A National Survey of College Level Percussion Teachers Regarding the Importance of Certain Characteristics of Percussion Materials in Beginning

Instrumental Methods

Ronald George Horner

Research Project submitted to the College of Creative Arts at West Virginia University

in partial fulfillment of the requirements for the degree of

Doctor of Musical Arts in Performance

Division of Music

Paschal Yao Younge, Ed.D., Chair Molly A. Weaver, Ph.D., Research Advisor

Mary T. Ferer, Ph.D. Ernest R. Goeres, Ph.D

Dan C. Armstrong, M.M.

Division of Music

Morgantown, West Virginia 2005

ABSTRACT

A National Survey of College Level Percussion Teachers Regarding the Importance of Certain Characteristics of Percussion Materials in Beginning Instrumental Methods

Ronald George Horner

Teaching percussion instruments in elementary school settings presents unique challenges. Development of reading skills, musicality, technique, and listening skills are often cited as concerns. Materials selected by educators can facilitate or encumber the process. This study examined the characteristics of beginning methods materials from the perspective of college level percussion teachers. 269 teachers participated in a researcher-developed survey as a representative cross-section of institutions of higher learning including community colleges, baccalaureate institutions, and institutions with graduate programs. Results were analyzed from frequency distributions and manually generated stem-and-leaf plots. The survey examined respondent background and teaching experience, institutional information, and professional information. Also, respondents rated the importance of certain characteristics of beginning percussion methods materials. Respondents displayed a clear preference for materials that included many instruments from the percussion family. They indicated that method books should promote musicality. Most cited development of student technique as an important factor. A majority expressed support for materials to develop ensemble playing skills. Many favored inclusion of traditional percussion fundamentals, including the rudiments of drumming. Roll concept was contemplated. Layout and appearance were considered, and liberal use of illustrations was recommended.

Participants indicated personal preferences with recommendations of specific titles. A discernible preference for percussion method books that have served generations of teachers was evident. Newer materials that have been accepted by many instructors also were recommended. Contributions of selected authors were acknowledged for their importance in percussion education. Survey items probed teacher attitudes toward multicultural components, technology, and assessment devices. While some preferences for these features were expressed, many respondents were ambivalent or openly opposed to their inclusion. It is possible that the traditional percussion training many members of the survey respondent group received influenced their responses.

The ideal beginning percussion method book as described by the survey respondent group appears to have much in common with materials traditionally used over the past fifty years. There is an acknowledgement of the need for a new approach, but this study indicates that while college level percussion teachers make such an acknowledgement, they wish to retain the proven methods of the past.

Acknowledgements

I would like to acknowledge the guidance, encouragement, and support of my Research

Advisor, Dr. Molly Weaver. Dr. Weaver worked closely with me over a two-year period to

bring this document from idea to finished product. Her knowledge and expertise in the area of

educational research and willingness to assume the responsibilities of Research Advisor

facilitated the completion of this document.

I am grateful to Dr. Mary Ferer for her suggestions regarding the content and format of

the document. Her membership on my doctoral committee through many years is greatly

appreciated.

Thanks to Dr. Ernest Goeres for his ideas about the direction of the project, and

procedures for its realization. His knowledge of research techniques proved invaluable.

Thanks to Dr. Paschal Younge for assuming leadership of my committee after the

departure of Dr. Tim Peterman.

My gratitude is also extended to Professor Dan Armstrong of Pennsylvania State

University who joined the committee after the departure of Professor Adam Mason.

I would also like to acknowledge the support of Dr. Tim Peterman for his continued

encouragement and interest. His enthusiasm for the project did not waver, and I appreciate the

motivation he provided.

I offer my appreciation to the college percussion teachers who participated in this study.

Their involvement made the survey possible.

I express my most grateful appreciation to Alison Welborne. Her typing and computer

skills turned my ideas into tangible material, and her patience and support never wavered.

Additionally, I would be remiss if I did not offer my special thanks to Theresa Skidmore for her

many contributions to this project.

To all those who have in any way assisted in the process that has brought me here, I offer

my thanks.

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CONTENTS

ACKNOWLEDGEMENTS . . . . . . . . iii

Chapter

1. INTRODUCTION . . . . . . . . 1

PURPOSE OF THE STUDY . . . . . . 2

STATEMENT OF RESEARCH QUESTIONS . . . . 2

NEED FOR THE STUDY . . . . . . . 3

ASSUMPTIONS OF THE STUDY . . . . . 4

DELIMITATIONS OF THE STUDY . . . . . 4

DEFINITION OF TERMS . . . . . . 4

HYPOTHESIS OF THE STUDY . . . . . . 5

2. REVIEW OF RELATED LITERATURE . . . . . 6 Introduction Early Pedagogical Initiatives Disparate Approaches Comprehensive Percussion Pedagogy Summary

3. METHODOLOGY . . . . . . . 17

PROCEDURES . . . . . . . . 17

4. DATA ANALYSIS . . . . . . . 18

PRESENTATION OF DATA . . . . . . 18 Demographic Information Institutional Information Professional Information Beginning Percussion Methods Materials Characteristics Comments

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5. DISCUSSION AND CONCLUSIONS . . . . . 51 Introduction Content Format Philosophy

SUMMARY . . . . . . . . 56

RECOMMENDATIONS FOR FURTHER STUDY . . . 57

APPENDICES . . . . . . . . 58 Pilot Cover Letter Survey Cover Letter Followup Letter Survey Document

BIBLIOGRAPHY . . . . . . . . 66

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TABLES Table Page 1. Respondent gender . . . . . . . 18 2. Respondent ethnicity . . . . . . . 18 3. Respondent age . . . . . . 19 4. Institution type . . . . . . 19 5. Institution accreditation. . . . . . . 20 6. Undergraduate music majors . . . . . . 21 7. Undergraduate percussion principals . . . . . 21 8. Graduate music majors . . . . . . 22 9. Graduate percussion principals . . . . . 22 10. Respondent earned degrees . . . . . . 23 11. Respondent employment status . . . . . 23 12. Respondent academic rank . . . . . . 24 13. Respondent tenure status . . . . . . 24 14. Respondent principal instrument . . . . . 24 15. Respondent teaching experience . . . . . 25 16. Private teaching experience . . . . . . 26 17. K-12 teaching experience . . . . . . 26 18. Postsecondary teaching experience . . . . . 27 19. Percussion pedagogy class teaching experience . . . 27 20. Materials used in percussion pedagogy class . . . . 28 21. Respondent experience directing percussion ensemble . . 28 22. Type of percussion ensemble(s) directed . . . . 29 23. Respondent experience teaching beginning percussionists . . 29 24. Recommended beginning materials . . . . . 30 25 – 40. Importance of Percussion Methods Materials Characteristics . 31

41. Comments . . . . . . . . 38

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CHAPTER 1

Introduction

Teachers in all academic disciplines use certain materials in the interest of student

development. In elementary school instrumental music instruction, beginning methods materials

are the foundation upon which a student’s musical knowledge and skills are based. The teacher

of percussion must use materials that facilitate student development.

As evidenced by such measures as test scores and audition results, percussion students

frequently perform at a level below that of other instrumentalists with comparable amounts of

training. This has been a topic of concern for many teachers and directors. What role do

educational materials (i.e., method books, video, and audio materials) used by music teachers

and directors play in percussion student development? Can the content of these materials be

modified to improve the educational experience for students? Will the modification of the

materials facilitate the process of teaching percussion?

This study examined the content of instructional materials from the teacher’s perspective.

By collecting information from teachers of percussion, it was hoped that answers to the

aforementioned questions would be discovered. To identify the methods materials

characteristics that may be most important in addressing the needs of beginning percussionists,

professional percussion educators were surveyed to solicit their opinions.

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Purpose of the Study

The purpose of this study is to survey college level percussion teachers regarding the

importance of certain characteristics of percussion materials in beginning instrumental methods.

Statement of Research Questions

1. According to college level percussion teachers, what is the relative importance of materials that address many instruments of the family (e.g., snare drum, bass drum, glockenspiel, tom-toms, triangle, wood block, cymbals, suspended cymbal, maracas, tambourine, claves, sleigh bells)? 2. According to college level percussion teachers, what is the relative importance of text descriptions of instrument set-up and section/ensemble set-up? 3. According to college level percussion teachers, what is the relative importance of illustrations and/or photographs addressing instrument set-ups, hand positions, playing positions, instrument techniques, and section/ensemble set-ups? 4. According to college level percussion teachers, what is the relative importance of materials to develop students’ technical facility (e.g., sticking exercises, velocity studies, roll development exercises, rhythmic reading studies, melodic reading studies, grace note exercises, rebound control studies, accent patterns)? 5. According to college level percussion teachers, what is the relative importance of the snare drum roll as a specific, audible rhythm (traditional rudimental approach)? 6. According to college level percussion teachers, what is the relative importance of the snare drum roll as a sustained sound? 7. According to college level percussion teachers, what is the relative importance of rudiments? 8. According to college level percussion teachers, what is the relative importance of materials to develop students’ musical knowledge and skills (e.g., phrasing, nuance, interpretation, melodic contour, tone production, rhythmic accuracy, articulation, balance, tone quality, dynamic control, shaping)? 9. According to college level percussion teachers, what is the relative importance of an approach to material that enables students to replicate their “in school” experience during home practice (e.g., has recorded models and play-along backgrounds)? 10. According to college level percussion teachers, what is the relative importance of materials for solo performance?

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11. According to college level percussion teachers, what is the relative importance of materials for performance with others on like and different percussion instruments (e.g., duets, trios, rounds, ensembles)? 12. According to college level percussion teachers, what is the relative importance of multicultural materials? 13. According to college level percussion teachers, what is the relative importance of music theory materials? 14. According to college level percussion teachers, what is the relative importance of instructional support technology (e.g., MIDI, CD, MP3, video, DVD)? 15. According to college level percussion teachers, what is the relative importance of a system for teacher assessment of students? 16. According to college level percussion teachers, what is the relative importance of a system for student self-assessment? 17. What relevant themes emerged when respondents were asked for their comments overall at the end of the survey? Need for the Study As evidenced by the Review of Related Literature, a large selection of materials currently

available for elementary percussion instruction seems to encourage teaching approaches that are

inconsistent and not comprehensive. Problems with method books are often further compounded

by the necessity of addressing instrumental music education in group settings. These groups

often range in size from two students to eight or more.

Owing to the desirability of having all students in the group musically engaged

throughout the lesson, many elementary instrumental music teachers utilize “band method”

books. These materials provide opportunities to involve all students throughout the lesson in

homogeneous or heterogeneous group settings.

Band method books provide many instructional opportunities for teachers who instruct

large numbers of instrumental music students and who are expected to present one or more

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public performances during the school year. These methods provide materials for teaching

fundamentals as well as performance skills. Teachers are able to address both from a single

source in a manner that provides students with a sense of accomplishment and pleases school

administrators and community members who have public performance expectations.

Assumptions of the Study 1. Instrumental music teachers are obligated to provide opportunities for beginning percussion students to develop skills on all western percussion instruments. 2. The absence of a successful comprehensive approach to teaching elementary percussion frequently leads to technical and/or musical problems that can hinder student development. 3. Any percussion ensemble literature utilized in percussion lesson groups should provide for the meaningful involvement of all members of the group. Delimitations of the Study

1. This study was delimited to those percussion instruments commonly found in western (US and Europe) concert band, wind band, and symphonic orchestra settings at a beginning level of difficulty including (but not limited to) snare drum, bass drum, bells (glockenspiel), tom-toms, triangle, wood block, cymbals, suspended cymbal, maracas, tambourine, claves, and sleigh bells. 2. This study was delimited to percussion students during their first year of instruction. Definition of Terms

1. beginning instrumental methods materials: Materials that can be used for comprehensive instrumental instruction, including western percussion, in K-12 group settings. 2. comprehensive teaching: An integrated pedagogical approach that incorporates the entire family of western percussion instruments (as appropriate for beginning level band performance – see western percussion), music theory, music history, technical development, and musical development. 3. western percussion: Those percussion instruments commonly found in western (US and Europe) concert band, wind band, and symphonic orchestra settings at a beginning level of difficulty. This includes (but is not limited to) snare drum, bass drum, bells (glockenspiel), tom-toms, triangle, wood block, cymbals, suspended cymbal, maracas, tambourine, claves, and sleigh bells.

