totally inadequate, as evidenced by the differential of -1.564 of graduates and
-2.000 of seniors. Critic teachers gave a rating of 1.000 which coincides with "not at all" to the effectiveness vith which teacher candidates worked vith operettas.
12. A good program of music teacher education should provide each student with the opportunity to acquire a functional knowledge of the business aspects of music education.
A. in str u c tio n in Music 131> Instrum ental Methods and
Materials, should place more emphasis on the study of the business aspects of music education. A curriculum change is not felt to be necessary to meet this objective.
The element, business aspects of music education, received a differential rating of -1.117 by graduates, while seniors gave it a differential rating of -1.818, all of which indicates provision in the course has been inadequate.
13. A good program of music teacher education should provide each student with the opportunity to acquire a functional knowledge 2 2 3 of music teaching m aterials appropriate to the secondary school
le v e l* A. The following classes should give specific attention to teaching m aterials, suitable for use in a variety of school situa tions, and sources: (1) all minor Instrument classes, (2) voice class,
(3) Instrumental and Choral Methods and M aterials, (k) General Music,
(5) Conducting, and (6) School Music Workshop.
Knowledge of and acquaintance vith teaching m aterials must be an emphasis In every music education class If the objective is to be realized. The conclusion that this objective has not been met In the past is drawn from the following data: Critic teachers rated teacher candidates* knowledge of m aterials as 2 . 0 3 3 , which is only slightly more than "meager." In addition, 25 per cent listed the lack
In this knowledge as a weakness in preparation, and 17*3 per cent recommended strengthening the emphasis on this aspect. Graduates and seniors were likewise aware of the deficiency. The differential resulting from graduates* ratings was -1.288, and that resulting from seniors' ratings was -1.000. Also, 9-1 per cent of the seniors listed inadequate knowledge of m aterials as a weakness. Recommending more attention to this phase of preparation were 21.3 per cent of the graduates and 2 7 .3 per cent of the seniors.
The number of classes in the Music Education Area have been increased, and each class has knowledge of materials as one of its emphases. Each student w ill take two quarters of the School Music
Workshop in which much music for band, orchestra, and chorus w ill be 2 2 k read. It la the contention of the w riter that thia added emphasis w ill fu lfill the objective in a large measure.
B. An annotated list of materials and sources should be kept for future reference by all students throughout their prepara tion in music, and should be considered a part of the requirement for the completion of each music education course.
This recommendation is a further implementation of Recommendation
A, and should insure that every graduate w ill possess a ready file to assist him in meeting his needs.
C. Attendance at student recitals should be considered an opportunity to become fam iliar with solo and ensemble repertoire.
This recommendation can likewise help to implement the first recommendation. If students make notations on their programs concern ing numbers heard, the programs w ill serve as an additional source of literature.
lU. A good program of music teacher education should provide each student with the opportunity to acquire an understanding of the role of the music program In the life of the school and community.
A. Although no curriculum change is indicated, it is essential that instruction result in placing the music teacher and his program in a proper setting both in the community and in the s c h o o l.
School adm inistrators voiced overwhelming conviction that music teachers in Utah fit well into the musical life of the community.
Only ^.3 per cent disagreed with this opinion. The view that music 225 teachers fit well into the non-musical life of the community was held by a convincing 80.8 per cent. Slightly less conviction was apparent as to the effectiveness with which music teachers fit the music program into the total school program. Of ail the administra tors, 70*^ per cent held to this view.
Concerning this last point, sixteen administrators suggested the need for a greater appreciation of the place of music in the school program.
The conclusion can be drawn that music teachers do, for the most part, understand the role of the music program in the life of the school and community. Nevertheless, it does not alleviate the import ance of preparing all teachers to know the rightful role of the music program.
The importance of every teacher being able to gear his music program to meet this objective cannot be overstressed. Administrative criticism was leveled upon music teachers whose program either slighted segments of the student body and their musical development or put undue emphasis upon the music program out of proportion to other curricular offerings. Proper perspective of music study in the school program as one avenue of fu lfillin g objectives of education is necessary if the music program is to retain its justified role, how certain objectives can be net by all students through music pro vides the guide lines for a balanced school music program.
Neither graduates nor seniors felt confident the objective had been met in their preparation. Differential resulting from graduates' 226
evaluations vas - 1. 000, and the corresponding differential from ratings
of seniore was -1.182. In spite of the rather high differentials, no
further references were made by either group to the place of music
in the public schools.
In making suggestions, mention was made by graduates for more
attention on personal and public relations. The importance of good
relations with faculty and administration was expressed. This same
suggestion with identical emphasis was made also by critic teachers.
instruction in Instrumental Methods and Materials, the course
in which this objective constitutes one of its purposes, should be
aimed at bringing about understandings, the needs of which were pointed
out above. The social role and its responsibilities and opportunities
are perhaps as great in the community both to the music teacher and
h is program as are the d u ties, ob lig a tio n s, and functions within the
school setting. Proper organization should allow fulfillment in each
of these areas of operation, but never should the teacher lose sight
of the educational aims of h is program. instruction must so orientate
the teacher candidate.
15. A good program of music teacher education suould provide
each student with the opportunity to acquire an understanding of
methods of teaching music.
A. Attention should be directed in music education courses
toward the techniques of teaching, with students under supervision
gaining experience teaching the class whenever and wherever practicable.
The addition of School Music Workshop to the curriculum should 227 aBBist materially in allowing the objective to be met.
Teaching techniques, like conducting, are difficult to acquire in the absence of an opportunity to apply them. Instruction at the
University of Utah In the past has not supplied the student with this opportunity to any extent, and the following give reason for concern.
Only a little more than half the administrators (58*6 per cent) feel music teachers are adequate as teachers. In addition, 8.7 per cent recommended better acquaintance with teaching techniques is needed. Differential ratings of graduates and seniors were relatively low, being -O.818 and -O .636 respectively. The significant fact concerning preparation at the University of Utah Is that 6 U.3 per cent of the critic teachers listed the inadequate knowledge of teaching techniques as constituting a major weakness. This was, by overwhelm ing choice, the outstanding weakness in the entire program.
To focus more attention on music teaching techniques and to allow students an opportunity to apply teaching techniques, classes based on the c lin ic idea have been recommended.
The idea of application of teaching techniques received consider able support in the study. Volunteering such recommendations were
17 per cent of the graduates, 27.3 per cent of the seniors, and 17.8 per cent of the critic teachers.
B. All music education courses should be supplemented fre quently with observations in the schools with each observation result ing in a class discussion of: (l) what was observed, ( 2 ) how i t related to work carried on in class, ( 3 ) evaluation of the observed situ a tio n , and (4) how i t could have been improved.- 2 2 8
This recommendation is made to enable the student to see a
number of music teachers at work, to observe their techniques, and to
get an early and realistic orientation into teaching. The writer
feels observations provide sources for ideas in teaching which can be brought back to the classroom and applied as outlined in
Recommendation A. Observations are also a means of focusing attention
on problems and how they are met, thus keeping class discussions
pertinent and practical. Frequent observations were recommended to
serve these purposes by 9-6 per cent of the graduates and 28.6 per
cent of the critic teachers.
16. A good program o f music teacher education should provide each student with the opportunity to develop an understanding of human growth and development and the learning process with especial reference to the learning of music.
A. No curriculum change is recommended to meet this objec tiv e ; however, the content o f Choral and Instrumental Methods and
Materials courses should include human growth and development, the
learning process as it applies to music, causes of disciplinary prob
lems, and how to meet behavior problems.
B. Frequent observations should be considered as occasions for Btudents to become familiar with the behavior of children, the
learning process, and means whereby discipline may be maintained; and further, that observations should be followed, whenever possible, by the teacher observed coming into the college classroom for the purposes of explaining what was done vith reasons, to provide background on 2 2 9 personnel problems and techniques used in their treatment, and to answer questions teacher candidates may wish to ask.
The above recommendations are made to point up an emphasis in the courses mentioned which has been insufficient in the past, as
Indicated by some of the findings in this study. Within the music teaching situation, 8.7 per cent of the administrators cited the need for better acquaintance with teaching techniques related-to the learning process, that music teachers need to know how to work with students. Another need cited was for practical helps in maintaining good discipline. This discipline problem is greatest at the junior high school level. Teachers prepared at institutions other than at the University of Utah rated the aspect of relating music to children the weakest part of their preparation, and convincingly so. Graduates from the University of Utah indicated felt weakness in relating music to children by differential ratings of - 1. 160 , and the rating of seniors a similar -l.l 8l. In making suggestions, the graduates indi cated help was needed in meeting disciplinary problems. The matter of discipline was viewed by several to be a concern of great import ance. in addition, 16.2 per cent of the seniors voiced a similar con cern.
Critic teachers, in evaluating ability of teacher candidates to maintain control of the classroom situ a tio n , gave a somewhat respectable rating of 2 . 500 . In their ability to relate music to toys and girls, the candidates were rated 2 . 538 . In lis t in g weaknesses in teacher training, 28.6 per cent of the critic teachers noted the lack of knowledge of children, their capacities and how they learn, 230 vhich is somewhat inconsistent with the above ratings given by them.
Another 7*2 per cent cited candidates* ability to cope with disci plinary problems. In suggesting improvements in teacher preparation,
14.3 per cent recommended greater concern with relating music teach ing to child growth and development and the learning process.
The matter of discipline has been regarded by the writer as a problem closely related to learning and knowledge of the learner.
It is felt Recommendations A and E are essential means of helping to fu lfill the objective.
C. Teacher candidates should be advised and encouraged to take advantage of every opportunity to work with children throughout their college preparation. Thi3 could be as a playground supervisor or camp counselor in the summer or a funday School teacher or scout helper during the remainder of the year.
D. Teacher candidates should, during their undergraduate preparation, be encouraged to accept young students In their major performance medium for the purposes of learning to work vith young people and for opportunities to apply music teaching principles learned.
