.

9m.

                    

mum .

* 1.— no. . 99-AIIQ-I1chq'qfism

  

 

 

1°§~fl9990g

I

...

9.

‘99-.-

..I-m .44 O. ‘9
.

flange- in...

1» «4.99

'7‘.

«cg-on- I-QH'ND-O
.

HH':!+9‘.9“

911-.

4 9" '9‘ ‘QWV‘Jflst't' *2"

.. .
I . .
. o n.
I .. ..I. .
_ I .
» _ .
... . < o
. . I .
. . I
.. I .
. . ...
. .
. . .
. .
I .. . . .
.
. .
II .
. .
. .
.
._
. .
.. .
L
.
. o o .
..
. I
I
. .
a ...
. .
. ..
.. .
.
I
I .
. . . I
.
_ .
. .
_
.
.
u I

. . Z .
I. . I
. I. .. . ‘...V
. I . . ,.
_ . o o»-
.. .. o
I ...: .
. I?
. I 0..
. . .... _
. I . . .

 

 

 

I I
.... . . . . . I . .
. 0.. .
. I I I I . . .I I . .
.o .. . . . t
. .. . . .v . .. . I.
o \o I. I I o. I I . . v
I .o . . o. . . . o. I I .
_ . . . . ..
I. 4 I I
0.. o I I . .. . o . . . . . . .
OI . . o. . I . . . .
I o o I... I. . . .. I . .
o . . _ ..
a n In I ~ 0 I O o I. a .
.IA .3 . o .. . . .
I. V o .
. . ... . . ... . .. . .0 . . . .
. . . ...
. o. .. , I . I . .. . . .
. .
I... . r. . I ... .... . .. .
.. . . .. . . . .. I a .
. ¢ . . ‘o . I o. . . . .... I .
I I . I I
. I. o. . . . . .. I
. . V . . . .I . .. . . . I . I
. .. . .. I. . . . . . . . . . .
.. 3.. . 0.. . . 0.9.. I or . . o .o I . .
.. . I o I . A . .. . v ..I . . . I . ~.
. .I .. . . . I ..
. .. ... II . .. I
. o .. .... . . .. . . . . . . .
.
. . . , I‘ . I. . . .
..I I . I . . . . .
. I 1 I. ... . , . . .. I . . .
. o I ~. . .I . I. . o . .. . I
. .0. I I I ... .
. . . . . . .. . .
.. . .
I . Io ... .I I o . . . . o o I... . . .
.v .... . I. . . . . I . I . ...
I .I . . I. c v .. . I. .
o I I 1 . . _. . . .C I
.I I I. . V I . . I . . . .
. I . .
I ..I- ‘0 O .I .
. . I. .
.. a. .. . .. ... _ .. . . . .
. II I. I .I .. . . . . . .
. . I .. . .o . I .. I . . . . I .
. .. . . . . . . . . I .
. . . . . . . . . I
. .. .0 . I .. . I . .
. . . .2 . _ . . I
<.. v o . I . ... o . . . .
. . . . .
. . . .... . o
O o I ... I- I I O I
. I. . I . I .
I A O O I v I I
O I. I. . . v . I It. . O I I
. . . .
I. . . .. . . a ‘ o .
. . . . ._ . .
. . . . . . I ... c . . . o
I . O I
_ y . . I I I .I I
. o o I . . . 1 .. .I
.. .. . _ . > I . .
I I I I C
. . ... v9 ,
. _ V .
. ... .. . .I o .
I v . . . . . .. I. c.
. . . ‘ . . o
. .I . .. . ... .
. . . . .
C . I I u
t 0 r . V I ‘l r I
.
.- I . . o O .
. .. p O .. I.
I I I ... _ I ._
. . . .. . . . I . I O . . I . . .
.. .. . .
.o _ _ I I. . . I . .. . .
...o . I . . . . I . I
I A .
. . ... ... I
. . I
.. . . . I. ..
V , I
Is .. . I . . . o v
. . . . I . .. . .
I I . I . on I I.
. . . . . ._
. I. . _ I .
. . o . I
V ... I I I . ‘ .u .I
. I. I. . . .. . I . . o
. . . I . . .I II. c
I t
I .
. o . . ..
. .II I . a I o I. .
I . I o
I I I . I I
I I < l
I I I I I I u .0 .
. .
I _ . A h I
. . .. . . . ..
.I . . . . I II
. _. . o. .. . ..
I I . I .
. . . . o . . .-
I . I .
5 - t I I .
c I
. . . . 8 . I
. . . u .
..I . I
. . . . . . .
.o . . . .
. . I _ .
I I a. I
. I O I u t
. . Z
I . . I
. . .
O I
. l I l .
I
...
. . . . I .
I l I I
.
4
_
. o .
I h
. .. .
. . . ..
I h
I n I I ‘
0 A. I. I I
V I
. . .
o . . ._ I v ¢
. . . I
,
I . .
.0. . . . I.. I.
_ . I .
.
_ . . .
I I .l I
. I . . .
. I I.
I I § 4 I
. I . . .
VI 0
— I
. . .
I I I
I I o.
I D
.. I I
.. I
v I _ I.
. I
A I
I O
. . . .
l I
. . .
.
.. .
I 3
.
. . .
I .
. .
.
I
,. .
. Q
I I
. .
.
.
_
. 4
.
a . . .
. . I. .. I v
.
I I I I l I o
. I. .
il l i

l

.
. . .
o .
o
. _.
. . .
o
. . . I
w ..
. I. ._ .
. . .
. .
. .
.
.
. .
- . .. .0.
.
. I
.
. I
I .
. a
.
.0 .
. .I
o!
..
. . .0 ..
.
A
. I
O
.
.
I
... .
. .
.
.
. v .
.
. I .
. .
I .
. . .
.
.
4 .
O
. .
.
.
. I .
I
..
. . v I .
..
.I. 1 a.
I .

  
 

      

        

     

 

                    

    

            

 

       

 

    

          

    

 

 

 

. .. ._ L. 4:. 1-.4
.. . . . . . . A .. . . .
. i . ...; 2.1....“
. . V . r. ... 3 ,
_. . .I ... f ,_ . ..
. .
. . ... ~
. ..
.
.
.
o _
._ . . r
‘. .
. . .0 .
. .
I I I
. L
. . . .
. . .
. . . I
. . .
. . ... I _
. I . _. .
o . C... I .. “l. I. 4‘. l
I ‘ a.:I ‘ r0..—’J ......
. .6.._...‘¢.co.v...
. y . . .. ..
.. .
.
.
. . _
. I . . .
. . . .
.
.
. . .
_
. .
. . . . .
. .
. . f
ILIIY.
_ I. 0.
. ,
I .
I . .
. ..
.
v I
. .. .
.
I I
.. .I
I I I
I.
V . .
. ...3....o.I.
. c.1123: o
. 1.00.. I .'I\I:.
. K I
I Q
I . I .
.
o .,
_ . .
. .
W . . .I II.I.I
I .. . . . .
I I . .
Yo. I . . ..
. . . ..
I ‘ I . .I . I-
. t . .5 .. .
. . _ , _
. . a I I . .
. . . I .
9 I A . ... .
I . ..
. I I . . I... ..
. . . . .
... . I . .
I Q . . A o I
. . .. _ I
. . I I . ..
. . O I I .
I s I r
I . . A . I .I
o y
. o ..
. . .. . . .
. . . ...
. I . .
. a ..
. . . .
I I I
.1 .
. p I.
. . . . . .
. . . . ...o. . .I \....v. .37..
. V I . . . .. I I 2 .. o ..o.....<.. a]
. . I. . .. . . ..n I .0 I ...,II. In.
. . . I . I. . .. I.
I I. I. O I . O
_ . . . ..w .
. i . . . .
. . . 4 .I .
a . . , .
. .. , . V. _.
I o I . I O . II!
. . . . . . I o! I . I o
. . . . . . .
. . A . .
. . . _ . A . ...... I H . a. .
I . . . .. . . .
. . I
. r . a . . . I I I . . ... I1. .
. I .I o . . . I. . £I .. . .... ..OIIII. ... \I
. . . . . . . . .. ,. ..4
. . . . . . . . .-
.. _ . . ..
. . . I I. .—
oo . .a .
_ I u I
v I ‘ I.
. I .
. . .. .. . .. .
.p _ .
_ t I .
. A 0
. . .. . .
I
.
. . .
. ., . OI . . .
.
.
. .. .
. . a“
I . . . .
. . . .
. . . . .
. . . .
I .0 I I. l
. I . . ... . .
. A o I
. I
. I .
. .OV .
,I I
. . .I
. fx .
. .I I
. ..
.
. _
I I I v 4'I
o I t a . ..Iu .
. f . I . . I ..p.’ .. .
A . O . I 4. . VI. .ql..’ v
. . ..II. _I . . .
u . .. o . . .
. . I u. a ... ... . 4 . .. . 5.1 . 0... IA.- u.KO II I,.i«..o
. in. . a . .ue. ‘ I . . . ‘..a. av“...wo. ‘m .. .p o
_ I .... ., o. c—cu.$_“: ..g,.....V.d»v~II.¢I. .,...I. c . . .P. I .
. . I; . o

 

IllllllllllllIllillllllllllllllllllllHlllllHlIlllllllllllll

31293 01853 2725

 

LIBRARY
Michigan State
University

 

 

 

PLACE IN RETURN Box to remove this checkout from your record.
. TO AVOID FINES return on or before date due.
MAY BE RECALLED with earlier due date if requested.

 

DATE DUE

DATE DUE

DATE DUE

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

1/98 alumna-9.14

 

 

A STUDY IN THE
TRANSFER OF EUSICAL ACTIVITY AND APPRECIATION
FROH HIGH SCHOOL TO POST-SCHOOL LIFE “

by

Donald Charles §glth

A THESIS
Submitted to the Graduate School of Elohigan
State College of Agriculture and Applied
Science in partial fulfilment of the
requirements for the degree of

MASTER OF MUSIC

Department of Eusio

June 1940

flhfisre

of}? . Z

 

 

ii

PREFACE

Since beginning this survey several months
ago, I have naturally contacted a relatively large number
of persons And I have viewed with growing alarm the at?
titudes taken by many of them toward this thesis, on
trunefer'or musical interest, which you are now reading.

_ Now, do not misunderstand me, but note
carefully when I ea: that the large majority or such et-
titudee (which I shall presently classity) were expressed,
not by the members of the graduating class who were sur-
veyed for a portion of the material being used in this
thesis, but.by excerienced adults now active in education,
both musical and general.

The pceeeeeore or theee attitudes (and shell
I not call them ' malicious ' attitudes? J constitute
three more or less distinct groups. The first group re-
presents those who feel that a survey of this nature will
most certainly vindicate public school music from all
criticism, forever. The second is exactly apposite in
ite‘nature. Its preponents feel that such a survey can,
without question, prove but one thingp- that music as a
curriculum eubJect is absolutely veluelese if transfer to
later life be the point under consideration. The third
group is, it less radical, more malicious than either'or
81

jfil?‘

OI

iii

the other two. This third view-point is one charac-
terized.by the feeling that statistical surveys have
no place in a progressive educational system, and that
the facts which such surveys bring forward have no
validity.

But no one or these three view-points
can serve to explain my purpose and intent in dealing
with this subject. I cannot conscientiously admit that
I believe our present system of public school music to
be the some of perfection, nor could 1, without perjury,
hold that music has no value whatsoever in the public
school curriculum, nor, least of all, could I outlaw
statistical investigation as being imprOper to a pro-
gressive educational program.

' I desire that my reader may know and un-
derstand that my first and only intent is that same pure
motive which should induce all scientific investigation
-- a search for truth, and an improvement of existing
conditions. The truths, concerning this problem of
transfer of musical activity and appreciation, as
gleaned from experience and investigation, shall de-
termine wherein past courses have failed in their*purb
ported objectives. Moreover, the discovered truths
should give evidence as to what changes in curriculum
and method ought to be made in the future.

iv

Several criticisms have been made regard-
ing the method which I have used in obtaining the ram
material of this thesis. Only one or these, however,
do 1 consider of sufficient importance to attempt in
any way to justify myself in regard to its use. This
criticism is -" the uncontrollable subjectivity of
the questionaire method.’

To this criticism I gladly reply. Musi-
cal actiV1tl. whether it be performance or appreciation,
is essentially a matter of feeling. Feeling is emotion,
and results from a combination of knowing with the in-
tellect and eXperiencing with the senses. We must there-
~fore conclude .. ' that musical experiences are subject»
1veexperiences.’ And in so concluding, we are defend-
ing the use or the subjective method as being the most
valuable in dealing with prdblems which are subjective
in their nature. Note that I do not say that a sub-
jective method or investigation is always better than
any other method. I merely say that, since music is
in its very essence so decidedly a subjective experb
ience, a subjective investigative method such as the
questionsire survey is the most profitable and valu-
able in its returns to the investigator.

. Nov about the uses to which the results
or this investigation may be properly applied. Xeu will
note that the title of this work is begun vith the

words - ' A study '. This implies, not a consumate
survey or like studies from all parts of the United
States, but.a single study of some one hundred cases

in a localized sector; Any use of the results of this
survey should therefore be in keeping with the appro-
priate limits of this particular investigation. Only
by combining the results of many such studies (which,
to my knowledge, unfofifiately do not exist, due to the
extreme difficulty in administration) can any bread
applications be made which would have any absolute
universal validity. It is my personal Opinion, how~
ever, that the trends which areset forth herein shall
in the future be found to be quite an accurate descrip-
tion of all students so concerned, and that any attempt
toward improving the curriculum to accentuate transfer
shall not so far amiss in accepting as a tentative pre-
mice the statistical evidence or this survey.

But as we apply these results, let us not
fell into the error which Bacon.has so aptly put ..
“Another error that hath some connexion with this later
is that men have been accustomed to infect their:nedi-
tations, opinions, and doctrines with some conceits which
they have most admired, or some sciences which they have
nest applied, and given all things else a tincture ao-
eording to than, utterly untrue and.unprOper....... But
of these conceits Aristotle speaketh seriously and

vi

wisely when he saith, they who observe only a few cir-
cumstances make easy pronouncements. ' 1 In the follow-
ing pages, as the need arises, I shall attempt to faith-
fully give both the proposed plan and the method of in-
vestigation, along with the statistics and evidence ob-
tained. Upon these you may base your own conclusions as
you compare these results with those which you obtain.
It is my sincere desire that in the future, many who are
interested in music education will make surveys of this
nature, and that a body of general laws may soon be for-
mulated and proved, based solely on investigation.

In concluding this preface, I should like
to mention something regarding the status of music in the
public school curriculum. There are five usual stages
through which any subject of the school curriculum passes.
A subject is first championed by one, or a group of au-
thoritative scholars or educational leaders, who sees in
that subject certain values for the public school pupil.
In the course of time the school administrators, superu
intendents, and teachers, are convinced of the value of
the subject preposed, and they timidly install it, a bit
at a time, into the school curriculum, despite the public
feeling which usually ranges from indifference to intol-
erance. But after a period of varying lengths of time,
the public majority, through familiarity and prepaganda,

1 ‘Bacon, Francis, AdVanc ment of L arni , Doubleday,
, Doran and Company, Inc., 1937, p. 212 If.

vii

come to ehcleeheartedly support the "new” subject.
But by this time the “thinkers" may have found another
subject or method which they believe superior to the one
then in use: and they begin to exert pressure toward a
reform. But now the general public rises up in resis-
tance to that effort and desires to keep the status quo.
Despite the pressure of the general public group, the
school teachers, principals, and administrators are con-
Vinced that a curriculum revision is necessary and they
begin certain minor changes which will eventually lead to
the new end desired. The newest subject is inserted in
a hesitating, but real, way into the curriculum. Finally
the general public sees the advantages of the “new" and
slowly shifts its view-point to embrace it. We see that
'stage four"I for the "old“ subject corresponds to "stage
one" of the “new", and that "stage five“ of the I'old" to
the 'second stage“ of the 'new‘.

We may ask, which of these stages is
public school music now in?

. Certainly at the present time it is ob-
vious that public school music is somewhere between
stage two and three of public acceptance -* perhaps a
bit closer to stage three. It has taken about fifty
years to pass through the first two stages. If we have
now just entered the third stage, that of public appre-

val, there is certainly much more coming in public school

viii

sch001 music for the future than we have up to this
point realized. If this be true, it is fitting-:5 and pro-
per,‘yes ~ necessary, that we raise the values of our
subject (public school music) to the highest possible

level of student value.

To this end, I herewith submit this thesis.

ix

ACKNOWLEDGMENTS

The author wishes to extend his most
sincere appreciation for all those who in any way
have aided in his realization of this study. Es~
pecially to the 1933 graduating classes of Lansing
Central High School, to Mr. Charles Le Furge and
the office staff of Lansing Central High School,
and to Hr.iHarry Gardner and the office staff and
music instructors of the West Junior’High School,
the author feels particularly indebted. He also
wishes to extend his personal thanks to Hr.
William Kimmel and Mr. Keith stein for their in-
valuable suggestions regarding the many details or
this survey, many or which have determined its ul-

timate usefulness.

Dedicated
to
Helen M . Smith

TABLE OF CONTENTS

Introduction
The Thesis of this Study

Plan and Proceedure

School Records and Curricula

- Junior High School Curricula
Senior'High School Curricula
Table A

2:
Survey Questionaire - tables and summaries

Question
Question
Question
Question
-Question
Question
Question
Question
Question
Question
question
Question
Question

Question

One

Two
Three
Four
Five

Six
Seven
Eight
Nine

Ten
Eleven
Twelve
Thirteen
Fourteen

10
1M
18

23
25
27
32
36
39
#1
47
51
55
5s

62

xi

General Summary
Conclusions

Appendix
Sample Questionaire
Favorite Radio Programs (descriptions)
Surrey Personnel
Case Studies
Took high school music
Took no high school music
Bibliography

xii

82
8h

90

93
118

133

Introduction

As I listened to an educational broadcast
which came through one of our major networks Saturday,
May ll, 19%, I heard a. professor.- of education at
Stanford make this statement, - ' It is, without
doubt, a veritnble certainty that the most potential,
and.yet the least dealt with field in educational re-
search, is that of transfer of materials and methods
obtained in school-life over into post-school living.
I In personally convinced that, if we are to make any
rapid advances in the future effectiveness of public
education, we shall have to first thoroughly explore
this rich.field of research.- transfer of training,“ -

To have by chance heard this statement by
an authority surprised me no end, and I felt partially
rewarded already for having chosen so difficult a sub-
Ject upon which to work out a thesis. To my knowledge,
there have been no other studies, in music education,
of this nature. As far as this author is concerned,
not only the material, but the entire than is an orig-

inal one.

There have been certain investigations made
in an effort to determine the mentality of persons ter-
med.'nusical“. Such studies are very valuable -- in
furnishing “breeding points for controversy“. But
they furnish little in the say of educational advance-e
ment. This thesis is not such a study.

The tapic of transfer was chosen with the
conviction that something was lacking in the educa-
tional system of our day. Whether it be the fault of
the school environment, or the out~of~eohool environ-
ment, or again the individual's heredity, is a matter
upon which much investigation is yet needed. Perhaps
this thesis may be a step in that direction.

For any reader who may be interested in
attempting a survey of this kind, there is in the
appendix of this work a statement or two regarding
the time and materials consumed in a survey of this

nature.(”

a) dh~ .Auhf ' ' . ' 4x5 Luann. aaaaaads

The Thesis of This Study

This study takes upon itself the task of
determining, to as great an extent as the subject
matter and the questionaire method will allow, the
actual transfer or carry-over of the school musical
experiences and appreciations into post-school life.

he are assuming, as a tentative premise,
that the high school is giving significant musical
experiences to its students. Now let us survey a
group of such students, who have left school, and see
if, in their own thinking and habits, we can locate .
any of the results of the school~given musical eXper-
iences. If we do find appreciations and.habits char-
acteristic only of students so “trained” in school,
we may say that there has been a transfer of activity
and experience over into post-school lire.

Again, I say, to determine the answer to
this problem is the burden of this thesis.

Plan and Proceedure

To secure any high degree of reliability it
seemed advisable to conduct a survey on as large a scale
as possible in order that the conclusions reached might
have a high reliability coefficient. oh the other hand
it also seemed advisable to keep the study “within
bounds“, in order that a high degree of validity might
be obtained. This would necessitate a more or less ab-
solute control of all variants, which could best be ob-
tained with a smaller group of case studies.

The compromise plan that resulted, which, I
might say, seems to Justify both of the above critic-
isms, is as follows. A graduating class of some pre-
vious year was arbitrarily chosen as the field for a
case~study survey. To allow a sufficient period of
time for the tranépr to establish itself in poeteschool
life, the graduating class of 1933, both.January and
June classes, was chosen. The feeling was that this
year was recent enough to secure significant results
from public school music, and.yet was also remote

enough to get a true picture of the actual situation

regarding transfer.

