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.E3 .Myers, Louise (Kifer) 1903-
1942 Music for all the children; a guide
.M9 for teaching music in the elementarv
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MUSIC FOR ALL THE CHILDREN

A Guide f o r T eaching M usic in th e E lem entary Sohool

LOUISE KXFER MYERS

S u b m itted i n p a r t i a l f u l f i l l m e n t o f th e

re q u ire m e n ts f o r th e d eg ree o f D octor o f

E d u ca tio n i n th e School o f E d u ca tio n o f

New York U n iv e r s ity

1048
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 PREFACE

T h is book i s th e r e s u l t of an a ttem p t t o p re p a re a g u id e f o r te a c h in g

th e p h a se s o f m usic u s u a lly d ir e c te d by th e elem en tary classro o m te a c h e r .

I t i s hoped t h a t th e s u g g e stio n s g iv en s i l l make te a c h e r s o o g n izan t o f th e

p le a s u r e in h e re n t in m usic f o r t h e i r p u p ils a s w e ll a s f o r th em selv es.

S u c c e s s fu l p r a c t ic e s in te a c h in g in o th e r f i e l d s o f th e elem en tary program

have been in c o rp o ra te d s in c e e f f e c t i v e m usic te a c h in g does n o t d i f f e r

fu n d am e n tally from o th e r e f f e c t i v e te a c h in g . The s t r e s s h a s been on t h e

c o n tr ib u tio n m usic makes o r could make tow ard a w ell-ro u n d ed happy m u sic a l

e x p e rie n c e and tow ard a f u l l u n d e rsta n d in g o f t h e p a r t i c u l a r c e n te r o f

i n t e r e s t w hich engages th e c h ild r e n . No r e f e r e n c e i s made t o p red eterm in ed

s ta n d a rd s f o r accom plishm ent i n d e f i n i t e g rad e g ro u p s. I n s te a d , s u c c e s s iv e

p h a s e s o f development in th e v a rio u s a c t i v i t i e s a re in d ic a te d so t h a t

te a c h e r s w i l l be a b le to an aly ze th e a b i l i t i e s o f t h e i r c h ild r e n and th e n

p ro v id e e x p e rie n c e s which w i l l s tim u la te t h e i r g ra d u a l grow th and d ev elo p ­

m ent. '

L o u ise Klter Myers

ii
 table of contents

Page

INTRODUCTION MUSIC AND Y O U ..................................................................................... ▼

c h a p te r i M usic i n th e new s c h o o l .............................................................. 1

M usic in th e New S ch o o l......................................................... 2
C h ild Growth th ro u g h M u s i c ................................................. 7
P rim a ry G r a d e s .................................................................. 8
I n te rm e d ia te Grades . . . . . . . ....................... 9
M usic f o r A ll t h e C h ild re n ........................................ 12
Summary 15

CHAPTER I I APPRECIATION .................................................................. 10

What I s A p p re c ia tio n ................................................. 16
How I b A p p re c ia tio n Brought About .................. 18
Teaohing f o r A p p re c ia tio n . ......................... . 22
Recorded M u sic 's C o n trib u tio n ....................... 23
Growth in A p p re c ia tio n th ro u g h L is te n in g . . . 23
G aining a B a s is f o r R e c o g n i t i o n .......................... 30
Guided L is te n in g ......................................................... 31
S u g g e stio n s f o r Guided L is te n in g . . . . . . . S3
Use o f M a te r ia ls • .............................. 36

CHAPTER I I I S IN G IN G ................................................................................................. 38
The C h ild V oice ..................................................... 41
Songs f o r C h i l d r e n ............................................................... . 44
Good S in g in g . . . . . . . . . . . . . 50
Teaohing S in g in g ......................................................... 54
S in g in g R ead in ess .............................. 55
T eaching R o te S o n g s .................................................... 57
C onducting C h ild r e n 's Songs .................................... 62
The P o o r S in g e r ...................... 65
A n a ly sis o f th e Poor S in g e r 's D i f f i c u l t i e s 66
S u g g e stio n s f o r H elp in g th e Poor S in g e r . 69
R eading M u s i c ........................................................................... 78
M usic R eading R eadiness . ........................................ 81
T eaching M usic R e a d i n g ..................... 89
Teaohing N ote V a l u e s .......................... 93
Compound M easure . 96
C hrom atics . . . . . . . . . . . 97
M inor Mods . . . ........................... . . . . . . . . 99
P a r t S in g in g and R eading . . . . . . . . . . . 99

ill
 Page

CHAPTER IV RHYTHMS................................................................................................. 103

The P la c e o f Rhythms In th e M usic Program . . . . 104
C h ild Growth th ro u g h R h y t h m s ........................................ 107
M u sical Growth, th ro u g h Rhythms ...................... 109
V ocabulary o f Rhythms .................................... Ill
D eveloping M uscular C o -o rd in a tio n and C o n tro l 112
D eveloping an Awareness o f M usio. ...................... 116
Tempo ..................... 117
Accompaniments f o r Rhythms. ........................................ 118
A c c e s s o rie s t o R h y t h m s ............................................... ... ♦ 181
C re a tiv e Rhythms ..................... 121
Rhythms f o r P rim a ry C h ild ren • ............................... 124
S u g g estio n s f o r Teaching Rhythms . . . . . . 125
Rhythm B a n d s .................................................................. 128
Rhythms f o r O lder C h i l d r e n ..................... 133
Rhythms f o r th e In e x p e rie n c e d . . . . . . . . 133
Rhythms f o r th e E x p erien ced . . . . . . . . . 136

CHAPTER V CHEATING M U S IC ............................................................................... 139

What I s Meant by C reativ e-M u sic ....................... 139
What C re a tin g M usic Means to C h ild re n . . . . . . 140
Types o f Songs C h ild re n Can M a k e ............................... 142
S e tt in g Words to M usic • . 143
Composing Musio f o r Wbrds ........................... 145
C re a tin g Words and M u s i c ........................................ 154
Summary ........................................... 156

CHAPTER VI HIE TEACHER........................................................................................ 157

A t t i t u d e s ................................................................. 157
S k i l l s ........................................................................................ 160
T r a i n i n g ..................... 171
R ecom m endations........................................................ 171
Summary ..................... 177

BIBLIOGRAPHY...................................................................................................................... 178

iT
 INTRODUCTION

MUSIC AND YOU

You, th e ele m e n ta ry te a c h e r who has been charged w ith th e r e s p o n s i­

b i l i t y fo r g u id in g c h i l d r e n 's d a i ly a s s o c ia tio n s w ith m u sic, a re th e

le a d e r o f a band o f e x p lo r e r s . The f r o n t i e r s o f th e realm o f m usic p r e s e n t

no insurm ountable b a r r i e r s to your e x p lo r a tio n s . Q u ite th e c o n tra ry ;

s c i n t i l l a t i n g rhythm s, i n g r a t i a t i n g m elo d ies and c a p tiv a tin g harm onies

beekon to you and i n v i t e you to beoome e x p lo re r s in th e hope th a t you w i l l

t r a v e l f a r and w ide th ro u g h o u t th e re a lm .

In your p r e lim in a r y su rv ey o f t h i s w orld to be e x p lo re d , you w i l l d i s ­

cover th a t m usic i s dependent on th r e e groups o f p eo p le f o r i t s v e ry b e in g .

Each i s in d is p e n s a b le . Each i s as im p o rtan t as th e o th e r . Each se rv e s i t s

own in d iv id u a l p u rp o se. These a re th e com posers, th e i n t e r p r e t e r s , and th e

lis te n e rs . I t i s im p o ssib le to e x p lo re th e realm o f music w ith o u t becoming

i d e n t i f i e d w ith one o f th e s e g ro u p s. Each t r a v e l s o v er th e by-ways d e t e r ­

mined by i t s in d iv id u a l p u rp o s e s . Even s o , i t i s d e s ir a b le f o r n o v i t i a t e s

n o t t o be r e q u ir e d to adhere to a p red eterm in ed p a t t e r n c irc u m sc rib e d by th e

d i c t a t e s and n eeds o f a s in g le group. S in ce a l l of th e p a th s th ro u g h t h e

realm le a d to an aw areness o f m usio, your band sh o u ld be f r e e to in v e s t ig a t e

and to f i n d what each p a th o f f e r s and t o sam ple th e b eau ty alo n g each way.

The in n a te c h a r a c t e r i s t i c s o f com posers, p e rfo rm e rs and l i s t e n e r s , de­

te rm in e th e c o n tr ib u tio n each group makes to m usic and d e fin e s th e r o u te s

and b y -p a th s eaoh w i l l ta k e . The composer s e e s b ea u ty in commonplace th in g s

v
 and e x p e rie n c e s a s w e ll as in r a r e o n es. He co n tem p lates th e ap p ea l

th e y make and c r i t i o a l l y exam ines t h i s a p p e a l. He seems to be prom pted to

a tte m p t to o b je o tif y h i s f e e l i n g s so o th e r s can comprehend and s h a re them .

Even though he may l i v e and watrk i n s e c lu s io n , th e r e oomes a tim e when he

w ants us to p a rta k e o f h is e f f o r t s . The m a ste r composer t r a v e l s a lo n e ly

ro a d , abounding in d i f f i c u l t i e s t h a t r e s u l t from h i s own s e lf-im p o se d sta n d ­

a rd s o f e x c e lle n c e .

The i n t e r p r e t e r 's r o u te in th e realm o f music i s d e fin e d by t h e s in g le

i n t e n ti o n o f g iv in g l i f e and meaning to th e m usic o f th e m a s te rs . He seek s

to r e c a p tu r e f o r us th e e c s ta s y w hich m o tiv a te d th e c r e a tiv e a r t i s t . He may

be an i n s tr u m e n ta l is t, a v o c a l i s t , o r a co nductor; r e g a r d le s s o f w hich medium

o f i n t e r p r e t a t i o n he em ploys, h i s i n t e n t d eterm in e s h i s c o u rs e . Some o f th e

^ by-ways o f h i s r o u te le a d to p e r f e c t in g te c h n iq u e s and stu d y in g h i s t o r y and

m usic. The rew ard he seek s alo n g th e v a rio u s p a th s i s s a t i s f a c t i o n f o r him­

s e l f and f o r th o s e who l i s t e n to him .

The way o f th e l i s t e n e r i s d eterm in ed by th e c o n tr ib u tio n he can make

i n com plementing th e e f f o r t s o f th e c r e a tiv e a r t i s t and th e i n t e r p r e t e r .

H is com plementary r o l e i s t h a t o f u n d e rsta n d in g w ith enjoym ent th e music

made by o th e r s . J u s t a s th e r o u te o f th e o th e rs i s d eterm in ed by t h e i r in ­

t e n t and p u rp o se, no i s th e l i s t e n e r 's d eterm in ed . The l i s t e n e r 's way i s

n o t a s d i r e c t as i s t h a t o f th e o th e r s , p e rh a p s . There i s any number o f

i n t e r e s t i n g b y -p a th s he may choose t o ta k e . A few o f th o s e he can choose

a r e : I n v e s tig a tin g th e f o r c e s w hich have had a p a r t in m olding th e c r e a tiv e

a r t i s t , becoming acq u a in te d w ith t h e v a r io u s media o f e x p re s s io n , le a r n in g

t h e form s which composers have used t o e x p re ss t h e i r id e a s , and g a in in g an

aw areness o f th e fu ndam ental f a c t o r s o f m usic.

vi
 As th e r e s p o n s ib le le a d e r o f a group o f c h ild r e n in tr ig u e d w ith th e

id e a o f e x p lo rin g m u sic, you r e a l i z e th a t th e d e c is io n to choose any o f

th e ro u te s open to com posers, i n t e r p r e t e r s o r l i s t e n e r s makes demands upon

you. S in ce th e s e r o u te s have been d e fin e d by s p e c if ic i n t e n t s and p u rp o se s,

your in s ig h t in to th e n ? w i l l make you a l l th e more com petent a s th e g u id e

o f o th e r s who a tte m p t to fo llo w th e b y -p a th s p o in te d o u t by th e s e p u rp o se s.

You need to be a c q u a in te d w ith th e t e r r a i n o f th e realm b e fo re you s t a r t

on your e x p lo r a tio n s . The Vienna Woods, th e B lue Danube, t h e M oldau, th e

Borne on th e Range, Swanee R iv e r, S t.L o u is , F in la n d ia , I n d a lu a ia , I n d ia , th e

Gardens o f S p ain , a r e i n t e r e s t i n g landm arks. Carmen, i n i t r e , Madame B u tt e r f ly ,

T i l l E u le n s p ie g e l, L ohengrin and E ls a , th e Volga Boatman, 0 1 ' Men R iv e r,

T r is tr e f r and I s o ld e , th e E rIk in g , Old B lack J o e , S cheherazade and Aida l i v e

somewhere by th e s id e o f th e ro ad s an d your e x p lo re rs w i l l enjoy beccming

ac q u a in te d w ith them . Your c h ild r e n w i l l be i n t e r e s t e d i n d is c o v e rin g and

s tu d y in g some o f th e g r e a t monuments o f human em otions carv ed o u t o f to n e ,

such a s B eeth o v en 's F i f t h and N in th Symphonies. W agner's Ring and B ach 's

Organ P re lu d e s . These a r e to be found in th e i n t e r i o r o f th e re a lm . The

s a t i s f a c t i o n s t h a t r e s u l t from a p p r e c ia tin g th e b eau ty o f th e s e m u sic al

landm arks and knowing th e famous p e r s o n a l i t i e s o f th e re a lm w i l l amply

rep ay you f o r th e v i c i s s i t u d e s o f t r a v e l .

Nor i s i t n e c e s s a ry f o r you a s e x p lo re r s to c a r r y alo n g an e x c e s s iv e

amount o f p a r a p h e rn a lia a s you make your way th ro u g h t h e w orld o f m usic.

As a m a tte r of f a c t , Mother N ature h e r s e l f Was generous i n th e amount o f

in n a te equipm ent she bestow ed upon you. And h e r g i f t s I d e n ti f y e x p lo re r s

w ith th o s e on whom m usic depends f o r i t s e x is te n o e . These g i f t s a ls o

d e s ig n a te c e r t a in r o u te s to be ta k e n . E v id e n tly she was in t e r e s t e d in

v ii
s e e in g to I t t h a t your t r a v e l sh o u ld be co m fo rtab le and p u rp o s e fu l, and n o t
f 1
in h av in g you wander ill- e q u ip p e d and aim lessly * For exam ple, she made you

em otional b ein g s w ith a need f o r e x p re s s in g your f e e l i n g s . She gave you a

s p i r i t t h a t r e v e l s in b e a u ty and a mind ca p a b le o f u n d e rs ta n d in g . She gave

you a lo v e f o r melody, a se n se o f rhythm , and a f e e l in g f o r harmony. A ll o f

th e s e a r e th e selfsam e g i f t s she bestow ed in v a ry in g d eg ree s on c r e a tiv e

a r t i s t s , i n t e r p r e t e r s and l i s t e n e r s . Should c e r t a i n p a th s be fo llo w ed ,

c e r t a i n item s o f your equipm ent w i l l be c a lle d in to u s e . T ra v e l by o th e r

r o u te s w i l l n e c e s s i t a t e th e u se o f d i f f e r e n t equipm ent. F req u en t u se w i l l

n o t im pair i t . S tra n g e ly enough, fre q u e n t u se r e in f o r c e s your p a r a p h e r n a lia ,

makes i t more e f f e c t i v e . P ro b a b ly M other N atu re* s g r e a t e s t g i f t , and c e r ­

t a i n l y one o f th e most u s e f u l, was th e m u sic al in stru m e n t she gave y o u . By

her g i f t o f a v o ic e she e n a b le s a l l o f you to fo llo w some o f t h e p a th s d e t e r ­

mined by th e i n t e n t s and p u rp o ses o f i n t e r p r e t e r s . As th e le a d e r o f a band

o f e x p lo re rs and a s a more or l e s s seasoned t r a v e l e r in th e realm o f m u sic,

you w i l l p o in t o u t th e p la c e s where t h i s equipm ent can and sh o u ld be u sed .

Your t r a v e l s w i l l n o t be hampered by an u n fo rtu n a te la c k o f f a m i l i a r i t y

w ith t h e language o f th e realm . At th e b eg in n in g of your e x p lo ra tio n s , m ost

o f your group w i l l have p e rh a p s o n ly a s u p e r f i c i a l a c q u a in ta n c e w ith i t , b u t 1

s e rio u s stu d y w i l l have p re p a re d o th e rs to use i t w ith r e l a t i v e e a s e . As a l l

o f them fo llo w th e highw ays and by-ways th ro u g h o u t th e la n d o f m usic, th e y

w i l l enjo y le a r n in g more o f t h e language by u sin g and h e a rin g i t . T h e ir en jo y ­

ment w i l l be tin g e d w ith p r id e , to o , when they re c o u n t t h e i r e x p e rie n c e s o r

d is c u s s t h e i r im p ressio n s w ith o th e r e x p lo re r s th e y meet a lo n g th e way.

I t i s hoped t h a t t h i s book w i l l en ab le you—th e te a o h e r— to be more

e f f i c i e n t a s you g uide c h ild r e n th ro u g h o u t th e realm o f m u sio . There a r e

v iii
s u g g e s tio n s t h a t you fo llo w d e sig n a te d r o u te s I n some I n s ta n c e s , w h ile

In o th e r s , th e ch o ice i s l e f t to you* The iiq p lic a tio n s o f th e v a lu e o f

s p e c i f i c item s o f equipment a r e p o in te d o u t to g e th e r w ith th e ways in

which th a t equipm ent may be used to th e b e s t advantage* A n a ly s is o f th e

s k i l l s which t r a v e l e r s need and o f th e d i f f i c u l t i e s th e y may e n co u n ter

a re g iv en in o rd e r th a t you w i l l be b e t t e r a b le to g u id e w ith u n d erstan d in g *

Bon Voyage!

iz
 CHAPTER I

MUSIC n r THE HEW SCHOOL

M usic now h a s and alw ays h a s had a p la o e I n th e l i f e o f a l l p e o p le s.

I t i s a p a r t o f th e c u ltu r e o f man. Some o f th e n o b le s t, some o f th e most

com pellin g th o u g h ts o f th e ag es have been e x p ressed th ro u g h th e medium o f

to n e . While m usic h as a u n iv e r s a l q u a l ity , f o r th e i n d i v i d u a l , i t i s one o f

h i s c h e rish e d p e r s o n a l p o s s e s s io n s . The e x p re s s io n s o f th e m a ste rs se e n t o

belong t o him a s th e works o f a r t in th e museum b elo n g to him—^his t o en jo y

and d e lig h t i n . For one p erso n th e s a t i s f a c t i o n o f e x p re s s in g h i s own id e a s

th ro u g h m usic i s com plete. F o r o th e r s , th e s a t i s f a c t i o n o f l i s t e n i n g to th e

e x p re s s io n s o f o th e r s i s com plete.

Beoause o f i t s p la o e i n th e l i f e o f a l l p eo p le and th e jo y in d iv id u a ls

have e x p erien ced in t h e i r a s s o c ia tio n w ith i t , m usic i s given a prom inent

p la o e i n th e sch o o l program . I t i s n o t an I s o la t e d p a r t o f th e d a y 's a c t i v i ­

t i e s in sch o o l a s i t i s n o t an is o l a t e d p a r t o f l i f e . I t has i t s n a tu ra l

c o n trib u tio n t o make in g a in in g an u n d e rsta n d in g o f p e o p le s and th in g s . It

h as i t s n a t u r a l c o n tr ib u tio n to make i n b r in g in g jo y .

I n g a in in g an u n d e rsta n d in g o f p e o p le , m usic oan c o n tr ib u te to th e id e a

th a t man and h i s b r o th e r s th e w orld o v er a r e a l ik e d e s p ite d if f e r e n c e s in th e

c o lo r o f th e s k in , d e s p ite d if f e r e n c e s in la n g u a g e s, d e s p ite d if f e r e n c e s in

h a b i ts o f e a tin g and d re s s in g —m usic oan c o n trib u te to th e eoneept o f lik e n e s s

by showing t h a t t h e i r f e e lin g s ^ a s e x p re sse d in m usic a r e th e same a s o u r s .

 8

A lo v e sang, a d ir g e , a n d a l u l l a b y s la g a s t o r y a l l oan comprehend w ith o u t

b e n e f i t o f knowing th e v e rn a o u la r o f th e composer and th e p o e t. M nsle can

c o n trib u te t o an u n d e rs ta n d in g o f a s o c ie ty In w hich th e m inuet was th e

p o p u la r danoe by o a p tu rln g and p r e s e r v in g th e mood o f th e d anoe. M usic can

Xf>
c o n trib u te an u n d e rs ta n d in g o f th e l i f e o f s e r f s and s l s r e s th ro u g h th e Yolga

Boat Song and a Negro work so n g . Music can c o n tr ib u te to an u n d e rs ta n d in g o f

th e h o p es, f e a r s and re a o lT e s o f th e F in n s th ro u g h th e r e v e l a ti o n s o f F in la n d ia .

Because o f i t s power t o c o n tr ib u te to th e u n d e rs ta n d in g o f p e o p le , m usic i s an

im p o rta n t p h ase o f th e program i n th e New S ch o o l.

Because o f th e Joy—•em o tio n al and i n t e l l e c t u a l —- th a t musio h a s b ro u g h t to

man th ro u g h th e a g e s , th o s e who make th e broad p la n s f o r M usic i n th e New School

hope t h a t th e c h i l d r e n 's c o n ta c t w ith m usic w i l l be s a t i s f y i n g and in c r e a s in g ,

n ev er annoying and n e v e r d e c re a s in g . What a r e th e Joys—em o tio n al and i n t e l l e c ­

t u a l —m usic h a s b ro u g h t t o man th ro u g h th e ages? M usic h a s c o n trib u te d to th e

jo y o f s e lf - e x p r e s s io n th ro u g h s in g in g and p la y in g m u sic al in s tru m e n ts , th ro u g h

w r itin g so n g s, and th ro u g h b o d ily movements t o m usic—d an cin g . Through m u s ic 's

em o tio n al a p p e a l, th ro u g h u n d e rs ta n d in g th e musio i t s e l f , and th ro u g h an aw are­

n e s s o f a l l t h a t makas s k i l l i n p erfo rm an ce p o s s i b le , h a s come th e jo y o f

l i s t e n i n g t o th e e x p re s s io n s o f o t h e r s . M usic in th e New School hopes to i n t r o -

d u e s, am p lify and enhance th e s e jo y s .

M usic i n th e New School

I n th e New Sohool c h ild r e n become aware o f m u sic, experim ent w ith i t , and

g e t a c q u a in te d w ith i t th ro u g h a v a r i e t y o f e x p e rie n c e s . The r e l a t i o n s h i p

betw een th e two— o h ild re n and m usio—i s f o s te r e d by th o s e who b e lie v e t h a t

c h ild re n sh o u ld be aw are o f t h e number o f ways in w hich m usic can add t o t h e i r

enjoyment o f l i f e . F o r some, t h i s enjoym ent w i l l come th ro u g h e x p re s s in g th e

 8

elem en ts o f m usic—rhythm , m elody, harmony, mood, form —th ro u g h b o d ily

movement. Some w i l l p r e f e r a ln g in g a lo n e o r i n gro u p s; o th e rs w i l l choose

p la y in g in s tru m e n ts . C h ild ren w ith c r e a tiv e powers w i l l c o n tr ib u te t h e i r

a b i l i t i e s t o w r iti n g songs. The g r e a t crowds a t th e c o n c e rts o f tomorrow

w i l l have th o s e in t h e i r m id st who gained a b i t from a s s o c ia tio n w ith one

ph ase o f m u sic al a o t i v i t y and gained a n o th e r b i t from q u it e a d i f f e r e n t phase*

The I n d iv id u a l e o n c e rt-g o e r m ight be s a id t o be th e r e s u l t o f th e m erging o f

p re v io u s m u sic al ex p erien ces*

I t i s n o t th e s in g le p u rp o se o f H ualo i n th e Rev School to p roduce f u tu r e

c o n c e rt a u d ie n c e s . I t s prim e p u rp o se i s to p r e s e n t such a v a r i e t y o f e x p e r i­

en ces t h a t each o h ild may f i n d some p h ase o f m u sic a l a o t i v i t y i n which h e w i l l

f in d enjoym ent. A v i s i t to s e v e r a l schoolroom s w i l l d em o n strate th e v a r i e t y

o f m u sic a l a c t i v i t i e s from whioh c h o ic e s can be made*

I n a s i x t h g rad e room we f in d a sm a ll group o f c h ild r e n b u s ily engaged in

s tu d y in g th e p ic tu r e s in books th e y have c o lle c te d to g e t id e a s f o r costum ing

' f i g u r e s f o r t h e i r m a rio n e tte show o f Die M e la te r s in g e r . A nother group i s

p la n n in g o r w orking on a huge m ural d e p le tin g l i f e in th e M iddle Ages* S e v e ra l

o h ild re n a r e w r itin g t h e s c r i p t f o r t h e p la y w h ile o th e r s a r e d e c id in g which

phonograph r e c o rd s and how muoh m usic o f each i s t o be used a t c e r t a in p o in ts

in th e p ro d u ctio n * Ton e n jo y h e a r in g th e s ix th - g r a d e p i a n i s t te a c h th e s i x t h -

grade ’W a l t e r ', The P r i s e Song* The g i r l - t e a o h e r s o f t l y p la y s a s im p lif ie d

v e rs io n o f th e song w h ile W alter s o f t l y s in g s h i s m elody. Very s e r io u s ly th e y

a s s e r t t h a t when i t came tim e f o r th e c o n te s t i n th e p la y , th e phonograph

re c o rd would be u sed to win th e c o n te st*

C ontin u in g o u r v i s i t , we f i n d a group o f c h ild r e n c r e a tin g a tu n e f o r a

c la s s m a te 's poanu. The r e s u l t , o f th e o r i g i n a l c r e a tiv e e f f o r t i s enhanced by

such sta te m e n ts a s "The words a sk a q u e s tio n , th e m nsio sh o u ld do th e same";

 4

"Those v o id s need v e ry gay m usic t h a t s k ip s " ; o r , "The v o rd s j u s t tum ble

down, so must th e m u sle ". T h is i s a group e f f o r t , so th e group c o n tr ib u te s

id e a s . T h is same group a ls o d eeid ed t h a t s ln e e th e y w anted to u s e m uaie t h a t

" s k ip s " , th e y had b e t t e r le a r n t o re a d m usic t h a t " s k ip s " .

In any o f th e s e o r o th e r ro a n s ve m ight f in d e h ild r e n c a r e f u l ly a n a ly z in g

th e p ia n o keyboard o r i t s meehaniwa In o rd e r t o stu d y th e r e l a t i o n betw een

keys and to n e s f o r th e p u rp o se o f u n d e rsta n d in g how to make sim p le m u sic al

In stru m e n ts. Or we m ig h t have found them re a d in g new songs t o be sung a t a

"con c e r t " f o r a n e ig h b o rin g room. They m ight have been l i s t e n i n g to th e s to r y

o f Dukas* The S o rc e re rs * A p p ren tic e and th e n th e r e c o rd i t s e l f . F i n a l l y would

come d is c u s s io n s o f i t s p o s s i b i l i t i e s f o r d ra m a tiz a tio n .

Tou m ight have been w ith t h e w r ite r when she v i s i t e d a seoond g rad e one

day t o ob serv e a s tu d e n t te a e h e r te a o h in g m u sic . T h is s tu d e n t had p re v io u s ly

asked th e w r ite r what sh e th o u g h t o f u sin g C h a lia p in 's re c o rd in g o f th e Volga

Boat Song. The w r ite r r e p li e d th a t sh e d id n o t th in k t h a t t h a t p a r t i e u l a r

re c o rd was th e b e s t o h o iee f o r a seoond grade g roup. However, when t h e w r ite r

e n te re d t h e room on t h a t p a r t i e u l a r day, th e c h ild r e n sang b o a t so n g s, th e

s tu d e n t te a c h e r sang two new ones f o r th e c h ild r e n and th e n i t was ap p a re n t

t h a t som ething i n th e way o f a t r e a t was in o r d e r . The s tu d e n t s a id , "Now

w e 'l l h e a r th e R u ssian Boat Song I t o l d you ab o u t t h i s m o rn in g ." Complete con­

c e n tra te d l i s t e n i n g was ev in ced d u rin g th e p la y in g o f th e Volga Boat Song.

A fterw ard s, such comments a s th e s e were made: " I saw th e wen eome and p a s s

alo n g in f r o n t o f me"; "Even though you s a id we w o u ld n 't be a b le to un d er­

sta n d th e R u ssian la n g u ag e, I knew what he was s in g in g " ; "The s i n g e r 's v o lo e

was b ig l i k e a y f a t h e r 's " ; " I h elp e d p u l l , to o , w h ile he sa n g " . E x p ressio n s

o f s a t i s f a c t i o n came over t h e f a c e s o f th e e h ild re n when th e s tu d e n t s a id she

would p la y th e re c o rd a g a in . S a t i s f i e d sm ile s g re e te d th e co n c lu sio n o f th e

re c o rd in g . Bfcom t h a t day to t h i s , th e w r ite r h a s n e v e r i n s i s t e d t h a t one

 8

re c o r d was f o r on* g ra d s , and a second f i t t i n g o n ly f o r a n o th e r g ra d e ,

b ecause w ith s k i l l f u l m o tiv a tio n and p r e s e n ta tio n many th in g s a r e p o s s ib le *

I n c i d e n t a l l y , how would you have f e l t d u rin g t h a t v i s i t had you been th e

s tu d e n t te a c h e r? th e w r ite r ?
«
So i t i s t b a t i n th o s e end o th e r ways M uaie in th e New School hopes to

make c h ild r e n aw are o f th e many p o s s i b i l i t i e s f o r en jo y in g music*

T ru e, some e r i t i o s would s a y t h a t such a program h as i n i t soma a c t i v i ­

t i e s t h a t a r e d e f i n i t e l y n o n -m u sio al. Costuming a m a rio n e tte , m usle?

C e r ta in ly n o t , b u t th e costum es o f o p e ra s in g e r s c o n tr ib u te to th e b eau ty

and m eaning o f an o p e ra and to th e consequent enjoyment o f th e audience* It

does n o t seem l i k e l y t h a t th e c h i ld who had had a s a t i s f y i n g e x p e rie n c e in

making a m a rio n e tte and d e s ig n in g i t s costume f o r h i s o la ss * a p ro d u c tio n o f

D ie M e ls te rs in g e r would be d e f i n i t e l y and p erm an en tly tu rn e d a g a in s t music*

m aking a drum, m usle? C e rta in ly n o t , b u t w r iti n g a sc o re f o r i t and p la y in g

one ia* P la n n in g a d r a m a tis a tio n f o r The S o r c e r e r ^ A p p re n tic e , m usic?

C e rta in ly n o t, b u t a d r a m a tis a tio n in v o lv e s an aw areness o f and a knowledge

o f th e music* As a m a tte r o f f a c t , su ch a d ra m a tis a tio n to th e accompaniment

o f th e m usic i s th e r e s u l t o f l i s t e n i n g many tim e s t o th e com position and o f

a c t u a l l y knowing i t end o f b ein g a b le t o a n t i c i p a t e p a s s a g e s . Going th ro u g h

a p ip e o rg a n , m usio? Exam ining th e i n s id e o f a p ia n o , m usic? C e r ta in ly n o t,

b u t how muoh more m ean in g fu l organ and p ia n o m usic become a s th e r e s u l t o f

knowing how to n e s a r e made. I t does n o t seem l i k e l y t b a t g a in in g su ch i n f o r ­

m ation would cau se a c h ild t o d e c id e t h a t n e v e r a g a in o f h i s own v o l i t i o n

would h e l i s t e n t o th e p la y in g o f a p ia n o o r an organ*

How b le a k and b a re was th e m usio program o f th e sc h o o ls o f y e s te r e y e a r

in com parison w ith th e program i n th e Hew S ch o o l, The narrow and r e s t r i c t e d

 6

m u sic a l f a r * o f th e w r l t a r ’ a y o u th can I l l u s t r a t e what was se rv e d to c h i l ­

d re n in th o s e days* H ers was th e d i e t o f p r a c tic in g - tw o -h o u r s - a - d a y - to -

g a ln -p e r f e c tio n i n le a r n in g to p la y th e p ia n o a t home and ch a sin g n o te s in

th e m usic p e r io d i n school* Im p ro v isin g a t th e p ian o was h e r d e l ig h t b u t

t h i s c r e a tiv e a c t i v i t y was frow ned upon. There was no more encouragem ent

f o r made-up p ie c e s th a n th e r e was f o r an o c c a s io n a l o r i g i n a l song. The o n ly

m usic she knew o r h eard was th e r e s u l t o f h e r own e f f o r t s . In school*

a c t u a l l y s in g in g th e aonga o v er w hich she and h e r c la ss m a te s had s tr u g g le d

f o r weeks was an u n u su al happening b ecau se th e r e w ere alw ays more n o te s in

new songs t o be p u rsu e d . S in g in g f o r th e jo y o f s in g in g was In d u lg ed in d u r­

in g th e d a y 's o p en in g e x e r c is e s where th e r e was alw ays a p la c e f o r one o f th e

th r e e hymns i n th e c l a s s 's r e p e r t o i r e . How m eagre! How u n in s p ir in g ! How

u n s tim u la tin g ! And f o r th o s e w ith a h ig h in n a te m u sicaln ess* how u n s a ti s f y ­

in g !

C onsider th e la c k o f s in g in g f o r f u n . The t e a c h e r 's slnqsle sta te m e n t

t h a t a m usle p e rio d was to be d ev o ted e n t i r e l y to s in g in g th e songs th e e h i l ­

d ren had le a rn e d would have had two inq>ortant r e s u l t s . F ir s t* th e c h ild r e n

would have had a good re a so n to a s s o c ia te m usic w ith fu n o r enjoym ent. Second,

t h e i r d e s ir e f o r s e c u r it y would hav e been s a t i s f i e d in one sm a ll way. In

re a d in g music* each n o te o r group o f n o te s p r e s e n ts a problem . I t n eeds to be

connected w ith o th e r n o te s t o have m eaning. The gap between assumes th e p ro ­

p o r tio n s o f a hazard o u s le a p . A tw en ty m inute m usio r e a d in g p e rio d i s n o t

l i k e l y to o f f e r many moments f o r f e e l i n g a com plete m a stery o f th e b la c k d o ts

on a s t a f f o r a co m fo rtab le s e c u r it y i n d e c ip h e rin g t h e i r m eaning and t r a n s l a t ­

in g them i n t o to n e . D ecip h erin g and t r a n s l a t i n g a re w ork. Hard w ork. Should

th e m a te r ia l be f a r beyond th e a b i l i t i e s o f th e g ro u p , th e f e e l i n g o f d isco m fo rt
 7

• a d I n s e c u r it y w i l l be In creased * Y es, s in g in g f o r fu n i s i m p o r t a n t -

more im p o rta n t th a n many p eo p le seem to r e a l i s e .

Under th e b e e t c irc u m s ta n c e s, y e s t e r - y e a r 's musio program in c lu d e d group

s in g in g and l i s t e n i n g to phonograph r e c o r d s , and under t h t j o r s t circum ­

s ta n c e s , s in g in g o r _ lis te n in g * As we saw on our v i s i t , th o s e a c t i v i t i e s a r e

j u s t two o f th e many i n th e r i c h m u s ic a l e x p e rie n c e s e h ild r e n en jo y in to d a y 's

sohool*

D id n 't t b a t wide ra n g e o f a c t i v i t i e s sound i n t e r e s t i n g to you? And d o n 't

you th in k i t would be m ost e n jo y ab le? P erh ap s you th in k i t i s to o e n jo y a b le

and wonder about th e le a r n in g t b a t Should ta k e p la c e . Think f o r a few m in u tes

ab o u t th e a d u lts and c h ild r e n wbo do th in g s t h a t i n t e r e s t them . As th e y p u rs u e

t h e i r i n t e r e s t s , th e y i n v e s t i g a t e , th e y ex p erim en t, th e y l e a r n . Beoause o f

t h e i r i n t e r e s t in a i r p l a n e s , m akers o f model a i r p l a n e s le a r n a s th e y w ork.

Beoause o f t h e i r i n t e r e s t i n s o c i a l d a n c in g , p e o p le le a r n to danoe. Beoause

o f t h e i r i n t e r e s t i n f o o t b a l l , moat le a r n to p la y . Most o f th e th in g s we do

t h a t a r e n o t r e q u ir e d o f u s , we do beoause o f i n t e r e s t . The w r i t e r was n o t

r e q u ir e d to w r ite t h i s book b u t she d id so becau se o f h e r i n t e r e s t i n t h i s

ph ase o f te a o h in g . She h a s no f e a r t h a t a r i c h m u sic a l program —one t h a t i s

v a r ie d , esse t h a t g iv e s o p p o rtu n ity f o r e x p e rim e n ta tio n and i n v e s t i g a t i o n -

w i l i r e s u l t in l i t t l e o r no le a r n in g . As a m a tte r o f f a c t , she i s convinced

t h a t such a program w i l l r e s u l t in l a s t i n g and f a r - r e a c h in g le a r n in g and

in te re s ts .

C hild Growth th ro u g h M usic

Through i t s v a r i e t y o f a c t i v i t i e s M usle i n th e Hew School hopes t o con­

t r i b u t e to t h e p h y s ie a l, i n t e l l e c t u a l , s o c i a l and em o tio n al grow th o f a l l

elem en tary sch o o l e h ild r e n . C h ild -n a tu re i t s e l f i s c o n s id e re d .

 8

P rim ary G rades

S in g in g to g e th e r i s v a lu a b le e x p e rie n c e f o r th e h ig h ly i n d i v i d u a l i s t i c

members o f a group o f e h ild r e n I n t h e i r e a r l y aehool e x p e rie n c e s . These

l i t t l e e g o i s t s need th e d i s o i p l i n e imposed by group s in g in g and o f u n q u e stio n -

in g ly fo llo w in g th e sim p le d ir e c tio n s o f th e le a d e r . T h is a o t i v i t y i s s p o ile d

by u n th in k in g e f f o r t on th e p a r t o f any o f th o s e p a r t i o l p a t i n g . I n d iv id u a l

c r e a tiv e e f f o r t h as i t s most im p o rtan t p la c e —b u t t h i s i s n o t th e plaoe*

When th e concept o f group s in g in g i s e s ta b lis h e d * each c h ild w i l l u n d e rsta n d

t h a t th e to n a l l i n e t o which he m ust ad h ere i s an e x a e t l i n e and one t h a t he

must fo llo w t o th e b e s t o f h i s a b i l i t y . The r u l e s o f t h i s game demand t h a t

each p e rso n abandon h i s own id e a s f o r th e moment and conform e x a c tly t o a

p a t t e r n t h a t has been s e t*

Of course* c h ild r e n do n o t know t h a t group s in g in g i s an e x c e lle n t means

by which th e y may w e ll p o o l t h e i r in d iv id u a l e f f o r t s in o rd e r t o a r r i v e a t a

d e s ig n a te d goal* F or then* s in g in g w ith o th e r c h ild r e n should be o n ly a

p le a s u r a b le a c t i v i t y t o w hich th e y c o n t r i b u te a s b e a t th e y c a n . I t i s proba­

b ly one o f th e few o p p o r tu n itie s th e y have had t o j o i n s im u lta n e o u sly w ith

th e whole group i n c a rry in g on a common p r o j e c t . Even w orking o r p la y in g

w ith a sm all group i s o f te n a new e x p e rie n c e f o r f i r s t - g r a d e r s * and u n d er what

o th e r c o n d itio n s could th e y g e t th e a tte n d a n t e x p e rie n c e and d i s o i p l i n e o f

w orking w ith a group o f t h i r t y o r f o r ty ?

8 ln g ln g a lo n e o r w ith a sm a ll group makes i t s c o n tr ib u tio n t o c h ild

grow th, too* Some c h ild r e n who have c e r t a i n speech d i f f i c u l t i e s o r who a r e

p a i n f u l ly shy seem to lo s e th e m selv es in t h e i r song* W hile s in g in g a lo n e

th e y make t h e i r m eet c r e d i ta b l e in d iv id u a l e f f o r t* M oreover, a in o e s in g in g

a lo n e d i f f e r s v e ry l i t t l e from s in g in g w ith a group, i t i s s t i l l enough o f a /

 0

change to make i t a welcome v a r ia tio n i n s in g in g to ta k e e a re o f th e s h o r t

a t t e n t i o n span o f l i t t l e e h ild r e n . And t h i s a c t i v i t y d i s c i p l i n e s th e .m o a t

u n in h ib ite d c h ild — to s in g a g iv en song, he i s f o rc e d to keep w ith in th e

to n a l p a t t e r n o f t h a t song.

S in ce th e m nsoular c o n tr o l o f l i t t l e e h ild r e n i s p o o r, th e y need to be

g u id ed in t o a c t i v i t i e s t h a t w i l l d ev elo p t h e i r b ig m u scles. Copying th e

n o te s o f a song w i l l make a c h ild n e rv o u s. (He cannot p o s s ib ly u n d e rsta n d

th o s e sym bols, anyhow.) While sw inging alo n g i n th e manner o f a lu m b erin g

e le p h a n t w i l l g iv e o p p o rtu n ity f o r g a in in g c o n tr o l o v er b ig movements. A

m u sio a l accompaniment r e l e a s e s i n h i b i t i o n s and makes e a s ie r th e b u s in e s s o f

le a r n in g t o skip* Bouncing and e a te h in g a la r g e b a l l t o m usic r e q u ir e s no

sm all amount o f tim in g and m uscular c o - o r d in a tio n , and g a in in g such tim in g

and c o - o rd in a tio n i s f u n . B o d ily movements p lu s d r a m a tis a tio n p lu s m usic

a r e known a s rhythm s and rhythm s s e le c te d because o f th e c o n tr ib u tio n th e y

make i n b ig m uscle grow th and e a a tr o l a id in th e p h y s ic a l developm ent o f

c h ild r e n .

Rhythms, m oreover, can be th e m o tiv a tio n f o r c a r e f u l o b s e rv a tio n o f

m o tio n . How does an a ir p la n e f l y ? How d o e s a steam sh o v el work? How does

a tu rk e y w alk? How d o es a shoemaker f i x shoes? How d oes a farm er p la n t

h i s seeds? How can one know th e s e th in g s u n le s s he o b se rv e s? The r e s u l t s

o f such o b s e rv a tio n s —knowing how—add t o th e e v e r in c r e a s in g volume o f

f a c t s th e e h i ld i s g a th e r in g . There i s a p la c e f o r f a n ta s y b u t th e c h ild

n eed s to become aw are o f r e a l i t y , o f th e way th in g s a r e . When he knows, he

w i l l n o t h e s i t a t e to d ra m a tise h i s id e a s becau se knowledge i s s e o u r ity .

In te rm e d ia te G rades

The d i s c i p l i n e s demanded by group s in g in g s t i l l p r e v a i l in th e i n t e r ­

m e d iate g ra d e s . They s t i l l p r e v a i l and become more e x a c tin g . R o u tin e in

 10

le a r n in g song a and s in g in g h a s b e so m e s ta b lis h e d * The m u sio a l e x p e ri­

en ce s o f th e p rim a ry g ra d e s have g iv en a fo u n d a tio n upon w hich a r e f i n e ­

ment o f i n t e r p r e t a t i o n may be b u ilt* Beoause e h ild r e n i n th e s e g rad es have

a deep f e e l i n g o f attaeh m en t f o r e h ild re n o f t h e i r own age and sex*

ch o ru ses a n d /o r g le e o lu b s o f boys o r g i r l s a r e Im p o rtan t to them* Beeause

t h i s I s th e age o f g angs, chums and b e s t f r i e n d s , s m a lle r s in g in g groups

oan be s t a r t e d . These g ro u p in g s a r e In l i n e w ith c h ild - n a tu r e and a r e n o t

opposed t o i t .

T h is p e r io d o f r a p id p h y s ic a l grow th i s accompanied by b e t t e r nervous

c o n tr o l and by b e t t e r m usoular c o n tr o l. S in ce e h ild r e n now have command o f

t h e i r la r g e m u scles, r h y th s s can a id them in d ev elo p in g c o n tr o l o f sm a lle r

m uscles* Not o n ly oan rhythm ic a c t i v i t i e s a id i n t h i s developm ent, b u t

m usic i s an elem ent w hich h e lp s d is s o lv e s e lf - o o n s d o u s n e s s . A b ility to

m a n ip u late th e body w ith o u t th o u g h t o f body, i s d e s ir a b le and a m u sio al

accompaniment i s an aid* T ry in g to f i t a f o l k dance s te p to i t s co rresp o n d ­

in g m easure o f m usle o r c a rry in g o u t a b i t o f rh y th m ic p la y in a given

m u sic a l sp ace does n o t p e rm it o f much c o n c e n tra tio n an a n y th in g exeept

g e t t i n g th e t h i n g done. T here i s no tim e to th in k o f s e lf *

i n i n t e r e s t i n g d if f e r e n c e between th e pow ers o f o b s e rv a tio n and m usoular

c o n tr o l o f p rim ary and in te r m e d ia te c h ild r e n in r e l a t i o n t o rhythm s should be

p o in te d o u t a t t h i s tim e a lth o u g h i t w i l l be d is c u s s e d a t le n g th in th e

ch a p te r on Rhythms* A second g rad e group and a s ix th g rad e group in w orking

on a rhyth m ic p r e s e n ta tio n o f "Games We P la y In th e S p rin g " o r "B u ild in g a

House" w i l l d i f f e r . These a c t i v i t i e s w i l l d i f f e r j u s t a s th e m uscular con­

t r o l and th e power o f o b s e r v a tio n o f th e e h ild r e n d i f f e r . They w i l l d i f f e r

a s muoh a s a second g ra d e g i r l * a p ic tu r e o f "My New D ress" w i l l d i f f e r from

h e r s i x t h g rad e s i s t e r * s p ic tu r e —even th ough th e d re s s e s a r e i d e n t i c a l

 11

ex cep t f o r else* The second g r a d e r 's draw ing w i l l show th e o u tl in e o f a

d re e s o f in d e te rm in a te s ty le o r a c o lo re d s p lo te h on a f ig u r e t h a t h a s a

f a e e w ith two d o ts f o r e y e s , one d o t f o r n o ae, a l i n e f o r a mouth and fo u r

f in g e r s on one hand and s i x on th e o th e r , e t c e te ra * The s i x t h g r a d e r 's

w i l l a tte m p t t o show th e d e s ig a o f th e d r e s s , w ith th e p l e a t s o r g a th e rs

and p e rh a p s th e tu e k s in th e w a is t, on a f i g u r e t h a t b e a r s a t l e a s t some

resem blance to i t s owner* So, in a rh y th m ic p r e s e n ta tio n o f "Games Ve F la y

in th e S p rin g " , second grad e e h ild re n w i l l be c o n te n t t o bounce and e a te h a

b a l l a s lo n g a s th e m usic l a s t s , w h ile th e s i x t h g ra d e rs w i l l work o u t an

ex a c t game t o t h e m usic o r p la n a dance w h ile bouncing b a lls * The younger

c h ild r e n w i l l be c o n te n t to saw wood and hammer n a i l s in t h e i r i n t e r p r e t a ­

t i o n o f " B u ild in g a H ouse", b u t th e o ld e r o h ild r e n w i l l p ro b ab ly p la n t o

f e l l th e t r e e s , ta k e th e lo g s t o th e m i l l , c u t them up in to lum ber, e x ca v ate

f o r t h e fo u n d a tio n , u se an e x a c t number o f s tr o k e s to hamner a n a i l , e t

c e te ra * A ll o f which e x e m p lifie s d if f e r e n c e s between th e powers o f th e two

groups*

M usio makes p o s s ib le an e x te n s iv e a r e a f o r i n t e l l e c t u a l grow th f o r

in te rm e d ia te g rad e c h ild r e n . N atu re h a s developed i n them a keen er c u r i o s i ­

t y and a d e s ir e t o c o lle c t* The d e s ir e to c o l l e c t in c lu d e s th in g s and f a c ts *

The more m ature c h ild r e n have a c q u ire d co n fid e n ce to i n v e s t ig a t e alone*

S in ce th e mere f a e t and a c t o f "g o in g to s c h o o l" have l o s t t h e i r glam our,

th o s e in charge o f th e sch o o l program need t o p ro v id e m o tiv a tio n f o r le a r n ­

in g by in o lu d in g th e wide f i e l d o f t h e a r t s in t h i s program*

M usic o f f e r s a n o th e r medims f o r c r e a tiv e e f f o r t* Making tu n e s , m u sio al

in s tru m e n ts , a danoe, d ra m a tic i n t e r p r e t a t i o n s th ro u g h rhythm s—a l l o f th e s e

p la y an im p o rtan t p a r t in th e developm ent o f th e whole ch ild *

 18

Thus does Musio in th e Mew S chool hope to e o n tr ib u te to t h e p h y ii e a l,

i n t e l l e o t u e l , s o c i a l , and em o tio n al grow th o f a l l elem en tary s c h o o l c h i l ­

d re n , The program i t s e l f l a based on a knowledge o f o h ild n a tu r e .

M usic f o r A ll th e C h ild ren

As was s t a t e d above, Music in th e New School p la n a to e x p lo re th e broad

f i e l d o f m u sic al a c t i v i t i e s in th e hope th a t a l l th e c h ild r e n w i l l f in d a t

l e a s t one p h ase t h a t w i l l add to t h e i r p le a s u r e in l i v i n g a s o h ild re n and a s

a d u l ts . T here a r e c e r t a i n e x p e rie n c e s t h a t e h ild r e n sh o u ld have in o rd e r to

be a b le t o make c h o ic e s from a w ide ra n g e . Our concern i s t o c o n sid e r th e

whole mass o f elem en tary sohool o h ild r e n . Those who have u n u su al a b i l i t i e s

and d isc o v e re d i n t e r e s t s need s p e o ia l a t t e n t i o n —th e y need bands and o rc h e s ­

t r a s , th e y need p r i v a t e and group le s s o n s in p la y in g in s tru m e n ts , th e y need

g le e c lu b s and c h o ru s e s . I n m ost e a s e s th e y need s p e e l s l m usic te a c h e r s f o r

t h i s h ig h ly s p e c ia lis e d t r a i n i n g . M oreover, th e ele m e n ta ry classro o m te a c h e r

i s busy w ith h e r group o f c h ild re n day in and day o u t w ith o u t b ein g ex p ected

to h a n d le t h i s p a r t o f th e so h o o l program . The d a ily m usic program i s enough

f o r h e r to d i r e c t , Vhat a c t u a l e x p e rie n c e in m usic do we w ish f o r a l l th e

c h ild r e n under h e r guidance? What sh o u ld th e m usic program in c lu d e so a s to

g iv e them a com plete aw areness o f th e realm o f t h i s a r t ? What s k i l l s do th e y

need in o rd e r to grow m u s ic a lly ?

There a re two s ta te m e n ts t h a t a r e l i k e l y t o b e found in any m a te r ia l

w r itt e n ab o u t m usio, Each i s t r u e . Each i s im p o rta n t. Each i s d i f f e r e n t .

Each has d e f i n i t e im p lic a tio n s i n re g a rd to a program d esig n ed t o prom ote an

aw areness o f m usic and m u sic al g row th. Each sta te m e n t and i t s Im p lic a tio n s

fo llo w s :

1, M usio i s a u n iv e r s a l la n g u a g e ,

8, M usic i s ’ an a r t and a s c ie n c e .
 19

Language l a a meana o f e x p re s s io n , a mean* by w hich we eonvey m eanInga,

f e e l I n g a , Id e a a , and em otione o f o th e r a . B eing a b le t o apeak a lan g u ag e

i n p l i e a b ein g a b le t o u n d eratan d t h a t la n g u ag e. An a f f i r m a t I r e anaw er to

"Do you apeak F ren ch ?" im p lie s " I u n d erstan d i t , t o o . " Nor i s muaio a

language by which p eo p le may apeak to ua b u t th ro u g h which we oan n o t ex­

p r e s s our f e e l i n g s . I f i t w ere, m usio would be u n u su al in th e group o f

la n g u a g e s. To be r e a l l y co g n iz a n t o f m u sio al la n g u a g e , a b i l i t y to u s e i t

a s w e ll a s to u n d e rsta n d i t i s n e o e s s a ry . Too o f t e n , e x p e rie n c e h a s n o t

g iven p e o p le th e u n d e rs ta n d in g th a t m usic i s a medium f o r s e lf - e x p r e s s io n

f o r them a s w e ll a s fo r a c e r t a i n g i f t e d few whose works a r e p la y e d and

sung in th e c o n c e rt h a l l s o f t h e w o rld . Too o f te n e x p e rie n c e h a s proved

t h a t m usic i s a means by w hich o th e r s can e x p re s s th e m selv es and say th in g s

to u s—a p e c u l ia r one-way la n g u ag e.

F or n i l th e o h ild re n we w ish an u n d e rs ta n d in g o f t h i s lan g u ag e— and

h e re , "u n d e rsta n d in g " c a r r i e s w ith i t th e im p lic a tio n o f " a b i l i t y t o u s e " ,

to o . That means composing songs and m u sic. For n i l th e e h ild r e n we w ish :

(1 ) th e a b i l i t y to u s e m usic a s a means o f s e lf - e x p r e s s io n and communication

(w hich in o lu d e a b ein g ab le to m an ip u late th e one m u sio a l in stru m e n t a l l

e lem en tary sohool c h ild r e n p o s s e s s , th e v o ic e ,} and (S ) an u n d e rs ta n d in g o f

t h e m u sic a l e x p re s s io n s o f o t h e r s .

Do n o t g e t e x o ite d ab o u t "couponing songs and m u sic ". Does th e w r i t e r

mean oompose a symphony? No, th e w r ite r does n o t. The f i r s t a tte m p ts a t

s e lf - e x p r e s s io n th ro u g h m usic a r e j u s t a s f a r removed from a symphony a s th e

i n i t i a l e f f o r t s a t w r iti n g th e v e rn a c u la r a re from th e " g re a t American n o v e l" .

The f i r s t fo u r-m ea su re song i s com parable t o t h e f i r s t se n te n o e s i n an o r a l

i« n g a«ga e f f o r t . Each i s a sm all b eg in n in g b u t each i s a n e o e s s a ry s te p in

g row th. When d l l th e c h ild r e n grow t o be a d u l t s , th e y a re n o t a l l g o in g to

 14

w r ite " th e g r e a t .American n o v el* o r a symphony, b u t a tte m p t* a t e x p re ssio n

in eae h o f th e two m edia a r e v a lu a b le a id s to a p p r e c ia tio n . On th e o th e r

hand, no n o v e l o r symphony was e v e r com pleted w ith o u t ream s and ream s o f

p re v io u s w r iti n g .

f o r a l l th e c h ild r e n we w ish an u n d e rsta n d in g and a knowledge o f m usic

a s an a r t . The i n t e l l e c t u a l and th e em o tio n al enjoym ents t h a t r e s u l t from

m usio a r e many and complex. Some o f th e s e a re : (1 ) th e f e e l i n g o f s e c u r it y

engendered by h e w in g f a m i l i a r c o m p o sitio n s, (3 ) th e r e c o g n itio n o f th e

acc u racy w ith which a p i c t u r e i s p a in te d , an id e a p o r tr a y e d , o r a s to r y t o l d ,

(S) th e em o tio n al ap p ea l o f c e r t a i n to n a l p a t t e r n s , (4 ) an aw areness o f th e

te c h n iq u e s n e c e ss a ry f o r a s a t i s f a c t o r y i n t e r p r e t a t i o n o f a co m p o sitio n , (5 )

a r e a l i z a t i o n o f th e e f f e c t i v e u se o f to n e , and (6 ) a com prehension o f th e

p e r f e c t io n o f fo rm . F or 411 th e c h ild r e n we w ish g u id an ce tow ard a l l o f th e s e

e x p e rie n c e s w hich le a d to an u n d e rsta n d in g o f t h e . a r t o f m u sic.

The s c ie n c e o f musio i s a s e x a c t a s th e s c ie n c e o f m ath em atics, and f o r

many, a s a b s tr u s e . T h e re fo re , a r e a l stu d y o f th e Boienoe o f musio should

be re s e rv e d fo r th o s e who show i n t e r e s t in i t , and have need f o r i t , and have

th e r e q u i s i t e s k i l l s . T eaching th e so ie n c e o f m usic should be co n fin ed to

th o s e item s whioh a re n e o e s s a ry f o r 411 th e c h ild r e n t o know in th e p u r s u it

o f t h e i r o r d in a r y co u rse o f le a r n in g , w ith some a t t e n t i o n p a id to th e f a o t

o f t h e i r u ltim a te u s e f u ln e s s . F or exam ple, j u s t when does a c h i ld need to

know t h a t th r e e f l a t s i s th e key s ig n a tu r e o f th e key o f S f l a t ? O r, th e

i n t e r v a l c o n s tr u c tio n o f th e m ajo r s c a le ? He n e e d s to know th o s e f a c t s when

f u r t h e r m u sio al grow th would be Im p o ssib le w ith o u t them o r when he needs th e

answ er to s o lv e a problem w hich co n cern s him. For 411 th e c h ild r e n we w ish

enough o f th e so ien ee o f m usic t o en a b le them to g e t an u n d e rsta n d in g o f—

"What makes th e w h eels go 'ro u n d * — based e n t i r e l y on t h e i r need f o r u s in g

th e s e f a c t s .
 IS

Summary

The m usic program l a th e ele m e n ta ry sc h o o l should be p la n n ed ao t h a t

a l l th e c h ild r e n w i l l have (1 ) t h e a b i l i t y to u se musio a s a means o f s e l f -

e x p re s s io n and com munication ( I n c lu d in g b e in g a b le t o u se th e one in s tru m e n t

a l l c h ild r e n in th e ele m e n ta ry sc h o o l h a re —th e T o ice, and b e in g a b le to use

m usic a s a means o f s e lf - e x p r e s s io n ) , ( 2 ) an u n d e rsta n d in g o f th e m n sio a l

e x p re s s io n o f o th e r s , whioh im p lie s a c o n scio u sn ess o f m usic a s an a r t , and

(3 ) an aw areness o f a s mnoh o f th e s c ie n c e o f m usic a s w i l l glwe m eaning to

m usic a s an a r t*
 CHAPTER I I

APPRECIATION

I t i s th e hope o f th o s e who p la n th e musio program f o r t h e elem en tary

s c h o o ls t h a t a l l p h ases o f th e program w i l l le a d to g r e a te r a p p r e c ia tio n o f

m usic on th e p a r t o f th e c h ild r e n i n th e s e s c h o o ls . What is , a p p r e c ia tio n ?

How i s i t bro u g h t ab o u t? Vhat can th e a c t i v i t i e s o f l i s t e n i n g , s in g in g ,

rhythm s, and c r e a tin g musio c o n trib u te ?

What l a A p p re c ia tio n

The meohanie i n a g arag e a lo n g th e much tr a v e le d highway h as d e f i n i t e

r e a c tio n s when he l i f t s th e hood o f an o b v io u s ly ex p en siv e e a r a f t e r he has

f in is h e d w orking on a s e r i e s o f broken down " j a l o p i e s " . The m echanical

p e r f e c tio n o f th e high-pow ered m otor a t w hich he g aze s e x o ite s him, i t s

p o t e n t i a l i t i e s a ro u se h i s im a g in a tio n . C o n d itio n in g th e s e r e a c tio n s i s h is

u n d e rsta n d in g o f m otors*

The d e t a i l and th e s t y l e o f t h e h a n d -k n it garm ents in th e window o f a

shop a ro u se th e i n t e r e s t o f a woman ltio h as j u s t f in i s h e d k n i t t i n g h e r second

sw eater* The f l a r e o f a s k i r t , th e manner in w hich th e p o c k e ts a r e s e t in a

s w e a te r, th e co m p licated p a t t e r n o f a b lo u s e , s tim u la te s h e r i n t e r e s t and she

i s aware o f a d e s ir e t o make s im i la r g arm e n ts. Her knowledge o f th e f i r s t

p r i n c i p l e s o f k n i t t i n g g iv e h e r s u f f i c i e n t u n d e rs ta n d in g o f th e s k i l l n e o e sa a ry

f o r t h i s more i n t r i c a t e work— b u t sh e l i k e s t o k n it and i s w i l l i n g t o g a in

g r e a t e r s k i l l in o rd e r to be a b le to make t h e th in g s sh e would l i k e to have*

 The e n g in e e r g azes a t th e George W ashington Bridge* Esteem f o r th o s e

who conceived th e Id ea o f t h e b r id g e , r e s p e c t f o r th o s e who d esig n ed and

b u i l t I t , and jo y In i t s b eau ty su rg e th ro u g h him a s he gazes* He i s aw are

o f th e s k i l l n e c e s s a ry to b rin g i t I n to being* He i s aware o f th e a t t e n ­

d an t h a z a rd s and d i f f i c u l t i e s * He t h r i l l s a t th e r e s u lt * M ental p lo tu r e s

o f v a rio u s s ta g e s o f b rid g e c o n s tr u c tio n p a s s th ro u g h h i s m ind, one a f t e r

th e o th e r , I n d ic a tin g an u n d e rs ta n d in g o f a l l th e f o r c e s and m a te r ia ls th a t

p la y e d a p a r t in b u ild in g su ch a s tr u c tu re *

The housew ife on a v a c a tio n r e v e l s in th e d e lic io u s fo o d serv ed in a

r e s t a u r a n t famed f o r i t s d e le c ta b le d ish es* She u n d e rsta n d s th e need f o r

s k i l l in p la n n in g , m a rk e tin g , p r e p a r in g , and s e rv in g such a m eal a s she i s

e n jo y in g . She knows, to o , t h a t work i s in v o lv e d , and wanders ab o u t th e

m echanics o f p re p a rin g fo o d on so la r g e a scale*

The r e a c tio n s o f th e g arag e m echanic, th e k n i t t e r , th e e n g in e e r, and

th e h o u sew ife, w ere c o n d itio n e d by t h e i r u n d e rsta n d in g o f th e p ro c e s s e s

involved* I n d iv id u a l s k i l l s and in d iv id u a l backgrounds made i t p o s s ib le

f o r each t o e s tim a te th e p e r f e c tio n in c e r t a in a r e a s t h a t o th e r s m ight b a r e ly

acknowledge w ith a c u rso ry g la n c e , i f n o tie e d a t a l l * I n ea c h p erso n th e r e

was more to h i s r e a c tio n th a n mere e s tim a te o f p e r f e c tio n * A f e e l i n g o f jo y ,

o f s a t i s f a c t i o n , o f co m p ellin g I n t e r e s t was coupled w ith h i s u n d e rs ta n d in g .

