Ronald George Horner. Doctor of Musical Arts in Performance. Division of Music

Transcription

1 A National Survey of College Level Percussion Teachers Regarding the Importance of Certain Characteristics of Percussion Materials in Beginning Instrumental Methods Ronald George Horner Research Project submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Performance Division of Music Paschal Yao Younge, Ed.D., Chair Molly A. Weaver, Ph.D., Research Advisor Mary T. Ferer, Ph.D. Ernest R. Goeres, Ph.D Dan C. Armstrong, M.M. Division of Music Morgantown, West Virginia 2005

2 ABSTRACT A National Survey of College Level Percussion Teachers Regarding the Importance of Certain Characteristics of Percussion Materials in Beginning Instrumental Methods Ronald George Horner Teaching percussion instruments in elementary school settings presents unique challenges. Development of reading skills, musicality, technique, and listening skills are often cited as concerns. Materials selected by educators can facilitate or encumber the process. This study examined the characteristics of beginning methods materials from the perspective of college level percussion teachers. 269 teachers participated in a researcher-developed survey as a representative crosssection of institutions of higher learning including community colleges, baccalaureate institutions, and institutions with graduate programs. Results were analyzed from frequency distributions and manually generated stem-and-leaf plots. The survey examined respondent background and teaching experience, institutional information, and professional information. Also, respondents rated the importance of certain characteristics of beginning percussion methods materials. Respondents displayed a clear preference for materials that included many instruments from the percussion family. They indicated that method books should promote musicality. Most cited development of student technique as an important factor. A majority expressed support for materials to develop ensemble playing skills. Many favored inclusion of traditional percussion fundamentals, including the rudiments of drumming. Roll concept was contemplated. Layout and appearance were considered, and liberal use of illustrations was recommended. Participants indicated personal preferences with recommendations of specific titles. A discernible preference for percussion method books that have served generations of teachers was evident. Newer materials that have been accepted by many instructors also were recommended. Contributions of selected authors were acknowledged for their importance in percussion education. Survey items probed teacher attitudes toward multicultural components, technology, and assessment devices. While some preferences for these features were expressed, many respondents were ambivalent or openly opposed to their inclusion. It is possible that the traditional percussion training many members of the survey respondent group received influenced their responses. The ideal beginning percussion method book as described by the survey respondent group appears to have much in common with materials traditionally used over the past fifty years. There is an acknowledgement of the need for a new approach, but this study indicates that while college level percussion teachers make such an acknowledgement, they wish to retain the proven methods of the past.

3 Acknowledgements I would like to acknowledge the guidance, encouragement, and support of my Research Advisor, Dr. Molly Weaver. Dr. Weaver worked closely with me over a two-year period to bring this document from idea to finished product. Her knowledge and expertise in the area of educational research and willingness to assume the responsibilities of Research Advisor facilitated the completion of this document. I am grateful to Dr. Mary Ferer for her suggestions regarding the content and format of the document. Her membership on my doctoral committee through many years is greatly appreciated. Thanks to Dr. Ernest Goeres for his ideas about the direction of the project, and procedures for its realization. His knowledge of research techniques proved invaluable. Thanks to Dr. Paschal Younge for assuming leadership of my committee after the departure of Dr. Tim Peterman. My gratitude is also extended to Professor Dan Armstrong of Pennsylvania State University who joined the committee after the departure of Professor Adam Mason. I would also like to acknowledge the support of Dr. Tim Peterman for his continued encouragement and interest. His enthusiasm for the project did not waver, and I appreciate the motivation he provided. I offer my appreciation to the college percussion teachers who participated in this study. Their involvement made the survey possible. I express my most grateful appreciation to Alison Welborne. Her typing and computer skills turned my ideas into tangible material, and her patience and support never wavered. Additionally, I would be remiss if I did not offer my special thanks to Theresa Skidmore for her many contributions to this project. To all those who have in any way assisted in the process that has brought me here, I offer my thanks. iii

4 CONTENTS ACKNOWLEDGEMENTS iii Chapter 1. INTRODUCTION PURPOSE OF THE STUDY STATEMENT OF RESEARCH QUESTIONS NEED FOR THE STUDY ASSUMPTIONS OF THE STUDY DELIMITATIONS OF THE STUDY DEFINITION OF TERMS HYPOTHESIS OF THE STUDY REVIEW OF RELATED LITERATURE Introduction Early Pedagogical Initiatives Disparate Approaches Comprehensive Percussion Pedagogy Summary 3. METHODOLOGY PROCEDURES DATA ANALYSIS PRESENTATION OF DATA Demographic Information Institutional Information Professional Information Beginning Percussion Methods Materials Characteristics Comments iv

5 5. DISCUSSION AND CONCLUSIONS Introduction Content Format Philosophy SUMMARY RECOMMENDATIONS FOR FURTHER STUDY APPENDICES Pilot Cover Letter Survey Cover Letter Followup Letter Survey Document BIBLIOGRAPHY v