Due to the availability of the school re-
cords, the Central and West Junior“High Schools of
Lansing, Michigan were chosen as the schools in which
to begin the survey.

'In the offices of these schools were obtain-
ed the school records of the persons comprising these
two graduating classes. From these records the mater~
ial for the individual case studies was obtained.
Names. courses taken, and grades received were thus ob-
tained. Since there were about four times as many cases
~who took no music in high school, as there were cases
who did take music, approximately one out or every four
persons who took no music were taken at random for the
control group. All those who elected one or more
courses in music for a period of one school year or
more, are included in the “took musicI group of this
survey .

It fies necessary for all students in this
Junior high school to take at least one year of a re-
quired music course meeting one hour per week. There-
fore, since this course is common background to all
students, it can be disregarded as having any bearing .
on either group. Since so many take this requirement
in the seventh grade to "get it over with", I have

chosen to begin the survey with the eighth grade for

each case, rather than the seventh. But whether they

completed this requirement in the seventh grade, or in
any subsequent grade, this required course was not in-
cluded in the survey.

As adequate a description as was possible to
obtain for the school curriculums will be found in the
section entitled School Records and Curricula.

Table A gives the number and per cent.of
musie.cases who had one, two, three, or four, eto.,
subjectvyears in high school music.

Having determined the possible personnel of
the 'took-music-inhigh-school" group, and of the “con-
trol' group who 'took-ho~music~in-highrschool“, and
having obtained the school record of each, the next step
was to deveIOp a l9u0 questionaire which would obtain
the information salient to the present study. A cepy
of this questionaire in the form in which it was pre-
sented to the 1933 graduates may be found in the ap-
pendix.

In all cases possible, personal contact was
made when the questionaire was left with the ease in-
dividual. About 33 %, it was found, had left the city.
These addresses were obtained by a special "sleuthing'I
process and the individuals were then contacted by mail.
In order to insure a proper evaluation.and interpre-

tation of the questionaire, an explanatory letter was

attached to each questionaire, whether sent by mail or
delivered.personally.

After three weeks, which seemed a sufficient
length of time, the case studies which came back by mail
and those which were personally collected, were, in
number, -- for the group taking music in high school--
50 cases, and for the control group-- “3 cases (numbered
in the case studies 101, 102, 103, etc.). However 3
of these last #3 had., in my opinion, answered the
questions too inadequately to be of any value whatso-
ever. Therefore in all computations they are disre-
garded entirely. In.order to make satisfactory comp
parisons all values given for the control group have
been increased by one-fourth. In other words, all
values in the control group of to cases were multiplied
by 1.25. ( 40 x 1.25 = 50 ). Thus the groups may non
be compared on an equal basis.

Each of the questions are in this study
treated separately. The two control questions, num-
ber: 10 and 11. are often included in the various
tables where the comparisons seem to be significant.

In cases where one question furnished too much material
to be included in one table, additional tables have
been added. Under the heading of each table is given
the question which furnished the material found in that

table.

The conclusions reached are an interpreta-
tion of the results obtained from the entire survey.
They are based on the results of the study as a whole,

and are valid, I believe, inrso-far-as these graduating

.classes are concerned.

SCHOOL RECORDS

and

CURRICULA

10

School Curricula

Brief descriptions of the several 1929-33
music courses offered in the Junior and senior high
schools, from ehich the cases included in this study
were graduated, are given here. Due to a change in the
teaching.pcrsonnsl at both schools and the absence of
any written record, it was impossible to get material on

several of the courses offered at these schools.

Junior High School Curricula

.fll - represents an elective subject meeting five hours
weekly. All appliesnts had to be approved.by the
teacher as to their ability.

Ehe activity in which this group partici-
pated included tee school concerts'e- a fall and
spring concert, singing for clubs and churches,
and school auditorium programs. The personnel of
this chorus was divided into three classes. Each
class met one hour daily. All used the same music
and combined on.all concerts.mahing a total group
of some 250 persons.

The ramsic used by this groupm tithe starr-

11

(lord four part manomsntfzflof some of the easier
songs of Strauss, Brahms, Dvorak. and‘Liszt. In
sadition to those octsvo n*fibsrs, the lsrgcr'psrt
of the everyday singing was done in the "Kighcr

Book of Songs” by Porosmsn.

JGC - rs13rssent3 the Junior hi;;_-',h school course in glos-
club. In this group may be classed two fiivisiona.
One division met alternately with their gym class,
while the other mot nights after school. It was
possible to sing in both divisions and there were
many such instances. These pugils met from too
to four hours weekly. There: were both boys and
girl's groups - each sex meeting; separately.

These groups prep-'1 “ed ministers for the saw -
annual concerts. and 9mg on other special 00mm"
ions. The rimsic they used were standard arrange-
manta in three and four parts of classical. semi-
classical. and sacred compositions - a nice,
solid grads of applicable music literature. The
“Eigzsr Ecol: of Songs" by Forearm!) was use-:1 in
these classes as well and pchd to be a roacy

favorite with all the stuficnts.

J0 - rspresonts the Junior high school orchestra. This

JB -

12

orchestra, in 1929 and 1930, met five hours weekly,
Thelr'chiet activity was in ylaying at the spring
and fall ccncerts, schcal-STGnsored plays, comp
mencement exercises, and other like cltuatlcna.
This orgsnizatlvn used music of about
grgdes 2% to 3. Per example, the Sam Fox.Crches—
tra Folios were used extensively. About us diffi-
cult compositions as this organizaticn attempted
were the "Surprise Sympbcny” and the "Ellitalro

Symphcnj of Haydn.

rapresenta the Junior-high school course 1n.band.
This group met five hours weekly. Its activities
were of two natures - playing marches and playing
concert pieces.

The marches were used fer parade purposes
and for preludee and postgludea to the school
auditorium grograms. B0013 of marches used by
this group wars the Willhuff Book, the A.L.W.A.
Collection, the Noel Bock, and Souea’s marches.
The average grade of these marches was from 2% to
3 yeara. This group made an appearance on the
average of once per week playing this type of mus-
30.

At the fall and spring festivals a more

13

concert ty we of nuubar all used of a grade fram 3
to 4 years. Such glam a‘s ”Prelude to Plast5‘hy
Gounod «are attvugucl. The :orha of: Ala aton

wmwzmyfiurwifizwdagwmw.

rcprascnts 210 Jar Mor'li 3% schaol course in violin.
This course consisted of cL L85 lessons, and met
five hours was“ ". no other- ‘ forms. lcn mus avail-

able.

sm'- small ensemble groups and special music activities

spansorcd by the mug cio a~vlrtwunb for mulch credit

was receiVed

14

Senior High School Curricula

SC - represents the senior high school course offered
in vocal group-music. In the fall of 1930 and the
spring of 1931, this class met twice each week,
but in the fall or 1931. it was put on a five hour
per'oeek basis. Originally it was called chorus,
but when the curriculum change was made the name
given to the organization was Lansing Central A
Csppella Choir.

It is customary that in the fall semester or
each school year this organization give a light
Opera. In 1930 the Operetta was the "Mikado”, in
1931 -. the 'Pinafore', and in 1932 - “Patience”,
all works of Gilbert and Sullivan. In the spring
semester of each school year this organization
participated in the annual spring music concert.
The ’32 and '33 groups sang for man: clubs and
societies through out the city. The '31 chorus
competed in the state chorus contest held that
year, and won second.honors.

The music used by this organization was for the
most part the sacred and modrigsl type. The work.
of Palestrina, Bortnyanshy, Eozart, Bach, Sibelius,
Pergolesi, Glinha, Dett, Schuetky, Christiansen,

Cain, and.Jenkins were used for the most part.

15

BG--- represents the senior'high school course in glee-
club., There were glee-clubs for both boys and
girls in '31 and. '32. In 1933 the two groups were
combined and called “second choir“, serving as an
initial training in preparation for the A Cappella
Choir. These organizations also assisted in the
production or the annual-operetta. In 1931 both
the boy's and girl's glee-club competed in the
state contest.

The music used by the girl's glee-club was,for
the most partflgtandard three and four part arrange-
ment fife. Numbers such as “Omens“ b: Walton, “Beau-
'teous Night“, '0 Night of LoveI by Offenbach,

“Lullaby ' by Gain, “Spinning Chorus“ by Wagner,
and others by Elgar, Gounod, Whittaker, Wolfe, Men?
delssohn, Strauss, and Brahms were sung in this
group.

The boy's glee club sang such nuMbers as 'Annie
Laurie" by Buck, “God So Loved the World. by Steiner,
'A cons of the Armada" by Chudleigh-Candish, “Nov
Let Every Tongue Adore Thee“ by Bach, and ISong of
the Jolly Roger“ by Candieh. Other composers whose
songs were sung are Protheroe, Scott, and Richter.

In '33 when the glee-clubs were combined to
form the second choir, the music used in the A

Cappella Choir was used in this group as well.

16

SB - represents the course in band offered by the senior
high school. This class met five hours weekly
during the school year. The major emphasis during
the fall semester was given to the preparation of
marches for use at the school football and beaket-
ball games. Besides learning the music, it was‘
necessary that a large amount of drill in marching
be done as well. The pieces used were the well-
known band marches such as: Anchors “weigh“ by
Zimmermann, “El Capitan hareh'I by Sousa, “Lassus
Trombone' by Fillmore, “Washington and Lee SwingI
by Allen, and 'Pride of the Illini' by King. Other
march composers represented in their repertoire
were Panella, Arr‘Ioder, Cook, Putnam, and.xlohr.

After the end or the basketball season the en!
tire emphasis use shifted to a concert type or
band music, with an especial pointing tosard the
annual spring school musical festival held usually
the last week in May. Sample titles and composers
of the concert type of music used are: “Atlantis“
by Sanfanek, “Ballet Egyptian" by Luigini, ”Barber
of Seville“ by Rossini, 'Egmont overture" by Bee-
thoven, and 'Phedre' by Massanet. Works by these
composers ~~ heyerbeer, Liszt, Mendelssohn, Wagner,

and others - were also used regularly by this group.

17

SO - represents the course in orchestra offered.hy the
senior high school. It nae customary for'the arch!
estra to furnish the accompaniment for the annual
Operetta, play at commencement exercises, and fur-
nish its share or the spring festiVal program.
This subject met five hours per seek during the
school year.

The music used by this group was strictly of
a classical nature. Sample titles and composers
are: ”Aidarharoh” by Tobani, ”Allegretto Qulst~
Andantins“ by Grieg, ”Andante" from firth symphony
by Beethoven, *Rosamunds" by Schubert, “harsh
hilitaire“ by taint-Sasha, "Peer Qynt Suite“ by
Grieg, and.the “Symphony in D minor“ by Franck.
Other composers whose works were used regularhy
are! Handel, Keyerbeer,'Wagner, Bach, hendclssohn,
Dvorak. Sibelius, and Schumann. Collected.picces
by modern and.classicnl composers of theatrgrades
three, four, and riveuere also used extensively
for everyday practice in ensemble playing by this
group.

This organisation competed in the stats nus-

ic contests in 1930~3l.

18

Table A

This table is interesting in the information it
gives concerning the type of person who took music in
the last five grades of high school, and the distri-
bution of course-years among the entire group.

Of the fifty cases who took from one to nine
course-years of music, the mode is two course-years.
Twenty—four*per cent of all cases were in this division
of than. twelve cases, seventy-five came from families
interested in music, and sixty-seven per cent were
active in non-school musical activity during high
school. Of these same cases, forty—two per cent at
present are deeply interested, and fifty-eight per cent
moderately interested in music.

Let us now consider the results of the control
questions. The first One in the table (‘) shows a de-
finitely positive correlation between the number of
course-years taken by the school pupil and the musical
interest of his family. In only two places does there
fail to be an increase in the per cent of family musi-
cal activity, and these are too slight to overthrow in
the least the positive correlation stated above.

The second control question (#) shove a more ir-

regular increasc than control question one (*) but

19

again there is evidence of a slight positive correla-
tion between the number of course-years of music taken
in school and the per cent of these cases participating
in non—school musical activity during the high school
years -- eighth to twelfth inclusive.

As for present interest in music, the results are
not so clearly favorable to positive correlations.
While course-year one shows fifty per cent "deeply" inr
terested, and course-year two shows forty-four per cent,
coursevyear three shows a decided decrease in falling
to eleven per cent, and though course-year four rallies

back to fifty per cent (equal with course-year one)
course-years five and six show another decided drop to
fourteen per cent. Moreover, the only coursesyear di-
visions registering any votes at all for “scarcely“ in-
terested, are divisions three and five course-years.
The per cent of cases “moderately' interested seem very
evenly distributed over the first five course-year die
visions. We must say then that as far as the present
interest of those taking up to six course-years is con-
earned there seems to be very little correlation. The
cases in each division of seven, eight, and nine are too
few to indicate much of any correlation.

To summarize then: we may say that there is a de-

finitely positive correlation between the number of

 

 

20

 

 

 

 

 

 

 

 

 

 

 

 

a as [a a a a a s a a 3m 3 at...
L ., . . «media , r
a R a S a 8d a 8‘ w. e n a
a 8.." a con * m a u
a 8a * 03 a 8a a m a a
a we a i a as a mm a i a. m
T: as.» f: a: mood as... a m
w on e on .u on w on % 3 u a
a 3 a a. a d” a .3 a mu m. 3 m n
e R u we a S a Q. e am «a m
* cm m cm * cm “-8 a a u a
”meadow Wages-eon 393 h 5 M - hue % ,Meueo :vurhaehuenfimom
. Wash“ 3:98 J , $330 . h 7% r 1-2.3} 338

 

 

.953 made non 3.53 3 :335 ass-she 83 .375“ one .7333 5.3 an

:3... 53.33 32.: deadening can on: an: son .7335 one. eeuagu :3: 39%
made no neon gen :33 33 «0 aces use 53:3 3932... neon one no usage 05
serum .5 Eng neede- g 3 3:! use: .5 we Page: «cone- eda ea .33 ea

4 an.

Table A ~ con't.

P Per cent of cases whose families were interested in
musical activity.

# Per cent of cases who participated in non-school
musical activity during their high school years.

(1) Any high school music course offered to students
in grades 8 to 12 inclusive and taken.by the
student for’one school year is in this survey
called.a course-year.

 

course-years elected in school music and the musical
interest of the family as a whole; that there is a con-
siderable positive correlation between the number of
course-years elected and the participation in non-school
music activity during high school: and that .there is
slight, if any, correlation, either positively or nega-
tively, between the number of courseqyears elected.by
the pupil and his present interest in music.

So much for the material concerning the school
records and the curricula content. Let us turn now to

the results obtained in the 1940 questionaire survey.

SURVEY QUESTIONAIRE

23

.aoomoe mwum madman »J«>«aom «seamen Hoononnnon mm.cdn one condo no aneo hem fie
.Moonoe nw«n.wcunnc haueaaoe decanmn doonoeancn can can cease «o ammo hem *

.haupunoe ”sedans nu veaeeneaca was once ueqaueeu econ: needs no aneo hem es

 

 

  

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

hr,- .mwmm on cases mm weauoaeann one: confines“ econ- memeo no nnemsmmm e
m m hangs“
* mw haeeeheuon
I. i i r . a. 3 s. .. i r . as:
A om .33
o o Haeaaesaoc
a mN fi mm & 00H R o a “.0m u on e o R OOH m hfloonnou
a E a. an a ..m a e. 3 a m: a a a 3 a as R Dosages.
* ma e mm m. cm a. om m m mm a d. « NH “ we 5 Sage
LL rrr - 111 1r tlr t FIN. {Alt Q n
.3» , $ es. , e comma «we f «w v e... 1 e. jummdo . ounce mom
.5. x a h . L,: g,: g . , , 1 ends
.amonou nwum no when» n auaa,lw ‘1 wmcmoe nwan no ease» m amen fi ncoauuond
um omens mo use» one nemw meow -t. MM cause no «use» once he mmm ‘

 

 

 

 .o«u=n nu coon-neac« ”Haoeaetaoc .naeoneou .haoaeheeoe .haneoev no a o a nouaaeaa

H quda

Results: Question One

Table I gives the present status of musical
interest for*each case of both the "tool: music in high
school' group, and the 'took no music in high.school'
group.

The 'took.music' group shows three and one-half
times as many cases 'deeply' interested as does the
'tooh no music“ group, threeefourths as many cases 'mod—
erately' interested, and one-half as many cases 'scar-
cely’ interested in music at the present time. There is,
therefore, a positive correlation between the two groups
regarding present musical interest; i.e., the 'took
music" group has the more interest today.

There is also a positive correlation between
present musical interest and family musical interest.
This correlation, although it in apparent between the
two groups, is larger within the 'took no music“ group
itself. ~

A larger positive correlation can be noted.be-
tween the two groups in regard to the non-school music
participation during high school of each group. On this
point the differences are from two to three times as
great for the 'todk music' group as for the “took no

music”.

0n the whole there seems to be a positive
correlation both between groups, and within each of the
groups in regard to all three topics in question: namely
- present interest in music, family music interest, and
participation in noneschcol musical activities during
the last five high school years.

Results: Question Two

This question shoes definitely the preponder-
ance of interest in listening to music rather than in
performing, both for the “took music“ and the “took no
music“ groups. The “Took no music“ group shows a 14 ¢
greater preference for listening, and a la firlesser‘in-
terest in performing than does the “took music“ group.

02 thcse who prefer to perform music, the
“took music“ group is equally divided in its preferences
for'vocal and instrumental, but the “took no music“
'group shows four times as great a preference for instru-
mental music as for vocal. This may be due to the com-
paritively recent revival of interest in choral music.

Of those who prefer to listen to music, the
preferences for vocal music are about the same for both

groups, 17 % and 20 $3 and likewise for instrumental

26

.Hoomoo Auum uo uumenn

used on cause no numea,enon no eno moon one oeueu ts

.Hoonce awaa we when» m awed cu needs he been one some one“ Meow one eeoeo e

.ecoaaead see one cu peace soon even noon .aoennza one an oenoemneona coon

 

 

 

 

 

 

 

 

even .amaceesnpmcu one deco» no .snounoa one no neauua neon moan: sense on e
«.0w 2 a on m «unannounced
mrom a r an m «one»
a S m a em in sacred
e 8 3 a n ...... 35552:
an cm 3 e 5 ma «soon
a ca ms a_e~ «a a» census
HO W .* ..Uflc a NO R _ * ..wdm ii. a ‘1. i 11
. . - 4 . L: r eeecocoen endenoupeesd
s a 5 33a m... soon... mm. m 5 332. sushi

 

 

 

i 1] 1.. 14 ll

.325 .geosfiasfi .Haaoszflohoa .3 ass-dc 3 anon 3.: H .. m assuage

H H Wanda

27

music the preferences are about equal with 73 % and.80 %
respectively.

To summarize, we may say that about the only
note-worthy characteristic of this table is a decidedly
greater preference for vocal music by the “took music“

group than by the “took no music“ group.

Results: Question Three

This question.has to do with interest in in»
etmnental music. Table Ina has to do particularly with
preference rates on four types of instrumental music.

_ It is interesting to note that ufi'fi of the
“tech music“ group prefer classical instrumental music,
while 48 § of the “took no music“ group prefer modern
(not Jazz) music. There are no significant differences
'between the two groups in regard to the percentage of
preferences for popular and swing music. As to the
second preference, 5h fi»of the “took music“ group pre-
fore as its second choice modern music, while for the
same choice the “took no music“ group prefers popular
music with he i of the cases. In second choices class-
ical and swing rate the same number of cases in both
groups.

The control questions in this case show in-

28

.Hocgoe swan.w:«ssc haupauoe aeo«mss Hoonouccoc us: one comes no ones can e

.na«u«aae “ceases ca eoaeuaeaca some oeaaaeeu scone cause no name use a

.m.: Mo enema m anca :« cause «cause» one coma seed to soon wcwbsn cameo ecooaocn “WV

lur. pl

.Hoonoc swan no «use» m used c« cacao no case» euos_ao one weapon sense ecosneou Any

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

GHHH aanda

a 03 ‘ om a 8.“ on e 03 om a 03 ow. «33
an; .2. a8 em a of: a. mom e87“: m need:
a mi. 8 e a R a mm on a 3 . m e E a ow a 3 ma segues
a R a e m a me a... 3 s. a a S a me a a mm 3 £32
a .3 we; a +3 e .3 a 3 m e i a. a t. a ...m x i mm Eggs?
co s 133. a c to he seems: Lo Mamie; e .. :3 c4330 4
I run _ I L; «1 ‘ commences
vcooem soccueuosa our _ vcooom . .cccecouohc “mafia _
«mvnoonon aw": ca causa_mm.xoohlli_ navaoosoelmwan cu canon x009 esaeccdamomo
.onoeqennnwunaeoce communeallllraamoccnoellljdcen one cameos.»
use “mouse .aeaocc Auden «ocvcheoosllllaa¢o«onsao ”one

edge! asaceasua-cn no sauna mousoanou one so awoaash sensuouohc ha 0 m ocaanoow

29

teresting facts. In both groups, cases who came from
families that were interested in music preferred class-
ical music to modern (not Jazz) and preferred modern
music to popular. The statistics on swing are question-
able due to the scarcity of cases. Three out of one
hundred are hardly sufficient cases upon which to dras
conclusions. The percentage of cases whose families
were musical is consistently higher for the “took music“
group by about 50 % than for the “took no music'I group.

