High School General Music: What’s Holding Us Back? Charles McDermid


Reprint from Michigan Music Educa- tor, April 1961.


“…Three subjects should be required of every high school student, Social Studies, Music and Typing.”—Dr. James Bryant Conant, former Presi- dent of Harvard University.


“Not all learners will wish to con- tinue with organized music activities throughout their school years. Those who wish further experiences with music should have the option of elect- ing a class which is essentially the same as the required general music class with materials and methods adapted to the increasing maturity of the learners.”—Clifton Burmeister, writing in Basic Concepts about the general core program of music educa- tion at the secondary level.


Finally, this quote from the new book- let issued by NEA in cooperation with MENC, Music For the Academically Talented Student in the Secondary School p. 23: “For the academically talented student whose previous expe- riences have included a high level of vocal or instrumental performance… it is important that this performance be continued with uncompromising adherence to the highest standards of repertoire and technical proficiency. It is essential, however, that ample provision also be made for listen- ing, analysis, reading, writing, and discussion, so that he can grow in understanding the music he performs, as well as of other music. Skills alone are not enough for the academically talented student.”


I have used the above quotes as a “springboard” for the editorial this issue. Many in the profession are well aware of the problem of music in the general education program at the


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high school level, yet the urgencies of a rapidly changing era of scientific achievement and automation are forc- ing music educators to re-examine the total music instructional program as it exists at the secondary level.


For many years now, our elementary and junior high school programs have met with moderate to whole-hearted acceptance from administrators, classroom teachers and parents. Cur- ricula, philosophy and texts have made considerable progress in presenting a program of general music that is, and has been, consistent with educational thinking and research. This program, provided that it keeps step with mod- ern educational trends, seems assured of continued growth in our educational system.


It is at the secondary level, however, that we find many traditional music courses encountering some rough water. There has not been a com- munity in Michigan that has escaped the onslaught of press releases and reports urging a return to the sciences, languages and the so-called “funda- mentals.” Despite the A.A.S.A. 1959 Convention and Resolution supporting the role of the Creative Arts, educa- tional newsletters, magazines and the airwaves are continuing their efforts to arouse the public in support of these “Vital areas of educational defense.” Administrators, school board members and curriculum people are most aware that these reports are having an effect.


Certainly we would not wish to di- minish the great importance of these subjects to the future national security and foreign relations programs of our country. We are concerned, however, that music and the other creative arts are so frequently passed by when cur- riculum improvement is sought. Some


of us may tend to bask comfortably in the old philosophy “let sleeping dogs lie,” but for most of us the immediacy of the multitude of present duties seemingly keep us involved with the rigors of the Festivals and Spring Con- certs, not to mention budgets, teach- ing a full day of ensembles (large and small) and then helping with church choirs or other civic ensembles during the “off hours.” Such goes the week of every conscientious high school choral or instrumental director, and the thought of additional curriculum meet- ings with other staff, in order to plan for a larger and broader program to meet the needs of the non-performing students, is almost too much to con- sider. Yet the challenge to offer, at the secondary level, a balanced program of performance groups, classes in general music, theory and music lit- erature continues. More is being heard recently from curriculum consultants and administrators about the value of performance skills in the area of gen- eral education. What we have heard tends to support the general aspects of the humanities program—that of a basic body of knowledge in all the fine arts.


Ensembles Specialize


That the performing ensembles have a tendency to overspecialize has been brought vividly to this writer’s atten- tion. He has had ample opportunity to observe the non-music major at the collegiate level in a course called “Music Foundations” for undergradu- ates preparing for elementary class- room teaching. A little preliminary testing each term of my groups reveals that most do not know what a sym- phony or an art song, is; most cannot distinguish more than six or seven of the instruments of the orchestra by sound, and everyone of them agrees


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