The availability, use, and value of audio-visualaids for the teaching of instrumental music

Item Type text; Thesis-Reproduction (electronic)

Authors Farnum, Jacque, 1919-

Publisher The University of Arizona.

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• THE; A m M B IL IT T , >USB$ ' M D TALUE OP .AEDIO” VISUAL

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Sympbonic penfomance.s a’ t, »’'«..«■ .«. * „■ »; « =, 39. " Instruments ■ of the orchestra (string family) : I;.!

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:. 11»" Ins tiiimeKLial Music Films and; Fi 1ms trip S' i- ; : :'Available in Various'; State Universities' of

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VII © Films /and Films trips Illus tr ating Mas to Theory " I.’r6

VIII © Films and Filmstrips Presenting the MarchingV r .y.y., -

IX© Audio-Visual Aids Used.by Arizona Directors '■ of Instrumental Music <, © „ © © © © © © © © ©X© The Fames of Films Used by Arizona Directors y

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, Hie use of audio-visual.aids has come to be of con- ;siderable importance in practically every field of teaching. For centuries .objects j, picture d illus tr at ions s - map s $, and charts have played an' important part in--teaching,■ Such visual)aids'at,flat picturesa maps, globess stereographs, and stere optic on Slides- have been fairly plentiful and not difficult, to obtain. Quite the opposite has been. the case. regarding instructional motion pictures and filmstrips, es~ '.peciail' in.-the. instrumentai.Biusic field,

- p-,:.-;. $hb problem - ; .

Statement of .the problem,- It was - the purpose of this study (1) to-determine-the availability of audio-visual aids . for the teaching of Instrumental musicp (2) to determine the . uses, of audio-visual aids as supplementary aids-,in the . teaching of instrmiental'musicp and (3) to determine'the.:, • value of audio-visual aids for teaching instrumental music,

- Importance Of the study, The problem is important. .. because of;the high ;degree of verbalism which exists in our schoois,'- ¥erbaiism' exists practically in every subject v which involves the- develop.ment • of abstract principles,

' -Verbalism Is-- due largely, to ins true ti oh on an abstract . /; -; level, 'This, type of instruction makes little provision, for -

2

a: variety' of cbtiGrete^e^ej^ieneeszneeessaj?y „ t;o:: giv© .;Mie.’'pi,6- - >per meaning to the abs tract ion, ' Learning in. many; instances . ^may be enhance^: throngh tile nse ' of' eye and ear perceptions 6

• A good example of the relationship between concrete v;. -;, and: aba tract experience ' may' be shovm by reviewing briefly a :. stndy by: Browneii; as-, o discussed, by Hob an s Hob an,, and Zisman*^ i;Brownell studied the relationship between, the concrete and the .abstract by determining, the mental processes 'used by .. - - : .children in arithmetic in the primary g r a d e s H e inter-.■ viewed'primary ehildreh and. examined their mental' processes used in their attacks on arithmetic problems»',His findings were g \ : ", a : ' '

■ Children in school are taught abstract terms and gain■ , , "no. adequate; concept of the meaning; of. these terms,. : For ' .

' instance^ the pupil learns "li. plus jp equals 8, " and yet5, -when he is asked to apprehend-' the visual concrete number

. ,. .. II I o » he counts by l ?s; that is, he fails to apply his'abstract knowledge because he .fails to interpret the •abstract formula, ahd to: apply "it to the concrete sltua- ' . ;tion. For him there is little relation between concrete

, :number and.abstract number because the latter has not .been developed'out of the f ormer ih a way which permits • . "

. ' him to pass from one to another in his t h i n k i n g .: To remedy the defects in teaching ..arithmetic ;Brownell. . .

suggests that instruction should include an extended use of '. concrete . Materials such as pictures dotss and other. - :

- ^ Charle s F«. Hoban^ Charles F. Hob an s Jr. s ahd Ssmuel B. Zisman, Visualizing the;Curriculum,,.Few York: The CordonCompany, 1937, p. 7< . - ; g; ; .. . . y

; '2 Loc, cit. ■ - - .

representations of* concrete objects,. ; Failure in teaching and in; learning at.the beginning stages of number is cumu­lative^ in its. evil conse.quencesj; if the foundation is weaks tiie whole structure. is. weako concluded Browne 110 Hie use of concrete materials for instructional purposes applies in . general to all school '.insSructloal .which involves the develop- ' ment of abstractions "including instruction in ins trument 8.1 musiCo ■ " - - , ' • ' - .

One attael on (the n^ohlem-vbf . verbalism is the use of concrete teaching materials» Thereforea audio-visual aids may be used to provide supplementary experiences out of which may develop the meaningful generalizations and under­standings which are the objectives of teachingo

The .problem, is importantmore specifically, because of the emphasis ' oh audio-visual instruction at the present time and also the retarded development of some audio-visual tools of instruction for the instrumental music : field. ;- The u compe tent director of . ins trumental mus 1 c, has ■' used Various- . \• audio-visual tools of instruction which are known and ' readily, accessible to him* These tools include the black- .boardj' wall: charts s the recorders,: .the; phonograph, and ■ . . ■instrument demonstrations« Since the music director works with .a..group of students who play approximately twenty;

3 Hobans, Hobans, Zismanff loc, clt.

different types of imstriments^ 'it becomes a big problem to teach the - peohliaritles and diffieulties.. of'each, indiirldual instrumento . While there .are an abundance of printed manuals and methods available$ - there are not • an .abundance of direc- . tors who are specialists bh all musical instrumentsThis reveals' the heed for teaching aids that will, supplement the' teaching methods employed b , the .instrumental music teacher. The use of the sound film in various departments: is one of the most recent visual mediums to have instructional value. Teaching: with the -aid of sound films has made 'considerable . / progress in geography, science,. social studies3 vocational .. education, as:well as other fields,. Therefore, this study ■ - was undertaken to determine. the actual status of the sound fllm.-hs: 'an.insthuctlonal tool for' the teaching, of instrumen-: tar music r -.p'r r V''':;-.;; ;'hi': - - '' - ■ ' ; ' i .It'll;' - . . fli:.

' ^ : f v i II o V m F l t i m O E S Q T V T ^ ■ 1 l -7 . '

Visual aid. A visual aid is any picture:, model, ob- | ect, - or-da vice, which provides - concrete visual., experience, to the. learner for the purpose of ' (1), introducing,, ' building, up, enrichihg, ..or .■clarifying abstract coheepts, (2) developing desirable at ti tude s, and (3) s timul a ting further., activity' on

- . ^ aids * AWlo-vlsi'ial aids are visual aud ';: 'audl'bdry-' toods; or materials used iu teaoliiug situations -t0;:' . .faoilitate the understanding' or visual and auditory exper­ience st . : 1 U ' . . . .

Verbalism. / Verhalism may be defined as the use of words without. appreciation of the. meaningful content of the - words or of the meaningful content of the context in which .they are used. Vt ,/ -

. : . :'t':'v . i n o S.0OPB ASf ■ LISlTiTIdlS OF THE STUDY

' Because of the immensity of the field of audio-visual ’aids in education<j this study attempted to narrow the sub­ject. down to a brief discussion of the history of the most , commonly used audio-visual aids in the curriculum. The present; study was also 'limited to the study of these commonly used audio-visual aids in the.teaching•of instrumental music, because there have been very few investigations in the use. of'audio-visual aids in' instrumental music. : No attempt will be made to evaluate films and. film, .strips mentioned for that .Would in itself-ehtail a separate study.: '.' 1 ' •

d . / . . . . . IV1 ' m m O D OF PmOEDURE . . f ' ' . ..U; .

. - This study surveyed the audio-visual aids now in use ■ ■in instrumental music instruction in the public schools of

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Arizona. It also’ determined the films and filmstrips that . have beeh-' nsea'' - the ' Ihstrnmental mnsle 'aireotors o f ' v. *Arizona. ; 'Since the use of films and-filmstrips in the ' aotual instruction of pla.ying technique f or musical ;instru~ _ ;• menta ls a new field, the questionnaire sought to -ascertain .. what is needbd in the May - of ‘ihsiruotldnal films :and film=,, ; :■ .strips’ for- instrumental mUs 1c ’ t: 1 \ :

• An examination of the questionnaire in;the appendix ’ -will disclose that It is divided into four major divisions as follows: -t , ’ "

1. Types of audio-visual aids used :in teaohing in- . . strumental music. . . / ,

' : >' 2. Films or filmstrips Used in-' teaching ins trumental; music. . u : : / ; a ’vu'ul

. 3 > ipiat. lilms or filmstrips are needed for the . '' ’. teaching of instrumental-music. ' - : . r...

; EdUcatiohal values derived from the use of audio­visual aids in the teaching of instrumental music. ... ,r. . .

• ■ ,v'; Sixty questionnaires were sent to the directors of: ins trumental music of Arizona.. : Seventy-five per cent of the!' ’ uqUestlonnaSreb were returned. . . ■ ; ■ ’ / .

: . In the survey of the audio-visual aids used ip the 1;.a-', curriculum, available periodicals, textbooks,:special bulle- tins, professional^ studies, and other articles:, have been ' : ,

• examined for informatlon on this 'topic:.1 ; : ; V, .; ' A;' history of audio-vlsua.1 - aids in the curriculum mras ■

m&ertaken fii’s t B i i s was followed by; .a compilation of.' films - and f i]jns tnips'C tb.at afe available for the teaching of various phases of the instrumental music-program. Finally*•the value of audio-visual aids for the teaching of instru­men tal music has been presented. : . "

. • REVIEW m PSEFIOm dShAli!®- STUDIES: - ' ^ t

, During the last two decades several very extensive and. Interesting selenbific. investigations regarding . the use of audio-visual aids in ’the teaching process have been made. Since audio-visual instruction as a vital force in education : is in its Infancy* the educational world has not obtained / ’ anything like a.scientific evaluation of each of the many . .apdio-viSual aids; which .might be . used to supplement: the ■ . .teaching program... . - . v . , ; ; • ;’ The first serious investigation in the field of audio­visual instruction was: made by. John V. lacy^ in 1919 at the..time when much hope was held for the displacement of teachers by motion pictures o Lacy used the rotation experimental method- in the "determination of' the pedagogical and moral value of motion pictures. " The evaluation was made by com- : - paring the.resuits of three typical methods of presenting a

^ John. V.. Lacy, "The Relative Value , of Motion-Pic­tures _ as an Educational-.Agency^11 Teachers College Record,

. (IbveSher *; -1919:}:* ; .

story ;to pupils:' (1) silent reading of a'story:by pupils $(2): oral telling of the story to pupils* and•(3) presenta­tion of the story to pupils by means of motion pictures. ;The.questions which.the investigation1was designed to answer .. were %',(1) :Whichhnethod gives the most f actual knowledge? .(2) Which'method stimulates the largest amount"of thinking or inf erence? (3); :';#hlch methoi:-'most' W ability , ofpupils - to ■ make moral discriminations?' ' and (%) - Which method is most interesting to pupils? - His results show the order of effectiveness of.presentation to be = (1) Oral reading topupils* (2) silent reading by the pupils* and- (3) film pre.= sentation. However* where appeal to-:interest is obncerned - the order of effectiveness of the Various methods .was'exactly the opposite. : ’ h ' ' .; . . - v

• One of the largest and most extensive investigations : ; in' the use of audio-visual aids was •conducted by the "Eastman . Kodak Company under the direction of P.. Freeman* of the , University of Chicago* and Ben D. Wood* of Columbia- Univer-' ■ sity.? ’'Mearly 11*000 children in more than three hundred ■ Beography'; and General Science Classes *.; taught,by- nearly two h hundred teachers* in grades four to nine* inclusive *.anddistributed in: twelve ..cities* participated in this experi-. y 8 ' :• ■' ■ p ' .-u/ 'g \. . 'hment = ” The purpose of the experiment. was ..to find the value

1 Ben D. Wood, and Frank :H . Freeman* : Motion Pictures in the:. Clas s room* ; Boston: Houghton - Mifflin Comp any * : 1929»

. laid., B . y : ■

of motion pictures used as supplementary aids to regular •- teaching, The "experiment' employed two groups- of childrens v an experimental group in the instruction of which education*- al", films were used9: and a control group under - instructional conditions which were similar to those used with!the experi-; mental group, except that no films were: used* Twenty units y of subject matterj, fen in geography and ten in general ' /science) 'were used,! The results' - show that in the majority ■ of the. .topics ; ip .general science- and geography, instruction, with the aid of the films proved to be superior to instrue- . tion without the films, ' : • ' '' -.

The Music Educators .National. Conference Committee on Film Music and Projector Equipment made a .questionnaire study in February, I9I1.6„ . This study , was made - to determine the useof motion pictures as aids in teaching instrumental music. Data were compiled from 'eighty answers received from, chosen . music .educators.. throughout the country. The data brought out the following facts:

Seventy-five per cent of the -reports; indicate that projectors are used frequently in the schools for show-* ing. films other than music films,»,, only twenty-three '

.. per cent of the areas reporting are using their pror jectors frequently for the' showing of 'music films,. while

-.forty-slz per cent report occasional use,9V -, The conclusion drawn from the study made concerningthe use of motion pictures as aids in instrumental music

. ^ Helen C, Dill, "Music Films in Education* " Music ; VEducators-;Journal, 32:62, (June,. 19^6), ...- • •

10

teaching has been given by Helen Oh Dill as follows: ...: ;. .Ihe hohclusiqn follows thait -16: mm.,; ims id- - f 11ms have - - not ;,as yet taken • their place in the schoolroom with : /■

. . films on other subjects»; =-»» If then; we conclude that ' v music f ilms " ih eduGatiori: are . in an undeveloped stages :; .but that alert, far-seeing teachers are'eager to use .

■ ' films made• to cover a wide field of topics and appeals,we are '.but preparing., the way for steady growth.ih theaudio-visual field of our teaching0 . '

: ' id recent study of the use of audib-visual aids for' , ' .• : " .v ... . ..... . . ... ..... . .. . . - ; : . - . ■ " ii ' ■-. teachihg: 'instrumehtal' music was conducted by Hevins = The .

