A study of creative class piano at fourth grade level

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A STUDY OP CREATIVE CLASS PIANO AT FOURTH GRADE LEVEL

A Thesis Presented to the Faculty of the School of Music The University of Southern California

In Partial Fulfillment of the Requirements for the Degree Master of Music

by Marjorie T. Sellers August 1950

UMI Number: EP61889

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T h is thesis, w r itte n by

MARJORIE T .SELLERS u n d e r the g u id a n c e o f and approved

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by a l l

its

C o m m itte e ,

m em bers, has

been

presented to a n d accepted by the C o u n c il on G r a d u a t e S tu d y a n d R esearch in p a r t i a l f u l f i l l ­ m ent o f the re q u ire m e n ts f o r the degree o f

MASTER of m u s i c

D ate

AUGUST

1950

Faculty Commiufee

'hairman

TABLE OF CONTENTS CHAPTER I.

PAGE

THE P R O B L E M ..................... < ......... • • • Resolutions:

the child's bill of rights

1

. .

1

Basic music study through piano .............

2

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

4

Importance of the problem

The importance of piano in musicalgrowth Class piano procedures

.

4

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

5

The fourth grade as a laboratory for class p i a n o .....................

7

Purpose of the s t u d y .............. A backward l o o k .............................

9 10

Conditions under which the study was made. . . General plan, scheduling

11

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

11

Housing arrangements for the instrumental c l a s s e s .......... Minimum portable equipment................

11 13

Classification of student ................... Audio-visual a i d s .........................

13 13

Correlation with other music classes. . . .

13

Considerations influencing the beginning of this s t u d y ...............................

14-

Procedures in the present s t u d y ............

16

Implications for note-reading ............... Music materials used in this s t u d y ........

17 18

^

iii

CHAPTER

II.

PAGE Limitations of the p r o b l e m .................

19

Definitions of terms

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

19

Organization of the study into chapters . . .

21

EMOTIONAL ASPECTS OF CLASS PIANO

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

23

The universal appeal of music .............

23

The class piano teacher's approach

24

. . . .

The emotional impact of specific phases of ...................

25

The singing g a m e .........................

25

M e l o d y ....................................

27

Old and new s o n g s .......................

28

Melody as a racial h e r i t a g e .............

29

Use of minor mode at the beginner's level

29

Importance of using time-tested melodies

30

class piano experience

Creative melody making

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

31

Creative melody making at the fourth grade l e v e l ..................................

32

R h y t h m ....................................

3^

Importance of rhythm to musical performance

3^

Implications of rhythm for the piano t e a c h e r ........................... .. Functional harmony as a personal .discovery The ear approach to primary chords

...

.

35 36

37

iv CHAPTER

PAGE The practical advantages of functional h a r m o n y ................................ Social implications of class piano

III.

38

. . . . .

39

.The challenge of human v a l u e s ............

39

Some case s t u d i e s .........................

40

Implications to the t e a c h e r ...............

-4-3

C o n c l u s i o n s ..................................

43

E A R - T R A I N I N G ..................................

45

Importance of ear-training in piano study . . Mental imagery:

the goal in ear-training .

Conscious ear-training for children . . . .

45 46 46

Suggestions regarding the ear approach in a specific teaching situation ...............

47

A singing game, nLooby-Loon

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

48

Muscular response to rhythm .............

49

Learnings involved in this g a m e ........

50

The ear in learning a rote melody: "Autumn Leaves"

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

51

Feeling the basic beat, swaying ........

52

Establishing melodic direction

........

52

Awareness of phrase .'...................

52

-Ear to keyboard; tactile awareness

...

53

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

53

The importance of good s i n g i n g ........

55

Approach.to keyboard

V

CHAPTER

PAGE The many-keyed approach:

"Rain and Sun"

56

. .

Introducing the tonic chord: "White., White, W h i t e " ..................................

57 58

Transposition - all major k e y s .......... "Little River" involving the ear approach

58

to m i n o r ........ * ...................... "Indian Rain Dance" - the creative approach

60

to, minor m o d e .......... 1. An example of the creative attitude

60

toward teaching material ............. 2. "Indian Rain Dance" - an exhilarating

60

musical experience ................... 3 . A summary of learnings gleaned from

61

"Indian Rain D a n c e " ................. The ear approach to functional harmony

.

.

62

Three primary harmonies or colors . . . .

62

"Looby-Loo", a listeninglesson ..........

63

Chord patterns for accompanying "LoobyLoo"

Widening the ear experience with chords

.

65

Ear approach to sub-dominant harmony

.

67

.

C o n c l u s i o n s .................................. IV.

65

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

RHYTHM:

68

A CHALLENGE TO THE CLASS PIANO

T E A C H E R ..........

70

CHAPTER

PAGE The complexity of this p r o b l e m ..........

71

Faults in our system of n o t a t i o n ........

71

Vital elements of rhythm in m u s i c ..........

73

Basic b e a t ................................

73

Basic beat as a framework formusic

7^

. . . .

P h r a s e ....................................

75

Rhythm in d e s i g n .........................

75

T e m p o .................

76

Procedures suggested for clarifying rhythmic elements .......................

.

77

Rote songs introduced with directed motor .....................

77

"Autumn L e a v e s " .........................

77

activity

. . . . .

Awareness of basic beat developed by s w a y i n g .............................

77

Awareness of rhythmic pattern of m e l o d y ..............................

78

Awareness of p h r a s e ...................

79

T e m p o ........ ..

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

79

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

80

"Swing Song"

. . .

Basic b e a t ........... T e m p o ................................

80 .

"Draw a Bucket of W a t e r " ............... Basic b e a t .....................

8l 81 8l

CHAPTER

PAGE Compound meter

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

82

Suggested procedures in a creative lesson .

82

Scanning verse ..........................

82

"Lightly R o w " .........................

83

Creating phrases: the question and answer method ......................... A listening lesson

...

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

86

........

87

Tonic chord accompaniment ...............

87

Tonic and dominant s e v e n t h .............

87

C o n c l u s i o n s ..................................

89

Rhythm: the framework of harmony

V.

84

FUNCTIONAL H A R M O N Y ........... Technique, a b y - p r o d u c t .......... Specific objectives .........................

91 92 92

Examples of basic experiences in functional h a r m o n y ....................................

93

The minor mode, involving tonic chord . . .

94

"Jack and J u d y " .........................

95

Broken chords, tonic and dominant seventh .

96

"Little River"

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

96

"This Old Man"

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

97

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

98

"Swing Song"

The syncopated pedal

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

99

vili CHAPTER

PAGE Melodies beginning on the anacrusis ........ "Red Sky"

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

100 100

"An Odd S t o r y " .............................. 101 Introduction of the sub-dominant

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

102

The a u t o - h a r p ..........

102

"Silent Night"

103

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

"Battle Hymn of the R e p u b l i c " ................. 104 "Lonesome Valley"

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

106

Correlation with violin class .................

107

Preparation for the accompaniment .......... Correlation with classroom music

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

107 109

"Night in the D e s e r t " .......................... 110 C o n c l u s i o n s .......................................110 VI\

C O N C L U S I O N S ......................................... 112 Emotional aspect and human values .............

112

Specific phases of musical experience ........

113

Ear-training

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

113

R h y t h m ......................................... 113 Functional harmony

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

Implications for note-reading ................. Melodic shape and design Rhythmic structure

114 115

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

116

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

116

P h r a s i n g .......................................117

ix CHAPTER

PAGE Functional harmony Reading readiness Limitations

..........

. . . . . . .

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

117 118

of thes t u d y ......................... 118

The forward l o o k ................................ 119 B I B L I O G R A P H Y ............................

CHAPTER I THE PROBLEM If we think of music as a natural means of expression and pleasure for all kinds and conditions of men, the tradi­ tional philosophy of the piano teacher undergoes a signifi­ cant change.

Each child, with his own potentialities and

limitations has a right to musical development.

The main

consideration of the teacher is to provide an environment favorable to the musical growth of the child.

The idea that

musical growth contributes to personality adjustment is generally conceded by music educators.

These considerations

result in definite new ideas for the teacher. Musical development is possible for all boys and girls.

The Music Educator*s National Conference has acknow­

ledged the school’s responsibility to the child in its 1950 report. Resolutions:

The Child *s Bill of Rights.1

1. Every child has the right to full and free oppor­ tunity to explore and develop his capacities in the field of music. 2. Every child shall have the opportunity to experi­ ence music with other people so that his own enjoyment shall be heightened.

1 Music Educator’s National Conference 1950 Report, P. 9.

2 3. Every child shall have the opportunity to make music through being guided in singing, in playing an instrument, both alone and with others, and in com­ posing . 4. Every child shall have the opportunity to grow in musical appreciation, knowledge and skill through free instruction in the public schools. 5. Every child shall have his interest and power in music developed to the end that unusual talent may be discovered and used for the enrichment of the individual and of society. 6. Every child shall have the right to such teaching as will sensitize, refine, elevate and enlarge not only his appreciation of music, but also his whole effective nature, to the end that the high part such developed feeling may play in raising the stature of mankind may be revealed to him. The class piano teacher can interpret every part of this bill of rights as directly applying in his special area. To do this, a traditional idea of the authoritarian approach to piano has to be refuted.

The conscientious absorption in

technique and virtuosity must be broadened to include not only the basic principles of music but its human values as well.

^ Basic Music Study through Piano.

Hyman I. Krongard,

in his helpful essay,uPiano Lessons for John Smith,” recog­ nizes the universal nature of music and emphasizes the responsibility of the piano teacher in guiding boys and girls to musical fulfillment.

He stresses the fact that the

average child, applying to the piano teacher for the magic key to the world of musical experience is too often defeated

3 and disappointed by piano lessons.

Krongard explains that

John Smith is seeking music and that the teacher tries to teach him piano, which too often presents* a barrier. Krongard emphasizes basic music study in these words. C The piano must serve as a medium. . .first lessons must be music lessons, spent in developing ear, rhythm, background. More singing, more marching, and other body activity to rhythm, more listening, more playing by ear, more early sight-reading, more expression of things familiar to John, will preserve the artistic spark with which he comes to you.^ 7 In his summary, Krongard expresses the primary objec­ tive of the class piano teacher. Let us give him [John Smith] a workable, enjoyable musicianship. Let us discover how to take his moderate ability, his moderate interest, his moderate course of study and give him, in return, a life-long hold on our art. . . .Let us discover how to nurture this celestial spirit which is in all mankind. . .and which is entrusted to us only too often to be crushed and d e s t r o y e d . 3 To the child, this approach means the vitality of feeling that music is for him, not merely for the gifted few.

If a sequence of experiences can be planned in this

study to guide the pupils into the magic circle of music lovers who can play the piano, without too many drifting away into the lost group--those who stopped--the purpose of the study will have been fulfilled.

2 Hyman I. Krongard, "Piano Lessons for John Smith," Music Educators Journal, 34*28-29* 32, February-March, 1948. 3 Ibid.

