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Theses & Dissertations Boston University Theses & Dissertations

2013

Fiorello H. LaGuardia High School

of Music and Art and Performing

Arts: a history

https://hdl.handle.net/2144/10926 Boston University

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COLLEGE OF FINE ARTS

Dissertation

FIORELLO H. LAGUARDIA HIGH SCHOOL OF MUSIC AND ART AND PERFORMING ARTS: A HISTORY

by

PERIS WYN ALBAN

G.R.S.M., The Royal Academy of Music, London, 1984 M.M., Manhattan School ofMusic, Manhattan, 1986

M. Theo. Studies (Church Music), Trinity Lutheran Seminary, 1993 Ed. M., Teachers College, Columbia University, Manhattan, 2005

Submitted in partial fulfillment ofthe requirements for the degree of

Doctor of Musical Arts 2013

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First Reader

r. Audrey Ber er Cardany, Ph.D. Professor of Music Education

Peabody Institute of the Johns Hopkins University

Second Reader

Dr. Andrew Goodrich, D

Associate Professor of Music Education

Third Reader

Dr

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1vever, never, never gzve up.

A word of gratitude is extended to my original advisor, Dr. Patrick Jones. It is because of your unending support and encouragement that I have completed this

incredible journey. Dr. Jones, please know that I will never forget your tireless efforts on my behalf when it seemed this dissertation topic would not proceed as planned after Residency in August 2009. To my cunent advisor, Dr. Audrey Cardany, thank you for joining me on this journey. Thank you for your countless hours of reading, editing, and proof-reading. Not such an easy task when working with someone whose first language is not English. You taught me how to identify passive voice and you forced me to re-write those sentences with clarity and precision, a task that often lead to frustration and celebration when I got it right. But most impmiantly, thank you for your never-ending vision and cetiainty that I would finish this study. I extend my gratitude to both Drs. Goodrich and Bunbury as well who served on my dissertation committee. I must also acknowledge Dr. Susan Conkling, Professor and Fonner Chairperson of the Online Music Education Department at Boston University's College ofFine Arts. Your constant behind the scenes support especially during my transition from one advisor to another is much appreciated.

A study of this magnitude did not materialize without the willingness of countless people to share with me their experiences having attended one (or more) of the three schools that are the topic of this study. Thank you for answering my questions and for

1

Adaptation from Winston Churchilrs speech to students at Harrow School after the London Blitz on October 29, 1941.

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Kosakoff, your door was always open to me, and you graciously shared invaluable

information regarding the HSMA's early years and those long transition years. Thank you for your years of dedication to the school. Stephanie Del Valle, your mother would

be proud of you. Thank you for sharing with me treasured documents that your mother kept. Thjs study would be the poorer had it not been for you rummaging through your

mother's attic. Richard Lewis, you provided me materials from the HSMA's early years

including numerous copies of Overtones, and a copy of Aaron Copland's description of

how he came to compose An Outdoor Overture for the school's senior orchestra. Dr.

Albert Glinsky, thank you for being such a "pack rat." I am indebted to you and your family for opening your home to me for a two day visit so I could pour through materials

you kept from the HSMA from 1967 to 1970. Andrew Galambos, thank you for sending

me pictures of your time at the HSMA during the late sixties. My only regret is that I could not use more of them. Eric Riback, thank you for sharing the HSMA's underground

student newspapers with me. I had no idea about their existence until we met. Fred Ost, thank you for putting me in touch with so many of your classmates. They had incredible

stories to share.

Dr. Marjorie Dycke, words cannot express my sincerest gratitude for all your assistance in providing me a wealth of infonnation concerning the SPA. You knew Dr. Keller, and your mind is as sharp today as it was in 1948 when you established SPA's drama department. My hope is that I have kept SPA's integrity intact. Barry Plaxen,

thank you for answering question after question and helped me verify facts conceming

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with me and for putting me in touch with several SPA alumni. I hope your documentary will be ready soon. Steve Lewis, thank you for sharing information with me concerning the SPA when I was in the beginning stages of this research. Your assistance was

invaluable. Jonathan Strasser, I appreciate the copies you sent me of existing SPA concert programs. I wish there could have been more. Hana Dubin, I am so glad you've kept all copies of LaGuardia Update, from its inception in the fall of 1983 to the present.

Gratitude must also be given to Steve Asher, who served as Executive Director of the A&F Association when I began my research in 2009. Your willingness to share material that was not available anywhere else is duly noted. Barbara Engel, you continued to keep the A&F's door open to me when you succeeded Steve Asher as Executive Director in 2010. I owe you a debt of gratitude for your willingness to share with me infonnation you discovered at the office concerning the HSMA and the eventual relocation ofboth schools to Lincoln Center.

I am indebted to David Ment, who works at the Municipal Archives in New York City. Thank you for those countless hours you helped me locate an obscure document that was so vital to my study. I am indebted to you and your staff for assuring I had boxes and boxes of documents transpmied from Brooklyn to the Municipal Archives site in Manhattan so I could sift through them. I understand my name was quite well-known in Brooklyn by the end of summer 2010. Gratitude is also given to Douglas DiCarlo, Director of the LaGuardia and Wagner Archives at LaGuardia Community College in Long Island City, for his assistance in securing photos of the young LaGuardia.

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when to bug her. Since I started my doctoral journey you too have reached milestones in your own lives. Samuel, as a West Point graduate, I am immensely proud of you and your willingness to serve and protect our country. Thank you. I do breathe a sigh of relief that you are now in the States and not in Afghanistan. Kate, your passion for music surpasses my own. You will be an incredible music teacher. There are countless children waiting for you to share your love of music with them. Have at it my dear. Paul, you always kept me on my toes as a parent and still do. However, I am overwhelmed when I see you perform on stage. The range of emotion and empathy you provide your characters is astounding. The theater is truly your home. Rachel, the house will be empty when you leave for college in August. Your siblings have paved the way for you, and I have no doubt that you will leave your artistic mark on the world. There is a plot ofland somewhere waiting for you to tum it into a beautiful architectural structure.

Two other people deserve special mention for their unending support and understanding throughout this doctoral journey of mine. The first is my mother, who never complained that I did not return home to Wales to visit family during vacation, but encouraged me instead to finish my study, "Mi gei di ddigon o wylia ar ol gorffen."2 And Tinney, who kept the home going when I was bmied in documents and glued to the computer. 1 am truly indebted to you. I could not have done this without you. You kept me going when 1 wanted to give up. For that little extra push, I am truly grateful.

2

··You will have plenty of time for vacation after you finish." lola Alban for the past three and then some years.

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ART AND PERFORMING ARTS: A HISTORY

(Order No. )

PERIS WYN ALBAN

Boston University College of Fine Arts, 2013

Major Professor: Audrey Berger Cardany, Ph. D., Professor of Music Education, Peabody Institute of the Johns Hopkins University

ABSTRACT

The Fiorello H. LaGuardia High School of Music and Art and Perfmming A1is in New York City was fonned through a merger of two existing mis high schools in 1961--the High School of Music and Art and School of Perfmming A1is. Although the High School of Music and Ali's history has been well documented, no studies have

documented the histories of the School ofPerfmming Arts and the Fiorello H. LaGuardia High School of Music and Art and Performing A tis. Therefore, this concise history of the development of the Fiorello H. LaGuardia High School ofMusic and A1i and Perfonning Arts in New York City fills a gap in cunent historical literature.

Research questions focused on ( 1) the founding of the two independent

perfonning arts high schools and their amalgamation into the Fiorello H. LaGuardia High School of Music and Art and Perfonning Arts; (2) key personnel and their role in

facilitating the merger; (3) the shaping forces of the philosophies/missions/visions of the two independent high schools on the Fiorello H. LaGuardia High School of Music and Art and the Perfonning Aiis; (4) how the music curriculum of the High School of Music and Art and School of Performing Arts helped shape the music curriculum of the Fiorello

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musical activities throughout the school's history.

