The Nation's First D.M.A. in Choral Music: History, Structure, and Pedagogical Implications

Abstract

The Doctor of Musical Arts degree (D.M.A.), which evolved and proliferated during third quarter of twentieth century, has become a mainstay for academic preparation of college and university professors in music performance areas. The University of Illinois, Urbana-Champaign (UIUC) School of Music and Harold A. Decker, UIUC Director of Choral Music (1957-81), are widely credited with seminal D.M.A. degree in area of choral music. (1) For example, Don V Moses, Director of UIUC School of Music (1988-97), said it was the first in United States, and a brilliant response to need for better preparation of choral conductors. (2) But UIUC choral D.M.A. did not occur spontaneously or without precedent. Like many terminal performance degrees now accredited by National Association of Schools of Music (NASM), apparently it was result of efforts of numerous music educators whose aim was to attend to a void left unfilled by its predecessor, Doctor of Philosophy (Ph.D.) in Music degree. Though D.M.A. remains one of academe's significant twentieth century curricular developments, little research has addressed its origin, growth, and current status. (3) Therefore, this article seeks to add to current scholarship by documenting history and structure of what became one of more far-reaching and influential of such degrees, UIUC D.M.A. in Choral Music. It will ask following research questions: (1) What were historical events nationally and at UIUC specifically that led to UIUC D.M.A. in Choral Music being instituted? (2) What were degree's prerequisites, requirements, and salient characteristics? And (3) what changes in choral pedagogy resulted from development of UIUC D.M.A. in Choral Music and numerous terminal choral degree programs that followed nationwide? History In 1934, NASM and Music Teachers National Association formed a Commission. Chaired by Howard Hanson (1896-1981), Director of Eastman School of Music at University of Rochester (1924-64), Commission's initial charge was to study, over a period of several years, Master of Music degree, Master of Arts in Music degree, and Doctor of Philosophy in Music degree. At that time, Ph.D. was a research degree awarded in psychology of music, music education, composition, and musicology. (4) Having served as Dean of Conservatory of Fine Arts at College of Pacific in California prior to his appointment at Eastman, Hanson had observed that college and university administrators were exhibiting an increased fondness for advanced (5) Within this shifting paradigm, according to Hanson, even an exemplary performer who did not possess a doctorate might be denied appointment or tenure. (6) He speculated that German university model, emulated in many American universities--a model that promoted a bifurcated relationship between scholarly activity and preparation of musicians--would eventually lead to a shortage of qualified music professors in performance areas. (7) Therefore, while he conceded that research degrees were important, he also argued need for a different kind of terminal degree--one better suited to performing musicians. (8) That degree, a performance doctorate, would advance a system of academic recognition for performing musician similar to that of a medical doctor. Specifically, his/her acknowledgement would not be for scholarly activity alone, but would also include exhibiting proficiency as a composer, conductor, or performer. In 1951, after years of planning, Graduate Commission recommended that a terminal performance doctorate be established to follow B.M. and M.M. (9) The following year, NASM approved several requests for granting of such degrees. The Universities of Southern California, Florida, and Indiana received permission to award D. …

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