American education reform and music curriculum in the post-war era

Chapter 5

I. 1940s-1950s: Post-War World

a. America is the strongest military, economic, and industrial force

b. The Cold War brings tension, however

c. Rapid technological change is everywhere

d. National security is a top concern—but so too is education reform

II. Proponents of Reform

a. Admiral Hyman Rickover relied on an educated population to support his program

i. He saw American schools as weak compared to European schools

ii. He saw some students as more gifted than others and did not see equal treatment of all students as efficient or effective

b. Dr. James Bryant Conant, former president of Harvard

i. Stressed stronger academic preparation

ii. With Rickover, he wanted more attention on science/math

c. Woods Hole Conference--1959

i. Leaders became concerned about education

ii. Federal government got involved

1. American Association of School Administrators issued statement calling for curriculum reform

2. National Education Association did the same

III. 1950s-1960s

a. Society evolving rapidly

b. No room for a 1930s music curriculum in a 1950s classroom

c. Fast and radical social change demanded more modernization in the music classroom

d. Thus, John Goodland wrote: “The curriculum and the students of tomorrow may be better served by subjects and subject combinations other than those deemed important today” (p. 149).

e. Philosophy of music education prevalent at the time focused on how Western art music was an expression of feeling

f. Foundations and Principles of Music Education in 1959 by Charles Leonhard and Robert House set the stage for the philosophy of music as aesthetic education

i. The philosophy of music education according to Leonhard and House was this:

ii. “a system of basic beliefs which underlies and provides a basis for the operation of the musical enterprise in an educational setting” (p. 151).

g. The Process of Education

i. Conceptual learning in music education

ii. “The heart of music education has become the study of music itself, the components of pitch, duration, dynamics, and timbre, and the resultant concomitants such as melody, harmony, rhythm, instrumentation, style, and form” (p. 154).

IV. 1960s-1990s

a. Changes improved SAT scores

b. National accountability movement helped clarify goals and objectives

c. Language and core curriculum were the focus of national attention

d. However, problems persisted

i. Drop-out rate was too high

ii. SAT scores plateaued

iii. Too much money being spent and not enough improvement

e. National Defense Education Act off 1958

i. Gave money to schools to support classes such as music

ii. Title I allowed federal dollars to go to music and other arts programs

iii. However, in 1973, Title I was revised so that funds only went to music/arts if the courses somehow supported basic skills

f. Learning in the Arts for Children and Youth

i. Brought new programs of arts to children

ii. Hundreds of millions spent supporting music/arts programs

g. National Alliance for Arts Education

i. JFK Center for Performing Arts in the 1970s supporting performers

b. Hawaii Music Curriculum Program

i. Established to create a logical, continuous educational program ensuring the competent guidance of the music education of all children in the state’s public schools and to test and assemble the materials needed by schools to realize this program

ii. Implemented comprehensive musicianship concepts

c. Manhattanville Music Curriculum Program

i. Premise of this program was that learning is based on a spiral curriculum, reflecting Jerome Bruner’s theory of learning

ii. Emphasized curriculum and related materials for sequential music learning

d. Civil Rights Movement

i. Increased permissiveness towards the younger generation and acceptance of its tastes in music, clothing, and other lifestyle characterization

ii. Enabled the recognition of the value of all kinds of music

e. National Association of Jazz Educators

i. Brought jazz and rock into the music classroom

ii. Emphasized youth culture and rock music