Notes da Capo

Who were these music teachers? Supervisors, elementary specialists, private teachers? How did they get to the meeting? By train, trolley, or horse and buggy? We don't know the answers to these questions, but historical records reveal that 1920 was the first meeting of school music teachers in West Virginia. Like other subject-matter groups, they met as the "music section" at the annual conference of what was then the State Education Association (SEA). The chair, probably assigned by the SEA, was Lucy Robinson, a music supervisor from Wheeling.

Just imagine the setting in 1920! It was the post-World War I era; Woodrow Wilson was President; acoustic record players and silent movies were prevalent; Henry Ford's "flivver" was leading the auto pack; radio was in its infancy; and your parents were probably in grade school. Music instruction, except in the elementary classroom, was not considered a responsibility of the public schools. Individual lessons by private teachers, paid for by the parents, was the accepted way to learn music. High school music groups - choir, glee club, madrigal singers, orchestra, mandolin club - met as an "activity" outside school hours.

The only music certificate available in 1920 was the music supervisor's certificate. A curriculum in Public School Music (PSM) was just being developed in West Virginia institutions of higher learning. With the limited number of positions available, the demand for a PSM degree was minimal. Of the 389 school districts in West Virginia at that time, only a few could afford or justify hiring a music supervisor who would assist the elementary teachers and direct the high school choral instrumental groups. Some districts would -employ a local musician part-time by obtaining temporary certification.

The WVMEA today is a conglomerate of affiliated organizations that serve music education from kindergarten through the doctoral level. It took more than forty years of persistent and dogged effort to make music a part of school/ community life. A real struggle it was, but more about that later.

Tacet . . . for now.

If you revere those early settlers who conquered the wild west, then you should honor those pioneers who blazed some early music trails in our own wild west - West Virginia. In 1927 Karl Brown of Terra Alta, Glenn Sallack of Beckley, and J. Henry Francis of Charleston organized and conducted the first West Virginia State High School Orchestra and the first West Virginia State Symphonic Band. (If you'll dig out your October, 1982 NOTES A TEMPO you'll see pictures of these two groups).

Like all entrepreneurs, these three music pioneers had an idea, and they pursued it to a triumphant end. Their success apparently set the pattern for the All-State Band, Orchestra, and Chorus festivals that the WVMEA and its affiliates have sponsored for almost six decades. These festivals provide an exciting challenge for deserving students and their teachers. Singing and playing some of the great music literature under highly qualified guest conductors, then sharing this experience in a concert for the parents is an event never to be forgotten. For many of the participants, it may be the highlight of their high school days. For a few, it may provide the incentive to aspire to a professional career in music - teaching, performing, creating, sales, advertising, or whatever.

Historically the music festival was a wholesome alternative to the music contests that were promoted during the 1920s by many educators throughout the nation. These contests were like an athletic tournament. Local contests determined winners who could then compete in a district, then an area, a state, and even in a national contest. There was always one winner, leaving behind a multitude of disenchanted losers. Because of the bitter rivalry generated and the frequent breakdown in providing qualified judges, the contest idea eventually disintegrated. Fortunately in West Virginia, the contests were not as prevalent as in some adjacent states. Thanks to our frontiersmen, Brown - Sallack - Francis, the festival idea of cooperating rather than competing pre-empted the spread of contests in West Virginia.

Tacet ... for now.

There was a new kid on the educational block! Probably a brain-child of those finicky music teachers! Although this family had met with the State Education Association for 16 years, they were convinced that they should and could improve the quality and quantity of music in the schools of West Virginia if they had an organization of their own.

So, in 1936 they met and elected their officers. Committees were formed and future meetings planned. A constitution was presented, reworked, and finally adopted as the governing document of the ... West Virginia Music Educators Association. Eventually, the "new child" was recognized by MENC as the official state affiliate.

The membership of the WVMEA at that time included mostly choral teachers, county supervisors, and elementary specialists. The state Bandmasters Association was a larger organization and was sponsoring band activities statewide, one of which was the band contest. Although these two groups were operating separately, each contributed effectively to its field of musical interest. Progress was interrupted nationwide with the advent of World War II in 1941, practically eliminating all professional and student activities that involved traveling.

The ultimate plan of organization of the MENC and the WVMEA was to unite all school music groups within the state. Progress was slow in West Virginia and in a number of states. Strong band, orchestra, choral and elementary organizations cherished their past successes and independence. They were not interested in affiliating with the Music Educators Association. It was not until 1950 in West Virginia that the Music Educators Association and the bandmasters jointly sponsored a series of music clinics. This was the beginning of further cooperative efforts through the years until 1963, when the West Virginia Bandmasters Association became officially affiliated with the WVEA.

It took over 25 years for the choral, instrumental, elementary, supervisory, and college groups to unite within the WVMEA. In 1986 the WVEA itself will reach the age of 50 years. Shouldn't that call for some kind of celebration!

Tacet . . . for now.

Time was that your Uncle Charlie might have gotten you a job teaching music in the local schools if you wanted it, and if you showed some musical ability. A "special certificate" would have been issued, and you'd have been set for five years - that is if Uncle Charlie were influential in one of the independent districts among the 398 school districts in West Virginia at that time. These independent districts (Wheeling was the first) were established in the cities. They had full control of their schools and obligated themselves to support them. What gradually developed was high educational quality with teachers well paid in the independent districts, and low educational quality with teachers poorly paid in the rural schools. Although this was the era of the "common school," the independent districts were adding four-year high schools when the rural districts had none. The same thing happened later when junior high schools were introduced.

