Guide to Performing Arts Programs in Elementary and Secondary Schools
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DOCUMENT RESUME ED 071 986 SO 005 427 AUTHOR Collier, Nina P.; And Others . TITLE Guide to Performing Arts Programs in Elementary and Secondary Schools. Final Report. INSTITUTION New Mexico Univ., Albuquerque.; Youth Concerts ofNew Mexico, Inc., Alcalde. SPONS AGENCY Office of Education (DREW), Washington, D.C.Bureau of Research. BUREAU NO BR-8-G-045 PUB DATE 31 May 70 GRANT _OEG-7-9-410045-0095(010) NOTE 310p. EDRS PRICE MF-80.65 BC-813.16 DESCRIPTORS Affective Objectives; Cognitive Objectives;Dance; Drama; *Educational Objectives; Educational Philosophy; Elementary Education; Evaluation; *Guidelines; *Music; Opera; Pantomime; Programs; Secondary Education; *Theater Arts ABSTRACT Artist-teachers, administrators, and other educators will find the elementary and secondary guidelinesuseful in formulating the co,jectives and methods of teachingthe performing arts. The underlying assumption is that providing childrenwith opportunities to observe, listen, and react to excitingperformances leads to educational experiences, both affectiveand cognitive, which are of inestimable value. Three major parts emphasize the necessity for cooperation among educators, artists, administrators,and parents. Part one explains the principles, objectives, andphilosophy of the programs and, further, offerssome effects and evaluation of the theatre arts programs. Outstanding examples of selectedprograms are described in Part II. Although the emphasis is on musicprograms, other topics dealt with are drama, dance, pantomime,poetry, and puppetry. In Part III, practical suggestionsare provided for implementing and using performing arts programs in the school. Information is given on how to design and buildprograms and on the role of school personnel and the school itself. Appendicesinclude chapter supplements, sources, and selected bibliographies.(SJM) U S DEPARTMENT OF HEALTH co FINAL REPORT EDUCATIOr. & WELFARE orricz EDUCATION )laN THIS DOCuM;N HAS BE' Y REPRO Project No. 8-G-045 %CEO EXAC ILI 2,y RcCE:%. ED :P3m r-4 -HE PERSON (.,4 oRik, Grant No. OEG-7-9-410045-("',5-(010) NATI%t; fT S ti %.1EW OH UPON .OHS ST AT:0 OC) SO' NECESSARIO RE PkcSENT CF,CI.%t. OFFICE OF EDU cAlioN pOS1110% OR POLICY CD LLi GUIDE TOPERFORMING ARTS PROGRAMS IN ELEMENTARY AND SECONDARY SCHOOLS Nina P. Collier with Sherman Van Solkema and RichardP. Kapp Contributions by Judith Aronson Donald E. Michel William Watson 0 The University of New Mexico 0 , Albuquerque, New Mexico in cooperationwith the Youth Concerts of NewMexico, Inc. V) Alcalde, New Mexico May 31, 1970, with revisions to includemore recent activities as of the 1971-72 schoolseason. U.S. Departmentcf Health Educ0"...pn and Welfare Office of Education Bureau of Research 41& The opinions, philosophy and recommendations in this Guideare not necessarily those of theU.S. Office of Education, Lepartmentof Health, Education ard Welfare, preface In these times, every Arts and EducationDepartment in an institution of higher learning hasa stake in the performing arts education movement. The University of New Mexico has understood the importance of this phase for manyyears. In the early sixties, collaboration with The Youth Concerts of NewMexico through our association with its founder the chairman, Mrs.Nina P. Collier, resulted in many important experiments which includedthe partici- pation of our music, voice and dance facultymembers and advanced students in performing for schools throughout thestate. The University of New Mexico Symphony Orchestra andChamber Orchestra also took part. Workshops by prOfessional artistswere held under Youth Concerts' sponsorship for universityarts students as demonstrations of teaching techniques. In the 1966-67 season the Music Departmentconducted a cooperative research project with the YouthConcerts organization entitled "METHODS AND EFFECTS OF LIVE MUSICPERFORMANCES FOR DISADVANTAGED CHILDREN."We were fortunate in securing the help ol!. Dr. Donald E. Michel, School of Music, FloridaState University, Tallahassee, who was on leave and had joined theUniversity of New Mexico faculty as visiting Professor. He directed the study and Mrs. Collier served as administrator and consultant.Their report of finningsf "Summary of Preliminary Research,"issued on August 19, 1967, opened the way for the University'ssponsorship of the present Cuide, since it became increasinglyapparent that the artist-teacher, the administrator, and theeducator were in urgent need of guidelines to formulate both the objectivesand th- methods of performing arts teaching. In the meantime, Mrs. Collier assisted in the "Pilot Conference for Research Training" at the Roberson Center for the Arts and Sciences in August, 1967, in Binghamton, New York. Mrs. Collier