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Teaching General Music
Teaching
Gener al Music
Approaches, Issues, and Viewpoints

Edited by Carlos R. Abril

and
Brent M. Gault

1
1
Oxford University Press is a department of the University of Oxford. It furthers
the University’s objective of excellence in research, scholarship, and education
by publishing worldwide. Oxford is a registered trade mark of Oxford University
Press in the UK and certain other countries.

Published in the United States of America by Oxford University Press

198 Madison Avenue, New York, NY 10016, United States of America.

© Oxford University Press 2016

All rights reserved. No part of this publication may be reproduced, stored in

a retrieval system, or transmitted, in any form or by any means, without the
prior permission in writing of Oxford University Press, or as expressly permitted
by law, by license, or under terms agreed with the appropriate reproduction
rights organization. Inquiries concerning reproduction outside the scope of the
above should be sent to the Rights Department, Oxford University Press, at the
address above.

You must not circulate this work in any other form

and you must impose this same condition on any acquirer.

Cataloging-in-Publication Data is on file with the Library of Congress.

ISBNs 978–0–19–932810–9 (paper); 978–0–19–932809–3 (hardback)

9╇8╇7╇6╇5╇4╇3╇2╇1
Printed by Sheridan, USA
CONTENTS

Acknowledgmentsâ•…â•…vii
Contributing Authorsâ•…â•… ix
About the Companion Websiteâ•…â•… xiii

Introduction: Teaching General Musicâ•…â•… 1

Carlos R. Abril and Brent M. Gault
1. Untangling General Music Education: Concept, Aims, and Practiceâ•…â•… 5
Carlos R. Abril

Approaches

2. Orff Schulwerk: Releasing and Developing the Musical Imaginationâ•…â•… 25

Amy Beegle and Judith Bond
3. Teaching Music With a Social Constructivist Vision of Learningâ•…â•… 49
Jackie Wiggins
4. Kodály-Inspired Teaching: A Bridge to Musical Fluencyâ•…â•… 73
Brent M. Gault
5. World Music Pedagogy: Where Music Meets Culture
in Classroom Practiceâ•…â•… 89
Patricia Shehan Campbell
6. Learning With Digital Media and Technology in Hybrid
Music Classroomsâ•…â•… 112
Evan S. Tobias
7. The Dalcroze Approach: Experiencing and Knowing Music
Through Embodied Explorationâ•…â•… 141
Marja-Leena Juntunen
8. Adopting an Interdisciplinary Approach to General Musicâ•…â•… 168
Janet R. Barrett
9. Music Learning Theory: A Theoretical Framework in Actionâ•…â•… 183
Cynthia Crump Taggart
10. Informal Learning in General Music Educationâ•…â•… 209
Ruth Wright
Issues and Viewpoints
11. Thinking About and Responding to Culture in General Musicâ•…â•… 241
Carlos R. Abril and Jacqueline Kelly-McHale
12. Shifting Landscapes in the 21st Century: Adaptability and Flexibility
in General Music Teachingâ•…â•… 264
Chee-Hoo Lum
13. Questioning the Unmusical Ways We Teach Children Musicâ•…â•… 286
Peggy D. Bennett
14. Applying the Principles of Universal Design for Learning
in General Musicâ•…â•… 308
Alice-Ann Darrow
15. Teaching General Music in the Digital Ageâ•…â•… 327
Ann Clements
16. “Reading” Methodsâ•…â•… 347
Cathy Benedict
Conclusion: Looking Back, Moving Forwardâ•…â•… 368
Brent M. Gault

Indexâ•…â•…375

[â•›viâ•›]â•… Contents
ACKNOWLEDGMENTS

This book would not be possible without the important contributions made by the
scholar-educators whose work is found inside. We are most grateful to them for
their support of the project from start to finish, their patience with the process, and
their valuable perspectives on general music. We would like to thank our Oxford
University Press editors: Suzanne Ryan for listening to our ideas and encouraging
us to curate this collection on the topic of general music over a meal in Thessaloniki,
Greece, and Adam Cohen for being so supportive and responsive throughout. We
would also like to thank our production editor, Molly Morrison, and copy editor,
Danielle Michaely, for their keen eyes and meticulous attention to details. There
were many external reviewers who generously gave of their time to provide feedback
on specific chapters and to whom we are grateful: Bill Bauer, Deborah Bradley, Jane
Frazee, Lucy Green, Herb Henke, Beatriz Ilari, Dianne Lange, Scott Lipsomb, Kim
McCord, Connie McKoy, Jonathan Savage, Mary Shamrock, Katy Strand, Peter
Webster, and Betty Ann Younker, as well as the anonymous reviewers who helped
us shape the book in its infancy. Thanks, too, to the PhD students at the University
of Miami’s Frost School of Music, Sandra Sanchez and Candice Davenport, who
assisted with various aspects of the manuscript preparation. Finally, we would like
to thank the many students, educators, and colleagues who have inspired, pro-
voked, and encouraged us to think and practice more mindfully. They are the reason
for our interest in and commitment to the study of general music education.
CRA
BMG
CONTRIBUTING AUTHORS