The above recommendations ore based on the assumption that, in addition to theoretical information, one must work with young people to fully understand them and the learning process. It is felt this personal contact offers an important adjunct to classwork. Senior .Junior Sophomore Freshman General General u. Gti 2) (2 s g trin -G 7 8 Mus. (2) e ic o 5^-v Mus. .Mus. 1 3 1 -In s tru m e n ta l l ta n e m tru s -In 1 3 .Mus.1 heory -T lL lO Mus. Mus. 101-Theory (3) (3) 101-Theory Mus. t ne Quarer rte a u Q inter W r rte a u Q l l a F Mus. 7 7 - v io lin (2) (2) lin io v - 7 7 Mus. Mus. 71-T heory (2) (2) heory -T lL Mus.7 heory 71-T Mus. s6- ao (2) iano us.6^-P M . - sor ( ry isto l-H s.6 u M SCHEDULE PROPOSED IN CLASSES OF MUSIC EDUCATION PROGRAM M ethods - (3) (3) - ethods M L a b o ra to ry (2) (2) ry to ra o b a L at y (l) ) l ( ry to ra o b a L in i t i otne if ncsay i l l e v le til n u necessary f i continues n tio c u str in Piano ag ad mal nebe rn hogot program. throughout runs run medium ensembles performance major all sm in and n Large ctio stru in rivate P sc (2) usic- M f oiinc is atai d. ed in tta a s i cy roficien p of i acpal l of tan n i reached. is ent attainm f o l e v le acceptable til n u 3 FOR UNIVERSITY THE UTAH OF ) Mus. 88-W oodwinds(2) oodwinds(2) 88-W Mus. horal us.151-C M u.132- tng( ) (3 g ctin u d n o -C 2 3 1 Mus. (1) n io ss u rc e -p 0 Mus.8 Mus. M us.72-Theory (2) (2) 72L-Theory ( Mus. ry us.72-Theory isto M -H 2 s.6 u M Mus. 102L-Theory ( 102L-Theory Mus. heory us.102-T M ehd - ( - Methods AL 07 TABLE L a b o ra to ry (2) (2) 8 ry 7 to ra o b a L at y (1) ry to ra o b a L - c l a r i n e t {2) {2) t e n i r a l c - 3 3 3 ) ) ) u.73L-Theory Mus. Mus. Mus. Mus. (2) et rn -co 9 s.7 u M ( 103L-Theory Mus. heory us.103-T M col Music School col Music School Mus.7 3 -T heory (2) (2) heory -T 3 Mus.7 Mus. i t r rte a u Q g rin p S okhp (1) Workshop rso (l) ( orkshop W A rra n g in g - - g in g n rra A 3 6 3“col Mus. 133“School (2) ry to ra o b a L at y (l) ( ry to ra o b a L 9 8 st y ( ry to is H - -B ra ss (2) (2) ss ra -B
231 { 3 3 3 ) ) )
232
Scheduling of Classes in Proposed Program
In the music education program proposed for the University of
Utah, the study of music history and literature and music theory are placed in the first year due to their basic nature. Theory and music history should combine to develop early insights into and apprecia tion for music in the freshman student. The study of piano is placed
In the first quarter of the program to familiarize all students lacking previous piano experience with piano fundamentals. With all such students, this early start in piano should prove to be a great aid In the study of music theory and will serve specifically as a background for keyboard harmony.
The study of music theory is accorded more credit hours with a corresponding increase in time consumed In the second year; namely, in theory laboratory. The student will have the benefit of one year of theory preparation at this point, will be slightly more mature and accustomed to work at the university level, and should be in a position to concentrate for a longer period of time at fruitful laboratory work.
Minor instrument study is begun the second year to provide an uninterrupted sequence throughout two yearG. Commencing preparation at this time, with voice added, allows for a background of instrumental and vocal techniques to be established in preparation for the first
School Music Workshop following in the spring quarter. At this point
In the program the workshop w ill provide instrumental performance and singing opportunities for these students. 233
Instrumental and choral methods, combined vith conducting and the second year of study on minor Instruments provide additional preparation for the second School Music Workshop in the spring quarter of the third year. This workshop and School Music Arranging are scheduled in the same quarter to offer a laboratory for student arrangements to be performed in addition to the other emphases of the workshop. Arranging is placed at the conclusion of the sequence of minor instrument study so that students will benefit from such first hand knowledge as transposition in various instruments, ranges, colors, and difficult or impossible demands on instruments.
The fall quarter is light in the third year to allow for a limited student teaching experience. Either the instrumental or choral methods class is intended to coincide with this experience to allow for application of theories discussed in the class.
General Music is offered in the senior year preceding the final full day of student teaching which can come in either of the last two quarters, and may include student teaching in general music.
Study in the major performance medium w ill commence when the student enters the program and continue until the acceptable level of attainment has been reached. Participation in large and small ensembles w ill continue throughout the entire program.
Tt is maintained music study and participation must start with the first quarter of study in the University to allow for the develop ment and maturation of -Mflicianship in the teacher candidate.
The proposed mus ic <_•i :c- * r. ; rogram consists of SO c r e d i t hours, and the present program contains 90 o r 91 hours, depending 23^ upon the choice made in the Music Theory Area of advanced theory or keyboard harmony.
Mention should be made of the fact that a student, in the proposed program, is excused from one quarter of study of minor instruments in the family represented by his major performance medium.
Thus, a clarinetist or bassoonist would be excused from Music 73, study of the clarinet, but would take Music 88, a study o f a l l wood wind instruments. Similarly, a cellist would be excused from Music 77, a study of the violin, but would take Music 87, a study o f strin g instruments, and a vocalist would be excused from Music 5^, group voice instruction.
Factors Relating to the Proposed Program
During the course of this study, some views and considerations appeared which have either a direct or indirect bearing upon the music education program. These considerations will be discussed briefly.
Much concern was expressed relative to student teaching. While this experience, which is a Department of Education offering, falls outside the limitations of this study, feelings ran so strongly and were voiced so frequently that its consideration seems warranted.
This would appear especially appropriate due to the importance of this experience to the music education program.
Student teaching is supervised by the faculty of the Department of Education. There was much criticism of this type of general super vision and opinions ran strongly in favor of the specialized super vision of a music instructor. The writer is in accord with this view 235
and maintains that such supervision could be much more helpful and
relevant. It is obvious that many problems relating to music arise
in which only a music Instructor could give counsel.
A second point raised frequently was that student teaching should
consist of two separate experiences, one early for orientation pur
poses and to allow students to recognize the need for classvork which
follows, and the other near the close of preparation for integration
and application of instruction that preceded. This proposal, along
with another for extending the length of time devoted to student teach
ing, certainly merits further consideration. The advantages of two
separate situations are strong, and, without a doubt, student teaching
is one of the most valuable experiences in the curriculum. Proponents
for giving this aspect of training more time were considerable and
were represented in significant numbers among every group of respondents
Included in the study.
In relation to enriching student teaching, several graduates sug
gested instituting a seminar to run concurrently with student teaching
in which student teachers would gather regularly to discuss, under
the' direction of the music student teaching supervisor, problems
encountered and solutions.
Upon the belief that all ideas discussed above would add greatly
to the value of student teaching and to the preparation of the music
teacher, the following proposal is made by the writer:
That committees from the Deportment of Education and the
Department of Music meet to discuss student teaching in the preparation 236 of music teachers and to consider the following suggestions: (l) that student teaching be Increased to two separate experiences, one early in the Junior year and one late In the senior year; (2) that a music education Instructor serve in the capacity of supervisor to student teachers in music; and (3) that a seminar be incorporated in conjunc tion with student teaching in which a weekly meeting of music students is held under supervision of the student teacher supervisor to dis cuss situations encountered In student teaching.
In view of the fact that approximately one out of every three music teaching positions can be considered specializing in either choral or instrumental music, and in light of the concern expressed by teachers and administrators, the decision to retain the composite program of preparation for both fields of music teaching would seem to be Justified. An obvious advantage of a composite program is the large number of teaching positions available for the graduate's or music teacher's consideration. It iB felt that a greater degree of specialization, if desired, can be pursued at the graduate level.
Certainly the breadth of background will not be amiss when, even in the largest schools, concerts and musical productions involve both choral and instrumental music simultaneously.
Due to the relatively small number of music teachers involved with teaching at the elementary level, it does not seem advisable at this time to aim a segment of teacher preparation at that level. It is hoped, however, that the near future will bring a change in this situation and that a far greater number of music teachers w ill be needed for this level. The dissatisfaction pointed out by a small 237 number of administrators with the self-contained classroom and the poor quality of musical experiences resulting gives promise, though slight, of better things to come.
Almost one half of the music teaching positions in Utah Include teaching In an academic field. While school administrators feel strongly that music teachers should be prepared to teach academic courses, it does not seem prudent that every teacher should be so prepared. It does seem proper, however, that every music teacher candidate should be counseled early in his preparation program in which the following information is made known: (1) almost half the music teaching assignments include teaching an academic course;
(2) the academic courses most commonly taught by music teachers in
Utah are mathematics, English, and history; and (3) most administrators prefer that music teachers should be prepared to teach in English, social studies, and mathematics. After receiving this information, the student should be allowed to make his own decision and, if he so chooses, to plan his program toward becoming qualified to teach in one of these areas.
The large number of music teachers teaching in academic areas for which they possess no formal undergraduate training Is a deplorable situation and, if indicative, does not speak well for the quality of instruction in many classrooms throughout the state in subject areas involved.
