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Origins of Music Programs in Liberal Arts Institutions: the Ts Ory of Three Florida Catholic Universities Cynthia S

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Origins of Music Programs in Liberal Arts Institutions: the Ts Ory of Three Florida Catholic Universities Cynthia S University of South Florida Scholar Commons Graduate Theses and Dissertations Graduate School 3-17-2015 Origins of Music Programs in Liberal Arts Institutions: The tS ory of Three Florida Catholic Universities Cynthia S. Selph University of South Florida, [email protected] Follow this and additional works at: https://scholarcommons.usf.edu/etd Part of the Music Education Commons Scholar Commons Citation Selph, Cynthia S., "Origins of Music Programs in Liberal Arts Institutions: The tS ory of Three Florida Catholic Universities" (2015). Graduate Theses and Dissertations. https://scholarcommons.usf.edu/etd/5581 This Dissertation is brought to you for free and open access by the Graduate School at Scholar Commons. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Origins of Music Programs in Liberal Arts Institutions: The Story of Three Florida Catholic Universities by Cynthia S. Selph A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Department of Music Education College of Fine Arts University of South Florida Co-Major Professor: Jere T. Humphreys, Ph.D. Co-Major Professor: C. Victor Fung, Ph.D. Jennifer A. Bugos, Ph.D. Maria Cizmic, Ph.D. Date of Approval: March 17, 2015 Keywords: music education, Catholic education, music history, education history, music in higher education Copyright © 2015, Cynthia S. Selph DEDICATION I dedicate this dissertation to my husband Steve who has supported me in every way through two graduate degrees. I could not have done it without him. Many thanks, and I promise that this is my final academic degree! I also dedicate this dissertation to the administrators at Saint Leo University who hired me as a full-time music faculty member and set me on the road to fulfilling my dream of earning a PhD degree. Their inspired policy of funding the tuition for full-time faculty members who are pursuing terminal degrees made this process possible for me. ACKNOWLEDGMENTS Although it is impossible to adequately thank all of those who contributed to this study, I do want to express my appreciation and gratitude to those who were indispensable in the process. Dr. Fung, thank you for encouraging me to pursue this historical study, and for allowing an expert in historical research in music education to co-direct this dissertation. Dr. Humphreys, thank you for your endless patience, wisdom, and incredible knowledge in the field of music education. I was guided through the entire process by a true giant in our field, and I am very grateful to have experienced your mentorship. Many thanks to the archivists who were involved in this study. Sr. Dorothy Neuhofer came to Saint Leo College to set up the library in 1965. Her personal memories of the period that I studied were an invaluable resource. Ximena Valdivia at Barry University maintains the most organized and extensive archives that I encountered in this study and spent time scanning dozens of documents and academic catalogs for me. Jennifer Nolan opened the doors of the library archives for me at Ave Maria. I am also very grateful to all the current and former faculty members and administrators who generously gave me hours of their time in interviews. John Higgins, Larry Sledge, Maribeth Durst, Mary Spoto, Robert Imperato, Arthur Kirk, Giselle Rios, Beverly Coulter, Sylvia Lizama, Timothy McDonnell, Susan Treacy, and Rebecca Ostermann, thank you for sharing both your memories and your philosophies on the music programs in your schools. i TABLE OF CONTENTS List of Tables v List of Figures vi Abstract ix Chapter 1: Prologue 1 Introduction 1 Music in Higher Education in the United States 6 Colonial Colleges 6 Antebellum Colleges 8 Normal Schools 9 Conservatories 13 Colleges and University Departments and Schools of Music 14 Purpose of the Study 16 Significance of the Study 16 Research Questions 18 Delimitations 19 Literature Review 19 Historical Research in Music Education 20 History of Music in Higher Education 22 History of Music in Higher Education in Florida 24 History of Music in Catholic Affiliated Schools 27 History of Selected Other Music Schools and Departments 31 Methods and Sources 34 Historiography 34 Sources 37 Summary 39 Chapter 2: Catholic Affiliation in Higher Education 40 History of Music in Catholic-Affiliated Schools 41 The Benedictine Relationship with Saint Leo University 45 The Dominican Relationship with Barry University 51 Contemporary Catholic Conservatives and Ave Maria University 55 St Thomas University 58 Chapter 3: Saint Leo University 60 From Prep School to College 61 Saint Leo College Presidents 66 ii Organization and Administration of the Music Program 70 Saint Leo College Music Faculty 73 Music Curriculum 81 Music Performances and Programs 87 Oratorio Society 89 Musicals 90 Students 94 Facility 100 Conclusions 105 Demise of the Fine Arts Department and Music Major 106 Chapter 4: Barry University 109 Barry Organizational Structure 