Orff and Bresgen as Music Educators
Identifieur interne : 001907 ( Istex/Corpus ); précédent : 001906; suivant : 001908Orff and Bresgen as Music Educators
Auteurs : Paul L. FrankSource :
- Music educators journal [ 0027-4321 ] ; 1964-NaN.
English descriptors
- Teeft :
- American music educators, Bresgen, Carl orff, Carmina burana, Cesar, Cesar bresgen, Church modes, Creative improvisation, Dissonance, Doreen hall, Educational music, English version, Folk music, Folk songs, Gunild keetman, Improvisation, Minor mode, Modern music, Music education, Music educator, Music educators, Musical training, Orff, Orff method, Pentatonic, Pentatonic music, Pentatonic scale, Percussion instruments, Present time, Present writer, Same time, Sound procedure, Teaching music, Tone color, Tone scale, Western music, Young people, Young players.
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DOI: 10.2307/3390205
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ISTEX:9BFE50083B30CB2CBAA5F4DA07A0E964A284F587Le document en format XML
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type="main" xml:lang="en">Orff and Bresgen as Music Educators</title><author xml:id="author-0000"><persName><forename type="first">Paul L.</forename><surname>Frank</surname></persName><affiliation>Profcessor of Music at Otterbein College, Westerville, Ohio.</affiliation></author><idno type="istex">9BFE50083B30CB2CBAA5F4DA07A0E964A284F587</idno><idno type="ark">ark:/67375/M70-CKLQH2C7-6</idno><idno type="DOI">10.2307/3390205</idno><idno type="article-id">10.2307_3390205</idno></analytic><monogr><title level="j">Music educators journal</title><idno type="pISSN">0027-4321</idno><idno type="eISSN">1945-0087</idno><idno type="publisher-id">MEJ</idno><idno type="PublisherID-hwp">spmej</idno><imprint><publisher>SAGE Publications</publisher><pubPlace>Sage CA: Los Angeles, CA</pubPlace><date type="published" when="1964-NaN"></date><biblScope unit="volume">50</biblScope><biblScope unit="issue">4</biblScope><biblScope unit="page" from="58">58</biblScope><biblScope unit="page" 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xml:lang="EN"><front><journal-meta><journal-id journal-id-type="hwp">spmej</journal-id><journal-id journal-id-type="publisher-id">MEJ</journal-id><journal-title>Music Educators Journal</journal-title><issn pub-type="ppub">0027-4321</issn><publisher><publisher-name>SAGE Publications</publisher-name><publisher-loc>Sage CA: Los Angeles, CA</publisher-loc></publisher></journal-meta><article-meta><article-id pub-id-type="doi">10.2307/3390205</article-id><article-id pub-id-type="publisher-id">10.2307_3390205</article-id><article-categories><subj-group subj-group-type="heading"><subject>Articles</subject></subj-group></article-categories><title-group><article-title>Orff and Bresgen as Music Educators</article-title></title-group><contrib-group><contrib contrib-type="author" xlink:type="simple"><name name-style="western"><surname>Frank</surname><given-names>Paul L.</given-names></name><aff>Profcessor of Music at Otterbein College, Westerville, Ohio.</aff></contrib></contrib-group><pub-date pub-type="ppub"><month>2-03</month><year>1964</year></pub-date><volume>50</volume><issue>4</issue><fpage>58</fpage><lpage>64</lpage><custom-meta-wrap><custom-meta xlink:type="simple"><meta-name>sagemeta-type</meta-name><meta-value>Other</meta-value></custom-meta><custom-meta xlink:type="simple"><meta-name>cover-date</meta-name><meta-value>February/March 1964</meta-value></custom-meta><custom-meta xlink:type="simple"><meta-name>search-text</meta-name><meta-value> oto: Peter Keetman, Breitbrunn, Germany. Orff and Bresgen as Music Educators by Paul L. Frank * Great composers have most frequently distinguished themselves in fields other than creating great music. Seldom do we find an inspired musical genius who, like Franz Schubert, gave himself solely to composing. The oldest tradition is that of the composerperformer such as the organists Baoh and Handel, the pianists Beethoven, Chopin, and Liszt. Less old is the phenomenon of the composer-conductor such as Mendelssohn, Wagner, Richard Strauss, Gustav Mahler, and Igor Stravinsky. Composers have been theoreticians such as Rameau, Paul Hindemith, and Walter Piston, or critical writers such as Schumann, Wagner, Berlioz, or Aaron Copland. Composers have also been great teachers. Johann Sebastian Bach and Bela Bart6k have, in the course of their teaching, created educational music the study of which imparts to the pupil the technical mastery of playing the keyboard instrument and more than a mere introduction to the mastery of the compositional style represented by each of these two great masters. Likewise, Carl