UNISON CANADIAN CHORAL COMPOSITIONS: SELECTION AND ANALYSIS FOR SCHOOLS

Rodger James Beatty

A thesis submitted in ~nforrnitywith the requirements for the degree of Doctor of Education Department of Curriculum, Teaching and Leaming Ontario lnstitute for Studies in Education of the University of Toronto

O Copyright Rodger James Beatty 1999 National Library Bibliothèque nationale 1+1 ,Ca", du Canada Acquisitions and Acquisitions et Bibliographic Services services bibliographiques 395 Wellington Street 395, me Wellington OîtawaON K1AON4 Ottawa ON KI A ON4 Canada Canada Your liia Vofre refërence

ovr me ~otrereferenw

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The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fiom it Ni la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced with~utthe author's ou autrement reproduits sans son permission. autorisation. UNISON CANADIAN CHORAL COMPOSITIONS:

SELECTION AND ANALYSIS FOR SCHOOLS

Ed.D., 1999

Department of Curriculum, Teaching and Leaming

Ontario Institute for Studies in Education of the

University of Toronto

by

Rodger James Beatty

ABSTRACT

The purpose of this intrinsic case study was to identify and describe criteria for seleciion and analysis of unison Canadian choral compositions.

It was further expected that this investigation would discover and result in an analytical guidelist of unison Canadian choral repertoire published by Leslie

Music Supply (1970-1 995) suitable for performance by first-, second-, and third- grade Canadian elernentary school pupils. Furthermore, the purpose of the study in this context was to describe the historical growth of Leslie Music

Supply, Inc. of Oakville, Ontario over the period of tirne from 1970 to 1998. Data were wllected by personal interviews, historical record search, investigator search and analysis, analysis by expert evaluators; and testing by classroom teachers. The findings suggest that the framework for analysis, the guidelines for analysis and the analytical selective guidelist of unison Canadian choral compositions published by Leslie Music Supply, Inc. (1970-1 995) suitable for performance by first-, second-, and third-grade elementary school pupils have great utility for use in selecting unison choral repertoire and may assist the classroom teacher of music in taking on the role of teacher as curriculum maker.

The results suggest that the frarnework for analysis and guidelines for analysis wuld be applied with wnsistency by elementary school teachers of music in the analysis of unison choral repertoire.

The qualitative data provided a deep reflection on the historical development of Leslie Music Supply, Inc. as an important Canadian educational music publishing Company. The findings of the study revealed how significant historical events, historical contexts, and criteria for publication shaped the quality, variety, and number of unison Canadian choral compositions published by Leslie Music Supply, Inc. available for seiection and use with pupils. The results suggest that the CO-owners of Leslie Music Supply, Inc. foster strong interpersonal refationships with wmposers, colleagues in the Canadian music publishing industry, and customers. The cornparison of the music compositional criteria for the creation/selection of unison choral music by wmposers, publisher and expert teachers found that al1 three groups used common factors. Data showed that the criteria used for selection of music for publication included both music compositional concerns and anticipated marketablity. Results also emerged demonstrating the influence and power publishers have on teacher

curriculum decision making. The results of this study also suggest that teachers

have a vital role to play in impacting

industry by influencing cornposers and by selecting and rejecting choral music judiciously.

Findings of the present study suggest further research is required into the

ongoing developrnent of procedural knowledge of the novice music teacher in

becoming the expert music teacher. Further research is also needed to more

fully understand the exact music criteria used by educational music publishers in

their selection of unison choral music for publication. ACKNOWLEDGEMENTS

There were many colleagues, friends and family who provided assistance, offered güidame along the route, and helped make the joumey of this thesis corne to fruition. First, I sincerely acknowledge my thesis committee:

Dr. John A. Ross, OISEfUT. Dr. Patricia M. Shand, Faculty of Music, University of Toronto. and Dr. Elizabeth M. Smyth, OISE/UT. Each contributed in significant ways in influencing my work.

John Ross, who supervised my thesis, generously gave constructive advice and ongoing support. He challenged me to examine my work from new perspectives. Thank you, John, for your wise counsel, inspiration and encouragement.

Patricia Shand planted the embryo of this thesis during a graduate course a few years ago. She helped me refine my genesis of thought, guided it's growth and evolution during the pilot study, and became my "sounding-board" on matters musical during the quest of this thesis. Thank you. Pat, for sharing your expertise and continuous encouragement.

Elizabeth Smyth provided new perspectives to my thinking and writing throughout my study. She gave sage advice and enwuraged "my own voice".

Thank you, Liz, for your valuable teachings and reflections during this joumey.

I extend rny sincere thanks to the choral music experts on Panel 1 who graciously shared their expertise. As well, I sincerely thank the expert teachers on Panel 2 and their respective pupils who warmly opened the doors of their classroams so that others may leam. I thank the administrations of the District

School Board of Niagara. the Grand Erie District School Board and Montcrest

School for permitting the classroom testing.

My sincere thanks are also extended to Joan Leslie and Pat

VanderHeyden, co-owners of Leslie Music Supply, Inc. who provided rich perspectives on the historical development of the company. I thank them, too, for permission to reproduce the first page of each octavo in the analytical selective guidelist included in this thesis. I am obliged, also, to John Bird for his poignant views of the Canadian music publishing industry.

I thank composers Michael Coghlan, Clifford Crawley and Nancy Telfer for their open sharing of their time and personal insights into their composing

lives. Thank you Michael, Cliff and Nancy for your candid viewpoints.

To my faculty and staff colleagues at the Faculty of Education, Brock

University, I thank you for your strong collegial support and your ongoing encouragement during this journey. You warmly welcorned me into the academy and have demonstrated admirably what valued membership in a collegial cornmunity of learners really means.

I extend a special word of thanks to my friends, especially Bryan, who

kept me on an even keel and encouraged me through the many long hours of writing and re-writing. To Jane, thank you for "watching over me".

Finally, to my mother, Violet, and to my late father, Orren, I especially thank for their generous love and support of all my endeavours. You taught me to be the best that I could be. Unfortunately. Dad, ywr life joumey ended More

I was able to cornplete this thesis joumey. I know you would be very proud if you were still with us today. vii

TABLE OF CONTENTS

Page

1

The Need...... 1 The Rationale...... 5 The Problem...... 6 The Purpose of the Study...... 8 Delimitations of the Study...... 8 Definition of Terrn ...... 9 Summary ...... 10

REVIEW OF THE LITERATURE...... 11

Teacher as Curriculum Maker ...... 11 Publishers' Influence on Teacher Curriculum Decision Making...... 16 Selection of Textbooks/lnstructional Materials...... 19 The Music Publishing lndustry in Canada...... 20 Leslie Music Supply, Inc...... 22 Choral Music bperience...... 23 Vocal Methodologies in Elementary Music Education...... 24 The Selection of Choral Repertoire...... 27 Selection and Analysis - Canadian Music...... 31 The John Adaskin Project (Canadian Music for Schools)...... 34 Children's Vocal Range...... 36 Vocal Ranges of Repertoire in Elementary Song Textbooks...... 38 Vocal Tessitura in Repertoire...... 39 Textual Characteristics...... 41 Accompaniment Characteristics...... 42 Rhythmic Characteristics...... 43 Melodic Characteristics...... 43 Summary ...... 44

METHOD...... 45

The Pilot Study ...... 46 Research Question 1...... 50 Research Question 1: Corollary 1...... 52 Research Question 1: Corollary 2...... 59 Research Question 1: Corollary 3...... 59 Research Question 2...... 63 Research Question 2: Corollary 1 ...... 65 Research Question 2: Corollary 2...... 65 viii

Research Question 3...... Research Question 3: Corollary 1...... : ...... Research Question 3: Corollary 2...... Research Question 3: Corollary 3...... Summary......

RESULTS OF THE DATA ANALYSE ......

Selective Guidelist...... Cornparison of Analysis of Compositions...... Comparison of the Degree of DiffÏculty of Compositions...... The Utility of the Selective Guidelist for Classroom Use ...... The HistorÏcal Context of Changing Curriculum Guidelines in the Province of Ontario...... A Historical Account of Leslie Music Supply, Inc...... Frorn No Turkey to Taiking Turkey - The Beginning Years (1970-1 974) ...... Building on the Cash Flow - Continuing Growth (1975-1 979) ...... More is Merrier - Building Upon a Foundation (1980-1 984) ...... Here We Grow - Steady Expansion (1985-1 989)...... Rising Like an Eagle - The Progressive Years (1990-1 994)...... Enhancing the Growth - Preparing for the Future (1995-1 998) ...... The Future...... The Criteria Used by Cornposers in the Creation of Unison Choral Music...... The Criteria Used for the Selection of Unison Choral Music for Publication...... Expert Teachers' Criteria for the Selection of Unison Choral Music.. Comparison of the Criteria Among Composer, Publisher and Expert Teachers...... Summary ......

DISCUSSION AND IMPLICATIONS......

The Framework for Analysis ...... The Cornparison of Analysis of Compositions...... The Cornparison of the Degree of Difficulty of Compositions...... The Seledive Guidelist and its Value for Classroom Use...... A Historical Account of Leslie Music Supply. Inc...... The Criteria Used by Composers in the Creation of Unison Choral Music...... The Criteria Used for the Selection of Unison Choral Music for Publication...... Expert Teachers' Criteria for the Selection of Unison Choral Music...... 21O 5.9 Cornparison of the Criteria Among Cmposen. Publisher and Expert Teachers ...... 5.1 O Limitations of the Study...... 5.1 1 Summary of Implications...... 5.12 The Implications for Further Research...... 5.13 The Implications for Music Education...... 5.14 Summary ......

REFERENCES...... ~...... Appendix I. Gurdelines for Analysis ...... Appendix II . Repertoire Analysis Fom...... Appendix III. Ethnographic Observer Guidelines...... Appendix IV. Interview Questions - Classroom Testers (Panel 2)...... Appendix V . Interview Questions - Joan Leslie. Pat VanderHeyden, John Bird ...... Appendix VI . Interview Questions - Composers...... X

LIST OF TABLES

Table Page

Guidelines for Selecting Choral Music (Miller. 1979)...... 29

Cornparison of the Categories in Four Analytic Frameworks...... 57-58

Summary of Research Questions, Data Sources and Strategies for Maintaining Data Reliability...... 70-74

Comparison of the Assessrnent of the Degrees of Oifficulty of Selected Compositions Among Panel 1 Experts and Investigator.. ... 138

Inter-rater Reliability Among Pairs of Judges on Expert Panel 1 and lnvestigator Using Cohen's K...... 140

Comparison of the Criteria for the SelectionlCreation of Unison Choral Music Among Cornposers, Publisher and Expert Teachers...... 188-1 89 CHAPTER 1

INTRODUCTION

Singing has traditionally ben the primary music performance activity

in the elementary music classroorn (Anderson & Lawrence, 1998; O'Brien,

1983); vocal and choral repertoire has provided the foundation for many elernentary music programs. In the performance approach to music teaching and learning, the repertoire, the development of musicianship, and the opportunity for enjoyment and self-growth fom the basis of the

curriculum (Rao, 1993). Elliott (1993, 1995) states that pupil self-growth and

enjoyment result from the rnatching of choral musicianship and carefully selected

choral challenges. The task of the music educator is to make musicianship and

musical enjoyrnent accessible to all children.

The Need

As an elementary school music teacher and a professor of elementary

school music curriculum methods for twenty-one years, 1, in the role of teacher

as curriculum maker, found that selecting repertoire for the various school

choral groups and classroom choirs consumed a large part of my preactive or

planning stage for future curriculum delivery. Many factors determined the final selection and the process was time wnsuming. A guidelist outlining data 2 analysis of varied Canadien unison charal repertoire suitable for performance by first-, second-, and thirdgrade Canadian elernentary school pupils could be a useful resource and an effective time saver for Canadian elernentary

music educators.

In the Canadian elementary music classroom, the musical challenge lies

in the repertoire. For effective learning to occur. appropriate and suitable repertoire matched to pupils' development and musical maturity is needed.

Bradley (1974) and Nourse (1975) cal1 for such a practical resource with a graded analysis to enable the classroom teacher to detemine the suitabiiity of using a certain Canadian composition with hisher ensemble. If Canadian teachers are to become more concerned with utilizing Canadian repertoire

in Canadian school classrooms, resource guidelists promoting easier access to Canadian music are needed. Educators and conductors must ensure that Canadian music thrives and grows (Karlsson, 1993).

Canadian music publishers actively prornote the thnving work of many

Canadian composers and arrangers through their ongoing publishing of

Canadian repertoire. The Canadian Music Publishers Association safeguards and advances the interests of the composer and publisher, encourages fair trade practices and maintains high standards of performance and services (Bird,

1992). Traditional well-known educational music publishers have included

Frederick Harris Music Co. Ltd., Gordon V. Thornpson Music Co. Ltd., Leslie

Music Supply Inc., and Waterloo Music Co. Ltd. (Kallman, Potvin 8 Winters, 1992). In recent years with the onset of desktop publishing, a great number of

new companies have appeared on the Canadian music publishing scene. Each

publisher has traditionally focused on a different share of the music educational

marketplace. One specific publisher, Leslie Music Supply, Inc. has focused on

a wide variety of choral music for use by elernentary school pupils.

An analytical guidelist would have other benefits for the profession.

Music festivals, both cornpetitive and non-competitive. have wntinued to be

integral components in the musical life of many school-aged children in

Canadian comrnunities. Each year festival organizing comm ittees meet to

survey current choral repertoire and to choose test pieces for the various

classroom and school choirs. Elementary choral compositions published by

Leslie Music Supply, Inc. are frequently chosen as festival test pieces for classroom andfor school choirs. An analytical guidelist of suitable Canadian

choral repertoire could assist committees in the selection of compositions for various classes (Fisher, 1975; Kaplan, 1985).

As well, a guidelist of this type could be of use to the dealers and

merchants in the music industry. The results of the analytical study could

assist publishers andor merchants with pertinent information to more ably

serve their clientele with specific choral program needs (Schelleng, 1993).

The development of an analytical guidelist could have practical

applications for the classroom music teacher as curriculum maker. Such a

guidelist could be used by teachers to select repertoire and to prepare compositions for classroom use. In addition, a set of analysis guidelines cauld assist other teachers in analyzing music themselves.

In ternis of academic scholarship, the area of research concerning the selection and analysis of Canadian compositions suitable for student use merits study in the chorallvocal music area. Numerous researchers (e.g. Shand, 1978;

1984; Stubley, 1985a; Walter, 1994a) have investigated specific instrumental music areas, howver a gap exists in this literature for choral music specifically at the elementary school level. The review of the literature will be reported in

Chapter 2.

In addition, there seems to be a jack of knowledge about how teachers of music use practical resources in the preparation for teaching and learning in their classroom. Elliott (1995) in his praxial philosophy of music education, theorizes that music making concerns musical knowiedge-in-action or musicianship; it is procedural and contextdependent. It is a form of reflective practice which Schon (1983, 1987) refers to as "thinking-in- action" and "knowing-in-action". In the teaching-learning context, musicianship develops through active music making in wrriwlar situations that the teacher deliberately designs to approximate the tme condition of authentic musical pradices. The pupil's ability to meet the musical challenge is dependent upon the development of musicianship. In order for students to experience success, teachers need ta balance the challenges provided by the repertoire and the student musicianship. The study of how teachers prepare to design these wrricular situations in the classroom merits investigation.

As well, previous research has studied the influence publishers have exhibited on teacher curriculum decision making. However, a gap exists in the historical impact music publishing companies have had on teachers' curriculum decision making. This warrants further investigation.

The Rationale

For the present study, the investigation was limited to the works of Leslie

Music Supply, Inc. since this publisher has focused on the publication of works by Canadian composers and has specialized in both unison and two-part choral literature for use ai the elementary school level. As well, publications of Leslie

Music Supply, Inc. have been frequently used by music selection cornmittees of numerous Canadian music festivals as test pieces in elementary school choral classes.

The present study was limited to unison music suitable for first-, second-, and thirdgrade pupils. Unison singing has traditionaliy been an integral part of primary-grade classrooms; two-part singing is usually introduced by the third or fourt hgrade.

The historical account of the present study was important to delve into and document how these music educational curriculum materials came to be available and to understand the implications of the historical events on the curriculum decision making of teachers.

For the present investigation, the criteria used for the creation of unison choral music by wmposers and for the selection of unison choral music by publisher and teachers was studied to detennine which technicallmusical or other aspects influenced each group in their task. As well, the findings were analyzed to understand the cornmonalties among the three groups.

The Problem

The central research questions and subsequent corollary questions addressed in this investigation were:

1) What unison Canadian choral compositions published by Leslie Music

Supply Inc. (1970-1 995) may be identified as suitable for performance by first-, second-. and third-grade Canadian elementary school pupils?

What guidelines may be established for assessing the

technical, musical, and pedagogical challenges?

What are the technical, musical and pedagogical challenges

of each composition?

What utility would an analytical selective guidelist of unison

Canadian choral compositions have for classroorn music

teachers? 2) What comprises a historical acaiunt of Leslie Music Supply, Inc.?

What presence does Leslie Music Supply, Inc. portray in the

Canadian music publishing industry?

What makes Leslie Music Supply, Inc. unique in Canadian and

international music publishing?

3) What themes emerged conceming the criteria for the creation/selection of unison choral compositions arnong composer, publisher, and teacher?

What technical, musical and pedagogical criteria guide

composers in their creation of unison choral music?

What criteria does Leslie Music Supply. Inc. use for the

selection and publication of unison elementary school choral

music?

What criteria do expert teachers use in the selection of unison

choral compositions for ciassroom use?

To address the research questions, several approaches were used.

Data were collected by persona1 interviews, historical record search, investigator search and analysis, analysis by expert evaluators; and testing by classroom teachers. The Purwse of the Study

The purpose of this intrinsic case study was to identify and describe criteria for selection and analysis of unison Canadian choral compositions.

It was further expected that this investigation would discover and result in an analytical guidelist of unison Canadian choral repertoire published by Leslie

Music Supply (1970-1 995) suitable for performance by first-, second-, and third- grade Canadian elementary school pupils. Furthermore, the purpose of the study in this context was to describe the historical growth of Leslie Music Supply,

Inc. of Oakville, Ontario over the period of time from 1970 to 1998. For the purpose of this inquiry, case study is defined as "an exploration of a case over time through detailed, in-depth data collection involving multiple sources of information rich in context" (Creswell, 1998, p. 61).

Delimitations of the Study

This study was limited to unison choral compositions written by

Canadian composen and published by Leslie Music Supply, Inc. between 1970 and 1995.

This study was also limited to publications suitable for performance by first-, second-, and third-grade elementary school pupils. Definition of Terms

"Published between 1970 and 1995 are wrks that have been made available for sale and are copywritten O 1970 - 1995. These may be reprints originally published by an individual or other publisher.

"Canadian compositions" are works written by Canadian citizens or by composers who have lived in Canada for at least five years at the time of composition.

"Unison" refers to simultaneous performance of the same melody at the same pitch.

"Range" is defined as the total compass of notes Sung e.g. D' - A'

(Hattwick, 1933). Middle C a C'; treble clef third space C â C". Pitches in the octave below C' are designated without '.

"Tessitura" refers to the area within which most pitches are Sung

(Hattwick, 1933).

"Kodaly approach" refers to a method of music education developed by

Zoltan Kodaly which is based on singing, on the study of musical material of intrinsic value, both folk and composed, and on the application of relative solmization (Choksy, 1988).

"Orff approach" is a sensory approach to music education developed by

Carl Orff which fosters creativity in children through speech, moving, singing, and playing (Mark, 1998). IO

"Educatim aimugh Music" is an adaptation of the Kodaly approach developed by Mary Helen Richards (Anderson 8 Lawrence, 1998).

This section has delineated the wntext of the present study, outlined the need, the rationale, the research questions and corollary questions, and purpose, and presented the delimitations of the study and the definition of terms. The review of the relevant literature follows in the succeeding chapter. CHAPTER 2

REVIEVU OF THE LITERATURE

There are many aspects of the current literature that have bearing on the scope of the present thesis. This review first introduces literature conceming the teacher as curriculum maker. The relevant literature pertaining to the influence publishers have on teachers' cufriculum decisions will next be reported. This will be followed by pertinent literature on music publishing in

Canada. Then a review of the choral music experience for children and the relevant literature in elementary school vocal music methodology will ensue.

The pertinent literature on the selection and analysis of musical repertoire follows. This chapter concludes with a review of the literature concerning range. tessitura, text, accompaniment, rhythmic and melodic characteristics.

Teacher as Curriculum Maker

The professional role that teachers play in curriculum planning and development has concemed various researchers (Chen, 1994; Clandinin, 1985,

1986; Clandinin 8 Connelly, 1992a, 1992b, 1995; Connelly 8 Clandinin, 1988,

1994; Haberman, 1992; Johnson, 1989; Johnston, 1995; Kirk, 1988; and May,

1993). Teachers' knowiedge and expertise provide the theoretical and practical context for this teacher-based curriculum development.

"The conception of personal practical knowledge is of knowiedge as experiential, value-laden, purposeful and oriented to practice" (Clandinin, 1985, 12 p. 364); it is a moral, affective, and aesthetic way of knowing Me's educational situations. Personal practical knowiedge focuses on personal understanding that teachers have of the practical circumstances in the classroom in which they work. It is experiential and evolves out of "reflection-in-action" (Schon, 1983).

This critical reflection draws upon Dewey's perception of education being conceived as a continuing reconstruction of experience (Dewey, 1897). Dewey believed that every experience enacted upun modifies the one who acts and subsequently affects the quality of future experiences. These experiences affect the formulation of emotional and intellectual attitudes. Dewey described this criterion of discrimination as the principle of continuity of experience (Dewey,

1938).

The teacher as curriculum maker encourages the use of this personal practical knowledge as "a vehicle for change in our ever changing environment, in our understanding of the world" (Johnson, 1989, p. 372). Through research in coming to know teachers' knowledge, one leams to understand how teachers construct and re-construct their reality as the teachers' knowledge in process.

The actions of practice are both 'Yhe expression and origin of the personal knowiedge of the actor. Thus, action is imbued with knowledge and knowledge with passion" (Clandinin, 1985, p. 361 -2).

Johnston (1995), in an investigation of the changing role of teachers in making decisions about curriculum at the school level, found that policies aimed at shifting more of the responsibility for curriculum decision making into the hands of the teacher rnay be successhrl only if the expertise of teachen is fully utilized in the decision rnaking process. Teachers' role in wrriculurn planning is critical; Haberman (1992) views teachers as having the most relevant knowiedge for improving school programs and giving them greater voice.

Classroorn teachers taking roles as curriculum leaders retain the most powerful influence on students' learning.

The teacher as wrriculurn maker and selector of curriculum materials may have numerous benefits. Haberman (1992) suggested that the benefits of increased teacher involvement may lead to improved teacher self-concept. greater sense of responsibility and cornmitment to the school and the curriculum and increased student motivation. Kirk (1988). in a case study, found that teachers who were directly involved in the curriculum development process tended to shift from prescriptive to more interactive models of teaching. The increased interaction with students allowed the teachers to more thoroughly evaluate the students' needs.

The selection of curriculum materials by teachers involves knowiedgeable decision making . May (1993), in a critique of World of Music, a cornmonly used textbook series, suggested that curriculum materials need to be conceived and designed by authors in such a way that teachers can make informed curriculum and pedagogical decisions. In an analysis of the selection of learning materials,

Komoski (1985) suggested that teachers must be trained to recognize the pedagogical integrity of curriculum materials. He further reported the fol lov4ng 14 criteria to guide the seledion of leaming m&erials: contents (appropriateness,

coverage, objectives), understandability (by leamers), usability (ease of use and

durability) and likeability (reactions of children) (p.32).

In organizing and resolving the challenges of music curriculum

development, Elliott (1995) builds upon the notion of curriculum commonplaces espoused by Schwab (1962; 1973). The following list extends Schwab's original set of wmmonplaœs: aims, knowledge, learners, teaching-leaming

processes, teacher(s), evaluation, and learning context. These elements are

"commonplaces" in that they imbed al1 teaching-leaming situations. Building on the work of Connelly and Clandinin (1988), Elliott (1995) affins that "a

curriculum . . . is sornething that teachers and leamers experience in particular

situations as a result of the interactions between and arnong curriculum

commonplaces" (p. 255). It cornes alive in transaction and interaction.

The curriculum making procedure of a reflective practicum following a

praxial philosophy of music education moves from general curricular decisions to

more specific decisions-in-action (and back again) in a flexible, interactive

context-dependent process involving four-stages: 1) orientation, 2) preparing

and planning, 3) situated action: teaching and learning, and 4) evaluation.

In the first stage the music educator becomes oriented to the music

teaching-learning situation. In stage two the teacher prepares and plans the

music teaching and leaming in relation to hisher orientations and hislher unique

individual teaching situations. The situated action stage follows involving the 15 music educafor teaching by thinking-indion in relation to hislher orientations, preparations and plans and the contextual challenges of hisher own teaching situation. In the final evaluation stage, the teacher evaluates the first three stages of curriculum rnaking.

The practicum offers pupiis various opportunities to engage in reflective involvement with diverse musical practices. This critical reflection draws upon

Dewey's perception of education being conceived as a continuing reconstruction of experience (Dewey, 1938). Students "follow Mat expert and creative music makers do based on their informal knowledge: they frame a new situation in relation to something already understood" (Eltiott, 1995, p. 288).

The important mentor-apprenticeship relationship is at the centre of the practicum. "Teachers must serve as role models of the most important skills and attitudes and must, in a sense, embody the practices that are sought" (Gardner,

1991, p. 204). When the musical standards and goals are lucid and when teachers and pupils are meeting progressive musical challenges, the curriculum- as-practicum rnay lead to growth and enjoyment for both students and teachers.

Teachers' curriculum decisions may also be influenced by peers. The significant mentor-apprenticeship relationship rnay also be applied to teachers mentoring other colleagues. Ross, McKiever, and Hogaboam-Gray (1995) and

Ross (1995) argue that confidence increases when teachers work together and that collaboration and confidence mutually reinforce teachers in the development of a culture of professional cornmitment in schoois. Educators outside the 16 classroom such as district level msultant~play an important rote in school improvement contributing to more effective teaching practices and eventually to higher student achievement (Regan & Ross, 1993). The ongoing enhancement of consultants through professional development is integral for the development of the effective consultant (Regan & Ross, 1991, 1992; Ross & Regan, 1988,

1992).

Publishers' Influence on Teacher Curriculum Decision Makin~

Publishers, through their publishing of textbooks and instructional materials, have exerted a strong influence on curriculum decision making of teachers. Squire (1988), in a major review of studies of textbooks, found that despite more than three decades of critique and defense of textbooks, research on textbooks and instnictional materials remained largely fragmented and open to varied interpretation. Studies in the evaluation of textbooks and instructional materials have investigated aspects such as criteria, content, teacher/publisher perceptions, teacher involvement as writers, and readability formulas.

Good and Shymansky (1986) studied the nature and use of high- inference and low-inference criteria for the evaluation of science textbooks.

High-inference criteria rely completely on the subjective judgment of the reviewer; reviewers may have conflicting values regarding the subject, teaching and learning. A person's evaluations reflect his/her values. Therefore, applications of high-inference criteria by persons with different value systems rnay result in varying judgments about the "value" or "goodness" or "quality" of the produds in question. Use of lowinference aiteria usually results in less variability among raters; this implementation rnay be easier to quantify, may involve fewer value judgments although considerable subject knowledge may stiil be needed. Both high-inference and lowinference criteria should be used in evaluating textbooks (Good 8 Shymansky, 1986; Howe, 1985).

In an analysis of commonly-used literature curriculum materials, Cianciolo and Van Camp (1991) focused on how the teaching of the criticallaesthetic response to literature was addressed in the instnictional materials analyzed.

The analysis instrument consisted of three categories about the ccntent af literature: selection, organization and sequencing. and explication.

The involvement of teachers as writers has concerned researchers (Allen et al., 1986; Kormos, 1978). Kormos (1978) investigated educator and publisher perception of the quality of instructional rnaterials. He suggested that joint publisherleducator studies should be done on improving products and developing costeffective manageable ways of providing up-to-date instructional materials. In a later study, Allen et al. (1986) promoted the involvement of practicing teachers in wfiting instnictional materials for publication. Exemplary teachers know the needs of their students well. To be successful as a wriier of curriculum materials, the teacher must have visited many different kinds of ciassrooms, know rnany diverse pedagogical approaches, and understand the great diversity of pupil and teacher aptitudes and abilities. f 8

Researchers have also sought ways to investigate the vanous fadors that influence the readets reaction to the te* and assess the level of reading challenge in instructional materials (Beard, 1967; Dale & Chall. 1948; Fry, 1969;

Harrison, 1980). The work in this area resulted in a number of formulas for estirnating readability of textual passages; they have becorne widely used by publishers of textbooks and leaming materials. The Dale-Chall and Fry formulas have been most extensively utilized by textbook selection cornmittees as one criterion in selecting graded material for classroom use.

Despite its prevalent use, there has Men much criticism of the validity and appropriateness of using readability formulas (Armbruster et al., 1985;

Klare, 1984). Readability formulas fail to take into account many characteristics of text known to affect comprehension: e.g.. content difficulty and familiarity, organization of ideas, author's style of witing and page layout (Armbruster et al.,

1985; May, 1993). As well, readability formulas neglect characteristics of readers that may affect comprehension such as motivation, interest. purpose, or perseverance. Decisions about matching texts and children are best made by trained and experienced teachers who have worked ~Ïthchildren and who have witnessed the interaction of children and books (Armbruster et al.. 1985;

Schumm & Strickler, 1991).

May (1993). in a critique of World of Music, reported that in elementary music texts, there is little written text or explanations related to the concepts or songs. Most space is taken up by the songs themselves (music and the text) $9 and illustrations about the content or lyrics of the songs - not music concepts.

She! suggested that leaming musical concepts must be facilitated in ways other than reading or story examples typical of other subject-area textbooks.

Selection of Textbooks/lnstructional Materiais

In many educationai jurisdictions in states and provinces across North

Arnerica, textbooks and leaming materials are selected and approved by statelprovincial curriculum wmmittees. DiMare (1996) investigated school principals' and teachers' perceptions regarding decisions to select technology for curriculum uses in three Connecticut elementary schoois. Teachers reported that they needed to be more empowered and more knowledgeable to be active participants in the decision-making for selection of learning materials.

Certain researchers have suggested the need for diversity in the variety of instructional materials for classroom use (Armstrong & Bray, 1986; Lynch-

Brown, 1995; and Vann, 1994). Armstrong and Bray (1986) suggested that in order for teachers to meet the varying ability needs of students, educators must have the Rexibility to choose and use a variety of curriculum rnaterials. In a study of the selection and use by teachers of materials for elementary reading instruction, Lynch-Brown (1995) found a shift from the close adherence in the use of adopted basal textbooks to the usage of a variety of learning materials.

Vann (1994), in promoting teachers' input into textbook selection decisions. called for principals to share information on successful curriculum and instructional practices, to build teacher confidence that may lessen their 20 traditional relianœ on textbooks, and to fashion a supportive atmosphere for creative experimentat ion.

The types of materials selected for publication exert a major influence on the various choices for teachers available in the marketplace. Publishers who dorninate the textbook and instructional materials market have a strong impact on what students have an opportunity to leam in various subject areas (May,

1993). Publishers' decision making is market-driven; they must publish materials that will seIl (Ariew, 1982; Armstrong 8 Bray, 1986; Davis & Hawke,

1986).

Komoski (1985), in reporting a schema of the instructional materials' marketplace, noted that publishers were concerned with four major areas:

'Yeasibility (Can it be made at a reasonable cost?); marketability (Will it make it in the market?); profitability (Will it make an acceptable profit?); and acceptabiiity (Will it be accepted by cornmittees and teachers?)" (p. 32).

Publishers' standards may then be infiuenced by the profit motive. The publishing industry, like other media, reflects its consumers as much as its producers. Teachers. as wnsumers, must take the responsibility to shape publishing by selecting and rejecting wisely (Allen et al., 1986).

The Music Publishina lndustrv in Canada

The Canadian Music Publishers Association (CMPA) is an organization formed in 1949 to safeguard and advance the interests of the Canadian composer and publisher, to encourage fair trade practices, and to maintain high standards of quality of work and services. CMPA has been active as an advocate to the govemment for improvements in Canada's copyright laws. In

1975, the Canadian Musical Reproduction Rights Agency (CMRRA), a subsidiary of CMPA. was formed ta administer in Canada mechanical rights, synchronization rïghts and other reproduction rights (Bird. 1992; Norman, 1992).

