An analysis of group' instrumental teaching : principles, procedures and curriculum implications
Although mine was the hand wielding the pen, so many people have been actively involved in the study that it represents something of a group effort. Some, who have invested much time and interest, deserve special mention and it will not - I trust - seem invidious to name them. They are: Kenneth van Barthold, Christine Brown, Peter Cruznp, Yvonne &ioch, Victor Fox, Jean Horsfall, Julia Lee, Kenneth McAllister, Sheila Nelson, Graham Owen, Phyllis Palmer, Jane Pamment, Robert Plowright and Robert Spencer, all of whom shared their experience in interview and on whose knowledge and advice the text has continually drawn. Their erudition has challenged me and I should make clear that any mistakes are mine and not theirs. I should like also to express my thanks to the following persons: teachers and students who participated in the case studies; Peter Fowler, Inspector of Schools (Music) and Anthony Veal, Instrumental Co-ordinator, Metropolitan Borough of Solihull; Richard Worth, Music Adviser and Keith Watts, Head of Brass,Metropolitan Borough of Sandwell; Marjolaine de Beus, Jean-Michel Damase, Pierre Thibaud and students of the Paris Conservatoire; Richard Bassett, Chairman of the Music Department, Paul Nossiter and pupils of the American School in London; and others too numerous to mention who either in discussion or by correspondence have given freely their advice. To all these people I am indebted. Last but not least, I should like to record my gratitude to Professor Keith Swanwick who nurtured the study from conception to submission. His analytical mind and sensitive criticism helped to shape and fashion the conceptual framework but more than that his breadth of vision proved a constant source of stimulation.