Percy Scholes on Music Appreciation: Another View
Identifieur interne : 001586 ( Istex/Corpus ); précédent : 001585; suivant : 001587Percy Scholes on Music Appreciation: Another View
Auteurs : Estelle R. JorgensenSource :
- British Journal of Music Education [ 0265-0517 ] ; 1987-07.
Abstract
Percy A. Scholes' (1877–1958) defence of music appreciation remains one of the most clearly articulated among the twentieth-century approaches to school music. His published work is eminently readable, spiced with wit, and attractive to non-musicians. Scholes has gone beyond philosophical argument to practical strategy, as his published work attests. Nevertheless, his ideas ought not either be accepted at face value or ‘written off’ as a ‘failure’ without careful examination of them.1 This paper attempts to reconstruct Scholes' ideas about music appreciation evidenced in his published work; to examine his assumptions about the rationale, objectives, instructional methods and curriculum for music appreciation; and to suggest implications of this analysis for future research and practice.
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DOI: 10.1017/S0265051700005908
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Scholes has gone beyond philosophical argument to practical strategy, as his published work attests. Nevertheless, his ideas ought not either be accepted at face value or ‘written off’ as a ‘failure’ without careful examination of them.1 This paper attempts to reconstruct Scholes' ideas about music appreciation evidenced in his published work; to examine his assumptions about the rationale, objectives, instructional methods and curriculum for music appreciation; and to suggest implications of this analysis for future research and practice.</div></front></TEI><istex><corpusName>cambridge</corpusName><author><json:item><name>Estelle R. 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J. Music. Ed.</title><idno type="pISSN">0265-0517</idno><idno type="eISSN">1469-2104</idno><idno type="publisher-id">BME</idno><imprint><publisher>Cambridge University Press</publisher><pubPlace>Cambridge, UK</pubPlace><date type="published" when="1987-07"></date><biblScope unit="volume">4</biblScope><biblScope unit="issue">2</biblScope><biblScope unit="page" from="139">139</biblScope><biblScope unit="page" to="156">156</biblScope></imprint></monogr></biblStruct></sourceDesc></fileDesc><profileDesc><creation><date>1987</date></creation><langUsage><language ident="en">en</language></langUsage><abstract style="text-abstract"><p>Percy A. Scholes' (1877–1958) defence of music appreciation remains one of the most clearly articulated among the twentieth-century approaches to school music. His published work is eminently readable, spiced with wit, and attractive to non-musicians. Scholes has gone beyond philosophical argument to practical strategy, as his published work attests. Nevertheless, his ideas ought not either be accepted at face value or ‘written off’ as a ‘failure’ without careful examination of them.1 This paper attempts to reconstruct Scholes' ideas about music appreciation evidenced in his published work; to examine his assumptions about the rationale, objectives, instructional methods and curriculum for music appreciation; and to suggest implications of this analysis for future research and practice.</p></abstract></profileDesc><revisionDesc><change when="1987-07">Published</change></revisionDesc></teiHeader></istex:fulltextTEI></fulltext><metadata><istex:metadataXml wicri:clean="corpus cambridge not found" wicri:toSee="no header"><istex:xmlDeclaration>version="1.0" encoding="US-ASCII"</istex:xmlDeclaration><istex:docType PUBLIC="-//NLM//DTD Journal Publishing DTD v2.2 20060430//EN" URI="journalpublishing.dtd" name="istex:docType"></istex:docType><istex:document><article dtd-version="2.2" article-type="research-article"><front><journal-meta><journal-id journal-id-type="publisher-id">BME</journal-id><journal-title>British Journal of Music Education</journal-title><abbrev-journal-title>Brit. J. Music. Ed.