25
MUSICAL COURIER
June 8, 1922
MUSIC AND PUBLIC EDUCATION
By GEORGE H. GARTLAN Director of Music in the Public Schools of New York City
THE BOY IN SCHOOL MUSIC
The Problem of Interest, and Methods Which Produce and Maintain the Spirit of the Subject
For many years, when non-believers in the efficiency of	these agencies we find the boy desiring to join a chorus
school music desired to characterize chorus singing as an	and sing his part. Choral singing is a great inspiration in
impossible proposition, they referred to it as “public school	musical development with a certain type of child, because
style. Fortunately, the present day methods of instruction	of the “fun” of holding the part. Next in order comes
make such slights impossible, and it is now an assured fact	the higher type of musical comedy which approximates the
au >?rmer unsatisfactory conditions will never return. fine music done by Sir Arthur Sullivan. The great advan-The boy’ was	largely responsible for the	heavy style of	tage in studying	music of this	character is that it provides
tone production,	and upon him the major	burden of the	a knowledge of	most forms	of musical compositions in
criticism had to rest. Little attention, if any, was paid to	the simplest terms at the same time maintaining the melodic
tone production, the idea being to let all children sing re-	beauty of directness.
gardless of how they did it. Today all children must sing,	׳rHF	״״ Appmrrrm״»
but added care is taken to show them how a singing tone ׳-n.	■	,	.	,	,	.	'
is properly produced	lhere ls less difficulty here than in actual vocalization.
It has been determined through the music memory contest iHE Choir Versus the School.	that the boys will devote considerable time to the study of
Boy-choir training has for generations been a highly	appreciation in this form because it has the general aspect
specialized form of musical instruction, yet, many organists	־£ fun> and the spirit of competition. We believe that the
undertook this difficult task without proper training, and the	“contest” has made a strong appeal to the boy because he
net result was a poor showing. However,	the high spots	l°ves t0 win—at	least he loves	to try to win. In any case,
were sufficiently	numerous to give evidence	of what could	the P!oof is positive, and thousands and perhaps millions,
be done if the proper methods were employed, and based	of children are each year profiting by the cultural advan-
upon these standards the progress has been rapidly marked.	taSes which have been made possible through the medium
The weaknesses of the old system of training were ob-	°f music appreciation,
vious. The universal “flute-like” tone was in reality not	The Boys’ School
so ten the tone. We have known organists who played	and the reading of music is superior Perhaps the fact that
make a careful study of how the boy voice can be properly	What T<; RpTwr Fin™!?
developed and nurtured during the unchanged period	״ .	,	, Being Done.
In view of the fact that methods of instruction are	i0*1	“״cs sc“°°l music doing more and more for
judged largely by results, it is important to keep in mind	*	•'	, F arrange.mel;ts are suited to the various types
that choir trainers are dealing with a selected few who arc	, volces’ better material is provided and cantatas, musical
chosen because of their vocal ability, whereas, the school pT’,i!C■/1'6	111 elen;entary and high schools
must solve the problem by dealing with all types of vocal W■ the,! ,• building up and holding the interest in ability. It is true that for a certain period in school life muslc■ which is so essential to the welfare of the boy and all children can sing. The monotone problem is not a	subje,ct׳ .School music must prepare the boy to appre-
serious deterrent to success, being merely a transient con-	jlat-e and el1J0y music after he leaves school as well as
dition of a very small group. But the fact that large	dunng ™s days of study and application,
numbers of boys mutate rapidly, and at an early age, pre- .	.	----------
sents a vocal problem which can not be overlooked. The	Artist Pupil of Clarence Adler Gives Recital
loss of power in voice control precipitates a corresponding Minna Rutenberg, artist pupil of Clarence Adler was
h sS time nrSe toVsYfeThat‘1ffir “V j f	bcard recentIy in ^¿ital at *־residence of her teach״ be
