Music Teachers National Association

Sequencing Music Skills And Content

Author(s): Edwin E. Gordon
Source: American Music Teacher, Vol. 41, No. 2 (October/November 1991), pp. 22-23, 48-51
Published by: Music Teachers National Association
Stable URL: https://www.jstor.org/stable/43538820
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 Sequencing Music Skills And Content

Music Sequencing readinesses for reading music notation. The

ones experience, In Theory And Practice sequence is sound before sign. Moreover, to
the word sequenc- It is impossible to say who first was read music notation without audiation
ing may take on concerned with the proper sequencing of when performing on an instrument is akin
different meanings. music. Music teachers general y defer to to copying a manuscript on a typewriter
With regard to this Lowel Mason in that regard, realizing that that is in a language that the typist does not
Depending With writers ones the ing different word may experience, regardwrietderucs edauctiatoionanall take meanings. sequenc- upon to on he was influenced by the practices of understand.
and research orientation, sequencing is a Johann Heinrich Pestaloz i and, in par- The second and fourth principles address
synonym for music learning theory. Both ticular, by a follower of Pestaloz i, Joseph a similar issue. Experience in listening to
refer to the logical ordering of skil s and H. Naef.1 In Boston as early as 1830, Naef and performing music must precede the
content in a music curriculum. Thus this presented seven "Principles of the Pesta- teaching of music theory. Whereas music
article concerns the way a variety of musi- loz ian System of Music" to the American notation can only assist a student in recall-
cians and music teachers and their represen- Institute of Instruction. Aspects of four of ing what he can already audiate, music
tatives believe that educational activities in those principles are of particular relevance theory can only explain to students why,
the discipline of music might best be struc- here: and possibly how, they do what they already
tured and taught to complement the way • To teach sounds before signs and to can do. Realistically, audiation should be
students learn when they learn music. make the child learn to sing before he learns taught sequentially before notation and
Sequencing gives rise to method. the written notes or their names listening, and performance should be
Method, in turn, gives rise to curriculum. • To lead him to observe by hearing and taught sequentially before theory. Audiation
Method is concerned with what to teach, imitating sounds - their resemblances and is to music as thinking is to language.
why it is taught and, most importandy in differences - instead of explaining these Perhaps the third principle is the most
terms of sequencing, when to teach it. Tech- things to him; in a word, to make learning difficult for musicians to accept. Because
nique, on the other hand, is concerned with active instead of passive music includes many parts and the sum of
how something is taught. • To teach one thing at a time; rhythm, the parts is different from the whole, it is
No references are made to the writings melody and expression would be taught believed that to separate the parts so that
of philosophers or to the research of psych- and practiced separately, before the child is each can be taught in its time is to detract
ologists that bear on general education. called to the difficult task of attending to all from music as an art. Reading teachers
at once know well that novels and poetry, for exam-
Because music is unique, it is difficult to
relate systematical y words such as "formal- ple,after
• In giving the principles and theory are works of art. Nonetheless, they
ism," "structuralism," "rationalism" and practice, and as induction to it. teach the sound and the reading of words
"realism" to the teaching and learning of (units ofof
Profound as those principles are in terms meaning) before they combine
music. Although the proces es of reading a words to teach listening and reading com-
sequencing, they are ignored by many
language and of reading music notation music teachers. prehension. Likewise, the sound and read-
have much in common, the differences The first principle is multifaceted. ing
It of tonal and rhythm patterns (units of
betwe n them preclude the practical pos- indicates that music is fundamentally an
audiation) should be taught before they are
sibility of following the same sequence for combined into larger forms to teach music
aural/oral process in contrast to a visual
both. To raise and discus irrelevant ques- appreciation.
process. Music is heard and performed. To Ideally, students should create
tions that have no practical answers is to music before they are confronted with
try to teach students to read tonal and
ignore is ues that truly require at ention. music theory in the same way that they
rhythm patterns in music notation before
naturally create sentences before they are
they have the readiness to audiate nota-
tionally2 what they are reading is as given lessons in grammar.
illogical
as trying to teach students to read words
Edwin E. Gordon is a profes or of music Jaques-Dalcroze
that are not in their listening and speaking
at Temple University where he holds the The composer and educator Emile
vocabularies. Just as listening and speaking
Carl E. Seashore Chair for Research in Jaques-Dalcroze was a music learning
become the readinesses for reading lan-
Music Education. guage, listening and singing becometheorist
the who was vitally interested in