Carlos R. Abril is professor and director of undergraduate music education at

the Frost School of Music at the University of Miami. Abril’s research focuses on
sociocultural issues in music education, music education policy, and music percep-
tion. He has published his work in numerous research and professional journals,
as well as in book chapters. He coedited the book Musical Experiences in Our Lives
and serves on the editorial board of numerous journals in North America, South
America, and Europe, including the Journal of Research in Music Education and
Enseñar Música: Revista Panamericana de Investigación. He was a recent recipient of
the Provost’s Research Award at the University of Miami.
Janet R. Barrett is the Marilyn Pflederer Zimmerman Endowed Scholar in Music
Education at the University of Illinois at Urbana-Champaign. Her research inter-
ests include the reconceptualization of the music curriculum, secondary general
music, interdisciplinary approaches in music, and music teacher education. Barrett
has published widely in music education and is an author or editor of five books,
including the recently released Rethinking Education and the Musical Experience
(with Peter Webster, Oxford University Press). She serves as a past chair of the
Society for Music Teacher Education and editor for the Bulletin for the Council of
Research in Music Education.
Amy Beegle is associate professor of music education at the University of
Cincinnati College-Conservatory of Music. Her research interests include chil-
dren’s musical creativity, the pedagogy of world music traditions, American music
education during wartime, urban music education, and Orff Schulwerk philosophy
and history. She has presented nationally and internationally on these topics, and
her publications include several book chapters and articles in the Journal of Research
in Music Education, Journal of Historical Research, Music Educators Journal, Orff Echo,
Kodály Envoy, and Triad. Beegle also serves as a world music columnist for General
Music Today.
Cathy Benedict is assistant professor and director of research at the University of
Western Ontario. Her scholarly interests lie in facilitating music education envi-
ronments in which students take on the perspective of justice-oriented citizens; to
this end, her research agenda focuses on the processes of education and the ways
in which teachers and students interrogate taken-for-granted, normative practices.
She has published in such journals as Philosophy of Music Education Review, Music
Education Research, Research Studies in Music Education, and the Brazilian journal
ABEM and has coedited the journal Theory Into Practice and the 2012 National
Society for the Study of Education Yearbook.
Peggy D. Bennett is professor emerita of music education and was director- instruc-
tor of the MusicPlay program at Oberlin College Conservatory of Music. Her six
books and over 50 research and pedagogical articles address a range of topics, deal-
ing primarily with teacher preparation and music education for children. A sea-
soned clinician-speaker, Bennett is a distinguished alumna of Ball State University
and the University of North Texas. Bennett received the Chancellor’s Award for
Excellence in Teaching, and television broadcasts in which she was the featured
guest won multiple Telly, Aurora, and Communicator Awards.
Judy Bond is professor and coordinator of music education at the University of
Wisconsin Stevens Point. She is past-president and honorary member of the
American Orff-Schulwerk Association, and an author of two kindergarten through
grade 8 textbook series, Share the Music and Spotlight on Music. She teaches courses
and presents workshops on Orff Schulwerk around the world and is cochair of the
Alliance for Active Music Making.
Patricia Shehan Campbell is the Donald E. Peterson Professor of Music at the
University of Washington, where she teaches courses at the interface of educa-
tion and ethnomusicology. She has lectured on the pedagogy of world music and
children’s musical culture throughout the world. She is the author of many books
including Songs in Their Heads, Teaching Music Globally, and the Oxford Handbook on
Children’s Musical Cultures. Campbell was designated the MENC Senior Researcher
in Music Education in 2002, and in 2012 was a winner of the Taiji Award for the
preservation of traditional music. She is chair of the advisory board of Smithsonian
Folkways and past-president of the College Music Society.
Ann C. Clements is associate professor of music education at the Pennsylvania
State University School of Music. Her primary research areas include music par-
ticipation; game theory as applied to education; learning in blended, virtual and
augmented realities; and ethnomusicology, of which she is a recognized scholar in
Maori music of New Zealand. She has written and edited numerous books, book
chapters, and peer-reviewed articles, as well as given over 150 presentations and
guest lectures. She has served in leadership roles in national and international orga-
nizations, including the National Association for Music Education (NAfME) and
the Society for Ethnomusicology (SEM).
Alice-Ann Darrow is the Irvin Cooper Professor of Music in the College of Music
at Florida State University. Her research in music and deafness, inclusive education,

