Books › Musical Courier 1928-12-13: Vol 97 Iss 24, 1928 › scan 32
Scan 32
Musical Courier 1928-12-13: Vol 97 Iss 24, 1928
98 lines. Read by computer on 29 September 2026. Printed page 33. See the scan on archive.org.
1MUSIC IN THE PUBLIC SCHOOLS
3Music Understanding
4By Edwin N. C. Barnes, Mus. Ed. Doc.
5Washington, D. C.
7[The Washington School Department employs eight teachers of music understanding, which is taught with the aid of the talking machine. The following article is made up almost entirely from excerpts from letters by these teachers to the director of music in the schools on the value of music understanding in the public schools.—The Editor.]
9"Music understanding is of inestimable value from a cultural standpoint." A junior high music understanding instructor says: "We have for many years sought to give children the masters in literature. It seems just as important to take the study of music from the same standpoint."
11Perhaps the greatest result of a systematic teaching of music understanding is the change in attitude towards music in general and towards classical music in particular. An instructor in this work in the grades says: "There was at first such a feeling that good music could not possibly be enjoyable, that I had daily requests for jazz, and was even told that any music except jazz was dreary. After just one lesson there was always some difference noticeable, and this change has grown so steadily that I can't remember when I had the last request for jazz. Instead, I am continually greeted with, 'Won't you please play Beethoven's Turkish March?' or 'I heard Peer Gynt over the radio last night,' or 'I got the Humoresque record for a birthday present,' etc. Indeed the change seems to be a change from an unresisting acceptance of the counterfeit as music to a conscious awakening to and desire for the genuine. I find that these lessons also have a great educational value. In my experience as a grade teacher I think I can safely say I never found anything which produced such concentration of thought or such unity of effort for a larger group as do the music understanding lessons. They involve the development of reason and judgment, the use of memory and discrimination, the development of the ability to analyze and to create. They awaken the child to a realization that he can discover things for himself and thus encourage independent thinking."
13Another music understanding instructor says: "The strongest reason for the teaching of music understanding as distinguished from vocal and instrumental music is that we are teaching all the children of all the people. Few are or will be performers, fewer still composers, but all are listeners. Not everyone knows what to listen for—many people do not like good music because of their inability to get its meaning. Much good music comes to everyone by radio, phonograph and movie orchestra, so experience and guidance in listening will enable them to reap greater benefits. Real music understanding is not mere entertainment, it is attainment. Without ability to perform, the child can take a great interest in, and learn a great deal of, this cultural side of music through these lessons. The talented child is receiving at the same time a splendid background for his special musical activity. The majority of our boys and girls are going to be the listeners, the future concert and opera goers of our country. Through lessons in music understanding we are making them able to intelligently enjoy what they hear and in this way to grow in culture and musical knowledge."
15Summing up the subject of Music Understanding: It (a) develops musical tastes and correct standards of judgment and opens a world of beauty and joy hitherto undreamed; (b) provides a medium for universal study of the best music; (c) develops imagination, discrimination, concentration, alertness, independent thinking and the power of analysis; (d) establishes the listening habit—of utmost importance in life; (e) provides a foundation for the development of rhythm, singing ear training and instrumental study; (f) presents a remarkable opportunity for correlation with other studies—especially history, geography and poetry; (g) teaches children to expect to really enjoy the best music; (h) greatly enhances the value of a cultural radio service and incidentally creates a demand for such a type of service; (i) utilizes the American public schools as a medium for the development, in the child, of the finest things in life; (j) develops a greater knowledge of and interest in the orchestra and paves the way for a better understanding of the treasures of orchestral music.
17Finally one instructor says: "There is an unconscious something which slips into the lives of children when the right atmosphere is created for listening. Hearing others perform is a great factor in furthering one's own talents. An artist might stimulate a person when the teacher has failed. There is art in listening as well as in doing. It is sometimes harder to teach a person to listen than to do."
19When the people can listen with an intelligent understanding of the composer's idiom then good music will become popular music.
21* * *
23Eastern Music Supervisors' Conference
24Plans for the biennial session of the Eastern Music Supervisors' Conference are going forward rapidly. The place of meeting is to be Philadelphia and the date March 13, 14 and 15 of next year. Conference headquarters will be at the Benjamin Franklin Hotel.
26The local committee, of which George L. Lindsay, director of School Music in Philadelphia is chairman, is making an effort to perfect the business details and musical programs for the session. Already many interesting social events have been planned. Connected with Mr. Lindsay on this committee are Mrs. Francis Elliott Clark and other prominent people in the school music profession. Vice-President M. Claude Rosenberry, State Director of Music in Pennsylvania, is the chairman of the membership campaign. Mr. Rosenberry reports that the attendance in Philadelphia will be greatly in advance of any previous meeting. A full program will be worked out and published shortly.
28H. Whittemore, of Summerville, Mass., has charge of the arrangement for exhibitors of school music material. Supervisors of music and persons directly interested in music education in the public schools within the eastern territory are invited to become members of the conference. Applications may be made to Clarence Wells, treasurer, Orange, N. J. The complete program for these meetings will be published in an early forthcoming issue of the MUSICAL COURIER.
30* * *
32NEW TEACHING MATERIAL
33(M. Witmark & Sons, New York)
35The Wondrous Story, a cantata for Christmas, text by Raymond Earl Bellaire, music by Richard Kountz. A short two-part work with some solos. Voice parts are within easy and comfortable range.