The r e s u l t was a p p re c ia tio n * The background o f an in d iv id u a l p lu s h i s accumu­

l a t e d knowledge o f r e l a t i v e f a c t s eome to b e a r and g iv e p o in t t o an e x p erien ce

which r e s u l t s i n a p p r e c ia tio n . I n t e r e s t le a d s to a s c e r t a in i n g in fo rm atio n *

I n t e r e s t most be th e r e o r th e r e can be no r e c e p tiv e n e s s t h a t w i l l make p o s s ib le

u n d e rsta n d in g w ith enjoym ent. I n o th e r w ords, a p p r e c ia tio n does n o t grow in

b a rre n liv e s *
 18

Those who a p p r e c ia te m usic a r e s e n s i t i v e t o th e a e s t h e t l e v a lu e o f

m usic. They have an u n d e rsta n d in g o f m usio. They a re e m o tio n a lly and

i n t e l l e c t u a l l y aro u sed a a th e y l i s t e n . They a r e aware o f th e i n t e r p l a y Of

th e many elem en ts o f Which musio i s th e r e s u lt* S a ti s f a c tio n and enjoyment

a r e p r e s e n t and fo llo w an e x p e rie n c e w ith m u sic. -A ppreciation i s enjoym ent

w ith u n d e rs ta n d in g . A p p re c ia tio n i s u n d e rsta n d in g w ith enjoyment*

How I s A p p re c ia tio n Brought About

There i s a h ig h e r le v e l o f r e a e tio n to m usic th a n ta p p in g rhythm o r

humming a p r e t t y tu n e . The commonly h e a rd rem ark, " I j u s t lo v e m usic b u t

1 don’ t know a n y th in g ab o u t i t ” , g iv e s t e r s e r e c o g n itio n t o t h a t fa c t*

Those p eo p le Who a r e i n t e r e s t e d in m usic f o r m il th e c h ild r e n want them to

" lo v e ” i t ( em o tio n al re sp o n se ) and to "know som ething ab o u t i t ” ( i n t e l l e c ­

t u a l re s p o n s e ) . The i n t e l l e c t u a l re sp o n se im p lie s a b i l i t y to e s tim a te w o rth ,

im p lie s an aw areness o f th e alms o f th e composer and th e p e rfo rm e r, and

im p lie s an u n d e rsta n d in g o f t h e medium o f m usic—to n e . The f i n e l i n e which

sometimes s e p a r a te s th e em o tio n al re sp o n se from th e i n t e l l e c t u a l re sp o n se

w i l l be l e f t f o r th e p h ilo so p h e r to d e f in e . I n many in s ta n c e s , th e p o in t

where one le a v e s o f f and th e o th e r b e g in s i s d i f f i c u l t to mark* The problem

a t hand demands t h a t t h e r e be r e c o g n itio n g iv en to th e f a c t t h a t th e re a r e

two re s p o n s e s im p lied i n th e a p p r e c ia tio n o f m u sic, th e em o tio n al and th e

in te lle c tu a l.

B efore making s p e o if i e s u g g e s tio n s f o r a program d esig n ed to b r in g ab o u t

an enjoym ent and u n d e rsta n d in g o f m usio, a d is c u s s io n o f two c lo s e ly r e l a t e d

fundam ental t r u t h s w i l l b e p r e s e n te d . The f i r s t — ev ery m usic le s s o n i s an

a p p r e c ia tio n le s s o n —h a s been s a id so o f te n t h a t i t h a s l o s t n o v e lty and

in te re s t. Sven s o , to o o f te n , o n ly l i p - s e r v i c e h a s been g iv e n i t * In p r a c t i c e
 19

I t h a s been ig n o re d . The seoond t r u t h l a : th e p ro ced u re o f te a c h in g f o r

a p p re c ia tio n d i f f e r s from th e method o f te a c h in g f a c t a * U n fo rtu n a te ly ,

t h i a co n cep tio n l a n o t w id esp read . However, i t haa n o t become ao p a t and

hackneyed a ata te m e n t aa h a s th e o th e r*

The w ording o f th e sta te m e n t," B v e ry m usic le s s o n l a an a p p r e c ia tio n

le s s o n " , shows i t to be a r e l i o o f th e day when A ll th e c h ild r e n came in

c o n ta c t w ith m usic o n ly d u rin g t h e f i f t e e n o r tw en ty m inute d a l ly m usic

p e rio d * At th e p r e s e n t, when c h i l d r e n 's o p p o r tu n itie s f o r a s s o c ia tio n w ith

m usic a r e numerous, t h a t s ta te m e n t, even though t r i t e , h a s f a r r e a c h in g

p o s s ib ilitie s * The m u sic a l sound made by ta p p in g a w ater g l a s s , a band

c o n c e rt, th e songs sung by th e m o u n ta in e e rs, a program by a symphony o rc h e s ­

t r a , th e m u sic a l a c t i v i t i e s in s c h o o l, th e s o lo a t church s e r v ic e s , a l l have

p o t e n t i a l i t i e s f o r c o n tr ib u tin g to t h e enjoyment and u n d e rs ta n d in g o f music*

Today te a o h e rs r e a l i s e th a t " te a c h in g fo r a p p r e c ia tio n " i s a more a c c u r a te

d e s c r ip tio n o f p ro ced u re th a n i s " te a c h in g a p p re c ia tio n " *

A ll p e o p le who hope t o g u id e c h ild re n t o an a p p r e c ia tio n o f th e a r t s ,

to b rin g about a f a v o ra b le em o tio n al re sp o n se to an a o t i v i t y , would do w e ll

t o c o n sid e r th e d if f e r e n c e s in p ro ced u re and method o f te a c h in g f o r a p p re c ia ­

t i o n and te a e h in g f o r th e r e t e n t i o n and u se o f f a c ts * The need f o r v a r i a t i o n

may be shown by t h i s i l l u s t r a t i o n . L i t t l e F r a n k lin may be k ep t in a f t e r

sch o o l u n t i l he le a r n s how to s p e l l a g iv e n l i s t o f w ords, b u t you cannot

keep him u n t i l h e le a r n s t o lo v e a song—o r a poem o r a p i c t u r e . F ra n k lin

m ight s ta y in u n t i l h e co u ld s in g th e song, t e l l th e o c c u p a tio n o f th e com­

p o s e r 's g r a n d f a th e r , o r acco u n t f o r a l l h i s pro g en y , b u t he c a n ’t be k ep t

t h e r e lo n g enough t o make him lo v e th e song* He m ight s ta y th e r e u n t i l he

eould r e p e a t a poem backw ards o r fo rw ard s—w hichever way th e te a o h e r r e q u ire d —

 so

b u t th e p o e a i b i l i t i e a f o r making him " lo r e " th e poem d e e re a se w ith every

moment o f h ie en fo rced stay * He m ight a ta y In u n t i l he oould p a i n t an

e z a e t re p ro d u c tio n o f a p i c t u r e from memory, b u t th e ohaneea a r e t h a t h ia

lo r e f o r a r t ao u ld f l y f a r t h e r out th e window w ith ev ery e tro k e o f h ia

brush* L i t t l e F ra n k lin * a d e a ir a b le em o tio n al reap o n a ea a r e n o t ao engender­

ed* H igh handed meaaurea and p e d a n tle te c h n iq u e a have no p la e e in te a c h in g

f o r a p p re e ia tio n a *

The te a c h in g o f s o - c a ll e d "Music A p p re c ia tio n ” h as had many i n t e r e s t i n g

v a r ia tio n s s in c e musio h a s been in c lu d e d in th e sc h o o l program . A b rie f

resum e o f some o f i t s h i s t o r y r e v e a ls many f a n t a s t i c schemes conoooted, p r e ­

sum ably, t o f o s t e r a lo v e f o r muaie* One o f th e s e h ig h ly in c r e d ib le d e v ic e s

was th e M usic Memory C ontest* From a c e n t r a l s t a t e o f f i c e came a l i s t o f

phonograph re o o rd s f o r v a r io u s g rad e g ro u p s in th e s e h o o l. Ikom each group

o f c h ild r e n a team o f th r e e was s e le c te d to compete w ith o th e r team s o f i t s

k in d i n th e town* Then, th e v ic to r io u s team went to a d i s t r i c t meet and th e

w inner th e r e e n te re d a s t a t e c o n te st* At a c o n te s t a p o r tio n o f each re c o rd ­

in g on th e l i s t was played* The c h ild re n w ere re q u ir e d t o re c o g n iz e th e

p o r tio n , w r i t e th e name o f th e co m p o sitio n , th e name o f th e composer w ith th e

d a te o f h i s b i r t h and d e a th , and th e ty p e o f th e com position (m in u et, w a ltz ,

m arch, e t c e te r a ) * An a n a ly s is o f t h i s p ro ced u re w i l l show t h a t th e premium

was p u t on r e c o g n itio n and a b i l i t y to s p e l l —n o t on u n d e rs ta n d in g and en jo y ­

ment* In r e t r o s p e c t , t h e w r ite r f e e l s t h a t i t was in d e ed f o r tu n a t e t h a t th e

f i r s t team she "coached” l o s t th e s t a t e c o n te s t b ecau se one o f th e boys on

h e r ju n io r h ig h seh o o l team s p e lle d "Kentucky” "K entuckey" when l i s t i n g My

Old K entucky Home* I f t h a t t e a s had won, th e a u ra o f s u c c e s s would p ro b ab ly

have d elay ed h e r c r i t i c a l a p p r a i s a l o f th e whole e n te r p r is e * She beoame an

ad v o cate o f h av in g a whole g rad e group com pete, i f c o m p e titio n t h e r e must be*

 81

But th e m echanics o f tr a n s p o r ti n g t h i r t y - f i v e o r f o r t y c h ild r e n ab o u t th e

s t a t e made th a t p ro p o s a l u n f e a s ib le . I f a whole c l a s s d id n o t p a r t i c i p a t e ,

what happened to th e group w h ile th e "team 1* was b e in g d r i l l e d ? The w r ite r

does n o t know; sh e can o n ly su rm ise.

Some good came from th e Music Memory C o n test id e a even though i t was

n o t what i t s ad v o c a te s had claim ed f o r i t . R eq u ests f o r phonographs and

re c o rd s were g ra n te d by sch o o l a u t h o r i t i e s and th o s e m a te r ia ls became r e g u la r

equipment in so h o o la .

Then th e r e was th e e r a in which p r a c t i c a l l y ev ery phonograph re c o rd p la y ed

fo r th e c h ild r e n had to be acoompanied by a poem o r a p i c t u r e . I f th e g e n e ra l

s u b je c ts were in agreem ent, s a t i s f a c t i o n on th e t e a c h e r 's p a r t was com plete.

O ften th e th r e e —m usic, poem and p i c t u r e —were i n s im ila r s t y l e s o r moods, o r

was an e x p o s itio n o f th e same id e a th ro u g h d i f f e r e n t m edia. More o f t e n , th e r e

would be i d e n t i t y o f name, b u t n o t o f mood, o o lo r o r developm ent.

But some good came from t h a t p erio d * The id e a o f c o r r e l a ti o n became

e s ta b l is h e d , and th e id e a o f th e r e l a t i o n s h i p s between th e a r t s was bro u g h t

in to th e schoolroom even though some p re p o s te ro u s c o n c lu sio n s d e riv e d from

prem ises based on w is h fu l th in k in g were a r r iv e d a t .

These c r it ic i s m s a r e n o t meant t o be u n k in d . The p ro c e d u re s d e s c rib e d

were a tte m p ts made by s e rio u s th in k in g p e o p le t o remedy w eaknesses and en­

la r g e th e sp h e re o f m usic i n t h e s c h o o ls . The M usic Memory C o n test id e a

sought to e n ric h th e program in which s in g in g was th e o n ly a c t i v i t y . I t was

a c a rry -o v e r o f th e e d u c a tio n p r o f e s s io n a l m u sician s re c e iv e d i n t h e i r

s p e c ia liz e d t r a i n i n g . T hat i t was d is c a rd e d when i t had been p ro v ed t h a t such

a program d id n o t accom plish what i t was ex p ected t o acco m p lish i s t o th e

c r e d i t o f th o s e who plan n ed th e musio program s i n th e s c h o o ls . The p o « H ? ic -

tu re -m u sic id e a was an o th er a tte m p t t o e n la rg e t h e c o n ce p tio n o f th e a r t s and t o

 88

ahov t h e i r r e l a t i o n and th e i n t e r - r e l a t i o n s h i p s . When I t was obvious

t h a t th e r e s u l t s o f such a fo rm a l, a r t i f i c i a l fo rm u la oould n o t alw ays

be j u s t i f i e d , i t was abandoned, to o .

T eaohlng f o r A p p re c ia tio n

In th e in te g r a te d a c t i v i t i e s program o f th e New S ohool, th e p u rp o se o f

a l l e x p e rie n c e s in musio i s to prom ote u n d e rsta n d in g and enjoyment and to

r e l a t e m usic to m ean in g fu l e x p e rie n c e s . P e r s o n a l s a t i s f a c t i o n s a r e s tr e s s e d

in a l l th e p h ases from te a c h in g th e a u r a l ly weak to sin g t o p ro v id in g oppor­

t u n i t y f o r th e s k i l l e d to p la y f o r t h e i r c la s s m a te s . Under s ta n d in g o f m usic

i t s e l f and i t s c o n tr ib u tio n s to th e l i f e o f a l l p eo p le s ( in c lu d in g o u r own)

a r e em phasized. I n so f a r a s i s p o s s i b le , m usic in th e New Sohool r e c e iv e s

i t s im petus and re a so n f o r b e in g from l i f e .

The m ethods, manners and mores o f t h e New School g iv e t a c i t r e c o g n itio n

t o concom itant a s w e ll a s p rim ary le a r n in g s in v o lv ed in m u sic a l e x p e rie n c e s .

T here i s s t r e s s on le a r n in g t o do t h i s in o rd e r t h a t i t may be used i n c a r r y ­

in g on t h a t p ro je o t* In t h i s way n e c e ss a ry d r i l l h a s an im m ediate p u rp o se

and does n o t seem to go on and on w ith o u t re a s o n . The p h ilo so p h y o f te a c h in g

re a d in g i s th e same a s te a c h in g m u sic. P le a s u r e a s w e ll a s s k i l l i s one o f

th e d e s ir a b l e outcom es. W hile p a in tin g sc e n e ry f o r th e o p e r e t ta may n o t be

m u sio , i f p a i n tin g i s p e r s o n a lly s a t i s f y i n g , th e m in d -se t to w ard s th e o p e r e t ta

w i l l be fa v o ra b le * An aw areness o f s o c i a l f o r o e s a t work in t h e world i n any

age w i l l add en lig h ten m en t t o m usic o f th e p e r io d in v o lv e d . Sven a s u p e r f i­

c i a l u n d e rsta n d in g o f th e fo rm s w hich Bach used w i l l add meaning to h i s w orks.

.The end o r aim o f o p era w i l l e x p la in what m ight o th e rw is e be m e an in g le ss sound.

M oreover, ex p e rie n c e i n th e s e a re a s o f le a r n in g a s w e ll a s in o t h e r s , p roduce

Im p ressio n s th a t a r e more l a s t i n g i f t i e d up w ith c h ild i n t e r e s t s .

 S3

M oreover, th e New Sehool re c o g n is e s th e f e e t t h a t a l l p h a se s o f m usi-

o a l a c t i v i t y sh o u ld be in c lu d e d in th e program so t h a t c h ild r e n w i l l become

aware o f i t s v a rio u s p h a s e s . S in g in g , rhythm s, f o lk d an cin g , l i s t e n i n g ,

c r e a tin g m usic—a l l o f th e s e c o n jo in t o t h e end t h a t enjoym ent and under­

s ta n d in g r e s u l t . A ll have t h e i r im p o rtan t c o n tr ib u tio n to make t o a p p re c ia ­

tio n . A ll have t h e i r in d iv id u a l a p p e a l, and some c h ild r e n w i l l f in d t h e i r

s a t i s f a c t i o n in one a r e a , o th e r s in an o th er a r e a . The New School r e c o g n is e s ,

to o , t h a t a c t u a l e x p e rie n c e i n th e s e a c t i v i t i e s i s more im p o rta n t th a n th e

ta n g ib le r e s u l t s . F or exam ple, th e im p u lse and d e s ir e t o o r e a te musio and

th e a c t o f c r e a tin g a r e more im p o rta n t th a n th e m u sic a l r e s u l t s o f such

e ffo rt. S a t i s f a c t i o n on th e p a r t o f th e c h ild re n who a r e s in g in g i e more

im p o rtan t th a n s a t i s f a c t i o n on th e p a r t o f th o s e who l i s t e n . These e x p e ri­

ences g iv e background—background th a t i s im p o rta n t f o r u n d e rsta n d in g and

e n jo y in g . The a cc ep tan c e o f th e pro p o sed program by t h e c h ild re n m ight be

an in d i c a ti o n t h a t i t s c o n tr ib u tio n s a re p a r t i a l l y s a t i s f y i n g , b u t th e demand

f o r more musio would be an in d i c a ti o n t h a t i t s c o n trib u tio n s b rin g s a t i s f a c t i o n

and a r e need ed .

Recorded M uslct s C o n trib u tio n

L is te n in g t o th e works o f th e m aster com posers o f f e r s e x e e lle n t o p p o rtu n i­

t i e s f o r g a in in g an in s ig h t in t o th e realm o f m u sic. P erform ed by th e w orld *s

g r e a t m u slo ia n s, t h i s m usic i s r e a d i l y a v a ila b le th ro u g h r e c o r d in g s .

Growth i n A p p re c ia tio n th ro u g h L is te n in g

Music t o be u sed in th e olasaroom f o r th e p u rp o se o f prom oting grow th in

l i s t e n i n g can be c l a s s i f i e d i n two d i f f e r e n t c a te g o r ie s t h a t whieh ( 1 ) con­

t r i b u t e s d i r e c t l y t o u n d e rs ta n d in g th e c e n te r o f I n t e r e s t w hieh im a e d la te ly

engages th e a t t e n t i o n o f th e c h ild r e n , and ( 8 ) expands an a r e a i n m u sic.

 M

Tli* re c o rd e d m usic w hioh cen c o n tr ib u te t o a u n i t concerned w ith

p eo p le o r e r a e way be l i e t e d a e f o llo w s :

1* A u th e n tic a u e io , t r u e in ev ery d e t a i l , sh o u ld r e c e iv e f i r s t c o n s id e r a tio n .

N ativ e in s tru m e n ts a r e u sed i n in s tr u m e n ta l r e c o r d in g s . In v o c a l

re c o r d in g s th e s t y l e and manner o f sLngLng a r e a c c u r s t * . A c tu a lly , o n ly

a co m p a ra tiv e ly few r e c o r d in g s o f a u th e n tic m usic o f p r im itiv e p e o p le s

a re a v a ila b le . Vhen n a t iv e songs have bean tr a n s c r i b e d , r e n d it io n by

" f o r e ig n e r s * i s n o t o f te n a u th e n tic becau se o f la c k o f a b i l i t y to s in g

i n th e t r u e c h a r a c t e r i s t i c s t y l e . I n some in s ta n c e s , re c o r d in g eq u ip ­

ment h a s been ta k e n on e x p e d itio n s , b u t th e m a te r ia l o b ta in e d h as n o t

been made a v a i la b l e t o th e g e n e r a l p u b lic .

S. P s e u d o -a u th e n tic , o r i d e a lis e d m u sic, i s composed m usic whioh h a s th e

c h a r a c t e r i s t i c c o lo r o f th e m a l e o f c e r t a i n p e o p le s .

The in s tru m e n ts a r e th e in s tru m e n ts o f th e symphony o r o h e a tr a o f

to d a y . The s t y l e i s o f te n t r u e . The developm ent f o llo w s th e p a t t e r n

o f form s f a m i li a r t o u s . I t i s a r e f in e d p r o d u c t. The m elody, in one

in s ta n c e , may be c o r r e c t b u t t h e s t y l e o f t h e accompaniment i s common­

p la c e ; i n a n o th e r s e l e c t i o n , th e accompaniment may be a e o u ra te a s to

s t y l e , b u t th e melody may be la c k in g in marked c h a r a c t e r i s t i c s . In

t h i s c l a s s i f i c a t i o n f a l l t h e C hinese end I n d ia n songs i n th e c h i l d r e n 's

song b o oks, Cadman's Prom th e Land o f th e Shy B lue W ater. Ski I t on* s

War Dance, e t c e t e r a . I n th e s e th e m e lo d ie s a r e a u t h e n tic , o r n e a r ly

s o , b u t th e accompaniment i s e n ric h e d so a s t o make th e b ack g ro tn d s im ila r

to w hat we a r e aeeustcsM d t o .
»
8. M usic composed l a a c e r t a i n s t y l e i s d i f f e r e n t from id e a lis e d m usic in

t h a t th e r e h a s been no a tte m p t to do more th a n im ita te a s t y l e .

 85

F o r exam ple, Tsehaikowsky In th e "Dance o f th e C hinese D o lls " from

The N u tc ra c k e r S u ite composed a melody in w hieh th e o h a r a e t e r i s t i o s o f

Chlneae muaio p r e v a i l , and f o r i t he need in s tru m e n ts t o f u r t h e r o a rry

o u t h i s id e a . R avel h as used a c la s s ! o ty p e in h ia Pavane f o r a, Dead

P r in c e s s h u t th e m usic i s m odern. I n h i s modern s t y l e he has w r itt e n

an o ld , o ld d an ce . S tra v in s k y h as shown unique command o f th e modern

idiom to e n la rg e upon h i s o o n o ep tio n o f a C hinese melody in th e Song o f

th e N ig h tin g a le —A C hlneae M arch.

4. M usic o f n a t i v e com posers i s a v a lu a b le so u rc e o f m a te r ia l.

Care must be ta k e n , how ever, in u s in g c e r t a i n c o m p o sitio n s b ecau se

th e y co u ld w e ll i l l u s t r a t e an a lto g e th e r d i f f e r e n t p o i n t . For e x a n p le ,

R av el, a Frenchman, w ro te th e p o p u la r B o le ro , w hich i s S p an ish t o th e

l a s t c h a r a c t e r i s t i c drum b e a t . H andel, a German, enjoyed h i s g r e a te s t

re c o g n itio n w h ile w r itin g in England f o r t h e E n g lis h and i_s E n g lis h from

a m u sic a l p o in t o f view . The number o f oam posers who a r e N a t i o n a l i s t i c

i n t h e i r s t y l e , how ever, i s l a r g e : Tsohaikowsky, R im sky-K brsakcw , D v o r a k ,

de F a l l a . The C l a s s i c i s t s w ere more u n iv e r s a l th a n N a t i o n a l i s t i c . Most

American com posers, exoept th o s e who have w r i t t e n i n th e ja z z idiom , have

fo llo w ed i n t h e f o o t s t e p s o f t h e d a s a i o oam posers.

5. P erform an ces by o u ts ta n d in g m usic p e r s o n a l i t i e s o f a co u n try make an

i n t e r e s t i n g s tu d y .

The f in e re c o r d in g s o f tfee a r t i s t s o f t h i s and o th e r d ays c o n tr ib u te

t o g r e a te r u n d e rs ta n d in g o f m usic and th e w orld o f m usic: T o so an n i, I t u r b i ,

C aruso, F la g s ta d t, K r e ia le r and S p a u ld in g . S in o e some o f th e s e and o th e rs

a s famous can be en jo y ed o v e r th e r a d io , c o n c e rts by a r t i s t s a r e w ith iq th e

h e a rin g o f a l l .
 80

l a th e in t e g r a te d a c t i v i t i e s program th e r e may he an a re a o f I n t e r e s t

t o w hich re c o rd e d m nsie can c o n tr ib u te l i t t l e to t h e u n d e rs ta n d in g o f th e

whole p r o j e c t . B ath er th a n "draw in * m a t e r i a l s b ecau se o f a f e e l i n g t h a t

th e r e sh o u ld be some l i s t e n i n g , abandon p r e te x t and p la n a s e r i e s o f "con­

c e r t s * w hich w i l l add t o th e enjoym ent and u n d e rs ta n d in g o f musio.. Some

t i t l e s o r thsm es f o r su ch a s e r i e s a r e s u g g e s te d :

1. Knowing a Composer th ro u g h H is H u sie

H o st com posors h av e w r itt e n m usic c h ild re n can e n jo y . I t is

p l e a s a n t , sim p le and u n d e rs ta n d a b le . Bach, B eethoven, M endelssohn,

D ebussy, MaoDowell, M onart, F o s te r , e t c e t e r a , hav e w r itt e n composi­

t i o n s whieh c h ild r e n w ith l i t t l e m u s ic a l background can u n d e rs ta n d

and f in d p le a s u r a b le and ih lo h f u r n ia h an e x c e lle n t base upon whioh

t o b u ild an a p p r e c ia tio n o f t h e i r more co m p licated m usic.

2. M usic W ritte n ab o u t o r f o r C h ild re n

A s e r i e s o f o o n c e rts (w ith program n o te s s u p p lie d by b o th c h i l ­

d re n and te a o h e r) i n w hich m usic t h a t h a s been w r itt e n f o r c h ild r e n

i s used co v ers th e wide ra n g e o f m usic from b e a u t i f u l l u l l a b i e s by

Brahms, t o th e o p e ra , H ansal and Q r e te l. by Humperdinck. Schumann

w ro te Album f o r th e Young. S cenes from C hildhood and S S E S S C ^S S S b es,

c o l le c t io n s o f co m p o sitio n s w hich a r e sim p le m u s io a lly and Whose sub­

j e c t m a tte r i s c lo s e t o ch ild h o o d . S ain t-S a en s* C a rn iv a l o f t h e

A nim als h as i t s d e f i n i t e a p p e a l. C a r p e n te r 's A dventures l a a Peram bula­

t o r w r itt e n in th e modern idiom i s a s d e l i g h t f u l i n i t s way a s i s

C h ild r e n 's C orner S u ite by D ebussy. These few exam ples w i l l s e rv e to

in d i c a t e th e p o s s i b i l i t i e s o f t h i s s e r i e s o f c o n c e r ts .
 87

S. Fanoua In a tru m e n ta l o r V oeal Soloa

I n o rd e r t o ad h ere t o t h e tr u e meaning o f t h i a gro u p in g o f eom-

p o a i tlo n e , o a re ahould be ta k e n t o n ee m a l e t h a t v aa w r i t t e n f o r th e

in a tr u n e n t w hich in t e r p r e ta i t . For exam ple, Wagner *a 8ong to th e

F venln g S ta r f r o n T annhouaer. l a a v o e a l a o lo and a re o o rd ln g t h a t

ta k e a t h a t f a e t in to e o n a ld e ra tio n sh o u ld be u aed , even th o u g h t h i a

eom po aitio n i a b e a u t i f u l when p la y ed oh th e 'e e l l o . Chopin w ro te f o r

v i r t u a l l y one in a tr o a e n t—th e p ian o — eo o r o h e a tr a tio n a o f h ia worka

have no p la e e in t h i a a e r ie a o f e o n e e rta .

4. Danee M uaie o f T a rio u a P eople

I n t h i a group o f m a l e and danee a a r e th e S la v o n ic Danoea by

D vorak, I r i a h J ig e , th e gypay e s a r d a a , B rahe*a H ungarian D aneea. th e

R ueaian hopak, ta n g o a , b o le ro a , ru n b a a , n in u e ta , and th e V ir g in ia R e e l.

I n t h i a m u a le a l danee a p re e around th e w orld an o p p o rtu n ity i a p ro v id e d

to beeone a e q u a in te d w ith e h a r a e t e r i a t i e n a t iv e rhythm a, t h e m elodie

and h a rn o n le t r a i t a o f th e n u a ie and in a tr u n o n ta , a a w e ll a a th e dance

form a and t h e danee a te p a th eau ielv ea.

5. A M ualeal T rip around th e World

A aong, a danee o r a e o n p o a ltio n by an o u ta ta n d in g composer g iv e a

a n o th e r o p p o r tu n ity t o beeone a e q u a in te d w ith n u a ie and m u aieian a o f any

c o u n try . The w r ite r a t i l l a a i le a when ahe re o e n h e ra th e boy who p r o te a te d

beeauae ahe l e f t h i a i n th e m iddle o f th e oeean on th e r e t u r n voyage f r o a

aueh a jo u rn ey * ju e t beeauae th e b e l l ra n g * .

6. M uaie o f l a a r i e a

Evan though th e g r e a t m a le ia n a o f th e w o rld h av e n o t been ia e ric & n a

acme oompoaere b o rn i n t h i a eo u n try hav e w r i t t e n m a l e w hieh i a w orth w h ile

 88

and w hich h a s b ro u g h t jo y to many p e o p le , Some a u t h o r i t i e s f e e l t h a t

American f o l k a n s le l a o a r r e a l c o n tr ib u tio n t o th e w o rld o f nuaie*

B oth th e oonposed n u a ie and t h e f o lk n u a ie n e r i t atu d y —and e n jo y n e a t

w i l l r e a u l t f r o n both* P r id e i n o u r o o n tr ib u tio n a w i l l r e a u l t from

s k i l l f u l te a e h in g fo r a p p r e c ia tio n .

7* A V i s i t f r o n Our N eighbors

i n a p p r e c ia tio n o f th e c u l t u r e s o f o u r n e ig h b o rs t o t h e n o r th and

s o u th o f u s i s im portant* F a m i lia r ity w ith t h e i r n u a ie w i l l aid our

t
boys and g i r l s i n a t t a i n i n g an u n d e rs ta n d in g o f th e s e p e o p le s . The 101k

songs p o r tr a y I n t e r e s t i n g p l e t u r e s o f l i f e and custom s w h ile a s tu d y o f

in s tr u n a n ts i s f a s e ln a tin g *

8. S u ite s

The s u i t e s C h ild ren eon en jo y a r e n u n ero u a. M endelssohn* s M id-

a m m e r-N lg h t's Dream. T seh aik o w sk y 's N u tcrac k er S u ite . Rimaky-Korsakow's

SchafcejR aadA eand S a ln t- S a e n s ' C a rn iv a l o f t h e A nim als. a r e so n s o f th e

d e l i g h t f u l ones*

9* O peras

H um perdinck's o p e ra , H an sel and Q re te l i s a p e r e n n ia l f a v o r i t e o f

b o th c h ild r e n and a d u lts * V e r d i's A id a. B i z e t 's C areen. V a g n e r's D ie

M e ls te rs in g e r and Thonas* Mjgnon. a r e o p e ra s whioh c a n be enjoyed f u l l y

o r in p a r t by young li s t e n e r s *

10* Modern O r c h e s tr a l In s tru m e n ts

B e e o g n itio n o f o r c h e s t r a l i a a t r m e n t s by " s i g h t and sound" i s

im p o rta n t f o r f u l l enjoyment* The f a c t t h a t t h e to n e o f a s in g le i n s t r u ­

m ent, f o r exam ple, a v i o l i n , sounds u n lik e th e v i o l i n s e c tio n o f an

o r c h e s tr a , i s one t h a t oan be o b serv ed d u rin g t h i s s e r ie s * C h ild ren

 89

shou ld l e a r n to re o o g n iz e th e to n e q u a l i t y o f s in g le In stru m e n ts o f th e '

J''

o ro h e a tra and th e q u a l ity o f th o s e in s tru m e n ts p la y in g s im u lta n e o u sly

w ith o th e r in s tru m e n ts .

When o h lld r e n can I d e n ti f y t h e in s tru m e n ts o f th e modern o r c h e s tr a ,

some o f them w i l l en jo y beoaming a c q u a in te d w ith th e " g ra n d fa th e rs * o f

th e p re s e n t- d a y members o f a symphony o r e h e s tr a .

11, Program M uaie

)
M usie o f t h i s ty p e i a e s p e c ia lly f i t t i n g f o r i n i t i a l l i s t e n i n g

e a p e rie n c e s w ith v a rio u s age gro u p s. MacDowell’ s Of a T a ilo r and a B ear,

o r O rth ’s I n a Clock S to r e , a re two s e le c tio n s o f th e most sim ple k in d .

They a r e sim p le in t h a t th e y re c o u n t r a t h e r a c c u r a te ly th e e p iso d es o f

a s to r y . These a r e a r t l e s s m u sic al t a l e s . There i s no tim e g iven to

p h ilo s o p h ic a l w onderings and w an d erin g s, Gounod's F u n e ra l March o f a

M a rio n e tte , S a in t- S a e n 's Danse M acabre. D ukas’ S o r c e r e r ’ s A p p re n tic e ,

and D eb u ssy 's A ftern o o n o f a Faun, a r e co m p o sitio n s graded in o rd e r o f

t h e i r d i f f i c u l t y , th e f i r s t in th e l i s t b ein g th e most sim p le . The

s to r y which th e m usic t e l l s a t t r a c t s and h o ld s th e i n t e r e s t o f th e ^

lis te n e rs . A fte r th e i n t e r e s t h as been c au g h t, su g g e s tio n s fo r g u id ed

l i s t e n i n g w i l l b rin g ab o u t an aw areness o f th e musio i t s e l f w hich w i l l

add to th e i n t e l l e c t u a l u n d e rs ta n d in g o f th e co m p o sitio n .

12, Program o f M arches

The c o n tr a s t in mood and s t y l e d is c e r n i b le in a program o f m arches ••--7 ,

i s e x c i tin g . There a re n o ta b le d if f e r e n c e s in W agner's "Wedding March"

from L o h en g rin , and M endelssohn' a "Wedding March" from Midsummer -N ig h t ♦s

Dream. The f i r s t i a calm and s t a t e l y , th e l a t t e r , g ay ly triu m p h a n t. The

m a je s tic Pomp and C ircum stance by S lg a r , Marche S lav e by Tschaikow sky, Marote

M jlitr a ir e by S c h u b e rt, F u n e ra l March by Chopin, Norwegian B r id a l P ro c e s s io n

 50

by G rieg , S t a r s and S t r i p e s g p t i w r by S ousa, a l l o a r r y o a t t h e i r

com p o ser's i n t e n t to p o r tr a y m arch in g o f v a r io u s k in d s an d e x h ib it

n o tie a a b la d if f e r a n o a a A o n h e a rd one a f t e r th e o th e r*

S a in in g a B a sle f o r R eco g n itio n

i a Im p o rtan t f u n c tio n o f th e program at te a c h in g f o r a p p r e c ia tio n i s

to su p p ly a v id e v a r i e t y o f e x p e rie n c e s from w hich c h ild r e n can g a la b a s ic

in fo rm a tio n n e e e sa a ry f o r r e c o g n is in g , ju d g in g , com paring o r c o n tr a s tin g

d i f f e r e n t ty p e s o f s t y l e s o r moods o f m usic. Tor exam ple, in o rd e r tot a

p e rs o n t o s a y , "That sounds l i k e a v i o l i n , o r In d ia n m u sic , o r a m arch, o r

a sto rm , o r Wagner", h e m ust haTe h e a rd m usio o f t h e p a r t i c u l a r k in d r e f e r r e d

to . 1 v o c a b u la ry o f e s s e n t i a l d e s c r ip t iv e term s sh o u ld r e s u l t from t h e d i s ­

c u s s io n o f th e s e e x p e rie n c e s .

In p ro v id in g m u sic a l e x p e rie n c e s t h a t w i l l r e s u l t in th e c h i l d r e n 's

g a in in g b a s ic In fo rm a tio n , th e te a c h e r sh o u ld be v i g i l a n t i n an e f f o r t to

su p p ly a w ell-ro u n d e d background. M usic o f a l l ty p e s and i n a l l moods

p la y e d by d i f f e r e n t in s tru m e n ts and co m b in atio n s o f in s tru m e n ts must be

in c lu d e d , a s w e ll a s sung by d i f f e r e n t ty p e s o f v o ic e s and com bination o f

v o io e s .

J u s t w here and w ith w hat to b eg in i s alw ays a problem in r e l a t i o n to

p la n n in g f o r grow th i n t h i s f i e l d o f l i s t e n i n g . In some s c h o o ls t h e r e was

fo rm e rly a s p e c i f i c l i s t o f in s tru m e n ts and form s t o be ta u g h t i n v a rio u s

g ra d e s . The te a c h e r i n th e jC o u rth g rad e would know w ith c e r t a i n t y t h a t in

i t s p re v io u s seh o o l y e a r s h e r c l a s s would have been in tro d u c e d to t h i s and

th a t. H er l i s t would in d ic a te e x a c tly th e r e and with what sh e sh o u ld s t a r t .

I n th e Hew S ch o o l, th e te a c h e r h a s no such l i s t b u t m ust f i n d o u t by c a r e f u l

in v e s t ig a t io n and o b s e rv a tio n what th e g r o u p 's p r e v io u s m u sic a l e x p e rie n c e

 SI

baa b ean . The "h ex t* e z p e rla n c e th e te a c h e r p la n a i a th a l o g i c a l o utgrow th

o f t h a l a a t e x p e rie n c e .

I t l a im p o rtan t t h a t e h lld r e n ba a b la t o d e e e r ib e t h e i r f e e l in g a ab o u t

and t h e i r eom prehenalan o f m uaie—a a waa au g g aatad above, th e y need a vooabu-

l a r y o f d e a c r ip tlv e te rm a , To t h a p erao n th o th in k a t h a t "aoprano" alw aya

means a " la d y a in g e r w ith a h ig h v o ic e " , e o n a id e ra b le oon fu aio n m ust r e a u l t

from a a ta te n a n t t h a t a "tru m p et i a th e aoprano o f th e b ra a a c h o i r " . Tha

a d ja c tiv e a " b ig , b ro ad , alow, m a r t i a l , lo u d , aw eet, e o l o r l e a a " , and t h e i r

o p p o a lta a m ust b r in g to mind c e r t a i n n u a ie a l q u a l i t i e s . I n a d d itio n to

d e a e r ip ti v e w orda, o h ild r e n n eed namea o f d e f i n i t e th in g a i n o rd e r t o t a l k

about m uaie: m arch, a u l t e , a o lo , v i o l i n , b a a a , e t c e t e r a .

Guided L is te n in g

The te a e h e r who i a i n o harge o f a c la a a l i a t e n i n g t o m uaie i a in much

t h e aame p o a itio n a a a p re a c h e r th o a a id t o h i a c o n g re g a tio n i n t h e m iddle

o f h ia aermon, "Ton lo o k ao in t e r e e t e d i n what I 'm a ay in g . Tou aeea to aw ait

my n e x t word w ith g r e a t e a g e rn e a a , A c tu a lly , I c a n 't t e l l w hether t h a t lo o k

o f c o n c e n tra te d i n t e r e a t i a a maak o r w hether i t m irro ra your t r u e r e a e tio n a

to my w o rd a," The w r i t e r a a id t h a t th e te a e h e r waa " in much th e aame p o a itio n

aa th e p re a c h e r" and n o t t h a t ahe waa in an i d e n t i c a l p o a itio n . H er congrega­

t i o n i a n o t aa w e ll d ia e ip ll n e d a a an a d u l t eh u ro h group and i a l i k e l y t o

r e a o r t t o p u n ch in g , p u l l i n g , p ro d d in g , and p e ru a in g i f i t i a n o t engroaaed in

th e a e t i v i t y o f l i a t e n i n g . I t i a u n lik e ly t h a t th e y w i l l m a in ta in an a r t i ­

f i c i a l poae aa lo n g aa w i l l a group o f a d u lta . The te a c h e r can a t r i v e t o

g a in and r e t a i n t h e I n t e r e a t o f h e r ch arg e a by a k i l l f u l p r e a e n ta tio n o f

m a te r ia l and guidance in l i a t e n i n g .
 38

I a p la n n in g f o r grow th in l i a t e n i n g , th e r e a r e th r e e th in g s t o he k e p t

i a a ln d : ( 1 ) gu id ed l i a t e n i n g b r in g s about g r e a t e r developm ent i n t h e pover

t o u n d e rsta n d m usic th a n does m erely p la y in g a re c o rd a f t e r announcing t h a t

e

t h i s i s C o n so latio n by M endelssohn; ( 8 ) t h e r e m ust be o p p o r tu n ity f o r c h i l ­

d ren t o b ear co m p o sitio n s i n t h e i r e n t i r e t y aa s e l l a s by s e c tio n s ; and (3 )

to o much t a l k by th e te a e h e r i s a s h arm fu l a s to o l i t t l e , i f n o t more so .

Qhided l i s t e n i n g means " g iv in g d ir e o t io n " t o l i s t e n i n g , lis te n in g fo r

s p e c i f i e s c e n te r s a t t e n t i o n v h le h m ig h t te n d t o roam . I f th e co m p o sitio n

v h lo h im m ediately engages th e a t t e n t i o n i s to become f a m i li a r th e c h ild r e n

m ust have th e o p p o r tu n ity f o r h e a rin g i t a s a whole—u n in te r r u p te d by any

c o n s e n ts . However, i f th e p o in t i n h e a r in g a s e r i e s o f r e c o r d s i s , f o r ex ­

am ple, to become aw are o f t h e e f f e c t o f th e whole s t r i n g s e c tio n o f an

o r c h e s tr a p la y in g a lo n e , th e p o r tio n o f each o f s e v e r a l co m p o sitio n s th u s

sc o re d can be h e a rd . In t h i s in s ta n e e , th e w hole re e o rd m ight b eclo u d th e

p o i n t , th e r e f o r e , o n ly th e s e c tio n w hich d em o n strates th e e f f e c t m entioned

i s n e c e s s a ry . However, any co m p o sitio n t h a t i s t o be " s tu d ie d " sh o u ld be

h e a rd i n i t s e n t i r e t y b e fo re s e c tio n s a re I s o la t e d .

Time s e t a s id e f o r l i s t e n i n g t o m usio sh o u ld be u sed f o r l i s t e n i n g to

m uaie and n o t l i s t e n i n g to th e te a e h e r t a l k . M usic can t e l l i t s own s to r y

w ith nuances and c o lo r th a t even th e b e a t o f te a c h e r s can s o a ro e ly m atch .

C e r ta in ly , th e r e i a need f o r some t a l k fro m b o th te a e h e r and c h ild r e n b u t

t h e r e i s no excuse f o r u s in g much o f th e a l l o t t e d l i s t e n i n g tim e i n t h i s

way. As soon a s c h ild r e n have had even a li m it e d m u sic a l e x p e rie n c e , su b se ­

quent l i s t e n i n g sh o u ld be b ased upon i t , su b seq u en t d is o u s s lo n in w hich th e

r e s u l t i n g v o cab u lary i a used sh o u ld be based upon i t .

 58

Program m usic d e s c r ib e s e e r t a l n p r e s c r ib e d e v e n ts and c h ild r e n need

to know th e a to ry f o r f u l l enjoym ent o f th e m usio and f o r g a in in g an

u n d e re ta n d in g o f t h e com poser’ s a b i l i t y i n t e l l i n g i t , S ih ee th e m uaie

fo llo w e a d e f i n i t e program , t h i a program ah o n ld b e i n th e m lnda o f l i a t e n e r a

aa th e y h e a r th e m uaie,

S u g g eatio n a f o r Quldcd L ia te n in g

These su g g eatio n a a re made f o r th e p u rp o se o f g iv in g th e l i a t e n e r a

’’som ething to do” . They a r e in te n d e d to b rin g ab o u t an aw areness o f m usio

its e lf. They a re a means o f atu d y in g m uaie.

These s u g g e a tio n a w i l l a i d i n s tim u la tin g an i n t e l l e c t u a l approach to

m uaie and w ill a id th e l i s t e n e r to "know som ething ab o u t i t " . These sug­

g e s ti o n s m ight be used to o c o n s is te n tly — to o o f te n o r to o muoh. I t i s fe a re d

t h a t th e r e w i l l be no o p p o r tu n ity f o r l i s t e n i n g uhen th e i n t e l l e c t u a l re sp o n se

can enhanee th e em o tio n al re s p o n s e . I t i a f e a re d t h a t a f t e r u n d e rsta n d in g

eomea th e r e w i l l be no o p p o r tu n ity f o r enjoym ent; t h a t a a soon a s th e com­

p o s i t i o n i s s tu d ie d t h e r e w i l l be a r u s h t o b e g in s tu d y on th e n e x t one and

t h a t th e c h ild r e n w i l l n o t h e a r th e f i r s t one a g a in . J u s t a a th e a e s t h e t i c

w alues o f a dong make an im p re ssio n a f t e r i t h as been le a rn e d and when i t i a

b e in g sung f o r fu n , so i t i s w ith re c o rd e d m u sic, B eal enjoym ent comes a f t e r

u n d e rs ta n d in g .

The s u g g e s tio n s f o r g a in in g c o n c e n tra tio n t i i i l e l i s t e n i n g axe meant t o

a e r r e a s exam ples o f q u e s tio n s and co n sen ts w hich w i l l s tim u la te th in k in g

about m u sic ,

1* To b r in g about an aw aren ess o f mood.

Compere and c o n t r a s t co m p o sitio n s Sa t o w hich b a h t c a r r i e s

o u t th e mood su g g ested by a t i t l e . Vox exam ple, a s k th e c h ild re n t o

l i s t e n an d d e c id e w hich o f th e two c o iq p o sitio n s i s a b e t t e r m u sic a l

 Si

p i c t u r e o f "On a Q u iet S m e a r W rening". Or p la e e s e v e r a l t i t l e a on

th e b o ard in c lu d in g th e t i t l e o f th e co m p o sitio n w hich i a t o be s tu d ie d ,

p la y t h i s co m p o sitio n and ask w hich t i t l e f i t s th e c o m p o sitio n . Or

p la y a p ie e e o f m usic and a sk th e o la s s i f i t remembers one t h a t i s th e

o p p o s ite i n e f f e c t . Or a s k them to in d i o a te when a d e f i n i t e change o f

mood o c c u rs w ith in a c o m p o sitio n .

8. To b r in g about an aw areness o f form .

A b i l i t y t o r e c o g n is e m e lo d ies i s im p o rta n t. In a s tu d y o f th e

rondo-foxm , f a r exam ple, th e c h ild r e n ahould be allow ed to r e - h e a r th e

f i r s t melody s e v e r a l tim e s , t o hum i t w ith t h e phonograph u n t i l th e y

h a re i t w e ll i n m ind. When th e y know th e r e c u r r in g melody i t i s muoh

e a s i e r t o re e o g n iz e i t end g a in a co n c e p tio n o f th e ro n d o -fo rm o f th e

ro n d o , Sixqple p h y s ic a l re s p o n s e s t o changes in m elody a r e o f T a lu s :

mark th e m easure aeo en t w ith th e r i g h t hand w ith elbow r e s t i n g on th e

desk; to in d i c a te a knowledge o f a second m elody, a d i f f e r e n t p a r t o r

A

a change in mood, u s e t h e l e f t hand. Such sim p le movements w i l l n o t

make n o is e o r d e t r a c t from l i s t e n i n g . Ask c h ild r e n t o count th e number

o f tim e s a melody i s r e p e a te d ; or count th e tim es a f ig u r e i s used in

th e accompaniment.

3. To b r in g ab o u t aw areness o f th e c h a r a c t e r i s t i c s o f d i f f e r e n t s t y l e s o f

m u sic .

D isc u ssio n o f th e s e e s s e n t i a l s i s d i r e c t l y concerned w ith th e

m usic i t s e l f . M usic can be d is c u s s e d i n te rm s o f i t s fundam ental

ele m e n ts: rh y ttaa, m elody and harmony, to g e th e r w ith t h e d is ti n g u is h in g

q u a l i t y o f to n e o r tim b re o f th e in stru m e n t o r in s tru m e n ts w hieh produce

it. What makes C hinese m usie sound " d if f e r e n t " ? Answered i n term s o f
 95

i t s fu ndam ental f a c t or a , Chlneae m uaie i a ( a ) baaed on th a p e n ta to n ie

a o a le (m elody), (b ) l a n o t h arm o n ised , and ( e ) th e accompaniment i a

p la y e d l a r g e l y by p ex eu aaio n ln a tru m s n ta ( tim b r e ) . The c h a r a c t e r i s t i c s

o f A rab ian , S p an ish o r American I n d ia n m uaie, o r Debuaay o r Wagner, ean

be a n a ly se d o r p o in te d o u t w ith e q u a l c l a r i t y In th e te rm s o f th e fu n d a­

m e n tal elem en ts o f muaie i t s e l f . D iaeu saio n o f muaie i n th e a e te rm s la

l i k e d ie c u e s in g b re a d aa b ein g e i t h e r w h ite , w hole w h eat, e o rn , r a i s e n

o r a a l t r i s i n g —th e fundam ental f a c t o r o f b read i s used a s a b a s i s ,

"Good* and " ta s ty " a r e n o t p a r t i c u l a r l y d e f i n i t i v e in d e s c r ib in g b re a d ,

nor a r e "sw eet" and " p r e tt y " d e f i n i t i v e in d e s c rib in g m uaie.

C h ild re n w ith l i t t l e m u sic a l background ean le a r n t o ta p and d i s ­

ti n g u is h c h a r a c t e r i s t i c rhy tb m s. They can re o o g n is e th e o rn am en tatio n

and u n a in g a b le q u a l i t y o f an A rabian m elody, They can d is c e r n w hether

o r n o t th e accompaniment i a d e riv e d from t h e m elody and i a m u sic a l o r

w hether i t l a o n ly "n o iae-m ak in g ". W ith grow ing m u a le a l m a tu r ity th e y

w i l l be re a d y to d is c o v e r more s p e c i f i e s co n ce rn in g th e a e fu n d am en tal

elem en ts o f m usic.

In a d d itio n to b rin g in g an aw areness o f w hat c o n s ti tu te s m uaie, a d i s ­

c u s s io n o f t h e fu ndam ental elem en ts g iv e s c h ild r e n a p a t t e r n o f th in k in g

and s p e c if i c ite m s t o c o n sid e r i n d e c id in g wby th e y l i k e o r do n o t l i k e

o e r ta ln co m p o sitio n s. F atu o u s and innocuous rem arks a s " I l i k e i t because

i t ' s p r e t t y " o r " I d o n 't l i k e i t b ecau se i t ' s s a d " , a r e w ith o u t r e a l m eaning.

Such co n c e n ts g iv e no ev id en ce o f u n d e rs ta n d in g . On th e o th e r h an d , a f t e r

b ein g c o g n isa n t o f th e fu n d am en tal elem en ts ( b a s is fo r r e c o g n i tio n ) , i t i s a

sim p le m a tte r to ap p ly d e s c r ip t iv e la b e l s to them .

 36

Use o f M aterials

B eg ard leaa o f th e f a e t t h a t few ao h o o la h a r e a l l th a r e c o r d s th e y

ahould l i k e t o h a v e , p ro p e r and com plete uae o f th e n o rth w h ile re e o rd a

owned i a d e a i r a h le and n e c e s s a ry . W hile t h i a i a n o t a j u s t i f i c a t i o n f o r

hay in g o n ly a few re o o rd a , f i f t y p e rh a p a , i t i a l i k e l y , how ever, t h a t c h i l ­

d ren a t th e co m pletion o f th e e lem en tary gradea w i l l be f a m i li a r w ith a l l

o f them i f th e r e a r e ao few . I t h aa been o b serv ed t h a t r e a l l y f i n e c o l le c ­

t i o n s o f re c o rd e d m naie have n o t b een a d e q u a te ly u sed , n o r have th e y been

used e f f e c t i v e l y . I t i a hoped t h a t th e fo llo w in g s u g g e s tio n s w i l l a f f e e t

th e k in d and amount o f uae made o f a v a ila b le m a te r ia ls .

A side from h av in g phonographs and r e c o r d s , th e m oat im p o rta n t a s s e t

c o n tr ib u tin g t o e f f e c t i v e and e x te n s iv e u ae o f th e s e m a te r ia ls i s a f i l e o f

c a rd s on whieh p e r t i n e n t in fo rm a tio n co n ce rn in g each re c o rd l a n o te d . The

fo llo w in g d a ta have been found to be v a lu a b le . (Example f o l l o w s . )

Name o f B ecord Composer N a ti o n a lit y Number

F lay ed b y - ( S t.L o u is Symphony; o r V ic to r C oncert O rc h e s tra ;

P ab lo C a a la s, V i o l i n o e l l i s t ; K r e i s l e r , v i o l i n i s t ; e t c . )
or
Sung by (N elso n Eddy, b a r ito n e ; o r L u e r e tz ia B o rl, so p ran o ;
H elen Tepaon, so prano; e t c . )

In fo rm a tio n ab o u t co m p o sitio n (p a g e s i n r e f e r e n c e books)

or p erfo rm er
or composer

In fo rm a tio n a b o u t re c o r d in g (trom bone s o lo n e a r th e b eg in n in g ; o r lo n g

s e c tio n by wind c h o ir ; basso o n s prom inent i n accompaniment;
g r e a t o o n tr a s ta in moods; e t h e r a l mood th ro u g h o u t; sim p le
exam ple rondo farm ; e t c . )

Has been used f o r (llaypole danee o r d r a m a tis a tio n o f th e s to r y ; t r a n s ­

p o r t a t i o n u n i t (rh y th m ); good t o c o n tr a s t w ith To a Wild Bose:
s k ip p in g ; enhance mood o f C o r o t's Danse o f th e Nymphs; e t c . )
Aa soon aa a te a e h e r f i n d s a new uae f o r a r e c o r d , t h i s in fo rm a tio n sh o u ld

be re c o rd e d on th e c a rd f o r t h a t re o o rd . T h is n o ta tio n w i l l n o t o n ly h e lp

rem ind h e r a t a l a t e r d a te o f th e e x a c t m a te r ia l she u sed t o p rove o r

d e m o n strate a c e r t a i n p o in t , b u t i t w i l l be a v a i l a b l e f o r any o f th e o th e r

te a c h e r s . The d a ta a r e added Mien th e y a r e d is c o v e re d . The re c o rd o f th e

r e c o rd in g i s cum ulative and i s th e p ro d u c t o f th e s t a f f .

I t ta k e s some en erg y and tim e t o assem ble suoh in fo rm a tio n a s t h i s . On

th e o th e r hand, assem b lin g th e in fo rm a tio n p ie cem e al does n o t r e q u ir e a s

much tim e and en erg y a s d o es c o l l e c t i n g i t a l l a t once fo r any two o r th r e e

r e c o rd s t o be u sed to g e th e r . W ith suoh a c a rd f i l e o f In fo rm a tio n about th e

s c h o o l's phonograph r e o o r d s , p la n n in g a s e r i e s o f c o n c e rts —A M u sic a l T rip

arohnd th e World o r M usic W ritte n f o r C h ild re n — i s n o t a fo rm id a b le t a s k .

I n a d d itio n to f a c i l i t a t i n g p la n n in g , such in fo rm a tio n on f i l e w i l l

more c e r t a i n l y a s s u re e x te n s iv e u se o f th e a v a i la b l e m a t e r i a l . A ll composi­

t i o n s have form , a l l m usic i l l u s t r a t e s a mood, a l l re o o rd s a re made by

in s tru m e n ts o f one k in d o r a n o th e r, and when c e r t a i n ty p e s o f exam ples a r e

d e s ir e d , d i f f i c u l t y i n c o l le c t in g in fo rm a tio n about s p e c i f i e s w i l l n o t p r e ­

clu d e th e u se o f m a te r ia l a t hand.
 CHAPTER I I I

sin g in g

I t was th r e e o ’ c lo c k on th e l a s t day o f seh o o l b e f o r e th e C hristm as

h o lid a y s . The a fte rn o o n was g iv e n to p la y s and p a r t i e s in th e C ity and

C ountry S eh o o l. The s i x - ,s e v e n - , and e i g h t- y e a r - o ld c h ild r e n were in th e

gym aasitm , s i t t i n g on th e f l o o r and s in g in g a f t e r th e c o n c lu s io n o f t h e i r

a fte r n o o n program . As o th e r groups o f c h ild r e n com pleted t h e i r p la n n ed

a c t i v i t i e s f o r t h e day, th e y to o , ru sh e d up t o th e gymnasium becau se word

had f i l t e r e d th ro u g h th e sc h o o l t h a t t h e r e was s in g in g u p s t a i r s . Soon th e

room was f i l l e d w ith s in g in g c h ild r e n . What d id th e y sin g ? C a ro ls , f o l k

songs th e y had le a rn e d i n se h o o l and th o s e o f a sem i-p o p u lar ty p e — songs

w hich a p p ea led t o them and whieh th e y lo v e d . Was th e r e r e p e t i t i o n o f songs?

Did th e te a e h e r sa y "We j u s t sang t h a t ”? Of co u rse th e r e was r e p e t i t i o n

because t h e te a e h e r knew t h a t s in g in g S i l e n t N ig h t o r Jo y t o t h e World once

w ould n o t s u f f i c e f o r a group o f c h ild r e n t h r i l l e d w ith t h e h o lid a y s p i r i t .

The h o u r o f t h r e e - t h i r t y can e . L ik ew ise f o u r , f i n a l l y , a t a q u a r te r a f t e r

f o u r , i t was su g g ested t h a t w a itin g p a r e n ts snd p r e v io u s ly made p la n s must

be c o n s id e re d .

An u n lik e ly s to r y ? I t happens to b e t r u e . But why w ere th e s e e h ild r e n

so d e s iro u s o f re m a in in g in sc h o o l an h o u r snd f i f t e e n m in u tes a f t e r th e

aeh ed u led s e s s io n was o v er? And th e l a s t s e s s io n o f s e h o o l b e fo re a g r e a t l y

a n t ic ip a te d h o lid a y ! C o n sid er your own e x p e rie n c e . The day b e fo re a h o lid a y

 39

In your ele m e n ta ry sch o o l was p ro b a b ly a " s p e c ia l* d ay , b u t th e chanoea a r e

t h a t a a soon a a t h e b e l l sounded, yon w are on your way f a r f u n . Why d id th e

c h ild r e n i n th e C ity and C ountry School s ta y ? P r im a r ily beoauee th e y were

h a rin g a good tim e and g e t t i n g an u n u su al amount o f a a t i a f a o t i o n o a t o f th e

p ro c e e d in g s . Some o f th e c h ild r e n may h a re sta y e d beeauae o th e r o h ll d r m

were s ta y in g , b u t an hour and a q u a r te r i s a lo n g tim e to s ix - y e a r - o ld o r

e re n to an e le r e n - y e a r - o ld .

They J u s t s a t th e r e and sang? T ea, j u s t t h a t . Of o o u rse , th e y sang

songs th e y knew by h e a r t . Each p e rso n knew t h a t sooner o r l a t e r he would

h a re th e o p p o r tu n ity o f h e a rin g and s in g in g h i s f a r o r i t e song, and i f i t were

sung s e r e r a l tim e s h e would be a l l th e m ore d e lig h te d . And t h a t i s what s in g ­

in g tim e sh o u ld be—a tim e f o r e x p e rie n c in g in n e r jo y and s a t i s f a c t i o n s .

Thus, s in g in g o f f e r s an e x c e lle n t means o f s e lf - e x p r e s s io n , f o r g ir i n g

em o tio n al r e l e a s e , f o r I d e n tif y in g o n e 's s e l f w ith p e o p le , p la c e s , th i n g s ,

id e a s . A ll p e o p le do n o t h a r e th e a b i l i t y t o re c o rd t h e i r own em otions in

m usic b u t c e r t a i n songs seem to c r y s t a l l i s e o u r own f e e l i n g s . As we sin g

th e s e m e lo d ies we a r e o o n scio u s o f t h e i r power and t h e i r ad eq u a ten ess a s a

means f o r em o tio n al r e l e a s e . Ve become c lo s e a s s o c ia t e s o f th e p eo p le o f

whom we s in g w hether th e y be "Uncle Had" o r "The C a rp e n te r" . S a ilo rs '

c h a n te y s, work so n g s, g r e a t lo r e so n g s, g ir o o p p o rtu n ity f o r th e f e e l in g o f

"oneness" a s we s in g th a n . We lo s e o u r own i d e n t i t y and become t h e c h a r a c te r

in t h e son g . At th e same tim e t h a t we beoome a eowboy, we a r e members o f a

group pervaded by a s p i r i t o f u n ity . S in g in g sw eeps, f u s e s end u n i t e s . Tou

h a re enjoyed th e e x p e rie n c e . Think shout i t and se e i f you can s n a ly s e yo u r

f e e l i n g s and r e a c t i o n s .

S in g in g i s th e m ost Im p o rtan t p h ase o f m usie i n th e e lem en tary sc h o o l,

n o t o n ly because i t i s so p e r s o n a l, b u t b eca u se a w ide m u sic a l e x p e rie n c e

 40

eaa be g ain ed by means o f i t * By means o f suoh m a te r ia l a a o h il d r tn ean

re a d th s a s e lv e s o r l e a n by r o t e , a r a t h e r com plete u n d e rs ta n d in g o f m uaie

ean be experienced* A c tu a lly , th e in s tr u m e n ta l form a—ro n d o , symphony,

o v e r tu r e , a t c e t e r a , — ean be le a rn e d by s in g in g th e v a r io u s th em es. T h is

i s n o t a p l e a f o r te a e h in g th a a e form a i n t h i s say* I t s o u ld b e u n s a ti s f a c ­

t o r y and u n s a tis f y in g s in e e th e to n e e o lo r and e f f e c t s o f o r c h e s t r a l i n s t r u ­

ment a cannot be t r a n s f e r r e d th ro u g h th e medium o f so n g . B ut th e form s cam

be ta u g h t* Examine th e o b je c tiv e a f o r th e elem en tary c h i l d in m uaie a s s e t

up i n v a rio u s C ourses o f S tu d y . Ton s i l l f i n d t h a t m ost o f them a r e p o s s ib le

o f a tta in m e n t th ro u g h sin g in g *

E very c h ild in th e p u b lie sch o o l h a s a voice* V h lle i t s o u ld be p o s s ib le

f o r ev ery c h ild to g e t em o tio n al s a t i s f a c t i o n by p la y in g th e p ia n o o r an

o r c h e s t r a l in s tru m e n t, ev e ry c h ild d o es n o t have th e a e nor t h e means o f g a in ­

in g s k i l l f o r perform ance* Even i f h e d id have th e in stru m e n t and th e te a c h e r ,

h i s ex p e rie n c e in m usic so u ld be more o r l e s s r e s t r i c t e d by h i s la c k o f

te c h n ic a l a b i l i t y * P la y in g B rahm 's W altx in A P l a t r e q u ir e d f a c i l i t y g ain ed

by s e v e r a l y e a rs o f stu d y and p r a o t i e e b e fo re i t can be p la y e d in a rh y th m ic

f lo v in g s t^ le * A c h ild can le a r n to s in g t h e m elody a f t e r h e a r in g i t s e v e r a l

tim e s . B etveen th e s in g e r and h i a song t h e r e i s no a r t i f l e a l b a r r i e r t h a t

r e q u ir e s p r a c t i c e f o r m a n ip u la tio n . The s in g e r h as o n ly to a in g to e x p re s s

h i s em o tio n al r e a e tio n to a p i c t u r e s u g g e ste d by th e s a r d s and m elody o f a

song*

Groups o f p eo p le have o r y a t a l l i i e d t h e i r d e e p e s t em otions and k e e n e st

I n t e r e s t s i n songs* Te can s in g th o s e songs and b e t t e r u n d e rs ta n d th e com­

p o se rs. The song o f t h e R u ssian p e a s a n t may m irro r d e s p a ir o r p i c t u r e h i a

hope f o r jo y ; o r i t may s u g g e st th e alm o st d e l i r i o u s s e a t o f a moment o f

happiness* The fcm lo v in g I r i s h t r a n s f e r r e d t h e i r g a i e ty t o r o l l i c k i n g tu n e s .