Another point arose numerous times and received support from graduates and teachers alike. Opinion was voiced that college 2 3 8 professors teaching music education courses should possess a back ground of teaching in the public schools. Reasoning to support this view was that only instructors with this experience know the real problems in the schools and thus are less likely to impart impractical and theoretical misinformation. Certainly there is no doubt that a college professor possessing a background of successful experience as a public school music teacher has a decided advantage.over his colleagues not possessing this background in helping students to prepare for school music teaching. This, however, is only one of many considerations and attributes which would tend to make a teacher either effective or ineffective. Possession of this kind of back ground in itself would not guarantee superior instruction. Neverthe less, it deserves to be one consideration when additions or replace ments are contemplated in college teaching personnel for music educa tion courses.
The matter of screening, guidance, and counseling arose repeat edly in comments of respondents. There vere no questions directed to this subject; comments vere borne out of concern by teachers and administrators alike. In addition to screening on a personality basis, guidance was suggested based upon a testing program.
Entrance at the University of Utah into the College of Education is on the basis of a grade point ratio above 1.00, health examinations, and personality tests. There are no examinations administered by the
Department of Music at entrance. Each student, upon entrance into the teacher preparation program, is assigned two counselors, one from the College of Education faculty and one from the Music Education Area 239 of the Music Department. The student must have h is program approved by both advisers before registering each quarter.
The music education counselor, when a student first declares his major field, should help this student to see how the courses in the music education program are interrelated and how they augment one another. Beyond this, intelligent counseling is difficult without entrance examinations such as the theory placement test mentioned in one of the recommendations. In addition, the writer believes that entrance auditions should be given in the major applied and piano so that study and participation can be planned to the student's advantage.
Suggestions for Further Study
The limitations of this study have prevented an exploration of some fa cets of the music education program which could be of d is tin c t service to graduates in their teaching effectiveness. In the hope that further study of the music education program at the University of Utah will be prompted, the following suggestions are presented:
1. The University should be vitally concerned about its gradu ates in music education and should provide services to assist them in continual growth in musicianship and in more effective teaching.
Toward th is end, a follow-up program should be in stitu ted which would not only assist new teachers in Job placement, but would also keep experienced teachers informed of new openings. Visitations by music faculty to teachers in their first year of teaching may be of suffi cient value to be included in such a follow-up program. There is a need to determine the kind of program which would be most e ffe c tiv e to U niversity of Utah graduates. 21*0
2. An in-service training program of teachers can be of material assistance as veil as providing inspiration for more effective teach ing through campus clinics and workshops. The initiation of a summer program designed to assist music teachers in facing practical problems should also be considered. The area of in-service training should be explored to give music teachers in the state leadership and help.
3. The need is ever present for a continual evaluation of required courses in each area in terms of adequacy of preparation of music teachers.
U. The program in music education at the m aster's le v e l should be reviewed in terms of coherency and articulation with the undergradu ate program and in terms o f the e ffe c tiv e n e ss o f th is program in improving teacher competencies.
5 . Student teaching of music students should be examined to determine the kind of experience which would be most beneficial and practical in meeting the needs of teacher candidates.
6. A study should be made within five years to determine If the nature of the music teacher's duties have changed with particular reference to teaching in academic courses. If the recommendation made by Dr. Conant of consolidating small high schools into larger units is followed in Utah, it is conceivable this would have considerable effect upon the duties of music teachers.
2 James B. Conant, The American High Cchool Today, see p. 37. APPENDIX A
RELATED STUDIES
Baird, Forrest John, "A Follow-up Inquiry of Secondary School Music Teachers Prepared at San Jose State College.” Unpublished Ed.D. dissertation, Stanford University, 1955*
Baird conducted a study in which music teaching competences were ranked as to importance. In order o£ their importance, graduates
and.faculty indicated that a music teacher should: (l) select
materials appropriate to the performing groups, (2) conduct musical
organizations, (3) tune and adjust any band and orchestra instrument,
(U) select and establish tempo for musical performance, (5) train and
conduct vocal or instrumental groups, (6) conduct from a four-part
score. Baird noted that the music teaching competencies ranked of
most importance were predominantly concerned with public performance.
Worrel, John William. "An Evaluation of Teacher Preparation in Music Education at The U niversity o f Kentucky Through An Analysis of the Opinion of Graduates." Unpublished Ed.D. dissertation, U niversity of I l l in o i s , 1957*
This study included graduates from 1935 through 1955 > th e c u r r i
cula they pursued, average grades, and types of positions secured upon
graduation. Graduate opinion was compared with faculty opinion.
Graduates felt the number of credit hours inadequate in conducting,
psychology of learning applied to music, minor piano, minor instru
ments, and minor voice. Other areas, including theory and composition,
were allotted more tine than the importance imparted them by the
graduates would seem to Justify.
Ten areas in the musical preparation rated by graduates as to
2 4 l importance in teaching vere in this order: (1) methods, (2) conduct
ing, (3) performing ensembles, (U) minor piano, (5) psychology of * learning applied to music, (6) major applied area, (7) minor instru ments, (8) minor voice, (9) music history, and (10) music theory.
According to the number of hours required, the college rated the
areas in the following way: (l) music theory, (2) major applied area,
(3) methods, (U) minor instruments, (5) performing ensembles,
(6) minor piano, (7) minor voice, (8) music history, (9) conducting,
and (10) psychology of learning applied to music. The conclusion drawn was that the competencies used most often by alumni should assume
greater importance and receive more emphasis in the teacher prepara tion program.
Wilson, George H. "A Study of Professional Music Education at the Ohio State University." Unpublished Ph.D. dissertation, The Ohio State University, 1958.
Wilson conducted a Btudy to determine the effectiveness of pro fessional music education courses at the Ohio State University.
Results of the study indicated n need for greater emphasis in actual experiences in practical situations as a means of providing more opportunity for the prospective music teacher to develop a more thorough understanding of children and how music can play an important role in child development. The study further revealed that the development of musicianship was considered important and that no steps be taken to curtail this phase of the preparation. The methods courses vere considered to be the most helpful to the graduates as music teachers. 2^3
House, Robert W. "A Proposed Curriculum for Preparing Teachers of Music at Kearney State Teachers College." Unpublished Ed.D. dissertation, University of Illinois, I 95U.
A study by House developed curriculum proposals based upon
principles derived from study of the literature of educational
philosophy and psychology. Objectives of the program were based upon
study of the responsibilities of music teachers in the public schools
and in society. Useful experiences were identified and built into a
proposed program. The music students, teaching graduates, and staff
at Kearney State Teachers College were sources for determining specific
information as to the pre-college and teaching experience of music
students. One conclusion was that the curriculum is formed in terms
of objectives which define the well qualified music teacher; these
include certain musical, teaching, and social competencies. Tt was
recommended that the music teacher preparation program be divided
into the broad areas of musical performance, theory, literature, and
pedagogy taught in terms of a laboratory-workshop approach.
Humphreys, Alfred Wendell. "A Follow-up Gtudy of the Graduates o f the 3chool of Music of the University of Illinois." Unpublished
Ed.D. dissertation, University of Illinois, 1955*
The study was an attempt to answer the question: Are the experi
ences provided by the curricula of the Uchool of Music of the
University of Illinois adequately preparing music students for their
ultimate work in the area of music? Graduates evaluated their
preparation in music through the use of a competency analysis. The
data revealed in part: (l) the need for the provision of more
adequate learning experiences in the conducting of music groups of 2kk
all kinds; (2) modification of the music education curricula to
provide preparation in all phases of Bchool music; (3) a more
practical and realistic approach to "methods” courses; (1*) an
emphasis on a more practical knowledge and use of the keyboard,
particularly for students in music education; and (5) the development
of materials and methods courses in piano, voice, and class voice.
Cheesman, Frank T. "An Evaluation o f E xistin g P ractices with Im plica tions for Improving the Curriculum of Voice Majors in College Music." Unpublished Ph.D. dissertation, Teachers College, Columbia University, 1951*
Cheesman, in assessin g the value of courses in the curriculum
preparing voice majors in college music, found the following courses
were rated of highest value: sight singing and ear training,
language, harmony, voice methods, appreciation, conducting, church
music, history of music, and music education. He recommended that
all students have an opportunity for class lessons in addition to
private study, at least in the freshman year.
Taylor, Guy Gene. "An Evaluation and Recommended Development of the Music Education Program at Capital University.” Unpublished Ph.D. dissertation, The Ohio State University, 1951*.
Taylor surveyed graduates, students and staff members of Capital
University, public school administrators and cooperating teachers to
determine the strengths and weaknesses of the program to serve as a
basis for recommendations for future curriculum revisions. Results
of the study indicated that courses should be made more functional
in terms of the needs of music teachers, that more attention should be given to the development of the teacher as a musician, and that music 2^5 instruction be related with a more complete understanding of how children learn.
Vroman, Clyde S. "A Basis for Selecting the Content of the Curriculum for the Training of Teachers of Music in the University of Michigan." Unpublished Ph.D. dissertation, University of Michigan, 19*+3*
Vroman, in seeking a more e ffe c tiv e b a sis for se le c tin g the content of the curriculum for the training of teachers of music in the University of Michigan, found that the educational program should prepare some teachers who are highly trained in special fields of music education and some who have general training in all fields. He also found that graduates should have a high degree of proficiency in their applied music field and that courses in methods of teaching and d irected teaching as integrated in to an in ten siv e program of experience for one semester was preferable to the previously used plan in which these courses were distributed over a two-year period. His criterion was success as measured by reports of superintendents, but the results appeared to be more o f a v a lid a tio n o f practices being followed at the University o f Michigan tiian an attempt to find the weaknesses.
McEachern, Edna, A Survey and Evaluation o f the Education o f School Music Teachers in the United States, Teachers College Contribu tion to Education, Number 701, New York: Teachers College, Columbia University, 193?.
McEachern, in her survey and evaluation of the education of school music teachers in the United States, found tiat a separate curriculum was emerging to care for the specialized needs of the vocal music 2k6 teacher and the Instrumental music teacher. Previously, it was
assumed that the only factor important was the actual training in music courses and a development of performance skills, and that one course of study would meet the needs of all music teachers whose tasks vere assumed to be the same. She concluded that generous
provision for liberal education is essential in teacher preparation because the cultivation of any one capacity to the exclusion of others tends to isolate and limit its usefulness.
