Title: Leadership in Music Education

Author(s): Charles Leonhard

Source: Leonhard, C. (1994, Summer). Leadership in music education. The Quarterly, 5(2), pp. 16-27. (Reprinted with permission in Visions of Research in Music Education, 16(5), Autumn, 2010). Retrieved from http://www-usr.rider.edu/~vrme/

It is with pleasure that we inaugurate the reprint of the entire seven volumes of The Quarterly Journal of Music Teaching and Learning. The journal began in 1990 as The Quarterly. In 1992, with volume 3, the name changed to The Quarterly Journal of Music Teaching and Learning and continued until 1997. The journal contained articles on issues that were timely when they appeared and are now important for their historical relevance. For many authors, it was their first major publication. Visions of Research in Music Education will publish facsimiles of each issue as it originally appeared. Each article will be a separate pdf file. Jason D. Vodicka has accepted my invitation to serve as guest editor for the reprint project and will compose a new editorial to introduce each volume. Chad Keilman is the production manager. I express deepest thanks to Richard Colwell for granting VRME permission to re-publish The Quarterly in online format. He has graciously prepared an introduction to the reprint series. Leadership In Music Education

Charles Leonhard University of Illinois

y purpose in writing this paper is to The paper begins with a description of the share my personal perception of circumstance surrounding my first involve- M the operation of the Music Educa- ment with the MENC and my initial impres- tors National Conference and the contribu- sions of the operation of the Conference and tions of the leaders in the music education continues with an account of my experience profession with whom I was associated from with the Committee on Audiovisual Aids. 1947 to 1982, the period during which I was Succeeding sections of the paper treat pro- active in the organization. Over those years, grams and leaders of the 1950s, 1960s, 1970s, my involvement with MENC included chair- and the first two years of the 1980s. ing the Committee on the Use of Recordings My association with MENC began in 1947 and the Committee on Graduate Study; serv- when I was invited to become chair of the ing as a member of the Research Council and national Committee on the Use of Record- the Commission on Basic Concepts; serving ings, a subcommittee of the Committee on as a member of the Editorial Board of the Audiovisual Aids. The circumstances sur- Journal of Research in Music Education; par- rounding my appointment gave me insight ticipating in three significant initiatives - the into the operation of the MENC at that time. I Contemporary Music Program, Comprehen- was an instructor in music education, working sive Musicianship, and Lifelong Learning; on my doctorate at Teachers College, Colum- making frequent presentations at national bia. Lilla Belle Pitts, my mentor, friend, and and division meetings; and founding the So- colleague at TC was a close friend of Vanett ciety for Music Teacher Education. (Note Lawler, Assistant Executive Secretary of MENC. that I never sought an elective office.) Lawler frequently came to ew York to spend The content of this paper essentially repre- the weekend. When she was in town, she, sents a memoir based on my participation in Pitts, and I made almost a ritual of having Sun- and observation of selected programs, day brunch at the Fifth Avenue Hotel. themes, and projects conducted by the One Sunday in the spring of 1947, Lawler MENC, with special attention to the men and was discussing her vision for the MENC, women who, in my estimation, provided which included emphasis on the use of au- leadership of sterling quality in the develop- diovisual aids. As she mulled over that idea, ment of MENC as a professional organization she suggested that Pitts should chair the and the music education profession in gen- Committee on Audiovisual Aids, and that I eral. I have sought to be objective in my se- should chair IDe Subcommittee on Recordings. lection of significant programs, themes, Thus, Iwas a chair of a national committee projects, and outstanding leaders, but I do before I was a member of the organization. not deny that my personal biases affected This experience revealed to me that Cliff that selection. Buttleman, Executive Secretary, and Vanett Lawler, who later became Executive Director, Charles Leonhard is Professor cf Music Emeri- had a long-range vision of the role of the tus, University of Illinois, and Director of Re- MENC and that the national headquarters search, National Arts Education Research Cen- staff played a major role in policy formation, ter at the University of Illinois - Urbana- decision making, and program planning. Champaign.