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4. K-12 group settings: Small groups - either homogeneous or heterogeneous - at approximately the same age, level of musical and technical development, and grade level (fourth, fifth, and/or sixth grade depending on school district policy for beginning instrumental music). 5. homogeneous group settings: Grouping like instruments for instruction, (e.g., trumpet class, clarinet class, percussion class). 6. heterogeneous group settings: Grouping different instruments for instruction (e.g., clarinet, tuba, alto saxophone, and percussion in the same lesson group). Hypothesis of the Study

Currently available beginning percussion teaching materials do not optimally facilitate

group educational experiences for students and teachers. College level percussion educators are

considered to be authorities in their discipline. Surveying them for their opinions will provide

insight into features that could improve the quality of early percussion teaching and learning.

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CHAPTER 2

Review of Related Literature

Introduction The quality and content of instructional materials for instrumental music has been a

subject of concern since the practice of public school music lessons began in the early twentieth

century. Previous attempts to examine materials for percussion instruction have been

undertaken. Although some have similarities to the present study, few (if any) have sought the

opinions of respected percussion educators.

Early Pedagogical Initiatives

Some of the earliest attempts to provide instrumental music instruction began in the early

twentieth century. The evolution of these attempts is documented by Cleino (1958) and

Sampson (1967). They trace a progression from extracurricular activities taught by specialist

private teachers through a period during which heterogeneous instruction was considered to be

the norm. (In heterogeneous instruction, different instruments are grouped together, i.e.,

percussion instruments in the same lesson group with brasses and/or woodwinds.) A period of

experimentation with early method books followed, including a type of instruction book known

as a “loose-leaf method.” Method books based upon tetrachords were used for a time. Other

method books were developed for instrumental families (e.g., woodwinds, brasses), unison

playing (any combination of instruments), and, eventually, for homogeneous group instruction.

(In homogeneous instruction, like instruments are grouped together, i.e., a class of exclusively

percussion instruments.)

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As documented in the studies of Cleino (1958), Monty (1986), Preston (1975), and

Sampson (1967), the percussion family has frequently been treated as an afterthought. Part of

the approach taken toward percussion has been a question of what to do with the percussionists

as the rest of the instrumental ensemble performs. As identical instrument classes became the

norm, what was deemed to be worthy of study for percussion became a problem of greater

significance than how to include the percussion family in group instructional materials.

As evidenced in a study by Cleino (1958), the importance of the standard twenty-six

American drum rudiments1 (as assessed by method book authors through the years) has created

questions about the content and pedagogical approach of school group percussion books. Works

by Monty (1986) and Preston (1975) indicate that content is further complicated by the practice

of presenting separate books for each instrument of the family (snare drum, bells, marimba,

timpani, drum set).

Disparate Approaches

As instrumental music instruction became commonplace in public schools, the approach

to teaching percussion instruments was far from standardized. It seemed that each method book

author or graduate researcher had a unique solution to the pedagogical problems confronted by

the percussion teacher.

Cleino (1958) addressed the matter of the content of percussion method books in one of

the earlier studies done in this area. After discussing problems encountered by the teacher in a

group setting, he focused upon the texts themselves:

A third factor limiting the effectiveness of percussion teaching in the schools is the lack of suitable material for class instruction, particularly at elementary school and junior high school levels . . . It is difficult to find materials suitable for class instruction of upper-grade and junior high

1 These twenty-six patterns, developed to improve dexterity and coordination, were initially codified in 1869 by Gardiner A. Strube.

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school students even if the entire group is at the same level of musical advancement.2

In an attempt to provide music educators with a resource for managing their percussion

classes, Cleino developed an “ensemble method” in which students of varying levels of

proficiency could perform compositions together. Although the only instruments of the family

he included were the snare drum and timpani, it was an effort that was ahead of its time. Cleino

described his motivation for this endeavor:

encountering a continual stream of young drummers, quite unable to perform the simplest scores in a musical fashion, yet spending most of their practice time on the rudiments. Their aim seemed not to be that of learning music, but of qualifying for membership in the National Association of Rudimental Drummers!3

Cleino was not alone in the realization that method books for percussion required

improvement or, at the very least, clarification that would allow teachers to make optimal

choices for their students’ development. In the summer of 1960, Masoner catalogued available

instruction books, solos, ensembles, and supplemental materials with annotations and grade

levels (where appropriate). While not specifically attempting to create materials for instructional

use, her work provided guidance to teachers and students. She states:

It is sincerely hoped that this manuscript will help in some small way in the continual growth the percussion instruments have been witnessing in the past few years; and perhaps to bring the art of percussion to the ultimate place in the musical family where it rightfully belongs. It will be through the band directors of the numerous high school bands of our nation that this goal will be reached.4

2 Edward Henry Cleino. “An Ensemble Method for Teaching Percussion Instruments.” (Ed.D. diss., George Peabody College for Teachers, 1958): 50-51. 3 Ibid., 68-69. 4 Elizabeth L. Masoner. Reference Guide on Percussion Publications. Minneapolis, MN: Typist Letter Co., 1960.: ii.

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Sampson (1967) examined method books used for heterogeneous instrumental

instruction. Through use of his own questionnaire, he was able to determine what were

considered to be desirable features of percussion books used in various heterogeneous

instructional series. This study was the first of its kind in that the researcher solicited input from

music teachers themselves.

Results from teacher’s (sic) questionnaires indicated that they preferred the following in beginning books: 1. Single strokes 2. Double strokes 3. Alternating strokes 4. Flams 5. Ruffs 6. 5 stroke roll 7. 7 stroke roll 8. 9 stroke roll 9. Long roll 10. Single paradiddle 11. Parts for bells, xylophone, and chimes (sic) 12. Tympani part 13. Triangle part 14. Bass drum part 15. Cymbal part The above were included as criteria for book evaluation.5

Cleino’s observations regarding the rudimental emphasis found in early heterogeneous

method books are supported by responses to Sampson’s questionnaire. Twice as many

“desirable characteristics” responses focus upon a rudimental approach to snare drum

performance as those that include the remainder of the percussion family.

Comprehensive Percussion Pedagogy

At approximately the same time, percussionists themselves began to express concerns

about the content and quality of percussion education. In a published report, the Committee on

5 Ulysses Thomas Sampson. “An Identification of Deficiencies on Past and Current Method Books for Beginning Heterogeneous Wind-Percussion Class Instrumental Music Instruction.” (D.Mus.Ed. diss., Indiana University, 1967): 68-69.

9

Improving Elementary Percussion Education of the Percussive Arts Society, chaired by Al

Payson (1966), examined the aims of elementary percussion education, the needs of teachers,

and the problems in the field. Although none of their findings dealt specifically with

instructional materials, there was a reflection of the trend away from a rudimentally centered

approach.

“Percussion” instruction in most cases is confined almost entirely to snare drum instruction. There is little awareness of the necessity for “total” percussion instruction: i.e., snare drum, mallet keyboard instruments, timpani, tambourine, triangle, etc. This situation is partly due to a great shortage of mallet keyboard teachers. There is a great need for quality literature and teaching materials at all levels. In particular: solos, ensembles, and concerti of a serious musical nature.6

Charles Spohn (1967) contributed to the awareness of “total” percussion in one of the

first texts to treat the family comprehensively by providing performance and educational

techniques for those instruments commonly found in band and orchestra music of the day. While

he did not confront the status of educational materials directly, he cautioned educators:

teachers must be cognizant of their responsibility to give students a well-rounded music education, a responsibility that can very easily be neglected . . . If students are limited to a single percussion instrument, especially a non-melodic one, and are not encouraged to listen to music and participate on melodic instruments, they will not learn as much.7

He even made suggestions to the teacher with regard to class format.

Percussion instruments are taught in group as well as private classes. Homogeneous classes can be of great advantage to the beginning student. There is even more benefit if all percussion instruments are included in a beginning class. In such a class the student can see, hear, and play several

6 Al Payson et al. “Percussive Arts Society Committee on Improving Elementary Percussion Education – Preliminary Report.” Percussionist 3 (1966): 44-45. 7 Charles L. Spohn. The Percussion. Boston, MA: Allyn and Bacon, 1967: 3.

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different percussion instruments at an early stage of his development. He is immediately made aware that there is more to playing a percussion instrument than beating a drum. However, beginning percussion students often have problems unique to their instruments. In heterogeneous groupings these students do not learn as well . . . Students in heterogeneous groups may be forced into situations that contribute to poor understanding and encourage bad habits.8

Although Spohn made no attempt to suggest worthy method book features, there is no

doubt about his position regarding group instruction. By extension, the reader of his text could

draw negative conclusions about available mixed group teaching materials. If group instruction

was ineffective, materials must bear some of the blame. If effective teaching materials were

utilized, group instruction would enjoy some degree of success. Rees Olson, of the University of

California at Irvine, expressed a similar sentiment with regard to percussion texts.

The percussion parts in beginning method books are not challenging to students of high capability when compared with the much more intricate and varied learnings involved in playing a wind or string instrument on the same level of difficulty. The student’s need for an aesthetically satisfying musical experience is often neglected. These materials do not provide satisfactory opportunities to apply these techniques in a musical ensemble as they are acquired.9

In 1969 the Percussive Arts Society, in a report authored by Schinstine, issued a followup

to their preliminary report of 1966. This report made no specific suggestions with regard to

pedagogical materials, but did state that

We recognize the tremendous improvement in the quality of percussion literature since our first report. We further recognize the need for more quality literature in all areas, but in particular for keyboard percussion instruments and in better basic methods for all percussion instruments.10

8 Ibid., 7-8. 9 Rees G. Olson. “A Beginning Percussion Class.” Instrumentalist 23/2 (September 1968): 88. 10 William J. Schinstine, et al. “Report of the Committee on Improving Elementary Percussion Education of the Percussive Arts Society.” Percussionist 7 (1969): 65-66.

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While there seemed to be a developing consensus as to the generally poor quality of

percussion teaching materials, no one seemed to know how to fix the problem. Galm (1970), at

the University of Colorado, approached the topic in a manner similar to Masoner (1960). He

developed an annotated bibliography in which he examined materials for snare drum, “jazz

drums,” multiple percussion, barraphonic percussion, timpani, and Latin American percussion.

No explanations or rationale for his choices were provided. Galm suggested that he had arranged

the titles in an ascending order of difficulty.

Shortly thereafter, the first attempt to specifically incorporate the entire family into a

unified, comprehensive pedagogical approach was presented. In Teaching Total Percussion,

Mueller (1972) stressed the importance of “training students to play, with equal ability, in the

three major areas of percussion: snare drum, timpani, and the mallet percussion instruments.”11

Without making specific recommendations about lesson book materials, Mueller made

his position clear with regard to lesson format.

One thing for certain is that the total percussion cannot be taught in heterogeneous groupings with other instrumental students. This becomes obvious when you consider teaching the drum set, timpani or snare drum and correlating this instruction with all the other band instruments. The instruction required in percussion is too specialized, and there are not enough similarities with the other band instruments to make this practical.12

In addition, he provided method book suggestions for each major area (including

marching percussion) with brief annotations. He did not describe the criteria by which these

books were chosen.

11 Kenneth A. Mueller. Teaching Total Percussion. West Nyack, NY: Parker Publishing Co., 1972.: 7. 12 Ibid., 28.

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Bauer (1975) confronted the absence of effective teaching materials. He advocated the

development of a method to comprehensively teach the percussion family. His work includes a

comparative survey and analysis of thirty-two method books commonly used for group

percussion instruction. Like Masoner (1960) and Galm (1970), he provided information about

existing materials. Unlike the earlier authors, he also included a rating system to clarify specific

strengths and weaknesses of each text. His conclusions were vague, but cautiously hopeful.

One may conclude that there has been a substantial amount of concern over the state of percussion education in recent years. Many deficiencies of today’s public school percussionists have been pointed out, and much of the blame for them appears to be aimed at the failure of percussion teachers and students to approach percussion instruments musically. A significant number of percussion authorities have offered the total percussion approach as a solution. It remains to be seen what approaches are taken in elementary percussion method books published in the United States in recent years.13

Instead of an analysis of existing materials, Preston (1975) developed what he hoped

would be a solution in the form of a supplement to “the beginning snare drum method often

found in the public schools.”14 He observed that

there does not seem to be a single, complete and comprehensive method book or instruction text for the school percussionist. In practice the teacher is expected to supply his own materials, ideas and instructional methodology on the half-dozen or more percussion instruments, or be content to teach snare drum alone.15

Preston attempted to provide a vehicle for the comprehensive instruction lacking at the

time with his “Flexible Percussion Ensembles.” This supplement, developed by Preston, was

included as part of his doctoral dissertation. It provided students and teachers with arrangements

13 James Richard Bauer. “A Survey and Analysis of Elementary Percussion Method Books Published in the United States from 1958 to 1973.” (M.Ed. thesis, Indiana University of Pennsylvania, 1975): 9. 14 Andrew Conrath Preston. “The Development and Evaluation of Selected Instructional Materials for Teaching Percussion Instruments in the Beginning Band Class.” (Ed.D. diss., University of North Carolina at Greensboro, 1975): 1. 15 Ibid., 5.

