INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type o f computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Information Company 300 North Zeeb Road, Ann Arbor MI 48106-1346 USA 313/761-4700 800/521-0600 UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE , BARBARA ANDRESS: HER CAREER AND CONTRIBUTIONS TO EARLY CHILDHOOD MUSIC EDUCATION A Dissertation SUBMITTED TO THE GRADUATE FACULTY in partial fuLÉillment of the requirements for the degree of DOCTOR OF PHILOSOPHY By JANETTE DONOVAN HARRIOTT Norman, Oklahoma 1999 ÜMI Number: 9930837 UMI Microform 9930837 Copyright 1999, by UMI Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. UMI 300 North Zeeb Road Ann Arbor, MI 48103 © Copyright by JANETTE DONOVAN HARRIOTT 1999 All Rights Reserved BARBARA ANDRESS: HER CAREER AND CONTRIBUTIONS TO EARLY CHILDHOOD MUSIC EDUCATION A Dissertation APPROVED FOR THE SCHOOL OF MUSIC BY0 //^oZjAy^Hson^Chair Dr. Rogâ: Rideout Dr. Steven Curtis Dr. David Etheridge Linda McKinney ^ ACKNOWLEDGEMENTS I wish to thank certain individuals who have provided assistance throughout the research and preparation of this document My sincere thanks go to Dr. Joy Nelson and Dr. Roger Rideout for their expertise and guidance in preparing an historical document and helping me acquire the correct writing style. I also extend my appreciation to the other members of my committee for their valuable suggestions and support Dr. David Etheridge, Dr. Steven Curtis, and Dr. Linda McKinney. A special thank you is extended to Barbara Andress. She graciously gave of her time, and shared her life and career. In addition to two days of interviewing, she provided materials, photographs and memorabilia, and was always available for phone calls and communication. In 1998, she also invited me to be a part of a colleague reunion after the MENC National Convention in Phoenix. This reunion, with Eunice Boardman, Fred Wniman, Mary Pautz, and some of her students &om Wisconsin, was at Barbara Andress’s home in Prescott This special time with these unique and outstanding leaders in music education was very much appreciated. I am very grateful for Barbara Andress’s assistance and patience in the completion of this study. In writing about her remarkable career, I have IV gained invaluable knowledge and inspiration in the field of music education. I would also like to thank Vin Novara, Supervisor o f the Special Collections in Music, for his assistance at the Special Collections in Performing Arts, located at the University of Maryland’s Performing Arts Library at College Park, Maryland. His generous assistance in locating MENC files to obtain information on Barbara Andress’s MENC activities is greatly appreciated. A special thanks also goes to David Waggoner for permission to research and copy any available records fcom the Arizona Music Educators Association, to Dr. Michael Willson for allowing me to research his records and memorabilia firom the Arizona Music Educators Association, to John Paris for permission to copy pictures of Barbara Andress as well as an article from the Arizona Music Educators Association journal entitledArii^^na M usic N e m , to Sylvia Perry for permission to use pictures and illustrations of the Music P/ay Unlimited early childhood instruments firom Peripole- Bergerault, Inc., and to Jeanne Spaeth for permission to use pictures firom Barbara Andress’s MENC publications. I also want to thank my friend and former church choir director in Germany, Denise Nannestad in Prescott, Arizona, for her hospitality during my two visits to Prescott She is also Barbara Andress’s firiend, church choir director, and colleague in the Christian Arts Program. Denise allowed me to stay in her home when I visited Prescott for research, interviews, and a colleague reunion. She and Barbara Andress extended a sincere welcome into their church community and made my visits enjoyable. Denise also shared notes and information concerning Barbara Andress’s contributions to the church music activities. Special thanks go to my hiend and colleague. Dr. Darla Eshelman, for not only giving me this research topic, but also for all her help and support in finishing this dissertation. I also want to thank her mother, Judy Rogers, for her hospitality in Phoenix, Arizona. She allowed me to stay in her home during my two visits to Phoenix for research and for the MENC Convention. A special thanks goes to my family: my husband. Art; my son Art and his fiancee'. Dee Dee Daniels; my daughter Angie and her husband, Chris Hill; and my four grandchildren: Forrest and Austin Hill, Brittney Harriott, and our new granddaughter, Karis Hill. They have given me much love, support, patience and understanding throughout the entire doctoral program and the writing of this dissertation. VI I dedicate this document in loving memory of three very special people: my parents, George (1902-1988) and Sarah. (1913-1996) Donovan, who gave me much love and support in music since I was five years old; and my sister. Dr. Rebecca Donovan (1946-1992), who at the time of her death was Director of Research in the School o f Social W ork at Hunter College in New York City. Her dedicated pursuit of advanced studies gave me inspiration to further my music education. vu TABLE OF CONTENTS ACKNOWLEDGEMENTS------------------------------------------------------ iv LIST OF FIGURES---------------------------------------------------------------xiii INTRODUCTION--------------------------------------------------------------- 1 N e e d f o r t h e S t u d y --------------------------------------------------------------------------------------- 1 O rganization ------------------------------------------------------------------------------------------------- 3 P r o c e d u r e s ----------------------------------------------------------------------------------------------------- 5 L i m i t a t i o n s ----------------------------------------------------------------------------------------------------- 9 CHAPTER 2---------------------------------------------------------------------- 10 RELATED LITERATURE--------------------------------------------------- 10 M u s ic E d u c a t o r s a n d T h e ir Contributions t o M u s ic E d u c a t io n IN THE U n i t e d St a t e s----------------------------------------------------------------------------------- 10 Pioneer Music Educators in the 19* Century--------------------------------------------11 Pioneer Music Educators in the 20* Century --------------------------------------------15 Exemplary Music Educators From Mid-to-Late 20* Century---------------------- 18 H istory AND Research in Early C hildhood Music Education and IN th e Professional Organizations of Barbara Andress--------------------- 23 CHAPTER 3---------------------------------------------------------------------- 27 BARBARA ANDRESS AND HER CAREER AS A MUSIC EDUCATOR---------------------------------------------------- 27 F a m il y M u s ic E x p e r ie n c e s -------------------------------------------------------------------------- 27 J u n i o r H ig h a n d H ig h Sc h o o l M u s ic E x p e r ie n c e s ---------------------------------29 C o l l e g e M u s ic E x p e r ie n c e s ------------------------------------------------------------------------32 G r a d u a t e St u d i e s ----------------------------------------------------------------------------------------- 35 P u b l ic Sc h o o l T e a c h i n g -----------------------------------------------------------------------------36 Choral Activities--------------------------------------------------------------------------------- 40 Instrumental Teaching/Music Supervision-----------------------------------------------41 District Music Supervision ------------------------------------------------------------------- 42 University Teaching Experiences-----------------------------------------------------------47 Early Childhood --------------------------------------------------------------------------------- 50 University Courses ------------------------------------------------------------------------------54 M entor --------------------------------------------------------------------------------------------- 56 v i i i Committees --------------------------------------------------------------------------------------