16 The Quarterly fournal of Music Teaching and Learning This mode of operation continued through Lawler made to the development of the Lawler's tenure as Executive Director and MENC. Lilla Belle Pitts also merits special contributed greatly to the success and influ- recognition as a charismatic leader who ence of the Conference. In essence, presi- served as president during the critical years of dents came and went every two years and World War II and made a glowing contribu- contributed ideas consistent with the long- tion to the cause of general music throughout range program but rarely, if ever, struck out her long and distinguished career. in a direction inconsistent with the ongoing My tenure as Chair of the Subcommittee on developmental program envisioned by Recordings lasted from 1948 to 1952. During Buttleman, Lawler, and the those four years, I was headquarters staff. Their lead- privileged to be closely as- ership was the major factor in The content of sociated with numerous the development of the MENC outstanding leaders in the as a powerful professional this paper essen- field of music education, organization. tially represents a including several former The Buttleman-Lawler era MENC presidents. Pitts was lasted from 1930 through rnernoir based on succeeded by Rose Marie Buttleman's retirement in rny participation Grentzer. Richard Berg 1953 to Lawler's retirement in also served in that position, 1968. In the face of opposi- in and obsetva- and William C. Hartshorn tion from some members, tion of selected chaired the Commission on they moved the headquarters Music in the Media, orga- from Chicago to Washington, prograITls,therncs nized by Robert Choate DC, where the MENC had and projects con- during his presidency. offices in the National Educa- This continuity in empha- tion Association Building. ducted by the sis on the use of technol- This move was motivated by MENC with spe- ogy from 1946 to 1956 is, their desire to be located near in my opinion, truly no- the seat of educational and cial attention to table. Presidents Luther political power, and over the the rrieri and Richman 0946-48), Charles years the move paid off hand- Dennis 0948-50), Marguer- somely in frequent commu- -W-OITlen-w-ho,in ite Hood (1950-52), Ralph nication and coordination rny estiITlation, Rush 0952-54), and Robert between the two organiza- Choate 0954-56) lent en- tions to their mutual benefit provided thusiastic support to our and positive relationships leadership of work. We were all dedi- with officials in federal agen- cated to incorporating cies, foundations, and cul- sterling quality ... available technology in the tural organizations. It is no- teaching of music, a chal- table that biennial programs lenge with which the music indicate that MENCfunctioned as a department education profession at large has continued of the NEA until 1970, when it became an to grapple, often unsuccessfully. affiliate. After 1972, the programs ceased to My initial experience with leaders in the indicate any relationship between the two MENC impressed me with their quality and organizations. Lawler also became a power dedication and with the potential of the orga- in the Pan American Union, which enabled nization to make a positive contribution to the MENC to develop international relation- the cause of music education. Lilla Belle ships that eventually led to the formation of Pitts introduced me to many former MENC the International Society for Music Education. presidents. As a result, I became aware of I think it important that the current MENC the impressive status of Directors of Music in membership be aware of the magnificent large cities and the leadership they exerted in contribution Cliff Buttleman and Vanett the Conference and the profession as a

Volume 11; Number 2 17 whole. I consider it significant that from Northwestern University and Boston Univer- 1926 to 1950, eight of the twelve presidents sity; William McBride (1956-58), Ohio State of the MENC held the position of Director of University; Karl D. Ernst 0958-60), Alameda Music in a large city. They include George State College, Hayward, CA; Allen Britton Oscar Bowen 0926-28), Tulsa; Mabelle 0960-62), University of Michigan; Alex Glenn 0928-30), Kansas City; Russell V. Mor- Zimmerman 0962-64), University of Mis- gan 0930-32), Cleveland; Louis Woodson souri; Paul Van Bodegraven 0964-66), ew Curtis 0938-40), Los Angeles; Fowler Smith York University; Wiley Housewright 0968- 0940-42), Detroit; John G. Kendel 0944-46), 70, Florida State University; Frances Andrews Denver; Luther Richman 0946-48), Cincin- 0970-72), Pennsylvania State University; nati; and Charles M. Dennis 0948-50), San Charles Benner 0974-76), University of Cin- Francisco. cinnati; Robert Klotman 0976-78), Indiana During this era, the position of Director of University; James Mason 0978-80), University Music was a seat of power in cities and of Utah; and Mary Hoffman (1980-82), Uni- towns across the country. Men and women versity of Illinois. Only two of 16 presidents holding this position had complete authority between 1950 and 1982 held positions in and responsibility for the music program public schools: Louis Wersen, Director of throughout the school system and often had Music in the Philadelphia Public Schools political and social influence greater than that 0966-68) and Jack Schaeffer, Director of Mu- held by the school superintendent. That au- sic in the Seattle Public Schools 0972-74). thority and influence enabled them to develop With the beginning of Marguerite Hood's comprehensive programs of music education presidency, the MENC embarked on what I that included bands, orchestras, choral groups, consider its most productive era. With her music appreciation, general music, and experience as a public school music teacher, courses in music theory and history. State Supervisor of Music in Montana, and Unfortunately, as a result of developments filling the dual role of Professor of Music within the music education profession, the ma- Education at the University of Michigan and nia for specialization, and a changing concept Supervisor of Music in Ann Arbor Public of school administration that augmented the Schools, a high level of intelligence, a highly authority of principals, the authority and status developed work ethic, and the courage of of the position have gradually diminished to her convictions, Marguerite Hood was ready the point that the title "Director" has usually for a true leadership role. She initiated the been replaced by "Coordinator" or "Consult- theme of Music in American Education, ant," or the position with overall responsibility which affected positively every aspect of the for the music program has been abolished. MENC program. The 1950s As part of Music in American Education, Marguerite Hood's election as MENC Presi- Hood created the Committee on Music in dent in 1950 marked the end of an era dur- Higher Education with Earl E. Beach as Chair ing which directors of music had exerted and asked me to chair a Subcommittee on great influence, not only on the MENC but Graduate Study. This marked the beginning also on the profession as a whole. They had of what was, in my opinion, the most signifi- been the "stars" to whom the profession cant effort to improve collegiate music edu- looked for inspiration and guidance. cation and music teacher education the The new era during which the majority of MENC has ever mounted. The committees presidents have been university professors were continued during the presidencies of with previous experience as public school two university music educators of stellar music teachers and administrators continued quality, Ralph Rush and Robert Choate. The through 1982, my last year of involvement Journal of Research in Music Education was with ME C. These presidents include Mar- established in 1953 during Rush's presidency. guerite Hood 0950-52), University of Michi- Allen Britton served as editor from 1953 to gan; Ralph Rush 0952-54), University of 1972. The Commission on Basic Concepts in Southern California; Robert Choate 0954-56), Music Education was established during

