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ACKNOWLEDGEMENT the Writer Wishes to Express Her Sincere An anthology of children's stories correlated with music Item Type text; Thesis-Reproduction (electronic) Authors Brinkmeyer, Frances Irene Kanen, 1916- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 04/10/2021 07:34:47 Link to Item http://hdl.handle.net/10150/553607 ACKNOWLEDGEMENT The w rite r wishes to express her sincere appreciation to Mr. Hartley D. Snyder for his kind help and guidance in the preparation of th is th e sis. AN ANTHOLOGY OF CHILDREN’S STORIES CORRELATED WITH MUSIC by Frances Irene Brinkmeyer A Thesis submitted to the faculty of the Department of Music Education in partial fulfillment of the requirements for the degree of Master of arts in the Graduate College University of Arizona 1 9 4 2 Approved: a s m m i - ' ■ io J •.*■?.• i i Ii» 1 ....1 ^^.q si* l c ee #*j2$a#%W#*i sd* tv eae*^o3 «r*a ai WO&ltA %> ^£&%&Tk&$. V M l 3Bqq6 t= 9 'Y 9 / /9 y _ Z _2- Z TABLE OF CONTENTS Chapter Page I . INTRODUCTION .................................................................. 1 I I . PURPOSE OF THE STORY IN THE MUSIC CLASS............... 5 I I I . USE OF THE STORY IN THE MUSIC CLASS..................... 7 IV. STORIES ............................................................................. 11 V. INDEX TO STORIES .......................................................... 229 BIBLIOGRAPHY .................................................................... 234 APPENDIX: BIBLIOGRAPHY OF CHILDREN’S BOOKS .. 235 111 1 5 * 1 5 2 CHAPTER I INTRODUCTION In our schools today children find music an enjoyable subject. It Is entered Into with enthusiasm because it is functional in their everyday needs. Play is one of the young child’s most important ways of learning and his most n atu ra l expression. Much of his early language forms rhyth­ mic patterns in the form of jingles and small poems. These he sings as he plays, and through rhythmic movements, such as clapping, swinging, and stepping, etci, the child accom­ panies his song in an active way. In the intermediate grades the child has a keen curios­ ity in the world at large. His.eagerness to find how other people live causes him to he interested in folk stories, folk songs and dances, and the music of many lands. Creative dramatics in this period of education satisfies an important motive: y -;y;. y;.y The interests of the adolescent child are in romance, adventure, the mysterious, and those activities that lend themselves to group participation. There is a strong sense of loyalty and belonging as^manlfested in school groups. In appreeiation through music, we aim in the Junior High and the High School to point the way to a larger life of mind 1. Pitts, Lilia Belle. Music Integration in the Junior High School, p. 3. 2 and spirit, thus aiding young people to discover for them­ selves new values in life. The approach to the problems of education is under­ going a fundamental change today. This results in the bringing about of radical alterations in our educational procedures. Music is no longer to be taught for the sake of mental training. The acquisition of technique is not the most important objective in music education. The music teaching which stresses the experience with music is being replaced by a program in which aesthetic values are achieved. The music program is an organized opportunity for aesthetic experience which is described by Mursell as follows: "An aesthetic experience in music is one in which a person enjoys music. Whether as a listener or a performer, therefore, one who is engaged in-, such an experience is actively participating in musical beauty. This, perhaps, is the most funda­ mental consideration of all. We have here a prin­ c ip le whose ap p licatio n can by no means be l e f t to chance. It is necessary, consciously, deliberately, and critically, to formulate all our procedures to achieve it. Nothing can be more futile than to teach music as a sort of routine, in the vague hope that compelling aesthetic experience will follow. The primary and essential educational value of music consists of the opportunity it furnishes for joyously participating in music." 2 The new purposive psychology depicts man as a creature of Impulse and will whose actions are determined by goals and purposes. His behavior is dependent on feelings and emotions Feeling and Impulse in music is paramount. The first neces- 2. kursell, James L. The National Society for the Study of Education. 35th Yearbook, Part II, p. 4. ; . - 5 slty in education is to influence the emotional life.. What interests and repels a child, what he likes and dislike®, what he seeks and avoids, his attitudes, desires, impulses and tendencies are very important. 