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GLOBALLY INCLUSIVE MUSIC PROGRAM
EFFORTS OF THREE LIBERAL ARTS COLLEGES

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GLOBALLY INCLUSIVE MUSIC PROGRAM

EFFORTS OF THREE LIBERAL ARTS COLLEGES

BY

Thomas Joseph Tacke

A DISSERTATION
Submitted to
Michigan State University
in partial fulfillment of the requirements
for the degree of

DOCTOR OF PHILOSOPHY

Department of Educational Administration

1994

Dr. Marvin Grandstaff, Advisor

ABSTRACT

GLOBALLY INCLUSIVE MUSIC PROGRAM EFFORTS
OF THREE LIBERAL ARTS COLLEGES

BY

Thomas Joseph Tacke

The purpose of the research was to examine the
curricular, programmatic, and personnel variables of the
globally inclusive music program transitions of three
liberal arts colleges. The research also sought to
understand what was the impetus for the transitions.

The research was prompted by the recommendations of the
Tanglewood Symposium (1967), the National Associations of
Schools of Music (1974), and the College Music Society
(1979). Each of these groups favored the promotion of
globally inclusive music programs. The research focused on
six areas of administration. The first five were established
by the guidelines of the American Association of State
Colleges and Universities Committee on International
Programs (1985) and included: (1) Administrative Leadership:
(2) Curriculum Development: (3) Faculty Development; (4)
Student Awareness: and, (5) Resources. The recommendation of
the Association of International Education Administrators
(Aigner, Nelson, & Stimpfl, 1992) resulted in the sixth
area: (6) Outreach.

The case study of Augustana College, Carleton College,
and Grinnell College was completed in the spring of 1994.

These institutions were selected because of their successful

globally inclusive music programs. The researcher collected
data from each college and interviewed members of the
administration, the music faculty, and students that were
involved with the music programs.

Evidence from the case studies shows that the faculty
played the largest role in the globally inclusive transition
of each of the institutions. It is significant that each of
the institutions experienced increased service [non-music
major] enrollments as a result of the transitions. In
particular, the non-Western ensembles of each of the
colleges were filled with non-majors.

The mission and history of each of the institutions
could be viewed as a leading indicator of the success of the
globally inclusive music programs. Regardless, these
colleges provide evidence that the recommendations of the
Tanglewood Symposium, the National Associations of Schools
of Music, and the College Music Society can be successfully
instilled into the existing music programs resulting in
programs with a reformed curriculum, expanded faculties,
numerous outreach opportunities, and increased student

enrollments.

ACKNOWLEDGMENTS

The document that follows is an original work of my own
making. Notwithstanding, numerous individuals have had
impact on its formation, its direction, and its completion.

Gratitude is extended to those who have helped expand
my knowledge base of administration, music, and global
inclusiveness -- Dr. Martha Hesse, Dr. Louis Hekhuis, Dr.
Keith Anderson, Dr. Robert Church, Professor Kenneth
Bloomquist, Dr. Kenneth Neff, and Dr. Particia Campbell.
Also included in this group is my dissertation advisor, Dr.
Marvin Grandstaff. Without his advice and guidance, this
study would not have been possible. My gratitude is also
extended to my mother for the help that she has provided
throughout this period of time.

This case study could not have been accomplished
without the cooperation of the college communities of
Augustana College, Carleton College, and Grinnell College.
Thank you for allowing me to dig into your music programs.
Each of these colleges should be commended for becoming
globally inclusive while their peers have not.

Lastly, I owe a great deal of gratitude to my wife,
Elizabeth Tibbs, for her help and support during my time
spent in the doctoral program and on this document. It is

now her turn to complete her study.

w

TABLE OF CONTENTS

Chapter

1. OVERVIEW OF THE STUDY . . . . . . .
Statement of the Problem . . . . .
Purposes of the Study . . . . . . .
Method of Inquiry . . . . . . . . .
Program of Inquiry . . . . . . . .

2. REVIEW OF THE LITERATURE . . . . . . .

The Push for Global
Inclusiveness in Music . .
Recent Studies Supporting Globally
Inclusive Music Programs . . . .

Global Inclusive Efforts Outside Music

The Application of Global Inclusiveness
Summary of the Review of the Literature

CASE STUDIES OF AUGUSTANA COLLEGE,
CARLETON COLLEGE, AND GRINNELL COLLEGE
Augustana College . . . . . . . . .
The History and Mission . . .
The Globally Inclusive Transition
The Music Department
as a Curricular Leader . . .
Increased Global Inclusiveness
The Koto Ensemble . . . . . . .
Carleton College . . . . . . . .
The History and Mission . . .
The Globally Inclusive Transition
The African Drum Ensemble . . .
Grinnell College . . . . . . .
The History and Mission . . .
The History and Mission . . .
Traditional Methodology vs.
Service Enrollments . . . . .
Global Inclusive Refinements . .
The Javanese Gamelon Ensemble . . .

22
22

35
41
44
46

48
48
48
50

51
54
56
61
61
63
71
77
77
77

85
91
92

4. SUMARIES AND CONCLUTIONS OF THE CASE STUDIES

AND RECOMENDATIONS FOR ADDITIONAL STUDIES . . . . 99

The Push for Global Inclusiveness . . . . . . 99

The Roles of the Six Impact Areas . . . . . . 101
Conclusions of the Six Impact Areas . . . . . 119
Recommendation for Additional Study . . . . . 120
Recommendation for Additional Study . . . . . 120
APPENDICIES . . . . . . . . . . . ... . . . . . . . . 123
A. EUCRIHS Approval Letter . . . . . . . . . 123

B. Interview Consent Form . . . . . . . . . . 124

C. Tanglewood Declaration . . . . . . . . . 125

BIBLIOGRAPHY . . . . . . . . . . . . . . . . . . . . 126

CHAPTER ONE

OVERVIEW OF THE STUDY

§§§L21§n§_9£_§h2_229hlfil

Globally inclusive and diversity are "buzz words"
[popular themes] in the culture and writings in higher
education in the United States of the 1990’s. These themes
are fundamental to an institution’s ability to function in a
pluralistic environment (Smith, 1989). Despite their
fundamental nature and popularity, these themes do not have
an agreed upon working definition when applied to college
campuses and programs. Commonly, campuses will measure their
levels of diversity and plurality by quantifying their
student and professional staff populations by race, gender,
age, physical ability, and sometimes sexual orientation.
Such measurements provide easily read, defensible accounts
of the institution’s demographics. Additionally, the
maintenance of diverse populations is essential for an
organization to develop a sensitivity to pluralism (Smith).

Another way in which colleges attempt to enhance their
diversity is to increase the number of non-Western
experiences for its population (Goodwin & Nacht, 1991). This
type of activity may be beneficial to the individuals

involved, but does not benefit the campus without

integrating the experiences into the missions, programs, and
values of the campus (Smith, 1989).

Headcounting and personal experiences obtained after
arrival to the campus do not address the diverse sets of
values and experiences that campus populations have within
themselves (Smith). The challenge to acknowledge the
differences of a campus' population may result in conflict
(Kelleher, 1991, Smith, 1989). However, it is hoped that
diverse campus populations will result in constructive
dialogs concerning the similarities and differences
possessed by the individuals of the populous (Kelleher), but
commonly colleges " . . . programmatically (e.g., through
the curriculum) communicate to them that they [as
individuals] do not belong or are not welcome" (Smith, 1989
p. 26). The curriculum provides a means of structure needed
to assure a level of quality in the interactions between the
members of the campus.

If a college is truly committed to diversifying and
becoming globally inclusive, it should seek to accomplish
this task in its population and its programs. This may be a
difficult task for disciplines such as mathematics or
computer science. However, the arts and humanities should
find this task to be somewhat more easily accomplished since
their literature and activities are a product or reflection
of culture. Music and the visual arts have a distinct
accessibility advantage over many of the other members of

the humanities since history and languages are hindered by

their requirements of language proficiency. A students'
ability to read a poem or book in a foreign language is
restricted to their ability to function with that language.
In addition, music is especially useful in the study of
other cultures since there are vast collections of
instruments and recordings available. The availability of
exposure is often only limited to the student's ability to
operate an ordinary piece of sound equipment (CMS, 1989). It
is quite easy to visualize music in higher education with
reformed curriculum and programs thus accommodating the
musical contributions of a wide variety of cultures. This in
turn, could be used to verify the value a college places on
diversity and a global perspective.

The desire for college music programs to be inclusive
of non-Western dimensions is not restricted to the 1990's.
In July 1967, the Music Educators National Conference hosted
a symposium at Tanglewood, Massachusetts. The Tanglewood
Symposium’s membership included " . . . musicians,
sociologists, scientists, labor leaders, educators,
representatives of corporations, foundations,
communications, and government" to discuss the major issues
of "Music in American Society" (Choate,ed., 1968, p. iii).
Although the focus of the Symposium was not restricted to
issues of music in higher education, the influence higher
education has on society was acknowledged. The Symposium’s
findings and recommendations are summarized in The

Tanglewood Declaration which include:

(2) Music of all periods, styles, forms, and

cultures belongs in the curriculum. The musical

repertory should be expanded to involve music of

our time in its rich variety, including currently

popular teenage music and avant-garde music,

American folk music, and music of other cultures.

(3) Schools and colleges should provide adequate

time for music in programs ranging from preschool

through adult or continuing education (Choate, p.

139).
The actual power that the Symposium had was limited to the
influence that the members had on their own professions and
peers. Nevertheless, in 1974, the National Association of
Schools of Music [NASM], the higher education music
accrediting agency, adopted a similar policy. NASM
recommended that students " . . . should have experience
with Western concert music, contemporary "pop" music, music
of non-Western cultures, folk music of Europe and America,
and Western art music [composed] since 1950” (NASM, op.cit.
Klocko, 1989, p. 40). NASM's current position has been
modified, " . . . undergraduate curricula should provide . .
. a repertory for study that includes various cultures and
historical periods" (NASM, 1991, p. 51). NASM’s power and
influence on its members is significant but since the above
quotations are only recommendations, colleges are not
required to be in compliance. In 1979, the College Music

Society [CMS], a professional association, " . . . adopted a

resolution that the Society encourage multicultural music
training at all levels" (Klocko, p. 40). This resolution was
further developed in their 1989 CM$_nggz;_anbgz_1:

The [college music] curriculum needs to expand to

include 1) Musics other than those of the Western

tradition, both folk and art, 2) Western folk

musics and the vernacular tradition, and 3) the

experimental directions of the expanding Western

art music repertory (CMS, 1989 p.15, emphasis

added).

All of these resolutions and recommendations are the result
of the beliefs and values of a wide constituency. Despite
the apparent acceptance and expectation that college music
programs should include non-Western dimensions, only a
limited few have reformed their curricula and programs to be
inclusive of non-Western and popular music.

Stagnant music curricula and programs comes as no
surprise. David McAllester argued the lack of a commitment
to change in his Minority Report to the Tanglewood
Symposium:

In a democracy, class barriers are uncomfortable.

The [music] Establishment, seeing that its

entertainments, customs, and values are not shared

by everybody, makes a limited effort through the

schools to impart the love of Shakespeare, T. S.

Eliot, and Schubert to the poor. This endeavor is

a failure because these great expressions of the

cultural heritage of the Establishment have little
to do with the cultural heritage of the poor. This
endeavor is a hoax because in the name of
communication and the elimination of class
barriers we insist that only one cultural language
be spoken and that the natives on the other side
of the barrier do not, in fact, really have a
language at all (McAllester, 1968, p. 138).
McAllester concluded his report by calling for curricular
and programmatic reform:
While we continue to develop and make available,
to all who are interested, the great musics of the
middle class and aristocracy, we must also learn
the language of the great musical arts which we
have labeled "base" because they are popular
(McAllester, p. 138).
McAllester's writings were influenced by those of Ralph
Ellison (McAllester, p. 138). [Ellison authored the
critically acclaimed Invisible Man and has been a
significant voice on the issues facing twentieth-Century
African Americans] Although McAllester's arguments are
persuasive, other Ellison influenced authors take a
different approach in their arguments for music curriculum
and programmatic change. In an essay on Ellison, Berndt
Ostendorf calls for program change since ” . . . closed

systems are incapable of moral and artistic renewal”

(Ostendorf, 1988, p. 100). He argues that systems and

organizations seek a maintenance of the norm:

Creative change issues rarely come from the center
of a consensus, from the structurally hard core of
a majority or from within rigid power structures .
. . This is why ethnic pluralism and diversity are
necessary and why so-called minority groups are
essential for questioning rigid norms and for
activating their renewal. Such a marginal or
transitional position requires a special vision
and a special talent for interaction (Ostendorf,

p. 100).

The prevailing quest of globally inclusive college
music programs has been stifled for at least seventeen
years. When coupled with a large percentage of music
teachers without the academic knowledge or training
concerning non-Western music, the problem magnifies (CMS).
In addition, the certification of music teachers typically
requires 120—132 semester hours (NASM, 1991). Therefore the
inclusion of other outlooks will probably be at the
exclusion of some of those already required. The decisions
of what should be included and excluded will be difficult.
Such decisions require the commitments of leadership and
resources, and some faith in a vision of the future.

Additionally, the music curriculum impacts many other

individuals besides the music major. Nevertheless, the lack
of non-Western dimensions in college music programs is
larger than the issue of curricular reform. College music
programs have the opportunity to attract a wide variety of
students, scholars, and listeners and can provide exposure
to a wide array of types and styles of music. The Tanglewood
Symposium, NASM, and the College Music Society manifest the
obligation that music must take the lead in a transition of
higher education to reflect the diverse society and world in
which we live. A few colleges and universities have answered

this call. Most have not.

W

The purpose of this study was to examine three small
liberal arts colleges that have successfully transformed
their traditional music programs into globally inclusive
programs. The levels of success that each has acquired has
been the result of numerous variables including curricular,
programmatic, and personnel changes. Since each of the
colleges has had accomplishment in their transitions,
inquiry was be made to determine the impetus for the
transitions at each.

The Tanglewood Symposium, NASM, and CMS have all
focused their reports on curricular reform. This study
examined other components that are necessary to achieve the

transformation of existing music programs into ones with

distinct globally inclusive dimensions. The study was used
to investigate the involvement and impact of the following
program components during the transitions and during the
maintenance of the programs: (1) Administrative Leadership:
(2) Curriculum Development: (3) Faculty Development: (4)
Student Awareness: (5) Resources: and (6) Outreach. The
first five areas were developed by the American Association
of State Colleges and Universities Committee on
International Programs (hereon referred as the CIP) as
guidelines for " . . . colleges and universities to improve
and enhance their international dimensions of their
campuses" (AASCU, 1985, p. 3). The sixth, Outreach, is the
recommendation of the Association of International Education
Administrators [AIEA] (Aigner, Nelson, & Stimpfl, 1992). The
AIEA's other guidelines are very similar to those of the CIP
but support the inclusion of an investigation of the role(s)
that outreach or public service play in a college's
international programs. Each of the six areas combine to
reflect the facets of program transition. The end result is
a holistic view of how the selected colleges achieved their

status in regard to a globally inclusive music program.

10

Exploratory Questions Regarding the

Multicultural/International Transformation of College Music

1.

Programs

What and/or who was the driving impetus for the
transition?

When did the change occur? How long of a
planning period was required before the program
was installed?

Was the transition a result of administrative
leadership, of music faculty beliefs, or
combination of both?

Was/is the curriculum reflective of the mission
statement of the college?

What were/are the major obstacles?

What were/are the major successes?

Is the multiculturalism/internationalism of the
program highlighted in the recruiting
literature and strategies.

Were the costs of transition anticipated or
planned? Was/is the funding adequate to
accomplish the goals of the endeavor?

Is the student enrollment at the expected

levels?

10. Were the faculty academically trained in non-

Western music?

ll

11. Has the program attracted students that might
not otherwise have enrolled in the course(s)
and/or institution?

12. Do the three areas of the music curriculum
[academic, applied, and ensembles] receive
equal or different levels of support and
attention in regard to multiculturalism and
internationalism?

13. What outreach activity is the department
engaged in that will promote a global music

awareness to the outside community?

Since the researcher studied college music programs
that have already become globally inclusive, the case study
methodology was appropriate (Merriam, 1988). Sharan B.
Merriam cites the case study's ability to allow the
researcher to " . . . [seek to] understand specific issues
and problems of practice" (P. 23). Since most of the
previous studies on the multicultural and international
reforms of music programs have focused primarily on
curriculum, it was helpful to take a broader view of the
numerous issues that accompany program reform and

transition. Merriam portrays the case study as enabling the

12

researcher to conduct " . . . an intensive, holistic
description and analysis of a single entity, phenomenon, or
social unit" (p. 16). Robert Yin finds that " . . . the case
study's unique strength is its ability to deal with a full
variety of evidence-documents, artifacts, interviews, and
observations (Yin op.cit. Merriam, p. 8). This proved to be
particularly valuable since the data collection for this
study included personal observations, collection of college
documents, and interviews.

The guidelines established by the American Association
of State Colleges and Universities Committee on
International Programs provided the theoretical basis for
the case study. Administration, curriculum, faculty,
students, and resources all play important roles in the
development of a global view on campuses and are the primary
components of the CIP guidelines (AASCU). A sixth area,
outreach, was also included. Each of the areas did not play
the same role from campus to campus. However, each had have
had impact on their respective transitions. Therefore the
case study should proved to be an appropriate strategy since
it was " . . . to explore those situations in which the
intervention being evaluated has no clear, single set of

outcomes" (Yin, op.cit. Merriam, 1988, p. 29).

