A STUDY OF MUSIC OFFERINGS LN THIRTY PUBLIC- SCHOOI. ADULT EDUCATION PROGRAMS IN THE UNITED STATES Thesis for the Degree of Ph. D. MICHIGAN STATE UNIVERSITY: Raymond Gerkowski‘ 1965 321E315: ‘ LIBRARY - MIL! III III!!! IIIIII/IIIIIIIIHNI ~ I/ Michigan state. 293 10196 8810 University I I I I This is to certify that the thesis entitled A STUDY OF MUSIC OFFERINGS IN THIRTY PUBLIC SCHOOL ADULT EDUCATION PROGRAM IN THE UNITED STATES presented by Ra ymo nd Ge rkow ski has been accepted towards fulfillment I of the requirements for ‘ Ph.D. degree in Administration and Higher Education Maj‘or professor Date November 9, 1965 0-169 4 4.fi____.__ f. i 2" ' ;’, Q , v Ev" "- ‘nb ~— ‘ I . u. “I :g._ .l( ,,3 In. A STUDY OF MUSIC OFFERINGS IN THIRTY PUBLIC SCHOOL ADULT EDUCATION PROGRAMS IN THE UNITED STATES BY Raymond Gerkowski AN ABSTRACT OF A THESIS Submitted to Michigan State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY College of Education 1965 ABSTRACT A STUDY OF MUSIC OFFERINGS IN THIRTY PUBLIC SCHOOL ADULT EDUCATICN PROGRAMS IN THE UNITED STATES By Raymond Gerkowski This study was concerned with the nature, status and extent of participation by adults in music classes sched- uled by local public school adult education prOgrams in thirty cities in the United States having a p0pulation range of 150,000 to 250,000. Significant trends during the five-year period between 1958 and 1963 were identified. A great deal of the desired information was obtained from a combination questionnaire and checklist which was mailed to the public school adult education directors in each of the cities included in this survey. Additional data were obtained by means of personal letters, telephone calls and printed material submitted by each adult education ad- ministrator. The findings indicated that the objectives and contents of the music classes offered were geared to the needs and in- terests of the amateur adult and not of the professional -- to the person who had turned to music as a leisure-time ac- tivity either as a listener or a participant. The wide va- riety of classes which were scheduled provided Opportunities for the adult listener or amateur participant to achieve - 2 - _ 3 - RAYMOND GERKCWSKI individual musical fulfillment, each according to his own musical interests and potentialities, regardless of previous musical training. The classes included were grouped into four classifications: (1) class instruction for instrument or voice, (2) classes designed to develOp and increase an appreciation of music, (3) group participation in small or large ensembles and (h) classes devoted to the basic funda- mentals and theory of music. The data indicated that only nine adult education pro- grams in the thirty cities surveyed included any music classes in their lists of offerings. This situation existed even though twenty-seven directors were of the opinion that it was important to offer music instruction through the pub- lic school adult education programs. It was apparent from the replies on the questionnaires that music had a lower priority on adult education programs than classes which upgraded the technical skills of indus- trial workers and classes which provided basic education for the disadvantaged, under-educated and unemployed. During the five—year period between 1958 and 1963 the findings did not reveal a significant change in the number of classes offered on the adult education programs. However, the data did indicate during the period that adults showed increasing interest in class instruction for instrument or voice, classes designed to develOp a greater appreciation of -4- RAYMOND GERKCWSKI music, group participation in small or large ensembles and decreasing interest in classes devoted to the basic funda- mentals and theory of music. As to organization and general practice there was a tendency on the part of adult education directors to favor two-hour classes, to schedule classes on a weekly basis, to lean towards a twenty-four-week school year, to program a majority of classes in the evening and to evaluate classes on a yearly basis. A STUDY OF MUSIC OFFERINGS IN THIRTY PUBLIC SCHOOL ADULT EDUCATION PROGRAMS IN THE UNITED STATES BY Raymond Gerkowski A THES IS Submitted to Michigan State University in partial fulfillment of the requirements for the degree of DC CTO R CF PHILO SO PHY College of Education 1965 ACKNCWLEDGEMENTS The writer acknowledges with deep appreciation the in- valuable advice and counsel given him by Dr. Harold J. Dillon, Chairman of his Guidance Committee. He is also grateful for the help extended to him by Dr. William H. Roe, Dr. Max S. Smith, and Dr. John Useem, members of the Guidance Committee. The writer is also grateful to Dr. Myrtle F. Black, Director, and Dr. Marvin Sitts, Assistant Director of the Iott Foundation Adult Education Program for the interest in this study and for the generous amounts of time devoted to providing data for this study. Acknowledgement should also be given to the thirty adult education directors included in this survey and all others for their willing c00peration and contributions of valuable data. Without this COOperation and these data, this study would not have been possible. -11- CONTENTS ACKNOWLEDGEMENTS . . . . . . . . . . . . . . . . . ii LIST OF TABLES . . . . . . . . . . . . . . . . . . iv CHAPTER I. THE PROBLELV . . . . . . . . . . . . . . 1 II. THE NEED AND RESPONSIBILITY FOR ADULT EDUCATION 0 O O O O O O O O O O O O O O 10 III. OBJECTIVES AND INTERESTS . . . . . . . 18 IV. CURRICULUM CONTENT AND ORGANIZATION . . 33 V. TEACHING METHODS O O O 0 O O I O O 0 Q 62 VI. ADMINISTRATION, INSTRUCTION AND C RGAN IZAT ION O O O C O O O I O O O O O 7 O VII. SUMMARY, CONCLUSIONS AND RECOMMEN- DATIONS O O O O O O O O O O O O O O O O 107 BIBI‘IOGRAPIIY O O 0 O O O O O O O O O O O O O O O O 117 APPENDH I O O O O O O O O O O O O O O O O O O O O 122 -iii- TABLE II. III. III. XI. XII. XIII. XIV. XV. LIST OF TABL LU S LOCAL PUBLIC SCHOOL SYSTEMS OFFERING AN ADULT EDUCATION PROGRAM, BY ENROLLMENT- SIZE GROUP, FOR CONTINENTAL UNITED STATES O O O O O O O O O O O O O O O ADULT MUSIC PROGRAMS ORGANIZED ON THE BASIS OF DEFINITE OBJECTIVES OR NEEDS AND INTERESTS . . . . . . . . . . . DEFINITE OBJECTIVES (Part One) . . . INTERESTS (Part Two) . . . . . . . . CURRICULUM CONTENT AND ORGANIZATION NUMBER OF DIFFERENT ADULT MUSIC CLASSES AND SECTIONS SCHEDULED . . . . . . . PERCENTAGE OF PERSONS ENROLLED IN ADULT MUSIC CLASSES AS COMPARED TO THE ENTIRE ADULT EDUCATION PROGRAM ENROLLMENT . CLASSIFICATION OF ADULT MUSIC CLASSE PIANO, GUITAR AND ORGAN CLASS SECTIONS . LENGTH OF CLASSES IN MINUTES -- COM- PEED BY CCIVMUNITIES o o o o o o o o LENGTH OF CLASSES IN MINUTES -- COM- PILED BY CLASSIFICATION . . . . . . MUSIC OFFERINGS DURING THE DAY . . . PUBLIC PERFORMANCES BY ADULT MUSIC GROUPS 0 O O O O C O O O O O O O O O TUITION O O O O O O O O I O O O O 0 FES O O C O O O O O O O O O O O O 0 WEEKS IN SCHOOL TERM . . . . . . . . -iv- Pace 17 22 25 29 3h 37 3 8 no LII-I- as A? 50 52 51+ 56 S9 -v- LIST CF TABLES (Continuedl TABLE X‘JI . GRADES " CERTIF' ICATES o o o o o o o o o o XVII. TEACHING METHODS . . . . . . . . . . . . XVIII. DETAILED COURSES OF STUDY -- GENERAL TEACHING GU IDES O O O O O O C O O O O O O XIX. OPINIONS OF ADULT EDUCATION DIRECTORS ON IMPORTANCE OF OFFERING MUSIC INSTRUC- TION THROUGH THE PUBLIC SCHOOL ADULT EDUCATION PROGRAMS . . . . . . . . . . . XX. REASONS GIVEN BY DIRECTORS WHO SHARED THE OPINION OF "IMPORTANT" FOR NOT SCHEDULING MUSIC CLASSES . . . . . . . . XXI. FULL- AND PART-TIME DIRECTORS IN THIRTY CITIES o o o o o o o o o o o o o o o o o XXII. ADMINISTRATIVE AND INSTRUCTIONAL RE- SPCNSIBILITIES O O O O O O O O C C O O . XXIII. LINE OF MUSIC PERSONNEL ADMINISTRATIVE RESPCLISIBII‘ITY 0 o o o o o o o o o o o o XXIV. QUALIFICATIONS OF MUSIC STAFF . . . . . . XXV. MINIMUM AND MAXIMUM HOURLY RATES PAID INSTRUCTORS OF ADULT EDUCATION . . . . . XXVI. REGISTRATION PROCEDURES . . . . . . . . . XXVII. FREQUENCY OF EVALUATION OF ADULT MUSIC EDUCATION CLASSES AND BY WHOM EVALUATED . XXVIII.ADULT EDUCATION AND MUSIC EDUCATION (a) BUDGETS o o o o o o o o o o o o o o o o o XXVIII.DISPERSEMENT OF MUSIC BUDGETS AND (b) SOURCES OF FUNDS FOR ADULT EDUCATION RIDGETS O I C O O O I O O O C O O O O O O XXIX. TOTAL ANNUAL MUSIC ENROLLMENTS AND PER.CAPITA COST OF ADULT EDUCATION MIJSIC SWEENTS O O O O O O O O O O O O O 67 71 72 7A 76 80 82 83 91 95 97 98 102 CHAPTER I THE PRO BLEM Introduction: Industry in the United States is moving more and more in the direction of ever-increasing production standards as a result of improved automation and advanced technology. As this trend continues, modern man Spends less time on the job and finds himself with more free time than ever before. He is presently confronted with a new problem, namely, how to make the best use of his increased leisure time. Ernest Havemann has appropriately named the present era in history "The Age of Leisure." (20:93) There is much evidence to support the fact that such an Age exists and that it is rapidly expanding. Our average work week had decreased from eighty-four hours in 1800 to sixty hours in 1900. The present standard work week of forty hours appears likely to continue its decline, thus providing most of our working pOpulation with an increasing amount of leisure. At the same time that this trend toward increased leisure continues, more people will retire earlier and live longer, thus producing a mushrooming pOpulation of retired men and women. (15:203) In some industries the work week has already declined below the forty-hour wook. The rubber workers in Akron, Ohio, - 2 _ have had a thirty-six hour work week for years. The Inter- national Ladies Garment Workers in New York are presently on a thirty-five hour week. The electrical construction work- ers in New York work an even shorter work week. They are paid overtime for any work done over twenty-five hours. (27: L16 ) What are Americans doing with their increased leisure time? Many read more. Some are becoming golf-oriented, travel-conscious, or sail-boat enthusiasts. Others collect stamps, old coins, match covers or exPensive paintings. During recent years, as will be pointed out in the sec- ond chapter, the art of music has reached a position of im- portance in America which it has never before been privileged to enjoy. Because music has reached this position of promi- nence in our national life, many Americans have turned to mu— sic as a leisure time activity either as listeners or as ama- teur participants. As adults become more absorbed in music as a leisure time activity they tend to seek out new ideas and new facts which will make the time they Spend in this leisure pastime more rewarding and enjoyable. A convenient place to obtain new ideas and new facts about music is through the local public school adult education programs. This study attempts to determine the role the local public school adult education programs are playing in provid- ing adults with the desired new facts and new ideas which are related to music. Statement of the Problem: The purpose of this study is: (1) to present an anal- ysis of the nature, status and extent or participation by adults in music offerings Sponsored by selected local pub- lic school adult education prOgrams, and (2) to identify any trends during the five-year period between 1958 and 1963 which the data indicated. Delimitations of the Study: I. This study will be limited to the public school adult education programs located in thirty cities in the United States between 150,000 and 250,000 pOpulation. (54:66) The thirty cities included in this study and the population of each according to the official 1960 United States Census were as follows: A1- buquerque, New Mexico - 201,189; Austin, Texas - 186,5h5; Baton Rouge, Louisiana - 152,h19; Bridge- port, Connecticut - 156,7h‘; Charlotte, North Carolina - 201,56h; Corpus Christi, Texas - 167,690; Des Moines, Iowa - 208,982; Flint, Michigan - 196, 9h0; Fort Wayne, Indiana - 161,776; Gary, Indiana - 178,320; Grand Rapids, Michigan - 177,313; Hartford, Connecticut - 162,178; Jacksonville, Florida - 201,030; Mobile, Alabama - 202,779; Nashville, Tennessee - 170,874; New Haven, Connecticut - 152,0h8; Providence, Rhode Island - 207,u98; - u - Richmond, Virginia - 219,958; Salt Lake City, Utah - 189,h54; Shreveport, Louisiana - 164,372; Spokane, Washington - 181,608; Springfield, Massachusetts - l7h,h63; Syracuse, New York - 216,038; Tucson, Arizona - 212,892; Worcester, Massachusetts - 186,587; Yonkers, New York - 190,634; and Youngstown, Ohio - 166,689. II. The period of time involved in this study will be from September 1, 1963, to June 1, 196h. Lefinitions: ADULT -- For the purpose of this study, an adult is de- fined as any person sixteen years of age and over who is not regularly enrolled in an elementary or secondary school er in an institution of higher learning. ADULT ELUCATICN PROGRAM —- A program sponsored for adults whose basic purpose is to help equip the individual with the knowledge, insights, and skills which will enable him to make the wisest decisions in his social, economic, and political life as well as to contribute to his personal enrichment. (5:379) ADULT MUSIC PROGRAM -- A program which consists of mu- sic classes, activities, services, or programs and which pro- vides Opportunities for adults and out-of-school youth to fur- ther their music education regardless of their previous musi- cal training. CONTINUING EDUCATION (Synonymous with Adult Education) -- A lifelong learning based upon the concept that continuous - 5 _ education is a requirement of living in a rapidly changing society. Further, that education in a modern society does not terminate after formal education has been completed but continues during the lifetime of the individual. PARTICIPATION -- The enrollment in and maintenance of a satisfactory record of attendance in one or more music classes or activities. PROGRAM -- In this study the word program will be used rather than curriculum in describing activities or non-credit classes for adults. Jack London, in his article,Program Develgpment in Adult Education, states that: In the field of adult education, "pro- gram" is commonly used to describe the type of activities develOped by a voluntary as- sociation, agency, or non-educational in- stitution for its public. In contrast, formal educational institutions call their programs the curriculum. Generally the curriculum is used to denote the formal credit courses whereas program indicates a more informal, non-credit type of ac- tivity. In its usage, program is a more flexible term than curriculum. For exam- ple, a university extension division is likely to refer to its campus courses of- fered in extension as part of its curric- ulum while referring to more informal, non-credit activities as its program. The more flexible term "program" is preferred by adult educators over "curriculum" be- cause it reflects the need to develop pro- grams eSpecially for adults rather than to carry over, unchanged, the programs devel- oped for Children and youth. (28:65) Significance of the Study: Very few studies have been made of the nature, status and extent of participation by adults in music offerings -6- Sponsored by local public school adult education programs. Since Americans are having more and more leisure time each year and since they are becoming involved in music, the need for such a study is very important. If a future program of music Opportunities for adults is planned which will moti- vate and foster the wise use of their leisure time through music, there is a need for an awareness of present knowledge. AS Wilmer V. Bell said in his article Our Role, "But know- ing where we want to go still leaves us helpless unless we have also some notion of where we are." (h:h2) This study, through the presentation or data, conclu- sions, and recommendations, should prove useful in many ways to directors of adult education programs, superintendents of Schools, music leaders in adult education programs, and school board officials. It is hOped that a balanced and more effective selection of music offerings on future adult education programs will result, and that a greater number of adults will be reached. Some of the practical values of this study are: 1. The data provided about the objectives, organiza- tion, and practices of adult music gives a true picture of the current status of music offerings on public school adult education prOgrams in cities between 150,000 and 250,000 population. 2. The data provided will serve as a basis for an ob- jective comparison and evaluation of existing pro- grams of adult music offerings. - 7 _ 3. By determining the changes which have occurred be- tween 1958 and 1963 in the number and kinds of mu- sic offerings scheduled on adult education programs, this study will indicate the trends which have taken place during this five-year period. h. Conclusions from the study may be useful in mak- ing recommendations which will contribute to an improved quality and selection of future music of- ferings. It is hOped the resulting programs of music offerings will capitalize on the interests of adults and will place them in contact with the desirable learning experiences needed for a feel- ing of accomplishment. 