The control question concerning nonesohool
musical activity during high school shows the same sort
or evidence as the other control question. In this in-
stance the percentage of cases in the 'took.music' group
is 15 fi|or*20 $thigher than in the 'took no music' group.

To summarize, so may say that there is a posi-
tive correlation between the type of music preferred
and (l) 'tahing music in high school', (2) having a muse
ical family-interest background, and (3) participating
in non-school musical activity during high school. The
hithr*percentages for musical-family background seen
' to indicate that this point is most important of the
three.

I am, of course, assuming here the validity of
a certain point of view. That is, I assume that the pre-
ferenoe for‘classical music over popular and swing.repre-

cents a higher level of musical appreciation than would

30

be true in the reverse case. By consensus of Opinion,

I think that would'be accepted as a valid vies-point.

Performance Preferences for Instrumental husic

Table lllb gives the number of cases and the
per cent of cases preferring each of four different
types of performance for instrumental music.

The 'took music" group has seven more cases
who prefer band over orchestra than.does the “took no
music' group. This is no doubt due to the popularity
and influence of the band in the high school music pro-
_gran, but it proves nothing concerning any greater mus-
icality for the “took music“ group.

Perhaps one should mention the 8 % of first
preferences for chamber ensemble in the 'took music“
group as contrasted to the 2 %»1n the 'took no nusio'I
group. This is a significant point in favor of high
school music training.

The second choices compare very closely for
all types except band and orchestra.and they merely
change the emphasis. In the "tool music“ group, 90 %
of the cases prefer band or orchestra first, while in
the .took no music group“ 9h'fi of the cases give these

two same types as their first preference.

1
3
.Hoonou nwdn no name» m was” a“ canna no 9:05.0ao saga anea wnu»dn noose nouaaocn t.

.Hoono- am“: no sumo» m vwda a« cause no aha-h ohoa_ho ago weapon condo nocnaonn t

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

a o2 on u. 03 om * 02 om a. 03 om H33
% mu m a z m $_ua . m g m a acossuaaca can»
my :m NH % m .n * ON 0H m m .3 0.35230 hopamno
a 3 mm .m 3 m w mm 3 a mm 3 +_ 33
m NH w a mu 2 my mm m." a 1m . mm 8:380
«0 am. {aware fl Ho hm. v uflama , . Hakfl . condo fil Mo .mi _ ”damn it i *
i -L { y 4 , “nu u 11 .r . L, moanoaaoh
.aonououwun ccm ooaohouona :aa oncohouohu dam ooaououohq and .
_ ._ t: ohumnoaamoaa
_Hraoanoo Am“: :« camsmem.xooa _ zaoon0a aman ca camna noon

 

111 1 11 Al I] {I II

.m ao«uuo:d ca woman camsa.adpcoaduvunu hon noocohouoha oocdahounom no game

QHHH mamde

32

If the first and second choicee be added to-
gether for each group in any one type, the results I111
ehov about an equal distribution between the two groups.
We may say. therefore, that there is no point here in
favor of either group.

Results: Question Four

The statistics given in Table 1Y3 shoe the
tiret, second, and third preferences of the cases in _
both groups for the types of vocal music listed in the
queationaire. . .

When we consider only the first preferences
for both gronpe, we find a slight preference for opera
in the “took mneio' group, while in the “took no music”
group the majority or the votes were about equally divi-
ded between secular and folkeeong, each of them.reoeiv~
ing more first: in their group than Opera did in the
'took music” group.

If the preferences are weighted as follows:
three points for first preference, two for second, and
one for third, we get the following results.

(The following chart gives the weighted pref-
erencee end the totals for the five typee of vocal mu-

eio mentioned in the queetionaire).

33

.ammnopoa own one momma N: wcu>eoa .oamoa deco» ea nae 9e awakened on can aeooo m -

.I‘

.9uohegfla we: on: neeeo m: wodheoa .odese Heoor.o« Add ad aneheaofl on com cameo a e

.Hoonou nm«n uo undo» m oaea cu cause on he neon one acne cued weaken noueo “my

.Hoonoa uwun no uudmm m one” o« manna no once» one: no one weapon cameo cocoaoca “av

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

e 03 we: o m2 n; e 8” ..Ee d 8H .3 e 8” nee: a 02 um: 33
ea 3 j m e3 3. “is l. he 3 *3 ‘ h 352
«m i. e3 2 on e “mm 3 a: m “S .w canoe.
a on on a on i on e in 9 “a m 38.53
e3 2. e3 3 ea me how ma «an 3 «mm 3 .33:
«3 m2. “mu. m um” m4. mew 3 mm” ~ amm m." £28
0 % women no $ oomwo «o & noemw huh w momma Ho & noueo «o R huouooh 41
ozonouono coconouono coconouoho cocohouono coconouono oooohouono
vaufiai.+, ocooom . panda . downy uncoom h amhak .
nmvdoonom awan cu cause mm.uooa ‘1 an Advaoonoo swan curraao: Moos _,

 

dad

“anode

..aeaono __
.mwGOesMHou

 

.eamaommmewwwmma

 

 

..ll.o.noml...l.mo Bonn nououo m

.hoaooow .ookoom

«one canoe deco» no moth wedsoaaou on» no awndpen oooohouono wait a coda-end

ohm Hamdfl

34

 

 

.EIES "Took Mueigflg “Took No Music“
total total
secular 3o, 22. 12 a 6n #5, 26. 7 . 7e_
opera 36, 1h, 11 . 61 22, 15. 6 : t3
roix~aong' 27, 26, 6 . 59 ha, 26, 13 : e3
Madrigal '51, 20., .7 s “8 22, ll, 16 = R2
sacred 2k, 10, 10 . nu 12, 26; n : #2

It is evident that the interest is more varied
and equally divided among all types in the Ftook music“
group. From.lowest (sacred) to highest (secular) is
only twenty points. In the I'took no music“ group, we
find a range of forty'one points from lowest (sacred) to
the highest (folk-song).

} It is worth noting that although seven outlet
every ten vocal numbers sung in the high school choral
, exempe are either of the sacred or madrigal type.‘yet
these two types are practically equal (in points) for
both groupa.(1)

' The preferences as to type of performance are
given in Table IVb. '

The high school influence is a little more evi-

’ dent here in favor of choral performance than it was in

(‘J The values used in this statement are based only on
observation, and are not represented by any or the
statistical evidence of this survey.

35

..«aohcpca can one cameo he were...” ..oumoa fleece 5 fine as accuse": 0: can condo n

I...

.voonoaca use one noose m: wcapeed .ounss fleece c« Add as «astound on can sense a e

.333 nwz «o mneoh m coca 5. Sons on no use» one can» cued weaken =er 3;

.Hoonou «33 we once» m and." 3 Sons no goon shoe he one more..." condo .3305. :v

[t‘ t » ‘pFrlulvl r

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

.5- 03, J? on 03 3? e * 8a. -..? e 8a is w 13;»
% mm ma .m :n ma % 3: om % ma m cane-ace Sean
« 9. am a mu .3 a .R i e .3 3 fiancee
u 3 S a me 8 m mm «H w 3 a ma 33
no * needs no $ noses no.“ cause no em. swoon - i
f ; . 4 . P1 1 4 111 r g n: . y El; Devan—kahuna
emmeneuoho com fommonouono no." coconuormad dam aeocehouomo a: . no as
Amwwoonowéun 5. adrenamolm noon. - 3:331 own.“ 5 onus: noes { n t a

 

“Home! ....__.e.3§ace Hall-.....onomIIIISe Home he“
...-.3 H one «chemo .umcou..Maonllll.im«§fwi.neageui.oonceu

3.3 32.5 Hooch we and? $53.33 25 so omega." eocehoueno an .. : 33:50

 

AbH ugh

36

Table Iva. The small ensemble type received twice as
many firsts in the “took no music"I group as it did in
the 'took music” group. I

. If no weight these preferences however'- two
paints for firsts, and one point for seconds, so get

these results.

'sze of Performance “T905 Music“ “Took No Mugig'

total totaly
chora; » 33, 1n n 52 22, 21 e t}
solo ~ 38, 12 a so no, 11 a 51
small ensemble 16, 20 a 36 32, 15,; t7

Noteworthy in the above chart is the decgided
slain in preference points for small ensemble perform~
once: in the “took.music' group, and the slighflLy smaller
anchor of points for choral performance in the “took no
music“ group.‘ Besides showing only the slightest traces
of transfer value in the case of choral music, thie“
chart shows an actual weakness of the high school curric-

nine in the matter of small enechlee.

Results: Question Five

This question is intended to determine the
'preeent trend of activity for each of the cases in both

37

groups.

If we compare the two groups on each of the
three possible responses, the results are strikingly in-
teresting. Only 6‘% or the “tech music” group have con-
tinued to develOp their musical interests beyond the
point at which it was four'years ago. 12 % of this
group are eguallz as active in music as four years ago.
But 70 i of this group are‘;gs§ active in music today.
than they were three years after graduation from high
school. This is an amazing decadence, and should pre-
sent a distinct challenge to the public high school of
todaJ'~o to make the curriculum more vital and life-
like.

New notice the “took no music“ group. 10 %
are more active in music than four“years age - h %
over the other group. 62 $»are equally active - 38»%
over the "tech music" group. Only 28 fiiare less active
in music -- “2 % less than for the other group.

Moreover. the “took musicI in high school
group has a distinct advantage of musical interest in
the family environment of M7 to 53 fi-over the "took no
music“ group. In addition the “took music" group show.
advantages‘in two cases of 36 and 32 % over the other
group in nonpschool musical activity.

This seems to constitute a distinct rebuke a-
gainst every contention that there is any great amount

38

:33: £32 no 930» m no.3” a.“ 33.3 no .30» «no .35 one.” M93 on... 3qu ....

2833 n3: «0 «.30» m an: 5 335 no 93?». 938 .3 23 £03 on: 39.0 s

.338 33 $3.26 52.33 332% Hoonoméoc 23 on. :23 no as: Mom i

.3333 .3325 an 393."an on: 3333 onen- aoano no anon 9mm flu»

 

 

 

Flu!

 

4

 

 

p g 03 om
% mm .m mm hm mm an
* E $ mm a mm 3
.m 8 w om a S m
Ht L_ ¢ wo f No8

 

 

7'

«canon 53 5 338 mm Moos:

A

 

 

 

 

 

 

 

Logo. $3 5 33a noon.

 

L - 2w om” amt 3.3

& mm a. mm * :m ma ad 3.3300

& hm fi mm .u ON. mm wmoa
% 0 % hm % m m ohoa
E W% , * no % f momma? uncommon

 

{I4

Jl

 

F:

.33. .9; d 3:. H “mm :38: 3mg. 3 :33 3m handsg Java .933 Ed H u m 33350

b 34mg

39

of transfer of musical activity and interest from school“
life to post-school living. It proposes that any school
influence is extremely temporary. In fact, most of it
seems to have disappeared by the third year out of high

school.

Results: Question Six

This question was included in the survey in
order that some indication of other artistic interests
of both groups might be obtained.

The results are only slightly in favor or the
Otook music in high school“ group when a comparison of
totals is made. It is interesting to note, however,
that34 i or the "took no musicI group indicated an in-
terest for painting, while only 9 % of the “took music"
group were interested in this particular art;

The Itook music” group recorded a wider variety
of interests although some or them are not really “ar-
tdetic‘ in nature and many could not be called fine arts
at all. .

The evidence in this table seems to support a
slightly negative correlation between.interest in the

other fine arts and “having taken music' in high school,'

TABLE VI

Question 6 -Other fine arts in which I an interested me:

As.

 

 

 

 

 

 

Interest ' Hueio in 1-1.8! ’80 Music in 11.89

h 1 cases F fa of-t * cases fiat

dram fl“ ‘ ”W 7 16$ “ 3 21¢

photography 5 12 fl 3 6 1%

painting 4 9 f 11 31} fi

literature 1+ 9 7: 1 3 1.

art appreciation ”r 9 ‘5 3 8 $

writing 3 7 f

erohiteeture 3 7 i» 5 1’

drawing 3 7 1- 1 3 $

poetry 2 1+ $

needleeort 2 4 1.

interpretive reading 2 h 1. l 3 1»

pencil sketching 2 4 1,

publie speaking 1 2 $ 1 3 $

etching 1 2 i?

carving 1 2 in

denying 1 2 1' 1 3 1

sculpturing 1 3 f

interior decorating 1 3 fi fi _

em its; 109 i #4435 1.00 s

“onset?“ 2“ he in 27 + 5n 3:

 

 

 

 

 

 

 

 

v—.—a1

* One or more years of music in last 5 years of H. s.
” Less than one year or music in last 5 years of H.S.

 

Ml

provided that we assume a qualitative basis. On a

strictly numerical basis the correlation would be slight-
ly positive.

Results: Question Seven

This question seeks to ascertain both the ex?
tent and quality of the radio interests of both groups.
As far as the extent of listening is concern-
ed, the “took no music" group has an edge over the "took
music“ group of 2.” hours weekly per person (average).
If we consider individual programs, as listed
in VIIb, the highest number of choices were for the Ford
Sunday Evening Hour (13 and 9 a 22) and the Lux Radio
Theater (8 and 13 3 21). '
Table 7110, however, is the most interesting
of all in this question. or the eight preferences given,
37'% were for classical programs. 97 % of these 31
choices came from persons whose families were musical,
and.90 % of them had non-school musical activity during
high school. Compare with this the ”took no music in
high school“ group on these same points. Although there
is a decrease of in % in the number of preferences for

classical programs, there is also a decrease of 68 fl in

Question 7 e I listen to the radio about
1!: favorite programs are:

TABLE

VIIa

112

hours weekly.
UT...<2)...(3)__,.

 

 

 

 

 

 

 

humans 1 some in n. srmo so. in wet“
rifliegifiémfi 1’ " cases 56 or - cam s or ‘-
listener kg 95 g, 50 100 %
hours-19 cr-p erson

average 13.7 16.1

 

 

 

i

one or more years or music in last 5 years or 11.8.

" Less than one year or music in last 5 years or 11.8.

TABL 13

VI It)

A group comparison of the programs listed met often.

 

 

 

 

 

 

 

 

Pm‘ma listed 1 11.3. iiusio" H LHoWH.S. Music"

b1 both 533“!” cases fa of; cased % of 3
Ford Sunday Evening Hour 13 15 $ 9 10 %
Lux Radio Theater 8‘ 9 70 13 15 %
Kay User 7 8 7;». 1 1 i»

. Hetmwlitan Opera 5 6 fl: 1 3 ‘1» %
Kate Smith Hour 5 1 6 72 s 9 1.
Bing Crosby 5 , 5 ‘3? 3 4 7'
Firestone Program 1‘ . 5 5‘3 '

Andre Kostelanetz 1% 5 ‘3’: l l 1»
New York Philharmonic 3 1% 3% 14 5 %

 

 

 

43

 

TABLE VIIb - Con't.

Chase & Banbcrn Hour 3 4 fi 5 6 g
haJcr'Bowes 3 h»% h 5 %
Horace Heidt 3 h g

use symphony 3 4 91. 3 1+ %
Glenn Miller 2 3 i

First Righter 2 21% n 5 g
Alec Templeton 2 2 %

Jack Benn: 2 2 % 1o 11 g
Information.Please 2 2 fi 3 h %
Campbell Play House 2 2 7b

Vern. Has 2 2 7s 3 1+ g
Fibber 8: Molly McGee 1 1 ‘fi 3 h g
Sports Broadcasts l 1 $1 1 1 fi
Hit Parade I 3 u g
Chesterfield Program 3 a g,
The following were mentioned once:

. Carhorundum Band
Navy Band
Gay Nineties
Grace Berman
Bob Crosby
Band Wagon
One Man's Family
LY.WWMM

Grand Central Station
Dr. Christian

Victor-Recording,Hour
Palmer House Ensemble

. Arthur Chandler Jr.

Fred Waring
Raymond Page

Pet Milk Program
Phillip Morris Program
Cities Service Program
Ellery Queen

Guy Lomhardo

Paul Whitcman

Nelson Eddy .

Count Basics Orchestra
Gang-busters

Lucky Strike

Mary Marlin

Southern Airs
Professor Quit
Bachelor's Children
Jan Gerber

Ln

Dick Geurgen's Orchestra Big Sister

Breakfast Club

Calf Theater
Henry Aldrich

Life Begins
Big Town

American Album of Familiar Music
What's the Name of that Song?

In the following table (Table VIIc) the programs

listed in Table VIIb have been classified as follows:

EQRELEI

Kay Kyser

Kate Smith

Bing Crosby
Andre.Koste1anetz
Major Bones
Horace Heidt
Glenn Miller
Wayne King

Hit Parade
Information Please
Chesterfield

guano mil!

Chase & Sanborn Hour
Jack Benny
Fibber & Molly HcCee

classical

Ford Sunday Erening Hour
MetrOpolitan Opera
Firestone Program

N. I. Philharmonic

NBC Symphony
Alec Templeton

dramatic

Lux Radio Theater
First Nighter
Campbell Play House
Sports broadcasts

Programs which are essentially variety shows have

beenclassified in the group which characterizes the

majority of their program content.

5
ha:

.oc« NH op m mouehm cw edema Mo munch when no one woauoeae momma moon» undefined
.oamss Hoodoo noun. ..e.a .oaon nouaaam masonw seesuon couaoouanao unoabona one Adv

.Hoonou ammo mcuhuo hadraaom «saunas doonomunom can one mouse we once hem *

.haabdaod assumes ca doauohopca ease moaadsmn anon: nomme.uo ammo hog s

 

 

 

 

 

 

 

 

 

 

 

 

 

.90n on» .onba

 

 

 

 

- . a 8” so 4 t anon: S L 313

« mm a n: a a 3 m cm a mm m a w «egg

a am a em a om S a we. a R a ma ma e353

a. mm a. 3 a mm on a mm a Q. .n .3 mm scanned

* m: % mm _* mm mm & om $.Nm & hm on Heeunaeao
., a _ e no r macaw .*11 e _ no fi , condo _ nonwonm
v ”who. 53 5 no.3:memoow l noose. some & 33: noon l no can.

 

Adv.mmo0hw zed-mu

Henna. dad: on. one one saunas Hooaoo A&«A. emu Avon new no»«& ma doom mane .Hooaou
am“: we when» m awed on» ad hadraroe Hosanna acorn-Loon and one one Heoauna anon
quandasu anon: ooh“ name manna. noose no ammo you on“ one .momoo Hmaoa on» we once
so now mouse no hence: on» scram uH .ouassmac one .unohoasm .amasnon

.aeouuaeno “no a use» can» snub uqm<a ca sebum maehwoun canon one museum cane» manu

can» mnfldfi

46

the number of these classical preference cases having
musicalefamily background, and a decrease of fil;§ in the
number of classical preference cases having participated
in non-school musical activity during high school.

Furthermore if the “took music" group did
score more votes for classical programs, it is also im-
portant to note that it also gave more preferences for
pepular programs than did the "took no music" group.

But whereas the Itook no music“ group cases were #1 %
from musically-interested families and 23 % of them so
interested participated in non-school music activity
during high school, the ”took music" group rated 70 %
and.4l % respectively, on the same type of program. In
the "took no musicI group, the dramatic type of program
receired the greatest percentage of preferences by those
having a musically-interested family background and none
school music activity, while for the "tech music" group
the dramatic program rated lowest on these same two
points.

To summarize: if only the percentages of
cases are considered, independent of the control ques-
tions, the correlation between type of program preferred
and having taken music in high school is slightly posie
tire, but if we add to our consideration the control
question results, we must conclude that the correlation

is considerably negative.

Results: Question Eight

This question was included to determine the
number and type of programsbeing attended in person by
the individuals in each of the two groups.

