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Volume 12

Several sections of the California State Education Code, that awesome mountain of print in whose shadow the state's 94 community colleges must operate, provide for a wide range of other-than-academic activities to be sponsored by those colleges for the benefit of their communities. This is a recognition by lawmakers that…
There is a cliche concerning music, and music in music education, that deserves to be repeated because it contains an exquisite truth about the use of music, and the music experience. It is a cliché which fortifies us in music education when we begin to wonder just how important we…
There are few signs that composers and music theorists have participated with more than faint enthusiasm in the current and widespread move to make the study of non-Western music a basic component in American university practice. Most of my colleagues (and I) have looked on with a sympathetic yet patronizing…
Symposium Volume 11 offers the results of a Symposium sponsored jointly by the American Musicological Society and The College Music Society on November 7, 1970, at Toronto, the topic being "Music and Higher Education in the 1970's." Most of the opinions voiced are sensible, intelligent, and constructive; but there is…
If young people in our schools are to have opportunities for exposure to and study of the musics of many cultures, then teacher preparation during this decade of the 70's must place emphasis on significant contact with ethnic musics, both in pre-service education and in continuing education for those teachers…
Since the mission of The College Music Society is to act as a forum for the exchange of ideas in the profession, it is quite natural that the pages of Symposium should continue to be open to discussion of the Contemporary Music Project, the philosophy of music education and the…
Relevance, anyone? Change? Concern for the "now" world of music in the United States? "Deep forays" out of the music library "into neighboring disciplines, into social and regional history, into history of ideas, science, and technology, into the study of cultural institutions and all levels of musical and artistic expression…
Without offering any new ways of curricular design, I would like to speak first about composition itself on the undergraduate level and then merge that aspect of education with the more appreciative aspects of a student's relationship to contemporary musical literature. I speak out of two types of teaching experience,…
It is essential that we find new approaches to a music curriculum that will serve contemporary needs. The very survival of music as a significant force in western society may well depend upon it. At a time in history when we have an astonishing access to the musical cultures of…
We are all aware of the many factors confronting the teacher of the so-called "rudiments" of music. Some of these include: size and previous experience of the class, choice of text or omission of text, scope of the class and level of achievement desired. The most important of these factors,…
Next door to the International Student Center, where the record player runs full time with gamelan orchestras and African drums, where students in dashikis lounge beside students in turbans or saris, where laughter is as likely to punctuate conversations in Urdu as in Japanese—next to that center is the large…
The performer in a college or university music department frequently is a "Concert Artist" who has chosen to continue his career in a different setting, mixing performance with teaching. I would like to speak for another kind of performer, a new breed of musician who owes his existence, but usually…
The field of electronic music grew so rapidly during the last fifteen years that composers and listeners came to expect that its role in our musical culture, like our economy, could only expand. I choose the comparison to the economy because there is a direct as well as a casual…