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N 81 J S/O. Na> 37? /N 81 J s/o. na> A COMPARATIVE PEDAGOGICAL STUDY OF AMERICAN ART-SONGS RECOMMENDED FOR BEGINNING VOICE STUDENTS DISSERTATION Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of Doctor of Philosophy By Sue Ellen Teat, B.M.E., M.M. Denton, Texas August, 1981 'P'Kl^y Teat, Sue Ellen, A Comparative Pedagogical Study of American Art-Songs Recommended for Beginning Voice Students. Doctor of Philosophy (Music Education), August, 1981, 318 pp., 27 tables, bibliography, 210 titles. This study's purpose was to examine and compare peda- gogical opinions and suggestions regarding teaching American art-songs recommended as suitable for beginning voice students. Specific problems were to determine 1. The ten American art-songs most recommended by voice teachers for beginning students, 2. Pedagogical opinions and sug- gestions about these art-songs, 3. Voice teachers' general opinions and suggestions regarding teaching American art- song, 4. Ways in which their opinions and suggestions were similar and 5. Ways in which their opinions and suggestions were dissimiliar. The research technique was a single cross section design sample survey. A questionnaire was mailed to a 10 per cent random sample (350 teachers) of the National Association of Teachers of Singing. Recipients were asked to recommend ten American art-songs suitable for beginning students and to add any comments they had. The sample was stratified using thirteen geographic regions of the United States. The respondents named 322 American art-songs. Computer tabulations included the most recommended songs and related pedagogical data, the songs most named for each category on the questionnaire, the songs most selected by the male and female respondents, each teacher type and each geographic region. Comparisons were delineated with related literature, by sex, teacher type and geographic region. The respondents' general remarks also were compared. Several conclusions resulted. Pedagogical categories and uses named disclosed trends of thought regarding the vocal literature most appropriate for beginners. Guidelines were drawn for possible employment by teachers. Seven art- songs among the most recommended for each questionnaire category were also among the most named over-all, showing they were highly valued by the respondents for use with beginners. The art-songs most selected over-all were also the most designated when the data was compared by sex, teacher type and geographic region, indicating a general consensus among the respondents regarding the American art-songs most suitable for beginners. Five different categories of general remarks manifested the respondents' active interest in teaching American art-song. © 1981 SUE ELLEN TEAT All Rights Reserved TABLE OF CONTENTS Page LIST OF TABLES v Chapter I. INTRODUCTION 1 The Need for the Study Problem Statement Specific Problems Definition of Terms Delimitations Methodology The Response to the Survey Summary and Conclusions on the Response to the Survey II. A REVIEW OF RELATED LITERATURE 35 Studies Concerned with American Art-Song General Studies about Art-Song Studies about American Music and Composers Summary and Conclusions III. PEDAGOGICAL CONSIDERATIONS OF THE TEN AMERICAN ART-SONGS MOST RECOMMENDED FOR BEGINNING VOICE STUDENTS 53 Introduction "The Daisies" by Barber "Sure on this shining night" by Barber "Loveliest of Trees" by Duke "Do not go, my love" by Hageman "Velvet Shoes" by Thompson "Into the Night" by Edwards "The Sleep that flits on Baby's Eyes" by Carpenter "There is a Lady Sweet and Kind" by Dello Joio "Orpheus with his lute" by Schuman "Tell Me, Oh Blue, Blue Sky I" by Giannini Musical Similarities Among the Ten Most Recommended Art-Songs Summary and Conclusions in Chapter Page IV. ADDITIONAL INFORMATION FROM THE SURVEY ABOUT AMERICAN ART-SONGS RECOMMENDED FOR USE WITH BEGINNING VOICE STUDENTS 126 Introduction Secondary Recommended Art-Songs Categorized Lists of American Art-Songs Resulting from the Survey Data Summary and Conclusions V. A COMPARISON OF THE RESPONDING VOICE TEACHERS' RECOMMENDATIONS 194 A Comparison of the Male and Female Respondents 1 Recommendations A Comparison of the Data by Teacher Type A Comparison of the Survey Data by Geographic Region General Comments and Suggestions Regarding the Teaching of American Art-Song Summary and Conclusions VI. SUMMARY, CONCLUSIONS AND RECOMMENDATIONS . 245 Summary and Discussion Conclusions Recommendations APPENDICES A. BIBLIOGRAPHY OF VOCAL PEDAGOGY BOOKS USED IN DEVELOPMENT OF QUESTIONNAIRE 266 B. LETTER OF TRANSMITTAL AND QUESTIONNAIRE . 271 C. FIRST FOLLOW-UP TO THE QUESTIONNAIRE 278 D. SECOND FOLLOW-UP TO THE QUESTIONNAIRE .... 279 E. THIRD FOLLOW-UP TO THE QUESTIONNAIRE 281 F. TIMETABLE FOR SURVEY STUDY QUESTIONNAIRE MAIL-OUT AND FOLLOW-UP 283 G. COMPLETE LISTING OF ALL AMERICAN ART-SONGS NAMED IN THE SURVEY IN RANKED ORDER .... 