Ehlert, Jackson K. "The Selection and Education of Public School Music Teachers." Unpublished Ph.D. dissertation, University of Colorado, 19^9*
Ehlert surveyed school superintendents and music supervisors, music teachers and schools of music in an attempt to improve the
selection and education of public school music teachers. An effort was made to determine the traitB , attributes, and abilities which are
considered important by those people who employ music teachers; to determine the means of selection of prospective music teachers used
in certain teacher training institutions; and to discover the
importance of various aspects of the teacher's education as evaluated
by the teachers who are performing these duties. The desirable a ttri butes of music teachers were ranked in the following order:
(l) personality, ( 2 ) musical training, ( 3 ) teaching ability, (U)
interest in teaching, ( 5 ) cooperation, ( 6 ) discipline, ( 7 ) i n t e l l i gence, (0 ) self-control, ( 9 ) health, ( 1 0 ) general culture, ( 1 1 ) s c h o la r
s h ip , ( 1 2 ) performance ability, and ( 1 3 ) teaching experience. 2k7
The following trends vere noted by Ehlert: Music teachers place high value on practical experience. Music teachers place high value * on education subjects. Music teachers evidence low value for several elements of the curriculum dealing with aspects of personal growth. Music teachers Indicate a significant preference for a five-year curriculum. Music teachers evidence a significant dissatis faction with the amount and type of education received in their regular courses of study. APPENDIX B
LETTER TO UTAH PUBLIC SCHOOL ADMINISTRATORS
(copy) UNIVERSITY CF UTAH
Salt Lake City College of Fine Arts Department of Music Music H all
D ear
As a part of a doctoral study at the Ohio State University under the direction of Dr. H. Gordon IIullfiBh, I am making a study which I hope w ill result in an improved college program for the preparation of music teachers.
An important consideration in any teacher preparation program is the determination of what is needed or desired in a teacher. You, as a school administrator, are in a position to give Information relative to these points.
The enclosed questionnaire is short, but the information requested is vital to the success of this study. It will be greatly appre ciated if you w ill take the minute or two necessary to complete the questionnaire and return as promptly as possible in the enclosed stomped, addressed envelope.
It is conceivable that I might want to follow up your response by getting in touch with you: If you do not mind signing your name at the bottom of this questionnaire, therefore, I would appreciate this. Your responses will be held in the strictest of confidence.
Thank you for your cooperation.
Sincerely yourB,
F o r r e s t D. S t o l l
21+8 21*9
Questionnaire to Utah Public School Administrators
Total enrollment of school^
Grade levels represented
Please encircle appropriate answer in column at the right:
1. Do you feel that music teachers:
a. are being adequately prepared as teachers? ...... No Yes
b. are being adequately prepared as musicians? No Yes
c. fit well into the musical life of the community? . . . No Yes
d. fit well into the non-musical life of the community? . No Yes
e. fit the music program into the total school program effectively? ...... No Yes
f. should be prepared to teach an academic subject? . No Yes State preference, if any ______
2. Is it essential that the music teacher be proficient in some performing medium (play an instrument, sing)? . No Yes
3. Is it essential that the music teacher be able to p lay p i a n o ? No Yes
1*. Please list any suggestions you may have for improving the prepara tion of the music teacher.
Name 1
APPENDIX C
LETTER TO UTAH PUBLIC SCHOOL MUSIC TEACHERS
(copy)
D ear
As a part of a doctoral study at the Ohio State University under the direction of Dr. H. Gordon Ilullfish, I am making a study vhich I hope w ill result in an improved college program for the preparation of music teachers.
An important consideration in any teacher-preparation program is the determination of what is needed or desired in a teacher. You, as a teacher in this state, are in a position to give pertinent information which can influence the college preparation of future music teachers.
The accompanying questionnaire is short, but most important to the success of this study. It will be greatly appreciated if you w ill take the few minutes necessary to complete the questionnaire and return It as promptly as possible in the stamped, addressed e n v e lo p e .
Tt is conceivable that I might want to follow up your response by getting in touch with you: if you do not mind signing your name on the questionnaire, therefore, I would appreciate this. Your responses will be held In the strictest of confidence.
Thank you for your cooperation.
3incerely your3,
F o r r e s t D. 3 t o l l
250 251
Questionnaire to Utah Public School Music Teachers
Name
Grade levels you teach Enrollment of school
1. How many years have you been teaching music In the schools o f U tah?<______
2. What music classes do you now teach? ______
3. Do you teach subjects in addition to music? No Yes If yes, what subjects? ______
U. Should a music teacher be prepared to teach on academic minor? No Yes
5- Have you had music teaching experience in the schools of another s ta t e ? No Yes I f s o , w here? ______When? ______
6. From what college or university did you receive your bachelors degree? ______When? ______Undergraduate major ______M inor ______
7. Why did you c. oose this institution?
8. Did you attend any other college or university before graduation? No Yes If so, for how long? ______
9. What do you consider to be the strengths and weaknesses of the undergraduate curriculum which prepared you for music teaching? (Check on appropriate side of the following items) STRONG WEAK ______Development of m usicianship ...... Performance ability on instrument or v o ic e ...... Theoretical knowledge of m usic ...... General music and music appreciation ...... C onducting p ro c e d u re s and r e h e a r s a l t e c h n i q u e s ...... _____ Organization and classroom management ...... Knowledge and skill with instruments of the band and o r c h e s t r a ...... Relating music to children ...... Acquaintance with music teaching m aterials ...... _____ Acquaintance with music teaching techniques ...... Other (write in) ......
10. If you were educated at an institution outside of Utah, were there any special factors (I.e. salary, opportunity, family, etc) that led you to come to Utah to teach? No Yes Please specify ______252
11. What suggestions could you make to strengthen the undergraduate music teacher preparation program in the college? (Use other side of paper If necessary) APPENDIX D LETTER TO UNIVERSITY OF UTAH GRADUATES
(copy)
D ear
As a part of a doctoral study at the Ohio State‘University under the direction of Dr. H. Gordon Hullfish, I am making a study which I hope w ill result in a proposed program for the preparation of music teachers in the college that w ill better equip teachers for their future work.
As one part of my study I am examining the undergraduate music teacher education curriculum at the University of Utah. Since you are a graduate of this curriculum, I am turning to you for help. Will you be good enough to supply the information requested in the accompanying questionnaire? It is designed to take as little of your time as possible. Your answers to both Parts 1 and 2 are vital to the success of this study.
It is conceivable that I might want to follow up your response by getting in touch with you: if you do not mind signing your name at the bottom of the questionnaire, therefore, I would appreciate this.
Please return the completed questionnaire in the accompanying stamped, addressed envelope as promptly as is convenient.
Thank you for your cooperation.
Sincerely yours,
F o r r e s t D. S t o .l
253 QUESTIONNAIRE TO UNIVERSITY OF UTAH GRADUATES AND SENIORS
(copy)
QUESTIONNAIRE IN CONNECTION WITH A STUDY
OF THE UNDERGRADUATE PROGRAM IN MUSIC EDUCATION
AT THE UNIVERSITY OF UTAH (Prepared by Forrest Stoll, 1959)
INSTRUCTIONS TO RESPONDENTS
The questionnaire is in tvo parts. Part 1 seeks to determine the employment history of graduates in music from the U n iv e rs ity o f U tah. You may g iv e your answers briefly, either by a short phrase in some instances, or by a check in others.
Part 2 seeks your opinion on tvo factors related to your undergraduate preparation: a. the value of listed elements to you as a musician and teacher; and b. the degree the listed element was provided in your curriculum at the University of Utah.
You are asked to rate each element under the tvo factors noted above by simply circling the appropriate number of the rating scale. As you give your opinion of strengths, weaknesses, and suggestions for improvement, please be frank. Your responses wil1 be held in the strictest of confidence. 255 (copy)
Name - PART 1
1. Where are you presently employed? ______
2. What Is your present position? ______(If music teacher-indicate elementary, secondary, vocal, instrumental)
3. If music teacher, vhat academic courses do you teach in addition to music?
U. If you never entered the fiexu of music teacning in the schools, please encircle reason or reasons, (if more than one, rate as to importance by placing 1, 2, 3 etc. before appropriate reasons.) ___ a. No suitable jobs available b. Salary not adequate c. Family considerations (marriage, etc.) d. Feeling of inadequacy for teaching music in the sch o o ls e. No desire to enter teacning field f. Social restrictions on personal life as a teacher g. Other (Please specify) ______
5. have you ever taught music in the schools? No Yes If so, where? ______V'hen? ______Grade level ______
6. If you once taught or now teach in a state other than Utah, please indicate reason or reasons you left Utah by encircling appropriate items and rate them as to their importance. ___ a. Better salary ___ b. Better Job, more opportunities c. Better working conditions d. Geographic or family considerations ___ e. Otn.er (Please specify) ______
7. ^f you taught music at one time in the schools (either in or out side Utah) but later left the profession, encircle reasons applicable and rate as to importance. a. Inadequate salary b. Problems with school administration c. Unhappy in role as a teacher d. Social restrictions on personal life e. Feeling of inadequacy to cope with musical problems f. Frustration in dealing with young people ____ g. Family considerations (marriage, etc.) h. Too many hours consumed on the job i. Other (Please specify) ______P1£ASE PROCEED TO PART 2 2 5 6 (copy)
AREAS OF THE CURRICULUM AMD ELEMENTS IN EACH AREA
Value to you Degree of provis as a musician ion in your under and teacher graduate program Circle appropriate number _|4> V> r-i rH t—i0 H0 •3 _U 1. «a f t M I H ■H 0 ID 0 & 03 3Q «P V a? % V § u 0) § 2 1. MUSIC HISTORY & 85 E o a SBt o o LITERATUREt TttroO Arrr a. Music o f ancient, medieval, & poly phonic periods...... 1 2 3 k 1 2 3 L b. Music o f c la s s ic a l & romantic periods... 1 2 3 k 1 2 3 U c . Modem & contemporary music...... 1 2 3 h 1 2 3 U d. Comparison of styles of m usic...... 1 2 3 k 1 2 3 L e. Integration of the various arts ...... 1 2 3 k 1 2 3 k f. Lives of composers... 1 2 3 U 1 2 3 k g. Other (write in) • • • * 1 2 -3 k 1 2 3 k Please list strengths and weaknesses you feel to be true of the above are,a.