</abbrev-journal-title><issn pub-type="ppub">0265-0517</issn><issn pub-type="epub">1469-2104</issn><publisher><publisher-name>Cambridge University Press</publisher-name><publisher-loc>Cambridge, UK</publisher-loc></publisher></journal-meta><article-meta><article-id pub-id-type="doi">10.1017/S0265051700005908</article-id><article-id pub-id-type="pii">S0265051700005908</article-id><article-id pub-id-type="publisher-id">00590</article-id><title-group><article-title>Percy Scholes on Music Appreciation: Another View</article-title><alt-title alt-title-type="left-running">Percy Scholes On Music Appreciation: Another View Estelle R. Jorgensen</alt-title><alt-title alt-title-type="right-running">Percy Scholes On Music Appreciation: Another View Estelle R. Jorgensen</alt-title></title-group><contrib-group><contrib><name><surname>Jorgensen</surname><given-names>Estelle R.</given-names></name><xref ref-type="aff" rid="aff1"></xref></contrib></contrib-group><aff id="aff1"><addr-line>This paper was presented to the Canadian University Music Society in Winnipeg</addr-line>, <addr-line>Manitoba</addr-line>, <addr-line>June 1986</addr-line>.</aff><pub-date pub-type="ppub"><month>07</month><year>1987</year></pub-date><volume>4</volume><issue>2</issue><fpage seq="6">139</fpage><lpage>156</lpage><permissions><copyright-statement>Copyright © Cambridge University Press 1987</copyright-statement><copyright-year>1987</copyright-year><copyright-holder>Cambridge University Press</copyright-holder></permissions><abstract abstract-type="text-abstract"><p><italic>Percy A. Scholes' (1877–1958) defence of music appreciation remains one of the most clearly articulated among the twentieth-century approaches to school music. His published work is eminently readable, spiced with wit, and attractive to non-musicians. Scholes has gone beyond philosophical argument to practical strategy, as his published work attests. Nevertheless, his ideas ought not either be accepted at face value or ‘written off’ as a ‘failure’ without careful examination of them.<sup>1</sup></italic></p><p><italic>This paper attempts to reconstruct Scholes' ideas about music appreciation evidenced in his published work; to examine his assumptions about the rationale, objectives, instructional methods and curriculum for music appreciation; and to suggest implications of this analysis for future research and practice.</italic></p></abstract><counts><page-count count="18"></page-count></counts><custom-meta-wrap><custom-meta><meta-name>pdf</meta-name><meta-value>S0265051700005908a.pdf</meta-value></custom-meta></custom-meta-wrap></article-meta></front><back><fn-group><fn id="fn01" symbol="1"><label>1</label><p>See <citation id="ref001" citation-type="other"><name><surname>Bell</surname><given-names>Leslie</given-names></name>, The failure of music appreciation, <italic>The Canadian Music Journal</italic>, Spring,. <year>1958</year>, <fpage>20</fpage>–7.</citation></p></fn><fn id="fn02" symbol="2"><label>2</label><p>Examples of the comparative approaches to which I refer include those in <citation id="ref002" citation-type="book"><name><surname>Landis</surname><given-names>Beth</given-names></name> and <name><surname>Cardis</surname><given-names>Polly</given-names></name>, <source>The Eclectic Curriculum in American Music Education: Contributions of Dalcroze, Kodaly and Orff</source>, <publisher-loc>Washington, D.C.</publisher-loc>: <publisher-name>M.E.N.C.</publisher-name>, <year>1972</year></citation>; and <citation id="ref003" citation-type="book"><name><surname>Mark</surname><given-names>Michael</given-names></name>, <source>Contemporary Music Education</source>, <edition>2nd. ed.</edition>, <publisher-loc>N.Y.</publisher-loc>: <publisher-name>Schirmer</publisher-name>, <year>1986</year>.</citation></p></fn><fn id="fn03" symbol="3"><label>3</label><p>The view of philosophy as a ‘second-order’ activity follows <citation id="ref004" citation-type="book"><name><surname>Scheffler</surname><given-names>Israel</given-names></name>, <source>Reason and Teaching</source>, <publisher-loc>Indianapolis and N.Y.</publisher-loc>: <publisher-name>Bobbs-Merrill</publisher-name>, <year>1973</year>, pp. <fpage>1</fpage>, <fpage>2</fpage>.</citation> A similar view of philosophy's contribution to religion is expressed in <citation id="ref005" citation-type="book"><name><surname>James</surname><given-names>William</given-names></name>, <source>Varieties of Religious Experience</source> (<year>1902</year>), rpt; <publisher-loc>Harmondsworth</publisher-loc>: <publisher-name>Penguin</publisher-name>, <year>1982</year>, Lecture xviii, especially pp. <fpage>455</fpage>–7.