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Universi^ Micrdrilms Intemational 300 N.Zeeb Road Arm Aitxx, Ml 48106
8311762
Leadi, Lena Mae
A SURVEY OF MUSIC PROGRAMS IN SCHOOLS OF THE AMERICAN ASSOCIATION OF BIBLE COLLEGES IN OHIO AND CONTIGUOUS STATES
The Ohio State Utmersty PeD. 1983
University Microfilms Internstionsl300N.Ze&Road.AmnAAw.MI48106
Copyright 1983 by Leach, Lena Mae All Rights Reserved
A SURVEY OF MJSIC PROGRAMS IN SCHOOLS OF THE
AMERICAN ASSOCIATION OF BIBLE COLLEGES
IN m i O AND CONTIGUOUS STATES
DISSERTATION
Presented in Partial Fulfillment of the Requirements for
the Degree Doctor of Philosophy in the Graduate
School of The Ohio State University
By
Lena Mae Leach, B.M., A.M.
*****
The Ohio State University
1983
Reading Committee: ^>proved By
Jerry E. Lowder
James E. Major
H. Wayne Ramsey Adviser School of Music To
My Family
11 ACKNOWLEDGMENTS
Sincere appreciation is expressed to the author's major pro fessor and adviser. Dr. Jerry E. Lowder, for his valuable insight, counsel, and guidance throughout the author's doctoral program at The
(Hiio State University, especially during the development and completion of this study. The author also e:q»resses her appreciation to the other members of the committee. Dr. James E. Major and Dr. H. Wayne
Ramsey for their assistance and suggestions.
Grateful acknowledgment is made to Dr. and Mrs. John Mostert and Dr. Randall Bell of the American Association of Bible Colleges for their endorsement of the project. Thanks are also extended to Janice
Hubert who so capably assisted in the preparation of the manuscript.
Without the aid, encouragement, and sacrifices on the part of my family this document would never have been completed. It is to my husband, Roscoe, our sons, Stephen, Philip, and David, and wf parents, the Reverend and Mrs. Harold James, that this work is dedicated.
I l l VITA
June 22, 1930 ...... B o m - Burke, South Dakota
1 9 5 1 ...... Diploma in Church Misic, Central Bible College, Springfield, Missouri
1949-1952 ...... Teaching Associate, Central Bible College, Springfield, Missouri
1952-1964 ...... Private Studio Teacher in Piano, Grand Island, Nebraska, and Wichita, Kansas
1964 ...... B.M. in Piano Performance, Friends University, Wichita, Kansas
1967-1971 ...... Chairman of the Misic Department, Dutch Bible College, The Hague, The Netherlands
1975 ...... M.A. in Performance, California State University, Fullerton, California
1971-1975 ...... Instructor of Music, Southern California College, Costa Mesa, California
1973-1976 ...... Minister of Music, First Assembly of God, National City, California
1975-1976 ...... Instructor of Music, Christian Heritage College, San Diego, California
1976-1978 ...... Chairman of the Music Department, Trinity Bible Institute, Ellendale, North Dakota
1978-present...... Minister of Ihisic, First Assembly of God, Mansfield, % i o
IV FIELDS OF STUDY
Major Field: Music Education
Studies in )6isic Education. Professors A. Peter Costanza and Joan Lehr
Studies in Music History and Church Music. Professors Keith E. Mixter and Monica Unstaedt
Studies in Piano Pedagogy and Piano Literature. Professors Jerry E. Lowder, Rosemary Platt, and Gordon D. Wilson
Studies in Applied Piano. Sylvia Zarenba TABLE OF CWTENTS
Page ACKNOWLEDGMENTS...... iii
VITA ...... iv
LIST OF TABLES...... viii
Chapter
I. INTRODUCTION...... 1
The Problem ' ...... 2 The P u r p o s e ...... 4 Significance of the Study ...... 5 Definitions ...... 6 Limitations...... 8 List of References ...... 9
II. REVIEW OF RELATED LITERATURE...... 11
Introduction ...... 11 The Bible College Movement...... 12 The American Association of Bible Colleges ...... IS Music Programs in Bible Colleges...... 17 Development and Revisions in Misic P r o g r a m s...... 21 List of References...... 24
III. RESULTS OF TOE INVESTIGATION...... 27
Methods and Procedures ...... 27 Music Curriculum...... 31 Music Faculty Qualifications...... 56 Music Resources in Library Holdings, Instructional Facilities, and Equipment ...... 64
IV. SUM4ARY, CWCLUSimS, DISCISSION, AND RECOMMENDATIONS. . 70
S u m m a r y ...... 70 Conclusions and Discussion ...... 78 Recommendations ...... 84
VI APPENDIXES
A. Questionnaire for Music Department Chairmen of the AABC Schools in Ohio and Contiguous States ...... 87
B. Letter of Dr. J. Mostert to Academic Deans and *hisic Department Chairmen of the 18 Schools of the Survey...... 98
C. Letter to Music Department C h a i r m e n ...... 100
D. Music Course Titles in the Bulletins of 18 AABC Schools...... 102
BIBLIOGRAPHY ...... 115
via LIST OF TABLES
Table Page
1. Degrees and Diplomas with Concentrations in M u sic ...... 32
2. Music Programs Offered by Respondent S c h o o l s ...... 35
3. Music Theory and Composition Courses Offered by Respondent Schools ...... 37
4. Music History and Literature Courses Offered by Respondent Schools ...... 38
5. Music Methods Courses Offered by Respondent Schools...... 40
6. Applied Music Courses Offered by Respondent Schools...... 43
7. Performance Organizations Listed by Respondent Schools...... 45
8. Required Music Courses in the Church Music Programs...... 47
9. Required fbisic Courses in the Music Education P r o g r a m s ...... 50
10. Vocations for Which the Music Curriculums had been Designed...... 52
11. Plans of the Respondent Schools for Music Curriculum Revision...... 55
12. Academic Training of Music Faculty Me m b e r s ...... 57
13. Professional E^qierience of Music Faculty Members...... 59
14. Music Faculty Participation in Professional Organizations...... 61
va XI 15. Participation of tfcisic Faculty Members in Continuing Education Programs in the Last Three Ye a r s ...... 63
16. Music Workshops Sponsored by the Misic Departments in the Last Three Y e a r s ...... 64
17. Music Resources in Library Holdings of Respondent Schools...... 66
18. Music Resources in Instructional Facilities of Respondent Schools ...... 67
19. Soundproof Instructional Facilities of Respondent Schools ...... 67
20. Music Resources of Instruments and Other Items of Equipment...... 69
21. Music Course Titles in the Bulletins of 18 AABC Schools...... 102
IX Chapter I
INTRODUCTION
Music has always been a significant part of the Christian
religion. The prominence of music in the history of religious edu
cation has demonstrated the ingiortance of this art. The American
Association of Bible Colleges has recognized the need for music pro
grams in the curriculum of its member institutions. A 1976 American
Association of Bible Colleges survey reported that all of the member
institutions provide some courses in music.^ Most of the schools of 2 the AABC provide music programs. Of 76 AABC schools which responded
to a 1980 survey of program offerings, 71 indicated that they offer a concentration in church music.^
The American Association of Bible Colleges is an autonomous association of 125 Bible colleges in the United States and Canada. Dr. 4 Richard M. Millard, president of COPA, says:
The American Association of Bible Colleges has had a distinguished record since 1947 of representing a very im portant sector of the higher education community and of bringing it into the mainstream of higher education in this country.^
The report of the Danforth Commission for the American Council on
Education describes Bible colleges as "a growing segment of education at the collegiate level. 2
The Bible college is a specialized institution of higher educa
tion with the primary purpose of preparing students for church-related
professions. It also provides training for lay personnel who do not
follow full-time church vocations. The Bible college offers "special
ized or professional programs that prepare students for specific
Christian ministries."^ The music program is one of the professional
programs. Witmer considers the music program to be one of the major g fields of study in the Bible college curriculum.
The Problem
Although a considerable amount of investigation has been con- 9 ducted in the field of Bible college education, a need has existed for research in the area of music in AABC institutions. The need for in
formation about music programs in Bible colleges has been recognized
for many years by leaders of the American Association of Bible Colleges.
In his Report Preparing Bible College Students for Ministries in
Christian Education the former Executive Director of AABC, Dr. S. A.
Witmer, recommended that "similar surveys need to be undertaken in
other major fields— Bible-Theology, Pastoral Training, Missions, and
Music.Several years later in correspondence with the investigator the AABC Executive Director, Dr. John Mostert wrote:
I am pleased to learn that you are conteag)lating a research project dealing with music programs in Bible colleges located in Ohio and the surrounding area. . . . No extensive study pertaining to this iaqwrtant area has been conducted in recent years, as far as I am aware. It should be understood that such a study could be very useful to all of our schools in North America and I anti cipate that the results could be widely circulated. The lack of a composite source of data has made it difficult for AABC schools to study and compare the music programs of other member schools. Such a body of reference materials and recommendations has also been needed to assist each individual AABC school in the ccm- tinuing process of self-evaluation and in projections for its music program.
Due to the lack of information questions have arisen concerning the areas of music curriculum, music faculty, and music resources in library holdings, instructional facilities, and equipment. It has been assumed by the writer that most of the AABC schools of this survey offer concentrations in church music, but that few of these schools offer concentrations in music education. Sufficient resources in library holdings, instructional facilities, and equipment are required to effectively iaplement a music program, however, the adequacy of present music resources has been questioned. An important consideration per tained to qualifications of music faculty in the disciplines of church music and music education. It was assumed that most faculty members have a master's degree (or the equivalent). The question remained as to whether music faculty members were provided sufficient opportunities for professional growth in the areas of church music and music edu cation. Considering these questions the basic problem of the study was the lack of information about specific aspects of the music cur riculum, music faculty qualifications, and music resources in library holdings, instructional facilities, and equipment. The Purpose
The purpose of this study was to obtain pertinent information regarding various aspects of the music programs in selected schools of the AABC and to provide recommendatiwis for development and revision in these particular areas. As a basis of data collection and identi-
:fying essential information the writer designed the following questions:
1. What music degrees and/or diplomas are granted?
2. What concentrations in music are available, what year did
each program begin, and how many students were enrolled in
these programs for the autumn term of 1981?
3. What music courses are offered, and what is the number of
credit hours for each course?
4. What are the required music courses in the church music
program and in the music education program?
5. For what vocations has the music curriculum been designed?
6. What is the enrollment of non-music major students in music
courses for the autumn term of 1981?
7. What revisions are planned for the music curriculum in the
next three years?
8. Has there been contact with your music alumni and other
clientele in the last three years for their views regarding
the music curriculum and for suggestions regarding curricular
revisions? 5
9. Do you plan to contact your music alumni and other
clientele for their views regarding the music curriculum
and curricular revisions in the next three years?
10. What are the academic credentials and the professional ex
perience of the music faculty members?
11. To what professional organizations do the music faculty
members belong?
12. In what continuing education programs has the music faculty
participated in the last three years?
13. Has the music department sponsored music workshops in the
last three years?
14. Is the music department a member of NASM?
15. What are the library holdings for the music department?
16. What instructional facilities and equipment are provided for
the music department?
17. What conclusions and recommendations can be made concerning
the music curriculum, music faculty qualifications, and
music resources in library holdings, instructional facili
ties, and equipment in schools of the American Association
of Bible Colleges?
Significance of the Study
In addition to reporting various aspects of the music programs in selected schools of the AABC, this study has provided:
1. A conq>ilation of an organized body of knowledge that can be
disseminated to all AABC institutions and their clientele. 6
2. Data which will help institutions deteinine how they measure
up with their peer institutions.
3. Recommendations for music curriculum isg^rovement, for music
faculty development, and for adequate resources in library
holdings, instructional facilities, and equipment for the
music programs of AABC schools.
4. A useful tool for AABC directors and evaluating teams in
their consultation and accrediting procedures.
5. Inpetus for continued research in the areas of church music
and music education in AABC institutions.
6. Inpetus for further investigation in the field of music in
Bible college education.
Definitions
AABC: American Association of Bible Colleges.
American Association of Bible Colleges: An autonomous associ ation of schools with an elected Board of Directors as well as various commissions that deal with particular Association functions. It is recognized by the U. S. Office of Education as a national professional accrediting agency; also by the Department of Justice, the Veterans
Administration and other relevant federal agencies. It is a constituent member of the American Council on Education, and is a member of the
Council on Post-secondary Accreditation (COPA) in the national insti tutional category of accrediting agencies.
Church music program: A program designed to provide preparation for professional work in the field of church music. 7 Concentration: An area of study, often referred to as a major or a minor.
Curriculum: A curriculum is a group of courses and planned ex periences offered a student under the guidance of the faculty of a school or college.
Field work, field experience: In-service training; supervised, practical ejqierience relating to a student's vocational goal.
Major: A principal field of study in which a student is re quired to take a prescribed nmnber of hours of course work.
Ministry: The office, duties, or functions of a minister; the body of ministers of religion, clergy.
Included in the concept of Christian ministries are such church vocations as pastor, missionary, church education director, minister of music, and other specialized forms of Christian service by both lay and "professional" workers.
Minor: A secondary field of study in which a student is re quired to take a prescribed number of hours of course work.
Music education program: A program designed to train students for teaching music in elementary and secondary schools.
NASM; National Association of Schools of Music.
Professional growth: Graduate study, postgraduate study; con tinuing education.
Program: An organization of courses designed to achieve a dis tinct set of objectives such as preparation for minister of music, music teacher, etc.
Vocation: Full-time work, a profession, a career. Limitations
The proposed study was limited to a survey of the music pro
grams in schools of the American Association of Bible Colleges in Ohio
and contiguous states. The Bible college music program includes
several distinct areas, however, this investigation was limited to
certain aspects of the music curriculum, music faculty qualifications,
and music resources in library holdings, instructional facilities, and
equipment. The 1981-1982 Directory of the American Association of
Bible Colleges lists 125 schools of three categories— accredited members, candidates for accreditation, and applicants. The autumn
enrollment for 1981 indicated a total of 37,399 full-time students in these AABC schools. Of the 125 schools belonging to the American
Association of Bible Colleges, 18 were selected by the writer for the present «tudy. The basis for selection of the 18 schools was meinber- ship and applicant status in the AABC, and location in the state of
Ohio or a contiguous state. These 18 colleges had an enrollment of
5,714 students in autumn 1981 and are located in (Niio, Indiana,
Kentucky, Michigan, Pennsylvania, and West Virginia. LIST OF REFERENCES
Hfostert, J. Music Programs in the Bible Colleges. Wheaton, Illinois: American Association of Bible Colleges, 1977, 9. 2 American Association of Bible Colleges.
^Summary of Undergraduate Offerings, Fall 1980. Fayetteville, Arkansas: American Association of Bible Colleges, 1. 4 Council on Post-secondary Accreditation.
^Millard, R. M. A Tribute to AABC From COPA's President. AABC Newsletter, XXVI, No. 1 (1982), 12.
^Mackenzie, D. M., and Pattillo, M. M., Jr. Church-Sponsored Higher Education in the United States. Washington, D. C.: American Council on Education, 1966, 16.
^Mostert, J. Bible College Objectives. Wheaton, Illinois: Accrediting Association of Bible Colleges, 1973, 24. 8 Witmer, S. A. The Bible College Story: Education with Dimension. Wheaton, Illinois: Accrediting Association of Bible Colleges, 1962, 119. 9 Mostert, J. These 35 Years. AABC Newsletter, XXVI, No. 1 (1982), 12.
^^Witmer, S. A. Report Preparing Bible College Students For Ministries in Christian Education. Ft. Wayne, Indiana: The Accrediting Association of Bible Colleges, 1962, 181.
^^Mostert, J. Personal communication, November 20, 1980. 12 American Association of Bible Colleges Directory. Fayetteville, Arkansas: American Association of Bible Colleges, 1981-1982.
^^Good, C. V. ed. Dictionary of Education. 3d ed. New York: McGraw-Hill, 1973, 15. 10
14 Woolf, H. B. and others, eds. Webster’s New Collegiate Dictionary. Springfield, Massachusetts: G & C Merriam, 1980, 726.
