A COMPARATIVE STUDY OF MUSIC COURSE REQUIREMENTS AND PROFESSIONAL LABORATORY EXPERIENCES OF UNDERGRADUATE PROGRAJVB IN MUSIC EDUCATION IN SELECTED COLLEGES AND UNIVERSITIES IN PENNSYLVANIA, MARYLAND AND NEW JERSEY By Kenneth.Ray'Raessler AN ABSTRACT OF A THESIS Submitted to Michigan State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY ‘Department of Music 1967 ABSTRACT A COMPARATIVE STUDY OF MUSIC COURSE REQUIREMENTS AND PROFESSIONAL LABORATORY EXPERIENCES OF UNDERGRADUATE PROGRAPB IN MUSIC EDUCATION IN SELECTED COLLEGES AND UNIVERSITIES IN PENNSYLVANIA, MARYLAND AND NEW JERSEY By Kenneth Ray Raessler STATEMENT OF THE PROBLEM The purpose of this study was: to investigate the state require- ments for college or university accreditation in music education of Pennsylvania, Maryland, New Jersey and selected states on a national basis, to investigate the course requirements in music history, music literature, music theory, music education, applied music and music performance for an undergraduate program and compare them with the recommendations set down by the Music Educators National Confer- ence, to investigate the nature and scape of the existing professional laboratory experiences and determine the satisfaction with which their Sponsoring institution views them, to determine the status of super- visory practices of student teachers in music, to investigate both the method of selection and the needs of cooperating teachers in the pub- lic schools, to investigate the opinions of recent graduates of the institutions visited concerning their student teaching experiences and overall education in music, and to make recommendations appropriate to the requirements of an undergraduate program leading to a bacca- laureate degree in music education and to the administration of a 2 .~ fa-‘ .i... .2 o“; H“; Vet'nq' Q 0 A “New 00 EU .“ “1‘; ." O A‘— ~.I 1... one in c.-. '. "a :rzao“ ‘37: ~- . I I ‘L‘ ycdge & -. . | "6 “L‘e 3:- 3% V.‘ ‘ne ' z. A A. | at ‘63.} a legs I Kenneth Ray Raessler program of professional laboratory experiences in music. METHODS AND PROCEDURES The following steps were taken: investigation of literature pertaining to recomended requirements for program in music educa- tion and the techniques and practices of professional. laboratory experiences; a questionnaire was formulated and sent to the State Supervisors of Music in thirty-four selected states in the United States; a structured interview form was formulated and used in the personal interview with the music department chairmen in the col- logos and universities visited; a structured interview: form was formulated and used in the personal interview with the director of student teachers in music in the colleges and universities visited; a questionnaire form was formulated and sent to five cooperating teachers recommended by each college and university; a questionnaire form was formulated and sent to five first-year teachers recommended by each college and university; an analysis was made on the basis of the literature reviewed and the data accumulated. SUMMARY (IF THE FINDINGS Some of the more notable conclusions may be stated as follows: 1. Requirements in course offerings at the state level play a large part in influencing music curricula at the college and university level throughout the nation. 2. Pennsylvania, New Jersey, and Maryland require less than half the number of semester hours in music and music 03328113: 53:10:11 Q .a . he 1“. 4- wu' e "‘ 3111213 ‘9.“ ‘ “0“ 13;: '9 .‘a “(v- g . ‘ } A- flu- '4 3. h. S. 7. Kenneth Ray Raessler education that are recommended by the Music Educators National Conference. The limited course offerings in music history and literature are directly proportional to the lack of preparation in this area as expressed by the first year teachers. Full time student teaching prohibits students from partici- pating in various performing groups at a time when their services are of greatest worth and could have a crippling effect upon musical organizations, especially on smaller campuses 0 Full time student teaching curtails applied music study and since musicianship is a matter of develOpmental growth, not the accumulation of facts, the time element is of great importance. A five-year program for an undergraduate degree in music education is recommended by only one of the states investi- gated, and practiced by only two of the thirty-nine schools included in the study. The directors of student teaching in music, the COOperating teachers, and the first year teachers all stated that carrying college classes during student teaching was a weakness in the student teaching program and that the stu- dent teaching period is not long enough due to the desire 9. M 34o to 3378 And Me 0’, a - ”s ,m states : bozn m . V;"O- Utah: L12; 222E. 8. 9. Kenneth Ray Raessler to have the student teacher gain experience in all areas and levels of music teaching. The prospective music teacher in a large majority of the states is authorized, upon certification, to teach all music, both vocal and instrumental, from kindergarten through twelfth grade. Despite this policy of authorization, only twenty per cent of the states have any requirement that student teaching occur at both the elementary level and the secondary level and only one of the states included in the study specified that the student teaching experience should occur in both vocal and instrumental music. A limited number of students gain experience in both in- strumental and vocal music, and only slightly more exper- ience both elementary and secondary levels despite the fact that they are usually certified to teach in all. of these categories. Many times, the designation of areas in which a student teacher will teach is a mere matter of chance, and both the cooperating teachers and the first year teachers have listed this as a weakness in their student teaching program. There exists a critical lack of coordination and communi- cation betwaen many of the COOperating schools and their sponsoring colleges and universities and a general lack of meetings by personnel involved in professional laboratory sprig : First 31 chasm; mi. 6: Kenneth Ray Raessler experiences . ll. First year teachers feel more adequately prepared to teach classroom music than direct the various instrumental and vocal ensembles. 12. Instrumentalists feel more adequate in vocal music than vocalists feel in instrumental music and less than one-half of the beginning teachers indicated a feeling of security in their minor area of concentration. 13. The great importance of outstanding cooperating teachers is revealed by the number of first year teachers indicating that the effectiveness of the cOOperating teacher is directly proportional to the strength or wealmess of the student teaching program, and the number of department chair- men and directors of student teaching indicating that their difficulty in finding suitable cooperating teachers is a detriment to the student teaching program. D4. The success of a student teaching program is not due solely to the type of program or the organizational structure of the laboratory experiences, but also to the instructional staff and the worth of the cooperating teachers and the student teachers. Based on the findings and conclusions in this study, a series of recommendations were then submitted. A COMPARATIVE STUDY OF MUSIC COURSE REQUIREMENTS AND PROFESSIONAL LABORATORY EXPERIENCES OF UNDERGRADUATE PROGRAMS IN MUSIC EDUCATION IN SELECTED COLLEGES AND UNIVERSITIES IN PENNSYLVANIA, MARYLAND AND NEN JERSEY By Kenneth Ray Raessler A THESIS Submitted to Michigan State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY Department of Music 1967 ' :o- e‘- o .. x ‘?.~=r ‘-s--P:- Tc E. William E. 31am “a patina, 4“; , 0.2.2.3: ACIOTOJIEDGMENTS The writer wishes to express his appreciation and gratitude To Dr. William R. Sur, Chairman of Music Education at Michigan State University, for inspirational guidance, encouragenent, patience, and confidence during the preparation and writing of this study. To the music department chairmen and the directors of student teachers in music who graciously received him on their re- spective campuses. To the state supervisors of music, the cooperating teachers and the first year teachers who gave their time in answering the questionnaire. To his wife, Joyce, for her patient understanding, assistance, and mam; hours of proofreading. To his children, Laurie and Todd, for patiently waiting so long for that trip to the zoo. .V 5.5.3.3. O i o '3... ““ -. “1......- . w 0 * 5 V 33}: no ‘“ Leg-fin -- I "U 1'"- v . -\ ‘ -.. ~ TABLE OF CONTENTS C RAPPER I C INTRODUCTI ON C O O O O O O O O O O O 0 Purpose of the Study . . Definition of Terminology . . . . . DeliNitations e o e e e e e e e o 0 Procedures 0 e o e e e c e o e o e II.REVIEHOFLITERATURE......... The Historical Background of Music Education as Discipline Leading to an Academic Degree . The Historical DevelOpment of Student Teaching The Director of Student Teaching . . . . . . . The College Supervisor of Student Teaching . The Classroom COOperating Teacher . The Student Teacher 0 c o e e c o o The Student Teaching Program . . . Structure of the program . . . Observation requirements before Actual classroom time required Ieslonplans......... Cooperating schools . . . . . . Conferences and seminars . . . and Evaluation of the student teacher Post student teaching experience Comllisions............ III. ANALYSIS OF STATE REQUIREMENTS FOR COM-EOE UNIVERSITY ACCREDITATION IN MUSIC EDUCATION . . . Procedure of the Questionnaire Study during CR Accreditation of Colleges and Universities by State Education Departments Status of Requirements Established for Accreditation............... Personal Visitation of State Supervisor GEMWiCQQQOQoooocoeeeeoo Status of Certification Upon Graduation fran an Accredited College or University . . . . Status of Music Student Teaching in State Certification Requirements iii accesses-000000093 Page CD-dU'L-P’ H 10 10 25 36 51 72 72 81 89 92 97 10h 1.17 117 118 120 126 126 133 "‘J h‘ a . a A y . o . w e Tu .. . C o a p. u. .. Em A . H .J“ w. u ~ ave. n ...J. a. A... .0 . as . In“ a I Va W.“ C .H \- .\. «In L Q ~ . O ‘ ul. w. I . I a O I O r u D O s a w 0 e O I O I B o I 0 a O O 9 I o s o a I e a o a a o . o a c I a a o I I I .- I I v I w I a n . I .. a I I I I a I N I I O I I v I o I O I a o e I I I r I I I I n I a a a o 9 I I g e I I 0 O I a a o n I a 0 I I O I Q 0 O a O 0 I O I 0 r O O . n F U I V O O O I a . a . o a e a o I o a I c I e O o . u I e a c e o o a e o I I o I I a u a o n c . ’ v e e n a o I e s I ~ I Q I O I I 1 9 I l c O h l O O O Q I ‘ C . . I. H1 1 .vv : ... a J A I .I ; TABLE OF CONTENTS (Continued) CHAPTER Specific Music Requirements Recommended by Pennsylvania, Maryland and New Jersey for the Undergraduate Program in maiCEducationeoeeoceoeooo SWIIIOOIIIIIIIIIIIII IV. ANALYSIS OF THE DATA PROVIDED BY THE MUSIC DEPW CMMN . C C O O O O O O O O O 0 Procedure of the Interview Study . . Admission Procedures and Requirements Music Education Degree Requirements Music history and literature . Huaic theory eceoeeeeo Applied unflic o e e e e o o c 0 Music education I o o e e o e 0 Individual course offerings and requirements............ Specific requirements in applied music Size of Music Faculty with Regard to Music D9partment Enrollment . . . . . . . . . Types Of Degrees Offered I I o e o o e c 0 Opinions Concerning State Requirements for Certification....o........ O The Structure of the Music Education Program Opinions Concerning Student Teaching . . . Scheceeooeeoeooocoo V. ANALYSIS OF THE DATA PROVIDED BY THE DIRECTCRS (FSTUDENTTEACHERSINMUSIC. . . .. .. . . Procedure 0f the Intefliew Study 0 e c e 0 Administrative Responsibilities of the StUdent Teaming Program I o e o I I 0 Professional Laboratory Experiences Prior to Student Teaching 0 o o c o o e e e 0 Th Student Teaching Program 0 e e c e o 0 Acceptance into the program . . . . . . Placement of the student teacher . . . Requirements of the student teaching program oeoeeeeeoooooo Characteristics of the student teaching program oooeoeeooeeeceee Grading and evaluating the student teacher The College Supervisor of Student Teaching iv Page 136 139 150 150 152 153 15h 155 160 161; 166 166 169 172 17h 178 178 179 187 190 192 19h 199 20k 207 “AZ": «A. o“ " s F A n-£ 5'- r‘ A i w. v b obceo 3x93 :I' AD I) {J L’) (’1 CHAPTER TABLE OF CONTENTS (Continued) The Cooperating Teacher . . . Conferences......... Observation Experiences . . . Pre student teaching . . During student teaching . . Post-Student-Teaching Emperiences . . Strengths of the Student Teaching Program Weaknesses of the Student Teaching Program SWooeeoooeooooooeooq O... O... 0.0... .0... 00600 0000.. 0...... VI. ANALYSIS OF THE DATA PROVIDED BY COOPERATINGTEACHERS............. Procedure of the Questionnaire Study . . . Personal Data of the COOperating Teacher . Breadth of Eacperience Provided by COOperating Teachers . . . . . . . . . Evaluating the Student Teacher . . . . . . Suggested Improvements for Evaluating the Student T980116]? o o e e e e o o o 0 Aids to COOperating Teachers Provided by the College or University . . . . . . . Recommending the Student Teacher . . . . . Suggested Weaknesses of Student Teachers . Strengths of the Student Teaching Programs Weaknesses of the Student Teaching Programs smyoeoooooooeoeeooooo VII. ANALYSIS OF THE DATA PROVIDED BY FIRSTYEARMUSICTEACHERS . . . . . . . . . . Procedure of the Questionnaire Study . . . Personal Data of the First Year Teacher . . Strengths of the Music Course Requirements Weaknesses of the Music Course Requirements Characteristics of the Student Teaching Program................ Strengths of the Student Teaching Program . weaknesses of the Student Teaching Program smyoeoooeooooeeeoeooe VIII. CONCLUSIOI‘B AND RECOI‘D‘EMDATIONS . . . . . . . CODClUBionSooooeeooeoooeeoo Music course requirements . . . . . Professional laboratory experiences . . V 00.00000. .00... Page 213 219 220 220 222 225 225 227 228 23h 23h 235 239 21:1 2112 2&3 2h? 2h? 251 255 259 262 262 262 261; 267 273 276 278 282 286 286 286 289 - v .0- -—:-n-.dh 0" -~ 0‘ L:::—-I.~-~.‘Q . . TABLE OF CONTENTS (Continued) CHAPTER Page Recommendations............ 291-.- Music course requirements . . . . . . . . . . . 295 Professional laboratory experiences 29? O O O O O BIBLImRAPHY O O Q o O O O O O O O O O O O O O O O O O O O C 301 APPENDICE O O O O O O O O O O O O O O O O O O O O O O O O O 337 vi ..‘-Q ‘ 4 3* E! 9.. “Q. ‘0 -7 3' e W N‘ ..l ie 14». .._:_' bu. '1. '40 -. Va..- . u. 'v-n. ‘5‘. ( 3 '1 m TABEE I. II. III. V. VI. VII. VIII. IX. X. XII. XIII. XIV. XVI. LIST OF TABLES Type of Accreditation of Colleges and Universities by the State . Authorization Practices with Regard to Grade Laval and Subject Area Minimum Semester Hour Requirement Among States Which Have No Specific Student Teaching Requirement in Music . . . . . Criteria Used for Admission to University 0 o e e o o o 0 Criteria Used for Admission to University in Pennsylvania Criteria Used for Admission to University in New Jersey . Criteria Used for Admission to University in Maryland .. . Criteria Used for Admission to of Music Criteria Used for Admission to of Music in Pennsylvania . Criteria Used for Admission to of Music in New Jersey . . Criteria Used for Admission to ofMusicinMaryland e o 0 Declaration of Music Education and Graduating in Four Years College or College or College or 0.0... College or Departments Departments Departments Departments asaMajor Credit Requirements in Music History, Music Literature, and Music History and Literature Combined . . Credit Requirements in Music Theory . . . Credit Requirements in Applied Music . . . Credit Requirements in Music Education . . vii Page 132 135 1&5 116 1116 1146 M7 1117 M9 151 152 153 151; TABLE XV II. XVIII. XIX. XXIII. XXIV . XXV. XXVI. XXVII. XXV III. XXIX. LIST OF TABLES (Continued) Class Lesson Requirements in Secondary Instruments................ Size of Music Faculties Percentage of Music Majors Majoring in MusicEducation.............. Average Music Department in Pennsylvania, Maryland, and New Jersey 0 O O O O O O 0 0 Reaction to State Certification Requirements . Scheduling of Methods Courses and Student Teaching by Year Administration of Student Teaching Program . Facilities for Providing the Student Teaching Experience Final Decision for the Assignment of the Student Teacher to a Class Supervisors of Student Teachers in Music . . . Individuals Responsible for the Final. Grade in Stlldent TeaChing o o o o e o o e 0 Individuals Responsible for Recommending the Student Teacher for a Teaching Position Types of Meetings Held to Determine the Experiences to be Provided the Student TeaCher.................. Year in Which Directed Observation is Begun . Capacity from which Directed Observation Originates Year in Mhich Student Teaching Takes Place . . Procedure Used by Student Teachers when First Reporting to Assignments viii Page 162 16h 161; 165 167 170 171 180 181 182 183 18h 185 187 188 190 193 XXXVI. XXIV II. XXIV III. XL. XLI. ILII. XLIII. YIN. XINI. XLVII. m III. L. LIST OF TABLES (Continued) Indoctrination into School Policies and RHEUlationa o e e o o e o c o e e o o e o 0 Minimum Credit Hours Received for Student TBGChing o o o o e o o o o e o e o o e e 0 Maximum Credit Hours Hhich May Be Received in Student TeaChing o e o o o o e o o o o 0 Range of Time Over which Student TeaChing Occurs o e o o o e e e o e o o o 0 Length of the Student Teaching Period in.thths o o o e e e o o o o e o o o o e 0 Amount of Time Per Day Actively Spent in Student T680hing o o o e e o o o o o o o 0 Length of the Block Plan of Student Teaching . Activities in the Cm~riculum for the Student Teaching Experience . . . . . . . . Extracurricular Experiences in Student TeaGhing in Music 0 e o o o o e o o o o o 0 Frequency of Visitations Made By Campus Supervisor in MUSic e e e e o e o e o e o c Number of Student Teachers Assigned ‘Co‘a SuperVisor o o o o e e o e e o o e o 0 Equation of Student Teachers to Teaching Load Number of COOperating Teachers Per CollegeSupervisor ........ .... Number of Cooperating Schools Used by 00119883 and univerSLtiea e o e o o o c Number of Courses Taught by the College Supervisor Of MHSic o o o o o e o e o o o 0 Typical Courses Taught by the College Supervisor Of Music 0 o e c e o o o o o o 0 Criteria for the Selection of Cooperating Teachers 0 e o o o o e o o e e e o e e o 0 1:: Page 1914 195 195 196 197 198 199 201 203 206 207 208 209 210 211 212 211: 9-- «1.. -‘ g. 0: : ~\"\ . “a ‘vic 91‘ : V“\ ‘4 . e ”3.3“. 1‘ r v.3 ‘7- '1... Leg TABLE LI. LII. LIII. IN. INI. INII. LV III. LIII. LXIII. LXIV . LXV. LIST OF TABLES (Continued) Fees Paid to the COOperating Teachers . . . . Role of the Student Teacher in the Cooperating 301100]. c c o o e o o o o o o 0 Methods of Presenting Instructions to the Cooperating Teachers 0 o e e o o o e o e 0 Music Methods Courses Requiring Observation . Observation Experiences Required in Music Methods Courses at Elsnnntary, Junior High School, and Senior High School Levels Observation Experiences Required of Student Teachers Preparing at Elementary, Junior High School, and Senior High School Levels Years Teaching Experience and the Degrees Held by the Cooperating Teachers in the Student Teaching Program 0 o o e e e o o 0 Grades Taught by Cooperating Teachers . . . . Activities Provided the Student Teacher in Music by the Cooperating Teacher . . . . . Individuals Who Grade Student Teachers . . . . Meetings Held in the Student Teaching Program Pertaining to the Cooperating Teacher.................. Weaknesses in the Personal. Characteristics ofS‘tudentTeachers............ Weaknesses in the College Preparation ofStudentTeachera e o o oo o e o e e 0'. Areas in Which the First Year Teachers FBGIWellPrepared oooooeoeeeoe Areas in Which the First Year Teachers 2 Feel Most Adequate];r Prepared to Teach . . Page 216 217 218 221 222 22h 237 238 2RD 2141 2th 2&8 250 265 266 1:1. k3“ 1" 4“. I"? L‘s .F..' : JIM . '0... ’l‘ “0‘” P a a.- .v ’ {51:112. 9 a .83. .olv‘us' VI. " TABLE LEVI. LXVII. LIV III. LXIX. LXI. LIST OF TABLES (Continued) Areas in Which the First Year Teachers FeelLeastPrepared.............. Areas in Hhich the First Year Teachers Feel Least Adequately Prepared to Teach . . . . Reactions of First Year Teachers to Teaching in Areas of Minor Concentration . . . Reactions of First Year Teachers to Teaching Activities Teaching Teachers in Areas of Maj or Concentration . . . Included in the Student Experience of First Year xi Page 268 270 272 273 ‘ 275 -gn. a e U:.—;— ‘ '6‘: ~ A. v.‘ ‘ A \- “‘ ‘-§c- ~ P . “‘§S APPENDIX A. B. C. D. E. F. G. H. I. J. K. L. M. LIST OF APPENDICES List of Participating State SupervisorsofMusic.......... List of Participating Colleges and Universities.............. Letters to State Supervisors of Music . . . , Letters to Music Department Chairmen . . . letter to Cooperating Teachers . . . . . . Letter to First Year Music Teachers . . . . Questionnaire Sent to State Supervisors OfMll31C_oooeeeeoeoeoeooo Interview Form Used for Mus ic Department ChBMOOOQoooeoooooeoe Interview Form Used for Director of StudentTGSChers............ Questionnaire Sent to COOperating Teachers Questionnaire Sent to First Year Music Teachers................ Selected Forms Received frm Music Department Chairman 0 o o o e e o e e 0 Selected Form Used in the Adninistration “StUdent TeaChing o o o o o o o o o 0 Student Teacher Evaluation Forms . . Letters and Instruction Booklets for Cooperating Teachers . . . . Xii Page 338 3&0 3113 3146 352 35h 356 359 366 379 385 391 395 396 1116 1:: 31:1? ‘. 5516 mgr-an in "' . 'IP ‘ . " 3.. “1 t. u' ‘ he ._ _. “a 1‘ ‘3 he 4 ‘ “na‘fiv '4' I s ‘9' , CHAPTERI INTRODUCTION This study is concerned with the music requirements of undergrad- uate programs in music education culminating in the valuable student teaching experience. The prospective music teacher should attain pro- fessional competency in his major field of interest and specialization, and a broad general education prior to the student teaching period. In training for music teaching, the development of superior musicianship is essential for the student. Observation and participation in teach- ing activities is desirable to provide a test of musicianship, and to provide practice in deve10ping musicianship in those students receiving instruction. Consequently, it would seem logical that a study of this nature should include both of these aspects which are so important to the development of the musical being who, in turn, will be responsible for the development of future musical beings. Galvin observes that: The education of a music teacher is a complex proce- dure, with three areas frequently vying for expression and competency: namely, general culture, music, and profes- sional education. The percentage of hours required for the mastery of knowledge and proficiency in the field of music is much greater than in most subject matter fields, totaling at least one half of the total hours required for graduation. The fields of general culture and pro- fessional education are thus somewhat limited.1 lMiriam Pearl Geivin, “A Comparative Analysis of the Preparation and Practices in Student Teaching in Music ," (unpublished Ph.D. dis- sertation, Departmnt of Music, Northwestern University, 1956), p. 1. 1 7"! gihlines : 115:5, buster, . I: v '- o -3 ‘fl' 7 ‘l ' .. I i ‘ e at .s h.‘ . ‘ 4-“ I; .; gr“ .u. m! 30‘ A - “I I I). II c . i J ' p "I l —_ F — — 2 The Music Educators National. Conference, in the 1965 publication entitled Music in. General Education, states that: The recommendation for a five year program is with a national trend to put all teacher-education pro-service pro- grams on a five year basis.... Any shorter period would re- sult in serious deficiencies in one or more of the three Large categories indicated earlier: (a) general education; (b) concentrated work in music and music education; and (c) professional education...a five-year program not only may but probably should be on a "four-plus-one" basis.1 The guidelines for execution of this 'four-plus-one“ basis are quite vague, however, and it is consequently left to each institution to de- cide how to implement this suggestion. It is the opinion of this author that this 1965 statement by the Music Educators National Conference is somewhat of a compromise between the liberal arts approach to education and the teachers college concept. Hopefully, this study will show if any trend of reaction has been in- augerated in Pennsylvania, New Jersey or Maryland due to this publica- tion. The sequence of curriculum offerings and student teaching experi- moss is a problem which is over recurring in the field of teacher training in music. Relatively little is written in either field, and "a lasting solution to the problem is an impossibility because of the concept that the curriculum is an ever changing, over deve10ping phe- nomenon."2 1 Karl D. Ernst and Charles L. Gary (ed.), Music In General Education (Washington, D. 0.: Music Educators National Conference, , p. 1790 20633111, 220 21.23, Po 2. a Q D 0.03.335 A? . . . . was in 1‘. ‘ . pl... ‘r UEQC-oug e.. :3: yet 52'. r w“. . o 0* ice. 3.. b I i tr 3.5;: 1:an are 00 '03,... . I" ‘.I'-W sea-:5 on t a. .-u-« .21.. .. u'e h'. 3 There are important areas of training in the education of music teachers that are difficult to analyze objectively. Such a problem is that of student teaching. McGuire concluded in his 1962 study that: ...since 1950, there has been considerable change in the ways in which collegiate institutions handle the student teaching experience in music. ...Many institutions are not yet satisfied with their programs and are planning further alterations in the coming decade. Evidence that the music educator is assuming increasing responsibilities in this area should prompt the profession to give increased attention to practice teaching, including additional re- search on the subject. The importance of the student teaching period is emphasized by twa national organizations in the United States which occupy positions of leadership in teacher preparation. These organizations are the American Association of Colleges for Teacher Education2 (formerly the American Association of Teachers Colleges) , and the Association for Student '1‘each‘ing.3 The first mentioned organization requires student teaching facilities as a condition for membership. The second organ- ization is devoted to the eXpansion, establishment, and improvement of supervised student teaching as a vital part of the teacher education program. Then these organizations, however, have done a very limited amount of concentration on student teaching in a highly specialized area such as music. lDavid C. leuire, “Changing Patterns in the Supervision of Practice Teachers in Music ," Journal gf_ Research in Music Education, XI (F811, 1963), p. 1.1-8. 2American Association of Colleges for Teacher Education, Recommended Standards Governing Professional Laboratogy oeriences _a_n_c_i_ Student Teaching and Evaluative Criteria Roport of the Su'o-comnittee tan ards 533' Surveys Committee (Oneonta, New York: American of the Association of Colleges for Teacher Education, 19119): P. 11. 3Association for Student Teaching, Professional Laboratory; Emeriencegsg, Twenty-seventh yearbook (Loci: Haven, Pennsylvania: Association for Student Teaching, 19MB), 1:. 117. I: is on ‘3‘? ’ ..‘;na. ‘ea‘im- l 5".'... h v..- ...si: mantra .. search on ties» The purpose P33321263 in mi: ‘1935 35 higher 333 m Jersey. .39 initia J. . | “inter; r" ‘A‘ .ukJ £93.33: .. g- L": 8:33.? may - Va .4)” 8:»: _- 7.. 1 O \1 z . .0 45831:; A ‘1 ”5312;:ti ~‘ “ 6" 2 . “$2.52: 3‘.“ “65%: . ‘§ th ..., . £14 m I i . Q6 “ k‘eSQV-o ‘a is}: w‘h ‘\‘ " ‘. t“ ’e‘ \sm “Q ( Cg: .‘ § 1 ,0 a“ ‘tfiv-s a?! g 'h r as.“ I “ 7‘1!- . V laa. -‘x. h It is on the basis of this lack of specific information in the area of student teaching in music, the proposed five year program by the Music Educators National Conference, and the challenge for additional research on these subjects that this dissertation is presented. The Purpose of the SM The purpose of this study is to compare and analyze the current practices in music curriculum and student teaching in selected institu- tions of higher education within the states of Pennsylvania, Maryland and New Jersey. The initiating factor of this study has been the intense interest of the writer in learning more about current theories of practice in student teaching and curriculum planning in music. It is hoped that this stuchr may provide greater understanding in these areas. More specifically, the purpose of this study is as follows: (1) to investigate the state requirements for college or university ac- creditation in Music Education of Pennsylvania, Maryland, New Jersey and selected states on a national basis, (2) to investigate the course re- quirements in music history, music literature, music theory, music edu- cation, applied music and music performance for an undergraduate program and compare them with the recommendations set down by the Music Educators National. Conference, (3) to investigate the nature and scape of the present programs in student teaching and determine the satisfac- tion with which their sponsoring institution views them (the investiga- tion will include both liberal arts and teacher training institutions), (’4) to determine the status of supervisory practices of student teach- ers in music in selected liberal arts and teacher training institutions, (5) to define and assign administrative responsibilities for such a o—‘V . n u ' A. . ,,‘ anus. q '3 em“.gal v. u . .. .~ ‘ \ I-Os ’P‘ “6"-1“ - b". I— t“: t- Utfiu a .. a u q . v . c: O.» a... c 5"” - P '. Our I--. .m\\_ a 33385 an: 31"." I“ h“ 0.. a» xgrzate t: 1 ...‘ ‘ °\ -TCA‘... " ":-. ‘v‘b' i: i . - “ b “-E.£:-7"S “ O s.." . ._“ ‘I’“ Q su_‘ d ~.~-~ o~ _ s .a..' ~ - v -.":‘ . . \‘V L? \ ‘u i o_ - N" S. ‘c—. “,-‘-~ .. .’ HQ ‘. 1...,3‘ .5 Q - 0. Q .a.‘\, v __ p -..E S‘.,"; ‘ . v- 3.: 9. _ v... Q ‘0 “In“ bvk“ ._ t I;:“.. “')_‘ I \ ‘s ‘ g V‘,‘_‘ " ': ‘ D "'35 "\ ..‘Lv. . .. __ a.) 3.‘ d. :V‘;‘ 2 ‘: G g ”a \ I ‘ 5 program, (6) to determine the amount of professional laboratory exper- ience required of students prior to student teaching. (7) to investigate both the method of selection and the needs of co-operating teachers in the public schools, (8) to investigate the opinions of recent graduates of the institutions visited concerning their student teaching experi- ences and overall education in music, and (9) to make recommendations appropriate to the requirements of an undergraduate program leading to a baccalaureate degree in music education and to the administration of a supervisory program for student teachers in.music. Definition of Terminology There is a variation in terminology used in reference to those who work with student teachers and, indeed, with reference to student teach- ers themselves. For the purpose of clarity, the following terms are defined as used in this study: Student teaching is defined as "the period of guided teaching when the student takes increasing responsibility for the work with a given group of learners over a period of consecutiveweeks."1 The student teacher is a college student who is "engaged in an assigned student-teaching experience, but the term is often used to refer to any college student preparing to teach. Recently the term.associate teacher is being suggested as a more useful designation for a student who takes over the full responsibility for directing the learning of groups of pupils."2 1American Association.of Teachers Colleges, School and Community Laboratory Experiences EELTeacher Education, Report of the Sub-committee of the Standards and Surveys Committee (2nd ed.; Oneonta, New York: American Association of Colleges for Teacher Education, l9h8), p. 7. 2L. O. Andrews, Student Teachi (New York: The Center for Applied Research in Education, Inc., 19 , p. 9. 333.28.“! 6 The Director 21; Student Teachg in M is designated as the administrative head of the student teaching program in music. he might be the general Director of Student Teaching in the Education Dopartment of the college or university, or he may be amember of the Music Depart- ment itself. Many times, if this person works solely with student teachers in msic, he also serves as a college supervisor. The college sgervisor “is a staff member of the college who regu- larly visits 01' observes student teachers.'1 In most instances, this person will be from the faculty of the music department. The suervising teacher 'is a regular teacher in the on campus laboratory school in whose class or classes the student teacher is given responsibility. ...The term is synmymous with such terms as 'lsbora- tory school teacher,‘ 'critic teacher,‘ or 'demonstration school teacher.”2 . The cooperatigg teacher is "the selected classroom teacher who guides the daily experiences of the student teacher. The term, ce- eperating teacher, connotes cooperation with a teacher education pro- We Professional laboratory egeriences are defined as "all those con- tacts with children, youth, and adults in school and comnunity, includ- ing observation, participation, teaching, and other leadership activi- ties which maks a direct contribution to an understanding of basic 1 The Association for Student Teaching, Facilities for Professional labors to mimosa in Teacher Education, Thirty-thiPd—yearbook T—Jtock Haven, Pa.: The Esmecistion for Student Teaching, 19510. p. 5. 2Ihid. 3.- Lleyne Clayton Haines, Guidg__ the NStudent WTeach% Process in Elementaq Education, (Chicago: aTLyTCo" l9 ace. o1 rv‘ A~":-.. & U a. . vv4~--¥' ' . . ':. rs taunts- :e:'.s to see :6 F ”l”~." -_ A Law-e. “c9355. - 5- oIB SCHC'C- A. . I ‘V n - «LAC-e a _" —-1 e . .“‘-o~” 4."‘=~'. ' _tr-Ai O . - ‘r‘ . N be " 5‘1 -...3 :31' a _ ‘ z. 3 _ ~ \ y ‘ I. “‘-'_ ‘ ‘.‘J\ ..I 1.9 ' .‘ ‘~ . I“ ". a " U‘ s . - a-::: :‘V I ‘4‘." .3:- s- ~.,a 1 ~ ‘- ‘ "s u-a .-‘5. I ‘~.:-'- 3 ‘- 83-; -. K d. a. u‘; ‘5‘ u “ EH- .. . " 7 concepts and principles as well as of individuals and their guidance in the teaching-learning process."1 Directed observation includes "those Opportunities provided for stu- dents to see teaching, learning, and all manner of community activities without necessarily becoming involved in the on-going activity itself."2 The school in which the student teaching takes place off the camps is called a cooperating school. College operated schools are called laboratory: schools . Delimitationg This study will be limited to only the music curriculum in the study of course requirements leading to the undergraduate degree. All phases of the student teaching program in music will also be examined. In either case, the format is not designed to evaluate in the field the effectiveness of the present programs in the schools under study other than the evaluation which the schools themselves provide. The geographical limits of Pennsylvania, Maryland, and New Jersey will be used with the exception of the investigation of state require- ments for college or university accreditation, which will be conducted in selected states on a national basis. The states investigated will be those which maintain a state supervisor of music. F urthemore, only those colleges which are fully accredited by the Middle States Association of Colleges, Universities and Secondary Schools and/or the National Association of Schools of Music will be included. Participation in this study will be offered to all colleges and universi- ties which meet these requirements and offer degrees in Music Education. lAndrews , loo . cit . 2 Ibid . in pa::;: yam five co ope veszigazian in an :ocpera: 1: ‘ ¥V 8 The participating colleges and universities will be asked to recom- mend five cooperating teachers and five recent graduates for fUrther in~ vestigation in order that the stucv may be more meaningful. It may be assumed that these peeple will generally be the more outstanding students and cooperating teachers affiliated with that institution. Procedure§_ In formulating a plan of procedure for fulfilling the purpose of this study, a natural.sequence'was followed. (1) Investigation of avail- able literature pertaining to recommended requirements.for programs in music education and the techniques and practices of effective student teaching programs in music will be carried out and the various question- naires and interview'forms will be an outgrowth of this investigation, (2) a questionnaire form will be formulated and sent to the State Super- visors of Music in thirty-three selected states in the United antes, (3) a structured.interview form will be formulated and used.in.the per- sonal.interview with the Mhsic Department Chairman in the colleges and universities visited, (h) a structured interview form will be formulated and used in the personal interview with the Director of Student Teachers in Music in the colleges and universities visited, (5) a questionnaire form will be formulated and sent to five cooperating teachers recommended by each college and university'visited, (6) a.questionnaire fern will be formulated and sent to five first-year teachers recommended by each col- legs and university'visited, and (7) an analysis will be made of all the data collected. Finally, (8) conclusions and recommendations will be made on the basis of the literature reviewed and the data received from.the respondents. ”1H. ‘J user '— Tlis 521:3? 15 52.331 interview 11;: case fine survey ~‘ ‘0‘! ‘ 0‘; or d I . - \ 9 This stuchr is of particular significance (1) because the away in- cludes colleges and universities of various size, type and program in an area of three states, (2) because the survey has been made through per- sonal interview upon each campus and mailed questionnaires, and (3) be- cause the survey includes the comparative analysis of both curriculum and laboratory experiences. CHAPTER II REVIEW OF LITERATURE The Historical Background of Music Education As A Discipline Leading to an Academic Degree No human society has been.found which has got practiced the art of music and music education. Since its inception, the concept of curriculum and practice in the training of music teachers in the United States has undergone a series of changes due to the great amount of shifting of ideas as to the con, cept of music in the curriculum, the content of the school music program, and the varying curricula deemed necessary for teachers of music.2 In 1829, the first gathering of music teachers under the name of mass singing schools or music conventions occurred in Concord, vermont, and the idea became very much in vogue during the middle years of the nineteenth century. According to Leonhard and House, These conventions were in the nature of festivals or short courses, lasting three or four days and dealing with methods and materials, vocal problems, elementary harmony, and conducting.3 The American.music educator found this sort of thing most appealing, and this pattern may be traced to twentieth century teachers‘ institutes, music conferences, music festivals and summer camps. 1Charles Leonhard and Hebert w. House, Foundations and_Princi les of Music Education (New York: McGraw-Hill Book Company, Inc., 19 9 , p. 5: 2G91Vin, 220 92.20, p. 360 3Leonhard and House, 22. 233., p. SO. 10 C‘l ’ Chi: to 31:; t . . Ode Q — . .\ a. .a 14' _ — ‘ q .3 as» r. WA 1. , “I «Q .Q a. Cu .. a. a. .7 C .L 2. 3 4. . «C .3 z... J L... a . 9L r m .. a... w~ .p. .s s. a. C .3 .. .. . O A 3 m. T. o 3... n .. r : r h 3 cs..- .. o... ...S ... ..S ... O O I I O 3 Is ..1 (Pa .3! u 9 ' 11 The following outline of "Principles of the Pestalozzian System of Music" was presented to the American Institute of Instruction in Boston in 1830: l. 2. 3. h. S. 6. 7. To teach sounds before signs and to make the child learn to sing before he learns the written notes or their names; To lead him to observe by hearing and imitating sounds, their resemblances and differences, their agreeable and disagreeable effect, instead of explaining those things to him - in a word, to make active instead of passive in learning; To teach but one thing at a time - rhythm, melody, and expression to be taught and practiced separately, before the child is called to the difficult task of attending to all at once; In making him practice each step of each of these divi- sions, until he is master of it, before passing to the next; In giving the principles and theory after the practice, and as induction from it; In analyzing and practicing the elements of articulate sound in order to apply them to music, and In having the names of the notes correSpond to those used in instrumental music.1 Lowell Mason, who helped to spread these ideas, visited Europe in 1837 and again in 1853, in order to Observe methods of music instruction in the Pestalozzian schools, and published several books, including the Pestalozzian Music Teacher. According to Birge,2 the introduction of the first public school music occurred in 1838 with Lowell Mason as the founder. The beginnings 114111 S. Monroe, Histolg of the Pestalozzian Movement in the United States (Syracuse, N.Y} . .-Ba333en,1907), p. th, quotEd’IEI' Leonhard and House,_gp. 222,, pp. 52-53. 2 Edward Bailey Birge, Histo ‘3: Public School Music in the United States (Bryn Mawr, Pa.: Oliver Ditson Co., 1§§8), p. 31 . ,-I 8 a v “nu-urg- s .s. of... -- s a '1'. q .- 2. s: _ . ..u 0‘ ~ . Ca _. ‘4 q . s. .2 I 1 .2 S .. T .1 Z ; a. e c. .L .. u f .... ... S 5 t . .. a. .. I p” .4. as _. s. .. A. r . P. ... a. a-» 3 J... a. .1 ... I .3 a. a. 3 ..I 2 p . u ... a. ...t fin c . so. a. t l .2. a a» 3 3 I T . .2 .2 ;. w: 3 .1 a. A. 3 3 P . c 4. . .. .3 .2 a. .. a . .. a . 3 ... a. ..s . a. _ u. .. n. a a a .3 .x a. .L 7 . 3 C ... 35. .w ... N... “ha. 9.0 .Au eh .. cu. a v o a. .. ~ . a. 3 m. a. ..a ~s Q a .2 ..u : s. r. I .. : s. a. 3.. o. .m. bu he “I. a ‘ .K (i n . o 5“ ca “5... . a h“ u s x 3 .4” ..~ m. at urn Rf ._. t «1 ~... ~. _ i l f, o l2 center around the Boston Academy of Music which was founded in 1832 and is hailed as the first school of music pedagogy in the United States. The purposes of the academy were as follows: To teach the art of singing, to teach the rudiments of thorough bass and harmony, to expound the methods of teach- ing singing-schools and conducting choral music, and to promote the introduction of music in the public schools.1 During the short period of fourteen years in existence, the crowning achievement of this school was the promotion of the introduction of music in the public schools, after which it ceased to exist. It was founded for certain definite purposes, and when these became reality, its work passed on to other directions. The years from 1838-1861 might be considered as the period of pio- neering in music education. The Boston experiment of teaching everyb body‘s child to sing was introduced in other cities, each demanding its own proof of the value of music in the school curriculum. Lowell Meson, as a close friend of Horace Mann, was engaged as lecturer and demonstrator at many teachers institutes and normal schools, where the Pestalozzian Principles were passed on to the teachers in the developing public school system.2 The second period in the history of school music, distinctive as the beginning of methodology, extends from 1861-1885. The general field of music itself greatly influenced the field of school music through: 1. The rapid rise of the recognition of the profession of private music teachers. 2. The widespread choral activity with high artistic aims. lIbide, pp. 25-260 2Birge, 920 9.20:3.” p. 123. In, . 3‘ 3. ..o: 9 i. "n: so u" - -0 ...a: “p5 .r. .9 F p - n. (O .. ~34 ‘ l ‘va-O ..... 0‘... 1‘... O. .'.;_ . ...291 3213-331 I4: .. :t....‘,;'s . -“_‘. "3:" In“. 'i.~ ..v~.: :-. . 7‘ s \- n- ‘ . H._‘ , ‘ . _. ‘N‘ . vou‘: “at _ 0 iv. A”... ‘ ‘ h‘c:.“ «0".35 '9- S‘s'.‘ ' It... ‘_ a. .- so; __ ‘ee e33 A’ 'v 3 ‘5 . a . '..H Y‘ '3‘. ‘v .I' In“. . ...L ~ - 13 3. The formation of symphony orchestras. h. The rapid development of music in colleges and the establishment of conservatories.1 In music education, as in all education, this period was marked by the writing of books and texts on methodology, and from this two teach— ing techniques prominently appeared: 1. That children.be taught many songs by’a type of rote- note process. 2. That children learn to read music in order to sing songs.2 Opportunities for the teachers of music to Obtain instruction was indeed scarce, except for the conventions. The first summer normal inn stitutes were held prior to the Civil war and evolved into permanent, year round normal schools. Although Music Education was not yet accepted as an individual discipline, these schools did expand their music programs to the point'where more and more elementary teachers were provided who handled music instruction in their own classes. Oberlin Conservatory was established in 1865, to be followed by' other conservatories and departments of music in the colleges and uni- versities, and in 188h Julia Etta Crane opened the first normal music school in the United States at Potsdam, New Yerk. Miss Crane was a grad- uate of the Potsdam Normal State College, and was allowed by the State of New Yerk to link up her school with this institution so as to give prac- tice teaching to her pupils in the regular grades of the demonstration school. A Special diploma was granted by the state to the graduates of 1G81V’ifl,_220 92-20, p. 38. ZIbide, p. 390 p. ..u. 9R -V is ms ,2 aid CD. I "'2‘ .v. “ --‘ ‘ '- .— --.v. ’ .. ‘3 .‘E ‘n u. 333 7.5:‘3 A. u .1 ..o ‘u- ‘- ,4- 'Q :9, v- a- l -.,. . 1h the Crane Normal Institute.1 As music instruction became more universal and intensified, teach- ers organized to control and stimulate their activities on.district and state levels. In 1876 the Ensic Teachers National Association was formed,2 and on July 17, 188h, the Department of Nusic Education was es- tablished as a.part of the National Education Association.3 In 1907, a more general meeting at Keokuk, Iowa, resulted in the organization of the Music Supervisors Conference, later known as the Music Educators National Conference.’4 The period from 1885 to 1905 showed that the concentration of music teachers was upon music reading to such a degree that reading became an end in itself, and the success of the music program was then measured in terms of reading ability. Training of the music teacher during this period was supplied in the nature of summer schools Sponsored largely'by'various book-publishing concerns. These companies contributed significantly to the remarkable growth of early music and supplied training not to be found in the col- lege of that day. Birge elaborates on these summer schools by explaining that: At these summer schools the leading music supervisors of the country demonstrated the methods advocated by each school. Not only were the methods thoroughly explained in detail, but valuable instruction was given in the handling l Birge, 2E0 9—1-20, pp. 135.1360 2Leonard and House, pp. 93.3., p. 55. 3Charles L. Gary, Vignettes of Music Education History (Washington, D. C.: Music Educators National Conference, l96hf; p. 20. hLeonhard and House, 22.‘git., p. 58. of cl $53-35 an»... ...v ‘- 255.3153 C' was by 3-3 “.~IH pvt; ‘-':u’ ..a g u Q-‘ 4 u- a".- v‘.‘ .. v “"A." '~“..' 0’ 'v“ a. c. 0 ‘-¢ . ‘— -:.3":a v... s v “of: At... a‘ Fan. .-- .s‘j : ‘ - ‘ "‘ An ‘ ‘v. ' "O "‘~ C “‘e. C “ VIA." .-h . . ~ ‘1'; 1...; ‘3 a. a U 6: 1“.: 3‘ ‘0 Lo \ vs 4 ‘P '1 .. ‘ .- g; 53--.. \ u.‘ \p; 2" . 2‘ _. \‘ a 15 of classes, in the art of song leading, and the treatment of children's voices. Though their schools were each devoted to teaching the pedagogy of a particular method, their general atmosphere was by no means commercial. Their educational level was high, and one may wonder how thousands of music teachers would have received adequate training without them. One of the valuable features of the summer schools was the opportunity of meeting other music teachers from all parts of the land, and talking over their common inp terests. Not only were the various methods analyzed and teaching devices compared, but the values of educational theories were discussed and sifted, all of which tended toward a broader professional outlook. It was this feature of the summer schools which prepared the way for the marvelous development of organizations of music teachers in the twentieth century, and which have had such powerful reactions upon the progress of school music.1 Although these summer schools gave excellent training, the usual duration of only three weeks was too short a time to do more than give intensive training in the presentation of material and chorus singing.2 The first summer school exclusively for school music training was held in 188h at Lexington, Massachusetts, under Hosea E. Holt, and the first summer school to offer a six weeks course with college credit was offered at Cornell University in 1907 with Hollis E. Dann as the director. Many publishers who conducted these schools are still prominent to- day. For example, Ginn and Company, Silver Burdett and Company and the American.Book Company were all active at this time. Popular clinicians of the day were Luther Whiting Mason, Hollis Dann, Halter Aiken, George A. Veazie, James MCLaughlin, and Osbourne MbConathy. lBirge, op. cit., pp. 128-129. 21bid., p. 21h. .0. . ¢\ ‘ ...- . a ..v .4.— nu .3 p u u. r ... .6 we .. r. . . {a . .._ 2‘ A. F. a. w . . a .: . . u. cu ., . ~Q . s ': . n w _ ..v .. . . __ a a . . .. . W . .6 S 3 . s v .. . v. —. . H? J. V a. .s u. .3 it s: K. . .m ... ”a e ... . s. r; 7. .L a. E e in A» a u n _ . ’ T . g t. .2 a. s B r .. S a. a .2 .3 S S f a. . f. 3 w . l r . d 9 3 s. T .3 .L 7. a. . a . 3 w. a. a. . . .3 5 . a. 5.. r . . .. .... _ ... . . .4 ._. ... .. a. ... a .w. -.. .« - ~. a. .L .. 1.. S o. .u p _ o o .‘& O h .—— .3 o o p: A; u“ q u .. and fi ‘ . Q . n .. . . .— a v o . u u 1' L e.” “a 9. 3w. “a .... Yr. o... ...u ..s on if u“ y a . labd Q . l r I I A a 7 16 This preparation sufficed so long as the qualifications of the music supervisor were decided by the individual superintendent and school committee, and classroom offerings were confined to singing and note reading. During the period from 1900-1925 the drift of supervisory training had been moving steadily in the direction of normal schools and univer- sities as the public school music program expanded and the need for in- creased emphasis on teacher training and the responsibility for assuming leadership in this vital area became evident. Courses in music pedagogy, methods, and materials were added to the college curriculum, and teacher training departments were organized. Early in the twentieth century, nearly all the state normal schools were giving musical training to grade teachers, and with the gradual change of status of these schools to that of college rank, the training of supervisors began to be added. These departments of Public School Music were connected with the schools of ed- ucation in the colleges and universities and the work offered at their summer sessions enabled teachers in service to apply the credits earned by six weeks of study toward a college degree or teaching certificate. As the requirements for certification became increasingly measured in terms of these credits, students in great numbers flocked to the univer- sity summer schools.l Prior to the twentieth century, public school music meant vocal music. The twentieth century music teacher responded with the system of class instrumental instruction in the schools and a manybsided music pro- gram in the schools has been the result. The objective has now shifted lBirge, 92. gig, pp. 21h-215. Or: 0“- ‘o .- ‘. ‘_ .‘ A . A. , . F. .~ ..~ 3 r a. a. .. .. S 3 ._ v _T r. .3 .. . . . o ..a «U A. u. 3a 1. .v —. ”to a who .3 A.» N A. a. w: a . ... . T C x. 7. ... C . . .. .s. .3 t. .. .a. a. 3 .5. v a. w... . _ s a. my a... ~... .~.. c» .Q 3 . ‘4‘. NHL an. “‘0‘: a. .a a. .\u .q: 3 .sa . _. T .3 a. w a. . ..x .. . . .a S .. . .. 2 4‘ Va § 5 Hw mv .- ,. .. a .‘s .- wk .. .2 a. o .. -. . a. o .s .. L. 3 p. as. 5. . .. Y... C .3 a S a. . .C h... I. 2‘3. I ... ‘g “I. \u 2 u a. d . x . ... H V.“ J . u. ...1 .. .1 a... I. r. i. ... . . I. .u C 5 a O . Q 17 to the concept that "every child learn to love, enjoy, and appreciate good music in some form meaningful to him."1 In the period from 1905-1928, hundreds of institutions of higher education have created school-music departments, and the movement has spread to the conservatories of music. Closely related to the music ed- ucation training offered by the colleges was the fact that the states be- gan to regulate the amount of preparation for supervising music. In 1928, Birge stated that a minimum of two years' work of college level was re- quired in order for a.music supervisor or special teacher to be certi- fied.2 The National Association of Schools of Music, founded in 19211, has provided norms on a national basis by which schools are able to evaluate their curricula. The opinions of Randall Thompson, in 1935, concerning the status of Music Education as an academic discipline, are anything but complimenp taryt He observed that: No branch of college music has had a more animated ex~ istence than courses dedicated to the production of music teachers for the public schools. As soon as the demand for Music Supervisors was realized, colleges as well as con- servatories mapped out courses of study which should train men and women specifically for this vocation. Since the public school teacher would rarely encounter any student whose musical knowledge and ability were advanced, emphasis came to be laid on methods of instructing the young, rather more than on the subject of mmsic itself. ... Sometimes several, sometimes only one Public School Music course is offered, but an examination of the course offerings at colleges which teach Public School Music discovers that the Music student has, on an.average, twice as many opportunities to take methods courses as he has to study History and Literature of Music. ... lGelvin, pp. c_i;t., p. to. ZBirge, pp. 313., p. 215. 21:3 3 ..-‘- ’ 5....39 \rv C no. v :0 U ..4U .- :§."p . - .....v C».- Oy: " ...-.5 «..., v a H' o a.-- .C ..--:3; . ‘N ‘4': ap. ‘." . .-.c' v 0-.- A~§- , & ~v-*; ~ .._ ’ - O F‘-..‘ ... M 'Q‘ 3 13:5,. } " "F A.- - c». ..-...A ' . ... Luv-"re " v- . .. . a.._é" ._g l. “ta" . .. ,. V P ".q t“ ‘0. § . J" ‘1 ‘ .--./,3 -. ._ M _- 5 n..": “~ 5 .... s,_ __<.,‘_. ' - r‘ . \:'\ l ’1’”. ' '5 ‘.. r 2 ‘ u. 18 The enthusiasm which most students of Public School Music do in general feel for the courses devoted to their subject cannot be regarded as a gauge to the merit of those courses. The average student elects them in pursuit of what he feels to be a far-sighted and 'practical' goal. Since the Public School Music courses are set up to serve this end, it is natural that the students should generally be pleased with them; and it also follows that a student will not be displeased even if the courses fail to give him more than a rote knowledge of music itself. Anything like a real understanding of music, a technical proficiency in Theory, or'a generous reserve of musical knowledge such as would give'both vigor and weight to his teaching is usually lacking. Equipped with a repertory of teaching-pieces, a few pedagogic devices, a smattering of Acoustics, the ability to play one or two instruments and finger most of the rest, and a college degree which testifies to these achievements, a student is prepared at graduation to offer himself to any school. He is likely to be little more than a walkin, textbook; but he has come up to the standard set for him. It is interesting to observe that of the thirty institutions visited by Mr. Thompson in 1935, twenty, or 67 percent of the schools offered cour- ses in Music Education, and eight, or 27 percent of the schools offered student teaching for credit toward a degree.2 In 1937, Hazel Nohavec Morgan stated that there were three distinct periods in the training of teachers for school music: The first period, as it is well known, included two types of teachers: 1. Those regular teachers who had enough enthusiasm to carry on music as an extracurricular activity, and whose enthusiasm was engendered by an inex- plicable fondness for, and pleasure in a contact with music. 2. Those outmoded and unsuccessful teachers of pri- vate lessons who clutched for music positions in schools as a drowning person. 1 19.35) 9 PP. 2h3-2hh. ZIbido’ pp. 1,42-le0 Randall Thompson. College Music (New Yerk: The Macmillan Company, “ -.. :745‘. 8-:- r . O - Q “ ....-. b ...I ‘- R ’ " on -‘ C .“AQ'I ‘~ : ""‘~ fix: . ....“ ,.. H“! ' kc. at .“‘ . . " 1'.— , uh. ‘ “s t~~ _ “ \ 3‘ - o~3-‘ a £~ .g.‘. kl..‘ ‘ . h: R‘.‘ th‘ ‘ ‘- - ‘ ‘\ ‘9 u“- “‘55 cf ". 19 The second period began when general educators, and especially administrators, had it demonstrated to them that mmsic was deserving of recognition. And running true to the type of thinking and reasoning which characterizes most administrators, they immediately began to demand that we justify our subject from an educational viewpoint and that teachers of music be trained as teachers as well as trained as musicians. So the preparation for a so-called special teacher was increased from two or three specified courses to two years of work fully prescribed according to popular denim. 000 The third period is now upon us. All movement is ever forward, and as basic items of courses and their content tend toward uniformity and stability, so must the seeming intangibles and unknowns be sought. As we have been measuring quantitatively the courses and their content, so must we now evaluate qualitatively.l The constant conflict of views between the professional musician and the music teacher, between the concept of training persons as teach- ers of music and training them as musicians, and the liberal arts ap- proach versus the teachers college approach was well under way by 19h0; and it still has not been resolved today. In 196h the U. S. Department of Health, Education, and Welfare ment. This was a report of the Yale Seminar on Music Education, held at Yale University from June 17 through June 28, 1963. The Seminar's chief claim to uniqueness is "that it brought together for the first time in such an extended and comprehensive session, leading representa- tives of the many disparate elements which comprise the field of music." 1Hazel B. Nohavec, "The Education of Music Teachers for the Modern School, "Music Educators National Conference Thirteenth Year- book (Chicago, Ill.: Music Educators National Conference, 19377, pp. 182-186. 2Claude V. Palisca (ed.), PMsic IanEE Schools (washington, D. C.: U. 3. Government Printing Offic-e,"‘19'oE)', p. F115... . _V‘...'av- ’“j "a“... 5- n . v ‘r- on~v °"- a 5' w..- ...-... ”‘h .' ....- -¢-- 3.. ...- b.—.‘| . ’ I I -- ‘a -‘ a» t v~ nc~ a. .. Cb. ' O O ‘ f.-.°s o ... - ‘DQ - C .— a - -‘v-‘BQ .,- v We..-” . v“ ~“ in 20 It was the “lack of communication between the realms of music ed- ucation and professional activity implied in this realization that was the main justification for the Seminar." Further justification is based on the premise that: The field of music education has become a far-flung realm with its own traditions, associations, organs, and experts. It has become increasingly difficult for forces outside this complex to influence music teaching. Teachers colleges have tended to promote a certain Parochialism by guarding their faculties against the intrusion of those not educated within the system of which they are a part. On the other hand, in spite of frequent attempts by educators to get those outside the field to share in the responsibility for music in the schools, there has been little inclination shown so far toward this kind of cooperation.1 In summary, the Seminar recommended the following revisions of thought on the part of music educators: Musicality. ...Creative activities were particu- larly encouraged by the Seminar participants as a sure means of developing musicality, teaching reading, and stimulating interest in learning. ... Re erto . The present repertory of school music shoul e rought in line with contemporary composition and advances in musicology, while being strengthened, also in its coverage of the standard concert literature. It should be more representative than it is, not only of our western musical heritage at its best, but also of jazz and folk music, and of nonéwestern cultures. ... Music as a Literature. Guided listening as a means to understanding and acquaintance with the monuments of music literature, past and present, deserves a larger place than.it occupies today in the elementary and seconp dary schools. ... Performing_Activitie§, A balanced program of activities shouldfibe available in each junior and senior high school, ...such as the symphony, string, and chamber orchestras; the concert band; and choruses of all sizes. ...Smaller ensembles should be particularly encouraged.... 1 Ibido, p. 10 s ""'.,s O U ‘Q-\ . .w n .\ m.” u. . .. 5— :6 «n.» ... J‘ . ..u a. . .. ... ... o 6. c. a: u ... .a .. at. .. ‘ t I I . D . . . . a I . . . P p. Q. ~ C 4 V ' l O A o O 21 Instruction in vocal and instrumental performance should not neglect keyboard instruments, and should be available free of charge as a regular curricular offering. ... Courses for Advanced Students. Courses in theory and literature—beyond those offered to the average student should be available to those sufficiently ad- vanced mSiCfllyo .0. Musicians in Residence. ...Such a program would pro- vide for (I) performers and conductors in residence; (2) composers and scholars in residence; (3) visits by touring concert artists; and (h) contributions from musicians living in the community. Communitijesources. Relaxing the certification requirements or otherwise permitting seasoned musicians living in the community to teach in the schools would open a new source of highly qualified music personnel. ... National Resources. ...the creation of regional cadres of Skilled teachers; a chain of National or State academies of music, drama, and dance; high schools of performing arts in all large cities; and educational ad- juncts to community arts centers. Audiovisual Aids. Technological advances have cre- ated opportunities for audiovisual aids that music teachers have not begun to realize. ...1 Of course, in order for any curriculum revision like the one implied in the Seminar's recommendations to become a reality, an extensive scheme of teacher education would be necessary, and the recommendation was made that this program take place in three major forms, as follows: (1) training in music for teachers who are not musicians; (2) training in teaching for musicians who are not teachers; (3) retraining for music teachers. The favorite scheme favored for retraining teachers was the summer institute. The six or eight week full time institute was recommended, 1 3233., pp. 53-55. 22 but it was stated that "for certain.purposes, such as repertory re- building, shorter workshops might suffice."1 Some of the special areas of music for which "articulate and inspiring faculty members would have to be found are composition, dramatic music, jazz, analysis, history, and conducting."2 These curriculum revisions would also necessitate reexamination of undergraduate and graduate programs of teacher education. Teachers would need to develop the broadened musical understanding and the inp creased mastery required to meet the emphasis on creativity. Also, the standard of musical literacy, both theoretical and historical, would have to be considerably raised. Concerning methodology, the seminar stated that: ...the college student looking forward to teaching should (not) be subjected to a duplicate of the secondary school curriculum, so that he can then.put others through the same Mill. .0. What is meant rather is that the teacher himself will have to acquire certain skills that he will in turn be expecting of his pupils. ...Such skills must not be acquired, however, at the expense of the liberal arts content of the teacher-training curriculum which is al- ready too scanty.3 It was hoped that the wide distribution given this report would help promote a closer relationship among music educators and composers, con- ductors, performers, critics, scholars, and administrators. The report, however, did little more than provoke the music educators due to some unfortunate newspaper publicity. 1Ibid., p. 1.7. 2Ibid., p. h8. 31bid. . .N... .L a... :11 -. 1.0.. .....a... o. . . .... ... .. I- «2* .w. .C. ... .2 .. u. s. a. 3 .. . ... a. ...; u. E u. .1 ... {.41 ...V 3 T . . . 3.,.:... ......a..: ... .... c .. .1. .. .L. . . 1:: ... m” w. .u . ... ..ewh flea... 1.68 .....rt..~1 1E6t..8: 6.. n. .... m. A... a. o. O c L. .. 9.. a v 0 O 0 O a— ’5 O. Aflv .“ v —.. c . o ‘v .. ”/5 .‘d ‘ ~§J ‘U c a r. .1 ~h . ....- q, ‘u a .I‘ a. —. I“ .. u . . .- UI P. .* V. ..v. ...fi L». Q Q 1 I I I ' 23 In 1965, the music Educators Conference published Music in General Education which, whether purposeful or not, seems to be, in part, a re- sponse to the Yale Seminar Report. While both stressed the continued importance of the liberal arts content of the teacher-training curricu- lum, the Yale Seminar Report recognizes the need for more musical content in the curricula and the MENC publication integrates it into the General Education of the student, resulting in a five year program. The following implications for teacher education are recommended by MENC: 1. The teacher who, through music, is to enhance the gens eral education of the children and youth with whom he works must first of all be a liberally educated person himself. 2. The preparation of this teacher must be properly bal- anced among its three main components: general edu- cation, specialized work in music, and professional education. None of these three should be omitted or considered unimportant. 