CrestonMozartBachIvesBrahms

Programs forStudents:

Concert theme:Dvorak

Concert theme:

BeethovenPuccini

VerdiVerdi

Dance OvertureSymphony No. 41, 1st movmentSuite No. 3 in D Major, 2d movementVariations on AmericaSymphony No. 2, Finale

Combinations of Elementary and Secondary Grade

Music of the SymphonySymphony No. 5

Music of the Opera

Overture to FidelioChe Gelida Manina from La Boheme

Prelude to La TraviataHymn and Triumphal March from Aida

Concert theme : Music in the U.S.A.

BarberGould

Copland

Concert theme:

Adagio for StringsPavane from Latin American Symphonette

No. 2Billy the Kid

Music for Violin Solo and Choir

Mozart Concerto No. 4 in D Major for Violin, 1stmovement

Schubert Kyrie, Gloria, Credo from the Mass in G

MeyerbeerMendelssohnSmetanaWeberRodgers-BennettHandelTchaikovsky

Coronation March from The ProphetSymphony No. 3, 1st m,..)vementComedians Gallop from The Bartered BrideInvitation to the DanceSclections from The Sound of MusicConcerto in Bb Major for HarpsichordSymphony No. 6, March

Programs Presented on Weekends for Any Seudent Wishing to Attend:

Concert Theme: The Composer as a Youth

GlinkaMozartMozartMendelssohnBizet

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Overture to Russian and LudmillaMinuet, K.1Symphony No. 1Overture to Midsummer Night's DreamAllegro from Symphony in C

kL Se.= ft.L

SuolahtiSibelius

Humperdinck

MozartStravinskyProkofieffSaint-Saens

RossiniPorterMendelssohnSchreinerRimsky-Korsakov

ShostakovichDukas

Concert theme:

ProkofieffMozartMozart

Berezowsky

GouldBach-CailletHovhannesMozartSchumannProkofieff

Sinfonia PiccolaFinlandia

Hansel and Gretel (entire opera)

Overture to Don GiovanniSuite from The FirebirdClassical SymphonyBacchanale from Samson and Delilah (fea-

turing the Nelle Fisher Ballet Company)

Overture to La Scala di SetaTwelve Songs for Helen and One for BillSymphony No. 5, 2d and 3d movementsWorried DrummerCapriccio Espagnol

MadelineThe Sorcerer's Apprentice (featuring theDetroit Severo Ballet Company)

Opera

Theme for entire

WeberGluck

Tehaikovsky

Berlioz

Mendelssohn

March from The Love for Three OrangesFirst scene, The Marriage of FigaroThat Music Enchanting from The Magic

Flute (audience sing)Barbar the Elephant (children's opera, per-

formed by the New Haven Opera Society)

American SaluteLittle Fugue in G MinorFugue from Mysterious MountainConcerto No. 12 in A Major for PianoConcerto in A Minor for PianoPeter and the Wolf

series: "Music and Magic"

Overture to OberonDanc3 of the Blessed Spirits and Dance of the

Furies from Orpheus and EurydiceDance of the Sugar Plum Fairy from The

NutcrackerMinuet of the Sprites from The Damnation

of FaustExcerpts from Midsummer Night's bream

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MascagniWolfe-FerrariRobertsonBernstein

Concert theme: Form

Handel-HartyBach-CailletHaydnMcBrideBritten

Concert theme:

SmetanaDelibesGershwinGershw inTchaikovsky

Symphony No. 3, 3d movementIntermezzo and Farandola from L'Arlesienne

SuiteIntermezzo from Cavalleria RusticanaIntermezzo from The Jewels of the MadonnaPastorale from The Book of MormonCandide

Finale from Water MusicLittle Fugue in G Minor-Symphony No. 104, MinuetPumpkin Eater's Little FugueYoung Person's Guide to the Orchestra

Composers

Overture to The Bartered BridePizzicato Polka from SylviaAn American in ParisRhapsody in Blue1812 Overture

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"I can see it in their faces! Theprepared students are alert andglad to participate. When studentshave had preconcert study, theconductor can hold their intetestand maintain a high level ofperformance."

This view was expressed by theyouth concert conductor of theBaltimore Symphony. Three otherconductors agreed that concertpreparation was "absolutely es-sential," and six considered it tobe "valuable." One conductorpreferred having students pre-pared for two or three pieces, butbe crivell no advance informationabout the remainder of the pro-gram. Two conductors thoughtconcert preparation made littledifference, and two were stronglyopposed to it on the grounds thatit makes a spontaneous, emotionalresponse imPossible. Anotherconductor said that the value ofadvance study depends entirely onwho handles it and how it is done.He prefers no preparation at all tothat offered by persons not pro-

Prepared by the orchestra In:Chattan ooga

. Cincinnati r,Cleveland

ColumbusEvansvilleNeNT Orleans

fessionally trained in music.Although conductors expressed

varying views on the value ofconcert preparation, educatorswere almost unanimous in fa-voring it: 715 of 739 music spe-cialists stated that students shouldlearn something about the musicto be played prior to the concerts,and 30 of 34 administratorsagreed. Increased enjoyment andunderstanding of music werementioned most often as the im-mediate goals of concert pro-grams.

Study Guides

Financing and producing.Study guides or some form oforganized study materials for usein preparing students for concertattendance were produced in allbut three of the 20 cities (NewHaven, Sacramento, and Spo-kane) . As shown in the followinglist, some of these were preparedby the orchestra; others, by theschools.

-P4paredibY the lichooljurpBaltimore',,

Cincinnati,'CleVeland (far ESEA-funded

,

Concerts).Detroit'hrord

,

6353

Pasadena (Youth Music Council)Pittsburgh

ProVidence (Children's ConcertCornmittee)

-San FratiaseoSeattle

Various plans were used toproduce these study guides. InCincinnati, and for some of theconcerts in Seattle, the orchestrafinanced the materials but en-gaged school personnel to do theplanning and writing. For severalyears, a musicologist prepared theguides for the Pittsburgh Sym-phony Youth concerts, but in1967-68 they were written bypublic school personnel. Con-ductors developed the guides inChattanooga, Evansville, and forsome of the Seattle concerts, whileother orchestra staff membersprepared or supervised their

Geneial content

preparation in Cleveland, NewOrleans, and Providence. The SanFrancisco Symphony engaged acollege faculty member to workclosely with the orchestra inpreparing materials.

Quality and content.Thequality of the preparatory mate-rials examined ranged fromhastily prepared mimeographedsheets containing inaccurate datato comprehensive, handsomebooklets costine, as much as$1,500 to produce.

An inventory of the subjectmaiter covered in the study guidesincluded the following:

Source reieferiCe materitids` for leaChersList of .,rebordings!,y..._InforniaticA:4'.on''--Orehe'stra

ource reference materials --for''stUdents,-1-:-. Ipform.ation on ,coriductor. 1:---

Orchestia,='seatitig chart,'Concert 'manneti--informationList of ,films ancV,filmStripgi,Concert evalUECtion,,,, Miatertals',

; 'Reference to niaterials;iii':thuseums,

umber,,at guides

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ontents relating to the musicomposers

Storiesusical eXamples

.

at.: to listen for(..;losSar'y of .terrii4Style, form, period

...Analysis.Pionnneiation:

The music education membersof the study staff made bothgeneral and specific observationsabout the content of the studycruides:

Information on orchestral in-struments was included in manystudy guides, although there is awealth of material on the subjectreadily available to teachers in theschools.

Lists of recordings, visual aids,and reference books were includedin study guides in nine cities.Recordings listed in the Balti-more, Detroit, Seattle, and Cin-cinnati guides related directly tocurrent programs, whei eas othersused general lists. The listing ofcompositions and recordings re-lating to the music scheduled for aspecific concert was most desir-able. These lists gave teachers anadded resource and were espe-cially helpful when recordings ofspecific compositions to be per-formed were not available. Ref-erence to several different re-cordings (interpretations) of thesame work were reported usefulfor work with advanced students.

The Detroit and San Franciscoguides were the only ones givingfairly complete lists of recom-mended films and filmstrips.Concert evaluation devices wereincluded in only three guides, themost extensive being used inconnection With the Seattle En-richment Through Music concerts.

hi a few cities, short resumes ofcontemporary numbers or over-tures, with comments on eachcomposition, were included in thestudy guides, Baltimore andCleveland in particular. The de-velopment of short expositions engeneral musical topics that relate,perhaps, to s concert theme or tothe form and style of a compo-sition are useful teaching aids.

Musical examples were generallywritten as single lines of music,although several guides offeredpiano reductions of appropriate5ectionsa useful tool for musicspecialists. It was difficult for thestudy staff to understand whymusical examples were not in-cluded in all study guides. Al-though their inclusion requiresadditional work and sometimes

55

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expense, some felt that it wasfutile to try to analyze a piece ofmusic intelligently without theexamples.

In spite of the importance gen-erally attributed to an under-standing of musical form, onlyCincinnati, Cleveland, Seattle, andSpokane examined the subject intheir study materials.

There were more frequent reier-ences to temporal than to tonalaspects of music, usually in termsof the rhythmic characteristics ofa composition. The composer'screation of a mood was referredto in terms of major or minortonality, the registers in which theinstruments played, and the var-ious orchestration devices used.

For instrument recognition, theusual approach vvas to identify theappearance of a theme with aspecific instrume^t or group ofinstruments. Various instrumentalplaying techniques, pizzicato, forexample, were mentioned.

Nearly all study materials pro-vided background about thecomposer. Extensive use was madeof anecdotal materials, sometimesleaving little space to discuss themusic and information directlyrelated to it.

