Volume 31

28 October 1992 will mark the fortieth anniversary of the landmark concert of electroacoustic music that was promoted by the American Composers' Affiance at the Museum of Modem Art in New York City. While the concert only employed tape recorders as the electronic component, it nevertheless ushered in a new…
The eighth of January 1992 marked the two-hundredth anniversary of the birth of Lowell Mason. Mason's legacy to the field of music education is immense, though its story is not without flaws. Mason led the way to music in the public schools, he pioneered efforts to train teachers, he worked…
Taking stock can be enormously helpful -- providing on the one hand a past review of accomplishments and unmet challenges and on the other a clarification of our future agenda. College faculty members engaged in teacher preparation can point to a long list of realized goals. We know how to…
In 1988 the Division of Musical History, National Museum of American History of the Smithsonian Institution acquired the musical estate of Edward Kennedy "Duke" Ellington, a purchase made possible by the generosity of his son Mercer and the support of the Congressional Black Caucus and the Congress as a whole.…
When contemplating undergraduate-level, eight-semester goals for teaching applied music, the studio teacher can simply state that the average music student will perform sixteen to thirty- two compositions or movements and will exhibit appropriate technical skills -- scales, arpeggios or technical studies-to pass the performance juries. Although college studio teachers commonly…
A theory student of mine once wrote on a class evaluation, "of all my blow-off courses (which include everything except lessons and ensembles), this was my favorite." While I was pleased that the student had enjoyed my course, I was troubled by the notion that all coursework outside the studio…
It is, in fact, nothing short of a miracle that the modern methods of instruction have not yet entirely strangled the holy curiosity of inquiry; for this delicate little plant, aside from stimulation, stands mainly in need of freedom; without this it goes to wrack and ruin without fail. It…
Collegiate music education is responsible for educating teachers of music in public and private institutions. We are ultimately responsible, therefore, for the education of consumers of music in many facets of society. Because of the importance of that task, it is crucial that we continue to explore innovative ways to…
A character in Simonede Beauvior's Les belles images, regretting the loss in this century of "truly human values which gave life a unique savior," asks when the decline began. She answers, "the day knowledge was preferred to wisdom." The abdication of wisdom, I think, is often a by-product of our…
Three critical issues regarding the preparation of music educators for the next century serve as the focus of this article: How do we ensure that music education students gain skill in the use of current technology in music teaching? What undergraduate experiences are most helpful to prospective teachers who will…
When a survey was undertaken of advertisements for positions in the Music Faculty Vacancy Lists published by The College Music Society for the years 1980-1987, it was discovered that 3,628 vacancies existed in 748 schools for that period. Thirty-five different categories of positions were tabulated, although many were similar in…
As I teach studio piano, I am continually confronted by the question of how much structure to provide for my students. Though I like to think that all my suggestions fall on heeding ears, I find that only rarely to be the case. The far more common scenario is the…
When asked recently by friends, "Why is music education important in higher education?" I looked at them as if they had just come from the most recently discovered planet. Having completed seven years of teaching at a university which ranks third in the United States in the preparation of teachers,…
When a music is transferred out of its original culture,2 it begins to lose some of its essential qualities. All teachers of world music, even those highly experienced, are confronted with matters of authenticity and compromise. That compromise may be inevitable is not at issue. The primary question is to…