6 TABLES Table Page 1. Respondent gender Respondent ethnicity Respondent age Institution type Institution accreditation Undergraduate music majors Undergraduate percussion principals Graduate music majors Graduate percussion principals Respondent earned degrees Respondent employment status Respondent academic rank Respondent tenure status Respondent principal instrument Respondent teaching experience Private teaching experience K-12 teaching experience Postsecondary teaching experience Percussion pedagogy class teaching experience Materials used in percussion pedagogy class Respondent experience directing percussion ensemble Type of percussion ensemble(s) directed Respondent experience teaching beginning percussionists Recommended beginning materials Importance of Percussion Methods Materials Characteristics Comments vi

7 CHAPTER 1 Introduction Teachers in all academic disciplines use certain materials in the interest of student development. In elementary school instrumental music instruction, beginning methods materials are the foundation upon which a student s musical knowledge and skills are based. The teacher of percussion must use materials that facilitate student development. As evidenced by such measures as test scores and audition results, percussion students frequently perform at a level below that of other instrumentalists with comparable amounts of training. This has been a topic of concern for many teachers and directors. What role do educational materials (i.e., method books, video, and audio materials) used by music teachers and directors play in percussion student development? Can the content of these materials be modified to improve the educational experience for students? Will the modification of the materials facilitate the process of teaching percussion? This study examined the content of instructional materials from the teacher s perspective. By collecting information from teachers of percussion, it was hoped that answers to the aforementioned questions would be discovered. To identify the methods materials characteristics that may be most important in addressing the needs of beginning percussionists, professional percussion educators were surveyed to solicit their opinions. 1

8 Purpose of the Study The purpose of this study is to survey college level percussion teachers regarding the importance of certain characteristics of percussion materials in beginning instrumental methods. Statement of Research Questions 1. According to college level percussion teachers, what is the relative importance of materials that address many instruments of the family (e.g., snare drum, bass drum, glockenspiel, tomtoms, triangle, wood block, cymbals, suspended cymbal, maracas, tambourine, claves, sleigh bells)? 2. According to college level percussion teachers, what is the relative importance of text descriptions of instrument set-up and section/ensemble set-up? 3. According to college level percussion teachers, what is the relative importance of illustrations and/or photographs addressing instrument set-ups, hand positions, playing positions, instrument techniques, and section/ensemble set-ups? 4. According to college level percussion teachers, what is the relative importance of materials to develop students technical facility (e.g., sticking exercises, velocity studies, roll development exercises, rhythmic reading studies, melodic reading studies, grace note exercises, rebound control studies, accent patterns)? 5. According to college level percussion teachers, what is the relative importance of the snare drum roll as a specific, audible rhythm (traditional rudimental approach)? 6. According to college level percussion teachers, what is the relative importance of the snare drum roll as a sustained sound? 7. According to college level percussion teachers, what is the relative importance of rudiments? 8. According to college level percussion teachers, what is the relative importance of materials to develop students musical knowledge and skills (e.g., phrasing, nuance, interpretation, melodic contour, tone production, rhythmic accuracy, articulation, balance, tone quality, dynamic control, shaping)? 9. According to college level percussion teachers, what is the relative importance of an approach to material that enables students to replicate their in school experience during home practice (e.g., has recorded models and play-along backgrounds)? 10. According to college level percussion teachers, what is the relative importance of materials for solo performance? 2

9 11. According to college level percussion teachers, what is the relative importance of materials for performance with others on like and different percussion instruments (e.g., duets, trios, rounds, ensembles)? 12. According to college level percussion teachers, what is the relative importance of multicultural materials? 13. According to college level percussion teachers, what is the relative importance of music theory materials? 14. According to college level percussion teachers, what is the relative importance of instructional support technology (e.g., MIDI, CD, MP3, video, DVD)? 15. According to college level percussion teachers, what is the relative importance of a system for teacher assessment of students? 16. According to college level percussion teachers, what is the relative importance of a system for student self-assessment? 17. What relevant themes emerged when respondents were asked for their comments overall at the end of the survey? Need for the Study As evidenced by the Review of Related Literature, a large selection of materials currently available for elementary percussion instruction seems to encourage teaching approaches that are inconsistent and not comprehensive. Problems with method books are often further compounded by the necessity of addressing instrumental music education in group settings. These groups often range in size from two students to eight or more. Owing to the desirability of having all students in the group musically engaged throughout the lesson, many elementary instrumental music teachers utilize band method books. These materials provide opportunities to involve all students throughout the lesson in homogeneous or heterogeneous group settings. Band method books provide many instructional opportunities for teachers who instruct large numbers of instrumental music students and who are expected to present one or more 3

