A manual for singing schools in the South

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A MANUAL FOR SINGING SCHOOIS IN THE SOUTH s '

A T h e s is P re s e n te d to th e F a c u lty o f th e S c h o o l o f E d u c a tio n U n iv e r s ity o f S o u th e rn C a l i f o r n i a

In P a r t i a l F u lfillm e n t o f t h e R e q u i r e m e n t s f o r t h e D e g re e M a s te r o f S c ie n c e i n E d u c a tio n

by L a w re n c e L e r o y P e t e r s o n JU he 1 9 4 3

UMI Number: EP55433

All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion.

UMI Disseft&feft Pi-bl.shifig

UMI EP55433 Published by ProQuest LLC (2014). Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code

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This thesis, written under the direction of the Chairman of the candidate*s Guidance Com­ m ittee and approved by all members of the Committee, has been presented to and accepted by the Faculty of the School of Education in partial fulfillment of the requirements for the degree of M aster of Science in Education.

.H i5.

Date

Guidance Committee C . C. Crawford Chairman Louis P. Thorpe

M. M. Thompson

TABLE OF CONTENTS CHAPTER

PAGE

I . THE PROBLEM AND D EFIN ITIO N S OF TERMS U S E D ........................... 1 T h e p r o b l e m ............................................................................ . * *

. 1

I m p o r t a n c e o f t h e s t u d y ...............................................................3 V a l i d a t i o n o f t h e im p o rta n c e o f t h e p ro b le m

.

.

4

S c o p e o f t h e s t u d y .............................................................................. 5 B rie f h is to r ie s

and d e f i n i t i o n s o f te rm s u se d .

T h e s i n g i n g s c h o o l .....................

. .

.5

....................................... 6

S i n g i n g s c h o o l t e a c h e r .................................................. . A " s in g in g *

.

.

. 7

......................................................... . . . . . .

S in g in g c o n v e n tio n s ands o c i e t i e s

9

..................................

9

t

The s o u th ,

..............................................

'S h a p e d o & o te s ., F a s c ia .

. . . . . . . . .

10

................................................................10 .................................................................................1 1

S a c r e d H a r p ...........................................................................................11 Game s o n g s ................................................................................................12 METHODS OF PROCEDURE.

............................................................13

P r o c e d u r e s u s e d i n c o l l e c t i n g m e th o d s a n d song m a te r ia ls o f th e s in g in g s c h o o l. P ro c e d u re s u sed in

. . . . .

13

c o l l e c t i n g d a ta on th e

s i n g i n g s c h o o l .................................................................................. 15 .

II.

M e th o d o f c o l l e c t i n g d a t a f r o m s i n g i n g s c h o o l l e a d e r s a n d m e m b e r s ..

•

.....................................

16

iii

CHAPTER

PAGE

M e th o d o f p r o c e d u r e u s e d i n c o l l e c t i n g d a t a th ro u g h o b s e rv a tio n in th e s in g in g s c h o o l

. • . 21

P ro c e d u re s u se d i n c o l l e c t i n g d a ta on a c c e p te d m e th o d s o f m u s ic t e a c h i n g i n t h e p u b l i c s c h o o l s 22 III.

.........................................

YOICE PRODUCTION. How t o

25

im p ro v e t h e v o i c e t h r o u g h s t u d y i n g t h e

s in g in g o f o th e rs

. ■ . . . . ' ............................................25

How t o

u s e t h e t h r o a t i n s i n g i n g .....................................25

How t o

u se your b re a th

How t o

r e a c h t h e h i g h n o t e s .....................

in s in g in g

.

.

.

..

. . .

26 28

How t o p l a c e a t o n e b y t h e m e th o d o f c o r r e c t t h o u g h t .................................................................................

29

How t o

b e r e l a x e d w h i l e s i n g i n g .................................... 3 0

How t o

p ro n o u n c e and e n u n c ia te

How t o

p r o d u c e t h e hum m ing s o u n d ...................... .......

How t o

i n c r e a s e t h e r e s o n a n c e o f t h e " m ic e .

H o w .to

d e v e lo p and c o n t r o l v i b r a t o

How t o

e s t a b l i s h m o ods.

How t o

p o r t r a y e m o tio n w ith t h e v o ic e

How t o

in c r e a s e th e b e a u ty o f e x p re s s io n th ro u g h

good How t o

p h ra s in g

• .

• •

in s in g in g .

.

.

. 30 31

. . .

in th e v o ic e

.

32 32

. . . . . . . . . . * . . 3 3 .

..

.

.

.............................

. 33

34

p r a c t i c e b y y o u r s e l f .......................................... . 3 4

How t o u s e t h e p a r t s o f t h e b o d y w h ic h c o n t r i b u t e d ire c tly

to

s i n g i n g ...................................................

35

CHAPTER

PAGE

How t o k e e p t h e v o i c e S e le c te d r e f e r e n c e s

in good c o n d i t i o n

.

•

.

.

. 355

. . .

1 7 . HOW TO KEEP THE SINGING GATHERING INTERESTING . How t o h e a n i n s p i r i n g l e a d e r .

37 . 38

..................................38

How t o w in t h e c o n f i d e n c e o f y o u r s i n g e r s

. .

. 39

How t o b e t a c t f u l ......................................................................39 How t o

d e v e lo p an u n d e r s ta n d in g o f t h e p e o p le

you a re t r y in g to te a c h

.

............................................. . 4 0

How t o u s e g r o u p p l a n n i n g ........................................ How t o u s e s t u d e n t h e l p

41

in s in g in g and

d i r e c t i n g ....................

41

How t o e m p lo y home p r a c t i c e

. . • • • . • • • .

How t o s e l e c t s o n g s a n d a r r a n g e t h e i r o r d e r

42

• . 42

How t o k e e p a l e s s o n m o v i n g ............................................ 4 2 How t o p r o v i d e a s t i m u l u s f o r w o rk .............................4 3 How t o m ake u s e o f s p e c i a l t a l e n t .........................

. 43

How t o d e v e l o p a n i n t e r e s t i n m u s ic p a rtic ip a tio n

.............................................................................

44

How t o h a v e ham w i t h h a rm o n y ............................................ 4 4 S e le c te d r e fe r e n c e s

. . . . .

.......................................... 4 6

V . HOW TO PREPARE FOR PUBLIC PERFORMANCES....................... 4 8 How t o s i n g w i t h p o i s e a n d p e r s o n a l i t y ...................4 8 How t o h a v e p o i s e w i t h o u t p r e t e n s e .............................4 8 How t o d e v e l o p a s o n g r e p e r t o i r e ................................... . 4 9

V

CHAPTER

PAGE

How t o

s e l e c t m u s ic f o r p u b l i c p e r f o r m a n c e .

. . .

50

How t o

c h o o s e e n c o r e s ......................................... ..... . . . .

51

How t o m ake s t a g e e n t r a n c e s a n d e x i t s ..............................51 How t o a r r a n g e p r o g r a m n u m b e r s .................................................. 52 How t o m ak e c u r t a i n c a l l s ;

how t o b o w .......................... 5 2

How t o m a n a g e s t a g e p r o p e r t i e s a n d e f f e c t s . How t o d e c o r a t e f o r c o n c e r t s a n d r e c i t a l s How t o p l a n a m u s ic p r o g r a m

•

. . .

55

. . . .

54

..............................

54

How t o m ake a p r i n t e d p r o g r a m .................................................. 54 How t o d r e s s f o r c o n c e r t s a n d r e c i t a l s ..............................55 S e le c te d r e f e r e n c e s V I.

...............................................................

HOW TO READTHEPRINTED PAGE. How t o h o l d a n o t e f o r

56

..........................57

t h e c o r r e c t l e n g t h o f t im e 57

How t o r e a d t h e d o t t e d n o t e s ......................................... ..... . 57 How t o r e a d t h e r h y t h m . How t o s ta ff

. . . . . . . . . . . . .

58

in d ic a t e p i t c h th ro u g h th e u se o f th e ..................................................................................................... 59

How t o e s t a b l i s h t h e k e y . ............................................................ 59 How t o u s e t h e

c l e f s i g n s ...................................

How t o u s e t h e r e s t s i g n s ......................... How t o r e a d t h e r e p e a t s i g n s .

60 60

...................................61 ■v

How t o d e c i d e o n t h e te m p o o f a p i e c e ..............................61 How t o w r i t e m u s i c a l s y m b o l s ....................................................... 62 How t o

i n t e r p r e t t h e m u s ic a s i n d i c a t e d b y s i g n s .

How t o

s in g and p la y th e

62

common s c a l e s ..............................62

vi CHAPTER

:PAGE .........................63

How t o s i n g w i t h s y l l a b l e s .

How t o d e v e l o p m u s ic r e a d i n g w i t h o u t t h e u s e o f s y l l a b l e s . ................................................... How t o c h o o s e s i g h t r e a d i n g m a t e r i a l s

64 . . . .

64

How t o d e v e l o p q u i c k p e r c e p t i o n o f m u s i c a l i n t e r v a l s ........................................

64

How t o d e c i d e o n t h e t i m e t o b e s p e n t on m u s ic t h e o r y ............................................................................ . 6 5 S e le c te d r e f e r e n c e s

............................................................. . 6 7

V IZ . PROCEDURES FOR THE SINGING SCHOOL CLASS . How t o t e a c h a r o t e s o n g .

•

.

.

. 68

................................... . 6 8

How t o p r e s e r v e s p o n t a n e i t y a n d j o y i n r o t e s i n g i n g ........................................................................................... 68 How t o

t e a c h a u n i s o n s o n g ................................................. 69

How t o

t e a c h a p a r t s o n g ...................................................... 70

How t o

know w hen t o s t o p w o r k i n g o n a s o n g

or a

p ro b le m .

.

.

* ...........................................................70

How t o

i n t r o d u c e a new s o n g ................. . . . 7 1

How t o

s i n g i n t u n e ................................................................ 72

How t o

d e v e lo p a p e r s o n ’ s a b i l i t y t o k eep

t i m e ......................................................................................

73

How t o

d e v e l o p a p e r s o n ’ s r h y th m a b i l i t y . • • 73

How t o

g iv e in d iv id u a l h e lp

How t o

m a n a g e t h e c h a n g i n g v o i c e s ............................ 75

.

.

.............................74

vii CHAPTER

PACE

How t o

u se y o u r v o ic e

How t o

v o c a l i z e a g r o u p .................................................... 76

How t o

t e a c h s i g h t r e a d i n g .......................................

How t o

m ake p r a c t i c e

fa s c in a tin g

in te a c h in g c h ild r e n . .

. 75

76

in in to n a tio n a

a c t i v i t y ..................................................................77

How t o

m a tc h t o n e s . .............................................................. 76

How t o

e n h a n c e t h e v o c a l e f f e c t s . ................... . 7 8

How t o

h a n d l e t h e a d u l t s i n g e r ..................................... 79

How t o

d e v e lo p s t r o n g s e c t i o n s an d b a la n c e

p a rts

•

...................................

How t o s e l e c t m u s ic f o r t h e c la s s

•

79 s in g in g sc h o o l

...........................................................................................8 0

How t o

t e a c h a n d im p ro v e a p o p u l a r s o n g • . .. 8 0

How t o

m ake t h e u s e o f p o p u l a r s o n g s w o r t h ­

w h ile

..................................................................................................... 8 1

How t o

s i n g f r o m a s e a t e d p o s i t i o n .....................

How t o

h o l d t h e m u s ic

How t o

d e c i d e on p r o p e r s e a t i n g

How t o

a rra n g e c h a ir s f o r s in g in g g ro u p s.

How t o

p l a c e t h e p i a n o f o r r e h e a r s a l s ............. 8 4

How t o

b r e a k i n new s o l o i s t s .............................

How t o

h a n d l e p e o p l e who l a c k t a l e n t b u t w a n t

• 82

..................................

82 .................... . . .

83

84

t o s i n g ................................................................................................85 S e l e c t e d r e f e r e n c e s ..............................

.8 6

viii

CHAPTER

PAGE

V I I I . HOW TO BUY AND CARE EOR MUSICAL SU PPLIES. How t o b u y o r r e n t a p i a n o . How t o

c a re

•

. . .

88

...................................8 8

f o r a p i a n o ....................................................... 8 8

How t o b u y a n d c a r e f o r a r a d i o , a c o m b in a tio n r a d i o

a p h o n o g ra p h

a n d p h o n o g r a p h ........................ 89

How t o b u y a n d c a r e f o r p h o n o g r a p h r e c o r d i n g s 90 How t o o r d e r f r o m t h e p u b l i s h e r s .

.........................9 1

How t o t a k e c a r e o f m u s i c .................................................. 91 How t o b u y c h a i r s f o r s i n g i n g g r o u p s .

. . . .

How t o m ake o r b u y a d i r e c t o r f s m u s ic s t a n d S e le c te d r e f e r e n c e s

............................................. 95

S u m m a r y .............................................. • .

.

.

• 92

............................................... . . . 9 4

I X . SUMMARY AND CONCLUSIONS

C o n c lu s io n s

92

95

............................................................ 99

CHAPTER

I

THE PROBLEM AND DEFINITIONS OF TERMS USED F o r m any y e a r s t h e s i n g i n g s c h o o l h a s f l o u r i s h e d

in th e

s o u t h d e s p i t e t h e a l m o s t c o m p l e t e d i s r e g a r d f o r i t b y m u s ic l e a d e r s and e d u c a to rs *

T he s i n g i n g s c h o o l m e m b e rs , a l t h o u g h

la c k in g in m u s ic a l t r a i n i n g , c u l t u r a l b a ck g ro u n d , p h y s ic a l e q u ip m e n t, t h e a s s i s t a n c e o f good c o m p o s e rs , an d t h e n e c e s s a r y t r a i n e d l e a d e r s h ip , h av e c o n tin u e d t o g e t to g e th e r f o r f e r v e n t th o u g h c ru d e " s i n g i n g s * ”

The " s i n g i n g s " h a v e h e lp e d t o p r o ­

d u c e o n t h e o n e h a n d c o o p e r a t i o n , c o m m u n ity s p i r i t ,

and good

f e llo w s h ip , and on t h e o th e r h a n d , b e c a u se o f ig n o ra n c e on th e p a r t o f th e le a d e r s ,

an u n p le a s a n t ty p e o f s in g in g c h a r a c te r ­

iz e d by a h a rs h and u n d e s ir a b le to n e q u a l i t y . To m ake a n a t t e m p t t o w a r d h e l p i n g t h e l e a d e r s o f t h e s in g in g sc h o o l to q u a lity o f th e ir

im p r o v e t h e i r m e th o d s o f t e a c h i n g a n d t h e s o n g p r o d u c t i o n s se e m e d w o r t h w h i l e , a n d i t

t h u s b e c a m e t h e a im o f t h e t h e s i s t o c o l l e c t a n d c l a s s i f y p r o b ­ le m s a n d d i f f i c u l t i e s

e x is tin g

in th e s in g in g sc h o o l and to

reco m m en d a c t i v i t i e s w h ic h m i g h t a i d i n t h e s o l u t i o n o f t h e s e d iffic u ltie s

and t o

p u t th e r e s u l t s

i n t o t h e fo rm o f a n o u t l i n e

o f a m anual f o r u se by s in g in g s c h o o l le a d e r s . I.

THE PROBi m

In a c c o rd a n c e w ith th e

aim o f h e l p i n g t o

Im p ro v e t h e

a

q u a li t y o f th e s in g in g s c h o o ls , o f th e th e s is to

i t w as t h e t h r e e f o l d p u r p o s e

f u r n is h th e te a c h e rs o f th e s o u th e rn s in g ­

in g s c h o o ls , a s w e ll a s th e so n g le a d e r s o f th e s a c r e d h a rp s in g e rs in th e

s o u th , w ith

( 1 ) a m e th o d o f t e a c h i n g a n d d i r e c t ­

i n g w h ic h c a n b e s t u d i e d a n d u n d e r s t o o d b y p e r s o n s h a v i n g little

m u s ic a l t r a i n i n g ,

(S ) a s o u r c e o f i n f o r m a t i o n o n t h o s e

g e n e r a l m u s ic p r o b l e m s w h ic h h a v e b e e n f o u n d t o b e d e s i r e d b y s i n g i n g s c h o o l l e a d e r s w o r k i n g i n t h e SD Uth a t t h e p r e s e n t tim e , and

(3 ) a m e th o d o f p r o c e d u r e t h a t w o u ld s a t i s f y

th e

u n i q u e d e m a n d s o f t h e s i n g i n g s c h o o l a n d a t t h e sam e t i m e c o r r e l a t e w i t h t h e w o rk t h a t i s b e i n g a t t e m p t e d v i n t h e s u r ­ ro u n d in g p u b lic ;

s c h o o ls *

S i n c e t h e l e a d e r s o f t h e s i n g i n g s c h o o l s , w i t h fe w

e x c e p tio n s , h av e had o n ly " s in g in g s c h o o l" t r a i n i n g

in m u s ic ,

t h e m a t e r i a l o n t h e m e th o d s o f t e a c h i n g a n d d i r e c t i n g t o th e m , t o

o ffe re d

s e r v e a f u n c t i o n a l p u r p o s e , w o u ld n e c e s s a r i l y h a v e

to be w r itte n

i n a s i m p l e a n d c o n c i s e s t y l e w i t h a s fe w t e c h ­

n i c a l m u s ic t e r m s a s p o s s i b l e *

The n e e d f o r t e a c h i n g m e th o d s ,

a l t h o u g h r e c o g n i s e d a t o n c e , b e c a m e m o re o b v i o u s a s s i n g i n g s c h o o l l e s s o n p r o c e d u r e s w e re o b se rv e d * F u rth e r,

i t seem ed a d v i s a b l e t o

i n f o r m a t i o n o n g e n e r a l m u s ic p r o b l e m s . reaso n s fo r th is

in c lu s io n .

in c lu d e in th e m anual T h e r e w e re tw o m a in

T h e m a t e r i a l t o w h ic h a l e a d e r

w o u ld w a n t im m e d ia te a n d f r e q u e n t a c c e s s w o u ld n o t b e e a s i l y a v a ila b le

in th e s u rro u n d in g s c h o o l o r p u b lic l i b r a r i e s ,

and

3

s u c h m u s ic b o o k s a s w o u ld b e a v a i l a b l e w o u ld p o s s i b l y c o n t a i n m uch i r r e l e v a n t m a t e r i a l a n d w o u ld b e w r i t t e n

in a s t y l e n o t

p r a c t i c a l fro m th e s t a n d p o i n t o f t h e s i n g i n g s c h o o l l e a d e r s , F i n a l l y , a c o r r e l a t i o n b e tw e e n t h e w o rk o f t h e s i n g i n g s c h o o l a n d t h e w o rk t h a t i s b e i n g d o n e i n t h e s u r r o u n d i n g p u b ­ lic

s c h o o l s w as a tte m p te d i n t h e m a n u a l.

as i t to

T he s i n g i n g s c h o o l

i s now o r g a n i z e d t e a c h e s t h e p u p i l s t o d o tw o t h i n g s :

s i n g t h e n o t e s a n d t o b e a t o u t t h e t i m e , w h e r e a s , m any

o t h e r p h a s e s o f m u s ic c o u l d b e t a u g h t .

The f a c t t h a t th e

s i n g i n g s c h o o l s do n o t h a v e h i g h l y t r a i n e d p h y s i c a l e q u ip m e n t m a k e s i t n e w e r t e a c h i n g m e th o d s t o

te a c h e r s n o r a d e q u a te

d i f f i c u l t t o a p p l y m any o f t h e

th e s in g in g s c h o o l, b u t,

in t h is

t h e s i s , m e th o d s a n d a c t i v i t i e s now u s e d i n t h e p u b l i c s c h o o l s w e re a p p l i e d t o t h e s i n g i n g s c h o o l w h e n e v e r p o s s i b l e . Im p o rta n c e o f th e s t u d y . " s in g in g *

One n e e d o n l y t o

in o rd e r to u n d e rs ta n d th e

a tte n d a

i m p o r t a n c e o f m a k in g

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i n 1 9 0 2 a n d w h ic h e n j o y e d

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58. Q. A. 59.

q. A.

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T re b le .

66* q.

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67.

q. Who s h o u l d s i n g a l t o ? A . L a d i e s i n t h e lo w o r g r a v e v o i c e , o r b o y s .

68. q.

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84. q.

W hat e f f e c t h a s a s h a r p s e t i m m e d i a t e l y b e f o r e a n o te ? A. I t c a u s e s th e n o te to be su n g o r p la y e d h a l f a to n e h ig h e r.

85.

q. A.

86. q. A.

W hat a r e t h e s e c h a r a c t e r s s o p l a c e d c a l l e d ? T hey a r e c a l l e d a c c i d e n t a l s . Why a r e t h e y c a l l e d a c c i d e n t a l s ? F o r t h e l a c k o f a b e t t e r nam e?

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a r e a l l p r i n t e d w i t h s h a p e d n o t e s , som e u s i n g

fo u r sh ap e n o ta tio n , o th e r s u s in g sev en sh ap e n o ta tio n s . *

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in t h a t th e te a c h e r o rg a n iz e d

h i s own c l a s s e s , g e n e r a l l y h e l d a t n i g h t , a n d c o l l e c t e d h i s own s m a l l f e e s .

S in g in g s c h o o l t e a c h i n g w as a n a v o c a tio n r a t h e r a th a n a p ro f e s s io n . L a t e r , m o re t a l e n t e d s i n g i n g s c h o o l m a s t e r s w r o t e t h e i r own c o l l e c t i o n s o f t u n e s , f i r s t fa m o u s o f w h ic h a r e A n a n i a s D a v i s s o n ’ s K e n tu c k y H arm ony a n d A l l e n D . C a r d e n ’ s M i s s o u r i H a rm o n y . A f te r 1820 th e s in g in g s c h o o l m a s te r fo u n d h im s e lf p u s h e d s o u t h w a r d b y m o d e rn u r b a n m u s i c a l t e n d e n c i e s i n t o

th e

r u r a l u p l a n d o f t h e s o u t h , w h e re c o n d i t i o n s w e r e m o re f a v o r ­ a b l e t o h i s p r o f e s s i o n , a n d t h a t i s t h e r e g i o n w h e re h e h a s 7 flo u ris h e d to t h i s day . T he m o d e rn s o u t h e r n s i n g i n g s c h o o l t e a c h e r m u s t b e

^ W i l l i a m A rm s F i s c h e r , H o te s o n M u s ic i n O ld B o s to n (B o s to n : O liv e r B its o n C o ., 1 9 1 8 )• p . 7. ^ G e o rg e P u l l e n J a c k s o n , W h ite S p i r i t u a l s i n t h e S o u t h e r n U p la n d s (C h a p e l H i l l : U n i v e r s i ty o f N o rth C a r o lin e P r e s s , 1933}. p p . 6 ,7 . ^ E d w a rd B a i l e y B i r g e , H i s t o r y o f P u b l i c S c h o o l M u s i c . 7 J a c k s o n , op* c i t . » p p . 1 6 - 2 0 .

lic e n s e d to te a c h by b o a rd s s e t up th ro u g h w e ll- e s ta b lis h e d s i n g i n g s o c i e t i e s an d c o n v e n tio n s *

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a n d s o c i e i t e s h a v e g ro w n u p o u t o f s u c c e s s f u l s i n g i n g s c h o o l s . A g ro u p , f in d in g re g u la rly fo r

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10

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s y s te m u s e d b y t h e S a c r e d H a rp s i n g e r s o f t h e s o u t h t o r e a d m u s ic to d a y *

The s in g in g s c h o o ls b e g a n w ith t h e

" fa s o la " n o te s ,

a n d g r o u p s i n g i n g , a c c e l e r a t e d b y tw o t u n e b o o k s p u b l i s h e d i n B o s to n i n 1 9 2 1 , s p r e a d i n t o t h e S h e n a n d o a h T a l l e y , t h e n i n t o 11 M i s s o u r , K e n t u c k y , T e n n e s s e e , a n d t h e d e e p s o u th * S a c re d H a rp *

A l t h o u g h b y 1 8 5 0 A i k i n 9s

(an d o t h e r s )

s e v e n -s h a p e d n o te s had g a in e d p o p u l a r i t y w ith th e s o u th e r n h a rm o n y s i n g e r s a n d t h e e a r l y in danger o f lo s in g o u t,

12

11 I b i d . . p p . 5 4 3 - 5 4 6 . l g I b l d . . p p . 3 1 9 -3 2 0 .

" f a s o l a " f o u r - s h a p e d n o t a t i o n w as

a few o f t h e o ld s i n g e r s , f e e l i n g

12

t h a t t h e i r b e l o v e d f o u r - n o t e sc h e m e h a d h a d t h e s a n c t i o n o f th e m u s ic a l w o rld f o r o v e r f o u r h u n d re d y e a r s , r e f u s e d t o T h ese w e re th e

"S a c re d H a rp e rs " c a lle d

change.

s o a f t e r t h e nam e o f

t h e i r m o s t w i d e l y u s e d s o n g h o o k , t h e S a c r e d H a rp

(in v a rio u s

v e rs io n s ). G e o r g i a , A la b a m a , a n d T e x a s t o d a y h a v e w i d e s p r e a d S a c r e d H a rp c o n v e n tio n s , a lth o u g h t h e s e v e n s h a p e n o t a t i o n

i s m o re

p o p u la r w ith th e m a jo r ity o f s o u th e rn s in g e r s th a n th e fo u r shape n o ta tio n .

B o th a r e u s e d .