Suggestions for improvement: 257
Value to you Degree of provis as a musician ion in your under and teacher graduate program C ircle appropriate number Not Not at a ll Great Great Meager Considerable Meager Considerable 2 . THEORY OF MUSIC Not' at a ll a* S igh tsin gin g and ear training ...... 1 2 3 b 1 2 3 It b. Melodic, rhythmic and harmonic dictation... 1 2 3 b 1 2 3 It c. Knowledge of scalee and modes...... 1 2 3 . 3 1 2 3 It d. Harmonizing melodies. 1 2 3 1 2 3 It e. Keyboard ...... 1 2 3 it 2 3 b f . Harmonic a n a l y s is .... 1 2 3 b 1 2 3 b g. Contrapuntal techniques...... 1 2 3 * 2 3 b h. Rules for part- v r it ln g ...... 1 2 3 it 1 2 3 b I. Original composition (smaller forms) ...... 1 2 3 It 1 2 3 b j. Form and analysis.... J 2 3 U 1 2 3 b k. Writing simple accompaniments ...... ] 2 3 it 1 2 3 it 1 . Orchestra arranging.. 1 2 3 it 1 2 3 b m. Band arranging ...... 1 2 3 it 1 2 3 b n. Choral arranging ...... 1 2 3 b 1 2 3 It o. Clef reading...... 1 2 3 b 1 2 3 it p. Other (write in) 1 2 3 b 1 2 3 it Please list strengths and weaknesses you feel to be true of the above area.
Suggestions for improvement: 2 5 8
Value to you Degree of provis as a musician ion in your under and teacher graduate program C i r c l e appropriate number Considerable G reat Not Not at a l l Meager Considerable Meager G reat 3- MUSICAL PERFORMANCE Not at a l l a. Private study in major performance medium ...... 1 2 3 b l 2 3 b b . Large choral ensemb les (Chorus, e t c . ) ...... 1 2 3 b l 2 3 b c . Small vocal ensembles 1 2 3 b 1 2 3 b d . Band and O rchestra... 1 2 3 b 1 2 3 b e . Small instrumental e n s e m b le s ...... 1 2 3 b 1 2 3 b f . Solo performance ...... 1 2 3 b 1 2 3 b 6 - Attendance at c o n c e r t s ...... 1 2 3 b 1 2 3 b h. instrumental con d u c tin g ...... 1 2 3 b l 2 3 b i . Choral conducting.... 1 2 3 b 1 2 3 b J • Actual conducting e x p e r ie n c e ...... 1 2 3 b l 2 3 b k . Score reading ...... 1 2 3 b 1 2 3 b 1. Knowledge of musical te r m s ...... 1 2 3 h l 2 3 b m. Other (write in) » # • « 1 2 3 b 1 2 3 b Please list strengths and weaknesses you feel to be true of the above a rea .
Suggestions for improvement: 259
Value to you Degree of provis as a musician ion in your under and teacher graduate program Ciircle appropriate number Considerable Meager Considerable Meager G reat Not Not at a l l Not at a l l b. MUSIC EDUCATION G reat a* Voice class - methods and m aterials 1 2 3 b 1 2 3 k b . String class - methods & m aterials*. 1 2 3 b 1 2 3 b c . Woodwind class - methods and m aterials 1 2 3 b 1 2 3 b d. Brass class - methods and m aterials ...... 1 2 3 b 1 2 3 b e . Percussion class - methods & m aterials.. 1 2 3 b 1 2 3 b f . Private study on instruments of band and orchestra ...... 1 2 3 u 1 2 3 b 6 * Care and repair of instruments ...... 1 2 3 !* 1 2 3 b h . Functional piano c la s s s tu d y ...... 1 2 3 b 1 2 3 b i . MubI c methods at the secondary level ...... 1 2 3 b 1 2 3 b J* Relating music teach ing to children ...... 1 2 3 k 1 2 3 b k . Rehearsal procedures and techniques ...... 1 2 3 b 1 2 3 k 1 . Survey of music teaching m aterials... 1 2 3 b 1 2 3 b tn. Organization of music g ro u p s...... 1 2 3 b 1 2 3 b n. Classroom procedure and management ...... 1 2 3 b 1 2 3 b . o. Business aspects of music education ...... 1 2 3 b 1 2 3 b P. Place of music in the p u b lic s c h o o ls ...... 1 2 3 b 1 2 3 b 260
Vadue to you 1 [ Degree of provis as a musician ion in your under and teacher J | graduate program Circle appropriate number Great Considerable Meager Considerable Not at a ll Meager Great k. MUSIC EDUCATION Not at a ll (con t *d) q. Staging of operettas, etc ...... 1 2 3 1+ 1 2 3 1+ r. Techniques of band pageantry ...... 1 2 3 k 1 2 3 h s. Teaching general music & other music classes (apprecia tion, theory, etc.).. 1 2 3 k 1 2 3 k t. Other (write in) • * ♦ • 1 2 3 k 1 2 3 k Please list strengths and weaknesses you feel to be true of the above area.
Suggestions for improvement:
5. General suggestions for improving the teacher education program, such as new courses to be added, duplication in course content, change of course content, etc. List. Please be specific. APPENDIX E QUESTIONNAIRE COVERING INTERVIEW WITH CRITIC TEACHERS
Name ______1. As you have worked with student music teachers from the University of Utah during recent years, what do you consider to be their STRONG and WEAK points with regards to their college preparation?
« XI b v 'O B
2. To what degree have you found that they: a ^ o > a. Show acceptable musicianship? 12 3 4 b. Maintain the interest of the class ...... 1 2 3 4 c. Maintain control of the classroom situation? 1 2 3 4 d. Relate music to boys and girls? ...... I 2 3 1+ e. Use effective teaching procedures? 12 3 4 f. Show interest in the profession?...... 1 2 3 U g. Teach general music classes effectively? ...... 1 2 3 4 h. Have knowledge of materials for music teaching? 1 2 3 4 i . AS TEACHERS OF CHORAL MUSIC: 1. Play piano accompaniments acceptably? ...... 1 2 3 ** 2. Sing acceptably? 12 3 4 3. Demonstrate adequate conducting technique? ...... 1 2 3 4 4. Show awareness of diction problems & solutions?.. 1 2 3 ^ 5. Seek to develop phrasing & dynamics in groups?... 1 2 3 4 6. Show awareness of intonation problems & solutions 1 2 3 4 7* Demonstrate concept of musical styles? ...... 1 2 3 4 8. Work effectively with operettas, etc.?...... 1 2 3 ^ 9. Demonstrate adequate vocal teaching techniques?.. 1 2 3 4 j . AS TEACHERS OF INSTRUMENTAL MUSIC: 1. Demonstrate adequate conducting technique? ...... 1 2 3 *+ 2. Demonstrate concept of musical styles? 1 2 3 4 3. Show awareness of intonation problems & solutions 1 2 3 4 4. Seek to develop phrasing Sc dynamics in groups?... 1 2 3 4 5. Demonstrate functional knowledge of instruments?. 1 2 3 4 6. Teach small groups of Instruments effectively?... 1 2 3 4 7. Work effectively with band shows? 12 3 4 8. Demonstrate adequate Instrument teaching tech niques? 12 3 4 9. Play piano accompaniments acceptably? 1 2 3 4 3 . In what ways could the University o f Utah better prepare music teach ers? APPENDIX F
FOLLOW-UP LETTER TO GRADUATES FROM UNIVERSITY OF UTAH
(copy)
May 21, 1959
Dear
I am making a special attempt to complete the tabulation of the questionnaires which were sent out the last of April. I need your evaluation of your preparation at the University of Utah very much. Again may I asBure you that your answers w ill remain anonymous throughout this study. Please let me knov if you need another questionnaire.
Thank you for your cooperation.
S in c e re ly ,
F o r re s t D. S to ll Department of Music University of Utah
262 263
FOLLOW-UP LETTER TO MUSIC TEACHERS AND SCHOOL ADMINISTRATORS IN UTAH
(copy)
May 21, 1959
Dear
I am attempting to complete the tabulation of the questionnaires which I sent out the last of April. I should like very much to have your opinion included in the final report. I am enclosing another copy of the questionnaire in case you may have misplaced the other one.
Thank you ver\' much for your help.
Sincerely yours,
F o r r e s t D. S to ll APPENDIX G CERTIFICATION REQUIREMENTS IN UTAH
Certification of teachers is a function of the Utah State Board
of Education. The policy of the board is one of stating minimum
requirements in general terms. This is done for the purpose of en
couraging the institutions that prepare teachers to engage in contin
uous study of the requirements, going beyond the minima in whatever
ways seem desirable. While the board is always able to certify a
candidate without recommendation from a university, it chooses to
require the recommendation of the officer in charge of teacher prepara
tion in each institution.
Requirements for the Teacher's C ertificate for secondary schools
In Utah are as follows:
1. General preparation . . . should include ten quarter hours of work in the following basic fields of knowledge: social science, physical science, biological science, and humanities. The work presented for the composite major or major and minor w ill serve as the recommended study in the fields represented by each....
2. Professional education . . . not less than thirty-three quarter hours in professional education, Including school health education .... This work shall include training in the following designated minimum quantities: nine quarter hours in . . . the physical and psychological foundations; six quarter hours in . . . the social and educational foundations; and fifteen quarter hours in student teaching, including methods.