[â•›xâ•›]â•… Contributing Authors

and nonverbal communication in the classroom has been published in all of the
major journals of music education and music therapy. She is coauthor of Music
in Special Education and Music Therapy and Geriatric Populations and editor of
Introduction to Approaches in Music Therapy. She has been the recipient of research
and clinical practice awards from the American Music Therapy Association and
the Florida Music Educators Association. She has served on the editorial boards of
such journals as JRME, Update: Applications of Research in Music Education, General
Music Today, Bulletin for the Council on Research in Music Education, Journal of Music
Therapy, and Music Therapy Perspectives.
Brent M. Gault is associate professor of music education at the Indiana University
Jacobs School of Music. His areas of interest include music education policy, chil-
dren’s vocal development, and music listening in childhood. Articles by Gault have
appeared in the Journal of Research in Music Education and the Bulletin for the Council
of Research in Music Education. He is the author of the book Listen Up! Fostering
Musicianship Through Active Listening, also published by Oxford University Press.
Marja-Leena Juntunen is professor of music education at the Sibelius Academy,
University of the Arts, Helsinki, Finland. She holds a Dalcroze License from
Carnegie Mellon University and has given Dalcroze-inspired workshops and lec-
tures in Finland and abroad. Her research interests include narrative inquiry, music
(teacher) education, embodiment in learning, and Dalcroze pedagogy. She has
published teaching materials and textbooks as well as several book chapters and
articles in international and Finnish research journals. She serves as a review reader
in the International Journal of Music Education: Practice and the Finnish Journal of
Music Education.
Jacqueline Kelly-McHale is associate professor and coordinator of music educa-
tion at DePaul University in Chicago, IL. Kelly-McHale’s research focuses on cultur-
ally responsive teaching in kindergarten through grade 12 music classrooms, issues
of social justice, and composition in kindergarten through grade 12 classrooms. She
has published articles in Journal of Research in Music Education and Mountain Lake
Reader. Kelly-McHale is an active presenter at state, national, and international
conferences. Kelly-McHale earned her doctorate at Northwestern University; an
MAME degree from the University of St. Thomas in St. Paul, MN; and a BSME
from Duquesne University in Pittsburgh, PA.
Chee-Hoo Lum is associate professor of music education at the National Institute
of Education (NIE), Nanyang Technological University, Singapore. He is also
head of the UNESCO-NIE Centre for Arts Research in Education (CARE),
part of a region-wide network of observatories stemming from the UNESCO
Asia-Pacific Action Plan. Lum’s research interests include identity, cultural diver-
sity, and multiculturalism in music and music education; children’s musical cul-
tures; creativity and improvisation; and elementary music methods. Lum is
currently coeditor of the International Journal of Music Education and serves on the

Contributing Authorsâ•… [â•›xiâ•›]

editorial board of Research Studies in Music Education and the International Journal
of Community Music.
Cynthia Crump Taggart is professor of music at Michigan State University, spe-
cializes in early childhood and elementary general music education, measure-
ment, and psychology of music. She is coauthor of Music Play and Jump Right In
and has published numerous book chapters and journal articles. She is coeditor
of Readings in Music Learning Theory and Development and Practical Application of
Music Learning Theory. She served as president of the College Music Society. She
received the Music Teacher of the Year Award from the Michigan Music Educators
Association, as well as the Teacher-Scholar Award and Beal Outstanding Faculty
Award from Michigan State University.
Evan Tobias is assistant professor of music education at Arizona State University,
where his research interests and teaching include creative integration of digital
media and technology, curricular inquiry, social justice and equity, and integra-
tion of popular culture and music in music classrooms. He has published on topics
ranging from fostering participatory culture to addressing contemporary media in
music programs. Tobias heads the Consortium for Innovation and Transformation
in Music Education and serves on the Music Educators Journal advisory board and
the College Music Symposium: Instructional Technologies and Methodologies editorial
board. He also maintains a professional blog at http://evantobias.net.
Jackie Wiggins is professor of music education and chair of the Department of
Music, Theatre and Dance at Oakland University, Michigan. Internationally known
for her work in constructivist music education, children’s musical creative process,
and the nature of musical understanding, Wiggins is a prolific author and active
presenter. Her professional work includes more than 50 publications, over 200
invited and refereed presentations, many invited residencies, national and inter-
national advisory work, and invited keynotes on four continents. In 2015, Oxford
University Press published the third edition of her seminal book on constructivist
theory and music education practice, Teaching for Musical Understanding.
Ruth Wright is associate professor and assistant dean of research on the Don
Wright Faculty of Music, University of Western Ontario. She researches the sociol-
ogy of music education, social inclusion, popular music in education, and informal
learning and nonformal teaching. She is a reviewer for a number of academic jour-
nals and is a member of the editorial boards of the British Journal of Music Education,
Visions of Research in Music Education, the Finnish Journal of Music Education, and a
new journal entitled the Journal of Popular Music Education.