.study was .an.attempt to ascertain the need of additional■ r visual methods for musical instruction, and to set up the .

criteria necessary for the building of,.visual, educational: 1. aids .for instrumental music, ins true tion'o - He sent. a. question- ■

. naire to band directors of TexasHew Mexico^ and Fieri da h.The results show that the use of audio-visual aids in teach- _

.. ing instrumental .music, in camparison With the use of the sameaids in teaching other subjects indicates a definite'neglect in the instrumental music field. This was due to the in-, ability of the .teaching staff '.to secure worthwhile films,

. ■ filmstrips,' and Other needed equipment,. - As a result, Hevins proposed the content for the, making of a. sound film strip to be used in a - supplemental manner , ih teaching beginning in­strumental .music, . ■ f :

10 Ibid,, p, 63, ; • ’ .^ lames Bv' HeVins,: fiAudio -Fi.sual Aids for .Instrument

tal Music Ins true ti oh 7 for Beginning, Students,11 unpub 11 she d Master fs Thesis, Texas Technological Gollege, .Lubbock, Texas, lune, igig,, ■ .t' . ' : 1; . y : , :

■ V. Investigation vdiieh was conducted at the"University of Eebraska attempted to survey the visual aids

• 12 _ ' ■ ,available for music teaching, 'lh- the .suipier .of 194.7» a :- committee of three- graduate students began work.by preview­ing new and old l6 xmtn music f ilms«, • ; They., reques te d fifteen ■ leading music 'departments of .midwest universities to ..send them a list of the 16 mm« music films Included in their film libraries* Re spouses reveale d - the fact that; nearly all ■ of the universities concerned' had only a meagre collection, of music films on hand* ihen from a catalog of approximately one. hundred music titless the- investigators requested from: - several distributors sixty films for: preview. This study was disappointing because, the company. issuing, a great por- tion of the newer music films did not sent them for preview. However9 of the ij.0 films: that ..were evaluated the following conclusions were made: .. -

.Regarding the selection of .subject matters the com­mittee (arid its audiences ) feels thatimuslo. films for ; _•

. the most part, are a haphazard, lots disregarding individ-

. ual merits. Aside from the category of'instrumehtal : ' .demonstration, there is seemingly no specific reason or purpose for the;great majority, nearly-all of which are '

\ limited' to general appreciation. . - . " - '

" : ; ^ .Lawrence Tagg, ,rSurvey in "Visual Aids in Musicat. the University Of Nebraska,i! Educational Music Mag'azihe.2?3l%-l^, (November, 194.7) ° :: ... .

- ; An.extensive review of the results of investigationsin the .midip-vi8nal f ie 1 d :i8 . Wat- made Wittiek' and .Powlkes 0 ; p . ' ; ,

1 ; l ] , ' ‘ ' : • - ■ ■ ■' . . . :■ ■ - ■ ' - ■ :: , : :

• . . ‘ - Walter^Jnnd Wiktick and John;Gn^r;FowIkeS;S . Andio^; Visual Paths to'- Learnings - Hew Tork s. ' ■ Harper . and' Brothers Publishers5 ; ' " ; ; v :

: . : ;v OHAETEE llv / ; ' '

’ H1STOET OP AUDIO-VISUAL AILS "IHT THE' GURRIGULUM ; .

-.The histopp of the audio-visual movement should be understood before various audip-visual tools are discussed*

V In -the early, stages' .of development of the use of audio-visual aids, the term ’’visual"aids - 'wad used. .x.Bils . was at the time when the radio and the sound picture were undevelopedo Since it was found that other senses as touch," smell, taste, and hearing were important.; to learning, : the term nvisuai_genserp aids'" was used6 - Ihe development of sound pictures.,, radio programs, recording, and other audi­tory tools has. brought into use the present term "audio-vis- ual." It is used to describe the whole field of illustrative materials whether they are visual, sound, or a :combination of . the twoo . ■ 'V; - ;

■ The.use of: audio-visual tools is not new & Ihe first type of education known to man was purely .unintentional and % undesigned^ Following this unintentional period,came the type known as formal educatioh-t.'.^The'first;;evidence of visual

■ aids in edUoa.tlpnal training may be seen in the ■ description of formal education as given by -Thomas and Langs - -'

. .Ihlle a.'clear lln© of .transition c anno t be , dr awn between the informal and this formal education, it can be said at least that formal education began the instant ah; elder intentionally slowed up Whatever he was doing

' for the purpose, of h&vlug a youth observe, and learn how■ It was done.-L , " ' -

This type of visual •Instruction was connnon for language symbols were few. Visual Instruction is probably the oldest method,of conveying ideas. McKovvii and Roberts mentions this ;by saying;:, ,, ; : '' : •

Primitive man certainly learned to convey his thoughts by signsP gestures5,:.facial expressionss and crude imi- ; tations long'^before he . developed a vocabulary with . •;

■ which to. express them oraliyo- Primitive youth were ; - doubtless taught to;huntj, fishs s?/ims and protect them-

' selves from enemies and the weather through observation; ,and iititation»2 , ' ';; ' t -tFollowing'these.primitive beginnings came the use of

hieroglyphios or picture writing. As soon as printing had been developed, textbooks became common. ' fhis was a. natural ;; step in the use of visual aids„ McEown and Roberts state:'

•As 'printing developed there : came reproductions; of ; -_ drawings $, and in- l65>8 Gomenius 8 HOrbis Pictus, n the

■ first illustrated textbooks followed in 1690 by the - ; , , famous f’Eew England Primer'': which was used;for more than,, a: hundred years«3 .; , ' •; ■ V . • , •

; . Sith this brief Summary of the historical background of the audio-visual movement s -the more ; common Of these •aids' are discussed in the following;order: the school journey;- •.

Frank W» .Thomas and Albert - R. Iaang9 Principles of Modern Educations Gambridge; Massachusetts s The- Riverside. ;Pressj, 1937s p. 181° • 7 : p p-'. • ; , 7;;; ;p;

- Harry G» McEown and Alvin B„ Roberts <, Audio-Visual ‘ Aids to Instructions New York; Mcdraw-Hill‘ Book Oompany? ■ , Inc 0 s iglpTpTljrT^ i ; 7; 77;.:; ' , ':;•,,.•:•• . 7; . u: P,;

objects> specimens5, and'models.; graphic materials.! flat or-'v unprojected picturesprojected pictures! and ,the motion ■picture*'1 ; ■/ ;■ .■: y : V.: ' ■ ; - ■ ' . :

- .. The: school ^ourno^^ ■ ;$he .s< ool,. journej .;is a ■procedure .by which .students may study .objects and materials in their . natural setting. :The objects and materials, observed:are the ' visual .•aids in this, method of’ instruetiono ’

•; v : 'The school . journey is not. a new 'procedure for there V -. is evidence of trips' in the ancient Greek schools. Hoban makes the f ollowing statement:::' , n ’ ■ -■ ' ■

- The Greek peripatetics furnish, a striking example of h .. : feachef .and pupil -groups1 going direct - to the natural situation for first-hand .knowledge-o'. In that age it was a common sight in-Athens and its environs to see the 'venerable .Socrates. and. his disciples' here and there in .. ,

. -V the practice, of observation, . discussion^ and meditations^'.:. Pestalozzi used school jounneys in the school of ' •

Yverdun. But it was England that first, •utilized this system .on a we 11 drganlzed plan... "In 1905 school 1 journeys receivedofficial sanction in; ’England, ■ and in 1908 the London CountyCouncil made subsidy :provlslons for them in its school code, n5>

In.the United States the school journey Is hot usedas’: ext ens ive ly’j as - -Ithas b e en ’ us e d in England and other

..lip .1' Chdrles. F^ Bobans Charles F»■ :.-Hobans dr, $ and Samuel BovZismau,. Visualizing the ' Curriculum, New Yorks The Cordon .Company^-1937, p» 30. , :h ; ' •-li'-’/ ’ _ •.. ■.1 ; ' :

i6

fopfign coTaritries’.,: It Is- considered as one of the most ;" .. 'effective fisnai aids available to classroom teachers,

; : This is true because it makes, the renl';Situatibn the;:learn?- .irig. .situation^ Students learn. in an environment which-;;;

■ stipplies natural settings and concrete situations. The soout-of school activities have proved very worth while when . .

. - ; earefully. planned and synchronized with the regular 'instruo- ... '.;tl6nai. work of the school. - h / , : , -:'Y : -- .:/l : ' 3: -h

Objects, specimenss and models. Defined by Koons ob­jects g specimens ? and models. are: ' ’ . . k

.. .« . .. objeets (things themselves) > . . such as live ,• v . animals,. insectSs .tools, clothingand vegetables', ';

>. . . -o specimens (sample parts ef ;objects ) , v .. such .as’ ' samples of wood, ..coal, hides, bits of cloth, anh oil. ■ ;

• that can be brought to school for classroom study.- ■v .o 0 ,0 and models (replica of objects) as reproductions

;. ' of public'buildings^ houses, machines, busts, parks,mountain ranges,,.;bodily organs ,. and scenes in real life, o-

. : The use of. objects, specimens, and models are impor­tant because they acquaint the child with his environment.

j - In.'the .previous section it was stated that the oehool journey:: : acquaints the student' with materials in their natural setting.

However, in spme situations it is almost impossible to utilize the school journey because of the distance involved, the ex­pense encountered to. make the trip, or some other unforeseen

° Cline M. Koon, School Use of Visual Aids,. Bulletin Office of Education, ■ 193^ p» 12. i.. ; : -

re as on o Therefore,- the next best' thing ' is to h.ave the em^ / •virotimen-b' brought to him. Obviously, only reasonably sized objects, specimensand models may be brought into the;class- • ^room foh dhservatlon«_ v This. in itself is one of -the .limita-; , . ! tions of these visual aids., ; 1 : • : -

; Various uses' "may be made of objects?: specimens, and; 1 V; ■-modelso Units have been "developed by: bringing, these materials together forming exhibits, collections, and school museums .- This procedure is valuable 'because ■ iti'lhdubes self -activity.' on the part of the pupil, ; In addition, exhibits are a means of .providing conerete materials which:help the student under­stand abstractions, .''c;';.,:;/'.;t- vv ;.l; ; y ' - .... 1 " - u- /- ‘

The actual' beginhings of the use of ob jects, specimens ?. and models';f or educational purposes ' has not been "determined, ' However, since the beginning of the human race man has. de-. pended upon learning f rom his environment in order to .survive,' Thisi type . of learning;was dependent-./upOn direet - contact with concrete objects, The fonnal procedure';of. c.ollecting obje.cts- and specimens came as a part' of th® development of science' in the;mid-sevente,enth century, Edgar Dale states %

-; The museum arose as part -of the development of -'science In the ,'mid-aoventeenth century, with the. secret sbcieties

' : :of experimental; scientis ts'who worked toward a "diffusion of knowledge, '■ ’People had begun. to collect specimens-- .

. art objects, .rarities of all: kinds, curiosities' of .; natural history.,?:. 'i. . - i/' ' .it' i. ;’ ;.- ’'; ;; - .;■ ,

. ; 7 Edgar Dale.,% hudlo-Visual 'Ee-thods in Teaching, HewYork s The Dry den Press, 19t"8? p, 171« :V ' : . '

. It -was probably the; efforts of Voltaire 9 :'MonteSQuleu.5: \ : R0tL.sse.an5, and Buff on to Instruct mankind "to gather together'the knowledge scattered oyer the face of the earth,,, to setforth its general plan to the men with whom we live, and to ; transmit, it to. the :mien. who will come after us.,. : _ With these beginnings, the museum, has become an im­portant ins titutioiu - ' - ’ ..

- Graphic materials.. . Graphic materials usually includethe following, aids'-to instruction: maps and charts, graphs,cartoons, blackboards, and bulletin boards. Each one of -these is.briefly discussed. in the following paragraphs.

ihe use of maps and charts as- visual aids in instruc­tion is probably one of the'oldest and most useful methods of instruction known to man. ' The use of maps and charts datesback to the Babylonians to the year of c. 3800 B. 0. These •maps have been, preserved because-, they were inscribed on clay tablets and at present are .in the British museum. Jervis mentioned'this ;by statings ;- The G-reat S argon of. Ac cad (c. 38OO B. 0.) drew up a

definition, of his sovereignty,,' and required a world map, which is therefore the earliest map we know which depicts relationships over large areas .9 - - ... ,,

' ' 8 ibid., p. 172. v _9 W. W. Jervis. The World in Maps, Hew York: Oxford

University Press, 1937,■p». 9

Prom this date on the long process of evolution in map making - continue do ■: A very important s tep : in the development of maps m as n,

due to Ptolemy at the close of the Middle Ages. Jervis^ states •that perhaps - his chief cohtri'buti on to 'cartography was/ his .insistence on tho sphericity of the. earths and the inven­tion . of the method of dividing it and measuring it by the means of "meridians, 'and parallels«

Mercatorg a Flemish map maker, living in the sixteenth centurys was one of. the most famous map makers .of all. times» . :He developed the f amous pro jection method, by which the merid­ians; and .parallels are at right angles. This projection first appeared in 1^69= The principle which he adopted is still in

use today., >v// /;'' - ;i\ - Z. / :'The first evidence of: the J use of this type of - aid in

/ ■ ' ■ ■■. /"; ■•/■ f 7 7 . / . -t / ' g .' - . ■ '. - n-, " . ' ;./7'.;.;.classroom instruction .is .provided by Conrad Goltes, . as hetells us he illustrated bis lectures' at the Uhlversity of : :Flenna with the help of globes in 1^01. Maps and globes are.used' to complete an experience for the child ■which arises ' • : t: -during the development of a lesson. They are extremely -

TO Ibido, po 8 o - ; -: 11 Ernest George Ravenstein and. ■ Col„ Sir Charles ' . ■;Frederick Ar dene lose "History of Cartography^ ” Encyclop ae dia 7 Britannica/ ijth editions 837/’ . . ' ■ ■

20

Wlustile in teaching the various phases of geography and . . ■ • ■ history,. ' :y:' yyx' - - : -y/h y;';

In "the discussion' of maps; and charts as visual aids in the curriculum^ no attempt was made to treat these items ; exhaustively , An, attempt was made, to show these aids are - necessary' classroom,tools particularly in the teaching of social studies, ■ .- •:

" Ttie graph is an Important visual aid used to portray quantitative data.in shqwing.comparisons, trends, develop- :mentss. and relationships, She development of graphs has. Been fairly;.'recent particularly as a result of the tests and . V • measurements program. As Hoban^^ very adequately explains Itj, the purpose of the graph is . to present .numerical data through the visual .avenue by means of simple and readable arrangements having great attention value;.

, The cartoon is probably the moS't 'symbolic and abstract visual aid of the various types of graphic materials. If. the symbols'used are not related to familiar experiences of the child., they will have to be explained. : This type of aid has been used in school subjects dealing mostly with politics, social conditions,; history 5, , and economic s.. . : -

The use of cartoons as visual aids goes back to the ' Egyptians in their drawings . .of men as animals» Lynch men- - ' tions this by saying; • . ' . ■ - ...