Research methodologies included consulting primary and secondary sources and interviewing fonner and current administrators, students, alumni, friends, and other key persmmel from each of the three schools.

I discuss music education challenges with implications for music educators and administrators, as well as political leaders and members of communities at large engaged in providing education at similar mis high schools. From the schools' rich independent beginnings to their turbulent transitional years, where the amalgamation and relocation took nearly a quarter century to complete, the school remains a model for subsequent specialized arts high schools in the nation.

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ACKNOWLEDGMENTS IV

ABSTRACT vm

TABLE OF CONTENTS X

LIST OF TABLES XV

LIST OF FIGURES XXI

CHAPTER ONE: INTRODUCTION AND BACKGROUND

Literature Review 3

Histories of Music Education in Primary and Secondary Schools 16

New York City's Specialized High Schools 20

Literature Related to HSMA, SPA, and the Merged School 27

Rationale for the Study 34

Purpose of the Study 38

Research Questions 3 8

Limitations ofthe Study 39

CHAPTER TWO: PROCEDURES 40

Restatement of Purpose 45

Research Questions 45

Introduction ofTechniques and Sources 46

Techniques 48

Source Material 50

Method of Investigation 57

Recording the Data 59

Timeline and Stages for the Study 59

Qualifications of Researcher 61

Researcher Biases 62

CHAPTER THREE: HIGH SCHOOL OF MUSIC AND ART: 1936-1961 64

Genesis of the High School of Music and A1i 66

John F. Hylan 67

Hylan's Role in the HSMA's Genesis 68

Phillip Berolzheimer 69

Initial Proposals for a Specialized Arts Public High School 69

Fiorello H. LaGuardia 73

Brief Biographical lnfonnation 74

LaGuardia·s New York City Mayoral Election 79 Founding of the High School of Music and A1is: 1934-1936 80

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HSMA's Anticipated Curriculum 87

Admissions 89

HSMA's First Year: 1936-1937 90

HSMA: Dedication Ceremony 90

Administration and Faculty 93

Purchasing Instruments and Musical Supplies 94

"The Castle on the Hill" 95

HSMA' s Experimental Status Completed 100

The HSMA's First Year Report 101

The High School ofMusic and Art: 1937-1961 107

Amended Admissions Procedures I 08

HSMA Recruitment 11 0

The HSMA's First Principal 111

BriefBiographical Infom1ation 111

Steigman's Leadership 114

Music Department Faculty and Personnel 117

The HSMA's Academic Courses 121

Establishment ofthe HSMA Music Curriculum 124

Second Year Music CmTiculum 129

Third Year Music CmTiculum 130

Senior Year Music Cuniculum 132

Music Honor League and Arista League 134

The HSMA's Performing Ensembles and Semi-Annual Conce1is 134 Memorial ConceJi, Milestone Concerts and

Concerto Competition 150

A Memorial Concert 150

Tenth Anniversary Concert 151

20th Anniversary Semi-Annual Conce1i 153

Silver Anniversary Concert 153

Concerto Competition 154

Connecting the HSMA with Professional Musicians, Conductors,

and Composers 1 55

Renowned Conductors 160

Professional Perfonners 167

Extra-Cunicular Music Activities 170

The HSMA Diploma and Rep01i Cards 172

Graduation Ceremonies 172

Notable Graduates 176

The HSMA Modemization I 8 I

Relocation and Merger Discussions 183

William Schuman's Shocking Proposal 188

Business As Usual at the Castle I 90

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Benjamin Steigman's Retirement 196

Louis K. Wechsler, Principal: 1959-1968 199

Proposal for a Perfonning Arts High School in Lincoln Square 201

Official Merger of the HSMA and SPA 203

Summary 204

CHAPTER FOUR: SCHOOL OF PERFORMING ARTS: 1948-1961 209

Genesis of the School of Performing Arts 214

Metropolitan Vocational High School 214

Franklin J. Keller 217

Origin ofMetropolitan Vocational High School's Music Program 219

Music Faculty 223

Music Curriculum at Metropolitan Vocational High School 223

Metropolitan Vocational Chmiered for Academics 226

Founding of the School of Perfonning Arts: 1944-1948 228

First Round of Auditions 244

School of Performing Arts: 1948-1961 245

SPA's First Graduation Class 248

SPA Administration and Faculty 249

Franklin J. Keller as Principal 249

Teacher-in-Charge 251

SPA Music Faculty 253

SPA's Curricula 255

Academic Program 256

Music Cuniculum 260

End of Year Projects and Class Perfonnances 267

Extra-Cunicular Musical Activities 269

SPA Parents Association 272

Building Renovations 276

BOE Promised to Continue Supporting SPA 278

SPA's Successful Graduates in the Professional Field 279

Relocation Rumors 283

SPA's Future 292

Relocation and Merger Discussions 295

Parents Association and Advisory Commission's Opposition 298

SPA Severed from Metropolitan Vocational High School 307

Summary 308

CHAPTER FIVE: ONE ORGANIZATION: TWO INDEPENDENT SCHOOLS:

1961-1984 313

High School ofMusic and Ati: 1961-1982 313

Administration and Faculty 3 14

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Jazz Curriculum 326

Performances at the HSMA 329

Commencement Exercises 336

The Late 60s and Early 70s 339

Institutional Green 348

Internal Unrest 350

December 1969 Semi-Annual Concert 364

Gospel Choir 366

Class of 1970 Commencement Exercises 368

High School of Music and Art: 1982-1984 370

Auditions under Attack 3 71

Excess ofTeachers 372

Commencement Exercise: June 1984 375

Summary 376

School of Perfonning Arts: 1961-1982 3 77

Administration and Faculty 380

Music Faculty 381

Music Curriculum 383

Concerts 386

Alumni Organized Benefit Concerts 388

SPA's 25111 Anniversary 388

Budget Crises 391

Fame: The Movie 394

Parents Association 397

School ofPerfonning Arts: 1982-1984 400

Audition Requirements 401

Relocation Announced 403

Summary 404

Challenges of Merging the Independent Schools 406

Naming the Merged School 408

Administration and Music Faculty 415

Merger of the Two Music Departments 417

Constmction 422

Cornerstone Installation Ceremony 431

Walk Through 435

Relocation to Lincoln Center 436

Budget 437

Alumni Association 441

Summary 448

CHAPTER SIX: THE FIORELLO H. LAGUARDIA HIGH SCHOOL

OF MUSIC AND ART AND PERFORMING ARTS: 1984-2011 451 XIII

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Saronson as Principal Music Faculty

The School's Dual Mission: An Arts and Academic Education Admissions Criteria Amended

School Performances

Life at LaGuardia Arts HS: 1984-2002

The HSMA Celebrates 50 Years: 1986 and 1990 SPA Celebrates 50 Years: 1948-1998

September 11, 2001 Commencement Exercises LaGuardia Arts HS: 2002-2011 Administration and Faculty

Bruno, BriefBiographical Background Bruno as Principal

Music Faculty School Auditions

Academic and Music Cuniculum Academic Curriculum Music Curriculum Comprehensive Education Plan School Performances

Commencement Exercises and Notable Alumni LaGuardia Arts Milestones

Alumni and Friends Association Parents Association

Smnmary

CHAPTER SEVEN: DISCUSSION Research Questions

Timeline of Events Summary

Contributions to Music Education Potential Future Research

APPENDIX A: BOSTON UNIVERSITY JRB APPROVALS APPENDIX B: NYCDOE IRB APPROVALS

APPENDIX C: LAGUARDIA ARTS HIGH SCHOOL APPROVALS APPENDIX D: THE NEW YORK PUBLIC LIBRARY FOR THE

PERFORMING ARTS APPROVAL BIBLIOGRAPHY: VITA XIV 466 470 477 487 490 496 502 503 505 505 511 512 513 516 521 526 532 535 537 545 551 567 573 578 585 589 591 594 606 611 618 620 622 626 630 632 633 650

