Books › Musical Courier 1909-05-05: Vol 58 Iss 18, 1909 › scan 12
Scan 12
Musical Courier 1909-05-05: Vol 58 Iss 18, 1909
49 lines. Read by computer on 26 September 2026. Printed page 13. See the scan on archive.org.
1of the wonderfully clever American vocal teacher, who has so successfully won his way in the French capital.
3A member of the Madrid Sinfonica Orchestra has long been noted for the energy with which he plays the big drum in that artistic organization. The phenomenon is now explained since he has won a weight lifting competition in Madrid by lifting 626 pounds.
5DELMA-HEIDE.
7MUSIC IN THE PUBLIC SCHOOLS.
8KIRKSVILLE, Mo., April 19, 1909.
10To The Musical Courier:
12To me the article on public school music in THE MUSICAL COURIER of about March 10 was very interesting, as it revealed the state of affairs of music in our Eastern schools. I was delighted to learn that the children were reading music well, but sorry they sing off pitch through a misuse of the voice. In this latter respect the schools of the Middle West are probably better than in the East, but with the exception of Cincinnati, possibly, the sight reading is sadly neglected, the schools, as a rule, having gone rampant mad over rote singing, no effort being made in a systematic way to develop readers. In St. Louis for example one of the principals of the ward schools made some of the most astounding remarks pertaining to public school music that I ever heard. These remarks were made preparatory to the meeting of and before the Music Teachers' Section of the State Teachers' Association of Missouri.
14At first I was inclined to feel like ridiculing him, but every day I grow to admire his analytical ability more and more. This gentleman (not a musician) set himself to his task in a businesslike manner, consulted the best authorities with whom he came in contact and formulated, through this research, a series of propositions and based a paper on these entitled "Sound Psychological Foundations," which is truly remarkable in the truthfulness with which it has discerned and stated the underlying principles of several very popular music courses. He has been so clear in his outline that I brought down upon myself the ire of a number of teachers, who approved of one of these particular courses, by a discussion based on and in refutation of his assertions, they recognizing the course although I mentioned no names.
16If you will give me space I will quote a part of the paper, touching upon some of the most astounding statements.
18Skipping some statements concerning the development of "Vocal Utterance," "Manual Dexterity" and "Best Methods of Teaching Piano and Violin May be Fundamentally Wrong for the Teaching of Song," I'll pass to the fourth paragraph: "The ear is certainly more important in learning to sing a new song than learning to play a new selection." This may be true if the instrument in question be a hand-organ or bass-drum, but deliver me from having to listen to a violinist who has a poor ear learning a new selection. I cannot conceive of a more accurate ear than that demanded in a violinist. Besides, a "good ear" will do a vocalist absolutely no good if the voice is not properly placed. How few realize that it is not a lack of ear that causes singing off pitch. Take, for instance almost any violinist or even a tuner of instruments and let him try to sing; the chances are ninety-nine out of a hundred he will sing out of tune. Many people who sing atrociously out of tune themselves will detect the slightest variation in pitch in another. Is there anything the matter with their ears? How many of our truly great singers always sing in tune? Yet their "ear" may be perfect—their singing out of tune is due to an instant of faulty tone production which prevents true comparison of tone or pitch. Now, are the writers of such a course of music books that know no more of the real cause of out of tune singing competent to dictate a course in music for children? They might work eternally on the ear (or raise the children to pitch as dear old Mr. Tinker, of Evansville, Ind., does, by the ear), but they will never get the children to sing in tune. By the way, this must be the very cause of the singing "flat" in the East.
20In the next paragraph sight reading is decried, and yet later on this astounding statement is made: "A sympathetic interpretation of the words and an appreciation of the melody should precede an attempt to sing a new song." How in the world is a person to gain an "appreciation of the melody" if he can't read? Possibly every singer should carry a piano and player in his vest pocket.