5. Methods are recommended for the eXpansion of adult music programs. Review of the Literature: A search of related literature revealed only a few stud- ies concerned Specifically with music offerings on adult edu- cation programs. No projects were found which were limited to the study of music offerings on local public school adult education prOgramS located in cities in the United States be- tween 150,000 and 250,000 pOpulation. The few studies found which were concerned with music offerings on adult education programs are reviewed in the following pages. A study made by Carl F. Schwarts was concerned with mu- sic offerings in selected public school adult education - 8 - programs in New York State. (47) This project examined ex- isting practices and discussed ways in which music scheduled on adult education programs throughout the state of New York could be improved. For this study fifteen communities were selected on the basis of size and geographic distribution. Five cities were included in each of the three following Size classifications: I. Over 100,000 pOpulation. II. Between 25,000 and 100,000 population. III. Under 25,000 population. Edward F. J. Eicher fashioned a program of music educa- tion for adults which was tailored to meet the needs of the adult pOpulation in Westwood, New Jersey. Westwood, a city Of 9,000 peOple, did not have an adult education music pro- gram at the time his study was made. The only musical Oppor- tunities available to adults in Westwood were church choirs and miscellaneous individually initiated ensembles. The study covered the initiation, organization, and Operation of the program. (lu) Hypothesis to Be Tested: There is a Significant relationship between the increased awareness, interest and participation in music as a leisure time activity and the inclusion of music classes on adult ed- ucation programs which are designed to nurture greater lei- sure time enjoyment of music through increased music perform- ance skills, appreciation, participation and knowledge of ba- sic music fundamentals. -0- I Procedure and Methodology to Be Used to Test the Hypothesis: I. II. III. IV. A search of the literature will be completed. Data about the public school adult education music programs will be obtained from a combination ques- tionnaire and check-list mailed to the director of each adult education prOgram. Other data will be secured from adult education catalogues, class schedules and printed brochures. Additional information will be secured from printed material on adult education, issued by various state departments of education. The data received will be tabulated, when necessary, and analyzed. Important facts and relationships will be pointed out. Conclusions will be made based upon the available data. CHAPTER II THE NEED AND RESPONSIBILITY FOR ADULT EDUCATION Music As A leisure Time Activity: In recent years there has been an increased interest in the arts. As August Heckscner said in his article, The Na- tion's Culture: New Age For The Arts, "Everyone knows that the arts in America are booming." (22:15) In reSponse to this new motivation in the arts, many persons interested in music make use of their leisure time by attending concerts, by playing or singing in community organizations, or by learning how to sing or how to play an instrument. Several authorities, prominent in the musical world, have written about the recent increased interest in music and the gratifying manner in which the public has supported the variety of musical performances taking place in this country. Virgil Thompson, well-known New York music critic and composer, said in his article, Opera: It Is Everywhere_in America, "The public in America is avid for opera. Every manager knows that." (52:16) As further evidence of this trend, Opera News reported in the feature article Filling Out a total of seven hundred and sixty-nine Opera-producing organizations functioning in _ 10 _ - 11 - the United States during the 1961-1962 season which together produced a total of four thousand and thirty performances. (29:22) It went on to report that during the 1950-1951 sea- son there was a total of only three hundred and sixteen Opera- producing companies performing about twenty-five hundred per- formances. According to this report, Opera-producing organ- izations increased fifty-nine per cent and opera performances increased sixty-two per cent during the eleven-year period between the 1950-1951 and the 1961-1962 seasons. Carl Haverlin, President of Broadcast Music, Inc., re- ports that more than half (thirteen hundred) orchestras of the two thousand symphony orchestras of the world are in the United States. Of the thirteen hundred symphony orchestras existing currently in the United States only thirty existed in 1900. (21:2) Symphony orchestras in America are to be found in cit- ies of all Sizes. They can be found in cities of only twenty- five hundred population as well as in large metrOpolitan cen- ters. Mr. Haverlin further states that there are less than a dozen cities in the United States in excess of fifty thousand pOpulation in which there is not a symphonic ensemble of some kind. Harold C. Schonberg, New York music critic, commenting on the expanded 196h-l965 orchestra season in New York City made this statement in the New York Times: - 12 _ America is a country of symphony orches— tras, and Americans support their orches- tras. When it comes to symphonic orches- tras, no country in the world can touch us. (h5:1l) Many adults are not content with the role of being pas- Sive listeners. They wish to participate in some form of musical activity, even if only on an amateur* level in their home or in their neighbor's parlor. This is impressive evidence pointing up the fact that many Americans enjoy music as a leisure time activity -- by attending music performances of various kinds, by amateur participation in music, or by a combination of both activi- ties. As leisure time continues to increase, many other Amer- icans who are fond of music but who possess no knowledge of, or skill in, music will look to established institutions and organizations for instruction with the hope that increased musical knowledge will enable them to enjoy music more dur- ing their increased leisure time. Many adults seeking music instruction will, no doubt, turn first to the adult education programs Sponsored by lo- cal public schools because these programs are readily avail- able, accessible and flexible. However, it is well known * An amateur musician is defined as someone who plays a musical instrument six or more times a year (either in private or with organized music groups) or someone who is receiving instrumental instruction of some type. (2:1) - 13 - that other institutions and organizations are also capable Of providing this same service and often are interested in doing so. In a time of increasing leisure and greater national awareness and appreciation of music, the question is often raised about the status of music for adults on adult educa- tion programs sponsored by local public schools and other public or private institutions in the community. Other ques- tions which also come to mind are as follows: (1) Which in- stitution or institutions in the community should assume the major reSponsibility for Sponsoring music offerings on adult education prOgrams to meet the challenge of the "Age of Lei- sure" and the growing interest in music as a leisure-time activity? and (2) Are these institutions, by means of their adult education programs which are the vehicles for adult music offerings, successful in nurturing the wise use of lei- sure time through music? This study of adult music will attempt to answer these and other questions. Need for Continuing Education: We are living in a time of rapid change. The knowledge explosion, the scientific explosion, the technological eXplo- sion, and the social revolution have posed problems of vast dimensions for the present generation of adults. The drastic changes taking place have been teleSOOped into less than the lifetime of an individual for the first time in the history _ 1g _ of mankind. The great complexities of today's world requires adults to become a society of "lifelong learners" just to keep abreast of this emerging age of endless discovery. The late President John F. hennedy made this statement about "lifelong learning" before the joint NAPSAE—AEA Conference in 1960: . . . We live in an age of rapid social change and unprecendented increase of new knowledge and scientific invention. In such an age we must do all in our power to strengthen our great system of formal education. But we must not stop there. We must also rOOOgnize that a free society today demands that we keep on learning or face the threat of na- tional deterioration. We must educate people today for a future in which the choices to be faced cannot be antici- pated by even the wisest now among us . . . The agenda before the American peo- ple is great. The problems are complex. I believe that an American who understands the importance of '1ifelong learning' will be able to deal with those problems more wisely and more vigorously. I am, therefore, pleased to express my support of those who are working to strengthen the adult education programs of our universities and colleges, our schools, our libraries, and our voluntary citizen organizations. Your efforts are helping America to move forward toward greater strength and cultural vitality which can make our nation once again a beacon light among freedom-loving peOple everywhere. (33:8) The need for continuing education is also clearly estab- lished in the following statement of basic philoSOphy issued by a Joint Committee on Adult Education: Lifelong learning is vital for every in- dividual . . . Automation, increased -15- leisure time, pOpulation mobility, and rapid scientific Change have made learn- ing a lifelong guest. (32:2) In other words, education has become an Open-ended pro- cess which can never be entirely completed as long as there is life. It is a continuing process which begins at birth and continues throughout life. Rggponsibilityfor Adult Education: Since education in modern society is "lifelong learn- ing" one immediately asks the question, Which educational institution or institutions in the community should assume the reSponsibility of sponsoring an adult education program? During the period in our country's history when great numbers of immigrants from foreign lands created a need for adult classes in Americanization and literacy, communities naturally turned to the public schools to meet this need. (h8:lh6) However, since that time the concept of adult edu- cation being predominantly a remedial prOgram on the part of public schools has given way to the concept of a broad pro- gram to meet a wide range of adult needs and interests. This "need-meeting" doctrine, at first advocated in the writings of Edward Lindeman in 1925, soon gained general acceptance and nationwide adOption by Sponsors of adult education pro- grams. (26:135) The Joint Committee on Adult Education, in addition to drawing up a basic philOSOphy of adult education stated ear- lier, also issued the following statement regarding the re- Sponsibility of the public schools for adult education: -16- The public schools are maintained by society, are convenient to all adults ev- erywhere, and are the agencies best equipped to provide the coordinating administrative framework, some of the physical facilities, and much of the Specialized personnel to implement adult education in each community, including the programs of many voluntary groups. The education of adults, therefore, is an integral and necessary service of the public system. In a society of great mobil- ity, the public school can come to represent a familiar and friendly source of stability and assistance to the individual. (32:2) Woodward made a survey in 1958-1959 to determine, among other facts, the local public school Sponsorship of adult ed- ucation programs on a national level. For the sake of con- venience in making the survey the statistics represented the following three school system enrollment size groups I, II, and III as follows: (57:5) Enrdllmentl Elementary and secondary school Size group enrollments of school systems Group I . . . . . . . 25,000 and over Group II . . . . . . . 12,000 to 2h,999 Group III . . . . . . . 150 to 11,999 Table I which presents the results of the survey in this classification system, points out the fact that adult education programs were found more often in the larger school systems than in the smaller ones. AS illustrated in Table I, nearly nine out of ten school systems in Group I reported adult ed- ucation programs as contrasted with three out of ten in Group III. _ 17 - TABLE I. LOCAL PUBLIC SCHOOL SYSTEMS OFFERING AN ADULT EDUCATION PROGRAM, BY ENROLLMENT-SIZE GROUP, FOR CONTINENTAL UNI‘ED STATES: 1958-59 % Total School Systems Scnool Systems Enrollment- School Offering An Not Offering Size Group Systems Adult Educa- An Adult Edu- tion Program cation Program Group I 100 88.6 ll.h Group II 100 76.3 23.7 Group III 100 31.0 69.0 .‘—— The decision to direct this study of adult music offer- ings to adult education prOgrams Sponsored by local public schools rather than to those Sponsored by other public or pri- vate institutions in cities between 150,000 and 250,000 popu- lation.was influenced: (l) by the convincing arguments stated earlier pointing up the fact that local public schools have the major reSponsibility of Sponsoring adult education pro- grams in any community, (2) that the data presented in Table I indicated that nine out of ten of the larger school systems actually did Sponsor adult education programs. As far as this study was concerned, it was logical to conclude that a survey of local public school adult education prOgrams in cities be- tween l50,000 and 250,000 population would be more fruitful than a survey of other institutions or organizations, public or private, which also Sponsored adult education prOgrams. * By Marthine V. Woodward CHAPTER III OBJECTIVES AND INTERESTS The Questionnaire: As was indicated in the introduction to the study, the purpose Of the study was to analyze the nature, status and extent of participation by adults in music offerings Spon- sored by local public school adult education programs. A copy of the combination questionnaire and check-list designed to obtain the desired information was sent to the public school adult education directors in each of the thirty cit- ies in this survey.* All thirty questionnaires were returned. The replies of the adult education directors were, in most cases, complete. Some directors were interested enough to supply additional information, while others left some ques- tions partially unanswered. In the latter case, letters were sent, sometimes a second and even a third time, to the direc- tors to secure the desired information. When the third let- ter was unanswered, long distance calls were made to encour— age the directors tO reSpond. This was done in three cases. In due time, all questions in the thirty questionnaires were satisfactorily answered. The replies indicated that only nine adult education programs out of the thirty surveyed included music offerings * A OOpy of the combination questionnaire and check- list is included in Appendix A. _ 18 - _ 19 _ for adults. Since this study is concerned only with music offerings and not with adult education programs, this report will be limited to a study of the nine programs which in- cluded music offerings. These programs were located in the following nine cities: Bridgeport, Connecticut; Des Moines, Iowa; Flint, Michigan; Hartford, Connecticut; St. Petersburg, Florida; San Jose, California; Springfield, Massachusetts; Syracuse, New York; and Worcester, Massachusetts. Credit and Non-Credit Adult Classes: A study of adult education literature reveals that both credit classes leading to a certificate, diploma, or degree and non-credit classes are offered on present-day adult edu- cation prOgrams. An adult can take credit classes which lead to an Elementary School Certificate, a Junior High School Certificate, a High School Diploma, or a Junior College De- gree. (12:2) Frequently, adult education programs offer a series of required courses which lead to a certificate in one of the following fields: (1) Public Employees' Training, Man- agement and Supervision, (2) Secretarial Training, and (3) General Office Practice. (12:23) Adults enrolling in a program of credit classes which lead to a certificate, a diploma or a degree are required to follow a curriculum of prescribed classes, each.with it own definite objectives. At the other extreme of the continuum are the non—credit classes based upon needs and interests which adults themselves express or which they can be led to recognize. (28:67) If a - 2Q _ class or activity has a clear and an unmistakable relation- ship to the needs and interests of an adult, it will attract and hold him. A creative instructor will take the adult where he is and by means of well chosen materials and learn- ing experiences will enable the participating adult to grow in the breadth and depth of his needs and interests. To summarize briefly, adult education prOgrams include curricula of prescribed classes which lead to a certificate, diploma or degree. In contrast to this, classes are also of- fered based upon needs and interests of adults. Since adults do not have to attend classes, but enroll in adult education courses voluntarily, adult education directors hope to moti- vate adults to continue learning throughout life by offering both types of programs. Basis of Class Organization: The questions in the first part of the questionnaire were designed to determine the basis on which the adult mu- sic programs were organized. Were they organized on the ba- sis of definite objectives in a manner similar to classes leading to a certificate, diploma or degree? Or were they organized on the basis of need and interest? In addition, the directors were asked to indicate by whom the objectives were develOped and how the needs and interests were determ— ined. A definition of an objective at this point will enable us to more effectively evaluate and to more intelligently interpret the objectives given by the adult education directors - 21 - in the returned questionnaires. Carter V. Good defines an objective as an "end in view, or purpose of a course of ac- tion or a belief." (18:371) To expand the meaning further, an objective serves to direct learning towards a desired end. (28:68) Table II illustrates the basis on which the nine adult music programs were organized. Music offerings on four pro- grams were organized on the basis of definite objectives while five were organized en the basis of interest. It is interesting to note that the Hartford adult edu- cation program Offered Music Appreciation as a high school credit class. All other music offerings on the nine adult education programs were non-credit classes as will be shown later in this study. Determination of Definite Objectives: The adult education director in Hartford and his High School Completion PrOgram Committee determined the definite objectives of the Music Appreciation class. The adult edu- cation directors in Springfield and Syracuse shared this re- Sponsibility with the music instructors. In St. Petersburg the definite objectives were jointly determined by the Super- visor of the General Adult Education Program, students and listening participants (members of the audience). Determination of Interest: Table II further points up the fact that the music of- ferings on five adult education programs were organized on the basis of interest. Questionnaires from Bridgeport, Des K 02 OmOh cam Amocoapdw can go muonsOsv mpsmmfioappmm .m .mpcow udum cams: .m .noapwosnm pannm Hwnocmw .momwsnoQSm .H new mpdnmpopmm .pm .Ewpmosm cofipoamsoo Hoonom swam can so ompdoo uwomho HOOhom swan a ma Oman cmpomuo was coHpmHoonm use canes "maoz .OOppHEEoo swam nopm sofipoaaeoo Ma Hooeom swam new _ honomaflc coHp awodoo uadpd mow onoupnmm .epsoe ho ego: .m .I .mpadpm song mpmodvop deppapz .H x oz psaam M oz mmdwoz meg x oz phomomvam OOcHEsome 30: name moooz cofiwmcwspmwma ozwmow mecsseOo nhmde mm>Hpoowmo ochHmOm .memmfiMBZH mad mammz mo mm>HBomhmo WBHZHme mo mHm .m "one on: mPHdcw paw .mdonnoxmm .o no; u mdehg pmmnoch Hmaoomm .m .onmwm .o .mnficwmnp Hwoamde msoH> .nmmpo .0 song mo mum-unmmen momma-map .hmpwdm .o unopom new mpmepmuca HwOHmds .cmfinhoood .m C30 man on mcfiomooom some "so cofipodppmdfi mum-o .m .ucmeHHHMHSM awdnfiswmhw new .ompsoo hmcmmpucx Scam .H amom OH I wcmomoawhm Hahocoo .H aha-m .onmwm cum“ uncapoch 6cm mchchmm .N u.cmmpo opww upoSpmpCH 6cm maficcfimmm .H .Cmsam Osoz mOcHOz mOQ .OHmSE mo soflpmfioongmm cm MQHQOHO>OO ca copmmpopcfi one 033 maadcw poi .N .mcH .coHpmHomnmm< on52 .N umnwm mouse 0:: mad mnwwcwm cw .mcamcfim Hmpono .H oopmonmpnw Ohm 033 mpadcm mom .H pmommmnwnm mmcHLomwo cams: mpmmpoch moapwo -oza stamv .memmmSBZH .HHH mqm¢9 - 3o - .pnmn psoocoo .m .mpdossnpmcH omen» so OOHOOmag choHpanm CH new doapwmaoapmma adopm ca .m .OHmSE mum-oopmgm 0» Asmampm mes mesmoamsoe an .H .cowpmHOOhga< camdz .H «nepmmhopdfi ond on3 evaded noh topmoopoz .coprmHOprdm adopm no mpHHHanOOm ecu cmH3 .