22 OCTOBER/NOVEMBER 1991

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sequencing.3 More than one hundred years It seems fair to say that Kodály himself
ago Dalcroze attempted to convince his did not write a music curriculum, and if he
European conservatory colleagues that taught children at all, it was not often. He
rhythm is something that must emerge imparted the information that he acquired
..
from a student; it cannot be forced into the to school music teachers. In a sense, those
student. Unless students are able to move
m
teachers became his representatives, and
freely and with intent, there is no reason to they named the curriculum that they devel-
expect that they will be able to perform in a oped the Kodály Method. The method,
musical manner. Movement, free of self- th
with all of its variations associated with the
consciousness and muscular restriction, was individual differences among the teachers
a prerequisite for performing rhythmically. m
who use it, remains popular today through-
How, he reasoned, could students conduct out the world as one of the most influential

in a musical manner if they were so tense modern approaches to the teaching of

that they could not move different parts of
their bodies with purposeful flexibility? He,
like Pestalozzi, understood that if students
were first guided in creativity and then
sequenced into performance and literacy,
they would become finer musicians. The
validity of his ideas notwithstanding, they
are ignored in most conservatories and
universities throughout the world.
Curwen And Mason
During his second visit to Europe in
1851, Lowell Mason visited and had fre-
quent meetings with the Reverend John
Curwen in London.4 Curwen, though only
an amateur musician, was in a class of his
own in terms of the teaching of music.
Using, in collaboration with Sarah Glover,
co
music.
Kodály was a music learning theorist.
ef
He saw to it that the core of the Kodály
Method was based upon sequencing.
Though not all Kodály teachers may agree
on the specifics of the Kodály Method,
most Kodály teachers probably would agree
that its core is based on the following three-
step sequence: preparation, presentation,
practice. An oversimplified explanation of
the sequence might be that first the teacher
presents to students through hearing what
tak
next they will learn to perform and to read.
nes
After sufficient exposure and listening that
sequ
serve as readinesses^ the teacher begins to
und
teach students to perform and to read tonal
the
patterns and rhythm patterns that have
become familiar as a result of the teacher s

the Tonic Solfa system of tonal syllables, he
taught children and adults to hear the rela-
tionships among intervals before he taught
them how to read the symbols for those
intervals in music notation. Curwen was a
realist and therefore he was drawn to music
learning theory. He observed that without
proper sequencing, congregations could not
appropriately learn to participate fully in
the musical aspects of church services. For a
time, largely through the efforts of Mason
who was aware of how successful it was, the
method of Curwen and Glover was incor-
porated, though not easily, into many
Kodály
Fortunately for music teachers through-
out the world, the Hungarian composer
Zoltán Kodály became interested in the
music education of children.5 Kodály was
a friend of Béla Bartók. Both men were
interested in maintaining and preserving
Hungarian culture. To that end they col-
lected national folk songs upon which the
music education of Hungarian youth was to
be based. Being composers of their stature,
they intuitively understood that in order for
music instruction to be effective, it had to
be sequenced appropriately.
presentation. Finally, the students are
guided in practicing the performance and
reading of the tonal and rhythm patterns
that they have learned by rote so that they
can apply that information through gener-
alization to the performing and reading of
unfamiliar tonal patterns and rhythm
patterns.
Kodály understood the importance of the
use of tonal solfège (tonal syllables) and
rhythm solfège (rhythm syllables). Once
students have learned a number of patterns
by rote, the patterns need to be labeled or
the students will confuse them with one

public music education curricula in the
United States. For whatever reasons, the use
of tonal syllables as a readiness for develop-
ing audiation and music reading skills have
steadily diminished in popularity. Perhaps
Kodály assumed the responsibility for
establishing a state music curriculum. One
of the activities he undertook in that dir-
ection was to observe the work of Curwen
and Glover. He must have been impressed
another, and ultimately they will fall into
disuse. For students to continue to perform
tonal and rhythm patterns with neutral
syllables or mnemonics renders what they
have learned almost useless for their further

it is that teachers and the public demand with what he saw, because he returned to musical development. In language, the
immediate results and that they are not Hungary with many ideas for the music
willing to allow for the necessary time it teachers who awaited him. Continued on page 48

