(Ebook PDF) (Ebook PDF) Introduction To Music Education 4th Edition All Chapter
(Ebook PDF) (Ebook PDF) Introduction To Music Education 4th Edition All Chapter
http://ebooksecure.com/product/ebook-pdf-teach-introduction-to-
education-4th-edition/
http://ebooksecure.com/product/ebook-pdf-music-matters-a-
philosophy-of-music-education-2nd-edition/
http://ebooksecure.com/product/ebook-pdf-introduction-to-
education-studies-educational-studies-key-issues-4th-edition/
http://ebooksecure.com/product/ebook-pdf-worlds-of-music-an-
introduction-to-the-music-of-the-worlds-peoples-6th-edition/
(eBook PDF) The Schooled Society: An Introduction to
the Sociology of Education 4th Edition
http://ebooksecure.com/product/ebook-pdf-the-schooled-society-an-
introduction-to-the-sociology-of-education-4th-edition/
http://ebooksecure.com/product/ebook-pdf-take-note-an-
introduction-to-music-through-active-listening/
http://ebooksecure.com/product/ebook-pdf-introduction-to-
research-in-education-9th-edition/
http://ebooksecure.com/product/exceptional-learners-an-
introduction-to-special-education-14th-edition-ebook-pdf/
http://ebooksecure.com/product/ebook-pdf-introduction-to-
contemporary-special-education-new-horizons-2nd-edition/
Hoffer 4E.book Page i Wednesday, March 22, 2017 10:59 AM
Introduction to
Music Education
Fourth Edition
Hoffer 4E.book Page ii Wednesday, March 22, 2017 10:59 AM
Hoffer 4E.book Page iii Wednesday, March 22, 2017 10:59 AM
Introduction to
Music Education
Fourth Edition
CHARLES HOFFER
University of Florida
WAVELAND
PRESS, INC.
Long Grove, Illinois
Hoffer 4E.book Page iv Wednesday, March 22, 2017 10:59 AM
7 6 5 4 3 2 1
Hoffer 4E.book Page v Wednesday, March 22, 2017 10:59 AM
To
Contents
Preface xiii
vii
Hoffer 4E.book Page viii Wednesday, March 22, 2017 10:59 AM
viii Contents
Contents ix
x Contents
Contents xi
Preface
xiii
Hoffer 4E.book Page xiv Wednesday, March 22, 2017 10:59 AM
Hoffer 4E.book Page 1 Wednesday, March 22, 2017 10:59 AM
1
The Importance of
Teaching Music
It all begins here. It has to. Unless music is valuable for people, espe-
cially young people, then the whole idea of music education is in deep
trouble. If music makes little or no difference in the lives of people,
there is little point in spending time and effort educating them in it.
For this reason, music education begins with a clear understanding of
why it is important to people and the quality of their lives.
For present and future music teachers there is an additional rea-
son why music education begins with the importance of teaching and
learning music. Those reasons have a lot to do with what and how
music should be taught. For example, if music is seen as a nice extra-
curricular activity with little educational content, then music teachers
don’t need to be concerned about what students learn. On the other
hand, if music is seen as something that’s a vital part of a young per-
son’s education, then music teachers will take actions to ensure every
student acquires basic music skills and knowledge. The reasons for
music in schools not only provide a starting place, they also point to
the direction for music education.
The photograph on the next page makes the point very effectively:
life without music would be pretty bleak and dreary. People would not
physically die if they didn’t have music, but some of the quality of their
lives would be missing. Psychologically they would be worse off, and
their spirits would be diminished and dampened. Music contributes to
the quality of people’s lives.
The message on the photograph, “Imagine the world without
music,” also applies to societies and civilizations. Without music, the
1
Hoffer 4E.book Page 2 Wednesday, March 22, 2017 10:59 AM
IMAGINE
THE WORLD
WITHOUT
MUSIC
Hoffer 4E.book Page 3 Wednesday, March 22, 2017 10:59 AM
quality of life in America would be less than it is. It would lack some of
its vitality and vigor. The nation would be poorer, not only economi-
cally, but also in how its citizens act and feel.