37Caravan, a cantata for soprano, alto and baritone chorus. Text by Edmund Spear Hunt, music by Richard Kountz. Story of Caravan is of the first day's journey by camel-train across the great Arabian desert.
39The Vagabonds, a romantic comic opera for boys, by Arthur A. Penn. Action takes place in Nonsensia, which, as described in one of the musical numbers, lies 'east by west' somewhere in Europe. Not difficult for junior high and high schools.
41The Swami of Bagdad, a musical comedy in two acts. Music and lyrics by Arthur A. Penn. Choruses, quartets, duets, and solos. Orchestration can be rented.
43The Last Rehearsal, a musical extravaganza in one act, by Arthur A. Penn. Twelve characters and a chorus of young people. Four-part choruses, trios, duets, and solos.
45The Harvest, a cantata in four parts for mixed voices. Text by C. Gordon Wilcox and music by Richard Kountz. Well-written, a valuable edition to high school choral literature.
47Dream Boat, an operetta for children in the grades, in two acts. Book and lyrics by Sarah Grames Clark, music by Arthur A. Penn. Thirteen numbers including the overture. Well adapted for the purpose for which it is intended.
49* * *
51Units of Festival Chorus of Middle East in Concert
52Lee Hess Barnes, founder and director of the Festival Chorus of the Middle East, will present the Warren unit of the chorus in a performance of Charles Wakefield Cadman's The Father of Waters, on December 11 in Warren, Pa. On the evening of December 3, Mr. Barnes conducted a performance of the Cadman Work in Meadville, Pa., with the Greenville and Meadville units of the Festival Chorus. November 25 found him giving the American Ode by Richard Kountz with his choir (Presbyterian Church Choir of Meadville, Pa.), augmented by members of the Festival Chorus.
54Ruth Hess Barnes, secretary of the Festival Chorus of the Middle East, gave a song recital recently before the Philomel at the Philomel Club House, Warren, Pa. The recital was in celebration of President's Day.
56* * *
58Ithaca, N. Y.
59Unique Thanksgiving Concert
60The twentieth annual Thanksgiving concert by high school students of the Ithaca, N. Y., High School was held Thanksgiving night under the direction of Laura Bryant, supervisor
62(Continued on page 48)
64Music Supervisors of Note
65EDITH M. KELLER
66For the past four years has served as State Supervisor of Music in Ohio. Her major lines of interest have been the promotion and organization of music work in rural communities and the strengthening of the teacher-training program for elementary teachers as well as that for supervisors and special teachers of music. All elementary teachers are now required to take special training in music, and a four year requirement is now in effect for all supervisors and special teachers who teach high school music work. Much interest has been aroused in rural communities. A number of counties have employed county supervisors and many others have organized groups of teachers with definite county courses of study and all-county programs. An all-state High School Chorus of over 600 students, from all parts of the state, is now an annual feature of the State Teachers Association.
68FLINT, MICH., CENTRAL HIGH SCHOOL STRING QUARTET
69First violin, Irene Prosiak; second violin, John Mosijo; viola, Ethel Purdy; cello, Annabelle Hicks
71FLINT, MICH., CENTRAL HIGH SCHOOL BRASS SEXTET
72Bernard Smith, first cornet; Harold Hans, second cornet; Owen Landy, second cornet; Edward Walker, first horn; Francis Whoram, second horn; Harold Ferguson, trombone; Thurman Naugle, tuba
74FLINT, MICH., HIGH SCHOOL BAND
76Instrumental Groups in Public Schools
77Instrumental music, in school bands and orchestras, has been a significant stimulus to the recent revival of public school music. But the use of instruments inevitably brings problems which do not exist in the vocal branches.
79When it comes to organizing a school band or orchestra, these material questions are bound to make themselves heard first of all: How shall the instruments be acquired? Who shall pay for them? and What shall be purchased first?
81The solo instruments will be purchased by the players without much urging, but the less well-known instruments must be furnished, such as the French horns, oboes, bassoons, tubas, and so forth.
83The Board of Education should be asked to furnish these instruments as a part of the school equipment, the same as it does for other branches of study. This part of the music system may be considered vocational as well as cultural. Let us contrast the vocational equipment in the usual high school in the matter of machinery for music: thousands for the one and usually nothing for the other. Now contrast the number who will use their vocational training in one and in the other; music makes the superior showing. Many boards of education are furnishing funds to buy instruments.
85Buying instruments is a fine outlet for the energies of parent-teachers' organizations. It is also a project which will make a strong appeal to chambers of commerce, Rotary, Kiwanis and Lions' clubs. In fact, local clubs of all kinds may be interested.
87Philanthropically inclined people will here find a very concrete way to help. Many a talented pupil, if given an instrument and a few lessons, will later become self-supporting either wholly or in part.
89Concerts of all kinds may be given and proceeds used to buy instruments. This gives an added reason for studying the music, but it is a very slow way to raise money.
91Student organizations often help with this fund. Tag day also helps. Managers of picture theaters often allow organizations to take over a certain number of performances and share the profits accruing from the increased sale of tickets.
93The value of these efforts is not only that they raise funds, which is, of course, the primary objective, but also that they serve to keep students and public reminded of the importance of developing the band.
95Care must be used in buying the instruments. They should all be "low-pitch." Nothing is so discouraging as trying to make music with instruments that cannot be tuned together.
97Good instruments should also be purchased. They are far easier to play and the mortality by discouragement is far less.
The computer misreads some letters and numbers. Where a name matters to you, read the scan.