13

Win:

The research was based on the experiences of three
small liberal arts colleges. Each of the colleges has
successfully transformed their music programs to include
multicultural and international components as basic in their
core music studies. The selection of the colleges was based
on the recommendation of Dr. Patricia Sheehan Campbell of
the University of Washington. Dr. Campbell is a leading
authority on the development of a globally inclusive K-12
music curriculum. Although Dr. Campbell’s interest is
primarily in the K-12 area, it can be assumed that she would
have knowledge of colleges that have reformed their programs
thus being capable of producing K-12 music teachers with
guided study in multicultural and international music.

Dr. Campbell indicated that only a few colleges have
successfully transformed their music programs (Campbell,
1992). Dr. Campbell has recommended that the researcher make
the selection from the following colleges: Augustana College
located in Rock Island, Illinois: Carleton College located
in Northfield, Minnesota: Grinnell College located in
Grinnell, Iowa: and Pomona College located in Claremont,
California. Each of the colleges have academic music courses
that cover a variety of topics concerning non-Western music.
Each also includes a non-Western music ensemble in their

programs. Augustana, Carleton, and Grinnell all include

l4

improvisational studies in their applied courses, Pomona
does not. Pomona is also the only college of the group that
is independent of professional affiliation with a church. On
the basis of Pomona's affiliation, curricular and geographic
dissimilarity from the others, the researcher recommended
that the study should be based on the programs at Augustana,
Carleton, and Grinnell.

The primary purpose of the research was to examine why
and how these colleges reformed their music programs to
become globally inclusive. The research investigated the
successes and failures, and strengths and weaknesses of each
of the programs. Conclusions were not drawn as to which
college provided the best experience or program. A secondary
underlying purpose of the study was to provide college
administrators a holistic view of successful globally
inclusive programs.

The research technique was based on the application of
the guidelines from Incorporating an International Dimension
in Colleges and Universities as were established by the
Committee on International Programs, a committee of the
American Association of State Colleges and Universities
(AASCU, 1985). Since the CIP's curriculum development
section is not specific as to the needs of a music
curriculum, the recommendation provided in the CM§_ngQrt
Numbgr_1 was utilized. The CMS study provided a list of
seven competencies that were addressed by experiences and

courses within the college music curriculum. In addition, an

15

outreach measure as supported by Aigner, Nelson, and Stimpfl
(1992) was included. Specifically, the researcher examinied
the roles that each of the following played in the
transformations of the music programs: (1) Administration:
(2) Curriculum: (3) Faculty: (4) Students: (5) Resources:
and (6) Outreach. Topics and questions of specific interest
within each of the areas included:
Administration
1”.Was the central administration of the
college supportive of the music program
transition?
2. Was the transition a result of mandates or
of goals established by the administration
or the college's mission?
:1.Has the central administration
communicated its commitment to the
endeavors of those who support a globally
inclusive music program?
4. Was there support and/or assistance from
professional associations during the
program transition?

5. Is the program accredited by NASM?

Curriculum
1J.Does the curriculum provide opportunity

for students to gain a working knowledge

16

of a variety of musical styles, Western
and non-Western, popular and art music?
Does the curriculum provide the
opportunity for the student to gain an
understanding of various music cultures
and ” . . . the pluralistic nature of most
musical traditions" (CMS, p. 16)?

Are the three divisions of the curriculum
(academic courses, applied lessons, and
ensemble performance) given equal
weighting in regard to number of
offerings, scheduling, and staffing?

What role does the use of technology play
in the teaching of the curriculum?

Is there an institutional systematic
analysis and review of the curriculum?
Does the curriculum provide for
opportunities to explore " . . . the
various political, social, and economic
factors that affect the arts disciplines
in the United States and the rest of the
world" (CMS, p. 17)?

"Are the services of experts, students,
and visitors, both American and foreign,
utilized to enrich curricular and

extracurricular offerings" (AASCU, p. 8)?

l7

8. Did the curriculum transition result in
the elimination or enhancement of existing

courses?

Faculty

lu.What qualifications did the faculty
possess during the time of the transition?

:2.Has the personnel complement changed since
the time of the transition?

:1.Was there faculty resistance for the
facilitation of the transition? If so,
does it still exist?

44.What types of faculty development
activities are the faculty engaged in? Do
they travel abroad? Enroll in seminars and
graduate courses?

5.Are the faculty capable of teaching the
curriculum?

6. How are the music faculty perceived by the
faculty of the other departments of the
college?

Students

J”.Were there expectations of changing

student demographics by transforming the

program? If so, how?

l8

:2.Have the demographics of the student
population significantly changed since the
transition? If so, how?

:L.Was student input an integral part of the
planning and implementation of the program
transition? Does student input currently
play a role in departmental planning?

4.15 the program easily accessible for non-
music major students?

5. Were there expectations of changing
student course enrollments by transforming
the program? If so, how?

6. Have the student course enrollments
changed significantly since the

transition?

Resources

1” Does the college commit adequate resources
for the program to achieve its basic
goals?

2. How has the departmental budget changed as
a result of the transition?

:3.Does the college require/request public
performances by the music program as a
public relations tool to entertain campus

guests or to attract donor money?

l9

4.Is strategic planning used to anticipate
future resource needs and changes?

5. Was there additional space required to
implement the transition? Is there a need
for additional space to accomplish program
goals?

6.Are there funds available to enhance
faculty expertise?

Outreach

1J.Are there public performances that display
the product of the globally inclusive
components of the program? If so, how are
they promoted or advertised and received?

2.15 the expertise and programmatic offering
of the department utilized by area schools
and/or organizations?

:3.Does the college promote music tours of

its student music groups?

In order to collect the necessary data to address the
above questions, the researcher engaged in the collection of
past and current documents, performed interviews with
faculty, administrators, and student, and made direct
observations.

The researcher interviewed the following individuals at
each of the colleges in the study:

lu.The administrator of the music unit.

20

2. The academic dean.

:3.The vice president of business affairs.

‘4.The faculty member(s) that taught courses
during the transition and the faculty that are
currently teaching in the globally inclusive
core.

5. Other members of the campus communities that
have been identified as influential in the
program transformations. These individuals may
be identified during the course of the other
interviews.

The individuals involved in the interviews were asked
questions from each of the six areas of interest since it
was expected that the interviewee’s involvement with the
programs is multidimensional.

The interviews were conducted after an initial visit to
each of the campuses. The purpose of the initial visits was
for data collection and observation. After the documents and
observations were disseminated, the researcher arranged for
a second visit to the campuses during which time the
interviews were conducted. It was expected that some of the
individuals involved in the original program transformations
retired or moved to other positions at different
institutions. Therefore, telephone interviews were necessary
for some of these individuals. In addition, one of the

faculty interviews was be conducted by telephone since the

21

faculty member is a Fulbright Scholar on leave in Africa.
All other interviews were conducted in person.

The formal research that included campus visits
commenced during April 1993. Data collection and interviews
were completed by February 1994.

In summary, the study provided a broad view of the
issues, problems, successes, and failures that were
components of the transition and maintenance of each of the

globally inclusive music programs.

CHAPTER THO
Review of the Literature

This chapter surveys the existing literature about the
needs, desires, and reasons for colleges and their
constituencies to transform their music programs into ones
that are globally inclusive. Although there is not a large
amount of literature that directly impacts this study, a few
core pieces stand out and heavily impact the implementation

and writings on globally inclusive music programs.

W

The emphasis on a curriculum based on technology during
the post-Sputnik era of the early 1960’s prompted music
educators to justify their place within the curricular
structures of the schools and colleges in the United States.
This "defense" lead to a series of position papers in the
1967 March and April issues of the unsic Educator JOurnal
identified the following as driving issues: " . . . What are
the characteristics and desirable ideologies for an emerging
post-industrial society? What are the values and unique
functions of music and other arts for individuals and
communities in such a society? How may these potentials be
attained?" (Choate, 1968, p.iii). These papers laid the
groundwork for the eleven day Tanglewood Symposium during

late July, 1967. The membership of the symposium consisted

22

23

of " . . . musicians, sociologists, scientists, labor
leaders, educators, representatives of corporations,
foundations, communications, and government, and others" to
discuss the theme of " . . . Music in American Society"
(Choate, p. iii). Following the Symposium was a ”post-
session" for music educators. This group discussed the
implications of the Symposium and wrote what became the
Tanglewood Declaration. This document and the speeches of
the general session were published in Musig_in_5mgzig§n

. 5: ° ,- Po -nen a_ 1‘23. . th- _:n°,‘W9°e tunes -u
(Choate).

The impact that the Documentary_zepgzt had on the
literature has been significant in terms of the inclusion of
a global perspective in music in higher education. Since the
time of its publication, only two other major studies on
global inclusiveness in music in higher education have been
published, both by the College Music Society. However, since
Musig_in_Amgrigan_§ggigty is a collection of speeches of
individuals from a wide cross-section of American society,
it provides the insight of how the role music should play in
American society. The Tanglewood speakers of particular
interest to this study include Ole Sand, the Director of the
Center for the Study of Instruction of the NEA, Alvin C.
Eurich, Past President of the Aspen Institute for Humanistic
Studies, Abraham H. Maslow, the famed psychology theorist,
and David P. McAllester, Professor of Anthropology, Wesleyan

University (Choate).

24

Each of the speakers addressed what they believed
should be considered within the music curriculum of American
schools and colleges/universities. In The Humanistic
Curriculum speech, Ole Sand argued that ”No system will be
complete unless it allows for change when change is needed"
(Sand, 1968, p. 15). Sand believed that change was an issue
for college music programs to consider within their programs
particularly in balance and content selection. In terms of
balance, Sand believed that music, and the arts, had an
equal place in the curriculum along with the scientific
disciplines. In selecting content, Sand pointed out that the
accumulated knowledge in the world doubled between the birth
of Christ and 1750 and redoubled by 1900: and again by 1950:
and again by 1960. This growth rate prompted Sand's
recommendation that curriculum " . . . must move from an
overemphasis on memorization of facts toward discovery of
fact" (Sand, p. 15).

The application of fact discovery does not fit the
traditional study of music as well as a globally inclusive
approach. Included in the traditional study of music is the
requirements for students to memorize facts concerning how a
piece of music should be interpreted and/or performed, and
dates of musically historical significance. While these play
a role within the structures of a globally inclusive
curriculum, the globally inclusive curriculum presents music
as a product and extension of culture. This "methodology"

encourages the student to learn how music is used in the

25

culture that is being studied. This opportunity to ”reflect'
on musical and cultural differences is an approach towards
the "discovery of facts" concept that Sand valued.

Abraham H. Maslow's Masic, Education, and Peak
Experiences speech during the Symposium also addressed the
need for changing the " . . . conception of learning, of
teaching, and of education" (Maslow, 1968, p. 70). Maslow
cited " . . . the goal of education . . . the humanistic
goal . . . is ultimately the "self-actualization" of the
person . . . helping the person to become the best that he
is able to become" (Maslow, p. 70). In terms of this study,
this approach to music education would not be exclusively
Eurocentric since each individual has a different level of
self-actualization. A globally inclusive music program could
only aid in a student's quest for self-actualization.

In The Humanistic Curriculum, Ole Sand also brought
forth the recommendations of the National Committee for the
Project on Instruction [hereafter referred to as NCPI]
concerning curricular reform and transition:

1. The objectives of the school, with a clear

statement of priorities, should give direction to

all curriculum planning. This applies to adding

content, eliminating content, or changing the

emphasis on various topics and fields of study.

2. The curriculum must undergo close and

continuing reevaluation, in the light of new

knowledge. Everyone can contribute to this

26

Herculean task - the teacher, the school

administrator, the scholar, the informed citizen,

the student.

3. The results and recommendations of curriculum

projects sponsored by nationally-oriented groups

must be studied by school staffs who will glean

and use promising findings (Sand, p.15).

Clearly, the application of these recommendations during a
program's globally inclusive transition would require the
involvement of faculty, students, and administration thereby
providing some assurances that each knew what the program
was undergoing and what their responsibilities were.

The NCPI's recommendations closely fit some
contemporary notions about quality and continuous
improvement. In particular, these directives empower the
individuals within the organization to play an integral role
in the transformation of their music programs. Alvin C.
Enrich, Past President of the Aspen Institute for Humanistic
Studies, delivered his The Quest for Quality speech that
further developed some of Sand's notions and
recommendations. Firstly, Eurich pointed out that the
differentiation between "high" art and ”folk" art was being
lost by their " . . . blending into each other” (Eurich,
1968, p. 48). Eurich that this phenomena was a ” . . . new
and remarkable development of our time, [that the] division
between the two [was] becoming blurred" (Eurich, p. 48).

This "blurring" of distinction between types/genres of music

27

seems to fit with Sand's arguments concerning the
accumulation of knowledge and the need for change. Indeed
Eurich later does promote change by arguing that the
blending of musical styles/genres is not of great concern to
him. Rather, his concern is that quality be stressed in the
creation and consumption of music. Eurich posted a six step
method for quality music instruction that was to counteract
attitudes " . . . that the arts in a democracy must
inevitably tend toward mediocrity if they are to attempt to
reach more that the already enlightened few" (Eurich, p.
48).

Eurich’s first step to quality was to clearly define
the goals of the program. Second, the diversification of
programs was crucially important since " . . . people have a
wide range of abilities, no single, set program will reach
all of them" (Eurich, p. 48). The third component was the
inclusion of high quality people in the system. Eurich
stressed that individuals delivering the program needed
adequate training and needed to be utilized to the best of
their abilities. Fourthly, Eurich recommended an " . . .
imaginative use of materials and technological aids"
(Eurich, p. 49). As a display of the fourth point, Eurich
sanctioned the use of " . . . really good music from the
earliest of grades, whether it's the classics or jazz or
folk songs or (yes!) the Beatles" (Eurich, p. 49).

Continuous evaluation and appraisal was the fifth step

28

towards higher quality. The sixth and final step called for
continuous research and development.

Eurich's six steps has significant impact on this study
since he was supportive of broadening the scope of the music
curriculum but also was concerned that a curricular
extension be inclusive of quality.

Eurich's, Maslow's, and Sand's calls for change in

music curriculum and teaching was further supported by the

Tanglewood committee on WWW:
WW [hereafter referred to as IMHEC]

The committee that "Compartmentalization and lack of
communication between various segments of the music field
preclude intra-disciplinary stimulation and unity” (IMHEC,
1968, p. 134). The IMHEC recognized that most music
departments in higher education had primary focus on a
traditional curriculum. They found the traditional focus to
be too limiting for teachers to be open to change and new
creative practices:

"Current practice does not include sufficient
procedures for helping music educators to become
creative teachers and to accept the challenges of
new technologies and new social, educational, and
musical trends.

We recommend that professional meetings of
music educators more fully utilize creative
scholars from other fields . . . we urgently

request that music educators open themselves to

29

change, prizing it not for its own sake but for
the new knowledge of music and education it

brings" (IMHEC, p. 134, emphasis added).

The committee clearly desired that music change its
current practices to become accepting of the knowledge and
techniques of other disciplines. This recommendation could
be viewed as an invitation for music educators to change
their existing programs into globally inclusive ones.

The Tanglewood committee on Implications for the Music
Curriculum also recognized the overemphasis of the
traditional Eurocentric music curriculum: "Traditional music
literature dominates and overbalances the present music
repertoire" (Enrst, Chair, 1968, p. 136). Ernst's committee
recommended changes in the preparation and maintenance of
teachers by training them to be open to teaching along the
lines of global inclusiveness:

"We recommend that teachers be encouraged to

experiment with and utilize many types of music in

their instructional activities. In-service

education programs instituted on a regional basis,

could equip teachers with the materials and

techniques necessary to present a wider variety of

music to [students] . . . Historically, the

instrumental program has developed around the

standard orchestral instruments. It is incumbent

upon music educators to reevaluate their position

30

and to consider the validity of adding other

instruments, particularly those social instruments

having a considerable effect upon American

culture" (Ernst, p. 136).

There is verification that the IMHEC committee was also
thinking in along the terms of creating an educational
system that was globally inclusive: "Teachers must be
trained and retrained to understand the specifics of a
multiplicity of musics: avant-garde, art music, various
mutations of jazz, and ethnic musics . . . teacher education
programs [must] make students more aware of their
responsibility to insure that schools serve all students and
faculty, from the passive listener to the most advanced
performer" (IMHEC, 1968, p. 135, emphasis added).

The values of creating and delivering globally
inclusive music programs were also a concern to Norman Dello
Joio, David P. McAllester, and Gunther Schuller. Schuller
pointed out that many "ethnic" musics were not considered
art in their own societies but this only occurred because
art did not exist in the language (Schuller, 1968, p. 103).
Music from these cultures is functional and is not separated
from everyday life as it is in Western cultures. Schuller
expressed concern about the value ranking of music by
stating " . . . it would be better if we did not think of
[these musics] as "higher" and "lower" but simply as

different and both of great value, of necessity to the

31

survival of our culture and society" (Schuller, p.103,
emphasis added).