Throughout the 1920s committees from the Music Section (which later became the WVMEA) of the State Education Association were actively promoting music as a curricular subject in the public schools. Nelle Shirkey of Beckley; Lydia Finkel of Morgantown; Mrs. D.C. McCoy, Dale Haven, and Lucy Robinson of Wheeling; and J. Henry Francis of Charleston spoke, wrote, and conferred about the lack of music in the schools. The first step was to get music into the curriculum. The next step was to establish requirements that would prepare elementary teachers to teach music, and then recommend more extensive requirements for music supervisors and high school music teachers. This opportunity came when Robert Clark, Supervisor of Teacher Training, initiated the change from the examination to the credential method of certification. In 1927 numerous committees from the teacher training institutions were requested to propose their recommendations for certification requirements.

The college representatives on the music committee for elementary teacher requirements were Hannah Cundiff of Marshall, Mrs. H. Wardner Davis of Salem, Marie McCord of Shepherd, Mary B. Price of Fairmont, and May E. Taylor of Glenville. Their proposals ranged from 6 to 16 credit hours of music for the elementary teacher. Sixteen hours were unrealistic, being one-fourth of the total required for the two-year normal certificate, so the final document included 4 hours of music in the two-year course and 6 hours in the four-year course. Another committee of music teachers made recommendations for the "first-class certificate" for high school music teachers. This committee included Lydia Finkel and Minerva Lawson of West Virginia University, C.C. Arms of Clarksburg High School, Pauline Kirk of Fairmont Normal, Ruth Parker of Morgantown High School, and Lucy Robinson of Wheeling High School. The recommendations, which were adopted, provided flexibility within each institution involved, but set a new high minimum of technical music hours.

After two years of serious effort and widespread participation by teachers at all levels and in all academic fields, the new certification requirements became effective 1 January 1929. This marked the fust statewide, organized plan of standardizing teacher certification. It had a direct effect on the various curricula in those colleges with teacher preparation programs. Just four years later, in 1933, the legislature adopted the county unit plan, making the county school system responsible for the teaching of music in the rural elementary schools as well as in the cities. It was not until 1937 that the State Board of Education issued a regulation-making music a required subject in the elementary schools.

While music was finally recognized as a required subject, that didn't make it a reality.  It would take years to implement the county unit plan in providing the facilities and equipment, supervisory personnel to organize and assist, and administrative motivation to carry out music instruction. With music still treated as an extra-curricular activity in most high schools, and with music personnel among the first to be cut in a budget squeeze, there was little incentive for musically talented high school graduates to devote four years earning a degree in Public School Music. Since there were few fully qualified music teachers available, administrators had no alternative but to accept some teachers with minimal preparation who could obtain a "special certificate." Fortunately, many of these teachers utilized their abilities to the maximum, upgraded their certification, and ultimately became outstanding teachers.

When the certification study was being made during the years 1927-1929, that ambitious group of teachers in the Music Section of the State Education Association exercised an influence for school music far beyond their own realization when they organized the first All-State (High School) Orchestra, Band, and Chorus. After 1933 another development that generated public interest in music was the county music festival in which massive groups of elementary children participated. One must conclude that the music teachers during this period were developing the interest and support of the two most powerful segments of society - the children and their parents.

Tacet ... for now.

Two teaching fields - that's what West Virginia secondary teachers had to have to qualify for a first-class certificate until 1945. Since there were many small high schools at that time, and school budgets were just starting to recover from the economic depression of the 1930s, it was logical that high school teachers should be prepared to teach two subjects. It was not unusual for an academic teacher with a minor in music to teach the music classes. Many music teachers, likewise, taught classes in their minor teaching field. As high school enrollments increased and as the band movement spread, parents demanded teachers who were especially qualified to teach the various instruments and direct the band.

One of the teaching fields that was chosen by many music majors was English. By taking 6 credit hours of English in addition to the 12 basic hours required, the minor was satisfied. Since there was usually an excess of teachers who were qualified to teach English, the music teacher was left in the fortunate position of filling his or her schedule with music. Adversely, a candidate for the position who had a second field other than English might have gotten the position. With the music program gradually expanding into the junior high school, the demand for the time and energy of the music teacher eliminated the minor teaching field for most music teachers.

As a shortage of elementary teachers developed during the early 1940s, the State Board of Education approved the famous (or infamous) "1-12 single curriculum" certificate, It was based on the premise that a broad selection of college courses would prepare the teacher to teach a wide range of subjects at either the elementary or secondary level. It ran counter to an emerging trend toward specialization, giving rise to widespread criticism. For music (and art and physical education) a "Special Non-Academic Certificate," approved in 1938, permitted the music teacher to teach music in all twelve grades. This certificate apparently developed "after the fact," since many music teachers had been teaching music, mostly band instruments, to grade school children without having the elementary certification required at that time.

To decrease the number of unqualified teachers that had been pressed into service during the World War 11 years of 1941-1945, the 1947 legislature enacted a salary schedule that rewarded the teacher who had the required credentials. This action-motivated those teachers with temporary or provisional certificates to take additional college courses toward eventual first-class certification. By their own dedication and by upgrading their college credit hours, some of the music teachers who began under temporary or provisional certification rose to positions of leadership in music education throughout the state.