In a major study commissioned by the Canadian Music Publishers

Association (CMPA) of English-language music publishing in Canada, Paul

Audley and Associates Ltd. (1989) reported that the music publishing plays a central role in the Canadian music industry, developing and marketing the work of Canadian wmposers. Audley and Associates reveated that the majority of the

Canadian music published in printed fom is for the educational market; in

1987/88 just over two thirds of titles classed as Canadian music were categorized as educational music. Current major educational music publishers

in Canada include: Frederick Harris Music Company Ltd. , Gordon V. Thornpson

Music: a division of WarnerIChappell Canada, Leslie Music Supply, Inc., and

Waterloo Music Company Ltd. (Green 8 Vogan, 1991; Kallrnan & Wehrle, 1992;

Wehrle, 1992a; 199213; and 1992~).

Amongst the findings reported by Audley and Associates (1989). it was

suggested that there vms "significant potential for the expansion of Canadian

songwriting and music publishing" (p. ix). Furthemore, Audiey and Associates

(1989) cited a significant number of important and interrelated issues wtiich

required attention in print music publishing. One central issue that needed to be addressed concemed the industry's capability to effectively cany out its fundion of ensuring an adequate supply of printed music was available that included the work of Canadian composers and songwwiters. Also, the issue of illegal photocopying directly affected the industry's ability to finance the production of

Canadian Mes.

In response to these issues, Audley and Associates (1989) recomrnended that CMPA should "in the context of revision to the Copyright Act. give priority to a strategy to discourage illegal photowpying of printed music and to the development of an appmpriate and effective copyright collective to act on behaif of publishers of printed music" (p. 123).

Leslie Music SUDDIY. Inc.

Leslie Music Supply, Inc. (LMS) is a Canadian music publishing Company established in 1970 by Joan Leslie in Oakville, Ontario who had purchased the stock and copyrights of the Western Music Company of Vancouver. LMS publishes choral music for school and church use written prirnarily by Canadian composers, and some compositions for piano, organ and recorder. In 1991, the

LMS catalogue had grown to include wrks by 68 Canadian composers including

W. H. Anderson, W. Herbert Belyea, Craig Cassils, Paul Chappel, Ciifford

Crawley, Raymond Gould, Nancy Telfer. and Healey Willan. LMS became the

Canadian distributor and agent for Leonard, Gould and Bolttler publishers of

London and Brodt Music Company of Charlotte, NC. In l99t. LMS was also the sole distributor of the choral and solo piano music for Frederidc Hams Music

Company Ltd. (Kallman, 1992; "Mother of Six", 1970; Wehrle, 1992b).

Choral Music Experience

Singing has traditionally been an integral part of the elementary music educational experience for children. Classroom teachers have usually used repertoire found in textbooks and choral octavos for chorai music expefiences for children.

Since the early eighties, the music industry in North Amerka ha$ witnessed the growth of an exciting development in choral music for children.

There has been a rapid increase in the amount of new repertoire available.

As well, the higher standard in quality literature for treble voices suitable for use in the elementary school has become the foundation for music curricula

(Bartle, 1993; Schelleng, 1993). Schelleng further suggests that there is a need for combining the quality literature already available with improved methods of education to provide a cornplete sequence of instruction.

Elliott (1993, 19951, in discussing the nature and value of choral music education, proposes that a rich fom of knowing-in-action called musicianship is the key to musical enjoyment, both now and in the future.

In this praxial philosophy, all pupils should leam music in the same fundamental way: as refiective musical practitioners engaged in the kind of active cognitive apprenticeship we cal1 music education. 24

Elliott (1993, 1995) further states that pupil self-growth and enjoyment result from the matching of choral musicianship and carefully selected choral challenges. The task of the music educator is to make musicianship and musical enjoyment accessible to al1 children .

Rao (1993) in We Will Sinq! demonstrates Choral Music Experience as a performance-based approach to music education. The two necessary conditions for musical enjoyment are: having something to do (a musical challenge), and developing the ability to do it (know-how). ln the choral music classroom, the challenge is found in the repertoire. The pupil's ability to meet the musical challenge is dependent upon the development of musicianship. In order to perform successfully, teachers need to balance the challenges provided by the repertoire and the student know-how or musicianship. The matching of the know-how and the musical challenge enables higher levels of musical learning and increased musical enjoyment.

Other educators have supported school music performance. For example, Goddard (1989a; 1989b) strongly argues for performance-based music education. He suggests that teachers should demand artistic standards of performance, select music that fulfills aesthetic as well as pedagogical needs of pupils. and teach expressiveness and technique simultaneously.

Vocal Methodoloriies in Elementarv Music Education

The review of the literature on child voice pedagogy reveals that both the skill approach and the Song approach have been used in teaching children 25 to sing. Vocal training in the nineteenth and early twentieth centuries in

North Arnerica foaised on fundamental vocal training exercises. Lowell

Mason. the nineteenth century music educator first responsible for teaching music in public school in the United States, included vocal training exercises in his early teaching manuals (Phillips, 1984; 1985).

Bray, Green, and Vogan (1992) reported that, in Canada toward the end of the nineteenth century, there was a concerted effort to develop the skills of reading music rnainly using the tonic sol-fa methodology which had been successfully introduced by John Cutwen in Great Britain.

During the 1930's the movement to progressive education in the United

States began tu impact on Canadian education. In school music, tonic sol-fa gave way to the Song approach. In the Song approach. songs were introduced by rote and the quality of the repertoire became increasingly important as a way of placing a higher priority on appreciation. The curriculum was determined, to a large extent, by the textbooks or Song series (Bray, Green,

8 Vogan, 1992).

Phillips (1985), in surveying elernentary method texts in music education, reported that the Song approach was used almost exclusively. Likewise,

Kavanaugh (1983), in a study of methodologies suggested in elementary music education texts, found little regarding the development of the child voice. Rao (1980) reported that few children in elementary schools receive any systematic vocal or ensemble training. While the use of the song approach is still prevalent today, more music educators are beginning to realize that the demise of vocal development amongxhildren can be directly related to the lack of training children receive in the skill of singing (Phillips, 1985; Rao, 1980). Elementary music teachers need to know more about children's vocal ranges and vocal techniques as applied to the child voice (Wilson, 1970).

Other researchers have studied instructional implications in teadiing children to sing. Gould (1968) studied the singing problems of elementary school children and developed ways of helping children find and learn to use their singing voices. Roberts and Davies (1976) investigated ways of helping monotone school children.

In a study on instructional techniques used by selected directors of children's choirs, Bourne (1990) found that the directors reflected six themes in their instructional practices: identifying choristers; understanding and training the child singing voice; selecting musical literature; sequencing instruction; demonstrating vocally and in conducting; and expressing a philosophy of music education.

Fortunato (1981 ) perceives singing as a physical act that needs to be developed in a wellorganized sequence of activities. She regards singing as a psychomotor skill in which the child exhibits voluntary control over the actions and movements of the body that coordinate to bring forth the singing voice. Rao (1980, 1993) suggests that those cornmitteci to wrking children must develop an interest in the developmental process of the singing voice. She further proposes that vocal pedagogical integrity must be tied to musical wmpetence.

The Selection of Choral Repertoire

In order for effective learning to occur in the choral music experience, the musical challenges found in the choral literature need to be rnatched to the musicianship and development of the pupils (Elliott, 1993; Rao, 7993).

Several studies (e-g., Braun, 1988; Brunner, 1992; Goetze, 1989; Gould,

1968; Miller, 1979; Nofziger, 1968; Rao, 1989; and Shull, A971) have suggested criteria and parameters for the selection of choral repertoire.

In delineating the action plan of the American Choral Directors

Association (ACDA) National Cornmittee on Children's Choirs, Rao (1989) stated that the aim was to encourage high standards in choral repertoire from unison melodies to part-song forms. Choral literature should be studied and performed in a well-balanced, carefully composed choral curriculum that encourages the teaching of musical fon and style. As well,

ACDA challenged the music industry to publish, distribute, and market quality choral music suitable for the young voice in range, text and voicing.

Rao (1990) compiled and annotated Choral Music for Children as a resource to guide teachers in their choice of wmposed and arranged works available in published form. The annotations for each composition included 28 the follmuing: composer, title, publisher, voicing. style, language, notes, pedagogical value, and level of difficulty.

Miller (1979) established guidelines involving eighteen points to consider when selecting choral music. These selection criteria included music appeal, educational worth, vocal suitability, and other music compositional aspects. They are reported in Table 1 : Table 1

Guidelines for Setectina Choral Music (Miller. 1979)

Element Criteria

Edition valid

RangeiTessitura appropriate for singers

Music appealing to conductor

appealing to singers and audience

should enhance strong points of choir

should help to build a balanced choral Iibrary

should be a wise investment

should be within capabilities of singers

Text educational worth

compatible

easily Sung

Rhythm interesting

Melody interesting

Harrnony interesting

instrumental accompanirnent integrated with choral

required instruments should be available

Vocal Parts easily Sung

Form if arrangement should reflect spirit of original

Time need time to learn music Brunner (1992) suggested using a set of criteria based on music elements: melody, hanony, form, accompaniment, and expressive content/musical effect. Brunner maintains that thoughtful selection of repertoire enriches and enhances the musical experience of the singers.

Braun (1988) suggested expanding the repertoire for school choirs to include avant garde music. Students need to explore new territories and expand the limits of traditional choral music.

Goetze (1989) outlined guidelines for composing for children:

1) melodies must have a clear formal structure;

2) themes and motives must be consistent

throughout a piece; and

3) melodies need to be singable and make musical

sense.

Writing for children is both a musical and pedagogical task. Through good music, children's vocal and musical skills are advanced and their artistic potential is nurtured.

In a study for developing specialized programs for singing in the elernentary school, Gould (1968) defined three types of songs moving frorn easy to difficult. Type A (easiest) songs begin on the low tonic and proceed by scale step up or down the major or minor scale in a short range of five or six tones; Type B (medium) songs begin on the third or fifth and provide practice in singing a Song which does not begin on the tonic. These usually 31 mtain falling minor thirds; and Type c (diffiwit) songs contain one or more skips to the high tonic. These require skill in mental and physical preparation.

Nofziger (1968) studied and appraised selected Song literature for use in the elementary school music program. Evaluative criteria developed included: poetic worth, musical worth, musical expressiveness, imagery, and distinctive character.

Shu11 (1971) compiled an annotated guide to music by distinguished camposers for children's voices; the compositions selected were of varying geographical origin, musical style and complexity. The criteria used for evaluation of the composition included: musical and textual characteristics, ranking using a scale of five degrees and information about the textual source, language or languages used, and a brief description of content and publication data.

Selection and Analvsis - Canadian Music

Further studies have invoived the selection and analysis of Canadian music suitable for use ~Ithstudents in Canadian schools (e.g. Mills, 1971;

Shand, 1978, 1984; Stubley, 1985a; Thompson, 1989; Walter, 1994a; and

Cousens, 1997).

In an eatly study, Mills (1971) investigated vocal, choral and instrumental music by Canadian composers. Using set criteria, she selected 32 and analyzed vanous compositions for inclusion in a listening program for intemediate grades.

Shand (1978) studied some of the best available published

Canadian music suitable for large and small choral and instrumental student ensembles. The selective list used an analytical framework encompassing the following components: title, composer, publisher, price, duration, text, voicing, rating, grade level, musical style, technical challenges, pedagogical value, student appeal, and efiectiveness in performance.

Shand (1984) identified and analyzed unpubfished Canadian string orchestra music. She utilized an analytical framework in the following areas: technical challenges: left hand challenges, right hand challenges, left-right hand CO-ordination challenges, ensemble challenges; musical characteristics: form, harmony, melody, rhythm, texture, timbre; and pedagogical value: craftsmanship, idiomatic writing for al1 instruments, musical interest in al1 parts, technical challenges of an appropriate level in al1 parts and potential for furthering students' developrnent.

Stubley (1985a) investigated unpublished Canadian brass compositions for heterogeneous trio, quartet, and quintet. The study yielded an annotated and graded list of Canadian bras chamber music. Stübley modified the Shand (1984) frarnework to include the idea that a composition should provide students with the circumstances to experience music in an expressive manner (Stubley, 1985a). 33

Walter (1 994a) studied, selected and analyzed unpublished Canadian

music for jazz ensemble suitable for use in schools. Walter rnodified the

Shand framewrk for String Orchestra Musical Challenges Guidelines

(Shand, 1984) by adding jazz musical elements such as style, orchestration, balance, phrasing, and expression.

Thompson (1989) studied curent Canadian music in the choral music

experience of elementary and secondary school choirs. Using the Shand

(1978) criteria as a framework, she expanded it to include: title, composer,

publisher, catalogue number, date, duration, commission or premiere,

recording, grade level, voicing, accompaniment, range, tessitura,

rating. text, forrn, melodic style, harmonic style, rhythm, texture, pedagogical

value, pedagogical approach, and effectiveness in performance.

In a study on the influence of choral works by Canadian women on senior

female secondary students in Ontario, Cousens (1997) reported that vocal music

teachers described criteria used in the repertoire selection process, their

inclusion of compositional skill development components and their views of

including works by Canadian women in their vocal prograrns. She found that

music teachers did not use gender as a criterion when selecting vocal repertoire.

Attempts have been made to make materials and music more accessible

to the educator. One project that has addressed many challenges

systematically in the promotion of Canadian music in schools has been The

John Adaskin Project - Canadian Music for Schools. The John Adaskin Proied (Canadian Music for Schools)

The John Adaskin Project (Canadian Music for Schools) is a joint project of the Canadian Music Centre (CMC) and the Canadian Music Educators'

Association (CMEA). The project was conceived and initiated in 1961 by

John Adaskin, then executive secretary of the CMC. In 1962. a committee began grading and evaluating Canadian repertoire in ternis of its suitability for student performers. In 1973, CMEA joined the CMC to animate the plan under the direction of Dr. Patricia Shand.

The present project is designed:

1. to acquaint music educators with Canadian music

currently available and suitable for student use;

2. to promote the publication of additional repertoire;

and

3. to encourage composers to add to the repertoire

(Shand, 1992).

The project involves three phases. Phase I of the John Adaskin Project

(JAP) has involved the preparation of a selective guidelist of recommended published Canadian music suitable for performance by student choirs, bands, orchestras and chamber ensembles. In Canadian Music: A Selective

Guidelist for Teachers, Shand (1 978) provided a one-page evaluation of each piece selected; these evaluations provided the teacher with specific guidance regarding musical elements (e.g., style, mood, form, wmpositional techniques), degree of difficulty, technical challenges, and useful pedagogical aspects.

Phase Il of JAP involves the preparation of selective annotated lists of music suitable for student perfomers. Since 1985, guidelists and graded lists have been produced of unpublished and published Canadian music for various musical instruments and ensembles. To date, these have included:

1) A Guide to Solo Canadian Trombone Literature Available Through the Canadian Music Centre (Maxwell, 1985); 2) Graded List of Unpublished Canadian String Orchestra Music Suitable for Student Perfomers (Shand, 198%); 3) Graded List of Unpublished Canadian Band Music Suitable for Student Perfomers (Shand, 1985b); 4) Graded Iist of Unpublished Canadian Brass Chamber Music Suitable for Student Performers (Stubley, 1985b); 5) Guidelist of Unpublished Canadian String Orchestra Music Suitable for Student Performers (Shand, 1986); 6) Guidelist of Unpublished Canadian Band Music Suitable for Student Performers (Shand, 1987); 7)A Guide to Unpublished Canadian Brass Chamber Music Suitable for Student Perforrners (Stubley, 1989); 8) A Guide to Solo French Hom Music by Canadian Composers (Stubley, 1990); 9) Guidelist of Canadian Solo Free Bass Accordion Music Suitable for Student Performers (Maclnnis, 1991); 1O) A Guide to Published Canadian Violin Music Suitable for Student Perfomers (Shand, 1993); 11) A Guide to Unpublished Canadian Jazz Ensemble Music Suitable for Student Perfomers (Walter, 1994b); 12) Guidelist of Unaccompanied Flute Music by Canadian Cornposers (Cernauskas, 1995); and 13) A Guide to Selected Canadian Clarinet Music Suitable for Student Perfomers (Kernohan, 1997).

No choral guidelists have been produced. Phase III of JAP involves comrnissioning Canadian composen to write additional music for schools.

Some of the criteria that have been used to categorize musical pieces have been based on studies of children's singing. This literature now be reviewed.

Children's Vocal Range

Singing has traditionally been central to elementary school music programs (e.g., Nye & Nye, 1985; O'Brien, 1983); and research studies have been concerned with the child voice since the 1930's (e.g., Apfelstadt, 1982;

Davies 8 Roberts, 1975; Goetze, 1989; Hattwick, 1933; Jersild 8

Bienstock, 1931). Much of the research literature on the child voice pertains to inaccurate singing and the use of improper vocal range (Apfelstadt. 1982;

Welch, 1979b).

Research suggests that children develop pitch accuracy in fairly low ranges first (Hattwick, 1933) and that using extreme ranges hinders vocal accuracy (e.g., Davies & Roberts, 1975; Jersild & Bienstock, 1931; Smith,

1963; Smith, 1974; Welch, 1979a; Welch, 1979b; Young, 1971).

Early experiences in singing should focus on the natural comfortable range (e-g., Apfelstadt, 1982; Gould, 1968; Rosborough et al., 1972; Smith,

1963; and Telfer, 1993) and should utilize songs of Iimited span (e-g.

Atterbury, 1984; Gordon, 1971; McDonald, 1979; Rutkowski, 1986; Telfer,

1993; and Young, 1971). Studies have defined the natural cornfortable range of five and six- year-olds as ( D' - A' (Andress, 1980; Gordon, 1971; Jersild &

Bienstock, 1931 ; Klandeman, 1979; McDonald, 1979; Rutkowski. 1986).

In a study on the influence of training on the vocal ability of three- year-old children, Jersild and Bienstock (1931 ) found that children most readily sing in the range of D' - A' Klandeman (1979) concluded that children aged three to five have an initial range of C' - A'. Rutkowski (1986) studied the effect of a restrkted song range on kindergarten children's use of the singing voice and developmental music aptitude. She suggested that pupils in kindergarten should sing songs in a range of D' - A'.

Harkey (1978) and Young (1971) both proposed that the practical range extends below C' to Bb or A. Harkey (1978), in a study of three-year- old children, found the practical range was lowr than in most previous research (Bb - Gb'). Young (1971), in an investigation of singing abilities of kindergarten and first-grade children, found some children had a general pitch range of A - Eb'.

As weli, researchers have found that vocal range develops as a factor of the growth pattern (e-g., Cleall, 1979; Gould & Savage, 1972;

Klanderman, 1979; McRae, 1991; Rosborough et al., 1972; Wassum, 1979;

Welch, 1979a; Young, 1971 ).

Rosborough et al (1972) found that range should be adjusted to remain within the child's physiological capabilities at each age level. Systematic attempts should be made to extend the range so as to include boVi head and chest registers.

Based on testing of 1216 children and adults, Cleall (1979) found that the vocal range develops from a narrow band of pitches outwardly in both descending and ascending directions until adulthood.

Young (1971) found four stages in vocal range development in children. In stage one, the child has either a range of Dg - FW or A - Eb'. In stage hm, the range extends to A - F#'. By stage three, the child can sing A -

C" and at the fourth stage, the upper range is extended to D".

McRae (1991) reports the optimum range for children as: four and five- year-olds Dg- Bu;six and seven-year-olds D' - Du; eight and nine-year-olds C'

- E"; and ten and eleven-year-olds Bb - FM.

Gould and Savage (1972) suggested a Ader range for those children who have received special training. For children aged five to seven, the range suggested should be D' - D" or Eu. For eight to ten-year-olds, the range should extend to C' - E" or F". By the age of eleven and hryelve, the range should be A - FM.

Vocal Ranaes of Re~ertoire-inElementarv Song Textbooks

Numerous researchers have studied the ranges of repertoire in Song books and found discrepancies between ranges defined by research and those used in elementary Song textbooks (e.g., Apfelstadt, 1982; Diaz, 1980;

Phillips, 1985; Welch, 1979a; Wilson, 1970). In analyzing songs in elementary s&ml music series published in the

United States frorn 1926 to 1976, Diaz (1980) found a gradua1 lowering in the range of songs. Phillips (1985) investigated the pitch ranges of Song material in school basal series texts. He noted that pitch ranges in current music texts have been lowered in cornparison with earlier basal series. Welch (1979a) reported that the child's cornfortable range was lower than the published music range. Wilson (1970) found that the range of songs in current music series was considerably higher than the range that the majority of children could match at ail grades.

Apfelstadt (1982) reported that ranges of songs have gradually lowered in the past few decades. Contemporary books show an encouraging agreement with research findings both in actual range and in the sequence of vocal development they recornmend.

Goetze (1985) in a summarization of the literature on the child's vocal range noted that if students are to succeed, the melodic example must be pitched at a level which research has shown to be within the vocal range of young singers.

Vocal Tessitura in Re~ertoire

Researchers have shown great interest in the vocal tessitura of children's repertoire (e.g., Apfelstadt, 1982; Atterbury; 1984; Goetze, 1989;

Hattwick, 1933; Phillips, 1985; Rosborough et al., 1972; Rutkowski, 1986;

Telfer, 1993; Young, 1971). Apfelstadt (1982) stated that aithough a child may vocalize a large range of pitches, hefshe rnay not be able to sing all pitches comfortably in structured songs. Therefore, teachers must select music which is within the cornfortable limits of their singers' voices. Rosborough et al. (1972) suggested that the tessitura should remain in the child's mid-range.

Atterbury (1984) suggested that songs for young children in prirnary grades should centre around Cl. As well, the music teacher should select songs a small range and low tessitura (e.g., Atterbury, 1984; Rutkowski,

1986;Young, 1971).

As the vocal development of the child grows, the tessitura should expand with the extended range (e.g., Goetze, 1989; Phillips, 1985; Telfer,

1993). Goetze (1989) states that the majority of notes should eventually be between D' - E". Telfer (1993) suggests that a good tessitura for children's voices is G' - Cm. Most of the pitches should fall within the tessitura, but it is important to use pitches throughout the full range from time to tirne so that the quality of voices improves w-th experience in the outer parts of the range. Music will be enhanced by the variety of colour available in different parts of the vocal range. Textual Charaderistics

Researchers and educators have studied textual considerations in the selection of choral repertoire (e.g., Goetze, 1989; McRae, 1991; Ortlip,

1984; Telfer, 1993). Ortlip (1984) suggests that the children's choral director carefully select music and text in every respect appropriate to the ages, abilities, and interests of children and in keeping the performance situation.

Goetze (1989) stated that many compositional considerations of text are dependent upon good poetry. Children need to leam literature which expresses a variety of emotions; through the marrying of text and music, children may experience emotions such as grief, joy, tendemess and repose.

McRae (1991) suggests that the textual meaning should be understandable. The most appropriate texts for the young child should be couched in concrete language. They should exhibit the best in poetic standards, freshness, originality, and directness.

Telfer (1993) suggests that the vocabulary level and the length of the text should be appropriate to the age level of the children. The text should be topical for the singers and enable them to experience some new idea or emotion or a different perspective on an idea. Accom~animentCharacteristics

Singing with instrumental accompaniment is another leaming activity frequently found in traditional elernentary music classrooms. The effect of harmonic accompaniment on singing accuracy has been investigated in a few studies; some researchen suggest that simple tonal chord progressions more effectively promote singing accuracy than do complex or dissonant chord progressions (e-g., Goetze. 1989; Petzold, 1969; Sterling, 1985; Telfer, 1993).

In a study of first- to sixthgrade students, Petzold (1969) reported that the multichord progression accornpanying the response was found to seriously inhibit melodic accuracy.

Goetze (1989), in outlining guidelines for composing for children, noted that, in general, accompaniments should be light in both texture and dynamics. The musical effect is more interesting and skill development is heightened when voices hold independent musical lines. As well, composers need to write music for unaccompanied voices in unison and in harmony.

Telfer (1993) suggests that the piano accompaniment should provide cues which are obvious to the singer but part of the natural fabric of the music. Much of the piano accornpaniment should include some writing in the bass range to help the tuning and to aesthetically balance the sound of the high voices.

Stauffer (1 986),on the other hand, reported conflicting results. In a study of primary grade children, Stauffer found that pupils trained with simple hamonic accampaniments sang less a&rately than did either the no- accornpaniment or rnelodic replication groups. Stauffer concludes also that hamonic content was more effective at the third-grade level than at any other primary grade.

Rhvthmic Characteristics

Some studies (Klandenan, 1979; McRae, 1991) have suggested certain rhythmic characteristics of Song repertoire of primary-aged children.

In a study of auditory discrimination and performance of pitch, rhythm and melody in preschool children aged three, four and five, Klandenan (1979) found that rhythms of songs should consist mainly of quarter and eighth notes, and should be repetitive.

McRae (1 991 ) suggested that the most successful songs have strong vital rhythms with natural accents on words, and the simplest syncopations.

Melodic Characteristics

Researchers and educators have studied the effect on singing of melodic direction, intervals and placement of intervals (e.g., Klanderman.

979; McDonald, 1979; McRae, 1991; Telfer, 1993).

In studying preschool children, Klanderman (1979) found that melodies can contain intervals of a second but should not change direction often.

McOonald (1979) suggested that songs large melodic intervals are more difficult to sing than those w-th smaller ones. When rnelodies contain intervals larger than a ffih or sixth, young children men cornpress them so that they fit into their easily used pitch range.

McRae (1991) suggested that melodies for young children be constnicted w*th easy intervais and repeated phrases. Phrases should be singable on one breath, and words and melody need to be compatible in mood.

Telfer (1993) recommended that rnelodies should follow the rhythm and pitch inflection of the spoken word. Melodies should have an interesting musical shape both repetition and variety. Pitches that move by step are usually easier to pre-conceive than those that move by jump.

This section has provided a review of the literature relevant to the present study. This review has demonstrated that there is a gap in our research in dealing certain aspects of the selection of choral music repertoire suitable for use with primary-aged children. Also, a gap exists in our resources for rnatching choral literature with children's vocal capabilities.

While much research has been reported on the range, tessitura and other various music structural characteristics, there exists a gap in the employment of these results in a graded analysis of published Canadian choral repertoire suitable for first-, second-, and third-grade children. This chapter will delineate the method of the present study. First, an account of the kind of qualitative inquiry research that guides the study will be presented. Then, within this framework, the context of the study will be presented; the procedures and the results of the pilot study (Beatty, 1995,

1996b) will be described. Then the three research questions and corollary questions each be presented along w'th a description of respective data sources and analysis procedures. Next, the various research questions, data sources and strategies for maintaining data credibility be delineated. Finally, the summary of the method chapter wi-Il be presented outlining the nine phases in the design of the present study.

The research of the present inquiry is grounded in the case study tradition. More specifically, the present study is closest to an intrinsic case study described by Creswell (1998) as:

an exploration of a 'bounded system' or a case (or multiple cases) over time through detailed, in-depth data collection involving multiple sources of information rich in context. This bounded system is bounded by time and place, and it is the case being studied - a program, an event, an activity, or individuals. Multiple sources of information include observations, interviews, audio-visual material, and documents and reports. The context of the case involves situating the case within its setting, which may be a physical setting or the social, historical, and/or economic setting for the case. (p. 61) 46

The depidion of the present research may be described as an intrinsic case study; the focus of the inquiry involves a unique case requiring study. The intrinsic case study is related to but differentiated from the instrumental case study where the case may be used instrumentally to illustrate an issue and from the collective case study in which more than one case is studied (Stake, 1995).

The Pilot Study

In 1995, 1 carried out a pilot study on the selection and analysis of unison

Canadian choral compositions published by Leslie Music Supply, Inc. (1970-

1994) suitable for performance by first-, second-, and third-grade Canadian elementary school pupils (Beatty, 1995; Beatty, l996b). This study consisted of seven phases: 1) identification and selection of unison Canadian choral compositions published by Leslie Music Supply Inc., 2) selection of expert panel evaluators, 3) establishment of the framework for analysis, 4) assessment of the level of difficulty of al1 compositions, 5) interview Joan Leslie. ownerlpresident of Leslie Music Supply Inc., 6) analysis of compositions, and 7) data analysis.

In order to identiv and select unison Canadian choral compositions published by Leslie Music Supply Inc., l complied a list of al1 Canadian unison choral compositions published between 1970 and 1994 by Leslie Music

Supply Inc. The size of the sample of approximateiy one hundred and ten octavos was delirnited using the following criteria: 1) range: compositions extending beyond Cr - E,the optimum range for eight

and nine-yearolds recommended by McRae (1991 ) were deleted;

2) text: compositions that 1 deemed to be beyond the wmprehension of most

six-. seven-, and eight-year-old Canadian school children were removed;

3) historically representative: two compositions for each five-year period of

growth of the Leslie Music Supply Inc. were selected as well as one piece

each from the choral catalogues of Frederidc Harris Music Co. Ltd. and

Lenel Music Publishing; and

4) variety of composers: compositions that reflected diversity of the composers

published by Leslie Music Supply Inc. were chosen.

A srnaller sarnple of five of the twelve pieces was chosen by the

investigator to be analyzed by a panel of two experts. One composition

was selected from each of the five-year periods of growth in Leslie Music

Supply Inc. Two educators extensive experience in elementary music

education and choral conducting analyzed the five pieces following a set of

analysis guidelines provided.

In order to establish a framework for analyzing the technicallmusical

characteristics and pedagogical challenges. I reviewed the relevant literature

on the selection and analysis of Canadian music suitable for use with students

in Canadian schools. Based upon the frameworks of Shand (1978) and

Thompson (1989), 1 modelled a framework for analysis of

technicallmusical characteristics and pedagogical challenges. I developed a set 48 of analysis guidelines, based on ~horn~son(1989) and construded a

Repertoire Analysis Fom based on the set of guidelines for analysis.

The amount of wrnmon judgrnent between the mernbers of the expert panel was investigated and analyzed. The following criteria had been established:

1) the members of the expert panel should agree on rating the degree of difFiwlty of at least four of the five compositions, and

2) the panel members should be within one degree of difficulty of one another on al1 compositions.

These criteria were met. My reliability as a judge was tested by independently grading the same five compositions. lt was determined that my ratings should be within one level of each of the two members of the expert panel of evaluators. This criterion was met.

I scheduled an interview and met in person with Joan Leslie, Owner and President, Leslie Music Supply Inc. This 45-minute dialogue was audiotaped and later transcribed. The interview data from the pilot study were used in the present study.

I distributed to each of the evaluators the following: 1) the five selected pieces for analysis, 2) analysis guidelines and 3) multiple copies of the repertoire analysis form. Evaluators were g iven five weeks to ana lyze, complete and return their forms. 1 concurrently analyzed the same five pieces plus an additional seven compositions. 49

I perfomied the data analysis. ~re&ll (1998) descnbed how Stake would analyze qualitative case study data. Stake would develop the category scheme by talking to the experts in order to recover the criteria . My procedure was quite different. In my data analysis, I searched for patterns within a tight theoretical framewrk It is my belief that music education is a much more highly structured discipline than certain other domains of study involving qualitative research. Using the rich body of research literature from the seledion and analysis studies of Canadian repertoire for student use as wll as the literature related to elementary school vocal music methodology, I developed criteria for analyzing unison choral compositions. In the analysis, I looked for similarities and differences among the two experts and myself. I found that we agreed on most technical/musical characteristics; however, on the highly inferential areas of pedagogical value and pedagogical approach we differed. The difficulty with the strategies that I had used in rny pilot study was that I may have inhibited the experts. Even though I had developed the frarnework for analysis and guidelines for analysis based upon previous research in this area, the experts may have had altemate views which I had not explored. Therefore, for the present study, I built in a step empowsring the experts to challenge both my frarnework for analysis and the guidelines for analysis and to re-visit their previous analytical judgments.

The results obtained from the interview Joan Leslie provided a rich reflection of the historical development of Leslie Music Supply Inc. Her personal accounts in the narrative made the history corne to Me. It is airough her deep insight that we leamed more about the events that shaped the growth of this important Canadian music publishing firm.

In the results of the cornparison of the degree of difficulty for each of the five compositions analyzed, both evaluators partially met the criteria of agreeing in at least four of the five ratings. In composition #1 the evaluators and investigator were almost in agreement while in composition #3 both of the evaluators and the investigator differed on the degree of dificulty. As well, the panel were wîthinone degree of difficulty of one another on al1 compositions.

Therefore, the criteria were primarily met.

The investigatots reliability as a judge was tested by independently grading the same five compositions. Since the investigator's ratings were within one level of each of the two members of the expert panel of evaluators, the investigatofs reliability as a judge for rating the cornpositions of the present study may be deemed as acceptable.

Experiences in this pilot study guided the investigation of the three research questions and corollary questions identified earlier. The following procedures were used.