One of Schuller’s contemporaries in music composition
is Norman Delo Joio. Like Schuller, Delo Joio also was
concerned with the ranking of the value of different types
of music: " . . . young creative forces on the musical scene
should be given an opportunity to offer their proven talent
to a growing generation [of students] . . . for with few
exceptions our young people are introduced to a much too
restricted view of what is involved in a totally musical
experience" (Delo Joio, 1968, p. 91). It is interesting that
as internationally known composers, Schuller and Dello Joio
were supportive of global inclusiveness in music programs
while many American music educators were not willing to
accept the "intrusion" of music outside Western traditions.

In his The Substance of Things Hoped For speech to the
members of the Tanglewood Symposium, David P. McAllester
attacked those that held-fast to musically Eurocentric
views:

"Do you feel that music is slipping out of

the hands of the music educator? Has the guitar

become repulsive to you because it has fallen into

the clutches of the unkempt to accompany sex and

hallucination?

These and other musical and social trends may
be a foreshadowing of profound change in the role

of music educators in the society of Western

32

European culture. What does "educate" mean? Is the

educator the creator, the preserver, or even the

destroyer? Is the music educator’s job to preserve

the great music of the past from abandonment and

decay? Is it his charge to create musical taste?

Is it he who will determine what future

generations will consider to be good, great, or

even "cool" music? Is he the one ordained to do

battle with the Philistines, to destroy bad taste

and fight the creeping popularity (sometimes

galloping popularity) of "inferior" music?"

(McAllester, 1968, p.96).
McAllester saw the music educator’s responsibility to
include reforming existing programs to become globally
inclusive. He based these views on three platforms. Firstly,
due to communication technology, the world was shrinking:
the delineation of Western music with other music was no
longer acceptable. Secondly, the students of the U.S. are
"prime agents" for the drastic cultural change that will be
the result of the shrinking world. And thirdly, McAllester
believed that revolution was a contemporary part of the arts
of the 1960’s: that they were reflective of the great
changes in American society (McAllester). McAllester wanted
music programs to be inclusive of world music, contemporary
art music, and popular music. He believed that music
education should draw from the expertise of the scholars and

performers from each of the areas.

33

McAllester concluded his speech with predictions of
what music education would look like by the year 2000. His
predictions concerning the use of technology in the
production of musical events are fairly accurate while his
predictions concerning music education and music
professionals have fallen short. Included in the short
fallings are McAllester's predictions that by 2000,
musicians will have a guaranteed income: that musical
guild/class barriers will have become irrelevant: that music
programs will have produced significant numbers of students
that are conversant on topics offered from globally
inclusive music programs (McAllester, p. 98).

David McAllester's speech to the general session of the
Tanglewood Symposium appears to contain a great deal of
anger towards the music education system as it was known.
McAllester was also a member of the group of educators that
stayed for the post-session. It was during the post-session
that he delivered Curriculum Must Assume a Place at the
Center of Music: A Minority Report. It was here that
McAllester’s animosity towards the music education system
was articulated through his statements " . . . that the
entire Music Establishment [was] the perpetrator as well as
the victim of a hoax" (McAllester, p. 138). The "hoax" was
the controlling middle class’s [music educators'] inability
to understand or even see the educational needs of the poor

and others outside the Eurocentric norms were different than

34

what was being delivered in the system. McAllester closed

the Minority Report with some optimism:

"When we have learned that any musical expression
is "music," we hope to be able to reduce the class
barriers in our schools and concert halls. The
resulting enrichment of our music will, we hope,
give it a new vitality at all levels, and provide
a united voice that can speak, without shame, of

our democratic ideals" (McAllester, p. 138).

Clearly, David McAllester’s views and recommendations
on global inclusiveness in music has not become widely
implemented to date. Although he testified from a rather
strong standpoint, McAllester's views were shared to a
certain degree by the other Tanglewood scholars already
discussed in this study. These views are addressed and
valued within the recommendations reported in The Tanglewood
Declaration. Items two, three, and seven of The Tanglewood

Declaration are of particular significance to this study:

(2) Music of all periods, styles, forms, and
cultures belongs in the curriculum. The musical
repertory should be expanded to involve music of
our time in its rich variety, including currently
popular teenage music and avant-garde music,

American folk music, and music of other cultures.

35

(3) Schools and colleges should provide adequate
time for music in programs ranging from preschool
through adult or continuing education

(7) The music education profession must contribute
its skills, proficiencies, and insights toward
assisting in the solution of urgent social
problems as in the "inner city" or areas with
culturally deprived individuals (Choate, p. 139).

(For the entire Declaration see Appendix B)

The ideals offered from the Tanglewood Symposium became
recommended policy of the Nation Association of Schools of
Music in 1972. NASM recommended that students " . . . should
have experience with Western concert music, Contemporary
"pop" music, music of non-Western cultures, folk music of
Europe and America, and Western art music [composed] since

1950" (NASM, op.cit. Klocko, 1989, p. 40).

Recent Studies Supporting Globally Inclusive Music Programs

In 1989, the Music Educatgr’s Jgurnal published

Multicultural Music in the College Curriculum (Klocko,
1989). In this work, Klocko addresses the current situation,
previous efforts, what part of the curriculum needs to be
changed, and implementing changes. In terms of this study,
the part of the curriculum that needs to be changed and the

implementation of change are of particular interest. Klocko

36

recommends that the focus of change be on the undergraduate
curriculum and offers the following as a rationale:
"Tomorrow’s public school teachers are being

trained in today’s undergraduate music education
programs. On the other hand, the college music
history and literature teachers of tomorrow may be
trained at the graduate level primarily in the
fields of composition, performance, theory, or
music history. The only music education training
to all music majors is at the undergraduate level,
and it is here that changes need to take place.
Thus, undergraduate music education should provide
a survey of the entire field" (Klocko, 1989, p.39,

emphasis added).

Klocko’s view on implementing change is focused
primarily on the music faculty as delivering agents. Music
faculty need to increase their research of the subject of
global inclusiveness, seek additional training on the
subject, and draw from the expertise of faculty from other
disciplines (Klocko). Furthermore, Klocko recommends the use
of the expertise of professional societies such as The
Society for Ethnomusicology to aid in the transition by
training faculty, and developing new teaching materials
(Klocko).

One such professional association in music that has

attempted to facilitate globally inclusive changes in music

37

programs is the College Music Society. As reported in
Chapter one of this study, in 1979, the College Music
Society " . . . adopted a resolution that the Society
encourage multicultural music training at all levels" (CMS,
op.cit. Klocko, 1989 p. 40). Ten years later, the College
Music Society published the CMS Report Number 7, Musig_in
the Undergraduate Curriculum: A Reassessmenr. The reasons
for conducting this study included proper timing for a look
at curricular reform: the current curriculum had been deemed
as exclusionary and limited: and lastly, the belief that " .
. . graduate institutions are not preparing future teachers
to handle these [globally inclusive] subjects with
competence . . . the present teacher are largely self-
taught" (CMS, 1989, p. 4).

The group of scholars that developed Report Number 7
were charged with the responsibility of determining what
changes, if any, were necessary in the undergraduate music
curriculum in the U.S. (CMS, 1989). In particular, two of
the five charges given to the study group addressed globally
inclusive issues:

2. To consider the responsibilities of higher

education to our multicultural populace, thus

effecting a reassessment of the content and values
that inform the undergraduate music experience:

3. To consider what the undergraduate needs to

know and be able to do in order to a) participate

in the cultural life of the United states, b)

38

understand the culture of the United States within
the context of the various cultures of the world,
and c) demonstrate the competence necessary for
continued learning and a life's work in music

(CMS, 1989, p. 3).

Within Report Number 7, a section on the current
demographics in the U.S. addressed the fact that the nation
is becoming " . . . increasingly isolated from Western
European traditions and more influenced and affected by
those of Africa, Asia, and Hispanic origin" (CMS, 1989, p.
7). The study group viewed this phenomena " . . . as an
opportunity to expand our educational base in order to
reflect the cultural resources in our society" (CMS, p.7).
The CMS standpoint of "opportunity" seems to differ greatly
with the previously mentioned standpoint held by McAllester
although each desire similar outcomes. The CMS group also
shared a similar view of what the music curriculum should
include with McAllester and other members of Tanglewood. The
CMS group thought that " . . . the undergraduate curriculum
should begin to reflect a pluralistic perspective of our
age, and goals for student development should involve global
awareness and cross-cultural competency" (CMS, p.8).
Furthermore, the CMS group thought that the " . . .
curriculum must support diversity, yet reflect a principle

of unity" (CMS, p. 12).

39

The authors of Report Number 7 also developed a seven
item list of what college music students need to know. Each
of the items stresses the inclusion of content outside
traditional Western traditions (CMS, 1989). In order for the
students to have the opportunity to select courses from an
expanded curriculum, teachers will need additional training
(CMS). Furthermore, since many new professors are from the
post-1970 generation share many of the same musical values
with students, " . . . those values will be taken into
account as new curricula are shaped" (CMS, p. 16).

In 1992, the College Music Society released another
publication that contained some globally inclusive
materials. Toward the End of the Century: Minority and
Cross-Cultural Perspectives (Romero-Hymer, ed., 1992)
primarily addresses the need for music programs to become
more culturally diverse in term of faculty and students.

Within the publication, five of its eight authors
(Brown, Crutcher, Fernandez, Hoke, & Maultsby) wrote of the
need of music curriculum and programs to be globally
inclusive. These authors views are for the most part a
reiteration of the ideas and recommendations of the past CMS
study and the Tanglewood Symposium: "We can eliminate
barriers to better cross-cultural communication by embracing
(rather than merely accepting) our cultural differences . .
. through the musics of varied cultures we can discover not
only our differences, but our similarities as human beings"

(Fernandez, 1992, p. 2): " . . . music ought to be a means

40

through which we accept and appreciate these [cultural]
differences in traditions and recognize points of commonalty
. . . yet a cursory review of the programs or activities of
the majority of music institutions and organizations gives
one the impression that a particular set of cultural
traditions - namely western European - is valued more than
others" (Crutcher, 1992, p. 37): " . . . provide music
learning environments and experiences which prepare students
to truly accept cultural and ethnic diversity as valuable
and "the norm" in world humanity" (Brown, 1992, p. 63).
Crutcher, Hoke, and Maultsby all offered recommendation
of what should be done to facilitate the transition towards
globally inclusive music programs. In Valuing Cultural
Diversity in the Arts, (Crutcher, 1992) Crutcher concluded
by calling for music educators to " . . . create a cultural
fabric which is inclusive" and to be " . . . purposefully
disrupting the status quo" of the institutions that continue
to resist globally inclusive change (Crutcher, p. 41). 8.
Kay Hoke wrote of the need for music curriculum to be
inclusive of gender differences, "One need only peruse the
standard music history and appreciation texts and general
anthologies of music to be entirely convinced how peripheral
women are" (Hoke, 1992, p. 45). Hoke's solution to this
problem and global inclusiveness in general is to write new
texts, reform curriculum, disregard the " . . . false,
negative, and restrictive messages about women", and be

aware and appreciate inclusive achievements (Hoke, p. 46).

41

Portia K. Maultsby recommends the integration of global
inclusiveness into existing curriculum (Maultsby, 1992).
Maultsby finds this to be a solution for the "lack of time"
excuse used to add new courses to the curriculum.

Thus far, all of the literature reviewed has promoted
the ideals of globally inclusive music programs. As time
passes these writings in music continue to promote the same
ideas despite the apparent resistance to change that the
profession has displayed. Although all of the authors
reviewed had good intentions in terms of promoting global
inclusiveness, few have presented a pragmatic approach of
how to facilitate such a transition for the colleges and
universities of the United States. Therefore, it is
necessary to look to literature outside of music for
recommendations of how to transform existing traditional

programs into globally inclusive ones.

Global Inclusive Efforts Outside Music

The trust to make curricula globally inclusive does not
necessitate the forming of all new courses. Klocko (1989),
Fernandez (1992), Crutcher (1992), Hoke (1992), and Maultsby
(1992) all recommended that the music curriculum could
become more globally inclusive by adding globally inclusive
content to existing courses. This train of thought is also
present outside of music and is included in the writings of

the American Association for State Colleges and Universities

 

42

Committee on International Programs (1985), Tonkin (1988),
Tonkin and Edwards (1990), Goodwin and Nacht (1991),
Kelleher (1991), and Aigner, Nelson, and Stimpfl, (1992).
All of these studies recommended that global views be
incorporated into existing curricula. Each of these studies
also exposed potential problems and roadblocks often
involved in global inclusive transitions. Furthermore,
common "themes" or "components" to change were part of each
of the studies. The role of the curriculum, faculty and
administration was included in all of the studies. Foreign
language departments were considered key players as well as
outreach opportunities. The attraction of a diverse student
body and faculty was also a component in each of the
studies. Lastly, the use and attraction of financial
resources was part of each of the studies.

Interestingly, each of the commonalties to program
transition in the studies were also considered problematic
areas. Kelleher (1991) suggests that a potential curricular
problem occurs when an institution decides to become
globally inclusive: "To enter the arena of world issues is
to move from fields that have some well-defined parameters
governing content and teaching to a universe where ambiguity
and uncertainty rule" (Kelleher, 1991. p. 2). This insight
seems particularly fitting to music programs since they
typically are entrenched in teaching traditions and program
content. Tonkin and Edwards (1990) reported " . . . that

only with a coherent policy meaningfully supported by senior

43

administrators, recognized and rewarded by throughout the
curricular life of the campus, accepted by the faculty
explicitly if not unreservedly - only by means of such a
goal [global inclusiveness] can it become even a partial
reality" (Tonkin and Edwards, p. 16, emphasis added). From
this excerpt, it becomes clear that Tonkin and Edwards
viewed the success of a globally inclusive transformation
effort to be heavily interrelated between the participants
of the transformation. Aigner, Nelson, and Stimpfl (1992)
found international exchanges and foreign study to be
problematic from the standpoint of securing adequate
funding. Aigner, Nelson , and Stimpfl also exposed problem
areas with hosting foreign students and scholars:
"Foreign students are a fictive group. There is no
typical foreign student. There are students from
China, students from Australia, students from
Malaysia and students from France. They are also
graduates and undergraduates, studying business,
engineering, math, computer science and a host of
other subjects. They come according to their
interests and often arrive at their specific
university through a series of coincidences"
(Aigner, Nelson, and Stimpfl, 1992, p. 6).
Outreach is a problematic area from the standpoint that the
local community or areas that the college/university impacts
may not share similar ideals concerning global inclusiveness

(Aigner, Nelson, and Stimpfl).

44

The Application of Global Ipplusivepess

In 1985, the American Association for State Colleges
and Universities Committee on International Programs
[hereafter referred to as CIP] published a set of guidelines
" . . . for assisting colleges and universities to improve
and enhance the international dimension [global
inclusiveness] of their campuses" (CIP, 1985, p. 1). The
purpose of the CIP study was:

" . . . to improve the general quality of higher

education. In the modern world, quality is

measured by the degree to which colleges, in their

organization, instruction, research, and external

relations, provide students with the knowledge,
skills, and attitudes necessary for living in an

independent world" (CIP, p. 1).

The CIP study focused on five primary areas that played
integral roles in transitions towards global inclusiveness.
The five areas are: Administrative Leadership, Curriculum
Development, Faculty Development, Student Awareness, and
Resources (CIP). Each of the five areas was defined and
interpreted to its "potential contribution" to global
inclusive transition (CIP). Each of the guidelines also
listed a series of nine to sixteen questions that should be
considered during evaluation of the areas effectiveness or

contribution to global inclusiveness.

45

The following is the list of definitions that the CIP
determined for each of the guidelines of the study:
Administrative Leadership
The president and the governing board are
committed to the internationalization of the
campus and the curriculum.
Curriculum
International education is a fundamental part of
general and professional studies. It is the
preparation for social, political, and economic
realities that humans experience in a culturally
diverse and competitive interdependent world.
Faculty Development
The faculty are a major determinant of the
substance and quality of general, professional,
and graduate studies and engage in research to
develop a global knowledge base. The institution
recruits and supports faulty whose teaching,
research, and service will enhance its
international mission.
Student Awareness
Students are provided with the opportunity to
develop attitudes, skills, and knowledge that are
consistent with the realities of the modern world
and that prepare them for citizenship and for

careers .

 

 

46

Resources
The institution provides the personnel, material,
curricular, and organizational resources to
support its international mission.
(Committee on International Programs, 1985).
As outlined in Chapter One of this study, the CIP guidelines

served as the basis for the Program of Inquiry.

Summary of the Review of the Literatpre

The literature reviewed in this study shows that since
there has been considerable interest to make college music
programs globally inclusive. Firstly the interest was
formally voiced in the proceedings and documents of the
Tanglewood Symposium. The interest of global inclusiveness
later received the endorsements of the National Association
of Schools of Music and the College Music Society.
Nevertheless, the most recent studies in music expose the
music’s "globally inclusive condition" to be very similar to
how it was in 1967 during the Tanglewood Symposium. This is
very discouraging.

The writings reviewed outside music voiced some similar
concerns about an institution's ability to become globally
inclusive and offered some pragmatic approaches of how to
approach and evaluate such a transition. The recommendations

included within this set of studies can easily be applied to

47

music and will be taken into consideration in Chapter Three

and Chapter Four of this study.