^ Hob an j, op. cit. s .p..' 2hl

21

. ': . v-:pi3.; one papyrus at the 'British Musemh of- the time of v ';: ,1 ' Barnes©s- IIIS a lion is found' playing draughts' M t h an ’ ; ; 1 I,-, "antelope, :«„ .Next to the :lion, ’ a' hyena plays the flute: . ■

; then.>there.;.:is: a. hat dpparehtly wavihg. a crooked: stichot , . „ ;: -:'Ihe. drawing in question may';he a parody of two people

' ' play ing draught s. which is' tobe; seen in the Boole of the y ; ' : ;' ' . Dead a 13 - - . . . ; . ‘ -yiyy', Bynoh-% further; states that' in theyoourse ©S.lts-: Ippg histpry:-;::y.caricature has' Been malign, benign,, and impartial,, .but malice ■ . f

" - - has; preponderated.. - 'y ;■ '..y ;' -y :; ... . ; -1;: ■ •" yy .. -y . hya ■;y:yy.'',;y:y -■ y ' 'Ihe. present day. use--of ■ cartooning is probably that of ;,yy

:.stating' publicly the truth that would be dangerous' for edi-.: ' tors and politicians to present in some" other form. Its ' - - y . \y y

fechxiique. utilizes personalized. huiao satire, absurdity, and y :. .exaggeration. :. ihe ' bartooni'has. been used in' the classroom

v. mostly witfc politicssyhlstory,^: geog2?aphy5.' economics, and ‘ .;. 'sociology, but .-increasingly it is- being ’utiiized in mathe-. ' ...

■ " - inatics, literature, science, . cpmmerce, and other fields. - - yyyThe blackboard is - one of the -most valuable of. all' '.

; visual a i d s ; BlackbpardS are not of ten thought of as visual . ';.: aids .'and yet theyvare basic'. .So many 'teachers not use . . ' •

f their blackboard space , to advantageThis is . probably, due to ' V '• . y

, . .several; reasons: in some cases ,;. teachers 'have not beeny'-; - y .-yy:;;trained in how to. use y ^ blackboard properly, ' In other ' y ; ' y f

y . .I . : ; ^3 Bohun Lynch, A History of Qarlcature, Boston: - . :' y Little., Brown, and Gbppany, 1927, :pV ill. •'y y ' y .. y - ;. - - y

'y:,',H'' 'y :;y: ' ..y-'.-y /

22

easess it is the result of poor planning or the lack- of vpreparation on the part of the teacher ® - . '

■ ihe me thod of individual ins trueii on predominated in"the beginning of our colonial schobls» ' .ihe introduction ofslates in the first part of- the. nineteenth century was animprovement over teaching, individually® - Ihe blackboardfurther revolutionized individualized teaching as it wasone of the mb St /he Ipful’ -; ai dst-in group instruction. Johnson‘ accounts' for tthe: f irst : use. of blackboards in our colonialschools by -stating s : v■ ; . The. earliest reference I have seen to a school black-

> board Is in the preface to, an arithmetic- published in .' l809g in Philadelphia® Evidently the use of such a thing

.'as a schopl aid-was an innovation® A footnote explained • ' - that "the'Black Board should be about 3 feet square, - -

painted; or .'Stained with inky and' hung against the wall . ^. .. in a: convenient place for a class to assemble around,, it«f,15

. . Hie blackboard is an essential visual, aid .because of ' its many uses ® Flrst9 the reproduction is 'easily erased® Seconds. it may.i)e •used efficiently in class instrUetion®■Hoban-states. it may be used for visual work in practically . all .subjects for "diagrams3 sketchess drawings, ,decorative work; for - out line sj, summaries and. directions;.' as a substitute, :. for the bulletin'board; for .group or class work; . as 'a-- screen ' ■for still; pro jection® "^^ • " • f •" ;

- l5 Glif ton ' Johnson5, Old-Time Schools and ..School-Books s New York: The Macmillan :Gompanys .1917 s :P = 107 ® '

'Go vEg . Hoban j. "The" Blackboard as -a Visual Aid# n . Educational Screen® 8:1%9® (June®- 1929). . ' . ,

- • r; The bulletin boards like the blackboard, is a visual ■ aid that is valuable to instruction. Since thene are certain - :

: v - interrelationships between the two and. since the blackboard ; ■: - ' has becn'.disoussed in . tha revibnh paragraphs^ itr will ,snf- ;■ . ; : \:r :■ /- flee to 'say that every classroom should have- a large bulle- 1;

? ' ;:y:- tin board for 'the' display of materials of .interest to the 1 >:’• 1

•' _ Flat, or unproject'ed ■pictureso, fhe unprojected pic- ;tares used more cbmabnly as 'visual aids Include pictures/ ' photographs:g prints, paintingsg and stereographs^. These aids are not discussed ihdividually in the following paragraphs-s

• ' however, a more general discussion of the use and historical; development of unprotected pictures as a group follows» . ' .

The flat picture has been recognised as an aid ■ in the . : ;V.; ■ . . transmission of meanings, since the. time of prehistoric mani _

. Our present alphabet was of a pictorial nature» These pic- ■'-• ' "p ■ torial illustrations have been used for a long time not .p ;V: : ■:r,- ... ’, p only as verbal aids hut also as •written, aids, The most fa4 /'p. pV.p."

mous of the early texts .including, picture s. as visual aids was ,7 v-: “Orbis Pictus’1 published in 16^8, and was written by Gomenius«, :

. It has:approximately one hundred fifty pictures; Each served as a topic of a lesson, . This picture, book' was followed by

■ ■ another famous book which:used pictures as a means' of vital- > • 77 • ... izing its materials. It was the “hew England;Primer“ which.:-. . ;

'' • appeared in about I09O in the schools of Massachusetts, , The7 7,

' The Primer .was used approximately: one,: hrmdred years as the'. 'chief beginning reading book of ' the early, colonial American:.

' schoolso .' ' . . With these beginnings, pictures are used today .in

:v-practically all textbooks" as visual aids „ The value of • rpictures as ,pictorlal .aids.: is-; clearly'?:shown. by ■ MPEown ■ ;and' '

' mbberts: d: ' . pi - : , . .'"n-. ' ' :y:',/'. The still picture, one of the most universally used

aids in education, is popular because (1) it is so real . and vivid; (2) it is easily avaiiable.; (3) it is con- :

; venient to use; (k) it is Inexpensive; and (p) it. can 'be■ \ ' . used r e p e a t e d l y ' > ' ■ . '3 . ;

' Projected pictures.. The slide and the filmstrip are ', considered'together because they are both "still" projections, sub ject matter is usually available in .either medium,, and the production procedures are similaro-

: . .. ' The invention pf the "s till-pic ture proj ector has beenattributed, to Athanasius Kiroher, who described it;in the .f irst edition of his nArs'magha iucis et Umbrae -" in lok6.This projector was called the ■ "magic lantern'1;and was used •. as a toy until about the middle of the nineteenth century; :' '

.;,.;’Whjeh It began to be adapted to educational programs =. : Pour modern sti11-picture projectors that are commonly

' ' McEbwn' and Roberts, op. oit-., p., lOij. •. : ' - . "Magic or Optical. Lantern, !* The. BncycIb.paedia . :. - I. - Britannic a 9 Ikth. e dl t 1 pn,3-ill,.'. IpkP, p « 709« V'; '.idt'-:.

used are the standard.VIautern slide projectory t h e - films trips the 2 k 2-inch lantern slide, and the. opaque pro­jector Since these methods of projection call for various ■

."types of projection' materials they, are briefly discussed in : the following paragraphs. '

She standard lantern slide projector is the oldest type.. This machine projects still pictures' from a glass slide .3S x 1’--inches. One of. the chief advantages of this ■ type is. the large area through which the light passes« This •

. reproduces a very■hri111ant picture.on the screen. The / ■simplicity and ease of operation has made it popular with . many-teachers, . :

An important feature of the 35*-mm, filmstrip projector ■. is that filmstrips as well as glass slides may be used. The - filmstrip is nothing more than a logically arranged series of still pictures on a strip of 35'-mm, safety film,. The filmstrip has been called by various names« Some of the . names are.,film- ' slide, slldefilm, stripfilm, film rolls,, and Pieturol, Dent-*-9.. claims the films trip was introduced by- the Society for Visual Education, rinc,, in 192Q, Some of the f eatures : which make the .filmstrip desirable are the ease: with which it may be transported and the minimum space required for storage,. Probably the greatest feature is the economy of the material,

. ^9 Ellsworth G, Dent, The Audio-Visual Handbook,Ohioago:. The Society for Visual-Education, Inc,, 1939, -p, . 81, > 1 , ' , " " . ' ■ ; ; • ' i'tVh

26

"A 2 x 2-inch slide set aoraiaining thirty frames would cost' y * : from f if teen, to, •b.urenty-.dne, do 11 ar s A filmstrip costs only 'one dollar and fifty cents to three dollars = ' ■ ' ..

■ A projector which is'designed, to handle the 2 x 2-inch glass slide as well as the 35>-rarn<, filmstrip is the 2 x 2-inch projector, The 2 x 2'=inch slide 'is: especially nsefnl in , -program work be cense it ‘can he produced, inexpensively in .colors it is compact, and light in weighty. and it utilizes ■ - ■lightweight projectloh equipment, Eoban says "the glass ■.slide serves to present yisually to a class or. auditorium- group material which is intended, to preview^ clarify, or supplement subject matter or to make instruction on curriculum units more meaningful.. - •: ' 1 . ' ■

■V. . ■ $he opaque projector'is used to project pictures, whether mounted ,or unmounted or printed in a book or magazine. - The .chief advantage' of this pro jector is that many types, of '• material may .be used«, 'Pictures from magasihes, textbooks, post cards, and many dther graphic materials may be used.11 The value of the opaque .projector, is that it allows any type of still material from leaves of a tree -and illustrations, in a.book to dominoes and map diagrams to be shown on the - -

. ^ John 'Oharles Schwartzy' Jr., -'The Administration of: an Audio-Visual Aids Program for the Small School System, " Reprint of .a Haster8s.. Thesis, University of Oalifornia, Los.AngeleS:,' September, ...igit-Ss P» 71» ' :' . ■: . ': ^ Hoban, Hob an, Zisman,- op, cit., p. 1 9.» : '1

; : ■ The motion idiots T$m motion picture is a;.'series- - of pictures, projected on ia screen with such r ap i d /'sue c e s si on that the eye sees them as a continuous: representationa. This is made possible by the; characteristic: of the human eye known as "persistence of vision," When an object.at which one is looking is suddenly removed, the image remains on the eye i h for a- fractional part of a- second, iherefore9 when several pictures are flashed before the eye rapidly enough<, the pic­tures blend and produce the illusion of a continuous picture . This fundamental principle ,of the motion picture has been known for a long- time, Mcltown and Roberts^ state that historical records indicate the Chinese first discovered and' used the principle many centuries before the birth of Christ - / Many early moving “picture devices were experimentedwith of which-ther "thaumatrope" was one of the earliest* It . appeared 'in;Eondon in l82p. : Lubschez^Lc describes it:as being a paper toy consisting of a circular card with strings fasten ed to ' the edge at two : diametric ally npposite points» On one : face of the card Was printed .the picture of. a bird, on the

- : . 22 gohwartz9 Inc. cit. ... - V ' .23- MoKown. and, Robertss op„- oit.y p. 1I4.6. . '2.4_ Ben Judah Dubschez, "The Romantic Story of Moving

Pictures $ The .World. Book Encyclopedia. Chicago S The Quarrie Corporation, 19ipn rp . 470li.

28

other that of a cage« By 'r^ldly ;■whirling' thehcard by means t of the strings. held. t.aut> the hind appeared within the cage „

Edison ’ s .invent!on of the' Eihe toscope in the las t \ decade pf the nineteenth centnry seems to be one of the most . important steps to the development of the motion picture» v . It was a machine which projected ah/image upon an internal . • screens and could be viewed only by one Individual= This invention led Jenkins and Arinat of America and Lmniere. of - -Paris to develop a motion picture machine which'pro jected ' /,

^'enlarged /pictures on a screen. Dorris states:. • /:. It:is necohded;that the first public.motlon-picture' performance was given in, lew York Oity, April 27» 18965, ■ '

. / although Mr. Go-' Prancis Jenkins had exhibited his films to small groups as. early.as 1898 in Washington^ D. Go25

Thus began the motion picture industry leading up to the-first./Sound picture in 1926* / "Don . Juan5,;?’- prodUced by Warner ■Brother So... / . ' /i-. / ' :

The development of films for educational purposes wasa very slow and some times doubtful process * This was due tothe expense of producing films $ the. lack of proper equipments,/and the feeling among educators .that the motion picture wasgood only for entertainment. The- beginning of sound, film.■production for-■educational films- was in 1929. .' ■

The real use of the motion picture; as an instructionalaid is in learning situations.which require'an.analysis of

': '■ ^ Anna -Verona Dorris5, .YiSual ,Instruction in the Public■ Schools5,. Boston: G-inn .and Company, 19^^" p* i

of iiio*io3$ f oo? jimders •banding . Ho ban states, the fnnc tions of themotlon pleture as based on research to be: "the deple­tion of ,continuity of processes and events s the depiction of observable action, the depiction of unobservable action, .and': the heveiopmentv of attitudesr» ’n : : . - " . . " • ' -

The value of the 3%p'tioh tloture- as ah educational : ' 'device has been stated by MoEotn and R o b e r t s \

■ ■ The motion picture is re cognized today as one of ■■ the most powerful factors' in the : on t - of - s c ho o 1 . educ at ion of both children and adhltso : In, a short space of' forty-' -years it has had,, peihiaps^ v a ;';gfeater 'i3$f luence .in', shaping

vh the thoughts, ideas-, , and reactions of the average individ­ual than any other device 0^7 - ... ■. . ■ _ ■ : -h

Prbbably two reasons,' why. the;: motion'pieture has not been usedfor instructional purposes more than it has are? (1). there:: is - a lack of suitable material ; for classroom instructionjand . (2) lack of .knowledge concerning, the; correct .technique ' ..