10 public performances during the school year. These methods provide materials for teaching fundamentals as well as performance skills. Teachers are able to address both from a single source in a manner that provides students with a sense of accomplishment and pleases school administrators and community members who have public performance expectations. Assumptions of the Study 1. Instrumental music teachers are obligated to provide opportunities for beginning percussion students to develop skills on all western percussion instruments. 2. The absence of a successful comprehensive approach to teaching elementary percussion frequently leads to technical and/or musical problems that can hinder student development. 3. Any percussion ensemble literature utilized in percussion lesson groups should provide for the meaningful involvement of all members of the group. Delimitations of the Study 1. This study was delimited to those percussion instruments commonly found in western (US and Europe) concert band, wind band, and symphonic orchestra settings at a beginning level of difficulty including (but not limited to) snare drum, bass drum, bells (glockenspiel), tom-toms, triangle, wood block, cymbals, suspended cymbal, maracas, tambourine, claves, and sleigh bells. 2. This study was delimited to percussion students during their first year of instruction. Definition of Terms 1. beginning instrumental methods materials: Materials that can be used for comprehensive instrumental instruction, including western percussion, in K-12 group settings. 2. comprehensive teaching: An integrated pedagogical approach that incorporates the entire family of western percussion instruments (as appropriate for beginning level band performance see western percussion), music theory, music history, technical development, and musical development. 3. western percussion: Those percussion instruments commonly found in western (US and Europe) concert band, wind band, and symphonic orchestra settings at a beginning level of difficulty. This includes (but is not limited to) snare drum, bass drum, bells (glockenspiel), tomtoms, triangle, wood block, cymbals, suspended cymbal, maracas, tambourine, claves, and sleigh bells. 4

11 4. K-12 group settings: Small groups - either homogeneous or heterogeneous - at approximately the same age, level of musical and technical development, and grade level (fourth, fifth, and/or sixth grade depending on school district policy for beginning instrumental music). 5. homogeneous group settings: Grouping like instruments for instruction, (e.g., trumpet class, clarinet class, percussion class). 6. heterogeneous group settings: Grouping different instruments for instruction (e.g., clarinet, tuba, alto saxophone, and percussion in the same lesson group). Hypothesis of the Study Currently available beginning percussion teaching materials do not optimally facilitate group educational experiences for students and teachers. College level percussion educators are considered to be authorities in their discipline. Surveying them for their opinions will provide insight into features that could improve the quality of early percussion teaching and learning. 5

12 CHAPTER 2 Review of Related Literature Introduction The quality and content of instructional materials for instrumental music has been a subject of concern since the practice of public school music lessons began in the early twentieth century. Previous attempts to examine materials for percussion instruction have been undertaken. Although some have similarities to the present study, few (if any) have sought the opinions of respected percussion educators. Early Pedagogical Initiatives Some of the earliest attempts to provide instrumental music instruction began in the early twentieth century. The evolution of these attempts is documented by Cleino (1958) and Sampson (1967). They trace a progression from extracurricular activities taught by specialist private teachers through a period during which heterogeneous instruction was considered to be the norm. (In heterogeneous instruction, different instruments are grouped together, i.e., percussion instruments in the same lesson group with brasses and/or woodwinds.) A period of experimentation with early method books followed, including a type of instruction book known as a loose-leaf method. Method books based upon tetrachords were used for a time. Other method books were developed for instrumental families (e.g., woodwinds, brasses), unison playing (any combination of instruments), and, eventually, for homogeneous group instruction. (In homogeneous instruction, like instruments are grouped together, i.e., a class of exclusively percussion instruments.) 6

13 As documented in the studies of Cleino (1958), Monty (1986), Preston (1975), and Sampson (1967), the percussion family has frequently been treated as an afterthought. Part of the approach taken toward percussion has been a question of what to do with the percussionists as the rest of the instrumental ensemble performs. As identical instrument classes became the norm, what was deemed to be worthy of study for percussion became a problem of greater significance than how to include the percussion family in group instructional materials. As evidenced in a study by Cleino (1958), the importance of the standard twenty-six American drum rudiments 1 (as assessed by method book authors through the years) has created questions about the content and pedagogical approach of school group percussion books. Works by Monty (1986) and Preston (1975) indicate that content is further complicated by the practice of presenting separate books for each instrument of the family (snare drum, bells, marimba, timpani, drum set). Disparate Approaches As instrumental music instruction became commonplace in public schools, the approach to teaching percussion instruments was far from standardized. It seemed that each method book author or graduate researcher had a unique solution to the pedagogical problems confronted by the percussion teacher. Cleino (1958) addressed the matter of the content of percussion method books in one of the earlier studies done in this area. After discussing problems encountered by the teacher in a group setting, he focused upon the texts themselves: A third factor limiting the effectiveness of percussion teaching in the schools is the lack of suitable material for class instruction, particularly at elementary school and junior high school levels... It is difficult to find materials suitable for class instruction of upper-grade and junior high 1 These twenty-six patterns, developed to improve dexterity and coordination, were initially codified in 1869 by Gardiner A. Strube. 7

