The 1968 ISME Conference Reviewed
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Auteurs : Frank CallawaySource :
- Music educators journal [ 0027-4321 ] ; 1968-10.
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DOI: 10.2307/3392326
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<contrib-group><contrib contrib-type="author" xlink:type="simple"><name name-style="western"><surname>Callaway</surname><given-names>Frank</given-names></name><aff>Professor of Music and Head, Department of Music, University of Western Australia, Nedlands, Western Australia. He was elected President of the International Society for Music Education at the conference in Dijon.</aff></contrib></contrib-group>
<pub-date pub-type="ppub"><month>10</month><year>1968</year></pub-date><volume>55</volume><issue>2</issue><fpage>79</fpage><lpage>83</lpage><custom-meta-wrap><custom-meta xlink:type="simple"><meta-name>sagemeta-type</meta-name><meta-value>Conference</meta-value></custom-meta><custom-meta xlink:type="simple"><meta-name>search-text</meta-name><meta-value> The 1968 ISME Conference Reviewed by Frank Callaway • Dijon, France, was the birthplace nearly 300 years ago of Jean Philippe Rameau. This Frenchman was not only a great musician; he was a distinguished educator and theoretician and would have heartily approved of what took place at the Eighth International Conference of the International Society for Music Education, held at Dijon July 2-8, 1968. The conference was attended by 1,000 persons from forty-two countries. In addition, some 2,000 young musicians from seventeen countries performed. It was clear at the outset that no one person could attend all that the conference program had to offer, let alone assimilate the full range of interesting and challenging ideas presented. In the first category, ten speakers outlined significant features of the present music education scene in France, reviewing what is being accomplished in the elementary and secondary schools, in the conservatories and the universities, in the out-of-school youth activities, and in the field of adult education. The quality of much of this educational work and the critical attitudes of its leaders was impressive. Planning is proceeding on enlightened lines as the result of a recent National Commission organized by The Minister of Cultural Affairs, whose ministry is cooperating with The Ministry of National Education. New guide lines have recently been established in France for an expansion of music instruction at all levels in general education, as well as in the specialized institutions and the prestigious National The author is Professor of Music and Head, Department of Music, University of Western Australia, Nedlands, Western Australia. He was elected President of the International Society for Music Education at the conference in Dijon. Conservatory of Music in Paris. In another category, fourteen workshop sessions were devoted to the demonstration of significant methods of music education inspired by leaders in particular countries, some of which now have widespread international acceptance. These demonstrations featured the approaches of Jaques-Dalcroze, Orff, Kodaly, Justine Ward, Martenot, Suzuki, and Wil-lems, and included also a consideration of voice-training methods with special emphasis on the changing voice. Two sessions were devoted to the analysis and interpretation of contemporary music, and there was an interesting review of the fruitful teaching methods used in the Tapiolan School in Finland. A remarkably wide range of music was presented by thirty vocal or instrumental performing groups. Often, these student performances were illustrations of the successful methods of training described in conference papers. A further category in the conference program provided for directors of music conservatories, academies, and institutes to meet to discuss aspects of the educational program of such institutions in Germany, Australia, Japan, Hungary, and Soviet Russia. The main theme of the conference was “The Influence of Technical Media on the Music Education of Today.” Over forty-five papers and demonstrations gave evidence that technology can be a partner of incalculable service to the arts, and that almost every element of music education can be enhanced by the application of so-called “technical media,” provided these aids are judiciously used and remain servants. Other papers covered the application of technical media to such areas as ethnomu- sicology (in particular the musics of India, Asia, and Africa), to vocal and instrumental training, to music education research, to comparative music education, and also, to aesthetic considerations. M. Jean de Saint-Jorre, Director of the Department of Fine Arts in the French Ministry of Culture, spoke at the first plenary session of the role of technical media