Game s o n g s . a re s t i l l

A l a r g e p o r t i o n o f t h e game s o n g s t h a t

a p a r t o f s o u t h e r n c u l t u r e h a v e b e e n h a n d e d down

fro m one g e n e r a t i o n t o

a n o th e r.

The p r e s e n t g e n e r a t i o n d o e s

n o t u s e t h e gam e s o n g e x t e n s i v e l y .

T h ere a r e s e v e r a l ty p e s :

i n o n e t y p e t h e gam e a p p r o a c h e s m o re n e a r l y t h e r e c i t i n g a rh y m e o r j i n g l e , th e p la y e r s . c h a n t,

d u r i n g w h ic h t h e w o r d s a r e a c t e d o u t b y

T h i s t y p e a p p r o a c h e s n o n e a r e r t o m u s ic t h a n a

i s p la y e d r a t h e r r o u g h ly , and a s i t

in te re s t,

of

i s d e v o id o f s e x

does n o t a p p e a l s tr o n g ly to o ld e r c h ild r e n .

a n o t h e r t y p e o f gam e s o n g t h e r e

is v e ry l i t t l e

In

ro u g h n e s s , and

t h e a c t i o n s w h ic h a c c o m p a n y t h e s o n g s s i m u l a r e w o o in g , m a t i n g , and th e l i k e .

T he t h i r d

an d m o st p o p u la r ty p e a r e t h o s e gam es

p la y e d a t th e p la y p a r t i e s

o r s q u a re d a n c e s, and th e y a re

th o ro u g h ly f o lk s y and t r a d i t i o n a l . X o u ," "U n d e r t h e

T hey in c lu d e

J h n ip e r T r e e ," and o t h e r s .

" S k i p t o My

13

^ G e o r g e P u l l e n l a e k s o n , W h ite S p i r i t u a l s i n t h e S o u t h e r n U p la n d s . (C h a p e l H i l l : U n i v e r i s ty o f N o rth C a r o lin a P r e s s . 1 ^ 3 3 ( t p p T § 4 3 -5 4 6 .

CHAPTER

II

METHODS OF PROCEDURE l a c o l l e c t i n g d a te f o r th e c o m p ila tio n o f a m anual f o r s in g in g sc h o o l l e a d e r s , th e one f e a t u r e to s ta n d o u t above o t h e r s w a s t h e m a n n e r o f p e r s o n a l c o n t a c t w i t h t h e g r e a t num­ b e r s o f r u r a l f o l k who c o m p o se t h e s i n g i n g s c h o o l . th is

A t a l l tim e s

c o n t a c t w as i n f o r m a l a n d f r i e n d l y , a n d t h e l e a d e r s a n d

m em b ers w e r e h o s p i t a b l e .

I t w as o f t e n n e c e s s a r y t o

e a t w ith

th e m , s i t o n t h e i r p o r c h e s , a n d c h a t w i t h th em o n s u n d r y t o p i c s b e f o r e an y s e r i o u s q u e s t io n i n g a b o u t s i n g i n g s c h o o ls c o u ld b e g in .

I t c a n b e s e e n t h a t t h e e le m e n t o f tim e p la y e d a l a r g e

p a r t in th e c o lle c tio n

o f d a t a f r o m ; m e m b e rs , m any o f whom w e r e

e l d e r l y an d g a r r u l o u s an d c o u ld n o t b e h u r r i e d .

F u rth e r, th e

o b s e r v a tio n o f s i n g in g s c h o o l le s s o n s w as i n t i m a t e , an d o u t­ s i d e r s w e r e s e ld o m p r e s e n t . L e s s i n t e r e s t i n g w a s t h e m e th o d o f c o l l e c t i n g d a t a o n p u b l i s h e d m a t e r i a l s a b o u t t h e s i n g i n g s c h o o l a n d o n s o n g m a t­ e r ia ls used .

T h i s '.w a s r o u t i n e p r o c e d u r e a c c o m p l i s h e d m a i n l y

th ro u g h th e s e n d in g o f r e q u e s t l e t t e r s

to

p u b lis h e r s and by

lib ra ry re se a rc h . P r o c e d u r e s u s e d i n c o l l e c t i n g m e th o d s a n d s o n g m a t e r i a l s o f th e s in g in g s c h o o l.

I n r e g a r d t o m e th o d s o f t e a c h i n g

in

t h e o l d o r p r e s e n t - d a y s i n g i n g s c h o o l , fe w r e c o r d e d f a c t s c o u l d

14 be o b ta in e d . a re on s a le

Borne s i n g i n g s c h o o l i n s t r u c t i o n b o o k s now i n u s e i n s o u t h e r n m u s ic s t o r e s a n d m any o f t h e s e w e r e

o b ta in e d th ro u g h r e q u e s t by l e t t e r L e t t e r s w e re s e n t t o

a m a jo r ity o f th e p u b lis h e r s in th e s o u th

a n d t o m ak e c e r t a i n t h a t t h e t h e c o m p le te l i s t

to th e v a rio u s p u b lis h e r s .

i m p o r t a n t o n e s w e re c o n t a c t e d ,

o f p u b lis h e rs

in th e l ib r a r y

T e a c h e r s C o l l e g e , T r o y , A la b a m a , w a s c o n s u l t e d .

o f th e S ta te L e tte rs

r e q u e s t i n g s in g in g s c h o o l i n s t r u c t i o n b o o k s and so n g b o o k s w e re s e n t to

fifte e n

s e n d in g d a ta

s o u t h e r n p u b l i s h e r s , a l l o f whom r e p l i e d b y

in t h e i r p o s s e s s io n ,

©f th e f i f t e e n p u b lis h e r s ,

s e v e n h a d s i n g i n g s c h o o l s o n g a n d m e th o d b o o k s a n d s e n t th e m on a p p r o v a l.

E i g h t d i d n o t h a v e m a t e r i a l o f t h e i r own b u t

s u g g e s te d o th e r p o s s ib le

so u rc e s.

T h e se s o u r c e s w e re i n v e s t i ­

g a te d a s s u g g e s te d , b u t y ie ld e d l i t t l e

o f f u r t h e r im p o rta n c e .

The b o o k s o b v io u s ly m o st p o p u la r w ith t h e s in g in g s c h o o l, l e a d e r s w e re p u r c h a s e d i n o r d e r t h a t th e y m ig h t b e a v a i l a b l e e r e n c e w h i l e new m e th o d s o f i n s t r u c t i o n b e in g c o m p ile d .

fo r r e f ­

and p r o c e d u r e w e re

T h e s e b o o k s w e re l a c k i n g i n v a r i e t y , b u t n o t e s

w e re ta k e n on t h e so n g s an d m a t e r i a l s c o n ta in e d in e a c h one a s re g a rd s ty p e , v a r i e ty , d i f f i c u l t y , c a tio n , ra n g e , and p a r t so n g s. as su ch .

a p p e a l, v i r i l i t y ,

c la s s ifi­

T h e r e w e r e n o m e th o d b o o k s ,

The f i r s t s e v e r a l p a g e s o f e a c h so n g b o o k , h o w e v e r,

c o n t a i n e d sem e i n s t r u c t i o n s f o r r e a d i n g m u s i c . I t w as f o u n d t h a t m o s t o f t h e d em an d f o r s i n g i n g s c h o o l song b o o k s and s a c re d h a rp song books i s

s u p p lie d a t th e p r e s e n t

15

t i m e b y f i v e l e a d i n g p u b l i s h e r s , n a m e ly s G a in u s B r o s . , A t t a l l a , A la b a m a . S p e a r a n d B r o c k , A t h e n s , A la b a m a . S t a m p s - B a x t e r M u s ic C om pany, C h a t t a n o o g a , T e n n e s s e e . S t a n l e y - G a r d n e r C om pany, S a l t i l l o , M i s s i s s i p p i * M o r r i s a n d H e n s o n , A t l a n t a , G e o r g ia * P ro c e d u re u se d in c o ll e c t in g d a ta on th e s in g in g s c h o o l* In o rd e r to u n d e rs ta n d th e s in g in g s c h o o l a s i t

is

to d a y , l i ­

b r a r y r e s e a r c h o n t h e o r i g i n a n d d e v e lo p m e n t o f t h e s i n g i n g s c h o o l w as r e s o r t e d t o . u tiliz e d .

B o th s c h o o l a n d p u b l i c l i b r a r i e s w e r e

T he s c h o o l l i b r a r i e s

in c lu d e d i n t h e r e s e a r c h w e re

th o s e o f t h e U n i v e r s i t y o f S o u th C a r o li n a , t h e U n i v e r s i t y o f N o r t h C a r o l i n e , B irm in g h a m S o u t h e r n C o l l e g e , T r o y S t a t e T e a c h ­ e r s C o lle g e U n iv e rs ity

( A la b a m a ) , t h e U n i v e r s i t y o f A la b a m a , a n d A u b u rn ( A la b a m a ) .

L os A n g e le s ,

T he p u b lic l i b r a r i e s w e re t h o s e o f

a n d B irm in g h a m *

O n ly o n e s c h o o l , t h e U n i v e r s i t y o f N o r t h C a r o l i n a , c o u l d g iv e s p e c i f i c in g s c h o o l*

in f o r m a tio n on th e n a tu r e and o r i g i n o f th e s in g ­ O th e r s c h o o ls s t a t e d t h a t s u c h b o o k s a s w e re

r e q u e s t e d w e re n o t a v a i l a b l e

in t h e i r l i b r a r i e s

s t u d i e s o f s u c h n a t u r e h a d b e e n m ade b y th e m .

a n d t h a t no The m a t e r i a l

fro m t h e U n i v e r s i t y o f N o rth C a r o lin a w as p u b l is h e d b y th e U n i v e r s i t y P r e s s o f N o rth C a r o li n a ,

a n d w as t h e r e s u l t o f a

s t u d y m ad e b y M r. G e o rg e P u l l e n J a c k s o n , o n s o u t h e r n f o l k s in g in g *

T h e s t u d y , W h ite S p i r i t u a l s

in th e S o u th e rn U p la n d s .

i s r e p o r t e d l y t h e m o s t m o d e rn a n d c o m p l e t e w o rk o f i t s a t th e p re s e n t tim e .

k in d

T he b o o k c o v e r s i n d e t a i l t h e s t o r y o f

wf a s o l a w a n d s a c r e d h a r p s i n g i n g * A d d itio n a l p e r tin e n t m a te r ia l r e l a t i n g to

th e p r a c tic e s

an d o r i g i n o f t h e s i n g i n g s c h o o l w as fo u n d i n t h e p u b l i c l i b r a ­ rie s *

No b o o k s w e r e d e v o t e d e n t i r e l y t o

a d is c u s s io n o f th e

s i n g i n g s c h o o l , b u t m any b o o k s m ade r e f e r e n c e s t o t h e s i n g i n g s c h o o l o r c o n ta in e d p a ra g ra p h s a llu d in g to

it,

u s u a lly in

c o n n e c tio n w ith s o u th e r n f o l k m u s ic , c h u rc h m u s ic , o r s o u th e r n h i s t o r y and c u ltu r e * O ld e d i t i o n s o f s o n g b o o k s w e r e s o u g h t i n l i b r a r i e s w ith no s u c c e s s .

S e c o n d -h a n d b oo k s t o r e s p ro v e d t o b e t h e

b e s t so u rc e f o r th e s e books and o u t o f th e se v e n s t o r e s v e s tig a te d

in ­

i n L o s A n g e l e s a n d B irm in g h a m , s e v e r a l b o o k s w e r e

o b t a i n e d r a n g i n g i n d a t e s o f p u b l i c a t i o n f r o m 1 7 9 8 t o 18 4 2 * M o s t o f th e m w e r e w r i t t e n f o r t h e New E n g la n d s i n g i n g s c h o o l . I n o n ly one c a s e d id th e m an ag er o f a se c o n d -h a n d book s t o r e know w h e re s u c h b o o k s w e re l o c a t e d

in h is s to r e

an d i t w as

n e c e s s a r y t o s e a r c h t h r o u g h t h e m u s ic

s e c tio n s , book by b o o k ,

a n d s o m e tim e s

p a c k e d aw ay i n o l d b o x e s

t o s e a rc h th ro u g h b o o k s

u n d e r l a y e r s o f d u s t , b e f o r e a n y th in g o f v a lu e w as d is c o v e r e d * M e th o d a n d m e m b e rs .

o f c o l l e c t i n g d a ta fro m

s in g in g sc h o o l le a d e r s

I t w as l a r g e l y on t h e b a s i s o f r e p o r t s

fro m

s i n g i n g s c h o o l l e a d e r s a n d m e m b e rs t h e m s e l v e s t h a t t h e p r o b l e m s and d i f f i c u l t i e s

o f th e s i n g i n g s c h o o l w e re d e te rm in e d and

r e c o r d e d and a c t i v i t i e s

s e t up to

s o lv e th e d i f f i c u l t i e s *

M a k in g t h e n e c e s s a r y c o n t a c t s w i t h t h e l e a d e r s p r e s e n t e d a r e a l

17 p ro b le m b e c a u s e o f t h e s k e tc h y ty p e o f c o u n ty o r s t a t e iz a tio n .

o rg a n ­

L e a d e rs w e re r e a c h e d b y c o n t a c t i n g t h o s e l i v i n g

in

t h e v i c i n i t y o f T r o y a n d i n P i k e b o u n t y , A la b a m a , a n d t h r o u g h th e m c o n t a c t i n g o t h e r l e a d e r s f a r t h e r a f i e l d . p r o c e d u r e to o k a g r e a t d e a l o f t im e ,

A lth o u g h t h i s

i t w as a s u r e w ay , an d

a c o n v e n ie n t o n e , s i n c e t h e r e w as no n e c e s s i t y f o r l o c a t i n g a l l th e le a d e rs a t once.

S e v e ra l l e t t e r s

e a c h w eek w e re

r e c e i v e d fro m s i n g i n g s c h o o l l e a d e r s t e l l i n g

t h e nam es a n d

a d d re ss e s o f o th e r s in g in g sc h o o l le a d e r s in t h e i r v i c i n i t i e s . T hen l e t t e r s

t o t h e n e w ly f o u n d l e a d e r s w e r e f o r w a r d e d .

As

so o n a s a s i n g i n g s c h o o l l e a d e r h a d b e e n c o n t a c t e d , a fo rm l e t t e r w as s e n t o u t t o h im r e q u e s t i n g p e r m i s s i o n t o v i s i t h i s s in g in g sc h o o l and to

t a l k w i t h h im a b o u t h i s w o r k .

T e t t e r u s e d i s sh o w n o n t h e a c c o m p a n y in g p a g e . m any o f t h e s i n g i n g s c h o o l l e a d e r s is s ip p i,

The fo rm

I n t h i s m anner

i n A la b a m a , G e o r g i a , M is s ­

an d T e n n e s s e e w e re r e a c h e d , an d i t w as p o s s i b l e t o

v i s i t tw o o r m o re s i n g i n g s c h o o l s e a c h m o n th o v e r a p e r i o d o f s i x m o n th s . O f t h e t w e n t y - s i x s i n g i n g s c h o o l l e a d e r s t o whom f o r m l e t t e r s w e re s e n t ,

tw e n ty -th re e g ra c io u s ly in v ite d

t o v i s i t t h e s c h o o l , tw o s t a t e d r e a s o n s f o r t h e i r to re c e iv e v i s i t o r s ,

an d o n ly one f a i l e d

th e w r ite r in a b ility

t o m ake a n y r e p l y t o

th e l e t t e r s . A m a jo rity o f th e s in g in g sc h o o l le a d e r s v i s i t e d to re c o g n iz e th e

im p o rta n c e o f r e o r g a n i z a t i o n o f t h e i r

se e m e d c u rric u la

18

F o rm l e t t e r

s e n t to s in g in g sc h o o l le a d e r s :

O c to b e r 1 0 , 1 9 4 1 . M r. A l v i n M e C ra n e y , R o u te H o. 5 , T a l l a s s e e , A la b a m a . D e a r M r. M c C ra n e y : Mr, J o s e p h W ard o f A n d a l u s i a , A la b a m a , t o l d me t h a t y o u a r e t h e l e a d e r o f a s i n g i n g s c h o o l in th e v i c i n i t y o f T a lla s s e e , and he h a s g i v e n me y o u r a d d r e s s s o t h a t I m i g h t w r i t e t o you. I t i s b e c a u s e I h a v e r e c e n t l y b e co m e i n te r e s te d in th e s in g in g s c h o o ls o f th e s o u th t h a t I w is h t o a s k y o u r p e r m is s io n t o v i s i t t h e s c h o o l n e a r T a l l a s s e e som e d a y w h en l e s s o n s a re in p ro g re s s . A t t h a t tim e p e rh a p s you w o u ld a l s o b e k i n d e n o u g h t o g i v e me som e i n f o r m a t i o n a b o u t t h e t y p e o f w o rk y o u a r e d o i n g a n d a b o u t y o u r t e a c h i n g p r o b l e m s . May I s u g g e s t a c o n f e r e n c e w i t h y o u s o m e tim e p r e v i o u s t o t h e le s s o n ? I f i t i s p o s s i b l e f o r y o u t o g r a n t my r e q u e s t, w i l l you k in d ly s t a t e th e d a te o f th e l e s s o n a n d t h e t i m e o f d a y t h a t I m ay co m e? I am e n c l o s i n g a s t a m p e d , s e l f - a d d r e s s e d e n v e l o p e f o r y o u r c o n v e n ie n c e . V e ry t r u l y y o u r s ,

L a w re n c e L* P e t e r s o n . L L P :e

an d t e a c h i n g m e th o d s , an d w e re c o o p e r a t i v e

i n a n s w e rin g q u e s ­

t i o n s p u t t o th e m , p o i n t e d o u t t h e i r d i f f i c u l t i e s ,

and gave

in f o r m a tio n a b o u t t h e v a r i o u s p h a s e s o f t h e s i n g i n g s c h o o l* In e a c h c a s e th e v i s i t s p ro c e e d e d ro u g h ly a c c o rd in g t o fo llo w in g p la n :

th e

a s h o r t c o n fe re n c e w ith t h e l e a d e r w as h e ld

p r e v i o u s t o t h e s i n g i n g s c h o o l l e s s o n , a t w h ic h t i m e t h e l e a d e r o u t l i n e d h i s l e s s o n f o r t h e d a y an d t o l d w h a t w as t o be e x p e c te d *

T h e n cam e t h e l e s s o n , d u r i n g w h ic h n o t e s w e r e t a k e n

on p r o c e d u r e s , m a t e r i a l s ,

and v a r io u s d e t a i l s .

L a te r,

th e s e

n o te s fo rm e d t h e b a s i s f o r c o n f e r e n c e s h e ld w ith t h e l e a d e r a f t e r th e le s s o n h ad ta k e n p la c e .

A s t e n o g r a p h e r a c c o m p a n ie d

th e w r i t e r and to o k n o te s in s h o r t h a n d .

I n t h i s w ay m u ch

g ro u n d w as c o v e re d an d no im p o rta n t s u g g e s t i o n s , c r i t i c i s m s , o r q u e s t io n s by t h e l e a d e r w e re f o r g o t t e n . M any s o n g l e a d e r s s e e m e d c o n s c i o u s o f t h e i r l a c k o f m u s i c a l k n o w le d g e a n d t h e i r a b i l i t y

to t te a c h .

T hey w e re t h e r e ­

f o r e r e l u c t a n t t o m ak e s u g g e s t i o n s f o r Im p r o v e m e n t.

The

l e a d e r s w e r e , o n t h e o t h e r h a n d , a n x i o u s t o m ake know n t h e i r d i f f i c u l t i e s , w ith a hope t h a t th e s e d i f f i c u l t i e s s o lv e d . fo llo w

T h e common r e q u e s t s w e r e f o r a d e f i n i t e in te a c h in g ,

s in g in g s c h o o l, and b e t t e r p h y s i­

M ore i m p o r t a n t , h o w e v e r , t h e l e a d e r s th e m ­

s e lv e s d e s ire d s p e c ia l tr a in in g t h e y w is h e d t o r e c e i v e t h i s e d u c a to rs .

p ro c e d u re to

an in c lu s iv e so u rc e book f o r r e f e r e n c e , a

b e tte r o rg a n iz a tio n fo r th e c a l e q u ip m e n t.

c o u ld be

in s in g in g and d i r e c t i n g and

t r a i n i n g f r o m c o m p e te n t m u s ic

20

M any p r e s e n t m em b e rs o f t h e s i n g i n g s c h o o l a n d p e r s o n s who h a d a t som e t i m e o r a n o t h e r a t t e n d e d t h e s i n g i n g s c h o o l w e re p e r s o n a l l y

in te rv ie w e d f o r th e p u rp o se o f d is c o v e r in g

w h a t im p ro v e m e n ts ,

in th e l i g h t o f t h e i r p a r t i c i p a t i o n

t h e s i n g i n g s c h o o l , t h e y b e l i e v e d s h o u l d b e m ade* o f t h e m e m b e rs i n t e r v i e w e d w e r e e n t h u s i a s t i c in g s c h o o l , w is h e d t o s e e i t

in

T he m a j o r i t y

a b o u t th e s in g ­

c o n t i n u e , b u t c o u l d o f f e r fe w

c o n c re te s u g g e s tio n s h e lp f u l in th e fo rm u la tin g o f a b e t t e r m e th o d o f c o n d u c t i n g t h e s i n g i n g s o h o o l*

M any o f t h e m em b ers

w e re n o t c o n s c io u s o f t h e d i f f i c u l t i e s p r e s e n t*

N o te s o n

t h e c o n f e r e n c e s w i t h m em b ers o f t h e s i n g i n g s c h o o l w e r e a l s o ta k e n and re c o rd e d * P e r t i n e n t c r i t i c i s m s w e re r e c e i v e d fro m c o l l e g e s t u d e n t s who h a d b e e n o r s t i l l w e r e m e m b e rs o f a s i n g i n g s c h o o l *

P e r­

s o n a l in te r v ie w s w e re o b ta in e d w ith th e s tu d e n ts o f th e S t a t e T e a c h e r s C o l l e g e , T r o y , A la b a m a , m o s t o f whom cam e fro m r u r a l d i s t r i c t s p a rtic ip a te d file s

i n A lab am a*

T h o s e s t u d e n t s who h a d

i n s i n g i n g s c h o o ls w e re d is c o v e r e d th r o u g h t h e

o f t h e c o l l e g e p e r s o n e l o f f i c e w h ic h c o n t a i n e d a d e t a i l e d

h i s t o r y o f e a c h s tu d e n t*

S in c e t h e w r i t e r w as e n a b le d t o

ccm e i n t o p e r s o n a l f r i e n d l y

c o n ta c t w ith th e s tu d e n ts , f r a n k ,

u n b i a s e d c r i t i c i s m s w e r e o f t e n o b t a i n e d f r o m them *

The

m u s i c a l c o n t a c t s a n d e x p e r i e n c e s g a i n e d o n t h e c o l l e g e cam­ pus had,

in th e o p in io n o f th e s e s tu d e n ts ,

in s ig h t in to

g i v e n th e m a c l e a r e r

t h e t y p e o f t e a c h i n g t o w h ic h t h e y h a d b e e n

21

s u b je c te d

In th e s in g in g s c h o o l.

M e th o d o f p r o c e d u r e u s e d i n c o l l e c t i n g d a t a t h r o u g h o b s e rv a tio n

in th e s in g in g s c h o o l.

D ire c t o b s e rv a tio n in

th e s in g in g s c h o o l p ro v ed b e n e f i c i a l in d is c o v e r in g c r u c i a l p ro b le m s .

T he l e s s o n s o b s e r v e d p r o c e e d e d s i m p l y a n d c r u d e l y ,

a s th e le a d e r s u s u a lly had l i t t l e in g .

s p e c ia l tra in in g

in c o n d u c t­

S i n s o f o m i s s i o n a n d c o m m is s io n w e r e c o n s e q u e n t l y

o b v io u s .

At f i r s t

school v is ite d ,

i t w as th o u g h t t h a t a fo rm s h e e t f o r e a c h

o u t li n i n g th e ty p e s o f d a ta to be c r i t i c i z e d

o r e v a l u a t e d , w o u ld b e u s e d , b u t t h i s m e a n s p r o v e d i n e f f i c i e n t , d u e t o t h e m any p r o b l e m s t h a t h a d t o b e r e c o r d e d , w h ic h w o u ld h a v e m ad e a f o r m s h e e t o f m o re t h a n o n e p a g e n e c e s s a r y . F u r th e r m o r e , t h e p ro b le m s h a d t o b e t r a n s f e r r e d a c a r d s y s te m , e n t a i l i n g e x t r a w o rk .