3. Special preparation . . . must present a composite major consisting of not less than sixty hours of credit dis tributed in two or more related subjects which are taught in Utah secondary schools with not less than eighteen hours in any one subject.
^-Utah State Department of Public Instruction, "Certification Requirements in Utah Public Schools." Galt Lake City, Utah, The Department, 1951, PP* 16-13. 26b APPENDIX H
COMPARISON OF SUGGESTIONS FOR IMPROVEMENT OF MUSIC TEACHERS' PREPARATION AND REMARKS SHOWING AREAS OF CONCERN MADE BY MUSIC TEACHERS AND THEIR SCHOOL ADMINISTRATORS
Percentage of group concerned Jrads. from G raduates G raduates Adminis Suggestion or conr.ent Mean Institutions University A University B t r a t o r s * outside Utah
More student teaching, better supervision 17.9 23.5 17.6 20.6 9.7
Need better acquaintance with teaching techniques and the learning process 11.0 23-5 11.8 8 .7
Need more preparation for teaching general music and music appreciation 22.3 35-3 22.1 23.5 8.2
Need more emphasis on instruments of the band and orchestra 27.3 hl.2 19.1 32.U 2.6 Need for acquaintance with music materials appropriate to various age levels 15.8 29.l1 16.2 17.6 Courses and instruction too theoretical, should be more practical 15.1 17.6 26.5 lk. 7 1*5 Need more information on how to organize groups, the music program, etc. 7 .2 11.8 5.9 8.8 2.1 Need more experience conducting and rehearsing groups l*A 11.8 5 .9 Need practical helps in maintaining good d is c ip lin e 3-3 7 .4 5 .6 COMPARISON OF SUGGEST IONS FOR IMPROVEMENT OF MUSIC TEACHERS' PREPARATION AND REMARKS SHOWING AREAS OF CONCERN MADE BY MUSIC TEACHERS AND THEIR SCHOOL ADMINISTRATORS (c o n t'd )
Percentage of group concerned Grads, from G raduates G raduates Adminis Suggestion or comment Mean Institutions University A University B t r a t o r s $ outside Utah
More careful screening and guidance of candidates for music teaching 5*5 11.3 7-4 2.6 Need to concentrate more on rehearsal tech n iq u es 3-9 5*9 8 .8 1 .0
Need in s tr u c tio n on how to make minor repairs on instruments 1 .9 7.4 More attention to lavs of learning and psychology of music teaching iv.e 10.3 8 .8 Need college professors with* public school music teaching experience 4.1 11.8 4.4 Need more observations of music teaching in the schools 5.5 i i .8 4.4 5 -9
Need more attention on business aspects of music education 0.7 2.9 Need more attention on public relations 0 .7 2 .9 4 .6 Preparation for both vocal and instrumental music teaching 4 .7 5-9 8 .8 4 .1
0 COMPARISON OF SUGGESTIONS FOR IMPROVEMENT OF MUSIC TEACHERS' PREPARATION AND REMARKS SHOWING AREAS OF CONCERN I!ADE BY MUSIC TEACHERS AND THEIR SCHOOL ADMINISTRATORS (c o n t'd )
Percentage of group concerned Grads, from G raduates G raduates Adm inis Suggestion or comment Mean Institutions University A University B t r a t o r s $ outside Utah More attention on classroon management and procedures 4 .0 1 1 .8 4 .1 Need better orientation into problems of teaching 3.2 11.8 1 .0 Need more functional pinao study 0 .7 2 .9
Need more help with marching band techniques 0.7 2 .9 Need greater appreciation for place of music in total school program 2.1 8 .2 Need to be prepared to teach an academic subject along with music 1.0 4 .1 Dissatisfied with music instruction in self-contained classroom situation 0.4 1 .5 APPENDIX I COMPOSITE LIST OF SUGGESTIONS AND COMMENTS OF MUSIC TEACHERS IN UTAH (LESS UNIVERSITY OF ITT AH GRADUATES) REGARDING THEIR UNDERGRADUATE PREPARATION FOR TEACHING Arithmetic mean Suggestion or conroent (in percentage)
Need more etiiphasls on Instruments of the band and orchestra 30.9 Need more preparation for teaching general music and music appreciation 27.0 Need for acquaintance vith music m aterials appropriate to various age levels 21.1 More student teaching, better supervision 20.6 Courses and instruction too theoretical, should be more practical 19.6 Need better acquaintance with teaching techniques and the learning process 11.8 Need more information on how to organize groups, the music program, etc. 8.8 Need more observations of music teaching in the schools 7.4 More careful screening and guidance of music teacher candidates 6.4 More attention to lavs of learning and psychology of music teaching 6.4 Need more experience conducting groups 5.9 Need college professors vith public school music teaching experience 5.4 Need to concentrate more on rehearsal techniques 4.9 Preparation for both vocal and instrumental teaching 4.9 More attention to classroom management and procedures 3.9 Need better orientation Into problems of teaching 3.9 Need practical helps in maintaining good discipline 2.5 Need instruction on how to make minor repairs on instruments 2.5 Need more attention to business aspects of music education 1.0 Need more attention on public relations 1.0 Need more functional piano study 1.0 Need more help vith marching band techniques 1.0
268 APPENDIX J COMPARISON OF FELT VALUE OF ELEMENTS IN AREAS OF MUSIC TEACHER PREPARATION AND DECREE OF PROVISION IN THE PROGRAM AS OPINED BY UNIVERSITY OF UTAH GRADUATES WHO HAVE TAUGHT MUSIC AND THOSE GRADUATES WHO HAVE NOT TAUGHT MUSIC G raduates who G raduates who have n o t now te a c h o r Elements In Area ta u g h t have taught V alue Provision Value Provision
Music History & Literature Area Music of ancient, medieval, and polyphonic periods 2.852 2.667 2.508 2.707 Music of the classical and romantic periods 3.222 2 .9 2 9 3.230 2.956 Modern and contemporary music 3.185 2.148 3.119 2.285 Comparison of musical styles 3.444 2.222 3.202 2.563 Integration of the various arts 3.185 1.778 2.900 1.917 Lives of composers 3.074 2.518 3.052 2.546
Music Theory Area Sightsinging and ear training 3*704 2.8 8 9 3.829 3.097 Melodic, rhythmic and harmonic dictation 3.444 2.963 3*377 , 2.980 Knowledge of scales and nodes 3-444 2.889 3.379 3.026 Harmonizing melodies 3.370 3.333 3.353 3.360 Keyboard 3.370 2.481 3.437 2.537 Harmonic analysis 3.074 2.929 3.002 2.887 Contrapuntal techniques 2.778 2.667 2.624 2.692 Rules for part-writing 3.222 3.259 3.084 3.203 Original composition (smaller form s) 2.741 2.333 2.698 2.433 Form and analysis 3.148 2.444 2.733 2.594 W riting simple accompaniments 3.222 2.518 3.314 2.3 9 9 Orchestra arranging 2.889 2.704 2.781 2.685 Band arranging 2.869 2.667 2.970 2.622 Choral arranging 3.148 2.929 3.186 3.065 Clef reading 3.295 2.296 3.321 2.310 Music Performance Area Private study in major perform ance medium 3.629 2 .9 2 9 3.707 2.968 Large choral ensembles (chorus, etc.) 3.295 2.629 3.380 2.710 Small vocal ensembles 3.037 1.963 3.179 1.987 Band and orchestra 3.407 3.037 3.295 2.931 Gmall instrumental ensembles 3.333 2.259 3.195 2.308 p 270 COMPARISON CF FEIT VALUE OF ELEMENTS IN AREAS OF MUSIC TEACHER PREPARATION AND DEGREE OF PROVISION IN THE PROGRAM AS OPINED BY UNIVERSITY CF UTAH GRADUATES WHO HAVE TAUGHT MUSIC AND THOSE GRADUATES WHO HAVE NOT TAUGHT MUSIC ( c o n t'd ) G raduates who G rad u ates who Elements in Area have n o t nov teach or ta u g h t have taught V alue P ro v isio n V alue P ro v is io n