in French education and emphasized that audiovisual equipment enables more students to be taught more efficiently and in less time. It is the duty of administrators and teachers, he said, to keep up-to-date and to use the best teaching methods modern technology can provide. M. Pierre Auclert, Principal Music Inspector in the French Ministry of Culture, highlighted some of the dangers and some of the advantages of the use of technical aids. For example, he suggested that the radio has contributed to a deterioration of our capacity to concentrate on musical performances; that recorded music can often be distorted, either by the condition of the recording or the mechanism of the reproducing machine; that in recordings one misses the presence of the artist, and the performance therefore tends to be impersonal; and that the best record must remain restricted to the same interpretation. On the other hand, M. Auclert pointed out, recordings can have great value: they can give permanence to a composer's interpretation of his own work; also, the interpreting artist can continually analyze his performances and those of his fellow artists. Other points emphasized were the importance of students comparing different recorded performances of the same work and the responsibilities of teachers in OCTOBER, NINETEEN SIXTY-EIGHT 79 preventing children from becoming passive towards music through an overconcentration on listening, instead of a healthy, active participation. Professor Egon Kraus, Oldenburg, Germany, developed many of the ideas of the first two speakers and introduced further important considerations, such as (a) the need for continuing research to discover the most efficient ways to apply technical processes to the classroom; (b) the fact that technical mass media facilitate centralization, standardization, and the mass formation of likes and dislikes in the modern community; (c) the threat to traditional and folk music in some countries because of the invasion of music (especially light and popular) through radio; and (d) the benefits of enlightenment and the relief from isolation in all walks of country and urban life that can result from the storehouse of recorded music of all kinds. His detailed paper concluded with a reminder that the horizons for the improvement of our teaching are limited only by the imagination and creativity of the teachers. Traditional barriers to change must be surmounted by careful study and planning. Our goal of maximum effectiveness may never be attained unless we work from basic objectives that must support any effort to improve teaching. The hardware (that is, the instructional aids of teaching machines) are just machines. Although they may amplify, clarify, accelerate, or substitute for reality, they are at best highly efficient distribution systems. The teacher must always remain the essential link in this communication chain. In his paper “Music and Technology,” Professor Siegfried Bor-ris of the Hochschule fur Musick, Berlin, was also concerned with the field of modern composition. The composers of our time, confronted with the conflict between technical processes and creative musicianship, have chosen different methods. Some of them have tried to utilize technical means in order to broaden the scale of sounds and expression—as evidenced by the work of Jolivet in traditional forms and of Varese in free forms. Some have worked out the conflict between the deadly danger of the technical world (represented by electronics) and the human mood and mind (represented by tonal music)—as in the music of Krenek. The “avant-gardists” believe that a totally new period of dehumanized music has begun that need have no relation to, or respect for, the past and for traditional forms and values—as in the music of Stockhausen and Xenakis. Another group of composers of a musique engagee believes that music and musicians are obliged to help create a new society, and therefore, their music should give information, messages, and even political proclamations for the multitude of listeners—as in the works of Brecht-Weill, Nono, and Pen-derecki. Professor Borris concluded by saying that there remain composers of our time who seem to be indifferent to the problems of this technical age and the musical applications of its techniques but nevertheless convey the spirit of today in a way that touches the pub- One of many effective project sequences that can be developed by teachers using the Series DI HOW IS VIOLENCE PORTRAYED, AND RESOLVED, IN MUSIC? AUDIO Street Fighting VISUAL Excerpt from Westside Story Lesson Guide on the album cover (Bernstein) From TWENTIETH CENTURY AMERICA BOL 74 Chester (Schumann) U.S. HISTORY IN MUSIC BOL 75 Midnight Ride of Paul Revere (Phillips) U.S. HISTORY IN MUSIC BOL 75 A Lincoln Portrait (Copland) U.S. HISTORY IN MUSIC BOL 75 (included for