3. The full education of the teacher described...includes experiences in elementary school, high school and in- stitutions of higher education. h. Screening and selection of prospective teachers of music are most critical and at the same time are perhaps the most neglected factors in this whole matter. 5. The college preparation of this teacher we need and hope for should be at least five years in length, but preferably on a "four-plus-one" basis (which may or may not culminate in a masters degree). 6. Ibst critical is the attitudes of departments of music and administrators in institutions of higher education toward the role of the teacher who, through music, is eXpected to help improve the general educap , tion level of all students in elementary and secondary schools. A positive and favorable attitude is not only desirable, it is imperative. 2h 7. Improvement is mandatory in the pre-service and in- service programs for the development of the teacher needed to help children and youth accomplish these broader aims of music education. As one can observe, the education of the present day music teacher is indeed a complicated procedure. His background must include broad general culture, excellent musicianship, and the qualities of an out- standing teacher. The curriculum which produces this music teacher must be carefully prepared and constantly evaluated. The laboratory experiences which will implement his teaching abilities must be care- fully planned. Ever present in the education of the music teacher is the question which is primary, musicianship or teaching ability. Neither will survive without the other and with this knowledge in mind, the profession will not supply persons less well-prepared to teach than their academic colleagues, nor simply musicians who could not succeed as professional perfomers. 0n the whole, music teaching today has become more effective "be- cause the profession has reached a certain level of sophistication." More adequate preparation has resulted from state certification re- quirements and expanding graduate programs in the universities and conservatories. "The frantic promotional stage in school music has largely passed, having been sublimated in larger causes" and evidence is apparent of a Wealthy concern with teaching the values inherent in music and with acquiring the know-how to get that job done."2 lErnst and Gary, 92. 21.3., p. 183. 21.60nhard and Howe, 220 22:20, Do 620 onw‘l «~Q. a.-- v».. ... . ...... a: m- K-. 6 ... .... ... a. H... t... It. 3 t 3 ufiu cv ‘; .~ ¢ L , hi . c. C a. .. ... S .. ~ . S : c. .. ... a. ~ a .N s p A: W ... x.“ . o .L o. .... C. ..~ A.. . u .M. . q.. u . .. a. .. a a 8 n b u . . . ~r. ... 6.. A ‘b 6‘». a . u...» :w z . ... O ... ... . u as S .u ..C . .. ...: ‘3. .v e o . ... k { .... .... .6 25 The Historical Development "—70 Student Teaching Historically, student teaching appears to have consisted of imita- tion and repeated practice of a particular method taught by the normal school professor and Observed by the "model" teacher.1 The medical profession is perhaps one of the closest parallels recognized when one thinks of the concept of internship. The novice physician must spend a designated period of time under the close supervision of experienced physicians before being allowed to establish his own practice. One might also Observe today that most persons learning a skilled trade are required to spend an apprenticeship period under the master crafts- man. The terms student teaching and professional laboratory experiences might then be considered synonymous with the terms internship and ap- prenticeship. Courses in student teaching antedate the development of educational psychology, the whole testing movement, and research in child develop- ment.2 Several examples of practice teaching can be Observed as early as the sixteenth century, according to Head.3 Erasmus of Rotterdam in the early sixteenth century advocated the systematic training of teachers to enable the teacher to achieve a psyu chological insight and workable method. This training grew to include experience with children.h He wrote: 1Andrews, 92. gi_t_., p. 1b. 2Andrews, $22. cit. 3Arthur R. Mead, Supervised Student Teachin (Richmond, Virginia: Johnson Publishing Company, 1930), pp. 3-7. hGelvin, pp. 933., pp. 20-21. ...—... .5. .v. _ ~ .9 r“ q. .5. ... .. as ..5 . . a v. L L C . .. 3 a. a. ...... ... K . “J . u . — .z -. . “ ... 9. a .N n — a . .. a. .Q. c A; ah» . - c _ . - P. Y“ ... n . . , . a 5.. t" ..g r .. M. 2. 5... M. a; .... ... S ... .. .4 3 .3 7. .r. .w .3. ...: ....» C . ... _ . .“ ~ x. .... v. .1 : .. ... . ... .... o. _. p: ..3 “\- ..o . I... I . A Q 0 l C . 26 Three conditions...determine individual progress. They are Nature, Traini , and Practice. By Nature, I mean, partly, innate capacity for being trained, partly native bent toward excellence. By Trainin , I mean the skilled application of instruction and guidance. By Practice, the free exercise on our own part of that activity which has been implanted by Nature and is furthered by Training, Nature without skilled Training must be imperfect, and Practice without method, which Training supplies, leads to hopeless confusion. The Duke Ernest of Gotha, in his will dated 165h, wrote that "it is desirable that the teachers at their expense or with assistance re- main in one central place and...through practice learn that...for which they will in the future be employed." In 1698, the grandson of Duke Ernest, Frederick II of Gotha, established ten teacher seminaries where students demonstrated their ability to teach by teaching fellow stu- dents-2 The eighteenth century shows further activity in Germany in which student teaching and other laboratory experiences were employed. The first state supported institution for the preparation of teachers was founded in.Berlin in 1788. Experiences were given to the students "through visitation and Observation of regular school work, by assisting in the classwork of the regular teacher, by oversight and care of indif- ferent and backward pupils, and by actual teaching according to 1Erasmus, "De Pueris Statim ac Liberaliter Institutendis," or "The Argument...That Children Should Straight Away from Their Earliest Years Be Trained in Virtue and Sound Learning." Opera, Vol. I, 1529, pp. h89-516 and'William H. weedward, Erasmus (Cambridge, England: Cambridge University Press, 190h), p. 11. As quoted in RObert Ulich, Histogy 2£_Educational Thought (New Yerk: American Book Company, 19h5), p. e 2E. J. F. Williams, The Actual and Potential Use of laboratory: Schools (New YOrk: Bureau of Publications, Teachers College, Columbia *0 UniverSity, l9h2), p. l. . I C- .... V. L. .. «a J .1 .... .. 9.. ... t "J T S . . 7 .. .w .a T o . .A ‘. ... o Q w v . ’ o. . . ‘ ... ~ . m . Ox u .. .3 . .u . 1. ... .5 . .... ... o t . a... z — a. . ... Q. . . he. 5. a v“ .. 7/ . ... m ... s. :5 .7. ... a: flu ... ..~ ... . . ... .a. s. 3. . 6.. n. 4.. C. .. v... . ..v . . «J a. n o n a. .. ... 3. -~ ... s . .J 55. ... ... ... ..n .. ... . s u. .. . . . . .. ... ... ‘u . 5 ... . s u o» n. . .... .s. 5.. ul. \ 9 Q — A i n . O 0 o . . - 9 ~ . ' o a O ' 1 . ' n I t C 27 instructions and under the supervision of the directors." The practice or laboratory school was frequently a part of the nor- mal school in the early nineteenth century. Instances of student teach- ing in this type of a sOhool may be observed in France as early as 1839,2 but not until the turn of the 20th century in England. A survey of significant early developments in the establishment of private and public Operated schools in the United States which included practice teaching in their program may be found in Galvin} and the thirtyh fourth yearbook of the Association for Student Teaching.’4 A resume of the material follows. Prior to the establishment of public institutions in the United States, several privately operated Schools prepared teachers and util- ized children in this preparation. In 1808, Nether Seton's teacher training school at Emmitsburg, Maryland, required practice teaching. The first private normal school in America.was organized some years later by Reverend Samuel Hall. From its beginning on March 11, 1823, a few children were admitted to the school for demonstration and practice purposes. On July 3, 1839, the first public normal School began operation at Lexington, Massachusetts. This school was later changed to west Newton and in December 185h, was moved to its present location at Framingham. From its beginning, the laboratory school was an important lIbid., p. 2. Zmead, 220 11-20, pp. 9-10. 3Gelvin,o gp. c__i__t., pp. 22-26. hAssociation.for Student Teaching, Functions of Laboratory Schools in Teacher Education, Thirtybfourth yearbook (Lock_ Haven, Pa.: The Association for Student Teaching, 1955), pp. l-ll. P. V.- . 3 «ht-e“ . 5H1.’ new ‘ t I.‘ u . . . .. h '.. an» ~U-'“Q.4 ”"A. 28 part of this institution. In'West Newton a public grammar School was used as a model school and in 1855, a formal agreement was made with the town of Framingham concerning the use of its school for practice teaching. This agreement specified that each student teacher should have charge of a class or classes for discipline and instruction for not less than one hour each day, for a minimum of six consecutive weeks. An "experimental" school was organized in connection with the first state normal school at Albany, New Ybrk, in l8h5. David Perkins Page, head of the school, stated that the purpose of the institution was "to afford each normal pupil an opportunity of practicing the methods of in- struction.and discipline inculcated at the Normal School, as well as to ascertain his aptness to teach and discharge the various other duties pertaining to the teachers' reSponsible office."1 An interesting variation in provisions for laboratory schools is noted at Providence, Rhode Island in 185h. The state normal school in this city provided no laboratory school, but prospective teachers gave "teaching exercises" to their classmates.2 In 1856 a carefully planned model school emphasized the practice phase of teacher education at the normal school in Trenton, New Jersey, under the guidance of William F. Phelps and later provisions for laborer tory school facilities were required by state laws which established 1Charles A. Harper, ALCent of Public Teacher Education (Washington: American Assoc1at10n.3f'TeacHers Colleges, NatiOnal Education Association, 1939), p. h6. 2Association for Student Teaching, Function§_gf Laborato Schools ‘13 Teacher Education, Thirtybfourth yearbook, 22!.212" pp.H- . o.-. ,. ,,,_q'_ .11.. .38 ....J.. . . ,- . .- “W"} -mv a-.“ .‘q- ',.- 2.-.“; ~ 1 >4 "'“ a..-) ..‘ s ‘;-- ._.‘ ‘--.... ”-d - \o n) (9 '0' ‘ a. - .. ‘5, s“*«.‘ . --.J. o H u- .v 5.. - . .. C 5...,“ ’ l ti :4 a: (a '7’ § ‘ ~‘ P: . \_ ~4 “o A\ 2.. \ “ ~.1‘5_ L‘ - . _ Q a J. l.‘ .. .- K ‘\ 29 normal schools. For example, in Pennsylvania the Bill of 1857, which had been enacted by the legislature to provide for normal schools, made it mandatory, "as a condition.for locating a normal school in any town or city, that there be a model school with accommodations for not less than one hundred pupils."1 The First Annual Convention of the American Normal School Associa- tion.was held in Trenton, New Jersey, August 18, 1859. The merits of students teaching fellow students versus students teaching ohildren.were discussed at this convention. ‘William Phelps, speaking in favor of the latter, stated that "the results of our school have settled the ques- tions for us, of the practicality and necessity of model or eXperimental schools in connection with instruction in the art of teaching. I look upon them as indispensable. I do not think a normal school is complete without them."2 The following resolution was adopted in 1859 at that meeting: Resolved: That this education of teachers should not only be theoretical, but also practical; and that, to this end, there should either be a school of Observation and practice in immediate connection with the normal school, and under the same Board of Control, or that there should be in other ways equivalent Opportunities for observation and practice. The Oswego, New Ybrk, Primary Teachers Training School, established in 1861 by Edward A. Sheldon, is claimed to be the first training school on the continent. Stress was placed on practice, as one year of the training was spent in observation and practice with a half day in the JTuid. 2Harper, 22. 23-20, Po 1160 3Willia1m,_p. 313., p. 10. V - I 6"... -- ¢Uo 5 ' ~°~~v"‘."“"' -$'¢.dd'~. ‘;|'H -' ‘u ‘ * . ‘¢ . I I v. n .d a .. ... ad w .. e. .. t . .. ... . u. wxw _.c ... n . ...” Ow .5 ... n. r4 .5. Q.- 2. y. .. ... .L ... a. a. 4. p. ... 2: .. .. C ... a. ...: .4 ... w u. S c. .I a. s. e. ..C a. . . .5 c. o . .N ... e a. . ... . . .. .o c. .3 .. 3 o. . a. ..3 .\ ..u ... ... .1..ns.5 .P. ... v. I. .9. 3. ~.: at on . . re. a: .... ... 9... 2... C u . a w.“ “a .. . 6' 0 Al . .o u an. .. s 2 3 : . 4... 1. a!" WP. We“. Ck out an. O - \ ‘ O O O I o \ ' III]. ....ial... . 1 . _ r r 3O laboratory school and a half day in classes. Besides the training school for practice, there was a model school for observation. After having been retarded by the Civil'War, one can Observe that by 187k fortybseven of the sixty-seven state normal schools had laboras tory schools attached to them. In 1883 the Cook County Normal School (later The Chicago Normal College), with Colonel Francis W} Parker as principal, became a great storm center of educational reform because of the experiments and in- vestigations which were carried on in the work of teaching. It was a great innovation and antedated the schools of observation and practice in all other institutions. The purpose Of this was: To protect the children in the practice school from the inexperienced work of untrained student teachers. These student teachers were required to write "knowledge papers" for the approval of the heads of departments, showing their mastery of the subject matter to be taught. After that, before one could teach a group, "plans for teaching had to be approved by the classroom teacher Of the grades, to insure satisfactory methods of presentation, and to prove that the student teacher had some knowledge of the characterist cs and abilities of the children she expected to teach." Teachers College, New York City, Opened on September 12, 1887, and at the same time a "model" school opened where "professors of edu- cation might experiment with the curriculum.and methods of teaching as professors of science experiment in a laboratory."2 The Horace Mann School, however, was more of a demonstration than an experimental school. lIda Cassa Heffeon, Francis‘Wayland Parker (Los Angeles: Ivan DeaCh’ Jro, 19311), p. 300 2Harold Rugg and J. E. Russel, Teachers College Record, Janufl, 1902 (New Yerk: Teachers College, Columbia University, 1902), p. 11. w o \‘ ."‘. ..,.'o ~ &. ‘vll'. a tin-- 0’ been: “- . A- 3:3 .L a ‘ " .... .3. 3.. ‘-'3 ....“— .. -. ... .4 55 .\. .c ... . e . t.» a. L. o. no a . a Pu. .. o» 2. ~. ... .. ... a. .n .a o s a. 0‘ ... . . .w. .. . I ll as .. all A); a». n; ... ~ . sak— ‘N :- ~IU ... a» 7 i .. . 3 o. 9.. E I ‘ C O I 31 In 1896, John Dewey, as head of the Department of Education and Philosophy of the University of Chicago, developed a laboratory school for the purpose of scientific investigation and research into the prob- lems concerned with the psychology and sociology of education.1 Teachers College, New Ybrk City, established a second laboratory school, the Speyer School, in 1899. This school was unique in that it had no tuition fee, thus rendering a student body relatively typical of the rank and file of the urban schools. One can therefore see that until 1920, student teaching was a prac- tical course regularly required in the elementary curriculum of normal schools; but student teaching at the high school level was offered and accepted for credit in relatively few universities, in fewer liberal arts colleges, but often in those normal schools which had introduced second- ary education curricula. Liberal arts college faculties had a strong aversion to offering student teaching at all and were especially opposed to giving credit for it toward a degree. According to Luckey, in 1903, the background of professional educa- tion of teachers in the United States may be divided into three distinct movements: 1. The normal school movement. ... 2. The movement for the establishment of normal departments in colleges and universities which began with the second half of the nineteenth century. 3. The movement for the establishment of university depart- ments of education, which took form duréng the last twenty years of the nineteenth centuny. 1mg. I» 9h- 2 George W. A. Luckey, The Professional Traini fSecond Teachers in the United States (New York: The Macmillan Company, 19035, p.1151. . a ”4.- ‘O “ ~‘ .1 I L a. 1 ON 2 pod-"3.5.3, 5"“ \n" ‘s . ~» a- ‘Qovi‘ . 0-- ~7- 3““ u. . scf a. 9““ :h .5. Lie aid :3 ¢ 5 1 q .4 1' -- 'J 3 ‘A. -‘ ~gv 0 ‘/ 32 A Study by Farrington in 1908 of fifty selected universities indi- cated that thirty offered "practice teaching" but that in fourteen of the universities it was optional.1 In the years from l920—h0, however, student teaching was almost man- datory for the curriculum of most four year colleges and universities, because many states adopted laws or regulations requiring professional courses, student teaching, and a degree for certification to teach in high schools.2 The 19h0's show a number of colleges and universities revising their programs of student teaching in order to provide for longer blocks of time and more use of public schools.3 The Flowers Committeeh in 19h8 recommended teacher education institutions provide a wider experience, and since this time, the emphasis placed upon student teaching as an integral part of teacher education has continued to grow. The number of institutions which provide student teaching experiences has increased steadily and prdbably exceeds fifteen hundred.S During this same period various professional organizations began to exert considerable influence on student teaching. In the period prior to 1900, only groups of normal school personnel seem to have taken much 1Frederick E. Farrington, Practice'Wbrk in University Departments of Education (Austin: The University of Texas, 19097. 2Andrews, op. 932., p. 15. 3W. Ray Rucker, "A Critical Analysis of Current Trends in Student Teaching" (unpublished Ed.D. dissertation, Harvard University, 1952). ’4American Association of Teachers Colleges, School and Community laboratory Experiences in Teacher Education, 913. EL' SJack Frederick Snyder, "Techniques and Practices for Effective Supervision of Student Teachers in Music" (unpublished Ed.D. dissertan tion, The University of Nebraska Teachers College, 1961), p. 13. -.. -c -. a... -2: .--:- u . r“ _r ‘ h) C . ' I a. l .. ‘ h. 2‘ § .- bl - N .. J. " 33 interest and done much writing in this field. The National Society of College Teachers of Education was organized in 1902, but its concern in the area of student teaching declined so much that a small group broke away in 1920 and formed the Supervisors of Student Teaching, which later became the Association for Student Teaching. For more than twenty years this association published the proceedings of their annual meetings and now their yearbooks are written by committees, generally on a theme or single topic. Publications by this Association form a major source of information in the field of student teaching.1 The American Association of Teachers Colleges was formed in 1917, and in 1926 this organization, when establishing standards for accredi- tation of teacher-education institutions adopted a standard which recomp mended that: 1. Each teachers college maintain a training school or equivalent facilities. 2. Each teacher in the training school has responsibility for not more than forty children at any one time. 3. A minimum per student of ninety hours of student teach- ing be required. h. For every eighteen college students engaged in student teaching there be a minimum group of thirty children. 5. One full-time supervisor be utilized for every fifty student teachers in affiliated schools. 6. At least two-fifths of the teaching in the training school be done by the regular staff or college faculty.2 lAndreWS, 220 9120, p. 15. 2Associationfor Student Teaching, Functions of Laboratory Schools B Teacher Education, Thirty-fourth yearbook, 22. cit., p. 11. 07.’ ’4? -V. ... .... w - ... . A; .1 ...» Q. hc sq .3 . .u 5; ... ... ... ... n.“ S I. S .o _L .7 3 L.-. _... E... .. C ... .. It . u r 0 .. T I S a. J 9 ..C ..C .rsatT w. . s . .wa ... a: . .. A 3 a. .: C J 3 . _.~ 1 o c o ... .1. ... a . F. p“ ..~ . s. . AC \(d e a. 4 r on .. : ”b c “ ...” A. . .6. ... A. .1 . a a“. a Q. av .11 .A . .. .~ fl: . w. .w-w .... .... ...... .~ a o . . u . 9 fl _ a w I . . n I Q i i _ u a “ 1.: l 3b This minimum prescription for laboratory schools continued in effect for over two decades. Then as a result of an intensive study and the re- port in 19h8 of the Flowers Committee of the American Association of Colleges for Teacher Education, the "standard" pertaining to laboratory experiences in teacher education was revised. The revised standard, Standard V1, is qualitative rather than quantitative in nature and suggests maximum:rather than minimum goals. This standard has many implications and ideas for the practice of the three phases of professional laboratory experiences: pre-student teaching, student teaching, and post-student teaching. Of special sig- nificance to this study are these concepts: 1. That direct laboratory experiences should be an inte- gral part of the work of each of the four years of college. 2. That pre-student teaching laboratory experiences in- clude both Observation and participation. 3. That student teaching occur in the program at the readiness of the individual teacher. That such as- signment be of mutual benefit to the student teacher and his needs, the group of learners and the labora- tory teacher. That assignment be made cooperatively. That experience include major teacher activities. That student teaching be full-time. h. That post-student teaching laboratory experience aid in an over-all concept of the school and teaching, in strengthening weak areas, in permitting speciali- zation.2 This standard undoubtedly has had considerable influence on not only curriculum, but also the entire music program of the college; particularly 1Ibid. 2G91Vin, 22. 221.30, p. ’42. ‘V"; ”CD-qt “a- - b“ O a. a/. 0 Q q. — . O I u f a {do I o w 1 h _ a . ‘ O _ C I U Q . . v a a - I 4.1... I 35 the concept that "student teaching be full-time." Lindsey gave evidence at the 19Sh Joint meeting of the Association for Student Teaching and the American Association of Colleges for Teacher Education that the following trends were apparent in regard to professional laboratory experience during the five year period of 19h8- 1953 as a result of a study made of seventy-six institutional reports on practices in teacher education: 1. 2. 3. h. 50 7. 8. There is a significant increase in provision for professional laboratory experiences throughout the four years of the college program. A greater number of institutions provide opportuni- ties fOr prospective teachers to Observe and par- ticipate in the total school and in the community. Provision for direct experiences is made chiefly through work in educational psych010gy courses with very limited opportunities in subject-matter COUISGSQ In general, students are spending more time in student teaching, both because of increased emphasis on full-time student teaching and because of increase in the length of assignment to student teaching. Provision for individual differences of students in student teaching is still limited, the chief pro- vision being through adjustments in the nature of activities. There is a marked increase in use of off-campus college cooperating schools in all phases of the sequence of professional laboratory experiences. The extent to which community agencies are used as facilities for laboratory experiences is far greater than indicated in l9h8. Students engaged in.professional laboratory exper- iences still get their guidance from laboratory school teachers and college teachers of education with little participation in.this activity by subject-matter teachers.1 1 Margaret Lindsey, "Standard VI. - Five Years After," Seventh Yearbook of the American Association.£2£_Teacher Education (Oneonta, TEE EEOC-iflation, 171179 ,‘p‘.' i h. N. Y.: 36 Many persons assumed that by the middle 1960's virtually all student teaching would be on a full-day basis, but the Russian Sputnik set off a heated re-examination of teacher education, and the amount of general education and required work in the teaching subject areas was increased. Since the total credit requirements for the four-year degree are relay tively stationary, reductions made in the electives and in the professione a1 courses often prevented any expansion in student teaching. Discussion has presently been stimulated concerning the desirability of requiring five years of college for initial certification. Several institutions have adopted a plan sometimes referred to as the “APB plan - three years from SOphomore standing to a Master's degree. Trhe program covers a two-year general education foundation plus a three-year profes- sional plan. Consequently, one can Observe how student teaching and other direct experiences in.teacher education have evolved to the mid-1960's. Pres- ently, some of the chief conserns of the person responsible for student teaching and related experiences are expanding enrollments, the desirabil- ity of requiring five years for initial certification, the need for ins ternships, plus the constant struggle for the development and maintenance of high qualityprograms.1 The Director of Student Teaching The director of student teaching in music is designated as the admini- strative head of the student teaching program in music. He might be the general director of student teaching in the education department of the 1 Andrews, 22. £0, PO 190 37 college or university, or he may be a member of the music department it- self. Many times, if this person works solely with student teachers in music, he also serves as a college supervisor. A studybyFlowers1 in 1932 concerning the academic preparation of fifty-five directors of stu- dent teaching showed that one-third held the doctor's degree, and all ex- cept one held the master's degree. One might assume that a similar study today would show a large increase in the number of directors with doctorates. The function of the director of student teachers is as his title suggests. His job is to direct and coordinate the program of student teaching. Curtis states that: It is the responsibility of the director of student teaching to see that a program of high quality profes- sional laboratory experiences is planned, and that it Operates smoothly and effectively for all concerned. He gives guidance to students, college personnel, co- operating school staff and community in effecting the type of off-campus program that results in improving the teaching-learning conditions in the college and in the public school.2 In some schools, however, this work is done by a college or univer- sity coordinator who will work with the students during student teaching. Coordination between the college and the cooperating school must function to the highest degree. The public school is primarily concerned with the education of pupils and the college or university is mainly 1John Garland Flowers, Content of Student Teaching Courses Desi ned for the Training of Secondary_Teachers in State eachers Colleges, (New YSFR Bureau of Publications, Teachers-Ecllege, Columbia University, 1932), p. 10. 2Dwight K. Curtis, editor, Achieving Quality in Off-Campus Professigpr a; Laboratory Experiences (Lock Haven, Pennsylvania: —The Association for Student Teaching, 1937), p. 28. a)... flat ‘v «Q T 0 1w. u. a 3. 3“ L... 38 concerned with its student teaching program. The degree of conflict which arises between these concerns is another responsibility of the director of student teaching.1 Garrison comments on this coordination between.the college and the cOOperating school by making these points: 1. 2. 3. h. Training supervisors should know the fundamental principles taught in college courses which are re- lated to their work. College teachers should know the practices of the training school which are related to their work. There should be mutual understanding, agreement, and disagreement, tolerance of each other's point of view, and mutual support of each other's work as far as possible; but individual freedom in carrying on one's own work in.trying to realize the common ends of the institution, curricula, and courseSo Overlapping and duplication of work should occur only where it may be justified in realizing the ends sought, and in meeting the needs of the individual student.2 The major prOblems provided for the director of student teaching in his quest for satisfactory coordination are stated by Rogers as follows: 1. 2. Lack of standardization among institutions; (a) differences in number of hours or units required (b) assignment practices (0) schedules (d) policies regarding payment to training teachers (e) supervision (f) evaluation procedures Need for joint planning and mutual understanding; (a) lack of understanding and appreciation'between institutions and city school personnel (b) need for closer working relationships (0) agreement on a common basic philosophy ISnyder, 220 £120, p. 61. 2 N. L. Garrison, Status and'WOrk of the Trainipg Supervisor, (:22 Critic Teacher) (New York: Bureau of Publications, Teachers College, c'—oi'mm“ i"_“'a University, 1927), pp. h9-So. a‘w 5-1 1. V. . ‘ . ‘0‘ i. .v .. ~ 0 . I .. C 1.”.- M: “a ... .... ... .c ..a n. a; 3. .... 3 a ... . . . . . . .. 6. _ . .3 ..D M». G. .5 .1 .Q ... ...... ... 3 T r C O S u x me Q ... I C O 39 Obviously, a successful program of student teaching is possible only when the institution and the city schools are operating on a common philosophy.l Rogers therefore recommends that: City school systems in which student teaching is carried on should assume an active rather than a passive role in that program. ' In order to administer the program properly the city should provide necessary staff and facilities for this function. In cities having large programs, a position of Director of Student Teaching should be created to provide for adequate management, coordination and super- vision of the program in the city schools. Principals of all training schools should assume leadership and direction of the student teaching program, and should be held responsible by the city school system for adequately orienting student teachers and insuring the student the widest possible experience.2 The position of director of student teaching is subject to certain problems of recruitment. Andrews suggests that: These administrative posts suffer from a lack of status, and the incumbents all too often use them as convenient way stations on the road to more prestigeful senior professorships and administrative posts. The result is a real shortage of career people for the long- range leadership so badly needed. Deciding which is cause and which is result is indeed difficult, but lack of adequate preparation probably produces both low status and a feeling of insecurity and dislike for work.3 Andrews further states that: the fact that the administrator in the student-teaching area is faced with perennial budget shortages and must put up with unsatisfied demands from faculty, school 1Helen J. Rogers, "Administration.of Student Teaching in Their Secondary Schools by Large City School Systems," Education, LXXII (January, 1952), pp. 3h3-3h6. 2Ibido, pp. 3’47-3’48. BAIIh‘eWS, 220 21.30, Pp. 814-850 .f..- .. ..T 5 .3 .3 I v.4- —. .C ...... P. P...... h. a. v V 3. ”1.. a 2 £71... T .. r p r S .... C «P 9 . .p. ’ i a ... av 05 .o :u ..t :. .-. 2. r. E 7: u. 3 ...h ... a. a. L. u. ... .nu O _ A l l O to people, and students, about which he is almost powerless to do anything, probably affects his attitude adversely. Furthermore, Operating a program in this field requires the administrator to meet deadlines constantly, and by any standard the work load is most burdensome. A high quality program is not likely to emerge without some smargin of time for skilled administrative leadership to give to research, to program development, and to public relations. Stratemeyer and Lindsey summarize the overall function of the director of student teachers in the following manner: To take care of administrative aspects of the program... To guide the college supervisory staff in study and evaluation of their work and in dealing with prOblems common to the supervision of student teaching. To facilitate continuous study and improvement of the student teaching program and other pro- fessional laboratory experiences by all those related to it. To provide for the continuous in-service education of persons, both at the college and in cooperating schools, working in the student teaching program. To serve as the liaison person between the student teaching program and other aspects of the total curriculum of teacher education.2 It appears to this writer that literature is much more voluble on arguments pertaining to the responsibilities of the director of student teaching and on the kinds of actions that should be taken to improve pro- grams than it is on the actual working policies and practices which 1Ibid. 2Florence B. Stratemeyer and Margaret Lindsey, WOrki 'With Student Teachers (New Ybrk: Bureau of Publications, Teachers College, Columbia University, 1958), pp. h6-Sl, quoted in Snyder, 22!.212f’ pp. 63-6h. V O . A a. ‘ o‘- 7 .. ..s \v \ 'p a ‘ O.” . U1. ‘8' 5‘ b .. .-- was" 7::f..¢-. O A no. 0 +‘~' . .. 5..-: _.‘.“:~ a v. "’ ' . _ “nu. .Q"‘--|~I'I: 0~ hl should be followed in the programs. This seems to reflect the fact that it is easy to talk about what should be done, but relatively difficult to get the right parties together and develop complete programs. The responsibility here lies with the director of student teaching and the degree of coordination is directly proportional to the effectiveness of this person. The College Supervisor of Student Teaching The College Supervisor of Student Teaching is a staff member of the college who regularly visits and/Or Observes student teachers. H0pefully, this person.will be from the faculty of the music department, but many situations may be observed in which he is from the department of educa- tion. This person has an important responsibility as a liaison person who works to clarify purpose and ideas with all concerned in student teaching. Since this person is very important in the scheme of things, he should be selected with considerable care. According to the thirtybthird yearbook of the Association for Student Teaching, His age and general physical condition should be such as to assure him the essential vigor and vitality for working with a good program of teacher education‘both on and off-campus. He should have both broad and Specialized training in order to understand the program in its entirety. His experience should preferably include work in the elementary school, in secondary school, and in teaching college classes. In addition, he should be a person possessing an even temperament, poise and dignity, and enthusiasm. The college supervisor should have specific abilities as follows: 1. Knowledge of Public Relations... 2. Ability to work with school people on all levels... 1‘ h2 3. Ability to inspire confidence in the program... h. Background in supervision... 5. Skill in evaluation... 6. Willingness to travel...1 One must be aware of the fact that teaching experience gives no assurance that a person is well qualified as a college supervisor, and training programs for this position are practically nonpexistent. Cone sequently, the chance of this ideal person.being a reality is somewhat slim and any supervisor exhibiting all of these competencies should probably be put in a glass case and preserved for posterity. Certainly no student teacher could endure such perfection, but on the other hand, this supervisor should be expected to strive to constantly increase his competency toward perfection, and this list does define these competenp cies. The college supervisor works cooperatively with many people in ful- filling his roles as (1) a liaison and public relations person who helps to promote greater understanding of and participation in the pre-service teacher education program, (2) a supervisory instructor who assumes re- aponsibility for encouraging the student teachers' continued professional growth and personal judgment, and (3) a co-worker in the public school who collaborates with the principal and cooperating teacher in improving the quality of pre-service practical experience.2 The Forty-third yearbook of the Association for Student Teaching, entitled Thg_College Supervisor - Conflict épd_0halleng§, states that this man is 1The Association for Student Teaching, Facilities for Professional Laboratory Experiences 32 Teacher Education, Thirtyhthird_yearbook, 22. fl.’ pp. 1814-186. 2Haines, 92. 9—12., pp. 5h"55. n 1 3‘. v 0...- s, ‘ 9V -.- 5': Z: h3 ...sometimes the middle man.but more often the end man. He owns the phantasy world as the students see it. He has complete control of a never, never land of his own invention, which is all verbal and at the beck and call of his vocabulary. This welt Disney world is far from the boondocks. Boondocks are any place the college student is when the college professor isn't. ...thus, the "theoretical" model-giver pales beside the "real" model. In his place is the all wise professor of know- ledge. Not be as I am but be as I know. ...there is trouble born of the fact that the college supervisor is often privy to the other two sets of perceptions added to his own, those of the student and those of the super- vising teacher. ...the anxieties of the student teacher, the discomforts of the supervising teacher, and the frustration of the college supervisor are well documented in the everyday experiences of the members of the inter- related triangle. Role reaponsibility - whether to teach, to learn, or to advise - is not clearly defined and sometimes bears little relation to the role capacity. keny'legal and philosophical issues are involved when a college em- ployee steps out of his line of authority and begins operating in an en- tirely separate school. The college supervisor has authority over the student teacher and evaluates his work, but the public school teacher has authority over the teaching-learning situation and can and should decide what can.be delegated to the student teacher. Many college and public school teachers meke this joint arrangement work very successfully. As a liaison and public relations person, the college supervisor usually carries out the following functions: 1. Interprets the college program and needs with particular reference to student teaching. 2. Promotes good working relationships among all the personnel involved in the student teaching program. 1 Association for Student Teaching, The Colle e sor - Conflict and Challenge, Forty-third yearbook (Dubuque, Iowa: SWiEIiam C. Brown 0., l96h) PP. 9-10. 2Arldrews, 22. £323., p. 6’4. A . s . ~..“ ..‘ L) 3. q 0 A I -. p t. J. ‘1 -.. . 1 ‘o , -§. ' I I ‘A §g. 1 v D- o Sq ‘ . ‘4. DI u n . § .- _ _ 3. h. 5. 9.~ 10. 11. 12. 13. hh Coordinates the program of student teaching. Defines the student teacher's role for the student teacher. Serves as a "trouble shooter" for the college to resolve any problems connected with student teaching. Werks as a public relations consultant visiting schools and teachers. Develops an over-all plan for the professional experiences of student teachers. When necessary, recommends to college authorities a change in placement or the removal of a student teacher. Provides on-call supervisory service in all aspects of the teacherbeducation program. Gives requested professional service to the schools concern- ing teaching methods, materials, equipment, etc. Helps the college staff in its relationships to the public school personnel. Assists in continuous evaluation of the student teaching program. works for cooperation between professional and content depart- ments, hopefully, by using content specialists as consultants in the student teaching program.1 Because his jOb is so directly concerned with human relationships, the college supervisor must be continually aware of and sensitive to the need for helping all those involved to see the total picture. Whether the college supervisor teaches any college courses or not, the student teacher needs to be in contact with someone who is part of the program but apart from the school to which he is assigned. Not inp frequently, only a small amount of the college supervisor's time is al- located to the supervision of student teachers. In some instances, 1Ibid., pp. 6h-67. ' I i a ‘ I a? a . . c . A . ‘ .1 fl .4 I] u . . 1 . s ... _ ... ... . ... r _. ... .a .3 w. J. a: .... .. .. w. o. 3 A . r. 2.31.... ... .. ”J . ... ... .. ... .... —. ... \. AU ... «G a: wt r: u. ... V. s . ‘o. .: ... _. a . .5. w L. s :6 ..h n. .1. 6 v L. . . f F. a. .w a. S . u ... a. ... .... S . A: t f. ~ _. ... ..u a .. .3 ma . . vs . . a: w . 1 ~ a! ...... o . I n O l O Q I Q l . _ O I D p O ' . C . O 145 supervisors are responsible for a larger group of students than can be possibly cared for effectively. Commenting on this situation, Strebel says: Supervision of student teaching is a major profes- sional responsibility fully as important as teaching or administration. Too often, however, ...those engaged in supervision are required to assume these duties 13 addition to an already full load. Under such circum- stances one may raise the question as to whether super- vision is not thought of as having only secondary im- portance. The l9h8 "Flowers Report" of the American Association of Teachers Colleges indicated that the frequency of visits by college supervisors usually are "not...made following a regular schedule and that neither the student teacher nor the director of student teaching exercises any significant influence in determining the visits by college teachers." The report also showed that "supervision by college teachers is not based on an inflexible plan - a plan which might become an obligation - but that in many institutions college teachers are 'on call' to help students when a need is felt."2 In a study conducted by Jones in 1960, the number of visitations made by college supervisors ranged from O to 25 with a median of four. In summary Jones states: In.general, public teacher preparing institutions averaged slightly larger numbers of off-campus student teachers...than either private or church-related 1Ralph F. Strebel, The Nature of the Supervision of Student Teaching in Universities Using Cooperating Public —SEhools and Conditioning Factors (New York: Bureau of Publications, Teachers College, Columbia U niversity, 1935), p. 17, as quoted in Snyder, _p. 313., p. Sh. 2AmericanAssociation of Teachers Colleges, School and Com wit Laboratory Ehgperiences E Teacher Education, 2p. c1__'__t., pp. “225227. a. —. ... S. w. .4 . 4. .u. . A .3 .It .. . . .... . .a T ... . 3 E . u .o .6» .0... ‘PL EL .9. "G ms.“ Hunt“ "W“ 7.. d .h.‘ .... h. ' ‘ O. a. a . c .a a... ‘4 O . . 9‘ v ..m «a. . . a. he institutions. For all institutions combined, approx- imately four student teachers are assigned per coopera- ting school and slightly more than one per c00perating teacher. ...full time supervisors are used more frequently... by public institutions. However...part~time supervisors... are used more frequently by private and church-related institutions than by the public institutions. On an average, the full-time college supervisors are respon- sible for 18 and the part-time supervisors for 15 off- campus student teachers. Off-campus student teachers at church-related in- stitutions received, on an average, three classroom visits by college supervisors, and the student teachers of both public and private institutions received four visits.1 The student teacher may expect from the college supervisor the following responsibilities as outlined in the Thirty-fourth yearbook of the Association for Student Teaching: 1. To provide helpful supervision including suggested means for developing the student's personal and professional competencies. 2. To arrange for conferences with the student teacher and the supervising teacher, individually and collectively. 3. To facilitate the provision of opportunities for the student to become oriented to the school as a whole. h. To assist in the maintenance of good working relations between the student teacher and members of the school Staff. 5. To interpret the college teacher education program to the supervising teacher and school administration. lRodney M. Jones, "Off Campus Student Teaching Programs: Their Size and Importance," Journal of Teacher Education XI (December, 1960) Pp‘ 517'519: qwted inmf'é'fio—EE: pp. 35-56.— 2Association of Student Teaching, Functions 23 Laboratory Schools in Teacher Education, Thirtybfourth yearbook, op. cit., p. h9. ._ J .. ... . a 7 : c 1 s. . Ag G; 3 .. ... .9 ... flu L. .~ -' .. .... ... a g “ u~¢ .3 A. a» v, M. u. a . c 9. A. .— h L... «J .u . V. D .... ... ... ...: ... o n. F . a. ... .C .2 ..m. .... Aw . .o o Du. _ c. r.. . u S he a. a 0. vi ”a .. ... . .90 \. $ . — bu. —. . . \ .. n VI v”. .m.. .5 Q. o ”—4“ *1: WM we. :sy . ..— .. .sv nn 5. .T A I I m I O V « . Al . , _ ¥ . h? At regularly scheduled times throughout student teaching, the college supervisor will meet with all of the student teachers assigned to him, or with those located in one school or school system. The agenda for such meetings or seminars may be highly structured and planned in ad- vance, or the session may be problempcentered, built around the problems mentioned by the student teachers. The college supervisor many times is a "safety valve" for the stu- dent teacher by being a good listener and confidante on problems and matters which should not be discussed in the school community. The final evaluation of the student teacher is the reaponsibility of the college supervisor and is based on the opinion of the cooperating teachers, the observations of his own, the reports and materials provided by the student teacher and the student teacher responses in conferences and seminars. After this final evaluation is made, it is also his re- Sponsibility to write a recommendation for the teacher placement office.1 The following paragraph quoted from the North Central Association Quarterly seems to summarize the supervisory duties of the college super- visor: The college supervisor must spend sufficient time in the cooperating school to provide adequate super- vision of the student teacher's work in the classroom. In addition, he must consult with the student and the cooperating teacher for the purpose of not only helping the student appraise his work, but of exchanging ideas on the improvement of the teacher-education program ‘with the cooperating teacher and the administrator of the cooperating school. To discuss these time consuming demands, the college supervisor must visit the coopera- ting school at regular intervals. On such visits, he mmst be there long enough to fulfill the obligations lAndreWS, 22. 220’ pp. 66-670 '4 .v’. ”1 r... a O ...s. C‘ S «1.. n; -..C. -- . h: I .. s ~ ~ '1 v“ ,3. .Q» ‘3' ‘3-.. 0 VO- .31 «. A‘...:o .- ‘n . “ a"? ‘ u“ . ."‘o"v~ . #2.: J I ‘ fi‘ ‘ .‘..-c v A ‘5‘ v i.” :1 H o .— -.5 . ‘1 ‘ . ’1‘ t . “0 . ‘ ~ ‘, . - _‘\ \ 'J h8 expected of him. An occasional perfunctory visit will not achieve these objectives.1 As a coaworker in the public schools, the college supervisor must maintain relationships with the board of education and the superinten— dent of schools. His major reaponsibilities lie, however, in.working with the building principals and cooperating teachers. The major role of the supervisor from the college in dealing with the principal is that of support and enrichment in the integration of theorv and prac- tice. Time spent with a principal may be a wise investment, for through him concepts and agreements are translated into action, not bw*a sinale individual but by an entire staff.2 In dealing with the cooperating teachers, the college supervisor should provide this person with pro- fessional and personal information on the student teacher, confer as frequently as circumstances permit with this person to assist him in his guidance of the student teacher, and when appropriate, hold three- way conferences including the student teacher (sometimes fourawav, in- cluding the principal or other staff member) to aid in goal setting, planning, evaluation, additional experiences, and the resolving of proh- 3 lems. The Fortybthird yearbook of The Association for Student Teaching contains an entire chapter on the "Common Concerns of College 1"Some Guiding Principles for Student Teaching Programs," North Central Association Quarterly, XXXII, Octdber, l9g7, p. 196. The Association for Student Teaching, Teacher Education and the Public Schools, Fortieth yearbook (Dubuque, Iowa: William C. areas—ab. 1951, pp. 57’580 , 3Andrews, 22. Eli-Ea, p. 63;. . o ‘0 1:. . . ..IA .. o o ..., a . . . n. g . u a 2 C. .3 .o a a ' Claw . . I. ..r 2.. n . . .e a. new .N .o . . a . a s '0. min» a a n L. ... . MD a .c 3 .-. 4. e.» ...k to .. . . ¢ " «in a . ... .1.” add < .“ fl. . ~ 5 . .MM. 0% ..F. ML saw ..u ad Me. a... ma.“ ‘4 s .0 ‘l 0‘ d ~FTM .1! ”v .\ EU“. ”V u -\ ' § II nus . ‘ . . p — Q . $ ' . O . _ . r - a a . . n t I ‘ O _ F h9 Supervisors."1 These are summarized as follows: 1. Lack of role definition 2. Determination of work load - a formula for this does not exist 3. Travel difficulties h. Lack of status - usually these persons are doctoral candidates, instructors or assistant professors, and his contacts with other members of the faculty are limited because of the traveling 5. Relationships with the public school 6. Relationships with students Gelvinz discovered in 1956 that in thirty of the thirty-one insti- tutions investigated which employ a college supervisor, these staff mem- bers have a master's degree or above; in seven schools, they hold doc- torates, and in one this person is not a member of the college staff. Gelvin goes on to state that "there is apparently no agreement among schools in regard to the teaching load of the college supervisor." Among the formulae stated are, "twenty students equalled a full teaching load," "one-half semester credit hour per student teacher," "supervision is two thirds of a full teaching load," "twentyufive student teachers equalled one half a teaching load," "three students equalled one credit hour," "two students equalled one credit hour," and "twenty student teachers equalled a full load." This same study showed that the number of times per term that a college supervisor visits the student teacher and the length of each visit vary from school to school. The findings ranged from "only when there is need for his presence," through "one to seven times per term," "one or more times per term," "three or four times per term," "six 1Association for Student Teaching, The College Supervisor - Conflict and Challe e, Forty-third yearbook, gp.f§§t., pp. 11-20. 2Gelfin, 220 93-20, pp. 1111“].15. T. ... 1. a» ~ '3 6.3 y. a. 50 times per term," up to "weekly visits." The length of time spent in the classroom ranged from one period to one-half day. The Forty-third yearbook of The Association for Student Teaching has set up a list of ten guidelines for the college supervisor of student teaching as he seeks to make his contribution to providing high level learning opportunities for the student teacher. They are as follows: 1. 2. 3. h. S. 9. 10. In future The college supervisor-supervising teacher relation, ship should be one of peers -with differentiation of function'but not of purpose -with each gaining new insights -with potential energies released and mObilized for effective individual and cooperative action. Individual differences among the student teacher, supervising teacher, and college supervisor should be accepted and utilized. Efforts of the college supervisor should be closely related to the problems and concerns that are signifi- cant to the supervising and student teachers. Proposals made and action taken'by the college super- visor should meet the test of making a positive con- tribution to the teaching-learning situation for children or youth. Efforts should be directed toward developing general- izations, and applying them in new and different situations. Means should be developed to move from decision to action; to test and try ideas in the reality context. Evaluation should be continuous and cooperative. Action of the college supervisor should be governed by fundamental principles or guidelines, consciously held, with willingness to experiment in implementing them in new ways. The college supervisor should have special preparation for his roles. The work of the college supervisor relating to student teaching should be recognized as part of the total teaching assignment, and viewed as essentially equivalent in character to guiding a college seminar. the words of E. Brooks Smith, the college supervisor of the 1Association for Student Teaching, The College Supervisor-Conflict and Challenge, Forty-third yearbook, 22.‘git., pp. 1319163. 51 ...will have to divide his time between'both worlds and try to bring them together for the student. In short, he will have to be a colossus. However, there is no place in the educational world where colossi are more needed at this time, bridging the gap between school and college in teacher education and showing the profession a new view from the bridge.1 The Classroom Cooperating Teacher The cooperating teacher is referred to as the selected classroom teacher who guides the daily experiences of the student teacher. Vhre and more this person is a public school teacher who takes on the added responsibility of a student teacher. If, however, this person teaches in a campus laboratory school, he is many times referred to 83 8 super- vising teacher. It is the purpose here to create a profile in words describing the many facets of this important position. The position of cooperating teacher has developed tremendously during the past several years. Brom the status of the individual work- ing with literally myriads of student teachers, this position has evolved into one where the cooperating teacher is a well-trained professional individual working with a few select student teachers. Brink comments further on the importance of the cooperating teacher: If students are to derive the maximum value from their teaching experiences it is obvious that the care- ful selection of supervising teachers is of utmost importance. Not only must they be interested and will- ing to assist the beginning teacher, but they must also have demonstrated a high degree of professional competence.2 1Ibid., p. lb7. ZWilliam G. Brink, "The Administration of c3+.ude'r'fl‘. Teachino.in Universities Which Use Public Schools," Educational Administration and Supervision, XXXI (October, 19h5), PP. 3§H3h02. 52 Cooperating teachers must be carefully selected and the public school principal and supervisory staff must agree with this selection. The following four categories, according to Lindsey, might be viewed as the special qualifications required of this person: 1. Superior attainment in all the competencies required of regular classroom teachers. 2. Deep understanding of and ability to apply what is known about college-age youth mid the learning pro- cess to work with college students. 3. Understanding of and ability to work in a total pro- gram of teacher education. 14. Interest in and positive attitudes toward the welfare of the profession and ability to induct young people into the profession in such ways as to facilitate their development of similar interest and attitudes.1 Sands2 found in 1952 that in his study 2.65 per cent of the cooper- ating teachers held doctorates 3 68.75 per cent held a master '8 degree 3 and 28.61 per cent held a bachelor's degree. It was flso found that these persons had from O to 2 years' experience as a supervisor and fran 9-11 years' experience in classroom teaching. Criteria which will prove valuable in the process of selecting co- operating teachers of the highest caliber are outlined by Cook, Wilt and Woofter. l. The supervising teacher should be one who can create a democratic atmosphere in his relation with student teachers. 2. Teachers selected for supervising teachers should be those who constantly strive to find better ways of teaChing. 3. Supervising teachers should be selected in relation to the situation in which the teacher education institu- tion operates. 1 Margaret Lindsey, aAfter Student Teaching- What?“ Education, LXXIII (June, 1953). pp. 215-223. 2 John E. Sands, "Survey of Off-Campus Student Teaching,'. Sc__h______ool and Socim, IIXVI (August, 1952), pp. 137-139. L. Ca u. a ‘ A C O u e e «C :5. .a r av . M c . . . n. C a “a an... 3.. h... mm. In i. C e... 5. . A: i .m. an .. 53 1:. Persons selected as supervising teachers should exhibit a willingness to work with inexperienced teachers. 5. Persons selected as supervising teachers should exhibit the disposition to acquire through in- service and instructional training the skills and understandings necessary in working with stu- dent teachers. 6. Supervising teachers must be able to analyze teaching critically. 7. Supervising teachers should have developed broad cultural interests. 8. No person who has not acquired an experimental attitude should be selected as a supervising teacher. 9. All supervising teachers should reveal great inter- est and enthusiasm for the service they are perform- ing. 10. Supervising teachers should be tolerant of human weaknesses. 11. The initial selection of supervising teachers may be done partially on the basis of certain objective criteria. These criteria should include as a minimum: a. four years training in teacher education b. three years successful teaching experience 0. participation in professional groups d. good moral character a. recent educational training f. an expressed willingness to acquire in- service training in teacher education} According to Lingren in 1957. only eight states have specific car- tification requirements and] or state-controlled criteria for the approval of cooperating teachers. A few of these states require graduate credit in supervision, workshops or courses designed for cooperating teachers.2 McGuire in his 1963 study which was confined to the area of music and undertaken on a national basis found that about two-fifths of the 1Kermit a. Cook, May 1.. Wilt, and Mildred Y. Woofter, Student Teachi in the Secon School (Dubuque, Iowa: W. C. Brown Company, I955), pp. 132-3153. 2Vernon C. Lingren, ”The Certification of Cooperating Teachers in Student Teaching Programs," The Journal 31’ Teacher Education, VIII, NOe 11 (December, 1957), We h03me d‘ “E vs I ‘fi‘..~' ..yJ ' I - N s C. . a u \a u M e. E . h an .6 .6 ‘ 5h reporting institutions indicated that they did have special criteria for selecting cooperating teachers. These were: (a) must have masters degree, (b) must have five years teaching experience, (c) must have three years exper- ience, (d) must have two years experience, (e) must have one year experience, and if) must hold a state approved teaching certificate. The majority of the responding institutions, however, did not have such specific criteria for selection. They listed much more general criteria such as: (a) must be sympathetic to teacher training (b) must have demonstrated outstanding success as a teacher (c) must be recommended by the public school adminis- tration (:1) must be a proven leader, and e) must be approved by a visiting college committee. It is interesting to note that very few of the type of criteria recommended by Cook, Wilt and Woofter were actually practiced in the McGuire study. McGuire also found that "in a vast majority of the cases, college music actuators, college general educators, and public school adminis- trative personnel were all involved in deciding which public school teachers should be asked to be cooperating teachers."3 Undoubtedly, perceptions of the proper role of the cooperating teacher varies greatly among those presently serving in this role. How- ever, as this cooperating teacher perceives his role, it seems to involve at least five facets. They are: (l) accepting the supervisory task, (2) adjusting to a professional partnership, (3) guiding a prospective l’McGuire, 92. 332., p. 115. 2Ibid. 3Ibid. 55 teacher's efforts, ()4) helping a colleague evaluate his growth, and (5) deriving professional advantage from the presence of a student teacher.1 In accepting the supervisory task, the college representative and the cooperating teacher must be aware that frequent contact and open avenues of communication are vital and the colleges must be ready and willing to provide the kind of help the cooperating school personnel feel they need and want. This personnel must be allowed to participate in planning and evaluating the on-going program. It is imperative, how- ever, that all cooperative arrangements should be of such a nature that they can be terminated at the end of the year if conditions are not set- isfactory to either the college or to the off-campus cooperating school.2 The adjustment to a professional partnership is possible only if mutual confidence and respect are established and maintained. All co- operating school personnel need the assurance that the college regards them as essential co-workers. The forty-fifth yearbook of the Association for Student Teaching lists various competencies necessary for guiding a prospective teacher's efforts. They are: i I. Competencies related primarily to classroom procedures and techniques. 1. Gives suggestions in matters of discipline. 1Association for Student Teaching, Teacher Education and the Public Schools, Fortieth yearbook, gp. _c_:i_._t_., p. 39. 2Association for Smdent Teaching, Facilities for Professional Laboratory Qgriences in Teacher Education, Thirty-:t-Hird yearbook, 9E. 40, Pp. 0 3Ibid., p. 31. II. III. 2. 3. h. 5. 6. 56 Acquaints the student teacher with “routine" matters. Displays accuracy in keeping records. Creates a democratic setting for learning - one in which pupils share in some decisionpmaking experiences. Assists student teacher in setting reasonable standards of performance for his classes. Encourages creative thinking and planning by' pupils and by the student teacher. Competencies related primarily to the working rela- tionship'between the supervising teacher and the student teacher. 1. 2. 3. h. 5. 6. 7. 8. 9. 10. 11. Is available for consultation.and moral support when needed. Analyses with the student teacher the value of experiences; helps the student teacher to dis- cover which ones are most worthwhile. Helps the student teacher set his goals and formulate his educational philosophy; Shares in.planning with the student teacher. Plans and teaches through another adult; originates and suggests new'ideas without dominating the student teacher's thoughts and actions. Establishes a feeling of security on the part of the student teacher by clarifying his re- sponsibilities throughout the student teaching period. Recognizes and helps relieve tension.in pupils and in the student teacher. Offers criticism - continuous, specific, and constructive - in.a sympathetic manner. Helps the student teacher to deve10p understand- ing of his own strengths and weaknesses, and to build a healthy self-concept. Invites the student teacher to participate in the professional and social activities of the staff. Shows willingness to consider new and different techniques in an openpminded manner. Competencies related primarily to the transition from the relative inactive status of the student teacher at the beginning of student teaching to his active status later in the assignment. 1. 2. Gradually lets student teacher accept increasing responsibility until full teaching responsibility is assumed. Helps student teacher to understand his job in relation to the entire school program. ‘4. I I z 341:5...de ...