Orff is a composer who has been concerned with the musical education of the young. teaching 58 He has created many volumes of music to elementary of material for the school pupils. These volumes represent Orff's philosophy of music education. To some degree they are also typical of the stvle created by Orff the composer, and they introduce the young to some aspects of contemporary music in general. Also Cesar Bresgen is a composer who is interested in finding more effective ways of teaching music and musicianship to the young. The object of this essay is not to prove that Carl Orff is a great or significant composer. There is no doubt that his music has become popular, primarily in the German speaking area of Central Europe, but also elsewhere. In the United States his Carimina Burana has been performed frequently. This series of secular songs (Cantiones profanae) is the first of three choral works, Trionfi, which can be performed in one evening. Also Orff's opera Die Kluge is being performed in this country. Irving Kolodin has pointed out that much of Carmina Burana, composed in 1936, is “not merely a derivation but a reproduction of Stravinsky's Les Noces” which was composed between 1914 and 1917 and orchestrated in 1923.1 It would be still more tempting to compare Les Noces with Catllti Carmina, the second work of the Trionfi trilogy, fin'Saturday Review of October 27, 1962, p. 52. MUSIC EDUCATORS JOURNAL ished in 1943. In it, as well as in Stravinsky's cantata, the only instruments used are four pianos and percussion instruments. Yet more important are the similarities that pertain to the very substance of the music. Les Noces was a turning point for Stravinsky. After having reached the height of primitivism, hammering dissonances, and unrestrained vigor in The Rite of Spring (1913) he turned to a simplified style. Still dissonant and moving in full rhythmic freedom unrestrained by meter and bar line, Les Noces has a thinner texture and a more restricted range of tone color. There is not much emphasis on counterpoint; the trend seems to be away from harmony and toward an embellished monophony, or heterophony. The style of Carmina Burana can be described in similar terms. This work is the beginning of Orff's known output, but it is a turning point if viewed against the general trends in music of its and our own time. It is overwhelming through the simplicity of its harmonic and contrapuntal idiom. The main interest lies in the imaginative and refined rhythmic freedom and the melodic appeal. While Stravinsky's melodies are original but difficult to sing and remember, Orff's are highly singable and appealing to the unsonhisticated, though unusual and, likewise, original. To call Carl Orff the Bavarian Stravinsky is superficial and beside the point. For Stravinsky, Les Noces was not only a turning point but also a point of departure toward a rich, new style that reached a high point in such works as Oedipus Rex or Symphony of Psalms. Orff persevered in the limitations of Carmina Burana. His later works such as Catulli Carmina and his operas Antiaonae and Oedipus der Tyrann show a further retreat from the use of harmony, counterpoint, and orchestration, the achievements which are the glory of western music and the result of centuries of hard work and struggle. All this has something to do with Orff's accomplishment as a music educator, his Schutlwerk. Orff's music is truly distinguished by his imaginative treatment of rhythm. His educational music, likewise, emphasizes the rhythmic element. This emphasis is natural, logical, and appropriate. Rhythm is the element of music most intimately connected with the human body. To stimulate the development and refinement of rhythmic feeling in children is a sound procedure. One need not be a Freudian to admit that much of the training we give our children is directed against their natural impulses and apt to cause frustrations. We work with nature when we help the young ones to release the rhythmic drives which are in their bodies. To emphasize the importance of rhythm in the educational process is appropriate at the present time. During the period in music history that has preceded our own, composers have been more concerned with the elements of melody, harmony, and tone color than with rhythm. That is true of music commonly called “romantic” and still more of the impressionistic music of Debussy who stands at the threshold of modern music. The new emphasis on rhythm is one of the main factors that distinguish modern music from that of the nineteenth century. In Bela Bartok's Mikrokosmos rhythms are found which, because of their complexity, are a far cry