MEMT 813: SPRING 2001 Syllabus

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INSTRUCTOR: James F. Daugherty
(email: jdaugher@ukans.edu)
Office: 311 Bailey Hall
Phone: 864-9637
Office Hrs: Mon/Wed/Fri: 10:00-11:00 AM; or by appointment

COURSE PURPOSE:

The purposes of this course are to introduce ideas, people, and events that inform the history and philosophy of music education, and to acquaint students with tools of philosophical and historical inquiry appropriate for their ongoing engagement with music education as reflective practitioners.

TEXTS:

Required:
Arnold, J.H. History: A Very Short Introduction. London: Oxford University Press, 2000.

Brundage. A. Going to the Sources: A Guide to Historical Research. New York: Harlan Davidson, 1997.

Cook, Nicholas. Music: A Very Short Introduction. London: Oxford University Press, 1998.

Elliott, David J. Music Matters: A New Philosophy of Music Education. New York: Oxford University Press, 1995.

Engel, S.M. With Good Reason: An Introduction to Informal Fallacies. New York: St. Martin's Press, 1989.

Jorgensen, Estelle R. In Search of Music Education. Chicago: University of Illinois Press, 1997.

Mark, Michael L., and Charles L. Gary. A History of American Music Education (Second edition). Reston, VA: MENC, 1999.

Small, Christopher. Musicking: The Meanings of Performing and Listening. Hanover, NH: University Press of New England, 1998.

Other readings as assigned from library reserve or the course website.

Students will need internet access for this course.

Recommended:
Barzun, Jacques, and Henry Graff. The Modern Researcher. 5th ed. Fort Worth, TX: Harcourt, Brace, Jovanovich, 1992.

Madsen, Clifford K., Ed. Vision 2020: The Housewright Symposium on the Future of Music Education. Reston, VA: MENC- The National Association for Music Education, 2000.

Turabian, Kate L. A Manual for Writers of Term Papers, Theses, and Dissertations. 6th ed. Chicago: University of Chicago Press, 1996.


HEADS UP:
This graduate course requires considerable reading, along with discriminating reflection, writing, and discussion. In addition, it has a strong online component. Students who know themselves to be averse to such work should not enroll.

NOTE:
Any student in this course with a disability that prevents the fullest expression of his or her abilities is urged to contact the instructor as soon as possible to discuss the appropriate accommodations necessary to complete requirements of this course.

COURSE REQUIREMENTS:

1. Article or Book Review

Master's level students will select, read, analyze/review, and do a 15 minute class presentation on one article from either The Journal of Historical Research in Music Education, The Philosophy of Music Education Review, The Journal of Aesthetic Education, or Philosophy of Education; or a philosophical or historical study from the Journal of Research in Music Education or the Bulletin of the Council of Research in Music Education. Permission of the instructor is needed to use an article from any journal not here mentioned.

The topic of your article should be one that complements the structure of the course by introducing material or aspects of material not fully covered in the texts of the course, or by enlarging upon the materials of the course. The wise student will select an article that can also be used to some extent in the historical or philosophical projects of the course, and/or the contribution to the History and Philosophy of Music Education web site.

Your in-class presentation will follow this format: Presentation of information (5-7 minutes); An analysis of methodology (How well did this author do history or do philosophy?) (4-5 minutes); Discussion of the overall context and meaning of this material in the history and/or philosophy of music education (3-5 minutes). You should provide hand-outs for the class. Be sure to include author, title, publication data. You may wish to employ audio, visual, and/or technological aids.

Doctoral students will select, analyze/critically review, and do a 25 minute class presentation on one of the suggested books related to philosophy/history of music education.

Articles and books should be selected as soon as possible, but not later than the third class meeting. First come, first served. Turning in to the instructor the title, author, and publication data (journal, publisher, year, etc.) of the article or book you wish to present reserves that work for you. Presentation times will be assigned, as much as possible, to relate the subject matter of your article/book to the topics of particular class meetings.