Tacet ... for now.

Mountaineers have always cherished their independence, and so have the colleges throughout the state. Forty years ago most institutions of higher learning were geographically isolated, responsive to their territorial clientele, and proud enough to adjust to the resources available. Although there were legislated regulations and degree requirements, particularly in teacher certification, there was great variation in how these were interpreted. In music, for instance, two courses might be taught in the same class under different course numbers. Also, the credit hours in applied music were different.

Jackson's Mill, summer 1945, was the site of a State Department of Education conference where a small group of college music teachers casually discussed the status of music in West Virginia colleges. If memory serves me right, those individuals were Marie Boette, West Virginia Wesleyan; P. Ahmed Williams, West Virginia State; Mary B. Price, Fairmont; Miriam Gelvin, Marshall; Bertha Olsen, Glenville; and Clifford Brown, West Virginia University. They soon realized that the instructional programs in music were highly inconsistent, and that the facilities in some colleges were deplorable. They decided that all colleges should be invited to a fall meeting with the objective of initiating some state-wide action to improve the situation.

Twelve institutions were represented at this fall meeting: Fairmont, Potomac State, Wesleyan, West Virginia State, Bluefield, Salem, Alderson-Broaddus, ,Nlarshall, Bethany, Shepherd, Concord, and West Virginia University. Marie Boette of Wesleyan presided, and Bertha Olsen of Glenville served as secretary. A genuine spirit of cooperation prevailed, with each individual realizing that collective action could ultimately benefit all institutions. 'The final conclusions were that STANDARDIZATION and UNIFICATION should be immediate objectives. They scheduled another meeting in October 1946.

The approach to standardization began with the appointment of three study committees: conducting - a clarification of the course content; teaching loads - how they should be calculated; and teacher certification in music - clarification. Further, the group decided to call itself the West Virginia College Music Educators (WVCME). It would meet twice each year, the fourth Monday in October at a college campus and in the spring with the Association of Higher Education.

In 1947 the WVMEA Executive Board officially recognized the WVCME by inviting its chair to membership. Although some college members were reluctant to affiliate with the WVMEA, this was approved and represented a major step in unifying the music teachers into one organization. Since then other groups have affiliated with the WVMEA, resulting in the representation of all phases of music education within one state organization.

Tacet . . . for now.

The idea of having a state music consultant within the State Department of Education was new to West Virginia in the 1950s, but not to our neighboring states. Claude Rosenberry in Pennsylvania, Edith Keller in Ohio, and Clarence Hesche in Virginia were promoting and assisting statewide activities in addition to consulting with individual school districts about their music programs. The title of the position varied from state to state: supervisor, consultant, specialist, chief, or coordinator, but the responsibilities and duties were similar.

When compared to the present, the State Department of Education operated with a very small staff in the 1950s. Neither the administrative philosophy nor the budget provided for any personnel to cover single subject-matter fields. Although the WVMEA had been urging the state superintendent to add a music position, it was rejected on the basis of "no funds." As state and federal demands increased, the department had to be expanded, including specialists in curricula, finance, government grants, subject- matter fields, and so on.

The proliferation of music classes and activities - choruses, bands, orchestras, radio broadcasts, festivals - apparently persuaded the superintendent, R. Virgil Rchrbough, that a music consultant was needed. He invited individuals within the WVMEA and the College Music Educators to recommend qualified candidates from within the state. There was a general consensus that Dr. Nlyllan Smyers, chair of the music department at West Virginia Institute of Technology, should be offered the position. Although Dr. Smyers did not aspire to the position, he accepted it as a challenge and as an opportunity to serve the state.

Dr. Smyers was uniquely qualified as the initial appointee, having taught instrumental and vocal music in the public schools. He was a respected conductor and adjudicator, a former high school principal, an author and speaker, a college teacher and administrator, and was actively involved in state, division, and national MENC projects. One of his first commitments was to confer with each of the 55 county superintendents. Another commitment was to unify the various professional music groups, each one strong in its own area, into a parent organization with greater professional recognition and influence. He was not here when this commitment was realized in the early 1960s, due in part to his efforts.

No one, including Dr. Smyers, could predict that an unusual opportunity would appear the next year for him to return to his native area as a professor at Southern Illinois University. In a short period of 18 months Dr. Smyers succeeded in elevating music as a curricular subject, earned the respect of students, teachers, and administrators, and motivated all of us to work together. In retrospect, he was the right man for the right job at the right time.

Tacet ... for now.

Jazz and other forms of so-called "popular music" eased into school music very gradually. The highly rhythmic jazz, originating about 1910-1915 in the cheap saloons and brothels of New Orleans, was far removed from the traditional music literature of the school, church, and concert hall. As ragtime and blues became more refined, using a slower tempo and smoother rhythms, jazz began to spread to Chicago, New York, San Francisco, and other large cities.

The first performance of George Gershwin's "Rhapsody in Blue" in 1924 and the appearance of sophisticated arrangements by the "Tin Pan Alley" group of specialists helped to elevate jazz to a high level of respectability. The Symphonic jazz of Paul Whiteman's Orchestra, using some compositions from the standard concert repertoire along with expertly arranged sentimental ballads of the day, brought jazz even further into the mainstream of American music.