18 Tbe Quarterly Journal of Music Teaching and Learning I glory in my close association ~ith MENC over a period of 35 years. The organization has played a truly significant and inspiring role in my o'wri professional development and that of thousands of others, and in the emergence of music education as a po~erfLll force in American culture.

Choate's presidency, with Thurber Madison eration of music educators. A dynamic as chair. speaker and brilliant writer, he made Field The original membership of the commis- Theory of Learning relevant and applicable sion included Madison, Theodore Norman, to the teaching of music and applied sound Oleta Benn, Allen Britton, T. R. McConnell, psychological principles to every aspect of and me. With Madison's leadership we music education in terms that were under- planned Basic Concepts in Music Education, standable to most music educators. For which was published as the 1958 Yearbook years, it was unthinkable to hold a national of the National Society for the Study of Edu- MENC meeting without Mursell speaking at a cation. The book, which remains after 36 general session. years an important work on the theoretical The 1950s constituted a period in the de- aspects of music education, represented the velopment of MENC that was marked by dis- culmination of Significant developments initi- tinguished leaders and significant achieve- ated by Hood with her creation of the com- ment. The presidents who succeeded Hood mittee on Music in Higher Education as part moved the organization solidly forward. of Music in American Education. At the Philadelphia convention in 1952, In addition to Britton, Madison, Benn, and Marguerite Hood delivered a stirring address me, authors of chapters included a pantheon entitled, "Music in American Education: Our of scholarly leaders in a variety of fields, sev- Heritage Demands Action, Not Defense" which eral of whom had presented papers at ses- substantially set the stage for the decade. Mu- sions of the Committee on Graduate Study. sic Education Source Book #2 was published Two of the authors of chapters merit special with Hazel Nohavec Morgan, one of the true recognition for their significant contributions intellectuals in music education, as editor. as leaders in music education: Allen Britton The MENC was well represented at the first and James Mursell. International Conference on Music Education Allen Britton was at the forefront of every which was held in Brussels, Belgium, spon- effort to bring a scholarly dimension to the sored by UNESCO in the summer of 1953. music education profession from 1946 on. Lawler and others were active in the organi- As editor of JRME, member of the Commis- zational meeting of the International Society sion on Basic Concepts, MENC president for Music Education, which took place in from 1960 to 1962, author and editor of Zurich, Switzerland, in June of 1955. Recog- many books and articles, university profes- nition of music education as an international sor, administrator and advisor to graduate enterprise broadened and enriched subse- students, and the central figure in the history quent MENC programs. MENC Headquarters of music education as a scholarly field, he moved from Chicago to Washington, DC, in has left an indelible mark on the profession 1956, and the golden anniversary of the birth of music education. of MENC was celebrated at the St. Louis con- James L. Mursell is truly unique in the his- vention in the same year. tory of American music education in that he Examination of the printed program for was a psychologist whose only instruction in that convention reveals the impressive music had been piano lessons as a youth in breadth in the range of topics treated. Australia. Although he never sought or held Choate established ten commissions con- an elective or appointed position in MENC, cerned with broad topics ranging from Music he was the prime influence on a whole gen- in General School Administration, to Music in