AMERICAN MUSIC TEACHER 23

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Sequencing Music Skills And Content manner in which tonal and rhythm syl- taught at the v
Continued from page 23 lables are taught. In the Kodály Method, learning (with
syllables are taught primarily to assist stu- present-day dis
larger a students vocabulary, the more that dents in learning the sounds of the patterns music learning
student will be able to develop language with which the syllables are associated. Inner hearing
skills. In music, the larger a students tonal- Specifically, there is no attention given to from presentati
pattern and rhythm-pattern vocabulary, the whether patterns should be taught without dents use the au
more that student will be able to develop solfège before those same patterns are learning the aur
music skills. The word (not the letter) is the taught with solfège, or vice versa. Generally important to te
basic syntactical unit in language. The tonal with tonal patterns and always with rhythm in the presentat
pattern (not the names of lines and spaces) patterns, the sounds of patterns are initially be sequenced na
and the rhythm pattern (not the time-value taught with syllables in the Kodály Method. mode. Although
names of notes) are the basic syntactical The issue of whether patterns should be music teacher t
units in music. taught at the aural/oral level of learning teach sound bef
Not unique to the Kodály Method is the (with a neutral syllable) before they are first music teac
cally the impor
learning to infe
Kodály not onl
at the NORTH CAROLINA SCHOOL OF THE ARTS also sequenced
Kodály Method
before diatonic
Robert Yekovich, new dean of the School of Music, had his "Duo for Clarinet,
encounter an a
Double Bass and Tape" premiered by Speculum Musicae on Oct. 10, 1991,
meter before th
at the Kathryn Bache Miller Theatre in New York City.
in triple meter
should be seque
Sherwood Shaffer, composer and 25-year veteran of the School of Music whether diaton
faculty, recently had a soto piano work, "Lines from Shelley, " released on a
sequenced to pe
Max Lifchitz compact disc on the Vienna Modem Masters label.
pentatonic mus
sequence at all i
uAfcfļļ ¿abolina Akx C. Eving, Chancellor perception of t
school North Carolina School of the Arts tone (the questi
A orTW1
School of Music of young stude
V/ jJLx - LO Graduato, Undergraduate and High School Programs
steps notwithst
Summer Session: June 21 -July 24, 1992 sense of tonality
With regard to
Director of Admissions, North Carolina School of the Arts, P.O. Box 1 21 89,
Winston-Salem, NC 27117-2189, (919) 770-3291 /1-800-282-ARTS
theory and teac
there appears t
the Kodály Met
form tonal patt
The North Carolina School of Ike Arts ts an equal opportunity institution of The Universitu of North Carolina.
the names of th
and before they
MTNA Professional Resources
patterns. Such
keeping with P

The MTNA Foundation not the case, ho

terns. There is

National Survey Of taught measure

rhythm pattern
Independent Music Teacher learning how to
patterns.
Income And Lesson Fees

Orff
The first-ever professionally produced
Carl OrfF made important contributions st
music teaching profession. The
to music education.7 survey
Though younger, he r
graphs and includes a fifteen-page summa
was a contemporary of Kodály. OrfF, like
The report
aspects explores
of studio
Kodály, has many devoted followers.
services, student body, teaching sched
Because Orff himself was not vitally con-
expense, studio policies and more. All th
cerned with methodology, teachers had the
teaching experience, educational backgr
individual freedom to interpret his work in
income, use of technology, geographic
a way that best suited their personalities and
sional affiliation. $1 1.00 plus postage
advertisement elsewhere
educational
in
philosophies.
this
Nonetheless,
issue
Orff for
was concerned with sequencing. He
believed that sounds should be taught
before signs; that because rhythm is the

48 OCTOBER/NOVEMBER 1991

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 ===== NEW! ,i
basis of music, rhythm should be taught
before the tonal aspects of music; that
pentatonic music should be taught before Graded

diatonic music; that students should be
encouraged to explore music on their own
terms before they are made to conform to
the cultural standards of adults; and that
students should create and improvise music
before they are taught the rigid discipline
required to perform correcdy the music of
others. As a result of the peculiar interac-
tions of personal methodologies with Orff
sequencing, there are presumably as many
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what has become to be known as the Orff Richard Jones, ed. ENGLISH KEYB
*41 ««««id«««**«««********
approach.
Literature
Acknowledging that there is not com-
Jean Harvey THESE MUSIC EXAMS (497-00161)
plete agreement about whether exploration
A compact, thorough introduction
should precede imitation or imitation program for which the ABRSM has
should precede exploration, consider the
following sequence: exploration, imitation,
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1 American BH
learned in imitation as a musical vocabu-
F lary, students are then able to create and
improvise music.9 Just as it is important for
children to innovate their own sentences

