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UniversiV MicnSilms International
Lacy, Lucile Christine
A SURVEY AND EVALUATION OF MUSIC TEACHER EDUCATION PROGRAM IN SELECTED, ACCREDITED BLACK PRIVATE COLLEGES AND UNIVERSITIES IN THE UNITED STATES
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University Microfilms International
A SURVEY AND EVALUATION OF MUSIC TEACHER EDUCATION PROGRAM
IN SELECTED, ACCREDITED BLACK PRIVATE COLLEGES
AND UNIVERSITIES IN THE UNITED STATES
DISSERTATION
Presented in Partial Fulfillment of the Requirements for
the Degree Doctor of Philosophy in the Graduate
School of The Ohio State University
By
Lucile Christine Lacy, B.A., M.M.E.
The Ohio State University
1985
Reading Committee: Approved by Dr. A. Peter Costanza Dr. John K. Lehr Dr. William T. McDaniel
Adviser School of Mus Copyright by Lucile Christine Lacy 1985 To my mother, Gladys, and father, Ulysses,
parents of principle
who as my first teachers instilled in me the desire
to establish high standards and goals,
with a firm conviction to achieve them,
and who never stopped encouraging me to pursue knowledge
I dedicate this dissertation. ACKNOWLEDGEMENTS
The completion of this project would not have reached
fruition without assistance and guidance from many
people. The writer wishes to express her deep and sincere
appreciation to all who helped make this dissertation a
reality.
Appreciation is expressed to a number of persons who
have provided crucial support for this project. My
adviser. Dr. Peter Costanza, my supporting mentor,
deserves much appreciation for his insightful counsel,
patience, encouragement, guidance and scholarly probing.
Gratitude is extended to other members of my reading
committee: Dr. Joan Lehr and Dr. Ted McDaniel, for their
helpful comments given in the refinement and ultimate
completion of this study. My doctoral committee has
contributed in innumerable ways through their countless
suggestions, scholarly standards and openness in allowing
the researcher to explore her interests.
The writing of this dissertation is the culmination of many experiences and many influences. Special appreciation is also extended to Dr. William Moore and Professor Mary
Tolbert who contributed much to the progress of my studies,
i i i They exemplify the epitome of the quest for know!edge,
understanding and synthesis. Your support and
encouragement will forever be remembered.
A debt of gratitude is owed to Oakwood College for
giving the writer a sabbatical leave, and the United Negro
College Fund for awarding me the Lily Endowment Faculty
Development Grant. Without this the research study would
not have been possible. Appreciation is expressed to The
Ohio State University Office of Minority Affairs and the
United Negro College Fund for endorsing the study and
providing initial contacts. My sincere appreciation is extended to Dr. Frank Hale, Jr. and Dr. Turner Battle, III.
Gratitude is expressed to all subjects who participated
in this study and thus made it possible. Thank you for your time, interest, candid opinions and scholarly expertise.
A word of thanks and acknowledgement are due to Dr.
Donald Maiec and his assistants at The Ohio State
University Statistics Laboratory and to those at the
Instructional Research Computer Center who guided and helped to solve complications. The capability and conveniences of these systems minimized the time required to analyze data.
A big thank-you is extended to my friends Michael,
Mongaring, Janet and Linda whose patience, energy and skills in typing and editing the drafts to printed page sustained the completion of this manuscript.
The writer wishes to extend her warmest appreciation to her family. I shall be forever grateful:
To my parents, who since the beginning, had made
this goal attainable.
To my brother, Walter, and sister-in law, Susan,
for their personal encouragement, deep interest,
sense of pride, sacrificial gifts and financial
support.
To the entire Frank Hale Family who stood by me as
the doctoral growing process unfolded, extended
their love and grand hospitalities in innumerable
ways.
To my sister, Irene and brother-in-law, Frank III,
who also prodded, cajoled, stroked and prayed with
me.
To my nephew, Frank Hale IV, who helped me to
laugh during the rough times.
My deepest appreciation is extended to my entire family, members too numerous to mention, but too special to omit--whose love, support andencouragement has given this accomplishment even more meaning. Finally, but not least, the writer expresses thankfulness, and praise to her Lord and Savior, Jesus
Christ who gave me the vision to complete this study and the strength necessary to realize my dream. To this end,
I give all glory and honor to God. VITA
October 16, 1945 .... Born: Huntsville, Alabama
1968 ...... B.S., Oakwood College
1971 ...... M.M.E. George Peabody College for Teachers
1971 ...... Executive Secretary, Vice-President of Academic Affairs Oakwood College
1972 - Present ...... Assistant Professor Department of Music Oakwood College
1979-198 0 ...... Graduate Studies in Music Education and Curriculum and Supervision
1980-1981 ...... Visiting Professor Department of Music Alabama A & M University
1982-85 ...... Doctoral Student The Ohio State University
FIELDS OF STUDY
Major Field: Music Education
Cognate: Educational Administration
Studies in Music Education: Dr. A. Peter Costanza Dr. Joan K. Lehr
Studies in Directive Teaching: Dr. Jere Forsythe
Studies in Piano: Dr. Jerry Lowder Dr. Sylvia Zaremba
vi i Studies in General & Elementary Music: Professor Mary Tolbert
Studies in Administration of Music Education: Dr. David Meeker
Studies in Educational Administration: Dr. William Moore TABLE OF CONTENTS
Page DEDICATION...... ii
ACKNOWLEDGEMENTS ...... iii
VITA...... vii
LIST OF TABLES...... xiv
LIST OF FIGURES...... XX
CHAPTER
, I. INTRODUCTION...... 1
An Appraisal of HistoricallyBlack Colleges . . . 4 The Uniqueness of the Selected, Accredited Black Colleges and Universities ...... 7 Geographical Location ...... 11 Teaching Faculty ...... 12 Constituency Served ...... 13 Need for the Study ...... 15 Purpose ...... 23 Research Questions ...... 24 Statement of the Problem ...... 25 Assumptions...... 26 Definitions...... 27 Limitations...... 28 Summary ...... 30
II. REVIEW OF RESEARCH AND RELATED LITERATURE .... 31
Evaluation Defined ...... 31 Academic Program Evaluation ...... 33 Models and Purposes for Academic Program Evaluation ...... 35 Using Evaluative Data in Planning ...... 37 Teacher Education Evaluation Practices ...... 42 Teacher Education in Private College and Universities...... 45 TABLE OF CONTENTS ( C o n t.)
CHAPTER
Comparative Review Studies...... 50 Individual Studies...... 52 Studies Concerning Music Teacher Education. . . . 58 Conclusion ...... 66
III. METHODOLOGY...... 69
Design of the Study ...... 69 The Population...... 71 The Program Director's Questionnaire...... 74 The Music Graduate's Questionnaire ...... 76 V a lid a tio n ...... 77 Pivot T esting...... 78 Procedure for Data Collection ...... 79 The Graduates ...... 81 Data Analysis ...... 86 Summary ...... 87
IV. PRESENTATION OF DATA...... 89
Introduction ...... 89 Findings—Part One Survey of the Music Teacher Education Program . 90 Section I ...... 90 Objective I ...... 90 The Institutions ...... 91 Type of Institutions ...... 93 Division of Academic Y ear...... 95 Total Music F aculty ...... 96 Total Teacher Education Faculty ...... 96 Accreditation Organization...... 97 Degrees Offered in Music and Music Teacher Education ...... 99 Section II...... 101 Teacher Education Program Housed ...... 102 Music Teacher Education - Housed ...... 102 Length of Music Teacher Education Program .... 104 Requirements for Admission to the Music Education Program ...... 104 Retention Requirements for Music Teacher Education Students ...... 108 Teacher Education Council ...... Ill Who or What Group is Responsible for Decision Making...... 112 TABLE OF CONTENTS ( C o n t .)
CHAPTER Page
Requirements for Student Teaching...... 1 25 Teaching Certificate — Level /Grade...... 129 Criteria for Admission into the Music Program. . 131 Majors Offered in Music Teacher ...... 133 Student Membership in Professional Organizations 137 Section III...... 137 Music Theory ...... 138 Si ghtsinging...... 142 Dictation ...... 146 Music History ...... 146 Advanced Music History ...... 147 Applied Music ...... 147 Credit Hours Available for Voice, Keyboard and Band ...... 150 Different Courses Available for Voice, Keyboard and Band/Orchestra Instruments ...... 151 Credit Hours Required of Majors to Graduate (Applied Music -- Voice, Keyboard and Band/ Orchestra Instruments) ...... 154 Credit Hours Required of Minors to Graduate (Applied Music -- Voice, Keyboard and Band Instruments) ...... 156 Credit Hours Available for Applied Music — Organ and Non-Band Instruments ...... 159 Number of Different Courses for Applied Music — Organ and Non-Band Instruments ...... 160 Credit Hours Required of Majors to Graduate (Applied Music—Organ and Non-Band Instruments) 162 Credit Hours Required of Minors to Graduate (Applied Music—Organ and Non-Band Instruments) 163 Conducting — Beginning and Advanced ...... 165 Music L iteratu re ...... 169 Ensemble - Large and S m all ...... 172 Composition, Counterpoint and Advanced Theory Courses ...... 175 Music Education Methods Courses ...... 179 Student Teaching ...... 185 Recital -- Senior Recital, Junior Recital, Recital Attendance ...... 187 General Music ...... 188 Seminar in Education ...... 192 Advising...... 193 Total Music Hours for Graduation ...... 193 Grand Total Hours for Graduation ...... 195 TABLE OF CONTENTS ( C o n t.)
CHAPTER Page
G rad u ates ...... 196 General Information...... 196 Findings -- Part Two Evaluation by the Music Teacher Education Graduates ...... 196 Objective I I ...... 197 Section I — Factual Information ...... 197 Graduates by Undergraduate Institution ..... 197 The Graduates' Graduate Institution ...... 199 Year of Undergraduate Degree ...... 200 Degrees Earned by Graduates ...... 201 Major Area of Study ...... 203 Teaching Certificate You Now Have ...... 205 Section II -- Employment Status ...... 209 Teaching Experience...... 209 States/Country Taught In ...... 211 Types of System and Number of Years ...... 213 Your Present Position ...... 214 Music Subject Taught ...... 218 Section III — Academic Preparation...... 219 Section IV -- Open-end Questions ...... 230 Objective I I I ...... 231 Greatest Strengths...... 231 Greatest Deficiencies ...... 232 How Realistically ...... 234 Suggested Improvements ...... 236 Important Areas to be Offered ...... 239
V. SUMMARY, CONCLUSIONS AND RECOMMENDATIONS .... 241
Summary ...... 241 Background of the Problem ...... 241 Statement of the P ro b le m ...... 242 Purpose ...... 243 P ro ced u res ...... 243 P o p u la tio n ...... 244 The Program Directors' Questionnaire ...... 245 The Music Graduates Questionnaire ...... 246 Data Analysis ...... 247 Findings of the Study ...... 248 Conclusions ...... 254 Recommendations for further use of data and for further research ...... 256 TABLE OF CONTENTS C o n t.)
CHAPTER Page
APPENDICES
A. Identification...... 259
B. Letters to P r e s id e n ts ...... 271
C. The Questionnaires .... ; ...... 278
D. Letters to the Music Teacher Education Program Directors ...... 297
E. Letters to Graduates ...... 304
F. Conversion Table of Academic Honors .... 310
SELECTED REFERENCES ...... 314
xiii L IS T OF TABLES
Page
States Requiring Testing for Certification . . 48
Graduates Eligibility for the Study ...... 84
Institutions and the Location ...... 93
Rank Order, Frequency and Percentage Distribution of Institutions and Denomination Status ...... 94
Frequency and Percentage Distribution -- Institutional Membership in Accreditation Organizations ...... 98
Frequency and Percentage of Degrees Offered in Music and Music Teacher Education ...... 100
Frequency and Percentage for Housing Music Teacher Education Programs ...... 103
Frequency and Percentage of Requirements for Admission to the Music Teacher Education Program ...... 105
Frequency and Percentage of Retention Require ments for Music Teacher Education Students. . 110
Frequency and Percentage Distribution -- Who or What Group Prepares and Reviews Objectives of Music Teacher Education Program ...... 114
Frequency and Percentages Distribution of Who or What Group Develops Policies and Criteria With Respect to Admissions ...... 116
Frequency and Percentages Distribution — Who or What Group Studies and Evaluates the C urriculum ...... 118 L IS T OF TABLES ( C o n t.) b le Page
13. Frequency and Percentage Distribution — Who or What Group Receives and Acts Upon Recommendations for Changes in Teacher Education Program ...... 120
14. Frequency and Percentages Distribution Who or What Group Reviews Policies Pertaining to Education andCertification ...... 122
15. Frequency and Percentages Distribution -- Who or What Group Maintains a Balance Between Professional and General Education Preparation ...... 124
16. Frequency and Percentage of Student Teaching Requirements ...... 128
17. Rank Order Frequency and Percentage of Teaching Certificates ...... 130
18. Distribution of Frequencies and Percentages Criteria for Admission into Music Program . . 132
19. Frequency and Percentage of Major Areas by L e v e l s ...... 135
20. Frequency Distribution of Major Areas Offered in Music Teacher Education ...... 136
21. Frequency and Percentage Distribution for the Area of Music Theory ...... 139
22. Frequency and Percentage Distribution: Number of Different Courses Offered in Music Theory. 140
23. Frequency and Percentage Distribution: Number of Required Credit Hours of Music Majors in Music Theory ...... 140
24. Frequency and Percentage Distribution: Number of Credit Hours Required in Music Theory of Minors to G ra d u a te ...... 141 LIST OF TABLES (Cont.)
25. Frequency and Percentage Distribution for the Area of Si gh ts in g in g ...... 143
26. Frequency and Percentage Distribution; Number of Different Courses in Sightsinging ...... 144
27. Frequency and Percentage Distribution: Number of Credit Hours Required in Sightsinging of Majors to Graduate ...... 144
28. Frequency and Percentage Distribution: Number of Credit Hours Required in Sightsinging of Minors to Graduate ...... 145
29. Frequency, Percentage and Credit Hours Available in Applied Music — Voice, Keyboard and Band/ Orchestra Instrument ...... 150
30. Frequency Percentage and Number of Different Courses Offered in Applied Music — Voice, Keyboard and Band/Orchestra Instruments . . .153
31. Frequency Percentage and Credit Hours Required of Majors in Applied Music -- Voice, Keyboard and Band/Orchestra Instruments ...... 154
32. Frequency Percentage and Credit Hours Required of Minors in Applied Music: Voice, Keyboard and Band/Orchestra Instruments ...... 157
33. Frequency Percentage and Credit Hours Available in Applied Music -- Organ and Non-Band Instruments ...... 159
34. Frequency Percentage and Number of Different Courses Offered in Applied Music — Organ and Non-Band Instruments ...... 161 LIS T OF TABLES
Tabi e Page
35. Frequency Percentage and Credit Hours Required of Majors in Applied Music -- Organ and Non-Band Instruments ...... 163
36. Frequency Percentage and Credit Hours Required of Minors in Applied Music: Organ and Non-Band Instruments ...... 164
37. Frequency and Percentage of Credit Hours Available in Beginning and Advanced Conducting ...... 166
38. Frequency and Percentage of Courses Offered in Beginning and Advanced Conducting ...... 168
39. Frequency and Percentage of Music Literature O fferings...... 169
40. Frequency, Percentage of Courses and Credit Hours in Large and Small Ensembles ...... 173
41. Frequency, Percentage of Courses and Credit Hours in Composition, Counterpoint and Advanced Theory Courses ...... 176
42. Frequency and Percentage of Courses and Credit Hours in Music Education Courses ...... 179
43. Frequency and Percentage of Courses and Credit Hours in the A rea ...... 185
44. Frequency, Percentage, Different Courses and Credit Hours in the Area of General Music . . 188
45. Frequency and Percentage of Total Music Hours . 194
46. Frequency and Percentage of Grand Total Hours for G raduation ...... 195 L IS T OF TABLES
Tabi e
Frequency and Percentage Distribution of Graduates by Institution ...... 198
Frequency Distribution of Graduates and Graduate Institutions ...... 199
Frequency and Percentage Distribution of Undergraduates Degrees of Graduates byYear . 201
Frequency and Percentage of Degrees Earned by Graduates ...... 202
Frequency, Percentage Distribution of Graduates Major Area of Study and Grade/Level ...... 204
Frequency and Percentage Distribution of Teaching Certificate...... 206
Frequency and Percentage Distribution of Grade/Level...... 207
Frequency and Percentage Distribution of States in Which Graduates Received Teaching C ertificate...... 208
Rank Order Frequency and Percentage Distribution of Total Months/Years Graduates Taught. . . . 209
Frequency and Percentage Distribution of Years Graduates Taught in PresentPosition ...... 210
Rank Order Frequency by States/Country in Which Graduates Taught ...... 211
Frequency and Percentage Distribution of Types of Systems and Number of Years ...... 213
Frequency and Percentage Distribution of Graduates' Present Position ...... 215 LIST OF TABLES (C ont.)
-Page
Frequency and Percentage Distribution of Approximate Population of Towns ...... 217
Frequency and Percentage Distribution of Approximate Enrollment of Schools/Colleges. . 217
Frequency and Percentage Distribution of Music Subject Taught ...... 218
Summary of Frequency and Percentage Ratings of Academic Preparation by Courses as Perceived by the Graduates ...... 220
Rank Order Frequency and Percentage of Greatest Strengths in College Preparation asPerceived by the Music Teacher Education Graduates. . . 232
Rank Order Frequency and Percentage of Greatest Deficiencies in College Preparation as Perceived by the Music Teacher Education Graduates ...... 233
Frequency and Percentage of How Realistically Music Courses Anticipated Real Working Situations and Problems Faced in Work .... 235
Rank Order Frequency and Percentage of Suggested Improvements for Their Music Teacher Education Program as Perceived by the G rad u ates ...... 237
Rank Order Frequency and Percentage Suggested Improvement Areas to be Offered as Perceived by the Graduates ...... 240 LIS T OF FIGURES
Figure Page
1. Interlocking Planning and Evaluation ...... 38
2. Skeleton of Program Evaluation ...... 39 CHAPTER 1
INTRODUCTION
We live in a multi-cultural/multi-racial ever-changing society. If schools are to be more than simply instru ments of majority culture and majority values, American educators must respect ethnic and racial cultures, values, traditions and languages. We need cultural pluralism, not cultural assimilation to achieve less destructive, more humanistic and a more democratic schooling. (Mohl, 1981).
We are in a time of ambiguity, a time of changing, a time of questioning. Today's world is a world of change and innovation, a world in which problems and conflicts abound. Tomorrow's world, while impossible to predict with accuracy, will also be one in which change continues to accelerate both in society and in the nation's schools and higher education. Therefore, teacher education insti tutions must develop individuals who can respond effec tively to the challenges of change and conflict. It must produce teachers, administrators and other educational personnel who can positively influence as well as adapt to change. 2
Schools must touch the future. Shane and Tabler
(1981), in Educating for a New Millenium, emphasized that we need schools that "create a curriculum that anticipates tommorrow". As teacher educators we must have a similar vision, we must prepare teachers not for today, but for tomorrow. We must prepare teachers for the year in which the June 1986 graduates of our programs can expect to retire if they teach until they attain the age of 62.
The most reliable way to anticipate the future is by understanding the present (Naisbitt, 1982). We should not delude ourselves by saying that the graduates who will teach our children do not make a difference for_ higher education. To a considerable extent, a higher institution will be governed by the quality of its teacher education graduates and the perceptions these graduates have of their alma mater. Graduates' perceptions of their college or university and teacher preparation program make a big difference in whether or not they will recommend to their students that they attend their alma maters.
The quality of education obtained throughout our nations's schools must be so high that decisions to attend other schools are based on factors other than quality of curriculum and instruction. Furthermore, quality school ing and quality teacher education are imperative so that all who attend will want to stay the course and upon 3 graduation will have choices for obtaining further education and selecting careers. Our graduates must be committed to the goals of equal educational opportunity.
Preparation for life in this complex, democratic American society is more than training for careers. Schooling must touch the intellect, hand, and spirit.
Educational institutions must at all times
strive to the utmost to fulfill the purposes and needs of society--and simultaneously interpret and re-i nterpret both society's needs and purposes and also its capacity for fulfilling them. (Foster, 1959, p. 3)
Schools are functioning as a part of a dynamic and accelerated society. Educational experiences must be evaluated in connection with the function that is being served by these experiences at the present time. Today's education must be appraised in terms of its potential use for tomorrow.
Music teacher education programs must keep pace with a changing world. Their curricula must meet the exacting requirement of continuous re-examination, re-evaluation and redirection. In no other way will institutions be able to maintain their positions as institutions of worth in a changing society. To attempt to establish a new curriculum blindly without thoughtful analysis of the old would be as unintelligent as retaining the old curricu lum. Moreover, to continue merely in the style of "the 4
good old days" would be a form of educational suicide.
Teacher education is a complex enterprise since it must
attempt to prepare undergraduates with widely disparate
abilities, goals and motivation to meet the increasingly
complex and rapidly changing demands for improved
education for the masses of the American society.
An Appraisal of Historically Black Colleges
The struggle for education among Black Americans in
the United States is a valiant story of determination,
sacrifice and survival. Through the years. Black efforts at change have met with both successes and failures.
Black parents and community leaders have been pace-set
ters, in the forefront, calling for educational improve ment. Throughout the 1950s, and 1970s these Black
Americans have agitated for better schools for their children.
Brown (1979), in defense of Black colleges, gave a
detailed analysis of the function of Black colleges:
Black colleges have assumed primary respon sibility for educating the disadvantaged and poorly educated members of the Black commun ity. Thus, these institutions provde...: (a) educational opportunity for low income and educationally deprived youth; (b) com fortable learning environments where class, race and previous educational experiences are not determinants of success ; (c) centers of culture and tradition unique to Blacks in America; (d) centers for the development of and advancement of Black political and eco nomic interest; and (e) training centers for Black leadership of the next generation. (p. 8) Tollett (1974) clearly delineates the roles of the
Historically Black Colleges (HBC's)
First, they provide creditable models for aspiring Black youth; secondly, they are educational settings which many Blacks find more congenial to attend than predominantly white institutions; and thirdly, they provide special-group-oriented transitional educational enclaves, in which these students can prepare for and make the necessary transition from under privileged isolation to mainstream, (p. 165)
As stated by the National Advisory Committee on Black
Higher Education and Black Colleges and Universities
(1979), and confirmed by the Equal Educational Opportunity
Commission Report: More Promise Than Progress (1978),
... until the early 1970's most Black students matriculated at the Historically Black Colleges. Until about 1974 almost every Black person with a college education attended an historically Black College, and as recently as 1974 about one-half of all Black students who earned bachelors' degrees earned them at Historically Black Colleges. (p. 78)
Since the founding of Black colleges their worth has been substantiated through quantitative measures such as the number of graduates and through qualitative assessment such as the accomplishments of their graduates.
Quantitatively and qualitatively most of today's Black teachers, musicians, physicians, social workers and other 6
Black professionals who have made dutiful contributions
and/or attained outstanding distinction are graduates of
Black colleges. Distinguished graduates, to name only a
few, include Martin Luther King, Jr., W. E. B. DuBois and
Ralph Bunche.
In the continuing quest for good schools on the part
of Black Americans, Jane Ellen McAllister, a pioneer for
excellence in Teacher Education, has been recognized widely for her significant contributions (See Appendix
A). She is and has been, an exemplar of excellence and
inspiration and a proto-typical role model (Wil1iams-Burns
1982, and Carney, 1982).
In the area of music, the selected, accredited Black
private colleges and universities have graduated many
persons who have made significant contributions to their
profession (See Appendix A, Table 1 and Table 2).
Distinguished graduates, to name only a few, include
William Grant Still, Leontyne Price and Mattiwilda Dobbs.
Black colleges throughout their existence have served as a primary employer of professionally educated Blacks.
The National Advisory Committee on Black Higher Education and Black Colleges and Universities (1979) cited that as
recently as 1972, the majority of Blacks teaching in
institutions of higher education taught in Black
Colleges. Also, with rare exceptions, restrictive hiring 7 practices have meant that Black professors were not employed as professors at predominantly white campuses until the 1940's although from 1940-1946, only about twenty-six Blacks received faculty appointments at northern white institutions. Moreover, few Black teachers found employment in elite public schools. Most of those who attained academic employment were employed in Black
Colleges (Fleming, Gill, Swinton, 1978 and Moore,
Wagstaff, 1974).
In response to the question of what Black higher education has done for the nation at large, foremost it has identified, trained and made productive significant human talent that might otherwise have been lost. No nation is so wealthy in human resources that it can afford to suppress any portion of talent available to it because of artificial restrictions deriving from race, religion, sex, language or culture.
The Uniqueness of the Selected Accredited Black Private
Colleges and Universities
These colleges and universities are unique as a group from several different perspectives. The uniqueness is characterized by the circumstances that led to their organization as predominantly Black private institutions; the financial support, the geographic locations, the
teaching faculty and the constituency they serve.
Unlike most teacher education institutions, the histor
ically black private teacher education programs did not originate from the conventional two-year normal schools.
Most of these black private colleges and universities were organized by missionaries and church organizations after the Civil War which ended in 1865 and before the Morrill
Act of 1890. Most of these Black private colleges and universities were organized at a time when about five million Blacks had been emancipated throughout the South.
Due to slavery 95 percent of them were illiterate, unequipped for the responsibility of freedom and had no educational alternative. (Ballard, 1973). Pifer (1973) stated that four northern church groups: Baptist,
Methodist, Presbyterians and Congregationalists were initially responsible for the establishment of private higher education institutions for Negroes in the South.
According to a survey by the investigator of current
College Catalogs (See Appendix A, Table 3) most of these colleges and universities also confirm its organization by missionaries and church organizations. Later, in addition to the four northern church groups, the African Methodist
Episcopal Church was joined by the black denominations.
This survey also confirms that approximately thirty-one of 9
these institutions began shortly after the end of the
Civil War, in 1865, yet before the Morrill Act of 1890
(Leavell, 1930; Bullock, 1967). Nearly all of these
institutions were established as preparatory schools,
normal industrial institutes, that later evolved into
four-year colleges and universities (Leavell, 1930).
The first American Colleges were founded by religious
denominations; and their main aim was as Kelly (1940) put
it was to "Propagate the species" (p. 29). Harvard, Yale,
William and Mary and many other colleges were established for the training of men for clergy. However, the church- related colleges for Negroes were foreshadowed by early efforts to give Negroes a higher education. Historically, all of the present-day Black private colleges with few exceptions, were established by some religious denomina tion. The primary motivation of these agencies, in the beginning, was the missionary urge to help provide educa tional opportunities for the large mass of illiterate, newly-emancipated slaves. Later, more advanced schools and eventually colleges and theological seminaries were established to train teachers and preachers.
According to Dubois' (1902), pioneer study of the
Negro colleges, the first group of colleges established after the Civil War was the "Freedman's Bureau Schools."
Dubois listed under the Freedmen's Bureau these schools: 10
Atlanta University, Fisk University, Johnson C. Smith,
Talladega College and Hampton Institute. The Methodist colleges for Negroes was noted for founding Clark
University; the Disciples of Christ chartered Jarvis
Christian Institute; the Roman Catholic founded Xavier
University. Moreover, the American Methodist Episcopal
Church, founded by whites, started WilPerforce University,
Livingston College and Bishop College. Thus, Wi1 Perforce,
Livingston, Lane, Shaw, Benedict, Morris Brown and many others were created and supported Py Negro denominations.
They became the proud counterparts of colleges under white denominations. From the efforts of northern whites came institutions such as Fisk, Morehouse, Spelman, Xavier,
Johnson C. Smith, Atlanta University and many others for the newly emancipated slaves.
Church-related colleges for Blacks have played a significant role over the years since their founding.
They basically outdate all public colleges organized exclusively or primarily for Blacks (Patterson, 1960).
The private. Black church-related colleges have played a significant role in Negro life in answering the needs for training leaders at a time when no other opportunity for higher education was available to them.
Historically, Black private colleges have depended upon endowment earnings to bridge the gap between tuition n income and actual operating costs. However, because most
Black colleges generally have very meager endowment, if any, they have had to supplement their income in other ways. Unlike other institutions which might raise their tuition, most Black, private colleges have had a policy of maintaining relatively low tuition rates in order to remain within the ability of their students to pay. Due to this inherent financial weaknesses, and since alumni have not contributed monies on a regular basis in substantial amounts, the colleges have relied on the philanthropy largely of educational funding agencies, corporations, foundations, founding families, churches, and the general public to provide some measure of relief.
Geographical Location
Practically all of these selected colleges are located in states south of the Mason-Dixon Line (See Appendix A,
Figure 1). These selected col leges/uni vesities are located in twelve different states. Five institutions are in Alabama; one is in Arkansas; three are in Florida; seven are in Georgia; two in Lousi ana ; two in Mississippi; six in North Carolina, one in Ohio; four in South Carolina; four in Tennessee ; six in Texas ; and two are in Virginia
(See Appendix A, Table 4). Teaching Faculty
The private, predominantly Black Colleges and Univer
sities are essentially teaching institutions as opposed to
research institutions. Thompson (1981) said that
. . . teaching is indeed more central and emphasized in Black Colleges than in other American colleges, primarily because such a large proportion of their students require excellent classroom teaching, plus personal counseling and extensive informal instruction and guidance if they are to overcome centu- ries of accumulated academic neglect to which Blacks have been victims. (p. 2)
In addition to the fact that teaching in Black colleges is
a many-faceted, time consuming role, it is also important
to note that the teaching loads of the faculty are, by comparison, usually very heavy(Carnegie Study, 1969).
These Black institutions of higher education traditionally have commited a major part of their resources to teaching and to service. According to Wright (1979)
Most black educators in higher education are located at black colleges and universities where work conditions include heavy teaching loads, little or no released time for reseach, and little emphasis on research as a criterion for promotion in salary or rank. Funding is inadequate for research by blacks on questions relating to the educational needs of blacks, (p. 18) Constituency Served
According to the UNCF Annual Statistical Report (1981)
the student enrollment of these colleges/universities
range from about 200 to 4,000 students. These students
usually come from homes with few books, and tend to have
parents with little academic training. The vast majority of the UNCF students have been well served by the educational services and expenses provided by the UNCF institutions (UNCF, 1981).
During the last decade the proportion of Black students enrolled inthe selected colleges from the southeast has steadily and continually declined.
In the fall of 1981, 65% of all UNCF students were from the Southeast, compared with 67.4% the previous year. The enroll ment of students from both the Central and Western regions declined somewhat, from 8.5% to 8.3% and from 7.2% to 7.0% respectively. (UNCF Annual Statistical Report, 1981, p. 4)
Moreover, as the years go by, the students are not necessarily residents of the states where they chose to go to college. According to the United Negro College Fund's
Annual Statistical Report (1981), approximately sixty percent of these students were in-state residents in 1980, whereas in 1981, fifty-seven percent were in-state resi dents. About thirty-six percent were from out-of-state. 14
and almost eight percent were foreign students. Also, in
1981, UNCF Colleges and universities' total enrollment was
approximately 50,000 students.
The student enrollment at these institutions of higher
education has also become increasingly international.
In the fall of 1981, the proportion of foreign students was 7.5%, an increase of 1.8% from the year before. Students from over 55 countries attended UNCF Colleges. Over 46% of the foreign students at UNCF Colleges are from African nations. Another 23% are from Caribbean Countries and about 16% are from the Middle East. (UNCF Statistical Report, 1981, p. 4)
These selected Black private institutions primarily
serve a constituency of socio-economically disadvantaged
students. The median family income of students enrolled
in these institutions, according to the UNCF Statistical
Report (1981) is less than $12,000 dollars.
Research endorsed by the National Merit Scholarship
(Holland, 1957) suggested that the quality of students is more important than the quality of institutions in devel oping "superior" graduates. Conversely, these institutions challenge Holland's concept and accept the difficult task
of training students who, for the most part, have been academically and culturally disadvantaged in comparison to majority students at white colleges. However, perhaps one of the easiest and surest way for a college to graduate
good students is to enroll good students. Since the 15 achievement of this goal is not an immediate prospect, the
Black institutions, not only must continue and expand remedial work, but also stress excellence in performance.
Unless colleges and universities promote excellence, there is no need for their perpetuation.
In spite of the limitations facing these higher institutions, they have special significance because of their traditional and continuing role in educating minority students to be responsible, productive and creative participants in the American society.
Need For The Study
Because teaching effectiveness depends immensely on the quality of teacher education programs, there is an urgent and vital need for the development of ways to measure the preparedness of teachers in the "real" world of teaching. Thus, data on the preparedness of practicing teachers is a critical element for developing a sound basis for appraising and adapting programs of teacher education.
Nowhere is this need more critical than in our Black colleges and universities. Black colleges and universi ties, in a racially conscious society, have served their 16 constituency by providing education in the mainstream of
insti tutions.
Burnley (1981) cited in the United Negro College
Fund's 1981 Annual Statistical Report that:
Public and private historically black colleges (HBC's) compose fewer than 4% of all institutions of higher education in the United States, yet they enroll 20.1 % of all blacks attending college. Of over 3,000 colleges and universities nationwide, 99 are considered historically black. Of these, 41 are public and 58 are private: 84 are four-year institutions. Of the 84 four-year HBC's, 50 are private and 34 are public. Forty-two of the fifty, four-year private HBC's, are members institutions of the UNCF. (p.4)
Throughout their history, most black institutions of higher education have struggled against debilitating circumstances antagonistic communities and legislatures, poverty, poorly prepared students, competition from white colleges, and program duplication with white institutions.