</citation></p></fn><fn id="fn04" symbol="4"><label>4</label><p>The particular sources and editions from which I have drawn are as follows: <citation id="ref006" citation-type="other"><italic>The Appreciation of Music by Means of the ‘Pianola’ and ‘Duo-Art’: A Course of Lectures Delivered at Aeolian Hall, London.</italic> London: Oxford University Press, <year>1925</year></citation>; <citation id="ref007" citation-type="other"><italic>Music: The Child and the Masterpiece; A Comprehensive Handbook of Aims and Methods in all that is Usually Called ‘Musical Appreciation’.</italic> London: Oxford University Press, <year>1935</year></citation>; <citation id="ref008" citation-type="other"><italic>The Complete Book of the Great Musicians: A Course in Appreciation for Young Readers.</italic> <edition>10th ed.</edition>, London: Oxford University Press, <year>1942</year></citation>; <citation id="ref009" citation-type="other"><italic>Learning to Listen by Means of the Gramophone: A Course in the Appreciation of Music for Use in Schools.</italic> London: The Gramophone Co., <year>1921</year></citation>; <citation id="ref010" citation-type="other"><italic>The Listener's History of Music Complete: A Book for any Concert-goer, Gramophonist, or Radio Listener, Providing Also a Course of Study for Adult Classes in the Appreciation of Music.</italic> <edition>6th ed.</edition>, London: Oxford University Press, <year>1943</year></citation>; <citation id="ref011" citation-type="other"><italic>The Listener's Guide to Music, with a Concertgoer's Glossary.</italic> <edition>10th ed.</edition>, London: Oxford University Press, <year>1942</year></citation>; <citation id="ref012" citation-type="other"><italic>Everybody's Guide to Broadcast Music.</italic> London: Oxford University Press and Hodder and Stoughton, <year>1925</year></citation>; <citation id="ref013" citation-type="other"><italic>A Miniature History of Music for the General Reader and the Student.</italic> <edition>2nd ed.</edition>, London: Oxford University Press, <year>1934</year></citation>; <citation id="ref014" citation-type="other"><italic>The Columbia History of Music Through Ear and Eye</italic>, <volume>3</volume> vols., London: Oxford University Press and Columbia Gramophone Co., <year>1930</year>–<year>1932</year></citation>; <citation id="ref015" citation-type="other"><italic>The Radio Times Music Handbook, being a Complete Book of Reference Giving Both Meaning and Pronunciation of the Technical Words Found in Programmes.</italic> <edition>4th ed.</edition> London: Oxford University Press, <year>1950</year></citation>; <citation id="ref016" citation-type="other"><italic>The Oxford Junior Companion to Music.</italic> London: Oxford University Press, <year>1954</year></citation>; and <citation id="ref017" citation-type="other"><italic>The Oxford Companion to Music.</italic> <edition>10th ed.</edition>, London: Oxford University Press, <year>1970</year>.</citation></p></fn><fn id="fn05" symbol="5"><label>5</label><p><italic>Music</italic>, p. 27.</p></fn><fn id="fn06" symbol="6"><label>6</label><p><italic>Music</italic>, pp. 27, 28.</p></fn><fn id="fn07" symbol="7"><label>7</label><p><italic>Music</italic>, p. 10.</p></fn><fn id="fn08" symbol="8"><label>8</label><p><italic>Music</italic>, pp. 122, 123.</p></fn><fn id="fn09" symbol="9"><label>9</label><p><citation id="ref018" citation-type="book"><collab>Roger Sessions</collab>, <source>The Musical Experience of Composer, Performer, Listener</source>. <publisher-loc>N.Y.</publisher-loc>: <publisher-name>Athenium</publisher-name>, <year>1962</year></citation>; <citation id="ref019" citation-type="book"><name><surname>Dasilva</surname><given-names>F.</given-names></name><etal></etal>, <source>The Sociology of Music</source>. <publisher-loc>Notre Dame, IN</publisher-loc>: <publisher-name>University of Notre Dame Press</publisher-name>, <year>1984</year>.</citation></p></fn><fn id="fn010" symbol="10"><label>10</label><p><citation id="ref020" citation-type="journal"><name><surname>Weber</surname><given-names>William</given-names></name>, <article-title>Mass culture and the reshaping of European musical taste, 1770–1870</article-title>, <source>International Review of the Aesthetics and Sociology of Music</source>, <volume>8</volume> (<issue>1</issue>), <year>1977</year>, <fpage>5</fpage>–<lpage>22</lpage>.