2. Weekly Internet Assignments

(1) REFLECTIONS: Via internet, all students will post weekly one observation, question, or pertinent comment related to EACH of the assigned readings for that week. These postings must be made prior to 5 P.M. each Wednesday.

(2) FORUM: Via internet, all students will contribute weekly to a non-synchronous class discussion. Normally, this will entail responding to a thought provoking question or situation. Occasionally, it will take the form of a debate. Sometimes, it will include reviewing or searching out web materials. The first assignment is simply to post a personal introduction.

3. Completion of Three Projects

Project number one (due Wednesday, March 28) is a small-scale historical project. Project number two (due April 18) is a contribution to the History and Philosophy of Music Education web site. Criteria and possibilities for this project will be discussed in class. Project number three (due Wednesday, May 2) is a personal philosophical stance, logically argued. Project reports should be seven to ten pages long (historical) and six to seven pages long (philosophical). Full details of projects one and three are discussed in the appendix to this syllabus.

4. Competency Quiz

All students will pass a competency quiz on identification and chronology of major events, people, and key concepts relative to the development of music education in the United States. This quiz will be drawn primarily, though not exclusively, from the "Key Terms" identified for each reading assignment from the Mark & Gary text.

5. Final Exam or Term Paper

Doctoral students will write a term paper of approximately 15-20 pages, reflecting historical and/or philosophical research. If it best meets the studentıs goals, this paper, with permission of the instructor, may take the form of an historiographic essay or review of literature.

Doctoral students who may wish to use the term paper as the basis of a doctoral competency project are advised that requirements for the term paper and the competency project differ. It is possible, for instance, to write a fine term paper that satisfies the requirements of this course, yet is not quite up to par for a publishable doctoral project. While the term paper can indeed be used as a draft of the doctoral project, typically the competency project requires further consultation, work, and revision beyond this course. At the same time, however, doctoral students should note that with careful selection of topic and planning, the term paper for this course can advance them considerably toward completion of the doctoral project.

Paper proposals are due by February 21. A general outline and working bibliography are due by March 14. The paper itself is due by May 9. Students writing the term paper are invited to consult periodically with the instructor on their progress. If it can be accomplished in timely fashion, i.e. sufficient turn-around time, the instructor is willing to read and offer suggestions on the first draft.

Master's students may elect to do the term paper in lieu of the final exam.

The final exam is an opportunity to synthesize and reflect broadly on the work of the course. It consists of four discussion questions, two of which will be completed "open book" and "open notes" prior to the exam day. The other two questions will be takenfrom a longer list of questions provided to students during the final weeks of the course.

ASSESSMENT/EVALUATION:

Final course grades will be determined by:

Class Participation (Attendance, Contributions to class discussion/activities)
-----Master's: .10, Doctoral .05
Historical Project
-----Master's: .20; Doctoral .20
Philosophical Project
-----Master's: .20; Doctoral .20
Web site Project: -----Master's: .10; Doctoral .10
Competency Quiz:
-----Master's: pass; Doctoral: pass
Article Review/Presentation:
-----Master's: .05
Book Review/Presentation:
-----Doctoral: .10
Weekly Internet Assignments:
-----Master's: .20; Doctoral: .15
Term Paper:
-----Master's: may do in lieu of final exam; Doctoral: .20
Final Exam:
-----Master's: .15

*Master's students may elect to do a term paper instead of the final exam (the paper will be worth 20 points); Doctoral students must do the term paper.

GRADING SCALE:

A = 93-100 points; B = 85-92 points; C = 77-84 points; D = 69-76 points; F = 68 points or below.

For course calendar and assignments, click Here.

APPENDIX

PROJECT NUMBER ONE (due Wednesday, March 28)

This is a small-scale historical project. Students may choose one of three options:

(1) For a given year, identify the main socio-cultural events, the main musical events, and the main music education events. Ascertain what relationships, if any, exist among these various factors. Be sure to distinguish between coincidental relationships, which require only evidence, and causal relationships, which require both evidence and argument.

