January 25, 192
MUSICAL COURIER
56
MUSIC AND PUBLIC EDUCATION
By GEORGE H. GARTLAN Director of Music in the Public Schools of New York City
MUSIC EDUCATION FOR CHILDREN
THE HIGHER TECHNIQUE OF SINGING w. rw »■*/ Author of the Unique Book
HENRI E*JXX *‘The Practical * Psychology
of Voice,” pub. G. Schirmer Complete vocal method Studio: SO West 67th Street
Isaac Van Grove
CHICAGO OPERA ASSOCIATION Auditorium Theatre :	:	Chicago, 111.
A Discussion of the Limitations and the Possibilities of the Musical Training for All Classes of Children
for practical purposes. Therefore, it is accepted that musi is npt confined to the realm of genius, but is open to anyon who has the willingness to learn. Starting with this premise, all children are taught to sing. Secondly, all children are taught to read music largely to inspire interest in searchin out hidden details. But above and beyond all of this, children are taught to appreciate music, even though they personal accomplishment may fall short of the startling point. And why? Because music education means mor than personal accomplishment. It means intelligent understanding of music, no matter what the nature of the performance may be.
If we are to support opera, symphony, choral, and other forms of musical organization, we must commence with the assumption that all these forms of intellectual entertainment are open to complete understanding by everyone. It is generally understood that the lower we go in the stages of society, the less the desire for a musical form of entertainment.
What Parents Should Do.
What can the home do to supplement the work of the school? First, parents should show some interest in the work children are doing in school. Apart from the ordinary inquiry regarding daily lessons we have the community interest of music memory contests, prize essay contests, orchestra and glee club competitions, and many other activities which can instill and maintain a healthy interest in the music life of a city. Music is no longer a subject by which the talented few can so successfully annoy the uninitiated majority; it is, after all, the one theme of intellectual solidarity which commands the universal attention of the world.
Instrumental Advantages.
For generations the piano and the violin were the instruments of the home. Mechanical reproducing instruments are fast driving these out of the fold. There is no longer a desire on the part of children to apply themselves to the long hours of practice necessary to successful accomplishment. The school system is meeting this danger by establishing classes in intrumental intruction. Some offer after school violin classes. Others, piano classes. A great many have already established, or are going to establish, classes for the study of woodwind and brass instruments. Some cities are supplying instruments and instruction free; other communities are not so fortunate. But in most cases the sincerity of purpose is obvious, and it is only a question of time when the results will be apparent. The school is forced to take the place of the home, and every effort is being made to see that music education shall be kept to the high standard it rightfully should have.
Until recent years the general music education of children was so limited as to be the cause of critical comment by educators. According to accepted standards, every child was entitled to aesthetic inheritances. However, until the introduction of the phonograph and reproducing piano, comparatively little music education was accomplished in the home. When we consider the number of children in the United States and the small number who actually took lessons in instrumental music, the percentage is discouraging. For seventy-five years or more the public schools of the United States have been valiantly carrying on the battle in a limited way. It is true that the progress has been encouraging, but, after all, unless the work• is carried over into the home, very little can be accomplished.
The problem of music education should not be left entirely to the public school group. The modern tendency has been to carry whatever work is done during school hours into the home. There has been a growing tendency on the part of textbook publishers to include simple piano accompaniments in school textbooks, so that in systems where pupils buy their own books they may have the added joy of playing accompaniments to their school songs at home. Such a. method immediately establishes interest on the part of parents. We have referred to this on several occasions, but the message can not be reiterated too often.
The Home Versus the School.
For many curious reasons, music education was not considered a part of general training. Always accepted as culture, it was not looked upon as utilitarian, but merely a necessary adjunct of home life. Young people are not educated in mathematics because we desire to make accountants, or in literature because we expect them to be writers. Why then do we always expect music students to be musicians? We use the latter term in the most generally accepted sense—either professionally or the exceptional talented amateur. Yet it is true—if the average parent were left to decide music training he would discredit it, largely because of the non-utilitarian value which is placed on it as a means for earning capacity.
With each succeeding generation we are more nearly approaching the goal of conviction regarding music education. It is not intended that each individual member of society shall be a performer, but that every individual may develop an intelligent understanding of music, and not, as in the past, proudly boast of his ignorance by some such statement as, “I don’t know anything about music, but I know what I like.” It is at this point that school music education assumes definite intellectual proportions. Educators declare that music is something which everyone should know, whether or not they ever intend to use it
? SODER-HUECK
EMINENT VOICE TRAINEE AND COACH OF the following prominent singers:	George Reimherr, Walter Mills, Marion
Lovell, Ellie Marion Ebeling, George Rothermel, Elsie Lovell-Hankins, Hard-grave Kirkbride, Bernard Schram, etc.
