and thorough.

It traverses the develop-

ment of percussion instruments, "lip-
voiced" instruments, woodwinds, strings,
and nonorchestral instruments such as
FREE HELPFUL LITERATURE the piano, organ, free-reed instruments,
and electronic developments in sound
The American Music Conference has available the following literature. It is production. A final chapter is devoted to
a discussion of the development of the
offered in single quantities without cost. Nominal charge for titles requested orchestra and its instrumentation.
in quantities. To permit widest possible distribution, please refrain from Each chapter and section traces the
early history and origins of the instru-
checking titles of marginal interest. ments discussed (often stating as fact
what might better be left to conjecture)
Current Views on School Music. Reprints outstanding articles from "Music and their development up to the present
Educators Journal" on music's place in the school curriculum. 20 pp. century (with an acknowledged indebted-
ness to the studies of Curt Sachs). Three
Keyboard Experiences in the Classroom. By Dr. Robert Pace, chairman, MENC hundred and twenty illustrations illumi-
National Piano Committee. nate the text but unfortunately, because
of poor workmanship on the part of the
Keyboard Experience. Reprint from "Musart" outlines use of paper keyboards printer, a considerable number lack the
to teach music fundamentals in the classroom. clarity and definition assumed as a mat-
ter of course in present day publication.
Leaders Endorse Keyboard Experience for Pre-Band Students. Findings of The bibliography is a curious mixture of
survey of bandmasters on value of student pre-band keyboard experience. pertinent and much irrelevant material.
An Evaluation of Keyboard Experience. Findings of a study indicating that ex- The index is adequate.
posure to keyboard experience definitely quickens student music advancement.
METHOD OF ORGAN PLAYING. By
A Suggested Keyboard Experience Lesson Plan. Manual defining keyboard ex- Harold Gleason. (New York: Appleton-
perience procedure, with references to songs in leading school texts. 24 pp. Century-Crofts), 1962. 261 pp.
Why a Grade School Band. Discusses benefits to be expected when a band is In tll introduction to this book the
organized in an elementary school. author states: "The purpose of this book
is to provide the musical and technical
Why Have a School Band. The principal of a parochial school describes a suc- foundation necessary for the mastery of
cessful band project. the art of organ playing." Certainly he
has succeeded in carrying out his plan,
Organizing a Community Band. A procedural manual listing basic steps in for this Method of Organ Playling dis-
beginning a band in any community. 8 pp. plays a vast knowledge of the literature
Music Activities in Community Recreation. Discusses suitable activities, leader- for organ and a thorough understanding
of the problems of teaching. The author
ship, supervision, finance and facilities. 12 pp. can indeed speak with authority on peda-
A Study of Instrumental Music in 322 School Systems. Findings of a national gogical matters, for he has been a teacher
of organ playing at the Eastman School
spot survey to determine the status of elementary and high school music. of IMusicof the University of Rochester
Music in the Jet Age. Reprint from "Recreation" urging all people, with emphasis for thirty-five vears.
on our senior citizens, to make music irrespective of proficiency. Methlodof Organ Platling begins with
a brief description of the organ and a
You Too Can Make Music. Reprint from "Changing Times" explains why no discussion of the lqualities of tone color
adult is too old to begin music study under to day's instruction methods. found in the different classes of pipes.
Problems of registrationand execution of
Your Child and Music Lessons. Some down-to-earth advice to parents. ornaments are carefully explained.
Help Your Child Like Music. Twelve considerations for parents whose child Assuming that the student has a piano
wants to learn to play a musical instrument. playing proficiency equivalent to the
difficulties found in Cramer's Studies or
You Can Give Your Child Music. By Hobart H. Sommers, Asst. Superintendent Bach's Three Part Inventions, this method
Chicago Schools. Urges instrumental music instruction for all children. presents first a number of exercises for
the development of a good legato. These
Correlation and Integration of Music in the Classroom. An 11" x 17" chart exercises lead directly to the study of
to show how music blends with other classroom activities. compositions for manuals alone with
works by composers from the sixteenth
The Potential of Fretted Instruments in School Music. Manual suggesting ways centurv to the present.
to include fretted instruments in school music curriculums. 20 pp. Pedal technique is developed by means
Music Is For Everyone. A 2-color 17" x 22" wall or bulletin board poster de- of exercises for pedals alone, studies for
one hand and pedals, and finally compo-
signed to encourage students to play in band or orchestra. sitions for two manuals and pedals.
Elementary Music Workshops. Folder to inform school systems and colleges on The appendices present lists of compo-
how to arrange a non-commercial, no-cost AMC workshop on elementary music sitions of varying difficulty, a complete
methods. bibliography of books on organ playing,
and many interesting illustrations of
Filmstrip Folder. Describes three 35-mm color sound filmstrips available on loan composers, organs, and manuscripts.
from AMC, to stimulate student interest in school music organizations.
JAZZ IMPROVISATION, Vol. II. By
John Mehegan. (New York: Watson
137
Guptill Publications Inc.), 1962.
American Music Conference pp. $12.50.
"Volume II of Jazz Improvisation deals
332 South Michigan Avenue, Chicago 4, Illinois with the schematic history of two im-
portant facets of jazz: (1) Rhythm (2)
The improvised line. It is in the area of