Perhaps the most singular accomplishment of the histori cally black colleges is that, according to Durham (1980),
"... 80% of blacks who hold baccalaureate degrees have received them from these institutions." (p.2). In addition, more than 90% of black Ph.D. holders were granted baccalaureate degrees by historically black schools. In politics, law, education, medicine, and the arts, the graduates of American black higher education 17 institutions have contributed to the well-being of our nation. Former President Jimmy Carter (1978) said that:
The historically black colleges of this nation have played and continue to play a unique and important role in providing educational opportunities to many thousands of students. They have done so in the past when there were no avenues open to the overwhelming majority of black students. They do so now by continuing to provide special opportunities for students of all races. The continuing importance of historically black colleges and universities not only to students but also to this nation's social economic and educational life cannot be overestimated, (p.2)
In sum, historically black colleges have fulfilled their purposes well, in general, despite difficult obstacles.
They are committed to the concept of helping to make
America a stronger member of the world community.
The selected, accredited Black private colleges and universities are a part of the 99 historically Black colleges and universities. However these selected, accredited Black private colleges and universities are set apartfrom other historically black institutions for the following reasons:
they have small enrollment with high tuition and minimum government financial support;
they are non-tax supported;
they are private, liberal arts, religious affiliated institutions; and they are essentially teaching institutions as opposed to research institutions.
In regard to the role of black colleges and
universities, the presidents of two United Negro College
Fund member institutions have commented on indicators of
talent. Dr. Benjamin Payton, President of Tuskegee
Institute, stated:
We can't act as if we are Harvard or Dartmouth. We can only rely on test scores as the primary indicators of talent, or as indicators of who is likely to contribute to society. The Tuskegee mission is different - to educate those who need it most. We must address them where they are and turn them out as highly qualified, competitive individuals. (Middleton, 1981, p. 7)
Dr. Steven Wright, a former president of Fisk University and former Vice President of the College Entrance
Examination Board, stated this position:
The survival of black public school teachers just had to be a part of the very reason for being of departments and schools of education in our black colleges and universities. . . . The far greater challenge, it seems to me, is to prepare teachers who can lif t the horizons of inner city black children, who can teach them to see the relationshipbetween success in school and large life opportunity, and who can motivate them to realize their potential and take pride in achieving their potential. (Norfolk State University, 1980, p.70)
As noted. Black Higher Education Institutions are experienced with and are committed to working with the needs and situations of their individual students at a 19 time when many, if not most, other institutions use stan dardized test scores as a priority element in screening and evaluating students.
Today, all too often, we encounter talented committed black students who are unable to acquire admission to teacher education programs because of inadequate entrance examination scores. Mercer (1981)cited that "Reliance on
SAT scores as a teacher education admission requirement hurts black teacher production" (p.26). Samuda (1975) commenting on the performance of minority students on the SAT stated:
The significant point to remember, when considering the performance of minority students, is that the average minority score on tests of aptitude and achievement has been demonstrated to fall one standard deviation below the mean of the white students as a whole, (p.122)
Smith (1984) in describing the critical issue of excellence and equity in competency testing cited that:
The use of competency tests to certify teachers has forced both educators and the public to challenge the most cherished premise underlying the philosophy of education in a democractic society: That persons regardless of social economic status, race or creed are guaranteed both excellence and equity in the pursuit of education, (p.6)
Competency testing forces equity and excellence to be dichotomies and demands an elitist shift from equity to excellence in the nation's thinking. One wonders, can a 20 democractic society have excellence in education without equi ty?
Trammer (1980) has described teaching as "the profession Blacks may lose" in noting detrimental effects of competency testing on the professional tool of black teachers (p.69). Scott (1979), Mohr (1980), Wright (1980) and Witty (1983) have identified state-mandated competency testing as a threat to the very survival of black teachers in America.
Consequently, strict application of test scores will result in systematic exclusion of a large number of minorities from opportunities for professional teacher training. It follows, therefore, that unless other valid criteria are used, there will be a declining number of future black teachers. In some states, such as Alabama and Florida, state legislatures would have to amend present laws regardingteacher education admission requirements and grant institutions more freedom to employ alternatives to the current teacher education requirements. Pugach andRaths (1983)stated that teacher education programs should continue their efforts to recruit minority students and provide for remediation of deficits for those students who they believe are well suited to teacher preparation. 21
Despite barriers, continuous efforts must be made to
ensure that the teaching profession reflects the racial
and cultural diversity which has made America great.
Black colleges and universities, therefore, must continue
to train minority teachers. Furthermore, these schools
along with all others, must work to consistently upgrade
and adjust their curricula.
A major concern of teacher education programs is to ensure that graduates will become capable and effective teachers. Therefore, a critical issue in an evaluation system is to determine what factors contribute to the later relative success of failure of teachers.
Course work and course sequence are certainly primary factors, but it is uncertain what effect general music and professional courses have on the actual performance of music teachers, and whether these effects lead to the outcomes which the courses were designed to produce. It is also uncertain whether the selection of courses is based on reliable evidence as to what is necessary to be a successful music teacher or is based mainly on professional tradition of what students should have.
Apparently, except for the course, student teaching, little is known about how each course in the music education curriculum contributes to success in teaching.
Furthermore, Housewright (1970) stated that; Increasing numbers of first-year music teachers are finding that there is an enormous disparity between the preparation for teaching and the practice of it. Many experienced music teachers recall the disillusionment they suffered during the early years of their teaching when they discovered that their real problems had never been analyzed in methods classes. Many teacher education programs in music have been overtaken by obsolescence, (p.l.)
Although official bodies such as the Music Educators
National Conference, The National Association of Schools of Music, and the National Council for the Accreditation of Teacher Education have studied music teacher training programs and have made a varying range of recommendations, gaps still exist in the scholarly research in this area.
Therefore, this study seeks to identify competencies needed in teaching music as perceived and analyzed by selected graduates and to determine how these individuals believe development of important competencies is achieved.
The writer believes that the information resulting from this study will be especially beneficial to:
1. the teacher education divisions of the selected, accredited Black private colleges and universities as an aid to understanding the effects of their curricula;
2. the selected, accredited Black private colleges and universities who administer and distribute financial aid to member institutions; college of education administrators, deans of music education school s/departments, and music teacher educators who plan and teach music education courses and curricula, and who advise music education students;
appropriate state authorities, professional music education associations, and others who recommend and/or plan continuing education for music teachers and who suggest or set standards for music teacher education;
other researchers by providing useable implications to serve as a background for further investigation and research in the area of music education.
Purpose
The purpose of this study was to survey and evaluate the music teacher education program of selected, accredit ed Black private colleges and universities in the United
States. As a basis to achieve this purpose, this study sought to elicit information from both the selected, accredited Black private colleges and universities and from music teacher education graduates of these selected institutions. The information obtained was organized and analyzed in regard to three specific objectives :
to survey specific elements of the music teacher education programs of the selected, accredited Black private colleges and universities. to delineate the strengths and weakness es of music teacher programs and music programs as perceived by graduates.
to accumulate data for developing recommendations to be used in program evaluation as an aid to curriculum revision.
Questions
As a basis for data collection and identifying pertinent information, the writer sought to answer these questions:
1. What are the general and specific characteristics of the music teacher education programs of the selected, accredited Black private colleges and uni versi ties?
2. What are some general characteristics of the employment status of graduates of these selected, accredited Black private colleges and universities music teacher education programs?
3. What competencies do the selected, accredited Black private colleges and universities graduates think are needed for their present position?
4. What music teacher education degrees and major concentrations are offered, and by which selected, accredited Black private college(s) and/or universities offering music teacher education program?
5. What are the major areas of the music teacher education curriculum and required hours for graduation at each selected institution offering music teacher education program? 6. To what degree do the graduates of selected, accredited Black private colleges and universities think that their graduating institution prepared them to teach effectively?
7. To what extent do the graduates believe that they had received help from their advi sors?
Statement of the Problem
It was the intent of this study to focus on teacher education curricula in one area - music teacher preparation - and to specifically relate the study to the music teacher education programs of selected, accredited
Black private colleges and universities in the United
States. In our multi-cultural/multi-racial society. Black private colleges and universities have earned a reputation for credibility and have been, and will continue to be, an important factor in the development of qualified Black educators. To this point however, there is a lack of empirical research about the effectiveness of the music teacher education programs of selected, accredited Black private colleges and universities. Assumptions
The following assumptions were made for this study:
1. that success in teaching is partly a result of instruction in certain speci fic courses
2. that success in college is related to teaching success because most states require a minimum of a bachelor's degree for certification in teaching
3. that graduates' opinions of the adequacy of their undergraduate preparation is a necessary and important factor in evaluating music teacher education curricula
4. that graduates shared thoughtfully their attitudes concerning strengths and weaknesses of their undergraduate preparation
5. that all graduates names were submitted by the participating institutions and that they respond to the questionnaire honestly and openly regarding their judgments on their teacher preparation programs
6. that graduates of music teacher education programs of the selected, accredited Black private colleges and universities made expert opinions because they are the resulting product of the program and certified by a state to teach. Definitions
The following terras have been defined for clarity
purposes :
Music Teacher Education : refers to a raajor in rausic
education which certifies the recipient to teach rausic in
schools of a state.
NASM; The National Association of Schools of Music
is the professional rausic accrediting body.
NCATE; The National Council for the Accreditation
Teacher Education is the accrediting organization for the
approval of teacher education programs.
Music-Teaching Competencies: Music-teaching compe tencies as used in this study refer to abilities, profi ciencies, skills and fields of knowledge and understanding utilized by rausic teachers in fulfilling their responsi bilities and assignments.
A Graduate: The terra "a graduate" as employed in this study refers to an individual who has successfully completed an undergraduate course of study in music teacher education at one of the selected, accredited Black private colleges or universities, has been certified by a
State Department of Education, and who has completed at least one year of teaching. 28
MENC; Music Educators National Conference is the
professional organization for music educators.
Major Applied; A major applied refers to a principal instrument of study in one area of music learning in which a student is required or elects to take a specified number of courses and credit hours in partially fulfilling the requirements for the degree.
Private College: A private college in this study refers to a four-year higher education institution of religious affiliation receiving little or no financial aid from the government.
Minor Applied; Minor applied refers to a secondary instrument of study in one area of music learning in which astudent is required or elects to take a specified number of courses and credit hours, fewer than required for a major applied area - implying less intensive concentration than in the major applied.
Accredited; Accredited, as used in this study, refers to those institutions who hold full membership with the Southern Association of Colleges and Schools.
Li mi tati ons
For the purpose of this study the following limitations were recognized: This study was limited to a survey and evaluation of four-year undergraduate degree offering music teacher education programs in selected, accredited Black private colleges and universities.
This study included only the 1979, 1980, 1981 , 1982 and 1983 selected Black private colleges and universities music teacher education graduates. No inference for other years or other populations was drawn.
This study relied on the individual survey recipients' sense of recall in order to establish a basis for this study.
This study made no attempt to control the effect of social and political factors and the effects of sex, age, and ability of the respondents.
In addition, neither all historically black institu tions nor any selected, accredited Black private colleges or universities music programs with only a concentration in music was included. As with all studies using questionnaires, this study was limited to the impact of its population and by the time, thought and candor of the respondents. Summary
Music teacher education programs must anticipate and respond effectively to the needs of our everchanging world. Within this context, historically Black colleges and universities perform an important function by preparing music teachers of backgrounds, cultures, and geographic locations that are not well served by most other higher education institutions.
Because of this important function, these Black colleges and universities require appropriate information on the relevance and effectiveness of their music teacher education programs. Therefore, the purpose of this study was to survey and evaluate, to the extent the data allowed, the music teacher education programs of selected, accredited Black private colleges and universities.
To provide the primary data for this study, two populations were surveyed: the music education program directors of the selectedinstitutions, and recent graduates of the music teacher education programs of the selected institutions. The surveys of the two populations were based on eight research questions developed by the researcher in relation to the purpose and objectives of this study. CHAPTER 2
REVIEW OF RELATED LITERATURE
The intent of this study is to provide an evaluation of the preparation of undergraduate music teacher educa tion majors in selected, accredited Black private colleges and universities. This chapter contains a review of the literature relating to this topic. The literature reviewed is presented in the following sections: (1)
Evaluation Defined, (2) Academic Program Evaluation, (3)
Models and Purposes for Academic Program Evaluation, (4)
Teacher Education Evaluation Practices (5) An Appraisal of Historically Black Colleges, and (6) Related Studies
Concerning Music Teacher Education.
Evaluation Defined
Evaluation has been defined in many ways by many people. Tyler (1950) perceived evaluation as "The process of determining to what extent the educational objectives are actually being realized" (p. 153). Leading evaluators such as Cronback (1963), Stufflebeam et. al., (1971),
Tenbrink (1974), and Alkin (1969) have defined evaluation
31 32 as providing information and using it to form judgments which in turn are to be used in decision making. Others have defined it as the assessment of merit or worth
(Eisner, 1979; House, 1980; Scriven, 1980; Seriven, 1967;
Stuff-1 ebeam, 1974), or as an activity comprised of both description and judgment (Guba and Lincoln, 1981; Stake,
1967).
Evaluation of teacher education programs has been a topic of intense discussion both within and outside the educational setting during the last decade. Several journals have devoted much space to the theoretical aspects of evaluation in teacher education, such as formative and summative evaluation (Scriven, 1967) and goal-free evaluation (Popham, 1972; Wortman, 1975;
Stufflebeam, 1978). The primary emphasis has been on method.
In short, according to the literature surveyed in this review, evaluation can serve four different functions:
(1) formative, for improvement (Guba, 1981); (2) summative, for selection and accountability (Scriven,
1967; and Stufflebeam, 1972); (3) sociopolitical, to motivate and gain public support (Cronbach e t.a l., 1980;
House, 1974; Patton, 1978; Weiss, 1972; Suchman, 1972;
Mathis, 1980); and (4) administrative, to exercise authority (Dornbusch and Scott, 1975). 33
Evaluation concern in recent years has focused on the development of ways to obtain more effective use of eval uation data in program decision making. The emphasis is on "use" (Patton, 1978; Mathis, 1980) directly employed in objective, observable ways in program modification, and operation (Cohen, 1977; Patton, 1978 and Mathis, 1980).
Darnall (1963) emphasized that "human opinion will usually determine to what extent scientific, accurate and factual data will be used" (p.87). Clark and McDonald
(1973) stated:
The plain fact of the matter is that curriculum development and evaluation is a continuous process of making human value judgments about what to include and exclude, what to aim for and how to go about it — difficult judgments even when aided by technical and scientific data and process. (p. 408)
The utilization of "opinion" in research has been widely used and is supported by many authorities. Perhaps other types of research fail to obtain critical data ; for example, judgments about a curriculum provided by those who have experienced it -- the graduates.
Academic Program Evaluation
Clark (1983) emphasized that program evaluation is only one part of institutional assessment for strategic planning; nevertheless, it is a key element in the 34 evaluation of Institutional strengths and weaknesses.
Evaluation of teacher education involves the appraisal of the entirety of any system. Gubser (1981) suggested that attention should be given to the evaluation of such factors as admission program and retention, coursework, clinical facilities, field experience and resources, faculty competence and experience, in addition to the assessment of qualities of graduates. Moreover, failure to assess the function or quality of any of these compo nents is likely to limit both the success of one's evaluation efforts and restrict the probability of academic success.
Baer (1973), after examining a representative sample of evaluation studies of teacher education programs, con cluded that feedback from graduates isbeing used with increased frequency as a major source of information and that nearly all studies recommend that program evaluation utilize information gathered from graduates. Devoss and
Hawk (1983) stated that feedback from graduates is most often used during institutional accreditation. Follow-up evaluations are common in many areas—such as law, medi cine, pharmacy, dentistry, engineering and education.
One measure of an undergraduate teacher education program is the perception of its graduates. Burton's
(1977) findings indicated that recommendations of teacher 35
education graduates are the best source of information for
program alterations and for improving teacher programs.
One valid test of an instrumental program lies in its
effectiveness in the actual life situation for which the
instruction is designed. If the instruction provided by
the schools is ineffective in life situations confronting
graduates, the teacher education program may not be
realistic; and it should be redesigned.
Models and Purposes for Academic Program Evaluation
There is considerable diversity in the design and application of academic program reviews. Borich (1980),
Pegues (1981) and Word and Adams (1981) have stated that the most frequently employed method has been the follow-up questionnaire mailed to recent graduates to elicit their opinions about the training they received and the extent to which this training prepared them to meet the immediate demands of their teaching environment. Evidence confirm ing the value of alumni surveys is provided by Wise,
Hengstler and Braskamp (1981).
After nine years of evaluation research, Hord et al.
(1982) formulated the following ten essentials for efficient evaluation: 1. Evaluation of teacher education pro grams should be viewed as part of the teacher education program and not as a separate, external function assigned to another unit.
2. Evaluation should be systematic rather than random, purposeful rather than casual.
3. Evaluation should be a continuous process rather than one-shot affairs.
4. Data gathering points should be planned to provide information at critical periods during pre-service and in-service teacher development (Entry, Matriculation, Exit, Induction and Follow-up).
5. Data of a longitudinal nature is preferred to cross sectional data.
6. Analyses and reporting of data should be planned in advance and modified with use.
7. Feedback and interpretation of data should be planned in advance and modified with use.
8. Decisions regarding program change should be based on the evaluation data.
9. Implementation of the decision should be monitored and viewed as part of the program evaluation process.
10. The evaluation operational system should be reviewed periodically as to the relevance and usability of the data in decision-making and in relation to stated goals and objectives, (pp.18, 19)
Hord and Adams' (1981) survey of theory and practice in teacher education program evaluation found that from 37
the administrative perspective, the following values were
observed:
the perceptions of the value of teacher education evaluation was primarily from an administrative viewpoint
institutions who responded that they have evaluation programs, valued evaluation practice more highly than institutions who reported no evaluation programs
size of program was not related to the degree administrators valued evaluation practice
faculty and students in smaller institutions were perceived to value evaluation practice higher than their counterparts in larger instititions. (pp. 18,19)
Using Evaluative Data in Planning
Assessment is the activity that links the evaluation and planning processes (Figure 1). Continuity of the planning cycle depends on feedback of information developed through program goals, measures of program processes and outcomes and comparison with previous conditions, or with some other standard. The circular relationship of the evaluation and planning process emphasizes the continuous nature of both activities. Implement
Compare Specify
Figure 1. Interlocking Planning and Evaluation Cycles (Chickering, et. al., 1981, p. 751)
Davis and Doughery (1979), Mortimer and Tierney
(1979), and Shirley and Volkwein (1978) presented examples of ways in which information from program reviews could be used to set program priorities or reallocate resources among departments. Hall, (1982) proposed a comprehensive model for program evaluation that starts its data collec tion when students are accepted into a professional educa tion program, continues throughout the duration of teacher education program participation, and includes process as 39 well as product measures. The evaluation model should terminate with a three-year follow-up effort in which graduates are selected randomly for mail survey or class room observation. Thus, the model implies a seven-year continuum for each student who enters as a freshman. This model is comprised of four parts: (See Figure 2 below) admission, process, product, and follow-up. The single question for each part to be answered is "What is important to know?"
I------f I------1 I------[ I------f (Admission I Process I I Product I iFollow-upl I n M I Figure 2. Skelton of Program Evaluation
(Hall, 1982, p. 71)
The last part of this comprehensive model for teacher evaluation consists of follow-up studies for three years after graduation. The data acquired from the follow-up studies are related to the evaluation data collected during the undergraduate program. Follow-up studies given at the end of the first year of teaching enable graduates to give a view of the immediate outcomes of the teacher education program and their perceptions about their training. Follow-up studies also identify topics for 40 program development and specific weaknesses which can be addressed during in-service education programs.
Smith's (1982) support for evaluation is indicated in his ten possible purposes of an evaluation:
summative assessment
problem solving
implementation planning
responsive redirection
managerial control
program accreditation
program continuation
demand compliance
accountability
research contribution (p. 84)
Stufflebeam (1982) stated that needs assessment is a crucial part of a sound program of evaluation. Evaluation of teacher education needs to be oriented to the needs of the teacher trainees and of the schools and society which they will serve.
People who are associated with any program are potentially the best source of intelligence about the program. Thus, Stake (1977) has argued, we should system atically seek out, analyze, and report their judgments and recommendati ons. 41
According to Kilgore's (1981) survey of teacher
education, personnel from relatively small, private
colleges the level of involvement of small colleges in
follow-up evaluation studies of their graduates had been
minimal, although all programs had semi formal and informal
networks working for them. For the small colleges
surveyed, data-gatheri ng processes varied from informal
and random visits to the graduates who were teaching, to
observations of graduates in their classrooms, to
questionnaires for first year teachers and interviews with
graduates who have returned to campus for graduate
classes. Also, the data collected did not appear to be
used systematically for program type decision making,
rather the persons collecting the data may have made some
changes in the part of the programs over which they had
direct control, (e.g. based on informal talks with
graduates, one professor modified a methods course).
Kilgore concluded that data collected were helpful, but
the evaluation design was very loose, unsystematic, and
underfinanced.
No one evaluation plan is appropriate for all purposes or places. In fact, it is rarely possible to transport a
program review system from one institution to another
(Clark, 1983). If evaluation is to fulfill its potential contribution to assuring the quality of teacher education. 42
it needs to be conceived and implemented as an ongoing
program.
Patton, (1978), Cronbach and Associates, (1980),
Gardner, (1982), Rath, (1982), and Erly (1982) gave the
purpose for evaluation as the need to provide information
for accountability. However, Borich (1982) argued that
evaluation of teacher education should be drawn from and
contribute to research in teaching. Beyond satisfying
external requirements, evaluations that are designed to
serve accountability (as well as improvement) have the advantage of helping to develop credibility for teacher education programs. Sandefur (1970), Gardner (1982), Rath
(1982), stated that a purpose of evaluation should be to assess the competence and on-the-job performance of
graduates of a program.
Because our nation's schools need and will increasingly need more effective teachers, more effective preparation programs are also needed. Program evaluation efforts may be to provide the impetus for the development of those effective- preparation programs.
Teacher Education Evaluation Practices
Cooper and Weber (1973) stated
. . . if a teacher education program is to be most effective in achieving its objectives, it must be continously revised on the basis of constructive data supplied by sound evaluation procedures. Those responsible for making decisions must have access to data that permit them to determine which elements of the program warrant maintenance and which warrant change. Without such information, the program cannot improve, and, in fact, deteriorates. (p. 11)
Reiff (1980) cited that one of the major weaknesses of a teacher education program is the lack of or the inade quacy of program evaluation. Gubser (1981) stated that one common weakness in teacher education evaluation is the frequent confinement of assessment efforts to evaluation of graduates.
The National Council for the Association of Teacher
Education Standards for Accreditation (1970) explicitly stated that institutions producing teachers must have a systematic evaluation of their teacher education programs to include data gathering while students are in the pre service program and after they have entered the teaching profession. Evidence must also be provided of utilization of data for program changes.
Smith, Katz, Rath, Mohanty and Kurachi (1979) and
Irving (1981) both found few published reports describing institutions' program evaluation efforts and consequent application of evaluation data. Pegues' (1981) survey of teacher education follow-up evaluation practice concluded that "there is only moderate (one-half of the respondents) 44 cotntemporary involvement in systematic follow-up evaluative practice by teacher education programs" (p. 189).
Furthermore, Katz, Raths, Mohanty, Kurachi and Irving
(1981) concluded that it was apparent that few institutions of any kind systematically followed up their graduates unless they were required to do so by an external agent.
Finally, Wheeler (1980) stated that in spite of the pressure applied by NCATE on teacher education programs, violation of the standard for follow-up studies was cited as a weakness in 58% of the programs reviewed during 1979.
Adams and Craig (1983) however, conducted a survey of
779 AACTE Member institutions and found that based on reviews of professional educational literature, more teacher education institutions are conducting evaluations of their programs than was expected. This finding was consistent with Smith's (1979) interpretation and data reported by Pegues (1981).
Purpose, scope, and utilization should be the basis for a sound evaluation program. An evaluation system established simply to have one in place for an NCATE visit should not be an important motivator. The NCATE standards are well intended, but the professional teacher education community must give these standards meaning and value, especially in evaluation of our own progress. 45
Teacher Education In Private Colleges and Universities
King, Wimpelberg and Nystrom (1984) stated that our
knowledge of the history of teacher education in private
colleges and universities is limited. A review of the
literature suggests that our knowledge of its current
status is equally limited. Ciampa (1980) and McArdie and
Balch (1982) stated that nowhere is there a clear descrip
tion of the characteristics of teacher education units in
private settings. Consequently, King, Wimpelberg, and
Nystrom are currently presenting a series of articles in the Journal of Teacher Education discussing teacher educa tion in private colleges and universities. Nevertheless, the role and status of the private college and university
in teacher education has not been extensively studied.
Hord (1982) has said that the States evidently believe that educators have failed to exercise proper controls on entry in the teacher education programs, and assumed that educators have failed to establish qualitative standards for exit. Consequently, the State level has assumed the responsibility of evaluation for certification purposes because they believe that educators have failed to assure the public of the quality of their product. Vlaanderen
(1983) listed twenty states that either require or will require by a definite date in the future, applicants for 46
teacher certification to be tested for competency either
in the basic skills, subject matter knowledge, pedagogical
knowledge or some combination of these.
Table 1 lists the twelve states which house the
Selected, Accredited Black Private Colleges and
Universities thus requiring testing for certification.
Today, of these twelve states, eleven states require or will require by a definite date in the future teacher
education applicants to either take a state-developed test
or the National Teachers' Examination. Of the eleven
states, five states require applicants to take a state developed test, five other states require the National
Teachers' Examination, and one state. South Carolina,
requires either a State test or the National Teachers'
Examination. Consequently, of all twelve states only one state, Ohio, does not, at this time, require competency testing for teacher certification. Kearns (1984) and
Sandeful (1983) reported that the Southern states appear to be the most active in promoting both written and performance-based certification tests for beginning teachers.
Smith (1984) has predicted that if minority scores do not show improvement and if the ruling that applicants must pass all three examinations (reading, writing and math) is not amended, 96% of the black applicants and 84% 47 of the Hispanic applicants might be denied permission to teacher education. Andrews (1983) cited that in 1980 minority teachers constituted approximately 12.5% of the national teaching force. Black teachers represented 8.6% of all teachers K-12; Hispanics 1.8%; and American Asians and American Indians, less than 1%. However, Smith further predicts that
if the currently observable impact of competency testing continues unabated along with normal rates of attrition through retirements and teacher burn- out, minority representation in the national teaching force could be reduced to less than 5% by 1990. (p. 8) TABLE 1
STATES REQUIRING TESTING FOR CERTIFICATION
year YEAR "TEST STATE AUTHORITY ENACTED EFFECTIVE USED
A1abama *SBE 1980 1981 State
Arkansas Legi siature 1979 1983 **NTE
FIori da Legi siature 1978 1980 State
Georgia SBE 1 979 1979 State
Loui si ana Legi siature 1977 1979 NTE
Mi ssi ssi ppi SBE 1977 1977 NTE
North Carolina SBE 1979 1981 State
Ohi 0
South Carolina Legi siature 1979 1982 NTE/State
Tennessee SBE 1980 1981 NTE
Texas SBE/
Legi siature 1980/81 1985 State
Vi rginia Legi siature 1980 1981 NTE
(Adapted from: Vlaanderen, R. B.. Testing for Teacher
Certi fi cati on. Issuegram 7, January 3. , 1983.
(ED 231 814) (p. 2)
*SBE = State Board of Education
**NTE = National Teachers' Examination 49
It appears that the competency testing movement will induce negative reverberations that will reach far beyond the exclusion of minority applicants to teaching.
Minority teachers contribute to the quality of education for all children in our pluralistic society. Moreover, cross-cultural exposure for students of the minority is an essential factor in the development of their healthy social attitudes. Finally, minority teachers as role models are essential both to the minority and majority child's learning environment.
Selection Process - Academic Quality
Conant (1963) voiced a strong opinion that greater selectivity is needed in recruiting intellectually brighter students into the teacher education programs. He further suggests that "we should endeavor to recruit our teachers from the upper third of the graduating high school on a national basis" (p. 81).
Watts (1980) supports a selected criterion by stating that
the reason for establishing admission standards for any professional program is to increase the probability that those who are admitted will successfully complete the program and become effective professionals. (p. 120) 50
Vance and Schlechty (1982), however, propose caution in assuming that more rigid selection standards are needed.
They place a great deal of emphasis on "committment" to teaching as a factor to be considered when determining selection criteria.
In general, the literature reviewed indicated that some sort of a selection process for teacher education programs is supported but the specific selection criteria are not yet agreed upon. As demand for higher quality teaching receives more attention, music teacher education departments are faced with re-evaluating their total programs. This evaluation must include: entry, process, and exit evaluation.
Comparative Review Studies
Bray (1954) sought to inquire of Northwestern
University's music school Bachelor of Music, Bachelor of
Music Education, and Master of Music degree graduates of classes 1934, 1938, 1942, 1946 and 1950 their attitude toward their education at Northwestern in relation to their post-college experiences. The 305 questionnaires provided data which led to the following conclusions:
The graduates of the classes surveyed were satisfied that the education they received was adequate preparation for post-college vocational and avocational activities.
The curriculum had been designed in relation to future vocational and avocational needs and demand.
The education received has a continuing effect for good, vocationally and avocational ly in the lives of the graduates, (p. 1756, Vol. 14)
Moreover, Woodward (1963) evaluated the probable effectiveness of the 1959-60 music teacher education curriculum at the University of Colorado by a comparison of the 1945-55 curriculum of known effectiveness.
Questionnaires were sent to both the graduates and their supervisors of the 1945-1955 and 1959-60 curricula. The findings clearly indicated that in music education, as well as in other content areas, the gap between theory and practice continues to be a source of great concern to most graduates. This concern was graphically pointed out in
Woodward's investigation of music teacher education graduates when he sought to determine the effectiveness of their college preparation in music in their teaching position. He outlines ten areas of music preparation which were rated by the graduates of University of
Kentucky as to their importance in teaching. The results of the ratings were as follows (from most important to least important): Graduate's Rated College Rated
1. Methods (ProfessionalMusic) 1. Music theory 2. Conducting 2. Major applied area 3. Performing ensembles 3. Methods (Professional Music) 4. Minor Piano 4. Minor instruments 5. Psychology of learning 5. Performing ensemble 6. Major applied area 6. Minor piano 7. Minor instruments 7. Minor voice 8. Minor voice 8. Music history 9. Music history 9. Conducting 10. Music Theory 10. Psychology of learning to music (P. 4618, VOL. 23)
From this data it is interesting to note that the college rated music theory as most importance, whereas, graduates rated music theory as least important. Moreover, conducting was rated by the college as number nine but graduate rated its importance as number two.
Individual Studies
Humphrey's (1955) study also confirms a similar desire for practical knowledge and helpful skills from the grad uates of the University of Illinois. The design of this follow-up study translated musical competencies into musical behaviors and asked 185 graduates to rate their preparation in the behavior. The collected data provided many noteworthy suggestions such as: the establishment of a functional and
realistic guidance program for music students
the establishment of music curricula upon the
basis of their use and effectiveness in the
lives of the graduates
a de-emphasis of "professional music" since
no work seem to exist therein for the vast
majority of music graduates.
an emphasis on more practical knowledge and
use of keyboard (p. 350, VOL. 16)
Humphrey emphasized that many traditional concepts and methods of doing things plus conventional restrictions
should be abandoned. This alludes to the fact that in a
society undergoing vast changes, an ongoing curriculum
evaluation is essential.
Furthermore, Baird's (1955) follow-up inquiry of
secondary school music teachers prepared at San Jose State
College was designed to determine how well the curriculum
for the applicants for Special Secondary program in music met the needs of their graduates when placed in teaching 54
situations. According to the employed five point scale of
rating importances of listed general education, professional teaching and music teaching, responses indicated that curriculum effectiveness was average in developing needed competencies in all areas. Both graduates and music faculty expressed a need for increased emphasis on performance skills. Also, the music faculty were more critical of curriculum effectiveness than were the graduates.
Additional evaluative studies such as those conducted by Piper (1960). Meurer (1974), Bennett (1975) and Choate
(1976) solicited not only the opinions of graduates, but also of their pri nci pal/supervi sor and or administrator opinions of the adequacy of their music teacher education program. Meurer's questionnaires were sent to all graduates of the elementary teacher education program at Indiana
State University, and data were complied separately for graduates who had taught one year, two years and three years. The 1956 graduates indicated more satisfaction with their preparation and felt more adequately prepared than the 1957 and 1958 graduates. Yet the 1957 graduates indicated more dissatisfaction than the 1956 or the 1958 graduates. However, graduates who had not taught indicated more dissatisfaction with the program than those who had taught. 55
The study of Meurer (1974) was to evaluate music teacher education at Indiana State University through an analysis of its teaching graduates of 1968-1972 who had completed at least one year and the opinions of the grad uates employere (principals and music supervisors).
Employers rated the major teaching competencies on a scale ranging from "superior" to "inferior". The great majority of graduates were rated "superior" in all facets of teach ing ability. Conversely, among the conclusions of the graduates who were asked to rate 65 music teaching competencies according to importance for teaching and effectiveness of collegiate preparation were;
preparation in music theory is very important for school music teaching, but need to be more strongly oriented toward practical use in school music
knowledge of pre-Baroque music is not as important for teaching music in the schools as 20th century music
music literature courses representing newer course materials such as jazz, ethnic, folk, and youth music are important for school teaching
more effective preparation is needed in functional piano skills for school teaching (p. 5896, VOL. 35)
In short, the importance of competencies for teaching were generally rated higher than the effectiveness of prepara tion. There were some areas where importance and effec tiveness were identical. Only a few areas were rated 56 significant for teaching purposes but very inadequately treated in any of the programs.
Bennett (1975) evaluated the effectiveness of the undergraduate music education curriculum at North Texas
State University. Graduates who responded to the question naire indicated that the undergraduate music education curriculum between 1967 and 1972 was generally adequate in preparing students to teach music in the public schools.
