Contemporary Music in Europe
Identifieur interne : 000240 ( Istex/Corpus ); précédent : 000239; suivant : 000241Contemporary Music in Europe
Auteurs : Arthur FrackenpohlSource :
- Music educators journal [ 0027-4321 ] ; 1966-02.
English descriptors
- Teeft :
- Argento bartok richardson britten overture, Arthur frackenpohl, Baritone models, Book sources, Case rene, City rachmaninoff vocalise, Classroom teachers, College courses, Complex role, Comprehensive view, Copland tunately, Crane department, Current practice, Curriculum evaluation, Desirable goals, Dissertations unforjohnhenry, Electronic music, Elementary education, Elementary level, Elementary music education, Elementary music supervisor, Elementary program, Elementary schools, Elementary supervision, Esoteric descriptions, Essays deal, Event withjubilee, Exact agreement, Exciting surprise, Faithful suite, Fiftieth anniversary, First slavonic dances, Folk music, George prince overture holgate, Germ cell theory, Gillis opera, Great books, Great britain, Greater part, Hawkes oceanside, Important music educators, Important work, Inen iphigenie aulide, John cage, Kansas convention, Large portions, Limited interest, Mabelle glenn, Many persons, Massaigor chusetts, Matinees musicales, Much attention sight suite, Music education, Music educator, Music educators, Music student, Music supervision, Music supervisor, Music teacher, Musical goals, Musical learnings, Naive biography, Nathan broder, Norton company, Older composers, Other book, Other countries, Outdoor overture, Paul henry lang, Perceptive introductionby lang, Prelude wake, Present state, Principal composers, Pronfessionaln featfures, Public schools, Rainbow press, Reader gain, Reasonable expectancy, Representative works, Resource teacher, Roumanian dances folk penderecki, Same time conditions, Sarabande katherine april, Scholarly detail, School music teaching, Schools today, Short overture, Sinfonia piccola chicago, Slavonic dances, Small insight, Small price, Soirees musicales, Soviet union, Special article, Specialized field, State university college, Successful program, Tary music education, Thorough study, Thoughtful readers, Total program, Tourbillon activity, Unique contribution music, Useful adjunct, Washburn overture, Welcome addition, West yarmouth, Western europe, Younger composers.
Url:
DOI: 10.2307/3390687
Links to Exploration step
ISTEX:0273211E3A5D970560A3B753835BDFC4B0915370Le document en format XML
<record><TEI wicri:istexFullTextTei="biblStruct"><teiHeader><fileDesc><titleStmt><title xml:lang="en">Contemporary Music in Europe</title><author wicri:is="90%"><name sortKey="Frackenpohl, Arthur" sort="Frackenpohl, Arthur" uniqKey="Frackenpohl A" first="Arthur" last="Frackenpohl">Arthur Frackenpohl</name><affiliation><mods:affiliation>Professor of Music, Crane Department of Music, State University College, Potsdam, New York.</mods:affiliation></affiliation></author></titleStmt><publicationStmt><idno type="wicri:source">ISTEX</idno><idno type="RBID">ISTEX:0273211E3A5D970560A3B753835BDFC4B0915370</idno><date when="1966" year="1966">1966</date><idno type="doi">10.2307/3390687</idno><idno type="url">https://api.istex.fr/document/0273211E3A5D970560A3B753835BDFC4B0915370/fulltext/pdf</idno><idno type="wicri:Area/Istex/Corpus">000240</idno><idno type="wicri:explorRef" wicri:stream="Istex" wicri:step="Corpus" wicri:corpus="ISTEX">000240</idno></publicationStmt><sourceDesc><biblStruct><analytic><title level="a" type="main" xml:lang="en">Contemporary Music in Europe</title><author wicri:is="90%"><name sortKey="Frackenpohl, Arthur" sort="Frackenpohl, Arthur" uniqKey="Frackenpohl A" first="Arthur" last="Frackenpohl">Arthur Frackenpohl</name><affiliation><mods:affiliation>Professor of Music, Crane Department of Music, State University College, Potsdam, New York.</mods:affiliation></affiliation></author></analytic><monogr></monogr><series><title level="j">Music educators journal</title><idno type="ISSN">0027-4321</idno><idno type="eISSN">1945-0087</idno><imprint><publisher>SAGE Publications</publisher><pubPlace>Sage CA: Los Angeles, CA</pubPlace><date type="published" when="1966-02">1966-02</date><biblScope unit="volume">52</biblScope><biblScope unit="issue">4</biblScope><biblScope unit="page" from="179">179</biblScope><biblScope unit="page" to="180">180</biblScope></imprint><idno type="ISSN">0027-4321</idno></series></biblStruct></sourceDesc><seriesStmt><idno type="ISSN">0027-4321</idno></seriesStmt></fileDesc><profileDesc><textClass><keywords scheme="Teeft" xml:lang="en"><term>Argento bartok richardson britten overture</term><term>Arthur frackenpohl</term><term>Baritone models</term><term>Book sources</term><term>Case rene</term><term>City rachmaninoff vocalise</term><term>Classroom teachers</term><term>College courses</term><term>Complex role</term><term>Comprehensive view</term><term>Copland