Proceedings, the 57Th Annual Meeting, 1981
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PROCEEDINGS THE FIFTY-SEVENTH ANNUAL MEETING National Association of Schools of Music NUMBER 70 APRIL 1982 NATIONAL ASSOCIATION OF SCHOOLS OF MUSIC PROCEEDINGS OF THE 57th ANNUAL MEETING Dallas, Texas I98I COPYRIGHT © 1982 ISSN 0190-6615 NATIONAL ASSOCIATION OF SCHOOLS OF MUSIC 11250 ROGER BACON DRIVE, NO. 5, RESTON, VA. 22090 All rights reserved including the right to reproduce this book or parts thereof in any form. CONTENTS Speeches Presented Music, Education, and Music Education Samuel Lipman 1 The Preparation of Professional Musicians—Articulation between Elementary/Secondary and Postsecondary Training: The Role of Competitions Robert Freeman 11 Issues in the Articulation between Elementary/Secondary and Postsecondary Training Kenneth Wendrich 19 Trends and Projections in Music Teacher Placement Charles Lutton 23 Mechanisms for Assisting Young Professionals to Organize Their Approach to the Job Market: What Techniques Should Be Imparted to Graduating Students? Brandon Mehrle 27 The Academy and the Marketplace: Cooperation or Conflict? Joseph W.Polisi 30 "Apples and Oranges:" Office Applications of the Micro Computer." Lowell M. Creitz 34 Microcomputers and Music Learning: The Development of the Illinois State University - Fine Arts Instruction Center, 1977-1981. David L. Shrader and David B. Williams 40 Reaganomics and Arts Legislation Donald Harris 48 Reaganomics and Art Education: Realities, Implications, and Strategies for Survival Frank Tirro 52 Creative Use of Institutional Resources: Summer Programs, Interim Programs, Preparatory Divisions, Radio and Television Programs, and Recordings Ray Robinson 56 Performance Competitions: Relationships to Professional Training and Career Entry Eileen T. Cline 63 Teaching Aesthetics of Music Through Performance Group Experiences David M.Smith 78 An Array of Course Topics for Music in General Education Robert R. Fink 89 Music and Liberal Education: Planning for the Future Donald McGlothlin 92 Music in General Education Robert Steinbauer 96 Music: A Liberal Art George B. Whaley 99 Skills the Music Teacher Should Possess for Working with Handicapped Children Patricia Coates 101 Music and the Handicapped Child Elda Franklin 103 Psychomusicology and the Education of the Musician James C. Carlsen 109 Sociomusicology and the Education of the Musician Barbara Reeder Lundguist 114 Music Acoustics and the Education of the Musicians Glenn P. White 119 Towards the Twenty-First Century: Thoughts on Musical Training in America Joseph W. Polisi 124 The Arts Institution in the Urban Setting Emanuel Rubin 130 The Arts Institution in the Urban Setting: Response Louis Chenette 134 Church Music Curriculum Harold Best 137 The Sacred Music Degree: Is It All That It Should Be? Ray Robinson 140 Issues and Problems of Faculty Evaluation Robert Garwell 144 Issues and Problems of the Professional School in the Liberal Arts Institution Jerty D. Luedders 149 Models for the Development and Funding of Resident Ensembles Joel R. Stegall 152 The DMA: An Historical Perspective Robert Glidden 157 A Conservatory's View of the Doctor of Musical Arts: Problems and Concerns Leroy Johnston 162 The Doctor of Musical Arts: The Problems and Concerns from a State University's View James Moeser 165 The Plenary Sessions 171 Minutes of the Plenary Sessions 173 Report of the President Robert Bays 176 Report of the Executive Director Samuel Hope 182 Reports of the Regional Chairmen 185 Report of the Committee on Ethics 190 Actions of the Accrediting Commission (as approved by the membership) 191 Report of the Commission on Non-Degree-Granting Institutions Milton Salkind 191 Report of the Community/Junior College Commission JackHendrix 191 Report of the Commission on Graduate Studies Bruce Benward 191 Report of the Commission on Undergraduate Studies Lawrence Hart 192 Composite List of Institutions Approved in November, 1981 .. .195 Officers, Commi^oners, and Staff of the Association 197 MUSIC, EDUCATION, AND MUSIC EDUCATION SAMUEL LIPMAN We are meeting today in what seems a time of real crisis. I suppose every time is crisis time for those who, like you, live in a world of annually revised budgets. Yet the present anxiety we all feel is something special, and the current controversy over government funding levels in education and culture is a symptom of our pervasive unease. It will be my thesis here that what is going on in our working lives is nothing less than a calling into question, by the spirit of the age, of our very justification for existence as artists and educators. 1 want to begin by describing what must be called the crisis in music, the field of study which sets the National Association of Schools of Music apart from other school groups. At the heart of this crisis is the lack of widely accepted contem- porary composition. 