CHAPTER THREE

CASE STUDIES OF AUGUSTANA COLLEGE, CARLETON COLLEGE

AND GRINNELL COLLEGE

The case studies were developed from interviews and
campus visits conducted during the spring, summer and fall
of 1993. All of the interviewees were offered
confidentiality in the use of the information compiled from
the interviews. Therefore, statements given within the case

studies are not ascribed to a particular source.

Augpstana College

The History and Mission

Augustana College was founded in 1860 in the north side
of Chicago. In 1863, the College was moved to Paxton,
Illinois. The final move occurred in 1865 to its present
location, Rock Island, Illinois. The original mission of the
College was to provide religious leadership and training for
Swedish immigrants. Currently, the College enrolls
approximately 2100 students " . . . from a wide variety of
social and ethnic backgrounds" (AC Catalog, p. 1). The

College has a reputation of being an academically strong,

48

49

selective, liberal arts school (AC Catalog). The average
faculty salaries ranks in the first quintile for all
academic ranks (AAUP, 1993).

Augustana’s commitment to a globally inclusive
education is not limited to the curriculum and campus
programs. In 1959, an active summer abroad program in Sweden
began. In 1972, the Term Abroad program began in Europe. The
program was expanded to include Asia in 1974, and South
America in 1976. A former Dean of the College indicated that
by 1972, twenty-five percent of the student body was
studying abroad with Augustana faculty. The Term Abroad
program continues with opportunities for students to visit
the areas of East Asia, Europe, or Latin America with
Augustana faculty. In addition, the six-week summer programs
have been expanded to include France, Germany, the
Mediterranean, Equador, along with Sweden. Students also
have opportunities to study/live abroad from selection into
one of the foreign exchange programs in China, Germany,
Peru, or Sweden.

A globally inclusive perspective is present in all of
Augustana’s degrees since each requires the inclusion of a
foreign language and a cross-cultural perspective.
Currently, Augustana College offers three bacheloriate
degrees: the Bachelor of Arts, the Bachelor of Music, and

the Bachelor of Music Education.

50

Although the College does not report its mission in its

Catalog, the College’s goals are published and are as

follows:

To provide a good liberal arts education which
could lead to further schooling or careers, and
which enriches the students' lives.

To provide a structured curriculum consistent
with the mission of the College.

To provide the opportunity for this education
to every qualified student.

To provide an appropriate setting in which this
education can be pursued.

To include the religious dimension of human
life in the educational program.

To act as a force in the fine arts and to
promote cultural life.

(AC Catalog, p. 1)

Each of the goals is important for Augustana’s place in this

study, but the last is of particular interest and

importance. In particular, how has\does the Music Department

aid in the realization of the College's goals.

The Globally Inclusive Transition

The Music Department at Augustana College formally

started its globally inclusive transition in 1975 by

including Music 107, Music in the Worldwide Perspective and

5]

Music 204, Music of the African Diaspora. The courses were
taught by John W. Hildreth. Music 204 was only offered in
the 1975-77 Catalog and was replaced by Music 304, World
Music, in the 1977-78 Catalog. World Music and Music in the
Worldwide Perspective are still offered in the current
Catalog and World Music is still being taught by John
Hildreth. Dr. Hildreth's globally inclusive teaching
assignment expanded for the 1979-81 Academic Catalog to
include Music 305 American Jazz, Popular, and Commercial
Music. The applied and ensemble music offering also became
globally inclusive in the 1979-81 Academic Catalog: Music
261 Improvisation, Music 362 Jazz Chamber Music I, and Jazz
Chamber Music II became part of the curriculum listed in the

Music Department.

The Music Department as a Curricular Leader

As previously stated, the Music Department is the
largest academic unit of the College. Beyond leading in
size, the department’s globally inclusive program has lead
the College in terms of a progressive academic program.
According to one music faculty member, " . . . the
Department has been instrumental in the direction of . . . a
more inclusive curriculum" (interview). Nearly all of those
interviewed at Augustana indicated that John Hildreth was
primarily responsible for the Music Department’s curricular

transformation and leadership. This is not surprising since

52

his initial capacity with the College was as Director of
Minority Affairs and as an instructor in the Religion
Department. These appointments allowed Hildreth to develop
relationships outside the Music Department. Additionally,
after Hildreth’s appointment to the Music Department in
1974, his commitment to a more global view was supported by
others in the College community thus facilitating a smoother
curricular transition.

The senior level administrators interviewed all
indicated that the faculty are the major proponents of
College wide global inclusiveness. Statements made by
various Music faculty seem to confirm this belief:

" . . . the faculty needs to be self

directed/motivated [in terms of globally inclusive

issues], they must take it upon themselves".

"It is long past time to get away from the white

male European type of thinking".

" . . . [the faculty] can’t sit around and wait

for others to do it [global inclusiveness]".
Certainly there could be a multitude of reasons that would
support the values that led to these statements. However,
there was commonalty in the faculty's concern for the
education of students. One Music faculty member he was
responsible to facilitate the type of education that the
students are seeking. He stated "Students are agitated,
[they are] pushing for a change to allow them to walk out

with the social skills necessary for the multicultural,

53

multiethnic, pluralistic society that we live in. That is
encouraging".

Although individual departments had various courses
that could be considered globally inclusive, the issues and
drive behind the courses was not formally adapted as a
College graduation requirement until 1991 with the Cross-
cultural Perspective. This requirement is as follows: "One
three-credit course in which the primary focus and content
are African, Asian, Australian, Latin American, Middle
Eastern, Native North American and/or Pacific traditions and
cultures" (AC Catalog, 1991, p.46). Preceding the Cross-
cultural Requirement was the 1981 Education Certification
Multicultural Requirement that required each student to "

. . take one course with multicultural subjeCt matter,
engage in assigned clinical experiences in a multicultural
setting, and participate in approved multicultural events"
(1981-83 AC Catalog, p. 123). The wording of the
Multicultural Requirement proved to be too ambiguous and
restrictive to be adapted College wide and was therefore
replaced with the Cross-cultural Perspective. The globally
inclusive courses offered in the Music Department fulfilled
both of these requirements thus the Department experienced
increased service enrollments from the non-music majors
enrolling in the Department.

The enrollment increases lead individuals in the
Department to realize that the Department’s position

complement could be more easily defended against position

54

reductions. Many of the Music faculty interviewed indicated
that as the demand for the globally inclusive courses has
increased, the Department has responded by offering
additional sections which in turn have produced their own
adequate enrollments. Furthermore, the students enrolled in
these courses often became interested in furthering their
music education and enrolled for additional courses in
following terms thus fortifying the Department’s position.
As one senior Music faculty stated "Even though the number
of Music majors has somewhat declined at Augustana, the
Music Department has held its own because of service". Since
some of the faculty and administrators interviewed expressed
concern over the College's continued support of contractual
faculty teaching studio courses [private lessons] that have
small enrollments, the increased emphasis on courses that
offer service to other departments of the College seems to
be a way for the Department to maintain its place in the

College.

Increased Global Inclusiveness

Although the Music Department included globally
inclusive courses since 1975, by definition of this study,
the Department could not be considered globally inclusive
because it still did not have a non-Western ensemble.
Additionally, during this period the Music faculty continued

to build on the program but the Department’s position

55

complement remained static in terms of faculty academic
background and expertise. While faculty interests provided
the initial trust of the globally inclusive program, the
administration was also supportive. One of the senior
administrators interviewed thought that a benefit of having
a globally inclusive music program included the
international experience provided and the program’s "fit"
with the mission of the College. The administration
displayed an endorsement of the program by hiring Dr. Jesse
Evans in 1983 which in turn expanded the Department’s
curricular offerings to include the music of Asia and a Koto
ensemble.

In 1983, Augustana College posted a position opening
for a music education professor. According to one senior
administrator, Dr. Jesse Evans' application for the position
opened some exciting possibilities for the College to
further expand its global inclusiveness in Music. At that
time, Jesse Evans was a professor and Chair of the Music
Department at Cornell College in Iowa. He was also the
President of the Iowa Music Educators Association. Evans’
professional experiences and network coupled with his
experience with teaching koto was welcomed by the
administration, the Music Department, and the Asian Studies
Department at Augustana. On Dr. Evans’ hire, in addition to
his music education responsibilities, the Music curriculum
was expanded to include Music 306, The Music of East Asia,

private koto lessons, and the Koto Ensemble. All of these

56

courses were taught by Jesse Evans. Since a globally
inclusive perspective was included in the academic classes,
the applied studio, and in an ensemble, Augustana's Music

program became globally inclusive in 1983.

The Koto Ensemble

Jesse Evans had already established a koto ensemble at
Cornell College but saw the opportunity to build a complete
Asian music program at Augustana. These desires were
supported by Augustana’s Music faculty, the Asian Studies
faculty and by the President of the College (interview). It
is interesting that there were not any minimum enrollment
expectations set during the advent of the Koto Ensemble
(interview). Rather, the Ensemble was presented " . . . as
an outgrowth of the Music program . . . [as] another
opportunity for students" (interview). Dr. Evans stated that
five to nine students in the Ensemble was " . . . a good
working number" but that nine was viewed as a maximum
because of musical considerations and space limitations.

During the first year of the Ensemble, there were only
three kotos available for use by Augustana students and
there was plans for more to be made available as the program
grew (Augustana Music Notes, 1983). Ten years later,
Augustana owns fifteen kotos and an additional thirteen had

to be borrowed for the Spring Concert 1993.

57

There are two distinct challenges that koto students
face during their initial involvement with the instrument.
Firstly, the tuning system and scales that are utilized in
the compositions are not the diatonic scales that are
associated with the music mest students are accustomed to.
"Traditionally, the 13-string instrument is tuned to one of
the many 5-tone (pentatonic) scales, although the design of
the instrument allows for a variety of tuning possibilities"
(Spring Concert Program, 1993). Secondly, the koto is an
instrument that has a written body of literature unlike the
aural traditions of the gamelon or African drums that are
utilized by the other colleges in this study. Therefore, it
is necessary for the koto student to learn to read koto
music that is written in Japanese characters in vertical
columns and read from right to left. This provides the
student with another dimension of experiencing a non-Western
culture.

These challenges have not hindered student involvement
with the koto and the Koto Ensemble. By the 1984 Spring
Term, the Ensemble performed its first public performance.
The following year, 1984-85, the Ensemble performed two
concerts on campus and began touring throughout the Midwest.
During the fall of 1986 the Ensemble performed at the
Ochanomizu University in Tokyo. In 1987, the Koto Ensemble
was included in the program of the Kyoto International Music
Festival in Kyoto, Japan. Since that time, the Ensemble

tours throughout the United States each spring.

58

These tours are indicative that the students of the
Ensemble were achieving a performance level that was
complementary to the program and the levels of public
exposure and scrutiny received during tour concerts.
Secondly, the tours can be viewed as an endorsement from the
administration since the costs of the tours was supplemented
from the College. Interestingly, none of the tours were
considered "recruiting tours": tours that focus the
performances on high school audiences with the intention of
directly attracting students to the College. The spring Koto
Ensemble tours in the US generally performed on college and
university campuses with the intention of spreading goodwill
through music. Nevertheless, the Koto Ensemble was budgeted
approximately $2500 per year for touring. As tour
coordinator, Dr. Evans opted to pay for lodging and meals
instead of hassling with the solicitation of home-stays for
the musicians. Even though tour costs could be kept to a
minimum by utilizing the College’s vans for transportation,
there still would be substantial costs for the lodging and
meals, and for the fuel for the vans. To further offset
these costs, the Dr. Evans charged the hosting institution
$350 per performance. In 1993, the Koto Ensemble took one
ten day tour with five concerts and also performed three
single day concerts at colleges within four hour driving
distance.

This somewhat limited tour budget for the Ensemble may

be attributed to the fact that between 1984 and 1989, Jesse

59

Evans served as Chair of the Music Department. Dr. Evans
expressed concern that some faculty would have accused him
of favoritism if he sought to assign additional funds to the
ensemble. He believed that the reverse was probably true,
that the other ensembles received his favor during his
tenure as chair. Likewise, the interviews revealed faculty
respect for Jesse Evans and for the Koto Ensemble. It was
pointed out that a couple of students left other ensembles
to become part of the Koto Ensemble which could have been a
source of contention but evidently did not become one. It is
interesting that the reverse also occurred when students
stopped their participation in the Koto Ensemble to devote
more time to one of the Western ensembles.

Since the Koto Ensemble was receiving the student’s
enrollment support, the administration’s financial support,
and the faculty’s "endorsement", the researcher expected the
Ensemble would also be supported by the College community in
the form of concert audiences. The interviews and personal
observations concluded that the Koto Ensemble concerts were
well attended. On April 23, 1993, the Koto Ensemble
performed its annual spring concert. The concert was held in
Wallenberg Hall on Augustana’s campus. For this concert, the
hall contained 240 seat that were approximately half filled.
Those in attendance appeared to be an equal mix of students,
professors, and townspeople. The seventy-five minute program
featured ensemble, solo, and small group performances of

traditional and modern koto compositions. As previously

60

pointed out, most of the ensemble performances were done
with nine kotos. However, on this concert an additional
nineteen students, most of who were students in an Asian
music class, were included on the final piece. Since the
College only owns fifteen kotos, the additional thirteen had
to be borrowed. The finale, like the other works performed
was well received by the audience and it was apparent that a
great deal of preparation was accomplished since intonation
and ensemble balance was not problematic. Each of the
student performers was dressed in traditional Japanese
clothing which embellished the exotic flavors of the
performances.

The globally inclusive transition of the Music
Department at Augustana College is the result of the
continued efforts Dr. John Hildreth and later Dr. Jesse
Evans. It is also the result of the efforts of a supportive
administration and of student interests and dedication.
These combined efforts of faculty, students, and
administration have resulted in a globally inclusive music
program that is receiving a great deal of positive exposure.
The globally inclusive music program is also aiding in the
achievement of the College’s goals earlier mentioned. Such
accomplishments should help in Augustana's maintenance of
their reputation of being a high quality academic
institution. Furthermore, what was quoted as " . . . being
the right thing to do" was accomplished before many colleges

and universities had even considered globally inclusive

61

components in their curricula. Many colleges and
universities in the immediate region of Augustana are
currently just beginning to consider the inclusion of
globally inclusive components in some of their programs. If
for only being a regional leader, Augustana should be

commended.

Ca C e

The History and Mission

On November 14, 1866, the Minnesota Conference of
Congregational Churches founded Northfield College. At the
onset, it was agreed that the College would only be under
church control for one year but a relationship continued
with significant financial support and direction. The
formation of the first college class did not take place
until 1870 and coincided with the beginning of construction
of the first building on campus. In 1871, William Carleton
of Charlestown, Massachusetts bestowed a $50,000 gift on the
college. This donation was the largest single contribution
made to a western college (Carleton Catalog). In honor of
this gift, the college elected to change its name to
Carleton College and has maintained this title since the
fall Of 1871.

Carleton has always been a co-educational institution.

Its first graduating class in 1874 included one man and one

62

woman (Carleton Catalog). Currently, the College enrolls
approximately 1800 students divided equally between men and
women. Carleton has maintained financial stability to date
and reported a $192 million endowment and assets of $202
million in 1992 (Carleton Catalog). In 1993, Carleton’s
faculty salaries were in the first quintile for each
academic rank (AAUP, 1993). The current student faculty
ratio is 9:1.

The purpose [mission] of Carleton College is " . . . to
provide a liberal education of the highest quality. The goal
of such an education is to liberate individuals from the
constraints imposed by ignorance or complacency and equip
them broadly to lead rewarding, creative, and useful lives"
(Carleton Catalog, p. 3). This notion of a "liberal"
education is supported by the fact that Carleton only awards
the Bachelor of Arts degree. Degrees such as the Bachelor of
Science or the Bachelor of Music do not commonly encourage
the breadth of knowledge that is inherent with the
interdisciplinary programs associated with Carleton's BA. It
is believed that the combination of knowledge and skills
acquired from the student’s major discipline and those
acquired from other areas enable students to address " . . .
questions too complex and subtle to be approached through
any one discipline . . ." and to " . . . reflect the open
textured, dynamic character of the disciplines themselves"

(Carleton Catalog, p. 4).

63

Carleton’s Music Department dates to the beginning of
the College. From 1872 to 1890 the Department was known as
The Department of Music; then until 1912, it became known as
the School of Music: from 1912 to 1924, it was the
Conservatory of Music; and since that time, it has been
known as the Department of Music (Headley and Jarchow,
1966). It is significant to note that while the Conservatory
was allowed to operate independently from the College, the
College elected to discontinue the Conservatory and
reestablish the Department because " . . . the entire
energies and resources of the College should be channeled
into the main stream of liberal education" (Headley and
Jarchow, p. 204). Therefore, Carleton’s commitment to a
strong academic component in the music program started in

1924.