from the simple rhythmic patterns of such FEBRUARY-MARCH, NINETEEN SIXTY-FOUR educational music as Schumann's Album for the Young. Thus a new meaning has been given to the famous words of Hans von Billow, “In the beginning was rhythm.” Orff's educational ideas must also be viewed in a historical perspective. During the first quarter of this century, music education was badly neglected in the German speaking countries of Europe. Only singing was taught in schools as a subsidiary teaching subject, frequently as an elective. No attempt was made to introduce the young persons into the deep aesthetic and cultural values of music. After the defeat suffered in World War I, Germany tried to rally her spiritual forces. The reorganization of school music in the 1920's, connected with the name of the recently deceased Leo Kestenberg, is a part of this attempt. According to a new philosophy of music education it became the objective of teaching music in the public schools to awaken the creative forces of self-expression and to expose young people to musical experiences which would enrich their lives and broaden their personalities. For this purpose, music had to be elevated to a subject equal in status to the other traditional subjects, and music teachers had to gain equality of status with the other teachers in public schools.2 Orff's interest in music education dates from the same time. Born in 1895 in Munich, he collaborated in the 1920's with Dorothee Giinther who had established a school for dance, the Giinther-Schule, in Munich. In 1930 the first version of the Schulwerk, several volumes of educational music, was published. A new version of five volumes was published in 1950 by B. Schott's S6hne in Mainz, Germany.3 Volumes I and II exist in an English adaptation, prepared by Doreen Hall and Arnold Walter.4 Four more books appeared between 1950 and 1954. All of these publications are based on Orff's actual teaching experience with children. In a discussion of the so-called Orff method one should keep separately the underlying ideas and the methods by which these ideas are put into reality. An objective appraisal of the achievements of Carl Orff as an educator must discount the extravagant praise heaped upon him by critics and observers who come from a background similar to his. Orff, the music educator, should be appraised not by what others say about him or what he says himself, but on the basis of his educational publications and the results achieved by his approach. Orff wants young children to receive musical training, so that musical talent can be discovered and cultivated early in life. Such training should not be onesided, such as only by singing or playing an instrument, but it should involve the whole body. (See the illustrations.) The activities of dancing, clapping, stamping, rhythmic speaking, singing, and playing percussion instruments should be combined or associated to awaken the sense of rhythm and melody in the children. Creative improvisation through music or dance is emphasized to stimulate the desire for in Germany,” Music 2Egon Kraus, “School Music Education Educators Journal, April-May, 1956; and “To the Memory of Leo Music Educator, Spring, 1962. International Kestenberg,” 3Carl Orff and Gunild Keetman, Musik fiir Kinder. 4Music for Children, also publ. by B. Schott's Sohne. 59 self-expression which, in turn, is an important factor in the harmonious development of a total personality. The musical material used is either taken from folk songs or very closely related to the style of folk music. In general terms, Orff's philosophy of music education considers “music” to be not only the mere employment of sounds but comprising the arts as they were symbolized by the Muses in ancient Greece.5 The question remains to what extent these ideas are original with Orff. He developed them at about the same time that music educators in this country, under the influence of John Dewey, established a philosophy of music education that has remained valid to the present time. No basic disagreement between the aims of music education recognized generally in this country and those envisaged by Orff can be detected. The question of the originality of Orff's ideas is, however, of no major concern; it is, at least, of lesser significance than the problem of the originality of Carmina Burana versus Les Noces. From the pragmatic point of view, which dominates our philosophy of education, it matters more how well these ideas can be translated into actual teaching and how valuable results can be achieved. The method and technique developed by Orff and his followers is of high interest to American music educators. Teaching