Robinson, Kenneth H.

"European Music and History Outline" is a reference guide for students.
The scope is very broad and details will be found in books listed
in the bibliography.
All too frequently students study the development of music and the
political history of Europe as two distinct and separate bodies of knowledge.
The two, however, not only ran parallel, but were intertwined and
interdependent. Often the "why" of a development or trend in music is
explained by the political, social, and economic conditions that existed
at the time. Since music, art, architecture, and literature are our only
communication from the past, we are dependent on them to gain any insight
into the political events and the attitudes and emotions of the people
themselves. This facinating interaction is described by Henrick Van Loon in The Arts.
In the outlines, the history progresses from one ruling monarch
to the next with only the most significant events and people listed during
specific reigns. The composers are listed chronologically by date of
birth but are placed parallel to the events that occurred during their
adult years. Outstanding composers are underlined in red. An index has
been added to provide an easy reference to time and place in history.

One of the areas in the field of instrumental
instruction which has a pressing need for additional
material is that of advanced literature for the interested
saxophonist. The purpose of this composition was to
explore the problems involved in composing and orchestrating
an original suite for a saxophone quintet. The
musical form of the suite was chosen since a form of many
separate, yet harmonically linked, movements would bring
out the greatest number of possible problems including
style, orchestration, form, registers, function, characteristics
of instruments, key consideration, tempos, change
of meter, rhythmic devices, accompaniments, solos, voicings,
and harmonic devices.
The composition about to be discussed was written
for five saxophones: two E flat alto saxophones, two B flat
tenor saxophones, and one E flat baritone saxophone. The
four movements of the suite are entitled:
Allemande--written in 4/4 time, requiring a performance
time of approximately 2:40 minutes.
Courante--written in 3/4 time, requiring a performance
time of approximately 2:30 minutes. Sarabande--written in 3/4 time, requiring a performance
time of approximately 2:30 minutes.
La Fine--written in 4/4 time, requiring a performance
time of approximately 2:20 minutes.
It is hoped that this suite will be a definite contribution
to the saxophone literature.
The instrumentalist who performs this suite will find very few dynamic marks, and, in some cases different phrasing may be used, thus allowing the performer more liberty and freedom of choice.

Music plays an important role in the total educational
picture for both children and adults. Recently emphasis has
turned toward discovering the new role music can play in the
everyday lives of people in relation to use of leisure time.
Since music has become an integral part of the curriculum,
the purpose of this paper was to discover whether music contributes
to the education of the educable mentally retarded,
and if so, to what extent.
Professional literature related to this subject was
reviewed and summarized. The characteristics, problems, and
family life of these children were discussed. Persons who
teach mentally retarded children were interviewed to determine
the nature of the problems involved in teaching these
children music. Questions regarding the behavior of the
students toward music, correlating music with other subjects,
materials, length of music periods, curriculum content and
other pertinent areas were asked the interviewees.
After conducting an item analysis of the data secured
from the interviewees, the researcher determined that:
1. Music opens the doors for the teaching of other
subjects.
2. The characteristics of the retards should be kept
in mind when planning lessons.
3. A variety of materials was used to assist in the
teaching of music. 4. Mentally retarded children enjoy the same
activities as other children, however, consideration
must be given to their mental age and
social maturity when planning lessons.
5. Music can be effectively used to promote social
growth.

There is a lack of creative material for classroom
and music teachers to use. Teachers do not often have the
creative ability or the time required to create their own
materials; therefore, the author felt a need existed for an
in-depth study of elementary music programs.
The themes of the programs chosen were such that
they correlate closely with social study units. Considerable
research was conducted to find the most appropriate songs and
dances from many sources. Vhen there were none, the author
composed or created new material which was made available for
elementary teachers. These programs may be adapted to meet
the needs of individual schools. Teachers could modify or
expand them to meet their own classroom situations.
It was discovered that there was little related
literature directed to the problem of preparing music programs
for the elementary school. Dissertation Abstracts, issues of
the Journal of Research in Music Education and Music Educators
Journal were reviewed and it was found that an apparent void
existed in this area. Additional programs may be developed
in many other areas of the elementary music curriculum by
those who are interested in this area of research.