Stories attached to descriptivemusic were used frequently.Stories and biographical infor-mation about the circumstancesunder which a composition waswritten, performed, or receivedwere included in some of thecruides.

56

Glossaries of terms were usedfrequently ; aids in pronunciationwere included in only a few in-stances.

Presentations ranged from alively, chatty style to a straightmusicological approach. Combi-nations of student-oriented nar-rative and teacher-oriented datawere noted in the Cincinnatimaterials, thus providing ur-

formiLy in teaching method andcontent, while permittirg theteacher freedom to present othermaterials.

The line of demarcation betweenguides prepared for use by musicspecialists and those for use byclassroom teachers was not always

r. Study guides using musicalexamples, for instance, can beused effectively only if the teacherreads music, which the classroomr.eacher often cannot do. TheSeattle materials used in con-nection with the federally fundedconcerts were based on the as-sumption that classroom teachershad little musical training orexperience. A realistic and ef-fective approach was accordinglydeveloped, using tapes, com-mentary, and teaching guides.

Most of the preparatory materialsexamined were for teacher use. Inonly six of the cities were mate-rials prepared for and distributedto students. In Sarasota, programnotes were written for elenceni-aryschool children, and there weredrawings to point up specialconcert features. In Seattle,four-page program notes included

a brief narrative for each com-position and a few principalthemes. Student materials in SaltLake City included general in-formation about music, the in-strurnents of the orchestra (in-cluding pictures), the orchestraseating chart, information onleading composers, and a glossaryof musical terms.

In at least two of the cities, thecost of student materials wasunderwritten by business firms.

Guides that used a concise ap-proachthose with "instant"teaching deviceswere consideredmore helpful to the busy teacherthan comprehensive documents.However, in the cities whereyouth concert programing wasbased on multiyear cycles, re-source manuals of greater scopecould be developed.

Some highlights of represent-ative guides.The followinghighlights from teaching guidesare representative of the variety ofapproaches in use:

Baltimore's 1965-66 materialswere prepared primarily for useby music specialists and includedtheme charts, tapes of concertcompositions, piano reductions ofprincipal thematic- material, listsof references, and suggested ac-tivities. The 1966-67 materialswere focused more upon use byelementary classroom teachers andwere highly realistic and practicalfor this purpose.

In Chattanooga, the teacher'stelevision guide for grades fourthrough six incorporated concert

pr:Taration with general musiclessons in carefully planned se-quences.

Cincinnati's study guide for the"Fun in Masic" Young People'sconcerts included a number ofteaching suggestions written by anelementary classroom musicspecialist.

From Cleveland, the writing stylewas of special interest. Materialswere particularly valuable to theskilled music specialist under-taking comprehensive preparation

students.

Detroit's well organized and at-tractive guide had separate sec-tions for composer biographies,materials available at the Chil-dren's Museum, and lists of re-cordings, films, and filmstrips.

New Orleans used a unique ap-proach, describing the orchestrain terms of kinds of instrumentcases carried and steps leading tothe beginning of a concert.

Providence used a short expla-nation of the demonstration-narration aspect of the concert, auseful device for leading studentsinto a discussion of playingtechniques.

Sarasota's special section onconcert evaluation provided forstudent feedback on what hadbeen seen and heard at the con-cert. Another section on "GettingReady for the Concert" was alsoof special interest.

Spokane did not use guicks in1966-67, but in previous yearsincluded examples of form in

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music and suggested listeningexperiences.

Minimum standar ds forteachers' guides.The musiceducation members of the studystaff recommend that effectiveteachers' study guides shouldcontain the following:

Program listings with timing foreach composition.

General notes on the types ofmusic to be heard, suitablywritten for the teacher to readaloud to students.

Analysis of the music, with mu-sical examples on charts ortransparenries, in sufficient depthto inform and intere;.1 but notconfu. e the student; material tobe related directly to the generalmusic goals for specific gradelevels.

Specific suggestions for guidedlistening to be provided; technicalterms to be explained.

Lists of reference materialsavailable to teachers and students.Lists of community resourcesavailable for preparation en-richment, such as art objects, li-brary and museum materials, andaudiovisual aids.

Suggestions for followup activi-ties, including tests, discussions,and rehearing of the concertmusic or related compositions.Language arts ass.,snments inconnection with youth concertscould be introduced here.

Evaluation sheets to summarizestudent and teacher reactions and

teacher comments on predeter-mined items.

Whenever possible, concert ar-rangement details should bepresented in memorandums sep-arate from the teacher study6°vides.

Minimum standards for studentguides.The minimum contentrecommended for any studentstudy guides should include:

Program listings.

History of the orchestra that willperform the concerts, to be in-included at least once a year.

Biographical information onconductors and soloists, to beincluded at least once a year.

Discussion of music, with musicalexamples, listing of things tolisten for, and an outline of ma-terials to be covered by theteacher.

Composer biographies, possiblyincluded as a separate section.

Suggested reading materials,supplementary listening sugges-tions, and projects for extracredit.

Evaluation forms for studentreaction to the music and theperformance.

Suggested supplementary de-vices.Study guide activities maybe supplemented by using:

Worksheets and workbooks cov-ering material suggested in thestudent study guides.

Musical examples, pictures, and

59

diagrams for use with overheadprojectors.

Compositions that are reducedone-line scores, helpful for stu-dents who have knowledge ofnotation and are experiencedlisteners.

study guide to a school. As a re-sult, concert preparation was

tonecessarily left to the initiative ofindividual teachers.

Youth concert materia l. that isincluded in the everyday flow ofgeneral music instruction.

Instrumental specialLts and theirstudents in the preparatory proc-ess.

It is further suggested thatpreconcert study materials bedeveloped under the supervisionof the director of music educationwho may delegate the preparationto a master teacher or youthconcert coordinator.

Distribution.Study guides, nomatter how well written, areuseful only when distributed wellin advance to all teachers havingresponsibility for preparing stu-dents for concerts.

Although 90 percent of theelementary classroom musicspecialists reported that they re-ceived the materials regularly,some said that they arrived sonear the concert date that theycould not make sufficient use ofthem. Conversely, a few teachersreported that they arrived so farin advance of the concert thatthey were filed away and for-crotten.

Among secondary vocalteachers, only 65 percent reportedreceiving study guides.

In one city it was apparentlythe practice to distribute only one

Recordings and OtherSupplementary Materials

In line with a view expressed bymany of her colleagues, a class-room teacher in Salt Lake Citysaid: "Music chosen for theconcerts should be of records wehave in the schools so they can beplayed in advance of the pro-grams; or else each school shouldbe given a tape of the entireprogram two or three weeks inadvance. All of the descriptivematerial in the world is uselesswithout the music."

The music education membersof the study staff agree thatconcert programs and studymaterials should be correlated as

much as possible with recordings,tapes, and classroom music series.Keyboard Junior, Bowmar ma-terials, and Adventures in Musicwere among the items cited.

Of 756 teachers queried, only68 percent gave a "good" or"excellent" rating on the availa-bility of suggested supplementarymaterials; 18 percent indicated"fair," and 14 percent, "poor."The latter two groups expressedconcern over the lack of films,filmstrips, books, and undamagedrecordings.

When school budgets do notpel-rnit the purchase of neededrecordings, parent teacher groups,symphony women's associations,Junior Leagues, or business firmsmay be willing to supply themifnot as gifts, possibly on a loanbasis.

In cities where a multicycleplan is in operation, such as

00

it

3

Cleveland, school systems canmake large purchases of record-ings at one time knowing thatthey can be used over and overagain. In 1965-66, the Clevelandschool system spent over $2,000for records distributed to indi-vidual schools.

Methods and MaterialsDevised by Teachers

Roughly 40 percent of theteachers queried reported thatthey personally developed methodsand materials for use in concertpreparation. Here are some of thereported examples:

We write musical themes on cards,scramble them, and the studentslearn to put them in the properorder. (Elementary classroommusic specialist)

Bodily movements help the childfeel the flow of the music.

71

Singing and using rhythm in-struments for theme recognitionhelp.

Dramatization, whenever it can beapplied, and recognition gamescreate additional interest andenthusiasm. (Elementary class-room music specialist)

Sometimes, if a melody isprominent, it is copied and thechildren are urged to play it onbells. After seeing a filmstrip onthe various instruments, childrendemonstrate on their own in-struments. (Sixth grade teacher)

Each child uses an atlas to locatethe countries included on theprogram. The children enjoydiscussing the types of music andthe history of the countries inlelation to ours. (Fourth gradeteacher in a low income area)

I do not go over the music to beheard, because this only &Ills theexperience of hearing it. Rather,we teach students how to listen.The conductor's program notes,given before the pieces are played,are adequate. (High school vocalteacher)

Themes shown on flannel board orblackboard are played by studentson bell sets or the piano. (Ele-mentary classroom music spe-cialist)

I make tapes of passages of re-cordings which, in their entirety,would be too long or beyond theattention span of elementarychildren. (Elementary classroommusic specialist)

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We make up programs similar toTV lessons and review the lives ofcomposers. This helps the childrenunderstand how and/or why thecomposer wrote the compositionand the type of person he is.(Fourth and fifth grade teachers)

Other approaches which indi-vidual teachers considered ef-fective included:

A daily 15-minute listening periodfor instrument and theme recog-nition.

Concert programs developed bystudents, with a discussion of thelives of composers.

High school orchestra perform-ances of music to be heard on aforthcoming youth concert pro-gram.

Charts of orchestra seating plansusing pipecleaner figures torepresent musicians.

Exhibits on bulletin boards anddisplay cases.

Still other teachers suggested:

Correlatinc, television materialswith youth concert study guides.