I t w as f i n a l l y

t h a t a lo o s e o u tlin e p e r m ittin g t e n t a t i v e w o u ld s e r v e t h e im m e d ia te p u r p o s e . c o l l e c t e d w e re r e c o r d e d on c a r d s . th e fo llo w in g p o i n t s : m e th o d o f p r e s e n t a t i o n ,

a fte rw a rd s t o d e c id e d

c la s s ific a tio n

L a te r th e v a rio u s d a ta The lo o s e o u t l i n e

in c lu d e d

a s r e g a r d s t h e l e a d e r — m e th o d o f a p p r o a c h , s k ill

in c o n d u c tin g ,

a b ility

i n s p i r e an d s t i m u l a t e , u s e o f fu n d a m e n ta l p s y c h o lo g y ;

to as

r e g a r d s p u p i l s — r e s p o n s e , e n th u s ia s m , q u a li f y

o f s in g in g

i n d i v i d u a l l y and in g ro u p s , r e a d in g a b i l i t y ;

as re g a rd s

m a te r ia ls — p ia n o , song b o o k s, c h a ir s T p i tc h p ip e . When t h e s e d a t a b a d b e e n t r a n s f e r r e d t o c a r d s , t h e

zz c a r d s w e r e m a rk e d w i t h a c o l o r o r c o m b i n a t i o n o f c o l o r s t o in d ic a te t h e i r

id e n tity

a c c o rd in g t o

s c h o o ls •

M uch o f t h e

r o u t i n e w o rk w a s d o n e b y t h e s t e n o g r a p h e r who a c c o m p a n ie d t h e i n v e s t i g a t o r on h i s v i s i t s

t o t h e s i n g i n g s c h o o l s a n d who t o o k

n o te s on th e le s s o n s o b se rv e d . P r o c e d u r e s u s e d i n c o l l e c t i n g d a t a o n a c c e p t e d m e th o d s o f m u s ic t e a c h i n g

i n t h e p u b l i c s c h o o l s w h ic h w o u ld a p p l y t o

te a c h in g in th e s in g in g s c h o o ls .

The e d u c a t i o n a l t h e o r i e s

a n d p h i l o s o p h i e s w h ic h a r e t h e b a s i s f o r t e a c h i n g m u s ic i n th e p u b lic s c h o o ls , c o lle g e s , in s ta n c e s to f i t s c h o o l.

and u n i v e r s i t i e s

se e m e d i n m o s t

i n t o t h e e d u c a t i o n a l sc h e m e o f t h e s i n g i n g

The p r o c e d u r e s , m e th o d s , and m a t e r i a l s u s e d i n th e

p u b l i c s c h o o l s w e r e , h o w e v e r , i n m any c a s e s t o o e l a b o r a t e f o r p r a c t i c a l u se by s in g in g sc h o o l le a d e r s . e q u ip m e n t a n d t r a i n e d

t e a c h e r s w h ic h c o u l d n o t p o s s i b l y b e

s u p p lie d by th e s in g in g s c h o o l. to

T hey in v o lv e d

I t w as t h e r e f o r e n e c e s s a r y

s e l e c t o n l y t h o s e m e th o d s w h ic h c o u l d b e a p p l i e d u n d e r

e x is tin g c o n d itio n s o f th e s in g in g s c h o o l. F ifty

m u s ic m e th o d b o o k s , t w e n t y - e i g h t , g e n e r a l m u s ic

b o o k s , t h i r t y v o c a l m e th o d b o o k s , a n d t w e l v e e d u c a t i o n b o o k s w e re re v ie w e d f o r t h e p u r p o s e o f d i s c o v e r i n g p ro b le m s an d d iffic u ltie s

i n t e a c h i n g t h a t w o u ld a p p l y t o

th e s in g in g

s c h o o l a n d f o r t h e p u r p o s e o f d i s c o v e r i n g m e th o d s w h ic h w o u ld be p e r t i n e n t to th e s in g in g sc h o o l and h e lp f u l in r a i s i n g th e s ta n d a rd s o f te a c h in g

in th e o rg a n iz a tio n .

23 No o n e m e th o d o r a c t i v i t y

as s e t fo rth

in p u b lic s c h o o l

m e th o d h o o k s c o u l d b e s e l e c t e d a s t h e i d e a l s o l u t i o n f o r t h e s in g in g s c h o o l , and i t w as fo u n d a d v is a b le t o r e c o r d on c a r d s m e r e l y t h o s e p a r t s o f a m e th o d o r a c t i v i t y w h ic h m ig h t b e u s e d * m m an y c a s e s t h e w r i t e r d e v i s e d m e a n s o f c o m b in in g v a r i o u s m e th o d s a n d o f m a k in g th e m s u i t a b l e f o r u s e i n t h e

s in g in g

s c h o o l* F o r c o lle c tin g and c la s s if y i n g th e f i v e d i f f e r e n t ty p e s o f d a ta d is c u s s e d

in th is

c h a p t e r , t h e c a r d s y s te m w as fo u n d

to be th e m ost s a tis f a c to r y * lis te d

P r o b le m s a n d d i f f i c u l t i e s w e r e

on w h ite c a r d s and no c l a s s i f i c a t i o n w as a tte m p te d

u n t i l i t w as fo u n d t h a t t h e l i s t e x h a u s te d .

o f e x i s t i n g d i f f i c u l t i e s w as

O ver s e v e n h u n d re d c a r d s w e re c o l l e c t e d .

w e re c l a s s i f i e d

T hey

i n t o o v e r one h u n d re d m a jo r d i f f i c u l t i e s *

Some c a r d s t u r n e d o u t t o b e d u p l i c a t e s a n d o t h e r s c o n t a i n e d ir r e le v a n t m a te r ie l and had to be d is c a rd e d .

A fte r t h i s

p r o c e s s o f e l i m i n a t i o n , t h e m a jo r d i f f i c u l t i e s w e re t r a n s f e r r e d to p in k c a rd s t o a id fie d

in a c c e s s i b il i ty .

T hey w e re n e x t c l a s s i ­

i n to c h a p te r s w ith th e c h a p te r h e a d in g s re c o r d e d on b lu e

ca rd s.

A f te r th e g e n e r a l d i s t r i b u t i o n w as m ade, th e w h ite

c a r d s w e re f u r t h e r c l a s s i f i e d sequen ce.

and r e d i s t r i b u t e d

in p ro p e r

T h e c o l o r e d c a r d s m ad e c h a n g e s i n o r g a n i z a t i o n

e a s i l y p o s s i b l e a n d s a v e d m uch t i m e .

F i n a l l y , a n o u t l i n e w as

m ade f r o m t h e c a r d s t o o b t a i n a c o m p l e t e p i c t u r e

o f t h e s tu d y *

W e a k n e s s e s i n s t r u c t u r e «. b e c a m e o b v i o u s a n d w e r e t h e n r e m e d ie d

84

b y r e d i s t r i b u t i o n o f t h e c a r d s , a n d a n o t h e r o u t l i n e w as m a d e . T h i s p r o e e s s w as r e p e a t e d

s e v e r a l tim e s b e f o r e a f i n a l o u t l i n e

w as d e c i d e d u p o n . In th e fo llo w in g p a g es t h i s c h a p te rs ,

is

o u tlin e ,

in th e fo rm o f

s e t f o r th a s a p r a c t ic a l b a s is f o r a m anual f o r

s in g in g sc h o o l le a d e r s in th e s o u th .

CHAPTER

III

VOICE PRODUCTION HOW TO IMPROVE THE VOICE THROUGH STUDYING- THE SINGINU OP OTHERS* 1 . How t o r e l a t e

th e s in g in g o f o th e rs to w hat you have s tu d ie d .

Z. How t o s t u d y t h e d i f f e r e n t t y p e s o f v o i c e s . i

3 . How t o

s e le c t a s ty le

o f s in g in g .

4 . How t o

s e c u re good i n t e r p r e t a t i o n .

5 . How t o l e a r n t h e w o r d s t o s o n g s . 6 . How t o d e v e l o p s t a n d a r d s o f a c h i e v e m e n t s . To d o . 1 . A tte n d c o n c e r ts and r e c i t a l s . £• l i s t e n

t o m a jo r r a d i o p ro g ra m s .

3 . L is te n t o p h o n o g rap h r e c o r d in g s . 4 . A t t e n d m o v ie s w h i c h f e a t u r e s i n g i n g s t a r s . HOW TO USE THE THROAT IN SINGING. 1 . How t o m ake a t o n e s t a r t f r o m t h e t h r o a t . 2 . How t o u s e t h e t h r o a t a s a r e s o n a t o r . 3 . How t o k e e p t h e

t o n g u e f ro m c l o s i n g t h e t h r o a t .

4 . How t o u s e t h e t o n g u e i n k e e p i n g t h e t h r o a t o p e n . 5 . How t o o p e n t h e t h r o a t b y c o r r e c t ja w p o s i t i o n . 6 . How t o

open th r o a t by c o r r e c t cheek p o s itio n .

7 . How t o

p r e v e n t t h e t h r o a t f r o m g e t t i n g t i g h t w hen s i n g i n g

to w a rd s t h e 8 . How t o

to p o f t h e lo w e r r e g i s t e r .

a d j u s t t h e t h r o a t o p e n in g o n t h e l o w e r a n d h i g h e r t o n e s .

26

9# How t o u s e t h e

t h r o a t w h en a s c e n d i n g t h e s c a l e .

10* How t o k e e p y o u r n e c k m u s c l e s f r o m t i g h t e n i n g . 1 1 . How t o

s in g th ro u g h th e t h r o a t and n o t w ith th e t h r o a t .

1 2 . How t o

change r e g i s t e r s w ith o u t in tro d u c in g any f e e lin g

o f c o n s tric tio n

in th e t h r o a t.

1 3 . How t o p r e v e n t a t h r o a t y t o n e . 1 4 . How t o p r e v e n t t o n e s f r o m s o u n d i n g b l a t y o r n a s a l . 1 5 . How t o b e s u r e y o u a r e n o t s i n g i n g t h r o u g h t h e n o s e . To d o .

11.

P r a c t i c e o p e n i n g a n d c l o s i n g t h e m o u th w i t h o u t c h a n g i n g th e p o s itio n

2. P ra c tic e

o f th e to n u e o r c h e e k s .

o p e n i n g t h e m o u th a n d u n c o v e r i n g t h e t e e t h

as

you asce n d th e s c a l e . 3.

P r a c t i c e m o v in g p a r t s o f t h e b o d y a s y o u s i n g .

4.

P ra c tic e

5.

P r a c t i c e s w e llin g and d im in is h in g to n e s on th e

s ta c c a to a tta c k s . v o w e ls .

HOW TO USB YOHR BREATH IN SINGING. 1.

How t o s i n g a l o n g p h r a s e i n o n e b r e a t h .

2. 3.

H w to h o ld a to n e w ith o u t s t r a i n i n g . ■] How t o u s e t h e d i a p h r a m i n h o l d i n g a l o n g

4.

How t o s u s t a i n a t o n e o n a n o r d i n a r y b r e a t h .

5.

How t o m ak e a t o n e f l o w e v e n l y .

6.

How t o i n c r e a s e t h e b e a u t y o f a s u s t a i n e d

7 . How t o

to n e .

to n e .

su s p e n d i n s p i r a t i o n and t o resu m e th e p r o c e s s a t

27

w i l l w ith o u t h a v in g l o s t an y o f t h e a lr e a d y

in s p ire d

b re a th . 8 . How t o s u s p e n d e x p i r a t i o n

and t o resu m e t h e p r o c e s s a t

w i l l w ith o u t h a v in g l o s t an y o f t h e r e m a in in g b r e a t h . 9 . How t o b r e a t h e s o t h a t t h e f u l l e s t

i n s p i r a t i o n b r in g s no

fa tig u e . 1 0 . How t o e c o n o m iz e t h e b r e a t h s o t h a t t h e r e s e r v e

is never

e x h a u s te d . 1 1 . How t o b r e a t h e s o n a t u r a l l y t h a t n e i t h e r b r e a t h n o r l a c k o f b re a th is

su g g e s te d to th e l i s t e n e r .

1 2 . How t o p r e v e n t n o i s y b r e a t h i n g . 13.

How

to

h a n d le th e b r e a t h

in ra d io

14.

How

to

fill

t h e i r c a p a c ity e ith e r q u ic k ly o r

th e lu n g s t o

s in g in g .

; : •- s l o w l y . 15.

How

to

p re v e n t

s h a llo w b r e a t h in g .

16.

How

to

u se th e

d ia p h ra m i n g o in g fro m lo w e r t o u p p e r

r e g i s t e r and v ic e v e r s a . 17# How t o

jum p a n o c t a v e w i t h a m inim um s h i f t o f t h e s i n g i n g

m u s c le s . 18.

How

to

h o ld t h e d ia p h ra m

w h en ju m p in g a n o c t a v e .

19.

How

to

p re v e n t a b re a th y

to n e .

20.

How

to

d ir e c t a b re a th .

2 1 . How t o s w e l l a n d d i m i n i s h a t o n e i n o n e b r e a t h . 2 2 . How t o d i m i n i s h a t o n e . 23.

How

to

s w e ll a

to n e .

24.

How

to

c o n tro l

th e b r e a th w ith o u tc o n s c io u s

c o n tro lo f any

n a rro w g ro u p o f m u s c le s . 35* How t o m ak e s u r e y o u a r e u s i n g t h e

c o r r e c t m u s c le s f o r

c o n tr o llin g th e b r e a th . 26.

How t o m ak e g o o d p o s t u r e a h a b i t a n d a n a i d t o

27.

How t o b r i n g a t o n e dow n t o

28.

How t o s i n g a t o n e s o f t l y .

29.

How t o c o n t r o l t h e b r e a t h o n t h e

30.

How t o g e t o n t o p o f a t o n e .

its

s in g in g .

f in e s t p o in t.

s o f t n o te s .

To d o . 1 . P r a c t i c e lo n g to n e s on v o w e ls . 2 . P r a c t i c e l o n g t o n e s w h i l e w a l k i n g o r l y i n g dow n. 3 . P ra c tic e le ttin g

t h e b r e a t h o u t s lo w ly on v o w e l s o u n d s .

4 . P r a c t i c e s l i g h t d re s e e n d o s w h ile q u ic k e n in g th e v i b r a t o . 5 . P r a c t i c e d e e p b r e a t h i n g w ith o u t c h a n g in g e x p r e s s io n s o r ra is in g

th e s h o u ld e rs .

6. P ra c tic e

ju m p in g o c t a v e s .

7. P ra c tic e

s u s p e n d in g i n s p i r a t i o n

and e x p i r a t i o n .

HOW TO REACH THE HIGH NOTES. 1 . How t o

o p e n t h e m o u th o n t h e h i g h n o t e s o f t h e lo w r e g i s t e r .

2 . How t o p i t c h t h e m o u th f o r a t o n e . 3 . How t o

e l i m i n a t e t h e m o u th a s a r e s o n a t o r .

4 . How t o

in c re a s e th e ra n g e o f th e v o ic e .

5 . How t o

d e v e lo p t h e u p p e r r e g i s t e r o r f a l s e t t o .

6 . How t o b r i g h t e n o r d a r k e n a t o n e i n f a l s e t t o . 7 . How t o

d e v e lo p a p u re r e g i s t e r .

8* How t© d e t e r m i n e w h e t h e r o r n o t y o u a r e s i n g i n g w i t h m ix e d r e g i s t e r s . 9* How t o 10* How t o

o p e n t h e m o u th o n f a l s e t t o sh ap e th e l i p s

to n e s *

in s in g in g a f a l s e t t o

1 1 . How t o h o l d t h e t o n g u e

in s in g in g a f a l s e t t o

to n e . to n e .

1 2 . How t o g e t a r i n g i n g o r b i t i n g t o n e i n t h e f a l s e t t o . 1 3 . How t o k e e p t h e f a l s e t t o

t o n e f r o m b e c o m in g h o o t y .

1 4 . How t o

s in g th e v o w e ls , a , e , l , o , u , l n

1 5 . How t o

c r o s s o v e r f r o m lo w t o h i g h r e g i s t e r a n d v i c e v e r s a .

1 6 . How t o

e lim in a te th e

i

th e f a l s e t t o .

jum p i n t h e v o i c e w h e n c r o s s i n g f r o m

u p p e r to lo w e r r e g i s t e r o r v i c e v e r s a .

1 7 . How t o b l e n d t h e v o i c e r e g i s t e r s

so t h a t th e y b o th so u n d

t h e sam e. 1 8 . How t o

c o o rd in a te th e r e g i s t e r s .

1 9 . How t o r e s o n a t e t h e h i g h e r t o n e s . 2 0 . How t o l o o k p l e a s a n t w h i l e s i n g i n g a h i g h n o t e . 2 1 . How t o d e v e l o p t h e f a l s e t t o

o f a b a ss o r an a lto .

To d o . 1 . P r a c t i c e o p e n i n g t h e m o u th w id e a n d u n c o v e r i n g t h e u p p e r t e e t h w h ile s in g in g a h ig h n o t e . 2 . P ra c tic e

ju m p in g o c t a v e s s i n g i n g t h e u p p o n t o n e i n f a l s e t t o .

3 . P r a c t i c e c h a n g i n g f ro m l o w e r r e g i s t e r t o 4 . P ra c tic e f a ls e tto

fa ls e tto

to n e s b e fo re a m ir r o r .

HOW TO PLACE A TONE BY THE MBTHOB OF CORRECT THOUGHT. 1 . How t o

g e t a m e n t a l im a g e o f a t o n e .

and b a c k .

30

To do, 1 . L is te n to ra d io

s in g e r s , re c o rd in g s ,

a tte m p t to g e t a u d ito r y

and c o n c e rts and

im a g e s .

HOW TO BE RELAXED WHILE SINGING. 1 . How t o r e l a x t h e J a w . 2 . How t o r e l a x t h e neck: m u s c l e s . 3 . How t o r e l a x t h e s h o u l d e r s . 4 . How t o r e l a x t h e a r m s . To d o . 1 . P r a c tic e v o c a liz in g and 2. P ra c tic e t i l t i n g

s in g in g so n g s w h ile w a lk in g a b o u t.

th e h ead to one s id e

w h ile s in g in g

th e

h ig h n o te s . 3 . S in g w ith one f o o t s l i g h t l y

ahead o f th e o th e r .

4 . G e n t l y s w in g t h e a rm s a s a t o n e i s n o te

s u s ta in e d o r a s a h ig h

is re a c h e d .

HOW TO PRONOUNCE AND ENUNCIATE IN SINGING. 1 . How t o

s in g v o w e ls .

2 . How t o

s in g c o n s o n a n ts .

3 . How t o

s in g a co n so n an t

o n t h e e n d o f a w o rd w h ic h i s

f o l l o w e d b y a v o w e l. 4 . How t o t r i l l

a n wr . w

5 . How t o d e c i d e w h e t h e r o r n o t y o u a r e u s i n g g o o d e n u n c i a t i o n o r p ro n u n c ia tio n . 6 . How t o l e a r n p r o n o u n c i a t i o n a n d e n u n c i a t i o n t h r o u g h m u s i c a l c o n c e rts , r a d io ,

o r p h o n o g rap h r e c o r d s .

31

To do. 1* P r a c t i c e r e a d i n g b e f o r e a p e r s o n who i s

an a u t h o r i t y on

speech* 2 . L i s t e n t o r e c o r d i n g s , r e p e a t i n g e a c h r e c o r d u n t i l n o new i n s i g h t s on p r o n u n c i a t i o n o r e n u n c i a t i o n c a n b e g a in e d . 3 . L is te n to ra d io

s in g in g s t a r s and a n n o u n c e rs .

4 . A tte n d m u s ic a l c o n c e r ts and r e c i t a l s

of a rtis ts .

HOW TO PRODUCE TEE HUMMING -SOUND. 1 . How

to s in g

wn g . w

2 . How

to s in g

"M .w

3 . How

t o d e v e l o p a hum m ing t o n e t h a t d o e s

4 . How

t o s w e l l a hum m ing t o n e .

5 . How

t o c h a n g e f r o m a n "m" o r a n " n g "

6 . How t o

n o t sound

n a s a l.

t o av o w e ls o u n d .

t e s t t h e p l a c e m e n t o f a hum m ing s o u n d .

7 . How t o k e e p t h e t h r o a t r e l a x e d w h i l e h u m m in g . To d o . 1. P ra c tic e b re a th

is

2. P ra c tic e

s in g in g

" m in g " a n d s u s t a i n t h e " n g * u n t i l t h e

e x p ire d . s in g in g

th e b re a th i s

"m eem " a n d s u s t a i n t h e l a s t

wm " u n t i l

e x p ire d .

3 . M ake u p a s m any e x e r c i s e s a s y o u c a n o n b o t h hum m ing s o u n d s . 4 . P r a c t i c e hum m ing a n d g r a d u a l l y c h a n g e t h e hum t o

a v o w e l.

R e v erse th e p ro c e d u re . 5. P ra c tic e

o p e n in g a n d c l o s i n g t h e m o u th w h i l e hum m ing " n g . "

38

HOW TO INCREASE THE RESONANCE OF THE TO IC E . 1.

How t o i n c r e a s e t h e t h r o a t r e s o n a n c e .

S.

How t o i n c r e a s e t h e h e a d r e s o n a n c e .

3 . How t o g e t m axim um r e s o n a n c e . 4 . How t o d i s t i n g u i s h b e tw e e n a n a s a l q u a l i t y 5 . How t o d e t e r m i n e w h en y o u a r e g e t t i n g

andre s o n a n c e .

th e r i g h t

k in d o f

reso n an c e. 6 . How t o

e lim in a te th e n a s a l q u a lity .

To d o . 1 . S i n g v o w e ls w i t h f u l l v o lu m e .

U se s t a c c a t o

th e to n g u e a g a i n s t lo w e r t e e t h 2. P ra c tic e

a tta c k s .

K eep

and ch eek s fo rw a rd .

ju m p in g o c t a v e s , h i t t i n g

th e to p n o te lo u d ly in

th e f a l s e t t o . HOW TO DEVELOP M B COHTROX, VIBRATO IN THE TO IC E . 1 . How t o d e t e r m i n e t h e c o r r e c t d e p t h o f s o u n d w a v e s i n t h e v ib ra to . 2 . How t o

in c r e a s e o r d e c r e a s e th e d e p th o f th e

so u n d w aves

in th e v ib r a to . 3.

How t o d e t e r m i n e t h e c o r r e c t r a t e

4.

How t o i n c r e a s e o r d e c r e a s e

th e r a t e o f sp eed

5.

How t o u s e t h e m e tro n o m e i n

s p e e d i n g u p o r s l o w i n g down

th e r a t e

of

speed o f

th e v ib r a to . o f th e v ib r a to .

o f v ib ra to .

6 . How t o d e v e l o p v i b r a t o

in th e f a l s e t t o .

7 . How t o d i s t i n g u i s h b e tw e e n v i b r a t o

and tre m e lo .

53

To do* 1 . T r y t o m a tc h v i b r a t o o r s i n g i n g s t a r s o f c o n c e r t , s t a g e , and sc re e n * 2 . P r a c t i c e w i t h t h e m e tr o n o m e .

S in g f o u r v i b r a t o

to

each

s tro k e . 3.

Jump t h e o c t a v e o n t h e fa ls e tto ;

s o u n d we w; s i n g t h e

c h ew t h e f a l s e t t o

n o te .

4 . P la c e th e seco n d f in g e r on a s o l i d v ig o ro u s ly .

u p p e r n o te in

s u r f a c e and sh a k e

M a tc h t h e v i b r a t o w i t h t h e s h a k i n g o f t h e

fin g e r. HOW TO ESTABLISH MOODS. 1 . How t o c o l o r a t o n e . 2.

How

to

d a rk e n a

to n e .

3.

How

to

b rig h te n

a to n e .

To d o . 1 . C over u p p e r t e e t h w ith

a th e l i p

2 . U ncover u p p e r t e e t h to

b rig h te n to n e s .

3 . P ra c tic e

to d a rk e n to n e s .

c o lo rin g to n e s by u se o f th e

HOW TO PORTRAY EMOTION WITH THE VOICE. 1.

How

to

in d ic a te

h a p p in e s s .

2.

How

to

in d ic a te

e x c ite m e n t.

3.

How

to

in d ic a te

p a s s io n .

4.

How

to

in d ic a te

sad n ess.

5 . How t o u s e g e s t u r e s . 6 . How t o u s e f a c i a l e x p r e s s i o n s .

im a g in a tio n .

34

To do. 1 . S tu d y c o n t r a s t i n g t y p e s o f so n g s th r o u g h r a d i o 2 . S tu d y t e c h n iq u e s o f a r t i s t s

and r e c o r d in g s .

th ro u g h o b s e r v a tio n .

HOW TQ INCREASE THE BEAUTY OP EXPRESSION THROUGH GOOD PHRASING. 1 . How t o r e a d t h e b r e a t h m a r k s . 2 . How t o w r i t e 3 . How t o

i n b r e a t h m ark s

in t h e m u s ic .

d e te rm in e th e n a t u r a l p la c e f o r a b r e a t h .

To d o . 1 . P r a c t i c e r e a d i n g t h e w o rd s o f s o n g s a l o u d . 2 . L is te n

t o r e c o r d i n g s w i t h a c o p y o f t h e m u s ic

b e fo re you.

HOW TO PRACTICE BY YOURSELF. 1 . How t o w arm u p t h e v o i c e . 2 . How t o c l e a r u p t h e v o i c e

in

3 . How t o p r a c t i c e e a r l y i n t h e

t h e m o r n in g . m o rn in g .

4 . How t o

d e t e r m i n e how l o n g t o p r a c t i c e .

5 . How t o

d e t e r m i n e w h en t o b e g i n t o p r a c t i c e

on s o n g s .

6 . How t o g e t t h e b e s t r e s u l t s f r o m p r a c t i c i n g . 7 . How t o v o c a l i z e

ju s t b e fo re a r e c i t a l o r c o n c e rt.

To d o . 1 . B e g in e a c h p r a c t i c e

w ith f i f t e e n m in u te s o f p ia n is s im o

s in g in g . 2 . 'When t i m e a l l o w s p r a c t i c e

in t e n m in u te p e r i o d s w ith t e n

m in u te r e s t s . 3 . B e st th e l a s t fo u r h o u rs b e fo re a c o n c e rt.

