The goals and objectives project (go,


Published on

Published in: Education, Technology
  • Thank you Bebhinn. I love reading about these topics in this way. I looked up one of the key publications you mentioned--School Music Program: Description & Standards. Fabulous standards - not met by the school system in my town, with budget crunches. Interesting to me: in preK & K, 12% of the contact time with those children was prescribed to be devoted to experiences in music.. Meeting 2x a week, and a wonderful array of technology at the teacher's disposal.
    Are you sure you want to  Yes  No
    Your message goes here
  • Hi Bebhinn,
    I know I have broken netiquette, but I just read watched your slideshow and learned a lot. (I posted earlier that we lost my husband's best friend on Thursday, hence my tardy response.)
    I was struck by the emphasis on the 'aesthetic domain of learning,'
    perhaps an influence of Reimer's?
    I also like the quote that one of the major goals of music education was the 'building of personal identity.' I know that my music education strongly contributed to the building of my personal identity and I know the same happened for my husband and for our children. Thank goodness we all had very good choral teacher!! Keep up the good work, all of you--our teaching does make a difference in children's lives!!
    Are you sure you want to  Yes  No
    Your message goes here
  • I have always been impressed with the forethought and the ability to look to the future that was presented in this project. NAfMe continues to support and research how we can best serve our students.
    Are you sure you want to  Yes  No
    Your message goes here
  • It's given me a greater appreciation of NAfME too as a force for research and change in American education.
    Are you sure you want to  Yes  No
    Your message goes here
  • Bebhinn, I have begun to realize though our studies this week just how much influence these writings have had on my development as a teacher these past 27 years. I have attend MENC/NAfME conferences and read the publications all along, but I did not understand that even the standards that I was being asked to base my lessons on are a direct response to the Tanglewood Symposium and the societal changes that brought it about. It has been an eye-opening week!
    Are you sure you want to  Yes  No
    Your message goes here
  • Be the first to like this

No Downloads
Total views
On SlideShare
From Embeds
Number of Embeds
Embeds 0
No embeds

No notes for slide

The goals and objectives project (go,

  1. 1. The Goals and Objectives Project(GO, 1969)MENC Response to the TanglewoodSymposium (1968)
  2. 2. MENC• Music Educator’s National Conference• Named in 1934 as a development fromprevious organisation known as the MusicSupervisor’s National Conference• Since 1998 known as National Association forMusic Education (NAfME)• Renaming reflects the growth in theorganisation’s inclusiveness to includeadministrators, educators and the public
  3. 3. Tanglewood Symposium 1968• Organised by MENC to provide a vision andleadership for the future of American musiceducation• Response of angry music education providersto the Yale Seminar (1963) which excludedthose who delivered music education• Wider societal changes also impelled a rethinkof music education within the widereducational framework
  4. 4. Societal catalysts• School reform – given an added impetus afterthe launch of Sputnik by the USSR in 1957• Civil rights – particularly issues ofinclusiveness and equality following on Brownv. Topeka, 1954• Technology – how to respond to newdevelopments, an unexplored area at thattime
  5. 5. The Vision of Tanglewood• Reflected the views of music educatorscombined with interests from government,business and industry• Awareness of the importance of theaesthetic domain of learning along withcognitive, affective and psychomotor learningformed an important backdrop to thephilosophical position outlined in the vision
  6. 6. The Tanglewood Declaration• Documentary Report of the TanglewoodSymposium, (Washingtom, DC: MusicEducator’s National Conference, 1968)• A key sentence from the report:we believe that education must have as majorgoals the art of living, the building of personalidentity, and nurturing creativity. Since the studyof music can contribute much to these ends, wenow call for music to be placed at the core of theschool curriculum
  7. 7. The Goals and Objectives Project(1969-1970)• Directed by Paul Lehman, with eighteensubcommittees given responsibility for clearlydefined areas• Examples: preparation, early childhood,information technology, musical enrichmentof national life, music of non-western cultures• In 1970 a report was produced listing goals forMENC, the profession and thirty five generalobjectives
  8. 8. Goals for MENC• To conduct programs and activities to build:– A vital music culture– An enlightened musical public
  9. 9. Goals for Music Educators• Comprehensive music programs in all schools• Involvement of all ages in learning music• Quality preparation of teachers• Use of the most effective techniques andresources in music instructions
  10. 10. Prioritising tasks• A list of eight priorities was chosen by MENC• These priorities became the focus for MENCaddressed by publications, conferences,committees and commissions as theorganisation pursued it’s goal of advocate andrepresentative for music in education• The organisation achieved it’s goal of apermanent home in Reston, Virginia in 1975
  11. 11. Objectives and tasks:priorities (1)• Lead in music development of music programsin a pluralistic society• Lead in the development of programs thatcorrelate performing, creating and listening tomusic• help teachers identify musical behavioursrelevant to the needs of students• Advance the teaching of all styles and forms ofmusic
  12. 12. Objectives and tasks:priorities (2)• Ensure all music instruction is delivered by awell trained cohort of teachers• Expand music programs to encourage greaterinvolvement and commitment by students• Lead in the application of new developmentsin every area of educational research• Lead in advocacy for sufficient funds, staff andtime for music education
  13. 13. Follow – up to GO• Two commissions were appointed to beginimplementing recommendations• National Commission on OrganisationalDevelopment• National Commission on Instruction
  14. 14. Key publications• The School Music Program: Description andStandards (Vienna, VA: Music Educator’sNational Conference, 1974)• Ernst, K., and Gary, C. (eds.) Music in GeneralEducation. Washington, D.C.: Music EducatorsNational Conference, 1965
  15. 15. Transatlantic resonance• Swanwick, Keith. A Basis for Music Education.Berkshire: NFER-Nelson, 1979• C(L)A(S)P• Composition, Audition, Performance• Supported by Literature studies and Skillacquisition• Identifies music education as primarily aestheticand builds on the ideas of inclusivity outlined sowell in the Tanglewood Declaration
  16. 16. Bibliography• Abeles, Harold F., Hoffer, Charles R., Klotman, Robert H. Foundations ofMusic Education. New York: Schirmer, 1984• Abeles, Harold F., Custodero, Lori A. Critical Issues in Music Education.Oxford: Oxford University Press, 2010• Swanwick, K. A Basis for Music Education. Berkshire: NFER-Nelson, 1979• Mark,Michael L. “MENC: From Tanglewood to the Present” Vision 2020:The Housewright Symposium on the Future of Music Education, 1999•