Serveur d'exploration autour du Bourgeois gentilhomme

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A matter of ethics

Identifieur interne : 000A61 ( Istex/Corpus ); précédent : 000A60; suivant : 000A62

A matter of ethics

Auteurs : Newell H. Long ; Arthur A. Horvath ; Josephine C. Bell ; Lucie N. Landen

Source :

RBID : ISTEX:490360E81BC7A3C478124CF92D0AB8C6B24C2ACE

English descriptors


Url:
DOI: 10.2307/3395261

Links to Exploration step

ISTEX:490360E81BC7A3C478124CF92D0AB8C6B24C2ACE

Le document en format XML

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<meta-value> readers comment A matter of ethics In “A Matter of Ethics/’ [MEJ, January 1977, page 32] Thomas H. Hill overlooked one very important consideration: The student who forsakes the school orchestra to participate in the community orchestra may benefit from the experience of playing alongside even more proficient and seasoned performers and from playing more challenging music than the school group should attempt. But this same student is depriving the members of the school orchestra of the music leadership he or she could provide, thus reducing the educative, artistic, and enjoyable qualities of the experience obtainable in the school orchestra by the other students. Hill emphasized the 1's rights without even mentioning the 1's ethical responsibilities. I also take exception to 1's statistical assumption that, because a 1972 ASTA survey found that eighty-two percent of the orchestras replying employed school or college music teachers as conductors, the problem of conflict between participation in school groups and participation in community groups “must be primarily with the other eighteen percent who are not involved in public or higher education.” The orchestra director from school A may be conducting a community orchestra recruiting players from schools B and C as well as from school A. Furthermore, the college teacher who conducts a community or youth orchestra can be as unreasonable in demanding complete loyalty at the expense of loyalty to a high school group as the conductor who has no connection with educational institutions. Obviously, the problem is not confined to that eighteen percent. I would hope that a student would wish to maintain his or her membership in the school ensemble while playing in the community one. Consequently, I believe that the school music teacher and the community orchestra conductor have an ethical responsibility to work out, on a give and take basis, the schedule conflicts that arise from participation in both organizations. Perhaps the ASTA and MENC guidelines were too slanted in favor of the school, but a policy that condones robbing school musicians of the technical support and artistic inspiration they receive from playing in the same ensemble with their more gifted and more highly trained peers is a policy that is dangerous, not only because of the deprivation mentioned but also because of the selfish, elitist attitude it fosters in the chosen few. Newell H. Long Professor Emeritus of Music Indiana University Bloomington I read Thomas 1's article with great interest since I am currently involved in a conflict with our local symphony. I have just received a reply from the executive committee of the symphony in which they clearly state that they do not intend to make membership in the school group a requirement for membership in the youth symphony. Much to my dismay, the concertmaster plus one other student in the youth orchestra are not members of my school group. Although it imposes somewhat of a burden and a commitment on the part of the student, I believe that the ASTA and MENC Code should be followed by all community groups. If almost all the musicians that we use in our school groups were trained by an outside source, such as private teachers, music stores, or music schools or colleges, the public school music teacher would be indebted to these groups for their part in developmental training. I am certain that we would insist that the students' first obligation would be to those people responsible for the bulk of their training. I doubt seriously that groups outside the school music program can do as effective a job of training large numbers of students as can be done by the school music program, and I feel that training received by the student in the school music program contributes to the success of community groups. In fact, if you were to survey the students who participate in community music groups, you would find that only a few students did not in some way receive training or their first exposure to mu-sicthrough the school music program. After the public school music teacher has started and nurtured a group of beginners, endured many hours of rehearsals, listened to and corrected many faulty rhythms and intonations, taught phrasing, and corrected faulty positions and postures, he or she deserves to reap some of the benefits of musically matured students. Very seldom if ever do we have a community group sponsor a beginning group that (oft Bated Fmt Cciceext owl Cmbstl- CMR0N0L0G, Jared Spears (M)….