[â•›xiiâ•›]â•… Contributing Authors

ABOUT THE COMPANION WEBSITE

www.oup.com/us/teachinggeneralmusic

A companion website accompanies this book. On the site you will find videos and
other resources that relate to specific teaching approaches. The videos are designed
to give you a window into the ways these approaches are translated into practice.
Links to other websites are also included for those who want further information or
materials that relate to a given chapter or approach.
Teaching General Music
instruments) has also been a component of the general music curriculum, in one
way or another, for over a hundred years (Mark & Gary, 2007).
Should performance dominate the general music curriculum? Citing the limi-
tations of time and resources, Jellison (2004) argued that the general music cur-
riculum should situate musical performance at its core, stating, “The point is that
learning to perform with competence and confidence is central to a musical life.
Expressive, technically accurate performance incorporates skills and knowledge
from many other standards” (p. 200). This might already be the reality of elemen-
tary general music as it is being practiced in schools. Research on contemporary
practices in primary general music classrooms reported that teachers engage stu-
dents in performing experiences through singing and playing, more than any other
aspect of the curriculum (Orman, 2002; Wang & Sogin, 1997). The development
of performance skills is an important aspect of some approaches profiled in this
book—though it is more central for some than others. For example, developing
students’ musicianship through singing is central to the Kodály approach (see
Chapter 4).
Performance is a part of, though not necessarily central to, other approaches.
For example, in her chapter on informal learning in general music (see Chapter 10),
Ruth Wright describes how performance is meaningfully integrated with composi-
tion, improvisation, and listening in a general music context and public performance
serves to motivate students. So while the focus is not exclusively on performance
on a single instrument or voice, general music certainly includes musical perfor-
mance. Referring to a general music curriculum or program as “nonperformance,”
then, is a misnomer.

Creating

The centrality of creating in general music can be traced back to the pioneering
work of Gunild Keetman and Carl Orff in Germany (see Chapter 2) and to Satis
Coleman in the United States. In her book Creative Music for Children, Coleman
(1922) wrote about the importance for children to create original dances and music
compositions, as well as to engage in music and poetic improvisation activities in
the general music classroom. In later years, the work of Paynter and Aston (1970)
and Schafer (1967) on creating music would be quite influential to the general
music curriculum, especially in the United Kingdom. The 1994 National Standards
helped to usher in greater interest in creative aspects of music making in US school
music in general and general music in particular. The most recent iteration of the
National Core Arts Standards (United States) defines creating as “conceiving and
developing new artistic ideas and works” (http://nccas.wikispaces.com/Overarch
ing+Anchor+Standards).
Despite an increased interest and support for creativity in the music curricu-
lum in the 21st century (Abril & Gault, 2007), composition and improvisation

[â•›12â•›]â•… Untangling General Music Education

Another random document with
no related content on Scribd:
 TO ROAST A HAUNCH OF MUTTON.[79]

79. We recommend Liebig’s directions for roasting (page 171), to be applied

here, and for the joints which follow.

This joint should be well kept, and when the larder-

accommodations of a house not are good, the butcher should be
requested to hang it the proper time. Roast it carefully at a large
sound fire, and let it remain at a considerable distance for at least a
couple of hours; then draw it nearer, but never sufficiently so to burn
or injure the fat. Keep it constantly basted; flour it soon after it is laid
to the fire, instead of frothing it, as this latter mode is not generally
relished, though fashion is in its favour. In from three and a half to
four hours, the haunch will be done, and it will require something
less of time when not kept back at first, as we have advised. Serve it
with a good Espagnole, or with plain mutton-gravy and currant-jelly.
This joint, when the meat is of very fine quality, may be dressed and
served exactly like venison.
3-1/2 to 4 hours. 5 hours or more by the slow method.
 ROAST SADDLE OF MUTTON.

This is an excellent joint, though not considered a very economical

one. It is usual for the butcher to raise the skin from it before it is
sent in, and to skewer it on again, that in the roasting the juices of
the meat may be better preserved, and the fat prevented from taking
too much colour, as this should be but delicately browned. In less
than half an hour before the mutton is done, remove the skin, and
flour the joint lightly after having basted it well. Our own great
objection to frothed meat would lead us to recommend that the skin
should be taken off half an hour earlier, and that the joint should be
kept at sufficient distance from the fire to prevent the possibility of
the fat being burned; and that something more of time should be
allowed for the roasting. With constant basting, great care, and good
management, the cook may always ensure the proper appearance of
this, or of any other joint (except, perhaps, of a haunch of venison)
without having recourse to papering or pasting, or even to replacing
the skin; but when unremitted attention cannot be given to this one
part of the dinner, it is advisable to take all precautions that can
secure it from being spoiled.
2-1/2 to 2-3/4 hours. More if very large.
 TO ROAST A LEG OF MUTTON.