String Quartet KK
based upon the rearranged words they have
learned through imitation, so it is impor-
tant for students to innovate their own

t- music based upon the rearranged tonal and
rhythm patterns they have learned through
imitation. Finally in the sequencing chain
comes the ability, using all that has come
before as readinesses, to learn to read and to
perform the works of others with artistry.
Suzuki
Shin ichi Suzuki has applied Pestalozzian
principles to the teaching of instrumental
music. Suzuki s entire approach, which is in
opposition to traditional practice, is based
upon the belief of teaching sound before
In residence at the University of
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AMERICAN MUSIC TEACHER 49

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 Another closely related issue is the
sign. Students first learn to play through

ConceptsOf
sequencing and coordinating of tonal and
imitation without notation, just as they
rhythm
learn to speak before they learn to deal withpatterns with the literature students

^iaxio are performing.

the written word. No objective provision is Before that issue can be

Theory considered
made in Suzuki teaching to assure that stu- practically, however, it must be
dents are sequenced from imitation determined
to audi-whether tonal and rhythm
patterns should be sequenced on the basis
ation before they attempt to read notation.
"I like the way information is
neatly stated and simple." of the frequency
Moreover, no objective provision is made to with which they are found

Sparta, New Jersey sequence from imitation to reading. inThere

the literature or on the basis of their

has been a long-standing belief among comparative difficulty levels in terms of

"I use Concept of Piano Theory Suzuki teachers that if students imitate wellWith that problem aside, it must
audiation.
to reinforce theory concepts then be determined whether specific pat-
they will, when properly motivated, teach
found in their repertoire." themselves how to read notation. That
ternsisshould be sequenced with literature
Kensington, Maryland
akin to believing that if students can on a planned basis or whether students
imitate
should
words, they will automatically learn to readrecognize through discrimination
'The continuity of material is
excellent and at the same time those words and, in time, learn to read
and sen-
identify through generalization for
appealing to the student." A themselves patterns that they encounter in
tences with comprehension. The Suzuki
literature.
approach has been enormously successful
very good method!"
Medford, Oregon with teachers of stringed instruments. There is little doubt that music aptitude
Teachers of wind instruments, who tradi-
interacts with appropriate sequencing. It
seems reasonable to believe that certain
KeSSa Publications I tionally teach signs before sounds, have
P.O. Box 432 types of sequencing are better for students
been somewhat reluctant to incorporate
Livermore, CA 94551 with below-average music aptitude and
Suzuki principles into their instructional
practices. other types of sequencing are better for
m m m m m m m. m.
Over the years other music teachers have students with above-average music aptitude.

m
theorized and practiced unique methodolo-
gies. Ronald Thomas, for example, devel-
oped the Manhattanville Music Curriculum
Program.10 It includes the spiraling of pitch,
rhythm, form, dynamics and timbre.
Stricdy speaking, however, spiraling is not
sequencing. Other approaches to music
education may be found in current music
Moreover, effective types of sequencing of
tonal patterns may be different from effec-
tive types of sequencing of rhythm patterns
depending upon whether students have
high or low tonal or rhythm music apti-
tude. The necessity for sequencing instruc-
tion to the needs of individual students in
terms of their individual musical differences

LEONARD BERNSTEIN: education texts.11 seems obvious if sequencing is to have

America's Maestro
Some Concluding Thoughts
with a message from Isaac Stern
by Kenneth M. Deitch There are several compelling but over-
illustrated by Sheila Folev looked issues in sequencing in music educa-
tion that require continuing research. One
is the sequencing and coordinating of music
skills and music content. How skill and
content are combined and sequenced with
each other is of utmost importance. A skill
is using solfège, performing, reading, creat-
ing or improvising. Music content is major
or minor tonality or duple or triple meter.
It is obvious to music learning theorists that
music skills must be sequenced on the one
hand and that music content must be
sequenced on the other. It is not so obvious
that the sequencing of music skills and the
sequencing of music content must be coor-
dinated to provide truly effective instruc-
tion. It is not possible to teach a skill
merit. Certainly no one type of sequencing
can be equally good for all students.
Finally, for a teacher to use sequencing
convincingly, the role of notation must be
clarified and the importance traditionally
given to notation must be re-examined.
Notation cannot teach a student to audiate.
Notation can only assist a student in recall-
ing what he can already audiate. To teach a
student to audiate, to develop singing or
instrumental technique and to read music
notation all at the same time (which is often
attempted in instrumental music instruc-
tion) is to violate all that is known about
effective learning. To acknowledge just the
Pestalozzian principle of teaching only one
thing at a time is the seminal step in
developing an effective sequential music
curriculum.
AMT