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Table 1: Specialized High Schools Established 1982 - 2006 24 Table 2: Applicants and Accepted Students at NYC's Specialized High Schools 26

Table 3: Members of the Music Sub-Committee 84

Table 4: Members of the Evaluative Group 87

Table 5: The HSMA Music Faculty 93

Table 6: Richter's Purchase Requests for the Music Department 94

Table 7: Music Applicants and Admitted Students 103

Table 8: Number of Student Failures of Academic Subjects I 05

Table 9: The HSMA Music Faculty 118

Table 1 0: Relationship Between Music and Academic Depmiments 124 Table 11: Required music textbooks for Freshmen Students 128 Table 12: List of Scores Studied in Perfonnance Classes 128

Table 13: First Year Solo Vocal Repertoire 129

Table 14: Textbooks Used by Third Year Students 131

Table 15: Repetioire Perfonned by the Senior Orchestra 138

Table 16: Repetioire Perfonned by the Senior Vocal Ensemble 140 Table 17: Joint Senior Orchestra and School Chorus Repertoire 142 Table 18: Semi-Annual Concerts Without Contemporary Compositions 145 Table 19: Semi-Annual Conceti 21st Birthday Celebration 148

Table 20: Compositions Dedicated to the HSMA 1 54

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Table 22: Notable Perfonners Who Visited the School 168

Table 23: Successful Musicians from the HSMA 1 77

Table 24: Successful Alumni in the Music Profession 179

Table 25: Music Faculty Members 1958-1959 191

Table 26: Music Faculty in March 1961 182

Table 27: Members of the Advisory Commission on Vocational Music 225

Table 28: Members of the Advisory Commission 232

Table 29: Music Professionals on the Advisory Commission's Committee 232 Table 30: Advisory Commission Members Present on December 27, 1945 234 Table 31: Music Faculty Members From September 1958 to 1961 253

Table 32: Model Academic Outline 258

Table 33: Conce1ios Performed at Town Hall 272

Table 34: BOE Members Instrumental in Establishing the School 273

Table 35: Graduates ofthe SPA 1948-1958 280

Table 36: Colleges and Universities Attended by SPA Graduates 282

Table 37: Perfonning Groups with SPA Graduates 283

Table 38: Advisory Commission's Four Proposals to the BOE For the Continued Success of SPA

Table 39: Pe1isch's Committee Members

Table 40: Pe1isch's Three Recommendations for SPA's Future Table 41: Positive Feedback to the Three Recommendations

XVI

284 285 286 287

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Table 43: HSMA Music Faculty for Fall 1961 Semester 320 Table 44: HSMA Music Faculty for Fall.1967 Semester 321 Table 45: HSMA Music Faculty for the 1973-1974 Academic School Year 325 Table 46: Senior Orchestra Semi-Annual Repertoire 330 Table 47: Concertos Performed at the Semi-Annuals 332

Table 48: Senior Orchestra and Chorus Repertoire 332

Table 49: May 1969: Senior Wind Ensemble Repertoire 333

Table 50: Orchestra VI Concert May 28, 1968 334

Table 51: Orchestra VI Concert May 28, 1969 334

Table 52: Repertoire Perfonned at the Proclamation-Ceremony and Concert 335 Table 53: Commencement Exercises Programs (1963 and 1964) 337 Table 54: African and Jazz Music at the December 1969 Semi-Annual 365 Table 55: June 1974 Semi-Annual Conceti Gospel Choir Repetioire 366 Table 56: Music Perfonned at the 1970 Commencement Exercises 369 Table 57: Music Perfonned at the 1984 Commencement Exercises 3 75 Table 58: Music Faculty Members for the 1961-1962 Academic School Year 381 Table 59: Music Faculty for the 1962-1963 Academic School Year 382 Table 60: Music Faculty for the 1971-1972 Academic School Year 3 82 Table 61: Music Faculty for 1978-1979 Academic School Year 3 83

Table 62: Symphonic Band Concert Repertoire 386

Table 63: Symphony Orchestra Concert Repe1ioire 387

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Table 65: Construction Companies, Responsibilities, and Cost of Construction

Table 66: Invited Guests for the June 18, 1984 Walk-Through of the New School

Table 67: Alumni and Friends Committee Board of Directors Table 68: All Board Members Spring 1983

Table 69: Advisory Board's Intetim Board of Directors on the Alumni Committee

Table 70: Advisory Board Members on the Alumni Committee Table 71: Participants at the May 23'd Meeting

Table 72: Estimated Construction Costs for the School Between 1959 and 1986

Table 73: LaGuardia Atis HS Music Staff Members, 1984-1985 Table 74: LaGuardia Atis HS Music StaffMembers, 1992-1993 Table 75: LaGuardia Arts HS Music StaffMembers, 1997-1998 Table 76: Symphonic Band Concert Repertoire April 10, 1992 Table 77: Concerto Repertoire for 1991, 1999, and 2001 Table 78: Senior Orchestra Repetioire and Joint Finale 1995 Table 79: Millennia! Semi-Annual Concert, June 10, 2000 Table 80: Gospel Chorus Conceti December 18, 1993

Table 81: Class of 1986 Commencement Exercises Repertoire

XVlll 429 436 442 442 443 443 447 459 471 475 476 490 491 492 494 495 507

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and Recessional Music

Table 83: Commencement Exercises Recessional Music

509

Repertoire 1993-2002 510

Table 84: Music Faculty for the 2002-2003 Academic Year 522 Table 85: Music Faculty for the 2010-2011 Academic Year 525 Table 86: Recommended Song List For Vocal Auditions 528

Table 87: LaGuardia Atis Budget 533

Table 88: Instrumental Music Student's Sample Sequence Over Four Years 538 Table 89: Instrumental Music Department Performing Groups 539 Table 90: Vocal Music Student's Sample Sequence Over Four Years 540

Table 91: Music Department Electives 541

Table 92: School Enrollment from 2007-2010 546

Table 93: Number of Students with Services in a Resource Room

Between 2007 and 2010 546

Table 94: English Language Learners Attending Between 2007 and 2010 547 Table 95: LaGuardia Symphony Orchestra Select Repertoire 2003-2011 552 Table 96: LaGuardia Symphony Orchestra and Chorus Semi-Annual

Concerts 2003-2011

Table 97: Concerto Conceti Repertoire Between 2005 and 2011 Table 98: Gospel Choir Concert Themes, 2003-2011

Table 99: Select Repetioire of the Show Choir Between 2006 and 20 I I

XIX

554 556 557 558

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Table 101: Senior Jazz Band Repertoire From 2007 to 2011 Table 102: Opera Workshop Performances

Table 103: Musical Theater Productions From 2003 to 2011 Table 104: Musicales Perfmming Ensembles May 2011

Table 105: Distinguished Artists as Keynote Speakers 2003-2010 Table 106: Processional Music Selections for Commencement

Exercises 2003-2010

Table 107: LaGuardia Arts HS Notable Alumni

Table 108: Instrumental Music Show Case Schedule December 2, 2009 Table I 09: Vocal Department Show Case Schedule December 3, 2009 Table 110: Parents Association June 2011 Annual Income

Table 111: Parents Association Expenses for 2010-2011 Table 112: Music Studio Income Sources for 2010-2011 Table 113: Music Studio Expenses for 2010-2011

XX 561 564 565 566 568 568 571 575 576 586 586 587 588

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Figure 1: John F. Hylan Figure 2: Philip Berolzheimer