—— *- ats hi 5t;§e: later sea to saif-91 Of the 57 3. Helps student teacher build teaching skills through observation of his (cooperating teacher's) teaching. h. Assists student teacher in recognising theories in practice - child development, psychological prinp ciples, and so forth.1 In achieving facet number four, that of helping a colleague evalup ate his growth, the cooperating teacher must initially request that the student teacher evaluate cooperatively the teacher's own teaching with later reversal of roles. The two persons must have frequent conferenp ces to evaluate progress of the teaching-learning, with both practicing selfbevaluation,and this type of evaluation should be an important part of the mid-term and final evaluation. The final facet, that of deriving professional advantage from.the presence of a student teacher, is one which is not frequently recog- nized by the cooperating teacher. It is most certainly a mark of ex- cellence in the supervising teacher that he can make the various relap tionships with the student pay off for himself, for his class, and for the school. Conversely, the student teacher is afortunate indeed who finds himself working alongside one who is experienced but seeks new experiences, who is wise but reaches for new‘wisdom, who is confident of what he knows and what he can.do but is humble in the face of what he has not yet discovered."2 One important key to the improvement of the student teaching pro- gram is the development of inservice education for the cooperating ;Association.of Student Teaching, Professional Growth Inservice of the S rvis Teacher, Fortybfifth yearbook (Dubuque, Iowa: “13‘“ Ce row 00., Ines, 1966), pp. 19‘200 2Associationfor Student Teaching, Teacher Educationnagg_thg'Public Schools, Fortieth yearbook, 22. _c_i_t_., pp. HIE-ES. teacha: spsnsiE of the such '. gran fc. I31' 3.13 “wand 58 teacher as he works with student teachers. This training is the re- sponsibility of the college or university and the success or failure of the student teaching program in the public schools could depend on such an in-service program. The state of Georgia has a state wide pro- gram for educating carefully chosen teachers to be cooperating teach- ers.1 Various mans through which this inservice program can be facil- itated are (1) college or university courses, (2) workshops or seminars, (3) supervisory conferences, (1;) printed materials such as handbooks and newsletters, (5) professional organisations (1.0., The Association for Student Teaching, The American Association of Colleges for Teacher Education, The National Commission on Teacher Education and Professional Standards, and The Association for Supervision and Curriculum Develop- ment), (6) the laboratory school, (7) involvement in the college program, and (8) educational television.2 Various suggestions are offered by Cook, Wilt, and Woofter to aid the college or university in developing in-service training programs. The seendngly more significant are: 52"ééfiééé'ééfiiéi;££~;£5£é'ééé'iii'ééfiéé'ééfiééé'ééél' sonnel concerned with the student teaching program should make it possible and feasible for campus or non-campus supervising teachers to attend confer- ences, classes, and workshops designed to improve the level of supervision of student teaching. 1Might K. Curtis and Edgar Tanruther uIra-Service Improvement Pro- grams for Cooperating Teachers and Laboratory School Supervisors ," Facilities for Professional Laborato oeriences in Teacher Education, E D . HolstIn—e, editor, association gr s~ udent flaming—TEE, rty-third yearbook, pp. 200-2114. 2Association for Student Teaching, Professional Growth Inservice 93 the Supervising Teacher, Forty-fifth yearbook, 92. _c__It'., pp. Eli-YE. 59 h. In selecting schools for student teaching, college administrators must select those in which in- service educaticn programs are already established or in which the faculty reveals a willingness to utilise the facilities of such a program for in- service growth. 10. Teacher education personnel must continually seek ways to provide in-service development for co- operating schools both in the area of improving their services to children as well as improving teacher education laboratory experiences. 11. In the pre-service training of supervising teachers... many things might be done but the following are fea- sible enough administratively to be done in many situations: a. Have prospective supervising teachers attend a graduate workshop on courses centered around student teaching; b. Have the supervising teacher participate in some kind of internship under the direction of the director of student teaching ; c. Make it possible for the supervising teacher to come to the college campus for some kind of evaluation after the internship]- Basically, the only two alternatives which are presented in the problem of remunerating off-campus teachers for their cooperation in a college program of student teaching are remuneration in cash or in privileges. Examples of privileges might be passes to athletic events, concerts and lectures, faculty status, tuition grants, etc. Particular practices in individual institutions seem to vary to meet the needs of the specific local situation. Contemporary practices include a wide variety of methods for remuneration as well as no financial or other consideration. Generally, where the resources permit and where 1Cook, Wilt, and Woofter, 22. cit., pp. 1514-156 as cited by Snyder, 920 Elie, pp. 52-530 3:11 (.3 w 0. e "k ° r~UaglI A"! ‘ 33‘30c-s‘ 60 the initial relationship included some type of remuneration, coopera- ting teachers are reimbursed. Where resources are meager, the reverse is true. Stratemeyer and Lindseyl recognize three general kinds of financial arrangements: 1. The college pays each classroom teacher who serves in the capacity of cooperating teachers. In some cases the principal is also paid. 2. Colleges pay into funds of a school system, the money being used to improve the student teaching program. 3. No payment is made, on the assumptions that the student will within a year become a teacher. The service is an obligation of the schools, and helping in the program is good for the school. The 1951 yearbook of the Association for Student Teaching states some twelve kinds of awards for cooPerating teachers. They are: 1. Payment of money directly to the c00perating school or district. 2. Awarding of tuition credit to the cooperating teacher. 3. Awarding of cash honorarium to the cooperating teacher. 14. Furnishing substitute teachers for the cooperating teacher. 5. Furnishing expense money for cooperating teachers attendance at workshops, conferences, and conven- tions. 6. Housing of public school students in college-owned buildings. 7. Granting to cooperating teachers the use of college facilities not offered to other teachers. 8. Supplying educational equipment, supplies, texts, and furniture. 9. Supplying occasional consultant services by college staff. lStratemeyer and Lindsey, 33. cit., pp. 70-71. . .194 .— S? A 61 10. Awarding of a four-year scholarship to a student of the cooperating school. 11. Awarding a cash honorarium to the cooperating principal. 12. Awarding of credit toward the bachelor's degree to the cooperating teacher.1 It is interesting to note that in 1958 the statement was made that: The California Teachers Association has had long- standing policy regarding the practice of paying super- vising teachers directly for student teaching services. It has been the policy of our commission on teacher education to discourage this procedure. The practice is, however, prevalent, particularly in southern California. During this next year we m make a stronger statement indicating that there are more desirable ways to recognise the supervising teacher.2 The results of a survey conducted in 19611 by the American Associ- ation of School Administrators indicate that only seven per cent of the system involved in the study offer no remuneration at all to the co- operating teacher. In the great majority of school system surveyed, cooperating teachers are offered money (850 to 860 per semester or quarter seems typical) or tuition free courses at the cooperating col- lege or university.3 lieGuireh found in 1962 that monetary payments made to cooperating teachers in music ranged from nothing to over one hundred dollars. He lAssociation for Student Teaching. "Off-campus Student Teaching," Thirtieth yearbook. (Lock Haven, Pennsylvania: Association for Student Teaching, 1951), Chapter Iv. 2Asahel D. Woodrnff, Student Teaching Todg (Washington, D. 0.: The American Association of Colleges or Teacher Education, 1960), p. 20. 3Pose Lani), The Student Teach Process in Element Schools (Coluims, Ohio: Charles E. He Books, Inc., 1%“, p. 12. Gwe, .03. fie’ pp. 117.1180 also 5: tezden< past, 1 Eight c indicaf ;.an a: belief it the: L' C are div erat irg HIV“, ‘1“6 «.3: 62 also found that his data indicated two trends for the future: (a) "a tendency toward paying something where nothing has been paid in the past, and (b) a tendency toward increasing the amount presently paid.‘I Eight of the one hundred thirty-three institutions paid nothing and indicated by written consent that they were satisfied with the present plan and did not anticipate a change. Some institutions also expressed belief that they would have increased control over cooperating teachers if they could pay something, or if they could pay more. Obviously, the practices of remuneration for cooperating teachers are diverse. With regard to the nunber of student teachers assigned to a coop- erating teacher, the recommendation seems to be overwhelmingly in the singular. Galvin:l found that although the type of student teaching program affected to some degree the nunber of student teachers assigned to one cooperating teacher, the practice of assigning one student teach- er at a time to a cooperating teacher was found in schools in all of the categories. The extreme imortance of the cooperating teacher has always been recognised by those responsible for the education of prospective teach- ers. Troisi in writing in the Thirty-eighth yearbook of the Association for Student Teaching stated: The supervising teacher...is becoming recognised as the most influential person in a teacher education program. In most cases prOSpective teachers spend more time with their supervising teacher than any other lGelvin,_gp. cit., p. 118. 63 staff masher. This fact alone puts the supervising teacher in a position to influence greatly the pros- . pective teacher.1 The Student Teacher The name student teacher designates a college or university student assigned to observe, participate, and teach in a cooperating classroom. Each student teacher approaches this assignment with some doubts and each brings to this assignment a different set of qualifications, strengths, and competencies. The readiness to pursue this assignment is entirely an individual matter and recognition of this fact would seem to indicate that not all students should enter upon the work of student teaching at the same point in the professional sequence. It would seem that each placement should be contingent upon the ability of the student and the nature of earlier professional laboratory experiences.2 In de- scribing the student teaching at Temle University, Butterweck states: When should the student enter student teaching? When he as an individual is ready for the responsibility of teaching...How long? Until there is evidence that competency has been developed to the point where the young teacher can "carry on" on his own. This means not only the competency to teach a traditional lesson in a conventional manner; it mean competency to take pupils where they are and guide them to a higher point in their development.3 No other experience in the program of teacher preparation is con- sidered as important as student teaching in the minds of the students 1 Association for Student Teaching, _T_h_g Ssupervisig‘g Teacher Thirty-eighth earbook (Cedar Falls, Iowa: soc a on for Student .Teaching’ 1959 ’ Fe 18. 2Snyder, 22. 333., pp. 29-30. 3J. S. Butterweck, "Student Teaching-~When, Where, and How?" Journal 3.3 Teacher Educatigg, II (June, 1951), pp. 139-1h2. the; iencq will teacl the c studs q Gee/j sfihae 6h themselves. Tension, anxiety and sometimes downright peril is exper- ienced by the average novice. "Will the students listen to me? What will I do if they don't do what I tell them to? What if aw cooperating teacher doesn't like me? How will I know what I am supposed to say to the class?" These and mmerous other questions are upper-most in the student's' Aninds as they begin student teaching.:l Even the most capable student is often awkward and inept . In addition to the need for a strong desire to teach, there are other qualities which student teachers must have if they are to suc- ceed in their initial teaching experience. Each student needs a well rounded background in general education as well as a functional know- ledge of the subject matter which he is to teach. Generally, the col- lege program in teacher education will include three mjor aspects: (1) general education, (2) professional education, and (3) area of specialization. Various colleges and universities place different levels of importance on each of these areas, so obviously, "the type of college program in which the student is enrolled bears significant weight upon selection of beginning activities, expectations within the length of time available and possible strengths and weaknesses in the students curriculum background."2 Understanding the student teacher in relationship to his background is a most important aspect. Some of the personal factors which are of 1 Association for Student Teaching, Four Went T3 Teach, Thirty- fifth yearbook (Lock Haven, Pennsylvania-z—The Esocia'tion for Student Teaching, 1956), p. 9. 2 Haines, 92. p_i_t_., p. 82. . ‘5‘ ~-—- pafiim and he‘! travel iences howeve: it is 1 say he 65 particular importance in this understanding as: "personal interests and hobbies, family situation, types of communities lived in, extent of travel, work experiences not directly related to teaching, and exper- iences with children.in.commmnity'activities.'1 Care must be taken, however, to avoid over-generalisation from specific items of data but it is helpful to know what personal resources the student brings which may have potential use in teaching. The beginning student teacher needs a basic understanding of the learning process and its functioning in a variety of situations. Two conditions relative to this basic understanding will influence mam decisions about his responsibilities during the student teaching program. They are: "(1) the type and extent of the students experiences prior to this phase of his teacher preparation, and (2) the students assindlation of his experiences."2 In addition to more knowledge of the student teachers' background and potential, this knowledge must be viewed in relation to the specific working situation in which he is placed in order to make plans which are suitable for his stage of growth and which are appropriate to the on-going program of the school.3 The responsibility for selecting the students admitted to the pro- gram of teacher education should fall to the college or university. Selection should begin at the time the student enters, and should be a continuous process until the time the student is certified as a teacher. 11bid., p. 81. 2Ibid., p. 81;. 3Ibid., p. 85. 66 In the opinion of Stiles: Special. emphasis should be given to selection at certain times; namely, at the beginning of the freshman and sophomore years, at the end of the lower division; the time of entrance to the final period of student teaching 3 the beginning of the internship program and before certi- fication. Students who have been found unfit for, or uninterested in, teaching should be re-directed at any time into other fields. As many relevant factors as possible-u-including emotional stability, character, teach- ing aptitude, health, ability to work with others, level of general culture-«should be used in the selective process.1 Baugher, who is concerned with the liberal arts concept and teacher education, recommends that: A student should make formal application for the privilege of doing practice teaching, filing his request no later than the second semester of the year previous to the year in which he expects to do the work. The student should have the formal sanction in writing of the head of the subject-matter department at the college in which he has taken his major work, and in which he hopes to take his practice teaching. He should have at least thirty semester hours of credit in his major field and twenty four in his minor field. All grades received in these two fields should be above the average, since scholarship above the average is essential for a pros- pective high school teacher.2 McEachern, in dealing specifically with the education of music teachers, feels that: ...only those students (should be admitted) to student teaching who possess mastery of subject matter, teaching l Lindley J. Stiles, "Pro-Service Education of High School Teachers in Universities" (unpublished Ed.D. dissertation, University of Colorado, 19,45), Pe 363e 2Jacob I. Baugher, 0r animation of Practice Teachi in Private Endowed Colle es 2.? fiberal He (New York: Eureau of P655 Hcaaons, Teachers Sellegemia University, 1931) , pp. 91;- 9 . ‘ v . . 3L . c0115 Perm 67 techniques, and personality traits sufficient for teach- ing music in the classroom]- McEachern further proposes that before being admitted to the stu- dent teaching program in the field of music, he should show evidence of his readiness to teach that subject in the following ways: 1. 2. 3. Completion of all. general and music education courses which are designed to prepare him for student teaching. Scholarship attainment of a I'B" average in both music and non-music subjects. School music supervisor's piano. Regardless of the primary instrument chosen, school music majors should be required to pass an examination in piano as related to the teaching of music in the classroom. This should include such practical accanplistments as playing and combining voice parts, playing an orchestra score, and playing from memory a repertory of frequently used connnunity songs.2 The Stiles study,3 which was written in 1915 and included eighty institutions, found that the most common requirement for the admission to student teaching was a minimum scholastic average of "C," as re- ported by sixty-two percent of the schools ; 12 percent indicated a "0+," and 12 percent reported "B." Students who did not meet these minimum standards were not allowed to enroll for the course. In 1956, Galvin reported, as a part of her investigation of to colleges and universities, that 22%- percent of the colleges have only course requirements as a prerequisite to student teaching; 52%- percent require an average of 'C" or better; 22% percent require only JEdna McEachern, Aurv Surv an__d_ Evaluation of the Education of School Music Teachers in the nited States (New York: Tureen of Publications, Teachers College, Columbia University, l937), p. 116, quoted in Snyder, 92. 933., p. 33. 2McEachern, Q. 3.13., p. 121, quoted in Snyder, pp. 323., p. 3b. 3Stilce, 1.93. 9_i_t_. juaic in ex the : Stitt lidlc Yea; It'll inlf II. 4H4 68 junior or senior rating; and that 30 percent have screening programs. An examination of the screening program shows the following practices: 1. Faculty committee which determines the readiness 2. Physical and psychological examinations 3. Recommendation from the student's major advisor ’4. Pass examinations in speech and’English I 5. Piano examination 6. Examination in the major performing area 7. Examination in basic music education 8. hamination in personality adjustment In most of the schools, the student teaching staff knows and guides the students prior to the student teaching experience. Wenty-five in- stitutions indicated they guided weak student teachers and fourteen indicated that they require extra clock hours in student teaching for weak student teachers.1 It is important for any institution taking on the task of pre- paring teachers to realize that the growth of a completely professional body of teachers is dependent upon the widespread recognition of the fact that such a selective process is employed.2 Haines lists two concepts of the role of the student teacher. She writes : lGelvin, 92. gig” pp. 119-123. 2Raymond J. Fay, "Pre-Service Preparation for Professional Participation," The Education 9f Teachers-«As Viewed b the Profession, Bowling Green COHErence Official Group Reports, No. , National Commission on Teacher Education and Professional Standards (Washington, D. C.: National Education Association, 191$), P. 225. ative 69 If student teaching is viewed as an apprenticeship, for example, then emphasis is apt to be placed upon en- couraging the student to imitate the master teacher and to become competent in the established routines and ways of functioning found to be effective by that teacher. In contrast, if student teaching is viewed as an internship in teacher education, stress will be placed upon creative application of fundamental principles, abstractions of sound generalizations from immediate involvements, and continual explorations of varied possibilities for implementation.1 Hopefully the student teacher will be an "active, purposeful and cre- ative intern" - not a "flattering imitz-ltore"2 The network of interpersonal relationships involved in a cooper- ative student teaching program provides the framework for and, in a large measure, determines the quality of experiences. As the student teacher enters the classroom in a subordinate role he has naturally some concern and anxiety about his relationships with the children and with the coOperating teacher. As the term progresses, the student teacher will assume more leadership in wider areas, and the cooperating teacher may more frequently be in a "supportive, subordinate role." Other interrelationships which the student must respond to are with the community, the college supervisor, the director of student teaching, the faculty and administration of the cooperating school, special re- source persons , and parents. It is imperative that all these relation- ships are wholesome and harmonious as this is vital to the development of an effective student teaching program.3 ms, 220 9-1-20, pp. 13-114. ZWb, 22. Slit-0’ p. 30 311811168, 92. 21.30, p. 720 Illlll' 1i yknr. ... I It 70 Bond, in a study of the strengths and weaknesses of student teach- ers of music at the University of California over a two-year period, found weaknesses in the following areas: 1. 2. 3. h. S. 6. 7. 8. 9. Lack of broad cultural understanding. Selection and use of instructional materials. Achievement of discipline. Lack of creative ability. Resourcefulness in teaching. Provision for individual differences. Lack of forcefulness. Lack of effective speech. Attention to English skills as related to the subject.1 Thirty-WO traits of sixty-two student teachers in music were studied over a period of two years during the total investigation, and Bond found that: Student teachers were found consistently to rate highest in professional factors and lowest in qualities of professional competence, with scholarship traits falling between these two extremes .2 The problems encountered by student teachers are listed and cate- gorized in several research studies. Ahlering, in 1963, identified the imposing problem that include "many of the problems not yet solved by experienced teachers." The listis as follows: 1. 2. 3. h. S. 6. 7. 8. 9. Grading papers. Arguing over test papers. Restlessness of students. Handling discipline problems. Attending college and doing student teaching at the same time. Introducing new ideas to stimulate discussion. Planning lessons to accomplish definite goals. Being criticized for going ahead and doing what I wanted to do after I had been given instructions to do so. lJesse A. Bond, "Strengths and Weaknesses of Student Teachers,’. Journal oi Educational Research, XLV (September, 1951), pp. ll-22. 2 Ibid., p. 22. 13. As: was devej 3. h. 10. 11. 12. 13. 1h. 15. 71 Having to rely on my am judgment as I started to teach when advice from supervising teachers, college instruc- tors, books, and pamphlets was conflicting. Motivating students who don't care so long as they pass and some who just don't care at all. Handling absenteeism. Budgeting time. Presenting subject matter. Being able to ask questions on a high school level.l A stmnary of the overall responsibilities of the student teacher was developed by the staff of Marshall College in 1951 and included in the Thirty-fourth Yearbook of the Association for Student Teaching. They are as follows: 1. 2. 3. h. S. 6. Observe good teaching during the period when methods are being studied. a. Classes taught by laboratory school critic. b. Parallel classes in public schools. Accept every Opportunity to do "informal" teaching in connection with methods. ... . Attend regularly the general conferences which are held during the semester. Accept all invitations to become "one of the staff" by eating in the school cafeteria, going to "The Spot" for a Coca Cola, etc. It is not always easy for a student teacher to break into the faculty circle. ... Accept every opportunity, both at the laboratory school and at the public school, attend faculty meetings, assemblies, athletic contests, and other extra- curricular activities. Learn to teach boys and girls.2 A close look at the student teacher therefore puts him in the leading role with the cooperating teacher as the director of drama. In the supporting cast are the director of student teaching, the col- lege supervisor of student teaching, the other staff members, the ad- ministrative personnel, the maintenance staff, and the parents. The 1 . Inez Ahlering, "Reactions by Student Teachers," 03.3% House, xxxvu (February, 1963), pp. 337-310. 2 Association for Student Teaching, Functions of Laboratory Schools in Teacher Education, Thirty-four-—_—_-th learboB'E, pp. 933., p. hl. S‘rve‘ s [an L‘ 'fi I I; 72 school and community furnish the setting and with this in mind, let us now tum to the dramatic action itself - the student teaching pro- gram.1 The Student Teaching Program Structure of the Program The student teaching phase of teacher education many times presents serious problems. The colleges and universities are not in favor of interrupting the academic sequence of the major area of concentration to provide time for student teaching. The public schools are not in favor of the teacher obtaining his initial professional training on the job. Consequently, the student teaching experience becomes a child in a broken home. It does not clearly belong to either parent, and the parents do not see much of each other.2 In 19h8 the American Association of Teachers Colleges developed nine basic principles of laboratory experiences in teacher education. This set of principles seems to be the most widely recognized by the profession. They are stated thus : Principle I: The particular contribution of professional laboratory experiences to the professional education of teachers is three-fold: (1) an opportunity to implement theory - both to study the pramatic value of the theory and to check with the student his understanding of the theory in application, (2) a field of activity which, through raising questions and problem, helps the student to see his needs for further study, and (3) an opportunity to stuw with the student his ability to function effec- tively when guiding actual teaching-learning situations. lAssociation for Student Teaching, F_2_ur W_g__nt t_9_ Teach Thirty- fifth yearbook, 22. cit., p. 136. 2Hoodruff, 92. 213., p. 1. —. o .. I q ‘ c ~ I I c . . Q ‘ ._. 0 0 o . ' ' o I 73 Principle II: The nature and extent of professional laboratory experiences should be planned in terms of the abilities and needs of the student and should be an integral part of the total program of guidance. Principle III: Professional laboratory experiences should provide guided contact with children and youth of differing abilities and maturity levels and of differing socio- economic backgrounds for a period of time sufficient to contribute to functional understanding of human growth and development. Principle IV: The professional program should be so de- signed as to afford opportunity for responsible partici- pation in all of the important phases of the teacher's activities, both in and out of school. A Principle V: Professional laboratory experiences should be cooperatively developed by the student and his advisors. Adequate supervision and guidance should be provided through cooperative efforts of laboratory and college teachers. Principle VI: Professional laboratory experiences should be integrated with other phases of the student's program. Professional education is the responsibility shared by all members of the faculty, each contributing to the maxi.- mum deve10pment of the student as individual, as citizen, and as member of the teaching profession. Principle VII: Evaluation of professional laboratory experiences should be in terms of growth in understand- ings and abilities needed in the situations faced by the teacher working in our democracy. Principle VIII: Physical facilities should be adequate to provide a range of firsthand experiences with children, youth, and adults in varied school, home, and community situations. Principle DI: Professional laboratory experiences should be deve10ped to recognize needed continuity in the pre- service and in-service educational programs.1 Tenenbaum, in reporting the philosophy of William Heard Kilpatrick, states that: 1American Association of Teachers Colleges, Schoo____l_. _a_n_d C ommunit Laboratoll Experiences in Te__§_.____cher Education 92. cit., pp.l 13:317. 7h ...the almost universal practice is to require formal courses first, and then later, generally in the senior year, students are required to participate in actual classroom practice. This divorce of theory and practice, Kilpatrick believes, makes the theoretical educational courses seem remote and unrealistic; and there always exists the great danger that even good theory will not function when the student begins to teach. Kilpatrick believes that students from the beginning of their course should assist master teachers in actual classroom practice. The students should then neet in the afternoon with their teachers and college instructors to discuss the meaning of what they observed and what they did. The teacher-college curriculum should not be fixed in advance, but should arise out of the needs and interests and the problems of the student teachers. ...The felt needs of students as they arise from actually observing and trying to meet classroom problems 3 this should serve as a base for further study of both students and faculty. ...As the students gain insight into the learning process, they would be given increased respon- sibility in actual classroom management. Theory and practice should go together.1 In 1931 Baugher recommended that: The practice-teaching course should be offered during the first semester of the senior year, and should be at least eighteen weeks in length; ...the practice teaching course should be accompanied by a two-or-three-semester- hour course in the technique of teaching or principles of high school methods, and it should be followed during the second senester by a three-semester-hom- course in phil- osophy of education. The practice teacher should meet his class every time the class meets, and should never stay for less time than a full class period.2 The "Bowling Green Plan" has had considerable influence on stu- dent teaching philosophy. Litherland states that this plan is ...designed to provide the student with a semester of full-tine participation in those activities which are related to teaching. The student elects the semester in his senior year which he wishes to devote to 15amue1 Tenenbaum, William H__e___ard Kil trick: Trail Blazer _i_n_ Education (New York: Harper 8: Brothers, 19%), p. 202. 2381181191', 92. 21.20, Pa 950 75 student teaching. The semester could well be designated "the semester of professional concentrationdfiL This "block plan" is further described by Littleton: 1. One week of observation, usually in his home school before college Opens. 2. Two weeks of intensive study of general and special nethods in preparation for student teaching. During this time the student teacher contacts the super- vising teacher under whom he is to work and does some observing in his classes. 3. Eleven weeks full-time assignment to student teach- ing, during which the college student has only one campus assignment, a two-hour special methods class one night a week. During this eleven weeks the student teacher teaches approximately half-time each day and spends the other half of his time at many other activities that enter into the responsibility or a teaCherc so. h. Three weeks off-campus teaching. Here they get another variety of experience in some distant school. 5. Two days back on campus for summation and evaluation of the semester's work.2 As of 1951, the Association for Student Teaching reported that student teaching was predominantly a culminating experience. It was in the senior year 92.2 per cent of the time on the elementary level and 97.8 per cent of the time on the secondary level. The per cents were 27.3 and 16.7, respectively, for the junior year. By 1957 it was apparent that there was some change in thinking about this as the Fourth Annual New Teachers Conference of the California Teachers 1H. Litherland, "Bowling Green Plan for Student Teaching," School and Society, LHII (September, 1950), p. 165. 215:. N. Littleton, "Student Teaching in the Secondary Schools" National Association of Secondary School Principals Bulletin, XXXVI (I511, 1952), Pp. 15:6. I J .. Q I C I a 3.. a a . . . . a. 3.9 w. * a 4‘ as . u. ..v .7. e . . «U .. a a 3 l C. l m x I r . . I Q . Q . O . 76 Association recommended that "the amount of time devoted to student teaching should be increased with as much as possible of the theo- retical training coming later."l In.1963, McGuire reported that a majority of the institutions he investigated concerning student teaching in music preferred either the first or the second semester of the senior year. He stated that of the 138 institutions responding: about one-fourth preferred the entire senior year. Ten institutions preferred three semesters, including the last semester of the junior year and both semesters of the senior. In most of these cases, elementary vocal experience was prescribed for the junior year. Five institutions indicated preference for either a fifth year of undergraduate, or a senior and graduate year combined, or a full year of graduate study devoted to practice teaching.2 Lindsey, on the other hand, is Opposed to the concept that student teaching should be the terminal activity'of the students undergradu- ate program. She states that it should not be placed "in.the final semester of the college program," and that this program should be "flexible enough that any student could enter student teaching at the point when he is ready to profit most from.the experience."3 The McGuire study also showed that the music courses most often listed as prerequisites to student teaching were: "elementary music methods, secondary music methods, theory, conducting, instrumental methods, and choral techniques." Proficiency examinations prior to receiving permission to enroll in practice teaching were required in J\‘IOOdrnif, 920 232-10, Po 3. ZMCGUire, 220 2.1-2.0, Po 11h. 3Lindsey, “After Student Teaching-JWhat2," p. 73. I'a la: 1033. IO 0 «on,» - Jud-a... .— - ~ J. a .. a. e .. . 77 "a large minority of the institutions." These examinations were usually in one or more of these applied areas: "piano, voice, func- tional piano or keyboard harmony, major performing medium, and minor ins trunents."1 An important aspect in providing a good beginning to the student teaching experience is that of indoctrination of the student teacher into the policies and regulations of the cooperating school. Gelvin2 found that in most schools the student teacher reports directly to the principal. of the assigned cooperating school. ‘Itmnty-six of the forty institutions included in the study have indoctrination programs that familiarize students with the school in which they will work. In many schools the student teachers are also taken on a tour and intro- duced to the faculty of the cOOperating school. In the past, the prevalent concept was that the student teaching experience would provide the graduate with some degree of skill in teaching. More recently orientation seems to be a more realistic ex- pectation.3 Lingren emphasizes the importance of the full-day experience in the following statene nt: Any student teaching program which fails to give prospective teachers considerable experience in a full- day schedule of classes should be carefully analyzed to determine if these pro-service teachers are gaining the proper perspective of the teaching profession. Even if the student teaches only part of the day, and JflcGnire, 22. £2.30, P. 1120 2Gelvin, pp. p_i_t_., pp. lat-125. 3Woodruff, pp. 23.3., p. 3. 0:1 1:12;; 0" k- e ‘ ..q K... A: h I O .‘/.\ 78 observes during the remaining periods, he is gaining a better picture of his future job.l McGuire, in investigating the courses required concurrently with practice teaching, found that a majority of the colleges and univer- sities conduct seminars which meet regularly during the practice teaching term. Generally these seminars were conducted by the educa- tion faculty rather than the music faculty. The respondents seemed convinced of the value of these meetings. Other courses listed by McGuire as required concurrently‘were: 'Laboratory Band, Orchestra, or Choir, Education Department block courses, Guidance, Tests and Measurements, Applied Music, Instrumental Administration, Music Administration and Supervision, Orientation, Evaluation, Social Foundations of Education, History of the United States, Student Teach- ing Practicum, Principles of Teaching in Secondary Schools, Class- room Management, and Curriculum.“ Less than.ha1f of the institutions indicated there'were no courses required concurrently.2 Andrews3 states five professional laboratory experiences current- ly'in use in teacher education. They are Observation, participation, clinical experience, student teaching and internship. Observation is self-explanatory'and participation includes such activities as "carry- ing out non-instructional routines, assisting the teacher both in.and 1Vernon C. Lingren. "Three Proposals for Improving Student Teaching." Educational Administration and Su ervision, XLIII (November, 1997), pp. 38§¥389, quoted.iE'Wbodruff, Ibid. 2McGuire, £02. £2.20 3 Andrews, pp: _c_i_._t_., pp. 2h-29. Remit-_- '1’?— 'u ...) 5.: Q11: teac: teat: 79 out of class with the ongoing instructional activity, and carrying out small, unitary, and exploratory teaching activities sometimes re- ferred to as bit teaching." The clinical experience will hopefully permit the student to study individuals and small groups of pupils with real learning prOblems. With the concept of student teaching plus internship, student teaching becomes "preparatory, and not the terminal experience, thus producing readiness for rigorous profession- al courses and the later internship." McGuire found that almost without exception, institutions re- quired observation at the beginning and during the term. A large majority of institutions, however, did not require observation after the term. .A small minority, however, seemed to include post practice teaching supervised Observation. In 1950, three institutions re- quired it; in 1962, seven and by 1970, nineteen expected to be doing so.1 Ehlert2 lists the five most common areas for teaching in music as: (1) instrumental music teaching, (2) elementary vocal music teaching, (3) junior high school or senior high school vocal music teaching, (h) general.music teaching (both instrumental and vocal teaching), and (5) special music (string, woodwind, brass, and piano). It is the opinion of this author that the student teacher should be familiar with all these areas so that he may develop a better under- standing of the total program.in music education. Specialization in a certain area of the curriculum is necessary, but so are the 1rennin, 193. 93. 2Jackson K. Ehlert, "Desirable Attributes of the Music Teacher,“ Educational Administration at Sugnision, 100an (December, 195k). m. 'nde ”a“. 0‘ .5 tea. ale: . 3 1th. 4H1»! fav: lea: 80 experiences in secondary areas. In addition, it is also important that the student teacher be broad in.his interests and possess an understanding of the place and importance of music in.the total pro- gram of education. Gelvinl found that thirty-eight of the forty institutions in her study required student teaching at both elementary and secondary levels. In the remaining two schools, the choice was optional. Six- teen schools required both instrumental and vocal experience and in eleven schools both experiences were elective. Nineteen schools re- quired experience in general music classes. McGuire2 found that there was a "perceptibly strong trend in favor of requiring some (in varying amounts) elementary vocal exper- ience of all students." Just less than.one-half of the institutions required it of all vocal majors only and a few institutions recom- mended it to all student teachers but did not require it. He also discovered that there appeared to be a "growing tendency toward re- quiring some practice teaching at all levels," and that "institutions seemed about evenly divided on the question of whether both.voca1 and instrumental experience should be required of secondary practice teachers." John Dewey emphasized learning from.experience and learning through experience. Certainly no aspect in the education of teachers better exemplifies this than.student teaching. It is also interesting to note that even Conant agrees that student teaching is important. It is 1Galvin, pp. c_i_t_., p. 123. chGuire, $0 2E0, p. 1.1140 81 generally found that while the existing practices in student teach- ing are good in themselves, they are in need of improvement and this improvement might begin with a careful analysis of the variety of ex- periences offered in the program - the structure of the program. Observation Requirements * The very earliest normal schools in the United States maintained laboratory schools where students might observe the techniques of teaching. However, as these normal schools became teachers colleges the time given to this observation was directly affected by an ex- tension of curriculum offerings in general and professional education. That part of the program concerned with direct experience with chil- dren was then confined to one part of the four-year curriculum and consisted of a course in student teaching, thus severely limiting the amount of observation tine available. Even in 1950 McGuirel found that only one-third of the institutions he investigated had any ob- servation required prior to the, student teaching term. In 1962, about one-half; and in 1970, nearly all responding institutions ex- pected to require it. Consequently, it was evident that there is now a trend toward requiring periods of classroom observation prior to the practice teaching term. Galvin, in 1956, concurred with McGuire in stating that ”Observation is practiced in connection with both general education and music education in most institutions."2 Snyder3 went one step beyond and requested information concerning the college aca- demic year in which directed observations are begun. He found that lMcGuire, $0 9—1.3... PO 1120 zGelVin’ a. 6—1—2” p. 182. BSMOI', $0 21.30, p. 1090 ' ' ”0 '. “‘~ ta: 82 the greatest frequency occurs in the senior year with 142.9 per cent, followed closely by the junior year with 35.8 per cent. Fourteen and three-tenths per cent of the schools began in the saphomore year and 3.5 per cent (one institution) in the freshman year. The American Association of Teachers Colleges found that observa- tion usually has these features: a. Most often done as a part of professional courses- seldom in connection with academic courses. b. Generally done in class groups-infrequently on the basis of individual assignments. c. Usually confined to school situations and, in most cases, to the campus school. (1. Usually guided by the laboratory teacher.1 This Association continues, however, by stating that "laboratory con- tacts which are essentially observation have more meaning for the learner £1.95. he has had direct experience in the area," and that "initial contacts with new areas of learning call for participation in laboratory experiences rather than observation only."2 The general goals of observation seem to be: "to help the student gain understanding of children, of the role of the teacher in the classroom, of the total school program, and of the interrelationship of school and community; and to provide for continuous professional growth of teachers in preparation." The nature and extent of this ob- servation varies greatly and in general some preparation is nade and some follow-up discussion is held. Examples of preparation might be: (1) the college teacher presenting information about the children to be observed, the activity to be observed, general characteristics of age groups, or principles and techniques related to the teaching aspect of the 1'American Association of Teachers Colleges, School and Community Experiences in Teacher Education, 92. c_i_’r_..., p. 66. 2Ibid., p. 1m. 83 activity to be observed; (2) the laboratory teacher participating in the college class to acquaint students with children and their program, suggest points of importance for observa- tion, or recommend reading or other additional preparation; (3) students with college instructor and/or laboratory teacher planning for specific observation.1 Follow-up activities might include such things as the laboratory teachers participating in college classes on days following observa- tions or a second, third, or fourth observation of the same group of children.2 The value of an observation depends not only on what is seen but also upon the experience of the viewer. Carefully directed observa- tions are naturally more profitable than those which are random or undirected. Long continued observations without actual participation becam very boring to students and consequently the learning result is diminished. Many different approaches have been used in the twentieth century in an effort to arrange for an entire class to see the same teachirg situation. Examples of these are the constructing of large laboratory school classromns, observation booths, and one-way screens or glass. In this electronic age, the reproduction of a classroom episode may be transmitted to almost any size of college class. Closed circuit television has the disadvantage that when the class is completed it is impossible to recreate the episodes again. Video tape, however, makes 1 Ibid., p. 7’40 2Ibid. not tea: my I!“ 8h it technically possible for institutions to build a "large library of faithful reproductions of all types and levels of classroom episodes, good and bad."1 Hopefully, this concept will become a reality in a few years. Actual}. Classroom Time Required ’ The theoretically outstanding program of student teaching will not separate the observation and participation phases of student teaching since they are not completely separate and distinct groups of actiVities. This observation and participation phase should lead, gradually but directly, into the full responsibility for teaching. The student teacher will gradually come to recognize his readiness for increased responsibility and will request it.2 Andrews3 divides participation activities prior to full teaching responsibilities into two types: participation in schools and par- ticipation in the cormnunity. The potential activities in the schools could be selected from four types: "observation" (dealt with in pre- vious section), "carrying out non-instructional routines, assisting the teacher both in and out of class with the ongoing instructional activity, and carrying out small, unitary, and exploratory teaching activities sometime referred to as 'bit' teaching.“ The two most persistent elements of participationin comunity activities are "contacts with different communities, socio-economic levels and cul- tures, and leadership experiences with children and youth, l Andrews, 92. Eli-£0, pp. 2’4-250 2Lamb, 220 EEO’ p. 670 3Andrews, 92. 91.1., p. 27. [\Ill- 1": ulllltr ‘ CC! 85 especially in recreational, social, welfare, and camp settings." Unfortunately, however, only a relatively small percent of colleges and universities preparing teachers provide rich community experi- ences, am in many cases there is little if any supervision by col- lege personnel and no accompanying seminar. Snyder} in answering the question "are your music majors given any teaching experience in individual or small group instruction prior to student teaching'Z", stated that thirteen, or 146.5 per cent of the institutions indicated "yes," whereas fifteen, or 53.5 per cent indicated "no.“ i ' One or the directors in the Snyder study sakes the following cements about participation: Music majors are given an intensive experience in the laboratory school in "participation." "Participation" as implemented here, consists of two one-hour visits weekly for nine weeks to a specific music class in the labora- tory school while the music major is preparing for studmt teaching and is usually correlated with a methods course. After intensive observation and "bit" teaching of in- dividuals or small groups of the class, the participant prepares lesson plans and assumes progressive respon- sibility for the class for five school days. This teach- ing is always done with the control of the class in the supervisor's or student teacher's hands. If the "parti- cipant" is well prepared and achieves success with the pupils, he may move from ten minutes to twenty minutes to the full hour of responsibility, but only if he asks to do so. This participation is graded and the grade becomes a part of the methods course total grade.2 Galvin,3 likewise, found that only eight of forty institutions included participation with general education classes and twelve of forty included it with music education classes. It was presumed that - 1511311613, 22. 2E. , Pp. 109-110. 2mm, pp. aha-n3. BGGlVi-n, EB. 91-11.. , pp. 182“].83 o in: pre 86 the reason for failure to provide these opportunities was: "(1) lack of facilities for participation and (2) lack of understanding of the real purpose of participation." Colleges and universities loca- ted in large cities or possessing laboratory schools have many more Opportunities to offer participation than schools not having these advantages. The relationship existing between the public school and the teacher training institution also has a great deal to do with the opportunities available for participation. Every institution cer- tainly needs to develop the most active program of participation pos- sible. The various sources investigated indicate that the student teach- ing experience itself is occupying a longer period of time than in previous years. Haines pointed out in 1960 that: In some places, students observe and participate for one or more hours a day for a portion of a semester. In sane programs, one half of each day or of certain days each week is spent in student teaching situations. Other institutions offer student teachers a full day of participation in schools on alternate days. These and similar situations are valuable in providing actual teaching experience in public schools, but the limitations are apparent in furnishing means for students to gain insight into a total school program and to have contact with many of the responsibilities of teaching. When several students are placed in a selected classroom for part-tine participation, their teaching experience is, of necessity, restricted by the needs of other students, and by the time available. Student teachers who are in the school for only a portion of the day or for speci- fied days do not have an opportunity to become involved in the continuous development of a school program. The most promising trend noted in recent years has been in the direction of full-time student teaching every day for a full quarter, or the major portion of a semester or for a full semester. In this procedure it is possible for a student teacher to have continuous in- tensive and prolonged pro-service experience in public schools.1 1Haines, 92. 233., p. 8. n 1 R Q ‘5‘ E n a a» .s b 87 James B. Conant is quite specific in his recommendations for ele- mentary education majors. He states that the minimum time is at least eight weeks of practice teaching, spending during this time a minimum of three hours a day in the classroom, and having at least three weeks of complete reaponsibility for the classroom under the guidance of a co- operating teacher and a university supervisor.l It would seem logical to note that one student can gain as much in nine weeks as another could gain in twelve. 0n the other hand, another student might profit more from two short six or seven week experiences than one extended period. It is, however, sanewhat unrealistic to hope for any adjustment to individual differences in this age of automated course registration and student teachers numbered in the hundreds.2 The 1926 yearbook of the Arnerican Association of Teachers Colleges set a minimum of 90 clock hours of student teaching for graduates of teachers colleges. later the 90 hours of direct experiences were equated with five semester hours of credit.3 A survey in 1957-58 by the National Council for Accreditation of Teacher Education showed that at this time the longth of the student teaching experience ranged "from a low of one to four weeks to a high of 16 to 19 weeks, but there was only a scattering of schools at these extremes - the heaviest cluster was in the 15 to 19 week range. The predominant practice seemed to be to require five days a week of lJames B. Conant, The Education of American Teachers (New York: McGraw-Hill Book Co., 11757, I953), 13.79. 2181!“), a. 21.30, p. 23. 3 Andrews, $0 227310, PO 160 al\ A . Po ... a» N. HE si 88 student teaching, ranging between three and six hours a day."1 Galvin2 found very little diversity in credit hour requirements, but clock hour requirements varied greatly in her stuch'. Thirty-three of the forty schools investigated required from five to eight semester hours credit but the clock hour requirements varied from ninety to two hundred and seventy. McGuire3 also noted a wide variation in the clock hour require- ments ranging from a low requirement of forty-five hours in fifteen weeks (at three hours per week), to a high requirement of five hundred sixty hours in sixteen weeks (at thirty-five hours per week), with the most frequent requirement being one hundred fifty to one hundred eighty hours. The number of weeks involved was often dependent upon the institutions administrative plan: quarter system, tri-mester, semester,'or some form of block plan. It was apparent from his study that there exists a general tendency toward increasing both "in class- room time" requirements and scholastic credits allowed for student teaching. Snyder,"‘ in his study of thirty institutions of higher learning, found that "eleven reapondents indicated that student teaching takes place for one semester, and ten indicated that it takes place for two semesters. Three-fourths of the respondents indicated that six 1G. K. Hodenfield and T. M. Stinnett, The Education of Teachers (Englewood Cliffs, New Jersey: Prentice Hall, Inc. , 1961'): p. 36. ZGelvm, g. 21:20, Do 1’43. 3MCGuire, .220 gill—b." P0 12. hSnyder, fl. ESE-Es, p. m. 89 semester hours are the minimum hours credit received...." Slightly more than one-fourth of the institutions indicated that there is no maximum in hours credit which may be received and seventy-five percent reported that the student teacher spends at least one period per day in actual classroan teaching. Flavors breaks the student teaching experience down into the fol- lowing areas: observation, participation, preparation, teaching, ex- tra-class activities and conferences. He found that teaching activi- ties have occupied approximately to per cent of the time, preparation occupied approximately 30 per cent of the time, while the remaining 30 per cent was divided between participation activities, conferences, and extra-class activities. Considering the course as a whole, the median number of hours was 175.1 Consequently, one can observe the wide deviation in practices con- cerning the length of the student teaching experience, especially in the matter of clock hours. ream Elana The music teacher is extremely busy trying to find time in the day to meet with the different choral and instrumental groups besides car- rying on his regular classroom teaching. As if by magic, new drill formations must be prepared for the marching band, music for all per- forming groups must be available on time, a defective clarinet pad must be replaced and a host of other difficulties foreign to the gener- al classroom teacher must be overcome. In order for this program to lFlaiers, 92. 313., pp. 22-23. 90 run efficiently, the music teacher must spend many hours in planning so that he has his program as well organized as possible. Otherwise, the result might be that of chaos. Among the many types of planning the music teacher must do is the lesson plan. This so-called "lesson plan" is of paramount importance to both rehearsal and classroom teach- ing. Successful planning is very crucial in music teaching and the stu- dent teacher must be made aware of the basic elements of planning as applied to teaching, learning, and performing. lamb]- suggests three general types of planning - long-range plan- ning, weekly planning, and daily planning. All three of these types are necessary to give "necessary breadth and scope to the student teacher's work and to help him develop the self-confidence which results when materials are at hand, goals are clearly established, and procedures are geared to the needs and interests of the group of children with whom the student teacher is working." The student teacher needs to have detailed lesson plans at the be- ginning in order to promote his own "security in the teaching situation" and for "developing a fuller understanding of the process involved." Written plans are not ends in themselves but are instead a means through which a student clarifies his thinking. The experienced teacher, many times, does not need detailed written plans; he has reached a point where brief notations are sufficient, and the inexperienced teacher must be careful not to conclude that he too can teach this way. He must also be aware that when the plans are made, they should not be adhered to strictly when the immediate situation indicates need for change.2 11.3311), 22. 9320, p. 910 2Haines, gp. 9313., p. 127. J cw. V"}‘ n-. effec 91 Adams and Dickey list the following as being characteristic of effective lesson plans : 1. 2. 3. h. 5. They are made by those who are to use them. They are thorough, flexible, and usable. They provide for the point or level from which teaching is to start and provide effective direction. They contain: statements of goals, procedures, and content skills to be deveIOped; wide variety of materials, wide range of pupil activities; and methods of evaluation to be used. They provide for group and individual interests, abilities, and needs.)- Flowers has organized a master list of activities which should be included in planning the subject matter of class instruction. It would be helpful to the student teacher to be made aware of these be- fore he begins the important task of making lesson plans. They are: Selection of materials to be planned. Determining objectives of materials. Organizing subject matter. Planning methods of presentation. Planning assignments. Flaming pupil participation. Determining method for evaluation of pupils needs, abilities, interests. Planning methods of evaluation of pupil's achievements. The writing of the plan. The use of the plan after its preparation. The comparison of the plan with others previously used. Written record of work after rating the success or failure of the plan in use. Suggestions for improvement for future use. Planning of big unit first - than smaller groupings. Use of plan as retrospective aid.2 As a result of analyzing lesson plans submitted by inexperienced teachers, Schorling has compiled a list of comon errors which might aid the novice in making his own plans. In general, inexperienced teachers lHarold P. Adams and Frank G. Dickey, Basic Princi les pf Student Teach hing (New York: American Book Canpany, 19%), p. E; 2 Flowers, g3. 33.3., p. 35. have onCe' nee: :J‘ 9. (j ('3 92 have failed to: 12. 13. 1h. 15. 16. 17. Provide the best illustrative materials available. Include crucial questions. Select the most appropriate aims. Consider the level of the ability and interests of pupils. Consult courses of study and grade requirements. Select the best procedures. Consider the materials in pupils' textbooks. Tie the lesson in with previous ones. Take into consideration knowledge already possessed by pupils. Include an appropriate assigrment. Consider supplementary materials in library in making the assignment. Emphasize the main points of interest. Arrange a logical order of activities that would lead toward a realization of the aim of the lesson. Provide for adequate summaries. Make the plan flexible enough to allow the teacher to leave it temporarily and follow pupil interests. Budget the time devoted to phases of the lesson. Provide a means for evaluating the results of the lesson and the teaching.1 Even though planning procedures are much more flexible than they once were, this in no way detracts from their importance. The teacher needs to know precisely what he hopes to accomplish in a lesson and how he plans to develop the subject matter, and the student teacher needs to learn early to deve10p skill in the writing of carefully pre- pared lesson plans for the meeting of his daily teaching responsibilities. Cooperatiilg Schools Viewed in historical perspective, public school educa- tion and teacher education have made great strides toward a common goal. To men of vision, whether lemon or educa- tors, the goal has always been to afford for oncoming generations the best possible education that our resources and ingenuity could provide. Among those men have been educational statesmen who have seen the education of teachers and the education of children and youth not as J'Raleigh Schorling, S______tudentT aching (New York: McGraw-Hill Book 00., 1110., 19,49), PO 1500* ll? mo‘om 93 separate entities but as aspects of the larger process of education. To such men there are no problems which can be classified neatly as "teacher education“ or I'public school education" - to be solved by eithergroup alone. Andrews has defined the cooperating school as the school which ”provides facilities for professional laboratory eacperiences for col- lege students, but which is neither controlled nor supported by the college. Ideally the school district has a written working agreement with the college, setting forth the conditions under which these ac- tivities are to be conducted together with the benefits and privileges extended in both directions."2 In distinguishing between the campus laboratory school. and all. other elementary and seconiary schools utilized for student teaching, the Thirty-fourth Yearbook of the Association for Student Teaching3 states that there are at least three types of cooperating schools. They are: (l) A contractual cooperating £3222}. which is a local school district used by the college or university for professional laboratory experiences. (2) 1:23 cooperating 2213325 which is a school system some dis- tance from the campus used regularly in the teacher-education program. This center usually has a large number of student teachers. 1Association for Student Teaching, Facilities for Professional Laboratory Experiences in; Teacher Educationg, Thirtymird Yearbook, 92. 9-1-20, po 92. ' 2mm, m. 22.20, p. 11. 3Association for Student Teaching, Functions pf Iaborato Schools _ig Teacher Education, Thirty-fourth Yearbook, 22. gi_._t_., p. 33. . ire C 0nd 9h (3) The occasional cooperating school which are school systems throughout the state which are used only occasionally when it is convenient for a student to live in that community. There is presently evidence of a trend toward moving student teach- ing out of the laboratory school and into the public school. In a study conducted by Charles R. Blackman in 1962, it was stated that: The data revealed important changes in the functions of the laboratory schools studied.... Research and experi- mentation are receiving more emphasis, with a slight trend toward becoming a co-equal or primary function. Laboratory experiences were offered at earlier levels in undergraduate teacher education programs. A trend toward increased par- ticipation of graduate students in laboratory school re- search studies was perceptible. Student teaching has de- clined somewhat in importance as a function in the selected schools studied.1 A number of problems have resulted from the increased use of the public schools as laboratories in teacher education. One such problem is related to the selection of desirable off-campus schools. Writers were unanimous in their dissertation that these schools should be able to provide prOper facilities for student teaching and that they should be accessible for supervision by the teacher training institutions. However, there seems to be a lack of information concerning the factors which should be investigated in the process of selecting these off- campus schools. The American Association of Teachers Colleges found in a 19h8 questionnaire that the following criteria seemed to govern the selection of off-campus facilities: 1Charles R. Blackman, "The Research Function in College Con- trolled Iaboratory Schools" (unpublished Ed.D. dissertation, University of Florida, 1962), p. 3, cited in Lamb, 92. cit., p. 20. l? 'g._-IM .56 95 1. Educational point of view and philosoPhy of the school. 2. Teachers having qualifications comparable to those working in the on-campus schools. 3. Teachers able to supervise student teaching and induct student teachers. h. Attitude of administration and staff toward induction of student teachers. 5. Distance from the college. 6. Size of classes. 