Using worksheets and workbooks,the latter to be used from year toyear. Worksheets can be com-pleted as children listen.

Making use of materials from artgalleries and museums.

Providing teachers with scores touse in concert preparation.

Giving teachers time away fromclass to do needed research onconcert programs.

Encouraging informal discussionbetween students and musicians.

Centering required inservice(teacher) activities around con-

cert preparation.

Who Should ReceiveConcert Preparation?

Concert preparation practicesvaried not only from city to citybut from school to school withinthe same city. In Cincinnati, forexample, one music specialistnoted: "I take the entire thirdgrade to the first concert, the fifthgrade to the second, and the sixth(rrade to the last one." Anotherelementary music specialist in thesame city said: "Only a smallpercentage of the children in eachclass are able to attend. Thereshould be a special series ofclasses prior to the concert, onlyfor those children who are goingto the concert."

Personal involvement is thecritical element in the listeningexperience and far greater in alive performance than in a broad-cast. If preparation is struc-tured so that the live performanceis the culmination of the learningexperience, with the structurecollapsing without it, then it isdifficult to justify preparing allstudents when only some can at-tend the concert. However,preparation of all students isjustified if the concert is treatedas one experience among others inthe curriculum, especially if stu-dents have the opportunity to hearthe concert on radio or television,if not in person.

The Use of Radio andTelevision

Many teachers expr*:s:;ed thcdesire to use more oticcetionalradio and television ia preparingstudents for youth concerts. Overand over again they referred tc,the Leonard Bernstein New YorkPhilharmonic Young People'sConcerts as the ideal format to-ward which to work. There arebooks, recordings, and films basedon these concerts that are nowavailable for school use.

The study staff also suggest thatorchestras and schools use moreradio and TV (live or delayed)not only to prepare for but also tosupplement live concert attend-ance. Within time and moneylimitations, particularly for tele-vision, some cities have foundways to use local broadcast mediain connection with youth concertsas the following examples show.

Baltimore: The school musictelevision series, Accent on Music,presented on a local station, in-cluded taped interviews withcomposers whose music wasplayed on one of the youth con-cert programs. Over a 2-monthperiod, the series also featuredchildren and teachers as per-formers. In previous years, someconcerts were broadcast overradio. Thematic charts, trans-parencies for use with overheadprojectors, recordings, and con-cert tapes were also used in theclassrooms.

Chattanooga: Television musiclessons presented every Wednes-day morning were sometimes used

for.concert preparation. Class-room teachers were expected tolisten with the students and sup-plement the work introduced bythe program. The TV teacherplayed recordings of some concertpieces to be performed, toldsomething about the composerand the compositions, featuredinstrument demonstrations byhigh school students, and taughtsongs the children were to sing atthe concert.

Cleveland: Although radio andTV were net regularly used forconcert preparation, videotapes ofdaytime youth concerts werepresented over educational TVduring eveninr, hours. Educationalradio was used in conjunctionwith preparing students for operaperformances; and sometimeshard-to-obtain recordings wereplayed.

Columbus: A Young People'sConcert at Sherwood Junior HighSchool was aired on prime timeover a commercicl TV station as asponsored program.

Detroit: Although a num: r ofmusic programs were presented ona local channel, none were con-cerned specifically with youthconcerts. However, radio was usedfor rebroadcasting the schooluyncerts sponsored by the boardof education. The programs werepresented for the entire schoolsystem during school hours on theday following the concerts andagain at 8:15 on Friday nightsfollowing the concerts.

Evansville: The school-owned

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radio station broadcast some ofthe concert music the day beforethe concert, plus one 15-minuteorientation broadcast prepared bythe conductor. In 1966, for thesecond year, a videotape of theconcerts was later played over acommercial channel during eve-ning hours.

Hartford: All youth concerts werebroadcast live over a local com-mercial station and through thepublic address system of the highschool where the concert wasgiven. The best performance ofeach pair of concerts was rebroad-cast the following Friday eve-ning, thus enabling students tohear ail eight programs presentedduring the year. The radio stationgave a copy of the tape to the-_,chool audiovisual department.

New Orleans: The orchestramaintained radio facilities forbroadcasting youth concerts livefrom the concert hi..11 over theLouisiana Youth Concert Net-work. A series of televised lessonsselected from Musk for Childrenand distributed by the NationalEducational Television and RadioCenter was used on educationalTV to introduce orchestral andkeyboard instruments, and toexplain elements of musicalcomposition. Each lesson waspreviewed by teachers severalweeks before the viewing at theschool.

Pasadena: For 7 or 8 years ed-ucational radio has been used forconcert preparation, the diiectorof music education narrating the

-

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broadcasts and preparing teacherstudy guides.

Pittsburgh: The Pittsburgh schoolboard made a grant to the edu-cational TV station for a varietyof educational programs, in-.eluding a series of five lessonsdesigned to prepare students forYoung People's Concerts. A 20-minute televised lesson was pre-sented approximately 1 weekbefore each of the five differentconcerts. The television teacher,who was also a supervisor of in-strumental music in the sehools,prepated a brief guide forteachers which was distributedthroughout the schooi system bythe school music department.Although students from gradesfour through seven attended theconcerts, the TV lessons werefocused on the fifth-grade level.Using approaches not generallyavailable to classroom teachers,the lessons were planned to sup-phInent the oonductor's commentsduring the concert. Kish letteringwas used at the bottom of thescreen, and time was provided forstudent responses to TV questions.The station program directorreported that each 20-minutelesson required 20 hours ofpreparation time on the part ofthe TV teacher, plus 6 Lours ofon-set rehearsal time.

Salt Lake City: Preconcert studywas supplemented by a televisionprogram shown after schoolhours. Occasional use was alsomade of radio.

San Francisco: Preparation of

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students for opera performanceshas been rloue via television.

Ac the programs in. Baltimore,Columbus, Evansville, andHartford suggest, commercialstations as well as educationalstations are willing to cooperatewith orchestras and school musicdepartments. Initiative and jointeffort can result in broadcasts thatcan greatly expand the oppor-tunities for young people to heargood music.

Programs of an instructionalnature are usually limited to ed-ucational stations which, whilegrowing in numbers are not yetavailable in all areas. At the timeof the study, there were educe-tional radio stations in 10 of thecities; educational televisionstations in 12.

The TV teacher in Chattanoogagave some tips that should behelpful in planning preconcertinstruction via television:

The TV teacher should havebroad classroom teaching expe-rience and try new ideas in theclassroom before attempting themon television.

Concert programs should beavailable to the TV teacher atleast 5 months before the actualperformance in order to allowtime to clear copyrighted mate-rials and to prepare visual aidsand study guides.

If the cost can be met, groups ofmusicians should be invited toappear on the program.

School drama groups can present

skits about composers, showingcostumes, scenery, and circum-stances of the composer's life andtimes.

How Much PreparationIs Enough?

The quantity as well as thequality of concert preparation isan important consideration. Whilestudents are responsive to musicthey know something about, theycan be bored at a concert if theyhave had too much exposure tothe music beforehand. Timing is afactor. According to some musiceducators, intensive study justprior to a concert does not allowfor adequate absorption of thebasic content of the music; fur-thermore, it can detract from thespontaneous enjoyment of the liveperformance. They recommendthat listening to records and an-alyzing thematic material bespread out during the year andreintroduced at various gradelevels.

The poiicy in some cities is toprepare students for one or twoworks, and offer no advance studyfor the remainder of the program.In Baltimore, a "surprise com-position" is generally included togive students the chance to listenin light of their own musical andaesthetic backgrounds.

The Roles of the ClassroomTeacher.: and the MusicSpedalist

If student interest in symphonicmusic is to be aroused and ifyoung people are to learn to ap-

,preciate and understand music

literature and performance, it isessential that their teachers havegreater opportunity to attendconcerts and be briefed on how touse various available teachingmaterials.

In most schools a music spe-cialist was in charge of preconcertand followup study. However, 55percent of the elementary class-room teachers indicated that theyassisted in concert preparation. Insome ristances, they did most ofthe concert orientation and prepa-ration. In any event, it is theclassroom teacher who has thecontinuous daily contact withstudents and who has the greatestopportunity to influence theirideas and opinions. Also, whenconcert tickets are sold throughschools, it is often the classroomteacher who handles the chore.

Responses from these teachersabout their musical backgrm ndsreveal that few had the kind oftraining and experience requiredfor effective teaching of orchestralreptstoire. Some of them had onlylimited experience in attendingsymphony concerts. Responsesfrom vocal music specialists alsoindicated some limitations inhandling youth concert prepara-tion.

The first step is the establish-ment of a good relationship be-tween the orchestra's conductfqand the school system's director ofmusic education. They recommendthat, wherever possible, the con-ductor and, on occasion, leadingmembers of the orchestra holdbriefing sessions for music spe-cialists and teachers.

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Under optimun -,. circumstances,

music specialists would receive

intensive briefing on the music to

be performed, followed by a

discussion of what to teach and

how to approach the music atvarious age levels. Appropriatevisual aids would be previewed.

Full stores would be made

available whenever possible.

Music to be played by studentensembles as part of the precon-

cert study would be discussed.

Music specialists in the building

would brief general classroom

teachers responsible for concert

preparation. Particular emphasis

would be placed on the use of

musical examples and the musicalcontent of the concert program.

Educational radio and televi-

sion could be used to provide

further background for classroom

and vocal teachers. Recordings ofbroadcasts and TY films coveringvarious aspects of music could be

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78

heard and viewed by teachers on avoluntary basis prior to a concert

and throughf.ut the year. A master

teacher might conduct televised

inservice preparation sessions.

