College

Music

SYMPOSIUM
OF

JOURNAL

THREE

VOLUME
FALL

1963

THE

COLLEGE

MUSIC

SOCIETY

CollegeMusic
SYMPOSIUM
HENRY

EDITOR

W.

KAUFMANN

Collegeof Arts

Sciences

and

Rutgers University
/ Proceedings

HAUPTFUEHRER

GEORGE

EDITORS

ASSOCIATE

College,W.

Va.

Bethany
JORDAN / Book Reviews
Universityof Maryland

BRYCE

ADVISORS

EDITORIAL

/ Theory
J. MITCHELL
Columbia
University

WILLIAM

Education

/ Music

NORMANN

THEODORE

Washington
J. REVITT / Music Literature
Universityof California, Los Angeles
/ Musicology
JOHN R. WHITE
Indiana
University
of
University

PAUL

WOODWORTH

G. WALLACE

/ Per

formance

University

Harvard
HENRY

ADVISORS

REGIONAL

L. CLARKE

/ West

Coast

Universityof Washington

JORDAN / Middle Atlantic

of Maryland
University
LUTHER
Noss / New
England
Yale University

BRYCE

SANDRESKY

CLEMENS
Salem
BUSINESS

HENRY

MANAGER

/ Southeast

College
WOODWARD

Carleton

College
""

CollegeMusic
SYMPOSIUM
is publishedannuallyby the

Inc. Subscription
CollegeMusic Society,
by
at
the institutional rate
or
Society ($5.00/year)

membership in the
All orders and payments
should be addressed
($2.00/issue)
ness
Manager, % Carleton College,
Northfield,Minn. All
.

contributions for editorial consideration should

%

Collegeof Arts and

be addressd

to

to

the Busi

unsolicited
the Editor,

New
Sciences,
RutgersUniversity,
Brunswick, New
Inclusion of an article or symposium in this journalmust
be
Jersey.
not
taken to imply that opinionsexpressedtherein are necessarily
those of
the editors,
Music Society.
or those of the College
Copyright 1963 bv the
Inc.
CollegeMusic Society,

Contents
Page
INTRODUCTION
Editorial

H.

of

Report

the

in the

Music

Committee

K.

on

Elementary

Secondary School
Appendix I: The Teaching
and

G. WALLACE

WOODWORTH

13

G. WALLACE

WOODWORTH

19

of

Listening
Appendix II: Contemporary
in Secondary Music
Music

ALLEN

Education

SAPP

D.

21

FOCUS

CAMPUS

UNIVERSITY

OAKLAND

I.

W.

Rochester, Michigan
First Annual

Symposium

WALTER

on

the Arts
II. THE
A

JOHN
STATE

OHIO

in

College

Music
CHARLES

/The Doctorate

SYMPOSIUM
the

of

Matter
for

Degree
the

in

the

Composition

Observations

Composition

the Ph.D.

on

Thoughts

on

Music

LIBERAL

AND
in

the

MENDEL

LOWINSKY

43
53

CLARKE

60

ROBERT

MIDDLETON

62

GEORGE

ROCHBERG

64

L.

PETER

ELIOT

STONE

WEINBERG

HENRY

66

71

EDUCATION

Arts

Liberal

A.

MARTIN

Curriculum

BOOK

E.

in Music

Ph.D.

Composition
The
Ph.D. in Composition
MUSIC

EDWARD
ARTHUR

in

Composition
the

32

Composition

HENRY
in

SPOHN

an

Degree
Doctorate

in

L.

Doctor's

of Music

Doctor

Earned

Composers

Doctorate

Make

On

25

UNIVERSITY

Courses

The

GALLOWAY

and

Challenge for Improved

Learning

On

COLLINS

SHERMAN

77

REVIEWS

Historyo"

Music

Style by

HOMER

PAUL

PISK

A.
"

"
^

and
ULRJCH
,

Musical
and

6771449
'

IT

87

H"

Ui

Rsi

BOOK

REVIEWS

Page
and

Education

Liberal
WILLIS

J.

Music

and

WAGER

EARL

by

Musicology

Historical

W.

GLEN

LEO

L.

93

HAYDON

96

Architecture

and

Acoustics

AUSTIN

LINCOLN

SPIESS

BUNCE

by

J.
WILLIAM

McGRATH

Music,

by

HAROLD

BERANEK

BURRIS-MEYER

99

PROCEEDINGS

CMS

Music

College
Board

and
of

Report

Society

Executive
105

Council
Fifth

the

Annual
107

Meeting

CODA
Who's
Footnotes

Who

in

Symposium

139
141

The

College

and

disseminate

as

part

of

Society

Music

ideas

liberal

education

on

is

incorporated

to

philosophy

the

in

colleges

and

and

gather,
practice

universities.

consider,

of

music

INTRODUCTION

Editorial
A

has

half in jest
recentlybeen proffered,
and half seriously,
that the
for the
proper placein the university
study of music historyis the historydepartment.Music itself,
SUGGESTION

without

its historical appurtenances, would

then remain
the
of the music
sole prerogative
department.An analogy is then
drawn

the

from
separationof the historyof mathematics
and of the historyof science from
mathematics
science.
This suggestion
is speciousat best. Followed
to its logical
become
titanic
conclusion, the historydepartment would
a
enclave encompassingnot only the history
of music
and mathe
matics and science,but also the historyof art, literature,phi
of instruction
losophy,education, etc. The pitifulremnants
left to the "pure" subject-matter
departments would then re
volve around
two
poles:one, elementary, and the other, ad
to

vanced.
Let

take

us

example. At

the

of

and

grammar

would

be proper.

hypothetical
"pure" French department as an
elementarylevel, only drill in the rudiments
French
perhaps Conversational
syntax, and
For illustrative material of a literary
sort, the
have

department would
ture"

borrowed

from

the

creative

level,only new

to

rely on

"historian of French

historydepartment.At

writingin

French

would

If music

aspireto

is

would

grant de

be considered

to

one

of the

humanities, it

than drill in scales and

more

the spectrum,

therefore

be

this basis.

on

the rich

the advanced

acceptable.
viewpoint,there are

Unfortunatelyfor the proponents of this

few reputableinstitutions in the country that
grees

litera

creative

or

must

arpeggiosat one end

composition,without a knowledge

of

of

heritageof the past, at the other end. No one could

seriously
propose a music department strippedof its

historians.

Behind
the

such

artists concerned

tion, and

proposal,nevertheless,lies an

awareness

of

orientation
that exist in our
philosophical
major sphereof interest is representedby executant

differences

field.One

in

with

the other

by

performance techniquesand
the

scholar

concerned

with

composi
research

SYMPOSIUM

MUSIC

COLLEGE

10

Experiencehas shown that the best way to work

techniques.
is to allow each group to de
out
relationship
a harmonious
to be no
velopits own aspects of the curriculum. There seems
re
are
specific
questionthat appliedmusic and composition
both
that musicology,
and
of the professional
sponsibilities
is within
and historical,
systematic
But

only a

few

the ideal concept

departmentshave emphasized

interests of both

that the

of the humanist.

the domain

groups

are

complementaryrather

antagonistic.
can
only result, however,
interdependence
exists of the different emphases that
recognition

than

Mutual
clear

if

each

Since both
bringsto the teachingof any subjectmatter.
il
as an
areas
lay claim to theory,this subject
may well serve
luminatingexample.
area

Let

us

the "doers" and

grant that the distinction between

is less clear in music

the "knowers"

than

it is in the other

Nevertheless,the distinction does exist,and

fusion arises from

the indiscriminate

and
by professionals

humanists

use

alike. To

arts.

con
consequently

of the
the

term

"theory"

the
professional,

and is ex
in musicianship,
to beginningcourses
applies
tended to include such techniques
dictation,
as
sight-singing,
basic and advanced exercises in harmony and counterpoint,
etc.
Such
intended to develop certain skills in the
courses
are
of the materials of music, and thus are properly
manipulation
an
aspect of appliedmusic.
term

By

the humanist, the

term

It represents a
contemplation.
and includes
art of composition

is taken

in its literal meaning:

historical examination

of the

within

its scope such tasks as

the study of the evolution of technical terms
and procedures,

the scientificformulation
in
styleperiods

musical

in the verification and

music

none

"

of which

of

principles
underlyingthe different
and numerous
other facts
composition,
of technical knowledge in
organization
is possible
without
foundation
in
a

scholarship.
At the undergraduate
level,the lines of demarcation are not
drawn. At the graduate
level,however, a sharpdistinc
clearly
tion is

usuallymade.

of musical
nipulation
work

in

The

continues
professional

with the

ma

materials,leadingeventually
to creative

The humanist is concerned

instead
composition.
the historyof composition,
the historical developmentof

with
nota-

EDITORIAL

of the

general aspects

tion, and

11

theory of

that

music

are

con

rather than with practical

principles
ap
Such
often
includes
the
of
a study
theorizing
physical
plication.
acoustical basis of tonal relationships.
In this respect it is in
with

cerned

abstract

that as early as the second

terestingto note
century A.D.,
Aristides
Quintilianus systematizedmusical
knowledge into
two
parts: 1) a theoretical part consistingof a physicalor
scientificsection and a technical section,and 2) a practical
part
dealing with composition and performance. This concept of
music
theory may also explainthe organizationby Boethius of
and
into the quadmusic
arithmetic, geometry,
astronomy,
of mathematical
rivium, the four branches
learning.
different approachesare by no means
These
irreconcilable,
not
only with respect to theory but to all phases of musical
The
editor has known
who
activity.
musicologists
began their
artists or as performerswith major symphony
concert
as
careers
with a sound
has known
orchestras, and conversely,
composers
how
background in musicology.In this age of specialization,
the average
has usually had to make
a
facultymember
ever,

emphasis,and is therefore beholden

part in the complementary field for advice. It
of the
for example,to go directlyto the music
choice

of

tury and

judge

that
realizing

without
vals

accept the

then

would

We

the basis of

it on

dissonant.

were

ceptionsabout

much

to

his

counter

is

not

enough,

thirteenth

cen

twentieth-century
hearing.

our

thirds

sixths

and

consonances

as

the composers
of the time, these inter
Historical research would
clarifymiscon
to

of the music

of the past

including those

compositionsusuallyreferred to as belonging to the period of

would
the other hand, the professional
On
common
practice.
in the
his musical insights
contribute
to the problems inherent
proper
in

realization

of the music

would

and

make

it

alive

come

performance.
Even

when

same

person

aspects of music

humanistic
necessary
sake of

the

to

keep the

and
professional
background,he may find it

combines

in his

different functions

the

in mind

if

only for

It
clarityin his dealings with colleagues.
portant to keep the distinctions in view in order to

proper
A.B.

to
proportionof professional

curriculum,

leadingto

or

the Mus.B.

to

humanistic

separate that curriculum

the

seems

im

decide

the

courses

from

in the
the

one

There

is

another

of
stand

his

over

sition
that

of

teacher

voice

is

to

let

or

would

musicum

compo

choral

the

the

to

suggest

hint

director

perhaps

sound

banners

of

and

conductor,

with

Monteverdi

turn

medievalist

musicologist

accompaniment
unsound,

trained

to

those

will

scholar

Baroque

the

from

different

music

let

But

the

that

stylistically

of

under

readily

will

are

century

protest.

collegium

the

hands

twelfth

in

quiver

requirements

questioning

honest

an

pianist

harpsichordist.

or

problem

out

technical

organist

in

derogation

viewpoint.

person's

that
the

of

intended

no

SYMPOSIUM

MUSIC

COLLEGE

12

better

holy

the

in

are

war

unfurled!
is

It

should

we

since

all

and

points

than

When

cator!

the

College

that

is

day
Music

church
is
that

in

the

asking

Roman

since

both

needed

instead

acknowledges

field,
and

and

the

then

mutual

seeks
interde

separation.
will

department

as

What

that

principles

common

one

understanding,

contact,

millenium

The
music

of

in

Musicians
exist

solution

realistic

as

Lord.
of

of

set

is

same

that

''theology"

rather

pendence

for

the

sentimental

worship

to

Congress
in

differences

That

Baptists

Ecumenical

an

for

music.

in

the
from

together

acknowledge

groups

offer

to

work
all

are

we

Catholics

is

enough

not

come

when

faculty

every

member

of

composer-performer-musicologist-edu

arrives

Society

there

nor

will
for

no

longer

be

any

SYMPOSIUM.
H.W.K.

need

Reportof tKe Committee

Music

on

the Ele

in

mentary

Sec

ana

ondary Schools
COLUMBUS,

OHIO, DECEMBER

29, 1962

Introduction
Committee

THE

Schools is as old

at

Music in the

on

as

the

Elementaryand Secondary
itself.
It came
into existence
Society

the very firstmeetingas the result of

Music Committee

of the

from
inquiries

Board. The

Education
Secondary

the

Com

preparedreportsfor each annual meetingof the

and interrelated
of the large
on various aspects
touching
Society,
and
music and music in the elementary
problemsof college
schools.The burden of Professor Kvam's report in
secondary
between CMS
and the
1961 was the need for closer cooperation
other organizations
concerned with music in the schools. We
mittee has

have been fortunate in the presence on

of MENC
year of Allen Britton,president

Committee

our

duringpart of the
Music Departmentof

head of the
year, and Edward Gilday,
in Massachusetts. The
Lowell State Teachers College
members
lass

of the Committee

G, W. Woodworth
are

have been Arnold

Allen Sapp of
College,

also members

the

Kvain

other

of

Doug

of Buffalo,and
University

of Harvard. Messrs. Britton and Woodworth

of the AMS

Committee

on

Music

Education,and have held

mentary and Secondary

meetingsduringthe
mittee and

this

number

of

of the year with the AMS

Com
Council of
officersof the American

course

also with

who
Learned Societies,

in Ele

are

concerned in the

same

field.G. W.

1962, of which

March,

AMS

Mendel

Arthur

and

Woodworth

Committee,

W.

was

the

two-dayconference of the BenHigh School Teachers on August 1 and 2,

the

attended

ningtonInstitute for

Chicago in

G.
president.
of
chairman
(Princeton)

Britton

Allen

in

Convention

the MENC

attended

Woodworth

SYMPOSIUM

MUSIC

COLLEGE

14

1962.
Committee

CMS

The

of December

noon

bers of the AMS

28

at

during the morning and

and were
Columbus
joinedby

after

met

between

Committee

11 and

Claude

mem

Palisca

Committee
during Arthur Men
(Yale)chairman of the AMS
del'sabsence in Europe,discussed the report which he gave that
afternoon to the AMS
business meeting.
and varied evidences
there are many
On the general
scene,
of an "ecumenical" movement
among the various organizations
in the schools,stretching
all the way
involved in music teaching
NASM.
throughACLS, AMS, CMS, MENC,
,

Summer

The

Institute
current

for High School Teachers

projectis definitely
preparatory
con
background is a long-standing

stage of this

in the field of music. The

collegeteachers in other
teachers for high school work and
ning of programs. The American
has a long history
of activity
in
cern

of

Summer

of Music

fields for the

for

of
preparation

in
cooperation

Council

of Learned

this field. There

the

plan

Societies
have

been

Institutes in the sciences,

in

CollegeEntrance
the humanities.
Government

may

English(sponsored
by the
Examination
Board) and more
recentlyin
There are a number
of signsthat the Federal
,

make

stitutes through some

funds
one

available for such Summer

of the Government

National Science Foundation

has

as
agencies,

supportedSummer

In

the

Institutes

for

has taken the

high school teachers in the sciences. ACLS
lead in inviting
its onlyconstituent society
in music, the Ameri
can
to take steps to organize
Musicological
Society,
a number
of Summer

Institutes.It has secured foundation

such Institutes,
both

support for

two

in 1960 and 1962.

BenningtonCollege,
There are no specific
funds available at this time for the
sup
of
Institutes
in
but
it
is
1963,
that
port
any
urged
planningfor
at

such Institutes be continued

and

dress itselfspecifically
to this

that the CMS

project
duringthe

Committee
year 1963.

ad

REPORT

OF

Institutes, whether
foundations,
Music

the

or

mittee

their

at

program

of such

materials"

of "new

and

acteristic of Summer
but

the

rather

would

initiated

be

of

the

by

the

one

collegeor university.The
specific
of CMS
to consider
formulating
collegeor university.As discussed

own

the aim

Committee,

ACLS,

Com

members

urges

the

supported by

15

MUSIC

ON

Government,

of

Department

COMMITTEE

THE

institutes

"new

Institutes

musical

and

is
of

areas

not

much

so

study/*

in mathematics
intellectual

such

in the

the

which

study

is char

the sciences;

and

the

and

stimulation

the
in service, and
preparation of music teachers now
raisingof standards in music literature studied and played in
the high schools.
The
the content
on
preliminary thinking of the Committee
better

of the

Summer

for

curriculum

Institutes

is summarized

the

in

following three points:

of the Institute might well be de
(1) The main course
voted
to
relativelyfew works from the literature of
music, widely scattered, and chosen for their relevance
This
is not
work.
to high school
a
ready-made, model
different

in

each

at

successive

differ with
the teachers
and

also

in detail. The

followed

be

to

course

institute

The

summers.

the

musical

and

of

aim

works

would

be

intellectual

ideas applicable
to
specific

be

singleinstitute

any

choice
The

instructors.

both

for

and

would

works

their

would
to

give

stimulation,

teaching

own

problems.
basic
theory,with the same
aim as the history-literature
course.
workshops. Mssrs. Mendel
(3) Choral and/or instrumental
the practicalmusic-making at
found
and Woodworth
Bennington highly appropriate to the aims of the In
of the teachers and direct
stitute, by way of stimulation
which
the
the high school
reference
to
to
program
be returning.
members
of the Institute would
the College Music
After
discussion
Society at its annual
meeting passedthe following resolution:

(2)

On

second

course

recommendation

devoted

to

of the

Committee

Secondary Schools,
Elementary and
that the College Music
Society declare

Music

on

it

was

in

voted

its support

of

the

SYMPOSIUM

MUSIC

COLLEGE

16

Institutes for

Summer
o" establishing
project

teachers,such Institutes to be

School music

High

organized

facultiesin music.
and university
by college
Standards in Music
There

formed

was

It
grades.

all levelsof the

to

of standards in music

by choruses, orchestras,and bands, and

in the lower

in all

discussion
general

areas

of

is clear that there

in class

singing

strong forces

are

elementaryand secondaryschool program,

improve music

education

in

our

schools.

isolated individuals

these forces,whether

at

and

and persistently
working diligently

country,

our

per

with
Cooperation

organizedgroups,

or

clear that in
is the order of the day.It is equally
of CMS

should

like ours,

the members

fightfor

standards of excellence in music

never

never,

vast

country

giveup the
played and

sung,
studied in the school curriculum, and for standards of musician

ship,generaleducation

and

taste

in the

listsof material for

Recommended

trainingof
in

use

highschools emanatingfrom high sources in

of the music
of low standard. Much
generally
vocal and
not

recommend

any

sort

of

ex

cathedra

elementary and

education

instrumental,is of low standard. The

teachers.

are

still

for contests, both

Committee

pronouncement

did
or

school by
improvement must come
school,community by community, and state by state, here a
Committee
littleand there a little.The
urged the individual
of CMS, wherever
members
theymay work, to take every op
portunityto assistthe forces working for better music. This
and breadth of understanding.
With
takes tact and ingenuity
highlyvaried local conditions,this isthe onlysure road to excel

resolution,but

felt that

lence.

that the basic aim of the

alwaysbe emphasized
is educational. There is stillfar too
performingorganizations
much "entertainment" and "publicrelations'*in the lifeof the
the bands. However, there
organizations,
especially
performing
is a question
of balance involved in this delicate area. To sing
and playfor school festivals,
national holidays
and the like is
natural and justified.
The basic aim of the performing
perfectly
is and must remain
as well as classroom teaching,
organizations,
educational.
basically
It should

REPORT

COMMITTEE

THE

OF

17

MUSIC

ON

Textbooks

recognizedthe need for good textbooks

for high school teachingof music literature and music
theory.
There
discussion of the need to evaluate
some
was
existing
textbooks in the high school field,but the testimony of Allen
Committee

The

for im

that the need

itselfindicated

in the Committee

Britton

of coopera
teachers in the

is great. In other fields there is a record

provement

collegeteachers and high school

com
preparationof texts for high school work. The Committee
the idea that they consider the
of CMS
mended
to members
textbook
problem, and if invited they respond.It was recog
be written in anybody'sspare
nized that a good textbook
cannot
relief from
time. Some
teachingis needed and the support for
of the foundations
from
or
such undertakingmust
one
come
It was
from the Government.
pointedout by Allen Britton that
and
the raisingof standards
generalimprovement in school
music
is normally symbolizedfor school administrators by the
of new
It behooves
to
introduction
us
texts.
recognizethe
tion

between

realities of this situation.

Courses

Humanities
There

manities"
ture,

"related

or

Very
againstsuch courses.
of such
dle the complexities
is

course.

elect

of

to

The

be

few teachers

one

or

mends

do elect
a

full-time

painting,drama,
into

whichever

tendency toward
felt,be resisted

in music. The

course

the

etc.,

so

field the
omnibus

by

that

of

the

student

can

be

chooses. The

humanities

all those concerned

courses

arts

to

thereby

job with

Committee

some

total

students

allow

fields of the

there

field,

one-fifth of the

out

far better

the

best

At

of the fields of the arts,

another

electives in

series of

to

or

han

to

individual

in each
superficial

"reaching"fewer students, but doing a

who

Committee

available

are

integratedcourses.

felt it far better

Committee
in

courses

painting,sculp

forth. The

so

gettingone-third, or one-quarter,
possiblysix weeks
year'scourse,

with music
time

bound

are

called "hu

courses

arts," embracing music,

architecture,theater, drama, and

courses

School

High

discussion of omnibus

some

was

in

those
recom

"

music,

penetration
present strong

should, it

for education

was

in music.

As
subjects.

related

are

Guidance

and

CollegeEntrance
These

SYMPOSIUM

MUSIC

COLLEGE

L8

Counselors

collegebe
of guid
profession
by leapsand bounds.

admission

the new
competitive
in high schools has grown
ance
counseling
There are repeatedreports that such counselors
away

and

more

comes

more

activitiesand

from

science is

and

in math

high record

in music

courses

on

more

to

students

warn

ground that a
important in the
the

for college
admission.
competition

The

reporteditsstrong impressionthat college

Committee

officersdo,

admissions

as

of fact,welcome

matter

and talent
activity,
participation,

musical

record of

in candidates for col

will
legeadmission. "Credit" is a local problem.Most colleges
which
"credit" for courses
are
given "credit"
give entrance
On the other hand participation
by a school of good standing.
evidence of musical gift
and talent,quitewithout any
and even
credit,is welcomed
sort of mathematical
num
by an increasing
ber of enlightened
colleges.

counselors need

Guidance
that
art.

theydo
It

not

warn

be made

aware

of this fact,so

off the territories of music

students

felt that the

was

to

guidancecounselors

needed

and

education

in the real attitude of many

admis
college
sions officesrelative to the arts. Eternal vigilance
the part of
on

both in music

and

collegeteachers
the order

of the

in music

and

day, in this

again,the battle must

munity by community, and
Here

for the

cause

high school

of music

must

area

as

teachers in music

in the

area

is

of standards.

be

foughtschool by school,com
state
by state. The responsibility
be dispersed
through the entire

and in the other societies

membership representedin CMS
concerned with the improvement of standards in music educa
tion. This is a vast subject
which inevitably
belongsto us as
of
for
m
usic.
our
The role of the
responsibility college
part
collegemusic departmentin the trainingof elementaryand
in the report of the AB
secondaryteachers was summarized
Committee
of NASM
dated July 15, 1956, the document
known
the Cincinnati Report. Messrs. Boyden,
as
familiarly
Qarke, Kvam, and Mitchell of our Society
constituted four of
the six members
of this Committee.
The main subjectof the

report of the CMS

Committee

tion of

teachers of music. The

high school

in 1960 dealt with the

prepara

Committee

of 1962

REPORT

littletime

devoted
for

need

OF

COMMITTEE

THE

ON

this subjectexcept for

to

19

MUSIC
a

discussion o" the

of these
Some
training.
take the form of the AMT,
four years of undergraduatetraining
for the Bachelor's Degree, plus one
for
year of graduatework
the Master of Arts in Teaching in the field of music. There
is
an
increasing
tendency to stretch the AB or Mus.B
program

five-year
programs

for teachers

Lowell

to

to

movement

Such

years

than

College in

increase the music

four

tion from

five years rather

Teachers

State

for teacher

four.

Mr.

Gilday

Massachusetts

program

in

of the

reports

of
colleges

educa

five years.
should include
to

generaleducation, music,
in teaching,
and interning
or
teachingin the
practice
under
competent supervision.

courses

schools

programs

the other

and
followingstatements, one by G. W. Woodworth
by Allen D. Sapp,were appended to this Committee

report

The

as

basis for further discussion.

"

Appendix
THE

TEACHING

Ed.

I
LISTENING

OF
or

HISTORY

AND

OF

LITERATURE

MUSIC

by
G.W.

WOODWORTH

respondingto music
This calls for listening
in its own
terms.
as well as performing,
From
which is active and disciplined,
not passive.
and listening
need musical
to Grade
12, the ear and the mind
kindergarten
and the embouchure.
as well as the voice, the fingers,
training
has called "receptiveness
to
The
goal is what Whitehead
The

of
understanding

music

consists in

beauty."
time
specific

At all levels,
some

should be devoted

to

listen

ing,as a regularpart of the music program, and under the

guidanceof a music teacher with proper equipment.Rigorous
the
should aim to counteract
of the ear and the mind
training
of background "audio" which has engulfedour
vast amount
radio and television.
since the invention of recordings,
society
end in
be brought into the foreground,
should
an
Music
as
not
as
and an intellectual discipline,
a
bad^round to
itself,
eating, conversation

or

homework.

SYMPOSIUM

MUSIC

COLLEGE

20

periodsneeds thoughtfulatten
listening
tion and a fresh approach.It has been a mistake to follow too
the philosophyof "first steps for little feet/' Listening,
much
be limited to
and grades1-4, need not
in kindergarten
even
when
child responds,
and "story"
music. The young
pictorial
guided,to quite"abstract" music from the 18th cen
skillfully
dissonant writing.
tury to modern
of
matter
at the high school level, the subject
Similarly,
The

of

content

should aim
courses
"listening"
At that age,
tional experience.
to
responsive

and ^5

Trio
Like

You

the

or

the mind

Symphony than

and

heart

to

minuet

of drama
and
to

avenue

Emperor Concerto,
the

It. It is not

but rather the great

mind

vital intellectual and

emo

far

are
or

more

gavotte.

Shakespearebelongequallyto the experience

the Seventh Symphony or the
high school boy or girl,

Archduke

ments

and

Beethoven
of the

the Eroica

at

the emotions

of the

the heart should

well

Hamlet

as

forms and

which

dances,

release of emotion, and

directly
engage

teen-ager. At

age

and

be

in the

ele

embrace

the

14-18

every
both
in
music,

kept open,
be a powerful force
can
listening,

in

performanceand

simplesong

symphonic structures
and which
challenge,

and

as

in the

of the mind.

maturing

Those

high schools which have available a music teacher

in the historyof styleand analysis,
should
with solid training
in the Symphony, or a comparablebody
offer an elective course
of literature,not

overall survey from

textbook
is now
satisfactory

"

tone
a

music. No

course,

but

an

when

even

such textbooks

Gregorian to

twelve-

available for such

do

become

available,

the main

to records,
assignmentof work should be listening
for de
sessions,as in physicsand chemistry,
laboratory

with
tailed

analysis.

The

basic aim

of facts,nor

is not

scraps of information,an
balanced

aggregation

and

comprehensive
The
aim is,rather,to providetraining
grasp of music history.
in active and analytical
The main "topics"
for study
listening.
should

any

be drawn

include

such

attempt

as

naturallyout

items

as

orchestral instruments

the
and

of the music

sonorous

choirs,the

and
itself,

of
qualities
texture

would

the several

of chamber

mu

sic,individual
in the
and

of stylein composers
peculiarities
represented
of all,the manipulation
and, most important
assignments,

developmentof

musical

ideas. Even

the last,so

often

re-

REPORT

COMMITTEE

THE

OF

MUSIC

ON

21

garded as complex and forbidding,is one of the easiest aspects

of musical practice
to observe, simply because, in its context
within the dramatic grand plan of the symphony, it challenges
the mind

and

emotions.

the

engages

Such

of ear and mind pursuedsteadily

from kinder
training
to great music, is not
12, through listening
garten to Grade
for college
music study,but it
only a good generalpreparation
is also an end in itself of the highestorder, in the educational
of the

program

and

Elementary

Secondary schools.

Appendix
CONTEMPORARY

II

MUSIC

SECONDARY

IN

EDUCATION

MUSIC

by
ALLEN
The

twentieth

placeof

classical repertory

serious

twentieth

formers

alike

proper
stamp

to

young

of skills in

extensions

secondarymusic
experienceof a new
in

concrete

to

the

or

or

bringsthe
people before they have been
involve
performingexperiences

reading
music

century

historical

the

music

century

againstit. Second, the

warned

SAPP

is threefold. First,it

education

out

D.

and

Third,
comprehension.

introduces

listeners and

of the function

awareness

of

art

per
with

traditional biases associated with

canonical. In other words

of official approval,
textbook

there

is

indorsement,

not
or

the

yet the
accumu

the student's shock in finding

to interfere with
authority
to life.
out
why music can be the stethoscope
has al
It is clear enough that twentieth century music
ready begun to have a repertory. In bringingthat repertory
through listeningand performanceto individuals and classes
lated

the

basic function

same

vivid holds

here

as

of

exposingthe

it would

in similar

worthwhile

exposure

and

of Mozart

the
or

new
distinguishing
by
its morose
or
hyper-exuberant
pointingout its difficulties,
qualitiesit is obviouslybetter to intermix this repertory

Schubert.

