""SBS** p\o M « <^0:
ORGANIZATION AND
OF
MUSIC EDUCATION
&
W. P. A. Technical Serie9
Community Service Circular No. 12
Music Program Circular No. 2
December 23, 1940
FEDERAL WORKS AGENCY
WORK PROJECTS ADMINISTRATION
Division of Professional and Service Projects
Washington, D. C.
OPERATION
ACTIVITIES
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Music Education
Foreword
FOREWORD
This circular is designed to afford systematic
approaches to the problems connected with organizing and
operating State-wide music education projects.
The suggestions herein offered are "based upon
experience gained and thought developed in a number of
representative State-wide music education projects.
Nothing in this circular is to be construed as
affecting or modifying in any way administrative procedures
of the Work Projects Administration,
Howard 0. Hunter
Acting Commissioner of Work Projects
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Table of Contents
TABLE OF CONTENTS
Preface
Section 1# Objectives of the WPA Music Education Program
Section 2. Organization of a State-wide Music Education Project
A. Preliminary Survey of Qualified WPA Personnel and
Probable Community Needs
B. Advisory Committees and Subcommittees
C» Considerations in Planning Music Education Activities
Section 3. Methods of Providing Music Education Services
A. Music or Cultural Arts Centers
B. Music in the Public Schools
Section 4, Supervision of a Music Education Project
Section 5. Organization of a Personnel Training Program
A. Steps in Organization
B. Development of an Adequate System of Records and
Reports
Section 6. Operation of a Music Education Program
A. Eligibility of Students
B. Guiding Principles in Forming and Maintaining-
Satisfactory Class Groups
C. Scope of Operation
D. Project Activities in Connection with Community
Institutions and Organizations
E. Guiding Principles in Developing Teaching Techniques
and Class Routines
E. Scheduling Classes and Preparation Time
G. Standards and Evaluation
K. Public Performance
Bibliography
A1907
Music Education
Preface
PREFACE
This circular is intended for the use of State supervisors
of music projects and supervisors of music education in organising
music education projects, and is offered for consideration op the
supervisors of such existing projects. It represents a course of
procedure based upon experience, While each project presents its
own problems, it may be helpful to consider these suggestions in
approaching their solutions.
A music education project should have a place in a community
program, when a need exists for developing the social uses of music
among underprivileged groups. The operation of a music education
project in conjunction with professional performance activities pro¬
vides a wide range of community service and a broad field fc-r the
employment of certified musician personnel.
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Music Education
Sec. 1 Pace 1
Section 1. Objectives of the IvTA Music Education Program. The
general objectives of the Music Education Program are:
1. To extend the advantages of music education to communities
and groups of individuals otherwise unable to obtain such
advantages.
2. To employ certified music teachers in providing instruction
in musical theory and history, appreciation of music, and
the development of elementary classes in applied music,
3. To develop community music activities as a factor in solving
the problem of worth-while leisure-time enterprise through
providing leadership for community band*", choruses, and
orchestras.
4. To increase efficiency and promote the employability of
project personnel through training and use of their skills.
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Music Education
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Section 2. Organization of a State-wide Music Education Pro.iect.
The steps in organizing a State-wide music education project are dis¬
cussed in subsections A, 3, and C of this section.
A. Preliminary Survey of (Qualified WPA Personnel and Proba¬
ble Community Needs. The first step in the organization of a music
education project is the preliminary survey of the qualified teaching
personnel and the probable need for teaching units in the various com¬
munities where workers are available.
Inventories furnished by the Division of Employment and
records in the music-project files and in the offices of such projects
as adult education and recreation afford the basis .r a survey of
worker personnel. More detailed determination of the workers' quali¬
fications may be made by means of personal interviews, auditions, or
questionnaires. (Questionnaires may be devided to give a complete
picture of the xvorkers' educational background, experience in teaching,
command of teaching processes, and knowledge of literature and
materials.
All surveys of the qualifications of available personnel are
to be made in cooperation with the Division of Employment in order that
the Division of Employment may develop and have available full informa¬
tion for classification and assignment purposes.