Weaker areas were : administration, supervision, student teaching and professional education while the stronger areas were instrumental and vocal. Among the recommenda tions for specific changes in the curriculum were :
secondary instrumental methods courses should be restructured to include more emphasis on marching band techniques, instrumental music program supervision, and administration of a public school instrumental music program
student organizations such as MENC should be encouraged to work more productively in conjunction with the music teacher education curriculum
academic advising program should be expanded to distribute more evenly the duties given to faculty members who believe in that function. (p. 2691 , VOL. 36)
The opinions of the graduates' supervisors revealed a low positive correlation (r=.107) between selected graduates' academic success and their success as teachers in the public schools. Consequently, it was accepted that there 57 was only a slight relationship between students' success in undergraduate training at North Texas and their success as public school music teachers.
Choate (1976) undertook a study to evaluate the undergraduate instrumental curriculum at Louisiana State
University, by an analysis of the opinions of the graduates of the years of 1965-1974 and the principals' and supervi sors' evaluations of the graduates who were employed as teachers during the 1974-1975 academic year. The graduates revealed a high rating for the essentiality and importance of music teaching competencies. With few exceptions, essentiality and importance were scored at the highest levels of the rating scale: preparation of competencies such as "conducting", rehearsal, discipline, and musician ship were considered to be very effective. Also, graduates employed as teachers were highly regarded by their princi pals and supervisors as indicated by the strong majority that receive high ratings on their presonal and profess ional qualities.
In summary, the data from these studies varied considerably when opinions were obtained from the predecessors or successors of these specific groups. This emphasizes the need for constant evaluation in music teacher education curricula. 58
The literature review shows that there is an evolving
concern for reform in music teacher education. It was
repeatedly emphasized that graduates from these studies
suggested more relevant courses attuned to the changing,
emerging nature of our American, pluralistic society.
Studies Concerning Music Teacher Education
One of the original goals for establishing Negro
private colleges was to train teachers who would in turn
help to provide educational opportunities for the large mass of illiterate, newly emancipated slaves. (Journal of
Negro Education Summer Yearbook. 1960 and Goines, 1963).
Richardson (1980) and Patton (1940) cited that "Fisk
students and teachers demonstrated considerable interest in music from the time the school opened in 1866. During leisure hours students sang together the songs they had
1 earned as slaves" )p. 25). A Freedmen's Bureau agent in
Nashville, Tennessee, invited George L. White, who had never received musical instructions to teach singing at
Fisk. White proposed to the board of trustees that his singing group perform concerts to further financially compensate Fisk University for the succeeding year. The group began singing spirituals, and the name "Jubilee
Singers" was decided upon by White in memory of the Jewish 59 year of Jubilee (Leviticus 25: 8-17) (Spenc, 1911). The
incalculable singing appeal of the group, the dignity of the name, and the financial contribution it brought to the institution led to the continuing and growing success of the group. The "Jubilee Singers" became famous throughout the United States and Europe.Johnson (1933) stated that
"they (Jubilee Singers) sang their way into the conscious ness of two continents and charmed the world with the beauty of Black Music" (p. 39).
Since the beginning of music studies at Fisk University many other selected, accredited Black private colleges and universities now offer degrees in music. Wil1iams-Burns
(1982) and Carney (1942) stated that the real history of
American Negro teacher education on the advanced level began with the pioneer effort of Doctor Jane Ellen
McAllister. Dr. McAllister was a pioneer for excellence in teacher education who servedas Head of the Education department at Fisk University (the first Black woman to fill the position) and was a prominent reason Fisk gained accreditation as "Class A" by the Southern Association of
Colleges and Schools (SACS). (See Appendix A - McAllister)
According to the investigator's survey of literature, studies of music and music teacher education of small institutions of higher education are very few and yet even 60 more limited for small, private. Black 1iberal-arts insti
tutions. Nevertheless many studies concerning music
teacher education programs of individual colleges are
present throughout the literature. Conversely, less multi
group studies were found of music teacher education
programs. Consequently, related music teacher education
program studies are discussed in this grouping of selected multi-group studies; and single studies of individual colleges.
Leonhard (1958) advocated that the final criterion for judging the effectiveness of a program of music education is its effect on the music behavior of graduates. It follows that, when possible, the best means of evaluating the program is to ascertain the progress of students toward the objective sought."
Examples of selected multi-group studies include studies done by Terry, Borg, Dunston, Boyce and Clayton concerning music and music teacher education program.
Terry (1959) conducted a study of small (student enrollment up to 2,000) liberal-art colleges, conservatories, teachers' colleges, and universities to discover any differences that might exist between large and small colleges and to determine any advantages that might characterize the small colleges. Consequently, in order to propose a music education curriculum based on the data 61
obtained from this study, results for the study were
produced by two hundred questionnaires, conferences with music educators and supervisors of public school music,
and through inquiry sheets to five hundred high school
seniors. Terry's findings and implications included the
following:
Despite the fact that the basic courses
for developing musicianship received
uniform approval by all institutions,
variation existed in the amount of
credit given in theory, piano and voice
for graduation.
The allotment of credit in areas of
orchestral and band instruments was
lowest in teachers colleges
Each institution endorsed special
requirements (senior recital and
primary secondary instruments) for
music majors.
There was considerable agreement
between and among these institutions
relative to student teaching readiness
essentials such as screening
candidates, scholastic rating; 62
regularity of observation periods and
completion of methods courses.
It was apparent that these institutions
offering a major in music education
agreed as to the requirement of high
school units for entrance; nevertheless
indicated little use of objective tests
or of a screening by a special music
committee, (p. 691, Vol. 20)
Borg (1959) made a study concerned with the basic
requirements, minimum standards, and course offerings and
credit of prospective school teachers. Borg also compared
present-day practices with the "Standards for the
Evaluation of the College Curriculum for the Training of the school Music Teacher" as recommended in the MENC
Source Book No. 2.
Data was obtained from questionnaires answered by music department chairpersons from twenty-four colleges and universities in seven mid-western states based on the
1958-59 school year; catologue study of each institution; personal interviews with department chairpersons, heads of music education, music methods teachers and senior music educationstudents. Borg's findings revealed that 75 percent of department chairpersons agreed that teacher training institutions should conform to minimum standards. 63 basic requirements and offerings outlined by the MENC.
Also, it was the consensus of opinion of music department chairpersons that the distribution of minimum requirements in general education, professional education, and in music met the needs of prospective music teachers in their respective institutions. Yet, administrators in teachers colleges showed an overbalance in general education which did not allow adequate hours for the major subjects.
Great variance, ranging from "nearly none" to "high" was found for standards set by accreditating organizations for minimum music entrance requirements. Yet none of the institutions employed any means of testing musical skills or teaching techniques prior to student teaching or on the completion of the teacher-training program, other than passing grades. Also, a very limited amount of elective credits were allowed for school music majors to meet minimum graduation requirements in a four-year program.
Dunston (1965) made a critical analysis of the music program in the small, liberal arts colleges of North
Carolina as they related to the preparation of the elemen tary classroom teachers and the public school music teachers. Conclusions (among many) drawn from data of 890 employed elementary teachers surveyed revealed that;
the curricula and general music program of
the small liberal arts colleges of North Carolina compared favorably with the
requirements of national groups
Music, for the most part, is accepted in
the total elementary education program
of the public schools
there was a need of curriculum
re-evaluation in most small colleges.
(p. 6527, Vol. 26)
Boyce (1973) studied four state-supported colleges/ universities of Utah to make an evaluation of curricula, training effectiveness, applicability, and need for addi tional training. The descriptive research techniques of a closed-form questionnaire were utilized to acquire data for the years 1969-71 from graduates faculties concerning common and traditional curricular areas of:
music theory
scoring and arranging
music history
conducting and rehearsal techniques
vocal methods and materials
instrumental methods and materials
group instruction
private instruction - major instrument 65
performance
minor instrument repair (p. 7569A. Vol.
34)
The conclusion from this study indicated present training
effectiveness is generally excellent in all areas of music
education curricula in all four colleges; and even though
the training is excellent and applicable, there remains a
strong desire by both graduates and faculty for additional
training in all areas of curricula, with the exception of
traditional music history.
A more recent study conducted by Claybon (1981) deter
mined the perceptions of 104 music educators using the
questionnaire method. The purpose of Claybon's study was
to determine the perceptions of music educators at United
Negro College Fund Colleges and Universities concerning
the importance of music teaching competencies and courses
for prospective public school music teachers. Findings of
this study revealed that the UNCF music educators were in
general agreement with the NASM and MENC's one hundred and
eighteen competencies recommendations. The mean score
indicated that the competencies and courses were perceived
as being either "very important" or "moderately
important." However, a small percentage of the music educators perceived some of the competencies as being "not
important." 66
Unlike Claybon's descriptive study, this study seeks to acquire from the music teacher education program directors of the selected, accredited Black private colleges and universities' information about specific elements of their music teacher education programs; thereby, having obtained these descriptive characteristics of the music teacher education program of their institutions, the investigator further seeks to evaluate, based on the opinions of graduates, the effectiveness of the music teacher education program in preparing them for the jobs they now hold. Consequently, based on the acquired data, recommendations will be offered in program evaluation as an aid to music teacher education curricula revi si on.
This literature review has been provided to present an organized survey of scholarly studies relating to the investigator's research. Specifically, the literature reviewed is concerned with one or both of the following major elements of the current study;
Academic program evaluation from
studies of the broad topic to studies of the more specific topic, i.e. music
teacher education evaluation.
The purpose, development, and impact of
the historically black colleges, and,
more specifically, UNCF member institu-
ti ons.
As a basis for the current study, the literature reviewed indicates an increased recognition of the importance of program evaluation as a means of improving the accountability of our higher education system. In addition, many of these studies reveal an increasing acceptance by faculty and administ!»ators of evolutions involving students and graduates.
Although recent practice suggests that all institutions could benefit from evaluation, this may be especially true for the historically black colleges. Because of their financial difficulty and their critical role in training Black professionals, these selected Black private schools must continuously be open to methods and means to make all of their educational programs as efficient and effective as possible.
The program directors' questionnaire was divided into five main sections developed to elicit information on specific elements of the music teacher 68 education program. The music teacher education graduates' questionnaire was divided into four main sections designed to elicit information on graduates academic credentials and current professional status and on their perceptions and opinions about their formal music teacher preparation.
Data collected from each group of questionnaires were coded for computer statistical analysis for compilation of tables of results and subsequent investigation analysis.
The investigator's analysis along with descriptive statistics are presented in Chapter 4. CHAPTER 3
METHODOLOGY
The purpose of the study was to survey and evaluate the music teacher education programs of selected, accredited Black Private (SABP) Colleges and Universities in the United States. The data obtained were organized to:
analyze specific elements of the music teacher education programs of SABP colleges and universities.
identify relative strengths and weaknesses of music teacher programs and music programs as perceived by their graduates.
provide data for recommendations to be used in program evaluation as an aid to curriculum revision.
Design of the Study
Thischapter describes the design of the study, development of the instruments, population surveyed, procedure for data collection, and procedure for data analysis.
The research design employed for the study was that of an analytic-descriptive survey type. Mouly (1970) cited that ". . . analysis is a form of description, but without
69 70 analysis to provide a deeper insight into the basic nature, the adequate description of phenomena is relatively impossible (p. 279)."
The chief method of data collection used was two different questionnaire forms, one for SABP colleges and universities Music Teacher Education Program Directors and the other for SABP Colleges and Universities Music Teacher
Education Graduates from the years of 1979 through 1983.
The primary format of these instruments was that of a checklist type. Travers (1964) stated the value of the questionnaire survey as:
It can serve to identify characteristics which show a sufficiently wide range of values that individual differences can be reliably assessed, but it also serves to identify those characteristics which have not been developed and to which teaching programs should give special attention. (pp. 300,301)
Other methods of data collection included interviews of graduates and Music Teacher Education Program Directors via telephone and review of college catalogs and curric ulum listing for verification of collected data.
Expert opinion was used in gathering data in the survey. According to Simon (1969) "expert opinion is indispensable when the judgment involves human values. . .
The scholars' opinions do not simply stand for some more objective measure of the quality of a graduate school ; their judgments are the measure of values." (p. 275). 71
Thus, the investigator used the music teacher education
graduates of these selected, accredited colleges and uni
versities as the best judgment of the value or importance
of the competencies and courses presented in the survey.
The Population
Initial contact with the selected, accredited Black private colleges and universities was made through the
United Negro College Fund (UNCF). This was made possible with the assistance of the Office of Minority Affairs at the Ohio State University. Support and endorsement of this study was obtained from the Office of Minority
Affairs on July 27, 1984. The Minority Affairs Office contacted the executive staff of the UNCF and a list of forty-three approved and accredited black private colleges and universities in the United States was obtained. The administrative executive staff of the United Negro College
Fund indicated their endorsement and support of the study on August 30, 1984, and wrote a letter to all colleges/ universities presidents introducing and explaining the study.
On the strength of the approval and support of the
United Negro College Fund, the investigator, on September
11 , 1984, sent a letter (see Appendix B) to each of the 72 forty-three colleges/universities presidents {Appendix B,
Table I). This letter explained the purpose of the study, its importance and significance. It also sought their approval to conduct the study at their institution. The investigator asked each president to indicate his consent/approval of this study by checking the appropriate response on the enclosed "Approval Form" (See Appendix B ).
The purpose of the "Approval Form" was threefold:
it identified whether the college offered a music teacher education program.
it sought consent for the study to be conducted at the respective institution.
it obtained the names and addresses of the Music Teacher Education Program Di rectors.
Each president was asked to complete and return the
"Approval Form" in the enclosed pre-addressed, stamped envelope within a stipulated period of time.
By the requested return date of October 2, 1984, twenty-three of the forty-three presidents' "Approval
Forms" had been completed and returned. In an effort to obtain the remaining twenty responses, on October 4, 1984, a follow-up letter (see Appendix B) was mailed; also, on
October 25 long distance telephone calls were made and a second follow-up letter was sent on December 6 (see
Appendix B). By December 11, forty of the forty-three presidents had completed and returned their "Approval
Form." 73
Responses from the forty presidents identified a total of twenty-three music teacher education program. One was ineligible for this study due to a current on-going . internal evaluation study. Two music teacher education program directors did not return the questionnaire. Thus twenty music teacher education program directors partici pated in this study.
As a result of the investigator's survey of college catalogs (See Appendix A) which were available for 41 of the 43 institutions, the following was noted:
Two of these selected institutions are graduate institutions.
Two institutions are accredited by the National Association of Schools of Music.
Three other institutions are accredited by the National Council for the Accreditation of Teacher Education.
Apparently, not one of these institutions was accredited by both the National Association of Schools of
Music and the National Council for the Accreditation of
Teacher Education. This survey confirmed the findings that resulted from the questionnaire as returned by the
Music Teacher Education Program Directors.
These selected, accredited Black private colleges and universities are located in twelve states : Alabama,
Arkansas, Florida, Georgia, Lousiana, Mississippi, North
Carolina, Ohio, South Carolina, Tennessee, Texas and 74
Virginia. According to the United Negro College Fund 1981
Statistical Annual Report, the total enrollment in these institutions was approximately 50,000 students. These colleges and universities primarily serve an economically disadvantaged constituency. The median family income is less that $12,000 (UNCF, 1981).
The population of this study of selected, accredited black private colleges and universities in the United
States consisted of the Music Teacher Education Graduates from these twenty selected institutions. Therefore, for the purpose of this study, a concerted effort has been made to survey the entire population.
The Program Director's Questionnaire
The purpose of the questionnaire sent to the SABP
Colleges and Universities Music Teacher Education Programs
Directors was to generate data concerning specific elements of music teacher education programs at the selected institutions. This questionnaire was developed by the researcher and is divided into five sections:
Section I - Institutional Information Section II - Teacher Education Program Section III - Music Teacher Education Curricul um Section IV - List of Graduates Section V - Respondent Information The purpose of each section was;
Section I sought information about the type of institution, organizational structure, degree offerings, composition of the music teacher education faculty, criteria for admission to the music program, and identification of student chapters of professional organizations.
Section II was designed to survey elements of the teacher education program, specifically: organization, governance and requirements for admission, retention, and student teaching of the teacher education component of which the music teacher education unit is generally a part.
Section III sought specific data on individual courses and areas of the music curriculum including require ments for graduation.
Section IV asked for a list of all music teacher education graduates, in the period 1979/80 through 1983/84 and their mailing addresses.
Section V asked for the name and title of the Respondent, provided a space for general comments, if any, and asked whether the respondent would like a copy of the results of the study. As a stimulus to return the form quickly, the questionnaire concludes with a specific date by which it should be returned to the researcher at her specific address.
The length of the questionnaire was of concern to the investigator, however, according to Oppenheim (1966)
much would seem to depend on personal involvement: the more interested people are in the subject of the questionnaire, the more they are likely to fill in and return an even quite lengthy questionnaire, (p. 35).
The questionnaire for the Music Teacher Education
Program Directors, in its final form, asked 52 item
questions and comprised eleven typed pages (See appendix
C). It was thought that the length might be a limiting
factor in securing an inadequate return. However, certain
competencies are indispensable when assessing an entire
four-year undergraduate music teacher education program.
If those areas were to be omitted, the questionnaire would
have been considerably weakened.
The Music Graduate's Questionnaire
The questionnaire for the selected, accredited Black
private colleges and universities music teacher education
graduates was a modification of a questionnaire used by
The Ohio State University music education faculty for its music graduates. This modified questionnaire was
comprised of four parts:
Part I - Factual Information Part II - Employment Status Part III - Academic Preparation Part IV - Open ended questions
The purpose of each section was: Part I sought factual information such as degrees obtained, major area(s) of study, and teaching certificates.
Part II solicited data concerning employment status and teaching experience.
Part III asked the graduates to evaluate how well they thought their graduating institution prepared them in general areas of music education study. The measurement for this part sought to obtain a series of responses each within a six-point scale of excellent to poor, and did not take.
Part IV provided open-end questions designed to elicit information on perceived strengths and weaknesses in the respondents' college preparation for the jobs they now hold.
In its final form this questionnaire asked forty item questions and comprised six typewritten pages (See
Appendix C).
Validation
Before printing the questionnaires, validation procedures were employed. The instruments in draft form, were first submitted to the major professor for a review and recommendations. He made useful comments that improved the quality of the questionnaire. Thereafter, these instruments were submitted to the doctoral committee of professional music education experts for validation of criteria and improvement of format. The researcher asked 78
the experts to review the instrument while giving special attention to the following:
1. whether the number of items could be reduced and still achieve the same results
2. whether the statement of any item could be rearranged
3. whether the wording of items was biased;
4. whether clarity of the statement of items could be improved.
Revisions were made based on comments and suggestions for improvements in the content, wording, and format of the items. Thus, the instruments were revised into validated instruments.
Pilot Testing
The respective questionnaires were pretested on a selected group of eight black music teacher educators who had expertise in all aspects of undergraduate music teacher education. These chosen educators were from institutions believed by the researcher to have some of the similiar characteristics as the twenty selected insti tutions for this study. The graduates' questionnaire was pretested on ten black music teacher education graduate students. These chosen graduates completed their 79
undergraduate degrees at predominantly black institutions
believed by the researcher to be similar to the selected
institutions of this study.
The pilot testing subjects were asked to make comments
and suggestions concerning:
* directions
recording procedures
clarity
accuracy
wording
format
As a result of the pilot test, minor adjustments were made in recording procedures and the questionnaire was then submitted to the selected population.
Procedure For Data Collection
Since the Music Teacher Education Program Directors were unknown, it was necessary to wait until each college/university president returned his/her "Approval
Form" before each Music Teacher Educator Program Director could be contacted. Beginning September 20, 1984, as the
"Approval Forms" were received from the various
Presidents, questionnaires were sent to the twenty-three music teacher education program directors. A cover letter
(See Appendix D) explained the purposes and significance 80 of the study, and solicited cooperation from the directors. They were given approximately twenty-one days within which, to complete the questionnaire and return it to the investigator in the provided stamped, self-addressed, envelope.
By October 11th, 1984, only two of the music teacher education program directors had returned their completed questionnaires. In an effort to receive a better response, the academic advisor of the investigator sent a letter on
November 16 (See Appendix D) to each of the music teacher education directors reiterating the value of the study and urging them to complete the questionnaire. On December 7,
1984, the investigator wrote a follow-up letter (See
Appendix D) to the Music Teacher Education Directors. A duplicate questionnaire was sent to them and a period of approximately two weeks was given for the return. As of
December 18th, an additional five completed questionnaires had been received. The investigator made several telephone calls to the music teacher education program directors about the progress of completion and return of the questionnaire. Extensions were made as it became necessary to have the questionnaires returned. A second letter (See Appendix D) was sent on February 4, 1985, announcing that February 18 would be the last day for the return of the questionnaires. Finally on February 11 a 81 brochure (See Appendix D) was sent making a last appeal
for the questionnaires to be returned. By the expiration of the deadline of February 18 a total of twenty out of
the twenty-two questionnaires had been filled out and
returned. This represented ninety-one percent of the selected accredited Black colleges and universities that participated In the study.
The Graduates
Because the graduates of the music teacher education programs were not known, they could not be sent question naires until each Music Teacher Education Program Director returned his/her questionnaire. Section IV of their questionnaires requested them to provide the names and addresses of the graduates between the years of 1979 and
1983.
From October 11 , 1984, as the questionnaires from the program directors were received, the graduates of the twenty colleges whose music teacher education program director responded were sent questionnaires.
Between October 11 and December 30, 1984, a total of forty-six graduates' questionnaires were mailed. A cover letter (See Appendix E) accompanied each questionnaire.
The letter explained the purpose of the study. Its 82 perceived utility and the crucial importance of the graduates' participation. The graduates were given approximately fourteen days each within which to complete and return the questionnaires in the provided, stamped, self-addressed envelope. By December 30, 1984, thirty out of the forty-six questionnaires had been filled out and returned. A follow-up letter (See Appendix E) was sent by the investigator requesting the return of the question naire. In addition, the investigator's adviser sent a letter (See Appendix D) to the graduates encouraging them to return the questionnaire.
During the month of January, 1985, a list of twenty- nine graduates was received from the music directors.
Twenty-nine questionnaires were mailed with cover letters urging them to return the questionnaires within fourteen days. By the end of the month, only four out of the twenty-nine questionnaires had been filled out and returned. A second follow-up letter was sent on February
1 , 1985 (See Appendix E) to the twenty-five who had not returned their questionnaires. On February 11, 1985, a brochure (Appendix E) was sent to all the graduates who had not returned their questionnaires. The brochure reminded them that February 18 was the deadline for the return of the questionnaires. By February 19 a total of 83 seventy-five questionnaires had been mailed and sixty-eight, or ninety-one percent, were returned.
Although a listing of seventy-five music teacher education graduates' names and addresses were secured, not all were eligible for the study, a breakdown of responses is given in Table 2, showing the total of those who became eligible for the study and listing reasons for the ineligibility of others. GRADUATES ELIGIBILITY FOR THE STUDY
Total number of questionnaires mailed ...... 75 Total number who did not return questionnaires ....-7 Total number completed and r e t u r n e d ......
Total number completed and returned butineligible . . .-26
Reason for ineligibility to participate in the study:
1. Returned — due to incorrect address .. . 19 2. Certified but without teaching experience . 3 3. Have neither teaching experience nor certification ...... 2 4. Double major — working in second major without experience in music ...... 1 5. Returned — not a music m ajo r ...... 1 IF
Total number of graduates eligible for the study . . . . 42 85
As shown in Table 2, a total of seventy-five names with addresses of music graduates was submitted to participate in this study. Of that number, sixty-eight returned and completed questionnaires making 91 percent total response for the study. It is important to note that a large percentage of graduates listed in Section IV of the Music Teacher Education Program Directors questionnaires, were ineligible for this study (26 out 68, or 38 percent). It is also noteworthy that not all of the
68 graduates, (91 percent) who responded, were eligible for the study. This reduced the total eligible population of music teacher education graduates to forty-two, thereby bringing the possible percentage of eligible responses to
62 percent (42 out of 68).
All correspondence and questionnaires were sent by first-class mail since it was desirable to have the letters/questionnaires returned if there was a mistake in the address. Due to first-class mailing and "address correction requested" onall correspondence, many addresses were updated.
Anonymity of responses of individual music graduates was provided by assigning a code to each questionnaire mailed. This code consisted of the institution's initials followed by a number. As each questionnaire was returned, the entry on the master list was checked off. Those 86
graduates not responding within fourteen 14 days of origi
nal mailing were contacted again.
Data Analysis
Each completed questionnaire was subjected to analysis
after examination for accuracy and completeness.
Ambiguous responses were clarified and missing data were
obtained by contacting the respondents by telephone when
necessary. All items on both questionnaires were renum
bered for the coding process. All open-ended questions
and comments were categorized into groups and coded.
After the data were coded, it was key punched onto cards
and analyzed by means of the Statistical Analysis System
(SAS) available at the Instruction and Research Computer
Center at the Ohio State University. The SAS computer analyses resulted in the computation of descriptive
statistics, including frequency distribution and percentages. From these, the number of responses to each part of each question determined the tables of the results constructed. As a result of the information collected from the questionnaires and from other background research, the investigator analyzed relationships among and between responses as a means to provide descriptive data leading to specific recommendations pertaining to the programs studied. Summary
This chapter describes the study design, the study populations, the data gathering instruments and procedures, and the data analysis. The study design was a survey type developed to elicit responses pertinent to the research questions of the study.
Because two different populations were surveyed, two different questionnaires were designed. The first population surveyed was the music teacher education program directors of the selected, accredited Black private institutions. The identities and addresses of these directors were obtained from the university and college presidents. Ultimately, twenty music teacher education program directors were surveyed. The second population surveyed was recent graduates of the music teacher education program of the selected colleges. This population was identified through the program directors.
Ultimately, forty-two recent graduates participated in this study.
The program directors' questional re was divided into five main sections developed to elicit information on specific elements of the music teacher education program.
The music teacher education graduates' questionnaire was divided into four main sections designed to elicit
information on graduates academic credentials and current
professional status and on their perceptions and opinions
about their formal music teacher preparations.
Data collected from each group of questionaires were coded for computer statistical analysis for compilation of
tables and results and subsequent investigation analysis.
The investigator's analysis along with descriptive
statistics are presented in Chapter 4. CHAPTER 4
PRESENTATION OF DATA
Introduction
The findings of the data for this study have been organized into two parts and are presented in Chapter II and Chapter IV. Part one of this Chapter presents the data as provided by the Music Teacher Education Program
Directors. Part two presents the data as provided by the
Music Teacher Education Graduates of the years 1979-1983.
Both subject populations were from the selected, accred ited Black private colleges and universities throughout the United States as described in Chapter III.
Part one presents findings concerning the selected institutions and seeks to describe the music teacher education programs. Part two presents findings of the solicited graduates' opinions as to how well their music teacher education program prepared them for teaching, and their suggestions and comments for improvements in the music teacher education programs at their undergraduate insti tutions. FINDINGS — PART ONE SURVEY OF THE MUSIC TEACHER EDUCATION PROGRAM
The findings presented in this part are arranged in three sections, according to the objectives set forth in the research (Chapter 1). Part one, therefore, includes the following sections: (1) institutional information,
(2) teacher education program, and (3) music teacher education curriculum.
The findings have been organized in accordance with the structure of the instrument completed by the Music
Teacher Education Program Directors. The data are provid ed in tables and a brief discussion is offered. Comments from the music teacher education program directors were included with the quantitative data. Conclusions and recommendations from these findings are reserved for the last chapter of the study.
Objective I
To Survey Specific elements of the Music Teacher Education Programs of The Selected, Accredited Black Private Colleges and Universities 91
The questionnaire designed for the Music Teacher
Education Program Directors enabled the researcher to answer Objective I. The first section of the questionnaire (See Appendix C) was designed to collect information concerning the institution.
The Institutions
The Institutions
Twenty institutions (100 percent) of the total population participated in this study. The data revealed, as shown in Table 3, a listing of the selected, accredited
Black private institutions and their locations. TABLE 3
INSTITUTIONS AND THEIR LOCATION (N=20)
NAME OF INSTITUTION LOCATION
Benedict College Columbia, SC Bishop College Dallas, TX Claffin College Orangeburg, SC Clark College Atlanta, GA Fisk University Nashville, TN Hampton University (Institute) Hampton, VA Huston-Ti11otson College Austin, TX Jarvis Christian College Hawkins, TX Lane College Jackson, TN Livingston College Salisbury, NC Miles College Birmingham, AL Morris Brown College Atlanta, GA Oakwood College Huntsville, AL Paine College Augusta, GA Rust College Holly Springs, MS St. Augustine College Raleigh, NC Talladega College Talladega, AL Texas College Tyler, TX Virginia Union College Richmond, VA Wiley College Marshall, TX 93
As reflected in TABLE 3, these twenty institutions were geographically located in eight southern states.
Geographic distribution is as follows:
Five colleges were located in Texas
Three colleges were located in Georgia
Three colleges were located in Alabama
Two colleges were located in Tennessee
Two colleges were located in Virginia
Two colleges were located in South Carolina
Two colleges were located in North Carolina
One college was located in Mississippi
This geographic range by states showed that Texas had the most colleges with five, (25 percent); and that
Mississippi had the least, one (5 percent).
Type of Institutions
Respondents reported that each of the twenty (100 percent) institutions were four-year, private, liberal arts and coeducational. Nineteen (95 percent) institutions had undergraduate programs. Only one (5 percent) of the twenty institutions offered both an undergraduate and graduate program. All twenty institutions were church affiliated institutions of higher learning. The data revealed that the twenty institutions 94 were affiliated to one of the following churches:
American Missionary Association, Baptist, Christian
Methodist Episcopal, Disciples of Christ Episcopal,
Seventh-day Adventist, United Church of Christ and United
Methodist. (Table 4) reveals a rank order frequency and percentage distributions of institutions and denominations status.
RANK ORDER, FREQUENCY AND PERCENTAGE DISTRIBUTION OF INSTITUTIONS AND DENOMINATION STATUS
CUMULATIVE DENOMINATION NO. OF CUMULATIVE PERCENT PERCENTAGES STATUS INSTI. FREQUENCY AGES BY DENOMINATION
METHODIST 55 Uni ted Methodist 4 4 20 AME ZION 3 7 15 CME 3 10 15 Episcopal 1 11 5
CHURCH OF CHRIST 25 United Church of Chri st 3 14 15 Disciples of Christ 2 16 10 BAPTIST 15 Bapti St 3 19 15
SEVENTH-DAY ADVENTIST (SDA) 5 SD’A------1 20 5 95
Table 4 shows that the Methodist denomination is the affiliation of eleven(55 percent) of the institutions, and the Church of Christ is the affiliation of five (25 percent). The Baptist denomination is the affiliation of three colleges (15 percent) and the Seventh-Day Adventist denomination is theaffiliation of one institution of higher learning.
Division of Academic Year
The results fromthe questionnaires indicated that nineteen (95 percent) of the institutions operated under the semester system; and only one (5 percent) indicated that its academic year was organized under the quarter system.* The institution operating under the quarter system had the academic year divided into three quarters.
Seventeen institutions (85 percent) reported that their academic year was divided into two semesters. Three institutions (15 percent) reported "sometimes" having summer sessions in addition to the two-semester academic
For clarity purposes specified quarter hours has been converted to semester hours. The formula for this conversion has been determined by the institution. (See Appendix F) Total Music Faculty
The data revealed that the institutions had an average of five full-time music faculty and the number of full time music faculty ranged from two to eleven. Only one college reported having eleven full-time faculty. Seven colleges had four full-time faculty members each.
The number of part-time music faculty ranged from zero to seven for the twenty institutions. Eight insti tutions (40 percent) reported having no part-time faculty members. Six institutions (30 percent) indicated that they had one part-time faculty member. For all the insti tutions the average number of part-time faculty was four.
Total Teacher Education Faculty
Respondents reported having a teacher education faculty ranging from zero to eighteen. Whereas one institution (5 percent) reported eighteen full-time teacher education faculty, four (20 percent) reported having only two full-time teacher education faculty. The remaining fifteen institutions (75 percent) reported less than two full-time teacher education faculty. According to the data, the average number of full-time teacher 97
education faculty for the twenty institutions was six
(6.125) members.
The total number of part-time teacher education
faculty, as reported by the music teacher education
program directors, ranged from zero to three. Fourteen
institutions (70 percent) reported not having any part-
time teacher education faculty at all; three (15 percent) had one part-time faculty; two (10 percent) had two part- time faculty; and one (5 percent) had three part-time faculty.
Accreditation Organization
Reported results of the institution's membership in accrediting organizations are presented in Table 5. All of the colleges and universities are accredited by the
Southern Association of Colleges and Schools (SACS). FREQUENCY AND PERCENTAGE DISTRIBUTION -- INSTITUTIONAL MEMBERSHIP IN ACCREDITATION ORGANIZATIONS
ACCREDITATION FREQUENCY ORGANIZATION NUMBER PERCENTAGE *NON- **ACCRED. *N0N- **ACcRED. ACCRED. ACCRED.
1 1 SACS 0 1 20 0 1 100
NCATE 16 1 4 80 1 20
NASM 17 1 3 85 1 15
REGIONAL 19 1 1 95 I 5 STATE 6 I 14 30 1 70
*NON-ACCREDITED **ACCREDITED
Of the twenty institutions, only three (15 percent) were accredited by the National Association of Schools of
Music. Seventeen (85 percent) institutions were not accredited by the National Association of Schools of Music
(NASM). The data revealed that two (10 percent) have accredition from both the National Association of Schools of Music and the National Council for the Accreditation of
Teacher Education. Of the twenty institutions, only four
(20 percent) are accredited by the National Council for the Accreditation of Teacher Education. 99
Seventy percent (14) of the respondents reported that their institutions were accredited by either a State agency or a State Department of Education. Of the remain ing, six institutions (35 percent) reported not having state accreditation, two (10 percent) were reported to have applied for either state or regional or national accredi tati on.