 41

A p i c t u r e o f th e p la n t a t i o n alav e— h i e h o p es, h ia f e a r s , h ia a m b itio n s and

h ia d a i l y l i f e — i a p o rtra y e d in h i s sons* The c o a l m iner o f P en n sy lv a n ia

haa sk etch e d h ia l i f e i n h i s music* R e p le te w ith f a c t s r e l a t i v e to any o f

th e s e g ro u p s, c h ild r e n can v ic a r io u s ly , b u t u n d e rs ta n d in g ly , e x p e rie n c e th e

sane em otions w hich a r e e x p re sse d in th e songs o f th e p e o p le . Aa Tanny

J h g le s , a te n - y e a r - o ld , w atched a weary p e d le r pu sh h i s c a r t down th e s t r e e t ,

he s a i d , "Why, t h a t man w alks j u s t l i k e I f e l t to d ay when I san g th e Volga

Boatm an." S in g in g i a n o t o n ly t h e means o f in d iv id u a l em o tio n al e x p re s s io n

but i a a l s o th e means o f e x p e rie n c in g th e em otions and f e e l i n g s o f o t h e r s .

The C h ild V oice

When th e ra u c o u s u tte r a n c e s o f c h ild r e n a t p la y a re compared w ith th e

euphonies h e a rd i n many olasaroom a o r i n good church o h o ira , i t i s d i f f i c u l t

to b e lie v e th a t such w id ely d i f f e r e n t sounds oan emanate from th e same s o u rc e .

The y e l l i n g , s e re e o h in g and S h o u tin g h e a rd on th e s t r e e t , in th e sch o o l y ard

and i n p la e e a w here n o is e i s u n r e s tr ic te d a r e u n lik e th e f l u t e - l i k e to n e s , th e

w hispered r e s p o n s e s , and th e murmured q u e s tio n s h eard i n c o n v e rs a tio n . S im ila r

o r d i s s i m i l a r , d e s ir a b le o r u n d e s ir a b le , th e f a c t rem ain s t h a t th o s e sounds a re

J u s t a few o f th e many t h a t can be made by t h e c h ild v o ic e . A ll o f which

p ro v e s t h a t c h ild re n * a v o ic e s a re f l e x i b l e t o an am azing d e g re e . I t ia th is

p lia n c y t h a t c h a lle n g e s th e t e a c h e r 's s k i l l .

The o r d in a r y sp eak in g v o ic e o f th e p re -p rim a ry and p rim a ry c h ild i s ch arac­

t e r i s e d by i t s s o f t n e s s , c le a r n e s s and h ig h -p itc h e d q u a l i t y . H is s in g in g v o lo e

sh o u ld be o f th e same ty p e . Only so f a r a s h i a y e l l i n g v o io e in f lu e n c e s h i s

sp eak in g and s in g in g v o io e w i l l i t be c o n s id e re d . T h is y e l l i n g o r p erh ap s i t

sh o u ld be c a lle d t h i s "p lay * v o le s i a e s s e n t i a l l y s t r i d e n t , h a r s h and f o r c e d .

I t l a th e r e s u l t o f n e c e s s i t y and e x c ite m e n t. Should i t become n e e e s s a r y fb r

 48

th e c h i l d 's a in g ln g v o io e t o be p r o je c te d an e x c e s s iv e d is ta n c e o r s h o u ld .

he beeome e x e ite d w h ile s in g in g , h ia s in g in g v o io e w i l l have th e u n d e s ira b le

q u a l i t i e s o f h ia p la y v o io e . I f he baa t o make t h e p eo p le i n th e l a s t row

o f th e a u d ito riu m h e a r h i s v o e a l e f f o r t s , u n d o u b ted ly h i s v o io e s i l l be f o rc e d

and s t r i d e n t . I f he becomes e x e ite d v h i l e s in g in g and p la y in g a game a t th e

same tim e , an u n d e s ir a b le change s i l l ta k e p la o e i n th e n a tu r e o f h i s s in g in g .

The s o f t c l e a r h ig h p itc h e d o b a ra c te r o f h i s sp e a k in g v o ic e ean be adapted t o

s in g in g by two means: (1 ) im ita tin g th e te a c h e r , and (8 ) s in g in g w e ll- s e le c te d

so n g s. C oncerning im ita tio n th e r e w i l l be a le n g th y d ls e u s s io n l a t e r . A side

from choosin g I n t e r e s t i n g songs o r allo w in g c h ild r e n to choose them , th e ra n g e

o f th e m elody l i n e i a a moat im p o rtan t c o n s id e r a tio n in th e s e le c tio n o f song

m a te r ia l.

B ecause o f th e f l e x i b i l i t y o f t h e i r v o lo e s c h ild r e n can c o n s is te n tly s in g

h ig h and low to n e s . B ut th e f a c t th a t i t i s p o s s i b le d o es n o t mean t h a t i t

i s a d v is a b le , o r t h a t i t te n d s tow ard t h e b e s t developm ent o f t h e i r v o ic e s .

H ost a u t h o r i t i e s a g re e t h a t songa th a t l i e w ith in th e t r e b l e s t a f f a r e th o s e

t h a t p re -p rim a ry and p rim a ry c h ild r e n sh o u ld s in g . Some w r i t e r s b e lie v e t h a t

th e ra n g e f o r k in d e rg a rte n c h ild r e n sh o u ld be r e s t r i c t e d a n o te o r so below

t h a t upper l i m i t . The w r ite r b e lie v e s t h a t th e f i r s t songs c h ild re n le a r n

Should be o f th e s m a lle r ran g e and t h a t t h i s sh o u ld g r a d u a lly be e n la rg e d

u n t i l i t in c lu d e s a l l o f th e d e g re e s on t h e t r e b l e s t a f f .

The v o ie e o f t h e in te r m e d ia te g rad e c h i ld i a f u l l e r and h as a g r e a te r

ran g e th a n th a t o f th e p rim ary c h i ld . H is c l e a r , h ig h , f l u t e - l i k e head to n e

i a more b e a u t i f u l th a n t h a t o f s m a lle r c h i ld r e n . I t i s from t h i s g roup t h a t

th e m a jo r ity o f th e boys in th e f i n e s t boy c h o ir s a c o s . Many p eo p le th in k

t h a t th e s in g in g o f th e c h ild re n i n t h i s age group and th o s e two o r th r e e y e a rs

 43

o ld e r i » th e m ost b e a u t i f u l o f a l l s in g in g , n o t e x c e p tin g th e g r e a t v o ic e s

o f o p e ra and th e eo n o ert s ta g e .

Songs f o r c h ild r e n o f t h i s age h a re th e same ra n g e a s th o s e o f th e

younger g ro u p . However, t h e r e a r e l i k e l y t o be more d e v ia tio n s fro m th e

s u g g e ste d l i m i t . Songs w hich in f r e q u e n tly ex ten d beyond t h i s ran g e should

n o t be exeluded i f th e y have o u ts ta n d in g v a lu e i n o th e r r e s p e e t s . I t i s th e

c o n s is te n t and p e r s i s t e n t to o h ig h and to o low song ran g e th a t eauaea s t r a i n

and fo re e d s in g in g .

A lthough t h e changing v o io e o f th e a d o le s c e n t does n o t o f te n r e q u ir e

a t t e n t i o n in th e elem en tary s e h o o l, i t i s w e ll f o r te a c h e rs to be a b le t o

re c o g n iz e i t and u n d e rsta n d i t s c a u s e . The p e r io d o f ad o le sc e n c e i s a p e r io d

o f r a p id p h y s ic a l grow th. Tooal c h o rd s, th e v ib r a t io n o f whioh p ro d u ces

sound, change in s iz e a s do th e c o n t r o l li n g m u sc le s. Those o f g i r l s grow in

th ic k n e s s , th e re b y p ro d u cin g a f u l l e r , r i c h e r to n e ; th o se o f boys le n g th e n ,

th e re b y p ro d u cin g a deep er low er to n e . W hile t h i s change in s i z e i s ta k in g

p la c e , th e c o n t r o l li n g m uscles sh o u ld g r a d u a lly grow l a s tr e n g t h to com pensate

f o r t h e added s t r a i n . SometimesAth e s e m usoles seem t o t i r e end lo s e c o n t r o l .

Aa i s r e a d i l y o b serv ed , th e r e s u l t i n g v o c a l e f f o r t may be p itc h e d e i t h e r h ig h

o r l o w , much t o th e em barraaam ent o f th e p e rs o n who produced i t .

Toony and Dudley w ere two boys to whom th e p r o b a b i l i t y o f changing v o ic e s

meant much. They were members o f o n e o f th e m ost famous boys* c h o ir s i n th e

co u n ty . F o r r e h e a rs in g one h o u r ev ery day and s in g in g f o r ch u rch s e r v ic e s on

Sunday, th e y r e c e iv e d a s c h o la rs h ip i n t h e f i n e p r i v a t e sd h o o l ru n by th e

ch u rc h . The s c h o la r s h ip in o lu d e d b o a rd , room and t u i t i o n . One day th e y v e n t

r i d i n g w ith t h e i r m other an d a g u e s t. A f te r s in g in g p a r t s o f th e Brahm*a

Requiem. O ld MacDonald Had a Warm and Home on t h e Range, th e y d is c u s s e d t h e

sa d l o t o f t h e i r f r i e n d , Ted, who was g o in g to have t o le a v e se h o o l a t th e

 44

•a d o f th e n e s t m onth. Why was h e le a v in g ? H ia v o io e was ohanglng. H ia

p e r io d o f u s e f u ln e s s in t h e e h o lr was over* Tamsy and D udley th e n began t o

wonder when t h e i r v o le e a would ehange and when th e y w ould h av e t o le a v e th e

e h o ir and t h e i r so h o o l. To th a n th e changing v o io e o f boys was n o t a s e t t e r

t h a t o a lle d f o r em b arrassed s n ic k e r s b u t was one o f s t a r t r e a l i t y t h a t would

p ro fo u n d ly ehange t h e i r liv e s *

411 a d o le a o e n ts need a n s ie t o f i t t h e i r voleea* They sh o u ld be a ss ig n e d

p a r t s id iieh a r e in t h e i r ra n g e . Changes i n th e a s s ig n e d p a r t sh o u ld be made

a s o f te n a s i s n e c e s s a ry t o m eet th e need o f s in g in g e a s ily *

The q u a l i t y and ran g e o f th e o h ild v o ic e r e s u l t from t h e c h i l d 's p h y s ic a l

s t r u c t u r e and tr a in ih g * For c u lm in a tio n o f i t s g r e a t e s t p o s s i b i l i t i e s , i t

must n o t be fo rc e d o r s tra in e d * The t e a c h e r 's r e s p o n s i b i l i t y i s to make

c e r t a in t h a t t h e c h i ld s in g s w ith in th e p ro p e r r a n g e . U h less t h e te a o h a r

has a b s o lu te p i t c h , sh e sh o u ld u se a p i t c h p ip e f o r su p p ly in g th e f i r s t to n e

o f a song, th e f i r s t to n e o f a p h ra s e t o be p r a c t ic e d , ox th e f i r s t to n e o f

a d rill* Of o o u rs e , th e p ia n o can be u se d , b u t s in c e i t i s s t a t i o n a r y and

u s u a lly in a f a r c o r n e r , th e n e c e s s a r i l y f r e q u e n t t r i p s sh e would have t o

make i n o rd e r t o g e t th e e o r r e o t p i t c h a r e tim e consuming*

Songs f o r C h ild re n

Choosing c h i l d r e n 's songs i s a p ro c e s s r e q u ir i n g th e m ost c a r e f u l con­

s id e ra tio n . The "song on th e n e x t page* i s n o t o f te n th e one w hich w i l l

b r in g abou t a f u l l e r u n d e rs ta n d in g o f th e u n i t o f work o r th e c e n te r o f

i n t e r e s t w hich engages th e group* I t may n o t ex ten d t h e i r m u sic a l grow th

when t h e i r p r e v io u s e x p e rie n c e i s co n sid ered * P erh ap s i t i s fu n d a m sn ta lly

a s c a le song when th e l a s t e ig h t songs th e y have le a rn e d have been o f t h i s

ty p e . No, th e "song on th e n e x t p a g e " i s p ro b a b ly one t h a t th e group sh o u ld

l e a r n a t a n o th e r tim e , i f a t a l l * The "n ex t song* sh o u ld b e o o n sid ered most

c a re fu lly *
 40

The ra n g e o f aonge was d is c u s s e d in th e s e o tlo ft on The C h ild V oioe.

Even a o | a ward o f e a u tio n should be given about aonga in th e key o f C; in

w hich moat o r much o f th e melody l i e a c lo s e to m iddle C. Books o r m agazines

t h a t have n o t been c a r e f u l ly e d ite d a re l i k e l y to in o lu d e many songs in t h i s

key* These aonga may be e x c e lle n t, b u t o u t o f d e fe re n c e to t h e olaaaroam

te a c h e r whose p i a n i a t i c a b i l i t y i a l i m it e d , th e songs have been n o ta te d in

th e e a s i e s t o f keys f o r th e p ia n is t* The need f o r d ev elo p in g and m a in ta in in g

th e h ig h , l i g h t , c l e a r head to n e o f th e c h ild was ig n o red and an a p p e a l made

f o r i t s u se by making i t easy f o r th e te a o h e r to p la y . T h is i s h a rd ly a

le g itim a te re a s o n f o r u s in g th e song* I f i t i s tim e ly in i t s i n t e r e s t and

o th e rw is e a good song, i t can be tra n s p o s e d t o a h ig h e r key so t h a t th e ran g e

o f th e m elody l i e s w ith in th e s ta f f * S in ce a l l songs w r itt e n in th e key o f £

do n o t ex ten d below th e t r e b l e s t a f f , th e s e oonmenta a r e m eant t o s e r v e a s a

g u id e in song s e l e e t l o n , th e y a re n o t meant a s a w ho lesale condem nation o f th e

key o f C*

A nother p o in t r e l a t i v e to t h e c o r r e c t ran g e o f songs m ust be r a is e d * It

would a p p e a r, how ever, t h a t l i t t l e can be done about i t a t th e p r e s e n t. Some

o f th e songs w hich a r e p a r t s o f m u sic a l m otion p i c t u r e s and l i t e r a l l y sweep

th e c o u n try in a wave o f p o p u la r ity , have a ran g e t h a t v o u ld ta x p r o f e s s io n a l

s in g e r s , t o say n o th in g o f s t r a i n i n g th e v o le e a o f p e o p le who have n o t s tu d ie d

th o ro u g h ly th e c o r r e c t u se o f th e voice* Songs which have a d e f i n i t e a p p e a l

to c h ild re n sh o u ld be examined c a r e fu lly * Too h ig h o r to o low n o te s can be

o m itted o r changed, o r th e th o le song ean be tra n s p o s e d i f i t i s a "m ust" f o r

th e c h ild ren *

The s t y l e o f r a d io and movie s in g in g h a s an a p p a re n t in flu e n c e on th e

s in g in g in t h e sch o o ls* In th e e a r ly y e a r s o f th e w r i t e r 's te a c h in g e x p e rie n c e

when sh e began c l a s s i f y i n g g i r l s ' v o ic e s i n h ig h sc h o o l, sh e fo u n d t h a t th e

 46

g irls " w a n te d " to bo so p ran o s. R e g a rd le ss o f ran g e o r Q u a lity , th e y i n s i s t e d

upon s in g in g th e soprano p a r t— th e y had alw ays been so p ran o s. R e c e n tly in

c l a s s i f y i n g th e Yoioea o f c o lle g e g i r l s , th e a u th o r was a ssu re d by m ost o f

thorn th a t th e y were a lto s * Many o f th e s tu d e n ts had n o t sung in h ig h seh o o l

ch o ru ses b u t had been s in g in g in fo rm a lly i n g ro u p s and had ad o p ted t h e low

" b lu e s " ty p e o f s in g in g p r e v a le n t among r a d io s in g e r s o f p o p u la r musie* 70r

s e v e r a l y e a r s th e y had f o r c e d t h e i r v o ic e s in t o t h i s ran g e i n th e hope o f

ap p ro x im atin g th e t h r o a t y , husky s t y l e o f t h e i r f a v o r i t e e n te r ta in e r s * Some

o f t h e g i r l s were a l t o s b u t many o f th a n were q u ite s u r p r is e d when th e y w ere

shown t h a t t h e i r b e s t to n e s were o f f i r s t o r seoond soprano ra n g e . I t w ill

be i n t e r e s t i n g to w ateh how th e n e x t s o - c a lle d p o p u la r s t y l e a f f e c t s th e

v o io e s o f c h ild r e n and young p e o p le . I n s p i t e o f v o c a l fa d s th e r e a l l y

c o r r e c t ra n g e o f song m a te r ia l i s t h a t w hich p e rm its v o c a l i s t s t o s in g e a s i l y

and l i g h t l y w ith o u t f o r o in g t h e i r to n e s .

L ength o f p h ra s e A o u ld be c o n sid e re d i n c h i l d r e n 's so n g s. For th o s e

to whom s in g in g i s a new e x p e rie n c e , p h ra s e s ahould be s h o r t. W ith th e g a in ­

in g o f o n e 's b r e a th and v o ic e c o n tr o l, lo n g e r p h ra s e s ean be sung e a s i l y and

n a tu ra lly *

"B eliev e me, i f a l l th o s e e n d ea rin g young charms

Which I g aze on so fo n d ly to d ay "

i s a lo n g phrase* A r t i s t i c s in g in g demands th a t i t be sung in one b reath *

P eo p le o f l i t t l e ex p e rie n c e chop i t up b ecau se th e y do n o t have s u f f i c i e n t

b r e a th c o n tro l to s in g i t sw e e tly and w ith o u t a b re a k . C h ild ren ahould have

songs w ith s h o r t p h ra s e s so th a t even th e moat sim p le o f them can be sung

a rtis tic a lly *

The rh y th m ic p a tte r n * o f th e song sh o u ld be sim ple and w ith o u t s u b t l e t i e s

t h a t can n o t be m astered* On t h e o th e r hand, i t A o u ld n o t be so sim p le a s to

 47

be m onotonoua. A aong c o n s is tin g e n t i r e l y o f w h o le, h a l f o r q u a r te r n o te s

i s monotonous* D o tted e ig h th s and s ix te e n th s h a re t h e i r c o n trib u tio n to

make to w ard s v a ry in g th e p a tte r n * A c tu a lly , c h ild r e n ean le a r n a song w ith

t h e most i n t r i c a t e rh y th m ic p a t t e r n , b u t when th e tim e consumed in te a c h in g

i t i s c o n s id e re d , t h e q u e s tio n a r i s e s as to w h eth er o r n o t t h i s tim e was

s p e n t t o t h e b e s t advantage*

Words a r e so Im p o rta n t t h a t th e y h av e a o laim to th e most c a r e f u l a t t e n ­

tio n . They sh o u ld be o f i n t e r e s t to th e c h ild r e n . I f a tw e lv e -y e a r-o ld i s

e x c ite d ab o u t b o a ts , m usic i s l i k e l y to lo s e a lo v e r i f he has to s in g " I

want t o be a d a is y w ith a w h ite and yellow h a t " . I f he i s a f o u r - y e a r - o ld

he i s n o t c u rio u s about th e "goodness o f g r e e t men"* Words o f th e poem t h a t

c h ild r e n a r e ex p ected t o s in g should be a t t h e i r le v e l o f u n d e rs ta n d in g . The

o la s s io t r a n s l a t i o n o f th e hymn " . .my c r o s s I ' d b e a r" in t o "• .my c ro s s -e y e d

b e a r" i s fu n n y , b u t a t t h e same tim e i t p ro v es t h a t th e r e i s an u t t e r la c k o f

u n d e rs ta n d in g on th e p a r t o f th e s in g e r . The l a s t p a r t o f th e f i r s t s ta n z a

o f America i s g iv e n an u n u su a l tu r n o f meaning when sung "Land where my f a t h e r s

d ie d , la n d where th e p ilg r im s c r ie d " . Such d i s t o r t i o n s o f ex p re ssio n in d i c a te

th a t th e p i c t u r e su g g e ste d by t h e words i s n o n - e x is te n t. C h ild r e n 's enjoym ent

o f s in g in g w i l l be enhanced i f th e y n o t o n ly know th e words b u t know th e mean­

in g s o f th e words th e y a r e ex p ected to s in g .

The q u e s tio n i s o f t e n asked "How many s ta n z a s o f th e song s h a l l I te a c h ? "

The answer i s o b v io u s i f th e poem th a t h a s been s e t to m usic i s a good poem,

a oom plete p o e tic id e a . T o r complete e x p e rie n c in g o f t h i s ld s a , a l l o f th e

s ta n z a s sh o u ld be ta u g h t. The e x c e p tio n s t o t h i s g e n e r a l sta te m e n t a r e c e r t a i n

p a t r i o t i c so n g s, c e r t a in community songs and o e r ta in songs f o r s p e c ia l d ay s.

Because i t i s d e s ir a b le t o h a re t h e whole sch o o l know a l i s t o f songs f o r

assem bly s in g in g , th e l i t t l e c h ild r e n a r e o f te n r e q u ir e d to le a r n songs th e

 48

word* o f which a r e beyond t h e i r com prehension, t h e S ta r Spangled Banner

i e one o f th e s e . I t i s d e s ir a b le t h a t th e y know t h i s song and h a re been

tr a i n e d to s in g i t , b a t u n t i l th e y h e re a co n cep tio n of th e meaning o f th e

w ords, th e y sh o u ld n o t be r e q u ire d to le a r n a l l o f i t . T h is song h as a

ta x in g ra n g e . When i t i s sung in th e approved key o f 1 f l a t , many p e o p le

f in d i t e a s ie r to s in g th a n when i t i s sung i n th e key o f B f l a t , t h e key

i n which i t i a u s u a lly n o ta te d .

As f o r t h e tu n e i t s e l f , i t s f u n c tio n i s to enhance th e b e a u ty o f th e

w ords. I f i t does n o t do t h a t , enjoy th e poem a s a poem. There i s no

p a r t i c u l a r p o in t i n d e t r a c ti n g from th e i n t e r e s t and th e b eau ty o f a poem

by tr y in g to s in g i t t o a melody t h a t i s u n r e la te d i n s p i r i t and mood*

The same comments ap p ly to th e p ian o aooompaniment o f so n g s. The

accompaniment sh o u ld h e ig h te n th e e f f e c t o f th e words and m elody. F o rtu ­

n a te ly many o f t h e accompaniments t h a t a re fo u n d in th e m usic t e x t books

a r e sim p le b u t i n t e r e s t i n g h a rm o n ic a lly . The p erso n p la y in g th e p iano needs

co m p arativ ely l i t t l e te o h n io a l f a c i l i t y , b u t she n eed s a s u rp a s sin g r e s p e c t

f o r th e s ig n if ic a n c e o f th e p r in te d sym bols under th e words and a m u sio la n ly

manner o f i n t e r p r e t a t i o n . M oreover, th e p ia n o acconqpaniment h as an im p o rta n t

r o l e i n prom oting m u sic a l grow th. I t s u se accustcm s th e c h ild re n t o h earin g

to n e s o th e r th a n th o se th ey a r e s in g in g . L is te n in g w h ile s in g in g i s e x c e lle n t

p r e p a r a tio n f o r s in g in g p a r t songs.

S in g in g i s th e a c t i v i t y i a th e m usic program in whioh boys and g i r l s w i l l

engage moat o f te n . T h e re fo re i t i s d e s ir a b l e t h a t t h i s ex p erien ce be m u sic a l­

l y w e ll-ro u n d e d . The songs c h ild r e n le a r n sh o u ld p r e s e n t a v a r i e t y o f form s,

moods, and m elodic and rhythm ic p a t t e r n s . Some should be im a g in a tiv e ; some,

re a lis tic * J u s t a s c h ild r e n co u ld g e t th e id e a t h a t o n ly " la d l e s " make phono­

graph r e c o r d s , i f t h e i r s o le d i e t o f re c o rd e d music were songs by so p ran o s,

 40

i t would be e q u a lly bad I f th ey th o u g h t a l l aonga were l u l l a b i e s , o r m arches,

o r b u i l t on th a to n e a o f th e to n i e eh o rd , o r a l l s t a r t e d on a h ig h to n e and

th e n deaoended i n p i t c h , o r a l l had ch o ru aea, o r a l l were b u i l t on th e p a t t e r n

o f a p iritu a la . The te a o h e r haa been c a u tio n e d n o t to ahow c i t y c h ild r e n

p io tu r e a o f o n ly w h ite cowa because o f th e danger o f c r e a tin g th e im p ressio n

t h a t a l l oowa a r e w h ite . And, ao a g a in , th e y a r e admonished to o f f e r g en er­

o u s ly o f th e r a r i e t y o f aonga t h a t a r e a v a ila b le .

I n th e T h i r t y - F i f t h Year book o f th e N a tio n a l S o c ie ty f o r th e Study o f

E d u ca tio n , P r o fe s s o r Anne E, P ie r c e p r e s e n ts in t h e farm o f q u e s tio n s t o th e

te a c h e r a summary o f c r i t e r i a by w hich songs fo r o h ild r e n Miould be s e le c te d .

I. I a th e muaie o f th e song o f p ro p e r ra n g e and d i f f i c u l t y ?

S. Does i t rem ain in th e memory a f t e r a l i t t l e stu d y ?

3. Does i t r e t a i n i t a m u a ieal i n t e r e s t o r , in o th e r w ords, does i t

wear w e ll?

4. I a th e rhythm smooth and flo w in g , and d o es i t have i n t e r e s t and

v ita lity ?

5. I a th e song o f p ro p e r le n g th ?

6. I a th e t e x t a t t r a c t i v e an d worthy?

7. I a i t ad ap ted in th o u g h t and e x p re s s io n t o th e age f o r w hich i t

i s in ten d ed ?

8. Are th e words e a s i l y sung?

9. I a th e r e f u s io n o r agreem ent o f words and m uaie?

10. Do p u p ils l i k e to a ln g th e aong?

II. I a th e aong o f tenqporary or o f perm anent v alu e?

18. I s th e s o n g .a p p ro p rla te to th e o c c a sio n and does i t q u a lif y aa

good music?

The w r ite r would l i k e to add an o th e r q u e s tio n .

13 . Do you, th e te a c h e r , en jo y h e a rin g i t a g a in and ag ain ?

1, Anne X, P ie r c e , N a tio n a l S o o ie ty f o r t h e S tudy o f E d u c a tio n , T h ir ty -

f i f t h Y earbook, P a r t I I , M usic E d u c a tio n . B loom ington, I l l i n o i s :
P u b lic Sohool P u b lis h in g Company, 1936,
 50

Good S in g in g

M ias Watson was a te a c h e r in th e f i r s t grade o f th e p o o re s t d i s t r i e t

in a sm a ll o i t y , W ithout k in d e rg a rte n t r a i n i n g , h er o la s s had ecme t o h er

w ith a s m eagre a background as would appear p o s s i b le . The c h ild r e n had

had no d e s ir a b le p re -s c h o o l m u sic al e x p e rie n c e s . At th e p r e s e n t tim e

second- o r th ird -h a n d r a d io s may be found i n th a t d i s t r i c t , b u t when M iss

Watson s t a r t e d te a c h in g t h e r e , r a d io s were few . Young, f u l l o f en th u siasm ,

and p o s s e s s in g a sm a ll h ig h c le a r p r e t t y v o ic e and a lo v e f o r s in g in g , she

g a th e re d h er brood about h e r and began one o f h e r jo b s w hich was t o te a c h

them to s in g . Slow ly and s t e a d i l y t h e i r cro a k in g rauoous e f f o r t s became

sim ple songs d is tin g u is h e d f o r th e c l a r i t y o f th e m elodic l i n e . By C hristm as

tim e , H e rb e rt Hoover C la rk and H erb ert Hoover Adame showed th e r e s u l t o f

t h e i r t r a i n i n g by b ein g a b le to s in g th e f i r s t p h ra s e o f f o u r songs w ith

th e group w hich knew ab o u t tw enty songs. By th e end o f th e y e a r ev ery c h ild ,

in c lu d in g b o th t h e H e rb e rt H oov^r’ ai^) could s in g by h im s e lf f i f t y songs and

th e group knew a few ov er a hundred f u l l page so n g s. The ensemble had th e

h ig h c le a r q u a l ity o f M ias W atso n 's v o ic e . They d r a n a tlz e d , n o t a c t u a ll y ,

but w ith f a c i a l e x p re s s io n s , ev ery song th e y san g . The p ic tu r e o f th e song

was m irro re d i n t h e i r f a c e s and v o ic e s . L iv e ly , gay songs bro u g h t a s p a r k le

to t h e i r e y e s. The p a th o s o f v o ic e and e x p re s s io n when th e y sang about th e

l i t t l e k i t t e n s l o s in g t h e i r m itte n s ( a tra g e d y th e c h ild r e n oould w e ll u n d er­

s ta n d ) was a r e v e l a t i o n . Beoause th e y had a c l e a r c o n ce p tio n o f th e id e a to

be e x p ressed th e y p h rased o o r r e e tly ; t h e i r s h a d in g was t h a t which th e s to r y

demanded; t h e i r e n u n c ia tio n was good beoause th e y w anted to convey th e meaning

o f th e s to r y to o th e r s ; t h e i r p ro n u n c ia tio n was a b i t p r o v in c i a l a t tim es b u t

w ith ev ery new song and ev e ry p a s s in g day t h e i r twang d im in ish ed . Some o f

th e most b e a u t if u l s in g in g th e w r ite r h a s ev er heard was done by t h i s g ro u p .

 51

The m other a who oama f o r t h e i r c h ild r e n a f t e r sch o o l g o t i n t h e h a b it o f

coming e a r l y and en jo y ed th e l a s t te n m in u tes o f th e day w ith them—a

p e rio d devoted t o m uaie.

M oreover, t h e e la a a h as an e x t r a o r d in a r il y w ell-ro u n d ed m u sie a l e x p e ri­

ence i n s p i t e o f a com plete la c k o f equipm ent. The p ia n o in th e gymnasium,

w hleh th e te a e h e r sco rn ed because o f i t a la c k o f to n e and tu n e , and h e r p i t c h

p ip e were th e o n ly m ech an ical p u rv ey o rs o f m uaie a v a i l a b l e . T e t th e o h ild r e n

had a m eaningful rh y th m ic program , th e y le a rn e d m elo d ies sung by th e te a c h e r ,

th e y made t h e i r own tu n e s t o poems. A ll t h i s was accom plished w ith n o th in g

more th a n a s k i l l f u l r e s o u r c e f u l te a c h e r .

What is . good sin g in g ? P erh ap s by d e s c r ib in g what i t i s n o t—th e a n t i ­

t h e s i s o f th e p io t u r e j u s t g iv en —w i l l h e lp c l a r i f y what i t i s .

A group o f f i f t h - g r a d e c h ild r e n was c o n tr ib u tin g to a program w hich th e

f o u r th g rad e had p lan n ed f o r th e a u d ito riu m p e r io d . The o ld e r group d ecid ed

t h a t i t s p a r t o f t h e program would b e a d ra m a tiz a tio n o f one o f i t s f a v o r i t e

poems w h ile th e e n t i r e c la s s would r e c i t e i t ; a f t e r whioh th e group would

s in g t h e poem. The poem f a r t h e c h o ra l sp eech and d ra m a tiz a tio n was th e o ld

S ig li a h v e r s e :

There was an o ld woman a s I 'v e h e a rd t e l l ,

P a, l a , l a - l a - l a - l a - l a
She went t o t h e m ark et, h e r eggs fo r to s e l l ,
P a, l a , l a - l a - l a - l a - l a
She went t o m a rk e t, aa I 'v e h e a rd sa y ,
P a, l a , l a - l a - l a - l a - l a
She f e l l a s le e p on th e S in g 's highway
P a, l a , l a - l a - l a - l a - l a
T here come by a p e d la r whose name was S to u t,
He c u t h e r p e t t i c o a t s round a b o u t,
He o u t h e r p e t t i c o a t s up to h e r k n ees!
Which made th e o ld woman t o S h iv er and sn eeze!

(c o n tin u e d )
 58
(c o n tin u e d )

When t h i s l i t t l e woman d id f i r s t awake

She began t o s h iv e r and began t o shake!
She began to wonder, she began t o c ry ,
"L aurk-a-m ercy me, t h i s i s none o f I ! ’
But i f i t be I and hope i t be
I 'v e a d oggie a t home t h a t I 'm s u re knows me;
And i f i t be I , he w i l l wag h i s t a i l
But i f i t be n o t, he w i l l b ark and w a il ,"
F a, l a , l a - l a - l a - l a - l a
Home went th e o ld woman a l l in th e d a rk ,
Then up g o t h e r dog and began to b ark !
He began to b a rk and sh e began to c r y ,
"Lawk-a-mercy me, t h i s i s none o f I ! "
F a, l a , l a - l a - l a - l a - l a *

At th e a p p o in ted tim e on th e program t h e f i f t h g rad e gave i t s c o n trib u tio n *

I n a crep e p ap er s k i r t t h a t s u rre n d e re d u n r e s i s t i n g l y t o th e p e d l a r 's huge

s h e a rs , th e " o ld " woman a o te d h e r p a r t p e r f e o tly * The "dog" b e h in d a c h a ir

c a v o rte d and b ark ed r e a l i s t i c a l l y * The d ra m a tiz a tio n was e x c e lle n t. The

c h o ra l speech accompaniment would have in s p ir e d even th e most m is e ra b le

a c to rs* As a m a tte r o f f a c t , th e f a c e o f each c h ild say in g th e poem showed

t h a t he was f u l l y aware o f t h e d ra m a tic s o f th e s i t u a t i o n . E s p e c ia lly in ­

t e r e s t i n g was th e i n t e r p r e t a t i o n o f th e mood o f th e moment as p o r tr a y e d by

th e manner in w hioh th e c h ild re n s a id , "Fa, l a , l a - l a - l a - l a - l a " • In te re s t,

sym pathy, h o r r o r , p a th o s , ex o itam e n t, and f i n a l l y , f e v e r i s h ex c ite m e n t—a l l

were in d ic a te d in th e i n t e r p r e t a t i o n o f th o s e l i n e s . The whole poem was g iven

in a s u p e r la tiv e m anner. The v i s i t o r , who had f u rn is h e d th e copy o f th e words

and m usic to th e group teach er., w a ite d , w ith th e k e e n e s t a n t i c i p a t i o n , f o r

th e poem t o be sung* A c tu a lly , d u rin g th e s in g in g o f "There was an o ld woman

a s I'V e h e a rd t e l l " , i t d id n o t seem p o s s ib le t h a t th e same group was g iv in g

th e i n t e r p r e t a t i o n o f t h e poem in song. They mumbled t h e i r w ords, th e y b re a th e d

when th e y w anted t o , t h e i r f a c e s were b la n k , and th e charm ing "F a, l a , l a - l a -

l a - l a - l a ' s " , had no c h a r a c te r . The song had no l i l t , no v e rv e . The tempo o f

th e aong was l e a s th a n h a l f a s f a s t a s th e spoken w ords. I t was f l a t , u n in te r ­

e s ti n g , and u n in s p ir e d . The consensus was t h a t i t was sim ply n o t "good s in g in g " .

 88

Good tin g in g w ith I t s a tte n d a n t a t t r i b u t e , good i n t e r p r e t a t i o n , i s ^

c h a r a c te r is e d by th e fo llo w in g p o in t s :

1* Good to n e q u a l ity

I t should be m n sie a l and produced w ith o u t e f f o r t .

S. C o rre c t tempo

The mood o f th e words an d m usic c a l l s f o r a tempo t h a t b rin g s o u t

and enhances i t s mood* "There was an o ld woman" i s im a g in a tiv e . I t is

g ay . Uoments o f p a th o s and ex citem en t r e q u ir e d i f f e r e n t tre a tm e n t th a n

th e l i g h t p a r t s .

3. C o rre c t r e n d itio n o f th e symbols on th e p r in t e d page

I n th e M iddle V est ab o u t tw e n ty -fiv e y e a rs ago th e r e was a group

o f i t i n e r a n t band le a d e r s who made t h e i r l i v i n g by d ir e c tin g v i l l a g e b an ds.

On s t a t e d n ig h ts d u rin g th e week th e y sch ed u led and conducted band r e h e a rs ­

ed in v a r io u s tow ns. One o f th e s e le a d e r s whose la c k o f t r a i n i n g and s k i l l

was com pensated f o r by en th u siasm and a d e s ir e to serv e th o s e who h ir e d

him, had a c o n s ta n t adm onitioh f o r t h e members o f h i s b an d s. I t was "P lay

i t a s s h e 's w ro te, b oys, p la y i t a s s h e 's w ro te " . E x c e lle n t a d v ic e .

S hakespeare was ooneem ed w ith t h i s same m a tte r . In R ic h ard I I I , he s a id ,

"Ha, ha! Keep tim e .

How so u r sw eet m usic i s
When tim e i a broke and no p ro p o rtio n k e p t ."

Change in dynam ics and rhythm s a r e r e l a t i v e . Marked g r a d a tio n s between

c o n t r a s t s in dynam ics and rhythm s a r e d e s ir a b l e b u t e x a g g e ra tio n s a r e

in a rtis tic . I n t h i s a sp e o t o f i n t e r p r e t a t i o n th e r e i s o p p o rtu n ity f o r

n ic e d is c r im in a tio n .

4. C o rre c t p h ra s in g

A good s in g e r s in g s a s a good re a d e r r e a d s . When a good r e a d e r

r e a d s p o e tr y he d o es n o t s to p and gasp f o r b r e a th a t t h e end o f th e l i n e

 54

u n le s s sto p p in g i s in d ic a te d by p u n c tu a tio n and th e i d e s . The m eaning

o f th e sen ten c e s u g g e s ts c e r t a i n a c c e n ts . In c h o ra l m usic th e s e a c c e n ts

ta k e preced en ce o y er m easure a c c e n ts . Words in p h ra s e s a r e grouped to ­

g e th e r . The r e a d e r r e a d s "— ln - th e - h o u s e " . Too o f te n th e p h ra s e i s

sung " in th e h o u se".

5. Obylous em o tio n al re sp o n se

The e x p re s s io n s o f s in g in g c h ild r e n w i l l show w hether o r n o t th e y

a r e f e e l in g th e " p ic tu r e " su g g ested by th e w ords. T h e ir f a c e s m irro r

t h e i r re s p o n s e s .

6. Good e n u n e ia tlo n

E n u n ciatio n means " d i s t i n c t a r t i c u l a t i o n " . Vowels c a r r y th e y o e a l

sound w h ile co n so n an ts shape i t . C o rreet vowel sounds in s u r e good to n e

q u a lity . M eticu lo u s a t t e n t i o n to co n so n an ts, e s p e c i a ll y f i n a l co n so n an ts,

in s u r e s audienoe u n d e rs ta n d in g .

7* Good p ro n u n c ia tio n

P ro n u n c ia tio n i a ooncerned w ith th e s t r e s s and sound g iven th e

p a r t s o f words o r th e whole word. When " e le p h a n t" i s c a lle d " e l - l e - f u n t "

i t i s m ispronounced. Words a r e im p o rtan t in a song and th e tr u e i d e n t i t y

o f each must be p re s e rv e d .

T eaching S in g in g

S in g in g i s a s k i l l . Tor i t s developm ent v o c a l o o n tr o l and a u r a l e x a c t­

n e s s a r e n e e e sa a ry . A lthough th e ro ad from th e n u r s e r y seh o o l to th e c o n c e rt

s ta g e i s lo n g , ev ery s in g e r who t r a v e l s t h a t r o u te h a s th e s e f a c u l t i e s upon

w hich to b u ild . W ithout th e a b i l i t y t o produoe s p e o if i e to n e s a t th e p ro p e r

tim e th e r e can be no v o e a l m u sio . I t makes no d if f e r e n c e i f a p e rso n can

s in g th e most b e a u t i f u l to n e im ag in ab le on h ig h G, he m ust be ab le t o s in g

i t ev e ry tim e t h a t n o te ap p ea rs in th e s c o re o r t h e a b i l i t y i s w o rth n o th in g .
 55

P ro d u cin g s p e c i f i c to n e a a t an e x a c t t i n e i a th e r e a u l t o f v o c a l c o n tr o l

and a u r a l e x a c tn e s s . T hia s e c tio n o f th e book w i l l concern l t a e l f w ith

te a c h in g th o s e who have ac q u ire d a f a i r m a stery o f th e a e two a b i l i t i e s .

Under th e c a p tio n The Poor S in g e r, which ap p ea rs l a t e r in t h i s c h a p te r,

p la n s f o r g u id in g th e developm ent o f th o s e who seem to la c k o r a l c o n tro l

and a u r a l e x a c tn e s s w i l l be su g g e ste d . (See page 65 . )

A t r e a t i s e on th e "Teaching o f R eading" would d is c u s s th o ro u g h ly th e

im portance o f r e a d in e s s f o r re a d in g . "S in ce r e a d in g i s n o t m erely a

m ech an ical s k i l l , b u t an i n t e r p r e t a t i v e p ro c e s s b u i l t upon e x p e rie n c in g ,

to re a d w ith u n d e rsta n d in g means t o have an ad eq u ate background o f e x p e ri­

ence t o g iv e meaning to th e m a te r ia l read."-*- In a l i k e manner, i t i s w a ll

to c o n s id e r " s in g in g r e a d in e s s " .

S in g in g R ead in ess

I t i s d i f f i o u l t to im agine a c h ild o f to d a y whose p r e -s c h o o l en v iro n ­

ment h a s been devoid o f c o n ta c ts w ith v o c a l m u aie. P lanned or i n c id e n ta l

s in g in g by o th e r members o f th e fa m ily , s in g in g games p lay ed by c h ild r e n

d u rin g t h e i r p la y tim e s , phonographs, m u sie al in s tru m e n ts and th e r a d io ,

have a c q u a in te d him w ith a s in g in g w o rld . The m usic o f th e b o ilin g te a

k e t t l e , m echanical to y s , ohim es, and b ir d c a l l s have been p r e s e n t w ith th e

rh y th m ic tio k L n g o f th e c lo c k , th e b e a tin g o f drum s, th e p u r r o f th e a u to

and th e a i r p l a n e . W hether th e s e have been c o n sc io u s ly re c o g n ise d a s m usic

i s o f l i t t l e Im portance a s lo n g a s th e y hav e been p a r t o f th e c h i ld r e n 's

background. Even i f th e y have h eard them and have t r i e d to im ita te th a n ,

1. J u l i a L . Hahn, R eading in th e E x p erien ce C urrioulum , Hewer I n s t r u c t i o n a l

P r a c t i c e s o f P ro m ise. T w elfth Y earbook o f th e Departm ent o f S uper­
v is o r s and D ir e c to r s o f I n s t r u c t i o n , N a tio n a l E d u catio n A s s o c ia tio n ,
1939.
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t h e f e e t t h a t th e s e sounds were p r e s e n t i n d i c a te s t h a t th e c h ild r e n h a re

come to sch o o l w ith some background in music*

The p r o v is io n o f new e x p e rie n c e s in m usic f o r c h ild r e n w i l l alw ays

c h a lle n g e t h e te a o h e r , b u t an aaaw arcaesa o f m usie i s h a rd to c o n c e iv e .

Because t h i s unaw areness i s mere l i k e l y to o ccu r i n v ery young c h ild r e n , ^

p la n s w i l l be su g g ested f o r s tim u la tin g them to want to sing* Should a

te a c h e r o f o ld e r o h ild re n beoome co g n iz a n t o f a need fo r t h i s same d e f i n i t e

s tim u la tio n , sh e can ad ap t th e s e s u g g e s tio n s to meet th e needs o f h e r c l a s s .

In th e " o ld days" when a r e q u ir e d m usic o o u rse was ta u g h t in each grad e

( I n s te a d o f th e o h ild r e n ) , and l i t t l e ap p eal was made t o c h ild i n t e r e s t o r

im m ediate n eed , g roups o f c h ild r e n could b e fou n d t h a t d id n o t en jo y m usic

o r what th e y had been le d t o b e lie v e was music* C ircu m scrib ed by t h e con­

cep t re g a r d in g th e r e l a t i o n o f c h ild r e n and m usie— a tte m p tin g to f i t a l l

o h ild re n in to a p re -e o n e e lv e d p a t t e r n o f s ta n d a rd s —and lim ite d by a c e n t r a l

o f f i c e which was busy w ith m onthly p la n s lh l e h aimed to g e t c e r t a i n amounts

o f m usic ta u g h t, i t i s l i t t l e wonder t h a t te a c h e r s and c h ild r e n d id n o t en­

jo y s in g in g . S tim u la tio n was o f te n n e c e s s a ry f o r b o th . But th e n c h i ld

i n t e r e s t s and grow th a r e ta k e n in to a c c o u n t, s in g in g i s e n jo y a b le and groups

which do n o t l i k e to s in g a r e r a r e .

The w r ite r co n ce iv es o f s in g in g r e a d in e s s a s th e d e s ir e o f c h ild r e n to

s in g . No sm all c h ild e v e r Wanted to be a p o licem an , an a v i a t o r , an a r t i s t ' s

m odel, o r a n u r s e , w ith o u t h av in g en jo y ed a s s o c ia tio n s w ith or s t o r i e s about

such p e o p le . L ik ew ise, no c h ild ev er w anted to s in g i n a group i f he were

unaware o f th e p o s s i b i l i t i e s f o r enjoym ent t h e r e i n . A s in g in g te a c h e r — not

a te a c h e r o f s in g in g , b u t a te a c h e r who s in g s — i s one o f th e b e s t n aan s o f

a c q u a in tin g c h ild r e n w ith s in g in g and aw akening in them th e d e s i r e to s in g .

 57

T h is te a c h e r m ig h t v e i l do a s M ias Watson d id ( s e e page 5 0 ), g a th e r h e r

brood around h e r and s in g t o them* Three o r fo u r w e ll-c h o se n songs— chosen

because o f t h e i r ap p e a l in s u b je c t m a tte r and because th e y f i t t e d th e

m u sic a l e x p erien ce o f th e c h i l d r s i —sung e n t h u s i a s t i c a l l y and w e ll, s i l l

se rv e aa an in tr o d u c tio n to th e a r t o f s in g in g . The e x p re s s io n o f th e f a c e s

o f th e audienoe w i l l I n d ic a te th e s u c c e ss o f th e m eeting* Follow ed by

q u e s tio n s such as "Old you l i k e th e m usie?1* "Which song d id you l i k e b e s t? "

"Would you l i k e to h e a r i t a g a in ? " th e e n t e r p r is e i s w e ll under way* A fte r

th e c h ild r e n have h eard th e song o f t h e i r Choice s e v e r a l tim e s , th e te a c h e r

can su g g est th a t p erh ap s th e group would l i k e to s in g i t —i f a c h ild h as n o t

a lre a d y made th e su g g estio n * One te a c h e r spends th e s in g in g tim e fo r th e

f i r s t week o f seh o o l i n t h i s m anner.

T h is approach to s in g in g i s good f o r s e v e r a l r e a s o n s . The c h ild r e n g a t

th e same k in d o f s a t i s f a c t i o n an d enjoyment from i t a s th e y do fro st h e a rin g

th e te a o h e r t e l l an i n t e r e s t i n g s to r y . I t g iv e s th e o p p o r tu n ity fo r ch o ices

to be made. I t prom otes a t te n ti v e n e s s beoause o f th e n e c e s s it y o f making a

c h o ic e . How much b e t t e r t h i s in tr o d u c tio n i s th a n t h e way a c e r t a i n te a c h e r

began her f i r s t m usie c la ss * She made a sp eech : " I am going t o s in g you a

aong* I want you to le a r n i t . Everyone should le a r n t o sing* I t i s fun*

Your m others and f a th e r s know how to sin g ^ They l i k e t o s in g . I t i s fu n * "

A song could have been sung d u rin g th e tim e i t to o k t o say th o s e words and

th e c h ild r e n oould hav e form ed t h e i r o m id e a s a s to w hether o r n o t s in g in g

m ig h t be fun*

T eaching B ote Songs

A song t h a t i s le a r n s d by "ear** i s a r o t e song. In co n n ec tio n w ith

sc h o o l m usic t h i s ty p e o f song i s th o u g h t o f a s one t h a t o o n ta in s m elodic

 86

and rhythm lo p a t t e r n s to o d i f f i c u l t f o r o h ild re n t o r e a d . They le a r n to

ain g i t hy h e a rin g i t sung by th e te a c h e r , sometimes on a phonograph re o a rd

and sometimes by a n o th e r c h i ld .

In g e n e r a l, th e r e a r e two ways o f te a c h in g r o t e aonga, th e p h ra s e method

and th e whole m ethod. In th e p h ra se method, th e te a c h e r s in g s th e oom plete

song. Then she s in g s th e f i r s t p h ra s e ; t h e c h ild re n s in g th e f i r s t p h ra s e .

The te a c h e r s in g s th e second p h ra s e ; t h e c h ild r e n s in g th e second p h ra s e ;

and so on th ro u g h th e f i r s t s ta n z a . The p ro c e s s o f te a c h e r s in g in g and o h i l ­

dren echoing i a co n tin u ed w h ile p h ra s e s a re combined. T here a re v a r ia tio n s

in th e method, b u t e s s e n t i a l l y a l l a re th e same. The aong i s le a r n e d b i t by

b it.

The w r ite r b e lie v e s t h a t t h i s i s n o t th e b e s t way to te a c h r o t e songs*

As s u p e rv is o r o f m usie sh e n o tic e d many wrong to n a l co m b in atio n s i n th e songs

she h eard v a r io u s groups o f o h ild re n s in g when th e y had been ta u g h t by t h i s

m ethod. The m ista k e s o c c u rre d moat o f te n a t th e b eg in n in g o f ph rases* O ften

j u s t th e f i r s t to n e was wrong; sometimes th e e n t i r e p h ra s e was in a n o th e r k e y .

These m ista k e s w ere h eard in th e s im p le s t songs* C lose ex am in atio n o f what

th e c h ild re n h e a r when songs a r e ta u g h t by t h i s p ro ced u re w i l l d is c lo s e th e

d iffic u lty . F o r example, in t h i s aong:

" I saw an a ir p la n e f ly i n g by,

Oh, so h ig h ! o h , so h ig h !"

Teacher s in g s : I saw an a ir p la n e f ly i n g by,

C h ild ren s in g : I saw an a ir p la n e f l y i n g by,

T eacher s in g s : Oh, so h ig h ! o h , so h ig h !
C h ild ren s in g : Oh, so h ig h ! oh, so h ig h !

As th e c h ild re n h ear and r e p e a t th e s e l i n e s , th e l a s t word i n th e te a c h e r* s

l i n e , "by", i s more o lo s e ly connected m e lo d io a lly w ith " I " , th a n i t i s w ith

"Oh" whioh r e a l l y fo llo w s "by" l a th e melody* The m elo d ic co n n ec tio n t h a t

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i s d e a ire d i a between "by" and "Oh"; b u t t h i a i a h eard o n ly when th e aong

i a sung in i t a e n t i r e t y . I f th e aong i a broken in to la r g e r p ie c e s , mi acon­

c e p tio n o f to n a l and m elodie r e la tio n s h ip s ean r e s u l t w herever t h e b reak i s

made. M oreover, th e l e s s m u s ic a lly c e r t a i n th e te a c h e r and t h e more eon-

p li c a t e d th e m elody, th e g r e a t e r i a th e o p p o r tu n ity f o r m is ta k e s .

The o th e r method o f te a o h in g r o t e songs i a te a c h in g th e whole song a t

onoe—-th e c h ild r e n h e a rin g i t over and o v er a g a in in i t s e n t i r e t y . Songa

w hieh p eo p le le a r n by l i s t e n i n g to th e r a d io a r e le a r n e d in t h i a m anner.

Radio s in g e r s do n o t b re a k th a n in t o a n a ll b i t s and r e p e a t th e s e p a r t s . M usic

te a c h e r s ean le a r n a v a lu a b le le s s o n from t h i s o b s e rv a tio n , v a lu a b le because

i t sav es much tim e and e f f o r t , and v a lu a b le beoause o f th e sm all lik e lih o o d

o f wrong to n e s .

M iss J a c k s o n , a te a c h e r in a second g ra d e , o f te n fou n d h e r s e l f e x p la in in g

why h e r c l a s s co u ld s in g so many songs and s in g them w e ll. Her p la n f o r te a c h ­

in g was th e re a s o n why. W hile t h e c h ild r e n w ere d e c id in g what in v e s t ig a t io n s

and a c t i v i t i e s would engage th a n in a new u n i t , M iss Jack so n sang e ig h t o r to a

songs f o r them , th e s u b je c t m a tte r o f Which c e n te re d around th e new them e.

The c h ild re n d ecid ed which songs th e y would l i k e to le a r n and th e te a c h e r

l i s t e d them . M iss Ja c k so n , l i s t i n hand, p lan n ed f o r th e o h ild re n to h e a r

th o s e songs s e v e r a l tim e s . One day a f t e r h av in g sung th e f i r s t song on th e

l i s t , she d ir e c te d d is c u s s io n around i t . The n e x t day th e d is o u s s io n c e n te re d

around th e second song and so o n . 5y d o in g t h i s sh e could make o e r ta in th a t

th e c h ild r e n had a concept o f th e sequence o f m eanings so n e c e s s a ry f o r com­

p l e t e u n d e rs ta n d in g . L is te n in g to th e s e songs would sometimes be " in c i d e n ta l”

t o o th e r a c t i v i t i e s d u rin g th e d ay . A fte r t h e c h ild r e n had h e a rd th e songs

f o r s e v e r a l d ay s, M iss Jaek so n in v ite d them t o jo i n h e r in s in g in g th e one

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th e y had h eard moat o fte n * F re q u e n tly she found th a t th e y a lre a d y knew

I t q u it e w ell* When c e r t a in p h raee a needed a t t e n t i o n , th e a e w ere p r a c t ic e d .

S e g re g a tio n o f p a r ta a t t h a t tim e and f o r t h a t pu rp o ae waa e n t i r e l y d i f f e r e n t

from te a c h in g th e whole aong p h ra s e by p h ra se —th e m elo d ic co n n ec tio n s o f

th e p a r t a had been f i r s t e s ta b l is h e d .

The rem a in in g aonga w ere ta u g h t in th e same way. In t h i a e la a s t h e r e

w ere alw ays ( 1 ) aonga w ith A i e h c h ild r e n were in t h e p ro o esa o f becoming

a c q u a in te d , (2 ) aonga w hich th e y w ere about to s t a r t s in g in g , (3 ) aonga which

th e y w ere in th e p ro c e s s o f le a r n in g , and (4 ) aonga which th e y knew.

M isa Jack so n bellow ed t h a t one o f th e re a so n s h e r c la s s le a rn e d aonga

a c c u r a te ly and e a s i l y waa t h a t th e y " tip p e d " th e aonga aa th e y l i s t e n e d and

le a rn e d them . "T ip p in g " i a ab o u t t h e same aa c la p p in g th e m eter o f th e

m uaie, n o t th e rhythm o f th e w ords, w ith t h e Im p o rtan t d if f e r e n c e t h a t th e

f i n g e r t i p s a r e used in s te a d o f th e palms o f t h e h an d s. T here i a no sound aa

a r e s u l t o f th e a c t iw ity . P h ra s e s which eould prove r h y th m ic a lly d i f f i c u l t

seem t o be s im p lif ie d by t h i s o o n s ta n t m uscular a s s o c ia tio n w ith th e m e ter.

"T ip p in g " prow idea f o r more a c tiw ity th a n a s in g le g in g e r ly mowing f in g e r in

b e a tin g tim e . B e a ts a r e a c t u a l l y f e l t and a r e n o t a lig h te d whan a s s o c ia te d

w ith " tip p in g " . M oreover, i t h a b itu a te s th e c h ild r e n to k eep in g tim e to g e th e r

w h ile s in g in g whioh w i l l be n e c e s s a ry l a t e r in re a d in g muaie in th e classro o m .

Aa M isa Jack so n sang to th e o h ild r e n she " tip p e d " w ith them . W hile th e y were

le a r n in g th e songs, a l l " tip p e d " . When a song waa le a r n e d , " tip p in g " had

se rv e d i t s purpoae and waa d is c o n tin u e d .

Toward th e end o f th e y e a r,« a f i r s t g rad e te a c h e r d ecid ed t o experim ent

and se e how many songs h e r o h ild re n could le a r n in one week by u s in g th e p la n

o f K is s Ja c k so n . The so n g s were s e le c te d by th e c h ild re n b e fo re th e week o f

e x p e rim e n ta tio n . D uring t h e p e rio d o f s e l e c t i o n th e o h ild re n h e a rd eaoh aong

 61

onoe o r tw ic e . On Monday th e a e tu a l l i a t e n l n g and le a r n in g p ro c e s s s t a r t e d .

On F rid a y th e c l a s s knee and sang v e i l n in e new f u ll - p a g e songs*

Some te a e h e r s have s a id t h a t th e y d id n o t have t i n e to te a c h so many

so n g s. The f i r s t s ta n z a o f Three L i t t l e K itte n s (vho l o s t t h e i r m itte n s )

r e q u ir e s tw enty-tw o seconds to s in g ; one s ta n z a and t h e chorus o f D ix ie ,

th i r ty - s e v e n seco n d s; and one s ta n z a o f The S ta r S pangled B anner, s ix ty -tw o

aeoonda. I f you w i l l ta k e a watch w ith a seoond hand and n o te th e tim e

n e c e s s a ry f o r s in g in g a song, you w i l l be e n lig h te n e d f u r t h e r on t h i s m a tte r .

I t ta k e s a s h o rt tim e t o s in g a song. The p ru d e n t u s e o f " s in g in g tim e " a s

tim e f o r s in g in g and n o t t a l k i n g w i l l acco m p lish much*

The q u e s tio n o f te n a r i s e s a s to w hether o r n o t th e te a c h e r sh o u ld s in g

w ith th e c l a s s . Many w r i t e r s say v e ry d e f i n i t e l y t h a t she sh o u ld n o t. The

th e o ry on w hich t h i a s ta te m e n t i s b ased i s t h a t a te a c h e r who i s s in g in g

oannot l i s t e n so w e ll o r o a r e f u l ly to th e c h ild r e n . T h e re fo re , i f she cannot

h e a r th e c h ild r e n she i s n o t ab le to n o tic e in c o r r e c tn e s s o f to n e s , o f m is­

pronounced w ords, o r o f bad to n e q u a l i t y . B e s id e s, i f she s in g s c o n s ta n tly ,

th e c h ild r e n w i l l come to depend upon h e r , r e s u l t i n g in a la c k o f grow th in

independence among them . Those w r i t e r s vho say t h a t t h e te a c h e r sh o u ld n o t

s in g w ith th e c l a s s have p ro b a b ly oome to t h a t c o n c lu sio n f o r a n o th e r re a so n

a f t e r v id e o b s e r v a tio n . Many te a e h e r s hav e beoome so h a b itu a te d t o s in g in g

w ith t h e c l a s s th a t t h i s a c t i v i t y p lu s an e q u a l amount o f ta lk in g d u rin g th e

rem ainder o f th e day r e s u l t s i n t h e i r b ein g u n n e c e s s a r ily t i r e d and worn a t

th e end o f each d a y 's s e s s io n . On th e o th e r hand, th e a u th o r b e lie v e s th a t

t h e r e a re tim e s when i t i s d e s ir a b le f o r t h e te a c h e r to s in g w ith t h e c l a s s .

For exam ple, i f songs a r e ta u g h t th e way M iss Jack so n ta u g h t h e r s o n g s,* th e

te a c h e r i n v i t e s t h e c h ild r e n t o s in g w ith h e r t o g iv e them co n fid e n ce in

s in g in g a song f o r t h e f i r s t tim e. O r, when s in g in g f o r fu n i s th e a c t i v i t y

* See page 59.

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o f th e m om ent--alnging th e o ld f a v o r i t e s and th e r e c e n t l y le a rn e d ones—

a te a c h e r vho does n o t s in g I s co n sp icu o u s. A c h i ld s a id to h i s te a c h e r

one day: "We s in g beoause w e 're happy and l i k e t o s in g . D o n 't you l i k e to

s in g or a r e n 't you happy?" She sang v i t h h e r o h ild re n a f t e r t h a t moment.

C onducting C h ild r e n 's Songs

The oonduotor o f a ch o ru s o r in s tr u m e n ta l group h a s much th e same r e l a ­

t i o n t o th e ensemble a s an o r g a n is t h as to h i s in s tru m e n t. The c h o ra l con­

d u c to r " p la y s " on th e ch o ru s a s t h e o r g a n is t p la y s on t h e k ey s and v i t h th e

s to p s o f th e o rg a n . I t . i s th e c h o ra l c o n d u c to r's b u s in e s s t o d i r e c t and

I n s p ir e th e c h o r is t e r s i n t h e i r s in g in g . . T h e ir aims a re th e same—th e b e s t

p o s s ib le i n t e r p r e t a t i o n o f th e m uaie a t hand* F o r tu n a te ly f o r t h e o r g a n is t

th e keys and s to p s o f t h e organ a r e m an ip u lated m e o h an iea lly —th e y have no

minds o r im p u lses o f t h e i r own* They obey a u to m a tic a lly . The conductor i s

n o t so f o r t u n a t e . H is " In stru m e n t" i s n o t so d o o ile . I t i a made o f tw e n ty ,

or s i x t y , o r th r e e hundred " p a r ts " , t h a t a r e d i s t i n c t l y in d iv id u a l, each

h av in g i t s own w i l l and whim. F o r th e a tta in m e n t o f th e c o n d u c to r 's aim

th e r e must be th e c l e a r e s t u n d e rsta n d in g between him and th e v a rio u s " J a r t s "

o f h i s " in s tru m e n t" . Complete and a b s o lu te o o - o rd in a tio n o f " p a r ts " i s

n e c e s s a ry .