4 IMPORTANCE OF THE PROBLEM There are three aspects to this problem* importance of piano in musical growth*

(l) the

(2) the reasons for

examining class piano procedures* and (3) the reasons for selecting the fourth grade level for the beginning of class piano. The importance of piano in musical growth has been recognized by music educators lately.

Raymond Burrows,

National Chairman of the Committee on Basie Music Study through Piano for Music Educator’s National Conference* lists several educational advantages. School music does not completely fulfill its purpose unless it reaches the everyday life of the family at home. Inevitably the piano is the center of home music activity. . . .It is also a great help in the develop­ ment of the many-sided program of music in the schools. Music reading is one skill which is fundamental to.a rich music curriculum. . . .Because it readily combines the three educational senses of hearing* seeing* and touching* the piano has been a means of developing reading skill in school classes. . . .Because the piano presents harmony as well as melody* and because the simple fundamental chords can be learned in early lessons* the piano is a natural tool in the development of harmony. . . .It is generally agreed that children have a better sense of the music of others if they them­ selves have some experience in creating music. The piano class provides. . .a convenient place to start this creative process.^ [Italics not in the original.]

^ Raymond Burrows* Piano in School (Music Educators National Conference* 64 Jackson Boulevard, Chicago 4* Illinois* 19^9 b PP. 3-5.

5 Charlotte Du Bois points out the value of piano (l) as a foundation to a career in any phase of applied music. and (2) the fact that the piano is a tuned instrument. which makes it a comparatively easy approach to music study. Piano instruction as a foundational music experience contributes to the development of performance ability on any instrument, including the human voice. And per­ haps most important is the fact that the piano is a tuned instrument. . . .It is possible to play the piano at an earlier age than most other instruments. . . . Most professional musicians are either adequate pianists or wish they were.5 K. W. Barry of Missoula, Montana stresses the value of piano in the teaching of music fundamentals when he says, Piano instruction in elementary schools is the easi­ est way to teach scales, key signatures, reading, transposition, and other fundamentals. He admits the place of piano in the educational system by adding, Let's see to it that piano instruction ’grows u p 1 as other subjects have done through the years.7 Class Piano Procedures:

The educational advantages

of the group situation extends to piano instruction.

Mursell

sees possibilities that far surpass any opportunities in the private studio.

5 Charlotte Du Bois, T,Piano Classes in the Schools," Music Educators Journal. 3^-: January, 19^8. 6 k . W . Barry, "Discussion on Piano Class Instruction," Montana Education. 25: January, 19^9. 7 Ibid.

6 The skilled teacher plays upon a group as a virtuoso plays upon an instrument, eliciting values otherwise unobtainable, and evolving developmental influences which the mere togetherness and inter-action of a num­ ber of human beings make possible.° Lilia Belle Pitts has emphasized the satisfaction that is incident to sharing music with others. Children. . .and and listen to music is delightful. And which tend to order

people. . .need to play, sing, dance, in company with others, because it things that delight are the things and harmonize our lives.9

She is concerned with the power of music in the per­ sonality growth of the individual.

Music teachers are dis­

covering that the group situation provides the stimulus of competition and of audience, as well as providing the democratic type of discipline and the chance to develop qualities of leadership.

In fact, it has been discovered

that children learn from each other better at times than by direct instruction.

The very fact of playing and singing

together in class develops awareness of rhythmic values. The advantages of class piano may be summed up under two headings, viz. social implications and implications for musical growth.

® James L. Mursell, Education for Musical Growth (New York: Ginn and Company, 1948), p. vi. 9 Lilia Belle Pitts, The Music Curriculum in a Changing World (New York: Silver Burdett Company, -194*0 , p. 88.

7 Social implications: Pleasure in sharing music is a basis for personality growth. Group discipline is an experience in the democratic way of life. Implications for musical growth: Pupils stimulate each other. Group criticism is valuable. Ensemble playing develops rhythmic awareness. The fourth grade as a laboratory for class piano seems ideal because of several factors. well organized physically.

The child at this age is

His play is characterized by

games involving skill and speed.

Janice Bryan, of the

University of Southern California, analyzes the pupils eight to ten years old as becoming social beings desirous of prestige, not so concerned with adult approval as with the approval of the younger children.

These qualities make

the group situation advantageous in musical growth.

Mrs.

Bryan also states that children at this- age have developed vision as perfect as adults. note-reading.

This has implications for

In physical dexterity and in social develop­

ment, the pupils are ready for class piano.

10 Janice Bryan, in a lecture to the University of Southern California graduate students in the Summer Session, 1949.

8 Mentally also the nine-year-old child is prepared for this complex activity.

His psychological maturity and

curiosity make him capable of organizing his learnings and using them at home or at school.

In regard to musical back­

ground,, the fourth grader in American schools today is usually well prepared.

The advantages of not starting piano

later have been observed.

Raymond Burrows reminds us of the

need of basic piano at this level as a foundation for any musical activity in the upper grades.

His summary of argu­

ments for concentrating on piano at this level appear in a personal letter. By the time children have reached the fourth grade in school, they should have had enough song-singing and physical response to music to be ready for the piano keyboard. The beginning piano instruction can lean heavily on song singing and rhythmic activity at this age. The mental and social development of the average child is such that he can learn to read music without difficulty. His physical development permits the play­ ing of simple chords and melodies. It is decidedly advantageous to have the piano program start no later than the fourth grade so that the basic value of the piano will be established for those who wish to continue with another instrument in the fifth and sixth grades. In the case of those who wish to pursue more advanced piano study, a good foundation will have been laid.-1-1 The fourth grader, moreover, is less inhibited by selfconsciousness and preconceptions than an older child. interested in each new experience.

He is

It has been observed that

older beginners require more theory and explanations, that

11 Raymond Burrows, in a personal letter, dated July

21 , 19^9 .

9 slow up the sequence of musical experiences. Experience in Phoenix and observation in other situa­ tions have led to the belief that class piano can be presented with more general success at this level than at any other. The present plan in the Phoenix school system is to channel the pupils into class piano for two years, the fourth and fifth grades.

Much has been published concerning .a similar

experiment during the last twenty years in York, Pennsylvania. The plan that has evolved there aims to give class piano to every fourth grade-

pupil.

The pioneering in this field in 12 York has attracted nation-wide attention.

PURPOSE OP THE STUDY It is the purpose of this study to suggest an experi­ mental and flexible sequence of experiences based on class­ room procedures in Phoenix, Arizona.

The specific sequence

chosen is used in the first semester of class piano, the prereading period.

The objectives of these procedures are as

follows: 1. The emotional impact: "to preserve John Smith’s spark of interestul3

12 Sunday News, York, Pennsylvania, January 30, 19^9. ■1-3 Krongard, qp>. cit., p. 28.

10 2. Musical growth, involving: a. Ear training, to awaken the child to the infinite resources of this aural art. b. Rhythmic activities, to channel and clarify the child's innate rhythmic responses. c. Keyboard experience, to nourish the child's in­ stinctive response to harmony and to equip him with skills for expressing himself through this medium. A BACKWARD LOOK About twenty-five' years ago, class piano was intro­ duced experimentally into various schools in our country, including elementary schools of Phoenix, Arizona.

It was

generally conceded that the group situation was an educa­ tional advantage for beginners. After the very beginning, the lessons resolved them­ selves into what has been described as diluted private lessons.

The system was subject to some adverse criticism

because it seemed to encourage a lowering of musical stan­ dards . In 1927* Raymond Burrows of Teachers College, Columbia University, started a demonstration class in Horace Mann School, New York City.

The field for class piano broadened

as advanced and adult classes were tried in Columbia

11 University and other educational centers.

It was discovered

that class piano had significant potentialities for musical growth at all levels of accomplishment. In late years, since piano has been included among the Special Projects Committees of Music Educators National Conference, interest in basic piano has rapidly spread and experiment is proceeding in all parts of the country.

The

educational psychology, that has been formulated in leading universities, has been applied to class piano.

This has

stimulated wide-spread interest in new concepts and revolu­ tionary procedures.

Class piano teachers are concerned with

raising musical standards to new high levels.

CONDITIONS UNDER WHICH THE STUDY WAS MADE General plan, scheduling. at present offered as an elective. for eight pupils. once a week.

In Phoenix, class piano is The classes are planned

The lessons are forty-five minutes long,

Two pianos are needed for efficient class

activity, but in most cases only one piano is available. Housing arrangements for the instrumental classes. The piano classes, as well as orchestral classes, are held in various places, assigned by the principal.

A list follows

of some of the usual arrangements, and certain attendant disadvantages.

12 1. In a corner of the auditorium. a. In a crowded building* the auditorium may be assigned also to primary teachers or to clerks as an office annex.

Machines for mimeographing

are sometimes operated in the auditorium* on account of this over-crowded condition. b. Periodically* the auditorium is needed for rehear­ sals and programs* and class piano is shifted to temporary quarters. 2. In the nurse 1s room. a. Injured or sick children are brought in* even though it is not the day for the nurse to be there. b. Staff members need to use facilities in the nurse 1s office. 3. In the cafeteria. a. Hours have to be arranged so as not to interfere with serving lunch. b. Staff activities in the kitchen cause noise. These housing conditions are makeshift because instru­ mental music classes have not yet been recognized by school boards as of sufficient educational importance to merit a room in each school.

The resourceful teacher adjusts him­

self to each situation with its endless variations and strives to achieve his musical goals regardless of the

13 dangerous factors of noise and interruptions. Minimum portable equipment, assigned to class piano in each school, includes: A long table Chairs Chalk-board Dummy keyboards.

It is necessary to use cardboard

keyboards, with slightly raised black deys. Music racks to set on the table Classification of students.

At the beginning of the

term, the pupils are divided according to whether or not they have pianos at home.

As the term advances, reclassification

is arranged as needed to aid in the development of the indi­ vidual* s musical growth. Audio-visual aids are available to the class piano teacher.

The school music department provides a record

library.

A tape recorder is also available.

An occasional

radio broadcast by the piano students can be arranged through the audio-visual aids office. ferred to a record for filing.

This broadcast can*be trans­ This equipment permits the

pupils to listen objectively to their own performances. Correlation with other music classes has been found to be inspiring to the piano pupils.

It has led to their

14 accompanying group singing in general music class and play­ ing for violin numbers provided by the violin classes.

CONSIDERATIONS INFLUENCING THE BEGINNING OF THIS STUDY The approach to this study was inspired directly by two pioneers in the field of basic music study through piano: Fay Templeton Frisch, of New Rochelle, New York Elementary Schools, and Dr. Raymond Burrows, Columbia University, eminent lecturer, concert pianist and author of much in­ spired and practical teaching material.

Through their

brilliant teaching, clinic workshops, magazine articles and demonstration lectures, they have offered a great stimulus to this research. The study has been influenced by the viewpoints of many writers who have sought to free piano study from the shackles of tradition and to reveal it as a vital musical experience available to all.