160 MUSIC EDUCATORS JOURNAL

rhythm that the jazzman has achieved his
most magnificent expression; it is in the
improvised line that he has given this
rhythm vitality and meaning. As the jazz
musician calls forth his resources of
imagination, technique, and taste to gen-
erate that elusive quality called swing,
he also learns that the sum total of the
resources he deals with eventually are
transformed into the common denomi-
nator of all jazz-rhythm. Volume I of
Jazz Improvisation explored the tonal
aspects of this problem. The present
volume deals first with the rhythmic
genesis of improvisation, and second with
the reproductions of outstanding record-
ings created by jazz musicians over the
past thirty-five years. Various schematic
outlines trace the evolution of jazz
rhythm, harmony, and the improvised
line."
This quotation from the preface of Mr.
Mehegan's study accurately describes
what the author is attempting to do.
About one-third of the book analyzes in
detail the elements involved. The other
two-thirds consist of notated improvisa-
tions transcribed from the recordings of
actual performances of noted performers
of the jazz idiom. Mr. Mehegan, since
1947, has been teaching jazz improvisa-
tion at the Juilliard School of Music. He
is also connected with jazz instruction
at Teachers College, Columbia Uni-
versity.
THE WORLD OF GREAT COM-
POSERS. By David Ewen (Englewood
Cliffs, N. J.: Prentice-Hall, Inc.), 1962.
576 pp. $10.00.
David Ewen, prolific author of popular
books on music, presents in the present
volume, the portraits of thirty-seven not-
able composers from Palestrina and
Nlonteverdi to Puccini, Saint-Saens, and
Debussy. The result, in the nature of a
symposium for each individual composer,
is discussed and presented to the reader
from four different aspects.
Each of the thirty-seven chapters is
introduced by a highly condensed biog-
raphy in one or two pages written by
Ewen. This is followed by a description
of the physical characteristics, habits, and
personal attributes as seen through the
eyes of a contemporary (or a later writer)
who knew the composer well. A third,
and perhaps the most important contri-
bution, consists of a critical discussion of
the creative output by a recognized
authority on the composer's music who
is usually, though not always, a present-
day scholar or critic. The fourth and final
aspect is devoted to direct quotations
from the correspondence, diaries, or other
written communication of the composer
himself. Three appendices include a list-
ing of the principal works, a selected
bibliography, and annotations pertaining
to the contributors who furnished much
of the text in this volume.
Mr. Ewen has served an extremely
valuable function in bringing to the non-
professional music lover, highly readable
and non-technical discussions regarding
composers of the Western world. In the
course of writing twenty or more books,
he has tread and retread this ground
rather thoroughly. We would suggest
that rather than wear out his welcome he
might now consider giving attention to
sonme other aspects of music, which need
consideration in this century.
YOUR FUTURE IN MUSIC. By Robert
E. Curtis. (New York: Richards Rosen
Press Inc.), 1962. 160 pp. $2.95.
Your Future in Music, an addition to
the "Careers in Depth" series, is a well-
written and realistic look at all the fields
of professional endeavor in music. The
author, whose training was received un-
der Walter Piston at Harvard, is widely
experienced in the field of popular music,
having worked as composer, arranger, or
pianist for many entertainment personali-
ties and "name" bands. Three main clas-
sifications of the field are treated-play-
ing, writing (arranging and composing)
and teaching. The chapter on music
education is good and teachers will both
find enjoyment and knowledge in reading
about the other fields such as recording,
radio and television, club dates, com-
posing, and the concert stage.

Journal of Research in Music Education

FALL 1962 VOLUME X, NUMBER 2

ci,,
TABLE OF CONTENTS
Leonard Meyer's Theory of Value and Greatness in Music A Study in the Correlation of Music Theory Grades with
By Bennett Reimer _---___ ________________ 87 the Seashore Measures of llusical Talents and the Aliferis
Music Achievement Test
Negative Practice on Band Instruments: An Exploratory By A. Richard Roby _-__-_------137
_
Study
By Gordon B. Johnson -----_ _ _______________100 The Symphony Orchestra in Higher Education
By A. Harold Goodman --------------------------143
Classifications of Reaction Patterns in Listening to Music -
Index to Volumes I-X -_- _-- ---- 151
By Robert W. Yingling -__-_ _ _______ _____105
Cooperative Research Program
Journey to America U.S. Department of Health, Education and Welfare --158
By Boris Yarustovsky
Translated by Richard F. French ----------_--___ 121 Reviews
By Wallace Berry, Bruno Nettl, Bruce Bray, Earl E.
School Music in Sixteenth-Century Strasbourg Beach, Charles L. Gary, Paul S. Ivory.
By Clyde William Young _ ______ 129 Edited by Paul S. Ivory -------------__
___ _ 159

Music Educators National Conference, 1201 Sixteenth St. N.W., Washington 6, D.C.

C(TTOTR RIO)R

FEBRUARY-MARCH, NINETEEN SIXTY-THREE 161