Figure 3: Mayor LaGuardia speaks over WNYC on Grade A milk From Budget Room

Figure 4: Young Fiorello H. LaGuardia with his comet, June 1894, Prescott, Arizona

Figure 5: Toscanini Bust

Figure 6: The High School ofMusic and Art

Figure 7: Main entrance of the High School of Music and Art Figure 8: Portrait ofBenjamin Steigman

Figure 9: Benjamin Steigman's Gold Cufflinks Figure 10: Louis K. Wechsler

Figure 11: Franklin J. Keller

Figure 12: Schoo 1 of Perfonning Arts Figure 13: Frank H. Paine

Figure 14: Richard Klein

Figure 15: 25111 Anniversary Gala Program Figure 16: A&F Association Logo

Figure 17: Mayor Edward I. Koch, Ribbon Cutting Ceremony Figure 18: Milton Glazer's Banner

Figure 19: Paul Saronson

XXl 68 69

74

76

92 97 97 112 198 199 217 242 251 315 391

445

452 453

465

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Figure 21: Kim Bruno

Figure 22: LaGuardia Arts Logo

XXII

513 573

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INTRODUCTION AND BACKGROUND

We must make the arts central in school curricula because encounters with the arts have a unique power to release imagination. Stories, poems, dance performances, concerts, paintings, films, plays--all have the potential to provide remarkable pleasure for those

willing to move out toward them and engage with them.3

The Fiorello H. LaGuardia High School of Music and Art and Performing Arts (LaGuardia Arts HS) is an exemplary school where the mis, in particular music, are central to its curriculum. LaGuardia A1is HS in New York City was merged from two existing arts high schools in 1961, namely, the High School of Music and Art (HSMA) and the School ofPerfonning Arts (SPA). Related literature regarding the HSMA and SPA is included in this dissertation to provide imp01iant context for the current school as it continues to provide an mis education to talented and gifted students. No studies to date

have chronicled the histories of the SPA and LaGuardia Arts HS. Therefore, this study

provides that concise history and addresses LaGuardia's place in the history of schools

dedicated to music. These schools include conservatories, universities, and secondary and

elementary schools.

A review of institutional histories in music education revealed two categories,

primary and secondary schools, and post-secondary institutions. Hist01ies of music

education in primary schools are sparse. Although the literature shows that specialized

schools for the atis seem relegated to secondary schools, some historians documented music education in public school systems that included primary grades.

' Maxine Greene, Releasing the lmuginution, Essays on Education, the Arts, und Socict! Chungc>. (San Francisco, CA: Jossey-Bass Publication, 1995), 27.

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Three secondary and seven post-secondary schools were established by

immigrants or first generation Americans who wanted to continue the European music tradition in the US. All studies chronicled schools that aimed at providing high quality music education, although Eurocentric in scope, and secondary and post-secondary institutions often partnered with orchestras and living composers. Despite these

institutions' early successes they struggled to train and educate musicians in non-Western classical styles of music. Budgets were typically problematic, as were facilities, and curriculum seemed to grow from the highly qualified faculty. In addition, secondary and post -secondary schools used lists of famous and successful graduates as evidence of their institution's success.

Music education is an integral component of primary and secondary public

schools' programs. While some school districts developed a graded music curriculum for

kindergarten through 12 grades, two programs were established to provide music

education for minority students4. Music programs cmTently face challenges; for example,

some schools are curtailing arts education in order to meet state and national high-stakes

testing requirements in academic subjects. Even talented and gifted students in the arts attending specialized arts high schools are being affected.

The New York City Department of Education (NYCDOE) identifies select

schools as specialized academic high schools setting them apart from other

4

African-Americans in New York City and Mexican Americans in East Los Angeles. Deloris Wallace Be1mett Brown, ''The Founding and Evolution of a School for the Boys Choir of Harlem: Choir Academy ofHarlem,'' (Ed D., diss., Fordham University, 2006).

Denise Alane Quan, ''A Documentary History of the Saturday Conservatory of Music at California State University, Los Angeles: 1967-!981.'. (MM thesis, University of Southern California, 2001 ).

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comprehensive city public high schools, and recognizes LaGuardia A11s HS as its only

specialized public arts high school. Admittance to the academic specialized high schools

is based on a highly competitive entrance examination while students audition or submit an mi portfolio for LaGuardia Arts HS. Administration also scrutinizes an applicant's junior high school transcript as part of the admissions process. Despite these select public school arts programs, most education that specializes in music occurs at the

post-secondary level (i.e., conservatories, university schools of music & music depmiments).

Literature Review

Twenty-three studies5 devoted to chronicling the establislunent and development

of conservatoires, university music depmiments or schools of music, and other

post-5

Richard Dean Skyrm, "Oberlin Conservatory: A Century of Musical Growth and Influence," (D. M. A., diss., University of Southem California, 1962).

William Dolan CJaudson, "The History of the Crane Depmiment of Music, The State University of New York, College at Potsdam, 1884-1964." (Ph. D., diss., Northwestem University, 1965).

Grant James KJausman, "A History of the University of Colorado Schoo] of Music, 1877-1951 ,"(Ph. D., diss., University of Colorado, 1967).

Edward Roy Sims, "The History of the Music Department of the Indiana University of Pennsylvania, and its Contributions to Music Education," (Ed. D., diss., The University of Michigan, 1968).

Marian Jo Souder, "The College-Conservatory of Music of Cincinnati, 1955-1962: A History," (MM., thesis., University of Cincinnati, 1970).

Charles Lee Pierson, "A History ofthe Southern Illinois University School of Music: 1874-1970," (Ph. D., diss., Southern Illinois University, 1971 ).

Marilyn Ruth Swingle, "A History of the Florida State University School of Music," (Ph. D., diss., The Flmida State University, 1974).

Ulysses Grant Dalton, III, "The Music Department of the University of Arkansas at Pine Bluff: Its Development and Role in Music Education in the State of Arkansas, 1873-1973:· (Ph. D., diss., The University ofMichigan, 1981).

Brenda Gale Williams, '·A History of the Louisiana State University School of Music: 1955-1979,'" (Ph. D., diss., The Louisiana State University and Agricultural and Mechanical College, 1983).

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secondary music schools established between 1865 and the early 1900s are known to

exist. Additionally, there are two unpublished manuscripts, one chronicling the history of

Boston Conservatory, 6 available at the conservatory's library, and another that chronicles

the history of the Institute of Musical Ati, available at the Juilliard Library in New York

City. 7 Other histories include five books on the founding and development of

Albert Dale Harrison, "A History of the University of Illinois School of Music: 1940-1970," (Ed. D., diss., University of Illinois at Urbana-Champagne, 1986).

Byron William Jensen, "College Music on the Konza Prairie: A History of Kansas State's Department ofMusic from 1863-1990," (Ph. D., diss., Kansas State University, 1990).

James Gandre, "And Then There Were Seven: An Historical Case Study of the Seven Independent American Conservatories of Music that Survived the Twentieth Century," (Ed. D., diss., University ofNebraska, 2001).

Patrick M. Jones, "A History of the Arrned Forces School of Music," (Ph. D., diss., The Pennsylvania State University, 2002).

Jean H. Fickett, "A History of the School of Music at Michigan State University, (Ph. D., diss., Michigan State University, 2003).

PaulK. Scimonelli, "A History of the Benjamin T. Rome School of Music of the Catholic University of America: 1950-2002," (D. M.A., diss., Catholic University of America, 2003).

Sarah Carr Liggett Schmallenberger, "The Washington Conservatory of Music, An African-American Musical Experience: 1903-1941 ,"(Ph. D., diss., University of Minnesota, 2004).