A sample outline for option one might look like this:

I. Introduction (partial page)

II. Sociocultural events (two or three pages)

III.Musical events (two or three pages)

IV. Music Education Events (two or three pages)

V. Summary and conclusions (two pages)

(2) For a given two year period, examine all issues of one music journal or periodical (e.g., Music Educators Journal, 1940-1941). You may do an overall, genus content analysis (e.g., identifying/classifying types of articles) or a specific content analysis of a continuing aspect of the journal (e.g., advertisements, letters to the editor, a continuing column/columnist, etc.). Briefly place your findings in the context of major socio-cultural and/or musical events of the same timeframe (e.g., professional concerns of American music educators on the eve of U.S. entry into World War II as reflected by articles in the Music Educators Journal, 1940-1941).

A sample outline for option two might look like this:

I. Introduction (one to three pages)

II. Content Analysis (four or five pages)

III. Summary and Conclusions (one to three pages)

*Placing your content analysis briefly in the context of major sociocultural and musical events may occur either in the Introduction or the Summary.

(3) Interview a music educator or administrator or a person who participated as a student in a particular music organization or event. On the basis of the interview/oral history, focus your writing on a particular facet or event, or set of facets/events, of interest to music education. Your project should also contain a brief biography of the person and an effort to place the focus of your project succinctly in the context of musical and sociocultural events of the time. E.g., Interview George Heller, Rudolf Radocy, or David Bushouse about their tour behind the Iron Curtain with the University of Michigan band under Revelli.

A sample outline for option three might look like this:

I. Introduction, including the historical context of the event or organization and a brief biography of the person interviewed (two to three pages)

II. Report of the interview (four or five pages)

III.Summary and conclusions (one to two pages)

The written report should be eight to ten pages long (not counting footnotes, references, appendices, and the like). It must be typewritten and double-spaced throughout. In general, the style should follow Kate L. Turabian, A Manual for Writers of Term Papers,Theses, and Dissertations, 6th ed., revised by John Grossman and Alice Bennett (Chicago: The University of Chicago Press, 1996), and use footnotes rather than parenthetical references.

Students with defined research goals may negotiate a different focus, e.g., a historiographic essay, for this project if desired. Consult with the instructor as soon as possible.

Some sources for main sociocultural events:

Boorstin, Daniel J. The Americans: The Colonial Experience. New York: Random House, 1958.
________. The Americans: The National Experience. New York: Random House, 1965.
________. The Americans: The Democratic Experience. New York: Random House, 1973.
Cremin, Lawrence. American Education: The Colonial Experience, 1607-1783. New York: Harper & Row, 1970.
________. American Education: The Metropolitan Experience, 1876-1980. New York: Harper & Row, 1988.
Grun, Bernard. The Timetables of History. New York: Simon and Schuster, 1982.
Norton, Mary Beth, David M. Katzman, Paul D. Escott, Howard P. Chudacoff, Thomas G. Patterson, and William M. Tuttle, Jr. A People and A Nation: A History of the United States. 3rd ed. 2 vols Boston: Houghton Mifflin Company, 1990.
Schlesinger, Arthur M., Jr., ed. The Almanac of American History. New York: Bison Books, 1983.

Some sources for main musical events:

Bowers, Jane and Judith Tick. Women Making Music: The Western Art Tradition, 1150-1950. Chicago: University of Illinois Press, 1986.
Chase, Gilbert. America's Music" From the Pilgrims to the Present, i3rd ed. Urbana, IL: University of Illinois Press, 1987.
The Etude (1896-1957)
Grout, Donald Jay, and Claude V. Paslica, "Chronology," in A History of Western Music, 3rd ed. New York: W. W. Norton & Company, 1980, 800-824.
Hamm, Charles. Music in the New World. New York: W. W. Norton & Company, 1983.
Hitchcock, H. Wiley. Music in the United States: A Historical Introduction, 3rd ed. Englewood Cliffs, NJ: Prentice Hall, Inc., 1988.
Kingman, Daniel. American Music: A Panorama, 2nd ed. New York: Schirmer Books, 1990.
Mattfield, Julius. Variety Music Cavalcade, 1620-1961, 2nd ed. Englewood Cliffs, NJ: Prentice Hall, Inc., 1962.
Metronome (1885-1961)
The Musical Quarterly (1915-present)
The Musician (1896-1948)
The New Grove Dictionary of American Music, 1986 ed. S.v., "Periodicals," by Imogen Fellinger and John Shepard.
Stolba, K. Maire. The Development of Western Music: A History. Dubuque, IA: Wm. C. Brown Publishers, 1990.
Southern, Eileen. The Music of Black Americans: A History, 3rd ed. New York: W. W. Norton and Company, 1997.
Whitburn, Joel. The Billboard Book of Top 40 Hits: 1955 to Present. New York: Billboard Publications, 1983.

