January 11, 1923
MUSICAL COURIER
52
MUSIC AND PUBLIC EDUCATION
By GEORGE H. GARTLAN
Director of Music in the Public Schools of New York City
MAINTAINING INTEREST IN SCHOOL MUSIC
THE HIGHER TECHNIQUE OF SINGING W.	rT M. ^ 7 Author of the Unique Book
of Voice *‘The Practical Psychology of Voice,” pub. G. Schirmer Studio: SO West 67th Street
ZAY
HENRI
Complete vocal method
Isaac Van Grove
CHICAGO OPERA ASSOCIATION Auditorium Theatre :	:	Chicago, 111.
A Discussion of Reasons for Loss of Interest at Certain Times in the School Curriculum
away from the subject of music we should do intensive work in the singing of beautiful songs, so that there will be no doubt in their minds as to why we want them to study. At such a time give up technical work and substitute for it the study of beautiful music, which will make a lasting appeal to the child and win him to the thing we expect him to do 1
Too Many Recitalists, Says Grace Kerns
In the course of a recent interview with Grace Kerns, the musicianly American soprano, whose artistic work and voice is well known, the rush of newcomers in various branches of music, particularly the recital field, was one of the topics of conversation.
“Only look at the mushroom crop of recitalists that spring up over night, give a New York recital attended by little or _ no success, and then disappear again, forgotten, but possibly wiser and sadder mortals. Such recitals are, in many cases, given by singers who are far from ready for public appearances. Getting up on the stage and going through what might be called ‘vocal gymnastics’ seems to be thought artistic singing by many of these would-be artists. The worst of it is, however, that sometimes these mediocre singers sing mediocre songs and yet sometimes appear to ‘get by’ with it. It takes a real artist, though, to sing Brahms, Schubert and Schumann. Too many recitalists and too much hurry to appear in public is what the trouble is. Real art is for the moment quite choked out. The average modern composition is written to exploit and display the voice, while the fine master songs were written for themselves. Of course this is not true of all modern compositions by any means. There are, on the contrary, some very worth while things and my belief in the American composer’s possibilities is a firm one.”
Brooklyn to Hear New York Trio
On Friday morning, January 12, the New York Trio will make its first appearance in Brooklyn at the musicale of the Mundell Choral Club. The trio, which is now in its fourth year, has already made a name for itself in the chamber music world. It is most unusual for three musicians of the attainments of Clarence Adler, Scipione Guidi and Cornelius Van Vliet, all busy men, to be willing to_ devote the time to rehearsals that was necessary to bring the New York Trio to its present state of perfection, but each of the artists has a real love for chamber music and look on their daily rehearsals as a sort of relaxation. Mr. Adler is a well established pianist, Mr. Guidi is the concertmaster of the New York Philharmonic, and Mr. Van Vliet is the first cellist of the same organization, and because of their duties, the concerts of the New York Trio are rare events. Before the orchestral season began this fall they made a short tour, which included concerts in Toronto, Pittsfield, Rochester, New York, and Vassar College, and a Spring tour will be made, opening in Albany, March 10. During the season three concerts are scheduled at Aeolian Hall, New York, one having already taken place; the next one will take place on the evening of January 22, and the final one later in the season.
Miinz with New York Symphony January 14
Mieczyslaw_ Miinz, the Polish pianist, has been engaged as soloist with the New York Symphony Orchestra at Aeolian Hall, Sunday afternoon, January 14, under Albert Coates, guest conductor. He will be heard in the Cesar Franck Variations Symphoniques for piano with orchestra, and Mr. Coates will direct the Beethoven fifth symphony in C minor and Rimsky-Korsakoff’s suite from the opera . Tsar Saltan.
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We often hear the opinion expressed by music teachers that there are certain times in a child’s life when he apparently loses interest in the subject of music, whether it be piano, violin, or public school work. The depression comes when the child is between ten and twelve years old. Careful analysis of the situation discloses the fact that this lack of interest is due largely to the presentation of the wrong type of music. In instrumental work the teacher feels that this stage of development is the proper time when the initial steps in^ technical instruction become important, and frequently if the child shows any talent he is put through a rather difficult technical course for which he is not mentally ready.
In public school work framers of courses of study have generally, up until the present, made the same mistake. It was proposed that technical work in. music, such as new rhythms, chromatics, difficult tone groups, etc., all be accomplished at the end of the sixth grade, thus leaving the seventh, eighth and ninth grades of the elementary schools free to develop the musical side. In theory this was very fine, but in actual practice it did not work out, because there was^ not sufficient time allowed to the subject of school music to accomplish such a difficult program.