$35.00 We are proud of this addition to our catalog by Mr. Spears, and we think it is his best to date. Very practically written for performance by high school groups. GRANT US THY MERCY, Lotti, Arr. by C. R. Spinney (ME)…… 12.50 A chorale-like setting of a sacred piece, which makes a good concert number as well as a study in pitch and balance. TUMBALALAIKA, Arr. by C. R. Spinney (ME)……………. 12.50 A refreshing setting of the well-known Russian folk song; a new addition to the Planned Program Series (Junior High and smaller High Schools). CAPRICCIO CONCERTANT— McBeth………………….40.00 Commissioned by and dedicated to the South Dakota All State Band and the South Dakota Bicentennial Commission. RAPSCALLION—Barnes………. 35.00 Subtitled Overture-Scherzo for Symphonic Band —a brilliant and ingratiating piece for concert and contest. JUBILOSO—Panerio…………. 30.00 Winner of the 1975 ABA-Ostwald Award. Very playable by groups at the high school level, as well as college. FESTIVAL MUSIC FOR A CROWN PRINCE—Tohno………. 35.00 Original band music, written for the wedding of Crown Prince Aki-hito of Japan. Rehearsal record included. SUITE R0YALE—Lully/Schaefer…. 25.00 Orginially written for displays by the horsemen of the King of France. A brilliant and interesting addition to the band repertoire. TO BE FED BY RAVENS—McBeth … 40.00 Written for the 50th Anniversary of the Texas Music Educators Association. Complete recording included. TERTIAN SUITE—Weiner ……… 25.00 A contemporary homophonic work, usable by school groups at levels from junior high school up. SOUTHERN MUSIC COMPANY P.O. BOX 329 SAN ANTONIO, TEXAS 78292 mej/ Standing Risers For Choral Groups… teadtel ‘Setting new Sights & Sounds in 77’ COMPARE BEFORE YOU BUY! WENGER BRAND A BRAND B BRAND C Super strength — 3rd party tested (100,000 setups!) Yes ? ? ? Carpeted steps for quietness, comfort Yes No No No Ease of moving (built-in wheels) Yes No No No Rounded steel edge protects clothing from snags Yes No No No Built-in versatility — no need to buy reverse units Yes No No No Optional backrail____________ Yes No No No 1 Wenger CONCEPT II Riser Wenger TOURMASTER Riser Tourmaster and Concept II have unique features that make one or the other best for m| B. HHHHHHHHHHHHH tg 135A Wenger Building” Owatonna, MN 55060 your needs. Write or call for a FREE brochure which will help you choose the riser 1's right for you! Send coupon or call us TOLL FREE: 800-533-0393. (In Minn, call (507) 451-3010 COLLECT). “Ill ? Please send FREE BROCHURE on how to choose risers. D Please have representative call. Best time to call is_______day_________time. Name_____ School/Org. Address __ City______ Phone:—— .Title. . State. .Zip. (a/c). starts from the very beginning. Most often they are interested in the few highly talented students from each school. Without the services of the best talent in his group, the public school teacher can be hard pressed to put on a good musical program. It is also easy to understand that a community group with the top talent from many schools can play more difficult and challenging music than a single high school. Keeping and maintaining a good music program in any community, in 1's world of electronic music and a variety of lifestyles, has become a challenging commitment for every music teacher. If we allow our public school musicians to drop out of our school music programs and substitute another music experience, we dilute what we already have, and eventually this could ruin the successful programs that nowfunction. That, in turn, could bring about the decline of many community groups because they would have fewer qualified musicians to choose from. The school music program has to be successful to survive. I strongly believe that the Code of Ethics should be followed. In the communities where this is not a practice, it should be put into practice. In the long run, it will build better school groups and better community groups. Arthur A. Horvath String Teacher Youngstown Public Schools Youngstown, Ohio If excellence is to be the priority ingredient of our students' training and development at any level on the continuum, participation in specific areas of performance in music organizations must not be crushed by certain codes and guidelines to the point of losing sight of quality musical experiences that could conceivably be of maximum benefit to students. Music educators must take a stand and assert themselves on behalf of the students and not stand idly by and allow rational, thinking students to be governed by mandates that reflect biases and subjectivity in instances that reflect selfish motives covertly and overtly. There exists a need on the part of school educators to become knowledgeable of the concept of “community education” in order to synthesize the best from both the school and the community to help shape the lives of responsible young people. The community education concept lends itself to structured activities planned by the community education director for strengthening and developing the talents of preschoolers to senior citizens, and most often the activities are 8 mej/ implemented and facilitated in the school. While I feel that guidelines should be effectuated within