</citation></p></fn><fn id="fn011" symbol="11"><label>11</label><p><citation id="ref021" citation-type="journal"><name><surname>Ringer</surname><given-names>Alexander L.</given-names></name>, <article-title>Musical taste and the industrial syndrome: a socio-musicological problem in historical analysis</article-title>, <source>International Review of the Aesthetics and Sociology of Music</source>, <volume>5</volume>(<issue>11</issue>), <year>1974</year>, <fpage>139</fpage>–53.</citation></p></fn><fn id="fn012" symbol="12"><label>12</label><p><citation id="ref022" citation-type="book"><name><surname>Blacking</surname><given-names>John</given-names></name>, <source>How Musical is Man?</source> <publisher-loc>London</publisher-loc>: <publisher-name>Faber and Faber</publisher-name>, <year>1976</year>.</citation></p></fn><fn id="fn013" symbol="13"><label>13</label><p>For another classification of roles in music see <citation id="ref023" citation-type="book"><name><surname>Silbermann</surname><given-names>Alphons</given-names></name>, <source>The Sociology of Music</source>, trans. <name><surname>Stewart</surname><given-names>Corbet</given-names></name>, <publisher-loc>London</publisher-loc>: <publisher-name>Routledge and Kegan Paul</publisher-name>, <year>1963</year>, ch. 4.</citation></p></fn><fn id="fn014" symbol="14"><label>14</label><p>See <citation id="ref024" citation-type="book"><name><surname>Langer</surname><given-names>Susanne K.</given-names></name>, <source>Philosophy in a New Key: A Study in the Symbolism of Reason, Rite and Art.</source> <edition>3rd. ed.</edition>, <publisher-loc>Cambridge, MA</publisher-loc>: <publisher-name>Harvard University Press</publisher-name>, <year>1957</year>.</citation> An example of contemporary philosophical thought in music education is provided in <citation id="ref025" citation-type="book"><name><surname>Reimer</surname><given-names>Bennett</given-names></name>, <source>A Philosophy of Music Education</source>. <publisher-loc>Englewood Cliffs, NJ</publisher-loc>: <publisher-name>Prentice-Hall</publisher-name>, <year>1970</year>.</citation></p></fn><fn id="fn015" symbol="15"><label>15</label><p><italic>Music</italic>, Pt. II; pp. 30, 32.</p></fn><fn id="fn016" symbol="16"><label>16</label><p>For a discussion of the political process underlying the Boston School Music Movement and the philosophical rationale offered by William Channing Woodbridge see <citation id="ref026" citation-type="journal"><name><surname>Jorgensen</surname><given-names>Estelle R.</given-names></name>, <article-title>Engineering change in music education: a model of the political process underlying the Boston School Music Movement (1829–1838)</article-title>, <source>Journal of Research in Music Education</source>, <volume>31</volume>, <year>1983</year>, <fpage>67</fpage>–<lpage>75</lpage></citation>; <citation id="ref027" citation-type="book"><name><surname>Woodbridge</surname><given-names>William Channing</given-names></name>'s lecture, ‘On Vocal Music as a Branch of Common Education,’ revisited, <source>Studies in Music</source> (<publisher-name>University of Western Australia</publisher-name>), <volume>18</volume>, <year>1984</year>, <fpage>1</fpage>–<lpage>32</lpage>.</citation></p></fn><fn id="fn017" symbol="17"><label>17</label><p>See the introductory lecture entitled, ‘Musical Appreciation in Schools’, in <italic>The Appreciation of Music</italic>, pp. 3–28.</p></fn><fn id="fn018" symbol="18"><label>18</label><p><italic>Music</italic>, p. 81. I am indebted to Iris Yob for the suggestion of the ‘restoration’ metaphor in her thesis in progress, Harvard Graduate School of Education.</p></fn><fn id="fn019" symbol="19"><label>19</label><p><italic>Music</italic>, pp. 81, 82.</p></fn><fn id="fn020" symbol="20"><label>20</label><p>This taxonomy outlined in <citation id="ref028" citation-type="book"><name><surname>Jorgensen</surname><given-names>Estelle R.</given-names></name>, <source>A Critical Analysis of Selected Aspects of Music Education</source>, <publisher-loc>Calgary</publisher-loc>: <publisher-name>Department of Educational Administration, University of Calgary</publisher-name>, <year>1977</year></citation>, parallels that in <citation id="ref029" citation-type="book"><name><surname>Thomas</surname><given-names>Ronald B.