> .OQSmeHQ pom Osman and campo on» Sean on 303 gamma Op nma3 .o .smpadm cuaz mnawcam one macmcmpoon c- oopmopopca and .m .mco .mommwao osoow esp Ham .w -ssmh owmdg SH nopmmpouca mad .: .mommmao ocmwm and nmmpo .o .mpaoho homage u .pmpaso one camsa maom .n hampdpdoom Once mede camp Op .hcoEpmm .3 306 mnflcpmoa cw nopmopopda cam .m .mnwcmox ofimdz .m .oamss hence .N .nOHpmHOOham< owmsz .N .oamde debd .aofipwfioommm4 owmdz .H egos mnacamoa SH @mpmopoch ond .H "033 nuancw pom mmob new amnwhomgo cams: mummpmch moan-o -eose3ucoo- .HHH mqmea - 31 - to play the accordian, guitar, organ, piano, or saxophone. A Band Refresner Course was scheduled for persons wisning to "sharpen their long-neglected playing skills." Persons interested in singing enrolled in Voice Class, the Norton Male Chorus, or Mothersingers. Those interested in what makes music "tick" enrolled in Let's Explore Music or Notes and What They Mean. The music offerings in San Jose were scheduled to meet a variety of interests. The San Jose adult education pro- gram was the only program in our study which offered classes for adults interested in music reading, harmony, and hoote- nanny and singing to guitars. The other classes were sched- uled for persons interested in developing a greater apprec- iation of music or in learning how to play the piano or elec- tric organ for pleasure. AS in the case of Bridgeport, the Music Appreciation Class in Worcester was organized "for adults who are inter- ested in develOping the ability to appreciate music." The Concert Band was "for adults interested in group participa- tion and in additional practice on their instruments." Summary: The music offerings on four programs out of the nine were organized on the basis of definite objectives while the music offerings on the other five programs were organized on the basis of interest. The adult education directors were key figures in de- termining the definite objectives of the music offerings in .I-ll.‘ I‘ll!!!" illlll‘l‘l llnllill‘lllilllllllll‘lill _ 32 _ Hartford, St. Petersburg, Springfield, and Syracuse. Music instructors in the last three cities had an important role in assisting the directors in this determination. In St. Petersburg, students and the listening participants were also given an Opportunity to express their views on this point. Music offerings on the remaining five programs were scheduled on the basis of adult interest in certain areas of music. Three directors did not indicate how these interests were determined in their communities. In Flint and Worcester the interests were determined by "written requests from adults" and by "word of mouth." Many of the definite objectives given in Part One of Table III promoted participation in and enjoyment of music during leisure time. One can conclude, therefore, on the basis of these data that music offerings in this study were designed, on the whole, to acquaint adults with the leisure time potentialities of music. CHAPTEH IV CURAICULUM CONTENT AND CHGANIZATICN In discussing adult education for the enrichment of living, Grattan stated: On the record it is clear that the man- agers of adult education have had least success in making these fields of inter- est continously parts of their programs. . . . Certain it is that American adult education has had very little to do with the vast diffusion and acceptance of su- perior music in America. (19:305) Realizing this fact, it was not surprising to find that: (1) only nine adult education programs out of the thirty which were surveyed included music classes, (2) only one or two music courses were included on Six programs, and (3) only three programs included four or more different music offerings. As illustrated in Table IV, the adult education pro- grams in Hartford and Syracuse scheduled only one music class each. The programs in Bridgeport, Des Moines, Springfield and Worcester each scheduled two music courses. It was grat- ifying to find that three adult education programs included the following number of different music Offerings: St. Petersburg, four; San Jose, six; and Flint, eleven. Number of Adult Music Classes Offered and Sections Scheduled The data obtained from the thirty survey questionnaires indicated that there were a total of thirty-one different - 33 - - 3g - 0H 0H H 00.: 0mH m ocmHN 0H 0H H 00.: 0mH N mango 0H 0H H 00.m 0mH H .oosnna onss NH NH .N 00.: 0mH H mesono .ssaeoo whenmsmpom .pm on H wH mH H 0002 0mH H .omsmme onsz eschpsmm NH NH H 00.m 00 H ewes Nona use: s 0302 OH 0H H 0202 0NH H unnono can: counoz NH NH H ocoz omH H mmomcemnmnpoz NH NH H 00.m 00 H 0Hmez encamwm m.pmq NH NH H 00.m 0NH H .amQNHom 00mm NH NH H 00.m 00 N 00H0> NH NH H 00.m 00 N oeoenowmm NH NH H 0m.0 AN 0 oesHm NH NH H 00.m 00 N cameo NH NH H 00.m 00 m pasHse NH NH H 00.m 00 N 0NH0noooe peHHm 0H 0H H 0m.~ 00 N .0mssop0H s .nHmOm .onNHm 0H 0H H 00.0H 0NH N .0mesopeH s .dwwom .dwmno mmcaoz mom 0H 0H H 0002 0NH H eoHpe nHoonaad cams: 0H 0H H 0002 0NH H meHmeHm Hasoeo pnodmmeHnm .500 .spz HHem Hem: eoHH- mopscHz 0H meoHp mmeo NpHo Emma Hoonow Lon nase npmnoq mmwao loom pom mxooz mmcfi -Hooz El HE ZOHadNHz¢UmO 92¢ Bzmazoo ZDHDUHmmDU .>H mqmde _ 35 _ op mommeo Hm deeoe 0H 0H H 0002 0NH H .00Nmm4 0H002 0H OH H odoz 0NH H chum phoocoo pmpmmopoz 0H 0H H 0m.: 0NH H 0Hmsz mcHsoficm 00000HSN oH OH H ocoz om H OHmsz HNOHm nmNHo Op .opch 0H 0H H 000a 0NH H 00HH0HN 000HN no mHNpCmemvdsm OHOHHmcHan OH OH H whoz 0NH 0 ocde OH OH H whoa omH N damno 0H 0H H 0002 0NH H 00H000z 0H002 0H 0H H 0002 0NH H .00Hhh< 0H002 OH OH H ocoz omH H hcoEme 0H 0H H Odoz owH H nmpHdm a OHm :32 xHom .nos¢ omOh cam G .Esm .mp3 HHNm x003 coHp mmpscHz cH chHp mmmHo tho smog Hoocom New quB npmcmH mmmHo loom hem mxomz mmcH :uoez Apochpnoov .>H mqmde -36.. music offerings scheduled on the nine adult education pro- grams. The data further indicated, as shown in Table IV, a total of sixty Sections. Some music Offerings were sched- uled as single classes while others included as many as seven sections. Other classes which had a large number of sections were the piano classes in San Jose and Flint, each having six Sections. Table V gives the number of different classes and cor- reSponding number of sections scheduled on each of the nine adult education programs. Number of Adults Enrolled in Music Classes Table VI gives the total enrollments* in the adult ed- ucation and the adult music programs during the fall term of 1963-6h. This table also gives the percentage ratios of the number of persons in the adult music programs to the adult education programs. An analysis of the enrollments in this table reveals the great difference which existed in the total number of adults in the music classes scheduled by the various pro- grams in this study. The largest enrollment of four hun- dred and twenty-five adults in Flint was thirty-five times as great as the smallest enrollment of seventeen adults in Syracuse. * Total enrollment is defined as being the sum of the number of persons enrolled in each class. TABLE V. NUMBER OF DIFFERENT ADULT MUSIC CLASSES AND SECTIONS SCHEDULED NumbEr of Dif- Number Communities ferent Classes of Sections Bridgeport 2 2 Des Moines 2 4 Flint ll 27 Hartford 1 1 St. Petersburg h 9 San Jose 6 12 Springfield 2 2 Syracuse 1 1 Worcester 2 2 Totals 31 60 - 38 - TABLE VI. PERCENTAGE OF PERSONS ENROLLED IN ADULT MUSIC CLASSES AS COMPARED TO THE ENTIRE ADULT EDU- CATION PROGHAM ENROLLMENT Number of Persons Number of Persons Communities Enrolled in Adult Enrolled in Adult (Per- and POpulation Educ. Classes Music Classes centage Bridgeport 3,600 60 1.7 156:74' Des Moines 12,000 103 0.9 208,982 Flint 2h,000 h25 1.8 196,940 Hartford 5,500 AS 0.8 162,178 St. Petersburg 5,550 272 h.9 181,290 San Jose 13,000 300 2.3 20h,l96 Springfield 9,000 35 O.h 174,863 Syracuse h,000 l7 0.h 216,038 Worcester 1,900 NO 2.1 186,587 - 39 - A further examination of this table points out the fact that the same situation generally existed in reSpect to the total number of adults enrolled in the various adult educa- tion programs. These totals are also characterized by great differences in the reported amounts. The largest enrollment in Flint of 2h,000 adults in the adult education program was 12.6 times as great as the smallest enrollment in Worcester of 1,900 adults. The data in Table VI does not reveal any definite re- lationship between the pOpulation of a community and the total enrollment in its adult education prOgram nor between the total enrollment in an adult education and its adult mu- sic prOgram. Classification of Adult Music Classes The music offerings on the nine adult education pro- grams may be grouped into four classifications as shown in Table VII. These classifications are: (1) class instruc- tion for instrument or voice, (2) classes designed to de- velOp and increase an appreciation of music, (3) group par- ticipation in small or large ensembles, and (4) classes devoted to the basic fundamentals and theory of music. The largest number of music offerings were in the first classification, class instruction for instrument or voice. This group embraced thirteen classes or forty-one per cent of the total music offerings on all nine programs. Further, the only classes in this study which had more than one section -140- 0.0 o.MN 0.0N1. o.H: mmmwpcoonmm m N 0 N: mH 0H0009 chmm pnoonoo .Ocnmm¢ OHmBS noumoopoz OHmsz mcHhodcm endomnhm .SH mo mmw . a H00H.0nme H 000HN 0H0H000Hshm mcHhmmm ommsz pmpst m OHmsz o OCNHm whospmm xHoh hmOHhms< .omnmmd OHNBS N cmwno chow Sam M, ocme mSHOSQ .CSEEOQ .oenmm< OHmdz N dmmho mndhmaopom .pm .ooHQMN OHNSE Onouuhwm N 00H0> mSHOHO N enocmoxwm mHmz connoz 0 Ohde mnemchpocpoz w cwmno dmmz mesa OHmdz m HmpHdw 9003 N 00902 .cmonwmx 000m 0HOHme m.pmH N hmHopoood chHm N ostm N ammuo mocHoz mOQ manCHm HNHOBO .oopHQg OHmsz pnomempHnm OHmsz m0 whoose hOprmwprnmm noHpmHompmm< msoHpomm memmmHo mOHuHo 000 Handoe adopm ummcdm onmm BOHpodnpmnH mmeo >H @3090 HHH QSOHG HH gnonm H adonm mmwm mgmwa - g1 - were in this classification. According to Table VII, this category included forty-two sections (seventy per cent) of the Sixty sections in this study. In recent years, according to the American Music Con- ference, tnere has been a boom in adult amateur music par- ticipation in this country. (21:1) It is apparent that di- rectors of adult education programs were aware of this trend and that they had scheduled the greatest percentage of their music classes in this area to meet this rapidly growing in- terest in "music making." "Self-made music" is second only to reading among the nation's leisure time participation activities. (2:1) The second largest number of music offerings, eight classes or twenty-six per cent of the total, were in the second classification, classes designed to develop and in- crease an appreciation of music. As stated in the Intro- duction, more Americans than ever before are attending con- certs of every description. Many of the concert-goers are interested in experiencing greater enjoyment from the music they hear. Because of this desire, they devote some of their leisure time to the study of music on the theory that greater knowledge will result in greater enjoyment. Adult education directors in the nine cities scheduling music classes were sensitive to this situation and reSponded by offering such music classes. The third largest classification, group participation in small and large ensembles, included seven classes or -L‘Z- twenty-three per cent of all Scheduled music offerings. The ensembles in this classification provided Opportunities for the amateur instrumentalists or singers to make use of their leisure time in group participation. Some of the rewards of group participation were personal growth and development, mu- sical satisfactiOn and giving pleasure to others through quality performance. The smallest number of music offerings were in the fourth classification; classes devoted to the basic fundamentals and theory of music. This classification included only three classes or nine per cent of all music offerings. Adults in- terested in the harmonic structure of music and in improving their ability in reading music found these classes interest- ing and profitable. Piang, Guitar, and Organ Class Sections. The three most pOpular instruments in the United States, in order of popularity, are the piano, guitar and organ. (2: 15) According to the American Music Conference, there are about 9,300,000 pianos in the United States. Approximately 8,700,000 of these are in homes. The fact that more pianos were sold in 1963 than in any single year since 1928 attested to the continued and increasing popularity of this instru- ment. (2:16) The guitar is the second most popular instrument in this country. Its pOpularity, over a long period of time, -g3- was due to a sustained interest in country music while its recent great pOpularity was due to a boom in folk singing. More guitars were sold in 1963 than in any year since 19h0, the year guitar sales were first recorded. (£3:16) About seventy per cent of all organs, third most pOpu- lar instrument in this country, were purchased for home use by adults in the thirty to fifty year age group. (2:16) Since 1960 the sales of organs exceeded 115,000 units each year. This fact testified to the continued pOpularity of this instrument. As illustrated in Table VIII, there were more sections of classes scheduled for piano than tnere were for guitar or organ. This was 33.3 per cent of the total number of sections scheduled on all nine adult education programs, a fact which reflects the pOpularity of the piano.* The second largest number of sections, 21.7 per cent were scheduled for the organ, the third most pOpular instru- ment in this country. The smallest number of sections, 6.6 per cent were scheduled for the guitar, the second most pOp- ular instrument in the United States. There were thirty-seven sections of classes scheduled for piano, guitar and organ out of a total of sixty sections on the nine adult education programs. In other words, 61.6 per cent of all sections scheduled were devoted to the three * As illustrated in Table V, there are a total of sixty sections included on the nine adult education programs in this study. _ g“ - TABLE VIII. PIANO, GUITAR AND ORGAN CLASS SECTIONS Piano Guitar Organ Communities Sections Sections Sections Bridgeport -- -- __ Des Moines 2 -- v 2 Flint 6 3 7 Hartford -- " " St. Petersburg 5 __ 2 San Jose 6 l 2 Springfield 1 -- -- Syracuse -- _- -_ Worcester -- -- -- Totals 20 A 13 Percentages (Based upon the sixty sec- tions inflthisfgtudy) 33.3 6.6 21.7 most pOpular instruments in tnis country, the piano, guitar and organ. The three adult education programs having the largest number of sections for piano, guitar and organ were: (1) Flint, sixteen sections; (2) San Jose, nine sections; and (3) St. Petersburg, seven sections. Lgngth of Classes in Minutes -- Compiled by Communities According to the data received in the questionnaires, the length of music offerings on the nine adult education programs ranged from sixty to one hundred and eighty minutes. In order to obtain a clear picture of the situation, all the -LJ,S- music offerings were compiled in relation to the six class lengths reported. In Table IX the various music offerings were listed by communities while in Table X they were listed by the four classifications illustrated in Table VII. As shown in Table IX, fifteen of the thirty-one classes in this study were 120 minutes or two hours long. This group represented h8.u per cent of all music offerings in this study. Five classes, 16.1 per cent, were 150 minutes or two and a half hours long. There were four classes sixty minutes long and four classes ninety minutes long. Each of these groups represented 12.9 per cent of all music classes. Only two classes in this study, 6.h per cent, were 180 minutes or three hours long. Length of Classes -- Compiled by Classification Table X lists classes contained in each of the four broad classifications previously described. Each classification and the music offerings included will be discussed briefly. 