Concert Followup andEvaluation

An elementary music specialist

in Cleveland remarked that follow-

up activities were generally

more productive than preparation."Interest is stimulated, and re-

ports and deeper listening are

eagerly done."In Cleveland, however, as in

most of the 20 cities, postconcertactivities were undertaken on

individual teacher initiative rather

than on an organized, systemwide

basis.Approximately two-thirds of the

elementary music specialists re-

ported that they engaged in somefollowup or related activities after

a concert. Often the music was

discussed, the students expressingtheir likes and dislikes, listeningto recordings of the music theyhad heard, writing letters to theconductor, or drawing pictures ofinstruments. One teacher reportedhaving recorded conversations ofsmall groups talking together aftera concert and sending the tape tothe conductor.

Sarasota is one of the few citiesthat reported postconcert activitieson a systemwide basis. Fourth-,fifth-, and sih-grade studentsattending concerts were assignedto write their concert experienceopinions and the reasons for theirreactions. Various types of testswere given to find out what theyknew about various musical terms,repertoire, composers, and in-strument families.

Seattle reported that postconcertactivities connected with thefederally-funded performancesincluded writing critical essays,developing social study projects,painting, sketching, and photo-graphing musical subjects. In theearly planning stages, theWashington State Office of PublicInstruction acted as adviser andconsultant on the educationalaspects of the programs. Musicdirectors from various schooldistricts se.rved as members of astatewide advisory committee,took part in regional evaluationconferences, and held local or-ganizational meetings attended byother area educators, adminis-trators, and community leaders.

Devices for evaluating youthconcerts as educational experi-ences were almost minimal in the

majority of the cities studied.Only about one-tenth of theteachers involved were aware thatany postconcert evaluations hadever been undertaken.

My students buy records of theconcert music they heard.

The children want to take up aninstrument after they have heard aconcert.

The music was over the heads ofmy black students and they gotlittle from the concerts.

Neither have orchestras devisedmethods for evaluating youthconcerts.

We've been playing youth concertsfor nearly 30 years but still can'tsell out our adult subscriptionseries.

I personally know many of ourpresent ticket holders and con-tributors who became interested inthe orchestra as a result of at-tending youth concerts.

I notice that we have many moreyoung people and young adultsattending regular concerts than weused to have.

The study staff recommendsthat systemwide postconcert ac-tivities and evaluations be un-dertaken to reinforce the educa-tional values of the concert ex-perience. They further suggestthat teachers attending concerts begiven the opportunity and obli-gation to evaluate them on spe-cially prepared forms, and thatthese evaluation forms be used inplanning subsequent concerts.

69

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The task of transportingthousands of young students toconcert halls and supervising theirbehavior were among the mostserious problems in planning andpresenting youth concerts. It isexpensive and complicated.

Studvat TransportationThe sheer lack of available

buses in some cities restricted thenumber of youth concerts thatcould be given and the number ofstudents who could attend. Whereadequate bus systems wereavailable, whether private crcommercial companies, orschool-owned systems, they ban-died the work of getting studentsto concerts most satisfactorily.However, more than one-fith ofthe elementary teachers re-sponding were critical of thetransportation system. Some ofthe teachers that were most in-volved in this phase of youthconcert operation complained thatbuses were too crowded and ex-pressed their concern over thechildren's safety. They reportedthat there was insufficient super-vision on the buses that busesoften were not on schedule, andthat the trips took too long. Manyteachers were concerned that lackof centrally organized transpor-tation arrangements for concertsgiven on out-of-school timegreatly reduced the number ofstudents who could attend.

Costs of transportation toconcerts, usually borne by indi-vidual students, were almostprohibitive in some amas, andsome form of subsidization be-came necessary. In some outlyingareas, the cost of transportationwas sometimes higher than theadmission fee. A school outsideCincinnati, for instance, found itnecessary to charge students $3.50for the concert series$2.25 ofwhich was for transportation.Some of the teachers (17 of 19)pparently did not know that theCincinnati Orchestra had a Re-membrance Fund to whichteachers might apply for financialassistance covering ticket andtransportation costs for studentsunable to pay their own way.

In most cities, some means ofsubsidizing transportation costswere worked out. For example, inCleveland, each student paid his25- to 50-cent fare dependingupon the distance between theschool and the concert hall, theschools mging up the differencebetween student payments and buscosts from school funds or fromEhrnentary and Secondary Edu-cation Act title I funds. In SanFrancisco, some schools used fieldtrip budget money to meettransportation expenses. In others,PTA groups underwrote the maincosts, with the student paying from50 to 75 cents. In some surburbanareas, committees sponsored

81

modest fundraising drives to meettransportation costs. The usualbus charge made to students inSeattle was 30 cents, with schoolfunds making up the deficit. The

school budget in Sarasota covered

all costs of transportation, eventhough some schools were 30miles from the concert hall. In

Columbus, the orchestra con-tributed approximately $1,000 tosubsidize a transportation planthat resulted in a substantial in-crease in attendance.

Parking problems.Whenconcert halls are located in thecenter of town, as many of themare, parking may be a seriousproblem, affecting both studentsafety and general traffic. Balti-more used a coordinator withwalkie-talkie equipment to directbus drivers when unloading andpicking-up students. When theconcert was over, the audiencewas released as the bus numberswere called from the stage. Al-though this was a slow process, it

was considered better than turn-ing 2,000 students out on a busystreet to fight their own ways totheir buses.

Arrangements.The amount oftime required by school personnel

to work out logistics and contractsfor bus travel was a matter ofconcern in a number of cities. Inmany school systems, musicspecialists who already had heavyteaching schedules were placed incharge of transportation. This wasusually both complicated andtime-consuming. In some in-stances, PTA representatives and

other volunteer organizations

72

assisted. In Providence, for ex-ample, the Children's ConcertCommittee handled arrangementswith bus companies for city stu-dents and took charge of busloading, unloading, and parking.

Transportation was often fa-cilitated when the central schoolsystem took a strong hand inmaking arrangements. In Detroit,for example, the Music EducationDepartment outlined concertprocedures in a memorandum toprincipals and music teachers inall elementary, junior, and senior

high schools.The following excerpts from

their memorandum illustrate howthe transportation details werehandled:

How to get a bus

Simply call the chartered bnsservice, no later than 2 weeksbefore the concert date, statingthat you wish bus service on the

date of the concert. The charteredservice will have had previousnotice of dates, schools attendingeach series, location of schools,and time of the concerts, and itwill be its responsibility to havethe bus at your school at the righttime and bring the children back.When you order your bus, thechartered service will tell you theapproximate time it will arrive atyour school. It is imperative thatteachers and pupils be ready toboard the bus immediately, as adelay of even a few minute- upsetsthe schedule and delays the arrivalat the auditorium. The audiencemust be seated at least 10 minutesbefore concert time.

Bus fare

Each bus will transport 50people for a flat rate of $33. Thecost is to be prorated at the dis-cretion of the principal. Money isto be collected in advance andpaid to the bus driver by the ac-companying teacher uponboarding the bus. If, for anyreason, the coach is not used afterit arrives at the school, there willbe a charge of $22.

Teacher in charge

The music teacher from eachschool is requested to attend allconcerts with the group and beresponsible for decorum suitablefor the occasion. It may be de-sirable for a second teacher toattend and assist the musicteacher.

Arrival at Auditorium

1. The teacher should be ready todisembark from the bus withthe pupils upon arrival at theauditorium. The bus officialwill give the signal when eachbus load of passengers is todisembark. Please have yourseating allocation form readilyavailable.

2. Students will disembark andform a double line to enter theauditorium, with the teacherleading the group. All groupswill enter at the main en-trance. Schools holding bal-cony and loge seats will usethe first and last set of doubledoors at the Main entrance.Upon entering the lobby, usethe staircase to the immediateleft or right of main entrance.

3. Please check your seatingform before entering the au-ditorium and know whereyour seats are located and theaisle you are to use. Aisles arenumbered left to right as youenter the auditorium. (Mainfloor, aisles 1-2-3A-5-6)(Balcony or loge, aisles1-2-3) .

4. Please bring your group up tothe aisle indicated on yourseating form. This will facil-itate speedy seating of thegroups. Do not attempt to seatyour own group. The usherswill lead your group to thespecified seat locations. 3eatyour group quickly andquietly in your assigned lo-cation as indicated by theushers. If readjustments withinthe group are necessary in theinterest of good concert de-corum, please make this ad-justment after the group hasbeen seated as a whole.

Plan for Dismissal

A formal plan of dismissal atthe school concerts is necessaryfor safety and orderly dispatch inboarding the buses. Teachersshould explain that-

1. All students will keep theirseats and remain quietuntil their school is called.(Explain to the studentsthat their school may befirst or it may be last, andthat at the next concert thisorder may be reversed. Inany event, it is necessaryfor their safety and toavoid confusion.

3

2. When the school name iscalled, please use the exitindicated and immediatelymove quickly and quietlyto your sclmol bus.

We would appreciate yourcooperation in maintaining formalconduct until the auditorium iscleared.

Behavior in the Concert HallStudent behavior during con-

certs in the 20 cities, by and large,was good. When there were re-ports of poor behavior, the fol.lowing reasons were given:

Inadequate concert preparation,particularly in relation to concerthall conduct.

Inadequate supervision.

Poor programing for age groupattending.

Conductor variables.

Concert too long.

Overcrowded conditions.

The presence of teachers onbuses and in the concert ball isthe most effective extramusicalmeans of stimulating good be-havior. Teachers know whichstudents are likely to get out ofhand and they usually know howto deal with disciplinary problemsas they arise.