The Globally Inclusive Transition

The commitment to the academic side of music has stayed
with the Department to date. Until 1975, the Music
Department offered courses that primarily dealt with western
art music. Then in 1975, the Department started to offer
courses outside the scope of western art music. The course
Bluegrass Music was offered in the Catalog and was taught by
Phillip Rhoades, a newly hired Music faculty member
(Carleton Catalog, 1975). During the Spring Term, 1976, Lord

and Duke (Jazz Masters) was offered as a co-curricular

64

course with the American Studies program. Curricular
expansion outside American folk and jazz traditions occurred
with the inclusion of Classical Music of North India in
Spring 1977. The focus on India continued during the Spring
Term 1982 with Music of India. The focus on bluegrass music
was expanded in 1983-84 with the Department offering
Traditional Appalachian Music. Also inn 1983-84, Jazz
Improvisation was included thus making the private studio
[applied] portion of the program globally inclusive. The
Revolution in Afro-American Music found a place in the 1985-
86 Catalog while The History of Jazz was included in the
1990-91 Catalog which also included Folk and Ethnic
Influences in Mexican Music. In 1991—92, the music program
offered Raga: Vocal or Instrumental Study of Hindustani
Music that was/is included in the Applied Music section of
the Catalog. This course offers the student the opportunity
to study Sitar. The Department also established The African
Drum Ensemble thereby making the ensemble sector of the
music curriculum globally inclusive. The two Catalogs for
the 1991-92 year and the 1992-93 year had numerous
additions: From Blues to Rock: Critical Approaches to
Popular Music, Music in Society, Country-Western Music,
Introduction to World Music, Introduction to Latin American
Music, African Music, and Jazz History Seminar. During the
transition,the Department offered eighteen new courses that

contained globally inclusive subject matter.

65

During this expansion period, some courses were taught
by visiting ethnomusicologists and were only offered during
that one academic year. These included: Classical Music of
North India, Music of India, Introduction to World Music,
and African Music. In addition, the co-curricular Lord and
Duke, (Jazz Masters) was only offered once. Folk and Ethnic
Influences in Mexican Music was only offered once and it
coincided with a Central and South American concert series
that the Department hosted during that year. Until 1991, all
of the globally inclusive courses were staffed by
contractual faculty or visiting scholars. Since that time,
only the academic courses are being taught by contractual
faculty or visiting scholars: the globally inclusive applied
and ensemble courses are being staffed by adjunct faculty.

Throughout this entire expansion period, there was a
significant change in the personnel of the Department. Most
noticeable are the changes that occurred in the instrumental
ensembles. Since 1974, there have been five different
orchestra conductors, all of who were contractual faculty.
During the same period of time, there was also five
different directors for the wind ensemble and five for the
jazz ensemble. It may be significant that the band positions
were staffed with adjunct faculty until 1983. Since 1991,
the director of the Jazz Ensemble again is staffed with an
adjunct faculty member. Furthermore, The African Drum

Ensemble is under the direction of an adjunct faculty.

66

This disclosure of the use of adjunct faculty instead
of contractual is not to say that the ensembles that have
had adjunct leaders are being slighted: an adjunct faculty
can have equal or superior skills to their contractual
counterparts. However, it is arguable that the Department
has made a decision on where to invest its budget on
staffing. Furthermore, before 1975, students enrolled in the
band program at Carleton College received no credit for
their efforts. The students enrolled in any of the College's
other ensembles or chamber groups received on credit.
Despite the apparent discrepancies in staffing and student
credit in the Department’s ensemble offerings, the
Department has put its budgetary endorsement on the academic
side of its curriculum.

Carleton’s program transition has taken place without
the inclusion of additional contractual faculty or at the
exclusion of pre-existing courses. It is significant to note
that the contractual faculty loads have not been increased
as a result of the program expansion. This was accomplished
in part by offering the courses on a rotating schedule.
Also, it should be noted that Carleton’s academic calendar
is on a ten-week term system thus having the ability to
offer more courses than the semester system.

Regardless of Carleton's ability to offer more courses
during an academic year, other factors were present that
aided in the programmatic success. Firstly, faculty’s

personal interest(s) played a large part in the program

67

transition. The interviews conducted revealed that faculty
were encouraged to pursue their academic interests even if
the interest areas were outside of the specific musical
expertise for which they were hired. Philip Rhoades was
hired for his expertise in composition but he has expanded
his teaching load to include the Traditional Appalachian
Music, Bluegrass Music, and Country-Western Music: all of
these courses are primarily approached from a historical
perspective. Steven Kelley is an early music specialist but
has expanded his base to include jazz history. Jay Johnson
is an adjunct percussion instructor that studied African
drumming and now is directing the College’s African Drum
Ensemble. Secondly, financial incentives and support in the
form of study grants and reduced teaching loads aided
faculty to pursue their interests. Specifically, Carleton
music faculty interests/research was partly supported by
funds obtained from the Curriculum Development Fund, an
endowment fund for summer research, and by the professional
development funds that each faculty is given annually
($1000). Other faculty/program development funding sources
exist at Carleton such as endowed funds for faculty
development and discretionary funds controlled by the Dean
of the College.

The visiting scholars were also funded from sources
outside the Department. The Melon Minority Fellowship has
been utilized as has the Benedict Visiting Professorship.

The Melon Fellowship recipient's are ABD graduate students

68

that are assigned to teach two courses per year at the
hosting institution. The institution must provide the
scholar with office space and use of library facilities. The
benefits of this program are two-fold. Firstly, the visiting
scholars bring new thoughts and directions that allows the
institution's existing faculty the opportunity to keep
current in scholarship: they " . . . fill holes in the
curriculum that cannot be filled by Carleton’s faculty"
(Music faculty member). Secondly, the host institution
benefits financially since the recipient receives a stipend
from the Melon Foundation.

Nearly all of the faculty and administrators
interviewed alluded to an overriding tradition of College
standards and expectations that are conducive to global
inclusiveness. Globally inclusive courses and programs
provide the student and the college community with " . . .
rich cultural experiences" and also provide departments " .
. . connections with other areas of the College". Carleton
maintains a foreign language requirement for graduation. All
students are required to take a Recognition and Affirmation
of Difference (RAD) course, that " . . . attempts to focus
on differences and the bridging of differences" (high level
administrator). The RAD courses are all taught from a cross
cultural standpoint. According to the Dean of the College,
the American Studies, the African/African American Studies
program, the History Department, and Latin American Studies

all have prominent roles and influence with the other

69

departments of the College, including the Music Department.
Within the College, faculty and students are encouraged and
supported to travel abroad. Visiting scholars from all parts
of the world are sponsored by the College. The lecture and
concert series are booked with a diverse collection of
scholars and entertainers. Carleton’s global inclusiveness
is part of every sector of the college community.

The globally inclusive expansion of the music program
apparently was not stifled by members of the music
department, in curriculum review committees, or by the
faculty of the other departments. One senior music faculty
stated that the music faculty is viewed as " . . . equal
citizens" with the faculty of the other departments of the
College. This opinion was echoed in other faculty and
administrator’s interviews.

It is significant to note that the music program is
almost completely reliant on the participation and
enrollment of non-major students. In 1993, the Music
Department had only six majors. Since the time of the
Conservatory, the Department has maintained its nine full-
time faculty complement. Regardless, the music classes
maintain full rosters and the some of the music faculty team
teach interdisciplinary courses in other departments of the
College. A music faculty member indicated that the
Department has become more effective in its service
component to the other departments of the College. This

faculty's belief was that the curricular

7O

expansion/transition was not politically motivated but was
enacted because " . . . it was the right thing to do". The
Department’s expectations of academic performance remained
at high levels even though the courses with high service
enrollments were changing into very specialized studies.
During the mid-1970's, A Twentieth Century Musical Genius:
Igor Stravinsky was offered. This course was designed for
non-majors " . . . with little or no musical background" and
traced Stravinsky’s stylistic changes throughout his life
(Carleton Catalog, 1974, p. 97). Although this course is
narrowly focused, especially for the non-major, it was
further refined in 1980. The transformed course, Music and
Dance in Diaghilev’s Ballet Russes, was also " . . .
designed for non-majors without prerequisite" (Carleton
Catalog, 1980, p. 71). This level of specialization in
courses is not commonplace in the music curricula of liberal
arts colleges. However, the inclusion of these courses for
non-majors demonstrates that Carleton’s music faculty take
their academic program seriously thereby contributing the
reputation of the College as a whole.

The global inclusiveness of the Department is carried
into the College’s outreach activities. The Concert Series
is a College funded outreach activity, but the Music
Department in charge of the selection, programming, and
contracting of the artists. In 1991, the Series featured
Music of the Americas, a series of performances and lectures

on the music of leading composers of South, Central, and

71

North America. The events spanned between February 15 and
April 19. However, this series featured music that may not
easily classify as non-Western. Primarily, the compositions
performed were by Central and South American composers
writing in the genres of Western traditiOn. Furthermore, the
series also featured United States composers that were
influenced by the sounds of Central and South America.

Other concerts of non-Western traditions have been a
part of each year’s Concert Series. Jazz groups, North
Indian music, and bluegrass bands have all been included in
‘ recent years. It is surprising that even though the Series
features high quality performances of musicians from all
parts of the globe, there is no charge for admission: all
concerts are free to all that wish to attend}

Music faculty member's professional affiliations with
societies and associations has not seemingly played a role
in the formation of globally inclusive views and attitudes.
Actually, the reverse may be true: Carleton's faculty has
been influential on a professional society. Phillip Rhoades
is a past President of the College Music Society. Steven

Kelley is the Treasurer for the College Music Society.
The African Drum Ensemble
The African Drum Ensemble (ADE) was established during

the 1991-92 academic year under the direction of Jay

Johnson, adjunct percussion instructor. The ADE currently

72

remains under Mr. Johnson's direction. The impetus for its
formation follows the faculty interest pattern that has been
established for the other globally inclusive courses at
Carleton: Jay Johnson was interested in the area and
recognized that such an ensemble could be successful at
Carleton. The interviews and personal observations revealed
that the ensemble has been successful because there existed
adequate: 1.) interest by students, 2.) faculty leadership,
3.) resources to obtain the instruments, and 4.) support by
administrators and others in the College.

During the years prior to the ADE, Mr. Johnson’s
percussion studio had good enrollments and included some
students with limited musical background. The level of
expertise of the student percussionists inhibited the
formation of a traditional percussion ensemble. Many of the
faculty interviewed at Carleton and at the other colleges
included in this study held the opinion that an African drum
ensemble does not require much, if any, musical background
since this type of African music is basically an aural
tradition. Since its inception, the ADE has enrolled sixteen
new students per term. Students are not allowed to repeat
the ensemble because there is a great deal of interest by
other students to be involved with the ensemble and there is
currently only one section of the course being offered.
Unfortunately, by starting new each term, the ADE is only
able to perform basic pieces of music. If students were

allowed to repeat the ensemble or progress into one that is

73

more advanced, a new level of expression could be explored.
The existing pattern of enrollment has prompted the Music
Department and the administration to recognize the need of
starting an additional ensemble for advanced students and
according to the faculty interviewed, one will likely be
started during the 1994-95 academic year.

The success of faculty leadership for the ADE is
primarily credited to Jay Johnson. Firstly, it was his idea.
Secondly, Mr. Johnson has put forth considerable efforts to
learn African drumming from a master African drummer. Jay
spends considerable time searching out, collecting, and
studying transcriptions that are appropriate performance
pieces for the beginning ensembles. Lastly, all of these
efforts are rendered despite his part-time status in the
Department. Nevertheless, other music faculty have aided in
the ADE's success by supporting its inclusion in the
curriculum. Some of the music faculty interviewed saw the
ADE having the ability to teach a music performance skill
thereby actively involving non-music students in the
department. Such skills are more highly valued than those
involved with passive listening. The purchase of the
instruments for the ensemble was supported and approved by
Steven Kelley during his time as Chair of the Department.

According to Dr. Kelley, the necessary resources to
obtain the instruments for the ensemble was not an obstacle
for its formation. The drums for the ensemble were purchased

at the end of the 1990-91 academic year for approximately

74

$2000. The ensemble consists of sixteen instruments of
various shapes and sizes. The instruments are grouped into
seven classes of likeness. It should be noted that the music
performed by the ensemble could be performed on drums that
most departments own, congas, tom toms, and bongos, but the
performance would lack complete authenticity thus negating
certain aspects and values associated with global
inclusiveness. Additionally, the $2000 investment is small
when put into the context of the number of students that
have been involved in the ensemble.

Support by administrators and others in the College has
been primarily in the form of approval of funding, approval
of its inclusion in the curriculum, and staffing the
ensemble. Each of these areas is a form of indirect support.
The ADE does not get the direct support of faculty or
administrators as audience members of concerts. The June 1,
1993 ADE concert had an attendance of approximately 70-80
audience members, the vast majority of which were students.
None of the music faculty were in attendance. The researcher
was able to determine that this was a typical occurrence for
the performances. The concert presentation was informal and
there were not any printed programs provided. The concert
took place in the center of the student center in a room
that served as a cafeteria that also added to the
informality since food orders were being called out during
the performance. Regardless, the performance was one of

quality and was deserving of the endorsement that would have

75

been rendered by attendance, especially by members of the
Music Department.

Carleton's global inclusive transformation has been the
result of growth by faculty interests or as one senior
administrator stated, "growth by substitution." The end
result is a department that has all of the components of a
successful program and the enrollments to sustain its place
in the College. The faculty interviewed all spoke of a
commitment to having a globally inclusive department. One
senior administrator spoke of the benefits of having strong
non-major participation in the Department. Despite the
success and commitment, there was a feeling of disjunction
on the part of students probably since the transformation
was a result of the efforts of individuals, not the result
of a departmental or College "plan." In 1992, a group of
students [the Ad-Hoc Coalition] questioned the Department's
"commitment" since it did not employ an ethnomusicologist.
The Coalition articulated their concern with a letter to the
Dean of the College that was later shared with the
Department. Departmental response included an outline of the
globally inclusive course offerings and a list of the
globally inclusive music activities held at the College. The
Department also informed the Dean and the Coalition that the
Department could be globally inclusive without the inclusion
of an ethnomusicologist since ethnomusicology is merle a

methodology that is not exclusive of other methods of

76

studying music. Traditionally trained musicians can also
study and teach non-Western music.

It appears that this incident may have been avoided by
clearly articulating the Department’s commitment to global
inclusiveness and how the interests of individual faculty
fulfill this plan. Communication between the Department and
students should have taken place since students are included
on the Department's curriculum development committee.
However, since the curriculum became globally inclusive over
a long period of time and was primarily the combined results
of individual efforts rather than a departmental plan, it is
not surprising that the students failed to recognize how the
Department was fulfilling the objectives that the Ad-Hoc
Coalition challenged.

During the two visits the researcher made to Carleton's
campus, it became apparent that Carleton students often
challenged the authority of the faculty and the policies of
the College. Student skepticism was manifested by the
graffiti on walls and bulletin boards, in the editorials in
the student newspaper, and by their "body language" observed
on all parts of the campus. Nevertheless, it does not take a
skeptical student to see that there is some disjunction in
the Music Department. As previously stated, the ADE is not
well supported by the contractual faculty members of the
Department. Since the ADE is very popular with the students,
the lack of support may have been viewed as a lack of

commitment to the individual student's efforts and a lack of

77

commitment to a globally inclusive curriculum and campus.
This situation can be ratified since Carleton’s music
program is achieving global inclusiveness in all aspects
regardless of how they are prioritized. The Department has
the academic courses, the applied studios, a professional
concert series, and an ensemble that all can be construed as

being globally inclusive.

Grinnell Cpllgge

The History and Mission

The history of Grinnell College dates to June 10, 1846
when it was organized in Iowa City as Iowa College. Within
twenty-five years of its inception, Iowa College moved west
to Grinnell, Iowa and " . . . unofficially adopted the name
of its new benefactor: an abolitionist minister, Josiah
Bushnell Grinnell" (Grinnell Catalog, 1992, p. 3). [Josiah
Bushnell Grinnell was the original recipient of Horrace
Greeley’s advice to "Go West, young man".] Grinnell College
officially adopted its current name in 1909.

During it early years, Grinnell College recorded a
number of "firsts". Grinnell was the first college west of
the Mississippi River to award a Bachelor of Arts degree.
This occurred in 1854 (Grinnell Catalog, 1991). In 1882, the

College was among the first in the United States to include

78

a department in political science. Grinnell was also the
first to college west of the Mississippi River to host " . .
. intercollegiate football and baseball games . . . and the
home teams won" (Grinnell Catalog, 1991, p. 3). The list of
firsts continued into the twentieth century with Grinnell
beginning its Grinnell-in-China program that was
discontinued upon the Japanese invasion. Furthermore, by
definition of the globally inclusive parameters and case
studies of this thesis, Grinnell College was the first to
achieve global inclusiveness. This occurred in 1977 and will
be discussed in detail later in this study.

In 1993, Grinnell College enrolled approximately 1300
students from " . . . 48 states, the District of Columbia,
and 36 other [foreign] countries" (Grinnell Catalog, 1991,
p. 1). Grinnell operates a semester system curriculum, has a
faculty-student ratio of 1:10, and ranks in the first
quintile for all academic ranks. Grinnell’s average faculty
income is $47,900 (AAUP, 1993).

Although Grinnell College does not publish its mission
statement in the Catalog, its mission and purpose are
clearly stated in the following excerpt:

"Grinnell College is an undergraduate, four—year

coeducational residential college that seeks to

develop in students both analytical and

imaginative thinking in the liberal arts. The

college exists students directly and society

indirectly: our ultimate goal is to educate

 

79

citizens and leaders for our republic and the

world beyond our borders. To this end our

graduates should be equipped to pursue successful

careers, satisfying personal lives, effective

community service, and intellectually satisfying

and physically active leisure. Selective in

admission, the college strives to be a

multicultural residential community open to the

intellectually qualified who want to participate.