is a skill based on sound principles. It is possible to discuss such principles in an article; the skill can be acquired only in classes, workshops, through observation, and through practice teaching. The following pedagogical principles seem to permeate Orff's Music for Children. The Schulwerk begins with pentatonic melodies because, as Orff says in the Preface to Volume I, “music based on a five tone scale represents a stage of development which closely corresponds to the mentality of children.” Yet, before using the full five tone scale, several melodies of two tones and some consisting of three tones are introduced.” The melodies are accompanied by clapping, stamping, and monotone percussion instruments such as triangle and tambourine. Concurrently with these elementary exercises goes the practice of speech patterns and of merely rhythmic exercises. For the element of rhythm can be isolated and assimilated without melodies, and Orff considers the acquaintance with rhythm the most important and basic study for children. As the scope of the pentatonic melodies increases, more and more instruments are introduced: Alto and Soprano Xylophone, Alto and Soprano Glockenspiel, Musical Glasses, and other percussion instruments. The tunes are taken from traditional sources or are composed by Orff. The English version contains tunes by Doreen Hall. The parts for all instruments involved are fully written out. At the end of the volume several melodies are given. It is left to the children, guided by their instructor, to improvise parts for whatever instruments they use. Within the framework of the pentatonic scale, the concepts of consonance and dissonance are nonexista Erziehung,” education.” 6These initial numbers of Vol. I, English version, are credited to Doreen Hall. The original German version of Vols. I and II is not available to me. 60 ‘The German terminology refers term which Egon Kraus translates to “musische to “aesthetic ent. All five tones of the scale can sound at the same time without creating the effect of tension or the need for resolution. This is an advantage that makes a spontaneous and unsophisticated improvisation possible. Objections against the Orff method, based on this lack of an early definition of consonance and dissonance, have been raised and will be discussed later. Also the feeling of tonality is absent from these exercises in the pentatonic style. The second volume introduces melodies in six and seven tones. Thus the major scales and the major harmony enter into the consciousness of the children. The Bordun technique adds a new experience. This term signifies longer-held supporting tones and is usually equivalent to “pedal point” or “lying voices. In the third volume, finallv, dominant effects in the major mode are taught. Volume four adds the minor mode with Bordun accompaniments, while Volume five includes dominant degrees in the minor mode. Also some songs in ancient modes-Aeolian, Dorian, Phrygian-are used. Already in the first volume a song is found in which a change of meter from six-four to three-two occurs. In the subsequent volumes such rhythmic and metric intricacies are used more frequently. There are changes frem four-four to three-four and two-four time. Thus the children are prepared for the heavy demands made of performers and listeners of modern music in the field of rhythm. This short summary of the curriculum for children, embodied in five volumes, shows the steps which, according to Orff and his followers, should lead from the most elementary stages to a level of well-developed musicianship. The powerful rhythmic accents of the spoken language are the starting point. Next comes bodily movement such as playing and dancing. This leads to melody, beginning with the smallest possible range and a limited scale, ending with songs with extended ranges and in various modes. Also the rhythmic intricacy increases. But the main point remains to be emphasized: the elaborate arrangements of many melodies with a diversified instrumentation are not there in order to be memorized by the children. They rather should help the teacher in making suggestions to the young players how to improvise on their instruments. The children should learn to create accompaniments appropriate to the capabilities of the instruments which they are handling. Such semicreati ve work is an excellent means to develop musicianship. Observers who, like the present writer, are not active practitioners of the Orff method themselves will wonder if as much material as found in these five volumes and the additional publications is actually necessary to fulfill these purposes. A smaller amount would