PROCEEDINGS THE FIFTY-EIGHTH ANNUAL MEETING National Association of Schools of Music = NUMBER 71 APRIL 1983 NATIONAL ASSOCIATION OF SCHOOLS OF MUSIC PROCEEDINGS OF THE 58th ANNUAL MEETING Seattle, Washington 1982 COPYRIGHT © 1983 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. FOREWORD In 1982, the NASM Annual Meeting was divided into three topic areas: Music in Higher Education and Music in Society, Technology and the Music Unit, and Self-Study and Management: Beyond Accreditation. Within each topic area, participants met together to hear major presen- tations, all of which are reprinted here. After the major presentations, participants attended small seminars to discuss the statements of the pre- senters. Summaries of the areas discussed in the small seminar groups are included here as the "Report of the Recorder" for each topic area. In addition to footnotes and other references in the major presentations, bibliographies of material suggested by the presenters were compiled by bibliographers for the topic areas. The bibliography for each topic area is included here at the end of the section for which the bibliography was compiled. CONTENTS Foreword ii Music in Higher Education and Music in Society 1 Uncertain Truths: The Promotion of Popular Culture George H. Lewis 3 Promoting Serious Culture in the United States Nancy Wellman 16 Cultural Education Jerrold Ross 24 The Place of Art in a Technological Society David Blinder 36 Articulation Between Secondary Schools and Higher Education in Ohio Andrew Broekema and David Meeker 47 Report of the Recorder Maureen A. Carr 58 Bibliography Budd Udell 60 Technology and the Music Unit 64 Media Technology John Giancola 66 Data Processing in Arts Administration: Problems and Applications Emanuel Rubin 79 Data Processing in Arts Administration: A Glossary of Jargon Emanuel Rubin 93 Can New Technology Provide Effective and Affordable Computer-Based Education? Donald Bitzer % Report of the Recorder Franz Roehmann 118 Bibliography: An Aimotated list of Available Computer Programs Russ Schultz 121 Self Study and Management: Beyond Accreditation 128 Objectives, Resources, and Curriculum Robert Glidden 130 Involving the Faculty in the Self-Study Process William Tarwater 136 An Overview of Approaches to Recruitment, Admission, and Retention of Undergraduate Music Students David Shrader 141 Recruitment, Admission, and Retention of Students at the Graduate Level Kenneth G. Bloomquist 150 Management of Resources: Finance, Persomiel, Physical Plant Harold Luce 155 Management of Resources Morrette Rider 161 Report of the Recorder Frederick Miller 168 Bibliography Jerry D. Luedders 170 Meetings by Size and Type of Institution The Transfer Curriculum in Music for Texas Colleges and Universities Merton Johnson 172 Every Team Needs a Farm Club James Sorensen 182 Adaptation of Existing Space for Music Facilities Frederick Miller 187 Faculty Development at Southwestern University George E. Nelson 191 The Development of More Options: Curricular Explorations at Grambling State University T. M. Jennings, Jr 193 Music Education: StiU Alive and Well Joyce J. Bolden 203 The Plenary Sesaons Minutes of the Plenary Sessions 206 Report of the President Robert Bays 210 Report of the Executive Director Samuel Hope 217 Reports of the Regional Chairmen 220 R^ort of the Committee on Ethics Joe B.Buttram 225 Actions of the Accrediting Conunissions (as approved by the memba^p) Report of the Commission on Non-Degree-Granting Institutions Thomas W. Miller 226 Report of the Community/Junior College Commission AmoDrucker 226 Report of the Ckrmmission on Graduate Studies Robert J. Werner 226 Report of the Ckrmmission on Undergraduate Studies Charles Schwartz 228 Composite List of Institutions Approved for Membership in November, 1982 230 Officers, Commissioners, and Staff of the Association 232 MUSIC IN HIGHER EDUCATION AND MUSIC IN SOCIETY PERSONNEL Chairman: William Thomson, University of Southern California Associate Chairmen: Harold Best, Wheaton College; James Hause, Eastern Michigan University; James Sorenson, University of Paget Sound; Ralph Verrastro, University of Georgia; Walter Watson, Kent State University Recorder: Maureen Carr, Peimsylvania State University Associate Recorders: George Cuppemull, State University College, Oswego; Reynold Kreuger, University of North Dakota; Robert Kvam, Whitman College; Mark Lam- mers, Gustavus Adolphus College; Arthur Tollefson, Uni- versity of Arkansas Bibliographer: Budd A. Udell, University of Florida Presenters: George Lewis, University of the Pacific; Nancy Wellman, Young Concert Artists, Inc.; Jerrold Ross, New York University; David Blinder, Yale University; Andrew Broekema, Ohio State University; David Meeker, Ohio State University INTRODUCTION Music in higher education has been a significant part of America's cultural enterprise during the twentieth century. Whether in the contexts of training future musicians, acting as cultural resources for their commu- nities, or teaching music to