Music and the other arts represent an important difference
between existing and living. Animals exist in the sense that they man-
age to survive. Humans live; they attempt to make life interesting and
satisfying. Humans are not content just to get by, to survive. Music, the
visual arts, and dance enrich life and bring to it special meanings by
providing an avenue for expression. People admire the shifting surf,
the colors of a sunset, and the beauty of a flower. They also create
objects they can contemplate and with which they can enrich their
lives. Although a large cardboard box could serve as a nightstand by a
bed, most would rather have a wooden table or piece of furniture with
some grace and beauty. The compulsion of humans to reach beyond
their immediate and practical needs is not just a luxury; it is an essen-
tial quality of being human.
People sense the value of music, even if they seldom talk about it.
One could assemble a large number of impressive statistics about the
time and money people spend on music, the number of persons who
attend concerts and buy recordings in one form or another, the num-
ber who play a musical instrument or sing in choirs, and so on. Music
has been present in every society since the dawn of civilization. It is
found in every part of the globe, from the remote areas of Africa and
Australia to the streets of Chicago and Beijing.
The importance of music to people is demonstrated in so many
ways that it’s easy to overlook them. Just about every film and televi-
sion show has a sound track, which almost always contains theme
music. Music is included in public events such as pregame activities,
celebrations of ship launchings, and the swearing-in ceremonies of
public officials. People are exposed to music in supermarkets, air-
ports, and their cars. People can hardly avoid music when they are
away from their residence.
A fundamental point is clear: music is important to people. The
point may be obvious, but it is essential. If music were not important
to people, then the teaching and learning of it would be irrelevant.
4 Chapter 1
6 Chapter 1
taught reading, science, math, and history, and they also need to be
taught music.
The second major point is this: The learning of any subject, includ-
ing music, beyond a rudimentary level requires organized, systematic
instruction, usually from a trained professional. There is simply too
much to be learned in today’s world for areas of knowledge to be left
to the random circumstances of family or social conditions. The
schools may not always do things as well as they should, but they ful-
fill a function in society that most families cannot. A system of educa-
tion is necessary in today’s complex societies. And for most students, if
they are going to be educated in music, it will happen in the schools—
or it won’t happen at all.
Fortunately, most people not only value music, but they also sense
the value of young people learning music. Even if they can’t express
the reason why they think this is so, they feel it intuitively. When they
hear a group of young people making music, even if it’s not performed
particularly well by trained musicians’ standards, they know in their
hearts it is a good thing. Perhaps it is because of the feelings encour-
aged in them when they hear a group of young people doing some-
thing constructive, or perhaps they sense that music contributes to the
quality of life in the community and its young people. Whatever their
reasons, most adults want young people to have a well-rounded edu-
cation that includes music.
Again, it is possible to assemble impressive statistics about the
number of schools offering music programs, the amount of money
raised by support groups for music activities, positive responses to
opinion polls, and so on. The problem with support for music is not
the availability of at least some music instruction in schools but rather
the establishment of programs of sufficient scope and quality. High-
quality school music programs often cost more than some other areas
of the curriculum, and there is a lot of competition for the limited
funds available to education. In addition, music educators have usu-
ally not been diligent in educating school officials and the public about
what a good school music program should be like. This important
matter is discussed later in this book.
Taken literally, the lines don’t make much sense. Everyone knows trees
have no hands and mountains can’t sing. But in getting across the
message of how the Israelites will feel, the lines are far more expres-
sive than merely saying, “You are going to feel mighty good when you
are freed.” Of course, everyday communication would be nearly
impossible if only artistic, poetic discourse were used. But a life filled
with only objective, rational thought would be drab and tedious.
Aesthetic experiences differ from ordinary experiences in a num-
ber of ways. One basic difference between aesthetic and ordinary
experiences is the nonpractical nature of aesthetic experiences. They
are valued for the insight, satisfaction, and enjoyment they provide,
not for any practical benefits. Looking at a bowl of fruit (a scene fre-
quently painted by artists) is aesthetic when you contemplate the color
and shape of the pieces of fruit. It is not aesthetic when you are think-
ing about how the fruit reminds you that you are hungry. An aesthetic
experience is an end in itself; it is done only for the value of doing it.