Of all the areas in band literature, the most
gratifying and challenging for the composer and orchestrator
is found at the senior high school band level. At the present
time there is an acute need for adequate material at this
level. This condition exists primarily because of the following:
(1) arranging perplexities due to lack of technical
skills and lack of experience of high school band members,
(2) uncertain standardized band instrumentation, (3) the
neglect of publishers to meet their responsibilities, (4) the
inability of composers and arrangers to write specifically
for the senior high school band, and (5) the relative youth of
the band movement as an adjunct to our culture.
In orchestrating any original work, the scorer must
recognize the many problems associated with a standardized
instrumentation, the registers, functions of instrumental
voices, key considerations, accompaniments, solos, and notation
trends.
In composing original material at the senior high
school level, the composer must be aware of instrument ranges,
writing technique, interpretation, and intonation problems of
the band members; individually and within the section. Of
utmost importance is the composer's entire knowledge and application
of the forms in which he is writing. It is the sincere hope of this composer that this
material may urge other composers to specialize in particular
areas and levels of writing and furnish guidelines in study
material for those who may discover similar problems in
their endeavors.

It was the purpose of this study to examine data
gathered from the elementary classroom teachers of the Broward
County school system in the state of Florida. An attempt
was made to decide the extent to which music was included in
the curriculum, the strengths and weaknesses of instruction
of these offerings, and the advisability of planning inservice
training programs in music for the classroom teachers
to strengthen the total presentation.
The method of research employed was a review of the
literature and the formulation of three types of questionnaires
that were sent to the elementary classroom teachers,
principals, and music specialists. The classroom teacher
data were coded, transferred to cards, and tabulated electronically. The principal and music specialist data were
tabulated by the researcher with the aid of an assistant.
The data were presented with reference to background,
scheduling, and areas of strengths and weaknesses in musical
instruction, through a series of tables and figures, an
analysis of each, an interpretation of the results, and
recommendations for improving instruction.
It was determined that musical opportunities afforded
the students of the Broward County school system varied to
such a degree that in-service training programs in music need to be planned in the areas of instructing instrumental,
creative, and singing activities, as these received the
lowest cumulative percentages from the tabulation of the
classroom teachers' self-analysis. The strengths of the
classroom teachers' musical instruction lay in the utilization
of listening activities.

This study was undertaken in order to provide an efficient
means of presenting those activities farthest removed
from music itself such as fundamental concepts and mechanical
skills which are a necessary background to further musical
growth. Such a presentation, it was reasoned, would enable
the student to gain successfully and thoroughly a background
necessary for the further study of music theory. This would
also provide an opportunity for the instructor to devote
classroom time to more musical activities.
In view of the past successes of others in the employment
of programmed instruction as a means of teaching music,
it was decided that a programmed presentation of the material
to be included would best serve the stated purposes of the
present study.
Research into the area of the past employment of programmed
instruction in music indicated that a need exists
for additional work to be conducted in the field. A comparison
of music theory textbooks was made to determine a consensus
of opinion regarding the most logical order in the
presentation of material. A study of programming techniques
was made. A program of instruction in the basic tools of music theory was developed. The author combined information
from various music theory textbooks with his knowledge of
the subject matter to construct the program presented in
chapters two, three, four, and five.
The first section of the program is concerned with music
notation, a subject often neglected in theory textbooks. The
remainder of the program deals with basic music theory material
of a more conventional nature. However, it was thought that
this material might be more quickly and easily assimilated
through the medium of programmed instruction, A section on
the nature of musical sound provides necessary information for
the music theory student. The same information presented in
a classroom teaching situation, however, might prove less
effective. Similarly, sections on the construction of major
and minor scales, numbering of intervals, and notation of key
signatures provide a means for the instructor of theory to
avoid unnecessary use of class time in these less musicallysatisfying
areas.