Volume V; Number 2 19 Higher Education, to Music in Media of Mass Contemporary Scene and the following areas Communication. Each commission was orga- were addressed: nized into a number of committees con- • Music in the Curriculum; cerned with special topics. For example, • Contemporary Music in Schools; Commission VII Music in the Community had • Music for the Gifted Child; and • Music in International Relations. committees on Adult Education, Music in Two days of sessions were devoted to The Churches, Community Agencies, and General Contemporary Scene and The Music Curricu- Industry. lum in the Elementary School, in the Second- The task of producing Basic Concepts in- ary School, and in the College and Univer- volved members of the Commission in two sity. Each session involved presentations of years of arduous time-consuming work that the administrator viewpoint and the music took us away from our regular academic pur- educator viewpoint. The idea of discussing suits. Although I was gratified with the qual- the sometimes opposing viewpoints and at- ity of the book, I resolved never again to ac- tempting to resolve the differences was typi- cept an official appointment in MENC. I held cal Karl Ernst's sophistication. to that resolve until 1980, when Mary Hoff- A general session was devoted to the Ford man prevailed on me to arrange the pro- Foundation Project, at which the young com- grams on lifelong learning, which was the posers-in-residence were introduced to the major focus of her presidency. This did not music educators who were supervising the mean, however, that I was inactive in MENC. efforts of the composers assigned to their The 1960s school systems. Norman Delio Joio con- The 1960s were great years for the MENC ducted a session on the coordination of the and music education as a whole. The Arts Young Composers Project. and Education Section of the Office of u.s. Allen Britton (1960-62) Education funded a series of symposia and Allen Britton's presidency was focused on seminars pertinent to music education, most the Study of Music, An Academic Discipline. of which were conducted with the sponsor- His presidential lecture focused on the place ship of the ME C. The ME C was inspired, of the arts in a scientific age, and he treated as was the entire country, by President John the aesthetic climate, music enrollment, and F. Kennedy'S New Frontier and President the preparation of music teachers. He also Lyndon Johnson's concept of the Great Soci- pleaded for the development of an effective ety and his war on poverty, but the havoc of program of general music in secondary the war in Vietnam began in the late 1960s to schools. have an adverse effect on the spirit of the Gladys Tipton delivered a stirring paper on American citizenry, including members of the the need for music education to adjust to sci- MENC. The presidents of this decade were entific advancement and technology. Delio Allen Britton 0960-62), Alex Zimmerman joio conducted a session on the study of 0962-64), Paul Van Bodegraven 0964-66), contemporary music, and Carlton Sprague Louis Wersen 0966-68), and Wiley Smith, a distinguished musicologist, gave the Housewright 0968-70). All were distin- principal address on music as an academic guished men with ideas and a vision for the discipline. A highlight of the convention was development of music education as a whole the presentation of the first award granted by and MENC in particular. MENC and it was awarded to Howard The 1960 convention in Atlantic City Hanso~. The award cited Hanson as "a dis- marked the close of Karl Ernst's presidency tinguished composer, conductor, and music and the convention program exuded his educator." commitment and vision. The convention Alex Zimmerman (1962-64) was also history-making in its emphasis on Zimmerman's presidency was notable for contemporary music, evidence of collabora- important developments. The 1963 Ford tion between MENC and the Ford Foundation Foundation grant of Sl,380,000 funded the on the Young Composers Project. Contemporary Music Project. Several ses- The theme of the convention was The sions at the 1964 contention in Philadelphia

20 The Quarterly journal of Music Teaching and Learning were devoted to a variety of aspects of con- was comprehensive; the number and variety temporary music including the Young Com- of conceits made music the centerpiece of posers, Compositional Aspects of Contempo- the convention. Ninety ensembles, ranging rary Music, Contemporary Music in Elemen- from a saxophone quartet to the Kansas City tary Schools, and the Use of Contemporary Philharmonic, presented concerts or recitals. Techniques for Writing for Band. The Contemporary Music Project for Creativ- InJune 1963, the Yale Symposium took ity in Music Education figured prominently in place. Claude Palisca, professor of musicol- the program. The ACDA presented two full ogy at Yale, organized and directed the sym- days of discussion sessions and concerts. posium, which was funded by the u.s. Office Most notable was the fact that the speakers of Education. Participants included contem- at the three general sessions delivered mes- porary composers, professional performers, sages directly pertinent to the theme Bode- representatives of the media, jazz experts, graven had selected for the convention: The music educators, and music administrators. Changing Curriculum in Music Education. The report on the symposium urged greater Congressman John Brademas, a longtime sup- use of creative activities, a balanced perfor- porter of the arts, spoke on the subject "The mance program involving large and small en- Federal Government, Education, and the Arts." sembles along with concurrent study in mu- Karl Marsberger, Assistant Superintendent of sic history and theory and expansion of the the Detroit Public Schools, treated "New Di- repertoire to enable students to gain contact mensions for Educational Programs for Disad- with the world around them. vantaged Youth," and Louis Wersen addressed Another important event of 1963 was the "Challenges and Opportunities Ahead." Symposium for College Teachers of Music Louis Wersen (1966-68) Education on Current Issues in Music Educa- Louis Wersen had brought the music pro- tion, funded by the Arts and Humanities sec- gram in the Philadelphia Public Schools to a tion of the u.s. Office of Education, headed truly admirable level of excellence. One of by Kathryn Bloom. It was held at Ohio State the best and last of the powerful city music University under the direction of George Wil- administrators, he used his knowledge, en- son, who also edited the final report. ergy, charisma, and commitment to further Paul Van Bodegraven (1964-66) the cause of music education and the vitality During Bodegraven's presidency, the last of the MENC. major project organized by Vanett Lawler, the Two momentous events took place during Seminar on Comprehensive Musicianship 1967: the Conference on Research in Music was held on April 22-25, 1965, at Northwest- Education, held at Ohio State University un- ern University. The seminar was an epoch- der the direction of Henry Cady, and the making event that had the potential for revo- Tanglewood Symposium on Music in Ameri- lutionizing the preparation of musicians, mu- can Society. The theme of the 1968 conven- sic teachers, and music students at all levels. tion in Seattle was "Tanglewood." An elite group of music educators, compos- At a Sunday general session on the meaning ers, music theorists, and musicologists came of Tanglewood, three distinguished leaders in together to discuss unifying the development music education read papers: Wersen on "The of musicianship by integrating music theory, Importance of Today's Profession," Robert music history, and music performance at all Choate on "Implications for the Future," and levels of schooling. The seminar proceed- Wiley Housewright on "Next Steps for the Fu- ings, which were published by the MENC in ture." These presentations were all focused on 1965 (Comprehensive Musicianship. The setting an agenda for the MENC-truly a high Foundation of College Education in Music) point in the history of the organization. motivated many colleges and universities to Emphasis on contemporary music, re- implement the concept. Unfortunately, only search, and technology increased. Presenters remnants of the approach remain in use today. treated various aspects of research concerned The 1966 convention in Kansas City was with [he musical learning of elementary notable in several respects. The program school children. The year 1968 marked the