tunately</term><term>Crane department</term><term>Current practice</term><term>Curriculum evaluation</term><term>Desirable goals</term><term>Dissertations unforjohnhenry</term><term>Electronic music</term><term>Elementary education</term><term>Elementary level</term><term>Elementary music education</term><term>Elementary music supervisor</term><term>Elementary program</term><term>Elementary schools</term><term>Elementary supervision</term><term>Esoteric descriptions</term><term>Essays deal</term><term>Event withjubilee</term><term>Exact agreement</term><term>Exciting surprise</term><term>Faithful suite</term><term>Fiftieth anniversary</term><term>First slavonic dances</term><term>Folk music</term><term>George prince overture holgate</term><term>Germ cell theory</term><term>Gillis opera</term><term>Great books</term><term>Great britain</term><term>Greater part</term><term>Hawkes oceanside</term><term>Important music educators</term><term>Important work</term><term>Inen iphigenie aulide</term><term>John cage</term><term>Kansas convention</term><term>Large portions</term><term>Limited interest</term><term>Mabelle glenn</term><term>Many persons</term><term>Massaigor chusetts</term><term>Matinees musicales</term><term>Much attention sight suite</term><term>Music education</term><term>Music educator</term><term>Music educators</term><term>Music student</term><term>Music supervision</term><term>Music supervisor</term><term>Music teacher</term><term>Musical goals</term><term>Musical learnings</term><term>Naive biography</term><term>Nathan broder</term><term>Norton company</term><term>Older composers</term><term>Other book</term><term>Other countries</term><term>Outdoor overture</term><term>Paul henry lang</term><term>Perceptive introductionby lang</term><term>Prelude wake</term><term>Present state</term><term>Principal composers</term><term>Pronfessionaln featfures</term><term>Public schools</term><term>Rainbow press</term><term>Reader gain</term><term>Reasonable expectancy</term><term>Representative works</term><term>Resource teacher</term><term>Roumanian dances folk penderecki</term><term>Same time conditions</term><term>Sarabande katherine april</term><term>Scholarly detail</term><term>School music teaching</term><term>Schools today</term><term>Short overture</term><term>Sinfonia piccola chicago</term><term>Slavonic dances</term><term>Small insight</term><term>Small price</term><term>Soirees musicales</term><term>Soviet union</term><term>Special article</term><term>Specialized field</term><term>State university college</term><term>Successful program</term><term>Tary music education</term><term>Thorough study</term><term>Thoughtful readers</term><term>Total program</term><term>Tourbillon activity</term><term>Unique contribution music</term><term>Useful adjunct</term><term>Washburn overture</term><term>Welcome addition</term><term>West yarmouth</term><term>Western europe</term><term>Younger composers</term></keywords></textClass><langUsage><language ident="en">en</language></langUsage></profileDesc></teiHeader></TEI><istex><corpusName>sage</corpusName><keywords><teeft><json:string>music supervision</json:string><json:string>music education</json:string><json:string>elementary education</json:string><json:string>great britain</json:string><json:string>soviet union</json:string><json:string>electronic music</json:string><json:string>argento bartok richardson britten overture</json:string><json:string>elementary music supervisor</json:string><json:string>resource teacher</json:string><json:string>music teacher</json:string><json:string>complex role</json:string><json:string>welcome addition</json:string><json:string>college courses</json:string><json:string>exciting surprise</json:string><json:string>music student</json:string><json:string>comprehensive view</json:string><json:string>elementary music education</json:string><json:string>baritone models</json:string><json:string>unique contribution music</json:string><json:string>elementary supervision</json:string><json:string>desirable goals</json:string><json:string>total program</json:string><json:string>music supervisor</json:string><json:string>elementary program</json:string><json:string>musical learnings</json:string><json:string>curriculum evaluation</json:string><json:string>thorough study</json:string><json:string>successful program</json:string><json:string>current practice</json:string><json:string>many persons</json:string><json:string>elementary level</json:string><json:string>thoughtful readers</json:string><json:string>elementary schools</json:string><json:string>classroom teachers</json:string><json:string>musical goals</json:string><json:string>same time conditions</json:string><json:string>reasonable expectancy</json:string><json:string>tary music education</json:string><json:string>public schools</json:string><json:string>paul henry lang</json:string><json:string>nathan