In

fact instead

music"

of

"

trustingto

selected. Some
music

and

taste

could be

active
a

to insure
literacy

help in

that the better music

the formulation

service of this

is

of lists of useful

in
Society(either

the prepara-

tion of

textbooks

elaborate

more

recommended

SYMPOSIUM

MUSIC

COLLEGE

22

or

of

in the determination

choices)
.

Chorus, orchestra, and

band

as

well

as

smaller

all other

in trans
largergroups gain in precision,
parency, and in cohesiveness as theyperform twentieth century
in a widening sense
of metric and of har-^
music. Particularly

offshoots of these

discrimination

monk

but

eventuallyin the whole

range

of

performersharpensand re
and dispersed
fines as he attacks asymmetricmeters
textures.
of these new
in
Many of the real problemsin the acquisition
lie rather with inadequacies
of the instructors. It is clear
sights
that frequentrejuvenation,
occasional retooling,
and not rare
technical

skills,the young

motor

total re-education

in

was
training

own

necessary for teachers of music whose

alien to new
music or emphatically
era

are

conservative. When

an

instructor

bringsmusical understanding
and appropriate
techniqueto bear on new music the problem
of communication
tends to disappear;
the converse
is no less
an

It fallsclearly
the obvious needs of
to composers
to meet
school organizations.
Extensions and amplifications
of
secondary
true.

such as
projects
at High Schools
posers of

more

The

concert

is

medium

the Ford

less urgent that com

cast should undertake
these assignments.

mature

which

Composers-in-residence

valuable;but it is no

are

band

Foundation

repertory in
is

is dismal
particular
for
acoustically
fascinating

and
most

yet it
com

posers.
As

pointthree exposure to music should involve not

only awakeningsof sensitivitiesand abrading of dulled re
indistinct and by no means
formulated
sponses but also some
of what music
awarenesses
(and art in general)have for us and
do for us. Young parsons will react to twentieth
century music
in hundreds
of different ways but they will not
usuallyreject
it out of hand as merely "old stuff/' The
merely unfamiliar
but fresh will provoke in some
of
(notmany) the stirrings
fundamental
questionswhich the collegeexperiencecan at
tack in the more
favorable environment
of questionand analy
to

"

sis.
The
the
for

use

of

new

music

involves serious

responsibilities
on

Societyfor helpingto plan lists,

individual instructors
on
renewed
and on
the student for
technique,
greater effort.

These

are

all

capableof solution

and

effective implementation.

FOCUS

CAMPUS

I.

UNIVER

OAKLAND

SITY

ROCHESTER,

MICHIGAN

THE

OHIO

STATE

UNIVERSITY

COLUMBUS,

OHIO

First Annual

Symposium

tke Arts

on

Oakland

University

Rochester, Michigan
October

the

difficultof the many difficulttasks facing

a
educational institutionisthat of establishing
a reputa

A^ONG
new

24, 25, 26, 1962

most

difficultis the task

and excellence. Even more
quality
of establishing
in the fine arts to the local
such a reputation
such a
artisticconstituency.
Most difficultof all is establishing
in
one's professional
nationally
colleagues
reputation
among
tion for

the

arts.

Scholars

have

seen

the announcement

of too

many
which have risen and

and optimistic
in the fine arts
suns
bright
fallen without ever reachingthe hoped for zenith.
Such thoughts
have been much in the minds of the faculty
and administration of the country's
newest
state-supported
Michi
liberal arts institution.Oakland University
(originally
Oakland)was established in 1959, with
gan State University
the gift
by Mr. and Mrs. Alfred G. Wilson of their 2,000-acre
in Oakland County on the northern edge
estate and mansion
of the
of Detroit. Even before it openeditsdoors,the recipients
1 15 million giftwere resolved that this new institutionshould
branch established only
be justanother state university
not
babies on
to help absorb the impendingcrush of the war
For three years before
American institutionsof higher
learning.

the campus, Oakland held a series

in
involvingleaders in every field of activity

the firststudent arrived

of seminars

on

American

them:

and

education

"Knowing

what

institution

The
society.
do about

you

avoid

that would

posed to

questionwas

education

American

what would
society,

the future needs of the

new

SYMPOSIUM

MUSIC

COLLEGE

26

hope to

you

see

of older

the mistakes

and

in

uni

were
keeping their virtues?" Their answers
and valuable but too lengthyto be described
interesting

versities while
both
in
of

result

detail here. The

an

gan

institution which

since the foundation

commitment

the

to

described

in music

commitment
academic

and

more

of the

for

at

of its third

the Arts, Since

more

an

in art. In

has been
fine

arts.

this country is a
full four-hour
a

order

to

establish its reputation

among

community

the winter

need

to

"Michi
...

there
university
scholarly
aspects of the

another

and

as

branch

arts

Evidentlyunique among state institutions in

requirementthat virtually
every student take
course

establishment

school."

avowedlyintellectual
Ever

liberal

new

the

however,

magazinehas

Time

State's remarkable

was,

support this
the artistic

the university
large,
began to plan in
year the First Annual
Symposium on

than

one

field of

art

was

involved, the

unifyingtheme was apparent. After considerable

the organizers
discussion,
finally
agreed on a subjectthat was
and broad enough to encompass
both topical
various speciali
ties: "Public and private
support of the arts."
Also immediatelyapparent became
the needs for sizable
financial support for the Symposium. In order to
accomplish
would
worthwhile, more
be needed than de
somethingreally
funds could provide.
With
partmentaland even university
the
of
active
and
friends of the university
help many good
and of
the arts, $8000 was
raised. Without
this superb support, the
have taken place.
Symposium could never
It seemed
to the organizers
that many symposiatalk about
the arts but that few also do somethingabout them. An
early
decision was
made
that Oakland's Symposium should result in
the creation of works of art, not only for their own
sakes or to
but
also
artists,
to
help support
enlargethe university's
artistic
a
nd
to provide a concrete
and lasting
capital
for the
heritage
Symposium. Although such action would be particularly
ap
to the patronage theme
of the Symposium,it was
propriate
the
hope that future symposia,regardlessof their themes, might
also make

some

similar decision.

FIRST

ANNUAL

SYMPOSIUM

ON

THE

ARTS

27

preparation for the commissioning of a musical work,

asked
in March
twenty-fiveleading American
were
composers
if they would
be interested in accepting a commission
to com
music
of moderate
length within the
pose a piece of chamber
seven-month
period before the Symposium. Inquiry was made
to what
as
they would consider a fair fee for such a work and
for
to
coming to the Oakland
participatein the
campus
asked
if they would
consider
Symposium. Finally,they were
of the piece suitable as an
movement
academic
making one
which
march
could be used for future ceremonial
processions
of the University with no
restrictions implied or stated as to
its style.
Of the twenty who
replied,about one third felt able
to accept a commission,
though several rather condescendingly
In

stated that
as

their

academic

an

march.

commission

the

time

lowed

of

quently

used

scored

for

decision

to

any

such

restriction

finallymade to
who, with only half
was

Henry Cowell
elapsed,sent his Trio for Flute,,Violin,,and

form

the

The

submit

not

to

sixth and

The

could

muses

last
a

of the Trio

movement

which

dignifiedmarch,
at

its first

brass.

al

Harp.

written

in

University subse
in April 1963, re-

to

came

the

the

commencement

Cowell

Mr.

indeed

was

award

the

campus

for

the

devoted
Symposium and participatedin an evening concert
exclusivelyto performances of his music, including the world
premiere of the Trio. During his stay he met and talked with
of the facultyand student body, the community, and
members
in the Symposium.
other participants
The
of visual art
principalofferingin the creative program
the Symposium
exhibit
of paintings and
at
one-man
was
a
the purchase of his oil on
and
pastelsby Wolf Kahn
canvas,
New
The Pond.
York painter born in Germany,
Kahn, a young
in color and handling of
works
in an abstract stylereminiscent
but distinctly
and Bonnard
The
Pond
Turner
contemporary.
selected for the Oakland
was
University Art Collection by a
jury of which Willis F. Woods, then newly appointed director
of the Detroit
was

Institute

of Arts,

the first presentation

to

University Art
Art

Institute

Gallery. It
following a

installation

weeks
A

second

event

at

chairman.

was

be held
was

in the

forwarded

successful

and

Kahn's

exhibit

recentlyestablished
the Kansas
to
City
controversial

three

Oakland.
ie visual

ait

was

the

commissioning of

later
sculpture

fountain

be

confined

the

to

be

located somewhere

the uni

of

Schiwetz

Berthold

limitation

by Michigan artists only) resulted in

to
only twenty models. The award went
resident in Italybut who
who
is presently

entries

to

submission

formerlyworked in Oakland County. The

local painter.
headed
by an off-campus
In addition
art, the

on

accompanyingthe grant o" funds

that the contest
competition(a privatedonor specified
A

versitycampus.
for this

SYMPOSIUM

MUSIC

COLLEGE

28

to

the

Symposium

of these
presentation

consisted of

concert

jury was
sculpture
three

new

works

of

by Gyorgy Sandor

scholars
conference by five distinguished
visiting
three-day
and the Oakland
Universityfacultyon the generalsubjectof
Public and Private Support of the Arts. During their stay on
and

with
in discussions
participated
of class,presentedscholarly
students in and out
papers, took
enjoyedthe informal
part in formal discussions,and generally
with geographical
mind-meeting that comes
proximity.
the

campus,

the

Professor

Robert

Primitive Art

scholars

in New

J. Goldwater,
York

and

director of the Museum

member

University,
gave the firstof five
recognizedwriter on modern
internationally

New

Dr.

York

Goldwater

is best known

of the

formal
and

of

facultyat
papers. An

art,
primitive

for his Primitivism

in Modern

Painting(1938) His theme at the Oakland Symposium was

"Supportof Art Among Primitive Societies." His discussion
centered upon
the religious
and secular arts of Africa and
Oceania. Comparisonsand contrasts
established between
were
of patronage of painting
European and non-European sources
and sculpture.
The
institution of ancestral worship in Oceania
and Africa and its sponsorship
of the creation of masks, figures,
and fetish objects
discussed in relation to not
was
dissimilar
the
in
Western
world.
Dr. Goldwater
also discussed
practices
several types of secular primitive
and indicated that
sculpture
the prestigiousness
of collecting
works of art as such was
by no
.

means
on

unknown
his visit

to

widelyknown

in parts of Africa. Accompanying Goldwater

the Oakland
his wife,
was
University
the
as
professionally

campus
sculptorLouise

Bourgeois.
then spoke on
University,
"The Nature
of Musical Patronagein the Late Renaissance/'
He pointedout
that if patronage as understood
today means
sakes,the sponsorship
support of the arts for their own
of music
Professor

Claude

Palisca,Yale

ANNUAL

FIRST

Italian

by the

SYMPOSIUM

of

patrons

late sixteenth

the

other

press

foreignvisitors
creative

The

house.

occasions,

state

the wealth

with

such

in

artist

and
a

the

of

1589

chieflyto im
of the ruling

resources

scheme

elaborate

those

aimed

were

Ferdi

Duke

only partly.During the reign of Grand

I of Tuscany
nand
(1587-1609), for example,
entertainments
produced for weddings, such as
1600, and

fits this

century

concept

and

29

ARTS

THE

ON

often

was

an

exe

or
by an amateur
patron. Because
involved
of artistic personalities
of the number
compromises
preventedany unified artistic conception.The result was often
of small
colossal, brilliant, and
impressive but artistically

of

cutor

an

conceived

idea

significance.
As compared

in
early Renaissance, court
composers
the late sixteenth
public recog
gained very modest
century
and
nition
compensation. On the other hand, the
monetary
establishments
centralized
possible
kept by the princes made
been
coordination
of efforts that has rarely
equaled. Large
a

for

experimentation

music

which

the

staffs offered

musical

resident

to

and

fostered

there

constant

unrecognized

talent.

was

opportunities

unusual

composers

for

demand

artist's

the

While

new

essential and
an
place in societywas not an exalted one, it was
integralrole that he often lacks today.
introduced
was
This firstregular session of the Symposium
of the Art Department
Varner
and the chairman
by Chancellor
Stillman, university
summarized
and was
by Professor Damie
Dr.
Stillman
historian.
art
skillfullyexcerpted Goldwater's
primitive and non-primitive arts and
comparisons between
late
Palisca's analogiesbetween
certain of Professor
furthered
Renaissance
The
Professor

and

art

second
Karl

music.

Renaissance

of papers
Geiringer,the
set

on

the

day

next

University

opened by

was

of California

at

Santa

speaking on "Patronage of Music of the Nineteenth

Century." Dr. Geiringer began by pointingout that the church,
musical
controlled
and the aristocracyhad
patron
traditionally
but
securityof tenure
gave the composer
patronage
age. Such
Barbara,

century,

of movement.
pay and little freedom
middle-class
developed
patronage

concerts,

and

also poor

composer

large numbers

freedom

and

of

sometimes

amateur

the

eighteenth

through societies,
performers,giving the

considerable

security.Independence, therefore, became

In

fortune
tenet

but

of the

little
nine-

50

COLLEGE

SYMPOSIUM

MUSIC

He
teenth-century
composer'sphilosophy.

faced with several

was

for making a living.

He could live on
as
royalties,
possibilities
did Brahms, since publishers
began to pay composers more
He could become
Liszt
a virtuoso
as did Chopin and
honestly.
or

conductor

awards

writers,and teachers.
critics,

were

composers

and

Wagner, Mahler,

did

as

became

Brahms.

Finally,
prizesand

of patronage

importantsources

Other

as

states

and

foundations gradually
in the support
began to participate
private
of the artist.
The
sium

fourth address

at

the

given by Professor

was

fieldof Mediaeval

art

Bober

Dr.
University.

regularsessions of the Sympo

in the
Harry Bober, a specialist

the Institute of Fine Arts of New

at

had

chosen

been

York

speak on "Dimen
sions of Art Patronage in the Twentieth
Century because of
his capacity
to relate ideas of older art history
to contemporary
situations. Moreover, Bober
is a thoughtfulcollector of art
whose taste is so schooled that he finds parallel
in acquir
delight
ing an abstract-expressionist
pictureof this year, an African
figureof the early 1900's,or a French baroque work. His re
to

"

marks

concerned

the

great increase

in the influence

of fine

time. He
referred to the
popular arts in our own
of advertising
most
in television,
cartoons
for ex
imaginative
ample,as beingmade possible
surface
by the faceted,explosive
arts

upon

of Cubist

treatment

Bober's remarks

and

Abstract

that the

popularsupport

even

Robert

summarized

was

the

sense

of

wide
todayhave an astonishingly
though many consumers
not
are
"pa
arts

trons" in the traditional

Dr.

It
styles.

sense.

Holmes, assistant professor

of music, deftly

and

compared the

contents

of Professor

Geiringer's

and

Professor Bober's papers. The phenomenon of the

pur
chase of occasional paintings
or
originalprintsby sensitive
individuals in low-income brackets was
touched upon as an ex
of
ample
present-day
patronage. The chairman of the Art De

partment

pointedout

and

the 1880's certain

one

of them

duringthe discussion that in the 1870's

Parisians of modest means,
enterprising

civil servant,

were

the firstto collect the then

avant-gardepaintings
and today such
by Impressionists;
sons

are

famous

for their

daringsupport

of

new

movement

per
in

art.

The

final formal

conference

session consisted of

major

ANNUAL

FIRST

address

Professor

by

University,

America."

Century

Following

acteristically private
of

time

at

any

right

to

create

then

stand

the

sum,

conference
events

the

of

The

Cowell

the

in

art

of

right

any

denied

but

his

audience

for

failure

to

on

the

professional

Trio

under

chief

paintings

and

the

the

of

the

to

funds

Geiringer,
the

the

creative

of

papers

Bober.

and

various

insufficient

reproductions

and

papers

of

premiere

specialized

were

official

the

two

Palisca,

that

was

of

Oak

at

character

prevailed throughout

tone

Arts

the

from

of

Goldwater,

regret

one

publication

the

modern

expectations

The

exhibit

Kahn

modern

distinctly

the

committee.

Professors

by

sions.

char

the

public

to

Symposium

exceeded

far

Wolf

performance
A

of

artistic

great
to

vision,

contempt

outstandingly strong

was

"

fered

in

Annual

First

planning

campus

of

review

applaud.

University

land

of

ineluctable

indifferent

audience

Harvard
,

lively

attention

the

asserted

intentionally
that

but

nature

drew

independence

to

hold

to

or

In

impersonal

Law

Mid-Twentieth-

in

subjective impulse

configurations,

its

artist

and

and

Artist

compressed

historically,Jones

achievements

most

and

Abbott

(Emeritus)

the

31

ARTS

Jones,

Humanities

Society, and

essentially public

of the

THE

Mumford

of

"State,

on

ON

Howard

Professor

Lowell

rence

SYMPOSIUM

to

support
the

of

ses

new

works.
The

ties

community
of

quality
of

choice

national

with

on

campus

of

"off-campus

posia
tion

It
at
to

artists

is

not

Oakland
the

as

concessions

few

unreasonable

to

University

assertion

or

possible

will

abandonment

or

prosper
of

and

music

local

to

that

the

decline
the

WALTER

JOHN

same

or

arrived

was

relations"

anticipate

The

regional
it

because

"community

development,"

professional

no

disciplines of
as

local

many

significance.

required

largely

the

of

members

with

campus

distinctively high

creative

and

new

international

even

or

explanation, perhaps

by professional

forth.

to

of

meeting

speakers

community
at

brought

Symposium

art

dictates
and

next

in

so

Sym
propor

principle.
COLLINS

GALLOWAY

Challengefor
Improved Learning in
A

Courses

CollegeMusic
by
CHARLES

L. SPOHN

music
with littlepre-college

STUDENTS
college

music

cal about
little or

have
about
to

instruction. Those

knowledgeof

no

into
entering

are
skepti
experience

music

discussion of the

who

apprehensive
or even
listening
subject
most

are

and the attainment

the centuries music

others discuss it.Over

students

kind of

mystical
quality.
The result has been to create and perpetuate about the subjectof wall or curtain that is similar to the political
area
a kind
world news.
curtains that have been so prominentin current
of musical skillshave been veiled with

The

effects of this kind

area

an

art

in which

supportedby
student

of veil limit

communication, under

progress. Music taughtsubjectively

Music taught,
for arts'sake is limiting.
however, as an

education,
standing,
as

to

there

and

are

well-defined

definitive materials and

and concepts
objectives
methods

will lead

the

all in
a goalthat is vital to
learning,
level.
instruction at the college
surrounds us daily,
and is almost im
level,

the desired

terested in music

Music, at

some

in a way similar to verbal

to avoid. It is around
us
possible
in many
languagewhich is employed in the social structure
The tragedy
that college
music instruc
degreesof complexity.
tion often failsto

meet

student needs, because of lack of under

and communication
standing
rather
in student rejection
That

music

infer that music

is sometimes
has

results
concerningits objectives,
than

acceptance.

referred

to as a

specific
meaning.Even

languagedoes

not

verbal communica-

Dept.

students

"Music
of

Audio-

Music

versity,
materials."

by

means

learning
Visual

of

the

Training
self-instructional,

elements

of

of

State

Ohio

Photography

in

music

Laboratory,

programed,

Ohio

the

University

School

State

tape-recorded

Uni

CHALLENGE

FOR

expression,let

tion

or

the

same

to

alone

music, does

If, however,

everyone.

necessarily"mean"

not

is considered

music

of communication

kind

33

LEARNING

IMPROVED

the way

in

ob

that

language
make
to
is so considered, it is easier to dissect and
investigate,
to develop new
comparisons with other areas of communication,
atmosphere for better under
pointsof view, and to create a new
in
practicalthan the one
standing. Such a position is more

jectivelyas

music

which
the

is

field

evidence

The

music

that

cates

cal

should

If it is,present
and

viewpoint.

as

from

instruction

of

acceptable to col
collegemusic would

be
in

work

device

restrictions established

veil

indi

instruction

music

communicative

the

this

Once

limitation

discouraging.

serve

can

This

few.

not

of traditional

even

if freed

understand

selected

questionable and

circumscribed

too

the

for

art

an

teachers.

legemusic
be

is

for all

by

to

mysti

instruction

is lifted, music

is

fields of academic

in other

specialization,
is a
to
develop
particularlythose
complex skills along with broad knowledge and appreciation.
Music
objec
teaching is thus based on important educational
into
take
that
and
attain
tives that are
possibleto
scientifically
similar

to

subjectsin which

the

account

need

abilities of students

and

interests

there

at

various

stages

and content
can
growth. Objectivescan be defined; method
of achieving these objectives.
provide the means
has the same
music
In particular,
prob
teaching-learning
such
of other subjectmatter
lems that exist in the instruction
mathematics,
as
speech, foreign languages, linguisticsand
English. Often, however, these similarities are ignored when
of

referringto music because

jected.Little if anything

with

person

or

talent.

measure

At

persons.

the

necessityfor

to

exist. The
to

Music

were,

learn

are

the

inter
word

subjectiveopinion about
is no
objectivemeans

and develop
acquire information
important task is to find better ways

individual

students

there

present
If there

Even

talent"

talent. When

about

is known

is used, it is associated

talent

"musical

the words

to

the

average
still
skills would
for all types of

more.

students

must

skills as

learn

part of their education

them
enable
to develop, construct,
trainingwhich would
music
symbols,1
conceptualize the relationshipsbetween

and

and
1

The

tions of

word

symbol

pitch and

is here

differs from

used
its

more

for verbal
usual

and

numerical

notational

abbrevia

connotation.

SYMPOSIUM

MUSIC

COLLEGE

34

responses should be
be connected to relevant music

sounds, and notational elements. All music

at

such

level that

theymay

tasks

stimuli. These

considered

are

essential for the teacher,

do

at all levels,but
performer
on
of performing
complication

the student, and

include the

not

necessarily

musical

instru

ment.

solution

One

to

the

instruction has been

materials. The
in

music

two

use

problem of improved collegemusic

the

use

of

programmed self-instructional

of these materials has assisted instruction

ways. First,it has

providedthe

for

means

of

improv

of materials used to develop students'

ing the presentation
of music. Second, a way has been providedfor the study
learning
of problemsrelated to the developmentof this learningand
of controlled presentation
on
possibilities

offers the

in

an

dividual basis.
In the fall of 1958,

pilotstudywas

undertaken

at

The

School of Music to evaluate the use of

University
method
as a self-presentation
preparedtape recordings
specially
to
developstudents' aural comprehensionin comparison to
class
aural comprehensionthrough conventional
developing
The
room
designof the study incorporatedan
procedures.
situation. Two
experimental
groups of music students divided
used as subjects.
and backgroundwere
The
equallyby ability
and backgroundof the students
the ability
basis for determining
State

Ohio

was

derived

from

test

scores

received

examination
and music
Psychological
pliedinstrumental area and the sex

taken into consideration. Both

by

the

groups

the

on

entrance

Ohio

tests.

of the student,
were

The
were

State

ap
also

instructed in class

instructor. In the control class aural

development
classroom procedures(e.g.,
the teacher
was
taughtby
playedmelodic and rhythmicexercises on the piano;the class
and assignments
were
sang melodies at sight;
given to notate
familiar songs from memory.
second
The
class,the experi
mental group, used specially
for aural
preparedtape recordings
outside of class.An equalamount
of time for the de
practice
velopment of aural comprehensionwas
provided for both
same

normal

groups.
Both

sections

were

givena pretest before trainingand

These
posttest after training.

were

scored

on
especially

FOR

CHALLENGE

and

"rhythm"

IMPROVED

then

and

"melody/'

35

LEARNING

the

of

number

"total"

errors

showed
that,
analysisof the scores
for the experimental group
using tape-recorded self-presenta
in comparison with
control
tion materials
a
taught tradi
group
in the number
made
of errors
tionally,the average decrease
by
57.68
the corresponding
the control
was
percent, while
group
of errors
made
decrease
in the number
by the experimental
calculated.

was

80.33

was

group

of the

favor

statistical

The

percent.

experimental

of

difference

in

percent

the

at
significant

was

group

22.65

1 percent

level.
similar

but

students

that

refined

more

another

learn

may

has

technique
of

the

been

elements

used

so

music,

of

learn
students
music
asked, "Can
question was
intervals
of pro
to
by means
identify ascending melodic
The
methods?"
and
materials
self-presentation
grammed
pur
the
of
the
aural
interval
to:
(1) study
project was
ques
pose
that
for a reasonable
and
tion
answer
(2) develop a method
of learning possible.The
evaluation
would
make
an
seventy-

The

intervals.

enrolled

students

seven

Music

intervals

The
found

the

was

for the

used

of

recorded

the

study

m2,

was:

m7,

M7,

P8.

Each

first

playing

there

the

student

could

given
This

The
and

four

correct

the

The

intervals

part

intervals

of

was

the

in which

tempo

same

the

After

counts.

worksheet

the

by naming
correct

recorded

answer

the

on

was

tape)
of

immediate

check

mark

in the

always presented in

perception of

accurate

basic

sounded

knowledge
played again, (thisplaying might be
had
information) If the students
the worksheet, they
in a set of boxes
on

place a

were

the

intervals

two

the

been

students

for

symbols used in
(Tritone) P5, m6, M6,

made,

was

stimulus

at

the

be

re

response,
to

on

may

list of

for

counts

had

answer

was

P4, T

M3,

sounded

respond
judgment

interval

instructed
2

was

reinforcement-new

called

were

tone

(the correct
technique gave

sults. The

made

m3,

complete

which

those

were

identification

the

The

M2,

were

the

After

interval.

study

study.

for

piano. The response

by their symbolic names.

by

the

of

Fundamentals

major scale. The

performance of the

members

between

study

freshman

1960

subjects for

the

were

course

the

in

of all music

these

sounds

instruction.

an

lower

row

ascending

is considered

to

be

of boxes

melodic
an

form.

important

their

immediately under
the students
lower

were

SYMPOSIUM

MUSIC

COLLEGE

36

If the

answer.

instructed

put the

to

incorrect,

answer

was

correct

answer

in the

box.

Here

is

Here

isa

sample of

the way

sampleof the

way

an

correct

answer

incorrect

answer

would

look:

would

look:

(the Funda
mentals of Music) class with the self-presentation
tapes. All
instructed to use
each of the six practice
students were
tapes
The
which
divided
into three levels of difficulty.
were
pro
the first
follows: If the first performance on
cedure
was
as
cor
practice
tape reached an established criterion of forty-six
then the student
rectlyidentified intervals out of forty-eight,
could proceedto the next
drill level. If the first performance
the taped-drill
not up to the criterion,
was
was
repeateduntil the
criterion was reached, at which pointa different but equivalent
was
taped-drill
given as a final check. If the criterion was
reached on the firstperformanceof this new
tape, the student
could proceed to the next
level. If the criterion was
not
reached, that tape was
practiceduntil the criterion was
achieved and another equivalent
tape was givento recheck the
All

trainingon

intervals

was

done

outside

results.
From

the

sample

of

seventy-seven students, forty-seven

completedthe aural interval study.Thirty students failed to

complete the series due to the lack of time. (The training
periodduring the quarter was only six weeks.)
A comparisonof the scores
of the two groups showed
that
in each case
there was
an
of the
improvement in the ability
students to identify
intervals. The
group that completed the
to identify
both
tapes improved equallywell in their ability
and
melodic
harmonic
intervals. The
difference in improve
of all the students is significant
ment
at the 1 percent level. The

of students

group

in

at

did

These

IMPROVED

LEARNING

complete
level (a mean

the tapes due

71

for

not

lower

compared

pretest

group)

FOR

that

also started

time

the

CHALLENGE

to

mean

score

students, however,

percent

shows
their

in

accuracy

the criterion

that

when

even

identification

level)

there

indi

analysis of

students

(which was
improvement

was

other

improvement
the
at
significant
identifyharmonic

intervals
abilityto identifymelodic
1 percent level. The
abilityof this group to
intervals was
An
increased.
not
significantly
errors

the

on

marked

their

vidual

lack of

to

of 54 percent

score

made

37

had

achieved

not

to
meet
necessary
in their judgments

the intervals.

about

The

study

intervals

the
repeated in 1961. With
previous experience it was
possible to supervise the teachthe
learning process more
closely.The results were
essentially
on

was

same.

In

music

the

teachers.
worked

There
the

on

population

in

classes
the

of the

based

into

presentation materials

take
at

way

and

three

the

classes

individual

class

at

the

upon

the students

three

advantage
their

own

of

rate

data.

new

to

The

that

indicated

as
groups
looks statistically
different.

did

(freshman

specificpoints in the drill

were
analyzed and
spots. These

modified

group

in

four

results

done

work

divided

students

of confidence

the

or

accomplished by

was

population

among

trouble

were

petency. Each
The

The

some

of work

record

student

little difference

materials

series indicated
materials

total

divided

was

accomplishment.
the

the

study,
students) was

level

of

our
com

working on these
and
expressed a

selfvote

this

procedure.
Research
perceptuallearningof music has continued
in The
State
Ohio
Audio-Visual
University School of Music
Training Laboratory. This work is supported by a grant from
States Department of Health, Education
the United
and Wel
The
of this project is to
fare, Office of Education.
purpose
in the

the

determine

effectiveness

of

two

different

of

methods

pro

teaching materials
tape-recordedself-presentation

grammed
comparison

with

This
responses.
scribed
but with

"

two

different

ways

in which

students

study utilizes the

can

in

make

procedures previously de
The
basic design for the
slightmodification.
is stimulus
presentation student response

teaching materials
knowledge of results.

