8 Journal of Historical Research in Music Education 00(0)
25
[n.a.], “Seminar on Music Education,” 87.
26
Ronald B. Thomas, “A Study of New Concepts, Procedures, and Achievements in Music
Learning as Developed in Selected Music Education Programs,” Bulletin of the Council for
Research in Music Education, no. 6 (Fall 1965): 25–26. By this time, Thomas was already
developing his own federally funded experimental music curriculum project. See Kyung-Suk
Moon, “Historical Perspectives on the Manhattanville Music Curriculum Program: 1965-1972”
(DMA diss., Arizona State University, 2004); and Kyung-Suk Moon and Jere T. Humphreys,
“The Manhattanville Music Curriculum Program: 1966-1970,” Journal of Historical Research
in Music Education 31, no. 2 (April 2010): 75–98.
27
Claude V. Palisca, “A Curriculum for Understanding Music through Discovery and Discussion:
The Yale Music Curriculum Project,” College Music Symposium 9 (Fall 1969): 36–47 (material
cited from pp. 39–40).
28
(1) Music for the Dance, Stravinsky Petrushka, by Palisca; (2) Music for the Keyboard,
Schubert “Impromptu” and Chopin “Ballade” in g-minor, by Plantinga; (3) Chamber Music,
Haydn, “String Quartet” op. 76, no. 3, by Palisca; (4) The Symphony, Beethoven Eroica, by
Palisca and La Rue; (5) The Concerto, Bach Brandenburg no. 5 and Brahms “Violin Concerto,”
by Palisca; (6) The Opera, Verdi Otello, by Yellin; (7) The Oratorio, Handel Saul, by Palisca; (8)
Program Music, a survey from Vivaldi to Schoenberg, by Plantinga; (9) American Music, jazz,
Ives, Schuller, James Drew, by Drew (see Palisca, “A Curriculum for Understanding Music,”
pp. 37–38).
a teacher in the Nanuet, New York, Public Schools who moved to Manhattanville
College of the Sacred Heart in Purchase, New York,
25
proposed a study of selected
schools with innovative music programs.
26
These early reviews of Palisca’s report and
proposals based on the report recommendations demonstrate the resentment, but also
interest and optimism, in certain music circles about the role of the seminar and its
findings as set forth in the seminar report.
Palisca’s Listening Curriculum
In 1964, Palisca, Luther Noss, and Wendrich, all of Yale (Noss as dean of Yale School
of Music), proposed to the US Office of Education a project to develop a listening cur-
riculum. The proposal was accepted and a contract was signed in 1965. The approved
plan included testing the curriculum in selected public schools for three years. In addi-
tion to Palisca and Wendrich, six other music professionals joined the research and the
development of the curriculum. “At the basis . . . of the curriculum has been the phi-
losophy about musical explanation. . . . In this sense our goal is not ‘appreciation.’
Rather, we searched for ways to reach an understanding of music, assuming that with
understanding comes enjoyment, and even if it does not, the knowledge gained is valu-
able in itself.”
27
The proposed listening curriculum was composed of nine units, each
devoted to one or more selected musical works. Units were organized by genre (as
opposed to chronologically) and each unit included approximately 20 lessons.
28
The unifying idea behind the Yale Seminar report recommendations and the listen-
ing curriculum proposed by the group of authors led by Palisca was to introduce more