3 Foy points out that if we accept.the philosophy of teaching people how to live then surely music must occupy an important place in the school program. To really live we must have means by which we can both consciously and uncon­ sciously develop our personalities. From the start, and all the time, we must, have valid and compelling musical experi­ ences. : - . It is the purpose of this study to provide an anthology of children's literature correlated.with music so that the music teacher in planning her procedure may make music func­ tional in the lives of her students. By actively participa­ ting in musical situations, which in the past have functioned in the lives of the people, the child can bring to his own life many useful and beautiful experiences; All this inten­ sifies interest and the teacher can fulfill the needs of each individual child and thus cause Ills interest and his needs to be the center of the educative process. The anthology pro- t vides an excellent guide for the:selection of materials. Purposeful teaching requires a better selection of sub­ ject matter and appropriate materials. Through a critical 3. Foy. Zed L. Music Educators National Conference Yearbook, 1935, p. 45: : : :-------------- 4 analysis of sixty-three books in the field of children's lit­ erature , incidents were selected which seemed to be most helpful in stimulating interest, providing a cultural back­ ground, and furnishing a functional learning situation in the study of music. Children Ilk® to go places, make things, talk things over, Impersonate characters in story and song, and learn about their world first hand. The best way to broaden a child’s vision and social attitudes would be to take him abroad to meet people of other lands and learn their ways. This is not possible for the vast majority of American child­ ren. The next best thing is to bring the world to the child, to let him meet in books, in pictures, in dramatizations, in folk songs and dances, the people of all lands, and the Imag­ inative creatures, to enrich his appreciation and understand­ ing. In a day of constantly widening horizons, the child’s modern story book plays a very important part. , The writer, in compiling this anthology listed authentic folk stories which show the use of music in the dally lives of people as expressive media. These books have the stamp of approval of the well known Junior Literary Guild and Junior Books. A brief synopsis of these situations provides a suitable index to guide teachers in their search for stories of folk customs correlated with music. CHAPTER I I P98PQSB OF THE STORY IK THE'ITOSIG CMSS The stEMpy Mas an Important place In the auste class for It furnishes a aeries of situations in which musical exper­ iences will have:a natural part because they meet the needs of the child. „ ; John Dewey, in his book Experience and Education. in explaining the nature of the educational value of experience "The statement that individuals live in a world means, in the concrete^ that they live in a series of situations. And when it is said that they live in these situations; the moaning of the word 'in ' is different from its meaning when it is said that pennies are 'In' a pocket or paint is 'in ' a can. It means, once more, that interaction is going on between an individual and objects aM ' other persons. An experience is always what it is because of a transaction taking place between an Individual and what, at the time, constitutes his environment. " : 1 : . - ■ -V: " : v-:. Different situatim s succeed one another and something is carried over from earlier to later experiences. The know­ ledge and skills which the child learns in one situation serve as a means of understanding and dealing most effectively with the situations which follow. The difficulty in the typical learning situation in the school is that situations are created by the teacher in which 1. Dewey, jbhn. Experience and Education, p. 41. 6 the child fails to relate to his experiences and immediate needs. It is necessary to learn because the book states a problem* or the teacher says so. If a situation is manipulated so that the child feels that it is really necessary for him to learn in order to ac­ complish the thing he wants to do, then we have a real moti­ vation for learning. As Dewey s ta te s : "Intelligent activity is distinguished from aimless activity by the fact that it involves se­ lection of means — analysis — out of the variety of conditions that are present, and.their arrange­ ment -- synthesis-- to reach an intended aim or purpose.
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