D uring th e ag es th e r e h a s ev o lv ed a p a t t e r n o f symbols t h a t has se rv e d

le a d e r s in t h e i r atte m p t t o g ain t h i s d e s ir a b le c o - o r d in a tio n so th a t th e

m u sic a l r e s u l t w i l l be th a t which h e d e s ir e s w ith o u t h i s h aving to s t r i v e

f o r such r e s u l t s v e r b a l ly . I n a d d itio n t o t h i s p a t t e r n o f m otions (sym bols)

each conductor h a s h i s own in d iv id u a l v a r i a t i o n s and s ig n s th a t must be

u n d ersto o d by th e members o f th e g ro u p . C onducting could b e o a lle d a " s ig n

lan g u ag e" to be u sed i n a p a r t i c u l a r s itu a tio n * L ik e a l l la n g u a g e s, i t m ust

be u n d ersto o d in o r d e r t o be e f f e c tiv e *
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A con d u cto r s i g h t co n ce iv ab ly h av e i n h ia p o s s e s s io n a h a n d fu l o f

d i f f e r « n t c o lo re d f l a g a t o be oaad a a " s ig n a ls * i a co n rey in g h i a w ishes

to a group he i a le a d in g . The d is p la y o f th e g reen f l a g m ight be a a lg a f o r

s t a r t i n g ; th e b lu e on e, f o r slo w in g dona; th e y ello w one f o r in c re a s in g th e

volume; e t c e te ra * Howewer, t h i s i a n o t th e p a t t e r n t h a t h a s evolved f o r con­

d u c tin g . The c o n v e n tio n a l "co n d u cto r* a b e a t” l a a s e r i e s o f m o tio n s w hich h a s

a d e f i n i t e m eaning. The t e r n "dowi b e a t" and i t s meaning a r e g e n e r a lly fa m il­

ia r. The q u e s tio n t h a t i a o f in m ed iate concern i s : How much i n th e f i e l d o f

conducting h as a p la c e in th e classroom ? Should we ad o p t t h e methods o f th e

le a d e r o f th e dance band i n s t a r t i n g a s e le c tio n and p e t a m easure o f th e

d e s ir e d rhythm w ith o u r fo o t? O r, sh o u ld we adopt th e methods o f th e symphony

o r c h e s tr a le a d e r who sometimes g e t s a g lo r io u s b u r s t o f music by a s l i g h t

movement o f h i s bato n ?

The te c h n iq u e o f th e dance band le a d e r f i t s h i s purpose ad m irab ly . The

"thump, thump, thump" o f h ia f o o t s e t s th e tempo o f th e p ie c e . The tempo

whioh i s s e t in t h i s manner i s th e one c o n s ta n t among a v a r i e t y o f v a r ia b le s .

Dynamics, harmony o r melody may be changed as th e s e le c tio n p ro c e e d s, b u t th e

v ery purpose o f th e m usie p re c lu d e s v a r i a t i o n i n sp eed . There i s no i d e n t i t y

o f purpose in' co n d u ctin g in t h a t s i t u a t i o n and in co n d u ctin g i n th e classro o m .

On th e o th e r hand, th e te c h n iq u e o f th e symphony conductor would r e s u l t in an

i n t e r e s t i n g cacophony. At th e a lg n a l to s t a r t , bedlam would r e s u l t . Each

c h i ld would have h i s id e a o f th e p i t c h f o r t h e f i r s t word. Each c h ild would

have h ia id e a o f th e tempo. The p la y e r s in an o r e h e a tr a a r e tr a i n e d t o w atoh

th e eonduetor o lo e e ly in th e m a tte r o f b eg in n in g tempo and a r e re s p o n s iv e to

e v e ry s ig n a l he g iv e s , o r , beoause o f t r a i n i n g and e rp e x ie n o e , th e y can r e ­

member v a r io u s sp eed s. A lso , t h e i r to n e s a re f ix e d by t h e i r in s tru m e n ts o r

a r e r e l a t i v e to f ix e d to n e s , so t h e i r to n e s a t th e b eg in n in g o f th e s e le c tio n

a r e n o t th e r e s u l t o f im ita tio n o r lu o k b u t a r e th e r e s u l t o f th e p la y e rs* s k i l l .

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I n o rd e r f o r a group o f any s iz e to s t a r t s in g in g , each member o f t h a t

group must h a re a d e f i n i t e co n ce p tio n o f th e e x a o t p ito h and tempo o f th e

song to be sung. The more ex p e rie n c e d and b e t t e r t r a i n e d th e c h o ru s, th e l e s s

h e lp i t need s in u s in g t h i s im p o rta n t in fo rm a tio n . Each s e c tio n o f an e ig h t-

p a r t ohorus, w ith i t s a b i l i t y t o remember a tempo and to resp o n d t o th e s l i g h t ­

e s t v a r ia tio n su g g ested by th e c o n d u cto r, g e ts i t s p i t e h from one to n e . The

av erag e group o f c h ild r e n i n a classro o m needs mere h e lp th a n t h i s . U n less a

p ia n o in tr o d u c tio n i s u sed , a v o c a l in tr o d u c tio n sung by th e te a c h e r w i l l se rv e

th e purpose a d e q u a te ly . T h is in tr o d u c tio n should be long enough t o r e c a l l th e

« mood o f th e song i n a d d itio n to s e t t i n g th e tempo and in d ic a tin g th e p i t c h .

U su a lly th e f i r s t l i n e o r p h ra s e s s i l l s u f f i c e . U n less she n eed s to "B eat th e

tim e ” in o rd e r t o s in g c o r r e c t ly h e r s e l f , th e r e i s no re a s o n f o r h e r t o "eonw

d u e t" d u rin g h e r in tr o d u c tio n . As soon a s th e in tr o d u c tio n i s o v e r, she can

i n v i t e th e c h ild r e n to s t a r t s in g in g w ith a m otion o f h e r hand. S im ila r sim ple

s ig n a l s , appro x im atin g a s n e a r l y a s p o s s ib le th e c o n v e n tio n a l p a t t e r n s o f con­

d u c tin g , can be in tro d u c e d and used f o r in c re a s in g o r d e c re a s in g th e tempo o r

volume, s t a r t i n g and f i n i s h i n g p h ra s e s and songs, and in d ic a tin g s t r e s s on

c e r t a i n w ords. I t i s im p o rtan t t h a t th e "lan g u ag e" o f co n d u ctin g be u n d ersto o d

i n o rd e r f o r i t to bave th e d e s ir e d r e s u l t s . P r a c tio e in i n t e r p r e t i n g th e

m otions and s ig n a l s o f th e te a c h e r w ill f u r t h e r t b i s u n d e rs ta n d in g .

While th e fu n d am en tals o f co n d u ctin g rem ain th e same, th e s iz e o f th e

m otions used by th e le a d e r v a ry w ith tb s number in th e Chorus. Because o f th e

d is ta n c e betw een th e le a d e r and many o f th e f i v e hundred c h ild r e n in a la r g e

oh o ru s, th e s ig n a ls and d i r e c t i o n s o f th e le a d e r must o f n e o e s s ity be la r g e

and away from h i s body i f th e y a re to be se e n . D ire c tio n s should be c l e a r o u t

and sim ple w ith a l l u n n e c e ssa ry m o tio n s e lim in a te d . The s t y l e o f co n ducting

g roups o f t e n , t h i r t y , o r f i f t y o h ild re n i s q u ite d i f f e r e n t frost th a t o f

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d i r e c t i n g la r g e g ro u p s. The problem o f t h e i r s e e in g th e te a c h e r i s

e lim in a te d . Many o f th e cu es and s u g g e s tio n s f o r i n t e r p r e t a t i o n can be given

by means o f f a c i a l e x p r e s s io n s . There i s no n e c e s s it y f o r f u ll- a r m e d sweep­

in g m otions t h a t a r e obTious enough f o r hundreds to s e e . T here i s need on ly

f o r sm a ll w e ll-d e fin e d m o tio n s, v i s i b l e to th e group.

I t would seem d e s ir a b le f o r a l l co n d u cto rs to arra n g e t o se e th em selv es

in a c tio n by means o f a f u l l le n g th m ir r o r . I f t h i s i s n o t p o s s i b le , each

should " p re te n d " he h a s a group a t hand and conduct i n f r o n t o f a sm a ll m ir r o r.

C e r ta in ly , many o f th e c o n to rtio n s th ro u g h w bieh co n d u cto rs go a r e th e r e s u l t

o f h a b it and n o t p re m e d ita tio n , and le a d e r s th e m selv es would frown upon t h e i r

a c tio n s i f th e y were aw are o f t h e f a n t a s t i c b o d ily m o tio n s In v o lv ed in some

o f t h e i r c o n d u c tin g . I m ita tin g i n f r o n t o f a m irro r h i s a c tio n s b e fo re a

chorus would be illu m in a tin g f o r any le a d e r who h a s n o t had t h i s e x p e rie n c e .

Many p ro g ra n s have n o t been enjoyed b ecau se o f th e a n t i c s o f th e c o n d u c to rs.

These a n tio s have been th e show and n o t th e m usic o r th e O h ild re n .

The Poor S in g er

P eo p le v a ry in t h e i r a b i l i t y to s in g a s th e y v a r y in o th e r r e s p e c ts —
\
a s in h e ig h t, in o o lo r o f h a i r , re a s o n in g power, a b i l i t y t o d i f f e r e n t i a t e

c o lo rs and judge d is ta n c e s . Vox one p e rso n , s in g in g My Old K entucky Home

may be a s s ig n a l an achievem ent a s s in g in g th e le a d in g r o l e i n t h e c o lle g e

o p e r e tta may be f o r a n o th e r . As la a l l o u rv es o f d i s t r i b u t i o n ta k in g in to

c o n s id e ra tio n la r g e num bers, th e extrem es o f a cu rv e o f s in g in g a b i l i t y have

r e l a t i v e l y few p e rs o n s a t e i t h e r end. I n sch o o l th e c h ild r e n who c o n s ta n tly

o h a lle n g e th e re s o u ro e a o f t h e te ao h er a r e th o s e who have t o work more d i l i ­

g e n tly and c o n c e n tra te more c lo s e ly in o rd e r t h a t t h e i r s in g in g approxim ate

t h a t o f th e c h ild r e n w ith av era g e a b i l i t y . These c h ild r e n a re t h e o n es who

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w i l l be o a lle d "poor s in g e r* " f a r t h e p u rp o se o f t h i s d is c u s s io n . The

fo llo w in g m a te r ia l r e l a t e s e q u a lly w e ll t o a d u l ts who do n o t s in g a c c u r a te ly

and e a s i l y . Such a d u l ts have the same fu ndam ental problem s a s o h ild ren *

The I n a b i l i t y t o s in g a song—-and by " s in g " i s meant " c a rry a tim e" alo n e

. . i s m a n ife st in aew eral degrees* I t has n o th in g t o do w ith th e q u a l ity o f a

p h ra s e a c c u r a te ly reproduced! i t h a s to do o n ly w ith t h e a b i l i t y t o produce

to n e s a c c u r a te ly and in th e d e s ig n a te d seq u en ce. There a r e th o s e c h ild re n

in our so h o o ls who ( 1) oan s in g an easy song w ith t h e group b u t n o t alo n e!

(2 ) oan s in g a s in g le p h ra s e w ith a group but n o t alo n e! (3 ) oan s in g a s in g le

to n e w ith a group b u t n o t a lo n e . I n each c a se th e amount o f s in g in g w ith th e

group i s t h e i r g r e a t e s t a tta in m e n t. C onsidered in t h e r e v e r s e o r d e r , th e

s te p s g iv en above r e p r e s e n t an enoouraging d e g re e o f p r o g r e s s —n o t o n ly en­

co u rag in g b u t e x c itin g p ro g re s s f o r th e p a rso n who h a s alw ays w anted t o sin g

and h as n e v e r had anyone t o h elp him le a r n .

A n a ly sis o f th e Poor S in g e r 's D i f f i c u l t i e s

A p e rs o n who eannot sin g la o k a co m p letely o r p a r t i a l l y one o f th e fo llo w ­

in g f a c u l t i e s ! o r , a s i s most o f te n th e o a se , i s weak in a com bination o f

s e v e r a l o f them w hich m ains d ia g n o s is o f t h e i r tr o u b l e more d i f f i c u l t .

1. O ral power

P r a c t i c a l l y e v e ry e h ild i n th e p u b lic s c h o o ls has th e power o f

speech b u t o f te n Im pedim ents o f speeoh a r e p r e s e n t. A denoids and e n la rg e d

t o n s i l s i n t e r f e r e w ith s in g in g a s th e y do w ith speeoh.

8. A u ral power

The a b i l i t y t o h e a r d if f e r e n c e s and li k e n e s s e s i n to n e s and i n t e r ­

v a ls v a r i e s betw een th e p erso n who eannot t e l l God Save th e King from

The S t a r Spangled B anner, and th e p e rs o n who h a s a b s o lu te p i t c h .

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(A b so lu te p i t c h i s th e a b i l i t y t o i d e n t i f y by name any m u sic a l p i t c h . )

But w ith o u t th e a b i l i t y t o h ear th e r e can be l i t t l e s in g in g . I t i s th e

w r ite r * s o p in io n t b a t th e la e k o f a u r a l power i s not n e a r ly so p r e v a le n t

a s th e numbers o f n o n -s in g e rs would i n d i c a t e : i t i s a la c k o f t r a i n i n g

f o r in d iv id u a l grow th in p it c h p e rc e p tio n t h a t i s so p r e v a le n t. It is a ll

to o e a sy t o d is m is s w ith a wave o f t h e hand a p e rs o n who cannot im m ediately

s in g a c c u r a te ly a tu n e he h e a r s . He i s la b e le d and th o s e who oan s in g a r e

ta u g h t to s in g b e t t e r w h ile h e and o th e r s w ith poor p ito h p e rc e p tio n powers

a r e banned from th e a o t i v i t y o f even t r y i n g .

3. T onal memory

W hile some p eo p le a r e a b le to rep ro d u o e a c c u r a te ly a sm a ll group o f

two o r th r e e to n e s , th e y seem t o be u t t e r l y la o k in g i n th e power to

rm em b er p h ra s e s o f th r e e o f f o u r m easures i n le n g th .

4. M u sical e x p e rie n c e

The w r ite r h as worked w ith p eo p le who w ere s u re th e y c o u ld n 't s in g .

U su a lly i t d ev elo p ed t h a t a s c h ild r e n th e y had been t o l d n o t to t r y to

s in g , beoause th e y "co u ld n ev er le a r n t o s in g " . As a r e s u l t , th e y la v e

been se g re g a te d and s i l e n t f o r y e a rs d u rin g p e rio d s when o th e rs were s in g ­

in g . L i t t l e c h ild r e n , even th o u g h th e y la c k e x p e rie n c e i n m usic and i n

s in g in g , seem p e r f e c t l y w illin g to t r y tim e end tim e a g a in . A eommon

d i f f i c u l t y w ith th e s e f o l k i s b ein g u n ab le t o " f in d " t h e i r " s in g in g " v o ic e .

They t r y t o make t h e i r "sp eak in g " v o ic e " s in g " .

5. S e lf-c o n fid e n c e

R id ic u le o r an unaym pathie r e c e p tio n o f h is v o c a l e f f o r t s has

s ile n o e d many a w ould-be s in g e r . The mare s e n s i t i v e he i s , th e more d e t e r ­

mined he i s nev er to t r y a g a in . L i t t l e c h ild r e n seem to have u n q u estio n ed

c o n fid e n ce in t h e i r a b i l i t y t o le a r n to s in g —u n t i l th e sad day when th e y

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r e a l i z e t h a t o th e r s a r e making fu n o f them o r t h a t th e te a o h e r i s annoyed

b ecau se t h e i r e f f o r t s appear t o he u n s u c c e s s fu l. O lder p eo p le who oannot

s in g n o t o n ly h a re a f e e l i n g o f i n f e r i o r i t y to oyercome when th e y s t a r t

to le a r n , b u t th e y have to overcome a n extrem e la c k o f co n fid e n ce in t h e i r

a b i l i t y to do a n y th in g ab o u t i t .

Sometimes w ith th e s e in e p tit u d e s t h e r e i s an accompanying i n a b i l i t y to

" f in d " th e s in g in g v o ic e . A v a r i a t i o n o f t h i s i s th e f a i l u r e to conceive o f

a s in g in g to n e o u ts id e th e norm al ran g e o f th e sp eak in g v o ic e . I t seems im­

p o s s ib le f o r p e o p le w ith t h i s d i f f i c u l t y to s in g "up i n t h e h e a d " , t h e i r

plaoem ent o f to n e s b ein g o o n fln ed w h o lly t o th e c h e s t r e g i s t e r . The w r ite r

remembers a woman o f th i r ty - tw o who was in a freshm an o o lle g e m usic c l a s s .

She la c k e d in v a ry in g d eg ree s t h e f a c u l t i e s l i s t e d above, ex ce p t v o c a l pow er.

A fte r s e v e r a l weeks o f p r a c t i c e she was a b le to m atch any o f th e to n e s from

th e f i r s t l i n e E o f th e t r e b l e s t a f f to G im m ediately below . A fte r a n o th e r

p e rio d she eould s in g s in g le f i v e n o te com binations o f th e s e to n e s . By t h i s

tim e she was most e n t h u s i a s tic co n cern in g h e r s k i l l . But none o f th e d e v ic e s ,

from " sq u e a lin g " (w hich she was u n ab le to do) to s ta n d in g on t i p t o e and re a c h ­

in g i n th e a i r , whioh had a id e d o th e r s tu d e n ts i n a tte m p tin g t o g e t a con­

c e p tio n o f 16.e r e t o p la c e h ig h e r to n e s , h elp ed h e r . W ithin s e v e r a l months she

p ro g re s s e d so f a r aa to be a b le to re a d songs and le a r n them independent o f

h e a rin g th e melody, b u t alw ays w ith in her. p e c u lia r ra n g e . One day she came t o

th e m usic room l i t e r a l l y beam ing. On th e s t r e e t th e a fte rn o o n b e fo re sh e had

been s u c c e s s f u l i n h e r attem p t to im ita te th e squeak o f th e b ra k e s o f a oar

t h a t sto p p ed suddenly n e a r h e r . She had been a b le , a t l a s t , t o make a to n e

" in h e r h e a d ". A ccording to h e r s to r y , sh e "squeaked" a l l th e way home where

ahe p r a c t ic e d s in g in g a s e r i e s o f words on t h i s h ig h to n e . At lo n g l a s t she

had " fo m d " a head to n e and was t h e proud p o s s e s s o r o f a v o ic e adequate f o r

su bsequen t te a c h in g in h e r classro o m .
 69

S u g g estio n a f o r H elp in g th e Poor S in g e r

A p erso n eannot le a r n to swim by s i t t i n g on th e bank and m e re ly w atch­

in g o th e r s swim. He ean n o t le a r n to ru n a m ile in re c o rd tim e by view ing

th e r a e e s in a tr a c k m eet. He eannot le a r n t o d riv e a o ar by s i t t i n g i n th e

baek s e a t and w atching th e d r iv e r . W atching otherssw im , r u n , or d r iv e a c a r ,

haw ever, may i n s p i r e him to hope t o do th e s e t h i n g s . M oreover, o b s e rv a tio n

coupled w ith p r a e t io e i s conducive to th e developm ent of s k i l l , though mere

o b s e rv a tio n w i l l n o t r e s u l t in tb s d e s ir e d f a c i l i t y . So i t i s w ith le a r n in g

to s in g . A p erso n eannot le a r n to s in g by h e a rin g o th e r s s in g or se e in g o th e rs

s in g . O bserving th e h a b i ts o f o th e rs may h e lp him in t h i s a c t i v i t y b u t th e

a c t u a l le a r n in g ta k e s p la c e in s id e him a s th e r e s u l t o f h is own e f f o r t s . The

way t o le a r n t o s in g i s t o p r a c t i c e s in g in g . G uidance i s d e s ir a b le i f growth

i s to r e s u l t , b u t a l l of th e guidance and o b s e rv a tio n p o s s ib le w i l l a v a i l

n o th in g w ith o u t in d iv id u a l a c t i v i t y .

From t h i s , th e n ,, i t maty be deduced t h a t th e p e rs o n who can n o t s in g nor

t e l l God Save th e King from The S ta r Spangled Banner n eed s n o t o n ly p r a c t ic e

in s in g in g , but a g r e a t d e a l o f h e lp in g a in in g s k i l l in t h i s a c t i v i t y . The

In d iv id u a l who cannot " c a r r y a tu n e " in t h a t am azingly overworked b a sk e t n eeds

p r a c t i c e f o r t h e developm ent of h i s p it c h p e rc e p tio n pow ers.

S ince th e number o f c h ild r e n in th e p u b lic so h o o la who la o k o r a l power i s

n e g l ig ib l e , no s p e c ia l a t t e n t i o n w i l l be g iven to t h e i r problem s h e re . However,

th o s e w ith speeoh d i f f i c u l t i e s sh o u ld be c o n s id e re d . As a r u l e , th o s e who

stammer s in g w e ll w ith th e group and o fte n s in g w e ll a lo n e . Sometimes aden o ids

and e n la rg e d t o n s i l s cause th e same d i f f i c u l t y in s in g in g a s th e y do in speeoh.

As f a r a s t h e te a c h e r l a oon eem ed , h e r o n ly re c o u rs e i s to recommend th e

rem oval o f th e s e o b s ta c le s i f th e y a f f e c t s in g in g a b i l i t y . While t h i s i s

o b v io u sly n o t th e m ost im p o rta n t re a so n f o r g iv in g them a t t e n t i o n , i t m ight

be f u r t h e r s u b s t a n ti a ti o n o f need f o r t h e i r removal*
 70

A c tu a lly , In most ease* I t l a n o t easy f o r tb s te a c h e r t o d is tin g u is h

between a la c k o f a u r a l power and to n a l memory w h ile a tte m p tin g to h e lp a

p e rso n who h a s d i f f i c u l t y in s in g in g . I t r e q u ir e s no u n u su al a b i l i t y to

d ec id e t h a t Tom, who can s in g an e ig h t m easure melody a f t e r h e a rin g i t once,

has a b e t t e r memory f o r to n e s th a n J a n e , who can s in g o n ly h a l f o f th e melody

a f t e r h e a rin g i t o n ce. On th e o th e r hand, i t i s d i f f i o u l t to make a d ia g n o s is

a s to th e p a r t i c u l a r d i s a b i l i t y In th e c a s e o f A lic e who can n o t sin g th e two

to n e s she i s supposed t o re p ro d u c e . I t i s n o t e v id e n t w hether sh e cannot matoh

th e to n e s because th e i s u n ab le t o h e a r them as d e f i n i t e to n e s , or b ecau se sh e

cannot remember them lo n g enough to s in g them . F o r tu n a te ly fo r A lic e and h e r

te a o h e r , r e g a r d le s s o f which o f th e s e f a c u l t i e s i s weak, b o th w ill, im prove

w ith th e r e g u la r and sy ste m a tic tre a tm e n t which w i l l be su g g e s te d .

A u ral power in eo n n ec tio n w ith s in g in g does not have r e f e r e n c e to d eaf­

n e s s nor to p a r t i a l d e a fn e s s . I t r e f e r s , to th e a b i l i t y t o do th e fo llo w in g ;

1. D i f f e r e n t i a t e between h ig h and low to n e s

Tones f a r a p a r t sh o u ld be u sed f o r t e s t i n g : f o r exam ple, C second

*
l i n e above th e t r e b l e s t a f f and C two l i n e s below th e b a s s s t a f f . I f

th e s e cannot be produced on an in s tru m e n t a t hand, h ig h and low to n e s

produced v o c a lly by t h e te a o h e r w i l l s u ffio e * A d jacen t to n e s sh o u ld not

be used becau se o f t h e i r s i m i l a r i t y whioh sometimes o onfuses even th o s e

w ith good p e rc e p tio n pow ers.

8. D i f f e r e n t ia te s u f f i c i e n t l y w e ll between to n e s w ith in an o cta v e and a h a l f

c e n te re d around th e t r e b l e s t a f f t o be a b le to t e l l which o f two to n e s i s

th e lo w er, o r which o f th r e e to n e s i s th e h ig h e s t , e t c e te r a ^

T h is i s a s te p a b i t more advanced th a n th e le v e l o f h e a rin g l i s t e d

above because o f th e more li m it e d ran g e and l e a s ex ag g e rated i n t e r v a l s .

I n th e case o f in d ic a tin g w hich i s th e h ig h e s t o r lo w est o f t h r e e to n e s

a g r e a te r power o f to n a l memory i s n e c e s s a ry .
 71 f

3* M atch a s p e c if i c to n e .

( H a tc h * means to rep ro d u ce ro c a l l y th e p it c h in d i c a te d .) T his

one to n e should be w ith in th e o r d in a r y v o cal ran g e o f th e in d i v id u a l.

A p erso n ch o se e a r e n a b le s him to s in g an e i g i t m easure p h ra s e a f t e r

h e a rin g i t onee h a s l i t t l e com prehension, and to o o f te n , l i t t l e sympathy,

f o r t h e e f f o r t r e q u ir e d by some peo p le to m atch one s in g le to n e . For

th o s e who la p k o r n e a r ly la o k a u r a l pow er, m atching a s in g le to n e i s a

n o ta b le achievem ent. Once t h i s i n i t i a l s te p i s g a in e d , i t i s th e w r i t e r 's

o p in io n t h a t d e s ir a b le grow th in s in g in g i s p o s s i b le .

4. M atch two and th e n th r e e su c c e s s iv e to n e s .

A young man sp e n t te n m in u tes o f ev ery sch o o l day p r a c t i c i n g w ith

t h s m usic i n s t r u c t o r i n . c o l l e g e . He had n ev er sung end seemed t o be

la c k in g co m p letely th e powers which a re n e c e s s a ry . At th e end o f two

weeks o f c o n c e n tra te d p r a o ti e e he was a b le t o s in g th e 0 below m id d le C.

At th e end o f a n o th e r week he was a b le to s in g th e E and C below t h a t G.

He c a lle d th o se to n e s a o l-m i-d o . He was p le a s e d beyond w ards when he

d is c o v e re d t h a t by p u tt in g th o se th r e e to n e s to g e th e r he was a b le t o s in g

th e f i r s t th r e e to n e s o f D ix ie and The S ta r S pangled B anner. In an o th er

week he c o u ld s in g th e to n e s in re v e rs e o r d e r and was happy t o know th a t

he knew th e f i r s t m saaure o f The Blue Danube.

5. S in g a s h o r t p h ra s e .

C ontinuing th e s to r y o f th e c o lle g e s tu d e n t, even though h e knew

th e d o -m i-a o l and, f i n a l l y , th e ao l-m i-d o co m b in atio n s, i t r e q u ir e d a

w eek 's p r a o tie e f o r him t o s in g th e fo llo w in g :

v
 78

He d id n o t become c e r t a i n o f th e l a s t two n o te a f o r s e v e r a l days because

o f t h e i r p ro x im ity t o G. I n c id e n ta l ly , h i s c l a s s was a s p le a s e d w ith h i s

p ro g re s s a s he was and i n s i s t e d on s in g in g "R ay 's p ie c e " ev ery tim e th e y

met in o rd e r t h a t Ray m ight s in g w ith them .

6. S in g two p h r a s e s , and th e n th r e e , or one lo n g p h r a s e /

A b ili ty t o s in g t h i s amount means t h a t th e in d iv id u a l can s in g

lo n g e r songa w hich a re b u i l t on a p a t t e r n o f p h rase r e p e t i t i o n . Tor

exam ple, in th e m usic n o ta te d a t th e bottom o f page 71, m easures f i v e and

s i x a r e e x a e t r e p e t i t i o n s o f m easures one and tw o. M easures th r e e and seven

a r e a l i k e ex o ep t f o r one to n e . R e p e titio n o f m elo d ic p a t t e r n s i a a fu n d a­

m e n tal p r a c t i c e in m u sic a l form . Tor th e p e rso n w ith l i m it e d a u r a l pow er,

t h i s p r a c t i c e o f f e r s -an e x c e lle n t means f o r ex te n d in g th e u se of h i s power

w ith o u t to o much e f f o r t .

Each o f th e s e le v e l s o f s in g in g power i s a d e f i n i t e advanee over th e p rece d in g

o n e.

As waa s t a t e d b e f o r e , a c t u a l d i f f e r e n t i a t i o n betw een th e cau ses o f un­

c e r t a i n s in g in g i s d i f f i c u l t . Improvement i n a u r a l p o se r and to n a l memory

w i l l r e s u l t from th e same d e v ie e s ito ich have proved s u c c e s s f u l in many c a s e s .

One im p o rta n t f a c t must be p o in te d o u t t o th e te a c h e r and i t cannot be s tr e s s e d

to o o f te n . I f an I n d iv id u a l i s weak in h i s a b i l i t y t o rememberto n e s , and

p r a c t i c e i s d e v ise d t o c o r r e c t t h i s w eakness, t h e r e m ust be o p p o rtu n ity to

remember d u rin g th e p r a c t i c e p e r io d . T h is means t h a t th e p erso n must have

o c c a sio n to _ h e a r and th e n t o a la g . S in g in g c o n s ta n tly w ith t h e c l a s s o r th e

te a o h e r w i l l n o t promote h i s grow th. He can s in g alo n g a f r a c t i o n o f a second

behind th e le a d e r s and w i l l seem ingly be d o in g w e ll. A c tu a lly he h a s to

remember o n ly one to n e a t a tim e a s he s in g s in t h i s m anner. S in g in g with-

th e p ian o m ight be d o in g him seme good b u t i t i s n o t d ev elo p in g h i s m u sic al

 78

memory. He n eeds o p p o r tu n itie s f o r h e a rin g end th e n s in g in g alo n e i f grow th

in t h i s r e s p e c t i s t o r e s u l t . Some d e v ic e s which can be used t o prom ote th e

d e s ir e d grow th in im ita tin g to n e s o r groups o f to n e s a r e th e f o llo w in g :

1. I m ita tin g a s ir e n sound on th e n e u t r a l s y l l a b l e " lo o ” w i l l h e lp a c h ild

•

f in d b i s s in g in g v o ic e o r bead to n e . P ro lo n g in g one o f th e h ig h e r to n e s

w i l l h e lp f i x th e bead to n e . I f th e p erso n i s n o t a b le to m atch th e

t e a c h e r 's b eg in n in g to n e , th e te a c h e r sh o u ld matoh th e to n e she h e a r s

and p ro ceed upwards from t h a t . When th e upper to n e s a r e a t ta in e d , p ra c ­

t i c e sh o u ld alw ays s t a r t th e r e and d escen d in g m e lo d ies be u sed . T h is

h e lp s c a r r y th e d e s ir e d head to n e q u a l ity t o th e low er to n e s and e r a d ie a te

f o rc e d s in g in g .

The id e a o f " l i f t i n g " t h e to n e can be developed by bav in g th e o h ild

im ita te o r answer a o a l l by th e te a c h e r . One te a c h e r o a l l s th e r o l l by

u s in g th e to n e s o f th e to n i c ohord and each c h i ld answ ers on th e same

to n e . I n t h i s way t h e c h ild g e ts th e id e a o f 'c a l l i n g over* t o th e

te a c h e r , and th ro u g h t h e power o f su g g e s tio n t h e to n e s a r e l i f t e d up and

o v e r.

A p p ealin g to t h e c h i l d 's im a g in a tio n by g iv in g him a d e f i n i t e o a l l

t o s in g in a song w hich i s to be d ram a tised h a s proved s u c c e s s f u l. The

i n t e r v a l o f th e o a l l sh o u ld be easy and w id e, t a r exam ple, in th e song,

The L i t t l e Bed Hen, th e answ er TOot I ! " t o th e o f t re p e a te d q u e s tio n of

who w i l l h e lp the* L i t t l e Hen, sung on do-m l- o r d o -s o l in th e Key o f C,

D, o r K, would r e s u l t i n t h e u s e o f th e head to n e . Songs w ith p o s s i b i l i ­

tie s fo r th is p u rp o se o r th o s e th a t oould be ad ap ted to t h i s p u rp o se a re

found i n most books o f c h i l d r e n 's songs*

 74

2. R epeated p h ra s e s l a songs th e c la s s knows o f f e r I n t e r e s t i n g so u rc e s

o f m a te r ia l f o r p r a c t i c e . These b i t s o f songs have two ad v an tag es a s

m a te r ia l: ( a ) a d d i tio n a l o p p o r tu n itie s f o r h e a rin g a r e o f f e r e d ev ery

tim e th e group s in g s th e song, and (b ) when th e in d iv id u a l le a r n s to

s in g them, he can jo i n th e c la s s in s in g in g th e p a r t s he knows. P eople

w ith poor p it o h p e rc e p tio n pow ers r e q u ir e many more r e p e t i t i o n s o f

m a te r ia l b e fo re th e tu n e makes an im p ressio n ; th e r e f o r e , w orking on

p h ra s e s o f f a v o r i t e songs— songs l i k e l y t o be sung q u ite o f te n — in s u r e s

f r e q u e n t, more o r l e s s u n p lan n ed , o p p o r tu n itie s f o r b e a rin g .

3. By means o f a c o -o rd in a te d in s tru m e n ta l and v o c a l ap p ro ac h , m ech an ical

a id s have proved v a lu a b le f o r r e p r e s e n tin g p it c h d if f e r e n c e s , such a s a

wooden la d d e r , a f l i g h t o f s t a i r s , p ia n o keyboard and f in g e r i n g a f l u t e .

The r e s u l t s o f an ,experim ent in w hich d i f f e r e n t p itc h e s w ere a s s o c ia te d

w ith d e f i n i t e o b je c ts le d th e in v e s t ig a t o r s to conclude t h a t m ost p it c h -

d e f i c i e n t c h ild r e n oan be t r a i n e d to d is ti n g u is h and re p ro d u ce p i t o h w ith

aocuraoy s in c e many o f th e s tu d e n ts who to o k p a r t in th e experim ent

a t ta in e d th e s ta n d a rd w hich i s Bet f o r t h e i r r e s p e c t iv e c l a s s e s . 1

4. F ix in g c e r t a in com b in atio n s o f to n e s in th e m inds o f th e in d iv id u a l and

le a r n in g o th e r to n e s in r e l a t i o n to th e s e i s o f d e f i n i t e v a lu e . The

w r ite r h a s had s u c c e s s w ith o ld e r o h ild re n and a d u lts by te a c h in g them to

s in g th e to n i c ehord and " f ix in g " t h a t in t h e i r memory by d i l i g e n t and

s y ste m a tic p r a o ti e e and r e l a t i n g f u r t h e r stu d y t o t h a t o h o rd . D o-so1-m i-

do a c t* a s a "h an d le" w hich o b j e c t i f i e s c e r t a in to n a l r e l a t i o n s h i p s in

th e whole realm o f to n e . Once th e con cep t o f t h i s fu n d am en tal r e l a t i o n ­

s h ip i s a p a r t o f th e s tu d e n t* s equipm ent, h e h as a f ix e d p o in t from which

1. S y lv ia F .B le n s to o k , Ren a r t o f n a t i o n a l Survey o f E x p erim en tal P r o je c t s in

M usic E d u ca tio n . M usic E d u c a to rs n a t i o n a l C onference 1936 Y earbook .
C hicago: The C o u n cil, 1936. P . 877.
 78

t o m easure t h e p o s iti o n s o f o th e r to n es* O ften t h i s oonoept h a s been

a c q u ire d a t th e p ian o keyboard s h e re th e p e rso n e o u ld w atch and stu d y

t h e r e l a t i o n o f th e keys to t b e i r sound* Obs e r r a t i o n o f th e d is ta n c e s

between th e b a rs o f a xylophone o r a m irim be i s e f f e c t i r e . E s ta b lis h in g

o b je c tiv e ly th e r e l a t i o n o f to n e s seems to be o f d e f i n i t e v a lu e in in c r e a s ­

in g th e u n d e rs ta n d in g o f th e r e l a t i o n o f to n e s .

5* For l i t t l e o h ild re n who hav e d i f f i c u l t y in " fin d in g " t h e i r s in g in g v o ic e

o r in f ln g in g w ith a head to n e , d ra m a tis in g th e a l l u s i o n to h e ig h t and

s in g in g a t th e a w e tim e i s o f te n e f f e c tiv e * S ln g ih g an t i p t o e w ith arms

t r y i n g to to u c h t h e c e l l i n g , s in g in g from a "p e rc h " in th e room—th e

te a o h e r* s d esk o r a t a b l e —and im ita tin g a b ir d w i l l g iv e them th e id e a

o f h e ig h t.

The teaoheor must keep in mind the following fa cts relative to these
devices and their purpose:
1* They o f f e r sim p le s in g in g and l i s t e n i n g e x p e rie n c e s on th e l e v e l o f th e

i n d i v i d u a l ^ a b i l i t i e s w ith t h e id e a o f p ro v id in g f o r t h e r e le a s e and

grow th o f h i s pow ers, r e g a r d le s s o f how li m ite d th e y seem t o be*

S. O b je c tif y in g to n a l r e l a t i o n s h i p s h as proved to be o f v a lu e i n te a c h in g

th e s e r e la tio n s h ip s *

3. Where th e r e i s no a u r a l power t h e r e i s no s in g in g power: th e r e f o r e ,

o p p o r tu n itie s f o r d ev elo p in g a u r a l power by l i s t e n i n g and th e n rep ro d u c ­

in g m ust b e a v a ila b le *

4* The a b ility to matoh one tone earrectly is su fficien t basis upon which to

build for singing power.

8, Finally, and most important, the way to learn to sing is to practice
singing with help and under guidanoe*
 ?e

A id in g a c h ild to f in d h i s s in g in g t o ic e i s th e r e s p o n s i b i l i t y o f a l l

o f h i s te a c h e r s , n o t j u s t h i s f i r s t - g r a d e te a c h e r* I t o f te n happens t h a t a

d e v ic e o r a su g g e stio n o r th e p a tie n c e o f h is f i f t h - g r a d e te a c h e r o r h i s

h ig h sch o o l te a c h e r w i l l r e s u l t in d e f i n i t e Improvem ent, even though p re v io u s

h e lp was n o t e f f e e tiv e * Because th e f i r s t - g r a d e te a o h e r i s aocustom ed to

sp en d in g much e f f o r t and tim e in h e lp in g th e in d iv id u a l c h i ld to sing* she

a o o e p ts th e o h a lle n g e o f th e s e u n c e r ta in s in g e rs a s a r e g u la r p a r t o f h e r

work. The seco n d -g rad e te a c h e r more o r l e s s e x p e c ts t o do t h i s k in d o f r e ­

m e d ia l work w ith a few boys and g i r l s . I t so happens t h a t th e s e te a c h e r s a r e

u s u a lly so s u c c e s s f u l in t h i s p h ase o f t h e i r te a c h in g t h a t few c h ild r e n f a i l

to respond t o i t . I f a c h ild does n o t respond* i t i s th e d u ty o f ev ery te a c h e r

w ith whom he comes in o o n ta c t to work c o n s c ie n tio u s ly in a id in g him .

What s h a l l we do w ith th e s e u n c e r ta in s in g e r s d u rin g s in g in g tim e? In

t h e f i r s t plaoe* have them s i t i n th e f r o n t so t h a t th e y w i l l be in th e b e s t

p o s s ib le p o s iti o n t o h e a r th e good s in g e r s o f t h e g roup. S in ce le a r n in g to

s in g i s accom plished th ro u g h sin g in g * th e s e o h ild r e n should have as much

e x p e rie n c e in t h i s a c t i v i t y as i s p o s s i b l e . The p ro g re s s o f th e s e u n c e r ta in

s in g e r s can become a m a tte r o f concern t o th e c l a s s . I t depends on t h e

a t t i t u d e o f t h e te a o h e r w hether th e I n d iv id u a l a t t e n t i o n w hich i s n e c e s s a ry

i s c o n sid e re d a ch o re o r a s p le n d id o p p o rtu n ity f o r developm ent. Asking th e

c o -o p e ra tio n o f th e c l a s s in s in g in g p h ra s e s f o r im ita tio n o r p ro lo n g in g to n e s

w h ile th e p o o re r s in g e r s atte m p t to m atch them a r e ways in which th e group can

*

h e lp . One te a c h e r n o tic e d t h a t th e u n o e rta ln s in g e r s d id much b e t t e r When

th e y were a b le t o s t a r t a song e x a c tly on th e e o r r e e t to n e . As a r e s u l t o f

t h i s o b se rv a tio n * she tr a i n e d h e r c l a s s to p ro lo n g th e f i r s t word o f a song

b e fo re g iv in g d ir e c tio n s f o r p ro c e e d in g . A c tu a lly , t h i s was an e x c e lle n t d r i l l

 77

i n l i s t e n i n g and s ih g in g w hich "fixed** a c e r t a i n to n e from which o th e r

i n t e r v a l s could be m easured. I f p h ra s e s o f songs a r e need a s p r a o tie e

m a te r ia l f o r th e s e o h ild r e n , th e y should a t l e a s t be allow ed t o s in g th e s e

p h ra s e s a s th e o la s s s in g s th e song. The w r ite r b e lie v e s , w ith two r e s e r v a ­

t i o n s , t h a t th e s e o h ild r e n sh o u ld s in g d u rin g s in g in g tim e . The r e s e r v a tio n s

a r e : (1 ) when th e o la s s i s le a r n in g a new song, th e s e o h ild re n who do n o t

have f a i r l y a e o u ra te a u r a l power should rem ain s i l e n t because t h e in c o r r e c t

to n e s th e y s in g may be in c o rp o ra te d in to th e tu n e th e o la s s i s le a r n in g .

However, a s soon a s t h e m elodic p a t te r n i s le a r n e d , an o c c a s io n a l in c o r r e c t

to n e w i l l n o t d i s t r a c t th o s e who know th e tu n e . (2) The o h ild re n who have

n o t found t h e i r s in g in g v o io e s and because o f t h i s drone along on one u n re ­

l a t e d p it o h sh o u ld be ask ed to c o n fin e t h e i r s in g in g to t h e i r in d iv id u a l

s in g in g tim e f o r th e sake o f th e c l a s s .

A o la s s i n th e f o u r th grad e w hich th e w r ite r v i s i t e d s e v e r a l tim es d u rin g

one y ear became annoyed a t G eorge, one o f -th eir c la s s m a te s . George droned—

h a p p ily and w ith c o n s id e ra b le volume. H is te a c h e r e i t h e r d id n o t aooept th e

r e s p o n s i b i l i t y o f h e lp in g him o r she had no id e a o f t h e s o r t o f h e lp he n eeded.

S e v e ra l o h ild re n in th e c l a s s , remembering th e e f f o r t s o f p re v io u s te a c h e r s

w ith George and o th e r s o f h i s i l k , v o lu n te e re d to spend s in g in g tim e in a

co rn er o f th e h a l l w ith George to h elp him . Each day George re c e iv e d a p e rio d

o f h e lp from one o f h i s o la ss m a te s . As was ob serv ed on a l a t e r v i s i t , th e

tre a tm e n t was e f f e o t iv e in two ways: G eo rg e's s in g in g power developed and

improved so t h a t he was a weloomed member o f t h e group when he co n fin e d h is

e f f o r t s t o e e r t a i n p h ra s e s o f songs; and he seemed t o be happy a w a itin g q u ie t­

l y h i s n ex t tu r n t o s in g .

These u n c e r ta in a ih g e r s must n o t be a l ie n a t e d from m usic j u s t because th e

guidance and h e lp th e y r e q u ir e d i f f e r s from th e n eeds o f th e rem ainder o f t h e

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group* Nor has I t been proved t h a t a v e ra g e o r below average e in g ln g a b i l i t y

i s an in d i c a ti o n o f a la c k o f power f o r u n d e rsta n d in g and enjoym ent in o th e r

p h ases o f music* The f a c t t h a t s in g in g f a m i l i a r songs w ith a group may r e p r e ­

se n t th e h e ig h t o f t h e i r v o o al prow ess sh o u ld n o t p re c lu d e th e o p p o r tu n itie s

f o r t h e i r moat e x te n s iv e developm ent. T h is f i n a l a tta in m e n t m ight c o n ce iv ab ly

be th e so u rce o f much fu n end enjoym ent and no one r e a l l y h aa th e r i g h t to

d e p riv e th e s e w ould-be c h o r is t e r s o f i t *

R eading M usic

The p i a n i s t who can re a d new m a te r ia l a t s ig h t and p la y i t a c c u r a te ly

and a r t i s t i e a l l y a t th e f i r s t atte m p t i s a b le to do so f o r th e fo llo w in g

re a s o n s :

1* He has s u f f i c i e n t te c h n ic a l a b i l i t y f o r p la y in g th e com posltloh which

e n a b le s h ia f in g e r s to resp o n d a u to m a tic a lly to th e im p re ssio n s re c e iv e d

by h i s ey es from th e s c o re .

8. H is eyeB t r a v e l a c r o s s th e m usic ahead o f h is f in g e r s in th e p ro c e s s o f

re o o g n is ln g groups o f sym bols. By so d o in g th e r e i s tim e f o r s c r u tin y

o f u n u su al rh y th m ic p a t te r n s o r com binations o f n o te s .

3* He comprehends and i n t e r p r e t s th e v a rio u s g u id e s t o i n t e r p r e t a t i o n on th e

p r in t e d p ag e.

The s in g e r who can re a d a sang a c c u r a te ly and a r t i s t i e a l l y a t th e f i r s t

a t t e s t i s a b le to do so f o r th e fo llo w in g re a s o n s :

1. He h a s s u f f i c i e n t v o c a l oom trol so t h a t h i s v o io e resp o n d s a u to m a tic a lly

to t h e com binations o f to n e r e c a l l e d by h i s m u sic al memory from th e

im p ressio n s r e c e iv e d by h i s e y e s. The r e c o g n itio n and p ro n u n c ia tio n o f

th e words o f th e song seem to be sim u ltan e o u s w ith vo o al re s p o n s e .

8. H is e y e s t r a v e l ahead o f h i s u tte r a n c e s in t h e p ro c e s s o f symbol and word

re c o g n itio n . By so doing th e r e i s tim e f a r c a r e f u l s c r u tin y o f u n u su al

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rh y tb n io p a t t e r n o r co m b in atio n s o f n o tes« w ■

3. Ha a u to m a tic a lly comprehends t h e v a rio u s s ig n s on th e p r in te d page to

gu id e in t e r p r e ta tio n *

Upon a n a l y s i s , i t would seem th a t th e f i r s t ite m p re s e n te d i n d i c a te s a

d if f e r e n c e in th e p e c u lia r powers n e o e s s a ry f o r e x e c u tio n in th e s e two ty p e s

o f m usic re a d in g . The a u to m atic re s p o n s e o f th e p i a n i s t ’ s a g i l e f in g e r s to

th e eye im p ressio n i s e q u iv a le n t t o o r s e rv e s th e same p u rp o se a s th e au to m atic

r e c a l l by th e s i n g e r 's m u sic a l memory o f th e to n e s su g g ested by th e symbols

seen by th e ey e.

A u th o r itie s ag ree t h a t f o r a r e a l com prehension o f m usic, c h ild r e n Should

have power o f t h e i r own to i n t e r p r e t a r t i s t i o a l l y and a c c u r a te ly th e language

of th is a rt. As in o th e r la n g u a g e s, a com plete u n d e rsta n d in g comes w ith stu d y

w hich i s p o s s i b le o n ly w ith in dependent re a d in g power. The c o r r e c t t r a n s l a t i o n

o f m usic n o ta tio n i s th e g o a l o f t r a i n i n g in m usic r e a d in g .

A n a ly sis o f th e v a rio u s te c h n iq u e s n e c e s s a ry f o r th e s in g e r "who oan re a d

a song a c c u r a te ly and a r t i s t i c a l l y a t t h e f i r s t a tte m p t" in an e f f o r t to a s­

c e r t a i n th e s e p a r a te s k i l l s w hich go to make up th e s e te c h n iq u e s i s d i f f i c u l t .

H eading v o o al m usic i s a h ig h ly co m p licated p ro c e d u re : (1 ) th e s in g e r m ust be

a b le to see and s in g , (8 ) h e o u s t be f a m i li a r w ith th e ap p earan ce o f th e page

o f m usic and be ab le to comprehend and know th e use o f th e symbols th e re o n —

c l e f s , m easure s ig n a tu r e s , n o te s and marks in d ic a tin g tempo and volume, and

(3 ) he m ust have p r a c t i c a l l y an u n lim ite d number o f co m b in atio n s o f two to s ix

to n e s s to r e d i n h i s m u sic a l memory ana-pow er to b r in g them i n t o u se in accordance

w ith th e req u ire m en ts o f th e n o te s o f t h e song. S in ce a s in g le to n e h a s no

m u sic a l meaning u n le s s i t s r e l a t i o n s to o th e r to n e s i s c o n s id e re d , a l l th e

p o s s ib le s h o rt to n a l groups must be s to r e d in th e memory. R eco g n itio n o f th e

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name* o f n o te s ( l e t t e r , number o r s y lla b le ) means n o th in g i f th e memory oan

n o t r e e a l l t h e i r sound. A f te r th e s in g e r re c o g n iz e s th e n o te s ( c - d - e - f - g )

on th e s c o re , h i s memory must r e c a l l th e sound o f t h a t com bination w hich he

th e n m ust have th e power t o make au dible* O ften th e s e t o n a l g ro u p s have to

be eombined* T h is p ro e e s s o f eye r e c o g n itio n , memory r e o a l l , and u tte r a n c e

n eed s to be. a u to m a tic . (4 ) He must be a b le to u n d e rsta n d and to pronounce

th e words o f th e song. U n d erstan d in g on h i s p a r t i s n e o e sa a ry f o r th e pro p er:

i n t e r p r e t a t i o n o f th e t e n t ; and p ro n u n c ia tio n i s n e c e s s a ry in o rd e r th a t mean­

in g be conveyed to th e l i s t e n e r s .

Upon, th e b a s is o f t h i s a n a ly s is o f t h e v a r io u s te c h n iq u e s n e c e s s a r y f o r

s in g in g songs a t s i g h t , p ro ced u res f o r te a c h in g m usic r e a d in g w i l l be in d ic a te d

and su g g e ste d . A lthough i t is_ a h ig h ly co m p licated m a tte r , i t becomes f a i r l y

sim ple when th e p r e lim in a r y s te p s and a c t u a l p r a o tlo e s a re in tro d u c e d g ra d u a l­

ly . When p la n n in g to in tro d u c e a new s te p th e te a c h e r sh o u ld a s k h e r s e l f th e

q u e s tio n , "Does th e group have t o be s k i l l e d in t h i s p a r t i c u l a r a c t i v i t y a t

t h i s tim e?" Q u estio n s l i k e th e fo llo w in g a r e c o n s ta n tly b ein g ask e d : "When

do you te a c h th e d o tte d e ig h th n o te ? " "Whan do you te a c h th e minor mode?"

"When do you te a c h ch ro m a tic s? " The answer to th e s e v a r ie d q u e s tio n s i s th e

same: "When th e c h ild n eed s th e s e s k i l l s f o r h i s r e a d in g ." Such an answ er

m ight seem to o o b v io u s and to o g e n e r a l, b u t p a s t p r a c t ic e s o f m usic te a c h e r s

would in d ic a te t h a t su ch a s ta te m e n t sh o u ld be made. In language re a d in g ,

th e word " a s s im ila te " i s n o t ta u g h t a g a in s t t h e day when a c h ild m ight want

t o know i t . I t i s ta u g h t when th e c h ild n eed s t o know i t . "When do you te a o h

th e l e t t e r names o f th e l i n e s and sp aces o f th e s t a f f ? " For each group and

each s i t u a t i o n th e s p e c i f i c answer i s d i f f e r e n t —b u t th e g e n e ra l answer i s :

"When th e c h ild needs to have t h i s in fo rm a tio n b e fo re he oan p ro g re s s f u r t h e r . "

 81

Mualo R eading B ead in ess

In t h i s d is s u a s io n th e r e w i l l be c o n tin u o u s r e f e r e n c e to t h e n e c e ss a ry

te c h n iq u e s in m usic re a d in g a s developed in th e Im m ediately p re c e d in g sec tio n *

B efo re a c h ild a c t u a l l y p ie k s up a book o f m e lo d ies w ith words and a tte m p ts

to t r a n s l a t e in to a sang what m ight seem to be c o n sid e re d an amazing conglomer­

a t io n o f d o ts p r in te d on l i n e s , he n eed s c e r t a in d e f i n i t e s k i l l s which come a s

th e r e s u l t o f p a r t i c u l a r ex p erien ces* The f i r s t o f th e s e i s s in g in g s k i l l * In

re a d in g la n g u a g e , no a tte m p t i s made to te a c h a c h ild to re a d u n t i l he can

sp eak . I n th e f i e l d o f m u sic, d ev elo p in g s k i l l i n e i t h e r re a d in g or sin g in g

i s problem enough w ith o u t th e f u r t h e r co m p lic a tio n o f t r y i n g t o le a r n th e o th e r

a c t i v i t y a t th e same tim e . T h at l a s t sta te m e n t i s n o t meant to be f a c e tio u s .

The a u th o r h a s seen te a oh e ra a tte m p tin g to te a c h th e re a d in g o f m usic to o h il­

d re n who had been in sc h o o l fo r a t o t a l o f on ly fo u r and a h a l f m onths.

P ro b a b ly t h e m ost im p o rtan t and t h e l e a s t o f te n c o n sid e re d p h ase o f m usic

re a d in g r e a d in e s s i s a background o f s in g in g . S e v e ra l y e a rs o f s in g in g e x p e ri­

ence in sch o o l i s d e s ir a b l e . T his e x p e rie n c e i s com parable to and se rv e s th e '

same p u rp o se a s th e c h i l d 's e x p e rie n c e betw een th e tim e he le a r n s t o t a l k and

th e tim e he b e g in s to re a d words o r s e n te n c e s . D uring th o s e y e a rs h e h a s been

a c q u irin g a v o c a b u la ry . Engaging in an e x te n s iv e s in g in g program h a s f a r

re a c h in g consequences s in o e i t i s by t h i s means t h a t t h e c h ild a c q u ire s h is

v o cab u lary o f to n a l combinations. A v o cab u lary o f t o n a l com binations i s a

r e q u i s i t e f o r s u c c e s s f u l grow th in r e a d in g m uaie. The sounds o f th e s e com­

b in a tio n s a r e what th e m u sic a l memory r e c a l l s aa a r e s u l t o f th e eye Im p ressio n .

For example th e eye s e e s :

 88

Upon th e re c o g n itio n , o f th e s e sym bols, th e m u sle a l memory r e o a l l s th e sound

or tu n e o f t h i s co m b in atio n , w hich tu n e th e s in g e r t r a n s l a t e s o ra lly * The

o n ly re a so n th e memory i s a b le t o r e c a l l th e sound o f t h i s com bination i s

beoause c o u n tle s s r e p e t i t i o n s have f ix e d it * Reading music i s th e resp o n se

w ith known to n a l co m b in atio n s to th e s u g g e s tio n s on t h e p r in te d p ag e. More­

o v e r, i f t h i s co m bination o f n o te s has to be s tu d ie d , f i r s t , t o f i n d out what

th e com bination i s and a second tim e to d isc o v e r what sound th e n o te s i n d i c a te ,

th e p ro c e s s o f re a d in g m usic becomes a t a s k o f p r a c t i c a l l y unsorm ountable

d iffic u lty . How much s in g in g e x p e rie n c e i s n e c e s s a ry f o r t h i s s t o r e o f to n a l

com binations to be b u i l t up and f ix e d ? At l e a s t two y e a rs a f t e r k in d e rg a r te n

a r e n e c e ss a ry and th r e e a r e d e s ira b le *

When a c t u a l re a d in g h a s been d e fe rre d i n o rd e r t o make p o s s ib le t h i s

prolonged s in g in g e x p e rie n c e , t h e r e i s an ad v an tag e o th e r th a n a c q u irin g

f a m i l i a r i t y w ith to n a l co m b in atio n s. M a tu ra tio n b r in g s about a d e c re a se in

th e problem s a r i s i n g from im m ature v is u a l and a u d ito r y p e r c e p tio n . Toung

c h ild re n o f te n p ay a t t e n t i o n to t h e main c h a r a c t e r i s t i c s o f v i s u a l s tim u li

and ig n o re d e t a i l s . I f , in s p i t e o f good eye s i g h t , th e y do not n o tic e d i f f e r ­

ences in words or l e t t e r s when ask ed to m ateh them , how can th e y p o s s ib ly be

expected to n o tic e th e f i n e d if f e r e n c e s betw een n o te s on n e ig h b o rin g l i n e s and

sp aces o f th e s t a f f ? I t seems p ro b a b le , to o , t h a t o h ild re n who have te n d e n c ie s

to make r e v e r s a l e r r o r s and who hav e n o t y e t le a rn e d to lo o k a t a word alw ays

from l e f t to r i g h t would have a s im i la r d i f f i c u l t y i n le a r n in g t o re a d m u sic .

U n fo rtu n a te ly , becau se o f th e l i m i t a t i o n of tim e , m u sic r e a d in g i s g e n e r a lly

a group p r o j e c t . I t i s f a i r l y easy fo r an u n c e r ta in re a d e r or s in g e r to fo llo w

th e tu n e s e t by th e m a jo r ity of th e c l a s s . T h is would make i t p o s s ib le f o r th e

c h ild who m a k e s .re v e rs a l e r r o r s t o o o n tln u e f o r days h i s a tte m p t t o r e a d from

 83

r i g h t t o l e f t and th e f a c t be unknown to h ia te a o h e r . F or th i a re a s o n , i t i a

b e a t to w a it f o r m a tu ra tio n of y ia u a l and a u d ito r y p e r c e p tio n b e fo re a tte m p tin g

muaie re a d in g .

E x p erien cin g w ith b o d ily movement a th e rhythm a t h a t w i l l l a t e r be found in

aongs to be re a d i a an im p o rtan t phase o f m usic r e a d in g r e a d in e s s . M ies Grace

V. W ilson, S u p e rv iso r o f M uaie, W ich ita , K ansas, in d ia o u sa in g rhythm ic a c t i v i ­

t i e s o f th e v a rio u s elem en tary g rad es i n W ic h ita , sa y s:

I n t h i a g rad e ( th e second) th e c h ild r e n in t h e i r songs and th ro u g h

l i s t e n i n g to c o m p o sitio n s p lay ed on t h e p ian o o r on th e phonograph,
beoome c o n scio u s o f th e p h ra s e , th e a c c e n t, and th e n o te d u ra tio n ;
i t i s h e r e th e y le a r n to 's te p * th e tu n e . S in g in g games, f o lk
d an ce s, and th e rhythm band oom plete t h e i r rhythm program . . . •
In W ich ita , we d e la y th e stu d y o f s t a f f n o ta tio n u n t i l th e t h i r d
g ra d e , so th e rh y th m ic resp o n se o f 's t e p p i n g ' th e tu n e in th e
second g rad e i s to im p ressio n s re c e iv e d th r o u g i th e e a r . . . .
The q u a r te r n o te i s known a s th e s te p n o te , th e h a l f a s th e sto p
n o te , th e whole a s th e ato p -a n d -b e n d -th e -k n e e n o te and th e e ig h th
a s th e ru n n in g n o te .^

E x p erien ces such a s th e s e which r e s u l t in th e c h i l d r e n 's f e e l in g n o te

v a lu e s th ro u g h c o n tr o lle d b o d ily movements g iv e them o p p o rtu n ity fo r an

u n d e rsta n d in g o f th e fundam ental v a lu e s w hich th e y can o b ta in in no o th e r way.

M oreover, t h i s a b i l i t y n e g a te s t h e n e c e s s it y f o r e x te n s iv e d r i l l on n o te v a lu e s

when t h i s e x p erien ce i s d e s ir e d i n th e whole o f m usic re a d in g —eye r e c o g n itio n ,

memory r e c a l l , and v o o al re s p o n s e . A c tu a l names o f n o te s can be ta u g h t in a

r e l a t i v e l y s h o rt tim e b u t a f e e l i n g f o r v a lu e s i s th e r e s u l t o f e x p e rie n c in g

them w ith in t h e body f o r m onths. S p e c if ic su g g e s tio n s f o r dev elo p in g and

n u rtu rin g t h i s f e e l i n g w i l l be given in th e n e x t c h a p te r on Rhythma.

1. Grace Y .W ilaon, Rhythmic Program in E lem sn tary S ch o o l, M usic E d u cato rs

C onference Yearbook. 1937, p . 1 6 0 . C hicago: The C onference, 1937.
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B efore th e stu d y o f n o ta tio n ia a o t u a lly begun th e o h ild n eed s command

o f th e medium by w hich he w i l l f i r s t re a d th e m usie. I f he i s g o in g t o u se

th e to n i c s o l - f a s y l l a b l e s , h e needs to b e f a m i li a r w ith t h e i r names and

w ith th e tu n e s made by th e v a rio u s com binations* I f he i s going t o u se numbers

- - 1 - 8 - 3 - 4 - 8-6^7.-8.— to i d e n t i f y th e to n e s o f th e s c a le f o r re a d in g p u rp o se s, th e

same f a m i l i a r i t y i s d e s ira b le * I f any o th e r medium i s to b e u se d , i t i s

e x p ed ien t f o r him t o have command o f t h i s medium. Command oan be g ain ed by

s in g in g songs le a rn e d by r o t e w ith th e s y l l a b l e names o r number names o f th e

n o te s in s te a d o f u sin g th e w ords. A c h ild sh o u ld be a b le to s in g th e melody

o f t h i r t y o r f o r t y r o t e songs in t h i s m anner. At l e a s t h a l f o f them sh o u ld

c o n ta in sim ple groups o f s c a le to n e s and broken chord to n e s which w i l l make

up th e body Of th e f i r s t re a d in g m a te r ia l. The p ro c e ss o f s in g in g th e

m elo d ies in t h i a manner w i l l f i x in th e m u sic a l memory co n v en ien t "h an d les"

to some o f th e co m b in atio n s which w ill p e rm it o f t h e i r b e in g used l a t e r .