</given-names></name>, <source>MMCP Synthesis: A Structurefor Music Education</source>, <publisher-loc>Elnora, N.Y.</publisher-loc>: <publisher-name>Media Inc.</publisher-name>, n.d.</citation> In Western ‘classical’ music aspects of pitch are commonly divided into two classes: melody and harmony. In other non-Western classical traditions, for example, Hindustani, melodic elements may take percedence over harmonic implications.</p></fn><fn id="fn021" symbol="21"><label>21</label><p>I refer particularly to the contributions of Graham Vulliamy and John Shepherd instanced in: <citation id="ref030" citation-type="book"><name><surname>Shepherd</surname><given-names>John</given-names></name>, <name><surname>Virden</surname><given-names>Phil</given-names></name>, <name><surname>Vulliamy</surname><given-names>Graham</given-names></name> and <name><surname>Wishart</surname><given-names>Trevor</given-names></name>, <source>Whose Music? A Sociology of Musical Languages</source>. <publisher-loc>London</publisher-loc>: <publisher-name>Latimer New Dimensions Ltd.</publisher-name>, <year>1977</year></citation>; <citation id="ref031" citation-type="journal"><name><surname>Shepherd</surname><given-names>John</given-names></name> and <name><surname>Vulliamy</surname><given-names>Graham</given-names></name>, <article-title>The application of a critical sociology to music education</article-title>, <source>British Journal of Music Education</source>, <volume>1</volume>, <year>1984</year>, <fpage>244</fpage>–66</citation>; <citation id="ref032" citation-type="journal"><name><surname>Vulliamy</surname><given-names>Graham</given-names></name>, ‘<article-title>A sociological view of music education: an essay in the sociology of knowledge</article-title>, <source>Canadian University Music Society Review</source>, <volume>5</volume>, <year>1984</year>, <fpage>17</fpage>–<lpage>32</lpage>.</citation></p></fn><fn id="fn022" symbol="22"><label>22</label><p>For an explication of the notion of ‘spheres of validity’ see Jorgensen, <italic>Critical Analysis.</italic> These ideas are being further developed in a book in progress, <italic>The Socialization Process in Music Education: An Alternative View of Music Education.</italic></p></fn><fn id="fn023" symbol="23"><label>23</label><p>This parallels the metaphor of ‘pilgrimage’ suggested by Iris Yob in her thesis in progress, Harvard University Graduate School of Education.</p></fn><fn id="fn024" symbol="24"><label>24</label><p><italic>Music</italic>, p. 123.</p></fn><fn id="fn025" symbol="25"><label>25</label><p>The concept of significant form is developed in <citation id="ref033" citation-type="book"><name><surname>Langer</surname><given-names>Susanne</given-names></name>, <source>Philosophy in a New Key: A Study in the Symbolism of Reason, Rite and Art</source>. <edition>3rd ed.</edition>, <publisher-loc>Cambridge, MA</publisher-loc>: <publisher-name>Harvard University Press</publisher-name>, <year>1957</year></citation>; <citation id="ref034" citation-type="other"><italic>Feeling and Form: A Theory of Art Developed from Philosophy in a New Key.</italic> London: Routledge and Kegan Paul, <year>1953</year>.</citation></p></fn><fn id="fn026" symbol="26"><label>26</label><p><citation id="ref035" citation-type="journal"><name><surname>Vaughan</surname><given-names>Margery</given-names></name>, <article-title>Cultivating creative behaviour: energy levels and the process of creativity</article-title>, <source>Music Educators Journal</source>, <volume>59</volume>, <year>1973</year>, <fpage>35</fpage>–7.</citation></p></fn><fn id="fn027" symbol="27"><label>27</label><p>For example, <citation id="ref036" citation-type="book"><name><surname>Paynter</surname><given-names>John</given-names></name> (<source>Music in the Secondary School Curriculum: Trends and Developments in Class Music Teaching</source>. <publisher-loc>Cambridge</publisher-loc>: <publisher-name>Cambridge University Press</publisher-name>, <year>1982</year>, pp. <fpage>23</fpage>–6)</citation> points to the inadequacy of a music recording as an accurate representation of a musical performance and likens its value to ‘a photograph of a painting’ (p. 25). ‘The gateway to musical understanding,’ he writes, ‘is to work with sounds; to try things out for ourselves.’ (p. 24) While he argues for the equality of listening as a creative experience (pp. 126, 127) and of its importance in performance and composition, the priority of improvization and composition as generative or associative elements in motivating students to listen is evident. (See ch. 4, Appendix I.) Other approaches based on this assumption are found in: R. <citation id="ref037" citation-type="book"><name><surname>Schafer</surname><given-names>Murray</given-names></name>, <source>Ear Cleaning</source>, <publisher-loc>Scarborough, Ont.</publisher-loc>: <publisher-name>Berandol</publisher-name>, <year>1967</year></citation>; the Mannhattanville Music Curriculum Project (1965–1970) reported in <citation id="ref038" citation-type="book"><name><surname>Thomas</surname><given-names>Ronald B.</given-names></name>, ed., <source>MMCP Synthesis: A Structure for Music Education</source>, <publisher-loc>Elnora, N.Y.</publisher-loc>: <publisher-name>Media Inc.</publisher-name>, P.O. Box 17, n.d.</citation>; and <citation id="ref039" citation-type="book"><name><surname>Dennis</surname><given-names>Brian</given-names></name>, <source>Experimental Music in Schools: Towards a New World of Sound</source>, <publisher-loc>London</publisher-loc>: <publisher-name>Oxford University Press</publisher-name>, <year>1970</year>.</citation></p></fn><fn id="fn028" symbol="28"><label>28</label><p><citation id="ref040" citation-type="book"><name><surname>Blume</surname><given-names>Helmut</given-names></name>, <source>A National School of Music for Canada.</source> <publisher-loc>Ottawa</publisher-loc>: <publisher-name>Canada Council</publisher-name>, <year>1978</year>, p. <fpage>69</fpage>.</citation></p></fn><fn id="fn029" symbol="29"><label>29</label><p><italic>Music</italic>, pp. 116–19.</p></fn><fn id="fn030" symbol="30"><label>30</label><p><italic>Music</italic>, pt. V. Scholes digresses on issues of ‘Common Errors in History, Form, etc.’ (pp. 184–98) and ‘Coping with the Horrors of Musical Terminology’ (pp. 198–203).</p></fn><fn id="fn031" symbol="31"><label>31</label><p><italic>Music</italic>, p. 99.</p></fn><fn id="fn032" symbol="32"><label>32</label><p><italic>Music</italic>, p. 104.</p></fn><fn id="fn033" symbol="33"><label>33</label><p><italic>Music</italic>, p. 105.</p></fn><fn id="fn034" symbol="34"><label>34</label><p>For information on the influence of Pestalozzianism on instruction in music, see Howard E. Ellis, The influence of Pestalozzianism on instruction in music, Doctoral dissertation, U. of Michigan, 1957.</p></fn><fn id="fn035" symbol="35"><label>35</label><p>We see this exemplified in Scholes' simplification of the sonata form (<italic>Music</italic>, pp. 88, 89) and in his reduction of all music forms to six (<italic>Music</italic>, p. 89).</p></fn><fn id="fn036" symbol="36"><label>36</label><p><italic>Music</italic>, p. 118. See also p. 96.</p></fn><fn id="fn037" symbol="37"><label>37</label><p><italic>Music</italic>, p. 167.</p></fn><fn id="fn038" symbol="38"><label>38</label><p><italic>Music</italic>, pp. 158, 155.</p></fn><fn id="fn039" symbol="39"><label>39</label><p><italic>Music</italic>, p. 169.</p></fn><fn id="fn040" symbol="40"><label>40</label><p><italic>Music</italic>, pp. 161–63. Scholes suggests (<italic>Music</italic>, p. 166) that the teacher compile a <italic>‘Listening Repertory’</italic>; ‘a minimum list of the finest and most typical madrigals, fugues, sonatas, symphonies, string quartets, waltzes, nocturnes, etc., (two or three of each, representative of different periods and of all the greatest composers), with which he intends that every pupil who passes through his hands shall, in the course of his school life, make an intimate acquaintance.’ This list could then be amended during the teacher's career.</p></fn><fn id="fn041" symbol="41"><label>41</label><p><citation id="ref041" citation-type="journal"><name><surname>Jorgensen</surname><given-names>Estelle R.</given-names></name>, <article-title>On excellence in music education</article-title>, <source>McGill Journal of Education</source>, <volume>15</volume> (<issue>1</issue>), Winter, <year>1980</year>, <fpage>94</fpage>–<lpage>103</lpage>.</citation></p></fn><fn id="fn042" symbol="42"><label>42</label><p><italic>Music</italic>, p. 162.