MUSICAL COURIER
18
RAGTIME AND TURTLE SOUP
A Symposium of Common Sense
By Mary T. Folta
Copyrighted, 1922, by The Musical Courier Company.
March 9, 1922
trouble to find the good points in popular music. It has quite a few in its favor. There is no denying that it also has its bad points, and, in many of the pieces, these predominate. But don’t let that worry you!
The good points of popular music will be the foundation of another type of music. This music will be the product of the twentieth century. This perpetual unrest and always looking for something different and better, will culminate in the production of a type of music never before attempted.
Why forbid the child to study popular music? Encourage it, rather, but, simultaneously with teaching it, develqp character and incidentally show how to note the good and weak points. Once in a while take just a peep at the classic school, but not too early, nor too much at a time, because the child is not prepared to take in much.
Win the pupil, and half the task is finished. By opposition, nothing is gained. It is like pouring oil on fire. By denouncing popular music you just waste your energy; you cure the sprained ankle by cutting off the foot.
By strenuously condemning popular music you make enemies, you label yourself a reactionist. Some of your pupils might obey you when you are near, but when they are in their own homes, they will satiate that desire. Again, they are running the risk of forming bad habits because they are forbidden to study what they want, so they do the best under the circumstances and peck it out or play at it without guidance. Some pupils will obey you blindly and refrain totally from this music and they will be most unwelcome in their own circles, while those who are able to play the sort of music people really like will be sought after for the pleasure they can give. Lastly, some pupils will face the opposition by saying that if they can not be taught ragtime, they will give up music.
Be a true friend to your pupils! Try to fit them for their own environment. When they feel that they have a friend in you, they will confide in you. Then some fine morning you will have a pleasant surprise:	“Teacher, I
think I’d like to study a Chopin waltz instead of all this ‘jazz’ stuff. I’m getting tired of ‘jazz.’”
Have you ever seen a copy of Tennyson’s poems in the hands of a kindergarten child? Well, why should a more absurd thing happen in music?
Stanley Well Received in San Francisco ■
The critics of San Francisco were very lavish in their praise of Helen Stanley when she recently appeared there in recital. Among other things Ray C. Brown, of the Chronicle, stated that the singer possesses a scintillant voice, but its bright tints are not surface reflections; they gleam from within the substance of the sound as lights lurk in the heart of a gem.
Re-engagements for Tom Burke
Tom Burke will give a recital in Houston, Texas, March 13, and in Washington, D. C., March 17. This will be his second appearance in both of these cities this season.
music? And if he plays popular music, will he suffer in his musical education?
Popular music is difficult and needs supervision. There is nothing more distressing to the ear than popular music played poorly.
The hardest thing in popular music is the rhythm. Ragtime is syncopated music. The accents are dislocated. Therefore, the first and the vital essential is, get the rhythm just as it is written, and do not allow the pupil to swerve one iota from it. Furthermore, do not permit him to put in notes that are not printed on the sheet. All the grace notes which some ragtime players indulge in are a means of spoiling the piece. Ragtime music is not so bad when played as written; it is the individual contribution which makes it depreciable. And when the individual begins to exhibit his “jazzy” abilities, he also exhibits his character. The meaner the man he is, the more harsh sounding music he produces. This accounts for the fact, that when certain persons play ragtime, we feel like running away. They annoy and hurt us. Again, others can play it and we enjoy it. In all actions character is the one and the only thing that gives it tone.
All educators agree that the prime work of the teacher is to build character. Music teachers, irrespective of the instrument they teach, are not exempt from this responsibility.
The idea behind this strong insistency, that the pupils play the notes just as written, is, because thereby they are forming a strong character. Little by little the bird builds its nest; so too, it is being faithful to little, insignificant things that produces the man of character, the woman of character.
Teachers, when the pupil wants to study the popular music, let her do so! Remember, that not all your pupils will be concert players. If you produce one, you can boastfully pat yourself on your shoulder, and even if this future concert pianist wants to play ragtime, let her do so! It will not hurt her in the least. Ragtime is one of the finest and the most instructive exercises for the mastering of odd rhythms.
This is a transitional period. The people are striving for a goal. Most of us refuse to wear our dresses in the styles peculiar to the eighteenth century. What reason is there to be a back number in music? Is all music written nowadays to receive the mark of abominable? Is it to insinuate that, after all, only a few men could compose, and these have long since crossed to the great beyond? If Beethoven or Chopin lived today, would they not cater to the general public?