S in g in g songs by means o f any o f th e s e m edia sh o u ld c o n tin u e a f t e r th e a c tu a l

re a d in g p ro c e s s i s begun. New songs should be added u n t i l th e r e a d in g s k i l l

in d i c a te s th a t th e r e i a no lo n g e r need fo r t h i s a c t i v i t y .
«

C h ild ren w i l l g a in a v a lu a b le s k i l l i f th e y can re c o g n iz e p h r a s e s o f a

song sung by th e te a c h e r w ith th e n e u t r a l s y l l a b l e " lo o " and resp o n d w ith th e

s y l l a b l e names o f th e n o te s . T h is p r a c tio e sh o u ld be a r e g u la r p a r t o f t h e i r

tr a i n i n g b ecau se i t f u r th e r f ix e s th e r e l a t i o n s h i p o f th e tu n e o f c e r t a i n com­

b in a tio n s . C e r ta in ly , o p p o rtu n ity f a r such p r a c t i c e sh o u ld be g iv e n f o r s c a le

and conmon chord p a s s a g e s . (The oomnon ch o rd s a r e th e to n ic : do- m l- s o l: th e

dom inant: s o l - t l - r e ; and sub-dom inant: f a - l a - d o . ) S k i l l in t h i s a o t i v i t y makes

i t p o s s ib le fo r c h ild r e n t o d isc o v e r and s in g th e s y l l a b l e o r number names o f

f a m i l i a r tu n e s by th e m s e lv e s . I t i s fu n when p re v io u s ex p e rie n c e h a s p ro v id ed

s u ffic ie n t s k i l l . D i f f i c u l t o r u n fa m ilia r p a ssa g e s a r e su p p lie d by th e te a c h e r

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and th e c l a s s g o es m e r r ily on i t s in v e s t ig a t in g and s in g in g way* S k i l l in

t h i s u se o f th e m edia i s in d ic a tio n t h a t th e r e l a t i o n s h i p betw een th e sound

o f to n a l groups and t h e i r names i s w e ll e s ta b lis h e d *

A u th o r itie s ag ree t h a t th e average classro o m te a c h e r does n o t p o s s e s s t h e

amount o f m u sio al a b i l i t y , m u sic ian sh ip and t r a i n i h g t o make i t p o s s ib le f o r

h e r to te a c h m usie r e a d in g w ith o u t th e use o f more o r l e s s a r t i f i c i a l dev ices*

M oreover, th e m u sio al batekground o f th e av era g e c h ild and th e amount o f ex­

p e rie n c e and t r a i n i n g h e r e c e iv e s in m usic makes i t seem d e s ir a b le t h a t th e s e

d e v ic e s be used* The r e f e r e n c e , o f c o u rs e , i s t o th e u se o f th e to n i c s o l - f a

s y l l a b l e s or th e number o r l e t t e r names o f n o te s in re a d in g music* E x p erien ce

has proved t h a t because o f th e in ta n g ib le q u a l ity o f to n e , i t ia e x p ed ien t

to o b j e c t i f y a s n e a r ly a s i s p o s s ib le th e r e la tio n s h ip between to n es* T h is

h a s been done by a s s ig n in g L a tin s y l l a b l e s a s names o f th e s c a le to n e s o r by

num bering th e to n e s o f th e s c a le and u sin g numbers as names o r by u sin g th e

l e t t e r names o f th e n o te s . The l a t t e r i s th e l e a s t s u c c e s s f u l. The f a c t i s

t h a t G, G f l a t and G sh arp a r e d i f f i c u l t t o say q u io k ly ; and th e r e i s no

g e n e ra l " p a tte r n " o f r e la tio n s h ip in d ic a te d between th e n o te s : (names) C-E-G,

E f la t* 0 - B f l a t , o r A-C sharp-E* The u s e o f L a tin s y l l a b l e s and numbers have

an advantage in t h i s re s p e c t* The co m binations o f to n e s —1 -365, 5 -7 -2 , 4 -6 -8 ,

d o -m i-so l, a o l - t l - r e , f a - l a - d o . e t c e t e r a , — a r e th e same f o r ev ery key which

means t h a t th e co m binations do n o t r e q u ir e a l t e r a t i o n f o r an o th er key; i t r e ­

q u ir e s o n ly th e c o r r e c t p i t c h on which t o s t a r t .

The u se o f numbers h a s ad v an tag e in th e f a m i l i a r i t y o f th e medium* The

r e l a t i o n o f 1 -2 - 3 - 4 - 5 - 6 -7 -8 i s a concept w hich h as lo n g been used by th e c h ild *

"One, tw o, t h r e e , f o u r , f i v e , s i x , sev en , e ig h t" have th e d isad v an tag e o f b ein g

d e o id e d ly oumbersome to sin g * When th e a v a i l a b i l i t y o f r e c o r d e r s , marimbas o r

 86

xylophones makes i t p o s s ib le f o r m usic re a d in g to be ta u g h t by u s in g th e s e

in s tru m e n ts , th e keys o r in th e case of th e r e c o r d e r , th e h o le s a r e le a rn e d

by t h e i r number names. I f r e a d in g songs i s a ttem p ted s im u lta n e o u sly , th e r e

i s no re a so n t o abandon th e u se o f number names. In tro d u c in g L a tin s y lla b le s

a t t h i s p o in t could n o t be j u s t i f i e d .

The L a tin s y lla b le s have th e d isa d v a n ta g e o f r e l a t i v e u n f a m i li a r ity b u t

have th e ad v an tag e of b eing e a s i l y pronounced because eaoh i s a s in g le vowel

w ith no f i n a l oo n so n an t. They a r e more o f a c ru tc h th a n o th e r m ed ia. This

f a c t sh o u ld be c o n s ta n tly in th e mind o f th e te a c h e r . V ater•w in g s a re a

c ru tc h , to o , b u t s k i l l in t h e i r u se i s n o t a c r i t e r i o n o f e x c e lle n c e in swim­

ming. U a s te ry o f re a d in g by means o f s y l l a b l e s i s d e s ir e d , b u t th e r e m ust be

eq u al s k i l l developed in u sin g them o r t h e i r u se cannot be j u s t i f i e d . F a c ility

in pronouncing s y lla b le names o f th e n o te s o f a song, p e r s e . i s n o t th e end

its e lf. The end i s to be a b le to u se s y lla b le s in t r a n s l a t i n g th e m usie on

th e page in to a song—and th a t i s a l l . As lo n g as th e L a tin s y l l a b l e s a re

tho u g h t o f in t h e i r tr u e l i g h t , s k i l l i n t h e i r u se w i l l be a means f o r a t t a i n ­

in g f a c i l i t y in re a d in g ,b e c a u s e th e y o f f e r a w orkable medium f o r o b je c tif y in g

to n a l r e l a t i o n s h i p s by o f f e r in g f o r - u s e a name f o r ev ery to n e o f th e s c a le .

The a b i l i t y to re a d and u n d erstan d words o f songs i s an im p o rtan t p hase

o f musio r e a d in g r e a d in e s s . D i f f i c u l t y w ith o c c a s io n a l u n fa m ilia r words i s

e n t i r e l y d i f f e r e n t from s tr u g g lin g t o pronounce and u n d e rsta n d ev ery o th e r

word o f a poem. M oreover, th e c h ild should be f a m i li a r w ith th e arrangem ent

o f words on th e p r in t e d page of m usio. A th r e e - s ta n z a poem lo o k s v ery d i f f e r ­

e n t when s e t to musio from th e seme poem in a c o lle c tio n o f poems. P re s e n te d

a s a song, " th e l i n e t h a t comes n e x t" i s n o t in th e same r e l a t i v e p o s itio n as

when i t ap p ears a s a poem.

 87

F a m i lia r ity w ith th e p r in t e d page i s d e s ir a b l e f o r o th e r reaso n s* When

th e a e t u a l r e a d in g p ro o esa i s about t o s t a r t , a t t e n t i o n oan be c o n c e n tra te d

upon d e s ig n a te d p a r t s o f th e page i f c h ild re n h a re had p re v io u s o p p o rtu n ity

f o r in v e s tig a tio n * They sh o u ld know t h a t th e name on t h e upper r i g h t hand

c o rn e r i s th e name o f t h e composer, o r t h a t t h e words t h e r e in d ie a te th e

souroe o f th e m u sie, t h a t t h e name on th e l e f t i s th e name o f t h e p o e t, t h a t

th e o le f s ig n and t h e key s ig n a tu r e g iv e in fo rm a tio n n e o e s s a ry f o r o b ta in in g

th e c o r r e c t p i t c h in o rd e r t h a t t h e melody w i l l n o t be to o h ig h o r to o low

f o r th e c l a s s to s in g c o m fo rtab ly . An a c q u a in ta n c e w ith th e meaning o f th e

marks In d ic a tin g tempo, and volume i s d e s ir a b l e . U n d erstan d in g what th e s e

words and symbols mean w i l l p re o lu d e th e p o s s i b i l i t y o f t h e i r becoming d i s ­

t r a c t i o n s l a te r *

F a m i lia r ity sh o u ld f i n a l l y in o lu d e th e u n d e rs ta n d in g t h a t l i n e s o f musio

t h a t lo o k a l i k e , sound a lik e * As t h e c h ild r e n f o llo w in t h e i r books a song

sung by th e te a c h e r , d is c u s s io n w i l l le a d t o t h e o b s e rv a tio n o f t h i s f a c t*

Some te a c h e r s have o c c a s io n a lly u sed t h i s r e p e t i t i o n o f l i n e s in te a c h in g

songs a t th e tim e im m ediately p reo ed in g a c t u a l read in g * A fte r ta lk in g about

th e songs and e a l l i n g a t t e n t i o n to th e s i m i l a r i t y betw een l i n e s , th e te a c h e r

s in g s a l i n e and th e c h ild r e n resp o n d w ith th e r e p e t i t i o n . More r a r e l y h as

m easure r e p e t i t i o n been used s u c c e s s f u lly b u t i t oan be e f f e c t i v e w ith good

te a c h e r s . A b i l i t y i n t h i s p a r t i c u l a r in d i c a te s a d e s ir a b l e aw areness o f th e

m a te r ia l on th e p r in t e d p ag e.

Certainly, the desire to learn to read is a most important phase of

musie reading readiness* I f the child has had the varied experiences and has
acquired the s k ills suggested previously, i t i s reasonable to expect that the
culmination of these a c tiv itie s w ill be a f e lt need for learning to read music.
 88

I n th e f i e l d o f th e v e r n a c u la r , p re -s c h o o l and k in d e rg a rte n e x p e rie n c e s cau se

c h ild r e n t o a n t io ip a t e k e e n ly th e day when th e y w i l l l e a r n t o read * is a

m atte# o f f a c t , many o h ild r e n le a r n by th e m se lv e s. But r a r e l y h a s th e re bean

a p r e -s c h o o l background so r i c h in d e l i g h t f u l m u sic a l e x p e rie n c e s t h a t c h i l ­

dren le a r n t o re a d musio by th e m selv es a t t h a t tim e , o r want to go to sch o o l

s o l e l y f o r t h a t p u rp o se . We have a l l known c h ild r e n who w ere d is a p p o in te d l a

t h e i r f i r s t day a t sch o o l beoause th e y d id c o t le a r n t o r e a d , b u t have we ev er

known a c h ild who d id n * t want to r e t u r n to sch o o l because he had n o t le a rn e d

to re a d musio on th e f i r s t day?

I t i s need f o r a s k i l l t h a t im pels le a r n in g —and t h i s i s a s t r u e In m usic

re a d in g r e a d in e s s a s i t i s in th e m a ste ry o f any o th e r s k i l l . T hree y e a r s o f

I
w ell-ro u n d e d m u sic a l ex p e rie n c e — i n t e r e s t i n g , p le a s u r a b le and v a rie d enough t o

c h a lle n g e th e c h i l d 's a b i l i t i e s — w i l l b rin g about a keen d e s ir e to f u r th e r

i n v e s t ig a t e th e w orld o f song.

In summary, m usie r e a d in g r e a d in e s s i s c h a r a c te r is e d b y : (1 ) s k i l l in

s in g in g , (8 ) an a c q u a in ta n c e w ith a w ide range o f songs t h a t h a s come th ro u g h

a o t u a lly s in g in g them, (3 ) a b i l i t y to re a d and u n d erstan d words w hich r e s u l t s

from e x te n siv e e x p e rie n c e and m a tu ra tio n , (4 ) f e e l in g f o r n o te v a lu e s g ain ed

th ro u g h b o d ily e x p re s s io n o f th e s e v a lu e s , (5 ) oonm andof th e medium o r d e v ic e

t o be used in h a m e a s in g th e I n ta n g ib le q u a l i t y of to n e , (6 ) f a m i l i a r i t y w ith

th e p r in te d page o f m usio, and ( ? ) a f e l t need f o r le a r n in g to re a d m u sic.

When th e s e s k i l l s a r e a p a r t o f th e c h i l d 's equipm ent, th e re c o g n itio n by h is

eye o f What h i s e a r s and body u n d erstan d i s n o t so co m p licated Q# p u z z lin g a

problem . Such a background p re c lu d e s th e p o s s i b i l i t y o f a f e e l i n g o f u t t e r

lo a s and amazement when t h e c h ild i s c o n fro n te d w ith a book o f so n g s, opens

i t to th e d e s ig n a te d p ag e, s e e s a mass o f d o ts on l i n e s and i s t o l d t h a t th e

f i r s t n o te (what i s a n o te ? ) i s do (What i s d o ? ) . I t i s a h a l f n o te (what i s

 80

a h a l f n o te ? ) , and to o o n tln u e re a d in g . C ontinue? Why, he h a s n 't even

s ta rte d .

T eaching M uaie R eading

T eaching m usic readim g and te a c h in g lan g u ag e re a d in g have much in oommon

when d e s ir a b le p ro c e d u re s a re c o n s id e re d . Four p r a c t ic e s which a r e fu n d a­

m e n tal t o s u c c e s s f u l te a c h in g o f lan g u ag e r e a d in g w i l l now be adap ted to th e

te a c h in g o f musio read in g *

1. I f th e word-method o f te a c h in g re a d in g i s u sed , c o n s id e r a group o f n o te s

a s a word; and i f th e sen ten ce-m eth o d i s u sed in re a d in g , t r e a t a group

o f n o te s a s a sentence* I n t h e s in g le -so u n d method o f te a c h in g th e

v e rn a c u la r , th e com bination u& a c q u ir e s c h a r a c te r o n ly when i t i s com­

b in e d w ith o th e r l e t t e r s o f th e alp h ab et* In m usic r e a c q u ire s c h a ra c te r

o n ly when i t i s found in groups o f to n e s . The word "u g ly " becomes mean­

in g f u l in a se n te n c e and r e h a s meaning in a to n a l g ro u p . I t i s d o -re -

m i - f a - a o l- o r a o l - f a - m i- r e - do- t1 - d o w hich r e c a l l a d e f i n i t e m u sic a l sound

and n o t r e by i t s e l f .

means j u s t t h a t . I t does n o t mean

°I1 I «I
I
The v o c a l r e s u l t o f th e m u sic a l p h ra se n o ta te d above i s l i k e l y to be

i f t h i s com bination i s ooneeived a s f o u r s e p a r a te and d i s t i n c t to n e s ,

 00

eatib r e q u ir in g much tim e f o r d e c ip h e rin g . Key f e e l i n g and r e la tlo n a h ip e

a r e lo a t« Fundam ental c o n n ec tio n a a r e ta u g h t e x a e tly a s ward combina­

ti o n s : by s in g in g them from c a rd s , by s in g in g them from th e b la ck b o ard ,

by s in g in g them from e h a r ta , by s in g in g them from books* The tu n e o f t h e

com binations and th e s y l l a b l e o r number names a r e f a m i li a r a s th e r e s u l t

o f e n c o u n te rin g them many tim e s in so n g s, 2?jre r e c o g n itio n ip th q o n ly

nev element .

U t i l i z a t i o n o f th e p h ra se r e p e t i t i o n i n a song o f f e r s e x c e lle n t

o p p o rtu n ity f o r le a r n in g to n a l g ro u p s. T h is so u rce o f supply h as advantage

in th e immediacy o f th e u s e o f th e m a t e r i a l . L ea rn in g to re c o g n iz e and

s in g p a r t s o f a song g iv e s th e c h ild re n th a t d e s ir a b l e f e e lin g o f h av in g

accom plished som ething, o f h aving groan i n power because what th e y have

le a rn e d can b e used so q u ic k ly . Aware o f t h e c l a s s 's p ro g re s s and p re v io u s

e x p e rie n c e s , th e te a c h e r can c o n tin u o u sly p ro v id e f o r i t s grow th by p r e ­

s e n tin g new com binations f o r stu d y a s soon a s th e y a re found in t h e i r so n g s.

The w r ite r b e lie v e s th a t when t h e c h ild r e n can re c o g n iz e by s ig h t

and sound th e to n e s o f th e th r e e fun d am en tal chords ( ir r e s p e c t i v e o f t h e i r

p o s itio n s in th e g ro u p ), th e n s u c c e s s f u l, e a sy s ig h t re a d in g i s im m inent.

Of o o u rse, when th e s e chords a r e p re s e n te d f o r s p e o ia l s tu d y , th e y should

be l i f t e d b o d ily from a hong and u sed . However, s in c e th e c la s s p ro b ab ly

knows dozens o f songs in w hich th e s e com b in atio n s of to n e *are fount , i t

1
i s m o re.th an d e s ir a b le f o r them to s in g some o f th e s e and jfollow t i e m usic

in t h e i r books. P re p a re th e way fo r eye r e c o g n itio n by r e c a l l i n g th e

»
sound o f th e p a r t i c u l a r com bination on w hich th e c h ild re n a re ex p ected to

c o n c e n tra te .

2. An adeq u ate su p p ly o f re a d in g m a te r ia l on each le v e l o f d i f f i c u l t y should

be a v a i la b l e . T h is may n e c e s s i t a t e th e t e a c h e r 's copying songs on th e

 91

b la c k b o a rd , b u t i t l a w ith c o n s ta n t r e p e t i t i o n th a t s k i l l cornea. T h is

may n e c e s s i t a t e th e p u ro h ase or borrow ing o f books w hich h a re a d d i tio n a l

e a sy m a te r ia l, but i f th e c h ild r e n have n o t m astered th e re a d in g o f sim p le

songs— sim ple a s to to n a l co m b in atio n s and rh y th m ic p a t t e r n — th e y a r e n o t

re a d y t o atte m p t co m p licated m a te ria ls *

The w r ite r f e e l s t h a t th e r e i s d e f i n i t e need f o r a book w hich i s

made up e n t i r e l y o f te c h n ic a lly easy a r t i s t i c songs f o r re a d in g p u rp o ses

b u t w ith a to r y i n t e r e s t and word d i f f i c u l t y s u ite d to th e m a tu r ity o f

c h ild r e n whose e x p e rie n c e s have caused them t o f e e l need f o r m usic r e a d ­

in g a b i l i t y . At p r e s e n t, th e b u lk o f easy re a d in g m a te r ia l in books i s

f o r groups w hich have n o t been i n sohool lo n g enough to have had th e

n e e e s e a ry wide e x p e rie n c e s c u lm in a tin g i n m usic re a d in g r e a d in e s s . If

th e b u lk o f t h i s m a te r ia l i s u sed a s a aouroe o f re a d in g so n g s, th e r e i s

g ra v e danger t h a t th e s to r y i n t e r e s t w i l l n o t f i t th e m a tu r ity o f th e

c h ild r e n . L i t e r a l l y dozens o f s to r y books f o r c h ild r e n o f a l l ag es f o r

e v e ry d eg ree o f r e a d in g a b i l i t y a r e a v a i la b l e f o r c h ild r e n . They need

aoceaa to com parable music m a te r ia l.

3. The c h ild r e n Should be in t e r e s t e d in th e song th e y a r e about to atte m p t

to re a d . The words have a a to r y S hich th e composer h a s made more i n t e r e s t ­

in g because o f h i s m u sic. A d is c u s s io n o f th e t i t l e , th e mood o f t h e w ords,

t h e i r rhythm , and any p h ase o f th e song th a t w i l l c r e a te o r add i n t e r e s t

to le a r n in g w i l l be o f v a lu e .

4. The c o r r e c tio n o f in a o e u r a te ly sung to n a l groups should be made in th e

same way a s m ispronounced words a re c o r r e c te d . R ep eatin g th e s e ln a o c u ra -

e i e s o n ly f i x e s them , so no o p p o rtu n ity sh o u ld b e p e rm itte d f o r g a in in g

wrong to n a l im p re ssio n s. A famous p ia n o te a o h e r onoe s a id t h a t f o r ev ery

in c o r r e c t f in g e r u sed o r key s tr u e k in a g iv e n p assag e o f p ia n o m u sic,

 98

tw e n ty -fiv e o o rx eo t r e p e t i t i o n s axe n e c e s s a ry t o e r a d ic a te th e e r r o r s !

Classroom te a c h e r s sh o u ld remember th is * When th e o la s s s in g s th e

s y l l a b l e s do- m i- s o l, r e - f a - l a . and th e tu n e sung i s d o -re -m i, r e - m l- f a ,

th e r e sh o u ld be o n ly one more o p p o rtu n ity t o make t h a t m ista k e b e f o r e

th e te a c h e r s in g s th e c o r r e o t tu n e f o r th e s y lla b le s * When th e te a c h e r

says* "T hink, J a n e , th in k * " , Ja n e may " th in k " b u t i f sh e th in k s to o lo n g

th e wrong co n n ectio n may be cemented* A com bination t h a t h a s proved

d i f f i c u l t should be p o in te d o u t i n new m a te r ia l beoause "We stum bled over

t h a t when we d is c o v e re d i t in t h e l a s t so n g ." E very a ttem p t should be

made by th e te a o h e r to keep t h e c la s s from s in g in g i t in c o r r e c t l y again*

A to n a l com bination i s more e lu s iv e th a n th e p ro n u n c ia tio n o f a word o r

a group o f w ords; so new com binations need to bs p o in te d o u t and, p e rh a p s ,

sung alo n e a s soon a s th e y a r e found in new m a te r ia l.

In re a d in g , i f th e tu n e th e c h ild r e n sin g i s c o rre o t and th e names o f th e

n o te s c o n s is te n tly wrong, th e c h ild re n a re having d i f f i c u l t y m a n ip u la tin g a

c ru to h th e y o b v io u sly do n o t need; i f th e names o f th e s y l l a b l e s are r i g h t and

th e tu n e c o n s is te n tly wrong, th e c h ild r e n a r e n o t read y f o r m usic re a d in g

beoause re c o g n itio n o f th e symbols does n o t r e s u l t i n th e im m ediate r e c a l l o f

th e tu n e o f th e com bination* Eye r e c o g n itio n o f symbols i s supposed t o be

th e o n ly new elem ent in s ig h t re a d in g b u t in t h i s in s ta n c e , th e c h ild r e n la c k

one o f th e most im p o rtan t s k i l l s o f m usic re a d in g r e a d in e s s . These c h ild r e n

need th e e x p e rie n c e o f s in g in g w ith th e s y l l a b l e names many more m elo d ies

le a rn e d by r o t e . I f th e names of t h e n o te s and t h e tu n e a re c o n s is te n tly

wrong, th e c l a s s may need e a s ie r m a te r ia l o r p e rh a p s they a re n o t re a d y to

a ttem p t t o r e a d musio* The r e s u l t s o f p ro v id in g l e s s d i f f i c u l t m a te r ia l and

in v e s t ig a t in g t h e i r g e n e ra l re a d in e s a f a r re a d in g w i l l p o in t th e way to subse­

quent p ra c tic e *
 93

Should th e c l a s s sa y , n o t s in g . th e names o f n o te s o f a nev re a d in g

song? T h is o p e ra tio n i s s im ila r t o say in g th e in d iv id u a l l e t t e r s o f words

i n re a d in g a la n g u ag e. S y lla b le s o r number names o f n o te s have l e s s r e l a t i o n

to a tu n e th a n in d iv id u a l l e t t e r s to a word. I f th e te a e h e r b e lie v e s t h a t

say in g th e names o f n o te s h a s v a lu e , h e r re a s o n in g p ro c e s s i s , " I f th e c la s s

g e ts th e names o f th e n o te s r i g h t th e n th e y w i l l be a b le to s in g th e tune

c o rre c tly ." As a m a tte r of f a c t , th e tu n e w i l l be r i g h t on ly i f th e names

r e c a l l th e c o r r e c t to n e s .

T eaching R ote V alues

C h ild ren have had p h y s ic a l e x p e rie n c e w ith th e r e l a t i v e tem p o ral v a lu e s

o f n o te s in t h e i r rh y th m ic a c t i v i t i e s . R eco g n itio n o f th e symbols o f th e s e

v a lu e s i s n e c e s s a ry f o r th e purpose of re a d in g music*

A ll n o te v a lu e s a r e r e l a t i v e . A q u a r te r n o te i s tw ic e a s lo n g as an

e ig h th n o te o r h a l f a s lo n g a s a h a l f n o te — i t s m ath em atical r e l a t i o n to o th e r
4
n o te s i s e x a c t, b u t in h e r e n tly i t h as no ex a c t v a lu e . The m easure s ig n a tu r e 4

i s th e same fo r a d ir g e a s f o r a m i l i t a r y m arch. The metronome m arkings a t th e

b eg in n in g o f a p le o e o f m usic in d i c a te a r a t e o f speed f o r a p a r t i c u l a r n o te in

t h a t p a r t i c u l a r s e l e c t i o n , b u t th e m arkings a r e fo r t h a t p a r t i c u l a r m usic and

none o th e r . E n g lis h o r I t a l i a n words p la c e d o v er th e f i r s t l i n e o f a song

in d i c a te g e n e ra l b u t n o t e x a c t tem po. A lle g ro means " b r is k , l i v e l y " —b u t how

b r i s k or how l i v e l y i s l e f t to th e p arso n who in d ic a te s o r s e t s th e tempo.

There i s lik e lih o o d o f v a rio u s i n t e r p r e t a t i o n s o f th e words w hich in d i c a te th e

speed, b u t onoe th e tempo i s s e t th e r e l a t i v e v a lu e s o f n o te s a re f ix e d and

e x a c t. A il m usic co u ld be w r itte n w ith th e h a l f n o te a s th e b e a t n o te , b u t i t

so happens t h a t th e q u a rte r no t r i e c u sto m a rily used i n s t e a d .' When th e h a l f

n o te i s u sed , i t m erely in d i c a te s r e l a t i v e v a lu e s and n o t a r a t e o f sp eed .

 94

When a c h i ld h e a rs and re c o g n iz e s a q u a r te r n o te a s a " s te p " n o te , th a t

means h e h a s had wide e x p e rie n c e in w alk in g o r m arohing or g iv in g some s o r t

o f b o d ily e x p re ssio n to ^ * J JJ e^ J J #1 J J . He has le a rn e d

t h a t he g iv e s tw ic e a s muoh tim e to cL , and h a l f a s much t o f . The id e a o f

r e l a t i v e v a lu e s i s brought t o h i s a t t e n t i o n a s he moves h i s body in accordance

w ith th e le n g th o f th e s e no tes* A d is c u s s io n o f th e e x p e rie n c e which w i l l a id

in b rin g in g about a p e r c e p tio n o f th e s e r e l a t i v e v a lu e s w i l l be found in th e

n ex t o h a p te r on Rhythms.

S in c e a l l v a lu e s a r e r e l a t i v e i t i s e a sy to answer th e q u e s tio n s "How do

6
you te a c h 8 meter?""How do you te a o h th e d o tte d e ig h th n o te ? " "H6w do you te a c h

th e d o tte d q u a r te r fo llo w ed by a n e ig h th ? ” The answ er: ”S in ce a l l v a lu e s are

w
r e l a t i v e , te a o h th e new i n term s o f th e o ld . 6 m eter i s r e a l l y th r e e eq u al
9 8
p u ls e s on two s u c c e s s iv e b e a ts , 8 m eter i s th r e e eq u al p u ls e s on th r e e b e a t s .

A J . J ' i s th e same a s T e a o h th e new in term s o f what th e c h ild re n can

a lre a d y re a d and have e x p erien ced in b o d ily movement t o m u s ic .”

T here a r e two p ro c e d u re s t h a t th e a u th o r f e e l s w i l l a s s i s t i n a s s ig n in g

a p p ro p ria te tim e v a lu e s to n o te s i n re a d in g m usic:

1. Clap th e n o te v a lu e s o f t h e song to be r e a d . Some c la s s e s count th e b e a ts

o f th e m easure in a hushed v o ic e a s th e y cla p th e s e v a lu e s . In t h i s a c t iv ­

i t y , v a lu e s a r e th e p o in t o f c o n c e n tr a tio n . What th e names o f th e n o te s

a r e o r what th e y sound l i k e i s o f no co n cern . A tte n tio n i s b ein g d ir e c te d

t o o n ly one item*—v alu es* C lapping i s su g g ested beoause i t i s a more

v ig o ro u s m uscular r e a c tio n th a n u s in g one f ih g e r to b e a t w ith .

8, Read th e words o f th e so n g , a s s ig n in g to them t h e v a lu e s in d ic a te d by th e

m u sic . In t h i s a c t i v i t y , a t t e n t i o n i s d iv id e d betw een v a lu e and word

■rinnpjnitlon,. which i s a more co m p licated p ro c e s s th a n t h e im m ediately

p ro e e d in g on e.
 05

E xperience in re a d in g end p la y in g a p e rc u a e lo n aco re i a v a lu a b le i n f ix i n g

th e r e la tlo n a h lp o f v a lu e a and b r in g in g about an aw areness o f th e im portance

o f th e s e v a lu e a . The f i r s t p a r t o f America i a a rra n g e d below f o r p e rc u s a ia n

in s tru m e n ts . The f i r s t l i n e o f n o te a and r e s t a a r e th e tim e v a lu e a o f th e

m elody. The n e x t l i n e s a r e p la y e d by th e in s tru m e n ts in d ic a te d .

s tic k s

Such a a c o re can be made o f any aong by th e te a o h e r o r th e c h ild r e n . " P la y in g ”

i t r e q u ir e s c o n c e n tra tio n on o n ly one f a c t o r —n o te v alu es* U n u su ally ocmplex

m uscular c o - o r d in a tio n i s n o t n e c e s s a ry f o r p ro p e r m a n ip u la tio n o f th e i n s t r u ­

m ents, nor i s a h ig h d eg ree o f te c h n ic a l a b i l i t y . The aco re can be v a r ie d to

s u i t th e a v a ila b le in s tru m e n ts . In s tru m e n ts f o r t h i s p u rp o se can be m anufactured

o u t o f p e n c i ls , g la s s e s , n a i l s o r any common o b je c t t h a t makes a d i s t i n c t i v e

sound. They make an I n t e r e s t i n g accompaniment f o r th e s in g in g o f th e c h ild r e n

who a r e n o t p la y in g in s tr u m e n ts , i n a d d itio n to o f f e r in g e x c e lle n t e x p e rie n c e

i n beeoming a c q u a in te d w ith n o te v a lu e s and d ev e lo p in g a re g a rd f o r t h e i r

im p o rtan ce.

By making i t p o s s ib le to c o n c e n tra te on one th in g a t a tim e , a l l new

rhythm problem s can be t r e a t e d i n th e manner su g g ested above. A v a r ia tio n o f

th e p la n oan be made by h av in g c h ild r e n c la n a l i n e o f n o te s w hich c o n ta in th e

new ele m e n t. For exam ple, when th e d o tte d q u a r te r n o te i s found in m a te r ia l

th e c h ild r e n need to be a b le to r e a d , th e te a o h e r can p la c e on th e b o ard

 96

As th e c h ild r e n e la p t h i s s c o re , v a lu e r e c o g n itio n i s th e o n ly th in g r e q u i r ­

in g a t t e n t i o n . T h is i s an e x e e lle n t d e v ic e f o r f ix i n g v a lu e s and should

p rece d e re a d in g m a te r ia l w hich c o n ta in s co m b in atio n s o f v a lu e s th e c h ild re n

a r e le a r n in g .

Compound M easure
6 9 12
Because th e n o te s f a l l i n com binations o f three^ 8 8 8 m e te rs a r e o a lle d

"compound m e te r s " . The com binations o f n o te s u s u a lly found i n th e s e m easures

a re JT J, i l l and e q u iv a le n t r e s t s . The f i g u r e s i j and ^ J " a r e r a r e l y

found in c h i l d r e n 's r e a d in g so n g s. I f th e te a c h e r s i l l alw ays th i n k o f th e s e

m easures a s com b in atio n s o f e ig h th n o te groups and p re s e n t: them a s su ch , th e

c h ild r e n w i l l e x p e rie n c e l i t t l e d i f f i c u l t y in le a r n in g to read them. For exam ple,

6 tv see
J.VJH M M see m i n .
8

f a l l s n a t u r a l l y i n t o t h i s grouping

m see
2 see rn si emr ep rri m
see
4 O-J see
Ms

S im ila r ly , * m easure i s a c t u a ll y th r e e g ro u p s o f th r e e e ig h th n o te s
9
8
rri m rn
see ess ess
rri in i I' see
see e e e e
rn see m sie Ise .i
m eien see

and f a l l s n a t u r a l l y in to t h e grouping

sA m nr m
see see ess
irr i f i r> m jtt i n
ess e s s e see see s o see
4 U/ U- vl) Vlv
m
g i a fo u r groups o f th r e e e ig h th n o te s
i ^ I rj
s e e e # « see
r m ( »XJ77
e e ess * a see
m see
I r rn see nreI. e.
i
X. S 4
C h ild ren have ex p e rie n c e d th o s e rh y tb n io p a t t e r n s i n songs th e y have

sung and i n m usic th e y have h e a rd . The new elem ent i s eye r e c o g n itio n . By

c la p p in g th e n o te v a lu e s and by c o n s is te n tly th in k in g o f them a s g ro u p s, th e y

w i l l pro v e to be no more co m p licated th a n any o th e r rhythm s. Chaos w i l l s u r e ly

 97

r e s u l t i f th e c h ild r e n t r y to keep t r a c k o f a l z o r n in e , o r tw elv e d i s t i n c t

b e a ts to th e m easure. As th e y cla p th e n o te v d lu e s , or aa th e y r e a d th e words

o f th e aong a cc o rd in g t o th e n o te v a lu e a , o r ain g th e s y lla b le s o r th e words

■6 •
o f a song, th e y should count 1-2 f o r 8 m easure, 1 -2 -3 f o r 8 m easu re, and
1Z
1 -2 -3 -4 f o r g .

C hrom atics

The name " ch ro m atics" su g g e s ts th e power and purpose o f th e s e n o te s —

th e y add c o lo r (ohrom o-) to m usic. S in ee th e y a r e to n e s f o r e ig n to th e key

which i s in d ic a te d by th e key s ig n a tu r e , th e y can e f f e c t harm onic a s w e ll a s

m elodic v a r ia tio n s i n th e m u sic . The names o f th e s e new to n e s have to b e

le a rn e d . However, th e r e i a an in c o n s is te n c y (p e rh a p s " in a c c u ra c y " i s a b e t t e r

word) th a t a r i s e s r e l a t i v e to th e naming o f e h ro m a tio s.

I n o u r system o f n o ta tio n i n w hich c o n s e c u tiv e l i n e s and sp aces a r e

u t i l i s e d to re c o rd th e s o a le to n e s in d ic a te d by th e key s ig n a tu r e , t h e r e are

o b v io u sly no a v a ila b le p la c e s l e f t on th e s t a f f f o r re o o rd in g ch ro m a tic s—

to n e s f o r e ig n to th e s o a le . I n o th e r w ords, ch ro m atics hav e to be I n d ic a te d

i n term s o f th e n o te s o f th e e x i s t i n g s c a le , F or exam ple, w hile th e r e a r e

s e v e r a l p la c e s on th e v a r io u s s t a f f s t o in d i c a t e '(I*, th e r e i s no p la e e to

in d i c a te th e h a l f s te p above o r below 'O ' ( th e n e x t l i n e o r spaoe above i s

'A *, th e n e x t l i n e o r sp ace below i s ' 7 ' ) . T h e re fo re , th e o n ly way to show

* »
th e to n e a h a l f s te p above ^ i s to p la e e a s y m b o l# - in f r o n t o f i t . The o n ly

way to Show th e to n e a h a l f s te p below *G' i s 'to p la c e a symbol b i a f r o n t o f

* 0 '. '0* and *0 s h a r p ' o r '0 f l a t ' have no key o r to n a l r e l a t i o n t o each

o th e r—eaoh i s s e p a r a te and d i s t i n c t from th e o th e r . The in c o n s is te n c y in

th in k in g ab o u t ch ro m a tic s i s t h a t when s y l l a b l e names, l e t t e r names o r numbers

a r e used i n re a d in g o h ro m atio a, th e names g iv en to them im ply a r e la tio n s h ip

th a t i s not a tru e one, He^ i s muoh more c lo s e ly r e l a t e d to do_ th a n di_ i s

r e l a t e d to d o . I a s p i t e o f th e r e l a tio n s h ip im p lie d by th e s i m i l a r i t y i n names

 OB

o f c h ro m a tic s and th e to n e s e h a l f s te p above o r below them , eaoh chrom atic

sh o u ld be ta u g h t a s a new to n e , whloh, o f e o u rse , i t i s .

In th e songs t h a t c h ild r e n have l e a n e d by r o t e , ch ro m a tic s were sung*

The problem i s now t o te a c h them to re a d m usic c o n ta in in g chrom atics* Bye

r e c o g n itio n o f t h e i r symbols i s th e new elem en t, S in ee f i _ i s one o f th e most

common c h ro m a tic s, p la n s to f i x eye and a u r a l r e c o g n itio n o f t h i s ch ro m atic

w i l l be suggested* O th ers may be t r e a t e d in th e same way*

A fte r t h e chrom atic has been p o in te d o u t i n th e re a d in g song, th e te a c h e r

should s in g i t . I f t h e r e i s a p ia n o o r any hey board in s tru m e n t a v a ila b le ,

th e p o s iti o n o f th e ch ro m atic can be shown e a s ily * O b je c tif y in g th e r e l a t i o n ­

s h ip i s o f d e f i n i t e v a lu e . Should th e r e be no means o f a c t u a ll y "show ing" t h e

new to n e , th e te a o h e r w i l l have to s in g th e new to n e in r e l a t i o n to s c a le

tones*

S in g in g to n e s o f th e s c a le in a sequence d e v ise d t o In c lu d e th e ch ro m atic

i s a way o f f i x i n g i t s name and r e l a t i o n s h i p . For exam ple, i f f i , a p p e a rs in

th e m usle t o b e r e a d , s in g t h e fo llo w in g : d o - s o l - f i - a o l . t i - s o l - f 1 - a o l , l a - s o l -

f l - a o l . f a - a o l - f i - s o l , e t c e te ra . When th e c la s s can s in g t h i s a c c u r a te ly ,

th e n th e fo llo w in g sh o u ld be sung: d o - f i - s o l , t i - f 1 - s o l , l a - f i - s o l , s o l - f i - a o l ,

e t c e te ra * The ohrom atio in d ic a te d by p la c in g a sh a rp in f r o n t o f a s o a le to n e

seems to have a c lo s e r co n n ectio n w ith th e to n e im m ediately above i t r a t h e r th a n

th e to n e im m ediately below . The ch ro m atie to n e r e s u l t i n g from p la c in g a f l a t

in f r o n t o f a s o a le to n e seems to have a c lo s e r co n n ec tio n w ith th e to n e

im m ediately below i t . Ra seems more c lo s e ly eonneoted t o do th a n to r e . In

p r a c t i s i n g , c h ro m a tic s in d ic a te d by p la c in g a f l a t in f r o n t o f a s o a le to n e

sh o u ld be sung i n co n n ec tio n w ith th e to n e im m ediately below , a s d o -d o -ra -d o .

T T -d o -ra -d o . la - d o - r a - d o . e t c e te ra * T h is p r a e t i c e should be a o e u ra te a s to

I.
 09

to n a lity . Saying o r a in g in g t h e e o r r e e t names w ith o u t th e o o rre e t sound i a

w astin g tim e . The te a o h e r must check th e p lto h o f te n w ith h e r p i t c h p ip e

t o in s u re aco u raey .

M inor Mode

I t aeems d e s ir a b le to d is c u s s b r i e f l y th e minor mode a s i t a p p lie s to

c h i l d r e n 's song m a te r ia l and to I n d ic a te some p r a c t i c e s w hich w i l l develop

a f e e l i n g f o r songs i n m inor k e y s.

The p rim ary , th e fu n d am en tal, th e p r ln o ip a l to n e in a m inor song i s l a

o f t h e key d e s ig n a te d by th e s ig n a tu r e ,* The m ost im p o rtan t group o f to n e s

i s la -d o -m l. To f in d t h i s most im p o rtan t to n e , s in g d o - t i - l a in w hich th e

song i s w r itte n ; s in g la - d o - m i- la s e v e r a l tim es and minor t o n a l i t y i s

e s ta b lis h e d , a t l e a s t te m p o ra rily ! S i i s a common ch ro m atic in m inor so n g s.

To g e t th e " f e e l" o f s i i n t h i s co n n ectio n , f i n d l a . P ro lo n g th e s in g in g o f

th e to n e . C a ll th e same to n e do; s in g d o - ti- d o l i g h t l y ; remember th e sound;

s in g t h e same to n e s a g a in b u t c a l l them l a - a i - l a . S ing them s e v e r a l tim e s .

Hake up and s in g com binations sueh as th e fo llo w in g :

l a - d o -m i-la -s i-la la m l-la -s l-la

Ao-t l - l a - s l - l a d b -t l - l a - m i - l a - s l - l a

T h is i s good p r a c t ic e f o r o h ild r e n , to o .

P a r t S in g in g and Reading

A o h ild once s a id to h i s te a c h e r , "Two-part s in g in g rem inds me o f la y e r

cake—one la y e r i s good, b u t two la y e r s a re b e tte r * I ' l l b e gLad when we can

have f o u r la y e r s o f s in g in g ." The su b stan o e and r ic h n e s s o f f o u r - , s i x - or

* T h is d is o u s s io n i s lim ite d to th e r e l a t i v e m in o r. I t does not appear

t o be n e e e ss a ry t o d is c u s s a l l o f th e ty p e s o f m inor s c a le s In
t h i s c o n n e c tio n .
 100

e i g h t- p a r t c h o ra l muaio ia t h r i l l i n g and i t a l l d ev elo p s from s in g le tw o -p a rt

s in g in g . Because th e background n e c e s s a ry f o r su co ess in t h i s p h ase o f s in g ­

in g cannot be a c q u ire d in l e s s than th r e e and a h a l f o r f o u r y e a r 's e x p e rie n c e

in m uaio, t h i s d is c u s s io n h as been in c lu d e d w ith t h e p h a s e s o f m u sic a l d ev elo p­

ment which depend on r i o h e x p e rie n c e f o r t h e i r e s ta b lis h m e n t.

J u s t a s s k i l l in m usic r e a d in g i s easy to a c q u ire when th e c h ild r e n a r e

p re p a re d and e a g e r to g a in th e s k i l l , le a r n in g to s in g i n p a r t s i s a d e l i g h t ­

f u l e x p erien ce under th e same c o n d itio n s . In th e s e c tio n on R eading M usic.

U u sic Reading R ead in ess was g iv en m ore a t t e n t i o n th a n th e a c t u a l te a c h in g

p ro o e ss ( s e e p ag es 8 1 -8 8 ), R ead in ess f o r tw o -p a rt s in g in g w i l l be d is c u s s e d

a s thoroughly* A d m itted ly , a group o f c h ild r e n in th e f i r s t grad e can be

ta u g h t a tw o -p a rt song, b u t t h e i r r e n d it io n o f i t would be a r t i f i c i a l and

w ith o u t f u l l u n d e rs ta n d in g , o r fo r t h a t m a tte r w ith o u t even h e a rin g th e f u l l

b eau ty o f th e ohords sung. A b i l i t y t o s in g tw o -p a rt m usio u n d e ra ta n d in g ly

in v o lv e s h e a rin g th e o th e r p a r t s , and i s a mark o f m u sic a l m a tu r ity r e s u l t i n g

from an e x te n s iv e , w ell-ro u n d e d e x p e rie n c e . The background t h a t p ro v id e s two-

p a r t s in g in g r e a d in e s s fo r a c l a s s In c lu d e s p r o f io ia n c y in th e fo llo w in g

a c tiv itie s :

1. S in g in g w ith p ian o or o r o h e s tr a l accompaniment. The s u g g e s tio n th a t

c h ild r e n s in g v e ry s o f t l y and l i s t e n t o t h e aocompaniment w i l l d i r e c t

t h e i r a t t e n t i o n to l i s t e n i n g t o musio o th e r th a n th a t th e y produce them­

s e lv e s , P r o f ic ie n c y in l i s t e n i n g and s in g in g s im u lta n e o u sly i s a

r e q u i s i t e t o p a r t s in g in g .

8. S in g in g w ith an in s tru m e n ta l o b lig a to o r v o c a l d e s c a n t. Some books -et

eongs- have s e v e r a l songs w ith a d e s c a n t on th e same page a s th e song,

3, S in g in g ro u n d s o r oanans. As soon a s t h i s a c t i v i t y becomes a bout in

which each group a tte m p ta t o drown o u t th e o th e r , i t s e f f ic a o y a s a d e v ic e

 101

to p re p a re f o r p a r t s in g in g i s l o s t . I t may a t i l l be f t n , b u t i t s

v a lu e in t h i s co n n ec tio n i s gone* O p p o rtu n ity must be a v a i la b l e f o r

h e a rin g th e sim ple ch o rd s t h a t r e s u l t from th e r e p e t i t i o n s o f th e p h rases*

The fo re g o in g a c t i v i t i e s have in tro d u c e d th e c h ild r e n to a new e x p e rie n c e ;

h e a rin g one melody and a in g ln g a n o th e r a t t h e same tim e* A fte r s e v e r a l weeks

o f c o n c e n tra tio n on a in g ln g p lu s li s t e n in g * th e c h ild r e n a re re a d y to read

sim ple tw o -p a rt m a te ria l* The i n i t i a l a tte m p ts a re i m ita tiv e a s i a most i n t r o ­

d u c to ry work. Com binations su ch a s th e fo llo w in g sh o u ld be p la c e d on th e b o ard :

A. 3. C
—A - e * °
- O ' O — „ O Q
~ « " B O '
“ !--------Q— © " ° ----------------------- = ---------------------- .
- t f \ o & o o — a — © — a — Q —q ~
o °
— S 8S
■ & 3 o »

When t h e c l a s s h as sung each p a r t o f e x e r c is e 1 , th e te a c h e r s in g s one p a r t

w h ile th e c l a s s aih g s th e o th e r* The n e x t s te p i s f o r th e te a c h e r to d iv id e

th e c l a s s , a s s ig n in g t o each s e c tio n i t s p a r t to sing* A f te r each s e c ti o n h a s

sung i t s own p a r t , b o th s e o tio n s s in g to g e th e r . P r a c t i c e e x e r c is e 8 in t h i s

same way, b u t g iv e th e s e c tio n o f th e c l a s s w hich sang th e upper p a r t in e x s r-

o ia e 1 th e o p p o rtu n ity to s in g th e low er p a r t i n e x e r c is e 8 . Each s e c ti o n

should have eq u al o p p o rtu n ity f o r s in g in g th e low er p a r t . The n e x t s te p i n

le a r n in g to s in g tw o -p a rt m a te r ia l i s f o r th e e l a s s to l e a r n th e seoond p a r t

o f a aong ( e i t h e r by r o t e o r by r e a d in g ) and s in g t h a t t h i l e th e te a o h e r s in g s

th e upper p a r t . When th e c l a s s h a s le a rn e d th e t e a c h e r s p a r t, by h e a r in g h e r

s in g i t , sh e ean be c e r t a i n t h a t t h e a c t i v i t y o f l i s t e n i n g w h ile s in g in g i s

g oin g on* S e v e ra l songs le a r n e d i n t h i s manner and th e co n tin u ed p r a c t i c e o f

th e e x e r c is e s su g g ested w i l l g iv e th e c l a s s e x p e rie n c e w hich i s in v a lu a b le f o r

u n d e rta k in g re a d in g and s in g in g p a r t music*

E xam ination o f m a te r ia l in te n d e d f o r in e x p e rie n c e d tw o -p a rt s in g e r s w i l l

r e v e a l t h a t th e m elo d ies and rhythm s a r e sim p le. There a re no l n t r i o a t e passages*

 102

A c tu a lly , each elem ent l a k e p t sim p le i n o rd e r t h a t le a r n in g th e new s k i l l i a

n o t co m p licated by d i f f i c u l t i e s i n re a d in g * T h is p r a o tio e in s u r e s co n c e n tra ­

t i o n on th e new elem ent— s in g in g w h ile lis te n in g * C h ild re n have p re v io u s ly

been encouraged t o l i s t e n to t h e i r own s in g in g f o r t h e purpose o f c r i t i c a l l y

exam ining th e q u a l ity o f to n e . Now th e y a re c a lle d upon to l i s t e n n o t o n ly t o

t h e i r own s in g in g b u t to l i s t e n t o o th e rs a t th e same time* H azards in one

p a r t i c u l a r a r e i n t e n t i o n a l l y red u ced upon th e in c lu s io n o f p o s s ib le new d i f f i ­

c u ltie s *

At no tim e muBt a second p a r t be th o u g h t o f a s c o m p etitio n f o r th e melody,

b u t a s a f a c t o r t h a t enhances o r oonqtlements th e m elody. I t is th i s fa u lty

co n ce p tio n o f th e r e l a tio n s h ip o f th e two p a r t s o f t h e m usio th a t cau ses th e

fo r c e d , h a rd , c h e s t to n e s to o o fte n h e a rd ooming from th o s e who s in g th e low er

p a rt* The p r a c t i c e o f d iv id in g th e r e s p o n s i b i l i t y f o r th e second p a r t by

a l t e r n a t i n g th e s e c tio n s w ith ev ery song w i l l d e c re a se th e p o s s i b i l i t y o f th e

fo rc e d to n e becoming h a b i t u a l . Some w r i t e r s su g g e st t h a t ea c h s e c tio n of th e

c l a s s le a r n b o th p a r t s o f t h e music o f eae h song* I f t h i s i s done, th e tim e

f o r le a r n in g one song i s doubled* T h is w r ite r b e lie v e s th a t th e p o s s ib le f e e l ­

in g o f jo y in accom plishm ent on t h e p a r t o f th e c h ild re n sh o u ld n o t be d e la y e d ,

t h a t two tw o -p a rt songs a r e more v a lu a b le in th e r e s p e c t th a n one tw o -p a rt song

le a rn e d so th o ro u g h ly t h a t e i t h e r s e c tio n can s in g e i t h e r p a r t . The number o f

s u c c e s s e s must grow—and th e p ro c e s s by w hich t h i s i s p o s s ib le must n o t be

la b o rio u s . R ath er th a n have th e group become d isc o u ra g e d , th e te a c h e r should

h e lp when h e lp i s n eed ed . E v e ry th in g sh o u ld go t o make t h i s v e n tu re a s u c c e s s .

F a r t s in g in g i s m u s ic a lly s a t i s f y i n g and th e re i s no p o in t i n a llo w in g th e

le a r n in g o f t h i s s k i l l t o beoome drudgery*

T h re e -p a rt m usic i s in tro d u c e d i n th e same manner a f t e r co n fid e n ce and

s k i l l have been developed i n s in g in g tw o -p a rt m usic. Because o f th e a u r a l power

developed in s in g in g tw o -p a rt so n g s, a b i l i t y i n t h i s new a c t i v i t y w i l l evolve

more q u ic k ly and w ith g r e a t e r ease*

 CHAPTER 1 7

RHYTHMS

Rhythms a r e th o s e p h y s ic a l re s p o n s e s w hich a r e m o tiv a te d , c o n tr o lle d ,

o r d ir e c te d by m usio. Tapping a w ater g la s s w ith a spoon i s a p h y s io a l

resp o n se t o m usic- -a resp o n se m o tiv ated by m u sic. W altzing i s a p h y s io a l

resp o n se to m usio—a re sp o n se c o n tr o lle d by m usic and, in many in s ta n o e a ,

m o tiv ated by m usio. I n t e r p r e t i n g th e s t o r y o f a m u sic al co m p o sitio n th ro u g h

b o d ily movements i s a p h y s ic a l resp o n se to m usic, a re sp o n se m o tiv a te d ,

d ir e c te d and c o n tr o lle d b y 'm u sic. Because rhythm s a r e a means f o r f i x i n g

c e r t a in r e l a t i o n s h i p s , f o r o b je c tif y i n g u n d e rs ta n d in g s, th e y have an impor­

t a n t p la c e in a musio program plan n ed to b rin g ab o u t an a p p r e c ia tio n o f m usic

f o r a l l th e c h ild r e n .

Not o n ly a r e rhythm s a v a lu a b le a id i n te a c h in g m usic, b u t th e y a r e

based on c h i l d r e n 's lo v e o f and need f o r m o tio n . Rhythms a re a r e f i n i n g and

a c o n tr o llin g o f one o f th e predom inate and In n a te c h a r a c t e r i s t i c s o f c h i l ­

d re n . T h e re fo re , a program o f a c t i v i t i e s b u i l t on t h e i r lo v e f o r "doing

th in g s " i s n o t a r t i f i c i a l , i t i s an a c t i v i t y based on c h ild n a t u r e .

An a c t i v i t y m o tiv a te d , c o n tro lle d end d ir e c te d by an e x te r n a l stim u lu s

i s dependent on th a t s tim u lu s . I n t h i s c o n n e c tio n , rhythm s, c o n tr o lle d and

d ir e c te d by m usic, a r e dependent on m u sic. In o rd e r f o r t h i s s tim u lu s to be

e f f e c t i v e , i t m ust be h e a rd . C o n cen trated l i s t e n i n g i s n e c e s s a ry b e fo re th e

stim u lu s o f musio oan produce th e d e s ir e d m o tiv a tio n , c o n tro l o r d i r e c t i o n .

 104

T h e re fo re , i t would seem t h a t rhythm s—a re fin e m e n t and e x te n s io n o f c h i l d r e n 's

lo v e f o r m otion—have g r e a t v alu e in t h a t th e y d ir e c t a t t e n t i o n t o m usic i t a e l f

and can be a means o f b r in g in g ab o u t an aw areness o f th e e s s e n t i a l f a c t o r s

and q u a l ity o f musio w hich aw areness can th e n le n d t o enjoym ent.

The P la c e o f Rhythms in t h e M usic Pro gram

R hythns have a d e f i n i t e p la o e in th e m usic program in th e elem en tary

school* They a r e a v a lu a b le means f o r d ev elo p in g th e a c tiv e o r dormant

r h y th n ic sen se-an d can be an a id in d ev elo p in g t h e im ag in a tio n and in e x p re s s ­

in g id e a s and em otions*

I f th e t e a c h e r 's d e s ir e to in c o rp o ra te b o d ily movements in to th e program

has to be j u s t i f i e d o r i f slhe i s in doubt co ncerning t h e v a lu e o f p ro v id in g

o p p o rtu n ity f o r p h y s ic a l re sp o n se s to m usic, th e r e i s one sim p le t e s t t h a t

can be made to show th e e f f io a c y o f even a li m it e d p h y s ic a l re s p o n s e . Have

th e c h ild r e n s in g th e f i r s t s ta n z a o f Way Down upon th e Swanee R iv e r. As th e y

s in g , th e te a o h e r makes no e f f o r t to conduct a f t e r g e t tin g th e c h ild re n

s t a r t e d , b u t a s in c o n sp ic u o u s ly as p o s s ib le ( f o r h e r own e n lig h te n m e n t, a s i t

w ere) she b e a ts tim e u s in g th e c o n v e n tio n a l c o n d u c to r's b e a t. The chances a r e

t h a t th e c h ild r e n w i l l s l i g h t th e n o te v a lu e s in m easures one and e ig h t; th ey

w i l l h o ld th e d o tte d h a l f n o te o n ly two b e a t s , gasp fo r b r e a th on th e t h i r d

b e a t, and p ro ceed im m ediately t o th e n ex t f u l l measure* A fte r th e c h ild r e n

have sung th e s ta n z a , th e te a o h e r sh o u ld su g g est th a t they s in g again* T h is

tim e she a sk s each c h i ld to do h i s own b e a tin g (u s in g th e c o n d u c to r's b e a t)

a s she s e t s th e tempo by s a y in g , "B eat, b e a t, re a d y , s in g " , and th e c h ild r e n

b e a t and s in g . N o tic e th e v a lu e s t h a t w ere s lig h te d b e f o r e . D uring th e re p e ­

t i t i o n each m easure, i n a l l p r o b a b i l i t y , was g iv en i t s f u l l v a lu e .

 10S ;
i
I
i

At th e tim e th e a u th o r i s w r itin g t h i s book, th e M arines Hymn i s a

f a v o r i t e song o f t h e c h ild re n w ith whom she r e c e n tly became a c q u a in te d aa

th e ir" n e w " m usic te a o h e r . Each group w anted t o aing t h i s song when th e "new"

te a o h e r asked a g r o u p 's ohoioe o f so n g . The f i r s t tim e each c l a s s sang i t

th e y l e f t out a b e a t in th e f o u r th m easure, a f t e r " , . , .o n th e sh o res o f

T rip o li" . At th e co n c lu sio n o f th e s in g in g , t h e te a o h e r d is c u s s e d th e con-

4
v e n tio n a l way t o b e a t tim e f o r songs h a v in g 4 a s a m easure s ig n a t u r e . She

showed th e o h lld r e n how t o do t h i s ; f i r s t , w h ile s ta n d in g in f r o n t o f th e

group, and th e n by o u tlin in g th e b e a t on th e b la c k b o a rd . She in v ite d each

c h ild to draw th e same p a t t e r n in t h e a i r w ith h i s fo rearm w h ile r e s t i n g h is

elbows on h i s d e sk . A fte r some few m in u tes o f p r a c t i c e , th e c h ild r e n were

asked to b e a t w h ile s in g in g th e M arin es Hymn. Not one group f a i l e d t o filve

fo u r b e a ts to each m easure o f th e song. I t would seem th a t i f a re sp o n se

*
w ith o n ly th e fo rearm co u ld cau se th o s e ch an g es, resp o n se w ith th e whole body

m ight a f f e c t t h e i r w hole oonoept o f rhythm s. The w r ite r b e lie v e s i t c a n . As

M ias Dorward say s "The in c r e a s in g number o f books d e a lin g w ith rh y th m ic a o t iv -

*

i t y i s p ro o f o f a f e l t need and o f honest a tte m p ts to so lv e th e p e rp le x in g

problem o f why, in t h i s la n d where enjoym ent o f s tr o n g rhythm s i s upperm ost,

th e perform ance o f m usic p u p ils i s , a s a r u l e , la c k in g in rhythm . There i s

f

g e n e ra l agreem ent th a t p h y s ic a l resp o n se o f some k in d i s th e p ro p e r approach

t o th e s u b je c t o f te a c h in g rhythm .

A p e rso n h av in g a w e ll-d e v e lo p e d f e e l i n g f o r rhythm i s s e n s iti v e to th e

r e g u la r r e c u r r in g p u ls a tio n o f m uaio. Most p eo p le who enjoy s o c ia l d an cin g

would be s t a r t l e d and annoyed w h ile d an cin g i f an o r c h e s tr a in t e r p o la t e d a

1. E. M arion Dorwsrd, M usic E d u ca tio n th ro u g h Rhythmic A c tiv ity f o r E lem entary

and J u n io r H igh School T ea ch ers. (U npublished t h e s i s , School o f Educa­
t i o n , New York U n iv e r s ity , 1 940.)

1
 X

106

f o u r - b e a t m easure in th e m iddle o f a w a ltz . Every one of th e m a rc h ers, in ­

c lu d in g Jim , would be o u t- o f - s te p and co n fu sed i f th e band l e f t o u t a b e a t

in one o f th e m easures i n a m arch. A c o n o e rt au d ien ce would be d is c o n c e rte d

and v e ry c r i t i c a l i f a s in g e r o r a group o f s in g e r s were to s in g in such a

way a s to d i s t o r t th e r e g u la r rhythm ic p a t t e r n o f a so n g . Rhythm i s one o f

th e fundam ental f a c t o r s o f l i f e a s w e ll a s o f m u sic. However, i f th e r e i s

no w ell-d e v e lo p e d f e e l in g f o r rhythm , i t can be developed s in c e "Every one

who i s norm al h a s th e rhythm germ i n him; i . e . , p r a c t i c a l l y everyone h a s th e

p o s s i b i l i t y o f becoming rh ythm ic.**’

T h is f e e l i n g f o r rhythm—a f e e l i n g which p erv ad es th e whole b ein g —i s

one o f th e v a lu a b le a s s e t s in le a r n in g to re a d m usio. While d ev elo p in g t h i s

s e n s itiv e n e s s in a c h i ld , n o te s o f th e same k in d a r e used a s w i l l be met l a t e r

i n re a d in g m a te r ia l. As p a t te r n s o f lo n g and s h o rt n o te s a r e f e l t and i n t e r ­

p r e te d p h y s ic a lly th e symbols o f th e p a t te r n s a re p la o e d on the b la c k b o a rd .

A fte r having ex p erien ced JJJJ j JJJ e th ro u g h c o n tr o lle d movements o f

h is whole body, t h i s p a t t e r n w i l l have d e f i n i t e meaning when h e s e e s i t in a

song. Eye r e c o g n itio n o f th e p a t t e r n w i l l r e s u l t in a d e f i n i t e f e e l i n g , a s

d e f i n i t e a s h i s r e a c tio n t o th e word " c ir c u s " When he se e s " c ir c u s " in a s to r y

a f t e r he h as been to a c i r c u s . The rhythm ic p a t t e r n h e h a s e x p erien ced th ro u g h

p h y s ic a l resp o n se i s t i e d t o th e p a t t e r n he se e s in h i s song m a te r ia l. Y es, a

s e n s itiv e n e s s to rhythm i s v a lu a b le in le a r n in g to r e a d m u sic.