35

4* T e n m i i i u t e s b e f o r e a c o n c e r t jum p o c t a v e s a n d s i n g down th e s c a le * HOW TO USE THE PARTS OF THE BODY WHICH CONTRIBUTE DIRECTLY TO SIHGING* 1* How t o t e a c h v o i c e w i t h o u t m a k in g t h e s i n g e r c o n s c i o u s o f h i s p h y s i c a l m e c h a n ism * 2* How t o

s h a p e t h e m o u th *

3 . How t o u s e t h e c h e e k m u s c le s * 4* How t o u s e t h e

to n g u e *

5* How t o u s e t h e u lv a * 6* How t o u s e t h e n o s e * 7 . How t o u s e t h e c h e s t * 8* How t o u s e t h e r i b s * To d o * 1 . P r a c t i c e r e p e a tin g one p h ra s e o f a song u n t i l e a c h p a r t o f th e s in g in g a p p a ra tu s i s u se d c o rre c tly * 2. Concentrate on one part of the singing ^ p a r a t u s at a time. HOW TO KEEP THE VOICE IN GOOD CONDITION, 1 . How t o

com bat a s e n s i t i v e t h r o a t .

2* How t o

c o m b a t a c o ld *

3* How t o

c h o o se c o ld m e d ic in e s .

4* How t o p r a c t i c e w h i l e h a v i n g a c o l d . 5 . How t o s e l e c t r e m e d i e s f o r c l e a r i n g o u t t h e t h r o a t . 6 . How t o

com bat s in u s t r o u b le .

36

7 . How t o p r e v e n t s i n u s t r o u b l e . 8.

How

to

com bat a d e n o id s

tro u b le .

9.

How

to

o v e rc o m e t h e h a n d i c a p o f f a l s e t e e t h .

To d o . 1 . E x e rc is e r e g u l a r ly . 2.

S e c u re th e a d v ic e o f a p h y s ic ia n

3.

G etp le n ty o f s le e p .

ony o u r

d i e t re q u ire m e n ts .

4 . C ease s in g in g w h ile i n f l i c t e d w ith a b ad c o ld .

37

SELECTED REFERENCES A l k i n , W .A ., Voice* 1927*

New Y o r k ;

B a rro w s, S a ra h T . , V o ic e ; C o ., 1 9 3 3 .

L o n g m a n s, G r e e n a n d C o . ,

How t o U se I t .

F e l d e r m a n , L e o n , T h e Human V o i c e . C o ., 1 9 3 1 . F e u e h t i n g e r , E u g e n e , T he V o i c e . I n s titu te , 1935.

B o s to n :

New Y o r k : C h ic a g o :

E x p re s s io n

H e n ry H o lt an d

P e r f e c t V o ic e

F i l l e b r o w n , T h o m a s, R e s o n a n c e i n R i n g i n g a n d S p e a k i n g . B o s to n ; O l i v e r B i t s o n C o . ,“T 9 l l . F u c i to , S a l v a t o r e , C a ru so and th e A rt o f S in g in g . F r e d e r ic k A. S to c k e s C o ., 1 9 2 2 . H in m a n , F l o r e n c e L . , S l o g a n s f o r S i n g e r s . S c h im e r, 1 9 3 4 .

New Y o r k :

New Y o r k :

G.

M i l l e r , F . 1 . , T he V o i c e , I t s P r o d u c t i o n . C a r e , a n d P r e s e r v a t i o n . New Y o r k : G. S e h i r m e r , 1 9 3 1 . M u rp h e y , G e o rg e A . , T he V o i c e a n d S i n g i n g . G ra n d R a p i d s , M ic h ig a n : A. P . Jo h n so n C o ., P u b l i s h e r s , 1 9 2 9 . P r o s c h o w s k i , F r a n z , T he B e g i n n e r *8 V o ic e B o o k . T h e o d o re P r e s s e r C o ., 1 9 3 0 . P r o s c h o w s k i , F r a n z , T h e Way t o S i n g . an d C o ., 1 9 2 3 .

B o s to n :

R o g e r s , C l a r a K a t h l e e n , Y o u r V o ic e a n d Y o u . B its o n C o ., 1 9 2 5 .

P h ila d e lp h ia : O liv e r D its o n

^ o s to n :

O liv e r

S h a w , W. W a r r e n , "A S t u d y o f C o r r e c t B r e a t h i n g f o r S i n g e r s , " The E tu d e , 5 8 :2 7 0 , A p r i l , 1 9 3 9 . S ta n le y , D o u g la s , The S c ie n c e o f V o ic e . F is c h e r I n c i , 1§29.

New Y o r k :

C a rl

S t a n l e y , D o u g l a s , a n d J . P . M a x f i e l d , T he V o i c e . I t s P r o d u c t i o n and R e p ro d u c tio n . New Y o r k : P itm a n P u b l i s h i n g C o r p o r a tio n , T533. T a y l o r , D a v id C l a r k , P s y c h o l o g y o f S i n g i n g . M a c m illa n C o . , 1 9 1 0 .

New Y o r k :

T he

CHAPTER

IV

HOW TO KEEP THE SINGING GATHERING INTERESTING HOW TO BE AN IN SPIR IN G LEADER♦ 1* How t o m ake f o l l o w i n g t h e e x p r e s s i o n m a r k s a t h r i l l . 2 . How t o u s e y o u r own i m a g i n a t i o n i n m a k in g t h e m u s ie a t t r a c ­ tiv e

and in te r e s tin g *

3 . How t o u s e p r a i s e 4 . How t o

in b u i ld i n g e n th u s ia s m .

g iv e p ep t a l k .

5 . How t o m ak e s u r e t h a t y o u w i l l b e a b l e t o d i r e c t i n s p i r a ­ tio n a lly . 6 . How t o p r e v e n t s i n g e r s f r o m b e c o m in g w e a r y a t a l o n g re h e a rs a l. 7 . How t o a r r a n g e r e h e a r s a l s o n g s t o m ak e f o r c o n t r a s t a n d v a ria tio n . 8 . How t o

i n s p i r e b y t h e s u r p r i s e e le m e n t.

To d o . 1 . S tu d y t h e i n t e r p r e t a t i o n p re s e n tin g

o f a so n g th o ro u g h ly b e fo r e

it.

2 . L et s tu d e n ts su g g e st in te r p r e ta tio n s . 3 . G e t i d e a s fro m r a d i o

a n d m o v ie p r o g r a m s .

4 . M ake a h a b i t o f g i v i n g p r a i s e a n d e n c o u r a g e m e n t . 5 . S e l e c t and a rr a n g e so n g s a c c o rd in g t o m ood. 6 . I n v e n t h u m o ro u s s t o r i e s

and p u n s f o r

illu s tra tio n .

39

HOW TO'WIN THE CONFIDENCE OF YOUR SINGERS/ 1 . How t o d e v e l o p y o u r a b i l i t y

2.

to sp eak b e fo re a c la s s .

How t o l e a r n y o u r s o n g s s o t h a t y o u m ay t e a c h th e m w i t h c o n fid e n c e .

3 . How t o s t u d y a s o n g t o b e t a u g h t . 4 . How t o m e m o riz e a s o n g f o r t e a c h i n g p u r p o s e s . 5 . How t o k e e p o n e jum p a h e a d o f t h e

s in g in g c l a s s .

6 . How t o c o v e r u p a m i s t a k e w i t h a j o k e o r a f u n n y s t o r y . 7 . How t o k e e p y o u r p o i s e i n f r o n t o f a g r o u p . 8 . How t o e l i m i n a t e t h e d a n g e r o f t h e a c c o m p a n i s t n o t k n o w in g th e so n g s . To d o . 1 . I m p ro v e y o u r s p e a k i n g a b i l i t y .

T ake le s s o n s

in sp eech .

2 . P r a c tic e le s s o n p r e s e n ta tio n . 3 . L e a rn s e l f - c o n t r o l . 4 . L e a r n t o u s e new w o r d s . 5 . P la n le s s o n s w e ll in ad v an ce;

r e h e a r s e m any t i m e s .

6 . S tu d y r e c o r d i n g s o f s o n g s t o b e l e a r n e d . 7 . A d m it y o u r m i s t a k e s ;

a v o id b e in g a p o l o g e t i c .

8 . G iv e y o u r a c c o m p a n i s t t h e m a t e r i a l i n a d v a n c e . HOW TO BE TACTFUL. 1 . How t o

c o u n t t e n b e f o r e y ou e x p lo d e w i t h a n g e r .

2 . How t o h a n d l e p e o p l e w ho do n o t w a n t t o

s in g on th e p a r t

t o w h ic h y o u a s s i g n th e m . 3 . How t o h a n d l e p e o p l e who t h i n k t h e y s h o u l d s i n g a l l t h e s o lo s .

4* How

to to n e

down a l o u d v o i c e w i t h o u t o f f e n d i n g t h e c u l p r i t

5* How

to c r i t i c i z e in d iv id u a ls o f th e

6* How

t o re p rim a n d th e c l a s s w ith o u t g iv in g o f f e n s e .

7 . How

t o l a u g h w i t h t h e c l a s s When t h e j o k e i s

8 . How

to r e lie v e a te n s e s itu a tio n .

c la s s w ith o u t o ffe n d in g

on y o u .

To d o . 1 . I n v e n t d e v ic e s to c o n t r o l y o u r te m p e r. 2 . M ake t h e s i n g e r s c o n s c i o u s o f t h e

im p o rta n c e o f t h e

h a rm o n y p a r t s . 3 . D e v e lo p r e s p e c t f o r y o u r d e c i s i o n s . 4 . A v o id h a s t y d e c i s i o n s . 5 . P l a n s t r a t e g i c m o v e s w h e r e b y y o u m ay g e t u n c o o p e r a t i v e p e o p le t o

c o m p ly w i t h y o u r w i s h e s .

6 . A v o id b e i n g p e r s o n a l i n c r i t i c i s m s . HOW TO DEVELOP AN UNDERSTANDING OP THE PEOPLE . YOU ARB TRYING TO TEACH. 1.

How t o v i s i t

a f te r re h e a rs a ls .

2.

How t o l e a r n t o know s i n g e r s t h r o u g h s o c i a l c a l l s #

3.

How t o m ak e a c q u a i n t a n c e s .

4.

How t o re m e m b e r n a m e s .

To d o . 1 . E n la rg e y o u r s o c i a l r e l a t i o n s h i p s . 2 . S t o c k u p o n h u m o ro u s s t o r i e s f o r t h e i r e n t e r t a i n m e n t . 3 . S t u d y t h e h i s t o r y a n d b a c k g r o u n d o f y o p r p e o p le * 4# L e a r n how t o m ake i n t r o d u c t i o n s . in g n am es.

M ake a p o i n t o f re m e m b e r­

41

HOW TO USE GROUP PL A M IN G . 1* How

to ta k e r o l l a t a r e h e a r s a l.

2# How

to u se th e h e lp o f th e s in g e r s

3 . How

t o m ak e t h e s i n g i n g s c h o o l a c o o p e r a t i v e a f f a i r .

4 . How

t o c h o o s e c o m m i t t e e s f o r p l a n n i n g w o rk#

5 . How t o w o rk u p t h e

in ta k in g r o ll*

i n t e r e s t o f t h e m a le m em b ers t h r o u g h

t h e u s e o f c o m m itte e s . 6 . How

to engage p u p il p a r t i c i p a t i o n

7 . How

t o m ak e u s e o f t h e c l a s s i n

in th e p la n n in g o f le s s o n s . th e t e s t i n g

o f v o ic e s .

To d o . 1 . S e t u p r o l l - c a l l c o m m itte e s * 2. S h ift re s p o n s ib ility

o f p la n n in g to s tu d e n ts .

3 . M eet w i t h c o m m itte e s . 4 . H av e s t u d e n t s k e e p t h e g r o u p p o s t e d o n c u r r e n t m u s i c a l h a p p e n in g s . 5 . M ake u p m u s i c a l s k i t s ,

c a n ta ta s ,

e tc .

HOW TO USE STUDEHT HELP IN SINGING AND DIRECTING. 1 . How

to g iv e

s p e c i a l h e lp to

th e

2 . How

to t r a i n

3 . How

to u s e s tu d e n t c o n d u c tin g .

le s s advanced s in g e r.

a s s is ta n t le a d e rs .

To d o . 1 . S e le c t th e b e s t s in g e r s to h e lp o th e r s . 2 . .U s e p i a n o a c c o m p a n im e n t a n d g o o d s i n g e r s f o r l e a d e r s o f s m a ll g ro u p r e h e a r s a l s .

43

3* U rg e e v e r y o n e t o

try

h i s h a n d a t c o n d u c t in g *

HOW TO

EMPLOY HOME PRACTICE*

1* How

to

s t i m u l a t e home p r a c t i c e *

3* How

to

a rra n g e f o r

3* How

to

s e l e c t l e a d e r s f o r t h e hom e p r a c t i c e g r o u p s .

a c c o m p a n i s t s f o r home p r a c t i c e g r o u p s .

To d o * 1* A r r a n g e f o r g r o u p p r a c t i c e s

i n h o m es b y t u r n s .

3 . E n c o u r a g e gam e p l a y i n g a n d s e r v i n g o f r e f r e s h m e n t s * 3* D i v i d e c l a s s

in to

s m a ll g ro u p s .

HOW TO SELECT 30NGS M B ARRANGE THEIR ORDER* 1* How t o v a r y t h e s o n g s i n a l e s s o n * 3 . How t o v a r y t h e o r d e r o f s o n g s b y p a r t s . 3 . How t o

a r r a n g e t h e o r d e r o f so n g s a c c o r d in g t o m ood.

4 . How t o u s e r o u n d s a n d h u m o ro u s s o n g s . 5 . How t o

s a tis fy

s p e c ia l a b il i tie s

in th e

s in g in g s c h o o l.

6 . How t o

s a tis fy

in d iv id u a l t a s t e s

in th e s in g in g s c h o o l.

To d o . 1 . “V a ry s o n g s a c c o r d i n g t o m ood a n d d i f f i c u l t y . 3 . E n c o u ra g e s t u d e n t p a r t i c i p a t i o n

i n c h o ic e o f s o n g s .

HOY/' TO KEEP A XJSSSON MOVING. 1 . How t o k e e p e v e r y o n e b u s y w h i l e g i v i n g s p e c i a l h e l p . 3* How t o k e e p ©11 t h e s t u d e n t s s i n g i n g . 3 . How t o k e e p a g r o u p a t t e n t i v e .

43

4 . How t o k e e p a g r o u p a l e r t . 5 . How t o p r e v e n t t h e c l a s s f ro m t a l k i n g . To d o . 1 . P la n e v e ry d e t a i l o f y o u r le s s o n . 2 . A n t i c i p a t e p ro b le m s an d h a v e m eans o f

s o lu tio n re a d y .

3 . P la n d e v ic e s and s u r p r i s e s f o r k e e p in g th e c l a s s a l e r t . HOW TO PROVIDE A STIMULUS FOR WORE:. 1 . How t o u s e p r o g r a m s f o r s t i m u l a t i n g w o r k . 2* How t o u s e f r e q u e n t r e c i t a l s

f o r s t i m u l a t i n g w o rk .

3 . How t o o r g a n i z e a f e s t i v a l o r o t h e r p u b l i c p e r f o r m a n c e . To d o . 1 . P la n f o r and s e t d a te s f o r c o n c e r ts , r e c i t a l s ,

and p ro g ra m s.

2 . K eep p o s t e d o n new m a t e r i a l s . 3. U tiliz e your lib ra ry . HOW TO MAKE USE OF SPECIAL TALENT. 1 . How t o d e v i s e p l a n s a n d a c t i v i t i e s c l a s s m o re i n t e r e s t i n g 2 . How t o u s e y o u r s p e c i a l 3 . How t o p r e p a r e t h e

t o m ake t h e s i n g i n g

and v a lu a b le . e n s e m b le s f o r p ro m o tin g i n t e r e s t .

s i n g i n g c l a s s f o r v i s i t i n g m u s ic g r o u p s .

4 . How t o m ak e s u r e t h e o u t s i d e m u s i c g r o u p s i n v i t e d w i l l p e rfo rm th e d e s ir e d ty p e o f m u s ic . 5 . How t o d e c i d e w h a t o u t s i d e m u s i c a l g r o u p s s h o u l d b e i n v i t e d to p e rfo rm . 6* How t o t e a c h t h e

s i n g i n g c l a s s t h e th e m e s o f c o m p o s i t i o n s

to be p la y e d o r sung by v i s i t i n g

g ro u p s.

44

7.

How t o s t u d y t h e t i t l e s

and

c o m p o sers o f th e s e l e c t i o n s

t o be p la y e d o r su n g by v i s i t i n g

g ro u p s.

To d o . 1 . U t i l i z e n e a rb y c o lle g e s and s c h o o ls f o r f u r n is h in g m u s ic a l p ro g ra m s. 2 . U se y o u r own s p e c i a l e n s e m b l e s a t s i n g i n g l e s s o n s . 3 . M ake a s u r v e y o f t a l e n t 4.

i n y o u r c o m m u n ity .

O b ta in in a d v a n c e an d s tu d y

p ro g ra m s o f v i s i t i n g g ro u p s

th ro u g h th e u s e o f r e c o r d s , b o o k s , e t c . 5 . O rg a n iz e g ro u p t r i p s

to

o u ts ta n d in g c o n c e rts

in n e a rb y

c itie s . HOW TO DEVELOP M

INTEREST IB MUSIC P ffiT IC IF A T IO N *

1 . How t o

c re a te th e d e s ir e to

s in g *

2 . How t o

i n t e r e s t b o y s in g ro u p o r s o l o r s in g in g .

3 . How t o u s e o u t s i d e m u s i c g r o u p s f o r w o r k in g u p i n t e r e s t i n m u s ic . 4* How t o 5.

c r e a t e t h e d e s i r e t o p l a y th e p ia n o *

How t o p l a n b u s t r i p s

to

c itie s

f o r th e p u rp o se o f h e a rin g

c o n c e rts . To d o . 1 . B r i n g g o o d m u s ic g r o u p s t o y o u r c o m m u n ity . 2 . B r i n g i n g r o u p s o f m a le s i n g e r s . 3 . D e v e lo p a g o o d m a le q u a r t e t o r o c t e t . HOW TO HAVE E M WITH HARMONY. 1.

How t o u s e a c o m m itte e i n p l a n n i n g r e f r e s h m e n t s .

45

2 . How t o

se rv e re fre sh m e n ts a t a r e h e a r s a l.

3 . How t o h a n d l e r e f r e s h m e n t s w h e n t h e s i n g i n g s c h o o l c l a s s e s a r e h e ld i n p r i v a t e hom es. 4 . How t o t u r n a r e h e a r s a l i n t o a s o c i a l o c c a s i o n . To d o . 1 . E ncourage a s o c i a l h o u r a f t e r r e h e a r s a l s . 2 . W ork o u t a s y s t e m o f r o t a t i n g

th e se rv in g o f re fre sh m e n ts.

3 . S u g g e s t f a v o r i t e l o c a l s i n g i n g g a m e s ; f i n d new game m a te ria ls

in your lib r a r y .

46

SELECTED REFERENCES B e a t t i e , M c C o n a th y M. , M a s i o i n t h e J u n i o r H i g h S c h o o l # Y ork: S i l v e r B u r d e t t C o . , 1 938#

New

C o l e m a n , M rs# S a t i s N a r r o n a , C r e a t i v e M u s ic i n t h e Home# New Y o r k : T h e J o h n D ay C o . , 1 93 9 # C o u c h , W# TV, C u l t u r e i n t h e S o u t h # o f N o rth C a r o lin a P r e s s , 1935.

C hapel H i l l:

U n iv e rs ity

C r a n e , J u l i a E . , M u s ic T e a c h e r s M a n u a l # P o t s d a m , New Y o r k : E l l i o t Fay and S o n s, P r i n t e r s , 1915. C h r i s t i a n s o n , H e l e n M a r g u e r i t e , B o d i l y R h y t h m i c M o v e m e n ts o f Y o u n g C h i l d r e n i n R e l a t i o n t o R h y th m i n M u s i c I New Y o r E : T e a c h e r s C o l l e g e , C o lu m b ia U n i v e r s i t y , 1 9 3 8 . D ann , H o l l i s , C o m p le te M an ual f o r T e a c h e r s # A m e r i c a n B ook C o . , 1912# •

New Y o r k :

D y k e m a , P e t e r W . , a n d H a n n a h M# C u n d i f f , New S c h o o l M u s ic H andbook# B o sto n : C# C. B i r c h a r d a n d C o . , 1 9 3 9 . E a r h a r t , W i l l , T e a c h e r s M an u a1 f o r C h o r a l T e c h n i q u e s # Y o r k : M# W itm a r k a n d S o n s , 1 9 3 8 .

New

G e h r k e n s , K a r l W i l s o n , M u s ic i n t h e J u n i o r H i g h S c h o o l . B o sto n : G . , C . B i r c h a r d a n d C o . , 1S36# G i d d i n g s , T h a d d e u s P # , W i l l E a r h a r t , And R a l p h L . B a l d w i n , The T e a c h e rs B ook# B o s to n : Gi n n a n d C o . , 1 9 2 5 . H a m e r, M. M . , " E x e r c i s e s V e r s u s P i e c e s i n T e a c h i n g M u s i c . " U n p u b lish e d M a s te r ’ s t h e s i s , U n iv e r s ity o f S o u th e rn C a l i f o r n i a , Los A n g e le s , C a l i f o r n i a , 1933. H u b b a r d , G e o r g e E a r l , M u s ic T e a c h i n g i n t h e E l e m e n t a r y G r a d e s . New Y o r k : A m e r i c a n Bo o k C o . , 1 9 3 4 • J e r s i l d , A r t h u r T h o m a s , D e v e l o p m e n t o f Rhytjam i n Y o u n g C h i l d r e n . New Y o r k : T e a c h e r s C o l l e g e , C o lu m b ia U n i v e r s i t y , 1 $ 3 S . M u r s e l l , G l e n n , P s y c h o l o g y o f S c h o o l M u s ic T e a c h i n g . Y ork: S i l v e r B u r d e t t ancT G o . , 1 9 3 1 .

New

I ^ a t t , C a r o l l C o r n e l i u s , The M ean in g o f M u s ic ; a S tu d y i n P sy c h o lo g ic a l A e s th e tic s . New- Y o r k : M c G r a w - H i l l B ook C o ., I n c . , 1931.

47

S e a s h o r e , C a r l E m il. P s y c h o lo g y o f M u sic . H i l l Book U p ., I n c . , 1 9 3 8 .

Mew Y o r k :

McGraw-

S m i t h , M e l v i l l e , a n d Max T . K r o n e , F u n d a m e n t a l s o f M u s i c i a n s h i p . Mew Y o r k : W it m a r k E d u c a t i o n a l P u b l i c a t i o n s , D e p a r t m e n t o r W it m a r k a n d S o n s , 1 9 5 7 # T a y l o r , D a v i d C . , T h e M e l o d i c M e th o d i n S c h o o l M u s i c . Y o r k : T he ^ a c m i l l a n W >., 1 9 1 8 .

New

T e r r y , B. They L iv e on t h e L a n d . The U n i v e r s i t y o f A lab am a, B u re a u o f E d u c a t i o n a l R e s e a r c h , 1 9 3 7 , T h o r p e , L o u i s P e t e r gi P e r s o n a l i t y a n d L i f e . L ongm ans, G re e n , a n d U o ., 1 9 4 1 .

Mew Y o r k :

W r i g h t , F r a n c e s , E l e m e n t a r y M u s ic E d u c a t i o n ; T h e o r y a n d P ra c tic e . Los A n g e le s , L ym anhouse, 1939• Z a n z ig , A u g u s tu s D e l a f i e l d , The C o ncord T e a c h e r s G u id e ; A M anual f o r A ll G ra d e s. B o sto n : S . C. S c h i r m e r , 1 9 3 9 .

CHAPTER

V

HOW TO PREPARE FOR PUBLIC PERFORMANCES HOW TO SING WITH PO ISE AND PERSONALITY. 1 . How t o d e v e l o p s t a g e p r e s e n c e • 2.

How t o b e p o i s e d

when s i n g i n g a s o lo *

3*

How t o k e e p

4.

How t o p r e v e n t s t a g e f r i g h t .

5.

How t o c o n t r o l s h a k i n g k n e e s .

6.

How t o c o n t r o l c h a t t e r i n g t e e t h a n d a d r y t o n g u e .

7.

How t o c o n t r o l t r e m b l i n g h a n d s .

8.

How t o k e e p

fro m c o u g h in g i n f r o n t o f an a u d ie n c e .

9.

How t o h o l d

y o u r h a n d s when s i n g i n g a s o l o .

fro m f e e l i n g t h a t y o u a r e a l l h a n d s

and f e e t .

1 0 . How t o s t a n d w h i l e s i n g i n g a s o l o . To d o . 1 . A rran g e t o

sin g

in p u b lic as o f te n as p o s s ib le .

2 . O bserve p o i s e and c o n t r o l o f o t h e r s o l o i s t s . 3.

In v e n t d e v ic e s f o r s e l f - d i s c i p li m e .

4. P ra c tic e b efo re a m irro r. HOW TO HAVE PO ISE WITHOUT PRETENSE. 1 . How t o d r e s s n o t c o n s p i c u o u s l y b u t w i t h d i s t i n c t i o n . 2 . How t o

c a p ita liz e

on y o u r good p o i n t s .