1. Class Instruction for Instrument or Voice. 0n the basis of the data presented in this classification in Table X, it is not possible to conclude that there was a definite trend towards any particular class length. There were three classes sixty min- utes long, three classes ninety minutes long and three classes 120 minutes long. Further, one class was seventy-five minutes long, two were 150 minutes long while a third was 180 minutes long. 3.0 H.6H :.nm o.ma m.m o.mH ommpcoopom mommmao m mommmao m mommmao ma mommwao : mmmao H mommwao : manpoa .ompmm< .msz nu un cnmm pnoocoo nn nn nn Amumoohoz nn nn .de meahoficm nn nn nu omdowphm cams: Hwoam nmmaw on .onch mnw mam ocwfim nu nn mo .pcsm nu nu nu namwmmcapmm sawho osmwm pwpfidw mcwowor .mdz a oamdz .oonQQ4 .msz xaom .s¢ mcoSpmm un nn nn ouch cam ocmwm _ Cmmpo ,6 .oohmmd .msz ma nn mapozo .Eoo nu nn un nn mannmpmgmm .pm — l' nn .oopmm4 .msz nn nn nn nn ohthpmm oamsz opoam cmoz mapono nxm m.pmq acne pang mama counoz moao> a mopoz mammnampogpoz oconmoxmm nmmpo un nn .mmphom Unmm .ppooo< onmfim papasw pcfiam nn nn cmflno nu nn ocme monaoz mo: nn nn nMde mwaono nu nn nu phommM@Hpm .095 .a .3 owa oma oma 00 ON 00 mmapwo mmHBHZDEZQO Mm quHmzoo nu mmaDZHE 2H mammdqo mo mawzmq .xH mam¢a .mQSOLm hdom 0pc“ mmdamomgo owmse Haw mo coapmowmwmmwao on» new HH> manna mom * cwmz huge ownsz meacmom .msz pan: no hpoona can hcosnmm a mopoz mampCoEmvcsm oammm .omnmm¢ .msz .II OHmsz wcahoncm cams: Haoammmao on opch sands .omnmm< .mdz .omeQ4 .mdz opoag .oonaQ¢ .msz .ompgad .mdz nwm m.pmq coapwfiomnmmd ccmm upmomoo mspoco mam: coupoz mpomchhonpoz ampasw .cmmppmm onm S camsz mew soapmmaowp xaom .E< mdpogo .Eoo nmcfim Hmpoco upwm macaw em- ocmam mowo> nwmmo onwam ocmam odocaoxwm nmpfidw cmaho swmmo cmwpo cmvaooo< onmfim onwam coaposnpmcH mmmao OQH omH omH om op om costouhHmmsHo ZOHB.~> .mmmmwao on can mean on co>omndwm.mm .mmmmwao haw osmIWEmpmonmnoze .mempmonm : u mommaao mcflco>o HH¢ .sm .Rm.mm .msapwopn m n mommwao mcwno>m can hug ocoz Amcado>o ohm ca mommwao Hadv maoonom cacosm nopmoonoz nopuooaos chwdo>o odoz on» ad mommmao HH¢V endomnhm no mHoonom whaccbm padod oaansm one ongosnhm mcoz «mommwao mcacm>m HHo and hwmv .z.m sum .ge .oonnns .msz compassem paso< once saw &m®mmwao mcho>o 6cm hmmv ocoz coama>am coapwodom pase< one Hmowcgoma .Hmcowp nwoo> n maoonom .oo maaamnwm whammamumm .pm Amommwaonmchm>o 6cm Namv 0coz mHoonom uadc¢ chompnwm anchpnmm .S.m mnomua .59 ofimdz AmommmaoiwcHCm>o was hmmql muoamxm m.poq .osem no .sm ucwam on» no .z.<.aanoa use mamas ammwo sawmosm cowsaosem pHse< uses sedan .2.< oano .ne mmmao sawho mmmmwaonmcano>m and ham mcoz cmEoz can has now coHpmosnm wcHchpcoo monfioz moa Ammfisc>o on» ha and mmmmmao HH<% ocoz mHoonom unmaz owansm unogowoapm pnoamwownm o d o 0 mm o muggsm mommmaoimcHCm>m 6cm ham moapao a c n m mwMMLQMWD ommdfl mEmpmonm spwpmodmm pHde Ho mama .fln .35 ads mama mwszmmmo 3”th .HN mam: - 51 - It is apparent from this data that classes in the first clas- sification.were in greater demand than classes in any of the other three classifications. A situation which further limited the possibility of day music classes being scheduled was the fact that four, uu.h per cent, of the nine adult education programs offered only evening classes. As shown in Table XI, evening programs existed in Bridgeport, Springfield, Syracuse, and Worcester. Based upon the above data, it is quite apparent that adults were presented with very few opportunities by the programs in this study to elect day music classes. Public Performance by Adult Music Groups Many persons enroll in adult music classes with little or no previous musical training. Their immediate objectives are to acquire elementary musical skills and knowledge. 0n the other hand, other adults who already have acquired some musical skills and knowledge earlier in life enroll in more advanced adult music classes or groups. Examples of these classes or groups are intermediate or advanced group instruc- tion, community choruses, orchestras or bands. Adults who have advanced far enough to perform adequately before an audience are motivated by such a challenge to: (l) greater effort, (2) give more attention to details, (3) de- vote considerable time out of class to becoming more profic- ient at these particular tasks, (4) achieve a higher level -52- of group performance standards, and (5) give pleasure to others through quality performance. Adult education directors were a3ked to report on the survey questionnaires the adult music classes or groups in their programs which presented formal public performances. The responses are shown in Table XII. TABLE XII. PUBLIC PERFORMANCES BX ADULT MUSIC GROUPS L— 4—— J ——— ‘———— W t Communities Concerts by Adult Music Groups Admission Policy Bridgeport Evening School Closing Assembly Free by the "Choral Singing" groupg 93s Moines None ‘__ Flint Mothersingers Free Norton Male Chorus Free Hartford None St. Petersburg Community Chorus Free Oregan Class Free Piano Class Free San Jose None Springfield None Syracuse None Worcester None In six of the nine programs in this study none of the adult music classes or groups performed in public. The Bridgeport Adult Education Program presents an an- nual evening school closing assembly called "Closing Exer- cises." (7:1) To give this program "status and prestige" -53- the mayor was invited to give the introductory remarks. Dur- ing the evening, Bridgeport board of education members were introduced. The purpose of the program was to recognize the accomplishments of the adult students. Speech Contest, Art Contest, and Perfect Attendance Awards were presented by the superintendent of schools and by the adult education direc- tor, each sharing part of the responsibility. A fashion show was presented by members of the sewing classes. The Choral Singing group was programmed to sing early in the evening and at the end of the assembly. Being in- vited to sing at the annual "Closing Exercises" was a great challenge and motivating factor to this group. , In Flint, as shown in Table XII, the Mothersingers per- formed at hospitals, convalescent homes and at civic programs. The Norton Male Chorus presented one or two formal free con- certs each year and sang at various community functions. The St. Petersburg Adult Education Program was the third program in this study in which adult music classes and groups performed "once in a while" (as indicated by a marginal note on the questionnaire) before husbands, wives, relatives and friends. The Community Chorus presented sev- eral free concerts each year. Tuition As indicated in Table IV, there did not appear to be a uniform policy among adult educations directors regarding charging or not charging tuition for instruction and if tu- ition for instruction was charged, of charging a uniform amount. -54- The data related to tuition contained in Table IV have been reorganized for the purpose of presenting a clearer pic- ture of this aSpect of the study. The reorganized informa- tion is contained in Table XIII and will be the basis of the discussion which follows. TABLE XIII. TUITION‘ Number of adult education programs: Charging tuition -- 4 programs -- (HM-4 per cent) Des Moines Flint St. Petersburg Syracuse Not charging tuition -- 5 programs -- (55.5 per cent) Bridgeport Hartford San Jose Springfield Worcester Range of class tuition costs -- $3.00 to $10.00 per class Number of classes per different tuition costs $3.00 -- nine h.00 -- three h.50 -- one 6.50 -- one 7.50 -- one 10.00 -- one 0f the nine adult education programs which scheduled music offerings, four charged tuition for instruction while five did not. The‘percentage ratio was 44-h per cent to 55.5 per cent reSpectively. The tuition charged ranged from -55- $3.00 to $10.00 per class. The tuition most frequently charged was $3.00; the data indicated this to be the amount for nine classes. The next most frequent charge was $4.00, made for three classes. 0n the basis of data presented the following generaliza- tion may be made relative to tuition: (1) in a general way, the number of adult education programs which charged tuition for instruction about equaled the number which did not, (2) the boards of education Sponsoring five of the adult educa- tion programs believed in the principle of free education for adults, and (3) although the tuition costs ranged from $3.00 to $10.00, the tuition most frequently charged was $3.00 per class. 16:23 As indicated in the previous section on tuition, five boards of education, 55.5 per cent, believed in tuition-free instruction for adults, while four, hh.h per cent, did not subscribe to this principle. This fact is summarized in Table XIV. The survey revealed some interesting data about tui- tion, registration fees, non-resident fees and material fees. A study of Table XIV indicates that adult education programs which did not make a tuition charge for music classes charged various other fees, such as registration fees, non-resident fees, and even material fees. IO 5 . ommwmm owmmmo ommmmm :43 Honda 44. Rodoz w\ocoz Ronwm R:.:: u mowpasa .Rm.mm n 009m hoaaom w poz odoz ocoz oo.H comm nopmoopoz mxoon nowposapm hoaaom a p02 nsa mfioaw .mxn pace oo.o om. seepage omsomphm mxoon cOHpoSme no“ afloam seemed a p02 .mxn pace 00.0H om.m oops eaoaeweapam mxoon soaposaum Ida macaw hoaaom a p02 .mxn pxea osoz om.a comm omOh cam Noaaom m uoz ocoz ocoz enoz coHpHSB mannmnoumm .pm 0 pm mmoon nobwwz moon wwoa coHuosmpm mmwao was when soda Isa adOpm pom oo.ma -Hep .mma .coz .mxn pace on oo.mH oo.m a moss esoopnem .mxn Cowp uodppm Ina macho mo mw< mmoon pxma ocoz. osoz coapfide ucaam Woaaom a p02 ocoz ocoz ohoz coapada mocaoz mom Hwaaoa w poz ocoz oo.m a osoz mosh paomomvwam mcouapao AOHCmm moom moom godpasa mesh soHpHse moaueo now posawz ooh Hmapopwz unocamonucoz .mom comm no scan nodmpmsH comm mmmm .>HN mgm¢a - 57 - The question wnicn immediately comes to mind is this: when is a class free? Is this based upon the fact that there is no direct tuition fee? Is a registration fee, a non-resi- dent fee, or a materials fee nOt to be considered a part of the cost to the adult student? Upon the basis of this in- formation it is not possible to conclude that the tuition- free classes were, in reality, free to the adult student. A non-resident student in Springfield wisning to enroll in a music class was expected to pay a registration fee of $2.50 and a non-resident fee of $10.00, a total of $12.50 not including the material fee. In Hartford the total cost for enrolling in a music class was even higher. The regis- tration fee was $2.00 with a maximum non—resident fee of $18.00 making a total cost of $20.00 per music course non including the material fee. 0n the other extreme of the continuum, a resident adult student in Bridgeport was able to enroll in a music class without paying a fee of any kind, an excellent example of free adult education. A further study of Table XIV reveals this information about adult education programs which made a tuition charge for music classes: (1) the programs in Des Moines and St. Petersburg did not charge any other fees, (2) the program in Flint made a charge only for materials, and (3) the pro- gram in Syracuse charged a registration fee, a non-resident fee and a materials fee. Table XIV further reveals that, except in the case of Flint and Hartford, fees were not waived for senior citizens. -58- Meetings Per Week It is not difficult to conclude, from the data contained in Table IV related to "Meetings Per Week" that adult music offerings were scheduled to meet, as a general rule, only once a week. The Supervisor of the General Adult Education Program in St. Petersburg indicated that on occasion the Com- munity Chorus met twice a week in preparation for a public performance. After the concert, however, the group again resumed the practice of meeting only once each week. Number of Weeks in an Adult Education Term As long ago as 1886, during the period when the Evening School was becoming established in the Chicago Public Schools, the length of an evening school term became an annoying prob- lem to the school superintendent. One of the disturbing conditions in the Evening School was the irregular attendance of the evening school students. George Howland, superintendent of schools at that time, as- cribed this poor attendance to the fact that the evening school term was never clearly defined. The term varied from ten to seventeen weeks each year and was dependent on how long the apprOpriation for that year would support the pro- gram. He made this recommendation to the Chicago Board of Education as a remedy to correct poor attendance in the eve- ning schools: A certainty as to the length of the Eve- ning School term is desirable, as the at- tendance is often unfavorably affected by -59- the fact that the time of Opening and closing is not definitely known. The Evening School year should consist of a single term of twenty-four weeks, commencing on the first Monday of Oc- tober. (56:25) As a result of his recommendation the Chicago Board of Education increased the evening school term to twenty-four weeks, a policy which continued for many years. The data contained in Table IV relating to the number of weeks in a school term were reorganized for the purpose of presenting a clearer picture of the situation. The re- sult of the reorganization is shown in Table XV. TABLE XV. WEEKS IN SCHOOL TERM No. of‘Weeks _’ Total No. Per Term Weeks in of Classes Fall Winter School Term in Sch. Term Percentage 10 10 2o 10 32.2 12 12 24 11 35.5 15 IL 30 1 3.2 16 16 32 9 29.0 The number of weeks in the fall or winter terms ranged from ten weeks to sixteen weeks. As illustrated in Table XV, the number of weeks in the various school terms ranged from twenty to thirty-two weeks.* Eleven classes or 35.5 per cent of the total number of classes in our study were scheduled for twenty-four week * A school term is the sum of the number of weeks in the fall plus the number of weeks in the winter term. -60- school terms. The next largest number of music offerings, ten classes or 32.2 per cent were scheduled for twenty-week school terms, while nine classes or 29.0 per cent were scheduled for thirty-two-week school terms. On the basis of the data shown in Table XV it is appar- ent that a majority of music offerings were scheduled for a school term in the twenty- or twenty-four-week span with the largest number being in the twenty—four-week school term group. This practice follows, in a general way, the policy established by superintendent Howland in 1886. Grades - Certificates The data obtained in the survey related to grades and certificates were definite and clear-cut, as illustrated in Table XVI. TABLE XVI. GRADES - CERTIFICATES Communities Grades Given Certificates Issued Bridgeport None Certificate of At- tendance giving number of classes attended. Des Moines None None Flint None None Hartford Yes - for the one mu- sic class which is None part of the Adult High School Completion Pgm. St. Petersburg None In all classes if requested San Jose None None -51- TABLE XVI. (Continued) Communities Grades Given Certificates Issued Springfield None Certificates of Com- pletion in: 1. Intro. to Clas- sical Music 2. Fundamentals of Piano Playing Syracuse None None Worcester None None Students were not graded by their music instructors in any of the adult education programs in this study. The single exception to this rule was a Music Appreciation class on the Adult High School Completion Program. Students en- rolling in this course could request a grade if they were working toward a high school diploma. Certificates of at- tendance or completion were granted by only three programs: Bridgeport, St. Petersburg, and Springfield. This is 33.3 per cent of the programs in the study. Six programs, 66.6 per cent, did not issue any certificate to pupils enrolled in their music classes. CHAPTER V TEACHING METHODS The Adult Music Class When the instructor meets his adult music class for the first time, he faces a random collection of individuals who are different from each other in many ways. His class may include persons having considerable differences in age, adults from many walks of life, and others having varying degrees of educational achievement. Since enrollment in most adult music classes is not limited to students having certain definite prerequisites, he may also find pupils with a wide range of musical backgrounds. Furthermore, the most carefully prepared advance publicity regarding any adult mu- sic class cannot fully prevent individuals from enrolling with widely different expectations. Regardless of how different a random collection of per- sons may be in a typical music class, they do have certain goals, needs and characteristics in common. First, each adult comes to class with a definite purpose in mind -- to learn. He is a learner. (17:102) Learning to him is a quest. He gives up his own leisure time in search of know- ledge or a skill. Second, each adult has an immediate need for the knowledge or skill he is in search of. (39:5) Third, _ 62 - -63- each adult may leave class whenever he chooses and not re- turn if his search for knowledge or a skill is not satisfy- ing or successful. Fourth, eaCh adult has a variety of ex- periences in living which he can contribute to the learning situation, and fifth, each adult tends to be more autono- mous and for this reason feel less comfortable in a depen- dent rdle. (hh:82) Conditions for Adult Learning One of the first and most important reSponsibilities of the music instructor is to establish conditions in which his random collection