Volume V; Number 2 21 end of Vanett Lawler's brilliant leadership of dence of continuing collaboration between ME C. During the later years of her tenure ME C and the Ford Foundation. as Executive Director! resistance to her domi- Frances M. Andrews (1970-72) nance over MENC's operations had gradually Frances Andrews had the distinction of be- increased among presidents and members of ing the only woman to serve as president of the Board of Directors, but despite that resis- MENC during the period of 20 years since tance and her declining health, she remained Marguerite Hood served in that capacity in a powerful force. Upon her retirement, the 1950-52. The theme of the convention in At- role of the headquarters staff underwent lanta in March, 1972, was "A Vital Musical gradual but fundamental change. Culture - An Enlightened Music Public." Decision making regarding the focus and Goals and objectives for music education operation of the MENC shifted from the continued to be the focus of Andrews's presi- headquarters staff to successive presidents dency. The committee structure included 20 and boards of directors. The role of the staff committees, chaired by a refreshing mixture became increasingly managerial, and the vi- of old hands and new faces. tality of the MENC and its programs came to The opening general session was espe- depend largely on the ability, vision, and cially noteworthy. The topic was "Forward charisma of successive presidents. Directions for Music Education," with Wiley Housewright (1968-70) Andrews presiding over a panel consisting of The theme of the 1970 MENC convention Wiley Housewright, Jack Schaeffer, Robert in Chicago was "Interpreting Tradition - Un- Bays, Robert Klorrnan, Paul Lehman, and Earl derstanding Change," which indicated Wiley Bohm. Additional emphases included jazz, Housewright's desire to facilitate a smooth electronic music, research, audiovisual mate- transition from the past to the future. He or- rials, comprehensive musicianship, and spe- ganized the MENC Goals and Objectives cial education. Project, which he called the GO Project, into Frances Andrews, a highly intelligent, dedi- 12 committees. Committee members pre- cated, and determined woman, began the pared reports which were made available to decade with a highly successful term as convention attendees. president which built upon and extended the The GO Project was the most comprehen- achievement of her predecessors. In my sive program ever organized by the MENC. opinion, her only unfortunate decision dur- Each committee had a member representing ing her presidency was to dismiss Charles each ME lC division and every state. Broad Fowler who, as editor of the Music Educators involvement was predicated on the principle Journal, had brought the publication to its that active participants grow intellectually to highest quality in all the years of its existence. a greater extent than auditors. The GO Jack E. Schaeffer (1972-74) Project stood as an outstanding achievement Jack Schaeffer, the highly successful, inno- by Wiley Housewright and the MENC. vative, and down-to-earth Director of Music The Chicago convention emphasized the in the Seattle Public Schools, continued the following major areas: succession of important topics typical of past • Research in Music Education; presidents, but also brought a refreshing new • The Graduate Curriculum; dimension to the convention in Anaheim by • The Contemporary Music Project; the inclusion of sessions on: Film Previews, • Instructional Technology: Music Buildings, Rooms and Equipment, • Jazz; Acoustics, Minority Concerns, Barbershop in • Music Teacher Education; Secondary Schools, Negotiations and the Mu- • Music in Many Cultures; • Electronic Music; sic Teacher and Guitar Instruction. • Music in Black America; The high point of the convention was a • Aesthetic Education; and lecture given by Alex Haley, famed author, • Youth Music. on "Black Musical Heritage - A Saga of The convention was also history-making in Black History." Other important sessions in- its emphasis on contemporary music, evi- cluded: National Assessment of Educational