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of eleven melodies, three etudes for percussion ensemble, and materials for student evaluation.

The arrangements could be performed with any keyboard percussion instrument (or piano),

various combinations of drums, and common accessory percussion instruments. Like Cleino

(1958), Preston developed a simple but effective approach to homogeneous group instruction

that allowed for meaningful involvement of the entire class. The reasons why this type of

pedagogical approach has not been embraced by elementary music educators remain a mystery.

Perhaps Preston and Cleino were both simply ahead of their time.

Johnson (1977) compared and analyzed twelve beginning heterogeneous wind-percussion

method books. Music educators who looked to his study for guidance in choosing materials

would not find definitive answers. Decisions were left to individual teachers.

It was not the purpose of this study to grade or rate the methods analyzed. Instead, the methods were analyzed as to content and progressive development of materials used.16

Johnson’s survey contributed little to the status of percussion education. His examination

of the twelve method book series looked for a total of seventeen rudiments in each book.

Whether these rudiments would actually be used in students’ band literature was not considered

to be relevant. The introduction of the rudiments themselves was Johnson’s only concern. No

mention was made in this study of any percussion instrument beyond the snare drum.

Dissatisfaction with percussion teaching materials persisted. Monty (1986) presented

analyses of eight popular method books. His study was directed toward non-percussionist band

directors. His ratings of these texts were based on eighteen criteria ranging from illustrations

through ear training. His conclusion regarding the effectiveness of the materials was not an

optimistic one.

16 Gary L. Johnson. “A Comparative Analysis of Selected Heterogeneous Wind-Percussion Beginning Method Books.” (M.A. thesis, Central Missouri State University, 1977): 1.

14

content analysis of the method books revealed that none of them are consistently effective in helping the public school band director who had little knowledge of percussion. Although written by accomplished percussionists, these books do not adequately meet the needs of the non-percussionist band director with his responsibilities of achieving well-balanced band performances.17

As did Cleino (1958) and Preston (1975), Monty offered an original contribution toward

the solution of the pedagogical materials problem. Unlike the earlier authors, Monty did not

advocate an ensemble approach. He did not compose supplemental materials. His method was

to isolate and analyze the task and desired result. He then developed a “lattice structure” (a

series of interconnected boxes similar to a flow chart directing the performer through a sequence

of actions that eventually produce the desired result) for each task to guide teacher and student

through the process. While improved performance was the desired result, his system contributed

a questionable amount to facilitate students’ musical development.

Despite an awareness that a problem existed and some degree of agreement on how to

correct it, the fragmented treatment of public school percussion education continued. An article

by Pimentel seemed to be a refrain in a very familiar song.

Many of today’s students need a comprehensive percussion curriculum. Sure we have trained students to be whizzes on the marimba. But these same students pay terrible educational prices when they “freeze” on the snare drum in grade seven band. They try to hide that they are not as good on the snare drum, and this makes matters even worse. Drumset players seem to reign as king of the snare drum in concert band and be the central member of the jazz ensemble in high school. It is only at the university level or when they start “gigging” that drumset people find they do not have the tools necessary for musical leadership.18

17 Rudy A. Monty. “Percussion Method Books Used in Selected U.S. Public Schools: Analyses and a Supplemental Guide for the Non-Percussionist Band Director.” (Ed.D. diss., New York University, 1986): 49. 18 Linda Pimentel. “Recommendations for the Reorganization of Percussion Instruction.” Percussion Education: A Source Book of Concepts and Information. Urbana, IL: Percussive Arts Society, 1990: 4.

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Summary

Despite the evidence provided by these studies and articles, the quality and content of

pedagogical materials for homogeneous percussion instruction is still debated. As described by

Pimentel in the above referenced article, resistance to the “total percussion” approach advocated

by Mueller over thirty years ago is surprisingly strong. Since some currently popular method

books were written almost eighty years ago, input from percussion experts regarding method

book content is needed. It is hoped that this information will facilitate the development of new

methodology and materials to address the problems faced by contemporary percussion students.

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CHAPTER 3

Methodology

A national survey of college percussion teachers was conducted to determine important

characteristics of percussion components of beginning instrumental methods materials.

Procedures

This study employed a survey that was sent to 1,327 college level percussion teachers

throughout the United States (see appendices 1, 2, 3, and 4). Mailing labels were purchased from

the College Music Society, which publishes a directory listing all college level music faculty

members at institutions in the United States and Canada. Prior to mailing the survey, a pilot

study was conducted to determine the efficacy of the survey instrument. Graduate students and

upper class music major percussion principals from West Virginia University, Indiana University

of Pennsylvania, and Frostburg State University were included in this pilot (n = 26). In addition,

professional percussionists and educators with whom the researcher has regular contact were

invited to participate in the pilot process (n = 10). After analyzing their responses and making

appropriate modifications to the survey document, it was mailed to the target group.

The mailing date for the survey was October 15, 2004, with a response date of November

15, 2004. An appropriate response rate of 30 percent to 50 percent was not realized by

November 15, 2004, so a followup letter and additional copy of the survey was mailed on

November 17, 2004, with a response date of December 3, 2004.

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CHAPTER 4

Data Analysis

After the surveys were returned, the researcher compiled the responses and entered them

into a database. Responses to closed-ended items were analyzed from frequency distributions

and - when necessary - from manually generated stem-and-leaf plots, a technique that was

adapted for this study. Responses to open-ended items were analyzed for emergent themes.

Presentation of Data

The survey portion of this study yielded a response rate of approximately 20% (n = 269/1327). Because this rate was lower than the recognized acceptable minimum response rate of 30%, survey results must be interpreted with caution.

Demographic Information 1. What is your gender? 97.76% of respondents answering n=263/269 Male 89.22% n = 240 Female 8.55% n = 23 DNR 2.23% n = 6 Gender of respondents was predominately male (89.22%).

2. What is your ethnicity? 97.39% of respondents answering n = 262/269 American Indian or Alaskan Native

1.12% n = 3

Black or African American 3.35% n = 9 White, non-Hispanic 85.13% n = 229 Asian or Pacific Islander 1.49% n = 4 Hispanic 0.38% n = 1 Prefer not to answer 5.21% n = 14 DNR 2.61% n = 7

Ethnicity of respondents was predominately White, non-Hispanic (85.13%).

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3. What is your age? 76.57% of respondents answering n = 206/269 18-35 23.42% n = 63 36-50 46.84% n = 126 51-65 23.42% n = 63 66+ 3.35% n = 9 DNR 2.98% n = 8 With regard to age, the highest percentage of respondents was in the 36-50 category

(46.84%), and identical percentages were in the 18-35 and 51-65 categories (23.42%).

Institutional Information

4. At what type of institution do you currently teach percussion? (If you currently teach percussion at more than one postsecondary institution, please answer for the institution you consider to be your primary assignment.) 100% of respondents answering n = 269/269 DR Ext (Doctoral/research university - extensive)

13.39% n = 36

DR Int (Doctoral/research university - intensive)

5.21% n = 14

MA I (Master’s comprehensive college/univ I)

22.68% n = 61

MA II (Master’s comprehensive college/univ II)

3.72% n = 10

BA LA (Baccalaureate college - liberal arts)

28.26% n = 76

BA Gen (Baccalaureate college - general)

9.30% n = 25

BA AA (Baccalaureate/associate’s college)

0.38% n = 1

AA (Associate’s college) 5.95% n = 16 Faith (Theological/faith-related institution)

2.23% n = 6

Med (Medical school/medical center)

0% n = 0

Health (Other separate health profession school)

0% n = 0

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Engr (School of engineering/technology)

0.75% n = 2

Bus (School of business/management)

0% n = 0

Art (School of art/music/design/architecture)

1.49% n = 4

Law (School of law) 0% n = 0 Teach (Teachers college)

0.75% n = 2

Tribal (Tribal colleges) 0.75% n = 2 Other (Other specialized institution)

0.75% n = 2

DNR 4.46% n = 12 Survey respondents are employed at a variety of types of institutions in higher education.

Most notable are those employed at baccalaureate-liberal arts colleges (28.26%). Also notable

are those employed at master’s comprehensive colleges (22.68%) and doctoral research

extensive universities (13.39%). The remaining respondents (31.21%) are employed in one of

several types of institutions as indicated in the table above.

5. Is the primary institution where you teach percussion currently accredited by the National Association of Schools of Music (NASM)? 95.91% of respondents answering n = 258/269 Yes 72.87% n = 196 No 23.05% n = 62 DNR 4.09% n = 11 By a ratio of approximately three to one, 72.87% of respondents identified their

schools as being accredited by the National Association of Schools of Music.

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6. How many undergraduate music majors are enrolled at your primary institution? 85.13% of respondents answering n = 229/269 0 1.48% n = 4 1-100 41.63% n = 112 101-200 17.47% n = 47 201-300 14.49% n = 39 301-400 5.94% n = 16 401-500 1.48% n = 4 501+ 2.60% n = 7 DNR 14.86% n = 40 The largest segment of respondents to this item fell into the 1-100 category (41.63%).

Other notable categories of undergraduate populations were the segments 101-200 (17.47%) and

201-300 (14.49%).

7. Of these undergraduate music majors, how many study percussion as their principal instrument? 89.59% of respondents answering n = 241/269 0 5.06% n = 15 1-5 25.33% n = 75 6-10 18.58% n = 55 11-15 11.82% n = 35 16-20 7.09% n = 21 21-25 7.09% n = 21 26+ 6.41% n = 19 DNR 9.45% n = 28 The most prevalent range of undergraduate music majors studying percussion was 1-5

(25.33%). Other ranges of note were those of 6-10 students (18.58%) and 11-15 students

(11.82%).

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8. How many graduate music majors are enrolled at your primary institution?

82.89% of respondents answering n = 223/269 0 38.66% n = 104 1-10 19.70% n = 53 11-20 7.06% n = 19 21-30 2.60% n = 7 31-40 2.60% n = 7 41-50 2.23% n = 6 51+ 10.03% n = 27 DNR 17.10% n = 46 The largest single group of respondents to this item indicated that they had no

graduate music majors (38.66%). Those institutions with between 1-10 (19.70%), 11-20

(7.06%), and 51+ (10.03%) combined for a slightly smaller percentage (36.79%). The

remaining respondents (7.45%) had numbers as outlined in the table above.

9. Of these graduate music majors, how many study percussion as their principal instrument? 84.75% of respondents answering n = 228/269 0 56.50% n = 152 1-5 26.02% n = 70 6-10 2.23% n = 6 11+ 0.00% n = 0 DNR 15.24% n = 41 A majority of schools represented in this study have no graduate students with

percussion as their principal instrument (56.50%). The only other noteworthy category

was those schools having between 1-5 such students (26.02%).

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Professional Information 10. What is your highest earned degree? 97.76% of respondents answering n = 263/269 Bachelor of Arts 4.46% n = 12 Bachelor of Science 0.38% n = 1 Bachelor of Fine Arts 0.75% n = 2 Bachelor of Music 4.46% n = 12 Bachelor of Music Education

3.35% n = 9

Master of Arts 5.58% n = 15 Master of Science 0.75% n = 2 Master of Fine Arts 1.86% n = 5 Master of Music 32.72% n = 88 Master of Music Education 4.46% n = 12 Doctor of Education 1.49% n = 4 Doctor of Philosophy 4.84% n = 13 Doctor of Musical Arts 27.89% n = 75 Performers Certificate 0.38% n = 1 Artist Diploma 0.38% n = 1 Other 4.09% n = 11 DNR 2.23% n = 6 Over half of the respondents report either a master’s or doctorate. A Master of Music was

listed as the highest degree by 32.72%, and 27.89% hold a Doctor of Musical Arts. The

remaining 37.16% of respondents to this item hold a variety of degrees.

11. What is your current employment status as a percussion teacher? 99.62% of respondents answering n = 268/269 Full – time 56.14% n = 151 Part – time 43.50% n = 117 DNR 0.38% n = 1 A majority of respondents (56.14%) are employed full-time as percussion teachers. Part-

time employment status was reported by 43.50 percent.

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12. What is your current academic rank? 97.76% of respondents answering n = 263/269 Lecturer 10.04% n = 27 Instructor 18.59% n = 50 Assistant Professor 23.42% n = 63 Associate Professor 17.10% n = 46 Professor 17.85% n = 48 Other 10.78% n = 29 DNR 2.23% n = 6 Over half of the respondents to item twelve (58.37%) were of either assistant, associate,

or full professor rank.

13. What is your current tenure status? 95.16% of respondents answering n = 256/269 Tenured 30.86% n = 83 Untenured (in tenure track) 24.54% n = 66 Nontenured 39.41% n = 106 Other 0.38% n = 1 DNR 4.84% n = 13

More than half of the respondents (55.40%) to item 13 were tenured or in tenure track.