Degrees Offered in Music and Music Teacher Educatiôïï
Table 6 presents the frequencies and percentages of degrees offered in music and music teacher education throughout the institutions. TABLE 6
FREQUENCY AND PERCENTAGE OF DEGREES OFFERED IN MUSIC AND MUSIC TEACHER EDUCATION
FREQUENCY DEGREES OFFERED OF In MÜSÏC COLLEGES PERCENTAGE Music Music Music Music Music Music Education Education Education
B.A. B.A. 16 8 80 40
B.S. B.S. 7 8 35 40
B.M. B.M. 1 1 5 5
B.Ed B.Ed 1 3 5 15
B.M.E.' 4 - 20 - 101
In reference to music degrees, sixteen directors (80
percent) reported offering the Bachelor of Arts Degree.
Seven institutions (35 percent) offered the Bachelor of
Science Degree, one (5 percent) offered the Bachelor of
Music Degree, four (20 percent) offered the Bachelor of
Music Education and one (5 percent) offered the Bachelor of Education Degree.
For music teacher education degrees, the data revealed that eight institutions (40 percent) offered the Bachelor of Arts Degree. Eight other institutions (40 percent) offered the Bachelor of Science Degree.Three institu tions (15 percent) offered the Bachelor of Music Education
.Degree. Only one institution (5 percent) offered the
Bachelor of Music Degree.
The second section of the questionnaire elicited information about the structure and organization of the music teacher education program. In this section the findings further describe specific elements of the music teacher education program. Teacher Education Program Housed
In response to the question of where the teacher
education was housed, fifteen of the twenty directors (75
percent) reported that the program was housed under the
school or department or division of education. Three (15
percent) responded that their teacher education program was housed under the school or department or division of humanities. In two institutions (10 percent) the program was housed under the school or department or division of music. In one institution (5 percent) the program was housed under the division of Literature and Language Arts.
Music Teacher Education - Housed
Table 7 presents the director's responses about the housing of the music teacher education programs. FREQUENCY AND PERCENTAGE FOR HOUSING MUSIC TEACHER EDUCATION PROGRAMS
^ T :E .p . FREQUENCY PERCENTAGE
Music 6 30 Humanities 10 50 Educati on 5 25 Teacher Education 3 15 Fine Arts 2 10 (School of Arts & Letters)
*M.T.E.P. = Music Teacher Education Program.
Ten program directors (50 percent) reported that the music teacher education program was housed under the school or department or division of Humanities; six (30 percent) reported the program was housed under the music department; five program directors (25 percent) indicated the program was housed under education, and three (15 percent) under the Teacher Education Division. In res ponse to "other" as listed on the questionnaire, two directors (10 percent) indicated that it was housed under
Fine Arts in the School of Arts and Letters. Length of Music Teacher Education Program
The length of the music teacher education program as reported by thirteen program directors (6.5 percent) was eight semesters. Three directors (15 percent) reported the length as nine semesters ; and of the remaining four institutions (20 percent): one (5 percent) reported six semesters, one (5 percent) eight and a half semester, one
(5 percent) ten semesters, and one (5 percent) eleven semesters.
Requirements for Admission to the Music Education Program
Table 8 indicates the frequency, percentage, and requirements for admission to the music teacher education program. 105
FREQUENCY AND PERCENTAGE OF REQUIREMENTS FOR ADMISSION TO THE MUSIC TEACHER EDUCATION PROGRAM
REQUIREMENT
A. Music Courses - minimum GPA
GPA of 3.00 1 5 GPA of 2.50 3 15 GPA of 2.20 1 5 GPA of 2.00 8 40
B. Minimum Cumulative GPA
GPA of 3.00 1 5 GPA of 2.50 12 60 GPA of 2.25 2 10 GPA of 2.20 1 5 GPA of 2.00 4 20
C. Required Minimum Test Scores - ACT
Score of 16 3 15 Score of 14 1 5
D. Required Minimum Test Scores - SAT
Score of 800 1 5 Score of 745 1 5 Score of 500 1 5 TABLE 8 (Continued)
REQUIREMENT
E. Interview with:
Chairperson 25 Music Faculty 20 Teacher Education Council Music Teacher Education Faculty 10 Education Department 10 Music Advisor 5
F. Narrative Essay
G. Letters of Recommendations
Completion of Academic Program Foundation of Cô~urses
I. Written Exam
English Proficiency Exam 14 70
J . Vocal Proficiency 17 85
K. Instrumental Proficiency
L. "OTHER"
Application for Admission 4 20 Approval of Teacher Educ. Council 1 5 Certified by Registrar - Completion of Academic Foundation Care 1 TABLE 8 (Continued)
REQUIREMENT
"OTHER" (Continued)
Theory Placement Test 1 5 General Ability to Utilize Classroom Instruments 1 5 State Dept. Preprofessional Ed. Test 1 5 Audition 1 5 Pass English Proficiency Exam 1 5 Student’s Interest With High School Background 1
The most frequently required criterion for admission into
teacher education program revealed that twenty
institutions (100 percent) required a specified minimum
grade point average. Seventeen institutions (85 percent)
required an interview as part of the admission procedure; seventeen program directors (85 percent) reported a required demonstration of vocal proficiency; sixteen (80 percent) reported the required completion of an academic program foundation of courses prior to admission; fourteen reported a required written examination such as the
English proficiency test; thirteen (65 percent) reported a required specified grade point average, ranging from 2.00
to 3.00 for music courses.
Specific minimum scores on the ACT or the SAT were
required. Four program directors (20 percent) required a minimum ACT score of either 14 or 16 (Table 8). Fifteen directors (3 percent) reported a required minimum SAT score of either 500 or 745 or 800. One program director
(5 percent) reported that the State Department of
Education required a preprofessional examination for admission to teacher education, begun in 1984.
Retention Requirements for Music Teacher Education
Students
The findings with regard to retention requirements are given in TABLE 9 a total of eighteen directors (90 percent) indicated a specified minimum cumulative grade point average (GPA) for retention in the music teacher education program, ranging from 2.00 to 2.50. The most frequently reported minimum cumulative GPA of 2.00 was required as reported by eight directors (40 percent).
Six program directors (30 percent) indicated a required minimum cumulative grade point average (GPA) of
2.50; one (5 percent) required a minimum cumulative GPA of
2.20, and one (5 percent) required 2.35.
A total of sixteen program directors (80 percent) indicated a required minimum cumulative GPA in music courses only, ranging from 2.00 to 2.60. The most frequently reported minimum GPA of 2.60 for music courses 109
was reported by four directors (20 percent). Three
directors (15 percent) reported a GPA of 2.50; and one
director (5 percent) required a minimum GPA of 2.35, 2.25
or 2.20.
The data also revealed that nineteen program directors
(95 percent) reported that the music teacher education
program required, each academic term, a jury appearance
before a faculty committee in a specified music area.
Eighteen directors (90 percent) reported required
attendance at recital - seminars; seventeen (85 percent)
required commendable recommendation from the dean of
student affairs ; and seventeen (85 percent) required
participation with credit in at least one major ensemble
for every quarter/semester of study. Moreover, twelve (60
percent) of the institutions required successful passing
of a specified sequence of courses ; seven (35 percent) required student membership of at least one professional organization.
Comments as "other" pertaining to retention require ments for music teacher education included:
passing of pre-professional skills test
senior recital in applied area of performance. no
FREQUENCY AND PERCENTAGES OF RETENTION REQUIREMENTS FOR MUSIC TEACHER EDUCATION STUDENTS
REQUIREMENT NUMBER PERCENT Minimum Cumulative GPA JÜ----- GPA of 2.50 8 40 GPA of 2.35 6 30 GPA of 2.20 2 10 GPA of 2.00 2 10
Minimum Cumulative GPA In Music Education GPA of 2.60 5 30 GPA of 2.50 4 20 GPA of 2.35 3 15 GPA of 2.25 1 5 GPA of 2.20 1 5 GPA of 2.00 1 5
C. Commendable Recommendations Dean of Students 3 15
D. Pass Sequence of Tests 12 60
E. Ensemble Participation 17 85
F. Jury Appearance 19 95
G. Attendance at Recital-Seminars 18
H. Student Affiliation With ProfessioniT Organization 7
"OTHER" Pre-professional skills test 35 Senior Recital 35 Teacher Education Council
Responding to the question: does your institution have a teacher education council, thirteen program directors (65 percent) reported having a council. On the other hand, seven directors (35 percent) reported not having a teacher education council at their institution.
In regard to the inquiry of the make-up of the member ship of the teacher education council, eleven program directors (55 percent) revealed that the director of the
Teacher Education Program also served as the director of the teacher education council. Eight directors (40 percent) reported ex-officio members, ranging from one to nine, served on theteacher education council. Seven program directors (35 percent) reported that their division and department chairpersons, ranging from four to twenty, held membership in the teacher educaton council.
For all the institutions, the average number of division/ chairpersons serving on a teacher education council was eight.
In twelve institutions (60 percent), the directors reported that faculty members, ranging from one to eight, served as members of the teacher education council. In nine institutions (45 percent), the directors reported that faculty members, ranging from one to eight, served as 112 members of the teacher education council. In nine institutions (45 percent), the directors reported an average of six student representatives serving as members on the teacher education council. Public school repre sentatives serving on the teacher education council, reported by ten directors, range from one to twenty. For all the institutions, the average number of public school personnel per institution was five.
Comments included as "Other" pertaining to the make-up of the teacher education council revealed that two (10 percent) of the respondents included the following:
each department had a representative on the
teacher education council
supervisors of student teachers from all areas of
the college were members of the teacher education
counci 1
Teacher education associates are invited as
members of the council.
Who or What Group is Responsible for Decision Making
Respondents were asked about "who" or "what group" is responsible for making decisions concerning the operations of the teacher education curricula. Multiple responses were received. Tables 10-15 provide a distribution of 113
frequencies and percentages of the responses from the
music teacher education program directors with regard to
responsibilities. Percentages have been calculated for
the number of institutions reporting who or what group
performed the different responsibilities.
"Who" has been divided into five categories : (1)
dean, (2) teacher education council (TEC), (3) chairperson,
(4) faculty committee, and (5) Other. "What Group" refers
to any combination of two or more in the "Who" and
"Others" categories. "Others" has been designated, by the respondents, to mean any or one of the following:
State education agency
The entire faculty
Departmental chairperson
Departmental faculty
Academic Policies Committee
School of education and psychology and
chairperson with committee.
There was a variety of responses to the question of
"who" or "what group" prepares and reviews the objectives of the teacher education program. These are shown in
Table 10. FREQUENCY AND PERCENTAGE DISTRIBUTION WHO OR WHAT GROUP PREPARES, AND REVIEWS OBJECTIVES OF MUSIC TEACHER EDUCATION PROGRAM N = 20)
COLLEGES f of % of 1
Colleges Col 1eges1 DEAN TEC CHAIRPERSON FACULTY OTHERS
2 10 1 X ------
5 25 1 --- X ------2 10 1 -- — X -- --
3 15 1 ------X --
2 10 1 -- — -- -- X
1 5 1 X X ------
2 10 1 XX X -- --
1 5 1 X -- XX --
1 5 1 — X X X’ --
1 5 1 X X X X -- 115
Five program directors (25 percent) reported that the teacher education Council (TEC) was responsible, three program directors (15 percent) reported that the faculty was responsible, while two program directors (10 percent) reported that either the dean, chairperson or TEC was responsible. Six program directors (30 percent) reported that either the dean or chairperson or "Others" were responsible. Four program directors (20 percent) indicated that the dean and chairperson; or the dean and
TEC; or the TEC chairperson and faculty; or the dean, chairperson, TEC and faculty were responsible.
Table 11 reveals the responses in reference to "Who" or "What Group" develops policies and criteria with respect to admissions into, retention in and exit from the program. TABLE n
FREQUENCY AND PERCENTAGES DISTRIBUTION OF WHO OR WHAT GROUP DEVELOPS POLICIES AND CRITERIA WITH RESPECT TO ADMISSIONS (N = 20)
COLLEGES
f 1 % DEAN TEC CHAIRPERSON FACULTY OTHERS 2 1 10 X
5 1 25 X
4 1 20 X
2 1 10 XX
2 1 10 X X
1 1 5 X XX
1 1 5 XX X
1 1 5 X X X
1 I 5 XXX X
1 1 5 X 117
As revealed in Table 11 fiveprogram directors (25 percent) indicated that the TEC was responsible; four (20 percent) reported that the faculty was responsible; two
(10 percent) indicated the dean; whileone (5 percent) indicated "others."
With regard to joint responsibility, two directors (10 percent) reported both the dean and the chairperson and two directors (10 percent) indicated both the TEC and the chairperson made the decision. Four (20 percent) reported: the dean, chairperson and "Others"; or the TEC, chairperson and faculty;or the dean and chairperson; or the dean, TEC, chairperson and faculty developed policies and criteria with respect to admissions.
Table 12 gives the responses to the question about
"who" or "what group" studies and evalutes the effective ness of curricula and procedures in relation to needs of the teaching profession. 118
TABLE 12
FREQUENCY AND PERCENTAGES DISTRIBUTION WHO OR WHAT GROUP STUDIES AND EVALUATES THE CURRICULUM (N = 20)
COLLEGES
f 1 % DEAN TEC CHAIRPERSON FACULTY OTHERS
3 1 15 X
2 1 10 X
5 1 25 X
1 1 5 X
1 1 5 XX
1 1 5 XX
1 1 5 XX
1 1 5 XX
1 1 5 XXX
1 1 5 XXX
3 1 1 5 X X X X 119
Five (25 percent) indicated that the faculty was respon
sible; three (15 percent) indicated the dean ; two (10
percent) reported the chairperson; and one (5 percent)
indicated "Others." The data also revealed, in regard to
group or joint responsibility, as shown in Table 12, that three (15 percent) indicated the dean, chairperson, TEC and the faculty as the parties that study and evaluate the curriculum. Six program directors (30 percent) reported one of the following: both the dean and chairperson; the chairperson and TEC ; the chairperson and "Others"; the TEC and faculty; the dean, TEC and "Others"; or the chairperson, TEC and the faculty.
Table 13 gives the responses to the question about
"Who" or "What Group" receives and acts upon recommendations for change in the teacher education program. TABLE 13
FREQUENCY AND PERCENTAGE DISTRIBUTION WHO OR WHAT GROUP RECEIVES AND ACTS UPON RECOMMENDATIONS FOR CHANGES IN TEACHER EDUCATION PROGRAM (N = 20)
COLLEGES f 1 % DEAN TEC CHAIRPERSON FACULTY OTHERS
2 1 10 X
2 1 10 X
6 1 30 X
1 1 5 X 1 1 5 X X
1 1 5 XX
1 1 5 X X
1 1 5 X X
1 1 5 X X X
1 1 5 XX X 3 1 15 X X X X 121
As solely responsible, six directors (30 percent) indicated the faculty; two (10 percent) reported the dean ; two (10 percent) indicated the TEC; while one (5 percent) indicated "Others."
With regard to group or joint responsibility, three program directors (15 percent) reported the dean, TEC, chairperson and faculty were responsible. Six program directors (30 percent) reported either the dean and the
TEC; the chairperson, TEC and others ; the chairperson and faculty; the dean, chairperson and "Others"; or the teacher education council, chairperson, and faculty.
Table 14 shows the responses to the question"Who" or
"What Group" reviews all policies pertaining to the education and certification of teachers in the coTlege/university. TABLE 14
FREQUENCY AND PERCENTAGES DISTRIBUTION WHO OR WHAT GROUP REVIEWS POLICIES PERTAINING TO EDUCATION AND CERTIFICATION (N = 20)
COLLEGES
f 1 % DEAN TEC CHAIRPERSON FACULTY OTHERS
4 I 20 X
3 1 15 X
1 1 5 X
1 1 5 X
3 1 15 X
3 1 15 X X
2 1 10 XX
1 1 5 X X X
■ 2 1 10 XXX X 123
Four program directors (20 percent) indicated the dean;
three (15 percent) the TEC; and three (15 percent)
indicated that "Others" were responsible.
Concerning group or joint responsibility, two program
directors (10 percent) reported the chairperson and
faculty; and three (15 percent) reported the dean and TEC were responsible. Four program directors (20 percent)
indicated either the TEC and chairperson; or the dean, chairperson, TEC and the faculty were responsible. One
program director (5 percent) indicated that the dean and chairperson were responsible.
Table 15 shows the responses to the question "Who" or
"What Group" maintains a balance between professional
preparation, general education preparation, and mastery of the subject content field in each curriculum in teacher educati on. TABLE 15
FREQUENCY AND PERCENTAGES DISTRIBUTION WHO OR WHAT GROUP MAINTAINS A BALANCE BETWEEN PROFESSIONAL AND GENERAL EDUCATION PREPARATION (N = 20)
'Colleges
f 1 % DEAN TEC CHAIRPERSON FACULTY OTHERS 2 1 10 X
5 1 25 X
1 1 5 X
3 1 15 X
2 1 10 X
2 1 10 X X
1 1 5 X X
1 1 5 XX X
1 1 5 X X X
1 1 5 X X X
1 1 5 XXX X 125
Five program directors (25 percent) reported the TEC;
three(15 percent) the faculty; four (20 percent) either
the dean or "Others" and one (5 percent) reported the
chairperson as those solely responsible.
In regard to group or joint responsibility, two
directors (10 percent) indicated the dean and the TEC; and
five (25 percent) indicated one of the following: the TEC
and chairperson ; the dean, TEC and chairperson; the dean,
TEC and "Others"; the dean, chairperson and "Others"; and the dean, TEC, chairperson and faculty.
Requirements for Student Teaching
The data obtained revealed that nineteen (95 percent) of the twenty institutions required a designated number of credit hours for the course, student teaching. In regard to the question how many credit hours could a student take in addition to the credit hours for the course, student teaching, only seven of the twenty program directors (35 percent) responded. These seven directors reported credit hours ranging from zero to seven : two reported three credit hours ; two indicated six credit hours ; two reported zero credit hours ; and one reported seven credit hours as the allowable number of credit hours, in addition to the hours for the course, student teaching. 126
In twelve institutions (60 percent), students Were
required to complete a minimum number of hours of observa
tion and participation in pre-clinical experience before
student teaching. The number of hours of observaton
ranged from twelve to one hundred and eighty clock hours.
Thirteen Program directors (65 percent) indicated that music teacher education majors had to acquire the approval of the teacher education council to student teach. Seven teen directors (85 percent) indicated that majors were to obtain recommendations by either the chairperson of the division, or music faculty and/or area coordinator(s).
Music teacher education majors, as reported by seventeen program directors (85 percent), were also required to satisfactorily complete the general education core requirement prior to student teaching.
With regard to testing, three directors (15 percent) reported a required minimum ACT score of 16; two (10 percent) required a minimum SAT score of 453, as a prere quisite for student teaching. Seven directors (35 percent) reported that students were required to either take and/or pass the National Teachers' Examination.
Moreover, fifteen program directors (75 percent) indicated that music teacher education majors were required to pass a comprehensive music examination. Seventeen of the twenty institutions (35 percent) required music teacher 127
education students to maintain a minimum cumulative grade
point average during student teaching.
Pertaining to the inquiry of music teacher education
majors demonstrating proficiencies, sixteen program direc
tors reported required demonstrated proficiencies in
English; fifteen (75 percent) in Speech; thirteen (65
percent) in math; and thirteen (65 percent) in hearing, j Comments included as "Other" pertaining to demonstrated
proficiencies, as revealed by four program directors (20
percent), required demonstration either in reading
proficiencies or recital attendance. Also, two directors
(10 percent) required demonstration either in passing the
State Department of Education proficiency test or basic
ability to play the piano.
Fifteen of the twenty directors (75 percent) reported
that music teacher education majors were required to
obtain a clearance from the college/university Health
services prior to student teaching. The remaining five
directors (25 percent) indicated that a clearance of
health status was not required.
With regard to student participation in student
professional organizations, nine program directors
indicated required student membership in the local Music
Education National Conference (MENC) Chapter; and eleven
(55 percent) indicated that this was not a requirement. 128
Six directors (30 percent) indicated that student member
ship in the local National Education Association (NEA)
chapter was a requirement; whereas, fourteen directors
indicated that membership was not required. Table 16
presents these responses.
TABLE 16
FREQUENCY AND PERCENTAGE OF STUDENT TEACHING REQUIREMENTS
REQUIREMENTS FOR STUDENT TEACHING FREQUENCY PERCENTAG
Complete a designated number of 19 95 credit hours Maintain a required cumulative Gpa 17 85 Complete a general education program 17 86 Complete a minimum number of hours of observation and participation of pre-clinical experience in the public school 12 60 Join the student chapter of the NEA 6 ■ 30 Join the student chapter of the MENC 9 45 Recommendations by the chairperson of division, music faculty and area coordi nators 17 85 Approval by the teacher educ. council 13 65 ACT score of at least l6 3 15 SAT score of at least 453 2 10 Carry a limited number of credit hours other than student teaching 7 35 Take the National Teachers Examination ....■ r 35 Pass the National Teachers Examination 35 Pass a comprehensive music examination 11 55 Clearance from College Health Service 15 75 Demonstrate proficiency in: Engli sh 16 1 80 Math 1 3 1 65 Speech 1 5 1t 7 5 Heari ng 13 1 65 129
Teaching Certificate — Level/Grade
According to the data, twenty program directors reported a total of seven level/grade teaching certifi cates for the music teacher education program. Table 17 presents a rank order of frequency and percentage of responses as reported by the twenty music teacher education program directors.
Fifteen program directors (75 percent) reported that the music teacher education program prepared students to teach at pre-school, elementary, and secondary grade/ level. Four program directors (20 percent) indicated that their music teacher education program prepared students to teach at the high school grade/level. One program director (5 percent) indicated the music teacher education program prepared majors to teach at the nursery level through grade nine. RANK ORDER FREQUENCY AND PERCENTAGE OF TEACHING CERTIFICATES (N=20)
TEACHING CERTIFICATE FREQUENCY PERCENTAGE LËVÉL/GrAdE
7 35 "All Levels"
5 25 K - 12
4 20 7-12
1 5 *N - 12
1 5 "Entry/Secondary & Elementary"
1 5 Elementary/Secondary
1 5 *N - 9
*N = Nursery Criteria for Admission into the Music Program
Respondents were asked to indicate the criteria for admission into the music program from six listed requirements. The data obtained revealed that in eighteen colleges/universities (90 percent), the admission criteria into the music program included the following:
Jury audition
Letters of recommendations
Interview
Paper Essay, a written essay
Music Placement test
Required Minimum GPA of 2.2
Table 18 gives the frequency and percentage in regard to the criteria for admission into the music program. DISTRIBUTION OF FREQUENCIES AND PERCENTAGES CRITERIA FOR ADMISSION INTO MUSIC PROGRAM
FREQUENCIES PERCENTAGES NOT 1r wr FOR ADMISSION REQUIRED REQUIRED REQUIRED REQUIRED
Jury (audition) 15 5 75 25 Intervi ew 12 8 60 40 Paper Essay 1 19 5 95 Music Placement Test 11 9 55 45 Theory on Music Placement Test 14 6 70 30 Applled Major Instrument 10 10 50 50 Music History 17 3 85 15 Applied Major Instrument 2 18 10 90 Letters of Recommendation 15 5 75 25 Required GPA (2.2) 7 13 35 65 Other - Open Admission 2 18 10 90
As Table 18 shows, the most frequently required criteria for admission were appearance before a jury and letters of recommendation (re: character, industriousness and scholarship). These were reported by fifteen institutions
(75 percent). While twelve program directors (60 percent) indicated that an interview was required; seven (35 percent) required a minimum grade point average of 2.2; and one director reported that a written essay was required as part of admission criteria for the music program. 133
Fourteen directors indicated that they required students to take a music placement test. To describe the placement test, fourteen directors (70 percent) indicated that music theory was included; ten (50 percent) reported applied major instrument questions; seventeen (75 percent) indicated music history; and two (10 percent) indicated questions concerning the history of the student's applied major instrument.
Another response classified as "other" relating to criteria for admission into the music program was "open admissions" reported by two institutions (10 percent).
Majors'Offered in Music Teacher Education
All twenty colleges offered vocal/choral study as a major area in music teacher education. Nineteen directors
(95 percent) also reported instrumental study as a major in music teacher education.
Seven program directors (35 percent) indicated that general music was offered as a major; two (10 percent) indicated performance as a major area and seven program directors (35 percent) reported one or more of the following major areas:
Music history
Performance 134
Jazz studies
Theory
Church music
Other
Afro-American Music
Music Media
The findings also revealed that in describing the
level/grade for the vocal/choral , instrumental, and
general music areas, six colleges (30 percent) offered
vocal /choral as a major area at the "All Level" and six
(30 percent) offered instrumental as a major area for
Kindergarten through Grade 12 (K-12). Three directors (15
percent) reported that "General Music" was offered at "all
levels."
The vocal/choral and instrumental level/grade (All
Level and K-12) were reported with the two highest frequencies, as shown in Table 19. FREQUENCY AND PERCENTAGE OF MAJOR AREAS BY LEVELS
All Level f _L_ Vocal/choral 6 30
Instrumental 5 25
K-12 Level f %
Vocal/choral 5 25
Instrumental 6 30
None of the music teacher education program directors indi cated that their institution offered a major area in super visory nor in "other" areas for music teacher education majors. These responses are shown in Table 20. TABLE 20
FREQUENCY DISTRIBUTION OF MAJOR AREAS OFFERED IN MUSIC TEACHER EDUCATION
E E L 1 G R A E MAJOR COL.EGES 7 -12 ALL .EVEL K 12 N 12 Elem-Sec N 9 AREAS f % f % f % f % f % f % f % Vocal/ Choral 20 100 3 15 6 30 5 25 2 10 3 15 1 5
Instru mental 19 95 4 20 5 25 6 30 1 5 3 15 1 5
General 7 35 1 5 3 15 2 10 0 0 1 5 0 0
Super visory
Other
Key board -
Music History 1 5
Perfor- 2 10
Jazz Studies 1 5
Theory 1 5
Church Music 1 5
Other: Afro America 1 1 5
Music Media 1 5 student Membership in Professional Organizations
In seven institutions (35 percent), the music teacher
education program directors reported active student
participation in student chapters of the Music Education
National Conference (MENC). Six program directors (30
percent) reported having active student chapters of the
National Education Association (NEA). Only two program
directors (10 percent) reported having regional organi zati ons.
SECTION III
Section III of this Chapter further describes the music teacher education program in the selected, accredited Black private colleges and universities by reporting the responses to the third section of the Music
Teacher Education Program Directors questionnaire. This section of the questionnaire sought information concerning areas of music teacher education curriculum, course offerings and credit hours available and required for graduation by both majors and minors in the music teacher education program of the twenty institutions in the study, only one operated under the quarter system. Using the 138 conversion table in Appendix F the institution provided the semester quarter equivalents to the quarter hours.
The conversion is based on the formula:
quarter hours ? 1.5 = semester hours
Therefore, throughout the remainder of the study, all quarter hours have been converted to and are reported as semester hours.
Music Theory
Tables 21-24 show the responses of the twenty music teacher education program directors regarding (a) the credit hours available, (b) the different courses available, (c) the number of credit hours required of music education majors, and (d) the number of credit hours required of minors. TABLE 21
FREQUENCY AND PERCENTAGE DISTRIBUTION FOR THE AREA OF MUSIC THEORY N=20
# of CREDIT FREQUENCY CUMULATIVE PERCENT CUMULATIVE HOURS AVAILABLE FREQUENCY PERCENT
03S 1 1 5 5 09S 2 3 10 15 lOS 2 5 10 25 12S 5 10 25 50 14S 1 11 5 55 15S 2 13 10 65 16S 1 14 5 70 18Q=12S* 1 15 5 75 IBS 3 18 15 90 21S 1 19 5 95 24S 1 20 5 100
*18Q f 1.5 = 12 semester hours Q = quarter 1hours S = semester hours 140
FREQUENCY AND PERCENTAGE DISTRIBUTION: NUMBER OF DIFFERENT COURSES OFFERED IN MUSIC THEORY (N=20) MUSIC THEORY
NUMBER OF CUMULATIVE DIFFERENT FREQUENCY CUMULATIVE COURSES FREQUENCY PERCENT PERCENT
2 1 1 5 5 3 3 4 15 20 4 10 14 50 70 5 4 18 20 90 6 1 19 5 95 8 1 20 5 100
TABLE 23
FREQUENCY AND PERCENTAGE DISTRIBUTION: NUMBER OF REQUIRED CREDIT HOURS OF MUSIC MAJORS IN MUSIC THEORY (N = 20)
NUMBER OF REQUIRED CREDIT HOURS CUMULATIVE CUMULATIVE OF MAJORS FREQUENCY FREQUENCY PERCENT PERCENT
OSS 1 1 5 5 06S 2 2 5 10 09S 2 4 10 20 lOS 2 6 10 30 12S 6 12 30 60 14S 1 13 5 65 15S 3 16 15 80 16S 2 18 10 90 IBS 2 20 10 100 TABLE 24
FREQUENCY AND PERCENTAGE DISTRIBUTION: NUMBER_OF CREDIT HOURS REQUIRED IN MUSIC THEORY OF MINORS TO GRADUATE (N = 11)
NUMBER OF REQUIRED CREDIT HOURS CUMULATIVE CUMULATIVE OF MINORS FREQUENCY FREQUENCY PERCENT PERCENT
OS 11 11 55 55 6S 3 14 15 70 7S 1 15 5 75 as 1 16 5 80 9S 4 20 20 100
For all the institutions, the total number of credit hours for music theory ranged from three to twenty-four semester hours. The number of music theory courses available ranged from two to eight courses (Table 22). As
Table 23 shows, in five institutions, twelve semester hours was the average requirement for graduation.
Nine program directors (45 percent) reported required credit hours in music theory for minors to graduate. A total of eleven directors (55 percent) reported credit hours required of minors to graduate, which ranged from one to nine. These responses are revealed in Table 24. 142
Comments under "Other" pertaining to the availability of the number of credit hours revealed that fourteen institutions (70 percent) offered music theory as a combined course with sight-singing and dictation. The other six institutions (30 percent) offered music theory as a separate course from sight-singing and dictation.
Sight Singing
Answers to the question about the different courses, number of courses and requirements for graduation were varied with regard to the area of sight singing. Tables
25-28 give the responses. FREQUENCY AND PERCENTAGE DISTRIBUTION FOR THE AREA OF MUSIC SIGHT SINGING (N = 20)
NUMBER OF CREDIT HOURS CUMULATIVE CUMULATIVE AVAILABLE FREQUENCY FREQUENCY PERCENT PERCENT
OS 14 14 70 70 IS 1 15 5 75 3Q = 2S* 1 16 5 80 4S 2 18 10 90 6S 1 19 5 95 8S 1 20 5 TOO
*3Q f 1.5 = 2S Q = quarter hours S = semester hours FREQUENCY AND PERCENTAGE DISTRIBUTION: NUMBER OF DIFFERENT COURSES IN SIGHT SINGING (N = 20)
NUMBER OF DIFFERENT CUMULATIVE CUMULATIVI COURSES FREQUENCY FREQUENCY PERCENT .PERCENT
0 14 14 70 70 1 1 15 5 75 2 2 17 10 85 4 3 20 15 100
TABLE 27
FREQUENCY AND PERCENTAGE DISTRIBUTION: NUMBER OF CREDIT HOURS REQUIRED IN SIGHT SINGING OF MAJORS TO GRADUATE (N = 20)
NUMBER OF CREDIT HOURS REQUIRED CUMULATIVE CUMULATIVE OF MAJORS FREQUENCY FREQUENCY PERCENT PERCENT
OS 14 14 70 70 IS 1 15 5 75 3Q = 2S* 1 16 5 80 4S 2 18 10 90 6S 1 19 5 95 8S 1 20 5 100
*3Q T 1.5 = 2S Q = quarter hours S = semester hours TABLE 28
FREQUENCY AMD PERCENTAGE DISTRIBUTION: NUMBER OF CREDIT HOURS REQUIRED IN SIGHTSINGING OF MINORS TO GRADUATE (N = 20)
NUMBER OF CREDIT HOURS REQUIRED CUMULATIVE CUMULATIVE OF MAJORS FREQUENCY FREQUENCY PERCENT PERCENT
OS 18 18 90 90 3Q = 2S* 1 19 5 95 4S 1 20 5 100
*3Q & 1.5 = 2S Q - quarter hours S = semester hours
Table 25 shows responses to courses and credit hours in
sightsinging. There were only six institutions (30
percent) that offered and required credit hours in
sightsinging. The credit hours ranged from one to eight
as shown in Tables 25 and 27. The number of different courses, as revealed by the sixdirectors, ranged from
zero to four as shown in Table 26.Only two directors (10
percent) indicated either two or four semester hours were
required of minors, as shown in Table 28. In the
remaining fourteen institutions (70 percent) sight singing was either not offered at all as an independent area, offered in conjunction with other music theory courses or integrated throughout the entire music curriculum. Dictation
Almost all (nineteen, 95 percent) of the music teacher
education program directors reported that they neither
required nor offered credit hours in the area of dicta
tion. Only one institution reported offering one course
in dictation. This course was required of majors to
graduate, but not of music minors. Thus, none of the
colleges required credit hours in dictation for music minors to graduate. "Comments" under this section.
Dictation, indicated that nineteen (95 percent) of the
directors indicated that dictation was taught in either music theory and/or sightsinging courses.
Music History
All twenty music teacher education program directors reported that they not only offered credit hours in music history but they also required credit hours of majors to graduate. As reported by the directors, available credit hours ranged from one to twelve semesters. The number of different courses offered ranged from one to four. The number of required credit hours of minors to graduate ranged from one to six; and the number of required credit hours of majors to graduate ranged from one to twelve. 147
Music history "comments" as reported by seventeen directors (85 percent) revealed that the course contents of music history also included music literature and humanities. Only three program directors of the twenty
(15 percent) reported that music history was offered exclusively as an independent course.
Advanced Music History
Unlike the area music history where all institutions offered credit hours, only four directors (20 percent) reported that they offered semester hours encompassed in one or two different courses of advanced music history.
