Chapter 1 History

Chapter 1
1. How did the ancient Greek doctrine off ethos affect instruction in music?
The ancient Greeks believed that music had a great influence on a person’s character. The doctrine of ethos was a belief that music affected everything that existed such as an individual’s will, his or her character or behavior. Aristotle was even quoted saying that a person becomes whatever quality of music they are listening to. Plato was also quoted stating that the aim of ‘musical’ education is to inculcate rhythm, harmony and temperance of the soul, and thus develop good moral character.
This doctrine of ethos was the beginning of justification for music and the arts to be available for every student. During the 1980s music education was under attack from the government because of a ‘declining quality’ in education given to young people. This Reagan appointed commission stated that over the past twenty-five years the requirements to graduate high school and enter college have been lowered. The MENC came out with a statement to protect music education in public schools, “every individual of group that has made a major contribution to educational thought since Plato has spoken of the importance of the arts in education.”
Even the Greek philosophers knew the importance of music as part of a students’ education. The doctrine of ethos helped protect music in education and define its importance in every students’ upbringing.

2. What were the circumstances that led to early efforts to create a form of music notation?
During the 17th and 18th centuries the colonial’s poor singing in church led ministers to establish singing schools. These schools were to improve the singing quality of their students for church purposes.
Initially these schools only concerned themselves with correct vocal production and not on singing fundamentals or reading music notation. They were mainly concerned that the melody be sung correctly, melodically as well as rhythmically.
The first music instruction books were the product of John Tufts, a minister, who in the early eighteenth century wanted to teach the churchgoing colonists to sing psalms and hymns. He devised a tetrachord system of notation in which the octave in broken into two identical halves. His system was later adapted into ‘shape notes’ in which each of the four shapes of the note heads indicate a syllable. Shape notes are still seen occasionally in the notation of some hymnals, especially in the music of southern states and in Appalachia.
Poor singing in church led ministers in New England to create singing schools and improve the singing quality of students singing in church. The teachers of these singing schools created the earliest forms of music notation.

3. What guidelines for music teaching were adopted by the American followers of Pestalozzi? Which of the guidelines are still useful today?
Pestalozzi was one of the first to create a structured theory on education. He stated that the only true foundation of human instruction was that acquired through direct participation. He was one of the first educators to distinguish between “real knowledge” and “book knowledge”, the ivory tower versus the clinical experience.
Pestalozzians theories on education were transferred over to music education by Joseph H. Naef. He founded an elementary school that had music as a basic subject and all children were given appropriate music instruction. His main principles of vocal music education were very structured and that each element of music rhythm, melody and expression were to be taught separately, to make active instead of passive learning. Also that the principles of theory to be taught after the practice as an introduction into reading music.
Today music educators still use these basic teaching fundamentals in elementary vocal and instrumental music. Students are taught to read notes and rhythms before elements of expression are introduced.

4. Why were Lowell Mason’s efforts at establishing music in schools limited to vocal music at the elementary level? On what basis did he justify the inclusion of music in the school curriculum?
Lowell Mason was the first recognized official supervisor of elementary vocal music in the Boston public schools. He spearheaded the idea that music could be taught to children in the public school and became the first teacher of music in the schools of Boston. Mason established a vocal studio in Boston to improve the quality of the society’s performances.
Around these times music in Europe was an elite concept but Mason believed that any child who could read could sing. Around this time Horace Mann was advocating free public school and the American educational system was growing. Mason and Mann became friends and Mann invited him to speak at many workshops and meetings to advocate for music in public schools. Mason believed that music contributed to the well-being of the individual. That music brought comfort, solace, better homes, better citizens and happier human beings. Mason felt that everyone could enjoy music and all that was needed was proper education and proper training.
Lowell Mason was an established vocal music educator and became the nation’s first public school teacher in 1838. The public education system in America was rapidly growing during the 19th century and Mason knew that music would be an integral part of public schools.

5. What conditions in the first part of the 20th century contributed to the expansion of music in schools, especially secondary schools? What forms did this expansion take?
After the civil war public schools saw a change in development, materials, and methods devoted to the instruction of larger groups. The small group setting of the singing school and conservatories were no longer used as a result of students gradually wanting a higher education including graduating from high school and eventually college.
High school in the early 1900s was primarily used as a preparatory step toward college and, as a result, a much smaller percentage of students attended high school. These programs were unique and innovative and it became important for the school’s responsibility to make music available to all children.
A more cultured America was prevailing with the development of symphony orchestras. Large string and band classes were developing as after school activities with much success and soon became courses available during the school day.
Group piano classes began to appear around 1913 in high schools and later moved to the elementary schools, where class techniques for early piano instruction evolved.
As the country became more prosperous the American society began to concern itself with the quality of living. This concern included an awareness of the need for developing a cultured America.

6. What were the significant points made in the Tanglewood report?
In 1967 the MENC met in Tanglewood, the summer home of the Boston Symphony, to consider major issues related to the theme “Music in American Society”. The symposium was assembled not only because of the urgent issues confronting the arts and music but also as a result of some of the many criticisms and attacks being made on music education.
The symposium focused on the problems and potentials for music activities and musical development in American society. Music education as an integral part of life and living, not only within the individual but as it extended to society, was the prime focus.
The symposium gave direction on such topics as youth music, music in urban education, electronic music, music in the related arts, and music for the child in “special education.” This was the profession’s attempt to make its programs more current and more relative to issues of the day.