Table VIIIa gives the statistics regarding the
number of programs attended. The "took music" group
had 50 % of its cases attending one or more concerts
during the past year, while the ”took no music” group
had only no % attending one or more. Again, if we con?
sider the percentage of cases for both groups, we find
that the 'took no music" group has 57 % less family
background forxnusic, and 34 % less non-school music par-
ticipation during high school. These cases in both
groups attending no musical programs during the year,
are approximately equal to those who did in regard to
family musical background, but they show decidedly
small percentages for noneschool music activity during
high school, 28 % and 25 % respectively.

Taking all points into consideration, there
seems to be either no correlation at all, or a slightly
negative correlation between attending musical programs
and having taken music in high school.

Table VIIIb gives the statistics regarding the,
type of program attended. The "took music" group listed

forty-nine programs which were enjoyed most, and the

#8

.moonon swan weaned munhnnae assumes «concucson can on: condo no anon hem #

.nuapupoe accuses ed eon-ououea one. codedsew anon. condo an acne you s

.obausao

gnu NH cu m noeenw on cause «0 use» one can» «and no one: wcuaooao condo
coon» moesaoca .Hoonoe aw“: nu canes mm moo». one .obausaeca mu on m mouehw

cu oases no check Duos no one wcaaooao noose coon» nousaosd uncenoe am“:
an cause woo»: ....“ .okon goddamn museum cmouaon noaoocdauuc snowbohn can ”Hg

I7

 

”28.3: 3..

cache new conned hon m.m

a ,
“cocoouao one omega

«0 v conned hon m.m

cocoopaclrsdhwouo

no
aspire mo<mm>¢

 

 

 

 

 

 

 

 

 

 

 

 

 

a ma * m: e ow on e 3 e :w e om mm 2.3

a an e an e 3 om e 3. a me e om mu 93: .3 :3
,1-§ ; 1 o fi «0 R l ooqu1_. Li.$i l t ; Mo K . nowem. dounooas
fiyvaoonon awan n« ewess_mm.uooe havdoonOa mm“: :4 cans: Hoes _

nauooeoo

 

any can .ueo».aucm can a» onekwohd use“.

1

1411

. . ...II_........_ .93 use: enhance

”a #5

imam» Hamdk

open H nodnb.nono

» I'VI

one cocnoaod oven H t w cede-end

TABLE VIIIb

This table he then progress think were attended by
two or more persons, and were listed in the survey,

declined u to type.

The nniber'cf cases mentioning

«chm-anathepermtermmouutereeeh
once in also aim in this table, for both mupell)

##4.‘.

 

 

 

 

 

 

 

 

 

 

 

 

Prod}; mpg}; r * {TOOK 'EIO ' - L23 townie
“ “£2! eeaee‘ % or" one“ for
um ounce 12 2" f 9 31 i
weal eele artiste 7 1‘! $ E} 1k 1.
«cred center“ I. contain 6 12 fl» 1 3 i:
eliminate. club 6 12$ h lhfi
intro-Intel solo artiste 5 10 $ 5 13 $
We head. '5 8 $ 1 ' 3 $
ewe orchestra 1’ 8 i 3 11 fi
school spring concerts 2 5 $ _
0pm I light cone 2 5 1' } ‘5
ballet 1 2 1: 3 1
totel Y W #9 106 $ '29 ‘ 10p 1
mac mm were listed in the em qnutieneireu
Seven Lent Horde Nelson Edd:
lessinh 1.in Pane
church cantata Grace Moore
Orpheus Club Jens Ballet.
Jackson Club Don Cossack
Lansing Central Spring Concert Paul Whitman
lichigan state College Choir Rachmaninoff
Lansing Civic symphony Orchestra Alec Temleton
Ford Sunday Evening Hour Buddy Rogers

Lutheran Chorus of Chetoygnn
michigen state Orchestra
Minneapolis symphony Orchestra.

Vincent Lupe:

Duke Ellington
Inrien Anderson

 

Xichigan State Band
Hiohigan Male Chorus
Philadelphia Symphony
Chicago Symphony
Chicago Civic Opera
Laurence Tibbett
Swaphony at Rome

U. or Me Band
Detroit symphony
Albert Spaulding
Porter Heape

SO

WPA Symphony Orchestra
Ford.aymphony
Kreieler

Mikado in Swing
Zimbaliet

Helen Jepson
Henry Busse

N.Y. Philharmonic
Krehm

Flagstad

Ballet Russo

51

'todk no music" group listed 29.

The 'took music” group shows more interest in
sacred oratorio and cantata programs, as well as those
of symphonic band. 0n the other hand, the "took no
music“ group indicates a greater interest in symphony
orchestras and instrumental solo artists than does the
'took musicI group. On all other types the percentages
are essentially equal.

To summarize briefly we may conclude that
there is a zero correlation between the quality of the
type of program attended by the two groups and "the
taking of music' in high school.

Results: Question Nine

_This Question was included in a further at-

tempt to compare the two groups in regard to their musi-
cal interests and to find possible evidence or transfer
from high school to post-school life.

The "took music" group shows a decidedly high-
er percentage of cases mentioning Schubert as their
favorite composer, and a slightly higher percentage of
cases mentioning Wagner, Herbert, and Debussy. The

'took no music" group indicates a decideddy higher'per-

Question 9 -- Lu favorite composers are:

TABLE IX:

52

m. m.

This table gives the number of. cases mentioning each
eenpeeer recorded in the survey, and the per cent cf
the entire number or cases for each composer.

1 H .8. Eusig ‘1

W

 

210 H .8 . haste

 

 

 

 

 

 

 

Composer W ~
cases #3 of cases i of
nagner 11. % . fi
Herbert i 11.; ‘23 3 g; 15
Baez... M .3 w
80 . 0
that 2 6.; er: 1 2.6 $
Debussy 3 4.6 fi 0
remnants: 3 ks f; 1 2.6 1.
Chcpin 3 this go it 10.2 $
Strauss 2 3-2 § 2 5.1 71"
Bach - 2 g2 % 2 5.1 fl
Mendelssohn 2 .2 fl» 0
m. s 3:13? a W
03 - e 1”

Beethoven 2 3.2 fi'r 1* 10.2 f
R. Scott 2 .2 is o
Gershwin 2 33.2 5:. 1 2 .6 i
Rossini 2 .2 393 o
Verdi 2 2.3 in 1 2.6 1.
Cole Porter 1 - 1: 0
christianeeu 1 1.2 1: O
noble Gain 1 1. fl 0
Von supp. 1 1.6 1- c
Handel 1 1.6 i e
Ellington o 2 5 .1 $-
fleeard O 1 2.2 fl
King 0 1 2. iv
Bones 0 l . 2.6 5‘»
trainer 0 ' l 2.6 i»
Brahms O - l 2.6 i
Sibeliul 0 i: 2.5 $3
mm“ o 2.6 e
Grainger 0 1 2.6 it
E. Resin 0 l 2.6 ii
men. 62 99.6 % 49 100.3 5

 

 

W"?

 

53

eentage of cases mentioning Chopin and Beethoven, and a
slightly higher percentage for'Foster and Ellington.
Horeover, this group has mentioned Brahms, Sibelius,
Kreisler, Grainger, and Nevin, composers who were not
mentioned by the “took music“ group.

To summarize, Table IXa seems to indicate a
zero if not a slightly negative correlation.betveen the
type of favorite composers and a background.of musical
activity in high school.

Table IXb has classified the composers accord-
ing to their type of composition, and has compared the
results with the control questions. Although 9 % more
classical composers were listed as favorites by the
'took musicI group, these same persons had a 43*% advan-
tage in family interest background, and a 30 %’advantage
in noneschool musical activity during high school.

The percentages for semi-papular music are
practically identical for both groups, but again the de-
ficiency of musical background and nonvschool activity
during high school is enormous -- 5n % and 36 % respec-
tively. In the instance of swing -— one case from the
“took music" group and four from the “took no music"
group mentioned such composers as favorites. But note
the control question results on this point - four times

as much musical background for the Itook music“ as for

the "took no music'.

5h

.Hoono- nwdm weaken unusuaoe aeodnss Hocneuacoc can one sense no case hem e
.naapucoe assumes ca consensus“ one; acaaaaou one sense no asso_uem e

.ebuusue

red «A on w seesaw on canes us use» one some mesa no econ wcuaoeno cease

seen» neemacnu caoone- awan on cases mm.ucoae use .ebdmsaona ma on w seesaw

ca cause no ghee» ones no one weapon”. noose enema encodes“ saoonoe nmun
an sauna Moon. ..e.« .enen ue«aaae onsonw neoeaenfincanocaa-«c uncureaa ems he“

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

  

_ was a i w a an new; ,, 1.1....
ans one one s “on *8." as a , were
% a." % mm % an ma % 0m «x. 0m * mm Om hogacuieo
% mm, % E» & km mm % mu. * om % mm a: anaconda
w:, e, no m: ..rmrme ape e no a. cause cases «0
- re 1 1 - t on as code
flavuoaheetmwfim an enema... Moos fiwvaochme noun nfi,mausm moon :mwr.omoaseo

 

.msaee use .ueasaoavdsee .meeaeueae 0:.ueocasco menu oases no ache on»
o» meanneooe eeuuuuoeae seen even on» canes an ocean“ successes an» canes man» on

AKH Ham<a

55

We must conclude there, when all points are
considered, that there is a zero correlation (it not a
slightly negative one) between one’s favorite composers
«- when rated according to accepted quality - and his
background of musical activity given by the high school.

Results: Question Ten

If we note carefully the results given by these
tables, we shall be able to develop some significant con-
clusions.

More than twice as many persons who "took music"
in high school were participating in non-school musical
activity during their last five years of high school as
there were persons participating from the "took no music"
group. 'The former group also shows a 1% times segreat a
musical background as does the latter. "

Of those cases having no nonrschcol musical
activity before graduation, the “tech music? group has
a lover percentage of family background by 11 fl and the
"took no music“ group by flu %. .

We may conclude, therefore, that there is a
zero correlation present here; that is, irrespective of

high school training, cases with a family background of

56

.3333 «modern 3 6039305 one; menace.“ scone oooeo uo anon hem e

.eeaeoao

05 ma 3 u seesaw 5 cases no use» one can». on: he one: weaves? noose
econ» 3.0305 .333 mean 5 333 «m. 303.. one .3332: ma 3 u seesaw

3 cases no case». shoe .3 one menace? eeoeo cocoa 25365 saccha- owns
an Sons £03.. to... 3.qu menace oasokm monsoon season—«noun enoupouo 05-3;

 

 

‘1

1‘1 ‘

 

 

 

 

 

 

 

 

 

 

 

 

 

a 03 om a con om menace
nouaemoskw 0.3qu

a. mm * i. R g 2. w m: .3. 9:33 325 aconcuococ oz
caduceus 93.39

a. S m. mm ma a om .m mm mm 33:33 32.3 333.com

...—ea ,_ no o ,eeeeo case a co ...... names. sofimeewum 1

35.x e4“ squeals: l 3.2%: 3 cause £33 Ensues «83.5

 

4 333:3... «sedans noun menace sound no coco hem one 33
5sz uses no“ Jones 33 95 no aces sea on» .3335 cocoon cadences
325 deadening use 3 oeacaaeuaheo one sense no access 23 serum .33 .39

....i... ...-......llaoaooooao accuse aoc 3.3333 Hogans caused?»
39 cu someone 3:39- 3: u Hoodoo Amen scan oeaeaeuw a. once-m u on couoeeod

I an mama.

57
TABLE Xb

This table classifies the types of non-school musical
activities, the number of cases under each type, and
the per cent of the total cases - for both groups.

A

 

 

 

 

 

 

 

we or mw ::::: 2:81 “2:2:“0211,

church choirs 1h 35 % u 30 %

private instrumental 9 23 ¢ 5 39 %
lessons

dance bands 8 20 fi 0

vocal ensembles u 10 % o .

musical clubs 2 5 % 3 23 %

non~ school bands 2 5 9‘5» 0 '

private voice lessons '1 i 2 ¢ 1 8 %

£3ta13 AL AP _A no loo % #‘13 100 %

 

 

 

 

 

 

 

(l) The previous distinction between groups applies here;
1. 6., “took music in high school“ includes those
cases electing one or more years of music in grades
8 to 12 inclusive, and "took no music in high school“
includes those cases electing“ none or less than one
year of music in grades 8 to 12 inclusive.

58

musical interest tend to indicate the more activity in
non-school-sponsored musical activity during the high
school years.

Table Xb gives an interesting side-light on
the type of non-school music activity in which these
grcupl participated.

Private instrumental lessons leads in the
“took no music“ group with 39 % while church choir par-
ticipation comes second with 30'%. The “took musicI
group is led.by church choir participation with 35 %
and private instrumental lessons comes second with 23 %.
Not particularly flattering to the "took musicI group
is the 20 1» in dance bands against 0 s for the other
group. The 10 $ in vocal ensembles, however, has favorb
able implications for the “took musicI group.

All in all, the correlation between the quality
of non-school musical activity during high school and

high school training in music appears to be about zero.

Results: Question Eleven

This question, along with question ten, has
been placed in the questionaire in an effort to control
”the factor of native musical ability and pro-school en-

‘Vircnment.

59

TABLE XI

Question 11 - My family (was, was not) interested in
music or musical activities.

 

 

 

 

 

 

 

Family interested MUSic in H .S. erO ”$1810 in H.8-
in music activities casesfi“'% 5f“ cases } % of-
was M3 86 % 15 30 %
was not 7 14 ¢ 35 7O %
total 50 100 s 50 100 %

|

 

 

 

 

 

 

60

With the results this table shows, we must con-
clude that there is a very high positive correlation be-
tween I'taking music' in high school and 'having a family
background“ which included an interest in musical activi-
ties. On this same basis we may assume that, if the musi-
cal family background can push persons into high school
musical activity, it is also powerful enough to drive
persons into musical activity of a non-school-sponsored
nature .

In every case where question eleven has been
used ae.a control question (along with question ten) in
the various tables of this survey, the above result has
been kept in mind and the conclusions have been derived

accordingly.

Results: Question.rwelve

This table indicates some very interesting
trends.

The first general trend.that we may notice is
a tendency in the “took.music' group to become less and
less interested in music, and a tendency within the
“took no music' group to become more and more interested.

The second trend that we may notice is toward
the naturll effort to compensate for lack of family backs

61

mention 12 '- Music is of (growing, declining, static)
evocaticnal interest to me now.

This table retee both groups on the above question. It
also gives the per cent of each response group that
cane fro- feniliee interested in msical activities.

wmun: in alum 7' no Iueic in 3.8.0)
ROM” 5:: ‘ - - ‘ -
oeeee fl of * cases 5 of *

44 .—

 

«w-ru vw‘r

 

 

 

 

era-ins 22 44% 91-3% 25 50% 23$

 

 

 

 

 

 

 

 

 

declining 12 an at 90 i 1 2 $ 100 as
static 16 32 1. 75 % 2% he i» I so 1
mm? so 100 i V

100%

 

..., ,, P W “7—— wv ~—-r w—v

(l) The previoue distinction between groups applies here;
i.e. “music in high school“ includes those cases
electing one or more years of music in grades 8 to
12 inclusive, and “no msio in high school" includes
those cases electing none or less than one year of
music in and" 8 to 12 inclusive.

* Per cent of cases whose families were interested in
musical activity.

62

ground, after leaving the family home, among those cases
that "took no music” in high school.

We may conclude, therefore, that there is a
definitely negative correlation for these graduates be-
tween their present trend of avocational interest in
music and the background of high-school-sponsored musi-
cal activity.

Results: Question Thirteen

This question was asked primarily to ascertain
the trend of thought concerning the value of high school
music to the individual.

Forty-four opinions were given. If we assume
the remaining six realized no value from their high
school music since they expressed no opinion, and if to
these be added the twelve cases which.were apposed to
public school music as taught in these schools, we get
results like these: Gfl'i for public school music as
taught, and 36‘% against.

Of these 6% fiiin favor of school music as
taught, 48 firof all cases in this group gave an answer
which indiCated that they thought the high school had

given them a greater appreciation for better music.

TABLE X111

63

Question 13 - As 1 look.hack after 7 years or post-
school life, my Opinion regarding the
value of my scholastic musical expere

 

 

 

 

 

 

 

ienoes is:. g ...
Responses to question grouped rTook lueic in H.8J'
so to meaning implied ”Sufi u 7, of -
high school music of no value 3 7 %
gave so appreciation for good
and the best music 24 51 %
or greet value in that instruction
all instruments was given ' l 2 %
liked music in high school but
think it to he of little
value to then not 3 7 $
thought the school teaching
ens faulty - no value 5 13 f
of value for social purposes
and learning to cooperate 7 1h'fi
in favor'cf school music as taught 32 73 ¢
total N 100 g

 

 

 

 

‘. rooh.cne or more years or high school.unsic in the

last 5 years or high school.

6%

Nov if this be compared with their actual statement as
to their favorite types of music, radio programs, and
composers, one can easily see that the ”took no music“
group is in practically every instance {equal in appre-
ciation to the ”took music'I group.

Despite their statements to the contrary, we
must conclude that the greater portion or their present
appreciation for music has not been transferred from the
public school.

Only 15»% of answers by the “took music'I group
gave any other type or value -- 1n.$.or these were social
in nature, and the other 2 % were for values derived
from learning to play an instrument.

or those apposed to school music as taught;
7‘% stated that it was of no value, 7'% that it was of
no present value whatsoever, and.13 % that the teaching.
method and administration in the music department had

been faulty.

Results: .Question.Fourteen

In Table lea we find stated the present
musical activity of both groups.

Let us consider those who have had.musical

65

.haubaaoe Hosanna ca consensus“ shoe ueuaaseu scone needs «o 9:00 hem e

.Hoonoe aman wounds naahdaoo ”sedans doonemvooc and one sense we anon hem a

seasoned“ ma on w seesaw on cause no use» one sens menu as eocnwcuoooae sense
303 2e30,: Loose. sons 5 335 am. has. one .3332: as 3 m assess
on cases we onsoh ones so one wcauooao memes swoon ososaocd gaseous swan

ubrlrb

'in

nu canon noon. ..o. « .ouom enhance museum monsoon nowaoodasao soouponn eMa any

 

44.541-

 

 

s. .-L
4_ 1

 

 

 

 

IFLI;

 

 

.aoesos.sw«a :3 ohms: oz

h

 

 

 

 

'hvl ‘

may Hoonou omen cu cums: A

{moor R E. 3855.3. + 33

a 3 a an a 2 - R a so 1w as 3 mm a... 93:3 3

a mm a we a mm 3 a. we s cm a m: Am 3:33
i * h ‘ A “0 W WMMdNUL a 1% v t ‘ 4 A “0 “ mmm¢0 * .vgflflsn

-1 couscouaasod

 

 

11

 

 

1!.“ «ll

 

.couaesecnw ensues hadeaaos accuses Hooneornoc n« spaces sues one
noon Men on» one .eoauapaaos Headers cu consensus“ cues souadseu cocoa ounce

cash» no vnoo hen on» sebum code on
«season ea soucndoaanen econ nouns can

.00.

OAWOAJ O3

 

.oeoaaou

on Awan wcuheoa cacao ucuawbaacs
503 ad soeso sou serum cameo away

as seen soon sconce nm«n_wn«>sea songs nouaabuaos Handgun h: c za.¢o«unosa

dex

Manda

66

activity since leaving high school. In the "took music“
group we find that 42 % of all cases in this group have
had.nusical activity since high school, and that of these
21 cases, 90‘$ came from musical family backgrounds, and
86 $ had non-school musical activity duringfihigh school.
0n the other*hand, the “took no music” group had.22’%
who have had.musical activity since leaving high school,
and of these 11 cases 67'% had musical family background
and 55‘% had non-school musical activity during high
school - differences of.20 %, 23 %, and.3l $ respec-
tively. If we take 23 e of 20 p, and from this result
subtract 31 1, of 20 1., we shall find that the high
school is primarily responsible for the postnschool
musical activity of not more than one out of four of
those who "took music" in high school.

Table XIVb gives a comparison of the two
groups as to the type of post-school musical activity
participated in by both.

Church choirs lead both groups with 22 % and
45 % respectively, with noncchurch choral activity
coming second with 16 $.and 15 h respectively. Partici-
pation in dance and concert bands is common among the
"tech music“ group but entirely absent in the "took no

music" cases. The only other significant finding in tide

table is the 15 % participation in musical clubs for the

TABLE XIVb

6?

