ABSTRACT
During the summer of 1967, fi fty musicians, educators, scientists, philosophers, theologians, heads of labor organizations, representatives from corporations, foundations, communications, government, and other concerned leaders from throughout the United States participated in a symposium at Tanglewood, the annual summer concert venue of the Boston Symphony Orchestra. They met for the purpose of appraising the future roles of music professionals, particularly music educators, in the United States, a nation they characterized as “an emerging post-industrial society.”2 They collectively recognized that the purposes and practices of the music education profession at that time were rapidly becoming outmoded as the social and cultural characteristics, technological orientation, and musical predilections of the nation were changing. In a document they produced at the end of this conference, the “Tanglewood Declaration,” they affi rmed their collective belief in the importance of the study of music to public education in the U.S., and they advocated a change in the curricular focus of the subject, asserting that school music programs should be global in scope:
Music of all periods, styles, forms, and cultures belongs in the curriculum. The musical repertory should be expanded to involve music of our time in its rich variety, including currently popular teen-age music and avantgarde music, American folk music and the music of other cultures.3