3 . How t o d e v e l o p m a n n e r i s m s t h a t w i l l c o n t r i b u t e t o y o u r p e rs o n a lity .

49

4 . How t o u s e m a k e - u p f o r a p u b l i c p e r f o r m a n c e i n t h e e v e n i n g ; i n t h e d a y tim e * To d o , 1* S t u d y a u t h o r i t a t i v e w o r k s o n p r o p e r d r e s s * 2* S e e k c r i t i c i s m

o f frie n d s*

3* L e a r n how t o b e y o u r s e l f . 4 . C o n c e n tr a te on d e v e lo p in g c e r t a i n f a u c e t s o f y o u r p e rs o n a lity * HOW TO DEVELOP A SONG REPERTOIRE* 1* How t o

s e l e c t songs f i t t e d

f o r th e v o ic e *

2 . How t o

s e le c t songs s u ite d to your sin g in g s ty le

and

p e rs o n a lity * 3 . How t o s e l e c t s o n g s r e p r e s e n t a t i v e o f t h e v a r i o u s p h a s e s in m u sic l i t e r a t u r e * 4* How t o

s e le c t songs fo r p r o g r e s s iv e ly

im p ro v in g t h e

5* How t o

s e l e c t p i e c e s f r o m a c o m m u n ity s o n g b o o k f o r

v o ice * use

a s so lo s* 6.

How

to

s e le c t p ie c e s

f r o m hymn b o o k s f o r u s e a s s o l o s *

7.

How

to

d ev elo p good t a s t e in d e c id in g uponi n t e r p r e t a t i o n s

in s o lo sin g in g * 8*

How

to

s in g songs d r a m a tic a lly .

9.

How

to

sin g in d i a l e c t .

To do* 1* T a k e l e s s o n s c o n s i s t e n t l y * 2* S t u d y t h e s o n g s i n c o n n e c t i o n w i t h t h e p e r s o n a l i t i e s o f ra d io

so lo ists*

50

3# S e l e c t s o n g s o f m u s i c a l w o r t h w i t h i n t e r e s t i n g m a t e r i a l s # 4# P r a c t i c e r e a r r a n g i n g p i a n o a c c o m p a n i m e n t s . 5.

Take n o t e s on i n t e r e s t i n g

s o n g s y o u h e a r and t r y th e m f o r

y o u rse lf. HOW TO SELECT MUSIC FOR PUBLIC PERFOHMMGS# 1 . How t o s e l e c t m u s i c f o r s p e c i a l o c c a s i o n s a n d v a r i o u s situ a tio n s. 2.

How

to s e le c t

m u sic

o f v a r i o u s m oods.

3.

How

to s e le c t

m u sic

to f i t

4.

How

to s e le c t

group

num bers f o r a s c h o o lo c c a s i o n .

5.

How

to s e le c t

a so lo f o r a sc h o o l o c c a sio n .

6.

How

to s e le c t

m u sic f o r a c h u rc h s e r v i c e .

7.

How

to s e le c t

m u sic f o r a f u n e r a l #

8.

How

to s e le c t

m u sic f o r a w e d d in g .

9.

How

to s e le c t

a so lo r fo r

th e

a u d ie n c e #

a p e r s o n who h a s t r o u b l e w i t h

th e h ig h n o te s . 10# How t o

s e l e c t hym ns f o r v a r i o u s o c c a s i o n s .

To d o . 1.

S e c u re s p e c i a l c a t a l o g u e s fro m m u sic p u b l i s h e r s ;

get your

nam e o n t h e i r m a i l i n g l i s t s . 2# H a v e t h e p u b l i s h e r s e l e c t m u s i c o f d i f f e r e n t t y p e s f o r your a p p ro v a l. 3 . S tu d y y o u r a u d ie n c e s . 4 . Make y o u r c h o i c e s t i m e l y f s e a s o n a b l e ,

a p p ro p ria te .

51

HOW TO CHOOSE ENCORES, 1 . How t o d e c i d e t h e n u m b e r o f e n c o r e s t o s i n g . 8 . How t o c h o o s e e n c o r e s w h en s i n g i n g f o r e l e m e n t a r y a n d ju n io r h ig h sc h o o l c h ild r e n . 3 . How t o c h o o s e

e n c o re s fo e a c o lle g e a u d ie n c e .

4 . How t o c h o o s e

e n c o r e s w h en s i n g i n g f o r h i g h s c h o o l p e o p l e .

5 . How t o c h o o s e

e n c o re s f o r an a d u lt a u d ie n c e .

6 . How t o c h o o s e

e n c o re s f o r an in fo rm a l r e c i t a l

or c o n c e rt.

7* How t o c h o o s e

en co res f o r a fo rm al r e c i t a l o r

c o n c e rt.

Toudo. 1 . B u i l d up a r e p e r t o i r e

o f v a rio u s ty p e s o f e n c o re s.

2 . K eep up w i t h t h e b e s t p o p u l a r s o n g s . 3* S t u d y y o u r a u d i e n c e s . 4 . L i s t e n f o r new m a t e r i a l s on r a d i o p r o g r a m s . HOW TO MAKE STAGE ENTRANCES AM) E X IT S . 1 . How t o m ak e y o u r e n t r a n c e s a n d e x i t s

i f you a r e :

a . T he a c c o m p a n i s t o f a v o c a l s o l o i s t . b . A p ia n o s o l o i s t . c. A vocal s o lo is t. d . A s m a ll e n se m b le . e. A la rg e f.

gro u p .

The c o n d u c to r o f a g ro u p .

To d o . 1 . E x a m in e t h e

s ta g e p re v io u s to p erfo rm an ce.

2 . D e t e r m i n e y o u r m o v e m e n ts i n a d v a n c e .

52

3* C o n s u l t a u t h o r i t a t i v e w o r k s # 4# R em em ber c o u r t e s y d e t e r m i n e s m o s t m o v e m e n t s . HOW TO ANNOUNCE PROGRAM NUMBERS# 1 . How t o

a n n o u n ce num bers f o r p e rfo rm e rs #

2 . How t o p r e s i d e a t a m u s i c a l p r o g r a m # 3# How t o m ake s u r e y o u w i l l s a y t h e r i g h t t h i n g d u c in g s p e c i a l n um bers, 4# How t o

in

in tro ­

e tc #

a n n o u n c e y o u r n u m b ers when no p r i n t e d p ro g ra m s a r e

u se d i f you a re a s o l o i s t . 5.

How t o a n n o u n c e y o u r e n c o r e s .

To d o # 1 . R e h e a r s e y o u r a n n o u n c e m e n ts# 2 . N o te m e th o d s u s e d b y c o n c e r t a r t i s t s . 3 . Be g u i d e d b y t h e mood o f t h e a u d i e n c e . 4.

C o n su lt a u t h o r i t a t i v e w o rk s.

HOW TO MAKE CURTAIN CAULS;

HOW TO BOW#

1.

How

to

m ake c u r t a i n c a l l s

2.

How

to

answ er c u r t a i n c a l l s

th e c o n d u c to r;

i f you a re a i f you a re

la r g e g ro u p . a

m an ; a w om an;

th e a c c o m p a n ist.

3.

How

to

h o l d y o u r h a n d s w h en b o w in g #

4.

How

to

h o l d y o u r h e a d when b o w in g .

5.

How

to

p l a c e y o u r f e e t when b o w in g .

6 . How t o bow i f y o u a r e a p i a n i s t ;

th e c o n d u c to r.

7 . How t o know w h e n a n a c c o m p a n i s t s h o u l d bow t o a n a u d i e n c e .

53

To do: 1 . A v o id p r e t e n t i o u s g e s t u r e s ; 2 . A v o id c l u t c h i n g

c u l t i v a t e f r e e , e a s y m o v em en ts.

a t n earb y o b je c ts .

5 . Rem em ber t o s m i l e . 4 . O bserve r o u t i n e s

i n c o n c e r t s and r e c i t a l s w h ic h y ou a t t e n d .

5. P ra c tic e b efo re a m irro r. HOW TO MANAGE STAGE PROPERTIES AND EFFECTS. 1 . How

to

s e t th e s ta g e .

2 . How

to

p la c e a p ian o f o r a

m u s ic a l p ro g ram .

3 . How t o

arran g e th e lig h tin g s .

4 . How t o

c o v e r up sta g ® d e f e c t s w i t h l i g h t s .

5 . How t o m a n a g e a u d i t o r i u m l i g h t s . 6 . How t o u s e e x i t l i g h t s . 7 . How t o m ak e f a d e - o u t l i g h t s . 8 . How

to

get sp e c ia l e ffe c ts

9 . How

to

p la c e th e l id

w ith sky and

fo o tlig h ts .

o f th e g ran d p ia n o f o r v a rio u s

o c c a sio n s.

To d o . 1 . S e l e c t a m an t o o p e r a t e y o u r l i g h t s ; * lis t

of d ire c tio n s;

g i v e h im a w r i t t e n

in v e ig le e l e c t r i c i a n s to h e lp o u t.

2. E x p erim e n t w ith p r o p e r t i e s b e f o r e u s in g . 3 . S tu d y l i g h t s h a d in g s and shadow s;

c o n su lt your lib r a r y .

4 . D e le g a te r e s p o n s i b i l i t i e s t o p e o p le you can t r u s t .

54

HOW TO DECORATE FOR CONCERTS AND RECITALS* X* How t o us© f l o w e r s a t f o r m a l o r i n f o r m a l c o n c e r t s . 2 . How t o p l a c e f l o w e r s o n a p i a n o . 3 . How t o d e c o r a t e w i t h o u t f l o w e r s . 4 . How t o m a k e t h e s t a g e n e a t a n d a t t r a c t i v e . To d o . 1. U tiliz e

s e a s o n a l flo w e rs and m o tiv e s .

2 . A v o id o v e r - d e c o r a t i n g . 3 . F o llo w fu n d a m e n ta l p r i n c i p l e s

o f b a la n c e and c o lo r .

HOW TO PLAN A MUSIC PROGRAM. 1# How t o b u i l d a p r o g r a m s u i t e d t o t h e a n t i c i p a t e d a u d i e n c e . 2.

How t o c h o o s e s e l e c t i o n s .

3.

How t o d e c i d e

on t h e o r d e r o f n u m b ers.

To d o . 1 . A n tic ip a te your a u d ie n c e ; 2 . T im e a l l

s e l e c t num bers on t h i s

b a sis.

t h e num b ers on y o u r p ro g ra m .

3 . A v o id a l l - n e w m a t e r i a l s . 4 . A v o i d t o o m an y f a m i l i a r n u m b e r s . 5. S ecu re a v a r i e t y o f ty p e s . HOW TO MAKE A PRINTED PROGRAM. 1.

How t o m ak e a

p rogram n e a t and a t t r a c t i v e .

2.

How t o p a y f o r t h e c o s t o f p r i n t i n g a p r o g r a m .

3 . How t o m a k e t h e p r i n t i n g 4 . How t o

title

o f p r o g r a m s a c o m m u n ity p r o j e c t .

a p r i n t e d p ro g ram .

5 . How t o d e c i d e w h a t w i l l g o i n t h e p r i n t e d p r o g r a m .

55

6 . How t o m a k e a n e c o n o m i c a l p r o g r a m * 7 . How t o m im e o g r a p h a p r o g r a m . 8 . How t o p r i n t a p r o g r a m b y h a n d . To d o . 1 . C o n s id e r fo rm o f p ro g ra m ,

s p a c in g , ty p e of l e t t e r i n g ,

2 . C o n s u lt r e f e r e n c e s on c a p i t a l i z a t i o n ,

p ap er.

p u n c tu a tio n ,

s p e llin g . 5 . E n l i s t th e a id o f l o c a l t y p i s t s and a r t te a c h e r s . 4 . S e l l a d v e r t i s e m e n t s p a c e t o b u s i n e s s m en. 5 . Make a c k n o w l e d g e m e n t s o f h e l p r e c e i v e d . HOW TO PRESS FOR CONCERTS AND RECITALS. 1 . How t o d r e s s f o r a f o r m a l m u s i c a l c o n c e r t i f y o u a r e a m an;

a woman.

2 . How t o d r e s s w h e n y o u a r e p e r f o r m i n g a t a n i n f o r m a l p ro g ra m i f y o u a r e a m an; 3 . How t o d r e s s

a woman.

i f you a re a c o n d u c to r.

4 . How t o c o s t u m e -• a g r o u p f o r v a r i o u s t y p e s o f p r o g r a m s . 5 . How t o

choose

6 . How t o c h o o s e

a flo w e r f o r

your b u tto n h o le .

and w ear a c o rs a g e .

7 . How t o u s e m a k e - u p . To d o . 1 . F o llo w l o c a l c u sto m a s f a r

as is

c o in c id e n t w ith good t a s t e .

2 . C hoose c o m f o r ta b le c l o t h i n g . 3 . Be s u r e g r o u p

c o stu m e s a r e

4 . C o n sid e r th e se a s o n o f

th e

u n ifo rm in le n g th ,

c o lo r,

y ear;

day.

5 . H o ld a d r e s s r e h e a r s a l t o t e s t l i g h t s

th e tim e o f

and m ake u p .

e tc .

56

SELECTED REFERENCES L

C ooke, Jam es F r a n c e s , G r e a t S i n g e r s on t h e A r t o f S i n g i n g . P h ila d e lp h ia : T h e o d o r e P r e s s e r C o . , 1921'* F in c k , H enry T . , M u s ic a l P r o g r e s s # P r e s s e r C o . , 1& 23.

P h ila d e lp h ia :

G o o d r ic h , A l f r e d J o h n , G u id e t o M e m o riz in g M u s ic . The Jo h n C h u rc h C o ., 1 9 0 6 . G reen e, H a rry P lu n k e t, I n t e r p r e t s t i o n The M a c m illa n C o ., 1 9 2 1 .

in Song.

H e n d e r s o n , C h a r l e s , How t o S i n g f o r M o n e y . H a r c o u r t, B ra c e and £ o . , 1 9 4 0 . H e n d e r s o n , W. J . , T h e A r t o f t h e S i n g e r . S c r i b n e r * s S o n s , 191(5.

T heodore New Y o r k :

New Y o r k :

New Y o r k : New Y o r k :

H in m an , F l o r e n c e L . , S l o g a n s f o r S i n g e r s . S c h irm e r, 1934•

C h a rle s

New Y o r k :

G.

M ackay, C o n s ta n c e B *A rcy, C o stu m es an d S c e n e r y f o r A m a te u r s . New Y o r k : H e n r y H o l t a n d C o . , 1 9 3 2 . S o r o n t i n , E r i c h , The P ro b le m o f M u s ic a l E x p r e s s i o n . E ric h S o ro n tin , 1932. S t r a t t o n , C la re n c e , P ro d u c in g in L i t t l e H enry H o l t an d C o ., 1 9 3 0 . T e t r a z z i n i , L u i s a , How t o S i n g . P r e s s e r C o ., 1923. Y o u n g , J a m e s , M a k in g U p .

T h e a tre s.

P h ila d e lp h ia :

New Y o r k :

N a sh v ille : New Y o r k :

T heodore

M. W it m a r k a n d S o n s ,

1929.

CHAPTER

VI

HOW TO READ THE PRINTED PAGE HOW TO HOLD A NOTE FOR THE CORRECT LENGTH OF TIME* 1 . How t o know w h a t

k in d o f a n o te i s

2 . How t o l e a r n t h e

tim e v a lu e s o f th e v a r io u s n o te s*

3.

How t o b e s t

out th e

n o te s in

4 . How t o b e a t o u t t h e n o t e s 5.

How t o b e a t

o u t th e

P

t 4

,

%

T

th e u n it

4

T

i n 2 , ^ ,© n d &

o f b e a t*

6

x t im e * 4 t im e *

Q

n o te s in g t g , g , and

l o

= g tim e *

To d o * 1* A r r a n g e n o t e s i n o r d e r o f v a l u e a n d d e t e r m i n e m a t h e m a t i c a l re la tio n sh ip s. 2* P r a c t i c e w r i t i n g m e a s u r e i n v a r i o u s p o s s i b l e c o m b i n a t i o n s . 3. P ra c tic e b e a tin g

o u t n o t e s w i t h num ber s y s te m .

4. P ra c tic e b e a tin g

o u t n o t e s w i t h l e t t e r nam e

sy ste m .

HOW TO READ THE DOTTED NOTES. 1.

How t o i n t e r p r e t

a dot a fte r

a n o te .

2*

How t o i n t e r p r e t

a d o t above

o r b e lo w a n o t e .

3.

How t o i n t e r p r e t

a dot a fte r

a re st.

4.

How t o b e a t o u t t h e d o t a f t e r

a n o te*

To d o , 1.

P ra c tic e

sin g in g s ta c c a to

on a l l t y p e s o f n o t e c o m b i n a t i o n s .

2* S i n g v o c a l e x e r c i s e s w i t h s t a c c a t o t o n e s . 3.

B e a t rh y th m w i t h hand g i v i n g p r o p e r m o tio n t o e a c h b e s t ; check each n o te s e p a r a te ly .

58

4 . C a l l n o t e s b y nam e a s i n W ag n e r s y s t e m o f c o u n t i n g . 1 HOW TO HEAD THE RHYTHM. 1 . How t o

i n t e r p r e t t h e to p num bers o f t h e m e a su re s i g n a t u r e .

2 . How t o

i n t e r p r e t th e b o tto m n u m b ers.

3 . How t o u s e t h e m e a s u r e s i g n a t u r e

i n d e te r m in in g t h e rh y th m

4 . How t o

in d ic a t e th e v a rio u s m easu re s i g n a tu r e s .

5 . How t o

i n d i c a t e t h e rh y th m on t h e s t a f f .

6 . How t o o r g a n i z e a n d s i m p l i f y t h e d i f f e r e n t t y p e s o f r h y t h m 7 . How t o b e a t t h e r h y t h m w i t h y o u r h a n d o r y o u r f o o t . 8 . How t o k e e p t h e r h y t h m w i t h o u t u s i n g h a n d o r f o o t . 9 . How t o g e t t h e

" fe e l* o f p u lse g ro u p s.

1 0 . How t o d i s c o v e r t h e s t r o n g b e a t a n d t h e w e a k b e a t . 1 1 . How t o d i v i d e m u s i c

i n s t r o n g and w eak b e a t s .

1 2 . How t o know w hen t o b e a t t h e t i m e o u t f o r t h e s i n g e r s . To d o . 1 . C o m m itt t o m em ory t h e v a r i o u s m e a s u r e s i g n a t u r e s a n d t h e i r m e a n in g s. 2. C l a s s i f y th e m easu re s ig n a tu re s in to

th e ir

lo g ic a l group­

in g s. 3 . S tu d y r e c o r d i n g s o f rh y th m m u sic s u c h a s S t r a u s s w a l t z e s , m arch es, 4.

and fo x t r o t s .

S tu d y s t r o n g b e a t s and a c c e n ts th ro u g h p o p u la r d an ce tu n e s .

1A r n o l d M. W a g n e r , U n p u b l i s h e d m a n u s c r i p t , U n i v e r s i t y o f S o u th e rn C a l i f o r n i a , Los A n g e le s, C a l i f o r n i a , 1941.

59

HOW TO INDICATE PITCH THROUGH THE USE OF THE STAFF* 1* How t o p l a c e t h e s h a r p s ,

fla ts,

and a c c i d e n t a l s on t h e

sta ff• Z . How t o w r i t e t h e n o t e s o n t h e s t a f f # 3*

How

to

useth e

g reat

sta ff#

4#

How

to

useth e

le g e r

lin e s#

0# How t o r e m e m b e r t h e n a m e s o f t h e l i n e s

and spaces*

To do* 1#

P r a c t i c e w r i t i n g o f a l l sy m b o ls

on th e

2.

P r a c t i c e s i n g i n g fro m one s t a f f

to

sta ff.

th e o th e r*

3* P r a c t i c e r e c o g n i t i o n o f s y m b o l s * HOW TO ESTABLISH THE KEY* 1.

How t o

in te r p r e t th e key sig n a tu re s *

2*

How t o

fin d

"do"

in

a

sh arp key.

3#

How t o

fin d

"do"

in

a

f l a t key.

4.

How t o d e t e r m i n e w h e t h e r a p i e c e

is

i n a m a jo r o r m in o r

key. 5# How t o u s e t h e p i t c h p i p e i n e s t a b l i s h i n g t h e k e y . 6.

How

to

useth e

p ia n o

7#

How

to

s e tth e

k e y when no p i t c h p i p e o r p i a n o i s

8.

How

to s e l e c t ap i t c h p ip e .

9.

How

to re p a ir

10.

How

a

in e s ta b lis h in g th e key.

p itc h p ip e .

t© s i m p l i f y t h e m e m o r i z i n g o f k e y s .

To d o . 1.

L e a r n how t o f i n d

"do" in a l l k e y s.

a v a ila b le .

60

2 . S tu d y t h e m in o r k e y s by a s s o c i a t i o n w i t h t h e i r r e l a t i v e m a jo r k e y s . 3 . L earn th e p ia n o key b o ard th o ro u g h ly . HOW TO USE THE CLUF SIN G S. 1 . How t o u s e t h e c l e f s i g n s

i n n am in g t h e l i n e s

2 . How

to

i n t e r p r e t th e

tre b le

3 . How

to

in te r p r e t th e

bass c le f.

4 . How

to

i n t e r p r e t th e

te n o r c le f .

5 . How

to

w r ite th e c l e f s ig n s on th e s t a f f *

6* How t o r e l a t e

th e c le f sig n s to

end s p a c e s .

c le f.

th e d i f f e r e n t ty p e s o f

v o ic e s. To d o . 1. P ra c tic e w ritin g 2 ru le .

t h e c l e f s i g n s on t h e s t a f f a c c o r d i n g t o

2 . S tu d y ra n g e and c h a r a c t e r i s t i c s o f e a c h c l e f ; w h at v o ic e s and w hat in s tr u m e n ts

it

fin d to

i s m ost a d a p t ib l e .

HOW TO HEAD THE REST SIG H S. 1 . How t o

in d ic a te

th e

v a rio u s

2 . How t o in d ic a te th e v a rio u s r e s t s _ 2 a n d f tim e . 2 2 2 3 . How t o b e a t o u t r e s t s .

r e s t s in 4 tim e . i n - . - , 44 4

2 8 8

8

-8

^ P e t e r W. Hykema a n d H a n n a h M. C u n d i f f , New S c h o o l M u s ic H andbook (B o sto n : C . C. B i r c h a r d a n d G o . , 1 9 3 9 ) . p . 4 8 .

61

4 . How t o w r i t e t h e r e s t s i g n s o n t h e s t a f f # 5# How t o m e m o r i z e t h e r e s t s i g n s . To d o # 1# P r a c t i c e w r i t i n g t h e r e s t s f i r s t on b la n k p a p e r ,

and t h e i r

c o rre sp o n d in g n o te s

th e n on s t a f f #

2# I n v e n t i n t e r e s t i n g d e v i c e s f o r b e a t i n g o u t t h e r e s t s # HOW TO READ THE REPEAT SIG H S# 1# How t o

i n t e r p r e t d o u b le b a rs#

2# How t o s i m p l i f y t h e

fo llo w in g o f r e p e a t sig n s#

3# How t o u s e t h e B .C . 4#- How t o u s e t h e B . S# 5# How t o u s e t h e

wf i n e . w

To d o # 1* S c a n v a r i o u s t y p e s o f m u s i c a n d o b s e r v e m e t h o d s o f n o t a t i o n . 2# N o t a t e s i m p l e t u n e s u s i n g t h e v a r i o u s r e p e a t s i n g s # HOW TO BEG IDE ON THE TEMPO OF A P IE G E # 1 . How t o s e c u r e t h e c o r r e c t r a t e 2# How t o

o f speed#

r e a d t h e m etro n o m e m a rk in g s #

3 . How t o c h e e k t e m p o s # 4# How t o d e c i d e w h e n t o v a r y f r o m a g i v e n te m p o # To d o # 1# B e v i s e m e a n s o f d e v e l o p i n g a b i l i t y

to

i n t e r p r e t m e tr o n o m e

m a rk in g s su c h as u s in g a tim e p i e c e . 2. L is te n

t o r e c o r d i n g s o f m u sic you a re s tu d y in g #

3# B i s c o v e r how g r e a t a r t i s t s

in te r p r e t th e p ie c e .

62

HOW TO WRIT! MUSICAL SYMBOLS. 1 . How t o p r e p a r e e c o n o m i c a l s t a f f p a p e r . 2 . How t o w r i t e s y m b o l s o n t h e b l a c k b o a r d ;

on p a p e r.

To d o . 1 . W ork o u t a s p e e d y a n d a c c u r a t e t e c h n i q u e . 2* C o n s u l t a g o o d t h e o r y b o o k . 3 . S ecu re a s t a f f l i n e r , w ith c h a lk . HOW TO INTERPRET THE MUSIC AS INDICATED BY THE SIG N S. 1 . How t o

l e a r n th e c o r r e c t p ro n u n c ia tio n o f m u s ic a l te rm s

and e x p re s s io n m ark s. 2 . How t o m e m o r i z e t h e m e a n i n g s o f t h e common m u s i c a l t e r m s . 3 . How t o k n o w w h en t o h o l d a n o t e . 4 . How t o r e a d s l u r m a r k s 5 . How t o t r a n s l a t e

and t i e s .

e x p r e s s i o n m a r k s i n t o t h e m o v e m e n ts o f

th e b a to n . To d o . 1 . S e c u re a good d i c t i o n a r y o f m u s ic a l te r m s . 2 . L o o k u p n ew t e r m s a s y o u come t o 3 . R e q u ire s tu d e n ts t o

th e m .

co n d u ct w ith b a to n , o b se rv in g a l l

e x p re s s io n m ark s. 4 . D e m o n stra te b e a u ty o f s o f t

to n e s,

d eerescen d o s,

W ith c h o r a l g r o u p . HOW TO SING AND PLAY THE COMMON SCALES. 1* How t o s i n g a d i a t o n i c

m in o r s c a l e .

