President of MENC 1944-46
Publications:
Kendel, John C. “After A
Cappella-What?” Music Educators Journal. (February 1932):
40,
42-43.
-----. “Keyboard Experience – A
Foundation for musical Knowledge and
Enjoyment.” Music Educators Journal. (April-May
1955): 38, 42.
-----. “Music Education Carries
On.” Music Educators Journal. (June 1946): 8.
-----. “Music Education Plans
Ahead.” Music Educators Journal. (September-October
1945):
17-18.
-----. “Where Do We Go From Here?”
Music Educators Journal. (March 1946): 27.
Professional
Accomplishments:
1944-46 - MENC President
Biography
John C. Kendel was president of the MENC from 1944-46. As president of
MENC, Kendel was part of “Widening Horizons for Music Education,” begun under
previous president, Lilla Belle Pitts. According to Mark and Gary:
Five
hundred thirty-one members of thirty-eight committees began to work on reports
that constituted the framework for the 1944 Saint Louis convention. The
“Six-Fifties (1945) of the divisions added considerable input to the reports.
The Cleveland convention (under President John Kendal) shortly after the war
had demonstrations, clinical observation opportunities, and lectures in accord
with the grand design of “Widening Horizons for Music Education.” Kendal
promoted the relationship between the national, divisional, and state
organizations by having interlocking committees in his Advancement Program,
which was carried forward by Luther Richman and Charles Dennis.[1]
Quotes:
From his 1955 article regarding
keyboard training, John Kendel wrote:
There is no intention or recommendation here
that we advocate a plan for making all our children expert pianists. However,
from the experiments that have been conducted…there is reason to believe that
the “keyboard experience” program, conducted in conjunction with the regular
classroom work of the third, fourth or fifth grades, presents a type of group
training that can and should have serious attention if we believe in our basic
principle that every pupil should have the fullest possible opportunity to
develop his interest and ability to participate in and enjoy music.[2]
In
“After A Cappella-What?”:
The danger lies in the tendency of the choirs to
do all one type of music. The result is that the programs lack variety. … This
gives the chorus a narrow musical experience.[3]
Sources Used:
Arneson,
Arne Jon. The Music Educators Journal Cumulative Index 1914-1987. Stevens
Point, Wisconsin: Index House, 1987.
Kendel, John C. “After A
Cappell-What?” Music Educators Journal. (February 1932):
40,
42-43.
-----. “Keyboard Experience – A Foundation for musical Knowledge and Enjoyment.” Music Educators Journal. (April-May 1955), 38, 42.
Mark,
Michael L., Charles L. Gary. A History of Music Education. Reston, VA: The
National Association for Music Education, 1999.
For more information,
consult the following sources:
Mark,
Michael L., Charles L. Gary. A History of Music Education. Reston, VA:
The
National Association for Music Education, 1999.
*NOTE – John C. Kendel should not be confused with John Kendall,
who was the main impetus behind the Suzuki method in the United States.
--Submitted by Diana Hollinger,
December 2002
[1] Michael L. Mark and Charles L. Gary. A History of Music Education. Reston, VA: The National Association for Music Education, 1999, p. 302.
[2] John C. Kendal. “Keyboard Experience – A Foundation for musical Knowledge and Enjoyment.” Music Educators Journal. (April-May 1955), 42.
[3] -----. “After A Cappella-What?” Music Educators Journal. (February 1932), 42.