</p></fn><fn id="fn043" symbol="43"><label>43</label><p>Jorgensen, <italic>Critical Analysis</italic>, ch. 3.</p></fn><fn id="fn044" symbol="44"><label>44</label><p><italic>Music</italic>, pp. 125–7.</p></fn><fn id="fn045" symbol="45"><label>45</label><p><italic>Music</italic>, pp. 136, 137.</p></fn><fn id="fn046" symbol="46"><label>46</label><p><italic>Music</italic>, pp. 177–84.</p></fn><fn id="fn047" symbol="47"><label>47</label><p><italic>Music</italic>, p. 145.</p></fn><fn id="fn048" symbol="48"><label>48</label><p><italic>Music</italic>, pp. 145, 146, 150.</p></fn><fn id="fn049" symbol="49"><label>49</label><p><italic>Music</italic>, pp. 150, 151.</p></fn><fn id="fn050" symbol="50"><label>50</label><p>For example, see two well-established basal series: <citation id="ref042" citation-type="book"><name><surname>Eisman</surname><given-names>Lawrence</given-names></name>, <name><surname>Jones</surname><given-names>Elizabeth</given-names></name>, <name><surname>Malone</surname><given-names>Raymond J.</given-names></name>, <source>Making Music Your Own</source> (<edition>Teachers edition</edition>, Grade 7), <publisher-loc>Morristown, N.J.</publisher-loc>: <publisher-name>Silver Burdett</publisher-name>, <year>1968</year></citation>; <citation id="ref043" citation-type="book"><name><surname>Leonard</surname><given-names>Charles</given-names></name>, <name><surname>Krone</surname><given-names>Beatrice Perham</given-names></name>, <name><surname>Wolfe</surname><given-names>Irving</given-names></name>, <name><surname>Fullerton</surname><given-names>Margaret</given-names></name>, <source>Discovering Music Together</source> (<edition>Teachers edition</edition>, Book 7), <publisher-loc>Chicago</publisher-loc>: <publisher-name>Follett Publishing Co.</publisher-name>, <year>1967</year>.</citation></p></fn><fn id="fn051" symbol="51"><label>51</label><p>See Scholes, <italic>The Appreciation of Music by Means of the ‘Pianola’ and ‘Duo-Art’.</italic></p></fn><fn id="fn052" symbol="52"><label>52</label><p><italic>Music</italic>, p. 173.</p></fn><fn id="fn053" symbol="53"><label>53</label><p><italic>Music</italic>, pp. 144, 145.</p></fn><fn id="fn054" symbol="54"><label>54</label><p><italic>Music</italic>, p. 206.</p></fn><fn id="fn055" symbol="55"><label>55</label><p><citation id="ref044" citation-type="book"><name><surname>Macpherson</surname><given-names>Stewart</given-names></name>, <source>The Appreciation, or Listening Class.</source> <edition>Revised ed.</edition>, <publisher-loc>London</publisher-loc>: <publisher-name>Joseph Williams Ltd.</publisher-name>, <year>1936</year>, ch. 9.</citation></p></fn><fn id="fn056" symbol="56"><label>56</label><p><italic>Music</italic>, pp. 208, 210.</p></fn><fn id="fn057" symbol="57"><label>57</label><p>The latter reference is found in Scholes, <italic>The Complete Book of the Great Musicians</italic> – a compilation of three volumes.</p></fn><fn id="fn058" symbol="58"><label>58</label><p><italic>Learning to Listen</italic>, pp. 63–8.</p></fn><fn id="fn059" symbol="59"><label>59</label><p><italic>The Complete Book of the Great Musicians</italic>, contents page for the Second Book.</p></fn><fn id="fn060" symbol="60"><label>60</label><p><italic>The Complete Book of the Great Musicians</italic>, contents page for the Third Book.</p></fn><fn id="fn061" symbol="61"><label>61</label><p>It is interesting to compare the curriculum in <italic>Learning to Listen</italic> devised by Scholes with an earlier American music appreciation textbook by Anne Shaw Faulkner (published in first edition in 1913) entitled, <citation id="ref045" citation-type="other"><italic>What We Hear in Music: A Course of Study in Music History and Appreciation for Use in the Home, Music Clubs, Conservatories, High Schools, Normal Schools, Colleges and Universities</italic>, 4th ed., Camden, NJ: Victor Talking Machine Co., <year>1921</year>.</citation> Her material is divided into four units: (1) learning to listen: national music; (2) the history of music; (3) the orchestra: the development of instrumental music; and (4) the opera and oratorio, each part consisting of thirty lessons with correlated recordings.</p></fn><fn id="fn062" symbol="62"><label>62</label><p><citation id="ref046" citation-type="journal"><name><surname>Jorgensen</surname><given-names>Estelle R.