There are many “giants of music education,” maybe hundreds. It is perhaps impossible to know the many in every generation who teach music successfully—some who teach young children, others who teach the especially talented at prestigious institutions—conservatories, and schools of music. Others distinguish themselves with organizational work, setting the tone and process for others to follow—all important in their own way. We meet Lowell Mason, Luther Whiting Mason, Frances Elliott Clark, W. Otto Miessner, Edward Bailey Birge, Peter Dykema, James Lockhart Mursell, Mabelle Glenn, Thaddeus P. Giddings, Will Earhart, and Joseph E. Maddy.

This volume describes the lives and work of only a few. There are many others who deserve to have their stories told—Lowell Mason was the first, not an original thinker, but a great organizer, a gifted natural teacher, the George Washington of the music education profession.

Each music educator made his or her contribution in a unique way. What they had in common was undeniable energy and a steadfast purpose. The path was never easy, but they persevered.

We must not forget that they were all products of their time and place. Until the 1960s all popular art forms were denigrated by almost all music educators. Perhaps more surprising, however, was the almost universal disinclination to embrace American homegrown art unless it imitated the best of European art music.

Whether it be T. P Gidding who believed that the ability to read music was the sine qua non of music education, or Peter Dykema who believed that community singing would elevate the common musical taste, to James Mursell, whose intellectual brilliance appeared to make it most difficult for him to relate successfully on a personal level to the great commonality of the music education profession, all made their mark and were recognized by their contemporaries as being outstanding.

The music teachers of today and the music students who will be the music teachers of tomorrow need to know the profession’s previous giants. We stand on the shoulders of these men and women and hundreds like them.

Paper, 315 pages, 6×9
$27.95
Music/Education/History
ISBN 978-0944435-687
LC 2010907548

    Keene makes a major contribution to the study of American colonial and nineteenth century cultural history. Geographic and economic influences are examined as they affected music and education in Vermont.

    Vermont's early educational system is related to its people's unique sense of independence. The private school and its early acceptance of music are explored, and an intriguing story unfolds regarding the nature of Vermont musicians and their conflict with their European-trained counterparts who were coming to America in ever-increasing numbers. 

    Charming anecdotes are found throughout. The reader will find many parallels between the problems of nineteenth century education in Vermont and those of today. The cyclic nature of educational concerns and the public's rediscovery of solutions form an integral part of this valuable historical volume.

Reviews

    ". . . the endeavor is imposing. . . deals effectively with the isolation of Vermont and the delay of modernization until the coming of the railroad. . . difficulties presented by the plethora of district schools, the growth and decline of private academies, and the influence of academy principals on education and music are dealt with in detail. . . . well done."

Charles L. Gary,
Catholic University of America,
Council on Research on Music Education

    ". . .an original study using primary sources not hitherto explored. . . telling a consecutive and interesting story. . . we need books like this.

Allen P. Britton,
Dean Emeritus,
School of Music, University of Michigan,
Editor, American Music.

About The Author

    JAMES A. KEENE, former professor of music at Western Illinois University and consultant in the fields of education and music, holds degrees from the Eastman School of Music, Wayne State University, and the University of Michigan. He has appeared as guest speaker at the Music Educators National Conference, the University of Maryland, and the University of Illinois among others, and on radio interviews across the United States. Keene's first book, A History of Music Education in the United States, now in its second printing, is in use in colleges and universities throughout the United States. 

    Keene makes a major contribution to the study of American colonial and nineteenth century cultural history. Geographic and economic influences are examined as they affected music and education in Vermont.

Cloth, 214 pages, 5 1/2 x 8 1/2
$19.95 $14.97
Music/Education/History
ISBN 0-944435-00-9
LC 87-166730

    A significant work originally published in 1869. Polko offers a contemporary interpretation of Mendelssohn's genius as it related to his life and times in the early nineteenth century. Writing in the romantic style of the period, the author conveys the excitement surrounding Mendelssohn the composer, conductor, and pianist. German nineteenth century romanticism is in evidence, but the reader will note the classical ideals so much admired by Mendelssohn, Göethe, and Zelter — Mendelssohn's teacher. Today's reader will meet some of the most important musicians in Germany in the nineteenth century, including violinists Joseph Joachim and Ferdinand David, whose first-hand and vivid account of the composer's death appears in this book. Included are a number of letters written to English correspondents from a collection of seven thousand letters of and about the composer, letters which serve as prime source material for scholars.

Reviews

    "Polko, an important German novelist, poet, and musician of her day, studied singing under Felix Mendelssohn. Polko's work was originally published in 1869. The new unabridged re-publication of the English translation is therefore a valuable resource in that it represents primary source materials, including opinions and testimonies of many of Mendelssohn's well-known contemporaries. . . this is a significant reprint of a work that has established its niche in the literature of Mendelssohniana. . . ."