Grinnell fosters critical independence in the

context of a community which expects and respects

intellectual and social diversity. We support and

encourage a faculty of active scholars whose

primary mission is to teach (Grinnell Catalog,

1992, p. iii, emphasis added).
From this paragraph and in particular the highlighted
portion, the "mission" can be surmised to educate students
to be good citizens of the community, nation, and world. The
achievement of the mission is through the College’s liberal
arts curriculum via a teaching faculty. The faculty is
charged with the responsibility of developing students’
abilities to be analytical, imaginative, and critically
independent thinkers while being active participants in the
college community. Furthermore, it is interesting that
Grinnell College does not have a multicultural or non-
Western perspective requirement for graduation.

Nevertheless, Grinnell’s students do take a personal

 

8O

responsibility to study foreign languages and cultures. The
courses that have a non-Western perspective have full
enrollments and according to a high level administrator,
ninety-five percent of all of the students study a foreign
language (interview).

The College’s commitment to liberally educating
students receives additional definition in its "Purpose of
the College" statement found in the Catalog:

"Grinnell College is committed to liberal

education in the arts and sciences. Seeing

knowledge as an end to be pursued for its own sake

and acknowledging the sense of achievement and the

pleasure that come with learning, it wants its
students to experience that confidence that

proceeds from thinking clearly, logically and

imaginatively (Grinnell Catalog, p. 5, emphasis

added).
The College's charge to develop its students into good
world citizens that think clearly, logically, and
imaginatively are manifested into three objectives:

"In inviting young men and women to attend

Grinnell, the college has three objectives. First,

it wishes all students to increase their literacy:

not only in their own language and its literature

but also in those of other peoples and in the

languages and principles of mathematics, the

natural and social sciences, and the musical and

8]

visual arts. Second, the college offers each

student the opportunity to cultivate, in and out

of the classroom, cultural and recreational

aptitudes and tastes that will provide continuing

satisfaction at Grinnell and in the future. And

third, believing that the liberally educated

person is one who fulfills social

responsibilities, the college in its curriculum

and in its processes of governance raises

explicitly the basic issues of what constitutes

constructive citizenship (Grinnell Catalog, p. 5,

emphasis added).
From this excerpt, one could expect the Music Department to
be integral in the delivery of the goals of the College. In
fact, the Department does play such a role and has provided
the College a curriculum that began its globally inclusive

perspective in 1973.

The Globally Inclusive Transition

Prior to 1973, Grinnell’s Music Department offered a
typical Eurocentric curriculum. There was a blend of theory
and composition courses, music history courses, and
ensembles, all with little or no inclusion of musical aspect
outside western art music traditions. However, in the 1973-
74 Catalog, four new courses were introduced: Mus 217, Jazz

Theory and Improvisation, Mus 218, Black Music in America,

82

Mus 232, Music in America, and Mus 264, World Music. Each of
these courses took an expected academic approach to the
study of music thus adhering to the sense of individualism
suggested in the College’s mission. History and literature
were emphasized in Black Music in America, Music in America,
and World Music. "Aural as well as visual recognition of
harmonic and melodic progressions . . ." was emphasized in
Jazz Theory and Improvisation. The societal and cultural
aspects of music were examined in World Music. The pedagogy
and content of these courses may have served as an equalizer
for the Department when compared to the other departments of
the College: a student’s individual conceptualizing and
understanding of the principles of a discipline were/are
highly valued. Since the College has a goal for its students
" . . . to increase their literacy", the Music Department
has elected to emphasis the classroom study of music rather
than placing emphasis on the ensembles that inherently
require a student to not act as individuals.

It is particularly noteworthy that this sense of
"individualism" is further reinforced by the Department’s
lack of a performance requirement for its music majors. In
1973, the major was a minimum of thirty—two credits, eight
of which could be fulfilled in related fields outside of the
Department. The only required courses included " . . . the
Senior Project plus at least 20 credits in music courses
other than performance" (Grinnell Catalog, 1973, p. 125,

emphasis added). This standpoint clearly suggests that the

83

Department placed higher value on the academic classroom
study of music. Even today, the Department only recommends
that " . . . majors should include some studio instruction
(220 or 420) and ensemble performance (101) in their
programs" (Grinnell Catalog, 1992, p. 123, emphasis added).
Moreover, the ensembles are listed together in the Catalogs
as Mus 101, Practicum: Performance Ensembles.

Notwithstanding the emphasis on the academic side of
music, the Department expanded its ensemble offerings to
include the Gospel Choir in 1974 which was an apparent
outgrowth of the Black Studies Program (interview). It is
equally interesting that Grinnell did not have a jazz
ensemble until 1985.

Furthermore, during this time period, the Department
was the home for the Manhattan String Quartet, whose members
also served as teaching faculty for the Department. In 1975,
the Quartet was replaced by the Mirecourt Trio that was part
of the Music Department until 1987.

Throughout the 1970's, the Music Department continued
to transform into a globally inclusive program. In 1974, the
Department hired an ethnomusicologist, Stephen Martin. This
was an aggressive move to further develop the Department's
"academic worth" within an institution of high academic
standards. The methodology of ethnomusicology can be viewed
as musical anthropology thus creating a new similarity
between the Music Department and other Departments of the

College. As one Music faculty member pointed out, "the

84

inclusion of ethnomusicology fits Grinnell like a glove"
(interview).

The 1975 Catalog included two new globally inclusive
courses, Mus 266, World Music II, and Mus 320, Seminar in
Ethnomusicology. The globally inclusive transition continued
in 1976 by the inclusion of five new courses in the Catalog:
Mus 111 Introduction to the World of Music, Section A
[emphasis on non-Western sources and traditions], Mus 231
and 232, Electronic Music I and II, Mus 265, Musical
Cultures: Asia and Africa, and Mus 266 [replacing World
Music II], Musical Cultures: Latin America and American
Indians. Since the Department had very few majors, these
courses were designed to serve the College as service
courses for the students of all academic disciplines. All of
the Music Department’s globally inclusive courses were
assessable to students with limited musical experiences
since the courses were classroom courses similar to other
courses in the social sciences.

The 1977 Catalog had further additions and refinements.
Mus 216, Popular Music in America: 1940 to the Present was
added. Mus 265, was changed to Music of Asia and the
Pacific, Mus 266, previously Musical Cultures: Latin America
and American Indians, was changed to Music of the Western
Continents and its contents focused on the " . . . music of
the Middle east, Eastern Europe, Africa, and Latin America"
(Grinnell Catalog, 1977, p. 77). The change of the courses

was a result of a changed faculty. Stephen Martin was

replaced with Theodore Solis also an ethnomusicologist.
Although these courses were changed to better fit Mr.
Solis’s background, a more dramatic curricular addition was
resultant of his hire: the inclusion of the Non-Western
Ensemble. In 1980 this ensemble changed its name to The
Latin American Marimba Ensemble. Since Theodore Solis owned
the set of marimbas used by these ensembles, his appointment
to the faculty in 1977 made the Music Department globally
inclusive as defined by the parameters set within this

study.

Traditional Methodology vs. Service Enrollments

Throughout the 1970’s Grinnell’s Music Department was
transforming its traditional program into a globally
inclusive one. This transition was the result of a group of
music faculty devoted to the College’s principles a liberal
arts education: that students must be actively engaged in a
wide variety of disciplined studies of academic subjects.
Although the Department was actively expanding its
curricular offerings, there were also other attempts to
further integrate the Department into the College community.
Starting in 1976, a "statement of purpose" was included at
the beginning of the Music section of the Catalog:

Music has connections with all divisions within

the liberal arts. Most directly related to the

humanities through song literature and poetry,

86

drama, and dance, it also has links with the

social sciences through anthropology and

ethnomusicology. Even in the sciences, music can

point to its long association with mathematics and

more recently with electronic techniques in

composition" (Grinnell Catalog, 1976, p. 70).

This narrative is indicative that the Department may have
been attempting to provide evidence that it could contribute
equally with other departments to the College’s mission.
Many of the Music faculty interviewed stated that they are
not as highly regarded in the College as are their peers in
other departments. As put by one Music faculty member, "I
have had other faculty express surprise that I have a Ph.D.
although they would never be surprised that the political
science professor has one" (interview). One of the Music
faculty pointed out that there exists a lot of ignorance
about the academic side of music programs since they are not
as visible as the performance side (interview).

Secondly, the narrative continues by addressing music’s
worth to all students: "Because music is present in every
facet of life, its study appeals to students with a wide
range of interests" (Grinnell Catalog, 1976, p. 70, emphasis
added). The inclusion of students with a wide variety of
musical abilities and interests proved to be challenging for
the Music Department since in a traditional college music
department, music study usually requires students to have

some very specific skills that will be refined to enable

87

them to become or continue their involvement in music
making. Moreover, such a specialized music curriculum is
delivered through traditionally trained faculty, many of
whom are more performance oriented than academically
inclined. This type of faculty often is not interested in
providing education about music to non-music students.
Instead, they prefer to teach music student how to become
music professionals. This type of philosophy clearly would
not be a "good fit" with Grinnell College's liberal arts
philosophy and mission.
Lastly, the narrative further emphasized the academic

study of music even for music majors:

"Majors are expected to achieve musical literacy -

that is, the ability to read and write in several

notations - and become proficient in musical

scholarship. They are encouraged to broaden their

understanding of music in a cultural setting

through study in the other fine arts, literature,

and social sciences" Grinnell Catalog, 1976, p.

71).

Private lessons and ensembles continued to be downplayed and

only were mentioned in passing within the narrative: "In

addition, the department offers private lessons and ensemble

work" (Grinnell Catalog, 1976, p. 71).

The common issue throughout each of the three points of

the narrative is that the Music Department needed to provide

the College with an emphasis on service enrollments. The

88

Department's foremost attempt to accomplish this was by
expanding the classroom type of courses that could teach
music from a social science or humanities aspect thus
increasing accessibility to students outside the Music
program. During the 1970's time-frame the Music Department
only had three College faculty and the three Mirecourt Trio
members. A unified effort would be necessary for the
Department to achieve its goals in quality status. Since one!
of the three faculty members hired by the College was an
ethnomusicologist, it can be assumed that at least they
would be willing to teach music courses from such an aspect.
It also can be assumed that since the Department hired an
ethnomusicologist, expanded the curriculum, and addressed
the issues that made its curriculum service enrollment
oriented, there must have been support from the other
members of the Department. But what about the artist-in-
residence members of the Manhattan Quartet and the Mirecourt
Trio? Did these professionally oriented musicians share the
same service enrollment vision that the Department had?

The ideology behind hosting a professional music group
was to provide the College with an opportunity to experience
live music performances at the same lofty levels of its
academic traditions. The groups' presence also provided some
students the opportunity to study performance privately with
high caliber performing musicians. However, there is
substantial evidence that the Trio failed to provide good

classroom experiences and performance opportunities for

89

students. Firstly, few students possessed the level of skill
that were necessary to be part of the Trio's studios and the
Trio. Secondly, as previously established, Grinnell College
placed its emphasis on academics. Even though the Trio was a
highly regarded professional ensemble, its was not
attracting new string players to the College. The caliber of
players that would have most benefitted from the Trio were
enrolling in universities and conservatories with large
professional preparation programs that had the facilities
and mission to produce professional performing musicians.
Thirdly, nearly all of those interviewed at Grinnell
indicated that in the true spirit of the liberal arts,
Grinnell’s students have a tendency and an expectancy to
explore a wide variety of disciplines and experiences.
Students did not want to devote the amount of time for music
practice that was necessary for inclusion in the Trio's
studios. And lastly, all of the music faculty interviewed
felt that the Trio’s "inaccessibility" and its lack of
service enrollments to students actually lowered the
Department’s stature in the College. Apparently, some of the
Trio's members did not devote as much time to teaching in
the classroom as they did on performance practice. Since
Grinnell’s Music Department is part of a liberal arts
college, not a professional music school, the missions of
the Department and the Mirecourt Trio were not similar. The
Trio had little in common with the College’s mission and

students did not believe that they were benefitting from its

90

presence (Interview). Some students actually advised others
not to enroll for music courses because some of the courses
taught by the Trio’s members were not as academically
demanding as they should be and were " . . . a waste of
time" (interview).

In 1987, one of the Trio’s members accepted a position
in a large music school and the department was faced with a
decision point of whether or not to continue in the
direction of playing host to a professional ensemble. Such
ensembles had been part of the College since 1963 and all
provided high quality concerts that served as a good public
relations tool. Nevertheless, these ensembles were not
delivering the Department the amount of service that full-
time faculty members would be expected to. Additionally, the
Department was changing its direction to become more service
enrollment driven and the faculty of that time decided to
eliminate the continuation of the ensemble-in-residence
program (interview). The College helped to facilitate this
decision by having the Department undergo a major review of
its aims and purposes (interview). The personnel void
created by the elimination of the program was filled by the
hiring of two new full-time tenure track faculty members.

It is noteworthy that every music faculty member hired
by Grinnell since 1986 holds a doctoral degree. This helps
confirm the Department’s commitment to providing a sound
academic oriented faculty thus maintaining equal status with

the other departments of the College.

91

Global Inclusive Refinements

One year prior to the elimination of the ensemble-in-
residence program [1986], the administration’s commitment to
continue the globally inclusive program was "tested": the
Music Department’s ethnomusicologist was denied tenure
(interview). Members of the Music faculty were not sure that
the position would be retained with another
ethnomusicologist but the administration " . . . continued
its commitment" and Roger Vetter was hired in 1986
(interview).

Roger Vetter’s personal experiences from living in
Hawaii and Indonesia, and his Ph.D. work at the University
of Wisconsin enabled the Music Department to future enhance
its focus to teach from a global perspective. Vetter’s
experiences have also allowed him to network with economy,
anthropology, and other faculty members of other departments
with similar experiences (interview). Interestingly, the
globally inclusive music curriculum remained that same as it
was, excepting an ensemble change, until the 1990-91
Catalog. The period of time between 1987 and 1990 was used
by the Music Department to assess its strengths and
directions resulting in curricular offerings that fit the
mission of the College and the Department (interview). The
1990 globally inclusive music curriculum remained unchanged

throughout the time of the interviews and include the

92

following: Mus 116, Music, Culture, and Context, Mus 216,
The Jazz Tradition in America, Mus 250, Topics in Music and
Culture, Mus 265, Music of Asia, and Mus 266, Music of
African and The Mideast (Grinnell Catalog, 1990). Private
instruction and an ensemble are also included in the
globally inclusive offerings. It is significant that all of
these courses are at the one and two hundred levels of
instruction. When coupled with the fact that Music 265 and
266 are cross listed in the catalog as Anthropology 265 and
266, it is clear that the Music Department is committed to

its role of providing service enrollments for the College.

The Javanese Gamelon Ensemble

The introduction of a Javanese Gamelon ensemble was
another significant programmatic change that occurred by the
inclusion of Roger Vetter on the Music faculty. The Javanese
Gamelon Ensemble [JGM] initially was the property of Vetter.
Since that time, additional instruments have been purchased
by the College.

According to Dr. Vetter, the initial challenge that he
faced by introducing the JGE to Grinnell was his ability to
adapt to the type of student that Grinnell had. His previous
academic experiences had been primarily in large
institutions and the students that he had contact with were
primarily music majors that enrolled in the ensembles for

totally different reasons than did the Grinnell students. As

93

Vetter stated "Grinnell attracts free spirited students
[that are] not used to working in a highly synchronous
fashion . . . they are individualists and the gamelon
requires a team effort" (interview). Since that time, Dr.
Vetter has decided that he prefers the ensemble to be "

. a broadening experience for students" rather than a
[musically] highly developed ensemble (interview). The
ability to work with students outside the Music Department
was also challenging for Roger Vetter’s leave-of-absence
replacement. Rene Lysloff was Grinnell’s ethnomusicologist
while Dr. Vetter was on a Fulbright Grant in Africa in 1992-
93. Despite the fact that the Grinnell students were only
able to achieve fairly elementary performance levels on the
Gamelon, Dr. Lysloff also found the experience of broadening
these students’ cultural perspectives to be rewarding
(interview).

The attraction of getting students to participate in
the JGE has never been a problem (interview). There are
always fifteen to eighteen students enrolled in the Ensemble
with five to ten of those students staying in the ensemble
for more than one term (interview). Although these retention
percentages would not be acceptable in a traditional
ensemble [band, choir, or orchestra], they are acceptable
for this type of ensemble since its repertoire is aural and
the pieces performed [at Grinnell] are relatively simple.
Furthermore, some of the students involved with the ensemble

did not enroll in it until the last semester of their senior

94

year. This is not surprising since as stated before, there
is an expectation and compliance of Grinnell’s students to
have a diverse set of academic experiences. Nevertheless, to
date, several students have enrolled in the ensemble for
three years and one was in the JGE for four years
(interview). Roger Vetter also indicated that during the
early years of the JGE, he ran two separate ensembles. This
proved to be too demanding on his teaching load since most
of the students involved in the ensembles also wanted to
study gamelon privately with him (interview).

The JGE performed its last concert for the 1992-93 year
on Saturday, May 8, at 10:00 p.m. The concert was staged
outdoors in front of the Grinnell College theater and
featured burning torches providing the performance a raised
level of authenticity.