14 school students even if the entire group is at the same level of musical advancement. 2 In an attempt to provide music educators with a resource for managing their percussion classes, Cleino developed an ensemble method in which students of varying levels of proficiency could perform compositions together. Although the only instruments of the family he included were the snare drum and timpani, it was an effort that was ahead of its time. Cleino described his motivation for this endeavor: encountering a continual stream of young drummers, quite unable to perform the simplest scores in a musical fashion, yet spending most of their practice time on the rudiments. Their aim seemed not to be that of learning music, but of qualifying for membership in the National Association of Rudimental Drummers! 3 Cleino was not alone in the realization that method books for percussion required improvement or, at the very least, clarification that would allow teachers to make optimal choices for their students development. In the summer of 1960, Masoner catalogued available instruction books, solos, ensembles, and supplemental materials with annotations and grade levels (where appropriate). While not specifically attempting to create materials for instructional use, her work provided guidance to teachers and students. She states: It is sincerely hoped that this manuscript will help in some small way in the continual growth the percussion instruments have been witnessing in the past few years; and perhaps to bring the art of percussion to the ultimate place in the musical family where it rightfully belongs. It will be through the band directors of the numerous high school bands of our nation that this goal will be reached. 4 2 Edward Henry Cleino. An Ensemble Method for Teaching Percussion Instruments. (Ed.D. diss., George Peabody College for Teachers, 1958): Ibid., Elizabeth L. Masoner. Reference Guide on Percussion Publications. Minneapolis, MN: Typist Letter Co., 1960.: ii. 8

15 Sampson (1967) examined method books used for heterogeneous instrumental instruction. Through use of his own questionnaire, he was able to determine what were considered to be desirable features of percussion books used in various heterogeneous instructional series. This study was the first of its kind in that the researcher solicited input from music teachers themselves. Results from teacher s (sic) questionnaires indicated that they preferred the following in beginning books: 1. Single strokes 2. Double strokes 3. Alternating strokes 4. Flams 5. Ruffs 6. 5 stroke roll 7. 7 stroke roll 8. 9 stroke roll 9. Long roll 10. Single paradiddle 11. Parts for bells, xylophone, and chimes (sic) 12. Tympani part 13. Triangle part 14. Bass drum part 15. Cymbal part The above were included as criteria for book evaluation. 5 Cleino s observations regarding the rudimental emphasis found in early heterogeneous method books are supported by responses to Sampson s questionnaire. Twice as many desirable characteristics responses focus upon a rudimental approach to snare drum performance as those that include the remainder of the percussion family. Comprehensive Percussion Pedagogy At approximately the same time, percussionists themselves began to express concerns about the content and quality of percussion education. In a published report, the Committee on 5 Ulysses Thomas Sampson. An Identification of Deficiencies on Past and Current Method Books for Beginning Heterogeneous Wind- Percussion Class Instrumental Music Instruction. (D.Mus.Ed. diss., Indiana University, 1967):

16 Improving Elementary Percussion Education of the Percussive Arts Society, chaired by Al Payson (1966), examined the aims of elementary percussion education, the needs of teachers, and the problems in the field. Although none of their findings dealt specifically with instructional materials, there was a reflection of the trend away from a rudimentally centered approach. Percussion instruction in most cases is confined almost entirely to snare drum instruction. There is little awareness of the necessity for total percussion instruction: i.e., snare drum, mallet keyboard instruments, timpani, tambourine, triangle, etc. This situation is partly due to a great shortage of mallet keyboard teachers. There is a great need for quality literature and teaching materials at all levels. In particular: solos, ensembles, and concerti of a serious musical nature. 6 Charles Spohn (1967) contributed to the awareness of total percussion in one of the first texts to treat the family comprehensively by providing performance and educational techniques for those instruments commonly found in band and orchestra music of the day. While he did not confront the status of educational materials directly, he cautioned educators: teachers must be cognizant of their responsibility to give students a wellrounded music education, a responsibility that can very easily be neglected... If students are limited to a single percussion instrument, especially a nonmelodic one, and are not encouraged to listen to music and participate on melodic instruments, they will not learn as much. 7 He even made suggestions to the teacher with regard to class format. Percussion instruments are taught in group as well as private classes. Homogeneous classes can be of great advantage to the beginning student. There is even more benefit if all percussion instruments are included in a beginning class. In such a class the student can see, hear, and play several 6 Al Payson et al. Percussive Arts Society Committee on Improving Elementary Percussion Education Preliminary Report. Percussionist 3 (1966): Charles L. Spohn. The Percussion. Boston, MA: Allyn and Bacon, 1967: 3. 10