Greg Alan Handel, "The Augustana College Department ofMusic, 1921-1973," (D. M. A., diss., Arizona State University, 2007).

Vincent A. Orlando, "An Historical Study of the Origin and Development of the College of Music of Cinciru1ati." (Ed. D., diss., University of Cincinnati, 1946).

Ray Edwin Robinson, "A History of the Peabody Conservatory of Music," (Ed. D., diss., Indiana University, 1969).

John Lewis, Jr, "An Historical Study of the Origin and Development of the Cincinnati Conservatory of Music," (Ed. D., diss., University of Cincim1ati, 1943).

Edward John FitzPatrick, Jr., ·'The Music Conservatory in America," (D. M.A. diss., Boston University, 1963), 6-7.

Charles Lee Pierson, "A History of the Southern Illinois University School of Music: 1874-1970. (Ph. D., diss., Southern Illinois University, 1970).

Lori Rae Shipley, "A History of the Music Department at Hampton Institute/University, 1868-1972." (D.M.A., diss., Boston University, 2009).

6

Andrea Olmstead, "A History of the Boston Conservatory of Music," (Unpublished Manuscript, June 1985). I am grateful to Dr. Bunbury for contacting Dr. Olmstead on my behalf to locate this manuscript and to gain her permission to use the material here. At the present time it is in Boston Conservatory's Library. Gratitude is also conveyed to Boston Conservatory's

librarian, Je1mifer Hunt, for providing me with a copy of the manuscript. 7

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conservatories of music, 8 and a book on the history of Indiana University School of Music. 9 Conservatories in America emulated their European counterparts. That emulation endangered the continued success of some American conservatories, forcing board of directors and other key personnel to re-evaluate their institutions' philosophical

objectives. Some conservatories succeeded in this endeavor while others did not, and they were forced to close. Financial difficulties and the lack of enrollment forced

conservatories to merge, while others affiliated with universities.

FitzPatrick's seminal study10 provided an in-depth history of the origins of American conservatmies by effectively distinguishing the conservatory model from schools of music and music departments in tertiary education. The study documented the history of European conservatoires and their relationship to "the traditional conservatory of music and the institution as it evolved in the United States."11 It also traced the history of Latin American and Canadian Conservatories," to better understand the European

printed for The Juilliard School of Music, 1936). I am grateful to Jane Gottlieb, Juilliard's Library Archivist and Historian for all her assistance in making this material available for reading.

8

Andrea Olmstead, Juilliard: A Histmy, (Chicago, ILL: University of Illinois Press, 1999).

Judith Kogan, Nothing But the Best: The Strugglefor Perfection at The Juil/iard School

(New York City, NY: Random House, 1987).

Bruce McPherson and James Klein, Measure by Measure: A History of New England Conservatmyfrorn 1867, (Boston, MA: New England Conservatory Publishers, 1995).

Janet D. Schenck, Adventure in Music, A Reminiscence, Manhattan School of Music, 1918-1960,

(New York City, NY: Manhattan School ofMusic, 1961).

Diana Bw·gwyn, SeFenty-Five Years of'The Curtis Institute o{Musir_·, (Philadelphia, P A: The Cwiis Institute of Music, 1999).

9

George M. Logan, The Indiana University School o{Music: A Riston;, (Bloomington. IN: Indiana University Press: ILL, 2000).

111

Edward Jolm FitzPatrick, Jr., "The Music Conservatory in America, .. (D. M.A. diss., Boston University, 1963).

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tradition and how Latin American conservatories upheld the European traditions while Canadian conservatories "developed along parallel courses with music schools in the United States."12 FitzPatrick also chronicled the development of the hymn singing tradition in the British American Colonies and the Early Republic, along with opera, concert productions, instrument manufacture, and music composition. In his discussion on music publishing, he noted its success by the "end of the English rule"13 in America. His chapter on "Conservatory Antecedents before the Civil War," traced the

establishment of pre-American conservatories, and concentrated on the Boston Academy of Music. FitzPatrick explained, "Because of an expanding musical culture and the influence of European immigrants, especially those fi:om Gennan-speaking nations, the need for music conservatories became more pressing by the time of the American Civil W ar. , 14

FitzPatrick chronicled the establishment of four distinct American conservatories of the nineteenth century, namely Peabody Institute, Oberlin College and Conservatory, New England Conservatory, and the Boston Conservatory of Music, which are still in existence. He also documented the establishment, successes, and the eventual demise of eighteen institutions.15 From this latter category FitzPatrick focused on the College

-12 Edward John FitzPatrick, Jr., ""The Music Conservatory in America," (D. M.

A. diss., Boston University, 1963), 9. 13 Ibid. 14 Ibid., 10.

15 Chicago Musical Academy; Chicago Musical College; Chicago Musical College of Roosevelt University; Chicago Conservatory of Music; The American Conservatory of Music; Hans Balatka's Academy ofMusical Art; Northwestem University School of Music; The Philadelphia Musical Academy; The Hahn Conservatory; The Zeckwer-Hahn Philadelphia Musical Academy; The Philadelphia Conservatory of Music; The Combs Broad Street Conservatory; The Sternberg School of Music; The Cleveland Conservatory of Music; The

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Conservatory of Music of the University of Cincinnati due to its "unusual

development."16 Histories of three renowned music schools established in the early part

of the twentieth century, the Institute of Musical Art, Eastman School of Music, and the

Curtis Institute of Music, 17 concluded his study.

While FitzPatrick placed each conservatory within its historical context, other

studies have provided in-depth histories of several conservatories that were included in

FitzPatrick's work. Some pre-dated and others followed his study. These include studies

of Peabody Conservatory, 18 Boston Conservatory, 19 New England Conservatory, 20

Cincinnati Conservatory ofMusic,21 College ofMusic ofCincitmati,22

College-Conservatory of Music ofCincinnati,23 Cmiis Institute ofMusic,24 Institute of Musical

Cleveland School of Music; The Detroit Conservatory ofMusic; The National Conservatory of Music, and other lesser institutions. Their histories may be found in Edward John FitzPatrick, Jr.,

"The Music Conservatory in America," (D. M.A. diss., Boston University, 1963), 408-510. 16

Edward John FitzPatrick, Jr., "The Music Conservatory in America," (D. M.A. diss., Boston University, 1963), 10.

17

Ibid., 511-576. 18

Ray Edwin Robinson, "A History of the Peabody Conservatory of Music," (Ed. D., diss., Indiana University, 1969).

19

Andrea Olmstead, "A History of The Boston Conservatory of Music," (Unpublished Manuscript, 1 985). I am grateful to Andrea Olmstead for her willingness to provide infonnation on how I could obtain a copy of this unpublished work. Gratitude is also expressed to Jennifer Hunt, Librarian at the Boston Conservatory of Music who sent me a copy of the manuscript. Gratitude is also expressed to Richard Bunbury who was the liaison between Andrea Olmstead and myself.

20

Bruce McPherson and James Klein, Measure by Measure: A History of New England

Conservatory from J 867. (Boston, MA: New England Conservatory Publishers, 1995). 21

.John Lewis, Jr., "'An Historical Study of the Origin and Development of the Cincinnati Conservatory of Music," (Ed. D., diss., University ofCincinnati, 1943).

22

Vincent A. Orlando, "An Historical Study of the Origin and Development of the College of Music of Cincinnati." (Ed. D., diss., University of Cincinnati, 1946).

2.1 Marian .To Souder, ''The College-Conservatory of Music of Cincinnati 1955-1962, A History.'' (Master of Music Thesis, College-Conservatory of Music of the University of Cincinnati, 1970).

:'4 Diana Burgwyn, Sew:'nfv Five Years o/The Curtis Institute o/Music. (Philadelphia, PA: The Curtis Institute of Music, 1999).

