음악교육 개선을 위한 세가지 시도 : Yale Seminar, Tanglewood Symposium, Rockefeller Panel을 중심으로 = Three Attempts for the Improvement in Music Education: The Yale Seminar, The Tanglewood Symposium, and The Rockefeller Panel
저자
안미자 (음악대학 종교음악과)
발행기관
학술지명
권호사항
발행연도
1986
작성언어
Korean
KDC
051
자료형태
학술저널
수록면
111-130(20쪽)
제공처
소장기관
The place of music in the public school curriculum has been a topic for discussion both within and outside of music education profession in America. The Music Educators National Conference(MENC), the federal government, as well as several cooperations and foundations have expended considerable time and fund for the purpose of bringing people together to discuss of music and its many ramifications for individuals, schools, and U.S. society in the 1960s and 1970s. This study was undertaken to examine a trend to contemporary music education from the three major meetings held in America during the past twenty-five years: The Yale Seminar(1963), The Tanglewood Symposium(1967), and The Rocketfeller Panel(1977).
Three of these meetings seem to have been of particular significance in terms of their impact on music education. These meetings have included people from outside the music education profession who have provided new perspectives on the teaching of music in the U.S. schools.
This inclination for meeting together was part of the music education scene almost a century and a half ago, even predating the establishment of the first public school music instruction in the U.S. Since the formation of the MENC(1907), there have been regular meetings of music educators at the national, regional, and state levels through the years seeking to improve their profession.
The launching of the Sputnik satellite by the Soviet Union in 1957 inaugurated a new era in U.S. education. Complacency about the state of the public schools was replaced by alarm at the Russian's apparent technological superiority over the United States. The necessity of improving education became not only to enhance the standard of living but also to struggle for nation's existence.
The impetus for the Yale Seminar on music education came from the Panel on Research and Development of the Office and Technology. Palisca, the chairman of the Seminar reported that the curriculum revision in science and mathematic must be extended to the art. The Yale Seminar sought to reform the U.S. music education profession by making available to music educators the expertise of scholars and performers. The recommendations of the Seminar included specific strategies and materials for use in the schools to develop student's musicality so that they are enable to enjoy music at their own level of competence, the same experience as the professional musician. These ideas have been widely adapted in the activities taking place in public school program. Yale Seminar was germinal to the Juilliard Reprteory Project and new curricular such as the methods of Dalcroze, Kodaly, Oriff, and Suzuki have been accepted in many schools to place musicality at the heart of the music program.
The Tanglewood Symposium was convended by the MENC in the turbulent atmosphere of America in the late 1960s. The participants are the representatives from the various fields. The topic of the Symposium was to explore the role of music in American society. They discussed the influence of music and the ways in which it helped people to understand their own identity. The music educators in the Symposium produced many pages of philosophical statements as well as specific strategies for teaching music in the school and community.
Music education could become a long-term activity beyond the public school level to be prepared for the future conditions. Creativity of the individual student was emphasized in the Symposium. The teacher should stimulate and encourage creativity. It should be stressed in pre-service and in-service teacher preparation.
Elementary school student's musical experience must emphasize the structure of music through the skills of singing, playing, listening, moving, and creating. Junior and senior contemporary music and the music of other cultures. Community resources were to be exploited far more thoroughly than in the past.
In the view of the Tanglewood Symposium, music had an important role to play in American society. It deserved a place in the core of the school curriculum. MENC realized its responsibilities to the unique function of music education and to prepare publications that clarify the new objectives to assist music educators and others to evolve effective music programs.
The Rocketfeller Panel, chaired by David Rocketfeller, Jr., was sponsored by the U.S. Office of Education plus fourteen other foundations and cooperations, mainly the J.D.R. 3rd fund. It released a report entitled Coming to Our Senses: The Significance of the Arts for American Education. This Panel was not concerned strictly with music. The report indicates all the arts such as film, dance, creative writings, etc.
The participants viewed the art as a means of making people more sensitive. Arts awakens all the senses-the learning pores. Fifteen recommendations were released. They were based on the principles that arts must be a basic component of the curriculum and the fundamental goals of American education can be realized only when the arts became central to the individuals learning experience.
Although each of the three reports advocates its own philosophy and methods of music education, all three state that adequate time in the school schedule is necessary for effective program. Each report included statements regarding the need for further research in music education and the development of channels for dissemination of results to educators.
In order to provide the best possible musical experiences for students, one must be aware of developments in the music education field. Through discussions and reports such as the three previously described, music educators are better able to evaluate the state of the profession and to meet the needs of contemporary society.
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