The objective of this study has been to examine
the discovery approach to learning and its adaptability to
music education.
Professional literature relating to the discovery
approach was reviewed and summarized. Conclusions and implications
for music education were drawn from these summaries.
An examination of the philosophical implications of educational
trends and the nature of learning was also made. This
examination was made to gather perspective on the need for
evaluating and exploring educational approaches and methods
that affect learning.
It was concluded that no one method or approach can
be accepted as the all encompassing answer in music education.
However, the discovery approach does hold great promise as
another way of teaching music to the child in a creative manner.
Through the discovery approach the child can be given
the opportunity to experience personal success and expertise
in the art of music. He can enjoy exploring and discovering
the elements of music as learning evolves from his personal
perspective and point of view.

The purpose of this investigation was to become familiar with
Christian sacred music written from the period of the Renaissance
through the twentieth century.
The procedure for obtaining the information necessary to complete
this investigation was through extensive study and research from many
books of several libraries. This type of investigation is based upon
historical facts rather than philosophy and supposition.
This investigation has revealed that the major periods of musical
history are as follows:
(1) Renaissance
(2) Baroque
(3) Classical
(4) Romantic-Impressionism
(5) Contemporary.
The major types of sacred music that resulted from these periods
are the Mass, oratorio, Passion music, cantata, sacred opera, anthem,
chorale and motet.
Some of the important conclusions of this investigation are that:
(1) Each period is a product of the times, influenced
by wars, religion and politics, which affected the
types of music.
(2) The classification of music in accordance with
productions for concert, small and formal churches
are as follows: Concert: Oratorios, Mass, sacred opera, Passion music.
Formal Church: Mass, cantata, anthem, motet and chorale.
Small Church: Cantata, anthem, motet, chorale and hymn.
(3) Italy, France, England and Germany had the greatest
influence on the types and styles of music.
(4) The most significant types of music from these periods
are the Mass and Oratorio (in that order).
(5) The Renaissance produced the most sacred music of all
these periods.
(6) The Romantic period produced the least amount of sacred
music of these periods.
(7) The source of the major sacred works were mostly from
the Bible; more specifically from Psalms and the
Gospels.
(8) Bach is the composer who has retained the most popularity
and is significant in composing the largest number of
sacred works throughout these periods.
(9) Of the major composers listed in the thesis (excluding
those of the Contemporary period), Liszt probably
wrote the least amount of sacred music, although he
was deeply concerned with the Divine Service of the
Church.

It is mandatory from the research on the Bornoff and
Suzuki methods that the entire gamut of string education
owe Dr. Bornoff and Mr . Suzuki for their outstanding contributions,
dedication and commitment to the promotion of
strings around the world. Their results are so remarkable
and so convincing that both authors have attracted teachers
and artists from many lands both near and far in an in-depth
study into their methods.
It is through this greater search for knowledge
and understanding that one can become a more successful
teacher.
This study has been undertaken to satisfy the need
for a mora progressive string method or pedagogy in lieu of
outdated string methods used year after year. Such a study
has enabled the author to gain a thorough and in-depth understanding
of the sequential teaching techniques of the Bornoff
String Method and the Suzuki String Method and has helped
her lead her string students to a more continuous and successful
musical achievement.
Research conducted on the philosophy and biography of
Dr. Bornoff and Mr. Suzuki has shed important light on the
"make-up" of their methods. A study of comparisons and
similarities of both approaches was conducted and presented
in Chapter VI. The author utilized information acquired from all
available literature (periodicals, books, reports and music)
and summer workshops along with her teac:bing experience to
construct Chapter V on the teaching techniques of both
methods. In the conclusion, the author reveals her combined
plan of the teaching techniques of both methods, according to
the highest of ideals for developinc one's potential to the
fullest.