17 different percussion instruments at an early stage of his development. He is immediately made aware that there is more to playing a percussion instrument than beating a drum. However, beginning percussion students often have problems unique to their instruments. In heterogeneous groupings these students do not learn as well... Students in heterogeneous groups may be forced into situations that contribute to poor understanding and encourage bad habits. 8 Although Spohn made no attempt to suggest worthy method book features, there is no doubt about his position regarding group instruction. By extension, the reader of his text could draw negative conclusions about available mixed group teaching materials. If group instruction was ineffective, materials must bear some of the blame. If effective teaching materials were utilized, group instruction would enjoy some degree of success. Rees Olson, of the University of California at Irvine, expressed a similar sentiment with regard to percussion texts. The percussion parts in beginning method books are not challenging to students of high capability when compared with the much more intricate and varied learnings involved in playing a wind or string instrument on the same level of difficulty. The student s need for an aesthetically satisfying musical experience is often neglected. These materials do not provide satisfactory opportunities to apply these techniques in a musical ensemble as they are acquired. 9 In 1969 the Percussive Arts Society, in a report authored by Schinstine, issued a followup to their preliminary report of This report made no specific suggestions with regard to pedagogical materials, but did state that We recognize the tremendous improvement in the quality of percussion literature since our first report. We further recognize the need for more quality literature in all areas, but in particular for keyboard percussion instruments and in better basic methods for all percussion instruments Ibid., Rees G. Olson. A Beginning Percussion Class. Instrumentalist 23/2 (September 1968): William J. Schinstine, et al. Report of the Committee on Improving Elementary Percussion Education of the Percussive Arts Society. Percussionist 7 (1969):

18 While there seemed to be a developing consensus as to the generally poor quality of percussion teaching materials, no one seemed to know how to fix the problem. Galm (1970), at the University of Colorado, approached the topic in a manner similar to Masoner (1960). He developed an annotated bibliography in which he examined materials for snare drum, jazz drums, multiple percussion, barraphonic percussion, timpani, and Latin American percussion. No explanations or rationale for his choices were provided. Galm suggested that he had arranged the titles in an ascending order of difficulty. Shortly thereafter, the first attempt to specifically incorporate the entire family into a unified, comprehensive pedagogical approach was presented. In Teaching Total Percussion, Mueller (1972) stressed the importance of training students to play, with equal ability, in the three major areas of percussion: snare drum, timpani, and the mallet percussion instruments. 11 Without making specific recommendations about lesson book materials, Mueller made his position clear with regard to lesson format. One thing for certain is that the total percussion cannot be taught in heterogeneous groupings with other instrumental students. This becomes obvious when you consider teaching the drum set, timpani or snare drum and correlating this instruction with all the other band instruments. The instruction required in percussion is too specialized, and there are not enough similarities with the other band instruments to make this practical. 12 In addition, he provided method book suggestions for each major area (including marching percussion) with brief annotations. He did not describe the criteria by which these books were chosen. 11 Kenneth A. Mueller. Teaching Total Percussion. West Nyack, NY: Parker Publishing Co., 1972.: Ibid.,

19 Bauer (1975) confronted the absence of effective teaching materials. He advocated the development of a method to comprehensively teach the percussion family. His work includes a comparative survey and analysis of thirty-two method books commonly used for group percussion instruction. Like Masoner (1960) and Galm (1970), he provided information about existing materials. Unlike the earlier authors, he also included a rating system to clarify specific strengths and weaknesses of each text. His conclusions were vague, but cautiously hopeful. One may conclude that there has been a substantial amount of concern over the state of percussion education in recent years. Many deficiencies of today s public school percussionists have been pointed out, and much of the blame for them appears to be aimed at the failure of percussion teachers and students to approach percussion instruments musically. A significant number of percussion authorities have offered the total percussion approach as a solution. It remains to be seen what approaches are taken in elementary percussion method books published in the United States in recent years. 13 Instead of an analysis of existing materials, Preston (1975) developed what he hoped would be a solution in the form of a supplement to the beginning snare drum method often found in the public schools. 14 He observed that there does not seem to be a single, complete and comprehensive method book or instruction text for the school percussionist. In practice the teacher is expected to supply his own materials, ideas and instructional methodology on the half-dozen or more percussion instruments, or be content to teach snare drum alone. 15 Preston attempted to provide a vehicle for the comprehensive instruction lacking at the time with his Flexible Percussion Ensembles. This supplement, developed by Preston, was included as part of his doctoral dissertation. It provided students and teachers with arrangements 13 James Richard Bauer. A Survey and Analysis of Elementary Percussion Method Books Published in the United States from 1958 to (M.Ed. thesis, Indiana University of Pennsylvania, 1975): Andrew Conrath Preston. The Development and Evaluation of Selected Instructional Materials for Teaching Percussion Instruments in the Beginning Band Class. (Ed.D. diss., University of North Carolina at Greensboro, 1975): Ibid., 5. 13