"

MUSIC

COLLEGE

38

One

group

is

of students

SYMPOSIUM
ma
learningwith taped-music

aural music

terials programmed with

sound

and

written

re

hears a recorded music sound and responds

sponses. Each student
with paper and
pencil,then is given the correct identifi
the subjectmaterial is
of presenting
cation. The

pattern

stimulus"

knowledge of results. The second group

materials programmed
with taped-music
is learning

response"

of students

student sees music

responses. Each
notation and makes a voice response which is recorded on tape,
of
third group
identification. The
then is given the correct
materials programmed
students is learningwith taped-music
with aural music sound and recorded responses. Each student

with notation and recorded

hears

is recorded

music
the

group
notation and

correct

some

useful than
or

identification.

dence

from

from

which

is

superiorfor

not

to

the

one

is

more

stimulus

learningprocesses

of

is evi

indicate that stated information

his response was

of providing
the best method
necessarily

student

can

wrong is not
knowledge of results. This

rightor

stimulus

effective for others. There

so

this research
the

one
perception

data also reveal that

another. These

of response
students while

this research indicates

of the data from

kinds of music

mode

some

voice response which

identification.
correct

given the
of students is learningwith programmed
makes a written response, then is given

review
Preliminary
that for

is

tape, then

on

fourth

The

and makes

recorded music sound

learn whether

research is

re
producingpractical

data obtained will afford information

The
learning.
that
is to providemethods
The main objective
about learning.
effective and can be efficiently
are
developedfrom sound data
of music.
to improve the learning
of the
cited is only representative
The work previously
The sub
kind of research that is important
to music learning.
jectof music offers uncharted areas for experimentaland de
Traditional proceduresshould not
investigation.
velopmental
be viewed as bad simplybecause theyare traditional. There are,
that have plagued
however, problemsrelated to music learning
teachers and students for generations.
Universityand college
music departmentshave opportunities
to developand pursue
innovations in music learning.
The data from such work
new

sults in

will

be

check

CHALLENGE

FOR

helpful to all. The

list provides a basis
I

A.

Provide

materials
Choose

C.

Instruct

as

work.

to

Facilities

for

area

classes

to

with

work

new

equipment.
that

equipment
staff and

is

trouble

as

free

the

in

students

attitude

an

possible.
operation of

as

proper

that will allow

innovations

new

//
A.

Physical

and/or

Develop
of

which

used

outline

facilities.

the
D.

from

39

LEARNING

following general

suitable

B.

IMPROVED

Determine

objectiveevaluation
experimental situations.

and

Teaching

New

effective

an

Materials
for the

level

beginning

instruc

tion.

objectivesof

the

B.

State

C.

Establish

D.

Analyze

the

E.

G.

and

Design

to

be

work.

used

for

for

student

and

instruction
in

meeting

based

on

the

use.

high qualityduplication of

Obtain

for stu

the materials

use.

worksheets

If student

materials

Provide

are

that

can

from

separate

procedural clarityis

material,
H.

student

problems to be encountered
objectives.
develop the teaching materials,

stated

dent

instruction.

the

evaluation,
F.

for

materials

the

evaluate
the

criteria

the

be

the

teaching

essential.

evaluated

immediately by

the student.

Expedite

///
A.

of the
B.

Present

C.

Collect
and

D.

Innovations

of New
about

objectivesand

the

use

instruction.
materials

new

all of the

carefullyand

students'

work

for

without

flaw.

teacher

evaluation

analysis.

Establish
student

E.

Use

information

students

Give

The

Provide,

reasonable

but

demanding

criterion

for all

work.

thorough supervision

facilities and

materials.

of student

work,

use

of

IV

Establish

A.

in

the

of

area

Evaluate

of

evaluation

objective

an

petency

SYMPOSIUM

MUSIC

COLLEGE

40

before

work

the

students'

they

com

to

start

the

use

materials.

of
The

in

the

how

determining

best
vide

for

way

growth

then,

in

objectively
them

to

music

Ohio

State

for

college
Such

what

learn.

is

dependent

University

at

teachers

music

information

the

end

will

Teachers
for

upon

more

quality

then

be

learn

to

be
students.

learn

to

will
need

students

instruction

environment.

The

is

accomplishment

period.

learn.

people

effective

more

the

teaching-learning

challenge,

about

more

determine

Objectively

B.

able

helpful
the

and

to

pro

Future

teaching-learning

of

Dept.

work

"Students
may

response

to

the

instructional

at

their
own

material."

rate

Ohio

Photography

and

can

sing

State

or

University

write

in

SYMPOSIUM

The

he

Although
felt

forum

for

intent

of

The

lem.

against

the

this

of

whole

the
on

contributions.

the

Since

articles

with

thought

the

find

not

proper

subject*

on

gratifying,

was

could

the

controversial

current

time

to

the

the

prob

for

except

economic

the

nest,

suitable

for

consensus

who

composers

and

invitations

extended

hornet's

up

provided

vexing

on

securing

stirring

SYMPOSIUM

of

pages

comment

response

promised

some

submit

issue

their

raised

by

was

several

the

participants,

student

Letters

for

future

also

editor

the

arguing
issues

of

asked

for

affected

directly

composers,

question.
comed

the

therefore

He

two

advised

that

Composition

in

was

editor

of

Doctorate

matter

SYMPOSIUM.

this

by
pro

the

or

of

aspect

will
con

of

statements

be

the

wel

itie ^it latter

odor

07

cJJegree jor

(d
^x"

omfiosers
by
E.

EDWARD

universities

MERICAN

the

to

JLJL

rivalled

o" such

arts

sculptors,

composers

versity

surely

phers
place
the

in

the

to

the

on

spheres

their

is

legitimate

are

scholars,
causes

not

of

of the

aim

is little

of

danger
threatens

disturbing

signs

that
the
that

particularly of

uneasiness

and

the

the

of

fostering

of
of

in

is

for,
arts

if this
the

wanting.

artists

in

the

scholarship,but

overwhelming

scientists

the

of

understanding

presence

be

of the

respect

spheres

and

must

successfully

two

the

to

study

separation

in

autonomy
the

scholars

and

of, and

pursued

if mutual

autonomy

university

and

resolute

such

no

co-existence

university
be

cannot

philoso

offering

course

understanding

understood,
vital

and

clear

accord

of

such

uni

scientists,

purpose

But

hardly

American

of artists

community

place

be

to

as

the

and

the

mutual

sciences

and

There
American

on

of

universities

all its fullness.

The

the

as

principle

there

and

ranks

co-existence

serves

principle

autonomy.

well

The

arts.

granting

novelists, painters,

Poets,

the

European

surrounding

life in

cultural

two

as

the

world.
to

of

importance

mathematicians

do

institution

and

based

as

distinction
and

the

belong

creative

same

student

in

historians.

and

the

breadth

else

anywhere

as

have

LOWINSKY

prestige

technological

feeling of inferiority among

the

of

age,

artists

in the

The
university.

most

artists to establish the

chieflyto

served

littlewhether

same

document

composers

degreeswhich for centuries have

scholarlycompetence. It matters

attempt

to

create

special
pointsworthy

Ph.D.

or

the two
degreein composition;
consideration are these: 1) in the whole historyof

competence in musical

of

sign is the attempt

conspicuous

of Music"

"Doctor

of

SYMPOSIUM

MUSIC

COLLEGE

44

has
composition

in need

been

never

music
of

degreeof any kind, 2) American composers working

in the university
beginto feel that they should be able to award
in scholarly
disciplines.
the same
degreesas do their colleagues
the artist'sdegreeswith those of
The attempt to equalize

Doctor's

the scholar may be the beginningof the breakdown

Any move
in the sphereof the university.
autonomy
direction may

to

in this
the

arts

the presence of artists in the academic

is a serious
the doctorate for composers

accrued from

have

may

benefits

destroywhatever
ultimately

of art's

community. Either
degree,in which case the true goalsof the artistare distorted
them to those of the scholar in a
and falsifiedby assimilating
the new
sincere effortto justify
degree;or it is a pseudo-degree
in which case it cheapens the academic process and the legiti
years to
macy of academic degreeswhile adding unnecessarily
demand
The
training.
composer's
of the subject
matter
with the nature
the

for

degreesinconsistent

creates

in the establishment
and insincerity
sincerity

which

curriculum

of the

new

equallyfatal.

are

Surely,a

in

situation

situation such

tion of the arguments used

as

this justifies
a criticalexamina

in favor of

a Doctor's
establishing

degree for composers. Let us begin with the argument con

cerning the traditional placeof musical compositionin the
American
university.
the early
chairs of Music
that composers occupied
this country: Paine at Harvard
(1875),Parker at Yale
It is true

in

(1894),MacDowell
need

faculties

Columbia

degree to
universities. They

Doctor's

American

at

(1896) These
.

be
were

admitted
invited

of their talents

as

to

men

teachers

did
to

not

great

joindistinguished

as
composers. As soon
doctorates in Music were
given in this country, the composers,
who
presumablydevelopedthe program for this new
degree,
on

account

as

that a Doctor's degree in Music

recognized
The firstthree candidates
than a composition.

demanded

more

for the Ph.D.

in

ON

Music

MATTER

THE

submitted

Harvard

at

OF

DOCTOR'S

both

thesis

45

DEGREE

and

composition

(Coerne, 1905; Davison, 1908; Clapp, 1911).

the
Has
in
American
universities
place of composers
1875
and
1963?
The
is, yes, without
answer
changed between
a

Whereas

doubt.

1875

in

only

great university had

one

today, in 1963, every major

indeed, even
most
colleges,have

and

poser,

the
due

immense

number

the

fact that

to

of

acquiring a Doctor's degree?

Doctor's
degrees at American
What

this mean?

does

in

composers

universities

our

recognitionunheard

of before

other

world;

fact

country
that

in the

an

universityworthy

no

American

at

composers
The
number

spent

universities

is very

It proves

has

the

that

reached

staffs. Is

universities
their

of composers
small

cultural
an

that

eminence
name

can

with
indeed.

function

eminence

of

and

in any

is reflected
do

in

time

I add, unknown

and, may
of its

universities,
their

on

composers

composers

American

minor

most

com

without

in the
com

posers.

indisputable fact. In the face of this,

is the
with
how
serious
an
complaint that young
composers
M.A.
with young
music
historians
cannot
successfully
compete
boast a Ph.D?
who
This
complaint, I am afraid, is not based on
with
this argument
is
indisputable facts. One of the troubles
been proved. Against the claim that this or that
that it has never
has not
found
a
can
job one
point to this or
composer
young
that young
a
musicologist who has not found
job either. No
exists proving that there
are
more
musicologistswith
survey
Ph.D.s
holding universitypositionsthan performers, theorists,
that this is the
Ph.D.
without
I frankly doubt
and composers
a
At any rate, we
should
be willing to accept guesswork
not
case.
be willingto institute a degree
less should
for fact and much
we
for the sake of economic
no
competition when
proof exists that
Ph.D.
without
cannot
a
successfully.
compete
composers
institute
such
should
be
Whether
a
we
willing to
degree if the
economic
facts claimed
were
true, is another
question, and to
time.
I shall return
to it in due
mind, a more
one.
significant
my
Another
of supposedly high
students
concerns
argument
lead
and
interests do not
musical
intellectual
capacity whose
This,

them

into

claimed,
cannot

go

think, is

historical

stopped
on

to

an

research

short
doctoral

of

and

who

their

full

are

for this

reason,

development,

degree.Is full artistic and

since

it is

they

intellectual

46

developmentpossibleonly
must,

or

even

Is
versity?

it

can,

the

not

mind, scholar's
nurseries? Is it
than
sentially

within

while

occur

developmentof any
usuallyyears after the pos

has left the

further

not

or

artistic

also

this

point later.
With
the next argument we come
to the one
pointthat is
behind
the whole
economic
movement:
competition.To
for positions
academic
as
teachers,it is
compete successfully
have a Doctor's degree.To this cen
claimed, composers must
tral pointlet me remark: the documentation
for this presumed
fact has alwaysbeen haphazard,
onesided. It is as
fragmentary,
serted that
doctoral

earlier? I shall

of academic

nest

that the composer, more

es
the better he is,
more
strongly

true

the historian,and

needs freedom

that full

artist's,
occurs

or

doctoral

and
program,
the student attends the Uni

oppositetrue

of that mind

sessor

SYMPOSIUM

MUSIC

COLLEGE

at

return

to

institutions instructors in music

many

degreestand

notch lower

without

the pay scale than those

with a Ph.D. But no such discrimination exists on
the great
campuses of this country where composers enjoy equal status
and pay at all great Universities and at innumerable
colleges.

Indeed, there
other

institutions

are

on

Harvard

"

is one,

Mills is

an

where

chairs with a
composers have occupiedspecial
with a Ph.D.
salaryexceedingthat of the ordinaryprofessor
"

degree.In short,no
of this claim

on

of
skepticism

studyis available

national basis,and

the claim that

to

prove

I must

majorityof

the

state

correctness

complete

my

higherinstitutions in

this country work on that basis or move

in that direction.
Another argument
defends the institution of a Ph.D. for
composers
their own

the

on

the

existed
because

work

to

have

to

Ph.D.

students of

at

the

againstthe composer in
To
this argument
University.
allow

teach students,when

thingsneeded

new

sult of the

new

the academic

of

not

nostalgic
commentary:

learned in the old

are

that

constitutes discrimination

his academic
me

grounds

equal.The

to

be learned

This

upsidedown.

of
training

was

new

argument
It

Ph.D.s

when

curriculum

new

curriculum,when

curriculum.

world

Time

runs

is

as
an

demands
equality

that

Ph.D.

devised,

was

that could

not

degreewas

the

be
re

proposes to turn
follows: Professors
ancient

professors.
Therefore, if composers happen

sors, their

professors

to

prerogative
be profes

degreebe

instituted

ON

for

MATTER

THE

other

In

composers.

claim
professor's

for

It would

be

step of the

teaching I
time
them
the

to

not

have

in

heard

curriculum

privileged.In

DOCTOR'S

students

47

DEGREE

now

exist

to

satisfya

to

put this way

general.

many

In

of them

the
utter

of

thinking

years

that

the wish

at

the door

I have
to

have

been
more

but

of
only very rarely have I heard any one
the feeling that without
Ph.D.
for composers
in
a
his position as an
academic
under
teacher
was
in an
de
academic
judgment the composers
my

compose,

express

words,

equality.
fair

composer

OF

exercise

function

far

exceeding that of training

which
alone would
suffice to justifytheir work.
They
composers,
of
in
the
all
musical
of
are
students; they impart
charge
training
of
that training an
standards
liveliness, and
to
a
acuteness,
artistic quality that spring from
their constant
of
translation
in their own
musical
craft into musical
In particular,
work.
art
side of the musicologist's
they are responsible for the musical
training, they participate also in his historical training by
well
historical
as
as
lecturing on contemporary
subjects and
work
in the oral examina
figures,they participatein committee
is an
their presence
tions, they participatein thesis work, and
in reminding our
invaluable
in musicology of the
students
asset
in historical
even
composer's point of view
problems.
the issue I shall assume
In presenting my
views on
for
own
the sake of argument,
although it has not been proved, that,
doctoral
without
indeed,
a
degree find it hard to
composers
secure
jobs at conditions
equal to those of a professor with a
It has been
Ph.D.
pointed out that professionaladministrators
assume
increasingly more
important and
powerful roles in
seldom
are
hiring new
personnel, and that since they themselves
of the
able to judge the professionaltraining and
qualifications
candidates
they must
rely for that on the Doctor's degree by an
ask
how
But
ourselves
institution.
must
are
we
we
going to
a
by its most
degree the legitimacy of which, even
operate
ardent
advocates, is argued chieflyon
grounds of prestige,of
economic
necessity.I shall
competition, but not of educational
Ph.D.
de
take
therefore
a
now
up the question why I oppose
for composers
and
shall begin with
discussing the very
gree
cogent point concerning the University administrator.
that our
whole
It has been
claimed
by
country is being run
partment

SYMPOSIUM

MUSIC

COLLEGE

48

us

with

the
tional fact that the direction of universities,

centers

managerialclass. This argument presents

of the liberal arts, likewise

the nurseries

ing and

taken

ingly being

the

addi

of learn
increas

are

administrators, by
by professional

over

ministrator

rarelyknow

and

"

ask

much

as

as

battle which
full-fledged

token

such

of

the administrator?

or

tional

to
goals,

our

business

that

we

are

determine

Whose

business

curricula,to decide

that of the administrators?

or

being asked
because

is it

to

not

edu

fix educa

to

degrees;is it

on

it

Does

institute a Doctor's

re

demand

entrain. Before we
surrender, should we
logically
simplequestion:Who is leadingin education, the

cator

the

about

you, without

mind

sistance,let alone
should

much

either

learningor the
and about the
instead about enrollment
care
figures
such as impressive
externals of learning,
degrees.I am quite
dumb
willingto go along with this assumption.But I am
founded
when
asked to hand over
our
are
we
as
responsibilities
ad
educators, as scholars to the professional
as
intellectuals,
who

managers,
arts, who

not

seem

degreefor

com

of the

incompetenceof our students in

but because of the incompetenceof the adminis
composition,
what the packageof our
trators, who don't know
education con
tains,and who therefore insist on that packagebeing wrapped
uniformlyand labelled uniformly?And nothingwill do save
in other words: a Ph.D. degree.
Grade-A-labelling,
not

posers

Ours

is a nation

of businessmen

is nothingto be ashamed

and

by

the

us

to

the

manager,

adminis

stand up and

resist such

usurpationof power

incompetent?

It has often
timid

this

culturally
with the
incompetentstarts interfering
scholar,when he beginsto set goalsfor us, is it then

time for

not

and

of civilization it has
history
that have developedthe
great

the great tradingnations

cultures. But when
the salesman, the

the
artist,

"

of. In the

been

trator, the

of salesmen

been

said that the

is a
teachingprofession
profession.
however, is hardlya sufficientword
Timidity,

for the attitude

abdicate

we

counselled

are

to

take. We

are

asked

to

leadership educators in favor of the professional

administrators and the budget makers. I
the
our

as

deplore

of

new

degreein

be assured of

order

to

attract

more

students and

adoption
thus

to

continuing
high budget.Our business is a con
standard
of
tinuinghigh
excellence in musical, compositional,
a

MATTER

THE

ON

OF

DOCTOR'S

49

DEGREE

for. The
here
we
are
musicological training. This is what
moment
budget is a secondary consideration.
Suppose for one
that the proposed Doctor's
does not
at
degree for composers
the numbers
of students
tract
a
hoped for
quite likely possi
bility.It is difficult to see why then, on the strengthof the same
sacred
should
be asked
not
to
budgetary considerations, we
lower
standards, to give higher grades than is warranted, in
our
"

short,

to

in

engage

full-dress

battle

we
"diploma mills." Once
yield to
time
no
logicalstopping point. The
is at the beginning. If indeed
sure

trator

does

not

understand

the

of

the

the

the

there

reasons
wrong
resist this sort

to

is

of pres
professionaladminis

of the

nature

with

survival

arts

the

and

im

then it is up
propriety of requiring doctorates for composers,
musical
to the professional
to the
organs, such as this one, and
professionalmusical organizationsto enlighten him.
hear dailythat we
We
look
are
culture; we
livingin a mass
from
into that mass
culture
and
down
de
our
we
ivory tower
civili
on
plore the inroads of commercialism
every facet of our
zation.
Commercialism
movies,
our
art, our
prostitutesour
radio
our
theatre; it degrades our
stations, our
newspapers,
mass
television; it levels
opinion to conformity since few
will tolerate
the
"controversial."
Responsible educa
sponsors
claim
that in some
75 percent of the
tors
as
collegesas many
for going to collegeis
students
believe that the primary reason
to get a better job.
of
How
can
we
deplore the increasingcommercialization
in particular,how
dare
of the arts
civilization and
we
our
the fact that our
students look upon
bemoan
own
higher educa
of better jobs and
tion primarily in terms
a
higher pay scale, if
ourselves are
we
perfectlywilling to institute a Doctor's
degree
of better jobs and
them
for composers
to assure
a
so
as
higher
pay

scale?
Advocates

of the Ph.D.

Fayrfax, in 1504, received

versityof Cambridge, and,
University
than

of

Oxford.
des

Prez

Josquin
might further refer to
still the principalarea
only question that is

in
a

in

composition might point out that

Doctor's
degree from the Uni
doctor
made
1511, was
a
by the

Did

this

who

enjoyed

the
for
at

fact
the

him

make

that
Doctor

all relevant

no

in

better

composer

They
England composition is
such

of Music
with

distinction?

degree.

reference

to

But

the

British

is whether
practice

posers, I

it resulted in

afraid that the

am

SYMPOSIUM

MUSIC

COLLEGE

50

answer

givingBritain better com

this questionis not
to
who

Not
a
singleone of the great composers
encouraging.
in the 19th and 20th centuries
of music
shaped the course
in England itself were
Indeed, the major figures
was
English.
With the exception
obtained a doctoral degree.
not those who

followingcomposers had a
Doctor's degree:Frederic Delius, Edward Elgar" both virtually

Vaughan Williams,

of

of the

none

Bliss,
Sullivan, William Walton, Arthur
self-taught"Arthur
Benjamin Britten althoughseveral of them received a doctor
fame. Nor should it go unafter having acquired
honoris causa
"

that Handel, in 1733, refused

mentioned

Oxford, whereas

"Greene,

Cathedral about

1715, had

gree, for

Doctor's

his 'bellows-blower'
received

for St.

settingPope's 'Ode

(O. E. Deutsch,

degreefrom
at

St. Paul's

Cambridge Doctor's de
Cecilia's Day' to music"

Biography,London,

Documentary

1955,

326)

p.

To

to

come

my

main

point,I

believe that the institution

to the very
injurious
Moreover, it will not
thingit intends to promote: composition.
prestige.
heightenbut lower the composer's
these
Let me
two
normally it takes a com
points:
explain
longer,until he ac
years, and sometimes
poser six to seven
By that time he is 25 years old. Indeed,
quiresan M.A. degree.
older than that.
students in composition
are
considerably
many
Additional years will be needed for the Ph.D. degree.To justify
of disciplines
have to be added to
the Ph.D. degree a number
Eastern Universitytwo
at one
languagesare de
composition:
manded, at another, aside from an ambitious
compositional
and
of
the
field of
whole
a complete
an
mastery
project,
essay
Some
demand
furthermore
that the prospective
musical theory.
doctoral students in composition
be sent to other departments

of

Doctor's

for

to me

broad

degreefor composers

studyof the humanities,mathematics, etc.

that such

from what

he

program

reallywants

composing.The
able such

will be

more

needs deflect the

must
to

talent

do and
a

what

composer

true

he should

has, the

more

It

seems

composer
be

doing:
intoler

will be for him. But, conversely,

the
straightjacket
less talent lie has the more
easily
might he subjecthimself to
of study.
The dangeris,indeed, that the talented
such a course
the lesstalented
composer will decide to do without the degree;
a

OF

MATTER

THE

ON

DOCTOR'S

51

DEGREE

will be called "doctor." How

long will it take before
composer
those music departments which
are
seeking the good composers
with

will look

for those

instead

search

those with

suspicion upon
with

the

degree

and

will

talent?

might as well recognizethat

quired in the creative arts cannot
Doctor's degree for composers
cannot

talent of the

We

high order re
be regimented. A genuine
help but impede the true

And
be added
the historical fact that
to this should
composer.
have started young.
almost
all great composers
of
Indeed, some
and
immortal
the age at which
dead
them
at
were
our
still
will
students
strugglefor a Doctor's degree.
"

to

come

posers will

not

contemporary
does

posers
from
from

second

point: a

from

derive

not

apparent

of which

that of the

Doctor's

degree for com

The
heighten but lower the composer's prestige.
trend
of doctoral
American
degrees for com
my

the

but, indeed,
higherself-esteem,

the part of the composer

and
lack of understanding
of the two great strands

inferiority
complex

an
an

out

"

our

on

civilization

is

woven

"

that

of

learningand

Although the pattern of that civilization is

complex one, although the two spheres frequentlyover

very

arts.

lapped,on the whole, the title of "doctor" emerged as a symbol

of learning,the title of "master"
as a symbol of the arts. We
are
not
promoting the arts by deprivingthe title "Master of Arts"
of its dignity as the final degree for the artist within
the aca
demic
community. The strivingfor a Doctor's degree for com
insincere bow
the sciences
to
posers is nothing less than an
motivated
by the fact that without this symbol the composer
his place in the university.
maintain
cannot
Obviously,this is a
futile grasp for the wrong
sign,whereas what we should do is
the

true

essence

preserve
All

of this leads

the

center

of

our

art.

question:what is the real re

of a university
music
department in the cultural
sponsibility
life of our
nation? It is,I believe, to uphold the university
as
any

one

of musical

sort, economic

bay;

where

cultivated

up

musical
with

to

one

culture

considerations

composition

in which
of all
and

varieties,are

musical

devotion,
single-minded

commercialism
held

of
at

are
scholarship

for their

own

sake, not

job, not for the sake o" better pay, nor that of
Job, pay, prestigeare by no meajas
negligible
greater prestige.
entities,but in the sphere of the universitythey should be
for the sake of

COLLEGE

52

SYMPOSIUM

MUSIC

and

of talent
secondary,theyshould be by-products
distinctly
sufficient in themselves to
achievement, not
primary goals
curricula. Nor
the Institution of new
degreesand new
cause

should the

concern
justified

the belief that every

and
or
university"
college
us

to

Alma
must

for the future of

of them

one

must

our

students lead

find

in
position

leavinghis
of our students fail to achieve this goal,
Mater. If some
therefore equipall of them with a Doctor's degreein
we
that

immediatelyupon

the mistaken belief that this will make

them

irresistibleto the

students who
administrator? We shall alwayshave some
college
nice persons but
and thoroughly
are serious and hardworking
needed for a successful university
qualities
lackingIn some
If their years of study will enrich their lives and give
career.
meaning and content to their hours of leisure,while they are
is this a negligible
making a livingoutside of the university,
reward? Are we
not
adoptingan unhealthyattitude of overprotectionand overinsurance? Are we not degradingthe uni
by making it into an institution of welfare and charity,
versity
of elevated union shop that guarantees a job for each
a sort
member?
There

are

risks even

in

becoming a

member

union

or

of
Are we trying
to eliminate risks for the student
shop-keeper.
in American
the arts altogether?
One of the most original
figures
insurance broker,
who earned his living
music was a man
as an
who composed only in his hours of leisure,whom
Arnold

Sdhonbergcalled
ironythat

"a great Man*':

Charles

workingin

business

this man,

Ives. What

fine

designedto reduce
should have taken the incredible risk of composingsonatas
risks*
and symphoniesof an entirely
unconventional
character with
out
as
holdinga great position
anywhere,without
composer
encouragement
without

from

the officialmusical

circle of musical friends

Figuressuch as
ought to remember

"

life of his country,

in fantastic solitude!

Charles Ives will

them.

For

the

alwaysbe

to
striving

But

rare.

make

we

doctor

of every composer, and a university

out of every
professor
of every artist,
out
doctor,and a success
the doom
of
may spell
of neglect
of the arts.
genuine art no less than an atmosphere
out

of Chicago
University

(^ne

cJJociorate

omfiosiiton
by
ARTHUR

NOTE:

It is in

PREFATORY
institutions

other

composition.Since

had

reasons

his

adopt the

that my

me

write

to

felt in

for

But

1961

decided

to

since the editor

Lowinsky

opposing
the

present

bound

duty

degree in

Edward

to

me

each

Ph.D.

article

an

invited

degree, and
decision.

friend

persuade

to

purpose

University in

affirmative, I have
our

my

to

own

my

invitation

this

of
instituting

way

degree in composition,and
wrote

accepted

for the

than

no

Princeton

institute the Ph.D.

of SYMPOSIUM

MENDEL

to

the
case

explain the

university has

its

own

characteristics,
precedents, curricula, particularconstellation
of

schools,
professional

fore, different universities

the

Among
worked
ferent

(1)

at

At

other

of

and

degree candidates
(2)

(3)

the

of

situation

that

undoubtedly

dif

our
are

following.

graduate degreesin

two

Ph.D.
are

problems, there

find different solutions.

that

decision, but

our

only

M.F.A.

to

features

institutions, are

Princeton

fered:

bound

are

particular

in favor

for similar

Even

etc.

Except

acceptedin

for

music

of

are

foreignstudents, only

the Graduate

School.

degree of M.F.A. the student must pass a three-day

such as a
Apart from prerequisites,
generalexamination.
year'sresidence and language knowledge, this is the only
requirement,and there is
requirement.There is no course
For

the

thesis.

no

M.F.A.