22 The Quarterly journal of Music Teaching and Learning Progress (focusing on a discussion of the Opera-Theater that presented Lucas Foss's fairly disastrous results of the first NAEP for "The Jumping Frog of Calaveras County;" the music); The Kodaly Concept; Orff Schulwerk; U.S. Air Force Strolling Strings; the Trinity Uni- Rock Music, Electronic Music and Multime- versity Choir; the Metropolitan Boys Choir, dia; The Arts Impact Project; Related Arts; Minneapolis; and the Madrigal Singers, the Opera Workshop and Seminar; Unusual Ca- Male Chorus and the Concert Choir from Cass reers in Music and Developing a Boys' Choir. Technical High School, Detroit. It is clear that Jack Schaeffer combined his Topics of special significance in the middle intellectual and musical abilities with practi- 1970s were addressed in sessions that in- cal experience as a music education adminis- cluded "Seeking Music Power for Urban trator to begin the last eight years of the de- Schools in the Management Arena, the Cul- cade of the 1970s on a high note with inno- tural Arena, the Instructional Arena and the vative ideas and new directions. Political Arena." Benner recognized that the Charles Benner (1974-76) fulsome era of the 1950s and 1960s was The 1976 convention in Atlantic City re- drawing to a close and that strong action was flected to a great extent the broad theme needed to preserve music education. chosen by Charles Benner: "Heritage, Festi- The program also focused timely attention val and Horizons." on other topics such as "Humanistic Educa- The heritage theme was carried out by a tion and the Related Arts, Providing for Mi- series of concerts sponsored by the MENC nority Concerns," "World Musics in Music Bicentennial Commission, which Don Education," "Coordinating the Arts," "Devel- Robinson chaired. The first cone en, Tribute oping Musicians and Teachers for Aesthetic to John Philip Sousa, involved the Ohio State Education," "Accountability," "African Music University Band and the United States Army in Music Education," and "The Manhattanville Herald Trumpets. "The Colonists," an en- Curriculum Project." semble from Milton High School, Alpharetto, Charles Benner clarified the essence of the GA, covered our music heritage in a concert theme of the Atlantic City Convention by that included music from a variety of sources: honoring our heritage, making the conven- From the Old World; From the ative Cul- tion ambiance festive, and exploring new ho- tures of the Past (American Indian); From rizons. His was a solid achievement. Our Swinging Colonies; From Our Political Robert Klotman (1976-78) Past; From Our Religious Heritage; and From The theme around which Robert Klotrnan Our Folk Heritage. The closing general ses- planned the 1978 convention in Chicago was sion, organized by James Mason, celebrated "Music is Basic! In Education and Life." "Our Spiritual Heritage" with performances Klotman's successful experience as Director by the Cincinnati Wind Ensemble, the Col- of Music in the Detroit Public Schools and as lege Conservatory of Music Choir, and the a professor of music education at Indiana Calvin Bell Choir from Red Bank, New Jer- University had given him excellent practical sey. The concert closed with a Lowell Mason and intellectual preparation for a leadership commemorative. role in the MENC and the profession at large. The spirit of festival was abloom through- His convention theme pervaded the pro- out the Atlantic City Convention. Perfor- grammed events beginning with the first gen- mances by a variety of groups abounded; eral session. Daniel B. Taylor, President of 107 ensembles of every conceivable type the National Council of Chief State School presented concerts. In addition to those pre- Officers, gave the address in which he reaf- viously cited, they included the Contempo- firmed that music is truly basic. rary Gospel Choir, High School of Music and In addition to topics regularly included at Art, New York City; the Welles College conventions, topics Klotman selected for spe- Chamber Singers; the Temple University cial attention at Chicago reflected the prob- Symphonic Band; the Gallaudet Dancers, lems and issues confronting music education Gallaudet College, Washington, DC; the in the late 1970s. They included Crisis Man- Saginaw, MI, High School Soul Choir; the Ham agement, Teacher Competencies and Ac-

Volume 11; Number 2 23 Paul Rosene conducted a fruitful session entitled Leonhard on MENC "Teaching Mentally Handi- Ido ... feel constrained to express concern about capped Students: We ALL Learn Together." Wolfgang the future of MENC. I firmly believe that its role' Kuhn, G. David Peters, urgently needs evaluation and change. Over the Robert Placek, and Fred years, it has changed from an organization with Hoffstetter, all pioneers in an inclusive clientele consisting of teachers and computer-assisted instruc- tion in music, made effec- administrators in all specializations concerned tive presentations on vari- with the musical growth of children and adults to ous aspects of the topic. J. L. Jones, Superintendent of an organization that represents music educators Schools in Dade County, who do not owe primary allegiance to one ofthe FL, a strong supporter of 18 specialized professional groups that have the music program devel- oped by Howard Doolin emerged over the years. It has moved froman for that county, gave a stir- organization .which provided music: industry ring address entitled "Music access ••to its membership to being essentially Instruction is Basic" in sup- port of the convention captive to the music industry. It has moved from theme. an organization with a staff composed of musi- Space limitations pre- cians and music educators with expertise in clude full description of Robert Klotman's achieve- management to an organization dominated by ment as MENC President. management and public relations experts. Suffice to say that his ser- vice was in every respect timely and sharply focused countability, Electronic Music, Music in Ur- on the needs of the late 1970s, a difficult pe- ban School Systems, Music and Related Arts, riod for music education in America. Dissat- Computer Music, Continuing Education, isfaction with public education was rife Computer-Assisted Instruction, and Career across the land, and the impact of the "Back Education, all of which received astute and to Basics" demand was making devastating thorough treatment by knowledgeable music inroads on music programs. Klarman made educators and other professionals. A topic of a courageous effort to provide music educa- especially timely interest at one session was tors with strategies and tactics designed to the Michigan Accountability Model. The staunch the deterioration of music programs. Michigan Assessment Program was presented James Mason (1978-80) and evaluated by Joseph Labuta, Albert The 1980 convention was held in Miami, LeBlanc, Robert Sidnell, and myself with Ri- FL, April 12-19, 1980. No comprehensive chard Colwell presiding. theme was announced, but a great variety of David Williams organized a display of in- topics received attention. MENC Associated strumentation for music and psycho music- Organizations were well represented in the ology research. Consultants participating in- convention program. They included ACDA, cluded James Carlson, Thomas Tunks, and ASTA, CBDNA, NACWAPI, NAJE, NBA, and Jack A. Taylor.The Committee on Govern- NSOA, all of which presented sessions fo- ment Relations, with Raymond Van Diest as cused on their special interests. Chair, presented a series of sessions designed Special attention was accorded the Ann Ar- to assist music educators in communicating bor Symposium, with a series of five sessions with state legislative bodies about needed devoted to its outcomes. Performances support for music education. dominated the convention program. Be-

