Mmic in education
students in colleges in the United States of America alone, the import-
ance of such training is obvious.
So extensive a programme for music education could not possibly
be carried out if there were not enough teachers available or if they were
not sufficiently trained. There are now; but it was only in 1922, only
30 years ago, that the first four-year music education training course
came into being. It was instituted in Oberlin College, in Ohio, following
a report by the Research Council of the Music Supervisers’ National
Conference, now known as MENC. The Research Council had recom-
mended that one half of the work in the course should be devoted to
music itself, the other half to be divided between education and aca-
demic fields other than music. Today the course is duplicated by an
ever-increasing number of universities and conservatories all over
the continent; and it is this teacher-training programme which, more
than anything else, has helped to change the musical scene in North
America.
It is a remarkable system. I have been able to observe it at close
quarters and I can testify as to its effectiveness. Eight years ago we
instituted such a music education training course in the University of
Toronto. During the last four years, graduates have gone out in almost
missionary spirit to preach the gospel of music, to teach and to organ-
ize, and in school after school, community after community, through-
out the Province of Ontario (which is nine times the size of Italy) the
lights of music went on as if by magic.
Music teacher federations such as the Music Teachers National Asso-
ciation and the Music Educators’ National Conference have played an
important role in the development. The MENC in particular (with a
membership of over 22,000 music educators) has an admirable record
as champion of public school music. In its biennial convention in
St. Louis in 1950, it adopted a resolution known as ‘the child’s bill of
rights in music’ modelled on the Bill of Rights of the United Nations.
‘Every child‘ it say there ‘has the right to full and free opportunity to
explore and develop his capacities in the field of music in such ways
as may bring him happiness and a sense of well-being; stimulate his
imagination and stir his creative activities; and make him so respon-
sive that he will cherish and seek to renew the fine feelings induced
by music.’
Music in the American home, in the American community, presents
a less satisfactory aspect. Not that it does not exist-there are many
chamber music groups, choral societies, amateur orchestras that could
be mentioned. Music educators are anxious ‘to encourage and develop