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Art,25 and Oberlin Conservatory.26 Other researchers provided detailed histories of The Juilliard School ofMusic and the Manhattan School of Music. Olmstead documented

Juilliard's history,27 as did Kogan,28 and Schenk, founder of the Manhattan School of

Music, documented its establishment from 1918 to 1960?9

Olmstead assetied that Juilliard's history had never been documented until her

study because:

Peter Mennin and William Schuman had closed the archives and prohibited those

interested in writing a history access to the School's records. Their restrictions on

scholarly research lasted forty years (1945-1985). Such behavior begs a question,

What did they wish to hide?30

Dark moments are inevitable for any institution but Juilliard had many.

Kogan's book31 was not a historical account ofThe Juilliard School in the

traditional sense, but it provided insights into Juilliard's inner-workings from students'

perspectives. Kogan's work pre-dated Olmstead's book32 by over a decade. Kogan,

25

Frank Damrosch, "Institute of Musical Ali~ 1905-1926," (New York, NY: Privately printed for Juilliard School ofMusic, 1936). I am deeply grateful to Jane Gottlieb, Al-chivist and Historian at The Juilliard Library, Lincoln Center, New York City. She made it possible for me to read the book and to pemse the hand-typed Appendix, containing over a 1 ,000 pages in April 2011.

26

Richard Dean Sky1m, "Oberlin Conservatory: A Century of Musical Growth and Influence."

(D. M. A., diss., University of Southern California, 1962). 27

Andrea Olmstead, Juilliard, A History. (Chicago, ILL: University of Illinois Press, 1999).

28

Judith Kogan, Nothing But The Best: The Struggle For Perf€xtion ar The Juil/iard School. (New York City, NY: Random House, 1987).

29

Janet D. Schenk, Adventure in Music: A Reminiscence: Manhattan School ofMusic, 1918-1960." (New York City, NY: American Printing Company, 1961).

· 10

Andrea Olmstead, Juil!iard, A History. (Chicago, ILL: University of Illinois Press, 1999), 4.

· 11

Judith Kogan, Nothing Bur The Besr.- The Struggle For Perfection at The Jui!!iard School. (New York City, NY: Random House, 1987).

12

Andrea Olmstead, Juil!iard A Historv. (Chicago, lLL: University of Illinois Press, 1999).

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herself a Juilliard alumna, stated that once the school relocated to Lincoln Center in 1969,

Mennin announced that the "school would not train musicians who would teach, it would

train performers only."33 This further contributed to Juilliard's "cut-throat" mentality,

upheld by faculty members, who protected their reputation by using their students as

pawns in an unfair game of one-upmanship and trickery. Students' pleas for faimess fell

on deaf administrators' ears, as J uilliard' s outer fa<;ade continued to lure prospective

students. Peter Schickele caught the irony of Kogan's book, "Conservatory, mental ward,

circus, zoo: It's all there in Judith Kogan's lively book .... A must read for both sadists

and masochists."34

Manhattan School of Music, in contrast to The Juilliard School, was not maniacal

in the manner it taught and treated its students. Established in 1918 by Janet Schenk, the

school's mission from its inception was to provide students of all ages, creeds, and

differing financial backgrounds with the necessary tools to hone their musical skills in

conjunction with providing them with a liberal mis education:

It has been our desire to see that each student coming to us with a specialized field

already chosen shall be assured of an opportunity to develop such art. ... It is

expected tha:t he will be led to explore and assimilate other fields of thought

which, though possibly not bearing directly on his skill, will grant him broader

interests which will most certainly affect his general development as a person and

deepen the understanding of his art. 35

The school's philosophical objective and mission remains steadfast as of2011.

'' Judith Kogan, Nothing But The Best: The Struggle For Perfection ar The Juilliard School. (New York City, NY: Random House, 1987), 6.

'4 Peter Schickele as quoted in Judith Kogan, Nothing But The Best: The Struggle For Perfection at The Jui//iard School. (New York City, NY: Random House, 1987). Back sleeve cover.

:1) Janet D. Schenk, Adventure in Music: A Reminiscence: lvfanhatran School o(Music, 1918-1960. ··(New York City, NY: American Printing Company, 1961 ). 81-82.

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Gandre's study on seven successful American conservatories36 updated much of

FitzPatrick's study. Gandre maintained that while there were similarities between

American conservatories and their European counterpmis, two components set American

conservatories apart from the European ones. One, the conservatmies were privately run,

dependent on endowments, gifts and tuition, and secondly, they introduced non-music

coursework into the cuniculum, "something unheard of in Europe, [which led to

J

the

subsequent awarding of the Bachelor of Music Degree,"37 in the United States.

Gandre focused on the Boston Conservatory, Cleveland Institute of Music, Curtis

Institute of Music, The Juilliard School, Manhattan School of Music, New England

Conservatory of Music, and the San Francisco Conservatory ofMusic, all institutions

with humble beginnings who struggled for survival during the twentieth century, but

resolved to remain open in the twenty-first century. Gandre concluded, "The remaining

seven [ conservatoires] surp1isingly had new- found strength in tenns of admission and

selectivity, reputation, and in some cases, endowment size,"38 at the tum of the

twenty-first century, enabling them to remain open.

Washington Conservatory of Music is unique among all previously discussed

institutions,39 because its mission and curriculum focuses on the Aftican-American music

.l6 James Gandre, "And Then There Were Seven: An Historical Case Study of the Seven

Independent American Conservatories of Music that Survived the Twentieth Century." (Ed. D., diss., University of Nebraska. 2001 ).

"7 James Gandre, "And Then There Were Seven: An Historical Case Study of the Seven Independent American Conservatories of Music that Survived the Twentieth Century." (Ed. D.,

diss., University of Nebraska. 2001 ), 9. 38

Ibid.

39

Sarah Can Liggett Schmallenberger, "The Washington Conservatory of Music. An African-American Musical Experience: 1903-1941 ... (Ph. D., cliss., University of Minnesota, 2004).

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tradition rather than on the European classical canon. Harriet Gibbs Marshall established the school in 1903. She was the first African-American to graduate from Oberlin, and while she was trained in the western European tradition and "cultivated"40 that tradition at the Washington Conservatory during its first seven years, "she also developed a course of study that transcended it, offering a course on Negro Music History and using black vernacular folk music to teach harmony. "41 Marshall discontinued using Oberlin as her model, and embedded in the conservatory's pamphlet a sentence that stated, "Negro Melodies should be preserved and developed."42 Marshall, through the conservatory wanted to prove "that black American music was uniquely capable of making valuable contributions to society and nation."43

Generally, conservatoires prepare musicians for professional performing careers.44 University music programs, in contrast, offer a liberal arts education45 and provide students with options of either pursuing a career in music teaching or in becoming professional musicians. Many state university music programs were established in the mid-1800s as nonnal schools to prepare high school graduates to

40

Sarah Can Liggett Schrnallenberger, "The Washington Conservatory of Music. An African-American Musical Experience: 1903-1941." (Ph. D., diss., University of Minnesota, 2004), iv. 41 Ibid. 42 As quoted in Ibid., 64. 43 Ibid. 44

According to Keene, "The aim of the conservatories was to produce excellent perfom1ers with broad musical backgrounds," in A History of Music Education in the United States. (Hanover, NH: University Press ofNew England, 1982), 278.

45

The NEC explains the difference between conservatory-style training and university training on their website. "Conservatories are most appropriate for students who are quite focused on perfonnance or composition as a career. Colleges and universities, on the other hand, offer a much broader range of programs and majors and may require additional general education courses as part of their curriculum,,. accessed July 4, 2013, http://necmusic.edu/ apply-nec/frequently-asked-questions.