tins time m tne noy s tile that the greatest care should be	f0re a gathering of nunils and friend־ M;־־
fefsons'ItVaW ?Ct,0nf TrW'Ti •°ng a״(I ',isTi״S'	־»־Played pianist! gifts of high order and will no doubi
even be lessened^ °VC h<־ beaUtlful ln muslc sha״ not soon make her debut at Aeolian Hall. She played the fol-<_־scni_u.	lowing program:
.	. THE Song.	Toccata and fusue................................Bach Busoni
Ihe grave question is, what type of song is best for th •	Threta,KtPHS 53 ....................................Beethoven
boy Art songs make little appeal. The average specially	G flat, C minor'aid A׳minor! ::::::::::::::::::::::::...choSin
made school song is a trite and unappealing creation, and	Nocturne B major .......................................Chopin
the garden variety of popular melody is of no educational	flat mmor.............................wSJ1015‘״
value Melodies must be marked and cheerful. The sent¡- Prelim “	V.V. . piSSfifff
mental style is weak and lacking in proper emotional con-	Cat and Mouse Humoresque..............................Copeland
tent. The songs with college flavor are frequently too	Staccato Caprice ..................................... Vogrich
difficult for him to sing, and he is not quite ready to give	״	“
the full abandon necessary to a successful rendition of such	Mater and Uattison to Play for U. of I.
music. What then is left ? Herein lies the problem. Songs Guy Maier and Lee Pattison will give one of their ot patriotic content make the strongest appeal, with the	recitals of music for two pianos for the Star Course of
cleverly humorous order second. Properly directed through	the University of Illinois in Urbana on March 10 next.
A SENSATION .tfc NEW YORK SEASON
OLIVE MARSHALL, Soprano
A NEW NORDICA
The New York Times—
“She brought to oratorio rich gifts of native beauty, such as once were brought to it by a young New England girl whose name was Lillian Norton, the later Mme. Nordica.
With all modesty of a first appearance, there was in Miss Marshall’s singing the early bloom of voice, the serene ease in poised flight among lofty topnotes of Handel, that carried delight to her hearers.”
Soloist with THE ORATORIO SOCIETY OF NEW YORK
“THE MESSIAH,” December 28, 1921—“ST. MATTHEW PASSION,” April 13, 1922
DANVILLE MUSIC FESTIVAL, DANVILLE, VA.—MAY 5
“Miss Marshall, who sang Santuzza, made a profound impression on her hearers.”— Danville Register.
For Bookings 1922-23
Exclusive Management: HAENSEL & JONES, AEOLIAN HALL, NEW YORK CITY
a most valuable feature of the work. Pupils and parents have already discovered that this absolutely fair treatment is to be had in the Witherspoon studios, and Mr. Witherspoon has many letters commending his stand in this matter and thanking him for saving young aspirants the misery of failure after years of work in a career for which they were not fitted. The standard is based, not upon knowledge, but upon essentials: voice, real׳ musical ability, interpretative instinct, good health, personal appearance, and the willingness to work.
Pupils are greatly aided by the system established by Mr. Witherspoon of having practice teachers to supervise their work. This means that Mr. Witherspoon’s assistants see to it that the pupils do not go wrong during their practice hours between lessons. All of the expression marks on the scores have been made by Mr. Witherspoon, so that no difference of interpretation can arise and the pupil is never confused by being taught several ways of treating the same passage. The entire school work is thus built up along uniform lines. It is, in fact, a one-man job—and Witherspoon is the man.	F. P.
Ukrainian Chorus to Sing Here October 5
Italy itself has a very fine choral organization in Senor Casimiri’s so-called Vatican Choir and will soon have an opportunity to compare this with one of the best foreign choruses, the Ukrainian National Chorus, which, after a triumphant tour of Europe during the last two years, is visiting Italy for the. first tinte to give a series of concerts in the principal cities there. When the Italian tour is finished, the organization moves on to London for a series of concerts in the English capital to which it will also be new. Then it takes ship for America, reaching New York about October 1 and giving its first concert in this country on Thursday evening, October 5, at Carnegie Hall.