probably suffice. There is perhaps some danger in this abundance as the teacher may be tempted to remain too long at the beginning stages of the curriculum. This danger is particularly existent on this continent as only the first two volumes of the Schulwerk are available in English. The present writer has observed many demonstrations and actual classes of teaching according to Orff. In no case was material other than pentatonic used. And here lies the very real objection to the Orff method. In pentatonic music no distinction exists between consonance and dissonance. Yet this MUSIC EDUCATORS JOURNAL distinction is essential for western music from Bach to Brahms. A sound organization of rhythm is based on the progression from dissonance (strong beat) to consonance (weak beat). In pentatonic music, rhythmic accents are produced by percussive means, which are artificial. To begin melodic and harmonic training through pentatonic music is a sound procedure only if the transition is made soon enough to music based on functional harmony and a rhythmic organization based on the psychological factors of tension and relaxation which, themselves, go back to the perception of the dissonance requiring resolution into a consonance. This psychological conditioning must not be delayed too long. * It is, of course, a truism that no method is effective unless it is taught by an inspired teacher who fully masters such method. That is particularly true of Orff's method. Only teachers who, themselves, are good enough musicians and creative enough to improvise can guide young persons toward learning to improvise. If they are not able to do so, they may make the mistake of drilling children into performing music as Orff and Keetman wrote it rather than creating their own version of it. Teachers should be taught how to improvise. A brilliant example of such teaching is given by Cesar Bresgen. It was at the Congress of the International Society for Music Education in Vienna in the summer of 1961 that Mr. Bresgen came to the attention of American music educators. During the summer of 1962 he was a visiting professor at the University of Oregon in Eugene and at Potsdam University, New York; he conducted workshops with much success. Born in 1913, he has distinguished himself as a composer. Many of his works have been published in Germany by various publishing houses. A good part of his music is composed for educational purposes. Being a teacher, he has worked with children and written music for them, such as cantatas and operas. His first cantatas appeared between 1936 and 1940, at a time when Orff's Music For Children did not yet exist in its present form; they were written independently of Orff. He has also published a practical guide for improvisation, Die Improvisation (Quelle & Meyer, Heidelberg, 1960). Much of his music composed for children is only partially written down, the full realization being left to improvisation by the young musicians. It should be understood at this point that the meaning of the term “improvisation” cannot be narrowly defined. “Absolute improvisation,” the art which Bach, Beethoven, or Liszt handled so masterfully, is not teachable. Cesar Bresgen teaches “relative improvisation,” a subject that is important and useful in music education.7 Bresgen approaches the problem with a wide knowledge of folk songs of many nations and cultures. In his presentation he proceeds from the use of melody The material for the presentation of Cesar Bresgen's teaching method is taken from my article “Improvisation as a Teaching Device,” published in Triad, January, 1962. Extensive sections from that article are here repeated literally. This is done with the permission of the editor of Triad, who was then Calvin Y. Rogers. My thanks are hereby expressed to Mr. Rogers for his courtesy. 62 to the study of rhythm and harmony. He suggested giving the children first a set of three tones or terno, which they can use to improvise a melody to simple words. Thus their creative impulse is both set into motion and limited. After one child has suggested a melodic pattern by singing it, the whole group should repeat it. This is to be done until the group has expressed a preference for one of the suggested melodies. The three-tone pattern used as material could contain two whole-tone or one whole-tone and one half-tone step. Thus the difference between the major and minor second and third can be taught. The next step is the use of four tones, the tetrachord. Using the same procedure as before, the class will create folk song-like melodies. The transposition of melody patterns by a fourth or fifth and even their melodic inversion can be