This table gives the types of post-school activity men-
tioned in the survey by the several cases, the number of
cases for each type, and the per cent for each type of

the total number of cases

 

 

 

 

 

 

 

 

 

 

 

‘*H.8. Music‘ 'No H.S.Musio#
Type of activity cases 1’ "6a 2:868 % 01f
church choir 11 22.4% 9 #5 %
non-church choral activity a 16.3% 3 15 %
dance bands 5 12.2% 0
private bands (not dance) 6 12.2% 0
‘ instrumental ensemble 3 6.2% 1 5 %
solo performance 3 6.2% 1 5 i
instrumontal lessons 3 6.2% O
vocal ensemble 2 h.l% 0
Vocal lessons 2 14.1% 0
Iusical clubs 2 4.1% 3 15 ¢
accompanying 1 2. fl: 1 5 g,
directing 1 2. % 0
piano teaching 1 2. fi 1 5 1,
course in appreciation 0 l 5 1,
total #9 100% 20 100%

 

' one or more years of music in last 5 yrs. of H. B.

# none or less than one yr. mm. in lasts yrs. of 8.8.

68

"took no music" group as against # % in the “took music“

group.

General Summary

This summary is included to bring into a few
concise statements the individual summaries for each of
the questions of the survey questionaire.

The "took music" group indicates a greater
present interest in music than the "took no music" group.
It also indicates a higher percentage of family back-
ground, and non-school-sponsored music activity before
graduation than dees the “took no music” group. Consid-
ering both facts, there still seems to be a slight posi-
tive correlation between present interest and taking
music in high school.

Both groups like best to listen rather than
perform, but the “took music“ group indicates, among
those cases that do like best to perform, a decidedly
greater interest in performing vocal music than does
the ”took no music” group.

In preferences for several qualitative types
of instrumental music, the highest positive correlation
seems to be between the type preferred and the presence

of a musically-interested family background. “Taking

69

music ' in high school and participating in non-school
musical activity during high school show a slightly
positive correlaticn with the type of instrumental music
preferred. As for the type of performance preferred
there is no significant difference between the two groups.

As to the preferences for several types of vo-
cal music -~ types which have no qualitative rating.-
the "took music” group shows a more equal distribution
over all types, while the “took no music" group tends
slightly toward "bunching' around secular and folhesong.
When we consider the two groups as to their preferences
in the manner of vocal performance, there is a slightly
positive correlation between "taking music” in high
school and preferring a choral type of performance.
Lacking here however is any notable preference for small
ensemble singing.

A comparison of the two groups on the trend
of present activity indicates a decidedly negative corre-
lation between ”taking music“ in high school and increase
of musical activity. On this same point the “took no
music' group shows a slightly positive correlation.

There seems to be a slightly negative correla-
tion between Itaking music" in high school and interest
in the other fine arts. This is based on a qualitative

'baeie of rating the questionaire responses.

70

The “took no music" group shows a greater
radio-listening interest in average hours per person
than does the other group. Persons coming from musi-
cally-interested family backgrounds show a higher corre-
lation with classical music programs, irrespective of
high schOOI training, than do the others. The same holds
true for persons participating in non-school music ac-
tivity during high school. There is a slightly positive
correlation between quality of radio-listening activity
and “taking music" in high school. When the control
questions are taken into consideration this advantage
disappears -- in fact becomes negative.

There appears to be approximately a zero cor-
relation between attending musical programs and 'taking
music“ in high school. This point might as easily be in-
terpreted as a slightly negative relationship. Moreover,
there is a zero correlation between the quality of the
programs most enjoyed and "taking,music' in high school.

Between the type of the favorite composers and
a background of musical training in high school, there
seems to be a slightly negative correlation - at least
nothing more positive than a zero correlation. The
family background and participation in nonrschool music
activity during high school rate one-two over “taking

music” in high school as influencing the preferences

71

for favorite composers, when the composers are rated on
a qualitative basis from the standpoint of their com-
positions.

It is essential to this thesis to carefully
assimilate the facts of question ten and its correspon-
ding tables. The findings of this table point out that,
irrespective of high school training in music, those
persons coming from family backgrounds that were inter-
ested in musiCel activities, were also much more active
in non-school-sponsored musical activities during high
school. This indicates a slightly negative correlation
between “taking nusic" in high school and non-school
activity during high school if the environmental back-
ground be given any consideration. If the quality of
such non-school musical activity be compared with "tak-
ing music" in high school, the correlation will be found
to be zero.

' On the results of question eleven hang the en- ,
tire critical aspect of this study. This question along
with question ten gives no conclusive evidence on at
least two significant points. First, that the pro-highr
school background, both native and environmental, is the
greatest determinant of the extent of high school and
postnschool musical activity, and second, that this in-

fluence is so strong that it can and does “force” young

72

people into musical activity and appreciation of one sort
or another, irrespective of any high school training.
This is the basic contribution and the mainvstay of this
study. In addition, the other questions show us that
there really exists but little difference as to the
quality of musical interests when the two groups are com-
pared.

The general trend indicated by the statistics
of question twelve seems to be that the "took music”!
group becomes less and less interested in music, while
the “took no music“ group becomes more and more interest-
ed in music. The trend is so decided, we must say that
a definitely negative correlation exists between "taking
musicI in high school and the progressive status of
music as an evocational interest.

About two-thirds of the “took music” group in-
dicated their approval of the high school music courses
by stating that they received benefits. When compared
with the other responses, which they made on the ques-
tionaires, this seems doubtful. Probably the subjectiv~
ity of the questionaire method 'crOps-out' more in this
question than in any other.

If the two groups be compared briefly on pre-
sent musical participation, we must conclude that the
family background has determined to a greater extent

postrhigh school music participation than has the high

73

school music courses; also that non-school musical activi-
ty during high school is a greater determinant of post-
echool musical activity than is "taking music" in high
school.

If the various relationships found in this
study be grouped into five categories we find the follow-v
ing distribution: positive correlations (2), slightly
positive cerrelations (4), zero correlations (4), slight-
ly negative correlations (6), and negative correlations
(3). All correlations are in terms or ”taking music" in
high school. Almost all or the evidence indicates -
that musical interest in the family background is the
most important determinant, that participation in none
school musical activity is second in importance, and that
'taking,music' in high school is of third importance in
determining post—school musical activity and interest.

Is there transfer, then, from high school.to
post-school life? Yes. Is it very extensive? No. luv
tensive? No, and it rapidly becomes less and less. Is
high school music than or any value? Yes, it is at pre-
sent of some value, but the improvement of aims in edu-
cation, and the improvement or methods and teaching pro-

ooSdures could multiply the values of public school mus-

CONCLUSIONS

75

C)
U
:3
'3
i. 1
C
F!)
i J-
C‘
:5
C.)

When one has collected a body of facts, it is
necessary that he interpret them as conscientiously as
possible. Throughout the preparation of this thesis, I
have formulated certain ideas pertinent to the study.

Cne of the first which I noticed is the tend-
ency of the ”took music" group to over—rate themselves
regarding their present interest in music. The Opposite
tendency can be noted in the "took no music" group.
Table I shows almost three and one-half times as many
persons ‘dceply' interested in uusic for the ”took mu-
sic" group as for the "took no music" group. In no
other table, and in the responses to no other question,
is there any evidence to support the claim that the
"took music" group actually has three and one-half times
as many persons 'deeply' interested. Hence my claim
that either the one group highly overbrates itself as
to present musical interest, or, that the other basely
under—rates itself on the same question.

I have also noted in several places that, for
these graduating classes, the transfer of high school
musical training is, at the best, extremely temporar'.
I believe this is due to several causes, some of which

its

Ch

are traceable in this study. The average person 3

farther and farther away, geographically and socially,

76

year by year, when once he has graduated. This makes it
practically impossible to get together a permanent cho-
ral group, outside of school, of more than twenty voices.
Or think of getting a bend of sixty members together to
play classical music when once the persons have received
their diplomas. Yet this is exactly the training that
was offered in the high school music courses taken by
the individuals of this survey. They were trained to
sing and play in organizations of from 50 to 75 persons,
for which the taxpayers furnished teachers, music, and
practise rooms.

Now it is conceivable that from 2 to 10 per-
sons might be able to gather consistently from time to
time and play or sing as a small ensemble group. But
training in such activity as this was not entertained
for a moment in the school curricula. And here I be-
lieve is where much possible and valuable transfer is
doomed. After graduation, en msesc performance is scl-
dom possible, and no training in small group partici-
pation was offered in the high school. This accounts
for the decided swing toward listening rather than per-
forming. Performance on the scale set up by the school
is impossible - therefore to listen is the easiest way
left, but soon even interest in listening disappears

because practically no appreciative foundation has been

77

laid.

If there had been courses in appreciation,
much of the declining interest found at present in the
"took music" group may have been avoided. But with mass
performance impossible, and no training in appreciation
present in the school curricula, the inevitable must re-
sult, and this survey has shown of what the inevitable
consists.

The “took no music“ group, however, has not
been subjected to this mass training. Such interests
in music as they do possess have been cultivated inde~
pendentLy, and are of such a nature that they may be
pursued along solitary lines. What they gain - they
can use throughout their life-time. What the “took mu-
sic” individual usually gains. he may use as long as he
remains in school. In this regard, the high school
training offered by these schools was distinctly removed
from life-situations._

Along the line of appreciation, this study
shows a stress of performance rather than a building of
solid foundations in appreciation for all fine arts.

The fact that the Itook no music" group of this survey
indicated an interest in a better quality of fine arts,
seems to validate such a conclusion.

The training offered in choral performance in

these schools is very pronounced in the responses which

73

were given by the individuals of this survey when.pgg-
formingkvocal music is the point under consideration.
But if it be a matter of listening to vocal music, no
transfer from the choral training is in evidence. This
indicates that the training given in choral performance
is even less valuable than we had anticipated, for even
among those who like to perform choral music, it does
not follow that they are interested in listening to
that type.

To me, the responses of Table XIII indicate
only one significant point. That is, that some of those
cases which have recorded favorable impressions toward
the results of their high school musical experiences,
are really crediting the high school courses with an ins
terest and appreciation in music that should have been
given to the pro-school environment. For on the other
questions of the survey, their responses show a lack of
supporting evidence in favor of such statements. The
high school did not so much develop the individual's
musicality to a higher level, as it did direct him into
a single channel of activity. And in so doing, it
stinted rather than developed his musical growth.

Should school music curricula in the future
be based on quality and usefulness, then we may look for
a more appreciable degree of transfer. That this will

ever result is not probable - as long as the philosOphy

79

of the general public approves gaudy costumes and resale-
dazzle formations in preference to solid, conservative
musicianship. The former has been, like straw, carried
to us down the river of time. The latter, like gold,

has sunk to the bottom and lies hidden.

Another problem.that arises in this study is
-- why the greater interest in listening to instrumental
music among the "took no music" group? It was not due
to the lack of vocal training in the grade school, but
rather that the mode of performance today is instrumen-
tal music. Instrumental music presents rhythmic pleas-
ures that even animals may enjoy. The musically un-
learned are often enraptured by any music which presents
this feature, but with little exception, it is instru-
mental and not vocal music.

As a final conclusion I must aver that the
transfer of musical activity from high school to post-
school life is entirely dependant upon the community
musical activities. Those individuals who are fortu-
nate enough to find their way into large, civic bands,
orchestras, and choral organizations, show a transfer
of high school training. But in communities where civic
organizations ar ”closed" or entirely wanting - what
other transfer could there possibly be? There seems to

have been no training for any other sort of musical re-

8O

spouse, in these schools. We have noted the emphasis of
theoecurricula (and is it not about the same curricula
as for all high schools?). we have seen, also, that
there exists, in these two graduating classes, little,
if any transfer. After only seven years of post—school
life we find this to be the case. It is imperative
that we make the curricula conform more nearly to life
situations if we desire any appreciable degree of

transfer.

APPENDIX

Name

82

KUSICAL ACTIVITY SURVEY QUESTIONAIRE

# Address

Married? Children 1 Occupation ,
Years of postehigh school education In what fieldt__

 

10.

11.

I am (deeply, moderately, scarcely, not-at-all) in-
terested in music.

I like best to (listen to, performi(vocal, instru-
mental) music.

Hy preference ratings on the following types of in-
strumental music are: classical, modern,
(not Jazz), papular, swing; and I prefer
the band , orchestra , chamber ensemble ,

'solo .

4*”

My preference ratings on the following types of
vocal music are: sacred, secular,

madrigal, folEFsongs, opera: and I pre-
fer them as, solo, small ensemble,___phoral.

I am (more less, equally as) active in music (than,
as) I was a years ago.

other fine arts in which I an interested are
a A a and .

I listen to the radio about hour! weekly. My

 

 

 

 

 

favorite programs are: _gstarring
_____5 +_ _ starring_f ‘ _ _g r .
I have attended about musical programs in the
past year, and the ones which I have enjoyed most
are: _ V y W 1 , n *7?
My favorite composers are: A a ' .

 

raw—

Before I graduated from high school I was actively
engaged in the following musical activities, not

school sponsored: & h 4,
is is & l _ ‘V V Y .

fay f vv—v—wv— ., sq

My family (was, was not) interested in music or

83

musical activities.

12. Music is of (growing, declining, static) avoca -
tional interest to me now.

13. As I look back after 7 years of post-school life,
my Opinion regarding the value or my scholastic
musical experiences is:

 

14. my musical activities since leaving high school
have been as follows:,

*Activities'w ifiurposefiof’ Hrs? a Standards of Type of Music
(Groups & Solo)Activity Week Performance Literature used

1 . i - as ea, ,1 VTWWY

 

w...

Favorite Radio Programs

Brief descriptions of those programs men-

tioned as favorites by the most individual cases.

Ford Sunday Evening Hour -- a program of classics and
light classics by the Greenfield Village mixed
choir and the Detroit Symphony Orchestra under
the direction of Harold Koch.

Lux Radio Theater -- a strictly dramatic program with
guest stars once each week. Many new dramas and
best-sellers are dramatized. Cecil De Mills is
the master of ceremonies. Guest performers are
Hollywood stars and the program is an hour in

length.

iKay Kyser -- an NBC program of the variety type, in*
cluding a musical quiz feature. Vocalists featurb
ed on the program are Virginia Bimms, Sully Mason,
and.Harry Babbitt. Music consists of pepular and

swing hits.

.MetrOpolitan Opera .. a broadcast of the Operas presen-
ted at the Metropolitan Opera House during the

usual winter opera season, starring all of the

85
Operatic stars. NBC feature.

Kate Smith Hour'-‘a variety show. One'half hour cons
sists of the usual banter of comedians Abbott and
Costello; the music of Jack Miller's orchestra
and the Ted Straiter chorus, with vocals by Ted
Collins and Kate Smith. The second half hour con-
sists of a radio version of the popular stage
shows and motion pictures, often portrayed by the
same persons who played the parts in the movie or

on the legitimate stage.

Bing Crosby ~~ master of ceremonies for the NBC presen-
tation of Kraft Music Hall. Comedians are Bob
Burns, the Music raids, Johnny Trotter's orches-
tra, and announcing by Ken Carpenter. Also

features celebrities from all fields as guests.

Firestone Program - a program of classics and light
classics starring Richard Crooks and margaret
Speaks, with a symphony orchestra under the baton
of Alfred Wallenstein. Music usually includes
both vocal and orchestral excerpts from operatic
literature, standard vocal pieces, and light lit—
erature of the folkrsong type, 1.0., Foster's

801188 c

Andre

86

Iostelanetz -- orchestra director for ”Tune-up
Time”. A weekly program often devoted to a par-
ticular gioup of songs; i.e., Walt Disney tunes.
Tony Martin is the soloist and master of ceremon-

ies.

New York Philharmonic -- a program of symphonic orches-

Chase

Major

tral music under the direction of Howard Barlow,
and presented from Radio City. Plays only dur-

the winter and.spring seasons.

and Sanborn Hour - starring Charlie tharthy,
Edgar'Bergen, Donald Dickson (baritone) and Bob
Armbruster and his orchestra. Program is one-
half hour in length, consisting of humor, drama,
and light classical.

Bowes -- master of ceremonies for the Chrysler
Motors Corporation amateur hour. One hour weekly
presenting very capable amateurs from everywhere
in the United States. A city is chosen each week
as ”honor city“, and receives due congratulations.

All types of music are included.

Horace Heidt - and his Musical Knights furnish the mus-

ie for both the Pot of Gold and the Tune programs.

Specializes in papular and swing tunes- mostly

37

the hits . Some "modernizing" of old favorites

and classics is common practise.

NBC Symphony -- orchestra under the direction of conduce

Glenn

First

tor Frank Black. Specializes in orchestral liter-

ature, classic and Operatic, with an occasional

light classic type.

Miller -- and.his orchestra. One-half hour weekly
presentation of popular dance music with Ray Eberle

and Marion Hulton as vocalists.

Nighter -- a half-hour weekly program of drama
starring Les Trcmayne and Barbara Luddy. The

dramas are usually three act original playlets.

Alec Templeton Time -- a variety show starring Alec

Templeton, with Pat O’Malley (tenor comedian),
a string orchestra and choral group. Various

guests are brought in to assist on the program.

Jack Benny -- a variety program starring,Jack Benny the

comedian with Mary Livingston, Rochester, Andy
Devine, Ben Wilson (vocalist), Dennis Day,and
Phil Harris' orchestra. Music is mostly of the
pOpular and semi-pOpular type. More emphasis on
humorous dialogue and mock drama than anything

else.

88

Information Please -- a quiz program, with Clifton Fadi-
man, John Kieran, F.P. Adams, and Oscar Levant.
Some prominent celebrity is the guest of this pro-

gram each week. No music on this program at all.

Campbell Play House - master of ceremonies and leading
male actor - Orson Wells. Cne hour weekly. First
program of each month is presented a dramatization
of a best seller. .All other dramas were radio
versions of prominent dramas. Guest stars us-
ually Hollywood actors and actresses who assist-

ed in the drama leads.

Wayne King -- and his orchestra arson several programs
on major net works. All using the pepular and
"sweet“ type of orchestration. Dance arrange-
ments of light classics and semi-classical pieces
are used extensively on these programs. Stresses
use of saéphone and strings to gain a smooth chor-

al effect.

Fibber and Molly McGee -- a variety program stressing
humorous incident, but including some very fine
semi-pepular and popular music. Assisting in the
program are Marian and Jim Jordan, Harold Peary,
the King's Men, Bill Thompson, and Billy hills'

orchestra. One-half hour in length.

39

Sports broadcasts -- such broadCasts as baseball, foot-
ball, basketball, tennis, racing, etc. Announcers
of note on these programs are Harry Heilmann, Bob

Eleon, etc.

Hit Parade - a program of popular music (hits of the
week) as played by Mark Warnow and his orchestra,
with vocals by Barry Wood (baritone), and Bea
Wain. A second orchestra - that of Orrin Tucker
- assists in the program and has as its chief

vocalist, Bonnie Baker.

9O

SURVEY PERSONNEL

Persons Supplying Data for This Survey

Adams, Elizabeth
Alling,‘Ronald
Andros, George
Austin, William
Barker, Donald
Bonnet, Harry
Bercaw, Vorue
Bishop, Thelma
Blethen, Lloyd
Bliss, Gail

Block, Robert
Bradberg, Ronald
Brockwald, Lester .
Broessell, Catherine
Burkholder, Lamoine
Cameron, Jean
Carver, Beatrice
Chamberlain, Claude
Charles, Mary Frances
Cook, Martin
Cummins, Elizabeth
Dean, Joyce
Dorriel, HaJel
Echelberry, Karl
Edwards, Bryce
Fox,‘Alice

Furtah, Helen
Gardner, Donald
Garlock, Ronald
Goddard, Alice
Goddard, Maurice
Green, Thelma

Hall, Hugh

Hanson, Barbara
Holmes, Elizabeth
Holt, George

Busby, Eva

Rummel, Frances
Jones, Fredrich
Kelly Bruce
Kimball, William
lurker, Jean
Kirksey, Mary

Knaup, Wesley
Knaup, Weston
Kraft, Katherine
Krasingsky, Albert
Lamerson, Rex
Lens, Rolland
Linebaugh, Ardis
Lynch, Eva Maxine
Marion, Alex
lartin, T. R.
Martin, Viola
Roxane, Kenneth
McNeill, Ione
Miller, Richard
Mingus, Harland
Masher, Hugh
Niesz, Margaret
Olson, Lawrence
Patterson, Neil
Payne, Ralph
Pearson, Charles
Filmore, Lilae
Price, Ardice
Price, Donald
Prince, Elaine
Radrord, Marilyn
Reed, Hollis
Root, Derwood
Seelye, Robert
Bauer, Katherine
Schaus, Katherine
Sine, Glenn
Speakin, Hertha
Summers, Vivian
Swanson, Elsie
Thompson, Lois
Tower, Charles
Toy, Caroline
Turner, Dorie
Turner, Monte
Vroegendewey, Virginia
Wakenhut, Marjorie
Walt, Barbara

Walters, Ursula
warden, Richard
Whitmore, William

Wilcox, Nona
Wildt, Mary
Wilkenson, Jeanne

91

CASE STUDI E8

or those Central High School graduates or 1933 who, from
grades 8 to 12 inclusive,took one or more courses in

music for a total or one or more school years.