an organization to execute governance, I do not, however, feel that the codes and guidelines of ASTA and MENC should be so strict as to impose inflexible requirements that address themselves to the idea that a student must be a member in good standing of one organization before he can be granted membership in another. I further feel that problems of any kind will be held at a minimum simply because of the caliber of students who elect to become members and who are mature enough to exercise discipline within any group that will be nothing less than exemplary. Finally, the codes and guidelines are horrendous and should be eradicated on the basis of my above statements. Ethics must not be a matter of question for students who elect to become involved in community and school music organizations but rather a mutual supportive effort on the part of the two organizations, whose goals are to perpetuate excellence for each student. Josephine C. Bell Assistant Professor of Music Education University of Arkansas at Pine Bluff Thomas H. 1's article disturbed my bucolic retirement. Inasmuch as the California ASTA was deeply involved in the preparation of the Code of Ethics during my presidency, I would like to set the record straight. Hill stated that the Code evolved in the 1950s. Not so. In the San Francisco Bay area, there was (and is) a fine youth orchestra that continually nibbled at the school orchestras. School people would complain about the erosion. A good member of the school orchestra who furnished leadership and was admired by his fellow players would decide to join this youth orchestra. Presto! He became a young “artiste” breathing special air. Not only did he pull out but he would also work to pull someone else out. This was hard to combat given the difficulty the student experiences in scheduling orchestra. J. Justin Gray of Orange State College volunteered to do a report on the high school orchestra in the California public school system (1963). Gray felt that his findings justified the formation of a California Youth Orchestra Commission for further study of the issue (1964). Following this, ASTA President Paul Rolland asked Ralph Mateskyof the University of the Pacific to work out a code of ethics, which was sent on to me. A group of music educators met, studied, and approved the Code, which was sent back to Ma- give achievement 9 in music the recognition it really deserves. The exciting Neff Catalog brings you many outstanding award ideas and products… Band jackets.and sweaters WJWw Chenille music and band letters Musician award jewelry Custom designed certificates and plaques Write for your free copy of the Neff complete recognition awards catalog. Do it today. the recognition products people The Neff Company Dept M P.O. Box 218 Greenville, Ohio 45331 Ask about…ask for Super-Sensitive Junior-Size i STAINLESS STEEL STRINGS Superb Quality and Longer Lasting Tone… 1't Rust or Corrode … Popular Prices AVAILABLE IN r EVERY WANTED SIZE! VIOLIN 4/4, 3/4,1/2,1/4,1/8 and 1/16 VIOLA Standard, Intermediate and Junior CELLO 4/4, 3/4,1/2, 1/4 and 1/8 BASS Regular, Extra-Long and Junior Sold in better music stores or write for literature to: SUPER-SENSITIVE MUSICAL STRING CO. Porter Rd., R.R. 4, Box 30-V Sarasota, FL 33577 Lutton Music Personnel Service If you are available for a teaching position in Music, let us serve Vou. We have calls for Music Teachers with degrees in all phases of Applied Music and Music Education in the Public Schools, Colleges, Universities and Conservatories. C. A. Lutton, Director B. Lutton, Co-Director State National Bank Plaza Suite 405 Evanston, Illinois 60201 (312)864-1005 HANDBOOK ON SINGING For Beginning Students Winifred Bennett Peterson and Carol B. Kopitzke “Fundamentals of Vocal Production” Paper-cover $5.00 KAREL PUBLISHING PO Box 92446 Milwaukee, Wis. 53202 mej/ 11 teskyandRolland and published in the February 1967 issue of the Music Educators Journal. In addition, the Palo Alto (California) Times did a series on music in the area in which Gibson Walters of San Jose State College described the competition from youth orchestras by stating: “It takes the gifted musician out of the school program and denies fellow student musicians the benefit of working alongside these top players.” I do not subscribe to 1's idea of the student thinking only of himself because he comes into a group as a taker, receiving much help from the stronger players. It is then his responsibility, when he has grown sufficiently, to give the same help he has received. Elizabeth A. H. Green, professor emeritus of the University of Michigan, once stated that she did not believe in training youngsters to be either unappreciative or selfish. The teaching of music is more than creating sounds. No one can understand this situation unless “caught in the web” because anything looks easy from the outside. We have a right to know just how Hill handled his public school orchestra. Was there a hungry youth orchestra panting outside the rehearsal door? Lucie N. Landen Former President ASTA California Unit Pasadena, California </meta-value>
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