- for its; effective use, ; - . - - . . . ; - ' -

- .; Summaryo The present chapter has considered brieflytheyhistory of ; the':>audio-yisutli 3fflove3nent, in. educ atlon.: . The • more common of • the. audlo-vlsnal aids . have been discussed? ■ Those 'visual-aids are (1) the school; journey;- (2) objects,' .specimens;, and models; (3) graphic .materials|, (Il) flat; or.. . - Uhprbjected pictures; (5) projected pictures; and (6 ) the ' motion picture. In the discussion of.each-audio-visual aid,

. : ' 20. gob an, Hoban,' Zisinan, op, ' cl t,, p, 98,h- y .'.y ^7 HcKow and Roberts, op, clt,., ;;p, llt.6.

no attempt was made to treat the subject exhaustivelyo- IHae historical background, use9 and_ value was cdnsidered' briefly rather; than methods of instruetiony A good reference which is particularly helpful, in methods of audio-visual ins true- tion is Bdgar Dale‘s book,; ''Audio-Visual Methods in Teach- i n g o I t is the purpose of the next chapter to determine the availability of films and filmstrips for the teaching of ., instrumental music o. ; ' ' '

■ dHAPTllR. H I

' r $HB AWLiBIBIPT QF'; FILMS ' ABB . PIBISIHIPS FOR ; ; . ■ THE -SEAGlIHa; OF aHSTmJHENPAL; MIJS16; - - V.. '

Sources of Instrumental Music Film r ‘ '

: Teaching instrumental music with the aid of soundfilms isj to a large.-degree5,. an undeveloped field and its rate of advancement has not been as great as it should be. This statement is substantiated by the findings.of the writ­er 8 s questionnalre -which was sent: to sixty Arizona directors of music» From the forty-five.replies received; It was dis- eotered that only five or six films were used, to any extent„A few others were used once or' twice« .Many direct or s re- .

, ported that they had had no experience .with music films or filmstrips. This evidence supports.' the writer1 s presumption that»•. in general, directors of - instrumental music, are unin­formed as . to the availability . of films and filmstrips that.- \

; may be .procured .for. Insfruetional purposes o ' At present' there are approximately one .hundred, seventy-eight sound films per­taining to the music field. This chapter attempts to deter­mine 9 as far as possible, how many and what films may be . .procured for teaching instrumental.music„ .

In order to determine what films and filmstrips, are ... obtainable for the teaching. of instrumental music, the r .writer.' wrote.. to the State'Universities of the Worth Central .' Association'- for a 11 st: of instrumental., music films and film-- strips that were available for distribution through the. .. ..' ■

visual; aids departments of these institutions,» fhe follow­ing eoimiere-ial catalogs were also tiseds "1000 and One,11 ■published annually by Educational Screen; and H» W. Wilson Company 's annna.1 "Educational Film Index»^ Ihe. names of other films.were discovered by means of the replies -to’the ' ; .questionna5.re which was sent to the band directors of Arizona.' 1 ■ With' the- instructor Interested in using films' and ifilm-strips as visual aids in ' teaching instrumental rausiaff ■ the question arises first of all as to' where.the films or - filmstrips may be obtained and on what particular subjects they are produced, ' Table I lists the more important instru­mental music film.distributors- and their addresses.

. Usually films may be rented more reasonably from the - state-maintalned universities than from other sources, 'Therefore g Table 11; Indicates- ■ those films and films trips . - that may be obtained from each State University of the Worth Central As so elation,'- Those films that are not distributed ■' »by: ;any tmiversity may be procured from various commercial « o; companies, Subsequent tables show the . source of all the . - " • instrumental- music films and films trip s discovered by this . study, University of Arkansas, Montana State University,Chiversity of North .Dakota, -and Ohio State University - do not provide film service, and,- thereforeare not included in .Table II, Instead, the State Department of Education- of ' Arkansas, Montana, and Ohio service the schools and organl-f i zations irequestliag; .visual m a t e p l a l s - V •

33

: '3- 3; ' ' ' T A B L E ; '; ' • ■■ vM M E S AMD ADDBESSES OF DISTRIBUTORS OF ; . y _ IITS'TRUMEMTAD; MUSIC . FIEKS. . ' .: I -

' - 'DistrlBiztor - - • •• •; Address ..American Tel„ & Tel. Co„ >: - :-208. Wo 'Wash. St., ChicagoAssociation. Films . _ ,■ 3 -7y Madi son. Mew York l?" .Bell and Howell Company ; 1801 ..Larchmontj, Chicago -

" Brandon Films,. Inc. l600 Broadway, M.y.C. ; f .Goimuonwealth Pictures Corp a. ■729 Seyenth AveoD . M.YoC.; -C. Sv' Odnn, Dtd. . 1 Elkhart, Indiana i. "

. Dunnlngcolor.. Corp I . ■v- 932 M. LaBrea, Los Angeles.East In Pictures Company... . 707 Putnam Bldg., DavenportEncyclopaedia Brltannica Filins Wilmette. Illinois , ' •

• Engleinan Visual Ed Service % 7 % Woodward, Detroit 1Films incorporated 330 W« 42nd St., M.Y.C. -

.. Gutlohn Films, Inc. : ; 1 100 W. Monroe, ChicagoH. A.; DeVrys Inc. 1111.Arm!tageChicago

. Hoffberg Productions Inc. r 620 9th Ave. , .M.Y.C. '

. ideal Pictures ' Gorp. • ' ' '28 E. 8th St., ChicagoIndiana University: y 3 • Bloomington '. .’Institutional Cinema ' lp6o Broadway,- M=Y. C. . -International Film Bureau 84 Eo. Randolph, Chicago 1 .Mat * l i Film Boaf d y of Canada ; • 84 E. Randolph, Chicago' 1

. Mational Music Camp'. : ' University of Michigan

. Mu-Art Films • . ' , • ;. ■ li{B W.: 49th St., . M . Y. C. '

. Official Films, Inc« : - . 20 W. 45th St., M.Y. 19Pictorial Films, Inc. y 117 W. 48th St., M.Y. 19State University of Iowa Iowa City ' -United World Films If t 6959 H. 01a.rk, - Chicago.'26 .University of A.ri&ona • Tucson ; - ’ ' ;' y.,, '.University of Illinois y .1 Urbana ... . y. ’University of; Kansas . 1 / V • ' ’Lawrence ' y ; . . 'University of Michigan ... 1 '"Ann Arbor ;; . .- .- "University of Minnesota- ; y;. Mlnne apolls : ' ... f , ; : ,University' of-Missouri; . .: •' Columbia ; . 1. y . -University of Nebraska : ; Lincoln/ ... J ; \- y } '4/'-.'/.4,University of Mew .Mexico. Albuguerque; -. . yUniversity of Oklahoma -' . f Morman " :' '_ yUniversity of South Dalcota Vermillion -- , - ;University of Wisconsin .-. 1 Madison ■ . : . ■ .Victor Publishing Company Dallas 1, Texas - '• West Virginia' University Morgantown.

TABLE IIINSTRUKEKTAL I.iUSIC FILLS AND FILLS TRIPS AVAILABLE

IE VARIOUS STATE UNIVERSITIES OF THE NORTH CENTRAL ASSOCIATION

Name of Film Universities Having Film Available#1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16

Aida X X XAir for G String - Bach XAndante et Rondo XBrass Choir X X X X X X X X X X X X XCarillon Fakers XChildrens Corner - I XChildrens Corner - II XCoolidge Quartet X X X X X XEmanuel Feuermann X X X X X X XFundamentals of Acoustics X X X■Fundamentals of Brass Instrum XHow to Twirl a Baton X X XHow We Write Music XHymn of the Nations XInstruments of the Orchestra X X X X X X X X X X X XJose Iturbi, Piano X X X X X X X X X X XKeyboard Concerts, I, II, III XMalaguena XMasters of Sacred Music X

TABLE IIContinued

Universities Having Film Available#Name of Film 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16Music in America X X X X X XMusic in the Wind X XMusic of Youth XMusical Instrum: The Strings XMyra Hess, Pianist XNature of Sound XOptical Poem XPercussion Group X X X X X X X X X X X X X XRhythm is Everywhere X XRosamunde X XSecond Hungarian Rhapsody XSigmund Spaeth XSound X XSound Waves and Their Sources X X X X X X X X X XSounds of Music X X XStory of Violin XString Choir X X X X X X X X X X X X XStrings, The X XSymphony of Young America XSymphony Orchestra X X X X X X X X X X X X X XTalent Exploration X X X X X X X

TABLE IIContinued

Name of Film Universities Having Film Available#1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16

Tales of Vienna Woods XUniversity of Illinois Bands XViolin, The X XVronsky and Babin, Duo-Pianists X X X X X XWoodwind Choir X X X X X X X X X X X X XYouth Builds a Symphony X X X X X X X X X X X X X X

Total 10 5 22 11 12 14 16 17 11 17 7 18 4 7 21 0Per Cent 22 11 48 24 26 30 35 37 24 37 15 39 9 15 46 0

-x-Fi Ims tripsUNIVSRSXTIES#

1. University of Arizona 9. University of Missouri2. University of Colorado 10. University of Nebraska3. University of Illinois 11. University of New Mexico4. Indiana University 12. University of Oklahoma5. State University of Iowa 13. University of South Dakota6. University of Kansas 14. West Virginia University7. University of Michigan 15. University of Wisconsin8. University of Minnesota 16. University of Wyoming

37

■ : In. looking over Table IIs the reader will notice a ■ ;few films that are commonly 'owned by the majority of the hniwereities. ' Further inspection reveals the fact that the

. commonly owned films. are 'those of the Music Series. These : are the Encyclopaedia Britannica filmsP namely9 The Brass.Ghblrs.The .Percussion Groups :The String 0hoirs The Symphony Orchestra, and The Woodwind Ohoir„ Of all those listed, the ■ IMiverslty of • Illinois has the largest instrumental music

, film: libraryo .. This /institution has twenty^-two films, which - is-forty-eight, per cent of the total number of instrumental musfc films available in the Universities of the North. Geh- ..

: tral. AssOciatloh, • ' ■; . • ; ■■ •In comparing, the.films that have been used most fre-

' quehtly by the Arizona music directors with the films avail-- : - able for distribution by the universities of the North Central

Association, the two groups are:similar, . Therefore, it may . be concluded that the Arizona directors of music secure their - • ;

•v," films from the university .rather than, from other possible h ;; sourcesh- I t". -1 / ' v _ _. . ; : - Tlie remaining, paragraphs of this chap ter present . a. ■ •I ■ classification, of the films and- filmstrips that are available / f of .the teachihg of instrumental music, .. In, addition to each •

classified section, there appears a table listing.those filmsdiscovered by this investigation* ' . - . t

" ■ v. . Olasslfieation ' ; •

Filins and.' films trips applicable to the teaching of instrmient'al tmsic. ,may he claas 1 f ied :as■ \eitlper educational pt ; or entertainment s■ Any classification iss in a’senses .arbi- ■ trary3 and in the final analysis is largely dependent upon the' way the film is used.. tFdlmsy likeitooKs»; m ‘ used 1for many purposes, and when projected, entertainment films may be educational and likewise educatibnal films may be entertaining o : Foh "the; purposes. ;:pf ■■ this study, nil, of the ;■ mentioned instrumental music films and filmstrips are- con­sidered as being educational ©yen though they might be entef- - talningptoi'a certaih.ektentf/v > . p - ■ ; -v; . - • ' Educational films may be subdivided and classified asInstructional^ newsreel, documentary, and industrial. , The available. instrumental music films and films trips are largely either instruetional or documentary in character. The in-, "" s tructlonal films:are in the majority. They are designed for specific teaching purposes in ashich processes' are . ex­plained, information is presented, and skills are demon- ^ ' strated. The documentary film is a relative newcomer to the educational field. ,•.Documentary treajnment lies aomewhere ■-1 between that of the. 'photoplay and the .instructional film.The dramatic style of - the' entertainmeht film is employed to convey to its'aiidience authentic information about real v. social problems. - ' ■ . d ;d

' vIt was.:;g•bated previously that any classification of ; ; f i 2 j n s i s true' for . there-i Is a variety of . teachihg -ohjeoti'ves .in, each film„ Therefore <, the manner in which the film may be presented-will vary considerably from one situation to another. The manner.of presentation-depends largely upon which:teaching- points need to be emphasized, and -appropriate steps must - be. taken to accomplish that end.

The instrumental -music teacher 'must : not depend: on any classification system- entirely to judge the suitability of a v film for a particular teaching situation. Teachers owe it .. to themselves and. to their classes to preview all material . that is to be shown, - The final choice of a film is definite­ly the teacher8s responsibility. Furthermore, the sUita- -

. bility of the film for different situations and age levels cannot be . accurately ascertained from the general headings • under which respective films are classified. With this in mind,; the films •” and filmstrips: in this study are classified : ‘ under six headings-.-symphonic' performances, Instruments of

V- the orchestra ; (string .family);, instruments of the orchestra , or band (woodwind, brass, and percussion families), piano :and organ; performances, music theory, and marching band, - These classifications are further explained, as follows t .

- ‘ Symphonic performances. Table III lists the films . .pertaining to symphonic performances,,. It presents the. follow­ing - information about each film: name, length, rental price

; Tv- r ; r v t a b is i i i ' : <::: ;; ■

S’lI i lS . AUD FILMSTRIPS .ILLIJSTRATIEG SiMPHOHIC PERFORffiAE6®

’ Name of Film ■ . ’ Length Rental • Source - : : ■ ' ' ' ' 'Aida: ■ A " : '.'v-' 'V : ' ■ V:":: ' 9 min ' r * Iio9o: v:■ Uhlver sity of: Okl ahoma:r : -.Masters of Sacred Music 8 min •io5o . - •University of ;.Illinois - • •Mischel Piastre and His Orchestra-I■• 10 min , 25o00-X- ■ '•Official •Films.j' Inc. • •Mis die1.Pias tr d aud.His Orche stra-II 10 miri . ... 25>Q0f > Off i ei al Films.y..: Inc... - ■ ; ■' Optical Poem ■ ■ ; ■ • 8 min . lo50.. ' University of Illinois• • •Overture to Rosamunde 9 min io5o Bell and Howell Company •.Overture of 1812 _ « ■ •: v' 10 min ' lo00 V InstIthtional Cinema ■Song of the Danube .. 10 min . ic5o - Films j • I n c • • . • - ; ■ •Symphony of Young America 22 min ■ ^ «5o ■ T1 University:Of/Michigan;;•Symphohy Orchestra;. 1 v 9 min , , '. io5o. -: • - University of Arizona • • :Symphony Series- I)., reels ■' 10 min ea ,.lo 0 ea, Gutlohn Films j,. Inc. • ; :-:Talent Exploration 30 min - o50 ~~1 University of Arizona -• •Toccato and Fugue, : 11 min 90o00-::- , Dumiingcolor .Corp. : • • . ' ; :Toronto Symphony Orchestra - 2 reels 10 min ea 17 0 90 „e a-"- - Official Filmss Inc. '•Unfinished.Symphony ;. 20 min 60.00# : Official Films j 'Inc.* ' * • * ;Wizard* s Apprentice : . " ; 1 reel 1.90.: ' 'Nu'-Art 'Films '•,; ’ 'Youth Builds- a Symphony jj 26 min , . loan : |National Music Camp * •

. .^-Purchase P ric e '

if knowns and; souyoe« it is interesting to note that , practically: all are orchestral film's. These films are useful aids- .in the. '.teaching of orchestra' and are helpful and educa~ tiohalS; partlcularly for those boys and girls^ 1 iving in rural' areas':, -who , are unable to ,go' to concerts. ■■■■•■-.They may be used to study the symphony orchestra or any of its component partso ■ . " - ' ’ i - ' ■ ;■ Vy I -" ' -

:y, .There: seem: to be more instrumental music films devoted, to this classification than to any,other type. : At present sindents in public school bands .greatly outnumber. ■ those in ■ orchestras o There are no films noted by this table which ... - would indicate a specific value for bands or small ensembles on the public; school .level.- Most of the music directors of Arizona,- who - are teaching band, mentioned this fact and also expressed a desire, for films featuring-symphonic band work.