Some sources for main music education events:

Birge, Edward Bailey. Historyof Public School Music in the United States, 2nd ed. Boston: Oliver Ditson, 1937; new and augmented edition, Reston, VA: Music Educators National Conference, 1966.
Keene, James A. A History of Music Education in the United States. Hanover, NH: University Press of New England, 1982.
Music Educators Journal (1934-present)
MENC Proceedings (1935-52)
Music Supervisors Journal (1914-34)
MSNC Proceedings (1910-24)
MTNA Proceedings (1876-1950)
NEA Proceedings (Music Education Department) (1884-present)
The New Grove Dictionary of American Music, 1986 ed. S.v., "Education," by Richard J. Colwell.
School Music (1900-36)

PROJECT NUMBER THREE (due Wednesday, May 2)

This is a short philosophical paper (about 7 pages). It should be a sound and valid argument about the theory and practice of music education. This paper may not be a simple statement of opinion or belief; it is not a "point of view." Rather, it must evidence engagement with the philosophic process, particularly critical inquiry and defensible logic.

The paper should not be heavily footnoted. If you consult sources, please document appropriately; however, this paper should represent primarily your own philosophizing and critical reflection on both the materials of this course and your experiences as a music educator.

A sample outline might look like this:

I. Address the nature and practice of music education: Argue which is genus and which is species (music or education), or argue logically for a dialectical or synergistic relationship between the two. Your overall line of reasoning will want to include as well arguments related to the nature and identity of "music" and the nature and practice of "education."

A. Diagram or outline your argument(s): (One page or as many pages as needed)

Proposition(s): Premise(s)/Assertion(s)
Inference(s)
Proposition(s): Conclusion(s)
(Be careful to avoid logical fallacies).

B. Write your argument(s) in prose, fleshing out and including examples as appropriate. Write using elegant, but "lean" and precise language. (Three pages)

II. Application of the perspective(s) argued above to your current or future teaching context. You will likely want to follow the form "if p then q" for this section. At some point, this section of your paper should address the question "So what?" (One page)

III. Critically evaluate the stance you have articulated. What are its logical/defensible strengths? What are its weaknesses (e.g., where might others most easily take issue with it)? What elements will call for further reflection to develop more fully? (One or two pages)

This paper should be six to seven pages long (not counting footnotes, if any). It must be typewritten and double-spaced throughout. In general, the style should follow Kate L. Turabian, A Manual for Writers of Term Papers,Theses, and Dissertations, 6th ed., revised by John Grossman and Alice Bennett (Chicago: The University of Chicago Press, 1996).

SOME BOOKS FOR REVIEW


(Other choices may be negotiated.)


Alperson, Philip, ed. What Is Music? An Introduction to the Philosophy of Music. University Park, PA: The Pennsylvania State University Press, 1994. This volume is a reprint, with an updated bibliography, of the 1987 book published by Haven Publications, Inc.

Aristotle. Politics. Translated by Benjamin Jowett. In Richard McKeon (ed.), The Basic Works of Aristotle. New York: Random House, 1941.

Aristotle. Poetics. Translated by Gerald F. Else. Ann Arbor, MI: University of Michigan Press, 1967.