As the school band movement spread throughout West Virginia from 1930- 1950 and students became more proficient on their instruments, they wanted to play jazz. Since overtures, marches, and the like dominated the school band literature, jazz was considered an outside-of-school activity. Students would meet in a small group, usually in a member's home, where they practiced as often and. as long as the family and the neighborhood would tolerate. If and when they improved enough to play for school dances and community events, their efforts to win recognition from school officials and even the music teachers were achieved. Some instrumental teachers, themselves jazz players during college days, assisted the students and occasionally played with them.

Out of it all the present-day stage band gradually evolved. Its music requires a high level of technical proficiency, a keen sensitivity to its rhythmic demands, and a perception of current stylistic effects. Stage bands are now recognized ensembles in high school and college music education programs. Jazz, a generic name for all types of popular music, is established as an integral component of our musical heritage.

The first stage band festival in West Virginia was sponsored by Gorby's Music House in 1949. Eleven stage bands from Virginia, Ohio, and West Virginia participated. Information is sparse, but apparently these festivals met at Gorby's until 1962 when the Bandmaster's Association accepted an invitation for the stage band festival to be held at Morris Harvey College, now the University of Charleston. Some years later the festival was divided into northern and southern groups that now meet at various locations in the state.

Tacet ... for now.

Choral music - and instrumental music, too - was an extracurricular activity in most West Virginia high schools until the 1930s. There were few choral teachers except in the more affluent independent school districts of that time. As music gradually became a part of the high school schedule in the 1930s and 1940s, choral music was included as an elective subject, particularly in the larger high schools.

The choral literature, used in these early years was predominantly sacred. As popular music became more available through radio, sound movies, and recordings, the staid image of traditional choral literature was challenged. Just as the instrumental music students wanted to play jazz, the choral students wanted to sing popular music.

Respected composers of that time such as Jerome Kem, Sigmund Romberg, and George Gershwin were creating sentimental ballads that were attractive and appropriate - both in lyrics and music - for school study and performance. About this time Gene Austen and Rudy Vallee were introducing a vocal style known as "crooning" that has persisted for more than five decades. After crooners such as Bing Crosby and Perry Como not only elevated their singing style to its highest level but also achieved public acclaim through their personal lifestyles. The advent of the big band era also contributed to the popularity and acceptance of the new musical fashions.

In most instances the show choir was initiated by giving interested students the opportunity to sing in a select group. When they performed the immediate positive response gradually justified adding this group as an integral part of the choral program. The show choir of today is a production within itself, utilizing sophisticated lighting attractive costumes, choreography, an instrumental combo, and electric and electronic instruments ad infinitum.

Like the stage band, the show choir is now a recognized ensemble that represents the popular music idiom of the day. Since popular music and jazz have infiltrated all areas of living, including even religion, it must be recognized as a part of our musical heritage. Institutions of higher learning are realizing that teacher preparation curricula in music should include the organization and conducting of show choirs and stage bands as well as the traditional music groups. Unlike the mandolin clubs of the 1920s, popular music is here to stay, and our youth will enjoy hearing and producing it.

As the number of show choirs increased throughout the state during the 1970s students and their directors were anxious to bring the choirs together in a festival. This idea finally materialized in 1978 when the first show choir festival was held at Buckhannon-Upshur, High School. This festival has become so popular in recent years that the number of groups has to be limited.

Tacet - for now.

Since this is the 50th year of the WVMEA, it seems appropriate to review the names of those individuals who have served in the leadership position of president since 1936. That is the year the music teachers decided that they could be more effective in promoting and coordinating music education statewide if they had their own organization.

The status of this new organization was enhanced when it became the official affiliate of the Music Educators National Conference. Although progress was slow and difficult - as early past-prsidents will attest, the WVMEA now is a strong organization that is recognized for its positive influence on the youth of our state from kindergarten through graduate school. Here is the list of WVMEA presidents:

ONE-YEAR TERMS
1936 - Oliver Edwards, Wheeling
1937 - Frank Cuthbert, Morgatown
1938 - J. Henry Francis, Charleston
1939 - J. Henry Francis, Charleston
1940 - Christine Johnson, Charleston
1941 - Leonard Withers, Keyser
1942 - Elizabeth Shelton, Bluefield
1943 - Karl V. Brown, Spencer
1944 - Karl V. Brown, Spencer
1945 - (No meeting, no election)
1946 - Karl V. Brown, Spencer
1947 - Claren Peoples, Huntington
1948 - Miriam Gelvin, Huntington
1949 - Esther Cunningham, Parkersburg
1950 - Esther Cunningham, Parkersburg

TWO-YEAR TERMS
1951-53 - Clifford Brown, Morgantown
1953-55 - Clifford Brown, Morgantown
1955-57 - Harold Orendorff, Glenville
1957-59 - Richard Wellock, Fairrnont
1959-61 - Harold Ewing, Charleston
1961-63 - Saul Fisher, Buckhannon
1963-65 - Elinor Copenhaver, Huntington
1965-67 - Edward Wolf, West Liberty
1967-69 - Ronald Wood, Fairmont
1969-71 - Nels Leonard, West Liberty
1971-73 - Al Frey, Charleston
1973-75 - Glenn Goodwin, Elkins
1975-77 - Robert Wolff, Huntington
1977-79 - Patrick Fitzgerald, West Liberty
1979-81 - Arlie Turner, Parkersburg
1981-83 - Phyllis Osenton, Logan
1983-85 - Don Hamilton, Bridgeport
1985-87 - Harry Faulk, Fairmont