Non-tenured respondents to item 13 most likely represent the lecturer, instructor, and “other”

categories of respondents to item 12.

14. What do you consider to be your principal instrument at this time? 68.02% of respondents answering n = 183/269 Percussion 29.00% n = 78 Mallet Percussion 16.36% n = 44 Timpani 13.02% n = 35 Drumset 11.53% n = 31 Other 5.58% n = 15 DNR 33.09% n = 89

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More respondents to this item indicated “percussion” than any other instrument

(29.00%). Many teachers identified themselves as mallet percussionists (16.36%). Fewer

selected timpani as a specialty (13.02%), and fewer still described themselves as having a

primary focus on drumset (11.53%). About half that number (5.58%) identified an instrument

grouped here into the “other” category. Those who did not respond to this question formed a

group larger than any of those mentioned above (33.09%).

Possible reasons for the higher percentage of respondents that did not answer this

question are:

(1) Percussion as an “instrument” includes many separate instruments. Since

percussionists are expected to be proficient on all of them, choosing a single instrument

might have been confusing.

(2) The participants might not have understood the relevance of the question and,

therefore, might have failed to respond.

(3) Survey respondents might have thought that this item applied to non-percussionists

and might have chosen not to respond.

15. How long have you taught percussion in any capacity? 89.96% of respondents answering n = 242/269 1-5 years 3.72% n = 10 6-10 years 9.29% n = 25 11-15 years 12.63% n = 34 16-20 years 15.98% n = 43 21-25 years 13.01% n = 35 26-30 years 16.72% n = 45 31-35 years 10.78% n = 29 36+ years 7.80% n = 21 DNR 10.03% n = 27

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A majority of teachers have experience ranging between 11-35 years (69.12%). Those

with between 1-10 years accounted for 13.01%. Thirty-six or more years of teaching experience

was indicated by 7.80 percent of respondents.

16. How long have you taught percussion privately (i.e., not in a K-12 or postsecondary institution?) 87.36% of respondents answering n = 235/269 0 years 3.34% n = 9 1-5 years 6.69% n = 18 6-10 years 10.78% n = 29 11-15 years 12.63% n = 34 16-20 years 14.49% n = 39 21-25 years 11.52% n = 31 26-30 years 13.38% n = 36 31-35 years 10.03% n = 27 36+ years 4.46% n = 12 DNR 12.63% n = 34 More respondents identified themselves as having taught privately for 16-20 years

(14.49%) than any other of the period choices. Those who had private students for 26-30 years

followed closely (13.38%). In third place were teachers with private experience in the 11-15

year range (12.63%), trailed by those having 21-25 years (11.52%). These four groups

constituted the majority of private percussion teachers (52.02%). The remainder (35.35%)

taught privately for the durations outlined in the table above.

17. How long have you taught percussion in a K-12 institution? 82.89% of respondents answering n = 223/269 0 years 40.89% n = 110 1-5 years 19.70% n = 53 6-10 years 11.89% n = 32 11-15 years 4.46% n = 12 16+ years 5.94% n = 16 DNR 17.10% n = 46

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Respondents who indicated they have no experience teaching percussion in a K-12

institution composed 40.89 percent. Those who taught from 1-5 years in this setting accounted

for 19.70%. Teachers with 6-10 years of experience were noteworthy, at 11.89%. The

remainder, with 11 or more years, composed 10.40%.

18. How long have you taught percussion in a postsecondary institution? 88.10% of respondents answering n = 237/269 0 years 3.71% n = 10 1-5 years 15.61% n = 42 6-10 years 17.47% n = 47 11-15 years 18.21% n = 49 16-20 years 9.66% n = 26 21-25 years 10.78% n = 29 26-30 years 7.80% n = 21 31+ years 4.83% n = 13 DNR 11.89% n = 32 A large portion of respondents to this item taught from 11-15 years (18.21%), with those

who taught 6-10 years separated by a narrow margin (17.47%). Those with 1-5 years made up

15.61%, and 10.78% had 21-25 years experience. The remaining 26.04% taught for periods as

outlined above.

19. Do you teach (or have you ever taught) a percussion pedagogy/methods/techniques course intended for pre-service music teachers? 97.39% of respondents answering n = 262/269 Yes 78.44% n = 211 No 18.96% n = 51 DNR 2.61% n = 7

27

A large majority of respondents (78.44%) taught a percussion

pedagogy/methods/techniques course for pre-service music teachers. Almost twenty percent of

respondents had no such experience (18.96%).

20. If “yes” to item 19, which materials do (did) you use? 59.10% of respondents answering n = 159/269 Cook 42.01% n = 113 Personal Resources 41.27% n = 111 Other 21.19% n = 57 Combs 8.55% n = 23 Breithaupt 6.70% n = 18 Siwe 4.09% n = 11 Whaley 3.71% n = 10 DNR 37.92% n = 102

Many pedagogy class teachers (42.01%) used Gary Cook’s Teaching Percussion. A

similar percentage (41.27%) indicated that they used personal resources, including self-generated

materials and handouts. The use of “other” materials was identified by 21.19 percent. These

included method books, texts written by respondents, assorted published percussion pedagogy

texts, and internet resources. No choice of materials was indicated by 37.92 percent.

21. Do you direct (or have you ever directed) any percussion ensembles at your institution(s)? 97.39% of respondents answering n = 262/269 Yes 86.25% n = 232 No 11.16% n = 30 DNR 2.61% n = 7

A substantial majority of respondents (86.25%) directed their school’s percussion

ensemble; a minority (11.16%) did not direct such a group.

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22. If “yes” to item 21, please identify and describe the ensembles. n = x/379 Percussion Ensemble 36.15% n = 137 Marimba/Keyboard/Mallet Ens.

10.56% n = 40

Ethnic Ensemble 8.18% n = 31 Steel Band Ensemble 7.66% n = 29 Marching Ensemble 3.43% n = 13 Other 2.11% n = 8 DNR 31.93% n = 121

The largest segment of respondents who identified themselves as ensemble directors

(36.15%) indicated percussion ensemble as the type of group they directed. Those who

conducted a mallet keyboard or marimba ensemble accounted for 10.56%. Ethnic ensembles,

such as African ensembles, made up 8.18%. Steel bands were reported by 7.66%, and 3.43%

said their groups could best be classified as a marching or marching oriented ensemble. Almost

as large as the group who indicated percussion ensemble was the group who did not respond

(31.93%). It is possible that this segment found the answer to the question to be apparent, and

therefore failed to respond.

23. Do you teach (or have you ever taught) any beginning percussionists at any level? 97.39% of respondents answering n = 262/269 Yes 92.94% n = 250 No 4.46% n = 12 DNR 2.61% n = 7

Almost all respondents (92.94%) indicated that they have had experience teaching

beginning percussionists. A very small percentage (4.46%) had no such experience.

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24. Regardless of your response to item 23, which materials would you recommend for beginning percussionists at any level? In response to this question, respondents recommended materials in one of five

categories: snare drum, keyboard, timpani, drumset, and miscellaneous.

Snare Drum Methods: 318 responses Stone 17.57% n = 55 Reed 8.62% n = 27 Feldstein/Black 8.30% n = 26 Goldenberg 7.34% n = 23 Whaley Fund. 5.11% n = 16 Whaley Prim. 4.15% n = 13 Podemski 3.51% n = 11 Harr I 3.19% n = 10 Other 42.17% n = 132 One snare drum title emerged as the choice of almost twenty percent of respondents.

George Lawrence Stone’s Stick Control was recommended by 17.57 percent of the respondents.

Other responses fell into a number of categories, with the largest being those grouped into the

“other” category (42.17%). These two categories accounted for a majority of responses to this

item (59.74%).

Keyboard Methods: 171 responses Goldenberg 19.29% n = 33 Whaley Fund. 11.69% n = 20 Whaley Prim. 11.11% n = 19 Peters Fund. 11.11% n = 19 Green 50 6.43% n = 11 Other 40.35% n = 69 The keyboard method indicated by the largest block of respondents (19.29%) was Morris

Goldenberg’s Modern School for Xylophone, Marimba, and Vibraphone. The “other” category

contained small numbers of recommendations for a large number of titles (40.35%), with no

clear preferences.

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Timpani Methods: 98 responses Goodman 35.71% n = 35 Peters Fund. 17.34% n = 17 Whaley Fund. 10.20% n = 10 Other 36.73% n = 36 One timpani method proved to be considerably more popular than any other single

choice. Saul Goodman’s Modern Method for Tympani was indicated by 35.71%. No other

single title was recommended as often, but individual titles from the “other” category

collectively amounted to 36.73%.

Drumset Methods: 43 responses Feldstein/Alfred 27.90% n = 12 Other 72.09% n = 31 Only one drumset method was chosen with any consistency. Alfred’s Beginning Drumset

Method was recommended by 27.90%. The remaining responses collectively formed an “other”

category (72.09%).

Miscellaneous: 132 responses “Whaley books” 21.96% n = 29 “Rudiment chart” 12.12% n = 16 “Peters books” 6.81% n = 9 Other 59.09% n = 78 The “miscellaneous” category was composed of materials that did not fit into the

aforementioned categories or could not be clearly identified. Despite the absence of specific

titles, the works of one author were indicated more often than any other. “Whaley books” were

recommended by 21.96% of respondents. No other author’s works were indicated with

regularity. The “other” category accounted for 59.09% of responses.

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Beginning Percussion Methods Materials Characteristics

25. Contains materials that address many instruments of the family (e.g., snare drum, bass drum, glockenspiel, tom-toms, triangle, wood block, cymbals, suspended cymbal, maracas, tambourine, claves, sleigh bells). 96.65% of respondents answering n = 260/269 Not important at all 3.71% n = 10 Not too important 8.18% n = 22 Fairly important 23.42% n = 63 Very important 61.34% n = 165 DNR 3.35% n = 9 Most respondents (84.76%) believed that introduction to many instruments of the

percussion family was important. This quality was deemed “very” important by 61.34 percent,

while 23.42% chose “fairly” important.

26. Contains text descriptions of instrument set-up and section/ensemble set-ups. 96.28% of respondents answering n = 259/269 Not important at all 1.49% n = 4 Not too important 19.71% n = 53 Fairly important 37.92% n = 102 Very important 37.18% n = 100 DNR 3.71% n = 10 Three quarters of respondents said that this feature was important to include in beginning

methods (75.10%). “Very” important was selected by 37.18 percent, and 37.92% said “fairly”

important. This feature was not found to be important by 21.20%.

32

27. Contains illustrations and/or photographs addressing instrument set-ups, hand positions, playing positions, instrument techniques, and section/ensemble set-ups. 96.65% of respondents answering n = 260/269 Not important at all 0.38% n = 1 Not too important 3.35% n = 9 Fairly important 24.54% n = 66 Very important 68.41% n = 184 DNR 3.35% n = 9 Almost all respondents (92.95%) believed set-up illustrations were important. Only

3.73% disagreed.

28. Contains materials to develop students’ technical facility (e.g., sticking exercises, velocity studies, roll development exercises, rhythmic reading studies, melodic reading studies, grace note exercises, rebound control studies, accent patterns). 98.14% of respondents answering n = 264/269 Not important at all 0% n = 0 Not too important 4.09% n = 11 Fairly important 24.17% n = 65 Very important 69.89% n = 188 DNR 1.86% n = 5 A high percentage of respondents (94.06%) said that including materials to develop

technical facility was fairly to very important. These materials were described as “not too”

important by 4.09 percent.

29. Presents the snare drum roll as a specific, audible rhythm (traditional rudimental approach). 97.91% of respondents answering n = 261/269 Not important at all 5.95% n = 16 Not too important 15.62% n = 42 Fairly important 30.48% n = 82 Very important 44.99% n = 121 DNR 2.98% n = 8

33

Three-quarters of those surveyed (75.47%) believed that the traditional rudimental

approach to the snare drum roll should be presented in beginning materials. Disagreement was

indicated by 21.57 percent.

30. Presents the snare drum roll as a sustained sound. 95.91% of respondents answering n = 258/269 Not important at all 1.86% n = 5 Not too important 8.55% n = 23 Fairly important 25.28% n = 68 Very important 60.23% n = 162 DNR 4.09% n = 11 A high percentage of respondents (85.51%) said the roll should be presented as a

sustained sound. This approach was described as “not too important” or “not important at all” by

10.41 percent.

31. Presents rudiments. 97.39% of respondents answering n = 262/269 Not important at all 4.46% n = 12 Not too important 8.18% n = 22 Fairly important 32.72% n = 88 Very important 52.05% n = 140 DNR 2.61% n = 7 84.77 percent of respondents indicated that including rudiments was either “fairly” or

“very” important, with 12.64 percent not in agreement.