of individuals may work together to achieve their desired goals or to meet their immediate needs. As the students assemble and meet for the first time as a class the instructor assumes the role of a sensitive catalyst among purposeful peers. (42:115) He establishes an informal and friendly atmosphere in which students feel welcome, at home, and accepted. Adults in a learning situation react noc only to instruction but to the total setting in.whicn the learning takes place. (44:8h) The attitude of the in- structor, the friendliness of the Other students as well as other aspects of the classroom situation influence the learner's Openness to new ideas and his ability to under- stand and to accept them. Develoging a Common'Understanding_of Goals Soon after the instructor has established a climate which facilitates learning, his next important responsi- bility is to orient the students to his instructional - 64 _ aSpirations and also to become acquainted with the learner's goals, interests, and needs. Some class time should be de- voted to a discussion of the instructor's aspirations and the learner's needs and hoped-for goals. An apparent at- tempt should be made to modify the planned outcomes of the class, if necessary, to the backgrounds and expectations of the students. The final learning activities thus developed are the result of a joint verbalization and evaluation be- tween tne instructor and the learners. It is a program which is "owned" and shared by the entire class and not one that belongs to the instructor alone, who, somewhat arbitrarily, imposes it upon the learners. (38:1) Teaching Methods Used By Music Instructors The adult education directors were asked to indicate which of the teaching methods listed in the questionnaire were used by their music instructors and how frequently they were used. The replies received are shown in Table XVII. According to the data in this table, only five out of the seventeen teaching methods listed in the questionnaire were used "often" as is indicated in the first column. The "lecture" and the "teacher demonstration" teaching methods were used often by music teachers in seven adult education programs. The teaching method, "using student knowledge," was used often in four programs. The "class project and guest conductor" teaching methods were used often in two programs. - 65 _ TABLE XVII. TEACHING METHODS* Used Used Never Teaching#Methods Often Sometimes Used Lecture 7 l 1 Forum Dialogue -- -- 9 Debate -- -- 9 Group Interview -- -- 9 "Buzz" Group Discussion -- -- 9 Round Table Discussion -- -- 9 Role Playing -- -- 9 Symposium -- -- 9 Class Project 1 5 3 Using Student Knowledge 4 2 3 Movie -- 7 2 Television Viewing -- l 8 Personalization -- 3 6 Teacher Demonstration 7 2 -- Visiting Instructors -- 5 Guest Conductors l 3 5 Guest Soloists -- 3 Ten teaching methods were used "sometimes" as is indi- cated in the second column. The teaching method, "movie,"' was used sometimes in seven adult education prOgrams. The ”class project" and "visiting instructor" teaching methods *Definitions of each teaching method are given in the Appendices. - 55 - were used sometimes in five prOgrams. The remaining teach- ing methods used sometimes in a few number of programs were "lecture," "using student knowledge," "television," "person- alization," "teacher demonstration," "guest conductor" and "guest soloist." From the data shown in Table XVII, it is possible to conclude that the majority of music instructors included in this study used the "lecture" and "teacher demonstration" teaching methods often and the "class project," "movie,“ and "visiting instructor" teaching methods sometimes. Detailed Courses of Study and General Teaching Guides One of the questions in the questionnaire was, "Does the adult music education department assist the teachers in their efforts to increase their "holding power" by providing them with detailed courses of study for each class, lesson by lesson, or general teaching guides for each class outlin- ing the important points to be covered during the course?" The replies received in the questionnaires are shown in Table XVIII. Detailed courses of study for each music class, lesson by lesson, were not provided to music instruc- tors in any of the nine prOgrams in this study. However, general teaching guides for each music class outlining the important points to be covered during the course were made available to music instructors in four, or uh.h per cent, of the programs. The cities in this group were Hartford, St. Petersburg, San Jose, and Syracuse. - 67 mew I: :1 oz oz Lopmooaoz newpm> us I: mew oz omsomhhw Fess -- .. oz oz 303%:me pmapm> I: I: mow oz each new pofipd> I: In mow oz mudnmhopom .pm pofipm> In nu mow oz upomupwm men -- 2. 02 oz paid new I: :1 oz oz modaoz mom now an an oz oz phomomvfipm omposoo ii maazsm on 0p mpoaoz moapao mo mowed com pdwunoaeH commoq hm ovadw commeq mamom on we“ moasww ooasw commoq n hodpm moanomoe ho commoq nopooom mac: wcfinodma no chance amnedow uhpdpm no mmmao swag ampmcow p50 coaampom poo omhdoo on menu momma genomes momma Legumes oeaampom ma homomoe pocEpzwmom camdz padcd yo moanednm amaoooo maogowoa cams: on e neaam>< opwz meHDw 0E30¢m8 Aémzmc In $.mb .mo mmmmbco Qmflawama .HHHbN mgmwnm mcahwam common a mm m we cams: HT{HHW, .ILuu mmeoosm mmeoodm .zzdam OHmDS mo szHBHxx.mqm¢e - 83 - required by one director, and (4) subject matter proficiency -- required by four directors. The four directors who did not require music teacher candidates to have music degrees considered the qualifica~ tions "success as a private music teacher" and "subject mat- ter proficiency" to be more important than "playing exper- ience." They regarded the qualification "success as a con- ductor" least important of the qualifications included in Table XXIV. Basis Of Pay. The data in the survey questionnaire in- dicated that all the part-time music instructors in this study were paid on an hourly basis. The minimum and maxi- mum hourly rates paid and the median flat rate per hour are shown in Table XXV. TABLE XXV. MINIMUM AND MAXIMUM HOURLY RATES PAID IN- STRUCTORS OF ADULT EDUCATION. ‘_, r t City Minimum Rate Maximum Rate Bridgeport $5.00 $5.00 Des Moines 5.00 7.50 Flint 3.50 4.50 Hartford 4.50 7.00 St. Petersburg 4.00 4.50 San Jose 6.00 6.00 Springfield 3.75 h.75 Syracuse 4.00 4.00 Worcester 6.00 6.00 Median Flat Rate: $4.88 - 8g - By comparison, according to the 18th Annual Salary Sur~ ygy for Teachers of Adults in the Public Schools conducted by the Division Of Adult Education Service Of the National Education Association for the school year 1963-64, the na- tional minimum hourly rate was $1.00, the maximum rate was $10.00 per hour and the median flat rate per hour for adult education teachers was $4.75. (34:2) The minimum and maximum hourly rates of pay for music instructors in this study were well within the national min- imum and maximum range Of pay for teachers of adults in all subject areas. The lowest minimum hourly rate of $3.50 in this study was $2.50 higher than the national minimum of only $1.00 per hour. On the other hand, the highest maxi- mum hourly rate of $7.50 in this study was $2.50 less than the national maximum of $10.00 per hour. The median flat rate Of pay for music instructors in this study of $4.88 was thirteen cents higher than the national median of $4.75. Tenure of Adult Music Teachers. According to the re- Sponses contained in the survey questionnaires, only one adult education program out of the nine in this study granted tenure to its music teachers. This was the Adult Education Program sponsored by the Unified School District in San Jose, California. The supervisor of the General Adult Education Program in St. Petersburg wrote the following marginal note after the question inquiring if his program granted tenure to its music instructors: "Not by contract, but by virtue of ser- vice and successful teaching." -85- In reality, teacher tenure was not a common practice in the adult education programs in this study. The part-time music instructors had legal tenure in San Jose and tenure "de facto" in St. Petersburg. Adult Music Staff Meetings. The adult music staff meet- ings were scheduled "on call" in five programs, or 55.5 per cent. The meetings in Flint were called by the music coor- dinator. The music staff meetings in the other four programs in this category were called by the adult education directors. Music staff meetings in four programs, or 44.4 per cent, were held "not at all." Information in these programs was commun- icated directly to the music instructors from the director's Office. Observation of Class Work. In seven Of the nine pro- grams in this studythe adult education directors made class- room visits to observe the quality of work their music in- structors were doing. In Bridgeport, no classroom visits were made at all. In the ninth program, Flint, the music coordinator made classroom visits to Observe the quality of music teaching. The number of classroom visits made during a term may vary from year to year. However, the various number of classroom visits made fall into the following four categories: one visit per term, two programs; two visits per term, one program; one to two visits per term, three programs; and two to three visits per term, two programs. -85.. In-Service Training. Teachers Specially trained for adult education form but a small segment of the teaching corps in most city adult education programs. In cities over 100,000 pOpulation, 13.2 per cent of adult education teach- ers had Special training in this field. In middle-sized cit- ies, 30,000 to 100,000 pOpulation, 14.4 per cent had training in adult education methods and techniques. In small cities, 2,500 to 30,000 pOpulation, only 8.0 per cent had Special preparation for adult education. However, anOther two-thirds (64.4 per cent) of adult teachers had professional training as teachers for the elementary or secondary school levels. (36:67) Since staffs of adult education programs are com- posed Of instructors with widely differing professional back- grounds, in-service training Of all teachers of adults in the Skills demanded of them is a continuing task of the adult ed- ucation administrator. In the survey questionnaires, directors were asked if they sponsored in-Service training for their teachers of adults. Five directors (55.5 per cent) state they did not Sponsor in-service training for their music instructors. Evidently they did not feel this phase Of their prOgram to be urgently needed. The director in Des Moines scheduled in-service training when it was requested by the music staff. In Flint all music teachers were given in-service train- ing before the fall term. Since the same music teachers taught during the winter term, it was not necessary to repeat - 87 - the in-service training. In St. Petersburg only the inex- perienced music teachers were given in-service training. In Syracuse the music teachers met with the whole adult education staff for general in-Service training once a year before the fall term. Only the music teachers in Flint, St. Petersburg and Syracuse were required to attend the in- service training sessions. Registration As a rule, a certain minimum enrollment is required be- fore a new adult music class is organized as part of an adult education program. One often sees a statement some- thing like this on adult education catalogues: New classes not listed may be started at the request of 15 or more interested per- sons. For further information call the Board of Education office. (6:5) It is necessary for a minimum number Of adults to reg- ister for any class before that class is permitted to meet. Also, a certain minimum average attendance must be main- tained in all adult classes in order for these classes to continue meeting. Organizing a New Adult Music Class. Adult education directors must always be ready to schedule new classes to meet the changing needs and interests of adults living in this emerging age of endless discovery and rapid change. New classes must be added which are geared to the needs and interests which today's adults express. - 88 - The replies in the survey questionnaires relating to these points reveal that six different procedures were fol- lowed in organizing a new music class. Each procedure was unique in structure, and is listed below. 1. Minimum enrollment requirements and formal ap- proval by local adult education director. This procedure was followed in Bridgeport, Des Moines, Hartford and Syracuse. Minimum enrollment requirement and formal ap- proval of music coordinator. This procedure was followed in Flint. Minimum enrollment requirement, approval by both the supervisor of general adult education and the state adult education director. The availa- bility of Instruction Units* was also an impor- tant factor. This procedure was followed in St. Petersburg. Minimum enrollment requirement and approval by both the local adult education director and the state education director. This procedure was fol- lowed in San Jose. Minimum enrollment requirement and formal approval by the local adult education director, the super- intendent of scnools, and the board or education. * An Instruction Unit may be defined as: twenty-seven students in average daily attendance in a well—equipped classroom, for no less than 180 school days (900 clock hours) each year, under the supervision Of a fully certified teacher. -89- This procedure was followed in Springfield. 6. Minimum enrollment requirement and formal approval by the music instructor, the principal of the Eve- ning Schools, and the superintendent of schools. This procedure was followed in Worcester. The survey questionnaires secured data relating to the minimum registration needed to permit a scheduled class to meet, the minimum average attendance required to continue a class and the relationship between the two. The minimum registration needed to permit a scneduled class to meet ranged from six to twenty adults. The minimum most fre- quently reported was fifteen adults, used in five programs. The minimum average attendance required to continue a class ranged from six to fifteen adults. The minimum most frequently indicated was ten adults, reported by three pro- grams. The minimums of twelve and fifteen adults was re- ported by three prOgrams each. In four programs the mini- mum registration needed to permit a scneduled class to meet and the minimum average attendance required to continue a class were the same. However, in five programs the minimum registration needed to permit a scneduled class to meet was higher than the minimum average attendance required to con- tinue a class. A majority of adult administrators set a registration minimum which was higher than the required average attend- ance minimum. By thus allowing for possible drOpouts the - 90 _ administrators hoped the final class enrollments would meet the minimum attendance requirements. Registration Procedures. The data in the survey ques- tionnaires related to registration procedures practiced by the nine programs in this study were organized into Table XXVI. The data indicate that two programs did not schedule a general registration prior to the starting of their classes. In these programs the adults registered in person during the first class meeting. Three programs scheduled general regis- tration a week before classes started while three different prOgrams held general registration two weeks before classes started. One program scheduled registration three weeks before classes started. Seven programs, or 77.7 per cent, of the nine in this study held a general registration before the start Of classes. The seven-day and fourteen-day intervals between registration and the beginning of classes were most Often scheduled. The interval between general registration and the start Of class work was used to good advantage. It was during this time that class lists were typed, teaching loads adjusted, addi- tional instructors engaged and supplies ordered. Adults wishing to enroll in programs without general registration registered in person during the first calss meeting. In the seven programs holding a general registra- tion, adults registeredin persOn in all seveniprograms,* - 91 .mmmao pea .aame hm nu nn x .dommoz OH mzmc w popmoonoz .mmmao pma N nn nn .domhom dH when :a endomphm mmmao pma nn N nu Cowman ca when :a vaoauwcaazw .mmmao pma I1 .zwoam mm x nu un .compoz dH ammo am much new .mmmao uma pawn N nn nn .domaoz OH poz manomampom .pm .mmmao pea x nu nn .nommom GH when :a phoupnmm .aaee mm .mmmao pma canon .odocm mm X In In. .Gomhmg EH mhmv N PSHHm mmmwo pma canoe pawn x nn nn common CH poz modaoz mom umcapooe mmmao pmaam nu x nu .cOman SH when N phonomnaam coaumaooo Eoom ma cocoa mpneoamem mmpdpoo mcmmmao moapao uzmuhan oz ea empdoooe ncoz oncoem note some no steam mpdopamomnooz nopmHMom nappmamOm Op noanm mpoecwhom .mom .oow monocoooam dOapwapmawom unmeamemnooz one ucotmmem E mmmDQmO 0mm zoaeéa mawmm .H>XN mamda _ 92 _ by mail in Flint and Worcester. It is evident from this in- formation that administrators of adult programs tried to make registering for a class easy and convenient. In some adult education programs a differentiation is sometimes made between resident and non-resident adults dur- ing general registration. In Worcester resident adults were registered before non-resident adults. In Bridgeport and Springfield non-resident applications were accepted only when room was available in the class. In six programs (66.6 per cent) no differentiation was made during registration between resident and non-resident adults. Guidance and Counseling Service Woodward, in his 1958-59 survey of adult education in the United States, found that 36.6 per cent of the adult ed- ucation programs in cities over 25,000 population had regu- lar educational guidance and counseling service for adults (other than routine registration counseling). The mean num- ber of personnel for each adult education program having guidance and counseling service was 7.4 staff members. This figure included