all compositions Transparency, pilot lesson and theme charts including four pictures relating to sections of the music. Pilot Lesson Transparency, theme charts Pagan Ritual Sacrificial Dance (Stravinsky) Pilot lesson, MUSIC OF THE DANCE: STRAVINSKY BOL 69 “THE TRIUMPH OF CALM AND LOFTY THOUGHT.” Saint Saens theme charts Fourth Movement Organ Symphony No, 3 (Saint Saens) SYMPHONIC MOVEMENTS BOL 71 Transparency, pilot lesson, theme charts and relating music to the immediate interest of students. The selection and organization of compositions in SERIES III make it possible to develop many such project sequences. BOWMAR RECORDS INC. Dep+. MEJ 108 622 Rodier Dr., Glendale, Calif. so MUSIC EDUCATORS JOURNAL lie spontaneously and deeply. In illustration of this, the speaker cited Britten's War Requiem. The eminent composer Dmitri Kabalevsky, Professor of the Conservatory of Music in Moscow, and a Vice-President of ISME, spoke convincingly about many aspects of music in modern society and played one of his recent piano compositions written for student performance. In Mr. Kabalevsky's opinion, the twentieth century is the “age of culture,” and music educators should be prepared to promote the finest possible ideals for music, avoiding all that is ephemeral, cheap, and tawdry or that has only commercial motives. This does not mean that good music cannot also be light and entertaining, as so much music of the great masters demonstrates. Mr. Kabalevsky warned us, too, against subscribing to the avant-garde composer who seeks only to be different and original at the cost of spiritual values. The view was restated that music educators should always remember our responsibility to involve the masses of young people in worth- while music-making and not cultivate only the specialist or selected groups. The President of the Music Educators National Conference, Professor Wiley Housewright, Florida State University, Tallahassee, examined the relationship of the new educational technology to the music curriculum. He commented on various uses of technology and quoted the views of six scientists and humanists as to the effects of technology. These ranged from the pessimistic “human technical encirclement” theory of Jacques Ellul to the more optimistic view of Jan LaRue, who believes that machines have freed men from their more human roles. At the base of every curriculum should be a set of goals concerned with the human conditions we wish to produce. One of the most direct ways to change the curriculum is to change the environment of learning and what Professor Housewright described as the “events of learning.” The music curriculum depends first of all upon the value society places on music study, secondly, upon the competency of music teachers, and thirdly, upon the quality and uses of technical media. A computer can process, store, retrieve, transmit, or reduce information, but before it can do any of these, human beings must ask of it precise questions growing out of precise knowledge of learning-theories. It is most necessary for man to become the partner of the machine, but the goals of education can be set only by human beings. If our primary goal is to reach the highest fulfillment of each human being, concluded Professor Housewright, we must utilize appropriate technology to propel us more certainly to that goal. “The Computer and Music Education—Promises and Perils” was the title of a paper delivered by Harold Arberg of the Office of Education in the Department of Health, Education and Welfare, Washington, D.C. Mr. Arberg referred to the inevitable- development of individually prescribed instruction with the aid of the computer and reminded us that, with the realization of a truly individ- consider these foR youR cUsses Music for Today's Boys and Girls Aleta Runkle, Elementary Music Consultant, Independence, Missouri; and Mary LeBow Eriksen, Wisconsin State University, Oshkosh This widely adopted book affords a flexible grade-by-grade approach to the teaching of music in the elementary schools. By stating goals and by explaining a wide range of successful, class-tested methods to achieve them, the authors develop a unified and sequential music program, with emphasis on the child's capacity to make steady improvement in learning. 1966 6x9 280pp. Music Fundamentals for the Classroom Teacher, Second Edition Gene C. Wisler, California State College at Turlock This book prepares the elementary school teacher with a thorough grounding in the fundamentals of music. The author stresses the practical use of the material in the classroom and uses numerous drawings, diagrams, and 65 complete songs to exemplify the text. New material to help develop rhythmic understanding has been added to the second edition. 