(Note: Since Dr. Brown wrote this article, the following
people have served as WVMEA president:)
1987-89 - Charles Martyn, Montgomery
1989-91 - James Pantle, Shepherdstown
1991-93 - Michael Roberts, Morgantown
1993-95 - David Bess, Morgantown
1995-97 - James Guerriero, West Liberty
1997-99 - Gary Marvel, Hedgesville
1999-01 - Richard Lemke, Huntington

The following list includes those individuals who served as "chairman" when music was a section of the State Education Association, now the West Virginia Education Association.
1920 - Lucy Robinson, Wheeling
1921 - Agnes C. John, New Cumberland
1922 - Clarence C. Arms, Clarksburg
1923 - J. Henry Francis, Charleston
1924 - Sarah E. Galloway, Clarksburg
1925 - Sarah E. Galloway, Clarksburg
1926 - Clarence C. Arms, Clarksburg
1927 - Clarence C. Arms, Clarksburg
1928 - Marie Boette, Parkersburg
1929 - Karl V. Brown, Terra Alta
1930 - Alta Cherrington, Huntington
1931 - Glenn Sallack, Beckley
1932 - Katherince A. Moore, Bluefield
1933 - Ruby Anderson
1934 - Gem Huffman, Spencer
1935 - Lucy Jackson, Charleston

If you know of any errors in the above listings, please send the correction to John L. Puffenbarger, P.O. Box 6, Buckhannon, WV 26201. Does anyone know where Ruby Anderson (1933) lived? Many thanks to past-chairman Marie Boette (1928), former member of the music faculty at West Virginia Wesleyan and currently a Parkersburg organist, for her kind assistance on the 1920-36 list.

The teaching of music in the elementary schools of West Virginia has been - and still is in some areas - quite vicarious. In 1849 Wheeling became the first independent school district in the state and was one of the first to include music in the elementary schools. By the turn of the century other independent districts such as Parkersburg, Charleston. Huntington, Ceredo, Morgantown, Fairmont, Ravenswood, Clarksburg, and Bluefield began to teach music to some extent. The control of the educational program by the local school board created great variation, not only in music, but in all subjects.

The philosophical principles initiated by Lowell Mason in the Boston schools in 1838 were used in many states, including West Virginia, to justify the teaching of music. Lucy Robinson, supervisor of music in the Wheeling schools, stressed the physical, mental, and moral values of music in a report to the State Education Association in 1897.

When a school board decided that music should be taught in the elementary grades, administrators were faced with the responsibility of finding qualified music teachers. What happened in most instances was the appointment of a special music teacher who, in some districts, was given the title of supervisor of music. This position might be compared to that of the traveling music teacher of today. As music gradually gained more recognition and as courses of study were developed. the classroom teachers began to teach what music they knew or traded the music class with a more talented colleague.

In rural schools of West Virginia there was almost no teaching of music prior to 1900. There were no statewide requirements and no institutions within the state offered preparation for teaching school music. In 1904 music was included for the first time in the state manual for elementary teachers. In that same year only eight music teachers were listed in the West Virginia Educational Directory, and all eight had obtained their preparation outside the state.

As more school districts included music in their elementary curriculum, music "courses of study" were developed for each of the eight grades. A further recognition of music was indicated when the state manual of 1914 listed an adopted text for music, the Congdon Music Reader. In many districts there were inadequate funds to hire special teachers, even if they had been available. (To be continued in a future column.)

In a prior column on the above subject it might be concluded that our forefathers of the early 1900s had little interest in music and education in general. But when information about the economic, social, and political circumstances is known, one becomes quite sympathetic. Similarly, when the history of education in West Virginia is written for the 1980s, the present generation might be accused of educational neglect. If it is reported that the economy was depressed, that the state had the highest unemployment in the nation, and that there were disastrous floods, our grandchildren would likewise be sympathetic. Therefore, it seemed appropriate to present the following information about the conditions that pertained to education in the early years of this century.

West Virginia has always been proud of its natural resources. The optimism of some of our early political leaders in predicting great wealth from our minerals and coal was gradually thwarted by the fact that industry substantially was owned and controlled by out-of-state interests. Educational development was of secondary concern to the non-resident owners; their primary objective was material gain. When the gravity of this situation was fully realized, a gradual apathy developed that was to persist for decades. Under these circumstances the quality of the teaching personnel and the educational leadership, with some exceptions, deteriorated. Thus, the "thorough and efficient system of free schools" authorized by the state constitution could not be inaugurated.

Moreover, World War I caused a major interruption and added to the struggle to provide a five or six-month school term along with unqualified teachers, poor salaries, agitation to teach agriculture, and other problems. In-fighting among educational factions and some politicians about the establishment of teacher- training instead of normal schools, whether knowledge should receive primary emphasis over method, control of teacher certification, attendance requirements, and numerous other problems kept education in a state of flux. A 1921 survey revealed that 4800 of 10,600 teachers had only an elementary education themselves! Except for the few affluent independent districts of the 389 in the state, an organized and sequential system of education was the exception. It was in the independent districts that music was introduced and ultimately accepted as an integral part of an elementary education.