In some cities, the responsi-bility for audience supervision isin the hands of volunteer groups.In Pittsburgh, for example, theOrchestra Women's Association isin charge and student behaviorwas generally rated as "excellent"or "good." Most reports of un-

acceptable behavior involvedsituations when teachers or otheradult supervisors were not pre-sent.

The larger the hall, the moredifficult the behavior problem. Forexample, maintaining quiet was achallenge in the Salt Lake Tab-ernacle, a hall noted for its ex-cellent acoustics. As someoneremarked, "Children make noisejust by sitting still." A crew ofteachers, principals (some servingas ushers), parents, and ROTCcadets were on hand to supervise.

In Winston-Salem, whereconcerts were given at the Coli-seum and where students wereaccustomed to attending sportsevents, it was considered some-thing of a miracle that studentsmanaged to be quiet during themusic. The conductors commentedwith pleasure upon the excellent

supervision developed jointly byteachers and members of theOrchestra's Women's Guild.

The study reported that, fromtime to time, conductors found itnecessary to admonish studentsfrom the podium. When this wasdone with warmth and sympathy,the children tended to respondrespectfully. Even so, disciplinarymatters should not be imposedupon the conductor because someof the musical benefits are lostwhen audiences are alienated.

In some cities, instructions onconcert etiquette are sent to allschools and teachers for use aspart of the preconcert study. Suchpreparation usually includesspecific instructions about talkingand whispering, using restrooms,eating, chewing gum, rattlingpapers, applauding, laughing, andusing drinking fountains.

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Great interest was expressed byconductors, teachers, and studentsin performances by opera, dance,and choral groups; and the studyemphasizes that if youth concertactivities are to be fully effective,they should include presentationsby various performing groups.Although the scope of the studydid not extend to these relatedactivities per se, some informationabout them was collected andreported. Several of the per-formances were given in con-junction with orchestra concerts,but they were usually sponsoredby other organizations in thecommunity.

Baltimore

Since completion of the study,the Children's Lyric Series hasbeen presented by the BaltimoreSymphony. Featuring opera,ballet, puppets, and the winner ofthe orchestra's new competitionfor young instrumentalists, theprograms have been presented ontwo Saturday afternoons and oneafternoon during the Christmasholidays. Season ticket prices: $3to $7.50.

Cincinnati

The Cincinnati Summer Operagave two fully staged operas inEnglish for students in gradesfour through eight. Presented atthe Zoo Opera Theater, they werefinanced by a utility company, a

broadcasting company, and thewomen's committee cf the Sum-mer Opera. Ticket prices: 25 centsto 50 cents.

Cleveland

The Lake Erie Opera Societygave four performances in highschools, with members of theCleveland Orchestra providing theaccompaniment. Performanceswere financed by ESEA title IIIfunds. The Society also gave sixoperas in Severance Hall, andthey were financed by theCleveland Orchestra, the operasociety, and ticket sales.

Under an ESEA grant, othergroups presented operas for stu-dents in grades six through nineat the Supplementary EducationCenter.

Detroit

Twelve staged performances ofoperas were sung in English bythe Piccolo Opera Company.Presented in school buildings,they were financed through ESEAtitle I funds.

The Young People's concertseries included a special feature ineach of the four concerts. Over a3-year period, presentations in-eluded four ballet performances,three opera performances, twoconcerts featuring a cartoonist,two concerts featuring a narratedwork, and one concert featuringsolo performers.

Hartford

The Young People's Concertson Saturdays included a per-formance of Cinderella by thePickwick Puppet Theater, aJapanese kik dancer, and LislWeil and her Ballet With Crayonsin The Sorcerer's Appremice. Theprevious year there was a prod-uction of Hansel and C retel andalso a performance by the NelleFisher Ballet. Each year, thewinner of the Young ArtistCompetition appears as soloistwith the orchestra.

New Haven

Six performances of operas,sung in English and accompaniedby a small orchestra, were pre-sented in school buildings. Theywere financed by ESEA title HI

funds."Opera" was the concert theme

for one of the symphony's pro-grams. It featured a performanceof Berezowsky's Babar, the Ele-plzant, a one-act opera for chil-dren performed by the NewHaven Opera Society.

New Orleans

Ballet groups, student choralgroups, and small ensembles are

included in orchestra concertsfrom time to time. Also appearingwith the orchestra are outstandingstudent soloists selected as a resultof statewide auditions.

Pasadena

Under the aegis of the YouthMusic Council and the sponsor-ship of the Junior League, per-formances of operas written

78

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especially for children have beenpresented. Ticket price: 50 cents.Salt Lake City

Performances of TheNut-cracker by the Utah Symphonyand the Utah Civic Ballet aretraditional during the Christmasseason.

The annual Salute-to-Youth,Choral Concert provides an op-portunity for four or five out-standing choruses from local highschools to perform with the UtahSymphony.

Twelve staged performances ofoperas in English were presentedin school buildings for gradesseven through nine. Sung bymembers of the Univenity of

Utah Opera Department withpiano accompaniment, the per-formances were financed by in-dividual schools and Young Au-diences (a national organizationoperating through local chaptersthat organize and finance inschoolensemble performances).

San Francisco

The San Francisco OperaCompany, under the sponsorshipof the San Francisco Opera Guild,gave several fully staged operas inthe Opera House for grades sixthrough 12. Admission fees: $1.20to $3.

The Western Opera Theater,supported by a $5,250 grant fromthe schools and an additional

89

grant from the National Foun-dation on the Arts and the Hu-manities, gave 10 performances ofThe Barber of Seville, abridgedand in English, and with two-pi-ano accompaniment. The per-formances were given in schoolbuildings and were attended byselected students in grades seventhrough 12.

Sarasota

Special features in the or-

90

chestra's youth concert series haveincluded a ballet presentation andthe appearance of an artist whopainted pictures as the orchestraplayed Moussorgsky's Pictures atan Exhibition.

Seattle

For some years, the Universityof Washington Opera Workshophas presented fully staged operasin English at five junior high

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schools. A small orchestra iscomposed of members of theSeattle Symphony and universitystudents. The free performanceshave been financed jointly byschool and university funds, withadditional support from othersources.

Under the Puget Sound Per-forming Arts Project (ESEA titleIII), 17,250 Seattle students of allages attended performances ofStravinsky's L'Histoire du Soldat

at the Opera House and in variousschool auditoriuins. A full-scaleproduction of The Barber of Se-ville was given for approximately13,000 sixth graders at the OperaHouse. La Boheme was attendedby 4,779 Seattle students, andrequests for tickets exceeded thesupply by 5,000. The FestivalOpera Company's production ofMozart's Cosi Fan Tutte waspresented in condensed form inselected schools.

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Inschool performances bysymphony orchestras, chamberorchestras, and ensemble groupsprovide practical solutions tomany of the problems connectedwith youth concert operations.

While few school auditoriumsare ideal acoustically or spaciallyfor full-orchestra concerts, andwhile inschool programs cannotprovide the degree of excitementexperienced in a concert hall,there is, nevertheless, a growingtrend toward bringing performinggroups into the schools. In 19 ofthe 20 cities studied, concerts byprofessional musicians werepresented in school buildings.Factors accounting for the trendinclude the following:

The entire school body canattend.The problem of presentingprograms for students of di-verse age groups and culturalbackgrounds is automaticallysolved.Students and teachers spendlittle time in transportation.Since the programs are usuallyfree, the problems of admissionfees and ticket sales are elim-inated.Teachers, especially classroomteachers, are more readily in-volved.Preparatory and followupstudies have more impact whenteachers and all students attend.

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Costs are not as high as forfull-orchestra concerts in theconcert hall, and a greaterproportion of the expense canbe covered from funds availableto school systems and indi-vidual schools.

Junior and senior high schoolstudents attend in far greaternumbers.

Responses from teachers con-cerning concerts in schoolbuildings were largely favorable,as indicated from the followingexcerpts:

The small touring chamber or-chestra is a real asset to the musicprogram, provided it has the rightkind of conductorone who loveschildren and knows how to be anentertaining performer, whoknows the types of music whichappeal to the age level, and whocan stir the imagination. This iscertainly preferable to the presentsystem of transporting a few tothe music hall.

When we have had small ensem-bles come to the school, the entirestudent body has attended. Only asmall fraction go to the symphonyconcerts.

Children have shown great in-terest in small ensembles that visitthe school. They remember andlook for the players when they goto a concert of the full symphony

83

9 3

orchestra. Both types of concertsencourage children to study aninstrument and to hear recordingsof good music. Some go to adultconcerts on weekends.

After hearing the ensemble pro-gram, each of my second gradersmakes his own music book. Hecolors dittoed pictures of musicalinstruments, writing somethingabout each one. He also enclosesmaterials he received at the con-cert, the brochure on concertmanners appearing first. I playrecords, and soon the children araable to identify the different in-struments.

Effectiveness of the concerts wasreduced because the programsincluded music score for full or-chestra but played by a group ofapproximately 50 musicians.

Students have been very enthu-siastic over the demonstrationsgiven at school by a small groupfrom the symphony. It gives thema more personal relationship to theonhestra.

The inschool concerts are grandas far as they go. However, theygive children only a taste, not aswallow!

Arrangements forPerformances in Schools

Transporting musicians andtheir instruments to schools is notan easy task but it is not ascomplicated as transportingthousands of youngsters to theconcert hall.

To facilitate making arrange-ments and using facilities, the full

84

P4

Baltimore Symphony, which givesmany concerts in school buildings,sends a form letter to schoolprincipals shortly before concertdates. Followin, is the memo-randum issued in 1966-67:

To:Concert:

(Date) (Location) (Time)The following information isforwarded in connection withthe appearance of the Bal-timore Symphony Orchestra.