In a cool and airy larder a leg of mutton will hang many days with
advantage, if the kernel be taken out, and the flap wiped very dry
when it is first brought in; and it is never tender when freshly killed: in
warm weather it should be well dredged with pepper to preserve it
from the flies. If washed before it is put upon the spit, it should be
wiped as dry as possible afterwards, and well floured soon after it is
laid to the fire. When the excellence of the joint is more regarded
than the expense of fuel, it should be roasted by what we have
denominated the slow method; that is to say, it should be kept at a
considerable distance from the fire, and remain at it four hours
instead of two: it may be drawn nearer for the last twenty or thirty
minutes to give it colour. The gravy will flow from it in great
abundance when it is cut, and the meat will be very superior to that
roasted in the usual way. When this plan is not pursued, the mutton
should still be kept quite a foot from the fire until it is heated through,
and never brought sufficiently near to scorch or to harden any part. It
should be constantly basted with its own fat, for if this be neglected,
all other precautions will fail to ensure a good roast; and after it is
dished a little fine salt should be sprinkled lightly on it, and a
spoonful or two of boiling water ladled over. This is the most
palatable mode of serving it, but it may be frothed when it is
preferred so, though we would rather recommend that the flour
should be dredged on in the first instance, as it then prevents the
juices of the meat from escaping, and forms a savoury coating to it;
while the raw taste which it so often retains with mere frothing is to
many eaters especially objectionable.
Leg of mutton, 7 to 8 lbs.: slow method 4 hours, common method
1-3/4 to 2 hours.
Obs.—Many common cooks injure their roasts exceedingly by
pouring abundance of hot water over them, “to make gravy” as they
call it. This should never be done. The use of any portion may,
perhaps, be rationally objected to; but when the joint is not carefully
cooked it is sometimes very dry without it. A few spoonsful of
Liebeg’s extract of meat will supply excellent gravy for this, or for any
other dish of roasted meat.
 BRAISED LEG OF MUTTON.

Take out the bone as far as the first joint by the directions of the
following receipt; roll some large strips of bacon in a seasoning of
mixed spice, and of savoury herbs minced extremely fine or dried
and reduced to powder, and with these lard the inside of the boned
portion of the joint; or fill the cavity with forcemeat highly seasoned
with eschalot or garlic. Sew up the meat, and place it in a braising-
pan or ham-kettle nearly of its size, with slices of bacon under and
over it, two or three onions, four or five carrots, two bay leaves, a
large bunch of savoury herbs, a few bones, or bits of undressed
mutton or veal, and about three quarters of a pint of gravy. Stew the
meat as softly as possible from four to five hours, and keep live
embers on the pan (or, as this mode of cooking is not general in
England, set the mutton, if it can be done conveniently, into a
moderately-heated oven, after having luted the edges of the vessel
in which it is arranged with a bit of coarse paste); lift it out, strain the
gravy, reduce it quickly to glaze, and brush the meat with it; or
merely strain, free it from fat, and pour it over the mutton. White
beans (haricots blancs), boiled tender and well drained, or a mild
ragout of garlic or eschalots, may be laid in the dish under it. The
joint can be braised equally well without any part of it being boned.
3 to 5 hours.
 LEG OF MUTTON BONED AND FORCED.

Select for this dish a joint of South Down or of any other delicate-
sized mutton, which has been kept sufficiently long to render it very
tender. Lay it on a clean cloth spread upon a table, and turn the
underside upwards. With a sharp-edged boning-knife cut through the
middle of the skin, from the knuckle to the first joint, and raise it from
the flesh on the side along which the bone runs, until the knife is just
above it, then cut through the flesh down to the bone; work the knife
round it in every part till you reach the socket; next remove the flat
bone from the large end of the joint, and pass the knife freely round
the remaining one, as it is not needful to take it out clear of the meat;
when you again reach the middle joint, loosen the skin round it with
great care, and the two bones can then be drawn out without being
divided. This being done, fill the cavities with the forcemeat, No. 1.
(Chapter VIII.), adding to it a somewhat high seasoning of eschalot,
garlic, or onion; or cut out with the bone, nearly a pound of the inside
of the mutton, chop it fine with six ounces of delicate striped bacon,
and mix with it thoroughly three quarters of an ounce of parsley, and
half as much of thyme and winter savoury, all minced extremely
small; a half teaspoonful of pepper (or a third as much of cayenne);
the same of mace, salt, and nutmeg, and either the grated rind of a
small lemon, or four eschalots finely shred. When the lower part of
the leg is filled, sew the skin neatly together where it has been cut
open, and tie the knuckle round tightly, to prevent the escape of the
gravy. Replace the flat bone at the large end, and with a long needle
and twine, draw the edges of the meat together over it. If it can be
done conveniently, it is better to roast the mutton thus prepared in a
cradle spit or upon a bottle-jack, with the knuckle downwards. Place
it at first far from the fire, and keep it constantly basted. It will require
nearly or quite three hours’ roasting. Remove the twine before it is
served, and send it very hot to table with some rich brown gravy.
 A BOILED LEG OF MUTTON WITH TONGUE AND TURNIPS.