Research Question 1:

What unison Canadian choral compositions publjshed by Leslie Music Supply Inc. (7970-1995) may be identzed as suitable for performance by tirs&, second-, and thirdgrade Canadian elementary school pupils? In order to identify unison Canadian choral compositions published by

Leslie Music Supply, Inc., I first visited the publisher in person at the cornpany offices and store in Oakville, Ontario. With the assistance of the

Founder, Owner and President. Joan Leslie, and Co-Owner, Pat Leslie

VanderHeyden. I wmplied a list of al1 Canadian unison choral compositions published between 1970 and 1995 by Leslie Music Supply, Inc. based upon their publishing records. These included original publications of Leslie

Music Supply, Inc. as well as reprints, previously published by Western Music

Company Ltd., Frederick Harris Music Company Ltd. and Lenel Music

Publishing. Joan Leslie purchased the stock and rights of copyright of Western

Music Company Ltd. in 1970 ("Mother of Six", 1970; Wehrle, 1992b). In 1991

Leslie Music Supply, inc. purchased the inventory and rights of copyright of

Lenel Music Publishing and in 1994 many of the copyrights of choral compositions previously published by Frederick Harris Music Company Ltd. were assigned to Leslie Music Supply, Inc.

The Leslie Music unison catalogue of approxirnately one hundred and ffieen octavos was delimited to thiriy compositions. In conjunction with Pat

VanderHeyden, co-owner of Leslie Music Supply, Inc., we retained the twelve compositions from the pilot study and further selected an additional eighteen compositions published between 1970 and 1995 using the following criteria:

1) range: compositions encompassing a range of Cu - E". the optimum range for eight and nine-year-olds recommended by McRae (1991) were selected; 2) te& compositions with age-appropriate text suitable for most six-. seven-, and eight-year-old Canadian school children were chosen;

3) historicaily representative: at ieast DNO compositions for each five-year period of growth of the Leslie Music Supply Inc. ware selected as well as one piece each from the choral catalogues of Frederick Harris Music Co. Ltd. and Lenel Music Publishing; and

4) variety of composers: compositions that reflected diversity of the composers published by Leslie Music Supply Inc. were chosen. Composers Clifford

Crawley and Nancy Telfer had published numerous compositions. It was important to sample their various compositional styles as well as investigate the diversity of the Leslie catalogue through the works of other composers.

Research Question 1: Corollaw 1

What guidelines may be established for assessing the technical, musical, and pedagogical challenges?

In order to establish a framework for analyzing the technical/musical characteristics and pedagogical challenges, I first reviewed the relevant literature on the selection and analysis of Canadian music suitable for use students in Canadian schools as reported in Chapter 2. Then, based upon the frameworks for analysis utilized by Shand (1978), Thompson (1989) and of the pilot study, Beatty (1995, 1996b), 1 synthesized a framework for analysis of technicallmusical characteristics and pedagogical challenges. Following, I developed a set of analysis guidelines, based on Thompson (1989) and Beatty (1995, lQ96b) and constnided a Repertoire Analysis Fom based on the set of guidelines for analysis.

In the present study, pilot study results from expert evaluators 1 and 2 were utilized. I selected a third expert evaluator. In selecting each of the expert evaluators, I had searched for highly experienced elementary music teachers who had developed their planning and pedagogical skills in music education to a high degree. As well, I looked for teachers of music who were highly regarded choral conductors themselves in an educational setting and/or community-based expertise in selecting and preparing choral repertoire for performance with elernentary school children. In addition, I searched for teachers of music who had experience working with teacher colleagues in a professional development wntext. In the selection of the third expert, I looked for a teacher outside the province of Ontario. This panel of choral music experts

be known by the pseudonyms of Adam, Randall and Margaret and is described in the present study as Panel 1.

The first expert in Panel 1, Adam, is a recently retired Ontario music educator with over 30 years teaching experience as an elernentary music teacher, music consultant, arts consultant, community choral conductor and university professor. He is presently involved as a university professor in music education curriculum methods in pre-service teacher education on a part-time basis. Adam holds a Bachelor of Arts degree (BA) and a Master of

Education degree (MEd), an Associateship diploma from the Royal Conservatory of Music in piano (ARCT) and has been 'active as an author, adjudicator, clinician, and conductor across Canada. He has been very active on the board of directors of a provincial major arts service organization.

The second expert in Panel 1, Randall, is also a recently retired Ontario music educator with over 30 years teaching experience as ari elementary music educator, music supervisor, music consultant, choral conductor, church director of music and university instmctor of music education methods at the teacher in-service level. He holds BA and MMdegrees. Randall is

.presently a choral conductor of two regional school board choirs - children's and youth, a church director of music (organistkhoir director), and a tour consultant for a major travel agency.

The third expert in Panel 1, Margaret, is an active music educator with 28 years of classroom music teaching in Nova Scotia. She has taught instfumental music, choral music and general music from kindergarten through to grade twelve. Margaret holds a BA in music, a BA in political science and psychology, a music specialist's diploma and has completed 4 years summer study in Kodaly rnethodology. Expert 3 has been a church choir director and a rnember of several performing choral ensembles. With experience on the executive of a provincial and national arts service organization, she is active as an accompanist, adjudicator, clinician and workshop presenter.

I then disseminated draft frameworks and analysis guidelines to the expert evaluators requesting input for further clarification. I sent Adam and Randall, who were involved in the pilot study, the analysis of the five pieces they did for the pilot. I asked them to review their analysis and to rewmmend refinements to the draff framewrk for analysis. I also distributed the draft framewrk to expert evaluator, Margaret from Panel 1, to suggest possible refinements.

One of the results of the pilot study yieided diversity in the highly inferential areas of pedagogical value and approach. Based upon this result, I considered establishing a separate framework for the appraisal of pedagogical value. Guidelines developed by Walter (1994a) formed a genesis for such a framework. I asked each expert in Panel 1 for feedback on such a development.

Randail replied:

I muid suggest that any comments regarding a Song, be given in the form of a simple review as found in professional journals. 'User-friendly' comments on the pedagogical value, pedagogical approach and performance effectiveness should be the main thrust in such a review.

Adam noted, "As far as the sections, pedagogical value and pedagogical approach, I found these ta be clear-cut." Margaret explained, "ln reading reviews of materials, I wuld be looking for input covered in the analysis you presented - no further information is necessary. All areas are clear - very detailed". All three experts concluded that the appraisal of pedagogical value should remain as articulated in guidelines for analysis from the pilot study. 56

Using the feedback from al1 experts in Panel 1, I modified the draft framework for analysis, draft guidelines for analysis, and draft repertoire analysis forrn and developed final versions.

I selected five pieces (hereafter referred to as the reliability sample) to be assessed by four independent judges. Adam and Randall and I individually assessed these pieces in February 1995. For the thesis, they reviewed their earlier appraisals. Margaret then assessed Viese pieces in November 1997.

There was no consultation among the judges during the assessrnent process.

Once the reliabiiity of the framework and my application of it had been established, I assessed the remaining 25 pieces.

Since the present study concerns unison compositions, a strong recommendation from Adam that harrnonic style should be discussed under texture was incorporated. As the study progressed and at the suggestion of one of the experts in Panel 2, price was added to the analytic frarnework. A cornparison of the analytic frameworks is displayed in Table 2. This table shows the change of focus in the various studies. The final Guidelines for

Analysis, based on Thompson (1989) and Beatty (1995, 1996b), ensue in

Appendix 1. The final Repertoire Analysis Form, based on the set of final

Guidelines for Analysis, foliows in Appendix II. Table 2

Corn~arisonof the Cateaories in Four Analvtic Frarneworks

SHAND (1 978) THOMPSON (1989) BEATTY(1995, 1996b) This Study

1. Title 1. TiJe 1. Title 1. Tfile

2. Composer 2. Composer 2. Composer 2. Composer 3. Publisher 3. Publisher 3. - 3. - 4, - 4. Catalogue No. 4. Catalogue No. 4. CataIogue No.

5. Date 5. Date 5. Pub. Date 5. Pub. Date

6. Price 6. - 6. - 6. Price 7. Duration 7. Ouration 7. Duration 7. Duration

8. - 8. Commission 8. - 8. - 9. Recording 9. Recording 9. - 9. - 10. Grade Level 10. Grade Level 10. - 10. - 1 1. Voicing 11. Voicing 11. - il. -

12. Accompaniment 12. Accornpaniment 12. Accornpaniment 12. Accompaniment

13. - 13. Range 13. Range 13. Range 14. - 14. Tessitura 14. Tessitura 14. Tessitura

15. Rating 15. Rating 15. Rating 15. Rating

16. Text 16. Text 16. Text 16. Text (table continues) Table 2 (continved)

SHAND (1978) THOMPSON (1 989) BEAfTY(1995,199ûb) This Study

17. Musical Style 17. Fom 17. Fom 17. Forrn

Melodic Style Melodic Style Melodic Style

Hamonic Hamonic -

Structure Structure

Rhythm Rhythm Rhythm

Texture Texture Texture

18. Pedagogical 18. Pedagogical 18. Pedagogical 18. Pedagogical

Value Value Value Value

19. - 19. Pedagogical 19. Pedagogical 19. Pedagogical

Approach Approach Approach

20. Student Appeal 20. - 20. -

21.Effectiveness 21.Effectiveness 21. Performance 21. Performance

in Performance in Performance Effectiveness Effectiveness Research Question 1: Corollarv 2

Mat are the technical, musical and pedagogical challenges of each composition ?

To assess the technical, musical and pedagogical challenges of each composition, I analyzed the thirty compositions using the final framewrk for analysis, the final guidelines for analysis, and the final repertoire analysis foms.

Following completion of my analysis and the five compositions analyzed by expert Panel 1, the amount of common judgment among the members of the

Expert Panel 1 and myself was investigated and analyzed. Since simple percentage agreement is not a good idea because it inflatos reliability when there is a high proportion of chance agreement, I calculated Inter-rater

Reliability using Cohen's K (Cohen, 1960). The analysis of thirty compositions that follow in Chapter 4 are my results.

Research Question 1 : Corollarv 3

What utility would an analytical selective guidelist of unison Canadian choral compositions have for classroom music teachers?

To assess the usefulness of an analytical selective guidelist of unison

Canadian choral compositions, I selected three educators with experience in elementary music education and choral conducting to act as classroom testers.

Theory and practice need to be perceived in a dialectical relationship (McKeon,

1952; Tomkins, Connel ly & Bernier, 1981 ). By involving teachers to "classroom test" selected c-omposition, perhaps the gap between theory and active practice will be narrowed. These experts for the present study are known as Panel 2. I selected three educaton, each at different stages in hislher teaching career: early years, mid-career, and highly experienced. In consultation wi-th curriculum consultants and other colleagues in education, I searched for elementary music teachers who had developed their planning and pedagogical skills in music education. As well, I was looking for teachers of music that were choral conductors themselves in an educational setting andlor wmmunity-based with expertise in selecting and preparing choral repertoire for performance with elementary school children. These three teachers in Panel 2 will be known by the pseudonyms of Sarabande, Cantabile and Arabella.

Panel 2 music educators al1 taught in Ontario schools, two in geographically large district school boards in rural contexts and one in an urban private school. All agreed to review the analysis of the 30 unison Canadian choral compositions; select one piece for teaching; prepare it for instruction; teach and rehearse the composition; and allow me to observe this teaching practice and audiotape the rehearsalflesson. I provided each teacher with the selective guidelist, guidelines for analysis, and a complirnentary class set of the one composition selected for teaching.

During the rehearsallteaching, I observed the instructionlrehearsaI and recorded field notes following ethnographic observer guidelines out1ined by

Goetz and LeCompte (1984, p. 112-1 13). These guidelines provide observational frarnes to focus on the individuals in the group or scene, the action that is occurring, the location of the grouplscene, the time element, the 61 interrelationship of identifid elements and the operationakation of the group.

These are attached in Appendix III. As well, al1 classroom testers agreed to an interview. The interview questions delved into the ways the teachers leamed about new repertoire, the criteria they used to select repertoire, the usefulness of the analytical guidelist for selecting repertoire as well as for preparing to teach and the feedback on the addition of the first page of the octavo to each analysis.

The interview questions are added in Appendix IV. I audiotaped the interviews and later transcribed them verbatim. 1 obtained a member check on each interview by retuming the transcription to each infonant and eliciting input or verification. I analyzed written and audio tape records to explore common features or themes among the classroom testers relevant to the established guidelines and compositional analysis. I used categorical aggregation to investigate a collection of instances from the data and searched for the emergence of issue-relevant meanings (Creswell, 1998).

The first classroom tester in Panel 2, Sarabande, in her 29th year of teaching, has extensive experience in elementary music education. She has had varied teaching assignments from general classroom, to homeroom classroom and junior grades music and is currently a music teacher from kindergarten to grade 8 in a rural southwestern Ontario district school board.

Sarabande holds a Bachelor of Science in Education degree and a Master of

Science in Education degree. As well, she holds specialist certification in primary-junior vocal music and possesses extensive training in the Education Thmugh Music approach. In addition to king music director for numerous school choirs and a county children's choir. Sarabande has been very active on the executive of a number of regional music educators' associations.

Cantabile, another classroom tester in Panel 2, has just embarked on her first year of teaching. She holds an Honors Bachelor of Music degree in music education (BMus) and a Bachelor of Education degree (BEd). As well, she holds an Associateship diploma from the Royal Conservatory of Music in piano performance (ARCT). Cantabile has taken introductory courses in Kodaly and

Orff pedagogy. She is presently teaching grade one general classroorn and music to first-, second-, and third-grade children in a rural school wtiich is part of an urbanlrural central Ontario district school board. Although this is her first year of teaching in a school setting, Cantabile has had many years as a private piano instructor.

Arabella, who rounds out the panel of classroom testers, is in her ninth year of teaching. She holds an Honors Bachelor of Music degree, a Bachelor of

Education degree and has taken numerous graduate courses in both arts and music. Her Master of Music degree is in progress. Arabella has taught in three provinces: Nova Scotia, New Brunswick and Ontario at both secondary and elementary school ievels. For the last five years she has taught in the sarne urban private school; currently, she is teaching vocal music grades 2-6, grades

48 french, and extra-curricular choir. In addition to singing in an amateur comrnunity choir, Ambella plays keyboard in a MaritimeICeltic band and also perforrns as a cocktail pianist.

Research Question 2

What comprises a historical account of Leslie Music Supply, lnc. ?

In order to trace the historical development of Leslie Music Supply, Inc. I scheduled independent interviews and met in person with Joan Leslie, Owner and President, Leslie Music Supply, Inc., Pat Leslie VanderHeyden. Co-Owner,

Leslie Music Supply. Inc. and John Bird, a past president of the Canadian Music

Publishers Association and former president of Gordon V. Thompson Music Co.

Ltd. The interviews were audiotaped and I later transcribed them verbatim. I obtained feedback on the transcription by returning it to each informant and eliciting input or verifkation. The interview questions investigated issues such as important historical events in the formation of the Company, the services offered to customers. the criteria used in the selection of music for publication, other companies' copyrights or stock purchased, the impact of the Canadian

Music Publishers Association and the future of music publishing in Canada. The interview questions are included in Appendix V.

As well, in an attempt to triangulate these data, I examined various historical print documents and also interviewed three Canadian cornposers whose works have been published by Leslie Music Supply, Inc. These wmposers were Clifford Crawley, Nancy Telfer, and Michael Coghlan. 64

ClifFord Crawley, composer, edukor and condudor, ernigrated to

Canada from England in 1973 to become a professor of composition and music education at Queen's University. He displays a special skill in witing for children and amateur musicians. He has composed works for musical theatre, orchestra and choir. Over fifty school music pieces have been published. In his retirement, he is active as an adjudicator, conservatory examiner and composer

(Clarke,1992).

Nancy Telfer is a widely respected Canadian composer, choral conductor and clinician. She began to compose full-time in 1979 and her output has been prolific. By 1991 she had written over 170 works in a wide variety of genres.

She is best known for her numerous secular and sacred choral works of which open fifths and modal progressions are characteristic. Her works are widely published by Leslie Music Supply, Inc., Gordon V. Thompson Music, Waterloo

Music Company Ltd., Hinshaw. Neil A. Nos, Shawnee Press, and many others.

She is active as a guest conductor, workshop leader and composer (McMillan,

1992).

Michael Coghlan, composer, perfoner, conductor, record producer and music director, is a professor of music at York University. He has worked in a wide range of musical genres. As a specialist in digital music production, he is known nationally for his work in the contemporary music technologies. His compositions, many in a popular idiom, are widely published across North

Arnerica (York University, 1998). The 45-minute individual interviews with each composer were also audiotaped and I later transcribed them verbatirn. I obtained feedback on the transcription by retuming it to each informant and eliciting input or verfication.

The interview questions addressed issues such as the reasons they selected

Leslie Music Supply as a potential publisher, the musical considerations that

guide their creations, the effect of success in the marketplace on their

cornpositional style, their relationship with Leslie Music Supply, Inc. and their opinion of the uniqueness of Leslie Music Supply, Inc. The interview questions follow in Appendix VI. The interview data were analyzed to detemine a delailed description of the case study. The chronology of major events was examined to

determine evidence for each phase in the evolution of the case. I used

categorical aggregation to investigate a collection of instances from the data and

I searched for the ernergence of relevant meanings among the issues (Creswell,

1998).

Research Question 2: Corolfarv 1

What presence does Leslie Music Supply, Inc. podray in the Canadian music publishing industry? and

Research Question 2: Corollarv 2

What makes Leslie Musjc Supply, /ne. unique in Canadian and international music publishing ?

To assess the presence that Leslie Music Supply, Inc. possesses in the

Canadian music publishing industry and its uniqueness in Canadian and

international music publishing, the data collected from the interview with John Bird, from the independent interviews Mth the three composers (Nancy Telfer,

Clifford Crawley and Michael Coghlan), and from various print sources were analyzed. I used categorical aggregation as reported earlier to investigate a collection of instances from the data and looked for the emerging meanings.

Research Question 3

What themes emerged concerning the cMafor the selection of unison choral compositions among composer, publisher, and teacher?

In order to discover the themes that emerged conceming the criteria for selection of unison Canadian choral repertoire, I analyzed the interview data collected from interviews with the panel of three composers, the CO-ownersof

Leslie Music Supply, Inc., and with the Panel 2 expert teachers. I used categorical aggregation to investigate a collection of instances from the data and look for the ernergence of meaningful themes (Creswell, 1998).

Research Question 3: Corollaw 1

What technical, musical and pedagogical cntena guide composers in their creation of unison choral music?

To assess the technical, musical and pedagogical criteria that guide composers in their creation of unison music, I analyzed the data collected through interviews with the panel of composers using the aforementioned categorical aggregation to investigate the patterns from the data and search for the emerging meanings (Creswell, 1998).

Research Question 3 Corollarv 2

What critena does Leslie Music Supply, Inc. use for the selection and publication of unison elementary school choral music? In order to ascertain the criteria used by Leslie Music Supply, Inc. I analyzed the data collected through interviews with the co-owners of Leslie

Music Supply, Inc., Joan Leslie and Pat Leslie VanderHeyden. The interviews were audiotaped and I later transcribed them verbatim. The interview questions are inctuded in Appendix V. As WII, in an attempt to triangulate this data, I also analyzed the intervisw data collected from the composer panel. I analyzed the data using categorical aggregation to investigate the cornmon patterns and the inherent emerging meanings.

Research Question 3: Corollarv 3

What enteria do expert teachers use in the selection of unison choral wmpositions for classroom use ?

To determine the criteria that expert teachers use in the selection of unison choral compositions for classroom use, I analyzed the data collected from interviews with Panel 2 expert teachers who also had acted as classroom testers. I used categorical aggregation to investigate a collection of instances from the data and search for ernerging meanings.

Summarv

It is expected that this investigation will identify the selection and analyses of unison Canadian choral compositions published by Leslie Music

Supply Inc., (1970-1995) that may be identified as suitable for performance by 68 first-, second-, and third-grade Canadian elekentary school pupils. As well, It is expected that criteria this publisher uses for the selection and publication of elernentary school choral music will be identified. It is also expected that the study w.11 chronicle the historical growth of Leslie Music Supply Inc. and its impact on the Canadian music publishing industry. The summary of research questions. data sources and strategies for maintaining data credibility follow in

Table 3. The design of the present study consisted of following nine phases:

1) identification and selection of unison Canadian choral

compositions published by Leslie Music Supply lnc. (1970-

1995),

2) selection of expert panel evaluators (Panels 1 and 2).

3) establishment of guidelines for analysis and framework for

analysis (draft and final),

4) assessrnent of the level of difficulty,

5) interviews with Joan Leslie, Pat Leslie VanderHeyden, CO-

owners of Leslie Music Supply Inc., and John Bird, a past

president of the Canadian Music Publishers Association

(CMPA),

6) analysis of compositions.

7) classroom testing and interviews with classroom testers

8) interviews with composers: Nancy Telfer, Clifford Crawley.

Michael Coghlan. 9) data analysis. Table 3

Sumrnaw of Research Questions. Data Sources and

Strategies for Maintainina Data Credibility

Research Questions Data Sources Strategies for Maintaining Data Credibility 1. What unison Canadian - review of relevant literature - triangulation - panel of 3

choral compositions published in seledion and analysis in experts (Panel 1) assess dfaft

by Leslie Music Supply Inc. Canadian Music; analytical frameworks 8

(1970-1 995) may be identified - al1 unison pieces published guidelines [peer review]; as suitable for performance by Leslie Music Supply, Inc. - using final versions panel of

by first-, second-, and third- (1 970-1 995); experts (Panel 1) analyze fwe

grade Canadian elernentary - CO-ownersof Leslie Music of the same compositions as school pupils? Supply, Inc.; investigator [peer review]: - analysis based on final - level of difficulty rating

frameworks for analysis and compared among Panel 1

final guidelines for analysis experts and investigator:

- inter-rater reliability check

using Cohen's K .

table continues Table 3 (wntinued)

Research Questions Data Sources Strategies for Maintaining Data Credibilitv

1.1 What guidelines may be - review of relevant Iiterature - triangulation - panel of 3 established for assessing the in sefedion and analysis in experts (Panel 1) assess draft technical, musical, and Canadian Music; analytical frameworks pedagogical challenges? - panel of 3 experts ( Panel 1 ) & guidelines [peer review]; assess draft analytical - using final versions panel of

frameworks 8 guidelines experts (Panel 1) analyze five - using final versions, panel of of the same compositions as

experts (Panel 1) analyze five investigator [peer review];

of the same compositions as - level of difficulty rating

investigator compared among Panel 1

experts and investigator

- inter-rater reliability check using Cohen's K.

table continues Table 3 (wntinued)

Research Questions Data Sources Strategies for Maintaining Data

1.2 What are the technical, - analysis of thirty tnangulation - panel of 3 musical and pedagogical compositions based on final expens (Panel 1) assess draft challenges of each frarneworlis for analysis and analytical frameworks composition? final guidelines for analysis & guidelines [peer review];

- using final versions panel of

experts (Panel 1) analyze five

of the same compositions as

investigator [peer review];

- level of difficulty rating

compared among Panel 1

experts and investigator;

- inter-rater reliability check

using Cohen's K.

1.3 What utility would an - interview with Panel 2 - triangulation - panel of 3 analytical selective guidelist of teachers; experts; unison Canadian choral - dassroom observations - intewiews audiotaped and compositions have for (Panel 2); later transcribed verbatim; classroorn music teachers? - interview transcnpts retumed

to infamants for vertfication.

[member checks]

fable continues Table 3 (cuntinued)

Research Questions Data Sources Strategies for Maintaining Data Credibility

2 What presence does Leslie - interviews with CO-ownetsof triangulation - panels of 3

Music Supply, Inc. portray in Leslie Music Supply. Inc.; experts; the Canadian music pubfishing - intewiews with John Bird, - interviews audiotaped and industry? CMPA representative; later transcribed verbatim;

- historical pn'nt records: - interview transaipts retumed 2.1 What makes Leslie Music - interviews with panel of 3 to informants for venfication

Supply, Inc. unique in composers: Nancy Telfer, [rnember checks];

Canadian and international Clifford Crawley, and Michael - vafiety of information music publishing? Coghlan. sources

3. What themes emerged - interviews with publisher co- triangulation - panels of 3 conceming the criteria for the owners; experts; selection of unison choral -interviews with panel of 3 - interviews audiotaped and compositions among corn posers; later transcribed vertiatirn; composer, publisher, and - interviews with classroom - interview transcripts retumed teactier? testers (Panel 2) to infomants for verification;

- variety of information

sources

table continues Table 3 (mntinued)

Research Questions Data Sources Strategies for Maintaining Data Credibility

3.1 What technical, musical - interviews with panel of 3 triangulation - panels of 3 and pedagogical criteria guide composersi experts; composers in their creation of - interviews audiotaped and unison choral music? later transcnbed verbatim; - interview transwipts returned to infonnants for verification; - variety of information sources

3.2 What criteria does Leslie - interviews of CO-ownerçof tflangulation - panels of 3

Music Supply, Inc. use for the Leslie Music Supply, Inc.; experts; selection and publication of - interviews with panel of 3 - interviews audiotaped and unison elernentary school composers. later transcn'bed verbatim; choral music? - interview transcripts retumed to informants for verification.

3.3 What criteria do expert - interviews with Panel 2 triangulation - panel of 3 teachers use in the selection classroom testers. experts; of unison choral compositions - interviews audiotaped and for classroom use? later transcribed verbatim;

- interview transcripts retumed

to informants for verification. CHAPTER 4

RESULTS OF THE DATA ANALYSIS

This chapter will first report the results of my analysis of the compositions. This will be presented in the analytical selective guidelist of unison Canadian choral compositions. Prices listed are those as of April 1, 1998 and are listed in Canadian dollars. The comparison of the analysis of compositions and the comparison of the degree of difficulty of compositions will be set forth. A discussion of the usefulness of the analytical selective guidelist for the teacher as curriculum maker will follow. Then the historical context of changing curriculum guidelines in the province of Ontario will be presented. The historical account of Leslie Music Supply, Inc. ensue. The criteria used by composers in the creation of unison choral music will follow. Then, the criteria used for the selection of unison choral music for publication will be presented.

Next, the criteria that expert teachers use in the selection of unison choral music

ensue. Finally, the chapter wSllconclude w*th a comparison of the criteria for the creation/selection of unison choral compositions among composers, publisher and expert teachers. Selective Guidelist of Unison Canadian Choral Commsitions Pubiished Bv Leslie Music SUPP~Y,Inc. (1970-1 995) Suitable for Performance by First-. Second-. and Third-Grade Canadian Elementaw School Pupils

Title: The Spider Hunter

2 Composer: W. H. Anderson THE SPIDER HUNTER t'ni.vn 5-a8 Publisher: Leslie Music Octavo No. 1007

Publication Date: 1970 (1938)

Accompaniment: Piano

Tessitura: G'- D"

Rating: Medium

Text: The Spider Hunter text was written by Lawrence

metrical poetic form. The

..r.. .. *.r*T~.lt.,ql'tlr .'fbYrtÏ\. t 3. US *r-.ur -‘te Vinnmn. Sc expressive iambic septameter Csrnpl 14-0 io w rru O..N* .*lur CYI verse allows for rich imaginative interpretation. Reproduced with permission of the publisher. Form: AA'BA"

Melodic Style: This diatonic Song incorporates legato singing and provides opportunities to focus on staccato performance at the end of each verse. Line 3 of the second verse offers a chance to approximate sprechstimme in this "almost spoken" section. The marcato articulations in the final line add to the expressive opportunities in this composition.

Rhythm: Simple quadruple metre at a moderate tempo. The strong, rhythmic nature of the vocal line is supported by an adventurous piano accompaniment.

Texture: Anderson has utilized tertian chord structure for the hanony of the piano accompaniment. It is primarily diatonic and hornophonic with detached eighai note cbordal structures and rhythmic fragments based in the vocal line. The hemioh feature of the triplet in the piano accompaniment under Vie duple vocal figure may challenge young singers.

Pedagogical Value: The young primary-aged singer will have great success at singing this most appealing Song. The short phrases offer much repetition. The Song is written in a range and tessitura suitable for the young child. This piece will be good for tuning the rising fourth (soh, - doh). The legato and staccato phrasing coupled with the marcato articulations and hemiola rhythmic figures wiii Mer challenges for the young singer.

Pedagogical Approach: Children should experience success this Song if they first echo chant the text in rhythm. Teaching the rnelody a capella Mil help overwme a possible tendency for young singers to match the clipped rhythms in the piano rbythmic accompaniment. Using a "stage whisper" for the (almost spoken) section may be effective.

Performance Effectiveness: This composition is appropriate for use wStheither a very fine third-grade classroom choir or a school primary choir. It has spirited audience appeal and is suitable for general concert programming. 4 Title: "My Ginger Kitty" from MY GINGER KITTY Three Festival Songs Composer: Burton L. Kurth

Publisher: Leslie Music Octavo No. 1099

Publication Date: 1973

Duration: 1:O0

Accompaniment: Piano

Range: E-flat' - E-flat"

Tessitura: E-flat' - B-flat'

Rating: Easy

Text: The text of "My Ginger Kitty" was written by Helen lsobel Bond. This metrical poetic

mr- .-ir-.ir- ."*. -cd form employs tonic accent in Reproduced with permission of the publisher. iambic septameter. Form: A B A' C

Melodic Style: The melodic style is primarily diatonic one exception: a lowered 7th in bar 15. For a short time, the fiattened 7th creates a Mixolydian flavour. This playful, lilting melody is mainly conjunct; intervals of Brds, 4th~~ and 5ths extend the melodic vocabulary.

Rhythm: Using simple eighth notes, quarter notes and dotted quarter note rhythrns, this piece offers a lilting, playful flow. This piece in compound duple metre sparkles rhythmically with a strong feeling of two.

Texture: This Song has a tertian chord structure and it is primarily diatonic. Traditional harmonizations are featured in the piano accompanirnent. The rhythmic mirroring of vocal line and accompaniment affords a fluid harmony. Pedagogical Value: This is an excellent song for demonstrafing the rise and fall of a flowing melody. The text - and melody are wetfmarried and are age and developmentally appropriate. Young choristers leaming to sing in 4-bar phrases with natural dynamics benefit from study of this composition. The varying melodic sequence in bars 17-20 may challenge some young singers.

Pedagogical Approach: To help students feel the Ming wmpound duple rnetre, have pupils sway Mile initially singing. Children should enjoy leaming this piece. To encourage long phrasing, have students sing phrases throughout to a neutral vowei with initial consonant (e.g., too, loo, noh, etc.).

Performance Effectiveness: Study of this piece wuld be appropriate for classroom choir or for a school primary choir. It would have merit in a general program concert setting. 6 Title: "Oreamland City" from DREXMLXSD CITY Three More Festival Songs

Composer: Burton L. Kurth

Publisher: Leslie Music Octavo No. 1117

Publication Date: 3 974

Duration: 1: 1 O

Accompaniment: Piano

Range: Et - E"

Tessitura: A' - Du

Rating: Diffkult

Text: The text, written by Helen Isabel Bond, is in metrical poetic form. Phrases such as "dauling minarets" and "shimring rainbow Reproduced with permission of the publisher. fountains" wîll challenge third- grade pupils.

Form: ABCD EFGH

Melody: The first half of this rnelody in A Harrnonic Minor is juxtaposed with the second half in A Major. The melody is primarily stepwise with a recurring melodic motif of a P4th interval. The tritone (6'- F') in bar 3 and the 7th in bar 11 will challenge young singers.

Rhythm: This piece is mainly in simple triple metre and flows at a moderate tempo. The rhythmic motif 1 1- r r r provides unity throughout the piece. The metre change to quadruple metre in bars 14-15 suitably paints the text "immense".

Texture: This composition is lightly scored. The hornophonic piano accompaniment strongly supports the vocal line. Pedagogical Value: This piece with a contrast of haunting quality and positive energy, is well suited to the young singer. The range and tessitura are very appropriate for the young child. This composition be helpful for tuning the rising forth (rn - I and s, - d). The text offers many opportunities for expressive interpretation.

Pedagogical Approach: Young children will be captivated by the melodic and rhythmic motives in variation. The intervals of the tritone and 7th will be challenging; isolate and tune.

Performance Effectiveness: This composition would be appropriate for use with a school primary choir or a children's choir. + The Loose Tooth Title: "The Loose Tooth" from Six Primary Songs

Composer: Gordon M. Fleming

Publisher: Leslie Music Octavo No. 1119

Publication Date: 1978

Duration: :45

Accompaniment: Piano (xylophone optional)

Range: D' - €3'

Tessitura: D' - A'

Rating: Easy

Text: The words of this piece are rnost appropriate for young children. The text, in metrical Reproduced with permission of the publisher. poetic form, is credited Anon.