The preliminary survey of community needs requires the list¬
ing of existing facilities for music education in the public schools,
through private teachers, and through community musical organizations,
such as bands, orchestre.s, choruses, etc. On the basis of the exist¬
ing facilities it should be possible to estimate the probable need for
leadership or instruction.
Advisory Committees and Subcommittees Fhcn the super¬
visor's preliminary survey indicates the possibility of a successful
State-wide music education project, an advisory committee should be
formed, ''/here State advisory committees are already in operation,
music education subcommittees may be added.
On this committee there may be included representatives of
departments of education, of public and private educational institu¬
tions, of music teachers' associations, of parent-te- -.her associations,
and of service and recreational organizations, and private individuals'
interested in music.
In cases where it seems advisable to establish a local ad¬
visory committee for a project or program in a community, the
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Music Education
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supervisor shall first determine if advisory committees have been
established for another project or projects, ''"here this is the case,
new committees shall be established only after consultation with tne
supervisor of the project or projects with previously established com¬
mittees.
Advisory committees or councils may be appointed by the
State Administrator upon recommendation by the State Director of
Professional and Service Projects and the State supervisor of the
project concerned, and by a designated representative of the sponsor.
A list of members of the various State advisory committees
with their addresses shall be forwarded to the Director, W?A Music
Program, Washington, D. C. Where subsequent changes in such personnel
occur, this information shall be transmitted (see Operating Procedure
Ho. G-5). The analysis of community needs and. the negotiations toward
the formation of community advisory committees may be initiated by the
local supervisor or other representative of the Work Projects Adminis¬
tration. Employees cf the Work Projects Administration shall not
servo on such committees in any capacity except as secretaries (see
Operating Procedure Ho. G-5).
The effectiveness of an advisory committee d_epcnds more upon
its activity than upon the individual reputations of its members.
The functions of the local advisory committee are:
1. To assist in shaping the urogram to the best interests of
the community, and to aid in the planning cf a program which
will make the best possible use of the project resources.
2. To assist in the formation of satisfactory sponsoring
groups.
G. Considerations in Planning Music Education Activities
It should be explained, to the advisory committee and to sponsors that
the Work Projects Administration uses its funds primarily for wages and,
therefore, that the sponsors should agree to provide most of the neces¬
sary materials and equipment which may include:
1. The use of suitable space for teaching activities, with the
provision of necessary utilities, such as heat, light, water,
janitor service, etc. In this connection, the location of
teaching units in proximity to schools, homes of students, or
community clubs or centers should be considered.
2. Provision for the use by the project of necessary musical
equipment, such as pianos, phonographs, blackboards, etc.
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Music Education
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3, The provision of necessary transportation where teachers
are not residents of the community.
Contributions may be made in cash or in kind.
The content and scope of the program should be planned to
assist and complement the work of private teachers and institutions,
rather than to compete with them. The best practical use should be
made of the skills and abilities of available project employees. The
practicability of satisfactory supervision and training of teachers is
a consideration which the supervisor must have in mind. A program
should be developed which may be integrated into long-range community
plans, based upon an increasing community participation.
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Section 3. Methods of Providing Music Education Services. Music
education activities may be conducted through music or cultural arts
centers in accordance with instructions given in subsection A, or
through project employees who are assigned to work in the public schools
as described in subsection B,
A. Music or Cultural Arts Centers Music centers offer
facilities for a wider range of study and more effective facus, since
students may attend the classes of more than one teacher, and there is
an opportunity for some specialization in accordance with the teacher's
individual qualifications. Music centers also afford an opportunity
for more effective formation of class groups when more than one worker
teaches the same subject, since there v/ill be a larger number of
classes into which the student may be fitted.
In smaller communities where fewer workers are available, it
may be practical to form a teaching center in conjunction with such
programs as art, recreation, library, etc. Continuous sponsorship may
be developed for such a center, and the problems of loss of interest
and. sponsorship attendant upon the removal of a single worker from the
program be partially obviated.
The center should be a ground-floor location as near the
center of the city as possible, and should provide at least one large
room for concerts, two or more classrooms, and office and storage spa.ee.