34

32. Contains materials to develop students’ musical knowledge and skills (e.g., phrasing, nuance, interpretation, melodic contour, tone production, rhythmic accuracy, articulation, balance, tone quality, dynamic control, shaping). 97.02% of respondents answering n = 261/269 Not important at all 0.38% n = 1 Not too important 7.81% n = 21 Fairly important 32.72% n = 88 Very important 56.14% n = 151 DNR 2.98% n = 8

Development of student’s musicality and proficiency was deemed important by 88.86%

of respondents with 8.19 percent who did not concur.

33. Contains an approach to material that enables students to replicate their “in school” experience during home practice (e.g., has recorded models and play-along backgrounds). 94.05% of respondents answering n = 253/269 Not important at all 1.86% n = 5 Not too important 17.48% n = 47 Fairly important 44.24% n = 119 Very important 30.49% n = 82 DNR 5.95% n = 16 Almost three-quarters of those surveyed (74.73%) indicated that beginning materials

should enable students to replicate their “in school” experience while practicing at home. The

remainder (19.34%) disagreed.

34. Contains materials for solo performance. 98.88% of respondents answering n = 266/269 Not important at all 2.61% n = 7 Not too important 21.57% n = 58 Fairly important 42.75% n = 115 Very important 31.97% n = 86 DNR 1.12% n = 3

35

Almost three-quarters of respondents (74.72%) wanted materials for solo performance to

be included. Almost one-quarter (24.18%) indicated that such materials were not important.

35. Contains materials for performance with others on like and different percussion instruments (e.g., duets, trios, rounds, ensembles). 99.62% of respondents answering n = 268/269 Not important at all 0.75% n = 2 Not too important 19.71% n = 53 Fairly important 39.04% n = 105 Very important 40.15% n = 108 DNR 0.38% n = 1 Over three-quarters of respondents (79.19%) recommended inclusion of opportunities for

musical interaction with other performers within the percussion family. Disagreement was

expressed by 20.46 percent.

36. Contains multicultural materials. 92.93% of respondents answering n = 250/269 Not important at all 4.84% n = 13 Not too important 33.09% n = 89 Fairly important 35.32% n = 95 Very important 19.71% n = 53 DNR 7.07% n = 19 Responses to this item were more evenly distributed. A majority of respondents

(55.03%) indicated that including a multicultural component was important. Such materials

were not identified as important by 37.93 percent.

36

37. Contains music theory materials. 95.16% of respondents answering n = 256/269 Not important at all 8.93% n = 24 Not too important 22.31% n = 60 Fairly important 40.90% n = 110 Very important 23.05% n = 62 DNR 4.84% n = 13

Almost two-thirds of respondents (63.95%) indicated that including music theory

materials was important. Almost one-third (31.24%) said such materials were not important.

38. Contains instructional support technology (e.g., MIDI, CD, MP3, video, DVD). 95.53% of respondents answering n = 257/269 Not important at all 10.04% n = 27 Not too important 34.20% n = 92 Fairly important 36.06% n = 97 Very important 15.25% n = 41 DNR 4.46% n = 12 Over half of the respondents to this item (51.31%) indicated that electronic or recorded

support supplements were important. Nearly half of those surveyed (44.24%) disagreed.

39. Presents a system for teacher assessment of students. 97.76% of respondents answering n = 263/269 Not important at all 9.67% n = 26 Not too important 27.89% n = 75 Fairly important 40.52% n = 109 Very important 19.71% n = 53 DNR 2.23% n = 6 Responses to this item indicated more in favor of such a system (60.23%) than those

against (37.56%).

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40. Presents a system for student self-assessment. 96.65% of respondents answering n = 260/269 Not important at all 4.84% n = 13 Not too important 23.42% n = 63 Fairly important 42.75% n = 115 Very important 25.65% n = 69 DNR 3.35% n = 9 Over two-thirds of respondents (68.40%) supported a system of student self-assessment.

Over one-fourth (28.26%) did not support such a system.

41. Comments

33.40% of surveys containing answers n = 90/269 Other 9.67% n = 26 Print Materials 7.44% n = 20 Pedagogy 4.84% n = 13 College Prep 3.71% n = 10 Curriculum 3.71% n = 10 Media 2.23% n = 6 Order of Instrument Introductions

1.12% n = 3

Equipment 0.75% n = 2 DNR 66.55% n = 179 Respondent comments were difficult to categorize. A majority of these who returned

their surveys (66.55%) did not comment. Comments received are presented below in their

entirety.

The largest group with any degree of similarity was combined into an “other” category

(9.67%). These remarks were placed in this category due to their lack of similarity to any other

of the assigned categories. The twenty seven responses designated as “other” can be

subcategorized as: well wishes/commiseration (n=20, 74.07%), sharing personal experiences

(n=3, 11.11%), answer clarification (n=1, 3.70%), gender bias in materials concerns (n=1,

38

3.70%), and an anti-survey statement (n=1, 3.70%). The only trend that could be discerned from

these comments was an empathy on the part of other researchers.

Print material (7.44%) and pedagogical concerns (4.84%) composed the next two

comment categories. Respondents who offered comments regarding materials were most often

concerned with the focus or direction of those materials (n=12, 60.00%). Comments reflected

questions about heterogeneous vs. homogeneous instruction, percussion specific content (i.e.,

rudiments, stickings, auxiliary percussion), difficulty levels, and supplemental materials.

Some respondents made specific material recommendations (n=6, 30.00%). Unlike the

responses to item 24, there was no consensus with regard to specific titles or authors.

Case # Comment

3 In a beginning percussion methods class I believe the instruments should be introduced in this order for optimum educational, musical and technical results: 1. keyboard percussion – methods + solos 2. timpani – methods + solos 3. snare drum – methods + solos 4. multiple percussion 5. traditional orchestral band percussion 6. drum set 7. world perc. instruments 8. marching percussion percussion ensembles

6 Good luck glad to help! 8 Give me a call. I’m teaching at UW-Parkside (Kenesha, WI) now at a community

music school – Wisconsin Conservatory of Music. I’d love to speak with you about your research – I have some questions, observations. Take care, Dan Bayles

9 I advocate starting Percussionists on Bells (Mallet insts)

The move To Drumset is very easy after melodic study, especially if students use single stroke rolls for long notes. The only new material when they switch to drums will be the buzz (closed roll) the flam, and the Drag.

I still see the sex descomination (sic) in students arriving at college. Males Play snare + Drumset, females play mallets. The Nebraska state honor band still encourages this by having separate Mallet, Snare, + Timp Auditions.

39

Case # Comment 10 Good luck-I’ll keep an ear out at PAS. 13 I think I see your focus as group lessons for percussionists. However, the reality

is that in the public schools percussion is typically taught by a band director in a full band setting. If you’d like to focus on materials for a class of percussion students, fine. But how marketable will such material be? So, on the one hand you have band (and full orchestra to a lesser extent) teachers teaching percussionists using methods like Standard of Excellence, Accent on Achievement, etc., and on the other hand percussion specialists teaching either private lessons or sectionals (frequently after school hours)’

It seems to me that developing materials to supplement the traditional beginning band methods’ percussion lessons would be helpful and in demand by teachers, especially if they understood the value of it and how to teach with the materials. As someone who trains instrumentalists to teach band and orchestra, I know how inadequate those materials can be. You could even rewrite/add percussion parts to those arrangements in the beginning books in order to utilize a wider variety of instruments, techniques, rhythms, etc.

When percussion specialists are hired it is typically at the high school level. Therefore this might be a good market for newly developed percussion class materials. However, frequently the specialist is there for marching band coaching only.

I have taught percussion in five states during the past thirty years, including private lessons to 4-year-olds up to retirees, in high school as a fulltime teacher (besides band I had a percussion ensemble class and a percussion techniques class), at three universities, and at three summer camps. I have generally preferred developing my own materials to suit the specific objectives of the course or situation. I prefer published materials that focus on one thing and cover it thoroughly and competently. I like Garwood Whaley’s materials for snare and mallets, as well as books by Thomas McMillan, as examples. I use Gary Cook’s book for the teacher’s percussion class, but always supplement it with my own playing etudes.

14 Use of DVD to demonstrate all in numbers 27 – 33 very important! High quality

DVD showing proper approaches (NOT like some of the stuff out there now – i.e. Alfred methods…).

Aspect NOT addressed here in your questions is development of the EAR – and first ala sing/play/read (“Suzuki Percussion”) before reading. This can be done on DVD, and/or in instructions to “teacher” to play things and have the student play them back “by ear.” Then, of course, pitch recognition, matching, etc.

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Case # Comment 15 I believe too many music ed programs in colleges + universities prepare graduates

to teach to the overly conservative traditional model of band programs, and miss the opportunity to bring young students (K-12) into a music environment through more creative models. Drums are an instrument that can serve as an inspirational entry point for such a model. We’re missing the chance to reach out to a larger population (folk instruments, guitar, piano, drums) who either don’t have a place in a band program or who consider the music program irrevelant – both of which are largely true. Drums, drumset, bucket drums, congas, etc. can serve as an exciting + effective bridge for a forward-thinking music teacher.

16 For snare drumming, I teach rudimental drumming and concert drumming

separatly (sic), but I have yet to find a method book to discuss this topic well. Also, I am a stickler for sticking. I feel it is very important to employ a sticking system at a very early age. This trait is also hard to find in a book. As far as beginning band books (class instruction) are concerned. There seems to be a sparse solution when dealing with the above concerns. Stickings are randomly assigned, if at all, and rarely are rudimental and concert drumming discussed, much less delineated.

19 Good luck in your research. 21 #40 - - could include making a recording of one’s self - - This would be difficult

regarding a tape recording device of some level, but important to require - - self listening!

I do believe that early texts should expand practical percussion playing in school ensembles, (set ups, etc.) duos + trios for small group chamber experience, and some attention to ethnic percussion (Latin/African).

22 Good Luck Ron! This looks like an important study & assessment of a subject

that is often overlooked. 23 Good luck Ron – I am not in favor of replacing the teacher with technology. Best

Wishes, Jack Schmidt 24 The above statements for teaching materials are all important. The ratings are

based on “BEGINNING” methods materials. 25 It would be a welcome text if it included all of the above info for student technical

and musical development 26 I trust that a section of your research will include percentages from the Percussion

Pedagogy Forums, which have been held annually at the University of North Carolina, Greensboro. I’m sure Dr. Cort McClaren would be willing to share this

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Case # Comment information. Kudos for engaging in this important research. I’ll email you for a copy of the results.

28 Didn’t answer 29-30 because I don’t use either of those, however 36 is certainly a

better approach than 29. 36 is important for percussion (conga, clave, etc.) because Perc. instrument are tied to such backgrounds, but I don’t know if you mean this to be part of a linked series of books for new instruments.

28 + 31 in private study I don’t use any book that presents this material in sequence because different students w/different abilities @ different ages can accomplish them at different stages of their development & progress through them at different speeds.

30 This has always been a difficult methods class to teach because of the amount of material.

A two-semester sequence is recommended for those involved in secondary teaching.

A small segment on writing + arranging for percussion (esp. drumline writing) is encouraged.

31 I think that a percussion method needs to:develop their technical skills / reading

ability introduce them to the great wealth of instruments percussionists deal with treat the percussionists as “musicians” introduce them to world of music as a whole (i.e. concepts; other cultures etc.)use technology that will keep them interested

38 I like to (as a number of my colleagues at other colleges do) supplement the use of

a text with original handouts, exercises, materials, ideas, etc. However, I wish a good comprehensive text could include solos and percussion ensemble music suitable for a class of non- major percussionists just learning how to play and how to listen to percussion instruments. Often there is simply too much written information in a text for non-percussionists.

42 If a method book keeps all of the above as ‘very important’ I think beginning

students will be overwhelmed with concepts. I prefer graded texts, with several volumes, to spead (sic) all the above info over an appropriate period of time (several years).

44 I have found that the materials are only as effective as the instructor

administrating the lessons, Effective teachers will always find a way to make the materials work better for their students. Every class and every student is

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Case # Comment different, therefore, there will never be a book(s) that works for every situation and every student. That’s just my opinion.

50 I believe in a thorough grounding of basics and tend to stay away from

“gimmicks” and fancy “tricks of the trade” that are usually short lived.

54 Because I have been doing this for so many year I have my own handouts. – You teach this method class and then 5 or 7 years later teachers need the knowledge. Cook book is a great ????? only Book. Then there needs to be a book for practical application, Sime (sic) book is his class notes. I have the same stuff but my own versions. If the book does not have world music, I have the handout ready to go!