^^American Association of Bible Colleges Manual. Fayetteville, Arkansas: American Association of Bible Colleges, 1980, 9. Chapter II
REVIEW OF RELATED LITERATURE
Introduction
No extensive survey pertaining to the music programs of member institutions of the American Association of Bible Colleges (AABC] has been conducted. Studies have been made in the areas of the history of the Bible college movement and the history of the AABC, as well as in the areas of education, theology, missions, curriculum, and adminis tration of AABC schools. Investigation of music programs in some church-related colleges which are not associated with the American
Association of Bible Colleges has been conducted. Maust reviewed the music curricula of the Mennonite-controlled liberal arts colleges in his dissertation and stated that the colleges offering a major in music education had met or exceeded the standards suggested by the National
Association of Schools of Music in all areas except performance.^
Lehman investigated the effectiveness of the music curricula of the
Mennonite Colleges in educating musicians and concluded that music de partment faculties should be willing to re-evaluate their teaching methods and materials and should be aware of contengwrary trends in 2 music education. The present study was an endeavor to ingilement
11 12 structured research in the field of music in Bible colleges belonging to the American Association of Bible Colleges.
The Bible College Movement
The Bible college movement began in 1882 with the founding of
The New York Missionary Training College by A. B. Simpson.^ The pur pose of Simpson's college was to provide students with biblicaland practical training in preparation for church-related vocations.
Sweeting stated that "in its first five years, this school had enrolled
700 students in a program of Bible study and practical training for 4 Christian ministry."
The second Bible college was established in Chicago in 1886 by
D. L. Moody and became known as Moody Bible Institute.
Eighty students enrolled in the first year, and within ten years nearly 3,000 had received training. In 1905, the legal objectives were broadened and made more specific: 'Its object is to educate, maintain and send forth Christian workers, Bible teachers, gospel singers, teachers and ^ evangelists, to preach and teach the gospel of Jesus Christ.'
Moody enphasized the practical and humanitarian aspects of Christian education and required his students to participate in field e:q>erience in the inner city of Chicago for relief and service purposes.^ Simpson also stressed the element of practical training in his curriculum. The idea of practice for developing communicative skills for Christian service has always distinguished Bible college education. Christian service in the Bible college has been defined by Witmer as
. . . not merely training for the postgra.duate future: it is an outlet for the impulse to share and to serve during student days. It is glorifying God and ministering to human 13
need, not mere practice. . . . Service skills are acquired by practice. . . theoretical instruction alone is far from adequate. It takes a combination of theoretical instruction and practical experience to learn a communicative skill y whether it is preaching, singing, teaching, counseling. . . .
Vocal music was a part of the curriculum of both of these first
Bible colleges. In his investigation of the history of Moody Bible
Institute, Getz identified distinct contributions of Moody Bible
Institute in the field of music. Specific curriculum innovations in
church music and training of professional church musicians werenamed g as significant contributions. In discussing the characteristics of the Bible college Gaebelein declares:
While the liberal-arts college generally offers many fields of concentration, the Bible college ordinarily offers only that of Bible and fields related to it: theology, Christian education, missions, pastoral theology, music, history, and the Biblical languages. . . . Basic siibjects in English, history, and natural sciences generally included in college courses are required. Other subjects from the humanities and social sciences are recommended. . . . In the fine arts, music is a requirement in nearly all schools.®
Eleven such Bible colleges had begun by 1900 and were character ized by the primary educational goal of preparing both men and women for full-time Christian ministries with similar programs consisting of Biblical, general, and professional studies.A study by Dugan investigated certain factors that influenced the establishment of
Bible colleges as a unique movement. Factors of liberalism arising in nineteenth century theological seminaries and fundamentalism developing from revival trends gave significant inpetus to the Bible college move ment. Academic and social trends of the late nineteenth century also affected developments in the Bible college movement. 14
In addition to reacting to these factors, the Bible institutes paralleled the academic and social trends of the day. For example, as the training of teachers for public education developed, so the desire for trained Sunday school workers became apparent, and the Bible institute curricula changed to reflect developments in the secular teaching profession.
Throughout the twentieth century the number of Bible colleges in the United States and Canada has grown to over 350 institutions by
1980. In the early part of the twentieth century numerous problems arose. Academic and professional standards of the Bible colleges were not uniform, and there was little professional association among its leaders. )&)st of the schools were not recognized by state boards of 12 education and other accrediting agencies.
In spite of the differences and the problems among Bible colleges during the first half of the twentieth century, significant developments were also occurring. Bible colleges were improving their individual programs with better qualified faculties, expanding libraries, inproved teaching methods, and training seminars. The curriculum was often expanded from two-year programs to three-, four-, and five-year programs. Initiated at this same time were specialized programs, which included an enphasis on music. Witmer states:
Further developments in curriculum came about as schools undertook to prepare students for the increasing number of specialized ministries that have come into being in recent times. In any one or more of the Bible schools there are programs in missionary medicine, missionary nursing service, Christian social service, journalism, missionary aviation, missionary radio ccmmmmications, linguistics, missionary technical training, elementary education, and various specializations in the field of music.13 15
The need for an accrediting agency to unite Bible colleges in
common goals and philosophy was eiqnressed in a meeting of the National
Association of Evangelicals in 1946. No existing agency helped Bible
colleges with program evaluation by the process of accreditation. An
accrediting agency that understood the distinctive elements of Bible 14 college education was needed.
The American Association of Bible Colleges
Out of the awareness of the need for a Bible college accrediting
agency came plans for formulating such an organization. Bible college educators met at Winona Lake, Indiana, in October, 1947, and organized
The Accrediting Association of Bible Institutes and Bible Colleges.
From 12 schools which were accredited in 1948, the association has grown until in 1981 it included 125 Bible colleges— 79 accredited members, 17 candidates for accreditation, and 29 applicant schools.
In 1957 the name was changed to Accrediting Association of Bible
Colleges, and again in 1973 the name was changed to American Association of Bible Colleges.
The primary purposes of Bible college accreditation are:
1. To assist schools through the processes of accreditation to achieve more effectively their objectives of preparing students for Christian service.
2. To improve the quality of Bible college education generally by describing as explicitly as possible stan dards of excellence, thus encouraging self-evaluation and stimulating continuous growth. 16
3. To promote the interest of Biblical and church- vocational education through representation in national organizations and cooperation with other accrediting associations.
4. To provide and circularize a list of approved colleges for the use of denominational boards, mission societies, school boards, regional and national accrediting agencies, departments of government, foundations, and all other organizations interested in the educational ratings of schools and their students.
5. To provide a basis of selection for prospective students, teachers, and other interested individuals.
6. To facilitate the transfer of credits among undergraduate colleges and to provide a basis for the evaluation of preparation for graduate study.
7. To conduct studies in undergraduate Biblical and church- vocational education so as to provide sound bases for development of standards and assistance to schools.15
The American Association of Bible Colleges is a member of the
Council on Post-secondary Accreditation in the national institutional category of accrediting agencies. It is recognized by the United States
Office of Education as a national professional accrediting agency. The
Association is a constituent member of the American Council on Education and is recognized by state boards of education.
The American Association of Bible Colleges lists the following benefits of membership:
1. It brings a particular institution into association with other Bible colleges through conventions, publications, as well as consultation and evaluation activities.
2. It provides a basis for transfer of course credits.
3. It also provides the basis for eligibility for student loans and grants made possible by the Federal Government. 17
4. Findings from the research conducted by AABC are available as useful tools in the development of the various aspects of Bible college education.
The AABC offers additional benefits to non-member institutions with its
publications and consultation services.
>h:sic Programs in Bible Colleges
For many years the AABC has recognized the need for research
in the field of music in Bible colleges.
Research can help the Bible college discover areas in its curriculum which are weak— at least in relation to what graduates have found to be the case in the field or in relation to the needs of churches and Christian leaders. This will help planners determine the segments of the curriculum that could be iag)roved and strengthened. Or perhaps they would discover that, as good stewards, certain parts of the cuzTiculun should be dropped. . . research can tell administrators the areas in which the school is performing best. It can validate effective programs in training Christian workers. It can provide aa^le ground for demonstrating to board members the value of effective majors or courses of study.18
In 1967 the AABC Commission on Research named the area of sacred music as a priority for investigation for the purpose of developing more precise standards in the field of music. Dr. J. C. MacAulay was appointed to head the music study but with his resignation from the
AABC staff in 1971 the music project was replaced with other research 19 projects on missions and Christian service. In 1977 Dr. J. Nostert prepared the publication Music Programs in the Bible Colleges for music departments of Bible colleges. The primary purpose of this handbook was to provide an evaluative instrument for Bible college administrators and music department personnel to use in evaluating music programs. Mostert's publication provided a list of examples 18 of music program objectives which had been taken from several Bible college catalogs. This list included the following music program objectives:^^
The student tçon completion of the baccalaureate degree re quirements can be expected to:
1. Articulate a positive philosophy regarding the value and role of music in the ministry of the church and demonstrate this through classroom performance, special research pro jects, and faculty consultation and observation.
2. Demonstrate proficient in the areas of music theory, music performance and conducting, throu^ classroom performance and departmental observation.
3. Demonstrate ability to develop and siqpervise a graded choir system within the church program through performance in classroom situations which simulate typical problems of such a system.
Upon cozg)letion of the program the student should be able to demonstrate:
1. His knowledge of general education in music.
2. His exercise of good aesthetic judgment.
3. His readiness to serve in a particular church music ministry.
4. His skill in creative composition and interpretive per formance.
5. His competence to provide worthy music for Christian life and worship.
. The graduate of this program should be able to:
1. Draw iq>on his general arts studies to understand the church, the world, and the people to wh(m he ministers.
2. Evaluate and interpret musical scores and adapt them to specific situations in developing the life of the Christian community. 19
3. Use effectively the voice and/or at least one musical instrument in a leadership role for a church or Christian agency.
4. Function as a staff member of a church (or similar organi zation) who is responsible for a general program of musical activities on youth and adult levels, including; conduct ing vocal and instrumental groiqis, planning an annual pro gram designing units of worship and praise for services, and directing congregational singing.
5. Pursue a continued program of professional self-improvement.
As the Bible college movement approached its centennial anni versary, the Annual Meeting of the American Association of Bible
Colleges celebrated its thirty-fifth anniversary on October 29-31, 1981.
Over 400 educators representing 150 Bible colleges were in attendance.
The AABC Annual Meeting is considered the largest meeting in the field 21 of Christian higher education in the world.
The AABC Annual Meeting deals with many matters of professional concern. Workshop sessions feature topics dealing with administrative and academic areas. In reviewing the programs of several Annual
Meetings this investigator found that attention has been given to the subject of music in Bible colleges. In the twenty-sixth Annual Meeting,
October, 1972, workshops on church music dealt with the following topics :
1. A Core Curriculum in Misic for All Students in the
Christian College
2. Music As An Unique Form of Evangelism
3. î ^ i c in Evangelisn
4. Instrumental Music in the Church. 20
In the thirtieth Annual Meeting, October, 1976, Harold Best, Dean of the Music Conservatory, Wheaton College, spoke to all of the delegates in the general session on the topic, "Music in Christian Higher
Education— What are our Reasons?" In that same Annual Meeting the program also served the interests of music department personnel with one of the three grovç sessions being devoted to church music. The church music group session consisted of several workshops dealing with the following topics:
1. A Pastor Evaluates ChurchMusic
2. Media and Church Ministry
3. Practical Problems in Church Music
4. )hisic and Missions in the Orient.
In the thirty-sixth Annual Meeting, October, 1982, a workshop on teacher education was conducted in which Dr. Marilyn Weldin presented 22 a paper on "Evaluating Teacher Education in the Bible College."
Weldin referred to the area of music education as one part of the total program of teacher education which was being developed in her particular institution. 23 The summary of a 1980 survey of program offerings in AABC member institutions listed six areas of study that are most commonly found. The most common programs in the order of their frequency are:
Christian education, church music, pastoral studies, missions, biblical-theological studies, and teacher education. The findings of this survey substantiate the significance of church music and teacher education programs in AABC schools. Although no research has indicated the frequency of a program for music teacher education in Bible 21 colleges, it is the consensus of Mostert, Bell, and this investigator that music education for teachers reflects the increasing trend of interest in teacher education programs in Bible colleges.
Mostert has indicated that along with the church music programs, 24 some Bible colleges are including training for music teachers. The
1981 A.M.O. Report; Education Experiences and Career Patterns of Bible
College Graduates summarizes data collected from a recent survey of over 4,000 Bible college graduates. AABC Associate Director Randall
Bell indicated that the results of the survey demonstrated the signifi- 25 cance of music programs in AABC institutions.
Development and Revision in tfasic Programs
Sharp believes that eiq>loyment opportunities as a full-time church musician are readily available in today's job market and that 26 church music careers will remain promising in the foreseeable future.
While anticipating the opportunities of the future, Bible college educators will be cognizant of the need for educational flexibility.
Curricula must often be adjusted to meet contemporary needs. Develop ments will include the lengthening and specializing of courses as well 27 as the addition of liberal arts courses. In discussing the profes sional preparation of ministers of music and Christian education directors in the Bible college, Kantzer asks: "What sort of prq»aration is most needed for those individuals so that they will be best prepared to carry on their ministry in and for the church?" He believes that a basic core of the liberal arts and sciences is necessary for the 2 8 Bible college student who is training for a church-related vocation. 22
Gangel speaks of the progressive Bible college concept that in
cludes (1) a primary commitment to vocational church-related vocations,
but with a wider range of majors, (2) the enqphasis on preparatory
training, (3) involvement in interinstitutional cooperation, state and
regional projects, local joint ventures such as lecture series or fine 29 arts festivals, and relationships with public education.
According to Kennedy the future of church music programs must be
reappraised:
There is a real need to take cognizance not only of the white-middle-class suburban church, but Church Music pro grams should relate to less traditional spiritual complexes such as the inner-city church, the rural church, and even the underground church, all of which use music as a major launching pad for their thrusts.^®
A Bible college music program includes three subject areas— biblical, professional, and general education. The success of all programs in
AABC institutions depends on the ability of Bible college educators to remain supportive of Bible college principles, while at the same time be able to effect certain improvements and revisions within the pro grams. It is the opinion of Bailey that "the more the small religious college can focus on its distinctives [distihctiveness], the greater its chance of survival given the ever-increasing pressures 32 facing colleges today."
Increasing numbers of young people are entering vocational music ministries. Many prospective ministers of music are seeking a theological as well as a musical education. . . there is a desperate need for ministers of music to have the appropriate training in theology to go along with their training in music. Too many church musicians have a limited understanding of, and appreciation for, the true nature and work of the c h u r c h . 53 23
The music program in Bible colleges can be effective in training
students for music vocations in today's changing society. Frank
Gaebelein, educator and foxmer co-editor of Christianity Today states:
Christian education must lead the way to reform. The Bible schools and institutes must rethink their aesthetics .... Christian schools and colleges have an obligation to strengthen their music departments. . . theological seminaries might well give music a real place in the curriculum, for among Christian workers the pastor can least of all afford to remain musically illiterate.^ LIST OF REFERENCES
Hiaiist, E. M. The Histoxy and Development of Music in the Mennonite-controlled Liberal Arts Colleges in the United States. Unpublished PhD dissertation, George Peabody College for Teachers, Nashville, Tennessee, 1968, 205. 2 Lehman, E. W. A Study of the Effectiveness of the )&%sic Curricula of the Liberal Arts Colleges Affiliated with the Mennonite Church. IMpublished PhD dissertation. The Ohio State University, 1973, 91.
^A. B. Sinpson was also the founder of the Christian and Missionary Alliance denomination. 4 Sweeting, G. Bible Colleges and Institutes: Chronicling the Vision of a Century. Christianity Today, XXVI, No. 3 (1982), 39.
^Witmer, S. A. The Bible College Story: Education with Dimension. Wheaton, Illinois: Accrediting Association of Bible Colleges, 1962, 37.