Responses revealed that all of the four institutions offered six credit hours and also required six credit hours of majors to graduate. On the other hand, no program directors reported requiring credit hours in this area of minors to graduate.
Applied Music
All twenty music teacher education program directors
(100 percent) reported available credit hours and different courses for both voice and piano. However, only 148
fifteen institutions (75 percent) required credit hours in
both piano and voice of minors to graduate.
Sixteen directors (80 percent) indicated that credit
hours were not available for piano keyboard harmony. while four colleges (20 percent) offered different courses and required credit hours in piano keyboard harmony of majors for graduation, only two colleges (10 percent) were
reported to require credit hours in piano keyboard harmony for minors to graduate. Of the two institutions, one required two credit hours and the other institution required four credit hours of minors in piano keyboard harmony. Each of the sixteen directors (80 percent) indicated under the section "Comments" that piano keyboard was integrated into other classes, such as music theory and applied piano classes.
Band instruments woodwind, brass and percussion applied music, were reported as the second highest performance medium area offering both credit hours and different courses. Eleven institutions (55 percent) offered credit hours and different courses in the above areas for majors. Eight institutions (40 percent) required credit hours in these areas, woodwind, brasswind and percussion, for minors to graduate. While nine institutions (45 percent) did not offer credit hours for 149 majors to graduate, twelve (60 percent) did not offer
credit hours for minors to graduate.
Institutions that did not require credit hours in applied music performing medium areas of woodwind, brasswind and percussion did offer and require courses in either "Class woodwind," "Class brasswind," "Class percussion," or "Class Brass/Percussion" and "Class
Percussion/Woodwind," as reported by fifteen directors (75 percent)
Fourteen directors (70 percent) indicated that the music teacher education program not only offered but required credit hours of "Class String." While thirteen directors (65 percent) reported credit hours in class string for majors, only three (15 percent) indicated credit hours in class strings for minors. Two directors
(10 percent) reported that credit hours of class winds and percussion for minors to graduate.
In summation, the data revealed that all twenty institutions (100 percent) offered either applied music lessons or "Class" applied music in these areas : woodwind, brasswind and percussion. Instruments
Results of responses in reference to credit hours available for Voice, Keyboard and Band instruments are
shown In Table 29.
TABLE 29
FREQUENCY, PERCENTAGE AND CREDIT■ HOURS AVAILABLE: IN APPLIED MUSIC — VOICE. KEYBOARD AND BAND/ORCHESTRA INSTRUMENTS
AREA OF NUMBER OF APPLIED NUMBER OF CREDIT HOURS MUSIC COURSES INSTITUTIONS PERCENTAGE AVAILABLE (RANGE)
Voi ce 20 100 2-28 Pi ano 20 100 2-28 Piano-Keyboard Harmony 4 20 2, 3 Woodwinds 11 55 2-28 Brasswi nd 11 55 2-28 Percussi ons 11 55 2-28 Class String 14 70 1/2-14 Class Woodwinds 15 75 1/2-6 Class Brasswind 15 75 1/2-6 Class Percussion 15 75 1/2-6 151
All twenty directors (100 percent) reported the total number of credit hours available in both voice and piano, ranged from two to twenty-eight semester hours. Four directors (20 percent) reported the total number of credit hours available in Applied Music in keyboard harmony was either two or three semester hours. Eleven directors (55 percent) reported that the total number of credit hours available for band instruments ranged from two to twenty-eight semester hours. While the reported total number of credit hours offered in class string ranged from one-half to fourteen semester hours, class woodwind and brasswind ranged from one-half to six hours and percussion ranged from one-half to six credit hours.
Different Courses Available for Voice, Keyboard and
Band/Orchestra Instruments
All twenty program directors reported that the total number of different courses offered in the area of applied music — voice ranged from four to eight courses. It was also reported by the twenty directors that the total number of different courses in applied music -- piano ranged from one to five courses. With regard to applied music in piano keyboard harmony courses, only four 152
directors (20 percent) reported either one or two
different courses in keyboard harmony.
For woodwind, brasswind, percussion, class string and
class woodwind, eleven directors (55 percent) reported offering different courses, ranging from one to eight.
The remaining nine institutions reported not offering courses in the area. Moreover, class percussion, brass percussion class and percussion/woodwind classes were
rported by fourteen directors (70 percent), who offered either one or two different courses throughout these areas. Results of the responses are shown in Table 30. FREQUENCY PERCENTAGE AND NUMBER OF DIFFERENT COURSES OFFERED IN APPLIED MUSIC — VOICE, KEYBOARD AND BAND/ORCHESTRA INSTRUMENTS
NUMBER OF AREA COURSES APPLIED NUMBER OF AVAILABLE MUSIC COURSES INSTITUTIONS PERCENTAGE (RANGE)
Voice 20 100 4-8 Piano 20 100 1-5 Piano-Keyboard Harmony 4 20 1 or 2 Woodwi nds 11 55 1-8 Brasswi nds 11 55 1-8 Percussi on 11 55 1-8 Class String 11 55 1-8 Class Woodwind 11 55 1-8 Class Brasswind 11 55 1-8 Class Percussion 14 70 1 or 2 Brass/Percussion Cl ass 14 70 1 or 2 Percussi on/Wood- Wind Class 14 70 1 or 2 154
Credit Hours Required of Majors to Graduate (Applied
Music — Voice, Keyboard and Band/Orchestra Instruments)
Responses of the program directors in reference to
credit hours required of majors to graduate concerning applied music -- voice, keyboard and band/orchestral
instruments are given in Table 31.
FREQUENCY PERCENTAGE AND CREDIT HOURS REQUIRED OF MAJORS IN APPLIED MUSIC — VOICE, KEYBOARD AND BAND/ORCHESTRA INSTRUMENTS
NUMBER OF AREA COURSES APPLIED NUMBER OF AVAILABLE MUSIC COURSES INSTITUTIONS (RANGE)
Voice 20 100 2-16 Piano 20 100 6-16 Piano--Keyboard Harmony 4 20 1 or 2 Woodwi nds 11 55 2-12 Brasswi nds 11 55 2-12 Percussion 11 55 2-12 Class Strings 13 65 1/2-4 Class Woodwinds 14 70 1/2-6 Class Brasswinds 14 70 1/2-6 Class Percussion 14 70 1/2-6 Brass/Percussion Cl ass 2 10 1 or 2 Percussion/ Woodwi nd 2 10 1 or 2 155
In the area of applied music -- Voice, the total
number of credit hours requird of music teacher education
majors to graduate ranged from two to sixteen credit
hours. One director each reported the following credit
hours: two, six, seven, nine, ten and fourteen. Five
directors (25 percent) reported twelve credit hours, and
four other directors reported that sixteen credit hours of
Applied Music -- Voice was required of majors to graduate.
A look at the findings of applied music — Piano
revealed that the total number of credit hours required of
music teacher education majors, at the twenty institutions,
ranged from six to sixteen credit hours. Only four
directors (20 percent) reported that majors were required
to complete either one or two credit hour(s) of applied
music -- Piano keyboard harmony for graduation. Also the
total number of cre^'t hours required of majors for "Class
Strings" ranged from one-half to four credit hours.
The total number of credit hours for class woodwind
and class brasswind ranged from one-half to six credit
hours. The total number of credit hours required of
majors in percussion ranged from one-fourth hour to six
credit hours. Eleven directors (55 percent) reported that majors were required to complete from two to twelve credit
hours of woodwinds, brasswi nds and percussion instruments
respectively before graduation. Two directors reported 156 under "Comments" that courses such as Brass/percussion and
Percussion/woodwinds required majors to complete either one or two credit hours for both of these combined courses.
Credit Hours Required of Minors to Graduate (Applied
Music — Voice, Keyboard and Band Instruments)
Table 32 reveals the program directors* responses in reference to credit hours required of minors to graduate in Applied Music, Voice, Keyboard and Band instruments. FREQUENCY PERCENTAGE AND CREDIT HOURS REQUIRED OF MINORS IN APPLIED MUSIC: VOICE, KEYBOARD AND BAND/ORCHESTRA INSTRUMENTS
NUMBER OF AREA COURSES APPLIED NUMBER OF AVAILABLE MUSIC COURSES INSTITUTIONS PERCENTAGE (RANGE)
Voice 15 75 1-8 Piano 15 75 2-8 Piano--Keyboard Harmony 2 10 2 or 4 Woodwind 8 40 2-7 Brasswi nd 8 40 2-7 Percussion 8 40 2-7 Class Strings 3 15 0 Class Woodwinds 2 10 0 Class Percussion 2 10 0 Class Brasswind 2 10 0 Brass/Percussion Class 2 10 0 Percussion/Wood- Wind Class 2 10 0 158
Whereas, fifteen program directors (75 percent)
reported that credit hours were required in either Voice
or Piano for their minors to graduate, the remaining five
directors did not have such a requirement. The number of
credit hours required in the fifteen institutions that had
such a requirement varied.
In the area of Voice, the number of credit hours
ranged from one to eight hours. The credit hour
requirement in Piano for minors to graduate ranged from
two to eight hours. Two directors (10 percent) required
two or four hours of Piano Keyboard harmony respectively
for minors to graduate.
With regard to applied music -- Woodwind, brasswind
and percussion course requirements for minors to graduate
ranged from two to seven hours as reported by eight
directors (40 percent). None of the twenty directors
reported requirements in either class strings, class wood winds, class brasswinds, class percussion, brass/percussion
and percussion/woodwind for minors to graduate. Credit Hours Available for Applied Music
— Organ and Non-Band Instruments
The response most frequently reported for the quesion about the total number of credit hours available in applied music - was in the area of piano and voice. The second most commonly reported area was in wind and percussion instruments, and the third most commonly reported area consisted of organ, guitar and strings.
Table 33 reveals the directors' responses in reference to the credit hours available in organ, guitar and strings.
TABLE 33
FREQUENCY PERCENTAGE AND CREDIT HOURS AVAILABLE IN APPLIED MUSIC — ORGAN AND NON-BAND INSTRUMENTS (N = 22)
NUMBER OF AREA OF CREDIT HOURS APPLIED NUMBER OF AVAILABLE MUSIC COURSES INSTITUTIONS PERCENTAGE (RANGE)
Organ 8 40 4-28 Gui tar 7 35 2-28 Stri ngs 7 35 1-28 160
Eight directors (40 percent) reported that their insti
tutions offered credit hours in organ. The number of
hours ranged from four to twenty-eight credit hours.
Seven directors (35 percent) indicated that their
institutions offered credit hours in guitar that ranged
from two to twenty-eight hours. Seven directors (35 percent) reported that from one to twenty-eight hours were available in strings. Results of the responses are shown in Table 33.
Number of Different Courses for Applied Music
— Organ and Non-Band Instruments
Table 34 shows the responses of the nineteen program directors when asked the number of difference courses in organ and non-band instruments. TABLE 34
FREQUENCY PERCENTAGE AND NUMBER OF DIFFERENT COURSES OFFERED IN APPLIED MUSIC — ORGAN And NON-BAND INSTRUMENTS (N = 19)
NUMBER OF AREA OF COURSES APPLIED NUMBER OF AVAILABLE MUSIC COURSES INSTITUTIONS PERCENTAGE (RANGE)
ORGAN 5 25 1-4
GUITAR 7 35 2-8
STRINGS 7 35 4-8 162
The findings revealed that the number of applied music
Organ and non-band instrument courses offered in the twenty institutions varied. Five directors (25 percent) reported that their institutions offered courses in organ. Of these five institutions, three offered two different courses each while the other two institutions offered one and four different courses in organ, respectively. Seven of the directors (35 percent) reported that they offered courses in guitar. The number of courses ranged from two to eight. Seven other institutions (35 percent) reported that they offered different courses in strings, ranging from four to eight courses.
Credit Hours Required of Majors to Graduate
(Applied Music -- Organ and Non-Band Instruments
The responses of the nineteen directors in regard to credit hours required of majors in Applied music, organ and non-band instruments are given in Table 35. TABLE 35
FREQUENCY PERCENTAGE AND CREDIT HOURS REQUIRED OF MAJORS IN APPLIED MUSIC — ORGAN AND NON-BAND INSTRUMENTS
NUMBER OF AREA OF CREDIT HOURS APPLIED NUMBER OF AVAILABLE MUSIC COURSES INSTITUTIONS PERCENTAGE (RANGE)
ORGAN 9 45 4-16
GUITAR 7 35 1-12
STRINGS 5 25 7-12
Nine program directors (45 percent) reported
requirements of credit hours in organ, ranging from four
to sixteen. Seven institutions (35 percent) reported that
their institutions required credit hours in guitar for their majors to graduate. These ranged from one to twelve credit hours. Five institutions (25 percent) reported having requirements ranging from seven to twelve credit
hours for their majors to graduate. Credit Hours Required of Minors to Graduate
(Applied Music —Organ and Non-Band Instruments
Responses of the program directors when asked the
number of credit hours available of minors in applied music, organ and non-band instruments are given in Table
36.
TABLE 36
FREQUENCY PERCENTAGE AND CREDIT HOURS REQUIRED OF MINORS IN APPLIED MUSIC: ORGAN AND NON-BAND INSTRUMENTS
NUMBER OF AREA OF CREDIT HOURS APPLIED NUMBER OF AVAILABLE MUSIC COURSES INSTITUTIONS PERCENTAGE (RANGE)
Organ 6 30 1-8
Guitar 7 35 1-9
Stri ng 5 25 2-7 165
Very few directors (five, 25 percent) reported that
their institutions required credit hours in strings for
their minors to graduate. In six institutions (30
percent) there was a requirement of credit hours in organ
for minors to graduate.
Credit hours in guitar was required in seven
institutions (35 percent) for minors to graduate. The
number of credit hours required of minors to graduate in
organ and guitar in the institutions that required them
ranged from one to eight hours and from one to nine hours,
respectively. The number of credithours required of
strings ranged from two to seven hours of minors to graduate.
Conducting—Beginning and Advanced
Table 37 presents the data concerning the number of credit hours available in beginning and advanced theory.
It also gives the required number of credit hours required of both minors and majors. FREQUENCY AND PERCENTAGE OF CREDIT HOURS AVAILABLE IN BEGINNING AND ADVANCED CONDUCTING
NUMBER OF AVAILABLE CREDIT HOURS
AREA OF NUMBER OF APPLIED NUMBER OF CREDIT HOURS MUSIC COURSES INSTITUTIONS PERCENTAGE (RANGE)
BEGINNING CONDUCTING 20 100 2-6
ADVANCED CONDUCTING 8 40 3/4-5
NUMBER OF CREDIT HOURS REQUIRED OF MINORS
BEGINNING CONDUCTING 20 100 2-6
ADVANCED CONDUCTING 4 20 2-6
NUMBER OF CREDIT HOURS REQUIRED OF MAJORS
BEGINNING CONDUCTING 20 100 2-6
ADVANCED CONDUCTING 4 20 2-6 167
All of the program directors indicated that their institutions offered courses in the area of beginning conducting, and eight (40 percent) indicated that credit hours were available in the area of advanced conducting.
Of the twenty institutinns offering courses in beginning conducting, seventeen (85 percent) offered only one such course while the remaining three offered two courses. Of the eight directors reporting that their institutions offered advanced conducting courses, one offered two such courses, the others each offered one course.
The beginning conducting requirement for majors ranged from one to three semester hours. Twelve directors (60 percent) indicated that their majors were required to complete two semester hours in beginning conducting. Six other directors indicated that a total of three credit hours were required of majors to graduate. The remaining two institutions required three-quarters of a semester hour and five semester hours of beginning conducting, respectively. Table 38 gives the number of different courses available in beginning and advanced conducting.
FREQUENCY AND PERCENTAGE OF COURSES OFFERED IN BEGINNING AND ADVANCED CONDUCTING
AREA OF NUMBER OF APPLIED NUMBER OF COURSES MUSIC COURSES INSTITUTIONS PERCENTAGE (RANGE)
Beginning Conducti ng 20 100 1 or 2 courses
Advanced Conducting 8 40 1 or 2 courses
The reported total number of credit hours required of majors in the area of advanced conducting ranged from two to six semester hours. Of the four directors (20 percent) reporting that their institution required courses in advanced conducting for majors to graduate, two institutions (10 percent) had a requirement for two semester hours; two other institutions reported a requirement of four semester hours; and the remaining two institutions required one and six semester hours, respecti vely. 169
As a requirement for minors to graduate, fifteen of the directors (75 percent) reported that their institutions had no requirements of credit hours in beginning conducting for their minors to graduate. The findings show that five of the institutions each reported that minors required two credit hours in beginning conducting to graduate. None of the twenty institutions had a requirement of advanced conducting for minors to graduate.
Music Literature
Course and credit hours offerings in the area of music literature are given in Table 39.
FREQUENCY AND PERCENTAGE OF MUSIC LITERATURE OFFERINGS
CREDIT HOURS AREA OF COLLEGES NO OF REQUIRED OF MUSIC MAJORS TO LITERATURE FREQUENCY|% COURSES GRADUATE
Piano Literature 1 5 1 2
Vocal-Choral 1 5 1 2 Literature
Vocal Pedagogy 1 5 1 1
Instrumental 1 5 1 1 Pedagogy 170
None of the twenty music teacher education program
directors indicated that one or more of the following
courses was offered or required at their institution:
String Literature
Woodwind Literature
Brass Literature
Percussion Literature
Orchestral Literature
Band Literature
Various directors did report the following: One
program director (5 percent) reported that one course in
Piano Literature was offered for two credit hours and was
required of majors; one program director (5 percent)
reported that one course in Vocal-Choral Literature was offered for two credit hours and was required of majors ;
another director (5 percent) indicated that one course in
Vocal pedagogy was offered for one credit hour and was
required of majors; one director (5 percent) indicated that one course in Instrumental Pedagogy was offered for one credit hour and was required of majors.
Responses included "Other" pertaining to areas of music literature, as reported by the respondents are as
fol 1ows: 171
Introduction to Music Literature
* Piano Pedagogy
Vocal Piano Pedagogy
Three directors (15 percent) revealed that one course
called Introduction to music literature (one credit hour) was both offered and required of majors; two directors (10
percent) revealed that one course, vocal 1 piano pedeagogy was offered for one credit hour but was not required of majors; only one director (5 percent) indicated that three
different courses of Piano Pedagogy was offered and
required of majors for a total of three credit hours.
Responses included as "Comments" pertaining to the area of music literature, as reported by sixteen directors
(80 percent), indicated that even though separate courses in music literature were not offered, the contents of many courses were "somewhat integrated throughout the curriculum." Also, sixteen directors (80 percent) revealed that music history and music literature were integrated and offered as one course called music history. Interestingly, not one of the twenty directors reported a single creidt hour in the area of music literature was required of minors to graduate. Ensemble — Large and Small
Table 40 reveals the responses of the directors when asked to describe the large and small offerings and required hours for majors and minors. 173
TABLE 40
FREQUENCY, PERCENTAGE OF COURSES AND CREDIT HOURS IN LARGE AND SMALL ENSEMBLES
NUMBER OF CREDIT HOURS OFFERED
AREA OF APPLIED NUMBER OF MUSIC NUMBER OF CREDIT HOURS/ COURSES INSTITUTIONS PERCENTAGE COURSES
Large Enserable 18 90 1-8 hours
Smal 1 Ensemble 8 40 2-8 hours
NUMBER OF DIFFERENT COURSES
Large Ensemble 19 95 1-8 courses
Smal 1 Ensemble 9 45 1-8 courses
NUMBER OF CREDIT HOURS REQUIRED OF MAJORS
Large Ensemble 14 70 2-8 hours
Smal 1 Ensemble 4 20 4-8 hours
NUMBER OF CREDIT HOURS REQUIRED OF MINORS
Large Ensemble 10 50 1-8 hours
Smal 1 Ensemble 4 20 1-8 hours - -174
Nearly all of the program directors (eighteen, 90
percent) indicated that credit hours were available in
their institutions in the area of large ensemble.
However, only eight directors (40 percent) indicated that
credit hours were available in the area of small
ensemble. The number of credit hours available in the
area of large ensemble ranged from one to eight credit
hours ; and the number of credit hours available in the area of small ensemble ranged from two to eight credit hours.
In regard to large ensemble, the number of different courses offered as reported by nineteen (95 percent) of the directorsranged from one to eight courses. Eleven directors (55 percent) reported that no courses were offered in small ensemble at their institutions and nine directors (45 percent) reported offering different couses ranging from one to eight in the area of small ensemble at their institutions.
The reported total number of credit hours required of majors in the are of large ensemble, as reported by fourteen directors (70 percent), ranged from two to eight semester hours. The remaining six directors (30 percent) reported that no credit hours were required of majors in the area of large ensemble. 175
In reference to credit hours required of majors in the
area of small ensemble, only four directors (20 percent)
indicated that their institutions required a range of four
to eight semester hours for graduation. Sixteen directors
(80 percent) reported that credit hours in small ensemble were not required at their institutions of majors.
In reference to the number of credit hours required of minors to graduate, ten directors (50 percent) reported no credit hours in large ensemble were required of minors.
Ten other directors (50 percent) reported a range of one to eight credit hours in large ensemble required of minors. Only four directors (20 percent) reported
required credit hours in small ensemble for minors. These credit hours ranged from one to eight hours. Responses of the results are shown in Table 40. Responses included as
"comments" pertaining to the area of ensemble revealed that eight directors (40 percent) reported that student participation in ensemble was required of majors, however, students had the option to take it without credit.
Composition. Counterpoint and Advanced Theory Courses
Responses pertaining to composition, counterpoint and advanced theory courses given by the music teacher education program directors are shown in Table 41. 176
FREQUENCY, PERCENTAGE OF COURSES AND CREDIT HOURS IN COMPOSITION, COUNTERPOINT AND ADVANCED THEORY COURSES
NUMBER OF CREDIT HOURS OFFERED
AREA OF NUMBER OF MUSIC NUMBER OF CREDIT HOURS/ COURSES INSTITUTIONS PERCENTAGE COURSES
Advanced Theory 14 70 1 1/2-10 hours
Counterpoint 12 60 1-3 hours
Composi tion 35 3/4 - 6 hours
NUMBER OF DIFFERENT COURSES
Advanced Theory 13 65 2-4 courses
Counterpoi nt 12 60 1 course
Composi tion 5 25 1 or 2 courses NUMBER OF CREDIT HOURS REQUIRED OF MAJORS
Advanced Theory 12 60 1/2-10 hours
Counterpoi nt 11 55 1 or 2 hours
Composi ti on 3 15 2 or 3 hours 177
In reference to the number of credit hours available,
fourteen directors (70 percent) revealed that credit hours
ranged from one and a half semester hour to ten semester
hours of Advanced Theory Courses. The remaining six directors (30 percent) reported that their institutions did not offer -- credit hours in the area of Advanced
Music Theory courses.
In the area of counterpoint, twelve directors indicated that their institution offered credit hours ranging from one to three hours. The other eight directors indicated that no credit hours were available at their institutions in the area of counterpoint.
Responses in the area of composition, as indicated by seven directors (35 percent), showed a range of three-quarters of a semester hour to six semester hours.
However, thirteen directors (65 percent) reported that at their institutions no credit hours were available in the area of composition.
With regard to the number of different courses, seven directors (35 percent) indicated that no courses were offered at their institutions in the area of advanced theory, and thirteen directors (65 percent) indicated that a range of two to four courses were offered in advanced theory. 178
In the area of counterpoint, twelve directors (60
percent) indicated that one course was offered, and eight
directors (40 percent) indicated that no courses were
offered at their institutions. In the area of compos
ition, fifteen directors (75 percent) reported that no courses were offered, and five directors (25 percent) indicated that their institutions offered either one or two courses in composition.
In regard to credit hours required of majors in advanced theory, twelve directors (60 percent) required credit hours ranging from one-half of a semester hour to ten semester hours. The remaining eight directors reported that their institutions did not offer credit hours in advanced theory.
In the area of counterpoint, eleven directors (55 percent) reported that either one or two credit hours were requiredof majors to graduate, and nine (45 percent) reported that no credit hours were required. In the area of composition, only three directors (15 percent) required either two or three credit hours, and seventeen directors indicated no required credit hours of majors.
None of the twenty directors indicated that their music teacher education programs required credit hours of minors in composition, counterpoint, and advanced theory for graduation. MUSIC EDUCATION METHODS COURSES
Table 42 gives the program directors responses to the
number of credit hours for music education courses that
were both available and required by majors.
FREQUENCY AND PERCENTAGE OF COURSES AND CREDIT HOURS IN MUSIC EDUCATION COURSES
NUMBER OF CREDITHOURS OFFERED
AREA OF NUMBER OF NUMBER OF MUSIC INSTITUTIONS PERCENTAGE CREDIT HOURS/ COURSES
Elem. School Musi c 85 1-6 hours
Sec. School Musi c 80 1-6 hours
Pre-Student Teachi ng 3 hours
Intro, to Music Teachi ng 1-3 hours
Elementary General Music (Vocal-Choral) 2 or 3 hours
Secondary Gen. (Vocal-Choral ) Elementary Instrumental Music 10 3 hours
Jr. High/Middle (Vocal-Choral ) 10 2 or 3 hours (TABLE 41 c o n t . )
AREA OF NUMBER OF NUMBER OF MUSIC INSTITUTIONS PERCENTAGE CREDIT HOURS/ COURSES
Jr. High/Middle (Instrumental) 10 2 hours
Secondary Instrumental 10 2 or 3 hours Elem. Curriculum & Instruction 5 3 hours
Sec. Curriculum & Instruction 3 hours
Sec. Supervision & Admi n. 3 hours
Elem. General Educati on 3 hours
General Music (K-12) 0 hours
NUMBER OF DIFFERENT COURSES
Elem. School Musi c 17
Sec. School Music 16 80 1 course
Pre-Student 1 20 1 course
Intro, to Music Teachi ng 4 1 course
Elem. Gen. Music (Vocal-Choral) 3 15 1 course
Sec. General (Vocal-Choral) 3 15 1 course (TABLE 42 c o n t . )
AREA OF NUMBER OF NUMBER OF MUSIC INSTITUTIONS PERCENTAGE CREDIT HOURS/ COURSES
Elem. Instr. Music 10 1 course
Jr. High/Middle (Vocal-Choral ) 10 1 course
Jr. High/Middle (Instrumental) 10 1 course
Sec. Instr. 10 1 course
Elem. Currie. & Instruction 5 1 course
Sec. Currie. & Instructi on 5 1 course
Sec. Super vision & Adm. 1 course
Elem. General Education 1 course
General Music (K-12) ) 0 0 course
NUMBER OF CREDIT HOURS REQUIRED BY MAJORS
Elem. School Musi c 16 1-6 hours
Sec. School Musi c 16 1-6 hours
Pre-Student Teaching 5 25 1 hour
Intro, to Music Teaching 5 25 1-3 hours (TABLE 42 cont.)
AREA OF NUMBER OF NUMBER OF MUSIC INSTITUTIONS PERCENTAGE CREDIT HOURS/ COURSES
Elem. Gen. Music (Vocal-Choral) 20 1-3 hours
Sec. General (Vocal-Choral) 20 1 or 2 hours
Elem. Instr. Music 15 1-3 hours
Jr. High/Middle (Vocal-Choral) 15 1-3 hours
Jr. High/Middle (Instrumental 10 1 or 2 hours
Sec. Instr. 15 1-3 hours
Elem. Currie. & Instruction 5 3 hours
Sec. Currie & Instruction 5 3 hours
Sec. Supervision & Adm. 5 3 hours
Elem. General Education 5 3 hours
General Music (K-12) 0 0 hours 183
Comments categorized as "Other" In reference to music education methods courses, reported by the twenty directors, revealed that the two most frequently offered music teacher education courses were "Elementary School
Music" and "Secondary School Music." Seventeen directors
(85 percent) revealed that only one methods course.
Elementary School Music, was offered. This course was offered to credit hours ranging from one to six hours and was required of majors. Sixteen program directors (80 percent) reported that one course. Secondary School Music was offered and required of majors. The number of credit hours ranged from one to six credit hours.
Other less frequently offered music teacher education courses were reported by the music teacher education directors. Four directors (20 percent) indicated that courses entitled, "Introduction to Music Teaching" and
"Pre-Student Teachings" were offered and required of music teacher education students. The credit hours for these courses ranged from one to three semester hours each.
Three directors (15 percent) reported offering two courses: "Elementary General Music" (Vocal-Choral) and
"Secondary General Music" (Vocal-Choral ). While
Elementary General Music was offered for two credit hours.
Secondary General Music — Vocal Choral was offered for 184
either two or three credit hours. Both courses were
required of majors.
Two directors (10 percent) indicated that one course each of the following was offered: "Elementary
Instrumental Music" and "Secondary Instrumental Music."
Both directors indicated that three credit hours were required for each of the two courses and were required of majors.
Two other directors (10 percent) reported three other courses: "Junior High/Middle Vocal-Choral ", "Junior
High/Middle Instrumental" and "Secondary Instrumental" were offered at their institutions. These institutions required these courses for either two or three credit hours for graduation.
Additional comments included as "Other" pertaining to music teacher education methods course offerings, as revealed by four program directors (20 percent) included the following:
Elementary Curriculum and Instruction (5 percent)
Secondary Curriculum and Instruction (5 percent)
Secondary Supervision and Administration
(5 percent)
Elementary General Education (5 percent)
Each course was offered for three credit hours and was required of majors. 185
None of the twenty program directors indicated that
"General Music" (K-12) was offered at their institution.
All of the methods courses were offered for credit hours
varying from one to three hours, except for the courses.
Elementary and Secondary School music.
Both Elementary School Music and Secondary School
Music courses were offered for either five or six credit hours. None of the twenty music teacher education program directors indicated that courses or credit hours in the area of music education methods were required of minors.
Student Teaching
Table 43 reports the respones of directors pertaining to the area of student teaching.
FREQUENCY AND PERCENTAGE OF COURSES AND CREDIT HOURS IN THE AREA OF STUDENT TEACHING
NUMBER OF CREDIT HOURS OFFERED
NUMBER OF NUMBER OF MUSIC INSTITUTIONS COURSES/CREDIT HOURS _____ Elem. Gen. Instru. 2 10 5 or 6 hours
Sec. Gen. Choral 3 15 5 or 6 hours
Elem. Instru. 3 15 5 or 6 hours
Sec. Instru. 3 15 5 or 6 hours 186
TABLE 43 (c o n t.)
AREA OF NUMBER OF NUMBER OF MUSIC INSTITUTIONS PERCENTAGE COURSES/CREDIT ______HOURS______
NUMBER OF DIFFERENT COURSES Elem. Gen. 1 or 2 courseC s)
Sec. Gen. Choral 15 1 or 2 course(s)
Elem. Instru. 15 1 or 2 courseC s)
Sec. Instru. 15 1 or 2 course(s)
NUMBER OF CREDIT HOURS REQUIRED OF MAJORS Elem. Gen. Instru. 2 10 5 or 6 hours
Sec. Gen. Choral 15 5 or 6 hours
Elem. Instru. 15 5 or 6 hours
Sec. Instru. 15 5 or 6 hours
Seventeen music teacher education program directors
(85 percent) reported that they offered one general course in student teaching that included the combined level of elementary and secondary instead of different courses according to designated areas and levels in music. One general course in student teaching was offered for six credit hours and was required of music teacher education majors but not, of music teacher education minors. 187
Only three directors (15 percent) indicated different
courses at different levels in the area of student
teaching. According to the three directors (15 percent),
four courses in the area of student teaching were offered :
Elementary General Instrumental
Elementary General Choral
Secondary General Choral
Secondary General Instrumental
No more than two courses were offered in each of the above
areas. These courses were offered for either five or six credit hours and were required of majors.
Recital -- Senior Recital. Junior Recital. Recital Attendance
Eighteen directors (90 percent) required senior recital of majors but did not offer creidt hours for the course toward graduation. Two directors (10 percent) reported that senior recital was required of majors, but it was not offered as a course. Majors were to fulfill this requirement by completing the last academic quarter/semester of applied music major instrument study.
Two directors (10 percent) indicated that a junior recital was required of majors to graduate. The remaining eighteen directors (90 percent) did not require credit hours in the area of junior recital. None of the twenty 188
directors reported credit hours or different courses as a
requirement of minors. All twenty program directors
reported that Recital Attendance was required of majors;
however, academic credit for graduation was not avail
able. No program director reported offering a course in
Recital Attendance. Also, one of the twenty program
directors reported that Recital Attendance was required of
mi nors.
General Music
Table 44 gives the frequency and percentage of courses
and credit hours that are offered and required in the area
of general music.
FREQUENCY, PERCENTAGE, DIFFERENT COURSES AND CREDIT HOURS IN THE AREA OF GENERAL MUSIC
NUMBER OF CREDIT HOURS AVAILABLE
AREA OF NUMBER OF NUMBER OF MUSIC INSTITUTIONS PERCENTAGE COURSES/CREDIT HOURS (RANGE)
Music For Early Childhood 11 55 3 hours
Music Appreciation 8 40 2-4 hours 189
TABLE 44 (c o n t.)
FREQUENCY, PERCENTAGE, DIFFERENT COURSES AND CREDIT HOURS IN THE AREA OF GENERAL MUSIC
NUMBER OF CREDIT HOURS AVAILABLE
AREA OF NUMBER OF NUMBER OF MUSIC INSTITUTIONS PERCENTAGE COURSES/CREDIT HOURS (RANGE)
Afro-American Music 5 25 1-6 hours
Music & Worship 3 15 1 or 3 hours
Opera Workshop 2 10 1 or 2 hours
Jazz 2 10 3 hours
Vocal Diction 1 5 3 hours
Black Music 1 5 3 hours
Hymnol ogy 1 5 3 hours
NUMBER OF DIFFERENT COURSES
Music For Early Childhood 11 55 1 course
Musi c Appreciati on 8 40 1 course
Afro-American Musi c 5 25 1
Music & Worship 3 15 1 (TABLE 44 c o n t.)