Modern music teachers should take the time and the
WHEN Hamlet was engulfed in a sea of trouble, doubt and despair, he exclaimed in the anguish of his heart:
“To be or not to be—that is the question;
Whether ’tis nobler in the mind to suffer The slings and arrows of outrageous fortune,
Or to take arms against a sea of troubles,
And by opposing, end them.”
Modern music teachers find themselves in a similar predicament. Their biggest subject of discussion is: “To permit or not to permit—that is the question; whether it is nobler on the part of the teacher to endure the displaced accents and daring chords of degrading popular music, or to take arms against it and, by violent opposition, try to destroy the desire for it.”
They throw up their hands in horror and dismay, and complain: “Oh, that popular music is getting such a strong hold on my pupils. They ignore and abhor classical music, but ‘jazz’ seems to infatuate them. Instead of playing a Beethoven sonata, they substitute ‘I Want My Mammy.’ Instead of studying a Chopin waltz, they prefer ‘By the Old Ohio Shore.’ For every classical piece you offer, they are prepared to suggest a popular one.”
What does this mean? Why the seeming aversion for the classics? Surely if the teachers have eyes, and observe just a wee bit, they cannot fail to find the reasons for the child’s preferences. Sometimes the teacher does not have to do much observation, because one of her brave pupils will tell her: “Teacher, if I play a Chopin waltz, my company is polite to sit still, and pretend they are enjoying it, but I can feel they are bored. If I play a popular song, the atmosphere is suddenly changed; they get interested and want more.”
The foundation of all good manners is consideration for others. It is the other person who is the object of your consideration and not yourself. Consider for a moment that you are giving a banquet! One of the courses on the menu is turtle soup. In your company there chance to be two persons, who have not cultivated a liking for turtle soup. So when the soup comes around they partake of it gingerly, and do a lot of talking, just so they won’t have to do away with a great deal of that undesirable victual. They are willing to be sociable, but they are more willing to refrain from eating those preparations which go contrary to their tastes. Would you, as the hostess, press them to take every drop of the soup, or would you overlook it? Why act differently with music?
Since popular music seems to entice the music students and their friends, two questions naturally present themselves :	Should the student be taught to play popular
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binder its neo)
_ Conductor
Rudolph Ganz־
HE St. Louis Philharmonic Society gave its first concert on October 18, 1860. Its direct descendant, the present
OSt. Louis Symphony Society, ■was organized in 1881, and concerts have been given each year from that date to the present. The St. Louis Symphony Orchestra may, therefore, properly claim to be one of the oldest symphonic organizations in America.
Rudolph Ganz, now in his first season as Conductor, has already established himself as a Conductor of splendid attainments. His achievements have won the St. Louis public to a greater appreciation of their Orchestra, and the Kansas City concerts ־have been notable for splendid attendance and remarkable enthusiasm.
From the Press
St. Louis Post-Dispateh—Authority, self-confidence and vigor characterize the new director’8 wielding of the baton.
Kansas City Star—The spirit of youth is the key-note of Mr. Ganz’ success as a conductor. His interpretations are never heavy. They may be sturdy and full of dynamic energy, but the man is buoyant in everything he does.
St. Louis Times—Under that magnetic baton the orchestra played as a unit inspired, sharing in the sympathy, the understanding, the superb musicianship, and the high faith of that fine artist, Rudolph Ganz.
St Louis Globe-Democrat—Ganz directs splendidly. Here surely we had a cogent instance of the progress of the orchestra right at the outset of Mr. Ganz promise! ul career.
Season 1921-1922
15 Friday Afternoon Symphony Concerts.
15 Saturday Evening Symphony Concerts.
20 Sunday Afternoon Popular Concerts.
5 Saturday Morning Free Children’s Concerts 5 Symphony Concerts in Kansas City.
5 Children’s Concerts in Kansas City.
ARTHUR J. GAINES, Manager ¥M, F DAVIE, Assistant Manager
Suite 210 University Club Building Saint Louis, Missouri
Spring Music Festival Tour —March 20 to Mag 1—Completely Booked
MISSOURI—Mexico, Columbia, Cape Girardeau.
IOWA—Grinnell, Des Moines, Cedar Falls, Iowa City, Cedar Rapids, Clinton, Davenport. ILLINOIS—Bloomington, Peoria, Decatur, Urbana.
TEXAS—Dallas, Fort Worth, Denton, Belton, Austin, Houston, Port Arthur, Texarkana. LOUISIANA—New Orleans, Baton Rouge, Monroe, Shreveport.
T ENN ESSEE—Memphis.