^Eagen, J. L. The Bible College in American Higher Education. Fayetteville, Arkansas : American Association of Bible Colleges, 1981, 41.
^Witmer, 138. g Getz, G. A. A History of Moody Bible Institute and its Contributions to Evangelical Education (Doctoral Dissertation, New York University, 1968). Dissertation Abstracts, 1968, 29, 466A. (Itoiversity Microfilms No. 68-11, 791). 9 Gaebelein, F. Christian Education in a Democracy. New York: Oxford University Press, 1951, 176-177.
^%itmer, 38.
^^Dugan, R. P. The Theory of Education Within the Bible Institute Movement at Selected Critical Times (Doctoral Dissertation, New York University, 1977). Dissertation Abstracts International, 1978, 38, 725lA. (University Microfilms No. 78-08, 460).
^^Eagen, 43. ^^Witmer, 45. ^^Witmer, 46. 24 25
^^Aaerican Association of Bible Colleges Manual. Fayetteville, Arkansas: American Associatif» of Bible Colleges, 1980, 9-10.
^^Anerican Association of Bible Colleges Manual, 8.
^^What Should You Know About Bible College Accreditation? Fayetteville, Arkansas: American Association of Bible Colleges, 1981. 18 Bosma, K. and O'Rear, M. Bible College Research Manual. Fayetteville, Arkansas: American Association of Bible Colleges, 1981, 8. 19 Paper on Commission on Research report. American Association of Bible Colleges office, 1981. 20 Mostert, J. >fasic Programs in the Bible Colleges. Wheaton, Illinois: American Association of Bible Colleges, 1977, S, 22-23.
^^Mostert, J., ed. AABC Activities. AABC Newsletter, XXV, No. 3 (1981), 2. 22 Opinion expressed by Marilyn Weldin, educator, in a workshop presentation ("Evaluating Teacher Education in the Bible College") at the Annual Meeting of the American Association of Bible Colleges, 1982. 23 Summary of Undergraduate Offerings, Fall 1980. Fayetteville, Arkansas: American Association of Bible Colleges.
^^Mostert, 6. 25 Based on personal correspondence between Dr. Randall Bell, Executive Director of AABC, and the writer, 1981. 26 Sharp, S. P. Church Musician. Music Educators Journal, 63, (March 1977), 88. 27 Sweeting, 41 28 Kantzer, K. S. To Build a Better Bible College. Christianity Today, XXVI, No. 3 (1982), 15. 29 Gangel, K. The Bible College: Past, Present, and Future. Christianity Today. XXIV, No. 19 (1980), 36.
^^Kennedy, J. P. Rationale for Church Music in a State Assisted School of Music. Proceedings of the 45th Annual Meeting of the National Association of Schools of Music, (1970), 173. 31,^ Dugan. 32 Bailey, D. The Distinctives of a Religiously Affiliated College. Proceedings of the 45th Annual Meeting of the National Association of Schools of Music, (1970), 210. 2 6
33 Leafblad, B. H. What Sound Church Music? Christianity Today. XXII. No. 16 (1978), 18. 34 Gaebelein, F. The Pattern of God's Truth. Chicago: Moody Press. 1954, 78-79. Chapter III
RESULTS OF THE INVESTIGATION
Methods and Procedures
This chapter presents (1) an identification of the institutions included in this study, (2) the procedures for the iii^lementation of the study, (3) a description of the construction of the survey instru ment, and (4) an analysis of the data in tabular and narrative form.
The investigator surveyed 18 schools of the American Associ ation of Bible Colleges (AABC) in Ohio and contiguous states. The following list gives information concerning each of these colleges.
Name of School, Location, 1981 Church and Membership Status Enrollment Relationship Indiana Fort Wayne Bible College, 450 Missionary Fort Wayne, Accredited Church
Kentucky Clear Creek Baptist School, 207 Baptist Pineville, Candidate
Kentucky Christian College, 448 Church of Grayson, Accredited Christ
Michigan Grace Bible College, 170 Grace Gospel Grand Rapids, Accredited Fellowship
Great Lakes Bible College, 178 Church of Lansing, Accredited Christ
27 28
Name of School, Location, 1981 Church and Meiifl>ership Status Enrollment Relationship Michigan (continued) Reformed Bible College, 216 Reformed Grand Rapids, Accredited Churches
William Tyndale College, 307 Inter Farmington Hills, Accredited denominational
Ohio Cincinnati Bible College, 580 Christian Cincinnati, Accredited Churches
Circleville Bible College, 242 Church of Christ Circleville, Accredited in Christian Union
God's Bible School, 260 Inter Cincinnati, Applicant denominational
Tri-State Bible College, 128 Inter South Point, Applicant denominational
Pennsylvania Baptist Bible College, 804 Baptist Clarks Summit, Accredited
Lancaster Bible College, 415 Inter Lancaster, Accredited denominational
Manna Bible Institute, 37 Inter Philadelphia, Candidate denominational
Philadelphia College of Bible, 560 Inter Langhome, Accredited denominational
United Wesleyan College, 222 Wesleyan Church Allentown, Accredited
Valley Forge Christian College, 438 Assemblies of Phoenixville, Accredited God
West Virginia Appalachian Bible College, 215 Independent Bradley, Accredited 29
Data for the investigation were collected frc» these sources:
AABC documents and documents of the 18 institutions, books and periodi cals dealing with the history and development of the American Associ ation of Bible Colleges, publications dealing with music programs in higher education, telephone interviews and correspondence with the executive directors of the American Association of Bible Colleges, and telephone interviews and correspondence with faculty members of the respective schools. Information concerning specific aspects of the music curriculum, music faculty qualifications, and music resources in library holdings, instructional facilities, and equipment was collected by means of a questionnaire sent to the music department chairmen and the academic deans of the selected schools.
The investigator visited the national office of the American
Association of Bible Colleges in Fayetteville, Arkansas, for consul tation regarding the questionnaire, for research in AABC historical documents, and for advice in correspondence procedures with the re spective schools. In addition. Dr. John Mostert, Executive Director of AABC, endorsed the study by preparing a letter for the academic deans and music department chairmen in which he requested their assistance in the ii^lementation of this research project.
The questionnaire was developed by analyzing instruments used in similar surveys and by designing questions to obtain the essential data. Assistance in constructing the questionnaire was given to the writer by members of her reading c University and by Dr. John Mostert and Dr. Randall Bell, Executive Directors of the American Association of Bible Colleges. 30 In April, 1982, the writer telephoned the academic deans of the 18 schools and described the project asking for their cooperation. On the following day a letter was sent to each music department chairman e:q>laining the questionnaire and soliciting his help. Included with this letter were Dr. Mostert's letter of endorsement, the questionnaire, and a self-addressed, stashed envelope. Each chaixman was asked to return the completed questionnaire in the enclosed envelope. Copies of Dr. Mostert's letter, the author's letter, and the questionnaire are found in the Appendixes. Within the first month this mailing yielded a return of 12 (66.7%) of the requested questionnaires. The first follow-up tele phone call requesting the return of questionnaires was made in May, 1982. Five (27.7%) of the questionnaires were returned during the second month, bringing the cumulative total to 17 (94.4%) of the 18 institutions of the survey. A second follow-up telephone call was made in June, 1982, requesting the return of the questionnaire, and subsequently the last questionnaire was received in July, 1982. The respondents replied to questions concerning music degrees and areas of study, music courses, music vocations, music curriculum revision, academic training and professional experience of the music faculty, participation of the music faculty in professional organizations and continuing education programs, membership in NAai, sponsorship of music workshops, and music resources in library holdings, instructional facilities, and equipment. The excellent response of the return of 18 (100%) questionnaires may be attributed to (1) the endorsement of 31 the project by Dr. Mostert, Executive Director of AABC, (2) the tele phone interviews tfith the academic deans and the music department chairmen, and (3) the awareness of these respective persons to the need for an investigation of this kind. In July, 1982, the investi gator telephoned the 18 schools and requested copies of their college bulletins and catalogs. These documents were received during the following two weeks. The data from the questionnaires and documents were analyzed and categorized. These data described various aspects of the music curriculum, music faculty qualifications, and music resources of library holdings, instructional facilities, and equipment in the 18 schools of the AABC in Ohio and contiguous states. The categories of the survey were as follows: music degrees and areas of study, music courses, music vocations, music curriculum revision, academic training and professional experience of the music faculty, participation of the music faculty in professional organizations and continuing edu cation programs, and music resources in library holdings, instructional facilities, and equipment. Music Curricultmi Music Degrees and Areas of Study Degrees and Diplomas. Table 1 lists six types of baccalau reate degrees which were granted by 16 (88.9%) of the schools. These six degrees with concentrations in music are the Bachelor of Arts (A.B.), Bachelor of Science (B.S.), Bachelor of Religious Education (B.R.E.), Bachelor of fhisic (B.M.), Bachelor of Sacred Music (B.S.M.), 32 TABLE 1 DEGREES AND DIPLOIAS WITH CONCENTRATIONS IN MUSIC Degrees and Diplomas Number of Percentage Schools Bachelor of Arts— A.B. 7 38.9 Major and Minor in Music (2)* Major in Church Music (4) Minor in Church Music (2) Composite Major in Church Bhisic-Christian Education (2) Church Music-Missions (2) Church Fhisic-Pastoral Ministry (1) Church Music-Secretarial Science (1) Bachelor of Science— B.S. 7 38.9 Major in Church ïhisic (6) Minor in Church Music (2) Con^osite Major in Church Music-Christian Education (3) Church Music-Missions (2) Church Music-Pastoral Ministry (2) Church Music-Secretarial Science (2) Church Music-Youth Ministry (1) Con^osite Minor in Church Music-Christian Education (1) Bachelor of Religious Education— B.R.E. 5 27.8 Major in Music (2) Major in Church Music (1) Minor in Music (1) Major in %isic Education (1) Composite Major in Church Music-Youth Ministry (2) Bachelor of Music— B.M. 4 .22.2 Major in Voice, Piano, Organ, and Orchestral Instruments (3) Major in Conposition (2) Major in Church Music (2) Bachelor of Sacred Music— B.S.M. 2 11.1 Bachelor of Music Education— B.M.E. 1 5.6 Diploma in Music 2 11.1 Associate of Science— A.S. 2 11.1 Associate of Arts— A.A. 1 5.6 ^Numbers in parentheses indicate the number of schools that offer these concentrations. 33 and Bachelor of Music Education (B.M.E.). The Associate of Science degree (A.S.), with a concentration in music was given by two (11.1%) of the schools. The Associate of Arts (A.A.) degree with a concen tration in music was given by one (5.6%) of the schools. One school offered a 3-year diploma in church music, while one school offered a 2- year diploma in music. Table 1 lists the number and percentage of schools in which these degrees and diplomas were granted and shows the distribution of areas of concentration. Both the Bachelor of Arts (A.B.) and the Bachelor of Science (B.S.) degrees with a major or minor in music were offered by seven (38.9%) of the schools. In two of these schools the Bachelor of Arts (A.B.) degree included a composite major in music with other areas of concentration. Composite majors and a composite minor were a part of the Bachelor of Science (B.S.) degree program in four of the schools. The Bachelor of Religious Education (B.R.E.) degree with a major or minor in music was granted by five (27.8%) of the schools. One of these schools offered a major in music education, while two other schools offered a composite major in music and youth ministry in the Bachelor of Religious Education (B.R.E.) degree program. Although only two (11.1%) of the schools granted the Bachelor of Sacred Music (B.S.M.) degree, and four (22.2%) other schools offered the Bachelor of Music (B.M.) degree, it seems significant that 12 (66.7%) of the schools offered majors in church music in their particular degree pro grams. An additional school offered a minor in church music and was awaiting approval of the state department of education for a proposed 34 major in church music. It should also be noted that the Associate of Science (A.S.) and Associate of Arts (A.A.) degrees, along with the diplomas in music, listed church music as the area of concentration. Although the Bachelor of Music Education (B.M.E.) was granted by only one of the schools, a major in music education was offered by another school in its Bachelor of Religious Education (B.R.E.) degree program. Music Programs. Sixteen (88.9%) of the schools had music major or minor programs in their curriculums. These areas of study included church music, music education, performance, con^sition, general music, and interdisciplinary combinations. One of the assump tions of the study was that most of the AABC schools of this survey offered concentrations in church music, but few of these schools offered concentrations in music education. The results of the survey substantiate this assumption (see Table 2). These two areas of study will be discussed in their own separate sections. Along with the number of schools Table 2 lists the range of years during which the program of study was initiated and the student enrollment for the various music programs during autumn, 1981. Table 2 reveals that the church anisic program and the combi nation program rank first and second respectively in frequency of schools. Some college bulletins refer to the interdisciplinary combi nations as composite programs, combination concentrations, co-minors, or cognate areas of study. These cmbination programs comprise the areas of church music-Christian education, church music-missicms, church music-pastoral ministry, church music-youth mdnistry, and church music-secretarial science. 35 TABLE 2 MUSIC PROGRAMS OFFERED BY RESPONDENT SCHOOLS Music Programs Number of Range of Years Student Enrollment Schools Autumn, 1981 Church Music 14 1955-1980 (8)* 186 (11)** Combination 7 1978-1981 (3) 33 (4) Performance 4 1945-1980 (2) 41 (3) Music education 2 1958-1980 (2) 31 (2) Composition 2 1980 (1) 3 (1) General music 1 1952 (1) 8 (1) lumbers in parentheses indicate the number of schools that re ported the beginning year of the music programs. ^Numbers in parentheses indicate the number of schools that re ported the autumn enrollment for 1981 in these music programs. Music Courses Although two schools (11.1%) did not have major or minor programs in music, all of the 18 schools offered music courses in their curricula. The respondents were asked to list the music courses which are offered and the number of credit hours for each course. The replies were arranged in five major groupings: music theory and composition, music history and literature, methodology, applied music, and performance organizations. The analyses of the categories of the music courses are presented in the following five tables, and a list of 289 different titles for all of the course offerings in these categories is given in Table 21 on page 102 in the Appendix. The many divergent titles in several categories of the methodology section illustrate a lack of standardization as well as a tendency for innovation in this area of 36 the music courses. The list of course titles in Table 21 should be helpful to college music administrators as they plan revisions in the music curriculum. The theory, history, and methodology sections contain intro ductory music courses which deal with a particular area of study from an introductory point of view. One notices the emphasis on church music in the various categories of music courses in these tabulations. This emphasis reflects one of the distinctive purposes of the Bible college curriculim in providing training for students who want to pre pare for church-related music vocations. Music theory and composition. Table 3 presents the number of schools offering courses in music theory and couçosition. Theory courses were offered by 17 (94.4%) of the schools. The one school which did not offer theory provided hymnology and choir. Some schools had integrated the courses of sight singing, ear training, and keyboard harmony in their theory courses. Although the mean number of credit hours in theory courses offered by 17 schools was 11.4, two schools offered integrated theory programs of 20 credit hours and another school offered 16 credit hours in an integrated theory program. Half of the schools provided courses in composition and arranging with a mean number of 5.1 credit hours per school. Interest in this area perhaps indicates the awareness of church imisicians to opportunities in the areas of music publishing, composing, and arranging. The category of introduction to music emphasizes the fundamentals of music from a functional aspect, while the music appreciation courses in the category 37 of music histoxy and literature focus on the historical aspect of music. Most of the colleges required all of their students to take an introduction to music course. The content of this required course usually included church music fundamentals and song leading. TABLE 3 MUSIC THEORY AND CCMPOSITION COURSES OFFERED BY RESPONDENT SCHOOLS Course Number of Range of Mean Schools Credit Hours Music Theory 17 3-20 11.4 Composition and Arranging 9 2-14 5.1 Introduction to Music K 1-6 2.8 Form and Analysis 8^ 1-8 2.8 Sight Singing and Ear Training 8 2-8 4.5 Counterpoint 7 1-8 2.8 Orchestration 5 2-4 2.4 All of the 18 colleges except one were on the semester credit hour system. The quarter hours of that one school have been converted into semester hours using the conversion ratio of one quarter hour equals 2/3 semester hour. ^The categories of courses within each major grotping are list ed by rank after which they are listed in alphabetical order. Music history and literature. Table 4 shows hymnology and music history ranking first and second respectively in frequency in the category of music history and literature. The course content of several offerings in this section concentrates on a historical and philosophical survey of music with relationship to the individual, society, and to the church. Course titles in the church music category were conten^orary church music, 20th century church music, Protestant church music, and ministry of music. The content of these course 38 offerings