general college students, music training insti- tutions have made major contributions to the development of musical literacy in the United States. RATIONALE NASM has long been concerned about the interrelationships of music in higher education and music in society. The educational component of the American musical enterprise has generally been the least promoted of musical activities, and it is often the least understood by the general public. Therefore, it seems appropriate at this time to consider the forma- tion of culture as it relates to the work of institutions training professional musicians. OBJECTIVES The primary objective of this topic area is to propose future directions for the member institutions of NASM, and the Association itself, so that we may participate more fiilly in the development of our national culture. MEETING ORGANIZATION Music in Higher Education and Music in Society was divided into three working sessions. Session I had two components: "Cultural Promo- tion" and "Cultural Education," attended by all participants in the topic area. Sessions II and III had one presentation each, followed by small seminar discussions for the purpose of discussing the topic just presented. Following seminar discussions, the entire group reconvened for summary reports and discussion. UNCERTAIN TRUTHS: THE PROMOTION OF POPULAR CULTURE GEORGE H. LEWIS University of the Pacific "Talent may be compared to commercial products—the cigarette you smoke, the T. V. set you watch or the car you drive. You select that brand of product that you have been convinced is the one you should buy. Similarly, talent must be given an identity, an image, and then it must be properly packaged. This can only be done by care^y researching the talents of an artist and publicizing and promoting the image that best relates to these talents." Gerald W. Purcell President, GWP Records' "Our industry is a classic example of crap shooting. When you win, you win big. You can afford to take a 70% stiff ratio. On the three that make it you more than make up your cost and profit on the entire ten. If you're not willing to gamble, then you shouldn't be in the business." Director of Business Affairs CBS Records^ The above quotations, both drawn from the popular music business, reflect the two most significant things about popular culture today: 1) it is created within cultural industry systems that seek to rationally maximize predictability of sales; and 2) these industry systems are far more likely to be characterized by uncertainty than predictability, with respect to what cultural product they should create and promote in order to attain maxi- mum sales. This constant tension between, on the one hand, the bureau- cratic need for rationality and control and, on the other, the need for novelty and innovation in product, is perhaps the most potent driving force in the process of popular culture production today.® Let me share some examples with you: Michael Cimino produces the critically acclaimed and Oscar- winning film "The Deerhunter." Convinced he is a winner, Cimino's studio allows him millions of dollars to produce his own product—this time a western called "Heaven's Gate." The film flops and is immedi- ately withdrawn from circulation. Even a re-editing job cannot keep it firom becoming one of the biggest box office disasters in history. CBS Records spends hundreds of thousands of dollars to sign and promote Johnny Mnter, an albino blues player fi-om Texas, after much debate and on the advice of one of their more successful producers. Although, at the time, electric blues vras a highly popular style, )^ter never moves beyond limited cult status, despite a sustained and aggres- sive promotional campaign. "Easy Rider," a film independently financed and produced on a shoestring budget ($360,000) by Peter Fonda, is rejected by several major studios before Columbia Pictures takes a chance and distributes it. Not only does the film become highly successfiil in a financial sense, earning over $50 million at the box office, it also breaks new ground in both film-making techniques and in the linking of popular music to film as soundtrack. Bob Dylan records hisfirst tape for Columbia Records. Executives fear the folk market is too small to warrant its relee^e and decide not to produce a record, instead burying the tape in their vaults. The decision is overturned only by concerted lobbying by both John Hammond, a respected producer with a strong track record at Columbia, and Johnny Cash, at the time one of Columbia's hottest recording stars. I could go on for hours with examples of this sort from any of the popular culture industries: books, sports, films, fashions, television, music. But I doubt that it is necessary. The point is that, in truth, while these industries are organized along traditionally bureaucratic lines that should maximize rational planning and decision-making, that should allow culture to be mass-produced as best selling product, it most often does not work that way.