20 of eleven melodies, three etudes for percussion ensemble, and materials for student evaluation. The arrangements could be performed with any keyboard percussion instrument (or piano), various combinations of drums, and common accessory percussion instruments. Like Cleino (1958), Preston developed a simple but effective approach to homogeneous group instruction that allowed for meaningful involvement of the entire class. The reasons why this type of pedagogical approach has not been embraced by elementary music educators remain a mystery. Perhaps Preston and Cleino were both simply ahead of their time. Johnson (1977) compared and analyzed twelve beginning heterogeneous wind-percussion method books. Music educators who looked to his study for guidance in choosing materials would not find definitive answers. Decisions were left to individual teachers. It was not the purpose of this study to grade or rate the methods analyzed. Instead, the methods were analyzed as to content and progressive development of materials used. 16 Johnson s survey contributed little to the status of percussion education. His examination of the twelve method book series looked for a total of seventeen rudiments in each book. Whether these rudiments would actually be used in students band literature was not considered to be relevant. The introduction of the rudiments themselves was Johnson s only concern. No mention was made in this study of any percussion instrument beyond the snare drum. Dissatisfaction with percussion teaching materials persisted. Monty (1986) presented analyses of eight popular method books. His study was directed toward non-percussionist band directors. His ratings of these texts were based on eighteen criteria ranging from illustrations through ear training. His conclusion regarding the effectiveness of the materials was not an optimistic one. 16 Gary L. Johnson. A Comparative Analysis of Selected Heterogeneous Wind-Percussion Beginning Method Books. (M.A. thesis, Central Missouri State University, 1977): 1. 14

21 content analysis of the method books revealed that none of them are consistently effective in helping the public school band director who had little knowledge of percussion. Although written by accomplished percussionists, these books do not adequately meet the needs of the nonpercussionist band director with his responsibilities of achieving wellbalanced band performances. 17 As did Cleino (1958) and Preston (1975), Monty offered an original contribution toward the solution of the pedagogical materials problem. Unlike the earlier authors, Monty did not advocate an ensemble approach. He did not compose supplemental materials. His method was to isolate and analyze the task and desired result. He then developed a lattice structure (a series of interconnected boxes similar to a flow chart directing the performer through a sequence of actions that eventually produce the desired result) for each task to guide teacher and student through the process. While improved performance was the desired result, his system contributed a questionable amount to facilitate students musical development. Despite an awareness that a problem existed and some degree of agreement on how to correct it, the fragmented treatment of public school percussion education continued. An article by Pimentel seemed to be a refrain in a very familiar song. Many of today s students need a comprehensive percussion curriculum. Sure we have trained students to be whizzes on the marimba. But these same students pay terrible educational prices when they freeze on the snare drum in grade seven band. They try to hide that they are not as good on the snare drum, and this makes matters even worse. Drumset players seem to reign as king of the snare drum in concert band and be the central member of the jazz ensemble in high school. It is only at the university level or when they start gigging that drumset people find they do not have the tools necessary for musical leadership Rudy A. Monty. Percussion Method Books Used in Selected U.S. Public Schools: Analyses and a Supplemental Guide for the Non- Percussionist Band Director. (Ed.D. diss., New York University, 1986): Linda Pimentel. Recommendations for the Reorganization of Percussion Instruction. Percussion Education: A Source Book of Concepts and Information. Urbana, IL: Percussive Arts Society, 1990: 4. 15

22 Summary Despite the evidence provided by these studies and articles, the quality and content of pedagogical materials for homogeneous percussion instruction is still debated. As described by Pimentel in the above referenced article, resistance to the total percussion approach advocated by Mueller over thirty years ago is surprisingly strong. Since some currently popular method books were written almost eighty years ago, input from percussion experts regarding method book content is needed. It is hoped that this information will facilitate the development of new methodology and materials to address the problems faced by contemporary percussion students. 16

23 CHAPTER 3 Methodology A national survey of college percussion teachers was conducted to determine important characteristics of percussion components of beginning instrumental methods materials. Procedures This study employed a survey that was sent to 1,327 college level percussion teachers throughout the United States (see appendices 1, 2, 3, and 4). Mailing labels were purchased from the College Music Society, which publishes a directory listing all college level music faculty members at institutions in the United States and Canada. Prior to mailing the survey, a pilot study was conducted to determine the efficacy of the survey instrument. Graduate students and upper class music major percussion principals from West Virginia University, Indiana University of Pennsylvania, and Frostburg State University were included in this pilot (n = 26). In addition, professional percussionists and educators with whom the researcher has regular contact were invited to participate in the pilot process (n = 10). After analyzing their responses and making appropriate modifications to the survey document, it was mailed to the target group. The mailing date for the survey was October 15, 2004, with a response date of November 15, An appropriate response rate of 30 percent to 50 percent was not realized by November 15, 2004, so a followup letter and additional copy of the survey was mailed on November 17, 2004, with a response date of December 3,

24 CHAPTER 4 Data Analysis After the surveys were returned, the researcher compiled the responses and entered them into a database. Responses to closed-ended items were analyzed from frequency distributions and - when necessary - from manually generated stem-and-leaf plots, a technique that was adapted for this study. Responses to open-ended items were analyzed for emergent themes. Presentation of Data The survey portion of this study yielded a response rate of approximately 20% (n = 269/1327). Because this rate was lower than the recognized acceptable minimum response rate of 30%, survey results must be interpreted with caution. 1. What is your gender? 97.76% of respondents answering n=263/269 Demographic Information Male 89.22% n = 240 Female 8.55% n = 23 DNR 2.23% n = 6 Gender of respondents was predominately male (89.22%). 2. What is your ethnicity? 97.39% of respondents answering n = 262/269 American Indian or Alaskan 1.12% n = 3 Native Black or African American 3.35% n = 9 White, non-hispanic 85.13% n = 229 Asian or Pacific Islander 1.49% n = 4 Hispanic 0.38% n = 1 Prefer not to answer 5.21% n = 14 DNR 2.61% n = 7 Ethnicity of respondents was predominately White, non-hispanic (85.13%). 18