2 . How t o s i n g a d i a t o n i c

m a jo r s c a l e .

e tc .,

63

3 . How t o s i n g t h e c h r o m a t i c s c a l e . 4 . How t o u s e t h e

sy lla b le s

in le a rn in g th e s c a le s .

5 . How t o b e c o m e f a m i l i a r w i t h t h e d i f f e r e n t k e y s . 6 . How t o d e m o n s t r a t e t h e d i f f e r e n c e o f t h e v a r i o u s k e y s . 7 . How t o u s e t h e s c a l e s f o r v o c a l i z i n g . 8 . How t o d e c i d e w h e n t o t e a c h s c a l e s . To d o . 1 . S in g s c a l e s on a l l t h e v o w e ls;

hum s c a l e s *

2 . L e a rn p i e c e s i n m in o r k e y s t o d e v e lo p s e n s e o f m in o r to n a lity . 3 . M e m o r iz e o n e s c a l e a t a t i m e o n p i a n o . HOW TO SING WITH SYLLABLES. 1 . How t o

sin g w ith f a ,

so l,

la

sy s te m .

2 . How t o s i n g w i t h s h a p e d n o t e s . 3 . How t o s i n g w i t h r o u n d n o t e s . 4 . How t o t r a n s f e r

fro m th e u s e o f sh a p e d n o t e s t o ro u n d n o t e s .

5 . How t o s i n g w i t h s t a n d a r d s o l m i z a t i o n . 6 . How t o c h a n g e t h e nam e o f s y l l a b l e s t o

in d ic a te a f l a t .

7 . How t o c h a n g e t h e n a m e s o f s y l l a b l e s t o 8 . How t o m ake s y l l a b l e

in d ic a te a sh arp .

sin g in g fu n .

9 . How t o d e v e l o p a b e t t e r a p p r e c i a t i o n f o r

sy lla b le s.

To d o . 1 . S in g s y l l a b l e s

in v a r ia tio n s

sequences o f th ir d s ,

such as s k ip s o f t h i r d s ,

e tc .

2. L earn hand s ig n f o r e a c h s y l l a b l e ;

p r a c t ic e w ith b o th h an d s.

64

3 . S ig h t r e a d sim p le t u n e s . 4. P ra c tic e sy lla b le

sin g in g

in a l l keys.

5 . S in g f a m i l i a r tu n e s w ith s y l l a b l e s ,

n o t lo o k in g a t th e page.

HOW TO DEVELOP MUSIC READING WITHOUT THE USE OF SYLLABLES. 1 . How t o d e v e l o p t h e r e a d i n g v o c a b u l a r y o f t o n a l a n d rh y th m ic g ro u p s. 2 . How t o r e a d

by p o s i t i o n .

3 . How t o s i n g a t s i g h t t h e v a r i o u s c o m b i n a t i o n s o f n o t e s . To d o . 1 . D ev elo p r e c o g n i t i o n o f f r e q u e n t l y a p p e a r in g g r o u p s . 2* D i v i d e

in te rv a ls

in to p a tte rn s

and m e m o riz e .

3 . L earn i n te r v a l s by p o s i t io n . HOW TO CHOOSS SIGHT READING MATERIALS. 1 . How t o c h o o s e a s i g h t r e a d i n g b o o k . 2 . How t o u t i l i z e

hymn a n d c o m m u n ity s o n g b o o k s *

fo r sig h t

re a d in g . To d o . 1 . O rd e r on a p p r o v a l fro m p r e p a r e d book l i s t s . 2 . D e te rm in e d e g re e o f d i f f i c u l t y ,

ty p e s o f songs in c lu d e d ;

s e l e c t one m ost s u i t e d t o y o u r s i t u a t i o n . 3. U tiliz e

a l r e a d y f a m i l i a r hym ns a s s t a r t i n g p o i n t s .

HOW TO DEVELOP QUICK PERCEPTION OF MUSICAL INTERVALS. 1 . How t o

in c re a s e your eye span f o r re a d in g n o te s .

65

2 . How t o d e v e l o p t h e a b i l i t y

to

jum p q u i c k l y f r o m o n e

c le f to a n o th e r. 3 . How t o d e t e r m i n e w h e t h e r o r n o t y o u a r e s i n g i n g a n in te rv a l c o rre c tly . 4 . How t o u s e t h e

sy lla b le s

in le a r n in g to s in g i n t e r v a l s .

5 . How t o p r a c t i c e o n i n t e r v a l s w i t h t h e a i d o f t h e p i a n o . To d o . 1 . S in g sim p le p i e c e s v e r t i c a l l y , tre b le

b e g in n in g e i t h e r a t to p o f

c l e f o r b o tto m o f b a s s c l e f .

2 . C h e c k b y s i n g i n g u p o r dow n t h e s c a l e w i t h s y l l a b l e s . 3 . C arry p i tc h p ip e

in p o c k e t and p r a c t i c e d u rin g s p a re

m o m e n ts• HOW TO

mourn

1 . How t o

ON THE TIME TO B£ SffSHT ON MUSIC THEORY.

in s till

a b ility

an u n d e rs ta n d in g o f th e im p o rta n c e o f th e

t o r e a d m u sic a s com pared w i t h t h e r e a d i n g o f

w o rd s. 2 . How t o d e v e l o p t h e d e s i r e t o l e a r n t h e s k i l l o f r e a d i n g m u sic . 3 . How t o m ake d r i l l

in te re s tin g .

4 . How t o kn o w w h en t o s t o p d r i l l w o r k . To d o . 1 . D e m o n s tra te t h e a d v a n ta g e s o f b e in g a b le t o r e a d m u sic flu e n tly . 2.

I n v e n t a p p e a lin g and s t i m u l a t i n g d e v ic e s o r e x e r c i s e s f o r p ra c tic e

3 . L earn to

on t h e

t h e o r e t i c a l e le m e n ts o f m u s ic .

sense p u p il re a c tio n s .

66

SELECTED REFERENCES A c h e s o n , J o h n L e o n , A D o u z e n e S y s t e m o f Mus i o N o t a t i o n * P ittsb u rg ; Jb h n ~ leo n A cheson, 1936. C h a d b o u r n e , V i r g i n i a , T h e M u s i c S i g n s a n d S y m b o l s . W h e re T h e y L iv e a n d W hat T hey D o. Hew Y o r k : S c h ro e d e r and G u n th e r. I§ 2 5 . D y k e m a, P e t e r W ., a n d H a n n a h M. C u n d i f f , T h e New S c h o o l M u s ic H a n d b o o k . B o sto n : C . C . &i r e h a r d a n d G o . , 1 9 3 9 . E a r h a r t , W i l l , The M e an in g and T e a c h in g o f M u s ic . New Y o r k : W it m a r k a n d S o n s , W it m a r k E d u c a t i o n a l P u b l i c a t i o n s , 1 9 3 5 . F a r n s w o r t h , C h a r l e s H . , How t o S t u d y M u s i c . IJa c m illa n C o ., 1920.

New Y o r k :

G e h r k e n s , K. W . , T h e F u n d a m e n t a l s o f M u s i c . D its o n C o ., 1924.

B o sto n :

G e h r k e n s , K. W ., M u s ic N o t a t i o n a n d T e r m i n o l o g y . L a id lo w B r o t h e r s , 1 9 14 .

The O liv e r

C h ica g o :

G id d in g s , T haddeus P . , W ill E a r h a r t , R a lp h ,L . B a ld w in , an d E l d r e d g e W. N e w t o n , M a n u a l f o r T e a c h e r s . B o sto n : G in n and C o ., 1924. H u b b a r d , G e o r g e E a r l , M u s ic T e a c h i n g i n t h e E l e m e n t a r y G r a d e s . New Y o r k : A m e r i c a n B oo k C o . , 1 9 3 4 . L a i n g , H . E . , T h e S t a n d a r d S y s t e m o f M u s ic N o t a t i o n . Y p s ila n te : S t a n d a r d P r i n t i n g Bo.', 1 9 2 8 . M c G e h ee , T h o m a s i n e C . , My M u s i c a l M e a s u r e . and B acon C o ., 19 3 2 .

B o sto n :

S k i n n e r , O l i v e r R o s s , T he F i r s t Y e a r i n T h e o r y . T heodore P r e s s e r C o ., 1901.

A lly n

P h ila d e lp h ia :

S m i t h , M e l v i l l e , a n d Max T . K r o n e , F u n d a m e n t a l s o f M u s i c i a n ­ sh ip . New Y o r k : W i t m a r k a n d S o n s , W it m a r k E d u c a t i o n a l P u b lic a tio n s , 1937. T a p p e r , T hom as, ^ i r s t Y e a r M u s ic a l T h e o r y . S c h m id t, 1912. W e st, A l v a r e t t a , S i g n p o s ts t o M u s ic . I n c ., 1935.

New Y o r k :

New Y o r k :

A .P .

C arl F isc h e r,

CHAFFER

VII

PROCEDURES FOR THE SINGING SCHOOL CLASS HOW TO TEACH A ROTE SONG* 1*

How

to

use

t h e w h o le m eth o d o f r o t e

te a c h in g .

2.

How

to

use

t h e p h r a s e m eth o d o f r o t e

te a c h in g .

3 . How t o p r e s e n t a r o t e s o n g . 4.

How

to

use

th e p ia n o

5.

How

to

use

books in te a c h in g r o te

6 . How t o p r e s e n t s o n g s t o

in te a c h in g r o te

songs.

songs.

c h i l d r e n w i t h good f a c i a l

e x p re ssio n . To d o . 1 . M e m o r iz e e a c h s o n g b e f o r e p r e s e n t a t i o n . 2. P ra c tic e b e fo re

a m irro r to g e t c o rr e c t f a c i a l e x p re ss io n s .

3 . U se a d e f i n i t e r o u t i n e ; 4 . S in g so n g p h r a s e s w ith

p la n v a r ia tio n s o c c a s io n a lly . " m ," ftn g , n wl o o , w o r o t h e r n e u t r a l

sy lla b le s. 5 . U se a p p r o p r i a t e g e s t u r e s . 6. L earn p ia n o to be used ,

in tro d u c tio n s ;

i f no p i a n o a c c o m p a n im e n t i s

s in g an in tro d u c to ry p h ra s e .

HOW TO PRESERVE SPONTANEITY AND JOT IN ROTE SINGING. 1 . How t o

choose r o t e

songs.

2 . How t o m ak e t h e s o n g s m o r e m e a n i n g f u l . 3 . How t o u s e s p e c i a l g r o u p s f o r r o t e 4 . How t o u t i l i z e

sin g in g .

th e s p i r i t o f c o m p e titio n .

69

To d o * 1* A l l o w c l a s s o r i n d i v i d u a l s

to choose so n g s,

2* A s k t o b e e n t e r t a i n e d w i t h y o u r f a v o r i t e 3.

C o n n e c t s o n g s w i t h som e i n t e r e s t i n g

songs*

c la ss p ro je c t.

4 . L earn songs w ith s t o r i e s t o t e l l * 5 . U rge p a r t i c i p a t i o n

in d u e ts ,

trio s ,

q u a rte ts ,

se m i-c h o ru se s•

6 . S e t u p m em ory c o n t e s t s — b e t w e e n b o y s a n d g i r l s ;

groups*

7. S in g b e f o r e n e ig h b o rin g a u d ie n c e s . HOW TO TEACH A UHISON SONG* 1 . How t o

in tro d u c e a u n iso n song.

2 . How t o u s e t h e p i a n o 3 . How t o

in te a c h in g a u n iso n song.

choose u n iso n so n g s.

4 . How t o r e c o g n i z e t h e m om ent w h e n s y l l a b l e s

sh o u ld be

in tro d u c e d . 5 . How t o

in tro d u c e s y lla b le s .

6 . How t o u s e s y l l a b l e s

and p ia n o t o g e t h e r .

7 . How t o m a k e s i n g i n g w i t h s y l l a b l e s f u n . 8 . How t o t e a c h r e a d i n g o f m u s i c w i t h o u t s y l l a b l e s . To d o . 1 . T each by eye and e a r th e tu n e s o f c e r t a i n p h ra s e s o f th e song to be r e a d . 2 . D r i l l on s y l l a b l e s

o f t y p ic a l n o te g ro u p s,

e sp e c ia lly as

found in c a d e n c e s. 3* T e a c h b y r o t e p i t c h t y p e s w h i c h a p p e a r f r e q u e n t l y . 4 . L e t k n o w led g e o f sy m b o ls ,

t h e o r y , and te c h n iq u e o f p e r f o r -

70

m ance b e a b y - p r o d u c t o f t h e m a in m u s i c a l a c t i v i t y

of

sin g in g . HOW TO TEACH A FART SONG. 1 . How t o

in tro d u c e p a r t s in g in g .

2 . How t o s e l e c t p a r t s o n g s . 3 . How t o u s e t h e p i a n o

in te a c h in g p a rt songs.

4 . How t o d e c i d e w h e n t o u s e t h e p i a n o

in s ig h t re a d in g p a rt

m u sic . 5 . How t o a i d t h e s i n g e r s b y p l a y i n g t h e p a r t s

in s te a d o f th e

a c c omp a n i m e n t • 6 . How t o t e a c h a p a r t s o n g b y r o t e . 7 . How t o m e m o r i z e a h a r m o n y p a r t . 8.

How t o s e a t a c l a s s a c c o r d i n g t o p a r t s .

9.

How t o b a l a n c e t h e p a r t s .

To d o . 1 . S e a t m o st o f t h e good s i n g e r s to w a rd t h e b a c k o f t h e room . 2. F re q u e n tly in te rc h a n g e p a r ts

in th e c a se o f v e ry young

sin g e rs. 3.

S in g ro u n d s e i t h e r by r o t e

4.

P r a c t i c e c o m b in in g t o n e s .

o r by n o te .

5 . H ave, s m a l l g r o u p s s i g n f o r c l a s s l i s t e n i n g ;

lis te n

to

r e c o r d i n g s w h e r e / t w o v o i c e s o r tw o i n s t r u m e n t s a r e u s e d . 6 . Know a l l p a r t s e q u a l l y w e l l y o u r s e l f . HOW TO KNOW WHEN TO STOP WORKING ON A SONG OR A PROBUM.

1* How t o a c t w h e n t h e s o n g b e c o m e s m o n o t o n o u s a n d b o r i n g b efo re 2 . Hov; t o

it

is

le a rn e d *

a c t when t h e c l a s s l o s e s

in te r e s t in

th e p ro b lem

under d isc u ssio n * 3 . How t o b e c o m e r e s p o n s i v e t o t h e i n t e r e s t s

o f y o u r groups*

To d o * 1* D ro p a s o n g f o r t h e d a y a t f i r s t

sig n o f la g g in g in te r e s t

and e n th u sia sm * 3 . D ro p , f o r a b o u t a m o n th ,

so n g s w h ic h c a n n o t b e l e a r n e d

i n a s h o r t p e r i o d o f tim e * 3 . P la n f o r c o n tin u o u s v a r i a t i o n .

U s e hum m ing a n d n e u t r a l

sy lla b le s. 4 . A sk i n d i v i d u a l s t o

sin g w h ile c la s s l i s t e n s .

5 . A sk t h e c l a s s t o t r y

t o p le a s e an im a g e in a ry a u d ie n c e .

6 . H a v e a " f u n ’* s o n g r e a d y f o r t h e p u r p o s e o f r e v i v i n g i n t e r e s t . HOW TO INTRODUCE A NEW SONG* 1 . How t o

g iv e a c la s s th e g e n e r a l id e a o f a so n g .

S . How t o

g e t th e sin g in g c la s s

3 . How t o

in tro d u c e a song w ith t h e u se o f an in s tr u m e n t.

i n t o t h e mood o f a s o n g .

To d o * 1. E ncourage d is c u s s io n o f m a t e r i a l s p e r t i n e n t to th e so n g . 2 . P r e s e n t so n g b y s i n g i n g , p l a y i n g on p i a n o , re c o rd in g . 3 . E x p l a i n new p r o b l e m s i n v o l v e d i n t h e s o n g *

o r p la y in g

72

HOW TO SING IN TUNE._________ 1.

How

to

h e lp a

p e r s o n who s i n g s s h a r p *

2m

How

to

h e lp a

p e r s o n who s i n g s f l a t .

3.

How

to

h a n d le

p e r s o n s who s i n g s h a r p b e c a u s e o f p i n c h i n g

th e to n e . 4 . How t o g e t a p e r s o n o n p i t c h w i t h o u t s t o p p i n g t h e s i n g i n g . 5.

How

to

p r a c tic e sin g in g in tu n e .

6.

How

to

hear a

7.

How

to

a d v i s e p e o p l e } who h a v e f a u l t y

8.

How

to

m ak e s u r e a p e r s o n i s n o t a m o n o t o n e .

9.

How

to

a i d t h e p e r s o n who l a c k s e x p e r i e n c e i n p r o d u c i n g

m u s ic a l to n e b e fo re

i t i s sung. c o o rd in a tio n .

c o rre c t p itc h . 10* How t o m ak e u p e x e r c i s e s f o r p r a c t i c e . To d o . 1.

C heck p o s t u r e and b r e a t h i n g o f s t u d e n t s .

3.

c onduct b re a th -c o n tro l e x e rc is e s .

3 . O b serv e i n d i v i d u a l s and g iv e a l l p o s s i b l e h e lp . 4. P ra c tic e

sin g in g

"on th e to p o f t o n e s . "

A d m in is te r s ta n d a r d iz e d p i t e h t e s t s . 6. P la y r e c o r d s o f v e ry m e lo d io u s p ie c e s ;

h a v e c l a s s hum

w ith re c o rd . 7 . S in g g ro u p s o f to n e s to

c la ss ;

ask in d iv id u a ls to sin g

back w ith s c a le s y lla b le s . 8 . P ro v ic e o p p o r tu n itie s f o r l i s t e n i n g p ro g ram s•

t o good m u s ic a l

73

HOW TO DEVELOP A PERSON'S ABILITY TO KEEP TIME# 1* How t o a d v i s e p e o p l e who h a v e p h y s i c a l h a n d i c a p s , 2 , How t o a i d

t h e p e r s o n who l a c k s m u s i c a l e x p e r i e n c e ,

3 , How t o m a k e u p e x e r c i s e s f o r p r a c t i c e . To d o , 1 , A d m in is te r a s ta n d a r d iz e d t e s t on tim e , 2, S ta r t c la s s ta p p in g t r i p p l e u n t i l a n e v e n te m p o i s

o r q u a d ru p le rh y th m s.

o b ta in e d .

3 , P ro v id e o p p o r tu n ity f o r l i s t e n i n g p lay e d o r su n g ;

C o n tin u e

t o good m u sic w e l l

e s p e c i a l l y m a rc h es and d an ce p i e c e s .

4 , E n co u rag e s o c i a l d a n c in g ;

a ls o rh y th m ic a l dances in

c o n n e c tio n w ith m u sic c l a s s . HOW TO DEVELOP A PERSON *S RHYTHM A B IL IT Y . 1 . How t o a d v i s e p e o p l e who a r e h a n d i c a p p e d b y p o o r c o o rd in a tio n . 2 . How t o d e v e l o p r h y t h m t h r o u g h l i s t e n i n g

to th e ra d io or

reco rd s. 3 . How t o d e v e l o p r h y t h m t h r o u g h d a n c i n g . 4 . How t o a i d t h e p e r s o n who l a c k s e x p e r i e n c e i n k e e p i n g rh y th m . 5 . How t o m ak e u p e x e r c i s e s f o r p r a c t i c e . To d o . 1 . A d m in is te r a s ta n d a r d iz e d rh y th m t e s t . 2 . A sk t h e c l a s s o r i n d i v i d u a l s t o

ta p a ste a d y b e a t to

a

74

. \fe w p h ra s e s o f songs f a m i li a r to

th e m a n d show t h e

accent

w i t h a l a r g e r m ovem ent o r b e a t* 3 . A sk i n d i v i d u a l s t o d i r e c t t h e c l a s s

in sim p le o r f a m i l i a r

songs* 4* W h i l e l i s t e n i n g

to r e c o r d in g s , have th e c la s s b e a t tim e ,

g iv in g lo u d e r ta p s f o r a c c e n te d b e a ts . 5* W r i t e r h y t h m g r o u p s o n t h e b o a r d . a c c e n te d n o te .

P la c e an X over each

Tap o u t .

6* E n c o u r a g e d a n c i n g . HOW TO GIVE INDIVIDUAL HELP* 1 . How t o k e e p t h e c l a s s s i n g i n g w h i l e

i n d iv id u a l h e lp

is

g iv e n . 2 . How t o

ju d g e th e

am ount o f i n d i v i d u a l a t t e n t i o n a s t u d e n t

sh o u ld be g iv e n . 3 . How t o o v e r c o m e s e l f - c o n s c i o u s n e s s o n t h e p a r t o f t h e s tu d e n t. To d o . 1. D r ill c la ss

to c o n tin u e s in g in g th ro u g h a p ie c e r e g a r d le s s

o f m is ta k e s . 2 . Budget le s s o n p e rio d

s o t h a t 8 0 fo o f t i m e i s

sp en t in c la s s

sin g in g . 3.

I n v e n t gam es an d c o n t e s t s ;

have a c la s s u n d e rs ta n d in g to

e f f e c t t h a t a f t e r a m i s t a k e h a s b e e n m ad e b y a n i n d i v i d u a l th e y a re to

sin g th e p h rase c o r r e c tly .

75

HOW TO MANAGE THE CHANGING TOICB. 1.

How t o k e e p a b o y s i n g i n g t h r o u g h h i s

change o f v o ic e .

S* How t o s e l e c t a p a r t r . f o r t h e b o y w h o s e v o i c e i s p a r t l y changed. 3 . How t o u n d e r s t a n d t h e a d o l e s c e n t b o y o r g i r l * 4 . How t o d e t e r m i n e w h e n a g i r l f s v o i c e h a s c h a n g e d . 5 . How t o u n d e r s t a n d t h e g i r l ’ s c h a n g i n g v o i c e . To d o . 1 . T r e a t t h e m a t t e r i n a b u s i n e s s - l i k e w ay a s a n i n e v i t a b l e , in te re s tin g a f f a ir 2.

and a v o id p e r s o n a l e m b a rra ssm e n t.

L earn th e c l a s s i f i c a t i o n s o f b o y s ’ v o ic e s and re s p e c tiv e ran g es;

th e ir

t r a n s f e r a boy from one p a r t t o

a n o th e r

as h is v o ic e ch anges. 3 . A v o id s e n t i m e n t a l s o n g s . 4. S e le c t songs w ith a p p r o p r ia te r a n g e s . 5.

G et a good book on a d o le s c e n t p sy c h o lo g y and

HOW TO

stu d y i t .

USH YOUR VOICE IN TEACHING CHILDRHN.

1.

How t o m a k e a m a n ’ s v o i c e a s u i t a b l e p a t t e r n

2.

How t o

fo rc h ild re n .

d is c o v e r ,;th e c o r r e c t to n e t o u s e .

3 . How t o t e s t t h e s u i t a b i l i t y

o f your v o ic e f o r te a c h in g

c h ild re n . To d o . 1.

I f you a r e a m an, d e v e lo p t h e f a l s e t t o on a l l t h e v o w e ls .

v o ic e ;

jum p o c t a v e s

76

2. I f you a re 3 . Go t o

a w om an, u s e y o u r h e a d v o i c e

so m e o n e who h a s s p e c i a l i z e d

your v o ic e

fo r s u ita b ility

c o n sta n tly .

in v o ic e ;

h a v e h im t e s t

fo r te a c h in g c h ild re n .

HOW TO VOCALIZE A GROUP. 1 . How t o warm u p t h e v o i c e s a t t h e b e g i n n i n g o f a r e h e a r s a l . 2.

How

to

m ak e u p v o c a l e x e r c i s e s .

3.

How

to

d e c id e on t h e

4.

How

to

d e c i d e how l o n g t o v o c a l i z e .

5.

How

to

c o m b in e w o rk on e n u n c i a t i o n a n d p r o n u n c i a t i o n w i t h

c o r r e c t tim e f o r v o c a l i z i n g .

v o c a liz in g . To d o . 1 . W ork o n hum m ing e x e r c i s e s ;

c o m b in e hum m ing a n d v o w e l

sounds• 2 . B u ild v o c a l e x e r c i s e s o u t o f song p a s s a g e s ;

u se th o se

w h ic h c a u s e t r o u b l e . 3 . C heck p r o n u n c i a t i o n m i s t a k e s w h ile v o c a l i z i n g , " e h il-d re n ,

fo r

c h il-d ru n ,"

such a s :

"new , f o r n o o ," a n - g e l ,

fo r

a n -g u l," e tc . 4 . W ork o n e n d i n g s o f v o w e ls

so u n d s, g u a rd in g a g a in s t

p re m a tu re e n d in g s su c h a s " h i- e e " f o r h ig h , 5 . P l a n a r e h e a r s a l s c h e d u l e , b u t m ak e i t

e tc .

a f le x ib le one.