presented the proposal for a Guide to Miss Kathryn Bloom, then Director of the Arts and Huranities Program, Bureau of Research, U,S. Cffice of Education in Washington. The University of New Mexico readily agreed to sponsor the proposal, and it became my responsibility to work with Mrs. Collier and Mr. Kapp, the Conference Director at Roberson, in writing the proposal and in supervising the project which was finally financed by the Regional Cffice of the Bureau of Research in December, 1968. My collaboration with the authors, Mrs. Nina P. Collier, Dr. Sherman Van Solkema, Richard P. Kapp and the contributors who have made up the team has been both rewarding and stimulating. What has made this undertaking so fruitful has been the Participants' shared beliefs in a future course for the performing arts movement, as well asthe colle:tive breadth of their past experience in this field.As the or'ginator of the nroject ano the Chief Investigat^r, Mrs. Collier has brought to this task the unique experience and resources of a life-long and pioneering involvement at all levels of performing arts programs. Dr. Van Solkema, Chairman of the Music Department of Brooklyn College, has provided not only the skills of an accomp- lished writer and editor, but also the insights of a performing musician and musicologist. The abilities of Richard Kapp, as both an administrator and participant in a wide varietyof programs, have proved valuable at many stages of the present project: from its conception and research to the organization and actual writing. William Watson, Musical Director of the New York Chapter of Young Audiences, has contributed an essay on building music programs for children, based on his own work which is surely among the most creative in the field. Dr. Michel, an expert researcher, has reviewed the mate ial relating to evaluation techniques. Dr. Judith Aronson, formerassociate director of the Metropolitan EducationalCenter in the Arts, St.Louis, now Director of Project Developmentof Webster College, St. Louis, Missouri, revised theevaluation material,bringing to it her first handexperience. It may be useful to describebriefly the method of research. Mrs. Collier began in 1950to compile records of projects with whichsilo:3 was concerned, as wellas relevant publications and contacts with other individuals andorganiza- tions active in this field, These files servedas the start- ing point for the currentwork. Further information has been gathered by 'personal interviews with programdirectors and expanded correspondence. There has been a continuing attempt to compile all availableresources: ranging from government reports on federal,state and local projects; to the work of privateinstitutions and foundations;to the accounts of actual performers. We gratefully acknowledge theinterest, both official and personal, shown byDr. Harold Arberg, Director of the Arts and Humanities Program,Bureau of Research, Department of Health, Education and Welfare Washington. We are particularly indebted to Mr. HaroldHaswell, HEW's Regional Director of Research, who has keptpace with our problems and given us advice andencouragement in our task, May 31, 1970 Jack S. Stephensor Proje-:f Director Professor of MusicEducation Department of Music University of NewMexico (Dr. Stephenson is presently Chairman ofEducation, Conservatory of Music, Universityof Missouri- Kansas City.) iii ACKNOWLEDGMENTS To my colleagues, Jack Stephenson, Sherman VanSolkema, Richard Kapp, Donald Michel,Judith Aronson and WilliamWatson, I owe a debt which cannotbe expressed inmere words, since this book could not havebeen written without theircontribu- tions, representing muchpersonal sacrifice and thesum of their insight, experience and extraordinary abilitiesas educators, artists, administratorsand humanists. This Guide is the resultof the generosity and thought- ful help of hundreds ofpeople, many of whom havetaken a great deal of trouble andcontributed hours of their valuable time to supply me withinformation and encouragement. However, I would like to singleout certain leaders, all of whom have hada lifelong preoccupation with the tenets of the Guide. They have shaped developmentsin the field sf performing arts teaching throughtheir unusual gifts, combining imagination and knowledge. My mother, Carolyn A. Perera, until her death in 1967, inspiredme and stood at my side during the years of experimentation. With her, Rosalie J Leventritt grasped the possibilitiesof the new arts teaching movement and both women, with theirconcern for young people, artists and aud!ences, dedfc:L:edmany ylvrs of the!Iu lives to !.ea_lership of the Young Audinckes cx:ganization. Clans Adam, the zellist and ',eacf.,er, playedthe )11.:4.:., impol,:ant pole among musio:ans in rn forrt .;;f .%rtisi,-auCilence Sa'-at.7. A 7c---InbAum, :,:n7A:l.t1v