C e rta in ly th e e f f e c tiv e n e s s w ith which s e v e r a l movements d e a e rib e f e e l in g s

h«»a been c o n s id e re d . The shrug o f th e sh o u ld e rs and th e s l i g h t c o n tr a c tio n o f

th e m uscles around th e mouth and nose axe as e x p re s s iv e , p erh ap s more e f f e c t i v e ,

1. K a rl G erk in a, Music i n th e Grade S ch o o l. B oston: C. C. B irc h a rd and

Company, 1938, p . 107.
 107

them dozens o f words* And m otions ean convey in fo rm atio n * to o . What i s a

Van Dyke b eard ? That m otion o f en v elo p in g your ch in in yo u r hand and moving

th e hand tow ard your c h e st would appear t o be th e common way t o d e a o rib e such

a b e a rd . B o d ily movements se rv e i n a t e l l i n g manner a s a means o f e x p re s s in g

id e a s . M usic can a id i n th e use o f th e body t o ex p ress id eas* in fo rm a tio n

and em o tio n s. I t can a i d . to o , in d ev elo p in g th e im a g in a tio n .

The F u n eral Maroh o f a. M a rio n e tte so a d e q u a te ly d e s c rib e s th e m a rio n e tte s

—th e way th e y f e e l and walk— t h a t one o f th e b e s t ways to show a comprehen­

s io n o f th e p i c t u r e g iv en by t h e m usic i s " a c tin g o u t" th e s to r y .

M usic su g g e s ts p i c t u r e s , and le a v e s d e t a i l s t o th e l i s t e n e r . M usic sug­

g e s ts movements and le a v e s th e d e t a i l s t o th e i n t e r p r e t e r . Debussy in h is -

Maid w ith th e ' F laxen H a ir allo w s h i s l i s t e n e r s th e p r iv i le g e o f a r r iv i n g a t

t h e i r own co n c lu sio n s co n cern in g o th e r d e t a i l s o f t h i s b lo n d . He s u g g e s ts ,

but le a v e s m in u tae t o th e l i s t e n e r . Composers su g g est m otion b u t th e y p e rm it

i n t e r p r e t e r s to develop d e t a i l s o f i n t e r p r e t a t i o n w ith in th e c o n t r o l li n g

b o u n d arie s o f t h e mood and s t y l e o f th e muaio i t s e l f . W ithin th e s e b o u n d a rie s,

th e e x te n t and k in d o f movement i s li m it e d o n ly by th e im ag in atio n and m uscular

c o n tr o l and c o - o r d in a tio n o f th e in d i v id u a l .

C hild Growth th ro u g h -Rhythms

A program o f rhythm s in th e e le m e n ta ry sch o o l th a t i s plan n ed and guided

a s c a r e f u l ly a s th e a r ith m e tic o r s in g in g program , can c o n tr ib u te t o th e

p h y s io a l, i n t e l l e c t u a l , s o c i a l and em o tio n al grow th o f a l l elem en tary c h i l ­

d re n .

P ro b ab ly i t s g r e a t e s t c o n tr ib u tio n t o p h y s io a l grow th i s th e o p p o rtu n ity

f o r g a in in g m uscular c o - o rd in a tio n and c o n tr o l. D e s irin g t h a t th e body c a rry

o u t d e f i n i t e p r e s c r ib e d a c t i v i t i e s i s one th in g and i t s hav in g th e power to

 108

c a r r y o u t t h o s e 'a c t i v i t i e s i s a n o th e r. C o -o rd in a tio n end c o n tr o l o f

m uscles i s an im p o rta n t a s s e t tow ard a t t a i n i n g th e d e s ir e d en d . To g a in

command o f movement i s one o f th e f u n c tio n s o f rhythm s.

P h y s ic a l re sp o n se to m usic makes p o s s ib le an a d d itio n a l avenue o f approach

to s e r io u s stu d y o f th e a r t . In i n i t i a l re s p o n s e s , c o n c e n tra tio n i s on o n ly

one o f th e fundam ental f a o to r s o f music— rhythm . L a te r , a t t e n t i o n can be

c e n te re d on rhythm , m elody, harmony and form . The co n ce p tio n o f th e a b s t r a c t ,

m a th em a tic al r e l a t i o n o f to n e s is , i n t e l l e c t u a l in c h a r a c te r , b u t t h i s r e l a ­

t i o n means l i t t l e , a s te a c h e r s w i l l a f f ir m a s th e y c o n sid e r th e in e f f e c t i v e ­

n e s s o f u s in g th a t co n cep tio n a s th e approach to th e stu d y of m u sic. When

th e r e i s a f e e l i n g fo r fun d am en tal f a c t o r s b e f o r e an a tte m p t i s made to te a c h

th e symbols o f th e s e f a c t o r s , symbols become m e an in g fu l.

P h y s ic a l re sp o n se to m usic demands l i s t e n i n g , l i s t e n i n g o f th e most

a t t e n t i v e and c o n c e n tra te d ty p e . Thus, in i n t e r p r e t i n g m usic th ro u g h rhythm s,

m usic i s le a r n e d . As s k i l l i n i n t e r p r e t a t i o n i s in c re a s e d , even th e most

s u b tle i n f l e c t i o n s and nuances a re h eard —t h i s f a c t i s ob v io u s s in c e th e

evidenoe i s in th e i n t e r p r e t a t i o n . A knowledge of a q u a n tity o f m usic i s one

o f th e d e s ir a b l e r e s u l t s o f a w e ll-p la n n e d program o f rhythm s; th e r e f o r e ,

i n t e l l e c t u a l grow th i s p o s s ib le th ro u g h rhy th m s.

P o r tr a y in g id e a s th ro u g h b o d ily movements i s an o th e r o u t l e t f o r t h e

e x p re s s io n o f s e l f . The s a t i s f a c t i o n o f movement seems to r e l e a s e im agina­

t i o n , b rin g in g f o r t h id e a a f te r id e a . A m u sic al accompaniment a t th e same

tim e ap p ears to f r e e c h ild r e n from t h e i r i n h i b i t i o n s . When t h i s form o f

e x p re s s io n i s new to o ld e r c h ild r e n , th e r e s t r a i n t imposed by th e f e a r o f

o r lt io is m o f t h e i r p e e rs h a s to be reckoned w ith b u t a ju d ic io u s ch o ice o f

a c t i v i t i e s can co n v ert them . T his means o f e x p re s s io n has found fa v o r even

among th o s e who w ere s c o f f e r s on f i r s t a c q u a in ta n c e .

 109

The same b e n e f i ts and e x p e rie n c e r e s u l t from th e program o f rhythm s as

a r e gained by p la n n in g rad d ev elo p in g group p r o j e c t s in o th e r p h ases o f th e

sch o o l program* However, th e in n a te ap p eal o f rh y th m ic re sp o n se s may a f f e c t

a c h ild iftio h as h e r e to f o r e been n o n -c o o p e ra tiv e o r unresponsive* Rhythms a r e

an o th e r means o f g a in in g e x p e rie n c e in w orking w ith o th e r s , making a p la c e

f o r o ne’ s s e l f in group a c t i v i t y o r view in g p e r s o n a l a b i l i t y w ith s a t i s f a c ­

t i o n and judgment*

M u sical Growth th ro u g h Rhythms

Through p h y s io a l resp o n se to m usic i t i s p o s s ib le f o r th e i n d i v i d u a l 's

sen se o f rhythm to be so developed a s to allow him to resp o n d a p p r o p r ia te ly

to th e rhy th m ic and m elodic p u ls a t io n , p h r a s in g , dynam ics, and mood o f th e

m usic h e a rd , and to th e elem en ts o f m u sic al fo rm . Much o f th e rem ain d er o f

t h i s c h a p te r w i l l be d ev o ted to s u g g e s tio n s f o r d ev elo p in g a s e n s itiv e n e s s

to musio th ro u g h p h y s ic a l re s p o n s e . However, a t t e n t i o n i s c a lle d to s e v e r a l

f a c t s t h a t sh o u ld b e j ^ b s t a n t l y k ep t in mind in a d d itio n to th e s p e c i f i c aims

o f th e rhythm s p ro g fk k ( to b r in g about cm aw areness o f m usic th ro u g h p h y s ic a l

re s p o n s e ): ( l ) The g e n e ra l aims o f th e m usic program ex ten d through th e

rhythm s program ( t o a id in th e p h y s ic a l, e m o tio n al, i n t e l l e c t u a l , and s o c i a l

grow th o f c h i ld r e n ) , (2 ) a c q u ir in g s k i l l in u s in g th e body in resp o n se t o

m usic i s a slow p ro c e s s , and (3 ) th e p ro c e s s o f g a in in g such te c h n iq u e should

be accompanied by much enjoym ent.

The item s m entioned above should be th o u g h t o f as a l i s t by w hich a l l

a c t i v i t i e s in th e program can be a p p ra is e d . S tudy o f an a p p r a is a l m ight

in d i c a te t h e om ission o f a c t i v i t i e s p o in tin g to developm ent in one p h ase;

f o r exam ple, i n th e attem p t t o f i x r e l a t i v e v a lu e s o f n o te s , i t m ight be

n o tic e d t h a t c r e a tiv e work h a s been a lig h te d , o r v ic e v e r s a . The stu d y

 no

m ight a ls o in d io a te th a t th e te a o h e r had f o r g o tte n th a t te a o h in g f o r

a p p r e c ia tio n d i f f e r s from te a o h in g f o r th e r e t e n t i o n o f f a c t s s in c e th e

c h ild r e n w ere n o t en jo y in g th e rhythm s program* Even th ough th e su g g ested

a c t i v i t i e s a re b u i l t on c h i l d r e n 's lo v e f o r m otion f o r th e p u rp o se o f develop­

in g t h e i r in n a te sen se o f rhythm , th e re i s th e p o s s i b i l i t y t h a t c h ild r e n would

come to re g a rd t h i s p h ase o f th e program w ith d i s l i k e i f i t were guided in a

h igh-handed m anner. D eveloping s k i l l s i n rhythm i s a le n g th y p ro cess* The

te a c h e r m ust n o t become d iscouraged* M oreover, th e o h ild re n must n o t be

allow ed to become d isc o u ra g e d , n o r w i l l th e y i f each s k i l l i s used once i t

i s g ain ed and i f each s k i l l ia used a s th e b a s is f o r one o f g r e a te r d i f f i c u l t y .

In C hapter I I I o f t h i s book in w hich s in g in g i s d is c u s s e d th e r e i s a

sta te m e n t to th e e f f e o t t h a t th e f e e l in g f o r th e a e s t h e t i c q u a l ity o f a song

i s engendered o n ly a f t e r th e song i s le a rn e d and as i t i s b ein g sung f o r en­

joym ent. A somewhat s im ila r s ta te m e n t can be made r e l a t i v e t o p h y s ic a l

re s p o n s e s to m usio. W hile a c e r t a in k in d o f grow th i s ta k in g p la c e in th e

p ro c e s s o f g a in in g s k i l l i n re s p o n s e , th e f e e l i n g f o r rhythm i s f ix e d a s

s k i l l s a re u sed . J u s t as a v o c a b u la ry o f words i s a c q u ire d t o en ab le a

p e rso n to e j p r e s s h im se lf or to make i n t e l l i g i b l e th e m eanings o f o th e r s ,

so a v o cab u lary o f rhythm s i s a o q u ire d to e n a b le a p e rso n to ex p ress h im se lf

th ro u g h t h i s medium. I t i s th ro u g h u se t h a t r e la tio n s h ip s are f ix e d . And,

to o , a d u lts do n o t im m ediately s to p u s in g a p a r t i c u l a r s te p in a dance a f t e r

s u c c e s s f u lly ex eo u tin g i t o n ce. The jo y in dancing comes when th e d an ce rs

know th e s te p . And so i t i s w ith rhythms* The s k i l l s developed th ro u g h

rhythm ic a c t i v i t i e s a r e t o be used—used e i t h e r a s a means o f e x p re s s in g s e l f

o r b ecause th e y make p o s s ib le a n o th e r means o f enjoyment*

A lthough a c t i v i t i e s w i l l be su g g ested t o develop m uscular c o - o r d in a tio n ,

a f e e l in g f o r muaio th ro u g h rhythm s, and f o r g u id in g c r e a tiv e re s p o n s e s ,

a c t u a ll y each o f th e s e p h ases i s t i e d up w ith and c lo s e ly r e l a t e d to th e o th e r .

 I ll

For exam ple, a c h ild s h ip s o r throw s a b a l l o r p u sh es a wagon (m uscular

o o -o rd in a tlo n ) in tim e to m usic ( f e e l i n g f o r rhythm ) in a p a t t e r n he h as

d ev ised ( c r e a t i v e rh y th m s). S in ce th e s e a c t i v i t i e s a r e so c lo s e ly r e l a t e d

th e r e w i l l b e , o f n e c e s s it y , sane o v e r-la p p in g in t h e d is c u s s io n o f each

phase. J u s t a s i t i s d i f f i c u l t t o d is c u s s th e th r e e p h ases s e p a r a te ly , so

i t i s w ith te a c h in g o r g u id in g them. In t h i s in s ta n c e , th e e a sy th in g i s

th e b e s t th in g to do, nam ely, t o te a o h th e th r e e p h a s e s to g e th e r .

V ocabulary o f Rhythms

The w r ite r th in k s o f a v o cab u lary o f rhythm s a s a s e r i e s of fun d am en tal

s k ills . W ithout th e s e s k i l l s grow th and developm ent a re n o t p o s s i b le . For

exam ple, i f a c h i ld cannot a c t u a ll y s k ip o r f e e l a sk ip in s id e him , th e r e i s

no re a s o n t o t r y to te a c h him th a t a q u a r te r n o te fo llo w ed by an e ig h th n o te

i s a s k ip p a t t e r n . He might le a r n th e f a c t , b u t i t w i l l n o t have meaning o r

c a l l up th e d e s ir e d f e e l i n g o r re s p o n s e . I f h e c a n 't c la p a rhythm ic p a t t e r n ,

he cannot be ex p ected to ex p ress i t w ith h i s whole body. The v o cab u lary o f

rhythm s s e rv e a s b a s ic movements—a s t a r t i n g p o in t—to be used in c r e a tiv e

w ork. C o -o rd in a tio n and b o d ily c o n tro l r e s u l t from th e s e fundam ental te c h n iq u e s

and th e s e make p o s s ib le and r e s u l t i n a h ig h e r q u a l ity o f c r e a tiv e work.

A d is c u s s io n o f rhythm s sh o u ld in c lu d e an emphasis on freedom o f m otions

and b ig body movements. Freedom o f m otion i s a n o th e r way of s a y in g " re la x e d "

m otion—a m otion t h a t swings r a t h e r th a n j e r k s , A c h i ld who sk ip s w ith h i s

head h e ld h ig h , h i s arms sw inging back and f o r t h and who c o v e rs ground w ith

each s te p i s r e la x e d . A c h i ld who s k ip s up and down i n p r a c t i o a l l y th e same

sp o t on th e f lo o r w ith h i s head b en t forw ard on a s t i f f n e c k , w ith a r i g i d

bend in h i s elbows i s te n s e . I t i s l i k e l y t h a t i f he can swing h i s arms and

ta k e b ig g e r s te p s , h i s te n s e n e s s and ti g h tn e s s w i l l d is a p p e a r.
 118

An em phasis on b ig movements can n o t be r e i t e r a t e d too o ften * Co­

o r d in a tio n o f b ig m uscles h as t o be developed b e fo re c o -o rd in a tio n o f th e

sm all m uscles i s p o s sib le * Big movements a re im p o rta n t. V igorous movements

a r e im portant* I n d a p p in g a rhythm ic p a t t e r n o r th e b e a ts in a m easure, a

b ig swing o f th e arms i s d e s ir a b l e . I f a reso u n d in g n o is e r e s u l t s , i t may be

h a rd on th e te a c h e r f s n e rv e s , b u t th e n o is e was produced in a good cau se—

freedom o f m o tio n . J u d ic io u s guidanoe w i l l e lim in a te some o f th e e f f e c t , b u t

i t sh o u ld n o t be allow ed to e lim in a te th e c a u se . L i t t l e puny c la p s r e s u l t i n g

from hands on r i g i d w r is ts in d ic a te a la c k o f freedom , and have no p la c e in

a program d esig n ed to r e l e a s e m uscular and em o tio n al te n s io n s and i n h i b i t i o n s .

The fo llo w in g l i s t o f s k i l l s c o n s t i t u t e s a v o cab u lary o f rhy th m s, acco rd ­

in g to t h i s w r i t e r . In th e i n i t i a l d is o u s s io n o f rhythm s a t th e b e g in n in g o f

t h i s o h a p te r, rhythm s were d e fin e d a s " p h y s ic a l re sp o n se s m o tiv a te d , con­

t r o l l e d and d ir e c te d by music"* So i t fo llo w s t h a t when th e s e s k i l l s a r e

m o tiv a te d , c o n tro lle d and d ir e e te d by m usic, th e re b y b ein g ex ecu ted t o th e

accompaniment o f m usic, th e s e a r e rhythm s. They a r e d iv id e d in to two la r g e

g ro u p s: (1 ) th o s e whioh a id m usoular c o n tro l and c o - o r d in a tio n and (2 ) th o s e

w hich b rin g about an aw areness o f m usic. T each ers w i l l r e a l i z e th a t th e

a c t i v i t i e s in th e f i r s t group can be used to develop th e f e e lin g s and

re s p o n s e s l i s t e d in th e second group* S u g g estio n s f o r u s in g th e s e a c t i v i t i e s

w i l l be made l a t e r i n th e c h a p te r in th e s e c tio n s on rhythm s f o r p rim ary and

in te rm e d ia te g ra d e c h ild r e n .

D eveloping M uscular C o -o rd in a tio n and C o n tro l

1* C lapping th e b e a ts o f a m easure; o r , th e rhythm io p a t te r n o f a m elody or

an acoompaniment*

2* Walking o r m arohlng.
 113

3. Jumping. Sm all Jumps a t f i r s t — sm all in t h e se n se t h a t t h e sp ace covered

in eaoh Jump i s . betw een one and a h a l f and two tim e s a s lo n g a s th e

c h i l d 's f e e t . T here sh o u ld be no atte m p t to have th e jump approxim ate

th e broad jump o f th e tr a c k m eet. The speed o f ju n k in g sh o u ld be two

jumps to a m easure o f a m i l i t a r y m arch play ed on a phonograph r e c o r d .

I f th e c h ild re n lo s e t h e i r b a la n c e between jumps i t i s a s ig n th e y a r e

jum ping too slo w ly . More w i l l be a a id ab o u t th e d e s ir a b le r a t e o f speed

in th e s e c tio n on tempo, aee page 117.

4. Hopping. The s u g g e s tio n s r e l a t i v e to jum ping ap p ly e q u a lly w e ll to

hopping.

5. S k ip p in g . Some te a c h e r s say t h a t even though s k ip p in g i s u s u a lly more

d i f f i c u l t f o r many c h ild r e n th a n g a llo p in g , th e y th in k th e c h ild re n le a r n

to s k ip more e a s i l y w ith o u t h av in g le a r n e d to g a llo p . O ther te a c h e r s say

t h a t th e m uscular o o n tr o l and c o - o r d in a tio n g ain ed in g a llo p in g i s o f

d e f i n i t e v a lu e in le a r n in g to s k ip . The s te p s a r e somewhat a l ik e and i t

i s p ro b a b le t h a t i t i s th e d if f e r e n c e in th e in d iv id u a ls r a t h e r th an a

d if f e r e n c e in p ro ced u re th a t i s th e im p o rtan t c o n s id e r a tio n .

6. G a llo p in g .

7. R unning. S e v e ra l tim e s th e w r ite r h as o b serv ed o h ild re n ra c in g p e l l- m e l l

around th e room when th e music was what th e y c a lle d "ru n n in g m u sic". It

"was e v id e n t, s in c e th e y had s t a r t e d to ru n , t h a t th e y had caught th e mood

o f th e m usic, and th a t th e y were m o tiv ated by th e m u sic. I t was a ls o

e v id e n t th a t th e y were n o t c o n tr o lle d o r d ir e c te d by th e m usic in any way

excep t t h a t most o f them t r i e d to s to p when th e m usic sto p p e d . Had th e

re a s o n f o r p la y in g t h a t p a r t i c u l a r com position been to g iv e o p p o rtu n ity

f o r se n sin g mood, t h e i r re sp o n se would have been ad m irab le. However, sin o e

th e re a s o n f o r p la y in g was to g e t a c o n tr o lle d re sp o n se to th e rhythm s o f

th e m u sic, t h e i r re s p o n s e s were a f a r c e . Some te a c h e r s e x p re s s th e o p in io n

th a t r e a l l y rh y th m ic ru n n in g r e q u ir e s g r e a t c o - o r d in a tio n .
 114

8. Sw inging. I n t h i s a c t i v i t y ( a s in o t h e r s , o f oouxse) th e whole body

i s in p la y a s th e arms o r le g s d e s c rib e a s la r g e an a r c a s p o s s ib le in

a pendulum -1ike movement. When th e tru n k o f th e body ta k e s a p a r t

f r e e l y , t h e r e i s an a c tu a l r e l a t i o n betw een th e name o f th e a c t i v i t y and

th e a c t i v i t y i t s e l f .

9. P ush in g and p u l l i n g . These m otions a re much th e same. The id e a m o tiv a t­

in g th e a c t i v i t y w ill cau se th e c h ild r e n to v a ry th e fundam ental n a tu r a l

movement to convey th e d e s ir e d m eaning.

10. C raw ling and s t r e t c h i n g . L ike th e a c t i v i t i e s m entioned above, th e s e two

a re q u ite s im i la r .

In a volume t h a t h a s been c h a r a c te r is e d aa b ein g " . . . . a t one and th e

same tim e , r e c r e a t i o n a l and s u b tly and i n g r a t i a t i n g l y e d u c a tio n a l" ,1 M iss

Hughes g iv e s th e games she h a s d ev ised i n w hich th e s e b a a ie fundam ental

rhythm ic movements a r e in v o lv e d . Simple p ian o m usic i s in c lu d e d f o r u se as

an accompaniment. Games w hich in v o lv e b en d in g , s t r e t c h i n g , sw in g in g , s l i d ­

in g and jumping a r e some o f th o s e in c lu d e d .

The fo llo w in g a c t i v i t i e s a id in b r in g in g about an aw areness o f some o f

th e e s s e n t i a l q u a l i t i e s o f m usic, p e r s e . Many o f th e s e have been grouped

and c l a s s i f i e d by M iss D orw ard.2 The f i r s t a c t i v i t y in each group i s th e

most sim p le; th e l a s t , th e m ost d i f f i c u l t . B efo re c h ild r e n have a need f o r

u s in g n o te s in t h e i r re a d in g and b e fo re th e y have a c q u ire d some s k i l l in

re a d in g , q u a r te r n o te a sh o u ld be c a lle d "walk" n o te s and e ig h th n o te s "ru n "

n o te s . I t i s d e s ir a b l e t h a t a, f e e l in g f o r a l l n o te v a lu e s and eye r e c o g n itio n

1. D orothy Hughes, Rhythmic Games and D aneea. Hew Y ork: American Book
Company, 1942.
2. E.M arion Dor w ard, M uslo E d u catio n th ro u g h Rhythmic A c tiv ity f o r E lem entary
and J u n io r H igh School T e a c h e rs. (U npublished t h e s i s , School o f Educa­
t i o n , New Y ork U n iv e r s ity , 1 9 4 0 .)
 u s

o f th e symbols o f th e s e v a lu e s be e s ta b lis h e d b e fo re an atte m p t I s made to

f i x t h e i r a c t u a l names. F o r exam ple, I f c h ild r e n a r e ta u g h t th a t

i . J J means w alk, w alk, w alk, walk

tl ti­ means r u n , ru n , r u n , ru n

It lt means s te p - p o in t- r u n , s te p - p o in t- r u n

it means s k ip , s k ip

means ste p -b e n d

o means s te p - p o ln t- p o in t- p o in t

th e n th e symbols r e c a l l d e f i n i t e f e e l in g s and p h y s ic a l re s p o n s e s . A fe e lin g

f o r n o te v a lu e s i s one o f th e Im portant p h ases o f m usic re a d in g r e a d in e s s .

A b ili ty to h ear and i n t e r p r e t n o te v a lu e s i s one o f th e s h i l l s which makes

p o s s ib le and adds i n t e r e s t to c r e a tiv e rh y th m s.

In th e f i r s t g rad e and th e f i r s t h a l f o f th e second grade th e r e i s no

need to attem p t to t i e p h y s ic a l re s p o n s e s w ith th e rh y th m ic p a t t e r n s by p la c ­

in g th e p a t t e r n s on th e b o a rd . Rhythms d u rin g t h i s p e r io d should be com plete­

l y i n th e realm o f f e e l i n g and resp o n d in g . A f te r f e e l i n g and re sp o n se a r e

e s ta b lis h e d , a r e f ix e d , symbols to o a l l f o r t h a c e r t a i n re sp o n se w i l l have

meaning— a meaning ro o te d in th e c h i l d 's b e in g . V ith th e a c t i v i t i e s l i s t e d

below th e r e w i l l be th e su g g e stio n th a t t h e symbols f o r c e r ta in rhythm ic

p a t t e r n s be p la c e d on th e b la o k b o ard . T h is sh o u ld be done o n ly when th e s e

p a t t e r n s w i l l a id in th e im m ediate attem p t to re a d m u sic. They w iU n o t a id

o h ild re n in th e f i r s t g rad e o r th e f i r s t h a l f o f th e second g ra d e . Teach

th e f e e l in g b e fo re th e sym bols.

D eveloping an Awareness o f Musio

1. A c t i v i t i e s f o r re sp o n se t o th e p u ls a t io n ,

a. Comparison o f slow and f a s t m o tio n .

 116

(1 ) C h ild re n w alk aa te a c h e r s e ta tempo by b e a tin g p ero u aaio n

in stru m e n t o r say in g "w alk, w alk, w alk, w alk ". Then c h ild r e n

w alk tw ic e a s f a s t ; th r e e tim e s a s f a s t . T eacher p la o e a

rhythm p a t t e r n on th e b la c k b o a rd :

J i J J J J J J
n a r. n si n s. n
oj a i 0\ J1/ $ J
The w alk a t double and t r i p l e tem pi would be a ru n .

(2 ) C h ild ren w alk fo u r s te p s and ru n e ig h t s te p s . T eacher p la c e s

p a t t e r n on b lack b o ard :

i j j jIn n n n
(3 ) C h ild re n w alk fo u r s te p s and ru n th r e e tim es a s f a s t . Teacher

p la c e s p a t t e r n on th e b la ck b o ard :

i .) j j .a
■vi-'
m Ol>
m
\X->
w
Do n o t mix ru n n in g tw ic e aa f a s t ( e~e /l) w ith ru n n in g th r e e tim e s

aa f a s t (see see'). Only th o s e p e rso n s w ith a k e e n ly developed sense

o f rhythm can do t h i s . When a m ix tu re o f th e above two p a t t e r n s i s

found i n a so n g , th e wards w i l l se rv e a s an a id in i n t e r p r e t a t i o n .

N ote: For grow th i n e a r t r a i n i n g , te a c h e r can p la y one o f th e s e

p a t te r n s on a p e rc u s s io n in s tru m e n t and ask th e group t o g iv e

th e resp o n se in d ic a te d ,

b. F or g a in in g o o n tro l and a l e r t n e s s in re s p o n s e .

(1 ) C h ild re n walk in one d i r e c t i o n and th e n change d ir e o tio n when

h e a r in g a lo u d ohard or lo u d b e a t .

(2) D iv id e th e c la s s in th r e e g ro u p s. T e l l one group t o resp o n d to

m J J when i t i s p la y e d , an o th e r to respond to
n dn•
• e and a n o th e r t o
i' p r
e . e V.
P Teacher p la y s two m easures

o f eaoh p a t t e r n in s u c c e s s io n and th e n v a r ie s th e aequenoe o f th e

p a tte rn s .
 117

(3 ) C h ild ren resp o n d to p a t t e r n a s m usie i s played*

2* A c t i v i t i e s f o r re sp o n se to m easure.

a* C la ss l i s t e n s to m usio to d is c o v e r w hether i t sw ings in groups o f

v
tw o 's o r t h r e e 's .

b. Teach c o n v e n tio n a l c o n d u c to r 's b e a t.

c. C lass b e a ts and s te p s a t th e same tim e .

d. C la ss l i s t e n s to m usic to d is c o v e r m easure and b e a ts w h ile m usic V

/

i s p lay ed —one m easure w ith th e r i g h t h an d , th e n ex t w ith th e l e f t .

e. C la ss l i s t e n s to th e p a t te r n o f a m easure end th e n i n t e r p r e t s th e

p a t t e r n w ith p h y s ic a l re sp o n s e s .

3. A c t i v i t i e s c o n tr ib u tin g t o . t h e u n d e rsta n d in g o f farm and to th e i n t e r p r e t a ­

t i o n o f m usic.

a. D iscover d e f i n i t e and i n d e f i n i t e en d in g s i n musio (c a d e n c e s ).

b. Mark one p h ra s e w ith an a ro in th e a i r w ith r i g h t hand, th e n e x t

p h ra se w ith th e l e f t hand, e t c e t e r a .

o. Adapt th e s ty le o f conduct la g to changes in tempo and dynam ics.

d. Walk one d ir e c tio n when m usic a scen d s, a n o th e r d ir e c tio n when i t

desoenda.

e. Walk w ith s te p s t h a t a r e su g g ested by th e In h e re n t c h a r a c t e r i s t i c s

o f le g a to , s ta c c a to , p o rtam en to , p ia n o , and f o r t e .

f. I n s h o r t com p o sitio n s w r itt e n in A B (B in ary ) and A B A (T ern ary )

fo rm s, conduct one p a r t w ith r i g h t h an d , n e x t p a r t w ith l e f t , e t c .

Tempo

P ro b a b ly th e most im p o rta n t a i d to a. s a ti s f y i n g and e d u c a tio n a l e x p e r i­

ence in rhythm s i s th e p ro p e r tempo. What i s th e p ro p e r tempo? It_ in th e

r a t e o f speed a t whioh a p a r t i c u l a r a c t i v i t y can be c a r r i e d on f r e e l y and J

 118

v ig o ro u s ly . The f a c t o r s which determ in e th e p ro p e r tempo o f a re sp o n se a re

th e m uscular c o n tro l and o o - o rd in a tio n o f th o se who a r e a tte m p tin g to resp o n d .

The tempo o f a p a r t i c u l a r a c t i v i t y i s s e t e i t h e r by th e accompaniment o r by

th e c h ild r e n ; in which case th e accompaniment i s adapted to th e tenpo s e t by

th e c h ild r e n . O b v iously, i f th e tempo i s s e t by th e c h ild re n th a t i s an

in d ic a tio n t h a t th e y can c a rry o u t th e re sp o n se s th e y have i n m ind. On th e

o th e r hand, when th e tempo i s s e t by th e acoompaniment, i t sh o u ld be c o n s id e r­

ed c a r e f u l ly . I f i t i s to o f a s t , th e re sp o n se s a r e n o t w ith th e b e a t, fum bling

and awkwardness r e s u l t a s th e c h ild r e n become e x c ite d . P erh ap s th e y do n o t

have s u f f i c i e n t s k i l l and c o - o r d in a tio n to p erfo rm a t t h i s r a t e , p erh ap s n o t

even th e most f in is h e d dan cer co u ld accom plish what th e c h ild r e n axe a tte m p t­

ing* I f th e ten p o i s to o slow , th e m o tiv a tio n and p ro p u ls io n t h a t sh o u ld come

from th e a c e e n t and swing o f th e m usio a r e lo o k in g . The space o f tim e between

s t a r t i n g and f i n i s h i n g a re sp o n se i s to o lo n g . There i s to o muoh o p p o rtu n ity

to lo s e b a la n c e and c o n tr o l.

How can th e p ro p e r tempo be d eterm in ed ? Of o o u rse , th e most sim ple way

to Judge i s to o b serv e t h e r e s u l t s o f th e e f f o r t s a t re sp o n se t o any given

te n p o . A tempo t h a t i s to o q u ick i s r e a l l y e a s i e r to n o tic e th a n one t h a t

i s to o slow . I f o b s e rv a tio n does n o t g iv e a d u e to a d i f f i c u l t y , th e n th e

%
b e s t way i s f o r th e te a c h e r h e r s e l f to t r y o u t th e tempo and an aly ze th e

r e s u l t s o f h e r e f f o r t s in term s o f h er own powers o f c o - o rd in a tio n and oon-

t r o l and th e powers o f th e g roup.

Accompaniments f o r Rhythms

Accompaniments f o r rhythm s can be f u r n is h e d by p e rc u s s io n in s tru m e n ts ,

p ia n o s , phonograph x&eojrds, o r by th e s in g in g o f c h ild r e n n o t ta k in g p a r t in

th e a c t i v i t y . F o r l e s s v ig o ro u s sim p le a c t i v i t i e s , suoh a s ro o k in g a baby to

s le e p , c h ild re n may s in g t h e i r own accompaniment.

 no

Tho m usic used to m o tiv a te s c o n tro l and d ir e c t th e c h i l d r e n 's p h y s ic a l

re sp o n se s sh o u ld be sim p le; th a t i s , i t sh o u ld be uncom plicated a s to

rh y th m ic p a t t e r n . I f th e m usic i s used f o r s te p p in g , th e a c c e n t to d i r e c t

s te p p in g should be c l e a r c u t, easy to f i n d and n o t h id d en by an asso rtm en t

o f oomplex rhythm s superim posed upon th e ste p p in g rhythm w hich sh o u ld be a

sim ple p a t te r n a s J -J J J .
Beoause th e a c c e n ts must be c l e a r l y in d ic a te d , many te a c h e r s f in d a

p e rc u s s io n in stru m en t to be one o f th e most d e s ir a b le means f o r p ro v id in g

accompaniments f o r rhy th m s. These a r e th e re a so n s th e y g iv e : (1 ) The

te a c h e r i s a b le t o move around th e room w hile p la y in g , (2} c h ild r e n can

e a s i l y l e a r n to use them, and (3 ) th e y a re in ex p en siv e to buy o r can be

made e a s il y .

When th e p ian o i s used a s an accompaniment f o r p h y s ic a l re s p o n s e s , th e

p la y in g must be rh y th m ic a l. Hot o n ly sh o u ld th e a c c e n ts o ccu r a t r e g u la r

i n t e r v a l s , b u t th e musio sh o u ld be p la y ed in a s t y l e t h a t enhances th e id e a

embodied in th e a c t i v i t y ; th a t i s , m usic f o r s k ip p in g sh o u ld be l i g h t , a i r y

and g ra c e fu l; music f o r p u l l i n g should be ponderous; and m usic fo x m arching

JL.J ^
sh o u ld be c r is p and peppy. The m usic must be sim ple in a d d itio n t o b ein g

rhythm ic a s w e ll a s enhancing th e id e a o f th e movements.

M iss Dorward l i s t s and g ra d e s accompaniments a cc o rd in g to t h e ty p e o f

\
rh y th m ic p a t t e r n in v o lv e d ,1

1. Accompaniments in w hich th e rh y th m ic p a t te r h i s th e same a s th e p a tte rn

to be ste p p e d , f o r example U e e - n e r t - pag e ) ,

1. E.M arion Dorward, M usic E d u catio n th ro u g h Rhythmic A c tiv ity f o r E lem entary
and J u n io r H igh School T ea ch ers. (U npublished t h e s i s , School o f Educa­
t i o n , New York U n iv e r s ity , 1 9 4 0 .)
 120

c h ild r e n s te p s te p ru n ru n ru n ru n

accompaniment •i #i * /—
• i• • r« r

c h ild re n s te p ru n ru n s te p ru n ru n

accompaniment • ' •I* •I • \m m >

When t h i s p a t t e r n i s p la y e d on th e p ia n o , b o th hands p la y th e same n o te

v a lu e s . Ch i l d re n may p la y t he - pe r c u a s l o n l n a t r ume n t'g c c ompaulrnent and

hfiaa£lt_by-.thfi--praet-tcai

2, Accompaniments in w hich t h e b e a ts o n ly a r e tapped o r p la y e d , even though

c h ild r e n move to a v a r i e t y o f rh y th m ic p a t t e r n s ; For example,

c h ild r e n s te p ru n ru n s te p ru n ru n

accompaniment J J 1
3* Accompaniments in which th e rh y th m ic scheme i s th e same as one o f two

p a t t e r n s w hich c h ild r e n a re d o in g s im u lta n e o u sly ! f o r exam ple,

F i r s t group s te p ru n ru n ru n ru n s te p ru n ru n ru n ru n

Second group s te p s te p s te p s te p s te p s te p

accompaniment J J J J J J
4, Acconqmniments w hich have a d d itio n a l o r c o n f li c ti n g rhythm ic p a t t e r n s , or

in which th e u n d e rly in g p u ls a tio n i s te m p o ra rily obscured o r o m itte d ; f o r

exam ple, a* P o p u la r dance m usic ( p r e f e r a b le w ith o u t v o c a l is t)

b. S ta n d a rd "p o p u lar" c l a s s i c s

c. S tan d a rd c l a s s i c s re c o rd e d in s te a d y tempo f o r rhythm bands

d. Songs w ith sim p le rh y th m ic p a t t e r n s

e. F o lk dances

5, Accompaniments f o r a c t i v i t i e s r e q u ir i n g s p e c ia l m usic; f o r exam ple,

a. V ir g in ia H eel

b. M inuet

c. F o lk dances
 121

A coaaaoriea to Rhytfaas

S c a r f a , jumping r o p e s , b a l l s a r e th e more common a c c e s s o r ie s to rhythm s.

O th ers a r e u sed, b u t th e s e a r e th e ones found most o f te n . There a r e s e v e r a l

re a s o n s f o r t h e i r u s e : (1 ) th e y a r e fu n to u s e , (2 ) th e y g iv e th e s e l f -

co n scio u s c h ild som ething e l s e b e s id e h im se lf upon which t o o o n c e n tra te , (3)

th e y a r e l i k e l y to r e s u l t in b ig , f r e e movements, and (4) th e m otions r e s u l t ­

in g from m a n ip u la tin g th e s e a c c e s s o r ie s can s e rv e a s p a t t e r n s f o r o th e r

re s p o n s e s . F o r exam ple, c h ild r e n can r e g u la te th e m otions o f im ag in ary throw ­

in g by remembering th e a c tu a l m otion in v o lv ed in throw ing a b a l l . The u se o f

a c c e s s o r ie s h a s a d e f i n i t e l i m i t a t i o n in t h a t th e f a s c in a tio n o f m a n ip u la tio n

o f te n p re c lu d e s c o n c e n tra tio n on l i s t e n i n g . However, i f th e s e b a l l s and ro p e s

a r e n o t used ev ery tim e th e c h ild r e n engage in p h y s ic a l re sp o n se s to m u sic,

th e y can se rv e a s m o tiv a tio n and th e n , l a t e r , can be used when c e r t a in s k i l l s

have been d ev elo p ed .

Creative Rhyttma

There axe two ty p e s o f rhythm s c h ild r e n can c r e a te : (1 ) th o s e whioh a r e

in s p ir e d by m usic, and (2 ) th o s e w hich a r e th e e x p re s s io n o f t h e i r own id e a s

to w hich musio h as been a d a p te d . Once th e re sp o n se s a re p la n n e d , th e p u ls a ­

t i o n and aocent o f th e m usic i s th e fo ro e th a t c o n tr o ls and d i r e o t s movement.

Those a c t i v i t i e s which a r e in s p ir e d by m usic a r e c h i l d r e n 's p h y s ic a l

re s p o n s e s made to show t h e i r u n d e rs ta n d in g o f th e m u sic. B efore t h i s medium

o f e x p re s s io n can be u sed , how ever, c h ild r e n m ust know o f i t s e x ls te n o e . They

must be aw are o f th e f a c t t h a t t h i s medium i s p o s s i b le , t h a t th e y ean a c t i v e l y

resp o n d to m usic. T here i s l i t t l e average a d u l ts can do_to show t h e i r u nder­

s ta n d in g , b u t c h ild r e n oan t r a n s l a t e t h e i r u n d e rs ta n d in g in to m o tio n .

 188

The re s p o n s e s to musio may be o f two k in d s : (1 ) th o s e w hich a r e ex a c t

t r a n s l a t i o n s o f co m p o sitio n s in w hieh th e i n t e r p r e t e r s a re m o tiv a te d , d ir e c te d

and c o n tro lle d by th e elem en ts o f m usio—-rhythm, m elody, harmony, dynam ics,

mood, form o r th e o r c h e s tr a tio n ; (8 ) o r th o s e which m ight be c a lle d "drama­

t i z a t i o n s " o f th e m usic w ith no atte m p t b ein g made to g iv e a l i t e r a l t r a n s l a ­

t i o n o f th e co m p o sitio n s b u t in w hieh th e s to r y o r t h e mood o f th e musio i s

th e m o tiv a tio n f o r th e a c tio n *

An ex a c t t r a n s l a t i o n o f a o a n p o s itio n can be i l l u s t r a t e d by d e s c r ib in g

th e i n t e r p r e t a t i o n o f a s ix te e n m easure co m position d e v ise d by a f i f t h grade

w hich had c o n s id e ra b le te c h n iq u e in rhythm s. The rhythm o f th e melody and

th e accompaniment and some o f t h e e x p re s s io n m arks o f t h e e ig h t m easures a r e

g iv e n below; th e seoond e ig h t m easures a r e i d e n t i c a l :

melody f t
/N
f t ? J
A .
n
• ? •
i e r er en e e
t i
e
,— „
•S3 1

• • • •
accompaniment •%.
f f 1u u U til * * r *
• e e e ® • • •
D U I 1 IV r
H a lf o f th e group worked on in t e r p r e t i n g th e melody and th e rem ainder on th e

accompaniment. T h e ir i n t e r p r e t a t i o n by means o f ru n n in g and w alking s te p s in ­

clu d ed r e c o g i i t i o n o f th e a c c e n t, le g a to and s ta c c a to m arks and a change o f

d ir e c tio n t o in d ic a te th e re p e a te d s e c ti o n . They d e v ise d t h e i r own scheme f o r

showing lik e n e s s e s and c o n t r a s t s . T h e irs was a l i t e r a l t r a n s l a t i o n o f th e

musio in to m o tio n . E v e ry th in g was in c lu d e d ex ce p t sound.

A d ra m a tiz a tio n o f D ukas' S o r c e r e r 's A p p ren tic e i s an example o f th e

second ty p e o f re s p o n s e . C h ild re n a r e k een ly aw are, p ro b a b ly more so th a n

a d u l ts , o f th e te m p ta tio n w ith w hich th e s o r c e r e r 's a p p r e n tic e i s c o n fro n te d .

They a p p r e c ia te th e aw ful dilemma i n which he f in d s h im s e lf . T h e ir compre­

h e n sio n s t i r s t h e i r im a g in a tio n . I n d ram a tiz in g suoh a s to r y , th e soope o f

th e i n t e r p r e t a t i o n i s bounded by th e s to r y in th e m usio, b u t th e r e i s no
 123

l i m i t a t i o n to c r e a t i v i t y w ith in th e s e t b o u n d a rie s. J u s t a s t h e p o e t who

w r ite s a so n n et must work w ith in th e framework o f a d e f i n i t e p a t t e r n and th e

composer who composes a rondo must ad h ere to a p r e s c r ib e d form , so c h ild r e n

who d ram a tiz e s t o r i e s t o l d in m usic must c r e a te w ith in th e l i m i t s o f th e s to r y

and th e m u sic. Even s o , th e r e i s no a tte m p t to ru n e ig h t or tw elv e s te p s in

one d ir e c tio n o r an o th er in an e f f o r t to w ard s e x a c t t r a n s l a t i o n . The a c tio n

i s prom pted and su g g ested by th e s t o r y and th e music b u t movements f o r s in g le

m easures o r s e c tio n s a r e n o t worked o u t i n th e p r e c i s e manner d e s c rib e d in

th e p re c e d in g p a ra g ra p h .

One group o f c h ild r e n oombined th e two ty p e s o f c r e a tiv e a c t i v i t y in

t h e i r i n t e r p r e t a t i o n o f N e v ln 's N a rc is s u s . T h is co m p o sitio n i s in A B A

(T ern a ry ) form . The o h ild re n d e v ise d a p a t te r n o f movements in t e r p r e t i n g

th e p h ra s e s in p a r t A. For p a r t B, each c h ild gave a f r e e i n t e r p r e t a t i o n

o f th e mood.

R esponses c h ild r e n c r e a te to e x p re ss t h e i r o m id e a s a r e s a t i s f y i n g to

them and o f te n r e v e a l an a x a c t conqjrehension o f a s u b je c t o r id e a . D ram atiza­

t i o n o f t h e i r own id e a s o f th e fo llo w in g a r e s u g g e s tio n s f o r p o s s ib le a c t i v i ­

tie s :

1. Any an im als on a l l fourB.

2. Jumping an im als: f r o g s , r a b b i t s , k an g aro o s.

3. N a tu ra l a c t i v i t i e s (p u sh in g , th ro w in g , sw inging)

4. L if e about them ( a ir p l a n e s , a u to m o b ile s, f i r e e n g in e s, p eo p le b u ild in g

*
a ro a d o r a house)

5. Toys, p u p p e ts, c i r c u s , farm l i f e , c i t y l i f e

6. C h a r a c te r iz a tio n s o f p i r a t e s , w itc h e s , acareo ro w s, fire m e n , postm en,

m ilkm en, e t c .

( c o n tin u e d )
 184

7. D ram atic id e a s : f i r e , sto rm , b a t t l e , shipw reck

8. N u rsery rhym es, poems, s t o r i e s

9. Id e a s t h a t grow out o f schoolroom a c t i v i t i e s

A s e r i e s o f rh y th m ic d r a m a tiz a tio n s i s an e x c e lle n t means by which to

summarize th e le a r n in g s c h ild r e n have ac q u ire d in th e s tu d y o f a la r g e u n it

o f work. To g iv e form to t h e i r rh y th m ic d r a m a tiz a tio n s , t h e v a rio u s a c t i v i ­

t i e s can be arran g ed i n th e p a t t e r n s o f sim ple m u sio a l form s—th e rondo and

A B A fo rm s. The m usic f o r th e s e rhythm s w i l l p ro b ab ly c o n s is t o f a s e r i e s

o f co m p o sitio n s—each one o f th e s e r i e s having been chosen because i t s u ite d

e x a o tly th e re q u ire m e n ts o f a p a r t i c u l a r rhythm . A fte r th e c u lm in a tin g o r

su n m arizin g a c t i v i t y h as been p lan n ed , choosing s u ita b le m usic f o r each p a r t

o f th e a c t i v i t y p r e s e n ts o p p o rtu n ity f o r c h ild r e n t o use t h e i r judgment in

d e c id in g w hich m usic b e s t f i t s a p a r t i c u l a r a c t i v i t y . Not on ly sh o u ld c h i l ­

dren be allow ed to h e lp in ch o o sin g th e m usic b u t th e y should be allow ed to

choose th e b e s t rhythm ic p r e s e n ta tio n o f an id e a from th e group of id e a s sub­

m itte d . As i t i s a group endeavor—t h i s summarizing a c t i v i t y —th e group

should be allo w ed a d e c id in g v o ic e in th e s e le c tio n o f d ra m a tiz a tio n s and

m usio to be u sed .

Rhythms f o r P rim ary C h ild re n

Those who a re charged w ith th e r e s p o n s i b i l i t y f o r g u id in g th e grow th

o f o h ild r e n th ro u g h rhythm s do n o t have to r e s o r t t o any d eg ree o f a r t i f i c i a l

s tim u la tio n . T eachers should o f te n examine t h e i r p ro c e d u re s c r i t i c a l l y i n an

e f f o r t to f in d o u t w hether o r n o t o p p o rtu n ity h as been p ro v id ed f o r grow th in

a l l p h a se s o f th e program . Because t h i s i s an a c t i v i t y w hich te a c h e r s and

c h ild r e n en jo y w h o le -h e a rte d ly , e v a lu a tio n o f r e s u l t s i s d e s ir a b le in o rd e r

to be c e r t a i n t h a t grow th a s w e ll a s enjoyment i s ta k in g p la o e . A ll p h ases

o f th e musio program should be fu n , and a l l p h ases should conduce to grow th

in u n d erstan d in g *
 125

In t h i s c o n n e c tio n ,a s v e i l a s in a l l o th e r s r e l a t i v e to te a c h in g m usic,

th e r e i s th e u s u a l in s is te n c e upon " ta k in g c h ild r e n from w here th e y a r e " .

The te a c h e r under whose guidanoe c h ild r e n a re p lao ed f o r t h e i r i n i t i a l sch o o l

e x p e rie n c e s can assume th a t t h e c h ild r e n a r e u n tu to re d in th e fo rm al a s p e e ts

o f rhythm s—fo rm a l in th a t re s p o n s e s a re m o tiv a te d , d ir e c te d and c o n tro lle d

by a f o rc e o th e r th a n t h e w i l l t o move. I f c h ild r e n a r e in th e t h i r d grad e

r a t h e r th a n in k in d e rg a rte n o r th e f i r s t grade when an attem p t i s f i r s t made

to mold t h e i r p h y s ic a l re sp o n se s in co n fo rm ity t o an e x te r n a l s tim u lu s , t h e i r

te a c h e r s w i l l no doubt f in d t h a t some o f th e a c t i v i t i e s l i s t e d as prom oting

m uscular c o n tro l and c o - o r d in a tio n a r e p h y s ic a lly e a s y . In such in s ta n c e s ,

th e em phasis should be on th e rh y th m ic a s p e c t o f th e p erfo rm an ce, on l i s t e n ­

in g to th e m usic f o r d ir e c tio n , and on hav in g a s a t i s f y i n g tim e i n th e ex-

«

p r e s s io n o f s e lf *

S u g g e stio n s f o r T eaching Rhythms

There a r e two approaches w hich may be used in I n i t i a t i n g rh y th m ic a c t i v i ­

tie s . They w i l l be d is c u s s e d in te rm s o f th e f i r s t s te p s l i k e l y to be un d er­

ta k e n in th e program , b u t th e y ap p ly eq u a lly , w e ll in i n i t i a t i n g a l l re s p o n s e s .

One approach i s to a sk a *mu.n group o f o h ild re n to w alk w h ile th e te a c h e r

a d a p ts th e accompaniment t o t h e i r s te p s . As soon a s th e a c c e n t o ccu rs

r e g u la r ly i n th e w alking o f th e group and i n th e acoompaniment, th e c h ild r e n

who a r e n o t w alking may c la p w ith th e accompaniment, ( I n th e s e i n i t i a l

I
a c t i v i t i e s th e tom-tom i s p a r t i c u l a r l y v a lu a b le .) When t h i s second group

ta k e s i t s tu r n a t w alk in g , i t s f i r s t re s p o n s e s w i l l be more r e g u la r th a n th e

o th e r g r o u p 's because i t has had th e advantage o f conform ing in a sm all way

to th e d i r e c t i o n and c o n tro l imposed by th e r e g u la r ly r e c u r r in g p u ls e o f t h e

tom -tom and th e w alk o f th e o th e r c h ild r e n . The second approach i s f o r

 186

c h ild re n to e la p f i r s t w ith th e accompaniment and th e n a tte m p t to w alk t o th e

same accompanim ent. The d if f e r e n c e between th e two m ethods o f approaeh i s

t h a t th e accompaniment in th e f i r s t in s ta n c e was ad ap ted to th e resp o n se o f

th e o h ild re n and in th e second th e resp o n se was ad ap ted to th e aooompaniment.

The w r ite r b e lie v e s t h a t eaoh ty p e o f approach h a s i t s p a r t i c u l a r v a lu e and

th a t each should be u sed a s o f te n a s th e o th e r .

As soon a s eaoh c h i ld h a s had a lim ite d e x p e rie n c e in w alking to an

accompaniment, a s ig n a l f o r h a l t i n g a c t i v i t y sh o u ld be d e v ise d . T h is s ig n a l

i s in c o rp o ra te d in to th e accompaniment and i s to be th o u g h t o f a s a w arning

t h a t a c tio n i s to c ea se on th e n ex t b e a t . Some te a c h e r s l i k e one lo u d b e a t

and some l i k e a lo u d t r i p l e t a s a s ig n a l . For exam ple,

w alk, w alk, w alk, w alk, s to p w alk, w alk, w alk, w alk, sto p

/\ or /T
r [ f i f r r r ctr r
C o n sid erab le c o - o r d in a tio n i s n e o e ssa ry to en ab le a c h ild to s to p moving on

a s ig n a l , so f o r t h a t re a s o n i t i s a good id e a f o r th e s ig n a l t o be c o n sid e r­

ed a s a w arning to c e a se m otion on th e fo llo w in g b e a t.

A fte r a rh y th m ic a c t i v i t y h a s been I n i t i a t e d , c h ild r e n should be en­

couraged to o f f e r t h e i r id e a s and s u g g e s tio n f o r e n la r g in g th e sp h ere o f

th a t a c t i v i t y . For some c h ild r e n , even th e d e c is io n to r e v e r s e th e d ir e c tio n

o f w alking o r to change th e d em o n strated manner o f th ro w in g o r p u ll in g , i s an

Im portant ev id en ce o f d ev elo p in g i n i t i a t i v e , and som etim es i t i s a f i r s t

ev id e n c e . D eveloping i n i t i a t i v e and im a g in a tio n i s as im p o rtan t to grow th

a s le a r n in g to conform .

A c t i v i t i e s f o r d ev elo p in g m uscular o o -o rd in a tlo n and c o n tro l and a c t i v i ­

t i e s to b rin g about an aw areness o f m usic were su g g ested p re v io u s ly . I t was

s t a t e d , to o , t h a t th e f i r s t a c t i v i t y l i s t e d in each s e r i e s was th e most sim ple

and th e l a s t th e most d i f f i c u l t . ^ 1'At any one tim e in a p rim a ry g rad e th e

rhythm s program sh o u ld in c lu d e s e v e r a l a c t i v i t i e s from eaoh s e r ie s * I t is

l i k e l y t h a t th e c e n te r o f i n t e r e s t v i t h which th e c h ild r e n a re im m ediately

engaged w i l l su g g est a re a so n f o r in c lu d in g o e r ta ln o f th e n a t u r a l funda­

m en tal movements. As th e c h ild r e n p r a c t i c e th o se re s p o n s e s , some o f th e

a c t i v i t i e s t h a t b rin g about aw areness o f musio should be in c lu d ed and a t th e

same tim e o p p o rtu n ity should be g iv e n t o c r e a te p a t t e r n s by u s in g th e vocabu­

l a r y o f rhythm s. A v a r i e t y o f a c t i v i t i e s i s d e s ir a b le n o t only b ecau se o f

i t s e d u c a tio n a l v a lu e b u t because o f t h e n a tu re o f c h ild r e n : th e y have a

s h o rt I n t e r e s t span, and a r e l i k e l y to g e t t i r e d i n a p ro longed u n v a rie d

e f f o r t a t c o n tr o lle d response* D ra m a tiz a tio n o f an id e a , s to r y , o r p a r t s o f

th e c u rre n t c e n te r o f i n t e r e s t can m o tiv a te re sp o n se s a t any p o in t w h ile

d ev elo p in g s k i l l s and makes p r a c t i c e m eaningful*

B efo re a tte m p ts a re made to make th e body conform to t h e d i c t a t e s o f a

new rh y th m ic p a t t e r n , c la p p in g th e p a t t e r n i s a v a lu a b le a id in d i r e c t i n g

a t t e n t i o n t o th e a c c e n ts in th e music th a t su g g est o r c a l l f o r c e r t a i n

re sp o n ses* For example, in le a r n in g to s k ip to m usic two th in g s a r e n e c e s­

s a ry b e fo re s k ip p in g to m usic oan ta k e p la c e : (1 ) c h ild r e n must know how t o

s k ip , and (2 ) th e y muat be ab le t o h ear th e p a t te r n in th e m usic t h a t w i l l

c o n tr o l and d lr e o t th e p h y s io a l re sp o n se o f sk ipping* A fte r th e y have

le a rn e d to s k ip , c la p p in g th e p a t te r n o f "sk ip m usic" w i l l d i r e c t a t t e n t i o n

to t h a t p a tte rn * Being a b le to c la p i n tim e to t h e accompaniment i s evidenoe

t h a t c h ild r e n oan a t l e a s t h e a r th e a c c e n t t h a t w i l l c o n tro l t h e i r la r g e r

movements; w hether or n o t th e y can move to t h i s a c c e n t i s a d i f f e r e n t m atter*

In a n o th e r in s ta n c e in w hieh c h ild r e n want to bend and p u l l , th e re sp o n se to

be used i s chosen from th o s e su g g ested by in d iv id u a ls and s u ita b le musio i s

chosen* Then th e c h ild r e n should have o p p o rtu n ity t o h ear th e m usio and
 188

e o n o e n tra te on th e ao o en t by c la p p in g t h e aooent w hich may " sa y ” :

bend, p u l l , p u l l , bend, p u l l , p u l l

and th e c h ild r e n c la p :

lo u d , a o f t , s o f t , lo u d , s o f t , s o f t

w h ile l i s t e n i n g to th e m usio. As was s t a t e d b e fo re , th e s tim u lu s o f p h y s ic a l

re s p o n s e s must be h eard b e fo re i t can d i r e c t . C lapping th e acc en t i s a

sim p le re sp o n se w hich can o f f e r evidenoe t h a t th e s tim u lu s i s h e a rd .

I n Rhythmic Games and D a n c e d t h e r e a r e d ir e c tio n s fo r many a c t i v i t i e s

f o r p rim ary c h ild r e n w hich a r e p le a s u ra b le and e d u c a tio n a l. O ther s o u rc e s

o f m a te r ia ls a r e in d ic a te d in t h e b ib lio g ra p h y o f t h i s book.

Rhythm Bands

"Rhythm bands" or "rhythm o r c h e s tr a s ” a r e th e names u s u a lly a p p lie d to

groups o f c h ild r e n p la y in g p e rc u s s io n in s tru m e n ts to t h e accompaniment o f

m usio. Some o f th e in s tru m e n ts used a r e in stru m e n ts o f th e p e rc u s s io n

s e c tio n o f a modern symphony o r c h e s tr a —tam b o u rin es, cym bals, drums, t r i ­

a n g le s , c a s ta n e ts V to th e rs a r e p e rc u s s io n in s tru m e n ts w hich make m u sic al

sounds o f i n d e f i n i t e p it e h — bellsA.+and s t i l l otherB a r e th o s e which make

t h e i r own p e c u lia r in d iv id u a l sounds w hieh defy c l a s s i f i c a t i o n — s t i c k s and

b ir d w h is tle s . The musio w hich i s b ein g in t e r p r e te d a t t h e same tim e t h a t

i t s e rv e s a s an accompaniment i s e i th e r a phonograph re o o r d , piano musio o r

th e s in g in g o f c h ild r e n .

P a r t i c i p a t i o n in rhythm bands can be o f e d u c a tio n a l v alu e to c h ild r e n

in t h e i r a s s o c ia t io n w ith musio i f . th e m u sic a l accompaniment i s th e m o tiv a t­

in g f a c t o r in t h i s e x p e rie n c e . When a group o f c h ild r e n , m a n ip u la tin g a

1. D orothy Hughes, Rhythmic Gaaes and D ances. New York: American Book
Company,.1948.
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s e r i e s o f " in s tru m e n ts ” , i n t e r p r e t s th e v a rio u s rhythm s o f a co m p o sitio n ,

th e e x p e rie n c e i s u n q u e stio n a b ly o f v a lu e in t h a t i t d i r e c t s a t t e n t i o n to

m usic i t s e l f . I f a l l th e a c t i v i t i e s r e l a t i v e to p la y in g in a rhythm band

a r e judged by w hether o r not th e y c o n tr ib u te to th e u n d e rs ta n d in g and i n t e r ­

p r e t a t i o n o f a, co m p o sitio n , c e r t a in p r a o tio e s w i l l fo llo w and c e r t a in o th e r

p r a c t i c e s w i l l be e lim in a te d .

O b vio u sly , p a r t i c i p a t i o n in rhythm s bands i s a d e l i g h t f u l means o f

d ev elo p in g a se n s e o f rhythm . I f enjoyment were th e o n ly re a s o n f o r making

i t p o s s ib le f o r c h ild r e n to g e t t h i s a d d i tio n a l e x p e rie n c e in rhy th m s, th e r e

would be l i t t l e p o in t in expending a l l th e tim e and energy n e c e ss a ry f o r

a c q u ir in g and d i s t r i b u t i n g th e e s s e n t i a l m a te r ia ls because th e rh y th m ic sen se

oan be developed e q u a lly w e ll by c la p p in g v a rio u s rhythm s. I t i s th ro u g h th e

l i s t e n i n g n e c e s s a ry to en ab le c h ild r e n to make s u g g e s tio n s f o r i n t e r p r e t a ­

ti o n s o f co m p o sitio n s and c a r r y in g out th o s e s u g g e s tio n s th a t m u sic al grow th

ta k e s p la c e . I t i s grow th in m u sic a l t a s t e and judgm ent r e s u l t i n g from

p la n n in g th e s c o re s o f com positions t h a t j u s t i f i e s in c lu d in g rhythm bands

in th e musio program f o r p rim ary o h ild r e n . F u rth e r j u s t i f i c a t i o n can be

p o in te d to when i t can be shown th a t p a r t i c i p a t i o n in th e rhythm band le a d s

d i r e c t l y t o p a r t i c i p a t i o n in th e e lem en tary sch o o l bands o r o r c h e s tr a s .

C h ild re n must be th o ro u g h ly f a m i l i a r w ith th e sound e ffe c tB produced by

th e p e rc u s s io n in s tru m e n ts and th o ro u g h ly f a m i l i a r w ith th e m usic th e y in te n d

to I n t e r p r e t b e fo re a tte m p tin g to make th e s c o re th e y w i l l fo llo w in i n t e r ­

p r e tin g a co m p o sitio n . F a m i lia r ity w ith t h e in s tru m e n ts oan o n ly be gain ed

by u s in g them and d is c u s s in g th e q u a l i t y o f th e sounds th e y make. F a m i lia r ity

w ith th e co m p o sitio n comes w ith h e a rin g i t many tim e s . As p r e p a r a tio n f o r

making th e s c o r e , th e co m p o sitio n should be d is c u s s e d in term s s im ila r t o th e

term s used in ta lk in g about th e q u a l ity o f sounds made by th e in stru m e n ts ;

t h a t i s , th e musio I t s e l f should s u g g e st th e u se o f c e r t a in in s tru m e n ts .