without combining that skill with some

Beautifully illustrated and carefiilly re-
content. Likewise, it is not possible to teach Notes
searched biography, highlighting the life
of America's most celebrated conductor/ 1 . For more information, read Harold F. Abeles,
some content without combining that con-
Charles R. Hoffer and Robert H. Klotman,
composer/musician. Suitable for all ages.
tent with a skill. Though skill might be
ISBN 1-878668-03-X HC $17.95; 07-2 P $7.95. Foundations Of Music Education. (New York:
sequenced correcdy by itself and content Schirmer Books, 1984), 10-12.
might be sequenced correcdy by itself, to
Discovery Enterprises, Ltd. 2. Audiation is the ability to hear and to com-
1-800-729-1720 MC/VISA or combine them incorrecdy is to invalidate prehend music for which the sound is no longer or
both. never has been physically present. For example,
Ingram, Baker & Taylor, Follett,
when listening to music, we comprehend what we
Book Wholesalers, Brodart.

50 OCTOBER/NOVEMBER 1991

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 heard a moment ago as we are hearing the next Japanese Music: An East-West Synthesis Sonatine avec Titre , by Toroque Takagui,
passage; when singing a familiar piece of music published by Ongaku No Tomo Sha. A col-
Continued from, page 29
from memory, we hear what we are going to per- lection of five sonatinas at the intermediate
form before we perform it; and when creating and
Piano Pieces For Little Hands , Études for level. Each sonatina consists of three move-
► improvising unfamiliar music, we hear and decide
what we are going to create and improvise before Beautiful Sound, Pieces for Concert, by ments, with tides. Through the entire out-
we actually perform it. Notational audiation is the Yoshinao Nakada, published by Ongaku put of these sonatinas, Takagui s musical
ability to look at music notation and to hear and No Tomo Sha. Nakada comments that he language remains conservative: classicism,
comprehend it before we actually produce the
gave a special consideration to those stu- romanticism and impressionism. Addition-
sound that the signs (preferably symbols) represent.
For more information on audiation, please see the
dents with small hands, restricting the use ally the incorporation of simple pentatonic
of intervals to the seventh. This album of scales can be found in Sonatine avec Titre IV
following articles previously published by Ameńcan
Music Teacher: "Musical Child Abuse." April/May seven pieces, written at the intermediate (La Fête, La Flute, L'Harpe). Takagui com-
1988, p. 14; "Audiation, Imitation And Notation: level, is mostly tonal with a light touch of ments in the preface that these sonatinas
Musical Thought And Thought About Music."
dissonance and may be of interest to those were written in a very free style consisting
April/May 1989, p. 15. See also Edwin E. Gordon,
teachers who are seeking intermediate-level mostly of ternary forms and attempt to
Learning Sequences In Music: Skill, Content And
Patterns. (Chicago: GIA, 1988), 7-18. pieces for students with small hands. Eng- retain a simple and modest classicism. He
3. Emile Jaques-Dalcroze, Rhythm , Music And lish translations are given for contents and mentions that any or all movements may be
Education. Translated by Harold E Rubenstein. titles only. (See Example 13 on page 29.) played in a recital situation. English trans-
(London: The Riverside Press, 1967).
Children's Album, piano pieces for chil- lations are provided. (See Example 1 5 on
4. For more information about the relationship
dren with small hands, by Teruyuki Nöda, page 29.)
between the two men, the influence they had upon
each other and the mutual respect they had for published by edition Kawai. This collection Pièces pour Piano (Supplement: Cadences
Pestalozzi, read Bernarr Rainbow, The Land With- of twenty-one pieces from late elementary pour Concertos), by Akio Yashiro, published
out Music. (London: Novello and Company, to intermediate levels presents a wide vari- by Ongaku No Tomo Sha. The first five
1967). ety of styles from light salon-like romantic pieces of this collection - An Old Story, A