applied to compose music for a longer set of words. The extension of the tetrachord to the pentatonic scale, which is the actual basis of many folk tunes, will meet with no difficulties. At this point models from Gregorian chant, which often uses pentatonic elements, can be referred to. Thereby the children will learn the different feeling conveyed by melodies based on the church modes. Cesar Bresgen begins exercises in the element of rhythm independently of melody, as Carl Orff does. The teacher should direct himself to one of the pupils and, by clapping or using a percussion instrument, should improvise a rhythm (usually within two bars in four-four time) which is inconclusive. The pupil is expected to answer with a rhythmic phrase of the same length that continues the question and comes to a conclusion, a “rhythmic cadence. While Orff's exercises are within the customary Central-European system of square or triple rhythms, Bresgen recommends to soon introduce the irregular patterns found in Eastern-European, Oriental, or African music. Thus rhythms of five, seven, nine, or 3 plus 3 plus 2 should be practiced. Bela Bart6k's folkloristic compositions can serve the teacher as model and inspiration. Once a rhythmic pattern is established it can be varied. Shifts of the accents will produce syncopations which, if systematically used, bring in the jazz element, known to most young people all over the world. An important step is the transition to singing or playing more than one part. The least complicated method is adding a low held tone, the formerly mentioned Bordun. It can be hummed or played by low instruments, the same as droning tones in some folk music. This can be amplified by two Bordun tones at the interval of a perfect fifth or, possibly, a fourth. If one or both of these tones move to their upper or lower neighhbor, they are called “moving” or “vagrant” Bordun. The melody can also be supported by an Ostinato, a recurring group of tones at a definite rhythm, to break up the Bordun tone into a moving pattern. The general advice is not to put too heavy a load of accompaniment on simple tunes. This also holds true for the stage at which a harmonization with customary chords or piano patterns is attempted. It is difficult to improvise true polyphony. At times, singing in thirds or sixths will be suitable. Some melodies lend themselves to canonic imitation or even to a strict canon. A method of undeveloped polyphony is MUSIC EDUCATORS JOURNAL oto: Peter Keetman, B1reitbrunn, Germany. heterophony7; two voices move together in their melodic outlines, but one of them uses embellishments, delays, or anticipations, notwithstanding the dissonances that occur thereby. Oriental music uses this method to a great extent; it can be well applied, particularly when a more flexible instrument, such as the piano or recorder, joins heavier instruments or voices in a song. Finally, the techniques known as Organllui and Fauxbourdon can be used. Both existed well before the beginning stages of polyphony in the Middle Ages. W\hile they became obsolete in art music through the growth of the art of polyphonic writing, thev have been preserved in the folk music of some areas. Organunm is writing in parallel fifths, Fauxbourdon in parallel sixths and thirds (i.e. in consecutive first inversions of the triad). 3 Thus we recognize Carl Orff and Cesar Bresgen as two composers and teachers with common aims: to improve the methods used to give children a vital training in elementary musicianship. In many respects their views are similar. They organize the curriculum in a systematic progression from simple melodies within limited scale patterns to the full utilization of the major and minor and church modes; they emphasize the element of rhythm; they use the devices of Bordlun and Ostinato; they find in creative improvisation an excellent means of developing musicianship; as the xylophone, the they employ instruments-such and others-which metallophone, previously had either been unknowni or used very little as particularly appropriate in the hands of young players; they recognize folk nmusic as the basis for the musical training of children. Yet there are differences in their approach. Bresgen avoids the overemphasis on pentatonic music \which has been a point of criticism of the Orff method. He does not hesitate to include the piano among the instruments used for improvisation. He begins at an earlier stage than Orff does to train the children in irregular rhythmic and metric gen's has a stronger tendency to include musical roots from different nations and cultures. Both Orff and Bresgen are concerned not with tleories but with