broder</json:string><json:string>norton company</json:string><json:string>present state</json:string><json:string>essays deal</json:string><json:string>principal composers</json:string><json:string>fiftieth anniversary</json:string><json:string>perceptive introductionby lang</json:string><json:string>special article</json:string><json:string>john cage</json:string><json:string>western europe</json:string><json:string>pronfessionaln featfures</json:string><json:string>other book</json:string><json:string>specialized field</json:string><json:string>germ cell theory</json:string><json:string>case rene</json:string><json:string>prelude wake</json:string><json:string>roumanian dances folk penderecki</json:string><json:string>younger composers</json:string><json:string>older composers</json:string><json:string>other countries</json:string><json:string>folk music</json:string><json:string>limited interest</json:string><json:string>music educators</json:string><json:string>greater part</json:string><json:string>schools today</json:string><json:string>large portions</json:string><json:string>esoteric descriptions</json:string><json:string>reader gain</json:string><json:string>small insight</json:string><json:string>useful adjunct</json:string><json:string>representative works</json:string><json:string>arthur frackenpohl</json:string><json:string>crane department</json:string><json:string>state university college</json:string><json:string>mabelle glenn</json:string><json:string>music educator</json:string><json:string>george prince overture holgate</json:string><json:string>west yarmouth</json:string><json:string>massaigor chusetts</json:string><json:string>rainbow press</json:string><json:string>matinees musicales</json:string><json:string>soirees musicales</json:string><json:string>dissertations unforjohnhenry</json:string><json:string>great books</json:string><json:string>copland tunately</json:string><json:string>outdoor overture</json:string><json:string>naive biography</json:string><json:string>important music educators</json:string><json:string>first slavonic dances</json:string><json:string>slavonic dances</json:string><json:string>short overture</json:string><json:string>gillis opera</json:string><json:string>inen iphigenie aulide</json:string><json:string>much attention sight suite</json:string><json:string>scholarly detail</json:string><json:string>faithful suite</json:string><json:string>book sources</json:string><json:string>event withjubilee</json:string><json:string>exact agreement</json:string><json:string>sarabande katherine april</json:string><json:string>tourbillon activity</json:string><json:string>kansas convention</json:string><json:string>city rachmaninoff vocalise</json:string><json:string>sinfonia piccola chicago</json:string><json:string>washburn overture</json:string><json:string>important work</json:string><json:string>hawkes oceanside</json:string><json:string>school music teaching</json:string><json:string>small price</json:string></teeft></keywords><author><json:item><name>Arthur Frackenpohl</name><affiliations><json:string>Professor of Music, Crane Department of Music, State University College, Potsdam, New York.</json:string></affiliations></json:item></author><articleId><json:string>10.2307_3390687</json:string></articleId><arkIstex>ark:/67375/M70-ZGTB8NN8-R</arkIstex><language><json:string>eng</json:string></language><originalGenre><json:string>other</json:string></originalGenre><qualityIndicators><score>2.993</score><pdfWordCount>981</pdfWordCount><pdfCharCount>6898</pdfCharCount><pdfVersion>1.6</pdfVersion><pdfPageCount>2</pdfPageCount><pdfPageSize>648 x 864 pts</pdfPageSize><refBibsNative>false</refBibsNative><abstractWordCount>1</abstractWordCount><abstractCharCount>0</abstractCharCount><keywordCount>0</keywordCount></qualityIndicators><title>Contemporary Music in Europe</title><genre><json:string>other</json:string></genre><host><title>Music educators journal</title><language><json:string>unknown</json:string></language><issn><json:string>0027-4321</json:string></issn><eissn><json:string>1945-0087</json:string></eissn><publisherId><json:string>MEJ</json:string></publisherId><volume>52</volume><issue>4</issue><pages><first>179</first><last>180</last></pages><genre><json:string>journal</json:string></genre></host><namedEntities><unitex><date><json:string>1965</json:string><json:string>1966</json:string></date><geogName></geogName><orgName></orgName><orgName_funder></orgName_funder><orgName_provider></orgName_provider><persName><json:string>Overture</json:string><json:string>Glenn</json:string><json:string>K. Symphony</json:string><json:string>Nathan Broder</json:string><json:string>John Cage</json:string><json:string>Katherine April</json:string><json:string>George