Pull particulars of the pjroposed plan of operation should be
submitted to the National Director of the NBA Music Program. The plan
should list in detail the qualifications of project personnel, descrip¬
tion of the location, sponsoring committee, and the amount of sponsors'
contributions anticipated. Consideration should be given to the fact
that the music center operates as a functional activity within the
State-wide music project. The nonlabor expenditures of a music center
will be limited by the amount provided for in the supplement to the WPA
Form 301. (See Operating Procedure No. 0-5, section 36, p. 10 - Music
Centers.)
A music center will require a director, music teachers, a
registrar, and perhaps a stenographer.
All equipment for the center should be donated to the unit.
Items such as desks, chairs, etc., which cannot be obtained as gifts
may be borrowed from the municipality, local agencies, individuals, or
other divisions of the Work Projects Administration.
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Music Education
Sec. 3 Page 2
Music center signs are important. They should be designed
and displayed so as to give definite information concerning the activ¬
ities of the center.
Where it appears necessary, studios for single workers may be
opened. The work in such units usually falls under the heading of
applied music end the content of the courses is usually planned around
the development of elementary skills in singing, the playing of instru¬
ments, and the development of musical taste and appreciation.
Music in the Public Schools Many schools, particularly
rural schools, have been unable to provide funds to engage regular
music teachers. In such institutions, the services of a qualified
music project teacher will go far to develop a wide-spread interest in
music. In many instances, project teachers have boon encouraged and
qualified by training to secure certificates and, as the interest in
school music is aroused, have been taken onto the payrolls of the
public-school systems.
(The governing bodies of school districts which have not made
appropriations for musical instruction, both vocal and instrumental, in
schools for the last 5 years, as well as those districts that have never
undertaken such instruction, may apnly to the State supervisor of the
music project for the initiation and development of a, program of class
instruction in the field in which no instruction was previously offered.
Plans for these activities shall be submitted to and approved by the
central office cf the Work Projects Administration before being initi¬
ated, and evidence shall be presented that they ha„ve the support of
local professional musicians.) (See Operating Procedure ho. G~5, sec.
36, p. 7.)
Every inducement should be made to school, districts where music
activities are conducted by the project, to recognize the value of music
instruction as a regular part cf the course of study, and to develop
sponsorship or have funds provided to employ music teachers.
It is advisable that the methods and materials employed in
school music be those in prevailing use in the State. Therefore, con¬
tact should be made with the State and county boards of education and
their assistance secured in selecting materials for teaching and refer¬
ence and method materials for teachers.
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!!usic Education
Sec. 4 Page 1
Section 4, Supervision of a Mgp.i : Eunice tion Pro.ject It is
indispensable to the successful operation of a music education project
that adequate supervisory personnel be secured. The duties of super¬
visor of music education consist of the technical supervision of all
music teaching and training activities and. the maintenance of records
and reports on music education.
The supervisor should have sufficient executive ability to
cope with the technical details of operation. A knowledge of educa¬
tional processes and teaching experience are necessary qualifications.
The supervisor's knowledge of music and education should be at least
the equivalent of that required for graduation from a college or uni¬
versity or a recognized conservatory of music.
Supervisors should first become acquainted with the general
organization, procedures, end aims of the Work Projects Administration,
after which they should become thoroughly familiar with the aims and
philosophies of the WPA Music Program. It is desirable that the super¬
visory staff meet frequently for the purpose of discussing mutual prob¬
lems, and to develop the necessary cooperation and coordination of
effort. Supervisors should make regular visits to each teaching unit
within their supervision.
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Music Education
Sec. 5 Page 1
Section 5. Organization of a Personnel Training Program Since
a considerable proportion of project teachers will undertake activities
requiring new teaching techniques, a widened scope of musical subject
matter, and an adaptation to a coordinated program, the development of
an adequate training program is one of the primary functions of the
music education supervisor.
A. Steps in Organization The steps in the organization of
a training program are briefly indicated below, but for detailed sugges¬
tions, the supervisor is referred to the technical circular on the
organization and development of a training program for WPA music project
teachers.
The suggested steps in the development of such a program are:
1. A detailed survey of qualifications and training needs by
means of a classification of education and experience,
through records of education, experience, and work history,
and questionnaires, examinations, or surveying conferences.