Good luck!

59 Give me a method text that replicates what the 1st year student @ 6th grade

encounters while addressing additional concerns (ie-instrument purchase, head replacement etc.) so that the typical flute student is prepared to teach from a method text upon graduation.

61 With beginners, I believe that the teacher’s enthusiasm, patience, creativity, and

experience (in that order) are the mist (sic) important ingredients for the long-term success of the student, rather than the particular materials.

62 My most successful percussionists were allowed to add + create additional

touches + sounds to the performance music. This resulted in my having 6 professional percussionists from my small school over 30+ years. A bit of freedom – my insistence on rotating through every percussion instrument in the section also widened horizons

68 Good luck! 70 Timpani? Over Mallet Instruments? Xylo, Vibe, Mar

One of the fundamental questions I struggle w/with young students is music reading. Do we teach technique then reading, or vice versa, or both at the same time? Considering the???? of different perc instruments and our need to read (vs. other cultures) this is a very significant issue.

71 Surveys are problematic- they corral people’s thought and substitute empirical

evidence-finding for knowledge that is often better gleaned through interview + essay.

72 re: Question 34

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Case # Comment I am not sure if you mean actual solos or listings of recommended solos. I feel strongly that the listing of materials should be included but not necessarily solos themselves.

Cost of the publication(s) is an important factor. The text for the perc class as well as beginning level materials vary a great deal in cost as well as quality.

73 I have done a survey for my M.M. in 1995 and do appreciate your efforts. 78 I am frustrated with band methods that attempt to fit perc. in with the wind

players. They are NOT the same and need not be the same. The goal is to create musicians that can play together or alone. Early percussion needs more daily drills, rudiments, etc. and not playing a part to twinkle twinkle little star. As for the auxiliary instruments, the teacher needs to work them into the curriculum but again not artificially just to be with the winds in band.

79 I feel that for a Percussion Methods course, it’s important to present to them

information that may help them as a possible future music educator. I don’t feel that it’s incredibly important that they can execute everything perfectly on every percussion instrument (due to the vast amount of percussion instruments to cover in the class). I do feel an obligation to present to them as much basic information as possible such as equipment knowledge/maintenance, different roll types, tone production, different types of sticks and mallets, etc.

84 I teach in a small music department. My primary duty is band/jazz band director.

Since I am the only instrumentalist (not counting piano) I teach percussion although I am a trumpet player. Over the past 20+ years I have had only 3 or 4 percussion majors that were beyond my level of teaching abilities. Most of my perc. teaching has been for secondary instrument requirements or methods classes.

88 I’m currently using Siwe’s Percussion Methods text and I think it works very

well; Lots of cadences and etudes for students to get playing experience; “meat + potatoes” approach [not too involved or “heady”] Suggests readings for class from other sources (e.g. Gary Cook text), which provides a nice balance

89 Students should be given enough material + enough time for a firm foundation to

be established

91 I am old school – Teach basic fundamentals first year – then develop into more advanced technique. I prefer SN DR/Mallets taught together – rotating parts. Add BD/Cym, the (sic) add traps. Timpani – I think the have to know intervals & tonalities.

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Case # Comment I required testing potential percussionists. Piano skills suggested – not required. Used Math tests to help determine potential skill levels.

92 #29 + #32 – Both must be taught understood by the student…this is the #1 issue I

find with school age S.D. skills #31 – Only after the students have clear rhythmic control Rudiments are just out of time “licks” unless the percussionist understands how to interpret rhythm. I spend a lot of time working with marching percussion sections…and I downplay the importance of the rudiments with the exception of SINGLES, DOUBLES, GRACES, MULTI-BOUNCE and focus on good rhythm. The rest is a matter of applying those 4 skills to rhythmic patterns. I have taught Perc. Techniques several times. Areas of real confusion: 1. Roll base!

2. Counting (non-percussionists have a system all their own) 3. Unless a student devotes 1 hour a day, the muscles will not learn.

Open/closed rolls never happen unless they practice.

99 A comprehensive method that serves as a resource as well is needed for the teacher who is not a percussionist.

103 I wish you success – 110 Best of Luck on your project! 111 Something I’ve always found missing is some sort of treatise on achieving

“quality” of sound, either through technique or through exacting construction methods + materials. (ie. What makes a “Buddy + Thein” triangle better than a “CB 700” triangle + why)

114 Included with materials should be a metronome such as a Dr. Beat. A metronome

with subdivision capabilities will provide a strong foundation. 117 Best Wishes on your project 119 I am very interested in the results of this survey and your entire dissertation

project. Thank you for your studies. Matt Hevey/Percussion Instructor/University of Missouri – St. Louis

121 I teach a repertoire based percussion techniques course. We study standard

orchestral repertoire. Through playing the music we address technique/set-up/instrument tone production, etc. as well as learning the repertoire. I generally spend 1/3 of the course on snare drum technique because getting a proper SD stroke will translate marimba, timpani, and all other instruments that we hit with a

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Case # Comment stick. Plus if they can properly hold + teach how to hold the sticks, they will be able to apply their own musical ideas to the music. The students that learn from them will have all the necessary tools to become a good percussionist. I don’t get too worried if they can’t play rudiments well enough to play in the drumline, but that they can teach the technique correctly so that a student can use the technique + subsequently succeed.

125 I think there is an important distinction between materials designed for future

band director + other education majors, and for students for whom percussion is their primary instrument.

126 Hey Ron, hope things are going well. Things here are great. Drop me a note at

jamieeczeuct@lycos.com / Take care, Jamie 128 Materials and literature that is adaptive and versatile is very useful (ie Stick

Control, Syncopation by T. Reed). 129 Even though I do not have any knowledge of the items on question 38, I do

believe that they are important part of the future of all music, not just percussion. 130 All of these are important! Now, how do you fit it all into one book…Not Sure. 131 Good Luck 132 I have successfully used Alfreds Snare Drum methods for many years. I have not

been able to find a better alternative. 133 I teach a one semester (one, one hour meeting per week) perc. methods course. I

have just switched my course text to “Play & Teach Perc” (Steve Houghton & Linda Peterson). My main reason for choosing this text is the concise, practical format of its design. Also, with the limited amount of meeting time I have with my students the self-directed (including audio CD’s) approach works extremely well for me.

137 The Tom Siwe and Cook books are a good combination. I also augment the

course with discussion question and quizzes and tests (non-playing of course) on line through web ct (blackboard), It helps maximize the percussion pedagogy students (percussion majors) as class assistants to watch them in a teaching situation and give them experience.

140 In response to Questions #32 and #33 – I personally don’t think “musical

nuances” and relating to “in school” experiences are important because beginners have a hard enough time mastering the fundamentals, so everything in #32 I think is for more advanced students. And for #33 specifically, I would rather have my

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Case # Comment beginners focusing on perc. specifics from a private teacher in the private lesson rather than focusing on ensemble school playing, where they generally don’t get specifics. #38-40; Question #38, that stuff is for a different class in my opinion, not a perc. class, again the focus on perc. playing, not technology, and #39+#40 most teachers seem to have their own method of assessment, so use that space for something else.

143 So much emphasis is placed on marching at this moment. Not going to go to for

this direction, but I’d like to see materials (like Whaley, Cirone, Goldenberg) updated, but which include: reading reading in compound + odd meters mallet solos that are interesting + educationally sound solid introductory timpani – this is a area of great concern! Tuning, Care, Stroke, Dampening, etc. all but not happening in so many bands/orchestral soloists.

154 I structure my Percussion Classes according to the backgrounds of the students. I’ve taught them at 6 different colleges over a period of the past 28 years and none have been taught in an identical manner.

156 Percussion is more in demand today and student’s (sic) should be well educated in

all types of music involving the instruments. Diagrams should be included as well as sample recordings utilizing specific instruments and their technique.

159 It’s hard to find the perfect text. A good instructional book might have poor or no

solo (or duet) material. Likewise, a compilation of progressively difficult solos might have no instruction provided. Supplementing is useful in my mind.

160 Good luck Ron with your study. Better you, than me!! 165 The most important thing for me is to ensure that the non-percussionist

instrumentalist understands the complexities of the percussion field. Down here, most non-percussive guys see percussion as easy…put your not talented students on the instrument. A lot of band directors down here (at least at the middle school/junior high level) have no idea how to teach their percussion students and therefore have percussion student devoid of true music education. My purpose on method class is this: to build intelligent band directors and have them know that, yes, they can teach percussionists even when they don’t think they can…after all music is music, right to give them an overview of most major percussion instruments (common to band/orchestral/jazz) and to have them know most basic techniques for these instruments.

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Case # Comment 167 Fundamentals are most important. Learning and practicing and understanding the

need for slow practice should be stressed. Texts should stress accuracy before speed. Students need to see their development as a life long learning process.

168 I supplement the basic lesson books with other instruction + resources. Though

the Roy Burns books are quite dated, they remain one of the most sequential texts on the market. Burns also includes more printed stickings which I find very valuable and a huge time saver!

175 At the college level, what I see lacking in most percussionists’ skill set is the

ability to read and count rhythms. It is also important that a sticking policy (system) be included in beginning study. Including other percussion instruments besides snare drum will emphasize the importance of becoming a well-rounded percussionist early on. Good luck!

180 I did not receive a previous survey. Interesting project. I would like to see the

results. 183 I admire your dedication and quest for statistical data! Good luck in your process. 184 Most resources I have found address rudiments + reading separately, with little

integration. I feel books that offer progressive introduction in reading/etudes to support the introducting (sic) rudiments to be very helpful. FYI-I never received the past request on this survey – it must have gotten lost in the mail. Good luck!

186 Beginning methods materials appears confusing. You’re basically asking what I

think is important to include when teaching a percussion methods course for students majoring in instrumental music education. Some of this is not necessarily “materials” – it’s presented in class. If you’re asking about textbooks-what would an ideal text contain-my answers are the same, but there’s not a book that encompasses all-the closest is Gary Cook’s book -Teaching Percussion- which includes more than students in the methods course needs, but is still great!

187 I meet my Perc Meth Class for 1 semester, 2x a week. Very frustrating to get

them through enough materials. I love teaching methods class. 189 I’ve changed the “not too important” to “not as important” where I felt the item

discussed was/is important but as important when compared to other items. #38 – the use of technology can greatly enhance student motivation and can create good models for them to follow. For example, I use the Vic Firth education website to show my prospective, non-percussionist mused majors how they can help their students learn snare drum rudiments via play-along modules found on the web. It works great in the classroom! Good luck on your project!

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Case # Comment 192 I feel keyboard percussion and playing of melody is most important to beginners.

Second would be a snare drum roll presented as a sustained sound. When teaching timpani tuning should be included by the second week. Playing scales on the drum, just as their friends do in wind instruments.

193 A lot of the regarding Beginning Percussion isn’t easy to answer w/out knowing

of it’s a homogeneous class setting, or the size of the materials would be different. Heterogeneous class settings would also be different.

195 I like to use separate books for snare drum and keyboards. This allows the

student to continue on any level. 197 I have always encouraged beginning band teachers to start their percussion

students early in a multi-percussion approach. Some schools, noteably the Raleigh, NC schools do have the beginning percussionist purchase and utilize a snare drum and a bell kit. Few beginning percussionists will follow this course unless encouraged in their early years. I firmly believe that musicianship will best be displayed through a beginning percussion approach which emphasizes the melodic as well as the rhythmic elements of music.

199 Everything in this list is important and should be included in a comprehensive

beginning method. I have not seen a method that incorporates everything in this list. It seems that most teachers draw from many resources in their efforts to teach beginning students. Good luck with your study!

202 Good Luck 205 I hope my participation will help you with your degree you are embarking upon. I

would be interested in your overall results in that it could help me be a better teacher now and in the future. Please email your results to wcmsband@wayxcable.com. Thank you.

208 Even though I think the Peters Fundamental Mallets is an excellent book it falls

short in 2 ways: - lacks instruction of common musical terms as difficulty of notes increases – lacks even very brief talk of theory/chords even as they are introduced in etudes/exercises. The Ostling Snare books were excellent in this regard – Terms, short solos, etc…but geared for young students

210 I believe you have a very interesting + important topic for the future of our

profession. In addition to what we teach, I think it is important to raise the level of expectation from our young students. In my dealings with Japanese public schools, we are very behind in this area. Just a thought!

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Case # Comment 211 Never enough time to cover everything. Ethnic percussion tends to get short ????

of it. Rudimental snare could easily be done for the whole time –have to do it justice along w/everything else. Most common complaint –not enough preparation for teaching marching percussion (esp. snare).