focused on contemporary church music developments and trends within a historical perspective. TABLE 4 MUSIC HISTORY AND LITERATURE COURSES OFFERED BY RESPWDENT SCHOOLS Course Number of Range of Mean Schools Credit Hours Hymnology 16 1-3 2.2 Music History 15 4-11 6.6 Choral Literature 9 1-3 2.6 ^hisic ^preciation 8 1-4 2.1 Directed Study and Research 6 1-4 2.S Philosophy of Music 6 1-3 2.8 Church Music 4 2-4 2.8 Piano Literature 2 2-3 2.5 Vocal Literature 2 2 2.0 Organ Literature 1 2 2.0 Methodology. The analysis reveals that basic collegiate courses in theory and history were offered in most of the 18 schools. It is in the area of methodology that one finds more diversity and innovation. Table 5 classifies subcategories as well as categories in the group of music methods courses. The subcategories of church music are church music administration, church music internship, introduction to church music, and choral methods. The subcategory of introduction to church music is a study in basic musicianship which e^qdiasizes a functional use of music fundamentals within a church music program. The course offerings in church music administration also concentrate on the functional aspect of church music with application to methods and materials in the organization and administration of a music 39 program in a church setting. Course offerings in choral methods include children, youth, and adult choir methods along with choral literature methods. Credit hours for church music internship were available at eight schools. In contrast to this, 14 schools included church music programs in their curriculums. The reason for this difference is probably due to the fact that curricular structures in some schools were designed in such a way that field work for music majors was super vised by the Christian service department rather than by the music de partment. This latter plan endeavors to inclement a unified program of internship throughout the entire college curriculum. However, there are weaknesses in this structure. The Christian service department may tend to organize and direct general e:q>erience in Christian work rather than require field work which is compatible with a student's profes sional objective. A lack of coordination can occur between the two departments because of different departmental interests and goals. One notes the enphasis on voice and conducting in the curricula of most of the schools (see Table 5). This points to the important place of singing in the music programs of these colleges and their constituent churches. Conducting was offered by 16 (88.9%) of the schools, and song leading was offered by three (16.7%) of the schools. The three schools which offered courses in song leading also offered courses in conducting. The scmg leading courses are designed to teach basic principles of conducting for use in leading congregational and informal grotp singing. Several schools included song leading tech niques in their introduction to music courses. 40 TABLE 5 MUSIC METHODS COURSES OFFERED BY RESPONDENT SCHOOLS Course Number of Range of Mean Schools Credit Hours Church *&isic Church Music Administration 13 2-4 2.9 Church Iftjsic Internship 8 1-8 3.0 Introduction to Church thisic 8 1-3 2.6 Choral Methods 6 1-6 3.3 Conducting Conducting 16 1-8 3.9 Song Leading 3 1 1.0 Instrument Methods Brass Methods 3 1-2 1.3 Percussion Methods 3 1 1.0 String Methods 3 1-2 1.3 Woodwind Methods 3 1-2 1.3 Instrument/Voice Class Voice Class 12 1-6 2.3 Piano Service Playing 11 1-2 1.9 Piano Class 10 1-8 3.4 Accompanying 5 0-2 1.3^ Diction for Singers 4 2 2.3 Organ Service Playing 3 2 2.0 Instrument Class‘d 1 1 1.0 Miscellaneous Instrument Repair 3 1-2 1.3 Music and Drama 1 2 2.0 Music Education Elementary School Music 6 2-3 2.7 Junior High School Music 2 2.0 School Music Practicum 2^ 0—8 4.5 Secondary School Music 2 2-3 2.5 Seminar in Curriculum Development 1 1 1.0 Pedagogy Piano Pedagogy 8 1-3 1.9 Vocal Pedagogy 6 1-3 2.0 Organ Pedagogy 3 1-2 1.7 Instrument Pedagogy 1 1 1.0 ^One school designed service playing as a laboratory course for pianists and organists in playing for the church service. The author placed this course in both stÀcategories of piano service playing and organ service playing. 41 t a b l e 5 (continued) ^One school gave no credit hours for acconqpanying, therefore the mean has been calculated from four schools. ^TThis class was designed for group instruction in instruments other than brass instruments. *^One of these schools offered three courses in school music practicum and the other school offered two. The titles of these par ticular courses are found in Table 21 (see page 102). ^Applied pedagogy and literature is a course title listed by one respondent, but the college bulletin did not specify the particular applied area of study. The author included this course in the sub categories of piano pedagogy, vocal pedagogy, and organ pedagogy. The area of piano study cong>rised courses in piano pedagogy, piano class, piano service playing, accong>anying, applied piano, duo- piano ensemble,and piano tuning and maintenance. The substantial number of different courses in piano study, along with the high fre quency of schools which made these offerings available, reflected the important role of the pianist in the music programs of these schools and their respective clientele. Eleven (61.1%) of the schools offered courses in piano service playing. This area of study included the basic keyboard skills of inQ>rovisation, transposition, modulation, ensemble playing, etc., together with the application of these skills for use in services and activities of the church. The distinctiveness of this area of study can be observed in the following course titles which were reported by respondents on their questionnaires: funda mentals of hymn playing, congregational hymn playing, service playing, basic keyboard skills, hymn transcriptions, ia^rovisation, evangelistic piano, improvisâtional techniques, evangelistic keyboard, hymn playing. 42 piano service playing, and hymn playing and inçrovisation. Three of the 11 schools offered two separate courses in piano service playing, and four of these 11 schools also offered courses in accompanying. The latter course of study is limited to the particular technique of acconpanying. The music curricula of three (16.7%) of the schools included courses in instrument repair. One college bulletin described the course in instrument repair as instruction in the repair of music instruments, a second bulletin designated orchestral instruments in the same kind of course, while yet a third bulletin listed a similar course in piano tuning and maintenance. Table 5 shows that only a few schools included music education courses in their curriculums. This may be attributed to the primary purpose of the Bible college curriculum of preparing students for church-related vocations. However, there appears to be a change of attitude on the part of Bible college administrators regarding the value of music education in their curriculums and vocational objectives. Several respondents expressed reasons for this change of attitude and stated that their schools plan to add music education programs to their curriculums. These reasons are sunnnarized in the section on required music courses in music education programs (see page 51). Applied music. The strong emphasis on piano and voice courses in the methodology section was also evident in the area of applied keyboard and applied voice (see Table 6). This is probably due to the importance placed upon the piano, organ, and singing in the religious services and activities of the respective colleges and their affiliate 43 churches. All of the schools except two offered applied music courses in organ, piano, and voice. In several schools credit hours varied according to the length and number of applied lessons per week as well as to a required amount of practice per week. Senior recitals were a part of the music curriculum in 13 (72.2%) of the schools and are presented by music majors in their applied areas of study. These applied concentrations included piano, voice, organ, orchestral instruments, ccm^sition, and guitar. In addition, three college bulletins listed recitals in choral conducting. The choral conducting courses of these three colleges were designed for groiq> instruction rather than for individual applied study. TABLE 6 APPLIED MUSIC COURSES OFFERED BY RESPONDENT SCHOOLS Course Number of Range of Credit Mean Schools Hours Per Semester Applied Keyboard/Voice Organ 16 1/2-4 1.8 Piano 16 1/2-4 1.8 Voice 16 1/2-4 1.8 ^plied Orchestral Instruments Brass 7 1/2-4 2.1 Woodwinds 7 1/2-4 2.1 Strings S 1-4 2.5 Percussion 3 1-4 3.3 Miscellaneous 1.1*Senior Recital 13 0-2 1.1*Senior Conq>osition 3 1-2 1.7 Instruments (not designated) 3 1-2 1.3 Guitar 1 1 1.0 ^The mean has been calculated from four schools, as nine schools gave no credit hours for the required senior recital. 44 The subcategory of instruments (not designated) included two schools which did not specify the kinds of instruments in their applied instrumental courses, and a third school which described only two areas of instrumental instruction— brass and instruments other than brass. Table 6 reports the number of schools for the various areas of applied music and the tabulation of credit hours per semester. The mean for courses in applied music has been calculated from the maximum credit hours per semester of each applied music course. Performance organizations. Table 7 presents the distribution of performance organizations offered in the 18 schools. Some schools offered several choral ensembles as well as several instrumental en sembles. Both categories of choirs (open to all students and member ship by audition) included women's choirs, men's choirs, and mixed choirs. Only one of the 18 respondents did not report a college choir. Although several schools offered methods courses and applied lessons in orchestral instruments, only one (5.6%) of the schools listed orchestra and three (16.7%) of the schools listed concert band as per forming organizations. The kinds of small instrumental ensembles were as follows: nine ensembles (without particular instrumental designation), five handbell choirs, three wind ensembles, three brass ensentles, one recorder ensemble, one duo-piano ensemble, and one pep band. The survey findings did not reveal tdiether methods courses in handbells were offered at the five schools which included handbell choirs in the curriculum. It is possible that instruction in handbell methods was included in other methods courses. 45 Aie respondent reported that her school charged no tuition fees for participation in performance organizations. This arrangement served as a kind of incentive plan for the students. Mentership in the performance organizations of this school was granted by audition. Some schools only awarded credit for participation in performance organi zations after such participation by the student hsid been satisfactorily completed for an entire school year. TABLE 7. PERFORMANCE ORGANIZATIONS LISTED BY RESPONDENT SCHOOLS Course Number of Range of Credit Mean^ Schools Hours Per Semester Choir (mend>ership by audition) 14 1/2-2 1.2 Small Instrumental Ensemble 13 1/2-2 1.2 Small Vocal Ensemble 12 1/2-2 1.2 Choir (open to all students) 11 1/2-2 1.2 Concert Band 3 1-2 1.3 Orchestra 1 1 1.0 ^The mean for performance organizations has been calculated from the maximum credit hours per semester of each applied music course. The respondents were asked to give the enrollment of non-music major students in music courses for the autumn term of 1981. Fourteen schools reported a total of 856 non-music major students enrolled in music courses. These same schools had a total enrollment of 4,690 students during autumn, 1981. The fact that non-music major students who enrolled in music courses represented 18.3% of the enrollment of the respective schools may be due to college curriculum requirements. It is also possible that music courses were taken by non-music major 46 students for siq>plementaiy preparation of certain music skills for re lated professions. Further research is needed to determine the reasons for participation of non-music major students in music courses. Required Music Courses in Church tftisic Programs. An important part of this study was the acquisition of information about the con centration in church music. Fourteen schools had church music programs, but only 13 respondents listed the required music courses in their church music programs. The remaining respondent did not reply to this part of the questionnaire because of a current curriculum revision in her school. The replies have been arranged in four major groupings: music theory and composition, music history and literature, methodology, and applied music and performance organizations. Table 8 classifies subcategories as well as categories in the group of methods courses. It is interesting to find that in the subcategory of service playing two schools required two separate courses. The titles of the required course offerings in this area were: evangelistic keyboard, service playing, evangelistic piano, improvisation, hymn playing, and hymn transcriptions. The applied music areas in the church music pro grams included concentrations in piano, voice, organ, orchestral in struments, composition, and guitar. In their church music programs all of the 13 responding schools required courses in theory, conducting, applied piano, applied voice, and performance organizations. The analysis also indicates the high frequency of schools that required courses in hymnology, music history, church music, and applied organ in their church music programs. Along with courses in basic musician ship a church music program should require certain basic courses in 47 ta bl e 8 REQUIRED MUSIC COURSES IN IDE CHURCH MUSIC PROGRAMS Course Number of Range of Mean Schools Credit Hours Music Theory and Composition Music Theory 13 6-18 11.7 Sight Singing and Ear Training 5 2-6 4.0 Cong)osition and Arranging 3 2 2.0 Form and Analysis 2 2-8 5.0 Introduction to Aksic 2 3 3.0 Counterpoint 1 2 2.0 Music History and Literature Hymnology 12 1-3 2.1 Music History 11 3-11 6.4 Choral Literature 4 2-3 2.3 Church fksic 3 1-4 2.3 Philosophy of Music 3 1-2 1.7 Directed Study and Research 1 1 1.0 Music Appreciation 1 3 3.0 Vocal Literature 1 2 2.0 Methodology Church Music Church Music Administration 10 2-4 2.5 Church Music Internship 5 1-2 1.6 Introduction to Church Music 5 2-3 2.2 Choral Methods 4 2-3 2.5 Conducting Conducting 13 2-6 3.5 Song Leading 2 1 1.0 Instrument/Voice Class Service Playing^ 4 1-2 2.3 Diction for Singers 2 2 2.0 Voice Class 1 1 1.0 Accompanying 1 1 1.0 Pedagogy Piano Pedagogy 3 1-3 2.0 Vocal Pedagogy 2 2-3 2.5 Miscellaneous Senior Recital 9 0-1 1.0 fksic Education 1 2 2.0 Applied Music and Performance Organizations Applied Music 13 6-24 10.2 Performance Organizations 13 2-10 5.8 ^Three schools designed this course for pianists, while a fourth school structured the class for both pianists and organists. 48 church music in order to adequately train students for certain church- related professions. See Table 8 for the distribution of required courses in the church music program. The data presented in Table 8 may be useful to curriculum planners as they consider possible curriculum revisions in their church music programs. Several respondents stated anticipated re visions in the music curriculum in the next three years. Replies that indicate possible changes in church music programs are summarized as follows: 1. To include music courses with interdisciplinary programs, 2. To redesign the music program to srçpport the college philosophy of training adults for church-related vocations, 3. To exclude duplication in course content, 4. To increase course offerings and credit hours in order to more adequately train the church musician, and 5. To possibly add a master's degree with a concentration in church music. The church music programs varied from minor concentrations of 15 credit hours of required music courses to major concentrations of 83 credit hours of required music courses. Two colleges each offered two separate church music programs. In one of these colleges a five- year church music program required 83 credit hours of music and led to two degrees, the Bachelor of Science degree in Bible and the Bachelor of Music degree. The same school offered a four-year church music program tdiich required 32 credit hours of music and led to the Bachelor of Science in Bible degree. 49 One of the church music programs in the second college required 65 credit hours of music and culminated in the Bachelor of Sacred Music degree, while the other church music program in the same school required SO credit hours in music and culminated in a Bachelor of Religious Education degree. Required Music Courses in Music Education Programs An addi tional concern of this study was the acquisition of information about the concentration in music education. Table 9 shows that only two (11.1%) schools had music education programs. It is anticipated that these two programs will serve as useful models for schools that are planning to add a music education program to the music curriculum. Two separate music education programs were available in one of these colleges. One of the two programs was a five-year concentration which required a total of 157 credit hours, and the second was a four-1/2 year concentration which required a total of 144 credit hours. The five-year program certifies the graduate to teach music, grades K-12 vocal-general-instrumental, while the four-;l/2 year program certifies the graduate to teach vocal music, grades K-12. Both programs culmi nated in the Bachelor of Music Education degree. The second college required a total of 164 credit hours for the five-year program in music education and granted two degrees, the Bachelor of Religious Education and the Bachelor of Sacred Music, upon conq>letion of the program. The required music courses in the music education programs are categorized in Table 9. 50 TABLE 9 REQUIRED MUSIC COURSES IN THE MUSIC EDUCATION PROGRAMS Course Number of Range of Mean Schools Credit Hours Music Theory and Composition Theory 2 12-14 13.0 Composition and Arranging 2 2-3 2.5 Music History and Literature Music History 2 6 6.0 Choral Literature 1 3 3.0 Philosophy of Music 1 2 2.0 Methodology Instrumental Methods Brass Methods 2 1-2 1.5 Percussion Methods 2 1 1.0 String Methods 2 1-2 1.5 Woodwind Methods 2 1-2 1.5 Music Education Elementary School Music 2 2-3 2.5 Secondary School Music 2_ 2-3 2.5 Student Teaching 2^ 0—8 7.0 Junior High School Music 1 2 2.0 Seminar in Curriculum Development 1 1 1.0 Miscellaneous Conducting 2 4-6 5.0 Choral Methods 1 3 3.0 Instrumental Repair 1 2 2.0 Pedagogy 1 2 2.0 Applied Music and Performance Organizations Applied Fhisic 2 11 11.0 Performance Organizations 2 6—8 7.0 ^The subcategory of student teaching included three courses with each course offered for 0, 6, and 8 credit hours respectively. 