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MUSICAL COURIER
March 15, 1923
tative preceding the aria, Now Heaven in Fullest Glory Shone, a note that carried from one end to the other of the big Lyric Theater, while the audience laughed and applauded and Conductor Pache turned and congratulated Mr. Tittmann. Concerning his work the Baltimore Sun of February 21 said: “Mr. Titjmann is well known in the field of oratorio. His voice is rich and sonorous, with an upper register of unusual smoothness. The long recitative and the aria following were remarkably well done.”
MUSIC AND PUBLIC EDUCATION
By GEORGE H. GARTLAN Director of Music in the Public Schools of New York City
MUSIC MATERIAL FOR CLASS ROOM USE
Bateman-Golson Nuptials
Florence Golson, well known composer, will be married on Thursday evening, March 22, to Winton Wadkins Bateman, the ceremony being performed in the First Baptist Church, Wetumpka, Ala. Miss Golson is claimed with pride by Alabama, being known as a blind composer and singer, and her songs have gained her favorable recognition throughout the country.
The Problem Which Confronts Supervisors of School Music, and a Possible Solution
which he can himself do while he is in the elementary school. That is why music appreciation, whether it be through the mechanical reproducing instruments or any other channel, is such a vital part of the school curriculum.
Sinigalliano Pupil Plays in Newark
Helen Sinigalliano, wife and pupil of the well known violin pedagogue, appeared in a concert on February 28 in Newark, N. J. Her numbers were: Slavonic Dance in E minor, Dvorak; Caprice Viennois, Kreisler; Ave Maria, Schubert-Wilhelmj, and Gypsy Airs, Sarasate.
Sundelius to Sing with Friends of Music
On Sunday _ afternoon, March 25, Marie Sundelius will appear as soloist with The Society of the Friends of Music, at the Town Hall, New York, in a performance of Schubert’s Mass in E flat.
PAPALARDO
Eminent
Conductor
Now scheduling for festivals and operatic performances 1923-24.
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National Opera Club Meets
The March 8 meeting of the National Opera Club of America, Katharine Evans von Klenner, founder and president, in the Astor Gallery, had as guests of honor several of the prominent singers of the German Opera Company at present in New York, namely, Misses Alsen, Koettrik, Roes-eler and Seinemeyer, with Conductor Eugene Gottlieb hovering in the background. All were introduced to the audience and were warmly applauded, especially from the many present who have seen them in their performances. President von Klenner never loses opportunity to honor representatives of the operatic world, no matter of what nation!
In droll manner, with many humorous remarks and asides, she said, “I will now ‘broadcast’ several items of interest, chief of which is the receipt of several inquiries as to whether the Opera Guild, the Grand Opera Society, and others with similar names, have any affiliation with the National Opera Club. Emphatically, no! we are not an ice-cream and cake, a lunching, or social club; we'are for opera in English, American opera preferred, at popular' prices.”
She announced plans for performances under the club’s auspices in three successive months, season 1923-24; called attention to the club’s “birthday party” of May 9, and to the planned City Federation Hotel, to which many women’s clubs have made subscriptions, and at once a fair start toward $1,000.00 from the National Opera Club was made. Business matters having been despatched with customary von Klenner celerity, the musical program followed; it consisted chiefly of the operalogue, Juggler of Notre Dame, by Havrah Hubbard and Edgar Bowman, the beautiful Massenet music and elucidation of the opera being much enjoyed. Preceding this, Mr. Hubbard made a plea for “broadcasting” the club, giving it greater prominence, more advertising, and asking everyone present to constitute themselves radio centers. David Robinson, violinist, with Leon Robinson at the piano, gave a fine performance of a Brahms sonata, and other pieces for violin solo, and received well deserved applause.
The National Opera Club program of February 26, which was broadcasted from radio station WEAF, consisted of a regular program of choral numbers under the direction of Romualdo Sapio, an address on The Purposes of the National Opera Club, by the president, Baroness Katharine Evans von Klenner (also chairman of music of the New York State and New York City Federation of Women’s Clubs) ; baritone solo by Yakov Loukin, soprano solo by Bernice De Pasquale, tenor solo by Albert Meehan, and Operalog by Havrah Hubbard. All this attracted attention throughout the country, and following it, Mme. von Klenner received over two hundred letters thanking her for the evening, with inquiries regarding the club’s activities.