Solo performance 3.333 1.963 3.312 1.815 Attendance at concerts 3-593 3.074 3.453 3.178 Instrumental conducting 3.1*81 2.333 3.423 2.1 1 9 Choral conducting 3.1*^ 2.222 3.469 2.182 Actual conducting experience 3.778 1.889 3.770 1.839 Score reading 3.667 2.037 3.614 2.208 Knowledge of musical terns 3.704 2.629 3-668 2.782 Music Education Area Voice class - methods fit m aterials 3-333 2.481 3.375 2.557 String class-methods & materials 3.370 2.333 3.225 2.323 Woodwind class - methods and m a te ria ls 3.295 2.037 3.280 2.303 Brass class - methods & materials 3.259 2.111 3.246 2.245 Percussion class - methods and m a te ria ls 3-222 1.815 3.157 I .889 Private study on instruments of band and orchestra 3.185 2.074 3.106 2.180 Care and repair of instruments 3.185 1.518 3.065 1.588 Functional piano class study 3-148 1.915 3.065 1.995 Music methods at the secondary le v e l 3.519 2.773 | 3.531 2 .6 4 o Relating nusic teaching to c h ild re n 3.519 2.407 3.602 2.399 Rehearsal procedures fie techniques 3.519 2.2 9 6 3.642 2.290 Survey of music teaching m a te ria ls 3.556 2.333 3.538 2.259 Organization of music groups 3.407 2.185 3.431 2.280 Classroom procedure and management 3.593 2.370 3 • 646 2.396 Business aspects of music e d u c a tio n 3.111 2.074 3.258 2.048 Place of music in the public sch o o ls 3-402 2.407 3.343 2.3 5 9 Staging of operettas, etc. 3.000 1.407 2.961 1.448 Techniques of band pageantry 2.815 2 .2 5 9 2.875 2.350 Teaching general music and other music classes 3.556 2.037 3.477 2.131 APPENDIX K COMPARISON OF FEIT VALUE OF ELEMENTS IN AREAS OF MUSIC TEACHER PREPARATION AND DEGREE OF IROVISION IN THE HtOGRAM AS OPINED BY UNIVERSITY OF UTAH GRADUATES WHO ARE NOW TEACHING AND GRADUATES WHO AT ONE TIME TAUGHT MUSIC BUT HAVE SINCE LEFT THE PROFESSION G rad u ates who G rad u ates who a re now left teaching Elements in Area te a c h in g V alue P ro v is io n Value Provision ' ----- 1 Music History & Literature Area .Music of ancient, medieval, and polyphonic periods 2.587 2.652 2 .* 2 9 2.762 Music of classical and romantic periods 3-17* 2.913 3.286 3.000 Modern and contemporary music 3.000 2.13* 3.238 2 . *36 Comparison of musical styles 3.261 2.*13 3.1*3 2 . 71* Integration of the various arts 2 . 8*8 1.770 2.952 2.065 Lives of composers 3.17* 2.522 2.932 2.571
Music Theory Area Sightsinging and ear training 3-699 2.957 3.960 3.238 Melodic, rhythmic, and harmonic dictation 3.326 2.913 3. *29 3 . 0*8 Knowledge of scales and modes 3.283 2.9 7 8 3. *76 3.095 Harmonizing melodies 3.326 3-*35 3.331 3.286 Keyboard 3 . 30* 2 . *56 3.571 2 .6 1 9 Harmonic analysis 2.957 2.8 6 9 3 . 0*8 2.905 Contrapuntal techniques 2 . 5** 2.717 2 . 71* 2.667 Rules for part-writing 2.978 3.217 3.190 3.190 Original composition (smaller form s) 2.587 2.391 2.800 2 . *76 Form and analysis 2.80* 2.522 2.762 2.667 W riting simple accompaniments 3.152 2.369 3-*76 2.*29 Orchestra arranging 2 . 8*8 2.759 2 . 71* 2.611 Band arranging 3.250 2.712 2.691 2.533 Choral arranging 3.260 2.990 3.112 3 . 1*0 Clef reading 3.29* 2.2 3 9 3.3*9 2.381
Music Performance Area Private study In major performance medium 3.652 2 . 80* 3.762 3.133 Large choral ensembles (chorus, etc.) 3.068 2.322 3.692 3.0 9 9 Small vocal ensembles 2.978 1.696 3.381 2.277 Band -and orchestra 3.521 2.957 3.069 2.905 Small instrumental ensembles 3.391 2.283 3.000 2.333 Solo performance 3-*35 1.630 3.190 2.000
271 272 COMPARISON OP F E U VALUE OF ELEMENTS IN AREAS OF MUSIC TEACHER PREPARATION AND DEGREE OF PROVISION IN THE PROGRAM AS OPINED BY UNIVERSITY CP UTAH GRADUATES WHO ARE NOW TEACHING AND GRADUATES WHO AT ONE TIME TAUGHT MUSIC BUT HAVE SINCE LEFT THE PROFESSION ( c o n t'd )
Graduates who G rad u ates who a re now left teaching Elements in Area te a c h in g V alue Provision Value Provision
Attendance at concerts 3.1*78 3.022 1 3.1*29 3.333 Instrumental conducting 3.1*96 2 .2 3 9 3.351 2.000 Choral conducting 3.1*13 1-973 3.521* 2.390 Actual conducting experience 3.826 1.630 3.7H* 2 . 01+8 Score reading 3.609 2.130 3.619 2.286 Knowledge of musical terms 3.717 2.565 3.619 3.000
Music Education Area Voice class - methods & materials 3.369 2 . 51*1* 3.381 2.571 String class-methods & materials 3.261 2 .2 1 7 3.190 2.1*29 Woodwind class - methods and m a te ria ls 3.369 2 .1 3 0 3.190 2.1*76 Brass class - methods & materials 3.31*8 2 .0 3 8 3.11*3 2 .I+53 Percussion class - methods and m a te ria ls 3.3d* 1.826 3.000 1.952 Private study on instruments of band and orchestra 3.07lt 2.020 3.138 2 . 3I+O Care and repair of instruments 3.292 1.1*57 2.837 1.619 Functional piano class study 3.130 2 . 05I* 3.000 1.937 Music methods at the secondary level 3.587 2.61*8 3.1*76 2.632 Relating music teaching to c h ild re n 3-571* 2.317 3.631 2 . 1+81 Rehearsal procedures and te c h n iq u e s 3.761 2.3 9 1 3.521* 2.190 Survey of music teaching m a te ria ls 3.696 2 . 17I+ I 3.381 2.333 Organization of music groups 3.521 2.317 3.3i*l 2 . 21+3 Classroom procedure & management 3.671* 2.1*37 3.619 2.351* Business aspects of music e d u c atio n 3 .5 6 o 2 .1 3 9 2.956 1.957 Place of music in the public sch o o ls 3.1*57 2 . 31*1* 3.238 2-373 Staging of operettas, etc. 2.826 1.326 3.095 1.571 Techniques of band pageantry 3.090 2.555 2.661 2 . 11+6 Teaching general music and other music classes 3.1*78 2 .1 6 0 3.1*76 2.103 - APPENDIX L
MUSIC TEACHER EDUCATION PROGRAM, UNIVERSITY OF UTAH 1957-58 {90-91 Hours)
Music History & Literature Area 12 hours
Music 6 l (k) Survey of Music " 62 62 (10(10 " n £ * * / 1* \ tt tr 63 (k)
Music Theory Area 35-36 hours
Music 71 (5) Music Theory (A course in beginning theory including " 72 ( 5 ) " " harmony, keyboard harmony, solfeggio, " 73 ( 5 ) " " melodic, harmonic, and rhythmic dictation, music terminology and form.) M usic 101 (4) Advanced Theory (Anadvanced course in harmony, keyboard ” 102 (1+) " " harmony, counterpoint, solfeggio, and dictation.) Music 103 00 " " ( or ( C hoice Music 111 (3 ) PCeyboard Harmony(
Music 133 (3) Band Arranging " 11+3 (3) Orchestra Arranging " 153 (3) Choral Arranging
Mus ic Performance Area 2 6 hours
Applied Music 18 Hr3 Ensemble 8 Hrs
Music Education Area 17 hours
10 hours, selected to meet the needs of the student:
Music (2) Group Voice Instruction 77 (2) A Practical Study of the Instruments Used in the Public Schools ft rjQ £ 2 ) 11 ,T ,T 11 M ,T H
M rj q ff M ft TT 11 , f ,r
Music 132 (3)( Band C onducting or ( M usic 152 (3)( Choral Conducting
273 27b
MUSIC TEACHER EDUCATION PROGRAM, UNIVERSITY OF UTAH 1 9 5 7 -5 8 (con t*d )
Music 131 (3) Instrumental Methods and Materials in the Secondary S ch ools Music 151 (*0 Choral Methods and Materials in the Secondary S ch ools APPENDIX M
PROPOSED CURRICULUM - UNIVERSITY OF UTAH (90 ho u rs)
History & Literature 9 Hrs.
Music 61 (3) M 62 (3 ) " 63 (3)
Music Theory 27 Hrs.
Music 71 (2) Music 71 Lab ( 1 ) » y2 » ” 72 (2 ) (1) " 73 (2 ) ft It ( 1) " 101 (3) " 101 " (2 ) " 102 (3 ) « 1Q2 » (2 ) " 103 (3) " 103 " (2 )
Music 133 (3) School Music Arranging
Music Performance 29 Hrs.
Applied Music private 16 Hr3 Large Ensemble 7 Small Ensemble 3
Conducting (3) P Music Education 25 Hrs.
Music 131 (3) Instrumental Methods & Materials in Secondary Schools Music 151 (3) Choral Methods & Materials in Secondary Schools
Voice (2) ( Piano (2) S trin g s (M 15 hrs. Student excused one quarter of 3tudy in Woodwinds (1+) his major performance medium area. B rass (M Percusslon(l)
General Music (2)
School Music Workshop (l) repeated once.
275 BIBLIOGRAPHY
Books
Barlow, Wayne. Foundations of Music. New York: Appleton-Century- Crofts, 1953*
B eattie, John W., McConathy, Osbourne, and Morgan, Russell V. Music in the Junior High School. New York: Silver Burdette ------
Blrge, Edward Bailey. History of Public School Music In the United States. Philadelphia: Theodore !Presser Company, D i s tr ib u to r s , 1937*
Bukofzer, Manfred. The Place of Musicology In American Institutions of Higher Learning. New York! (Phe Liberty Arts Press, Inc., 1957.
Committee on the Reorganization of Secondary Education. Cardinal Principles of Secondary Education. U. S. Bureau of Education Bulletin, 19l8> No. XXXV. Washington, D. C.: Government Printing Office, 1918.
Conant, James Bryant. The American High School Today. New York: McGraw-Hill Book Company, Inc., 1959*
C ottrell, Donald P. (ed.) Teacher Education for a Free People. Oneonta, New York: The American Association of Colleges for Teacher Education, 1956.
Evenden, Edward S., Gamble, Guy G., and Blue, Harold G. National Survey of the Education of Teachers, Volume II, Teacher Personnel In the United States. Washington, D. C.: United States Office of Education, 1935*
Gehrkens, Karl W. (ed.) Music Teachers National Association Proceedings for 1923* Hartford, Conn.: The Association, 192k.
Glenn, Neal E. Teaching Music in Our Schools. Dubuque, Iowa: Wm. C. Brown Company, 1951.
Henry, Nelson B. (ed.) Basic Concepts in Music Education. The Fifty-seventh Yearbook of the National Society for the Study of Education. Chicago: The University of Chicago Press, 1958.