Attali, Jacques. Noise: The Political Economy of Music. Manchester, UK: Manchester University Press, 1985).

Augustine. Confessions. Translated by R. S. Pine-Coffin. Harmondsworth, UK: Penguin Books, 1971.

Birge, Edward Bailey. History of Public School Music in the United States, 2nd ed. Boston: Oliver Ditson, 1937; new and augmented edition, Reston, VA: Music Educators National Conference, 1966.

Blacking, John. How Musical Is Man? London: Faber and Faber, 1976.

Boethius. Fundamentals of Music. Translated by Calvin M. Bower. Edited by Claude V. Palisca. New Haven, CT: Yale University Press, 1989.

Bowman, Wayne. Philosophical Perspectives on Music. Oxford, UK: Oxford University Press, 1998.

Brand, Manny, ed. Philosophy in Music Education: Debating the Issues. This collection of essays is Volume II, Number 3 of The Quarterly Journal of Music Teaching and Learning (Fall, 1991).

Brett, Philip, Elizabeth Wood, and Gary C. Thomas (eds). Queering the Pitch: The New Gay and Lesbian Musicology. New York: Routledge, 1994.

Butt, John. Music Education and the Art of Performance in the German Baroque. Cambridge, UK: Cambridge University Press, 1994).

Campbell, Patricia Shehan. Lessons from the World: A Cross-Cultural Gujide to Music Teaching and Learning. New York: Schirmer Books, 1991.

Citron, Marcia J. Gender and the Musical Canon. Cambridge, UK: Cambridge University Press, 1993.

Colwell, Richard J., ed. Basic Concepts in Music Education, II. Niwot, CO: University Press of Colorado, 1991.

Cook, Nicholas. Music, Imagination, and Culture. Oxford, UK: Clarendon Press, 1990.

Cook, Nicholas and Mark Everest (eds). Rethinking Music. Oxford, UK: Oxford University Press, 1999.

Cook, Susan C. and Judy S. Tsou. Ceclia Reclaimed: Feminist Perspectives on Gender and Music. Chicago: University of Illinois Press, 1994.

Cremin, Lawrence. Traditions of American Education. New York: Basic Books, Inc, 1977.

Dewey, John. Art as Experience.

________. Democracy and Education: An Introduction to the Philosophy of Education. New York: Free Press, 1966 (A reprint of the 1916 edition).

Green, Lucy. Music on deaf ears: Musical meaning, ideology, education. Manchester, UK: Manchester University Press, 1988.

Heller, George. Charles Leonhard: American Music Educator. Metuchen, NJ: The Scarecrow Press, 1995.

Henry, Nelson B. (ed.). Basic Concepts in Music Education (I). Published as the Fifty-seventh Yearbook of the National Society for the Study of Education, Part I. Chicago: The University of Chicago Press, 1958.

James, Jamie. The Music of the Spheres: Music, Science and The Natural Order of the Universe. New York: Springer-Verlag, 1995.

Jorgensen, Estelle R., ed. Philosopher, Teacher, Musician: Perspectives on Music Education. Urbana, IL: University of Illinois Press, 1993. This book is a reprint of the Journal of Aesthetic Education, volume 25, number 3 (1991).

Jorgensen, Estelle R., ed. Philosophy of Music Education Review 6, no. 2 (Fall 1998). An issue devoted to historical research in music education. Kant, Immanuel. The Critique of Judgement, trans., with analytical indexes by James Creed Meredith (1928; reprint Oxford: Clarendon Press, 1952).

Keene, James A. A History of Music Education in the United States. Hanover, NH: University Press of New England, 1982.

Kerman, Lawrence. Contemplating Music. Cambridge, MA: Harvard University Press, 1985.

Kivy, Peter. Music Alone: Philosophical Reflections on the Purely Musical Experience. Ithaca, NY: Cornell University Press, 1990.

Kivy, Peter. The Fine Art of Repetition: Essays in the Philosophy of Music, Cambridge, UK: Cambridge University Press, 1993.