25 3. What is your age? 76.57% of respondents answering n = 206/ % n = % n = % n = % n = 9 DNR 2.98% n = 8 With regard to age, the highest percentage of respondents was in the category (46.84%), and identical percentages were in the and categories (23.42%). Institutional Information 4. At what type of institution do you currently teach percussion? (If you currently teach percussion at more than one postsecondary institution, please answer for the institution you consider to be your primary assignment.) 100% of respondents answering n = 269/269 DR Ext (Doctoral/research 13.39% n = 36 university - extensive) DR Int (Doctoral/research 5.21% n = 14 university - intensive) MA I (Master s comprehensive 22.68% n = 61 college/univ I) MA II (Master s comprehensive 3.72% n = 10 college/univ II) BA LA (Baccalaureate college % n = 76 liberal arts) BA Gen (Baccalaureate college 9.30% n = 25 - general) BA AA 0.38% n = 1 (Baccalaureate/associate s college) AA (Associate s college) 5.95% n = 16 Faith (Theological/faith-related 2.23% n = 6 institution) Med (Medical school/medical 0% n = 0 center) Health (Other separate health profession school) 0% n = 0 19

26 Engr (School of engineering/technology) Bus (School of business/management) Art (School of art/music/design/architecture) 0.75% n = 2 0% n = % n = 4 Law (School of law) 0% n = 0 Teach (Teachers college) 0.75% n = 2 Tribal (Tribal colleges) 0.75% n = 2 Other (Other specialized 0.75% n = 2 institution) DNR 4.46% n = 12 Survey respondents are employed at a variety of types of institutions in higher education. Most notable are those employed at baccalaureate-liberal arts colleges (28.26%). Also notable are those employed at master s comprehensive colleges (22.68%) and doctoral research extensive universities (13.39%). The remaining respondents (31.21%) are employed in one of several types of institutions as indicated in the table above. 5. Is the primary institution where you teach percussion currently accredited by the National Association of Schools of Music (NASM)? 95.91% of respondents answering n = 258/269 Yes 72.87% n = 196 No 23.05% n = 62 DNR 4.09% n = 11 By a ratio of approximately three to one, 72.87% of respondents identified their schools as being accredited by the National Association of Schools of Music. 20

27 6. How many undergraduate music majors are enrolled at your primary institution? 85.13% of respondents answering n = 229/ % n = % n = % n = % n = % n = % n = % n = 7 DNR 14.86% n = 40 The largest segment of respondents to this item fell into the category (41.63%). Other notable categories of undergraduate populations were the segments (17.47%) and (14.49%). 7. Of these undergraduate music majors, how many study percussion as their principal instrument? 89.59% of respondents answering n = 241/ % n = % n = % n = % n = % n = % n = % n = 19 DNR 9.45% n = 28 The most prevalent range of undergraduate music majors studying percussion was 1-5 (25.33%). Other ranges of note were those of 6-10 students (18.58%) and students (11.82%). 21

28 8. How many graduate music majors are enrolled at your primary institution? 82.89% of respondents answering n = 223/ % n = % n = % n = % n = % n = % n = % n = 27 DNR 17.10% n = 46 The largest single group of respondents to this item indicated that they had no graduate music majors (38.66%). Those institutions with between 1-10 (19.70%), (7.06%), and 51+ (10.03%) combined for a slightly smaller percentage (36.79%). The remaining respondents (7.45%) had numbers as outlined in the table above. 9. Of these graduate music majors, how many study percussion as their principal instrument? 84.75% of respondents answering n = 228/ % n = % n = % n = % n = 0 DNR 15.24% n = 41 A majority of schools represented in this study have no graduate students with percussion as their principal instrument (56.50%). The only other noteworthy category was those schools having between 1-5 such students (26.02%). 22

29 10. What is your highest earned degree? 97.76% of respondents answering n = 263/269 Professional Information Bachelor of Arts 4.46% n = 12 Bachelor of Science 0.38% n = 1 Bachelor of Fine Arts 0.75% n = 2 Bachelor of Music 4.46% n = 12 Bachelor of Music 3.35% n = 9 Education Master of Arts 5.58% n = 15 Master of Science 0.75% n = 2 Master of Fine Arts 1.86% n = 5 Master of Music 32.72% n = 88 Master of Music Education 4.46% n = 12 Doctor of Education 1.49% n = 4 Doctor of Philosophy 4.84% n = 13 Doctor of Musical Arts 27.89% n = 75 Performers Certificate 0.38% n = 1 Artist Diploma 0.38% n = 1 Other 4.09% n = 11 DNR 2.23% n = 6 Over half of the respondents report either a master s or doctorate. A Master of Music was listed as the highest degree by 32.72%, and 27.89% hold a Doctor of Musical Arts. The remaining 37.16% of respondents to this item hold a variety of degrees. 11. What is your current employment status as a percussion teacher? 99.62% of respondents answering n = 268/269 Full time 56.14% n = 151 Part time 43.50% n = 117 DNR 0.38% n = 1 A majority of respondents (56.14%) are employed full-time as percussion teachers. Parttime employment status was reported by percent. 23