51 Besides the two schools which had music education programs, data revealed that four additional schools gave music education courses even though they did not provide music education programs. The respondent of one of these schools reported that they had designed a program that endeavored to prepare the student for the dual occiçations of church musician and Christian school teacher. In addition to these schools four other respondents indicated that their schools planned to add music education programs to their curriculums. The bulletin of yet another school stated that its sacred music program was designed for students who want to prepare for music ministry in local churches and Christian day schools, however, the curriculum of this school con tained no music education courses. These findings reveal the trend to add music education to the professional programs of the Bible college curriculum. The reasons that respondents gave for adding music edu cation programs to their curriculums are summarized as follows: 1. To qualify for state teacher certification, 2. To provide for the opportunities and increasing needs in Christian day schools, 3. To provide more job opportunities for women graduates, and 4. To increase present program offerings in the music curriculum. Music Vocations The music chairmen were asked to check a list of vocations for which their music curriculums had been designed. In addition to the 52 check list several respondents specified other vocations in their curriculum designs. The results of their replies are shown in Table 10. TABLE 10 VOCATIONS FOR WHICH THE MUSIC CURRICULUMS HAD BEEN DESIGNED Vocation Number of Percentage Schools Minister of Music 17 94.4 Choirmaster IS 83.3 Church Organist 13 72.2 Private Studio Teacher 8 44.4 School Music Teacher 4 22.2 Church Performance Career 4 22.2 Arranger/Composer 3 16.7 Combination Ministries 2 11.1 The four respondents who specified school music teacher as a vocational goal in their curriculum design represent four schools which offered music education courses. It was a concern, however, that two of these four schools did not have music education programs and only offered one and two music education courses respectively. The author telephoned the music department chairmen of the two schools which had no music education programs and inquired about their plans for curricu lum development in the area of music education. Both of the music chairmen indicated that their curriculums were designed for music teachers in Christian schools. Each respondent stated that his school encouraged their music students to siqiplaaent present course offerings with further study in a music education program at a secular 53 institution. One of the respondents indicated that several music edu cation courses had been added to the curriculum in the 1982-1983 school year. The other respondent said that the college board of directors had not approved additional music education courses at this time. It was also a concern of the writer that some schools stated that their curriculums had been designed for church music vocations, but did not include an adequate number of church music courses. The bulletin of one school suggested that graduates of its music programs were qualified for positions as ministers of music, organists, choir directors, etc., however the curriculum of this school contained only one course in church music. The course content of a church music pro gram should contain basic courses in church music if it is to be adequate for training students for church music vocations. One respondent who checked the vocation of private studio teacher commented that his school did not offer a concentration in private studio teaching, yet many of their graduates were following this career. Although seven schools reported combination programs in their curriculums, only two respondents named combination ministries as a part of their curricular design. This might be due to the fact that the five other respondents checked the minister of music vocation in place of writing in the vocation of coid>ination ministries. In addition to the particular vocations listed in Table 10 sane schools indicated that preparation for graduate study was a part of their curriculum. 54 Music Curriculum Revision Revision Plans. Over 75% of the respondents stated that their schools anticipated revisions for the music curriculum in the next three years (see Table 11). The respondents were asked to briefly state the anticipated changes and the reasons for these changes. The responses were categorized into three areas: church music programs, music education programs, and music programs (undesignated). The comments that focused on church music programs have been summarized in the section on required music courses in church music programs, and the comments that dealt with adding music education programs to the cur riculum are summarized in the section on required music courses in music education programs. The results of the responses of the third category are summarized as follows: 1. To consolidate various music major programs under one degree, 2. To increase credit hour requirements for degree programs, 3. To add more courses in order to adequately qualify the church musician, 4. To revise the music major program in order to avoid diq>li- cation of courses, 5. To integrate content among music courses, 6. To expand CAI (Computer Assisted Instruction), 7. To give greater emphasis to theory, literature, conducting, sight singing and ear training course offerings, and 8. To develop an academically astute music program that is worthy of accreditation and transfer of credits. 55 Table 11 describes the responses of the schools to the ques tions regarding music curriculum revisirai. These responses reflect the awareness of several schools to the need for revisions and changes in their music curriculum. It is anticipated that this information will be helpful to music faculties as they formulate curricular plans for the future. TABLE 11 PLANS OF THE RESPONDENT SCHOOLS FOR MUSIC CURRICULUM REVISION Response Number of* Percentage Schools Revision Plans in the Next 3 Years Possibly 7 41.2 Yes 35.3 No 4 23.5 Music Alumni Contact in the Last 3 Years Yes 11 61.1 No 7 38.9 ^4lsic Alumni Contact in the Next 3 Years Possibly 11 64.7 Yes 29.4 No 1 5.9 ^Seventeen schools responded to questions about their plans for music curriculum revisions and for contacting their music alumni in the next three years. The percentage has been calculated on the number of responding schools. *isic Alumni. The music alumni and other clientele of each of the respective colleges represent a very important group who influences and affects the development and improvanent of the curriculum. It is noteworthy that over 90% of the schools anticipated contact with their music alumni and other clientele for their views regarding the music 5 6 curriculum and music curricular revisions in the next three years. Table 11 shows that nearly two-thirds of the schools had contacted their music alumni and other clientele in the last three years for their views regarding the music curriculum and music curricular revisions. Music Faculty Qualifications Academic Training Respondents of 17 schools reported a total of 80 music faculty members. The remaining respondent stated that her school teaçorarily had no music faculty due to current changes in the music curriculum philosophy. Fifteen schools listed 48 full-time music faculty members, a mean of 3.2 full-time music faculty members per school. Eleven schools listed 32 part-time music faculty members, a mean of 2.9 part- time music faculty members per school. All of the 48 full-time music faculty members held undergraduate degrees. Information on under graduate degrees was given for 26 (81.2%) of the part-time music faculty members, and only one part-time music faculty member was listed as having no degree. Six music faculty members had earned the Bachelor of Science in Music Education degree, while five meinbers had earned the Bachelor of Arts in Misic Education degree. In Table 12 the writer included these degrees in the Bachelor of Music Education (B.M.E.) category. The Bachelor of Arts in Church thisic and the Bachelor of Misic in Church Music degrees were held by two other faculty members and were included in the Bachelor of Sacred Music (B.S.M.) category (see Table 12). It seems significant that 17 (21.2%) music faculty members 57 listed music education as a concentration, and 10 (12.5%) of the mem bers listed church music as a concentration in their undergraduate degree programs. The 45 (56.3%) music faculty members who reported the Bachelor of Arts (A.B.), Bachelor of Science (B.S.), and the Bachelor of Music (B.M.) degrees did not indicate which music concen tration was included in their degree program. Table 12 presents the number of music faculty members who had congileted each degree program. TABLE 12 ACADEMIC TRAINING OF MUSIC FACULTY MEMBERS Doctoral Degrees Nimiber of Master's Degrees Number of Faculty Members Faculty Members D. Mus. 2 M. Mus. 23 D.M.A. 2 M.A. 12 Ph. D. 1 M.M.E. 6 D.A. 1 N.C.M. 6 M. Ed. 2 M.F.A. 1 M.S. 1 Bachelor's Degrees Number of Associate Degrees Nuinber Faculty Members Faculty Members A.B. 19 A.A. 2 B.M.E. 17 A.E. 1 B.S. 15 A.S.P.T. 1 B.M. 11 B.S.M. 10 B.F.A. 1 Th. B. 1 58 One of the assumptions of the stwty^ was that most music faculty members had a master's degree (or the equivalent). The survey revealed that 51 (64%) music faculty members had a master's degree, and in addition, several members were pursuing graduate degrees. These mas ter's degrees included the Master of Ibisic (M.M.), Master of Arts (M.A.), Master of Music Education (M.M.E.), Master of Church Music (M.C.M.), Master of Sacred Music (M.S.M.), Master of Arts in Sacred Music (M.A.S.M.), Master of Arts in Church Music (M.A.C.M.), Master of Education (M.E.), Master of Fine Arts (M.F.A.), and the Master of Science (M.S.). In Table 12 the writer has included the Master of Sacred Music (M.S.M.), Master of Arts in Sacred Music (M.A.S.M.), and Master of Arts in Church Music (M.A.C.M.) degrees in the category of Master of Church Music (M.C.M.). Respondents reported that six music faculty members held doctoral degrees, while two more members were doctoral candidates and yet another member was engaged in post graduate study. Professional Experience Professional experience was listed for 71 members (88.8%) of the music faculty by 17 respondent schools. In analyzing data about the professional experience of the music faculty, the writer found that the respondents' answers formed three classifications : church voca tions, performance, and teaching. The survey analysis did not reveal whether music faculty members had Bible college undergraduate training, but it did reveal that some meabers had church-related field experience. Academic training in a Bible college and field service in church 59 related vocations enhance the academic credentials of a music faculty member and increase his ability to contribute with insight and under standing to the purposes and goals of the Bible college. Along with the number of music faculty members with professional service in the various categories. Table 13 lists the mean years of service. TABLE 13 PROFESSIONAL EXPERIENCE OF MUSIC FACULTY MEMBERS Professional E:q>erience Number of Mean Faculty Members Years of Service Church Vocation Minister of Music 29 10.0 Church Organist 21 13.7 Choir Director 17 8.6 Church Pianist 8 9.0 Performance Music Evangelist 7 7.8 Recitalist 6 3.5 Professional Singer 5 1.5 Conductor/Composer 4 9.3 Clinician/Adjudicator 3 N/A Teaching^ School Music Teacher 17 6.9 Private Studio Teacher 14 13.2 School Teacher 5 3.4 ^The data of Table 13 do not include the e3q>erience of college professor. 60 Professional Relationships Thirteen (75.5%) of the respondent schools reported that 46 members (57.5%) of the music faculty had membership in professional organizations. With the rapid increase of educational technology as well as the current trends in the entire church community throughout the world, it would seem inqportant for music faculty members to be in volved in professional growth throu^ membership in professional organizations as well as being participants in continuing education programs. Table 14 describes the participation of music faculty members in professional organizations. Only one (5.6%) of the 18 schools had membership in the National Association of Schools of Music (NASM). One school had been an applicant to NASM before current revisions in its music program, while another respondent indicated that his school was planning to apply for membership in the near future. The National Association of Schools of tbisic (NASM) serves as a specialized accrediting agency in the field of music. This association provides professional accreditation in music, resource materials, as well as other services to member institutions. Such membership could assist an AABC school in the development of its music programs. Continuing Education Programs The schools were asked to list the continuing education pro grams, workshops, etc. that each music faculty member had attended in the last three years. The replies indicated that a total of 47 (58.8%) 61 TABLE 14 MUSIC FACULTY PARTICIPATION IN PR0FESSKH4AL ORGANIZATIONS Professional Relationships Frequency Name of Association Music Educators National Conference— MENC 12* Association of Christian College Music Educators— ACCME 8 American Choral Directors Association— ACDA 6. Music Teachers National Association— MTNA 6 National Association of Teachers of Singing— NATS 5 American Guild of Organists— AGO 4 American Music Scholarship Association— AMSA 3 American Musicological Society— AMS 2 National Church Music Fellowship— NCMF 2 National School Orchestra Association— NSOA 2 Phi Mu Alpha 2 St. Cecilia Music Society 2 ADCIS Arts Council CMS Choristers Guild Community Concert Association Fellowship of American Baptist Musicians Hymn Society of America Hymnal Revision Committee Music Teacher's Guild National Guild of English Handbell Ringers National Guild of Piano Teachers Omicron Delta Kappa Phi Delta Kappa Pi Kappa Lambda Scholastic Honor Society Sigma Alpha Iota Society for Ethnomusicology Society for Research in Music Education Symphony Orchestra League Wesleyan Educators Association Western Michigan Opera Association Kinds of Participation Advisor 8 Officer 6 Lecturer/Papers 6 ^Participation by faculty members in the CRiio Music Educators Association (0#EA) and the Pennsylvania fhisic Educators Association (PMEA) has been included in this listing. ^Included in this number is participation in the Pennsylvania Music Teachers Association (PMTA). 62 of the music faculty members from 12 (70.6%) of the schools partici pated in continuing education programs in the last three years. The analysis of the continuing education programs resulted in six categories: church music conferences, piano workshops, vocal/ choral workshops, graduate studies, private lessons, and music edu cation. Table 15 describes these categories of continuing education programs. As in several of the preceding tables the emphasis in Table 15 continues to remain on church music. One also observes in Table 15 the continued focus on piano and voice. The participation of music faculty in music education programs indicates the increased interest in this particular area as well. One of the questions of the study was whether music faculty members were provided sufficient opportunities for professional growth in the areas of church music and music education. Data revealed that only 22 members (28%) of the music faculty participated in continuing education programs of church music in the last three years and just six (8%) of the members participated in continuing education programs of music education, however, 38 (47.5%) music faculty mei^rs partici pated in piano and vocal/choral workshops. One respondent wrote that his college had not been able to make these programs available in the last three years due to a lack of funds. The survey did not indicate whether this was the primary reason for the low frequency of partici pation. 6 3 t a b l e 15 PARTICIPATION OF MUSIC FACULTY MEMBERS IN CONTINUING EDUCATION PROGRAMS IN THE LAST THREE YEARS Type of Program or Workshop Number of Faculty Members Church Music Conferences 22 Church Music Workshop (5)* Eastern Regional Conference and Workshop (3) Handbell Workshop (3) Workshop on Graded Choir Programs (2) AGO Convention (1) Alexandria Music Conference (1) CBN University Seminar (1) Children's Choir Workshop (1) Creative Worship (1) Methodist Music Association Workshop (1) Organ in Worship (1) Singspiration >hisic Conference (1) Wesleyan Educators Association (1) Piano Workshops 16 Piano Workshop (7) National Keyboard Arts Association Workshop (3) Bastien Workshop (1) Improvisation for Pianist (1) Master Classes in Piano (1) Pace Certificate Program (1) Piano Literature Workshop (1) Piano Methodology Workshop (1) Vocal/Choral Workshops 14 Choral Workshop (3) National Choral Directors Association Workshop (2) The Voice Workshop (2) Creative Choral Music Conference (1) Doug Lawrence Seminar (1) NATS Conference (1) Seminar in Choral Literature (1) Seminar in Vocal Arranging (1) Singing Voice (1) » Vocal Pedagogy Workshop (1) Graduate Studies (11) 11 Private Lessons (8) 8 Music Education 6 OMEA-KMEA Spring Conventions (2) CoBq>uter Assisted Instruction (1) Music for Pre-School Child (1) Schmidt Music Workshop for Music Educators (1) Seminar in Theory Pedagogy (1) «Number of faculty mend>ers who participated in these programs. 