Form: A A'

Melodic Style: This short Song in doh pentatonic (D+) scale offers a lyrical melody; it is ideal for reading purposes. The soh-me-lah intervals are the focus in this piece.

Rhythm: This piece incorporates simple quadruple metre in a moderate tempo. The Song primarily uses quarter notes. eighth notes as well as the triplet figure.

Texture: Tertian chord structure supports the melody throughout. The harmony, based on I and VI is somewhat monotonous. The piece has been scored for piano accompaniment and an optional accompaniment for Orff instruments is also included. The resonant quality of a soprano xylophone seems an appropriate match for the lucid melody and subject of the "loose toottl".

Pedagogical Value: This composition is ideal for reinforcing the s-rn-l sequence for those pupils who have learned through a Kodaly-ûased or Orff approach. It is useful for tuning the rising fourth (m - 1). For those incorporating the song into Kodaly classroom repertoire, this piece could be used as a reading song.

Pedagogical Approach: Echo chant the words first. Teach the Song either as a rote song or preferably as a reading song. Stress natural dynamics in interpretation.

Performance Effectiveness: This Song is appropriate for classroom use in the primary grades. Using the xylophone accornpaniment wuid greatly add to the effectiveness of the performance of this song. Title: "Cold Winter" from Three < Cold Wmter Songs of Science for Juniors

Composer: Clifford Crawley

Publisher: Leslie Music Octavo No. 1120

Publication Date: 1979

Duration: 1:40

Accompaniment: Piano

Range: D' - D"

Tessitura: D' - A'

Rating: Easy

Text: The text, written by the composer, is in metrical poetic form: trochaic septameter. The words are appropriate for primary-age children. In this Reproduced with permission of the publisher. case, winter has been personified.

Form:AABBABJ(ABA'); Ternary Fom; D.C.: 1st ending; 2nd ending

Melodic Style: This smoothly flowing, lyrical rnelody is written in the key of D Melodic Minor. The melodic movement is primarily conjunct; the only disjunct intervallic rnovement is from dominant to tonic.

Rhythm: The repeated moving eighth note figure characterizes this piece. This piece is in simple quadruple cornmon time. Texture: The tertian chord structure within diatonicism foms the prime hannonic framewrk. Added tones provide fluidity in the prîmarily hornophonic piano accompaniment.

Pedagogical Value: Based on the range, mythmic, melodic and textual challenges, this composition is most appropriate for second- and third-grade children. This piece has value for the leaming of da capo forrn. Children will find this hauntingly beautiful melody appealing.

Pedagogical Approach: This is an ideal reading Song especially for those pupils who have followed a Kodaly-based curriculum framework. Teach the melodic motives of section A and Section B first. Clear enunciation of the textual challenges is imperative. Incorporate natural dynamics in the expressive interpretation of the score.

Performance Effectiveness: Children in classroom or school primary choir w.ll be challenged by this piece. This seasonal seleciion have wi-de audience appeal. Title: "Sea Song" from Five Primary Songs

Composer: Gordon. M. Fleming

Publisher: Leslie Music Octavo No. 1121

Publication Date: 1980

Duration: 1:O0

Accompaniment: Piano; alteinate Orff instruments

Range: D' - D"

Tessitura: D' - B'

Rating: Easy

Text: The text is written in metrical poetic form, a combination of trochaic and dactylic quatrarneter. Each Cbar r --CI -- Y- %PO(. th-. hl-. c.u~. phrase is cornprised of a rhyming Reproduced with permission of the publisher. couplet. Accents are well placed.

Forrn: ABCB'

Melody: Sea Song's melody is based in the pentatonic scale. The intervals are easily managed by the young singer. The opening phrase provides practice for the pupils learning the falling 6th (dl - m) interval of the tonic chord.

Rhythm: The simple moving quarter note, eighth note, and half note rhythms are written in quadruple metre with a spirited tempo.

Texture: The piano accompaniment, reminiscent of a sailor's hornpipe, is primarily hornophonic. It is scored for piano and includes an alternate Orff accompaniment with ostinati for both melodic and rhythmic instruments. Pedagogical Value: This piece oflem a rhythmic melody with excellent opportunities for clear enunciation of the dramatic text. As well, the song offers a very fine way of leaming to sing skips in a melody in a smooth (legato) manner.

Pedagogical Approach: This is an excellent reading song. Have pupils clap and say rhythmic time names. Sing using tonic sol-fa. To facilitate the blending of the head and chest registers, have pupils sing the melody to a neutral vowel sound with initial consonant (e.g., loo, too, etc.). Then add the text to the melody. Concentrate on clear enunciation for the text.

Performance Effectiveness: Study of this composition would be appropriate for a second- or third-grade classroorn choir or for a school primary choir. Children enjoy singing this sea chantey. Title: "Grizelda" from Trick or Treat

Composer: Clifford Crawley

Publisher: Leslie Music Octavo No. 1122

Publication Date: 1981

Duration:

Accornpaniment: Piano

Range: D' - D"

Tessitura: G' - B'

Rating: Medium

Text: The dynamic text by Clifford Crawley is in closed metrical poetic form. The iambic septameterlpentameter verse

2 r .mm1 '41 '& Hlr $e

Forrn: AA'BB'A

Melody: This hauntingly diatonic minor Song incorporates a smooth modulation from D Minor to A Major. The intervals are primarily descending conjunct with the exception of the recming rnelodic motif of a 4th. The minor 2nd interval at the key change may challenge young singers.

Rhythm: This composition is written in simple quadruple rnetre using mainly eighth notes and sixteenth notes. The incantation at the chorus offers the challenge of the rhythrnic pattern. The tempo changes embodying rit. and accel., adagio and allegro provide challenges for primary singers. Feeling this piece more in cut time will better facilitate the quick allegro tempo. Texture: The piano ampaniment supports the melody homophonically. Chromatic passing tone technique complements the harmonic progressions.

Pedagogical Value: Grizelda provides an opportunity for young singers to experience key change. Char enunciation of the text is necessary for success in performance. The changes of tempo and the variety of dynamic levels will help choristers to grow musically.

Pedagogical Approach: lntroduce this piece through the teaching of the chorus by rote in strict time. Next kach the verse sections: AA'BB' in quick wt tirne feeling 2 beats per bar. Chant the text in rhythm to promote clear enunciation.

Performance Effectiveness: This Song wuld be appropriate for use with either a school primary choir or children's choir. Singers and audience atike enjoy this well-crafted composition. Title: "Some Day" from Three Some Day Songs for Very Young People

Composer: David Ouchterlony

Publisher: Leslie Music Octavo No. 1124

Publication Date: 1982

Duration: 1:30

Accompaniment: Piano

Range: C' - D"

Tessitura: D' - B'

Rating: Medium

Text: The text of Some Day, written by David Ouchterlony, is well suited to young voices. The rhythmic verse is primarily ~'.,pyn.ri ..)C hi Uw Mur* trochaic pentarneter in closed Reproduced with permission of the publisher. metrical form.

Form: AA'BCD

Melody: The melody of this piece is predominately in diatonic B-flat Major; phrase 2 modulates into D Major. The melodic flow is mainly conjunct with intervals of drds, 4th~~5th~. and 6ths added. Motivic sequencing helps to provide unity to the piece.

Rhythm: The rhythm of this son is prirnarily comprised of quarter notes, half notes and the figure. The ?. 1 rhythmic figure is foundational to unity within the composition. Even though this piece is written in simple quadruple metre, the cheerful moderato tempo will be better realized by perfoming this Song in cut time feeling 2 beats per measure. Texture: The melody is supporteci by a homophonie chordal piano accompaniment. The diatonic hamony is quite traditional using 1, IV, and V tertian chord structures.

Pedagogical Value: This piece provides an opportunity for young choristers to musically phrase 4 bars using natural dynamics. The n rhythmic figure may challenge singers.

Pedagogical Approach: Teacb as a rote Song in an artistically expressive manner. Clap the rhythm of phrase 1 to reinforce the rhythm. Concentrate on using natural dynarnics and long 4-bar phrasing. Add accompanirnent. Rehearse and perform rnusically.

Performance Effectiveness: This piece would be appropriate for a school primary choir or a third-grade classroom choir. As well, second-grade pupils may be capable of leaming this composition, dependent upon their musical maturity. Title: "Spring is Singing in the Spring is Niging in the garden Garden" from Four Seasonal Songs

Composer: W. H. Anderson

Publisher: Leslie Music Octavo No. 1125

Pubfication Date: 1982

Duration: 1 :30

Accompaniment: Piano

Range: D' - E"

Tessitura: G' - B'

Rating: Medium

Text: This highly descriptive text is in metrical poetic form. The words credited Anon personify spring. The verses offer a nurnber of instances for Reproduced with permission of the publisher. incorporating text painting (e.g., laughing, murmuring, whispers softly. etc.)

Form: A B C A'

Melodic Style: This most lyfical tune presents an excellent example of the rising and falling of the melodic line. It culminates in a dramatic climax in the fourth line. Both conjunct and disjunct melodic movement are used. Diatonicism is the norm here.

Rhythm: The rnetre of this piece is simple triple tirne. With the exception of the dotted quarter and eighth note figure in line 3, the rhythm of the lines is mainly isorhythmic. Texture: The hamony of the piano accompaniment is very fluid, encompassing diatonic tertian chord structures with numerous passing notes. Hints of cuunterpoint make the harrnony interesting.

Pedagogical Value: The lyrical melody and the interesting shape of the melodic phrases here allow for creative and expressive interpretation in singing. This piece provides an opportunity for young singers to practice breath control and 4bar phrasing. The lucid enunciation of the descriptive text will be a challenge for primary-aged pupils.

Pedagogical Approach: Young children should experience great success in the learning of this piece. Start reading rhythrnically and then join text with rnelody. As well, pradice singing the melody on a neutral vowel sound wi-th a forward consonant (e.g., voo, tah, noh); this help develop a smooth legato line and breath control.

Performance Effectiveness: This Song, used independently or as part of the Four Seasonal Songs set, would be a very fine concert piece for a school primary choir or a children's choir. Title: Thunder and Lightning

Composer: Clifford Crawley

Publisher: Leslie Music Octavo No. 1130

Publication Date: 1984

Ouration: 1:40

Accornpaniment: Piano

Range: D' - E"

Tessitura: G' - D"

Rating: Medium

Text: The descriptive text, in non- metrical prose, is dynamic. A combination of dactylidtrochaic septameterhctameter rhythmic pulse is used.

Reproduced with permission of the publisher. Form: A B A C

Melodic Style: The melody, diatonically written in G Melodic Minor, is hauntingly lyrical and artistically interesting. The sprechstimme section (C) offers chromatic melodic movement.

Rhythm: This piece is written in simple quadruple metre in lento tempo. Simple thythmic forms of quarter notes, eighth notes, half notes and dotted half notes are used. The tension building of the rhythmic pattern 1 Ïl 1 n in the first section dramatically leads to a climax and release in the accelerando of the chromatic section in verse 3.

Texture: The composer hes used diatonic hornophonic tertian chord structure using 1, VII, IV, and V chords. The occasional secundal chords and the octave transpositions effectively mimic thunder and thicken the texture. Pedagogical Value: This piece Men an excellent mamiage of text and rnelody. The dramatic and expressive text calls for clear enunciation. The descending chromatic Iine of section C sung accelerando will offer musical challenges for young singers.

Pedagogical Approach: Children w'll be captivated by the melodic and mythmic portrayal of thunder and lightning. The chromatic passage MI1 be a challenge for intonation. lsolate and tune at a slower tempo before adding the accelerando treatment

Performance Effectiveness: This composition would be appropriate for use a school primary choir or a children's choir. It has general program possibilities and is a true audience pleaser. Title: "Bears" from The Zoo

Composer: W. H. Belyea

Publisher: Leslie Music Octavo No. 1134

Publication Date: 1980

Duration: 1:O0

Accompaniment: Piano

Range: C#' - E"

Tessitura: E' - 8'

Rating: Medium

Text: The text, \ Belyea, is interesting and captivating for young singers. The metrical poetic form includes rhyming couplets in iambic septameter. Reproduced with permission of the publisher. Form: AA'BCNA' (ABA)

Melody: The lyrical melody of Bears is primarily diatonically major. The 4-bar phrases of AA' are disjunct in nature (intervals of 3rds and 4th~)mile the melodic motion of sections BC is mainly stepwise. The raised 5th in bar 11 and the lowered 7th in bar 15 may challenge young singers. The melody is married well with the text. The unpitched portrayal of "catch" in bar 11 demonstrates text painting.

Rhythm: This employs simple duple metre. The walking quarter notes and the rhythmic figure 1. r picturesquely portray the lumbering playful walk of bears. Using a rnoderate tempo, choristers have an opportunity to leam and rehearse the rail. at bar 18 and the returning a tempo in bar 20. Texture: The homophonie traditional hamony in the piano accompaniment fluidly mirrors the lyrical melody. The Song has a tertian chord structure and is primarily diatonic.

Pedagogical Value: Bears is an excellent example for demonstrating the rise and fall of the melodic line in da capo fon. The innovative text Mords young singers the chance to expressively recount the story. The last phrase presents the staccato articulation in contrast to the previous legato.

Pedagogical Approach: Young children should enjoy and experience great success in leaming this piece. Teach this piece by rote. Practice singing the rnelody on a neutral vowel sound with a fo~rdconsonant (e.g., voo, toh, noh); this hll help develop smcoth legato 4bar phrasing and promote breath control.

Performance Effectiveness: This composition wuld be a very fine piece for a third-grade classroom choir or a sdiool primary choir. As well, this song, along with the other eight compositions in Belyea's Song cycle 'Tne Zoo", would afford a superb concert group for a children's choir. Title: Misty Takes Me Walking Miny Takes Me Wdking Composer: Camille Palsky Ohlin

Publisher: Leslie Music Octavo No. 1139

Publication Date: 1986

Duration: 1:O5

Accompaniment: Piano

Range: D' - E"

Tessitura: D' - A'

Rating: Easy

Text: The text is very appealing for young singers; it is written in metrical poetic fom using trochaic septameter verse. The

ac~m-et;W. LULIE YCSK SLPPLY. OAKWU O~TARIO.CAVADA optimal "sneeze" at the end will Reproduced with permission of the publisher. add a novel touch of text painting.

Form: ABA'C

Melody: Misty Takes Me Walking uses mainly conjunct melodic movement in the key of D Major. The melody is very singable; it includes a blend of repetition and variety.

Rhythm: The piece, in simple quadruple time, uses a combination of quarter notes and eighth notes. The r [ 1 figure in the penultirnate bar adds rhythmic variety. The nt., a tempo, and fermata markings of this allegretto tempo add to the dramatic interpretation.

Texture: The treatrnent of the melody is chordal or hornophonic. The piano accompanirnent reinforces the vocal line; harmonic support is derived from mainly tertian chord structure I, IV, and V. Pedagogical Value: This piece is an ideal composition for demonstrating diversity in tempo change: ennata (n),Rt., and a tempo. As well, leaming this Song helps to develop understanding of the compositional technique of first and second endings.

Pedagogical Approach: Misty Takes Me Walking is a very fine diatonic reading Song for eight-yearolds. Begin with rhythmic reading then introduce reading melodically using tonic sol-fa in strict time. Sing with a neutral vowel sound and initial consonant. Sing the text expressively. Add tempo variations.

Performance Effectiveness: This composition is an appealing Song for a third- grade classroorn choir or school prirnary choir. Title: Lions LIONS (/or Fn+do~ Composer: W. H. Belyea

\luwi 3b U H Bel\- Publisher: Leslie Music Octavo Drübmid?. Il6 - No. 1142

Publication Date: 1987

Duration: 7 :30

Accompaniment: Piano -f - - - - 1 I I . I . ju iLk And :ana .nc II - an *-. S. bnr - zng (0' 'ne Range: D' - D"

Tessitura: G' - D"

Rating: Easy

Text : This descriptive and ! -p - :n .p~c 3 in .5c wi in< 1,. - .an= 71% -- \Chsr: 5-2 . entertaininrr- text is in metrical poetic form. The verse is by A. C. Darke. lts rhythmic pattern is trochaic octameter.

1- bprww :UV 1 \IIIW.~rph. OaL~~llc. Ontm-. L7S-bd~ Form: A B C A' C' D C A' The Reproduced with permission of the publisher. repetition of melodic and rhythmic motives provides unity within phrases and from phrase to phrase.

Melodic Style: Lions uses conjunct and disjunct melodic movement and diatonically moves bewen the key of G Major and a modulation to D Major. The melodic sequences make this an easy piece for young singers to learn.

Rhythm: The pedestrian quarter notes in the beginning phrases ably portray the plodding steps of the pacing lion. The dotted quarter and eighth note patterns and their inversions add to dramatic description of the lion's walk in this simple quadruple metre composition.

Texture: The treatment of the melody is mainly chordal or homophonie. The piano accompaniment, reinforcing the vocal line, provides clear harmonic support. Harmonic variety is added by effectively juxtaposing chords from the keys of G Major and O Major. Tertian chord structure is the nom throughout this piece.

Pedagogical Value: Lions provides an excellent challenge to learn to sing long phrases through the technique of staggered breathing (bars 7-12). The layering of rhythmic and melodic motives yields opportunities to practice singing dramatically and expressively. Clear enunciation of the text is critical for an artistic performance.

Pedagogical Approach: lntroduce this piece through the rote process. lsolating the rhythmidmelodic motives (bars 12-1 3), initially, will help lay the foundation for learning the balance of the piece. Patsching (strong/weak) Mile singing in rehearsal will create and help intemalize strong metrical accent for Mure performance.

Performance Effectiveness: This Song would be appropriate for use with either a school primary choir or a children's choir. The entertaining text and tuneful melody makes this an ideal audience pleaser. 10 THERE'S MAGIC IN THE AIR Title: "There's Magic In the Air" from Magic In The Air

Composer: Clifford Crawley

Publisher: Leslie Music Octavo No. 1143

Publication Date: 1987

Duration: 1: 1 5

Accompaniment: Piano

Range: F' - E-flat"

Tessitura: F' - D"

Rating: Medium

Text: The text, written by the composer, is repetitive in nature. It encompasses closed metrical form in iambic sextameter. i.iprip lut&'. Lolic \IWL Suoplv. Oak~ilIçOnrar~u. Canada

Reproduced with permission of the publisher. Form: AA'BAA'

Melody: This diatonic song in B-flat Major uses a combination of disjunct (3rd~ and 4th~)and conjunct melodic motion. The use of melodic inversion and repetition help make this most singable by young children; it incorporates standard 4-bar phrasing.

Rhythm: Although this piece is written in simple quadruple metre in allegro vivace tempo, there is a strong feeling of two to the bar. Rhythmic figures of r 1 r, n n , and n provide unity to this composition. Texture: The melodic vocal lines are reinforced by the right hand of the piano accompaniment. The accompaniment outlines hornophonic support with mainly tertian chord structure. Pedagogicat Value: This piece has value for the learning of da1 segm al fine fomi and the tempo markings of poa, allargando I a tempo. The rhythrnic figures of r 1 r and n n 1 and the use of rnelodic inversion admirably demonstrate the very fine balance of unity and variety in this composition. This song also would be good to help blend the head and chest registers of the child voice.

Pedagogical Approach: This is an ideal Song to easily leam by rote. Teach section A and A' first and section B next. Sing expressively and musically, inwrporating dynamic and tempo variations.

Performance Effectiveness: Based upon the range, melodic, hythmic and textual challenges, this composition is best suited for a school primary choir or a children's choir. Title: If You Should Meet a YOU SHOULD MEET A CROCODILE Crocodile

Composer: Nancy Telfer

Publisher: Leslie Music Octavo No. 1145

Publication Date: 1987

Dutation: 1:30

Il' ' I Accompaniment: Piano

Range: Et - E"

Tessitura: E' - A'

Rating: Medium-D iffïcult

Text: The anonymous text is in metrical poetic form. The verse is a combination of iambic pentameter and dacty l ic

cr -1, --I t" = 'l*.,. ..a,.,.,< .>,...k *, . ,,..,A tetrameter. Reproduced with permission of the publisher. Form: AABB'CC'AABB'C

Melody: The diatonic melody is in A Minor. The melodic motion involves canjunct and disjunct (3rd~.4th~. and 5ths) movement.

Rhythm: This multimetred composition moves between quad~pleand triple metre. Simple rhythmic form of quarter notes, eighth notes, half notes, and dotted half notes comprise the rhythmic vocabulary.

Texture: Telfer has supported the melody with mainly diatonic hornophonic piano accompaniment in tertian chord structure. The vocal line is supported by the right hand of the piano accompanirnent.

Pedagogical Value: This expertly crafted composition affords pupils a venture into multimetred music. Telfer has included diverse dynamic interest that will challenge choin. The contrast of staccato and kgab in Section C provides examples of text painting.

Pedagogical Approach: Rhythmically chant the text to help pupils feel the change of metric accent from quadruple to triple time. Teach by note or by rote, dependent upon the musical maturity of aie pupils.

Performance Effediveness: This composition wuld be appropriate for use with a school primary choir or a children's choir. LULLABY Title: Lullaby

Composer: Nancy Telfer

Publisher: Leslie Music Octavo No. 1146

Pubiication Date: 1987

Duration: 2: 15

Accompaniment: Piano

Range: E-flat' - E-flat"

Tessitura: F' - 0"

Rating: Medium

Text: The text, written by the composer, is very suitable for young children. The verse is written in metrical poetic form and the rhythmic pulse of the verse is trochaic sextarneter. Reproduced with permission of the publisher. Forrn: AA'BA'CDAA'

Melody: Although this lyrical diatonic Song is written in A-flat Major, the flattened 7th in the piano accompanirnent suggests a mixolydian modal flavour. The rocking melodic motion is attractively displayed in each Cbar phrase. Much of the melody is easily within the grasp of the young singer; most melodic movement is $tepWise, Mile intervals of 3rds, 4ths, 5th~~and 6ths are interspersed throughout.

Rhythm: Using simple eighth notes, quarter notes, half notes and dotted half notes in simple triple rnetre, this piece displays a lilting quality. The rhythmic figure n 1 1 1 d 1 unifies the melody. Texture: Telfer has utilized a piano accompaniment which mirrors the rnelodic line and provides an arpeggiated bass of tertian chord structure. Pedagogical Value: This piece Mers pupils a challenge to develop artistic shaping of the smoothly legato melodic line.. The layering af dynamic change throughout and more specifically, the chance to exhibit fine piano singing presents itself in this composition.

Pedagogical Approach: Feeling one to the bar is key for success here. Have pupils clap or patsch on beat 1 as they leam each section by rote.

Performance Effectiveness: This Song is appropriate for use a third-grade classroorn choir. a school primary choir or a children's choir. It is suitable for general concert programming and is an audience pleaser. Title: Noise

Composer: Nancy Telfer

Publisher: Leslie Music Octavo No. 1147

Publication Date: 1987

Duration: 1:O0

Accornpaniment: Piano

Range: D' - E-flat"

Tessitura: F' - B-flat'

Rating: Easy

Text: The simple text has been adapted by the composer from an anonymous poem. It is an extended metrical poetic form in dactylic/trochaic pentameter.

Form: A €3 A' C A 4-bar bridge joins the two verses,

Melodic Style: This piece is written in diatonic B-flat Major. The melody of the verses is mainly conjunct. Motivic sequencing is foundational to unity within the piece.

Rhythm: The simple moving eighth and quarter note rhythms are supported by compound duple metric accent at a moderate tempo.

Texture: The piano accompaniment supports the rnelody homophonically. The harmonic structure is based on 1, IV, and V with extensively used added tone technique.

Pedagogical Value: This piece is an ideal composition for demonstrating melodic and rhythmic repetition and contrast. The variety of expressive dynamics makes this an excellent song for teaching divenity in expression. This song is a progressive step from Kodaly-based classroom repertoire.

Pedagogical Approach: Noise is a very fine diatonic reading Song for young singers. Begin first with rhythmic reading and then introduce reading melodically to tonic sol-fa. Sing using a neutral vowel sound with an initial consonant (e.g., too, boo, noh, etc.). Sing using words and expression.

Performance Effectiveness: This piece is a pleasing song for classroom choir, school choir or children's choir. Although somewhat short in length, its enchanting text and repeated rhythmic and melodic motives make it appealing on a general concert program. Title: Little Leprechaun Little Leprechaun Composer: Clifford Crawley

Publisher: Leslie Music Octavo No. 1148

Publication Date: 1988

Duration: 1:O0

Accompaniment: Piano Range: C#' - E" ii1 for . Xwn. Lt. rit lit - tic lit - iIc :ir - Tessitura: F#' - A'

Rating: Easy

Text: The text, written by the composer, is whimsically interesting for young children. The simple duple metre exhibits trochaic octameter rhythmic

Copynghr 19118 Lolic \turic Supplv. Oakr~llcOnuna Caab pulse to the verse. . The alliteration on "little, Me, . . ." Repmduced with permission of the publisher. presents a challenge in clear enunciation. In verse 3, Crawley has included text painting on "high", "lo\nrB, "quick", and "slow".

Melody: The playful diatonic melodic line in D Major incorporates both conjunct and disjunct motion. The 8ve leap in bar 15 will challenge singers.

Rhythm: This duple metre in vivace tempo ernbodies eighth notes, quarter notes, sixteenth notes and the n figure. Rhythmic repetition brings unity to this piece. Texture: The rnelody is supportecl by chordal arpeggiated passages. The dissonant-flavoured appoggiaturae added to many diatonic chords paint a lucid picture of a leaping leprechaun.

Pedagogical Value: This composition offers the opportunity for young singers to enunciate clearly alliterative textual passages. The intewallic challenges in bar 11 of falling thirds (1 - f - r - t,) and bar 15 (8ve) will broaden music skills of young singers. The dynamic changes along with first, second, and third endings will expand musical understanding.

Pedagogical Approach: In the first instance, chant the text in rhythm. Then teach the Song by rote, section by section. in a musically artistic manner.

Performance Effectiveness: This composition is wll suited for a third-grade classroom choir, school prirnary choir or children's choir. Little Leprechaun is a very entertaining piece; it is an audience pleaser. Title: "Gather Little Children" Gther Little Children from Gather Round the Christmas Tree

Composer: Donalda Sangster

Publisher: Leslie Music Octavo No. 1150

Publication Date: 1988

Duration: 1 :45

Accornpaniment: Piano

Range: D' - D"

Tessitura: F#' - A'

Rating: Easy

C Capynght 1988 Leslie Musc Suppiy Oakville, Cnraco, Clrw& Text: This text by Norma Skillen is in metrical poetic form; it is Reproduced with permission of the publisher. most suitable for primary grade children. Trochaic sextarneter rhythmic pulse is used.

Form: ABC

Melody: This Song is written diatonically in D Major. The rise and fall of the lyrical melodic line is reminiscent of a rocking cradle. The simple 4-bar phrases may be easily managed by seven- and eight-year-olds.

Rhythm: This piece is in simple tripl rnetre (although the time signature was omitted in this edition). The n 1. r'1 d rhythrnic figure provides unity to the composition. A moderate tempo would best suit this song.

Texture: The composer has utilized traditional diatonic tertian chord structure in the piano accompaniment. The melody, mirrored in the right hand of the accompanirnent, is supported homophonically using 1, IV and V chords. Pedagogical Value: This piece offers a very fine opportunit- for young singers to leam tu sing 4-bar phrasing. The repeating A in bars 1112 may challenge intonation.

Pedagogical Approach: Children will be moved by the lyrical rocking of this lullaby. Teach by rote to six- or seven-year-olds or teach by note to eight-year- olds.

Perfomance Effectiveness: This piece would be appropriate for use with a classroom choir at first-, second-, or thirdgrade. It would be a welcome addition to a Christmas concert program. Title: Gloria, Gloria, Gloria Deo Gloria, Gloria. Gloria Deo Composer: David Ouchterlony Y&. amn DAVID OCCHERLJlcY Publisher: Leslie Music Octavo No. HC 1012

Publication Date: 1988

Duration: 2: 15

Accompaniment: OrganfPiano

Range: C' - E-fiat"

Tessitura: E-flat' - B-flat'

Rating: Medium

Text: The anonymous words are in metrical poetic form. The metric line is dactylic trimeter. This Christmas anthem, in the form of a prayer, tells the personal story of a poor child's Reproduced with permission of the publisher. solution in finding an appropriate gift for the newly- born Christ Child.

Form: AA'A B B' C

Melodic Style: This diatonic Song has a lyrical melody. The melodic movement is mainly conjunct; disjunct intervals of 3rd~.4th~. and 5ths are present. Smooth, legato singing is important here.

Rhythm: The rhythmic patterns use mainly quarter notes, dotted quarter and eighth notes, and half notes in simple triple time. The Id r 1 figure is a unifying rhythmic motif.

Texture: The organ accompaniment is mainly hornophonic. The hamony is diatonically based on tertian chord structures. This piece written for organ accompaniment has pedal points. Although this piece is scored for organ, piano accompaniment could be substituted. .

Pedagogical Value: This piece has a lyrical, rhythrnic melody with dramatic text. The rise and fall of the melody and recurring melodic motives offer expressive opportunities for the young singer. This is an excellent Song for practicing and learning to sing music in a smooth (legato) manner.

Pedagogical Approach: Wh lelpa ole. lntroduce in entirety. Teach Section A. Focus on 1. t n7 1 b rhythrnic motif. Teach sections A' and B. Join together for verse 1. Concentrate on natural dynamics and phrase endings. Extend to verses 2 and 3. Add accompaniment. Rehearse and perforrn expressively.

Performance Effediveness: This piece is appropriate for a school primary choir or a children's choir for Christmas seasonal performance. SHE'S LIKE THE SWMLOW Title: She's Like the Swallow L;UISON Curadur Folk Sons m. CN* Cd Composer: arr. Craig Cassils

Publisher: Leslie Music Octavo No. 1156

Publication Date: 1989

Duration: 2: 10

Accompaniment: Piano

Range: C' - E-flat"

Tessitura: G' - C"

Rating: Medium

Text: The text of this folk Song is written in metrical poetic form; the rhythmic pulse of the verse is anapestic octameter. Coo%n~niLnlic Uwccr Supplr. ln.: Oakrillc C>nwo. Cinada 1989 Reproduced with permission of the publisher. Form: ABB'C

Melody: This beautiful rnelancholic Song in dorian mode, is a most singable melody. The melodic line is primarily conjunct with some skips of Brds, 4ths, and 5ths interspersed.

Rhythm: The rhythm is comprised of quarter notes and half notes in compound triple rnetre.

Texture: The piano accompaniment of this arrangement uses hornophonic chords and arpeggios with added tone technique. Mainly tertian chord structure is utilized.

Pedagogical Value: This composition provides great dynamic challenges in portraying the rising and falling of this poignantly lyrical modal melody. This piece offers a number of opportunities for pupils to learn nt., a tempo, and the use of rubato. Pedagogical Approach: Te- this song by rote. Focus on legato singing. Add tempo changes of rit., a tempo, and tubato. -Young singers should experience great enjoyment in the leaming of this selection.

Performance Effectiveness: This composition would be appropriate for use with a school primary choir or a children's choir. Titie: On the Back of an Eagle

Composer: Nancy Telfer

Publisher: Leslie Music Octavo No. 1168

Publication Date: 1990

Duration: 2:05

Accompaniment: Piano

Range: E-flat' - E-flat"

Tessitura: F' - Cu

Rating: Medium-Difficult

Text: The captivating text. in metrical poetic form, presents a combination of anapestic and iambic sextameterloctarneter.

Capvnyht IW L&C ~IUM Supply toc. rhkr~llrOnwio. C2naû.a Form: ABCD ABCD Reproduced with permission of the publisher. Melody: This hauntingly beautiful melody is written in aeolian mode. The melody moves mainly conjunctly; disjunct melodic movement is evidenced in intervals of 3rd, 4th~~& Sths.

Rhythm: Telfer uses quarter notes, moving eighth notes, half notes, dotted half notes, and mole notes as rhythmic vocabulary to make this Song take flight. The piece is written in simple duple metre (cut time). The rhythmic motif, n i 1 , reminiscent of the flapping of a bird's wings, helps connect section to section.

Texture: The melodic line is sustained by arpeggiated tertial and quartal chords. The rising and falling nature of the piano accompaniment powerfully depicts the soaring eagle's flight.

Pedagogical Value: On the Back of an Eagle is a beautiful Song that demonstrates the compositional use of rhythmic motif. Phrase 2 (bars 9-18) offers an opportunity for pupiis to practice and rehearse stagger breathing technique. Understanding oie tedinical symbols of Dal segna al 6 and Coda will extend pupils' musical knowiedge.

Pedagogical Approach: Using the rote approach, teach bars 19-22 (D) first. Then begin teaching the song by rote from the opening. Stress long phrasing and stagger breathing technique. Have pupils sing expressively.

