Books › Musical Courier 1907-11-20: Vol 55 Iss 21, 1907 › scan 17
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Musical Courier 1907-11-20: Vol 55 Iss 21, 1907
79 lines. Read by computer on 23 September 2026. Printed page 18. See the scan on archive.org.
1had the school music grace not once to refer to in a long address.—F. E. T.)
3From Julia E. Crane, Potsdam, N. Y., one of the most successful pioneers in education as applied to music teaching:
5"Scientific methods of judgment require for just conclusions data, information, unprejudiced observation and sympathy with ideals which have been retarded by circumstance but which are rapidly being made practical values. I have been in school music for more than twenty years, teaching in but two localities in that time, have visited schools and associations from Massachusetts to California. I can point out schools East and West where real music is being really taught, and where the results are being accepted by the best teachers of musical theory, piano and voice, by choir leaders and chorus and orchestra conductors. I can testify to the statement from the best of such and from piano and vocal teachers that they highly value the preparation for their work accomplished in the public schools. I know schools from which students enter college prepared for what can rightly be called a college course in music. To any friend of the cause of music who wishes to do constructive, not destructive, work, I can show schools whose work in music is just what it ought to be, and where fundamental work is done in a way and under conditions which can not be followed in any other places of teaching. We are not yet able, alas! to say that such schools are as numerous as they should be, or that the large cities are doing the best work that could be done, but there are schools in the East, the Middle West, the Far West, where results are such that they prove beyond all cavil that music in the public schools has come to stay as a valuable educational factor. This educational value is recognized by the entire teaching force, as well as by the musicians of the communities in which they exist. There are many and reasonable reasons for weakness and failures, which no one can see more distinctly or more quickly correct than the educators themselves. The most marked of these is the scarcity up to now of properly prepared music teachers. This condition is being fast redeemed and largely by the educators' own zeal, foresight and energy. The idea that any one who knew about music could teach it is not confined to the school music field. The schoolroom, however, is free from a far more inferior idea which seems widely to prevail elsewhere, namely, that one can teach music who knows nothing whatever about either it or its teaching. Some of the most lamentable failures that have existed in school music work have been done by 'well known' musicians, who were tried on account of their musical 'name,' but who had not the first idea as how to impart what was known. False notions have prevailed among authorities against whose dictum true educators were powerless to act. One supervisor or director has been appointed where two and three were needed. Grade teachers were employed without a question as to their musical efficiency, and musicians were employed without question as to imparting power. When even musicians in a town seem to fail to comprehend what constitutes true musical education, little wonder that school boards fail at times to select their teachers wisely. There is no question of rivalry or competition between school music work and that of private studios and musicians. No element in a community is more practically benefited by the maintenance of music in the public schools than is the music teaching element outside. I know whereof I speak, and any one may be convinced of it by an exercise of ordinary common sense, even without the observation which may be made on all sides. The ideal most desired in this matter is the co-operation with school music efforts by the music forces in our towns and cities. We desire earnestly to discover faults and to correct them. We want better trained supervisors, better taught grade teachers and greater knowledge of music. It is not the system or principle that is at fault. It is lack in our equipment, which has been inevitable under restriction, but which is being rapidly supplied. Had we had the proper assistance of musicians and so called music 'teachers' we should have progressed much more rapidly than we have done. But, as has already been shown, we could not even get musical instruction from them. From results which I have seen with my own eyes, I know that school music properly conducted adds to the school curriculum an educational element that makes better citizens of our boys and girls. It supplies the church choirs and choral societies with superior voices and music readers and a better sense of discipline than exists among those not so privileged. It makes a town band and orchestra possible. It increases the number of students who study piano, voice, violin, pipe organ, cello, etc. It gives actual material and financial support to the music teachers. It lays a foundation of actual experience with music which is invaluable to coming artists and composers of the nation, and it contributes to intelligent audiences. It eliminates much of the 'drudgery' from the work of specialists and gives the conductor possibility of training in interpretation, not being obliged to 'study parts' by rote all the time. Well taught school music must eliminate singing and playing out of tune. It would sift the chaff from the wheat as to music professionals. No fond parent or grasping teacher could make an unmusical child believe music to be his career-sphere and that he was destined to be the 'greatest ever,' after he had had his musical powers tested day after day in school life side by side with his more gifted companions. When musicians learn that school music rightly conducted holds the same relation to musical culture and performance that reading, spelling and writing hold to general culture, there will be more intelligent comment in regard to this whole matter."
7(Any one who imagines that our future school music teachers are not being prepared to be scholarly as well as competent teachers should send for a copy of the course of music being yearly followed by the students of Miss Crane's Normal Institute. They have been already published in this department. And this is but one of a crop of similar institutions rapidly coming to harvest for our artistic provision.—F. E. T.)
9From Howard Huselton, editorial writer on the Kansas City Star, Kansas City, Mo.:
11"To prevent cripples instead of scolding them, curing them, petting them or weeping over them is the impulse of all the best new thought of our country. Musical education of the proper educational kind is the way to eliminate music cripples from a nation. I am heartily in sympathy with the work of music in the public schools and with the department of musical education in THE MUSICAL COURIER."
13FANNIE EDGAR THOMAS.
15Madame Samaroff in Buffalo.