In

musicology,the general examination

M.F.A.

has

always

for that of Ph.D.

served

The

also

only

as

the

additional

for the

degree of

general examination

requirement for

the

degreeis the

advanced

tion and the

SYMPOSIUM

MUSIC

COLLEGE

54

submission of

of a
passing

disserta
satisfactory

finaloral examination

on

the sub

jectmatter of the dissertation.There beingno

having been
and the residence requirement
quirements,
examination, the
to the general
fulfilled
as a prerequisite
course

candidate does

have

not

re

in residence while he writes

to be

the dissertation.

extended
we
the Ph.D. degreein composition
(4) In instituting
it.
modifications,to cover
the same
system, with onlyslight
The dissertationfor the composer consists of a composition
to write
and an essay.But he isas free as is the musicologist
student has
Thus, while any graduate
in academic grooves for a time, this time ends for the

itin residence
to run

or

not.

with the M.F.A.

musicologist
examination. From this pointon his only work is
general
seek and receive varying
Students of course
independent.
well

as

composer

as

for the

accordingto their
degreesof supervision

(5) At

needs.

is not

Princeton, creative work in the humanities

repre
field
in
school
ex
sented at any level in the graduate
any
music and architecture. Architecture has for some

cept

the same
basis
Ph.D. on exactly
years offered the degreeof
offer it to composers: the dissertation to consist
now
as we
of

and
architectural composition

an

an

essay. Thus

students

until last year

the possi
school for whom
the onlystudents in the graduate

of musical

be

and
composition

of

theorywere

of goingon to a Ph.D. degreedid not exist.

bility
discussion of the pros and cons
can
The following
general
properlyunderstood only in the context of the situation

outlined above.
"

should there be

(1) Why

such

(2)

doctorate

"

"

doctorate

in

composition?

be called "Ph.D.1?
L

What

is

license:to
one

degree?By historyand

practice
(MIX,

needs
;

degreeis a

lame

in music,
license

to

M .FA.

is

in

or to teach.
Architecture)
practiceeither compositionor
a
many other academic subjects,
,

to
as

by function, it

in

teack

There

are

mainly two

gradesof

DOCTORATE

THE

lower

licenses:

the

grade

doctor's

or

license

No

grade
degree.

licenses.

attorney,

an

or

torney

who

elect

may
no

he

course,

cannot

does
to

license.

wishes

who

or

musicologist,would
Of

its holder

not

to

wishes

engage
have

a
a

Ideally,everyone

quality.1Poor
lawyers, poor com
obtain

upper-grade

chauffeur, or

doctor,

a
a
or
study under
composer
be guided only by licenses.
to

chauffeur

or

or

doctor

license; the law

study under a composer

A
even
universitymay
would

upper

to

foolish

be

engage

the

and

is of top

poor

who

55

degree,

physicians,poor
to
musicologistsmanage

poor

Anyone

COMPOSITION

master's

or

certifies that

automobile-drivers,
posers, and

IN

or

prevents.

an

But

musicologistwho

such

engage

be

at

he

has

persons.

his

merits and
true
engaged on
be needed.
licenses would
A beginning musicologistand a
no
alike would
beginning composer
examples of their
present
and
letters expressing their professors'
work
confidence
in their
abilityto teach, and on the basis of these and of the personal
the
on
impressions they made
appointing authorities
they
This
is not
would
be chosen.
institutions; or
possibleat many
be possible,it is not
the practice.Most
if it would
appointing
authorities require that a beginning instructor have the upperwho
do not inflexibly
grade license. Many more,
require it,are
stronglyinclined in their selection of candidates in favor of can
docdidates having the doctoral
degree or, as applicantsnon
would
who
do not
tores
put it, prejudiced againstcandidates
institutions
almost
have
it. Some
are
compelled to require it.
hope with their limited reputationsand budgets
They cannot
attainments
whose
such that they make
the
are
to attract
men
of the degree irrelevant. So instead
possessionor non-possession
list in their cataloguesthey must
be
of well-known
to
names
of well-known
initials. By present
with an abundance
content
prospective
ing an almost solid list of doctors, they wish to assure
donors, accreditingauthorities, and
students, facultymembers,
certain supposedly well-under
that they maintain
themselves
all institutions and ad
It is possible that not
stood standards.
take this shortcut to winnowing the candidates
who
ministrators
"

1 should

the value

of

members

of

not

want

it

thought that
Department

degrees.In our
rank
professorial

has

an

we

at

Princeton

of Music

earned

only

doctoral

one

overemphasize
of the eleven

degree*

SYMPOSIUM

MUSIC

COLLEGE

56

appointmentwould be compelledto; at any rate, most of

them do, even
at leadinginstitutions.2
that while mu
Perhapsthey should accept our assurance
need the upper-grade
license,composers need only
sicologists
Or should they? Why should
the lower-grade
one.
composers
for
that
matter?
need any license? Why should musicologists,
who
writes a good article can
Any musicologist
get it pub
while most
those who write good pieces,
lished,1
composers, even
Thus even
have to wait years to achieve publication.
a young
of ability
can
musicologist
present samplesof his work which
whereas it is rare
have been judged worthy of publication,
offer similar documentary testi
that a young
can
composer
for

his competence. If either of them

the upper-grade
license it is the composer.
Do

than

young

less time

need

composers

in the

Have
musicologists?
composer
worth to teach them,
only two years'
faculty
have

three

Is there

more?

or

achieved

third and

the

be

not

the doctoral

we

fact that

composers

(and some
not

has

support in
how these

degreean

form
inappropriate

the

judgingof
be

cannot

of

composer's

of

sure

applying

true, how

license? Is the
lower-grade
master's degreedifferent in kind

leadinginstitutionshave appointed leading

who
do not have the Ph.D. to
musicologists)
top

some

affect the

questionof

to get their start

arc
mtiaoolQgist
and theycannot
figures,

how

the young

composer

world.

are

in the academic
all

hope to

start at

Even

the latter there are only a handful

among
doctoral degreeis not a major handicapto the

at

They

not

and

yet

leadinginstitutions.
which

the lack of

applicantfor

I do
position.

he

awardingof the

candidate for

fT!ie

does
positions

when

different candidates? If this were

to

the
justify

judgingof

reason

definite yes.

for a composer? Is not

recognition
work so subjective
that one
a matter

similar standards

the

musicologists
for cuttingthe

fellowship
support

with

answered

of

while

degree and reservingsuch

for musicologists?
I do not see

later years
is

good

for

graduate school

master's

can
questions

But

from

need

more

members

young

off
composer-student

could

has

to

mony

beginning

have

statisticsto prove this;but I have considerable

diairman in receiving
experieooeas department
letters from other chair
and from deans Inviting
men
recommendations
for openingsand
stating
tbe requitOTKnts
candidate
must
and
fulfill,
then in
candidates and

not

swing wliat happensto

recommending

the recommendations.

*The

editors erf J.JJSO. and of

M.Q. will confirm
theydo not receive more
good articles than
can

they

this statement;

print.

DOCTORATE

THE

for

that

from

IN

doctor's

degree?

COMPOSITION

57

think

can

of

possibleargu

in the creative
into the
arts
against admitting work
for removing composi
graduate school at all even
arguments
But
it remains,
the graduate curriculum.4
while
I
tion from
no
reason
why the master's degree is legitimateand the
see
can
doctor's degree illegitimate.
should
have imagination,originality,
But surely a composer
be measured
all things that cannot
with
doctoral
some
taste
then think that a musicologistshould
Do
not
we
tape measure.
taste? Do
have
we
judge his disserta
imagination, originality,
like
tions with
a
tape-measure? Some
competent
composers,
have less of these qualitiesthan
some
musicologists,
competent
fall into the trap of equating "com
need
not
others. But
we
poser" and "genius/* If we are teaching composition only for
of our
students
the sake of geniuses,what
are
most
(and their
teachers, for that matter) doing here?
in a
what
But
taste
mean
we
by imagination,originality,
ments

"

"

about

terms

what

when

biologistor
of

man

in

doctoral

the

award

of

creation

about

mathematics

degree

from

again
engineer

an

and

or

And

President

chair
of

the

support of the proposal

in

composition, "is

in musical

mathematics."

new

different

And

Association

Mathematical

these

use

dissertation," said the

Ph.D

of

department

we

mathematician.

expect

we

American
to

or

when

mean

them

use

we

critic

"What

we

musicologist.Indeed.

mean

we

what

from

is different

composer

mathematics,

in

the
in

or

of the closest analogies to music

physics,lies one
music
a
composer-student
(no analogies are perfect) The
writes may
seem
incomprehensible, or crazy, or in bad taste, to
be bad
of course,
music;
of the faculty.It may,
members
some
in musicology for
or
dissertations in mathematics,
just as some

theoretical

that matter,

partment
4

as

of

Such

extreme
a

the

to

dissertations.

be

bad

no

requirement

arguments

are

the other

biology department

sic, like
less

makes

on

too

extreme

that
to

be

side is the argument

of
is biology and

the mathematics

But
to

member

every

de
of its

seriously.Perhaps

advanced

the proper study

mathematics
department

that since
a

history of mathematics
biology
department is music, the history of mu
proper study of a music
the history of science, belongs in the history department. Need

mathematics
and

may

"

the

not

say, I do

not

history of

subscribe

banishing composition from

to

the

or

the

this argument,

graduate

schooL

any

more

than

"

I favor

facultyevery dissertation
hensible.

have
Specialists

and if they respect

specialties,

of arguments for
continue to award them

we

does

not

of the confusion
the

springsfrom

"

awarding

the

failure

subject and

this whole

on

to
opposition

compre

rightto

can

reason

no

see

and
musicologist

that everyone who needs a license to

Much
be able to get it in the university.

mean

anythingshould

teach

I
the

for
why the doctor's degreeis legitimate
for the composer.
illegitimate
This

even

interest.
special
not
awarding degrees.But
and while compositionre

curriculum,
graduate-school

in the

mains

their

think

can

while

importantor

in their fields of

done

judge work

be

seem

and
respect each other's ability

they must

each other

SYMPOSIUM

MUSIC

COLLEGE

58

of

I believe

degree in composition
"

keep performanceand

to

of

some

composition

"creative arts" is nowadays used so

clearlyapart. The term
and meaningless.
redundant
becomes
looselythat the adjective
(Of course, if one wishes to use the word "creative" in a merely

laudatorysense,
nal"

"artistic/*
one

or

"creative/' In this
tive":

with

vaguelysynonymous

as

"fine"

"origi

or

be
say that musical performancemay
be "crea
endeavor
may
any human

can

sense

acting,medical

or

criticism,
politics,
legalpractice,

word
"creative"
the same
etc. But to use
inusicology,
teaching,
the conductingof a symphony that
to describe the playingor
to describe the composing of a symphony is to invite
uses
one

confusion.)

placeto set forth once againthe argument

of performanceas a part of the uni
the appropriateness
curriculum, let alone as a field for the doctoral degree.
versity
For
ai^ument is irrelevant to the degree for composers.
TM$

the

is not

2.

Should

doctorate

I will

not

argue

compellingreason
At

humanities
toral

that

why

"

it should

not

Ph.D.?

there is

in many
and the natural

and

social sciences. No

offered in any field.This is why

consider using any other name
for the

of

Philosophy.

no

be.

is offered
degree of PhD,
types of engineeringas well

degree is

Doctor

compositionbe called
it must
be
only that

Princeton, the
and

tecture

in

in
as

archi
in

the

other doc
we

did

not

degree than

DOCTORATE

THE

The

philosophy

general

most

closer

of

principles

are

be

considered

would

be

initials

tions
the

"real

that

whether

the
these

as

D.M.A.
be

may

existence,

licenses

as

My

impression

license

nothing

takes

only

not

Doc.,
a

special

or

the

they

degrees

(but
place

whose

to

other

inferior

that

benefit
consider
combina

substitute

cannot

of

music

about

inclined

whatever

besides
for

degree

for

be

somewhat
is

works

question

authorities

may

Mus.

or

thing/'

UNIVERSITY

My

and

causes

debatable.
doctoral

appointing

suggested,

PhJD.

PRINCETON

in

the

musicologists

whose

other

appropriate.

need

students

where

already

Are

with

or

general

least

dictionary
knowledge,

reality,

most

at

or

composers

is

question

wisdom

things/'

the

the

universities,

some

Ph.D.

may

the

the

of

with

connection

defined.

ultimate

and

than

things

of

principles

reality

think

I
In

and

causes

be

term

with

59

specific

any

"love

deals

ultimate

to

study?

which

that

especially

that

however

philosophy

calls

COMPOSITION

lost

since

long

proper,

definition

the

has

term

IN

say

the

magic

for

know)
letters

CDocior
aL ilie
of
\Darnea

an

j or

egree

Composers
by
LELAND

HENRY

CLARKE

and the Professor of M usiComposition

maintain high standards
should In equalmeasure
of a
and obligations
of accomplishment,
grasp the nature
the respectof colleague
and student,of
campus, and command
Professor of

THE
cology

administrator and

corner

grocer. It makes

no

sense

for

one

to

be mister;the other,doctor.
There

is

no

reason

doctoral program cannot

be
well as for the other,the proper

why

for one, as
providing
breadth, depth,shape,and direction. Either degreesdon't
in both fields or in neither. De
matter, or theydo matter
grees are, or should be, the outward and visible signof a fitness
that is attested by those who know.
But the name
of the degree
should make manifest the kind
of fitnessthat is guaranteed.
The Doctor of Philosophy
stands
devised

"

for creative

research,but

doctorate in musical

not

for

artistic creation. The

should be for artisticcreation,

composition
but should include whatever other disciplines
are
to
requisite
make not Just
a composer, but a complete
of the art
professor
of composing
music. This doctorate should bear the name
not
of PhJXf nor of any degreeaccorded principally
for skill in
but its own
distinctivedesignation.
performance,
Despitethe

THE

MAKE

the

of

tions

official

be

position

is

that

about

in

experience
various

and

Council

at

ber

had

said,

be

should

but

ody,
THEE/
lar

the

not

this,
The

entire

I'll

doctoral

of

allowing

distinguishing
the

on

of

Washington

when

our

from

arise

mel

the

matters

basis

dissertation,

with
of

of

thee/

"

of

dreams

the

At

"Oh,

next

regu

Clarke,

Dr.

say!"

the

but

capable

the

exclaimed,

you

like

goats.

University
Seattle

student

anything

for

of

DREAMS

program,

hands

be

should

from

like

"I

"

arise

and

once,

by

poem

prosody

'I

not

remem

"

my

composition,

dissertation,
able

do

at

the

inspiration,

said

of

not

THEE/

her

it, he

from

class

of

Composers

Angeles.

but

my
the

observing

setting

melody,

to

it

prosody

composition

after

stuck

heard

'I arise

not

the

dreams

She

visitor

distinguished

like

from
"

thee/

written

from

the

Los

the

judgment

comes

visited

California,

had

"I

arise

'I

of

DREAMS

of

is

good

that

from

and

com

pronounced

other

the

com

musical

composition

opinion

who

composers

students

my

in

other

any

Music."

of
in

My

seminars

University

in

objectively

as

musicology

the

case

or

objec

successfully

Doctor

doctorate

cannot.

one

York

centered

be

can

varied

of

one

Shelley.
It

in

New

61

the

despite

candidate

of

the

to

compositions
valid

the

degree

dissertations

as

of

program

the

objection

and

bad,

doctoral

DEGREE

causa,

state

that

accorded

primary

notion

the

of

EARNED

AN

honoris

it

recommend

rigorous

MUSIC

using

Regents

body,

pleting

OF

of

practice

present

or

DOCTOR

the

is

composition,

guiding

graduate

of

and

taste

intrinsic

only

as

work

personal

quality

the

of

part
with
are

style

sheep

the
the
cap
and
from

in

omfrosition
by
ROBERT

MIDDLETON

demand
fieldthere is increasing
teaching
held belief that the
doctorate. There is a generally
the

THROUGHOUT
for the

institutionis in direct relation

of an
quality
itsmembers

to

the number

of

In many institutionsthe doctorate

standard set for advance beyond the rank of

Ph.Ds.
holding

is the minimum
Instructor.There

is too much

on
everywhere,
degrees
emphasis

should be devalued.
importance
Many institutions(my own is one of them) exempt com
from the "Ph.D.
and teachers of performance
posers,painters,
exhibitions,
or no
publica
Compositions,
promotion"ruling.
are
tions,and performances
weighedto make an equivalent.
and their

for
It is difficult

young

composer

to

get his works per

There
to get them published.
formed,and almost impossible
fore this equivalence
does

not

existfor him

at a

time when

it is

needed. The

whose
composer must compete with his colleagues
doctoratesare dearly
who can more
indicated in the catalogue,
in journals,
read
easily
get published
and
meetings,

more

papers

at

professional

easily
get foundation support for research.

the composer is apt to get nervous

In thissituation,
articlesor
fatee,and fritteraway his time writing

about his

rearranging

theorymaterials into work books for prealready

existing
None of these contributes to his art.
begmmag beginners.
H

doctorate is demanded, and if it deals with musical

the
or historical
research,
analysis

composer

will have spent

ON

THE

DOCTORATE

IN

COMPOSITION

important years concentrating on the music

(and usually a restricted historical period)
his

all

putting

composer's

of

it

at

The

the

be

how

and

work,

of

Clearness
For

degrees

is it to

manuscript?
I

composer,
the

preferable to

needs

composer
to

of

books
He

be

of

will

the

believe

some

balance

the

references

and

Who

is

to

judge

judged? Weight of the score?

Originality? Stylisticpreference?

recently,and it is very valuable

to this privilege,yet
to hang on
writing peripheral articles and

and

when

thesis.

practice of equivalence

requirement of a doctorate. At
be
to
important in academic

continue

achievement

be

are
badges of achievement
part
This
security is something that

The

be

During these important years, the

studying all periods, and trying all styles.

be

cannot

time

result

doing this if he is working on

be
Also, while
measured,
scholarship can
difficult to assess.
checked, creativityis more
He

should

style. If

own

comes

developed.

yet

composers

he

when

his

developing
work,

of other

slightvalue.

should

composer

into

creative

style is not

and

eclectic

for

given

is

doctorate

efforts

63

of

the

is

time,

same

life. These

the

price paid for tenure.

have
enjoyed only
composers
them.

to

he

does

doing

The

wish

not

wants

composer
to

time

waste

debilitating research.
evidence

of

approved
theses, published scholarly articles
concrete

his

needs

colleagues.
journals and university presses

devoted

to

the

of
and
distribution
scores
recordings, as
publication and
journals and presses publish and distribute scholarlymaterials.
is magic in an
There
engraved score, and a well made recording
of an
achievement
of a good performance is impressive evidence
be measured
by repeated hearings. A few
completed that can
give the com
publications and professionalrecordings would
when
needed
of achievement
the evidence
promotions
poser
are

being

developed.

than

works

These

written

thesis.

Vassar

In

addition, this evidence

later stage in his

somewhat
are

discussed.

College

career

when
would

his

compositions
earlier
to
satisfythe

would

styleand

be

far

more

come

at

technique
valuable

requirements

of

servaitons

cJn.LV. in

ike

on

{sOmbosition
by

GEORGE

ROCHBERG

(The composersfrom whom the editor solicitedarticleseither

with statements
or found the presof model brevity
responded
of other work too greatto allow them time for any reforSymposium.GeorgeRochbergproposeda question
naire for him and other composersto answer
but found that
hu

ensuingcommitments

made

this task

He
impossible.
did, however,pose some
in a letter to
questions
interesting
the editor that*with his permission,
is here reproducedin
part" Ed.)
even

October
Dear

25, 1962

Henry:
*

would

I
.

be

don't have
really
happy to answer

the time for

a

series of

formal articlebut

which
questions

you

mightwant to put to me as well as several other composers.

For example,
what would be the immediate practical
value in
the PhJD. in composition?
Do you believe that the
granting
theses would be valid
present academic standards for judging
as a basisfor judging
creativework? Do you think that a
young
with
PhD.
in
a
would
have the op
composer
composition
to teach composition
portunity
he instead be asked
or would
to teach courses
in theory
and possibly
Do you
even
history?
think that granting
PhJD. in composition
a
would tend to
create

who

an

unnecessary form of selfdelusion on

would

receive

of
granting

PLD.

the part of some

in composition?
In other words,

degreemake

composer?

ON

OBSERVATIONS

Well,

doubtedly
all

of

kinds

problems,

has

composer
and

versity

the

the

issue.

his

is

It

the

way

inevitable
medium

o"

trend

not

make

to

so

environment
reach

real

very

the

see

you

PH.D.

THE

least
in

IN

which

society?
.

As

ever,

GEORGE

University

Pennsylvania

of

and

which

society

question
through

touchy

very

is

rather

the

is

creative

in

fraught
fact

than

arises,
a

65

This

thoughts.

my

of

COMPOSITION

in
the

that

the

un

with
the
uni

academic

person

can

(^hougkts
on

ike

\^omf)osiiion

sic

by
PITER

THE
sitated,

STONE

of
plight

economic

we

ELIOT

are

the contemporary composer neces

told,the decision to grant a Ph.D. in com

The subsequent
furor in Academia
position.
(andthe amuse
in some
ment
has created an atmosphere
compositional
circles)
that smacks of good old Uncle Toby'sfortifications.
As in any
the ideologies
and Chauvin
battle,
not a little
are
tautological,
ism's to the fore.
The

skirmish

proceeds:
1) today,the serious composer
look to the university
for economic assistance;
must
2) the
tends to honor with employmentthose who have
university
academic degrees
have establishedthemselves in their
or who
of endeavor;3) the composer's
in composition
is
training
nonacademic; 4) the Ph.D. implies
essentially
re
scholarship,
search,
and logic,
but few would insist that
memory, analysis,
It also presupposes creativity
of a compositional
nature; ulti
the scholar peers in from outside music;
mately,
5) in attempt
ing to reconcile these problems,
a
neutral has
well-meaning
initiateda program

granteda

PhD.

in which

the

student,in order

to

be

in

must
composition,
submit,in addition to
an
writing
of method, a theoreti
original
a study
composition,
cal dissertation.
The reason
for this approach,
is
presumably,
to make of the degree
a scholar as well as a
recipient
composer.

A reconnaissance of the battlelines

may
attack

by which

we

reveal

plan of

could penetrate the dense forest of

con-

THE

the other

On

fusion.

disturbance

1)
versity.He

has

now.

may

find

not

look
him.

to

or

arrange

of

areas

only
He

potential
the

to

write

may

there.

schools,

He
on

music,

copy

recording sessions,
teach

uni
in

and

write

conduct

pro
per

in

secondary private
privatebasis, or, with a degree

may
a

in education, in the
whatever

well

need
open

67

theater, for the films, for television,and

He

and

schools, in music

us

avenues

many

for the

here

formances

might

to

produce

notes,

we

composer

shows.

for industrial

COMPOSITION

MUSIC

hand,

serious

music

cidental

IN

visible

not

The

gram

PH.D.

public school
thoroughly prepared

systems.

In

short, he may

do

musician

ought to be able to
of these fields do require training not
he? Some
do. But
can
usuallyassociated with serious study in composition.Even with
the necessary
will discover that these
preparation,the composer
little room
for newcomers.
fields have
Despite the requisite
also needs
have personal
to
training and talent, the composer
in some
he succeeds
Once
of these areas.
in becoming
contacts
a

musician,

commercial

stringquartet
he finallyseeks
futility,
teacher.

He

pose;

b)

least,

an

he

with
affinity

to

germane
a

2)

offer his

can

Whether
the

the
or

argument.

electronic

an

artist and
not

he

At

has

If he

teach, what

to

be

left for him

Because

work.

to

of this

a
university,and tries to become
time to com
a) he will have more
musical
knowledge, or, at the very

teacher, he
is

will

time

the

that:

believes

the students.

come

or

compose

much

not

made

his

processes,
is justified
in his beliefs is

the
a

creative

point that
compromise.
is he

to

he

teach?

to

not

decides

to

be

Unless

he

re

positionas "composer-in-residence"and is expected to

have the necessary background
teach only composition,he must
the universityon
meet
to teach
theory or musicology. He must
its own
ground. If the universityfeels a cultural obligationto
indi
talent
either directlyby commission,
or
support creative
it would
only fair,
rectlyby offeringteaching positions,
appear
to accept for a teaching post,
or
at first glance,to commission,
of proving his ability.A de
has some
who
one
tangiblemeans
to
kind, or preeminence in the field, do not seem
gree of some
be unreasonable
requirements, for who is to judge the abilities
the average
Can
has no
who
of the man
degree or renown?
the past, who
whose
on
theoreticians
or
eyes are
musicologists,
aesthetics must
have pet theories or favorite periods and whose
ceives

be

the work

their theories

with
Inextricably

linked

of

of contemporary
analysis
found, in the melodic
continually

the

on

of the Bartokian

school)Compare
or

Schuller

should
disparity

with

attend concerts
leaves them

which

with

posers?Can

prove

the

professor
configurations

of the

Burgundian

of those

the number

Baroque

point.Can

have
possibly

who

their

solid frame

the
are

programs.

they,who

music because

of contemporary

littletime,

the

that attend
of musicologists

the number
concerts

graduateclass

harmonic

and

present at the Medieval, Renaissance, and

The

periods,
judge

in which

music

cadence, reminiscences

ISCM

and

composer?(Irecall

contemporary

SYMPOSIUM

MUSIC

COLLEGE

68

cannot

own

work

of reference

works
unknown
com
by unknown
compare
they,who evidence, at most, a toleration for music
to

of today'svisionary?
the quality
fifty
years, perceive
Today'svisionaryhasn't had the chance to establish himself
and
for fifty
years as have Bartok, Schoenberg,Berg, Webern,
How
Stravinsky.
many
composers can have achieved recognition
usuallyreceives a doctorate? Those
by the same
age that one
of the past

have re
composers of the so-called younger generationwho
ceived acclaim are in their forties or fiftiesand generally
repre
the

rear-guard.
that we
like least does in fact
part of a composition
constitute the uniquenessof the work
indeed, the author's
primarycontribution to the art recognitionof its value must
late. Its composer
stands little chance of gaininga chair
come
of music because of his individuality
and his refusal to compro
sent

If the

"

"

mise with the conventions

of his

day. In such

situation,the

for teaching
university,
by accepting
only those who
positions
have degrees
have achieved some
foster only an
or
can
renown,
unhealthyconservatism in music.
3} Though the disciplines
develophis skill,though
may
his perception,
the essential
theymay broaden and intensify
talent cannot
be taughtthe composer.
4} If one increases the number, range, and depth of theory
and analysis
until the requiredpointsfor a doctorate
courses
have been accumulated, and if one
follows the acquisition
of
pointswith a satisfactory
comprehensiveexamination and dis
then the PkD.
sertation in theory,
should be in theory.
If the
"

"

dissertation is in
If

an

the
musicology,

original
compmition

PkD,

should

be in that

area.

is substituted for the dissertation,

THE

COMPOSITION

MUSIC

problem

the old

however,

IN

PH.D.

still remains:

69

Who

is competent

to

it?

judge
5)

The

reconciliation

at

attempt

complex. Even in the

to tangiblefacts
by nature

appears

realms

make

to

the

issues

of

theory and history,closer

than
is composition, interpretation
bitter discussion.
The
of these very facts causes
disputants en
in high-level
name-calling,ridiculingin class and in the
gage
of their opponents.
How
journals the arguments
professional
then is a composition to be judged fairlywhen
partisanshipand
the ranks of composers
battles within
themselves?
cliquescause
Rameau
call to mind
Need
vs.
one
vs.
Piccinni,
Lully, Gluck
more

Brahms

Six

Les

Wagner,

vs.

Hindemith

Wagner,

vs.

vs.

of
confused
embarrassment
recent
Schoenberg, and the more
the
with
the serialists was
schism
Stravinsky'sdiscipleswhen
bridged? When, in addition, the composer
attempts to ambush
and
the musicologistreciprocallytries
the musicology student
the composition student, how
can
one
to undermine
seriously
talk about
objectiveevaluation?
the composition be judged? What
what
basis should
On
that
should
be its length that of the Symphony
or
by Webern,
it be a symphony, a string
of a Mahler
symphony? Should
about
What
an
opera? One-acter, or
quartet, or a concerto?
three-acter? Song Cycle? Solo violin, violin and
piano, chorus,
orchestra, or tape-recorder?
that the problem
let us assume
For the sake of argument,
"

of
of

the

as
composition be admitted
in composition. The
Ph.D.

have
tion

the
both

the

In

would

composer

order
have

of

one

overcome,

musical
will find

that,

as

part

the original
composer,
the requirements for the

of

compromise offered would

theoretical
or
musicological disserta
to accomplish this goal satisfactorily,
to

study can
any

and

the

usual

take

classes

benefit

materials

to

and

comprehensiveexamination

tainly,any
composer
show
may

write

student

in addition.

the

be

the

composition may
solution to the plight

judging

the

himself
for
prepare
the dissertation. Cer

composer.

valuable

even

bright
though they
The

classes
only what not to do. After all, how many
this raises what
take?
But
the composer
in composition could
be to the academically-minded a familiar
pedagogical
should
how
valuable
to leam
way
problem: is not composing the most
write
much
as
the student
as
possible?
not
to compose? Should
him

though,in

How,

SYMPOSIUM

MUSIC

COLLEGE

70

graduateprogram,

can

he

find the time

to

library
preparing
for classes,
papers, and examinations? He surelywill find some
time to compose, but will it be sufficientto givehim a Ph.D. in
And
why, when all is said and done, should a
composition?
dissertation in theory or musicology be
a
degreerequiring
Is this doctorate granted in
called a Ph.D. in composition?
of a fine musical work or is it,rather,bestowed in
recognition
of composing?
of a fine theoretical method
recognition
if he

write

The

spendso

must

the arguments appear to

the wrong battlefield.The muster

reconnaissance

have been marshalled

over,

on

placewhile

better take

in the

time

much

keep our

we

eyes

the

on

universities in this country were

in composition
were
(and once the practice
future. If most

of the

one

it would
institutions,
prestige

had
of the

offer a Ph.D.

givenimpetus by

be

only a

matter

of

before others,with

time
lowed

faculties of lesser competence, fol

of the composers who todayrefuse to march

suit)most
academic regalia
would

in

to

roster

to

me

who

Those

likewise refuse to

the

feel that
todaybitterly

debt would

feel the

would

not

hordes,newly armed

judged by

to

do

so

with the

tomorrow.

them

those composers

But

same

be forced

so

owes
university

way tomorrow.
todaycompromisewith a Ph.D. in

who

do

musicologyor theory

longer.Imagine,then the
doctorate in composition,
many
any

musicians

of little if any competence to evaluate

creative talent Imagine these hordes descending
music
upon
all
the
departments over
country, scramblingfor jobssome
ten

their newly received weapons

for
years hence, and brandishing
the
citadel
of the teaching
storming
Instruments of
fraternity.
become
obsolete before they reach the hands for which
war

theywere
in

destined,and such

original
problemis an

solution will
At the

create

root

Is the
question:
one

without

Graduate
New

case

with the Ph.D.

competition.
The

the

be the

must

York

economic

similar,if

not

of all these

more

The

proposed
serious,problem.

one.

problemsgnaws the fundamental

composer with a degreea better composer than
a

degree?