Fall Term From Tone Production to Artistic Finish NOW	METROPOLITAN OPERA STUDIO
_	^	.	1425 Broadway, New York
III aCSSlOn Phone:	4119 Penn, and 2634 Penn.
GRACE STEVENSON
Concert Harpist-Teacher 317 West 93rd Street, New York	Phone Riverside 7988
Mgt.: MOLLIE CROUCHER, 1425 Broadway. N. Y. Phone Penn. 2480
HARRIOT EUDORA BARROWS
TEACHER OF SINGING
Trinity Court, Boston	Conrad Building, Providence
Gertrude LANG
SOPRANO
Management: Betty Payne,	56 West 68 St., New York
OLIVE NEVIN
SOPRANO
Mgt. DANIEL MAYER	Aeolian Hall, New York
CLEVELAND JOTTINGS
Cleveland, Ohio, January 6.—When Paderewski walked out upon the stage of the Public Auditorium, January 4, eight thousand people rose to do him homage. Each programmed number was followed by two extras. He played almost continuously for two hours. After the program was over, the throngs remained crowded around the stage and from time to time re-appeared. Finally, the piano was wheeled off the stage. Not satisfied, they surged to the stage entrance and it was another hour before he could leave.
William B. Colson, organist; Harry D. Fay, pianist; Helen T. Radomska, soprano; Marguerite Sullivan, contralto ; Brinley Richards and Marie M. Lapik, accompanist, and Charles C. Vokoun, flutist (who played the obligato to the aria from Lucia, sung by the soprano) presented the fourth of the series of five concerts given by the Musical Association. The occasion was made notable by the presentation of a loving cup to Mr. Colson by Albert Riemenschneider who represented the Association. Mr. Riemenschneider recounted the long service of Mr. Colson as teacher, choir director and organist. The audience rose in tribute to him and his reply was very moving.	M. B,_P,
Maria Ivogun with New York Symphony
The New York Symphony Orchestra, under the direction of Albert Coates, the guest conductor, and with Marie Ivogun, the Hungarian prima donna as the soloist, will be heard in the seventh pair of concerts in Carnegie Hall, Thursday afternoon and Friday evening, January 25 and 26. Mr. Coates has chosen for the program the overture to Russian and Ludmilla, by Glinka; Till Eulenspiegel’s Merry Pranks, by Strauss, and Tschaikowsky’s Symphonic Fantasy, Francesca da Rimini. Mme. Ivogun will sing the aria, Sweet Bird, from Handel’s II Penseroso, and the aria, Marten aller Arten, from Die Entfuhrung aus dem Serail, by Mozart.
THEODORA
STURKOW-
RYDER
614 Cable Bldg. 4715 Lake Park Ave. CHICAGO
New York Representative
E. ESMOND,
160 Wadsworth Ave., Apt. 608
Betty Tillotson Manages Concert
The Betty Tillotson Concert Bureau sponsored a concert at the Bowery Mission, December 19, introducing Marion Armstrong in conjunction with Margel Gluck, violinist, and Val Peavey, pianist. Mr. Baker pronounced the concert the finest ever given in the Mission and said Miss Armstrong has the purest soprano he had ever heard. Songs by Giordani, Campra and Salter were given, and later Miss Armstrong’s specialties, a group of old Scotch songs including My Ain Folk, There’s Nae Luck About the House, and When You and I Were Young, Maggie.
Nevin and Milligan in New York Recital
Olive Nevin, soprano, and Harold Milligan, composer-pianist, will present for the first time in New York at Town Hall on the evening of February 15 their musical entertainment, Three Centuries of American Song, which is the result of many years’ research.
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, Assistant
20 East 23rd Street, New York. Telephone 328 Gramercy
CARL BEUTEL
American Pianist and Composer CONCERT AND LECTURE RECITAL
Management: JOHN WESLEY MILLEE 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 19231924־
HARRY ASKIN, Mgr.
1451 Broadway	New York
!GUIDER
L
J	SOPRANO
/y	Carnegie Hall Concert, February 15
Management: James Guider	1947 Broadway, New York
RIEMENSCHNEIDER
C
A
R
L
PIANIST
(with LESCHETIZKY 1903-06) STUDIO: 722 The Arcade, Cleveland, O.
MUSIC Study for CULTURE and LIVELIHOOD
Presented by the
TRINITY PRINCIPLE PEDAGOGY
Unfolding the INNER FEELING and REASONING
Send for Catalogue of European Tour, and SUMMER SCHOOL, New York City Address
EFFA ELLIS PERFIELD
41 Vz West 45th Street	Phone Bryant 7233
NEW YORK CITY
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OSCAR
SAENGER
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