(An excellent Receipt.)

Trim into handsome form a well-kept, but perfectly sweet leg of
mutton, of middling weight; wash, but do not soak it; lay it into a
vessel as nearly of its size as convenient, and pour in rather more
than sufficient cold water[80] to cover it; set it over a good fire, and
when it begins to boil take off the scum, and continue to do so until
no more appears; throw in a tablespoonful of salt (after the first
skimming), which will assist to bring it to the surface, and as soon as
the liquor is clear, add two moderate-sized onions stuck with a dozen
cloves, a large faggot of parsley, thyme, and winter savoury, and four
or five large carrots, and half an hour afterwards as many turnips.
Draw the pan to the side of the fire, and let the mutton be simmered
gently from two hours to two and a half, from the time of its first
beginning to boil. Serve it with caper, brown cucumber, or oyster
sauce. If stewed softly, as we have directed, the mutton will be found
excellent dressed thus; otherwise, it will but resemble the
unpalatable and ragged-looking joints of fast-boiled meat, so
constantly sent to table by common English cooks. Any undressed
bones of veal, mutton, or beef, boiled with the joint will improve it
much, and the liquor will then make excellent soup or bouillon. A
small smoked ox-tongue boiled very tender will generally be much
approved as an accompaniment to the mutton, though it is out of the
usual course to serve them together: innovation on established
usages is, however, sometimes to be recommended. The tongue
should be garnished with well-prepared mashed turnips, moulded
with a tablespoon into the form of a half-egg, and sent to table as hot
as possible; or the turnips may be dished apart.
80. We have left this receipt unaltered, instead of applying to it Baron Liebeg’s
directions for his improved method of boiling meat, because his objections to
the immersion of the joint in cold water are partially obviated, by its being
placed immediately over a sound fire, and heated quickly; and the mutton is
very good thus dressed.
2 to 2-1/2 hours.
 ROAST OR STEWED FILLET OF MUTTON.

Cut some inches from either end of a large and well-kept leg of
mutton, and leave the fillet shaped like one of veal. Remove the
bone, and fill the cavity with forcemeat (No. 1, Chapter VIII.), which
may be flavoured with a little minced eschalot, when its flavour is
liked: more forcemeat may be added by detaching the skin
sufficiently on the flap side to admit it. When thus prepared, the fillet
may be roasted, and served with currant-jelly and brown gravy, or
with only melted butter poured over it; or it may be stewed gently for
nearly or quite four hours, in a pint of gravy or broth, after having
been floured and browned all over in a couple of ounces of butter: it
must then be turned every hour that it may be equally done. Two or
three small onions, a faggot of herbs, a couple of carrots sliced, four
or five cloves, and twenty whole peppercorns can be added to it at
will.
Roasted 2 hours, or stewed 4 hours.
Obs.—At a large fire, half an hour less of time will roast the mutton
sufficiently for English taste in general.
 TO ROAST A LOIN OF MUTTON.

The flesh of the loin of mutton is superior to that of the leg, when
roasted; but to the frugal housekeeper this consideration is usually
overbalanced by the great weight of fat attached to it; this, however,
when economy is more considered than appearance, may be pared
off and melted down for various kitchen uses. When thus reduced in
size, the mutton will be soon roasted. If it is to be dressed in the
usual way, the butcher should be desired to take off the skin; and
care should be taken to preserve the fat from being ever so lightly
burned: it should be managed, indeed, in the same manner as the
saddle, in every respect, and carved also in the same way, either in
its entire length or in oblique slices.
Without the fat, 1 to 1-1/2 hour; with 1-1/4 to 1-3/4 hour.
 TO DRESS A LOIN OF MUTTON LIKE VENISON.

Skin and bone a loin of mutton, and lay it into a stewpan, or

braising-pan, with a pint of water, a large onion stuck with a dozen
cloves, half a pint of port wine and a spoonful of vinegar; add, when
it boils, a small faggot of thyme and parsley, and some pepper and
salt: let it stew three hours, and turn it often. Make some gravy of the
bones, and add it at intervals to the mutton when required. This
receipt comes to us so strongly recommended by persons who have
partaken frequently of the dish, that we have not thought it needful to
prove it ourselves.
3 hours.
 ROAST NECK OF MUTTON.