7. Equipment and instructional materials available.1 It seems that all programs of student teaching carried on in off- campus schools'would be easier to administer and work in under some type of written contract or agreement, yet relatively few institutions Oper- ate their student teaching program with such a document. Gelvinz found that only eleven of the thirtyhfive institutions in her study which used public schools had some type of written contract. Certainly a mutual understanding of the part to be played by the college or univer- sity and the cooperating school or board of education governing the co- operating school would result in the best possible use of these off- campus facilities. The advantages and disadvantages of involving the public schools in the task of teacher education are discussed in many publications. The Twentieth Yearbook of the American Association of Teachers Colleges states that: Administratively speaking, the most significant de- velopment in student teaching seems to be the tendency to provide fer it in off-campus situations. The prin- cipal arguments for this trend are that it is more typical with reference to children, equipment, and community. The arguments against it are that it fails ¥mmerican Association of Teachers Colleges, School and Communit Laboratory: Experiences a Teacher Education, 32. 933., p373 307. zGelvin, 92. 313., p. 1.13. DC 1L1 ng. 81’" 96 to develop vision and makes college supervision practically impossible.1 Tm American Association of Colleges for Teacher Education ela- borates further on these pros and cons: The advantages include an experience typical of later employment, a variety of situations for experience, and the benefit of working with those who are familiar with classroom conditions. The disadvantages include travel which consumes time and money, the risk of being assigned to an undesirable situation, the possibility of less supervision than would be available in a laboratory school, andlack of consistency in evaluation of effort and achievement.2 The Comission on Teacher Education indicates a definite pref- erence for the involvement of the public schools by the statement that: The practice of sending preopective teachers out of the college or university environment into a school sys- tem and its community, for a period of from eight to twelve weeks, proved definitely superior to other ar- rangements for student teaching. ...The provision of a full time teaching internship...makes it possible for student teachers to live in and bacon a part of the community which the school serves, to see the entire program in action, to observe and teach at dif- ferent grade levels and in different subject fields.... Thus gaining an understanding of what it means to be a teacher.3 In 1932, an analysis by Flowersh of those data relating to the facilities provided by the state teachers colleges indicated that twenty-nine of the fifty-two institutions considered provided off- campus facilities. Steeves reported in 1952 that: 1w. Earl Armstrong, G_g_____neralR art of Pr areas of the Teacher Education Study_ in the United States Oneonta, Ne wYorkz—The Herican Esociati ion of Teachers Colleges, Twentieth Yearbook, 191:1), p. ’46. afloodruff,0 92. 31?, p. 12. 3Lind1ey J. Stiles, "Contributions of the Commission on Teacher Education to Student Teaching," Educational Administration and Super- vision XXXIII (March, 19W), pp. 114E115. f‘Flwers, 92. $1., p. 11. .u—‘ I. .90. v-‘c “"U 97 More than 90% of the student teaching activities directed by American teachers colleges and university schools of education are carried on in public school classrooms. Some three-quarters of the institutions in student teaching programs place their teachers entirely off-campus in public schools. Nearly all use some public school facilities even though on- campus laboratory school facilities are maintained. 1 The American Association of Teachers Colleges suggested in 19h8 that all of the resources available for giving prospective teachers contacts with children, youth, and adults should constitute a laboratory which: is an integrating center for professional experiences, used by all concerned with the professional. education of teachers, used in differing degrees and amounts by different individuals, used over long periods of time, and providing active contact with the varied respon- sibilities of the teacher.2 In order that this might become a true reality, it will be neces- sary to continue the definite movement already begun toward the assump- tion of responsibility for teacher education by both the teacher educa- tion institution and the cooperating public school. Conferences and Seminars The most frequent and most important technique used in the guid- ance of students is that of the conference and seminar. Every member of the personnel involved in the guidance of students in professional laboratory experiences probably uses both these techniques at one time or another. lFrank L. Steeves, "A Summary of the Literature on the Off-Campus Cooperating Teacher,""Educational Administration and Supervisiqg, XXXVIII (March, 1952), p. 129. 2American Association of Teachers Colleges, School and Community Laboratory EXperiences _in Teacher Education, 92. gi_t_., p.733. a. S 13 .|.| 1). a}: . .. A it . 98 Bakkegardl states that at the University of Texas, the director of student teachers in music meets with the student teaching class each Saturday morning during the semester. At this time administra- tive problems, such as class scheduling, visitation, professional read- ing, evaluations and certification are discussed. Upon reviewing the literature pertaining to these seminars, one finds unanimous recommendations that at regularly scheduled times throughout student teaching, the supervisor should meet with all of the student teachers assigned to him, or with those located in one school or school system. The agenda for these meetings may be either highly structured and planned in advance or built around the problems men- tioned by the student teacher. It appears that the latter is favored because many of the problems common to all the student teachers may be dealt with, thus allowing the individual conferences to include only specific problems inherent to the individual student teacher. In rela- tion to this, Andrews states that "most public school teachers find it very difficult to achieve in their conferences with one student teacher the educational values of the group seminar."2 Thirty-one of the forty schools in the Galvin study3 held seminars or group conferences of this type, and eleven of the schools held them weekly. One of the valuable profiects of this seminar could be that of a case and/or class study. If the future teacher is going to be concerned 1'3. M. Bakkegard, "Off Campus Student Teaching in Music Education," Music Educators Journal, XL (January, 1951;), p. 23. 2Andrews, 92. 3%., p. ’47. 3Grelvin, pp. 931. , pp. 136-137. 5).: loch- I.J 99 with the problem of organizing a curriculum that will develop the nor- mal growth of each child, then he needs to have emperience with sys- tematic procedures in pupil accounting. If an alert teacher knew all that he should about a student he would rarely be surprised by'any- thing the student might say or do.]' The class study is designed to train the student teacher to look at students as individuals with individual problems, interests and per- sonalities. .A group of students should be selected by the student teacher and he, in turn, should Obtain information on each student such as special interests, home conditions, social and emotional ad- justment, and scholastic achievement. The class study'might then lead directly into a case study which is an extensive report on one pupil. This pupil could be selected from the group involved in the class study. Information in this case study should include a brief description of the case, the family background, physical characteristics, scholastic educational record, mental.and health characteristics, leisure time activities, home and community re- lations, personality traits and a conclusion on the part of the student teacher. Of at least equal importance with seminars are individual confer- ences, involving the student teacher, his cooperating teacher and his college supervisor. Baugher recommends that: It is absolutely essential that the teaching load of the cooperating teacher be so arranged that she have ample time to hold carefully planned conferences with all the practice-teachers teaching in her classes. lSChorli-ng’ 220 Eli-EC, p. 310 ‘l’ ‘5 1'» I. II... .- éh 75 100 Group conferences should be held occasionally, but the individual conference is a much more important part of her work.1 Conferences differ from meetings in that the problems discussed relate more specifically to one rather than a group of student teach- ers. At times, discussion may center upon personal problems encounter- ed by the student teacher, upon professional issues, upon specific plans for individuals or an entire class, or upon any other problems occurring. The purpose of each conference, however, should be clear and realistic time limits should be set.2 Throughout the conference the role of tre supervisor or coopera- ting teacher should be an instructional and supportive one. He should encourage the student teacher to experiment, supply information, sup- port efforts, make concrete suggestions and evaluate results. The em- phasis, however, is always upon leading the students thinking.3 The American Association of Teachers Colleges recommends four general characteristics which must be present if the greatest possible value is to be derived from a conference. They are: 1. 2. 3. h. Conferences must be based on the needs of the student as those needs are recognized by the student hinself or by those who are working with him. Good human relationships must be maintained. Records of all conferences must be kept. Steps should be taken toward resolving the problems raisedJ‘ lBaugher, 92. cit., p. 97. 2Haines, me 22:13.0, p. 113. 3Ibido’ p0 1610 American Association of Teachers Colleges, School 9.99 Community Laboratory Exgeriences _ig Teacher Educatiop, 92. 93.1., pp. 207-209. 'k‘W-r‘J .. ' ‘- ~ w~ in“. and / [:‘r ' 101 Gelvinl found that twenty-nine of the forty schools in her survey had individual college supervisor-student teacher conferences prior to, during, and after student teaching. Conferences between the cooperating teacher and the student teacher, varying in lergth and frequency, occurred in twen- ty-five of the forty schools. Referring again to the American Association of Teachers Colleges publication in 19148, one will note the following suggestions of procedures and topics for the individual conference: 1. 2. 3. h. 5. 6. 7. 8. 9. 10. ll. The student-teacher is given an opportunity to evaluate his own teaching, to point out his own errors, and indicate what he should do to improve in ability to teach. The training-teacher may discuss the pupils' reaction to the student teacher's personality and teaching, and point out ways in which the student may improve his teaching, personality, dress, voice, attitudes, and personal habits. lesson plans which have been corrected and returned may be discussed. There may be a discussion of the objectives and aims for sub- jects the student is teaching, and daily aims for specific lessons when mcessary. There should be criticisms and suggestions regarding the student- teacher's selection, organization and presentation of subject matter._ There may be a discussion of the children from the point of view of school management, individual differences, special needs and how to meet them. Constant emphasis should be placed on the necessity of a know- ledge of subject matter before attempting to teach it. The importance of clear and definite assignments will need to be stressed frequently. There should be frequent discussions of problems of discipline with illustrations from particular situatiom. Constant emphasis should be placed on the necessity of self criticism. The training-teacher and student-teacher should decide on cer- tain points which need to be improved and a checkup on these should be made in later conferences.2 1993.710, Q0 2210, PP. 137'1380 2American Association of Teachers Colleges, School 9.99 Coimnunit Laboratcn-y Emperiences _12 Teacher Education, 92. cit., pp. 218-721:9. I'm; 9.15 '_ 102 There are , however, certain problems which prevent the satisfactory use of conferences. Mead states that: Student-teachers find that schedules, the supervisor's load of work, and other things often shorten the conference or pre- vent its being held. Another complaint they make is that con- ferences are too few and too brief to meet their needs.... The very shortness and rarity of the period often defeats its chief purpose.1 Garrison, in his study, also found that: a. There is no regular scheduled time for the individual conferemes, and often there is none for the group conference. b. The time usually used is at the close of the day when little or no energy, vital interest, or mental alertness is available. c. There is little recognition of the fact that individual and group conferences are the most effective and vital means that the training supervisor has of developing student teachers.2 Undoubtedly, the most important aspect of the beginning stage of stu- dent teaching is the initial conference between the cooperating teacher and the student teacher. It is highly desirable that this first contact between the two be arranged at a time when the supervising teacher is free from other duties. It is in this conference that the stage is set for the ensuing weeks, and the philosOphy of the school, the cooperating teacher and the student teacher are discussed. This conference can do much to dissipate tensions and to make the student realize that student teaching is not an experience to be feared. If each participant in the conference acts with honesty, frankness, and due regard for the feelings of the other, the professional growth of both participants will almost surely re- sult.3 ;Hbad,‘223‘glg3, Po lh6. 2Ca‘rarrison, 92. 21.2., p. ho. 3Adams and DiCKBY) 22, 2323, pp. hh’hSe (a m (7') {In P" ‘i “a ‘< 511: COC 103 A three-way conference involving the cooperating teacher, the co- ordinator, and the student teacher has value in "keeping communications open and in making cooperative decisions about progress and anticipated plans."l Due to scheduling difficulties, it is frequently difficult to arrange for this type of conference. Special efforts should be made, however, to include some three-way conferences during a term as it is use- ful at any stage of the student teacher process. This conference may serve as a follow-up conference to a specific lesson or as a general sum- mary conference near the end of student teaching. Another advantage of this type of a conference is that occasionally the student teacher feels caught between the supervisor and the cOOperating teacher who apparently expect different things from him. If these problems due to poor communi- cation occur, the best solution seems to be a "face-to-face, honest dis- cussion in which some decisions are made and some conclusions are reached."2 Galvin3 found that eighteen of the forty schools she investi- gated held such three-way individual conferences. Another important conference to be considered is that of the final conference which is generally centered upon evaluation of their work dur- ing student teaching. These conferences of an evaluative nature generally provide a valuable means through which students can be encouraged to ap- praise their progress. Qn one hand, the student can present evidence of his accomplishments and needs for improvement and on the other hand, the cOOperating teacher and the college supervisor can present additional lshims, 92. gap. 113. 213mb, $0 220’ P. 2020 36817111, £0 £2” p. 1380 evil! appr: pros Iti 3." t ft [63 10h evidence which they have gathered and participate with the student in appraisal of his progress.1 Consequently, one can observe that a vital aspect of the supervisory program in student teaching is that of the planned seminar and conference. It is through these mediums that the needs of the student teacher may be better attained. Care must be taken, however, to see that these means are carefully planned, for without definite goals or purposes, little is gained. Evaluation 21; 929 Student Teacher Evaluation of growth in meeting and dealing with laboratory situations (1) is a continuous process (an integral part of the learning process rather than a separate activity engaged in periodicalLv), and (2) is in terms of the student's ability to use basic generalizations in meeting new situations. As a continuous process, evaluation takes place when assignments are made to laboratory experiences, as the student reacts to those experiences both verbally and though participation, as the student and his advisers make plans for I‘next steps ," and in a host of other ways leading in some colleges to evaluation during the internship period. Throughout, evaluation is based upon study and analysis by the staff, cooperatively with the student, of anecdotal and other types of descriptive records of specific reactions to situations.2 Thus the American Association of Teachers Colleges sumiarizes the importance of evaluation in the guidance of the student teacher in his professional laboratory experiences. This Association also states the following guides to further the develoynents in the area of recording and evaluatirg professional laboratory experiences: 1. That evaluation is an integral part of the learning process, both for the student as a learner and as a prospective teacher. 11131-1168, as 9211-0, Fe 1980 2American Association of Teachers Colleges, School and Communit Laboratory Experiences _12 Teacher Education, 92. 33:13., lap-732 - 29. an? 3. .N' 105 2. That many of the growth values sought...cannot be rated, but are best evaluated through critical analysis of descrip- tive evidence of specific behavior and situations. This calls for (l) the use of anecdotal and other types of descriptive records and (2) evaluation based upon such records and including specific evidence to support the in- die ated evaluation. 3. That...ervaluation is a continuous process to be devel- oped cooperatively by all persons guiding the student. ’4. That the student should have an active part in recording and evaluating his growth and development. 5. That the evaluative process used with the college student should demonstrate the principles basic to helping children evaluate their work.1 In 1960, the Association for Student Teaching presented a more elab- orate set of basic principles of student teaching evaluation to serve as guidelines for program improvement and development. They are: Principle I: The Evaluation of Student Teaching Must be Based Upon and Function Within a Democratic PhilosOphy of Education. Principle II: The Evaluation of Student Teaching Should be Made Within a Behavioral Frame of Reference. Principle III: In Evaluating Student Teaching the Objectives Should be Defined and Stated in Terms of the Kinds of Behavior Expected to be Realized. Principle IV: The Methods, Procedures, and Techniques Used in Appraising the Work of the Student Teacher Should be Sufficiently Diagnostic to Enable the Student Teacher to Identify the Various Stages of Growth and Progress Involved in learning to Teach. Principle V: Evaluation of Student Teaching Should be Con- ceived as an Integral Part of All Learning, to be Engaged in cooperatively by the Student Teacher, the Supervising Teacher, and the Pupils. Principle VI: The Evaluation of Student Teaching Should lead to a Better Understanding of Growth and Development and Its Relationship to DevelOpmental Tasks and Learning. Principle VII: The Evaluation of the Student Teacher's Per- formance Should Lead to a More Realistic Understanding and Acceptance of "Self" and to the Development of a Positive Emotional Approach to Teaching, Learning, and Living. Principle VIII: The Evaluation of the Student Teacher Can be Educative Only to the Extent That it Recognizes and Reconstructs the Group Experiences Which the Student Teacher Brings with Him to the Student Teaching Situation. libido, pp. 28’4'285. U 5112‘ the not (.1. 106 Principle IX:- The Evaluation of Student Teaching is Broader Than Measurement and Requires the Use of Both Quantitative and Qualitative Data. Principle X: The More Description of the Characteristics of a "Good Teacher" Is Insufficient for Evaluating Teaching Canpeten- cies Needed in a Democratic Social Order. Principle XI: The Evaluation of Student Teaching Is Compre- hensive, Continuous, and Leads to Improvement in the Total Program of Teacher Educati on.1 These general guidelines set down by both the American Association of Teachers Colleges and the Association for Student Teaching may be subdivided into two important evaluative areas: that of the evaluation of the student teacher and evaluation by the student teacher. The evaluative procedures of student teachers have not progressed noticeably through the years. William H. Lucio attributes this to the "absence of sharp, stable criteria for what it is we are trying to pre- dict or assess, as well as the need to validate predictive measures against the criteria."2 Donald Johnson, camnenting on the psychology of judgmnt, states that “...improvement in interjudge agreement is obtained by getting judges to agree on the definition of the variabhs to be judged, and training them to attend to these and to avoid the distraction of other, more obvious, variables."3 Some common and distinguishing vari- ables characteristic of procedures. in evaluating student teacher growth would include the backgrourfl of the student teacher, the use of conferen- ces, evidemes of behavior, insight and growth of the student teacher, and lAssociation for Student Teaching, Evaluating Student Teachin -. 19%;, Thirty-Ninth Yearbook (Dubuque, Iowa: Wm. C. Brown Co., Inc Pps 9-220 2Ibid., p. 180. 3Domld M. Johmon, The Ps holo o__f_ Thought__ and Juflent. (New York: Harper and Brothers, “19%;, p. 299. ing. 7 0 Ta' 3 or an 1.3... Evan; l|..l 107 evaluation forms, both structured and unstructured.l Two structured evaluative procedures recommended by the Association of Student Teach- ing in 1961; are planned, professional observations and pupil merit ratings. An example of variables for professional observations may be and Harold E. Hitzel. This technique includes a checklist of items of teacher and pupil behaviors normally expected to mom in the classroom. This, consequently, focuses attention on the teacher and pupil behaviors in the classroom. The pupil merit ratings may be acquired by use of The Student Inventory F_ogm M2, devised by W. Robert Dixon and Killian C. Morse. The variables on this form seek the pupils' percep- tions of the student teacher in nonacademic areas and is based on the asstmption that teaching success is influenced by the relationship be- tween teacher and pupils. The students complete these form when neither the student teacher nor the supervising teacher is present in the classrocm.2 Both of these evaluation techniques represent recent advancements which will hopefully help to offset the void of former years. The "absence of sharp, stable criteria" which was formerly present in the evaluative procedures of student teachers is also present in the evaluation by student teachers of their individual teaching. After several years of checking student teacher self evaluations, Camp writes: IAssociation,for Student Teaching, Evaluating Student Teaching, Thirty-ninth Yearbook,o 92. cit., pp. 198-200. 2The Association for Student Teaching, The Gem gs Supgrvisor, Forty-third Yearbook, 92. cit., pp. 93-103. of hay tier ferent their dents which actic vehi: of t; Coll fell 108 I am convinced that students need more definite, depend- able, and meaningful objective devices for judging the value and significance of outcomes than have yet been worked out for their use in supervised student teaching. It seems to me that here is a challenge for the teacher training insti- tutions.1 There are several methods of evaluation employed for the purpose of having students evaluate the program of professional laboratory ex- periences and their own work in that program. Group or individual con- ferences may serve effectively as a mearm for students in expressing their concerns and in raising questions regarding their program. Stu- dents may also express their reactions through written assignments in which they night rate themselves on various items or formulate re- actions to a particular aspect of the program. Another excellent vehicle for evaluating the student teaching experience is a follow-up of the graduate. Wolfe, after studying 56h alumni of 52 state teachers colleges, reported the types of problems listed by these graduates as follows: Analyzing their own difficulties in the practice teaching experience, graduates listed four main types of problems. In order of their frequency of mention, they are: 1. Problem of group motivation and interest, in- cluding discipline. 2. Problems caused by insufficient acquaintance with the ability of groups at different grade levels. 3. Lack of faith in one's own ability to handle the situation. It. The individual's status as a student teacher. Graduates' general suggestions for improvement in prac- tice experience included: 1. More helpful supervision by the critic teacher. 2. More Opportunities to observe the teaching of the critic teacher and of fellow students in training. 1Cordelia Camp, 'A Cross-Section of Student Teachers' Evaluation of Their Own Teaching," Educational Administratig 929. Supervision, In (January, 19141:). p. 5?- L7“ t C.) 109 3. More extensive and more diversified practice exper- h. Ezecomplete responsibility in at least part of the teaching.1 The student teacher, the cooperating teacher, and the college supervisor must combine their efforts if the evaluation of the student teacher is to encompass the entire scope of the matter. Adams and Dickey recommend the following checklist for use as a basis for evalu- ating the student teacher by group rapport. This list includes the evaluation of: 1. The student teacher as a person. 2. The student teacher as a scholar. 3. The student teacher as a classroom teacher. h. The student teacher as a guide and counselor. 5. The student teacher as a manager. 6. The student teacher as a member of the profession. 7. The student teacher as a member of the community.2 During a certain period of time the student teacher, cooperating teacher, and the college supervisor may make separate evaluations of the student teacher and his work, and then compare findings, estimate progress and needs for improvement, and decide what further efforts are required.3 J'Irving W. Wolfe, "Teacher Preparation fran the Teacher's View- point,a Music Educators National Conference Yearbook XXX. (Chicago: Music Educators National Conference, 1939-19130), pp. 1429-1433. 2AM and 1313le , 220 21.20, pp. 337.339. 3mm, 1). 339. Jullslllll'lufl 1-5. I s... . 110 This author has been able to locate three studies of significant value which are concerned with the persons responsible for evaluating the student teacher and the grades given. The studies are by Flowers, Galvin and McGuire in 1932, 1956, and 1962 respectively. Gelvin, in investigating forty situations, found that twenty-four institutions have forms or rating sheets for evaluation purposes. Thirty-three institutions permit students to participate in the evalu- ation of their own work; in twenty-four of these thirty-three institu- tions evaluation is made with the cooperating teacher and in twenty- five it is nade with the college supervisor or the director of student teaching.1 McGuire, whose study was confined to student teachers in music, found that evaluatiom were most frequently made by both the cooperating teacher and the college music educator. He also observed a trend to- ward more student self-evaluation during the practice teaching term with the college general educator becoming less significant in the evaluating process.2 Concerning the grading of the student teacher, Flowers noted, in his investigation of fifty-five institutions, that in forty-six the grade is determined by the cooperating teacher and in twenty-nine inn- stitutions the director or supervisor of student teaching shares this responsibility. In only eight institutions was there cooperation be- tween various staff members in determining a mark for the course.3 lGelvin, $0 Elie, pp. 138.3390 Guire, pp. git" p. 11?. 3Flowers, 92. 913., p. 19. lll Galvin (to institutions investigated) discovered that in fifteen institutions the grade is the "cooperative thinking of the cooperating teacher and the member of the college staff." In one of the schools the cooperating teacher had the final authority; in six of the schools the college supervisor had the final authority; and in five of the schools the director of student teaching had the final authority. In nine institutions the cooperating teacher gave the final grade; in thirteen institutions, the college supervisor; and in one institution, no letter grade was given.1 McGuire stated that in 1962, the cOOperating teacher was the per- son most frequently reported as determining the student's grade, with the college music educator being only slightly less involved. Approxi- mtely two-fifths of the institutions reported that they used these two persons in combination in arriving at a grade. The college general educator was also employed in about one-third of the cases. In isola- ted instances, the public school music supervisor or the public school principal. was concerned with the determination of the grade. In look- ing to the future, McGuire found that it appeared that college music educators would become more involved and the college general educator would have less to do with the grading process. The cooperating teach- er's grade seemed likely to be lessened in importance as the respond- ents indicated that grades tended to be too high when given by cooper- ating teachers. McGuire also discovered that students are receiving higher grades for student teaching than they did in 1950. Twenty institutions lGelvin, Q0 £1.20, p. 1390 /) ‘sat: grad grad perc educ Val: Con ach 112 expressed the Opinion that the grade "C" was generally interpreted as a failing grade and five institutions were using grading systems of "satisfactory" and "unsatisfactory“ rather than letter grades. The grading curveiin 1962 appeared to be '(a) thirty to forty percent 'A' grades, (b) fifty-five to sixty percent '3' grades, (c) one to four 3 percent '0' grades, and (d) no grades of 'D' or 'F'."1 Institutions of higher learning which involve-themselves in the education of teachers must continue to search for more reliable and valid means of evaluating student teaching. They must continue to be concerned with quality in teacher education and how to evaluate and achieve it. Presently there is a "sharply accelerated rate of growth in enrollments coupled with a severe shortage of well-qualified teachers - a combination which threatens to cause a progressive deterioration of quality at all levels of education over the next two decades. It is this responsibility of the present and the challenge of the future which provide the need for the evaluation of student teaching within the framework of basic principles."2 3923 Student Teaching @eriences Unfortunately, relatively few institutions have arranged signifi- cant post-student-teaching experiences. Galvin3 found that although twenty-nine of forty institutions investigated have 'follow-up-on-the- job programs ," only four institutions actually had visitation programs lMcGuire, loc. _c___it. 2Association for Student Teaching, Evaluatig______ Student Teaching, Thirty-ninth Yearbook, pp. p____it., p. 25. BGGlVi-npo 22s Slit-e, p0 1390 for £11 DJ for first year teachers. Several other institutions had such things as questionnaire letters to the principals or superintendents of the first year teachers. The Thirty-ninth Yearbook of the Association for Student Teaching lists the following follow-up activities which are currently in use or have been carried on in various colle gas and universities: l. Questionnaires sent out by the placement officer or by the curriculum evaluator of the college to the superintendent of the schools where recent graduates are employed. 2. An annual confidential report made by the director of placement after visiting with principals and superintendmts who employ graduates of the college. 3. Visitation by members of the student teaching department to recent graduates within easy driving distance of the college or those employed in schools where student teachers are placed. h. Graduates' Day for first year graduates to return to the campus for a day of observation, individual conferencing, and youp meetings.1 This association readily acknowledges the need for post-student- teaching experiences, but also recognizes the fact that geog-aphical distances, transiency of teachers, overburdened college personnel, and lack of funds among other things tend to "impede any extensive and systematic develoPment of follow-up programs."2 Conclusions It is apparent in the review of literature related to profession- al laboratory experiences, that the writers view these as the most meaningful and important aspect of the teacher education program. The following conclusions have been drawn by this writer from the review of professional literature: tiaaoeietion for Student Teaching, Evaluating,StudentT whigg, Tmty-ninth YearbOOk’ 22. Lite, p. 202. 21bid. uh I. There has been considerable change over the years in the way that colleges and universities administer the general stu- dent teaching program. 2. Even though the literature on student teaching in music is sparse, it is apparent that the achninistration of a general student teaching program has been most influential. Little re- gard is given to the special nature of an effective student teaching program in music. 3. With the increased use of off-campus cooperating schools, it is most important that there be adequate liaison and coordination between the director of student teaching, the college supervisor and the cooperating teacher. There must be established common objectives and care must be exercised to see that there is no overlapping or duplication of work. h. Generally, the work load of both the college supervisor and the cooperating teacher is in need of reduction so that they may give adequate time to the student teachers. 5. The cooperating teacher in the public school should be chosen more carefully. This person should have at least three years of successful teaching experience and the equivalent of a masters degree. 6. Additional in-service training should be provided for the co- operating teacher in the public schools in the form of workshops, seminars or college courses at naninal cost. 7. Professional laboratory experiences should encompass the five general areas of observation, participation, clinical emerience, 1‘ ‘4 -55 r h. 115 student teaching, and post student teaching. 8. There is a strong tendency, in theory, toward.a five-year program of teacher education which may or may not culminate in.a masters degree. The first four years would supply the student with an education based on the liberal arts concept and a fifth year of professional preparation. There is little evidence, how- ever, that this tendency has become reality in practice. 9. Selection.of the students‘who will eventually be certified to teach.should begin.when the student enters college and should be a continuous process. Care should be taken to awoid.the choice of teaching as profession purely as an "insurance policy' or because "the student does not know what else‘to do." T 10. A.trend toward fullptime student teaching in.the "leCk plan" is apparent even though some educators are somewhat reluctant to accept it. ‘Wide deviations still exist in practice concerning the length.and type of student teaching. 11. The college or university and the public schools need tO‘work more closely as an equitable team with the student teaching exper- ience. This will necessitate the public school taking a larger part of the responsibility than.it now assumes. 12. There is a need for student teachers in.the area of'music to do some actual teaching at all levels from kindergarten through senior high.school. It is also important that they experience both vocal.and instrumental.mmsic teaching, regardless of their major. 13. Conferences and seminars must not be overlooked.as an impor- tant aspect in the development of the prospective teacher. 1" 111 ... v. and 116 114. Even though great variations exist in the evaluative pro- cedures of student teaching, the grades of A and B are generally the only ones given so that the prOSpective teacher does not have difficulty in securing a position. More research and ex- perimentation are needed in this area. 15. Post-student-teaching experiences are rare but important. Again, there is need of more research and experimentation in this area. 16. The status of music education as an academic discipline is still in need of acceptance by performers, musicologists, theo- riticians, and composers who divorce themselves from this area of music. It is only through music education that the general pub- lic of our nation might become more musically educated. More seminars such as the Yale Seminar could do much to bring all the separate entities of music together for the purpose of benefiting not these individual entities, but that of music itself. .ru! {er ior mc' ex; Chapter III ANALYSIS OF STATE REQUIREMENTS FCIR COLLEGE OR UNIVERSITY ACCREDITATION IN MUSIC EDUCATION The preceding chapter was devoted to some of the ideas and opin- ions as expressed by other writers concerning music requirements of undergraduate programs in Music Education and professional laboratory experiences for the future music educator. This chapter will be de- voted to the discussion of some of the existing music curriculum re- quirements and student teaching requirements on the state level as revealed by the questionnaire which was sent to selected states on a national basis. Procedure of the Questionnaire Study As stated in Chapter I, only those states which maintain a State Supervisor of Music are included in this stucbr with the exception of New Jersey. Since New Jersey does not maintain a State Supervisor of Music but is included in the study, it was necessary to write to that State Department of Education. A total of thirty-four states was in- cluded in the questionnaire study. A letter, Appendix C, requesting their assistame, was sent to each of the thirty-four states and a follow-up letter, Appendix B, was sent to those institutions which were slow with their replies. Of the thirty-four states to whom questionnaires were sent, thirty-three, or 97 .1 per cent returned the questionnaires. The questionnaire sent to the Department of Education 1.17 3.,“ 7"!“ '1! II 118 of the State of New Jersey'was also returned. The list of these states may be found in.Appendix.A. Accreditation of Colleges and Universities by State Education Departments The first section of the questionnaire'was concerned with whether the State Departments of Education accredit colleges and universities in entirety or the specific curricula within the institutions. Table I illustrates the return of the thirty-four respondents: twelve or 35.3% of the states accredit colleges and universities in.entirety and fifteen or hh.2% accredit specific curricula. Six or 17.6% of the states do not accredit colleges or universities and one or 2.9% of the states accredit both the college and university. TABLE I TYPE OF.ACCREDITATION OF COLLEGES AND UNIVERSITIES BY THE STATE Responses Type Number Percent Colleges and Universities in.Entirety 12 35.3 Specific curricula 15 hh.2 Neither 6 17.6 30th 1 209 Total 3h .Among the states which accredit specific curricula (including the state which accredits both the institution and the specific curricula), sin Educ IITI 15a . 119 sixteen or 100% indicated that this includes the area of Music Education. Although no reliable percentage may be derived, several schools indicated that they either rely completely on accreditation by other agencies, or they rely on these agencies for accreditation when pros- pective teachers in their state have been educated in another state. The three most prevalent agencies were the National Council for the Accreditation of Teacher Education (NCATE), the National Association of Schools of Music (NASM) and one of the six regional associations (The Southern Association of Colleges and Schools, The Middle States Association of Colleges and Secondary Schools, The New England Asso- ciation of Colleges and Secondary Schools, The North Central Asso- ciation of Colleges and Secondary Schools, The Northwest Association of Secondary and Higher Schools, or The Western College Association). Two states, Ohio and Iowa, indicated that they are presently working on the development of specific guidelines for accreditation of college propane which prepare music teachers. In Mississippi, accreditation of colleges and universities rests with the Board of Institutions of Higher Learning, and in Massachusetts the institutions are approved by the Board of Collegiate Authcrity. The State Superintendent of Public Instruction in Kansas is respon- sible for accrediting the colleges and universities for preparation of teachers instead of the State Dapartment of Education. In all other . states included in the study, the Departinent of Education of the state accredits the institutions of higher education if accreditation meme 0 “0 but is 120 Status of Requirements Established for Accreditation The second section of the questionnaire (questions number two and three) pertains to either specific or minimum requirements es- tablished by the state for accreditation. From the rettn'ns it be- comes apparent that specific requirements are musically oriented and minimum requirements are general in nature and apply equally to all curricula. Seventeen states, or 50%, indicated that they have specif- ic (musically oriented) requirements established for accreditation in Music Education, and seventeen states, or 50%, indicated that they do not have specific requirements. Twenty-three states, or 67.6%, indi- cated that they have minimmn (general) requirements which apply to all curricula and eleven states, or 32.11%, have no requirements whatsoever for accreditation of the college or university. Subtracting the six states which, as stated in the previous section, do not accredit col- leges or universities at all, it may be ascertained that eleven states, or 32.14%, which accredit in any mnner do not have specific require- ments for accreditation and five states, or 17.6%, which accredit in any manner do not have even minimum requirements (for accreditation. Among the states which do not accredit in any manner , some of the following instances might be observed. The State Supervisor of Music in Mississippi discusses curriculum offerings with the college or university and seeks to implement certification requirements. He also works personally with college departments in setting up some programs, but this is considered public relations and advisory in nature. It is not mandatory. The State of Florida depends entirely upon the o I :Y.“——J -..—_— Nat 1‘6i 8e dic 121 National Association of Schools of Music for its guidelines, but this is not mandatory. Although Pennsylvania has no specific or minimum requirements for accreditation at the college level, it does have specific recommendations which are very detailed and include recom- merdations in such areas as initial student enrollment and demrtment- a1 admission requirements, staff (number and qualifications), course offerings, building, facilities and equipment, and canpetencies which should be required of the future music educator. A team is sent from the Department of Public Instruction to evaluate the program in the individual college 01‘ university. The Department of Education of the State of Montana has no legal way in which they may influence music curricula at the college and university lavel. The University of Montana is considered the professional music school of the state and dictates its own curriculum. Some characteristic practices among those states which have minimum requirements for accreditation might be exemplified in that of Hawaii which merely requires that a department must require 18 credits in Education (plus student teaching) and 36 credits in Music. Hawaii, however, has no specific requirement for teaching music in the elemen- tary school. In New York, the college or university must submit a written proposal to have the program register with the State Education Department. It is then reviewed by appropriate manbera of the Department and, if necessary, changes suggested. Then the institutions of higher learning must submit to an evaluative visit. No specific requirements for music, however, are stated. Colleges and universities in Kentuclqr and New Jersey also must submit requests for state approval 122 of a program in music education, but the requests in these states must be based on broad, general guidelines and recmmnemiations set down by the National Council for the Accreditation of Teacher Educa- tion. In Kentucky, this request is then approved or rejected, but in New Jersey, after these general guidelines are met, a visiting team is sent out which completes the evaluation and in turn grants accred- itation or declines it. Examples of some specific requirements for accreditation by the state are as follows: Indiana - the music school or department must submit programs con- forming to specifically minimum requirements set forth in the follow- ing rules: Teaching Teaching Teaching Minor gjor Area Major Music Theory 6 12 12 Music History-Literature 2 6 6 Applied Music : Piano-Voice (2) 0 or 12 0 or 12 6-18 Strings-Winds (3) 0 or 12 0 or 12 6-18 Arranging - 2 2 Conducting 2 2 It Music in the Elementary School - 0 or 2 2 Music Electives 2 14-6 2-12 Total 21; to 52 (1) That team“ minor may be in either choral-general music or in instrumental music and qualifies for teaching either choral- general music or instrumental music in thee secondagy school. The teachi_ng Ina—for may be in either choral-general nude or in instrumental music and qualifies for teaching either choral- general music or instrumental music in Grades K-12. The teaching area major includes both choral-general music and instrumental music aanualifies for teaching either or both choral-general and instrumental music in Grades K- E.— (2) Choral-general music shall include: chorus ensemble, voice ; piano or organ, including accanpaniment; a methods course in choral and general music. beco ctr; spec Vest incl Con: 123 (3) Instrumental music shall include: instrumental ensemble; major performance study of a suitable instrument; minor per- formance study of the following: piano, brasses, percussion, strings, and woodwinds; a methods comes in instrumental music. (1;) The major in choral-general music shall include Music In The Elementary School.:1 The State of Alabama has both specific and minimum standards, but they vary from institution to institution as the college or department of music sets then up individually when the institution in entirety becomes accredited. A list of objectives of music teacher education, competencies which each teacher should possess, required areas and specific semester hours in each area, are stipulated in the State of West Virginia. A breakdown of the total 147 required semester hours includes Music Theory (including counterpoint, analysis and arranging), 16 semester hours; Music History and Appreciation, 6 semester hours; Conducting (instrumental and vocal), 3 semester hours; Applied Music, 18 semester hours (instrumental 6-12, piano h-lO, and voice 2-8); and Puticipation in Musical Organizations, 14 semester hours. North Carolina has both specific and minimum guidelines for program accredi- tation in Music Education. The State Department of Public Instruction states that in the preparation of a prospective music teacher, approxi- mately forty percent of the undergraduate program should be devoted to music in accordance with the following guidelines: GUIDELINE 1: The program should provide for a knowledge of 1 State of Indiana, 112 Education _o_f_ Indiana Teachers, Bulletin 1:00 gndiana: Division of Teacher Education and Certification, 1963), PP. ‘370 ...—_- n r"! 8?) TN o‘er" PP. 12h the structural elemnts of music.... GUIDEIM 2: The program should provide opportunities to acquire a sensitivity to and a critical awareness of the aesthetic elenents of musical performance.... GUIDELINE 3: The program should provide a comprehensive understanding of tunic history and literature covering the various eras of music.... GUIDELINE h: The program should provide adequate train- ing in teaching and conducting ensembles.... GUIDELINE 5: The program should provide opportunities to acquire a functional comnand of the piano.... GUIDELINE 6: The program should provide a conception of a comprehensive program of music based upon sound philosophy, arri an understanding of what music to teach and how to teach it at any grade level.... GUIDELINE 7 : The program should provide sufficient preparation for the pursuit of graduate work in music....1 The recommendations prescribed by the United States Department of Health, Education and Welfare form the basis for state approval of teacher education programs in Rhode Island. These specific guide- lines include: 1. Basic music includes subjects as the following, some- times taught separately and sometimes in combination courses which include several subjects: as M11810 readirg b. Ear training and dictation (melodic, harmonic, and rhythmic) c. Keyboard harmony d. Harmony (part writing) e. Form and analysis f. Instrumental and/or vocal arranging g. Counterpoint h. Composition The objective of these courses is to develop sound musi- cianship, with constant emphasis on the usefulness of this mterial in the classroom teaching situation. The use of various mediums of performance in addition to the piano is encouraged. 2. Musical performance including the following usbject areas is recomended: 1 State of North Carolina, Standards and Guidelines f9}; the #proval 93 Institutions 9513 Programs __fcr Teacher THEcatioanEaleigh orth arolina: State Department of Public Instruction, October, 1962), pp. 39%. 125 a. Conducting. The student is to be trained to read and conduct from both choral and instrumental scores of suitable school music materials. b. Ensemble. All music education students should par- ticipate in both large and small ensembles. c. Functional piano facility. All music education majors should be emcted to demonstrate piano facility, as follws: (1) Ability to sight-read songs of the type found in a songbook (2) Ability to harmonize at sight, improvising a simple piano accompaniment for songs requiring the use of I, IV, V chords and some simple modulations, also to transpose the songs and harmonizations to other keys (3) Ability to sight-read fairly fluently simple accompaniments, vocal or instrumental, and simple piano compositions of the type used for school rhythmic activities d. Major performance area. Each music education student should have one performance area in which he excels. The college should state the requirements in terms of musical and technical standards rather than credits or years of stucb'. e. Minor performance area. Every music education student, in addition to his major performance area, should have the equivalent of the following as a minimum require- ment: (1) One year of voice study (2) One term or semester of a stringed instrument and/or a teaching and basic performance ability on all stringed instruments (3) One term or semester of a woodwind instrument and/or a teaching and basic performance ability on all woodwind instruments (1;) One term or semester of a brass instrument and/or a teaching and basic performame ability on all brass instruments (5) One term or semester of percussion, emphasizing the fundamentals of the snare drum and/tr a teaching and basic performance ability on all percussion instruments - 3. Music history and literature should be designed to provide acquaintance with much music within its historical framework; knowledge of the major periods of music history in terms of composers, philosophies, styles, and mediums; and the per- ceptive and analytical skills basic to high standards of artistic taste and judgment.1 lUnited States Department of Health,Education and Welfare, Pro- Bosed Standards {9}; State Approval of Teacher Education (Washing-on . .3 Ignited States Epartment of Health, Education and Welfare, 1966), pp. 9- 1. 126 Personal Visitation of the State Supervisor of Music Question number four on the questionnaire determines whether or not the State Supervisor of Music personally visits the music depart- ments of the colleges and universities before they are accredited. 0f the 3).; reapondents in the sampling, thirteen or 38.2% stated that they always visited the college or university, sixteen or hh.2% in- dicated that they never made visitations, and five or 17.6% stated that it was a practice which sometimes occurred. The State of New Jersey, having no State Supervisor of Music, is included in the 104.2% who never make visitations. Iowa and Texas send out team to do evaluations and this does not always include the State Sipervisor of Music. Also, the State Supervisor is sometimes called upon to evaluate other subject matter areas. In Florida, the State Supervisor visits only as time permits since a limited staff prohibits adequate college and university ac- creditation. He always visits new schools or departments of music, however, but not for the purpose of granting or withholding accredita- tion. The States of Alabama and Louisiana usually do their evaluating by mail and in the State of Ohio, the State Supervisor of Music only visits if requested to do so by the Division of Certification. Status of Certification Upon Graduation from an Accredited College or Universiitz The initial question in section four of the questionnaire (ques- tion 5) reveals whether the student who graduates from one of the 127 accredited colleges or universities automatically receives a teaching certificate. Since some states automatically give certification for reasons other than accreditation by the State Board of Education, all states included in the study must be considered here instead of merely those accredited by the State Board of Education. Of the 31; states included in the survey, seventeen or 50% indicated yes, sixteen or 147.1% indicated no, and one state or 2.9% did not reply. Alabama and Maryland issue a certificate autamtically if the college or uni- versity is accredited by the National Council for the Accreditation of Teacher Education and Rhode Island requires that a statement of eligi- bility be rendered by the college or university upon graduation. This statement may be exchanged for a certificate upon appointment to a teaching position. Among the states which automatically award a certificate upon graduation, a great variety of types of certificates exist. The fol- lowing outline gives a profile picture of what has been revealed in thifl study. State Name of Certificate Valid Authorizes l. Ifissouri State Secondary Certif- 5 years Music K-12 icate in Music Instrmnental Music, Vocal Music or Vocal and Instru- mental Music according to endorsement 2. Iowa Professional Certif- 5 years Music K-12 icate in Music Vocal and In- strumental 3. m & a 7. & 9. 10. 11. State Hawaii New Mexico Oregon Indiana Kansas New York Pennsylvania Illinois .Alabama Louisiana 128 flame of Certificate Class 2 Certificate Professional Certif- icate Basic Teaching Cer- tificate Provisional Teaching Certificate Provisional Teaching Certificate Blue Certificate College Provisional Certificate Standard Special Certificate in Music Class B Secondaryb Elementary Pro- fessional Certificate Type C Certificate in Music Valid hwwa 5 years 3 years 5 years 2 years SWwS 3 years (may be ex- tended an- other 3 yrs) h.years 8 years 3 years Authorizes Music K912 Vocal and In- strumental Music K912 Vocal and In- strumental Music K-lh Vocal and In- strumental Music K912 Vocal and In9 strumsntal Music K912 Vocal and In- strumental Music K912 Vocal and In- strumental Music K-12 Vocal and In- strumental Music K-lh Vocal uni Dm- strumental NMsic K-12 Vocal and In- strumental Music K912 Vocal, Instru- mental, Piano or vocal.and Instrumental (5-year pro- an) 129 State Name of Certificate Valid Authorizes 13. Ohio Provisional Special 1; years Music K-lz Certificate Vocal and In- strumental 1h. North Carolina High School Teacrer's 3 years Music K-JZ Certificate in Music Vocal and In- strumentsl 15. West Virginia Provisional Profession- 3 years Music K-12 81 Certificate Vocal and In- strumental 16. Delaware Standard Certificate 5 years Music K-12 in Music Education Vocal and In- strumental 17. Wisconsin License to Teach 3 years Vocal 1942, Music Instrumental K-12 , or Vocal and Instrtmental K-12 In Missouri, only students graduating from a state college or university automatically receive a teaching certificate and in Penmylvania, a certificate is issued automatically only if the col- lege has been given “Program Approval“ status in music education. If this has not yet been given, the Department of Public Instruction must evaluate the transcript and issue the certificate. New York issues a White Certificate instead of a Blue Certificate if the teacher is frat out of state and the credentials need to be evaluated individually, and Datum requires that preparation for teaching both vocal and instru- mental music from kindergarten through grade twelve shall be recognized as a five-year program. Although the returned questionnaire from New Jersey did not 3.30 contain this information on certification, the author is aware through experience that a Limited Certificate is awarded to the person who meets requirements. This certificate is valid for five years, but may be made permanent after three years of teaching in the state and auth- orizes teaching of music K-12, both instrumental and vocal. Among the sixteen states which indicated that they do not auto- matically issue certificates, thirteen of than stipulate that the teacher desiring to be certified must apply to the State Board of Education and submit a transcript of college work, two indicate that the recommendation must come directly from the college, and one re- quires that the prospective employing school district submit a request. The following outline will show what has been disclosed in this study by these states. State 1. Mississippi 2. Virginia Name of Manner Certificate Issued-K- Valid Class A Special 1 5 years Subject Field Certificate in Music Collegiate Pro- 3 10 years fessional Certif- (First 2 icate in Music years are pro- bationary) Authorizes Music K-12 Vocal Music, In- strumental Music, Applied Music or Vocal and Instru- mental. Endorse- ment on face of certificate May teach fields and/ or subjects and on levels as endorsed on face of certificate * l '- student must apply 2 - college or universiw must recommend 3 - employing school district must request 131 . Name of Manner State Certif ic ate Issued-it Valid Authorizes 3. Washington Provisional Gen- 2 1 year Music K-12 eral Certificate Vocal and In- with Music as a strumental Broad Area of Concentration )4. Arizona Special Music 2 it years Music K-lh Certificate Only subjects named on face of certificate 5. Arkansas High School Cer- l 6 years Jr. and Sr. High tificate in School Music Vocal and Instru- mental Music 6. Florida Rank III Certif- l 3 years Music K-12 icate in Music Vocal and In- strumental 7. Connecticut Provisional Cer- l 3 years Music K-lZ tificate for a Vocal only Special Subject 12 additional hours certifies for Instrumental 8. Tennessee Teachers Profes- l 10 years Music K-12 sional Certificate School Music and/ or Instrumental Music 9. Texas Secondary Provis- 1 Life Music K-12 ional Certificate Vocal and In- in Music strumental 10. Massachu- Certificate for 1 Life Music K-12 eetts Teacher of Music Vocal and In- strumental 11. Montana Class II Secondary l 5 years Music K-12 Special Certificate Vocal and In- in Music strumental Class II Secondary 1 5 years Music 7-12 General Certificate Vocal and In- in Music strumental 12. New License 1 1 year Music-Elementary Hampshire or Secondary Vocal and In- strumental 13. 1h. 15. 16. see South Carolina Kentucky Maryland Rhode Island 132 Name of Certificate Probationary'Cer- tificate in School Music Special Certifi- cate in Music High School 93; Elementary School Teacher's Certif- icate in Special subjects-Music Provisional Cer- tificate in Music Manner Issued* l.&.2 l &.2 Valid 2 years hwws 3 years 6 years Authorizes Music K-12 Choral, Instru- mental or Applied Mbsic K-12 Vocal and In- strumental Music-Elementary or Secondary 1Vocaland Inp strumental Music KAIZ Vocal and In- strumental Table IIfiwill thus establish by percentage the authorization practices of the states with regard to grade level of students and subject area (vocal and/or instrumental music). TABLE II AUTHORIZATION PRACTICES WITH REGARD TO GRADE LEVEL.AND SUBJECT.AREA Responses Grade Level Number Percent Kindergarten - 12 30* 88.2 Elementary gr Secondary 6* 17.6 Subject Area .All Music - Vocal and Instrumental 33** 97.1 Vocal or Instrumental 9** 26.5 * Two states have certificates in music for both grade levels. ifi-Efight states have certificates for vocal and/or instrumental music. W 133 Status of Music Student Teaching in State Certification Requirements The final section (questions 6 and 7) of the questionnaire con- cerns specific and minimum requirements in student teaching as re- quired by the state for certification. The replies to question six showed that seven states, or 20.6% have specific requirements for student teaching in.music, twenty-six or 76.5% have no specific re- quirements, and one state, or 2.9% did not answer the question. The seven states which have specific requirements, and their policies, are as follows: Texas - Student teaching must include six semester hours of work in.which three must be on the elementary level and three on the secondary level. Ohio - Six semester hours of student teaching are required. Actual classroom teaching, under supervision, and preferably in large blocks of time per day, should be included. The mmsic student teacher should have student teaching and re- lated laboratory experience at both the elementary'and the secondary'level. South Carolina - Prospective teachers who are preparing to teach subjects or fields such as music for both elementary and high school.may take directed teaching on both Levels or they may take it on one level only. However, if these prospective teachers wish.to be certified on one level only, the directed teaching must be done on the level for which certification is desired. west'Virginia - Six credits of student teaching are required and this student teaching experience shall be consistent with the grade level(s) and area(s) of specialization to be named on the license. ‘Nisconsin - Student teaching in music must be at least on.two levels such as elementary-junior high school, elementary- senior high school, etc. Delaware - Six semester hours of student teaching at the ele- mentary and secondary levels are required. ‘ LII. ’frhh 13h land - Six semester hours in supervised observation and student teaching in music, which shall have been done on a full-time basis over a specified period of weeks. The re- quired semester hours of student teaching may be divided with approximately equal time allocated to this experience at the elementary and secondary school levels. The replies to question seven showed that twenty-seven, or 79.h%, of the states have minimum requirements for the student teaching program in music, six, or 17.7%, of the states do not even have mini- mum requirements and one state, or 2.9%, did not reply to the ques- tion. All states which rave specific requirements also have minimum requirements for student teaching; they are one and the same. Thus, twenty states, or 58.8%, which do not have specific requirements do have minimum requirements. Table III shows the minimum semester hour requirement for these twenty states tabulated in percentages. None of these states have any requirement concerning the grade level at which student teaching must occur. It become apparent that the majority of these states (65%) require five or six semester hours of student teaching as minimum. 