Lowery, of Essex Technical

College, London, has said that the traditional attitude toward piano teaching was based on two premises,

(l) a high

degree of technical facility is required as basic; (2) the only method to acquire technical facility is by technical 1 Ll

drill.

H. Lowery, "The Piano Classes: An Experiment in Adult Education,” The Journal of Musicology, 2:125, January, 1941.

15 That this system has discouraged many pupils is indi­ cated by the many people who start lessons and give it up without gaining any satisfaction or benefit from the experi­ ence.

Professor Thorndike, psychologist of Columbia Univer­

sity , has said that, Authentic statistics showed that 54 out of every 100 children who start the study of piano stop in the first three months; and that only 6 out of 100 ever get be­ yond the third grade of proficiency. 5 Bostelman mentions that the "lost groups" have always been a lamented fact, but that music educators are now experi­ menting with revolutionary methods which may alter the old definition of music--as something to be learned with diffi­ culty and forgotten with ease.

He adds,

Tobias Matthay placed his finger upon a great truth when he said that much teaching fails because piano teachers do not distinguish between steps of learning to play the instrument and learning to read notation. . . Professor Thorndike says that to read and comprehend a single paragraph of English, some ten million connections must take place in the nervous system. Even more millions of connections are involved for one to read and then execute a simple phrase of music in which is involved both mental and muscular coordination. . . .Mr. Matthay advises that we separate complicated processes and teach them singly instead of simultaneously. Modern pedagogy teaches the idea first and the symbol last. . . .In learning to play the piano, the class has heretofore been confronted with the task of assimilating nine separate processes. . . .In teaching a child to catch a ball, who would think of tossing him nine balls at once, and from nine different angles? Every child learns to speak

-*•5 John L. Bostelman, "Music Teaching and the Assembly Line," The Musician. 47:38, March, 1942.

16 English long before he attempts to read and write. . . . Music teaching is beginning to follow these lines. . . . It means the creation of an entirely new set of teaching aids and the scrapping of all the older methods.

PROCEDURES IN THE PRESENT STUDY In this thesis, the effort to separate the processes involved in learning to play the piano may create an erron­ eous idea of restricting lesson periods to rhythm, listen­ ing, or harmony.

That would be impossible in a music lesson.

The teacher must turn the emphasis, like a shaft of light, on rhythm, melody, phrasing, tone quality, posture, or hand position, as the moment requires. The learning situations described in the present study were carried out in Phoenix Elementary Schools.

The writer

experimented at first with materials and methods suggested by creative piano teachers and later tried original ideas, as the class gained momentum.

The exhilaration incident to

the creative approach caused an increase in class achieve­ ment . The class always functions as a unit.

If one piano

is available, two pupils play, the others practicing at the table.

If two pianos are available, four pupils play.

rotation from table to piano is brisk.

16 ibid.

The

The span of learning

17 possible at the dummy keyboard seems to be brief.

The skills

and insights developed in the classroom lead to much outside experimenting by the pupils. Sheehy wrote of the experimental approach to piano. Primitive man made music, not by playing notes, but by experimenting and listening. Children learn to talk by experimenting and listening. And they will learn to make music by experimenting and listening. Unless we stop them.17 Sheehy also pointed out a truth that rings clear to the traditional type of piano teacher. When children suddenly realize that ’taking piano lessons’ does not guarantee making music within a short time, they are confronted with one of the first great disappointments of their lives. For children, a piano is a sound-making instrument, not an object to which one transfers notes from a printed page.18 Implications for note-reading are inherent in every phase of the pre-reading activity.

The awareness of this

important tool is manifest when John Smith asks,

"When do

we learn notes?" This question occurs frequently as the first semester goes forward.

Melody direction, patterns, symbols--all

begin to emerge from the printed page as the child learns to play songs and chords by imitation.

The appearance of the

tonic chord and the dominant seventh are identified. 17 Emma D. Sheehy, There *s Music in Children Henry Holt and Co., 19 ^0 )} p. 2. 18 Ibid.

Joh n ’s (New York:

18 musical experiences are becoming organized, preparing him to transfer his auditory and motor learnings to the visual form.

MUSIC MATERIALS USED IN THIS STUDY The text for the course is Young: America at the Piano by Raymond Burrows and Ella Mason Ahearn, published by C . C. Birchard and Co., 285 Columus Ave., Boston, Massachusetts. The fourth grade general music text is Songs of Many Lands from The World of Music by Glenn, Leavitt, Rebmann and Baker, Ginn and Co., Boston.

Some of the supplementary books that

have been found useful are listed below. The Young Explorer at the Piano. Raymond Burrows and Ella Mason Ahearn, The Willis Music Co., Cincinnati, Ohio,

19^1 . The Adult Explorer at the Piano. Raymond Burrows and Ella Mason Ahearn, The Willis Co., Cincinnati, Ohio, 1937. Raymond Burrows Piano Series for the Older Beginner. in collaboration with Harry R. Wilson and D. Savino, J. J. Robbins and Sons, 221 West 47th St., New York. The Children1s Own Book, compiled and edited by Elizabeth Newman, Carl Fischer, Inc., Cooper Square, New York. The Piano H our, compiled and arranged by Hallie Webber, published by The Voegele Press, Waverly, Kansas, 19^9* distributed by Carl Fischer, Inc. Additional reference books of music materials are to be found in the Bibliography. The creative approach to class piano implies certain resources in the teacher, e.g.

19 1. Flexibility in selecting and using any material. 2. A rich musical background and a music library to serve as a reservoir of musical ideas. 3., An alert attitude that senses the strategic moment to use fresh, unexpected material or melodies suggested by pupils. 4. Ability to recognize the possibilities in a melody, to determine, at once, whether or not it contains hazards for the beginner.

Time is a precious commod­

ity in a weekly class piano lesson.

It is wise to

use every moment on melodies that promise fulfillment.

LIMITATIONS OF THE PROBLEM The problem herein studied is that of discovering each child’s potential and affording him experience favorable to growth.

It is concerned with affording the child a worth­

while musical experience at each class lesson.

The concen­

tration in this study is on the intial phases of the child’s piano study. DEFINITIONS OF TERMS Creative music teaching.

Teaching that is flexible,

sensitive, resourceful, and endued with genuine emotional content.

This use of the word creative implies procedures

which grow from any given situation, e.g.

20 a. The child’s innate response to rhythm, melody, or harmony. b. The child’s normal love of group play. c. Any conditions affecting emotional tone, such as unusual weather, school celebrations, holidays. Teaching creative music.

Providing the means and

stimulus for improvising or composing music, either indi­ vidually or as a group activity. Music potential.

The degree of musical awareness,

initiative, discrimination, insight and skill of which the individual is capable under ideal conditions of growth.

For

the teacher, it implies respect for individual differences. Feeling tone. musical stimuli.

The impact made on human beings by

In Marion Flagg’s words it is the result

of nstepped-up breathing, heartbeat and other visceral effects” .

This stepping-up of vital processes brings a

pleasurable sensation that is favorable to musical growth. Authoritarian approach.

The traditional conception

of music, especially of piano, as a world reserved for the few who have the fortitude and the means to serve a grueling apprenticeship consisting of technical drill and study of symbols and terminology. Functional.

Serving an immediate and obvious purpose

In the making of music.

21 Functional harmony.

A working knowledge of basic

principles of keyboard harmony which stimulates not only the pupilfs musical growth but also his personality development. Basic harmony.

The three harmonies,, tonic, dominant,

and sub-dominant, which make possible infinite explorations in the world of music. Basic beat.

The felt beat or true beat which is the

unique characteristic of every melody. Experiment. ible, resourceful

For the teacher, this implies the flex­ approach to any specific goal.

For the

pupil, it means trying his new skills at home--rote melodies, chords, transposition, pedaling.

It means that the child

himself is seeking new outlets with the resources brought away from class piano. Basic music study through piano.

Development of

insights as to the fundamental elements of music, viz. rhythm, melody, and harmony.

This development takes place

necessarily by means of actual experience at the piano, accompanied by the feeling tone generated by this aural art.

ORGANIZATION OF THE STUDY INTO CHAPTERS Chapter II deals with the emotional impact of music, the challenge of human values.

Chapter III is concerned with

ear-training, the development of auditory memory and mental

22 imagery.

Chapter IV discusses the rhythmic complications

facing the piano student and suggests that in class piano may be found some means of clarifying the problem. V deals with functional harmony.

Chapter

In Chapter VI some con­

clusions are presented regarding this study.

CHAPTER I I

EMOTIONAL ASPECTS OF CLASS PIANO In our civilization, it is usual to recognize the universal appeal of music.

This idea that the love of music

is in everyone must be interpreted by the teacher as a challenge to guide the child into the happiness of ful­ filling his own potentialities. The specific experiences of the piano class should offer emotional release and spiritual exhilaration to the pupil.

If the class is to help him grow, the emotional

element

is vital.

Every lesson should have emotional

impact. Class piano has been investigated by educators as a phase of personality development with significant social implications. teacher

These advantages

should be considered by the

from the very beginning of the class piano experi­

ence . The universal appeal of music is generally conceded. The traditional idea that music is for the chosen few has been questioned by modern musicians and educators.

The

composer, Stravinsky, feels this emotional appeal so strongly that he asserts that music is a power that existed in the universe even before man was created.-**

Lilia Belle Pitts,

1 Igor Stravinsky, as quoted by Alexandre Tansman, Igor Stravinsky (New York: G. P. Putnam’s Sons,,19^9 )> p. 51.

24 looking backward through history, estimates that, "Music as a distinctive aspect of human expression is probably as old as the human race . " 2 Marion Flagg brings this concept to bear on the life about u s . Music is not a marginal phenomenon, intelligible to the gifted few. It is rather an approach to human experience, open to all, and inevitably a part of every­ day life for practically everyone.3 The class piano teacher1s approach.

As a teacher

undertakes a new piano class his focus needs to be first of all on the individual children who enter the group.

They

are there because they love music and want more of it.

Some-

times a child's ability to hear, to sing, and to manipulate seem to be non-existent.

But experience has proved that the

shyest, inarticulate, slow-thinking pupil can do something musical if the teacher understands his limitations and meets him on his own level.

The second focal point for the class

piano teacher should be music— basic, fundamental principles that are as true at the beginner's level as at the artist's pinnacle--e.g. phrasing, rhythmic clarity, harmonic contrast,

^ Lilia Belle Pitts, The Music Curriculum in a Changing; World (New York: Silver Burdett Co., 1944), p. 49. 3 Marion Flagg, Musical Learning Birchard and Co., 1939)* PP* 31~32.

(Boston.:

C:. C.

25 and expression.

The third area for the teacher’s attention

is the piano, where the child wants to find his way to pro­ ducing music.