This is a very favourite joint in many families, the flesh being more
tender and succulent than that even of the loin; and when only a
small roast is required, the best end of the neck of mutton, or the
middle, if divested of a large portion of the fat and cut into good
shape, will furnish one of appropriate size and of excellent quality.
Let the ends be cut quite even and the bones short, so as to give a
handsome squareness of form to the meat. The butcher, if directed
to do so, will chop off the chine bone, and divide the long bones
sufficiently at the joints to prevent any difficulty in separating them at
table. From four to five pounds weight of the neck will require from
an hour to an hour and a quarter of roasting at a clear and brisk, but
not fierce, fire. It should be placed at a distance until it is heated
through, and then moved nearer, and kept thoroughly basted until it
is done. Tomatas baked or roasted may be sent to table with it; or a
little plain gravy and red currant-jelly; or it may be served without
either.
When the entire joint, with the exception of the scrag-end (which
should always be taken off), is cooked, proportionate time must be
allowed for it.
 TO ROAST A SHOULDER OF MUTTON.

Flour it well, and baste it constantly with its own dripping; do not
place it close enough to the fire for the fat to be in the slightest
degree burned, or even too deeply browned. An hour and a half will
roast it, if it be of moderate size. Stewed onions are often sent to
table with it. A shoulder of mutton is sometimes boiled, and
smothered with onion sauce.
1-1/2 hour.
 THE CAVALIER’S BROIL.

Half roast or stew, or parboil, a small, or moderate-sized shoulder

of mutton; lift it into a hot dish, score it on both sides down to the
bone, season it well with fine salt and cayenne or pepper, and finish
cooking it upon the gridiron over a brisk fire. Skim the fat from any
gravy that may have flowed from it, and keep the dish which contains
it quite hot to receive the joint again. Warm a cupful of pickled
mushrooms, let a part of them be minced, and strew them over the
broil when it is ready to be served; arrange the remainder round it,
and send it instantly to table. The reader will scarcely need to be told
that this is an excellent dish.
 FORCED SHOULDER OF MUTTON.

Cut off all the flesh from the inside of the joint down to the blade-
bone, and reserve it for a separate dish. It may be lightly browned
with some turnips or carrots, or both, and made into a small harrico
or stewed simply in its own gravy, or it will make in part, a pie or
pudding. Bone the mutton (see page 219), flatten it on a table, lay
over the inside some thin and neatly-trimmed slices of striped bacon,
and spread over them some good veal forcemeat (No. 1, Chapter
VIII.) to within an inch of the outer edge; roll the joint up tightly
towards the knuckle (of which the bone may be left in or not, at
pleasure), secure it well with tape or twine, and stew it gently in good
gravy, from four hours to four and a half.
4 to 4-1/2 hours.
Obs.—In France it is usual to substitute sausage-meat for the
bacon and veal stuffing in this dish, but it does not appear to us to be
well suited to it.
 MUTTON CUTLETS STEWED IN THEIR OWN GRAVY.

(Good.)
Trim the fat entirely from some cutlets taken from the loin; just dip
them into cold water, dredge them moderately with pepper, and
plentifully on both sides with flour; rinse a thick iron saucepan with
spring water, and leave three or four tablespoonsful in it; arrange the
cutlets in one flat layer, if it can be done conveniently, and place
them over a very gentle fire; throw in a little salt when they begin to
stew, and let them simmer as softly as possible, but without ceasing,
from an hour and a quarter to an hour and a half. If dressed with
great care, which they require, they will be equally tender, easy of
digestion, and nutritious; and being at the same time free from
everything which can disagree with the most delicate stomach, the
receipt will be found a valuable one for invalids. The mutton should
be of good quality, but the excellence of the dish mainly depends on
its being most gently stewed; for if allowed to boil quickly all the
gravy will be dried up, and the meat will be unfit for table. The cutlets
must be turned when they are half done: two or three spoonsful of
water or gravy may be added to them should they not yield sufficient
moisture; or if closely arranged in a single layer at first, water may be
poured in to half their depth. The advantage of this receipt is, that
none of the nutriment of the meat is lost; for that which escapes from
the cutlets remains in the gravy, which should all be served with
them: any fat which may be perceived upon it should be carefully
skimmed off. Cold broth used for it instead of water will render it
extremely good.
1-1/4 to 1-3/4 hour.
 TO BROIL MUTTON CUTLETS. (ENTRÉE.)