FREQUENCY, PERCENTAGE, DIFFERENT COURSES AND CREDIT HOURS IN THE AREA OF GENERAL MUSIC
NUMBER OF CREDIT HOURS AVAILABLE
AREA OF NUMBER OF NUMBER OF MUSIC INSTITUTIONS PERCENTAGE COURSES/CREDIT HOURS (RANGE)
Opera Workshop 2 10 1 course
Jazz 2 10 3 courses
Vocal Diction 1 5 1 course
Black Music 1 5 4 courses
Hymnology 1 5 1 course
NUMBER OF CREDIT HOURS REQUIRED OF MAJORS
Music For Early ChiIdhood 0 0 0 hours
Music Appreciation 8 40 2-4 hours
Afro-American Music 5 25 2 or 3 hours
Music & Worship 1 5 1 hour
Opera Workshop 0 0 0 hour
Jazz 0 0 0 hour
Vocal Diction 0 0 0 hour
Black Music 0 0 0 hour
Hymnology 0 0 0 hour 191
More program directors (eleven, 55 percent) reported
offering the course. Music for Early Childhood, for three
credit hours, than any other course listed under General
Music. Music Appreciation as reported by eight directors
(40 percent), offered either two or four credit hours.
Afro-American Music, as reported by five directors (25
percent), offered either one or six credit hours.
Other reported courses included Music and Worship,
reported by three directors (15 percent) for either one or
three credit hours ; Opera Workshop, reported by two pro gram directors (10 percent), available for either one or two credit hours ; two directors (10 percent) revealed that
Jazz courses, reported by two directors for three credit hours. In addition, three directors (15 percent) reported three courses:
Vocal Diction (5 percent)
Black Music (5 percent)
Hymnology (5 percent)
Each of these courses were available for three credit hours each. As reported by the directors in reference to the number of different courses offered in these areas, more courses were offered in the area of Black music
(four) and Jazz (three) than in any ofthe other areas.
Only one course was offered in each of the following: 192
Music and Worship, Afro-American Music, Opera Workshop,
Vocal Diction and Music Appreciation. Two courses such as
recreational music, history and development were not offered.
Of all the courses listed under the area. General
Music, fourteen program directors (70 percent) reported a total of three courses required of majors. One director
(5 percent) required one credit hour for the course Music and Worship ; five directors (25 percent) required either two or three credit hours for the course Afro-American
Music ; and eight directors (40 percent) required either two or four credit hours of majors for music appreciation.
Of the twenty program directors, four (20 percent) required only one course, music appreciation, of minors.
In these four institutions, music appreciation was offered for either two or three credit hours.
Seminar in Education
According to the twenty program directors, none of their institutions offered courses under the area of
Seminar in Education for credit. Courses listed in the questionnaire under the area of Seminar in Education were:
Study Skills
Upward Bound and Special Skills 193
Test Taking Skills & Strategies
Developing Teaching Competencies
National Teacher Workshop
Advising
Fifteen program directors (75 percent) reported that
music teacher education students were advised by both the
teacher education faculty and music faculty. Five direc
tors (25 percent) reported that their students were either
advised by a teacher education faculty member or by a music faculty member; however, not by both.
Total Music Hours for Graduation
Table 45 shows the frequency and percentage of the total required music hours, as reported by the twenty music teacher education program directors. FREQUENCY AND PERCENTAGE OF TOTAL MUSIC HOURS (N = 20)
Total Music Frequency Cummulati ve Hours Inst. Frequency Percent %
43S 1 1 5 5 45S 2 3 10 15 49S 2 5 10 25 50S 1 6 5 30 52S 1 7 5 35 57S 2 9 10 45 58S 2 11 10 55 59Q* 1 12 5 60 59S 1 13 5 65 60S 1 14 5 70 613 3 17 15 85 623 1 18 5 90 633 1 19 5 95 683 1 20 5 100
S = Semester hours Q = Quarter hours *59Q = 39.3 Semester hours
An examination of the data revealed that the range of total music hours for graduation was from forty-three to sixty-eight semester hours. More institutions, three (15 percent) required a total of sixty one credit hours. The computed mean of total music hours for the colleges was fifty-two music hours. None of the program directors indicated neither upper division nor lower division music hours for graduation. Grand Total Hours for Graduation
Table 46 reveals the frequency and percentage of grand total hours required of music teacher education majors for graduation, as reported by the twenty program directors.
TABLE 46
FREQUENCY AND PERCENTAGES OF GRAND TOTAL HOURS FOR GRADUATION (N = 20)
GRAND TOTAL FREQUENCY CUMM. % CUMM HOURS FOR OF FREQUENCY % GRADUATION INSTI.
120S 2 2 10 10 121S 1 3 5 15 124S 2 5 10 25 125S 1 6 5 30 128S* 2 8 10 40 131S 3 11 15 55 143S 1 12 5 60 144S 1 13 5 65 147S 1 14 5 70 127 1 15 5 75 129 1 16 5 80 130 1 17 5 85 133 1 18 5 90 134 1 19 5 95 136 1 20 5 100 C AIT1Û e ^ a V* h v«e
The grand total hours for graduation ranged from one hundred and twenty (120) to one hundred and forty-seven
(147) semester credit hours. The computed arithmetic mean for the grand total hours for graduation was one hundred and twenty-four (124) semester hours. Graduates
Section IV of the questionnaire was used for identi
fication and location of the 1979-80 through 1983-84 music
teacher education graduates of the selected institutions.
It held no specific value to the analyses of the data,
other than proper identification, classification and cate
gorization of the response instrument.
General Information
Section V of the questionnaire was . used for
identification of the respondent's status only. It held no specific value to the analyses of the data, other than proper classification and categorization of the response instrument.
FINDINGS — PART TWO EVALUATION BY THE MUSIC TEACHER EDUCATION ------ïïR^DiraTTs------
Part two presents the data as provided by the music
Teacher Education Graduates of the years 1979 through
1983. The findings presented were from the graduates' opinions as to how well their music teacher education program prepared them for their teaching; and their suggestions or comments for improvements in the music 197
teacher education programs at their undergraduate
institutions. The findings for this portion of the study are presented in four sections according to the objective
set forth in the research (Chapter I).
OBJECTIVE II
To identify relative strengths and weaknesses of music teacher education programs and music programs as perceived by their graduates.
The responses from questionnaires designed for the
Music Teacher Education Graduates enabled the researcher to answer Objective II. The findings have been organized in accordance with the structure of the instrument completed by the Music Teacher Education Graduates. The first section of the questionnaire (See Appendix C) was designed to collect factual information concerning the graduates.
SECTION I — FACTUAL INFORMATION
Graduates by Undergraduate Institution
Only ten of the twenty institutions provided names and addresses (total of 42) of Music Teacher Education
Graduates to participate as subjects for this study. 198
Table 47 shows a frequency and percentage distribution of graduates by institutions--the population for this portion of the study.
FREQUENCY AND PERCENTAGE DISTRIBUTION OF GRADUATES BY INSTITUTION
NUMBER OF percentages OF GRADUATES TOTAL SURVEYED
2 5 5 12 2 5 11 26 2 5 4 10 7 17 4 10 4 10 1 2 TOTAL T? TM*
* All percent amounts in this section have been rounded to the nearest whole number.
The data, as shown in Table 47, presents the number of graduates participating in this study, per institution, ranging from one to eleven. One institution had eleven graduates (26 percent)* to participate in this study; another institution had seven graduates (17 percent); and one other institution had five graduates (12 percent) to participate. These three institutions had a total of twenty-three graduates (55 percent of the total surveyed) ranging from five to eleven graduates, while the seven 199
other institutions had a total of nineteen graduates (45
percent), ranging from one to four graduates per
institution.
The Graduates' Graduate Institution
Table 48 provides the response of the graduates to the questions at what institution did you obtain your advanced degree?
TABLE 48
FREQUENCY DISTRIBUTION OF GRADUATE'S GRADUATE INSTITUTIONS (N = 11)
GRADUATE FREQUENCY PERCENTAGE INSTITUTION
1 9 East Texas State University 1 9 George Peabody College 1 9 Tennessee State University 2 18 University of Illinois 1 9 Alabama A & M University 1 9 University of Alabama in Birmingham 3 27 The Ohio State University 1 9 Morgan State University TOTALS TT IM 200
Thirty-one graduates (74 percent) indicated that they
had not received an advanced degree beyond their
baccalaureate. Eleven graduates (26 percent) reported
that they had acquired either masters or doctoral
degrees. These eleven participants had attended a total
of eight different graduate institutions, although three
(27 percent) had obtained their advanced degrees from the
same institution and two others (18 percent) had obtained
their degrees from another institution. Thus, the
remaining six (55 percent) had received their degrees from
six respectively different graduate institutions.
Year of Undergraduate Degree
Table 49 gives the response of the forty-two graduates
indicating the year in which their undergraduate degrees were received. FREQUENCY AND PERCENTAGE DISTRIBUTION OF UNDERGRADUATES DEGREES OF GRADUATES BY YEAR (N = 42)
YEAR FREQUENCY PERCENTAGE
1979 8 19 1980 9 21 1981 6 14 1982 10 24 1983 9 21
The fewest number of graduates received baccalaureate
(six, 14 percent) in 1981, and the most degrees (ten, 24 percent) were conferred in 1982. The number of degrees awarded per year, for the graduates, ranged from six to ten during the years of 1979, 1980, 1981, 1982 and 1983.
Degrees Earned by Graduates
The responses of the graduates pertaining to degrees earned are given in Table 50. FREQUENCY AND PERCENTAGE OF DEGREES EARNED BY GRADUATES (N=44)
DEGREES CUMULATIVE CUMULATIVE EARNED FREQUENCY FREQUENCY PERCENTAGE PERCENTAGE
BACCALAUREATE
B.S. Ed 2 2 4.762 4.762 B.A. 13 15 30.952 35.714 B.S. 27 32 64.286 100.000
MASTERS (N = 11) M.S. 1 1 9.091 9.091 M. Ed 2 3 18.182 27.273 M.M 2 5 18.182 45.455 M.A. 6 11 54.545 100.000
DOCTORATE (N = 1)
D.M.A. 1 1 100.000 100.000
All forty-two respondents (100 percent) indicated that they had received their undergraduate degree. Two of the forty-two earned two baccaleaureate degrees each. More bachelor of science degrees
(twenty-seven, 64 percent) were conferred than either bachelor of Arts degrees (thirteen, 31 percent) or bachelor of science in education degrees (two, five percent).
In addition, eleven graduates (26 percent) reported having received their masters degrees. Of the eleven. 203
more graduates had master of arts degrees (six, 55
percent) than either master of music degrees (two, 18
percent), master of education degrees (two, 18 percent),
or master of science degrees (one, 9 percent). Only one
of the forty-two graduates (2 percent) had received a
doctorate, which was a doctor of musical arts degree.
Although thirty-one of the forty-two graduates (74
percent) had not received their masters or doctorate
degrees, five of the thirty-one graduates (16 percent)
reported, under the section of "Other," that they were
currently working toward the masters degree. Only one of
the thirty-one (2 percent) was working towards a doctorate
of music arts degree. Therefore, of the thirty-one
graduates without master or doctorate degrees, six (18
percent) are currently working toward receiving advanced
degrees.
Hence, the data revealed that twenty-five graduates
(60 percent) had neither received nor were currently working toward advanced degrees.
Major Area of Study
Table 51 summarizes the graduates' responses in reference to their major area of study and grade/level. FREQUENCY, PERCENTAGE DISTRIBUTION OF GRADUATES MAJOR AREA OF STUDY AND GRADE/LEVEL
AREA OF CUMULATIVE CUMULATIVE LEVEL/ STUDY FREQUENCY FREQUENCY PERCENTAGE PERCENTAGE GRADE
Vocal 15 15 36 36 All Level/ K-12 1 16 2 38 7-12 2 18 5 43 K-8 3 21 7 50 6-8 (Middle)
Instrumental and Keyboard 13 34 31 81 7-12 3 37 7 88 All Level/ K-12
General 5 42 12 100 All Level• 205
Of the forty-two graduates, twenty-one (50 percent) reported Vocal, sixteen (38 percent) indicated instrumental and keyboard, and five (12 percent) indicated general music as their major area of study. The twenty-one gradu ates (50 percent) whose major area was vocal, reported an overall grade level preparation of all level/K-12. Table
51 presents a breakdown of responses.
Of the sixteen graduates (38 percent) whose major area was instrumental/keyboard, thirteen (81 percent) indicated preparation at the 7-12 grade level and three graduates
(19 percent) indicated the K-12 level. In the area of general music, all five graduates (12 percent) indicated their level/grade preparation as all level.
Graduates reported that courses had been available to them in areas such as music history, music theory, perfor mance, jazz studies and church music; however, none of the graduates indicated that any of these was their major area of concentration as music teacher education majors.
Teaching Certificate You Now Have
Table 52 reports the frequency and percentage of types of teaching certificates. FREQUENCY AND PERCENTAGE DISTRIBUTION OF TEACHING CERTIFICATE
TEACHING FREQUENCY OF CERTIFICATE GRADUATES PERCENTAGE
Regular/professional 35 83 Provi si onal/temporary 5 12 Denomi nati onal 2 5 TOTAL TÏÏÏÏ
The forty-two graduates reported a total of three different levels/grades for teaching : All level/K-12, 7-12 and K-8. Table 53 reported the frequency, percentage distribution of grade/level for the forty-two graduates. FREQUENCY AND PERCENTAGES DISTRIBUTION OF GRADE/LEVEL
FREQUENCY LEVEL/GRADE PERCENTAGE
33 All Level/K-12 79 6 7-12 14 3 K-8 7 TOTAL TDÏÏ
There were three basic types of teaching certificates
listed by the forty-two graduates. The three types were:
(1) regular/professional, (2) provi sional/temporary, and
(3) denominational (Seventh-Day Adventists). Thirty-five
graduates (83 percent) reported that they received the
regular/professional certificate, five (12 percent)
reported the provi sional/temporary certificate and two (5 percent) reported the denominational certificate.
The forty-two music teacher education graduates were certified in nine different states as shown in Table 54. FREQUENCY AND PERCENTAGE-DISTRIBUTION OF STATES IN WHICH GRADUATES RECEIVED TEACHING CERTIFICATE
STATE FREQUENCY PERCENTAGE
South Carolina 8 19 Vi rgi ni a 8 19 Georgia 7 17 Texas 4 10 Maryland 4 10 A1abama 4 10 Tennessee 2 5 New York 2 5 North Carolina 3 7 TOTAL 77 TM
Eight graduates (19 percent) were certified in South Caro lina; eight in Virginia (19 percent); seven graduates (17 percent) in Georgia; four graduates (10 percent) in Texas; four graduates (10 percent) in Maryland; four (10 percent) in Alabama; two (5 percent) in Tennessee; two (5 percent) in New York; and three (1 percent) were certified in North
Caroli na. SECTION II -- EMPLOYMENT STATUS
Teaching Experience
In reference to employment status, graduates were asked to report their total number of years of teaching.
Details of responses are given in Tables 55 and 56.
TABLE 55
RANK ORDER FREQUENCY AND PERCENTAGES DISTRIBUTION OF TOTAL MONTHS/YEARS GRADUATES TAUGHT
TOTAL NUMBER OF MONTHS/ FREQUENCY YEARS OF TEACHING (GRADUATES) PERCENTAGE
3 years 12 29 2 years 11 26 1 year 7 12 4 years 5 17 5 years 2 5 18 months 2 5 6 months 2 5 30 months 1 2 TOTAL *TDÏÏ
*A11 percent amounts in this section have been rounded to the nearest whole numbers, when necessary. FREQUENCY AND PERCENTAGE DISTRIBUTION OF YEARS GRADUATES TAUGHT IN PRESENT POSITION
NUMBER OF YEARS IN PRESENT POSITION FREQUENCY PERCENTAGE
2 years - 15 35.714 1 year 12 28.571 3 years 8 19.048 4 years 3 7.143 5 years 1 2.381 6 months 2 4.762 18 months 1 2.381
Thirty-five graduates (83 percent) reported a total number of years ranging from one to four years; in addition,
three graduates who reported their experience by months
indicated they had taught either one and one-half year or
two and one-half years. Thus, the total percentage of
graduates who have taught within the one to four year
range is almost 93 percent. Two graduates (5 percent)
reported five year's experience the remaining two
graduates (5 percent) reported six months experience.
When asked the total number of years in present
teaching position, the same report was given.
Thirty-eight graduates (93 percent) reported a total
number of years ranging from one to four years; two
graduates (5 percent) reported five years, and the
remaining two graduates reported six months. States/Country Taught In
The forty-two music teacher education graduates
reported that they taught in twelve different states.
Table 57 shows the responses.
TABLE 57
RANK ORDER FREQUENCY BY STATES/COUNTRY IN WHICH GRADUATES TAUGHT
STATE FREQUENCY PERCENTAGE
South Carolina 8 19.048 Vi rgi ni a 6 14.286 Georgia 6 14.286 Texas 4 9.524 Tennessee 3 7.143 New York 3 7.143 North Carolina 3 7.143 Ohio 3 7.143 Maryland 3 7.143 Kentucky 1 2.381 Alabama 1 2.381 Oregon 1 2.381 212
The breakdown for each of the twelve states is as
follows: South Carolina (eight, 19 percent); Virginia
(six, 14 percent); Georgia (six, 14 percent); Texas (four,
9.5 percent); Tennessee, New York, North Carolina, Ohio and Maryland (three graduates each, six percent each);
Kentucky, Alabama and Oregon (one graduates each, two percent each).
All of the music teacher education graduates had taught only in the United States. However, six graduates
(14 percent) indicated under "Comments" that they had served as missionaries in Japan, Middle East, Caribbean, and African countries during their college years. Types of System and Number of Years
Table 58 contains the graduates' responses in regards to the type of school system and the number of years taught.
TABLE 58
FREQUENCY AND PERCENTAGE DISTRIBUTION OF TYPES OF SYSTEMS AND NUMBER OF YEARS
TYPES OF FREQUENCY NUMBER SYSTEM OF GRADUATES OF YEARS
URBAN PRIVATE 9.524 3 2- 1/2 7.143 3 3 7.143 TU 23.810
RURAL PRIVATE
SUBURBAN PRIVATE 1 2.381 1/2 4.762 7 7 m
URBAN PUBLIC 8 1 19.048 5 2 11 .905 1 1- 1/2 2.381 1 5 2.381 1? 35.715
PUBLIC 4 1 9.524
SUBURBAN PUBLIC 6 1 14.286 1 4 2.381 16.667 214
More graduates (ten, 24 percent) taught in Urban private systems than in rural private systems (three,
7 percen t), and more graduates (fifte e n , 36 percent) taught in urban public systems than in rural public system
(four, 10 percent) or in suburuban public (seven, 17 percent). Of these six classes of systems, the most graduates (fifteen, 35.7 percent) taught in Urban Public systems.
The number of years graduates taught in Urban Public and Suburban Public systems ranged from one to five years. While graduates that taught in urban private systems indicated a range from one to three years, graduates who taught in suburban private systems had taught for either one-half or one year. Graduates that taught in rural private and rural public had taught for only one year.
Your Present Position
Table 59 gives the graduates area of their present teaching position. 215
FREQUENCY AND PERCENTAGE DISTRIBUTION OF GRADUATES' PRESENT POSITION
PRESENT POSITION FREQUENCY PERCENTAGE
Education/General Music Teacher 1 2 Private Voice Teacher 13 31 Private Keyboard Teacher 6 14 Piano Teacher (4) Organ Teacher (2) Private Band/Orchestra Teacher 4 10 Trumpet (3) Flute (1) Private Teacher of Composition 1 2 Teacher in Public Elementary 6 14 Teacher in Public Jr. High/Middle School 5 12 Teacher in Public Secondary School 4 10 Teacher in College 2 5 216
The majority of music teacher education graduates
(twenty-seven, 64 percent) were teachers of voice in level
grade K-12. Ten graduates (24 percent) are either junior
high/middle school vocal teachers (and five, 12 percent)
are high school vocal teachers. Twelve graduates (28
percent) indicated that they were presently employed as a
private teacher of vocal music. Eight graduates (19.0
percent) indicated that they were teachers of instrumental music. Of these e ig h t, two (5 percent) were private elementary instrum ental teach ers, two (5 percent) were ju n io r high/m iddle school teach ers, and four (10 percent) were teachers of general music. Finally, two graduates were college teachers and only one was a private teacher of composition.
Tables 60 and 61 summarize the graduates' responses in reference to the population of towns and schools in which they taught. TABLE 60
FREQUENCY AND PERCENTAGE DISTRIBUTION OF APPROXIMATE POPULATION OF TOWNS
POPULATION FREQUENCY PERCENTAGE
Less than 1,000 1,000 - 10,000 21 50 10,000 - 19,499 19,500 - 49,999 5 12 50,000 - 199,999 3 7 200,000 - 1,000,000 7 17 1,000,000 - 2,500,000 0 2,500,000 6 14 TOTAL 1ÏÏÏÏ
FREQUENCY AND PERCENTAGE DISTRIBUTION OF APPROXIMATE ENROLLMENT OF SCHOOLS/COLLEGES (N = 42)
POPULATION FREQUENCY PERCENTAGE
150 - 499 14 33 500 - 999 17 40 1,000 - 2,200 8 19 2,201 - 4,999 5,000 - 8,999 1 2 9,000 - 10,000 2 5 TOTAL *TM
*A11 percent amounts in this section have been rounded to the nearest whole number, when necessary. 218
The forty-two graduates indicates that they taught in towns and cities of a wide range of populations (1,000 to almost 10 million). Graduates also indicated that the approximate enrollment of the school or college where they worked ranged from one hundred and f if ty to nine thousand five hundred students.
Music Subject Taught
Table 62 shows the area music graduates taught for both "now" and the " p a s t."
TABLE 62
FREQUENCY AND PERCENTAGE DISTRIBUTION OF MUSIC SUBJECT TAUGHT (N = 42)
MUSIC FREQUENCY SUBJECT NOW 1 PAST PERCENTAGE
1 Elementary Vocal (Private) 12 I l 2 28.571 Elementary Instrumental 2 1 2 4.762 J r . High/Middle - Vocal 10 1 10 23.810 Jr. High/Middle 1 -Instrumental 2 1 2 4.762 High School - Vocal 5 1 5 11 .905 High School 1 - Instrumental 4 1 4 9.524 General Music 4 1 4 9.524 Teacher of Composition 1 (Private) 1 1 1 2.381 Teacher in College 1 - General Music 2 1 2 4.762 219
All of the graduates indicated that their current teaching area is the same as their prior teaching area.
Twenty-six graduates (64 percent) reported that they taught vocal music, K-12; eig h t graduates (14 percent) taught instrumental music. Four graduates (10 percent) taught general music; and one graduate taught
Composition. Two graduates (5 percent) indicated that they taught general music and music education courses at the college level.
SECTION III — ACADEMIC PREPARATION
In Section III of the questionnaire for graduates, respondents were asked to in d icate which courses they had taken at their undergraduate institution and were asked to rate each course on a five-point scale. Table 63 gives the ratings of academic preparation by courses as perceived by the graduates. SUMMARY OF FREQUENCY AND PERCENTAGE RATINGS OF ACADEMIC PREPARATION BY COURSES AS PERCEIVED BY THE GRADUATES
COURSE WHO TOOK LESS THAN VERY COURSE POOR ADEQUATE ADEQUATE GOOD EXCELLENT
f % f % f % f % f %
Fundamentals of Music 31 74 3 10 5 23 31 Music Theory 42 100 2 5 3 7 3 7 16 18 43 Sight Singing 37 88 3 10 3 10 13 31 11 7 17 Dictation 35 83 5 14 3 9 13 37 12 2 6 Basic Music Hi story 42 100 2 5 3 7 9 21 17 40 11 26 Advanced Music Hi story 29 69 1 4 5 17 3 10 7 24 13 45
MAJOR APPLIED MUSIC Piano 37 88 1 3 2 5 11 30 13 35 10 27 Organ 10 24 - - 2 20 2 20 2 20 4 40 Voice 35 83 3 9 7 20 7 20 18 51 Strings 22 52 2 9 3 14 4 18 6 27 7 32 Woodwi nds 23 55 1 4 5 22 11 48 6 26 Brass 25 60 1 4 5 20 11 44 8 32 Percussion 23 55 1 4 1 4 4 17 11 48 6 26 Guitar 16 38 1 6 2 13 3 19 7 44 3 19 TABLE 63 (Continued)
TOTAL WHO TOOK COURSE ADEQUATE EXCELLENT
f % f % f % f % f % MINOR APPLIED MUSIC Piano Keyboard Harmony 26 62 2 8 8 31 11 42 5 19 Voice 25 60 3 12 3 12 9 36 10 40 Strings 15 36 1 7 1 7 2 13 8 53 3 20 Woodwi nds 18 42 2 11 6 33 7 39 3 17 Brass 18 43 3 17 4 22 7 39 4 22 Percussion 17 40 3 18 3 18 8 47 3 18 Guitar 11 26 1 9 2 18 5 45 3 28
Beginning Conducting 42 100 1 2 5 12 6 14 15 36 15 36 Advanced Conducting 26 62 1 4 4 15 3 12 8 31 10 38 , Large Ensemble 36 86 1 3 1 3 6 17 12 33 16 44 Small Ensemble 32 76 2 6 1 3 3 9 14 44 12 38
GENERAL MUSIC Music & Worship 17 40 1 6 . -- 5 29 6 35 5 29 Afro-American Music 19 45 1 5 2 11 8 42 7 37 1 5 TABLE 63 (Continued)
TOTAL WHO TOOK LESS THAN VERY COURSE ADEQUATE ADEQUATE GQOD
f % f % f % f % f % f %
Qpera Workshop 11 26 2 18 2 18 2 18 5 45 Vocal Diction 20 48 1 5 2 10 3 15 7 35 7 35 Music Appreciation 21 50 --- - 6 29 2 29 9 43 MUSIC LITERATURE Piano Literature 18 43 1 6 633 633 5 28 Vocal-Choral Literature 19 45 1 5 3 16 4 21 6 32 5 26 String Literature 9 2 1 11 5 56 1 11 2 22 Woodwind Li terature 10 24 1 10 1 10 6 60 2 20 __ Brass Literature 10 24 1 10 1 10 3 30 2 20 3 30 Percussion Literature 9 21 1 11 1 11 7 78 Vocal Pedagogy 14 33 2 14 4 29 5 36 3 21 Instrumental Pedagogy 15 36 2 13 -- 4 27 5 33 4 27
Counterpoint 37 88 10 27 1 . 3 11 30 13 35 2 5 Composition 29 69 6 21 2 7 7 24 12 41 2 7 Advanced Theory 29 69 1 4 2 7 10 34 14 48 2 7 TABLE 63 (Continued)
RATING TOTAL WHO TOOK LESS THAN VERY COURSE ADEQUATE ADEQUATE GOQD
f % f % f % f %■ f % f %
MUSIC EDUCATION METHODS Intro, to Music Teaching 35 83 2 6 3 9 18 51 12 34 El ementary General 28 67 1 4 1 4 3 11 12 43 11 40 El ementary Instrumental 17 40 1 5.5 __ 1 5.5 12 71 3 18 Junior High/ Middle School Instrumental 17 40 14 82 3 18 Junior High/ Middle School Vocal 16 38 2 12.5 12 75 2 12. Secondary Vocal - Choral 21 50 ___ 2 10 16 76 3 14 Secondary Instrumental 17 40 _ 2 12 10 59 5 29 General Music 31 71 7 23 14 33 9 30 Pre-Student Teaching 32 77 __ 1 3 3 9 9 28 19 59 TABLE 63 (Continued)
RATING TOTAL WHO TOOK LESS THAN VERY COURSE POOR ADEQUATE ADEQUATE GOOD
f % f % f % f %
STUDENT TEACHING Elementary General Instrumental 14 33 1 7 8 57 5 36 Secondary General Choral 22 53 ---- 4 18 11 50 7 32
RECITAL Junior Recital 13 31 1 7, 4 31 7 54 1 7. Senior Recital 40 95 -- 2 5 3 7.5 23 58 12 30 ADVISING Education Advisor 42 100 6 14 5 12 6 14 13 31 12 29 Music Advisor 42 100 6 14 5 12 3 7 8 19 21 50 Recital Attendance 23 55 1 4 2 9 8 19 9 39 3 13
SEMINAR IN EDUCATION Study Skills 17 40 1 6 7 41 7 41 2 12 Nat'1 Teacher Workshop 13 31 1 8 __ 3 23 7 54 2 15 Upward Bound Special Services TABLE 63 (Continued)
RATING TOTAL WHO TOOK LESS THAN VERY COURSE POOR ADEQUATE ADEQUATE GOOD EXCELLENT
f % f %
Test-Taking Skills Strategies Developing Teaching Competencies 14 9 64 Accompanying Laboratory 1 12.5 12.5 6 76 226
Comments categorized as "other" in reference to music theory, from the twenty program d ire c to rs revealed th at students were advised to take or not to take the course.
Fundamentals of Music, before taking the required course in Music Theory. Thirty-one (74 percent) of the forty-two graduates indicated they took Fundamentals of Music; only eleven (26 percent) did not take such a course. Of the thirty-one graduates who did take the course, ninety percent (28 of 31) of the graduates rated th e ir
Fundamentals of Music course as "very good" or
"exellent." All forty-two graduates indicated that they took Music Theory. Ratings of the Music Theory course revealed th at eighty-one percent (34 of 42) rated th is course as "very good" or "ex cellen t," while only twelve percent (5 of 42) rated i t "below adequate."
Forty-three percent (18 of 37) of the graduates rated
Sight Singing as "very good" or "excellent," while only fourteen percent (6 of 37) rated i t "below adequate."
Forty percent (14 of 35) of the graduates rated Dictation as "very good" or "excellent," while only twenty-three percent (8 of 35) rated i t "below adequate."
In the area of music history, graduates rated advanced music history higher than basic music h isto ry . Whereas all graduates took basic music history, only 69 percent
(29) of the forty-tw o graduates took Advanced Music 227
History. While twelve percent of the graduates rated
Basic Music History "below adequate," twenty-one percent rated Advanced Music History "below adequate."
Of all the courses offered in the area of major applied music, the graduates indicated that they took piano and voice more than any other course. It was in te re s tin g to note th a t brass (76 p ercen t), woodwinds and percussion (74 percent) courses received the highest
"above adequate" ratings of all courses in this area.
Voice received the highest "above adequate" rating (71 percent) followed by piano (62 percent). Courses that received the lowest "below adequate" rating in the area of major applied music were strin g s (23 p ercen t), organ (20 percent) and g u ita r (19 percent).
In the area of minor applied music, more graduates took piano (62 percent) and voice (60 percent) than any of the orchestral instruments or guitar. The three highest rated "above adequate" courses were voice (76 percent), percussion (65 percent) and piano (62 p ercen t). Courses in this area that received the lowest "below adequate" ratin g were percussion (18 p ercen t), brass (17 percent) and s trin g s (13 p ercent).
While all forty-tw o graduates took the course beginning conducting, only twenty-six (62 percent) of the forty-two graduates took the course advanced conducting.
Seventy-one percent (30 of 42) of the graduates rated 228
beginning conducting as "very good" or "ex cellen t," and
fourteen percent (6 of 42) rated it "below adequate."
Sixty-two percent (18 of 26) of the graduates rated
advanced conducting as "very good" or "excellent," while, only nineteen percent (5 of 26) rated i t "below adequate."
More graduates took large ensemble (36 or 86 percent) than small ensemble (32 or 76 percent). Eighty-one percent of the graduates rated small ensemble, as "very good" or "excellent" while seventy-eight percent of the graduates rated large ensemble as "very good" or
"excellent." Whereas six percent rated large ensemble
"below adequate," nine percent rated small ensemble "below ad eq u ate."
In the area of general music, the three most frequently taken courses were music appreciation (50 percent), vocal dictio n (48 percent) and Afro-American music (45 percent). The three courses were also rated by the graduates with the highest "above adequate" ratings; music appreciation (72 p ercent), vocal diction (70 percent) and music worship (65 percent). The three courses that received the lowest "below adequate" ratings were: opera workshop (18 percent), Afro-American music
(16 percent) and vocal dictio n (15 percent).
Table 63 shows th a t vocal-choral l it e r a t u r e (45 percent) and piano l it e r a t u r e (43 percent) were the two 229 most frequently taken courses by graduates in the area of music literature. Graduates rated percussion literature
(78 percent) with the highest "above adequate" rating.
Piano literature received the second highest "above adequate" rating (61 percent) followed by instrumental pedagogy (57 percent).
Courses in the area of music education methods received one of the highest "above adequate" ratings of all the areas under “academic preparation." Each methods course was rated "above average" with a rating of seventy-seven percent or above.
An analysis of course ratings under the area of student teaching revealed this area to have received the highest "above adequate" rating of all courses under
"academic preparation." The graduates "above adequate" ratings of student teaching courses ranged from eighty-two to ninety-three percent. Only one course in the area of student teaching was rated "below adequate."
While ninety-five percent of the graduates indicated that they took a course in senior recital ; only thirty-one percent indicated that they took a course in the area of junior recital. Eighty-three percent of the graduates who took senior recital rated it "above adquate." The graduates who took junior recital gave it a rating ("below adequate") below the rating for the senior recital. 230
All forty-two graduates indicated that they had an
advisor in education as well as an advisor in music.
While sixty-nine percent of the graduates rated their
music advisor as "above adequate," sixty percent rated
t h e ir education advisor as "above adequate." Both music
and education advisors received the "below adequate"
ratings from twenty-six percent of the graduates.
In the area of Seminar in Education most graduates
indicated they took these three courses: study skills,
developing teaching competencies and test-taking skills.
The two courses that received the highest "above adequate"
ratin g from most graduates were developing teaching competencies (79 percent) and accompanying laboratory (75 p e rc e n t).