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The a e o re may e i t h e r approxim ate an o r c h e s tr a l aoore in t h a t a p a r t i a

p lan n ed f o r each group o f in s tru m e n ts th ro u g h o u t th e whole com p o sitio n ; o r

eaoh group o f In stru m e n ts may be a ssig n e d to p la y a c e r t a i n s e o tio n o r

s e c tio n s o f th e co m p o sitio n . Many te a c h e rs f e e l t h a t th e l a t t e r ty p e i s

s a tis fa c to ry . As th e d e c is io n i s made a s to which group o f in s tru m e n ts i s

t o p la y a s e c tio n , th e o rd e r in w hich th e in s tru m e n ts a re to p la y i s

w r itt e n on th e b lack b o ard t o a c t a s a rem in d er t o th e e o n d u c to r. When t h i s

ty p e o f "ao o re" i s u sed , th e o h ild r e n do n o t g e t th e e x p e rie n c e p ro v id ed in

re a d in g a m u sic al s c o r e . The w r ite r does n o t f e e l t h a t t h i s 3aok o f e x p e ri­

ence i s im p o rtan t beoause c h ild r e n do n o t know how to i n t e r p r e t m usic symbols

when th e i n t e r e s t and d e lig h t in rhythm bands i s g r e a t e s t . I f s k i l l in re a d ­

in g th e s e symbols were a p r e - r e q u i s i t e to p a r t i c i p a t i o n , i t i s p o s s ib le t h a t

a t t e n t i o n m ight be d ir e c te d away from d ev eloping m u sio a l t a s t e and judgment

and a f e e l i n g f o r rhythm tow ard le a r n in g th e meaning o f sym bols. I t should

be p o in te d o u t, however, t h a t c e r t a i n s k i l l f u l te a c h e rs have had c o n s id e ra b le

su c c e ss in u s in g th e i n t e r e s t aro u sed by rhythm band e x p e rie n c e as m otiva­

t i o n f o r th e s e r io u s stu d y o f m usic. I n each c a s e , th e s e te a c h e r s have been

h ig h ly tr a in e d and th e y have been r e s p o n s ib le f a r g u id in g th e m u sic a l grow th

o f o n ly a sm all number o f c h ild r e n . On t h e o th e r hand, i t does seem t h a t th e

te a c h e r w ith o u t s p e c ia l t a l e n t s in m usic should be a b le to g u id e c h ild r e n in

a s a ti s f y i n g and w o rth w h ile e x p e rie n c e w ith p e ro u ssio n In s tru m e n ts .

The musio to be in t e r p r e t e d and used a s an accompaniment sh o u ld be g iv e n

c a r e f u l c o n s id e r a tio n , e s p e c i a ll y t h a t which i s used in i n i t i a l a tte m p ts . The

fundam ental rhythm ic p a t t e r n sh o u ld be w e ll- d e f in e d . There sh o u ld be c o n tr a s ts

in s t y l e , melody, and mood. The tem pi o f th e v a rio u s s e c tio n s can be v a rie d

b u t th e r e sh o u ld be no g r e a t v a r i a t i o n in th e tempo o f a g iv en s e c tio n .
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C h ild re n w i l l en jo y and b e n e f it con d u ctin g th e band* An e f f o r t sh o u ld

be made t o have th e le a d e r s g iv e d i r e c t i o n s f o r g ro u p s to s t a r t and s to p

p la y in g and to in d ic a te changes i n dynam ics. The c o n d u cto rs should do more

th a n b e a t tim e: th e y sh o u ld g iv e d i r e c t i o n s so th a t th e c h ild r e n p la y in g in

th e band w i l l p la y more a r t i s t i c a l l y th a n th e y would i f th e r e were no con­

d u c to r.

At t h i s tim e th e w r ite r w ishes t o c a l l a t t e n t i o n t o a sta te m e n t she

made e a r l i e r in t h i s s e c tio n : " I f a l l th e a c t i v i t i e s r e l a t i v e to p la y in g in

a rhythm band a r e judged by w hether o r not th e y c o n tr ib u te t o th e u n d e rsta n d ­

in g and i n t e r p r e t a t i o n o f a co m p o sitio n , c e r t a i n p r a c t ic e s w i l l fo llo w and

c e r t a i n o th e r s w i l l be e lim in a te d ." (See page 1 2 9 .) One o f t h a p r a c t ic e s she

would l i k e to se e e lim in a te d i s t h a t o f e x p lo itin g th e c h ild r e n in th o s e b an ds.

She knows o f one prim ary group w hich spends a l l o f i t s m usic tim e p r a c t ic i n g

th e rhythm band because i t i s ex p ected t o p erfo rm a t ev ery m eetin g o f th e

P . T .A .—f o r th e upper elem en tary P . T. A. a s w e ll a s f o r th e p rim ary P . T. A.

I n a n o th e r c i t y th e r e i s a rhythm band co n ce rt each s p rin g fo r w hich l i t e r a l l y

hundreds o f c h ild r e n a r e d r i l l e d f o r hours in t h e i r p a r t s o f th e p ie c e s each

group w i l l p la y a lo n e and on th e p ie o e a th e whole group w i l l p la y . In th e

f i r s t in s ta n c e , th e " o o n c e rts " o c c u r so f r e q u e n tly t h a t th e c h ild re n do n o t

have tim e t o stu d y eaoh co m p o sitio n and p la n th e ao o re. P la n n in g th e s c o re

i s th e r e s p o n s i b i l i t y o f t h e te a c h e r a lo n e . In th e second in s ta n c e , th e

s c o re i s planned by one te a c h e r and d is tr i b u te d t o t h e o th e r te a c h e r s and

c h ild r e n . A d m itted ly , p a r e n ts and o th e r f r ie n d s o f t h e sd h o o l en jo y th e

progrsm s—th e c h ild r e n a r e so o u te . Of c o u rse , t h e y 'r e c u te , b u t th a t should

be no re a s o n f o r ro b b in g them o f t h e i r o p p o rtu n ity f o r m u sical grow th and f o r

s le e p and f o r w earing them o u t p h y s io a lly w ith lo n g s e s s io n s o f d r i l l .

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C h ild re n in rhythm hands sh o u ld n o t be e x p lo ite d and a c t i v i t i ea su ch as

th o s e d e s e rib e d should n o t be allo w ed , much l e s s be condoned.

In s tru m e n ts fo r t h e rhythm band can be e i t h e r purohaaed o r made. Many

o f th e m usic p u b lis h in g and band in stru m e n t oompaniea have f o r s a le a com­

p l e t e l i n e o f auch in stru m e n ts and m u sic a l s c o re s . The hose-made v a r i e t y o f

some in s tru m e n ts can be a s a t i s f a c t o r y s u b s t i t u t e i f money i s n o t a v a ila b le

f o r th e p u rch ase o f m anufactured o n e s. When c h ild r e n make t h e i r own p e rc u s ­

s io n in s tru m e n ts , th e y have a d d itio n a l jo y in u s in g them. The fo llo w in g

s u g g e s tio n s may be o f h e lp i n assem b lin g in s tru m e n ts f o r a rhythm band:

1. A lo n g n a i l suspended on a s t r i n g and s tr u c k by an o th e r n a i l w i l l produce

a sound s im ila r to a t r i a n g l e .

2. M etal d is o s an in c h o r so i n d iam eter s tru n g on a s t r i n g o r a p ie c e o f

w ire w i l l produce some o f th e "atm osphere" o f a tam b o u rin e.

3. The t h i n t i n l i d o f a f r y in g pan suspended on a s t r i n g and s tru c k w ith

a sm all m a lle t w ith a w ell-p ad d ed head p ro d u ces a sound n o t u n lik e a

cymbal.

4. Two b lo c k s o f wood one in c h t h i c k and th r e e in c h e s by fo u r in ch es i n s i z e ,

w ith one s u rfa c e o f each covered w ith sandpaper pro d u ces a sw ish -sw ish

sound when th e covered s u r f a c e s a re rubbed to g e th e r . The sound i s com­

p a ra b le to one th e drummer in th e dance band can make. A n a i l d riv e n in

th e c e n te r o f th e uncovered s id e o f eaoh b lo c k f a c i l i t a t e s h an d lin g t h i s

" in s tru m e n t".

5. V arious blooka o f wood s tr u c k w ith wooden hammers produce as many d i f f e r e n t

sounds a s th e r e a r e b lo c k s .

6. The o rd in a ry k ito h e n v a r i e t y wooden m ixing bowl w ith a t h i n p ie c e o f

parohm ent o r ru b b er t i g h t l y s tr e tc h e d over th e to p and fa s te n e d s e c u re ly

to th e rim makes an e x c e lle n t tom-tom o r drum. A ao reen -d o o r han d le

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sorewed to th e bottom o f tb e bowl makes i t e a s ie r to b o ld and c o n tr o l.

7. S le ig h b e l l s o r any o f th e b e l l s found on c h i l d r e n 's to y s make a

j i n g l i n g c o n tr ib u tio n .

A v a r i a t i o n in to n e o r sound i s made by " in s tru m e n ts " o f th e same m a te r ia l.

T ry s e v e ra l n a i l s , l i d s , o r m a te r ia ls f o r th e drum h ead , and chose th e com­

b in a tio n t h a t r e s u l t s in th e most m u sic a l sound. A com bination o f im agina­

t i o n , p a in t and energy w i l l tra n s fo rm th e s e a r t i c l e s in to a t t r a c t i v e i n s t r u ­

m ents w hich w ill se rv e an e x o e lle n t p u rp o se .

Rhythms f o r O lder C h ild ren

' The r e a l d if f e r e n c e betw een th e rhythm s program f o r th e p rim ary g rad es

and th e program f o r th e upper elem en tary g ra d e s i s b ased upon th e d if f e r e n c e

in th e c h ild r e n th e m se lv e s. The o ld e r group has g r e a te r pow ers o f o b serv a­

t i o n , i s i n t e r e s t e d i n a w ider v a r ie ty o f th in g s and a c t i v i t i e s and in th e

acouracy o f d e t a i l (a s e x em p lified in t h e i r a r t work and d ra m a tiz a tio n s , f o r

exam ple) . They have g r e a te r p h y s ic a l endurance w hich e n a b le s them to p la y

v ig o ro u s ly f o r lo n g e r p e rio d s o f tim e . They have had some a s s o c ia tio n w ith

musio and some e x p e rie n c e in i t . The d is c u s s io n s r e l a t i v e to th e program

f o r o ld e r c h ild r e n w i l l be d iv id e d in to two p a r t s : rhythm s f o r th o s e who

have n o t had p re v io u s e x p e rie n c e and rhythm s f o r th o se who have had e x p e ri­

ence*

Rhythms f o r th e In e x p e rie n c e d

C h ild ren in th e upper ele m e n ta ry g ra d e s need th e e x p e rie n c e s r e l a t i v e

to a c q u irin g a v o cab u lary o f rhythm s in o rd e r to g ain s k i l l in l i s t e n i n g to

music and m uscular c o n tr o l and c o - o r d in a tio n so t h a t th e y can e x p re ss them­

s e lv e s th ro u g h th e medium o f rh y th m s. Even though c h ild r e n need th e s e e x p e ri­

e n c e s, g r e a t c a re should be used i n i n i t i a t i n g th e program when t h i s ty p e

 134

o f a c t i v i t y i a new, Onoe th e id e a o f p h y s ic a l resp o n se to m usic has met

w ith t h e i r a p p ro v a l, th e y w i l l en jo y i t and b e n e f i t by i t as younger c h i l ­

d ren do. For t h a t reaso n th e f i r s t e x p erien ce should be planned c a r e f u l ly .

Once th e id e a i s " s o ld " , p la n s oan be made w hich w ill promote th e grow th

p o s s ib le th ro u g h a program o f rhy th m s.

One te a c h e r in a s i x t h g rad e f e l t t h a t she co u ld have chosen no b e t t e r

way to aro u se i n t e r e s t in rhythm s th a n by th e means she chose to in tro d u c e

them to h e r c l a s s . O b se rv atio n o f th e c h i l d r e n 's a c t i v i t i e s in t h e i r f r e e

p la y tim e gave h er th e id e a o f u s in g th e games th e y p la y ed a s a b a s i s f o r

t h e i r re s p o n s e s t o m u sic. She made i t p o s s ib le in th e classro o m fo r th e group

to p r a c t ic e th e b ig fu ndam ental movements o f p la y in g b a l l , jumping ro p e and

p la y in g h o p sco tch t o a m u sic al accompaniment. When th e c h ild re n were g iv en

th e o p p o rtu n ity to choose th e games th e y would p la y in o rd e r to have a l l of

th e a c t i v i t i e s p ro g re s s in g a t th e same tim e, fo u r boys s a id th e y wanted to

p la y te n n is and some o f th e g i r l s wanted t o t r y a co m p licated bounding b a l l

game in s te a d o f th o se th e y had been p r a c t i c i n g . They w ere allow ed to do s o .

The te a c h e r had used S tr a u s s ’ Blue Danube a s an accompaniment d u rin g th e

p r a c t i c e because o f th e swing and flow o f i t s rhythm and th e c la s s d ecid ed

i t would l i k e t o c o n tin u e u sin g t h i s c o m p o sitio n . Each group worked o u t a

p a t t e r n f o r i t s a c t i v i t y — some c h ild r e n used th e same m otions th ro u g h o u t a

whole s e o tio n w h ile o th e rs r o ta t e d r e s p o n s i b i l i t i e s w ith each change o f

m elody, p a r t i c u l a r l y in jumping ro p e and p la y in g b a l l . The whole ex p erien ce

was voted a s u c c e s s .

I n t e r e s t in th e c o n d u c to r's b e a t was th e m o tiv a tio n used by a n o th e r

te a c h e r f o r s t a r t i n g a s e r i e s o f e x p e rie n c e s in p h y s ic a l re sp o n se s to m u sic,

A fte r th e c h ild re n had le a rn e d th e p a t te r n s o f th e b e a t s , i t was suggested

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t h a t th e y w a it one m easure and b e a t th e n e x t. When th e y had g ain ed c o n s id e r­

a b le s k i l l , th e te a c h e r su g g ested o th e r a c t i v i t i e s in th e v o cab u lary o f

rhythm s.

The consuming i n t e r e s t o f a f o u r th grade i n a n e a r-b y b rid g e and ro ad

b u ild in g p r o je c t was used by t h e i r te a c h e r to i n i t i a t e rh y th m ic a c t i v i t i e s .

The c h ild r e n w ere encouraged to w atch c lo s e ly th e ty p e s o f m otion on th e con­

s t r u c t i o n scen e in o rd e r t h a t th e y m ight be a b le to rep ro d u ce e x a c tly th o s e

m otions in t h e i r classro o m .

A m arching d r i l l h a s been an e f f e c t i v e way to In tro d u c e th e id e a o f

p h y s ic a l re sp o n se to m usic. Even though i t has been e f f e c t i v e , t h i s p la n h as

i t s lim ita tio n s . One i s th a t th e p a t te r n i s s e t and d e v ise d by p e rso n s o th e r

th a n th e p a r t i c i p a n t s . The la c k o f o p p o rtu n ity f a r th e c h ild r e n to su g g est

movements and to u se b ig f r e e m otions and th e f a c t th a t su b seq u en t e x p e rie n c e s

a r e l i k e l y to be molded in a p a t t e r n s im ila r to th e i n i t i a l ex p e rie n c e cause

th e w r ite r to f e e l t h a t t h i s i s th e l e a s t s a t i s f a c t o r y way o f in tr o d u c in g t h i s

a c tiv ity .

Once c h ild r e n a r e aware o f th e e x is te n c e o f rhythm s and en jo y t h e i r ex­

p e rie n c e i n them, o p p o rtu n ity sh o u ld be g iv en f o r g a in in g th e s k i l l s and

c o n tro l l i s t e d in th e v o cab u lary o f rhythm s. Even though c h ild re n w ith o u t

p re v io u s t r a i n i n g w i l l p ro b ab ly n o t g a in th e f in e s s e in c o n tr o l and perform ­

ance a s c h ild re n o f s im i la r age who have had e x p e rie n c e in rhythm s thro u g h o ut

t h e i r whole seh o o l l i f e , th e form er group may w e ll a ttem p t many o f th e a c t i v i ­

t i e s t h a t w i l l be su g g ested f o r th e l a t t e r g ro u p . The c r u c i a l p o in t in th e

program a s f a r a s th e s e c h ild r e n a r e concerned i s in th e i n i t i a t i n g o f th e

a c tiv itie s . The l e s s a r t i f i c i a l th e m o tiv a tio n , th e b e t t e r . The more c lo s e ly

i t i s t i e d to a r e a l i n t e r e s t , th e g r e a t e r i t s a p p e a l and th e more l i k e l y i t

w i l l succeed .
 136

Bhythma fox th e B xperlenoed

The program o f rhythm s f o r c h ild re n i n th e upper elem en tary g ra d e s

c o n s is ts in e x te n d in g and r e f i n i n g th o s e a c t i v i t i e s developed d u rin g th e

f i r s t y e a rs in school* The c h i l d r e n 's p h y s ic a l growth and p r e v io u s e x p e ri­

ence a f f e o t n o t o n ly th e kin d o f re sp o n se s th e y a r e a b le t o make, b u t t h e i r

manner o f re s p o n s e . I t i s more o o -o rd in s te d and flo w in g . T h e ir growing

powers o f o b s e rv a tio n and t h e i r grow ing a b i l i t y p lu s t h e i r g r e a te r m uscular

c o n tro l make i t p o s s ib le fcsr than to i n t e r p r e t r a t h e r a c c u r a te ly t h e i r own

id e a s and th e m usic th e y hear*

As t h e i r w ide i n t e r e s t s in flu e n c e o th e r phases o f c r e a t i v e work, so w i l l

th e s e i n t e r e s t s c o n tr ib u te t o t h e i r c r e a t i v e rhythm s. The c r e a tiv e rhythm s

and d ra m a tiz a tio n s o f c h ild r e n in th e upper elem en tary g ra d e s a r e c h a r a c te r iz e d

by th e a t te n ti o n g iven to d e t a i l . As was su g g ested e a r l i e r i n t h i s book, when

th e s e c h ild r e n p la n a rh y th m ic d re m a tiz a tlo n o f b u ild in g a house th e y go to

th e f o r e s t , f e l l th e t r e e s , ta k e th e t r e e s to t h e m i l l t o g e t them o u t in to

lum ber, h au l th e lum ber to th e b u ild in g s i t e and so on and so on. T h eir drama­

t i z a t i o n ap p ro x im ates r e a l i t y in so f a r a s i t i s p o s s ib le .

T h is i n t e r e s t in d e t a i l e x p la in s t h e i r g r e a t i n t e r e s t in in t e r p r e t i n g

m usic. While th e y do n o t co m p letely r e li n q u is h th e id e a o f e x p ressin g s e l f ,

th e r e o f te n seems to be a w illin g n e s s to depend w holly on m u sic, to be

m o tiv a te d , d ir e c te d and c o n tro lle d co m p lete ly by i t s d i c t a t e s . When one

c o n s id e rs th e c o n c e n tra te d l i s t e n i n g n e c e ss a ry in o rd e r to nknown what music

s a y s , th e r e a l i z a t i o n fo llo w s t h a t such a group m ust be in t e r e s t e d in m usic

and f in d s a t i a f a c t i o n in i t . I t i s i n t h i s c o n n ec tio n th a t th e more com­

p li c a te d a c t i v i t i e s w hich b r in g about an aw areness o f m usic make t h e i r

Im p o rtan t c o n tr ib u tio n s . The most d i f f i c u l t a c t i v i t i e s su g g ested in th e

v o cab u lary o f rhythm s c h allen g e : some g roups to g a in even more c o n tr o l in

o rd e r to e x p re ss th e m ost s u b tle i n f l e c t i o n s in music*

 137

At t h i s tim e when i n t e r e s t in m usic i s so k een , rhythm ic d ra m a tiz e -

ti o n s can be a rran g ed in m u sic a l form a. One group in sum m arizing i t s

stu d y o f th e community p lan n ed d ra m a tiz a tio n s o f th e work o f th e b e s t known

c itiz e n s . Because th e postm an made h is ro u n d s th r e e tim e s a day and ev ery ­

one had re a s o n t o know and a p p r e c ia te him , th e d ra m a tiz a tio n o f th e p o stm a n 's

a c t i v i t i e s was used a s th e le a d in g "them e" o f th e rondo-form w h ile th e drama­

t i z a t i o n s o f th e milkman and th e g r o o e r y - s to r e keeper were th e o th e r "th em es".

A nother group had fu n in w orking o u t a theme w ith v a r i a t i o n s . The "theme"

was th e c o n v e n tio n a l c o n d u c to r's b e a t. The o h ild re n decided t h a t th e aooom-

4 4
panlm ent sh o u ld b e a t a ste a d y 4 m easure a s th e y c o n tin u o u sly b e a t 4 tim e

—a l l o th e r re sp o n se s would c o n s ti tu te th e "w ith v a r ia tio n s " ; each v a r ia tio n

should l a s t f o r e ig h t m easu res. The " v a r ia t io n s " in c lu d e d m arking v a rio u s

n o te v a lu e s w ith t h e i r f e e t , co n d u ctin g w ith one hand or b o th , tu r n in g slo w ly

in one p la c e and bending on ev ery o th e r co u n t. Not a " s c h o la r ly " w orking

o u t o f th e form , p e rh a p s , b u t th o s e c h ild r e n w i l l p ro b ab ly remember f o r a lo n g

tim e th e e x a c t Im p lic a tio n s o f "theme w ith v a r i a t i o n s " .

F o lk dances have a n a p p e a l f o r c h ild r e n t h i s a g e . Some of th e dances

have i n t r i c a t e s te p s and co m p licated p a t t e r n s , b u t w ith grow ing te c h n iq u e s

and c o n tr o l, c h ild r e n a r e a b le to le a r n q u ite d i f f i c u l t d an ces.

The s i t u a t i o n r e l a t i v e to rhythm s f o r p rim ary and in te rm e d ia te grade

c h ild re n i s com parable to th e s i t u a t i o n in s o c i a l s t u d i e s . There i s an

atte m p t to b u ild up c e r t a i n co n cep ts co n cern in g s o c i a l r e la tio n s h ip s in th e

p rim ary g ra d e s . L a te r , t h e r e i s n o th in g a c t u a ll y new in j e c te d in t o th e

s o c i a l s tu d ie s p ro g ra a b u t th e r e i s an e f f o r t made to ex ten d th o se co n cep ts

in some in s ta n c e s and to r e f i n e them in o th e r s . The same t h i n g i s tr u e in

rhythm s. There i s an attem p t t o b u ild up c e r t a in re sp o n se s t o c e r t a in

s tim u li in th e p rim a ry g ra d e s . L a te r , th e r e i s n o th in g a c t u a l l y new in je c te d

 136

in th e rhythm s program b u t th e r e i a an e f f o r t made t o extend th e s e re sp o n se s

in some in s ta n c e s and to r e f i n e them in o th e r s .

As was d is c u s s e d in th e s e c tio n on rhythm s f o r p rim ary c h ild r e n ,

te a c h e r s should c r i t i c a l l y examine th e a c t i v i t i e s in th e program in o rd e r to

be c e r t a in th a t grow th i s ta k in g p la c e th ro u g h rh y th a s . For th e program to

c o n trib u te to t h e p h y s ic a l, i n t e l l e c t u a l , s o c i a l and em o tio n al grow th o f a l l

elem en tary c h ild r e n , o p p o r tu n itie s f o r such developm ent must be p ro v id e d . It

i s th e t e a c h e r 's r e s p o n s i b i l i t y to make c e r t a i n t h a t p o s s ib le r e s u l t s become

a c t u a l r e s u l t s , t h a t th e p o t e n t i a l i t i e s o f th e program are r e a l i z e d .
 CHAPTER V

CREATING MUSIC

M aaic in th e New School hopes to o o n tr ib u te to th e p h y s ic a l, i n t e l l e c t u a l ,

s o c i a l and em o tio n al grow th o f a l l elem en tary sch o o l ch ild re n * The m usic t h a t

o h ild re n o r e a te conduces b o th q u a l i t a t i v e l y and q u a n t ita t iv e l y to c a rry in g o u t

i
th e d e s ir e f o r em o tio n al growth* However, th e w r ite r haa o b serv ed c r e a tiv e

a c t i v i t i e s whioh have seem ingly c o n trib u te d to i n t e l l e c t u a l and s o c i a l grow th

a s w ell*

f h a t l a M eant by C re a tiv e M usic

C re a tiv e m usic a c t i v i t i e s a r e th o se by which c h i ld r m th em selv es b rin g

m usic in t o b e in g . These a re some o f th e p i c t u r e s t h a t f l a s h a c ro s s th e con­

s c io u s n e s s o f t h e w r ite r a t th e words " c r e a tiv e m usic": a c h i ld p ro u d ly and

c a r e f u l ly p r a c t i c i n g th e new p ie c e h i s p ia n o te a c h e r gave him a t t h e i r l a s t

m eetin g w ith th e r e q u e s t t h a t he le a r n b £ h im s e lf to p la y th e co m position a s

b e a u t i f u l l y a s p o s s ib le f o r a r e c i t a l th r e e weeks hence; a group o f o h ild re n

d ia o u s s in g th e manner in w hich a song sh o u ld be i n t e r p r e te d and s in g in g i t

t h a t way: c h ild r e n tr y i n g to d ecid e w hether th e melody th e y a re w r itin g sh o u ld

go "up" o r "down" a t th e end; and a a ix - y e a r - o ld "making up" and b e a tin g a

rhythm p a t t e r n on a tom-tom f o r h e r c la ss m a te s to in te r p r e t* A c o n c ise s t a t e ­

ment o f th e w r i t e r f a co n cep tio n o f c r e a tiv e musio a c t i v i t i e s i s " e x p re s s io n o f

s e l f th ro u g h music"*
 140

The c h ild le a r n in g h i s r e c i t a l p ie c e and th e group i n t e r p r e t i n g a aong

were b rin g in g m usic in t o b ein g ( o r e a tln g ) by t r a n s l a t i n g symbols (n o te s )

in t o m usic. Those symbols when t r a n s l a t e d in to sound o r to n e s need more th a n

mere p ro d u c tio n to make them i n t e r e s t i n g . T here must be t h e r i g h t s t y l e o f

s in g in g to enhance th e meaning o f th e w ords, to c a r r y o u t th e m essage o f th e

com poser. Some p eo p le th in k o f t h i s a c t i v i t y a s " r e - c r e a t in g " . The s ix - y e a r -

o ld b e a tin g rhythm s on t h e tom-tom f a r h er o la a s t o i n t e r p r e t was n o t c r e a tin g

any "new" o r s t a r t l i n g p a t t e r n s b u t sh e was a rra n g in g h e r sm a ll r e p e r t o i r e o f

p a t t e r n s in a new o r d e r . U sing m a te r ia l w ith w hich sh e was f a m i li a r —lo u d and

s o f t b e a ts and " s te p " and "ru n n in g " b e a ts — she was c r e a tin g j u s t a s th e group

w r itin g a aong waa c r e a tin g .

I t i s assumed t h a t most p eo p le would c o n sid e r th a t th e group o f c h ild r e n

w r itin g a m e lt# * f o r a poem was engaged in a " c r e a t iv e m usic" a c t i v i t y . How­

e v e r, sh o u ld th e r e be th o s e who wonder i f th e r e s u l t was "m u sic", l e t them be

p la o a te d w ith t h e rem in d er t h a t w ith d ev elo p in g s ta n d a r d s , t h e i r e f f o r t s w i l l

im prove and th e y , to o , w i l l become more c r i t i c a l . M oreover, th e y w i l l aeek

to im prove. Should th e r e be th o s e who say i t was n o t a group e f f o r t because

o n ly e ig h te e n o f th e t h i r t y - n i n e c h ild r e n made c o n tr ib u tio n s o r s u g g e s tio n s ,

to th o s e c r i t i c s th e r e p ly i s , "Maybe t h e rem ain d er o f th e c la s s had n o th in g

to say orwe?ae not c a lle d upon to g iv e i t s id e a s b u t w i l l c o n trib u te on th e

n e x t s o n g -w ritin g o c c a s io n . A fte r a l l , i t was o n ly a s ix te e n m easure so n g !"

What C re a tin g Music Means t o O h ild ren

I t i s th e f a c t t h a t c r e a tiv e musio a c t i v i t i e s g iv e an o p p o rtu n ity f o r

e x p re s s io n o f s e l f t k a t makes t h e i r e f f o r t s i n t h i s d ir e c tio n d e a r t o c h ild r e n .

1^ we, mj> o u r, a r e ju a t a s im p o rta n t t o c h ild r e n a s th e y a r e to a d u l ts . I t is

no t s e lf i s h n e s s or egoism b u t i n t e r e s t in s e lf - e x p r e s s io n t h a t makes them sa y ,

 141

" L is te n t o th e p ie o e H arry com posed," "T h is l e our ao n g ," "May we make a

aong?" O r, " I th in k t h i s i s t h e way t h i s should be su n g ." C re a tiv e music

a c t i v i t i e s mean o p p o rtu n ity f o r e x p re s s in g s e l f th ro u g h m usie and i t i s a

means by which s e l f can be e x p re sse d . These a c t i v i t i e s a r e o p p o r tu n itie s to

e x p lo re and u se th e lan g u ag e o f m usic.

Even though c h ild r e n a r e sometimes n o t allow ed to e x p re ss t h e i r id e a s

o f i n t e r p r e t i n g a song o r in s tru m e n ta l s o lo , s in g in g and p la y in g a ffo rd an

e x c e lle n t o p p o rtu n ity to g iv e e x p re s s io n to em o tio n s. However, t h e i r id e a

and com prehension o f th e musio a re m irro re d in t b e i r manner o f p erfo rm in g

r e g a r d le s s o f w hether th e s t y l e i s one a r r iv e d a t by them or t h e i r te a o h a r s .

The em o tio n al r e le a s e p o s s ib le th ro u g h s in g in g i s v a lu a b le and p o s s i b i l i t i e s

o f t h i s medium o f s e lf - e x p r e s s io n a r e a l l to o o f te n ig n o re d .

C h ild ren may f in d a means o f e x p re s s in g s e l f in composing songs, to o ,

a s w e ll a s i n t e r p r e t i n g m usie o f o th e r s . T h is i s a n a t u r a l mode o f e x p re ssio n

fo r c h ild r e n a s th e n u rs e ry sc h o o l and t h e k in d e rg a rte n te a c h e r w e ll know.

J a n ie in n u rs e ry sc h o o l sang

H igh low High low

a s she swung back and f o r t h . T h is l i t t l e song was re p e a te d many tim e s —a song

w hich was a com plete e x p re s s io n o f a c t i v i t y i n w hich she was engaged and

m o tiv a te d by th e a o t i v i t y i t s e l f .

More o f te n th a n n o t rh y th m ic a o t i v i t y and a b s o rb tio n in th e a c t i v i t y w i l l

r e s u l t i n song on th e p a r t o f n u rs e ry sch o o l o h ild r e n and k in d e rg a rte n c h ild r e n .

L a te r J a n i e , in th e second g ra d e , was a p e rso n o f w id er m u sic al e x p e rie n c e . Her

d e s c r ip tio n o f h e r f e e l in g s a s she swung baok and f o r t h showed h e r to be a

p e rso n o f g r e a t e r s o p h is tic a ti o n .

tjA'I i 1 -1 - l r f r [ ° r|
I lo v e t o swing up i n th e sky, so h ig h , so h ig h !
 :
148

T h is n a t u r a l im pulse to c r e a te sh o u ld be encouraged and d ir e c te d and

unbodied in m u sic a l form s when c h ild re n come to elem en tary a eh o o l. In th e

New School t h e r e i s a p r e d il e c t io n to w ard s u sin g c h i ld n a tu re i t s e l f a s a

s t a r t i n g p o in t and a s a g u id e in d i r e c t i n g th e more fo rm a l a s p e c ts o f growth*

There i s n o t o n ly c h i l d r e n 's in n a te lo v e f o r m usic upon w hich to b u il d a p ro ­

gram o f te a o h in g f o r a p p r e c ia tio n and t h e i r in n a te lo v e f o r m otion upon which

to b u ild a program o f rhythm s to develop t h e i r rhythm ic and i n t e r p r e t a t i v e

pow ers, b u t th e r e i s t h e i r n a t u r a l ten d en cy t o e x p re s s f e e l in g s by means o f

song upon w hich to b u ild a program o f c r e a t i v e music*

Types o f Songs C h ild ren Can Make

Songs (w hether w r itte n by a d u lts o r o h ild r e n ) a r e w r itt e n i n th r e e d i f f e r ­

e n t ways: (1 ) words axe s e t to a melody; (2 ) melody i s 'composed f o r w ords; and

(3 ) words and melody a re c re a te d sim u lta n e o u sly . Each o f th e s e p ro c e d u re s o f

w r itin g songs h a s i t s unique f u n c tio n , each i s w id ely used (among composers

to d a y ) and each h a s serv ed th e m a ste rs o f a n o th e r year* The m otive f o r w r itin g

i s th e f a c t o r by which ohbice o f method i s determ ined* The p ro o e ss o f s e le c ­

t i o n i s sim p le . ' I f a p erso n composes a tu n e w hich i s lo v e ly , s in g a b le , o r

i n t e r e s t i n g , and th e need! fo r words i s a p p a re n t, he s e t s about f in d i n g words

t o enhance h i s e f f o r t s . He o r any p erso n may f u r n is h them. I f he h a s a poem

e x p re s s in g a se n tim e n t o r s to r y t h a t he th in k s could be enhanced by a melody,

he s e t s ab o u t w r itin g m usic f o r i t , o r f in d s some one t o compose th e tu n e f o r

which he s e a r c h e s . And, f i n a l l y , i f th e p e rso n who i s in s p ir e d t o w r ite a

poem i s a ls o a m u sician (o r v ic e v e rs a ) words and musio may be w r itt e n a t th e

same tim e*

I n th e sch o o l room eaoh o f th e s e methods h a s i t s p e c u lia r p o s s i b i l i t i e s

i I i
a s w e ll a s i t s l i m i t a t i o n s and i t s advantages* <
! :
? > ’
- i
 148

S e ttin g Words to M usio

The w r ite r h a s found t h a t making up words f o r a f a m i li a r tu n e i s a

d e s ir a b le way to i n i t i a t e o r r e - e s t a b l i s h i n t e r e s t i n music w r itin g whan

s e v e r a l y e a rs hav e e la p se d s in c e o r e a tin g a song was a n a t u r a l , norm al means

o f e x p re s s io n . I n one in s ta n c e th e te a c h e r o f a f i f t h g rad e group ex p ressed

a d e s ir e f o r guidance i n c r e a tiv e m usic a c t i v i t i e s . Knowing h e r c l a s s , she

f e l t t h a t once i t was s t a r t e d on i t s composing-way, th e group would f i n d th e

same p le a s u r e in t h i s phase o f c r e a tiv e work as i t had found i n w r itin g p o e tr y .

A ccepting t h i s r e q u e s t f o r h e lp , th e w r ite r went t o t h a t g r o u p 's room w ith

th e re c o rd o f M acD ow ell's To a Wild R ose. T h is r e c o r d was chosen becau se i t

i s m e lo d ic a lly sim ple and was q u ite f a m i l i a r . The c h i l d r e n 's d is c u s s io n o f

th e music b ro u g h t f o r t h th e id e a s t h a t s in c e th e m usic was n o t g a i l y b la ta n t

o r overw helm ingly o o lo r f u l, MaoDowell was w r iti n g about a sm all r o s e on a

seclu d ed bu sh . T h ere i s g e n tle m otion i n t h e m usic; t h e r e f o r e , th e c h ild r e n

f e l t t h a t a b re e z e was roam ing on t h e day t h e composer chose to w r ite . T his

d is c u s s io n was fo llo w ed by a h e a rin g o f th e re c o rd a g a in in o rd e r f o r t h e

c h ild r e n to r e c o n s tr u c t th e whole p ic tu r e w ith th e m usio t h a t had c r e a te d th e

p ic tu re . T h is h e a r in g b ro u g h t f o r t h s e v e r a l new id e a s and confirm ed th o s e

s t a t e d p r e v io u s ly .

I t was th e n su g g ested t h a t w h ile th e f i r s t p h ra s e o f t h e melody was p la y ed

th e c h ild r e n make up words t h a t f i t t e d t h e m u sic. A fte r t h e f i r s t p h ra s e had

been p lay ed s e v e r a l tim e s , d i f f e r e n t c h ild r e n w ere ask ed to sin g th e words

th e y had th o u g h t o f . These words w ere q u io k ly p u t on th e b la ck b o ard . The

c o n trib u tio n s w ere d iso u sse d and th e group d ecid ed w hich s e t o f words b e s t

f i t t e d th e m usie and c a r r i e d out th e id e a o f th e p i c t u r e . W ith th e d e c is io n

made r e l a t i v e to th e f i r s t two l i n e s o f t h e i r poem, th e s e l i n e s se rv e d a s th e

±
 144

b a s i s f o r th e rem ain d er o f th e poem—o th e rw is e , th e c h ild re n would h a re

been changing and r e - a r r a n g in g i n d e f i n i t e l y . As soon a s th e group made i t s

d e c is io n , th e f i r s t two l i n e s o f th e poem were sung s o f t l y , th e m usie on th e

re c o r d B a rrin g a s accompaniment. D uring th e n e x t p la y in g , th e y were ashed

n o t to s in g alo u d , b u t to w a it fo x th e n e x t p h ra s e and p la n words f o r i t .

The second group o f words oeme w ith g r e a te r e a se and more quickly* T h is i s

th e poem:

Wild r o s e , l i t t l e ro s e
Swaying back and f o r t h ,
Ah! so s o f t ; ah! sw eet,
Red and p u re , to o .

Then, s in c e i t was a d re a ry f a l l day, i t was su g g e ste d th a t th e o h ild r e n

tu r n t h e i r th o u g h ts frcm th e ro s e and u se th e same melody a s a m u sic a l s e t t i n g

f o r t h e i r th o u g h ts and f e e l i n g s ab o u t th e season o f th e y e a r . T h is i s th e poem

t h a t was w r itte n to t h e same m u sic al accompaniment.

F low ers a re gone, t r e e s a r e b a re ,

E v e ry th in g i s lo n e ly .
B ird s a r e gone w ith t h e i r song,
F r o s t i s h e r e , now.

T h is i n i t i a l atte m p t a t w r itin g songs in so h o o l was a s a t i s f a c t o r y e x p e ri­

ence f o r th e c h ild r e n . Under t h e guidance o f a te a c h e r whom th e y d id n o t know

a s in tim a te ly as th e y knew t h e i r own te a c h e r , th e y p ro b ab ly would have rem ained

s i l e n t had th e m usic te a c h e r e x h o rte d them to r e v e a l t h e i r innerm ost s e lv e s in

a c r e a tiv e e f f o r t . The m o tiv a tio n t o w r ite oame from th e musio and t h e i r own

d is c u s s io n s * I t was n o t a s u n n a tu ra l a p ro c e s s as i t would have been had t h i s

s tr a n g e r bounded in t o t h e room and s a i d , nQood a fte rn o o n , g i r l s and b o y s. Tou

a r e now go in g to w r ite a song f o r me to d a y .w H earin g th e f a m i li a r com position

and t h e i r d is c u s s io n o f i t , and th e la c k o f an a tte m p t to f a r c e s e l f - r e v e l a t i o n

upon them combined t o make t h e i r i n i t i a l s o n g -w ritin g a ttem p t a su c c e s s .

 145

T h is was n o t on ly a s a t i s f y i n g c r e a tiv e ex p erien ce b u t th e c h ild r e n

beoame aware th ro u g h a d i f f e r e n t s e t o f eircu m stan o es and by th e u se o f

an o th e r approaoh th a t (1 ) o h ild r e n co n ld w r ite so n g s, (8 ) some words in songs

a r e sung to two to n e s , end (3 ) words and melody o f a song mast ag ree i n mood.

T h is i s im p o rta n t in fo rm a tio n f o r would-be composers to know and to u s e . Sub­

seq u en t e f f o r t s o f t h i s f i f t h g rad e group showed t h a t i t was more th a n w illin g

to u se t h i s in fo rm a tio n .

In o rd e r t o make c e r t a i n t h a t t h i s method of w r itin g songs i s n o t doomed

b e fo re i t s t a r t s , th e melody chosen must be sim p le and s in g a b le . T his means

i t must l i e w ith in th e range o f th e c h i l d r e n 's v o ic e s ; and th a t i t i s a tu n e

t h a t -i s e a s i l y remembered a f t e r a few h e a rin g s in c b s b i t i s not fa m ilia r.

i n advantage of t h i s ty p e o f p ro ced u re in w r itin g songs i s th a t th e o n ly

s k i l l th e te a c h e r n eed s to g u id e su ch an a c t i v i t y i s th e s k i l l t o m o tiv a te .

T a ste and judgment a re n e c e s s a ry , however, in s e le c tin g th e b e s t c o n trib u ­

t i o n s o ffe r e d in o rd er t h a t th e f i n a l v e r s e s be r e p r e s e n ta tiv e o f th e g ro u p 's

b e s t e f f o r t s and t h a t th e words s e le c te d have d i r e c t r e l a t i o n to th e music*

Composing M usic f o r Words

F ranz S ch u b ert i s s a id t o have e r e a te d h i s musio fo r H ark! Hark? th e

L ark—a poem in S h a k e s p e a re 's p la y ^C ynbeline"—w h ile w a itin g to be serv ed

re fre s h m e n ts in a p u b lic g a rd en . I t would seem t h a t a s S ch u b ert re a d t h i s

poem, a p e r f e c t melody and accompaniment to o k form in h is m ind, which he

im m ediately n o ta te d on th e menu. He i s n o t alo n e in t h i s method o f w r itin g

so n g s. C e rta in poems ap p ear to a w ait com p letio n by m usio. C hildren-oom posers

a r e in good company when th e y choose t h i s method o f w r itin g so n g s.

Whether th e words c h ild r e n s e t t o m usie a r e o rig in a l, o r th o s e o f a poem

th e y en jo y , ig n o t im p o rta n t. The im p o rtan t c o n s id e r a tio n , how ever, i s th a t

 146

th e poem have a p p e a l f o r th e o h ild r e n . O r ig in a l m a te r ia l sh o u ld be l y r i c a l

in q u a l i t y f o r i n i t i a l a tte m p ts in w r itin g —- l y r i c a l so t h a t i t i n s p ir e s

l y r i c a l melody*

Poems a c l a s s h a s enjoyed r e c i t i n g i n c h o ra l speeoh a r e an e x c e lle n t

ch o ice in c o n s id e rin g m a te r ia l t o be s e t to m u sie. By th e tim e th e group h a s

worked on auoh poems, th e words alm ost s in g them selveauand m ost e x p r e s s iv e ly ,

to o . I t seems to th e w i t e r t h a t th e songs r e s u l t i n g from m usic hav in g been

w i t t e n to poems used in c h o ra l sp eech have a s p e c ia l oharm and v erv e and

swing t h a t i s la c k in g i n many songs composed by c h i ld r e n . I t i s p ro b a b le t h a t

t h e i r u n d e rsta n d in g and enjoyment o f th e poems has c o n trib u te d a r t i s t r y to

t h e i r c o m p o sitio n s.

The p ro ced u re w hich th e w i t e r h as used w ith c o n s id e ra b le su co ess w ith

I
b o th c h ild r e n and p r o s p e c tiv e elem en tary te a c h e r s w i l l be g iv e n in d e t a i l .

As b o th c h ild r e n and t h e i r te a c h e r s g a in s k i l l i n t h i s a c t i v i t y , c e r t a in s te p s

and approaches can be e lim in a te d . An o r i g i n a l poem i s u sed .

1* P la c e th e words on th e b lack b o ard w ith a w ide spaoe between l i n e s .

I saw a l i t t l e sunbeam
P eek in g th ro u g h t h e c lo u d s.
I watohed i t grow and grow and grow
'T i l i t w e a th e d t h e w orld in s m ile s .

2. Have th e group re a d th e poem s i l e n t l y .

3. D isouss th e s to r y , mood, e t c e te r a , o f th e poem.

4. Have th e group re a d th e poem alo u d w ith th e verv e and good

i n t e r p r e t a t i o n a s s o c ia te d w ith good o r a l re a d in g .

5. Have th e group re a d a g a in , a c o e n tin g im p o rta n t w ords.

6. Have th e group re a d a g a in , a c o e n tin g im p o rtan t wards and th e n e x t

most Im p o rtan t w ords. (At t h i s p o in t , th e re a d in g i s l i k e l y t o be

done in a sin g -so n g manner w hich i s a l l r i g h t s in c e t h i s manner o f

re a d in g adds s t r e s s t o im p o rtan t w o rd s.)

 147

7* H are th e group zead i t a g a in w h ile b e a tin g m e ter (u ee th e fo rearm

w ith elbow r e a t i n g on th e desk)*

8. Teaoher u n d e rlin e s Im p o rtan t words a s th e c h ild re n re a d and b e a t

I saw a l i t t l e sunbeam
P eek in g th ro u g h th e c lo u d s , ( e t c e te r a )

9, T eacher p la c e s a l i n e i n f r o n t o f im p o rta n t o r acc en ted w ords.

I | saw a l i t t l e | sunbeam

| P eek in g th ro u g h th e jclo u d s

I | watohed i t grow and j grow and grow

'T i l i t | w reathed th e w orld in | s m ile s .

T h is i s one o f th e im p o rta n t s te p s s in c e th e b a rs w i l l become m easure

b a r s in th e m u sic, th u s making c e r t a i n t h a t Im p o rtan t words w i l l r e ­

c e iv e th e Im p o rtan t m u sic a l a c c e n t. Many c o l le c t io n s o f c h i l d r e n 's

o r i g i n a l songs have bean c r i t i c i z e d because in numerous in s ta n c e s

im p o rta n t words and m u sic a l a c c e n t d id n o t c o in c id e . I n example o f

non-agreem ent would be I_ saw a l i t - tle . e t c e te ra

10. Have o h ild r e n s in g a m elody s i l e n t l y a t a s ig n a l fro m th e te a c h e r .

The te a c h e r s a y s, "B eat, b e a t, b e a t, s in g ." Her d ir e o t io n to b e a t

must be i n th e same tempo i n w hich th e o h ild re n have been b e a tin g .

11. Ask s e v e r a l c h ild r e n to s in g t h e i r m elody. The h e a t o f th r e e or fo u r

re s p o n s e s sh o u ld be re p e a te d and th e n th e o la s s should in d ic a te i t s

ch o ice o f th e b e s t melody. T h is melody Should be sung by th e c l a s s

a t l e a s t th r e e tim e s .

12 . As th e o la s s s in g e a g a in , th e te a o h e r re c o rd s th e s y lla b le o r number

names o f th e n o te s o f t h e tu n e under th e words on th e b o ard .

I |aaw a l i t - t l e |su n -beam jaeak-in g th ro u g h th e | clo u d s

ml so l so l la la sol mi do do fa re mi
3 V’ v (, (, ± ‘ i x.

1
 148

The r e p e t i t i o n s by th e o la a s a re im p o rtan t beoaoae (a ) th e y

w i l l e ra s e in d iv id u a l m elo d ies from th e m inds o f th e cthildrem

and (b ) h e lp f i x th e ehosen melody f o r th e o h ild re n and th e

te ach er*

IS* Teaoher s a y s: "S in g th e f i r s t l i n e aloud and th e n co n tin u e s in g in g

th e n e x t l i n e t o y o u rselv es* B e a t,b 3 e a t, re a d y , s in g ."

14* C la ss ohooses th e most i n t e r e s t i n g melody su g g ested and th e n s in g s

i t s e v e r a l tim e s .

IS* Teaoher w r ite s s y l l a b l e names o f th e n o te s o f th e tu n e on t h e board*

I | w atched i t grow and j grow and grow

mi sol sol la sol t i s o l do

) V r :f , - - 1 , - 7

16* W hile o o n tin u in g t o b e a t, th e group s in g s th e f i r s t two l i n e s

s e v e r a l tim e s and th e n c r e a te s th e melody o f th e l a s t l i n e in th e

same way a s t h e m usie f o r th e o th e r l i n e s was w r itt e n .

'T i l i t | w reath ed th e w orld in jam iles

N o tic e ( a ) th a t th e s y lla b le names o f th e n o te s s e rv e a s a g u id e

to t h e te a c h e r , i f n o t t o th e c l a s s , in remembering th e tu n e ; and

(b ) th a t d u rin g th e s in g in g an o c c a s io n a l v a r ia tio n w i l l o ccu r

t h a t makes th e m elody mare p le a s in g . I f th e c la s s ap p e a rs to

approve th e changes, in c o rp o ra te them in th e so n g . The aim a t t h i s

p o in t i s t o make t h e b e s t aong p o s s ib le , S in ee th e r e i s n o th in g

sao red about any o f t h e tu n e , make th e changes d e s ir e d by t h e o la ss*

17. T ra n s fe r th e s y l l a b l e names in t o n o te s on th e s ta f f *

( a ) To d eo id e on th e k ey fo r th e song, examine th e s y lla b le names

used in th e melody and d iso o v er t h e h ig h e s t and lo w est to n es*

I n t h i s song th e y a r e re , above h ig h £o and low do. T h e re fo re ,

 149

I f th e song were n o ta te d i n th e a e key a , t h e ran g e would be

---------T5-- --------- © ---------- O -------- S l_

1
— _ „ f t

i
■«:
n
J

>
-■ ' H

ir
k
Us 1----- S-------- ----------©------- u---- a-------- u----- ii---------------

The aound o f eee In "w reathed" la n o t an eaay to n e t o ain g

on F s h a rp , G o r A, ao th e key o f D o r E f l a t would p la c e th e

aong in a e o o fo rta b le range* —

(b ) T r a n s la te th e s y lla b le names o f th e n o te a o f th e tu n e in to n o te s

on th e s t a f f i n th e key o f D* P la c e b a r s in f r o n t o f th e n o te s

to co rresp o n d w ith th e b a rs in f r o n t o f acc en ted words* (Accura­

cy in t h i s p ro c e s s w i l l be made c e r t a i n i f th e words o f th e poem

have a lr e a d y been p la c e d under th e s t a f f * )

(o ) I n a s s ig n in g p ro p e r v a lu e s t o t h e n o te s th e o n ly q u e s tio n in
3 4
t h i s song i s w hether th e s ig n a tu r e sh o u ld be 4 o r 4 , s in c e

th e to n e s f a l l i n t o g ro u p s o f tw o*s. A c tu a lly i t makes l i t t l e

a
d if f e r e n c e . The u se o f 4 w i l l in d io a te a sm oothness and J e s s

sin g so n g s t y l e w hich w i l l add to t h e ohaxm o f t h i s s h o r t tune*

As th e c h ild re n re a d th e poem th e y p ro b a b ly h e ld "clo u d s" lo n g e r

th a n " I " which fo llo w s i t , t h e r e f o r e , " c lo u d s" i s a n o te o f

lo n g e r d u r a tio n th a n " I " . " » T il" and " i t " have t o sh a re a

m easure w ith th e th r e e p re c e d in g w o rd s, so th e n o te s above them

w i l l be s h o r te r . The song w i l l lo o k l i k e t h i s when n o ta te d *

M -i ,.i i- r fc -t; 1* - i i - f* ” iv Is f*- ....#.rI.

— Ob 3 # #
--------------------- ----------- e— -4-------1
. _iua------ ^—
— *0U--------=£-
- j ---------g— m. - * "
—

. 0
---- —
I saw a l i t - t l e sun»beam, P e e k -ln g th ro u g h th e c lo u d s. I

----------- ^------------------------
_ — f— * — T ~ T ~ — —!
) * i" ------m_______
P ^a _
4 - ----------- £ — h------- * -l
1.. "'..I
4
watched i t grow an<TJfow and groi; i l l i t ■ reath ed th e w drld in !im ilea.
 160

The p ro ced u re g iv en in d e t a i l above was su g g ested f o r u se in I n i t i a l

a tte m p ts o f w r itin g musio f o r w ords. Too, th e r e was th e s u g g e s tio n th a tj

some o f th e s te p s could be e lim in a te d a s soon a s e a s e and f a c i l i t y w ere gained*

A d e s ir e and need f o r making more songs w i l l come w ith s k i l l .

Examining m elo d ies o f some o f t h e songs c h ild r e n a r e en jo y in g w i l l be

fru itfu l. I t w i l l b rin g about an aw areness o f some g e n e r a liz a tio n s t h a t can

be made ab o u t i n t e r e s t i n g tu n e s . I t w i l l b rin g ab o u t concern r e l a t i v e to

d i f f e r e n t means used to av o id b o th m elodlo and rhythm ic monotony. I t w ill

b rin g about i n t e r e s t in d is c o v e rin g th e c h a r a c t e r i s t i c s o f good m e lo d ie s.

S c r u tin y o f d e t a i l s may le a d t o th e d is c o v e ry o f th e s e f a c t s : (a ) added

r e p e t i t i o n o f a group o f words i n th e poem i s used o c c a s io n a lly w ith good

e f f e c t ; (b ) m onotony-is avoided by v a ry in g th e melody l i n e and th e rhythm io

p a tte rn . I n g e n e r a l, a good melody goes up and down in a v a r i e t y o f n o te

v a lu e s . F or exam ple:

h
+
J J 0' I * * ■ * # f !■ » > < * ♦ *■■■—
What d id we see
ee in th e g a r-d e n to -d a y ? Z i n - n i- a s , d a i - s i e s , e h ry s -

--------- F-----
1r--------- 1------ c—
----- P1—
— )----- p------
----x*— — 1— 1----- —0)----- h — r*— ti-----£------ft— ----------- — 1------ tv -
\ ^ ^ ^ ^ ^ J 1 1 r: I —0 1-----
—
-----------
0 — 0 !—
— 11----------
------ —
an-the-mums and a s - t e r s . We a r e s o r - r y th*ey w f il soon go a-way T?e

------- P— F— =----- p ----- is— 1-------

- UVJ1 1 1 1 j j j - ■ J -, J J 1^ 1
z ln -n ia s , d a i - s i e s , ch ry s- an-the-mums and a s - t e r s .

ThO rhythm h as th e v a r i e t y demanded by th e flow o f th e words b u t th e melody

does n o t v a ry —i t i s monotonous to a most u n s a tis f y in g d eg ree . The words do

* .

a p t su g g est monotony. N o tic e th e d if f e r e n c e in t h i s tu n e , (s e e n ex t p ag e),

 S J + jr* *-
m .
What d id we see i n th e g a r-d e n to -d a y ? Z in - n i- a e , d a 'i- s le s , o h ry s-

tfc
J ■$=>
an-the-mums and a s - t e r s . We a r e s<e i - r y th e y w i l l soon go a-way
\-J=
The

n
z i n - n i a s , d a i - s i e s , o h ry s -
£
an-the-mums and a s - t e r s .

There i s movement in t h i s m elody. I t p ro g re sse s, ( e ) A fte r a v id e s k ip in

th e melody, tu r n i n th e o p p o s ite d i r e c t i o n . N o tic e th e p a t t e r n in Annie

L a u rie ( f i r s t com plete m e asu re ), Way Down upon th e Swanae R iv er (second

m e asu re ), (d ) R e p e titio n o f a p h ra se g iv e s form and b a la n c e . Exam ination

o f f o lk songs w i l l b rin g ab o u t an aw areness o f t h e fo rm and th e b a la n c e r e ­

s u l t i n g from r e p e t i t i o n , (e ) R e p e titio n o f a m o tif ( m a i l groups o f to n e s ) !

h as th e e f f e c t o f h o ld in g th e melody to g e th e r .

v A fte r th e group has made s e v e r a l songs and knows what i s in v o lv ed in th e

way o f p ro c e d u re s , a d is c u s s io n o f th e kind o f m usio c a l le d f o r by a p a r t i c u l a r

poem b e fo re a t t e s t i n g t o c r e a te th e melody w i l l b r in g ab o u t grow th in Judg­

m ent. In th e s u g g e s tio n s made f o r i n i t i a l e f f o r t s i n song w r itin g th e r e wap

j
a minimum o f d is c u s s io n ab o u t th e p o e tic q u a l ity o f th e v e r s e . I f th e r e a d in g
*
o f t h e p o m was done i n t e l l i g e n t l y and i n an a p p r o p r ia te s t y l e , th e chances^

a r e t h a t th e melody w i l l oonform to th e s t y l e o f r e a d in g . However, a p r e lim i­

n a ry d is c u s s io n o f th e k in d o f musie d e s ir a b l e f o r en h an cin g a v e rs e w i l l

more n e a r ly make c e r t a i n t h a t t h e m usio does enhanoe th e w o rd s. D iscu ssio n

alo n g th e l i n e o f th e s e q u e s tio n s w i l l r e s u l t i n a more t r u l y a r t i s t i c e ffo rt.*

 158

1. The mood o f th e poam s u g g e s ts what k in d o f musio? {Gay, sad ,

»

s tr o n g ly rh y th m io , monotonous, e t o e te r a )

8* Where i s th e elim ax o f th e poem?

3. Where sh o u ld th e musio be th e most d ram a tic ?

4. Where should th e m usio ask a q u e stio n ?

5. I s i t n e o e s s a ry f o r th e q u e s tio n t o be answered?

6* Are t h e r e any l i n e s o f th e peom th a t seem t o demand i d e n t i c a l

m elo d ies?

D isc u ssio n o f p o in ts s im ila r to th e s e w i l l r e s u l t i n a tu n e p lan n ed w ith

a t t e n t i o n d ir e c te d tow ards th e h ig h p o in ts o f th e poem.

The ad v an tag es o f t h i s p ro ced u re o f w r itin g scnga i s t h a t th e words

them selves form a p a t t e r n f o r th e w r itin g and a fo u n d a tio n upon which to

b u ild . The r e s u l t s a r e more l i k e l y t o be "m usie".

The l i m i t a t i o n o f t h i s p ro ced u re i s t h a t i t i s w holly dependent upon

th e te c h n ic a l s k i l l o f th e te a c h e r . I n o rd e r t o c a r r y on t h i s a c t i v i t y i t

i s e s s e n t i a l t h a t th e te a o h e r not o n ly have a n ic e sen se o f rhythm and know

som ething about th e fu n d am en tals o f musio b u t she m ust be ab le to t r a n s l a t e

th e tu n e s composed by th e c h ild r e n in to musio symbols in o rd e r t h a t m elo d ies

can be n o ta te d , used and p re s e rv e d . F o r tu n a te ly , th e re i s one d e v ic e th a t

oan be su g g ested f o r g a in in g s k i l l in th e f i r s t s te p n e o e ssa ry f o r n o ta tin g

m e lo d ie s.

A n aly sis r e v e a l s t h a t i n o rd e r t o n o ta te a melody i t i s w e ll to have

" h a n d le s" t o a id in o b je c tif y in g e lu s iv e to n e s . These " h sn d le s " a r e th e

s y l l a b l e o r number names f o r th e to n a l com binations O hildren u se i n t h e i r

c r e a tiv e e f f o r t s . F o r th e te a o h e r who does n o t have th e s k i l l t o f e a d i l y

t r a n s l a t e th e to n e s o f a m elody i n t o sym bols, t h i s dev io e f o r g a in in g suoh

a s k i l l ia o ffe re d ( i t i a th e same s k i l l d e sc rib e d in th e s e c tio n on

M usic Reading R ead in ess f o r c h ild r e n , see pages 8 4 , 8 8 , 8 6 ) : le a r n to s in g

th e s y l l a b l e o r number names o f th e n o te s o f f i v e or s i x f a m i li a r songs*

A fte r th e s e names can be sung a s e a s il y a s th e w ords, t r y to d eterm in e th e

names o f n o te s o f .a f a m i li a r aong—Way Down upon th e Swanee R iv er o r Toy to

t h e World axe sim p le ones—a s you hum th e m elody w ith o u t lo o k in g a t th e book.

G aining t h i s s k i l l i s r e a l l y fu n i f the m a te r ia l used a t f i r s t i s sim ple*

There i s alw ays t h e p o s s i b i l i t y o f ta k in g a co u rse i n m elo d ic d ic t a t i o n

o r form ing a c la s s i n w hich th e s k i l l o f re c o rd in g can be developed*

I t i a assumed th a t th e t e a c h e r 's knowledge o f m usic fu n d am en tals w i l l

e n a b le h e r to d eterm in e th e key i n w hich th e song should b e n o ta te d and a s s ig n

p ro p e r v a lu e s to th e n o te s , th e m easure b a rs h av in g been p la o ed a s th e r e s u l t

o f so an n in g th e poem. The u se o f th e c o n d u c to r's b e a t s im p l if ie s th e m a tte r

o f a s s ig n in g p ro p e r v a lu e s to n o te s , s in c e a l l to n e s h e a rd on and d u rin g th e

down b e a t a r e on th e f i r s t b e a t o f th e m easure, a l l to n e s h eard on and d u rin g

th e l a s t b e a t a r e on th e l a s t count in t b s m easure, e t c e te ra *

I f th e te a o h e r i s ab le to p la y th e p ia n o , th e r e i a an a c t i v i t y w hich i s

fu n fox th e o la s s and ean le a d t o oomposing m elo d ies w ith d e so a n ts o r tw o -p a rt

m usic. I t i s n o t o n ly fu n f o r a c l a s s b u t i t i s an e x c e lle n t means o f m otiva­

t i o n f o r a group t h a t ap p e a rs t o ap p ro ach new a c t i v i t i e s w ith d is f a v o r . A fte r

th e poem which i s to be s e t t o m usic h a s been soanned and d is c u s s e d , and im-

I
p o r ta n t words u n d e rlin e d , th e te a o h e r can p la y a s u c c e s s io n o f sim p le chords

rh y th m ic a lly , over which in d iv id u a l s tu d e n ts can compose a tu n e , s in g in g th e

words s i l e n t l y t o th e m selv es a t f i r s t . F or exam ple, u s in g th e words o f "I

saw a l i t t l e sunbeam. • * th e s e ohords would be f i t t i n g :

 164

Each ohord l i s t e d l a s t s th ro u g h o u t th e m easure u n le s s an o th e r chord i s

in d i c a te d . For te a c h e r s who a re in e x p e rie n c e d in im p ro v isin g accom panim ents,

t h i s word o f c a u tio n sh o u ld be g iv e n : be c e r t a i n to have a dominant chord o r

a dominant se v e n th a t th e sem i-cadence and a dominant ohord fo llo w ed by a

to n io Chord f o r th e f i n a l cadence.