On this ideal instrument, the child can create

the lovely shape of a melody, the thrilling movement of rhythm, the colorful background of changing chord patterns. In case one little beginner cannot manage both melody and harmony at once, the class can do so in ensemble and the musical experience is satisfying.

THE EMOTIONAL IMPACT OF SPECIFIC PHASES OF CLASS PIANO EXPERIENCE We will now examine the emotional content of four phases of class piano in the pre-reading period, viz., The singing game Melody Rhythm Harmony The singing game is a part of the first semester of class piano.

The folk quality of the singing game endears

it to all children.

The source of its vitality is discussed

in the teacher’s manual for Singing on our W a y . The origin of singing games is in something that goes down deep and is far beyond the learned and formal aspects of a culture. . . .These songs come straight out of real, living experience. . . .They have the simple

26 sincerity of emotions and ideas that have mattered and always will matter to children the world over. Around the world, children sing and circle together in ring games. It is play, to be sure, but a form of play that is symbolical of the intuitive desire of the young to belong. . .to unite physically with others by joining hands in an unbroken circle.^ The validity of the singing game in class piano has been discovered by many teachers. used are discussed here.

Some of the ways it is

An example of a favorite singing

game with a gay mood is nLooby~Loo," discussed in Chapter III. 1. In the first lesson the first day of a new class, a singing game is an excellent way to establish rapport.

If

a new group is shy and self-conscious, the play spirit and physical activity of the game bring release from tension and create an atmosphere favorable to learning. 2. A similar effect is relied on during any lesson when the need of a change is indicated.

The teacher must be

sensitive for signs of fatigue and waning interest.

If a

half-hour of concentrated learning of some new skill is ended by a circle game, the next part of the lesson will be more rewarding.

The game itself presents opportunities for

mastery of various skills, such as chord patterns- for accom­ paniments, transposition and development of rhythmic accuracy.

World

^ Pitts, Glenn, Watters, Suggestions from our Singing (Boston: Ginn and Co., 19^9)\ p. 24.

27 Those phases will be discussed in other parts of this study. 3.

The introduction of singing games to celebrate

special occasions in school has been found useful.

If it

is the day before Christmas holidays or if it is Valentine’s Day, and every class is preparing for a party in its home room, the piano class can observe the day by having fun with new singing games which can also permit practice with new skills.

Learning can proceed, accelerated by childish

excitement, if the procedure is a singing game. Melody, a familiar experience.

Melody is a part of

the beginner’s equipment at the fourth grade level.

The

average child at this age is acquainted with many melodies, dating as far back as his nursery days. School hymns and many school songs.

He knows Sunday

He knows popular song

hits heard on the radio and at the movies. home a library of records.

He may have at

Many children at this age are

experienced and skillful singers.

In Alehin’s opinion,

melody is the one simple and real fact in the beginner’s inner consciousness and experience of music.5 To the class piano teacher this means that the singing approach is the normal approach.

A new song is presented, a

spiritual thing made manifest in melody, a form familiar to

5 Carolyn A. Alehin, Applied Harmony L. R. Jones, 1921), p. ^5*

(Los Angeles:

28 the pupil--expressive of falling leaves, of a flowing stream, of a sleepy child, or an Indian dance.

If it is presented

with a skill that expresses the musical content, the child's response is immediate and buoyant. If the melody is an old friend that he has not heard for a while, the reaction is even more positive.

The

response to "Silent Night," for instance, is invariably an exalted mood.

The magic of this melody never wanes.

It has

a sure power over human emotions. Old and new songs.

In considering the emotional effect

of the melodies used in beginner's groups in class piano, it seems that the new and the familiar alternate with endless variety and satisfying repetition.

"Old Hundred," "Battle

Hymn of the Republic," "America"--these are melodies which the children love and are proud to be able to play, sing and accompany.

The new songs, on the other hand, are welcomed

by the eager, inquisitive, capable fourth graders.

Their

emotional and intellectual grasp should not be underestimated. They like mysterious songs, such as "Night in the Desert." They like tragic songs, such as "Lonesome Valley." nonsense songs and love songs. dancing songs.

They like

They like noble songs and

If they are not dexterous enough to play both

melody and accompaniment, or if the melody is too difficult for beginners, the pupils are satisfied to play the

29 accompaniment and sing the melody.

The singing voice is a

useful instrument in functional harmony lessons. Melody as a racial heritage.

The fact that melody

has always been the means of emotional expression of human beings is of course the basic reason for its appeal to chil­ dren.

Marion Flagg reminds us of melody's place in human

development. In the thousands of years man has poured out his soul in song, it has been a personal expression through melody . 6 She also points out a fact that the teacher should not for­ get, viz. individual differences. There are in every group individuals whose stage in racial growth has not progressed beyond melodic control,7 The slow thinkers must be saved from the evil of failure.

Through a flexible program and frequent reclassi­

fication the musically undeveloped pupils can be given selfexpression and an opportunity to grow. Use of minor mode at the beginner1s level.

Folk songs

in the natural minor are numerous in The World of Music, the text in the general music class in this specific school

Flagg, o£. clt., p. 1^9. 7 Ibid.. p. 1 5 0 .

30 situation, for instance ,fThe Attic,fr p. 164, "Silver Rain," p. 148, and "The Fisherman’s Wife," p. 1 3 2 .

Singing melodies

with la, the sixth step of the major scale, as the key center is not new or difficult to pupils in class piano.

The

feeling element and the fact that nine-year-olds are not analytical make the use of the relative minor as easy and natural as major.

The least gifted beginners enjoy the

tonality so thoroughly that any question as to its meaning has never been raised.

The lowering of the third of the

tonic and sub-dominant chord is agreeable to the ear and does not have to be explained. musical experience is enough.

At this stage, a satisfying Theory can wait.

Importance of using time-tested melodies.

The in­

security in the under-privileged districts makes every moment of every lesson precious.

The boys and girls may

have no more lessons after next year--perhaps not after this year.

Perhaps they will move out of the district next

month or this week.

If they learn to sing and play real

music each time they come to class, they have a treasure to take away with them.

A pupil in a weekly class (sometimes

interrupted by school holidays), needs to have access to melodies which have become "moulded by time into the essence o of musical charm and emotional satisfaction . " 0 Therefore, 8 Ibid.

31 in the opinion of the writer, the teacher needs to use only folk materials from the first lesson day. Creative melody making.

Dorothy Bishop in her study

of creative melody making, begins with a lament that schools today limit themselves to teaching students to perform other people's music.

She quotes Freed in saying,

No longer does one sing the song that is in one's heart, or express the rhythm that is in one's being.9 Bishop discusses the current trend to recognize the creative urge as vital in music education.

She offers prac­

tical ideas to the teacher, outlining various approaches to the creation of melody in class piano at the college level. A piano teacher, experimenting with class piano tech­ niques in the public school, once mentioned to Raymond Burrows, of Columbia University, that there was not enough time in the weekly lesson to do everything, so creative music was left out.

He replied that if the time seemed

limited, that there was added reason for including the creative lesson.

His meaning was that the learnings involved

in such an experience would more than compensate for the time involved.

Subsequent experience in the classroom bore

out his testimony.

A suggested procedure is given below.

9 Dorothy Bishop, (quoting Freed), "Suggested Prepara­ tion for the Creative Use of Piano in School Music," (Unpub­ lished Master's thesis, The University of Southern California, Los Angeles, 19^5).

32 Creative melody making at the fourth grade level. As a preliminary activity to creating a new song, the chil­ dren are asked to analyze, phrasewise, some songs from the class repertoire, e.g. Autumn LeavesA

B A________ B

Swing Song

Little River

A

B

A

C

A

A

This analyzing a song in this way is a familiar experience at this level, due to activities in classroom music.

A subject for a song is proposed, such as the approach

of a holiday.

The class is asked, for instance, to make up a

song about Hallowe’en.

The creation of the couplet or

quatrain can be by members of the group with the teacher’s prompting. board.

The words are selected and written on the chalk­

Then they are scanned for accents and basic beat.

Perhaps the teacher presents a suitable text for the first creative melody.

Fox and Hopkins go into these procedures

in detail in their inspiring book Creative School Music.

10 Lillian Mohn Fox and Thomas L. Hopkins, Creative School Music (New York: Silver Burdett Co., 1936")

33 This is a vital place to remind the children that all melodies proceed step-wise or skip-wise. is not a new idea.

Contrasting major and minor modes should

be used in the experiment.

Hallowe’en would be an excellent

time to explore minor tonality.

To start the song going,

the teacher may improvise a phrase to make up nB n .

At this level, it

m A*.!

and call on individuals

The principle of repetition of phrases is

again pointed out.

As the phrases that sound best are

selected,- they are put on the black-board by the teacher. A song takes shape, which is similar to the ones in the children’s piano book.

Boys and girls eagerly copy it into

their notebooks to take home. ence.

This is an unexpected experi­

They did not know that they could make up a song.

A new door is open to the fourth graders who are, by nature, interested in new departures and are not inhibited as they will become later on. Experience has shown that the class always has indi­ viduals who are responsive and who dash ahead, unhesitating,' into the new musical venture. ing their ability.

The timid ones follow, doubt­

Individual differences are to be expected

in creative class piano as in the three R's. Other writers in the field of music education agree with Bishop and Burrows that the creative efforts of the class bring the deepest musical satisfaction.

Hunkins, in

a recent article in Music Educators Journal states that,

34 The greatest stimulation, the greatest pleasure, and the finest understanding eome with the actual creation of music by the students themselves— they thus become a living part of the world of m u s i c . H Hhythm.

Parents and friends of young children have

sometimes had the opportunity to see their uninhibited, improvised dancing to music in the home.

The children seem

to lend themselves to the rhythm and to become what has been 12 described as visible music. Importance of rhythm to musical performance.

The

development of rhythmic awareness seems a valid way to lead the child to explore music.

Educators have observed that

rhythmic experiences should precede and accompany music study.

Without this approach, the student’s playing is

unmusical.

Dorothy Bishop mentions that many teachers fail

in this preparation.

"A rhythmic background in music study

is often noticeably lacking in students performance.”13 A visitor at any piano recital is likely to feel frustrated because of the lack of rhythmic flow in the per­ formance of many students.

Flagg discusses this phenomenon

in the same positive terms for artists and beginners.

H Eusebia S. Hunkins, “Music is our Language , ’1 Music Educators Journal. 36:41, January, 1930*

12 Ibid.. Preface. 13 Bishop, ojD. cit.. p. 11.

35 We welcome the performance of an artist whose music is motion* alive and pulsing* formed and sustained in a continuous line of power from beginning to end. . . . A few great teachers. . .recognize the living* rhythmic form of music. . .and know how to help us get it in our own music* eygn to the simplest song or movement of the young child. ^ Flagg further emphasizes the parallel between the rhythmic performance at the advanced level and the beginner’s level of accomplishment. Tone moulded into tonal design by dynamic rhythm may rock a cradle with a lovely lullaby or sweep the heart­ strings with the noble strains of the Ninth Symphony; it may be brought to life by a mighty chorus or by the voice of a little child. 5 The piano teacher would add: a young pupil.”