Performance Effectiveness: Study of this composition would be appropriate for either a school primary choir or a children's choir. Students and audience rejoice in the music rnaking. Title: Rocking in Rhythm Rocking in Rhythm Composer: Mira 8 Michael

Publisher: Leslie Music Octavo No. 1978

Publication Date: 1991

Duration: 2:00

Accompaniment: Piano

Range: C' - E-flat"

Tessitura: E-flat' - C"

Rating: Difficult

Text: The text is a combination of dactylic and trochaic quatrameter

-.. -. ."II,.4.". * .,..\ilr. iC: .in. in metrical poetic form. The words are innovative and Reproduced with permission of the publisher. interesting.

Form: AA'BC AA'BC DE AA'BC CC F

Melody: This rocking and swinging jazz rnelody incorporates "blue notes" such as flattened 3rd and flattened 7th. Cadential formulas in this Song use the VI as the penultimate tone of the melody. This is a challenging singable melody for primary-grade children.

Rhythm: The Coghlans' rhythmic vocabulary includes quarter notes, eighth f notes, dotted notes as well as typical blues rhythmic figures such , . as = 1 1. and the habanera I I 1 / r 1.u This piece. in simple quadruple cut tirne, moves at an easy swing%mpo.

Texture: The melody is supported homophonically with many 7th and 9th chords appropriate to this jazz idiom. Pedagogical Value: This is an excellent composition for helping children leam to sing and swing in a blueslswing style. The rocking blues rhythrnic features as well as typical melodic highlights of the blues will provide a definite and enjoyable challenge for young singers.

Pedagogical Approach: Chant this in rhythm fint to an easy swing. Teach the coda section by rote. Then teach the AA'BC section. Next add the DE section and join parts together.

Performance Effectiveness: This composition would be appropriate for use with a children's choir. Title: Meny Christmas, Mother Merry Christmas, Mother Earth L Earth *.mh A \lu*- - kruEI4 Ca 0. .

Publisher: Leslie Music Octavo No. f 780

Publication Date: 1991 - Duration: 1:50

Accompanirnent: Piano

Range: D' - D"

Tessitura: F#' - A'

Text: The text is in open form:

O nonmetrical poetic form. The ecological focused words are easily m-thin the grasp and Reproduced with penission of the publisher. interest level of primary-grade children.

Form: ABAB' CD ABAB' E (ABA + coda)

Melody: The melody of Merry Christmas, Mother Earth is mainly stepwike with intervals of 3rds and 4th interspersed. The melodic vocabulary is primarily diatonic with the exception of the flattened 7th.

Rhythm: The piece uses a moving rhythmic vocabulary of quarter notes, eighth notes and half notes in simple quadruple metre. The composition moves at a moderate tempo.

Texture: The harmony supports the melody homophonically. Added tone technique makes this very fluid. Pedagogical Value: This composition is an ideal song for inmrporating an ecological theme with Christmas. The text offers many expressive opportunlies for young children. The melodic challenge lies in the flattened 7th.

Pedagogical Approach: Use rote approach to teach this song. lntroduce Sections ABAB' first Then teach the contrasting CD sections. Complete the whole by teaching the coda section E. Add natural dynarnics for expression.

Performance Effectiveness: This composition wuld be appropriate for study by a school primary choir. GESTLE SSOW Title: "Gentle Snow" from Primary MSSA Ol70 Songs for Christmas

Composer: Donna Otto

Publisher: Leslie Music Octavo No. LEC 111

Publication Date: 1991

Duration: 1:30

Accompanimeni: Orff Ensemble

Range: C' - C"

Tessitura: E' - A' - Rating: Easy -9 7 Grrrr .n .nph>rtutiun urmc X'P insifimcnn rncn rouid 5c :iU uior dnfiuig. tbr childrni suc i.i..rco wunu AI hn !wcn :O *cm. Esirblih yomcc rnd inen Icr thcm -dnfc uui'. Cs- Text: This short poetic form is metrical. The simple text follows a trochaic septameter pattern.

Reproduced with permission of the publisher. Form: Vocal = A B; Vocal and Instrumental = A B A

Melodic Style: This Song is based in C-doh pentatonic. The simple pentatonic melody focuses on the s-l-s-m melodic pattern.

Rhythm: The rhythm is mainly moving eighth notes in this simple duple metre piece. The variety in the rhythm occurs in the dotted eighth note and sixteenth note pattern in bar 5.

Texture: The simple harmonic accompaniment is V-1 based and utilizes an Orff ensemble arrangement of soprano and alto glockenspiel, soprano and alto metallophone, bass xylophone, bass rnetallophone, bel1 tree, and various non-pitched percussion.

Pedagogical Value: This piece is appropriate for reinforcing the s-1-s-m pattern and for introducing and tuning the d'-s melodic pattern in Orff or Kodaly approach. Th8 mgcould be used as a reading song for those fallowing a Kodaly-based cum'culum. The improvisatory section challenges pupils' creativity.

Pedagogical Approach: Whole/paMole. lntroduce Mole song by rote: Section A then Section B. Sing in entirety using natural dynamics. Add accompanirnent- Break students into groups of 4 or 5 for singinglcreating improvisation using cooperative leaming techniques. Perfom and share.

Performance Effectiveness: This piece is appropriate for primary classroom use. This composition makes a wondemil festivallChristmas concert program selection. The Land in the Clouds Title: 'The Land in the Clouds" from Fantasy Songs

Composer: Marshall L. Shaw

Publisher: Leslie Music Octavo No. 1185

Publication Date: 1992

Duration: 2:00

Accompaniment: Piano

Range: E-flat' - D"

Tessitura: F' - B'

Rating: Medium

Text: The text by Shirley Shaw is in metrical poetic form - a combination of iambiclanapestic tetrameter and quatrameter. It is 8 Cqyng!u 1992 WDZMrns Supply iœ.. Oakalk. OaLuui. ChdS most suitable for primary-grade Reproduced with permission of the publisher. children.

Form: ABBCC

Melody: This mysterious and ethereal melody offers a combination of lydian mode and F Minor. Phrase 1 (A) signais the introit and melodic motif in lydian mode. Phrase 2 (B) in lydian as well is mainly disjunct with intervals of 3rds and Gths. Phrase 3 (C) follows in F Minor in a stepwise manner.

Rhythm: This composition uses a variety of rhythms: quarter notes, eighth notes. dotted half notes, whole notes, and dotted quarter notes; the tempo is moderate. The rhythmic figure n ties section B and C together.

Texture: The arpeggiated accompaniment lightly supports the vocal line. The key change from lydian to F Minor and then back to lydian is intriguing; however, the first modulation at bar 819 is somewhat abrupt. Pedagogical Value: This composition offers an ethereal mlodic line with very descriptive textual opportunities for young uoices. The Land in the Clouds moves hythmically and melodically creating an atmosphere resernbling fioating clouds. The key change at bar 819, somewhat abrupt, may challenge pupils.

Pedagogical Approach: Teach this piece in 2 sections: A 8 B together then C. Teach the pivotal sedion of the key change at bar 819. Join together. Add expressive dynamiw. Work on lucid enunciation of the diction.

Performance Effectiveness: This song would be appropriate for study by a school primary choir or a children's choir. Title: A Song of Sharing ua .pncuuEcmwwws A Song of Sharing LZW5 .cnouatPm Composer: Linda Fletcher *idrri \luu m r iltb C a U..DIFLElO(ER Publisher: Leslie Music Octavo No. 2073

Publication Date: 1992

Duration: 2: 15

Accompaniment: Piano

Range: C' - E"

Tessitura: F' - C"

! mq 4 -ns 4 Jru . 3s riin .ur ro- '2er orrr a Le, Rating: Medium j .q , ms .if hcnd-+na0uid rtll q-m nrr - lom Text: The words of this song, written by the composer Linda Fletcher, are in metrical poetic form. The language level is age appropriate for prirnary-age school children. Reproduceâ with permission of the publisher. Form: A A' B 8'

Melodic Style: The melody is diatonic in the key of F Major. Most of the melodic movement is conjunct; disjunctive intervallic passages involve 4ths, Sths, and 6ths. Melodic motives unify each of sections A and B. The jump in bar 23 may be problematic for the young singer.

Rh hm: The rhythm of the Song is catchy, especiaily the recurring 1 r 1. f 1 1 figure. The piece, although written in simple quadruple metre. moves somewhat better in cut time, feeling two beats to the bar.

Texture: The vocal line is supported by a hornophonic piano accornpaniment with the occasional passing note added for fluidity. The diatonic harmony is quite traditional in section A using Il IV, and V tertian chord structures. In Section 6 greater hanonic interest is added using VI, III, 11 and V7th chords. Pedagogical Value: This most lyrical melodic line is a memorable one once leamed. The vaned therne "of sharing, of loving, of caring" offers dramatic, dynamic interpretation. The long fiowing line provides an opportunity for young singers to practice and leam to perforrn rnusically 4-bar phrasing.

Pedagogical Approach: Wholelparthvhole. lntroduce whole song. Teach section A then B. This may be leamed as a rote song or a reading Song depending on student sophistication. Sing verse 1 in its entirety in an artistically expressive manner. Extend to verse 2 and 3. Perfom.

Performance Effectiveness: This piece is suitable for a school primary choir or a children's choir. The universal text and lyrical melody afford broad perfomer and audience appeal. Title: Catch a Little Sunbeam Catch a Little Sunbeam xmuumr. c7 Composer: John Simituk

! CA a d-tk 4.- Publisher: Leslie Music Octavo No. 1189 I 0- - Publication Date: 1993

I I : ,I Range: C' - E" L-- - - Tessitura: E' - C"

37 C %r -.

Text: The text of this lullaby " ip 0 written by the composer is in iL---,- - - ..". - 7 closed metrical form. The a-r '..~znE- -, I-Z -&- nTLao --. rhythmic pulse of the verse is trochaic septameter. Reproduced with permission of the publisher. Form: AA'BAA

Melody: This lyrical melody in C Major flows well. Based upon the range, tessitura, and melodic contour, this song would be very suitable for use with young voices. The melody is mainly conjunct and diatonic with some chromatic added tone technique. The melodic sequence in the B section creates a smooth modulation.

Rhythm: This piece, in simple quadruple metre at a moderate tempo, uses quarter notes, eighth notes, dotted quarter notes, and half notes. The moving rm pattern ties this piece together. Texture: Simituk utilizes homophonic harmonic support for the melody; the right hand of the piano accompaniment mirrors the vocal line. Extended harmonies with 7th and 9th chords create a delightful accompaniment. Pedagogical Value: This lullaby Mers a lyrical rnelody for children to study and leam. The melodic contour has an appealing rise and fall. Teamed with the text, this composition is a noteworthy piece for study by young singers.

Pedagogical Approach: Teach fint as a rhythrnic reading exercise. Then introduœ by rote. Fows on clear enunciation of the diction. Sing expressively using natural dynamics.

Performance Effectiveness: This composition would be appropriate for study by a third-grade classroom choir or a school primary choir. Title: Lullaby for Jesus

Composer: Brian L. Tumbull

Publisher: Leslie Music Octavo No. II91

Publication Date: 1993

Duration: 1:15

Accompaniment: HarpNiolin

Range: D' - E"

Tessitura: F#' - 6'

Rating: Easy

Text: The text, written by the composer, is in metrical poetic form with a combination of

a mr;. ui i,** u... nt. IA..,~ I- trochaic and dactylic septameter verse. The sacred words are Repmduced with permission of the prblisher. very eloquently phrased and would be suitable for use with prirnary-grade children.

Form: ABB'C ABB'D

Melody: The melody is diatonically situated with an impressive rise and fall in the melodic contour. Both stepwise motion and disjunct (3rd~and 4th~)movement are characteristic in this Song.

Rhythm: Turnbull has utilized a rhythmic vocabulary of quarter notes, eighth notes, half notes, and dotted half notes in this simple triple time composition.

Texture: The composer has supported the melody with hornophonic tertian chord structures. The harmony used is mainly traditional; phrase B offers more inventive harmonies. Although this piece is scored for harp and violin, piano may be substituted for classroom use. Pedagogical Value: This song has a lovely melody and rocking rhythm. This composition wuld make an excellent diatonic reading Song for pupils following a Kodaly-based music curriculum.

Pedagogical Approach: Teach this as a reading song. Clap first using rhythmic time names. Read melodically using hand signs. Sing on a neutral vowei sound and initial consonant (e-g.,loo, too, voo). Sing expressively with text.

Performance Effectiveness: This Song would be appropriate for study by a third- grade classroom choir or a school primary choir. Title: Dinosaurs Dance in My Dreams

Composer: Paul Chappel

Publisher: Leslie Music 9ctavo No. 1192

Publication Date: 1993

Duration: 5: 15

Accornpaniment: Piano

Range: D' - E-flat"

Tessitura: G' - Du

Rating: Medium

Text: This dinosaur text by Joanna Lawson is appealing for children. The words, in metrical poetic form, are mainly dactylic.

Reproduced with permission of the publisher. Form: A B C B Da Capo Melodic Style: This piece uses diatonic, conjunct melodic movernent in compound duple time. The song, centred in G Harrnonic Minor, contains repeated melodic motives in the B section. Pupils may find the interval jumps of a 6th in bars 11-12 and 20-21 challenging.

Rhythm: The recurring eighth note figure provides the main rhythmic movement throughout this Song written in cornpound duple rnetre. The repetition in the rhythmic figure 1 1 - in the song gives a rhythmic and memorable signature for the text of the title.

Texture: The texture is hornophonic in nature with broken chord structure in the piano accompaniment. The traditional harmony is built on tonic, dominant and subdorninant foundations. It utilizes tertian chord structures with added tones. Pedagogical Value: This piece has merit for pupil leaming af da capo form. In addition, the large melodic jumps (6ths, 8ves) provide vocal challenges for young singers. The text offers many avenues for expressive and artistic interpretation. Long phrasing using staggered breathing technique is required throughout the composition.

Pedagogical Approach: Echo sing the title melodic and rhythmic signature "dinosaun dance in my dreams". Echo chant the words of the first verse. lntroduce as a rote Song or a reading Song section by section.

Performance Effectiveness: This Song would be most appropriate for a school primary choir or a children's choir. Cornparison of Analvsis of Com~ositions

The cornparison of the analysis of the compositions arnong Panel 1 experts and myself yielded commonalties as well as diverse results. There was general consistency reported concerning definitive knowledge and analytical aspects such as octavo number, publication date, accompaniment, range, tessitura, text, form, melodic style, rhythm, and texture. However, in the highly inferential categories of pedagogical value and pedagogical approach, each expert and I provided unique insights into the composition. For example, in the composition. "A Song of Sharing" by Linda Fletcher (Octavo No. 2073). Adam described the pedagogical approach as:

Children should have no difficulty learning this piece. lts text has immediate appeal and its melody is easily internalized. There may be a tendency to cut phrase endings. Extend vowels and try singing phrases throughout to a neutral sound (too, doo, no, etc.). Choirs will struggle the melodic and harrnonic instabilities of section B. A second edition could clean up this 6 section and place the piece suitably in the repertoire of the Junior choir.

Randall provided this description, "Mainly rote".

Margaret described the pedagogical approach in this way, "This is a reading exercisefexperience. Read the words and rhythm paying attention to phrasing (breath marks). Physical representation of the phrase lengths. Work on diction and breathing as a practice of the longer phrases."

I depicted the pedagogical approach for "A Song of Sharing" in this manner: WholelpaMole. lntmduce the Mole song. Teach section A then B. This may be leamed as a rote song or a reading Song depending on students' sophistication. Sing verse 1 in its entirety in an artistically expressive manner. Extend to verse 2 and 3. Perforrn.

Cornparison of the Derrree of Difficultv of Corn~ositions

In the results of the comparison of the degree of difficulty for each of the five compositions analyzed by the three experts in Panel 1, evaluators mainly agreed in at least four of the five ratings. In composition # 1, "The Spider

Hunter", the evaluators were almost in agreement in assessing the difficulty of the composition as easy-medium, medium and medium. In composition # 3,

'#Thunderand Lightning", the evaluators differed in their judgment of the degree of difficulty: they assessed this piece as easy-medium, difficult, and medium.

The results are shown here below in Table 4. - Table 4--

Com~arisonof the Assessrnent of the De~reesof Difficultv of

Selected Com~ositionsAmoncl Panel 1 Ex~ertsand Investiciator

Composition Title Ratings

Adam Randall Margaret lnvestigator

The Spider Hunter Easy-Medium Medium Medium Medium

The Loose Tooth Easy Easy Easy Easy

Thunder & Lightning Easy-Medium DiRcult Medium Medium

Noise Easy Easy Easy Easy

A Song of Sharing Medium Medium Medium Medium

To assess my reliability as a judge in comparison with members of expert

Panel 1, t calcuiated the inter-rater reliability. Since reporting the simple

percentage agreement amongst the judges inflates reliability when there is high

proportion of chance agreement, I calculated Cohen's K (Cohen, 1960) for each

pair of judges for each of the two decisions they made. Since Adam used a

different scale than outlined in the guidelines for analysis, I omitted his results

from the reliability calculations. The formula for calculating Cohen's K is as

fol lows:

(proportion of obsewed agreement - proportion of agreement expected by chance)

divided by

(1 - proportion of agreement expected by chance). In this case, there are 3 options (easy, medium, difficult) x 2 markers so the proportion of chance agreement is .50 (i.e. 3 of the 6 combinations are matches). The overall agreement (global mean across al1 judges) for number of items agreed was 4.33; the global mean for proportion of observed agreement was -86.The mean proportion of agreement by chance was -50and the mean K was -73. This is an acceptable degree of reliability for the investigator as a judge of the level of difficulty of unison choral compositions.

The results of this calculation are reported in Table 5. Table 5

Inter-rater Reliabifitv Arnona Pairs of Judçies on Expert Panel 1 and Investiqator Usina Cohen's K

Randall8 Margaret Randal18 lnvestigator Margaret 8 Global Mean

InvzsQator Pairs of JK@S

Number of items

agreed 4 4 5 4.33

Proportion of abserveci

agreement .8 .8 1 .O -06

Proportion of

agreement by chance -50 .50 .50 .50

K .ô0 -60 1 .O .73

The Utilitv of the Selective Guidelist for Classroom Use

The results of the classroom testing by rnembers of expert Panel 2 and the independent interview with each teacher suggest that the analytical guidelist of unison Canadian choral compositions was very useful. All found the guidelist extremely helpful in selecting reperîoire and in preparation for teaching. A background description of each expert classroom teacher will be presented.

Next, I w'll describe the teaching episode in the classroom of each expert. Then,

I will discuss the usefulness of the analytical selective guidelist.

Sarabande, a highly experienced teacher, taught itinerant music kindergarten to eighthgrade in a rural south-western Ontario school. She began teaching as a generalist classroom teacher; through her personal professional developrnent involving study of numerous courses and workshops in music education throughout her career, Sarabande honed her own

pedagogical skills in teaching music. One might describe her as a rnusically

enriched generalist. She portrays herself as "not a music person".

Cantabile, who was in her first year of her teaching career, possessed a

degree in music education. She was teaching general grade one classroom in

addition to teaching music to first-, second-, and third-grade children in a rural

central Ontario school. With a degree in music education and a performer's

diplorna in piano performance, Cantabile may be described as a music

specialist.

Arabella, who was in her ninth year of teaching, rnay also be classified as

a music specialist. She held a degree in music education and had undertaken

graduate study in both arts and music education; she is also a practicing

professional musician. Arabella is currently teaching music to pupils from

second to sixth grade and french to fourth through sixth grade students in an

urban private school.

Sarabande selected "Bears" by W. H. Belyea (Octavo No. 1134) to

prepare and teach to a third-grade class of 22 pupils. In her preactive or

planning stage for teaching, Sarabande became aware of and selected new

choral repertoire by requesting samples from music retailers or borrowing music from a school district music resource library. Using an analytic selective

guidelist proved to be an innovative and effective rneans to choose music and

plan for teaching. In the Performance Effectiveness section for the analysis of "8ears" I had noted: "As well, this Song, along with the other eight compositions in Belyea's song cycle ''The Zoo", would afford a superb concert group for a children's choir." Sarabande having studied this elaborated:

Partly the reason for choosing "Bears" is because it was part of a longer piece, a piece of eight from 'The Zoo" and it would lend itself, maybe, if we collected al1 of the pieces. to a nice presentation in a school sometime for a spring festival or something (Tape 4A - 123).

She went on to describe how the other specific aspects of the analysis helped her in selecting music and preparing for instruction. She recounted:

When I looked at the analysis that you did, I concentrated on the fact that we should pay attention to the railentando and the a tempo under the rhythm section and also the rise and faIl of the melodic line and the da capo form. Actuaily the form of ABCA (ABA) basically helped to decide that 1 had to teach the first section and the ending would take care of itself. Also, 1 liked the idea Men it says teach this piece by rote; I liked that because some of my students are good readers and some of them don't have a due to what those notes mean. To practice singing the melody by itself on a neutral vowel sound, we're going to try that today. That was very helpful (Tape 4A - 190).

During her actuai teaching of the song, "Bears", in a 30-minute period,

Sarabande imbedded rnany of the pedagogical suggestions provided in the analysis into her teaching. She taught the song to a class of third-grade pupils using a modified rote approach that also involved beginning reading using the musical scores. Sarabande employed a melody mapping exercise to help pupils feel the melodic motion of the various steps and skips in the song. She used rhythmic chanting of the words to help pupils feel the rhyming couplets of the text. To help develop smooth legato Cbar phrasing and promote breath control, she led pupils in singing the Song to "loo" (a neutral vowel sound with a forward consonant). In the final minutes of the class, Sarabande invited me to accompany the pupils on the keyboard; the pupils then developed a sense of the traditional homophonie harrnony that mirrored the lyrical melody. This closing performance brought an effective element of closure to the musical and expressive learning episode.

Cantabile selected and prepared "Sea Song" from "Five Primary Songs" by Gordon Fleming (Octavo No. 1121 ) to teach to her 75 -member prirnary choir.

She selected choral repertoire in a variety of ways. She made her selection from single copies of compositions in her own personal library, having used music through past experiences, visiting music retailers in person, attending reading sessions at music educators' conferences, and receiving recommendations from colleagues. Cantabile found the anaiytical guidelist helpful in selecting repertoire and preparing to teach it. She stated:

One of the first things I looked at was the difficulty level . . . because having prirnary choir and being my first year and knowÏngthese kids haven't had a lot of musical background, I was looking for things that weren't going to be too difficult or too long or too difficult of an accornpaniment.

The whole analysis helped because it was nice to know ahead of time that it was going to be three verses that were basically the same, except for the text, obviously. It also helped knowing, for me personally, that it was . . . based upon the pentatonic sale and the fact that it [melody] had some jumps. The pedagogical approach that you gave was also good because it helped me to . . . fows on now we are going to do rhythm, now we are going to do sol-fa and now we're going to add the text (Tape 5A - 117).

During her teaching of "Sea Song" to the pupils in her school's primary choir held in the school gymnasium, Cantabile prepared the introduction of this

Song by first echo clapping rhythmic patterns found within the Song and then by echo singing, using Kodaly hand signs, pentatonically-based rnelodic patterns.

After a review of a Song previously learned, she followed the pedagogical approach outlined in the analysis by having pupils first clap and Say rhythmic time names, then sing using tonic sol-fa and then finally add the text. She concentrated on fine articulation of the rhyming couplets in the text. At the close of the half-hour class, she accompanied the pupils on the piano so that they could assimilate the homophonie, hompipe-like piano accompaniment.

Arabella selected and prepared 'There's Magic in the Air" frorn Magic in the Air by Clifford Crawley (Octavo No. 1143) to teach to a combined class of 15 third-grade students and 7 pupils from a special education - specific learning disability class. She usually selected choral repertoire by attending reading

sessions offered by music retailers, revievving promotional materials distributed

by publishers and considering recommendations from colleagues. Using the

selective guidelist, she productively selected very specific musical concepts contained in my analysis of this composition in order to prepare for teaching

"There's Magic in the Air". She explained:

Well, first of all, I looked at the pedagogical approach for this. And it says here, 'This is an ideal Song to easily leam by rote". I was going to have the diildren read it and then it occurred to me as I was mulling over the rote part in my mind, that there were sa many "magics" that they might confuse the text and the melody. So, I decided to abandon that idea and go with rote. It talks about the value of the dotted eighth and the sixteenth which is something that the kids were a little lax on today. So that is something that I made a note of, even before I heard the kids sing to listen for. And so next day vie will go back and hopefully make that a little more precise. You told me that the melodic line was reinforced with the right hand of the piano which suggested to me it was something that we could feam more quickly than if the piano part was absolutely different. I looked at the form and I thought, 'okay we can break it into two lessons and work on the A section one day and the B section another day and polish as we go'. So there were al1 kinds of things. You know, as well, it indicated a range that I thought we could handle first thing in the moming or early in the day (Tape 6A - 148).

During the teaching episode, Arabella first involved the third-grade and special education pupils in simple rhythmic reading exercises in quadruple metre to reinforce rhythmic patterns found in the Song. Then, after warming up the children's voices using descending vocalizes frorn the head voice down into the chest voice, she taught the chorus part of the Song using the rote approach.

She concentrated on reinforcing intervals. Once this section was secure, she distributed music and the pupils began reading. Through the rehearsal, Arabella incorporated kinesthetic body movements to reinforce melodic patterns. To conclude the new leaming of the chorus section, she provide harrnonic support for the children by accompanying the pupils on the piano. During the interviews with the expert teachers regarding the ways that they selected music, I asked each one whether she thought it would be helpful to add to the selective guidelist a copy of the first page of the octavo (if reproduction rights could be obtained). Sarabande replied, "1 like the idea of having the first page there. That wuld be really helpful. . . because that's normally the way I select music" (Tape 4A - 214). Cantabile suggested,

"Absolutely. Definitely. . . . It would be nice to have a bit of the music in front of me, so I could sing through the first line or two to just get more of a feel for it"

(Tape SA - 155). Arabella remarked:

Absolutely. . . . You can describe a piece being lyrical or rnelodic, [but] until you have a chance to audiate or hear Mat it is, it is difficult to know exactly what an author means by "lyrical" or "rnelodic". At the same time, I think that the detail that you have included is necessary for someone to know the rest of the piece and to make a decision whether or not they would like to order the piece (Tape 6A - 126).

Concerning the overall degree of usefulness of the selective guidelist in assisting in the selection of unison choral repertoire for use in classrooms, school and community choirs, Sarabande related:

I liked the idea that you did a very w'de range of music. I think there is something in there for everybody. Whoever you are, you could find two or three or four or five pieces of music that you'd be interested in. . . I found it very useful! It was easy for me to figure out which pieces I didn't want and which pieces I did. Then I narrowed it dom. After I got down to five or six pieces, that got really difficult. Because they al1 sounded very good. Before that it was very easy. 1 really enjoyed reading through this. Unison pieces are getting so difficult to find - good ones - that to have a reference like this, wuld be great (Tape 4A -205).

Cantabile remarked about the usefulness of the selective guidelist. She stated, "lt was quite useful. It was good. . . I really liked the teaching approaches that you had given because having that as sort of a background . . . gave me an idea that [they] . . . would fit my own style" (Tape 5A - 134).

Arabella found the guidelist valuable; she recounted:

Very [useful]! Much more so than men you just receive a sort of catalogue that gives you the first couple of pages of the octavo. I felt that this is a much more complete system. lt was extremely detailed and I didn't have many questions. Things were quite clearly explained. It is something that I really want to keep and use (Tape 6A - 109).

In addition. Arabella found the guidelines for analysis so explicit that she intended to use them in the future as a basis for analyzing music herself. She ela borated:

Your analysis guideline, I find to be very helpful and gave me al1 kinds of parameters with Wich to look at the actual analysis. . . I probably would not be as thorough as you but, yes, as a guideline, 1 would quite readily use it (Tape 6A - 204).

One of the experts in Panel 2, Sarabande suggested that since schools are experiencing greater fiscal challenges, price would be a notable category for inclusion in the analytical framework. Cantabile had a different opinion:

It [price] would be [helpful]. It wouldn't hurt. I know for rnyself, I maybe order two copies, one for myself and one for the accompanist because I teach by rote and they [the pupils] don't need the music, so that's not as much of an issue for me (Tape 5A - 196). Arabella who was presently teaching in a private school noted:

In my current teaching situation it's not important. However, 1 have also been in the public systern and I do appreciate the fact that for many music teachers, it can be a real issue! And so, for the sake of the majority, it would be very good to include that (Tape 6A - 171).

Using the analytical selective guidelist helped the two more experienced classroom teachers to reflect on their own teaching practice. Sarabande described how the guidelist might be used by teachers different backgrounds of musical knowiedge and pedagogical skill. She compared how the guidelist may be perceived by a specialist music teacher and a generalist classroom teacher. Sarabande elaborated:

Because I'm not a music person, I went back and figured out what you were talking with texture. I handed it to the other music teacher in the school and she has a music background; she went right through it. She went straight to the texture; I think it depends on your background. So I would pay attention to melody and rhythm before I would hit texture or the accompaniment (Tape 4A - 150).

Arabella compared the pedagogical approaches of certain compositions suggested in the analytical selective guidelist, Ath her own previous pas: practices. She elaborated, "lt was interesting with the pieces I had already taught; I thought back to how I had taught them and compared notes. It was interesting to have another input, another idea" (Tape 6A - 102).

One expert frorn Panel 2 offered further suggestions for the usefulness of the selective guidelist. Arabella suggested that the guidelines for analysis should be an integral part of the analytical selective guidelist. She noted, "There

were times when I was going through . . . the actual analysis and I referred back

to this [analysis guidelines], so that 1 understood what you were saying" (Tape

6A - 220). As well, even though the guidelines for analysis defined the criteria for level of diffïculty, she felt that the ratings of easy, medium, and difficult were

highly inferential. She stated:

Even though it [the analysis] may have the elernents that you laid out. [your rating] might be very different frorn mine or other music teacher's idea of easy or medium or difficult. 1 tend to ignore ratings because it may be easy for one choir to sing with really clear articulation. I may have kids who, . . . teaching on the east coast, saying "ou" and trying to get that "aa-oo" like they Say. . . . is a major challenge in many pieces. . . . Geographical differences in pronunciation may make something relatively easy or difficult. So, that is why I think using easy, medium and difficult is open to a lot of interpretation (Tape 6A - 230).

The Historical Context of chan gin^ Curriculum

Guidelines in the Province of Ontario

The usefulness of the analytical selective guidelist as a resource for the

teacher as curriculum maker rnay be situated in the context of music curricular

guidelines. Since the 1970's conventional curriculum making for teachers of

music in the elementary schools in the province of Ontario has been governed

by Circular PIJI: The Formative Years (1975a), The Common Curriculum:

Policies and Outcornes. Grades 1-9 (1995) and The Ontario Curriculum. Grades

1-8 : The Arts (1998). Circular P1J1: The Formative Years presented educational aims and learning experiences to foster the development of pupils from kindergarten to the sixth-grade. The book. Education in the Primaw and Junior Divisions (1975b), provided the philosophical basis for the prograrn in these divisions. The main objective for music in Circular PlJI : The Formative Years was outlined as: 'The child in the Primary and Junior Divisions will be given opportunities to develop sensitivity to sound and thus acquire a base for growth in music" (Ontario

Ministry of Education, 1975a1 p. 18). In addition, seven experiential objectives were outlined in terms of singing, playing, listening, creating, moving and dramatizing. Since singing is the foundation of most elementary music education programs, the Ontario Ministry of Education (1975b) elaborated:

The major vehicle for making music in the Primary- Junior years is the voice, the child's own musical instrument. The teacher must provide children with opportunities to sing in an easy, natural way, to express the music that is within them, and to build up an awareness of songs of various times and places and of different styles and idioms - everything from nursery rhymes to contemporary folk songs (p. 84).

During the seventies, eighties and into the nineties to assist the classroom teacher with the selection of suitable textbooks, the Ontario Ministry of Education, and later called the Ontario Ministry of Education and Training, developed yearly Circular 14 publications listing leaming materials approved by the Ontario Ministry of Education (and Training) for use by students in Ontario schools. Classroom teachers of music in Ontario schools during this period used textbooks and other non-print materials listed on Circular 14 and supplemented the vocal learning materials with songs from other books and incorporated the use of choral octavo music.

The advent of The Common Curriculum in 1995 brought a shift from learning opportunities to expected learning outcomes. Since this curriculum emphasized connection among ideas, people and things in the world, the outcornes of learning in knowledge. skills and values were organized into four broad program areas: The Arts; Language; Mathematics. Science and

Technoiogy; and Personal and Social Studies: Self and Society. The 29 Arts outcomes were presented under four topics areas of. Understanding Form in the

Arts; Exploring Meaning in the Arts; Understanding the Function of the Arts; and

Experiencing the Creative Process in the Arts. Exit leamings were described for students at the end of the third-grade, sixth-grade and ninth-grade.

