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CrestonMozartBachIvesBrahmsDance OvertureSymphony No. 41, 1st movmentSuite No. 3 in D Major, 2d movementVariations on AmericaSymphony No. 2, FinalePrograms for Combinations of Elementary and Secondary GradeStudents:Concert theme: Music of the SymphonySymphony No. 5DvorakConcert theme: Music of the OperaBeethovenPucciniOverture to FidelioChe Gelida Manina from La BohemeVerdiVerdiPrelude to La TraviataHymn and Triumphal March from AidaConcert theme : Music in the U.S.A.BarberGouldCoplandConcert theme:Adagio for StringsPavane from Latin American SymphonetteNo. 2Billy the KidMusic for Violin Solo and ChoirMozartConcerto No. 4 in D Major for Violin, 1stSchubertmovementKyrie, Gloria, Credo from the Mass in GCoronation March from The ProphetMeyerbeerSymphony No. 3, 1st m,.)vementMendelssohnComedians Gallop from The Bartered BrideSmetanaInvitation to the DanceWeberSclections from The Sound of MusicRodgers-BennettConcerto in Bb Major for HarpsichordHandelSymphony No. 6, MarchTchaikovskyPrograms Presented on Weekends for Any Seudent Wishing to Attend:Concert Theme: The Composer as a YouthOverture to Russian and LudmillaGlinkaMinuet, K.1MozartMozartMendelssohnBizet4858Symphony No. 1Overture to Midsummer Night's DreamAllegro from Symphony in C

kL Se. ft.LSuolahtiSibeliusSinfonia PiccolaFinlandiaHumperdinckHansel and Gretel (entire e to Don GiovanniSuite from The FirebirdClassical SymphonyBacchanale from Samson and Delilah (featuring the Nelle Fisher Ballet Company)Overture to La Scala di ovTwelve Songs for Helen and One for BillSymphony No. 5, 2d and 3d movementsWorried DrummerCapriccio EspagnolMadelineShostakovichDukasThe Sorcerer's Apprentice (featuring theDetroit Severo Ballet Company)Concert theme:OperaProkofieffMozartMozartMarch from The Love for Three OrangesFirst scene, The Marriage of FigaroBerezowskyBarbar the Elephant (children's opera, per-That Music Enchanting from The MagicFlute (audience sing)formed by the New Haven Opera okofieffAmerican SaluteLittle Fugue in G MinorFugue from Mysterious MountainConcerto No. 12 in A Major for PianoConcerto in A Minor for PianoPeter and the WolfTheme for entire series:"Music and Magic"WeberGluckOverture to OberonDanc3 of the Blessed Spirits and Dance of theFuries from Orpheus and EurydiceTehaikovskyDance of the Sugar Plum Fairy from TheBerliozMinuet of the Sprites from The Damnationof FaustMendelssohnExcerpts from Midsummer Night's breamNutcracker4959

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reBrahmsBizetSymphony No. 3, 3d ermezzo from Cavalleria RusticanaIntermezzo from The Jewels of the MadonnaPastorale from The Book of MormonIntermezzo and Farandola from L'ArlesienneSuiteCandideConcert theme: ale from Water MusicLittle Fugue in G MinorSymphony No. 104, MinuetPumpkin Eater's Little FugueYoung Person's Guide to the OrchestraConcert theme: ComposersSmetanaDelibesGershwinGershw inTchaikovskyOverture to The Bartered BridePizzicato Polka from SylviaAn American in ParisRhapsody in Blue1812 Overture5161

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"I can see it in their faces! Theprepared students are alert andglad to participate. When studentshave had preconcert study, theconductor can hold their intetestand maintain a high level ofperformance."This view was expressed by theyouth concert conductor of theBaltimore Symphony. Three otherconductors agreed that concertpreparation was "absolutely es-sential," and six considered it tobe "valuable." One conductorpreferred having students pre-pared for two or three pieces, butbe crivell no advance informationabout the remainder of the program. Two conductors thoughtconcert preparation made littledifference, and two were stronglyopposed to it on the grounds thatit makes a spontaneous, emotionalresponse imPossible. Anotherconductor said that the value ofadvance study depends entirely onwho handles it and how it is done.He prefers no preparation at all tothat offered by persons not pro-fessionally trained in music.Although conductors expressedvarying views on the value ofconcert preparation, educatorswere almost unanimous in favoring it: 715 of 739 music specialists stated that students shouldlearn something about the musicto be played prior to the concerts,and 30 of 34 administratorsagreed. Increased enjoyment andunderstanding of music werementioned most often as the immediate goals of concert programs.Study GuidesFinancing and producing.Study guides or some form oforganized study materials for usein preparing students for concertattendance were produced in allbut three of the 20 cities (NewHaven, Sacramento, and Spokane) . As shown in the followinglist, some of these were preparedby the orchestra; others, by theschools.Prepared by the orchestra In:.Chattan oogaCincinnati r,ClevelandColumbusEvansville-P4paredibY the lichooljurp,Baltimore',Cincinnati,'CleVeland (far ESEA-fundedConcerts).,Detroit'hrordNeNT Orleans,5363