Instruments of the orchestra. Tables IV and Y indi- cate ■ "available films which demonstrate the various instru- ments of the orchestra and band. These films show how each instrument looks and how each sounds. They also demonstrate the" effect of a variety, -of instruments in small and large ; . ensembles. . - . - :f.

As may be seen in Table 7, there are comparatively few. :films and filmstrips concerning the instruments of the band. Furthermore, three of these films are the old Encyclopaedia Brltannlea films that are not completely suitable for use ' f

TABLE IVFILMS AID .FILMSTRIPS DEMONSTRATING INSTELMENTS v T H E ORCHESTRA (STRING FAMILY); . ;A: . "

, A;' : ::A'-A Name of Film . . . •’ A A ■ "Length Rental. : ' Source A A : • .■■■ ' :V':'Andante^ et Rorido ■ . ' ■ ^ FA-''" .5 m m F$1^ 0:A; 1IMiyersity of Illinoisr''Carol Glenn, t- Violin -:A: ."iv '>: Az ■ : : :10 min , 17 .ho* ;:vnEastin Pictures Company _Childrens Corner> The - Part I , . 7 min ' lohoA ■ ■Univers.ity of Illinois. ■Chlldrehs - Corner . The. T , Part A ■ 7. min •' l ^ O " . :"1University'of IllinoisA(:Cbolidge- Quartet ■1 \ '••i A-.- V-'AA' • I 1110 min ['■ i , H : : ; ■University of MissouriEmanuel Feuefmanns Cellist ' ; . |[lO min A”ioho ■ • University of '• Oklahoma'lnsh'riMents':hf; ■: .thel.0rche'str:ax : ' - I ; : -i|2:0;' min : 2 o00 University of Oklahoma •Menuhin5. Yehudi; =, .10 reels " A 10 min ea 30 o00 ea% 0ffidial Fi 1ms, IncfAA'-.vAMetropolitan String Qunrte.tte A- .2:>reels 10 min ea ' l6 = 00 ea-x- Pic f orial'-F i lms $ - Inc = r •kildred 'DillingA Harpis.t i : - 10 min A A.A1oSo:'.; A Univer s ity of Eentueky■r -Music •Instruction- Film Aid (Filmstrip) 1|- parts ' ll+OoOO* : ; Vic for • Publ 1 shing Co, 'Story of a Violin " ./■ - , ; '21 min ■ Y lF0,0:0# r Nat.' 1 Film- Bd, of .CanadaS.tbry of Violin: , A A '' ’ ' . ■ 10 min' A" l.ho. ™"1 University' of • Oklahoma ::String. Choir % \A::: f 10 min A1 oho A University of ArizonaStringss The Af Avvi A'As :: :AAa'"A ■ v.^AilO min H O O: j State' University of IowaTchaikowsky. ■Concert : ' 10 min 2h«00-X- Official Films s Inc * ■ ■ ■ :■ Violiny The : ' y:, ■■ ' ; -'-A; t:'' -' ‘aA ' %10 imln • / icho: : Uni vers ity nf Arizona .Violins and Cellos 'AA-A- - A: ■ 10 min ■' A loho • Gutlohn Films s :Inc ," : ■ ■William. Primrdse . Viola . ■ . .5 A. ' 10 min (17 oho^ • Eas tin Picture s -■ Company

-X'Bur chase Price

'■ ' . . ' V ’ ‘ ' ; . TABLE V ' , . / : FILMS AMD FILMSTRIPS .PRESBNTIMG IMSTRIHBHTS OF THE. OREHESTIA OR BAUD ■'

: ' v.:;; (wodDWliD>' Br a s s aid pErcussiom:) .. . V / O .. -

Marne of Film Length Rental Source '' ; ' 1Brass Choir ' ■ 10 min #1^0 UniTersIty of Arizona V;First Chair 37. min • loan , C o Go Conn, Ltdo --r - . ' •Fmihamert'als of Brass InstrufiLents (FS) if.2 f rame .: :; 3^#* :. TJnir e r si t j of Me hr aska - ■ -Instruments:of the Orehestra 20 min : 2.00 • University of Oklahoma ■ •Music Instruc.tion Film Aid, (Filmstrip) Ij. parts lli.0.00% Fietor Publishing Company ■Percussion Group , . 1 ■ ' 10 min . : io5o University -of■ ■ Arizona ■': •Woodwind Choir 10 min io5o - University of Arizona • '

'Pur eha s e Price

■f i r -

with school. students 9 ' -:A tremendous, effect would be secured by the use of an actual high, school group .performing musical compositions which', are within the scope of school-age. organi­zations., A film of this type would be more valuable to. school organizations than the/film that presents old, .bald-headed tmslGians with walrus mustaches and dll^fItting'^tuzndoes;.„' It is rldicuious for a music. teacher to, ezpect .anything but- /amusement or disappointment ■ from the students with the show­ing. of some of the shabby and oid-fashlohed films: now Ing common use. , .

l''.'.Muaie::©duoators ■ acjteabwle^e^'the .factlthat there is a .definite heed for new and up-to-date films which attack the: ■ everyday problems of /the average music teacher.» ■ This -is evidenced by the fact that the Music Educators 1 Eational Conference'-r.ecently .organized, a committee to. study the film literature - in the music field and,to survey the heeds, mate­rials P and problems pertaining to the production of music films o' . ; ;; h : .

flano and organ performances .■ Although the teaching. of piano and organ is not a part of the program of the ' gaverage school, there are a' few schools that offer individual, piano and class, piano in their curricula* For this reason, -piano and; organ films are listed in Table VI. - - . . .

\- . .Music theory.o. Films and films trips on music theory are few in number as evidenced by Table VII. The writer

TABLE' VIFILMS AID FILMSTRIPS DEMGESTRATIIG ■ ; PIANO ,AND- ORGAN PEHF OR1ANGE; :;.

„ . Name of Film . ; ' . 1 Length - . Rental - ■ ;/'V:; • Source / ' ' "Appleton- and Field, Duo-Piano • 10 min : ■.117 o 50* ■ -•Eastin /Pictures :Company/-'/Ave Maria/ -- ■ / V ///■:/ .■■/ ' " . •10 min ic5o._ - Gutlohn..FilmsInc;/'': -Color Studies of-'Chopin ' , , 12 min ' . 85.00* - Pictorial Films, Inc = • ; -/•0-impel, Jakoh, Piano - • • "/'./ ' - :■ 7 reels; 30 o00.pa* Off icial Films, I n c • -; •.Golden Mountains ;■* 10 min . io5o- • University of Kentucky • - .Jose Iturbi, Pianist ; . ■ 10 min "^1750 ■ ■ ' University of Arizona •Keyboard.Concerto, Three Portfolios 10 min ea • 1.50 ea University of Oklahoma /Moonlight Sonata’. ■ : 10 min 25.00* Official FilmsInc5 - - -Music in the Wind - /. - 8 min 1.25 '- University * of - Nebraska - •Myra Hess V 'V" - ’ lO-min 1.50 University of Wisconsin■ 'Organlogues - :": : ' 1 ' 10 min. 3d00 Bell and Howell. - - - -Polonaise ■ . -' ■ ' 10 min 25.00* Official Films,-.. I n c , - -Sascha Gorodnitski, Piano■ - - / ; . 10 min - pL7..50*— Eastin Pictures.• Qompany- -false Brill ante . 1 reel ■" 1.65 Ideal Pictures Corp0 ■Vronsky and Babin, Duo-Piano 10. min 1.50 University of - Oklahoma • :• -Second Hungarian' Rhapsody. -:: 10 min 25.00* Official Films,;' Inc;:Telephone. Hour ' 2k min . |i loan.. - American Tele & Tel; Co;.:

•^Purchase Price

' , . TABLE VII ■■■/-. ; ' ; ' ■ ,FILMS AID F1L1STHIFS TLHJSTRATIIG. 1ES|0: TBBORY

. ‘ .. . lame of Filai : Length . .. Rental ; ; ' Source ' ' ' 'Fundamentals of.Acoustics • ' 1 11 rain lloSO University of Kansas ■; : 'How We Write Music 1.8 min ■ 2,00 State; 'University of /.Iowa : 'Music Instruction Film Aid (Filmstrip). ‘ If. parts . llf.0.00# ¥ictor.:FuhIishing': 0ompany *■Sigmund Spaeth . • .; • . 10- min lo00.. ..University of Minnesota . -Sound Waves, and Their Sources 10 mln icSo ’'University of Arizona' ■ ■Sounds of Music V. ■ 10 min ^""loSS University of lehraska;

-x-Pnrchase Price

■previewed all of these" except. two „ The films that Were . previewed, could be used best as a review over material /that . was previously taught® : This, may he- valuable- as 'a different . means of 'presenting ' or, emphasising-, various aspects of music 'theory®, . . ■ _ . . . \ ; ■

The! George \G©mp yj,'.ofv-'Dal'l'aSj'dhas;'announced the completion of a filmstrlp*record series of which part 11 is deyoted to music.theory® This f11mstrip- record series is the audio-visual/instruction accompaniment to the "Music Instruction'Film Aid/Edition of the Tictor - Method of Class Instruction for Band and Orchestra®" - The film, may be .used with beginning instrumental' students in conjunction with the VIotor Method® ■ ,

Marching;band® ' One important function of the high school- .band is that, of ;marehing6 . in most communities■ at /, present there Is a great amount of interest and importance attached to football gamess and at those events the band per formers are usually oenter.s of attention® To develop a good marching band/ a great amount of time .and effort is required However^ ' the band is first of all. a musical organization, and a band is. not a band Until it can produce music® There­fore, more time should be devoted.to band rehearsals.than to marching® -■. ■ t " ; ,

If an attractively uniformed'■band, in rhythmic step,, , playing martial,music, has the power to inspire and stimu- ■

late spectatops3 then.surely good films showing marching maneuvers and lundamentala would help motivate the average school•musician. Pictures were taken of the University of Arizona band between halves of the football games during, the I9I1-8-I19 season,- This was an incentive for the musicians., to present a gbod show-. If ; nothing, elses the; film shown at a later date Increased their interest and developed an esprit de corps which is badly 'needed in'marching: bands, ■■technique of filming the marching band in order that the .y students may see their maneuvers and drills is coming .to: be a ; common' practice, - h i' -

; Table illl .shows the films available -for marching -, bands, It is apparent that there is a great need for more films of this type. If.marching band films, on various .com­mon maneuvers . and: formations could be- "Obtained, they would . - ;be very useful in showing the routine to the band before it .is,'rehearsed,liTherp;. are' films.- pf y,this•= type but are person­ally owned by various band directors,. ;The University of Arizona band’:would he of great service to the high school organizations if each” year they would film their maneuvers and duplicate, them for circulation through the Audi0- Visual Aids Department, : . ■ ;

• Summary.o.~ ' The" present '.chapter has Introduced the sub­ject of using films and 'filmstrips as aids for the teaching of instrumental music. The more important instrumental music

' : TABLE VIII Y { ; -FILMS AID FILMSTRIPS PRESENTII&,:THE MARGEING BAH)

. : Y Name of Film Length Rental -. '' Source y; ' ; y''y Y- Y-: -:-

How to Twipl:’a;Baton ' ' ' ' YY - YY;Y;- Y-' : 10 min'' :'|2,00 ' Hhlvdrsity ' #University of Illinois Bands $ 1 9 3 ^ 3 8 ■ 15 min -'University of Illinois •-"University of Illinois Bands, 1939 ' Y l5 min . 1,00 : -University -'of Illinois • - 7'. •■ Univefesity. of Illinois Bands; 1 9 W •' IF) min Y:r VlaOQ ■ ; -: Univer s ity' of • Lliihoi s-::; •University of Illinois Bands, 1 9 W _; 15 min /at 00 : -.' University -of, Illinois -YYY-.

film distributors and tlxei3? addresses have been given. Since film may usually be rented more reasonably from the"state-V maintained'universities« fable II indicates those films■and ' filmstrips that may be obtained from each state uniyersity: . of ' the Ebrth Gehtral: ■ Assb'Ciatioho: v The latter part of the V chapter has classified the instrumental music films and . filmstrips o In the case of - each classified section an " .attempt has been made to present those films and films trip s .. that may be procured* . In the foilowing chapter the discus-' sion turns to a consideration of the , use and value of audio­visual aids for the. teaching of instrumental music«-

• • THE VALUE OP AUDIO-VISUAL AIDS POE THE . ■ .; .' TEAGHim OP PHSTOlpHTiL- MUSIC _:. y .

■ ... v'.V Types ofVAI'ds InPse' : : '

Interpreted broadly-o - the term audio-visual aidsv..-K.:,- - : ■; V... V ' ' ' .

includes 'all materials reads observed, or Leard. Even the. siibets:;:pf musib /mid - the remarks of .the te acber can logically be included. To cldfIfyr the phrase, it- is hereafter 1 halted to those teaching aids which help pupils to learn by ,seeing '- and hearing, • ' ; ' • _ :

Chapter II outlined and discussed some of the mere /' common audio-visual aids used in the curriculum. These aids are the school journey'j ■objects, specimens, and modelsj graphic materials| flat or unprotected pictures; projected pictures; and the motion picture. It is the purpose of the - present chapter to determine those audio-visual aids used by the Arizona directors of'instrumental music : and the value derived from their' use, \ ;

- In order to determine those audio-visual aids used in teaching instrumental inusic s the-writer s ent sixty question­naires to the Arizona directors of instrumental music. Forty- five mr seventy-five per c.eht of the ques tionnaires were ■ returned, , ■ ; ' ;;:U 1 : '

... A complete list ofvaudio-visual aids used by Arizona - ’■ directors of instrumental music is shown in Table IX, The

TABLE IXAUDIO-VISUAL AIDS"USED BY ABIZOHA BISECTORS OF lUSTRUEEHTAL MUSIC

''V; \ Afd/Used^^^- Humber: of Directors ' : ; ‘Using;:Aid

Per Cent# Using Aid .