For the action of singing in the elementary music classroom, teachers might have selected outcomes such as the following outlined in The Common

Curriculum: "By the end of Grade 3, students will use a variety of materials to create and perform works of art" (p. 45) or "By the end of Grade 6. students will produce and perfom works of art using the forms, materials, and skills appropriate to the different arts" (p. 45).

In 1998, the Ontario Ministry of Education and Training released The

Ontario Curriculum. Grades 1 - 8: The Arts to provide a significantly more rigorous and chatlenging curriculum in the arts for each grade from first-grade to eighth-grade. in addition to overall expectations being listed for each grade, specific expedations for leaming in music were outlined in the amas of knowledge of elements, creative work, and critical thinking.

For example, The Ontario Curriculum. Grades 1 - 8: The Arts specifies the following expectations for third-grade pupils in their study and performance of vocal music: "By the end of Grade 3, students will sing music from a variety of cultures and historical periods" (p. 15) and "sing expressively, showing awareness that changes in volume or speed can help to convey the meaning of the text" (p. 15).

As Ontario teachers have responded to the changes in curriculum guidelines over the past twenty-five years so have Canadian educational music publishers such as Leslie Music Supply, Inc. been challenged to meet the ever- changing needs of elementary school teachers of music in implementing curricular innovations. The historical account of the development of Leslie

Music Supply, Inc. ensues demonstrating how important historical events, historical contexts and criteria for publication influenced the quality, variety and number of unison Canadian choral compositions published by Leslie Music

Supply, Inc. available for selection and use with pupils.

A Historical Account Of Leslie Music Su~~lv.Inc.

From No Turkev to Talkina Turkev - The Beainning Years Il 970-1974)

Leslie Music Supply, Inc.. a current major educational music publisher in Canada, was established in 1970 in Oakville, Ontario by Joan Leslie. Whiie not a Fortune 500 company, Leslie Music Supply, Inc. is a familyowned business fun by owners who seek to make a decent living and at the same time, make a significant contribution to music education.

Leslie Music Supply, Inc. (LMS) primarily publishes choral music for school and church use written by Canadian composers. The majority of compositions are unison and two-part; they are within the realm of many elementary school classroom choirs and elementary school choirs. The text of most choral works is in English; however, some compositions are also published in Latin and French. In addition, LMS publishes a limited number of compositions for piano, organ and recorder. Works of over 70 Canadian composers from coast to coast are represented in the LMS catalogue. These include: W. H. Anderson, W. Herbert Belyea, Craig Cassils, Clifford Crawley,

Gordon Fleming, Raymond Gould, Donna Otto, Nancy Telfer, Alexander Tilley, and Healey Willan.

Joan Leslie, currently CO-ownerand founder of Leslie Music Supply, Inc., drew upon her previous personal experience in the Canadian music publishing industry to provide the base for founding the company. After graduating from high school, Joan Leslie worked at Frederick Harris Music Company Ltd.

(FHMC). During this period, FHMC was recognized as one of Canada's most prominent music publishing companies (Wehrle, 1992a). She had worked in every aspect of the publishing business from keyboard and vocal to filling choral orders and from accounting to administering royalty payments. Her father, R. G. Frederick Collier, had been Vice President and General Manager at FHMC since the death of FHMC's founder, Frederick Harris in 1945.

Joan Leslie recounted her understanding of learning acquired through personal practical experience. 'The knowledge came from the experience 1 got at Frederick Harris and also from my dad. It was then that I began to dream of owning my own publishing company, especiaily promoting Canadian composers"

(Mother of Six, 1970, p. A29). When her father died in 1969, the situation at

Frederick Harris changed dramatically.

For many preceding years, it had Peen company policy at Frederick

Harris Music Company to provide a turkey for each employee just prior to

Christmas. Following the death of R. G. Frederick Collier in 1969 and the appointment of W. Ray Stephens as general manager, a change in direction occurred. The new management decided to give turkeys only to full-time employees not part-time ones. Joan Leslie recalled:

After Dad passed away, it was a different situation. I had a disappointment at Christmas that year. I had had a turkey given to me every year since I had been married and then no turkey came. It [had been] tradition that the annual Christmas bonus was a very large turkey. Four days before Christmas, after making inquiries and expressing rny dismay, one was delivered with apologies for a change in policy.

I guess that started the wheels turning. It was just at that time that Western Music sent a letter to Mr. Stephens asking if he would like to buy their business. He gave it to me and asked what I thought of it.

Weil, then, a few days later, after I realized I wasn't worth the price of a turkey, I got to thinking. Why don't I ask them for their inventory, assess it, and make an offer. I put the offer in about the second week of January 1970 and Miss Bullied, the manager of Western Music, called me about the tenth of March and said, 'Your music is on its way. We've accepted your offer' (Tape 1A - 36).

The Western Music Company, Ltd. (WMC) was a retailing and publishing firm with headquarters in Vancouver which operated from 1930 until 1970. The

Company was founded by Herbert Drost to prornote a wide selection of printed music, especially for choir. While the market zone of WMC was primarily for the west coast of Canada, branch offices eventually operated in Winnipeg from

1938-56,in Toronto from 1948-55 and in Victoria, BC from 1945-49 and 1954-

73. Virginia Bullied, a former employee of Frederick Harris Music Company.

moved to Vancouver and eventually became manager of WMC (Kallman, 1992;

Mother of Six, 1970).

The business first began as a retail store in Vancouver merchandising

printed music, records, and instruments; in 1937 WMC began publishing music.

By 1960, WMC had published over 450 compositions with more than half by

Canadian composers. These included works by W. H. Anderson, Burton Kurth,

Healey Willan, Robert Fleming, Hugh Bancroft, Bernard Naylor, Clermont Pepin

and many others. Most of the WMC publications were for music festival

competitions, school or church use. For many years, WMC was the sole

Canadian agent for Novello, J. B. Cramer, Arnold and other British publishing firms (Kallman, 1992). The acceptance by Herbert Drost of Joan Leslie's offer to purchase the stock and copyrights of Western Music Company signalled the end of the WC era and augured a phoenix of the many compositions under the Leslie Music

Supply banner. Pat Leslie VanderHeyden shared her perspective on the event:

I think they accepted it on the fact that they knew how much knowledge she [Joan Leslie] had in the business; she had grown up with it. They respected that she would keep it going. Anybody could have bought it but someone else might have bought it and chewed it up and only kept a few things. . . . I think he [Herbert Drost] believed in her (Tape 2A - 33).

John Bird, a past president of Gordon V. Thompson Music Ltd. and former president of the Canadian Music Publishers Association recounted,

'Western Music published a lot of music; . . . she took a lot of that over and kept it going. It probably would have died if she hadn't have done that" (Tape 3A -

Leslie Music Supply was then established. Joan and her husband agreed to set up business in the Leslie home. With six children ranging in age from five to sixteen at the time, working from the home appealed to Joan.

A room in the basement was big enough to keep stock of music in small quantities. They acquired a warehouse very close to the family home in order to store the larger quantities of music. Finally, with the attainment of a postal box, the Company was launched as a predominantly mail order business (Mother of Six, 1970). In the early stages of the company, Leslie Music Supply sold only the

Western music stock (Wehrle, 1992b). As time went on and as stock on certain compositions became depleted, it became necessary to make decisions regarding the republication of certain titles. Titles that recent previous sales records showed market interest warranted republication. Joan remembers:

This was where I had to start deciding; I had no sales records to go by, only what I could remember selling from Harris. So I had to make a judgment cali if we were going to keep it in print. My idea was to keep in print as much as possible. And we did that!

I was fortunate that I did not have to rely on the business for income. I was able to use the profits to print or reprint and took very little remuneration. My husband, Bill, was most supportive, particularly in helping me lug materials to workshops from coast to coast (Tape 1A - 95).

The policy by Western Music Company Ltd. of acting as an agent and distributor of publications from various British publishers was subsumed by

Leslie Music Supply. Leslie became the sole Canadian agents and distributors of both J. B. Cramer and Leonard, Gould and Bolttler of London.

"The Spider Hunter" by Burton Kurth (Octavo No. 1007) is an example of one of the early reprints from the original Western music stock.

As time went on, other composers began seeing that Leslie Music

Supply was in business. Owner, Joan Leslie, recognized that she could not coast forever on the same material. She realized that many Western, now

Leslie, choral compositions were being selected as test pieces for vocal and choral classes at music festivals across Canada. It was tirne to bnng in new music. By 1973, a number of composers had submitted works for publication and the first true Leslie publications were 'Three Festival Songs" by Burton

Kurth (Octavo No. 1099). Other eariy compositions included 'Three More

Festival Songs" by Burton Kurth (Octavo No. 11 17).

Buildina on the Cash Flow - Continuina Growth (1975-1 979)

In this second period. Leslie Music Supply continued to reprint original

Western scores and add many new publications to the Leslie catalogue.

Being a creative businesswoman, Joan Leslie used the traditional supply and demand formula. She relates:

In order to get the cash flow to do these new publications and also to reprint the old, I realized there was a market for rnusicals. There was nobody really with an on-approval service to bring rnusicals to the schools and that gave me a good avenue. This was followed by teachers requesting choral music frorn other publishers and importation service on choral music quickly developed (Tape 1A - 163).

Joan relied on the same people to print the music as Frederick Harris

Music Company used - W. R. Draper Co. in Weston (Downsview),

Ontario.

Throughout this period, more composers submitted works and new publications ensued. Two pieces representative of this period are: "The Loose

Tooth" from Six Primary Songs by Gordon M. Fleming (Octavo No. 1119) and

"Cold Winter" from Three Songs of Science for Juniors by Clifford Crawley (Octavo No. 1120). ClifFord Crawley recounted the story of his beginning affiliation with Leslie Music Supply:

I came to Canada in 1973 and started adjudicating the year after that. I noticed that Leslie Music Supply publications were appearing on programs of practically every festival that I adjudicated at, so I thought well, maybe this is worth trying. My first publication in Canada was by Frederick Harris when they used to do choral music as well. But then. soon after that, they mostly concentrated on [Royal] Conservatory publications. And so I sent something to han Leslie and she irnrnediately showed some interest. They were already the Canadian distributors for Crarners [J. B. Cramer of London], who I used to publish with when I lived in England and she had sold quite a lot of my publications. . . . It seemed to me that she had ear of the market whereas Waterloo or Frederick Harris occasionally appeared (Tape 7A - 26).

In these early years, Joan relied on personal friends for advice in accepting new manuscripts and proof reading. Dr. John B. Younger, a former editor at Frederick Harris Music Co. Ltd., and James Martindale, a composer from Oakville, acted as editors to assist Joan Leslie in reviewing manuscripts for consideration of publication, in making suggestions and in proofreading; they would confirm each other's decisians. On occasion, the editors and Joan Leslie would differ on their opinion of a composition. One specific instance concerned the piece, "The Loose Tooth" from Six Prirnary Songs by Gordon Fleming. Dr.

Younger and Joan disagreed on the value of publishing this composition; Joan recounted the situation:

1 recall his words so vividly, "lt would be fine for school classes but definitely not festival material". A little voice told me to go ahead and do it. From 1979- 88 when I stopped counting, it had been on 13 festivals. It has sold 9000 copies (Tape i8 - 11).

Marketing became a greater emphasis during this period. Leslie Music

Supply, in helping teachers implernent Circular PlJ1: The Formative Years, expanded to exhibit at major workshops for music educators and choral conductors across Ontario and Canada. Joan elaborated:

We used to go to the OMEA [Ontario Music Educators' Association workshop] every year in Toronto. And we'd Say: "80y this was a dud!" But, there would always be something good corne out of it, you know, in the week following or the month following. The same with Choirs in Contact [Ontario Choral Federation conference]. "Oh, boy, this was pricey and a disaster!" Yet, we got some of our best customers from those conferences that are still with us now (Tape 1A - 251 ).

Through promotion and marketing, Leslie Music Supply was becoming a recognized name among teachers, choral conductors and music business colleagues across Canada. Numerous compositions from The Leslie catalogue, especially works for unison and two part, were being Iisted as test pieces on music festivals. John Bird, from his perspective as a past president of the

Canadian Music Publishers Association, remarked:

Her publications would show up on festival cornpetitions al1 over the place. So she was promoting and trying to market her product. . . . She always showed up at conferences with exhibits and she was always in there. She belonged to the Canadian Music Publishers Association and attended meetings. . . .She helped the whole business of choral publishing in Canada (Tape 3A - 645). To open new markets for their produd intemationally, two agreements were struck with publishers in United States and Great Britain. In 1975, Leslie

Music Supply entered into an agreement with Brodt Music Company of

Charlotte, North Carolina to represent thern as sole agents for the United States.

A year later, Leslie Music Supply ernbarked on an accord with Roberton

Publications of England to act on their behalf as sole agents for the United

Kingdom.

More is Merrier - Buildina U~ona Foundation (1980-1 984)

Business began to gtow dramatically during this period. As the business grew. Joan Leslie's sister, Barb Post, started working first on a part- time basis and then, as her own family of seven children grew. full-time. Prior to her marriage, Barb had been the manager of the Toronto office of Western

Music Company Ltd. Her expertise in music publishing greatly added to the firm. Joan recounted, "She loved the business; she always did. Like me, she was in it from the time she left school. What one of us doesn't remember, the other does" (Tape 1A - 193).

During this time as Canadian prices increased, the typesetting was completed in Korea at about a third of the price that engravers were charging in

Canada. Printing continued to be done by W. R. Draper Company of Weston,

ON. As other composers found out that Leslie Music Supply was an active, vibrant business, more and more manuscripts were submitted for consideration of publication. Joan began to select pieces for publication independently.

The array of cornposers increased during this period. Works by

Gordon M. Fleming, Clifford Crawley. David Ouchterlony, W. H. Anderson, and W. H. Belyea were added to the Leslie catalogue. Representative compositions from this period are: "Sea Song" from Five Primary Songs by

Gordon M. Fleming (Octavo NO. 1121). "Grizelda" from Trick or Treat by

Clifford Crawley (Octavo No. 1122), "Sorne Day" from Three Songs for Vsry

Young People by David Ouchterlony (Octavo No. 1124), "Spring is Singing in the Garden" from Four Seasonal Songs by W. H. Anderson (Octavo No.

1125), "Thunder and Lightning" by Clifford Crawley (Octavo No. 1130), and

"Bears" by W. H. Belyea (Octavo No. 1134).

Here We Grow - Steadv Ex~ansion(1 985-1 989)

Leslie Music Supply continued its mounting growth through the next five years. The Leslie comrnunity of composers continued to enlarge.

Joining the ranks were Camille Palsky Ohlin, Nancy Telfer. Donalda Sangster,

William Bush, Marshall L. Shaw, Craig Cassils, Raymond Gould, and

Robert B. Anderson.

Composer Nancy Telfer chronicles her reasons for selecting Leslie Music

Supply, Inc. to submit manuscripts for the consideration of publication:

When I was teaching, I used many publications from Leslie Music Supply along with publications from other publishers in the US [United States]. In fact, I felt that the quality of music king plcblished by Leslie Music, at that time, was far better and the music was more suitable for children. Generally, the percentage of high quality music was far higher than any other publisher I knew of. I still think today, she has a unique situation there. So I was hoping - you don't know until you submit sornething - I was hoping that she might want to publish some of my things (Tape 8A - 21 ).

In 1985, Joan Leslie's husband, Bill, who had been very supportive in her founding of the company, retired from the Liquor Control Board of Ontario and joined Joan and Barb in the company by overseeing accounts payable and

shipping and receiving. He began first on a part-time basis and by the early

nineties was working full-time. As Joan remarked: "that put an end to my night

hours".

During this period of time, photocopying of printed music in Canadian

education circles was becoming problematic. The Canadian Music Publishers

Association, of which Leslie Music Supply was a member, continued to lobby for

improvements to the Canadian Copyright Act to protect the interests of both

composer and publisher. Nancy Telfer shared this poignant story that perhaps

best demonstrates how historical events may shape the types of materials

published for educational use:

Joan Leslie had approached me before I started writing children's music asking me to submit music. By the time that I started writing children's music and submitting those to her, the photocopying situation had become incredibly severe. So I submitted two pieces to her and she phoned me up and she said she didn't know what she was going to do. She was thinking of stopping publication of al1 unison pieces altogether because the photocopying situation was so bad. She said it had just gotten to the point that they were not making any money at all on them and they might just have to disband that and continue on with the other voicings. So she said. 'Let me think about it for a couple of weeks'.

So she phoned back in a couple of weeks and she said, 'Nancy, I think I will publish these two pieces and I'm not doing any others for this year; we'll see how they do'. And at that time I knew a lot of people in CMEA [Canadian Music Educators' Association] and a lot of people across the country, so I told people the story - that whole conversation.

That was the tuming point for photocopying in this country. When people found out that happened, the story got to a lot of the consultants who relayed it to teachers. So people grouped together and sales started to come up. Not just the two new pieces but everything was starting to come up again. As far as I know, I don't think that Joan has had a question in her mind since then about the situation even though there is still a lot of photocopying being done. I don't think people realized what would happen if they started doing that. I think they thought it was illegal but they didn't understand the ramifications. I almost missed my chance to write choral music for primary children (Tape 8A - 395).

In 1988, Leslie Music Supply took over the sole distributorship for the choral Iibrary of Frederick Harris Music Company. Here, Frederick Harris retained the copyright and Leslie Music Supply reprinted various choral works.

This acquisition added the unison works of David Ouchterlony and

Alexander Tilley. "Gloria, Gloria, Gloria Deo" by David Ouchterlony

(Octavo No. HC 1012) serves as the representative work for the present study. In 1989, Joan ceased using Korean typesetters primarily because of the time element involved in sending proofs back and forth. With the growth of cornputers in Canada. prices became very cornpetitive and the work could be completed in Canada much quicker. The work for typesetting and editing continued to be wntracted out.

Representative works from this period for the present study are: "Misty

Takes Me Walking" by Camille Palsky Ohlin (Octavo No. 1139). "Lions" by W.

H. Belyea (Octavo No. 1142). 'There's Magic in the Air" from Magic in the Air by Clifford Crawley (Octavo No. 11431, "If You Should Meet a Crocodile" by

Nancy Telfer (Octavo No. 1 145), "Lullaby" by Nancy Telfer (Octavo No. 1146),

"Noise" by Nancy Telfer (Octavo No. 1147), "Little Leprechaun" by Clifford

Crawley (Octavo No. 1148). "Gather Little Children" from Gather Round the

Christmas Ttee by Donalda Sangster (Octavo No. 1150) and "She's Like the

Swallow" arranged by Craig Cassils (Octavo No. 1 156).

Risina Like an Eaale - The Proqressive Years (1990-1 9941

During this five-year period, Leslie Music Supply experienced great growth. Leslie Music Supply became incorporated; Joan Leslie was finally on the payroll! The number of unison choral publications had grown to over fifty new compositions. Joan Leslie, along with her daughter and new co-owner after 1991, Pat Leslie VanderHeyden, jointly collaborated in the selection of new compositions for publication. One of the greatest joys was being able to produce an "al1 Canadian product". New composers joining the Leslie catalogue during this period included: Paul Chappel, Melville Cook, Mira and

Michael Coghlan, Brenda Thorne, John Simituk. Brian L. Turnbull,

Linda Fletcher and Richard Graham.

Representative compositions from this period include: "On the Back of an

Eagle" by Nancy Telfer (Octavo No. 1168), "Rocking in Rhythm" by Mira and

Michael Coghlan (Octavo No. 1178), "Merry Christmas, Mother Earth" by

Raymond Gould (Octavo No. 1180). 'The Land in the Clouds" from Fantasy

Songs by Marshall L. Shaw (Octavo No. 1185). "A Song of Sharing" by Linda

Fletcher (Octavo No. 2073), "Catch a Little Sunbeam" by John Simituk (Gdavo

No. 1189), "Lullaby for Jesus" by Brian Turnbull (Octavo No. 1191), and

"Dinosaurs Dance in My Dreams" by Paul Chappel (Octavo No. 1192). Michael

Coghlan related how he and his wife, Mira, selected Leslie Music Supply, Inc. to submit manuscripts for consideration of publication:

Mira had known Joan and had bought music when she was a consultant for the Peel [Board of Education]. She had recommended a lot of their music; she knew a lot of their music [having] taught it as a school ciassroom teacher. We had been over and bought things; I had bought [music] mostly for the church. I think it might have even happened, that one day we were in or Mira was in and might have mentioned to Joan that we had a lot of stuff that we had done with school choirs . . . and Joan said %elft send some of it". So, I think it was quite casual. . . The fact that they had played a major role in Mira's work experience and mine, they just seemed a natural (Tape 92 -1 8). While exhibiting at the 1991 Conference of the Canadian Music

Educators' Association (CMEA) in Vancouver, Joan Leslie was approached by the owner of Lenel Music Publishing of Vancouver. She related:

He said, "Joan. I wonder if you might be interested in buying our company". She replied, "Oh, gosh, I was going to ask you if you were interested in buying my company".

I was beginning to think then. how I was ever going to get out of this [and retire]. I had nobody to take it [the business] over. And the poor man . . . I could just see him gulp for air. I just took the wind out of his sails. He said that he would get back to me (Tape 1A - 209).

As time went by, Joan Leslie prepared a proposa1 for purchasing the inventory and rights of copyright. In short order, a deal was finalized and

Lenel Music Publishing came under the Leslie Music Supply, Inc. banner. A representative work for the present study is "Gentle Snow" from Primary

Songs for Christmas by Donna Otto No. LEC 111).

In 1991, the agreement with Brodt Music Company of Charlotte, North

Carolina was discontinued. Difficulties had arisen with the amount of sufficient representation having been provided and continual mix-ups with another company, Ward-Brodt. Therefore, Leslie Music Supply, Inc. decided to supply directly to customers in the United States. As a result of this move of having promotional work initiated from their head office in Canada, sales of Leslie Music

Supply, Inc. publications tripled. The ongoing agreement with Roberton

Publications of England continued. As aforementioned, in 1991, Joan Leslie's daughter, Pat Leslie

VanderHeyden. left her previous administrative job, joined Leslie Music Supply, inc. and became co-owner of the business. This ailowed Joan and Bill to begin taking extended periods of time off to enjoy their Florida vacation home.

Pat's entry into the business was gradual; she recounted:

I started full-time in 1991. Prior to that for two years, I was coming in to help so my Mmcould take a vacation once in a mile and when she wanted to go to Florida. There was just my Aunt Barb working with her and I would take vacation from my own administrative job that I worked for and corne and work with my Mum. For about a year prior, 1 had cut my own job down to four days a week and worked with rny Murn one day a week (Tape 2.A - 117).

With Pat's co-ownership, marketing of publications and the offering of

music educational books and materials has expanded. In 1992, Leslie Music

Supply, Inc. moved from the basement of Joan and Bill Leslie's family home into the retail environment with the establishment of a storefront location on Speers

Road in Oakville, Ontario. Marketing and sales of their own publications

continued to be offered by mail, fax was introduced, advertising increased in

music educator and choral conductor provincial and national publications, and with co-owners Joan and Pat, one was freed up so that the other could attend

national, provincial, or regional conferences to showcase new materials. Many

new materials, such as those promoting the integration of music with other

disciplines, were stocked and marketed to assist teachers in the implementation

of The Cornmon Curriculum. Pat elucidated: The more we get asked [to present at school board professional development days], the more it encourages us to look for new product. Sol we are always sourcing out new things. The more demand you have for it, the more encouraged you are to buy it (Tape 2A - 328).

As well, with Pat as CO-owner, internai communication between Pat and

Joan was important for business continuity. During the winter months while

Joan and Bill were enjoying the warmth of Florida and the play on the shuffleboard courts, Pat maintained ongoing telecommunicational contact with

Joan. Pat remarked:

We still rely on her a lot and when she is not here, we just Save up our questions and cal1 her twice a week. If we can't find it, we do what everybody else in the business does, cal1 Joan Leslie (Tape 2A - 226).

The opening of the retail store brought an expansion of the variety of

materials. In addition to selling their own publications and marketing them to

other retailers in Canada and internationally, they continued to offer a

customized on-approval service of choral music from a variety of publishers to

assist conductors and teachers in the selection of choral music. To help music festival selection cornmittees, they continued to promote their own publications.

They expanded the music education department to include more elementary

musicals, books, various resources and games that would be of interest to

school and private music teachers and students alike. In 1993 Pat's husband,

Tony VanderHeyden, began working part-time to assist the firrn when Joan and

Bill Leslie headed south for their annual winter sojourn in Florida; he administered royalties, prepared units for display, and eventually set up the firm's cornputer system. Moving the fim into the retail environment also

attracted many new customers.

In 1994, Frederick Harris Music Company (FHMC), after having had

Leslie Music Supply, Inc. act as their distributor since the late eighties, decided to discontinue their interest in choral music and they assigned al1 the copyrights

back to the original creators. Pat VanderHeyden explained:

Frederick Harris wanted to get out of the choral business altogether. VVe had al1 the stock here but what they did, to make it easy on thernselves, they assigned al1 the copyright back to everyone of their cornposen saying 'we are no longer publishing for you; Leslie Music does have al1 the stock,' (we had to give them al1 the inventory amounts), and everyone of the composers was paid off for the amount of stock we had and their royalties were paid. They were al1 sent letters saying . . . you might want to speak to Leslie Music about republishing. . . . We made contacts with many of those composers. . . so the big portion of the Frederick Harris [choral catalogue] are published by us now (Tape 2A -247).

Many of these copyrights which have now been assigned to Leslie Music

Supply, Inc. include compositions by Alexander Tilley, David Ouchterlony, and

Healey Willan. As other works require reprinting, new contracts continue to be

negotiated with composers and issued .

Enhancing the Growth - Pre~arincifor the Future (1995-1 998)

During this most recent period, Leslie Music Supply, Inc. has continued

its steady development and growth. By the mid-nineties, Joan Leslie and Pat

VanderHeyden continued the internationalization of Leslie Music Supply, Inc. In 1995, they forged an agreement with the publisher, Sulasol from Stockholm,

Sweden, facilitating the reissuing and republishing in 1996 of two Leslie octavos into Swedish: Linda Fletcher's unison composition with an optional second part, "Song of Sharing" (Octavo No. 2073) and Paul Chappel's two-part composition, "Can You Hear the Whippoorwili?" (Octavo No. 2065).

Al1 businesses continue to change and by 1995, Joan's sister, Barb Post, decided to retire. Her knowledge and expertise first on a part-time basis and then full-time had added greatly to the growth of the fim.

In 1996 the firrn embarked on another acquisition of a Canadiar! music publisher. Leslie Music Supply, Inc. enhanced their choral catalogue by purchasing the copyrights and stock of Stuart Beaudoin Publishing. This publisher included both choral and organ works by Canadian composer. Nancy

Telfer. Nancy Telfer elaborated:

I recommended to both Lenel and Beaudoin that they see if Leslie Music Supply might be interested in buying their catalogues. It was a good match . . . because Leslie Music already had sorne church pieces. . . . some frorn Frederick Harris that they had decided to reprint and a few of their own that they did, but they didn't have a big enough of a body to really have a share of that market. It is just as cheap to advertise thirty or forty pieces as it is to advertise one piece. . . . By combining them, I think that was a really good idea (Tape 88 - 51).

In response to growing customer service needs in 1997, Joan Leslie and

Pat VanderHeyden hired their first non-family employee, Debbie Fry. Debbie brought a wealth of educational music publishing experience with her from her previous position at Gordon V. Thompson Music, a division of WarnerlChappell

Music Canada. She assumed numerous customer service functions including ordering, invoicing, and advertising.

During this time the choral catalogue continued to be expanded with nurnerous choral works, especially for unison and two-part written by Canadian composers, being published. Canadian composers of unison choral music joining the Leslie Music Supply, Inc. catalogue during this period included

Darrell Gillespie, Ronald Tremain and Ronald Read.

Leslie Music Supply, Inc. is a unique, vibrant and progressive Canadian

Company. The uniqueness of the firm is derived from many factors. Michael

Coghlan suggested that the diversity of style in choral publications, the high quality of repertoire published and the strong promotion of compositions by

Canadian wmposers contributed to this uniqueness of Leslie Music Supply, Inc.

He explained:

There was an English or British Isles type of base for some of her things, but she built up that and really made it kind of unique with respect to Canadian [music] she's published. She sought out . . . material from a wide number of people, from wide sources and because of that, I think she's remained very unfactorylike in her output. You don't get the sameness from Leslie Music Supply that you get from some of the American publishers. . . Some years she puts out ten, some years she puts out three; whatever she thinks is good (Tape 9A - 348).

A common theme regarding the positive interpersonal reiationships that

Leslie Music personnel promotes with teachers, composers, and music industry colkagues emerged from the various interviews. Nancy Tever described Leslie

Music Supply, Inc. from a composer's perspective:

They are a real . . . family organization. both from the relationship they have had with the composers but also with the dealers and the teachers. They have really personal relationships. They are so upfront about everything. That's really unusual for a publisher! It is refreshing to work with publishers like Leslie Music. They don't assume anything ever. They have such a strong interest in what's happening and they watch each piece as if it were a child to see what's going to happen with it, to get the reaction. There are a lot of publishers that think they know what's going to happen in the future or they think they know how certain pieces are going to do. Leslie Music has never made those assumptions. I think they are more open to change, more flexible, you know, because of that (Tape 88 - 25).

Nancy Telfer also shared perspectives on feedback she received when works were not accepted for publication:

Well, they are pretty frank. They are really unlike any other publishers in that way. Most publishers as a standard thing don't give any feedback. With Leslie Music, it has been either they don't particularly care for it (that's easy to take as a rejection) or else they felt that there weren't enough teachers that were going to use it (Tape 8A -31 9).

Michael Coghlan concurred, "She [Joan] has never been one to hold back her comments. . . It would be something like . . . 'We just didn't like it' or 'We just don't think it would seIl right now"' (Tape 9A - 302).

Sometimes composer and publisher differed on their opinions regarding a composition submitted for publication. Clifford Crawley explained:

I think she misjudges occasionally. . . When 1 did the songs for Hallowe'en ["Trick or Treat"], one was called 'Witches and Warlocks" which I know was very popular as a manuscript copy but she said, "1 think this is too nasty, too scary". I don't think witches and warlocks in the way that I presented them are particularly scary. She does make judgments like that (Tape 7A - 358).

The success that Leslie Music Supply, Inc. has achieved may be partly due to the high degree of personalized customer service that wise consumers value. Michael Coghlan summarized this uniqueness that Leslie Music Supply,

Inc. offers:

I've always found it kind of interesting that so many of these teachers had this kind of personal relationship with Leslie Music Supply. Joan knew teachers; she knew which board they were with. They [Leslie Music Supply] got the music out lickety-split. She understood their needs and looked for music that suited their needs; she seemed to build her business around feedback she got from them (Tape 9A - 341 ).

Sarabande, an expert from Panel 2 classroom testers concurred, "1 really enjoy working with Leslie Music. Pat is always so helpful" (Tape 4A - 252).

Clifford Crawley further suggested that part of the success that Leslie

Music Supply, Inc. has achieved rnay be due to the establishment of a certain niche in the Canadian and international music educational marketplace. He subrnitted, "Knowing her market, understanding her market, having good contacts and not expanding to other areas are probably reasons for her success" (Tape 78 - 144). Michael Coghlan concurred:

I have recognized and I guess others have, too, is that they kind of carved a niche out for themselves from the point of view of education. They supplied an educational market and developed from there. . . That is really where she built her business (Tape 9A - 337).

The Future

The future of music educational publishing in Canada and the promotion of works by Canadian composers remains questionable. Through the last twenty-five years, Canadians have witnessed the departure of numerouç active music educational publishing companies from the Canadian music industry scene (Canadian Music Sales Corporation, Chappell & Company Ltd., Oxford

University Press, and Boosey & Hawkes (Canada) Ltd.)

The Canadian Music Centre (CMC), a non-profit library and information service. has promoted Canadian concert, operatic, educational and church music within Canada and abroad over the last forty years. In looking at the future of music publishing in Canada, in general, and the promotion of Canadian works. Clifford Crawley, presented a possible vision for CMC:

I think. . . we could put the Canadian Music Centre on a commercial basis. . . It would be a distribution centre, you could go in and buy [music]. It might have to widen it's scope and not be only concert music. But I think it would work. It would be on the similar sort of basis as a publisher like Faber and Faber or Novellos (Tape 78 - 288).