1. The equipment van andstagehands are scheduled toarrive at Please

(Time)make certain that a custodianis on hand to meet themovers and to assist inspotting the van for un-loading.

2. Damage to steps and prop-erty will be avoided ifwooden ramps can be pro-vided at the time of un-loading.

A minimum auditoriumtemperature of 700 is re-quired at concert time.

*4. On auditorium stage, whitelight inborders should beused. Please remove coloredgelatins. No spotlights are tobe used unless specificallyrequested and, if used, mustbe controlled by the stage-hands of the orchestra staff.An operator for the house-lights is to be furnished andwill function under the di-rection of the orchestra'sstagehands.

*3.

5. Prior to our arrival, pleasecheck to see that stage iscompletely clear of all par-aphernalia not essential tothe performance.

6. To obtain the best acousticalresults, it is essential that weplay against a background ofhard-surfaced walls. Curtainsor drapes of any kind mufflethe sound of brass andwoodwind instruments anddeprive your audience of thereal sound of the orchestra.The bare walls of the stageare preferred if no acoust-ical type shell is available onyour stage.

7. Please provide one dressingroom for the conductor, onelarge dressing room whichwill accommodate 50 men,and another room to ac-commodate approximately 20women.

8. A standing microphone withan on-off switch is needed foruse by the conductor.

9. Eighty sturdy chairs areneeded on stage.

10. Fifty permanent-type musicstands are requested to beplaced on stage if available.

11. A piano is (is not)needed for this performance.(If piano is requested, pleasehave it tuned to A-440within a reasonable periodprior to the concert, andplaced on stage.)

12. No one except the working

crew should be permitted onstage before or during per-formance.

13. Recording the whole or anypart of the performance isprohibited except by specialpermission, which must beobtained through the officesof the Baltimore SymphonyOrchestra. Permission, evi-denced in writing, must bepresented to the manager incharge of the orchestra atconcert time.

14. If at all possible, pleaseprovide coffee for the or-chestra during the breakbetween concerts. If theschool cafeteria is availableto the orchestra, the membersare happy with a pay-asyou-go situation. In any case,your cooperation will bemuch appreciated.

Please note: *These Kerns areof utmost importance It is sug-gested that one pen on be desig-nated to assume responsibility forheating and lighting arrange-ments.

Address communications to:

Manager, Baltimore SymphonyOrchestra

120 West Mount Royal Ave.Baltimore, Maryland 21201Phone: 727-7300

Ensemble Grongs andSmall Orchestral Units

While full-orchestra concertswere given in schools in Balti-more, New Orleans, Salt Lake

85

City, and Seattle, smaller or-chestral . nits and ensemblegroups comprised the majority of

the concerts given in the schools.The cost factor for these smallerorchestral units accounted, inpart, for their popularity. Therelatively modest fees that wererequired make it possible forschool boards, individual schools,PTA's and other organizations tofinance these activities. Whileorchestras subsidize many of theperformances, substantial supportwas also reported from localfoundations and business firms,from the Elementary and Sec-ondary Education Act of 1965(ESEA) , and from theMusic Performance Trust Fund(MPTF)

Educators welcome ensembleconcerts because they can bepresented in any auditoriumeven in a classroom. The rela-tively few instrumental voicesenable teachers to approach musicfrom a very basic standpoint.Students can understand indi-vidual instruments because thereare so few to consider at one time.For younger children, the chanceto see and hear the instruments atclose range, to handle them, to beable to talk with the musiciansare facfors which arouse interestand greatly enhance appreciationof full-orchestra concert experi-ence.

Preparation for conberts.Although little preparatory workfor ensemble programs was re-ported in the 20 cities Study, theflexible nature of the small group

86

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recitals make them extremelyuseful in teachinc, music. In re-ality, preconcert study and fol-lowup is valuable in the same wayit is for an orchestra concert.

For fuller utilization of en-semble performances as effectiveeducational experiences.

Before booking a performance,the music supervisor shouldknow that the leader is capableof presenting an educationallyeffective program appropriatefor age level of the audi-ence.

Programs should be submittedin advance and approved by themusic supervisor.

A variety of musical ensemblesshould be presented as part ofthe music curriculum.

Concert preparation and fol-lowup should be undertaken asthey are for orchestra concerts,and teachers should be sup-plied with necessary materials.

Programs should be sanctionedby the school system's directorof music education even thoughan individual school or PTAmay have contracted for theservice.

Evaluations of the perform-ances should be made by themusic supervisor.

1 The Music Performance Trust Fund(MPTF) is maintained by the recordingindustry in cooperation with the Ameri-can Federation of Musicians. Funds aremade available for performances of in-strumental music for which no admissioncharge is made.

47.44,

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Summary of Performancesin Schools

Inschool youth concert data for1966-67 are reported in the fol-lowing summaries. All programswere free unless otherwise indi-cated

Baltimore

Full-orchestra concerts weregiven for city students in gradesfour to six and grades seven to 12.Sponsored by the city schools andthe orchestra, the concerts werefinanced by a city grant.

Full. orchestra com;erts weregiven for county students in gradesfour to six and grades sevento 12. Sponsored by the countyschools and the orchestra, theconcerts were financed by acounty grant plus individualschool payments. Admission:50 cents.

Twenty-three orchestra concertswere given for students in schoolsthroughout the State. Sponsored

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by the orchestra, they werefinanced by a State grant plusfunds from local schools and othergroups. Admission fe.-s varied;some concerts were free.

Some full-orchestra concertswere sponsored by city and pa-rochial schools and financed byESEA title I funds.

Eleven performances were givenby a string quartet and a wood-wind quartet composed of firstchair players from the orchestra.Sponsored by the orchestra andfinanced by public funt:s, theperformancs for elementarystudents made extensive use ofshort pieces and movements oflonger works. Complete longerworks were included in pro-graming for secondary students.

Chattanooga

Fourteen ensemble concerts bya string quintet and a woodwindquintet were sponsored by thesymphony and financed by theMusic Performance Trust Fund of

87

97

'

the Recording Industries. Concertswere programed primarily forjunior and senior high schoolstudents.

Cincinnati

Ensemble concerts financed forseveral years by a grant from theschool system were discontinuedin 1966-67 because of reductionin public school funds.

Previously, 84 chamber or-chestra concerts were sponsoredby the orchutra and financed bylocal business firms and modestfees from individual schools. Thefull orchestra was divided intothree performing groups: twochamber orchestras and one stringorchestra. Each group preparedtwo different programs, one forelementary students, the other forsecondary students. Costs toschools were $115 to $175 perperformance.

Eight special orchestra concertswere performe% in area highschools. Financed by school funds,student activity funds, schoolendowment funds, and parents'association funds, they were at-tended by juniorschool students.

and senior high

Cleveland

Ten concerts performed in highschools by members of the or-chestra were financed by an ESEAtitle III grant: Series A, fourconcerts by a chamber orchestraof approximately 40 musicians;Series B, six concerts by a stringorchestra of approximately 30musicians. Over 300 programs bysmall instrumental, vocal and jazz

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98

ensembles were sponsored by theSupplementary Educational Centerunder an ESEA title III grant.

Columbus

Six concerts by 65 members of

the symphony were given in high

school auditoriums. Sponsored bythe symphony with financial as-sistance from MPTF and from the

Board of Education, the doubleconcerts were attended by allstudents.

There were 186 ensembleprograms by brass, woodwind,string, and percussion groupssponsored by the symphony andfinanced by individual schools,PTA funds, school board funds.local foundations, and MPTF.

Twenty-three ensembles weresponsored by the ColumbusWomen's Music Club. These in-cluded solo piano or harp, mixedinstrumental trios, singers withpiano accompaniment, andduo-pianists.

For 1967-68, the Board ofEducation purchased five pairs ofchamber orchestra concertstheorchestra subsidizing payments bythe board.

The orchestra has engaged astring quartet on a full-time basiswith performances priced at $35for two back-to-back appearances.

Detroit

Forty-eight performances werefinanced by $90,000 in ESEA titleI funds and performed in in-ner-city schools by two 50-pieceunits of the symphony.

There were 185 performancesby string, brass, percussion and

woodwind ensembles, composed ofmembers of the Detroit Sym-phony, that were sponsored byDetroit Adventure and financedby an automobile manufacturer,the MPTF, and limited ESEAfunds.

Evansville

There were 100 string quartetconcerts sponsored and financedby the Evansville PhilharmonicCorporation. Players who servedas heads of their sections in theorchestra were engaged on afull-time basis for the ceason.Concerts were performed in gradeschools, parochial and privateschools, and several high schools;$14,000 was contributed by var-ious sponsors, and $1,500 wasreceived from ESEA title I.

Hartford

Sixteen concerts in high schoolsby 45 members of the orchestrawere sponsored by the HartfordSymphony and financed by thecity of Hartford.

Over 250 performances weregiven by small ensemblestrios,quartets and quintets drawn fromstring, woodwind, brass andpercussion sections of the or-chestra. An early instrumentgroup, a harp trio, a trio withdancers, a jazz ensemb.le, a con-temporary music group, andcombinations of keyboard in-struments were also presented.Performed for students in kin-dergarten through grade 12, theprograms were sponsored by theHartford Symphony and financedby schools, foundation grants,

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ESEA title I funds, and MPTF.Costs: $47.50 per performance fortrios (when a pair of concerts wasgiven) and $72.50 for quintets.Costs were higher for schools 30or more miles from the city.

New Haven

All 12 Young People's Concertswere performed in Hillhouse HighSchool and were attended by anystudent purchasing a ticket. Ad-mission: $1.25. Sponsored by theorchestra, the concerts werefinanced by ticket sales and agrant from the city of New Haven.