64 Table 16 describes the kinds of 15 music workshops that were sponsored by 7 (43.8%) music departments in the last three years. Nine (56.2%) of the respondents stated that they did not sponsor music workshops in the last three years, and two schools did not answer this part of the questionnaire. One sees in Table 16 that the interest again centers in the areas of church music, piano, and voice. TABLE 16 MUSIC WORKSHOPS SPONSORED BY THE MUSIC DEPARTMENTS IN THE LAST THREE YEARS Music Workshops, Seminars, etc. Number of Number of Workshops Schools Church Music Workshops 6 5 Piano/Voice Master Classes 5 4 Music Education Seminars 2 1 Band/Choir Festivals 2 2 Music Resources in Library Holdings, Facilities, and Equipment One of the specific aspects of the survey was to inquire about music resources in library holdings, instructional facilities, and equipment. The questionnaire provided lists of items and the respon dents were asked to give the number of their music resources for each particular item. In addition, the respondents were asked to rate the adequacy of these items on the scale of 1-5: l=very adequate, 2= adequate, 3=somewhat adequate, 4=somewhat inadequate, 5=inadequate. A question of the investigator was whether present music resources in 65 library holdings, instructional facilities, and equipment were ade quate. The data presented in Table 17, 18, and 20 show that most of the items were rated only somewhat adequate. The tables show that the mean adequacy rating was calculated only on the number of reporting schools. Perhaps schools which did not report any items, or schools which did not rate the adequacy of their reported items were implying that their present resources needed supplementation. Library Holdings The respondents were requested to estimate the number of particular items in their library holdings. Table 17 lists the number of schools reporting the items, the mean number of items, the number of schools rating the adequacy of these items, and the mean adequacy rating of each item. The survey revealed a wide range of differences in the number and variety of library holdings among the respective schools. The music department of each AABC institution should have sufficient library materials to meet the needs of its program offerings, tbisic faculty members in consultation with their librarian will develop the music resources in library holdings to answer the goals and objectives of the individual school and the needs of individual instructors in that respective school. The findings indicate that sane schools did not have sufficient resources in library holdings for an effective music department. 6 6 TABLE 17 MUSIC RESOURCES IN LIBRARY HOLDINGS OF RESPONDENT SCHOOLS Items Number of Schools Mean Number of Schools Mean Reporting Items Items Rating Adequacy Adequacy Books on Church 17 257.5 15 2.9 Music Books— total music 16 909.3 13 2.9 collection Recordings 16 780.5 14 2.9 )hisic Scores 15 702.0 11 3.3 Periodicals 15 18.2 13 3.2 Anthologies 11 50.9 11 3.0 Films 3 1.0 3 4.0 Microfilm 3 15.0 2 1.5 Other Filmstrips 6 21.7 5 2.8 Cassettes 5 49.3 2 2.0 Instructional Facilities Table 18 describes the music resources in instructional facilities. Respondents were asked to check a list of instructional facilities that were available to the music department. The list included the categories of classrooms, practice rooms, offices, storage rooms, rehearsal rooms, concert halls, and "other." In the "other" category schools listed electronic piano labs, studios, a listening room, and a recording studio. Except for the category of "other," all of the categories of instructional facilities were used by at least two-thirds or more of the schools. 67 TABLE 18 MUSIC RESOURCES IN INSTRIKHIONAL FACILITIES OF RESPONDENT SCHOOLS Items Number of Schools Mean Number of Schools Mean Reporting Items Items Rating Adequacy Adequacy Classrooms 17 2.9 16 2.7 Practice Rooms 16 8.9 15 3.1 Offices 16 3.8 15 2.5 Storage Rooms 14 2.1 13 3.6 Rehearsal Rooms 14 1. 8 12 3.0 Concert Halls 12 1.2 11 3.5 Other Electronic Piano Labs^ 3 1.0 2 1.0 Listening Room 1 1.0 1 2.0 Recording Studio 1 1.0 1 2.0 Studios 1 5.0 1 1.0 R h e three piano labs contained 6, 7, and 13 electronic pianos, respectively. TABLE IS1 SOUNDPROOF INSTRüCTiœJAL FACILITIES OF RESPONDENT SCHOOLS Items Total Number Number of Percentage of Items Soundproof Items Practice Rooms 142 41 28.9 Offices 60 3 5.0 Classrooms 50 3 6.0 Storage Rooms 30 0 0.0 Rehearsal Rooms 25 2 8.0 Conce^ Halls 14 1 7.1 Other Studios 5 5 100.0 Recording Studios 1 1 100.0 Respondents did not indicate if the piano labs and listening room listed in the ’’other*' category of Table 18 were soundproof. 68 Table 19 gives the number of instructional facilities as well as the percentage of the rooms that were soundproof. The survey dis closed that only a few colleges had soundproof rooms. Three schools reported that their chapels also functioned as concert halls (see Table 18 and Table 19), and a fourth school stated that its fieldhouse was used as a concert hall. One school indicated plans to move its music department into a new building in 1983, thereby providing better facilities. Instruments and Other Items of Equipment The "other" category in Table 20 includes five sets of hand bells and three electronic piano labs with a total of 26 electronic pianos. Over two-thirds of the music departments owned pianos, electronic organs, record players, sound systems, and tape recorders. Brass instruments, percussion instruments, woodwind instruments, and string instruments were owned by one-third or more of the music de partments. One school reported that its music department used band instruments that belonged to individual students. The pipe organ category was represented by less than one-third of the schools. How ever, in addition to the five schools which owned pipe organs, three other schools used community pipe organs for practice and recital purposes, and an additional school reported that it could use a community pipe organ when needed. With the emphasis on church imisic in the Bible college curriculum some schools may need pipe organs in order to effectively implement their music programs. Table 20 shows the importance of the piano and the electronic organ as music resources 69 in these colleges. All (100%) of the schools had pianos— a total of 205— and in addition, three schools had piano labs. Seventeen (94.4%) of the schools reported a total of 35 electitmic organs. The distribu tion of music resources in instruments and other itaus of equipment in the 18 schools is described in Table 20. Included in this tabulation are the number of schools reporting the items, the mean number of items, the number of schools rating the adequacy of these items, and the mean adequacy rating of each item. TABLE 20 MUSIC RESOURCES OF INSTRUMENTS AND OTHER ITEMS OF EQUIPMENT Items Number of Schools Mean Number of Schools Mean Reporting Items Items Rating Adequacy Adequacy Pianos 18 11.4 17 2.3 Electronic Organs 17 2.1 16 2.4 Record Players 15 3.6 14 2.5 Sound Systems 14 2.4 13 2.2 Tape Recorders 14 4.1 12 2.4 Brass Instruments 11 8.1 9 2.7 Percussion Instruments 10 6.5 9 3.3 Woodwind Instruments 9 8.7 9 2.4 String Instruments 6 7.2 6 2.3 Pipe Organs 5 1.0 5 1.2 Other Sets of Handbells 5 1.0 2 1.5 Electronic Pianos 3 8.7 2 1.0 (3 piano labs) 1 1.0 N/A Harpsichord 1 1.0 N/A CHAPTER IV SUMMARY, CWCLUSIWS, DISCUSSION, AND RECCMHENDATIONS Summary The purpose of this study was to obtain pertinent information regarding various aspects of the music programs in selected schools of the American Association of Bible Colleges (AABC) and to provide recommendations for development and revision in these particular areas. The investigator surveyed selected schools of the AABC, inquiring about specific aspects of the music curriculum, music faculty quali fications, and music resources in library holdings, instructional facilities, and equipment. In addition to reporting various aspects of the music programs in selected schools of the AABC, this study has provided: 1. A compilation of an organized body of knowledge that can be disseminated to all AABC institutions and their clientele. 2. Data which will help institutions determine how they measure up with their peer institutions. 3. Recommendations for music curriculum improvement, for music faculty development, and for adequate resources in library holdings, instructional facilities, and equipment for the music programs of AABC schools. 70 71 4. A useful tool for AABC directors and evaluating teams in their consultation and accrediting procedures. 5. Impetus for continued research in the areas of church music and music education in AABC institutions. 6. Impetus for further investigation in the field of music in Bible college education. Although a considerable amount of research has been conducted in several fields of Bible college education, no extensive survey per taining to the music programs of AABC institutions has been conducted. The need for information about music programs in Bible colleges has been recognized for many years by leaders of the American Association of Bible Colleges. The lack of a compilation of data about certain elements of the music programs has made it difficult for AABC schools to study and compare the music programs of other member schools. Such a body of reference materials and recomnmendations has also been needed to assist each AABC college in the continuing process of self- evaluation and development of its music program. Due to the lack of information questions have arisen concern ing the areas of music curriculum, music faculty, and music resources in library holdings, instructional facilities, and equipment. It had been assumed by the writer that most of the AABC schools of this survey offered concentrations in church music, but that few of these schools offered concentrations in music education. Sufficient resources in library holdings, instructional facilities, and equipment are required to effectively implement a music program, however, the adequacy of present resources had been questioned. An important consideration 72 pertained to qualifications of music faculty in the disciplines of church music and music education. It was assumed that most faculty members had a master's degree (or the equivalent). The question re mained whether music faculty members were provided sufficient opportu nities for professional growth in the areas of church music and music education. Considering these questions and the lack of information to answer them, there was a need to contact the music department heads and the academic deans of the selected colleges for the pertinent data. Of the 125 schools belonging to the American Association of Bible Colleges, 18 were selected by the writer for the study. The basis for selection of the 18 schools was membership and ^plicant status in the AABC, and location in the state of Ohio or a contiguous state. In order to initiate the study, a questionnaire was designed to investigate various aspects of the music curriculum, music faculty qualifications, and music resources in library holdings, instructional facilities, and equipment in selected schools of the AABC. The survey was based iq>on (1) AABC documents and documents of the 18 selected institutions, (2) the questionnaires which were sent to the academic deans and music department chairmen of the schools, and (3) telephone interviews and correspondence with the faculty members of the respective schools and the directors of the American Association of Bible Colleges. The questionnaire included the following categories: 1. Music degrees and areas of study, 2. Ibisic courses, 3. Music vocations. 73 4. Misic curriculum révision, 5. Academic training and professional e:q>erience of music faculty members, 6. Music faculty participation in professional organizations and continuing education programs, and 7. Music resources in library holdings, instructional facili ties, and equipment. Replies were received from 18 (100%) of the schools. A substantial body of pertinent information regarding specific aspects of the music programs in selected schools of the AABC has been con^iled from the replies of the respondent schools. This conq>ilation of data about certain elements of the music programs presents a synthesis of the existing status of these areas and indicates common strengths and weaknesses among the respective schools. These findings should serve as a useful tool for each AABC institution in its program planning and development. A summary of the analysis of the questionnaire data follows. Music Degrees and Areas of Study The survey revealed that six types of baccalaureate degrees with concentrations in music were granted by 16 of the 18 respondent schools. Both the Bachelor of Arts (A.B.) and the Bachelor of Science (B.S.) degrees were offered by seven schools. The Bachelor of Religious Education (B.R.E.) degree was offered by five schools, the Bachelor of Music (B.M.) degree was offered by four schools, the Bachelor of Sacred Music (B.S.M.) degree was offered by two schools. 74 and the Bachelor of Kisic Education (B.M.E.) degree was offered by one school. Both the Associate of Science (A.S.) degree and a diploma in music were offered by two schools, and the Associate of Arts (A.A.) degree was offered by one school. The music curriculums of 16 schools included one or more of the following concentrations in music: church music, music education, performance, composition, interdisciplinary combinations, and general music. The church music and the combination programs ranked first and second respectively in frequency of schools. One of the assun^tions of the study was that most of the AABC schools of the survey offered concentrations in church music, but that few of these schools offered concentrations in music education. It was evident from the results of this study that this assumption was true. The fact that church music ranked first in frequency of student participation in the various pro gram offerings of the respective schools was evidence that the primary purpose of Bible colleges continues to be the preparation of students for church-related vocations. Music Courses Music courses were offered by all of the 18 schools. These courses were arranged in five major groupings: music theory and composition, music history and literature, methodology, applied music, and performance organizations. Fourteen schools of the survey offered church music programs, but only 13 respondents listed the required music courses in their church music programs. All of the 13 schools required courses in theory, conducting, applied piano, applied voice. 75 and participation in performance organizations. The survey analysis also indicated the high frequency of schools that required courses in hymnology, music history, church music, and applied organ in their church music programs. Data indicated that several schools offered music education courses, but only two schools had music education pro grams. The survey responses indicated that several schools considered music education to be a viable and useful program and planned to develop such a program in their music curriculums. Music Vocations Survey responses included eight vocations for vdiich the music curriculums had been designed. These vocations were the following: minister of music, choirmaster, church organist, private studio teacher, school music teacher, church performance career, arranger/conçoser, and conüjination ministries. >&isic Curriculum Revision Over 75% of the respondents indicated that music curriculum re visions were anticipated in the next three years. The responses re flected the awareness of the schools of the need for revisions and changes in the music curriculum. During a three-year period prior to this study, nearly two-thirds of the schools had contacted their music alumni and other clientele for their views regarding the music curricu lum and music curricular revisions, and over 90% of the schools antici pated contact with their music alumni and other clientele during the following three years. Because of the strong influence of music alumni and other clientele on their respective colleges it seemed significant 7 6 that most of the schools anticipated contact during the next three years with their alumni and other clientele for their views regarding the music curriculum and music curricular revisions. Academic Training and Professional Experience of Music Faculty Members Responses indicated that all of the full-time music faculty members held undergraduate degrees, and that nearly two-thirds of both the full-time and part-time music faculty members had master's degrees. Only 8% of the music faculty had earned doctorate degrees. Data-re garding the professional experience of the music faculty were classified in the following areas of field service: church vocations, teaching, and performance. Music Faculty Participation in Professional Organizations and Continuing Education Programs Findings revealed that nearly half of the music faculty were not members of professional organizations, and that only one of the 18 schools held membership in the National Association of Schools of Music. The responses indicated that over half of the music faculty members from two-thirds of the schools had participated in continuing education pro grams in the last three years. The analysis of these continuing edu cation programs were arranged in the following categories: church music conferences, piano workshops, vocal/choral workshops, graduate studies, private lessons, and music education. One of the questions of the survey was whether music faculty members were provided sufficient opportunities for professional growth in the areas of church music and music education. Data revealed that only 28% of the faculty 7 7 participated in continuing education programs of church music in the last three years, and o n ^ 8% participated in continuing education pro grams in music education in the last three years. Because of a possible decrease in student enrollment and reduction in funds some colleges had to make retrenchments in their programs. The data did not indicate whether these were the primary reasons for the low frequency of participation. Data also disclosed that less than half of the schools had sponsored music workshops during the last three years. A total of 15 workshops were held with enqphasis mostly on church music, piano, and voice. Music Resources in Library Holdings, Facilities, and Equipment The survey revealed a wide range of differences in the number of music resources in library holdings, instructional facilities, instruments, and other items of equipment among the respective schools. One of the questions of the survey was whether present music resources in library holdings, instructional facilities, and equipment were adequate. Data indicated that many of the items were rated only some what adequate. The survey findings also substantiated the awareness of respondents to certain inadequacies in these areas and several schools indicated that they plan to improve and develop additional instructional facilities. 