135 TABLE III MINIMUM SEMESTER HOUR REQUDIEMENT AMONG STATES WHICH HAVE NO SPECIFIC STUDENT TEACHING REQUDIEMENT IN MUSIC Responses Minimum Semester Hours Number Percent 2 1 S .0 )4 2 10.0 h-8 2 10.0 5 h 20.0 6 9 16.0 8 1 5.0 6.12 1 5.0 Total 20 Also noteworthy is the fact that of the six states which in- dicated that they have no specific or minimum requiremnts in music, five of them require that student teaching must occur and one allows the colleges and universities to make all decisions concerning student teaching. The recommendations for music student teaching in Pennsylvania, New Jersey and Maryland vary greatly. Pennsylvania requires a linimmn of six credits in student teaching, New Jersey requires that profes- sional laboratory experiences should include more than student teaching in the senior year with a careful sequence of observation, participation, small group instruction and classroom teaching being worked out, and Maryland, 336 which has specific requirements in music student teach- ing, has been discussed on page 131;. Specific Music Requirements Recommended by Pennsylvania, New Jersey and Maryland for the Undergraduate Prpgram in Music Education The three states within the geographical boundaries of Pennsyl- vania, New Jersey and Maryland relate to the bulk of this study. Their recommendations for the music curriculum leading to a degree in music education show many similarities. Maryland and Pennsylvania recmrmend specific semester hours credit for various areas, but New Jersey merely prescribes the course offerings which should be included. The requirements for each state are as follows: I. Pennsylvania - Courses in music and music education should represent a minimum of fifty (50) percent of the total num- ber of hours required for gaduation. Music and Music Education courses should provide the music education naj are with working knowledge in the following areas: A. B. C. D. E. F. G. H. I. J. Harmony Sight-singing Dictation Form and Analysis Keyboard Harmony Orchestration (A composite theory course may be substituted for all or part of the courses num- bered A-F) Major Performance area shall consist of four (h) years of continuous resident study Secondary Instrumental Study shall be in all four ()4) choirs Voice Piano (Areas I and J apply only to those music edu— cation majors not having voice and/or piano as major performing areas) Coniucting Music History Elementary Music Methods Secondary Music Methods Instrumental Methods II. 137 P. Organization. All music education majors shall participate in choral and instrumental organiza- tions. Q. Music Literature for the Elementary Classroom R. Composition and Counterpoint should be electives Opportunity for advanced specialization should be made available. A minimum of 36 semester hours is considered minimum for specialized education. The state supervisor of music states that most colleges insist on h8 or more hOUI‘So New Jersey - Basic Music includes subjects such as the following, sometimes taught separately and sometimes as combination courses which include several subjects: Music reading Ear training and dictation (melodic, harm0nic, and rhythmic) Keyboard harmony Harmony (part writing) Form and analysis Instrumental and/or vocal arranging Counterpoint Composition The objective of these courses should be to develop musicianship, with constant emphasis on the usefulness of this material in the classroan teaching situation. The use of various mediums of performance in addition to the piano is encouraged as being beneficial in achieving this objective. Musical performance including the following subject areas is recommended: 1. Conducting - the student is to be trained to read and conduct from both choral and instrumental scores of suitable school music materials. 2. Ensemble - insofar as practical, all music education students should participate regularly in both large and small ensembles. 3. Functional piano facility - all music education majors should be expected to demonstrate piano facility as follows: Ability to sight-read songs of the type found in a songbook. Ability to harmonize at sight, improvising a simple piano accompaniment for songs requiring the use of I, IV, V chords and some simple modulatiom, also transpose the songs and har- monizations to other keys. Ability to sight-read fairly fluently simple accanpaniments, vocal or instrumntal, and simple piano compositions or the type used for school rhythmic activities. 1;. Major perfcrnance area - each music education student should have one performance area in which he excels. III. 138 The college should state the requirement in term of musical and technical standards rather than credits or years of study. 5. Minor performance area - every music education stu- dent, in addition to his major performance area, should have the equivalent of the following as a minimum requirement: One year of voice study One term or semester of a string instrument One term or semester of a woodwind instrument One term or semester of a brass instrument One term or semester of percussion, emphasizing the fundamentals of the snare drum Music histh and literature should be designed to provide acquaintance with much music within its historical frame- work; knowledge of the major periods of music history in terms of composers, philos0phies, styles and media; and the perceptive and analytical skills basic to high standards of artistic taste and judgment. Professional education should include music education methods and materials as part of the total sequence. gland - Music (Secondarzgchooli ving met the requirements for a bachelor's degree from an accredited institution, and, in addition to or as a part of the requirement for the degree, credit for course work in the following areas: 1. at least 30 semester hours of credit in music distributed as specified below: a. basic music : music theory (keyboard and written harmony, sight reading, ear training, and dictation), form and analysis, composition, vocal and instru- mental arranging, counterpoint, and eurhythmics 10 semester hours b. musical performance: shall include piano, voice, conducting, basic iretrument techniques, ensemble experience, and a major performance area - 16 semester hours c. music history: history of music and/or appreciation of music 1; semester hours 2. four semester hours in secondary education including special methods in teaching music in the secondary school and six semester hours in supervised observa- tion and student teaching in music, which shall have been done on a full-time basis over a specified period of weeks. Music (Elementary School) same requirements for the thirty hours in music as outlined in the secondary program and two semester hours in materials and methods of teaching music at the elementary level. Also, six semester hours of directed student teaching 139 in music at the elementary school level but the required semester hours of student teaching may be divided with approximately equal time allocated to this experience at the elementary and secondary school levels. As one can observe, certification requirements among the three states vary fran specific detail of credit hour and subject matter to sweeping generalities which leave the matter of hours and subjects entirely in the hands of the accrediting institution. The only basis for precise comparison between the states lies in the total number of semester hours required in music (excluding music education). This might also be compared to the number of semester hours of credit recommended by the Music Educators Conference in the 1965 publication Music in General Education.1 The results are: MENU - 81 semester hours in music Pennsylvania - 36 semester hours in music New Jersey - hO semester hours in music Maryland - 38-110 semester hours in music Obviously, all three states require considerably less than recommerded by the Music Educators National Conference. am The data in this chapter revealed that considerable variation exists among the types of accreditation of colleges and universities by the state. The greatest number of states, however, accredit spe- cific cm'ricula within the institution of higher learning, and more specifically that of music education. Also, the greatest number of 1'Ernst and Gary, 92. $1., p. 178. 1140 states indicated that accreditation is carried out by the Department of Education of that respective state. Fifty per cent of the states investigated have requirements es- tablished for accreditation of its colleges and universities which are specifically musically oriented and approximately one third of the states have general requirements which apply equally to all curricula. Consequently, it is apparent that requirements at the state level play a large part in influencing music curricula at the college and univer- sity level throughout the nation. Only one state, however, advocates the five-year program recommended by the Music Educators National Conference, and in this case it is only advocated if the individual wants to be certified in both instrumental and vocal music. Over one-half of the State Supervisors of Music visit the colleges and universities in their respective states at least occasionally. His influence over the curricula generally seems to be more advisory than dictatorial in nature. The stw revealed that one-half of the states investigated auto- matically certify a student upon graduation from an accredited college or university. The remaining states require that either the prospec- tive teacher, the college, or the employing school district must make application to the State Board of Education requesting certification. In all cases, this includes submitting a transcript of the college work for review by the Board. This analysis further showed that in a large majority of states, a prospective teacher, upon certification, is authorized to teach all music, both vocal and instrumental, from kin- dergarten through the twelfth grade. 1141 Despite this policy of authorization, only twenty per cent of the states have any requirement that student teaching occur at both the elementary and the secondary level and none of the states inclu- ded in tle study specified that the student teaching should occur in both vocal and instrumental music. A majority of the states, how- ever, do have minimum requirements in student teaching which total five or six semester hours. Certification requirements in Pennsylvania, New Jersey and Maryland vary greatly from specific detail of credit hour and subject matter to sweeping generalities which leave the matter of hours and subjects entirely in the hands of the accrediting institution. In the three states, the overall semester hours required in music are less than half that recommended by tie Music Educators National Conference. Chapter IV ANALYSIS OF THE DATA PROVIDED BY THE MUSIC DEPARTMENT CHAIRMAN Chapter III was devoted to the data provided by the State Super- visors of Music concerning the role which the state plays in the edu- cation of future music teachers. This chapter will be devoted to a discussion of the current practices in music education as viewed from the administrative standpoint, namely, the departmental chairman of all colleges and universities included in the study. Procedure of the Intervi9w Study As stated previously only the music curriculum aspect of the course requirements leading to an undergraduate degree in music edu- cation in Pennsylvania, Maryland and New Jersey is included in this study. A letter, Appendix D, was mailed to the music department chairman in all institutions which were accredited by the Middle States Association of Colleges, Universities and Secondary Schools and/or the National Association of Schools of Music, inviting their participation. The first return yielded thirty-five responses, or 85.14 per cent of the colleges and universities which offer degrees in music education. A follow-up letter was prepared, Appendix D, and sent with another questionnaire to those chairmen who were slow in responding. The follow-up yielded an additional four participants for a total of thirty-nine, or 95.1 per cent of the colleges and universities in the three states which were invited. The participating schools, their lh2 11:3 department chairman and directors of music student teaching are listed in Appendix B. Another letter, Appendix D, was then sent to the department chairmen to arrange specific times for the structured interviews on the respective campuses. The visitation took place over a period of nine months from September, 1966 through May, 1967. The length of the interview with the music department chairman was generally one hour. Admission Procedures and Requirements Two factors greatly influence the fundamental philosophy of the department or school engaged in the training of music teachers, and thus affect the program and the sequence of the pro-student teaching laboratory experiences. These factors are the admission procedures and requirements (including the level at which the music education major is declared) and the course and experience background in music. The examination of the admission procedures and requirements of the thirty-nine schools illustrates a certain amount of variety, but also a clear majority procedure in each of the criteria used for ad- mission. Table IV shows the criteria the individual colleges and uni- versities use for admission before the prospective student is considered as a potential music major. If listed by states, there are thirty-four schools in Pennsylvania, nine schools in New Jersey, and six schools in Maryland. lb); TABLE IV CRITERIA USED FOR ADMISSION TO COLLEGE OR UNIVERSITY Criteria Always Sometimes Never Do Not Know No. Pct. No. Pct. No. Pct. No. Pct. College Board Scores 31; 87.2 2 5.1 2 5.1 l 2.6 High School Record 36 92.2 1 2.6 l 2.6 l 2.6 Personal Interview 18 no.1 6 15.1; In 35.9 1 2.6 Letters of Recommendation 25 614.1 9 23.1 3 7.7 2 5.1 . In Tables V, VI and VII the individual practices of each of the three states with regard to college and university acceptance are il- lustrated. TABLE V CRITERIA USED FCR ADMISSION T0 COLLEGE OR UNIVERSITY IN PENNSIINANIA Criteria Altgys Sometimes Never Do Not Know No. Pct. No. Pct. No. Pct. No. Pct. College Board Scores 22 91.7 2 8.3 0 00.0 0 00.0 High School Record 23 95.8 1 h.2 o 00.0 o 00.0 Personal Interview 13 SL2 5 20.8 6 25.0 o 00.0 utters Of Recmndation 15 62.5 7 2901 l 11.2 l 1402 lbs TABLE VI CRITERIA IBED FOR ADMISSION TO COME CR UNIVERSITY IN NEW JERSEY Always Sometimes Never Di Not Know Criteria No. Pct. No. Pct. No. Pct. No. Pct. College Board Scores 8 88.9 0 00.0 0 00.0 1 11.1 High School Record 8 88.9 0 00.0 0 00.0 1 11.1 Personal Interview 1; 1414.1; 0 00.0 14 Mull 1 11.1 Letters of Recommendation 7 77.8 0 00003 1 11.1 1 11.1 w. TABIE VII CRITERIA USED FCR ADMISSION TO COLIEGE OR UNIVERSITY IN MARYIAND Criteria Malays Sonetimes Never Do Not Know No. Pct. No. Pct. No. Pct. No. Pct. College Board Scores ’4 66.7 0 00.0 2 33.3 0 00.0 High School Record 5 83.3 0 00.0 1 16.7 0 00.0 Personal Interview 1 16.7 1 16.7 h 66.6 0 00.0 letters of Recommendation 3 50.0 2 33.3 1 16.7 0 00.0 r r t ._‘—. Some of the other criteria which were used for admission but were mentioned only one time were health record, profile made by admissions office, rank in high school class, and the American Council on Educa- tion examination administered at personal interview. The criteria used for admission to the department of music again shows a clear mjority procedure in each of the criteria, but not so 1116 great a majority as the college or university itself. Table VIII shows the criteria used by the Department of Music in accepting the future music major. TABLE VIII CRITERIA USED FCR ADMISSION TO DEPARTMENT OF MUSIC f - C to - Always Sometimes Never ri r1a Number Pct. Number Pct. Number Pct. Audition 28 71.8 6 15.h 5 12.8 Personal Interview 26 66.7 10 25.6 3 7.7 Prior Musical Experience 31 79.h h 10.3 h 10.3 Test administered by Department 22 56.1; h 10.3 13 33.3 I —_ Tables IX, X and XI show the practices of the schools of Pennsyl- vania, New Jersey and Maryland individually with regard to admission to the department of music. TABIE IX CRITERIA USED F CR ADMISSION TO DEPARTI‘ENTS CF MUSIC IN PENNSYLVANIA C . . Always Sometimes Never riterla Number Pct. Number Pct. Number P0P- Audition 19 79.2 3 12.5 2 8.3 Personal Interview 17 70.8 6 25.0 1 11.2 Prior Musical Experience 19 79.2 3 12.5 2 8.3 Test administered by Department 12 50.0 3 12.5 9 37.5 1h? TABLE X CRITERIA USED FOR ADMISSION TO DEPARTMENTS OF MUSIC IN NEW JERSEY Criteria Always Sometimes Never Number Pct. Number Pct. Number Pct. Audition 6 66.7 2 2202 l 1101 Personal Interview 5 55.6 3 33.3 1 11.1 Prior Musical Experience 7 77.8 1 11.1 1 11.1 Test administered by Department 7 77.8 1 11.1 1 11.1 TABLE XI CRITERIA USED FOR ADMISSION TO DEPARTMENTS OF MUSIC IN MARYLAND Criteria Always Sometimes Never Number Pct. Number Pct. Number Pct. Audition 3 50.0 1 16.7 2 33.3 Personal Interview 11 66.6 1 16.7 1 16.7 Prior Musical Experience 5 83.3 0 00.0 1 16.7 Test administered by Department 3 50.0 0 00.0 3 50.0 Several comments concerning admission policies which deviate from the above norms are: Do not know who the music majors are until the junior year. Only require audition for piano and voice applied majors, not music education majors. They may, however, audition if they care to. 1148 Do not audition until after the student has com- pleted his first semester. Do not know who freshmen music majors are until the beginning of the freshman year when the students arrive. The Music Education Department is in the Department of Education, not the Department of Music. Maps to begin requiring auditions in the near future. As previously stated, twentybtwo colleges always administered tests as a part of the admission procedure and four practiced this sometimes. Of these twenty-six schools, sixteen indicated that they used the results of these tests for more than admission or rejection purposes and six administer tests after the student is admitted. The most common reason for administering tests other than admission or rejection was for theory placement (twentyaone schools), although many indicated that they do not organize fast and slow theory classes but use these tests to balance the classes. Three institutions in- dicated that they administer tests for students who wish to pass off a portion of their theory work and for applied.music placement. Two schools indicated that the tests are given for diagnostic purposes and one gave tests for prediction of overall performance on the part of the student. Twentybone colleges and universities indicated that they devise their own tests, three use the Seashore Measures of Musical IEEEEE.P1u5 their own.test, two use the Kwalwasser-Dykema Music Tests and two use the Aliferis Music Achievement Test. Other tests men- tioned in singular instances were the 222!E.IE§2.2£.MB31°31 Talent, the 925222 Musical Profile and the Kwalwasseréfiggh_gggt.g£_ Musical Accomplishment. One can readily realize that a vast majority of the schools devise their own tests. 1&9 The time in the academic sequence when a student declares his de- sire to major in music education is of importance in the sequential program of laboratory experiences. In thirty-five of the thirty-nine schools, students declare their desire to major in music education upon entrance to the school. In one school the intent was declared at the end of the freshman year and in three schools at the end of the sopho- more year. Thus in ninety'per cent of the schools included in this study, the spiral sequence of laboratory experiences is aupossibility and in ten per cent of the schools, a four-year sequential program of laboratory experiences is impossible. Table XII illustrates the latest time that the prospective music education major can declare his major and still graduate in four years. The greatest number of schools labeled the beginning of the sophomore year as the last possible date, and a large number require it upon en- trance in.order to graduate in four years. TABLE XII DECLARATION OF MUSIC EDUCATION AS A MAJOR AND GRADUATING IN FOUR YEARS M Responses Term Number Per cent Entrance 10 25.7 Freshman.year - end of first semester 7 17.9 Sophomore year - beginning 16 141.0 Sophomore year - end of first semester 1 2.6 Junior year - beginning 5 12.8 Total 39 LIL 150 There was common agreement among schools who stated that a student may graduate in four years if he declares Music Education as his major by the beginning of his 30phomore year that this student will need smrmer school or at least a heavier course load in remaining semesters. Two unusual practices are worthy of note: The students must declare music education as a major at the beginning of the freshman year, and take seven hours in a summer school in order to graduate in four years. Students are not required to declare Music Education as a major until the beginning of their junior year because Phi Beta Kappa states that no departmnts may require more than forty-two hours for a major. If a student does not select his major until his junior year, he will have less than forty-two hours and thus be eligible for Phi Beta Kappa. In addition to the school which requires four years and seven credits in a sumxrer school, two schools have begun five-year programs leading to a bachelor's degree in one case and a master's degree in another. I This study also revealed that all students applying for admis- sion to the music departments of all the colleges and universities must go through the same admission procedure regardless of what year in his college career he decides upon music as his major. Music Education Degree Requirements The division of music courses into music history, music theory, applied music and music education reveals a diversity of practices among the schools in this study. Music History and Literature Eighteen colleges and universities separate their music history and music literature requirements, twenty schools combine them, and 151 one school combines music literature and music theory requirements. The music history group here stated includes all courses in music history, music appreciation, and music literature. An analysis of these requirements reveals the data in Table XIII. TABLE XIII CREDIT REQUIREMENTS IN MUSIC HISTCRY, MSIC LITERATURE, AND.MUSIC HISTORY AND LITERATURE Semester Hour Number of Schools with the Requirement Wait?“ Music History Music Literature Music History and Literature 18 - .. 1 15 - - 2 12 - .. 2 10 - - 3 8 2 - 2 6 12 2 7 h 2 2 2 3 3 h - 2 - 6 - 1 - - - O - h - 2 courses* - - 1 Total 19 18** 20 W * One school uses a h-h course plan in which students need 32 courses for graduation at four courses per semester. ** Only 18 schools listed because one school combines literature requirements with music theory. 152 Music Theory Included in music theory are courses in theory such as harmorur, sight singing, keyboard harmony, ear training and dictation; courses in form and analysis, counterpoint, fugue, orchestration and arranging. The credit requirements anong the schools are stated in Table XIV. TABLE EV CREDIT REQUmH’IENTS IN MUSIC ‘fiiEGIY Semester Hour @r of Credit Schools 36* l 26 2 21: h 23 l 22 h 21 h 20 2 18H 6 17 1 16 3 15 h 11: 2 12 h 6 courses m 1 Total U.) \0 r— r l 41- Includirg music literature and music theory 41-!- One university requires 17 credits for vocal majors and 19 credits for instrumental majors m h-h curriculum plan 153 Applied Music Applied music includes only the requirements for private study in the major instrument, minor instrunent, piano (non nnjors) and voice (non majors). An analysis of these requirements is shown in Table XV. TABLE XV CREDIT REQUIREMENTS IN APPLIED MUSIC Sane ster Hour Number of Credit Schools 36 1 26 1 2b, h 22 1 21 3 20 3 18 l 16 3 1h 1 12 7 11 1 10 3 9 1 8 h 7 2 6 l h l )1 courses * 1 Total 39 * h-h curriculum plan A unique approach to the applied nmsic sequence may be found in Appendix L. This plan lists the various major applied areas and 15h prescribes the applied music sequence in both major and secondary areas for seven semesters. Mus ic Educ ati on The music education group includes various course offerings in methods, conducting, and professional laboratory experiences. Table XVI shows a breakdown of the number of credits required in mteic edu- cation by the various schools. TABLE XVI CREDIT REQUIREMENTS IN MUSIC EDUCATION L r Senester Hour Credit Number of Schools 36 l 30 3 2905 1 W 29 2 28 1 27 l 25 2 2h 3 H 23 3 22 5 21 2 20 1 19 3 18 l 17 1 16 h nee-r, tem 15 2 1h 3 it, *3:- 13 1 l2 1 1; courses 1 Total 5 * One a requirement for Elementary Music Majors only. 31* One a requirement for Vocal Music Majors only. *H- One a requirement for Secondary Music Majors only. ism One a requirement for Instrumental Music Majors only. 155 Individual Course OfferingLand Requirenents The individual course offerings in the respective groups showed great variety. The following outline will give a profile picture of both required courses and electives. Only those courses which are required or offered by more than one school are listed here. Number Number Required of Schools Elective of Schools Music History History of Music 27 Nore Music History and 3 Appreciation Music in Western 2 Civilization Music Literature Survey of Music 15 Opera 10 Literature Baroque Music 2 Twentieth Century 7 Music Romantic Music 2 Symphonic Literature 7 Introduction to 2 Romantic Music 6 Music Church Music 2 American Music 6 Baroque Music 5 Classical Music 1; Contemporary Music I; Renaissance Music 3 Music Literature at the Maj or Instrument N Eighteenth Century Music 2 156 Number Number Required of Schools Elective of Schools 8 History of Jazz 2 Chamber Music 2 Hymnology 2 Music Theory Music Theory (in- 21 Counterpoint 22 tegrated course) Orchestration 2O Composition 15 Form and Analysis 17 Orchestration S Harmony 1h Form and Analysis 5 Counterpoint 9 Keyboard Harmony 3 Sight -aingi.ng 9 Ear Training 2 Keyboard Harmony 7 Special Studies in 2 Music Theory Sight-singing and 7 Ear Training Advanced Harmony 2 Arranging 7 Ear Training 5 Musicianship (in- 3 tegrated course) Composition 3 Bandstration 3 Basic Music 2 Foundations of Music 2 Music Education Secondary Music 30 Workshop in Public 2 Methods School Music Elementary Music 29 Elementary Methods 2 Methods 157 Number Number Reg ired of Schools Elective of Schools Instrumental Music 18 Methods Vocal Music Methods 5 Eurhythmics S Practicum 3 Principles ani 3 Practices of Music Education Junior High School 2 Music Methods Vocal Mimic Methods 2 Elementary Vocal Music Methods 2 Secondary Conducting Choral Conducting 29 Advanced Conducting 2 Instrumental Con- 21 ducting Conducting 12 Fundanerrtals of 1.; Conducting In music history, several other required courses were listed by only one school including I'Seninar in Music History, History and Development of Musical Style, Musicology, Historical Development of Music, Musical Form and Interpretation, History of Music since 1827, and Music Appreciation.“ Elective offerings in music history listed by only one school include “Music Appreciation, History of Sacred Music, Musicology, and Contemporary Trends in Music, Art and Drama.” 158 Several course offerings in music literature were stated by only one school. Required offerings include "Gregorian Chant, Opera, Introduction to Music Literature, Medieval-Renaissance Music, Music Drama, Music Literature of the Major Instrument, Theory and Litera- ture, Fine Arts, Symphony, Renaissance Music, Baroque-Classical Music, Rwant ic-Twentieth Century Music, Classical-Romantic Music and Con- temporary Music." Elective offerings were "Survey of Choral Litera- ture, Orientation in Music, Nineteenth Century Music, Great Masters, Pro-twentieth Century Music, Piano and Organ Literature, Survey of Music Literature, Pro-Renaissance Music, Music of the Middle Ages, Oriental Music, Literature of the Musical Theatre, J. S. Bach, and Church Music ." Course offerings in music theory listed by only one school as re- quired include ''Studies in Theory, Fundamentals of Music and Basic Musicianship, Harmony and Musicianship, Music Perception, Music Funda- mentals, Introduction to Music, Theory and Literature, Instrumentation, and Aural Techniques." Elective course offerings in music theory in- clude "Twentieth Century Harmony, Arranging, Advanced Music Theory, Gregorian Chant, Fugue and Instrmmntation.‘ The following music education courses were listed as required by only one school per course: "Primary Music Methods, Intermediate Music Methods, Problems in Music Education, Vocal Music MethodsuSenior High School (vocal majors only), Instrumental Methods in the Junior High School (iretrunental majors only), Instrumental Methods in the Senior High School (instrumental majors only), Band and Orchestra Techniques and Administration, The Vocal Teacher and School Organization, Folk 159 Dancing, Instrumental Methods - Grades h-6, Instrumental Methods - Junior and Senior High School, and Advanced Instrumental Problems." Elective offerings in music education include “Teaching Recorder, Problems in the Teaching of School Music, Survey of Choral Materials for use in Public Schools, Music Literature for the Music Curriculum, Instrumental Activities for the Classroom Music Program, Advanced Elementary Methods, Methods of Teaching Piano, Choral Techniques and Administration, Marching Band Charting and Materials, Care and Repair of Instnlments, Secondary Methods, Piano Pedagog, The Elementary Music Specialist, Band and Orchestra Techniques, The Choral Frog-am in the Secondary School, Class Piano Methods, and Special Studies in Music Education." Required courses in conducting stated by only one school in- clude "Intermediate Conducting, Advanced Conducting, momentary Con- ducting, and orchestration and Conducting.- It is worthy of note that of all the divisions, the greatest concordance of course offerings lies in the area of music history and the greatest diversityr lies in the area of music theory. The electives outnumber the recpirements in music literature and the re- quirements outmmber the electives in all. other areas. Music Educa- tion, however, has the greatest diversity of elective offerings. Un- fortunately, none of the schools have a requirement in Contemporary or American Music Literature and only one school offers a course in the "Methods of Teaching Class Piano." 160 Specific Requirements in Applied Music Twenty-eight of the thirty-nine schools require that the music education major study eight semesters on their major instrument. Seven schools require seven semesters of private study, two schools require six semesters, and two schools do not recognize a major in- strument for the music education major. The mininnm requirements in voice for the non voice major in- cludes both voice class and private voice lessons. One school re- quires three semesters of voice class, eight schools require two semesters and four schools require one semester. One school requires eight semesters of private voice lessons, one school requires six semesters, ten schools require four semesters and six schools require two semesters. Five of the above mentioned schools also require pro- ficiency tests in voice and four schools will allow a student to graduate with no voice lessons if he is able to pass a proficiency test. Three schools cover the voice requirement in the Vocal Methods class and one includes it in Theory and Solfeggio. The minimum requirements in piano for the non piano major are more strict than those for the non voice major. One school requires eight semesters of class piano, four schools require four semesters and three schools require two semesters as a minimal. Seven schools require eight semesters of private piano lessons, three schools rc- quirc six semesters, nine schools require four semesters, and four schools require two semesters of work. Nine of the above mentioned schools also recpire proficiency exams in piano and in ten schools a strident may pass off piano entirely if he is able to pass the basic l6l proficiency exam. The minimum requirements on the secondary instruments are usually broken down into the families of brass, woodwind, strings and percussion. Six schools, however, combine brass and percussion and require two semesters' work, one combines woodwinds, brass and percussion into one semester's work, and anotrer school combines woodwinds and brass into two'semesters of work. Two schools cover all work in secondary instruments in an instrumental. methods course. The following profile will reveal the practices of those schools which require class lessons according to instrument families or in- dividual instruments: 162 TABLE XVII CLASS LESSON REQUIREMENTS IN SECONDARY INSTRUMENTS . Number of Number " Number of Number Semesters Required of Schools " Semesters Required of Schools I 7 Brass " Woodwinds; I l 18 " l 20 I! 2 5 u 2 12 '1 Trmnpgt " Clarinet ll 1 2 " l 2 ll 2 l " 2 l I Horn " Flute II 1 l " l 1 fl Trombone " Double Reed 1! l l a 1 l I m " Percussion II 3 2 n 2 2 ll 2 22 n l 22 n 1 8 n 0 6 It Violin n n 2 3 n 3! Lower Strings 3‘ fl 1 1 a In addition, one school has no requirement in brass or woodwinds, and two schools have no requirements in strings. One school allows students 163 to pass off all the secondary instruments by means of proficiency examinations. Thirty-six schools indicated that these specific requirements in applied music were the same for both the vocal and instrumental major, and six indicated that they were different. The six differ- ences as stated by the respondents we: 1. InstnmentaJists take six semesters of class lessons on secondary instruments. Vocalists take two courses - one in strings and one in winds. 2. The school has no instrumental majors. 3. Vocal and instrumental majors follow an entirely different program. 14. Voice and piano majors do not have class lessons on secondary instruments. Instead, they have an instrumental survey course. 5. Every major follows the applied music sequence of his major instrument group and these vary. 6. Vocal majors take only one semester of strings. Instrumental and vocal classes offer opportunities for rich ex- periences in many phases of music education. Basically, the purpose of such classes is to develop knowledge and experience in the tech- nique of playing or singing. However, such classes can be workshops for learning methodology and materials for instrumental and vocal teaching in the schools, for experience in minor ensembles, for ex- periments in orchestration and arranging; and as such these classes become centers for laboratory experiences. Seemingly few schools use these instrumental and vocal classes as workshops for experimen- tation, and a valuable opportunity for laboratory experiences is 103150 16).; Size of Music Faculty: with Regard to Music Department Enrollment The total number of music faculty in all schools included in the study is 780, both full and part time. Table XVIII reveals the number of full and part time faculty by states. TABLE XVIII SIZE OF MUSIC FACULTIES Pennsylvania 311;- 137 1:51 Maryland 100 ’42 1142 New Jersey 139 148 187 All States 553 227 780 Table XIX states the number of music majors, the number majoring in music education, and the percentages of music majors majoring in music education. TABLEIEX PECEN'EAGE OF MUSIC MAJORS MAJORING IN MUSIC EDUCATION Enrolment State Music Majors Music Education Majors Percent Pennsylvania 2,921 2,359 80.8 Maryland 730 1:57 62.13 New Jersey 1,056 839 79.5 All States 14,707 3 ,655 ._.____ .---by“... ---_.v._ 77.7 165 In order to show what the average or mean music department would possess as to faculty and students, Table XX has been devised. TABLE XX AVERAGE MUSIC DEPARTMENT IN PENNSYLVANIA, MARYLAND AND NEW JERSEY Average Faculty; Average Enrolment Music Educa- State Full Time Part Time Total Music Majors tion Major Pennsylvania. 13 6 19 122 98 Maryland 17 7 2h 122 76 New Jersey“ 15 5 20 117 93 A11 3 tates 1h 6 20 121 9h The data with regard to the percentage of music majors who are presently majoring in music education.makes it even.more imperative that the status of music education as an academic discipline be ac- cepted by performers, musicologists, theoriticians and composers, par- ticularly those who teach in the colleges and universities. Seventyb seven and sevenptenths per cent of their students are preparing to be nmsic teachers and consequently should be influenced by a positive at- titude toward their future profession. . Twelve of these schools indicated that members of their part time music education faculty also teach in the public schools, two indicated that they have persons who also teach in demonstration schools, one in- dicated that they have a person who also teaches in a private school and one indicated that one of their faculty also teaches in another college. 166 Types of Degrees Offered Four different degrees are offered by the thirty-nine schools included in this survey. Fifteen schools offer a Bachelor of Science degree with a music education major; twelve, a Bachelor of Arts de- gree with a music education major; eleven, a Bachelor of Music degree with a music education major; one, a Bachelor of Fine Arts degree with a major in music and a Phster of Music Education degree at the end of five years. The Bachelor of Science Degree is the most prevalent de- gree in Pennsylvania and Maryland, and the Bachelor of Arts degree is most prevalent in New Jersey. Opinions Concerning State Requirements for Certification All of the thirty-nine schools answered affirmatively that their curricula conformed to the requirements for certification set up by their states. Thirty-one schools believe that the state should set up minimum certification requirements. Only six answered negatively and two failed to answer. One of the schools answering affirmatively felt that they should still be more flexible, and three department chairmen answering negatively gave the following recommendations: 1. Each college should be on its own in terms of their faculty, resources, and type of student body. 2. The state does not allow enough individuality among schools. They should just hand down basic guidelines. 3. The state is not consistent among schools. There is not enough uniformity. 167 In Table XXI the reaction of the thirty-nine schools to their present state requirements is presented. Twanty-two of the partici- pating schools consider the certification requirements in their states adequate, whereas fifteen regard them as inadequate. TABLE XXI REACTION TO STATE CERTIFICATION REQUIREMENTS State Adequate Inadequate No Answer Pennsylvania 16 7 1 Maryland 3 2 1 New Jersey 3 6 0 Total 22 15 2 In Pennsylvania, five department chairmen felt that the credits in music required by the state were not adequate. One felt it should be increased to sixty hours required in music. Other comments by de- partment chairmen in Pennsylvania include: Favor a five-year program. Should require a course in Junior High School music methods. Not enough vocal methods for the instrumental major and vice versa. Need more specialization. Education is musically too broad. Too many credits required in general education. Students need a more liberal education. 168 Very concerned about the difficulty of educa- ting students in both vocal and instru- mental 1111516. More courses needed in music history and literature. State should be more careful that schools do not take the minimum road in all areas. Would prefer a vocal or instrumental emphasis. Students need to be able to have more electives. Comments by department chairmen in Maryland include: State requirements are too much red tape. More requirements are needed in music theory. Accreditation by the National Association of Schools of Music should be sufficient. Basic requirements in piano are not adequate. Department chairmen in New Jersey who were not satisfied with the state requirements showed the greatest uniformity in their comments. Five men felt that more hours in music need to be required and one felt that the state should approve a collegiate course of study in entirety, not just list a series of requirements which everyone must conform to. The following comments were each registered by two in- dividuals: The state should require a two-track system of in- strumental and vocal music with a general music base. Requirements in applied music are not great enough. The person must be a musician before he is able to adequately teach music. More requirements are needed in student teaching. It is worthy of note that the most common recommendation from the individual department chairman was that more hours in the field 169 of music should be required for the music major. Also only one registered any complaint about the requirements in student teaching. The Structure of the Mus ic Education Program This study shows that the majority of the colleges and univer- sities believe that the student should develop personal.musicianship through musical performance. Only two of the thirty-nine schools re- quire no participation in a large ensemble (choir, orchestra, band), and all of the schools offer various small ensembles on a selective- elective basis. Twentyhfive of the thirty-nine schools, or 6h.1 per cent, require that all music education majors perform.in group or studio recitals, and nineteen, or h8.7 per cent require individual recitals, usually in the senior year. Five department chairmen stated that all music education.mejors must be in both instrumental and vocal organizations. Thirty-two of the schools, or 82.1 per cent, offer one curriculum that prepares students for all teaching fields in music. Of these thirty-two schools, nine also have a performing area major in vocal music education, eight also have a performing area major in instrumen- tal music education, and four also have a performing area major in string music education. In addition, six schools offer majors in vocal.music, of which five offer majors in instrumental.music, and three offer majors for future string specialists. Of these six schools, four of them.a1so offer some training in all areas, both vocal and instrumental. Two schools offer majors in elementary'music education and one offers a.major in junior-senior high school.music education. 170 TABLE XXII SCHEDULING OF METHODS COURSES AND STUDENT TEACHING BY YEAR Year Methods Student Teaching Freshman 1 O Sophomore 13 0 Junior 38 0 Junior and Senior 18 2 Senior 0 37 Fifth year 0 2 Table XXII shows that the bulk of the methods courses occurs in the junior year and usually the student teaching experience occurs in the senior year. The two schools with five-year programs include student teaching in the fifth year. In the elementary and secondary music methods classes, observa- tion is part of the required class work in thirty-five, or 89.7 per cent of the schools. One school stated that this sometimes occurs, and one department chaiman indicated that he did not know. The re- maining five schools have no observation in connection with music methods courses, and consequently no laboratory experience. Fifteen of the thirty-five schools offering laboratory eiqaeriences require sore form of participation in the teaching of children during music education courses, and four schools indicated that it sometimes occurs. More than half of the schools, or twenty-one, do not make it possible 171 for students taking nethods courses to observe theory in practice with children. Again, one department chairman indicated that he did not know if this happened. Twenty-six, or 66.7 per cent of the department chairmen felt that the methods taught are actually carried out in student teaching situa- tions, seven did not know, three felt they were partially carried out and three felt they were never carried out. In thirty, or 76.9 per cent of the schools, the methods teachers always have the opportunity to follow the student in the application of methods in student teach- ing, in five of the schools this sometime occurs, and in four schools it never occurs. Table XXIII reveals the administration of the student teaching program. It is apparent that in most cases it is either under the supervision of the Departments of Music and Education working together or solely under the Music Department. TABLE XXIII ADMINISTRATION OF STUDENT TEACHING PRmRAM Re Department NtmbeF-EEQ-nggfser cent Music Departmnt 11 28.2 Education Department 3 7.7 Combination of Music and Education Dapartments 20 51.3 Professional Laboratory Experiences Department 3 7.7 Combination of Music and Professional Laboratory EXperiences Department 2 5.1 Total 39 172 Only five schools reported that a student majoring in music edu- cation is able to have a nonamusic minor. Three of the five schools stated that this is only possible in English. Three of the schools require eighteen credits for this minor and the other two schools re- quire twentyhfour credits. Qpinions Concerning Student Teaching Twentyhnine, or 7h.h per cent, of the department chairmen expressed the feeling that student teaching is an extremely valuable experience. Ten.men, or 25.6 per cent, rated it as valuable and no one felt that it was not of great value. On the other hand, only fifteen, or 38.5 per cent, felt that their music faculty as a whole rated student teaching as extremely val- uable. Twentybthree, or 59 per cent, estimated that their departments considered student teaching a valuable experience and one, or 2.5 per cent, stated that his department considered the experience to be of little value. The department chairmen‘were asked to justify their reasoning con- cerning the value of student teaching. Their remarks, both pro and con, are here itemized'with the number of men making the particular'reply preceding the statement. Number 252 12 Student teaching is the genuine laboratory. Methods without practical application would have little value. 3 Herein the student discovers his adequacies and inadequacies, under supervision, before he is really on the Job. 173 Number Pro 3 This is the only contact the stu- dent has with children before he goes into the schools on his own. 3 Society does not allow a physician to Operate without internship. Likewise, the teacher should be allowed to practice before assum- ing reSponsibilities. 2 Student teaching bridges the gap between the college (receiving information) and the profession (giving information). 2 The student gains many insights relative to the competencies for the active teacher. 2 Avoids having the student learn by his own mistakes. 2 Aids in discouraging those who do not possess the necessary compe- tencies for teaching and encour- ages those who do. l A complete year of internship in the fifth year would be the most valu- able. Number Egg_ h Experience great difficulty finding satisfactory cOOperating teachers and thus the experience is not a valuable one. 1 Takes the student away in the senior year when you want to give them the most advanced courses. 1 Too much credit (8) is given for student teaching. 1 Student teaching is not realistic in its present state. 1 Student teaching is too idealistic and there is too much supervision. Stu- dents should learn by trial and error. 17h m .A majority of the colleges and universities in the study consider college board scores, high school record and letters of recommendation for admission.purposes. Slightly less than half of the institutions require personal interviews. At least half of the departments of music use an audition, a personal interview, a statement of’prior musical experience, and the results of a test administered by the de- partment as criteria for admission.to a program.majoring in music edu- cation. In most cases, these criteria are used by'a clear majority} Mbst schools who administer tests devise their own and also use them for theory'placement. Ninety per cent of the schools investigated indicated that stu- dents declare music education.as a major upon entrance to the institu- tion and a majority of schools indicated that in order to graduate in four years, the student must declare an intent to major in.music edu- cation by the beginning of his sephomore year. Two of the thirtyqnine schools have initiated five-year programs in music education, one lead- ing to a bachelor's degree and one leading to a master's degree. The greatest number of schools require six credits in music his- tory and two credits in.mmsic literature. Over half of the schools, however, combine the two areas in concept and when this occurred, the majority required 6-10 credits. The largest number of schools re- quired eighteen credits in music theory in a range from twelve to thirtyhsix credits and the largest number of schools required twentyb two credits in music education in a range from.twelve to thirtyhsix credits. The investigation of the number of credits required in 17S applied music showed great variety in a range from four to thirty-six credits. The area of course offerings and requirements shows a great variety of practices. The greatest concordance of course offerings lies in the area of music history and the greatest diversity lies in the area of music theory. The electives outnumber the requirements in music literature and the requirements outnumber the electives in all other areas. Music Education has the greatest diversity of elective offerings. No schools have a requirement in Contemporary or American Music Literature and only one school offers a course in the Methods of Teaching Class Piano. A large majority of the schools require that the music education major study for eight semesters on their major instrmnent. The aver- age minimum requirements in voice for the non-voice major would equal approximately one and one-half semesters in either private or class lessons. The average minimum requiremnt in piano for the non-piano major varies considerably from a high of eight semesters to a low of two semesters in either private or class lessons. The minimum re- quirements on the secondary instruments are usually broken down into the families of brass, woodwind, strings and percussion. The largest number of schools require one semester of brass, woodwind, and per- cussion instrumnt study and two senesters of string instrument study. The average music department in the threenstate area covered in this study would have fourteen full time professors and six part time instructors for a total of twenty on the staff. There would be a total of 121 music majors of which 9).; would have music education as their 176 area of specialization. In Pennsylvania and New Jersey this per- son would be most likely to receive a Bachelor of Science degree with a major in Music Education. In Maryland, this person would most likely receive a Bachelor of Arts degree with a major in Music Education. All of the colleges and universities in the study conform.to the requirements of certification set up by their state. A large major- ity of the department chairmen believe that the state should set up minimum certification requirements and a small majority consider the certification requirements in their states adequate. The most common recommendation.from.department chairmen.was that more hours in.the field of music should be required for the music major and only one chairman registered any complaint about student teaching requirements. Generally speaking, the schools believe that a student should de- velOp personal musicianship through musical performance and have basic requirements to ensure this. The majority of the schools offer one curriculum which prepares students for all teaching fields in music, the bulk of the methods courses falling in the junior year and student teaching in the senior year. Observation is a part of the required class work in methods in a majority of the schools, and most of the schools provide an opportunity for the methods teacher to follow the student in student teaching. A.minority of the schools require actual teaching of children.during mmsic education.courses, and most of the students in methods courses do not get a chance to see the theory pre- sented by the professor actually delivered to children. In most cases, the student teaching program is either under the supervision of 177 the Departments of Diusic and Education jointly or solely under the jurisdiction of the Music Department. The majority of department chairmen felt that the methods taught were actually carried out in student teaching situations and that student teaching itself was an extremely valuable experience. On the other hand, these chairmen felt that their faculties would rate the value of student teaching somewhat less. A sizeable number of department chairmen felt that student teaching is the genuine labora- tory and methods without practical application would have little value. Several chairmen also stated that their institutions experience dif- ficulty finding satisfactory cooperating teachers and consequently the entire student teaching experience is marred. Chapter V ANALXSIS OF THE DATA PROVIDED BY THE DIRECTORS OF STUDENT TEACHERS IN MUSIC The preceding chapter was devoted to the data on existing practices in.the music departments as provided by the music department chairmen. This chapter will be devoted to a discussion of the current practices in student teaching as viewed from the administrative standpoint and the recommendations for improvement or alteration of such programs as provided by the directors of the music student teaching program. Procedure of the Interview Study As stated in Chapter I, only those four year colleges and univer- sities in Pennsylvania, Maryland and New Jersey are included in this study. The contact with the directors of the music student teaching program was made through the music department chairman and he in turn arranged the interview. No direct contact with the directors themselves occurred until.the interview took place. As stated in.Chapter IV, thirtybnine, or 95.1 per cent of the colleges and universities invited to participate, agreed to cooperate. The participating schools, their department chairman and directors of music student teaching are listed in.Appendix B. The visitation took place over a period of nine months from September, 1966 through May, 1967. The length of the interview with the directors of student teaching in music was generally one hour. In six institutions, the department chairman was also the director of music student teaching. 178 179 Administrative Responsibilities of the Student Teaching Program In this section, the type of administration of the student teach- ing program and its responsibilities will be discussed. In twenty-nine, or 7h.h per cent of the schools, the staff of student teaching in the music department works with the staff of student teaching in the educa- tion department. The other ten schools, or 25.6 per cent, appoint either the music department or the education department to direct the student teaching program. In most cases it is the music department. The chairman of the education department contacts the school principals and cOOperating teachers and arranges for the placing and handling of the student teachers in thirteen, or 33.3 per cent of the schools, and the' director of student teaching in the education depart- ment makes the contact in twelve, or 30.8 per cent. In most cases, these men work in consultation with the music department. In eleven, or 28.2 per cent of the schools, the director of student teaching in music makes the contacts, in two schools, or 5.1 per cent, the chairman of the music department makes the contact, and in one school, or 2.6 per cent, the city school system itself does the placing. It is worthy of note that in twenty-six schools, or 66.7 per cent, the placement of student teachers in their schools is out of the hands of the music de- partment. Table XXIV lists the facilities provided for the student teaching experience, and the response for each facility. It is interesting to note that in no instance were the items "laboratory schools only" or "private schools only" checked. The exclusive use of off-campus schools 180 received the greatest frequency with thirty-three, or 814.6 per cent of the respondents. TABIE XXIV FACILITIES FCR PROVIDING THE STUDENT TEACHING EXPERIENCE Reaponses Type of Teaching Center Number Per cent laboratory schools only 0 00.0 Private schools only 0 00.0 Public schools only 33 814.6 Combinati on laboratory and public schools 1; 10.3 Combination private and public 80110015 2 501 Total 39 Those individuals who have the final decision for assigning the student teacher to a class after he has been placed in the school sys- tem are listed in Table XXV. It can be seen that the cooperating teach- er has this responsibility in seventeen, or 16.6 per cent, of the re- sponding institutions. 181 TABLE XXV FINAL DECISION FOR THE ASSIGNMENT OF THE STUDENT TEACHER TO A CLASS Responses Pers on or Persons Number Per cent Director of student teaching program in music 6 15.1; Director of student teaching program from education department 2 5.1 Supervisor of student teacher 1 2.6 Combination of director in music, and supervisor l 2.6 Combination of director in music, supervisor and music department chairman l 2.6 CoOperating teacher 17 10.6 Combination of director and cooperating teacher 5 12.8 Director of student teaching in city schools 1 2.6 Department chairman of cOOperating schools 3 7.6 No decision necessary* 2 5.1 Total 39 *No decision is necessary in one school because the student teacher really handles all the teaching and an elementary music specialist ob- serves once every week or two, and in the other school the student teacher also does all the teaching but is supervised only by a vocal specialist from the college, thus eliminating the need to assign the student teacher to specific classes. The next item is devoted to the supervisors of the student teachers in music. Table XXVI enumerates the responses pertaining to the person who directly supervises the student teachers in music. It is interest- ing to note that the largest number (thirty-six) of schools use super- 182 visors from.the music department. Many schools use supervisors from both the education and music departments. TABLE XXVI SUPERVISORS OF STUDENT TEACHERS IN MUSIC Responses Education Music Co-op Department Department School Supervisor No. Pct. No. Pct. No. Pct. ‘An education professor (non.music) 11 28.2 - - A number of supervisors from the education.department 3 7.6 - - A college supervisor in music - 17 h3.6 - A.number of college music supervisors - l9 h8.7 - a. An instrumental specialist _ 28 20.5 _ b. A vocal specialist 8 20.5 The cooperating teacher - - 9 23.1 The school principal - - 1 2.6 Total in 35.8 36 92.3 10 25.7 Great variety of procedure is apparent among the persons designated by the college or university to give the final grade in student teach- ing and to recommend the student teacher for a teaching position. Tables XXVII and XXVIII reveal the responses to this question. 183 TABLE XXVII INDIVIDUEIS»RESPONSIBLE FOR THE FINAL GRADE IN STUDENT TEACHING Responses Person or Persons number Per cent Director of the student teaching program - music department 6 lS.h Director of the student teaching program - education department h 10.3 Supervisor of student teacher - music department 6 15.h Cooperating Teacher 0 00.0 Combination of supervisor and cooperating teacher 9 23.1 Combination of director (music) and cOOperating teacher 1 2.5 Combination of supervisor and director (music) 3 7.6 Combination of director (music), supervisor and c00perating teacher 6 15.h Combination of director (education), supervisor and c00perating teacher h 10.3 39 Total It is interesting to note that the supervisor of the student teacher from.the music department is involved in the responsibility in twenty- eight instances, the director of student teaching from.the music de- partment in sixteen instances, the cooperating teacher in sixteen in- stances, and the director of student teaching from.the education depart- ment in eight instances. Thus, the supervisor of the student teacher from.the music department might be deemed the most influential person in 181: the grading of the student teacher. TABLE XXVIII INDIVIDUALS RESPONSIBLE FOR RECOMMENDING THE STUDENT TEACHER FOR A.TEACHING POSITION J L j *— Responses Person or Persons Number Per Cent Director of the student teaching program - music department 3 7.6 Director of the student teaching program - education department 1 2.6 Supervisor of student teacher - music department 3 7.6 Cooperating teacher 1 2.6 MMsic education professor (who does not observe) 1 2.6 Combination of director (music) and co- Operating teacher 1 2.6 Combination of director (education) and cooperating teacher 1 2.6 Combination.of supervisor and music department chairman l 2.6 Combination of supervisor and cooperating 126361181. 5 1208 Combination of supervisor and director (music) 3 7.6 Combination of director (music),supervisor, and cooperating teacher 9 23.1 Faculty evaluation 1 2.6 Student.must request recommendation 9 23.1 Total 39 185 Worthy of note is the fact that the supervisor of the student teacher from the music department is involved in the responsibility of recom- mending the student teacher for a teaching position in twenty-one instances, the 000perating teacher in seventeen instances, the director of student teaching from the music department in sixteen instances and the director of student teaching from the education department in two instances. The types of meetings and the degree of coordination which exists between the director and the cooperating teachers is the final area of the administrative responsibilities to be investigated. Table XXIX lists the responses for the several types of meetings which are held by the institutions. TABLE XXIX TYPES OF MEETINGS HELD TO DETERMINE THE EXPERIENCES TO BE PROVIDED THE STUDENT TEACHER j I Reaponses Meetings Number Per Cent Planning workshOp held for the director, supervisors and teachers 12 30.8 Meeting held by the supervisors and teachers 9 23.1 Meeting held by the supervisors and director 3 7.6 Informal basis when observation visits are made by the supervisor and/or director 6 15.14 Informal talks before student teacher arrives 6 15.1; letter sent to cooperating teacher 2 5.1 No coordination exists 9 1 2.6 Total 39 In most cases, the meetings held by the supervisors and teachers were in schools in which the supervisor also serves as director or the 186 director is in the education department. Consequently we may assume that slightly more than half of the schools have organized meetings with everyone directly concerned with the student teacher. The final question of this section requested the directors to furnish any comments on how they would alter their situation. No re- sponse was requested from those who were pleased with their system of coordination. The following comments were provided by the directors and each comment appeared only one time: Would like to have more extensive workshops of three days or more before the student teacher goes out. Cooperating teachers should be required to attend plan- ning meetings. Too many do not attend. Would like to see the cooperating teachers at some time. Would like to work together with them. Would like to bring the cooperating teacher in to the college for a full day each year for an in-service day. Let student teachers take over in the school and make it mandatory that all cOOperating teachers attend. The music department and the cooperating teachers need to share ideas more often. The music department should become more involved in the student teaching program. The college supervisor would like to be able to work more closely with the cOOperating school. More cOOperation is needed on the part of the school system itself. Since the student teachers do the teaching and there is no cooperating teacher in the schools, the student teachers need more supervision than we are able to provide. Would like to have meetings of the music department staff and all. cooperating teachers. Need more frequent conferences with the cooperating teachers. There is no coordination presently and nothing can be done to alter the situation. 187 Twenty-six of the schools indicated that they were pleased with the coordination and two directors indicated that their departments were too young to evaluate the system in use. Professional Laboratory Experiences prior to Student Teaching This section of the interview requested information regarding the period of professional training prior to student teaching. Table XXX provides the responses for each college academic year in.which directed observations are begun and Table XXXI reveals the capacity from‘which.the directed observations originate. TABEB.XXX YEAR IN WHICH DIRECTED OBSERVATION OF TEACHING IS BEGUN Responses Year in College Number Per Cent Freshman 1 2.6 SOphomore 5 12.8 Junior 27 69.2 Senior 5 12.8 Fourth year of a Five-Year Program 1 2.6 Total 39 The greatest frequency occurs in.the junior year with 69.2 per cent. It thus becomes obvious that few schools utilize all four years for professional laboratory experiences. 188 TABLE XXXI CAPACITY FROM WHICH DIRECTED OBSERVATION ORIGINATES Res onses Capacity Number Per Cent Music methods course 21; 61.14 Student teaching 5 12.8 Education course 11, 10.3 Individual course in observation I; 10.3 Field trip 1 2.6 Eurhythmics l 2.6 Total 39 It is obvious that the bulk of directed observation originates from the methods classes taken in the junior year. Sore of the rather specific observation requirements which seem to be worthy of note are here provided: Require thirty hours of observation in public schools. Must observe something in every area, elementary and secondary, both vocal and instrumental. Observe for a full day, two days per week during junior year. Observe one morning per week during the junior year. Require thirty observations-~fifteen in the elementary school and fifteen in the secondary school. Observe two full days per week for a full semester of junior year. Require seven weeks of observation. Three weeks each semester of the junior year and one week in the senior year. 189 Students observe a student teacher and the student teacher then reads the report that the methods student writes on him. Students go on a field trip and see facilities more than classes, although a few classes are observed which are not necessarily in the observer's major field. Practice teaching, methods and observation all occur at the same time (two institutions). Students observe when college is on vacation and public schools are in session. In answering the question “Are your music majors given any teach- ing experience in individual or small group instruction prior to stu- dent teachingi", twenty-six, or 66.7 per cent of the directors indica- ted "yes," eleven, or 28.2 per cent, indicated "no," and two, or 5.1 per cent, indicated "sometimes.” Opportunity was then.provided the director of student teachers in music to state his opinion concerning the ”weaknesses most common among student teachers in assuming student teacher responsibility." Three weaknesses stated project beyond all others. They are: "lack of keyboard facility," indicated by twentyuone, or 53.8 per cent, of the directors, "lack of discipline,” indicated by thirteen, or 33.3 per cent, of the directors, and "lack of conducting ability,” indica- ted by ten, or 25.6 per cent, of the directors. Seven, or 17.9 per cent, of the directors indicated "lack of knowledge of child growth and development" as a weakness. Other weaknesses which appear to be most significant are: "lesson.planning"; "lack of background in meth- ads and materials"; "lack of vocal proficiency‘; ”lack of concept of place of music in the schools"; "timidity'; ”sightreading and pitch perception"; “lack of knowledge of their subject matter”; "consider themselves as professional musicians rather than.teachers and look 190 down.on teachers in other fields"; "social responsibilities"; "speaking voice"; and I'unmeaningful lecture.