A second characteristic of an aesthetic experience is that it involves
both intellect and emotion. When you look at a painting aesthetically,
you are consciously aware of considering thoughtfully its shapes, lines,
Hoffer 4E.book Page 8 Wednesday, March 22, 2017 10:59 AM
8 Chapter 1
and colors. That’s the intellectual part. At the same time you are react-
ing to what you see; you have feelings about the painting, even if it’s
abstract. Seldom are these reactions so strong that you start laughing
or crying, but you react to some degree. Your feelings are involved.
Because intellectual contemplation is required, recreational activ-
ities like playing tennis, or purely physical sensations such as standing
under a cold shower, are not considered aesthetic. Neither are purely
intellectual efforts such as working multiplication problems, although
even in such a case, a reaction is often involved, as when you see an
error like 3 × 8 = 25.
A third characteristic of aesthetic experiences is that they are
experiences. You cannot tell someone about a painting or a musical
work and expect that person to derive the same amount of enjoyment
from the work that you did. In fact, telling about a piece of music or a
drama tends to ruin it. For this reason, aesthetic experiences have no
answers, as do problems in a math class. Listening to the last minute
of Beethoven’s Fifth Symphony is not the “answer” to that symphony.
Anyone who tries doing so is cheating themselves out of the aesthetic
enjoyment that the symphony can provide.
A fourth characteristic of aesthetic experiences is focusing atten-
tion intently on the object being contemplated. This centering of atten-
tion is on the object itself as an object, not on a task to be
accomplished such as making a good serve when playing tennis.
Where does the idea of beauty enter the discussion of aesthetic
experiences? In one sense, it doesn’t very much. Not all aesthetic experi-
ences need to be beautiful in the usual sense of that word. Hundreds of
works of art, from Stravinsky’s The Rite of Spring to the Ashcan school
of painting of Edward Hopper and George Bellows, have demonstrated
that the aesthetic and the beautiful are two different considerations.
Pointing out what an aesthetic experience is not helps to clarify its
nature. The opposite of aesthetic is not ugly or unpleasant, but rather
it might be thought of as “anesthetic”—no feeling, no life, nothing. An
example of anesthetic behavior that comes to mind happened one day
while I was observing a mediocre middle school band rehearsal. A
sousaphone player was chatting with one of the drummers when the
band director started the rehearsal without waiting for the players
who were not paying attention. After a few moments, the sousaphone
player realized he should be playing along with the others. Although
he didn’t know where they were in the music or what to play, he pulled
the mouthpiece to his mouth and started blatting away—with no sense
of what was happening musically.
Hoffer 4E.book Page 9 Wednesday, March 22, 2017 10:59 AM
10 Chapter 1
Over the Great Divide and across the mighty ranges of the
Rockies!
Hundreds of miles between ice-clad peaks and over snow-
covered plains!
Up and down the ragged passes of towering mountains, their
heads capped with blue glaciers, and their faces rough with beards
of frosty pines!
For the last week I have been travelling across the western
highland of Canada. I have gone over the backbone of the continent,
which reaches north to Alaska and south to the Strait of Magellan.
Here in Canada the Rockies extend in three ranges from western
Alberta throughout the entire width of British Columbia. The
easternmost marks a part of the boundary line between the
provinces and the westernmost range rises steeply from the Pacific
Ocean. All between is high plateaus and broken mountain chains
spotted with glaciers.
This vast sea of mountains is said to be the equal of twenty-four
Switzerlands, and I can well believe it. It is only five hours by rail
across the Swiss Alps from Lucerne to Como, but the fastest
Canadian Pacific trains cannot make the trip from Cochrane, Alberta,
to Vancouver in less than twenty-three hours. Switzerland is noted
the world over for its glaciers, yet here in the Selkirk range alone
there are as many glaciers as in all the Alps thrown together.
I have visited the great mountain regions of the world. I have
stood on the hills of Darjiling and watched the sun rise on Mount
Everest. From the tops of the Andes, three miles above the level of
the sea, I have taken a hair-raising ride in a hand-car down to the
Pacific. I have looked into the sulphurous crater of old Popocatepetl,
and I have stood among the Alpine glaciers on the top of the
Jungfrau. But nowhere have I found Mother Nature more lavish in
scenes of rugged grandeur than right here in Canada not far from
our own northern boundary.
The mountains change at every turn of the wheels of our train.