Prince</json:string><json:string>W. W. Norton</json:string></persName><placeName><json:string>Switzerland</json:string><json:string>Germany</json:string><json:string>Greece</json:string><json:string>Poland</json:string><json:string>IN</json:string><json:string>EUROPE</json:string><json:string>Europe</json:string><json:string>Chicago</json:string><json:string>Israel</json:string><json:string>York</json:string><json:string>France</json:string><json:string>St. Lawrence</json:string><json:string>Hungary</json:string><json:string>Italy</json:string><json:string>Spain</json:string></placeName><ref_url></ref_url><ref_bibl><json:string>Company, Inc., 1965</json:string></ref_bibl><bibl></bibl></unitex></namedEntities><ark><json:string>ark:/67375/M70-ZGTB8NN8-R</json:string></ark><publicationDate>1966</publicationDate><copyrightDate>1966</copyrightDate><doi><json:string>10.2307/3390687</json:string></doi><id>0273211E3A5D970560A3B753835BDFC4B0915370</id><score>1</score><fulltext><json:item><extension>pdf</extension><original>true</original><mimetype>application/pdf</mimetype><uri>https://api.istex.fr/document/0273211E3A5D970560A3B753835BDFC4B0915370/fulltext/pdf</uri></json:item><json:item><extension>zip</extension><original>false</original><mimetype>application/zip</mimetype><uri>https://api.istex.fr/document/0273211E3A5D970560A3B753835BDFC4B0915370/fulltext/zip</uri></json:item><istex:fulltextTEI uri="https://api.istex.fr/document/0273211E3A5D970560A3B753835BDFC4B0915370/fulltext/tei"><teiHeader><fileDesc><titleStmt><title level="a" type="main" xml:lang="en">Contemporary Music in Europe</title><respStmt><resp>Références bibliographiques récupérées via GROBID</resp><name resp="ISTEX-API">ISTEX-API (INIST-CNRS)</name></respStmt></titleStmt><publicationStmt><authority>ISTEX</authority><publisher scheme="https://publisher-list.data.istex.fr">SAGE Publications</publisher><pubPlace>Sage CA: Los Angeles, CA</pubPlace><availability><licence><p>sage</p></licence></availability><p scheme="https://loaded-corpus.data.istex.fr/ark:/67375/XBH-0J1N7DQT-B"></p><date>1966</date></publicationStmt><notesStmt><note type="other" scheme="https://content-type.data.istex.fr/ark:/67375/XTP-7474895G-0">other</note><note type="journal" scheme="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</note></notesStmt><sourceDesc><biblStruct type="inbook"><analytic><title level="a" type="main" xml:lang="en">Contemporary Music in Europe</title><author xml:id="author-0000"><persName><forename type="first">Arthur</forename><surname>Frackenpohl</surname></persName><affiliation>Professor of Music, Crane Department of Music, State University College, Potsdam, New York.</affiliation></author><idno type="istex">0273211E3A5D970560A3B753835BDFC4B0915370</idno><idno type="ark">ark:/67375/M70-ZGTB8NN8-R</idno><idno type="DOI">10.2307/3390687</idno><idno type="article-id">10.2307_3390687</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="1966-02"></date><biblScope unit="volume">52</biblScope><biblScope unit="issue">4</biblScope><biblScope unit="page" from="179">179</biblScope><biblScope unit="page" to="180">180</biblScope></imprint></monogr></biblStruct></sourceDesc></fileDesc><profileDesc><creation><date>1966</date></creation><langUsage><language ident="en">en</language></langUsage></profileDesc><revisionDesc><change when="1966-02">Published</change><change xml:id="refBibs-istex" who="#ISTEX-API" when="2017-10-17">References added</change></revisionDesc></teiHeader></istex:fulltextTEI><json:item><extension>txt</extension><original>false</original><mimetype>text/plain</mimetype><uri>https://api.istex.fr/document/0273211E3A5D970560A3B753835BDFC4B0915370/fulltext/txt</uri></json:item></fulltext><metadata><istex:metadataXml wicri:clean="corpus sage not found" wicri:toSee="no header"><istex:xmlDeclaration>version="1.0" encoding="UTF-8"</istex:xmlDeclaration><istex:docType PUBLIC="-//NLM//DTD Journal Publishing DTD v2.3 20070202//EN" URI="journalpublishing.dtd" name="istex:docType"></istex:docType><istex:document><article article-type="other" dtd-version="2.3" 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">10.2307/3390687</article-id><article-id pub-id-type="publisher-id">10.2307_3390687</article-id><article-categories><subj-group subj-group-type="heading"><subject>Articles</subject></subj-group></article-categories><title-group><article-title>Contemporary Music in Europe</article-title></title-group><contrib-group><contrib contrib-type="author" xlink:type="simple"><name name-style="western"><surname>Frackenpohl</surname><given-names>Arthur</given-names></name><aff>Professor of Music, Crane Department of Music, State University College, Potsdam, New York.</aff></contrib></contrib-group>
