that there are only two styles in music —popular (jazz) and classical! It must be remembered that the majority of these people have not had a music class beyond the seventh or eighth grade music class. There are still, how- ever, a large number of these people who state that they have performed in a high school ensemble two or possi- bly three years. A quick check of those who have stated they have performed in instrumental ensembles, reveals only limited amounts of’ performance skill in relation to the musical score. Those who have sung in choral organi- zations sing in tune for the most part, but cannot interpret’ a key signature, tap out easy dotted note patterns, or define the difference between a major or minor scale. Most of these young teachers-to-be further state that they have not participated in music actively since leaving the confines of their high school performance experience. A majority also states that they listen to radio, recordings or TV each day and that they enjoy music but asked what musical programs they watch on the TV, most replies indicate the variety shows and the solo “pop singer” type. These people, please remember, are college material, preparing to teach music in our elementary classrooms all over our state.
It is not the purpose of this edito- rial to condemn present programs. It is sobering, however, to realize that some of our brighter students from our high schools, who have participated in performing organizations, have so little actual knowledge about the total field. There are exceptions, of course, but the majority of them have not been able to glean much about the broad areas of general musical knowledge that could have been gained if some sort of general music course had been offered in their secondary experience. It is almost too obvious to mention if these people, whom we must admit are generally above average in scholastic accomplishment and ability, are so rel- atively uninformed about music, what
is the level of understanding possessed by those who have not matriculated to areas of higher education.
Performance Essential
We certainly do not wish to imply that performance at the secondary level is not needed, and that a lack of general music classes at the high school level means necessarily a poor music program. It is our conviction that any excellent choral or instrumen- tal director has always fostered solid musical growth within his organiza- tion. Orchestras, bands and choirs must continue as the backbone of all good performance training in our high schools. Musical growth for the performing student would be stymied without these groups. The cause for which we are exhorting is a consid- eration of a course that will supply additional study for the high school performer and non-performer in the areas of total musical knowledge; a program that will foster and create a love’ and understanding through participation. Such participation would include a broad approach to the choral and instrumental literature, some basic musical theory, formal analysis, style and instrumental colors through listening, playing on folk instruments in order to more fully understand the basic musical rudiments and folk music literature; and a survey study of many of the other facets of our musi- cal culture.
Answers Must Be Sought
It is not the function of this column to give specific answers or possible solu- tions for any state-wide area problem. We are bold, however, in the wake of several excellent articles on gen- eral music published recently by our MENC Journal, to suggest some paths of action:
1. In helping to’ effect locally the work of our national Committee on General Music, (headed by Karl D. Ernst) it
is recommended that MMEA form an area committee to study and define the role of General Music in Michigan schools, and to give particular em- phasis to such study at the senior high school level.
2. If such a committee is formed, it should be given authority to move freely in its work. Its function should not, however, usurp areas of choral and instrumental work and planning already handled by MSVA and the In- strumental Area. The urgency of defi- nition in this area must be recognized, and the committee should move ahead confidently and efficiently with lines of operation clearly defined; therefore, all Committee Areas and departments of MMEA should be consulted and asked to help clarify avenues of ap- proach that can properly be delegated to a General Music Committee.
3. It is suggested that the committee should be kept at a maximum number of six to eight members. Member- ship should include at least four to six members from the MMEA and the remaining two or three selected from other Departments of MEA. Resource people from MASCD and MASSP would be invaluable in matters of administrative and total curriculum problems relative to General Music at the secondary level.
4. It is strongly recommended that such a Committee be assigned a definite time limit in which to pro- duce concrete proposals for the entire membership to study, revise and give possible approval as a recommended General Music class curriculum at the secondary level. A time limitation is most necessary if we are to give the general music program a chance. Only through trial and error will this program succeed or fail. We’ve talked about this program for years-now we must give it a trial!!!
Basically, a small committee, if well defined in its purposes and ultimate
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