78 Conclusions and Discussion On the basis of the findings of this study the following con clusions and discussion are presented. Music Degrees and Areas of Study Many of the AABC institutions grant degrees that are descrip tive of their music programs. There has been a tendency among the schools to offer a variety of degree programs. In the process of self- evaluation schools should consider combining or revising degree pro grams in order to achieve additional clarification and standardization. It was clear from the data that the primary emphasis in music programs of the respondent schools remains on church music. It was also evident that a growing interest to include a music education program in the curriculum is occurring. The rapid growth of the Christian day school movement in the latter half of the twentieth century may account for the concern for the implementation of a music education program in the Bible college curriculum. Some schools have developed interdisciplinary programs for music students in view of the demands for multiskilled personnel in church-related professions. Interdisciplinary programs reflect new ways of organizing knowledge and new approaches to meeting the needs of today's changing society. AABC schools should reevaluate the effectiveness of their present church music programs, and should consider the development of inter disciplinary programs and a music education program in their music curriculums. 7 9 Ifasic Courses Music programs in the respondent schools varied frcn a few music electives to programs which required 83 credits of music courses. It appeared that s Schools should replace fragmented courses with more substantial courses, should revise course descriptions when greater clarification of course content is needed, and should avoid duplication of content in course offerings. In order to improve and strengthen the church music programs schools should broaden the church music course offerings. It was found that less than one half of the schools included church music internship in their music curriculums, and less than one third of the schools required church music internship in their church music pro grams. It is important that practical career-oriented experiences for the music student are included in the music curriculum, and such intern ship and field study programs should be supervised by the music de partment in coordination with the college Christian service department. Music history and hymnology courses were offered by most of the schools, however, greater emphasis should be given to the particular area of history of church music and credit hours should be increased for hymnology courses. 80 Music Vocations Although most of the schools reported that their curriculum designs included preparation for ministers of music, not all of the schools had developed church music programs by which they could achieve this vocational goal. Adequate music programs of a college serve as the means whereby that institution can accomplish its vocational ob jectives. AABC schools must develop music programs in accordance with their clearly defined objectives. The present trend to develop inter disciplinary programs for vocational preparation of music students should also include further development of music programs which require conpetencies in at least two areas of music concentration. Vocational training should be developed which prepares a music student to serve in the dual capacity of both minister of music and private studio teacher or choirmaster and school music teacher. Such preparation should in crease possible career opportunities for the Bible college music graduate. Music Curriculum Revision Because the adequacy of a Bible college music program can be determined by the effectiveness of its graduates in their music vo cations, it is interesting to observe that most of the schools antici pate contact with their music alumni and other clientele for their views regarding the music curriculum and music curricular revisions. Schools are able to identify their strengths and weaknesses and are able to formulate curricular plans as they consult with their con stituency regarding specific needs and desires. Curriculum planners 81 must adapt to the changing needs of society as they make curricular projections. The music curriculum of the Bible college must be improved in order to keep pace with contemporary church developments. The effectiveness of music graduates in their music professions must remain a primary concern of curriculum designers as they engage in curriculum revision. Academic Training and Professional Experience of Music Faculty Members The study revealed that over one third of the music faculty members had not earned master's degrees. These data indicate a weakness in the area of faculty qualifications. The expectation of the AABC is that faculty members hold at least the first professional degree beyond the baccalaureate degree. Bible colleges should eiiq>loy music faculty members whose academic training includes a master's degree in the area of his assigned teaching responsibilities. Most of the music faculty members had professional experience in church-related vocations or in teaching careers. Music faculty members must have practical field experience that is compatible with his professional duties and with the philosophy and goals of the institution in tdiich he serves. Music Faculty Participation in Professional Organizations and Continuing Education Programs It was found that nearly half of the music faculty were not members of professional organizations and were not participants in continuing education programis in the last three years. It was con cluded that music faculty members were not always provided sufficient opportunities for professional growth in the areas of church music 82 and music education. Schools must encourage their music faculty to participate in professional organizations and continuing education pro grams and must give more attention to the areas of church music and music education in faculty development. Professional growth of music faculty members is necessary if such members effectively serve their respective institutions. Faculty menders must be aware of contençorary trends in the educational field and in today’s church world through continuing education programs, and they must be able to evaluate such trends as they relate to the objectives of their respective institution. Another area of weeüoiess was the lack of regularly sponsored music workshops by several of the respondent schools. Music departments must give more attention to a regular plan for conducting music work shops, master classes, and music seminars. These kinds of functions benefit the music students, the music faculty, the college constituency, and the community in which the college is located. Music Resources in Library Holdings, Instructional Facilities, and Equipment The analysis disclosed the mean number of music resources in library holdings, instructional facilities, and equipment and indicated that many of the items were rated only somewhat adequate by several of the schools. These findings should aid each school in the con tinuing process of self-evaluation and development of its music pro gram and should provide each school with a basis for comparing its own resources with the resources of its peer institutions. Schools should seek assistance from the National Association of Schools of 8 3 Music (NASM) for resource materials and guidelines in music pro gram development. Each school will determine its individual require ments for adequate resources and must supplement its music resources until such resources are sufficient to meet its own curricular needs. The research data revealed that the 18 schools of the survey represented several denominations, or groups of denominations or religious associations. These groups represent various points of view, as well as various needs and desires regarding the kinds of music programs and the preparation of music students for church- related professions in their college curriculums. In order to continue to be an effective and vital force in the training of music students, Bible college administrators and music faculty should regularly consult with the college governing board regarding the present trends and needs of the college constituency. Bible college educators should seek to gain insight into the music cultures and subcultures of their clientele in order to design and implement effective music programs to meet the challenges of a contemporary society. There can be a tendency in the area of church programs to be reluctant to adapt to possible changes and current trends. However, if the music programs of Bible colleges remain a strong influence in the music vocations and educational programs of their constituency, Bible college educators will be cognizant of the need to consider and to realize certain improvements and developments. 8 4 Recommendations The following recommendations are offered to AABC schools as they continue the process of self evaluation and curricular projections for the future in the area of music curriculum improvement, music faculty development, and supplementation of music resources in library holdings, instructional facilities, and equipment. Schools should: 1. Consider the feasibility of developing interdisciplinary and music education programs, investigate the requirements for state certification of music education programs, ex plore the effectiveness of their music graduates in music vocations in order to determine the adequacy of present church music programs, and include more required music courses in methodology for career preparation in private studio teaching. 2. Develop required internship programs for all music students that are directly related to the students' career goals; such programs should be supervised by the music department and coordinated with the Christian service department. 3. Employ music faculty members whose academic qualifications include a master's degree and practical field experience that are conpatible with the goals and purpose of the institutions in which they teach. 4. Encourage the professional growth of the music faculty by providing them with sufficient opportunities for 85 participation in professional organizations as well as continuing education programs in church music and music education, and regularly sponsor music workshops for the college and constituent communities. 5. Reevaluate present music resources in library holdings, instructional facilities, instruments, and other items of equipment, in order to determine if these music resources are sufficient to support the music programs of the re spective school and supplement present resources in order to effectively plan and prepare for music curriculum improvement and faculty development. The writer offers the following suggestions for further research; 1. How many music alumni of AABC schools have earned advanced music degrees since graduation and what careers are the music alumni presently following? 2. What music courses of study have been of most value to graduates in their present vocation, and what music courses of study have been of least value? 3. In what areas of study would music graduates like more enphasis for their present vocation? 4. What are the views of the music faculty and the music students regarding possible music curriculum revisions and regarding the adequacy of music resources in their respective school? 86 5. What are the views of the music alumni regarding the music faculty qualifications and the adequacy of music resources in their respective schools? 6. What views do pastors and other college clientele hold re garding the music curriculum, music faculty qualifications, and music resources of their respective AABC colleges? APPENDIX A Questionnaire for Music Department Chairmen of the AABC Schools in Ohio and Contiguous States 87 88 QUESTIONNAIRE FOR THE SURVEY OF WSIC PROGRAMS IN SCHOOLS OF IHE AMERICAN ASSOCIATIF OF BIBLE COLLEGES IN OHIO AND CONTIGUOUS STATES SCHOOL: DATE: ADDRESS: NAME OF RESPONDENT: POSITION OF RESPONDENT: INSTRUCTIONS: Please cong»lete the information in Sections I, II, and III. If insufficient space has been provided for your answer, please continue your answer on the enclosed blank page. Indicate on that blank page the number of the answer being continued. The survey is designed to protect the anonymity of all individuals and schools. I. Music Curriculum A. Mjsic Degrees and Areas of Study (Concentrations as either Majors or Minors, Specific Music Programs) 1. What degrees and/or diplomas are granted? (Check the appropriate response.) ( ) B.A. - Bachelor of Arts with major in music. ( ) B.S. - Bachelor of Science with major in music. ( ) B.M. - Bachelor of Music. ( ) B.C.M. - Bachelor of Church Music. 89 ( ) B.M.E. - Bachelor of Music Education. ( ) Other (please specif) ______ 2. What areas of study (concentrations in music, specific music programs) are available, and what year did each program begin? How many students were enrolled in these programs for the autumn term of 1981? Name of program Beginning year 1981 enrollees ( ) Church »6isic ______ ( ) Music Education ______ ( ) Performance ______ ( ) Other (please specify) ______ B. Mjsic Courses 1. List the music courses which are offered and the number of credit hours for each course. Name of course Credit Name of course Credit hours hours 90 2. List the required music courses in the church music program. 3. List the required music courses in the music education pro gram. 4. For what vocations has the music curriculum been designed? ( ) Minister of music ( ) Elementary school music teacher ( ) Choirmaster ( ) Secondary school music teacher ( ) Church organist ( ) Private studio teacher ( ) Other (please specif) ______91 5. What is the enrollment of non-music major students in music courses for the autumn term of 1981? ______ C. )bisic Curriculum Revision 1. Are any revisions planned for the ms i c curriculum in the next 3 years? Y e s ______N o ______Possibly______ 2. If your response is "Yes" or "Possibly", please state briefly what the anticipated changes are and why you have decided to make these changes. 3. Has there been contact with your music alumni and other clientele (pastors, constituents, etc.) in the last 3 years for their views regarding the music curriculum and music curricular revisions? Y e s ______N o ______ 4. Do you plan to contact your music alumni and other clien tele for their views regarding the music curriculum and music curricula revisions in the next 3 years? Yes ______N o ______Possibly______ II. Faculty Qualifications This survey is designed to protect the anonymity of all individuals and schools, therefore nunAers are used in place of the teachers* names. Please correlate each teacher's number on pages 5-7. 92 A. Academic Training and Professional Ejqperience 1. List the academic credentials of each music faculty member (indicate if part-time). Teacher Degrees, Diplomas, Certificates, etc. 1 ______ 2 ______ 3 ______ 4 ______ 5 ______ 6 ______ 7 ______ 8 ______ 9 ______ 2. List the professional experience of each music faculty member and the length of time in that work. (Professional experience includes field service such as minister of music, church organist, elementary and secondary school music teacher, etc.) Teacher Professional Experience Length of Time 93 B. Professional Relationships 1. List the professional relationships of the music faculty and the kinds of participation in such associations. (Kinds of participation include serving as an officer, presenting papers, addresses, etc.] Teacher Name of Association Kinds of Participation 94 2. Is the music department a member of the National Association of the Schools of Music (NASH)? Y e s ______N o ______Applicant______ C. Continuing Education 1. List the continuing education programs, workshops, etc., that each music faculty member has attended in the last 3 years. Teacher Title of Program or Workshop, etc. 1 ______ 2 ______ 3 ______ 4 ______ 5 ______ 6 ______ 7 ______ 8 ______ 9 95 2. Has the music department qwnsored music workshops, music seminars, etc., in the last 3 years? Yes ______N o ______ 3. If your response is "Yes", please describe briefly the kinds of workshops, etc. III. Music Resources in Library Holdings, Facilities and Equipment A. Library Holdings 1. In Column 'A', please estimate the number of library holdings in music for each item. 2. In Column 'B* rate the adequacy of these library holdings on the scale of 1-5: l=very adequate, 2=adequate, 3=some- what adequate, 4=somewhat inadequate, 5=inadequate. A B ______books— total music collection ______books on church music ______periodicals ______anthologies of music ______music scores ______recordings ______films ______microfilm other 96 B. Facilities and Equipment 1. In Column 'A', please give the number of instructional facili ties available to the music department and indicate if such rooms are soundproof? 2. In Column 'B* rate the adequacy of these instructional facili ties on the scale of 1-5; l=very adequate, 2=adequate, 3=some- what adequate, 4=somewhat inadequate, 5=inadequate. A 2 Soundproof classrooms Yes No practice rooms offices storage rooms rehearsal rooms concert halls other 3. In Column 'A*, please give the number of instruments and other items of equipment which belong to the music department. 