<pub-date pub-type="ppub"><month>2</month><year>1966</year></pub-date><volume>52</volume><issue>4</issue><fpage>179</fpage><lpage>180</lpage><custom-meta-wrap><custom-meta xlink:type="simple"><meta-name>sagemeta-type</meta-name><meta-value>Letter</meta-value></custom-meta><custom-meta xlink:type="simple"><meta-name>cover-date</meta-name><meta-value>February/March 1966</meta-value></custom-meta><custom-meta xlink:type="simple"><meta-name>search-text</meta-name><meta-value> taken for a tennis coach during his holiday on the Riviera!) On moving to America in 1933, Schoenberg found a quite different academic system from that which he had known in Europe, and found himself working with different kinds of students. There were aspects of the new situation which he liked and also which he did not -predictably-those like. He was disturbed by the high cost of printed music, which made it difficult for students to own a small collection of scores such as he considered essential; also, he was annoyed by the expensiveness of opera and concert tickets. (Doubtless he would be delighted, today, at the prevalence of the paperback, which makes it possible for our students to own, at little cost, a rich library of essential works about music; but I suspect he would not be so pleased at the price of $ 27.50 which St. Martin' s Press has set for his counterpoint book!) Schoenberg was strongly and favorably impressed with the intelligence of American young people, which he found “ remarkable.” In 1939, he wrote to Ernst Krenek: I am endeavouring to direct this intelligence into the right channels. They [the American students] are exteremely good at getting hold of principles, but then want to apply them too much' on principle.' And in art that' s wrong. What distinguishes art from science is: that here there should not be principles of the kind one has to use on principle… that musical logic does not answer to' if -, then -,' but enjoys making use of the possibilities excluded by if-then. This attitude fully explains why refused to steadfastly Schoenberg of teach the mechanical application twelve-tone principles–something which those who came after him might well remember! ican composers against the dangers of in music. This excessive nationalism Schoenberg cautioned young Amer- caution was certainly more necessary in the 1940′ s than it is today, when the composers But is by no means in the foreto the young Lester self-consciously nationalistic group of his words front of American musical activity. Trimble on this subject are certainly wise and well-balanced, as valid today as when they were written: I see you are aiming at a contemporary American style in some of these compositions. This is of course perfectly all right. It is your task, all of you young American talents, to create a style of your own, and it is every single man' s duty to contribute as much as possible to this goal. On the other hand there are two points on account of which I would advocate that everybody should become perfectly acquainted with the achievements of the masters of the past, with the development of the musical language up to our times. Firstly: after some time most of these national characteristics fade and only the idea remains. Secondly: It would be too great a loss, if this technique, produced by centuries, [were to] be abandoned and a new technique started at the point where the European started long, long ago. This is why I recommend you to study the masterworks. One could go on quoting endlesslyindeed, Schoenberg is one of the most authors I know-but it is quotable enough to say: read this essential book, and come a little nearer to understanding one of the greatest spirits of the twentieth century! -DIKA NEWLIN, Professor of Musi- cology, North Texas State University, Denton. SUPERVISING MUSIC IN THE ELEMENTARY SCHOOL. By Edward J. Hermann. Englewood Cliffs, New Jersey: Prentice-Hall, Inc., 1965. 195 pp., $ 5.75. Edward J. Hermann' s book on the music at the subject of supervising level, fills a large gap in elementary MITSI[ FOR EIIILATJUN-WINIJ ENSEMBLE From the catalogues of Chappell & Co., Ltd., London, we introduce a unique series of educational publications graded according to the Associated Board of the Royal Schools of Music. This series has a forward-looking, contemporary bias, designed to better balance the child' s musical experience and stimulate his imagination with fresh ideas, new rhythms and new sounds. I24a“ S Casem4Ien /o* dcuiad 16th Century C“ et” 4Ie Trios.——–.arr. Arnold Bentley 16th Century Trios–.——.–arr. Arnold Bentley See “ Woodwind 12 short, easy pieces by Palestrina, Neumeyer, Weelkes, Lasso, II (Oboe/Clar.); III (F/Eb Horn/ et al for I (Flute/Oboe/Clar.); Bassoon.). Score.75; Parts.30 each. for Trumpets I-I1 and Horn/Trombone/Baritone. Ensemble“ for description and prices. Tudor Suite.–Tudor Suite….—–.–.—-.-.arr. Neil Butterworth 4-part intermediate pieces by Gibbons, Palestrina, Morley, Mundy for I (Flute/Oboe/Clar.); II (Oboe/Clar.); III (F/Eb Horn); IV (Bassoon). Score.75; Parts.30 each. ……….—arr. Neil Butterworth See for Trumpets 1-11, Horn, and Trombone/Baritone/Bass. “ Woodwind Ensemble” for description and prices. Four Tudor Canzonas ——-.