17The following are extracts from the criticisms on Olga Samaroff's recital in Convention Hall, Buffalo, on Friday evening, November 1:
19This young woman is no ordinary performer on the piano. In her art is found the unusual combination of rare technical skill with the gift of comprehending and sharing the feeling of the author whose work she is interpreting. Repeatedly she showed this power in the course of her well chosen program last evening. Her playing of the dramatic and romantic "Chimes," by the Russian Liapounow, and of the Mendelssohn and Fauré selections, were marked by sympathy and sentiment that appealed in fullest measure to the non-professional element among her audience. The study of Chopin in E minor and the Liszt polonaise fairly electrified the whole audience.—Buffalo Commercial.
21Olga Samaroff, who made a host of admiring friends here last season, when she gave two recitals, appeared last evening in Convention Hall, when she was greeted by a large and representative audience composed of appreciative musicians, and the reception she received was in perfect harmony and sympathy with the splendid accomplishment of this young artist. Madame Samaroff is a most attractive young woman, with a personality magnetic in its charm and influence. Her program last evening was of wide scope and variety, and gave the artist a splendid opportunity to display her versatility and interpretative powers.—Buffalo Times.
23Madame Samaroff came and saw and conquered on her former visits to Buffalo, so at this time she had only to take her acknowledged place and again delight a large and enthusiastic audience. That any audience can glow with enthusiasm in the bare, unencouraging Convention Hall shows what stuff it is made of. Where all was so delightful and artistic it is hard to specialize, but the Schumann sonata, Brahms' variations, and the "Carillon," by Liapounow, showed Madame Samaroff's exquisite toning and fingering to perfection.—Buffalo News.
25Olga Samaroff, the young American pianist, who has had such a phenomenally successful career in the few years she has been before the public, gave a recital last evening in Convention Hall. It was her third recital in this city within about a year. She was greeted by one of the largest houses of any pianist who has appeared here since Paderewski, and it was very evident that her Buffalo admirers are many.—Buffalo Express.
27Olga Samaroff, the famous pianist, who, despite her name, is an American, was greeted by an immense audience at Convention Hall and repeated her triumph in Buffalo of a year ago. In that time this young artist has gained greatly in brilliancy, in poise and in all that goes to make a great artist, while her attractive personality is in no way a handicap to her equipment as a wonderful musician.—Buffalo Courier.
29Next to Paderewski, Olga Samaroff, the famous young pianist, who appeared last evening at Convention Hall, has drawn the largest audience of any one since the great Polish player was here. Madame Samaroff has played here three times within the year, which is another evidence of her great popularity, for to hear her once left a desire to hear her again.—Buffalo Enquirer.
31E. Cutter, Jr., on "Poise" in Singing.
33The following excerpt is from a pamphlet by E. Cutter, Jr., on "Poise" in singing:
35Poise, the familiar term that implies control, is often secured by concentration on one set of resonances, which, uniting unconsciously with the essentials of opposite color in the natural voice, produces the result of balance. In this case if you have the temperament that stirs to action all the resources of the voice, a long period of successful singing is assured to you. But if you adhere under all circumstances and conditions to the position acquired by method, there will come a time in the prime of life when the vocal powers will become impaired, and method will fail to produce the result desired. If the poise attained has included conscious control of the essentials established by nature, the changes in the proportions of resonance and color that advancing years demand will have been easily adjusted and the integrity of the voice will be preserved. Observe the few great voices that retain till late in life their vigor, beauty, and that personal timbre which is their character, and one finds in them all the essentials of prominent methods according to dramatic intensity of the temperamental demand. A voice—a balanced voice—a voice controlling singly and in combination all the essentials of resonance and color, should retain its vigor and beauty so long as physical condition is unimpaired.
37Mr. Cutter's work is causing discussion on both sides of the Atlantic among those who have read his book.
39Cecelia Winter Sings for St. John's Guild.
41Cecelia Winter, the contralto, sang at the annual meeting of St. John's Guild, which was held Tuesday afternoon of last week at the Madison Square Theater. This singer is being booked for concerts and oratorio performances by Loudon Charlton.
43SEASON 1907—1908
45MACMILLEN
47VIOLIN VIRTUOSO
49RETURN AMERICAN ENGAGEMENT
51Nov. 19th—Evanston, Ill.
5220th—Ft. Wayne, Ind.
5321st—Lafayette, Ind.
5422d—Elkhart, Ind.
5523d—Goshen, Ind.
57Nov. 25th—Richmond, Ind.
5826th—Cambridge, O.
5927th—Newark, O.
6028th—Columbus, O.
6129th—Chillicothe, O.
63EXCLUSIVE MANAGEMENT:
64HAENSEL & JONES
65542 Fifth Avenue New York
67AUTHOR AND TEACHER OF
68The True Method of Tone Production
69An entirely new and complete scientific course of voice training. Book I for teachers and singers. Book II, elementary. Book III, advanced exercises. Send for illustrated descriptive circular.
70J. VAN BROEKHOVEN, 222 W. 104th St., New York City.
72J. VAN BROEKHOVEN
73FRIEDA STENDER
74SOPRANO
75CONCERTS, ORATORIOS, RECITALS
76Private address: 101 West 78th St., New York.
77Management: R. E. JOHNSTON, St. James Bldg., N. Y. City
78'Phone: 2969 Riverside
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