II

or those Central High School graduates of 1933 who, from
gradee 8 to 12 inclusive, took no music courses, or one

course for less than a-complete school year.

93

Case 1

School record - one year of JC, one of SG, two Of SC,
two Operetta leads. Average grade A.

Questionaire results
(married, 3 children, saleslady)
1. deeply 2. listen to, vocal
3. classical, modern, pOpular, swing: orchestra,
chamber ensemble, solo, band.
h. Opera, sacred, secular, madrigal, folk-songs:
choral, small ensemble, solo.

R: less 6. painting, writing

?. 6, Andre Kostelanetz, Jeanette McDonald, Nelson
Eddy, Paul Whiteman.

8. 10, Lily Pons, Lansing Civic Symphony Orchestra,
and P. W. A. Symphony

9. P. Helius Christiansen, Franz Schubert, Gain.

10. Church choir 11. was 12. static

13. the years I studied have broadened me and made
me understand music so that I can now listen
and enjoy it.

14. none

Case 2

School record.- one-half'year Of JC, three Of SC, and
one of 8G. Average grade B plus.

Questionaire results
(married, 1 child, housewife, 1 year adv. education)
1. deeply 2. listen to, vocal '
3. classical, modern, popular, swing: orchestra,
9010, band, chamber ensemble.
h. madrigal, sacred, Opera, folkesong, secular:
choral, solo, small ensemble.

5. less
7. 8hrs. Lux Radio Theater, Kraft Music Hall,
Kay Xyser.
8. none 9. Victor Herbert 10. none
11. was not 12. growing

13. helped me to appreciate more all types Of music.

Case 3
School record - one-half year of JV and.JSM, one of SC.

9n

Average grade C.

Questionaire results
Inarried, postal clerk)
l. moderately 2. perform, vocal
3. classical, modern, popular; orchestra, solo,
chamber ensemble, band.
h. sacred, secular, folk-songs, madrigal, Opera:
solo, choral, small ensemble.
. less .
. 3 hrs., Ford Sunday Evening Hour, Adventures of
Ellery Queen
. 2 programs; The Seven Last Words, Messiah.
9. Each, Victor Herbert.
10. Central H.E. Choir 11. was 12. declining
13. of great value in enabling me to appreciate and
enjoy good music and the technique in which
it is given.
1”. Central h.E. Choir, sacred music for church use,
5 hrs per week, good performance demanded.
Occasional solos for church use, 1 hr. weekly.

Case R

School record - two years of SO, two of JC, two of J0,
three of SC, one of SO, and three Of school quar-
tet. Average grade A.

Questionairenresults
(married, 1 child, road-tester for General Motors)
1. deeply 2. perform, vocal
3. classical,modern, popular, swing: chamber en-
semble, solo, -orchestra, band.
. Opera, madrigal, secular, sacred, folk-songs:
solo, choral, small ensemble.
5. less 6. drama
7. 3 hrs. Kraft Music Hall, Jello Program, Ford
Sunday Evening Hour.
8. 5 programs; Orpheus Club Concert,.Jackson Club,
Lansing Central High School Spring Concert.
9. Schubert, Verdi
10. dance orchestra, vocal trio, church choir.
11. was 12. static
13. if school music accomplished nothing else fcr'me,
it gave me a much keener appreciation for
music; it also afforded me an opportunity to
make some fine acquaintances.
1”. Vocal trio, for employment, 15 hrs. weekly play-
ing pcpular music cor public appearance.

95

The Apollo Club for friendship and enjoyment,

2 hrs. weekly singing sacred and secular
music. High standard of performance.

"Blossom Time“ ( Civic Player's Guild‘) for ex-
perience in drama, 20 hrs. weekly (for two
weeks), annual Operetta for public perforb
ance.

Soloist with St. Paul's Choir, sacred music for
Sunday services, 3 hrs. weekly, Personal
purpose- to remain in some musical activity.

First Methodist Choir - same purpose as above.

Dance Orchestra, for employment, using pepular
music for public appearance. 16 hrs. weekly.

Case 5

School record.- two years of JC, two or 80; average
grade B.

Questionaire results
(single, drive—away foreman)
l. moderately 2. listen to, vocal
3. pepular, modern, swing, classical: orchestra,
solo, chamber ensemble, band.
u. folk-songs, madrigal, sacred, secular, Opera:
solo, choral, small ensemble.
5. less 7. 10 hrs., Kay Kyscr and Bob Crosby.
11. was 12. declining. .
l3. broadening of one's views on life through the
associatinn or the right people. It ins
creases cne's mentality through the influr
once or study.

Case 6

School record.- one year or.JB, three of SB; average
grade B

Questionaire results
6 years college work in physics)
1. moderately 2. listen to, vocal
. classical, swing, modern, pepular: band, orche
eetra, solo, chamber ensemble.
. Opera, folk-songs, secular, sacred, madrigal:
solo, small ensemble, choral.
less 7. 3 hrs., Information Please, NBC
Symphony Orchestra.
1 program, Orpheus Club.
was 12. declining

‘ \N

.

Ham-E

O

96

Case 7

School record - two years of JB, two of JO, three of
SB; average grade A minus.

Questionaire results
(married, 2 children, final hardware-Fisher Body)
1. deeply 2. perform, instrumental
3. classical, modern, pepular, swing: band, orche
estra, solo, chamber ensemble.
H. none 5. equally as
7. 6 hrs. weekly; Carborundum Band, Iavy Band

10. several dance orchestras.

11. was ' 12. growing

13.1t enables me to know the true value of cooper-
ation through having to play with groups of
musicians where cooperation is of the utmost
importance.

14. 119th F.A. Band for camp entertainment. Two hrs.
weekly uses light overtures and marches.
Average standard of performance.

Fisher Body Band.~ no purpose. Two hrs. weekly
using classical music; no standards.

Dance Orchestras for public appearance; three
hrs. weekly using Jazz.

Case 8

School record - two years of JB, 5 of SB; average
grade B.

Questionaire results '
(single, service manager of a sales corporation,
h years advanced education in business administra-
tion at Michigan State College)
1. moderately 2. listen.to, instrumental
3. pepular, swing, modern, classical: orchestra,
band, solo, chamber ensemble.
u. folk-songs, secular, madrigal, sacred, opera:
choral, small ensemble, solo.
5.1ess 6. literature
7. h hrs. weekly; Information Please, Chesterfield,
Chase and Sanborn Program.
9. Irving Berlin, etc.
11. was not 12. static
l . fine from a standpoint of happy memories; of very
little value otherwise, such as the develop-
ment of any degree of appreciation for good
music.

97

Case 9

School record - % year of JB, two of SB, member of the
'sax' club for one year; average grade 0.

Questionaire results
(married, a cigar salesman, 3 years adv. education)
1. moderately 2. perform, instrumental
3. modern, pepular, swing, classical: orchestra,
band, chamber ensemble, 8010.
h. none 5. less 6. photography and sketching.
7. 2” hrs., Kay Kyser, Band Wagon, Lux Theater.
10. dance bands
11. was 12. static
12. meeting the public
1 . dance band to earn extra money; 10 hrs. weekly,
for public appearance, Jazz and pepular music.

Case 10

School record - two years of JO, 1% of JV, 1 of 80;
average grade B.

questionaire results
(married, one child, housewife)
l. moderately 2. listen to, vocal
3. pepular, swing, modern, classical: orchestra,
band, solo, chamber ensemble.
4. sacred, folk-songs, secular, madrigal, Opera:
solo, choral, small ensemble.
5. less 7. 28 hrs., LuILTheater, Kate Smith.
11. was 12. declining
13. I am glad I had what I did have.

Case 11

School record - two years of JB, 2% of SB,;average
grade B plus.

Questionaire results

(married, cloth)

1. moderately 2. listen to, vocal

3. classical, modern, popular, swing: orchestra,
band, solo, chamber ensemble. .

h. opera, folk-songs, sacred, secular, madrigal:
choral, solo, small ensemble.

5. less 6. painting and literature

7. 15 hrs.; MetrOpolitan Opera, Ford Sunday Hour.

8.
9.

98

1 program: Ford Sunday Hour audience
Wagner and Strauss 10. church choir

11. was 12. declining

13.

in.

Case 12

I feel well compensated for the time, effort,
and expense, because of the resulting deep
appreciation for the better things in music.

church choir, 2 hrs. weekly of sacred music de-
signed to lead church worship. Fair quality.

School record.- 1 year of JC, 1 of SC; ave. grade 0.

Questionaire results
(married, tool grinder at Olds Motor Works)

1.
3.

O

FHH
Vii-NO NW 4:"

in.

Case 13

deeply 2. listen to & perform, instru~
mental
classical, modern, pepular, swing: orchestra,

8010, chamber ensemble, band”

secular, madrigal, opera, folk—songs, sacred:
solo, small ensemble, choral.

more 6. writing

3 hrs.; Gay Nineties, Alec Templeton, any piano
music available.

Liszt and Chopin 10. took piano lessons

was not 12. growing

of the Junior High School - no value. Senior
High School choral work trained my ear for
better harmony and gave me a better under-
standing of group work, tempering my adoles-
cent tastes in music.

dance orchestra for a short time for pleasure.

taking piano lessons.

School record - two years of SB; average grade B plus.

Questionaire results
(single, Junior accountant, 4 years adv. education
in Hotel Administration)

0

t4!” r- \nea
O

. less 7.

moderately 2. listen to, instrumental

. modern, popular, swing, classical: band,

orchestra, solo, chamber ensemble.
secular, folk-songs, madrigal Opera, sacred:
small ensemble solo, chor .
35 hrs; anything on the air.
was 12. static

99

Case 114»
School record - 2 years of SC; average grade A.

Questionaire results
(married, typist, 2 years P.G. in Business Courses)
1. moderately 2. listen to, instrumental
3. modern, classical, pepular, swing: band, solo,
orchestra, chamber ensemble.
4. sacred, madrigal, folk~songs, secular, Opera:
small ensemble, solo, choral.
equally as 6. Needlework
15 hrs.; Lux Theater, First Nighter, Grand Cent-
ral station, Dr. Christian.
8. 2 programs; Michigan hale Chorus
10. church choir 11. was not 12. static
13. it has stayed with me and been a help in
sight reading.
14. Girl's Glee Club, for their own entertainment;
3 hrs. weekly in good performance of sacred
music.
Church choir for Sunday service: 2 hrs. weekly
Solos for church purposes; standard sacred.
Sang in school choir during post-graduate work.

NUT
e-

Casc 15

School record - two years of JC, two of JB, 2% of SB;
average grade B.

Queetionaire results

(married, bank teller) .

l. moderately 2. listen to, instrumental
. bands and chamber ensembles
. folkesongs and madrigals 5. less

7. 9 hrs.; Raymond Page, Andre Kostelaneta

8. 2 programs; Spring Concert of L.C.H.S. band.

ll. was 12. growing

13. every one in public schools should.be required

to take courses of study in music of some

type.

Case 16,

School record - two years of JC, two of 80, one of SO;
average grade B

Questionaire results
(married, secretary, 1% yrs. adv. ed. in Bus. Adm.)

100

1. moderately 2. listen to, vocal
3. classical, pOpular, modern, swing: orchestra,
solo, band, chamber ensemble. 7
M. Opera, secular, sacred, folk-songs, madrigal:
solo, choral, small ensemble.
5. less 6. drawing, pencil sketching, writing
7. 30 hrs.; Firestone Program, Ford Sunday Evennng
Hour, Nelson Eddy.
9. Wagner and Beethoven
10. church choir, piano and vocal lessons.
11. was 12. growing
13. I felt that I was not given opportunities for
the individual activities of which I was
capable. However, the practice in reading
music, etc., with a group was of great value.
it. church choir, 2 hrs. weekly, average performance
demanded, uses standard sacred numbers.
voice lessons for improving the voice and pre-
paring for recitals, 1 hr. weekly using the
ordinary secular solo literature.
(plans to become more active when she ceases
outside work)

Case 17

School record - 1% years of SC, % of SC; av. grade C

Questionaire results '
(single, salesman and clerk, 2 yrs. adv. ed. in
ministerial preparation and teaching)
1. moderately 2. listen to instrumental, and
perform vocal.
3. classical, modern, pOpular, swing: chamber
ensemble, orchestra, 8010, band.
4. sacred, folk-songs, Opera, secular, madrigal:
choral, small ensemble, solo.
5. equally as 6. puplic speaking and art
7. hr.; Ford Sunday Hour
8. programs; sacred concerts and band concerts.
9. Handel and Schubert
10. church choir 11. was 12. growing
13. it helped.me to appreciate good music more and
to esta'blishmy bearings in the music field.
14. church choir, average standard of performance
and type music used, 1% hrs. weekly.

Case 13

School record - two years of JO, two of SO; average

lOl

grade B plus.

questionairo results
(married, housewife)
1. deeply 2. listen to, instrumental
3, SWing, pepular, modern, classical: orchestra,
band, solo, chamber ensemble.
h madrigal, folk-songs, secular, sacred, Opera:
small ensemble, solo, choral.
5. equally as 7. 12 hrs.; Kay Kyser.
11. was 12. growing
13. I think music in high school is very helpful
to me but, would think that classical and
pOpular music should be more evenly divided.

Case 19

School record - 1+} years of JC, 1% of JB, .3. of JD,
1% of SC; average grade.A minus.

Questionaire results
(married, 1 child, housewife)
1. deeply 2. perform, vocal

3. classical, modern, popular, swing; band,
orchestra, chamberensemble, solo.

h. sacred, secular, madrigal, cpera, folk-songs:
choral, small ensemble, solo.

5. less than 6.

7. Kate Smith Hour, Amateur Hour, Chase and
Snaborn Hour.

11. was 12. growing

13. regarded as time well spent and of great person-
al value to me. It gave me the foundation for
further study which.1 hope to take advantage
of at some near date.

1“. none

Case 20

School record - two years of JB, three of SB; average
grade 0.

Qnestionaire results
(married, 1 child, frigidaire installater> 2 yrs.
of adv. education in Diesel Engineering)
1. moderately 2. listen to, instrumental
3. pOpular, modern, swing, classical: band,
orchestra, solo, chamber ensemble.

102

H. secular, folkvsongs, sacred, madrigal: solo,
small ensemble, choral.
5. equally as V ‘
7. 4 hrs.: Chase and Sanborn Hour, One Man's
Family, Major Bones. '
9. Victor Herbert and Irving Berlin
1B. was - 12. declining
13. a better understanding of all kinds of music.
I can appreciate intricate passages on an
instrument, especially a solo with band or
orchestral accompaniment.

Case 21

School record - two years of JB, 1% or J0, two of SB;
average grade A minus.

questionaire results
(single, final hardwareeoFisher Body, 1% yrs. of
engineering at Michigan State College)
1. deeply 2. perform, instrumental
3. classical, pepular, modern; band, orchestra,
solo, chamber ensemble.
h. folkrsongs, sacred, Opera, madrigal, secular;
solo, small ensemble, choral. .
;. more than 6. photography, architecture
. 20 hrs.; Ford Sunday Hour, New‘lork Phil-
harmonic
8. 20 programs; Detroit Symphony Albert Spaulde
ing (violinst), Lawrence Tibbett.
9. Wagner and Techaikowsky. '
10. National Guard Band, church activities -solo & group
11. was 12. growing
13. It gives me a deeper appreciation of all music,
thus giving me more pleasure in life than I
would have had, had my school training not
started me on the road to musical knowledge.
1h. Fisher Band for recreation, 3 hrs. a week 3
good quality of performances on Marches and
both classics and semi-classics. '

National Guard Band; 2 hrs. weekly, fair stands
wards of performance on marches & light music.

u.s.c. Band (R.O.T.C.) .7 hrs. weekly; very good

' standards of performance on marches, semi-
classics and classics.

Instrumental ensembles occasionally for recrea-
tion, such as a german band.and a Polish
orchestra playing polkas, marches,& waltses.

Some solo p sees using standard classics.

103

Case 22

school record - one year of JG, one of JB, 2% of SB;
average grade 8 plus. .

Questionaire results
(married, furniture salesman)
1. scarcely 2. listen.to, instrumental
3. papular, swing, modern, classical: orchestra,
3010, band, chamber ensemble.
h. Iadrigal, secular, folkrsongs, cpers,sacred:
small ensemble, choral, solo .
5. less 11. was 12. static
1}. apparently of very little value.

case 23

School record - 1% years of JB, 1% of SB; average
grade B plus.

Questionaire results \

(student, 5 years of advanced education in the
field of physical education)

1. moderately 2. listen to, instrumental

3. popular, suing, modern, classical: bend,

. orchestra, solo, chamber ensemble.

1L. madrigal, secular, Opera, folk-songs, sacred:

solo, small ensemble, choral.

. less '
3. 8 hrs.: Lucky Strike, Camel Caravan, Kay Kyser.
11. use 12. static '

13. I feel that better teaching methods would have
induced a greater interest. who teaching was
too sarcastic, and too great a preciseness
hindered appreciation.

Once an

School record - 1% years of JG, 1 of JG, 2 of 30;
average grade A; member of solo club.

Questionaire results *
~ (married, 1 child, housewife, 1 year of college)
1. moderately 2. listen to, instrumental
3. modern, classical, pooular, swing: orchestra,
band, chamber ensemble, sole.
4. sacred, madrigal, secular, folkesongs, Opera:
choral, small ensemble, solo.

10M

. less than 6. desigh
. 35 hrs.; Alec Templeton, Ford Sunday Evening
Hour, Kraft Music Hall
3. First M .E. Choir ~ The Seven Last Words

10. Church choir and Civic choir 11. was
12. static 13. it provided a knowledge of finer
music.
Case 25

School Record.- two years of JB, one of JO, three of'
SB. Average gradeA

Questionaire results
(single, Instructor of Speech? Charlotte High
School, 5 yrs. adv. ed. in speech)
. moderately ‘ 2. listen to, instrumental
. classical, modern, papular, swing:
. Opera: choral 5. less than .
. drama and art I. 10 hrs.; Luz Theater and
First Nighter
8 programs; College Band & Orchestra
Liszt and Victor*Herbert
was 12. growing
it has meant a good deal to me - especially
through college band work as it has given
me an understanding of a rich variety of
classical music.
14. College Band for enjoyment, classical music,
5 hrs. weekly; Conducting High School
Orchestra for an Operetta.

Vii-”~09. GM!“

0 9 O O

bud

Case 26

School Record.- two years of JB, one of JO, three of
SB; average grade B.

Questionaire results
(married, Junior medical student, 7flyrs. of adv.
ed. in pro-medical and medical)

1. moderately 2. listen to, instrumental

3. classical, modern, papular, orchestra, band,
solo, chamber ensemble.

4. Opera, secular, flolkrsongs, madrigal, sacred:
solo, choral, small ensemble.

5. less than 6. drama

6. 3 hrs.: Kraft Music Hall, N.Y. Philharmonic

8. 10 programs; Philadelphia Symphony, Marian

105

Anderson, U. or H. Concert Band

9. Schubert and Mozart

10.
11.

13.

in.

Case 27

dance orchestra, private solo instruction

was not 12. static

my 8 years of quite intensive musical training
now enable me to better enjoy classical music
as a listener‘- now that my work prohibits
any personal playing activities.

Dance Orchestra for enjoyment and employment;
poor performance, only Jazz music used, 8
hours weekly.

School record.-two years of JB, one ot’JO, one of JC,

1%

or so, 2% or as, slot wood wind quintet. Av. Gr.A

Questionaire results
(single, medical student, 7 yrs. of adv. ed. in
Zoology and Medicine)

1.
3

u.

g.
s:

9.
10.

deepLy 2. perform, instrumental

classical, modern, pepular, swing: orchestra,
chamber ensemble, solo, bald. ~

Opera, Iolkvsongs, madrigal, secular, sacred:
choral, 3010, small ensemble.

less 6. drama and writing

6 hrs., no choice

3 programs: Chicago Symphony Concert, Chicago
Civic Opera.

‘Beethoven and Raymond Scott

Civic Symphony, H.S.C. Band, dance band wort.

ll.was 12. static-
13. as a soon-to-be physician it has given me an in-

in.

Case 28

valuable evocation as well as a more or less
professional insight into the workings of
musical organizations such as symphony orch-
estras. A very high percentage of medical
men are musically inclined, and no doubt in
the future music will be a prime means of en-
tertainment tor’me.

Dance bands for employment, 6 hrs. neatly, fair
standards or performance using dance pieces.
Piano lessone.ror recreational purposes, summer
only, average standards of excellence using

classical music.
Trombone lessons - same as immediately above.