—-Orlando di Lasso arr. by Neil Butterworth for Trumpets I-11, Horn and Trombone/ Baritone/Bass. Score.75; Parts.20 each. The Hunt….—————–………–William A fugato on a horn-call theme for Flute, Oboe, Horn/Bassoon. Score & Parts.75 complete. Pearson Clarinet, F Mr. Curch' s Toye….—– —–Thomas Tomkins 3 4-part pieces arr. by Neil Butterworth. See “ Four Tudor Canzonas” above for instrumentation. Score.75; Parts.30 each. Please specify instrumentation when ordering parts. Send for free graded instrumental catalogue of MUSIC FOR EDUCATION & CHAPPELL CO., INC. 609 Fifth Ave., New York 10017 MUSIC Any 3 titles available on 30-day approval EDUCATORS EDUCATORS JOURNAL JOURNAL 178 178 MUSIC … !!% 3 it dt &, Pronfessionaln Featfures af a. I WI Who offers an A/to Saxophone with these $ 25995 WITH CASE _ (. . _ _ - -. :. Rene X1 Dumont .SAXOPHONES Why not see for yourself. You' re in for an exciting surprise. Tenor and Baritone models available as well as Clarinets and Flutes. current professional writing in the field of music supervision. At least to this writer' s knowledge, there is no other book devoted exclusively to problems of music supervision in this specialized field. Because the elementary music supervisor may find it necessary to be a supervisor, consultant, resource teacher, music teacher, counselor, and friend, written information on ways to function in such a complex role is indeed a welcome addition to the literature. The organization of each chapter with its concluding summary and questions for discussion would indicate that the book is intended as a text for college courses in music education, and it serves this function well. It gives the music student a comprehensive view of elementary music education and spells out responsibilities, roles, and program. It would be equally valuable for students of elementary education. They would gain some understanding of the unique contribution music can make to children' s growth and development, and be made aware of the significance of music as a subject in its own right. The book could be extremely helpful to the novice in elementary supervision. It emphasizes desirable goals of music supervision, identifies some pitFEBRUARY-MARCH, NINETEEN SIXTY-SIX falls, brings into focus the importance of understanding the total program of elementary education, and understanding the values of music education. It could be useful to the experienced music supervisor in establishing criteria for evaluation of his own effort and of the role of music in the elementary program. The chapters “ Which Musical Learning Shall Be Emphasized” and “ Organizing Musical Learnings” are so thoroughly explained and so specifically spelled out that they could be used as a guide for curriculum evaluation and revision. Certainly administrators, supervisors, and principals would benefit greatly from a thorough study of this book, since it not only points out the importance of their effort in a successful program, but also gives suggestions for evaluating a program (Chapter 14) and a look at current practice (Chapter 15). This book is a valuable one for the many persons who so often share the responsibility for music education at the elementary level. This very sharing of responsibility, however, could provoke thoughtful readers to question the probability of attaining the goals set forth in Chapters VII and VIII under the conditions reported in Chapter XV. If 75 per cent of the music in elementary schools is taught by classroom teachers, most of whom have not been required any proficiency in music as a condition of employment (p. 182), it stands to reason that the attainment of musical goals will be impeded. Few would quarrel with the desirability of goals set, nor with the idea that goals should be set high, but perhaps at the same time conditions under which these goals may become a reasonable expectancy should be set forth in just as straightforward and specific a manner. -ALICE tary Music Education, Maryland, Public Schools. S. BEER, Supervisor, Elemen- Baltimore, IN MUSIC CONTEMPORARY EUROPE: A Comprehensive Survey.1 Edited by Paul Henry Lang and Nathan Broder. New York: W. W. Norton & Company, Inc., 1965. 308 pp., index, $ 6.95. This book contains a series of essays on the present state of music written by editors, authors, critics, and professors who are experts in the music of every country in Europe. The essays deal with the principal composers and ' These essays were written for the Fiftieth Anniversary of The Musical Quarterly, January 1965. 179 … !!