Now they rise almost straight up on both sides of the track for
hundreds upon hundreds of feet. They shut out the sun and their
tops touch the sky. Now we shoot out into the open, and there is a
long vista of jagged hills rising one above the other until they fade
away into the peaks on the horizon. We ride for miles where there is
no sign of the works of man except the gleaming track, the snow
sheds here and there, and the little mountain stations, where the
shriek of our engine reverberates and echoes throughout the valley.
Each mile we cover seems to bring a new wonder. It may be a
majestic waterfall, a towering peak, an over-hanging cliff, a glacier
sparkling under the rays of the winter sun, or a vast panorama of
glittering snow and ice standing out in bold contrast against the dark
rocks and forests. It takes my breath away, and I think of the Texas
cowboy who had made his pile and had started out to see the world.
His life had been spent on the plains, and at his first visit to these
Canadian mountains their grandeur so filled his soul that, unable to
contain himself, he threw his hat into the air and yelled:
In a region of beautiful lakes, the “Lake of the
Hanging Glaciers” is one of the most picturesque in
the Canadian Rockies. Behind it lowers the snowy
crest of Mount Sir Donald, some two miles high.
Wainwright National Park has the largest herd of
buffalo in America. More than five thousand animals,
the descendants of a herd of seven hundred originally
purchased from a Montana rancher, range over a
fenced-in reserve of one hundred thousand acres.
“Hurrah for God!”
One gets his first view of the mountains at Calgary. As we
travelled through the foothills our train climbed steadily, and at Banff,
eighty miles to the west, we had reached a height of almost a mile
above sea level. The region about Banff has been set aside by the
government as Rocky Mountain Park. It is known as the Yosemite
Valley of the North, and has become the finest mountain resort of
Canada. Here the Canadian Pacific Railway has built a magnificent
hotel. It stands high above the confluence of the Bow and Spray
rivers and affords a splendid view of Mount Assiniboine.
In summer the attractions at Banff include hot sulphur baths,
open-air swimming pools, tennis courts, and golf links, and in winter
there are snow carnivals and ski-jumping contests. The surrounding
country offers mountain climbing of all kinds, from easy slopes for
the inexperienced tenderfoot to almost inaccessible peaks that
challenge the skill of the most expert climber. The region outside the
park limits contains some of the finest game lands on the continent,
and is a Mecca for the fisherman and the hunter.
In addition to the railway, Banff is reached by a ninety-mile motor
road from Calgary. In 1923 this road was extended southwesterly
across the Vermilion Pass to Lake Windermere in British Columbia.
The construction of that stretch completed the last link in the “circle
tour” motor route that now runs from Lake Windermere via Seattle to
southern California, thence through the Grand Canyon and
Yellowstone and Glacier National parks, and back to the Canadian
boundary.
Thirty miles west of Banff, and almost six thousand feet above
the level of the sea, is the gem-like Lake Louise in its setting of dark
forests and snow-clad mountains, and not far away is the famous
Valley of the Ten Peaks. A few miles farther on we reach the Great
Divide, which marks the boundary between Alberta and British
Columbia. Here we see the waters of a single stream divide, one
part going west to the Pacific and the other flowing to the east and
eventually losing itself in Hudson Bay.
Between Calgary and the Great Divide the railway track climbs
three eighths of a mile. It goes over the main range through the
Kicking Horse Pass, more than a mile above sea level, and then
drops down to the valley of the Columbia River. It rises again a
quarter of a mile where it crosses the Selkirks through the five-mile-
long Connaught tunnel, and then winds its way downward through
the coast ranges to the great western ocean.
The Kicking Horse Pass was so named from an incident that
occurred when the surveyors for the railway were searching for a
route over the mountains. At this point one of the men was kicked by
a pack horse and apparently killed. His companions had even dug a
grave for him, but just then the supposedly dead man showed signs
of life. He soon was fully recovered and the party proceeded onward.
Later, his curiosity led him to revisit the scene of his narrowly averted
burial, and in so doing he discovered this gap in the mountains.
The Kicking Horse was Canada’s first, and for years its only,
railway pass over the Rockies. The construction of the railway
through it was considered a great feat of civil engineering, but it has
been much improved. In 1909 two spiral tunnels were built for the
descent to the Kicking Horse River, twelve hundred feet below. Here
the track, sloping downward, makes two almost complete circles
inside the mountain, and the tunnels have so cut down the steep
grade that the number of engines required for a train has been
reduced from four to two.