School of Arts and Science

University

in

(^ omfyosition
by
HENRY

WEINBERG

and desirability
of grantquestionat hand, the validity
Doctor
of Philosophy degree in Composition, exists
a
againstthe background of certain established facts: 1) a large
and
increasingpercentage of those who study music in this
country go to the Universityfor their training;
2) the Ameri

THE

is

already in

the

University;this phenomenon
be restricted to a special
cannot
academi
group of composers
callyoriented for good or ill;3) the total spectrum of music
trainingis present in all ranges of competence and style.
can

composer

Why

then

would

young

want

composer

to

obtain

such

is
degree and would the specialkind of thesis that a composer
uniquelycapableof producing be appropriatefor it? It is now
clear from
the latest experiencesof composers
with terminal
master's degreesthat the noble
attempt on the part of some

universityadministrations

to

withstand

the

demand

for

the

requirement in the hiringof composers has failed. De

of whose
partment heads wanting to hire young
composers
they were
highly convinced, these young com
qualifications
from the most
universities in the
prestigious
posers sometimes
Ph.D.

country,
have

were

frustrated

in these attempts; the administrations

demanding the Ph.D.

minded
department head would
both
if not impossible,
difficult,
and to get promotions for him.
been

And

if

a
occasionally
strong-

succeed, it would
to

keep

the

man

be

most

he has hired

of

The

group
the finest and
have

term

done

important formative years

knowledge a composer must

these

knowledge in

the

on

the

neces

that would

re

acquire.(In

their part to my

of

use

context)Some of the most impor

have recently
changed their minds, on

this

of these composers
basis. I would
facts-of-life

tant

so

with
incompatible

on
perhapsbe objection

deed there may

have

Ph.D.

be

obtain it would

of

who

influential of the established group,

opposedthe necessityfor

sult in the kind

of

high-mindedcomposers, includingsome

most

groundsthat to
in
sary activity

the

SYMPOSIUM

MUSIC

COLLEGE

^2

that a
go further and suggest
with
need not be incompatible
Ph.D. program in composition
which should be acquiredby a creative artist in
the
a

like

to

draining
musical composition.
Few

disagreethat

would

transferable

have

few who

of

body

learned
traditionally

have
composers
other composers. There have been
that

knowledge

is

there

had

to

from
learn

acknowledge
silently
to exist as both
graduate
assertion by allowingcomposition
study in universities.In attemptingto stop
undergraduate
assert
are
of concentration justshort of the Ph.D. we
area

it for themselves, but learn it they did. We

this
and
this

ingthat
work

at

the

different from
is qualitatively

of Ph.D. work

nature

earlier levels. One

that

it said

hears

factual. But if this refers

scholarly,
of
then this is scarcely
true
ability,

to

the

degree

is

facts of first-orderverifiand

mathematics

the

physi

fields
true
even
perhapsnot totally
which emphasizetextual and historical research, such as the
debatable
in mathematics
are
liberal arts. Depth and triviality
The
in musical composition.
misunderstanding
even
as they are
thinkers is not restricted to our
field,as at
of great, original
of the work of the great 19th cen
tested to by the reception
of those

cal sciences,and

Georg Kanter by another great mathe

tury mathematician
matician of the time, Poincare. Even in historical research in

musicologyone

hears

at
distinguished
professors
important
the work
of distinguished
at
professors

maiversities say that

equallyimportantuniversities

is trivial

or

worthless; surely

that goes
evaluation
this field insists upon
irst-order facts involved. In any of these fields,as

even

compositionthough
are

will continue

accept the word

ultimatelymust
bers who

mistakes

IB

an

authoritative

to

of those senior

positionat

be

beyond the
in musical

made,

facultymem

the time.

we

THE

The
lematic.

of

nature

musical

would

but

sary,

PH.D.

the

has

arisen

eminent

most

depth

have

of those

these

by
parallelwhich

theorems

them,

metalanguage.
I have

The

prob
neces

leaps to

in mathematics

about

also, and

be

which
in

or

the

question of
assured
by a

been

that

of great
important theorems
that were
no
longer than a page in length
for whether
accepted as theses. (So much
suitable
a
candidate) In defense of the
as
thesis, it might be suggested that there

existed
been

would

Webern

the

be

to

seem

definition

The

statements

mathematician

yet have

and

with

would

sufficient?

accompanied by
terminology of logic,in

size

73

dissertation would

not

are

COMPOSITION

composition
it be

is the acceptance

mind

IN

be

alone

composition
been
have
could
artists who
talk about
not
highly competent
what
in talk
they had done. But the condition of competence
ing about music is relevant in a universitysituation. Indeed we
might use this as an opportunity to insist upon greater meaningabout
such
and
talk.
fulness, coherence
definability
The
to
large group of students who come
study music in the
compositions (letus not forget that the
University examines
and
of Beethoven
works
Bach
are
compositions) with the dis
ciplinesof historical research. Might it be suggested that the
of compositions is not
examination
only a field of historical
studies; that the important role that the historian has to play
is merely a part of it? This
examination
requiresknowledge of a
be inferred and
formu
can
language which has a syntax which
of a composi
level. The
individual
lated on
events
a generalized
the part of
the product of a decision-makingprocess on
tion are
who
has a particulartalent for making decisions in unique
one
who
Those
are
instances, that is a composer.
giftedin inferring
the generalizedsyntax of a composition or body of compositions
are

theorists. These

two

occasionallybeen the
metalinguisticstatement
sional
not

theorist

fall into

that

systems. This
composer
of these

and

need

or

should
theorist

not

be

not

which
the

need

theory
not

be

of

The

composer's

which

almost

certainly

profes

occasionally confused

is

allay the fears

always.
that

theorists,have

and

it would

capable and

realm

theory: metatheory

but

same,

be

would

composers

groups,

of

constructing theoretical

of those

the

with

same.

who

The

insist that

the

collaboration

composition, theory,metatfaeoryand his

firmer
talk about: music
a
on
tory, clearly defined, might put
four

fields:

74

COLLEGE

than

footing

to

advanced

degree
related

some

or

field

allow

University

the

than

to

the

music
in
Ph.D.

factof-life.

of

directly

as

standards

consider

us

such

Is

would
relevant

be

the

open

his

to

forced

take

to

of

investigation

for

way

for

work
the

the

degree

historical,

his
in

textual

problems.

not

higher

upon

than

rather

paleographical
Why

Let

what

study

composer

this

And

exists.

now

SYMPOSIUM

MUSIC

Pennsylvania

to

what
in

be
is

one

said

Composition

of

the

about

first
it

an

in

fields

the

opportunity

to

insist

University.
rather

MUSIC

AND

EDUCATION

LIBERAL

Music

in the Liberal Arts

Curriculum
by
MARTIN

HENRY

the fact

torical,esthetic,and
education

dilletantism"
is

will

gripswith

of music

in

its mission

remain

in

can

teacher
a

its present
Musical

nearly as timely and

written. This

collegemusic
to

"Let
oft-quotedadmonition
that until it (thecollege)
grasps
stylistic
problems of music, our

The
(Editorial,

[1949],605)
was

SHERMAN

LANG'S

PAUL
squarely
music

A.

valid

as

is unwillingand

the his

college

of essential

Quarterly,XXXV

be attributed, in part,

fundamental

state

face

us

when

today as

to

the fact that the

perhapsunable

problem that

it

to

come

the mission

concerns

music
can
higher education. Stated briefly:
merging its humanistic,
by indiscriminately

fulfill

schol

functions? This problem, now

arly,creative, and professional
largelyconfined to the undergraduate music program, has gen
erallybeen resolved on the graduate level where the human
of study and the
creative, and professional
istic,scholarly,
areas

degreesgranted in
as
on

these

areas

are

before, it has become

never

the

quite clearlydefined. Now,

for

necessary

undergraduate level, or collegemusic

similar definition
is fated

to

con

"state of essential dilletantism."

tinued

Among

numerous

serious

efforts

to

evaluate

collegemu

Randall
are
important,and responsible
Jeffer's
(1935), Edmund
Thompson's report College Music
(1944) and
for the General College Student
report Music

sic,the

most

extensive,

more

recentlythe report by

the late Manfred

Bukofzer

and

Council
of Learned
committee
for the American
distinguished
become
have
facts compiled by the authors
Societies. The
It is not surprising
however,
familiar enough to all o"ncerned.

that
on

taken the facts or the criticism based

really
enough.To close the
that is,seriously
facts seriously;

has

one

no

these

ever

what

gap between

the

issues makes

the main

community

academic

happierthe

does

is not
practices
times, hypocrisy,

one
at

it difficultto be
that

said, however,

it be

Let

outcome.

what

and
professes

one

fact that vested interest or,

alwayseasy. The
masks

SYMPOSIUM

MUSIC

COLLEGE

78

to

come

sanguine about
the

sooner

the

the issues,the

gripswith

result is likelyto be.

examin

be soughtby
to the problemmay
answer
partial
of collegemusic
of the profession
ing first,the composition
A

teaching;second,

collegemusic

of the
the historical position

third, the placeand purpose

department;

in the A.B.

of music

program,
be stated
a whole, it may
as
Contemplatingthe profession
music teachingis in many
that college
respects unusual. It is
skills
unusual because music teachingprobablyembraces more
ac
of scholarlyand/or professional
and a greater diversity
in similar professions.
to be found
than is likely
complishments
And
state

uniquenessis in many ways the key to the present

teacher
of collegemusic. In highereducation, the music

this very

alone is committed

to

aims

ideals

and

humanistic, vocational,

"

another
in conflict with one
infrequently
the frame
to attain within
and, realistically,
quiteimpossible
the A.B. Few have
work of any meaningfuldegree,particularly
seriously
questionedthe fact that vocational and recreational
goalsare irreconcilable with the aims and ideals of a liberal
or
not, are
education, yet music professors,
engaged
willingly
is possible.
in efforts to achieve a rapprochementwhere
none
includes the instructor of brass instru
The
profession
and recreational

"

who

leads

conservatory education, as well

advanced seminar dealingwith the

has

who

ments

not

an

as

the

scholar
abstruse

most

importantuni
a curriculum
engaged in developing
at the college
level,as well as the re
with performancepracticein the
search scholar concerned
seventeenth century; in short the profession
subsumes
every
of practical
body from the journeyman performer the man
problemsand who
it includes the man
versity;
for teaching
dance music
musical

holds

Ph.D.

from

an

"

attoHHBents,

the
seems

man

to

to

the

most

of letters. The
be

connection

erudite

of humanists

and

scholars

"

only requirementfor membership

with

"music/1

no

matter

how

remote.

MUSIC

One

IN

THE

is constrained

to

LIBERAL

ask:

are

ARTS

such

CURRICULUM

diverse

79

who

men,

often

do

speak the same

language, and who, paradoxically,
even
title
the
"Professor
of
members
Music," really
of
equal
carry
all?
The
be a qualified"yes,"
answer
one
profession at
may
provided the skill and the assignment are so clearlylabeled
that misleading inferences
and
matched
become
virtuallyim
not

even

possible.
the collegemusic
Historically,
department, in most
cases,
the
reflected
merely
background, training, prejudices, and
who
chairman.
could
This
have
was
predilectionsof the man
meant
on
departmental concentration
anything keyboard in
struction, musical
activities, musicology. Any program
that de
veloped out of such murky beginnings inevitablyled to depart
of a common
devoid
ments
philosophicalmeeting ground with
music
departments in other colleges.These
departments were
humanistic
a
nd
fit
not
did or did not
or
were
or
professional,
"

into

the

college program

or

its aims;

and

no

one

seemed

to

care

Today we can see the result, and it is confusing if

bizarre.
It is confusing because
not
college music
depart
many
ments
offer, in
nominally participatingin an A.B.
program
B.M.
and
institutions provide such an
a
reality,
many
program;
that it is not always possibleto recognize
of the two
mixture
odd
the other
leaves
off and
where
one
begins. Commonly, there
exists, therefore, a kind of hybrid music
department that, un
that
and
able
demonstrate
is prepared to defend
less one
to
music
is so unique that such a department is both desirable and
have
concede
that it is time
he would
to
to
purify
necessary,
he may
the species.
Plainly,the collegemusic teacher, wherever
admit
that, too frequently,he is
belong on the spectrum, must
the humanistic, vocational,
where
a
participantin a program
that
functions
recreational
and
so
are
hopelessly intertwined
Not
and
confusion
misunderstanding are accepted as normal.
in many
who
the undergraduate students
the least confused
are
do not
cases
exactlywhat a given music department
reallyknow
very

has

much.

to

To

offer.
be

sure,

there

are

universities

where

music

departments

highest standards of other curricula

if one
but
in an
A.B. program,
attempted to observe, with the
the college music
scene
generally,he very
utmost
objectivity,
body of
find it impossible to identifya common
likelywould
consistentlylive

up

to

the

and

meaningfulaims
to

adduce

could

find
possibly

one

in music

courses

of

order in

universities. How

our

is concerned

that
profession

appreciation;
theory
historyand theory (not to mention
in
; courses
and theory for the musicologist)

other

with, among

set
logical

taughtin
subjects

other

comparisonwith

high standards, or
capable of
practices

consistent with

means

orderly and

an

SYMPOSIUM

MUSIC

COLLEGE

80

music

in

things:courses

for the composer

music education; instrumental and vocal instruction; courses

in

the nonthere are

piano tuning and instrument repair;then
music
for which
departments frequently
curricular offerings
of them
some
important, others of
assume
responsibility"
purelyephemeralvalue or even of the anti-music variety:glee
band,
club, choir, collegiummusicum, marching band, concert
is not so much
striking
dance band, etc. But what is especially

trivial
of the offeringsand responsibilities,
diversity
important,but the fact that there are institutions where

the

of the aforementioned

many

with

equalweighttoward

near

that there is a
a

in aH

even

to

pretendthat

of these activities are

is self-delusion. That

we

To

degree in music.

denominator

common

or
patchwork,

or

too

activities contribute

and

courses

and

bond

common

pretend
in such

all of the

equalmembers

permit ourselves

to

people involved
of one
profession
speak of "college

set of prac
though it reflected a reasonablycommon
is "collegeeco
There
is self-deceiving.
tices in most
colleges
nomics"
or
"collegemathematics," but a consistent entity
music" is a mirage.
Identifiable as "college
recommendations
in
that Jeffers
It also appears evident
the conclusion of his report Music
for the General College
Student are taken justseriously
enough to perpetuate the con
that music should
in effect suggested
fusion. What
was
Jeffers

music"

remain

as

isolated

from

other

He
disciplines.

recommended:

(1)Adapt collegemusic aims to changingculture; (2) Adapt

to college
aims; (3) Unite cultural and voca
collegemusk
tional instruction in music; (4) Adapt collegemusic to the
student and the locality.
One
wonders
why something as axiomatic as point two
should have

been

of; making the

stated at alL And

would

even

anyone

for
remaining recommendations
departments?One cannot
help being reminded

other
of

dream

college
life-adjust-

IN

MUSIC

education.

ment

that

therefore

less is

doomed

to

and

in

unacceptable

in the A.B.

esthetic, and
Phi

and

courses

or

sub

department

as

an

is

serving
of

arm

the

is

worthier

program

through

case,

role

humanistic
or
a

the
Beta

Constitution

Kappa, Alpha
Article

either

music
for

the

area

of

the

in

general

of concentrated

realization

study;

"historical,

music."
the

departments to live up to the ideals

the following will substantiate:
From

for

segment

an

as

for it

responsible educators

to

stylistic
problems of
Kappa has provided

Beta

other

office.

there

either

81

from

music

"gut"

bureau

entertainment

of this is
that

it than

the

sponsoring

partiallyfulfillingthe
student

CURRICULUM

bluntly" the

more

the role of

college as an
public relations
is certain

ARTS

expected from

even

the

All

be

to

say it

to

LIBERAL

Implicit in Jeffers'recommendations
is the
be rigorous and
college music
study cannot

conviction

jects;or,

THE

of

and
of

all

enable

guidelinesto

liberal education

which

By-Laws, Phi
New
Jersey

III

in

applied or professionalwork shall not

be counted
for pur
computing the cumulative
average
of
shall be
and
work
eligibility.
Applied
professional
poses
all trainingintended
to developskill
understood
to include
f. Grades

earned
in

or

techniquesin

vocational

such

fields

as

business

adminis

engineering, home

economics, journal
tration, education,
air
and
science,
ism, libraryscience, military
physicaledu
cation, radio, secretarial science, and applied art, dramatic
music.

art, and

g.

shall be

Weight

grams

of all students

given

to

under

the

breadth

of the

consideration.

The

course

pro

department

than 30 credit
normally consist of not more
should the
In
no
hours beyond
case
introductorycourse.
within
a
student's required work
singledepartment, or in
closelyrelated departments exceed 42 credit hours.

major

should

the

Restated

(1)
and

as

Instrumental
we

applicable to music:
postulates specifically
believe in it
is a fine thing we
instruction
"

play instruments;

instruction

for

preciationis

credit
fine

in

it is not,
an

thing

"

we

A.B.

however,
curriculum.

appreciatemusic

proper

(2)
and

unit

Music
we

of
ap

believe

SYMPOSIUM

MUSIC

COLLEGE

82

by others; it is not,
appreciated

that music should be

music
the proper role of a college
in music appreciation.
(3) Bands
it
rallies,or parades;
political

humanists

and

with

should be rewarded

offer

courses

athletic events,

at

is doubtful whether

band

in

of
responsibility
band
participation

proper
that

scholars, or

music

fine

are

is the

maintenance

struction and

departmentto

however,

credit. (4) Singingis a

college

fine

group voice instruc

tion should carry academic credit in a liberal arts program. This
be extended to include student recitals,workshops,
list on
is doubtful

thing;it

clinics,and

or
private

other activitiesthat

numerous

serve

ing in

to

oppose them.

Some

no

mean

of them

others are
the A.B. program,
extra-curriculareducational and social activitiesand

importantadjunctsof

very

as
splendid

of them

most

is not

A.B. program

an

ob

only to

education.
the real purpose of a college
To state that the aforementioned activitieshave

scure

are

whether

or
professional
interested
primarily

in
importantand legitimate

are

B.M. program for the student and teacher

skills.
in professional
performance

rationale is neces
Clearly,reform directed toward a new
music teaching
make
in college
can
sary, and only those engaged
Under
reality.
velopand control
it a

and the
control

rationale humanists

new

curriculum

the music

alone would

in the A.B.

de

program,

would developand
or composer
professional
performer
die B.M. curriculum in professionally
oriented depart

ments

and music schools. But

cators

are

caled

to

upon

music
justas longas college

providevarious

grams for
absurd to

edu

kinds of music

pro
that it is
recognize

undergraduates,
theywill have to
treat all programs
and the
as though they were
one
same
thingreachingthe same student and able to be taught
The kind of music departmentthat at
by a common
faculty.
humanities
tempts to be all thingsto all men
department,
entertainment
professional
department,conservatory,
bureau,
student activitiescenter
is an anomalythat should be banished
from the college
music scene.
"

"

One

of
by-product

of frictions and
"

manists and

partment or

let

us

rationale would

new

be

honest

to
professionals
trying
even

between

about

be the

this
"

between

function within the

coordinate

lessening
same

within
departments

hu

de
the

MUSIC

THE

IN

LIBERAL

CURRICULUM

ARTS

83

Ideallythere should be completerapport be

university.
the two areas.
No professional
musician should be blind to
tween
and scholarly
the humanistic
endeavor, nor should the humanist
be blind to the appliedendeavor. But we
ought to stop pre
tendingthat the performingmusician and the humanist scholar
the same
are
thing.To say that they are is like sayingthat the
is the painteran
Nor
art historian.
art historian is a painter.
the scholarly
and applied areas
Nor
are
mutually exclusive
in both areas
of achievement
should be
either. Desirability
The
however,
professional,
freelyadmitted and recognized.
of the humanistwant
should not even
to perform the function

same

scholar,let alone preempt it,and vice

The
musical

image

of the music

instruments,

or

versa.

professoras

as

teacher of

mere

performer
professional

who

is,in spiteof ourselves, the pre

appreciation"
as a peer among
vailingone. The image of the music professor
If reform
equalsin the academic community is the exception.
teaches "music

will

ever

become

that many

realityit will

collegemusic

at

teachers

least reduce
will

be

the likelihood

looked

upon

con

and patronizingly
an
by colleagues;
unpleasant
descendingly
because
our
fact,but a fact nevertheless. This attitude prevails
been quitecertain whether
have never
colleagues
addressinga saxophone teacher, an ethno-musicolothey were
teacher,a band director,or a booking
a music
"appreesh"
gist,
an
agent. Hopefully,humanists will live to see the day when
with a non-musical
encounter
colleaguewill not lead to the
do you play?"A colleaguehas
instrument
"What
question,

non-musical

suggestedthat

the

next

time

am

asked

by

an

economics

pro

askinghim

play,I should replyby

tax
returns.
what his fee is for making out income
Bukofzer
wrote
(The Place of Musicology in American
Institutions of Higher Learning,[1957],
p. 43), "Afusicology
and
at institutions of higherlearning,
is a relative newcomer
fessor what

instrument

have
of other disciplines
the representatives
in consequence
studies.
far not fullyutilized the results of musioological
so
in music were
regardedmainly
Formerly the facultymembers
Then
esLtra-currioikr activity/'
of a pleasant
as representatives
in
that scholarship
"Now
somewhat
he added
expansively,
right,the musicologist
music has been established in its own

84

has

COLLEGE

been

received

that

know

the

universities.

this

an

College
Rutgers

in

It

of

Arts

the

thought

remains

the

norm.

and

University

Sciences

of

community

latter

accepted

SYMPOSIUM

MUSIC

applies
task

of

all

to

in

scholars."

the

relative

profession

Many

of

handful
to

us

of
make

BOOK

REVIEWS
Edited

by

BRYCE

JORDAN

Historyof

1963.

and

Musical

A. Pisk. New

Paul

and

Music

York:

informs
ingredients,

with
the

Harcourt, Brace

versityof Maryland, and

of
versity

Texas.

Ulrich
" World

of Music:

(1960) by
Jay Grout's
of musical
The

Department

music

on

by

of Music
A.

Professor

at

the Uni

Pisk of the

Uni

stylecharacteristics
justifies

Historyof Music
its position
in

History of

and

Musical

Style.

the subtitle of The

Musical

Stylesand Ideas
C. Cannon, Alvin H. Johnson, and Wil
further implementationis given to Donald

And

declaration in the Preface

"The

(1960):

Music

from

Short

Beekman

G. Waite.

historyof

Concentration

advanced

music, with specific

musical

Professor Paul

the full title of the work, A

Styleis thus

actual

new

of the

Ulrich, Head

Homer

liam

Homer

696 p. 8vo; $7.50]

[viii,

Unflaggingconcern

Art

Style.
By

historyof

Historyof Western
is primarily
the history

to

music

style."
book

lives up

to

its title. Each

period is

new

intro

and clarifying
straightforward
chaptersuch as "The
So for the Baroque and for
Emergence of Renaissance Style/'
but the last two periodsare significantly
the Classical,
inflected

duced

by

and "ContemporaryStyles/'
Styles"
plural:"Romantic
and avail
is said,but what is said is concrete
Nothing startling
of stylecharacter
able. And
this appliesto the summaries
those flourishing
in the indi
istics of individuals,especially
the
vidualistic nineteenth
particularmen
century. Among
al
pluralis reserved for Stravinsky(a "panorama of styles")

into the

it may

though

some

Picasso,reallyhad
What

all these

makes

fusion of musical
book

day
only one

be

that

decided

stylein

diverse

stylestudies

examples,230

of this kind. As

come

aU told,an

and

music, includingthe
twentieth-century

to

receive

their due. Professor Ulricas

alive is the

before, American

for

never

guises.
pro

unprecedentednum

ber

like
Stravinsky,

most

chapteron

recent,

'Three

music

begin
Gen-

MUSIC

COLLEGE

88

histories of music.

rent

is valuable and

Music"

turies of American

SYMPOSIUM

American

unique among
needs special,
even

music

cur

if

remembers
attention of this kind as long as America
segregated,
Chadwick, his LeipzigConservatoryclass
Janacekand forgets
of roughlyequal talent. Professor Pisk, long active both
mate
in Europe and in this country as a composer, has provideda well
and
wide ranging conspectus of twentieth-century
ordered
music.

is Western

covered

music

musicologyis yet
the

to

ence

the
least in this generation,

at
might be expected,

As

new

to

music.

art

be felt.It

so

is one
discipline

full force of ethno-

The

happens that the singlerefer

that might astonish its practi

originsof music the

twentieth century an entirelynew

tioners. In the discussion of the

appears, s"In the

only

sentence

science,

have
to
seems
comparativemusicology (ethnornusicology)
inde
valid theory:music began with singing,
arrived at a more
This theory is far from universally
ac
pendent of language."
otherwise.
or
scholars, ethnomusicological
ceptedamong
selected and highly usable,
is carefully
The
bibliography
both the generalreferences and those for particular
periods.
those
and rewarding,especially
The illustrations are apposite
settingthe stage for the successive chapters.The index is
arranged.Compositionsare listed under distinctive
sensibly
title when there is one.
Symphoniesand the like appear under
A few entries got mysteriouslyleft out.
the composer's
name.
ballet in the index is The
For example,the only Stravinsky
Flood
(1962) althoughthe great ones are discussed in the text.
Prokofiev's Loue for Three Orangesis in, but War and Peace,
described as his "most importantopera,"is out. Riders to the
,

Sen

is

not

listed whereas

paragraphdo

same

The

final end

included

in the

appear.
has

chart of "The

Major Musical
Connections," presentedwith an
Principal
of proportion
and perspective.
The
lay

paper

Originsand
unusuallykeen sense
it is hoped,will
man,
plentyof secular music
Forms:

the Britten operas

be able

to

surmise

that there

was

really

before die year 1000 and instrumental

music before the year 1500, however scanty its survival in writ
in the custodyof the vocally
ten records,which were
so largely
minded
Most

clergy.
aspectsof music

are

handled

in

and
straightforward

BOOK

The

satisfactorymanner.
much

REVIEWS

Greeks

89

the

and

modes,

however,

are

with

encrusted

such distinctive
are
theory. Modes
them
the colors
as
as
things that one ought to name
effortlessly
Yet musicians
with much
o" the rainbow.
trainingoften cannot.
I wish
the accepted if historically
that reason
For
suspect
hammered
had
in.
been
much
Instead,
names
emphasis is placed
the now
disused
Greek
the church
on
terminology, and when
first taken
forth as "protus
modes
are
they are blazoned
up
and the like. Only in connection
authenticus," "tritus plagalis,"
too

"

does

Zarlino

with

the

"blue"

"

scale get its

needed

most

name:

Mixolydian.
Such

detail

concerning Greek theory and such an excellent

reproduction of the drinking song on the tomb of Seikilos, yet
notation. The
no
lay reader,
example of Greek music in modern
not
planning to look music up in the anthologies,should know
like.
this engaging song sounds
what
scholars believe
and
Pisk deserve real credit for rejectingthe term
Ulrich
"Neapolitan opera." As they say, the term requiresmodification
The
of Alessandro
research.
in
the light of recent
operas
those of his
and
are
so
Scarlatti are
basicallylate Baroque
contemporaries throughout Italy.The operas of the next gen
Scarlatti's pupils such
Hasse, are
as
eration, Pergolesi,and
and
those of their con
are
so
fundamentally early Classic
temporaries throughout Italy.It was the simple,tuneful style
"

"

of

generation that Charles Burney

the word
"Neapolitan."

this second
he

when

The

used

research

recent

includes

mentioned

had

Edward

in

mind

Downes*

Neapolitan Tradition," discussed at the Interna

points out that
Musicological Congress in 1961. Downes
Burney grasped the significanceof "the epoch-making stylecall late Baroque and
"what
now
early
between
we
break"
the styledivisions that I call the elaborate
Classical." These
are
phase of the Amphonic Period and the experimentalphase of
Period.
Admittedly the two phases overlap,
the Homophonic
Characteristically
but surelyScarlatti belongs to the earlier one.
"The

paper,
tional

he

still

sets

line in

driving bass

oppositionto

the

principal

melody.
The

posed,
ance

as

from

opera

for which

term

new

Alessandro

Downes

says, after

the

Neapolitan stage.

"The

being sought was com

Scarlatti's disappear
Pre-Classical Opera" is

is

good

be still better)
("Early Classical" would
Pre-Classical Opera,"
the largeheading "The

for it

name

Therefore, under
it is somewhat

with

confusingto find, even

Scarlatti and

of Alessandro

names

SYMPOSIUM

MUSIC

COLLEGE

the
qualifications,

of the middle

indeed

Baroque

Provenzale.

composer,

down

section knocks

This

politanoverture/

it is

as

straw

one

the

man,

"new

'Nea

generallycalled." Certainly a

wide

invariablycall it the "Italian overture"

and will be glad to keep on doing so. But the important thing
for
is that the book giveswelcome
impetus to the movement
term.
completelyabolishing"Neapolitan"as a stylistic
To go stillfurther, the generalprincipleof replacingam
is much
terms
ones
by inherentlystylistic
biguous geographical
to be encouraged.The
pity is that no one has yet uprooted the
hardy notion that a particulargenerationof Flemish musicians
should be dubbed
"Burgundian composers" because they were
of Burgundy. We
in the service of the House
still told that
are
Dufay was a Burgundian composer. Yet his life centered about
the cathedral of Cambrai
in French
Flanders.
Only occasion
of the West.
allywas he found at the court of the Great Duke
the other hand
On
textbooks
va
agree in callingthe Duke's
let de chambre
Jan van Eyck a "Flemish painter" and Antoine
Busnois, chapelsingerto Charles the Bold of Burgundy, a "Flem
ish composer," Here is a problem of terminology
that stillneeds
varietyof

to

be

scholars

"

grappledwith.
In

general The

History of Music and Musical Stylemain

tains a high level of typographical,
and chrono
terminological,
lines of type misplaced on
logicalaccuracy. Two
p. 247 stand
in a work so carefully
out
printedand edited. A bass clef at the
bottom

of p. 485

Brahms'

throws

harmony.