BDqnograph ' . : 96

Wall Charts; v : W ' ' : '; ; 91Blackboard 91

Instrumental , Demons trations ?8Recorder . , 71

Sound Films :- ; V:'' ' I - ■V/.;. 67

Radio ;"-'v .' 25 /./: : 56

Marching Charts . 22 M

Filmstrins 16

Silent Films ' V ■: -1;: '1 : '.V 7 \ 16 ' •

Stroboscope ;- If ■ ;; v ; 9

■5C-Figured on the basis, of for ■by-five returned questionnaires „

phonograph.Is the leading audio-visual aid used0 Hinety-slx' per cents or forty-three of the directors reporting, „ use this aid more than any other in their; teaching. Banking next to the phonograph are "wall charts and. the blackboard, each being ■ used by ninety'-one percent, of the directorsHie common -blaekboard and the bulletin- board are perhaps two of the most ■widely used visual aids in the school room as well as being 1.1 the two .most often taken for granted, They are perhaps the most available and the most inexpensive of all visual aids.Each is a vehicle for display. Each can be changed completely, and used repeatedly. The results obtained depend on the quality of material displayed and the effectiveness of the • arrangement, .

Seventy-eight per cent of the directors reporting made '. use of'instrumental demonstrations. Hie recorder was utilized by seventy-one per cent, sound films by sixty-seven per cent, the; radio by fifty-six: per cent, marching charts by forty- nine per cent, filmstrips by sixteen per cent, silent- films' by sixteen per cent, and the stroboscope by nine per cent of the directors reporting, .

; After determining the audio-visual aids used by the : ' directors ; of ihstrumental music in Arizona,, the writer ■ undertook to discover the films that were used, ' Only sixty- - seven per cent of'.the directors reported using .sound films ' in teaching instrumental music. Table X lists the names of ; rfilms used by the directors of Instrumental music in Arizona«, ;

. 5k

. ' ■ : ^BLE X V V":.1.:THE MIES, OP' FILMS USED BY .ARIZONA . DIRECTORS OP. IHSTR'iJMENTAL MUSIC .

. . Fame of Film, Humber of Directors. 'Using Film

Per Cent# Using Film

Brass Choir . . ' 1 , V.-;. ■'String Choir - ;-.t ' •• ' y ;i5 ■; ' ; ■ %7 .Woodwind Choir / . : 12 . ' : ' ; . 38Percussion Croup : f' - : Y 2 : f ' r ; t t .: '38;Symphony Orchestra i2 ' 38

' ; Youth'. Builds a Symphony ; , ' ■' $ ■ . . ;.' l6Instruments of the Orchestra . i6 ';Telephone Hour v ■1' t - ;i3 - . ■First Chair. • . ■. ■ 3Toronto Symphony' Orche s tra , - 'l b,'/ ;;i\ . i :3 ;

' Symphony of Young America' ; ' 1 ' ' " ■. ; 3 '.'How:.We, Write Music ’ ' ; ■ i ,' .

. , 3

-xThirty-two out of forty-five instrumental. music directors : used films in teaching instrument al mu sic c .Percentage ,. .... • ■ figured on the basis of dividing the second column hy thirty-r: twoo i :: ; ' V . v" : - '

It is Interesting vtd note that only five films were used to any .extent, ■. These', films are' those of the Music Series or : the Encyclopaedia Britanniea- films, namely $. The ■ Brass Gheir, : The String Ghoirg. The Woodwind Choir, The Percussion Q-roup s and The . Symphony Orchestrao In referring back to ..Table 11%.i' hi,ge ;:3it% it may be seen: that the five- films usedrnost by the ■ ' Arizona directors of;instfumental music are" also - the' films most commonly owned by the State nnlversities of the Berth: Central ASsbeiation.o ' Since: The .Brass. Choir and The String Choir are each used by forty-seven per cent of the directors rep or ting y it would seem that the.''director s. are more con­cerned about problems of the brass and string.' sections in ' their school orchestras ■and bands than the woodwind or'per-'' - cussion sections, however,: the three other films in the ,, Music Series, The Woodwind Choir, The Percussion Group, and , The Symphony Orchestra follow closely for each one is used by thirty-eight per cent of the directors 0 . - . :

; : . ' : ' ; Aids Needed \ - ' h v'., : -P ;

'.'One of\the most significant aspects of the survey Is u. revealed in the types of instrumental music film listed by ; ' the teachers that would be. advantageous, in teaching ihstru- J , mental music. The greatest desire on the part of the music directors is for more and better films, films for' instrumental technique, Table ,ZI lists the various types of film'.which Arizona directors of instrumental music'desire to supple-

:v:; ■' v;. ■: :■ ; : • :TOES'.'OP FILM ARIZONA DIRECTORS ; OP IMSTRTIMEN'PAL MUSIG vEEED

■ „ ; _ Number of Directors' - W ® v ''' : Wanting Pilm, ::- Per Gent*

Playing all Instruments - Posture, - .'EmbouGhurb, Position,; etc „ - . r ' 21 *7 ;Musical; Organizations ‘ 22 ' . 'Peaching. Beginners-1 1 ■ \ ' 9 • ; . 20 . uMarching Band 9 20 ;Ensemble Films ' : 7 ■ ■ 3-3 ;' .Class ' Teaching ';PechnIque . 11 i '.tTp™to-date Films ; ■ : 11■ Instrument Manufac tuning ’ . .. - ;-2 o.i ... 'Instrument Care . and Repair ; 2■ Rhythm Patterns : 2 ‘ ' - ; iEis torical Development of , Instfuments 1-Science of Sound 1 ' - 2

-^Pigured on the ;basis of forty-five returmed 'questionnaires i

57

ment their teaching» ' ■ ■ .33ie inquiry on the questionnaire reads' "In your ■ ’

judgment, what is needed In the way of films "and filmstrips for the; teaeningv of:: Instrumental music? " Therefore $ the . content of Table XI'.was entirely „ suggested, by the music .directors and not by the writer. If the question had = been'; • / . in the form of a eheck-listy the percentages probably would have been larger» A.careful examination of Table XI reveals :;' the fact that there is need for up-to-date films in general ' -music techniques of the;instrumental mmsic field.

These, findings ; are ■ in agreement with' those of :the;. ■ Curriculum Committee of the- California-Western Music Educa- ' , ' :tors Conference 0 The members of this committee recently re- viewed; a number oflmuslc films» . In. its rep-prt the committee stated: If f ■ . ;:.' ' The films included in this report have been reviewed ' • ; /

by a committee of.. Lohg Beach music teachers» In general,- .'the -committee feels that there Is a decided need f or ,,newg, freshg upbto-date films in which the sound and ..

-' vision will be clearer. When such films are made avail- 1 .; . ; • able, this type of audio-visual aid will be distinctly ' .'I 1 -Valuable». T - :;;;; ":; v I' -,; ' ' '-f '..'1;'1 . y/- .■M-'.f:

1 . y; yr ■Seyeral-;'ikaSicv' directors offered some very outstandingand interesting criticisms' of present, music films- and offeredsuggestions.concerning items to be offered- in future films.

1 "Audio - Visual Aids» " Music • Educators Journal 8 32:32=31, (May! - A y: y \ f - y f . : . .. af i .'.f ff:

The writer is reluctant to allow this inf orraa 11 on gainedthrough the; questioiinalre to be lost and feels that it wouldnot be out of .place f or a brief mention' of * them to be made .in the following paragraphs» \ ■:1 One director 'has the.f ollowing to say concerninginstrpmental music sound films % . .

. Up-to-date films! There is no choice at all in the-. way of sound films offered that;I Imow of. I showed onefilm on the life of Stephen Foster that m y ■children - laughed.at.'/ I couldn't enjoy it myself for it was so , ' ,. antiquated.. I think the movies, have been doing a good job in .taking... livesv of the .cbmposersj,; such as Gershwin $Schumanns' Cole Porter s and Chop in and bringing them to 'the .public eye. vS'ilms trips need a modern touch I

Another director offered the; following; criticisms hWe are. definitely ih need of good orchestral arid

band pictures at least thirty minutes in length featuring ,. . young musiciansj and'the picture must have a perfect : • sound, track..; : It is difficult to interest young people in / the unusual Instruments when: .they are not able to hear

' them reproduced; ab cur ate ly. Also young people like to see• ' young people perf orming 'ahd .mot a group of bald^ eccentrlc ; older set. If the' player of the bassoon or oboe looks. like an Inmate' of an Institution^ a, student has little

' - . desire to thinlc seriously about same. I would favor a ; ;■... picture or a series of pictures which would take each ' ■ 'instrument individually and work them on a theme which will.fit into an ensemble number.Inoiusive of. their . "vl respective families. . ' ■

A third .music, director has the following to say:■ Films are needed which are based upon clinical approach to teachings showing a;' good, clinical technician at work h with common :problems In brass s- •per.cussIo'ns ' and. woodwind .

• ;?instrUction» . ;;.;" ; , y' - 'hi ; ; 1. ' Eeally> more enthusiasm Is needed among educators to . : • put home-made films' to use in filming. their own and other.- bands'andsuch for purposes of: analysis and comparison b ■ both with other units against their own, and against last . . years advancement. This we do here to" excellent advantage ' " : We. try to film all parades in w h i c h % take partP and

hold a showing'h;f.'hTa,chV;'hchhsdh».ally::for./boh6'fIfe: 'of " ' ' •• ■ parents"and pupils Involved.- This does much to promote

real interest in parent-support. . v- ; ! : .. ' Another director states-: 'd . ’ ■ / . -' , d\ :' '\_Wedue>ed. f i’l s\d^4^^ilias'trip;s which show correct / . -

- : position for ■holding and playing instruments; cioss=ups of good embouchure,■good bow hand position, good stick position and technique for drummers, etc» would be very .

■ ' helpful^, -.■,_ ,■ yi . ;; .: Slow motion' "shotsM in films of. preparation'^for theviolin. vibrato, . a good vibrato in use, manipulation of the bow hand and fingers, changing from one violin fingering position to another, the drum roll and funda­mental strokes if shown In; slow "motion and' at regular

■ speed would be very valuable in the instrumental class..' The above, 'statements; are •representative. of the majority

of the •questionnaires in regard tp what is needed In the way •, of films ■ and filmstrips for the teaching of instrumentalmusic, y- ' \ ■

: ' : Value of. Audio-Visual Aids h

: ■ Due to the very nature of instrumental music as a sub­ject, learning on the.part of the child must of necessity be gained through :actual 'seeing, hearings and doing. The student : is. .decidedly .assisted when audio-visual tools.:;are adequately; used to illustrate and.explain proper procedures and tech­niques . ; This is' true '..for .audio-visual; materials ■ facilitate the understanding of new concepts, facts, and symbols. . ' j

'■ ¥arlous difficult musica.1 passages are correctly demons trate d by the use of the phonograph and instrumental demonstratiohs. Radio programs devoted to musical educatibn have• made a .lasting contribution to the musical intelligence

6o

of our pupilsHowsvers. a;problem arises when the music class.does not meet at the time.the musical programs.'are broadcast. Transcriptions of these educational programs have provided a partial solution for this problem. Sound filmss slide 8, f 11ms trip S.; charts, pictures, bookss periodicals s - pamphlets, and instruments provide ever-increasing sources of visual material. Eor are ins trumental demons tr at ions, con­certs. and radio programs to be overlooked as sources of ■learning. . ' ; : : v;.r. ' ■ : ,'r: 'i": : - - - '■ . •'; : :' , Since this study was . undertaken to determine the actualstatus of the. sound film as an .instructional tool for 'the,; ’ teaching of instrumental music, its value will be. discussed:...' .in the following, paragraphs. '

: Children like to attend the movies, and they go with.. • / interest and enthusiasm. The pleasurable associations estab­lished in. conneetlbn•with the movies carry over to the class­room use. of the instructional film. Sound film used in theclassroom has the same vividness, clarity, and dramatic appeali ■ These qualities can be used to hold attention and stimulate nep,'Interests and: activities. Therefore, the : - improvement of interest ranks high in the list of values to. • be derived from .the use 'of sound/film. / ' - :.. - : ' ' : - ; 1,■ . . The value -of the sound film lies in its. power to hipresent material in a manner not possible: In other. methods of teaching. In the darkened room,.the student is projected . ~ into the movie situation and spiritually■beeomes .a part, of

tlie eWnts: shown« Tne selectivity and ooiatinuousness' of . activity on the screen gives a logical;progression of teach- .ing points 0 -V v " /y - -: / - " _/•- "It .is also possible to utilize a film to the bestadvantage:: by showing only - certain parts^ stopping for com- . >,

' ments ' or explanations, before contihuiiigand-using slow mqtibnVwhere desirable. Then, too, its use may be three- .yl-l-:-;- fold by showing it to ihtrbducev a: n.ew. phase >-of .lustruc11 on,., ■ during the period of Ins true tioh, and: later- for review pur-. \ poses,' •-V- . ; : ' ' - -

It is a well-established fact: that many pupils are able'to: understand certain concepts, that, are presented through - the audio-visual medium which cannot -be grasped if the same material were,only an.oral experience. When the student can . hear andisimnltanebusly. see how his instrument should be held, how it should be cared for, how it.shbuld'sound, eto., much , valuable -time may be saved for additional Instruction, Bo ' o ther method. can .present a given amount of material in such oompaet: form, which permits more ins true tloh during the stu- . dehtis bpan of attention,' % :/i. ' '' ' ■

The way in which the film is utilized determines its success as a teaching aid. Preparation and motivation, the first of--the general .proceduresare of utmost importance, ' • :.. The amount:of instruction to be gained depends almost com­pletely on the thoroughness with which the film has been . introduced, v The instructional film is - not-for .entertainment 1

nor will the student learn, by just "looking11» There must be a- motivation prior to the showing of a film in which the stu­dent *s curiosity and -interest are aroused and a decided .desire on the part of the student .to learn.' Even this is hot' enough. In addition, he must also, know what to look and .'listen,for^ and why. Unless he is aware of - the film's pur­pose, the scenes "fly by" with no. apparent gain' in ins true-?. - . : tion. Hie' responsibility of affecting, thissituation rests; entirely with the teacher and only through his previewing . the film can he guide this interest, curiosity, and plan of. learning info the correct .channelsUniess there is this, : . guidance, little or. no value can be. gained from sound films.