“ The Student Teaching Program Acceptance into the program This section of the interview'solicited the directors to reSpond to items concerned with the student teaching course. Table XXXII lists the years in the college program.in'which student teaching is experienced. The greatest frequency occurred at the senior level, with thirtyhfour, or 87.2 per cent. One institu- tion reported that student teaching takes place in the fifth year of work. TABLE XXXII YEAR IN‘NHICH STUDENT TEACHING TAKES PLACE Responses Year Number Per Cent Freshman O 00.0 Saphomore 1 2.6 Senior 311 87.2 Junior and Senior 3 7.6 Fifth year 1 2.6 Total 39 Admission to student teaching in the colleges included in this study is based upon one or more of the following criteria: completion of certain prescribed courses, completion of these courses with an 191 average of Cl or above, application and acceptance by a faculty committee in either the music or the education department, meeting the requirements of the screening program. An analysis of the data shows that thirty-one schools, or 79.5 per cent , require the fulfillment of prerequisite course requirements; that twenty-six schools, or 66.7 per cent, require an average of C or better; that thirteen, or 33.3 per cent, require application and acceptance by a faculty committee in either the music or education department ; and that twenty-eight, or 71.8 per cent, of the schools have screening programs of one type or another. A further emnina- tion of the screening program discloses a variety of practices which occur less frequently. A screening device used in four of the schools is the consideration of personality traits. Three of the in- stitutions stated that they require special examinations in music and/ or music education as a prerequisite to student teaching and one school each listed the following requirements: persoml interview; senior rating; no D's in major or professional courses ; and no basis for acceptance into student teaching. Thirty-eight, or 97.1; per cent, of the institutions, stated that no provision is made for students who are not ready for student teaching. The one school which has a provision reported that they are referred to the "entrance into the profession committee," which in turn reviews the case and presents recommendations. l C equals two points (2.0), based on a four point (h.0) system. 192 None of the thirty-nine schools included in the study have any formal guidance program which acquaints the college staff with student teachers prior to student teaching because most institutions are small enough that the student teaching staff has known and worked with the students prior to student teaching. Placement of the student teacher In three institutions, or 7.6 per cent, the student chooses the cooperating school in which he wishes to do his student teaching; in nineteen institutions, or 148.7 per cent, staff members assign stu- dents to cooperating schools and cOOperating teachers; in seventeen institutions, or 10.6 per cent, the assignment to a cOOperating school is a cooperative effort of the student teaching staff and the student teacher. ‘I‘wanty-two schools, or 56.1; per cent, always make an attempt to place a student in a school situation where they feel he will be most likely to succeed; eleven schools, or 28.2 per cent, sometimes make this attanpt, and six schools, or 15.1; per cent, never try to do this. One director comnented that he attempts to place a student teacher in an experience where he needs the most work, not where he is most likely to succeed. Another director stated that this was impossible because he only places student teachers in one school. Table XHIII reveals the procedures used by student teachers when they first report to their assignments. Some schools use more than one of the listed procedures. Twenty-five, or 611.1 per cent of the schools, have the student report first to the principal. 193 TABLE XXXIII PRCDEDURE IBED BY STUDENT TEACHERS WHEN FIRST REPCRTIM} TO ASSIGNMENTS Responses Procedures Number Per Cent Taken by college supervisor 8 20.5 G0 independently to cooperating teacher 11 28.2 Report to principal 25 6h.l Report to director of music in the éity schools 2 5.1 Report to the teacher orientation cmnnittee l 2.6 School district contacts student teachers 1 2.6 Do not know 1 2.6 Indoctrination into the school policies and regulations is most frequently conducted by either the cOOperating teacher or the school principal, and in sons cases more than one person has this respon- sibility. Table XXXIV shows the general practices of indoctrination as revealed by the interviews. 19h TABLE XXXIV INDOCTRINATION INTO SCHOOL POLICIES AND REGULATIONS Responses Person or Persons Number Per Cent Meeting held by cooperating school principal 21 53.8 Mjneographed sheet of information 3 7.6 Cooperating teacher 25 614.1 Director of student teaching in public school 1 2.6 Director of student teaching at college 1 2.6 College supervisor l 2.6 Methods course 1 2.6 Education department 1 2.6 Do not know 1 2.6 Requirements of the student teaching program The minimmn number of hours credit received for student teaching is listed in Table W. The greatest frequency occurred with six semester hours found in twenty, or 51.2 per cent, of the institutions reporting. In Table XXXVI, the maximum hours credit which may be received in student teaching is listed. Again, the greatest fre- quency occurred with six semester hours practiced by seventeen, or 143.6 per cent of the institutions in the study. Only four of the thirty-nine schools have a minimum and maximmn credit possibility in student teaching. 195 TABLE XXXV MINIMUM HOURS CREDIT RECEIVED FOR STUDENT TEACHING Responses Hours Credit Number Per Cent Six semester hours 20 Sl.2 Eight semester hours 10 25.6 Nine semester hours 1 2.6 Ten.semester hours 2 5.1 Twelve semester hours h 10.3 Eight term credits* 1 2.6 Two courses** 1 2.6 Total 39 *h terms per year M“Ly-h curriculum plan TABLE XXXVI 'MAXIMUMICREDIT HOURS WHICH MAY BE RECEIVED IN STUDENT TEACHING Responses Hours Credit Number Per Cent Six semester hours 17 h3.6 Eight semester hours 9 23.2 Nine semester hours 3 7.6 Ten semester hours 3 7.6 Twelve semester hours 5 12.8 Eight term.credits*' 1 2.6 Two courses** 1 2.6 Total 39 * h terms per year **-h-h curriculum.plan 196 The range of the student teaching period is revealed in Table XXXVII. The sc0pe is from one semester to four semesters, but this does not necessarily mean that the eXperience occurs for a full semester in the semester(s) which it comes about. The purpose of this investigation is to find the range of time over which the BXh perience occurs, not the actual length of the student teaching period. TABLE XXXVII RANGE OF TIME OVER WHICH STUDENT TEACHING OCCURS Responses Range of Student Teaching Period Number Per Cent One semester 31 79.5 Two semesters 6 15.3 Three semesters 1 2.6 Four semesters 1 2.6 Total 39 Thirty-three schools, or 8h.6 per cent, reported that they main- tain a clock hour requirement for student teaching and six schools, or lS.h per cent, have no such requirement. .A range of ninety'to six hundred clock hours is indeed significant. One school requires less than one hundred clock hours; six schools from one hundred to one hundred fifty clock hours; nine schools one hundred eighty clock hours; six schools from one hundred ninety to two hundred clock hours; seven schools from.two hundred to three hundred clock hours; and three schools over three hundred clock hours. 197 Table XXXVIII lists the weeks or months contained in the stu- dent teaching period. The range is from 1.5 months to sixteen months. The greatest frequency, however, ranges from 1.5 months to 5 months. TABLE XXXV III LENGTH OF THE STUDENT TEACHING PERIOD IN MONTHS Reaponses Length of the Student Teaching Period Number Per Cent 1.5 months 8 20.5 2 months 6 15.5 2.5 months 5 12.8 3 months 1 2.6 h months 3 7.6 h.5 months 2 5.1 5 months 8 20.5 7 months 1 2.6 9 months 2 5.1 10 months 2 5 .1 16 months 1 2.6 Total 39 Table XXXII reveals the amount of time per day that is actively spent in student teaching. The greatest frequency by far occurred in the "full day" category with twenty-nine, or 7h.3 per cent, of the schools making this indication. 0f the two schools which indicated "other," one school runs the student teaching program for a day or a day and a 198 half per week, and the other school requires a day and a half per week in the first semester and nine weeks of full time student teach- ing in the second semester. TABLE XXXIX ‘AMOUNT OF TIME PER DAX.ACTIVELY SPENT IN STUDENT TEACHING :—_ __r— __- _:___ r r:— Responses Amount of Time Number Per Cent One period per day l 2.6 Two periods per day l 2.6 One-half day every day 6 15.h Full day every day 29 7h.3 Other 2 5.1 Total 39 Thirty-six of the institutions reported that student teaching is never allowed in a minor field with music majors. Three schools indicated that this has been done on occasion, but is neither generally the practice nor required. Thus, a profile of a typical student teaching program drawn from the schools in this study would probably include a full day of student teaching for three months of one semester. The student would have a requirement of approximately one hundred eighty clock hours and receive approximately eight credits. This profile simulates a block plan of student teaching. 199 Twenty-nine schools in the study have some type of a block plan for their student teaching program. Table XL shows the length df the blocks in the various schools. It can be seen that the greatest frequency occurred with "eight weeks.u TABLE.XL LENGTH OF THE BLOCK PLAN OF STUDENT TEACHING Responses Amount of Time Number Per Cent Six weeks 5 17.2 Seven weeks 2 6.9 Eight weeks 11 37.9 Nine weeks 3 10.h £311 semester 8 27.6 Total 29 Characteristics of the Student Teaching Program Thirty-eight of the thirty-nine schools indicated that they re- quire an observation period before actual student teaching begins. One school stated that this is not their policy and another stated that an observation period is provided for vocal but not for instru- mental student teaching. The greatest number of schools recommended an observation period of one week, but also stated that it depends upon the judgment of the c00perating teacher. The range of recommended lengths of observation before teaching actually'begins ranges from "teach as soon as possible" to two weeks. One school offers observa- tion as a course so that when the student teaching period begins the 200 student is expected to assume teaching respormibilities immediately. Thirty-one schools, or 79.5 per cent, indicated that the time upon which the student then assumes teaching responsibilities varies with the readiness of the student teacher. Eight schools, or 20.5 per cent, indicated that the end of the observation period and the be- ginning of the actual teaching experience is an automatic matter and does not vary with the readiness of the student teacher. The next section of the interview form listed seventeen activi- ties which may be provided in the elementary, junior high school and senior high school programs. The respondents were asked to state whether each activity was always, sometimes, or never provided. Table XLI lists the activities and responses. The greatest frequency occurred in elementary school general music with twenty-four, or 61.5 per cent, always requiring this activity. This was followed closely by junior high school general music with twenty-two, or 56.1; per cent always requiring this activity. The smallest frequencies occurred for junior and senior high school orchestra, and music theory and voice class in the senior high school. Junior high school general music is the only experience provided by all thirty-nine schools and voice class in the senior high school is the only activity which no school indica- ted that they always require. Six schools never have any student teaching occur in the senior high school. Finally, this chart makes it quite obvious that the practices of the individual schools vary con- siderably and that the requirements of each respective school are not specific. This is brought about, in part, by the fact that new times students are assigned to a particular cooperating teacher and teach only the classes which that person teaches. 20]. TABLE XLI ACTIVITIES IN THE CURRICULUM FOR STUDENT TEACHING EXPERIENCE Responsgs Always Sometime s Never Activities Provided Number Pct. Number Pct. Number Pct. Elementary School Music General MUSE 21L 61.5 11 28.2 At 1003 Vocal Music 10 25.6 19 h8.7 10 25.6 Instrumental Music 12 30.8 18 h6.2 9 23.1 Junior High School Music General Music 22 56.1; 17 143.6 0 00.0 Chorus 8 20.5 25 64.1 6 15.1; Band 6 15.1; 25 64.1 8 20.5 Orchestra 1 2.6 28 71.8 10 25.6 Class Instrumental Music 9 23.1 23 59.0 7 17.9 Ensembles 6 15.14 25 614.1 8 20.5 Senior High School Music General Music (appreciation) h 10.3 21; 61.5 11 28.2 Music Theory 2 5.1 26 66.7 11 28.2 Chorus 10 25.6 22 56.1; 7 17.9 Orchestra 2 5.1 23 59.0 1J4 35.9 Class Instrumental lessons 6 1.5.h 25 61;.1 8 20.5 Ensembles ’4 1003 26 66.7 9 2301 Voice Class 0 00.0 22 56.14 17 10.6 Experiences in student teaching in music include a variety of activities at all grade levels. Twenty-four, or 61.5 per cent, of the thirty-nine institutions require student teaching experience at both the elementary and secondary levels. Trienty-one, or 53.8 per cent, of the schools offer and require experience in both vocal and instrumental music. Thirty-one, or 79.5 per cent,of the schools require experience in general music classes at either the elementary or secondary level ireifllés 202 or both. Only nine, or 23.1 per cent, of the schools have been able to provide any of their students with experience in teaching piano class. In one school, all student teaching is practiced in the junior high school general music class and another school has a three- track program.from which the students elect one track. The three tracks include the general track'which embraces both.vocal and instru- menta1.music at the elementary and secondary level, the vocal track which includes vocal music both elementary and secondary, and the in- strumental track which includes instrumental music, both elementary and secondary. Thirtybone, or 79.5 per cent, of the directors feel that there is a definite carryhover from the methods class into the student teach- ing program.and eight, or 20.5 per cent, felt there was none. This compares favorably to the replies received from.the department chair- men to the same question when twenty-six, or 66.7 per cent, felt there was a definite carry-over. Twelve of the directors felt that the carrybover was a result of the fact that the methods teachers also observe the student teachers. ther practices stated which enhance carry-over were the use of units developed in methods class in the student teaching classroom and the practice of having the senior student teachers return to methods class to speak with the juniors. Two schools stated, however, that they had no carryhover because the methods courses are given concurrently with student teaching, and two different schools felt that there was too much "shifting of gears" from the concepts of the methods class to the concepts of the co- operating teacher. 203 The c00perating teacher is encouraged to leave the room at various times while the student teacher is teaching in twentyefour, or 61.5 per cent, of the schools. Ten, or 25.6 per cent, of the schools do not allow this and five, or 12.8 per cent, have no ruling concerning the practice. Table XLII shows the experiences other than teaching and ob- servation which are offered to the student teacher. TABIE XLII EXTRACURRICUIAR EXPERIENCES IN STUDENT TEACHING IN MUSIC Responses Alwm Sometimes Never Experiences Provided Number Pct. Number Pct. Number Pct. Keeping records 2h 61.5 10 25.6 5 12.8 Grading 29 7h.3 5 12.8 5 12.8 Homeroom activities 15 38.5 7 17.9 17 h3.6 Faculty and committee meetings 21; 61.5 12 30.8 3 7.6 Parent meetings 19 h8.7 9 23.1 11 28.2 Assemblies 35 89.7 3 7.6 l 2.6 School programs 31 79.5 6 15.1; 2 5.1 Social activities lLt 35.9 13 33.3 12 30.8 Ordering and cataloging music 5 12.8 it 35.9 20 51.2 Budget planning 5 12.8 5 12.8 29 7h.3 As one might expect, assenbly programs and school programs are always required by the largest number of schools. Other eacperiences always provided, in order of frequency from high to low, are grading, faculty and committee meetings, keeping records, parent meetings, homeroom 20h activities, social activities, budget planning and ordering and cataloging music. The student teacher in music is not required to do a case study or group study of children of various ages in many schools. The re- sults show that ten schools, or 25.6 per cent, always require a case study, three schools, or 7.6 per cent, sometimes require it, twenty- five, or 6h.1 per cent, never require it, and one director, or 2.6 per cent, reported that he did not know. An even smaller number of schools require a group study at various grade levels. Seven, or 17.9 per cent, answered this question in the affirmative, three, or 7.6 per cent, agreed that sometimes this is required, twenty-eight, or 71.8 per cent, stated that they never make this requirement, and one, or 2.6 per cent, were uncertain as to whether the assignment was included or not. Grading and Evaluating the Student Teacher Methods of evaluation and grading are of interest to this study. The student teacher's evaluation of his growth, his strength, and his weakness, is an important part of his teaching experience and twenty- three, or 59.0 per cent, of the schools require this of every student teacher. Eight institutions have forms or rating sheets for evalu- ation purposes to be filled out by the student, seven institutions require the student teacher to write a self-evaluation of every class which he teaches to be given to the college supervisor, and six in- stitutions require that the student engage in.a verbal self-evaluation with the college supervisor. Two schools require that the student in- clude self-evaluation in a diary he must keep, and two other schools 205 require that a student teacher must compile a self-evaluation at the end of the student teaching period. Thirty-one colleges and universities, or 79.5 per cant, use a grading system of A, B, C, D and F. All thirty-one of the institu- tions reported that B was the grade most frequently administered. Four institutions, or 10.3 per cent, use numerical grading, either h, 3, 2, l, 0, or 1, 2, 3, h, 5. Two institutions, or 5.1 per cent, use satisfactory or unsatisfactory and two other institutions use pass or fail. Although a large majority of the institutions still use alphabetical grading, there seems to be a tendency toward moving away from.this system.because very few persons ever receive from C down. The reason for the high grades seems to be the interest on the part of the college in placing the student in a good position.and the interest on the part of the employing school district in the student teaching grade. Standard evaluation forms are used by the cooperating teachers in thirty-six, or 92.3 per cent, of the schools. Only eleven, or 28.2 per cent, of the schools have standard evaluation.forms created specifically for the music student teacher. Several of those music evaluation forms may be found in Appendix M. A record of the student teacher and his student teaching exper- ience is kept in the office of the music department or school in nine- teen institutions; in the office of the education school or department in sixteen institutions; and in the office of the placement bureau in five institutions. The frequency of visitations to the student teacher by the campus supervisor is listed in Table XLIII. It can be seen that the greatest 206 frequencies occurred between one and five visits. Ten directors, or 25.6 per cent, indicated that the supervisor will make about three visits during student teaching, four directors, or 10.3 per cent, in- dicated that they make two visits and four directors indicated that they make four visits. TABLE XLIII FREQUENCY (F VISITATIONS MADE BY CAMPUS SUPERVISOR. IN MUSIC Responses Number of Vis itations Number Per Cent 10-16 7 17.9 5-10 10 25.6 1-5 20 51.3 o 2 5.2 Total 39 In seven of the institutions, a campus supervisor from the education department either replaces or augments the visitations by the campus supervisor in music. Six of the schools reported that the supervisor from the education department mkes from one to five visits, and one makes from six to ten visits. Twelve institutions, or 30.8 per cent, indicated that weak stu- dent teachers are required to take extra hours of student teaching. Twenty-seven schools, or 69.2 per cent, have no possibility of this occurring. 207 The College Supervisor of Student Teaching The teaching load and the duties of this staff member follow no set pattern. Table XLIV reveals the number of student teachers usual- ly assigned to a college supervisor, although all the directors indi- cated a certain amount of variation from year to year. The largest number of supervisors have from 0-5 student teachers per year. Of these thirteen schools, however, three of them.fall into the zero category because they have no supervision of student teachers from.a member of the music department staff. TABLE XLIV NUMBER OF STUDENT TEACHERS ASSIGNED TO.A SUPERVISOR Responses Number of Student Teachers Number Per Cent 0-5 13 33.3 5-10 12 30.8 10-15 8 20.5 15-20 2 5.2 20_25 l 2.6 25-30 3 7.6 Total 39 There is apparently very little agreement among schools with re- gard to the teaching load of the college supervisor. This is due, in a large part, to the great variance in the number of student teachers 208 observed each senester by the college supervisor. Table XLV reveals the general. practices of equating the number of student teachers in terms of teaching load. A large number of schools do not have a system of equation. TABLE XLV EQUATION OF STUDENT TEACHERS TO TEACHING LOAD Reaponses Practices Number Per Cent 1 student teacher equals 1 hour load 1 2.6 2 student teachers equal 1 hour load 10 25.6 3 student teachers equal 1 hour load 7 17.9 1; student teachers equal 1 hour load it 10.2 Block area - Professional senester l 2.6 8 hours of observation per week equals 1 hour load 1 2.6 7 observations equal 1 hour load 1 2.6 Supervisor is paid extra - $5.00 per student teacher 1 2.6 Are not equated 13 33.3 Total 39 The range of the number of cooperating teachers per college super- visor extends from zero to thirty. Eighteen, or h6.2 per cent, are in the area of five to fifteen coOperating teachers per college supervisor. Table XDII lists the percentages. 209 TABLE XLVI NUMBER OF COOPERATING TEACHERS PER COLLEGE SUPERVISOR Responses Number Number Per Cent None 14 10.3 1-5 5 12.8 5-10 9 23.1 10.15 9 23.1 15.20 7 17.9 20-25 0 00.0 25.30 2 5.1 Varies greatly 2 5.1 Do not know 1 2.6 Total 39 -:_._ 1 - L In Table XLVII, the number of cooperating schools used by the various institutions is listed. Due to the large number of metropoli- tan areas included in the boundaries of this study, thirteen, or 33.3 per cent, of the schools have an unlimited number of cOOperating schools which they use for student teachers. 210 TABLE XLV II NUMBER OF COOPERATING SCHOOLS USED BY COLLEGES AND UNIVERSITIES Responses Number of Cooperating Schools Number Per Cent 0-5 h 10.3 5-10 7 17.9 10-15 9 23.2 15-20 3 7.6 20-25 2 5.1 25-30 1 2.6 Unlimited 13 33.3 Total 39 Travel expenses for the college supervisor are paid by the col- lege or university in thirty-one, or 79.5 per cent, of the thirty-nine institutions. Ten, or 32.3 per cent, support this by funds from the education department; nine, or 29.0 per cent, by funds from the music department, and ten, or 32.3 per cent, from other college funds. One school reported that the money was provided from a special Student Teaching Fund, and another director did not know where the money came from. The college supervisor is required to record his visits in twenty- two, or 56.14 per cent, of the thirty-nine institutions. There is great variety among the manner of recording the visit, however, in nineteen of the schools, the college supervisor must fill out a report for 211 either the Student Teaching Office, the Business Office, the music department chairman, or the education department. Three schools require that the supervisor make duplicate c0pies of his critical analysis. Three college supervisors also serve as cooperating teachers, and thirty-four, or 87.2 per cent of the directors also serve as supervisors. Only two of the thirty-nine schools stated that their supervisors of student teachers do not also teach courses. The number of courses these persons teach are listed in Table XLVIII. TABLE XLV III NUMBER OF COURSES TAUGHT BY COLLEGE SUPERVISCB IN MUSIC Number of Courses Numbemer Cent 2 9 2h.3 3 15 no.6 h 7 18.9 5 h 10.8 6 l 2.7 Other 1 2.7 Total-4 37 The one school which was unable to state the number of courses followed the procedure that the load of all the professors in the music depart- ment is arranged and then the rest of the time is occupied by 212 observation. Thus, many members of that department go out and ob- serve student teachers. Table XLDC lists the names of typical cour- ses which these supervisors teach. Only those courses are listed which were stated more than one time. TABLE XLIX TYPICAL COURSES TAUGHT BY THE COLLEGE SUPERVISOR IN MUSIC Responses Course Taught Number Per Cent Elementary Music Methods 23 59.0 Secondary Music Methods 20 51.2 Theory 19 148.7 Instrumental Music Methods 18 no.2 Music in the Elementary School - for Elementary Education majors 111 35.9 Applied Music 11 28.2 Ensemble 11 28.2 Conducting - Instrumental and/or Vocal 10 25.6 Music Appreciation 6 15.14 Orchestration 5 12.8 Band h 10.3 Charm . 11- 1003 Seminar for Student Teachers 3 7.6 Graduate Course in Music Education 3 7. Junior High School Music Methods 3 7.6 Music Literature 2 5.1 Practicum 2 5.1 Other courses stated only one time included I'Eurhy'thmics, Basic Diction for Singers, Counterpoint, Acoustics, Humanities, Band Admin- istration, Senior High School Methods, Vocal Techniques, Recorder, Problems of Public School Music, History of Music and Orientation to Music.“ It is worthy of note that nineteen schools, or 148.7 per cent, indicated that their supervisor(s) also taught at least one course in theory and very few of the supervisors teach courses in music history and literature. The scope of this list, however, reveals a great 213 variety of courses taught by the person basically trained in music education and shows again, the need for a solid foundation in all areas of music and musicianship for the music education major. The interviews with the directors of student teaching in music brought the author in contact with forty-five supervisors from the various music departments. Many of these supervisors are the direct- ors themselves. One-third of these supervisors, or fifteen, held doctorates, and two-thirds, or thirty, held a master's degree. The ngperating Teacher Although college supervisors guide student teachers and aid them in numerous ways, the cooperating teacher appears to be the principal influence in the student teacher's experience. This study revealed that twenty-one, or 53.8 per cent, of the schools require that the cooperating teacher possess a bachelor's degree, in four schools, or 10.3 per cent, the cooperating teacher must possess a master's degree, and in fourteen, or 35.9 per cent, of the schools, the director had no knowledge of any minimum degree standards for the cooperating teacher. Only one of the thirty-nine schools indicated that the cooperating teacher holds college rank but many of the schools list the names of their cooperating teachers in the college catalogue. Because of the significant role of the cooperating teacher, great care should be exercised in choosing these teachers. Table Llists the criteria which the various schools in this study use in selecting their cooperating teachers along with the number using each criteria. It is interesting to note that while sixteen, or 141.0 per cent, state that their institutions seek outstanding teachers, another sixteen, or 141.0 per cent, state that geographical location 211; is a criteria and that they choose the school not the teacher. viously, the two criteria with the largest percentage of use are in sharp contrast with each other. TABLE L CRITERIA FOR THE SELECTION OF COOPERATING TEACHERS Reaponses Criteria Number Per Cent College seeks outstanding teachers 16 hl.0 Geographical location - choose the school not the teacher 16 hl.0 Administrative recommendation from the public schools 13 33.3 Interest in having a teacher on the part of the student teacher 5 12.8 Music curriculum offered by the school district 3 7.6 Observation of the teaching of the prospective cooperating teacher 3 7.6 Experience of the cooperating teacher 6 15.h PrOSpective student teacher selects 3 7.6 Fourteen, or 35.9 per cent, of the institutions reported that they have difficulty Obtaining satisfactory cooperating teachers. these fourteen institutions, nine have the greatest difficulty at the junior high school level; five have the greatest difficulty at all levels; four have the greatest difficulty at the senior high school level; and two have the greatest difficulty at the elementary school level. Ob- 215 The payment offered to the cooperating teacher in return for his services takes on a variety of forms. Thirty-one, or 79.5 per cent, of the institutions pay'money to the cooperating teacher. Table LI shows the various amounts of money paid to the cooperating teacher. It is interesting to note that one school pays secondary cooperating teachers twentybfive dollars more than elementary cooperating teachers. The four institutions indicated on the table as "other," all have sys- tems of increments. The plans are as follows: 1. $75.00 per student teacher plus $5.00 per year increase each year up to $200.00 (two schools). 2. $50.00 per student teacher the first year, $60.00 the second year, and $75.00 the third year. 3. $90.00 to $200.00 per student teacher by years of service. h. $15.00 per student teacher in their sophomore and junior year, and $h0.00 per student teacher in their senior year. Of the eight, or 20.5 per cent, of the schools which do not pay money to the cooperating teacher, one college does give a $100.00 scholar- ship to a student in the school for each student teacher and a univer- sity offers free tuition credit to its cooperating teachers. It is apparent from the Table that the largest number of schools pay $50.00 per student teacher. Several of the institutions reported that cer- tain public schools will not allow payment for the student teacher. 216 TABLE LI FEES PAID TO COOPERATING TEACHERS Reaponses Amount per Student Teacher Number Per Cent $200.00 1 2.6 St 75.00 h 10.2 3 70.00 1 2.6 is 60.00 1 2.6 $ 50.00 16 111.0 Varies greatly by amount of time 2 5.1 Other 5 12.8 Do not know 1 2.6 No payment 8 20.5 Total 39 Only six, or.15.h per cent, of the institutions offer workshOps or group meetings designed to improve the effectiveness of the co- 0perating teacher. Six colleges or universities, or 15.h per cent, have written con- tracts with the cooperating teacher and two additional institutions have written.contracts with the cooperating school district. The type of student teaching program.affects to some degree the number of student teachers assigned to one cooperating teacher. How- ever, the practice of assigning one student teacher to a cooperating teacher is found in thirty-one, or 79.5 per cent of the schools. Two schools assign two student teachers to a cooperating teacher, and 217 seven schools estimated that from three to five student teachers are assigned to a cooperating teacher. On the other hand, several schools indicated that their students are exposed to between two and six co- operating teachers. Despite the small number of schools which expose a student teacher to several cooperating teachers of varying degrees of ability, it is the opinion of this author that this is an extreme- ly valuable experience. Table LII reveals the role of the student teacher in the co- operating school with regard to lesson plans and planning activities. It becomes apparent that the student teacher has quite an important role in most cOOperating schools. TABLE LII ROLE OF THE STUDENT TEACHER IN THE COOPERATING SCHOOL Responses Activity' Yes Pct. No Pct. Sometimes Pct. Lesson plans required 28 71.8 5 12.8 6 15.h Lesson plans discussed before teaching 2h 61.5 3 7.6 12 30.8 Lesson plans discussed after teaching 27 69.2 3 7.6 9 23.1 Student teacher has a part in planning program of study' 16 h1.0 8 20.5 15 38.5 Student teacher has complete charge for planning, exe ecuting and evaluating some activity 29 7h.3 5 12.8 5 12.8 The manner in.which instructions concerning expectations of the cooperating teacher by the college or university are presented to the 218 cooperating teachers vary greatly. Table LIII lists the possibil- ities. TABLE LIII METHODS OF PRESENTING INSTRUCTIONS TO COOPERATING TEACHERS Reaponses Manner of Presentation Number Per Cent Group meetings 5 12.8 Booklets 20 51.2 Verbal instructions privately 12 30.8 workshop 2 5.1 Letter 6 15.h No instructions presented 2 5.1 Some institutions use more than one manner of presentation. Appendix M contains selected letters and instruction booklets for cooperating teachers. Twenty institutions, or 51.2 per cent, have a minimum set of standards or experiences which are required for every student teacher, and nineteen, or h8.7 per cent, have no requirement of this sort. Among the institutions which possess minimum standards, three basic standards generally evolve: (1) all student teachers must teach junior high school general music; (2) all student teachers must have experience at both the elementary and secondary levels; (3) all stu- dent teachers must teach both vocal and instrumental music. 219 Conferences Various types of student teaching conferences are provided in all colleges and universities. Only seven, or 17.9 per cent, of the institutions have regular staff meetings of the music student teach- ing staff. Of the thirtybtwo schools which do not have regular meetings, eleven have occasional.meetings. Many of the schools have only one or two persons on the staff, thus making regularly scheduled meetings unnecessary. Individual college supervisor-student teacher conferences are held prior to, during and.after student teaching in.a large percent- age of the institutions. Thirtybfive schools, or 89.7 per cent, hold conferences prior to student teaching, thirtybseven, or 9h.9 per cent, hold individual conferences during student teaching, and thirty-one, or 79.5 per cent, hold conferences after student teaching. College supervisor-cooperating teacher conferences are held upon or after the visit of the college supervisor in all institutions except one. Conferences between the cooperating teacher and the student teacher are held in all institutions, but only seventeen, or h3.6 per cent, have them.scheduled regularly. In.many'situations, this is not a necessity because only one 000perating teacher is used, however, if the policy is that of using several cooperating teachers, regularly scheduled conferences become a necessity; Thenty-eight, or 71.8 per cent, of the institutions have group conferences for student teachers. In eighteen, or h6.2 per cent of the schools, these meetings are called "Practicum” or "Seminar" and are conducted by the music department; in seven, or 17.9 per cent, of the institutions, these meetings are called "Seminar" and.conducted 220 by the education department; in three, or 7.6 per cent, of the in- stitutions, these meetings are a part of the nethods course which runs concurrently with student teaching. In twenty-one, or 75.0 per cent, of the institutions which have group conferences, these conferences are held weekly. The other 25 per cent takes on a variety of prac- tices such as "every other week,'. "one day," "two days," "two per week (one in music, one in education)" and "two times per week for the first eight weeks, and one time per week for the second eight weeks." Fourteen, or 50 per cent, of the schools holding group conferences, indicated that there was no planned program at these meetings, rather, they grew out of the needs of the student teachers. The other fifty per cent of the meetings comprised a planned program including such things as panel discussions, lectures, audio-visual aids, school law and professional ethics. Five institutions, or 12.8 per cent, hold occasional group con- ferences of the college supervisor, cooperating teacher and student teacher. Seventeen, or 143.6 per cent, have social functions which in- clude the three groupso Observation Experiences Pre Student Teaching. Eighteen schools, or h6.2 per cent, indicated that students observed in public, parochial, or campus laboratory schools as a part of professional education courses, and thirty-two, or 82.1 per cent, indicated that students observed in schools as a part of music methods classes. The music department chairmen of 89.7 per cent of the schools indicated that observation was a requirement of the music methods class. Table LIV lists the music methods courses 221 which require such Observation. TABLE LIV MUSIC METHODS COURSES REQUIRES OBSERVATION Responses Courses Number Per Cent Elementary Music Methods 27 69.2 Secondary Music Methods 26 66.7 Instrumental Music Methods 13 33.3 Vocal Music Methods 10 25.6 General Music Methods 2 5.1 Practicum l 2.6 Table LV indicates the responses of the directors asked to state the various areas of observation required of students in methods classes in each of three lavels. It is interesting to note that more schools require elementary school observation in classroom teach- ing and class lessons, and secondary observations in band, chorus, and orchestra. Five schools stated that their observation procedures vary too much to statistically fit on a table, and one director in- dicated that he did not know where students in methods classes ob- BGI'VBdo 222 TABLE LV OBSERVATION EXPERIENCES REQUIRED IN MUSIC METHODS COURSES AT EIEIENTARY, JUNIOR HIGH, AND SENIOR HIGH SCHOOL LEVELS Responses Elementary’ Junior High Senior High Activity Number Pct. Number Pct. Number Pct. Classroom.Teaching Always 22 56oh 19 h8.7 9 23.1 Sonn‘times 2 501 )4 1003 5 1208 Band Always 6 150,4 9 2301 8 2005 Sometime 7 17.9 7 17.9 h 10.3 Chorus Always 8 20.5 12 30.8 11 28.2 Sometimes 6 15.1; 6 15.1; S 12 .8 Orchestra Always 6 150,4 8 2005 6 1501]- Sometimes I; 10.3 5 12 .8 S 12 .8 Ensembles Always h 10.3 5 12.8 3 7.6 Sometimes 5 12.8 S 12.8 6 lS.h Class lessons .Always 6 lS.h 5 12.8 3 7.6 Sometimes 6 15.h 6 lS.h 6 15.h Ibring Student Teaching. This section of the questionnaire provided the respondents the Opportunity to check several areas of observation and teaching experience required of the student teachers in each of three levels. Table EVI lists responses for each of the areas. ‘A considerable number of directors stated that the observations simul- taneous with student teaching do not breakdown statistically in this manner, and consequently Table LVI is divided into two sections. It 223 is worthy of observation.that in the largest number of instances the student teachers observe only what their cooperating teachers teach. Also, in both pre student teaching observations and in student teach- ing Observations, the two areas which are always observed the most are elementary'and junior high school.classroom teaching. It is ap- parent, when one compares the pre student teaching observation.exper- iences with the student teaching Observation experiences, that those observations before student teaching are more general and those during student teaching are more specialized. 22h TABLE DVI OBSERVATION EXPERIENCES REQUIRED OF STUDENT TEACHERS PREPARING AT ELEMENTARY, JUNIOR HIGH AND SENIOR HIGH SCHOOL LEVELS Responses Elementary Junior High Senior High Activity Number Pct. Number Pct. Number Pct. Classroom.Teaching Always 9 23 el 10 2506 2 S 01 Sometimes I 2.6 1 2.6 3 7.6 Band Always ’4 1003 6 1501'- 6 150b- 3011817111168 2 5.1 2 501 l 2.6 Chorus Always 5 12.8 6 15.h 5 .8 Sometimes 3 7.6 2 5.1 2 .1 Orchestra Always 3 706 h 1003 3 706 Sometimes 3 706 3 796 3 706 Ensembles AlwaYB 2 5.1 h 10.3 3 706 Sometimes 2 5.1; 2 5.1 2 5.1 Class Lessons Ways ’4- 1003 5 12.8 h 1003 Sometimes I 2.6 1 2.6 l 2.6 Number Per Cent Observe only the COOperating teacher's schedule 18 h6.2 Observe only'in areas they will teach 3 7.6 Varies greatly‘ 8 20.5 Free observations in other areas 9 23.1 225 Post Student TeachinggExperiences Fourteen, or 35.9 per cent, of the colleges and universities claim.to have post student teaching experiences of the following types: Music department seminar (five schools). Return to undergraduate methods courses to Speak and demonstrate (two schools). Course entitled, "Problems in.Public School Music" (two schools). Continuation of music methods courses (two schools). Special project in area of student's choice. Education department seminar. Personal evaluative and progress report. Six, or 15.h per cent, of the colleges and universities have follow-up-on-the-job programs. None of the institutions have visita- tion programs for the first year teacher, six institutions send questionnaire letters to the principals or superintendents of the first year teachers, three institutions send questionnaire letters to the first year teachers themselves, and the staff of one institution occasionally visits the concerts of first year teachers and writes a critique. Obviously, very little post student teaching occurs in the colleges and universities in this study. Strengths of the Student Teaching Program A variety of responses were received to this question. The re- spendent was asked to provide any particular strengths which were felt to exist in their program. Comments which were listed more than 226 one time include: Small number of students in the department allow more individual attention (six schools). Experience in both vocal and instrumental music (five schools). Full time student teaching for one semester; no college classes (five schools). Frequent observation by college supervisor (five schools). The methods-student teaching cycle is one continuous operation (four schools). Excellent, well trained cooperating teachers (four 30110018 ) 0 Student teachers gain experience at both the ele- mentary and secondary level (four schools). The "professional semester" (four schools). Good rapport between the music department and the education department (three schools). The "block plan" (three schools). Spiral laboratory experiences for more than one year (three schools). Breadth of the music program in the cooperating school is excellent (two schools). High level of musicianship of the student teachers (two schools). Pre experience of teaching in parochial schools (two schools). Students are exposed to several cooperating teachers (two schools). Begin the school.year from.the beginning and follow it all through the year (two schools). No strengths (seven schools). 227 weaknesses of the Student Teaching Program This section of the questionnaire provided the respondents the Opportunity to comment on any particular weaknesses which they felt existed in their student teaching program. A variety Of weaknesses and even a greater number Of weaknesses than strengths were reported by the directors. Of the weaknesses reported, the fOllowing were reported more than.once. Lack of adequate time for student teaching (ten schools). Need to be more selective of cooperating teachers (nine schools). Student teachers do not gain experience at both the elementary and secondary'levels (nine schools). Lack of a full day of student teaching. Student teacher must divide his time between teaching and classes at the college (six schools). Lack of uniformity in cooperating school music programs (five schools). Lack of preparation in course work in undergraduate school (three schools). Students should not choose cooperating school (two schools). Non payment of cooperating teachers (two schools). Student teachers do not gain experience in both vocal and instrumental music (two schools). Lack of time for the director Of student teaching in. music to properly coordinate the program (two schools). NO senior high school student teaching (two schools). Student teacher is only assigned to one cooperating teacher (two schools). Student teaching and methods courses are given at the same time (two schools). 228 It is interesting to note that only one director indicated that the absence of a five-year program was a weakness to the student teaching program. Summagy Administration. Slightly more than 7h per cent of the respondents indicated that the staff of student teaching in the music department works with the staff of student teaching in the education department. In twenty-six schools, however, the placement Of student teachers is out of the hands of the music department. Student teaching is most likely to occur in the public schools and in hh per cent of the in- stitutions, the cooperating teacher is reaponsible for setting up the schedule of the student teacher. A.large majority of the schools use college supervisors from the music department and this person is the most important person in the grading and recommending of the student teacher. Organized meetings are planned in slightly more than one-half of the institutions with every one directly concerned with the stu- dent teacher. Few schools utilize all four years for professional laboratory experiences. Approximately 70 per cent of the schools indicated that directed observation occurs in the junior year and approximately 62 per cent of this observation is assigned in the methods class. In 67 per cent of the schools, students are also given experience in individual or small group instruction prior to student teaching. The four most common weaknesses apparent among beginning student teachers were "lack of keyboard facility," "lack Of discipline," "lack 229 of conducting ability," and "lack of knowledge of child growth and development . " The Student Teaching Prggram. A smnmary of student teaching program will be revealed in the profile picture of a typical program occurring in a college or university in one of the three states included in the study. Instances cited as probable will indicate a more than 50 per cent Chance. Student teaching will most likely occur in the senior year and there is a 1:9 per cent chance that the student teacher will be assigned to the cooperating school, although an attempt will probably be made to place this person in a situation in which he will be likely to succeed. When he reports the first day, he will report to the co- operating school principal and be indoctrinated into school policies by a combination of the school principal and the cooperating teacher. This typical person will engage in a full day of student teaching for three months of one semester, receive eight credits, and have a clock hour requirement of approximately 180 hours. Although he would not be engaged in the professional semester type of block plan in student teaching, he would have the small-unit block plan experience. Before he begins his actual student teaching, he would have an observation period of approximately one week with the cooperating teacher making the final decision as to when the student is really ready to begin teaching. He will be most likely teaching elementary and junior high school general music, as most student teachers do. Other than this, the classes he might teach would vary considerably but be influenced most by the number of COOperating teachers he is 230 assigned to and what they teach. He would have a 61 per cent chance of student teaching at both the elementary and secondary level and a 51; per cent chance of gaining experience in both vocal and instrumen- tal music. He would not, however, find the Opportunity to teach piano class in the public schools. The college methods teacher will probably Observe the student teacher and the cooperating teacher will occasionally leave the room when he begins to feel secure in front of his class. The student teacher will have more than a 50 per cent chance of working with assembly and school programs, grading the students, attending faculty and committee meetings and keeping records of various types but will not be required to compile either a case or group study of children. Self-evaluation by this student teacher will be practiced in one of several manners from a written self-evaluation after each class to one general evaluation at the end Of student teaching. His grade in student teaching will probably be a B even though there seems to be a tendency toward moving away from the alphabet system of grad- ing. The evaluation stating his strengths and weaknesses will be on a standard form, but will probably not be one specifically devised for the music student teacher. The college supervisor will visit him approximately four to five times and will probably be from the music dep artment . College Supervisor. A profile of the typical college supervisor of student teachers in music in Pennsylvania, New Jersey, and Maryland would show him to have a master's degree and only a 33.3 per cent Chance of possessing an earned doctorate. He might be reaponsible for 231 anywhere from two to fifteen student teachers per semester, although even this number might vary considerably from year to year and semester to semester. Approximately three student teachers would equal one hour load on his teaching schedule and he will teach three or four courses along with student teaching. These courses have the greatest Chance of being "Elementary Music Methods, Secondary Music Methods, Theory, or Instrumental Music Methods." Obviously, it is necessary that he possess a solid background from his undergraduate and graduate schools in all areas of music and musicianship. The supervisor would have approximately a 50 per cent chance of from five to fifteen cooperating teachers per semester and seven to an unlimited number of cooperating schools available for his use. His travel expenses would be paid, but would have an equal chance of coming from the education department, the music department, or other college or university funds. It would be necessary for him to record his visits for either the Student Teaching Office, the Business Office, the music departmnt chairman or the education department. This col- lege supervisor has a good chance of also being the director of stu- dent teaching in music since 87 per cent of the directors also serve as supervisors. The Cooperating Teacher. The profile of the cooperating teacher here- in contained is revealed through the eyes of the director of student teaching in music. This person would probably have a minimum of a bachelor's degree required, would not hold college rank, and would have been chosen either by geographical proximity to the college or univer- sity, because of his reputation as an outstanding teacher, or by recom- mendation of his public school administration. If he teaches at the 232 junior high school level he will be in the greatest demand because it is on this level that the greatest difficulty arises in obtaining satisfactory cooperating teachers. He will probably receive fifty dollars for each student teacher with whom he works and the chances are strongest for the student teacher to work only with one coopera- ting teacher, Or two at the most, despite the fact that this will limit the experiences possible for the student teacher. The coopera- ting teacher will require lesson plans from the student teacher and probably discuss them before he teaches the lesson and again after. While the student teacher will not have a part in planning the pro- gram in the cooperating school, the cooperating teacher will provide him with some activity in which he will have complete charge for planning, execution and evaluation. Instructiom from the college or university to this COOperating teacher will be presented by book- lets sent to him and , many times, by private verbal instructions. Conferences. Individual college supervisor-student teaching confer- ences are held prior to, during and after student teaching in a large percentage of the institutions. College supervisor-cooperating teacher conferences are held upon or after the visit of the college supervisor in all institutions except one. Conferences between the cooperating teacher and student teacher are held in all institutions, but many times they are not regularly scheduled. A large percentage of the institutions have group conferences for student teachers called "Seminar" or "Practicum" conducted many tines by the music department and often held weekly. One-half of the reapondents indicated that there would be a planned program at the seminars and the other half indicated that the meeting will grow out 233 of the needs of the student teacher. Observation Experiences. Most pre student teaching Observation (82 per cent) will be directed out of the music methods class, usually ele- mentary and secondary methods. The student teacher will have the greatest chame of observing classroom teaching at the elementary arid junior high school levels. Pre student teaching observation ex- periences will be more general in nature and observation experiences during student teaching will be more specific because there is a good chance that the student teacher will observe only what his cooperating teacher teaches. Post Student Teaching Eigeriences. The college or universities have very little, if any, in the way of post-student-teaching activities. Strengths and Weaknesses of the Student Teachng Program. Generally speaking, a greater number of weaknesses than strengths in the student teaching programs were reported, and these weaknesses showed more agreement between schools than the strengths. Approximately one-fourth of the schools presented the following weaknesses: "lack of adequate time for student teaching"; "need to be more selective of cooperating teachers”; and "student teachers do not gain experience at both the elementary and secondary levels." It is interesting to note that the statistics revealed in this chapter are singularly applicable in any of the three states included in the study. There is no unequivocal difference between the student teaching programs of the three states. Chapter VI ANALYSIS OF THE DATA PROVIDED BY THE COOPERAT ING TEACHERS The preceding chapter was devoted to the data on student teach- ing programs as supplied by the directors of student teaching in music. This chapter will be devoted to the discussion of some of the existing practices in student teaching as revealed by the ques- tionnaire which was sent to cooperating teachers utilized by the colleges and universities included in this study. Procedure of the Questionnaire Study A section of the structured interview with the directors of stu- dent teachers in music requested that they supply the author with the names and addresses of five of their most qualified COOperating teach- ers. Upon receipt of these lists, a letter, Appendix E, and a ques- tionnaire, Appendix J, were mailed to 187 cooperating teachers. Sev- eral schools did not use a total of five cooperating teachers. The return yielded 1143, or 76.1; per cent. Of the 1.143 reapondents, five teachers, or 2.6 per cent, indicated that they did not feel qualified to reply to the questionnaire; consequently, these returned question- naires were unusable. If this 2.6 per cent is retained in the sam- pling, the return of the questionnaires is 73.8 per cent; however, if these five respondents are omitted from the total sampling, the return of usable questionnaires is 75.8 per cent. Ninety-eight of the re- turned questionnaires were from Pennsylvania, eighteen from Maryland, 23h 23S and twentyhtwo from New Jersey. Personal Data of the COOperating Teacher Section one of the questionnaire provided for the recording of such personal data as degree held, years Of teaching experience, aSpect of music taught and grade level taught. In computing the data for the degree held and years of teach- ing experience, only the highest degree held was considered. Table LVII illustrates the return of the 138 respondents: forty-one, or 29.6 per cent, hold a Bachelor of Science degree; nineteen, or 13.8 per cent, hold a Master of Education degree; eighteen, or 13.0 per cent, hold a Master of Music Education degree; seventeen, or 12.3 per cent, hold a Master of Arts degree; and eleven, or 8.0 per cent, hold a Bachelor of Music degree. A.greater percentage of the re- apondents, 52.2 per cent, hold a master's degree; h3.5 per cent of the respondents hold a bachelor's degree; 22 per cent hold no degree or a conservatory diploma; l.h per cent hold a professional diploma (6th year); and .7 per cent hold a Doctor of Music degree (one person). The years of teaching experience in Table EVII ranged from.one to forty, with the greatest frequency occurring in the group of eleven to fifteen, with 2h.6 per cent of the teachers reaponding fall- ing in that group. Six teachers, or h.3 per cent, have thirty-six or more years' teaching experience, and at the lower end of the scale, twentyaone, or 15.2 per cent, have from.one to five years of teaching experience. The second largest frequency occurred with thirty-one, or 22.5 per cent, of the respondents indicating six to ten years of teaching experience. Four teachers indicated that they only had one A'llrlll‘llllulll 236 year of teaching experience. The aSpect of music in which the individual cooperating teach- ers are engaged includes eighty, or 58.0 per cent, who teach vocal music; thirty-eight, or 27.5 per cent, who teach instrumental music; and sixteen, or 11.6 per cent, who teach a combination of vocal and instrumental music. Four reapondents, or 2.9 per cent, indicated that they were full-time music coordinators. Sixteen individuals indicated that they also taught music history and/or appreciation, and thirteen indicated that they taught music theory. 237 men N N a m a we a S 2 fl .3 gee N a a a N a N we Hm H o H m m m m Odie :m H A h H o m H h mHIHH N a m a N m m N 8.3 Ha m m N mNIHN N a N N N m omneN N a a mean e N H H a a em {fleece eeez Emwmmm 5.9: fifim area pee m2 :2 ems a: am mm as am eemmmmww nificance Iooeowm we once» moonmom Edmoomm GZHmodma BZHQDBm mme 2H mmmmodma ozHedmmmooo Mme Mm Guam mmmmcmm mma Qz< MOZMHmmmNm CZHmode mmdmw HH>H mqm¢a 238 The grades or levels taught ranged from kindergarten through senior high school. In computing this data for Table LVIII, the K-6-3-3 plan of administrative organization was considered for the public school. As was anticipated, many combinations of grades or levels taught were encountered. To facilitate the construction of the Table, six groups or combinations of grades or levels taught were provided into which to channel the reaponses. The greatest number Of COOperating teachers, thirty-seven or 26.8 per cent, are teach- ing kindergarten through grade six. The second largest group is come posed of those in grades seven to twelve which total twenty-nine, or 21.0 per cent. The smallest group within this area of grades or levels taught, was that of the combination kindergarten through ninth grade, which accounted for nine, or 6.5 per cent, of the total co- operating teachers responding. TABLE LVIII GRADES TAUGHT BY COOPERATING TEACHERS Responses Grades or Levels Number Per Cent Elementary K-6 37 26.8 Junior High 7-8-9 13 9.h Senior High 10-11-12 25 18.1 Elementary and Junior High K-9 9 6.5 Elementary, Junior High and Senior High K-12 25 18.1 Junior High and Senior High 7-12 29 21.0 Total 138 239 Breadth of Expgrience Provided by Cooperating Teachers This section allowed the COOperating teachers a chance to indi- cate those activities in which experience is being provided for the student teachers. Table L11 enumerates the percentage of reaponses for each of the twenty items. The range for this classification is a minimum of 15.2 per cent, or twenty-one cooperating teachers, who pro- vide an opportunity for experience in "budget planning,” to a maximum of 99.2 per cent, or one hundred thirty-seven COOperating teachers, who provide the student teacher the opportunity of "conducting the class as his own." It should be kept in mind that any given activity may not apply in all situations because of the division of elementary-secondary and vocal-instrumental. Thus, incomplete results were obtained in con- nection with activities dealing with certain phases of the music pro- gram. 2&0 TABLE LIX ACTIVITIES PROVIDED THE STUDENT TEACHER IN MUSIC BY THE COOPERATING TEACHER Reaponses Activities NUmber Per Cent Ordering music 29 21.0 Filing music 82 59.1: Budget planning 21 15.2 Use of audiOHVisual aids 120 86.9 Pfinor repair of band and orchestra instruments h9 35.5 Planning activities 119 86.2 Planning lessons 135 97.8 Planning concerts 8h 60.9 Maintenance of attendance records ' 7h 53.6 Handling behavior problems 12h 89.8 Experimenting with new techniques 121 87.7 Conducting class as his own. 137 99.2 Preparation of groups for performance 119 86.2 Directing performing groUps in public 77 55.8 Seating arrangement of performing group 63 145.6 Personal contact with parents 2h 17.h Attendance at faculty meetings 81 58.7 Experience with small ensembles 88 63.8 Experience with class lessons I 116 8h.0 Pupil evaluation and grading 102 73.9 2N1 Evaluating_the Student Teacher This section of the questionnaire sent to the COOperating teach- ers is concerned with the grading of the student teacher. The co- Operating teachers were given the Opportunity to respond to any one of five items. Table LX enumerates the reSponses for each item. The greatest number of COOperating teachers, one hundred and seven, or 77.5 per cent, indicated that the cooperating teacher is the person most frequently involved in the grading process. The second greatest involvement, eighty-three, or 60.1 per cent, is in the person of the supervisor of student teachers in music. The smallest number of cooperating teachers, three or 2.2 per cent, in- dicated that the principal of the cooperating school had a direct involvement in evaluating the student teacher. A total of seven, or 5.1 per cent, of the cooperating teachers indicated that they graded the student teacher themselves without reference to any other individ- Ila-lo TABLE LX INDIVIDUALS WHO GRADE STUDENT TEACHERS Reaponses Persons Number Per Cent Director of Student Teaching in the Education Department 26 18.8 Director of Student Teaching in Music 65 h7.0 Supervisor of Student Teachers (non music) 1h 10.1 Supervisor of Student Teachers in.music 83 60.1 Cooperating Teacher(s) 107 77.5 School Principals 3 2.2 __+ 2&2 Suggested Improvements for Evaluating the Student Teacher The cooperating teachers here had an opportunity to express themselves in relation to the grading system presently used in their situation. One hundred and seven, or 77.5 per cent, of the COOpera- ting teachers indicated that they agree with the system.of grading presently in use. This compares exactly with the number of COOpera- ting teachers in Table Ix.who grade the student teacher and is the first of several indications that the degree of agreement with the grading system in use is directly proportional to the amount of in- volvement the cooperating teacher has in the grading process. Twen- ty-nine, or 21.0 per cent Of the cooperating teachers indicated dis- pleasure with the present system.of grading, and two, or 1.h per cent, did not reply to the question. The greatest number of cooperating teachers, nineteen, or 65.5 per cent, who did not agree with the present grading system indicated that the director of student teach- ing in music, the supervisor in.music from the college or university, and the COOperating teacher should jointly provide the grade fer the student teacher. Seven, or 2h.1 per cent, were in favor of only the cooperating teacher doing the grading; two recommended that the director of student teaching in.music and/Or the supervisors from the music department do the grading; and one supported the concept that more members of the music faculty'from.the college should observe and grade as a team. Generally Speaking, the comments Obtained from these COOperating teachers indicated that they did not want this re- sponsibility completely upon their shoulders, as they felt that the 21:3 supervisor should be consulted to confirm the grade, that the supervisor is the one directly responsible for the student teacher, and that no one person should determine the grade. The comments of the cooperating teachers not pleased with the present system of evaluation are here categorized along with the number of persons making the comment: Supervisor from the college or university Observes too seldom to accurately establish the grade. (Eleven persons.) More weight should be given to the cooperating teacher's grade. (Eight persons.) The cooperating teacher should determine the grade because these teachers see the student teacher under all circumstances and only the teacher working directly with the student teacher is in a logical position to judge. (Seven persons.) The supervisor from.the college is not qualified to judge the student teacher. (Seven persons.) The COOperating teacher should be included as a part of a team of evaluators. (Two persons.) Principals should not grade because they do not ob- serve enough times and are not qualified to judge music. (One person.) Evaluating forms are too time consuming. (One person.) Cooperating teacher does not want to grade because it puts too much pressure on him.since it is twelve credits' worth of work. (One person.) Should not use letter grades because standards vary too much from cooperating teacher to co- operating teacher. (One person.) Aids tO Cooperating Teachers Provided by the College oerniversity This section of the questionnaire was devoted to the allotment of time for holding administrative and supervisory meetings in 2th conjunction with the student teaching program. Table LXI enumerates the reaponses for the types of meetings held. TABLE LXI MEETINGS HELD IN THE STUDENT TEACHING PRCXERAM PERTAINING TO THE COOPERATING TEACHER Res onses Type of Meeting NUmber Per Cent Planning workshOp - Director, Super- visors and Cooperating Teachers 32 23.2 Meetings of Supervisors and Cooperating Teachers 51 37.0 No Meetings Held 55 39.9 Total 138 The greatest number of cooperating teachers, fifty-five, or 39.9 per cent, of the 138 reapondents indicated that no meetings were held to determine the experiences to be provided the student teacher. Meetings held by the director, supervisors and COOpera- ting teachers accounted for thirty-two, or 23.2 per cent of the re- apondents, and meetings held by the supervisors and COOperating teach- ers accounted for fifty-one, or 37.0 per cent, of the reapondents. It is interesting to note that in several instances there is a lack of agreement among the cooperating teachers of a given college affiliation as to the types of meetings held. This confusion may be due to the lack of appropriate coordination between college and co- Operating school. 