11Or by the playing of

The thrill of the rhythmic flow is the

living essence of music.

The boys and girls who are led to

discover and to bring out the distinctive rhythmic patterns with a march* lullaby* or waltz play with vitality and a certain authority. Implications of rhythm for the piano teacher.

If in

rhythm is the inner secret of the musical art* the teacher of children* in presenting a new melody* can begin with the physical response.

Newman* in The Pianist’s Problem, speaks

of the basic need of sensing rhythms inwardly.

Young chil­

dren can react kinaesthetically to a melody before they try ^

Flagg* op., pit.* pp. 63-64.

^

Ibid.* p. 6 6 .

36 to sing it or play it.

After the physical response to the

pulse is allowed to reverberate and the melody is tuned in on its basic beat* the singing and playing are likely to be dynamic.

It has been observed that the class piano situa­

tion has an advantage at this stage over the private studio. It sometimes seems that the group feels the pulse better than most individuals.

Any player who misses the basic beat

is corrected by the group.

Examples of thekinaesthetic

approach to rote singing are given in Chapter IV of this study. Functional harmony as a personal discovery.

There are

children who develop a habit of improvising before they enroll in piano class.

They are the ones with a good ear

who acquire an enviable facility without instruction. Sheehy, in her studies, observed that ’’Delight in harmony is characteristic of many children’s experimentation . 11 Guiding these gifted ones to a mastery of music prin­ ciples and techniques offers a challenge to the teacher. However, this present study is more concerned with the average pupil, who is more likely to envy his "gifted” class­ mate than to pick out harmonies for himself.

Sheehy, There^s Music in Children Henry Holt and Co.^ 1946), p. 41.

(New York:

The ear approach to primary chords.

Harmony enriches

melody "by providing mood and “color.1* As soon as one or two melodies are played in class, the tonic chord is introduced and used an an accompaniment for songs that require no other chord color, e.g. the rounds, and "Row, Row, Row your Boat."

"Are You Sleeping Brother John, "Jack and Judy" and "Indian

Dance," discussed in Chapters V and IV respectively are use­ ful at this stage to offer experience in tonic harmony in minor m ode. The pleasure in accompanying group singing for these songs in several keys is soon followed by the ear approach to dominant harmony.

Miessner stresses the need of hearing

the chord "colors."

"The first step is that his mind shall

be impressed, that his ear shall hear harmonies and distin­ guish between them."1? The procedures used to develop pre-hearing and mental imagery are described later in this study.

The analogy of

the three primary colors of visual art to the three primary harmonies has seemed to be useful in the presenting of basic harmonies.

The reposefull tonic chord can be compared to

the color blue.

The restless, active dominant harmony can

be compared to the color red.

It seems to assist the

1? Otto Miessner, Music for Every Child (Copyright, 1924, by Otto Miessner, 291 S. Water Street, Milwaukee, Wisconsin), p. 42.

38 children in distinguishing the harmonic contrasts in their listening lessons. As soon as the child hears the contrasting color, his ability to sense the need of it at cadences is cultivated. With the tonic chord, he can accompany "Little River," with a classmate playing the melody.

If he is asked to rest at

the next to the last accent, where the new chord-is needed, he can begin to have an auditory image of chord progression. As soon as he can feel the need of a new chord color, he is ready to learn the new pattern.

No coersion is required.

He wants to play it to satisfy himself. The practical advantages of functional harmony. Krongard, in "Piano Lessons for John Smith," sums up the case for functional harmony as a phase of class piano that contributes positively to the child's music experience. Keyboard harmony should be taught to fulfill one major purpose, i.e. to permit a person to harmonize at the piano by ear. John has no trouble learning the simple chord formations and what is more important, he can use it even if he has been at the piano but a short time. The ability to pick out and harmonize tunes. . .is a great social asset. Experience has repeatedly shown the workable truth in Krongard's summary.

Even boys and girls without pianos at

Hyman I. Krongard, "Piano Lessons for John Smith," Music Educators Journal. 3^:28-29., 52, February-March, 19^8.

39 home, who have to do their experimenting at a neighborhood church or perhaps at a table, have been so stimulated by this class routine that they have successfully accompanied the class in singing games such as nLooby-Loo," or in group singing of school favorites. There are grateful parents who thank the class piano teacher because John has fun picking out chords at home for his Dad, who likes to sing.

The parents wonder why they were

not taught this skill when they were children.

The pleasure

of the children and the gratitude of the parents bear witness to the effective part that is played by functional harmony in the musical growth of the child.

SOCIAL IMPLICATIONS OP CLASS PIANO The challenge of human values.

The class piano teacher

has a real challenge in considering the potentialities within his class.

The human values of music in the lives of the

pupils are of vital significance.

Each child needs to feel

from the first day two positive sensations. 1.

The happiness that this universal medium of

expression offers to a human being. 2. The power that flows Into a human being when func­ tioning harmoniously in a group. The teacher!s concept of music as a umeans of self and

ko social realization for the many""^ makes every step of the class program meaningful. Some case studies.

With these two human values as

objectives, i.e. providing opportunity for self and social realization for each pupil, let us consider several types of pupils who normally enroll in class piano. 1.

Gerald is. from a home having a piano, where older

brothers and sisters have ''taken lessons and stopped."

The

parents would like for their children to have advantages, but they are afraid "that there isn’t any music in them because they simply w o n ’t practice."

These words are famil­

iar to a teacher’s ears. After Gerald's first semester of basic music through piano, when the parents attend the class piano demonstration program in the auditorium, the teacher is informed that even though they don't understand it, this new way of teaching all the tonalities at once and letting Gerald play chords has caught his interest. every day at the piano. did that."

He "spends hours" experimenting "None of the other children ever

One mother said that Gerald was her shy child,

shrinking from everything, but that his fun in class piano has made him blossom out.

Pitts,

ojd.

c i t ., p.

6.

41 It seems that Gerald, by his pleasure in music,

is

gaining self-confidence that helps him develop into a welladjusted person. 2.

Yvonne, born of a Mexican mother and white father,

has unique gifts, rhythmic awareness, physical coordination, musical memory and true singing voice. from adjusted socially.

However, she is far

She antagonizes her associates by

showing off and behaving in a brash, aggressive manner. This behavior could be due both to lack of early discipline and to her ambiguous racial heritage. vaguely inferior.

She no doubt feels

If a teacher can win her respect, by him­

self demonstrating thorough musicianship, and then manage to make assignments that challenge Yvonne’s interest, without interfering with the functioning of the group, the chance follows for Yvonne to show that she can enhance the music of the class.

If she can be controlled, she can find her right­

ful place as teacher’s assistant. taking.

This is a difficult under­

It is far easier to recommend that Yvonne go to a

private teacher.

But success in a case like this may have

far-reaching consequences in a pupil’s life.

All of the

children benefit by the discipline of the group, but Yvonne needs it most of all. This case is complex because Yvonne’s musical poten­ tial is far above average.

To develop it, the steady develop­

ment of the group might be sacrificed.

However, her musical

42 gifts may be wasted if she does not learn self-discipline. The class is the laboratory for such a problem. the respect of the group.

She needs

If she masters several assignments

while the class is accomplishing one, she deserves recogni­ tion.

If her interest can be captured by a fare of real

music, she can be trusted with the authority of student teacher.

She needs to experience the satisfying glow of

group approval. 3*

The social outcast.

Jean is an untouchable.

Yvonne may be disliked, but

Every teacher has observed the

social outcast, the lonely boy or girl who appears to be avoided by all, for reasons unknown.

Sometimes this child

is referred by the counsellor to class piano as an experi­ ment.

The piano teacher discovers Jean’s plight when no

one wants to be next to her in the singing game.

Jean is

accustomed to this and seems pathetically happy to be in­ cluded.

In this situation, two people have to hold hands

with h e r .

She has the Illusion of belonging.

music lesson. the teacher.

She loves the

When she learns to play a melody, s,he thanks Her personality problems are very serious.

Jean is a reminder for a busy piano teacher that,

"Music is

a refuge for the spirit, a well-spring of water in the thirsty land which many of our pupils must traverse . " 20

20 James L. Mursell, Human Values in Music Education (New York: Silver Burdett and Co., 1934), p. 37*

43 4.

Larry is a slow-thinker.

Sometimes the first

semester passes without his demonstrating any progress in class piano.

Experience has proved that he is learning more

than he shows.

Sometimes his mother comes to visit school

and expresses thanks to the teacher for teaching him to play. It seems that Larry has developed new skills at home without having the courage to show them before his faster-moving classmates. his part.

It has been observed that eventually he takes

Nothing is required of the teacher in this case

but patience and encouragement. Implications to the teacher.

Jean and Larry's musical

potentialities are no more than average, probably less., Yvonne's are far above average.

Gerald's are average.

are as many variations in ability as there are pupils. one has a right to fulfillment.

There Each

Lilia Belle Pitts has

written this statement of creed for the music teacher. What matters most is that we defend our fundamental belief in the power of music to perform a major service in creating richer and freer lives for all.2^Conclusions.

From this study, it appears that the

class piano teacher's major responsibility is to help the child to self-expression and social integration.

21 Pitts, 0 £. c i t ., p. 24.

Because of

44 its universal appeal, music is an ideal medium for the development of social qualities, such as leadership and cooperation.

The emotional impact of each phase of the

class activities is the teacher's primary concern.

CHAPTER I I I

EAR-TRAINING Musical growth depends upon the ear. music is available to all who can hear.

The world of

In our civilization

due to motion pictures, recordings and radio, musical experi ence is reaching remote places.

The development of musical

insights must be through ear-training.

By an analogy with

painting, Mursell sheds light on the music teacher’s first objective. One might say that the core of art education is visual education--education in seeing. In the same way, the core of music education, considered from the developmental point of view is aural education .1 If we conceive of this aural art as the universal heritage of man, the music educator’s privilege is to tune the child to it, to develop his awareness of basic elements. Since it is an aural art, the ear is the logical approach.

IMPORTANCE OF EAR-TRAINING IN PIANO STUDY It Is apparent that ear-training looms paramount in importance to the music educator.

The piano teacher should

not underestimate its importance.

Potamkin has. observed

that lack of meaningful auditory experience is a common

^ James L. Mursell, Education for Musical Growth (New York: Ginn and Co., 19^8), p . 6 .

46 failing among pianists. In piano work there is danger of not using the auditory senses enough* and of relying too much upon the other senses. This should not he the case. There is therefore a great need of, . .some conscious ear work.^ Another experienced piano teacher, Leslie P. Clausen, drives home this need of conscious ear work by reminding us again of the analogy with visual art. How can aural sensitivity be developed? By listen­ ing, listening, and listening. . . not passively, but actively and intelligently. . ...The student must at all times hear what he creates. . . .It is sound that he works with. . . .If he does not hear, he is like a painter at work in a dark room.3 Mental imagery:

the goal in ear-training.

