* The MENC Tanglewood Sym-
The 1968
posium Project was announced
briefly in the previous issues of the
Journal. This article will provide
detailed information concerning the
purposes and plans of the Project
and serve as a progress report of
this current MENC program. The
April issue of the Journal will con-
tain an article describing the six
basic issues which will be discussed
at Project sessions scheduled dur-
ing the six MENC Division Con-
ferences.
What is the Project? The Tangle-
wood Symposium Project is a pro-
fessional program sponsored by the
Music Educators National Confer-
ence. A major focal point of the
aerian
the mene tangletwood
Project is a ten-day symposium to
be held at Tanglewood in Lenox,
Massachusetts-summer home of
the Boston Symphony-from July
23 to August 5, 1967. Previous to
the Symposium at Tanglewood,
pertinent issues related to the sub-
ject, "Music in American Society,"
will be discussed by fifty to sixty
music educators at each Division
Conference. Summaries of the Di-
vision Groups will be made avail-
able to Symposium members. The
findings and recommendations of
the Tanglewood Symposium will,
in turn, be presented to presidents
of State Music Educators Associa-
tions for their consideration during
The author is Professor of Music,
School of Fine and Applied Arts of
Boston University. He is currently serving
as Director of the Tanglewood Sym-
posium Project of the MENC.
38
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the school year 1967-1968.
are reflected at international,
MENC National Conference in federal, state, and local levels
Seattle will be based in part on more forcefully than ever in our
nation's history;
recommendations for implementa-
tion of the Symposium Report and -The increase in knowledge in all
those of state associations. fields, the continuing revolution
in science and technology, chang-
The Project will be in coopera- ing patterns of social and eco-
tion with the Berkshire Music nomic life, the conflict of ide-
Center, Erich Leinsdorf, Director, ologies, the impacts of technology
the Theodore Presser Foundation, and mass media, and the expand-
and the Boston University School ing roles of government are af-
of Fine and Applied Arts. Louis G. fecting all levels of education;
-Within educational systems, em-
Wersen of Philadelphia, MENC
President, is Chairman ex officio of phases on scientific and techno-
the Project; Robert A. Choate of logical areas or subjects, college
entrance requirements, and ex-
Boston University is Director, and
panded curriculums tend to
Alvin C. Eurich, President of the create imbalances in education
Aspen Institute is serving as Project of students. The fine arts and
Advisor. humanities often are relegated to
musi
society
symposium project
by robert a. choate
What are the purposes of the extra-curricularor elective status,
Project? The long-range objectives if offeredat all. Those responsible
of the Project are to assist teachers for decision-making-the "power
of music-in schools, colleges, in the structure"-in schools, communi-
ties, states, and federal govern-
community, or professional fields- ment, in great part still main-
in every manner possible, and to tain uninformed or parochial at-
explore the maximum potentials of titudes toward music and other
music education. No teacher can be arts; such attitudes keep the arts
oblivious or unaware of the vast at the periphery of society as
changes occurring in all aspects of "ornaments" or leisure activity
society. He cannot long remain rather than at the center. The
apathetic or complacent concerning validity of music performance-
them in his personal or professional the essence of the art-must be
life. Identification and considera- emphasized further; study of the
tion of the impact of these perva- arts as cultural history, humanis-
sive and persistent forces on music tic study, or aesthetic education
remains to be recognized in
and music teaching are imperative. American education. Surely, the
For the initial planning session
problems of ends and means in
for the Project, a succinct statement education must be considered
of some of these affective and shap-
critically for our culture and our
ing forces was prepared: times;
-Education has moved into the main- -Conversely, a nation-wide upsurge
stream of societal concerns;these of interest in the development
MUSIC EDUCATORS JOURNAL
 of the arts is obvious. Commun-
ity and university arts centers
are proliferating. The quality
and slupport of such programs
present major concerns. Develop-
ments in the art of music it-
self necessitate re-education of
teachers and revision of college
curriiculums. The need for co-
operative efforts and mutual con-
cern of all teachers of music is
more urgent than ever before;
the theorist, composer, historian,
performer, educator, and re-
searcher have a mandate for de-
velopment of comprehensive
musicianship;
-Social and econolmic developments
are creating a new leisure for
most. The opportunities for
enrichment of individuals, de-
!?l A! 'r
veloplient of sound values and
judlgments, sensitivities and
awarenesses are virtually un-
limite(l. Such education, while
generally conceived to be the
province of the school, must be
broadened to include that in the
and
ho(me, chllrch, community
organizations. The concept of
learning as a lifelong process pre-
senits responsibilities and oppor-
tunities. The potentials and ef-
fects of ceirtain m1assmed(ia must
he explorecd.