Jones, Vincent. Music Education in the College. Boston: C. C. Birchard and Company, 19^9*
276 277
Leeder, Joseph A., and Haynie, William S. Music Education in the High School. Englewood C liffs, New Jersey: Prentice-Hall, Inc., 19587
McEachera, Edna. A Survey and Evaluation of the Education of School Music Teacher? in the United States. Teachers College Contribu tion to Education, Number 701. New York: Teachers College, Columbia U niversity, 1937*
Morgan, Hazel Nohavec (ed.). Music Education Source Book. Chicago: Music Educators National Conference, 19**9»
. (ed.) Music in American Education. Washington: Music Educators National Conference, 1955*
Morgan, Russell Van Dyke, and Morgan, Hazel Nohavec. Music Education in Action. Chicago: Neil Kjos Music Company, 195^*
Mursell, James L. Human Values in Music Education. New York: Silver Burdette Company, 193^-
______. Music in American Schools. New York: Silver Burdette Company, 1953*
Whipple, Guy Montrose (ed.). Music Education. Thirty-fifth Yearbook of the National Society for the Study of Education, Part II. Bloomington, Illinois: Public School Publishing Company, 1936.
Wilson, Harry Robert. Music in the High School. New York: Silver Burdette Company, l^TlT
A r tic le s
Carter, Elwyn. "Recordings Teach Musicianship," Music Journal, XV, No. 1 (Jan u ary, 19 5 7 ), 33^*-
Gilmer, B. Von Haller. "Evaluating the C riteria for Higher Education," Journal of Higher Education, XX (December, 19^9), ^73-^79*
Jewell, Robert E. "Why the Able Public Scnool Teacher is D issatis fied," Educational Research B ulletin, XXXVI, No. 7 (October 9, 1957), 223^23?72Elt.
National Education Association Research Division, "The 195^ Teacher Supply and Demand Report," Journal of Teacher Education, V, No. 1 (March, 1951*), 3-52. 27 8
National Education Association Research Division, "The 1956 Teacher Supply and Demand Report," Journal of Teacher Education, VII, No. 1 (March, 1956), 33-79.
Dissertations
Baird, Forrest John. "A Follow-up Inquiry of Secondary School Music Teachers Prepared at San Jose State College." Unpublished Ed.D. dissertation, Stanford University, 1955*
Cheesman, Frank T. "An Evaluation of Existing Practices vith Implications for Improving the Curriculum of Voice Majors in College Music." Unpublished Ph.D. dissertation, Teachers College, Columbia University, 1951*
Ehlert, Jackson K. "The Selection and Education of Public School Music Teachers." Unpublished Ph.D. dissertation, University of Colorado, 191*9.
Gregory, Ronald D. "A Study of the Undergraduate Music Education Curricula of Selected Colleges and Universities in the Inter- mountain States." Unpublished Masters dissertation, The Ohio S ta te U n iv e rs ity , 1951*
House, Robert W. "A Proposed Curriculum for Preparing Teachers of Music at Kearney State Teachers College." Unpublished Ed.D. dissertation, The University of Illinois, 195^*
Humphreys, Alfred Wendell. "A Follow-up Study of the Graduates of the School of Music of the University of Illinois." Unpublished Ed.D. dissertation, The University of Illinois, 1955*
Taylor, Guy Gene. "An Evaluation and Recommended Development of the Music Education Program at Capital University." Unpublished Ph.D. dissertation, The Ohio State University, 195^.
Vroman, Clyde S. "A Basis for Selecting the Content of the Curriculum for the Training of Teachers of Music in the University of Michigan." Unpublished Ph.D. dissertation, University of Michigan, 19^3*
Wilson, George H. "A Study of Professional Music Education at The Ohio State University." Unpublished Ph.D. dissertation, The Ohio S ta te U n iv e r s ity , 1958* 279
Worrel, John William. "An Evaluation of Teacher Preparation in Music Education at the University of Kentucky Through an Analysis of the Opinion of Graduates." Unpublished Ed.D. dissertation, University of Illinois, 1957•
Unpublished M aterials
Music Educators National Conference, Committee of Accreditation and C ertification in Music Education. "The Evaluation of Music Education." Washington, D.C.: The Conference, 1953*
National Council for Accreditation of Teacher Education. "Standards and Guide for Accreditation of Teacher Education" (Unofficial). Washington, D.C.: The Council, Mills Building, Seventeenth Street and Pennsylvania Ave. N.W., 1957 •
Utah State Department of Public Instruction. "Certification Require ments in Utah Public Schools." The Department, 223 State Capitol, Salt Lake City, Utah, 1951.
. "1958-59 Utah Public School Directory." The Department, 223 State Capitol, Saktr Lake City, Utah, 1958.
College Catalogues and Bulletins
Brighar. Young University Catalogue, 1932-1933, Vol. XXVIII, No. 6, June, 1932. 1933- 34, V o l. XXVIIII, IIo. 6, June, 1933. 1935- 36, V ol. XXXI, No. 2, June, 1935- 1936- 37, V o l. XXXII, No. 6, May, 1936. 1938- 39, V o l. XXXIV, No. 7 , May, 1938. 1940-41, V o l. XXXVI, No. 4, May, 1940. 1942-43, V o l. XXXVIII, No. 5 , May, 1042. 1944- 45, V o l. XL, No. 3, May, 1944. 1945- 46, V o l. XLI, No. 4 , May, 1945. 1946-47, V o l. XLII, No. 4, May, 1946. 1947. 4 8 , V ol. X L III, No. 4, May, 19L7 . 1948- 4 9 , V o l. XLIV, No. 4 , May, 1948. 1949- 50, V ol. XLV, No. 4, May, 19^9* 1950- 51, V o l. XLVI, No. 4 , May, 1950. 1951-52, V o l. XLVII, No. 4 , May, 1951. 1952-53, V o l. XLVIII, No. 4 , May, 1952. 1953-51*, V o l. XLIX, No. 4 , May, 1953- 195^-55, V o l. L, No. 4 , May, 1954. 1955-56, V ol. L I, No. 4 , May, 1955* 1956-57, V ol. LIII, No. 14, April, 1956. 1957-58, V o l. LTV, No. 14, April, I957. 280
1958-59* Vol. LV, No. 16, April, 1958. .7 1959-60, Vol. LVI, No. 22, April, 1959.
University of Utah Catalogue, 1909-1910. Vol. II, No. 1, Salt Lahe City, University Press, June, 1909* , 1917-18, Vol. VIII, No. 1, June, 1917. ______, 1939-^0, Vol. XXX, No. 1, July, 1939. , 19&0-1H, Vol. XXXI, No. 1, June, 19**0. University of Utah Bulletin, 19^2-1*3, Vol. XXXIII, No, 1, J u ly , I 9I+2. ______, I9IA-U5, Vol. XXXV, No. 1, July, 191*1*. , 191*5-1*6, V ol. XXXV, No. 20, June, 19^5. ______, 19I+6-U7 , V ol. XXXVI, No. 5 , Ju n e, 191*6. , 191*7-1*8, V ol. XXXVII, No. 15, Ju n e, 19^7- ______, 19U8A 9# Vol. XXXVIII, No. 18, June, 19U8. , 19^9-50, Vol. XXXIX, No. 22, June, 191*9. , 1950-51, Vol. XL, No. 12, June, 1950. , 1951-52, V ol. XLI, No. 10, May, 1951. ______, 1952-53, V ol. X LII, No. 8 , May, 1952. ______, 1953-51*, Vol. XLIII, No. 8, May, 1953* , 195^-55, Vol. XLV, No. 5, June, 1951*. ______, 1955-56, V ol. XLVI, No. 1*, May, 1955. , 1956-57, Vol. XLVII, No. 6, May, 1956. ______, 1957-58, Vol. XLVIII, No. 7, Dept., 1957*
Utah State Agricultural C o lleg e C a ta lo g u e , 193^-1935, V ol. XXXIV, No. 5 May,""193V." 1937-38, Vol XXXVII, No. 5 , J u ly , 1937 . 1 9 3 9. 1*0 , Vol XXXIX, No. 5 , July, 1939. 19^ 3-W*, Vol XLITI, No. 5 , May, 191*3 . 191* 5 . 1*6 , Vol XLV, No. 5 , May, 19^5. 191*6- 1*7, Vol XLVI, No. 5 , June, 191*6 . 191*7. 1*8, Vol XLVII, No. 5, May, 19U7 . 191*8 -1*9, Vol XLVIII, No. 5 , May, 19**8. 191* 9. 5 0 , Vol XLIX, No. 5 , May, 191*9. 1950-51, Vol L, No. 5 , May, 1950. 1951-52, Vol L I, No. 5, Mny, 1951. 1952-53, Vol L II, No. 5 , May, 1952. 19 5 3 - 5 U, Vol L I I I , No. 5, May, 1953* 195^-55, Vol LIV, No. 5 , May, 19$b. 1955-56, Vol LV, No. U, A p ril, 1955. 1956-57, Vol LVI, No. 1*, April, 1956. 1957-58, Vol LVII, No. 8, August, 1957. 1958-59, Vol LVIII, No. 5, August, 195 A17T0BIXRAPHY
I, Forrest Duane Stoll, was bom in Ddon,
Ohio, November 22, 1921. I received my secondary school education in the public schools of Llkhart,
Indiana, and my undergraduate training at the
Bnstman School of i'usic, which granted me the
Bachelor of Music degree in 19^* From the Ua3tman
School of Music, I received the Master of Music
degree in 19^7* In September, 19^7> ~ appointed instructor of brass instruments at Ohio State
University. I held this position for nine years while working on requirements for the degree Doctor of Philosophy. In 195^ i appointed Director of
Bands and Chairman of Music Education at the University o f Utah. I held tills position for four years while completing the requirements for the degree Doctor of
Philosophy.
281