Curricular Trends in Music Education

Abstract

A DISCUSSION of curricular trends in any field must necessarily concern itself first with the established objectives in that field. This is particularly difficult in the field of music education because the objectives have never been clearly stated. It is perhaps true that somewhat the same objectives have been assumed by the rank and file of teachers throughout the country, and this fact may to some extent be responsible for the dormant period in music which obtained until just a few years ago. Leaders in the field, however, have consistently disagreed as to objectives and aims, with the single exception of the slogan of the Educators Conference, Music for Every Child-Every Child for Music. Even this slogan has sometimes been drawn into the radius of dissension and we are beginning to wonder if, after all, we should not commence all over again and re-formulate the reasons for our existence. This in itself is a most healthy sign, because no objectives, no curriculum, and no field of subject matter may long remain static. It is questionable whether we any longer need such a slogan as is used by the Conference. Established at a time when music had to be sold to the pupils, parents, teachers and administrators, it may have outgrown its usefulness. In any case, we are not at all sure that the slogan represents our ultimate philosophy. Now that we have dissected the complex and subjugated the ego, we have discovered that music reacts on different in-