Fourteen high school concertswere attended by students inschools in which the concerts weregiven. Sponsored by the orchestra,they were financed by the WilliamInglis Morse Trust, with modestpayments from some schools.

Ensemble concerts were ini-tiated in 1966-67. Two units fromthe orchestraa string quartetand a woodwind quintetwereavailable to schools at feesranging from $50 to $85, de-pending on the number of musi-cians and travel distances. Theorchestra had responsibility forbookings, scheduling, promoting,and financing.

New Orleans

Nineteen full-orchestra concertssponsored by the orchestra werepresented in three different highschools in outlying areas. At-tended by students in grades onethrough 12, with one concert forhigh school students only, eachconcert was attended by ap-proximately 1,800 students. Ad-

89

99

mission fee was $3 for threeconcerts, $2 for two concerts.

Pasadena

The Los Angeles Brass Quintet(members of the Los A- gelesPhilharmonic) went to Pasadenafor 12 days and gave perform-ances in 29 elementary and threejunior high schools under thesponsorship of the ColemanChamber Music Association (partof the Youth Music Council).Financing was provided by theMPTF, by individual schools, andPTA groups, with the remaindermet by the sponsor. A few per-formances "in the round" weregiven for children in kindergartenthrough grade three.

The Pasadena SymphonyJuniors sponsor classroom en-semble performances to whichthey allocate $500 a year. In1966-67, there were 12 per-formanccs by a folksinger.

Pittsburgh

Approximately 250 ensembleconcerts were given by two stringquartets, a woodwind quintet anda brass ensembleeach composedof Pittsburgh Symphony musi-cians. Sponsored by Gateway toMusic, a nonprofit corporation,and administered by the orches-tra's personnel manager, theconcerts were financed by a schoolboard allocation of $2,500, withschools engaging the ensemblespaying approximately 50 percentof the performance fee. Remain-ing costs were contributed bylocal foundations and the MPTF.Annual budget: $50,000.

9.0

ioo

ProvidenceEight high school concerts by

40 members of the Rhode IslandPhilharmonic were given in highFohools throughout the State.Sponsored by the Philharmonic,they were financed by a Stateeducation department allocationof $12,000, $8,000 of which wasused for orchestra concerts, theremaining $4,000 for ensembleconcerts.

There were 160 ensembleconcerts sponsored by the Chil-dren's Concert Committee and theRhode Island Philharmonic As-sociation; 36 of these concertswere performed in underprivi-leged areas under the aegis ofProgress for Providence. En-sembles included two stringquartets, a woodwind quintet, anda brass quintet. Musicians werepaid at the rate of $12 per per-

. formance, plus mileage, plus twoinitial rehearsals at $10 each, atthe beginning of the series. Inaddition to State funds, sources offinance included the MPTF, theNational Endowment for the Artsthrough the Rhode Island StateArts Council, and the Children'sConcert Committee of the Phil-harmonic Association.

Sacramento

There were 124 ensemblecrncerts for fourth, fifth, andsixth grades sponsored by thesymphony with financial assist-ance from PTA groups, individualschools, the MPTF, and privatecontributions. One ensemblegroup consisted of a stringquartet plus flute and oboe; the

other was a woodwind quintet.Each school paid $25 per per-formance, about one-half the ac-tual cost.

Salt Lake City

Twenty-four full-orchestraconcerts for junior and seniorhigh students were sponsored bythe orchestra and financed byindividual Schools, PTA's, ticketsales, and the Symphony Society.The back-to-back concerts werefree in some schools; 25 to 75cents in others.

Over 100 ensemble concerts bya string quartet, a woodwindquintet, a brass ensemble, a per-cussion ensemble, an opera group,and a woodwind jazz group weresponsored by Young Audiences.Concerts were financed by schoolactivity funds, PTA's, personalcontributions, a local industry,and the MPTF.

San Francisco

Ten chamber orchestra concertswere given in elementary, junior,and senior high schools. Spon-sored by the San FranciscoUnified School District, the con-certs were financed by an $8,000grant from the board of educa-tion, including some funds fromESEA title I. Performed in cul-turally handicapped areas, theprograms were planned to givestudents listening experiencethrough emphasis on rhythm,melodic concepts, musical form,harmonic development, and or-chestral color. Some studentdplayed with the orchestra andappeared as soloists.

Eleven youth symphony con-certs were presented in outlyingareas. Sponsored by the SanFrancisco Symphony Associationand financed by ticket sales andsymphony funds, the concertswere generally given in highschool or college auditoriums.Average admission: $1.

There were 566 ensemble per-formances in 35 Bay area com-munities sponsored by YoungAudiences of San Francisco. Fi-nancial assistance wa3 receivedfrom some schools, the MPTF,individual members, plus com-munity and parent groups. Mu-sicians, drawn mainly from theSan Francisco and Oakland or-chestras performed in string,wind, and percussion ensembks.In addition, a piano trio, an opera .ensemble, and a baroque instru-ment group were available.Concerts were given for thefourth, fifth, and sixth grades.

Sarasota

With free out-of-school con-certs, a youth orchestra, an in-strumental scholarship program,and access to a statewide TVmusic series, Sarasota's report didnot show in-school performances.However, student ensembles,started as a summer project underESEA title III funds and coor-dinated by the conductor of theFlorida West Coast SymphonyOrchestra, met once each weekafter school, under the directionof the Sarasota instrumental staff.The conductor himself goes toschools with his violin and oboeto help with student preparation.

10191.

.3,

.,ix

.4

:',

Seattle

Twelve full-orchestra concertsin junior and senior high schoolswere sponsored by the SeattleSymphony through its sustain-ing fund, the Seattle schoolsystem live performance fund,and ESEA title III funds.

There were 29 orchestra con-certs in King County schoolssponsored by the Seattle Sym-phony and financed by the MPTF,grants from the King CountyCommissioners and a railroadcompany, and the Seattle Sym-phony sustaining fund.

String quartet concerts weregiven in 54 elementary schools forfifth and sixth graders. Costs to-taled approximately $5,500 andwere assumed jointly by theSeattle school system live per-formance fund and the MPTF.

Two projects supported byESEA title grants were sharedby Seattle and area schools: thePuget Sound Performing ArtsProject, and the statewide tour ofthe Seattle Symphony. In-schoolprograms included opera per-formances, symphony concerts, 20performances of A Song forJohnny Appleseed for children ingrades two through five, ensernMeprograms by string, woodwind,brass, and percussion groups, andchainber orchestra concerts. Ex-tenstve preconcert and postconcertactivities were included.

Spokane

The chamber orchestra, con-sisting of 24 members of theSpokane Symphony, participated

t-.7,..nrcr.1,1-PrTr;r.z...:Mr011Z:7'..`7M-172.ra,M7,7:75477er:;r7.-

in Seattle's ESEA title III project,"Enrichment, Through Music?'Under this grant and in cooper-ation with the Seattle Symphony,the Spokane Chamber Orchestraplayed 12 concerts for youngpeople in rural communities in thenortheastern section of the State.Two of the concerts were per-formed for junior high schoolstudents in Spokane.

Orchestra concerts, performedin high schools and financed byfunds from ESEA title and theMPTF, were given for 2 yearsbeginning in 1964 but were notplayed in 1966-67.

Winston-Salem

Eleven little symphony concertswere given in elementary schoolsunder the joint sponsorship of theWinston-Salem Symphony Asso-ciation and the school system.

The concerts wereadministered by the Winston-Salem Arts Council and financedby ESEA title I funds. Presentedin school auditoriu.s on Fridayevenings, the concerts were opento anyone wishing to attend butwere directed primarily to chil-dren and adults living in deprivedneiohborhoods. Attendance wasdisappointing.

A double quartet of strings,presented 44 conceritsfor children in grades 4, 5, and6. Performed in school audi-toriums, the programs wereplanned by the conductor of theWinston-Salem Symphony whoalso discussed the instruments andthe music, and demonstratedvarious styles.

While variations in youthconcert operation are inevitableand desirable, certain practicesemerge as fundamental inreaching the main objective themegiving more young people moreopportunities to hear and ap-preciate live performances ofyouth concerts. In brief, schoolsare ,Incouraged to

Establish a close working rela-tionship between the orchestramanagement and the school sys-tem's director of music education.

Identify specific goals and a time-table for meeting them.

Plan fiscal arrangements with bothorchestras and schools, indepen-dently and jointly analyzing ac-tual past expenditures and pro-jecting future cost estimates.

Solicit financial support fromvarious possible sources: businessfirms, local and national foun-dations, school boards, voluntaryorganizations (PTA's, JuniorLeagues, and others) , artscouncils, the Musicians Per-formance Trust Fund, interestedprivate donors, city, county, andState governments, and Federalagencies. Solicitations may bemade by the orchestra, theschools, or sponsoring groups asappropriate.

Provide students with sequentiallistening experiencesseveral

mcktmsw.n:ratt?

concerts a year over the years.Orchestra concerts should be partof an overall undertaking, en-compassing ensemble programsand demonstrations. choral con-certs, performances of opera andballet, and performances byschool musicians.

Schedule as many of the programsas possible during school hoursand in school buildings.

Provide all students with theopportunity to attend, no childbeing deprived because of personalfinancial limitations.

Offer programs of artistic ex-cellence that are appropriate forthe age level and cultural back-(rround of the audience.

Present concerts in a hall withgood acoustics and good viewingconditions.