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become teachers. Music was included in the normal school's cuniculum. When nonnal schools were reorganized into teachers' colleges, which ultimately became state

universities in the early part of the twentieth century, music became a major subject and was organized into its own depmiment or school of music within the university. For example, Southern Illinois University School ofMusic,46 Music Department of the Indiana University ofPennsylvania,47 and Crane School ofMusic at SUNY Potsdam,48

were all established as nonnal schools.

Normal schools were not an option for all American students who wished to study music. States had to establish separate nonnal schools to educate African-Americans, because prior to 1954, African-Americans were not afforded the same educational opportunities as whites inside or outside the state. Two studies documented the histories of these African-American institutions that provided music education to its students.

Ulysses Grant Dalton Ill documented the establishment of the Music Department of the University of Arkansas at Pine Bluff,49 and Lori Shipley documented the establishment of the Music Department at Hampton Institute/ University respectively.

One other study exists by Reginald A. McDonald. He documented the history of the instrumental music 46 Charles Lee Pierson, "A History of the Southern Illinois University School ofMusic: 1874-1970. (Ph. D., diss., Southern Illinois University, 1970).

47 Edward Roy Sims, "The History of the Music Department of the Indiana University of Pennsylvania, and its Contribution to Music Education." (Ed. D., diss., The University of

Michigan, 1968). 48

William Dolan Claudson, "The History of the Crane Department of Music, The State University of New York, College at Potsdam, 1884-1964." (Ph. D., diss., Northwestem

University, 1965). 49

Ulysses Grant Dalton III., "The Music Depa1iment of the University of Arkansas at Pine Bluff: Its Developments and Role in Music Education in the State of Arkansas, 1873-1973." (Ph. D .. diss., University of Michigan, 1981 ).

50 Lori Rae Shipley, A History of the Music Department at Hampton Institute/University, 1868-1972.'. (D.M .A., cliss., Boston University, 2009).

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program within the school of music at Tennessee State University,51 also established to educate African-Americans. The instrumental music program and its directors was the mainstay of the music department throughout the twentieth century. Shipley's parting words in her study were apropos, "any complete history of music education in the United States should include music education of all races and ethnicities."52

Other state schools were established as a result of the Morrill Land-Grant Acts of 1862 and 1890, which stipulated that land-grant institutions had to provide its students with both a "liberal and practical" education."53 These include the College Music on the Konza Prairie at Kansas State,54 the University of Illinois School ofMusic,55 the

Louisiana State University School ofMusic,56 and the School ofMusic at Michigan State U mvers1ty. . . 57

Florida State Universitl8 was not founded as a result of the Morrill-Land Act although it is a state university. Instead, the institution traces its origins to the

51

Reginald A. McDonald, "The Aristocrat of Bands: A Historical Investigation of the Tennessee State University Instrumental Music Program and Its Directors." (The University of Alabama, 2009).

52

Lori Rae Shipley, "A History of the Music Department at Hampton

Institute/University, 1868-1972." (D.M.A., diss., Boston University, 2009), 331. 53

Byron Jensen Williams, "College Music on the Konza Prairie: A History of Kansas State's Department of Music from 1863 to 1990." (Ph. D., diss. Kansas State University, 1990), 3.

54 Ibid. 55

Albe1i Dale Harrison, "A History of the University of Illinois School of Music. 1940-1970." (Ed D., diss., University of Illinois at Urbana-Champagne, 1986).

56

Brenda Gale Williams, ''A History of the Louisiana State University School of Music: 1955-1979." (Ph. D., diss., The Louisiana State University and Agricultural and Mechanical

College. 1983). 57

Jean H. Fickett, "A History of the School of Music at Michigan State University." (Ph. D., diss., Michigan State University, 2003).

58

Marilyn Ruth Swingle, ·'A History of the Florida State University School of Music."

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establishment of a seminary59 in 1857, which later became Florida's first liberal arts

college in 1897. The school ofmusic was established in 1901. Swingle documented the

establishment, growth, and development of the school of music but modified her study

when she realized that any attempt to "present a comprehensive account of the Florida

State University School of Music ... would produce a report so voluminous and

cumbersome,"60 that it would "obscure other more impmiant aspects of the study."61

Two completed studies on university schools of music have been documented,

one on the history of the University of Colorado College ofMusic,62 and the other on the

history oflndiana University School of Music.63 Histories documenting schools of music within religious institutions have also been chronicled. They are histories of the

Augustana College Depatiment ofMusic,64 and the Benjamin T. Rome School of Music of the Catholic University of America.65 Additionally, one history documents the only military music school in the country, the An11ed Forces School of Music,66 which serves

59

Swingle did not provide the seminary's religious affiliation. The seminary was named City Seminary, State Seminary ofTallahassee, and West Florida Seminary at one time. Marilyn Ruth Swingle, "A History of the Florida State University School of Music." (Ph. D., diss., The Florida State University, 1973), 8.

60

Marilyn Ruth Swingle, "A History of the Florida State University School of Music." (Ph. D., diss., The Florida State University, 1973), 2.

61 Ibid.

62 Grant James Klausman, "A History of the University of Colorado College of Music,

1877-1951." (Ph.D., diss., University of Colorado, I 967). 63

George M. Logan, The Indiana University School of Music: A History. (Bloomington, IN: Indiana University Press, 2000).

64

Greg Alan Handel, "The Augustana College Depmtment of Music, 1921-1 973: A History." (D.M.A., diss., Arizona State University, 2007).

65

Paul K. Scimonelli, ''A History of the Benjamin T. Rome School of Music of the Catholic University of America: 1950-2002." (D.M .A. diss., Benjamin T. Rome School of Music, 2003).

66

Patrick M. Jones, '·A History of the Armed Forces School of Music.·· (Ph. D .. diss., The Pennsylvania State University. 2002).

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the Navy, Marine Corps, and Army music programs.

LaGuardia Arts HS shares similar characteristics with some conservatoires, schools of music, and colleges of music. The school is an amalgamation of two institutions, the HSMA and the SPA that held opposing philosophies and missions. Therefore, the school struggled during the first few years as faculty and students of both independent schools fought against the unification as had personnel at the Augustana College Department of Music. Personnel from the Institute of Musical Art resisted the merger with the Juilliard Graduate School since Juilliard subsumed the smaller, more intimate Institute of Musical Art. SPA personnel resisted the merger with the HSMA for similar reasons. When The Juilliard School finally relocated to Lincoln Center it did so following a twelve-year delay due to construction and financial difficulties. When LaGuardia Arts HS finally relocated to Lincoln Center in 1984, it did so after nearly a quarter century of construction and financial difficulties.

When both the HSMA and SPA's music depat1ments were established in 1936 and 1948 respectively, the chairpersons touted a Euro-centric music curriculum and music of other cultures and continents were not studied. Eventually, both schools relaxed their music cuniculum and introduced music of other cultures into their cun·iculum. African-American students at the HSMA demanded musical autonomy to counter-balance the school's Euro-centric music cuniculum in the late 1960s, as did students from Hampton Institute/University. The HSMA incorporated jazz music into the

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music department as did Marshall at the Washington Conservatory of Music. SPA introduced jazz studies into the curriculum in the early 1980s.

Histories of Music Education in Primary and Secondary Schools

Numerous publications have been written to document music education histories of post-secondary institutions. The same is not true for studies on the establishment and development ofmusic in primary and secondary schools. As of2011, only six studies have been completed in this category.67 As with post-secondary institution studies, these

six authors organized their studies chronologically. Within that chronology, specific topics were addressed such as personnel, facilities, curriculum, activities, and finances.

Of the six studies, four documented the establishment of music programs within a

specified public school system, namely, Cinci1mati's public schools,68 Sp1ingfield, Missouri's public schools,69 Tewksbury, Massachusetts's public schools,70 and a unique

67

Charles L. Gary, "A History of Music Education in the Cincinnati Public Schools,"

(Ph. D., diss., University of Cincinnati, 1951 ).