The

for
B

brief instant

flat in the

middle

p. 611 should be a B natural.

reconciled
to spelling
the Italian word
row

on

that does

not

Terms

exist in the

Italian

And

eerie

an

of the
I

light on
first

can

tone

be

never

timpani with
language.

letter

nearlyalways well chosen and defined. For ex

ample,heterophony (the index should read p. 7) is described
are

as

**tfaeappearance

or

more

hoped
ing

groups
that

of melodic

singthe

same

heterophonywill

of simultaneous

melodic

variants
tune

which

occur

when

It
simultaneously."

continue

to

have this useful

variants,although some

two

is

to

be

mean

literal

BOOK

In

to the fact that

is

were

both, I like

the Puritans. As

to

Pilgrimswho
sophisticated
Puritans

minded

landed

the
subtlety,
contrapuntal

ample 50,
It is

excerpt from

an

excellent

an

imitation.

exact

says, "No

594

at

Boston.

actuallycleared up
doing away with the image

In

have

been

may

be

such

devoted

descendant

the
and

Confusion

on

p. 633.

of

Okeghem

musically
the balladthis

on

ogre of

an

as

mat

authors

Ex
go too far in presenting
his Missa mi-mi, as "non-imitative/*

example of what might better be called

of twelve-tone
The
description
writingon

tone

returned

be

may
small

used/'

to,

cliche of

Plymouth

at

is

(p, 165)

ter

who

be

must

of trope, that
that the Separatists

between
distinguish
landed

different.

specialkind

of Indonesia, and

of them

is a

sequence

particular
part
from
quiteseparate

Java

91

the meaning of hetero to be

want
etymologists
however, attention
consideringterminology,

minded

called

REVIEWS

etc.

repeated before

p.
all of the others

point,but an importantone: no tone

The
immediatelyrepeatednoted is

twelve-tone music

some

in

that it has been

called

technique."
emotions
of chronology:
A few questions
Placingthe extreme
1585" seems
of Gesualdo's madrigalsin "about
too
early (p.
245) I have always thought of Palestrina and Lasso as safely
reached.
dead in 1594 before this "high point"of pathoswas
indeed Alfred Einstein in The Italian Madrigal (p.698)
And
the

"Morse

code

says that "the

true

pressionupon
general,does

the

On

not

p. 303 we
alone in

Gesualdo, the Gesualdo

and
followinggeneration

upon

made

the im

in
posterity

until after 1594."

appear
read

who

that Handel's

organ

concertos

are

for

of using
keepingwith "the Englishpractice
is
small organs without
pedalsin the theater." The suggestion
time,
that church
organs in England had pedalsin Handel's
whereas
they do not become the fashion until after his death.
of Darius Mflhaud's
mention
And
there is no
many
finally
Milk
of
at
alternate
College
years)
teachingyears (orat least
manuals

since

1947.
But

these

are
objections

the rich harvest Ulrich and

our

eyes from

manuscript of
stafflessneumes

Pisk have

of the

indeed

after

providedus. They propel

Gregorianchaiit to the
Babbitt's Ensembles
for Synthesizer"
late twentieth century. They carry our

the stafflessneurnes
Milton

wkmowing

small

of

92

ears

COLLEGE

from

the

Carter's

metrical

hensive

history

and

to

the

cantillation
modulation.
of

musical

SYMPOSIUM

MUSIC

of

the

ancient

provide

They
style

valuable

us

alike

to

with

to

the

musician.
HENRY

University

Hebrews

of

Washington

LELAND

CLARKE

Elliott

compre

layman

Liberal

Education

and

Music.

By Willis J.Wager and

Earl J, McGrath.
Published
for the Institute of Higher
Education, Columbia
New
York: Bureau
of
University.
Publications,Teachers College,Columbia
University,
1962. [vii,
209 p., 8vo; $3.00]

Momentous

liberal education

tween
one

changes are

of

many

Symposium, are
aim

to

be

neither

can

can

of the

than

claim

have

to
to

of

symptoms

Professor

obscure

some

surveyed all

the

title may

too

are

change.But

and neither
relations,

guide the change.The

changing relations

Wager's

music.

and

the relations be

Wager's book is
The
College Music
Society,and
symptoms.
others. Wager's book and our society,
to be sure,

more

claim power

taking place in

scope and

complexity

vast.

in the minds
expectations
than one
CMS
if so, these will be disappointed
of more
member;
well defined and systematically
by the book, whose real subject,
covered, is only a part of the vast complex of relations. To fore
stall false

hopes the

like "The

placeof

and
rent

teachers

music

and
practices,
Whereas

CMS

liberal education/*

book

other? Or

these

would

the liberal

have

arts

in the United

called

be

to

in the education
States:

something

of musicians

history,
survey

of

cur

recommendations."

some

formed

was

Wager's

part of higher education

Are

vast

arouse

to

concern

study ".

is with

as

part of

liberal studies

as

in music.

irrelevant,or

concerns

music
.

even

oppositeto

each

they not complementary ways of pene

complex of changing relations? In the lightof

rather, are

tratingthe vast
and
II, where a brief article on "Music
Symposium, volume
surrounded
was
by discus
as part of] liberal education"
[i.e.,
to me
sions of related topics
spreadover a wide range, it seems
to its own
that CMS, in its effort to do justice
purpose, shares
I have gained,from
of Wager's concern.
share much
and must
readingWager's book,

coherent

pictureof

American

music

education such
for. I

am

that CMS

as

cannot

afford

so

much

have

many

I had
to

made

discussions of CMS

the 1961

that
chagrined

SYMPOSIUM

MUSIC

COLLEGE

94

to

learn. I

members

am
so

me

wish

convinced

ignorantas

ifitis goingto take part In shapingchangeson a national

the reading of Wager to my
scale. Therefore I recommend
I was,

colleagues.
of the
Dr. Wager Is Professor of Humanities and Chairman
Departmentof General Studies in the School of Fine and Ap
Thus his book grows out of his
pliedArts at Boston University.
music students. He knows
He knows many
concern.
continuing
the placeof liberal studies in their education, and he knows
that place.
both how desirable and how difficultIt is to enlarge
commissioned
The book was
by the Institute of Higher
Education

at

Columbia,

as

of

one

series on

liberal education

supportedby funds from the

professions,
editor of the series and Executive
The
CarnegieCorporation.
Earl J.McGrath, has contributed a fore
Officerof the Institute,
word and an Introductory
chapterto Wager'sbook, summarizing
book, Liberal
more
Ideas that he presented
amply in his own
book
of the
in the Professions(1959) Another
Education
series is drawn upon by Wager: The Liberal Arts as Viewed
Schools (1959)by Paul L.
in Professional
Members
by Faculty
and

the

various

Dressel,Lewis B. Mayhew, and

McGrath.

Dressel

and

his col

of 351
the answers
to which
questionnaire
teachers In 26 schools of music were
shocking:these music
less favorable toward the liberal arts
teachers were
statistically
than were
economists or any other group in
or home
engineers
the survey, far less favorable than nurses
or
journalists.
but
Wagerfsown research was not done by questionnaire,
by "extensive Interviews at six schools of music throughoutthe
country/*about thirty
hour-longinterviews at each school,ten

laborators devised

with aimMstetans,

Althoughthe
nize them

ten

schools

are

with teachers,and

ten

with students.

named, many

readers will recog

the teachers interviewed I believe

not

quiddy.Among
I recognized
several members
of CMS,
In reporting
the atti
tudes of individuals,
Wager stows noteworthysympathyfor
various points
of view. He does not shirk criticism,
but he lets
the various views come
to expression with darity
and force. His
criticisms are wise and by no means
doctrinaire. His thirty-six

BOOK

these

on

pages
sions

interviews

CMS

at

velopments/'
the

Wager

elsewhere,

school

MTNA,

of

whereby

the

for

and

discus

MENC,

views

contrasting

de

recent

available

the

NASM,

spirit

well

and
with

and

try

of

think

improve

that

on

outside

imagine,

leaders
into

without
that
the

Wager
scope

of

National
in

standards,

knowing
has

to

have

them.

on

of

whose

But

and

I
the

published
they

me

doubt

seem

enough

that

anyone
and

history
along

Mr.

to

learned

not

surveyed,
his

tame

seem

CMS

account.

improve

them

changing

(5)

enforce

with

subject.
WILLIAM

University

the

to

letter.

some

could

of

generally

world.

should

ways

practice

develop

the

to

understanding.

deep

help

to

in

NASM

endorsement,

developments
things

to

taken

strong

daily

adequate

profession

the

also
had

from

and

listen

peculiar

"

by

as

broad

education

the

the

and

professional

should

proceed

should

musical

and

Wager

to

to

of

of

purpose

appreciate

can

teacher

Every

Administrators

and
music

"Recommendations/*

(2)

"over-all

recommendations,

McGrath,

worthy

of

especially

These

views

the

detail

the

of

as

history.

(3)

philosophy

"

its

study

concerned

acceptable

societies

five

about

study

Everyone

situation

presents

performance,

technical

special
(4)

should

education/'

teachers

Cornell

best

discussions

the

sympathy

think

liberal

other

the

issues

formal

more

chapter

should

and

recent

the

with

final

Each

can

of

criticism.

student

yet

virtues

"Critical

surveys
of

again

The

(1)

the

chapter-heading,

publications

tactful

have

95

meetings.
the

Under

in

REVIEWS

AUSTIN

the
many

coln

By

Lin

Lloyd
Tatsuo
York:

New

Brooklyn,

[xiii, 294

1963.

Music,

Medieval

of

Institute

The

Re

Shu,

Tsang-Houei

Novacek.

Zdenek

and

Minagawa,

for

Krohn,

C.

Ernst

by

Dittmer,

A.

Luther

Hibberd,

articles

with

Spiess,

Bunce

4).

No.

Studies/'

("Musicological

Music

in

search

Manual

Reference

Musicology:

Historical

8vo;

p.,

$6.00]

tended

as

the

of

words

guide

to

"a

self-contained

is devoted

extensive

part

taining

articles

research

is

given

indices,

his

first

chapter

bibliography

for

addenda

the

volume.
In

of

understanding
achieved

be
basic

by

should

dent

music

itself, Spiess

search

problems.

of
ond

list

The

leads

editions

of

lead

student

the

the

to

the

clironological

after

an

similar

introductory

of

large

The

epochs
in

of

each,

the
re

in

type

The

of

sec

music

and

is

designed

to

for

the

desired

in-

musical
the

of

list

succeeding
western

of

the

works.

literature

of

stu

student

and

collections

third

the

manner

essay

merits

few

histories

the

reference

periodical

In

various

relative

the

introductory

aid

an

best
a

editions

as

to

of

can

that

the

topics

of

that

indicating

namely

is intended

sources.

the

of

different

exploration

fonnation.

the
in

theoretical
to

list

with

available

lists

with
size

suggests

materials

finally,

con

the

encyclopedias,

and,

three

first

acquainted

information

and

more

importance

and

After

bibliography,

literature

gives

the

stresses

research.

doing

and

half

one

bibliographical

dictionaries

periodical

becoming

of

use

regarding

consult

the

music,

the

the

together

Dittmer,

musicologist

which

of

appendices,

nearly

author

the

actually

principles

for

account

historical

the

and

Hibberd,

complete

second

The

bibliography.

to

and

the

the

the

in

as,

of

parts,

two

while

problems,

Krohn,

by

into

in

is

than

rather

repository

is divided

to

volume

present

teachers

and

book

The

the

subtitle,

students

preface,

information."
first

the

by

suggested

As

author

chapters
culture
introduces

follow

and,
a

BOOK

largeassortment

of

REVIEWS

97

for
as suggestions
topics

term

papers

or

semi

reports.

nar

In
voted
tion
tions

the

half
bibliography
approximately

that "the second

states

liographyof
tries have

studies

been

part presents

related
directly

chosen

with

the

to

consideration

and language/1
This
availability,

items included

Publications" three

under

selective bib

statement

may account,
the several
among

least in part, for the apparent unevenness

sections. Nevertheless, it does seem
odd
the fourteen

topicsat hand; en
of comprehensive

at

ence

is de

in musicology.
The second por
generalbibliography
of the bibliography
is organizedchronologically
in sec
of Part One. In the preface
correspondingto the chapters
to

the author

ness,

the space

find listed among

the heading"General
Refer

stylemanuals

to

for the

writingof

term

The
papers alongsidefour great multivolume
encyclopedias:
Catholic Encyclopedia(15 vols.),
Enciclopediaitaliana
.

(36vols.)La

Grande

encyclopedie
(31 vols.)and Der grosse
Brockhaus
as
a
whole, however,
(21 vols.)The bibliography
should
to
extremely valuable, especially
beginning
prove
,

graduate students
sections of the
Ernst
Modern

C.

in

musicology.Librarians

bibliography
particularly
helpfulas
Krohn,

his

in

the classification of the

growth
18th

of

also find
checklists.

Development of
musicology from

the present,
and
musicologicalpublications

the

century

to

One
musicological
disciplines.

aspect of the topicwhich

velopment of musicology in
ties. The

article "The
the

Musicology" surveys

Johann Nicolaus Forkel in

with particular
emphasis on
tant

should

article closes with

is

not

American
an

touched
and

extensive

upon

European

impor

is the de
universi

list of
chronological

with the scope and function

largely
Doctoral Disserta
of musicology.The followingessay on "The
tion in Music"
by Lloyd Hibberd contains many helpfulsug
books

and

studies that deal

doctoral candidate lookingfor a

for the prospective
gestions
suitable topicfor his dissertation in musicology.
The third appendixcontains Dittmer's long article (nearly
After
50 pages) entitled "Language and the Musicologist/'
statingthat an acquaintancewith English,French, German,

Italian,and

Latin

search, the author

the

to
ability

read

is essential for serious work

in musical

re

efficiency
scientificprose with completeunderstanding,
sets up

as

minimum

standard of

COLLEGE

98

MUSIC

SYMPOSIUM

accent, and to follow

acceptable
itself
The
lecture with comprehension.
study concerns
a
in the hope that the student will
"mainlywith phonology,
cognates and their semantic and
quicklylearn to recognize
constructional differences from languageto language/'The
after
to me
as it seems
author then adds,somewhat cryptically
himself
"the student should provide
readingthe whole article,
with adequatedictionaries/'The article is obviously
expertly
information,
written and contains much interesting
linguistic
to a
and yet one can hardlyhelpwonderingwhat it would mean
have a rather thoroughworking
student who did not already
knowledgeof the languagesinvolved.
The two short "addenda'* on Chinese and Japanesemusicofollowed by a brief statement
concern
are
terminology
logical
research in Slavic countries,
accompaniedby
ingmusicological
An extensive list of publishers
short bibliographies.
(some 20
pages)concludes the volume except for the index of proper
to

pronounce excerptswith

an

names.

if I call attention to one minor

forgiven
which struck me as I read throughthe chapteron the
matter
Classicand Romantic periods.
Speakingof the lack of definitive
studiesof various musical forms,the author states (p.25): "The
the most
distinctive form-principle
of the
is probably
sonata
is in
even
an
introductory
studyof significance
era, yet not
This is a strangeslip,
in view of the
indeed,especially
print/*
The Sonata in the Baroque Era
factthat William S. Newman's
is listed in the general
bibliography
(p.62) with the express
that this is the firstvolume in a projected
series of four
note
of the Sonata/' At any rate, New
concerned with the "History
second volume is now
man's monumental
in print,
so that one
may safely
say that the definitivestudyof this particular
subject
available.1
is BOW
readily

PerhapsI

may

be

GLEN
of
University
1

The

Sonata

North

HAYDON

Carolina

in the Classic Era,

North Carolina Press,1963,

Chapel Hill:

The

of
University

Music, Acoustics

Architecture.By Leo L. Beranek;

Foreword
by Eugene Ormandy. New York: John Wiley
" Sons, 1962. fiv,
586 p., 8vo; $17.50]
and

is President

Dr. Beranek

firm in the world.

velopment and
of the science

to the de
significantly
and appreciation
popular understanding

the

of acoustics.
of

pressiveamount

acoustical consulting
largest

has contributed

He

to

of the

Though

his book

work, the wisdom

of

represents

im

an

it is to
publishing

be

questioned.
Music, Acoustics and Architecture contains
of

and
narrative,scientific exposition,

tains editorial

standingas

that is new,

useful

So
magnificent.
still find among

sections and

con

its

diminish

to

that is true,

It contains much

is in appearance

and

identifythe
of

scientificwork.

tabulation. It also

therebytends

and

comment

odd mixture

an

review

them

some

must

matters

disagreement.
First, the book

presents

of the

mentary

review

tectural

acoustics.

short, well

phenomena
physical

Next, there is

involved

chapterwhich

in archi

deals with:

compositionand on musi
and
for music of various styles;
acoustical settings
cal qualities;
The chapter
concludes by quoting
acoustics and the performers.
times preferred
by a group of more
a table of "the reverberation
the influence

than

100

effect of acoustics

illustrated,ele

or

musicians

and

of
engineersfor various styles
of sub
a "vocabulary
constituting

sound

Next, eighteenterms

music."

attributes
jective

on

of musical-acoustic

quality"are

listed and de~

fined.
easy stages from the basic physio
then to the terminology
of people,
the averagedpreferences
The

to

defined
book.

is thus led

reader

by
This

the author
is

and

by

employed throughoutthe

reasonable

academic

rest

of the

progression from
"

the

verifiable fact to the averagedsubjective

impression
objectively
but feel after
cannot
to the postukteddefinition. However, one

100

readingthus
repeatedgag
once
can

far that

be

somethingis wrong

is that

average is what

an

any huckster

day.And

SYMPOSIUM

MUSIC

COLLEGE

book

is

opinionsof

what

knows

Next

lays an

it

be. If the argument

to

on

test.
practical

valuable part of
really

the

comes

often

and
the
averages, postulates,
constitute a most
audience, it
atypical

based

would

withstand

cannot

be

to

hen

An

egg on
that subjective
evaluation

wants
anythingthe questioner

of the

somewhere.

the book:

studyof
details,photo

halls givingplan,section, structural

fifty-four
artists' evaluations,
graphs,measured acoustical characteristics,
and music critics*
judgementsof each. No such compilationhas
ever

been

before. Architectural

made

low Dr. Beranek's

lead and

texts

will do

publishacoustical

well

fol

to

details of the

amplestheycite.This section of the book adds an

element necessary really
heretofore missing
to know

ex

essential and
and

under

stand many conceit

halls.Neither Kranich nor Theil, who have
givenus much detail on many concert halls and opera houses,
have

publishedacoustical
After

the

section

data.
the

on

halls
fifty-four

sideration of those characteristicswhich

hall,based

on

the

studyjustcited;and

again.It is concluded
halls,the size

that there is an

make
here

given being
"

good

a
we

optimum

in this reviewer's

the

comes

concert

in trouble

are

size for

mind

con

"

concert

too

small

if it houses a major symphony

way in America
pay its own
orchestra. It is thoughtbest,however, because, accordingto the
to

book's standards,many

halls which

small. It isfurther concluded

audience

more

acoustical
unwary.
The

that

comfortable

This
quality/*

fact that

some

it Impossible
to build

but

musicians

rate

as

good

"widelyspacedseats make
usually at the expense

didacticism

might

well

confuse

are

the
of

the

peoplelike small halls does not make

good bighall. In fact,it has been done,

and

righthere in America. Uncomfortable seats, moreover,

can
s
ubtract
from
the
more
easily
pleasureof the total experience
of attending
than could an acoustical deficiency,
a concert
even
if that

The

developa
(by

the alternative

were

"

next

it isn't.

section.Chapters7 through 13, undertakes

mathematical

by

which

to

evaluation
subjective
measured
archi
objectively
acoustical cfaaraaeristics
of halls may be expressed

musicians

tectural and

which

and

system

and
critics)

BOOK

REVIEWS

101

and

applied to eight of the subjectiveattributes of musicalacoustical

This
quality previously mentioned.
system is then
of given physical characteristics
employed to show how much
the perfect concert
it takes to make
hall. Another
table
does
for an
the same
house, except that the system requires
opera
attributes,
in this case
only seven
be sure,
To
Dr. Beranek
takes the precaution of pointing
that
"The
numerical
out
ratings are not precise in the sense
of the speed of lightis precise,since the
that the measurement
make

that

factors
aesthetic

the

up

scale

numerical

derive

the

from

and
music
expressed by the musicians
critics in the interviews/'
Divergence of opinion is thus con
But
ceded.
no
opinion by the person who paid for his tickets,
who
to the concert
comes
only as a listener
pays the bills,who
he wants
to
because
impact of the
enjoy the total cumulative

judgments

music, is considered
Next

comes

section

mentioned.

even

or

how

on

design a

to

hall and

concert

an

developed in Chap
the surf board
7 to 13. Here
meet
we
ceilingwhich has
ters
if the surf boards
theoretical justification
are
big enough to re
In their original
wanted.
flect all of the frequencieswhich
are
mathematical

using the

house

opera

system

able

finest

to

attests

hears

on

the

toler

in the

sour

note

hear

his
Dr.

in
own

the band
and

Beranek

must

booth,

control

as

been

the

goal.

capabilityof de

book

hears

the conductor

to

the task

book

amply

itself contains

room,

each

the violinist

as

For

these

intimacy is paramount.

The

the Instrument

acoustical concept has

and

be
the

indeed

of

design objectiveswere
judgment of people who must
hear as the recording director

rehearsal

calk

would

dedication

the

design
lovers

music

greatest; the

that

the

Beranek's

basis of the

They
analytically.

was

Beranek's

the

both. I suggest however

established

which

this

And

Hall

Philharmonic

tells of

his sincere

nor

misconception. Dr.

vital

listen

hall,

fine concert

making

what

it

made

ferventlyhoped

Center

seriouslyquestionsDr.

one

signing a

and

which

Center,

hall in the world.

concert

No

Lincoln

in

of Lincoln

sponsors

section

is the

HaU

Philharmonic

of

acousticallyim

structure.

Finally,there
the

the

for

simple form they did compensate

possibleshape of the Kresge Auditorium
and

based

next

on

to

him.

their

true
wants

or

to

people,
whole

requireprofessional

102

COLLEGE

these

But

ments.

the

an

The
the

oversized

artistry

Is

"As

than
achieved,

orchestra,

of

chapter.

that

suggest
but

that

planning

the

It

o"

values

the

sections

require

D.

single

tables

halls

that

commenting,

and

does

so

the

in

concert

of

data
of

and

worth

are

my

hall

and

developing

an

and

the

have

been

approach

to

more

in

previously

important.

are

critical

dimen

analyzed

and

halls

concert

and

houses

having,

acoustical

on

acoustical

opera

should

sections

rethinking

C.

which

as

hall

measured

plus

concert

two

with

analyses

these

reported

HAROLD

Washington,

room.

listener."

These

detailed

presented

oc

impact

through

the

in

heard

not

is

home

at

chairs,

the

on

earlier

rehearsal

cumulative

precision

Leinsdorf

concludes

characteristics

an

as

book

data

feel

have

speak

The

sional

Erich
I

but

cannot

enjoy

to

mechanics.

the

not

technical

the

performer

effect,

total

not

concert,

appear
band

or

the

the

"

more

artistry

not

booth

buys

the

performance

do

control

of

producers

consumers

audience

paying

the

are

the

And

cupying

so

people

consumers.

SYMPOSIUM

MUSIC

published,
concert

study.

BURRIS-MEYER

hall

CMS
PROCEEDINGS

Edited

by

GEORGE

HAUPTFUEHRER

College Music
EXECUTIVE
Robert

M.

Society

BOARD

Trotter, President

Universityof California,Los Angeles

Henry Leland Clarke, Vice President
Universityof Washington
Ruth Douglass,Secretary
Mount
Holyoke College
Treasurer
George Hauptfuehrer,
Bethany College,W. Va.
Robert
S. Tangeman, Member-at^large
York
Union
TheologicalSeminary, New
COUNCIL
1960-63

Boyden, Universityof California,Berkeley

Henry Leland Clarke, Universityof Washington
Elliot Forbes, Harvard
University
Iva Dee
Hiatt, Smith College
Leonard
Holvik, Earlham
College
Cornell
University
John Kirkpatrick,
York University
Jan LaRue, New
Arthur Mendel, Princeton
University
William
University
J. Mitchell,Columbia
Arthur Quimby, Connecticut
College
David

D.

1961-64

College
University
Bernstein,
R. Coolidge,Brown
University
Cuyler,Universityof Michigan

John Baldwin, Hamilton

New

Martin

Arlan
Louise
Scott

York

Goldthwaite, Universityof Illinois

Imogene Horsley,Carleton
Donald

M.

Alexander
William
Clemens

McCorHe,

College

Moravian

Music

Foundation

Ringer,Universityof Illinois
College
Russell, Pomona
Salem
College
Sandresfey,
L*

William

Austin,
Brunswick,

Mark

Henry

Douglass,

lose

Marie

Glen

Haydon,

Jobn
G.

State

White,

Wallace

College

Holyoke

Mount

University
of

North

University

Stanford

Indiana

Woodworth,

York

New

University

State

University

Nanney,

of

City College

Creator,

Luper,

Herbert

University

Ohio

Brainsma,

Huth

Albert

Cornell

SYMPOSIUM

MUSIC

COLLEGE

106

of

Maryland

of

Carolina
Iowa

University

University
Harvard

University

of the

Report

Fifth

Annual

Meeting

December

The
'The

1963

29-30,

Ohio

following report
of the

",he sessions

l,oor

gnored.
rf the

What

sessions.

detail;

report is, we
G.

"

meeting.

Eric

the

Crisis

Salzman,

Members:

Panel

brief review,
the

speeches from
had

be

to

the

tenor

H.]

(Held jointly with

Moderator:

is

representative of

trust,

SESSION

FIRST

The

It

of the

some

Ohio

tape recordings of

completely unintelligible and

or

we

the

from

fifth annual

nearly

were

made

was

valuable

emitting much

University, Columbus,

State

Gustave

in Musical

Musical

Patronage

Janson,

WBAI,

Director,

University, Depart

York

New

York

New

University

York

New

Reese,

W.

H.

Musicological Society)

American

of Art

ment

California,

of

University

Imbrie,

Andrew

Berkeley
Fromm,

Fromm

Quaintance

Eaton,

Paul

his

In

loaded5

of

nature

;hat there
extent

introductory

is

confirmed

crisis in

by

remarks,

subject

the

the

National

Council

on

the

Government

and

Arts

Foundation

Music

and

something

Mr.
that
we

programming

the

noted

apparent

agreement
is

call patronage
of

the

Salzman

session

on

to

the

some

sub-

Salzman

Mr.
ject.

SYMPOSIUM

MUSIC

COLLEGE

108

say that the crisis is to be found

basis of our musical life and that the term

went

in the very economic

patronage can stand

to

on

basis in its broadest

for that economic

as

the buying of tickets and records, the activities

pects,including
and the musical activities in
of such a radio station as WBAI,
the latter kind

the universities.Both

of

generalsupport,

as

well

the direct support of employers,

the
commissioners, and even
have had a major role in
of goodsand services,
small purchaser
as

the

onlythe more
popular
successful. Support of serious
financially

developmentof

forms

of music

music

is

our

are

problem now,

it has

as
*

The

life*But

musical

Reese, furnished

historical

of patronage, in precisas follows:

patronage is broad. A patron may be a generous,

background,a
The

"

"

first speaker,
Gustave

always been.

survey

term

soul whose
enlightened
giftsto musicians enable them to de
without incurringany but a moral
velop their potentialities
be a state, which, in
to the donor. Or a patron may
obligation
connection
with its generosity,
maintains
rights
censorship
the musician's

over

activities and

its political
ends. These

the

are

expects the musician

vey,

types between

extreme

patrons throughouthistoryfall.We

to

serve

which

shall,in the following

sur

occasionally
change the approachto patronage from direct

subsidyto

other

sources

Little is known
ancient

world.

of income

of how

They

for the artist.

musicians

earned

often slaves and

were

livingin the
unless they
rarely,
a

also poets, attained any great eminence.

In the Middle Ages the Church
the chief support of
was
and monks, who
musicians
in return
for a modest
but
priests
were

"

furnished music for the service of the Church.

livelihood,

secure

There

also minstrels whose

were

social occasions
tions in the
secure

and

who

sometimes

princely

courts.

than that of the church

In the Renaissance

sisted but with

services

both

Their

obtained

permanent

financial

positionwas

of these types of

were,

however, still less

the
serving

Some

of the

Hercules

I, Duke

of
of

posi
less

patronage per

demands
princely

lar musicians,who

Philipthe Good

for

musicians.

great increase in the

Church,

in demand

were

secure

for

than

secu

those

princeswere enlightened(e.g.
Burgundy, who employed Binchois, and
Ferrara* who honored and respectedthe

REPORT

OF

he

musicians

THE

FIFTH

Obrecht,

patronized
"

musicians

often, however,

ANNUAL

Josquin

other

and

109

MEETING

artists

and

were

others.)More
hired to provide

spectacularentertainment

of enhancing
simply for the purpose
of the ruling prince.The
the power
prince,then, took the credit,
the artists were
and
given very little recognition or remunera
often
enabled
local talent
tion, although the dependence on
unrecognized talents to develop.
young,
the aristocracy
and
the
the Church
The
Baroque era found
kind
of patronage
of musicians'
incomes, but a new
major source
appeared the public,with the newly interested, wealthy burgh
in Lon
Public opera in Venice, public subscriptionconcerts
ers.
Berlin
were
new
don, Paris, Leipzig and
developments. This
of outlet for com
kind
middle-class
provided a new
patronage
likelyto be lower than with aristo
posers, but general taste was
"

enterprisebut

of

system

most

of both

19th

the

and

century

but

the

Beethoven

made

of

for

the

new.

sources

new

freedom

more

security.Struggle under

health,

Mozart's

had

system

new

of less

cost

the old system

the

With

the

at

ruined

new

in the

Musicians

cratic patronage.

income

musi

been
appeared the publisher,whose royaltieshave never
provided em
enough to live on, and the conservatories, which
of sup
More
of musicians.
sources
ployment for a great number
recordings, radio,
developed in the 20th century
port have
of
the universities, many
and
television, performance royalties,

cians

"

"

full-scale conservatories.

house

which

chieflyin

the

of

matter

despitethe opening of
Is the answer
troubles persist.
Yet,

cial

will such
ful

than

consider

to

all

away

The
whole

problems?

the
The

idea

the. said

for

the audience

of patronage

finan
If it

to

It

seems

do

is,

harm

predicted
panel may

problems.
"

"

speaker, H. W. Janson, took exception to

suggested by the title of the subject at hand.

larger crisis having

and

our

more

next

questionedwhether
a

difficulties? Will

of these

some

political
pressure

of

present economic

the

subsidies?

government

the exertion

to

explosion blast

cultural
wish

aid lead

fields,the musicians'

new

made

agencies,

helpful through various

providing fellowships.

been

has

and

its appearance

has

foundation

The

crisis,if it exists, isn't

with

the

music
.

