contribute to the field in which he operates the more stable will the self-concept be. Thus neither social studies, nor science nor English nor mathematics will satisfy the total human need but he must have skills to cope with all aspects of his field. In short, he must have great understandings of music to respond to and participate in this upsurge of music. His skills must be increased; his insight sharpened; his knowledge broadened.


Second, our economy and advanced scientific knowledge has done much for him. Earnings are at the highest level in our history and work hours at the same time are the shortest. Labor-saving devices have practically eliminated the endless hours of home chores Medical research has lengthened the life of man. For the first time in recorded history man has money to spend and free time to spend it. Commercial entertainment enterprizes are flourishing but at the same time so are interests in personal types of entertainment. This provides demand for a greater degree of appreciation and understanding of all forms of music and at the same time for more and more performers with technical skill and perfection.


In all this, the school and, more pertinent here, the music department have a tremendous part. I would like to repeat in a slightly different form something I said earlier. The basic philosophy for all people in music should be that their efforts be directed toward the developing in each pupil according to his ability and capacity, those knowledges and skills in music which will enable him to appreciate and enjoy worthwhile musical experiences as a member of society. Please note, this implies all degrees of participation from passive listening to skilled performance and is controlled only by the individual’s own abilities and capacities.


Music has now inescapably become a part of the total education of the individual. It can no longer be considered solely the province of the talented and creative. It is theirs, indeed, and they need every opportunity to bring their talent and creativity to fruition, but more, it is the property of all who live in the world today. It is a part of their existence and as such must be completely understood that they may live fully.


Music provides the bridge by which one may gain a better understanding of other times and places. As one begins to know the uniqueness of instruments in times past, or the songs of other countries, he begins to develop an awareness as to the differences or likeness in cultures. Further, such knowledge gives one many clues as to how this nation which has its roots in all nations has become what it is. Thus, it is essential that a complete music program contain areas of wide exploration in the music of all times and places.


Music also provides a basic and universally understood means of communication. To communicate is essential to the enhancement of the self. To say what one thinks or feels; to see the reactions of others to these, and to hear an expression of what others are thinking and saying is one of the prime means of structuring the self- concept. Language barriers present an insurmountable block to


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total communication. Music transcends this block. Thus, to assist in the structuring of an acceptable self-concept it is essential that a program be established which gives a multiplicity of experiences in understanding the thoughts, feelings, and ideas communicated in musical form.


A corollary to the above and yet distinct, is the fact that music provides an opportunity for creative expression. Once again, the human need to enhance the self; to build a totally fresh expression finds its most perfect vehicle in music. Whether the individual creates something totally new or gives a new interpretation to a work previously created, it is a wholly personal thing. It gives that creative drive lodged in each of us, an outlet of limitless dimension. Thus, a comprehensive program must provide for an opportunity for creative expression.


These are but three very broad criteria for a music program which is to play its true role in our schools and our society. The literature published by your professional organizations abounds with others. In my preparatory reading I have found many others such as:


A music program must have unity not only in goals but in methods from kindergarten through high school.


A music program must be integrated with the rest of the curriculum. A music program must be challenging, stimulating, and pleasurable. So on ad infinitum.


To accomplish a fraction of these things is no mean task, yet happily I can report it is being done. In great haste I would like to report some things I’ve seen in classrooms throughout Michigan.


I have seen a first grade where the children developed an original tune on the bells; learned to read the notes when they were written on the blackboard; wrote the words to fit the melody, and performed their creation in many musical combinations. Here was creative expression, communication, and real skill and knowledge learning.


In the second grade room I have seen children learn a new song through analysis of the rhythm pattern, listening to the melody, singing phrases, and listening to and singing with a record. All these so effortlessly blended that the children were scarcely aware of the variety and breadth of experience.


A fourth grade group which had written an original Indian play, screened and selected Indian songs, wrote the song flute accompaniment, selected solo voice and provided their own musical background for the play.


Another fourth grade built percussion and string instruments combining this with a study of the history of these two groups as well as learning how the sound is created. I have seen places where every child in the fifth and sixth grades had a six-week concentrated exploratory period with an


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