106

School record - two years of JB, 2% of SB; average
grade B.

Questionaire results
(marriage, senior student in professional school,

yrs. of adv. ed. in Osteopathy)

moderately 2. listen to, instrumental

papular, modern, classical, swing: orchestra,
band, solo, chamber ensemble.

Opera, madrigal, secular, solk-songs, sacred:
choral, solo, small ensemble.

less than '

35-40 hrs.: HetrOpolitan Opera, Ford Sunday
Evening,Hour, dance orchestras.

6 programs; Grand Park Concert, Chicago Civic
Opera

Wagner, Rossini, Irving Berlin

was 12. growing

it is something that is beyond value. It has
given me a broad and more satisfactory incite
on the “better“ music, and has therefore made
music more interesting to me.

O O O

bit-KO 09 NUT 43' WW
0 C O

O O 0

find

Case 29

School record - two years of JB, 1% of JC, 3 of 50;
average grade B

questionaire results
(single, student, 9 yrs. adv. ed. in acedemic work)
1. moderately 2. listen to, vocal
. modern, classical, pepular, swing: orchestra,
chamber ensemble
. folkvsongs, opera, secular, sacred, madrigal:
choral.
less 7. 5 hrs. none in particular
20 programs; orchestra, band and organ programs
Schubert 11. was 12. growing
of great value as far as personal enjoyment is
concerned. I'm afraid the profession I have
chosen allows me little time for any partici~
pation in the musical field at present. Later
' I do hope to return to it more‘for'my own per~
sonal satisfaction. -

“\OOIW 43' \N

0 O O 9

Case 30

sehooi record - 1% years of JB, 2 of as. 2 of so;
average grade B plus .

107

Questionaire results
(married, 7 years advanced education in di locatic
history, at present in graduate school?
1. moderately 2.11stem to, instrumental
3. classical, modern, papular, swing: orchestra,
band, chamber ensemble, 9010.
It. secular, opera, folk-songs, sacred, nadrigal:
small ensemble, solo, choral .
5. equally as 6. dramatios, poetry, architect—
ture, designing .
7. 10 hrs., use Iork symphony, Hetropclitan Opera,
Firestone flour .
9. Chapin
0. Private lessons on piano, clarinet, bass-clar-
inet: participation in several small instru-
mental groups.
11. was 12. static
13 I should not have missed it for the scrld, but
I feel that its actual effect depends upon
the individual. It inculcated in me apprecia-
tion rather than enjoyment of musical perform-
flhgnly. I an ever indebted for that oppor-

Gase 31

School record - 2 years or J0, i .1 JC, 3 or as;
average grade B plus .

Que ticnaire results
married, bank teller, 3 years of advanced educa-
tion in accounting and banking law)
1. moderately 2. listen to , instrumental
3. popular, modern sting, classical: orchestra,
solo, band, c her sbsemble.
4 . secular, folk- songs sacred, iSperm, nadrigala
1 solo, small mantle, choral
088
5.; hrs.: Wayne King, Guy Lombardo.
10. ansing Symphony Orchestra, Matinee Musical,
dance bands, occasional for remmeration.
11.. was 12. doc icing
-.l3 that msie in school gives to one a say to find ‘
himself, and also is an excellent opportunity
for personal expression.

Case 32
School record o 1 year of Jan, 2 of BC, 1 of so; ave-

108

—erage grade B.

Questionaire results
(married, housewires(l§ years or advanced educa-

. O O O

Q 0 b

”15
WW“ Nm-F’WP

‘ 0

in.

Case 33

tion in typing lives on a tern)
deeply 2. listen to, vocal & instrumental
classical, modern, popular, sling; band,
chamber ensemble, orchestra, solo.
nadrigal, opera, sacred, secular, folkrsongs:
choral, smelt ensemble, solo.
less . . needlework & reading
50 hrs.: Lux:Radio Theater, Campbell Play House,
What‘s the Name of that Song?
(musical programs are possible seldom for no)
Mendelssohn and Schubert
church choir 11. see 12. declining
that it is something to remember sith Joy, and
I'm so glad that I attended a big city school
‘shere it was possible to have some musical 0dr
ucaticn. .
church choir: s.musical comedy,.required 6 hrs.
of practise weekly during its preparation,
the purpose of which nae to make none: for a
local women's club.

school record.- 1 year or JG, 1 of acz'av. grade A .

Questionaire results .
(single, English teacher. 5 years or advanced ed-

ucation in English literature)

Interstely 2. listen to, instrulental

classical, modern, popular, sting: chanber
ensemble, orchestra, band, solo .

secular, folk-songs, opera, ssdrigsl, sacred:
solo. small ensemble, choral .

less 6. art, architecture, photography

8 hrs. weekly Victor Recording Hour, Palmer
House Enos lc, organ.programs

15 programs; Rachmaninoff Alec Templeton, syn-
phony concerts in Rome & Italy.

Liest,Tschaikcssxy, Debuss.y, Gershsin .

piano lessons; saxophone lessons .

use 12. growing

arrcused an interest in classical and sacred
music.

109 -

school record -- 2 years or JB, 2 of JG, 1 of “3,5; or
88, 2st BO, andlorsc}; av. gradea . so
various ensemble groups ~ school sponsored .

meeticnaire results
(married, hotel cork, It years advanced education
in hotel administration)
1. moderately 2. listen to instrumental
3-. modern classical, pepular , a band,
._ chamber ensemble, orchestra, solo .
ll . folk-songs, 3e11, sacred, secular, Isdrigsl:
; 1 mm. 1 ”Gabi... ”19 e
. ese '
' . firestone PW Ford Sendai . Evening Hour
, listens abcu 6 hours see p .
8. 8 fingers; Don Gossack Chorus, Lily Pens,
ohigsn State Bend spring (fences-ts .
9. Issuer and him.
10. church choir, private lessons in comet .
11. use 1.2. growing
13. has given no a training in one or the best of
- git-emulate and in enjoyment of a fine

ill. plans-acumen requiring it hrs. seen for p”.
sonal enJoynent pnrposes.; using e
type or teaching pieces.

cast 35
school record - i year or Jail, 2 oi" w; er. grade 1!.

Que tienaire results
zmrried salesman, it years advanced education in
basins es administration)
1. deeply 2. listen to. vocal s instrumental
3. swing, modern, popular, classical: orchestra,
band, sole, chamber ensemble.
h. folk-songs, opera, madrigal, cecal”, sacred:
solo, shell ensemble, choral
;. less 5. photography, carting, etching
‘ . 1‘ hrs.§ Jello Prey-am, Bing crosby, Count
Bali 3 Orchestra. .
9.d~eorge Gershwin and Raymond Scott
10. a sale quartet, s Jase orchestra .
. it. was 12. grooving
l . s Jess orchestra participated in for money and
pleasure; practiced and played about 20 hours
seen: popular songs vith a good standard of
performance required; also a male quartet for
pleasure, 2 hrs. teeny using popular songs.

Case 36
Soho

Q1198

110

01 record - i year of JSM, l 0! SG, 1 of 50;
average grade A .

tionaire results

(married, 1 child, housewife: advanced education“

1 year in nursing and l’in commercial work)
. deeply '2. perform, vocal
. classical, modern, popular, swings" solo,
band, chamber ensemble, orchestra .

solo, choral, small ensemble .

. less 6. painting

. 30 hrs.: Metropolitan Opera, Firestone Program,
Ford Sunday Evening Hour, City Service Program

1
3
h. sacred, Opera, secular, madrigal, rolkrsongs:
5
7
8

case 3.7
Soho

Q30 B

. 10 programs: Michigan State College Band Con-
certs, Messiah

. Wagner and Bach

. Ht. Hope Methodist adult choir and girl's choir.

. was 12. static

. I souldn't have done any differently unless to
try to take more music. There was a lot of
useless 'sturr' taught in high school which I
took, but my music taught us an appreciation
ehioh I shall carry throughout life.

. ht. Hope Methodist Choir - preparation of sacred
lusic for the Sunday services; fair~to~gcod
standards of performance - 3 hrs. weekly .

Girl's chorus ~ to give concerts of sacred and
secular numbers; good standards of performance
averaging about.) hrs. weekly .

cl record - 1 year of Jan, 1 of so; as. grade B .
tionaire results

(close contact work for nursing associations; ad-

1
3

vanood education - it years in public health)
. deeply 2. perform, vocal
. modern, classical, suing, popular: shanhsr
ensemble, orchestra, solo, band .

It». nadrigal, secular, sacred, folk-songs, Opera:

5
7

choral, shall ensemble, solo .

. equally as 6. drawing poetry

. Ford Sunday Evening Hour, Philip Morris Pro-
gram; listens about 8 hrs. neatly.

8;. 3 programs; Christmas centstss

9

. Insert, Heudel'seohn

111

10. Matinee Kueical for 2 years.
11. use 12. growing
13. it not only gave me an appreciation for group

singing, but. a stimulation for continuation
in a field which gives real enjoyment and
'aatisfaction as an evocation.

1h. Girl's quartet rehearsing 1 hr. Icekiy, using

Case 38

intern and folk music - as a hobby.
Women's Club chorus for personal enJoymsnt us-
ing secular music and rehearsing 1 hr; weekly.
Church choir for Sunday services, using the
Choir Heralds and cantatas. 1 hr; weakly.
Girl's chorus as an extra-curricular activity
in post-graduate cork using secular music and
practicing about 1 hour weekly.

School record - 1 year or JO, 1 of so; av. grade B plus

Questionairc results
(married, 1 child clerical work) -

1.
3.

1%.

11.
13.

Can 39

deeply . listen to, instrumental

classical. modern. papular, ning: orchestra,
band, solo, chamber ensemble.

mdrigal, secular, opera, folk-conga, sacred:
choral. mall ensemble, solo .

equally as

20 tin-.3 Ford Bands: Erasing Heart?“ Milk
Program, Kate Smith . ,

Von Suppe, Rossini .

played violin solo-c for ELL. 3 other anter-
tainmsnts.

was 12. growing

or very little value as far as motor: return-
m concerned, but I believe my efforts in
music have been rewarded. I spcnd many hours
linaning to my recorded library 01‘ overs-
tures, waltzcn. and symphoniel. .

school record - 2 year- of JC, 1% or 80: average

MOB.

Questionairc result-
(ainglc, does office work)

1.

«areal: 2. link: to. mural-nth].

112

a. modern, pepular swing, classical: orchestra,
band, solo, c her ensemble .
ll. Opera, secular, madrigal, folk-songs, sacred:
solo, choral, small ensemble .
5.1099 7. 3 hrs. reekly
10. tooh.piano lessons for 6 years
11. was 12. declining
13. of practically no value to me now. The 8
years of piano lessons which.l took are of.no
value either. .

Cece ho

school record « 2 years of JB, 1 of JD, 3 of SB;
average grade 3 plus .

questionaire results
(married, works at Olds Motor'Wcrka)
I. deeply 2. listenm instrumental
3. modern, swing, pcpular, classical: band,
orchestra solo, chamber ensemble .
3}. Opera secular, nadrigal, folk-songs, sacred:
. 1 small ensemble, eclc, choral .
, one
.20 hrs. : anything.'hot' that’s on the air.
10; Jazz orchestra
11. was 12. growing
13. didn't.take echccl music courses Iith the idea
of getting anything.cr a.permanent and.eerth-
while nature.rrom.thell

Case #1
School record - 1% non of JG; average grade A .

Queeticnaire results
(married, housewife; 2 yeare college went in 3.5.
1. Ioderately 2 listen to instrumental
2. pepular, modern, swing, classim mi orchestra,
band, solo, chamber ensemble .
4.{doea not care at all for'rooal music)
eee
. 5 hrs. weekly; Kate Smith Hour, In: Iyeer,
Andre Ioetelanete.
8. 6 programs: Nelson Eddy, Joan Ballet, Lily
Pose, Grace floors
11. use not 12. declining
13. too inconslcte in respect to developing any ad-
equate music appreciation.

113

Case “2

School record - 1% yrs.‘J0, 2 of JV, % of JC; aver-
age grade B.

Questionaire results '
(married, housewife, 4 months of adv. ed. -
business and office work)

1. moderately 2. perform, soon].

3. pOpular, modern, classical, swing: band, orchr
estra, solo, chamber ensemble

M. sacred, folk-songs, Opera, secular, madrigalx

5 8010, choral small ensemble

9

. less 7. 16 hrs.) Horace Heidt, Wayne King
. Stephen Foster, Victor’Herbert
ll. was 12. declining

13. I think.my musical experiences simply taught no
to appreciate music more.

I“. for'my own personal enJoyment vocal lessons for
about 6 months.

Caselfl3
school record - 1 year of JB, 2% of SB; av. grade B.

Questionairc results
(married, bacteriologist, 5 yrs. adv. ed. in bac-
teriology and science)
1. deeply 2. listen to, instrumental
3. classical, modern, pepular, swing: orchestra,
chamber ensemble, band, solo
1}. Opera, nadrigal, secular, folk-songs, sacred:
choral, small ensemble, solo
5. less 6. painting, literature
7 32 hrs.: College of Musical Knowledge, Sunday
Philharmonic, Ford Sunday Evening Hour
6. 12 programs; Minneapolis Symphony Orchestrair
- a
9
l
3

i

Kirsten Flagstad, Paul Whiteman & Orches
. Verdi, Debussey
. was 12. growing
. my scholastic musical experiences gave me a
listening appreciation.

l
1

Case ##

School record.- 1% years of JB, 2 of BB; average
grade 8 minus.

111+

Questionaire results
(single, Senior'Lae student, 7 yrs. adv. ed. -
Law '
l.moderatelyl 2. listen to, instrumental
3. pepular, classical, modern, swing: orchestra,
band, chamber ensemble, solo
3, equally as 7. 3 hrs.; no choice
8. u programs; Philadelphia Orchestra
9. Wagner, Tsohaikowsky

11. was 12. declining - .
13. good entertainment plus develOpment of wider
interests. - .
Case 45

School record - 1 year orJC, l of SC; average grade A

questionaire results
(married, 1 child, housewife and teacher, u yrs.
adv. ed. - Elementary Education)
1. moderately 2. perform, instrumental;
listen to, vocal .
3. classical, papular, modern: orchestra, solo,
chamber ensemble, band
h. secular, sacred, Opera, madrigal, rolkrsongs:
solo, choral, small ensemble
. more than
. 3 hrs.; Ford Sunday Evei , Hour' Detroit
Symphony, Grace Burman ’pianist , Metro-
politan Opera
8. 2 programs; Porter*Heaps, Alec Templeton
9. ChOpin, Debussey -
lo. church choir, accompanying
11. was 12. growing
13. I had no encouragement or incentive to partic-
ipate in high school musical activities. I
received the first scholastic encouragement
when I went to Olivet; from the piano teacher.
Did not take a music course in college as I
did not believe I was talented.
in. Teaching piano 12 hours a week as an income; use
children's collections and usual Beginner book.
Pianist for religious groups as an income for
1% hrs. weekly using sacred music.
String trio in college also as a means or income
using all types of music.
College chorus for enjoyment; 2 hrs. weekly with
excellent performance (standards); material
used was Bach for the spring concert and old

115

Christmas Carols for the Christmas Conr-

cert.
Accompanist for voice studio for an income,
3 hrs. weekly.

Radio accompanist for income and experience,
2 hrs. weekly. Also a 15 minute piano solo.

Student of Sam Robinson for improvement, 5 .
hrs. weekly using classical and modern
music.

-Member of Hatinee and Thursday Musicale.

Case 46

School record - 1 year of JV, 1 of 66; average grade
B.

Questionaire resubts .
(married, 1 child, works at Fisher Body
1. moderately 2. perform, instrumental
3. popular, classical, modern, swing: orches-
tra, chamber ensemble, solo, band
h. folkesongs, madrigal, opera, secular, sacred:
5. equally as 7. Gangrbusters, Sports
11. was not 12. static
13. no good at all; took only for the credit.

Case “7

School record.¢ § year of JSM, 1% of SC, % yr. of SS;
average grade B. ,

Questionaire results
(married, 1 child, housewife, é yr. adv. ed. in a
business school)
1. deeply 2. listen to, instrumental
3. pcpular, modern, classical: orchestra, band
. secular, sacred, folk-songs: solo
. less than 6. drawing
. 25 hrs.: Amateur Hour, Al Pierce Program
. VictoriHerbert, Cole Porter, Irving Berlin
10. Lansing A-Oapella Choir
11. was _ 12. static
13. it taught me a better appreciation of music.

Case 48
School record - l.year'of JO, 2 of JB, 3 of SB:

116

average grade B plus.

Questionairc results
(married, Production '" ‘s Assistant~ John Bean

Mgr. Co.)
1. moderately . 2. listen to instrumental
3. modern, popular, classical, swing: orchestra,

band, solo, chamber ensemble
h. secular, folk-songs, sacred, madrigal, opera:
small ensemble, solo, choral

5. equally as 6. Literature, Stage Plays
.7. 50 hrs.; Luz Theater, Campbell Play House,
'Tune up Time'
9. Victor Herbert, Strauss
11. was 12. static
13. I have a greater appreciation tor'mueic now as
I understand more about it than I would have
but the money that was spent on musical in-
struments for me was in a way wasted since I
have not followed up my music.
Case 49

Schbol record - 2 years of JC, 2 of SC, % of SB;
average grade A.

Questionaire results
(single, Merchandising ~ Sears Roebuck 00., 2.yrs.
adv. ed. in Athletics)

1. moderately 2. listen to, vocal, instrumental

3. popular, modern, classical, swing: band, orches-
tra, solo, chamber ensemble

h. secular, sacred, folk-songs, opera, madrigal:
solo, choral, small ensemble

5. less than
7. 24 hrs.; Glenn Miller, Horace Height, Johnson
Floor Wax
8. 5 programs: Duke Ellington, Buddy Rodgers, Vine
cent Lopez
10. church choir, taking piano lessons
11. was 12. static
Case 50

School record - l year'or JB, i or JG, 3 of SB; aver-
age grade B plus.

Questionaire results

117

(untried, shoe salesmen 1% yrs. of adv. ed. at
Iichigan State College,

1. moderately 2. listen to, instrumental

3. pepular, modern, classical, swing: band, orch—
estra, chamber ensemble, sale

It. folk—songs, sacred, secular, nadriasl. opera:
choral, small ensemble, sole

5. less 6. Photography,

7. 12 hrs., Kate Smith Hour, Tums Program, Harry
Heilnen'e Baseball Prograu

9. Stephen Foster, Irving Berlin .

11 . was 12. growing

1‘3" . it has taught me to appreciate music and also
to understand ii.

111.9. new quartet. yr. of Post Graduate me

in Orchestrat on .

118

II

Case 101

Questionsire results
(married, two children, housewife; 2 yrs. of ad-
vanced education in social work)

1. moderately 2. listen to, instrumental

3. modern, pepular, classical, owing: band,
chamber ensemble, orchestra, solo .

4. madrigal, secular, opera, sacred, folk-songs:
small ensemble, choral, solo .

5. equally as

7. 8 hrs.; Chesterfield, Ford Sunday Evening Hour

9. Ethelbert Nevin ll. was 12. growing

2. Folk-songs were stressed too much with the re-
sult that l became tired of them.

Case 102

Questionaire results ,
( 4 years of advanced education in teacher train-
1. moderately 2. listen to, instrumental ing)
3. modern. classical, pepular, swing: orchestra,
solo, chamber ensemble, band . _
4. opera, sacred, madrigsl, secular, folk-songs:
choral, solo, small ensemble.
' 6. equally as 6. reading, lectures
7. 6 hrs.; Wayne King, Kate Smith
9. George Gershwin
10. took piano lessons 11. was 12. static
13. that it did not develOp much music in me but
taught me an appreciation of music with
others participating.

Cale 103

Questionsire results
(married, housewife)
1. moderately 2. listen to. vocal
3. pepular, swing, modern, classical: solo.
orchestra, band, chamber ensemble.
4. folk-songs. sacred, msdrigsl, secular, Opera:
solo, choral, smell ensemble.
5. equally as
7. 60 hrs.; breakfast Club, Jack Benny Program,

119

Hit Parade, American Album of familiar reels
9. irvine berlin, Walter hlaufuss ‘
11. was not 12. growing
3. it gave me a greater correoistion for music
than i had before.

Case 10%

Questioneire results
lsinsle, teacher, 4 yrs. adv. ed. ~phyeical ed.)
1. moderately 2. listen to, instrument
3. modern. classical. borular, owing: orchestra,
chamber ensemble, bend.solo.
4. folk-songs, sacred, secular. madriesl, Opera:
small ensemble. choral. sole.
5. equally as 6. drama ‘
7. 4 hrs.; Lady Esther Program, Chase and ran-
born hour, Ford's Sunday evening Hour
8. 8 programs; John Charles Thomas
ll. was not 12. growing
3. it seemed to have very little value to re. 1
can hardly remember it; it had little in-
terest appeal for me then. however. i when
i had taken some instrumental music and found
an interest there.