22Here is a good one: "There should be no sight reading or syllable singing in the learning of a new song. Theory should be taught in connection with familiar melodies." Take in connection with this the constant complaint from choral and choir directors of the scarcity of good readers, what are we to do if the schools make no attempt to teach sight reading? Quite in keeping is the statement from this same authority that: "It is the testimony of most amateur singers, including those who have been trained in signatures, scales and syllables, that they invariably want to hear a new song before they try to sing it, and they like to follow the notes on the staff and hum the melody before trying to sing the words. This is not only common practice, but it seems to be based on the very nature of song and the constitution of man. The do-mi-soling of songs is worse than a waste of time and energy. It turns a thing of inspiration into a mechanical grind. The signatures and scales might make the learning of a new song easier to a Robinson Crusoe on another lonely island, but it will hardly be helpful in a land of singers and players and musical instruments." Concerning the amateur (and professional) singer this is undoubtedly true, more's the pity, and will continue so to be as long as we have with us the ethereal, inspiration song singing idea in the public schools.
24Please bear in mind constantly that the theories here set forth for discussion are from so-called advanced thinkers who have published music courses that are instilling into the minds of the children of this country a regard for music as a playing, not worthy of serious study, a mere pleasant time-killing device. What slight efforts these theorists do make toward sight reading are according to the plan of old Guido of Arezzo (of whom they probably have never heard), way back in the tenth century A. D. We are certainly advancing—to the second childhood of music—and in another ten hundred years will probably reach again the stage of development that had just begun to bear precious fruit when these "inspirational song singers" came into the field of action.
26D. R. Gerhart,
27Director of Music, State Normal School.
28KIRKSVILLE, Mo., April 19, 1909.
30Hubermann played the Beethoven and Brahms violin concertos not long ago at Königsberg.
32Plans for the Convention of the N. Y. S. M. T. A.
34Among the organists and pianists who are to be heard at the convention of the New York State Music Teachers' Association, to be held at the College of the City of New York June 29, 30 and July 1, are organists Mark Andrews and H. Brooks Day, chairman; Clifford Demarest, Gottfried Federlein, Albert R. Norton, Kate Elizabeth Fox, H. V. Milligan and Lawrence J. Munsen; pianists Edward Morris Bowman and Dr. Nicholas J. Eisenheimer, chairman, and the following soloists and ensemble players: Amelia Pardon, Ethel Newcomb and the Misses Sondheim. Kate Chittenden will give a lecture-recital illustrated by piano and woodwind instruments. Dr. Henry G. Hanchett will give a lecture-recital entitled, "Certain Tendencies in Modern American Composition." Louis Arthur Russell will contribute a paper on "Studies Necessary for Concert Players."
36The list of singers and violinists not being complete, is withheld for the present.
38It is announced that the official report of the last convention is ready, and those wishing to procure a copy are requested to send 4 cents in stamps to Anna Laura Johnson, 102 West Sixty-ninth street, New York City.
40The officers and committees of the association are: President, Edmund Severn; general vice president, J. Warren Andrews; secretary, Anna Laura Johnson; treasurer, Frank F. Shearer. Program committee: Perry Averill, chairman; Edward W. Berge, Dr. J. Christopher Marks. Chairman local committees: Dr. James Lee; chairman for New Jersey: William E. Ashmall, 11 Pavonia avenue, Arlington, N. J.
42Linda Micucci to Sing Norma in New York.
44It is announced that Signor Pinsuti will produce "Norma" at the Academy of Music next season. Bellini's opera has not been sung in New York in many years. Lilli Lehmann was the last heard here in the role of the high priestess. The revival of this old and melodious opera will introduce New Yorkers to a gifted singer, Linda Micucci, who has recently appeared with marked success at La Scala in Milan and at the Opera in Paris in Spontini's "La Vestale." According to the present plans, "Norma" is to be given at least eight times during the season at the Academy of Music, and it is stated that the prices are to be increased for the performances.
46Leo Blech's one act opera, "Versiegelt," was not signal- ly successful at Königsberg.
48Fritz Kreisler will open his American season at Boston on October 15.
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