Transcript Trends in Music Education 1950’s

What is Curriculum?
A regular course of study; an accepted schedule
or routine
In other words, the content of your classes,
“what” you teach
How many of you have been through a
curriculum revision recently?
Are any of you doing unique things with your
music or fine arts curriculum?
How many of you have computers in your music
classrooms?
Trends in Music Education
1950’s
1957 Sputnik
1959 Woodshole Conference
Influential book from this time:
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“The Process of Education”- Jerome Brunner
Trends in Music Education
1960’s
By 1961-over half the funding from large
foundations went to education
1960’s Baby Boom
1963 SAT scores hit all-time high
1965 Elementary and Secondary Education Act
(ESEA)
1965 National Endowment for the Arts (NEA) is
formed
Youth movement
Comprehensive Musicianship
Trends in Music Education
1970’s
The decade was characterized by decline
Rising oil prices and shortages caused cutbacks
The student boom started to slow down
1975 public law 94-172
SAT scores plunged to all-time lows
General public lost confidence in public
education
There was a call to go “back-to-the-basics”
Trends in Music Education
1970’s(not in text)
Pop/Rock music is incorporated into the
curriculum in many schools
CEMREL- (Central Midwest Regional
Educational Laboratory) a private curriculum
development laboratory in Aesthetic Education
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Library now housed at U of I
Important book from the 70’s
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A Philosophy of Music Education” – Bennett Reimer
Trends in Music Education
1980’s
1983- “A Nation at Risk: The Imperative for
Educational Reform”
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Cafeteria style curriculum
25% of credits went to PE, remedial and/or workrelated courses
Americans spent less time in school than other
countries
Not enough homework being given
Study skills not being learned
Trends in Music Education
1980’s
1983- “A Nation at Risk: The Imperative for
Educational Reform” (continued)
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New teachers were coming from the bottom quarter of
graduating college students
Teacher salaries were too low
There was a shortage of teachers in math and the
sciences
Suggested that 4 yrs of English, 3 yrs of Math,
Science and Social Studies, and ½ a year of
computer be required
Also suggested, that we raise our standards for both
students and teachers
Trends in Music Education
1980’s (not in text)
1983- College Board Report
1982- formation of Discipline Based Arts
Education (DBAE)
Outcomes-based education
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Students are evaluated based on certain
outcomes rather than completion of particular
subject matter with letter grades
Trends in Music Education
1980’s (not in text)
Important books from this decade:
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“A Place Called School”-John Goodlad
Horace’s Compromise”-Theodore Sizer
Trends in Music Education
1990’s
Goals 2000- Clinton Administration’s plan
for educational reform
1994-National Standards are released
Accountability Movement and School
Reform Movement
1997- Preliminary draft of “Illinois Learning
Standards” is released
The Symposium MovementChap. 2
1959- The Young Composers Project
1963-1973- The Contemporary Music
Project (CMP)
1963- The Yale Seminar (not supported by
MENC)
The Symposium MovementChap. 2
1963- The Yale Seminar findings:
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The quality of music being used in schools
was poor
Jazz, pop, non-western music was not being
used at all
Performance levels in schools were excellent
There was a surplus of musicians for the job
market and the musicality of these performers
was low
The Symposium MovementChap. 2
1963- The Yale Seminar recommendations:
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Developing musicality should be the primary goals of
education
The musical repertoire should be expanded
More guided listening with sequential listening
experiences through all grades
Small and authentic ensembles should be
emphasized
Advanced theory and literature classes should be
available
Start musicians in residence programs
The Symposium MovementChap. 2
1964- The Julliard Repertory project:
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Vittorio Giannini was project director
MENC gave its support
Sought to create a body of quality music for grades
K-6
Music was tested on real music teachers
The final project included 230 compositions both
vocal and instrumental
Eventually published and distributed by Canyon Press
The Symposium MovementChap. 2
1965- Comprehensive Musicianship:
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Developed out of one of the seminars from CMP
Suggested we approach music teaching through an
interdisciplinary approach
Assessment was to be done in 4 areas:
Descriptive competence
Performing competence
Creative competence
Attitude
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“Blueprint for Band” by Robert Garafolo
“Comprehensive Musicianship Through Classroom
Music” from the Hawaii music curriculum program
The Symposium MovementChap. 2
1967- Tanglewood Symposium:
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Sponsored by MENC
Participants were selected from various professions
including teachers, musicians and politicians
Attempted to make recommendations for improving
music education in the US
Resulted in a philosophical statement for music
education (read The Tanglewood Declaration, p. 44)
The Goals and Objectives Project (1968)
Director was Paul Lehman
Read the 8 priority objectives on p. 46-47
This eventually influences the National Standards
The Symposium MovementChap. 2
1967- Harvard project Zero:
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Headed up by Howard Gardner
A project focusing on cognitive development as it
relates to arts education
Gardner’s theory of multiple intelligences (“Frames of
Mind”) eventually grew from this project
Arts Propel (1982) a project based on these findings
was used in the Pittsburgh Public Schools.
Arts Propel proposed studying music through
production, perception and reflection
The Symposium MovementChap. 2(not in text)
1968- Hawaii Curriculum Program:
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A state-wide curriculum based on work done in the
Manhattenville project of the 1970’s (spiral
curriculum)
1978-1981 Ann Arbor Symposium
1986 Crane symposium
1999 Vision 2020
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Tallahassee, FL on the campus of FSU
Sponsored by MENC as a follow up to Tanglewood