Although teacher certification requirements adopted in 1929 included one or two college courses in music, rural school positions were filled by persons with only emergency or temporary certification. There were hundreds of one-room schools, some of which could be reached only by walking, where the limitations of some of the teachers were readily obvious. This writer visited a one-room school in the late 1940s that was being taught by a high school graduate of the previous spring who had completed only six hours of college courses during the summer. Why? No one else better qualified was available. Of course, there were some exceptional teachers in the rural schools, including some who loved music and taught it expertly. Of major significance to the teaching of music at this time was the publication of music series textbooks that provided graded songs, supplementary explanations, and teacher manuals.

The creation of the county unit plan by the legislature in 1933 obliterated the progress that had been made in the independent districts. Music supervisors and special teachers were eliminated overnight. With a salary cut of one-half or more to equalize salaries statewide, these highly qualified teachers sought positions in other states. Fortunately for music, the band movement in the towns and cities was generating a new interest that helped dispel some of the gloom of the great depression. After surviving World War I and a number of economic and environmental problems, the county unit plan began to operate effectively. Although much remains to be accomplished, music is now recognized as a basic component of the educational program.

Tacet - for now.

Each of us needs to recall occasionally the events that led to the introduction of music into the public schools. The early settlers were so occupied with their daily existence that more than a hundred years passed before any organized musical activity evolved. It was in the religious services where a small group began the singing of psalms. Publication of The Bay Psalm Book in 1640, the first book printed in British North America, gave great impetus to music in the church. The good singers grouped themselves together, forming a choir. The desire for improved performance and for more individuals to participate led to the establishment of the New England singing schools. The primary objective of these schools was the teaching and learning of music reading.

For the next 150 years the singing school was the most influential source of music learning throughout the East. My grandmother, born in Pennsylvania in 1858, only 20 miles from Morgantown, recalled quite vividly her attendance at a singing school in 1870. She sang some songs for me; she said she learned by the "fa-so-la's."

Contrary to widespread belief, Lowell Mason began teaching music to children in the grammar grades. He had taught extensively in the singing schools in the South prior to being responsible in 1827 for the music in three Boston churches. In 1836 Mason requested the Boston School Board to provide music instruction in the public schools. They did not accept his proposal, but released the following statement on the philosophical ideas of Mason concerning the values of music: "Intellectually, as an aid to memory, comparison, attention, and intellectual faculties. Morally, as leading to happiness, contentment, cheerfulness, and tranquility. Physically, as developing chest expansion and thereby strengthening the lungs and vital organs."

When the School Board did give approval for music, the city council would not grant the necessary funds. Mason then offered his services on a trial basis for one year. In 1838 a favorable report revealing the positive effects of music on the children prompted the Board to include music as a regular subject in the curriculum of the Boston schools. Other cities soon followed Boston's example.

As stated in a previous column, Mason's concepts were prevalent in West Virginia as revealed by Lucy Robinson, supervisor of music in the Wheeling schools, in a paper read to the State Education Association in Clarksburg in 1897. She claimed that unless music could be taught to serve as a valuable aid in the physical, mental, and moral culture of the pupil, it did not belong in the common schools. C.H. Congdon in 1914 likewise confirmed the cultural and disciplinary values of music. By 1920 music was included in most high schools in the independent districts and was being gradually introduced as a curricular subject irk their elementary grades.

Hannah M. Cundiff of Marshall College, co-author of the widely used School Music Handbook, and Lydia 1. Hinkei at West Virginia University had promoted music as a curricular subject and were teaching classroom procedures and techniques to prospective music teachers and supervisors. No one could have foreseen the quantity and diversification of the present school music programs. As for its quality, subjective evaluations differ.

Tacet - for now.

He was a pioneer in the development of school orchestras, a philosopher, author, administrator, editor, conductor, recipient of a doctorate, MENC president, and chairman and member of national educational and research groups too numerous to list. He was self-educated, was a high school dropout, never attended a college, but he was one of the most influential music educators in the nation through his years of teaching and writing from 1918 to 1956. Today's teachers may not know of him, but they probably are utilizing some of his philosophy and methods in their teaching.

Though this great leader, Dr. Will Earhart, was Director of Music from 1912 to 1940 in the Pittsburgh Public Schools, just seventy miles north of Morgantown, there is no record that he ever appeared professionally in West Virginia. However, a number of his proteges and students from his graduate classes at the University of Pittsburgh and Carnegie-Mellon became teachers and administrators in West Virginia and, of course, throughout the nation.

When Earhart was Supervisor of Music in Richmond, Indiana, 1898-1912, the Richmond High School Orchestra - which he had developed - performed at the Music Supervisors National Conference (later the MENC). The supervisors could not believe what they were seeing and hearing - probably the first high school orchestra in the nation to achieve symphonic proportions.

The excitement created by this orchestra motivated the supervisors to go back home with an enthusiastic attitude about school orchestra. Earhart became an immediate celebrity. In addition to orchestral music, Richmond was one of the first to give credit for high school music elective courses such as harmony, music history, and chorus. Within the next two decades, 1910-1930, the community orchestra movement accelerated, due in large part to the many disciples of Will Earhart.

School orchestras did not exist in West Virginia before 1900. The first orchestras organized after the turn of the century have been called "private" groups, apparently because the students of private teachers were the nucleus. They really were community orchestras with adult musicians, private teachers, and school students joining together. In some areas there were recent immigrants from Europe who were quite skilled, and for whom music was integrated into their cultural background. They were anxious to play traditional European and American compositions. These community orchestras would usually perform at civic events, school assemblies, graduation exercises, and drama productions.