The survey should bo made in cooperation with the Division
of Employment.
2. The provision of leadership and supervision for training
activities.
3. Development of training units and devices, such as teachers'
institutes, regular classes, correspondence courses, etc.
4. The scheduling of training and preparation time.
5. The development of a system of evaluation and the provision
for reports, records, etc.
B. Development of an Adequate System of Records and Reports
A continuous evaluation of every phase of operation is necessary for a
successfully operated program. It is not possible to determine the
practical scope of operation, training needs, or accomplishment without
an adequate reporting system. The interpretation of the program to
sponsors and the public and the successful integration of project work
with the needs of the community depend upon the records that are kept.
Reports of operation may be devised to cover the following items:
.1. A breakdown in registration under the three headings, applied
music, theory, and community and school music.
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Music Education
See. 5 Page 3
2. The total active enrollment in all classes.
3. The active enrollment of different pupils.
4. The number of class periods in the week.
5. The aggregate of lessons given during the week. The
reverse side of this form contains a schedule of hours and
locations for the next week's teaching and a schedule of
hours devoted to training and preparation.
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Music Education
Sec. 6 Page 1
Section 6. Operation of a Music Education Program Guiding prin¬
ciples in forming class groups and planning their routines and activi¬
ties are set forth in the following subsections.
A. Eligibility Of Students Coincident with initiation of
work in this field, the details of the plans for admission and enrollment
of students should be publicly posted. This statement should have the
written approval of the State supervisor of the music project, the local
sponsors, and the local advisory committee, and should have as its
objective the avoidance of competition between music project classes and
private teachers. Admission to these classes shall be limited to
individuals who meet the requirements indicated on APPLICATION TOR
ADMISSION TO WFA MUSIC PROJECT CLASSES, DPS Form 15, and pertinent local
requirements. (See Operating Procedure No. G-5, section 36, p. 6.)
B. Guiding principles in Forming and Maintaining Satisfactory
Class Groups. Since class lessons can be successful only when the
presentation and application of subject matter is adapted to the group
as a whole, care must be exercised to see that the members of the class
have the following qualifications:
1. Common musical interest and facilities for preparation.
2. Are about the same age, especially children.
3. Have about the same general educational background and musical
preparation. Whenever the various members of the group do not
form a satisfactory class, the group should be reorganized.
It is important that each teacher's schedule in applied music
allow sufficient periods to be devoted to make-up lessons for
students who miss occasional meetings, or for those who, by a
little additional assistance, can succeed in doing the work
of the class. The teacher should also consider the suitability
of the individual student to participate in the activities of
of the group. Regular attendance is of primary importance in
maintaining satisfactory class groups.
C. Scope of Operation In general, the music education pro¬
gram affords classes for the development of appreciation and musical
taste, classes for the development of elementary skills in applied
music, classes for the development of leadership in community activities,
classes in school music, and classes for the retraining of teachers.
Most classes in applied music should include some elements of:
1. Ear training and sight reading.
2. Music history.
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Music Education
Sec. 6 Page 2
3. Appreciation.
4. Ensemble activities.
5. Elementary music theory.
6. Instrumental or vocal techniques.
D. Pro.ject Activities in Connection with Community Institu¬
tions and Organizations These activities usually consist of the pro¬
vision of leadership for choruses, bands, and orchestras. In this con¬
nection are also activities for the development of music appreciation
classes, drum and bugle corps, etc. The leader of community music work
should be a good organizer. While instruction in reading music,
instrumental or vocal technique, elementary tneory, history, etc., may
be included in the content of the program, the emphasis should be upon
the pleasure to be derived from engaging in musical activities, rather
than upon the development of professional skill or the attainment of
high technical standards by participants.
E. Guiding Principles in Developing Teaching Techniques and
Class Routines The aim of success.'ul class teaching methods is to
develop the responsibility of the individual through increasing partici¬
pation in all phases of group activity. The progress of the class
should be toward independence from outside discipline and stimulation.
When it is practical, the members of the class should be encouraged.to
participate in the planning and evaluation of the activities of the
class. Eor children, activities must be based upon the mental develop¬
ment and age of the group.