The

ability to think in imaged tones is the objective in con­ scious ear-training.

Potamkin has stressed this essential

goal in piano teaching.

"The teacher should train the pupil

to listen to each tone before it is produced.

. .through the

power of mental imagery."^ Conscious ear-training for children.

The teacher of

children needs to understand how to catch their attention by appealing

to them through familiar channels of activity.

2 Frank J. Potamkin, Modern Piano Pedagogy delphia: Elkan-Vogel Co., Inc., 1 9 3 6 ), p. 1 6 5 .

(Phila­

3 Leslie P. Clausen, "The Musician and the Piano," Music Educators Journal, 35*66, September-October, 1948. ^ Potamkin, op., pit., p. 114.

47

Marion Flagg points out this psychological principle. Being exposed to tonal experience is not enough; it must be mediated to the child. . . .From earliest child­ hood it is necessary to help the child direct his atten­ tion to tone until it comes into awareness, and this must be done through true child experience so that musical pleasure is identified with his childhood interests.5

SUGGESTIONS REGARDING THE EAR APPROACH IN A SPECIFIC TEACHING SITUATION Experiment in class piano at fourth grade level has indicated that the class piano teacher has countless oppor­ tunities to utilize the ear approach.

For example, the

singing game, with its combination of rhythmic body activity, rote melody, and play spirit, means fun for a nine-year-old pupil and can be turned to good account as a medium of ear learning. Rhythmic response to music later resolves itself into ear and body recognition of the basic beat underlying the rhythm of melodic figures.

The singing approach has been

found to help in developing mental imagery as the pupil begins playing piano by rote.

The many-key approach helps

in the development of a sense of tonality. Functional harmony at the keyboard can be termed eartraining plus motor activity. 5 Flagg,

ppl .

Extensive experience in key-

cit., p. 54.

48; board harmony has been found to be a good foundation for auditory memory and musical imagery. The following examples of class piano procedures attempt to show how emphasis may be placed upon the ear.

A singing g a m e , "Looby-Loo ," is presented here to show the aural approach to rhythm.

Later in this study "Looby-

Loo" will be cited again to illustrate ear approach to func­ tional harmony.

LOOBY-LOO English Folk Game

Here ve dance loo-by

loo

Here we dance looby light.

Here we dance loo-by

loo

All on a

Saturday

night.

j

Put

k

.

your right hand

~T~t T

, ' 1 give |

Put your right hand out,

in,

then

till 1

your hand a shake^^

shake and turn yourself a-bout.

^ Elizabeth Newman, The Children1s Own Book Carl Fischer, Inc., 1925)

(New York:

49 The teacher!s method is presented in the form of a monologue.

It should be kept in mind, however, that a skill­

ful teacher reduces the talking to the minimum.

As the

teacher describes action, he suits the action to the work, as much as possible. Muscular response to rhythm. Teacher:

Close your eyes, boys and girls, as you

listen to this song. sings "Looby-Loo.11)

Try to feel the basic beat.

Now, I will sing it a phrase at a time.

I want to see who feels the pulse. to the basic beat. feels it first.

D o n ’t peek.

Show me.

Close your eyes and sway

You might be the one who

(Teacher sings a phrase.)

and Carol, you were in perfect time with the song. listen again.

(Teacher

Carl Now all

If you hear a place where you could easily

stamp your feet three times, show me by quickiy raising your hand.

(The teacher plays and sings eight measures, accent­

ing the cadence chords.) at the end.

Good, Jerry, you noticed the place '

You be leader.

All stand, take each other’s

hands, holding hands shoulder h igh. the side, on the basic beat.

Take sliding steps to

On the strong beats at the

end,--"All on a Saturday night"--turn in place with three stamps of your feet.

(Class sings and dances eight mea­

sures .) Now form a circle.

The next phrase is different.

50 The words tell you what to do. the stamping chords.

At the end, you hear again

Turn around on three steps, tapping

your feet--right, left, right. This traditional folk game offers rhythmic activity for various parts of the anatomy. 2nd verse:

Put

your left hand in, etc.

3rd verse:

Put

your right foot in, etc.

Ath verse:

Put

your left foot in, etc.

5th verse:

Put

your right side in, etc.

6 th verse:

Put

your left side in, etc.

Bodily movement

and the play spirit have been found to

release any tension in

the class due t o ,self-consciousness or

fatigue and to create an atmosphere favorable for musical learning. Learnings involved in this game.

The awareness of

several rhythmic elements is developed in this activity. a. The phrase.

The phrasewise "breathing" of a

melody must never be overlooked in the melodies used in class.

In this song, the bodily action punctuates the

phrases. b. The basic beat, which motivates the melody, is discovered first by these procedures. c. The contrast of swaying motion and staccato accents has implications for a lesson in functional harmony.

51 A description of this harmonic sequence is given on page of this chapter. The ear in learning a rote melody:

"Autumn Leaves."

After a singing game., which may require ten minutes at the beginning of a lesson, a rote song follows. are seated at the table,

The children

Again the pupils are asked to

listen for the basic beat.

The bodily sensing of this life-

giving pulse is vital to the success of the first piano piece.

As Marion Plagg has so aptly said, "Note patterns

are mastered without effort when organized by the beat.

If

the beat is not felt, there is no music.11? In the writer's experience, the piano class always includes children who have a musical background and who master new techniques as soon as they are exposed to them. Their playing, singing and bodily responses help in stimu­ lating the less intuitive, less musically experienced pupils in the group. Example of rote song: .singing to playing. —

—

-----

_________ AUTUMN L E A V E S __________

Autumn leaves are

falling,

See them flutter

down.

'n >Tu 1 1 iiti L.*--y-f~~4N — .-

Oh, what cheerful

colors,

Red and gold and brown.

? Plagg, op., cit., p. 8 Burrows and Ahearn, "Autumn Leaves," from Young America at the Piano, Book I (Boston: C.C. Birchard and Co., t a In A

52 Feeling the basic beat, swaying. Teacher:

Boys and girls, let us sway to the rhythm

of a new song. neighbor..

Close your eyes.

Perhaps your .ear is better, than his.

feel the basic beat?

Who can

(TeacherJsings "Autumn Leaves."

pupils sway, eyes closed.) Jean.

Don't depend on your

Jean felt it right away.

All sing with me and sway again.

The Good,

Think of red and

. yellow leaves drifting lazily down to the ground. Other motor activities as a part of rote singing are suggested in Chapter IV. Establishing melodic direction.

The direction of the

melody line is now brought into focus. Teacher:

Close your eyes again.

This time, show me

when the tune goes up by letting your hand go up in front of your body. stay still. lowered.

If the melody repeats a tone, let your hand If the melody comes dbwn, let your hand be

Who can recognize the up and down in a song?

(Teacher sings.)

Good, John, Steve, and Carol were exactly

right. Awareness of phrase.

For these exercises, the right

hand is used for one phrase, the left for the next. seems to help in developing a sense of phrasing.

This

At the

piano, right and left hands are used alternately an octave apart, in the melodies.

Ear to keyboard: tactile awareness.

Skill in finger-

ing will be necessary in placing a rote tune on the keyboard. The pianist’s method of numbering the fingers is rapidly explained.

A brief drill follows.

Teacher:

Show me both your hands.

Show me 1, 3, 2,

4, 5**2, 4, etc. Experience has shown that the fourth finger causes trouble from the beginning.

One obstacle is apt to be that

the beginner confuses the second and fourth fingers. Another difficulty is the natural dependence of the fourth finger, whose work is often done by the third and fifth fingers.

This weakness is anticipated early in the lessons.

Teacher: for action.

Four is a lazy finger.

He is never ready

Did you ever see a boy or girl like that?

an eye on him. Approach

Keep

Make him play when it is his turn. to keyboard.

In case the group has not had

previous experience in locating the keys on the piano, the following drill may precede the playing of ’’Autumn Leaves." On a demonstration keyboard, the teacher shows the groups of three black keys, fingering them with 2 , 3 * 4 of the right hand. Teacher:

Practice placing your hand in this way on

thegroups of three black k e y s .

Go all up and down

your

keyboard, finding these groups, with the hands arched to

5^ play.

The thumb is resting over "F".

Play all the "F's" on the keyboard. piano.

Jerry, be first.

Play "F".

Pine.

Good.

Line up at the

Walk along the piano, playing all

the ''P's11 with your r i g h t .thumb.

As you finish, go back to

the table and continue playing the "F's" on your cardboard keyboards.

Sing "F" as you play it.

After this drill, the class sings do, re, mi, fa, so in the key of "FV and the next step is to play this fivefinger sequence.

The familiarity with the scale in class­

room music prepares the alert pupils to find the right tones on the piano.

By trial and error, someone immediately dis­

covers the position f, g, a, b flat, c--white, white, white, black, white.

The troublesome fourth finger has the pres­

tige of playing the only black key involved in this position. The pupils may then experiment with playing "Autumn Leaves" in "P".

The melody direction is recalled again by

singing the tune, hand going up and down.

That the hand

plays to the right as the tune ascends the scale, is soon accepted.

The normal fingering for the song is discovered

by the fast workers in the class.

The pupils begin to sing

the fingering, first in the air, then at the keyboard. Right hand:

12

3 4 3— 3 ~ 5 4 3 2 1--

Left hand:

5 4 3 2 3 ““*3~1 2 3 4 5 —

The pupils play at the table, except for two at piano, two others waiting at the left ready toplay.

each

The

55 rotation from dummy keyboard to position of waiting, while practicing in the air, to the piano bench, back to keyboards at the table, should be smooth and continuous.

The class

singing is obviously very important if the results are to be musical. As the pupils play ’’Autumn Leaves,” they sing (a) fingering,

(b) syllables,

(c) letter names:

f, g, a, b flat,

a--a--etc., and (d) the words. The importance of good singing.

If the group sing­

ing is not continued throughout this drill with clear tone quality, intelligent rise and fall of phrase, and regard for the poetic content of the song, the musical experience in the lesson will be missing.

The singing of the class

must be perceived by both teacher and pupils and must be constantly improved, if the ear approach is to be effective. It has been observed that the unmusical performance of any pupil can be corrected if he is asked to sing, listen, and to play in the air before touching the piano keys.

Harry

R. Wilson, in.his discussion of Class Piano, stressed an important aspect of rote teaching..

’’Rote work develops a

sense of anticipation of what normally is to come.”9

York:

9 Harry R. Wilson, Music in the High School Silver Burdett Co., 1 9 A1 ), p. 220.

(New

56 This sense of anticipation, developed by the class singing, impels the pupil to play better than he knows.

It

guides him safely through melodic patterns that might other­ wise prove to be hazards. The habit of listening to what he produces must be continuously cultivated.