C re a tin g Words and Music

The o h ild re n in th e f i f t h g rad e o f th e H essian H i l l s Sohool w ere stu d y in g

L if e i n the. Old S o u th . They seemed p a r t i c u l a r l y im pressed by th e b ea u ty o f

Negro songs and f a s c in a te d by th e s t o r i e s connected w ith them and th e in f e r ­

ences- t h a t could be drawn. When th e c h ild r e n w ere s a tu r a te d w ith t h i s ty p e

o f m usic, t h e i r te a c h e r , M iss Evelyn H unt, su g g ested th a t p erh ap s th e y would

li k e to w r ite some songs o f t h a t ty p e . The n e x t day, when th e group met in

th e la r g e m usic room, M iss Hunt su g g ested th a t th e c h ild re n f in d a p la c e where

they, could have p le n ty o f spaoe and p re te n d t o do some of th e k in d s o f work

s la v e s had had t o do. Some o f th e rhythm s th e y had done b e fo re m ight se rv e

a s a g u id e . As th e c h ild re n were doing t h e i r rhythm s, i t was su g g ested th a t

th e c h ild re n make up a song about t h e i r f e e l i n g s end about th e way th e y th o u g h t

s la v e s had f e l t . T h e ir te a c h e r s a id she would w rite th e song when a c h ild had

h i s re a d y .

T h is i s J o s e p h 's song.

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N o tio e th e use o f sy n co p atio n — a o h a r a o t e r is ti c rhythm o f Negro m usic.

 Naomi d id n o t compose words t o h e r m elody. However, h e r oae o f th e

m inor mode and h e r use o f sy n o o p atio n show t h a t she had absorbed some o f

th e o h a r a e t e r l s t i e s o f Negro m u sie.

These o h ild r e n had been co m pletely devoted e m o tio n a lly and i n t e l l e c t u a l ­

l y t o t h e i r stu d y o f t h i s p h ase o f American l i f e . They had e v id e n tly h e a rd ,

sung and p lay ed s u f f i c i e n t Negro musio to have a f e e l i n g f o r i t and to have

become c o g n izan t o f some o f i t s e s s e n t i a l c h a r a c te r i s t ic s *

The " q u e s tio n and answ er" approach to t h i s ty p e o f c r e a t i v i t y may g iv e

form and u n ity to so n g s. Each p h ra s e i s co n ceiv ed a s e i t h e r a m u sic a l ques­

t i o n o r i t s answ er. I t i s an e x te n sio n o f th e pro o ed u re used w ith o h ild re n

t
who have a u r a l o r o r a l d e f ic ie n c ie s * The te a c h e r sin g s
W here's JbanV

In e a r ly a tte m p ts a t c r e a tin g songs in t h i s m anner, th e " q u e s tio n and answ er"

id e a w i l l be c a r r i e d o u t in th e words and in th e m u sic. F in a l ly , th e "ques­

ti o n " i s m u sic a l in t h a t i t i s a p h ra se o b v io u sly n eed in g an answer in o rd e r

t o be a com plete m u s ic a l s ta te m e n t.

Some te a c h e r s have been ab le to g u id e song w r itin g e f f e c t i v e l y by u sin g

t h i s m ethod, b u t o r d in a r i ly , te a c h e r s f in d i t problem enough to r e c o r d n o te s

w ith o u t th e a d d itio n a l problem o f re c o rd in g words a t th e same tim e .' In a d d i­

t i o n t o th e l i m i t a t i o n s imposed by th e te a c h e r s s k i l l s , th e r e i s th e l l k e l i -
«

hood th a t th e so n g s—words and m usic—may wander p o i n t l e s a l y and th a t th e

melody may la c k o e r ta in e s s e n t i a l q u a l i t i e s .
 196

Summary

I n c r e a tin g m usic i n sc h o o l, c h ild r e n a re c o n tin u in g an a c t i y i t y which

was a n a t u r a l means o f s e lf - e x p r e s s io n b e fo re b e g in n in g t h e i r more fo rm al

education* The u se o f th e medium o f m usic f i x e s th e id e a t h a t m nsie is_ a

la n g u a g e , a means o f communication which th e y , to o , can u s e . There a r e two

ways i n w hich th e e x p re s s io n o f s e l f i s p o s s ib le th ro u g h m u sic. F irs t,

w h ile i n t e r p r e t i n g th e symbols on th e p r in te d p ag e, s e l f and p e r s o n a li ty

can be i n j e c te d even i n a s t r i c t t r a n s l a t i o n o f th e symbols in t o to n e s .

Second, i n songs o h ild re n thornselves w r i t e , th e y can embody t h e i r own id e a s .

The u se o f song w r iti n g a s a means o f s e lf - e x p r e s s io n by c h ild r e n i n

s c h o o l i s dependent, to a la r g e e x te n t, on th e s k i l l p o sse sse d by t h e i r

te a c h e r s i n r e c o rd in g songs and t h e i r p h ilo so p h y r e l a t i v e to th e Im portance

o f c r e a tiv e work.
 CHAPTER 71

THE TEACHER

I n th e f i n a l s e c tio n Of C hapter I ( s e e page 1 5 ), th e a u th o r su g g ested

t h a t a l l th e c h ild r e n sh o u ld have: (1 ) th e a b i l i t y to u se m usic a s a means

o f s e lf - e x p r e s s io n and communication (w hich in c lu d e s b ein g a b le to m a n ip u late

th e one m u sic al in s tru m e n t a l l elem en tary sch o o l o h ild re n p o s s e s s —th e v o ic e ) ,

and (8 ) an u n d e rsta n d in g o f th e m u sic al e x p re s s io n o f o th e r s , Which i n c i t e s a

co n scio u sn ess o f m usic a s an a r t , and (3 ) an aw areness o f a s much o f th e sc ie n o e

o f musio a s i s n e o e s s a ry t o g iv e meaning t o musie a s an a r t .

What a t t i t u d e s r e l a t i v e t o m usic sh o u ld th e elem en tary classro o m te a o h e r

have t o d i r e c t suoh a m usic program ? What e x p erien ce does she need to f i t h e r

f o r g u id in g th e m usic program? What a b i l i t i e s must she have? What t r a i n i n g i s

n e c e s s a ry to f i t h e r f o r te a o h in g M usic?

A ttitu d e s

The most in p o r t a n t a s s e ts th e elem en tary classro o m te a o h e r can have f o r

c a rry in g on a musio program f o r a l l th e c h ild r e n in h e r o la s s a r e : (1 ) a

c o n scio u sn ess o f jo y i n m u sie al a o t i v i t y , and (2 ) an aw areness o f th e jo y

m usie may b r in g to o th e r s . W ithout th e s e f e e l in g s ab o u t m usie, th e w r ite r

f e a r s th a t th e t e a c h e r 's guidance w i l l be in s in c e r e , i n e f f e c t i v e , w ith o u t

purpose and w ith o u t wholesome e f f e c t . W ith th e s e f e e l i n g s , h e r te a o h in g w i l l

be s in c e r e b ecau se sh e w i l l e n jo y t h e a c t i v i t i e s alo n g w ith th e c h ild r e n .

 158

H er v e rv e and v iv a c ity w i l l r e s u l t in e n th u s ia s tic teao h in g * The m echanioal

«
e f f e c t s o f la b o rio u s and u n in s p ir e d , m e r e ly - f o llo w ia g - th e - d ir e c tio n s te a o h in g

w i l l be conspicuous by t h e i r ab sen o e. H er te a c h in g w i l l be e f f e c t iv e because

she w i l l be en d eav o rin g to g iv e guidance in an a sp e c t o f p e rs o n a l development

she b e lie v e s to be r e a l l y im p o rta n t. E nthusiasm b e g e ts en th u siasm . S in ce

m usic h a s b rought jo y in t o h er l i f e , she w i l l beeome an in s p ir e d purv ey o r o f

a r t i s t r y i n th e d a i ly f a r e . A co gnizance o f th e jo y o f m usic w i l l g iv e purpose

to h e r te a o h in g . She has co n fid e n ce t h a t i t w i l l b r in g jo y to o th e r s . T his

co n fid e n ce w ill be re a so n enough to c a l l f o r t h h er b e s t te a o h in g e f f o r t s .

A tti tu d e s , f e e l in g s , and sym pathies a re th e r e s u l t o f e x p e rie n c e s . We

a l l know t h a t sometimes th e a t t i t u d e s , f e e l i n g s , and sym pathies we have r e l a ­

t i v e to th in g s , id e a s , and p e o p le a r e seem ingly w ith o u t l o g i c . However, i l ­

l o g i c a l th e s e id e a s may seem th e y a r e th e r e s u l t s o f e x p e rie n c e , n e v e r th e le s e .

S in ce th e w r ite r b e lie v e s t h a t c e r t a i n f e e l in g s tow ard musio a r e th e most

im p o rta n t a s s e t s an elem en tary te a c h e r can have when i t comes to te a o h in g m usic

i t seems p e r ti n e n t to a sk what e x p e rie n c e s w ill r e s u l t in su ch a t t i t u d e s ? \ Even

though we p la n c o n s c ie n tio u s ly and c a r e f u l ly what a p p e a rs to be a l o g i c a l p ro ­

gram o f e x p e rie n c e , th e r e s u l t s cannot be g u a ra n te e d . We a r e d e a lin g w ith

em o tio n s, in t a n g ib l e s . However, c e r t a i n e x p e rie n c e s seem m ost l i k e l y to tu r n

th e em o tio n al t i d e i n th e d ir e c tio n o f th e s e d e s ir a b le a t t i t u d e s .

I n o rd e r to make i t p o s s ib le fo r t h e classro o m te a c h e r t o have a consoious

n e s s o f jo y in m u sic a l a c t i v i t y and an aw areness o f jo y musio b r in g s to o th e r s ,

th e s e a c t i v i t i e s a r e d e s ir a b l e in a t e a c h e r - tr a in in g p ro g ra n :

1. C re a tin g songs and m usie

U sing musio a s a means o f s e lf - e x p r e s s io n c r y s t a l l i z e s i t s p e rs o n a l

q u a l i t y , g iv e s th e composer t h e f e e l in g o f mj[_ and m ine. U sing a medium o f

 ISO

e x p re s s io n I s p o s s ib ly th e b e s t way to u n d e rsta n d i t . Comparing and

c o n tr a s tin g o n e 's own e x p re s s io n w ith t h a t o f a m a ster h e lp s to Improve

t a s t e , re c o g n iz e w o rth , and e s t a b l i s h s ta n d a rd s . The t e a c h e r - i n - t r a i n i n g

w i l l d e riv e th e same jo y s and a r r iv e a t th e same u n d e rsta n d in g s from t h i s

a c t i v i t y a s hex f u tu r e p u p ils w i l l .

8. E x p ressin g id e a s and em otions th ro u g h b o d ily movements

I n t e r p r e t i n g m usic by means o f b o d ily movement i s a n o th e r means o f

s e lf - e x p r e s s io n . O ften t h i s medium o f e x p re s s io n i s more t e l l i n g , mare

e x p l i c i t th a n w ords. When th e e x p re s s io n s a r e th e i n t e r p r e t a t i o n s of

s p e c i f i c co m p o sitio n s and p a r t i c u l a r s t o r i e s , th e y ean show com plete

u n d e rsta n d in g o f th e m usic—an u n d e rs ta n d in g sometimes d i f f i c u l t f o r

a n o th e r p e rso n to d is c o v e r exoept in t h i s way. The a b i l i t y to ex p ress

id e a s and em otions p o rtra y e d in m usic by means o f b o d ily movements i s

in d ic a tiv e o f u n d e rs ta n d in g th e m u sic.

3. Knowing, u n d e rs ta n d in g and en jo y in g m u sic a l com p o sitio n s

On page 14 o f C hapter I , i s th e a u t h o r 's a t t e s t to l i s t th e f a c t o r s

c o n trib u tin g to i n t e l l e c t u a l and em otional enjoym ent i n l i s t e n i n g to m u sic.

L is te n in g , d ir e c te d to each and a l l o f th e s e p h a s e s , i s im p o rta n t. In p ro ­

p o sin g a program to a d e q u a te ly p re p a re ele m e n ta ry te a c h e r s to te a c h m usic,

i t i s Im p o rtan t to s t r e s s a c e r t a in o f t n e g le c te d p o in t in th e d is c u s s io n

o f "knowing, u n d e rsta n d in g and e n jo y in g m u sic al compos i t io n s " . That p o in t

> is : w h ile enjoym ent may r e s u l t from h e a rin g a co m p o sitio n o n ce, knowing

and u n d e rs ta n d in g d e f i n i t e l y can n o t r e s u l t from h e a r in g a com position o n ly

o n ce. I f a s tu d e n t who h e a r s D eb u ssy 's A ftern o o n o f a Faun o r any conqtosi-

t i o n o f l i k e s t a t u r e o r q u a l ity , g iv e s ev id en ce o f r e a l l y knowing and

u n d e rsta n d in g suoh a com position a f t e r one h e a r in g , she sh o u ld n o t be

 160

allow ed to w aste h e r tim e in c l a s s . A rrangem ents should be made to g iv e

h e r a tho ro u g h m u sic a l t r a i n i n g because su c h knowing and u n d e rsta n d in g a r e

in d i c a ti v e o f an In n a te m u s ic a ln e ss th a t sh o u ld be d ir e o te d and t r a i n e d .

A ll o f t h i s i s a p le a f o r m aking knowing and u n d e rsta n d in g po s s i b le by

l i s t e n i n g , h e a r in g , more l i s t e n i n g and more h earin g *

4. S in g in g

I n t e r e s t i n g and a p p e a lin g songs o arv e t h e i r own p e c u lia r n io h e in

th e em o tio n al and i n t e l l e c t u a l enjoym ent o f music* The te a c h e r n eed s t h e

ex p e rie n c e o f s in g in g many o f th e a e — songs fo r a d u l t s , songs f o r c h ild r e n ,

songs f o r everybody* The e x p e rie n c e o f s in g in g a lo n e , w ith s m a ll g ro u p s,

w ith l a r g e g ro u p s and w ith crow ds, a l l make t h e i r c o n trib u tio n s to d e l ig h t

i n t h i s a c t iv it y * The l i v e l y s a t i s f a c t i o n g ain ed from s in g in g i s d o u b tle s s

bro u g h t by th e f a c t t h a t s e l f and I. c o n trib u te * S in c e s in g in g i s such an

im p o rta n t p a r t o f th e sch o o l m usic program , th e happy te a c h e r w ill have a

sympathy f o r and an aw areness o f th e jo y s th a t r e s u l t from s in g in g and a r e

made p o s s ib le by it *

S k ills

In o rd e r to c a rry an th e m usic program f o r a l l th e c h ild r e n , c e r t a in

a b i l i t i e s on th e p a r t of t h e p erso n g u id in g th e a c t i v i t i e s a re n e c e s s a ry . Seme

in d is p e n s a b le s k i l l s in te a c h in g m usio are p u r e ly te c h n ic a l s k i l l s in m usio,

w h ile o th e rs a r e th o s e which c o n trib u te to a l l e f f e c t i v e te a c h in g . The o rd e r

in w hich th e s e r e q u i s i t e s a r e d is o u s s e d i s n o t in te n d e d to in d i c a te t h e i r

r e l a t i v e im p o rtan ce . A f te r th in k in g ab o u t them , p erh ap s you m ight l i k e to

ra n k them end j u s t i f y t h e p o s iti o n o f each i n your l i s t *

The elem en tary classro o m te a o h e r sh o u ld have th e a b i l i t y :

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1. To s in g a r t i s t i c a l l y

T his i s o f p rim s im portance f o r two re a s o n s , F i r s t , h e r o h ild re n

w i l l te n d to s in g no b e t t e r th a n she does, sin o e h e r s in g in g s e t s th e

stan d ard * Second, a r t i s t i c s in g in g i s more p le a s u r a b le and s a t i s f y i n g

th a n th e p lo d d in g , sto d g y u n im ag in ativ e kind* " A r t i s t i c a l l y " means

a c c u r a te ly a s to n o te s and rhythm — in tim e and in tu n e . " A rtis tic a lly "

means in a s t y l e t h a t enhanoes th e mood o f th e song, " A r t i s t i c a l l y " means

p ronoun cin g th e f i n a l co n so n an ts o f words* " A r t i s t i c a l l y " means s lid in g

from one to n e t o a n o th e r o n ly when th e oomposer i n d i c a te s a s l u r , "A rtis*

tlc a lly " means w ith a l i l t and swing t h a t b elo n g s to th e p a r t i c u l a r song

t h a t i s b ein g sung* " A r t i s t i c a l l y " meanB s t r e s s i n g words in accordance

w ith t h e i r im portance in th e v e r s e and t h e i r p la c e in th e m easure o f musio*

" A r t i s t i c a l l y " means b r in g in g o u t th e im p o rtan t m u sic al p h rase* " A rtis tic ­

a l l y " means w ith ex p ressio n * S inoe th e te a c h e r te n d s t o s e t th e s ta n d a rd ,

i t i s im p o rtan t t h a t she be a b le t o s in g a r t i s t i c a l l y . Suoh s in g in g

s a t i s f i e s in n a te m u s ic a ln e s s .

2* To re a d m usio

A b i l i t y to i n t e r p r e t th e symbols o f th e m u s ic a l language in o rd e r to

le a r n new songs i s a n e o e s s a ry s k i l l * There a re n o t enough n u aio c o u rse s

in e l l th e o o lle g e s to d a y t o make i t p o s s ib le f o r every te a o h e r to le a r n

every song she m ight have o c c a sio n t o use in h e r te a c h in g l i f e or every

page o f musio she m ight f i n d i t n eo essary to r e f e r to* W ithout t h i s a b i l ­

i t y , hex r e p e r t o i r e i s li m it e d t o th o s e songs she h a s le a r n e d by r o te —

and o p p o r tu n itie s f o r te a o h e r a - in - a e r v io e t o le a r n songs in t h i s way a r e

o f te n li m it e d . W ithout t h i s a b i l i t y , she h as l i t t l e com prehension o f what

a page o f musio says o r means* W ithout t h i s a b i l i t y sh e i s d e f i n i t e l y

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handicapped a f t e r ahe h a s ta u g h t hear c la s a a l l th e songs ahe knows.

Im agine n o t b ein g a b le to re a d a fo u r l i n e poem ab o u t a b lack -cap p ed

ch ick ad ee to a group o f f i r s t - g r a d e o h ild re n u n le a a one had le a r n e d t h i a

poem in c o lle g e !

3* To re o o rd muaie*

In a m uaie program plan n ed to g iv e th e utm ost c o n s id e r a tio n to th e

im p lic a tio n s o f "Musie i s a u n iv e r s a l la n g u ag e", n o ta tin g o r re o o rd in g th e

m u sic a l e x p re s s io n s o f c h ild re n m u st, o f n e c e s s it y , be th e r e s p o n s i b i l i t y

o f th e te ao h er* I t i s p o s s ib le t h a t o h ild re n in th e s i x t h grade would

have s u f f i c i e n t s k i l l to r e c o r d a tu n e a d e q u a te ly , i f n o t a c c u r a te ly . Such

s k i l l on th e p a r t o f a c h ild would n o rm ally p resu p p o se a m u sio al e x p e rie n c e

r i c h e r and more v a r ie d th a n t h a t o f f e r e d in th e r e g u la r elem en tary sch o o l

program —would p erh ap s r e s u l t from p r iv a t e in s tr u m e n ta l i n s t r u c t i o n . The

p rim ary c h i ld does n o t have th e p h y s io a l c o - o r d in a tio n t o make i t p o s s ib le

fox him to h an d le th e mere m echanics o f m usie w r itin g , even i f he d id know

what and w here to w r ite . T here i s som ething about th e com bination o f to n e s

which we c a l l a " tu n e " t h a t does n o t p e rm it o f i t s b ein g remembered v e ry

long i f we have h eard i t b u t onoe o r tw ice* A ctu ally * how ever, a s you w i l l

r e a l i z e when you c o n s id e r t h i a l a a t s ta te m e n t, th e "som ething" t h a t makes a

tu n e e lu s iv e i s th e i n a b i l i t y o f our m u sio al memories to r e t a i n i t . That

i s th e f a c t t h a t makes im m ediate re c o rd in g n e c e s s a ry , t h a t r e q u ir e s th e

te a o h e r to have th e s k i l l in n o ta tin g in o rd e r t o p re s e rv e f o r tomorrow

* The w r i t e r *8 e x p e rie n c e i n te a c h in g p r o s p e c tiv e elem en tary te a c h e r s to

re c o rd th e c r e a tiv e e f f o r t s o f c h ild re n i s d e s c rib e d in O o -o p erativ s
S u p e rv isio n in th e P u b lic S chools by M yers, E L fe r, M erry and F o ley ,
p u b lish e d by P r e n ti c e - H a ll , In c * , Hew Y ork, 1938* P p . 233-236*
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any lo v e ly melody w hich a o h lld may c r e a te today* Some to ie a * in f a c t ,

many tu n e s t h a t o h ild re n make a r e n o t w orth p r e s e r v in g , b u t some o f th a n

a r e i n t e r e s t i n g enough t o be added t o th e c la s s * s r e p e r t o ir e * A ll o f them

d eserv e to be sung in o rd e r t h a t th e conqsoaers be s a t i s f i e d . And th e

o rd in a r y m u s ic a l memory hav in g th e l i m i t a t i o n s i t does h av e, makes iaanedi-

a t e re c o rd in g n e o e s s a ry . The tu n e m ust be w r itte n in o rd e r th a t i t be used

o r improved a t a su b seq u en t tim e*

4* To te a c h

The p r in c i p le s t h a t r e s u l t in e f f e c t iv e te a c h in g o f a r it h m e t ic , re a d ­

in g , s o c i a l s tu d ie s or s p e llin g apply a l ik e to te a o h in g music* There i s no

sa c re d o r m y s te rio u s r i t u a l t h a t te a c h e r s have to m a ste r i n o rd e r t o gu ide

o h ild re n th ro u g h a m usic le sso n * The p r in c i p le o f a ro u s in g I n t e r e s t i s

e f f ic a c io u s i n an atteng>t to te a c h re a d in g o r to te a c h m u sie. The p r in o ip le

o f re a d in e s s a p p lie s to le a r n in g c e r t a i n s k i l l s in a r ith m e tic and i n .music*

T ru e, th e te a c h e r h a s to be a b le to c h a rt p r o g r e s s iv e s te p s i n a r r i v i n g a t

a g o a l—and th e way i s much e a s ie r i f th e h o rse i s b e f o r e th e o a rt* For

exam ple, i t i s much e a s ie r to te a o h a c h ild to m u ltip ly i f he knows how to

add. I t i s much e a s ie r to te a c h a c h ild to s k ip to m usic i f he knows how

to w alk o r march to music* T here i s a n o th e r s t r i k i n g s i m i l a r i t y between

th e te a c h in g o f a r ith m e tic o r s o c ia l s tu d ie s on one hand and m usic on th e

o th e r* The te a c h e r must know t h e m usic she i s ex p eeted to te a o h j u s t a s

she must know th e a r ith m e tic o r s o c i a l s tu d ie s she i s expeoted to teach*

P re v e n tin g e r r o r s i n le a r n in g comes u nder th e c a p tio n o f p o s iti v e

teao h in g * And th e sane s k i l l f u l te a o h e r who c a l l s a t t e n t i o n t o a new or

d i f f i c u l t word in r e a d in g a s to r y , e a l l s a t t e n t i o n t o a new o r d i f f i c u l t

p h ra s e in a song th a t i s to b e read* Not o n ly does she c a l l a t t e n t i o n to

I t , b u t in many in s ta n c e s she w i l l make i t p o s s ib le f o r th e c h ild r e n to

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stu d y and p r a c t ic e th e group o f n o te s in v o lv e d , th u s e lim in a tin g th e

p r o b a b i l i t y o f e r r o r in i n t e r p r e t a t i o n . I f th e o la s s makes th e same m is­

ta k e s e v e r a l tim e s, th e r e a l te a c h e r s i l l wonder why, a n a ly z e th e problem

and a p p ly re m e d ia l m easu res. A su g g e s tio n t o t h e te a e h e r who becomes

im p a tie n t w ith h e r group beoauae so much r e p e t i t i o n i s n e c e ss a ry f o r th e

c h ild r e n in o r d e r to le a r n to re a d a sim p le s c a le -w is e p assag e i n a song

i s t £ v i s i t th e c l a s s o f a_n eig h b o r who i s te a c h in g b eg in n in g re a d in g and

n o te th e tim e and d r i l l n e c e ss a ry in te a c h in g sim ple words or co m b in atio ns

o f w ords. R eading m usic i s even more c o m p lic a te d . D o n 't be im p a tie n t.

I n s te a d , be c e r t a in you a re n o t t r y i n g to te a c h som ething f o r w hich th e

group i s n o t re a d y ; examine y o u r s e lf t o d is c o v e r what p r in c i p le o f e f f e c ­

t i v e te a c h in g you have f a i l e d to a d h e re t o . Of o o u rse , you w i l l n e v e r la y

th e blame f o r th e in e p titu d e s o f your c l a s s a t th e d oors o f i t s form er

te a c h e rs * You w i l l , in s te a d , p ro v id e su ch a r i c h m u s ic a l p ro g ra a t h a t

d i f f i c u l t i e s and d e f ic ie n c i e s w i l l be overcome and e x te n siv e grow th be

e v id e n t.

To h ear e r r o r s demand th a t t h e te a o h e r have o e r ta in m u sic a l a p t itu d e s .

The f r e q u e n t and s k i l l f u l u se o f th e p i t c h p ip e w i l l b rin g to l i g h t many

e r r o r s in to n e t h a t may o th e rw is e escap e n o tio e . Once th e e r r o r h a s been

d e te c te d and c l a s s i f i e d , a l l o f th e common sen se d e v ic e s th e te a e h e r h as

used in c o r r e c tin g e r r o r s in o th e r le a r n in g s can be used h e r e . However,

d e te o tio n p lu s a n a ly s is a r e th e f i r s t s te p s tow ard c o r r e c tio n .

8. To s e le c t m a te r ia ls

The word " s e le c t " i s used a d v is e d ly . C onsider th e im p lic a tio n s o f

t h i s word i n c o n n e c tio n w ith a p ie c e o f a p p a r e l. " S e le c tin g " a d r e s s

im p lie s c o n s id e r a tio n o f some ox a l l o f th e s e p o i n t s : Does i t f i t th e

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e x a c t re q u ire m e n ts o f a c e r t a i n o c c a sio n ? I s i t a b e t i s needed? W ill

i t be u s e f u l f o r any o th e r pu rp o se? I s i t s im ila r to o r i s i t a marked

c o n tr a s t w ith o th e r c lo th e s ? I s i t w orth th e p r ic e ? E v a though you

l i k e i t o r you do n o t l i k e i t , e v a though i t f i t s o r i t does n o t f i t ,

th e p ro c e s s o f " s e le c t io n '' in v o lv e s a l l th e s e (and p e rh a p s o th e r) c o n s id e ra ­

tio n s . B efore a r r iv i n g a t th e p o in t where th e answ ers to th e s e q u e s tio n s

had to be co n sid e re d you bad t o know where to go in o r d e r to f i n d a a p p l y

—w hether i t be p a t t e r n s , m a te r ia ls , o r re a d y -to -w e a r garm ents—from which

'I (X*
t o choose* " S e le c tio n " i s a p p lie d to m a te r ia ls t o be u sed i n prom oting

m u sic a l grow th in v o lv e s th e samec o n s id e r a tio n s ; e x a o tly th e same. The

te a c h e r m ust know where to go t o g et th e m a te r ia l she n eed s, w hether i t be

r e c o r d s , so n g s, in fo rm a tio n about c o m p o sitio n s, in s tru m e n ts . To make th e

b u s in e s s o f s e le c tio n l e s s ard u o u s, f i r s t hand a c q u a in ta n c e w ith books o f

so n g s, m usic e n cy c lo p ed ia, and o th e r so u rc e s o f in fo rm atio n i s d e s ir a b l e .

Each com position sh o u ld be s e le c te d w ith an eye to i t s a b s e q u e n t u s e ,

s e le c te d a s c a r e f u l ly as th e new d r e s s i s s e le c te d . These q u e s tio n s must

be answ ered: Does t h i s song o r co m p o sitio n c o n trib u te t o grow th in i n t e r ­

p r e ta tio n ? Does i t c r y s t a l l i s e a c e r t a in d e s ir e d mood? I f i t does answer

a c e r t a i n need, what o th e r p u rp o se can i t s e rv e ? I f a r e c o rd i s b ein g

c o n s id e re d , what in s tru m e n ts a r e p ro m in en t, o r , w hat i s th e form o f th e

c o m p o sitio n , o r th e mood? Does i t s i n t r i n s i c v a lu e m e rit th e tim e and

energy r e q u ir e d to le a r n i t ? " S e le c tio n " means Judging and i t m a n s u sin g

d is c r im in a tio n . I t does n o t mean te a c h in g th e song on page 25 j u s t because

we f in is h e d le a r n in g th e song on page 24; a d te a c h in g page 26 n e x t a s

s u r e ly a s n ig h t fo llo w s day . C e r ta in ly , i t >a p o s s ib le th a t th o se th r e e

songs belo n g to g e th e r , b u t th e l o g i c a l n e x t one m ight be on page 98.

I
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A c o lle g e g i r l who was d o in g s tu d e n t te a c h in g once made an a p p o in t­

ment f o r a co n feren c e w ith th e w r ite r . The s tu d e n t ex p la in e d th a t she had

heen u n ab le t o d is c o v e r what m usic could add to a more oom plete u n d erstan d ­

in g o f th e a c t i v i t y in w hich th e group in h e r roost was b u s ily engaged. The

q u e s tio n w as, what to do i n m uaio. She had p r e v io u s ly o b serv ed th e s e c h i l ­

dren when th e y had been engaged in m u sic a l a c t i v i t i e s ; she was read y to

answer I n t e l l i g e n t l y th e q u e s tio n s th e w r i t e r ask ed : How w e ll do th e y

s in g ? What a b i l i t i e s do th e y have i n rhythm s? What do th e y know about

m u sic a l in s tru m e n ts ? e t c e t e r a . A fte r an a p p r a is a l o f t h e m u sic al back­

ground o f th e c h ild r e n , th e s tu d e n t w ith th e a s s is ta n c e o f th e w r ite r was

a b le t o p la n a c t i v i t i e s t h a t w ould b rin g about grow th in th e v a r io u s p h ases

o f m usic. A ll o f t h i s in fo rm a tio n was n e c e s s a ry in o rd e r to s e le c t

m a te r ia ls f o r th e n ex t s te p .

6. To p la y th e p ian o ( o r some o th e r in s tru m e n t, b u t p r e f e r a b ly th e p ian o )

A b ili ty to p la y th e p ia n o i s inqportant f o r two r e a s o n s : (1 ) i t i s

eviden ce o f a c e r t a i n a d d itio n a l amount o f com prehension of what "muaio'*

i s ab o u t, and (2 ) i t makes p o s s ib le a r i c h e r program o f m usic in th e

classro o m . J u s t a s c r e a tin g m usic f i x e s c e r t a i n a s p e c ts and q u a l i t i e s

o f th e m a te r ia l o f m usic—to n e , le a rn in g t o produce m usic by means o f an

in stru m e n t f i x e s c e r t a i n o th e r a s p e c ts and q u a l i t i e s o f m u sic. A b ility

to produoe m usic b r in g s about a com prehension and u n d erstan d in g w hich i s

im p o ss ib le t o g a in in any o th e r way. In th e classroom , h e a rin g th e r i c h ,

even though sim p le , harm onic accompaniment g e n e ra te d by th e melody o f a

song As im p o rta n t and i s a f r u i t f u l e x p e rie n c e . (The w r i t e r h a s h e a rd a

'c e l l o , v i o l i n , and t r u e s t used w ith e q u a lly good r e s u l t s in an elem en tary

c la s s ro o m .)
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The a b i l i t y t o p la y th e p ia n o i a d e s ir a b l e i f , th e p la y in g i a a r t i s ­

tic . I l l o f th e c o n n o ta tio n s o f " a r t i s t i c " used in th e d is c u s s io n o f

s in g in g a r e a p p lic a b le to p la y in g th e p ia n o . " A r t i s t i c " does n o t mean

s t r i k i n g one key when a n e ig h b o rin g key i s in d ic a te d . " A r t i s t i c " does

n o t mean g a llo p in g along g a i ly to a c e r t a in m easure and th e n ta k in g tw ic e

a s lo n g t o p la y t h a t m easure. N ote T alu es a re r e l a t i v e and th e r e l a t i o n

between v a lu e s does n o t change d u rin g a com position u n le s s th e composer

c l e a r l y in d i c a te s t h a t such a change i s d e s ir a b l e . A maroh p ro ceed s w ith

e q u a l d is ta n c e s between s te p s . Those who march to m usic sh o u ld n o t have

to pau se w h ile th e p i a n i s t s e a ro b e s f o r a ch o rd . Such fo rc e d p a u se s a re

annoying, to sa y th e l e a s t .

Any s k i l l w hich can u ltim a te ly e n r ic h th e m usic program in th e classroom

i s d e s ir a b l e . A b i l i t y on th e p a r t o f th e classroom te a c h e r to p la y th e p iano

i s one o f th o s e s k i l l s . There a r e two ways in which such a b i l i t y can add to

th e number o f s a t i s f y i n g and e x h ila r a tin g m u sical e x p e rie n c e s : (1) i t makes

p o s s ib le th e o p p o rtu n ity f o r h e a rin g th e r i c h , though sim p le , harm onies

g e n e ra te d by th e m elo d ies o f t h e songs c h ild r e n know, and (2 ) i t makes p o s s ib le

Im provised accompaniments f o r t h e sim ple rhythm s c h ild r e n m ight d e s ir e t o use

in t h e i r d ra m a tic p la y .

M usic i s n o t a l l tu n e , b u t a p rim ary g rad e o h ild whose m u sio al d i e t con­

s i s t s o f songs he and o th e r s o f h i s k in d s in g would h av e l i t t l e re a so n to

su sp e c t t h a t th e r e i a more to music th a n a p le a s in g m elody. He would g a in a

m isco n cep tio n o f m usic i f he were le d to t h i s c o n c lu sio n . There i s a p o s s i­

b i l i t y t h a t such a co n c lu sio n c o u ld be a r r iv e d a t i f i t were n o t p o s s ib le f o r

him to h e a r m elo d ies w ith t h e i r a tte n d a n t h arm o n iz a tio n . H earin g accompani­

m ents t o h i s songs l a th e i n i t i a l s te p in p re p a rin g him f o r p a r t- s in g in g to

whioh a o t i v i t y he w i l l be in tro d u o e d l a t e r in h i s elem en tary sch o o l l i f e .

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The p h ra s e " h e a rin g th e accompaniment" means l i s t e n i n g to th e accompaniment

and not tr y i n g to drown i t by a supreme r o c a l e f f o r t ; and "accompaniment"

im p lie s a p e a c e f u l, c o -o p e ra tiv e r e l a t i o n s h i p , n o t one o f c o m p e titio n .

L is te n in g to th e sim p le aooonganim ents o f songs he knows i s a p r e p a r a tio n ,

to o , f o r l i s t e n i n g t o more co m p licated m usic p la y e d by a group o f in s tru m e n ts .

G l i t t e r i n g sweeps o f sound w ith wayward rhy th m s, p o w erfu l su rg es o f to n e

h eard in many o r c h e s t r a l s e le c tio n s can be o v er-p o w erin g i f met w ith unexpect­

e d ly , b u t can be e m o tio n a lly s a t i s f y i n g i f one h as le a rn e d t o l i s t e n to them .

H earin g s in g le accompaniments (p lay e d a r t i s t i c a l l y ! ) i s t h e f i r s t s te p in th e

p r e p a r a tio n f o r enjoym ent o f more co m p licated m usie,

" Im p ro v is a tio n " o r "im p ro v isin g " i s g iv e n d i f f e r e n t c o n n o ta tio n s by two

groups o f p e o p le a lth o u g h i t s meaning— " to compose extem poraneously"—does

n o t v a ry . To one group i t su g g e sts a h ig h ly m u sic a l and te c h n ic a l s k i l l in

extem poraneous com p o sitio n w hich fo llo w s p r e c e p ts and r u le s s e t f o r t h and

adhered to by s tu d e n ts o f com position and a r t i s t s . In th e o th e r sen se and

to a n o th e r g roup, " to compose extem poraneously" i s a more in fo rm a l, l e s s

te c h n ic a l u t i l i t a r i a n s o r t o f a c t i v i t y , judged p r im a r ily on w hether o r n o t

i t accom plish es w hat i t s e t o u t to do. Used in t h i s way, " im p ro v isa tio n "

does n o t p re c lu d e th e p o s s i b i l i t y o f a f i n e m u sic a l e f f o r t , b u t i t i s c ap a b le

o f b ein g engloyed by p e rso n s who are n o t h ig h ly s k i l l e d m u s ic ia n s , *

I t i s t h i s l a t t e r c o n n o ta tio n to w hich th e w r ite r r e f e r s in th e s t a t e ­

ment co n ce rn in g e n r ic h in g th e m usic program by means o f im provised accompani­

m ents f o r s in g le rhythm s used by C h ild ren in t h e i r d ram a tic p la y . Sometimes

t h i s accom plishm ent w i l l be no more th a n sim ple c h o rd s. For e x an g le, a group

o f second g rad e c h ild r e n was d ra m a tiz in g w in te r s p o r ts th e y e n jo y ed . T h eir

sohool was n e a r a pond t h a t was used f o r ic e - s k a tin g , s o , o f course, th e y had

* An account o f how th e w r ite r guided a group o f s tu d e n ts th ro u g h th e p ro c e s s

o f le a r n in g t o im p ro v ise i s g iv en in C o -o p e ra tiv e S u p e rv isio n i n th e
P u b lic S ch o o ls, by H y e rs, K if e r , M erry, and Foley* (1 9 3 8 ), New York:
P r e n tic e - H a ll, I n c ,
 169

an ic e - a k a tln g scene In t h e i r d ra m a tiz a tio n * A phonograph re c o rd o f a

w a ltz p ro v id ed th e m usle f o r t h i s a c t iv it y * C oasting* a n o th e r o f t h e i r

f a v o r i t e sp o rts^w as to be in c lu d e d . S e v e ra l o h ild re n worked o u t th e a c tio n s*

F i r s t , th e lo n g h a rd olimb up th e h i l l w ith an o c c a s io n a l p au se f o r b r e a th ,

th e n , th e t h r i l l i n g s w if t d escent* M usic fo r t h i s ? They searched* F in a lly ,

th e te a c h e r s a t down a t th e p ian o and p la y e d som ething com parable to t h i s :

i
Did t h i s seem to be what th e y were in need o f? I t s t a r t e d low and g r a d u a lly

became h ig h e r, s u g g e s tin g th e manner in whioh th e y had to c lim b . The heavy

chords su g g ested p u ll in g and tu g g in g sled s* At t h e to p o f th e h i l l th e r e was

tim e to g e t tu rn e d aro u n d . The b r i l l i a n t g lis s a n d o complemented t h e i r id e a

o f e x o itin g descen t* T ea , i t w ould do*

N o tic e th e ex o lu a iv e u se o f t h e to n ic chord* The whole th in g i s s im p lic ity

its e lf* I s i t "m usic”? I t i s c e r t a i n l y n o th in g to aro u se e c s ta s y , n o r would

i t e v e r ta k e any one o f th e g re a t p r i z e s in a c o n te st* B u t, i t serv ed i t s

purpose whioh was to p ro v id e m usic f o r a b i t o f rh y th m ic play* I t s a tis fie d

th e need o f th e c h ild r e n a t t h a t moment* Had th e te a c h e r been more p r o f ic i e n t

she m ight have used a more i n t e r e s t i n g ch ard p r o g r e s s io n . As f a r as th e

w r ite r i s concerned, th e t e a c h e r 's w illin g n e s s and a b i l i t y to c o n tr ib u te to

i f - ' '■

th e p ro ced u re more th a n made up f o r h e r la c k o f s u p e r la tiv e p i a n i s t i c power*

I f she had n o t been a b le to f u r n i s h t h i s m usic, j u s t w hat could th e y have used?

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Sometimes th e need f a r a more oomplex accompaniment i s ap p aren t* A

group o f f o u r th g rad e c h ild r e n s tu d y in g th e im portance o f t r a n s p o r ta tio n to

th e l i f e o f t h e i r o i t y was g r e a tly i n t e r e s te d in t h e newspaper r e p o r ts o f th e

d i f f i c u l t i e s a f e r r y b o at en o o u n tered on one o f i t s t r i p s . The group went to

th e docks and ta lk e d t o some men who knew th e s to r y . They found o u t th a t

fefter th e b o at had s t a r t e d on i t s t r i p a c ro s s th e la k e , a sudden f r e a k storm

was r e s p o n s ib le f o r c o n s id e ra b le damage and fo r d i f f i c u l t g o in g f o r p a r t o f

th e t r i p . As su d d en ly a s th e storm descended, i t moved on, le a v in g compara-

t l v e calm . The v i s i t t o th e dooks, th e in fo rm atio n th e y had g a th e re d , b o t h 1

m o tiv a te d th e c h ild re n t o d ram a tiz e th e e v e n t. In t h e i r d is c u s s io n th e y

decid ed t h a t th e voyage had th r e e d i s t i n c t p a r t s : a calm b e g in n in g , a t e r r i f y ­

in g s tr u g g le w ith th e ele m e n ts, and a r e f r e s h in g c e s s a tio n o f tu r m o il. They

s a id t h a t m usic f o r auoh a d ra m a tiz a tio n would f a l l in to t h r e e - p a r t form .

A fte r l i s t e n i n g to s e v e r a l phonograph r e c o rd s w hich p o rtra y e d calm ness, tu rm o il

and th e n calm ness on w a te r, th e group r e j e c t e d th e a v a ila b le m usic a s n o t con­

fo rm in g to i t s id e a s o f f i t n e s s and asked th e te a c h e r to "make up" some. Under

a sim ple tu n e a b a r c a r o l le aocompaniment was im provised* T h at, she was t o l d ,

would be f in e f o r t h e b e g in n in g , -and i f she could make i t l e s s calm , i t would

be s u ita b le f o r th e l a s t p a r t , to o . The m iddle p a r t s a t i s f i e d th o u when th e

m usic dashed and s la s h e d .

Were th e r e s u l t s "m usic”? P ro b ab ly an o b se rv e r trould say i t was more

/ ,

l i k e "m usio” th a n th e accompaniment in th e f i r s t exam ple. The seoond te a c h e r

had mare p i a n l s t l o a b i l i t y th a n th e f i r s t te a c h e r . The seoond group of

c h ild r e n had had more m u sio al ex p e rie n c e th a n th e f i r s t g ro u p . What a f in e

ex p e rie n c e th e y a l l had had a s th e te a c h e r made th e musio to t h e i r s p e c if i c a ­

t i o n s — " s e le c t in g ” and r e j e c t i n g p a r t s o f th e proposed accompaniment*

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Those two exanqslea o f th e u se o f im p ro v is a tio n i l l u s t r a t e what was

meant by " im p ro v isa tio n does n o t p re c lu d e th e p o s s i b i l i t y o f a f i n e

m u sic a l e f f o r t , b u t i t i s c ap a b le o f b e in g employed s a t i s f a c t o r i l y in appro­

p r i a t e s i t u a t i o n s by p e rso n s who a r e n o t h ig h ly s k i l l e d m u s ic ia n s ." The

a b i l i t y on th e p a r t o f th e te a c h e r to Im provise makes i t p o s s ib le f o r c h i l ­

d ren to have a more s a t i s f y i n g m u s ic a l acoompaniment f o r t h e i r d ram a tic play*

T ra in in g

What t r a i n i n g i s n e c e ssa ry to f i t th e elem en tary te a o h e r f o r g iv in g

g uidance to th e musio program in h e r classroom ? What e x p e rie n c e s would b e s t

p re p a re h e r f o r t h i s p a r t o f h er te a c h in g ? The w r ite r i s concerned n o t o n ly

about th e amount (number o f c o u rs e s ) b u t ab o u t t h e k in d o f t r a i n i n g . I n th e

p re c e d in g d is c u s s io n o f a t t i t u d e s and s k i l l s w hich a r e d e s ir a b le f o r th e

te a c h e r some s u g g e stio n s r e l a t i v e t o su ch t r a i n i n g were g iv e n . Some o f th e

fo llo w in g recom m endations f o r a program a d e q u a te ly to p re p a re elem en tary

te a o h e r s to te a c h m usic a re s p e c i f i c w ith su g g ested means by w hich th e y can

be accom plished; o th e r s a r e g e n e ra l w ith re a s o n s g iv en f o r t h e i r I n c lu s io n .

These recom m endations a r e n o t n e c e s s a r i ly ran k ed in o rd e r o f t h e i r im portance

w ith th e e x c e p tio n o f th e f i r s t one w hich th e w r ite r b e lie v e s should re c e iv e

u n u s u a lly c a r e f u l c o n s id e r a tio n .

Recommendations

1. A n p r o s p e c tiv e elem en tary te a c h e r s sh o u ld know, from f i r s t hand o b serv a­

t i o n and p a r t i c i p a t i o n , t h e p a r t m usic p la y s in th e elem en tary sohool

program . In t h i s way th e y would g a in a co n c e p tio n o f th e s k i l l s and

background needed in s u c c e s s f u lly c a r r y in g on th e m usic a c t i v i t i e s o f

th e classro o m . A stu d y made by t h e w r ite r in 1040-41 shows t h a t in many

 172

i n s t i t u t i o n s i t i s p o s s ib le f o r a p r o s p e c tiv e elem en tary te a e h e r t o

com plete h e r t e a c h e r - tr a in in g c o u rs e s and n ev er see a. m usic le s s o n

ta u g h t to c h i l d r e n .1 T h is i s n o t o n ly p o s s i b le , b u t, i n too many c o lle g e s

i t i s u n h a p p ily th e f a o t . I n s t i t u t i o n s t r a i n i n g " s p e o ia l" te a c h e r s and

s u p e r v is o r s o f m usic a r e l i k e l y to be th e w o rst o ffe n d e rs in d e lim itin g

th e o b s e rv a tio n and p a r t i c i p a t i o n e x p e rie n c e s o f th e p r o s p e c tiv e elem en tary

te a c h e r . S tu d en t te a c h in g f a c i l i t i e s a r e a t a premium. I t ap p ears

e s p e c i a ll y d e s ir a b l e f o r th o s e s tu d e n ts who a r e s p e c ia liz in g in m usic

(many o f whom a re p r e p a r in g to be m usic s u p e rv is o rs ) t o have an a c t u a l

a p p r e n tic e s h ip in te a c h in g m u sic, so th e v e ry lim ite d f a c i l i t i e s a v a i l ­

a b le f o r o b s e rv a tio n and s tu d e n t te a c h in g a re m onopolized by them . T h is

p r a o ti c e u n f o r tu n a te ly works h a r d s h ip s on th e p r o s p e c tiv e elem en tary

te a c h e r and adds one more h a z a rd to t h e p o s s ib le su o cess o f th e p r o s p e c tiv e

s u p e rv is o r who w i l l have to work w ith a group o f b e g in n in g te a c h e r s who

a r e i l l i t e r a t e m u s ic a lly . O b se rv a tio n o f and p a r t i c i p a t i o n in g u id in g a

m usic program by p ro s p e c tiv e ele m e n ta ry te a c h e r s i s n e c e s s a ry , th e n , f o r

th r e e re a s o n s : (1 ) i t g iv e s them an aw areness o f th e fu n c tio n o f t h e i r

c o u rse s i n c o lle g e , (2 ) i t g iv e s them an aw areness o f th e p la c e m usic

p la y s in th e elem en tary sch o o l program , (3 ) i t makes i t p o s s ib le f o r them

to a c c e p t th e h elp o f th o s e d e s ig n a te d t o work w ith them i n t h e i r a c tu a l

te a c h in g e x p e rie n c e by making them aw are o f t h e i r common p u rp o se—t o en­

r i c h th e l i v e s o f a l l th e c h ild r e n th ro u g h m usic.

1. L o u ise K, M yers, Musio E d u catio n in th e P re -S e rv ic e T r a in in g o f E lem entary

T eao h ers, T each er-E d u catio n J o u r n a l ( to be p u b lish e d in September 1 942).
 173

2. An e x te n s iv e s in g in g , rh y th m ic and c r e a tiv e e x p erien ce sh o u ld preo ed e

any fo rm al a tte m p t t o l e e r n ho* to r e a d musio* Too o f te n , musio— a

language o f f e e l in g s , and id e a s — i s ta u g h t i n a manner n o t to o f a i n t l y

re se m b lin g d r i l l i n g on a m u l tip l ic a t io n t a b l e . Too o f te n , th e c o lle g e

s tu d e n t* s I n tr o d u c tio n to m usic i s th ro u g h th e s c ie n c e o f m usic r a t h e r

th a n th ro u g h th e a e s t h e t i c s o f m usic. The i n i t i a l c o n ta c t o f c h ild re n

w ith m usic i s th ro u g h s in g in g , rhythm s and c r e a t i v e a c t i v i t i e s . F o r th e

c o lle g e s tu d e n t th e s e same a c t i v i t i e s co u ld se rv e e q u a lly w e ll a s m otiva­

t i o n and a s an in tr o d u c tio n to th e s e r io u s stu d y o f music*

3. P r e r e q u i s i t e s f o r te c h n ic a l co u rses in m usic sh o u ld be im posed. " H o s p ita l"

ooursea f o r th o s e w ith d e f ic ie n t o r a l and a u r a l power oould be ta u g h t by

advanced s tu d e n ts w ith good m u sic a l t r a i n i n g i f th e y were su p e rv is e d by

in s tru c to rs . I n some o ases such c o u rse s could be ta u g h t by m u sio a lly

cap a b le p r o s p e c tiv e elem en tary te a c h e r s . Im posing p r e - r e q u i s i t e s f o r

te c h n ic a l c o u rs e s , f o r exam ple, th e b e g in n in g co u rse s in r e a d in g m usic,

would in s u r e th a t th e tim e would be used i n le a r n in g to re a d and n o t in

r e p a i r in g th e e f f e c t s o f a te n or tw elv e y e a r s ile n c e a s f a r a s s in g in g

i s concerned. While i t i s e s s e n t i a l f o r th o s e s tu d e n ts who can s in g to

be aware o f th e f a o t t h a t some p eo p le have to have more h elp and a d i f f e r ­

e n t k in d o f h e lp in le a r n in g to s in g , i t i s n o t f a i r t o g iv e them c r e d i t
\

f o r a s o - c a lle d co u rse in s ig h t r e a d in g when p r a c t i c a l l y a l l th e y have

g ain ed in th e o la s s i s an aw areness o f some p e o p le 's d i f f i c u l t i e s in

le a r n in g to s in g . The n e x t reoommendation i s c lo s e ly r e l a t e d t o t h i s one.

4. S in ce th e m u sic a l backgrounds o f s tu d e n ts v a ry g r e a t l y a t c o lle g e e n tra n c e ,

arrangem ents sh o u ld be made to a ssu re th e a c t u a l grow th o f each s tu d e n t.

T h is n e c e s s i t a t e s m ore th a n im posing p r e - r e q u i s i t e s f o r te c h n ic a l co u rse s

 174 «

and m aking " h o s p i ta l” e o u ise a a v a i la b l e . I t n e c e s s i t a t e s d iv id in g th e

e n t i r e group o f s tu d e n ts in to s e c tio n s composed o f s tu d e n ts o f eq u al

a b ility . T h is s i l l p re c lu d e th e p o s s i b i l i t y o f th e s t a t e w inner in a

p ia n o c o n te s t and th e v i o l i n i s t in t h e l o c a l symphony a tte n d in g e l a s s

w ith s tu d e n ts who have had no m u sic al e x p e rie n c e s sin o e th e f o u r th g ra d e .

I f fo u r s e c tio n s o f t h e c la s s can n o t be made, p erh ap s th r e e can . I f not

t h r e e , two s e c tio n s a r e b e t t e r th a n one. T h is i s p u re ly a m a tte r o f

sc h e d u lin g th e s e c la s s e s when th e m aster sohedule i s made o u t. When th e

a b i l i t y o f a g iv en s tu d e n t h as been a s c e r ta in e d , she c a n be a s sig n e d to

th e s e c tio n t o whioh she b e lo n g s. T h is i s one way to a s s u re th e grow th

o f th e b e s t s tu d e n ts as w e ll a s o f th e w eak est.

5. R e g u la tio n s sh o u ld p re v e n t th e p o s s i b i l i t y o f a s tu d e n t’ s ta k in g Music I I

b e fo re he h as had M usio I . Im agine ta k in g Frenoh I I b e fo re h aving had

F rench I , j u s t because o f program making d i f f i c u l t i e s !

6. L e a rn in g to te a o h m usic should be th e r e s u l t o f o b s e rv a tio n o f m usic te a c h ­

in g and a re s p o n s ib le e f f o r t to show th e im p lic a tio n s o f p r in c i p le s le a rn e d

i n C h ild P sy chology, th e P sychology o f L ea rn in g , and th e "how to te a c h "

c o u rse s in o th e r f i e l d s . M usic i s ta u g h t in co n fo rm ity to th e same

p rin c ip le s . I t seems to be a w aste o f tim e and e f f o r t to r e q u ir e p r o s p e c ­

t i v e elem en tary te a o h e r s t o s a c r i f i c e one o f t h e i r to o few m usio c o u rse s

f o r a s o - c a lle d "methods co u rse" f o r w hich th e y a r e n o t r e a d y . The tim e

and energy could be sp en t more p r o f i t a b l y in adding to t h e i r m u sical

equipm ent.

7* C onscious e f f o r t sh o u ld be made to I n s u re th e s k i l l and to encourage th e

broadening o f th e m u sic al background o f th e s e s tu d e n ts . The fo llo w in g

w i l l se rv e a s exam ples o f p o s s ib le me^ns: (1 ) o f f e r e l a s s and in d iv id u a l

 178

le s s o n s in v o ic e , p iano and o r c h e s tr a l' in s tru m e n ts , (2 ) make g le e e ln b ,

c h o ir , band, o r c h e s tr a p a r t i c i p a t i o n p o s s ib le , (3 ) o f f e r e x t r a musio

c o u rse s to be chosen a s e le c tiv e s * Because th e o n ly c o n ta c t w ith m usic

many p ro s p e c tiv e -e le m e n ta ry te a c h e r s have i s in t h e i r two o r th r e e r e ­

q u ire d c o u rs e s , o p p o r tu n itie s f o r e n la rg in g t h e i r m u sical e x p e rie n c e s

should be a v a ila b le *

8* P ro b a b ly th e second most im p o rtan t recom mendation i s th a t each c o lle g e

make a stu d y o f th e r e s p o n s i b i l i t i e s i n te a c h in g musio t h a t g ra d u a te s

o f th e elem en tary c u rric u lu m f o r th e p a s t f i v e y e a r s have h ad . I t is

p o s s ib le t h a t th e g ra d u a te s o f a p a r t i c u l a r c o lle g e have no r e s p o n s i­

b i l i t i e s tow ards c a r r y in g on th e m usic p ro g ra n , t h a t th e m usic i s ta u g h t

d a i l y by " s p e c ia l" musio te a c h e r s . However, th e c o lle g e may f i n d t h a t

tw o - th ir d s , th r e e - f o u r t h s , o r a l l , o f i t s g ra d u a te s a r e supposed t o te a e h

a l l o r m ost o f th e musio ta u g h t in t h e i r s c h o o ls . W hatever th e fin d in g ?

o f th e stu d y th o s e f in d in g s sh o u ld have im p o rtan t b e a rin g on th e p r e -

s e r v ic e t r a i n i n g o f te a c h e r s . I n .a d d itio n to a s c e r t a in i n g th e amount o f

m usic r e c e n t g ra d u a te s a r e ex p ected to te a c h , th e c o lle g e sh o u ld f in d

o u t th e p h ilo so p h y whioh dom inates t h i s te a c h in g . The m anners, m ethods,

and m ores o f th e t r a d i t i o n a l sch o o l have l i t t l e p la c e in th e a c t i v i t i e s

program in w hich th e c h ild r a t h e r th a n th e s u b je c t i s th e im port a n t con-

*

e i d e r a ti o n . The p h ilo so p h y o f te a c h in g l i k e l y t o m o tiv a te te a c h e r s i s

t h a t w hich th e y know b e s t; in o th e r w o rd s, t h a t which th e y have e x p e ri­

enced. T h is i s d e f i n i t e l y tr u e o f in e x p e rie n c e d te a c h e r s . For t h i s

re a s o n , t h e r e sh o u ld be a o lo s e r e l a t i o n betw een th e m ethods used and

(

ta u g h t in th e te a o h e rs c o lle g e and th e m ethods used i n s c h o o ls where i t s

s tu d e n ts w i l l te a c h .
 176

9. The p h ilo so p h y o f te a c h in g advocated by th e elem en tary e d u c a tio n d e p a rt­

ment o f th e c o lle g e should be ex e m p lifie d i n a l l t h e c o u rs e s s tu d e n ts

a r e r e q u ire d to ta k e . F o r exam ple, i f th e p h ilo so p h y o f th e in te g r a te d

a c t i v i t i e s program i s reoommended a s d e s ir a b l e i n te a c h in g , th e n th e

p h ilo so p h y o f th e a c t i v i t i e s p ro gran sh o u ld perv ad e te a c h in g in th e

c o lle g e * O th erw ise, th e s tu d e n ts have h e a rd ab o u t i t , have re a d about

i t , have p erh ap s seen th e w orkings o f i t in th e d em o n stratio n s c h o o ls ,

b u t have n o t ex p erien ced i t . C o n sid er th e p r in c i p le of c l e a n li n e s s .

You may re a d about i t —what i t means and what i t s r e s u l t s a r e —you may

w atch o th e rs o b serv e th e s e p r i n c i p l e s , you may l i s t e n to "soap o p e ra s "

by th e s o o re , b u t u n t i l you s e t ab o u t ap p ly in g th o s e p r i n c i p l e s y o u r s e lf ,

yo u r i n t e r e s t in " c le a n lin e s s " i s p u re ly academ ic. U n less you beoome

in v o lv ed in c a r r y in g o u t th e p r e c e p ts o f " c le a n lin e s s ? u n le s s th o s e

p r i n c i p l e s e f f e c t changes in you, your h e a lth and your ap p earan ce, you

r e a l l y know l i t t l e about " o le a n lin e s s " . So i t i s w ith a p h ilo so p h y o f

te a c h in g . U n less you y o u r s e lf a r e aware o f th e w orkings o f t h a t p h ilo s o ­

ph y , u n le s s your l i f e h as been a f f e c te d by i t , t o you i t rem ains in th e

re a lm o f s p e c u la tio n . Nor i s th e r e an y th in g o f a r e a l l y " p e rs o n a l"

n a tu r e t h a t can c o n tr ib u te t o your s p e c u la tio n *

I f p h il o s o p h y - a s - i t- is - ta u g h t and th e w orkings o f p h ilo so p h y -

e x p e rie n o e d -b y -s tu d e n ts do n o t harm onize, c o n s id e ra b le co n fu sio n w i l l

r e s u l t in th e minds o f s tu d e n ts . C o n sid erab le s e lf - e d u c a tio n on th e

p a r t o f s tu d e n ts w i l l have to r e s u l t , to o . To te a c h th e in te g r a te d a c t i v ­

i t i e s program , th e te a o h e r m ust be aw are o f th e broad im p lic a tio n s and

in t e r - r e l a t i o n a h i p s o f a l l s u b je c t m a tte r . I f th e broad im p lic a tio n s

and i n t e r - r e l a t i o n s h i p s a r e n o t made e v id e n t t o th e c o lle g e s tu d e n t

 177

i n c o u rs e s , sh e w i l l be fo rc e d to ju g g le th e m in u tla o f a dozen d i f f e r e n t

s u b je c t- m a tte r c o u rs e s , s e le c tin g t h i s and d is c a rd in g th a t in an a tte m p t

t o a r r i v e f i n a l l y ’ a t form ulae o f o ausea and t h e i r r e s u l t s . T h is i s a

trem endous t a s k to impose upon young p e o p le . The w r ite r b e lie v e s t h a t

t h i s e x tre m ely im p o rta n t m a tte r o f a r t i o u l a t i o n and in t e g r a ti o n o f mean­

in g s should n o t be dumped in t o th e la p s o f th e s tu d e n t s . T his p ro c e ss

should be d ir e c te d by th e m atu re and ex p e rie n c e d . The s tu d e n ts have a

r i g h t t o ex p eat guidanoe in d is c o v e rin g th e b ro ad im p lic a tio n s and i n t e r ­

r e l a t i o n s h i p s o f le a r n in g s . I t i s one o f th e im p o rta n t outcom es o f a

c o lle g e e d u c a tio n and sh o u ld n o t be shoved away n o n c h a la n tly a s th e s o le

r e s p o n s i b i l i t y o f th e s tu d e n t. A c tu a lly , i t i s one o f th e m ajor r e s p o n s i­

b i l i t i e s o f th e f a c u l ty .

Summary

The recom m endations l i s t e d above a r e o f f e r e d in o rd e r to b rin g about

some refo rm s in th e t r a i n i n g o f elem en tary te a c h e r s to te a c h m u sic. The

recom m endations a r e a p le a f o r a c e r t a i n ty p e o f t r a i n i n g t h a t b e a rs a

c lo s e r r e l a t i o n s h i p t o th e a c tu a l m usic program in th e classroom s o f t h e

s c h o o ls a tte n d e d by A ll th e e h ild r e n ; a p le a f o r m u sio a l e x p e rie n c e s t h a t

s h a l l b rin g about an aw areness o f th e a e s t h e t i c s o f th e a r t ; and a p le a t o

make p o s s ib le ’M usic f o r E very C h ild , E very C hild f o r M usio” . The w r ite r

i s c e r t a i n t h a t e h ild re n w i l l be f o r m usic when th e y have had I n t e r e s t i n g

and s a t i s f y i n g e x p e rie n c e s i n music* And n o t b e f o r e .

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