2&5 The cooperating teachers were given the opportunity to present their programs of scheduled meetings if none of the categories in Table LXI were suitable to their situations. Only sixteen, or 11.6 per cent,of the cooperating teachers reaponded to his item. Nine, or 56.3 per cent, of those teachers responding to this item stated that they had "occasional individual conversations between the cooperating teacher and the college supervisor." wa0 persons indicated that they had “one meeting for all cooperating teachers in all fields which was too broad to be valuable.“ Other plans enumerated by in! dividual COOperating teachers are: "Tehphone conversations; one individual conference at the beginning of the year; written brochure only; supervisor of music in the school system.assigns the student teacher and instructs the cooperating teacher; individual meeting with supervisor, cooperating teacher and student teacher to plan the course of work for a semester.” It thus becomes apparent that more is needed to be done in aiding the cooperating teacher of the college or university. As indicated in Table LXI, slightly more than one-third of the reaponding cooperating teachers have no time allotted for administrative and supervisory meetings. From.this standpoint, little coordination exists among the cooperating schools and.teachers in those institutions with no meetings, and the experiences provided the student teachers are primarily the responsibility of the individual cooperating teachers. Much variation also exists within the range of the experiences provided for the stu- dent teacher by the cooperating teachers of a given college affiliation. The last item in this section of the questionnaire gave the co- operating teachers a chance to express themselves concerning the 2A6 guidance which the colleges or universities provide for them. Forty; seven, Or 3h.1 per cent, of the cooperating teachers stated that the college or university should provide more guidance, and eightyhtwo, or 59.1; per cent, felt that the guidance was adequate. Nine, or 6.5 per cent, did not reply to the question. Among those COOperating teachers who felt that more guidance should be provided, the following suggestions for improvement appear to be significant: Need more information as to what is expected of the cooperating teachers (twelve persons, or 25.5 per cent of those reaponding). Need a planning workshop with college personnel and co- operating teachers in music (nine persons). Need more guidance from.the music department of the college or university (nine persons). Definite standards should be outlined concerning the responsibilities of the student teacher and what the college expects of them.(eight persons). 'Would like to have information about the student teacher in advance, based on their former work at the college or university (eight persons). ‘Would like to have information pertaining to the content of the methods courses which the student teacher experienced (three persons). More supervision is needed by the college supervisor (three persons). Need more information on grading practices (two persons). Need more information as to what the college or uni- versity expects concerning the detail of lesson plans (two persons). Need a statement by the college or university con- cerning the classification of authority of the cooperating teacher (one person). 'Wbuld like assistance in planning work for instrumental minors who have weaknesses but not enough time with instrumental student teaching to correct them (one person). 2h? Recommendinggthe Student Teacher One hundred and twelve, or 81.2 per cent, of the cooperating teachers indicated that they are always called upon to recommend stu- dent teachers for future teaching positions, two,or l.h per cent,were sometimes called upon for this task, and twenty-four, or 1M; per cent, are never asked to do this. The question "WOuld you like a more significant part in the recommendation of student teachers for future teaching positions?", provided the cooperating teachers an Opportunity to voice their opinions. 0f the 183 respondents, thirty» eight, or 27.5 per cent, indicated that they desired a mere signifi- cant role, and one hundred, or 72.5 per cent, were satisfied with the role they now play. Suggested weaknesses of Student Teachers This section of the questionnaire is devoted to the weaknesses that are most common among student teachers of music in assuming their reaponsibilities. The writer categorized the weaknesses into two major divisions: npersonal characteristics" and "college prepara- tion." The weaknesses in the personal characteristics of student teach- ers are categorized in Table LXII. In this category, seventyhfive, or 5h.3 per cent, Of the cooperating teachers indicated that "lack of confidence" was a weakness. "Lack of ability to organize" was the next most frequent indication by fifty-nine, or h2.8 per cent, of the cooperating teachers. 2h8 TABLE LXII WEAKNESSES IN THE PERSONAL CHARACTERISTICS OF STUDENT TEACHERS Responses 'weaknesses Number Per Cent Lack of ambition 15 10.9 Lack of enthusiasm.for teaching 1h 10.1 Lack of patience 18 13.0 Lack of confidence 75 5h.3 Lack of ability to organize 59 h2.8 More interested in teaching music than children h8 3h.8 Poor personality 9 6.5 Lack of leadership 2h 17.h Inability to express themselves concisely 53 38.h Lack of interest in the total schoo1 ’ program 3h 2h.6 lack of imagination 3h 2h.6 Unable to maintain discipline hl 29.6 Other 32 23.2 Those cooperating teachers who indicated "other" were asked to specify. Of the varied suggestions, the following appear to be the most significantt Inability to anticipate what will be difficult for the student--lack of knowledge of child matura- tion (six persons). Lack of suitable vocabulary for various grade levels (five persons). Inadequate lesson plans (three persons). ..... 2A9 Lack of understanding of pupil behavior (three persons). Lack of acquaintance with a public school program; attended only parochial schools (three persons). Lack of enthusiasm.and initiative to go beyond what is expected of them.(three persons). Lack of general education, i.e., current affairs, other subject areas (two persons). Cannot take criticism (two persons). Too idealistic (two persons). Tests are too difficult (two persons). Lack of timing in presenting a lesson (one person). Unaware of the essential qualities which make up music and its "power" to affect both performer and listener (one person). In the category "weaknesses in the college preparation of stu- dent teachers,n itemized in Table LXIII, seventybfive, or 5h.3 per cent, of the cooperating teachers indicated that "lack of performp ing ability on the piano" was a weakness found among the student teachers. The second greatest frequency was "scheduling--carries college course work while student teaching" as reported by sixtyb three, or h5.6 per cent, of the reapondents. The third most common- ly listed weakness was ”not fully versed in methods" as enumerated by fiftybfour, or 39.1 per cent, of the respondents. 250 TABLE LXIII WEAKNESSES IN THE COLLEGE PREPARATION OF STUDENT TEACHERS Responses Weaknesses Number Per Cent _ Lack of background in conducting D7 3h.1 Lack of knowledge and teaching techniques of band and orchestral instruments hl 29.6 Lack of knowledge of child growth and development 36 26.1 Lack of knowledge of'musical literature 29 21.0 Lack of performing ability on piano 75 5h.3 Not fully'versed in methods 5h 39.1 Lack of knowledge of basic vocal techniques 27 19.6 Lack of thorough musical background 32 23.2 Poor musicianship 16 11.6 Scheduling--carries college course work while student teaching 63 h5.6 General lack of training 7 5.1 Other 22 15.1 Again, those student teachers who indicated "other" were asked to elaborate. These stated weaknesses which appear to be most sig- nificant are: Lack of knowledge of materials (four persons). Vocal majors need to be better trained in instru- mental work (three persons). Lack of knowledge of purpose of'music in the public schools (two persons). 251 lack of knowledge of child growth and development in music within.the child's level (one person). Students many times take student teaching before they have had methods (one person). Playing the piano too loudly in the classroom (one person). Lack of knowledge of style or composition technique and development (one person). Lack of knowledge of the development of the child's voice (one person). Lack of observation experience (one person). Strengths of the Student Teaching Program The cooperating teachers were provided the opportunity to indi- cate any particular strengths which they felt were contained in their program of student teaching. Only thirty-four, or 2h.6 par cent,of the COOperating teachers indicated that their programs contained no particular strengths. Upon further analysis, one might observe that in Pennsylvania, 2ho5 per cent of the teachers recorded no strengths; in New Jersey, h0.9 per cent recorded no strengths; and in Maryland, 5.5 per cent of the teachers recorded no strengths in their program.of student teaching. The cooperating teachers provided a variety of strengths which they deemed significant. Because of the variety enumerated, no par- ticular categories appeared to be justifiable. The strengths here listed are those reaponses which were indicated by five or more of the cooperating teachers. The number which precedes the statement indicates the per cent of the cooperating teachers who felt this to be a strength in their particular student teaching program. 23.9% 8.7% 5.8% 5.8% :5.8% 5.1% 5.1% 5.1% h.3% h.3% 3.6% 3.6% 252 The student teacher is given a variety of phases of music teaching in both grade levels and areas of music (thirty-three persons). The student teacher has had the opportunity to conduct the classes as his own (twelve persons). The student teacher has a chance to teach a large variety of instruments in both homogeneous and heterogeneous settings (eight persons). Considerable individual attention given to each student teacher (eight persons). Student teacher has the opportunity to be creative and try out his own ideas (eight persons). The student teacher knows his field well and is well prepared for student teaching (seven persons). The student teacher has the opportunity to direct large ensembles and performing groups (seven persons). Excellent music program in the coOperating school (seven persons). Regularly scheduled conferences with the co- operating teacher (six persons). Student teachers have been enthusiastic and dedicated (six persons). The student gains experience with "new" concepts, i.e., Orff method, Kodaly method, Blueprints for Musical Understanding, team teaching, etc. (five persons). Excellent supervision of college personnel (five persons). Other strengths which were reported more than one time but less than five times were: The COOperating school has many excellent materials (four persons). 253 Students do not carry a college schedule during the practice teaching period (three persons). Excellent rapport between the college supervisor and the cooperating teacher (three persons). Student teachers are involved with actual teaching daily (two persons). The cOOperating teacher tries to influence a basic philosophy of teaching music with each stu- dent teacher (two persons). The student teacher becomes a genuine part of the cooperating school during student teaching (two persons). The student has a chance to work with special education, both accelerated and retarded (two persons). Complete freedom is provided for the cooperating teacher and student teacher (two persons). The student teacher teaches the first six weeks of the school year (two persons). Excellent rapport between the cooperating teacher and student teacher (two persons). Juniors from.the college go to their prOSpective co- Operating school to Observe as a part of their methods course (two persons). Other strengths which were indicated only one time, but in the opinion of this author seem significant, are: Opportunity for the student teacher to do the same lesson with a different group after a conference. Very closely supervised program. Folder containing background, grades, statistics, etc. about the student teacher is sent to the co- Operating teacher before the student teacher arrives. Methods courses are given concurrently with student teaching. Student teaching encompasses a full school year. 25h Student teacher is given a chance to become familiar with new teaching aids. Experience is provided the student teacher in concert planning. Excellent cooperation on the part of the college providing the student teacher and the administra- tion of the cooperating school. The student teacher is provided the opportunity to engage in reSponsibilities not included in the usual methods courses, i.e., state registers, report cards, grading criteria, etc. Cooperating teachers are all graduates of the university sending the student teacher. A complete course of study develOped and used by the cooperating teacher is given to the student teacher for elaboration. It is interesting to note that the greatest frequency by far occurred with "The student teacher is given a variety of phases of music teaching in both grade levels and areas of music." The data in Chapter V showed that only 61.5 per cent of the stu- dent teachers have experience at both the elementary and secondary levels and only 53.8 per cent receive experience in both vocal and instrumental music. Commenting on this concept, one cooperating teacher states: I feel our student teachers are exposed to all of the facets of the school program and of music education. They teach on all levels-~they have group experience, classroom experience, small group experience and public performance at least once during their semester in some level. I am.a firm believer in the student teacher coming into the school district and being a part of it during their 'student teaching rather than having classes at the college divide their activities. Relative to new innovations and experimentations offered to student teachers, three cooperating teachers have expressed their ideas well. 255 Because of a high level academic curriculum and an interest in the arts, we are able to present new in- novations such as the Orff method, modern twelve-tone technique and other new idioms. Many times student teachers bring in the "play" or "fun" in music idea and present a recreational rather than an educational lesson. Much time is wasted and discipline becomes a problem which is carried into the other classrooms. Since each teacher of music has an Opportunity to demonstrate, discuss, and utilize his or her particular Specialty (with numerous classes), the student teacher is able to observe a highly diversified (and, at times, integrated) music program in action. In my particular field, the student teacher is imp mediately involved with the rather new approach that is being develOped in junior high school general music. As author of the visual series, Blueprints for Musical Understanding, I feel the student teacher is challenged to approach general music from a creative and an intellectual point of view. Unfortunately, the limited background of many student teachers (musical and historical) creates an immediate problem. An understanding of the ingredients of music and the meaning of these ingredients (style) is a basic re- quirement to carry out this approach. Two out of ten student teachers have this. Most do not! One of the most helpful things which our student teachers have is the team teaching situation. They are assigned to the academic teams as well as to the music team. Here they are exposed to the problems of other teachers, both student-wise and schooldwise. They hear other teachers discuss some of the same students who are problems to all. More important, they gain an insight as to why the student reacts as he does-~medical, home, psychological, or emotional. In meeting with the music team, they discover that there is more to teaching music than just lesson plan- ning and standing before a group lecturing, playing records, etc. Extra duties, extracurricular activities, curriculum planning and problems, budgeting, ordering, - departmental problems, and program.planning coordina- tion all.are discussed at these meetings. It is a definite "eye-opener" to those who believe music teachers have their own little world. ‘weaknesses of the Student Teaching Program The final section of the questionnaire provided the COOperating teachers the opportunity to indicate any particular weaknesses 256 which they consider to exist in their program of student teaching. Thirty-eight, or 27.5 per cent, of those cooperating in the sampling indicated that there were no outstanding weaknesses in their program. 'When this is compared to the 2h.6 per cent who found no strengths, one may Observe that more persons indicated strengths in their student teaching program than weaknesses. By comparison, however, the number of strengths and.weaknesses listed are almost identical. Upon further analysis, it is apparent that in Pennsylvania, 23.5 per cent of the cooperating teachers recorded no weaknesses; in New Jersey, 50.0 per cent recorded no weaknesses; and in Maryland 22.2 per cent recorded no weaknesses in.their stu- dent teaching program. Thus, in Pennsylvania, the teachers noted slightly'more weaknesses than strengths; in New Jersey the teach- ers noted 10 per cent more strengths than weaknesses; and in Maryland the teachers note 17 per cent more strengths than weaknesses. It is also noteworthy that the highest percentage of teachers indicating neither strengths nor weaknesses are from.New Jersey. A variety of weaknesses were enumerated and those which appeared five or more times are here listed. The number which pre- cedes the statement indicates the per cent of cooperating teachers who felt this to be a significant weakness. 29.0% Student teaching period is not long enough (forty persons). 16.7% Lack of block student teaching for full days- taking courses at the college while student teaching (twenty-three persons). 8.0% Lack of conference time with the student teacher (eleven.persons). 6.5% Students should concentrate more in one area of music teaching rather than trying to cover 5.8% 5.1% h.3% h.3% h.3% h.3% 257 all areas completely (nine persons). Students do not cover all areas of music instruction in the public schools during student teaching (eight persons). Lack of preparation in instrumental training (seven persons). Lack of sufficient communication and supervision from the college or university supplying the student teacher (six persons). Vacation periods, beginning and ending of school, etc., do not agree between the public school and the college or university (six persons). Weaknesses in methods training (six persons). Music program.in the cooperating school is not adequate (six persons). Other weaknesses which were reported by at least two persons and not more than four were: Insufficient observation time (four persons). Student teachers are spread too thin-~are doing too many things at one time (four persons). Lack of interest on the part of some cooperating teachers (three persons). Poor grading policies (three persons). Students are'weak in musical concepts (three persons). Not enough time to discuss and evaluate the student teachers progress (two persons). Background in vocal techniques, methods and materials on the part of the student teacher is quite limited (two persons). Students have very little knowledge of current trends in music education (two persons). Lack of knowledge of child growth and.development (two persons). 258 Too many student teachers to one cooperating teacher (two persons). Monetary compensation for the cooperating teacher should be increased (two persons). 'Weaknesses which were stated by only one cooperating teacher, but in the opinion of this author seem.significant, are: Even though the advantages of having numerous cooperating teachers are great, it is sometimes quite overwhelming for the young teacher. Supervision does not come from.the music depart- ment of the college or university. College or university does not screen the students carefully enough. General elementary classroom teachers should not serve as COOperating teachers for music student teachers. Cooperating teacher feels that he is not exper- ienced enough. Student teachers have never attended a public school-~only parochial schools. College supervisors are too idealistic and re- moved from public schools to do an adequate job. It is interesting to note that in the weaknesses, as in the strengths, one concept stood out above all others in frequency. In the case of weaknesses it was the statement that the "student teaching program.is not long enough." It is the opinion of this author that the outstanding weakness and strength are a matter of "cause and effect." Because "the student teacher is given a variety of phases of music teaching in both grade levels and areas of music," the "student teaching period is not long enough." As one coopera- ting teacher stated: 259 A nine-week student teaching experience at any level (elementary, junior high school, and/or senior high school) is just not enough time to orient future teachers to all aSpects of the teaching field. They barely have enough time to become familiar with the materials available to them nor to become ac- quainted with the many students with whom they come in contact. A full semester would guarantee more satisfactory results for both student teacher and cooperating teacher. The cooperating teachers have reported a great variety of strengths and weaknesses which they believe to exist. It is reasonable to assume that many of the weaknesses here contained could be alleviated with careful planning and frequent meetings between the staff of the college or university and the staff of the cooperating schools. Presently they seem to exist as two foreign entities, which have no common bond. Nothing could be less accurate. Summagy Considerable variation exists among the cooperating teachers as to the degree held and the number of years teaching experience. The greatest number of teachers hold a Bachelor of Science degree and the greatest number of teachers have taught from.aleven to thirty-four years. Iflso, the greatest number of teachers are teach- ing in grades kindergarten to six. Generally Speaking, considerable variation exists among the cooperating teachers with regard to the activities provided the student teacher. The variation of frequencies within these activities are considerable. The two activities indicated by over ninety'per cent of the cooperating teachers were in the areas of conducting the class as one's own and planning lessons. 260 The grading of the student teacher might involve as many as six persons, but the person.most frequently involved is the co- operating teacher. The majority of the coOperating teachers in this study are pleased with the system of grading presently in use, and their degree of satisfaction seems to be related to the amount of involvement they have with the grading. The greatest number of cooperating teachers who did not agree with the system of grading presently in use indicated that they would prefer that the director of student teaching in music, the supervisor in music from.the college or university, and the cooperating teacher jointly provide the grade for the student teacher. The greatest percentage of cooperating teachers indicated that no time is allotted for administrative and supervisory meet- ings. There appears to be a critical lack of coordination between many of the cooperating schools and their sponsoring colleges and universities. .Among those institutions which do hold meetings, they are usually either a planning workshop including the director of student teachers in.music, the supervisors and the cOOperating teach- ers; a scheduled meeting with the supervisors and cooperating teachers; or an informal meeting between the cooperating teachers and the supervisors. It also became apparent that there exists a variation of procedures between cooperating teachers (is given col- lege affiliation. Slightly'more than half of the cooperating teach- ers did, however, indicate that they believe that the college or university prov ides them with sufficient guidance. A large majority of the COOperating teachers indicated that they are called upon to recommend student teachers for future 261 teaching positions and that they are pleased with the role they now play in recommending student teachers. Weaknesses in the personal characteristics of student teachers most indicated by the cooperating teachers were lack of confidence, lack of ability to organize, inability to express themselves con- cisely, and more interested in teaching music than children. The weaknesses in the college preparation of the student teachers which the respondents gave the highest frequency were lack of performing ability on the piano, scheduling--carries course work with student teaching, not fully versed in methods, and lack of background in conducting. As was observed, considerable variation exists among the cooperating teachers as to the overall strengths and weaknesses in the student teaching program. There was, however, one weakness and one strength which projected beyond all others in frequency. The outstanding strength was the fact that the student teacher is pro- vided a variety of phases of music teaching in both grade levels and areas of music, and the most prevalent weakness was the fact that the student teaching was not long enough. It seems highly possible that, in this case, the weakness is an outgrowth of the strength. Gener- ally speaking, many of these weaknesses and strengths could be allevi- ated and enhanced with closer coordination between.the cooperating school and the college or university, particularly if one notes the amount of agreement between the strengths and weaknesses stated by the directors of student teachers in music in Chapter V and the co- Operating teachers in this chapter. Chapter VII ANALYSIS OF THE DATA PROVIDED BY THE FIRST YEAR TEACHERS Chapter VI was devoted to the data on existing practices in student teaching as revealed by the cooperating teachers. This chap- ter will be devoted to the discussion of the backgrounds and opinions of first year teachers as revealed by'the questionnaire sent to them. The colleges and universities included in this study recommended these beginning teachers. Procedure of the Questionnaire Study A section of the structured interview with the directors of stu- dent teachers in.music requested that they supply the author with the names and addresses of five of their most qualified cooperating teachers. Upon receipt of these lists, a letter, Appendix F, and a questionnaire, Appendix K, were mailed to 176 first year teachers. Several schools did not have a total of five first year teachers and two schools had not, as yet, graduated a class. The return yielded 130 or 73.9 per cent. Ninety-three of the returned questionnaires 'were from Pennsylvania, nineteen from Maryland and eighteen from New Jersey. Pgrsonal Data of the First Year Teacher Personal data in this chapter involves four areas: degree held, aspect of music taught, grade level taught and major applied music 262 263 area. Sixty-two, or h7.7 per cent, of the respondents held a Bachelor of Science degree; twentybnine, or 22.3 per cent, held a Bachelor of Arts degree; twenty-one, or 16.1 per cent, held a Bachelor of Music degree; fourteen, or 10.8 per cent, held a Bachelor of MMsic Education degree; and four, or 3.1 per cent, held a Bachelor of Fine Arts degree. The largest number of first year teachers in Pennsylvania held the Bachelor of Science degree and the majority of first year teachers in New Jersey held the Bachelor of Arts degree. Eighty, or 61.5 per cent, of the respondents taught vocal music; thirty-five, or 26.9 per cent, taught instrumental music; and fifteen, or 11.5 per cent, taught both vocal and instrumental music. The large majority of persons teaching'vocal or vocal and instrumental music also taught general music at the elementary and/or secondary level. Fifty-seven, or h3.8 per cent, of the first year teachers taught on the elementary level; forty-one, or 31.5 per cent, taught on the secondary level; and thirty-two, or 2h.6 per cent, taught both elemen- tary and secondary music. The greatest frequency of respondents, fiftybtwo, or h0.0 per cent, listed piano and/or organ as their major applied music area. Thirty-nine, or 30 per cent, were voice majors and forty-nine, or 37.7 per cent, were instrumental.majors. Twentyytwo, or 16.9 per cent, of the respondents were woodwinds majors; eighteen, or 13.8 per cent, were brass majors; twentybtwo, or 16.9 per cent, were string majors; and one, or .8 per cent, were percussion majors. Some of the individuals had two major applied areas. 26).; Strengths of the Music Course Requirements This section provided the first year teachers the Opportunity to indicate the strengths which were contained in the course work pursued at the undergraduate level. In answer to the question of whether or not the courses provided them by their undergraduate col- lege or university prepared them adequately for the position they now hold, one hundred and eight, or 83.1 per cent, answered "yes" and twenty-two, or 16.9 per cent, answered "no.” 0f the twenty-two answering in the negative, sixteen were from Pennsylvania, three from Maryland, and three from New Jersey. The beginning teachers were asked to indicate the course areas in which they felt well prepared and the results are itemized in Table LXIV. It is interesting to note that the greatest number, ninety-nine, or 76.1 per cent, felt well prepared in music theory and the smallest number, thirty-five, or 26.9 per cent, felt well pre- pared in music literature. Chapter III showed that the area of music theory had the largest number of course requirements and music liter- ature the smallest number. A correlation may be noted here. Also, it becomes apparent that students majoring in music education are not taking or are not able to take advantage of the many electives offered in the area of music literature. The other area, in addition to music theory, which ranks high is that of elementary methods with ninety- four, or 72.3 per cent, of the respondents indicating. Among those persons listing "other," the following are those courses which ap- peared more than one time. 265 Piano pedagogy (eight persons). Gregorian chant (six persons). Keyboard harmony (five persons). Composition (five persons). Marching band techniques (two persons). Philosophy of music education (two persons). Those courses which were listed only one time include "form.and analysis, direction of a school production, humanities, and opera." TABLE LXIV AREAS IN WHICH THE FIRST YEAR TEACHERS FEELIWELL PREPARED Responses Area Number Per Cent Music History 55 h2.0 .Music Literature 35 26.9 Music Theory' 99 76.1 Choral Conducting 72 55.h Instrumental Conducting 5h hl.2 Elementary Music Methods 9h 72.3 Secondary Music Methods 76 58.h Vocal Methods 66 50.8 Instrumental MBthOds 58 hh.6 Other 26 20.0 Table LXV lists the areas in which the first year teachers re- ported that they felt most adequately prepared to teach. The large percentage indicating "Elementary School Classroom Music" corresponds favorably'with the large number indicating that "Elementary Music Methods" prepared them well. Eightybseven, or 66.9 per cent, indicated 266 that they were well prepared for teaching junior high school general music. This reveals that recent efforts in this critical area of music teaching are reaping some gains. The area with the lowest frequency was that of instrumental music on all levels. Only 37.7 per cent felt most adequately prepared in elementary school instru- mental music, 26.9 per cent in junior and senior high school band, and 18.1; per cent in junior and senior high school orchestra. Also, the first year teachers seem to feel better prepared to teach class- room music than to direct the various ensembles. TABLE LXV AREAS IN WHICH THE FIRST YEAR TEACHERS FEEL MOST ADEQUATELY PREPARED TO TEACH Respomes Area Number Per Cent Elementary School Classroom Music 103 79.2 Junior High School General Music 87 66.9 Senior High School Music Appreciation 69 53.1 Senior High School Music Theory 71:, 56.1 Elementary School Instrumental Music ’49 37.7 Junior and Senior High School Band 35 26.9 Junior and Senior High School Orchestra 21; 18.14 Junior and Senior High School Chorus 78 60.0 The respondents listed numerous other strengths which were contained in the course requirements of their undergraduate program. Those listed more than one time include: 267 Excellent applied music-~emphasis placed on per- formance (twenty persons). Participation in ensembles (ten persons). Good student teaching course covering all areas (nine persons). Student recitals (eight persons). Piano preparation fer the non piano major (seven persons). Study of every instrument for the non instrumental major (seven persons). General education courses (four persons). Wide variety of nmsic electives (three persons). Many observations prior to student teaching (three persons). Much correlation between courses (two persons). Excellent faculty (two persons). Five-year program (two persons). 'Written critiques of the performances of others in recitals and concerts (two persons). Fiftybseven persons, or h3.8 per cent, indicated that there were no particular strengths, overall, which they felt were contained in the course requirements of their undergraduate program. weaknesses of the MMsic Course Requirements This section provided the first year teachers the opportunity to indicate the various weaknesses which they felt existed in their undergraduate program. These beginning teachers were asked to indi- cate the course areas in which they felt least prepared. The results are stated in Table LXVI. Again, it becomes evident that music his- tory and music literature courses were the most inadequate since 268 approximately one-half of the reapondents indicated these areas. Approximately one-third of the reapondents indicated inadequacies in instrumental methods and instrumental conducting. TABLE LXVI AREAS IN WHICH THE FIRST YEAR TEACHERS FEEL LEAST PREPARED Responses Area Number Per Cent NMsic History 59 h5.h Music Literature 68 52.3 Music Theory 22 16.9 Choral Conducting 30 23.1 Instrumental Conducting h2 32.3 Elementary Music Methods 18 13.8 Secondary Music Methods 2h 18.h Vocal Methods 32 2h.6 Instrumental Methods h5 3h.6 Other 39 30.0 Among those persons stating "other," the following courses were listed more than one time. Materials and repertoire (ten persons). Secondary instruments (eight persons). Form and analysis (six persons). Contemporary music (six persons). Applied major instrument (five persons). Orchestration (four persons). 269 Marching band (three persons). Administration of a music program (three persons). Opera (three persons). Strings (two persons). Composition (two persons). Use of audiOdvisual equipment (two persons). The course "counterpoint" was listed by one person. Table IXVII shows the areas in which the first year teachers feel that they were least adequately prepared to teach. Over one- half of the reapondents indicated that they were not adequately pre- pared to direct junior and senior high school band and junior and senior high school orchestra. Even though this may'be partially due to the larger number of reapondents teaching vocal music, it also raises the question as to whether or not the colleges and universities can successfully train the future music teacher in both instrumental and vocal music. The smallest number of persons, or 12.3 per cent, listed a weakness in the area of elementary school classroom music. 270 TABLE LXVII AREAS IN”WHICH THE FIRST YEAR TEACHERS FEEL LEAST ADEQUATELY PREPARED TO TEACH Regponses Area Number Per Cent Elementary School Classroom Music 16 12.3 Junior High School General Music 23 17.7 Senior High School Music Appreciation 23 17.7 Senior High.School Music Theory' 25 19.2 Elementary School Instrumental Music 28 21.5 Junior and Senior High School Band 66 50.8 Junior and Senior High School Orchestra 7h 56.1 Junior and Senior High School Chorus 2O 15.h Elementary School Chorus 20 15.11, The final question in this section asked the respondents to in- dicate any other particular weaknesses, overall, which they felt were contained in the course requirements of their undergraduate program. Fifty-two, or no.0 per cent, indicated no further weaknesses. Of those persons indicating additional weaknesses, the greatest frequency of nineteen, or lh.6 per cent, felt that they had an adequate number of methods courses, but that there was a great need for better instruc- tion in these courses; fourteen, or 10.8 per cent, indicated that there were too few courses in instrumental methods for both the in- strumental major and the non instrumental major; and eleven, or 8.5 per cent of the respondents indicated that they did not feel that their conducting courses were practical. Those additional weaknesses listed ll— 271 more than one time include: Piano for non piano majors (seven persons). Too many requirements for a four-year program (five persons). Music courses are too theoretical, idealistic and impractical (four persons). Preparation in strings (three persons). Too many courses in general education (three persons). Voice for the non voice major (three persons). Limited course offerings (three persons). weak courses in the education department (three persons). Percussion instruments (two persons). No courses in instrumental repair (two persons). No courses in rehearsal techniques (two persons). 0f the additional weaknesses listed only one time, the more signifi- cant seem to be "lack of small ensembles; instrumental conducting with the piano representing the orchestra; no course in acoustics; suggestions for the teaching of rhythm; weak courses outside of the music department; excessive emphasis on elementary school methods to the exclusion of secondary school methods; lack of language require- ments; and.lack of emphasis on secular music." It is worthy of note that although 5h.3 per cent of the coopera- ting teachers felt that the student teachers were generally weak in piano ability, only seven, or 5.h per cent, of the first year teachers felt that their undergraduate preparation in piano was weak. One first year teacher comments regarding piano preparation: 272 Too much emphasis is placed upon piano as the only means of accompanying general music classes. Autoharp, guitar and other instruments (such as bells) create interest more readily among the students. To further pursue the question of whether or not it is possible to adequately prepare individuals in both instrumental and vocal music, Table LXVIII compiles the reactions of the first year teachers to teaching in their areas of minor concentration. This Table clear- ly shows that more instrumental majors are teaching vocal music than vocal majors teaching instrumental music, that more voice majors are teaching instrumental music than piano and/or organ majors and that piano and/or organ majors are most likely to teach vocal.music. In no case did more than one-half of the respondents feel secure in a minor area and in.most cases more felt weak than secure. TABLE LXVIII REACTIONS OF FIRST YEAR TEACHERS TO TEACHING IN AREAS OF MINOR CONCENTRATION R e s p o n s e s Feel Secure Feel Weak Teach It Situation Number Pct. Number Pct. Number Pct. I I I I I Vocal majors in in- ' ' ' ' ' strumental music 9 of 39' 23.1 '20 of 39 '51.3 ' 5 of 39' 12.8 I I I I I Instrumental majors ' ' ' ' ' in vocal music 1h of h9' 28.6 '19 of h9 '38.8 '18 of h9' 36.7 I I I I I Piano and/or vocal ' ' ' ' ' majors in vocal ' ' ' ' ' music 26 of 52' 50.0 t 8 of 52 USA '16 of 52' 86.5 I I I I I Piano and/er vocal ' ' ' ' ' I majors in instru- ' ' ' I mental music 12 of 52' 23.1 '21 of 52 'h0.h ' 2 of 52' 3.8 I I I I I 273 Table LXIX reveals, in contrast, the reactiore of the first year teachers to teaching in areas of their major concentration. It is interesting to note that although fewer vocal majors feel secure in their major area as a result of vocal methods, more actually teach their area of major concentration. Fewer instrumental majors feel weak as a result of their methods courses than vocal majors. Obvi- ously, there is quite a noticeable difference in the outlook of all reapondents toward their major and minor area of concentration. TABLE LXIX REACTIONS OF FIRST YEAR TEACHERS TO TEACHING IN AREAS OF.MAJOR CONCENTRATION R e sgpgo n s e s Feel Secure FeelflWeak Teach It Situation Number Pct. Number Pct. Number Pct. I I I I I Vocal majors in ' ' ' ' ' vocal.music 27 of 39' 69.2 ' 5 of 39 '12.8 '36 of 39 '92.3 I I I I I Instrumental majors ' ' ' ' ' in instrumental ' ' ' ' ' magic All 0-f 11.9. 8307 ' h 0f ’49 ' 8.2 ”41 0f ’49 '83.? I I I I I Characteristics of the Student Teaching Program Initially the reapondents were given an opportunity to state whether or not the student teaching program provided by their under- graduate school adequately prepared them.for the position.they now hold. Ninetyhone, or 70.0 per cent, answered "yes" and thirty-nine, or 30.0 per cent, answered "no." 27h The first year teachers were then asked to indicate all the areas included in their student teaching program. Table LXX reveals the results of this sampling. This table shows that the greatest number of teachers received experience in junior high school classroom music (70.8%), elementary school classroom music (66.1%), and instrumental class lessons (62.3%). Less than half of the reapondents had exper- ience with any performing group except senior high school dhorus (52.3%). Only one-fourth or less of the respondents had experience with orchestra on any level, and more instrumentalists have experience in vocal music than vocalists have in instrumental music. Eightybnine, or 68.5 per cent of the first year teachers, had experience on both the elementary and secondary level during student teaching and sixtyheight, or 52.3 per cent,had experience in both instrumental and vocal music. This compares favorably with the results of the same question asked of the directors of student teaching. 275 TABLE no: ACTIVITIES INCLUDED IN THE STUDENT TEACHING EXPERIENCES OF FIRST YEAR TEACHERS Responses Activities Number Per Cent Elementary School Classroom Music 86 66.1 Junior High School General Music 92 70.8 Senior High School Music Appreciation 39 30.0 Senior High School Music Theory 39 30.0 Elementary School Chorus 39 30.0 Elementary School Band 52 h0.0 Elementary School Orchestra 22 16.9 Junior High School Chorus I 59 h5.h Elementary School Band 55 h2.0 Junior High School Orchestra 33 25.h Senior High School Chorus 68 52.3 Senior High School Band 57 h3.8 Senior High School Orchestra 29 22.3 Voice Class Lessons 16 12.3 Instrumental Class Lessons 81 62.3 Class Piano 9 6.9 Ninetyhfour, or 72.3 per cent, of the first year teachers, replied that they had adequate observation experience before they began their actual teaching. Thirty-six, or 27.7 per cent, replied negatively to this question. 276 The length of the student teaching experiences of student teach- ers is stated in Chapter III. It corresponds exactly with the in- formation provided by the first year teachers. Seventy-three, or 56.1 per cent, of the respondents were in class- es at the college or university during their student teaching, and fifty-seven, or h3.9 per cent, had a block plan of some type. This is a somewhat smaller percentage of persons engaged in block student teaching than was reported by the directors of student teaching. Of those seventy-three enrolled in classes during student teaching, forty- one, or 56.2 per cent, indicated that it did not prove satisfactory. It is also worthy of note that several of these persons were only in- volved in an ensemble and applied music during student teaching and this prObably accounts, in part, for the difference between this re- Sponse and the reaponse on the part of the directors of student teaching. Strengths of the Student Teaching Program The first year teachers were provided the Opportunity to indicate any particular strengths which they felt were contained in their pro- gram of student teaching. Thirty-three, or 25.h per cent of the re- apondents indicated no particular strengths in their program of student teaching. Upon further analysis it is apparent that in Pennsylvania, 22.6 per cent of the first year teachers recorded no strengths; in New Jersey, 38.9 per cent recorded no strengths; and in Maryland, 26.3 per cent recorded no strengths. By comparison with the reaponses of the COOperating teachers to this same question, it is apparent that in both cases the largest percentage of teachers finding no strengths in their student teaching program were from.New Jersey. In Maryland, considerably 277 more of the COOperating teachers found strengths than did first year teachers, and in Pennsylvania, there was consistency between the two groups. The respondents provided a variety of strengths which were, in their Opinion, significant. The first group of strengths listed were those responses indicated by five or more of the first year teachers. The number preceding the statement indicates the per cent of the first year teachers making this indication. 33.1% 20.0% 10.0% 10.0% 7.7% 6.1% S.h% h.6% Excellent COOperating teachers (forty-three persons). Experience on both the elementary and secondary level (twenty-six persons). Experience in both instrumental and vocal music (thirteen persons). Regular and meaningful Observation by the col- lege supervisor (thirteen persons). Student teacher was given freedom to work on his own, with assistance available, if needed (ten persons). Student teacher devotes full time to student teaching in a block of time without classes at the college (eight persons). Student teacher has more than one COOperating teacher (seven persons). Student teacher became a.genuine part of the school system.(six persons). It is interesting to note that six of the eight items reported here were also listed more than five times by the cooperating teachers as strengths. Other strengths which were reported more than one time but less than five times were: 278 Student teacher was able to get much actual teaching experience (three persons). 'Weekly seminars at the college which included music student teachers only (three persons). Student teacher was able to concentrate in his major area of vocal or instrumental music (two persons). Student teacher had experience teaching music theory and music appreciation (two persons). Student teacher had valuable experience in working with discipline of large groups (two persons). Careful placement of student teachers (two persons). cmher strengths which were indicated only one time, but in the Opinion of this author seem significant, are: Student teaching covered an entire school year. An all-day conference was held at the college where ideas and problems were traded between all coopera- ting teachers and student teachers. Student teachers could choose their own COOperating school. Orchestrating for junior high school groups. Two years of student teaching at all levels. Observation in the junior year. Three years of professional laboratory experiences. It is worthy of note that the directors, cooperating teachers and first year teachers all gave a high frequency of response to the strength of providing experience for the student teacher on both the elementary and secondary level, in both vocal and instrumental music. weaknesses of the Student Teaching Program The final section of the questionnaire provided the first year teachers the Opportunity to indicate any particular weaknesses which 279 they consider to exist in their program of student teaching. Thirty, or 23.1 per cent, of those cooperating in the sampling indicated that there were no outstanding weaknesses in their program. ”When this is compared to the 25.h per cent who found no strengths, one may observe that more persons indicated weaknesses in the student teaching program.than strengths. The reverse was true with the cooperating teachers. In all cases, however, the number of strengths and weaknesses are comparable. Upon further analysis, it is apparent that in Pennsylvania, 20.h per cent of the first year teachers recorded no weaknesses; in New Jersey, 38.9 per cent recorded no weaknesses; and in Maryland, 21.0 per cent recorded no weaknesses in their student teaching program. Thus, in Pennsylvania and Maryland the teachers noted slightly more weaknesses than strengths and in New Jersey the same number of strengths and weaknesses were listed. A variety of weaknesses were stated by the first year teachers and those which appeared five or more times are here listed. The number which precede the statement indicates the per cent of coopera- ting teachers who felt this to be a significant weakness. 20.0% Student teaching period is too short (twentyb six persons). lh.6% Absence of block student teaching with college classes during student teaching (nineteen persons). 13.1% Unsatisfactory cooperating teachers (seventeen persons). 9.2% Inadequate supervision from the college or university (twelve persons). 6.9% LaCk of experience in vocal and instrumental music (nine persons). h.6% Lack of experience on both elementary and secondary levels (six persons). 280 h.6% Not enough experience with performing groups (six persons). 3.8% Very little actual teaching and general re- sponsibility (five persons). 3.8% Insufficient observation (five persons). The greatest number of persons expressed displeasure with the length of the student teaching period. Over ten per cent of the respondents did not approve of college classes running concurrently with student teaching and felt that their cooperating teachers were unsatisfactory. One first year teacher commented: The choice of cooperating teachers was not based on excellence, but necessity in.many cases. Those who had good student teaching experiences were those who had good cooperating teachers. ‘weaknesses which were reported by from.two to four first year teachers were: Poor cooperating school facilities (four persons). Too much time spent in book reports, observation re- ports, detailed lesson plans, unit plans, diary, etc. (four persons). Not enough work in major area of concentration (four persons). Student teaching situation was too idealistic (four persons). No experience in a senior high school (three persons). Lack of Opportunity for student teacher to be creative and experimental (three persons). No college seminars (two persons). Very little experience in strings (two persons). ‘Weak junior high school experience (two persons). No opportunity to teach music appreciation or theory (two persons). 281 Student teaching occurred immediately preceding a con- cert and consequently was not realistic (two persons). Student teaching placement was handled by music department chairman with philosOphy that stu- dent teaching should occur in the student's weakest area only (two persons). Student teaching at the elementary and secondary level at the same time (two persons). 'Weaknesses stated by only one first year teacher, but in the opinion of this author seem.significant, are: Too much time occurred between methods courses and student teaching. No work with budgeting. Methods courses occurred the same time as student teaching. Student teacher is on his own too much of the time and provided with too much freedom. No Opportunity to work with grading. Poor coordination between cooperating school and the college or university. Student teaching occurred too late in.the school year to be meaningful. Education department is in charge of the student teaching program and does not consult with the music de- partment. Only one cooperating teacher. Director of student teaching in music should not preju- dice the cooperating teacher concerning the student teacher before he arrives. As with the analysis of the opinions of the cooperating teachers, one can also observe here that due to the number of activities which the reapondents feel should occur in a well balanced student teaching program, there is not enough time in which to do it under the existing 282 time allotments. More careful planning and frequent meetings be- tween the college or university and the cooperating school could at least make the list of existing weaknesses smaller. One first year teacher eXpressed himself well in evaluating the importance of student teaching. He said: It is an impossibility to fully prepare any college student for any position in life. Many things may only be learned through experience on the job. Student teaching is the nearest substitute for this which must be backed by thorough knowledge of your subject, an understanding of the age of students you will be dealing with, and the ability to bring these two together to create a meaningful atmOSphere of learning within your classroom. Summam The greatest number of the first year teachers included in this study hold a Bachelor of Science degree, teach vocal and general music on the elementary level and majored in piano and/or organ in their undergraduate school. In no case, however, do these general- izations constitute a clear majority. Generally speaking, the reapondents agreed that their under- graduate course work prepared them for the position they now hold and that music theory and elementary music methods were areas in which they feel well prepared. It also became apparent that the be— ginning teachers feel most prepared to teach elementary school music and junior high school general music, and feel more adequately pre- pared to teach classroom music than direct the various emembbs. The first year teachers feel least prepared in the course work area of music history and music literature and a sizeable number also indicated weaknesses in instrumental methods and instrumental 283 conducting. Over one-half of the reapondents indicated that they were not adequately prepared to direct junior and senior high school band and junior and senior high school orchestra, and concern existed among the respondents with regard to improved content in the methods courses. A considerably smaller number of first year teachers showed concern over a lack of adequate ability in piano than did the cooperating teachers. Less than one-half of the beginning teachers indicated a feeling of security in their minor area of concentration and in most cases, more felt weak than secure. In contrast, the indication was generally one of security in the major area of concentration. Piano and/ or organ majors feel most secure and are most likely to teach vocal music. Generally speaking, approximately two-thirds of the respon- dents indicated that their student teaching program adequately pre- pared them for the position they now hold. The greatest frequency of persons received experience in junior high school classroom music, elementary school classroom music, and instrumental class lessons. Less than half of the respondents had experience with any performing group except senior high school chorus. Only one-fourth or less of the respondents had experience with orchestra on any level, and more instrumentalists have experience in vocal music than vocalists have in instrumental music. Sixty-eight per cent of the respondents had ex- perience on both the elementary and secondary level during student teaching and fifty-two per cent experienced both vocal and instrumental music 0 28h The majority of the first year teachers indicated that they had adequate Observation experience before they began their actual teaching. Eflightly over half of the respondents were in classes during student teaching, and of these persons, slightly more than one-half indicated that this proved to be unsatisfactory. Considerable variation exists among the first year teachers as to the overall strengths and weaknesses in the student teaching pro- gram. Approximately one-fourth of the respondents indicated no strengths or weaknesses in their programs. The greatest frequency of replies indicated that excellent COOperating teachers were a decided strength in the student teaching program. A high frequency of re- spondents also indicated that experience on the elementary and second- ary level, and in both vocal and instrumental music is a decided strength. ‘A large portion of the stated strengths and weaknesses were also listed by the cooperating teachers and directors of student teaching in music. More of the respondents indicated weaknesses than strengths, and the outstanding weakness was the fact that the student teaching period is too short. This was also the most outstanding weakness stated by the directors and coOperating teachers. Again, it becomes apparent that the reason for this shortage of time is the stated strength in covering elementary and secondary levels in both instrumental and vocal.music. Another weakness mentioned by a sizeable number of respondents is the absence of block student teach- ing with college classes occurring during student teaching. Finally, it is worthy of note that many of the stated weaknesses could be alleviated with closer coordination between the cooperating 285 school and the college or university, particularly when one observes the amount of agreement in both strengths and weaknesses stated by the directors of student teachers in music, the COOperating teachers, and the first year teachers. Chapter VIII CONCLUSIONS AND RECOMMENDATIONS Conclusions The following conclusions have been drawn.from the comparative analysis of the data provided by the state supervisors of music, the music department chairmen, the directors of student teaching in music, the cooperating teachers and the first year teachers. These conclu- sions will be divided into two major parts: (1) music course require- ments and (2) professional laboratory experiences. Music Course Requirements 1. Requirements in course offerings at the state level play a large part in influencing music curricula at the college and university level throughout the nation. 2. Only fifty per cent of the states have requirements estab- lished for accreditation of its colleges and universities which are specifically musically oriented. 3. Only one state requires the five-year program advocated by the Eweic Educators National Conference, and then it is only re- quired if the individual wishes to be certified in both vocal and instrumental.music. h. Only two of the thirtyanine institutions included in the 286 287 study have initiated the f ive-year program recommended by the Music Educators National Conference. 5. The role of the State Supervisor of Music with regard to the college or university is more advisory than dictatorial in nature. 6. Pennsylvania (36 credits), New Jersey (BB-ho credits), and Maryland (30 credits), require less than half the number of semester hours in music and music education that are recom- mended by the Music Educators National Conference (81 credits). 7. A large number of department chairmen expressed a desire to require more hours in the field of music for the music edu- cation major, but this has proved impossible with a four-year program in which the institution is also requiring that the student receive a liberal education. 8. Despite the vast amount of literature dealing with class piano, little is done in this area in either the colleges, universities or public schools. 9. In 1935, Randall Thompson stated that "an examination of the course offerings at colleges which teach Public School Music discovers that the Music student has, on an average, twice as many opportunities to take methods courses as he has to study History and Literature of Music."1 In 1967, this J'I‘hompson, 220 2220, p. 214-3. 10. 13. 15. 288 author finds the same situation in existence. The limited course offerings in music history and literature are directly proportional to the lack of preparation in this area as expressed by the first year teachers. Most institutions realize the importance of performance, both individually and in a group, for the prOSpective music edu- cator and have specific requirements in this area. A.sig— nificant number of first year teachers indicated strengths in their applied music preparation. The directors of student teaching in music and the coopera- ting teachers are more concerned about the lack of piano facility with the non piano major than.are the first year teachers themselves. .A sizeable number of respondents expressed dissatisfaction with their preparation in instrumental music. Very few'exp pressed dissatisfaction in vocal music preparation. The music department chairmen and the directors of the stu- dent teaching programs appeared to have less knowledge con- cerning the activities of their programs than might be expected. The complexity of course requirements leading to a degree in music education seems to be the reason that approximately one-third of the schools in this study have been reluctant 16. 17. 289 to accept a block student teaching plan of sons sort. Full-time student teaching prohibits students from par- ticipating in various performing groups at a time when their services are of greatest worth and could have a crippling effect upon musical organizations, especially on.smaller campuses. Applied music study could also be curtailed by full-time student teaching. Since musicianship is a matter of developmental growth, not the accumulation of facts, the time element is of great importance. The lack of homogeneity in the music education programs in the thirty-nine schools has merit since the schools them, selves comprise a heterogeneous group. Complete conformity, therefore, is neither desirable nor possible. Professional Laboratory Experiences 1. 2. A prOSpective music teacher, in a large majority of the states, is authorized, upon certification, to teach all music, both vocal and instrumental, from.kindergarten through the twelfth grade. Despite this policy of authorization, only twenty per cent of the states have any requirement that student teaching occur at both the elementary and the second- ary level and only one of the states included in the study Specified that the student teaching experience should occur in both vocal and instrumental music. A limited number of student teachers gain experience in 3. h. 5.. 6. 290 both instrumental and vocal music, and only slightly more experience both elementary and secondary levels despite the fact that they are usually certified to teach in all of these categories. Many times, the designation Of areas in which a student teacher will teach is a mere matter of chance, and both the COOperating teachers and the first year teachers have listed this as a weakness in the student teaching programs. Although ninety per cent of the colleges and universities included in the study indicate that a student must declare music education as his major upon entrance to the institu- tion, few have a Spiral program of professional laboratory experiences involving all four years. Most schools utilize the junior and senior years for this purpose. Rarely does the music education major receive the Opportunity to see his methods instructor actually demonstrate methods with children. Wide deviations exist in practice concerning the length ani type of student teaching. A small majority of the institu- tions have a small-unit block plan.rather than a professional semester. Many schools, however, still retain the half day student teaching experience Over a longer period of time. The directors of student teaching in music, the COOperating teachers, and the first year teachers all stated that 7. 