</given-names></name>, <article-title>School music performance programs and the development of ‘Functional Musical Literacy’: a theoretical model</article-title>, <source>College Music Symposium</source>, <volume>21</volume>, <year>1981</year>, <fpage>82</fpage>–<lpage>93</lpage>.</citation></p></fn></fn-group></back></article></istex:document></istex:metadataXml><mods version="3.6"><titleInfo><title>Percy Scholes on Music Appreciation: Another View</title></titleInfo><titleInfo type="alternative"><title>Percy Scholes On Music Appreciation: Another View Estelle R. Jorgensen</title></titleInfo><titleInfo type="alternative" contentType="CDATA"><title>Percy Scholes on Music Appreciation: Another View</title></titleInfo><name type="personal"><namePart type="given">Estelle R.</namePart><namePart type="family">Jorgensen</namePart><affiliation>This paper was presented to the Canadian University Music Society in Winnipeg, Manitoba, June 1986.</affiliation><role><roleTerm type="text">author</roleTerm></role></name><typeOfResource>text</typeOfResource><genre type="research-article" displayLabel="research-article" authority="ISTEX" authorityURI="https://content-type.data.istex.fr" valueURI="https://content-type.data.istex.fr/ark:/67375/XTP-1JC4F85T-7">research-article</genre><originInfo><publisher>Cambridge University Press</publisher><place><placeTerm type="text">Cambridge, UK</placeTerm></place><dateIssued encoding="w3cdtf">1987-07</dateIssued><copyrightDate encoding="w3cdtf">1987</copyrightDate></originInfo><language><languageTerm type="code" authority="iso639-2b">eng</languageTerm><languageTerm type="code" authority="rfc3066">en</languageTerm></language><abstract type="text-abstract">Percy A. Scholes' (1877–1958) defence of music appreciation remains one of the most clearly articulated among the twentieth-century approaches to school music. His published work is eminently readable, spiced with wit, and attractive to non-musicians. Scholes has gone beyond philosophical argument to practical strategy, as his published work attests. Nevertheless, his ideas ought not either be accepted at face value or ‘written off’ as a ‘failure’ without careful examination of them.1 This paper attempts to reconstruct Scholes' ideas about music appreciation evidenced in his published work; to examine his assumptions about the rationale, objectives, instructional methods and curriculum for music appreciation; and to suggest implications of this analysis for future research and practice.</abstract><relatedItem type="host"><titleInfo><title>British Journal of Music Education</title></titleInfo><titleInfo type="abbreviated"><title>Brit. J. Music. Ed.</title></titleInfo><genre type="journal" authority="ISTEX" authorityURI="https://publication-type.data.istex.fr" valueURI="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</genre><identifier type="ISSN">0265-0517</identifier><identifier type="eISSN">1469-2104</identifier><identifier type="PublisherID">BME</identifier><part><date>1987</date><detail type="volume"><caption>vol.</caption><number>4</number></detail><detail type="issue"><caption>no.</caption><number>2</number></detail><extent unit="pages"><start>139</start><end>156</end><total>18</total></extent></part></relatedItem><identifier type="istex">69C01A1322D0BB680B3C1DD9C81A289014862700</identifier><identifier type="ark">ark:/67375/6GQ-S33XT56V-L</identifier><identifier type="DOI">10.1017/S0265051700005908</identifier><identifier type="PII">S0265051700005908</identifier><identifier type="ArticleID">00590</identifier><accessCondition type="use and reproduction" contentType="copyright">Copyright © Cambridge University Press 1987</accessCondition><recordInfo><recordContentSource authority="ISTEX" authorityURI="https://loaded-corpus.data.istex.fr" valueURI="https://loaded-corpus.data.istex.fr/ark:/67375/XBH-G3RCRD03-V">cambridge</recordContentSource><recordOrigin>Copyright © Cambridge University Press 1987</recordOrigin></recordInfo></mods><json:item><extension>json</extension><original>false</original><mimetype>application/json</mimetype><uri>https://api.istex.fr/document/69C01A1322D0BB680B3C1DD9C81A289014862700/metadata/json</uri></json:item></metadata><serie></serie></istex></record>Pour manipuler ce document sous Unix (Dilib)
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