Deloris Wallace Bennett Brown, "The Founding and Evolution of a School for the Boys

Choir of Harlem: Choir Academy ofHarlem," (Ed. D., diss., Fordham University, 2006).

Paul Richard Saronson, "Specialized Urban High Schools of the Arts: A Comparative Study," (Ed. D., diss., Fordham University, 1991).

Marcia Abshiner Mahnken, "A Chronicle of Music Education Activities in the

Springfield, Missouri Public Schools: 1867-1939," (Ph. D., diss., University ofOklahoma, 1995).

Christopher J. Brunelle, "Music Education in a Suburban Massachusetts School System

A History of the Past; Recommendations for the Future." (MM thesis, University of Massachusetts Lowell, 2000).

Denise Alane Quan, "A Documentary History of the Saturday Conservatory ofMusic at

California State University, Los Angeles: 1967-1981." (MM thesis, University of Southern

California, 2001 ), 4.

68

Charles L. Gary, ·'A History of Music Education in the Cincinnati Public Schools.'·

(Ed. D., diss., Teachers College of the University of Cincinnati, 1951 ). 69

Marcia Abshier Mahnken, ··A Chronicle of Music Education Activities in the

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public school in New York City, the Boys Choir ofHarlem academy.71

In 1986, Walter J. Turnbull established a public school in Harlem, New York

City, to educate members of the Boys Choir of Harlem. Turnbull wanted to provide at-risk minority students with an alternative style education that would keep them away from potential hann of the Harlem streets and to ensure their academic success.72 The school was built on "the public school model,"73 and Turnbull ensured its

"continuation .... by devising a partnership with New York City's public school system."74 The school was unique because its students belonged to "an internationally renowned choir: The Boys/Girls Choir ofHarlem."75

One of the academy's early achievements was that it "continuously graduated the majmity ofits freshmen class within 4 years .... [and] well over 90% of each senior class [was] granted admission into an accredited college each year."76 The school continues to provide an altemative education for vocally talented minority students provided they pass the entrance audition. In her summative chapter, Brown suggested that further study is warranted on the Boys/Girls Academy of Harlem since the institution faced "a climate of

7

°

Christopher J. Bnmelle, "Music Education in a Suburban Massachusetts School System A History of the Past; Recmmnendations for the Future." (MM thesis, University of

Massachusetts Lowell, 2000).

71

Delores Wallace Bem1ett Brown, "The Founding and Evolution of a School for the Boys Choir of Harlem: Choir Academy of Harlem," (Ed. D., diss., Fordham University, 2006).

72

"I don't know when it happened but providing the boys with an alternative to the street became foremost in my mind ... " Walter J. Turnbull as quoted in Ibid., 89.

7 ·

1

Delores Wallace Bennett Brown, ''The Founding and Evolution of a School for the Boys Choir of Harlem: Choir Academy of Harlem," (Ed. D., diss., Fordham University, 2006), 6.

74

Delores Wallace Be1mett Brown, "The Founding and Evolution of a School for the Boys Choir of Harlem: Choir Academy of Harlem," (Ed. D., diss., Fordham University, 2006),

176. 75

Ibid. 7~>

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instability" 77 at the tum of the twenty- first century.

Quan documented another unique music program that educated minority children that was established through the California State University78 in 1967. The Saturday Conservatory ofMusic at California State University's program attempted to

"complement instrumental programs in the public schools by addressing the specific needs of Mexican American students in East Los Angeles."79 The program's inception was the result of Ellen Saunders' decision to "accept two temporary [teaching] positions during the summer of 1966,"80 in East Los Angeles. Saunders soon realized that "students in East Los Angeles were not as accomplished musically as other LAUSD students with whom she had worked."81 Saunders attributed this disparity to the following reasons: students were first and second generation Mexican-Americans who were "confronted with language barriers,"82 students came from low-income families making it nearly impossible for students to pay for private music lessons, and within the public schools, "reduced supervision and in-service training had diminished the quality of music education."83 At the time ofQuan's research, the university was slowly withdrawing its suppmi from the Saturday Program because of facility renovations. This adversely

77

Delores Wallace Bennett Brown, "The Founding and Evolution of a School for the Boys Choir ofHarlem: Choir Academy of Harlem," (Ed. D., diss., Fordham University, 2006),

159. 78

Denise Alane Quan, .. A Documentary History of the Saturday Conservatory ofMusic at Califomia State University. Los Angeles: 1967-1981." (MM thesis, University ofSouthem

Califomia, 2001). 79 Ibid., 4. 80 Ibid., 26. 81

Denise Alane Quan, ··A Documentary History of the Saturday Conservatory of Music at California State University, Los Angeles: 1967-1981.'' (MM thesis, University of Southem Califomia, 2001), 26.

82 Ibid.

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affected the program's class size and available course offerings. The conservatory's current status as of2011 is unknown.

Although Saronson's studl4 is not a hist01ical document, it discusses LaGuardia Arts HS as one of three specialized mis high schools that provided students with a "pre -professional, pre-conservatory program."85 The other two perfonning arts high schools were the New Orleans Center for Creative Arts, established in 1973 by several key educators, and the Duke Ellington School of the Arts in Washington DC, established in 1974 with the assistance of Georgetown University. Saronson was principal of LaGuardia A1is HS throughout the 1990s, and his study provided valuable infonnation for this cunent study.

Saronson's comparative study investigated three models of atis education. They were:

1. A full academic and studio mis program with classes interwoven throughout the school day,

2. [a school which offered] both academic and studio arts programs but separated into moming and afternoon blocks, and

3. [a school which offered] only studio mis programs in a pull-out arrangement similar to that used in rural school areas. 86

84

Paul Richard Saronson, "Specialized Urban High Schools of the AI1s: A Comparative Study.·· (Ed. D., diss., Fordham University, 1991).

S:' Ibid., 5.

86

Paul Richard Saronson, '·Specialized Urban High Schools of the Arts: A Comparative Study.·· (Ed. D., cliss., Fordham University, 1991).

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Saronson concluded after many interviews with key personnel and hours of observing students, faculty, and administrators from each of the three schools that the separate arts/academic model was the best model for students' instruction in the performing arts.

New York City's Specialized Public High Schools

As of2011, the NYCDOE operates nine specialized public high schools that

"provide students with a unique opportunity to pursue special interests and to develop their talents."87 Admissions criterion is highly competitive, and students must be New York City residents in eighth grade or first-time ninth grade students to qualify for the entrance examination.

Two successful perfonning and fine atis high schools in New York City were the HSMA (a specialized academic high school focusing on music and art instruction) and SPA (a vocational arts high school) established in 1936 and 1948 respectively. Prior to the HSMA's establishment in 1936, New York City had two specialized academic high schools that offered academically gifted students the oppmiunity to study math and science on an advanced level. Stuyvesant High School88 founded in 1904, and located in lower Manhattan, began as an academic and vocational training school for boys. In 1934, the school, in conjunction with Columbia University, established a system of entrance examinations. These exams detennined a student's aptitude for rigorous academic study in math and science. Brooklyn Technical High School, founded in 1918, also emphasized

87

"Specialized High Schools Student Handbook," published by the New York City Department of Education, 20 I 0.

SB So named after Peter Stuyvesant the last Dutch governor of New Netherland before it was transferred to England in 1664.

Figure

Figure 21:  Kim Bruno
Figure  1.  John F.  Hylan  (PD-US) 2 1 2
Figure 2.  Philip B ero lzheimer  (PD-US)  216
Figure 3.  Mayor LaGuardia speaks over  lf'lVYC on  Grade A  milkfi-om Budget R oom
+5

References

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