112 Barry Presidents 113 Barry Music Faculty 121 Music Curriculum at Barry 139 Applied Music 144 Music Theory 145 Music History and Literature 146 Music Education and Pedagogy 149 Conducting 150 Liturgical or Sacred Music 150 Ensembles and Performance Courses 151 Curriculum Reviews 152 Summary 155 Performance at Barry 156 Conclusions 160 Music Facility 160 Barry Music Students 166 Conclusions 169 Chapter 5: Ave Maria University 173 Ave Maria University Presidents 180 Structure of the University 183 Ave Maria Music Faculty 184 Ave Maria Music Curriculum 190 Applied Music 195 Music Theory 196 Music History 196 Conducting 197 Performance Ensembles 197 Sacred Music 198 Performance at Ave Maria 199 Music Facility 204 Ave Maria Music Students 207 Conclusions 213 iii Chapter 6: Comparisons 218 Structure 224 Faculty 225 Facilities 226 Music Curriculum and Degrees Offered 228 Performance Groups 230 Students 233 Conclusion 237 Chapter 7: Summary, Conclusions, and Recommendations 239 Summary 239 Question 1: When and how did each music program begin? 239 Question 2: How did the music programs develop? 240 Question 3: What are the relationships between the Catholic affiliations of each of these institutions and the development of the respective music programs/departments? 240 Question 4: What are the similarities and differences between the music programs at the three schools? 244 Question 5: What role does music play in the overall vision of the Universities and their development? 245 Question 6: What are the implications of this study for music education In these and other liberal arts colleges? 251 Conclusions 253 Recommendations 255 For the Three Institutions 256 Saint Leo University 256 Barry University 257 Ave Maria University 257 General Recommendations 258 For Future Research 259 Final Thoughts 260 Reference List 263 Books 263 Journal Articles 265 Theses and Dissertations 267 Websites 268 School Publications 273 Newspaper Articles 275 Academic Catalogs 276 Interviews 278 Archival Documents 280 Appendix A: Permission Letters from University Presidents or Provost 282 Appendix B: IRB Permission Letters 286 iv Appendix C: Informed Consent Letters 294 Appendix D: Sample Interview Questions for Faculty and Administration 301 Appendix E: Barbara Kaplan’s Letter to Thomas Welstead, Chairman, Board of Trustees, Saint Leo College 304 Appendix F: Music Curriculum Offered at Saint Leo University and BA Degree Requirements, 1995-96 Catalog 306 Appendix G: Barry University Proposed Music Curriculum Changes, November 19, 2012 Memo; and Degree Requirements Listed in 2014-15 Catalog 310 Appendix H: Barry College’s Tara Singers’ Concert Programs 318 Appendix I: Ave Maria University Music Curriculum and 2014-15 Degree Requirements 328 Appendix J: Ave Maria University Concert Programs 334 About the Author End Page v LIST OF TABLES Table 3.1: Organizational structure of the Saint Leo Music Programs 72 Table 3.2: Music degrees conferred at Saint Leo College from 1970-98 96 Table 4.1: Full-time music faculty at Barry College/University 140 Table 4.2: Number of music degrees conferred at Barry University (1945 -2014) 167 Table 5.1: Ave Maria University Music Degrees Conferred (2007-14) 207 Table 6.1: Full-time faculty comparisons 226 Table 6.2: Comparison of facilities 228 Table 6.3: Curriculum comparisons by credit hours 231 Table 6.4: Comparison of performing ensembles 234 Table 6.5: Standardized test scores and GPAs 237 Table 6.6: Music students’ states or countries of origin 238 Table 7.1: Important dates in the development of each university 241 Table A.1: Saint Leo College music curriculum overview, 1967-2014 307 Table A.2: Ave Maria University curriculum overview, 2004-2014 329 vi LIST OF FIGURES Figure 2.1 Map indicating the location of Florida’s Catholic universities 44 Figure 3.1: Earl Grauer 74 Figure 3.2: John Higgins 75 Figure 3.3: Larry Sledge 76 Figure 3.4: Barbara Kaplan 78 Figure 3.5: Daniel Delisi 81 Figure 3.6: 1990 Oratorio Society performance 90 Figure 3.7: Phil Johnson gives a recital 93 Figure 3.8: Guitar recital slated for March 13 94 Figure 3.9: Saint Leo Theatre 101 Figure 3.10: Front of college theatre 101 Figure 3.11: Schematic drawing of proposed campus improvements in 1988 102 Figure 3.12: Newly renovated music building in 2013 103 Figure 3.13: Diagram of proposed construction included in the 2017 master plan 104 Figure 3.14: Rehearsal space in the new music building 105 Figure 4.1: Executive committee of the administration organizational chart 113 Figure 4.2: Barry College faculty in 1940 121 Figure 4.3: Page 1 of A Christmas Triptych 123 Figure 4.4: Scene from the December, 1961 Performance of A Christmas Triptych 124 Figure 4.5: Sister Maura Phillips 126 vii Figure 4.6: Factory inventory record of Sr. Mary Tindel 129 Figure 4.7: Derna Ford 133 Figure 4.8: Watercolor painting, “Night Blooming Cereus” by David Maddern 134 Figure 4.9: Barry University Children’s Chorus auditions press release 135 Figure 4.10: 1946-48 Bachelor of Music four-year plan 142 Figure 4.11: 1980-82 Bachelor of Music four-year plan 143 Figure 4.12: Description of distribution coursework 143 Figure 4.13: Portion of Memo to Dr.
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