He

aspect of

being written
speak of a crisis
is nothing wrong

now

(or lack thereof) "To

to imply that there

an

the

with modern

art

music

or

Janson is unable

Mr.

SYMPOSIUM

MUSIC

COLLEGE

110

to

that money won't cure." As

believe that this is now,

historian,

or

has

ever

to this view, besides that it is material

objection
between
artist and
the relationship
is that it misrepresents
istic,
a par
public(publicin the sense of a minoritythat consumes
ticular kind of art, a publicwho are all patrons whether
they
Mr. Janson believes that the
collect works or only buy tickets.)
of the supporting
artist'sawareness
publicis an integral
part of

been

His

true.

the creative process, and that he gets the patronage he needs and
but to
deserves. His primaryneed is not comfort and security,

be able

to

the best

make

of his talent. And

use

tion is to support in every way,

they believe

in

"

the

func
public's

the
only financially,

not

and
a nourishing
primarily

an

artists

func
eliciting

tion.
of the theory
Jansoncited as an example of the fallacy
solved by financial securitythe
that an artist's problems are
artists of 17th century Holland. Inse
great, but impecunious,
seemed to be the price
theypaidfor their artisticfreedom.
curity
By contrast, 18th century Dutch painters,
prosperous specialists,
The
conclusion is that artistic freedom
and
were
insignificant.
economic
are
security
incompatible the greater the one, the
Mr.

"

less the other.

The
to

modern

giveup

artist,Mn

Janson contends, being unwilling

his artisticfreedom,

tional support. The

modern

cannot

any claim

assert

to

institu

himself
artist,
by considering

unfettered, solitary
has alienated himself from
spirit,

the

an

com

munity, but this alienation is his greateststrength.

The

fruitful way to improve the creative climate, Mr.

Jansonthinks,isthroughthe education of a more
discriminating
most

minorityof

throughinstitutional support. "We

must
which claims that
guard againstthe democratic fallacy
The
avant
great art ought to appealto everybody.
garde
is bound to be unpopular,indeed subversive. Any efforts to do
mesticate or institutionalize
it are likely
it of its vi
to drain
tality/'
ait

patrons, not

"

The
with

two

"

Andrew
Iinbrie,
was
speaker,
concerned
primarily
contemporary problems:One, a problem which, he
alwaysexisted,is that great music never
pays for itself
next

says, has
in times when
even

the market for new

music is good.The

other,

OF

REPORT

THE

gap in America
the sensibilities of even
the

that

of this gap
Mr.

both

are

ANNUAL

between

the

the educated

adverse

believes

Imbrie

FIFTH

and

that

MEETING

111

composer's language

public is wide.

The

and

effects

cumulative.

part of the

explanation for the gap

and
is that, although most
between
audience
composer
respon
build their new
sible composers
ideas and explorationsupon
the
basis of their past heritage,this heritage includes
the music
of
is virtually
the first half of this century which
unknown
except
the specialist.
The
lines of communication
broken
to
not
are
between
and
but
artist
between
also
public,
only
past and present
and the situation will not be remedied
merely by commissioning
it is necessary
works
to stimulate
new
changes in the musical
"

itself.

environment

Imbrie

Mr.

did

problems, but he
1) Subsidy
mined

by

scale

should
and

the

not

claim
the

suggested
is necessary.

tastes

of

the

to

have

all the

following
Artistic

to

answers

the

recommendations:

values

are

not

deter

majority.

continue, particularlysmall
subsidy should
2) Private
of taste.
subsidy of music by individuals
in federal
subsidy
3) The dangers inherent
government
of operation
be averted
by a rigorous decentralization

authority.

extend
into
the
fields of
further
4) Subsidy should
publications and ample rehearsal time for performances.
be
should
works
5) Live, public performances of new
be repeated.
should
frequent and works
works
performances of earlier 20th century
6) Live

should

in

be

common

occurrences.

7) Composers

should

community

life. Education

teach

and

participate
is a vital responsibility.
be recognizedand
criticism should
continue

to

8) Responsible music
encouraged.
subsidy
9) Success of any large-scale
public,depends upon the kinds of decisions

program,

privateor

by those who
be composed of re
boards
should
Selection
allocate the funds.
be regional selec
should
There
musicians.
sponsible,mature
with equal authorityand no
overridingcentral au
tion boards
in the boards
fiscal. Membership
other than
thority in matters
be
should
and
staggered to insure con
should
terms
rotate
receive modest
should
compensation for their
tinuity.Members
made

SYMPOSIUM

MUSIC

COLLEGE

112

services. Selection of music

performedshould

be

to

based

be

or
con
only on excellence, not on considerations of economy
fashions.
formity to current
10) The objectof subsidyshould always be kept in mind:

to

maintain

to
requisite

at

conditions
sociological
masterpieces.

least the minimum

the creation of

that

introduced

here

Salzman

Mr.

vanishingbreed,

of Paul

real,live

of

privatepatron
the

in

enlightenedpatron,

the

pre

person

Fromin.

couple of explana
this distinguished
on
his credentials for appearing
tions: first,
that he is not
panel that he is a wine importer;and secondly,
in any way the large founda
to be thoughtof as representing
from legalneces
is so named
Foundation
tions,for the Fromm
Mr.

began

Fromm

with

his remarks

"

promoting culture
on

in all aspects,the

semanticallymis

is

sityand social convenience, but the term

for while the largefoundations must
leading,

be concerned
Foundation

Fromm

with
acts

individual
individual artists,
individual basis,supporting

an

works, and individual

tries

Foundation

situations. The

musical

providea series of stimulants to cultural awakening which

by example,rather than by extensiveness,would focus attention
to

on

the

viction and

This
activity.

works

takes the

musical

have

con

originality.

of scope have permittedthe maintenance

that with the
with the composers
personalrelationship

The
a

whose

of assistance to composers

form

of

of creative

promisingareas

most

limitations

is

large foundations
tions* grants in

the

Moreover,
impossible.
area

of the
four

the

large founda
dwindled,

have

humanities

of their

gifts.
called attention to the misleading,
Mr. Fromm
euphoric
cultural life paintedin the recent
B.M.I.
pictureof American
yearlyreport, citingsuch statisticsas these: that the field of
amounting now

to

American

conceit

American

economy

ple attend
games.

Fromm

music

per

of the

net

does

not

that dedicated

cent

has grown

44%

faster than

of the last twenty years, and

in the United
concluded

from

spectatorsports.Mr. Fromm

come

and

Mr.

conceits

only

States than

this that

that

the
more

suggestedthat

peo

baseball

attend
concerts

total

have

wide

be

spread
quality

necessarily
guarantee the rapture of
artistsare being inhibited by the "strident

REPORT

OF

commercialism
become

of

The

of

Fromm

influence
continue

Foundation

orthodoxy,

to

be

to

ANNUAL

is intended

challenge to

committed

the

to

hierarchy,the composer,
desire you
to please me,
I
"

The

last

senting
which

the

she

the

National

Eaton

the

not

or

should

the

artist

as

The

and

quo,

will

in the

person

takes the attitude, "I do

desire

to

you

sing."

"

panel

was

on

the

Quaintance

that

her

Arts

should

and

Eaton

repre

Government

into

discuss

to

was

support

the

takes

the

represents

come

job

of

whether

She

arts.

said

that

position that the

relationshipwith the arts,
at least the recognitionof

closer

necessarilysubsidy,but

not

status

counter-

secretary.

assumed

government

government

"

Council

organization she

meaning

the

speaker on

is executive

Miss

IIS

exert

important

and

do

to

the

most

musical
not

MEETING

big give-away." The

foundations
have
conformity rather than being flexible
this mediocrity.

all

to

FIFTH

the

peddlars

counter-forces

THE

first-class citizen.

National

Council

on

the

Arts

and

Government

was

described

of about
members
as
a
by Miss Eaton
fifty-six
group
the crafts. The
number
of
representing all the arts and even
of members
and
one
points of view is as large as the number
of the greatest values of the organizationis that the artist in one
field has the opportunity to, and
sometimes
actuallydoes, see
the point of view of the artists in other fields. The
government

will

not

support

art, but

one

any

will support

all,if it supports

any.

fold:
in

to

give advice

when
and
when

the

Congress. The
arts

bills which

Eaton,

has had

Council
have

three

are

hand

introduced

been

watch-dog
it is properly allocated
money
of privatesupport if and
the withdrawal
to try to prevent
interest
and 3) to stimulate
support comes;
government
council

recognition
council.
of

to

to

act

as

grass-roots.

The

the

to

Council, said Miss

by the Congress; 2)
is appropriated to see that

the

idea

of

formation

is listened

and

at

1)

the

of the

functions

The

of

C.M.S.
a

White

council

approach to government
federal
is first through a
the
advisory
arts
approved this morning the present set-up the
appointed by the President operatingthrough

House,

feels that the proper

"

not

through

the

Congress.

bill has yet been

is

improving.It

will be

an

would
from

advise
the

fields.Miss

arts

that it is up

and

the way
guide it.
is on

dose

brought

Salzman

Mr.
with

reason.

not
institutions,

as

peopleto

he

had

The

ornaments

musician

receive,a grant

or

is

life have

made

improvementsof
enough o" commissions

are

and

the individualized

even

oriented

the musical
and

from

likelyto apply for, and

subsidyand

the

to

"

musical

more

Foundation

of the Fromm

ready to

of

era

base of support. The

tendency is away
system althoughwe still have commissions

young

support

In brief:

drawn.

broader

chase

be

part of the session

the formal

of modern

simpleeconomics

composed of experts

be

patron-purchaser-ema close
perhapswith good
be supported as
must
organizations
and wealth. The
for private
taste

as

largemusical

Our

action, but

no

it may be, the

is drawing to
ployer-commissioner
Lamentable

he

Advisory Council.

take

to the arts

of conclusions

statement

Federal

in which

President

the

feels that government

Eaton

although

future a
very near
Miss Eaton here
actuality.

would

and
legislation,

on

the

feels that the climate

would

Advisory Council

Federal

on

have

in the

an

encouragingletter from
promisedhis continued support of

read

and,

in the Senate

likelythat

Advisory Council

Federal

to

latest bill

The

Council

passed,the

is very

seems
difficulty

Committee.

Rules

with the House

actually
got throughcommittee

arts
no

chief

regardto Congress,the

With
been

SYMPOSIUM

MUSIC

COLLEGE

114

to

climate.

contests

"

contests.

perhaps
activities

extent

some

necessary
the pur

toward
have

Perhapswe

the result of the

had

at
latter,

lose, is often mediocre

have

Ikonomics
to

corporate donor.

compromise.
changed in patronage
The

new

financial

from

privatepatron

structure

of support

musical
life is to survive. Our
major
necessary if our
musical institutions are of 19th century originand may
be
hopelessfinancial anachronisms, but to survive they must be
seeins

supportedIB a new way.

The
problem arises that 'he who pays the piper calls the
old privatepatron paid for and
time/
Tbe
got guaranteed
dressed
The
romantically
masterpieces,
up by star performers.
new

corporate donor
results
"

moot

wants
art

for

wider
more

audience

and

people.Old

measurably

stylepatrons

REPORT

had

sometimes

THE

OF

Foundations

the

taste;

ANNUAL

in

MEETING

would

patron

new

interested

not

are

FIFTH

115

to

art

put

vote

paying deficits;they

support

success.

It is time

ideas.

of

game
channels

to

standing

are

this

stop playing the

to

We

need

to

bring people

numbers

into

primarily educative.

educative

new

ideas

Means

of

nurture

ideas.

and

game

The

role

the

start

and

need

we

creating under-

of

the

universityin

is vital.

process

DISCUSSION
first reaction

The
that

exists. Mr.

danger

when

do

to

if the

the

witness

she

International

pointed

interfere

generally agreed
sidies

be

must

funds

The

other

the

gap

Imbrie

between

ing. Mr.

of

artist
a

Salzman

also

of any

in

the

audience.

of

box-office
out

that

attention

is

ad

Congress.

But

known

been

of

the

are

this

In

"

the
at

fields.

developing

the

closing of
Mr.

connection

in

overseas

is self-defeat

performer
the

sub

of

in evidence
successes

was

recipientsof

arts

problem
arts

to

servants

government

selection

contemporary

pointed

ob

to

representatives. It

experts
was

supporting only

avoided

which

public

our

policy (too often

disproportionate amount

composer.

and

be
were

the

not

our

that

of

concern

for

climate

that

warned

programs)

hands

the

general

appropriate

an

in

of

elect

and

what

coming.

are

could

have

administration

decentralized

be

must

the

that

plan

they

Program

Congressmen

after all,who

this

already existing subsidies,

Fund,

all

that

deny

arrangement

the

Not

program.

it is we,

and

ogres,

the

by

must

danger

fund

President's

accompanied

we

for

Exchange

that

also

out

in

the

be

that

come,

of the

out

fear

panel would

subsidies
some

of

expression

an

would

emphasized

pointed

through

ministered

was

arts

the

public-privatematching
Eaton

floor

on

Salzman

suggested that

Miss

tain.

one

government

Reese

Mr.

No

control.

the
in the

subsidies

government

government

from

expense

is

getting
of

the

SECOND

Are There

AND

SESSIONS

THIRD

FiftyPieces Every College

Student Should

Know?

York

University
of California,
Robert M. Trotter,University
Principal
Speaker:
Los Angeles
Panel Members:
John Baldwin, Hamilton College
Arthur Berger,
Brandeis University
Richard Crocker,Yale University
Robert Gross,Occidental College
of Pittsburgh
Theodore
Flnney,University
(inabsentia)
of Maryland
Homer
Ulrich,University
Martin

Moderator:

Bernstein,New

The

under discussion was introduced by Mr. Bern

subject
stein as beingessentially
the problemof what we teach in our
in music literature,
has
a problemwhich
general
survey courses
difficultwith the increase in the availability
become more
of
also the question
recorded music. Inevitably
arises as to what
is meant
by knowinga work. Does the number fifty
mean
any
T
he
of
discussion
of
these
like
a
thing?
is,
a
questions
purpose
meetingof Alcoholics Anonymous,"to pool our troubles and
hope the other fellow's troubles may, in a sense, enable us to
live with

our

own/*

The

Mr. Trotter,opened with the ob

principal
speaker,
servation that since Henry Clarke, chairman of the
program
had something
committee, obviously
to do with composing
the
titleof the question,
and knowingMr. Clarke's disposition
to
wards verbal precision,
a close look at the wordingof the title
would be in order. He indulged
therefore in a word game with

the title,
in brief,as follows:

First,"Are there?*1as opposedto

time when

it

were

there? Was

there

to have fifty
Is
appropriate
pieces?
the game of tenses,Will
Or, playing
longerappropriate?
ever

be

was

time?

it

no

there

REPORT

Then
or

OF

THE

FIFTH

"Fifty."Might

thousand?

or

there
And

one?

even

ANNUAL
not

be

MEETING
ten?

or

one

117

hundred?

why fifty"Pieces*? Why

music?
or
fiftyarguments

not

fiftycomposers? fiftybooks about

for
participatingin music? or fiftyarguments
against government
that
know?
subsidy
And
every collegestudent should
to
apropos
the usual
of elementary textbooks, are
run
there
fiftyways
music
illuminate
can
other
than
itself?
something
"Every" suggested the alternatives most, or many,
all
or
music-loving, or all students
literature
enrolling in music
music
or
courses,
major. (This last alternative Mr. Trot
every
ter admitted
having had in mind for three weeks before realiz
what
not
the title specified.)
ing that it was
The
word
"Student"
brought up the variants, facultymem
ber, dean, money-dispensing group, and with facultymember
music
faculty member,
geo-physics faculty member,
etc.
Alternatives
"Should":
to
must,
can,
might, or might be
offered
the chance.
"Know"
might imply identification of a
two-minute
excerpt or a five-minute
excerpt, or it might mean
to perform by heart, or
to
study in rehearsal, or to study by
listeningand discussing.
"

After
variants

this extensive
of the

word

title which

game,

Mr.

Trotter

offered

two

he

thought might be provocative:

1) "Are there ten pieces all those students enrollingin intro
must
study through listeningand dis
ductory listeningcourses
and
cussion?"
piecesevery music major must
2) "Are there fifty
study, either in rehearsal or through listeningor through a
of

combination

both?"

implicationinherent in all these titles is,Mr. Trotter

chosen
in our
noted, the idea of a frozen repertoire,
by CMS
distillation of several generationsof
and
wisdom
benevolence,
a
to periodicrevision
by committee
approval, subject,of course,
violates
the principleof free, individual
action.
notion
Such
a
explorationand precludes (thelist presumably being composed
from the study
be derived
of art music) the benefits which
can
The

of

folk
Mr.

music

and

Trotter

popular
also

noted

music.
that

this kind

of discussion

brings

being able to identify

question of the difference between
There
is
pieces and knowing them with the heart and mind.
to
of requiring aU students
also the question of the wisdom
insensitive to
of them
are
many
study musical art works when

up

the

musk

perhapsnot

but

have

they should

SYMPOSIUM

MUSIC

COLLEGE

118

to

other

art

Mr.

media.

thinks

Trotter

choice.

tend
also bringsup the paradoxthat,while we
subject
students are
cannot
name
we
(therefore
to ignorethat which
labels to the music they hear) still in
requiredto pin stylistic
the result is a dilution o" the
their experience,
conceptualizing
There
is a difference between
knowledge about
experience.
thingsand experienceof them.
The

"

In

very

brief

"

speech,Mr. Baldwin,

who

is involved

in

exposingundergraduatestudents to music, emphasizedthe im

whether the student's
portance of the phenomenon of discovery,
initial crush is Tchaikowsky or whatever. As for a list of fifty
is im
of the opinionthat the number
Mr. Baldwin
was
pieces,
material and that whatever list is used, it ought to be subject
revision.
to thoroughannual
"

The

next

in the dark

raised

Mr. Berger,professed
to
speaker,

what

to

this discussion

was

to

In
pertinentquestions.

great many

What
Does

as

"

is this list?What

kind

be

be

completely

about, but he

brief:

of list is it? What

is it for?

it represent

should

be made

different styles?
If it does, it is a list that
fifty
and, the historian having done
by historians,

extremely well for himself in the universities,the composer

has to fight
There
is danger
a good deal for his pointof view.
in being oriented entirely
toward the historical viewpoint.
Is the listone

of celebrated

pieces the kind of knowledge

by the Hit Parade? Are the piecesall masterpieces?
exemplified
It is a mistake to be concerned
with masterpieces,
exclusively
for many
are
style-setting
non-masterpieces
necessary for the
existence of one
masterpiece.
Is the list designedto make
up the deficiences in the stu
dent's listening
Or is it to serve
the specific
experience?
pur
of
that's perfectly
a
particularcourse
of
poses
legitimate,
"

"

course

"

in which

case

it will be different for each

Is the idea similar to the Great

noted

that students arrive

course.

Books list?If so, it should be

with a knowledge of the

college
wMIe the languageof music is not known
languageof literature,
This poses the problem of i"akingstudents listen as
to them.
weH as hear,and listening
involves more
than beingable to pick
at

OF

REPORT
out

Theme

THE

FIFTH

Theme

and

B. It would

thoroughly how to listen

sketchilyto fifty.

learn
more

list exclude

the

Would

ANNUAL

to

MEETING

be better for

piece than

one

written

music

119
to

be

exposed

1950?

Music

to

since

student

livingart, the works since 1950, whether we can judge

be included.
The
music
them
to be masterpiecesor
not, should
is ignored to an appallingextent
of livingAmerican
composers
being

it

Is

correct

to

is

as

Are

the

of the

ceptions of

communication

mass

same

ma

tunes.

pop

This

music?

itself

music

talkingabout

we

understands
music
everyone
which
notion
results in

erroneous

an

becoming part

music's

that

assume

This

equally well?
chine

Universities.

American

in the

point

"

"

con

decided.

be

must

historical

about

or

speaker,Richard Crocker, although coming with

the question posed in the subjecttitle with a
list,answered
a
"No."
But he felt obliged to explainthe existence of the Yale
teach
list (Addendum I) At Yale, he said, the emphasis is on
stylesrather than particularcompositions,so a
ing musical
of different lists might serve
equally well. The funda
number
mental
questionis what are we trying to teach?
The

next

elected

Crocker

Mr.

type of

introductory survey
to
requisite

regarding
himself
The

to

force

of time

the limitations

elements

to

begin

in

the

from
but

whole

whole
of the

stillthe
whether

chords,

the elements

Crocker

rhythms,

can

at

course:

compositionsor
pointingout particu
but

etc."

once.

If

introduced

be

addressed

there

hear

is

no

historical ap

a
as

they appear
emerge

alone,

together.There is
hear a musical styleas such or
whether
we
piece in that style.Is the con
particular

in which

manner

pre

of this kind,

course

moreover,
compositions.Musical styles,
elements
piecesand consist not of stylistic

questionof
we

"

whole

be useful when

all the elements

with

proach is taken,

may

as

serve

of such

procedure and materials

to use
first questionis whether

lar musical

the

to

careful selection of materials. Dis

the

fragments.Fragments
need

In

originalquestion, Mr.

the

now

might

which

course

study later.

intensive

more

considerations

his

limit

to

tinuity of history more

ments
along the way?

they are

important

fitted

than

the

individual

monu

As

in

importantand

hearinga pieceis most

about

much
some

second consideration, the student's immediate

of

ence

SYMPOSIUM

MUSIC

COLLEGE

120

music, but,

too

guidance
talk is essential,as is also some
guidance,some
between
of continuity
the matter
separate works. But the
is

in his music

composer

it is necessary

eloquent than we are, and the

so
vividlythe individual pieces,
that they providea
so
carefully

more

the most

remembers

student

select them

to

continuityof their own.

of whether
Thirdly,on the question
Crocker

Mr.
pieces,

is

works
that

favors this

stylescan be more
entirelyfallacious and

that

notion

is based

handle.

minor

will

students

piecesto

assumption

the

on

which

The

great composers

exposure

deal

great

to

discussed

Crocker

was

that of what

they be popularpieces(in the

select. Should

even

piecesis the
of greatness.
developa recognition

ever

final issue Mr.

The

onlymaster

choose

elements
sort of check-listof stylistic

is a
style

only way

to

approachfor he feels that the

readilyapprehendedin lesser

composer can easily

with stylein a creative way and
a

often talk

we

hand, the student needs

the other

on

experi

sober

of historical development,or
sense) or piecesrepresentative
for reinforcingthe already wellwhat?
Is there any reason
This
repertoire?

standard

known

posers and historians may

side of the fence.
Mr.

but
list,
survey

is

point upon

very well find themselves

which
on

the

com
same

his opposition
to
by reaffirming
of
the backbone
as
necessity
admittingits practical

concluded

Crocker

theymust
piecesturns

"

be

piecesis the importantthing

of
of growingstyles.
The number
representative

The

course.

out,

selection of the

to
incidentally
*

be about

fifty.

speaker,Robert Gross, who also brought a list

of coming late
(Addendum II) remarked on the disadvantages
of the importantpointshave al
the list of speakers most
on
ready been discussed,and one can only lend emphasishere or
there.
objections
register
of whether to exclude inferior works, Mr.
On the question
of his students,
Gross passedalongthe questionposed by one
is great without
know
do we
"How
a work
observinghow it
The

next

"

diiers from

instructive

as

bad

one?"

the

good

In this sense,
ones.

the bad

works

may

be

as

REPORT

try

THE

do:

make

1)

the

body of music
will largelybe his

Gross

Mr.

students'
chestnuts.
believes

the

cuts

student

things we

two

are

of the

aware

121

should

existence

of the

(hisbecoming acquainted with

affair)and 2) try to help him acquire

own

favored

trying to remedy the deficiencies in the

listeningrepertoiresand opposed wasting time on
On
the question of whether
have a list at all, he
to
list to be a practicalnecessityin planning a course.

his list off

student

at

works

1950

upon

because
which
*

Theodore
stead

there

MEETING

of discrimination.

sense

He

ANNUAL

literature

great
it

FIFTH

that
Gross^suggested

Mr.
to

OF

letter

Finney,
Mr.

to

who

Clarke

he
"

was

he doubts
cannot

unable

in which

to

he

vocate*

in the

would

have

Fifty Pieces

giving
gain perspective.
be

present,

expressed his

subject.Mr. Bernstein read the letter.

exposition of Mr. Finney's opinions from
suspect

of

the

"I

the value

functioned

We

the
as

quote

sent

views

in
on

the entire

letter:
the

'Devil's

Ad

discussion:

1. The

of stuffing
to
me
'every college student' smacks
the throat of a good many
down
music
ner
people whose
vous
systems simply do not respond.
elect a course
in music, I prefer
2. For collegestudents who
that
of listener's
kind
a
they be given a foundation
their own
will enable
them
build
to
vocabulary which
lifetime's interest.
a
repertoireover
fluc
3. Obviously also, the changes wrought by time and
50 piecesdid
list pretty futile. What
a
tuating taste make
of Brahms!
And
Beethoven's
Certainly none
nephew know?
I grad
wasn't
when
of Psalms
the Symphony
yet written
uated
from college!
all
in the all-daydiscussion
know
musicians
4. How
many
all the lists?
the pieces on
of
to me
to be reallya kind
interest in piecesseems
5. This
do
don't
sickness. We
educational
undergraduate music
education
here, but I have had some
experience with the
to summer
graduates of such programs. Why do they run
teach
to
clinics etc. to learn how
(conduct) a few more
acquired authority
pieces?Partly because they have never
with regard to music.
of their own
of ait is the ima work
as
6. Certainly,the piece of music
"

"

SYMPOSIUM

MUSIC

COLLEGE

122

educational business, but

portant end for the whole

be

cannot

the music

the listener and

making.

listener must

make

music

educational

the

what

an

alone

are

in

speak,when

to

so

which

world

they

which
the
capitalinvestment
this can happen with important

The

togetherare
is

the dark,

taught.It happensin

this

before

process,

music."

about

pieceshave taughthim
"

usually resultingfrom

panel,read "a few

His first point was
impromptu remarks, carefullypolished/'
the questionseemed
to imply,if
that he was
at what
appalled
Homer

only

speakeron

number

major

in that the

posers

well

be

to

Ulrich
another

deleted

moreover,
frightened,
of students who
generation

of

kind

example? If

current

fiftycom

pictureof
composers

will

go? Mr.
of raising
the possibility

know

ones

onlythe

old chestnuts,

of the fact that the chestnuts

represent the composers

a

one

at

was

if

Even
fifty.

list,which

the

from

in the

composers

over

be got from

can

in view
particularly
In

the

one
pieceeach, what
represented,

are

work
composer's

have

of

numbers
repertoire

conceit

Ulrich, the last

often

do

not

their best.

at

Ulrich

constructive direction,Mr.

Our job is to: 1) aid

ing suggestions:
and
listeningtechniques,
intelligent

offered the follow

the student

in

developing
from
his
2) generalize
for
various listening
settingup stylecategories
experiences,
and of anticipation.
the purpose both of recognition
At the
would
be broad, in suc
intmiuctory level,the generalization
ceedingyears it should become increasingly
specific.
By work
ing this way, the vast literature of music can be opened to the
student, he can proceedon his own, and he won't be crippled
by the confinement to a list of fifty
pieces.
*

Mr*

Bernstein,

this

point,introduced Barry Brook of

Queens Collegewho had been invited to bringalonghis list of
listening
repertoire
(Addendum III) Mr. Brook admitted that
he had been under the misapprehension
that the list in ques
tion was
for music majors,
to be designed
and that his list is of
at

that type.

After
were

takingwhat

hte termed

pot shots

serious omissions in the Yale and

Mr. Brook

generalagreement
expressed

at

what

Occidental
with Mr.

he

thought
CollegeLists,
Ulrich's point

REPORT

The

covered
are

the

went

on

to

list

covers

FIFTH

ANNUAL

explain how

largebody

thoroughlyin four years

yearly examinations

MEETING

the

123

Queens Collegelist is

of works,

by every

designedto be
music major.There

insure that the student

to

does

and
repertoire,

musica
the

THE

and

of view
used.

OF

the program
is supplemented by
lecture on particular
professors
works

which

at

students

required

are

know

collegia
which

study in advance.

to

DISCUSSION
of the

One

much
questionswhich consumed
time in the
the matter
discussion periods was
of the historical approach.
Mr.
Berger insisted upon a distinction between teachingmusic
and

teachingmusic

should

come

added.

Mr.

posure

comes

first,after which
Salzman

Mr.

agreed

believes that the music

historical orientation

that with

most

itself
be

may

people music

ex

that the historical framework

first,

getherlike
run.

historyand

mosaic

Crocker

"

not

but
systematic,

believes that

we

must

of

orderlyway

is later put to
effective in the long

giveour students some

bewildering
multiplicity

coming to gripswith the

of styles
through the ages, and that a historical sequence is the
least confusingmanner
of presentation.
Music
historyis to
Mr. Crocker
but a way of dealingwith
a separate discipline
not
an
styles,
explanationof what music has been and what it is to
of Southern
day. Frank Zimmerman
(University
California)
while emphasizingthe importanceof the immediate
experience,
of live performances(heplanshis course
to correlate
especially
and requires
classroom
work with the season's concert
offerings
for abandoning the historical
concert
attendance)saw no reason
approach,for he considers the language of music, as well as
,

G. Wallace Woodbe part of music history.

organiza
(Harvard)spoke in favor of the chronological

talk about

worth
tion of

music,

course

material, but noted that

givenequaltime
to this point seem
comments

were

to

and
to

made

not

everythingneed

of those who spoke

The majority
emphasis.
favor the historical approach,but several
to

the effect that there is

that is rightfor every teacher or every situation.