Case 105

Queetionaire results
(single, piano teacher and accompanist, organist.
4 yrs. of college in music)
1. deeply 2. perform, instrumental
3. classical, modern. parsler: orchestra. solo,
chamber ensemble, band.
4. Opera, sacred, secular, madrigel, folk-songs:
solo, choral. small ensembles.
5. more than 6. drama and painting
7. 10 hrs.; H.Y. Philharmonic Orchestra, EEC
Symphony Orchestra. Luz Theater.
8. 26 programs; 8.Y. Fhilhsruonic Symphony,
Chicago Brannony,i. Krona-pianist.
9. fieethovin, Chopin, Wagner
10. Junior Hatinee Xusical. Piano,:usic Club.
ll. was 12. growing
13. i had no music in High School due to nerlect
of music teaching in the school. if they
had had eev.rs1 music courses such as
History and Appreciation i certainly would
have taken it.

120

14. Lansing Matinee Eusical, to make for more and
better music in Lansing, 1 hr. weekly; very
high standards of performance using both
classical and modern choral numbers.

matinee fusical Piano Jnscmble, to learn to
better perform piano literature, 4 hrs. weal.
high standards of performance using classi-
cal and modern pieces.

Thursday Musical, costs once each month to re-
view and perfOrm in an average sort of way
all typos of good music.

Case 106

Questionairc results
lmarricd, 1 child, office work)
1. moderately 2. listen to, instrumental
2. modern, classical. penular, swing: orchestra,
band, chauber ensemble, solo
4. maurigal, secular. sacred, folk-songs, Opera:
choral, small ensemble, solo
5. equally as 6. drawing 7. 2 hrs.; A. hostel-

anetz.

11. was 12. static

15. She says, "I am simply disinterested in music as
a whole"

Case 107

Questionaire results

tsingle, accountant, 1,1r. adv. ed. - business ad-
ministration)

l. moderately 2. listen to, instrumental

3. popular, modern, sains, classical: orchestra.

hand, chamber cnseshle, solo

4. no interest for vocal music 5. equally as

7. 12 hrs.; Jello Program, Professor Quiz

ll. was 12. static 13. non-essential

Case 108

Questionaire results

tmarried, 1 child, housewife)

1. moderately 2. listcn to. vocal

3. poyular, modern, suina, classical: hand. orchestra
chamber ensemble, solo

4. folk-songs, sacred, secular, Opera. madriaal:
small ensemble, choral, solo 5. equally as

7. 30 hrs.; Glass of musical Knowledge, Chase & San-

121

born Hour, Johnson Wax Program
ll. was not 12. static

Case 109

Pusstionsire results
Imarried. 1 child, auto worker, 1 yr. college)

1. moderately 2. listen to,. instrumental
3. rcpulsr, swing, modern. classical: orchestra,
band

4. folk-songs:‘ solo. smell ensemtle, choral.
6. equally as 7. 10 hrs.; Jack sonny
8. 1.; mixado in swing. ll. was 12. static

Case 110

Questionaire results
[representative for Butterick Company; 4 years of
advanced education in home economics]
1. moderately 2. listen to. instrumental
2. modern. popular. classical. : band,
orchestra, chamber ensemble. solo .
4. opera. nadrigal. folk-songs. secular. sacred:
solo. choral. small ensemble .
5. less ‘ ‘
7. Jello Program, Chase a Santern Hour. In: Radio
Theater; listens about 20 hrs. weekly .
9. Beethoven. Franz Liszt . lC. piano lessons
ll. was 12. static '
13. Increased my appreciation in choral music.
14. A class in music appreciation at Stephan Col-
lege, for one year meeting 2 hrs. weekly, and
studying classic literature.

Case 111

Cuestionaire results

(married. 1 child. housewife)

1. moderately 2. listen to. instrumental

3. modern, popular, swing, classical: orchestra,
solo. land. chamber ensemble .

4. secular. sacred. folk-sonic. msdriaal. opera:
small ensemble, solo. choral .

5. equally as

3 EC hrs.; Kate Smith. Jack‘Benny, Luz Theater.

10. 1 year violin 11. was 12. static
12. Not much value because i didn‘t keep or it.

122

Case 112

Questionaire results
imarried. 1 child. housewife. 1 yr. of adv. ed. in
business collars)
l. moderately 2. listen to. instrumental
8. modern: hand 4. secular: smell ensemble
5. equally as 6. interior decorating
7. 40 hrs. ; Luz Theater. First Righter
11. was 12. growing
14. control fiethodiet Choir. 4 hrs. weekly using
standard sacred music.

Case 113

Questionsire results
(married. 1 child, housesifc)
l. moderately 2. listen to, instrumental
2. modern. popular, classical: orchestra. bond.
chamber ensemble.
4. secular. folk-songs. cefirigslz smell amenable.
choral. 8010.
5. equally as
7. 12 hrs.; nate smith Hour. Luz Theater. big Town
13. at the time i took music in school i enjoyed it.
but i haven't gone on with it. Not because
i didn't want to. but because of lack of
sufficient interest. Other things seemed
more important.

Case 114

Questionaire results
(single)
1. moderately 2. listen to. vocal
3. modern.porulsr. classical. swing: orchestra.
bend. chamber ensemble. solo
4. secular. sacred. folk—songs. nadrigel. Opera:
choral. snail ensemble. sole
5. 1688
7. 30 has.. First Richter. big Sister. Life begins
10. piano recitals
ll. was 12. static
13. it was of great value in learning to play musi~
col instruments and vocal music; and to un-
derstend music better.
14. chorus in night school; song costly folk-songs
and song 4 hours a week.

Case 115

QuestiOnuire results

(married. housewife} .

1. noderotoly 2. listen to. instrumental

3. nonulnr. modern. swing; orchestra. chamber
sneonble. bond. solo.

4. nedrigol. opera. scored. folk-songs. secular;
choral. smsll onscntlo. 3010.

5. equally as 6. art mend aromatics

7. 42 hrs.; hate Smith Hour. major house

9. such and Uruinrer 11. use not 12. growing

13 although my musical activity was limited. I
feel that what musical education I did have
was well worth my time and effort.

Case 116

Quostioneireiresults
Imsrried. truck driver)

1. concretely 2. listen to. instrumental
3. papulcr. modern: orchoetrs. solo
4. none 5. less 6. painting

7. 6 hrs. no choice 11. was not 12. static
13. I should have taken more interest; 1 wish
now i had continued violin study as that

is my favorite instrument.

Case 117

Questionsire results '

toinglo. office worker. 1 yr. adv. ed. ~commer-

cieli

1. deeply ' 2. liston to. vocal

2. modern. classical. nonulsr. swing: solo.
chamber ensemble. orchestra. band.

4. secular. folk-songs. modrigsl. sacred. Opera:
solo. small ensemble. choral.

7. 10 hrs. 8. 3 programs; lensing Symphony.
College concert -

9. Victor Herbert 11. was not 12. growing

I".

Case'llB

Questionoiro results
(married. 1 child. mechanical engineer. 4 yrs. of
adv. so. in enrineoringi .
1. moderately 2. listen to. instrumental

'1'

.. modern. popular. classical. sting: orchestra.

Case 119

121;

chamber eneemlle, lsnfl. solo.
folk-songs. secular, madrigal, sacred, Opera:
3010, small ensemble, choral.
equally as 6. drama
news broadcasts. historical plays, Fred Earring
Victor Herbert and irving Berlin
was not ' 12. static
valuable to students with proper backrround
and temperment only ~- should he elective at
all times , even in Junior High SOKOOI.

Questionaire results

(single. social worker. adv. ed. - 4 yrs. of
Liberal Arts)

1.

'2.
0/.

4.
5.

7.
8.
11.

12.

Case 120

moderately 2. listen to, instrumental

modern, classical: orchestra. chamber on-
801313]...

folk-songs. opera; solo. small ensemble.

more 5. history of art~

6 hrs.; fl.Y. Philharmonic. ford Sunday Evening
Hour. Jack Benny. Chase and Senborn‘fiour.

6 programs; Lily Pens, Philadelphia nymphony

was not 12. growing

i believe there should be a greater effort
made to interest those who are not partie-
ulerly talented throurh courses in music
appreciation. history of music, study of
Operatic works-- my high school course was
oinslsrly luskins in any of these studies.

Questioneire results 1 -
isinsle, Consumer Bower. 23 yrs. adv. ed. Applied

Science)
1. moderately 2. listen to. instrumental
3. modern: orchestra
4. folk~sonss. small ensemrle. 5. more
7. Information Please
9. Victor Herbert. Sense 11. was not
12. growing

Case 121

Questionsire results

125

(absolutely no interest in music whatsoever)

Case 122

Questionaire results
(single, clerk-Olds notor torts)

1.

Case 123

moderately 2. listen to. instrumental

modern. popular. classical, swing: orchestra,
bend. chamber ensemble. solo.

secular. msdrissl. folk-songs. sacred. opera:
small ensemble. solo. choral.

equally so

15 hrs.; lucky Strike Program. plays. sports
was not 12. static

that it helps me in spnrccistion of all music

despite my lack of musical talent.
church singing

Questionaire results
(married, 2 children. housewife)

1.

.‘b
M C
4.

b.
7.

11.
13.

Case 124

moderately 2. listen to. instrumental

popular. suing. classical. modern: orchestra.
bond. chamber ensemble. solo

secular. scored. madrigsl. folk-songs. Opera:
8010. choral. smell ensemble

equally as 6. photography. painting

35 hrs. ; Kate Smith. Lox Theater. hschlor's
children

was not 12. growing

I don't believe its been of much value.

Questionsire Results
(married. Olds motor works:
1. moderately 2. listen to. instrumental

5.
4.

5.
9.
13.

swing. pcpulsr. modern. classical: orchestra.
bend. chamber ensemble. solo

secular. opera. folk-songs. ssdrigsl. sacred:
solo. choral. smell ensemble.

less than 7. 12 hrs. ; Hit Parade

irving neriin. Duke Ellington

no value to me now.

Case 12

126

5

Questionaire results .
(married. housewife, 4 hrs. adv. ed. - history)

1.
5.

4.

5.
7.

9.

11.
13.

Case 126

scarcely 2. listen to, vocal

classical. popular. modern. suing: orchestra.

band. solo. chamber ensemble

opera. folk-songs. sacred. cadrigsl. secular:
solo. smell ensemble. choral

equally as 6. painting. architecture

25 hrs.; information Please. Ford Sunday
Evening Hour. Jack bunny

Strauss and Chopin lC. vocal lessons

was not 12. growing

practically no value at all; any appreciation
i have has grown with my subsequent education.

Questionaire results .
{married. 2 children. Olds maker)

1.
2.
4.
5.
7.

11.

Case 127

moderately 2. listen to. instrumental

modern: orchestra,

folk-cones: solo

less than

14 hrs.; major Bowes. Kraft Music Hall. Gulf
Theater

was 12. declining

Questioneire results .
tsinpls. student. 7 yrs. adv. ed. - mathematics)

1.
3‘0
4.
5.
7.
B.
5.

deeply 2. listen to. instrumental
classical. swing: orchestra. chamber ensemble
folk—songs. opera: snlo. choral

less then. 6. painting. dramatics

HcYc Symphony

2 progreme; Ford Sunday Evening Hour

ChOpin. Beethoven 10. use 12. Erowing

13. it might have influenced L6 but 1 doubt that

Case 128

it added anything to my culture.

Questionsire results P
Icingle. Personnel Dept. - Fisher Body. c yrs.

127

of adv. ed. - business college)

1. moderately 2. listen to, instrumental

3. classical, modern. porular:

4. opera. secular: smell ensentle.

5. more than 6. oil painting

7. 10 hrs.; Metronoliton Unere. Lox Theater. ford

Sunday Evening Hour.

9. 6 programs: college bend concerts

11. “'58 act 12. FTOWiIlF

13. increased over whet it we: while in high school.

Case 129

Quostionoire results
(single, Machinist)
1. moderately 2. listen to. instrumental
3. swing: orchestra, eolo
7. 5 hrs.; Pepsodent Proprsm. Jello Program
9. Cole rorter, Boagy Carmichael

Case 13

Questioneire results

{merried, housewife)

1. moderately 2. perform, instrumental

3. porulsr. classical, modern. swing: orches-
tra. band. solo. cheater ensemble

4. sacred. folk-conga. madriael. eeoular. Opera:
choral, smell ensemble. 3010

5. equally as 6. Literature, Irena

7. 60 hrs.; Indy Esther Serenade. Jello Program,
In: Theater ~

8. 8 programs; Lutheran Chorus of Sheboypnn,
Henry buses and Orchestra. Vincent Lopez
and Orchestra

9. Wayne Zing, Chopin

10. church choir

11. was 12. static

13. of no benefit to no as i took no music in High
Echool. before entering hiph school. 1 took
5 years of piano lessons and I enjoy playing
for my own amusement.

Case 131

Questioneire results
(single. butcher) '
1. moderately 2. instrunentel

128

5. papular. sting, modern. classical: orchestra.
band, solo. chatter enssttle

4. madrigal, secular. folk-sonre. scored: solo,
choral. smell ensemtle

6. equally as 7. 2 hrs.
9. Duke Ellington, sddie Howard
11. was not 12. static

13. no value as i never cared or tried to under-
stand music.

Case 152

Quostionaire results
teinple, textile designer. 5 yrs. adv. ed. -
textile design. Home economics)
1. moderately 2. listen to. instrumental
.. penular, modern: orchestra
4. msdrigal. folk-songs, Opera: choral. solo
5. equally as 6. design, painting, sculpturing
7. 7 hrs.; cheaterfield Hour. Dick GeurFens,
Ford Sunday Evening Hour
6. 1 program; Cities Service Program
9. no favorites
11. was not 12. growing
12. although i did not take music in school. 1
had 5 years of piano before entering High
School. it has taught me to understand and
aprreciste classical music, although 1 pre-
fer something lighter to relax and enjoy. it
trosdons one’s educational viewpoint.

Questionaire results
tabeolutely no interest in music whatsoever)

Case 134

Questionaire results
(single, Treasurer at Clark 00., 4 yrs. adv. ed.
-- history and Political Science!

1. scarcely 2. listen to. instrumental

2. nepular, modern, classical. swing: orchestra.
band, solo, chemter ensemble

4. Secular. folk~songe, madripcl, opera, sacred:
choral, 6010, small ensemble

5. less than I. 24 hrs.; Lux Theater

129

11. was not 12. static

13. of no great value. if I may suggest a course
which gives one an idea of various kinds of
music and stories of Operas and the like would
be appreciated by those who wish to listen to
music rather than actually participate in it.

Case 125

Queetionaire results
1. moderately 2. listen to, instrunental
3. uodcrn: orchestra. solo
4..madrigal: sole
5. equally as 6. rrintinp. photography
7. 6 hrs.; Lux Theater 11. was not
)2. growing

Case 126

Questionaire results

(married. stenographer)

l. moderately 2. perform instrumental

3. rcpular. modern, swing. classical: orches-
tra, bend. chamber ensemble. solo.

4. secular. folkosongs. Ludrigal, sacred. opera:
solo. small ensemble. choral.

5. equally as 7. 15 hrs. 11. was 12. static

Case 13

Questionaire results
(single, printer) .
l. scarcely 2. listen to, instrumental
3. modern. rerular: tend. orchestra
4. folk-songs 5. less than
9. Stephen Foster. Johann Strauss
11. use not 12. static

Case 138

Queetionaire results ,
(married, Eockkeerer, dds. 0. Hacker Co.)
1. moderately a. listen to. vocal
2. popular: orchestra, tend
4. sacred. folk-songs. secular. madriral, Opera:
smell ensemble.
5. equally as

.130

70 35 11180; $83119 King
9. no snecial composer
11. was not 12. static
12. as I only took the required music course in
Junior high school, I cannot answer this.

Case 129

Questioneire results
(single. furrier)
l. moderately 2. listen to. instrumental
3. classical. popular. modern, suing: band,
solo, chamber ensemble
4. secular, folk-songs, overs, medripel. sacred:
solo, small ensemtle, choral
5. less than
7. 18 hrs.; Jack Eenny, R.Y. Philharmonic
9. Tchiekcusky, Zreislen
11. was not 12. growing
12. taught me to appreciate symrnonic music as
I took violin lessons.

Case 140

Questioneire results
(single, Bookkeeper)
l. moderately 2. listen to, instrunentsl
3. modern, pepulsr, classical, swing: orchestra,
bend,'chnnber ensemble. solo
4. secular, sacred, folk-songs, overs, madrigel:
choral, solo, snail ensemble
5. equally as
7. 15 hrs.; Lox Theater, Zete Smith Hour
6. 3 programs; Lansing Symphony. Mrs. Fields -
Bertiet
10. church choir 11. was not 12. growing
12. since leaving school i have learned to appre-
ciate music more than during my school days
so i do not believe it is due to my music
taught in school.

0388 141

Questioneire results
(married, housewife, 1 yr. sdv. ed. - Business
College)
1. moderately 2. listen to. instrumental
3. classical, nodern,-p0pular. swine: orchestra,

10.
13.

14.

Case 142

131

band, cheater ensemble, solo

folk-cones. opera, secular, msdrigsl, sacred:
smell ensemble, choral, solo

equally as

2 hrs.; Ford Sunday evening Hour, Jetrorolitan
Opera

5 programs; Fritz Kreisler, "The Messiah",
Efrem Zimbalist

Stephen foster, Verdi, Wagner

church choir 11. was not 12. static

my musical interest crew from an acquaintance-
ship with a girl who was very interested in
music rather than from any erperience which I
might have had in school.

Church Choir for enjoyment. mediocre performance
using sacred music; practised 3 hrs. weekly.

Questionaire results
(married, 1 child, houseuife)

1.
fit
me

4.
7.
9.
14.

Case 143

moderately 2. listen to. voosl & instrumental

modern, popular, classical, swing: orchestra,
solo, band, chamber ensemble

folk-songs, sacred, secular, madrigel, Opera:

50 hrs.; Kory Harlin, Major Bones, Southern Airs

Stephan Foster 11. was 12. static

Church Choir for enjoyment, poor standards and
using standard sacred music.

Questioneire results '
(single, art student, 6% yrs. of adv. ed. in Lib-
Eral Arts. Fine Arts)

1.
'3'.
U.

4.

b.
7.
B.

9.
11.

14.

deeply 2. interested in toth

no choice

sacred, opera. msdrisul, folk-songs, secular:
choral

less than c. paintinn, sculpture, architecture

1C hrs.; E.C.A. Victor records, Either McGee

20 proFrsns; Yehudc ficnuhin, the Ballet Eusee,
isrsten Flssstnd, ictc Urchcstrs

rectnoven, finch, Brshns

use not _ 2.;rowins

it did not $133 a lsrre part in s; exterience.

first Church Choir in Oberlin for 4 hrs. weekly

ith good stundards using sacred and choral

music.

132

Musical Union in chrlin for the purpose
of giving 2 concerts 3 year; 1 hr. 3
week in rehearsals; gave the "messiah"
and the Brahm's "Requiem". A very good
standard of performance was required.

Lenten services at the Second Presbyterian
Church, Philadelphia, Pa.; Zhrs. weekly
during Ienten season; average standards
of performance on Lenten choral music .

Church choir participation at the north
Presbyterian Church at lensinp, Hich.;
2 hours weekly, using average sacred
octave music; a medium standard of per-
formance required.

133

Biéiography

Clarke, Eric, Music in Ever da Life, Norton and Company,
New Tori, 1§§%.

Davison, Archibald T., music Education in America, Harper
and Brothers, New ork, 92 .

Earhart, Will, The Heanin and Teaching of Mu ic, Witmark
and Sons, New Ior , 9 .

 
  

    

Kwalwasser, Jacob, Problems in Public Schoo ’u is, Whit-
mark an Sons, New Yor , 1932.

Kwalwasser, Jacob, Tests and Beasurements in Music, Bir-
chard and aompany, Boston,1927.

Lavignao, Albert, Musical Education, Appleton and Com—
pany, New Iork, 1952.

Murgell, James L., Human Values in husic Education,
Silver, fiurdett, and Company, New York,

1934.
iureell, James L., Principles of Music Education, Mac-
millan Company, New Yor , .

Surette, Thomas W,, Music and Lige, Houghton Mifflin
Company, New York, 1917.

Zanzig, Augustus D., Music in American Life, Present and
Future, aiford University Press, London,
1 2'

283 6/00
853

53*:
9 an ;i.

 

 

MALAWI "1W! Ml“! WET