1 must point out to you how unexampled this situation is in our musical history. Bach wrote music for weekly use; what his audiences heard from his pen was as a rule what he had just written. Mozart, despite ill health, economic privation, and largely self-inflicted personal difficulties, was a famous and admired figure of his time. Beethoven's patrons possessed full awareness of their protege's standing among the immortals, and this despite his personal touchi- ness; his compositions were eagerly awaited, largely enthusiastically received, and widely circulated in both authorized and pirated editions. The situation of new music in the high romantic era from Schumann and Chopin to Brahms and Wagner, and even for sometime after, was also one of vibrant health. The most advanced composers were the heroes of the age, inter- national celebrities and darlings of aristocracies of both birth and money. Verdi was a national symbol of Italian unification. Even Mahler, less successful as a composer than he might have hoped, was the subject of newspaper bulletins as he lay dying in Vienna. The first performances of the operas of Richard Strauss, as late as the 1920's, were the occasion for trains from all over Europe bringing opera lovers to pay homage to the master. In our own time, alas, things are vastly different. Our greatest orchestras, our largest opera companies, our most distinguished music schools are elegant and capacious museums, preserving musical antiquities as if they were all hot off the compositional press. Our most intellectually exciting performers are those who go back to original texts, original instruments, and original performance conventions. A performance of a "new" old bel canto opera causes all the excitement of an original discovery, and completion of a hitherto unfinished Mahler symphony or Berg opera dwarfs in importance any conceiveable premiere of a new composition. What exceptions there are to this rule of ancestor worship are few, marginal, and distinguished more by laudable motives than by any long-term musical influ- ence. Contemporary music concerts are ill attended, save when they program works which can be plugged into the drug-oriented popular culture. When, from time to time, famous soloists perform new or newish works, they do so with a palpable air of Jack Homer discovering his virtue. When one asks older or younger musicians, sophisticated or new audiences, administrators of large or small series, critics or teachers, the answers one gets about repertory are just about the same. Give us the famous names of the past, they all say; let us hear the great music from Bach to Mahler, the music that sounds like music should. Where an exception is made, the desired music is before Bach, and rarely after Mahler. What is new is disqualified even before it is heard, and once it is heard almost all have a one word reaction: nevermore. There is perhaps one even more important result of the present fixation on the past. We have in recent years seen a redefinition of what the word music itself means to serious people. To our forebears, the word conjured up an elite, refined art, the product of man's most civilized desires for self-improvement. In the past music was seen as the opposite of the ugly, the primitive, and the merely temporal. It was rather an expression of the uplifting, the beautiful, and the eternal. It was the product of the Western tradition, using folk elements widely, but in ways transforming these elements into universal and timeless content. But now this conception of music itself is being challenged as limited, insular, arrogant, and irrelevant. Side by side in current polite musical society with the formerly carefully defined greats stands an unlimited amount of folk music; this folk music is the product of myriad cultures, usually non-Western, and almost always the product of societies in either early or blocked processes of growth. Deriving inspiration from this mass of material is a constantly expanding body of popular music; this music is all the more overwhelmingly commercial as it claims to speak for a broad and unsophisticated audience. Even the new, gigantic edition of Grove's Dictionary, the ultimate arbiter of what makes up the musical family, treats folk and pop as properly deserving of our consideration. And in truth, in the world at large serious music is so swamped by the amount of demotic musics being played that for our children what we love seems mostly nothing more than a recherche amusement. Now let me speak of education. Here too there is a crisis, at once similar to and different from the situation in serious music. The similarity to music lies in our widespread loss of faith in the educational present; the difference lies in the fact that education, because it serves so many needs and busies so many bodies, is now as always the recipient of numerous well-funded and well-meant schemes for improvement. The last happy period in American education seems to have taken place in the halcyon decades between 1945 and 1965. Full-faith expansion was the order of the day in both secondary and college programs and facilities.