213 Many of my answers assume that the student in applied percussion will have

supplementary ensemble experiences – 214 Section IV, Nos. 25-40, describe an ideal methods book. A number of books have

appeared recently. Most have CD’s and lots of stuff to play, but none come close to ideal. I use the old McCormick book as a supplement in my methods class. I have taught the class long enough to assembled (sic) all of my lectures, presentations, and performance excerpts separate from the text. The best thing about the McCormick book is that it is a good point of reference for the students; it has excellent instrument descriptions and provides an adequate beginning point for research. I also get 90 PAS e-passes for my students to follow up on research assignments.

258 Our methods courses are very specific to our university. All music ed majors (i.e.

elementary, secondary, etc) have to take percussion methods. Our coverage must be broad.

264 All of the ideas 25-40 are great! It would very comprehensive method if it

included materials for each one. Much of the theory materials could be incorporated w/timpani (aural) + keyboards. Timpani playing is important for young players because it forces them to develop their ears as well as touch (too often ignored!). Some people may not have access to some of the technology, but need presence (availability) often created necessity! Many of the materials listed in 24 are a starting point or supplemental. Every instrument should quickly include pieces along with etude study. We often focus on one instrument or style when learning how to play percussion. Although this approach helps to make a student good, I feel a more wholistic (sic) approach to percussion is better. We strike, scrape, blow, shake, rub the instruments that we play + students need to be shown the possibilities early on. They can specialize later.

266. Let the teacher guide them through the book-present the music as close to what they will see on the job as possible. Use the DVD/CD for the instruction-keep the written advice to a minimum. Teach them what to listen for-the sound of a buzz roll for example.

267. In answering these questions, my responses are influenced by the thought of who

the teacher may be. A teacher who has little percussion background needs all the help they can get. I would like to see beginning books have various ways of

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Case # Comment

playing the same exercise. Too often students spend more money than needed. We should encourage multiple uses of the materials presented.

269. This is a pretty “wide range” for this survey. I’m still not sure of its “focus”!

Good luck!

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CHAPTER 5

Discussion and Conclusions Introduction

To meet the needs of music educators, pedagogical materials must be designed to provide

students with meaningful learning opportunities. Creating method materials that serve the needs

of teachers should be facilitated by considering the opinions of experts. Results of the current

study revealed many clear preferences among the college percussion teachers who participated.

Content

Respondents indicated that they wanted more from beginning percussion methods than

just another snare drum book. While the central role of the snare drum is not in dispute, there is

a consensus of opinion that keyboard and accessory percussion should also be introduced at the

beginning level. This degree of agreement among respondents seems to indicate that the “total

percussion” system advocated by Mueller in 1972 has become a generally accepted pedagogical

approach.

How much emphasis to place upon the rudiments, considered by many to be a

percussionist’s fundamental skills, has been the subject of some debate. College teachers

surveyed for this study displayed a substantial level of agreement as to their importance

(84.77%). However, their relevance to beginning band literature is questionable. The difficulty

level of some rudiments is beyond the capability of many, if not most, beginners. This problem

can be compounded if students are being instructed by a non-percussionist teacher.

As demonstrated by the responses to item 17, a large number of respondents (40.89%)

have no experience in a K-12 educational setting. This suggests that their response to item 31 is

based upon their private teaching experiences. Perhaps a majority of respondents believed the

rudiments have value in the development of student technique.

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Most respondents (74.72%) indicated that students should perform solo literature. It can

be assumed that teachers were aware of difficulties faced when trying to locate solos appropriate

for beginners, and realized the value of such solos in the students’ books. It is also reasonable to

conclude that instructors were anticipating difficulties students encounter when performing by

themselves and hoped to provide opportunities to develop this important skill.

A similar percentage (79.19%) indicated the desirability of performance opportunities

with other percussionists, from duets to ensembles. It can be assumed that the importance of

developing listening skills, as well as the enjoyment derived from performing with others,

informed respondent decisions.

Almost two-thirds of respondents (63.95%) favored including materials to develop

students’ music theory skills. A traditional approach to teaching percussion has been to focus

upon the instruments and related performance techniques, and those who did not express support

for including theory materials (31.24%) are likely to favor such an approach. It is probable that

in their own studio teaching, they have managed to include theory exposure. Most percussion

students have little experience with music theory, and this problem has likely been exacerbated

by teachers in K-12 group settings who do not have suitable materials with which to work. It

appears that a majority of respondents were sensitive to these teachers’ needs.

With regard to assessment of student progress, respondents indicated support for systems

that could be utilized by teachers and students. More favored an instrument to be used by

students to judge their own progress (68.40%) than those who expressed support for such a

system to be used by teachers (60.23%). It seems that respondents, as percussionists, are clear

about how to judge their students’ performance. It is possible that those percussionists have

underestimated the difficulties encountered by non-percussionists when they attempt to evaluate

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their own students. Perhaps this is the reason more respondents supported a system for student

self-assessment than teacher assessment. When viewing the number of responses to item 40 in

each category, those who indicated student self-assessment was “very” important (25.69%) were

a similar percentage to those who selected “not too” important (23.43%). Distribution of

responses to this item follows a pattern similar to those items regarding age and teaching

experience. All three items have the greatest number of responses in the middle of the range of

choices. It seems reasonable to conclude that there is a relationship between these factors and

responses to item 39 (teacher assessment) and item 40 (student self-assessment).

Format

Most of those surveyed (75.10%) expressed support for verbal descriptions of how

beginners are to assemble their equipment, but almost all respondents (92.95%) endorsed the use

of photographs or illustrations to reinforce, or even substitute for, the text. This could indicate a

sensitivity on the part of the respondents to the needs of different student learning styles.

Alternatively, it could be an acknowledgement that it will be easier for children to compare the

appearance of what they have done to what they see in their book. This seems to be accepted by

respondents as a more straightforward solution to potential set-up problems.

Since beginning students are sometimes overwhelmed by the material covered in their

school lessons, a useful feature of method materials would be to help the students recapture the

information from the lesson in a home practice environment. Method materials should reinforce

lesson content through illustrations, text, and sound to permit students to assimilate what has

been presented at school. About three-quarters of survey respondents (74.73%) were in support

of such an approach. This suggests that these teachers have had personal experience with

students who were unclear about what to do and how to do it.

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While over half of respondents (51.31%) indicated that media and technology support

materials were important, almost half (44.24%) disagreed. The narrow margin separating

response rates for this item (38) might be related to respondent age. It is probable that younger

teachers are more likely to have had experience with the technology, and would therefore be

more willing to embrace it. Younger instructors have been exposed to computers and related

electronic technologies throughout their educational and professional careers. Many have

literally “grown up” with electronic media. Older faculty have encountered these advances at

later points in their professional development. While some view the changes as an advantage,

others might see them as impositions. Considering the age distribution illustrated in item 3, the

response distribution to item 38 should not be surprising.

Philosophy

Almost all respondents (94.06%) agreed that development of technique is an important

consideration. A slightly smaller percentage (88.86%) indicated that development of musicality

is also of concern. The strong relationship between these two aspects of pedagogy indicates that

respondents do not want to see one of these aspects emphasized at the expense of the other. This

has long been a problem in percussion method materials, and it is apparent that respondents are

seeking a balance between the two.

In view of the relatively progressive stances taken by respondents with regard to

instrument inclusion and technical/musical development, the position taken regarding roll

concept was somewhat surprising. About three-fourths of those surveyed (75.47%) expressed

support for teaching the roll in a traditional, rudimental style, which results in a specific rhythm.

Since rolls are a percussionist’s way of sustaining a sound, emphasizing a technique that results

in a specific rhythm would seem to be something best left to more advanced students. Beginners

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usually have difficulty with the degree of stick control required to perform this type of roll. It

can probably be concluded that respondents have developed methods for helping students

through this difficult process, and, therefore, do not see this technical issue as a significant

stumbling block. It also may be inferred that respondents might not be aware of how difficult it

can be for non-percussionist teachers in non-private lesson settings to effectively teach this

technique.

A larger percentage of respondents (85.51%) indicated that the roll should be approached

as a sustained sound. Since the group who expressed such an opinion was about ten percentage

points larger than those favoring a rudimental approach, it is probable that some respondents

believed that the roll should be taught as both: sustained sound and specific rhythm. Depending

primarily upon stylistic considerations, the roll must be one or the other. For beginners, the

likelihood of alternating between the two styles in the same composition is small. Perhaps the

items regarding roll concept should have been framed in an “either/or” manner. It is likely that

the educational background and experience of respondents made them aware of the value of both

techniques.

Whether or not instrumental lesson materials should include a multicultural dimension

drew a somewhat more balanced response. While over half of respondents (55.03%) were in

favor of a multicultural component, almost four of every ten (37.93%) were not. This division

would seem to indicate that some college teachers have reservations about the quality of

materials to be included. It is possible that those with a negative view would resist including

anything of dubious musical value simply for the sake of making a social statement. More

respondents indicated such materials were “not” important (37.93%) than “very” important

(35.32%). While a majority favored a multicultural component, the division must raise some

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questions. Why did more respondents not favor the inclusion of multicultural materials? What

motivated those who supported such a component? Are such content decisions driven by

educators or are they driven by editors?

Summary

The purpose of this study was to survey college level percussion teachers regarding the

importance of certain characteristics of percussion materials in beginning instrumental methods.

Responses indicated that:

• Materials should include many members of the percussion family (not instrument-specific books).

• Rudiments, long considered to be the fundamental technical skills required of

percussionists, should be presented.

• Opportunities for solo performance should be included.

• Materials should include opportunities to perform with other percussionists in a variety of settings.

• Some music theory should be presented.

• A system for student assessment would be welcome.

• Use of illustrations is desirable.

• A system to support student home practice should be developed.

• Technique should be emphasized.

• Musicality should be emphasized.

• The rudimental snare drum roll (double bounce) should be taught to beginners.

• The sustained roll (buzz/multiple bounce) should be taught to beginners.

According to survey respondents, educational materials (i.e., method books, video, and

audio materials) used by music teachers and directors play an important role in percussion

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student development. Responses demonstrated that the survey respondent group uses such

materials as the foundation of their teaching.

Respondents expressed some desire to see many current materials modified to improve

the educational experience for students. Participants recommended titles of existing materials

and indicated features they wished to have included in future materials. Many of these

recommendations (i.e., video and audio support) should enhance students’ ability to assimilate

lesson content.

The modification of existing materials might facilitate the process of teaching percussion.

Based upon the information provided by survey respondents, it is possible that the development

of entirely new methods materials is indicated.

Recommendations for Further Study

It is the recommendation of this researcher that additional studies should be undertaken.

Future investigations might include a related study utilizing the same items but directed to a

different response group. It is possible that a national sample of elementary instrumental music

instructors would provide answers in striking contrast to those yielded by this project.

In conclusion, it is hoped that this study will provide assistance to teachers searching for

useful methods materials. Perhaps this information will prove to be of value in the development

of new teaching materials. For the quality of instrumental music education to reach its full

potential, the collective efforts of all instrumental music teachers in all levels of the educational

system are required. The sharing of ideas and opinions gives everyone involved in the process a

place to begin.