HOW TO TEACH SIGHT HEADING. 1 . How t o m ak e s i g h t r e a d i n g m u s i c a l a n d i n t e r e s t i n g . 2 . How t o c h o o s e s i g h t r e a d i n g m a t e r i a l s .

77

3* How t o d e c i d e o n t h e 4 . How t o s t i m u l a t e

am ount o f t e a c h e r

in te re s t

h e lp to be g iv e n .

in s ig h tre a d in g .

To d o . 1 . W ork r a p i d l y w i t h o u t d i s c u s s i o n . 2 . Be s u r e t h a t t h e p r o b l e m s i n v o l v e d a r e u n d e r s t o o d . 3. A lte rn a te c la s s

and i n d i v i d u a l w o rk a t p h r a s e s w h e re no

b re a k in c o n tin u ity w i l l r e s u l t . 4. Set th e

up s t r o n g riv a lry

in c e n tiv e s

such ass

o f game c o n t e s t s ; j o y

se lf-d ire c tio n

p rid e

in a cc o m p lish m e n t;

o f o r i g i n a l w o rk ,

w ith

a s i n a w ork p r o j e c t .

HOW TO MAKE PRACTICE IN INTOHATXON A FASCINATING ACTIVITY. 1 . How to -

p la y w ith sounds.

2 . How t o sh o w o f f a b e a u t i f u l

sound.

3 . How t o

d e t e r m i n e when a c h o r d i s

ju st rig h t.

4 . How t o

show t h e

5 . How t o

t e a c h th e fu n d a m e n ta l c h o rd s .

6 . How t o

te a c h c a re fu l

im p o rta n c e o f e a c h n o te i n a c h o rd .

in to n a tio n so t h a t s tu d e n ts

w ill

e n jo y th e p ro c e d u re and r e v e l in th e r e s u l t s . 7 . How t o m a t c h t o n e s . To d o . 1 . P la y ch o rd s u c c e s s io n s ; n e u tra l

have th e c la s s

s i n g th em w i t h

sy lla b le s.

2 . S i n g s o n g s c h o r d b y c h o r d ; u s e hum m ing a n d 3. D ire c t

lis te n in g to

vow el so u n d s.

each p a rt.

4 . S e le c t u n u su a l c h o rd s and s in g

a l l p o s s ib le c o m b in a tio n s.

*

78

HOW

TO MATCH TONES.

1* How

t o m a tc h t o n e s on t h e v o w e ls*

2 . How

t o m a t c h t o n e s o n hum m ing s o u n d s *

3 . How

t o m a tc h to n e s on w o rd s.

4.

How t o m a t c h t o n e s t h r o u g h c o r r e c t p l a c e m e n t *

5.

How t o m a t c h t o n e s t h r o u g h p r o n u n c i a t i o n *

To d o * 1. D ire c t a tte n tio n vow el so u n d s;

to v o ic e s t h a t sta n d

o u t w h ile sin g in g

d e te rm in e c au se and in v e s t e x e r c is e s to

c o rrect i t . 2.

I n s i s t on u n if o r m and c o r r e c t p r o n u n c i a t i o n .

3* S t o p a n d w o r k o n l o v e l y c h o r d s e n c o u n t e r e d i n s o n g s ; hum i t ,

s in g w ith v o w e ls, w ord s.

HOW TQ ENHANCE THE VOCAL EFFECTS * 1 . How t o g e t i n s t r u m e n t a l e f f e c t s w i t h v o i c e s . 2.

How t o e n h a n c e a s o n g w i t h t h e u s e o f h u m m in g .

3.

How t o e n h a n c e a s o n g w i t h t h e u s e o f n e u t r a l s y l l a b l e s .

4 . How t o p r a c t i c e

so t h a t each p e rs o n can h e a r th e o th e r

p a rts. To d o , 1 . A ppeal to th e to

im a g in a tio n s o f th e s in g e r s — ask sop ran o s

im a g in e t h a t th e y a r e t h e f i r s t v i o l i n s ,

c e llo s

in an o r c h e s tr a ,

e tc .

2 . S u s t a i n p e r f e c t l y m atch e d t o n e s ; v o ic e s fo r t h i s

q u a lity .

te n o rs th e

e sp e c ia lly d r i l l

th e upper

79

3* D e v e l o p e f f e c t o f c o n t i n u a l p o u r i n g f o r t h o f t o n e byt r a i n i n g s i n g e r s t o b r e a t h a t d i f f e r n t tim e s* 4 ; H ave one p a r t s i n g a g a i n s t a b a c k g ro u n d o f t h r e e - p a r t humming* HOW TO HANDLE THE ADULT SINGERS* 1 . How t o t e a c h t h e s i n g i n g c l a s s w h e n i t c h ild re n

c o n ta in s b o th

and a d u lts *

£ • How t o h a n d l e o l d e r u n s t e a d y v o i c e s * 3* How t o b l e n d t h e v o i c e s i n a m i x e d g r o u p * To d o * 1* D r i l l b o t h m en a n d women i n f a l s e t t o

v o ic e .

2 . S m o o th en o u t v o i c e s w i t h d e e p v i b r a t o by c o n t i n u o u s w o rk . 3 . D is c o u ra g e a d u l t s fro m f o r c i n g t h e i r v o i c e s . HOW TO DEVELOP STRONG SECTIONS AND BALANCE PABTS. 1* How t o d e v e l o p g o o d s o p r a n o s , b a s s e s , 2 . How t o s u b s t i t u t e

te n o rs,

and a lto s*

fo r th e te n o r p a r t.

3 . How t o b a l a n c e t h e l a d i e s *

v o ic e s i f th e p a r ts

a re u n e v e n ly

d iv id e d . 4 . How t o

d e v elo p th e c o n s c io u s n e s s o f b a la n c e w ith in th e

sin g e rs. To d o . 1. T ra in stro n g f a l s e t t o

in so p ra n o s and te n o r s .

2* D e v e l o p t h e hum m ing t o n e s

Mn g w a n d fTm . "

3 . P r a c t i c e w i t h t h e b a s s e s a n d a l t o s o n Ml o n g - b a r r e l w t o n e s s u c h a s " m e e m ," " m a m e ," e t c .

80 H o ld s e c t i o n a l r e h e a r s a l s * 5* U r g e s t u d e n t s t o t a k e p r i v a t e l e s s o n s , 6. T ra in a lto s it

i f p o ss ib le *

t o s in g th e te n o r p a r t an o c ta v e lo w e r t h a t

i s w ritt.e n ?

7. T r a in t h e s t r o n g e r v o ic e s t o m a tc h to n e s w ith th e w eaker v o ic e s. HOW TO SELECT MUSIC FOR THE SINGING SCHOOL CLASS* 1* How t o s e l e c t r e l i g i o u s 2 . How t o s e l e c t a p o p u l a r

songs* song f o r group sin g in g *

3* How t o c h o o s e a s o n g b o o k t h a t w i l l s a t i s f y y o u n g a n d o l d . 4* How t o c h o o s e s o n g b o o k s i f m o r e 5 . How t o c h o o s e a b o o k i f

th a n one i s to be u s e d ,

o n ly one i s

6 . How t o b e s u r e y o u a r e s e l e c t i n g

to be

used.

th e c o r r e c t ty p e o f song

book. 7 . How t o

ch eck th e w o rth o f a song book i f you a re n o t a b le

to p la y th e p ia n o . To d o . 1 . H ave b o o k s s e n t on a p p r o v a l ; o f songs, p r in t,

o b s e r v e and com pare ty p e s

num ber o f s o n g s ,

c o m m u n ity , v a r i e t y o f s o n g s , 2 . A sk y o u r s t u d e n t s f o r t h e i r

s u ita b ility

to your

e tc . o p in io n s .

3 . K eep i n f o r m e d o n new b o o k s b e i n g p u b l i s h e d .

H ave y o u r

nam e o n p u b l i s h e r m a i l i n g l i s t s . HOW TO TEACH AHD IMPROVE A POPULAR SONG. 1 . How t o

engage th e h e lp o f s tu d e n ts

in te a c h in g p o p u la r so n g s.

81

2 , How t o m e m o r i z e t h e w o r d s o f © p o p u l a r s o n g , 3 , How t o m ak e a p o p u l a r s o n g s o u n d m o r e l i k e

a c la ss le a l

one,

4 , How t o r e n d e r a p o p u l a r p i e c e s o t h a t i t w i l l h a v e d i g n i t y , 5 , How t o k e e p a p o p u l a r s o n g f r o m b e c o m i n g t r i t e , 6 , How t o i m p r o v e t h e l y r i c s

o f p o p u la r p ie c e s .

To d o , 1 . U se a g u i t a r f o r a c c o m p a n im e n t i f p o s s i b l e . 2. T each by r o t e ,

u sin g th e

"w h o le" o r " p h r a s e ” m e th o d .

1

3 . A sk p u p i l s t o b r i n g t h e i r f a v o r i t e p i e c e s - - w o r d s and m u s ic . 4 . L e t s t u d e n t s t e a c h w ords t o

c la ss .

5 . F in d w ays o f b r e a k in g ev en rh y th m w i t h u s e o f h o ld s and rita rd s. 6 . R e a r r a n g e l e f t h an d o f a c c o m p a n im e n ts ; b a s s a rp e g g io

p l a y som e o f t h e

in ste a d of sta c c a to .

7. E lim in a te u n s u i t a b l e o r s u g g e s tiv e w ord s.

E n l i s t h e lp o f

c la ss to re w rite . HOW TO MAKE THE USE OF POPULAR SONGS WORTHWHILE. 1 . How t o u s e p o p u l a r m u s i c a s a m e a n s o f i m p r o v i n g m u s i c a l ta s te . 2 . How t o d e v e l o p a t a s t e

fo r th e

b e t t e r p o p u la r m u sic .

3 . How t o d e v e l o p a f a v o r a b l e a t t i t u d e

to w a rd s th e u se o f

p o p u la r so n g s. 4 . How t o d e c i d e o n how e x t e n s i v e l y t o u s e p o p u l a r s n n g s .

G rades

^■George 1 . H u b b a r d , M u s ic T e a c h i n g i n t h e E l e m e n t a r y (New Y o r k : A m e r i c a n B ook C o . , 1 9 3 4 T . p p . 6 4 - 7 6 .

82

To d o , 1# G i v e n o m o r e t h a n 1 0 $ o f t i m e t o p o p u l a r m u s i c * 2 . H e lp s t u d e n t s p l a n f o r l i s t e n i n g 3 . K eep u p w i t h t h e n e w e s t s o n g s ; 4.

to

th e b e s t ra d io p ro g ram s.

d isc o u ra g e u se o f poor o n es.

I n c l u d e o n e o r tw o o n e v e r y p u b l i c p r o g r a m .

HOW TO SING mOM A SEATED PO SIT IO N . 1 . How t o s i t f o r s i n g i n g . 2.

How t o b e s u r e y o u a r e

in th e

c o rre ct p o sitio n .

3 . How t o k e e p y o u r b a c k f r o m b e c o m i n g s o r e . 4 . How t o p r e v e n t c l a s s m e m b e rs f r o m s l o u c h i n g

in t h e i r s e a t s .

To d o . 1 . Hang up i l l u s t r a t i o n s

and c h a r t s

sh o w in g c o r r e c t a n d

in c o rre c t p o s itio n s . 2 . U se t h e L a F o rg e b r e a t h i n g e x e r c i s e d a i l y . 3. P ra c tic e

2

slo w i n h a l i n g and e x h a l in g .

4 . K eep b o t h f e e t f l a t

on f l o o r .

5 . S e t a n e x a m p l e w i t h youw own p o s i t i o n . HOW TQ HOIP THE MUSIC. 1 . How t o k e e p y o u r h e a d i n t h e c o r r e c t p o s i t i o n w h i l e s i n g i n g fro m a book. 2 . How t o h o l d t h e

so n g b o o k when s e a t e d .

3 . How t o h o l d a s o n g b o o k w h e n s t a n d i n g . 4 . How t o h o l d t h e sa m e b o o k .

s o n g b o o k w h e n tw o s i n g e r s a r e u s i n g t h e

83 To do. 1# I n s i s t t h a t s i n g e r s w a t c h t h e c o n d u c t o r c o n s t a n t l y * 2 . See t h a t s in g e r s h o ld book e a s i l y a n d o u t i n f r o n t , w hen s t a n d i n g .

i n l e f t h a n d , w e l l up Feet a l i t t l e

a p a rt*

3 . D e m o n s t r a t e w i t h c l a s s m e m b e r s how tw o m ay l o o k o n o n e book*

D e c i d e i n a d v a n c e who i s

to tu rn p ag es.

HOW TO DECIDE ON PROPER SEATING* 1* How t o s e a t p e o p l e w ho i n s i s t o n w h i s p e r i n g a n d t a l k i n g . 2 . How t o s e a t t h e p e r s o n s w i t h p o o r p i t c h . 3 . How t o s e a t p e r s o n s w i t h e s p e c i a l l y s t r o n g v o i c e s * 4 . How t o s e a t t h e s e l f - c o n s c i o u s b o y s . 5 . How t o

s e a t th e so p ra n o s,

a lto s,

te n o rs,

and b a s s e s .

To d o . 1 . P u t tr o u b le m ak ers in f r o n t row . 2 . P l a c e p e r s o n s w i t h p o o r p i t c h b e tw e e n good s i n g e r s . 3 . S e a t a c c o rd in g to p a r ts

and num bers i n e a c h p a r t .

4 . R e h e a rs e w it h w eak s e c t i o n s

in f r o n t.

HOW TO ARRANGE CHAIRS FDR SINDIHG GROUPS. 1 . How t o a r r a n g e c h a i r s f o r l a r g e o r s m a l l g r o u p s * 2 . How t o r e l i e v e

th e d ir e c to r o f th e r e s p o n s ib ility o f

a rra n g in g o f c h a ir s .

F r a n k l a F o r g e , t e a c h e r a n d c o m p o s e r , Hew Y o r k C i t y ; a d v o c a te s t h i s e x e r c is e : w h ile in s ta n d in g p o s itio n r e le a s e b r e a t h ; draw a b d o m in a l m u s c le s i n and o u t 7 tim e s t o c o u n t o f "1 and 2 a n d ” , e t c . R e la x m u sc le s and bend t o to u e h f l o o r w ith hands. T ak e a d e e p b r e a t h t h r o u g h m o u th a s u p r i g h t p o s i t i o n i s resum ed. S i n g a n e x e r c i s e u n t i l a l l n ew b r e a t h i s u s e d u p . R e p e a t.

84

To d o , 1 . Make p e r m a n e n t d i a g r a m o f y o u r g r o u p i n s e m i - c i r c l e # 2 . A sk f o r v o l u n t e e r s ,

o r a p p o i n t m e m b e rs t o t a k e c a r e o f

c h a irs# 3# I n s i s t u p o n n e a t n e s s a n d o r d e r # 4* A r r a n g e a i s l e s

in l a r g e g ro u p in g s#

HOW TO PLACE THE PIANO FOR REHEARSALS# 1# How t o f i n d t h e

c o r r e c t p o s i t io n f o r th e p ia n o

in a sin g ­

in g le s s o n . 2# How t o p l a c e t h e p i a n o i n a s p e c i a l l a r g e g r o u p r e h e a r s a l * 3# How t o p l a c e i t w h e n y o u h a v e a n a c c o m p a n i s t # 4# How t o p l a c e

i t when t h e d i r e c t o r p l a y s and d i r e c t s #

To do# 1# Be s u r e t h e a c c o m p a n i s t c a n s e e b o t h t h e d i r e c t o r a n d t h e g roup# 2# L e t p i a n o b e e a s i l y a c c e s s i b l e t o t h e d i r e c t o r # HOW TO BREAK IN HEW SOLOISTS* 1 . How t o d e v e l o p c o n f i d e n c e i n a p e r s o n who i s

tim id *

2# How t o b r e a k i n a b e g i n n i n g s o l o i s t * 3# How t o

a s s ig n so lo p a rts#

4 . How t o p r e p a r e v o i c e p u p i l s f o r r e c i t a l # 5# How t o

a s s i g n s S l o p a r t s w hen y o u do n o t h a v e a s o l o i s t r

fo r th e p a r t w ritte n # To d o # 1# U s e s o l o i s t s

fre q u e n tly a t re h e a rsa ls#

85

2 . A r r a n g e f o r n ew p u p i l s

to

s i n g a t c o m m u n i ty , c h u r c h , a n d

sc h o o l a f f a i r s w henever p o s s ib le . 3* L e t b a s s e s s i n g a l t o p a r t s , 4* I f y o u h a v e n o s o l o i s t ,

so p ran o s in g te n o r p a r t s ,

sin g

in u n iso n ,

or a rran g e p a rts

f o r yo u r g ro u p . 5 . U rge tim i d

s in g e rs to appear in p u b lic o fte n . \

HOW TO HMDLE PEOPLE WHO LACK TALENT BUT WMT. TO SIN G . 1 . How t o s e a t p o o r s i n g e r s

in a g ro u p .

2 . How t o

a ssig n p a rts

3 . How t o

d e c id e w h e th e r o r n o t a p e rs o n h a s s u f f i c i e n t

a b ility

to

th o se n o t t a l e n t e d .

and t a l e n t t o w a r r a n t s in g in g w ith a g ro u p .

To d o . 1 . S ee t h a t p o o r s i n g e r s a r e p la c e d n e x t t o good o n e s . 2 . A s s i g n women t o

so p ran o p a r t s

i f p o ss ib le .

3 . T e st w ith s ta n d a rd is e d t e s t s . 4 . G iv e s p e c i a l h e l p t o

th o s e b e lo w a v e r a g e i n t e s t s .

5. D isc o u ra g e th o s e w ith lo w e st s c o r e s .

e tc .

86

SELECTED REFERENCES B e a t t i e , M c C o n a th y M . , M u s ic i n t h e J u n i o r H i g h S c h o o l * New Y o r k : S i l v e r B u r d e t t and C o ., 1938• C a l i f o r n i a S t a t e D e p a r t m e n t o f E d u c a t i o n , M u s ic E d u c a t i o n i n t h e E l e m e n t a r y S c h o o l * S a c r a m e n t o , C a l i f o r n i a , 1939* C h a d b o u r n e , V i r g i n i a , T o n e Games a n d How t o P l a y Them . New Y o r k : S c h r o e d e r a n d G u n t h e r , 1986* D a m r o s c h , F r a n k , Some E s s e n t i a l s i n t h e T e a c h i n g o f M u s i c . New Y o r k : S e h irm m r, 1916. D a m r o s c h , W a l t e r , G e o r g e H. G a r t l a n , K a r l G e r k e n s , T h e U n i v e r s a l S c h o o l M u s ic S e r i e s » T e a c h e r ^ B o o k , " l e w Y o r k : l l i n d s , H a y d e n , a n d E l& r e & g e , I n c . , 1 9 3 3 . D ann, H o l l i s , C o m p le te M an u al f o r T e a c h e r s . A m e r i c a n B ook C o . , 1 9 1 2 .

New Y o r k :

D a n n , H o l l i s , H o l l i s D ann S o n g S e r i e s C o n d u c t o r ^ B o o k . New Y o r k : A m e r i c a n B ook So., 1 9 3 6 . D y k em a, P e t e r W ., a n d H a n n a h M. C u n d i f f , T he New S c h o o l M u s ic h a n d b o o k . B o sto n : C# C. B i r c h a r d a n d CoT, 1 9 3 9 . E a r h a r t , W i l l . T e a c h e rs M anual f o r C h o ra l T e c h n iq u e s . Y o r k : M. ^ i t r n a r k a n d S o n s , 1 9 3 8 .

New

F o r e s m a n , R o b e r t , M a n u a l t o A c co m p a n y Book o f S o n g s . New Y o r k : A m e r i c a n B ook C o. , 1 9 2 5 . G e r k i n s , K a r l W i l s o n , I n t r o d u c t i o n t o S c h o o l M u s ic T e a c h i n g . B o sto n : C. G. B i r c h a r d a n d C o . , 1 9 2 5 . G e r k i n s v , & a r l W i l s o n , M u s ic i n t h e G r a d e S c h o o l . C. C. B i r c h a r d a n d C o . , 1 9 3 4 .

B o sto n :

G e r k i n s , K a r l W i l s o n , M u s ic i n t h e J u n i o r H i g h S c h o o l . B o sto n : C. C. B i r c h a r d a n d C o . , 1 9 3 6 . G i d d i n g s , T h a d d e u s P . , G r a d e S c h o o l M u s ic T e a c h i n g . C. H. ^ o n g d o n , 1 9 1 9 .

New Y o r k :

G i d d i n g s , T h a d d e u s P . , a n d E a r l L . B a k e r , H i g h S c h o o l M u s ic T e a c h in g . M i n n e a p o lis : A u gsburg P u b l i s h i n g H o u se, 1922.

87

G id d in g s , T h ad deu s P . , W ill E a r h a r t , and R a lp h L . B a ld w in , The T e a c h e r f s B ook* B o s to n : G in n an d C o*, 1925* H a m tra n e k P u b l i c S c h o o l , C o u rse o f S tu d y i n V o c a l M u sic * G r a d e s I a n d I X * H a m t r a n c k , M i c h i g a n , 1921* Good, M a r g u e r i t e V ., G le e n G i l d e r s l e e v e , a n d H e le n S . L e a v i t t , T h e W o r ld o f M u s ic S e r i e s , M u s ic P r o c e d u r e s f o r C o n s o l i ­ d a te d and R u ra l S c h o o ls * B o sto n : G in n a n d C o . , 1 9 3 7 . H ow ard, F r a n c i s E . , The C h i l d V o ic e i n S i n g i n g * T h e H. W. G r a y C o . , 1 8 9 8 .

New Y o r k :

H u b b a r d , G e o r g e E a r l , M u s ic T e a c h i n g i n t h e E l e m e n t a r y G r a d e s . New Y o r k : A m e ric a n Book C o ., 1 9 3 4 . K i n c i l l a , H a z e l G e r t r u d e , M u s ic i n t h e S m a l l S c h o o l * L i n c o l n : T he U n i v e r s i t y o f N e b r a s k a T e a c h e r s C o l l e g e a n d t h e U n i v e r s i t y E x t e n s i o n D i v i s i o n , 1939* M c C o n a th y , O s b o u r n e , O t t o W. M e i s n e r , E d w a rd B a i l e y B i r g e , a n d M a b e l E* B r a y , E l e m e n t a r y T e a c h e r s B o o k , T h e Mus i c Hour S e r i e s . New Y0r k : S i l v e r B u r d e t t and C o . , 1 9 2 9 . M c C o n a th y , O s b o u r n e , a n d o t h e r s , M u s ic i n R u r a l E d u c a t i o n . New Y o r k : S i l v e r B u r d e tt and C o ., 1937. S e a s h o re , C a rl E . , M easu res o f M u s ic a l T a l e n t * E d u c a tio n a l D i v i s i o n o f R .C .A * M a n u f a c t u r i n g C o m p an y , C am d en , New J e rs e y , 1939. (R e c o rd in g s f o r t e s t i n g m u s ic a l t a l e n t s . ) W r i g h t , F r a n c e s , E l e m e n t a r y M u s ic E d u c a t i o n : T h e o r y a n d P ra c tic e . L os A n g e le s , L ym anhouse, 1 9 3 9 . Z a n z ig , A u g u stu s D e l a f i e l d , M anual f o r A ll G ra d e s .

The C o n co rd T e a c h e r s G u id e : A B o sto n : 1 7 C. S c h i r m e r , 1 9 2 9 .

CHAPTER

V III

HOW TO BUY AND CARE FOR MUSICAL SUPPLIES HOW TO BUY OR RENT A PIANO. !♦

How t o r a i s e m o n e y f o r a p i a n o .

£*

How t o b u y a g o o d p i a n o w i t h l i t t l e

3.

How t o s e l e c t a p i a n o

4.

How t o d e c i d e w h a t m a k e r o f ' p i a n o t o b u y .

5.

How t o s e l e c t a p i a n o w i t h g o o d t o n e a n d a c t i o n .

6.

How t o s e l e c t

d e a le r.

a p ia n o o f s tu r d y c o n s tr u c tio n .

7 . How t o d e c i d e o n t h e s i z e

and s t y l e

8.

How t o s e l e c t a s t o o l a n d o t h e r

9.

How t o s e l e c t

10*

m oney.

o f th e p ia n o .

a c c e ss o rie s.

a good u se d p ia n o .

How t o s e l e c t a g o o d r e n t p i a n o

f o r t h e s i n g i n g s c h o o l room .

To d o . 1. S o l i c i t d o n a tio n s; sp o n so r c a r n iv a ls , b a s k e t s o c i a l s ,

and

o th e r ty p e s o f p ro g ram s. 2 . R ead p a m p h le ts ,

c a ta lo g u e s and a d v e r t i s i n g m a t e r i a l s .

3 . Make a s u r v e y o f p i a n o s

in your l o c a li t y

and d e te rm in e

a r e l i a b l e m ak e o f i n s t r u m e n t . 4 . E x a m in e c o n s t r u c t i o n o f p e d a l s , f i n i s h t h a t w i l l w ear. 5. E n l i s t th e a id o f a p ia n o tu n e r . HOW TO CARE FOR A PIANO.

sc a le ,

fe lts;

choose a

89

1 . How t o m ove a n u p r i g h t p i a n o ; 2 . How t o

a g ran d p ia n o .

s e l e c t a p ia n o m over.

3 . How t o k e e p a p i a n o

in tu n e .