4. In Column 'B* rate the adequacy of these items on the scale of 1-5: l=very adequate, 2=adequate, 3=someidiat adequate, 4=s(me- what inadequate, 5=inadequate. A B A B ______pipe organs* ______woodwind instruments ______electronic ______percussion organs instruments ______pianos ______sound system ______string ______record players instruments 97 brass ______tape instruments recorders other *Do you use community pipe organs (away from your campus) for practice and recital purposes? Yes ______N o ______ Would you like a final report of the results of this study sent to you? Yes ______N o ______ Thank you for your assistance in conçleting this questionnaire. Please return this questionnaire in the enclosed envelope to: Lena Mae Leach 576 South Home Road Mansfield, Ohio 44906 APPENDIX B Letter of Dr. J. Mostert to Academic Deans and Music Department Chairmen of the 18 Schools of the Survey 98 99 AMERICAN ASSOCIATION OF BIBLE COLLEGES P.O. Box 1523. Fayetteville. Arkansas 72701 Offict of Extcutivt Oirtetor Fliont: S01-5214TM March 22, 1982 MEMO TO: Academic Deans and Music Depairtment Chairmen From: Office of Executive Director, AABC I would like to introduce to you Lena Mae Leach who is currently conducting a survey of music programs in the Bible college curriculum. Your assistance is requested in the implementation qf this important research project, which should prove to be useful to the participating colleges as well as to all Bible colleges. Mrs. Leach has am extensive background of Bible college experience. She is a graduate of one of our schools and has served as music department chairman in an AABC institu tion. She has also served as an evaluation team member. The cooperation of your music department chairman is needed in filling out the enclosed questionnaire. If you do not have a music chairman, please assign another music faculty member to fill out the needed information. Thank you for your assistance. Executive Director JM/dn enc. APPENDIX C Letter to Music Department Chairmen 100 101 J^ril 20, 1982 Dear Music Chairman: The topic of my Ph.D. dissertation at The Ohio State University is "A Survey of %isic Programs in Schools of the American Association of Bible Colleges in % i o and Contiguous States." My research reveals a lack of extensive studies pertaining to music programs in Bible colleges. I anticipate that the results of my study will be of value to your college, as well as to all AABC institutions. The enclosed questionnaire is designed to secure pertinent information regarding certain aspects of the music curriculum, music faculty qualifications, and music resources in library holdings, facilities, and equipment in your school. Thé survey results will be designed to protect the anonymity of all individuals and schools. Also enclosed is a letter from Dr. John Mostert, Executive Director of the American Association of Bible Colleges, who endorses the study. Through your cooperation in conçleting this questionnaire, I hope to contribute a useful tool for each AABC institution in the continuing process of self-evaluation and development of its music program. Your siq>port and time are greatly appreciated. A self-addressed, stamped envelope is included for your reply. Sincerely, Lena Mae Leach Doctoral Candidate The Ohio State University APPENDIX D Music Course Titles in the Bulletins of 18 AABC Schools 102 103 TABLE 21 MUSIC COURSE TITLES IN THE BULLETINS OF 18 AABC SCHOOLS )6isic Theory and C<»flposition Composition and Arranging^ Composition (3)** Arranging (2) Choral Arranging (2) Composition and Arranging (2) Advanced Composition (I) Composing for 20th Century Church (I) Electronic l*isic (I) Introduction to Composition (I) Music Composition and Arranging (I) Practical Arranging (1) Counterpoint Counterpoint (4) Canon and Fugue (1) Music Theory V Counterpoint (1) Tonal Counterpoint (1) Form and Analysis Form and Analysis (6) Analytical Techniques (1) Form and Analysis of Musical Styles (1) Introduction to tftisic Introduction to Music (4) fftjsic Fundamentals (2) Basic Musicianship (1) Basic )hisic Theory (1) Elements of Music (1) Introduction to Misic Fundamentals (1) Introduction to Theory (1) Music Theory Music Theory (8) Theory (5) Advanced Theory (1) Beginning Theory (1) Introduction to Misic Theory (1) Muscianship (1) Music II (1) 104 TABLE 21 (continued) Music Theory and Composition (continued) BAisic Theory (continued) Music Theory VI Twentieth Century Harmony (1) Theory and Harmony (1) 20th Century Harmony (1) Orchestration Orchestration (4) Basic Conposition and Orchestration (1) Sight Singing and Ear Training Sight Singing (3) Advanced Keyboard and Ear Training (1) Advanced Listening Skills (1) Advanced Sight Singing and Ear Training (1) Advanced Sight Singing, Ear Training, and Keyboard Harmony (1) Beginning Sight Singing and Ear Training (1) Ear Training (1) Keyboard (1) Keyboard and Ear Training (1) Sight Singing and Ear Training (1) Music History and Literature Choral Literature Choral Literature (3) Music Literature (2) Sacred Misic Literature (2) Church Misic Literature (1) Introduction to Sacred Mjisic Literature (1) Oratorio Survey (1) Sacred Choral Literature (1) Survey of Sacred Choral Literature (1) Church Music Contemporary Church Music (1) Ministry of Music (1) Protestant Church Music in the U.S. (1) 20th Century Church Music (1) 105 t a b l e 21 (continued) ïbisic History and Literature (continued) Directed Study and Research Directed Studies in Musicology (1) Guided Independent Study (1) Independent Studies in Music (1) Music Research Techniques (1) Music Seminar (1) Senior Seminar (1) Special Studies (1) Hymnology Hymnology (15) Sacred Music (1) Music Appreciation Music i^preciation (5) Introduction to Music (1) Music I (1) Music History Music History (5) Music History and Literature (3) History and Literature of Music (2) History of ^hisic (2) History of Literature (1) Music Literature and History (1) Survey of ïfaisic History (1) Organ Literature Organ Literature (1) Philosophy of thisic Philosophy of Church Music (2) Administration and Philosophy of Music (1) Biblical and Philosophical Foundations of Ministry (1) Misic and the Bible (1) Music in Worship (1) Philosophy of Music (1) Piano Literature Piano Literature (2) 106 TABLE 21 (continued} Music History and Literature (continued) Vocal Literature Solo Literature (1) Vocal Literature (1) Methods Church Music Choral Methods Choral Methods (2) Children’s Choir Methods (1) Choral Literature and Methods (1) Church Choirs - Adults (1) Church Choirs - Children (1) Graded Choir techniques (1) Youth/Adult Choir Methods (1) Church tfasic Administration Church Music Administration (S) Church Music (2) Music in the Church (2) Church Music Administration and Philosophy (1) Ministry of Music in the Church (1) Music and the Bible (1) Music in Evangelism and Worship (1) Music Ministry (1) The Church Musician (1) Church Music Internship Church Music Internship (4) Church Music Apprenticeship (1) Field Work (1) Field Work in Misic (1) Field Work Seminar (1) Music Practicum (1) Practicum in Church Music (1) 107 TABLE 21 (continued) Methods (continued) Church Music (continued) Introduction to Church Music Introduction to Church Music (3) Church Music Conference Week (1) Fundamentals of Church >feisic (1) Introduction to Music (1) Ministry of Music (1) Philosophy of the Music Ministry (1) Conducting Conducting Conducting (8) Advanced Conducting (6) Choral Conducting (6) Advanced Choral Conducting (1) Advanced Instrumental Conducting (1) Beginning Conducting (1) Church Bands (1) Conducting: Choral (1) Conducting: Instrumental (1) . Conducting: Introduction (1) Song Leading Evangelistic Song Leading (1) Song Leading (1) Song Leadership (1) Instrument Methods Brass Methods Brass Methods (2) Class Brass Instruction (1) Percussion Methods Percussion Methods (2) Class Percussion Instruction (1) String Methods String Methods (2) Class String Instruction (1) 108 t a b l e 21 (continued) Methods (continued) Instrument Methods (continued) Woodwind Methods Woodwind Methods (2) Class Woodwind Instruction (1) Instnanent/Voice Class Accompanying^ Accompanying Techniques (2) Accompaniment for Children’s Ibisic (1) Accompanying (1) Piano Accompaniment (1) Diction for Singers Applied Diction for Singers (1) Choral Diction (1) Italian/French/German Diction (1) Vocal Repertoire (1) Instrument Class Class Instrumental Instruction (1) Organ Service Playing Organ Service Playing (1) Organ Familiarization (1) Service Playing (1) Piano Class Piano Class (5) Class Piano (3) Beginning Piano (1) Beginning Piano Class (1) Piano Proficiency Lab (1) Piano Service Playing Service Playing (3) Basic Keyboard Skills (1) Congregational Hymn Playing (1) Evangelistic Keyboard (1) 109 t a b l e 21 (continued) Methods (continued) Instrument/Voice Class (continued) Piano Service Playing (continued) Evangelistic Piano (1) Fundamentals of Hymn Playing (1) Hymn Playing (1) Hymn Playing and Improvisation (1) Hymn Transcriptions (1) Improvisation (1) Istprovisational Techniques (1) Piano Service Playing (1) Voice Class Voice Class (8) Class Voice (3) , Gospel Song Voice (1) Pre-Voice (1) Miscellaneous Instrument Repair Instrument Repair (2) Piano Tuning and Maintenance (1) Music and Drama Music and Drama (1) Fftisic Education Elementary School Music Elementary Music Education Methods (1) Elementary Music in Christian Education (1) Music for Children (1) Music for the Elementary Schools (1) Music Methods (1) Music Methods and Materials for Elementary Children (1) Junior High School >ftisic Junior High/Middle School Misic (1) Junior Hig^ Music in Christian Education (1) 110 TABLE 21 (continued) Methods (continued) Music Education (continued) School Music Practicum Practicum in Elementary Music (1) Practicum in Middle/High School Music (1) Student Teaching (1) Christian School Student Teaching (1) Student Teaching Seminar (1) Secondary School Music High School Music (1) Secondary Music Education Methods (1) Seminar in Curriculum Development Seminar in Curriculum Developnent (1) Pedagogy Instrument Pedagogy Pedagogy in Applied Music (1) Organ Pedagogy Applied Pedagogy and Literature (1) Organ Pedagogy (1) Pedagogy in Applied Music (1) Piano Pedagogy Piano Pedagogy (5) Applied Pedagogy and Literature (1) Piano Methods (1) Pedagogy in Applied Music (1) Vocal Pedagogy Vocal Pedagogy (4) Applied Pedagogy and Literature (1) Pedagogy in ^>plied Music (1) Ill TABLE 21 (continued) Applied ïfaisic Applied Keyboard/Voice Organ Organ (16) Organ, Advanced Study (1) Organ, Beginning Study (1) Piano Piano (16) Beginning Piano (1) Beginner's Private Piano (1) College Preparatory Piano (1) Introductory Applied Piano (1) Piano, Advanced Study (1) Piano, Beginning Study (1) Preparatory Private Piano (1) Remedial Applied Piano (1) Voice Voice (16) College Preparatory Voice (1) Gospel Song Voice (1) Introductory Applied Voice (1) Pre-Voice (1) Remedial Applied Voice (1) Voice, Advanced Study (1) Voice, Beginning Study (1) Voice for Non-Majors (1) Applied Orchestral Instrument Brass Brass (7) Brass, Advanced Study (1) Brass, Beginning Study (1) Percussion Percussion (3) Strings Strings (S) Introductory ^*plied Strings (1) Remedial ^>plied Strings (1) 112 TABLE 21 (continued) ^^lied Music (continued) Applied Orchestral Instrument (continued) Woodwinds Woodwinds (7) Introductory Applied Wind Instrument (1) Remedial )^plied Wind Instrument (1) Woodwinds, Advanced Study (1) Woodwinds, Beginning Study (1) Miscellaneous Composition Applied Conposition (2) Directed Studies in Composition (1) Guitar Guitar, Beginning Study (1) Guitar, Advanced Study (1) Instruments (Not Designated) Applied Instruments (2) Private Instrumental Instruction (1) Senior Recital (13) Performance Organizations Choral Groups Choir (membership by audition) Choir (4) Concert Choir (4) Chorale (3) Appalachian Ensemble (1) Chapel Choir (1) Clear Creek Singers (1) College Choir (1) Collegium Misicum (1) Oratorio Choir (1) The Watchmen (1) The Women*s Chorus (1) Voice of Freed(» Concert Choir (1) W TABLE 21 (continued) Performance Organizations (continued) Choral Groups (continued) Choir (open to all students) Chorale (3) Choir (2) Oratorio Chorus (2) Choral Union (1) Combined Ladies and Men's Choir (1) God's Harmony (1) Ladies Choir (1) Men's Choir (1) Oratorio (1) Oratorio Choir (1) Small Performing Groups Small Instrumental Ensemble Instrumental Ensemble (7) Handbell Choir (4) Brass Ensemble (3) Ensemble (3) Wind Ensemble (2) Chamber Ensemble (1) Disciples (1) Duo-Piano Ensemble (1) Jubilate (Handbell Choir) (1) Pep Band (1) Recorder Ensemble (1) Select Instrumental Ensemble (1) Symphonic Wind Ensemble (1) Small Vocal Ensemble Ensemble (5) Chamber Singers (3) Vocal Ensembles (2) Destiny (1) Grace Singers (1) Gospel Heralds (1) Madrigal Singers (1) Men of Grace (1) Small Ensemble (1) Vocal Groups (1) 114 t a b l e 21 (continued) Performance Organizations (continued) Large Instrumental Groups Concert Band Concert Band (3) Band (1) Orchestra Orchestra (1) ^The categories of course offerings are arranged alphabetically within each major grouping. Several schools gave more than one course offering in each category. Numbers in parentheses indicate the number of schools that used these titles for the music course descriptions in their college bulle tins. The course titles are listed by rank after which they are listed in alphabetical order. ^These courses are designed for piano accompanying except for accompaniment for children's music which is designed for instruments used for accompanying children. ^Gospel song voice and pre-voice are offered in class and applied instruction. BIBLIOGRAPHY 115 BIBLIOGRAPHY Books Abba, Raymond. Principles of Christian Worship with Special Reference to the Free Churches. London, N Y.: Oxford, 1960. American Association of Bible Colleges Manual. Fayetteville, Arkansas: American Association of Bible Colleges, 1980. Averill, Lloyd J. A Strategy for the Protestant College. Philadelphia: The Westminster Press, 1966. Barnette, Henlee H. Christian Calling and Vocation. 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Pastoral Studies in the Bible College. Fayetteville, Ark. : American Association of Bible Colleges, 1975. Nelson, Henry B., ed. Basic Concepts in Music Education. Chicago: The University of Chicago Press, 1958. Osbeck, Kenneth W. The Ministry of Music. Grand Rapids, Michigan: Zondervan Publishing House, 1961. Routley, Erik. Church Music and the Christian Faith. Carol Stream, Illinois: Agape, 1978. Thayer, Lynn W. The Church Music Handbook. Grand Rapids, Michigan: Zondervan Publishing House, 1971. von Grueningen, John Paul, ed. Toward a Christian Philosophy of Higher Education. Philadelphia: The Westminster Press, 1957. Wilson, John F. An Introduction to Church Music. Chicago: Moody Press, 1965. Witmer, S. A. The Bible College Story: Education with Dimension. Wheaton, 111.: Accrediting Association of Bible Colleges, 1962. 118 Witmer, S. A. Report Preparing Bible College Students for Ministries in Christian Education. Ft. 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"An Operational Process Integrating Environmental Perceptions, Factual Data, and Institutional Objectives to Obtain Management Information for Decision Making in a Small Church- Related College." Unpublished PhD dissertation. University of Houston, 1971. Berger, William Robert. "A Study of Student Values as an Index for Determination of the Feasibility of Adding Liberal Arts Major and Minor Programs to the Bible College Curriculum." Unpublished EdD dissertation, Oregon State University, 1976. Boon, Harold W. "The Development of the Bible College or Institute in the United States and Canada since 1880 and Its Relationship to the Field of Theological Education in America." Unpublished PhD dissertation. New York University, 1950. Bowman, Katherine E. "Columbia Bible College, A Leader in a New Move ment in Religious Education." Unpublished Master's Thesis, University of South Carolina, 1941. Buche, Elwyn. "A Study of Broad Goals and Strategies for Bible College Students Among Selected Bible Colleges." Unpublished EdD dissertation, Illinois State University, 1976. Byrne, Herbert Winston. "A Study of Administrative Practices in Selected Bible Institutions." Unpublished EdO dissertation, Bradley University, 1952. Clapp, Roger Ross. "A Study of the College Environments of Two Selected Groups of Accredited, Interdenominational Bible Colleges." Un published PhD dissertation. University of Tennessee, 1971. Commission on Research report. Office of the American Association of Bible Colleges, Fayetteville, Arkansas, 1981. Dirks, Virgil Ralph. "Faculty/Staff and Student Perceptions of Public Relations Programs in The American Association of Bible Colleges." Unpublished EdD dissertation. The University of Nebraska, 1977. 122 Doerksen, John George. "Mennonite Brethren Bible College and College of Alts: Its History, Miilosophy and Development." Unpublished PhD dissertation. University of North Dakota, 1968. Doyle, Laurence Alexander. "A Study of Personnel Services in Bible Colleges." Unpublished EdD dissertation, Boston Ihiiversity, 1963. Eagen, Larry John. "Institutional Planning Practices in Bible Colleges Accredited by The American Association of Bible Colleges." Un published EdD dissertation, Texas Tech University, 1980. Evlee, Richard A. "Education for Christian Leadership in Bible Institutes and Bible Colleges." Unpublished PhD dissertation. State University of New York at Buffalo, 1953. Femlund, Jay Courtney. "An Analysis of the Internal Organizational Structure of the Educational Branches of Selected Bible Colleges." IMpublished EdD dissertation, Loyola University of Chicago, 1978. Francis, A. Garry. "A Christian Education Curriculum Model for Berean Bible College, Calgary, Alberta." Unpublished Master's Thesis, Winnipeg Theological Seminary, 1981. Gangel, Kenneth 0. "A Study of the Evolution of College Accreditation Criteria in The North Central Association and its Effects on Bible Colleges." Unpublished PhD dissertation. University of Missouri, 1969. Hiebert, Albert Arthur. "E:q)ository and Discovery Teaching of Systematic Theology: An Analysis of the Instructional Models Preferred by Teachers and Students of Systematic Theology in Accredited Schools of The American Association of Bible Colleges." Unpublished PhD dissertation. New York University, 1978. Humphrey, Warren Benjamin. "An Analysis of Opinions of Bible College Administration Concerning Selected Issues of College Curriculum." Unpublished EdD dissertation, Syracuse University, 1965. Janzen, Leona Kaye. "Institutional Goal Perceptions Among Selected Groups in Four Bible Colleges." Unpublished EdD dissertation, Drake University, 1978. Jennings, Otho. "A Study of Christian Service Training for Ministerial Students in Accredited Bible Colleges." 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"A Cooparison of Successful and Unsuccessful Bible College Students with Respect to Selected Personality Factors." Unpublished PhD dissertation. University of Arizona, 1965. Smith, Paul A. "A Study of the English Programs Offered in Bible Institutes, with a Suggested Plan for Revision." Unpublished Master’s Thesis, Wheaton College, 1941. Snider, R. Neil. "Institutional Goal-Setting Utilizing Futuristic Techniques: An Exploratory Study." Unpublished PhD dissertation. University of Oregon, 1973. Spence, Andrew Emmett Jr. "A Study of Student Personnel Services in Accredited Bible Colleges and Attitudes of Presidents Toward These Services." Unpublished PhD dissertation. University of Southern Mississippi, 1968. Spindle, Richard Lee. "A Study of the Conpetency-Based Approach to Education and its Utilization in Structuring a Bible College Model for Christian Education." Unpublished EdD dissertation. South western Baptist Theological Seminary, 1976. Stave, Douglas T. 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"A Study of the Place of General Education in the Bible College Curriculum." Unpublished EdD dissertation, Indiana University, 1967. Weldin, Marilyn. "Evaluating Teacher Education in the Bible College." Workshop presentation at the Annual Meeting of the American Association of Bible Colleges, 1982. Tape available at the Office of the American Association of Bible Colleges, Fayetteville, Arkansas. "What Should You Know About Bible College Accreditation?" Fayetteville, Arkansas: American. Association of Bible Colleges, 1981. Willis, Wesley Robert. "An Adaptation of the Institution-Building Model and Field Test at Fort Wayne Bible College." Unpublished EdD dissertation, Indiana University, 1978. Wilson, Lon Ervin. "The Status of Speech and Hmniletics in Bible Schools in the United States and Canada." Unpublished PhD dissertation. Northern Baptist Theological Seminary, 1958. Wilson, Robert Allen. "An Evaluation of the Christian Education Curricula of Bible Colleges Siçported by Christian Churches." Unpublished D.R.E. dissertation. Southern Baptist Theological Seminary, 1972.