SECTION IV - OPEN-END QUESTIONS
Sections I, II and III of the Music Teacher Education
Graduates' Questionnaire sought objective responses of formal ratings; however. Section IV containing open-ended questions sought more subjective responses. The responses to Section IV enabled the researcher to answer Objectives
II and I II . OBJECTIVE II
To identify relative strengths and weaknesses of music teacher education programs and music programs as perceived by their graduates.
OBJECTIVE III
To provide data for recommendations to be used in program evaluation as an aid to curriculum revision.
The findings have been organized in accordance with the structure of the instrument. Five questions were asked regarding the strengths and weaknesses of their college music teacher preparation and recommendations for program evaluation and curricula revision.
Greatest Strengths
Regarding the question, "What were the greatest strengths of your college preparation for the job you now hold (or your most recent teaching position)?, the forty-two graduates provided a variety of responses.
Table 64 shows a rank order frequency and percentage of strengths, from high to low, as reported by the graduates. TABLE 64
RANK ORDER FREQUENCY AND PERCENTAGE OF GREATEST STRENGTHS IN COLLEGE PREPARATION AS PERCEIVED BY THE MUSIC TEACHER EDUCATION GRADUATES (N = 42)
GREATEST STRENGTHS FREQUENCY PERCENTAGE
Music Theory Courses 11 26 Applied Music - Primary Medium 10 24 Student Teaching 9 21 Individualized Instruction 7 17 Human Relations 7 17 Education Methods Courses 6 14 Music A ppreciation Course 6 14 Commitment of Faculty 4 10 Psychology Courses 3 7 Academic Advising - Double Major 3 7 Ensemble P a rtic ip a tio n 3 7 Problem Solving 1 2 Good Study and Research S k ills 1 2 Pre-Student Teaching Experi ences 1 2 Faculty Support and Encouragement 1 2
Greatest Deficiencies
When asked, "What were the greatest deficiencies in your college preparation for the job you now hold?", the forty-two graduates again gave a variety of responses. 233
Table 65 gives a rank order frequency and percentage of d eficien cies from high to low, as reported by the graduates.
TABLE 65
RANK ORDER FREQUENCY AND PERCENTAGE OF GREATEST DEFICIENCIES IN COLLEGE PREPARATION AS PERCEIVED BY THE MUSIC TEACHER EDUCATION GRADUATES (N = 42)
GREATEST DEFICIENCIES FREQUENCY PERCENTAGE
Lacking Skills in Applied Secondary Medium 16 38 Lacking Hands-on P ractical Meaningful Experience (Methods o u t-of-date) 15 36 Schools Lacking Proper Equipment/ Instruments and Facilities Due to Lack of Money 12 29 Lack of In stru ctio n in Music for Exceptional Child 11 27 Lacking Listening S k ills and Literature for Elementary Students (Appreciation, Music History) 27 Failed to Apply Self 12 Lack of Pre-Student Teaching Experience Test and Measurement, Evaluative Skills Career Placement Sightsinging Teaching/Learning Process Behavior Modification; Motivation How Realistically
Table 66 briefly presents the explanations of the graduates' responses to the question, "How realistically did the music courses you took in college anticipate real working situ a tio n s and problems you have faced in your work?" TABLE 66
FREQUENCY AND PERCENTAGE OF HOW REALISTICALLY MUSIC COURSES ANTICIPATED REAL WORKING SITUATIONS AND PROBLEMS FACED IN WORK (N = 42)
EXPLANATION FREQUENCY PERCENTAGE
VERY REALISTICALLY
Teacher-Student Relationship & Human Relations 35 83 Methodology 34 81 Develop Good Musicianship (Theory, Primary Medium) 31 74 Advising-Double Major-Music Education & Elementary Education 29 69 Sightsinging & Ear Training 18 40 Student Teaching 12 29
NOT REALISTICALLY
Lacking Meaningful Practical Experience (Methodology) 10 24 Hands-on Meaningful Experience 7 17 Failed to Keep Up with the Times (out-of-date) 7 17 Lacked Conducting Experiences 14 Lacked Keyboard/Choral Experi ences 14 Identifying & Solving D iscipline Problems 4 10 M otivation and the Learning Process 5 Counseling Skills 1 2
ADEQUATELY/FAIRLY PREPARED
Overall All Classes & Experience Were Adequate 1 2 236
Seven graduates responded "not realistically."
Thirty-four of the forty-two graduates (81 percent)
responded, "very r e a l is t ic a l ly ; " and one graduate (two
percent) responded, "adequately."
Suggested Improvements
In reference to the question, "How do you think your graduating institution should improve its program in such areas as: music courses, experience, preparation for teaching and so on?", the forty-tw o graduates responded as shown in Table 67. This Table provides a rank order of frequency and percentage of suggested improvements for th e ir Music Teacher Education Program as perceived by the
Graduates. TABLE 67
RANK ORDER FREQUENCY AND PERCENTAGE OF SUGGESTED IMPROVEMENTS FOR THEIR MUSIC TEACHER EDUCATION PROGRAM AS PERCEIVED BY THE GRADUATES (N = 42)
SUGGESTED IMPROVEMENT FREQUENCY PERCENTAGE
Provide more performance opportunities for applied music students ; A compre hensive approach to the study of applied music (Both vocal & instrumental students study both voice & instruments) 15 36
Provide more p rac tic a l and varied experiences in con ducting, o rch e stra tio n and choral keyboard experience for actual real teaching situations 11 26
The music curriculum should include more m eaningful, v aried, broad and p ractical listening experiences and skills development 11 26
Identify and address current issues - thus aiding students in passing the National Teacher Examination 8 19
Provide more pre-stu d en t teaching experiences; extend student teaching from one term to a longer period and provide more p r a c t ic a l , intense varied experiences, also more meaning ful feedback and evaluation 7 17 TABLE 67 (C o n tin u e d )
SUGGESTED IMPROVEMENTS FREQUENCY PERCENTAGE
B etter F a c ilitie s - gain more monies for improvement and over all maintenance of equipment and instruments 6 14
More student participation in curriculum planning, develop ment and evaluation; more representation from the i n s t it u t io n 's community; better school/community relationships 5 12
More varied and broad music teacher education approaches and methods; a broader, meaningful and relevant literature repertoire appro p riate for both public and private schoolchildren 5 12
Provide and require more Music History and Music L iteratu re courses 4 10
Music faculty should develop closer ties with prominent music educators, musicians, professional schools of higher learning; provide more opportunities to aid talented graduates 4 10
Provide more Workshops and seminars addressing current problems and issues 3 7
Provide more rela te d a rts experiences 1 2 239
TABLE 67 (Continued)
SUGGESTED IMPROVEMENTS FREQUENCY PERCENTAGE
Restudy the music theory curriculum; provide for a variety of different learning styles 1 2
Important Areas to Be Offered
Thirty-nine (93 percent) of the forty-two graduates
responded to the question, "What music areas do you think would have been important but were not offered?" Twenty- one important areas were suggested by the graduates. Table
68 provides a rank order frequency and percentage of the twenty-one suggested important areas to be offered as perceived by the graduates. TABLE 68
RANK ORDER FREQUENCY AND PERCENTAGE SUGGESTED IMPROVEMENT AREAS TO BE OFFERED AS PERCEIVED BY THE GRADUATES (N = 40)
IMPORTANT AREAS FREQUENCY PERCENTAGE
Music for the Handicapped 13 33 Music L iteratu re as Separate Courses 12 31 A Course Dealing with Politics and Music Education 11 29 Church Music as a Major 9 23 Adequate Follow-up of Graduates 8 21 More Methods and L iteratu re Classes 8 21 Invite Guest Clinicians in Music Education 5 13 Sight Singing and Ear Training as Separate Courses 5 13 Pedagogy 4 10 How to Build a New Program from Ground Up 4 10 Career Placement 3 8 Laser Music, Electronic Music, and 20th Century Music 3 8 Related Arts Courses 2 5 Marching Band 2 5 Composition Course 1 3 Instrument Repair and Tuning 1 3 Music Industry/B usiness 1 3 Computer L iterary - Music 1 3 Afro-American Music 1 3 Arrangi ng 1 3 American Music 1 3 CHAPTER V
SUMMARY. CONCLUSIONS AND RECOMMENDATIONS
Summary
This chapter presents a summary of the research problem, objectives, procedures, and findings.
Conclusions based on the research and the findings and recommendations for further study are also presented in this chapter.
Background of the Problem
A major concern of teacher educations programs is to ensure th at graduates w ill become capable and e ffe c tiv e teachers. Therefore, a critical issue in an evaluation system is to determine what factors contribute to the later relative success or failure of teachers.
Course work and course sequence are c e rta in ly primary factors, but it is uncertain what effect general music and professional courses have on the actual performance of music teachers, and whether these effects lead to the outcomes which the courses were designed to produce. It is also uncertain whether the selection of courses is
241 242
based on reliable evidence as to what is necessary to be a
successful music teacher or is based mainly on professional
tradition of what students should have. Apparently,
except for the course, student teaching, little is known
about how each course in the music education curriculum
contributes to success in teaching.
Because teaching effectiveness depends immensely on
the quality of teacher education programs, there is an
urgent and vital need for the development of ways to measure the preparedness of teachers in the "real" world
of teaching. Thus, data on the preparedness of practicing
teachers in a critical element for developing a sound
basis for appraising and adapting programs of teacher education.
Nowhere is th is need more c ri t ic a l than in our Black colleges and universities. Black colleges and universi ties, in a racially-conscious society, have served their constituency by providing education in the mainstream of i nstituti ons.
Statement of the Problem
It was the intent of this study to focus on teacher education curricula in one area - music teacher prepara tion - and to specifically relate the study to the music - 243 teacher education programs of selected, accredited Black private colleges and universities in the United States.
In our multi-cultural/multi-racial society. Black private colleges and universities have earned a reputation for c re d ib ility and have been, and will continue to be, and important factor in the development of qualified Black educators. To this point, however, there is a lack of empirical research about the effectiveness of the selected, accredited Black private colleges and universities music teacher education programs.
Purpose
The purpose of this study was to survey and evaluate the music teacher education program of selected, accredited Black private colleges and universities in the
United States.
The research design used in this study was an analytic-descriptive survey. The chief method of data collection used was two different questionnaire forms, one for SABP colleges and u n iv e rs itie s Music Teacher Education
Program D irectors and the other for SABP Colleges and 244
Universities Music Teacher Education Graduates front the years of 1979 through 1983. The primary format of these
instruments was that of a checklist type. Other methods of data collection included interviews of graduates and
Music Teacher Education Program Directors via telephone and review of college catalogs and curriculum listing for verification of collected data.
Population
Responses from the forty-three college presidents identified a total of twenty-three music teacher education programs. One of the twenty-three music teacher education programs was ineligible for this study due to a current on-going internal evaluation study. Two music teacher education program directors did not return the question naire. Thus, twenty music teacher education program directors participated in this study.
From the survey of the twenty program directors, a list of seventy-five graduates was gathered. Because of ineli gibility criteria and non-response, this list of seventy- five graduates was eventually pared to forty-two graduates who became the population of the music education participants of this study. The Program Director's Questionnaire
The purpose of the questionnaire sent to the SABP Colleges
and Universities Music Teacher Education Program Directors was to generate data concerning specific elements of music
teacher education programs at the selected institutions.
This questionnaire was developed by the researcher and is
divided into five sections:
Section I - Institutional Information
Section II - Teacher Education Program
Section III - Music Teacher Education
Curriculum
Section IV - List of Graduates
Section V - Respondent Information
The purpose of each section was :
Section I sought information about the type of institution, organizational structure, degree offerings, composi tion of the music teacher education faculty, criteria for admission to the music program, and identification of student chapters of professional organizations.
Section II was designed to survey elements of the teacher education program, specifically: organization, governance and requirements for admission, retention, and student teaching of the teacher education component of which the music teacher education unit is generally a part.
Section III sought specific data on individualcourses and areas of the music curriculum including requirements for graduation.
Section IV asked for a list of graduates, in the period of 1979/80 through 1983/84 and their mailing address. It also requested each graduate's major concentration.
Section V asked for the name and title of the respondent, provided a space for general comments, if any, and asked whether the respondent would like a copy of the results of the study. As a stimulus to return the form quickly, the questionnaire concludes with a specific date by which it should be returned to the researcher at her specific address.
The questionnaire for the Music Teacher Education
Program Directors, in its final form, asked fifty-two item questions and comprised eleven typewritten pages.
The Music Graduates Questionnaire
The questionnaire for the selected, accredited Black private colleges and universities music teacher education graduates was a modification of a questionnaire used by
The Ohio State University music education faculty for its music graduates. This modified questionnaire was comprised of four parts:
Part I - Factual Information Part II - Employment Status Part III - Academic Preparation Part IV - Open Ended Questions 247
The purposes of each section was:
Part I sought factual information such as degrees obtained, major area(s) of study, and teaching certificates.
Part II solicited data concerning employment status and teaching experience.
Part III asked the graduates to eval uate how well they thought their graduating institution prepared them in general areas of music education study. The measurement for this part sought to obtain a series of responses each within a six-point scale of excellent to poor, and did not take.
Part IV provided open-ended questions designed to elicit information on perceived strengths and weakenesses in the respondents' college preparation for the jobs they now hold.
In its final form this questionnaire asked forty item questions and comprised six typewritten pages.
DATA ANALYSIS
Each completed questionnaire form was subjected to analysis after examination for accuracy and completeness.
Ambiguous responses were clarified and missing data were obtained by contacting the respondents by telephone when necessary. All questions on both questionnaires were renumbered for the coding process. All open-ended ques tions and comments were categorized into groups and coded. After the data were coded, it was keypunched onto 248
cards and analyzed by means of the Statistical Analysis
System (SAS) available at the Instruction and Research
Computer Center at the Ohio State University. The SAS
computer analyses resulted in the computation of descrip
tive statistics, including frequency distribution and
percentages. From these, the number of responses to each part of each question determined the tables of the results constructed. As a result of the information collected
from the questionnaires and from other background research, the investigator analyzed relationships among and between responses as a means to provide descriptive data leading to specific recommendations pertaining to the programs studied.
Findings of the Study
The findings of this study were relevant to the research questions developed to organize the research planning and data gathering. The research questions are listed below.
1. What are the general and specific characteristics of the music teacher education programs of the selected, accredited Black private colleges and uni versi ties?
2. What are some general categorizable characteristics of the employment status of graduates of these selected, accredited Black music private colleges and universities music teacher educa tion programs?
3. What music teacher education degrees and major areas are offered, and by which selected, accredited Black private college(s) and/or universities offering music teacher education program?
4. What are the major areas of the music teacher education curriculum and required hours for graduation at each selected institution offering music teacher education program?
5. To what extent do the graduates believe that they had received help from their advisors?
6. To what degree do the selected, accredited Black private colleges and universities graduates think that their graduating institution prepared them to teach effectively?
7. What competencies do the selected, accredited black private colleges and universities graduates think are needed for their present position?
The research questions were generated on the basis of the three objectives of this study. The three objectives were:
to survey specific elements of the music teacher education programs of the selected, accredited Black private colleges and universities.
to delineate the strengths and weaknesses of music teacher programs and music programs as perceived by graduates.
to accumulate data for developing recommendations to be used in program evaluation as an aid to curriculum revision. 250
All data gathered and analyzed are presented in detail
in Chapter Four. Findings relative to objective one
reveal a number of characteristics about the institutions
involved in this survey. These characteristics include
geographic location, size, affiliation, faculty informa
tion, teacher education program information, music educa
tion program information, admission and retention require ments, number of credit hours offered in specific music
and music education courses.
Generally, the twenty institutions that participated
in this study were small, private, church affiliated
institutions located in eight southern states.
Nearly all of the twenty institutions have open door admissions policy for general college entrance; however,
practically all of these colleges had specified admission
requirements for entrance into both the teacher education and music teacher education programs. Such requirements included: interviews, commendable recommendations, test scores, successful completion of core foundations of academic courses, a required GPA (in many cases higher than the general college admissions required GPA), music jury auditions and demonstrated proficiencies in: hearing, speech, and communication skills, also medical/ health clearance, diagnosis testing, and written application into the teacher education program. 251
In reference to who makes the decisions concerning the music teacher education curricula, it appears that most decisions were made by a single person/group rather than by two or more groups or single combinations.
There was a wide range of music and music education courses among the various schools, although course range within individual schools was much more limited.
According to the twenty directors in regard to course offerings, the following tendencies prevailed:
Only one course was offered in the area of student teaching.
Basically only one methods course was offered at the elementary level and only one course at the secondary level.
Nearly all of the colleges combined music theory, sightsinging, and ear training as one course.
Music history and music literature were most often combined into one course.
More course offerings and major areas of applied music medium were available in voice and piano rather than in band instruments. Seldomly were courses available in the area of strings. This was also the case in reference to available credit hours for the above mentioned areas.
More course offerings and credit hours were both available and required in the areas of basic music core courses than in courses such as: - advanced conducting - advanced music history - advanced theory courses - composition and counterpoint Ensemble participation was required in nearly all institutions; however, academic credit was optional.
Most colleges required jury examination for each academic term yet although credit may or may not have been available.
Nearly all twenty colleges required recital - seminar attendance without offering academic credit toward graduation.
Findings in relation to objective two came from the responses of the forty-two music education graduates surveyed and indicate the opinions of the graduates as to the strengths and weaknesses of a number of aspects of their music teacher training. Generally, in terms of ratings of their specific music education courses, a majority of the respondents rated their individual courses as adequate or better in almost all cases. In fact, a majority of the courses were rated at least very good by more than half of the respondents.
Findings related to objective three were derived from a study and analysis of all the data collected in the responses from the twenty music education directors and from the forty-two music teacher education graduates.
Especially useful in this regard are the graduates' comments in response to the open-ended questions on the final part of their questionnaire. Five open-ended ques tions were asked about the strengths and weaknesses of the individual graduates' formal education preparation for 253
their teaching jobs ; how realistically did the individual programs anticipate real working situations and problems; and what improvements would the graduates suggest for their music teacher education program.
Fifteen strengths were noted by the various graduates. The most frequently mentioned strengths were music theory courses, applied music primary medium and student teaching, with over twenty percent mentioning each of these.
Eleven weaknesses were noted. The two most frequently mentioned (by over 35 percent each) were the lack of training in skills in an applied secondary medium and a lack of practical experiences.
Six different program aspects were noted by the grad uates as very realistically anticipating actual teaching situations. Eight different programs aspects were noted as not realistically anticipating actual teaching situations. A much higher frequency noted "very realistically" compared to "not realistically", over the range of program aspects.
Thirteen improvement suggestions were offered by the graduates. The most frequently mentioned (by 36 percent) concerned the need to improve in the area of applied music. The four most frequently suggested improvements, reported by the graduates, were : 1) more performance opportunities (36 percent)
2) more practical and varied experiences in conducting and vocal-choral/keyboard experiences (26 percent)
3) More meaningful, varied, broad and practical listening experiences and skill development (26 percent)
4) Better identification and addressing current issues thus aiding students in passing the National Teachers' Examination (19 percent).
Finally, twenty-one different areas of training were noted as important for music teaching training. The most frequently noted were music for the handicapped (33 percent) and music literature as a separate course (31 percent).
CONCLUSIONS
The data generated and findings of this study are the basis for the following conclusions.
1. The responses by the twenty music education
directors provide a wealth of information
about the music education program of small
Black private colleges of the southern United
States. 255
The twenty small Black private institutions that participated in this study train music teacher education students who graduate to teach in a wide variety of school environ ments .
Most of the twenty participating institu tions are limited in their music education programs by financial constraints. As a result, music education faculties are small, and curriculum offerings are lacking in various areas of study.
Music teacher education graduates of the participating institutions have generally positive perceptions of their undergraduate training, but identify specific weaknesses and areas where improvement is needed.
In relation to graduates' ratings of specific courses, the data are inconclusive in some instances because only a small percentage of the forty-two respondents took some of the individual courses.
Some of the SABP colleges and universities need to update their record of current addresses of their graduates in order to facilitate further evaluations. 256
Even though the selected, accredited Black
private colleges and universities have a
creditable reputation for guiding students
through careers, due to recent certification
and testing rquirements, graduates are having
difficulty in meeting test score requirements.
RECOMMENDATION FOR FURTHER USE OF THE DATA AND FOR FURTHER RESEARCH
Music education directors, music education
curriculum committees, and related faculty and
administrators from the twenty participant
schools as well as from similar schools should
study the data of this investigation as a source
of survey data, as a source of comparison of
individual programs, and as a source of
evaluative feedback from graduates.
With this study as a basis of identification of
weaknesses and suggested improvements, further
information should be solicited by other
researchers to better specify graduates' percep
tions so they may be related to specific changes
in curriculum and teaching methodology.
Studies should be conducted of similar purpose
and design but of different types of 257 institutions. This would permit a broader population with which to compare the data of this study.
Greater effort should be made by appropriate college officials in developing systematic means of soliciting, on a regular basis, evaluative program information from music education grad uates currently teaching. This evaluative data should in turn be used to monitor programs and make changes when necessary and feasible.
A special interest support group of SABP colleges and universities music teacher education program directors, faculty and administrators should be established to address the current issues and needs of Black teachers and Black higher education institutions in the United States.
Legislative support should focus with special interest on the development and/or improvement of all aspects of Black teacher education training programs.
National teacher certification requirements should reflect the curriculum provided in training institutions. Furthermore, criteria must be designed to develop a multi-culturally/ multi-racial, diverse, talented body of teachers. 258
8. Attention and funds should be allocated at
initial planning for continuous ongoing
review/evaluation and possible reorganization of
curricular and intra-i nstitutional communication
and support system for the music teacher
education directors, programs and institutions. APPENDIX A: IDENTIFICATION
Jane Ellen McAllister
Table 1. Selected, Accredited Black Private Colleges and Universities Graduates Who Became Musical Performers
Table 2. Distinguished Selected, Accredited Black Private Colleges and Universities Graduates
Table 3. Selected, Accredited Black Private Colleges and Universities Catalogs
Table 4. Selected, Accredited Black Private Colleges and Universities by State
Figure 1. Geographic Outline of Selected Accredited Black Private Institutions JANE ELLEN MCALLISTER: PIONEER FOR EXCELLENCE
IN TEACHER EDUCATION
Jane Ellen McAllister, according to Wi11iams-Burns
(1982) graduated from Talladega College [one of the SABP
colleges] in 1919 with a bachelor of arts degree. In June
1921, she became a member of the first class to be awarded
the master's degree by the University of Michigan. In
1928, McAllister completed requirements for the doctorate degree at Columbia University's Teachers College; however, because of lack of funds her dissertation, "The Training of Negro teachers in Louisiana", was not published until
1929.
Dr. McAllister's career was spent in the historically
Black colleges. Wil1iams-Burns (1982) further stated that
Dr. McAllister became professor of education at Fisk
University [one of the SABP Universities] in September,
1928 after having completed the doctoral program. In
September, 1929, she became head of the Department of
Education at Fisk University, the first Black woman to fill this position. Also, in 1930, Fisk became the first
Black college to be accredited as "class A" by the
Southern Association of Colleges and Schools (SACS) of which McAllister was an important reason for the 261
accreditation. Moreover, in 1937, at the joint request of
the Louisiana Negro Normal and Industrial Institute (Now
Grambling State Department of Education. She accepted the
invitation to direct and revise the teacher training
program at Grambling.
Obviously, Jane Ellen McAllister's impact on teacher
education has been substantial. Though her career was
spent in Historically Black Colleges and Universities, she
effected changes far beyond those campuses. As an
academician, she overcame obstacles that were racial, and
sometimes, sexist. Not aggressive in seeking personal
honors. Dr. McAllister has not been recognized widely.
She is and has been an exemplar of excellence and inspira
tion and a prototypical role model. Dr. McAllister's
contributions are significant in the history of the
continuing quest for good schools on the part of Black
Americans.
William-Burns, Winona, Jane Ellen McAllister; Pioneer for Excellence in Teacher Education, Journal of Negro Education, 1982, 51, (3), 342-357. TABLE 1
SABPC&U GRADUATES WHO BECAME MUSICAL PERFORMERS
UNDERGRADUATE NAME AREA INSTITUTION DEGREE/YEAR
Dobbs, Concert/opera singer Spellman College B.A., 1946 Mattiwilda
*D[orothy] Opera/concert singer Xavier University Antioinette Hayes, Concert singer Fisk University [1905-c 1910] Roland
Matthews, Concert singer Fisk University B.A. 1926 Edward
Robinson, Opera/concert singer Bennett College B.S. n.d. Faye
Wyatt, Concert accompanist Xavier University B.A. 1947 Kelley
ADAPTED FROM: Southern, Eileen, Biographical Dictionary of Afro-American and African Musicians. Westport, Connecticut: Greenwood Press, 1982 TABLE 2
DISTINGUISHED SABPC&U MUSIC TEACHER EDUCATION GRADUATES
DEGREE NAME______AREA/SPECIALTY INSTITUTION______YEAR
Blanton, Carol College Prof./ Spelman College B.A. 1933 Concert Pianist
Boyer Horace College Professor Bethune-Cookman B.A. 1957 College
Brown, John H. Composer/Col lege Fisk University B.A. 1923 Professor
Campbell, Lucie E. Gospel Songwriter/ Rust College B.A. n.d. Educator
Clark, Edgar R. Music Educator Clark College B.A. 1935
*Dawson, William L. Composer/College Tuskegee 1914-1923 Professor Institute
Debose, Tourgee College Prof./ Fisk University B.A. 1913 Concert Pianist
Fuller, Oscar A. College Music Bishop College B.Mus.1924 Professor
Hall, Frederick A. .College Professor ; Mprehouse College B.A. 1921
Harris, Carol G., Jr. College Professor Philander Smith B.A. 1956 College
James, Willis L. College Music Morehouse College B.A. 1923 Educator
John, Altona Trent College Music Atlanta University B.A. n.d. Educator
*Jones, Mildred B. Educator Fisk University n.d. TABLE 2
DISTINGUISHED SABPC&U MUSIC TEACHER EDUCATION GRADUATES
DEGREE NAME AREA/SPECIALTY INSTITUTION YEAR
Kennedy, Ann G. College Professor Fisk University B.A. 1941
Kennedy, Matthew W. College Music Fisk University B.A. 1946 Educator
Lawson, Warner Choral Conductor/ Fisk University B.A. 1926 Professor
McLin, Lena J. Educator/Choral Spelman College B.A. 1951 Conductor
Moore, Undine S. Composer Fisk University B.A., B.Mus. n.d.
Pittman, Evelyn L. Music Educator/ Spelman College B.A. 1933 Composer
*Pittman, Portia Music Educator Tuskegee Institute
Roach, Hildred College Prof./ Fisk University B.A. 1957 Pianist
Standifer, James University Professor Fisk University B.A. 1957
Tibbs, Roy W. College Professor Fisk University B.Mus,.1931
Tills, Frederick C. Composer/College Wiley College B.A. 1949 Professor
Van Buren, Catherine Singer/Col lege Fisk University B.A. 1931 Professor
*Watts, Nellie Impresario/Pulib Atlanta University n.d. Sch. Teach.
Whalum, Wendell P. College Music Morehouse College B.A. 1952 Educator TABLE 2
DISTINGUISHED SABPC&U MUSIC TEACHER EDUCATION GRADUATES
DEGREE NAME AREA/SPECIALTY INSTITUTION YEAR
♦Whitman Sisters, The Vaudeville Troupe Morris Brown Company
♦Work, Frederick J. Folklorist/Music Fisk University Educator
Work, John W. II Composer/College Fisk University B.A. 1895 Professor
Work, John W. Ill Composer/Col lege Fisk University B.A. 1923 Professor
' UNCF ATTENDEE — Receive music training only.
ADAPTED FROM: Southern, Eileen, Biographical Dictionary of Afro-Ameri can and African Musicians. Westport, Connecticut: Greenwood Press, 1982. TABLE 3
SABP COLLEGE CATALOGS
NAME OF CATALOG
Barber-Scotia College General Information Catalog 1979-1981 Benedict College Catalogue ...... 1981-1984 Bennett College Opening New Doors in Women's E d u catio n ...... 1981 Bethune-Cookman College C a t a l o g ...... 1983-1985 Bishop College Catalogue ...... 1 982-1 984 Claflin College C a t a l o g ...... 1981-1982 Dillard University General C atalog...... 1 982-1 984 Fisk University B u lle tin ...... 1981 Florida Memorial College Catalogue ...... 1981-1983 Huston-Ti 11 otson College B u l l e t i n ...... 1981-1983 Interdenominational Theological Center Catalog . .1982-1983 Jarvis Christian College Catalog...... 1982-1 983 Johnson C. Smith University C a t a l o g ...... 1981-1983 Knoxville College C a t a l o g...... 1976-1978 Lane College General Information Bulletin . . . .1971-1972 LeMoyne-Owen College Catalog ...... 1980-1982 Livingston College C atalog...... 1980-1 982 Miles College B u lle tin ...... 1982-1984 Morris College C atalog...... 1 982-1 983 Oakwood College B u lle tin ...... 1982-1 984 Paine College C a t a l o g ...... 1 983-1 985 Paul Quinn College B u l l e t i n ...... 1981 -1983 Philander Smith College C a t a l o g ...... 1 982-1 984 Rust College General C atalog ...... 1981-1983 Saint Augustine's College Bulletin ...... 1982 Saint Paul's College Bulletin ...... 1981-1983 TABLE 3 CONTINUED
Shaw University B u lletin ...... 1981-1 983 Spelman College B u lle tin ...... 1981-1983 Talladega College C a t a lo g ...... 1983-1 985 Tougaloo College C atalog ...... 1982-1984 Tuskegee Institute General Information Catalog . .1976-1978 Virginia Union University C a t a lo g ...... 1982-1 984 Voorhees College C atalog...... 1981-1983 Wiley College General C a t a l o g ...... 1982-1 984
The Ohio State University Office of Minority Affairs SELECTED ACCREDITED BLACK PRIVATE COLLEGES AND UNIVERSITIES
YEAR FOUNDED
ALABAMA MILES COLLEGE - BIRMINGHAM 1905 OAKWOOD COLLEGE - HUNTSVILLE 1896 STILLMAN COLLEGE - TUSCALOOSA 1876 TALLADEGA COLLEGE - TALLEDEGA 1867 TUSKEGEE INSTITUTE - TUSKEGEE INSTITUTE 1881
ARKANSAS FITTlander smith college LITTLE ROCK
FLORIDA BETHUNE-COOKMAN COLLEGE - DAYTONA BEACH 1904 EDWARD WATERS COLLEGE - JACKSONVILLE FLORIDA MEMORIAL COLLEGE - MIAMI 1892
GEORGIA ATLANTA UNIVERSITY - ATLANTA 1865 CLARK COLLEGE - ATLANTA 1869 INTERDENOMINATIONAL THEOLOGICAL CENTER - ATLANTA 1958 MOREHOUSE COLLEGE - ATLANTA 1867 MORRIS BROWN COLLEGE - ATLANTA 1881 PAINE COLLEGE - AUGUSTA 1882 SPELMAN COLLEGE - ATLANTA 1881
LOUISIANA DILLARD UNIVERSITY - NEW ORLEANS 1869 XAVIER UNIVERSITY - NEW ORLEANS 1915
MISSISSIPPI RUST COLLEGE - HOLLY SPRINGS 1866 TOUGALOO COLLEGE - TOUGALOO 1869 TABLE 4 CONTINUED
YEAR FOUNDED
NORTH CAROLINA BARBER-SCOTIA COLLEGE - CONCORD 1867 BENNETT COLLEGE - GREENSBORO 1873 JOHNSON C. SMITH UNIVERSITY - CHARLOTTE 1867 LIVINGSTON COLLEGE - SLAISBURY 1879 ST. AUGUSTINE'S COLLEGE - RALEIGH 1867 SHAW UNIVERSITY - RALEIGH 1865
OHIO ' WILBERFORCE UNIVERSITY - WILBERFORCE
SOUTH CAROLINA BENEDICT COLLEGE - COLUMBIA 1879 CLAFLIN COLLEGE - ORANGEBURG 1869 MORRIS COLLEGE - SUMPTER 1908 VOORHEES COLLEGE - DENMARK 1897
TENNESSEE FISK UNIVERSITY - NASHVILLE 1866 KNOXVILLE COLLEGE - KNOXVILLE 1875 LANE COLLEGE - JACKSON 1882 LEMOYNE-OWEN COLLEGE - MEMPHIS 1870
TEXAS BISHOP COLLEGE - DALLAS 1881 HUSTON-TILLOTSON COLLEGE - AUSTIN 1876 JARVIS CHRISTIAN COLLEGE -HAWKINS 1912 PAUL QUINN COLLEGE - WACO 1872 TEXAS COLLEGE - TYLER 1894 WILEY COLLEGE - MARSHALL 1873
VIRGINIA RAMPTON INSTITUTE - HAMPTON ST. PAUL'S COLLEGE - LAWRENCEVILLE 1888 VIRGINIA UNION UNIVERSITY - RICHMOND 1865
UNCF, FACTS YOU SHOULD KNOW. NEW YORK: UNCF, 1981 SSI#
•Number o< Institutions
Figure 1. Geogrephlc Outline o1 SABP Institutions APPENDIX B: LETTERS TO PRESIDENTS
Cover Letter to Presidents
Approval Form Accompanying Cover Letter
First Follow-up Letter to Presidents
Second Follow-up Letter to Presidents
Table 1. Letters sent to Presidents of SABP Institutions Dear President (Name)
This is a follow-up in reference to Dr. Turner Battle's memorandum of August 28 in regards to a study of the Music Teacher Education Program at your institution. As noted in the proposal sent to you by Dr. Battle, the intent of this analytic-descriptive study is to survey and evaluate, based on the opinions of the music graduates, the music teacher education programs of selected, accredited black private colleges and universities in the United States. All reponses will be treated in such a manner that anonymity will be protected.
Enclosed is a form for you to indicate your approval for this study to be conducted at your institution. The completed form should be mailed to me by Tuesday, September 18 in the enclosed self-addressed envelope.