One of the earliest known performances of a school orchestra was by the Charlestion High School Orchestra at the State Education Association meeting in Charleston in 1910. J. Henry Francis, supervisor of music in Charleston, was the conductor. It is recorded that Morgantown High School was also attempting to organize an orchestra about this time.

Orchestras were started in Moundsville High School under the direction of Mary Nesbitt, supervisor of music. and in Huntington High School. director unknown, in 1915. A couple years later orchestras were organized in the Parkersburg junior and senior high schools. The Triadelphia District (Wheeling) established an orchestra in 1919 under the direction of Bess McGranahan, supervisor of music. It is obvious that only the large high schools in the independent districts had enough students studying with private teachers to form an orchestra.

Information on the size or instrumentation of these school and community orchestras is unknown. It would be interesting to know - but what's the difference? Music groups start with what is available and then discriminately develop quality and quantity. One can conclude, however, that stringed instruments dominated, possibly including some mandolins, in producing the traditional orchestral timbre.

In 1927 the first All-State Orchestra organized by Glenn Sailack of Beckley, Karl Brown of Terra Alta. and J. Henry Francis (who was also the conductor), performed at the State Education Association Meeting in Charleston. Interest in orchestra was spreading as shown by the fact that 143 students participated in the 1931 All-State Orchestra from the following twenty-four schools: Beckley, Buckhannon, Charleston, Dunbar, Elkview, East Bank, Elkhorn, Fairview, East Fairmont. Huntington, Morgantown, Mark Twain at Stocesbury, Montgomery, Martinsburg, Parkersburg, Pennsboro, Poca, St. Marys, Spencer, St. Albans, Triadelphia, West Union, Weston, and Wheeling.

(WVMEA Historian Clifford Brown has invited Patricia Ann Green, Associate Professor of Music at Marshall University to be guest columnist for the All-State Orchestra history.)

My first memory of the West Virginia All-State Orchestra was when it met in Huntington on 13 November 1942. 1 had just turned twelve years of age and was asked by Mr. Leland Arnold, Cabell Country string instructor, to play in the All-State Orchestra. I didn't understand why I was asked to play, except that maybe they needed extra string players, and a number of junior high students from the Huntington area were asked to play. I remember being very excited and still recall how I loved the big, beautiful sound - or at least I thought it was beautiful at the time - an orchestra trade and the thrill of being a part of that sound. The conductor was Dr. John Warren Erb of New York University. At that time the All-State Orchestra was held in conjunction with the West Virginia Principals' Association meeting.

The orchestra members that year received a card with a picture of the orchestra in lieu of the usual orchestra pin. This was done to conserve essential metal for the war effort - World War 11, that is. I still remember the tryouts for the first chair; it made quite an impression upon me at the time. Only the first four chairs were placed by tryouts; the instructors placed the rest of the students. I am sure this was due to lack of time - time which was needed to rehearse. Mariam Wheeler of Huntington High was placed in the first chair, and our own David Becker of Huntington East, now Cabell County supervisor of music, was placed in the second chair. I personally made up my mind at that time that one day I would sit in that first chair position.

The All-State Orchestra was discontinued for several years because of World War II. The next All-State Orchestra I remember was the 15th annual concert held at the Ramsey Auditorium in Bluefield on Friday, 5 April 1946. Dr. John Warren Erb was again the orchestra director for the concert. The program included: Overture to Iphigenia in Aulis by Gluck, "Lucio Silla" by Mozart, "Andante Cantabile" by Tchaikovsky, "Malaguena" by Lecuona, "Cripple Creek" by Stringfield, and "Finiandia" by Sibelius. This was quite a program to put together in three days, since the orchestra had no extra rehearsals. I remember how I personally loved the long rehearsals of intense practice. I felt a real sense of accomplishment.

Schools and instructors represented in this concert were: Beckley, Glenn Sallack; Burnsville, Autumn Amos; Charleston, Christine Johnson; Charleston Stonewall Jackson, Julian Spencer; Clarksburg Washington Irving, Mr. Mayer; Clendenin and Elkview, Dewey Canfield; Elkhom, Elizabeth Jackson; Harrisville, C.C. Arms; Huntington and Huntington East, Leland Arnold; Middleboume, Van Hom; Northfork, W.J. Skeat; Parkersburg and Parkersburg DeSalle Academy, Gladys Sorsby; Spencer, Karl Brown; St. Marys, Mrs. W.B.J. Corrnany; Terra Alta, Mrs. McConnell; War, William Skeat; Welch, Mr. Wade; Wirt County, Evelyn Newhart; South Charleston, Mr. Raspellaire.

I noticed in the program, while working on this article, that internationally known composer George Crumb played clarinet in this All-State Orchestra. I also noticed that a number of orchestra directors also prepared students for the All-State Chorus. These included Elkhom, Elizabeth Jackson; Harrisville, C.C. Arms; Spencer, Karl Brown; Wirt County, Evelyn Newhart; and Beckley Woodrow Wilson, Glenn Sallack. (To be continued).