% 3 it dt &, Pronfessionaln Featfures af a. I WI Who offers an A/to Saxophone with these $ 25995 WITH CASE _ (. . _ _ - -. :. Rene X1 Dumont .SAXOPHONES Why not see for yourself. You' re in for an exciting surprise. Tenor and Baritone models available as well as Clarinets and Flutes. current professional writing in the field of music supervision. At least to this writer' s knowledge, there is no other book devoted exclusively to problems of music supervision in this specialized field. Because the elementary music supervisor may find it necessary to be a supervisor, consultant, resource teacher, music teacher, counselor, and friend, written information on ways to function in such a complex role is indeed a welcome addition to the literature. The organization of each chapter with its concluding summary and questions for discussion would indicate that the book is intended as a text for college courses in music education, and it serves this function well. It gives the music student a comprehensive view of elementary music education and spells out responsibilities, roles, and program. It would be equally valuable for students of elementary education. They would gain some understanding of the unique contribution music can make to children' s growth and development, and be made aware of the significance of music as a subject in its own right. The book could be extremely helpful to the novice in elementary supervision. It emphasizes desirable goals of music supervision, identifies some pitFEBRUARY-MARCH, NINETEEN SIXTY-SIX falls, brings into focus the importance of understanding the total program of elementary education, and understanding the values of music education. It could be useful to the experienced music supervisor in establishing criteria for evaluation of his own effort and of the role of music in the elementary program. The chapters “ Which Musical Learning Shall Be Emphasized” and “ Organizing Musical Learnings” are so thoroughly explained and so specifically spelled out that they could be used as a guide for curriculum evaluation and revision. Certainly administrators, supervisors, and principals would benefit greatly from a thorough study of this book, since it not only points out the importance of their effort in a successful program, but also gives suggestions for evaluating a program (Chapter 14) and a look at current practice (Chapter 15). This book is a valuable one for the many persons who so often share the responsibility for music education at the elementary level. This very sharing of responsibility, however, could provoke thoughtful readers to question the probability of attaining the goals set forth in Chapters VII and VIII under the conditions reported in Chapter XV. If 75 per cent of the music in elementary schools is taught by classroom teachers, most of whom have not been required any proficiency in music as a condition of employment (p. 182), it stands to reason that the attainment of musical goals will be impeded. Few would quarrel with the desirability of goals set, nor with the idea that goals should be set high, but perhaps at the same time conditions under which these goals may become a reasonable expectancy should be set forth in just as straightforward and specific a manner. -ALICE tary Music Education, Maryland, Public Schools. S. BEER, Supervisor, Elemen- Baltimore, IN MUSIC CONTEMPORARY EUROPE: A Comprehensive Survey.1 Edited by Paul Henry Lang and Nathan Broder. New York: W. W. Norton & Company, Inc., 1965. 308 pp., index, $ 6.95. This book contains a series of essays on the present state of music written by editors, authors, critics, and professors who are experts in the music of every country in Europe. The essays deal with the principal composers and ' These essays were written for the Fiftieth Anniversary of The Musical Quarterly, January 1965. 179 their music-composers young and old, and styles from conservative to avant-garde. Also of interest are a perceptive introductionby Lang and a special article dealing with the opposed attitudes of Boulez and Xenakis towards the music of John Cage. All of Western Europe is represented-from Great Britain to Greece, from Spain to Scandinavia-twentytwo countries in all, including the Soviet Union and Israel. Some of the currentstyles and terms mentioned are: serialism, indeterminacy, electronic music, pointillism, dodecaphony, happenings, taped mu- sic, microtonalmusic, tonally oriented use of the twelve-tone technique, tone-clusters, improvisation, stochastic music, and germ cell theory. Some of the more important composers discussed are: Goehr and Davies of Great Britain; Messaien, Boulez, Schaeffer, and Marinet of France; Halffter and de Pablo of Spain; Nono, Berio, Clementi, and Bussoti of Italy; Martin and Vogel of Switzerland; Badings of Holland; Bergman, Lidholm, and Blomdahl of Scandinavia; Henze and Stockhausen of Germany; Ligeti of Hungary; Xenakis of Greece; Lutoslawski and Masi # cy O I* 24c he 44 THE LIFE OF MABELLE GLENN, MUSIC EDUCATOR. By George Prince Overture Holgate. West Yarmouth, Massa Igor chusetts: Rainbow Press, 1965. 