both full-time and part-time personnel, with each person counted as "l" regardless of the amount of time devoted to guidance and counseling for adults. (57:23) The replies in the survey questionnaires indicated that none of the nine programs in this study offered regular edu- cational guidance and counseling service for adult music . students. Whatever guidance and counseling services were offered were routine registration counseling. According - 93 - to the marginal notes on the questionnaires, this limited service was provided by the adult education directors and the music instructors as part of their routine administra- tive or teaching reSponsibilities. Music Rooms, Materials and Equipment The data in the questionnaires indicate that music classes in the nine programs included in this study were scheduled in music rooms of various public school build- ings with the exception of the program in Flint. In this city, music classes were scheduled in the junior college music rooms as well as in music rooms Of various public school buildings. The data contained in the returned questionnaires re- lating to the materials and equipment used by adult stu- dents in this study were compiled. In most cases the bulk of the materials and equipment used by the adult education students were the prOperty of the local public schools. There were, however, a few exceptions to this general prac- tice. All the music used by the students in Flint and San Jose was either purchased by the students or belonged to the adult education program. The same situation.was true Of pianos. In Hartford, according to a marginal note on the questionnaire, some of the phonographs and records used belonged to the public schools and some to the adult educa- tion program. All of the phonographs and records used in St. Petersburg and San Jose classes belonged to the reSpec- tive adult education prOgrams. - 9g - The equipment used in Flint Community Junior College by students enrolled in the adult education program con- sisted of music stands, pianos, phonographs and an organ. In general, part of the music and most of the music equip- ment used by students in this study belonged to the reSpec- tive local public schools. Evaluation An important ingredient in the process of program im- provement is the practice of continuous evaluation. Evalu- ation may be defined as the process of assessing the degree to which objectives are being achieved. (48:456) It is a comparison of the learning situation as it is with the de- sirable learning Situation. Evaluation answers questions such as: What learning situation would the evaluator see if the Objectives were being realized? Are the known needs and interests of students being met by the class work? To what degree is the program accomplishing what it set out to accomplish? Once an effective prOgram of evaluation has been formulated and carried out, the results should be used to stimulate and guide future improvement in the program. By knowing how much is yet to be accomplished, the adult ed- ucator is often able to gain an insight into the steps nec- essary to reach the desired goals of the program. The adult education directors in this survey were asked to indicate the basis on which their music classes were eval- uated and by whom the evaluation was done. The results are Shown in Table XXVII. TABLE XXVII. - 95 - FREQUENCY OF EVALUATION OF ADULT MUSIC EDU- CATION CLASSES AND BX WHOM EVALUATED Cities By Whom EvaluatIOn ConHHEted Freqjihcy of Evaluation and on What Basis Bridgeport Adult Education Director 1. Student reaction 2. Enrollment Once each yr. Des Moines Adult Education Director 1. Student reaction 2. Enrollment Once term Flint Music Consultant 1. Student reaction 2. Enrollment 3. Consultation with music instructors Once term Hartford Adult Education Director 1. Student reaction 2. Enrollment Once year St. Petersburg San Jose Supervisor, Gen. Ad. Educ. 1. Student reaction 2. Enrollment 3. Testimonials Adult Education Director 1. Student reaction 2. Enrollment Once Once term year Springfield Adult Education Director 1. Student reaction 2. Enrollment Once year Syracuse Adult Education Director 1. Student reaction 2. Enrollment Once year Worcester Principal, Evening Schools 1. Student reaction 2. Enrollment Once year In all nine prOgrams the music classes were evaluated on the basis of student reaction and student enrollment. However, the directors in Flint and St. Petersburg added a -96.. third criterion in the evaluation process. In Flint the music instructors were consulted in the evaluation process while in St. Petersburg student testimonials were equated with student reactions and student enrollments. In eight programs the evaluation was carried out by the administrator of that adult education program. In one program, Flint, the evaluation was done by the music coor- dinator in consultation with the music instructors. Music classes in three programs were evaluated once each fall or winter term while in six programs, the evaluation took place only once each year. The programs were evaluated once each term in Des Moines, Flint and St. Petersburg. An analysis of Table IV reveals that these cities had the larger music programs. Flint had the largest program, St. Petersburg the third largest, and Des Moines the fourth largest pro- gram in this study. However, San Jose, whose program was evaluated only once each year, had the second largest pro- gram. The conclusion can be drawn that there is a close correlation between the frequency of evaluation and the de- velOpment of the music program. It appears that the pro- grams which were evaluated most frequently developed more than the prOgrams which were evaluated less frequently. Budget Each director was asked to indicate on the question- naire sent to him the total 1963-1964 budget for his adult education program and his adult music program. He was also asked to report how much Of the total music budget was Spent - 97 - for teachers' salaries, music equipment, music materials and maintenance. Further he was asked to disclose (percentage- wise) how much of the total adult education budget came from school district or local tax funds, a foundation, an endow- ment, private contributions, various fees or other sources. The adult education budgets in Tables XXVIII-a and b. In order to present a clearer picture of the adult education budgets, the amounts were arbitrarily tabulated. TABLE XXVIII - a. ADULT EDUCATION AND MUSIC EDUCATION BUDGETS M— Adult Ed. Music Ed. Percentage of AdIEd. Cities Budgets Budgets Budget Allocated to Music Programs Bridgeport $52,000.00 $400.00 .77% Des Moines 50,900.00 600.00 1.20 Flint 666,987.00 400g.00 .60 Hartford 180,000.00 575.00 .32 St. Petersburg_7125,000.00 2460.00 1.97 San Jose 390,000.00 478g.00 1.60 Spripgfield 150,000.00 No ppecifio amount budgeted Syracuse 10;,000.00 160.00 .16 Worcester $0,000.00 No Specific amount budgeted Only one director reported a budget which fell into the "over $300,001" range. The amount of this budget, which was re- ported by the director in Flint, was $666,987, the highest budget in the study. The adult education budget of $300,000 in San Jose, the second highest reported on the questionnaires, _ 95 _ aboa popmmoaoz ama un aom u- wma amoooom s ooeom mow amooa 9‘.) ,x. C oooom mmm amooa wed ooeom moo Hmooa mooa oomw .CamE ooa :wm.e mmw omoomazm eaoucmoupom emob.omm ooooooam amm nu an» \n. amp oomph moo. oooom so; .namz 00am .mevm o»o.m mmo.m wadnmmouom .pm ucaam twp u; " .\L wmm coo monaoz mom mcoa com, o phonempapm mmom macapmu ncoom momma HmooHu moomeom ooaooooom oases pom mmoohuao mmoooom maeaoooez oamoz .oopOamz e .omoom moaamamm mammommfi mpompdm oamdz no wnoEmmnmmman moanao mBWUQDm ZOHadoDDm BHDQ¢ mom mQZDh @0 mflombom 92¢ mewwmbm OHmDE m0 BzmzmmmmmmHQ .n n HHH>NN Wamme - 99 - fell into the "$200,001 to 300,000" range. It was the only budget in this range. Four budgets--Hartford, $180,000; Springfield, $150,000; St.Petersburg, $125,000; and Syracuse, $101,000--fe11 into the "$100,001 to 200,000" range. This range included most of the adult education budgets in this study. In the "below $100,000" amount range there were three budgets--Bridgeport, $52,000; Des Moines, $50,000; and Wor- cester, $40,000. The great differences in the adult education budgets reported on the questionnaires are not peculiar only to pro- grams inoluded in this study. This situation appears to be true of adult education programs in general throughout the country. Woodward, in his 1958-59 study of adult education in the United States, made this statement about adult educa- tion budgets: It might be pointed out that the reported amount of funds varied widely from one school system to another even within the same enrollment size. For example, the funds reported by school systems in cities over 25,000 population ranged from approx- imately $1,000 to over $5,000,000. (57:24) Adult Music Budgets. In two prOgrams, Springfield and Worcester, no Specific amounts were budgeted for adult music classes. Whatever was spent to schedule music classes on these programs was charged directly to the general adult ed- ucation budget. The directors of these two programs did not report the costs of these respective music programs on their Questionnaires. - 100 - The directors of four programs budgeted less than one thousand dollars for their adult music programs. These programs and budgets were as follows: Des Moines, $600; Hartford, $575; Bridgeport, $400; and Syracuse, $160. None of the reported music budgets fell into the following ar- bitrarily selected amount ranges: $1001 to $2000 or $3001 to $4000. The St. Petersburg music budget of $2400, third highest in this study, fell into the $2001 to $3000 amount range. The music budgets of the remaining two programs -- $4004 in Flint, second highest in the study and $4784 in San Jose, the highest -- fell into the $4001 to $5000 amount budget. These data point up the fact that adult music budgets, like adult education program budgets, are characterized by great differences in the amounts allocated. There is also a difference in the percentage ratios of adult education program budgets to these music budgets. One is able to con- clude, therefore, that there is no uniformity in the amounts budgeted for music by adult education administrators in this study nor in the percentage ratios of the adult education program budgets to their reSpective music budgets. DiSpersement of the Music Budgets. Adult education bud- gets, as a rule, include funds to cover the cost of adminis- tration and supervision, instructional salaries, instruc- tional supplies and overhead. (49:48) Overhead is commonly understood to include the cost of light, heat, power, jan- itorial service, repair and maintenance of equipment and - 101 - pfiLaht, retirement, insurance and rent. These items may ac- ccyunt for ten to twenty-five per cent of an adult education touidget depending upon the number of items which are included 1:1 it. Frequently, many of the items listed under overhead EIIPG absorbed by the day school budget and never appear in the adult education budget. (41:62) Although funds were included in the music budgets to cover istie cost of teacher salaries, music equipment, music materials £1I1C3 maintenance the cost of these items was absorbed by either istlea general adult education budgets or by the day-school bud- égea‘ts. At any rate, they were not reflected in the music bud- égea‘ts reported in the questionnaires. Most of the various mu- 53‘1.<3 budgets were Spent for teacher salaries. In Bridgeport, Des Moines and Syracuse the entire music budgets were Spent if‘<>:r= teacher salaries. The percentage of funds allocated to 'tleasaxzher salaries in the various other music budgets ranged ‘f1’<>!11 84.15 to 96.04 per cent. The music budget in St. Peters- burg was the only budget in this study which included an amount fc’lfi' rnusic equipment. The amount allocated was $100 or 4.06 per cerr3-i3 of the music budget. Flint, Hartford and St. Petersburg XC1<33L1Aded funds in their music budgets for music materials. TV'CD 19r0grams, St. Petersburg and San Jose included funds for maintenance. Tptal Annual Music Enrollments Related to Adult Educa- VV—VV ”gram reported in the questionnaires are shown in Table - 102 - XXIX, arranged from the largest to the smallest number. Also included in this table are the class sections scheduled each term. TVXE3I£1XXIX. TOTAL ANNUAL MUSIC ENROLLMENTS AND PER CAPITA COST OF ADULT EDUCATION MUSIC STUDENTS Total An- nual Music Class Sections Capita Cost Cities Enrollment Per Term Per Year 1:11:11; 850 N 27 4.71 ian Jose 600 12 7.97 §_t - Petersburg 544 9 4.58 £388 Moines 206 4 2.95 :33? 1 dgeport 120 2 3 .33 lie—argyle 90 1 6-38 Egrcester 80 2 Eminyieid 70 2 E~§__§cuse 34 l 4.70 This table provides a comparison in each program of the total music enrollment with the class sections scheduled per te Pm and the per capita cost per year. Except for the pro- gram in Flint, the total annual music enrollments increased in number as the music budgets increased. In other words, the larger the music budget, the greater the enrollment. An- q§dner point of interest was the fact that the percentage ratio of music budgets to adult education budgets cannot be made in the Worcester and Springfield prOgrams due to the fact that no specific amounts were budgeted for their adult 6 due at ion music programs . - 103 - The two adult music programs which had the largest mu- s:ic: enrollments and the largest music budgets were in Flint 811:3 San Jose. Although the adult education music program in IFl.iJht had a larger annual music enrollment and a greater num— beezr of class sections each term, its annual music budget was smaller than the San Jose annual music budget. The factors which tended to make the cost of the adult education music program in Flint lower than that of San Jose breazre: 1. the average class lengths in Flint were one hour shorter, 2. The total number of weeks in fall and winter terms were eight weeks Shorter in Flint, 3. The average hourly rate of pay was $2.00 less per hour in Flint, 4. In Flint there was a tuition charge while none was made in San Jose, and 5. The income from tuition in Flint in 1963-64 was 63.7 per cent of the total budget while no such income was reported in San Jose. The only factor which tended to make the music program Irl IEQint more costly in one area than that in San Jose was \335 total number of class sections in the fall and winter terms. The fifty-four class sections in Flint were twenty worms than in San Jose. The total effect of the factors were sufifln as to enable the adult education program in Flint to pre- sent: a music program which was more comprehensive than the music prOgram in San Jose and to do it on a smaller budget. - 104 - As was pointed out earlier in this section, the music budgets in this study did not reflect the cost of adminis- tration and supervision and many items usually included in overhead. Because of this fact, the per capita cost of adults enrolled in music classes was kept very low. The costs ranged from $2.95 in Des Moines to $7.97 in San Jose. The average per capita cost was $4.95. According to the national adult education survey made by Woodward in 1958-59, the average per capita cost was $14.00 for an adult enrolled in a pro- gram charged administration and supervision costs but not Overhead costs. (57:27). Since the music budgets reflected neither the cost Of administration and supervision nor overhead, it was not sur- Pr‘ising to find the average per capita cost of adult educa- tion music students in this study to be lower than the na- tional per capita average mentioned above. .Actually, the aVerage per capita cost Of $4.95 for an adult education mu- 8 10 student in this study was only 35.4 per cent of the na- t 10 rial per capita cost of $14.00 determined by the Woodward 811I‘vey. The low average per capita cost of adult education mus 1c students in this study is possible only because all administrative and supervisory costs and most overhead costs \gere absorbed by general adult education budgets, or day school budgets. Sources of Funds for Adult Education Budgets. During its entire national history the United States has been com- mitted to tax supported free schools. As the need for adult .. 105 - education became evident because of the rapid changes taking place in modern society, local and state school authorities added adult education to the existing public school systems. (L19 : 37) As adult education became a part of the total pub- lic School system the question frequently asked was, "Where do as the money for its support come from?" Woodward, in his national survey of adult education in 1958-59 found that there were six sources of funds for adult education budgets in cities over 25,000 population. The adult education directors were asked in the ques- tionnaires to indicate the sources of financial support for their adult education programs. In reporting state funds the adult education directors gave one. figure which included "S tats aid for vocational adult education." An analysis of the sources of funds for adult education budgets reveals that only one program in this study had a financial support pattern similar, in some degree, to the r"-a132‘ional financial support pattern as reported by Woodward. T1118 program was in Springfield. The financial support pat- te bus of the other programs were quite different from the one reported by Woodward. These data indicate that the Sp]? ingfield program secured a little more support than the egabional pattern from local taxes and fees and a little less from state aid. The programs in Bridgeport, Hartford and Worcester re- ceived all of their financial support from local taxes. adult education program in Flint received ninety-four per The - 106 - cent of its support from the Mott Foundation and only six per- cent from state aid. None of the local tax funds in Flint were allocated for adult education. The adult educa- tion program in San Jose received sixty per cent of its funds from local taxes and forty per cent from state aid. In Syra- cuse seventy per cent of the financial support of its adult education program came from local taxes, fifteen per cent from state aid and fifteen per cent from student fees. In St - Petersburg seventy-eight per cent of the financial sup- port for its adult education program came from Florida's l"111t).