The JGE was staffed with sixteen Grinnell College
students, five guest musicians that possessed advanced
gamelon skills, and the voices of four Grinnell College
singers. All of the performer were dressed in Javanese type
clothing. The ensemble consisted of a variety of gongs,
tuned metallic and wood "xylophone" type instruments, and
conga-like drums. The JGE is " . . . representative of
ensembles played in Central Java" and featured gamelon music
of both sacred and profane traditions (Concert Program). The
sacred music is associated with the ancient religious
practices of Java while the profane selections were intended

for entertainment. Furthermore, the JGE performed

95

" . . . two distinct styles of gamelon music:
court and village. Gamelon music of the Central
Javanese courts is generally refined and
meditative in character. It features solo female
or mixed choral singing over a busy but relatively
calm and quite instrumental texture. Village style
gamelon music, on the other hand, is rather loud
and boisterous with breathless tempos and sudden
starts and stops. The addition of rhythmic hooting
and hollering contributes to a pleasantly "funky"

overall gamelon sound" (Concert Program).

The concert was well attended with approximately 250
people in attendance. The audience consisted of mostly
students but Grinnell's faculty, administration, student’s
families, and townspeople were also well represented.
Approximately forty minutes into the performance it started
to rain and the concert was interrupted while the JGE was
moved inside the theater. At 11:00 p.m. the program resumed
and finished at midnight. The lateness of the start time was
not typical but since there was also a student award
ceremony that night, the JGE members elected to have its
performance afterwards. The performance was well received by
the audience.

The JGE director, Rene Lysloff, took great care to
present the concert in a culturally appropriate way. During

his interview, Dr. Lysloff expressed concern that

96

performances of indigenous ensembles such as the gamelon,
not be approached in the same manor that is used for Western
tradition ensembles. He believed that although it is nearly
impossible for Western audiences to not bring their past
concert practices with them, it is important to try to
educate the audience that gamelon music is used very
differently than Western art music is (interview). To this
effect Dr. Lysloff included the following in the Concert
Program:

"We hope that you enjoy our performance, but we

want to remind you that, as Americans, we are only

presenting our limited understanding of an

extremely complex and ancient musical tradition .

. [although] we may not have the years of

experience and knowledge required of accomplished

gamelon musicians, we hope our efforts reflect our

deep respect and sincere admiration for the

Javanese people who gave the world this unique

music" (Concert Program).

Grinnell’s globally inclusive music program efforts
have been the result of twenty years of planning,
implementation, and transition. The inclusion of an
ethnomusicologist on the faculty starting in the 1970’s
proved to be tremendously insightful to the Department's
contribution to the College's mission and curriculum. With

the Music Department’s focus on service enrollments and its

97

faculty committed to delivering a high quality music program
that is assessable to all, the transition has been extremely
successful.

The transition has not been always on an easy road. The
decision to head full-force into the current globally
inclusive program obligated the Department to take a close
look at its strengths and how to best fit into a college
with high academic standards and a unique student body. The
result of this departmental self-study was the
discontinuation of the ensemble-in-residence program that
had been part of the campus for twenty years. However,
members of the Department are just now beginning to feel
that the Department is theirs and is meeting the College’s
objectives (interview). I

Another challenge has had an impact on the transition
is the Department’s facilities. All of the faculty and
administrators interviewed indicated that the Music building
is inadequate to meet the Department's space requirements
for rehearsals, performance, and storage. Currently, the
College has a building campaign underway to increase and
remodel the Music building.

As for the future of the globally inclusive music
program at Grinnell, all of the faculty and administrator
interviewed felt that there would be continued support and
growth. The Music faculty indicated that their requests for
materials and research opportunities are usually approved.

In fact, none of those interviewed saw funding for the

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program to be an issue needing resolve. Rather, many felt
the leading issue facing the Department was its ability to
maintain vitality in the western music courses while opening
up to the exploration of the musical languages of Grinnell's
students. If the history exposed in this study is an
indicator, then the Music program will continue to succeed
in terms of offering the students high quality music courses
and providing the College another way to achieve its

mission.

CHAPTER FOUR
Summaries and Conclusions of the Case Studies and

Recommendations for Additional Study

This chapter will draw from the experiences of the
music programs of Augustana College, Carleton College, and
Grinnell College and provide synopsis of the commonalties
that they had in their globally inclusive transitions. It
will also provide suggestions of areas that are primed for

additional study.

The Push for Global Inclusiveness

The trust of technical/scientific based curricula
dominated the post-Sputnik era of the 1960's thereby de-
emphasizing college programs in the arts and humanities. One
of the answers to this change in emphasis was the Tanglewood
Symposium held from July 23 to August 3, 1967. In terms of
this dissertation, particular focus was made on the
Symposium’s recommendations for college music programs to
broaden to include " . . . music of all periods, styles,
forms, and cultures" (Choate, ed. 1968, p. 139).

Ultimately, these recommendations were adapted as
recommendations of the National Association of Schools of
Music in 1972: " . . . [students] should have experience

with Western concert music, contemporary "pop" music, music

99

100

of non-Western cultures, folk music of Europe and America,
and Western art music [composed] since 1950" (NASM, op.cit.
Klocko, 1989, p. 40). As revealed in Chapter One, NASM's
current position on this theme is still only a
recommendation: " . . .the undergraduate curricula should
provide . . . a repertory for study that includes various
cultures and historical periods" (NASM, 1991, p. 51).

Other spheres of influence in the music profession
began to echo these recommendations. In 1979 the College
Music Society made a formal recommendation that music
programs " . . . encourage multicultural music training at
all levels" (CMS, op.cit. Klocko, p. 40). In 1989, the CMS
position became more specific of who was responsible for the
globally inclusive transition:

The [college music] curriculum needs to expand to

include 1) Musics other than those of the Western

tradition, both folk and art, 2) Western folk

musics and the vernacular tradition, and 3) the

experimental directions of the expanding Western

art music repertory (CMS, p.15, emphasis added).

Notwithstanding the recommendation of the Tanglewood
Symposium, NASM, and CMS, the urgency to transform music
curricula to become globally inclusive has had limited
impact. Currently, very few NASM accredited schools have
globally inclusive program offerings beyond a classroom

course or two and the inclusion of a jazz improvisation

lOl

studio. It has been the researcher’s personal observation
that non-NASM schools largely follow their accredited peers
and remain as traditional schools with limited globally
inclusive offerings. Of the colleges included in this study,
only Augustana is NASM accredited. Nevertheless, all three
colleges are delivering a globally inclusive program to
their students, most of whom are majors outside the music
departments.

The initial and subsequent recommendations of the
Tanglewood Symposium (1967) and the National Association of
Schools of Music (1972) preceded the beginnings of the
globally inclusive music program transitions of each of the
colleges in this study. Grinnell College was the first of
this study group to start its transition in 1973. Augustana
College and Carleton College followed in 1975. By virtue of
the design of this case study, the roles of the six impact
areas (administration, curriculum, faculty, students,

resources, and outreach) must summarized.

The Roles of the Six Impact Areas

Administration

For each of the colleges included in this study, the
central administration was supportive of the transitions.
This came as no surprise since prior to the transitions,

each of the colleges had programs that emphasized foreign

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languages and study abroad opportunities dating to the turn
of the century. Furthermore, another commonalty that existed
was the deans of the colleges voicing how well the globally
transformed music programs fit the colleges’ missions
(interviews). The deans also viewed their music faculty as
strong, capable teachers that were considered to be " . . .
equal citizens" with the other faculty for the college
(interviews).

The central administration’s endorsement of the
globally inclusive music programs was also apparent in
hiring practices and funding approvals. Although Augustana
already had globally inclusive programs prior to 1983, by
the definition provided in this study, the Music Program did
not become globally inclusive until Jesse Evans was hired. A
senior administrator of Augustana indicated that the College
was not particularly looking for a faculty member with the
breadth of experience that Dr. Evans could provide, but his
past experience did fulfill the requirements of the music
education position that he had applied for (interview).
Additionally, Jesse Evans’ experience in Asian studies and
music was attractive to the administration since it would
embellish Augustana’s existing world music courses. Jesse
Evans’ experience as a department chairperson at Cornell
College was also perceived as attractive to the Augustana’s
administration (interview). Soon after his appointment to
Augustana, Dr. Evans established the Japanese Koto Ensemble

thereby making the Music Program globally inclusive.

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Grinnell College hired an ethnomusicologist in 1973.
Although the impetus leading to the administrative approval
of this position is not known, it can be viewed as an
aggressive move that enabled the Music Department to reach
for the College’s " . . . ultimate goal . . . to educate
citizens and leaders for our republic and the world beyond
our borders" (Grinnell Catalog, 1992, p. iii, emphasis
added). Furthermore, when the Mirecourt Trio disbanded in
1987, Grinnell’s central administration guided the Music
Department through a review of its program to identify the
aims and purposes of the Department (interview). This action
shows that the administration was willing to empower the
Department to define its own "destiny".

For all of the colleges involved in this study, the
central administrations trusted the music departments to run
their own programs. The administrators of these colleges can
be viewed as facilitators, advisors, and patrons, never as
dictators or autocrats. The result creates a situation that
entitles the departments to creatively structure their
programs to fit the missions of their college and personal

teaching philosophies.
Curriculum
In order for the colleges to become globally inclusive,

they had to change their curriculum. In terms of a summary,

the specific courses that were developed to make the

l ()4

programs globally inclusive are relatively unimportant. The
important features in terms of this summary are what steps
were taken to make the curriculum globally inclusive and
what it looks like in its current state.

The Augustana College Music Department started its
globally inclusive transition in 1975. Since that time, ten
courses that contain a global perspective have been
developed and included in the curriculum. These courses are
balanced in each of the divisions of the music program
[classroom, studio, and ensemble] and also include a broad
representation of the music of different areas of the world.

Augustana College is the only college within this study
that offers the Bachelor of Music degree or the Bachelor of
Music Education degree. Augustana is also the only NASM
accredited school in this study. Augustana fulfills NASM’s
recommendation to have its undergraduate curricula " . . .
provide . . . a repertory for study that includes various
cultures and historical periods" (NASM, 1991, p. 51). A
value judgment has not been made that Augustana’s
accreditation makes its superior to the other colleges in
this study. However, judgment can be made that Augustana is
abiding by and promoting the recommendations of NASM while
most other NASM accredited schools do not.

Carleton College also started its globally inclusive
transition in 1975. Bluegrass Music was offered during the
Fall Term and Lord and Duke (Jazz Masters) was offered

during the Spring Term. Since the beginning of the globally

inclusive transition, twenty different courses have been
developed and included in the curriculum. Of these,
approximately half have been offered more than once. The
reason that half of the courses are only offered once is
that Carleton has utilized visiting scholars that bring
their own slant and expertise to the Department for the year
of their fellowship. Thus far, Carleton’s music program
focus has included the music of American folk and African-
American traditions, and the musics of India, Africa, and
Latin America. The Department recognizes the future need to
have some specific focus on Asian music (interview).

It is important to point out that Carleton College is
on a Term System not a Semester System. By having three
terms during the academic year, Carleton needs one-third
more courses to fill the globally inclusive components of
the curriculum as compared to a college on a semester
system. This puts the development of Carleton’s twenty
courses into better perspective. If assumed that Carleton
College would have developed courses on the same ratio in a
semester system, approximately fourteen courses would have
been developed since 1975. This is less than one course per
year.

Grinnell College was the first college in this study to
start its globally inclusive transition. In 1973, four
globally inclusive courses were offered. Since then, twenty
new courses have been developed and introduced into the

curriculum. None of the courses were offered only once but

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many of the courses have been reformed to better fit the
expertise of a changed faculty. Throughout the transition
period, the music curriculum has become increasingly
inclusive of the music of many continent and islands.
Grinnell’s musical focus has included the music of African-
American traditions, the music of Asia and the pacific rim,
Africa, Latin America, American Indians, the Middle-East,
Eastern Europe, and American Popular music.

Grinnell’s ability to cover such a broad spectrum of
musical style and traditions is achieved in part by the
inclusion of an ethnomusicologist on its faculty. Moreover,
Grinnell’s music curriculum is delivered through courses
that have a strong social science or humanities perspective.
This type of curriculum fits within the College’s commitment
" . . . to liberal education in the arts and sciences"
(Grinnell Catalog, 1992, p. 5). It also confirms that the
Music Department can deliver a program that will broaden a
students " . . . understanding of music in a cultural
setting throughout the study in other fine arts, literature,
and social sciences" (Grinnell Catalog, 1976, p. 71).

Each of the music departments included in this study
transformed their programs without College mandates that are
present in the multicultural and non-Western requirements
many colleges maintain. Although Augustana and Carleton do
have such requirements, the music program transitions
towards global inclusiveness were established prior to the

requirements. Instead of mandated change, the departments

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have taken ownership of their curriculum thereby providing
each with one of their strengths.

Another significant component of the music curricula of
each of the colleges is that the globally inclusive courses
are service enrollment driven rather than music major
driven. Therefore students from all disciplines have
benefited from the music program transitions. Of particular
interest were the students that were enrolled in the
ensembles. More in-depth details of this component will be

discussed in the Student section of this summary.

Faculty

The music faculty of Augustana, Carleton, and Grinnell
provided the major thrust for each of the schools globally
inclusive transitions. The administration, curriculum,
students, resources, and outreach components of this study
were tools that the faculty used to transform the programs.
All three colleges transformed their programs at
approximately the same time and many of the reasons faculty
cited for seeking change were similar. Included in these
citations were:

"The faculty needs to be self directed/motivated

[in terms of globally inclusive issues], they must

take it upon themselves" (Augustana interview).

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"It is long past time to get away from the white
male European type of thinking" (Augustana
interview).

"The faculty] can’t sit around and wait for others
to do it [global inclusiveness]" (Augustana
interview).

Globally inclusive courses and programs provide
the student and the college community with " . . .
rich cultural experiences" and also provide
departments " . . . connections with other areas
of the College" (Carleton interview).

The globally inclusive offerings provided " . . .
a broadening experience for students" (Grinnell
interview).

"It was [global inclusiveness] the right thing to
do" (Augustana interview, Carleton interview,

Grinnell interview).

The background of the faculty members at each of the
colleges is also similar. Most come from traditional
graduate music programs from highly regarded institutions.
Personal interests of the individual faculty members fueled
their study and development of the globally inclusive
courses. Additionally, Augustana and Grinnell include an
ethnomusicologist on their faculty. On the average, three
faculty members are involved in the delivery of the globally

inclusive courses at each of the colleges.

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Carleton College enhances its globally inclusive
program by obtaining visiting scholars from the Melon
Minority Fellowship. The Melon recipients give Carleton’s
faculty the opportunity to keep current in scholarship and "
. . . fill holes in the curriculum that cannot be filled by
Carleton’s faculty" (Carleton interview).

The road to a globally inclusive music program was not
always easy for the faculty; there was resistance.
Surprisingly, most of the resistance was not felt from the
other five impact areas, rather the resistance was
experienced from other music faculty and from the faculty of
other disciplines. The struggles between Grinnell’s
ensemble-in-residence and the contractual faculty of the
Music Department provides a good example. Firstly, the Music
faculty did not believe that the Mirecourt Trio members held
a commitment to teaching music from a humanities or social
science aspect (interview). Secondly, it was believed that
the Trio’s members were not committed to providing quality
instruction to the courses that were service enrollment
driven (interview). And lastly, the Department greatly
expanded its globally inclusive offering once the Trio was
disbanded in 1987. The struggles between the ensemble-in-
residence and the Music faculty has also affected how the
faculty of the other departments view the music faculty. The
ensemble-in-residence spent a great deal of time in
preparing for and delivering public performances which were

positively received. However, as earlier stated, the

llO

ensemble’s members were less dedicated to the classroom
resulting in the music faculty being viewed as second class
academicians (interview). One of Grinnell’s Music faculty
expressed concern that the Music faculty are not considered
equal citizen on campus. "I have had other faculty express
surprise that I have a Ph.D. although they would never be
surprised that the political science professor has one"
(interview).

Resistance aside, the levels of planning involved to
facilitate program transition differed at each of the
colleges. For Augustana, the initial planning involved to
promote a globally inclusive transition was primarily the
effort of John Hildreth. Dr. Hildreth’s experience as the'
Director of Minority Affairs enabled him to have insight of
the efforts that Augustana’s other departments were planning
and implementing. This provided him the "bigger picture".
Furthermore, Dr. Hildreth is an ethnomusicologist and it
familiar with the structure and components of a globally
inclusive curriculum. Lastly, Dr. Hildreth has spent a great
deal of time writing about his own teaching expertise areas
and teaching philosophies. These documents display a great
deal of organization which is assumed to have been carried
into his development of the globally inclusive music
program.

Carleton College’s globally inclusive transition was
primarily the result of an autonomous faculty developing

individual courses that they were interested in teaching.