24 The Quarterly Journal of Music Teaching and Learning tween Tuesday and Saturday, 92 ensembles a session on Lifelong Learning and the Music of various types performed. The ensembles Educator, which she labeled "Prelude to San ranged from barbershop quartets to Lorin Antonio and Beyond." The session included Hollander and members of the Youth Sym- papers on an overview of lifelong learning phony. The program was notable for the and the roles of educational institutions, park number of presenters during the convention. and recreation systems, and music educators More than 750 people appeared in at least in lifelong learning. one session, and many made multiple pre- This first session was followed by a session sentations. Special features included a lec- involving discussion groups on six aspects of ture by Lorin Hollander on chamber music, the topic: the "Multimedia Review of a Decade of • The Role of the General College; Teaching through the Arts to the Aesthetic" • The Young Adult Population; presented by Stanley Madeja and Edward • The Mid-life Population; Sweda of the CEMRELAesthetic Education • The Pre-retirement Population; • The Able Retired; and Program, and jazz night concerts organized • The Domiciled Population. by Donald Shetler. Although lacking a Hoffman's committee organization for the theme and long-range implications for the convention included, along with major em- future, Mason's presidency and the conven- phasis on general music, emphasis on timely tion he organized were notable for compre- topics including music in special education, hensive inclusion of all aspects of music edu- music and computer-assisted instruction, and cation and an admirable level of active par- zuitar instruction. A highlight of the conven- ticipation on the part of members of the b tion was a general-session lecture by John MENC and its associated organizations. Holt, noted author, educator, and musician, Mary Hoffman (1980-82) entitled, "Late to Music. The convention was The 1981 convention in Minneapolis was exciting not only for its coherence and vari- notable for the strands Hoffman selected for ety in emphasis, but also for the impressive forward movement in her specialty: General and varied array of performance groups that Music: Sensing the Expressive Nature of Mu- participated. sic' Music the Bearer of Tradition; Learning It was my distinct impression that most of to ~earn ~uSiC; Evaluating My Own Teach- the music educators attending the Minneapo- ing; and Materials for Music Learning. lis convention left with feelings of fulfillment The General Music Planning Committee, of and challenge. Teachers of general music which Eunice Boardman served as chair, were unified in facing the mission of bring- planned 24 sessions to focus on these strands ing meaningful musical experience and and to celebrate the formation of the Society learning to all the children of all the people, for General Music - truly a momentous event and a Significant beginning in the promotion in the history of MENC and music education. of lifelong learning had taken place. Also noteworthy is the fact that the Minne- San Antonio Convention (1982). The apolis Convention broke the tradition of bi- orizinal schedule called for MENC and the ennial conventions which had begun in 1926, b Texas Music Educators Association (TMEA) to when annual conventions were discontinued. hold separate 1982 conventions in San Anto- Hoffman is unique in having presided over nio. A number of factors indicated that such two conventions, Minneapolis in 1981 and an arranzernent was not feasible, and the de- San Antonio in 1982. For a variety of rea- b cision was made that the TMEA Clinic Con- sons, the conference returned to biennial vention would host the MENC convention conventions after 1982. Fortunately, having marking its seventy-fifth anniversary. The the opportunity to plan successive conven- convention program was comprehensive in tions enabled Hoffman to use her creativity its inclusion of all facets of music education, and vision in developing a level of continuity along with four sessions devoted to lifelong between conventions that has only rarely learning. The opening ceremony concert been evident. presented the United States Air Force Band For the pre-conference, Hoffman organized and the United States Singing Sergeants. The