Choice

    "This is a welcome reprint of a memoir of Mendelssohn by a German contemporary originally published in 1869. It offers a sympathetic portrait of the composer, who lived in the age of romanticism in German music and whose own music remains a cherished part of the permanent repertoire. Elise Polko worked with the composer and imparted to her biography a personal touch which adds a vital dimension to her portrait. . . [Mendelssohn] remains a lucid, disciplined composer whose pellucid music has stood the test of time."

John Barkham Reviews

About The Author

    ELISE POLKO was born in Leipzig in 1823. She was a German novelist, poet, and musical amateur who from her youth fell under the spell of Felix Mendelssohn. Following Mendelssohn's death, the author interviewed dozens of musicians and family friends, recording their reminiscences of Mendelssohn in detail. Polko was an important and prolific writer of her day. Her love and dedication to Mendelssohn resulted in this work that can assist the modern reader to understand the cultural cross-currents of the early nineteenth century.

Cloth, 222 pages, 6×9
$24.95 $18.72
Music/Education/History
LC 87-81563
ISBN 0-944435-01-7
Alternate selection of 
Pathway Book Clubs, 
Music Book Society

   James A. Keene’s treatment of this interesting and unique history represents a deep and penetrating look at a subject that until recent years has been largely neglected by teachers and scholars. A large population of music teachers have taught and acted with only the vaguest of insights about those special teachers who have accepted the formidable job of introducing music to the children of the United States from the earliest colonial times to the present day.

   The history of music education cannot have an independent existence, however, and is inextricably linked both to the history of education in this country as well as to the history of music as an art, both popular and high. Paralleling the history of education, music education is also the history of reform. Our founding fathers considered their efforts to be rooted in an idealism whether it be expressed in terms of religious or political liberty, and from such beginnings Americans have tended to regard themselves as reformers from that day to the present. It is less important to approve or disapprove of each reform than it is to observe the consistent efforts of Americans to cast aside the old way and adopt that which appears to be new and different. This national trait prevailed throughout the history of music education in America, resulting in our music educators changing methods and philosophies sometimes thoughtfully, and sometimes capriciously.

   Parts of this history deal forthrightly with various historical and philosophical tendencies, while relating them to the prevailing thoughts and movements in music education. It was necessary for society to accept the idea of a general expansion of the school curriculum before the arts could gain a foothold as part of the school curriculum. And with each degree of acceptance, from the introduction of vocal music into the curriculum to the rise of instrumental music and a cappella choirs, negative as well as positive reactions germinated requiring continuing defenses of the art even though the practices were ordinarily extremely popular with the children, many of whom discovered their talent for the first time while others could and did develop an appreciation brought about by exposure and practice of the art form.

   The nation’s music teachers as well as an educated public deserve to know and to understand something of the history of these struggles and accomplishments. Keene’s book traces this history with clarity and sensitivity.

Reviews

    “The tremendous amount of information gathered by the author makes this an extremely valuable work. No one else has accomplished as much. Keene’s scholarly treatment of the very complex story of music education in the United States will stand for many years as the standard source of reference.” 

ALLEN P. BRITTON,
Dean Emeritus, School of Music,
University of Michigan

   “Tripled with a highly readable writing style, a meticulous treatment of the subject matter along with an excellent chapter-by-chapter series of bibliographic notes, this book will stand as the standard source of reference for the historical foundations of music education in the United States. . . a truly impressive undertaking.”

INTERNATIONAL TRUMPET GUILD JOURNAL.

   “Keene’s history of American music education is well known to music education majors at numerous universities. The merit given it is well deserved. Keene is precise yet thorough, comprehensive yet accessible. The book is not a difficult read, and leaves the reader well informed.. . .” 

R. Adams,
Amazon.com

About The Author

   James A. Keene, Ph.D. has served as professor of music and chairman of the Music Departments at Western Illinois University and Mansfield State University in Pennsylvania and as a faculty member at the University of Vermont and Montana State University. He received degrees from the Eastman School of Music, Wayne State University, and the University of Michigan. He is the author of numerous articles in music journals, served as editor of The Vermont Music News and Music Chairman of the Vermont Council on the Arts. He has performed as a violin and viola soloist, in chamber music, and as a conductor. In addition to the History of Music Education in the United States, he is the author of Music and Education in Vermont, 1700-1900, and Giants of Music Education published by Glenbridge Publishing Ltd. in 2010.

Paper 434 pages, 6×9
$27.95 $20.97
Music/Education/History
ISBN 978-0944435-66-3
LC 2009900069