The purpose of this study was to explore and document The Way Man Learned Music (1927), a method written by lawyer, Marine captain, educator, and political leader Robert Watson Claiborne (1888–1966). Drawing influence from Ernst Haeckel and G. Stanley Hall’s theories of recapitulation, Claiborne designed a comprehensive and sequential method where students engage in primitive stages of music-making by building and playing their own instruments, including drums, pan pipes, and small marimbas. Storytelling, dance, folk music from around the world, and performance of authentic Western art music combine to form a dramatic rendering of global musical life. As such, the method bears a strong resemblance to the more widely celebrated contributions of Satis Coleman (1876–1961). Analysis of primary and secondary sources as well as interview data illuminated the complexity of Claiborne’s path to music education. Namely, Claiborne’s homosexuality, which formed the basis of an inconclusive court-martial trial impelling his departure from military service, complicated his ability to find work as a lawyer, spurring him to pursue music education. Although a product of its time, Claiborne’s method serves as a testament to active, experiential learning that is child-centered.

中文翻译：

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进化音乐教育：Robert W. Claiborne 和人类学习音乐的方式 (1927)

本研究的目的是探索和记录人类学习音乐的方式 (1927)，这是一种由律师、海军陆战队船长、教育家和政治领袖罗伯特·沃森·克莱伯恩 (Robert Watson Claiborne，1888-1966 年) 编写的方法。受到 Ernst Haeckel 和 G. Stanley Hall 的重演理论的影响，Claiborne 设计了一种全面的、连续的方法，让学生通过构建和演奏自己的乐器（包括鼓、管子和小马林巴琴）来参与音乐制作的原始阶段。来自世界各地的讲故事、舞蹈、民间音乐，以及地道的西方艺术音乐的表演相结合，形成了对全球音乐生活的戏剧性渲染。因此，该方法与 Satis Coleman (1876–1961) 更广为人知的贡献非常相似。对主要和次要来源以及采访数据的分析揭示了克莱伯恩音乐教育之路的复杂性。也就是说，克莱伯恩的同性恋是导致他退出兵役的军事法庭审判的无定论的基础，这使他找律师工作的能力变得复杂，促使他继续接受音乐教育。虽然是那个时代的产物，但克莱伯恩的方法证明了以儿童为中心的主动、体验式学习。