Nancy Telfer saw a similar role for CMC:

A lot of composers in Canada are really bitter because they haven't done well financially so as a reaction to that they think that people that have done well financially are commercial and their music is not as good a quality. But if they could get past that and see places like Sweden and Finland where the published things are really far out. They are not what you cal1 commercial things. We could do the same thing in Canada so it would be separate frorn publishers, so there is publishing which is mass marketing, there could be CMC which is like the Swedish Music Centre which is not rnass marketing. It is their specialized kind of commercial publications.

One of the things that I would like to see happen is that (CMC) provide more links with perfomers because I think the Canadian society is just ripe for that. . . If CMC would step in and match some of these proposais that are having dificulty, I am sure they could find performers that are interested, you know, and match them up [with wrnposers] and start their relationship going. It would change the scene (Tape 8B - 478).

As markets have changed, while cutbacks have beer! made to school music educational programs, and as various publishing firms have been purchased by multinational interests, striving for economic suwival in the music publishing industry has become paramount. Despite this climate of uncertainty,

Pat VanderHeyden, co-owner of Leslie Music Supply, Inc. remains optimistic.

She elaborated:

I still believe there will always be festivals; there wi ll always be children's choirs. I think there has been a lot of growth in the number of children's choirs and maybe it's because of the school system . . . cutbacks, that they [parents and children] are looking for outside sources. There is a need for our music. It just might dictate also what kind of material we end up publishing more of in the years to corne (Tape 2A - 623).

The recent release of The Ontario Curriculum. Grades 1-8: The Arts may auger well for Leslie Music Supply, Inc. as learning expectations for Ontario school pupils stress a balanced music program including vocal music performance as music making. Wth continuation of the currently strang co- management at Leslie Music Supply, Inc. by Joan Leslie and Pat

VanderHeyden, careful attention to the profit margin and continual striving to meet the artistic needs of the pupils, music teachers, and music consumers, we can look forward to ongoing access to high quality Canadian choral compositions for educational and concert use.

The Criteria Used bv Corn~osersin the Creation of Unison Choral Music

The criteria related by the composers in the present study that guide their creation of unison choral repertoire for primary-grade childreri includec! both common technical/musical considerations as well as more discrete, individual descriptions. All of the composers believed that for pupils to grow musically, the highest quality of choral literature should be available for pupil use in school

~Iassroorns.Clifford Crawley described his view in this way:

In school, it's not necessarily the literature they read at home. They [need] something different from comic books. There is nothing wrong with comic books; there is nothing wrong with them singing at that particular level. But the whole idea of education is to extend it. That's what I think about the music I write for them (Tape 71 - 126).

Nancy Telfer also felt pupils should be challenged so that they grow through the musical learning experience. In addition, she believed that students need to be involved in the musical interpretation. She explained:

l like to have the children become involved in the interpretation. There should be a choice of good ways to perform a piece. Because each piece needs so much rehearsal, the music needs some depth to be enjoyable. Children should learn that music is enjoyable (Tape 8A - 194).

Each of the cornposers felt the aspect of text based upon a theme or topic was a very important and integral part of the compositional process. For

Michael Coghlan, the genesis of thought or idea for the topic of the composition is usually derived from life and life experiences. He related, "ln 'Rocking in

Rhythm' there was a need for something jauy and light and kind of bouncy, that was up. That was the idea from where we started" (Tape 9A - 183).

Clifford Crawley, on the other hand, likes to write songs about some everyday themes. He aims to enlarge the pupil's language vocabulary through the music learning experience. He noted:

I think it's important at least to introduce one or two words which are in general use so that maybe they've learned a new word or two. It gives me some pleasure to use a word or two or a phrase which has a double meaning or which will enlarge their vocabulary. I hope that the music enlarges their musical vocabulary as well (Tape 7A - 202).

Nancy Telfer chooses a text which may be understandable by children which does not contain too many words that the teacher must stop and explain.

As well, she stated the concept wuld be fairly complex. She elaborated:

I feel that younger children can understand a lot more than they are given credit for sometimes. And also, they are doser to some of the profundities of life than adults are. Sometimes we can't see the forest for the trees. Sometimes with the younger children they can pick out the truth in the situation. So you can put things in that are very philosophical, that have deep meaning to them and they can understand them at quite a deep level, sometimes even better than adults can but in a different way than adults would (Tape 8A - 153).

The marriage of text and music was a significant consideration among al1 composers. ClifFord Crawley noted, "There is more to life than words . . . Music should create a question mark about the words or a new perspective about the words" (Tape 7A - 225). In her composing, Nancy Telfer first creates or selects a poem; then she carefully examines and thinks about what the words actually mean. This process for her rnay take days or weeks. She went on to explain the process:

So by the time 1 write, I think what happens is the music just basically expresses al1 these things that I am feeling about the words themselves, the meaning of it. It has an overall kind of sound and then, in particular parts of the music, it goes in certain directions (Tape 8A - 221 ).

All of the composers highlighted range as a musical consideration that

guides their creation. The range of the composition was similar in each case.

Michael Coghlan prefers a range of C' - CM,Clifford Crawley suggested a range from C' - Eu or F" mile Nancy Telfer writes using D' or En- E" or F" range.

Nancy Telfer elaborated:

For that age level, I usually go from D' or E' to E" or Fu. I use the outer pitches in rnost cases fairly discreteiy, in other words, I lead easily into them and the outer pitches are maybe not held for too long. Outer pitches are on appropriate vowels because some vcwels are much easier to sing on high pitches, others are easier on low pitches. 1 avoid consonants that close on outer pitches particularly on sustained notes (e-g. "I", Y, "m". . .) (Tape 8A - 11 5). Two of the composers, Nancy Teifer and Clifford Crawley, identifieci tessitura as a key element in their thinking while composing unison music for young children. They were similar in describing the general lie of the vocal part;

Clifford Crawley felt the ideal tessitura extended from A' - C" while Nancy Telfer perceived the optimum tessitura for young voices rested between G' and C".

Nancy noted:

The tessitura is, in many cases, even more important than range: how long they sit at different parts of the range and just having a variety of pitch levels. Even if you are in the middle part of the range, if you stay there too long, it is not healthy for the voice and it doesn't sound very good either. They start to sound worse and worse. . . . I like to give thern lots of singing in the upper part of the range to help develop their voices in the best possible way (Tape 8A - 107).

Clifford Crawley stated that the accompaniment is an important musical consideration in his compositions. He maintained that pieces should offer an

"ease of accompaniment for the non-professional player so that they are not intimidated; the accompaniment [should bel supportive but nevertheless independent" (Tape 7A - 101 ). In addition, he elucidated:

I like keys which the teacher can play easily, in one, two , or three sharps. I don't know whether it's a myth or whether it is really tnie because pianists Vary but singers and players prefer sharp keys to Rat keys. I sometimes put guitar symbols in for some of the simpler songs just as an outline because in some schools there isn't a piano and sometimes they go into shopping malls or outside and therefore there should be alternatives (Tape 7A - 136). When Nancy Telfer composes music for young children , she specifically writes with the vocal timbre and capabilities of the child voice in mind. She

Children's voices sound so different from adults' voices that when I'm writing a melody for a child, I write it very differently than I would for an adult. I imagine the children's voices at that particular age. That shapes the melody completely differently. . . I am really hearing the children's voices - that natural flexibility, the lightness. There is more of a purity in the timbre (Tape 8A -1 81 ).

Nancy Telfer's understanding of the flexibility of the child voice and the challenges of pitch discrimination at young developmental ages colours her composition. She explained:

One of the things about children is that their voices are so flexible that you can do a lot of things that they don't even notice really. You have to watch things like chromatics; they have difficulty hearing the difference when you've got very small intervals but leaps are much easier for children at that age than they are for us as adults; the differences are incredible. . . 1 use different phrase lengths for children's music than 1 do for adult music and 1 Vary the phrase lengths (Tape 8A - 140).

The knowledge of how young children learn and memorize quickly guides

Nancy Telfer in determining the form of her composition. She clarified:

The music and the words should be easy to memorize. A good balance of contrast and unity help to make it easier to memorize. I think about this as I edit each piece. Also each piece should be an appropriate length (Tape 8A - 149). All wmposers acknowleâged the influence of other individuals in their composition. Michael and Mira Coghlan collaborate in their writing. Michael

Coghlan, an accomplished composer of popular music, depended on Mira's expertise and experience as an elementary music educator to write music suitable for young children. He elaborated:

I would write something or [Mira] would give me an idea. She would give me an opening line or an opening melody and Say, 'Finish that of or I would writs scrnething and she would say, 'That won't work there in that key; you've got to put it down a third or whatever'. So we will go back and forth on that. . . I pretty well know now, though, what will work and what will not (Tape 9A - 448).

Clifford Crawley noted that he has been influenced in the topics for his compositions by children, teachers and by Joan Leslie, as publisher. He explained:

Occasionally Joan has written to me, "1 was down in Florida and saw some pelicans and there aren't any songs about pelicans". Teachers have occasionally asked. I remember l was doing a festival at the Soo [Sault Ste. Marie] and a teacher there said, "Could you write a Song about trolls?" . . . A lot of times, it has been kids who have shown the interest (Tape 7A - 170).

Nancy Telfer revealed that people "probably [influence me] more than I realize" (Tape 8A -241 ). She acknowledged, like Clifford Crawley, that teachers, pupils and her publishers have influenced her in her compositions. She noted how hearing fine choral performances by children's choirs affect her:

Sometimes I'm inspired by listening to a group of singers, with this level of children, you know, you hear something that is really moving and it really spurs you on - "l've got to wurite something". ICs an incredible inspiration! It is not specific to writing one style. It is so strong it makes you write better music (Tape 8A -260).

The co-owners of Leslie Music Supply, Inc. have influenced Nancy Telfer's writing by suggesting topics for future compositions. Nancy Telfer expounded,

"Sometimes they ask for certain seasonal things, too. . . because they have got feedback from teachers (Tape 8A -310).

The issue of whether success in the marketplace had influenced composers in their own compositions brought like responses from al1 composers.

None of the composers felt their works reflected aspect of formula writing which. for children's choral music. has become popular in both the United States and

England. When asked if success with certain pieces in the marketplace had influenced her compositional style, Nancy Telfer replied:

Not at all! I mean, it's not that I don't appreciate that but it is just I tend to write what I feel and I write what there is a need for. So when you are thinking about whether something is highly successful or not, in the sense that you were talking about, that's kind of a different type of thinking. I've always been suspicious of popularity so I try to concentrate on music itself instead (Tape 8A - 281 ).

Michael Coghlan responded similarly, "Mira and I both have fairly eclectic and extensive backgrounds. We're not locked to a style. We've never had that probiem or that advantage and I guess we could be seen that way" (Tape 9A -

267). Clifford Crawley agreed as well,

'Thunder and Lightning' is one [song] that . . . I get royalties from England and from other countries as well such as Australia. I'm not quite sure why that one really works. I think it is an okay song but why that one and sometimes not another one, l'm not absolutely certain. . . So, 1 don't think it does influence me (Tape 7A - 247).

The Criteria Used for the Selection of Unison Choral Music for Publication

The results of the independent interviews with the CO-ownersof Leslie

Music Suppiy, Inc.: Joan Leslie and Pat Leslie VanderHeyden, suggest that both musical and marketabilitylprofitability concerns governed the criteria for the selection of works for publication by Leslie Music Supply. During the early years

Joan Leslie involved two editors, Dr. John B. Younger and James Martindale, to assist in the selection of compositions for publication. During the mid-eighties and until IWO, Joan Leslie selected pieces for publication independently; and since 1990, in conjunction with Pat VanderHeyden. In selecting unison choral music, Joan Leslie remarked: "First of ail, we've got to like the sound of it. It has got to be well-written" (Tape 1A - 322). They looked closely at the texts of the compositions to ensure that they were interesting and age-appropriate for young children. Pat rernarked, "Sometimes the words are inappropriate for today . . . .

We have to be pretty careful about what we print because everybody has to be so politically correct" (Tape 2A - 439).

In addition, they were concerned that the text was married well with the melody. As well, the range was important. Most pieces accepted were within the range of Cf - D" . If a composition extended higher than D", they had to decide if there were enough select choral groups to warrant publication. They relied on their experience in music publishing to select appropriately for publication. Joan Leslie noted: "Once I hear a piece I know. Sometimes just reading it, I know" (Tape 'IA - 358). Another deteninant was the rnarketability of the composition and the overall riding profitability of the firm. Joan noted,

"We're pretty traditional. We have to be. You are always governed by the budget" (Tape 1A - 369).

The bottom line in business or the line between profit and loss tends to be a guiding factor over most business decisions. When asked about the importance of the bottom line in decision making regarding a new publication,

Pat VanderHeyden explained:

Definitely, but not to that degree. I don't think it plays the biggest part, though, in us deciding on a piece. . . Maybe we are just business-wise saying we won't print 2000 copies like we used to, we'll only go with 500. It doesn't hurt so much (Tape 2A - 482).

Expert Teachers' Criteria for the Selection of Unison Choral Music

The expert teachers in Panel 2 reported a strong technicallmusical focus for selecting choral music for first-, second-, and third-grade children. Al1 three expert classroom teachers designated similar ideal ranges for repertoire.

Sarabande prefers music with a range from C' - EN, Cantabile adopted an ideal range of E' - E" for this age-group of pupils while Arabella designated the range of C' - F".

The tessitura or the lie of the majority of the notes within a Song was similar among the experts, too. 60th Sarabande and Arabella noted the ideal tessitura to be between A' and E. Cantabile reported her mode1 tessitura a little

lower as G' - Cu.

Both Sarabande and Cantabile look for simple rhythmic figures.

Sarabande avoids syncopation mile Cantabile believes that children at this young age could handle songs involving some syncopation. Cantabile

eiaborated:

The [song should have] fairly easy to grasp rhythms but [could include] the syncopated rhythm; it's hard maybe in theory to look at and figure out but when you just Iisten to it and clap it and practice it, it's not, especially, for these kids. . . they pick it up really quickly (Tape 5A - 79).

The tempo, as a concept of rhythm in choral music, concerned one classroom

expert. Sarabande felt that songs at a medium or slow tempo were more

appropriate for young voices.

Sarabande and Cantabile identified the ease of accornpaniments as a

guiding factor in their selection of music for first-, second-, and third-grade

children. Sarabande noted that she searches for songs that were "very simple

accompanirnent-wise because we want to hear the voices not the piano" (Tape

Cantabile used melodic elements, too, as part of her selection criteria.

For children at this age, she looked for songs that were mainly stepwise and

diatonic.

Al1 three teachers used text as a criterion in selecting repertoire. They

were al1 wgnizant of the importance of the appealing nature of the text with children. Cantabile noted, 'niey really pi& up on [the text] and it is a lot easier for them to remember then, too, if they are enjoying it" (Tape 5A - 109).

Both Sarabande and Arabella select music that offers appropriate musical challenges to promote musical growth of the young singers. Sarabande illuminated, "If it's for a choir piece, a festival piece, for example. which is what we usually choose the sheet music for, we look for something challenging"

(Tape 4A - 29). Arabella elaborated this challenge and delineated the aspect of mood as a most critical factor in her selection criteria:

I would Say text, mood of the Song, range, talent ss according to what a particular group needs to be challenged - it may be articulation, it rnay be a certain rhythm. I'rn looking for a general mood of the Song that will make it something that kids will want to remember for years to corne (Tape 6A - 61).

Com~arisonof the Criteria Amona Composers, Publisher and Expert Teachers

The comparison of the criteria for the creationJselection of unison choral music by composers, publisher and expert teachers suggests that al1 three groups used text and range as factors. Range was somewhat similar arnongst the groups with C' - Eu as the cornmon scope of pitch. The groups of composers and teachers held certain areas in congruence, specifically tessitura, texture, aspect of form, and melody. The results are presented in Table 6. Table 6

Com~arisonof the Criteria for the SelectiodCreation of Unison Choral Music

Arnong Composers. Publisher and Ex~ertTeachers

Musical Element Composers Publisher Expert Teachers

Text - understandable - age-appropriate - interesting

- enlarge pupil's - interesting

Marriage of Text - music expresses

and Music words

Challenge - high quality

Range C' - D" (8higher) C' - E" E' - E"

C' - F"

Tessitura A' - E" G' - C"

Texture - easy - easy

accompaniment accompaniment

table continues Table 6 (mntinued)

Musical Element Composers Pubiisher Expert Teac9ers

Form -contrast/unity -some repetition

Rhythm - simple - perhaps

syncopation

- medium/slow

tempo

Melody - diatonic - diatonic

- jumps okay - mainly stepwise The findings suggest that the framework for analysis employed in this study has merit for use in selecting unison choral repertoire. The results of the analysis of the compositions in the guidelist developed through this study suggest that this analytical guidelist wuld be a useful resource for music educators teaching first-, second,- and third-grade children.

The qualitative data provided a deep reflection on the historical development of Leslie Music Supply, Inc. The findings suggest that the historical growth impacted strongly on the variety of music published by the firm.

As well, it was found that Leslie Music Supply, Inc. holds a unique position in

Canadian and international music educational publishing.

The findings suggest that composers used sirnilar technical/rnusical criteria in the creation of unison choral repertoire compared to the analytical frarnework employed in this study. As well, the results suggest that expert teachers ernployed sirnilar criteria involving technicallmusical concerns in their selection of unison choral repertoire for classroom use.

The data revealed that the criteria used for selection of Song material for publication included both music compositional concems and the anticipated marketability. fhe results reported herein provide ample avenues for further consideration. A discussion of these results and possible inherent implications for further research and for music education follow in the next chapter. CHAPTER 5

DISCUSSION AND IMPLlCATlONS

In this chapter, the results of the data anaiysis described in the prior chapter will be re-examined to suggest possible implications for further research and music education. First, a summary of the findings regarding the framework for analysis will be considered. This will be followed by a discussion of the comparison of the analysis of compositions. Then, the explanation on the results of the comparison of the degree of difficulty of compositions will be presented. Next, the results of the selective guidelist and its value for classroom use will be discussed. The debate on the historical account of Leslie Music

Supply, Inc. will follow. Then the discussion on criteria used by composers in the creation of unison choral music will be presented. Next I will consider the criteria used by the publisher and expert teachers in the selection of unison choral music. Then a discussion of the comparison among the criteria used by composers, publisher and expert teachers will ensue. The limitations of the present study will follow and the chapter will conclude with a presentation of the possible implications for future research and music education.

The Frarnework for Analvsis

The results of the study suggest that the framework for analysis has merit for use by classroom teachers of music in selecting unison choral repertoire. The professional role of the teacher as curricufum maker involves both teachers' knowledge and expertise (Connelly 8 Clandinin, 1988). As Johnston (1995) found. teachers may only be successful as curriculum makers themselves when the responsibility of cuniculum decision making is transferred into the hands of the teacher. The teacher possessing background musical knowledge and skills could use this framework of analysis to personally judge and select unison choral music for c!assroorn, school choir or community choir use. In so doing, the teacher would gain a greater degree of control over curriculum decision making at the classroorn levei. Arabella, an expert teacher from Panel 2, perceived herself as such a curriculum rnaker; she planned to use the guidelines for analysis as a basis for analyzing music for use in her classroom.

During interview data collection involving expert classroom teachers

(Panel 2), Sarabande suggested that price should be included in the framework for analysis. The reasons for her suggestion sternmed from the rising fiscal budgeting challenges for teachers employed in schools within the publicly supported school systern. As the study progressed, each of the other experts in

Panel 2 agreed that price would be an important aspect to add to the analytic framework. Arabella, who had previously taught in the public system and was now teaching in a private school, felt that it would be a good idea to include price. Although funding for learning materials and resources was not a critical issue in her present private school teaching position, she believed teachers in the public system currently and, in the future, would use price as a parameter for selecting music. The Thornpson (1989) framwork upon which I had modeled the development of my own framework had omitted price. However, the original

Shand (1978) analytic framework upon which the Thompson (1989) study was modelled. had included price. I had originally considered this factor but had determined that price would date the resulting guidelist. Based upon the evolving results from the experts on Panel 2 and the fact that my research design was an ernerging one1 I added price to the analytic framework and to al1 completed compositional analysis. These emerging results suggest that in future research in this areal price would be an important factor to include.

Another possible category for inclusion in the analytic framework emerged as a result of one of the interviews with the experts on Panel 2.

Arabella, in describing her own criteria for the selection of choral music stated:

I'm looking for a general rnood of the Song that will make it something that the kids will want to rernember for years to come. I find that kids in grade six will often come to me and Say, "1 don't remember al1 the words but I remember the Song that went like this and how beautiful it was!" and they will hum a couple of bars (Tape 6A - 64).

The expressive way that music powerfully impacts on individuals merits

more distinct consideration. Although mood may be described as part of the

melodic style, pedagogical value, or pedagogical approach according to the

guidelines for analysis developed for the present study, having an explicit

category in the analytical frarnework would ensure that this expressive and feelingful factor would be analyzed. In the selection criteria that Miller (1979) developed, mood could be considered as part of the music's appeal to the

singers and the audience. Nofziger (1968) used ternis like musical expressiveness and distinctive character. However, Arabella's tem 'mood' would offer the clearest understanding of this expressive elernent. I recommend that mood be added to the framework for analysis for future research in the

selection and analysis of choral music suitable for classroom use.

The Com~arisonof Analvsis of Corn~ositions

The results of the cornparison of the analysis of compositions among those which I had analyzed compared with those in reliability sample analyzed

by Panel 1 experts yielded diverse results. There was general consistency

reported concerning low inference categories such as octavo number,

publication date, accompanirnent, range, tessitura, text, form, melodic style,

rhythm, and texture. However, the features of pedagogical value and

pedagogical approach resulted in highly inferential data. No two teachers would

teach a song in exactly the sarne rnanner and the results supported this notion.

The teacher's own unique interpretation of the technicallmusical characteristics

and the pedagogical value and approaches in each of the compositions reflects

hisker own personal value systems and choral pedagogical experience and

expertise. As Shand (1978) found, "choice of repertoire involves individual

taste" (p. v). This result of the present study supports the findings of Good and

Shymanksky (1986) and Howe (1986) who concluded that bath high-inference and low-inference criteria should be used in evaluating classroom leaming materials.

The Cornparison of the Dearee of Difficultv of Com~ositions

The results of the comparison of the degree of difficulty of compositions in the reliability sample was calculated using Cohen's K (Cohen (1960) comparing the judgrnent by each pair of judges. The acceptable level of the reliability coefficient of .73 (global mean) suggested that 1, as investigator, was a reliable judge of the level of difficulty of unison choral compositions. Even though the guidelines for analysis delineated three levels of difficulty: easy, medium and difficult, one expert in Panel 1, Adam, chose to join descriptors for two compositions and assessed them as easy-medium as reported in Table 4.

Perhaps for Adam, the three tiers of difficulty employed in this study and by

Thompson (1989) were too broad; it seemed that Adam preferred a six level scale: easy, easy-medium, medium, medium-difficult, difficult, very diffkult as

Shand (1978) had used.

Arabella, an expert teacher from Panel 2, verbally expressed difficulty with al1 ratings of difficulty due to their highly inferential nature. Since the guidelines for analysis included specific descriptors and these were distributed to each expert in Panel 2 along with the selective guidelist, perhaps an introduction for teachers on how to use the selective guidelist should be created to preface the specific guidelines for analysis and the resultant selective guidelist. For Mure research in this area, I recommend that when an expert panel is employed, very clear instructions for the analysis procedure be delineated for each expert.

The Selective Guidelist and its Value for Classroom Use

The results on the usefulness of the selective guidelist suggest that this would be a very beneficial resource for classroom teachers of music. In a practical sense, it helps to meet the need for a resource guidelist conceming

Canadian music with a graded analysis for school use as called for by Bradley

(1974) and Nourse (1975). As welf, the guidelist could assist music festival committees in the selection of compositions for various choral music classes as submitted by Fisher (1975) and Kaplan (1985). This guidelist may also assist composers who are interested in writing music for pupil use in schools as proposed by Shand (1978). The guidelist, too, proposed by Schelleng (1993) could be of use to publishers and merchants to better serve their clientele.

Each of the expert teachers in Panel 2 expressed that the selective guidelist would be a useful supplement to the many ways by which teachers as curriculum makers select music and prepare and plan for instruction. Elliott

(1995),in outlining the preparation and planning stage of his curriculum-as- practicum process, stated that the music educator's "professional plans (short- term and long-terrn) for music teaching and learning need only summarize the essential features of each cornmonplace (goals, knowledge, learning processes)" (p. 257). The guidelist provides such a summanzation for the music teacher.

In the teaching-learning context, Elliott (1995) conceived that music making involves musical knowledge-in-action or musicianship. It is a multidimensional form of 'sound artistic' thinking that is procedural and context- dependent. The results of the classroorn observations and the interviews with teachers in Panel 2 supported EllioWs vision of the teacher as a refledive practitioner. Arabella's comments on her recently curnpleted lesson brought voice to Elliott's praxial philosophy:

It [selective guidelist] talks about the value of the dotted eighth and the sixteenth which is something that the kids were a little lax on today. So that is something that I made a note of, even before I heard the kids sing, to listen for. And so next day, we will go back and hopefully, make that a little more precise (Tape 6A - 154).

This type of criticai reflection which permeated Arabella's interview supported the perception of education as a continuing reconstruction of experience as described by Dewey (1938). The results suggested that the more experienced music teachers were more critically reflective in their teaching practice. For example, in comparing the talk of Arabella, who was an experienced mid-career teacher with the talk of Cantabile who was a novice in her first year of teaching, there was greater depth and specificity of critical reflection throughout Arabella's language. Cantabile was beginning to reflect and to identify procedural learning challenges; she stated, "There are some places that are questionable that [the pupils] are not sure of, so there are still some things we have to work on" (Tape SA - 173). Further research into the ongoing development of procedural knowledge of the novice music teacher in becoming the expert music teacher as espoused by Elliott (1995) rnerits investigation.

One result emerged during the interview with Sarabande (Panel 2) regarding the different ways that the selective guidelist might be used by specialist music teachers and by generalist classroorn teachers. This finding suggests that continuing in-service of generalist classroom teachers would be paramount to broaden their procedural music knowledge and skill base especially for Ontario classroom teachers in light of the recent release and upcoming implementation of the more rigorous and challenging The Ontario

Curriculum. Grades 1-81 The Arts. This result supports the finding of Regan and

Ross (1993) concerning the important role that district level consultants and other music education specialists play in school improvement in contributing to more effective teaching practice.

The question regarding the possible reproduction of the first page of each octavo to accompany each analysis yielded useful results in determining the process through which teachers select music. Teachers in Panel 2 were introduced to repertoire in a number of varying ways: reviewing promotional material from publishing companies, attending read-through sessions at conferences, reviewing sample packets from music retailers, visiting retailers in person, and requesting other colleagues' help. The inclusion of a facsimile of a portion of the composition would greatly assist the teacher; as Sarabande reiated, 7hat's nomally the way I select music" (Tape 4A -214). 1 was granted permission from the publishers and the first page of each octavo was added to the analysis in the selective guideiist. For future research in the selection and analysis of music for school use, the inclusion of a sample of the musical score should be an integral part of the musical analysis.

A Historical Account of Leslie Music Sumly, Inc.

The historical account of Leslie Music Supply, Inc. yielded rich results.

The personal accounts in the nanative unfolded the significant chronological events in the fimi's history that shaped the type of music available to teachers as curriculum makers.

From the early acquisition of the copyrights and stock of Western Music

Company to the more recent purchasing of copyrights and stock of choral music previously published by Lenel Music Publishing and Frederick Harris Music

Company, Leslie Music Supply, Inc. has emerged as an important tile in the mosaic of music publishing in Canada. Whether it is the initial publication of a new composition or an acquisition of another cornpetitor's works, it takes a high degree of business acumen, coupled with foresight, risk-taking and above-ail, high interpersonal skills for success to be achieved. Joan Leslie and Pat

VanderHeyden, CO-owners of Leslie Music Supply, Inc. have demonstrated these attributes at an optimum level. The very consetvative beginning of the wmpany in the basement of the

Leslie family home and the fact that Joan Leslie 'took very little remunerationn(Tape1A -95) may have had a positive effect on the high quality of repertoire published by the firm. As Nancy Telfer had commented, "the quality of music being published by Leslie Music . . . was far better and the music was more suitable for children" (Tape 8A - 21). When the cash flow is lirnited, only the best gets publishad. Joan Leslie attested that in the early years in order to keep up the cash flow, she began to offer an on-approval service for musicals and eventually act as an importer of choral music. It was the profit frorn the sales of these music education resources and their own published music that buoyed the reprinting of many of the former Western Music octavos and provided financial resources for Leslie Music Supply to publish new compositions.

The results suggest that the CO-ownersof Leslie Music Supply, Inc. foster strong interpersonal relationships with composers as if they were 'one of the family'. The close attention that they pay to their publications is very unique.

Nancy Telfer described Joan Leslie and Pat VanderHeyden as parents and the publications as children; she explained, 'They watch each piece as if it were a child to see what's going to happen with it, to get the reaction" (Tape 88 -37).

This same personal attention has extended to the customer base as well.

The results suggest that the firm is truly service-oriented. Customers greatly value the firm's personal service and attention to detail whether it is via a friendly voiœ on the telephone or helpful interactions at an exhibit booth during a conference. Teachers and conductors appreciate the speedy service, too.

Personalized customer service has become the hallmark of Leslie Music Supply,

Inc.

The results also suggest that Leslie Music Supply has carved out a niche in Canadian music publishing by concentrating on Canadian choral works mainly for unison or two-part choir. The firrn has been and continues to be well respected among the Canadian music educational publishing community. The perspectives from John Bird and the various composers were elucidating. As well, the confidence that colleagues from Lenel Music Publishing, Stuart

Beaudoin Publishing, and composers whose choral works were previously published by Frederick Harris Music Company displayed in inviting Leslie Music to purchase their copyrights and stock, attests to the high level at which Leslie

Music Supply, Inc. has held in the family of music educational publishing in

Canada. Perhaps other Company executives realized as John Bird had recounted about Joan Leslie's initial purchase of Western Music Company; he related, "She took a lot of that over and kept it going. It probably would have died if she hadn't have done that" (Tape 3A - 627).

The results of the international business partnerships that Leslie Music

Supply, Inc. has developed also suggest the firm's strong foundation as a family member in the more global context of international music educational publishing.

The sole agency contracts which Leslie Music holds for the publishing in Canada of works by J. B. Cramer of London, England and Leonard, Gould and

Bolttter of London. England demonstrates Leslie's respect of the quality of works in another's catalogue while the international partner obviously respects Leslie

Music's business presence in the Canadian marketplace. The agreements with

Roberton Publications of England as sole agents for Great Britain and at one time, with Brodt Music of Charlotte, North Carolina as sole agents for the United

States of Arnerica demonstrates similar symbiotic relationships. The more recent arrangement with Sulasol Publications of Stockholm, Sweden, confifimis the expanding prominence of Leslie Music Supply, Inc. as a leading Canadian educational music publisher.

Two other important themes ernerged from the results of the historical account of Leslie Music Supply, Inc.: photocopying and the role of the Canadian

Music Centre. These emerging themes merit discussion. The poignant story recounted by Nancy Telfer regarding the photocopying challenge in her own experience supports the recommendation of Audley and Associates (1989) which called for revisions to the Canadian Copyright Act, to discourage photocopying, and which recommended the development of a collective to act on behalf of publishers of printed music. Despite recent changes to the copyright act, some photocopying of printed music still remains a problem. The serious implication for al1 music educatots lies in the publisher's and composer's capability to continue to offer quality works for student use. Copyright protects the interests of both creator and publisher. One central issue in the Audley and Associates (1989) report was the concem whether the industry could efiectively cany out its function of ensuring an adequate supply of printed music that included the wrk of Canadian composers. The onus, then, falls on each music educator and choral conductor to abide by the Copyright Act and ensure that adequate copies of music are purchased for each student or chorister to use. All must continue to support the music publishing industry in Canada if educational music publishing wmpanies such as Leslie Music Suppiy, Inc. are to survive and hopefully, thrive in the future.

The role that the Canadian Music Centre (CMC), in its ongoing promoiion of Canadian music, might play in the future is another emerging result. Clifford

Crawley and Nancy Telfer, both associate composers of the CMC, set forth a vision that the CMC could become a commercial publishing business. Crawley foresaw the CMC as a commercial publisher with a sales division where one

"could go in and buy [music]" (Tape 78 -288). Telfer envisioned CMC publishing commercially but not mass marketing; she alluded to the rnodel of the Swedish

Music Centre. Telfer also suggested that CMC develop stronger links between the composer and performer to start the relationship going. These recommendations if acted upon may help enhance the ongoing promotion by

CMC of Canadian music across Canada and abroad.