The North Central Music. Educators 1 Eational: Conferencewhich held its meeting in IndianapolisApril 9-3-2, 194-79repbffed the following?, '

■ - "tThe: dbnference Recognises that the use of films in ; 7 •education is second only to the use of recordings,, and ; /

7 , thatxitipan prqy^ legitimate .and: fascinating short- •' cut'to learning. : It cah provide .vicariously 'the experi­ences of travel.9- It can , briiig, .into . the classroom the - , 1 performances of great artists'-,and organizations. - it cant

., . complement' ;fhe :0ohtributions bf; radio and recordings. It.. 'can do better than an actual person-to-person performance because it. can' bring the artist closer,- and through slow-

. motion, and time-lapse photography, it. can demonstrateI .skills much more effectively.2 v . . f-; ' .The final question in the burvey was designed to deter­

mine the educational values that might be derived from the use

.. . ’ Belinda 'Roggensack, .' "Aims of: E Commi t fee , "Audio-Visual Guide, ll|.s27, ,(Sep tember, . 194-7). . .rr 7,' ' '

of audio-visual aids in, the teaching of : insti’xaiixental rausiel ' ' ;The results of the' question are -tabulated in Table Xll=;, The nine objectives have been listed In the order of their eompara- tive popular, value as indicated by tlie total - weighted ranks = "For examples it.may;be noted that the. ob jective ,, nImprovement. of interest'*, has been placed at the top of the list because it received- the'highest rahking of all the objectives„ It - was given first choice, by eight of the Instrumental music directors^'as indicated by the figure under frequency of v ' choices column 10 Golumn 2 under frequency of choice repre­sents second choice and column 3 represents third choice.,: and so'through the nine possible choices, : Each objective was given a total weighted rank in' order to list it in its compara­tive Importahce.. ' . - .' ' . •

■; The total weighted ranks were computed in the following manner, : The total frequency of choices for each rank were. r-.'weighted inversely . to-their .'rank position. Thus, rank 1 - received a weight , of rank 2 a weight of 8, rank-3 a weightof 7 , etc, to rank 9 which -reeeived a .weight of 1, Since , .eight music directors ..ranked the objective.. Improvement of interest", as first choice,, then the ..arbitrary weight of this item Is the product' of nine times eight which is 72, This j same objeefive• was.listed second choice by five of the teaeh- ers which gives this rahk a total Of 1|0 score points. (8 x 5>), Each rank was given aototal number of score noints in this manner by multiplying the total frequency of choices under' -

THE COMPARATIVE EVALUATION OP THE OBJECTIVES DERIVED FROM; AUDIO-VISUAL AIDS; AS REPORTED BY . ' :

T11NTY-EIOHT ARIZONA-DIRECTORS - A" : • :':.OF INSTRUMENTAL MUSIC .

’e'qxieridj; of ' Choices Rankei in O n d e o f Tm.oor tanc e

Improvement of , Interest c

, Infomation : and C Explanation

largement -of Experiences

Motivation of RehearsalsAppreciation: Comp ar is ons Enter iaihmeht

119 -

•55-Ref er to the statements^A in Appendix A for the

65

each rank by the arbitrary weights of 9» 6, 7s 6, etc. Therefores the last1 column in Table XIi represents the; sum of the total weighted ranks for,each.objective,f . .

':"It piay;-be seen: from; table 3CII that; Iraproyement' :of 'interestinformation and explanation, and gaining better

:; conceptions ranh high in the list of objectives to’ be derived - - from the use of . audio^visnal aids« It may also be noted that the objective,- HSntertainm.ent1,s was given last choice bytwenty-five of/twenty-eight music directors which placed it ; at the bottom of the list. ; ; : ;'

- Summary . 11. has,; be en the; pttrpose of this chap ter to'; consider the use and value'of audio-visual aids for the teaching of Instrumental music., - :ln the first sectipn,- the types of aids used by Arizona.- iristrtimental music directors were considered.. . Also the names of, films used by the music ■-

‘ teachers were ,determined.. In the second section, the. dif- •'*. ferent types of instrumental music. film; that would- be adyan- : tageous in teaching'ins trimental >rm were 'discussed: briefly.;. Ttie last part of the. - chapter. epnsldered the value of audio­

visual-aids for the.teaching of instrumental music.

v : : : - y j QHAESBR Y ■ : ' '

■ smmmz, ooHOitisioESs ahb heg.qmmbid^iohs. • ' ' ■

The purpose of the study which has' been described in the- preceding .chapters was threefold: - - -

1. To determine the availability of audio-visual aids for the teaching of . instrumental ■ m u s i c : - ' . , ^■. 2o To determine the uses of audio-visual aids asSupplementary- aids in the teaching- of instrumental music„ - ;

3„ .To determine the value of audio-visual.aids-for teaching, instrra,ental music: : - i; / ^. A history of- audio-visual aids in the curriculum was

. undertaken first. This was followed by a compilation of -c films and filmstrips -that are ,ayailablevunder. six classifid ­eations for the teaching of various phases of the instru-

: mental'music program. 3?inallys the use and. value of audio­visual aids for, the teaching of instrumental music has been ' .presented. /hi-y viioi -lu . . . ' : ' -. ” The use of audio-visual aids in teaching instrumental - -.

music in comparison with the use of the - same aids in teaching. other subjects shows a definite neglect in the instrumental .. music field. The use of audio-visual materials in instru= I' mental music ; teaching, is limited.primarily to the phonograph, wall charts, and the blackboard. Sound.films‘are being used by sixty-seven per cent of the ;band .directors with only a .f©17V

films ‘being consistently utilized.«, This is due to the . • ; inability of the teaching staff to secure worthwhile.films and to the f act that many directors:' are uninformed as to the . availabillty of/the present films and fi1ms trips which may be procured for instructional purposes=

One encouraging, feature of the survey was the . obvious'. inter©str.shown by many directors . concerning the subject development of fh ture Ip mm* , mp.8 ic films« Valuable and 'challenging topics for film treatment were suggested* and helpful ideas . enumerated* She' topic 'receiving the. most y : ' frequent mention was the fundamentals of playing instruments <> Farther suggestions'for future film treatment were musical- organizations * techniques of teaching beginners * marching band,' ensemble films, and cias's teaehing techniques^ = - ; '' ■ -.

The main'value of using audio=visual materials ' in /teaching' .instrumental music,: is that' they can help enormously . in placing music .instruction’ on a broader operating basis „ . ;' That is, their, use will make the sub‘ject appealing: to a -. "greater number of students, and likewise to far more teachers» A.-battery ':of audio-visual devices' will enable- a' music director who is. f ar from: a technical expert in every phase of music ins true tion to do a much . better j ob * The; teacher can , ■. - ’-rtransform; the : orche stral or band, re he ars al. from a narrow drill on . repertoire: ihto an Ihspiring . le,arning period. For putting across hotational problems, the characteristics of instruments or, the structure -and :organiz.stign of imisic, : the sound film is -

an excellent supplementary aid#-"' ■ - . " i- - • : . . =

I."..;" .Ooncluslons -:; ; v 'l\" . ..v.: " ;o,: :

The following are the conclusions '.which, have resulted . from the _ study and observation of this investigations «

\ I' 1„ ■ There are few slides and f ilmstrips available ■ for the ihstrumental music field# f. lv' ' . ■

< .Reliable sources maintain that there are approxi­mately one hundred seventy-eight sound films available in: the jausicvfieldo Approximately seventy l6 mm^ soxmd films ' were discovered by this study •'which may be used in the instrumental, music field o' - .

3 o Instrumental music f ilms are available under the followihg;.classifications— symphohio performancess' instru- - ments of the orchestra (.string family) f instruments of the orchestra or band (woodwind, brass5 - and percussion families ) s piano and .organ p erformances^ mhslc... theory5, and marching bando , '■ r -; -v 0 ' ; . ■ ':"c;: "

. There are more Instrumental music films devotedto orchestral symphonic .performances . than to any other :type = There are few films that indicate.' a 'specific . value for bands on the public school, levelc . . - v - ; ■ . .

- Various films are listed in catalogs as being obtainable„ Howevers when the writer attempted to verify . the; source j the films were not- available for various reasons« The most common reason pas that the film was old and no longer

in cinonlatinEu’ r . '• . ' ' 1 ; ' v V60 A number of instrumental music directors have been r,: .

: Sis0ouraged from further, utilizing - the . available music films rdue to ’ the'fact that those, used in the past have had either . ;’defective sound or inferior visualization or, possiblyp- hoth.- ■. " , - ■?,0. In generalp the directors of instrumentalvmusic - . .: .aopear to be ’uninformed as to the avail ability of. films' % thati 1 may be procured for instructional purposes. Only sixty" seven per cent of the directors reported using sound films ' in teaching Instrumental music„ From the forty-five music’ dire c tors rep dr ting p only five films were used to any extent«,These films are those of the Music Series or-the Encyclopaedia . Bri tannlca f ilmsnamely p The '.Brass Choir s. The . String Choir>She Woodwind Choir s The, Percuss ion Oroup $ and The: Symphony Orchestra, - . . f

8„ The phonogra.ph is the leadihg audio-visual aid. ; • .used, Ninety-six. per centp. or forty-three of the directors , ;- reportlngp use. this aid more than any. other in their teaching, u ;j Eanking in. descending order as to. their popular use are wall chartsp . blackboards; instrumental ■ demonstrations s • recorders sound, films p.radibs marching charts 9 films trips p silent films p ’ .and the; stroboscope, . ■ ’■ - . i

n/9;=' The greate st‘‘desire on the part of the music directors is- for more and better filmsy films for instrumental

A 7; ■ -.nb:' f:

IQ o Ehe Apiz.ona director's of instrxmen.'bal.-mwie . j \ acknowledge that Improvement of Interests, information'and ' explanations, and the securing of better conceptions are the specific values that may be gained,through the use of audio­visual materials „ ' ' -

. ' - . Eecommeudatlons ;

. . : As the result of this study, ■the writer feels that : ' the: - following..recommendations .are in. orders

lo fhat every instrumental music director familiarize himself with- the advantages and- the .availability of 'audio.- visual aids for the teaching of instrumental music0

2, That some quallfied.'coDipany.with the necessary equipment and educational experience produce sound films and . filmstrips for the instrumental music fieldo At present, : students in hands greatly outnumber those In orchestras, and there' are few up-to-date films that ,are- available for the - teaching of: band as; well as orchestra. ■ the films should / - dfeature student performers as v/ell as actual classroom demonstrations o ; - - : : - ■. ' ' ' - - 1 ; V 'V h . ;" ;' 3. That all film distributors.provide up=to-date- catalogs of available films. • ' .

- . v!{-» that some agency, -which has the .approval' of -the ; music and education departments, pre-view all old and new : films,; making complete evaluations, of them as to their ■- technical production and the educational value of each. - * ;

These, findings- should be made available to all. instrumental \ . " ■ imsiC ::dirdotorsM:;; ' I"'' ; ; r V

: y ; o d-Tbe trend lndlcs.tes that It will be only a matter of time until most of,our'schools will be properly equipped for audio-Tistial 'instruction* • . Meanwhile^ we as music eduea- torss should anticipate .the trend- and be prepared to make

. ’better' usehbf these tools ‘ and niake- • bur needs known to the film producers«. Unless we do^ the. producers will continue making good educational films in almost every. subject except music *

BlBLlOGffiipir

y : ;;; ' .;'g:v-X:^g,,v. %i: [ Bruns tetter 5, - Max Buss ell s How to Use, the: Educ atlonal - ;

/ - • Sound' Film. Chicago: . "Dhivers 1 ty; o£: Chicago';Press> .- 1937. .

• ;; 2, Bale s -Edgar s’ Audio-VIsual Methods In Teachihg, New -V’ York s The Dry den .Pre s s s 19i|-B7 • / d . •-‘ll I - - v.". - - -

V 3- Bents Ellsworth C., The Audio-Visual Handbook. .Chicago:' The Society ,f.or Visual Education, Inc„ s 1939° ; .

ij.„ Dorris s Anna Verona, Visual Instruction •.in' the Public -- Schools. Boston: Ginn and Company, 1928.

5., Ellis, Don Carlos, and Laura Thornborough, Motion % ; '7 :Pldtures in Education. Hew York: Tliomas Y» Crowell

Cy/. / ; Company,;: I923. .. : 1. ; c ' ;. 6. Falconer, Vera M., Filmstripso . New York: ■ McGraw-Hill. , :

- . ’ Book Company, Inc. y ; 19l(-07 ; , . :'’ ; - i.: 7. Fern,'George;/H'^s ahd 'Eldxbn Robbins, Teaching with Films.

. . : Milwaukee: The. Bruce Publishing Company,’ 19^6.:'/.,/ ; S.. Hob an, Charles F., Charles F.: ’Hoban, . and ’ Samuel .B. • ■■■ n 7' 1:/- : Zlsman,, Visualizing the Curriculum. New York: The /,:/7: ■ . Gordon Company, 193.7• n .1 y - ' . .. . . : n. 77'.-.9<‘'! . JervisV;'W .' -W, , The: World in Maps. ' New ;York.: O x f o r d 7 / y3 . ; HhlYersity Press, 1937« • : 1 , . . ; . Y': ' 'c .