-Financial support of music and other
perforlming arts presents concerns
basic to their existence. The func-
tions and reclations of imusic in-
dulstries to (levelopment of a
.musically literate society must be
recognized;
-While far firom comiplete, these and
other issues inldicate the feasibil-
ity and urgent ineed for a project
such as the Tanglewood Sym-
MARCH, NINETEEN SIXTY-SEVEN
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posium. It is obvious that such
an event could not treat all prob-
lems in depth. Identification of
most pertinent or critical issues
might be made by a selected
group of discussants from the
field of music, other academic
disciplines, community and pro-
fessional organizations, industry,
communications, and corporate
interests. No other professional
music organization accepts a
mandate for such divergent inter-
ests in our nation's musical life.
Few have expressed such a con-
vergence or singleness of purpose.
The Music Educators National
Conference may well and effec-
tively serve individual as well as
national music interests in con-
vening such a Symposium.
From such a rationale, the spe-
cific puzrposes for the Tanglewood
Symposium were defined as fol-
lows: (1) to clarify and define more
clearly the purposes, significance,
and unique functions of music in
our society and in education; (2) to
explore mutual concerns and possi-
ble means of cooperation with so-
cietal institutions concerned with
the development of music in a
changing society; (3) to prepare
statements and publications which
will clarify objectives and assist
administrators, and
supervisors,
teachers in interpreting and sup-
porting an effective program in
music education.
How is the Project organized?
The programn has been projected in
four phases:
I. NIENC DIVISION
ENCES. At each of the six Division
Conferences, two or more sessions
have been planned in cooperation
with Division Presidents and a Divi-
sion Coordinator. Session I at each
conference will include a presenta-
tion of concepts and plans for the
TSP followed by group discussion by
fifty to sixty MENC members recom-
mended by State and Division presi-
dents. Each discussant will receive
position papers and issues in advance
of the Division meeting. Session II
will be open to all MENC members
and will consist of reports and dis-
cussion by Group Leaders and Re-
corders as feasible. The President of
MENC and the Director of the TSP
will participate in all Division Con-
ferences.
Division Coordinators who have
been appointed for the Conferences
are: Eastern-Robert Marvel, Frcdonia
State College, Fredonia, New York;
Southwestern-Leo Meyer, Director
of Music, Longmont, Colorado; West-
ern-O. M. Hartsell, University of Ari-
zona, Tucson; North Central-Richard
E. Shoup, Capital University, Colum-
bus, Ohio; Northwest-Verne Wilson,
Director of Music Education, Portland,
Oregon, Public Schools; Southern-
Wallace Cause, Director of Music,
Pinellas County, Florida, Public
Schools.
II. THE TANGLEWOOD SYM-
POSIUM, Lenox, Massachusetts, July
23-August 5, 1967. Thirty participants
will be selected for the Tanglewood
Symposium. Fifteen of these will be
music educators chosen by an MIENC
Selection Committee. Fifteen addi-
tional participants will be invited, in-
eluding leading miusicians, educators,
CONFER- businessmen, labor leaders, scientists,
39
representativesof other academic dis-
ciplines, and others representing the
many facets of concern for music and
education.
Four or more speakers will be se-
lected for plenary sessions which will
be open to news media and others
desiring to attend. Consultants will
assume responsibilitiesfor group lead-
ership and major presentations as
feasible. Panels will be formed from
within the group and/or resource per-
sons available through the Berkshire
Music Center.
Honorary Sponsors for the Sym-
posium include: Mrs. Serge Kous-
sevitsky, Erich Leinsdorf, Roger L.
Stevens, and Harold C. Case.
The following are serving as an ac-
tive Advisory Committee: Erich
Leinsdorf, Conductor, the Boston
Symphony Orchestra;Edwin E. Stein,
Dean, School of Fine and Applied
Arts, Boston University; Harry J.
Kraut, Administrator,BerkshireMusic
Center; Wilbur D. Fullbright, Chair-
man, Division of Music, School of
Fine and Applied Arts, Boston Uni-
versity; Gunther Schuller, Composer,
and Head, ContemporaryMusic Ac-
tivities, Berkshire Music Center;
Joseph Silverstein, Concertmaster,
Boston Symphony Orchestra and
Chairman of the Faculty, Berkshire
Music Center.