Tittmann with Baltimore Oratorio Society
At the recent performance of The Creation by the Baltimore Oratorio Society, Joseph Pache, conductor, given with the support of the New York Symphony, Charles T. Tittmann sang the bass roles of Raphael and Adam. The performance was interrupted for several minutes when Mr. Tittmann rolled down to a big resonant low D in the reci-
AMERICAN ACADEMY ol DRAMATIC ARTS, Founded 1884
FRANKLIN H. SARGENT, President
The leading Institution for Dramatic and Expresslonal Training In America. Connected with Charles Frohmann’s Empire
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The question of material versus method is one which perhaps will be ever present as long as school music is in existence. The two theories regarding school music which seem not in any way to agree are: first, that the reading of music shall be accomplished through the general experience in music, and the other which says that the general experience in music shall be accomplished after pupils have learned to read. As we have often stated, both methods have their virtues. If we assume that the most important thing in school music is to teach children to read, then we are in the state of mind which does not permit of the other viewpoint, but it is certain that the other viewpoint permits of a more reasonable attitude toward the formal method of instruction.	.
There is a difference, however, in the type of material which must be used in each method. When the sight singing method is attacked intensively, then the material must be largely “manufactured” for the purpose, because the first steps in reading must of necessity be simple. As it usually takes a long time for children to gain power in this direction several years must be spent on music material of this character in order to accomplish the necessary result. In the other method, however, children may gain a wealth of musical experience through all types of singing, and at the same time store up a large repertory of interesting and important music. After this experience has been gained and there is a real understanding of the subject of music, then the sight singing can be approached exactly as we would do it in the first instance. It has been proven that the time needed for this uninteresting material is considerably shortened and the pupil may soon pass on to a better type of music which includes rhythmic and melodic difficulties. After all, the essential thing in music is that the school child shall be thoroughly informed as to the real nature of music.
The Rote Element in Teaching.
There are differences of opinion regarding this type of instruction. It is our belief that there is a place for rote teaching throughout the entire elementary school course, and even the high school course, particularly in that phase of music known as the art song. There is nothing that will destroy the spirit of music quicker than a cold blooded analysis of something which should be learned because of its pure beauty, and it is in this side of teaching that the rote element is important. We further believe that every new point in teaching is more interestingly and profitably presented through the rote method than through the instruction method. What we are trying to do is to present something which is essentially new, and therefore the quickest way is the best. After the work has made an impression on the pupils then it is time to adopt the analytical method and give the child power to work out similar problems for himself. Supervisors of music frequently refer in a rather jocular vein to the fact that occasionally they find a class that can really read music. It is generally understood what is meant by this, namely that this particular group of children is actually up to their grade work. If all school music could be taught by specialists then perhaps there would never be a question as to fitness or unfitness of method presentation, but in view of the fact that so much of the work has to be done by the class teacher, whose knowledge of music is limited and whose experience is only found in the class room, the results cannot be as effective or as efficient.
The Presentation of Rhythm.
So many supervisors are bothered by the rhythm element in music that they frequently feel the need for more intensive work and drill in this phase of the subject. The first few years of sight reading are confined largely to the one beat, two beat, and three beat notes. The fourth grade is usually the place where the actual question of rhythm becomes a school problem. The plan most generally accepted is that the two equal tones to the beat shall be first presented. This should be followed by the dotted eighth and sixteenth, and then the triplet. The reason for this is logical because these rhythmic forms are given to one actual beat. When pupils are able to do this more or less successfully, then the dotted quarter followed by the eighth should be taken up. This is a rhythmic form which involves two beats and requires a different type of mental attitude toward the accomplishment. More pupils have difficulty with this form than with the other three, because of the difference in accents. Keep in mind that all of these forms should be presented first by imitation and it is perhaps better to spend one entire year on the rhythmic work and another year on the diatonic and chromatic drill. It is our opinion that throughout an entire course of study a large repertory of interesting songs will do more than any other agency to encourage children to attack the difficult problems of sight reading and rhythmic drill than any other element, and in addition to this they will feel that they are actually accomplishing music and are not retarded by unnecessary drill in the definite points which are of necessity a part of this work.
Song and Chorus Singing.
It is in the seventh, eighth, and ninth grades of the elementary school that we expect a fruition of our efforts. It is here that part singing is perfected and it is through the agency_ of part singing that real skill in the reading of music is_ developed. The beauty of the tonal effects and an intelligent interpretation of the music must be considered before the didactic drill, and in order to accomplish this, music material for these grades should be selected with the greatest care and consideration for those musical elements which go to make up standard compositions that can after all be characterized as worth while. It is here that music appreciation becomes a real active part of the elementary school curriculum. It is not fair to the child to give an impression that music means only that part of the subject