152 Matinees Musicales pp., $ 1.50. Soirees Musicales It is almost an axiom that dissertations unfor John Henry do not make great books and, It is a COPLAND tunately, this is no exception. Outdoor Overture rather naive biography of one of the important music educators of the first Slavonic Dances 46, Nos.1, 3 & 8 half of the Op. DVORAK/Szell century. Because of the Slavonic Dances 72, Nos.10 & 15 importance of the subject it cannot Op. help but be of some value. One cannot Short Overture an Unwritten to GILLIS Opera help wishing, however, that it had written with as much deep inen Iphigenie Aulide been as GLUCK/Richardson veneration, as much attention sight Suite to scholarly detail as predilection to Amaryllis HANDEL/Beecham at the The Faithful Suite quote. book sources given to the back Shepherd are unrelated of the many In Medias Res quotations and the reader is even ocKORN of a casionally disturbed No. (K. Symphony 38, Eb Major 543) two accounts of the by repetition MOZART/Beecham same event with Jubilee out exact agreement. The reader will NELSON the Sarabande Katherine April understand knowsinadequacies of this for in that the day-to-day effort if he Tourbillon activity of Miss Glenn at the Kansas OFFENBACH/Schonherr convention, of City RACHMANINOFF Vocalise which (1925)wasMENChostess, and the the she Sinfonia Piccola Chicago (1930) meeting, when she SUOLAHTI/Johnson are given in detail was WASHBURN Overture while president, St. Lawrence her important work on The Psy- ARGENTO BACH/Holst BACH/Ormandy BARTOK BORODIN/GLAZOUNOV/ Richardson BRITTEN Overture “ The to Boor” a Fugue la Gigue Choral Prelude Wake) (Sleepers, Roumanian Dances Folk Penderecki of Poland; Prokofiev, Shostakovitch, Miaskovsky, and Kabalevsky of the Soviet Union; and Ben Haim, Tal, and Partos of Israel. Many of the countries have younger composers experimenting with and writing serial, twelve-tone, aleatory, and electronic music. Some countries have older composers using more traditional techniques, and still other countries have composers strongly influenced by folk music. This survey will probably be of limited interest to music educators since the greater part of the music discussed is far removed in style from that being used in most of our schools today. Large portions of the book contain long, esoteric descriptions of the philosophies and idioms of the composers. The few examples of music are not nearly enough to help the reader gain even a small insight into the music under discussion. A useful adjunct to the survey would be an album of recorded excerpts together with scores of representative works from each country. -ARTHUR FRACKENPOHL, Professor of Music, Crane Department of Music, State University College, Potsdam, New York. Scores available “ on approval” BOOSEY 180 and HAWKES Oceanside, N. Y. 11572 especially The World of Music are treated superficially. Nevertheless, it is certainly worth the small price and teachers may even secure a discount from the publisher.-cLG MUSIC EDUCATORS JOURNAL chology of School Music Teaching and </meta-value></custom-meta></custom-meta-wrap></article-meta></front></article></istex:document></istex:metadataXml><mods version="3.6"><titleInfo lang="en"><title>Contemporary Music in Europe</title></titleInfo><titleInfo type="alternative" lang="en" contentType="CDATA"><title>Contemporary Music in Europe</title></titleInfo><name type="personal"><namePart type="given">Arthur</namePart><namePart type="family">Frackenpohl</namePart><affiliation>Professor of Music, Crane Department of Music, State University College, Potsdam, New York.</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">1966-02</dateIssued><copyrightDate encoding="w3cdtf">1966</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>1966</date><detail type="volume"><caption>vol.</caption><number>52</number></detail><detail type="issue"><caption>no.</caption><number>4</number></detail><extent unit="pages"><start>179</start><end>180</end></extent></part></relatedItem><identifier type="istex">0273211E3A5D970560A3B753835BDFC4B0915370</identifier><identifier type="ark">ark:/67375/M70-ZGTB8NN8-R</identifier><identifier type="DOI">10.2307/3390687</identifier><identifier type="ArticleID">10.2307_3390687</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/0273211E3A5D970560A3B753835BDFC4B0915370/metadata/json</uri></json:item></metadata><serie></serie></istex></record>Pour manipuler ce document sous Unix (Dilib)
EXPLOR_STEP=$WICRI_ROOT/Wicri/Musique/explor/XenakisV1/Data/Istex/Corpus
HfdSelect -h $EXPLOR_STEP/biblio.hfd -nk 000240 | SxmlIndent | more
Ou
HfdSelect -h $EXPLOR_AREA/Data/Istex/Corpus/biblio.hfd -nk 000240 | SxmlIndent | more
Pour mettre un lien sur cette page dans le réseau Wicri
{{Explor lien
|wiki= Wicri/Musique
|area= XenakisV1
|flux= Istex
|étape= Corpus
|type= RBID
|clé= ISTEX:0273211E3A5D970560A3B753835BDFC4B0915370
|texte= Contemporary Music in Europe
}}
| This area was generated with Dilib version V0.6.33. |  |