Pasadena (Youth Music Council)PittsburghProVidence (Children's ConcertCornmittee)-San FratiaseoSeattleVarious plans were used toproduce these study guides. InCincinnati, and for some of theconcerts in Seattle, the orchestrafinanced the materials but en-gaged school personnel to do theplanning and writing. For severalyears, a musicologist prepared theguides for the Pittsburgh Symphony Youth concerts, but in1967-68 they were written bypublic school personnel. Conductors developed the guides inChattanooga, Evansville, and forsome of the Seattle concerts, whileother orchestra staff membersprepared or supervised theirpreparation in Cleveland, NewOrleans, and Providence. The SanFrancisco Symphony engaged acollege faculty member to workclosely with the orchestra inpreparing materials.Quality and content.Thequality of the preparatory materials examined ranged fromhastily prepared mimeographedsheets containing inaccurate datato comprehensive, handsomebooklets costine, as much as 1,500 to produce.An inventory of the subjectmaiter covered in the study guidesincluded the following:Geneial contentumber,,at guidesSource reieferiCe materitids for leaChersList of rce reference materials --for''stUdents,-1-:. Ipform.ation on ,coriductor. 1:---Orchestia, 'seatitig chart,'Concert 'manneti--informationList of ,films ancV,filmStripgi,Concert evalUECtion,,,, Miatertals',; 'Reference to niaterials;iii':thuseums,5464

ontents relating to the musicomposersStoriesusical eXamples.at.: to listen for(.;losSar'yof .terrii4Style, form, period.Analysis.Pionnneiation:The music education membersThe Detroit and San Franciscoof the study staff made bothguides were the only ones givinggeneral and specific observationsabout the content of the studyfairly complete lists of recommended films and filmstrips.Concert evaluation devices werecruides:Information on orchestral instruments was included in manystudy guides, although there is awealth of material on the subjectreadily available to teachers in theschools.Lists of recordings, visual aids,and reference books were includedin study guides in nine cities.Recordings listed in the Baltimore, Detroit, Seattle, and Cin-cinnati guides related directly tocurrent programs, whei eas othersused general lists. The listing ofcompositions and recordings relating to the music scheduled for aspecific concert was most desir-included in only three guides, themost extensive being used inconnection With the Seattle Enrichment Through Music concerts.hi a few cities, short resumes ofcontemporary numbers or overtures, with comments on eachcomposition, were included in thestudy guides, Baltimore andCleveland in particular. The development of short expositions engeneral musical topics that relate,perhaps, to s concert theme or tothe form and style of a compo-sition are useful teaching aids.Musical examples were generallyadded resource and were espe-written as single lines of music,although several guides offeredpiano reductions of appropriatecially helpful when recordings of5ectionsa useful tool for musicspecific compositions to be performed were not available. Reference to several different re-specialists. It was difficult for thecordings (interpretations) of thecluded in all study guides. Al-same work were reported usefulfor work with advanced students.though their inclusion requiresadditional work and sometimesable. These lists gave teachers anstudy staff to understand whymusical examples were not in-556'

expense, some felt that it wasfutile to try to analyze a piece ofmusic intelligently without theexamples.In spite of the importance generally attributed to an understanding of musical form, onlyCincinnati, Cleveland, Seattle, andSpokane examined the subject intheir study materials.There were more frequent reierences to temporal than to tonalaspects of music, usually in termsof the rhythmic characteristics ofa composition. The composer'screation of a mood was referredto in terms of major or minortonality, the registers in which theinstruments played, and the various orchestration devices used.For instrument recognition, theusual approach vvas to identify theappearance of a theme with aspecific instrume t or group ofinstruments. Various instrumentalplaying techniques, pizzicato, forexample, were mentioned.Nearly all study materials provided background about thecomposer. Extensive use was madeof anecdotal materials, sometimesGlossaries of terms were usedfrequently ; aids in pronunciationwere included in only a few instances.Presentations ranged from alively, chatty style to a straightmusicological approach. Combinations of student-oriented narrative and teacher-oriented datawere noted in the Cincinnatimaterials, thus providing urformiLy in teaching method andcontent, while permittirg theteacher freedom to present othermaterials.The line of demarcation betweenguides prepared for use by musicspecialists and those for use byclassroom teachers was not alwaysr. Study guides using musicalexamples, for instance, can beused effectively only if the teacherreads music, which the classroomr.eacher often cannot do. TheSeattle materials used in con-nection with the federally fundedconcerts were based on the as-sumption that classroom teachershad little musical training orexperience. A realistic and effective approach was accordinglyleaving little space to discuss thedeveloped, using tapes, commentary, and teaching guides.music and information directlyrelated to it.Most of the preparatory materialsexamined were for teacher use. InStories attached to descriptivemusic were used frequently.Stories and biographical information about the circumstancesunder which a composition waswritten, performed, or receivedwere included in some of thecruides.56only six of the cities were mate-rials prepared for and distributedto students. In Sarasota, programnotes were written for elenceni-aryschool children, and there weredrawings to point up specialconcert features. In Seattle,four-page program notes included