It was found that the seventh, eighth and ninth grade children were not ready to undertake the work which was assigned to them, and a great deal of time had to be devoted to accomplish the work which should have been accomplished in the first six years.' It is a well-known fact that if the subject of music could have two hours of classroom instruction per week, then such a course would be very practical and productive of the finest results.
The Real Cause of the Failure.
The subject of technical sight reading is a fine one for the colleges and conservatories, but it does not properly function in the elementary grades. The question has so often arisen, “Is the result really worth while ?” There will always be those among us who insist upon advocating that the most important thing in school music is sight reading, and such a group will never be reconciled to the other side of the question. Instead of giving these children a repertory of beautiful songs which should not only be learned, but also constantly sung, we are inclined to give them difficult tests in the reading of intricate music which does not in any sense of the term carry the real message to the child. In addition to this it lacks the emotional appeal which is so necessary at this age.
The Modern Course of Study.
The consensus of opinion today seems to be that the proper way to introduce music into the elementary school is to give the children of the first two years a larger repertory of song's which make more of an emotional appeal than a musical or intellectual one. The songs should be simple, but not trite. The ideas expressed should be ideas which convey in full musical content and literary consistency. Open groups should be presented which are a part of these songs, and which shall be used later as a basis for further instruction. Next comes the primer stage, wherein the elements of the reading of music are presented both through the observation method and through the sight singing method, and forms the initial step in the reading of music.
The third year is devoted largely to the reading of easy music, but at the same time the idea of rote song singing is not only carried on, but also developed to a greater extent, keeping in mind the building of a repertory. Every new point which is presented is accomplished through the medium of actual singing. Each musical form in its new setting will be deeply impressed upon the minds of the children, not only for present use, but also for a continuation of the idea iii later years, thereby producing a thought development in music which is as consistent as that in language.
The Problem of Rhythms.
It is in this particular, more than in the actual interval work, that children are naturally retarded. It is difficult for a child to study abstractly such forms as the dotted eighth followed by a sixteenth, a triplet, four-sixteenths to a beat, etc., but it is a simple thing to have him sing such forms through the medium of song presentation.
In the next grades the problem of extraneous intervals is studied and the child suddenly realizes that this so-called new element in music is nothing more than the old idea in slightly different dress. “Over and under and through it all,” as the poet expresses it, must be sung the exquisite strains of real music, otherwise the whole scheme will fail, and the only thing that we can possibly hope to accomplish is a mechanical recitation based largely upon technical fact.
The Last Three Years.
The addition of the ninth year to the elementary school course has in a great many ways simplified the problem of school music, because it divides the school into three sections of three years each, thereby making three psychologic periods for instruction. It is in the last three that the intensive work in chorus singing and music reading is accomplished, and for that reason the first six years should not be designed for any other purpose than to properly train the child’s mind to accomplish what the seventh, eighth and ninth year schedule proposes. It is a mistake to assume that all theory in relation to public school music can be actually accomplished in the first six grades. It is proper, however, to plan a course of study so that all necessary points may be presented and studied in the first six years, but it is with the_ idea that this work shall be culminated and bear its fruition in the upper schedule of the school course.
Conclusion.
If the ideas expressed here are carried out sympathetically in any school system, the children will have the proper attitude toward music. At the time when we feel them slipping
CHEV. DE LANCELLOTTI
(FROM THE “CONSERVATOIRE DE PARIS”) TEACHER OF PIANO VOCAL COACH CONCERT ACCOMPANIST
Studio: 294 West 92d Street	Phone: Schuyler 5614
John BLAND TENOR
Master of Calvary Choir	VOICE PRODUCTION
ARTHUR R. HARTINGTON, Aaslstant
20 East 23rd Street, New York. Telephone 328 Gramercy
CARL BEUTEL
American Pianist and Composer CONCERT AND LECTURE RECITAL
Manaiement: JOHN WESLEY MILLE!. 1400 Broadway, New York City
EDGAR
STILLMAN KELLEY
STEINWAY HALL - NEW YORK, N. Y.
SOUSA AND HIS BAND
JOHN PHILIP SOUSA, Conductor
Now Booking Season 1923-1924
HARRY ASKIN, Mar.
1451 Broadway	New York
GUIDER
SOPRANO
Carnegie Hall Recital, February 15 Management: James Guider	1947 Broadway, New York
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RIEMENSCHNEIDER
F״IAIMIST
( with LESCHETIZKY 1903-06)
STUDIO: 722 The Arcade, Cleveland, O.
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TRINITY-PRINCIPLE-
PEDAGOGY
INNER FEELING) EAR REASONING f EYE DRILLS	J	TOUCH
Applied to Seven Music Subjects Teacher's Class
Catalogue Sent and Demonstrations Given
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NEW YORK CITY
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