4 . How t o d e t e r m i n e w h e n t o t u n e a p i a n o . 5 . How t o p r o l o n g t h e l i f e

o f a p ia n o .

To d o . 1 . E q u ip a p ia n o w i t h w h e e ls f o r m o v in g . 2 . T r y t o k e e p room t e m p e r a t u r e s c o n s t a n t a n d m o d e r a t e . 3 . Wax t h e p i a n o f i n i s h ;

c le a n keys and o th e r p a r t s r e g u l a r l y .

4 . R e p a ir lo o se n e d p a r t s . 5 . F in d a good tu n e r ;

e m p ly h i s

o fte n ;

keep p ia n o tu n e d to

co n cert p itc h . 6 . O b serv e c a r e o f p ia n o

i n l a r g e a u d it o r iu m s and o t h e r

room s w i t h m o d ern e q u ip m e n t. 7 . W rite p ia n o d e a le r s

i n y o u r c o m m u n ity f o r

in fo rm a tio n .

HOW TO BOY AND CARE FOR A RADIO. A PHONOGRAPH. A COMBINATION RADIO AND PHONOGRAPH. 1 . How

to r a is e

2 . How

to s e le c t th e d e a le r .

3 . How

t o d e c i d e on t h e m o d e l

4 . How

t o s e t up a n a e r i a l .

5 . How

to s e rv ic e th e

6 . How

to o p e r a te th e r a d i o ; th e p ho n o g rap h .

7 . How t o

th e m oney.

o f r a d io o rph on o g rap h .

in stru m e n t.

s e l e c t and c a r e f o r p h o n o g rap h n e e d le s .

8 . How t o g e t t h e b e s t u s e o u t o f y o u r r a d i o ; y o u r p h o n o g r a p h .

90

To do, 1.

Sponsor b e n e f it p ro g ram s, ta le n t o p e re tta

s o l i c i t d o n a t i o n s , p u t o n a hom e-

o r p la y #

2 . Look up g o v e rn m e n t r a t i n g s o f r a d i o s ;

p h o n o g rap h s#

3 . L o o k u p C o n su m e r * s U n i o n r a t i n g s . 4 . S ecu re p a m p h le ts,

c a ta lo g u e s , and a d v e r tis in g m a t e r i a ls .

5 . Wax t o p r e s e r v e f i n i s h o f t h e s e p i e c e s . 6 . H a v e s e r v i c e m en c h e c k th e m p e r i o d i c a l l y ;

a v o id w a itin g

u n t i l so m e th in g g o es w rong. 7 . U se s t r a i g h t o r u m b r e l la t y p e s e r i a l a c c o r d i n g t o s i z e , ty p e ,

and l o c a t i o n o f r a d i o .

8 . Buy l o n g - l a s t i n g n e e d l e s f o r s t u d e n t u s e . HOW TO BBT M D GARB FOR PHONOGRAPH RECORDINGS. 1 . How t o s e l e c t t h e b e s t r e c o r d i n g s f o r y o u r p u r p o s e s . 2 . How t o s t o r e r e c o r d i n g s . 3 . How t o p r o l o n g t h e l i f e

o f your re c o rd in g s.

To d o . 1. W rite f o r c a ta lo g u e s

t o t h e w e ll-k n o w n m a n u f a c t u r e r s o f

reco rd s. 2 . Check a d v e r t is e m e n t s

i n w e e k ly and m o n th ly m a g a z in e s f o r

th e new est re c o rd in g s . 3 . C o m p a re v a r i o u s m a k e s o f r e c o r d i n g s f o r s m o o t h n e s s o f t o n e , d e p th , and c l a r i t y . 4. F ile reco rd s 5.

i n a lb u m s;

s t a n d th e m u p r i g h t on s h e l v e s .

I n s i s t on t h e u s e o f good n e e d l e s and on f r e q u e n t ch an g e o f n e e d le s.

91

HOW TO OBDER FROM THE PUBLISHERS. 1.

How t o c h o o s e a m u s i c d e a l e r o r a m u s i c

p u b lish e r*

2.

How t o o r d e r s o n g b o o k s a n d s h e e t m u s i c

on a p p ro v a l*

3 . How t o

i n s u r e good s e r v i c e f o r

" o n a p p r o v a l 1* m u s i c .

4.

How t o b u y m u s i c a t a d i s c o u n t .

5.

How t o e s t a b l i s h a c h a r g e a c c o u n t w i t h a m u s i c d e a l e r .

To d o . 1 . Look f o r t h e d e a l e r o r p u b l i s h e r c a rrie s

i n y o u r v i c i n i t y who

t h e m ost e c m p le te s to c k o f m u s ic .

2. E s ta b lis h a p e rs o n a l c o n ta c t w ith th e firm

firm ;

e s ta b lis h a

c re d it ra tin g .

3 . P ro m p tly r e t u r n a l l

" o n a p p r o v a l " m u s i c t h a t y o u do n o t

buy. 4 . Pay your b i l l s

p ro m p tly ;

ta k e a d v a n ta g e o f c a sh d is c o u n ts .

5 . B a rg a in f o r d i s c o u n ts on q u a n t i t y p u r c h a s e s . HOW TO TAKE CARE OF MUSIC. 1.

How t o d i s t r i b u t e

and c o l l e c t

m u sic .

2.

How t o b i n d o c t a v o m u s i c i n t o

books.

3.

How t o h i n g e o c t a v o m u s i c .

4 . How t o s e c u r e t h e c o r r e c t b i n d i n g o n new m u s i c . 5.

How t o s t a m p new m u s i c .

6.

How t o r e p a i r t o r n m u s i c .

7.

How t o s t o r e

o c ta v o m u s ic .

8.

How t o s t o r e

song b o o k s.

98

To d o . 1. E le c t stu d e n t lib r a r ia n s . 8. P rep are

" sig n

o u t" s lip s

f o r m u sic lo a n e d .

3 . S p e c i f y " h in g e d " m u s ic w hen o r d e r i n g ,

o r buy h in g in g

m a t e r i a l an d r e i n f o r c e m u sic y o u r s e l f . 4 . K eep m e n d in g m a t e r i a l s o n h a n d . 5 . W rap b o o k s i n

p a p e r when n o t i n u s e ;

6 . C l a s s i f y a l l m u sic a c c o r d i n g 6 . F i l e m u sic i n

s to re in

t o su b m e c t,

d ry p la c e .

ty p e , and a u th o r .

c a b in e ts o r on s h e lv e s .

8. T ran sfd rm an o ld phono graph i n to

a filin g

c a b in e t.

9 . B u ild s h e lv e s o f a d e q u a te d im e n sio n s f o r f i l i n g m u sic . HOW TO SELECT CHAIRS FOB SINGING GROUPS. 1 . How t o u s e t h e o l d t y p e s c h o o l d e s k s 2 . How t o m ak e c h a i r s 3 . How t o

in a s in g in g c la s s .

c o m fo rta b le .

s e l e c t c h a ir s f o r u se by a s p e c ia l la r g e g ro u p .

4 . How t o r e n o v a t e o l d c h a i r s o r d e s k s . To d o . 1. S e le c t c h a ir s w ith s t r a i g h t b a c k s. 2 . U se r o p e o r c o rd

t o m ak e n ew b a c k s o r s e a t s .

3 . A v o id s t a t i o n a r y d e s k s . 4.

If

s ta tio n a ry desks a re u sed ,

e x p e rim e n t to f i n d b e s t

s e a t i n g a rra n g e m e n ts f o r p a r t s . HOW TO MAKS OR BUY A B ISE C T O R 'S MUSIC STAND. 1 . How t o s e l e c t m a t e r i a l s f o r a d i r e c t o r ’ s s t a n d . 2 . How t o d e t e r m i n e t h e t y p e a n d s i z e

o f m u sic s ta n d

to

b u ild

93

or buy. 3 . How t o m ake a c o m b i n a t i o n m u s i c s t a n d ©nd d e s k . 4.

How t o m a k e a p o r t a b l e

sta n d .

5*

How t o m ak e

6.

How t o s e l e c t a d i r e c t o r * s s t a n d f r o m a m u s i c d e h l e r .

a p e rm a n e n t s t a n d and p o d iu m .

To d o . 1 . E x p e rim e n t t o

d e te rm in e c o r r e c t h e ig h t and s i z e f o r you.

2.

S e l e c t w oo d

w h ic h w i l l n o t e a s i l y c r a c k o r w a rp .

3.

E n li s t th e a id o f th e h ig h sc h o o l

in d u stria l a rts

d e p a rtm e n t. 4 . Buy a s t a n d o n b a s i s

o f s tu r d in e s s o f c o n s tr u c tio n and

sp a ce p ro v id e d f o r m u sic .

94

SELECTED REFERENCES C o n s u m e r ’ s U n i o n o f t h e U n i t e d S t a t e s , I n c . , 17 U n i o n S q u a r e , New Y o rk * (an y r e c e n t c a t a l o g u e . ) l l s o n , A r t h u r , T h e B ook o f M u s i c a l K n o w l e d g e . H o u g h t o n M i f f l i n Co . , 1 9 2 7 .

New Y o r k :

D y k e m a , P e t e r W ., a n d K a r l W. G e h r k e n s , T h e T e a c h i n g a n d A d m i n i s t r a t i o n o f H i g h S c h o o l M & s ic . B o sto n : G. C . B ir c h a r d and G o ., 1941. P r e s c o t t , G e r a l d R . , a n d L a w r e n c e W. C h i d e s t e r , G e t t i n g R e s u lts w ith S ch o o l B ands* M in n e a p o lis : P a u l A. S c h m id t M u s ic ^ o . , 1 9 3 8 . S t o k o w s k i , O l g a S a m a r o f f , T h e L a y m a n ys M u s i c B o o k . W. W. N o r t o n a n d C o . , I n c . , 1 9 3 5 .

New Y o r k :

V i t o r R e c o r d C a t a l o g u e s , V i c t o r D i v i s i o n , R .C . A . M a n u f a c t u r i n g C o . , I n c . , C a m d e n , New J e r s e y . (Any r e c e n t c a t a l o g u e . )

SUMMARY AND CONCLUSIONS The s c o p e o f t h e s i n g i n g s c h o o l i s e ffe c tin g

th e liv e s

o f w id e e x t e n t ,

o f th o u s a n d s o f s o u t h e r n r u r a l g o lk *

im p o r ta n c e and i n f l u e n c e w e re m ore f u l l y r e a l i z e d a s

Its

th e

s t u d y ^ p r o g r e s s e d an d a s i t b ecam e m ore an d m o re e v i d e n t t h a t t h e s i n g i n g s c h o o l w as a c u l t u r e u n iq u e and t r u l y A m e ric an — a p a r t o f A m e ric an l i f e m ent and l i t t l e

little

known o u t s i d e

e f f e c te d by o u ts id e

b e g in n in g o f t h i s

its

in flu e n c e s*

own e n v i r o n ­ Thus fro m th e

s tu d y i t w as assum ed t h a t i n t r y i n g t o

im­

pro v e th e q u a lity o f th e s in g in g sc h o o l th ro u g h th e b e t t e r tra in in g of i t s th e

le a d e rs,

th e fu n d a m e n ta l c h a r a c t e r i s t i c s

s in g i n g s c h o o l w h ic h so c l e a r l y d i s t i n g u i s h

s c h o o ls and m u sic o r g a n i z a t i o n s

it

of

from o th e r

s h o u ld be p r e s e r v e d a t jail

c o sts* I.

SUMMARY

I n f o r m u la ti n g m eth o d s t o b e i n c o r p o r a t e d fo r sin g in g sch o o l le a d e rs ,

it

seem ed w i s e t o u t i l i z e

r e s e a r c h a n d p r o g r e s s m ad e i n p u b l i c p e rc e iv e d

in to a m anual

s c h o o l m u sic*

th e

I t was

i n t h e b e g i n n i n g t h a t s u c h a t a s k w o u ld b e d i f f i c u l t

because o f c e r ta in p e c u l ia r i ti e s b e f o r e a n y a t t e m p t w as m ade t o

o f th e

s in g in g sc h o o l.

T hus,

f o rm u la te t e a c h in g m e th o d s,

a d e t a i l e d s tu d y o f s o u th e r n s in g in g s c h o o ls and t h e i r h i s t o r i e s

96

w as m ade t h o u g h , f i r s t ,

p e r s o n a l c o n t a e t w i t h r u r a l f o l k who

i n t h e m a in com pose t h e

sin g in g

d ir e c t o b s e rv a tio n in th e

school p e rso n n e l, second,

sin g in g sc h o o l,

th ird ,

stu d y o f

a v a i l a b l e s o n g a n d m e t h o d b o o k s now i n u s e b y t h e t e a c h e r s a n d p u p ils o f sin g in g sc h o o ls. d isc o v e ry o f d i f f i c u l t i e s and th e s e d i f f i c u l t i e s b a sis

in th e

and p ro b le m s i n th e s i n g i n g s c h o o l,

and p ro b le m s i n t u r n becam e t h e w o rk in g

f o r f in d in g and s u g g e s tin g s o l u t io n s

b e tte r to

T h is p ro c e d u re r e s u l t e d

in th e fo rm o f

t e a c h i n g m e t h o d s a n d v a r i o u s n ew a c t i v i t i e s

im p ro v e an d e n r i c h t h e s i n g i n g

d e sig n e d

school c u rric u la ;

The s o u t h e r n r u r a l f o l k w e re fo u n d t o b e c o n g e n i a l and f r i e n d l y . v isito rs

T hey seem ed t o f e e l i t

s p r i v i l e g e to have

v ie w t h e i r w o rk an d t h e y p o r t r a y e d g e n u in e : p r i d e i n

th e ir sin g in g .

T h e ir i n t e r e s t ,

in th e sin g in g sch o o l is

phenom enal and i s p ro b a b ly due to re c re a tio n . an a ll - d a y

a lm o st

la c k o f o th e r ty p e s o f

F o lk s t r a v e l fro m s i x t y t o one h u n d re d m ile s f o r " s in g in g ."

te n d to d e s tr o y t h i s

A ny g r e a t

.c h an g e i n t h e s c h o o l m ig h t

u n iq u e and i n t a n g i b l e

q u a lity .

I n m a k in g

re c o m m e n d a tio n s an d i n s u g g e s t i n g m eth o d s o f p r o c e d u r e , t h e r e ­ fo re,

i t w a s k e p t i n m in d t h a t t h e m e t h o d s m u s t b e a p p r o p r i a t e ,

s im p le ,

c o n c ise ,

and i n t e r e s t i n g ,

and o f su c h a n a tu r e a s n o t

t o d e t r a c t fro m t h e f l a v o r o f th e s i n g i n g s c h o o l. C ritic is m

o f th e n a s a l and s t r i d e n t q u a l i t y o f th e v o ic e s

i n t h e s i n g i n g s c h o o l s was t h e r e s u l t o f d i r e c t o b s e r v a t i o n . Few v o i c e s w e r e f o u n d w h i c h l a c k e d t h i s

q u a lity .

It

seem ed t o

97

be a t r a i t so u th .

w h ic h h a d grow n up w i t h t h e s i n g i n g s c h o o l s

in th e

I n s e v e r a l i n s t a n c e s , p e r m is s io n w as g r a n t e d f o r e x ­

p e rim e n ta tio n w ith th e v o ic e s .

In evepy c a se th e u n d e s ira b le

to n e s c o u ld have b e en a v o id e d o r c o m p le te ly o b l i t e r a t e d . th e b a s is o f th is g iv e n o v e r to

On

a s s u m p t i o n * m u ch s p a c e i n t h e m a n u a l w a s

th e a r t o f v o ic e p ro d u c tio n .

P r o c e d u r e s recom ­

m ended w e re m ade s im p le e n o u g h so t h a t a p e r s o n w i t h l i m i t e d e x p e r i e n c e c o u ld r e a d and p r o f i t b y th em . th e f a l s e t to v o ic e s.

The d e v e lo p m e n t o f

v o ic e w as e m p h a s iz e d , e s p e c i a l l y f o r t h e fe m a le

As p r e s e n t s i n g i n g b o o k s a r e a r r a n g e d ,

th e fe m a le

v o ic e s c a r r y th e t e n o r p a r t , w h ic h i s u s u a l l y v e r y h ig h .

M ost

s i n g e r s sa n g c o n tin u o u s ly In th e lo w e r r e g i s t e r on t h e h ig h n o te s and t h i s

l a r g e l y a c c o u n te d f o r th e w h in in g q u a l i t y o f

th e la d ie s v o ic e s. O l d a n d new m e t h o d s f o r t h e s i n g i n g s c h o o l e x a m i n e d , e m p h a siz e d n o t e - r e a d i n g .

The im p o r ta n c e o f t h i s p h a s e o f

m u sic t e a c h i n g h a s p r e v a i l e d s i n c e t h e f o u n d in g o f t h e s i n g i n g s c h o o l, and c o n tin u e s to

th e p re s e n t day.

e d u c a tio n have a p p a re n tly had l i t t l e

o r n o tin f lu e n c e upon

s i n g i n g s c h o o l m eth o d s and p r o c e d u r e s , a sc e rta in e d , th is ic a l,

so c ia l,

is o la tio n is m

M o d e rn t r e n d s i n

and a s f a r

and co m p lac en c y i s

as c a n be due t o p o l i t ­

a n d e c o n o m ic f a c t o r s w h ic h c a n n o t b e d e a l t w i t h

h ere. The r e a d i n g o f m u sic w as e m p h a siz e d i n t h e m a n u a l, b u t was r e l e g a t e d t o

a l e s s e r p la c e o f im p o rta n c e th a n in th e

c u r r e n tly used song b ooks.

Ah

a t t e m p t was m ade t o

in tro d u c e

som e o f t h e m e t h o d s d e v e l o p e d i n t h e p u b l i c d r i l l m ore i n t e r e s t i n g * d r i l l was r e c o g n i z e d ,

F u rth e rm o re ,

th a t

is,

s c h o o l s w h i c h m ake

t h e n ew t h e o r y o f

t h a t d r i l l w o r k s h o u l d b e co m e

a r e s u l t o f th e e f f o r t o f s tu d e n ts to s in g , r a t h e r th a n a fu n d a m e n ta l s k i l l to be a c q u ir e d b e f o r e s in g in g ta k e s p la c e . In lin e w ith t h i s p ro ced u re a ls o , e n c o u r a g e m ore c a r e f u l s e l e c t i o n

a n a t t e m p t w as m ade t o o f song m a te r ia l*

Some c o n s i d e r a t i o n o f t h e p s y c h o l o g y o f s c h o o l m u s i c t e a c h i n g seem ed n e c e s s a r y i n l i g h t o f t h e f a c t t h a t few l e a d e r s had had any t r a i n i n g w h a te v e r in e d u c a tio n o r p sy c h o lo g y o f te a c h in g .

F u rth e rm o re , a c c o rd in g t o e v id e n c e g a in e d in

o b se rv a tio n in th e sin g in g sc h o o l,

e a c h l e a d e r seem ed t o

h a v e i n v e n t e d h i s own p e c u l i a r s t y l e

a n d m e t h o d _o f . a p p r o a c h

w h i c h i n m an y c a s e s w a s i n a l m o s t c o m p l e t e d i s r e g a r d o f e s ta b lis h e d c o n c e p ts o f te a c h in g p sy c h o lo g y . In a d d itio n ,

sin g in g sch o o l le a d e rs d id n o t r e a liz e

th e o p p o rtu n itie s f o r a s s is ta n c e use o f p u b lic lib ra rie s

lib ra rie s

in th e ir

t e a c h in g fro m th e

and c o l l e g e m u sic d e p a r tm e n ts an d

a d ja c e n t t o t h e i r c o m m u n itie s.

T h e r e f o r e , m an y

r e c o m m e n d a t i o n s f o r p r o c e d u r e s w e r e m ad e o n t h e a s s u m p t i o n t h a t t h e l e a d e r c o u l d b e m ade t o d e v e lo p in g le a d e r s h ip

se e th e o p p o rtu n ity f o r

and m u s ic ia n s h ip th ro u g h t h e s e m e d ia ,

a n d c o n t i n u o u s r e f e r e n c e w a s m ad e t h r o u g h o u t t h e s t u d y t o t h e u se o f m a t e r i a l s fro m th e s e s o u r c e s .

A lis t

of s e le c te d

r e f e r e n c e s w as i n c l u d e d a t t h e end o f e a c h c h a p t e r m a n u a l.

in th e

99

P u b lic p erfo rm an ce i s p h a se o f t h e s i n g i n g sc h o o l*

an Im p o rta n t b u t u n d e v elo p ed A d e m o n s tra tio n o r p erfo rm an ce

fo llo w s th e c o n c lu s io n o f a s in g in g sc h o o l c o u rs e , and th e " s i n g i n g s , " w h ic h a r e f u n d a m e n ta lly a g e t - t o - g e t h e r f o r u s u a l l y a t t r a c t a l a r g e num ber o f s p e c t a t o r s * s e e m t o h a v e b e e n m ad e t o school fo r sta g in g v i t a l

s ie z e upon t h i s

o r im a g in a tio n .

Few a t t e m p t s

a s p e c t o f th e

and i n t e r e s t i n g p e r f o r m a n c e s .

o b s e r v e d w e r e c r u d e a n d sh o w e d l i t t l e

in th e la c k o f

e x p e r ie n c e on t h e p a r t o f b o th l e a d e r s and s i n g e r s . to

in c lu d e

T hose

e v id e n c e o f a r t i s t r y

H ere a g a in th e f a u l t l a y

a d v isa b le , th e re fo re ,

sin g e rs,

It

seem ed

i n t h e m a n u a l som e c o n s i d e r ­

a t i o n o f t h e p l a n n i n g o f p r o g r a m s , a n d o f t h e v a l u e o f sh o w ­ m a n s h ip , a u d ie n e e p s y c h o lo g y , II.

sta g e p re se n c e ,

and s ta g e e f f e c t s .

CONCLUSIONS

Im p ro p er and u n p l e a s a n t to n e q u a l i t y , w h ic h i s f a u l t o f th e s in g in g sc h o o ls,

can be im p ro v ed .

T h is

m e n t m u s t come t h r o u g h t h e l e a d e r s t h e m s e l v e s a n d i t

th e c h ie f im p ro v e­ th e re fo re

d e em s n e c e s s a r y t o p r o v i d e t h e m w i t h m e a n s o f s p e c i a l t r a i n ­ in g .

M ost l e a d e r s d e s i r e s p e c i a l t r a i n i n g w h ic h t h e y w o u ld

lik e

t o r e c e i v e fro m c o m p e te n t m u sic t e a c h e r s and e d u c a t o r s .

An i d e a l s o l u t i o n w o u l d b e t o le a d e rs sta te and to

s e t up s p e c i a l c o u r s e s f o r

in th e v a rio u s c o lle g e s

in th e

th e se

s o u th , e s p e c ia lly th e

t e a c h e r s c o ll e g e s w h ic h c h i e f l y s e r v e th e r u r a l p e o p le , e n c o u ra g e t h r o u g h e x t e n s i v e a d v e r t i s i n g t h e f i e l d w ork

by th e c o lle g e s ,

th e e n ro llm e n t o f s in g in g sc h o o l le a d e r s

in

100

t h e r e g u l a r o f f e r i n g s o f m u sic and e d u c a tio n * C o n sid e ra b le p ro g re s s in th e

s in g in g s c h o o l c o u ld be

a c c o m p l i s h e d t h r o u g h t h e m an y r u r a l s t u d e n t s who a t t e n d s m a l l c o lle g e s. stu d e n ts

A t th e p r e s e n t tim e t h e r e in th e s t a t e

te a c h e rs

a tte n d e d sin g in g sc h o o ls. tra in in g as te a c h e rs , s in g in g sc h o o ls

is

a l a r g e g ro u p o f

c o l l e g e s o f t h e s o u t h who h a v e

T hese p e o p le ,

a fte r re c e iv in g

c o u l d b r i n g som e i n f l u e n c e

to b e a r on th e

i n t h e c o m m u n i t i e s i n w h i c h t h e y go t o t e a c h .

The b e t t e r ones c o u ld be t r a i n e d f o r s i n g i n g s c h o o l l e a d e r ­ sh ip

in th e s t a t e

te a c h e rs c o lle g e s.

The so n g m a t e r i a l o f th e s i n g i n g s c h o o l i s and in g e n e ra l p o o rly w r i t te n

and a r r a n g e d .

t h i s p r o b le m s h o u l d b e m ade t o

in a d e q u a te ,

F u r t h e r s tu d y on

d e te r m in e m eans by w h ic h good

com posers c o u ld be in d u c e d to w r i t e f o r th e

sin g in g sc h o o l.

The s o c i a l an d c u l t u r a l a s p e c t s o f t h e s i n g i n g s c h o o l sh o u ld be p re s e rv e d a t a l l c o s t s . fe llo w sh ip

and c o o p e r a t i o n ,

its

I t s phenom enal s p i r i t o f

freedom o f e x p re s s io n ,

and i t s

v a l u e a s a m eans o f e m o tio n a l o u t l e t a r e m ore i m p o r t a n t t h a n a c d e p ta n e e o f m odern i d e a s . te a c h in g in c o rp o ra te d

in to

The p h i l o s o p h i e s a n d m e th o d s o f th e m anual o f f e r e d h e r e in sh o u ld

be u s e d w ith c a u t io n and s p e c i a l e f f o r t sh o u ld b e e x e r te d to p r e s e r v e th e u n iq u e q u a l i t y o f th e s in g in g s c h o o l.