‘.i.mum Foundation PrOgram. On the basis of the data, it is possible to conclude that the financial support patterns of adult education pro- grams in this study were quite different from the national financial support pattern. It is possible to go further and s tats that the financial support patterns of program in this Study are characterized by extremes. Three programs were completely supported by local taxes. 0 ‘16 was supported almost entirely by a foundation. In another pro gram, seventy-seven per cent of its budget was supported by s tudent fees. Florida and Rhode Island are the only two states in this country in which aid to adult education is an integral agart of the states' total reSponsibility for support of all public education. This support in Florida, in practice, can- not be cut as a line item without cutting the entire budget. (ll-9:39. In this way adult education in St. Petersburg is as- sured of an annual state allocation of funds for its Opera- tion in an established percentage ratio. CHAPTER VII SUM-1A RY , CC N CLU S ION S AN L- RE CC IVT‘IEN DA T IO N S Summary: The preceding chapters have presented a detailed account and analysis Of the nature, status and extent of participa- tion by adults in music offerings on local public school adult education programs in thirty cities in the United States be- tween 150,000 and 250,000 population. Also, trends during the five-year period between 1958 and 1963 were identified and analyzed on the basis of the data which were available. Further the hypothesis was tested and verified. During the early develOpmehtal states of adult education in this country many of the music classes available to adults ‘Ve re borrowed from youth-centered day schools and transplanted irlto adult education programs. This practice was based upon the assumption that what was good music education for youth good music education for adults. Through eXperience, ‘flV8153 a431:th education administrators discovered that adults dif- fe red from youth as learners in several important regards. As these differences became reCOgnized more and more by adu 1t education administrators, the music classes they of- -§exed to adults tended to be organizedless on the basis of the traditional youth-centered music curricula and subject organization but more on the basis of the music needs and interests expressed by adults. -107- - 108 - Although the transplanted music classes followed in many ways the organizational forms familiar to child and youth ed- nicraidon, their content and methodology of instruction in re- <3ear1t years was keyed to adult needs and interests. In con- tszreast to the tranSplanted music classes, other music offer- i;r1ggs were developed eXpressly for adults based upon their :iruciicated needs and interests. There are many examples of both types of music Offerings i;r1 this study. In order to present a clearer picture of the Sii.t:uation, all the music offerings in the nine programs which Elczlleduled music classes were organized into table form. Since there has been an increased awareness, interest Elrlxi participation in music by a great many Americans during 5r’€3<3ent years, it would seem that the directors of adult ed- u-<=e.tion programs included in this study would make available ‘t3<3> persons in their communities a well-balanced program of liltlssic Offerings. Above all, the musical needs and interests the community should be considered in providing a well- <>:f‘ Instead of providing balanced program of music education. ‘Trfia 3.1-ba1anced programs of music, twenty-one adult education directors out of the thirty in this study did not include any music classes on their programs while the remaining nine ‘Nhfisiie available a limited number of music classes. The sit- uation regarding the number of music classes scheduled on the nine programs was that two programs included only one claiis each, four prOgrams included two classes each, and three programs Offered four or more music classes each. Ii... NWT Fun...) 3V - 109 - Opinions of adult education directors on offering music classes for adults through public school adult education pro- grams was discussed. Of the thirty adult education adminis- trators in this study, seven were of the Opinion that it was "very important" to offer music classes, twenty were of the Opinion that it was "important" while three felt it was of "little or no importance" to Offer music classes. In Spite Of the fact that twenty-seven adult education directors out Of thirty were of the Opinion that it was "important" or "Very important" to offer music classes on adult education pro grams, only nine directors of the twenty-seven actually (31 d programs adult education music classes. One of the questions in the combination questionnaire and check list was designed to secure the answers to this 8 ituation. This question was "What are the limiting cir- c1—‘eristances or pressing reasons why no music classes, at all, are being scheduled on some adult education programs?" The questionnaire listed three possible reasons for the direc- tors to check. Also, Space was available for the directors to write in "other reasons." Inadequate budget was the reason given by fifty per cent Yes: the directors for not scheduling music classes on some adult education prOgrams. The other fifty per cent gave "lack of interest on the part of adults to enroll when classes are scheduled" and "needs and interests of adults not known." Among the other reasons given, a majority of directors indi- cated that music had a lower priority than classes which - 110 - upgraded the technical skills of industrial workers or classes which provide basic education; the latter being a program which emphasis basic skills in reading, writing and arithme- tic. They stated further that this situation was more crit- ical when the budget was limited. Music educators firmly believe that instruction in other music courses besides music appreciation classes should also lead to an appreciation of music. The term itself implies a richer enjoyment leading to a permanent love of music and a more complete understanding of the ideas which the composer had tried to express in his works. An examination of the ob- jectives and interests of the students indicate that all the music offerings, in addition to the music appreciation classes, promoted a general appreciation of music. It is interesting to note that five adult education administrators called mu- sic offerings on this point "music appreciation classes" while the remaining three administrators used the following titles: "Let's Explore Music," "Introduction to Classical Music" and "Enjoying Music." The available data do not reveal the reasons why adult education administrators chose terms for classes in this classification other than "music appreciation." However, the fact that they saw fit to do so indicates that they were not completely satisfied with the traditional term. This classification, which included eight music classes, had the second greatest number of music offerings out of the four - 111 - classifications in this study. None of the nine adult education programs Sponsored Of- ferings in chamber music, orchestra, or jazz ensembles. Ap- parently, the Opportunities available in the communities to adults in these areas were adequate. Any scheduling of sim- ilar Offerings on adult education programs would only be a duplication. Evidently, the adult education directors saw a need for music Offerings in the areas of band and vocal music as they scheduled such classes. A Band Refresher Course was scheduled in Flint and a Concert Band was offered on the Worcester Adult Education Program. Five classes in vocal mu- sic were also offered; one in Bridgeport, two in Flint, one in St. Petersburg and one in San Jose. This classification which included seven music classes, was the third largest in this study. If one includes the mu- sic Offerings in the first classification, class instruction for instrument or voice and considers these as group partic- ipation, this broad category then included twenty classes or 64.5 per cent of the total offerings. Conclusions: The adult education administrator fully realizes his reSponsibility for including on his program classes and ac- tivities in broad subject matter areas, one of which is mu- sic. Ideally, he hOpes to offer a well balanced adult edu- cation music program which consists of offerings in the areas of music skills, appreciation, participation, and knowledge of basic music fundamentals. - 112 - His desire to offer a well balanced adult education mu- sic program is limited by many factors, one of which may be existing music offerings in the community. Since adult ed- ucation programs should complement and not duplicate other programs in the community, he naturally will not schedule music Offerings which are Similar to those already in exis- tence. (53:1) Other limiting factors are inadequate budgets, apparent higher priority of basic and vocational programs, lack of in- terest on the part of adults in adult education music pro- grams, and not knowing the needs and interests of individu- als in the community. Although these are serious limiting factors, the fact still remains that the adult education ad- ministrator has the reSponsibility of overcoming as many of these obstacles as possible and scheduling music offerings which closely approach or actually achieve a well balanced adult education music program. Recommendations: 1. Adult education administrators limit the number of classes they offer and the number of individuals they serve when they include music Offerings only for the group of persons who have a conscious mo- tivation, a felt need for specific music exper- iences. In order to reach more persons and thus broaden their adult education music programs, adult education administrators need to offer other _ 113 _ music classes than those scheduled for the above mentioned group and to motivate individuals not included in this group to enroll in them. Ap- proaches need to be found which stimulate these individuals to realize what they are missing if they do not enroll in these new classes. Further, FIT an effort needs to be made which points out to them how these music offerings can increase their enjoyment and satisfaction in everyday living as .r“ a leisure-time activity. 2~J When adult education brochures are sent to indi- viduals in the community it is wise to include cards to register by mail for music and other adult education classes. A space should be made available on these cards for persons to write in suggested future music courses. Similar forms could be printed in local newspapers. In this way adult education administrators will be able to survey his community and determine its musical needs and interests. Every effort should be made to create a favorable image of the adult education music prOgram and its music Offerings by means of television, radio, press, and printed material. The music offerings and activities in each community are almost always different from those in other communities. This d; - 11g - is as it should be. Because of this fact, each director needs to explore and make use of the ideas and methods which are unique to his particular sit- uation and which will best create a favorable image of his adult education music program. Music Offerings which will satisfy the motivating T‘ forces and aspirations are needed. These include: a. the urge for musical growth, which is satis- fied to a degree by the mere act of learning ‘ something new that is related to music. b. the urge for new musical experiences, motivates individuals to seek new interests, new ideas, new skills, new knowledge and new ways of using music knowledge and skills. 0. the urge for recognition which motivates indi- viduals to excel in some area of music. In order to reach more persons, adult education mu- sic classes should be taken to individuals in their own areas and offered in the neighborhood schools. Further, the music offerings need to be scheduled both during the day and evening and at whatever time the adults are free to participate in them. It is the reSponsibility of the adult education administrator to eliminate Obstacles of time and place, make use of the most effective communica- tions which are available, and to take the adult _ 115 _ education music classes to wherever the individ— ual may be at whatever time he can participate. To be most effective music offerings need to be available when, where, and as often as adults in any community desire them. BIBLIOGRAPHY AND APPENDICES -llo- l. 10. 11. 12, 13. BIBLICGRAPHY .Amateur Chamber Music Players. What is the Amateur Chamber Music Players Association? (New—York, 19657. limerican Music Conference. Report on the Amateur Music in the United States. (Chicago: The Philip Lesly r. Company, 1963). £3aker, T. A Dictionary of Musical Terms. (New York: G. Schirmer Company, 1909). £3611, V. Wilmer. Our Role. (Washington, D.C.: Na- tional Association of Public School Adult Educa- tion, 1963). Esirnhaum, Max. Adult Education in General Voluntary Organizations. (Chicago: Adult Education Associ- ation Of the United States, 1960). I3ridgeport Public Night Schools. Adult Education: 1963- 196g. (Bridgeport, Connecticut: Bridgeport Public cnools, 1963). IBridgeport Public Night Schools. Closing Exercises. (Bridgeport, Connecticut: Bridgeport PubliciSchools, 1963). IBureau of Adult Education. Hartford Adult School: 1963- 1964. (Hartford, Connecticut: Hartford Public chools). .Ehatler, George D. Introduction to Community Recreation. (New Ybrk: MCGraw Hiil Book Company, 19h9). Carmel, Ward. Annual News Letter. (New York: Amateur Chamber Music Players, 196E). CPabtree, Arthur. Some Observations on Adult Education. (New York: Holt, Rinehart and Winston, Inc.,), Newsletter, No. 1, March, 1965. 13eapartment of Adult Education. Adult Education: 1963- lQbh. (San Jose, California: San JoseiUnified_ School District). I>1vision of Vocational, Technical, and Adult Education. Adult Offerings under Minimum Foundation Program Support. (Tallahassee: State Department of Edu- cation, 1963). - 117 - 1h. 15. 16. 17. 18. 19. 20. 21. 22. 23. 2h. . 25. 26. 27. 28. - 118 - Eicher, Edward F. J. Developing a Program of Music Ed- ucation for Adults in Westwood, New Jersey. Ph.D. dissertation, Teachers College, Columbia University, New York, 1960. Evans, Luther. "Automation and Education," Michigan Edu- cation Journal, Vol. hO, No. A, (October l, 1962?. Florida Education Association. Florida's Minimum Foun- dation Program. (Tallahassee: 1963). Gibb, Jack R. "Learning As a Guest," Focus, The Second 'rnfi‘ Yearbook of the National Association of Public School Adult Educators, Washington, D. C., 1962. Good, Carter V. Dictionary of Education. (New York: McGraw Hi11,—1959), Second Edition. Grattan, C. Hartley. In Quest of Knowledge. (New York: j Association Press, 1955). I”; Havemann, Ernest. "The Age of Leisure," Life Magazine, (February 1h, 196a). Haverlin, Carl. 1963 Concert Music United States of America. (New York: Broadcast—Music, Inc.). Heckscher, August. "The Nation's Culture: New Age for the Arts. The New York Times Magazine, Sec. 6, Part 2, (September 23, 1962). Johnstone, John W. C. Volunteers for Learning: A Study of the Educational Pursuits of American Adults. (Chicago: National Opinion Research Center, 1963), Report No. 89. Jones, Archie N. Music Education in Action. (Boston: Allyn and Bacon, 1960). Kaplan, Max. "Music in Adult Life," Adult Leadership, (January, 1957). Knowles, Malcolm S. The Adult Education Movement in the United States. (New Yerk: Holt, Rinehart, and Winston, Inc., 1962). Katz, Sidney M. "State Department of Leisure," Music Journal, XXII, 6 (September, 196A). London, Jack. "Program Development in Adult Education," Handbook of Adult Education, ABA-USA, 1960. 29. 30. 31. _32. .33. 31+. L35. EH6. £377. - 119 - The Metropolitan Opera Guild, Inc. "United States Opera: Filling Out, Annual Survey for 1961-1962," Opera News, Vol. 27, No. 3, (November 10, 1962). McKinney, Howard D. and Anderson, W. R. Discovering Music. (New York: American Book Company, 1962). Mursell, James L. Music Education, Principles and Pro- grams. (New York: Silver Burdett Company, 1956)? National Association of Public School Adult Educators. Adult Education in the Public Schools. (Washington, D.C.: 1961). 3 NAPSAE. "Focus on Public School Adult Education." The 3 Yearbook. (Washington, D.C.: NBA, 1961). E NEA, Division of Adult Education Service. Fact and Figures on Adult Education. Washington, D.C.: Vol. 1, No.92, (May, 1963). a. National Association of Public School Educators. The New Look of Basic Education. Washington, D. 0., Vol. IX, No. h (March, 1963). NEA, Division of Adult Education Service. A Study of Urban Public School Adult Education Programs. (Wasnington, D.C.: 1952). National Association of Public School Adult Educators. Public School Adult Education: A Guide for Ad- ministrators and Teachers. (Washington, D.C.: 1956). National Association of Public School Adult Educators. Technigues for Teachers of Adults. (Washington, D.C.: Vol. I, N0. 5, May,'l96l). National Association of Public School Adult Educators. When You're Teaching_Adults. (Washington, D.C.: 19597. Neumeyer, Martin H. and Neumeyer, Esther S. Leisure and Recreation. (New York: The Ronald Press 00., 1955f. Olds, Edward B. Financing_Adult Education in America's Public Schools and Community_Councils. (Washing- ton,‘D.C.: National CommiSSion on‘Adult Education Finance, AEA, 195a). M2. M3. 1+u. 1+5. 246. 1+7. 