Prof. Koschetz and his chorus have scored a truly sensational success wherever they appeared in Europe. Critics write of them in superlatives as of something new in choral attainment. With them will go Maria Davidova, who is famous for her Carmen at the Petrograd Opera House, and Oda Slobodskaya, dramatic soprano of the same company, who will appear as soloists at each concert. Max Rabinoff, who has deserted the musical field for political work for the last three or four years, is bringing the organization over. Alma Voedisch, who is on the road as advance and booking manager, reports that engagements are already plentiful.
Rosa Ponselle Ends Strenuous Season
Rosa Ponselle, the gifted young American prima donna of the Metropolitan Opera Company, recently closed her fourth operatic and concert season at Hartford, Conn., and returned to New York to lay plans for her next season’s work and to enjoy a well earned rest after a most strenuous season. Miss Ponselle’s activities at the Metropolitan Opera House extended over the period from November 7, 1921, to February 28, 1922, and she also accompanied the company on its annual trip to Atlanta, Ga., in April. In the concert field, Miss Ponselle had nearly thirty engagements covering twelve different states and involving some seven thousand miles of travelling.
Mr. Gatti-Casazza will command her services during the forthcoming opera season from December 17, 1922, to April 30, 1923, and has already assigned her three new roles, which wid make a total of sixteen since she joined the Metropolitan forces. Her next season’s concert and festival work will include an invasion of the Pacific Coast territory (which will mark her debut in that section) in addition to many return engagements in those cities where her popularity is already established.
Reunion of St. Olaf Choir Members
The St. Olaf Choir management has issued a call to all former members of the choir to re-unite at their Alma Mater, St. Olaf College, Northfield, Minn., on Sunday evening, June 11—the Sunday of the Commencement festivities. These re-united: St. Olaf Choirs, assisted by the 1922 Choir, will sing some of the old favorite chorals which the choir sang in the past, including the following arrangements by their conductor, Professor F. Melius Christiansen: “In Heavenly Love Abiding,” “As Sinks the Sun,” “Built on the Rock,” “In Heaven Above” and “The Sodermann Cycle.”
It is expected that as many as one hundred and fifty of■ the alumni will turn up, so that with the sixty-five members of the present choir, a considerable body of singers will be heard by the Governor of the State and other visitors at the commencement fexercises.
St. Denis Tour Opens in Pottsville
The fall tour of Ruth St. Denis, Ted Shawn and the Denishawn Dancers will commence at Pottsville, Pa., on October 5, with a performance at the Hippodrome. Following this engagement, the company is booked for two weeks in Pennsylvania and will then visit Oh'o, Maryland, Michigan, Wisconsin, Illinois, New York State, Canada, Vermont, Kansas, Missouri, Oklahoma, Arkansas, Indiana, Iowa and Nebraska. After a series of special matinees in New York City around the Christmas holidays, the tour will be resumed and Miss. St. Denis will take her company to the South beginning the latter half of January.
Song Recital of Mabelanna Corby Songs
On Thursday afternoon,'May 18, an interesting program of songs from the pen of Mabelanna Corby was. given at the W.anamaker Auditorium in New York. Several of the numbers were from the musical masque, “When Sappho Sang," lyrics by Marjo Lewis and Cecilia Gaines Holland. This masque will be produced in Montclair. N. J., June 13, under the management of Mrs. Frederick H. Jones, for the benefit of the Montclair Art Museum.
Dobkin Booked for Canada
Dmitry Dobkin, Russian tenor, who is under the exclusive management of Annie Friedberg, will fill an engagement in Toronto during the first week in January. This will mark the beginning of a three weeks’ tour through the Canadian provinces, where Mr. Dobkin is popular because of his former appearances and his phonograph work.