These may be taken from the loin, or the best end of the neck, but
the former are generally preferred. Trim off a portion of the fat, or the
whole of it, unless it be liked; pepper the cutlets, heat the gridiron,
rub it with a bit of the mutton suet, broil them over a brisk fire, and
turn them often until they are done; this, for the generality of eaters,
will be in about eight minutes, if they are not more than half an inch
thick, which they should not be. French cooks season them with
pepper and salt, and brush them lightly with dissolved butter or oil,
before they are laid to the fire, and we have found the cutlets so
managed extremely good.
Lightly broiled, 7 to 8 minutes. Well done, 10 minutes.
Obs.—A cold Maître d’Hôtel sauce may be laid under the cutlets
when they are dished; or they may be served quite dry, or with brown
gravy; or with good melted butter seasoned with mushroom catsup,
cayenne, and chili vinegar or lemon-juice.
 CHINA CHILO

Mince a pound of an undressed loin or leg of mutton, with or

without a portion of its fat; mix with it two or three young lettuces
shred small, a pint of young peas, a teaspoonful of salt, half as much
pepper, four tablespoonsful of water, from two to three ounces of
good butter, and, if the flavour be liked, a few green onions minced.
Keep the whole well stirred with a fork over a clear and gentle fire
until it is quite hot, then place it closely covered by the side of the
stove, or on a high trivet, that it may stew as softly as possible for a
couple of hours. One or even two half-grown cucumbers, cut small
by scoring the ends deeply as they are sliced, or a quarter of a pint
of minced mushrooms may be added with good effect; or a
dessertspoonful of currie-powder and a large chopped onion. A dish
of boiled rice should be sent to table with it.
Mutton, 1 pint; green peas, 1 pint: young lettuces, 2; salt, 1
teaspoonful; pepper, 1/2 teaspoonful; water, 4 tablespoonsful; butter,
2 to 3 oz.: 2 hours. Varieties: cucumbers, 2; or mushrooms minced,
1/4 pint; or currie-powder, 1 dessertspoonful, and 1 large onion.
 A GOOD FAMILY STEW OF MUTTON.

Put into a broad stewpan or saucepan, a flat layer of mutton

chops, freed entirely from fat and from the greater portion of the
bone, or in preference a cutlet or two from the leg, divided into bits of
suitable size, then just dipped into cold water, seasoned with pepper,
and lightly dredged with flour; on these put a layer of mild turnips
sliced half an inch thick, and cut up into squares; then some carrots
of the same thickness, with a seasoning of salt and black pepper
between them; next, another layer of mutton, then plenty of
vegetables, and as much weak broth or cold water as will barely
cover the whole; bring them slowly to a boil, and let them just simmer
from two to three hours, according to the quantity. One or two
minced onions may be strewed between the other vegetables when
their flavour is liked. The savour of the dish will be increased by
browning the meat in a little butter before it is stewed, and still more
so by frying the vegetables lightly as well, before they are added to
it. A head or two of celery would to many tastes improve the flavour
of the whole. In summer, cucumber, green onions, shred lettuces,
and green peas may be substituted for the winter vegetables.
Mutton, free from fat, 2-1/2 lbs.; turnips, 3 lbs; carrots, 3 lbs.;
celery (if added), 2 small heads: 2 to 3 hours.
Obs.—The fat and trimmings of the mutton used for this and for
other dishes into which only the lean is admissible, may be turned to
useful account by cutting the whole up rather small, and then boiling
it in a quart of water to the pound, with a little spice, a bunch of herbs
and some salt, until the fat is nearly dissolved: the liquid will then, if
strained off and left until cold, make tolerable broth, and the cake of
fat which is on the top, if again just melted and poured free of
sediment into small pans, will serve excellently for common pies and
for frying kitchen dinners. Less water will of course produce broth of
better quality, and the addition of a small quantity of fresh meat or
bones will render it very good.
 AN IRISH STEW.

Take two pounds of small thick mutton cutlets with or without fat,
according to the taste of the persons to whom the stew is to be
served; take also four pounds of good potatoes, weighed after they
are pared; slice them thick, and put a portion of them in a flat layer
into a large thick saucepan or stewpan; season the mutton well with
pepper, and place some of it on the potatoes; cover it with another
layer, and proceed in the same manner with all, reserving plenty of
the vegetable for the top; pour in three quarters of a pint of cold
water, and add, when the stew begins to boil, an ounce of salt; let it
simmer gently for two hours, and serve it very hot. When the addition
of onion is liked, strew some minced over the potatoes.
Mutton cutlets, 2 lbs.; potatoes, 4 lbs.; pepper, 1/2 oz.; salt, 1 oz.;
water, 3/4 pint: 2 hours.
Obs.—For a real Irish stew the potatoes should be boiled to a
mash: an additional quarter of an hour may be necessary for the full
quantity here, but for half of it two hours are quite sufficient.