1965 63AxlO paperbound 255pp. Teaching Junior High School Music: General Music and the Vocal Program Irvin Cooper and Karl 0. Kuersteiner, both of Florida State University Offers a comprehensive program for the teaching of music in which the major objective is to assure an appreciation of the intrinsic value of music. Practical methods and specific procedures are given in six areas: singing, music reading, ear training, listening, background in music history, theory. Material on teaching vocal music is based on the “CAMBIATA” concept of the changing voice as originated and developed by Dr. Cooper. 1965 6x9 440pp. Conducting Choral Music, Second Edition Robert L. Garretson, University of Cincinnati The second edition of this popular book is devoted to all phases of the art of choral singing as practiced by vocal groups of every type. A new chapter on style and interpretation permits the conductor to develop his understanding of the choral art to an even greater degree of refinement. Statements of principles, combined with examples, provide a basis for solving problems that every conductor will encounter in actual practice. 1965 6x84 320pp. Al|yn and Bacon, lnc.470 Atlantic Ave., Boston, Ma02210 OCTOBER, NINETEEN SIXTY-EIGHT 81 ualized music curriculum at all levels, there will still remain the vexing problem of who is to decide what each student will learn. Professor James Carlsen from the University of Washington, Seattle, a well-known worker in the field of programed instruction, delivered a paper on “The Implication of Programed Instruction for a World Study of Music,” which he concluded by saying that the idea of developing what he called “poly-musicality” demands the recognition of a broad base of musical behaviors. A concern for such a study, he said, is mounting in the United States, but this concern should be worldwide. Our shrinking world requires an intercultural understanding, and such an understanding surely calls for a highly cooperative international effort. IS ME might set about identifying the kinds of cross-cultural musical objectives that are relevant for the youth of the world, and ‘len identify and encourage suitable individuals or groups representing the various cultures to assist in the development of programed instructional materials. This Professor Carlsen sees as the most efficient means of proceeding with a world study of music. At the last ISME meeting two years ago, it was observed that, through ISME, musicians and educators from throughout the world were cooperating as never before in developing programs of music education aimed at enriching the lives of young people, and that, within the field of music itself, composers, performers, and scholars were becoming more united in meeting the challenges of education. The 1968 conference in Dijon recognized that the technician can now claim full status beside these musicians, such is the importance and responsibility of his role in present-day music education. The widespread application of technical media as a legitimate process of music education suggests that possibly no other field of education can so efficiently employ such techniques. However, just as the technician is dedicated to achieving perfection in his apparatus, so must the music educator search for the most efficient methods of applying technical media to achieve the aims of his teaching. </meta-value></custom-meta></custom-meta-wrap></article-meta></front></article></istex:document></istex:metadataXml><mods version="3.6"><titleInfo lang="en"><title>The 1968 ISME Conference Reviewed</title></titleInfo><titleInfo type="alternative" lang="en" contentType="CDATA"><title>The 1968 ISME Conference Reviewed</title></titleInfo><name type="personal"><namePart type="given">Frank</namePart><namePart type="family">Callaway</namePart><affiliation>Professor of Music and Head, Department of Music, University of Western Australia, Nedlands, Western Australia. He was elected President of the International Society for Music Education at the conference in Dijon.</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">1968-10</dateIssued><copyrightDate encoding="w3cdtf">1968</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>1968</date><detail type="volume"><caption>vol.</caption><number>55</number></detail><detail type="issue"><caption>no.</caption><number>2</number></detail><extent unit="pages"><start>79</start><end>83</end></extent></part></relatedItem><identifier type="istex">119BEB6255EE1EB8525B1DA0C85ED72E1048062A</identifier><identifier type="ark">ark:/67375/M70-Z869KJRK-Q</identifier><identifier type="DOI">10.2307/3392326</identifier><identifier type="ArticleID">10.2307_3392326</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/119BEB6255EE1EB8525B1DA0C85ED72E1048062A/metadata/json</uri></json:item></metadata><serie></serie></istex></record>Pour manipuler ce document sous Unix (Dilib)
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