At the first lesson and at every

lesson, Charlotte Du B o i s 1 warning must be heeded, Every phrase which is played should constitute an exercise in ear-training. . . .The very first time the child touches the keys we must help him to be aware of the rise and fall of the phrase, of the amount of tone he will try to use for e&ch note. . .of how he is going to say his little tune . 10 The many-keyed approach:

riRain and Sun."

The rou­

tine of listening for basic beat and for melodic direction with kinaesthetic response is similar to that outlined under RAIN

fr U

AND SUN11

iiu-

Rain, rain,

I

i

go a-vay,Come again some other

day.

|

iutTits-rg= Look, look,see the sun.

Now we know

the rainis done.

;

10 Charlotte Du Bois, "Piano Classes in the Schools," Music Educators Journal. 3^:26, January, 19^8. &

11 "Rain and Sun" from Young America at the Piano. Book I .

“Autumn Leaves . 11

The preparation for functional harmony is

apparent in these early r

rfftr — J- - 1 zlVfr — f1 Tf----* ■

*

X

He had to

i

£

^

walk^^t fbr

321

* self.

iii x r 1 1 ^ II i i j ii -r

r

’ •

107 seems to be easy and the other chords are all basic.

Another

new skill involved here is playing chords on the 1st,, 2nd, and 3^d beats, while the melody pauses, then resting on the fourth beat while the melody moves.

This experience seems to

help the children sense the underlying throb of the beat as controlling the movement of the tune.

They gain in self-

confidence by this experience. The mastery of this accompaniment by the fast thinkers in the group leads to extra concentration by the others.

It

seems to create interest. Correlation with violin class offers opportunities for new learnings.

Arrangements should be made to play, for

example, Brahms’ "Slumber Song" which happens to be in the violin textbook and also in Songs of Many lands. the fourth grade general music text. in E.

It is written in the singing book

The signature is discussed in piano class.

The many-

key approach has prepared the piano pupils to harmonize in E as readily as in any other key. to play "Slumber Song" in F.

The violin class has learned

The idea of the flexibility of

the piano accompanist is pointed out. Preparation for the accompaniment.

» The piano pupils

after discovering the basic beat and the indirect opening of the melody (anacrusis), experiment with chord progressions on the strong beat.

It is helpful, to resort to auto-harp for

108 this trial and error,, because its tones are light and can be heard easily against the children’s light singing voices. After the progressions are charted to the satisfaction of all, the pupils try it at the piano.

It has been observed

that the concept of inversions can be introduced at this stage.

The tonic chord is spelled and played in root posi­

tion, 1st inversion and 2nd inversion.

On the 2nd inversion,

the teacher asks the pupils to try a broken chord pattern to suggest the rocking cradle.

Then the IV chord is spelled out

and the 1st inversion is found to be very close to the 1^.

6

The transition is easy and smooth to IV and back to 1^. Then 7 the V' is spelled and the root position is found to be handy. The root of the chord in the bass can be played on the strong pulse.

The broken chords play an eighth note pattern

in themiddle register.

The singers bring in the melody.

After this preparation, the pupils take turns playing with the violin solo. CHORD PATTERN FOR SLUMBER SONG

1

m

1

* 1

*

2

£

m

109 Educational values of this experience: 1 . Awareness of inversions of chords.

This develops

insight as to harmonic structure and also as to melody line. 2. The new chord pattern serves as an introduction to establish the basic pulse and also maintains continuity of movement as the melody pauses on long notes. 3. Basic skills of an accompanist are presented. a. The ability to transpose. b. The ability to serve as a musical background

for

the solo. Young America at the Violin is available now for violin class., arranged by E. E. Harris in collaboration with Raymond Burrows.

It offers excellent opportunity for correlation of

activities. Correlation with classroom music.

“Night in the Desert

is an example chosen from the fourth grade music book.

When

it was selected for a piano class lesson, it was already in the class song repertoire.

The diatonic movement of the

melody lies within the five

fingers of the hand if a complete

shift is made for the second phrase.

This song provides the

fourth grade beginner the opportunity to play not only the accompaniment, as in “Silent Night", but melody and accompani­ ment, hands together. 6 “Night in the Desert" from Songs of Many Lands, p. 33.

110

NIGHT IN THE DESERT

Thru the darkness

Kneeling camels

gleaming,

lights are dimly

dreaming

on

the

lonely

beaming,

:sand.

CONCLUSIONS Experience in functional harmony is well suited to pupils at the fourth grade level.

The skills gained in this

phase of' piano study serve as a social asset, strengthening the child1s self-respect. Insights as to rhythmic structure and tonality are developed as the pupils harmonize melodies in all keys. The experience of working out chord progressions for familiar tunes leads directly to the school song book and develops interest in the printed page.

The ability to iden­

tify chord patterns in the score grows as the class progresses in this sequence of experiences. The ear-training and keyboard facility involved In this approach provide the pupil with resources for finding his way later on, in case his memory fails during a recital.

In

Ill any case, functional harmony will serve as one of the basic ingredients fo musicianship.

CHAPTER VI CONCLUSIONS This study has sought to present a creative approach to piano at the fourth grade level.

The procedures herein

described have been observed in a specific school situation. They have been tested as a logical basis for (a) general musicianship^

(b) musical literacy, and (c) fluency at the

pi a n o . The progressive idea that good living is the best preparation for the good life is interpreted to mean that daily experience with making music is the best preparation for musical growth. The body of the thesis was concerned with the develop­ ment of typical activities recommended for the pre-reading and early reading phase of class piano.

This phase was found

to constitute approximately the first semester of the school term. EMOTIONAL ASPECT AND HUMAN VALUES Throughout this study the writer has attempted to show that the teacher's primary concern is the emotional content of the class piano experience.

The development of the child’s

awareness of musical beauty must be cultivated.

It was found

that his will to be musical must be stimulated by the feeling

113 tone of each lesson.

Thus, it is important to arrange for

musical experiences which gain momentum and enthusiasm as the group gains in skills and insights. Basic music study through piano was found to have important implications in regard to personality integration, character building, and resultant good citizenship.

SPECIFIC PHASES OF MUSICAL EXPERIENCE E ar-training.

This study has attempted to show that

in music, the aural art, the logical approach is through the ear.

By listening intelligently, the pupils can develop

awareness, insight and discrimination in the basic areas of music, viz. rhythm, melody, and harmony.

v ^

Experiences described

have shown that the ear approach leads to growth in musical initiative and in subsequent mastery of skills. General musicianship, which involves sight-reading, memory, and sensitive interpretation, has been found to depend upon training in hearing what is produced.

This ear-training

leads to the development of ability for mental imagery and auditory memory. Rhythm.

Through the experiments with rhythmic move­

ment, the writer established that the vague excitement of the physical response can become clarified in the pre-reading period in class piano.

Through directed listening and

114 bodily response, the child can discover the different rhythmic patterns that constitute music.

Specifically, the

elements he needs to identify are the basic beat, the phrase, the various styles of melodic figures and eventually the meter. During the course of experimenting with playing of melody, it was apparent that a sense of phrasing was devel­ oped early by insisting on alternate phrases being played by alternate hands.

The feeling for the rise and fall of phrases

was made clear by having the children describe the phrase shape in the air as they sang.

The rhythm of design was

impressed on the pupils1 consciousness as they were never permitted to sing or play in a mechanical way.

A sensitive

attitude toward dynamic contrast was developed from the first lesson. That these insights are within the grasp of fourth grade beginners was indicated by the performance of pupils in the situation chosen for this study. Functional harmony was found to afford significant emotional values with significant implications for musical growth.

It was found that children derived immediate satis­

faction from the experience of harmonizing melodies with pro­ gressions of three basic chords.

The satisfaction derived

from the vibrations of the harmonies facilitated the learning of new physical skills.

115 During the course of this study functional harmony was found to he a social asset to the children in their school and outside contacts.

Thus the skill of chord play­

ing had implications for personality development. Playing accompaniments for melodies in all keys devel­ oped insight into the rhythmic structure of music and aware­ ness of the meaning of tonality.

The results of chord play­

ing experiences described indicate that early mastery of the principles of harmonic progressions at the piano is a sound approach to skill in sight-reading and memorizing at all levels of piano study.

J

IMPLICATIONS FOR NOTE-READING Let us consider briefly the child’s progress in musi­ cal awareness,

initiative, discrimination, insight and skill,

as described in this study, and draw some conclusions regard­ ing his preparation for note-reading.

Is he beginning to

transfer his learnings from ear. to eye? knowledge of the basic elements of music?

Has he a working Is he ready to

organize his various learnings by identifying them with symbols on the printed page?

Observation of boys and girls

in class piano in a specific school situation has led to some positive conclusions as to his reading readiness toward the end of the first semester.

These conclusions are summar­

ized in the following paragraphs.

116 [ Melodic shape and design gained meaning and conse­ quent precision for the child as he played rote songs on the piano.

The steps and skips emerged with tangible clearness

because he found them on the keys of the piano.

.As a result

of experimenting with broken chords in functional harmony, he realized that a melody line normally moves either in scale steps or within the tones of a chord.

His lessons in creative

melody enlightened' him in this matter.

The many-keyed approach"

prepared him to manipulate all tonalities without fear of sharps and flats. Rhythmic structure with its interwoven patterns emerged gradually in the child's consciousness.

By experi­

encing many rhythmic styles kinaesthetically, the beginner became aware of the interpretative values of various rhythmic 4 styles. He anticipated the steady tread of a march in 4

6

meter, the lilt of a boat song in 8, or the graceful sway of a waltz through actual experience.

He developed a background

of musical experience to aid him in the complex.process of learning to tfhear with his eyes and see with his ears” . By m o t o r a c t i v i t y , he b e c a m e a w a r e of b a s i c beat, the life-giving pulse whiGh

is i n v i s i b l e

on the p r i n t e d page.

After swaying to it, tapping, clapping, panting, chording, and pedaling it, his need for basic beat became part of his

system^

117 By stepping off the notes in his rote songs, singing note values in terms of walk, run-run, slow, he was ready to chant: quarter, two-eighths, half-note, in proper durations as he identifies the symbols on the chalk-board or in the piano book.

IPhrasing, the punctuation of music gained meaning from his first class piano lesson.

He soon learned to recognize,

by ear, the sequence, repetition and contrast in phrases. These principles emerged very clearly in the creative melody lessons.

Recognition of phrase form by ear resulted in the

ability to scan the songs in music books.

The pupils noticed

that this phrase was (1) exactly like that one,

(2) just the

same only a little higher, or (3) entirely different. Finally, the very fact of playing in ensemble led children into the habit of phrase-wise reading, rather than an unmusical note by note procedure. Functional harmony opened the child’s eyes as well as his ears.

By harmonizing many songs in many keys he learned

that three basic harmonies were enough for many melodies. Experience in class revealed that pupils would scan a new piece, looking for the harmonic progressions, briefly trying the chords, then turn undivided attention to the new melody, confident that the chords could play themselves.