Integrate concert preparation withthe general sl-bool music curric-ulum. Under the supervision ofthe music education director,study guides should be producedand distributed to teachers andstudents well in advance of theconcert date. Teachers involved inpreparatory work should bethoroughly familiar with thetechnique for using the variousstudy materials. Recordings, tapes,and visual aids should be pro-vided and educational radio andTV utilized.

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Establish devices for evaluatingthe effectiveness of youth concertactivities.

Further Development ofYouth Concerts

In the course of the study,conversations relating to youthconcerts frequently served asspringboards for broader-baseddiscussions concerning youngpeople and cultural activities intoday's world. Some ideasemerged which the authors of thestudy put in the form of ques-tions:

Why not a national task force toapproach the problem of up-grading the music heard on radioand television, juke boxes, andpopular records?

Why not find out what might bedone to facilitate wider use ofeducational radio and television,taping, and recording, in order toexpand the opportunities forstudents to hear youth concerts?Exploration should be conductedat the national level by educators,orchestras, opera companies, andthe professional unions and guildshaving jurisdiction over instru-mental and vocal musicians.

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Why not a coordinated 2- to 3-year project in which outstandingleadership from symphony or-chestras and schools could ex-periment with and test variousapproaches and materials de-signed to bring young peoplecloser to fine music, with the ul-timate purpose of making thesetechniques and materials readilyavailable to all schools and or-chestras wishing to use them?

Why not joint exploration byeducators and artists concerningthe place accorded the arts inteacher training, with specialreference to the training of ele-mentary and secondary teachers?

Why not develop a broad-basedstudy and action that would bedictated solely by (1) the needs ofstudents, and (2) the require-ments for excellence in the arts?

If education of youth and ex-cellence in the arts are as vital tothe future of our society as theirspokesmen claim, then why notplace them at the focal point withthe avowed intention of findingwaysthrough research, study,and subsequent actionto breakthrough the myriad of practicaland financial barriers impedingprogress in these areas?

Appendix

Appendix.=Selected 'Data ,Of. Concert,. perations.",,r Per Seryiee

, mmeö-. ,politan

poplila-tion_'(1960censwp

-

City

Group 1.--=1Y1u;icians'enisage' iiiiltimoie; MCI"

'191621

'T.`

192

inoinnati, Ohio- ,----,-- ,1895

-,1919-7201

'1-- , '' 1918ClO4gancl; Olio '' ,1926''-'etiOitc-kich: 1914713, ' ,1914=15

Haitiord,' Conn. (193t1).' , 1958=59, -, ,

1933-4-9--,

C_Nei,17. d r eans -i, a. ' 1935.436 -

, 1926--t,' J.935=36;,,

Pittahurgh;Ta.'-',IA.9.402!,'

-1945 ----

,iilt Lake,CitY.Uttih 1947,.,-Saktiancis-Co;`C-itlif. [-:-:1911h' ,

geitttle;';Wdsh. -- -,r IP*

;727023:-

:15,.-P4092-

907,12'31,17, IT ,r;

;405;435 -

101' 24",

usiciansm,,3,

28,0001,-1

,03360

,918,30035000:h42,000t'-;

si44.1

,

' ChattarioOg; '''renh.`c, ,;-., 102,2-

COlurObus, Ohio,-::' ', -:51'

.Evailsi,gie,1,-.Inii.7:. , ,-..-,, -, ,: - , ,ibp--IsTe'w' Haven Conii -`, ,* -,

,,,1895,,_

1:!Osit'cleiia; Calif'. '- '_?-i:11.923-,';',-',

ProvidenceR.I. r1945,Sacratrientocahf.--: 94

,

,

'Sara'sOta-',F16.:Spokiii,,YO'iasli., -- ,-

'._.---N - -0414*-r-',,,Niristoif:Saiein;;N: ,,", , 'cOilp-,

-,

TAjiniaiCitir 'per Length-- Number IOutflpublic, ,'- pupil of ef :,Cericertefplayed:7-,', ,eoncert,

concert. -, attendtdeal

(vieeki); -

c estra plated),.. : ;..A.,,,, ,,....' ,-,-' ' -7",;4.-,./.,=.:,;;,:7, ,.- . ' .. '-'7 -' ^ -_- ..j: '7 %.7,...': 1- '-'"... , ,..,..I' , -:''' -:,,.2- :tinie 1 'hams', for -air oe part: tilt Atte ',year,:

-;----,:,-.. ''',..-,, ;.' ,, ' , 3, ' ,.; , .- , .- ',', '','''' :.t ''': s' 2: ' :-., ;4,95,84..8,,..., -_ r:.--,:,$532-'--_--' :,',-..--':,-,34"-,. f '', -- 88 - ,..';'' /.-209,,,.: ;;, 95,,c--.;,:,,-150,0091.:

,8_11,,99.-!,,,,.,,i:,...4ly ?:',-:.,:',-.;-,- -4.46s: 95!,',,..r.- ?,:.::.7.94-:,-, f. ,: :, 1147._ ',::- :-:i155,140155;026 .2182V,'-:;:c;-,,'-'-j48 1077'----,72.,-,:;,f,;....-:11804:.--,,,-'-:';-',:57,-,'" :-,-, ;";,,-";-96;00-07-;'

; 300,000-;,?;';':-,..:::,',,-'2_?-i_"',1,=-:', -..,-,=,:`-.:47.-;-_-,.-':: -.:' 102- :- "--'----,', -17a z:-::::,:,' , .-=,:ii--, --. ",,-1--::100000;.. .7, 26,016 ,i-,, ,,`; t 4, 660 !. ,r` ---- 30 ,"-,- , -'-' ,75-=85", ,,,. -."- ,-,-., 51 ::,'-''''). '.28 ''''-'7:-T; -i130 000.-- .- ---",; - ''' 0-, '-`,.' , ":,,,,,,-:, ', 7

: '-:,,,:,'','..-' ,1-''.*;:-'''',"-f'z' --:- ;:ls'-::-. ---.AT'e!:;--,-,,,2--r:IH:r.;' ',---:','";-z,,;;', 4 '''':::'-i'l -, 'k''.1.':'- '-,:" ' '5; ''' '.C..

17Q5;716,`::;'-t4'i,,,_350'.',,-;',--,--- ',32'.',-.!'--- "3110 ..----:','---`.."1130 ---'4.?-,_:' 56,;.; .--,,:,',-:,,81,.606,---,,,-,:,Isii,oixi:;:-:=4 '"-f'', 40,-.;; .-' ;95' '-''''''.,',-.-.,'234,:-.24''''-gi.,;---7s50',-.1-,- --118 000''-','-,-,- .,---,, _ -%,'---,-, -- -.;,.; '.;- ,..-; 'f 1 ,',,,,,,,,, ',---',1,::,, ''' - ;,7=

I , 37,319 ,,..'-_'.- -- -,,.462't -- ', ,28 , :--,-- ; 8V.'..-',- ---_-'41,-- 9r, '-29,7r"- ''(',:z4', 67 400:-.:-.; -'1, 106;191:-.,-,,-,,' -_,-,,,601'', --' -;'30-,2,-;-,'--` t-100-1-:,-.;',-"-`112,, 7::,-f-',,,..,;T,'',;40,200f.

95, 17' -,-,- -, 4,621-' -,,,-.,-, -,.-29_ , --.' 7.1.' :83- -c.-+'..e-180 96 146;000,'i,,--;'',;17,-;;FH0..V,:?,'-'-----,,,?." ',-;4-,,'..-,-,-, -2',--,/,., ,.',- _t- ,,,, --,-,,,,-- ,-4., n-r-;_i-,- ..;.;..,-,,,!.,,iy.,,,,,,,.,

- ...-.,,,,;- ,,,,'-',-engage ,on.- per ,:serviee ..7basis'`,.

2-7;163V4 -T,~373;--,''',.'' '",. -' -'' '-,- -''' f'-";-',;' 681;>,4,- f,'" ';';',419,1- l.',,'1 '" ;000 rilc,-.,2, 7-7 ',.; 't .1.05;41V,_-',, ,,:-4,11-,,,,,,i-2-!, -.--,...i._,',;--,."--,-..-.3-,:F-80;::.',:,. .-.3&-,q-'" 0 20,000

I A,i..,Q.A4 '-_,: . -.%,-j-, c t ' ;;0,, 41 ''....;:'".1,-7't ,-',t 0.',-`-'07 ', -'1' ,. =OGGi-, i - ,,- ..-.:._'-',,,,,,..' ':':. 8u --:,,. e-:. , . 12 4 21;500--;,-,:,'r;

-8 6 ' ° ' 7- ' ::-:' ' ;3 '',;29,500',ie-,:"--7-----7-:,' '-'.. i''' ,'F , l'-:--`-`, -1'-,,:.,_-,-,:,-44;330 '-',,.- 694 " - ' .,-,...,,, 82 .!-, '-',4`,"--.: --'' -10 ve;iibe.,.:

,-.:: ;4,- -A,' "'26,680, 67P-;'-','4.'',,:-.,.1.,_:-.-: 5,1---,--`----- -45-, -,,A41;000,2.,.-'-"i;',,', ,4, 4 - .., ..`t 0-1:-,,,r", .i57;875 649 A.,,,'-::::"-,-'' _-_,:-._;, ':34;;-' 18,000,-t,.v--118i,;i429 --- ----, ,-

-.4-Y-V' ::..1.:...,2,-,"

1.7'.. 2. ,, ,.:..;S:' :'..:' .2.::1;Y'''L':2'.:, ,,1,..-,..14,,..4.--;LL...--,_,.

99

_ 109* U.S. GOVERNMENT PRINTING OFFICE; 1971 0-411.-007

U.S. DEPARTMENT OF HEALTH, EDUCATION, AND WELFAREOffice of Education