Another line of the Canadian Pacific climbs over the mountains
through the Crow’s Nest Pass, not far north of the United States
boundary. A third gateway to the ocean is the Yellowhead Pass, west
of Edmonton, by which the Canadian National lines cross the
Rockies. Beyond that pass the tracks branch out, one section ending
at Prince Rupert and the other at Vancouver. The Yellowhead,
though the lowest of the three passes, is under the very shadow of
some of the loftiest of these mountains. Near it is Mount Robson, the
highest peak in Canada, which rises in a mighty cone almost two
miles above the surrounding range and more than thirteen thousand
feet above the sea.
The Yellowhead route passes through Jasper Park, the greatest
of Canada’s western game and forest reserves. That park is almost
four times the size of Rhode Island, and much larger than Rocky
Mountain Park, which we saw at Banff. It contains the beautiful Lac
Beauvert, on the shores of which a hotel and several lodges are
operated by the Canadian National Railways. Mount Robson Park
adjoins Jasper Park at the west, and farther south are Yoko,
Waterton Lakes, and other great national playgrounds.
One of the most interesting of Canada’s twelve Dominion parks
is that at Wainwright, Alberta. I saw something of it on my way from
Saskatoon to Edmonton. There a hundred thousand acres of land is
fenced in as a reserve for the largest herd of buffalo in America. The
seven hundred and six animals of the original herd were purchased
by the Canadian government from a Montana rancher. That was less
than twenty years ago, but the herd increased so rapidly that it soon
numbered between seven and eight thousand. This was more than
could be provided for on the ranging grounds of the park, and it was
found necessary to slaughter two thousand of the animals. Some of
the meat was sold as buffalo steak, and the rest was dried and made
into pemmican for the arctic regions. An animal called the cattalo, a
cross between buffaloes and domestic cattle, which is noted for its
beef qualities, has been raised in large numbers at the Wainwright
Park.
When a transcontinental railway to the Pacific coast was first
proposed, the objectors to the project sarcastically called British
Columbia and western Alberta a “sea of mountains.” To-day these
same mountains, once considered merely an expensive barrier in
the path of the railways, have proved to be one of the largest factors
in building up what is said to be the fourth industry of Canada—its
tourist traffic. The business of “selling the scenery” has been
developed to such a degree that it is estimated that the national
parks of the Dominion yield an annual revenue of twenty-five million
dollars. In a year, more than one hundred thousand people travel
over the C. P. R. route alone. It is interesting to note that eighty per
cent. of them are Americans, and that there are more from New York
City than from the entire Dominion of Canada.
The Canadian Pacific has for years led in exploiting the scenic
wonders of Canada. It carries tourists over the mountains in summer
in open observation cars, and adds to their comfort by using oil-
burning locomotives on its passenger trains. It has a half dozen
resorts in the Rockies where one may enjoy all the comforts of a
modern city hotel or the rugged pleasures of a wilderness camp. It
has established a colony of Swiss mountaineers brought from the
Alps to act as guides for mountain climbers. It has cut new trails
through the country and has sent out geologists to map the
unexplored territory.
Even the names of scores of peaks and valleys originated with
the Canadian Pacific. Mount Sir Donald, one of the mightiest of the
Selkirks, was so called in honour of Lord Strathcona, who was a
power behind the building of the railway, and who drove the final
spike uniting the east and west sections of the transcontinental line.
Mount Stephen was named after the first president, and Mount
Shaughnessy after a later one. The Van Horne Glacier in the
Selkirks and the Van Horne Range have the same name as the
famous builder of the Canadian Pacific, and Mount Hector was
named after the intrepid explorer who discovered the Kicking Horse
Pass.
Indeed, that railway has become so great a booster of the
Dominion’s natural show places that it has even been given credit for
supplementing nature in the matter of scenery. The story is told of a
woman who had just had her first view of the mighty crystal mass of
the Illecillewaet Glacier towering thousands of feet above the railway.
She stared in open-eyed and incredulous wonder. Then she
exclaimed:
“It ain’t real! The Canadian Pacific put it there for advertising!”
CHAPTER XXIX
THROUGH BRITISH COLUMBIA TO THE
COAST