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One of Carleton’s senior administrators saw the music
program transition to be the result of " . . . growth by
substitution" (interview). Although Carleton does have a
globally inclusive music curriculum, many of the courses are
delivered by adjunct faculty and visiting scholars. The
adjunct faculty members that are assigned to the African
Drum Ensemble and the Jazz Ensemble do not have the kind of
job security that a tenure stream faculty has nor are they
compensated at any levels that are close to what a tenure
stream faculty is. Additionally, since they are adjunct,
they spend a limited time on campus each week thereby
limiting their visibility and assess to others on campus.
This sends a message that their areas of responsibility are
less important than are other areas of the Department. The
courses that are delivered by the visiting scholars are only
offered during their visit which occurs about every other
year thus program continuity is sporadic. Additionally, the
expertise areas of the Melon scholars differs greatly from
one to the next. While this can be considered a strength in
terms of disseminating new scholarship and knowledge, it is
problematic in terms of planning future curricular changes
and offerings. Nevertheless, without Carleton’s music
faculty pursuing their own interests that were globally
inclusive, the Department would probably have retained its
traditionally based curriculum of years past. Another
noteworthy feature of Carleton’s music faculty is that

professors Steven Kelly and Phillip Rhoades were involved in

112

the College Music Society at executive levels: Professor
Rhoades is a past president and Dr. Kelly was the treasurer.
Their activities with global inclusiveness at Carleton has
been influential in the CMS thereby influencing others
outside Carleton’s campus.

Planning played a large role in the music curriculum
transformation at Grinnell College. The insight of the value
of including an ethnomusicologist on the faculty in 1973 is
viewed by the present music faculty as being extremely
proactive (interview). The ethnomusicologist helped the
Department to establish a vision of what the Department
could be. Currently, the delivery of the globally inclusive
curriculum is not limited to just the ethnomusicologist.
Other traditionally trained musicians teach globally
inclusive courses and conduct research on a broad range of
musical genres and ideas (interview). Faculty planning
played a large role when the decision was made to
discontinue the ensemble-in-residence program. The result
has been the Department has increased its contractual
faculty size, augmented the areas of faculty expertise, and
expanded the curriculum. All of these actions are viewed the
outcomes of careful and deliberate planning.

Notwithstanding each college’s different approaches to
planning the music program changes, the music faculty of
each institution are primarily responsible for the changes
and have acted as guardians and proponents of global

inclusiveness in music.

H3

Students

Within this study, students have played a limited role
in the development of the globally inclusive music programs.
Although students are the primary recipients of the programs
and were the reason that many of the faculty involved in the
transitions sought change, students were not heavily
involved in the actually planing for the programmatic
transformations. Nevertheless, students have played the
extremely important role of ratifying the changes through
enrollments in the courses offered and in their expectation
of the continuation of a quality globally inclusive program.

A particularly significant finding of this study is
that the globally inclusive music courses are primarily
service enrollment oriented. The vast majority of the
students that enroll in the globally inclusive courses are
not music majors and many do not have prior music
experience. These courses are enrolled to or near their
limits each time that they are offered. This observation may
not be too surprising for the classroom courses, but it is
significant that the largest percentage of non-major
enrollments to major enrollments is occurring in the
globally inclusive ensembles.

In traditional instrumental ensembles such as hand and
orchestra, prior experience is always expected and most of

the time completely necessary to be included in the group.

“4

Traditional instrumental ensembles require the players to
have the ability to read musical notation. Although
Augustana’s Koto Ensemble performs music that is written,
the koto music is written in Japanese characters thus
putting the music majors on an even keel with the non-majors
in terms of reading the music. Carleton’s African Drum
Ensemble and Grinnell’s Javanese Gamelon Ensemble perform
music from aural traditions thus providing equal opportunity
for a successful experience for the musically inexperienced
along with the music major. Many of the music faculty of all
of the colleges spoke of this occurrence and saw the
inclusion of these types of ensembles as being a strength of
a globally inclusive music program.

The student push for quality globally inclusive
education was address by one of Augustana’s music faculty
members. A statement was made that " . . . students are
agitated, [they are] pushing for a change to allow them to
walk out with the social skills necessary for the
multicultural, multiethnic, pluralistic society that we live
in" (interview). In 1992, this quest for quality was voiced
at Carleton by a student group that authored a document
questioning the Music Department’s commitment to globally
inclusive music education since an ethnomusicologist was not
part of the music faculty (interview). The Department
responded to the group by explaining that ethnomusicology is

merle a methodology of studying music. The Department also

provided the student group with a list of courses taught at
Carleton that were globally inclusive (interview).

Program quality was also a theme at Grinnell College.
Instead of questioning the Department’s ability to deliver a
quality globally inclusive program, students questioned the
quality of the traditional courses that were taught by
members of the Mirecourt Trio (interview). The notion the
these courses were " . . . a waste of time" was verbally
propagated from on class to the next resulting in students
being wary of taking any classes in the Music Department
(interview). This situation has diminished with time, but
the bad reputation is still marginally present. The globally
inclusive courses have good enrollments and the students
that have taken them are telling others about the positive
experiences that their had in them thus helping to alleviate
the student concern of the lack of music program quality
(interview).

Although students had limited impact on the initial
transformations of the music programs, they have
increasingly pushed for continued program improvement.
Augustana, Carleton, and Grinnell are highly selective
schools that attract bright, capable students. Since the
program transitions at each of the schools, the music
departments have experienced increased service enrollments
thereby attracting student that would probably not have been
associated with music. Therefore, Augustana, Carleton, and

Grinnell have attended to the recommendations of the

116

Tanglewood Symposium, the National Association of Schools of

Music, and the College Music Society.

Resources

Augustana College, Carleton College, and Grinnell
College all share the distinction of having their faculty
salaries being in the first quintile for private, four-year
bachelor degree granting institutions (AAUP, 1993). This
allows the colleges to attract and retain high quality
faculty. Likewise, according to the music faculty of the
institutions, the music programs of the Augustana, Carleton,
and Grinnell are well supported in terms of programs needs
(interview).

Beyond the resources needed for salaries and program
materials, money has been used to purchase and maintain the
instruments of the ensembles. None of the schools saw this
to have been problematic to find funding for these items.
According to a Carleton’s Music Department Chair that
approved the purchase of the African Drum Ensemble, the
$2000 needed for its purchase was extremely reasonable
(interview). A Grinnell faculty member stated that none of
the requests made for equipment or program support have been
turned down by the Dean (interview). Currently, according to
senior administrators and music faculty, Grinnell’s biggest

resource challenge is to plan and build a new facility since

117

the one currently used is inadequate in terms of classroom,
rehearsal, and office space (interview).

The Augustana Koto Ensemble is the only group in this
study that has done extensive touring. These tours were
allocated approximately $2500 from the Music Department tour
budget. To further offset the cost of touring, the hosting
institutions of the tour were charged $350 per performance.
In addition, the Koto Ensemble is used to service the
college special events.

Each of the institutions in this study had funds
available for faculty development. Each college has an
annual professional development fund that the faculty
receive. These funds are typically in the $1000 range.
Furthermore, each college has additional discretionary funds
available for faculty development. As earlier stated,
Carleton utilizes the Melon Minority Fellowship thus
attracting outside resources that offsets the Music
Department’s costs for faculty. Roger Vetter, the
ethnomusicologist at Grinnell College, received a Fulbright
Fellowship to study in Western Africa during the 1992-93
academic year. This is also considered to be utilization of
an outside resource.

Augustana College, Carleton College, and Grinnell
College all provide adequate levels of support for the
globally inclusive music programs to meet their basis goals.
Program, equipment, and facility needs are being met or

planning is underway to meet needs. Perhaps most

118

importantly, faculty development is encouraged and supported
thereby increasing the school’s knowledge base, retaining

positions, and attracting quality students into the program.

Outreach

The outreach activities for the globally inclusive
music programs have been primarily delivered by the non-
Western ensembles. The ensembles’ outreach activities
include public performances on campus, performances at area
festivals, and tours.

Augustana’s Koto Ensemble, Carleton’s African Drum
Ensemble, and Grinnell’s Javanese Gamelon Ensemble give one
performance per semester or term on their campuses. The Koto
Ensemble and the Javanese Gamelon Ensemble typically give
their performances during the evening and are well attended.
Included in these audiences are students, faculty,
administrators, and townspeople. Their performances lasted
approximately one hour. Concert flyers were posted around
the campus and printed programs were distributed to the
audience members. The African Drum Ensemble typically gives
its concert in the late afternoon in a common dining area of
the student center. The audience usually numbers around
eighty members, most of whom are students. There were no
music faculty at the concert attended by the researcher.
There also was not a printed program. The performance lasted

approximately forty minuets. None of the colleges charged an

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admission fee for the concerts. It is significant that all
of the ensembles presented quality performances that
represented the music departments well.

The use of the expertise of the globally inclusive
music programs has been fairly limited. The Javanese Gamelon
Ensemble has performed at an Indonesian festival at Iowa
State University. Augustana College hosted a regional
convention for The Society for Ethnomusicology in 1992 in
which the Koto Ensemble was featured. Both of these outreach
activities provided impact on groups that would not
otherwise have an affiliation with the institutions. Both
were well received.

The Koto Ensemble has done extensive touring throughout
the United State and Japan. It is significant that none of
these tours were considered recruiting tours. These tours
were considered "goodwill" tours (interview). The African
Drum Ensemble and the Javanese Gamelon Ensemble have not

gone touring.

Conclusions of the Six Impact Areas

Of the six impact areas examined in this study, the
faculty played the largest role in the globally inclusive
music program transitions. Outreach was the least important.
Nevertheless, the success that each of the programs have
experienced has been the result of the faculty utilizing and

interacting with the other five areas. The contributions

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that each provide have proven to be essential components of
these colleges’ globally inclusive music program

transitions.

Recommendations for Additional Study

Music curriculum reform has been the predominate focus
of past studies that addressed the issues surrounding
globally inclusive music programs. This study provided a
more holistic view by examining six components, including
curriculum, that existed during the music program
transitions of three liberal arts colleges. A focus one any
of these areas are inviting additional study. In particular,
since this study shows the faculty are the leading factor in
the music program transitions, studies that focuses on the
training and specific attitudes of these faculties would be
appropriate. Likewise, research on student interests and
service enrollments in music is needed. Lastly, additional
research could focus on failed attempts for college music

programs to become globally inclusive.

Reflections on the Study

Each of the globally inclusive music programs included
in this study have been successful for a variety of reasons.
As previously stated, the faculty played the largest role in

transition of each of the programs. Although Augustana,

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Carleton, and Grinnell have faculties capable of delivering
their globally inclusive music programs, other college music
faculties may not presently be able to do so. In the
author’s opinion, there are two primary reasons that hinder
college music programs from becoming globally inclusive.
Firstly, the music faculty may not have adequate training to
be able to deliver a quality program. The European art music
training that music faculty have spent most of their time
with only constitutes five percent of all the world’s music:
the other ninety-five percent has rarely been examined from
an academic standpoint (Malm, 1993). Faculty may also have
fear of teaching outside their normal areas of expertice.
Secondly, each music program should have a consensus of the
definition of global inclusiveness. This will help in
reducing the possibility that too much time may be spent on
music that is not deserving of the time and that the music
program is enhacing the mission of the institution and the
discipline.

These hindrances are not easily solved. One possible
solution for rectifying the first requires the universities
that are training college music faculty to provide quality
training on globally inclusive music. Nevertheless, this
solution does not address the training needs of existing
music faculty. Their needs can be addressed through
continued graduate study, symposiums, and personal research.
These activities will also help to insure that the second

hindrance is reduced and/or eliminated.

The second hindrance is equally complicated. Global
inclusiveness should not tolerate the reduction of academic
worthiness of the subject material. Great care must be taken
to assure that music of all traditions is recognized but
that only an appropriate amount of time is devoted to the
study of each. The factors of what the music is used for,
its intended audience, its place within its own cultural
parameters, and how well the faculty are prepared to address
these issues all come into play. Music faculties must to
come to consensus on how they can best deliver a globally
inclusive music program that fits their institution’s
mission, resources, and needs. Such consensus will serve to
strengthen the existing program while providing opportunity
to examine and plan for the necessary transition to become

globally inclusive.

APPENDICIES

MICHIGAN STATE UNIVERSITY APPENDIXA

 

OFFICE 01: VICE PRESIDENT FOR RESEARCH EAST LANSING 0 MICHIGAN 0 48824-1046
AND DEAN OF THE GRADUATE SCHUOL

April 8, 1993

TO: Mr. Thomas J. Tacke
1811 West Main Street
Peoria, IL 61606

RE: IRB #: 93-174
TITLE: GLOBALLY-INCLUSIVE MUSIC PROGRAM EFFORTS OF
THREE LIBERAL ARTS COLLEGES
REVISION REQUESTED: N/A
CATEGORY: l-C, I-D, l-E
APPROVAL DATE: 04/08/1993

The University Committee on Research Involving Human Subjects' (UCRIHS) review of this project is complete.
I am pleased to advise that the rights and welfare of the human subjects appear to be adequately protected and
methods to obtain informed consent are appropriate. Therefore, the UCRIHS approved this project including any
revision listed above.

UCRIHS approval is valid for one calendar year. beginning with the approval date shown above. Investigators
planning to continue a project beyond one year must seek updated certification. Request for renewed approval must
be accompanied by all four of the following mandatory assurances.

l. The human subjects protocol is the same as in previous studies.

2. There have been no ill effects suffered by the subjects due to their participation in the study.

3. There have been no complaints by the subjects or their representatives related to their participation in the
study.

4. There has not been a change in the research environment nor new information which would indicate greater

risk to human subjects than that assumed when the protocol was initially reviewed and approved.

There is a maximum of four such expedited renewals possible. Investigators wishing to continue a project beyond
that time need to submit it again for complete review.

UCRIHS must review any changes in procedures involving human subjects, prior to initiation of the change.
Investigators must notify UCRIHS promptly of any problems (unexpected side effects, complaints, etc.) involving

human subjects during the course of the work.

If we can be of any future help, please do not hesitate to contact us at (517) 355-2180 or FAX (517) 336-1171.

2 ' 1‘
David E. Wright, Ph.D.
UCRIHS Chair

Sincerely,

  

DEW:pjm

cc: Dr. Marvin E. Grandstaff

MSU is an Affirmative Action/Equal Opportunity Institution

123

124 APPENDIX B

DATE

NAME
ADDRESS

Dear

Thank you for agreeing to participate with my dissertation. The purpose of the study is to
examine the globally inclusive music program efforts of three liberal arts colleges. Your
participation will consist of a taped interview that will take approximately twenty minutes.
Your responses will be held in strict confidence and will be held in the exclusive
possession of the investigator, Thomas J. Tacke. Information gathered from the interview
will be reported in such a way that you will remain anonymous. Your participation is
voluntary and you may discontinue it at any time without penalty. Questions or concerns
about your participation should be directed to:

Thomas J. Tacke

934 Backus

Jackson, MI 49202
Telephone: 517-789-5398

The following consent form will be collected at the time of our meeting. Again, thank you
for you participation.

 

I agree to be interviewed by Thomas J. Tacke on June 2, 1993 at 11:15 am. The purpose
of the project has been explained to me and I understand that I may discontinue my
participation at any time without penalty. I understand that the interview will be taped and
that 1 can stop the recording at any time during the interview without penalty. The tape of
the interview will be held in the exclusive possession of Thomas J. Tacke. I understand
that I am not required to answer any questions that I do not want to. I expect Mr. Tacke
to report my responses in such a way that I will remain anonymous.

Name: Date:

 

 

125 APPENDIX C

The Tanglewood Declaration

The intensive evaluation of the role of music in American society and education provided by the
Tanglewood Symposium of philosophers, educators, scientists, labor leaders, philanthropists, social
scientists, theologians, industrialists, representatives of government and foundations, music educators and
other musicians led to this declaration:

We believe that education must have as major goals the art of living, the building of personal
identity. and nurturing creativity. Since the study of music can contribute much to these ends, we now call
for music to be placed in the core of the school curriculum.

The arts afford a continuity with the aesthetic tradition in man's history. Music and other fine
arts, largely nonverbal in nature, reach close to the social, psychological, and physiological roots of man
in his search for identity and self-realization.

Educators must accept the responsibility for developing opportunities which meet man’s
individual needs and the needs of a society plagued by the consequences of changing values, alienation,
hostility between generations, racial and international tensions, and the challenges of a new leisure.

Music educators at Tanglewood agreed that:

(1) Music serves best when its integrity as an art is maintained.
(2) Music of all periods, styles, forms, and cultures belongs in the curriculum.

The musical repertory should be expanded to involve music of our time in its rich

variety. including currently popular teenage music and avant-garde music, American

folk music. and the music of other cultures.

(3) Schools and colleges should provide adequate time for music in programs
ranging from preschool through adult or continuing education.

' (4) Instruction in the art should be a general and important part of

education in the senior high school.

(5) Developments in educational technology, educational television,
programmed instruction, and

computer-assisted instruction should be applied to music study and research.

(6) Greater emphasis should be placed on helping the individual student to
fulfill him needs. goals, and potentials.

(7) The music education profession must contribute its skills, proficiencies,
and insights toward assisting in the solution of urgent social problems as in the "inner
city” or other areas with culturally deprived individuals.

(8) Programs of teacher education must be expanded and improved to provide

music teachers who are specially equipped to teach high school course in the history and

literature of music, courses in the humanities and related arts, as well as teachers

equipped to work with the very young, with adults, with the disadvantaged, and with the

emotionally disturbed.

.tlemhers of the Committee: Allen Britton, Arnold Broido, and Charles Garv.

Source: Choate, Robert A. ed. 1968. Documentary Report 0:
the Tanglewood Symposium. Music Educators National
Conference, Washington D.C.: National Education Association,

p. 139.

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