• C/ 10. . Johnson,,'Cllf ton, "Old-Time Schoels and School-Books. , ■ y.;-.71. - y' 1 /: TSew ■ York: ' !The :Macmil 1 an Company, 1917° ' ; • : ■.. -

II. Ypaight.,. Edgan W . Twenty Centuries of Education. ■ v -: :. 'v.. ‘ ; /;. - y: .. . y New 'York.: Ginn • and :■ Company.19®". ' ' -k : ■ ;7:y:7. . 12. Lynch, Bohun, A History of" Caricature. Boston: Little, : : ’33.. ..; -y 7. .7 Brown, and, Comp any, . '19:271' y: ; . ' 7. yn. 1 3 :

13. McKown, Harry 0., and Alvin B. Roberts, .Audio-Visual Aids '' to Ins true tion. New Yorks McGraw-Hill Book- Compdny, . 1

'/;;; ■■ "/ ■ Inco, 19 10* 7 y -I 'yy : 7;..;; 7 .. . .:7 ;kyi: : :u ■; V y '1/-I-. Parker, Samuel Chester,, A Textbook in. the'History of \

-'Modern Elementary Education. Boston: Ginn and~ • ....1 - .’ - COmpany,' 1912.7 y - y ' - 7; ’ ' 7" : . " ' y 7. ' 7 y. :y -/':'

73

■' S fcranss> : Lffl >' R,; 3£id<i Look, Lis ten and Learne Hexir York: Association Press^ 19i-I-d« • -

;i6y,. ■ -Ihomass v Frank W0 3' and Albert ..R V Lang, PrlnoIple s of ■ :. v' Modern Eduoationo ~ Gambrld^e, Mass ach.usetts : Itie

Riverside Pres;s:j‘ l937« ' : . - . ' .17o Wlttickg Walter'Arno, and John Guy Fowlkes 9 Audlo° ,

: - Visual Paths to Learningo" New Yorks' Harper and • brothers - Publlshera% 1%6. .' '

18 „ Woods, Ben D« , and Frank'No Freemah, Motion Pictures in: ' J the Glassroomo . Boston: Houghton Miff bln - Oompany$

:i;v .. • :Bc , : PBRIOBIGAL\ARTldL^ ' ; . . .. .19o “Audi© =• Visual Aids's,11 . Music. Educators Journal<, 31532-33s;V: ' •May , .191 ; ' V- vj' Ff ' • ' CJ/J' 'j'\- '20o .Burrowss Raymonds, HA Teaching Guide to the British Film . ' ’ ■ ' : Instruments, of . the Orchestras " Audio-Visual Guide,; j. .; V - ' : v - f:;- ;21 o Dents, Ellsworth G.0 ,• "The Audio-Visual Aids of Tomorrow ”■ ,V Music, Educators Journals, 33»235,385 Aprils. 19^7»

:22> Dillj, Helen Go3 "Music Films in Educations,11 Music : ■ Educators Journals, 32:62, June, 19^« . - .

23 o Hobani 0. Fo, -The Blackboard as a Visual Aid,11 ' 9" . Educational.:SCreen,r 8 : 1 7 9 June, 1929.

2I1.0 Idol, Virginia,- "Film Aids - Ours for the Asking, "■. ' Music.. Educators Journal, 33:$0-^lg January, 19l(.7«

2^0 Lacy,-John V o , ."The Relative Value of Motion Pictures . 1. " as an Educational Agency," ; Teachers College•Record,:’ ; ; ; t .. 20:itJ>2-lj_65s Ifovember, I9I9° ■' ■ ft26. Meinfeld, Norman Lo,,"Bulletin.Board.as a Factor in '

Music Classes, " Schoo 1' Music 1 an, .32:139 May, 1932« -27. Mihalko-, M,, "Use of Films in} Musical Education," , 'a School (Becondary edition), 31:222-3; November, .I9l%20

. 28o Murseil, James L, -,' "Audio-Visual Tools. a Challenge to ., i .. - o Educational Vision,." : Music. Educators , Journal,. 33:21,

' - . , fT . February-March, 19%7» v;. jl-''- . ■ - - - r ..'

7li.;

:2^» . Eiekersonj, James ^IhevSagic. Oarpet of Efasic Bduoa- ■tlon9 i! ; Music Educators Journals 33:28-29, FeTspuarj-

■ .v. Ap';.30= . Roggensackj. -.Dellndas "Aims of' Film Musio Ooimni ttees l1.

' 3 Aadio= % saaf .Qaidea ll(.:27^28 8eptember^ 1947 <•'31= fagg, Lawrenee E=., Survey la Vlsual Aids in 'Music at the

University of ' Nebraska,!i. Educational Music Magazine9' ■ 1 27 sllt-lf>» November,. 1947 =

32= Wechsler, Sydneys "Multisensory Aids in Music>11 Nation8 s i-.'•-’S;'' ' Schools■ 38:94-82,. December, 1945= / ■

4:; - . :e=- PARTS # S E m W 4 433= Arnsplger., Varney G =, Measuring the Effe c tlveness of '

Sound.Pictures as..Teaching Alds.= Teachers College., ..' v Columbia University: Contributions to Education, No = ':

: .V.'i 365= Hew York City: Bureau of Publications, 1933 =Koon, .Cline M= r School Use of Visual Aids = United . States

Office of Education., ■ Bulle tin No =. i|.j Washington §V ■ United States Government Printing Office, 1938=

35= Koon, Cline M=, Sources of Visual "Aids and 'Equlpmeht for Instructional Use in Schools = United States Office: ,:■ „ . of Education, Pamphlet No., So, Washington: ' United -

- ’ States: Go V erhm ent Printing Off ice, 1937 = - - ' t. y

Do ■ PUBLICATIONS OOP #ARNEU'U^ -/'i .360 ' fiPilms for Music Education, " Chicago = 4s Illinoiss ' Music ...7•: . -7.7 Educators National' Uonference, 1948 = , - . > : . 4 '

. ", : - E= .. ENCYCLOPEDIA. ARTICLES-. : . ' . ; - 4t;y37= Lubschez, Ben JudaJ.1, "The Romantic Story of Moving

Pictures,tl : The World Book Encyclopedias. 19ll-l =: 4704= -

' 38= • "Magic or Optical Lantern, '* 'Encyolopaedia. Brltannica, '14th edition, xiii, 709= - .4 4' ' it ■ 4.; U

39= Ravenstein, Ernest .G=, and,Col= Sir Charles ;E= Ardeneibse^ "History of'Cartography,.11 Encyclopaedia' Britannic a,

4 v'-4 '4 :: ■ ■ La- - - v: yv y

v r mPHBLiamDIj-Oo BuproWj, Burt Is ' £1.9 ■ "Miate l'als j,. Me thod.s,s and. Equipment , ,

for l6 iimio Sound Film instruction in Music Education. " Unpu'b 1 islaed. Master ’s Udiesiss Unixrersity .

- ■ ■■ of Michigany - . ; " - :. ifl. Nevinsj Janies B, 9 nAudio-Visual Aids for Instrumental

' , l ' : Music. Instruction for Beginning Students = "' 'Unpublislied .Master ,■s■■■'!il3.e.sis.V;.-!resas Technological

- ' College s Lub bo ok 9'. Texas 9 194? = . . '4.2=, Schwartz^ John Charles, Jr., : 11 The. Administration of an

, ' . Audio-Visual Aids Program for the ,Small School . .\ ;/Syslem.,I Reprint of a Master *s Thesis. University ' '1

. . . . of California, Los .Angeles, 1946« ..... . . .

7Ij-.1? : Richey Blvd. Tucson9 Arizona

Hr. 'Kenneth Be Haok k:r : \ :Director of Instrianental Music / ■ . .Aj.o High School . : ;' .. - \ ,"y' .■l/k . ■ ; : , '\AjOg- Arizona ■■ - .1 :\k . k-': f-k-v.--kh v::i' ■'■?■■■■'" ; v -kvDear'kMr. #ack: ' k'-"" - : -k k ■ \ ' 'v-.-. k-" ' '

Any progress..which ;is to be made in the teaching of instrumental music must come.from.thekinstruetors -now teach-: ing0 This program will result from your experiences, recom­mendations," and idealsb ;• ’Iherefores an. appeal is made to you for'information which can come only from you, . " - kk Since" audio-visual education is an important aid inteaching, the . enoipsed-.questionnaire is designed to deter- . mine the availability . us e:, and value of' audio - vlshal aids for the teaching of .instrumental music„ I shall use thek data in a Masters -Thesis at the..University of Arizona, which is being written under the joint supervision .of Dr\ Emil Larson and Mr« Hartley D, 1 Bnyder A brief . summary" wl 11 - be’-- mailed to all respondents who desire, the information. - ,k '

Your recoimnendatIons and statements will be deeply, appre. elated o Please . re turn one of the enclosed questionnaires at

.■".your early 'convenience o:- . Enclosed is a stamped, self-addressed, envelope for’ your Convenience 'inkreplying; k '

Sincerely yours, ;' : .

■ ' . Jacque FarnumEncl.-. ’■ • ■ /Ik - k.k't k k;.:-:. - ;' k y ' . . .2' Copies of questionnaire • .. . '' ’ , ky;'.

78

. AnDIO-YISUAL AIDS 'FOR SHE •TlAGHIiJQ ■ . 7■ . V :■ ,; _ OF m$EmEBM!EAI,.:lKJSia, :. : . -TO BE FILLED OUT BY TEE lESTRUMmTAB OTSIG. DIRECTOR

Check t3ae types of audld-Tlsxial aids you use, or havein teaching . ins trumental music p * . ■ , ; ■. : . .o Wall charts ___ _ h. Radio y - v .

h. Slides , aV_' a i<. • Stf ohoscdpe ; ...a-.c. Filmstrips- ■ - . , j» Phonogranh ' - - a ''d. Blackhoard -a. k. Silent films : ae . fiecorder 'a^a.- ■ lo Instrument - . : - ' a.fa Sound films demonstrationsg« . Marching charts ___ ,. m.

List the films or filmstrips you have used in teaching. instrumental. music« , Also indicate the reason why you used the. film. : 'f'd.'V. a' : 7;- , \ ' V .V - MAME OF FILM OB FIL3gS.TRIP. KEASQ1' FOE ITS USE .

' 3>o ■ ■ ' ’ . a ‘ • ' ’ ' , •

Id p -

'■■a’ 'f-. - -' - ; -:'77 7 . a'- . ■■ ■' : . • a: •Use the, hack of this sheet to report other films

d 'd;. ,:a or .f ilms.trip.s which you have' used. _ ; : .

In your judgment, xtiiat is needed in the way of films and films trips, af or the teaching, of - ins trumental mus ic? a . ’

79

' i|.o Rank the f ollowing e due ailqnal value s - that miglLt' be. cle- -f ’V S rived from . the use of audio-visual- aids in the teaching '.. of' instUumehtal music^ as. to their comparative, value „

: d) '2; 3) .etc a ; ; - \ '; . , " \ ' /. ' '' )’ The child obtaihs valuable inf ormation . and ezplana-

i . . tion, 9- The child "s 'intersst is imprdved.-. ' :■ ; -- The child - demons trate s musical growth through the -.

/ " . iilotivati'On of rehearsafSo . , . - - - .. . Through review^ the child re-discovers inf ormation ■: t ; v , ; prevlo'uslj .taught* ; ■ f.' - '

t -■ - ■ The child understands : better- by gaining a better con­ception of the material pre sente do ■ ■ .

- ' The child re-discovers comparisons „ .■ The child'sy experiences are enlarge do The child-receives, entertainmento :

; The child8s appreciation is increased.

5« Remarks:

60 Do you desire a copy of the tabulated replies to this

Reported: by - - ■ ' n \ f ;'' ' . ■ (Hame) - ■ 'v ' ' (Position)

: ' / ' , (Address)- f 'f/f - '

Two copies of this blank are sent5, one to be returned to' Jacque Parnum, R, Richey Blvd. s 'Tucson, Arizona,' and oneretained :for your: files«. - . '- ,

80

AHlZdli. • DlHSOf OBS. OF : IHSTR’DMMl'AL MUSIC ■ TO ;1HQM qUESHOlHAIBES : EERE\ DISTRIBUTED ;

Name School Returned

Macks Kenneth D» Wilsons - Lawr enc e " leaks &rold ‘ Vv; ^.Reppe p Arthur M, Enloe s Lo A-o; - McConnells John :- Roshacks Sidney Folkss Beryl H. ■ Ryders Ann Blckharts Cecil ' Sho ores Is adore ..Swanils CharlesHeimboldts .'William Santee, Wes,* A; - Williams s James G-lasgpw, James Williams, .Carroll ; Hunter, Keith M„ Lehtps Bernhardt : Day! s, Alber t ' 0 <» - Swingle r, Hi chard ■; ■ (ribbons, Rendol ’ "; Bahn's Walter J. WhitakerCecil : ■ Nobles Linwbod '..;Rhoads, William ,■ Peterson, Eugene ' Larson, Waldo -.Chois, Charles .• Judy, Syliria Hanson, E*,: '.1=:' :; Zorn, Harvey '■ Hess,:Ralph ■ ';.Edwardss H» FoLebs, Pat IB . .Kimballs Gordon Morrell, Dahl . Lunt,.01aS,A«; Greer,_Galvin Overson, Peter Farr, Phil '

John

Ajo: High School; ' ; ' ' : d "Amphltheater ;_Hl:gh . School •Benson Union -High SchoolBishee-Hl^v-School Bowie High School"Buckeye Union High School Gasa Grande Union High School Chandler - High School Clarkdale-High . School Clifton High, School Coolidge High School . Cottonwood .High School and .'. Jerome High. School Douglas. High School,Dune an Uni on - High School .Flagstaff •Iiighv Schbol . Florence Union High School Ft. Thomas Union High School Gila Bend High School ’ Gilbert High School. ' h'< 'Glendale Union High School Globe. Union High School Holbrook High School :Litchfield High School : . •' Marana High School' ' - Mesa Union High School 'Miami High. Schbol Mohave. County Union High /' Morenci High School V ' ; . Nogales High School' 'Pearce Union High School ' Peoria High School Phoenix Union High School . Phoenix^District. #1 .... 'Carver..High School ' : 1 : 'North Phoenix High School Phoenix leehtiical School / Pima High- School ' " • ’ -•Prescott 'Sehior High School ' Round 7alley High School "" -: ' . Safford High School - : •St. David High School 1 Sti ; Johns High: School •",San' Simon High.School ". ;

yesyes 'honoyesnoyesnoyesyesyesyesyes yes no yes; no no yes yes yes yes yes yes yes yes yes yes yes no yes : yes yes no no yes yes yes' yes yes yes yes yes

81

ARIZONA DIRECTORS OF INSTRDMENTAL ■ MUSIC TO WHOM QUESTIONNAIRES WERE DISTRIBUTED

Name I,:::-

Mixter, Guy D, ' Scottsdale High School - . ' yesGoodman, Harold ' 'Snowflake- UnlPn High School yes ..Olsen, Franklin..- ■ Superior High School ' ; yes - ;Wells, Kenneth Tempe Union High School ' yes VGardner, Arthur ' . Thatcher Union High School no . .Straohan,-; Franc Is Tolleson Union High School '!: yesRayne, Joseph ; -- Tombstone Union High School : .yeaSewell,,W„ Ao : Tucson Senior High School no ,Brewer,: Leslie . .: Tuc s on Die tri c t #1 .. . yes :Burgess, Tom ' Tuc son; Di s tr i c t ^1 yesGrimes, Paul - Tttcsoh: Dis trie t #1 . ' ' no. -iSaigNton, Bill . ■ Tucs on 'District #1 : v no ..Cross, Loren ../ Wiokehburg High School - :■/ yes /;Fahce, He Q„ . Wilieok Union High School : ■ yes .Schruben,"Maurice " ; Williams. High; School. - no ' ■Stephens, 'Charles;: Winslow Sehior High * School yesHavens,:.Ae: E. . ;, Yuma Union High School