The Criteria Used bv Com~osersin the Creation of Unison Choral Music

The results of this investigation found that composers were guided in the composing process by various technicallmusical considerations and were influenceci in their composition by other individuals. It was also found that none of the composers felt that they were influenced by success in the marketplace.

The results concerning the musical characteristics will be diswssed first.

The premise established that pupils will grow musically through performance of the highest quality of choral literature supports the aim of the

American Choral Directors Association (ACDA) National Cornmittee of Children's

Choirs reported by Rao (1989). As both Rao (1993) and Elliott (1993) attested, for musical growth to occur, the musical challenges found in the choral literature need to be matched to the musicianship and developrnent of the pupils. To this end, each of the composers interviewed, Michael Coghlan, Clifford Crawley, and

Nancy Telfer, displayed awareness of appropriate musical considerations in writing unison music for first-, second-, or third-grade children. These considerations included text, marriage of text and music, range, tessitura, accompaniment, melodic style and form.

The results of the composers concerning the aspect of text supported the findings of McRae (1991), Ortlip (1984) and Telfer (1993). Textuai meaning should be understandable and the most appropriate text should be phrased in concrete language. As well, the text should be topical for the singers and enable them to experience sorne new idea or emotion.

The results also suggest that the marriage of text and music is a prime consideration among al1 cornposers in the present study. Music needs to appropriately reflect the feeling and meaning of the text . This supports the finding by Goetze (1989) and McRae (1991) that words and rnelody need to be compatible in mood.

The ranges outlined by cornposers were similar to those suggested by

McRae (1991 ) and Gould and Savage (1972). McRae (1991) found that the range for eight and nine-year-olds should extend from C' - E" while Gould and

Savage (1972) suggested that the range for eight to ten-year-olds should be Ci -

E" or F" Coghlan's preferred range was Ci-Cu, Telfer's encarnpassed D' - E" mile Crawley's was C' - En. This finding also supports the range parameters set for the present study.

As well, the tessitura suggested by the composers supported findings from previous research. The tessitura recommended by Telfer between G' and

C" and by Crawley A' - C" concurs with Rosborough et al (1972) who found that the tessitura should rernain in the child's mid-range and with Apfelstadt (1982) who suggested that teachers must select music which is within the cornfortable limits of their singers' voices.

Regarding the accompaniment, the findings suggested that Crawley composes music for children with an easy accornpaniment that is supportive and independent. This finding supports previous research in this area. Goetze

(1989) found that accornpanirnents should be light in both texture and dynamics and be independent while Telfer (1993) suggested that the piano accornpaniment should provide cues obvious to the singers. 207

The results suggest that for Nancy Telfer, the shape of the melody is influenced by the lightness and natural flexibility of the child voice. Leaps are much easier for children to sing but chromatic passages are troublesome.

These findings add a new perspective to the literature concerning melodic characteristics in repertoire for children. McDonald (1979) found that songs with large melodic intervals were more difficult for children to sing than those with smaller intervals. As well, McRae (1991) suggested that melodies for young children be constructed with easy intervals. Perhaps Telfer's compositional criteria are geared more for first- to third-grade children, whereas McDonaldls research involved kindergarten-age children; the interpretation of McRaels

"young children" seems nebulous.

Concerning form, the results suggest that a balance of contrast and unity within a piece makes a composition easier to memorize. This finding supports the guidelines reported by Goetze (1989) that melodies need to have a clear and formal structure.

Al1 composers were influenced by other individuals in their composition; these included children, teachers, and publisher. Often this influence related to the genesis of thought as the thematic topic for compositions. The influence that the Leslie Music Supply, Inc. exerted on composers was an interesting finding.

In addition to suggesting possible topics, the co-owners gave frank feedback to cornposers which Nancy Telfer described as "really unusual for a publisher" (Tape 8B -29). This feedback often concemeci the range. accompaniment or text. One example of a textual influence concerns sacred music.

Through the eighties and into the nineties, as Canada has become more rnulticultural in nature. the societal value systerns regarding the inclusion of any aspect of a sacred nature in public schools have been transformed. This societal change has impacted on the types of texts that publishers in Canada, like Leslie Music Supply, Inc. wi-Il now consider pubiishing. Michael Coghlan related:

We were having a conversation with Joan one day; she said, "For God's sake, don't mention Jesus in anything you do". The point was not that she didn't like it. but that's the way the world had gone that you couldn't do a sacred piece anymore with a Christian theme or with a Jewish theme. . . That wasn't going to sel1 because, even at the multicuitural level, you always try to be cultural without being sacred in the school (Tape 9A - 209).

The results also suggest that success in the marketplace had little influence on the composers in their compositional style. The trend of 'formula writing' quite common in choral music for children published in the United States and Great Britain seemed an irrelevant issue to the composers involved in the present study.

Al1 cornposers in the present study were consummate musicians and teachers. Allen et al (1986) advocated practicing teachers as creators of instructional materials. They found that in order to be successful as writers of curriculum materials, teachers needed to have visited many different kinds of classroorns, known diverse pedagogical approaches and understood pupil and teacher capabilities. It seems that successful composers, too, with rich teaching and performing experiences like Michael Coghlan, Nancy Telfer and Clifford

Crawley, make exemplary creators of effective choral music for classroom use.

The Criteria Used for the Selection of Unison Choral Music for Publication

The findings suggest that both musical and rnarketability/profitability concems govemed the criteria for the selection of works for publication by Leslie

Music Supply, Inc. The musical considerations involved the text (interest and age-appropriateness for young children), marriage of text and music, and range

(C' - D" or higher). The musical criteria used by Leslie Music Supply, Inc. reflect to a limited degree findings from the research literature in elementary vocal rnethodology. The criteria of text, maniage of text and music, and range support the findings by McRae (1991) as some of the suitabie standards of judgment for selecting choral repertoire appropriate for use with children . Many other musical criteria may indeed be used by the publishers but they were not explicitly stated. Cornments used by the CO-owners like 'Wejust didn't like it"

(Tape 9A - 303) suggests a 'gut feeling' reaction or somewhat nebulous reason for not accepting a composition for publication. Further research is needed to more fully understand the exact musical criteria used by publishers in their selection for publication of unison choral music.

The finding of marketability/profitability suggests that the publisher's decision making was market-driven; as Ariew (1982), Armstrong and Bray (1986) and Davis and Hawke (lm)found. they must publish music that witl sell. More specifically, the results suggest that Leslie Music Supply, Inc. used similar criteria that Komoski (1985) reported in a schema of the instructional materials' marketplace. These included aspects of: acceptability (Will it be accepted by teachers, conductors and music festival cornmittees?); rnarketability

(Will it make it in the Canadian and international market?); feasibility (Cm it be published at a reasonable cost?); and profitability (Will it make an acceptable profit?).

Expert Teachers' Criteria for the Selection of Unison Choral Music

The results of the criteria reported by expert teachers in their selection of unison choral music for use with first-, second-, and third-grade children involved a strong technicallmusical focus concerning the elements of range, tessitura, rhythm including tempo, accompanirnent, meiody, text, and mood.

The findings in range suggested that all three expert teachers selected repertoire with similar vocal ranges (C' - Eu, E' - E" and C' - Fu). This result was somewhat consistent with ranges reported by McRae (1991) and Gould and

Savage (1972) which encompassed C' - EN. Goette (1985) found that if students are to succeed, the melodic example must be pitched at a level which is within the vocal range of young singers. The range reported by Cantabile as

E' - E" has the greatest degree of discreteness among the three expert teachers.

Since Cantabile, a music specialist, was in her first year of teaching, perhaps her lack of practical experience in the classroom may have led to this result. Sarabande and Arabella. who were both highly-experienced and reflective music teachers, probably nad leamed through practical experience in the classroom the ideal range of children at this age level.

As well, the tessitura reported by the expert teachers supported findings from previous research. The tessitura recommended by Sarabande and

Arabella between A' and E" and by Cantabile G' - C" wncurs with Apfelstadt

(1982) who suggested that teachers must select music which is within the cornfortable Iimits of their singers' voices. Cantabile's ideal tessitura coincided with that reported by Telfer (1993). However, Sarabande and Arabella's tessitura was quite high in reiation with the finding reported by Rosborough et al

(1972) who established that the tessitura should remain in the child's mid-range.

Perhaps, their method of focusing on the head register in the development of the child voice would account for this perceived difference.

The results conceming the types of rhythmic figures that expert teachers from Panel 2 considered in selecting music for this age-group support the findings from the related literature. Sarabande and Cantabile's criteria of simple rhythmic figures supported the findings of Klanderman (1979) who reported that the rhythm of songs should consist mainly of repetitive quarter and eighth notes. Sarabande differed from Cantabile in the criteria using syncopation.

Sarabande avoided syncopation in choral music for first- to third-grade pupils, hile Cantabile believed that these pupils were capable of handling some syncopation. Cantabile's finding was consistent with that reported by McRae (1991). Sarabande also used tempo as a criterion in repertoire seledion. She believed songs at a medium or slow tempo were more appropriate for young voices.

The results of the expert teachers regarding the simplicity of accompanirnents atfimied the findings of Goetze (1989). The results of the melodic criteria that songs should be stepwise and diatonic concurred with the findings reported by McRae (1991 ).

The findings regarding the appealing nature of the text of choral

repertoire for young children supported relevant results from the 1 iterature. The expert teachers revealed that interesting texts motivate children. This result

supported the findings by McRae (1991) and Ortlip (1984) who suggested that texts should be understandable, should be appropriate to the ages, abilities and

interests of children and should exhibit originality.

One of the expert teachers, Arabella, designated mood as a critical factor

in her selection of repertoire for first- to third-grade children. She noted, "l'm

looking for a general mood of the Song that will make it sornething that kids will

want to remember for years to corne" (Tape 6A - 64). This finding was

somewhat consistent with McRae (1991) who reported that words and melody

need to be compatible in mood. However, Arabella's criteria offered more depth

and meaning and was a much more compelling reason for selecting repertoire.

One's deep aesthetic response to a work of art may be so significant for an

individual perceiving the art, that the beauty will last for many years. The mood as a criterion for seleding repertoire, as previously discussed in the sedion on the framework for analysis, merits further investigation.

Cornparison of the Criteria amona Corn~osers,Publisher and Expert Teachers

The results of the comparison of the criteria for the creation of unison

Canadian choral music by composers and the criteria for selection of unison

Canadian choral music by publisher and expert teachers suggest that there was a high degree of agreement among the groups in ternis of the criteria used to selectlgenerate unison choral compositions for use with primary-grade children.

The most common or critical factors shared among al1 groups were range an3 text. The mean range of C' - Eu for repertoire suitable for use with first-, second-

, and third-grade children supported previous findings by McRae (1991) and

Gould and Savage (1972). The criteria of text being interesting, understandable and age-appropriate supported previous findings reported by Ortlip (1984).

McRae (1991 ) and Telfer (1993).

The results of the cornparison among the composers and teachers suggest that in addition to text and range, aspects of tessitura, texture. form and melody were shared. This suggests that the expert teachers and composers within the present study held very similar value systems concerning the criteria used in the creation and selection of unison Canadian choral music. This result suggests that the works by these Canadian composers may well meet some of the pedagogical needs of these expert teachers for teaching choral music to first- to third-grade children. It is interesting to note that of al1 of the stakeholder groups (teachen. wmposers, and publisher), only one criterion (mood) was mentioned that was not included in the analyticai framework employed in this study. This suggests that due to the high degree of consensus arnong the stakeholders. the selective guidelist rnay be an optimal leaming resource for teachers of music in first-, second-, and third-grade. In many areas of the curriculum, the leaming resource has a significant impact on pedagogy. For example, instructional software can control students (e.g. rhythm skill drilling programs) or empower pupils (e.g. music compositional programs) regardless of the actions of the teacher once ne or she has selected the leaming materials for classroorn use. Teacher behaviour may then be influenced by the resources made available to them. The ways teachers use resources such as this selective guidelist or the impact that learning resources have on pedagogy in the classroom merits further investigation.

Overall, the influence and power heid and enacted upon by the publisher is the important point here. Publishers, to a large extent, have great impact on and wntrol over the types of learning materials that may be published and eventually used in schools. Educational music publishers rnay influence composers in their composition and control the choices of choral literature available for music teachers in the classroom to select. Teachers are not powerless here; they have a most vital role to play. Teachers of music may influence composers by wmmunicating suggestions to them directly or transmitting ideas for future compositions through the respective publishers. In addition, teachers may commission a composer to write music specifically for children in their schoolJchoir. The commissioning may be accomplished with the assistance of the John Adaskin Project, Canadian

Music Centre (Composer in the Classroom program) or provincial arts agencies like the Ontario Arts Council. Pupils need to develop a strong awareness and understanding of the richness within the Canadian music comrnunity in the context of global music-making. In addition to involving pupils in the performance of Canadian compositions recommended in the present study and introducing thern to the works of Canadian composers, working creatively with a composer through the commissioning of a work may develop even deeper insights for pupils into the creative process.

Teachers, too, have an important role to enact with the publishing industry. As Allen et al (1986) found, teachers must act as wise consumers and shape publishers by selecting (and rejecting) learning materials judiciously. In order for this to occur as DiMare (1996) found, teachers need to be more empowered and more knowledgeable to become active teachers as curriculum makers. They need to learn how to rewgnize the pedagogical integrity of curriculum materials. The resulting selective guidelist as well as the framework for analysis and the guidelines for analysis of the present study may be of assistance in helping to empower teachers in appropriately selecting unison Canadian choral repertoire to match the leaming needs of pupils in first-, second-, or third-grade classroorns.

The Limitations of the Studv

The limitations of the design of the prasent study merit discussion. There were limitations concerning the results of the ratings by the experts in Panel 1.

One expert, Adam, blended levels of difficulty; as a result, his ratings were removed from the reliability sample. I recornrnend that in further research concerning the selection and analysis of music suitable for school use employing an expert panel in the triangulation process, very clear instructions for the analysis procedure be delineated for each expert.

The limitations of the process concerning data collected through the interviews with composers also merits discussion. After I had transcribed verbatirn al1 interviews in the study, I forwarded a transcription of hislher interview along with a return, self-addressed pre-paid expresspost envelope to each informant requesting verification. All informants provided changes. clarifications and elaborations to the original interview transcription although one informant retumed verification of the respective interview very late in the data collection. Perhaps the verification was returned late because I had not included this stage on the initial informant permission form. In future research, I recommend describing the member check process clearly on the initial permission form for each interview informant.

There were also limitations in the richness of results involving classroom observation of the expert teachers in Panel 2. Creswell (1998) suggests that prolonged engagement and persistent observation builds trust with participants, acculturizes the observer, and checks for misinformation that arises from distortions introduced by the researcher or informants. Even though 1 knew each of the expert teachers personally as professional colleagues, the one day visit to observe the music teaching and learning as well as to interview the expert teacher, was not prolonged enough over a long period of time to get a deep sense of the teacher as curriculum maker. It did provide a general sense of how the teacher prepares and plans for learning, the interactive processes used in music teaching and learning, and an understanding of the usefulness of the selective guidelist and the framework for analysis. However, prolonged engagement and persistent observation over a number of days would provide greater credibility to this ethnographic data. I recommend in future case studies similar to the present research that prolonged engagement and persistent observation in the field be included in the research design. Summarv of Implications

The implications of the present study are important both for further research and for music teaching. The first section will sumrnarize the implications for further research and the implications for music education will follow.

The lm~licationsfor Further Research

The implications for further research may be divided in six areas: framework and guidelines for analysis, selective guidelist, teacher development, pedagogical use of resources, criteria of publishers, and qualitative methods.

In the area of the framework and guidelines for analysis, the findings suggest that for future research in the selection and analysis of choral music for classroom use, categories of price and mood be added. As well, when expert panels are employed in such research, very clear instructions for the analysis procedure need to be delineated for each expert.

In research regarding the selection and analysis of repertoire suitable for student use, the results of the present study suggest that a sample of the musical score should be included as an integral part of the musical analysis.

Findings of the present study suggest further research into the ongoing development of procedural knowledge of the novice music teacner in becoming the expert music teacher as espoused by Elliott (1995). The results of the present study suggest that the ways teachers use learning resources such as this selective guidelist or the impact that leaming resources have on pedagogy in the classroom might provide fruitful areas for further research.

The results of the present investigation suggest that further research is needed to more fully understand the exact musical criteria used by educational music publishers in their selection for publication of unison choral music.

The findings of the present study generated several recommendations for qualitative research in education. 1 recommend prolonged engagement and persistent observation in the field to build trust with participants and acquire relevant and accurate data on the culture. In future research, when member checks are to be undertaken to assess and veriw transcribed interviews. 1 recommend describing the member check process clearly on the initial permission form for each intewiew informant.

The lrnplications for Music Education

The findings of the present study suggest the framework for analysis, the guidelines for analysis and the selective guidelist of unison Canadian choral compositions published by Leslie Music Supply, Inc. (1970-1 995) suitable for performance by first-, second-, and third-grade elementary school pupils may have implications for the music education comrnunity in various ways: the classroom teacher, teacher in-service. music festival cornmittees, composers of music. and music industry. These pedagogical resources may assist the classroom teacher of music in taking on the role of teacher as curriculum maker. The selective guidelist may help the music teacher in his/her preparation and planning of the music curriculum-as-practicum by matching carefully selected musical challenges to the choral musicianship of pupils. I recornmend the inclusion of a sample page of the musical score as part of each analysis and I suggest the creation of an introduction for teachers on how to use the selective guidelist. The music teacher, as well, may use the framework for analysis coupied with the guidelines for analysis for personally analyzing unison choral repertoire from a variety of publishers to prepare for music teaching and learning in the primary classroom.

In order to successfully use the framework for analysis, the guidelines for analysis and the selective guidelist, generalist classroom teachers may need continuing in-service to broaden their procedural music knowledge and skill base. District level consultants and other music education specialists need to play a key role in school improvement by contributing to more effective teaching practice.

Committees of music festivals involved in the selection of compositions for various choral music classes may use the selective guidelist to choose appropriate test pieces for primary (kindergarten to third-grade) classroom choirs as well as for school primary choirs and community-based or church- based children's choirs for the same age grouping. This selective guidelist may also assist composers who are interested in writing unison choral music for pupils in first- to third-grade. The guidelist could sensitize emerging composers to specific technical/musical aspects to be considered when composing for young children at this age.

In addition, publishers and merchants within the Canadian and international music industry could use the selective guidelist to better serve their clientele.

The historical account of Leslie Music Suppiy, Inc. from 1970-1995 traced the growth of this important Canadian educational music publishing Company.

The findings of the study revealed how significant historical events, historical contexts, and criteria for publication shaped the quality, variety, and number of unison Canadian choral compositions published by Leslie Music available for selection and use with pupils. Results also ernerged demonstrating the influence publishers have on teacher curriculum decision making. The results also suggest that teachers have a vital role to play in impacting on the educational music publishing industiy by influencing composers and by selecting and rejecting choral music judiciously. In addition, the serious implication for al1 music educators lies in the publisher's and composer's capability to continue to offer quality unison choral compositions for student use. Teachers have a signifiant function to ensure that they obey copyright laws to support and protect the rights of both creator and publisher. The findings of the present study also suggest that the role which the

Canadian Music Centre (CMC) fulfills in promoting Canadian music in Canada and abroad may be enhanced through consideration of the establishment of a

CMC commercial publishing division and the development of stronger links between composer and perfomer.

Summarv

The present study has investigated the selection and analysis of unison

Canadian choral compositions published by Leslie Music Supply, Inc. (1970-

1995) that may be identified as suitable for performance by first-, second-, and third grade Canadian elementary school pupils. In addition, I have studied the historical growth of Leslie Music Supply, Inc. to reveal how significant historical events, historical contexts. and criteria for publication shaped the quality. variety, and number of unison Canadian choral compositions published by

Leslie Music available for selection and use with pupils. The results of the data analysis, the discussion on the findings and the inherent implications for further research and music education have been herein accaunted.

Furthermore. it was found that classroom teachers of music have a vital role to play in meeting the needs of pupils by recognizing the pedagogical integrity of curriculum materials and by influencing composers and publishers through judicious selection of music learning rnaterials. As we delve deeper into the role of music teacher as CU~CU~U~maker and the impact that publishers have on this function, we may corne to realize the significant symbiotic relationship that both play in this musical drama we cal1 education. REFERENCES

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UNISON CANADIAN CHORAL COMPOSITIONS: SELECTION AND ANALYSIS FOR SCHOOLS GÜIE~ELINESFOR ANALYSIS Based on Beatty (1995, l996b) and Thompson (1989)

Composer:

Publisher: Leslie Music Octavo No.

Publication Date: O date

Duration: minutes and seconds i.e. 225

Accomwniment: piano, other instrument or a capella

Ranae: middle C â C'; treble clef third space C â Cu; pitches in octave below C' are designated without '

Tessitura: (general compass of a vocal part) Use notation as in range.

Ratinq: Easy: 1) short duration (under 2:OO) 2) repetitive form 3) short, regular phrases (2-4 bars) 4) narrow melodic range (less than an octave) 5) conjunct diatonic, modal or pentatonic intervals 6) consonant diatonic or modal hamony 7) regular metre, common rhythmic subdivisions 8) hornophonic with piano accompaniment or unaccompanied 9) standard notation

Medium: 1 ) average duration (200-3:OO) 2) repetitive forrn using more than one idea 3) regular 4-bar phrases 4) melodic range between an octave and a tenth 5) primarily diatonic or pentatonic intervals with some chrornaticism 6) primarily consonant, diatonic harmony with some modulations or dissonances 7) regular metric and rhythmic structure with some syncopated rhythms and smaller subdivisions of the beat 8) primarily hornophonic with some contrapuntal passages and usually accompanied 9) primarily standard notation

Difficult:1 ) longer duration (over 3:OO) 2) often irregular fom using many rnelodic ideas 3) long or irregular phrases 4) wide melodic range (over a tenth) 5) unusual, more disjunct intervals 6) harmony, often dissonant, frequent modulations or ambivalent tonality 7) irregular metres or many changes in metre and often irregular subdivisions of the beat 8) primarily contrapuntal, often unaccompanied 9) standard or non-traditional notation -Text: the suitability of text for the age grouping

9 the poetic form in terms of the verse and phrase lengths

r the logic of the rhyme

Closed Form: metrical poetic form

Open Form: nonnetrical prose form

The compatability of text with accent. Do the accents fall on consonants?:

Tonic Accent: textual accent on the highest pitch in the bar

Agogic Accent: textual accent on a note of longer duration Poetic Metres: lines of closed form poetry have definite patterns of rhythm which, as in music, are designated by types of rhythmic pulse, called feet, and number of pulses (or feet) to a line of poetry. Types of rhythmic pulse can be: iambic: / (J Id J~J) 7 trochaic: / ( J / J)

1 (/ = accented;~= unaccented)

Number of feet to a line may be frorn one foot (monometer) to eight feet (octameter). So if a line of poetry has an iambic foot and has eight feet to the line, it is called iambic octameter. -Form: a system of letters is used to denote themes and sirnilar and dissimilar section of the work. (A) denotes the theme and if the next section is identicai, it will be labelled A; if it is dissimilar B, slightly varied A', varied from the variation A", an so on.

Binary form: work is in two sections: AB Temary form: work is in three sections: ABA or ABA'

Melodv: the scale upon which the melody is built: diatonic (major, natural, harrnonic or melodic rninor), modal, hexachord, pentatonic, sprechstimme, or pointillistic.

Diatonic: scale of seven consecutive tones. Most common are major, harrnonic and melodic minor. Characteristic to this scale is the raised leading tone or M7.

Modal: scale with Greek name with seven consecutive tones. The common modes are:

lonian: C' - C" (major scale) Dorian: D' - D" Phyrigian: E' - E" Lydian: F' - F" Mixolydian: G' - G" Aeolian: A' - A" (natural minor scale) Locrian: B' - 8"

Characteristic to al1 modal scales, except lonian and Lydian, is the lowered leading tone or rn7.

Hexachord: a set of six consecutive tones: e.g. CDEFGA.

Pentatonic:a set of five tones with no semitones: e.g. CDEGA

Sprechstimrne: a type of vocal production midway between speech and Song. This technique may also be known as sprechgesang or speech-song.

Pointillistic: notes disposed in isolated dots rather than in normal melodic curves.

the singability of the melody and the reasonableness of the intervals.

a the compatability of the melody with the text.

the length of the phrases

0 the manageability for the young singer

Rhvthm: Simple Metres: 214, 314, 4/4; beat subdivides into groups of two.

Compound Metres: 6/8,9/8; beat subdivides into groups of three. Duple Metres: 214, 618; bar divides into groups of two .

Triple Metres: 3/4, 9/8;bar divides into groups of three.

Quadruple Metres: 4/4, 4/8; bar divides into groups of four.

I sorhythm: consistent repetition of a rhythmic pattern.

Texture: Hornophonic: melody moves together with accompaniment; chords (tonic, subdominant, dominant. etc.) undemeath

Polyphonic: contrapuntal interplay of melody and accompaniment

Accom~anirnentharmonic characteristics: Tertian chord chords built in intervals of thirds. structure: Expanded structure would include sevenths, ninths, elevenths, and thirteenths.

Quartal chord chords built in intervals of fourths. structure:

Secundal chord chords built in intervals of seconds. structure:

Added tones: notes that are not part of the mord with which it sounds, be it a passing note, appogiatura or a suspension. Practice of using added tones extensively is called "added tone technique".

Parallelism: chords move in the same direction, usually by step, presewing same chord structure.

Diatonicism: harmony is made up of predominately from the resources of the prevailing key, emphasizing hierarchical functions.

Pandiatonicism: linearlyconceived, non-functional diatonicism. All seven degrees of diatonic scale used, without preference.

Pedaaoaical Value: the value of teaching this piece: its appropriateness in terms of age of the child. vocal development of the child, relevancy of text, appeal ing setting. challenge for the singer, etc.

Pedaaoaical Aparoach: specific strategies for consideration in the teaching of the piece: i.e. melodic, rhythrnic, formal, textual, dynamic, expressive, etc.

Performance Effectiveness: appropriateness for classroom choir, school choir, or children's choir. program suitability i.e. seasonal, general, possible audience response Appendix II

UNISON CANADlAN CHORAL COMPOSWONS: SELECTION AND ANALYSIS FOR SCHOOLS Re~ertoireAnalvsis Fonn

Title:

Composer:

Publisher: Leslie Music Octavo No.

Publication Date:

Duration:

Accornpaniment:

Range:

Tessitura:

Rating:

Text :

Form:

Melodic Style: Rhythm:

Texture:

Pedagogical Value:

Pedagogical Approach: Performance Effectiveness: Appendix III

Ethnoarauhic Observer Guidelines

1. Who is in the group or scene? How many people are there and Mat are their kinds, identities, and relevant characteristics? How is membership in the group or scene acquired?

2. What is happening here? What are the people in the group or scene doing and saying to one another?

2.1 What behaviours are repetitive, and which are irregular? In what events, activities or routines are people engaged? What resources are used in these activities, and how are they allocated? How are activities organized, labeled, explained, and justified? What differing social context cm be identified?

2.2 How do people in the group behave toward one another? What is the nature of this participation and interaction? How are the people connected or related to one another? What statues and roles are evident in this interaction? Who makes what decisions for whom? How do the people organize themselves for interactions?

3. Where is the group or scene located? What physical settings and environrnents fom their contexts? What natural resources are evident, and what technologies are created or used? How does the group allocate and use space and physical objects? What is consumed, and what is produced? What sights, sounds, smells, tastes, and feeling sensations are found in the context that the group uses?

4. When does the group meet and interact? How often are these meetings and how lengthy are they? How does the group conceptualize, use, and distribute time? How do participants view their past and future?

5. How are the identifed elements connecfed or intemlated - either from the participants' point of view or frorn the researcher's perspective? How is stability maintained? How does change originate, and how is it managed? How are the identified elements organized? What rules, norms, or mores govern this social organization? How is this group related to other groups, organizations, or institutions?

6. Why does the group operate as it does? What meanings do participants attribute to what they do? What is the group's history? What symbols, traditions, values, and world views can be found in the group?

(Goetze 8 Lecompte, 1984, p. 112-1 13) Appendix IV

Interview Questions - Classroorn Testers [Panel 21

1. What are the various ways you learn about new repertoire for your classroorn/school primary choirs?

2. What criteria do you use when you select choral literature for your primary choirs?

3. The analyses of these unison Canadian choral compositions contained specific criteria based upon previous research in this area. Which annotations helped you the rnost in your selection?

4. You've had the opportunity to review the 30 analyses. How useful did you find the guidelist in making a selection of one composition to test in your classroorn?

5. In Canadian Music: A Selective Guidelist for Teachers the first page of each octavo was reproduced and displayed on the same page of the analysis. If reproduction rights could be obtained, do you think that this would be a useful addition to the guidelist of analysis?

6. For the piece you are classroom testing today, how did the analysis help you in preparing to teach the song to your students?

7. Do you have any further comments or suggestions? Appendix V

Interview Questions - Joan Leslie, Leslie Music Supplv, Inc.

1. I understand that a turkey played an important role in the establishment of Leslie Music Supply. Please elaborate.

2. When you started to do publishing, which Company did the printing for you?

3. Since taking over the Western Music catalogue, what other publishers have you subsumed within that time and when did those occur?

4. In addition to selling music from your own catalogue, what other services (e-g. music books, materials) do you provide for your customers?

5. What criteria do you use in selecting unison choral music for publication? (range, tessitura, text, melodic style, harmonic structure, form rhythmic, texture)

6. What challenges do you see for the future of music publishing in Canada?

Interview Questions - Pat VanderHevden, Leslie Music Su~oly,Inc.

1. I understand that a turkey played an important role in the establishment of Leslie Music Supply. Tell me al1 about how the wmpany was started.

2. Pat, when did you begin working in the firm?

2. What publishers' catalogues have you purchasedltaken over?

3. In addition to selling music frorn your own catalogue, what other services (music books, materials, etc.) do you provide for your customers?

4. Choosing appropriate compositions to publish must take a considerable amount of time. What criteria do you use in selecting a piece of unison choral music for publication?

5. What challenges do you see for the future of music publishing in Canada? Interview Questions -John C. Bird

1. John, you have had an extensive career in music publishing at Gordon V Thompson Ltd. Tell me about some of the high points in your career.

2. Through your extensive career in music publishing, I understand that you took a most active role in the Canadian Music Publishers Association as chairman back in 196283. and as president in 1976 and 1989. What are the aims and purposes of CMPA?

3. How has CMPA aided and assisted the growth of music publishing in Canada?

4. As I mentioned earlier at the OCF Advisory Council wine and cheese. I am studying unison Canadian choral compositions published by Leslie Music Supply, Inc. from 1970 - 1995. Through those twenty-five years, the Company grew and developed. From your perspective through your work on CMPA, how has Leslie Music Supply contributed to the Canadian and International music publ ishing scene?

5. There is no doubt that your many years as manager and later as president of Gordon V. Thompson Ltd. involved many cornplex business decisions. Probably choosing appropriate compositions to publish must take a considerable amount of time. What criteria do you use in selecting a piece of unison choral music for publication?

6. What challenges do you see for the future of music publishing in Canada? Appendix VI

Interview Questions - Comaosers

1. As I mentioned in my earlier telephone conversation with you, I am studying unison Canadian choral compositions published by Leslie Music Supply, Inc. (1970-1 995) suitable for performance by first-, second-, and third-grade elementary school pupils. When did you begin your affiliation with Leslie Music Supply?

2. Why did you select Leslie Music Supply, Inc. to subrnit manuscripts for consideration of publication?

3. What other companies have published your works?

4. When you are composing for first-, second-, and third-grade pupils, what musical considerations guide your creation?

5. From where do you receive the geneses of thought for your many new creations?

6. Certain compositions that you have composed and are published by Leslie Music Supply have become very popular as test pieces at various music festivals and among the repertoire of various children's choirs across Canada and , in some cases, abroad. How has success in the marketplace influenced your composition?

7. 1 imagine in the past that you have submitted certain compositions to Leslie Music Supply for consideration and Joan or Pat may not have selected them for publication. If this has occurred, in their feedback to you, what reasons might they have cited?

8. During my interview with Pat VanderHeyden, she noted that on occasion in the past, she or Joan have asked certain composers to rework a composition before they would accept it for publication. If this has happened to you, could you cite an example and tell me how you solved the challenge?

9. In your opinion, what makes Leslie Music Supply, Inc. unique in the Canadian and international music publishing context?

For Nancy Telfer only:

Nancy, I understand about two years ago a number of your compositions, previously published by Stuart Beaudoin Publishing, were taken over by Leslie Music Supply, Inc. What can you tell me about this event of the purchasing of the copyright and stock of Stuart Beaudoin Publishing by Leslie Music Supply, Inc.?