The
questionof what to do about chestnuts
time
tion

be

no

one

method

appearedfrom
mformar
Some
to time
throughoutthe discussion periods.
become
popularor
about the rather accidental way pieces

appeared"particular
repertoire

part of the standard

become

SYMPOSIUM

MUSIC

COLLEGE

124

of

the part of conductors, the accident

exactlythe rightlengthto fillcertain time

bias

on

the

with
of scores, payability
availability

etc.

Donald

rather

knowing

the students'

speakershad
pieceswe think

Several
many
harm

teachers

among

worry

for
responsible

being
piece's

gaps in programs,

the

at

resources

hand,

(MoravianMusic Foundation)expressed

McCorkle

common

whether

to

chestnuts.

as

aren't

we

the standard

repertoire.
knowledge of

the lack of student

noted
of

as

Mr.

Woodworth

saw

no

Symphony for the 40th or

Mr. Clarke's comments
for the symphonies.
Brahms's concertos
in agreement of this viewpoint that it is not so important
were
of the Surprise
be able to recognizethe last movement
to
and be able
Symphony as it is to have studied such a movement
similar movements
musical comments
on
to make
intelligent,
34th

Mozart's
substituting

in

"

which ones.
it doesn't matter
Haydn symphonies,
The foregoing
topichas alreadytouched upon the problem
Are we teaching
of what we are teaching.
a certain limited num
ber of pieces,
or
are
we
tryingto developin the students the
in other

Salzman

Mr.
for listening?
techniques
the teacher's

tion

of

be able

peopleto

train of musical

this view

to

of the

to

opinionthat
of a
capacities

the

is "to bring up
responsibility

certain number

reallyfollow

was

absorb

thought."No

and

listen and

particular
objec

in evidence.

was

studying fragments of piecesreappeared

His reason
is that if
with Mr. Ulrich defending the practice.
illustrate all the important
you cannot
you are teachingstyles,
elements of a composer's
stylein any one piece,and that the
The

of

matter

logical
thingto

is

do

In the matter

to

choose

of how

device
ingenious

illustrativefragments.

much

talk the teacher

should

offer,

broughtto the attention of the group

Col
by Mr. Baldwin. He reportedin operationat Hamilton
legestereophonic
earphonesand doubles-track tapes which per
an

mit the student

either

get music

in

one

ear

and

"blab"

in the other,

he pleases.
or
Mr.
as
alternatively,
together,
separately

Baldwin
As

to

was

reports much

student

enthusiasm

for the device.

final note,

Henry

Kaufmann

(Rutgers)

warned

againsttreatingthe students like infants. They are justifiably

is disparaged.
This especially
annoyed when their intelligence
to the non-majorwho often shows more
applies
musical percep-

REPORT

the

than

tion

OF

major.

whom

those

cide

is

Bernstein

Mr.

intelligent,

freedom

of

he

solution
welfare

mon

or

what

life

and

cannot

had

are

that

do,

we

and

and

does

what

is

sui

tormented

agreed

to

music

luxury.

by
abuse

disagree.

our

it,

at

to

this
all/'

Mr.

of

burden
he

"There

he

his

is

com

or

that,

believes

role

are.

freedom,

expressed

the

to

Bernstein
what

for
music

composition

students

our

and
for

vital

not

We

doing

not

are

professions.
is

and

help.

examinations

it

more

handle,

standards

questions

He

and

as

we

whose

her

gave

few

child

to

for

know

to

small

that

other

long

as

obligations

our

possibly

fearful

and

with

psychiatric

looking

law

about

for

licensing

students

our

of

equipped

need

are

state

no

anything
he

we

close

parents

yet

the

problem

our

to

story

souls,

medicine,

for

know

to

that

we

to

session

was

tortured

are

for

are

she

developed

There

there

no

also

are

madness

to

well-meaning

than

properly,

guidance.
as

choice

hoped,

jobs

the

and

consequently

our

there
what

oneself

recounted

He

modern,

all,

125

that

matter

no

worrying

brought

remarks.

concluding

are

added

reach,

in

MEETING

them.

over

who

ANNUAL

Trotter

never

point

no

FIFTH

Mr.

will

we

there

that

THE

it

plays

in

long

as

As
believes

delight

that

we

we

Addendum
Yale

UniversityList

Composer
AnonyiBOiis
Anonymous

Composition

Gregorian chant: Examples

Examples of polyphony of
and

Machaut

Mass;

from
the

and

Mass
12th

Office.
13th

and

centuries

(sacred

secular).

Rondeau, Rose, liz; Virelai,De

tout

sui; Ballade, Je puis

trap bien.

Anonymous
DunstaMe

Dufay

Ockeghem

Chace, Si fe chante.
Ballata,Gran piant'agU ochi.
Motet, Vent sancte
spiritus.
Hymn, Hostis Herodes; Motet, Am
tefgna;Mass, Se la face ay
pale (Kyrie); Chanson, Bonfooiv Rondeau, Par chois je svis
Men; Rondeau, Ce mays de May; Rondeau, Adieu
m
amour.
Motet, Alma

redemptoris.

Lassos,
Marenzio,
Motets

Various

and

Madrigals of

the 16th

century.

Gesnaldo,

Crequillon,
Gabrieli

Madrigals;Opera, Orfeo (Act n)$ Vespers,Sonata

Moateveroi

Mono,
feom
Rossi

Magnificat; Opera, Incoronazione

Act

(excerpts

CMstmas

Story.

Opera, Korfrfott) (selections).

Cantata, Su le sponde del Tebro.

Scarlatti
Vivaldi

Concerto

Handel

Opera,
Qpsg^Semele

grosso

Sosarme

Corel!!

frm

J. S. Bach

Cantata, Wadtet

sonata

and

in

B-iat

(selections).
(Actffl).
F minor,
op. 8, no.

Bach

9.

anf.

fagi" m
fugue fe

minor

organ

SBCOM"
E.

Poppea

Sancta

JH).

Oratorio, The
StxadeHa

P.

sopra

Cantata, Del silenzia.

Oratorio,Jom"
(selections )$ Jejdite
(selections).

Carissiini

C,

di

Sonata

no.

(Well-tempered Clavier 1, 2).

C minor. ''Brandemkirg"concerto

TERM

6; Symphony

in E.

J.C.Bach

Haydn
Haydn

Qwrfet op* 1, M.
Qiiartet op. 38,
in.

Mozart

1, fa B-lat.
B",

in

Gj op* 76,

no*

3,

in

C; Symphony

104

j)1,
' a^

41 in C

I^""
("piter'')"

concerto

in C, K

503,

YALE

UNIVERSITY

Composition

Composer
Mozart

Don

Beethoven

Symphony

Beethoven

Piano

Schubert

Songs:

Act

Giovanni,

Der

ling,

sonata

in

Berlioz

Romeo

fr

Liszt

Piano

concerto

Wagner

Tristan

Brahms

Symphony

Strauss

Salome

Wozzeck,

Webern

Piano

Bartok

Music

Symphony

"

Lindenbaum,

Der

Heiden-Roslein,

Der

Der

Erlkonig,
Im

Musensohn,

no.

in

Act

scene.

6.

E-flat.

m,

latter

for

except

half

of

1st

4.

scene).
Quartet

Lunaire;
Act

Wolf's-glen
3,

2,

parts

Isolde;

(final

29.

op.

Freischute;

Juliet,

EH;

variations,

C;

no.

Violin
op.

strings,
in

A.

in

minor,

no.

for

act.

Musik.

Der

to

of

end

to

("Eroica").

Spinnrade,

am

die

Quartet

Berg

101

Doppelganger,
An

scene

E-flat

in

op.

Overture

Pierrot

H,

Gretchen

Weber

Schonberg

no.

Schubert

Stravinsky

127

LIST

op.

37.

27.

percussion
Agon.

4,

concerto.

"

celesta,*

Quartet

no.

5.

scene.

Frith-

Addendum

Occidental

Fifty
who

Pieces
are

Every
somewhat

Know,"

of Fugue

B-Minor

Mass

Chaconne
Christ

Todesbanden

lag in

PassacagHa
Fugue
for Strings,Piano
Music
String Quartet #4
String Quartet #6
"

Bartok

Violin
Beethoven

Concerto

Fidelio
Kammerldavier

Sonata

Hammerklavier
Sonata

Kreutzer
Piano

#4

Concerto

String Quartet op.

String Quartet op.
String Quartet op.

18
59

#6
#2

131

Symphony
Symphony

$$
#6
Sympliony #9
Violin

tag

Lyric

Concerto
Suite

Violin

Concerto

Wozzeck
Berlioz

Brahms

Symphonic Fantastique
Sapphic Ode
Concerto
Piano
$2
String Quartet op. 67

Symphony
Symphony
Chopin
Copland

Jrl

"4

Nocturnes

Appalachian
Piano

Spring

Quartet

Corelli

Christmas

Concerto

Debussy

Afternoon

of

Nocturnes

for Orchestra

Pelleas

"

Faun

Melisande

String Quartet

"

List

(Particularlythose

In

is Icumen

Sumer

Bach

Should

in mathematics)

weak

Art

College

Student

College

II

Percussion

students

OCCIDENTAL
De

Falla

El Amor

COLLEGE

Brujo

Dvorak

'Cello Concerto

Elgar

Enigma Variations

Franck

Violin " Piano

Gluck

Orpheus

Handel

Messiah
Water

Haydn

LIST

Sonata

Music

The Seasons
"Oxford" Symphony

StringQuartet (with the celebrated Largo)

StringQuartet (Quinten)
Hindemith

der Maler

Mathis

StringQuartet #3
Ives

Concord

Liszt

Etudes

Mahler

Songs of

Mendelssohn

Midsummer

Sonata

Wayfarer
Night'sDream

Violin Concerto
Milhaud

Creation

Monteverdi

Orfeo

of the World
of Orianna

Morley (et al.)

Triumphs

Moussorgsky

Boris Godunov

Mozart

Don

Pictures at

Exhibition

an

Giovanni

Figaro
Piano Concerto,D Minor
StringQuartet ("Dissonanza")
StringQuintet, G Minor
Symphony #40
Symphony #41
Violin Concerto, A Major
Palestrina

Marcellus Mass

Paganini
Pergolesi

24th

Prokofiev

Caprice

Serva Padrona
Classical Symphony
Piano

#3

Concerto

Puccini

Boheme

Purcell

Dido

Ravel

Chloe
Scheherazade
Barber of Seville

Turandot

Rimsky-Korsakoff
Rossini

Schoenberg

Daphnis"

Phantasie
Pierrot Lunaire
Verklaerte Nacht

Schubert

StringQuartet ("Death " the Maiden")

StringQuintet, C Major
Symphony,C Major
Winterreise

Schumann

Carnival
Frauenliebe
Piano

und

Leben

Concerto

Sessions
Sibelius

StringQuartet #2

Smetana

Bartered Bride

Strauss

Don
Quijote
Electra

Swan

of Tuonela

Rosenkavalier

Stravinsky

Til

Eulenspiegel

Le

Sacre

Histoire du

Soldat

Symphony of

Psalms

129

130

Tchaikovsky

MUSIC

COLLEGE

Swan

Lake

Symplwnie
Varese

Verdi

Pathetique

lonization

Aida
Falstafi

Wagner

Meistomger

Bing

of the

Nibelung

Trton"Isoide
Wdbmi

Variations

for

Ordbestm

SYMPOSIUM

Addendum

Queens

III

College

BASIC

MUSIC

List

LITERATURE

REQUIRED

LIST

LISTENING
MUSIC

FOR

MAJORS

FRESHMAN

YEAR

Symphonies:
Haydn:

104

Mendelssohn:

Mozart:

40

Schumann:

Beethoven:

Schubert:

Brahms:

Franck:

4
4

Tchaikowsky:

in

Shostakovich:
Harris:

Concerti:

(Piano)

(Violin)

Mozart:

(d)

K.466

Beethoven:

Other

Bach:

Brandenburg

No.

Bloch:

Schelomo

Orchestral

Works:

Beethoven:

Leonore

Smetana:

Vltava

Debussy:

Prelude

(Miscellaneous)
in

Mendelssohn

Tchaikowsky:
Bartok:

Bach:

Overture

No.

the

to

Afternoon

of

Faun
Till

Strauss:

Chamber

Stravinsky: Petrouchka
Suite
" Chlo"
Daphnis
Webern:
1
Passacaglia Opus
Copland:
Billy the KM
Ravel:

Eulenspiegel

Music:

Corelli:

Trio

Haydn:

Quartet

op.

Mozart:

Quintet

in

Sonata

Beethoven:

Quartet

Beethoven:

Violin

Op.

Schumann:

3:7

(K.516)

op.

Piano

Brahms:

20:5

Debussy:

IS: 4

Sonata

in

Quintet

Violin

Sonata

String

in

Quartet

Bartok:

String Quartet

Chopin:

Ballade

No,

(Kreutzer)

Keyboard
Bach:

Music:

(Organ)

Passacaglia

Fugue,

"

Minor

(Piano)
Bach:

Mozart:

Beethoven:
Schubert:

Book

WTC

Fugue

in

Sonata

Prelude

I:

and

Polonaise

minor.
in

Sonata

Impromptu

(K576)

Schumann:

10:3

TY".l.-.-.*un.r

op.

in Ab,

op*

142:2

JLJebussy:
Hindemith:

op.

23:1

op.
40:2

Pieces

Fantasy
"if

Jua

M.

*"n*fx,",*]**nlA

catneciraie

Sonata

A,n**TsMvl~*J!

engioune
No.

'

'

No.

Choral

SYMPOSIUM

MUSIC

COLLEGE

132
Mtmc:

Bach: Mass

Kyrie-Gbriste-Handel: Messiah
Haydn: Creation,Part
Stravinsky:
Symphony
(dtristlagin

in B Minor:

Kyrie
4

No.

Cantata

I
of Psalms

Todesbanden)

Opera:
Boheme

La

for Voice:

Songs and Other Works

Schubert: The
Gretchen am

Puccini:

Bizet: Carmen

Giovanni

Don

Mozart:

Widmung

Schumann:

ErlMng
Spinnrade

Du

eine Blume

Bist wie

Early Music:
Pamsh-Ohl, Masterpiecesof Music

before

1750.

SOPHOMORE

(Use textbook with listening)

YEAR

Symphonies:
Sinfonia

Stamitz:

Schumann:
3
Mendelssohn:
Brahms: 1

(ARC-3092)

in 0

Haydn: 44

Berlioz:

89
Mozart:
Beethoven:

Beethoven:

Beethoven:

Tchaikowsky: 5
Mahler: 4
ProkofieflE:Classical

Symphonic

Symphony
Hindemith:

Fantastique

Mathis

der Maler

Concerts

(Miscellaneous )

(Violin)

(Piano)

Handel:

Mozart No. 5
Beethoven

Schumann

Concerto

Grosso op. 6:10

Brahms:
Double
Concerto

Prokofieff No. 2

Dvorak:
Orchestral

Other

Beethoven:

Brahms:

Works;
Overture
Theme
a

Egmont

Variations

on

Overture

to

of

Haydn
Smetana:

Cello Concerto

The

Bartered

Debussy: Three
The
Stravinsky:
Copland: Music
Milhaud:

La

Nocturnes
Rite of Spring
for the Theater
du Monde

Creation

Bride
Chamber

Music:

Haydn: Quartet
Mozart:

Piano

Beethoven:

opus

76:2

Trio

in Bb

Schubert:

Quartet
the Maiden)

in

Franck:

in g K.478

Quartet

(Archduke)
(Death and

Violin Sonata

Ravel:

StringQuartet
Hindemith:
StringQuartet

No.

Music:

Bach:

French

Suite

No* 5

Book H:

WTC

Prelude
in F

Mozart:

and Fugue
Major
Fantasy in

D minor
Beethoven:

Sonata

Chopin:Preludes
(Complete)

Liszt: Transcendental

Schumann:

Debussy: Des pas sur

la neige
Bartok: Improvisations

Etude

Carnaval

(Complete)
Brahms:

Intermezzo
op. 117:2

opus

in f

20

opus

111
Choral
Music

Music:
of the Re

Schtitz:Christmas Oratorio

Bach: Mass

in h: Credo

(throughEt

Ressurexit)
Mendelssohn:

Part
Elijah,

I.

QUEENS

COLLEGE

LIST

133

Opera:
Monteverdi:
Cluck:
Verdi:

Songs

Orfeo, Acts

Orpheus and
Rigoletto

and

Other

Beethoven:

Works

from

II.

Berg: Wozzeck
Stravinsky:Oedipus

Rex

for Voice:

die feme

An

Schubert:

I and

Euridice

Geliebte

"Schwanengesang":

Aufenthalt
Am

Meer

Doppelganger

Der
Brahms:

Mainacht

Die

Wandelten

Wir

from

Mussorgsky:
Hopak

and

"Songs

the Commander
Death
"Des Knaben
Mahler:
from
irdische

Das

of Death":

Dances

Wunderhorn":

Leben

Lob

des

Der

Schildwache

hohen

Verstands
Nachtlied

Fischpredigt

Antonius

YEAH

JUNIOR

Symphonies:
Haydn:

101

Brahms:

Mozart:

25

Tchaikowsky:

Beethoven:

Bruckner:

2, 3, 7

Schubert:

Prokofieff: 5

2
4

Piston:

Schuman:

Concerti:

Chopin:

3
Works:

Orchestral

Hebrides

Mendelssohn:

Freischiitz

Weber:

Carter:

Corelli

for solo violin

in Eb
(K. 563)
Divertimento

Quartet

(K. 465)
Quartet, op. 59:3

in C

Beethoven:
Cello

Keyboard

do

in

Partita

Mozart:

Sonata

in A

Music:

(Organ)
"Durch

Prelude

Chorale

Adams

Schubert:

Sonata

in

Schoenberg: Quartet
Berg: Lyric Suite

No.

Book

WTC

Fugue

in

eb

I:

Prelude

Chopin:

Sonata

and

in bb

Aimees

Ravel:

"ie p

Poissons

53

(postibu)
min.

d"Or

Jeux iTEati

Sdio^iberg: Opus

min.

Sonata
Beethoven:
op.
Schubert: Sonata in Eb

Rhapsody,

Brahms:

Debussy:

(Piano)

Quintet in C
Cello

Brahms:

Liszt:

Fair
Bach:

for Orchestra

5 Pieces

Variations

Music:

Couperin: Apoth"ose de

Bach:

Schoenberg:

Overture

Overture

Mer

La

Debussy:
Chamber

for

Orchestra

Bach:

op. 3:9
Concerto

Bartok:

Rachmaninoff:
Other

Concerto

Grosso

(K.467)

Mozart:

Liszt:

Vivaldi:

Tchaikowsky

Bach:

(Miscellaneous)

(Violin)

(Piano)

3Sa

e.

SYMPOSIUM

MUSIC

COLLEGE

134
Music:

Choral

Machaut:

Berlioz: Dies

Mass

Josquin:Pange Lingua
Bach:

No.

Cantata

Mozart:

Verdi: Libera

Mass

di

Canti
Dallapiccola:

AuT

140, "Wachet

Irae from
from
Me

the

Requiem

the Requiem

prigionia

Requiem

Opera;
Boris
Mussorgsky:

and Aeneas
Magic flute
und Isolde
Tristan
Wagner:

Pur cell: Dido

WorJb

Other

Songsmd

for Voice:
MuOeruT:

"Die Schone

Schubert: from
Wohin

Gudounov

Strauss: Salome

The

Mozart;

UngeduM
Meim
Schumann: "Dichterliebe",
complete.
Brahms: Der Tod das ist die kiihleNacht
Wolf:

Gartner

Der

Gesang Weylas
das Land?

du

Keonsf

Nell

Faure:

Eere

Aprfeun

Lieder
Berg: Altenberg
for Tenor, Horn

Britten: Serenade

and

SENIOR

Beethoven: 4, S
Schubert:

Lied

Das

von

der Erde

(Song

of the Earth)
Sibelius: 5

and Juliet

Berlioz: Romeo
Brahms:

TEAR

Mahler:

41

Mozart:

Strings

Copland:3
Webern, opus

21

Concerii:

(Violin)

(Ban")
Beethoven: 4
Brahms:

(Miscellaneous)

Berg

S
Profcofieff:

Q*"r

QfAmtwl

Strauss: Death
Faure

for 13

Serenade in Bb
Wind
instru

ments

K.361

Mozart:

Worib*
and

Pelleas and

Transfiguration
Melisande

Suite

Janacek: Sinfonietta

Britten: Sea Interludes from Peter

Grimes

Bartofc: Music

Stravinsky:
Agon

and

for

Percussion,
Strings,

Celeste

Rathaus: Prelude for Orchestra,op. 10.

Chamber
Bach:

Music:
Sonata

no.

6 for Violin "

Hpschd.
Mozart

Quintet in Eb for Piano "

Winds (K. 452}
Beethoven: Quartet opus 131
:

Schubert: Trio in Eb op. 99

Brahms: Piano Quintet in f.
Sonata fe vwUm m"

Bartok: Quartet No. 6

Hindemith: Woodwind

Kammermusik,
: Octet
Stravinslrf

Sessions: Quartet no. 2

Stockhausen: ^jilmasse
winds

piano.
^^

Perle: Quintet

KeyboardMusic:
mitix

Bk I: Prelude and
in c$ min.

Wit;

Fugue

Quintet (Kleine

op. 24:2)
for Winds

Scriabin: Prelude

Sd^""rfbeig:
Opus
Copland: Variations

11

for five wood

QUEENS

Ives:

de

tombeau

Le

LIST

Barber,

Voiles

Debussy:
Ravel:

in

Sonata

Liszt:

COLLEGE

135

Sonata
Concord

26

op.
Sonata

Couperin

Music:

Choral

Gloria

Vivaldi:
Bacb:

Brahms:

Matthew

St.

Beethoven:

Passion,

I.

Pt.

Honegger:

Solemnis

Missa

Opera:

Die

Meistersinger

and

Prelude

The

Menotti:

Gershwin:

Voice:

for
(Col.

1757

LP

Side

1)

Winterreise":

"Die

Nacht
Krahe

Die

Post

Der

Leiermann

Brahms:

Galantes,

Fetes

Pt

I,

first

three

songs

Widmung

Herbstj

Im

Songs

Serious

Four

Debussy:

Strauss:

Bess

Works

from

Die

Franz:

and

Monteverdi

Schubert:

III.

Stronger

Other
of

Act

M^lisande,

"

Porgy

and

Gute

III

Consul

The

Weisgall:

Music

Act

Pelle*as

Debussy:

Zueignung

Webern:

Songs,

Four

of

Poems

Copland:
Boulez:

Seville

Otello

Wagner:

Song*

of

Barber

Rossini:

Verdi:

Le

Dallapiccola:

op.

Emily

marteau

sans

Liriche

12

Dickinson
maitre

Greche

(first four)

German

King

Requiem
David

SOCIETY

MUSIC

COLLEGE

fifth

annual

meeting

CONCERT

String

Lenox

The

Quartet,

Grinnell

College

Memorial

Battelle

Auditorium,

December

Institute

29,

1962

Ohio

Columbus,

\
r

PROGRAM

String

Quartet,

Imbrie
.

the

by

(Commissioned

Andrew

No.

Fromm

Music

Foundation)

String Trio,

Op.

Arnold

45

Schonberg

t
J

Gunther

String Quartet

Schuller

"

String Quartet,

No.

Leon

Kirchner

CODA

Who's

Who

WILLIAM
Music

AUSTIN,
is

Society,
HAROLD

fices in

completing

Washington,

have

been

acoustical

the

theatres

at

for

construction

under

the

Briar

meeting

is Chairman

of the

proj
the

is

He

which

is

now

Maryland.

musicologist
1962

for the

recent

College.

of

of

Connecticut,

of

building

University

the

for

his

Among

arts

with

of Acoustics

University

fine

CLARKE,

chairman

program

the

at

LELAND

HENRY

the

music.

acoustician

co-author

Theatre.

College

contemporary

on

consulting

Sweet

and

engineer

book

in

University

Howard

past president of the

C., is the

D.

Sound

and

Symposium

immediate

BURRIS-MEYER,

Architect
ects

in

of

and

composer,

was

College

Music

the

Society.
COLLINS

WALTER
at

JOHN
at

article

on

publication by
E.

the

for

the

house

of

recent

book,

Music,

was

Press,

of

published

Berkeley

and

versity, is currently

at

in

an

process

of

musicologist,has joined
of

tonality
by

the

in

His

Chicago.

most

Sixteenth-Century

University

California

of

Angeles.
Professor

on

encyclopedia

eminent

1961

Los

MENDEL,

ARTHUR

Music

recently completed

University

and

in

of

Ricordi.

the

Tonality

Art

of

Department

Department

has

music

the

LOWINSKY,

graduate faculty

the

the

Carolina,

North

hymn

the

EDWARD

of

of

Chairman

HAYDON,

the

Michigan.

University, Rochester,

University

the

of

is Chairman

GALLOWAY

Oakland
GLEN

Michigan.

University, Rochester,

Oakland

of Music

Department

of

year's leave

Music

at

Princeton
for

of absence

Uni

research

in

Europe.
is

working
GEORGE

Associate

MIDDLETON,

ROBERT
on

several
ROCHBERG"

new

Proiessor

at

College,

Vassar

compositions, ffldbidiBgan

Chairman

of the

Dq^rtmaat

opera.

of Musk,

140

COLLEGE

of

University
fessor

of

the

D.

A.
of

research
CHARLES

University,

has

the

States

Office

fare,

of

PETER

partment

at

of

HENRY

sylvania
G.

University

York

New

WALLACE

long

been

the

elementary

of

Professor
of

of

Health,

Music
is

the

at

in

engaged

the

at

Title

VII

Ohio

State

grant

from

Education

on

and

and

at

Ph.D.

in

Wel

with

of

secondary

the

the

the

schools.

of

De

Music

at

Music
of

Penn

Princeton.

at

College

preparation

the

in

College.

University

of

Ph.D.

in

assisting

Composition

Professor

president

the

on

Square

teaching

WOODWORTH,

concerned

and

Washington

is

former

working

composer

University
the

at

working

has

Buffalo.

Fantini.

renewal

is

STONE

WEINBERG

and

of

Education.

Music

and

Chairman

is

University,

Associate

received

Pro

Buffalo.

Professor

Rutgers

Department

ELIOT

musicology

of

Girolamo

SPOHN,

just

of

musicologist,

Associate

of

Visiting

appointed

University

Sciences,

music
L.

United

Music,

and

the

on

and

SHERMAN,

Arts

been

University

composer

of

MARTIN

the

at

SAPP,

Department

College

has

Pennsylvania,

Composition

ALLEN

SYMPOSIUM

MUSIC

Harvard

Society,

teachers

for

Footnotes

1
.

Symposium

owes

M.

Donald

McCorkle.
the

launching

level

highest
debted
that

ciety,
The
as

Treasurer

to

the

of

Business

and

Editor

him

in

task

the
to

As

William

Austin,

and

presses

from

our

of

know

the

footnote

to

west

p.

of

meeting

the

rather
in

Woodward

Henry

be

sorely

A.

Sherman

So

who,

substantially
missed.
of

the

to

mantle

The

of

College

Robert

aided
is

Especial gratitude
Bernstein,

Martin

Trotter,

George

Editors,

Associate

two

all who

thank

to

first issue.

his

journals

publish

and

readers

are

Haupt-

to

the

the

Art
than

studio

invited,
of

Symposium

interest:

area.

Ph.D.
This

as

to

The

resolution

Journal,

1959

meeting

XX

(1960Mid

of the

approving

degree
was

who

those

Composition,

Art

terminal

Com

suggestion.

in

resolution

jour

as

materials/'

this

Doctorate

"The

the

devoted

particular from

in

passed

Conference
the

scholarly

the
in

the

recordings,

and

scores

implementing
on

reported
of

be

university presses

and

that

Middleton

Robert

distribute

means

or

ways

of

of

distribution

and

112, may

College

M.F.A.

of

opportunity

remark

the

following resolution

1961)

work

the

to

"needs

publication

Dean

by

University.
this

take

preparing

composer

and

Martin

Rutgers

is called

Attention

may

issue.

Bryce Jordan.

and

ments

latest

contributed

will

He

on

of

Douglass,

nals

Society.

to

services

the

Manager,

falls

Sciences,

The

the

in

advice

generous

introduced

business

the

personally

this

preparing

December

Business

of the

wishes

young

the

losing

Manager

and

fuehrer

5.

is also

growth

Ruth

at

is

and

McCorkle,

Mr.

maintained

editor

help

of

problem

major

passed unanimously.

was

expressed

4.

of Yale

of

previous editor,

and

set

invaluable

to

the

present

task

the

appreciation

Society

Arts
3.

for

also

its

to

solved

but

The

McCorkle

Noss

Luther

gratitude

only

not

standards.

of

of

of

periodical,

greatly simplified

resolution

2.

He

new

Mr.

to

debt

great

for

forwarded

the

graduate
to

the

COLLEGE

H2

College

Art

Association

SYMPOSIUM

MUSIC

formally

which

approved

it .at

1959

its

meeting."
6

The

Editor
and

posium
work

of

die

is

anxious

invites

Society.

to

expand

pertinent

the

observations

o"

Column
"

Letters

on

any

phase

,.

"

Sym
of

the

COLLEGE

MUSIC

APPLICATION
I

hereby

my

apply

for

for

1962-63

check

SOCIETY

FOR

in

membership
in

dues

the

MEMBERSHIP

the

College
of

amount

Music

Society

and

enclose

$5.00.

Name

Address

Mailing

where

Institution

of

Address

not

interest

Degrees

Please

College

institution,

academic

Present

If

teaching

of

the

in

held

mail
Music

and

mailing

address:

assignment:

teaching

college

from

different

position

member

if

faculty,

please

indicate

your

particular

Society:

(with

this

dates

application,

Society,

where

institutions

and

with

check

to:

RUTH

PROFESSOR

of

Department
Mount
South

Holyoke
Hadley,

DOUGLASS
Music

College
Massachusetts

earned)

for

$5.00

payable

to

the