practical results. As all good teaching, their method is an art based on rational foundations and principles. This art can be learned not from treatises but by live instruction, observation, and practice. It is, therefore, appropriate that a center for the teaching and the dissemination of the Orff method, and a place for its further development by research and experimentation was established as a department at the Academy for Miusic “Mozarteum” in Salzburg in 1961. Carl Orff himself is in charge. He is assisted by his co-worker Gunild Keetman and many other teaclhers, among them Cesar Bresgen who is a Professor of Music Theory, Composition, and Music Education at the “Mozarteum. Various subjects are taught in that department such as: rhythmic-melodic exercises, training in the instruments employed, improvisation, pedamics. It can be expected that music educators from to their own countries to pass on what they hlave learned. Because of the close connection between the Conservatory of Oberlin College and the “MNozarteunl” many American music students have already made contact and have become familiar with the Orff method. It alxways happens that the disciples of a master teacher change, add to, and develop the master's teachings. This process already seems to be taking place. Many American and Canadian music educators have assimilated Orff's ideas and practices and many more will do so in the near future. Some of Orff's suggestions have, some more will become part of the main stream of our thoughts and practices in Imusic education. When Orff's method-changed, simplified. assimilated-w Nill have ceased to be a special method but have become part of our philosophy and technique of elementary music education, it will have made its full contribution to the musical and humanistic treasnry of our time. erville, Ohio. The author is Profcessor of Ml.usic at Otterbein Collcge, Wlc.est- gogy, analysis of music, study of folk music, eurhvth- many lands will receive training in Salzburg and return folk music as model. In general, Orff's approach is more stron(gly based on the Germanic folklore, Bres64 patterns, using Eastern MUSIC EDUCATORS JOURNAL </meta-value></custom-meta></custom-meta-wrap></article-meta></front></article></istex:document></istex:metadataXml><mods version="3.6"><titleInfo lang="en"><title>Orff and Bresgen as Music Educators</title></titleInfo><titleInfo type="alternative" lang="en" contentType="CDATA"><title>Orff and Bresgen as Music Educators</title></titleInfo><name type="personal"><namePart type="given">Paul L.</namePart><namePart type="family">Frank</namePart><affiliation>Profcessor of Music at Otterbein College, Westerville, Ohio.</affiliation></name><typeOfResource>text</typeOfResource><genre type="other" displayLabel="other" authority="ISTEX" authorityURI="https://content-type.data.istex.fr" valueURI="https://content-type.data.istex.fr/ark:/67375/XTP-7474895G-0">other</genre><originInfo><publisher>SAGE Publications</publisher><place><placeTerm type="text">Sage CA: Los Angeles, CA</placeTerm></place><dateIssued encoding="w3cdtf">1964-NaN</dateIssued><copyrightDate encoding="w3cdtf">1964</copyrightDate></originInfo><language><languageTerm type="code" authority="iso639-2b">eng</languageTerm><languageTerm type="code" authority="rfc3066">en</languageTerm></language><relatedItem type="host"><titleInfo><title>Music educators journal</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">0027-4321</identifier><identifier type="eISSN">1945-0087</identifier><identifier type="PublisherID">MEJ</identifier><identifier type="PublisherID-hwp">spmej</identifier><part><date>1964</date><detail type="volume"><caption>vol.</caption><number>50</number></detail><detail type="issue"><caption>no.</caption><number>4</number></detail><extent unit="pages"><start>58</start><end>64</end></extent></part></relatedItem><identifier type="istex">9BFE50083B30CB2CBAA5F4DA07A0E964A284F587</identifier><identifier type="ark">ark:/67375/M70-CKLQH2C7-6</identifier><identifier type="DOI">10.2307/3390205</identifier><identifier type="ArticleID">10.2307_3390205</identifier><recordInfo><recordContentSource authority="ISTEX" authorityURI="https://loaded-corpus.data.istex.fr" valueURI="https://loaded-corpus.data.istex.fr/ark:/67375/XBH-0J1N7DQT-B">sage</recordContentSource></recordInfo></mods><json:item><extension>json</extension><original>false</original><mimetype>application/json</mimetype><uri>https://api.istex.fr/document/9BFE50083B30CB2CBAA5F4DA07A0E964A284F587/metadata/json</uri></json:item></metadata><serie></serie></istex></record>Pour manipuler ce document sous Unix (Dilib)
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