Prolonged concentration upon a single problem should be avoided,
and a sufficient variety of subject matter and class routines provided
to avoid monotony. Such a presentation will enable the student to solve
his problems satisfactorily. The student is encouraged by success.
Success should be the usual result of good teaching methods. Sufficient
drill or memory appeal should be induced through developing the student's
own recognition of the need for drill. Each student should be able to
participate in most of the activities of each class period.
F. Scheduling Classes and Preparation Time Classes should
be scheduled at a regular time each week. Where the groups consist
principally of children, it is desirable that the class schedules be
worked out in cooperation with the schools.
G. Standards and Evaluation Standards for the evaluation
of music education classes must be based upon a consideration of the
objectives, the starting point, the time expended, and the facilities
available.
H. Public Performance Pupils in education classes should
have the incentive of public performance to encourage them. There
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Music Education
Sec. 6 Page 3
should be frequent demonstration classes in applied music to which
parents and friends may be invited. It is important to keep in mind
that class methods in applied music, while having the advantage of pro¬
viding a broader musical foundation, cannot offer the opportunity for
rapid technical advancement possible with private instruction. Care
should be exercised that public performances be arranged in such a way
that pupils of class teaching methods will not be compared unfavorably
with students taking private instruction.
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Music Education.
Bibliography
Page 1
BIBLIOGRAPHY
A. Education
Nursell, The Principles of Musical Education. The Macmillan Co.,
New York, N. Y.
Seashore, Carl E., Psychology of Musical Talent. Silver- Burdett Co.,
New York, N. Y.
Mursell and Glenn, Psychology of School Music Teaching. Silver-Burdett
Co. , New York, N. Y.
Fox and Hopkins, Creative School Music. Silver-Burdett Co., New York, N. 1'
Dykema and Cundiff, The New School Music Handbook. C. C. Birchard & Co.,
Boston, Mass.
Gehrkens, Karl W., Music in the Grade Schools. C. C. Birchard & Co.,
Boston, Mass.
Pitts, Lilla, Music Integration, C. C, Birchard & Co., Boston, Mass.
Kwalwasser, Tests and Measurements in Music. C. C. Birchard & Co.,
Boston, Mass.
Newman, Elizabeth, How to Teach Music to Children. Carl Fischer,
New York, N. Y.
B. Music Appreciation
Music and Romance for Youth. R.C.A. Victor Co., Camden, N. J.
Course of Study for Music Appreciation in the Junior High School.
R.C.A. Victor Co., Camden, N. J.
Thorns, Alice, Music for Young Children. Scribner, New York, N. Y.
Kinscella, Hazel, The Kinscella Readers and Stories in Music Appreciation.
University Publishing Co., Lincoln, Neb.
Music Appreciation in the School Room. Ginn, Boston, Mass.
Barbour and Freeman, A Story of Music. C. C. Birchard & Co., Boston, Mass.
Music Appreciation for Every Child. Silver-Burdett Co., New York, N. Y.
A1907
Music Education
Bibliography
Page 2
Brower, Harriett, Story Lives of Master Musicians. Frederick A. Stokes,
New York, N. Y.
McKinney and Anderson, Discovering Music. The American Book Co., New
York, N. Y.
C. Conducting
Gehrkens, Karl W., Essentials in Conducting. Oliver Ditson, Boston, Mass.
Cain, Noble, Choral Music and Its Practice. Witmark & Sons, New York, N. Y.
D. Piano Class Methods
Teachers' Manuals of the Oxford Piano Course. Carl Fischer, New York, N. Y.
Maier-Corsilius, Playing the Piano. J. Fischer
Thompson, John, Teaching Piano in Classes. Theodore Presser
Curtiss, Helen, Fundamentals of Piano Playing. Harris Rosen
Bauer, Diller, and Q,uaile, Piano Course. George Schirmer, New York, N. Y.
E. Community Music
Zanzig, Starting and Maintaining Community Orchestra. The National
Recreation Association, 315 Fourth Avenue, New York, N. Y.
Community and Assembly Singing. The National Recreation Association,
315 Fourth Avenue, New York, N. Y,
Twice 55 Community Songs. C, C. Birchard & Co., Boston, Mass.