118. l+€9. .E;(),. .5311. - 514-- - 120 - Reed, Wayne 0. "Basic Tasks of the Adult Education Leader," Focus, First Yearbook of the NAPSAE, 1961. Scholes, Percy A. Iusic Appreciation: It's History and Technics. ’(NewlYOrk: i. Witmark and Sons, 1935). Schmidt. Warre H. and Svenson, Elwin V. Methods in Adult Education. (Chicago: AEA—USA, 1960). Schonberg, Harold C. "Cause for Pride," The New York Times, Sec. II, Col. 1, May 3, 196k. Schubert, Mark. "Music: We Appreciate It - Do We Like It?," The New York Times Magazine, Sec. 6, Part 2, September 23, 1962. Schwartz, Carl Frederick. A Study of Music Cfferingg in Selected Public School Adult Education Pro- 1.? gramslin the State of New York. Ph.D. disserta- tion, Teachers College, Columbia University, New York, 1960. Sheats, Paul H.; Jayne, Clarence D.; and Spence, Ralph B. Adult Education: The Community Apppoach. (New York: The Dryden Press, 1953l. Thatcher, John H. Public School Adult Education: A Guide for Administrators. (Washington, DTC.: NAPSAE, 1963). Thiede, Wilson B. "Comments on Preparation for Profes- sional Leadership," Focus, NAPSAE, 1963. Thompson, Helen M. Economic Conditions of Symphony Cr- chestras and Their MUsiEians. (Charleston: Amer- ican Symphony Orchestra League, Inc., 1961). Thompson, Virgil. "Opera, It is Everywhere in.America," The New York Times Mggazine, Sec. 6, Part 2, Sep- tember 23, 1962. The University of the State of New York. Regulations of the Commissioner of Education, Article XXVII, Albany, New Yerk, 1956. United States Bureau of the Census. Census of ngula- tion, Vol. 1, Part A. (Washington, D.C.: Depart- ment of Commerce, 1960). 55. S6. .57. - 121 - Webster's New Collegiate Dictionary, Second Edition, 1956. Wilson, William Paterson. The History and Development of the Public Adult Education Program in Chicago. Ph.D. dissertation, University of California, Los Angeles, 1948. Woodward, Marthine V. Statistics of Public School Adult Education: 1958-1959. l(Washington, D.C.: U. S. Department of Health, Education and Welfare, Circu- lar No. 660, 1961). Wyckoff, Donald. "What we Believe About Art Education for the Adult," Work Forum, National Committee on Art Education, NewlYOrk, 1963. APPENDIX I THE SURVEY FORM Name: Title: Name of Adult Education Program: Name of Sponsoring Public School System: Address: .___ City: State: J DUE: ON OR BEficRfl MAY 15, 196A. Introduction Due to the advent of automation and other technological advances, we are rapidly becoming a society in which almost everyone will have more and more leisure. If we, as a nation, learn to use this leisure wisely, we may be on the verge of a new Renaissance. If, however, we do not, we could become a nation of idlers, incapable of realizing our greatest poten- tial. Purppse of this Study The purpose of this study is to determine how many adults occupy their leisure by enrolling in adult education classes, particularly, music classes. Also, to identify the variety of musical activities they enroll in. Further, to pinpoint any trends during the past five years indicated by the data relative to kinds of classes offered, number of classes of- fered and age levels of participating adults. Ray Gerkowski Consultant in charge of Adult Music Education IMott Program of the Flint Board of Education Flint, Michigan - 123 _ I. How important, in your opinion, is it to offer instruc- tion in music on the adult education program? Please check appropriate line. 1. Very important 2. Important 3. Cf little or no importance II. What are the limiting circumstances or pressing reasons why no music classes are being scheduled on some adult 1: ‘“ education programs? (Some limiting factors are listed. ; Please check appropriate lines). a 1. Inadequate budget. 1 2. Lack of interest on the part of adults to E r enroll when classes are scheduled. l ~j 3. Needs or interests of adults not known. _l h. Others Do you offer any music classes in your adult education pro- gram? Yes No If your answer is "no" your reSponsibility is ended at this point. Please return this questionnaire in the enclosed, stamped envelope. You may be assured I appreciate your coop- eration. If your answer is "yes" please continue. I shall be happy to send you a c0py of the results of this questionnaire if you care to have one. Please check below. I am interested in having a cepy. I am not interested in having a copy. Objectives I. Is your adult music program organized on the basis of definite objectives determined by the adult music edu- cation department or other appropriate groups? Yes No . II. -121,_ If your answer is "yes" please state the objectives be- low, or include any printed material you have which gives these objectives. Printed material enclosed. -r—:a III. Who determined these objectives? 1. _____ General adult education director. 2. _____ Adult music director 3. _____. Adult music supervisor J h. _____ Adult music consultant llj 5. _____7 Adult classroom instructor 6. _____ .Adult music education committee 7. _____p Other (Please explain) 8. Not known IV. If your adult music program is not organized on the ba- sis of definite objectives, is it organized on the basis of: 1. Additional skills needed for job improvement. 2. Interests of a recreational nature. 3. Other (Please eXplain) If your program is organized on the basis of definite job improvement needs, interests, etc., how were these determ- ined? - 125 _ l. _____ By written requests from adults. 2. _____ By a survey of your community. 3. _____ By word of mouth. u. Other (Please explain) Curriculum Content and Organization Below you will find a list of classes frequently offered on adult music education programs. Please indicate if the class is offered in your program during this school year. Al- so indicate amount of class tuition, credit given, meetings per week, and number of weeks per term. Accordian Class Guitar Class Mandoline Class Organ Class Piano Class POpular Piano Class Recorder Class Voice Class American Folk Music Introduction to Music Introduction to Opera Music for Fun Music Appreciation Survey of Music ‘Understanding Opera {Inderstanding Jazz J" I mu Harmony Music Fundamentals Music Reading Music Theory Music Composition Orchestration Brass Band Concert Band Band Refresher Accordian Ensemble Guitar Ensemble String Ensemble Brass Ensemble Woodwind Ensemble Recorder Ensemble Chorus Community Chorus Women's Glee Club Mothersingers Chamber Orchestra Community Orchestra Orchestra Refresher Salon Orchestra Symphony Orchestra Drum 8c Bugle Corps Jazz Combo 0 ther - 126 - II. III. IV. -127- In addition to class tuition, are your students charged incidental fees, such as: 1. A registration fee? Yes No If "yes" give amount. 2. An activity fee? Yes No If "yes" give amount. 3. Material fee for materials used in class, such as, band, music, chorus, etc. Yes No ' A. Other fees. (Please explain) Yes No Frequently resident and non-resident adults are charged p,j a different class tuition fee for the same class. Is this true in your program? Yes No 1. If "yes" is this difference a standard set amount for each class regardless of the class in which enrolled? Yes No 2. If "no" is the difference based upon: Type of class POpularity of class Limited enrollment Other (Please explain) Do your adult music classes meet for the same amount of time each meeting? Yes No 1. If "no" How many minutes are there in the longest class? How many minutes in the shortest class? What is the average length of your classes? Each year there are more and more retired persons living in each community. Often they express a desire to become - 128 - involved in a musical activity during the day. Are you finding this to be true of your community? Yes No 1. If "yes" have you scheduled any music classes for these retired persons during the day? Yes No 2. If "yes" list below the classes you have scheduled. Mornings Class Time m. Afternoons } V. Many adults enrolled in adult music classes do not in- tend to pursue their studies toward a degree. Their pur- pose is frequently some immediate goal fulfillment. How- ever, they welcome and value a certificate as concrete evidence of having completed satisfactorily a given class or a prescribed course of study. Does your department offer certificates on this basis? Yes No 1. If "yes" list below: a. Individual music classes leading to a certifi- cate. b. Music classes in a prescribed course of study leading to a certificate. ‘VI. Does your adult music department issue grades to pupils 'who regularly attend a class for the duration of the course? II. - 129 - Teaching Techniques Adult educators use a variety of techniques to increase their holding power. Some of these techniques are given below. Will you indicate which of these are used by your instructors. Also indicate the frequence of use. Lecture Forum Dialogue Debate Group Interview "Buzz" Group Discussion Round Table Discussion “ .— T 1 ‘3 Role Playing : Symposium Class Project Using Student Knowledge Movies Television Personalization Teacher Demonstration Visiting Instructors Guest Conductors Guest Soloists Does the adult music education department assist the teachers in their efforts to increase their holding power by providing: 1. A detailed course of study for each class, lesson by lesson? Yes No 2. A general teaching guide for each class outlining the important points to be covered during the course? Yes No -130- 3. Ctner (Please explain) III. If the answer was "no" to Question II, which of the fol- lowin pract Below bilities. Indicate t bility in Music g policies most nearly coincides with your present ice? The instructor is expected to make out his own detailed course of study for each class, lesson by lesson. The instructor makes out his own general teach- ing guide outlining the important points to be covered in the course. The instructor plans his work, lesson by lesson, according to the goals of his students. Cther (Please explain) Administration and Supervision is a list of administrative duties and reSponsi- Please reSpond according to your present practice. he person or group who has the greatest reSponsi- each area. Administration: ‘P Who prepares the music depart- ment budget? V V Who approves music requisitions? Who makes instrument distribu- tions? Who takes care of instrument maintenance? Who prepares Specifications V T for purchase of equipment? Who plans music facilities in new buildings? Who recommends the purchase of music? M‘- _ mil - 131 - Curriculum DevelOpment:v Who develops courses of study? Who develOps general teaching guides? Who appoints teacher curric- ulum committees? Public Relations: Who arranges music programs for civic or community func- tions? Who represents the music de- partment on civic or commun- ity committees? Who publicizes activities in newSpapers, magazines, radio and T.V.? Personnel: Who interviews music teacher applicants? Who evaluates and rates mu- sic teachers? Who calls music teacher meetings? Who presides at music teacher meetings? Who teaches demonstration lessons? Who attends meetings with administrators of other subject areas? Other I. GR) whom are the members of the music staff directly re- sponSible? II. II. -]_32- . Adult music director l 2. Adult music supervisor 3 . Adult music consultant h. Adult music instructor Is the head of the adult music program also a member of the public school staff? Yes No If "yes" what is his position? 1. Director of Music 2. Supervisor of Music 3. Consultant of Music 3 j. M. Music Teacher “I- 5. Other (Please explain) Adult Music Instructors Do you require your teachers to have a music degree from a conservatory, college or university before you engage them? Yes No If "no" what other qualifications do you require before a teacher is engaged? I. ' Playing experience in a professional organ- ization, as a symphony orchestra, jazz combo, etc. 2. '_____ Success as a private music teacher. 3. ______ Success as a free-lance composer. DJ ______ Success as a conductor. 5. ______ Evidence of subject matter proficiency. 6. Other (Please explain) li',.. . .- -]_33- III. On what basis are your music teachers paid? On an hourly basis? Yes ____ No ____ _____. Minimum rate per hour. Maximum rate per hour. Are they paid on a term basis? Yes ____. No If they are not paid on an hourly basis or a term basis, how are they paid? IV. Lo your adult music teachers have tenure? Yes No V. On the average, how often does the music staff meet to discuss departmental problems? 1. _____ Not at all. 2. _____ On call. 3. _____ Once a term. h. _____ .Cther (Please explain) VI. On the average, how often does the music supervisory staff make classroom visits? 1. _____ Not at all. 2. ______ When invited. 3. _____ About ____ times each term. 11. p_____ Other (Please explain) VII. Does the adult music department Sponsor in-service train- ing classes? 1. Not at all. 2. As requested. h. Before each term begins. -131+- h. Other (Please explain) VIII. Is there a requirement for attendance in in-service training (if given)? Yes No * _ If "yes" is such attendance related to: l. Tenure 2. Salary 3. _____ Other Registration .3 I. Before a new class is organized on your adult music '_l program, what requirements must be met? 1. Minimum enrollment only. 2. Minimum enrollment and formal approval by some authority. 3. Other (Please explain) II. If adult music classes must be formally authorized, who is the approving authority? 1. ___p_ State adult education director. 2. ._____ Local adult education director. 3. ______ Local adult music education director. h. Other III. For an approved class already on the schedule: 1. What is the minimum registration of adults before a class is permitted to meet? 2. What minimum average attendance must be maintained to continue a class? ' IV. VI. -135- Luring registration a differentiation is sometimes made between resident and non-resident adults. Which of the following statements most nearly coincide with your practice in this area? 1. Residents are registered before non-residents. 2. Non-resident applicants are accepted only when room is available in the class. 3. There is no differentiation. In some adult education programs, class fees are waived for senior citizens. If this is a policy you follow, give the age at which senior citizens in your program begin to have this privilege. Age: Not practiced: Each adult education program has its own individual registration procedure. Please indicate your practice. 1. Is a general registration held prior to the starting of classes? Yes No If "yes" about how many days prior to the starting of classes is this registration held? 2. Students may register: In person By proxy By telephone In class, during first meeting Other 3. Late registration. Do pupils who register late pay a late registration fee? Yes No If "yes" give amount: -136- Guidance and Testing Frequently adult seek advice and guidance relative to the music courses most suitable to their needs. Is your adult music department geared to give this service? Yes No If "yes" please check the areas in which your music depart- ment is active. 1. 2. O (n -q o~ U1 #7 \» II. Registration problems. Current educational planning. Long—term educational planning. Talent testing. Interpretation of test results. Job improvement. Credit evaluation Other Music Roomsy Equipment and Materials Please indicate where your music classes are held by checking the statements which coincide with your situ- ation. 1. \n-P‘W N (Check one or more.) Public school music rooms. Junior college music rooms. Ctllege music rooms. University music rooms. Other Who owns the basic equipment and material used by your pupils? (Such as the individual, college, university, junior college, adult education program, public school, or any others.) II. - 137 - l. ______ Music 7. ______ String basses 2. _____. Music stands 8. _____ Tubas 3. _____ Snare drum 9. _____ Sousaphones h. _____ Bass Drum 10. _____, Phonographs 5. _____ Tympani 11. _____ Records 6. _____D Pianos 12. _____ Other (List) Evaluatiop Please check the statements which most nearly coincide with your current practice of evaluating your music classes. Our music classes are evaluated by: l. ______ On the basis of student reaction. 2. ______ On the basis of enrollment. 3. _____ On the basis of testimonials. h. _____ By the head of the music department. 5. _____ By the music instructors. 6. _____ Other How often are your music classes evaluated? 1. _____. Once each term. 2. _____ Once each year. 3. _____ Never. 4. Other. Budget What is the total 1963-6h budget for the adult education program in your system? II. III. IV. II. III. IV. -138- What is the total budget for the adult music program? How much of the total music budget is used for: Teachers' salaries m . Music equipment E . Music materials s . Maintenance a . much of the total adult education budget comes from: Local taxes. per cent. A foundation. per cent. An endowment. per cent. Private contributions. per cent. Various fees. per cent. Other. General Information What was the total enrollment in the general adult pro- grams for the fall term of 1963-6h? What was the total enrollment in the adult music program for the fall term of 1963-6h? Do any of the adult music groups present formal public performances. Yes No If "yes" please list the groups. What is your admission policy to these concerts? 1. 2. 3. The concerts are free. Admission is charged. A free will offering is taken. ""l‘h' .‘nflo‘m II. - 139 - Changgs in the Adult Music Program Has there been a change in the number of adult music classes offered during the last five years? 1. ______ Greatly increased. 2. _____ Increased. 3. ______ Remained the same. h. ______ Decreased. 5. Greatly decreased. Indicate, as well as you can, the areas in which there has been more or less interest. Classes: Accordian Guitar Organ Piano Other Music Fundamentals: Theory Music Reading Composition Other Music Appreciation: Listening Jazz Opera Other - lhO PerformingAGroups: Band Chorus Orchestra Chamber music Small vocal Other III. Has there been a change in the age levels dents attending classes? 1. Under 35 2. Age 35 to EN 3. Age 55 and older THANK YOU FOR COMPLETING THIS QUESTIONNAIRE. More Less More Less More Less of the stu- M "I7'111'111111111111“