The 16th annual All-State Orchestra concert was held in the Morgantown High School Auditorium 18 April 1947 with Dr. John Warren Erb again as director. I had the privilege of being concertmaster for the orchestra that year, and I remember that Dr. Erb needed help to step on and off the podium because of his advanced years--BUT--he was still able to "crack the whip," and did we work! The program that year was: Overture to Egmont by Beethoven, Prelude to Hansel and Gretel by Humperdinek, "Karelia Suite" by Sibelius, "Minuetto in Bb" by Bolsoni, "Minuet in G" for string choir by Valensin. and the "Procession of the Grail" from Wagner's Parsifal.

As I consider the schools and teachers represented, I have fond memories of outstanding teachers who left strong impressions on me because of their musicianship, integrity, love for music, and their love, concern, and patience for music students leaming the art of making music. These persons included Glenn Sallack of Beckley; Richard Wellock of Beaver High, Bluefield; Frank Gelber of Parkersburg; Karl Brown of Spencer; C.W. Brown of University High, Morgantown; and John Brisbane of St. Marys.

At that time I did not know that in 1952 and 1953 1 would be preparing students from St. Marys High School for All-State Orchestra. Schools represented in the orchestra for 1947 were: Beckley (Glenn Sallack), Beaver, Bluefield (Richard Wellock), Charleston (John Hiersoux), Stonewall Jackson (Julian Spencer), Washington Irving, Clarksburg (Henry Mayer), DuPont (L.L. Carson), EMns (C.H. Siedoff), Elkhorn (Elizabeth Jackson), Huntington East (Leland Arnold), Huntington (Leland Arnold), Parkersburg (Frank Gelber), Morgantown (Enunet Sinnnons), University, Morgantown (C.W. Brown), Sistersville (E.E. Van Horn), South Charleston (O.E. Raspellaire), Spencer (Karl Brown), St. Marys (John Brisbane), Terra Alta (Mrs. McConnell). I remember that only schools which had string players could enter students who played brass, woodwind, and percussion instruments.

As stated, my next acquaintance with the All-State Orchestra was as an instructor. After those two years I had very little connection with the orchestra except as a listener. It is common knowledge that the orchestra-- particularly strings--hit bottom for a few years, but with the resurgence of strings throughout the country and the hard work of dedicated string and orchestra directors throughout the state it has more recently made steady progress - year after year.

Today's music teachers may not realize how much non-school groups have contributed to the development of music education. One of the earliest and most influential groups was the West Virginia Federation of Music Clubs. It was organized in Clarksburg in 1917 under the auspices of the Marcato Music Club "to stimulate an interest in good music and the encouragement of musical education and native creative talent." An early convention program of a meeting in Parkersburg reveals extensive efforts to establish artist bureaus and to study public school music credit systems, community and municipal music, American music, and programs by club members and guest artists.

By 1919 the following local clubs were organized in the state: Charninade Club, Welch; Buckhannon Music Club, Buckhannon: Fairmont Choral Society, Fairmont; Madrigal Club, Grafton; Music Teachers Association, Clarksburg; Music Department of Women's Club, Parkersburg; Weston Music Club, Weston; Woman's Music Club, Grafton; and Woman's Music Club, Morgantown. By 1929 there were eighty-eight clubs in the state with a total membership of approximately 2500. State contests in piano, voice, violin, high school orchestra, glee club, band, church choir, and composition had evolved. The total membership by 1954 was approximately 3000.

In 1958, with the American Music Conference and the National Recreation Association, the Federation sponsored National Music Week. West Virginia is the only state to have received an annual individual scholarship from the National Federation of Music Clubs for opera coaching. The recipient studied under Boris Goldovsky, who directed the Oglebay Institute Opera Workshop in West Liberty and Wheeling. J. Henry Francis, one of the organizers of the WVMEA, was somewhat of a catalyst between the Federation and the public schools when he served as Director of Music in the Kanawha County Schools. He was a long-time member and officer in the Federation along with being involved in statewide activities of the WVEA.

The music clubs have spearheaded activities and projects in schools and communities, developed music contests, raised funds for scholarships or other student assistance, provided music in hospitals, grassroots opera, music in industry, folk music, and sacred Music. We owe a debt of gratitude to those dedicated individuals who helped to establish music as an integral part of school and community life throughout West Virginia.

[Much of this information about the Federation of Music Clubs was extracted from the West Virginia University doctoral dissertation of Owen West, formerly a member of the music faculty at West Virginia Wesleyan.]

Brown had been a leader in West Virginia music education since joining the faculty at West Virginia University in 1945. He was instrumental in re-organizing the WVMEA into its present structure, and from 1952-1955 he served as the first president of the new WVMA. Cliff also provided much of the leadership that led to the founding of NOTES A TEMPO with Walter Coplin as the first editor.

He served as chair of music education at WVU until he became assistant dean of the College of Creative Arts in 1966, a position he held until his retirement in 1974. At the time of his death he was serving, the WVMEA as historian. Cliff was responsible for seeing that the official WVMEA archives were organized in the West Virginia Collection of the WVU library.

His wife, Carolyn Henderson Brown, taught for many years in schools in Uniontown, Pennsylvania, and in Monongalia County. She, too, was very active as an educator and was well known throughout the state.

Memorial services were held at 11 a.m. Friday, 18 November in the First Presbyterian Church of Morgantown. Interment was in the Oak Grove Cemetery, Uniontown. Survivors include two daughters, Mrs. Susan Hardesty of Ripley, WV and Ms. Nancy Grayson of Spring, TX. and three grandchildren.

The WVMEA and West Virginia music education owe a great debt to Cliff Brown and his work. He and his wife will be missed.