5. Perhaps the most authoritative books on
sounds to more dissonant modern styles. Game of "Hop Scotch," Prim, Mischief and
Zoltán Kodály and his ideas are those of Lászlo
Nöda seems to concentrate dissonance The Dream Boat (duet) - are written in a
Eosze, Zoltán Kodály: His Life And His Work.
Translated by Istvan Farkas and Gyula Gulyás. levels in the more advanced pieces. English tonal manner for the elementary level. The
(Boston: Crescendo Publishing Company, 1962) translations are provided. (See Example 14 last two pieces, Nocturne and Danse des
and Erzsébet Szönyi, Kodály s Prináples In Practice. on page 29.) Guerriers, are written for the intermediate
Translated by John Weissman. (London: Boosey
and Hawkes, 1973).
6. Inner hearing is often confused with audia-
tion. A student may inner hear ("hear silently in
his head") music that he has memorized without
comprehending its syntax. For example, some stu-
dents perform a piece of music from memory in
concert but nevertheless are unaware of the tonal-
ity of the music, the keyablity of the music, the
meter of the music, the style of the music, the type ^7 Ë A must for ev ry ^ £jqJ Ü '
of modulations that may have taken place in the
music, the harmonic progressions in the music, Maestro is a patented adjustable piano pedal s i t for young
the form of the music and so on. Many instrumen- students. Its use l ts them enjoy piano playing with the im ediate
talists inner hear in association with the memoriza- use of the pedal, plus the comfort and bal nce of having both fe t on
a solid base.
tion of fingerings, for example. Though one
Maestro fits al pianos without being at ached. The platform height
cannot audiate unless he or she inner hears, one
is easily adjusted, with an instant readout. Comes complet ly
can inner hear without audiating. as embled. Ste l construction with baked enamel finsh. Made in
7. Orff, like Kodály, did not author a book on U.SA. 21 day money back guar nte . Teacher Discount!
< sequencing music instruction. A close associate WRITE OR CAL MANUFACTURER. BUY DIRECT & SAVE!
did. Read Gunild Keetman, Elementari. (London: TRENDEX CORPORATION
Schott, 1970). Box 812 • 576 N. Main Street, Antioch, IL 60002 • 708-395
8. Imitation has more in common with inner
hearing than with audiation.
■ ^MAESTRdj ^7 students. Go d a use as embled. U.SA. is Box solid TRENDEX WRITE Maestro Maestro easily of 812 music the 21 base. • Its pedal, adjusted, day OR 576 fits can is Ste l use CAL money a l be N. plus patented lets pianos as construction Main Ë siGood
mple with MANUFACTURER. the them back Amusic
Stre t, without LAST! comfort an must adjustable ascan
guar nte . enjoy making instantbe
with Antioch, being andas
piano for baked thesimple
bal nce piano at ached. readout. ev ry playing IL pedal BUYas making the pedal accessible to t
9. Confusion exists in most circles about the
difference between creativity and improvisation.
„ Though the two are on a continuum, they are not
ř the same. A student creates when there are no
restrictions put upon what he creates. However, to
OFFERS FOR SALE A DEVICE "HAND GUIDE"
create without audiation is simply to explore. A attaching to the piano for the purpose of training fingers and wrists to provide a
student improvises when there are restrictions put
secure foundation for playing without tension.
upon what he improvises. For example, to perform
a variation of a given melody or to perform a TWO DAY INDIVIDUAL SESSIONS
melody based upon a given chord progression is a
during the year are available, for demonstration specific techniques of different
matter of improvisation.
10. Ronald B. Thomas, MMCP Final Report. composers, including Chopin's technique, perfected by the late V. Horowitz.
Part 1, Abstract (United States Office of Edu-
FOR PIANISTS WITH HAND COMPLICATIONS
cation, ED 045 865, August 1970).
11. For example, read Michael L. Mark, a special course of retraining is ofiFered, consisting of three sessions.
Contemporary Music Education. (New York: Contact: Inessa Niks
Schirmer Books, 1986).
1434 Fulbright Ave., Redlands, CA 92373
(714) 793-1822

AMERICAN MUSIC TEACHER 5 1

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