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Appendices

1. Pilot Cover Letter

2. Survey Cover Letter 3. Followup Letter 4. Survey Document

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September 1, 2004 Dear Colleague: My name is Ronald Horner, and I am a candidate for the Doctor of Musical Arts degree at West Virginia University. I am conducting a national survey to determine the characteristics that college level percussion teachers would find desirable in beginning percussion methods materials. This survey is in partial fulfillment of my intended degree, and is being supervised by Dr. Molly Weaver, Coordinator of Music Education at West Virginia University. For purposes of this study, “beginning percussion methods materials” are defined as method books that can be used for comprehensive western percussion instruction in K-12 percussion group settings. “Western percussion” is defined as those instruments commonly found in western (US and Europe) concert band, wind band, and symphonic orchestra settings at a beginning level of difficulty. This includes (but is not limited to) snare drum, bass drum, bells (glockenspiel), tom-toms, triangle, wood block, cymbals, suspended cymbal, maracas, tambourine, claves, and sleigh bells. I am seeking responses to the enclosed survey, which should take approximately 10 minutes to complete. Please return this survey by September 10, 2004 using the enclosed, prepaid envelope. Your responses will assist the completion of my research and can provide direction in the development of percussion teaching materials. If you would like a copy of the results of this survey, please follow the instructions at the end of the survey document. The results will be sent to you at the mailing address you provide. Thank you for your participation in this research project. If you have any questions or comments, please do not hesitate to contact me or Dr. Weaver. Sincerely, Ronald Horner Division of Music - WVU PO Box 6111 Morgantown, WV 26506-6111 Tel: 301.687.7453 Fax: 301.687.4784 Email: rhorner@frostburg.edu Dr. Molly A. Weaver Division of Music – WVU PO Box 6111 Morgantown, WV 26506-6111 Tel.: 304.293.4617 x3179 Email: mweaver@wvu.edu

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October 15, 2004 Dear Colleague: My name is Ronald Horner, and I am a candidate for the Doctor of Musical Arts degree at West Virginia University. I am conducting a national survey of college level percussion teachers to determine the importance of certain characteristics of beginning instrumental methods. This survey is in partial fulfillment of my intended degree, and is being supervised by Dr. Molly Weaver, Coordinator of Music Education at West Virginia University. For purposes of this study, “beginning percussion methods” are defined as materials that can be used for comprehensive instrumental instruction, including western percussion, in K-12 group settings. “Western percussion” is defined as those instruments commonly found in western (US and Europe) concert band, wind band, and symphonic orchestra settings at a beginning level of difficulty. This includes – but is not limited to – snare drum, bass drum, bells (glockenspiel), tom-toms, triangle, wood block, cymbals, suspended cymbal, maracas, tambourine, claves, and sleigh bells. I am seeking responses to the enclosed survey, which should take approximately 15 minutes to complete. Please return this survey by November 15, 2004, using the enclosed, prepaid envelope. Your responses will assist the completion of my research and can provide direction in the development of percussion teaching materials. If you would like a copy of this survey, please follow the instructions at the end of the survey document. The results will be sent to you at the mailing address you provide. Please note that your participation is entirely voluntary and you don’t have to respond to every item. To the extent that is legally possible, anonymity will be maintained in this study. Neither you nor your institution will be identified in any way. Thank you for your participation in this research project. If you have any questions or comments, please do not hesitate to contact me or Dr. Weaver. Sincerely, Ronald Horner Division of Music – WVU PO Box 6111 Morgantown, WV 26506-6111 Tel.: 301.687.7453 Fax: 301.687.4784 Email: rhorner@frostburg.edu Dr. Molly A. Weaver Division of Music – WVU PO Box 6111 Morgantown, WV 26506-6111 Tel.: 304.293.4617 x3179 Email: mweaver@wvu.edu

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November 12, 2004 Dear Colleague: I recently sent you a survey that I am conducting in partial fulfillment of my Doctor of Musical Arts degree at West Virginia University. This survey is an attempt to determine the importance of characteristics of percussion materials in beginning instrumental methods. In the event that you have misplaced your survey, I have taken the liberty of enclosing another copy. I am grateful for your time and careful consideration as you respond to the questions. Please return this survey at your earliest convenience in the prepaid envelope provided. Your responses will not only assist in my research, but also can be used in the future to provide development of percussion teaching materials. If you would like a copy of the results of this survey, please follow the directions at the end of the survey document. The results will be sent to you at the mailing address you provide. As a reminder, please note that your participation is entirely voluntary and you do not have to respond to every item. Anonymity will be maintained to the extent that is legally possible. Thank you for your participation in this research project. If you have any questions or comments, please do not hesitate to contact me or Dr. Weaver. Sincerely, Ronald Horner Division of Music – WVU PO Box 6111 Morgantown, WV 26506-6111 Tel.: 301.687.7453 Fax: 301.687.4784 Email: rhorner@frostburg.edu Dr. Molly A. Weaver Division of Music – WVU PO Box 6111 Morgantown, WV 26506-6111 Tel.: 304.293.4617 x3179 Email: mweaver@wvu.edu

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West Virginia University College of Creative Arts - Division of Music

Percussion Methods Materials Survey

Please complete this survey and return it by November 15, 2004 in the enclosed, prepaid envelope. I. Demographic Information 1. What is your gender? Male Female 2. What is your ethnicity? American Indian or Alaskan Native Asian or Pacific Islander Black or African American Hispanic White, non-Hispanic Prefer not to answer 3. What is your age? 18 - 35 36 - 50 51 - 65 66+ II. Institutional Information

4. At what type of institution do you currently teach percussion? (If you currently teach percussion at more than one postsecondary institution, please answer for the institution you consider to be your primary assignment.)

DR Ext (Doctoral/research university - extensive) DR Int (Doctoral/research university - intensive) MA I (Master’s comprehensive college/univ I) MA II (Master’s comprehensive college/univ II) BA LA (Baccalaureate college - liberal arts) BA Gen (Baccalaureate college - general) BA AA (Baccalaureate/associate’s college) AA (Associate’s college) Faith (Theological/faith-related institution) Med (Medical school/medical center) Health (Other separate health profession school) Engr (School of engineering/technology) Bus (School of business/management) Art (School of art/music/design/architecture) Law (School of law) Teach (Teachers college) Tribal (Tribal colleges) Other (Other specialized institution)

5. Is the primary institution where you teach percussion currently accredited by the National Association of Schools of Music (NASM)? Yes No 6. How many undergraduate music majors are enrolled at your primary institution? 7. Of these undergraduate music majors, how many study percussion as their principal instrument? 8. How many graduate music majors are enrolled at your primary institution? 9. Of these graduate music majors, how many study percussion as their principal instrument? III. Professional Information 10. What is your highest earned degree? Bachelor of Arts Master of Arts Doctor of Education Bachelor of Science Master of Science Doctor of Philosophy Bachelor of Fine Arts Master of Fine Arts Doctor of Musical Arts Bachelor of Music Master of Music Performers Certificate Bachelor of Music Education Master of Music Education Artist Diploma Other (specify) 11. What is your current employment status as a percussion teacher? _____Full-time Part-time

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12. What is your current academic rank? Lecturer Instructor Assistant Professor Associate Professor Professor Other (specify) 13. What is your current tenure status? Tenured Untenured (in tenure track) Nontenured (not in tenure track) 14. What do you consider to be your principal instrument at this time? 15. How long have you taught percussion in any capacity? Years 16. How long have you taught percussion privately (i.e., not in a K-12 or postsecondary institution?) Years 17. How long have you taught percussion in a K-12 institution? Years 18. How long have you taught percussion in a postsecondary institution? Years 19. Do you teach (or have you ever taught) a percussion pedagogy/methods/techniques course intended for pre-service music

teachers? Yes No 20. If “Yes” to item 19, which materials do (did) you use? 21. Do you direct (or have you ever directed) any percussion ensembles at your institution(s)? Yes No 22. If “Yes” to item 21, please identify and describe the ensembles 23. Do you teach (or have you ever taught) any beginning percussionists at any level? Yes No 24. Regardless of your response to item 23, which materials would you recommend for beginning percussionists at any level?

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IV. Beginning Percussion Methods Materials Characteristics Each item below is a statement that describes a possible characteristic of beginning percussion methods materials. Please rate the importance of each item as a desirable characteristic of beginning percussion methods materials. 25. Contains materials that address many instruments of the family (e.g., snare drum, bass drum, glockenspiel, tom-toms,

triangle, wood block, cymbals, suspended cymbal, maracas, tambourine, claves, sleigh bells). Not important at all Not too important Fairly important Very important 26. Contains text descriptions of instrument set-up and section/ensemble set-ups. Not important at all Not too important Fairly important Very important 27. Contains illustrations and/or photographs addressing instrument set-ups, hand positions, playing positions,

instrument techniques, and section/ensemble set-ups. Not important at all Not too important Fairly important Very important 28. Contains materials to develop students’ technical facility (e.g., sticking exercises, velocity studies, roll

development exercises, rhythmic reading studies, melodic reading studies, grace note exercises, rebound control studies, accent patterns).

Not important at all Not too important Fairly important Very important 29. Presents the snare drum roll as a specific, audible rhythm (traditional rudimental approach). Not important at all Not too important Fairly important Very important 30. Presents the snare drum roll as a sustained sound. Not important at all Not too important Fairly important Very important 31. Presents rudiments. Not important at all Not too important Fairly important Very important 32. Contains materials to develop students’ musical knowledge and skills (e.g., phrasing, nuance,

interpretation, melodic contour, tone production, rhythmic accuracy, articulation, balance, tone quality, dynamic control, shaping).

Not important at all Not too important Fairly important Very important 33. Contains an approach to material that enables students to replicate their “in school” experience during

home practice (e.g., has recorded models and play-along backgrounds). Not important at all Not too important Fairly important Very important 34. Contains materials for solo performance. Not important at all Not too important Fairly important Very important 35. Contains materials for performance with others on like and different percussion instruments (e.g., duets,

trios, rounds, ensembles). Not important at all Not too important Fairly important Very important

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36. Contains multicultural materials. Not important at all Not too important Fairly important Very important 37. Contains music theory materials. Not important at all Not too important Fairly important Very important 38. Contains instructional support technology (e.g., MIDI, CD, MP3, video, DVD). Not important at all Not too important Fairly important Very important 39. Presents a system for teacher assessment of students. Not important at all Not too important Fairly important Very important 40. Presents a system for student self-assessment. Not important at all Not too important Fairly important Very important 41. Comments

Thank you for your participation in this research project. If you would like a copy of the results of this survey, please email your name and mailing address to: rhorner@frostburg.edu.

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Bibliography

Bauer, James Richard. “A Survey and Analysis of Elementary Percussion Method Books Published in the United States from 1958 to 1973.” (M.Ed. thesis, Indiana University of Pennsylvania, 1975). Cleino, Edward Henry. “An Ensemble Method for Teaching Percussion Instruments.” (Ed. D. diss., George Peabody College for Teachers, 1958). Combs, F. Michael. Percussion Manual, 2d ed. Belmont, CA: Wadsworth Publishing, 1995. Cook, Gary D. Teaching Percussion, 2d ed. Belmont, CA: Schirmer Books, 1997. Dire, Jeffrey M. “A Beginning Percussion Curriculum Based on Comprehensive Musicianship.” Instrumentalist 32/2 (September 1977): 74. Gaetano, Mario A. “Teaching Mallet Instruments to Beginners.” Instrumentalist 34/10 (May 1980): 30. Galm, John K. “The Percussion Instrument: Some Ideas on Teaching and Performance.” University of Colorado, 1970. Grumley, J. David, and Keith P. Johnson. “Mallet Instruments Challenge Beginning Percussionists.” Music Educators Journal 70/1 (September 1983): 55. Jackson, Harold J. “An Instructional Method for Individual or Group Development of Snare Drummers.” (D.Mus.Ed. diss., University of Oklahoma, 1968). Johnson, Gary L. “A Comparative Analysis of Selected Heterogeneous Wind-Percussion Beginning Method Books.” (M.A. thesis, Central Missouri State University, 1977). Lambert, James W. “Percussion Ensemble: A Director’s Best Friend.” Instrumentalist 38/3 (October 1983): 38. Longyear, Rex Morgan. “Starting Percussion Students on the Mallet Instruments.” Instrumentalist 16/2 (October 1961): 85. Masoner, Elizabeth L. Reference Guide on Percussion Publications. Minneapolis, MN: Typist Letter Co., 1960. Mixon, Kevin A. “Helping Percussionists Play Musically.” Music Educators Journal 88/4 (January 2002): 53-57.

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Monty, Rudy A. “Percussion Method Books Used in Selected U.S. Public Schools: Analyses and a Supplemental Guide for the Non-Percussionist Band Director.” (Ed.D. diss., New York University, 1986). Mueller, Kenneth A. Teaching Total Percussion. West Nyack, NY: Parker Publishing Co., 1972. Olson, Rees G. “A Beginning Percussion Class.” Instrumentalist 23/2 (September 1968): 88. Payson, Al, and Jack McKenzie. Music Educators’ Guide to Percussion. New York, NY: Belwin Inc., 1966. Payson, Al et al. “Percussive Arts Society Committee on Improving Elementary Percussion Education – Preliminary Report.” Percussionist 3 (1966): 44-45. Peters, Gordon B. “Initiating a Percussion Ensemble Program.” Instrumentalist 19/10 (May 1965): 72. Peters, Gordon B. “Our Responsibilities in Percussion.” Instrumentalist 18/9 (April 1964): 88-90. Pimentel, Linda. “Recommendations for the Reorganization of Percussion Instruction.” Percussion Education: A Source Book of Concepts and Information. Urbana, IL: Percussive Arts Society, 1990. Preston, Andrew Conrath. “The Development and Evaluation of Selected Instructional Materials for Teaching Percussion Instruments in the Beginning Band Class.” (Ed.D. diss., University of North Carolina at Greensboro, 1975). Sampson, Ulysses Thomas. “An Identification of Deficiencies in Past and Current Method Books for Beginning Heterogeneous Wind-Percussion Class Instrumental Music Instruction.” (D.Mus.Ed. diss., Indiana University, 1967). Schinstine, William J. et al. “Report of the Committee on Improving Elementary Percussion Education of the Percussive Arts Society.” Percussionist 7 (1969): 65-66. Spohn, Charles L. The Percussion. Boston, MA: Allyn and Bacon, 1967.

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