Music Outside the Lines

On May 17th, 1968, a group of Catholic antiwar activists burst into a draft board in suburban Baltimore, stole hundreds of Selective Service records (which they called "death certificates"), and burned the documents in a fire fueled by homemade napalm. The bold actions of the ''Catonsville Nine'' quickly became international news and captured headlines throughout the summer and fall of 1968 when the activists, defended by radical attorney William Kunstler, were triedin federal court. In The Catonsville Nine, Shawn Francis Peters, a Catonsville native, offers the first comprehensive account of this key event in the history of 1960's protest. While thousands of supporters thronged the streets outside the courthouse, the Catonsville Nine-whose ranks included activist priests Philip and Daniel Berrigan-delivered passionate indictments of the war in Vietnam and the brutality of American foreign policy. The proceedings reached a stirring climax, as the nine activistsled the entire courtroom (the judge and federal prosecutors included) in the Lord's Prayer. Peters gives readers vivid, blow-by-blow accounts of the draft raid, the trial, and the ensuing manhunt for the Berrigans, George Mische, and Mary Moylan, who went underground rather than report to prison. He alsoexamines the impact of Daniel Berrigan's play, The Trial of the Catonsville Nine, and the larger influence of this remarkable act of civil disobedience. More than 40 years after they stormed the draft board, the Catonsville Nine are still invoked by both secular and religious opponents of militarism. Based on a wealth of sources, including archival documents, the activists' previously unreleased FBI files, and a variety of eyewitness accounts, The Catonsville Nine tells a story as relevant and instructive today as it was in 1968.Music Outside the Lines is an informative and practical resource for all who are invested in making music composition an integral part of curriculum. Author Maud Hickey addresses the practical needs of music educators by offering both a well-grounded justification for teaching music composition and also a compendium of useful instructional ideas and classroom activities. Hickey begins with a rationale for teachers to begin composition activities in theirown classrooms, with a thoughtful argument that demonstrates that all music teachers possess the skills and training needed to take children along the path toward composing satisfying musical compositions even if they themselves have never taken formal composition lessons. She also addresses some of thestickier issues that plague teaching music composition in schools such as assessment, notation, and technology. Most importantly, she introduces a curricular model for teaching composition, a model which provides an array of composition activities to try in the music classrooms and studios. These activities encourage musical and creative growth through music composition; while they are organized in logical units corresponding to existing teaching modules, they also offer jumping off points formusic teachers to exercise their own creative thinking and create music composition activities that are customized to their classes and needs. As a whole, Music Outside the Lines both successfully reasons that music composition should be at the core of school music curriculum and also provides inservice and pre-service educators with an essential resource and compendium of practical tips and plans for fulfilling this goal.