8. 9. 10. 291 carrying college classes during student teaching was a weakness in the student teaching program. The directors of student teaching in.music, the COOperating teachers, and the first year teachers all stated that the student teaching experience is not long enough. This, many times, is caused by the desire to have the student gain exp perience in all areas and levels of music teaching. The directors of student teaching in.music, the cooperating teachers, and the first year teachers show considerable agreement concerning the strengths and weaknesses of the present student teaching programs. The student teacher is most likely to receive the grade of A or B so that he does not experience great difficulty in securing a position. This inequality of grading, when com- pared with other course Offerings, is causing a tendency to move from alphabetical grading to pass/fail, satisfactory/ unsatisfactory, etc. One-third of the directors of student teaching hold a doctorate, and all other directors included in this study possess a master's degree. This compares exactly with the ratio of directors holding a doctorate as discovered by Flowers in 1932.1 One would expect a greater variation in a period of thirty-five years. lFlWGI'S, 220 SEC, PO 100 ll. 15. 16. 17. 292 Most Of the college supervisors hold a master's degree, but only one-third possess an earned doctorate. The college supervisor of student teachers usually also teaches several classes, many outside the realm Of music education per se. Therefore, this individual must possess a solid background in all areas of music and musicianship. Although only ten per cent of the schools require that a. cooperating teacher hold a naster's degree, slightly more than one-half Of these teachers hold a graduate degree. The greatest difficulty arises in obtaining satisfactory cooperating teachers in the junior high school general music area. A surprisingly large number Of first year teachers stated that they felt well prepared in this area. A najority of schools assign a student teacher to only one cooperating teacher, thus limiting the variety of experiences available to this person. Many of the first year teachers who experienced more than one cooperating teacher listed this as a strength in their student teaching program. There exists a critical lack of coordination and communication between many of the COOperating schools and. their sponsoring colleges and universities and a general lack Of meetings by personnel involved in the student teaching program. First year teachers feel more adequately prepared to teach 18. 19. 20. 21. 22. 23. Zn. 293 classroom.music than direct the various instrumental and vocal ensembles. Instrumentalists feel more adequate in vocal music than vocalists feel in instrurental music and less than one-half of the beginning teachers indicated a feeling of security in their minor area of concentration. The larger percentage of piano and/or organ majors teach vocal music. The first year teachers feel that generally their student teaching experiences prepared them for the position they DOW 110111 0 Pest-student-teaching experiences are rare among the colleges and universities included in this study. More observation and experience should be provided with per- forming ensembles on all grade levels. The directors of student teaching feel that the college and university should have some way Of being more selective in choosing cooperating teachers. The great importance of outstanding cooperating teachers is revealed by the number Of first year teachers indicating that the effectiveness of the cooperating teacher is direct- ly prOportional to the strength or weakness of the student teaching program, and the number of department chairmen and 29h directors Of student teaching indicating that their difficulty in finding suitable cooperating teachers is a detriment to the student teaching program. 25. The cooperating teacher is the person.mcst frequently in- volved in grading the student teacher, but in no situation is it his sole responsibility. 26. The personnel teaching pre-student teaching classes in the education department and the personnel teaching pre-student teaching classes in the music department frequently work in two unrelated Spheres. All too Often, they remain unrelated during a student teaching program.which involves both de- partments. 27. The success of a student teaching program.is not solely due to the type Of program or the organizational structure of the laboratory experiences, but also to the instructional staff and the worth of the cooperating teachers and student teachers. Recommendations On the basis of the findirgs and conclusions reported in this study, the following recommendations are submitted. These recommenda- tions are divided into two major parts: (1) music course requirements and (2) professional laboratory experiences. 295 Music Course Requirements l. 2. 3. ’4. 5. A serious re-evaluation should occur as to whether or'not it is possible to adequately educate persons to teach both vocal and instrumental music at the elementary and second- ary levels. Either the program should be revised.SO'tnat more success is realized in.preparing prospective teachers in all areas or new programs Should be adopted which will train specialists well in.a limited area. A minimum prerequisite to adequately prepare students to teach'both vocal and instrumental music at all levels would be a five-year program as recommended by the Eweic Educators National Conference. If Specialists in limited areas are trained, they Should Specialize in elementary vocal music, elementary instru- mental music, secondary vocal music or secondary instrumental music. If Specialists in limited areas are trained, it would be necessary fOr states to change their present policies of certification to the areas stated in recommendation number three, and individual school districts would need to be educated not to hire a prospective teacher outside of his certification area. In order that future music teachers may be guaranteed an adequate education in the field of music, it would be 7. 8. 9. 11. 296 advantageous for the states to increase the required hump ber Of semester hours in music and music education to eighty- one, thus meeting the recommendations handed down by the Music Educators National Conference, and accredit Specific curricula in the colleges and universities rather than the institution as a single body. The course offerings and requirements in music history and literature need to be upgraded. The course Offerings in music methods and materials are sufficient, but the course content Should be revised, modernized and upgraded. The colleges and universities educating prospective music teachers need to have more rigid piano proficiency re- quirements for the non piano major. The colleges and universities educating prospective music teachers need to have more rigid requirements in instrumental music for the non instrumental major if this person is to be certified to teach instrumental.music. Experimental programs in class piano Should be organized in selected school systems so that current educational thought in this area might become a reality. The chairmen of the music departments which offer programs of mmsic education need to be more personally involved in 297 the program. Professional Laboratory Experiences 1. 2. 3. h. The student teacher Should be freed from.taking other college courses in addition to student teaching, and to be most beneficial, the block plan of student teaching should be utilized to provide a greater range of experience for the student teacher. The block plan student teaching concept demands a complete revamping of the music curriculum.for the undergraduate music major so that the student is free from.all Obliga- tions on the college campus during this important period. Professional laboratory experiences should occur in the areas of vocal and instrumental music on the elementary and secondary level because it is this activity which pro- vides the prOSpective teacher a panoramic view of a complete music program in Operation. It is this activity which'will Show the prOSpective teacher what part he will eventually play in a total program.of music education. Programs of an experimental nature Should be organized as a means of developing sequential laboratory experiences for all four years Of a student's undergraduate program. The suggested sequence might be as follows: Freshman.year - experience with a social activity group involving children. S. 7. 8. 9. 298 Sophomore year - individual and group case studies. Junior year - observation experiences with methods teachers demonstrating on occasion. Senior year - full time student teaching. In the case of a five-year program, the first two years might be Spent in various social group activities with children Of different age levels. The evaluation of the student teacher should be the joint effort Of the director of student teaching, the college supervisors, and the cooperating teachers, with the director being finally rSSponSible. The grading system in.student teaching Should be changed to excellent, satisfactory and unsatisfactory. This will eliminate the inequality Of grading when compared with the grading system.of other course Offerings, and at the same time, give the outstanding student teacher a means of recognition. visitations by the college supervisor should be scheduled regularly to meet the needs Of the student teacher. The work load of both the college supervisor and the co- operating teacher is in need of reduction so that they may give adequate time to the student teacher. The college or university and the public schools need to 10. 13. 15. 299 work:more as an equitable team.with the student teaching experience. This will necessitate the public school taking a larger part of the responsibility than it now 83811111680 Frequent meetings and workshops should be held by the director of the student teaching program.along with the supervisors and the cooperating teachers to carefully co- ordinate and plan the student teaching program.by means of a joint effort. There must be established common objectives and care must be exercised to see that there is no over- lapping Or duplication of work. The cooperating teacher in the public school should be chosen more carefully. This person Should have at least three years of successful teaching experience and the equivalence of a master's degree. Student teachers should have the Opportunity to work with more than one cooperating teacher so that they receive the benefit of the experience of more than one person. The student teacher Should have more Opportunity to work with ensembles at all grade levels. Further study should be made of the potentialities of post-student teaching experiences. The department Of education and the department of music should carefully correlate the pre student teaching courses 300 and student teaching program. Care should be exercised so that the two departments do not approach the program as two separate entities. BIBLImRAPHY BIBLIOGRAPHY Primary Sources Books Adams, Harold P., and Dickey, Frank G. Basic Principles _o_f_ Student Teachi_r_1_g. New York: American Book Co., 1956. Andrews, Leonard 0. Student Teaching. New York: Center for Applied Research Iii Education, 1961;. Baugher, Jacob I. Organization and Administration 9; Practice Teach' in Privately Endowed Colleges Of Liberal Arts. 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"learning Experiences that Prepare School Music Teachers for Selected Activities." Unpublished Ph.D. dissertation, George Peabody College for Teachers, Nashville, Tennessee, 1958. Fentonfilinnifred L. "Effectiveness of Music Teachers Identified Through Behavioral Criteria: A Basis for Redirection in Teacher Education." Unpublished Ed.D. dissertation, Wayne State University, 1957. Fits, Elwin. "The Student Teaching Experience of Prospective Music Teachers." Unpublished Ed.D. dissertation, George Peabody College for Teachers, Nashville, Tennessee, 1953. Gates, Samuel Gerald. "Professional Activities Performed by College Supervisors of Student Teachers." Unpublished Ed.D. dissertation, Stanford University, .1953. Gray, Thorns Leighton. "An Investigation of the Change in Teaching Concepts of Student Teachers of Music." Unpublished Ph.D. dissertation, State University of Iowa, 1962. Hornawski, Edward B. "A Coordinated Plan for Music Education in Institutions Offering Both Liberal Arts and Teacher Curricula." Unpublished Ed.D. dissertation, Teachers College, Columbia University, New York, l9h8. Hughes, David M. "Administration of Student Teaching in Music." Unpublished Master of Music dissertation, Jordon College of M11610, 1950. Hunter, M. Alexander. "A Handbook for Student Teachers of Science with Specifl. Implications for the Teacher Education Program at Long Island University." Unpublished Ed.D. dissertation, Teachers College, Columbia—University, New York, 1950. Janszen, Royce H. "The Organization ahd Administration at Off-Campus Student Teaching in Music at Selected Institutions." Unpub- lished Ed.D. dissertation, Columbia University, Teachers College, 1962. King, Chauncey B. "The Content and Teaching of College Courses in Music Education." Unpublished master's thesis, Northwestern University, 1932. » Kirk, Colleen J. "Guides for Improving the Student Teaching Experience inMusic Education at the University of Illinois," Unpublished Ed.D. dissertation, Teachers College, Columbia University, New York, 1953. o C O I Q 0 ‘ 9 r O . a O C I s e O C O O . O o o s O O O ' . . b 0 e C O ' ‘ C O O a x D C I I r ' T 0 9 I a \. D O . e o \ \ b I I \ o . s O 0 ~ - § ‘ I . . . . ‘ a s r‘ . a e O . . e C a l I I O ,- . u d r \ e e o 3 p 33h Lawson, James D. "Survey of the Professional Practicum Course Practices of the State Colleges of the Commonwealth of Pennsylvania." Unpublished Ed.D. dissertation, University fl Pittsburgh, 1960. Iewis, Ben Autrey. "Administrative Policies Governing Off Campus Student Teaching." Unpublished Ph.D. dissertation, George Peabody College for Teachers, 1951. Marple, Hugo D. "Contemporary PhiIOSOphies of Music Education." Unpublished Ph.D. dissertation, The University of Rochester, Rider, Morette L. "The DevelOpment of an Effective Music Program at HOpe College, Holland, Michigan." Unpublished Ed.D. dissertation, Teachers College, Columbia University, New York, 1955. Risheberger, Paul A. "A Survey of Student Teaching Facilities and Practices in Accredited Teacher Education Institutions of Pameylvania." Unpublished Ed.D. dissertation, University of Pittsburgh, Pittsburgh, Pennsylvania, 19146. Shutsy, Irvin John. "An Evaluation by First-Year and Second-Year Teachers of Their Student Teaching Experiences as Provided by the Fourteen State Teachers Colleges of Pennsylvania." Unpublished Ed.D. dissertation, University of Pittsburgh, Pittsburgh, Pennsylvania, 1960. Steg, Olaf W. "Student Teaching for Music Majors." Unpublished Ph.D. dissertation, Northwestern University, Evanstm, Illinois, 1936. Sucbara, Helen. "Using Principles of learning in Working with Cooperating Teachers." Unpublished Ed.D. dissertation, Teachers College, Columbia University, New York, 1956. Tabor, M. Leonhard. "A Survey and Evaluation of Selected Student Teaching Program in Music Education." Unpublished Ed.D. dissertation, University of Southern California, Los Lngeles, California, 19550 Taylor, Walter Lawrence. "A Proposed Plan for the Placement of the Student Teachers of Teachers College." Unpublished Ed.D. diggertation, Teachers College, Columbia University, New York, 19 . Terrell, Lrville. "A Survey of the Music Requirements in the Teachers Colleges of the United States for Future Teachers of Music." Unpublished Master of Music thesis, Eastman School of Music, University of Rochester, Rochester, New York, 1951. .—I' 335 Terry, Anna Mae. "A Proposed Music Education Curriculum for the Snell College Based on a Survey of Curriculum in Selected Colleges." Unpublished Ph.D. dissertation, Boston University, Boston, Massachusetts, 1959. Turner, Milllam Marion. "A Follow-Up-Study of Music Education at North Texas State College." Unpublished Ed.D. dissertation, Ohio State University, 1951;. Turrentine, Edgar Mayer. "Predicting Success in Practice Teaching in Music." Unpublished Ph.D. dissertation, State University of Iowa, 1962. Walter, Raymcnd lee. "A Cooperative Program for Student Teaching Involving a Private College and a City School System." Unpublished Ed.D. dissertation, Teachers College, Columbia University, New York, 19117. Watkins, Robert Harry. "The Comtruction of A Forced Choice Scale for the Evaluation of Student Teachers in Vocal Music at the Junior High School Level." Unpublished Ed.D. disserta- tion, University of Illinois, Chanpaign, Illinois, 1958. West, Edward Kindle. "A Plan for the Improvement of Student Teaching in Music -at Drake University." Unpublished Ed.D. dissertation, Columbia University, New York, 1958. Westhoff, Margaret. "Current Practices in Supervised Practice Teaching in Public School Music in Certain Normal Schools." Unpublished master's thesis, Northwestern University, Evanston, Illinois, 1932. Williams, Raymond Edmund. "The Measurement and Prediction of Cooperating Teacher Effectiveness in Music Teacher Education." Unpublished Ed.D. dissertation, University of Illinois, CW, 111111018, 19580 Moerner, Gerald H. "An Analysis of Certain Criteria of Musician- ship, As Recommnded by the Teacher Training Curriculum Committee of the Music Educators National Conference on the Basis of the Training and Experience of Pennsylvania School Music Teachers." Unpublished Ed.D. dissertation, Pennsylvania State College, State College, Pennsylvania, 1946. Wolfe Irving Willis. "An Analysis of the State Teachers College Education of Music Teachers and Supervisors." Unpublished Ph.D. dissertation, Northwestern University, Evanston, Elma“, 1936. 336 Wortman, Harold R. "A Critical Analysis of the Student Teaching Program in Music in Selected Midwestern Liberal Arts Colleges with Specific Application to the Program at Sioux Falls College, Sim Falls , South Dakota." Unpublished Ed.D. dissertation, Colorado State College, 1965. Young, Lyle M. "Guide to Prafessional Laboratory Experiences in the Education of Music Teachers." Unpublished Ed.D. disserta- tion, Columbia. University, Teachers College, New York, 1961. APPENDICES APPENDIX A LIST OF PARTICIPATING STATE SUPERVISCBS OF MUSIC 339 APPENDIX A LIST OF PARTICIPATING STATE SUPERVISORS OF MUSIC STATE Alabama Arizona Arkansas Connecticut Delaware Florida Hawaii Illinois Indiana Iowa Kansas Kentucky Louisiana Maryland Massachusetts Mississippi Missouri Montana New Hampshire New Mexico New York North Carolina Ohio Oregon Pennsylvania Rhode Island South Carolina Tennessee Texas Virginia Washington West Virginia Wisconsin SUPERVISQT Emerson S. Van Cleave RaymoniG. Van Diest 15011 Le Adam, Jr. Lloyd Schmidt Floyd T. Hart. J. Richard Warren George N. Erwin William L. Johnston Robert T. Carr Norma Jean Van 266 George R. Neaderhiser William M. McQueen Elton A. Lamkin James L. Fisher Robert M. Lacey Ernestine L. Ferrell Alfred M. Bleckschmidt Robert Q. Crebo Alice A. D. Baumgarner Rollie V. Halmn Joseph G. Saetveit Arnold E. Hoffmann Maj orie Malone Coakley Jerry W. Harris Russell P. Gets Benjamin Premock Raymond C. Thigpen Robert R. Daniel C. J. Hesch James Sjolund James Andrews G. Lloyd Schultz APPENDIX B LIST OF PARTICIPATING COLLEGES AND UNIVERSITIES 3&1 APPENDIX B LIST W PARTICIPATING COIIEGES AND UNIVERSITIES COLLEGE OR UNIVERSITY MUSIC DEPARTMENT DIRECTOR W STUDENT CHAIRMAN TEACHING PENNSYLVANIA Bucknell University Lindsey Merrill Helen Kleinfelter Carnegie Institute Maurice Laney Oleta Benn of Technology College Misericordia Sister Teresa Mary James Gray Duquesne University Gerald Keenan Samuel C. Yahres Eastern Baptist Joel A. Anderson Richard Weber College Patricia. Ruch Elizabethtown Carl N. Shull Otis Kitchen College Geneva College Harold W. Graig Robert C. Jones Gettysburg College Parker B. Usgnild Kenneth R. Raessler Grove City College Edgar B. Cole Edgar B. 0010 Imaculata College Sister Regina Sister Cecile Marie Therese Indiana State Harold Orendorff Robert Barggrat University of Pennsylvania lebanon Valley Robert M. Smith J ans s Thurmond College George Curfman Mansfield State John H. Baynes Joyce Wunderlich College Marywood College Sister M. Judith John Kazimsr Mercyhurst College Sister M. Jane Sister M. Helen Jean Frances Mount Mercy College Sister Rosemary Elizabeth Woskowiack Pennsylvania State Franc is Andrews Paul Campbell University Janna Dunlap William Noyes Philadelphia Arthur Custer Charles Grey Musical Academy Seton Hill College Sister Miriam David Sister Miriam Muha Susquehanna J ames Steffy Killian Roberts University a Temple University David Stone Margaretta Carey West Chester State Lloyd C. Mitchell Alexander Antonawich College Restminster College Raymond Ocock Ada Peabody Wilkes College William R. Gasbarro Robert A. Most MARYIAND College of Notre Sister Mary Theresine Martha Pointer Dame of Maryland Morgan State College R. Hayes Strider R. Hayes Strider 3h2 COLLEGE OR UNIVERSITY .MUSIC DEPARTMENT DIRECTOR OF STUDENT CHAIRMAN TEACHING MARYLAND (continued) Peabody Conservatory' Mary Hunter Carolyn Dragon of Music University of Rose Marie Grentzer Rita Eisenstadt Maryland Robert Dunham Towson State College Charles A. Haslup Charles A. Haslup western Maryland Gerald E. Cole Philip Royer College NEN‘JERSEY Caldwell College Sister Mt Alicia Sister Celine for'women Douglass College A. Kunrad Kvam Daniel Schuman Glassboro State W} Clarke Pfleiger ‘W. Clarke Pfleiger College Jersey City State Stephen Mt Clarke John Leach College Montclair State Benjamin F. Wilkes Dorothy Morse College Paterson State James MCKray James MCKray College Rutgers University' Henry Kaufman Daniel Schuman Trenton State Arthur W. Berger Arthur‘W} Berger College westminster Choir Edward F. J. Eicher Maud Thomas College APPENDIX C IETTERS TO STATE SUPERVISORS W MUSIC 3th APPENDIX c IETTER TO STATE SUPERVISORS OF MUSIC Dear Recently, I have undertaken a doctoral study entitled "A Comparative Study of Mesic Requirements and Student Teaching Programs in.Mhsic Education in Selected Colleges and Universities." This study is in partia1.fulfillment of requirements for the Ph.D. at Michigan State University. As an important part of this study, I am.investigating the stats requirements for College or University accreditation in Music Education in selected states on.a national basis. The states selected are those which employ a Supervisor of MUsic. Your assistance, as the Supervisor of Music in your state, is invited to help complete this study. At your earliest convenience, I would greatly appreciate having the information requested in the enclosed questionnaire. Please give this matter your attention. ‘A stamped, self- addressed.env610pe is enclosed for your convenience. Thank you for your cOOperation. Reapectfully, Kenneth R. Raessler Assistant Professor of Music Gettysburg College Gettysburg, Pennsylvania 17325 KRszda Enclosure 3h5 APPENDIX 0 FOLLOd-UP IETTER TO STATE SUPERVISORS W MUSIC Dear I have recently undertaken.a doctoral study entitled, "A Comparative Study of Music Requirements and Student Teaching Programs in Music Education in.Selected Colleges and.Univer- sities." Your assistance, as the Supervisor of Music in , is invited to help complete this study. Thirty-three state supervisors have been contacted and to date twenty-two have responded. The response has been most gratifying. Several weeks ago, I wrote to you requesting per- mission to include in this study; however, I have not as yet received a reply from.you. I would like to get as repre- sentative a picture as possible and have your state included in the StUdYs In the event that you have misplaced the first questionnaire, I am.anclosing another copy for your convenience. Your expedi- tious manner in handling this will be greatly appreciated. I shall be looking forward to hearing from you. Respectfully, Kenneth R. Raessler Assistant Professor of Music Gettysburg College Gettysburg, Pennsylvania 17325 KRR:jmn Encl. APPENDIX D LETTERS TO MUSIC DEPARTMENT CHAIRMAN 3147 APPENDIX D IETTER TO MUSIC DEPARTMENT CHAIRMAN Dear Recently, I have undertaken a doctoral study entitled, "A Comparative Study of Music Requirements and Student Teaching Programs in Music Education in Selected Colleges and Universities in Pennsylvania, Maryland and New Jersey." This study is in partial fulfillment of requirements for the Ph.D. at Michigan State University. The purpose of this letter is to request permission to in- clude (College or University) in this study. In- clusion of your school is on the basis of accreditation by the National Association of Schools of Music and/or the Middle Atlantic States Association of Colleges and Secondary Schools, and, of course, the fact that you grant a degree in Music Education. There are approximately forty institutions in the three state area which are eligible for inclusion in this study. Hapefully, all the schools will participate in order that the study may be meaningful. To my knowledge, no study of this type has been made in the geo- graphical. area of eastern United States. Consequently, it should be of great value. Please be aware that although credit would be given to you and your institution for being included in the study, no further ref- erence would be made to you or your school individually. After giving this matter immediate attention, would you kindly return the enclosed stamped and self-addressed card indicating your willingness to participate in the study. Upon receipt of this card, I will be in contact to arrange a personal interview with m and your Director of Student Teaching in Music sometime during the school year 1966-37:— Neither structured interview will exceed one hour. Thank you. Respectfully, Kenneth R. Raessler Assistant Professor of Music Gettysburg College Gettysburg, Pennsylvania 17325 KRR:bda Enclos ure 3148 APPENDIX D REPLI CARD FOR MUSIC DEPARTMENT CHAIRMAN Name of College or University Head, Department of Music Director of Student Teaching in Music Yes, we will participate in the study. We do not widl to be included in the study. 31:9 APPENDIX D FOLIW-UP LETTER TO MUSIC DEPARTMENT CHAIRMAN Dear I have recently undertaken a doctoral study entitled, "A Comparative Study of Music Requirements and Student Teaching Programs in Music Education in Selected Colleges and Universities in Pennsylvania, Maryland and New Jersey." This study is in partial fulfillment of requirements for the Ph.D. at Michigan State University. F orty-five colleges or universities have been contacted and to date thirty-nine have responded in the affirmative. The response has been most gratifying. Several weeks ago, I wrote to you requesting permission to include the in this study; however, I have not as yet received a reply from you. I would like to get as representative :1 picture as pos- sible and have your college or university included in the study. Please be aware that although credit would be given to you and your institution for beilg included in the study, no further reference would be made to you or your school individually. After giving this nutter your imnediate attention, would you kindly return the enclosed stamped and self-addressed card indica- ting your willingness to participate in the study. Upon receipt of this card, I will be in contact to arrange a personal inter- view with 222 and your Director of Student Teaching_in Music sometime during the schoolysar 19533'7. Neither structured inter- view will exceed one hour. Thank you. Respectfully, Kenneth R. Raessler Assistant Professor of Music Gettysburg College Gettysburg, Pennsylvania 17325 10111sz Emlo 350 APPENDIX D ACKNOHLEDGIENT or MUSIC DEPARTMENT CHAIRMAN ACCEPTANCE Dear Thank you for consenting to participate in the uCompare-- tive Study of Music Requirements and Student Teaching Programs in Music Education in Selected Colleges and Universities in Pennsylvania, Maryland and New Jersey." I plan to come to your campus in to speak with you and the Director of Student Teaching in Music at your school. I will contact you nearer to the month concerning a specific time and date fer our meeting. I am looking forward to my visit with you. Sincerely yours, Kenneth R. Raessler Assistant Professor of Music Gettysburg College Gettysburg, Pennsylvania 17325 KRchjf 351 APPENDIX D REQUEST FCH INTERVIEW APPOINTMENT WITH DEPARTMENT CHAIRMAN AND DIRECTCB OF STUDENT TEACHING Dear Thank you for consenting to participate in the 'Conparative Study of Music Requirements and Student Teaching Programs in Music Education in Selected Colleges and Universities in Pennsylvania, Maryland and New Jersey." If possible, I would like very much to come to your campus on ___, to cmduct a structured interview with y_o_u and the Director of Student Teaching_in Music at your school. Neither interview will exceed one hour. . Kindly notify me, at your earliest convenience, the times on this day at which I may conduct these interviews. I am looking forward with pleasure to my visit with you. Sincerely yours, Kenneth R. Raessler Assistant Prafessor of Music Gettysburg College Gettysburg, Penmylvania 17325 KRR:bda 1 5 APPENDIX E LETTER TO COOPERATING TEACHERS 353 APPENDIX E IETTER T0 COOPERATING TEACHERS Dear Recently, I have undertaken a doctoral study entitled, "A Comparative Study of Music Requirements and Student Teaching. Programs in Music Education in Selected Colleges and Univer- sities in Pennsylvania, Maryland and New Jersey.“ This study is in partial fulfillment of requirements for the Ph.D. at Michigan State University. You were selected by the music department of the College or University which supplies you with student teachers as a person who can give sound Judgment about the training of teachers. Those of us in the music profession recognize the importance of good student teacher supervision in providing well trained professional teachers. You, as a music teacher working with student teachers in real situations, know what is actually being done 3 and your reactions can assist in improving these situations. Consequently, I would greatly appreciate having the informa- tion requested in the enclosed analysis form. All data requested will be held in confidence and no reference will be made to you or your school. Please give this matter your immediate attention. A stamped, self-addressed envelope is enclosed for your convenience. Thank you for your cooperation. Respectfully, Kenneth R. Raessler Assistant Professor of Music Gettysburg College Gettysburg, Pennsylvania 17325 APPENDIX F IETTER T0 FIRST YEAR MUSIC TEACHERS 355 ummnr LETTER TO FIRST YEAR MUSIC TEACHERS Dear Recently, I have undertaken a doctoral study entitled, 'A Comparative Study of Music Requiremnts and Student Teaching Programs in Music Education in Selected Colleges and Universities in Pennsylvania, Maryland and New Jersey." This study is in par- tial fulfillmnt of requirements for the Ph.D. at Michigan State University. You were selected by the Music Department of your undergrad- uate College or University as a person who can give sound Judwent about your undergraduate program of studies and student teaching experience in Music. Those of us in the music profession recog- nize the importance of an outstanding program of music culmina- ting in a meaningful student teaching program. You, as a recent college graduate, are in a good position to evaluate your respec- tive programs; and your reactions can assist in a more complete evaluation. Consequently, I would greatly appreciate having the informa- tion requested in the enclosed analysis form. All data requested will be held in confidence and no reference will be made to you or your school. Please give this matter your innediate attention. A stamped, self-addressed envelope is enclosed for your convenience. Thank you for your cOOperation. Respectfully, Kenneth R. Raessler Assistant Professor of Music Gettysburg College Gettysburg, Pennsylvania 17325 KRchjf Enc. APPENDIX G QUESTIONNAIRE SENT TO STATE SUPERVISORS (m MUSIC 357 APPENDIX G Questionnaire for State Supervisors of Music Name Address State Date 1. 2. 3. S. Does the Bureau of Teacher Education and Certification of the State Board of Education accredit colleges and universities in entirety or do they accredit specific curricula within the colleges and universities? CHECK (J) one. Colleges and universities in entirety. Specific curricula. If they accredit specific curricula, does this include the area of Music Education? Yes No Does your state have s cific requirements established for ac- creditation in Music ucation? . Yes , No If printed, would you kindly send me a copy? Does your state have minimum requirements established for ac- creditation in Music Education? . Yes No If printed, would you kindly send me a copy? Do you personally visit the Music Departments of these colleges and universities before they are accredited? Yes No Does the student who graduates from one of the accredited col- leges or universities automatically receive a teaching certificate? Yes No - J 7. 8. 9. 358 Questionnaire for State Supervisors of Music #2 If so, what type of a certificate does he receive? If not, what is the policy in your state regarding teacher certification in music? Does your state have any a cific requirements for the student teaching program in musicI - Yes No If printed, would you kindly send me a copy? Does your state have any minimum requirements for the student teachixg program in music ' Yes No If printed, would you kindly send me a cepy? Please send me any other information from your state which would pertain to either college or university accreditation in Music Education or Student Teaching in Music. Thank you. Do you desire a copy of the sumary of this study? ‘ Yes No . Kindly use the self-addressed stamped envelope to retum this questionnaire to: Kenneth R. Raessler Department of Music Gettysburg College Gettysburg, Pennsylvania 17325 APPENDIX H INTERVIEW FORM USED Fm MUSIC DEPARTMENT CHAIRMAN 360 APPENDIX H Interview Form for Music Education Departmnt Chairman College or University Address Dean or Department Chairman Semester hours Quarter hours Date Admission Procedure and Requirements 1. Which of the following criteria are used for admission to the College or University? :A_1_!_ays 'SEietimes'Never a. College Board Scores ' b. High School Record c. Personal Interview d. letters of Recommendation e. Other: ---n- --‘--:-P- 2. Which of the following criteria are used for admission to the. Department or College of Music? a. Audition ! b. Personal Interview 3 c. Prior Musical Experience ' d. Test administered by ' Dapartment or College of Music! as Other: . 3. A. If tests are used, name than. B. Are the results of these tests used for more than admission or rejection purposes? , Yes No C. If so, for what purposes? ‘ I l I 0 , A l j 3 . 7 Y I ' O I I ' a ' ! .' ' I z . l t I O i Y ' . . Y Y I l s l T l n 0 l I 361 Music Education Department Chairman Interview Form (cont.) 2 h. A. When and how does the student declare his major? B. What is the latest time that he can declare Music Education as his major and still graduate in four years? Music Remiirements Leadng To The Music Education Degree 1. 2. Required Credits A. B. C. D. E. Course offerings : A. B. C. D. B. How many credits are required in Music History? How many credits are required in Music Literature? How many credits are required in Music Theory? How many credits are required in Applied Music? How many credits are required in Music Education-7 T'fioquircd gEle": ctive—r Music, History 1. 2. 3. Music Literature 1. 2. 3. Music Theory 1. 2. 3. h. 5. Music Education and Conducting l. 2. 3. h. 5. Applied Music ‘ n - o Is as a us a. n - I. - u - n d n u C a so a. 1. What are the minimum applied music requirements on the major instrumnt? o O 0 O O I I ' 0 I ' . I ' I I I I I I I ' I I O I I ‘ I . I ' I I I ' ‘ O I ' ‘ I I I . I ' I 1 I I h I I . I ' . I ' I I I ' I I 3 ‘ I I I I I . I I I o 362 Music Education Department Chairman Interview Form (cont.) 3 2. What are the minimum applied music requirements in voice? 3. What are the minimum applied music requirements in piano? )4. What are the minimum requirements on minor instruments? In French Hem, Bassoon, (hoe, Percussion, etc.) . Are these requirements the same for the instrumental major and the vocal major? Yes No If no, what is the difference? Size of Music Faculty With Regard to Enrollment 1. Size of the music faculty. 'flfll-time' f tinn' 3“ time 7 A. Music History and Literature 3 I I , B. Music Theory C. Applied Music D. Mic Education t c a u T ! ! a t f "' "' "'I 2. What is the undergraduate enrollment in the department or school of Music? 3. How many students are preparing for Public school Music Teaching? it. Do members of the Music Education faculty teach in schools? A. Public Schools Yes No B. Demonstration Schools Ye s No C. Other Egress Offered 1. that title or titles do you give your degree in Music Education? A. Bachelor of Science in Music Education B. Bachelor of Music Education C. Bachelor of Music in School Music D. Bachelor of Arts in Music Education E. Other 363 Music Education Department Chairman Interview Form (cont.) 1; State Requirements for Certification 1. 2. 3. h. Is your curriculum designed to conform to the state requirements? Yes No Do you feel that state requirements of your state are adequate? Yes No If not, what specific changes would you make? Do you believe the state should set up ”requirements of certifica- tion for its schools? Yes No The Structure of the Music Education Program 1. 2. 3. h. 5. Do students majoring in music education have any performance re- quirements? A. Large ensembles (choir, orchestra, band) B. Snell ensembles C. Group recitals D. Individual recitals Is your music education program designed for a major in: A. Vocal Music B. Instrumental Music G. String Specialist D. Elementary Music E. Junior-Senior High School Music F. Equal stress in all areas In what sequence and in what year are the music education classes given? A. Do music methods classes offer opportunity for observing children? Yes No B. De music methods classes offer opportunity for observing theory in practice with children? Yes No C. Do music methods classes offer Opportunity for experience in application of method with children? Yes No Are the methods taught carried out in practice in teaching situa- tions in the student teaching program? . Yes No Do the teachers of methods have opportunity to follow the student in the application of methods in student teaching? Yes No 36!; Music Education Department Interview Form (cont.) 5 7. 8. Is the student teaching program in music under the supervision of the Department of Education, the Department of Music, or both? A. Do students majoring in Music Education have a non-music minor? Yes No B. What is the required number of credit hours for this minor? C. Is the minor required or elective? Opinions Concerning Student Teaching 1. 2. 3. LI. What, inyour opinion, is the value of student teaching? A. Extremely valuable B. Valuable C. Not of great value Please justify your reasoning. What, in your opinion, is the value placed on student teaching by the music faculty as a whole? A. Extremely valuable B. Valuable C. Not of great value Do you desire a copy of the summary of this study? Yes No 365 Music Education Department Chairman Interview Form (cont.) 6 First—gar teachers 1. A. C. D. E. Please indicate the names and addresses of five first-year music teachers who hold degrees from your college or university. I would like to contact them with the purpose of having them evaluate their musical preparation and student teaching ex- periences. All information will remain confidential and no references to individual schools will be made in the final data 311313313. APPENDIX I INTERVIEH FORM USED FOR DIRECTOR OF STUDENT TEACHERS INHUSIC 367 APPENDIX I Interview Form for Directors of Student Teachers in Music College or University Address Director of Student Teaching in Music Date Administrative Responsibilities of the Student Teaching Program 1. 2. 3. h. 5. Does the staff of student teaching in Music work with the staff of student teaching in the Education Department or School? Yes - No Who contacts the school principals and co-operating teachers and arranges for the placing and handling of the student teachers? What arrangement do you have for the student teaching experience? ____a. Laboratory schools on campus. ' __b. Public schools. _____c. Private schools. ______d. Conbination laboratory, off campus schools. Final decision for assigning the student teacher to a class rests upon what person or persom? a. Director of student teaching program. ' b. Supervisor of student teacher. c. Other college faculty members. d. College faculty board. ‘ e. Combination of director and supervisor. Who directly supervises student teachers in music? a. An education professor (non-music). ' ‘b. A college supervisor in music. c. The teacher with whom the student teacher works. d. An instrumental music specialist. e. A vocal specialist. 368 Interview Form- Director of Student Teachers 2 f. A nunber of college music supervisors. __g. A number of supervisors from the Education Department. 6. The individual(s) responsible for the final grade in student teaching is: a. Director of student teaching program. b. Supervisor of student teacher. c. Cooperating teacher. ’ (1. Combination of supervisor and cooperating teacher. e. Combination of supervisor and teacher. 1'. Combination of director, supervisor and cooperating teacher. 7. The individual(s) responsible for recommending the studmt teacher for a teaching position is: a. Director of student teaching program. b. Supervisor of student teacher. c. Cooperating teacher. d. Conbination of supervisor and cooperating teacher. e. Combination of supervisor and director. f. Conbination of director, supervisor and cooperating teacher. 8. What degree of coordination exists between the Director of Student Teaching in Music, the Supervisors and the cooperating teachers? a. Planning workshop held for the director, all supervisors, and teachers to determine the experiences to be provided the student teacher. b. Meeting held by supervisors and teachers to determine the experiences to be provided the student teacher. c. Meetings held by supervisors and directors to determine the experiences to be provided the student teacher. (1. Other (Specify). 9. If, in your opinion, the system of coordination presently in use does not meet with your satisfaction, what would you do to alter this situation? 369 Interview Farm- Director of Student Teachers 3 Professional Laboratory Experiences Prior to Student Teaching 1.» 2. 3. 1. When is directed observation of teaching begun in the professional preparation of your students? fieshman Junior SOphcmore Senior In what capacity? Are your music majors given any teaching experience in individual or small group instruction prior to student teaching? Yes » No What weaknesses are most common among student teachers in assuming student teacher responsibility? a. b. Ce The Student Teaching Program Acceptance into the program. A A. The student teaching course takes place in the: Freshman year 3. Junior year 1. ’2. Sophomore year i is. Senior year B. Q: what basis are students accepted for student teaching? C. Do you have a screening program? Describe? Yes No D. Hhat provision is made for students who are not reathr for student teaching? ; 1 370 Interview Form- Director of Student Teachers )4 E. Is there any guidance program which acquaints the staff with student teachers prior to student teaching? Yes No If so, what is the nattn'e of that program? 2. Placement of the student teacher. A. How are students assigned to schools? 1. Election. 2. Selection. 3. Election-selection. B. What attempts are made to place the student in a school situation where he is most likely to succeed? C. What procedure is used by student teachers in reporting to assignments? 1. Taken by college supervisor. 2. Go independently to co-operating teacher. 3. Report to principal. )4. Other. D. How is the student teacher indoctrinated into the school policy and regulations? 3. Requirements of the student teaching program. A. Hhat are the minimum credit hours required in student teaching? (Quarter or semster hours.) What are the maximum credit hours? (Quarter or semester hours.) B. Student teaching takes place for how many semesters or quarters? 371 Interview Form- Director of Student Teachers 5 C. Is there a clock hour requirement? Yes No D. Over how many months does the usual student teaching experience extend? E. that is the amount of time per day usually spent in student teaching? 1. '1 period per day. 2. 2 periods per day. 3. % day. h. Full day. . Other (Specify). F. Is student teaching required in the student's minor field? Ll Yes No h. Characteristics of the Student Teaching Program. A. Is there an observation period before actual teaching? Yes No If so, what is its length? Does it vary with the readiness of the student teacher? B. Hhat activities are included in your curriculum for student teaching experience? 1. Elementary school music. a. General music b. Vocal music c. Instrumental nmsic 2. Junior high school music. a. General music b. Chorus c. Band d. Orchestra C. D. E. F. G. H. 372 Interview Form- Director of Student Teachers 6 e. Class instrumental experience 13‘. Ensembles 3. Senior high school music a. General music (Appreciation) b. Music theory c. Chorus do Band e. Orchestra ‘ f. Class instrumental lessons ‘ g. Ensembles h. Voice class Does every student teacher have experience in both choral and instrumntsl activities? Yes No Does every student teacher have experience with general music? Yes No Are you able to provide any of your students with experieme in teaching piano class? Yes No Is there am carry-over or follow-up from the methods classes into the student teaching program? Does the co-operating teacher leave the roan while the student is teaching? What experience other than teaching and observation are offered student teachers? . Keeping records . Grading . Homeroom activities . Faculty and committee meetings Parent meetings . Assemblies I. 373 Interview Form- Director of Student Teachers 7 7. School programs . Social activities 9. Ordering and cataloging music lml 10. Budget planning Is there opportunity for child study? 1. Individual case study. 2. Group study at various grade levels. 5. Grading and Evaluating the Student Teacher A. B. C. D. E. F. Is the student provided an Opportunity to evaluate his deve10p- sent and growth? Yes No If so, hm? what grading system is used in student teaching? Do you have standard evaluation forms? Yes No Are copies available? Are records kept about the student teacher for future reference? Yes No Approximately how many times curing student teaching is a student visited by a campus supervisor? Are weak teachers required to take extra hours of student teaching? Yes No The College Supervisor of Student Teaching 1. How many student teachers are assigned to a college supervisor? 2. How are they equated in terms of teaching load? 3. How many co-operating teachers are under a college supervisor? I :3? h. 5. 6. 7. 8. 9. l. 2. 3. 37h Interview Form-Director of Student Teachers 8 How many co-Operating schools do you have for the placement of student teachers? Are travel echemes paid by the college or university? Yes - No If yes , are they supported by funds from the budget of the Education or Music Department? Are visits recorded in any way? Yes No If yes, how? How many college supervisors also serve as co-operating teachers? Do you as Director also serve as a supervisor? Yes No Do college supervisors teach courses as well as supervise? Yes No How many courses might a supervisor be expected to teach? Name of typical courses: I a. b. c. The Cooggrating Teacher what minimum degrees do your cOOperating teachers have? Do they hold college rank? ’ How are cooperating teachers selected? Do you encounter any difficulty obtaining satisfactory cooperating teachers? Yes No At what level is the difficulty greatest? ‘9‘ II h. 5. 6. 7. 8. 9. 10. 1.1. 375 Interview Form- Director of Student Teachers 9 Does the college or university pay the cooperating teacher? Yes No , If so, what is the fee? Does the college or university have any program for improving the effectiveness of the cooperating teacher? Yes , No If so, what is it? Does the college or university have a written contract with the cooperating teacher? Yes No How many student teachers are assigned to a cooperating teacher? Do cOOperating teachers require lesson plam from student teachers? Yes No . If so, are they discussed and evaluated before the teaching? Yes No Do Not Know And again after? Yes 7 No Do Not Know Does the student teacher have a part in planning the program in the cOOperating school? Yes No Is there usually sonm activity in which he has complete charge for planning, execution and evaluation?“ . Yes No How are instructions presented to the cooperating teachers? If printed, may I have a cepy? Is there a minimum set of standards or experiences which are re- quired by the institution for every student teacher? Yes No Please indicate the names and addresses of five of your most qualified cooperating teachers. I would like to contact them with the purpose of having them evaluate their role in the train- ing of a student teacher. All infomation will remain confidential l. 2. 3. h. S. 376 Interview Form- Director of Student Teachers 10 and no reference will be made to individual schools in the final data analysis. a. b. Conferences Are there regular staff meetings of the music student teaching staff? Yes No Are conferences held with individual student teachers? a. Prior to student teaching. b. During student teaching. c. After student teaching. Are conferences held with the individual cooperating teacher? Yes No - Are there regularly scheduled conferences between the cooperating teacher and the student teacher? - Yes No What type of conferences are held with the student teachers as a group? How often are they held? Is there a planned program? 6. l. 377 Interview Form- Director of Student Teachers 11 Are there group conferences where all classroom supervisors, stu- dent teachers and college supervisors are present? Yes - No as No _____Y Any social functions ? Observation Emperiences Pre student teaching. A a. Do professional education courses require observation? b. Do music methods classes require stem-$32 _No __Yes. __No If so, which courses require such experience? 1. Elementary methods I 2. Secondary methods 3. Instrumental methods it. Choral methods In which area? Elemental-L Junior High Senior High r f I Classroom teaching ' ! ! I T.» r Band .| I Q 1. T ! Chorus I t g I T I Orchestra ! i .' , n I. f F Ensembles -' -' 9 _I 9 C Class lessons 3 .' .' . . c e . l I 3 f Y ' 1 l I Y , . 1 i Y I ' i 1 1 ’ I f P l ’ I 1 ' I 2. 1. 2. 1. l. 378 Interview Form- Director of Student Teachers 12 During Student Teaching a. 'What observation experiences do you require of your student teachers at Elementary School, Junior High School and Senior High School levels? Elementaq Junior High Senior High T T , r _ Classroom teaching .' ! I n _ ! _| ! Band ' .' ! D I i Chorus .' ' ' f u : Orchestra ( ' ' T t ! Ensembles ' I a t ! 1 Class lessons I I g Poet Student Teaching Experiences 7 Is there any post student teaching experience? Yes No If so, what is its nature? Is there a follow-up of teachers on the job? Yes No If so, for how long, and in what manner? Strengths of the Student Teaching Program Indicate any particular strengths, overall, which you feel are con- tained in your program of student teaching? Weaknesses of the Student Teaching Program Indicate any particular weaknesses, overall, which you feel are con- tained in your program of student teaching. Do you desire a copy of the summary of this study? Yes No 1 V V I 1 x' } APPENDIX J QUESTIONNAIRE SENT TO COOPERATING TEACHERS 380 APTENDIX J Questionnaire for Cooperating Teachers in Music Name and address of school Name and address of the college or university providing the student teacher Name of person completing form Date l. ‘Nhat is your highest earned degree? 2. 'What aSpect of music do you teach? 3. What age groups do you teach? h. How many years have you taught? Personal Data of the Cooperating Teacher Breadth of Experience Provided by Cooperating Teachers Please CHECKI(V? the following activities in which you provide exper- ience for student teachers. 1. 2. __3- ......u. __5- _—6’ 7. Ordering music Filing music Budget planning Use of audiOdvisual aids Minor repair of band and orchestra instruments Planning activities Planning lessons Flaming concerts Maintenance of attendance records Handling behavior problems Experimenting with new techniques 381 Questionnaire for Cooperating Teachers 2 12. Conducting class as his own 13. Preparation of groups for performance 1h. Directing performing groups in public 15. Seating arrangement of performing group 16. Personal contact with parents 1?. Attendance at faculty meetings 18. EXperience with small ensembles 19. Experience with class lessons 20. Pupil evaluation and grading. Evaluating the Student Teacher 1. The student teacher is graded by: (CHECK (V) appropriate items.) a. b. 0e d. Director of Student Teaching in the Education Department Director of Student Teaching in Music Supervisor of Student Teachers (non-music) Supervisor of Student Teachers in Music Cooperating teacher ( s ) Suggested Improvements for Evaluatinng Student Teacher 1. Do you agree with the system of grading presently in use? Yes No 2. If not, who in your opinion should determine the grade? 30 Why? Aids to COOperating Teachers Provided by College or University 1. If you have meetings with college personnel concerning the student teaching program, please CHECK (if) the apprOpriate item. 2. 3. 1. 2. l. 382 Questionnaire for Cooperating Teachers 3 a. Blaming workshOp held by the Director for all Supervisors and Cooperating Teachers to determine the experiences to be provided the student teachers. b. Meeting held by the supervisors and COOperating teachers to determine the experiences to be provided the student teachers. c. No meetings held. If administrative and supervisory meetings are held and none of the above categories fit your situation, please indicate the plan that (1063 exist. Do you feel that the college or university should provide more guidance to you concerm’ng your responsibilities as a cooperating teacher? Yes No If so, what suggestions would you have? Recommending the Student Teacher Are you called upon to recommend student teachers for future teaching positions? Yes No Would you like a more significant part in the recommendation of student teachers for future teaching positions? Yes No Suggested Weaknesses of Student Teachers What weaknesses are most common among student teachers of music in assuming their reaponsibilities? CHECK ( ) items which you feel are consistently weak. A. Personal Characteristics a. Lack of ambition. 383 Questionmire for Cooperating Teachers 1; 5' 0 Lack of enthusiasm for teaching. 0 e Lack of patience. Lack of confidence. 9: e G 0 Lack of ability to organize. H 0 More interested in teaching music than children. Poor personality. 33' (N e e Lack of leadership. p. O Inability to express themselves concisely. LI. 0 Lack of interest in total school program. Lack of imagination. h" e l-' 0 Unable to maintain discipline. 111. Other (please specify). B. College Preparation p I Lack of background in conducting. Lack of knowledge and teaching techniques of band and orchestral instruments. Lack of knowledge of child growth and development. Lack of knowledge of musical literature. 0' e D- O O 0 Lack of performing ability on piano. Not fully versed in methods. Lack of knowledge of basic vocal techniques. Lack of thorough musical background. [-0, O D‘ 0‘} e e p. 0 Poor mus ic iamhip. C.:. 0 Scheduling - carries college course work while student teaching. General lack of training. “a O 1. Other (please specify). C. Do you desire a cepy of the summary of this study? Yes . No 38h Questionnaire for Cooperating Teachers 5 We of the Student Teaching Program 1. Please indicate any particular strengths, overall, which you feel are contained in your program of student teaching. Usabesses of the Student TeachW . 1. Please indicate any particular weaknesses, overall, which you feel are contained in your program of student teaching. Kindly use the self-addressed stamped enve10pe to return this questionnaire to: Kenneth R. Baesaler Department of Music Cettys burg College Gettysburg, Pennsylvania 17325 Thank you. APPENDIX K QUESTIONNAIRE SENT TO FIRST YEAR MUSIC TEACHERS 386 APPENDIX K Questionnaire for First Year Teachers in Music Name of college or university from'which you hold Bachelor's Degree Name of the degree you received Name and address of school in which you teach Area of music in which you teach Name of person completing form Date Strengths of the Music Course Requiremenp§_ 1. Do you feel that the courses provided you by your undergraduate college or university prepared you adequately for the position you now hold? Yes No 2. Please CHECK ( ) apprOpriate area in which you feel 3211 prepared. A. Music History B. Music Literature C. Music Theory D. Choral Conducting E. Instrumental Conducting F. Elementary Music Methods G. Secondary Music Methods He Vocal MethOds I. Instrumental Methods J. Other (Please Specify). 3. What was your major applied area in undergraduate school? Please CHECK ( ). A. 'Voice h. S. l. B. C. 387 Questionnaire for First Year Teachers 2 Piano Instrumental (Specify) CHECK ( ) the following areas that you feel most adequately pre- pared to teach. A. B. C. D. E. F. G. H. Indicate Elementary School Classroom Music Junior High School General Music Senior High School Music Appreciation Senior High School Music Theory Elementary School Instrumental Music Junior and Senior High School Band Junior and Senior High School Orchestra Junior and Senior High School Chorus any other particular strengths, overall, which you feel were contained in the course requirements of your undergraduate program. 'Weaknesses of the Music Course Requirements Please CHECK ( ) appropriate areas in which you feel least prepared. A. B. C. D. E. F. G. H. Mus ic His tory Music Literature Music Theory Choral Conducting Instrumental Conducting Elementary Music Methods Secondary Music Methods Vocal Methods I. J. 388 Questionnaire for First Year Teachers 3 Instrumental Methods Other (Please specify) 2. CHECK (4 the following area that you feel least adequately pre- 3. l. 2. pared to p. O Q "J [*1 U C CD 0 c o o o 0 f1: 0 I. teaCh. Elementary School Classroom Music Junior High School General Music Senior High School Music Appreciation Senior High School Music Theory Elementary School Instrumental Music Junior and Senior High School Band Junior and Senior High School Orchestra Junior and Senior High School Chorus Elementary School Chorus Indicate any other particular weaknesses, overall, which you feel were contained in the course requirements of your undergraduate program. Strengths of the Student Teaching Program Do you feel that the student teaching emerience provided by your undergraduate school prepared you adequately for the position you now hold? Yes No CHECK (V) the following areas included in your student teachilg program. A. B. C. D. Elementary School Classroom Music Junior High School General Music Senior High School Music Appreciation Senior High School Music Theory 3. h. 5. 6. 389 Questionnaire for First Year Teachers h F1 0 Elementary School Chorus Elementary School Band Elementary School Orchestra Junior High School Chorus Junior High School Band Junior High School Orchestra Senior High School Chorus Senior High School Band 3 I" N ‘4 H a: C7 '13 o O c c o o c 0 Senior High School Orchestra Voice Class Lessons Instrumental Class lessons P. Class Piano 0 Z c c In your opinion, did you have adequate observation experience before actual teaching? Yes No What was the length of your student teaching experieme? Months (Number) Per day (How long?) "are you enrolled in college classes concurrently with student teaching? Yes No If yes, did this prove satisfactory? Yes ‘ No Indicate any particular strengths, overall, which you feel were contained in your student teaching program. 390 Questionnaire for First Year Teachers 5 Weaknesses in the Student Teaching Program 1. Indicate any particular weaknesses, overall, which you feel were contained in your student teaching program. 2. Do you desire a copy of the summary of this study? Yes No Kindly use the self-addressed stamped.enye10pe to return this questionnaire to: Kenneth R. Raessler Department of Music Gettysburg College Gettysburg, Pennsylyania 17325 APPEMJI L SELECTED some RECEIVED FROM MUSIC DEPARTMENT CHAIRMAN 3% APPENDIX L SELECTED FORMS RECEIVED FROM.MUSIC DEPARTMENT CHAIRMAN MANSFIELD STATE COLLEGE Approved 3/6/67 APPLIED MUSIC SEQUENCES Voice Major Semester Sequence Ensemble Requirements s.h. Semesters Chorus 2 ' 11 hrs. Band 1 major Orch. l v 00 o P“ Ensemble L‘- Voice Piano Brass String ‘Wbodwind Percussion 6 2 ‘ “ 72 2 croor P P P E N %HHHH0 3w H wwHN mum 0 N04 ‘Wbodwind.Major ijor s.h. Piano Voice 10 g Chorus Valve brass l l 1 2 1 I 10 hrs. Orchestra major Band 0 . (9er nJ-o «annex i 3 NO\ 9:” Trombone Percussion ‘Hbodwind VinéViola Cello-Bass ‘_l_ 21 'Wbodwind Majpr4Vocal Interest Major 10 5 oh. Piano Voice Brass String Percussion saws -4Egyan: ngptdte gral-ac- ' 10 hrs. Chorus 7 major Orch. ) any and ) CORIbo Bmd ) d8 N P1P‘n3b4$r\» <30) 06' <10: Brass Major Major Piano Voice Other brass Percussion ‘Hbodwind VinéViola Cello-bass e if E L '5 § § :7 «1'00 [0 4HHWHFNN 393 Applied Music Sequences (page 2) Brass Major .- Vocal Interest Major 10 fish. Piano 3 Chorus 7 V01“ 1* 1—___5..___2 3 h 6 7 . 10 hrs. Orchestra Any Strings 2 1 l 1 1 2 2 2 major and comb. Percussion 1 St St P0 P0 P0 Br Pn Band of 8 Woodwind 1 VC V V V '2'1" Stag Majors E2? 1(2) M' 1 2 6 Ohm” 6 ° . Orch stra Voice 2 l l 1 l 2 2 2 '3ng Ban: Z Otherstrings2 VCV BrTanStSt Valve brass 1 P0 P0 w w Trombone l Percussion 1 Woodwind _3_ 21 String Major - Voice Interest Major 10 s.h. Piano 3 Chorus 7 Voice ’4 1221;567. Other strings l 1 l l l 2 2 2 $2.338. 33““ 1 Brass 1 VC V V V w Pn St Woodwind 1 Po Po Po Br Percussion 1 2T Percussion Major Percussion 10 s.h. Voice 2 Piano 2 Chorus 6 Viclin-viela l 1 2 2 h 5 6 7-10hrs Orchestra 2 Cello-Bass l l 1 1 l 2 2 ‘or ’ Band 7 Valve Brass 1 St St P0 P0 w w w m Trombone 1 VC V Br Tb Woodwind _2__ 39h Applied Music Sequences (page 3) Piano Major - 'Vocal Interest Piano 10 s.h. Voice 7 Chorus 7 Brass 1 l 2 3 h 5 6 7 . Orch. 1 2 0 String 1 1 l l l 2 2 2 3.2?“ Bend l°ro°r2 Woodwind 1 vcv v v v v v J Vac. Ens. 6 Percussion _l;_ St Br wW'Pn 21 - Piano Major -- Instrumental Interest Piano 10 s.h. Voice 2 . A Chorus 6 Elective Instr. 2 l 2 3 h S 6 7 ==lO hrs. Orchestra 7 or 2 Brass 2 l l l l 2 2 2 ma'or 7 or 2 Strings 2 Maj Maj Brwan J Band 'Nbodwinds 2 WW’Br Percussion ‘;I_ St St VC V 21 APPENDIX M SELECTED FORMS USED IN THE ADMINISTRATION OF STUDENT TEACHING STUDENT TEACHER EVALUATION FORMS 396 APPENDIX M SELECTED FORMS USED IN THE ADMINISTRATION OF STUDENT TEACHING STUDENT TEACHER RATING FORM ELIZABETHT {M N COLLEGE MUSIC EDUCATION Name of Student Grade or level School INSTRUCTIONS: Each co-operating teacher should check only the factors which he or she feels competent to evaluate. Space is provided for indicating five degrees of each quality, skill, or knowledge from.High to Low, or Strong or Weak. Please add comments when.necessary. Ele- mentary teachers should check sections I and II; secondary teachers sections I and III. I PERSONALITY High Low Comments A. Appearance 1. dress 2. neatness 3. poise h. dignified B.‘Voice 1. clear 20 pleasant 3. vigorous he modulated C. Speech 1. Command fluent 2. pronunciation correct 3. enunciation distinct h. grammar correct D. Personal Qualities lo Sympathetic 2. enthusiastic 3. sincere h. cooperative 5. tactful 6. resourceful 7. selfhcontrol 8. firm 9. adaptable lO. reliable II Elementary Music Teaching 1. Elementary techniques 2. Piano adequacy 3. Vocal adequacy Lt. Rhythm activities 5. Singing activities 6. Listening activities 7. Creative activities 1| ‘lll’ll’lllll.1l[. ....aj ....... oooooooooo 397 , High Low Cements 8. Playing activities 9. Balanced program 10. Materials well chosen 1].. lessons well organized 12. Lessons well presented 13. Classroom discipline maintained 1h. Pupil participation 15. Individual differences met 16. Pupil. interest sustained 17. Child psychology III JUNIOR AND SENIOR HIGH TEACHING 1. General music ability 2. Vocal or instrumental facility 3. Knowledge of vocal or instru- mental techniques L.,).t. Familiarity with vocal or instrumental mterials 5. Materials well chosen 6. Materials well presented 7. Motivation Operative 8. Illustrations helpful 9. Directions clear 10. Discipline maintained ll. Drills effective 12. Routine efficient 13. Pupil reSponse 114. Student progress 15. Adolescent psychology Prognosis of Teaching Success E7B7C7D7F‘ Use (4-) and (-) if you desire Student Teacher '8 Outstanding Strengths: Student Teacher's Outstanding Weaknesses: Remarks for College Placement Bureau: Name of Co-operating Teacher Position 398 9%» 00% women». Wen—Hm. we. mecdwza Hang EpcbaHoz w9.§mHo anemone accords assumed». Walsh. oooeoemaHem enhance MMSOOH cannon H. woundeMH.ocpHHHHom¢Hosu Hoods weHeu oeeuemenmmm. basemmo bamecme Hosanna csmmeHchOHOMK H. Heemcemboo one oeooeHem . . . t . . .. . m. mocHa:.maa voememmm Hememmo HemHmMm deemewmumoeoew mrwasa.»0dHUHHH¢% no mmoceo KcmwomH wmmcHem AHsdoomeHos. eons nemHHawc oxeemmmwobv Gem 0% wwmno due 0%