30 12. What is your current academic rank? 97.76% of respondents answering n = 263/269 Lecturer 10.04% n = 27 Instructor 18.59% n = 50 Assistant Professor 23.42% n = 63 Associate Professor 17.10% n = 46 Professor 17.85% n = 48 Other 10.78% n = 29 DNR 2.23% n = 6 Over half of the respondents to item twelve (58.37%) were of either assistant, associate, or full professor rank. 13. What is your current tenure status? 95.16% of respondents answering n = 256/269 Tenured 30.86% n = 83 Untenured (in tenure track) 24.54% n = 66 Nontenured 39.41% n = 106 Other 0.38% n = 1 DNR 4.84% n = 13 More than half of the respondents (55.40%) to item 13 were tenured or in tenure track. Non-tenured respondents to item 13 most likely represent the lecturer, instructor, and other categories of respondents to item What do you consider to be your principal instrument at this time? 68.02% of respondents answering n = 183/269 Percussion 29.00% n = 78 Mallet Percussion 16.36% n = 44 Timpani 13.02% n = 35 Drumset 11.53% n = 31 Other 5.58% n = 15 DNR 33.09% n = 89 24

31 More respondents to this item indicated percussion than any other instrument (29.00%). Many teachers identified themselves as mallet percussionists (16.36%). Fewer selected timpani as a specialty (13.02%), and fewer still described themselves as having a primary focus on drumset (11.53%). About half that number (5.58%) identified an instrument grouped here into the other category. Those who did not respond to this question formed a group larger than any of those mentioned above (33.09%). question are: Possible reasons for the higher percentage of respondents that did not answer this (1) Percussion as an instrument includes many separate instruments. Since percussionists are expected to be proficient on all of them, choosing a single instrument might have been confusing. (2) The participants might not have understood the relevance of the question and, therefore, might have failed to respond. (3) Survey respondents might have thought that this item applied to non-percussionists and might have chosen not to respond. 15. How long have you taught percussion in any capacity? 89.96% of respondents answering n = 242/ years 3.72% n = years 9.29% n = years 12.63% n = years 15.98% n = years 13.01% n = years 16.72% n = years 10.78% n = years 7.80% n = 21 DNR 10.03% n = 27 25

32 A majority of teachers have experience ranging between years (69.12%). Those with between 1-10 years accounted for 13.01%. Thirty-six or more years of teaching experience was indicated by 7.80 percent of respondents. 16. How long have you taught percussion privately (i.e., not in a K-12 or postsecondary institution?) 87.36% of respondents answering n = 235/269 0 years 3.34% n = years 6.69% n = years 10.78% n = years 12.63% n = years 14.49% n = years 11.52% n = years 13.38% n = years 10.03% n = years 4.46% n = 12 DNR 12.63% n = 34 More respondents identified themselves as having taught privately for years (14.49%) than any other of the period choices. Those who had private students for years followed closely (13.38%). In third place were teachers with private experience in the year range (12.63%), trailed by those having years (11.52%). These four groups constituted the majority of private percussion teachers (52.02%). The remainder (35.35%) taught privately for the durations outlined in the table above. 17. How long have you taught percussion in a K-12 institution? 82.89% of respondents answering n = 223/269 0 years 40.89% n = years 19.70% n = years 11.89% n = years 4.46% n = years 5.94% n = 16 DNR 17.10% n = 46 26

33 Respondents who indicated they have no experience teaching percussion in a K-12 institution composed percent. Those who taught from 1-5 years in this setting accounted for 19.70%. Teachers with 6-10 years of experience were noteworthy, at 11.89%. The remainder, with 11 or more years, composed 10.40%. 18. How long have you taught percussion in a postsecondary institution? 88.10% of respondents answering n = 237/269 0 years 3.71% n = years 15.61% n = years 17.47% n = years 18.21% n = years 9.66% n = years 10.78% n = years 7.80% n = years 4.83% n = 13 DNR 11.89% n = 32 A large portion of respondents to this item taught from years (18.21%), with those who taught 6-10 years separated by a narrow margin (17.47%). Those with 1-5 years made up 15.61%, and 10.78% had years experience. The remaining 26.04% taught for periods as outlined above. 19. Do you teach (or have you ever taught) a percussion pedagogy/methods/techniques course intended for pre-service music teachers? 97.39% of respondents answering n = 262/269 Yes 78.44% n = 211 No 18.96% n = 51 DNR 2.61% n = 7 27