Kohli, Wendy, ed. Critical Conversations in Philosophy of Education. New York: Routledge, 1995.

Krims, A. (Ed.). Music/ideology: Resisting the aesthetic. Amsterdam: Overseas Publishers Association, 1998.

Langer, Susanne K. Philosophy in a New Key. Cambridge, MA: Harvard University Press, 1942.

Langer, Susanne K. Feeling and Form. New York: Charles Scribner's Sons, 1953.

LaCroix, Richard, ed. Augustine on Music. Lewiston: Mellen Press, 1988.

Lippman, Edward A. Musical Thought in Ancient Greece. New York: Columbia University Press, 1964.

Lippman, Edward A. A History of Western Musical Aesthetics. Lincoln: University of Nebraska Press, 1992.

Mark, Michael L. Contemporary Music Education, 3rd ed. New York: Schirmer Books, 1996.

Marshall, Kimberly, ed. Rediscovering the Muses: Women's Musical Traditions. Boston: Northeastern University Press, 1993.

McClary, Susan. Feminine Endings: Music, Gender, and Sexuality. Minneapolis, MN: Minnesota University Press, 1991.

Meyer, Leonard. Emotion and Meaning in Music. Chicago: University of Chicago Press, 1956.

Motycka, Arthur, ed. Music Education for Tomorrow's Society: Selected Topics. Jamestown, RI: GAMT Music Press, 1976.

Mursell, James L. Principles of Music Education. New York: Macmillan, 1927.

Mursell, James L. Human Values in Education. New York: Silver Burdett Company, 1934.

Mursell, James L. Education for Musical Growth. Boston: Ginn, 1948.

Nettl, Bruno. Heartland Excursions: Ethnomusicological Reflections on Schools of Music. Urbana, IL: University of Illinois Press, 1995.

Phenix, Philip. Realms of Meaning: A Philosophy of the Curriculum for General Education. New York: McGraw-Hill, 1964.

Plato. The Republic., trans. Benjamin Jowett (New York: Airmont, 1968).

Portnoy, Julius. The Philosopher and Music: A Historical Outline. New York: The Humanities Press, 1954.

Rainbow, Bernarr. Music in Educational Thought and Practice: A Survey from 800 B.C. Aberystwyth, Wales: Boethius Press, 1989.

Raynor, Henry. A Social History of Music from the Middle Ages to Beethoven. New York: Taplinger, 1978.

Read, Herbert. Education Through Art. London: Faber and Faber, 1958.

Reimer, Bennett. A Philosophy of Music Education. 2nd ed. Englewood Cliffs, NJ: Prentice Hall, 1989.

Reimer, Bennett, and Ralph A. Smith. The Arts, Education, and Aesthetic Knowing. Chicago: University of Chicago Press, 1992.

Serafine, M. L. Music as Cognition: The Development of Thought in Sound. New York: Columbia University Press, 1988.

Schiller, Friedrich. On the Aesthetic Education of Man, Edited and translated by Elizabeth M. Wilkinson and L. A. Willoughby. Oxford: Clarendon Press, 1982.

Shepherd, John. Music as social text. Cambridge, UK: Polity Press, Cambridge, and Basil Blackwell, Inc., 1991.

Small, Christopher. Music-Society-Education. 2nd revised ed. London: John Calder, 1980.

________. Musicking: The Meanings of Performing and Listening. Hanover, NH: University Press of New England, 1998.

Schwadron, Abraham. Aesthetics: Dimensions for Music Education. Washington, D.C.: Music Educators National Conference, 1967.

Southern, Eileen. The Music of Black Americans: A History. (3rd ed.). New York: W.W. Norton & Company, 1997. Sunderman, Lloyd. Historical Foundations of Music Education in the United States (Metuchen, NJ: The Scarecrow Press, 1971. (Based largely on his 1939 dissertation).

Swanick, Keith. Music, Mind, and Education. London: Routledge, 1988.

Volk, Terese M. Music, Education, and Multiculturalism: Foundations and Principles. New York: Oxford University Press, 1998.