Please allow me to express in advance my deep appreciation for your support and endorsement given to this study to assist me in completing requirements for the doctoral degree at The Ohio State University.
Sincerely yours.
Lucile Lacy
LL: jw Enclosure APPROVAL FORM
INSTRUCTION: PLEASE CHECK OR GIVE APPROPRIATE RESPONSES.
I APPROVE OF THE MUSIC TEACHER EDUCATION STUDY TO BE CONDUCTED AT OUR INSTITUTION.
NO, I DO NOT AGREE FOR THIS STUDY TO BE CONDUCTED AT " OUR INSTITUTION.
WE DO NOT OFFER AN UNDERGRADUATE MUSIC TEACHER EDUCATION PROGRAM.
C I'N STITm ’ON) "(PRESIDENT)
(DATE) "(SIGNATURE)
NAME & ADDRESS OF THE MUSIC TEACHER EDUCATION PROGRAM DIRECTOR:
(ZIP CODE) Dear President ______: (Name)
On the 30th of October, I telephoned your office concerning your approval to conduct an analytic- descriptive research study of your music teacher education program. As stated in my letters to you of September 14 and October 2, this study is endorsed by the United Negro College Fund Executive Board and by the Office of Minority Affairs at The Ohio State University (see Dr. Turner Battle's memorandum of August 28).
As of today I have not received your "Approval Form" so that (Name of College) can be a part of this valuable study at selected accredited, black private colleges/ universities. It is of utmost importance that all members of the selected sample participate in this study.
Be confident that all responses of the questionnaires will be treated in such a manner that anonymity will be protected.
If you have questions (or reasons for non-participa tion), feel free to write or call me collect. Also, if the "Approval Form" and the stamped, pre-addressed envelope did not reach you, I am enclosing another "Approval Form" and a pre-addressed envelope for your convenience. If I do not hear from you by November 27, I will probably telephone you again. If there are no questions or problems, I will look forward to receiving your "Approval Form" VERY SOON!
I am trying very hard to complete this research project in the most complete and accurate manner possible. Your efforts will help make this possible. With gratitude and all best wishes, I am
Sincerely,
Lucile Lacy Doctoral Candidate The Ohio State University Dear President (Name)
On the 30th of October, I telephoned your office concerning your approval to conduct an analytic-descrip tive research study of your music teacher education program. As of this date, I have not received your "Approval Form." To me, it is of utmost importance that al1 members of the selected and small sample participate in this study.
Be confident that all responses in the questionnaires will be treated in such a manner that anonymity will be protected.
If you have any questions (or reasons for non-parti cipation), feel free to write or call me collect. Also, if the "Approval Form" did not reach you, I am enclosing another "Approval Form" and a pre-addressed envelope for your convenience. If I do not hear from you by Monday, December 10, I will probably telephone you again. If there are no questions or problems, I will look forward to receiving your "Approval Form" VERY SOON!11
I am trying very hard to complete this research project in the most complete and accurate manner possible. I do hope to receive all data SOON so that I can complete the writing of my dissertation and return to my teaching position at my Alma Mater, Oakwood College. Your efforts will help make this possible. With gratitude and all best wishes, I am
Sincerely yours.
Lucile Lacy Doctoral Candidate The Ohio State University
Enelosures SABP COLLEGES AND UNIVERSITIES (N=43)
Name of Institutions
Atlanta University Barber Scotia College Benedict College Bennett College Bethune-Cookman College Bishop College Claflin College Clark College Dillard University Fisk University Florida Memorial College Hampton University (Institute) Huston-Tillotson College Interdenominational Theological Center Jarvis Christian College Johnson C. Smith University Knoxville College Lane College Lemoyne-Owen College Livingston College Miles College Morehouse College Morris College Morris Brown College Oakwood College Pain College Paul Quinn College Philander Smith College 277
TABLE 1 CONTINUED
Rust College St. Augustine's College St. Paul's College Shaw University Spelraan College Stillman College Talladega College Texas College Tougaloo College Tuskegee Institute Virginia Union University Voorhees College Wilberforce University Wiley College Xavier University APPENDIX C; THE QUESTIONNAIRES
Questionnai re for the Music Teacher Education Program Director
Questi onnai re
for the Music Teacher Education Graduate (Code Number)
QUESTIONNAIRE FOR SELECTED ACCREDITED BLACK PRIVATE COLLEGES AND UNIVERSITIES' MUSIC TEACHER EDUCATION PROGRAM DIRECTORS
SECTION I - INSTITUTIONAL INFORMATION
INSTRUCTION: Please check, circle or give appropriate response.
1. NAME OF INSTITUTION ______
2. TYPE OF INSTITUTION: (circle as many as apply) 4 year, 2 year. Private, Independent, Liberal Arts, Graduate, Undergraduate, Co-ed, Male, Female, Church Affiliated ______, (specify) Other (If your institution offers graduate programs only, please go to Section V).
3. DIVISION OF ACADEMIC YEAR: Number of quarters ______Number of semesters ______
4. TOTAL MUSIC FACULTY Full-time Music Faculty Part-time Music Faculty
TOTAL TEACHER EDUCATION FACULTY Full-time Teacher Education Faculty Part-time Teacher Education Faculty
ACCREDITATION ORGANIZATIONS: (check all that apply) NASM State ...... (specify) NCATE Regional ______(specify) SACS Applicant (specify)
7. DEGREES OFFERED IN MUSIC: (circle all that apply) B.A., B.S., B.M., B.M.E., O t h e r ______(specify)
8. DEGREE OFFERED IN MUSIC TEACHER EDUCATION: ______SECTION I I - TEACHER EDUCATION PROGRAM
INSTRUCTION: Please check or give appropriate response.
1. TEACHER EDUCATION PROGRAM IS HOUSED UNDER THE SCHOOL OR DEPARTMENT OR DIVISION OF: Education Music Physical Education Other ______
2. MUSIC TEACHER EDUCATION PROGRAM IS HOUSED UNDER THE SCHOOL OR DEPARTMENT OR DIVISION OF: Music Education Teacher Education Humanities Other ______
3. LENGTH OF MUSIC TEACHER EDUCATION PROGRAM
(specify number of quarters or semesters)
REQUIREMENTS FOR ADMISSION TO THE MUSIC EDUCATION PROGRAM Required GPA: Required Test Scores : Music courses ______ACT SCORE (specify) (specify) All Courses ______SAT SCORE (speci fy) (speci fy ) Other ______Other ______
(Check as many as apply)
Interview with (specify) Completion of narrative essay Letters of Recommendation Completion of designated courses Written exam (such as English proficiency) Vocal proficiency Instrumental proficiency Other ______5. RETENTION REQUIREMENTS FOR MUSIC TEACHER EDUCATION STUDENTS Required: Cumulative GPA of ______. Cumulative GPA of in Music Education. Other ______(such as English courses) (specify)
(Check as many as apply)
Commendable recommendation from dean of student affairs Successfully pass required sequence of tests Participation, with credit, in at least one major ensemble for every quarter/semester of study A successful jury appearance before a faculty committee in a designated music area at the end of each quarter/semester of study Required attendance at recital-seminars Student affiliation with at least one professional organization Other ______
6. DOES YOU INSTITUTION HAVE A TEACHER EDUCATION COUNCIL? Yes No If no, go to 6B.
6A. The director of Teacher Education Programs is chairperson of Teacher Education Council Yes No Number of Ex-officio members ______Number of division and department chairpersons ______Number of faculty members Number of student representatives ______Number of public school personnel ______Other ______
6B. Of the following, who or what group is responsible
1. dean, 2. teacher education council, 3. chairperson 4. faculty committee 5. other 282
(Fill in the appropriate number(s)--as many as apply)
Prepares and reviews objectives of the program Develops policies and criteria with respect to admissions to, retention in and exit from the program Studies and evaluates the effectiveness of curricula and procedures in relation to needs of the teaching profession Receives and acts upon recommendations for changes in the teacher education program Reviews all policies pertaining to the education and certification of teachers in the University Maintains a balance between professional preparation, general education preparation, and mastery of the subject content field in each curriculum in teacher education Other ______
7. REQUIREMENTS FOR STUDENT TEACHING (check as many as apply) Complete a designated number of credit hours Maintain a required cumulative GPA Complete a general education program Complete a minimum number of hours ( ______) (specify) of observation and participation of pre-clinical experience in the public school Join the student chapter of the NEA Join the student chapter of the MENC Recommendations by the chairperson of the division, music faculty and area coordinators Approval by the teacher education council ACT score of at least (specify) SAT score of at least (specify) Carry no more than ______credit hours (speci fy) other than student teaching Take the National Teachers Examination Pass the National Teachers Examination Pass a comprehensive music examination Clearance from College Health Service 283
Demonstrate proficiency in: YES English Math _____ Speech Hearing _____ Other ______
TEACHING CERTIFICATE Level/grade _____
CRITERIA FOR ADMISSION INTO MUSIC PROGRAM: (check as many as apply) Jury (audition) _____ Letters of recommendation Interview _____ Required GPA _____ Paper (essay) (specify) Music Placement Test: theory _ applied major instrument history _ applied major instrument Other ______, (specify)
MAJORS OFFERED IN MUSIC TEACHER EDUCATION: (check any that apply) Vocal/Choral Level/grade ______Instrumental Level/grade . General Level/grade ______Supervisory Level/grade ïïtïïFr ______:______Music History Music Theory Performance _____ Church Music Jazz Studies Other ______
STUDENT CHAPTER OF PROFESSIONAL ORGANIZATION: MENC Local Association (specify) NEA State Association (speci fy) Regional Association ______(specify) COMMENTS (IF ANY) ______
(If your institution offers neither a music teacher education program nor a music education major with a concentration for teacher education certificate, go to Section V). SECTION III - MUSIC TEACHER EDUCATION CURRICULUM
INSTRUCTION: Give the appropriate response.
(Please attach an up-to-date copy of your program's music teacher education curriculum whi£ji_lisj^_____ required and elected courses). II II II AREAS OF MUSIC CURRICULUM
Music Theory (comments)
Sight Singing (comments) _
Dictation . . (comments)
Basic Music History
Advanced Music History (All courses after 1st Sequence) ...... (comments) ______
Applied Piano (keyboard harmony) J O 2 O U Ô
AREAS OF MUSIC CURRICULUM
Recital Attendance (comments) ______
General Music .... Music and Worship . Afro-American Music Opera Workshop . . Vocal Diction . . . Music Appreciation
(comments) ______
Seminar in Education Study Skills ...... Upward Bound and Special Services Test Taking Skills and Strategies Developing Teaching Competencies National Teacher Workshop .... Other ______(comments)
ADVISING; (Specify the number of music education students each group advised)
Teacher Education Faculty ____ Music Faculty ____
Total Music Hours Required for Graduation Upper division ____ Lower division
Grand Total Hours Required for Graduation AREAS OF MUSIC CURRICULUM ) u a) I C
Strings h Woodwinds . li Brass Percussion (comments )_
Beginning Conducting (comment s) ______
Advanced Conducting (comments) ______
Large Ensembles (comments) ___
Small Ensembles (comments) ___
Music Literature Piano Literature . . . . Vocal/Choral Literature String Literature . . . Woodwind Literature . . Brass Literature . . . . Percussion Literature Vocal Pedagogy . . . . Instrumental Pedagogy Orchestral Pedagogy . . Band Literature .... Other ...... (comments) ______
1- AREAS OF MUSIC CURRICULUM
Composition . {comments) ÎUÎ Us
Counterpoint (comments)
Advanced Theory courses (comments) ______
Music Education Methods Courses Intro, to Music Teaching .... Elem. Gen. Music Vocal/Choral Elem. Instrumental Music .... Jr. High/Middle Sch. Vocal/Choral Jr. High/Middle Sch. Instrumental Sec. Gen. Music Vocal/Choral . . Secondary Instrumental ...... Gen. Music K-12 ...... Pre-Student Teaching ...... Lab. or Field Experiences . . .
(comments)
Student Teaching ...... Elem. Gen. Instrumental . . . Sec. Gen./Choral Instrumental Elementary Instrumental . . . Secbndcury Instrumental . . . (comments) ______
Junior Recital (comments) ___
Senior Recital (comments) ___ SECTION IV - GRADUATES
List your music teacher education graduates during the years from 1979-80 through 1983-84 according to the follov/ing format.
NAMES MAILING ADDRESS 1 . ______SECTION V - GENERAL INFORMATION
INSTRUCTION: Please give appropriate response.
SUBMITTED BY ______TITLE OR POSITION_
ADDRESS ______
TELEPHONE
(Area Code)
Would you like a final report of this study sent to you?
Yes
. No
COMMENTS (IF ANY)
THANK YOU for your assistance in completing this questi onnai re. Please return it by ______,______(day) (date ) to :
Lucile C. Lacy The Ohio State University Box 632 Jones Graduate Tower 101 Curl Drive Columbus, Ohio 43210 290
(Code Number)
QUESTIONNAIRE FOR SELECTED ACCREDITED
BLACK PRIVATE COLLEGES AND UNIVERSITIES'
UNDERGRADUATE MUSIC TEACHER EDUCATION
GRADUATES OF 1979-1983
PART I - FACTUAL INFORMATION
INSTRUCTION; Please circle or check or give appropriate response
1. YEAR UNDERGRADUATE DEGREE RECEIVED: 1979, 1980, 1981, 1982, 1983.
2. DEGREES EARNED: (circle as many as apply) 3.A., B.S., B.M.E., B.F.A., other ______; M.A., M.M., (specify) Ed.S., Ed. D., D.MA., Ph.D., other (speci fy )
NAME OF: Undergraduate institution Graduate institution (Masters) Graduate institution (Doctorate)
MAJOR AREA OF STUDY: (check as many as apply) Music Education Vocal Level/grade ______Instrumental Level/grade ______General Level/grade Other ______Level/grade (specify)
Music History ___ Performance Church music Music Theory ___ Jazz Studies Other ______(speci fy)
TEACHING CERTIFICATE YOU NOW HAVE: Type Level Subject Field Received in State of ______PART I I - EMPLOYMENT STATUS
1. TEACHING EXPERIENCE:______Total number of years teaching Number of years in present teaching position 2. STATES/COUNTRY TAUGHT IN AND NUMBER OF YEARS: State ______Year______State ______Year______Country ___ ;______Year______(except USA)
3. TYPES OF SYSTEM AND NUMBER OF YEARS: Urban private _____ Urban public Rural private Rural public Suburban private _____ Suburban public
4. YOUR PRESENT POSITION: Not employed in any area of education Private teacher of voice Private teacher of keyboard instrument: (check) Piano _____ Organ, Other (speci fy Private teacher of band or orchestral instrument.
(Name of instrument) Private teacher of music theory (check) Composition _____ Arranging, Other (speci fy) Teacher in public elementary school Teacher in public junior high/middle school Teacher in public secondary school Teacher in college Approximate Population of Town Approximate Enrollment of School ~
MUSIC SUBJECT TAUGHT: (If now, write the word "NOW"; if at any time in the past, write the word "PAST"). Elementary vocal _____ Elementary instrumental Junior high/Middle _____ Junior high/Middle school vocal school instrumental High school vocal _____ High school instrumental General music Other (explain) ______PART I I I - ACADEMIC PREPARATION
INSTRUCTION: Evaluate how well you think your graduating institution prepared in these general areas by circling the best descriptor:
Did Not Less Than Very Take Poor Adequate Adequate Good Excellent
Fundamentals of Music X X X X X X Music Theory X X X X X X (Conments) ______
Sight Singing (Comments)
Dictation (Comments)
Basic Music History (1st yr.) (Comments) ______
Advanced Music History (All courses after 1st sequence) (Comments) ______
Major Applied Music "Pi ano XX XXXX Organ XXX XXX Voice X XXXXX Strings XX XX . X X Woodwi nds XX XXXX Brass X X XX XX Percussion XX XXXX Guitar X XX XXX (Comments )_ Did Not Less Than Very Take Poor Adequate Adequate Good E xcellen t
Minor Applied Music (private or class) Piano Keyboard harmony X XXX XX Voice XX XXXX Strings XX XXXX Woodwinds XXXXX X Brass XX XX XX Percussion XX XXXX Guitar X XXXXX (Comments)
Begi nni ng Conducti ng XXXX XX (Comments)
Advanced Conducting XXXXXX (Comments)
Secondary Instrumental XXX X XX General Music K-12 X XX XXX Pre-Student Teachi ng XXX X XX Lab or Field Experience Other X XX X XX (Comments)
Student Teaching Elementary General Instru. X X X X X X Secondary General/ Choral X X X X X X Elementary Instru. X X X X X X Secondary Instru. X X X X X X (Comments)______Did Not Less Than Very Take Poor Adequate Adequate Good E xcellen t
Junior Recital (Comments)_____
Senior Recital (Comments)_____
Advising Education Advisor X X School of Music Advisor X X (Comments)______
Recital Attendance (Comments)______
Seminary in Education Study Skills X X X X X X National Teacher Workshop X X X X X X Upward Bound & Special Services X X X X X X Test Taking Skills and Strategies X X X X X X Developing Teaching Competencies X X X X X X Accompanying Lab. X X X X X X Other X X X X X X (Comments )______
Large Ensembles XX X XX X (Comments)
Small Ensembles XXX XXX (Comments) 295
Did Not Less Than Very Take Poor Adequate Adequate Good E xcellen t
General Music and Worship X X X X X X Afro-American Music X X X X X X Opera Workshop X X X X X X Vocal Diction X X X X X X Music Appreciation X X X X X X Other X X X X X X (Comments )______
Music Literature Piano Literature X X X Vocal/Choral Liter. X X X String Literature X X X Woodwind Literature X X X Brass Literature X X X Vocal Pedagogy X X X Instrumental Pedagogy X X X (Comments)______
Counterpoi nt XXXXXX (Comments)
Composition XX XXXX (Comments)
Advanced Theory Courses X XXXX X (Comments)
Music Education Methods Courses Intro, to Music Teachi ng X Elementary General X Elementary Instru. X Junior high/Middle Sch. School Vocal X Junior high/Middle School Instrumental X Secondary Vocal/ Choral X PART IV - OPEN - END QUESTIONS
INSTRUCTION: Please consider carefully your answers to these questions:
1. What were the greatest strengths of your college preparation for the job you now hold (or your most recent teaching position)?
2. What were the greatest deficiencies in your college preparation for the job you now hold?
3. How realistically did the music courses you took in college anticipate real working situations and problems you have faced in your v/ork? (Explain)
4. How do you think your graduating institution should improve its program in such areas as: music courses, experience, preparation for teaching and so on?
5. What music areas do you think would have been important, but were not offered?
GENERAL COMMENTS (IF ANY): Use back if necessary.
THANK YOU for your assistance in completing this questionnaire. Please return it by ______, ______1984, in the (day) (date) enclosed, self addressed stamped envelope. APPENDIX D: LETTERS TO THE MUSIC TEACHER EDUCATION PROGRAM DIRECTORS
Cover Letter to the Music Teacher Education Program Di rectors
Advisor's Letter to the Music Teacher Education Program Directors and Graduates
First Follow-up Letter to the Music Teacher Education Program Directors
Second Follow-up Letter to the Music Teacher Education Program Directors
Brochure to the Music Teacher Education Program Directors 298
Dear ______: (Name of program director) I am a faculty member of the Music Department at Oakwood College currently on leave and pursuing the Ph.D. degree in music education at The Ohio State University. Presently, I am conducting an analytic-descriptive study to survey and evaluate the Music Teacher Education Programs of selected accredited Black Private Colleges and Universities in the United States.
On the basis of the already expressed endorsement given by Dr. Turner Battle III of the United Negro College Fund, and the support and approval given by your College/ University President, I am now requesting your assistance.
Enclosed is a questionnaire prepared for Music Teacher Education Program Directors of selected, accredited Black Private Colleges and Universities to be completed and returned to me in the enclosed self-addressed, stamped envelope. Please provide the appropriate responses as indicated in the instructions for filling out this questionnaire. Be confident that al1 responses on these questionnaires will be treated in such a manner that anonymity will be protected. It is my sincere hope that you will give this questionnaire top priority by complet ing it immediately since the questionnaire for the Music Teacher Education Graduates is solely dependent upon your helpful response of this questionnaire. Your completed questionnaire should be mailed to me by
As you are aware, very little systematic study has been done of music teacher education programs black private colleges,and universities in the United States. My advisor. Dr. Peter Constanze, and the Vice-Provost of Minority Affairs, Dr. Frank Hale at The Ohio State University believe that this will be a landmark study to add some knowledge about the music teacher education programs and graduates in this unique group of black private colleges and universities in the United States.
Please allow me to express in advance my deep appreciation for your support in this study. With highest personal and professional regards, I am
Sincerely yours.
Lucile Lacy School o( M uiic
Cciiioti'- R(j;i'! Coiuri.rjus Ohio Phone 614 4?2-657l
November 14, 1984
Dear
Recently, Lucile Lacy, a Ph.D. candidate in Music Education at The Ohio State University, requested your participation in her dissertation project. As noted in her letter, this research is supported and endorsed by the United Negro College Fund Executive Committee and by the Office of Minority Affairs at The Ohio State University. As of this date, Lucile has not received your response.
As her adviser and chairman of her dissertation committee, I am convinced that this research will make a significant contribution both to the literature and to the profession and I request your participation in this research project.
Sincerely yours.
A. Peter Costanza Chairman, Music Education
APC/se (Name of Program Director)
Sometime ago, I sent you a questionnaire concerning a dissertation study of music teacher education program at selected accredited, black private colleges and universi ties. In my cover letter I described the study and requested your participation. As of today I have not received your questionnaire.
I realize that you are a very busy person, I am also aware, however, that you are a very important person -- vital to music teacher education and vital to the success of this study. In the interest of scholarly research it is imperative that all members of the select sample participate in this study.
Please 111 I am asking that you take the time to complets the questionnaire. (Note: You are not committed to any long-term participation in an on-going study).
Maybe the questionnaire did not reach you; therefore, I am enclosing another copy of the questionnaire and a self-addressed envelope for your convenience. I would greatly appreciate your completing and returning this questionnaire “immediately" (Within one week) as the longer you might put it off the less likely you will be to complete it at all. (I know from personal experience.) If I do not hear from you, I will probably call you to check upon the status of your participation. Please feel free to call me (collect) if you have any questions or problems. Also, please know that all aspects of your participation in this study will be kept in strict confidence. Finally, please accept my heartfelt thanks for your time and cooperation.
Again, many thanks and I look forward to receiving your questionnaire VERY SOONIi! With gratitude and all best wishes, I am
Sincerely yours.
Lucile Lacy Dear ______: (Marne of Program Director)
Again, I am writing to encourage your participation in an effort to improve music teacher education program at your college and to the whole of Music Teacher Education. Out of the entire sample needed to complete this research study your Music Teacher Education graduates' addresses are still needed. I cannot overstate the importance of your participation.
I realize that you are a very busy person, and I am also aware, however, that you are a very important person -- vital to the success of this study. Your prompt help in assisting me in ascertaining your 1979-1983 Music Teacher Education Graduates will be most appreciative.
I am anxious to receive this list so that I can proceed to the next stage of storing all the data in the computer and completing the statistical analysis. May I receive this material by Monday, February 18, 1985?
Please feel free to call me (collect), if you have any questions, to expedite time in receiving this requested data. Research of this type is only possible with help from people like yourself.
Finally, please accept my heartfelt thanks for your time and cooperation. With gratitude and all best wishes, I am
Sincerely yours.
Lucile Lacy F i e r i L I N C F
MUSIC
TEACHER
EDUCATION TEACHER EDUCATION
Mil» Lucile C. Lacy K [ n r n B r R
nrr.iiAüY
L a
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TO RETURN THE OUESTIOMIIAIRE APPENDIX E: LETTERS TO GRADUATES
Cover Letter to Graduates
First Follow-up Letter to Graduates
Second Follow-up Letter to Graduates
Brochure to Graduates (Name o f G ra d u a te )
You can make a valuable contribution to your Alma Mater and to the future of Music Teacher Education Programs at Black Private Colleges and Universities in the United States by completing the enclosed questionnaire. This research study has been endorsed by The United Negro College Fund, the Minority Affairs Office at The Ohio State University as well as the President of your Alma Mater. The Music Chairperson of your Alma Mater has recommended you to participate in this study. We believe that this landmark research study will add some knowledge about the music teacher education programs and graudates in this unique group of Black private higher education institutions.
Data obtained from graduates' ratings of the prepara tion received from their undergraduate music teacher education programs and their teaching experiences since graduation will provide statistically valuable information that can be used to analyze the degree programs. This will provide a basis to draw some conclusions about the strengths and weaknesses of the program and to formulate plans for future development. Please be confident that no individual response or individual institution will be identified in this research.
I am requesting that you complete the enclosed questionnaire and mail it to me in the enclosed pre addressed stamped envelope by Your promptness will be deeply appreciated.
Best Wishes for a successful teaching year; and thank you in advance for you time and cooperation in this study.
Sincerely,
Lucile Lacy
Enelosures (Name o f G ra d u a te )
A short time ago I sent you a questionnaire concerning the evaluation of music teacher education program at your Alma Mater. In order for this research to be successful, your opinions of your experiences are needed.
This questionnaire is one aspect of my doctoral dissertation ; however, the completion and return of this instrument could possible have far-reaching effects for future teacher education students in music.
I realize that you are very person but your participa tion is vital to the success of this study. In the interest of scholarly research it is imperative that all participants in this study respond. Research of this type is only possible with help from people like yourself. I firmly believe that graduates are the best source for gaining information about the music teacher education program because you are the ones who has gone through the program.
Please 111 I am asking th a t you take the time to complete the questionnaire. (Note; You are not committed to any long-term p a rtic ip a tio n in an on-going study.)
Perhaps the questionnaire did not reach you; therefore, I am enclosing another copy of the question naire and a self-addressed envelope for your convenience, I would greatly appreciate your completing and returning this questionnaire immediately (within one week).
Please feel free to call me (collect) if you have any questions or problems. Also, remember that all aspects of your participation in this study will be kept in strict confidence. Finally, accept my heartfelt thanks for your time and cooperation.
I can not thank you enough for your time and coopera tion. I am trying very hard to complete this research project in the most complete and accurate manner possi ble. Your efforts will help make this possible. I look forward to receiving your questionnaire VERY SOONll
Most appreciative,
Lucile Lacy Dear ______; (Name of Graduate]
Again, I am writing to encourage your participation in an effort to improve music teacher education program at your Alma Mater and to the whole of Music Teacher Educa tion. As a black music educator currently employed at an accredited, black private college, I am particularly interested in the educational status, learning conditions and professional opportunities — especially for blacks in the area of Music Teacher Education.
Out of the entire sample needed to complete this study your questionnaire is one that is still needed. I cannot overstate the importance of your participation. I am hoping to attain a perfect return rate — thus leading to increased validity and reliability for this study. You can help to make this possible.
PLEASE 1 ! 1 take the time to complete the question naire previously sent to you concerning the evaluation of music teacher education program. Feel free to give your candid response and remember that all aspects of your participation in this study will be kept in strict confi dence.
If for some reason the questionnaire did not reach you, to expedite time, call me collect at (614) 421-1725 for another copy.
I am anxious to receive your completed questionnaire so that I can proceed to the next stage of storing all the data in the computer and completing the statistical analysis. Therefore please, help me by completing the questionnaire NOW, today, and return it to me without further delay. T must bring this phase of the study to a close by Monday, February 18, 1985.
Research of this type is only possible with help from people like yourself, so let us make our colleges the BEST. I look forward to receiving your questionnaire VERY IÜÏÏITI!: ------
Again, thank you so much for sharing a corner of professional terrain with me.
Appreciatively yours,
Lucile Lacy fieri L t H c r
MUSIC
TEACHER
EDUCATION T E A C H E R e d u c a t i o n
Th« Ohio Sfêf# University
Coluabut* Ohio 43210 R r n r fl B r R
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TO RETURN THE OUESTIOHIIAIRE APPENDIX F
Conversion Table of Academic Hours 311
CONVERSION TABLE SEMESTER HOURS TO QUARTER CREDITS
1 1.5 26 39.0
2 3.0 27 40.5
3 4.5 28 42.0
4 6.0 29 43.5
5 7.5 30 45.0
6 9.0 31 46.5
7 10.5 32 48.0
8 12.0 33 49.5
9 13.5 34 51 .0
10 15.0 35 52.5
11 16.5 36 54.0
12 18.0 37 55.5
13 19.5 38 57.0
14 21 .0 39 58.5
15 22.5 40 60.0
16 24.0 41 61 .5
17 25.5 42 63.0
18 27.0 43 64.5
19 28.5 44 66.0
20 30.0 45 67.5
21 31 .5 46 69.0
22 33.0 47 70.5
23 34.5 48 72.0 312
CONVERSION TABLE SEMESTER HOURS TO QUARTER CREDITS
49 73.5 72 108.0
50 75.0 73 109.5
51 76.5 74 111.0
52 78.0 75 112.5
53 79.5 76 114.0
54 81 .0 77 115.5
55 82.5 78 117.0
56 84.0 79 118.5
57 85.5 80 120.0
58 87.0 81 121 .5
59 88.5 82 123.0
60 90.0 83 124.5
61 91.5 84 126.0
62 93.0 85 127.5
63 94.5 86 129.0
64 96.0 87 130.5
65 97.5 88 132.0
66 99.0 89 133.5
67 100.5 90 135.0
68 102.0 91 136.5
69 103.5 92 138.0
70 105.0 93 139.5
71 106.5 94 141 .0 313
CONVERSION TABLE SEMESTER HOURS TO QUARTER CREDITS
ester Quarter 95 142.5
96 144.0
97 145.5
98 147.0
99 148.5
100 150.0 SELECTED REFERENCES
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Andrews, T. E. Teacher education reports. Washington, D.C.: National Center for Education Statistics, 1983. In Pritchy G. Smith. The critical issue of excellence and equity in competency testing. Journal of Teacher Education, 1984, 35, (2), 6-9.
Baer, G. T. An evaluation of the Northern Illinois University Undergraduate elementary education program based on the opinions of a selected group of its graduateTT Unpublished doctoral dissertation. Northern Illinois University, 1973.
Baird, F. J. A follow-up inquiry of secondary school music teachers prepared at San Jose State College {Doctoral dissertation, Stanford University, 1955). Dissertation Abstracts International, 1956, 24, 1-832A. University Microfilm No. 15-341, 2887
Ballard, A. B. The education of black folks. New York: Harper and Row, 1973.
Bennett, R. W. An evaluation of the effectiveness of the undergraduate music education curriculum at North Texas State University.' Unpublished doctoral dissertation. North Texas State University, 1975.
Borg, R. L. An analysis of music teacher education programs in a select group of mid-western universities and colleges (Doctoral dissertation. State University of Iowa, 1959) Dissertation Abstract International. 1959, 20, 1917-2988A. (University Microfilms No. 59-57077 2151 )
Borich, G. Implication for developing teacher competencies from process-product research. Journal of Teacher Education. 1980, 30, (1), 77-86. Boyce, H. W. A graduate oriented evaluation of the music education curricula of four state college - universities systems in Utah (Doctoral dissertation, Utah State University, 1973) Dissertation Abstracts International. 1973, 34, 7385-7926A. (University Microfilms NO. 74-13,~2’G3)
Bray, M. A comparative of the educational, vocational and avocational experiences of the graduates of the school of musicT Unpubli shed doctoral di ssertation, Northwestern University, 1954.
Brown, L. In defense of black colleges; a response to Kenneth B. Clark, ISEP Monitor. Ill, 1979, 3, 8.
Bullock, H. A. A history of negro education in the south. Cambridge: Harvard University Press, 1967.
Bullock, H. A. A history of negro education in the south: from 1619 to the presentl New York : Praeger Publishers, 1970.
Burton, H. B. Teacher education graduates and their perceptions of programs. Journal of Social Studies Research. 1977, 1_, (1), 20%!?:
Burnley, M., & Kirschner A. H. UNCF statistical report of the member institutions. New York: UNCF, 1981. (ERIC Document Reproduction Service NO. ED 213 314)
By-Laws of the United Negro College Fund, Inc. Albany, N. V.: Author, 1944.
Carnegie Commission on Higher Education, In Dunham, E. A. Colleges of the forgotten Americans. New York: Carnegie Commission on Higher Education, 1969.
Carney, M. Doctoral dissertations and projects relating to the education of negroes. Advanced School Digest. New York: Teachers College Columbia University, 1942.
Carter, 0. Issues directive on Black colleges, ISEP Monitor, (December, 1978), 2.
Certificate of incorporation of United Negro College Fund, Inc. pamphlet, Albany N. Y.: UNCP, 1944.
Chickering, A., & Associates. The modern American college. San Francisco: Jossey-Bass, 1981. 316
Choate, J. F. Jr. An analysis of the undergraduate curriculum and the subsequent professional involvement of selected instrumental music education graduates of Louisiana State University (Doctoral dissertation. The Louisiana State University and Agricultural and Mechanical College, 1976). Dissertation Abstracts International, 1976, 37, 3231-3961 A. (University Microfilm No. 76-28, 7?4)
Ciampa, B. J . The master's degree in education: a survey of smaller public and private institutions. Journal of Teacher Education. 1980, (3), 47-49.
Clark, D., & McDonald, J. Critical value questions and the analysis of objective and curriculum. Second Handbook of Research on Teaching. Chicago: Rand McNally, 1973.
Clark K. B. Higher education for Negroes : challenges and prospects. Journal of Negro Education. 1967, 36. 196-203. —
Clark, M. J. Academic program evaluation. New Directions For Institutional Research. 1983, 27-27.
Claybon, S. E. C. An investigation of music teacher preparation in selected United Negro Fund Colleges and Universities (Doctoral dissertation. North Texas State University, 1981). Dissertation Abstract Internati onal, 1982 (University Microfilm No.)
Conant, J. B. The education of American teachers. New York, New York: McGraw-Hill, Inc., 1963.
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