Consultant-GroupLeaders for the
Symposium will be: Allen C. Britton,
Associate Dean, School of Music, the
University of Michigan, Ann Arbor;
Karl D. Ernst, Chairman,Division of
Creative Arts, State College at Hay-
ward, Hayward, California; Wiley
Housewright, Dean, School of Music,
the Florida State University, Talla-
hassee, Florida; Max Kaplan, sociolo-
gist, author, lecturer, Boston, Massa-
chusetts; David P. McAllester,
Professor of Anthropology, Wesleyan
University, Middletown, Connecticut.
III. STATE MUSIC EDUCATORS
ASSOCIATIONS. Most state presi-
dents, state music editors, and state
supervisorsof music as well as many
music educators from states will par-
ticipate in discussions relative to the
TSP at Division Conferences.
During the Interim Meeting in
Washington,August 15-17, 1967, per-
tinent materials from the Tanglewood
Symposiumwill be presented to State
Presidents who will then follow
through during the ensuing year in
their state programs in ways which
may seem desirable to them.
IV. MENC NATIONAL BIEN-
NIAL MEETING, SEATTLE, March
1968. The MENC National President
and his Planning Committee will uti-
lize materials and recommendations
from the TSP as may seem desirable.
40
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Why should the Project be of patronage of the arts, interdisciplin-
concern to me? It may not be. ary relationships, concerns for
There are no imperatives for any "creativity," among others.
music teacher relative to it. The In effect, then, the Symposium or
other conference, would consider
program basically is one of self-
evaluation and development of per- the functions and roles of the arts
spective on one's own professional in a technological age, the state of
attitudes, purposes, and attain- the arts, and the forces which are
ments. However, even if we know giving new directions and dimen-
what we believe and practice, it sions.
follows that we must constantly Procedures (No. 2 above) should
examine those beliefs and practices. embrace the elements above but in
We have a commitment to improve- some sequence which permits: (a)
ment and change. For the MENC- formulation of assumptions, beliefs,
all of us, that is-this is an effort at and values relative to music; (b)
reassessment and appraisal. We exchanges with other relevant
have accomplished much for which fields, effects of changing condi-
we may be satisfied and proud- tions, and consideration of new
more than perhaps we have been directions; (c) re-examination of
given credit by critics or those who our assumptions; and (d) decisions
are uninformed. But we have also on the implementation of these re-
reached a crucial time for exami- sults.
nation of the most basic assump- Implementations would be both
tions we stand for and may want substantive and procedural in na-
to stand for in the decades ahead. ture, such as changes or extensions
in our assumptions and goals, in
We are looking inward as well as
outward-with objectivity, discern- recommended investigations of
ment, and hopefully, with a sense broadened content in music educa-
of humor that can help maintain tion, processes in teaching, and
perspective. evaluation of instruction. Such im-
In order to accomplish this assess- plementations would take the form
ment, we have suggested that we of additional conferences at na-
formulate (1) propositions of sub- tional, state, and local levels, pub-
stance, and (2) propositions of lications of varying types, and spe-
cial conferences delimited to a
procedures. The end result would
consist of (3) propositions of im- specific area of concern.
plementation. MENC members always have
Substantive content (1) for all been magnificently responsive and
phases of the TSP (as well as for willing to give of their time and
any individual) might include three efforts to professional responsibili-
aspects: ties. The responses to the TSP have
(a) What we think we are trying indicated enthusiasm and concern.
to do: our beliefs or assumptions The tasks ahead are peculiarly diffi-
cult since the defined purposes of
concerning the place of music in
the schools, the functions of music the TSP relate fundamentally to
in society at large, and values of and are based in philosophy, value
music in both society and in edu- systems, and the nature of music.
cation of the individual; Development of performance skills,
(b) What others are doing: or- aural perception, musical under-
ganizational efforts and activities of standings, and positive attitudes are
other musical organizations in the not simple matters. There will be
country; their concepts of functions problems of communication among
and roles of music; analysis of ourselves and with others. We may
mutual concerns, interrelations, be thought of as brash and pre-
and supportive efforts-our rela- sumptuous. But the alternatives are
tions; apathy and complacency. The re-
(c) What are affective or shaping sults may be less than we expect in
forces in society which should be a "first" major exploration of this
of mutual concern: impact of tech- nature. However, the earnest con-
nology, mass media and communi- cerns, the imagination and spirit of
cation, government involvements, inquiry evident in MENC officials
developments in family life, aging who inaugurated the Project are
and retired persons, urban develop- commendable. The outcomes can
ment, adult and continuing educa- and should be of considerable value
tion, artistic and economic factors, in the years ahead. i!
MUSIC EDUCATORS JOURNAL