Volume V; Number 2 25 program included two works commissioned the San Antonio program, which they did for the occasion: "Festival Variations" com- with some reluctance. The program entry posed by Claude Smith and dedicated to read, "Is there a Need for a Council on MENC's seventy-fifth anniversary, and "Cho- Teacher Education? La Mansion Hotel rale Variations for Brass Quintet and Sym- Veramendi Ballroom. An Exploratory Meeting. phonic Band" by Floyde E. Werte. Charles Leonhard presiding. Friday 1-3 p.m." I organized three sessions on lifelong I went to the ballroom at about 12:30, hav- learning: one general session, and two oth- ing no idea of how many people would ers entitled "Lifelong Learning in Action," show up, but by 1:00 the room was packed. Parts I and II. Part I included descriptions of After I had given a short speech in which I programs conducted by the Music Board, analyzed the problems facing music teacher Australia Council in Sydney and the program education and asked for a vote, the group at MacPhail Center for the Arts in Minneapo- unanimously approved the formation of a lis. Part II consisted of two lectures: "The society, made me chair of the a steering com- Band's Been Here Quite a Spell" by Ronald J. mittee consisting of one representative from Keller, conductor of the Napierville, IL, Mu- each MENC division and, before the session nicipal Band; and "The Community Choir in adjourned, elected Robert Klotman, Donald a Metroplex: The Schola Cantorum of Shetler, Irma Collins, Marlon Tatum, John Texas" by Gary E. Ebensberger of the Univer- Grashel, and Phyllis Erwin to the steering sity of Texas at Arlington. I had invited both committee. The Society for Music Teacher organizations to perform at San Antonio, but Education was off and running! much to my chagrin, the audition regulations Although my active participation in MENC of our host organization, TMEA, precluded ended with my role at the San Antonio con- their doing so. vention, I was sufficiently inspired by the The general session, which was cospon- strong support evidenced at San Antonio to sored by the MENC Committee on the Utili- devote a considerable amount of time in zation of Retired Music Educators, presented 1982 and 1983 to finalizing the establishment Peter Witt and Janet R. Mclean in lectures of the Society and planning sessions for 1983 entitled "Music, Leisure, and Lifelong Learn- division conventions and the 1984 national ing" and "Lifelong Learning - An Overview" convention in Chicago. Eunice Boardman's respectively. The Society for General Music election as chair of the Society relieved me of presented a fourth session on the topic. Co- further responsibility. In the intervening operation between MENC and TMEA had years, I have limited my participation in produced a fine convention and fitting clo- MENC to attending the dinners for University sure to Hoffman's presidency. of Illinois doctoral alumni. For this reason, I The Society for Music close this memoir as of 1982. Teacher Education Coda Over the years, I had become increasingly I glory in my close association with MENC disturbed by the scant attention given to mu- over a period of 35 years. The organization sic teacher education by MENC presidents has played a truly significant and inspiring other than Frances Andrews 0970-72) and role in my own professional development Robert Klotman 0976-78), both of whom and that of thousands of others, and in the had emphasized it. For this reason, during emergence of music education as a powerful the 1981-82 academic year, I sent letters to force in American culture. about 100 of my colleagues in music teacher During those years, we were fortunate in education, suggesting that we consider for- the quality of leaders of the MENC, whether mation of an organization for music teacher elected officials or men and women ap- educators comparable to the Society for pointed to serve on commissions and com- General Music. Although I received only a mittees. A few of those leaders merit, in my few responses and little or no encourage- opinion, special recognition. The include ment from my colleagues at Illinois, I asked Vanett Lawler, Lilla Belle Pitts, James L. MENC headquarters to give me a time slot in Mursell, Marguerite Hood, Ralph Rush, Rob-

26 The Quarterly Journal of Music Teaching and Learning ert Choate, Allen Britton, and Mary Hoffman. composed of musicians and music educators I do, however, feel constrained to express with expertise in management to an organi- concern about the future of MENC. I firmly zation dominated by management and public believe that its role urgently needs evaluation relations experts. and change. Over the years, it has changed I suggest the formation of an independent from an organization with an inclusive clien- commission composed of distinguished public tele consisting of teachers and administrators school and collegiate music educators and ad- in all specializations concerned with the mu- ministrators to evaluate the function and struc- sical growth of children and adults to an or- ture of MENC and recommend changes that ganization that represents music educators will enable the organization to better provide who do not owe primary allegiance to one of essential leadership in identifying and solving the 18 specialized professional groups that the problems that will inevitably face the pro- have emerged over the years. It has moved fession in the twenty-first century and in en- from an organization which provided music gendering unity in spirit and in action among industry access to its membership to being the diverse organizations that now represent essentially captive to the music industry. It the broad field of music education. ~ has moved from an organization with a staff

ANNOUNCEMENT AND CALL FOR PAPERS

American Choral Directors Association 1995 National Conference Washington, DC

The Repertoire and Standards Committee on Children's Choir will sponsor a research poster session at the 1995 national ACDA Convention in Washington, DC Reports on research that address any area of concern to children's choirs, e.g. pitch-matching, intonation, vocal-choral tone, adminis- tration and organization, literature socialization effects, methodology and pedagogy, sight singing- will be considered. Reports that are accepted should be summarized by posters, and the presenter should be present to discuss the research with those who visit the poster display. The author(s) should furnish 100 copies of a report summary (abstract) for distribution to session attenders, and should have a limited number of full reports (around 12) on hand for distribution to those with research interests specific to individual displays. Five to 10 of the research studies will be selected for oral presentation to convention attenders. Research reports submitted should not have been presented at any other major conference or previously appeared in published print. If the data or any part of the research project has been presented in another format, at another conference or in print, the author must submit a statement along with the report explaining the details of that presentation. Five copies of the completed research report and five copies of the abstract should be submit- ted by September 15, 1994 to: Dr. Ann R. Small School of Music Stetson University DeLand, Florida 32720

Studies will be blind reviewed by a panel of judges, and authors of studies selected for presenta- tion will be notified by October 30, 1994.

Volume V; Number 2 27