284 H. INDIVIDUAL SONG COMPOSITES OF THE QUESTIONNAIRE DATA COMPUTER TABULATIONS FOR THE TEN MOST RECOMMENDED AMERICAN ART-SONGS 292 BIBLIOGRAPHY 303 XV LIST OF TABLES Table Page I. Computer Coding Used for the Fifty States and the District of Columbia 19 II. Computer Coding Used for the Thirteen Geographic Regions 20 III. Rate of Response to the Survey in Ranked Order by Geographic Region 25 IV. Rate of Response to the Survey in Ranked Order by Individual State 26 V. Types of Respondents and the Ranked Response for Each Type 29 VI. The Ten Most Recommended American Art-Songs in Ranked Order ..... 54 VII. A Summary of the Pedagogical Data Concerning the Ten Most Recommended American Art-Songs 115 VIII. The American Art-Songs Most Recommended for Male Voice in Ranked Order 129 IX. The American Art-Songs Most Recommended for Female Voice in Ranked Order . 130 X. The American Art-Songs Most Recommended for All Voices in Ranked Order 132 XI. The American Art-Songs Most Recommended for High Range in Ranked Order 136 XII. The American Art-Songs Most Recommended for Medium Range in Ranked Order 138 XIII. The American Art-Songs Most Recommended for Low Range in Ranked Order 140 Table Page XIV. The American Art-Songs Most Recommended for All Ranges in Ranked Order . 141 XV. The Art-Songs Most Recommended for Use with Senior High School Level . 145 XVI. The Art-Songs Most Recommended for Use with First and Second Year College Levels 146 XVII. The Art-Songs Most Recommended for Use with Community Adult Level . 148 XVIII. The Art-Songs Most Recommended for Use with All Student Levels 149 XIX. The Most Recommended American Art-Songs for Each Vocal Line Difficulty Level , 153 XX. The American Art-Songs Most Recommended for Each Piano Score Difficulty Level 158 XXI. The American Art-Songs Most Recommended for Improving Musicianship , 164 XXII. The American Art-Songs Most Recommended for Improving Technique ...... 171 XXIII. The Most Recommended American Art-Song for Each Questionnaire Check-List Category ..... ... 181 XXIV. The American Art-Songs Most Recommended by the Male Respondents ...... 196 XXV. The American Art-Songs Most Recommended by the Female Respondents ..... 197 XXVI, The American Art-Songs Most Recommended by Each Type of Teacher 201 XXVII. The American Art-Songs Most Recommended by Each Geographic Region . 209 VI CHAPTER I INTRODUCTION The Need for the Study Throughout the twentieth century American composers and writers on musical topics have pleaded for the performance of music written by our native American composers. One such plea is composer Roy Harris' appeal, "Does Music Have to Be European?," written in 1932 (16, pp. 204-209). In his appeal Harris describes the American composer's perplexing situation: The problem of American composers is not one of authentic creative impulses; it is rather the lack of an indigenous musical culture which would provide ade- quate performances, receptive audiences and intelligent appraisals. Thus far American audiences have developed upon imported music and imported interpreters. If American music is alien in our concerts, it suffocates in the atmosphere of our pedagogy. Pro- spective performers must prepare to meet the professional requirements of managers - i.e., to present the musical literature of eighteenth and nineteenth century Europe. They must build a salable repertory? they must learn the classics first. This procedure is no malicious boycotting of American music; it is a natural and, for the most part, unconscious acceptance of the concert world as it exists to-day. But the result is that during their most re- ceptive and plastic years young embryonic teachers, performers, conductors and orchestral men have been obliged to neglect the melodies, rhythms and moods which are in their blood (16, pp. 205, 207-208). Indicating the importance of Harris' article is Henry Cowell's inclusion of it in his 1933 "symposium," American Composers on American Music, which was reissued in 1962 (9, pp. 149-166). The shunning of American works in favor of European classics has long been a sore spot with other American composers, too. One of the foremost among these is Aaron Copland. Like Harris, Copland has championed the performance of American music for years. Perhaps one of Copland's most persuasive arguments is the article "An indictment of the fourth B (an eloquent plea for more contemporary music perfor- mances) ," which appeared in the November 1952 issue of the Music Journal (7, p. 13). It was reprinted by the journal in the March 1964 issue, a manifestation that not much had changed from Copland's point of view since the article's first release. Among Copland's thought provoking comments are as follows. Whether we scan the programs of world-famous interpreters or the lesser artists they influence, whether we look at radio programs of concert music or the Tuesday morning program of the local music club, the picture remains the same: it is evident that a disturbing situation has gradually become all-pervasive at public performances of music, that is, the universal preponderance of old music.
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