The notes

S'

did not have to be read separately.

A group of notes was

118 read at a glance and identified as a tonic, dominant or sub­ dominant figure. Reading readiness proved to be an important considera­ tion in music teaching as in reading language in the first grade.

Functional reading ability involved phrase-wise

reading, harmonic recognition, grasp of general melodic shape and recognition of sequence, repetition and contrast.

Work­

ing acquaintance with these skills and insights before the symbols were presented was a necessary preparation for music reading, as practice in speech is a normal and necessary preparation for language reading.

LIMITATIONS OF THE STUDY j This study has been narrowed to the beginning phases of class piano at the fourth grade level.

It has seemed to

the writer that nine-year-old children, in general, are at the stage of growth when their mental capacity and physical coordination make them ready for a complex activity such as piano.

Similar studies at higher or lower age levels would

no doubt yield important results for music educators. Studies at more advanced stages in this same situation are also indicated, such as the rote to note process in second semester and the relation of basic piano to technique at higher levels.

119 The situation of the small elective class in a school system which offers piano on the same basis as the orchestral instruments is arbitrarily used in these experiments.

Studies

of groups of varying sizes with more pianos available or with more than one lesson per week or with supervised practice would result Jin important findings for music educators and

THE FORWARD LOOK Recent developments in the field of piano teaching have been so revolutionary that research studies are strongly indicated.

Unprecedented experiments have been conducted in

various universities.

Much vitality has been infused into

the profession by the new concepts involved in what is known as the creative approach.

This thesis presents a very small

segment of experiment in creative class piano.

Important

developments are taking place constantly in the field. Speculation as to the place of television in music education is of interest to class piano teachers.

The procedures

described in this study may be soon discarded for better ones.

But the creative approach with its focus on the indi­

vidual’s own musical potential should guide the teacher in constant experiment.

The need for a thorough study of

problems pertaining to class piano is becoming increasingly

120 pertinent in view of its importance in the school program. Music education may some day include basic piano for every boy and girl as means of self-expression and social adjusti

ment

B I B L I O G R A P H Y

B IB L IO G R A P H Y

A.

BOOKS

Alehin, Carolyn A., Applied Harmony. Los Angeles: L. R. Jones, 227 East Fourth Street, 1921. _______ , Tone Thinking and Ear Testing. Los Angeles: C. A. Alehin, 1227 S. Hoover Street, 1919Driver, Ann, Music and Movement. Press, 1943.

London:

Oxford University

Flagg, Marion, Musical Learning. and Co., 1949.

Boston:

C. C. Birchard

Fox, Lillian Mohn and L. Thomas Hopkins, Creative School Music. New York: Silver Burdett Co., 1936. Jersild, Arthur T., Child Psychology. Hall, Inc., 1947.

New York:

_______ , et al, Educational Psychology. Macmillan Co., 1948.

Prentiee-

New York:

The

Krone, Beatrice Perham, Music in the New School. Chicago: Neil A. Kjos Music Co., revised edition, 1941. Mursell, James L., Education for Musical Growth. Ginn and Co., 1948. _______ , Human Values in Music Education. Burdett and Co., 1934. ■

Music in American Schools. and Co., 1943.

New York:

New York:

New York:

Newman, William S., The Pianist1s Problem. and Brothers, 1950.

Silver

Silver Burdett

New York:

Harper

Pitts, Lilia Belle, The Music Curriculum in a Changing W o r l d . New York: Silver Burdett and Co., 1944. Potamkin, Frank J., Modern Piano Pedagogy. Elkan-Vogel Co., Inc., 1936. Sheehy, Emma D., There *s Music in Children. Henry Holt and Co., 1946.

Philadelphia: New York:

122 Smith, Melville and Max Krone, Fundamentals of Musicianship. New York: M. Witmark and Sons, 1934. Tansman, Alexandre, Igor Stravinsky. Putnam’s Sons, 1949. - Waterman, Elizabeth, The Rhythm B o o k . Barnes and Co., 1937.

New York: New York:

Wilson, Harry Robert, Music in the High School. Silver Burdett and Co., 1941.

B.

G. P. A. S. New York:

PERIODICAL LITERATURE

- Adams, William A., "Functional Harmony," Educational Music Magazine, 29: November-December, 1949. - Barry, K. W., "A Discussion on Piano Class Instruction," Montana Education. 25: January, 1949. Bostelman, John C., Jr., "Music Teaching and the Assembly Line," The Musician. 47:38, March, 1942. "Brownell, W. A., “Criteria of Learning in Educational Research," Journal of Educational Psychology. 39:17°”82, March, 1948. Burrows, Raymond, "How Piano Lessons in Schools are Being -Promoted," The Music Trade Review, 108: January, 1949. , “The Piano and Its Literature," The Music Journal, 5: May-June, 1947. _______ , "The Progress of Establishing Piano Classes in the Public Schools," The Music Trade Review. 106: December, 1947. v

, "The Why and How of Class Piano, n National Education Association Journal. 3 8 : January, 1949.

- Clausen, Leslie P., "The Musician and the Piano," Music Educators Journal. 35:86, September-October,.1948. Drummond, H. D., "I Choose Elementary Education," Peabody Journal Education. 26: November, 1948.

123 Du Bois, Charlotte, "Piano Classes in the Schools," Music Educators Journal. 3^: January, 1948. Flagg, Marion, "The Written Language of Music," Music Educators Journal, 35: January, 1949. Hinga, Howard N., "Music Reading Readiness,” Music Journal. 5: July-August, 1947. ^ Hunkins, Eusebia S., "Music is our Language," Music Educators Journal. 36:41, January, 1950. _ Keller, Marjorie M., "Growth Through Music," N. E. A. Journal., 38: December, 1949. - Krongard, Hyman I., "Piano Lessons for John Smith," Music Educators Journal. 34:28-29* 52, February-March, 1948. ^Larson, William S., "Research in Music Education," Educational Music Magazine. 24: November-December, 1944.. . Lowery, H., "The Piano Class: An Experiment in Adult Education," The Journal of Musicology. 2:125* January, 1941. ^ Seashore, Carl E., "When to Begin a Musical Education," Child Study. 5: July, 1 9 2 8 . , Stetson, R. H., “The Teaching of Rhythm," Musical Quarterly. 9:181, April, 1923. York Sunday News, editorial. 1 949 . C.

York, Pennsylvania, January 30,

UNPUBLISHED MATERIALS

Bishop, Dorothy, "Piano Develops Musicianship." Unpublished outline issued at the time of her piano demonstration at the Music Educators National Conference, Pacific-Western Regional Conference, March, 1949* in Sacramento, Calif. _______ , "Suggested Preparation for the Creative Use of Piano in School Music." Unpublished Master’s thesis* The University of Southern California, Los Angeles, 1945-

124 Bishop, Dorothy, "Songs with Indications for Simple Chord Accompaniment," a Syllabus. Idyllwild School of Music and the Arts, Idyllwild, California, 1950. Burrows, Raymond, a personal letter, July, 21, 1949. - Lewison, Mildred, "A Comparative Study of Certain Class Piano Methods." Unpublished Master!s thesis, The University of Southern California, Los Angeles, 1933. - Miessner, W. Otto, unpublished manual "Music for Every Child, The Melody Way, Plan, Class Piano Instruction." Copy­ right, 1924, by W. Otto Miessner, 291 S. Water Street, Milwaukee, Wisconsin.

D.

BULLETINS, PAMPHLETS AND MANUALS

- Burrows, Raymond, "The Advanced Piano Class," proceedings of Music Teachers National Association for 1947* reprinted by Music Educators National Conference, 64 E. Jackson St., Chicago 4, Illinois. ■

, "Piano in School," a pamphlet, published by the Music Educators National Conference, Chicago. _______ , "Piano Teaching Down to Earth," Music Educators National Conference Yearbook, Vol. 30, p. 303. Reprinted by M.E.N.C. in a pamphlet. _______ , "The Piano Class as an Agency for Developing Musicianship," Music Educators National Conference Yearbook, 1937* P* 319.

^Christianson, Helen, "Bodily Rhythmic Movements of Young Children in Relation to Rhythm in Music," Bureau of Publications, Teachers College, Columbia.University, New York, 1938. _______ , "Music and the Young Child," Bulletin of the Asso­ ciation for Childhood Education, .1201 l 6 th St., N.W., Washington, D.C., 1936. -Crowder, John, "Social Implications of Piano Study," reprinted in a pamphlet from M.T.N.A. Bulletin, November, 1949.

125 “ Frisch, Fay Templeton, “Calling all Piano Teachers,“ a pamphlet published by M.E.N.C., Chicago, containing reprints of four articles. Jersild, Arthur T. and Associates, “Child Development and the Curriculum , ’1 Bureau of Publications, Teachers College, Columbia University, New York, 19^6. Krone, Beatrice Perham and Blanche Kent, “Growing Music Interests of Growing Children , * 1 from “Music and the Young Child,“ a bulletin of the Association for Child­ hood Education, 1201 l6 th Street, N.W., Washington, D.C., 1936, compiled by Helen Christianson. Music Educators National Conference Piano Committee Bulle­ tins for 1 9 A 8 . Music Educators National Conference, "Piano Instructor in the Schools,” a report and interpretations of a survey, 19^9. Music Educators National Conference, 1950 Progress Report. ' Music Educators National Conference Source Book> 19^2, a summary of developments in the field of piano class in music education. Pitts, Glenn and Watters, “Teaching Suggestions and Piano Accompaniments for Singing on our W a y , a manual pub­ lished by Ginn and Co., Boston.

E.

MUSIC MATERIALS

Ahearn, Blake and Raymond Burrows, The Adult Explorer at the Piano. Cincinnati: The Willis Co., 1937* - Burchenal, Elizabeth, Folk Dances and Singing Games.■ New York: G. Schirmer, Inc. _ Burrows, Raymond and Ella Mason Ahearn, Young America at the . Piano. Books I, II, and III. Boston: C. C. Birchard and Co., 285 Columbus A v e . Burrows, Raymond and Ernest E. Harris, Young America at the Violin. Boston: C. C. Birchard and Co., 285 Columbus Ave.

126 Burrows, Raymond, et a l ., Plano Series for the Older Beginner. New York: J. J. Robbins and Sons, Inc., 1950. - Diller, Angela, Keyboard Harmony Course. G. Schirmer, Inc.

New York:

Dykema, Peter W . , et a l ., A Singing School. C. C. Birchard and Co. Frost, Bernice, Beginning at the Piano. Music Co., 1937. Giovanni, Milo, My Piano Play B o o k . Music Co., 1949.

Boston:

Boston:

Boston:

Boston

The Boston

Glenn, Mabelle, et al., Songs of Many Lands from The World of Music. Boston: Ginn and Co., 1943. Krone, Beatrice Perham, Our First Soyirs to Sing with Descants. Chicago: Neil A. Kjos Music Co., 1949. The Krones, Beatrice and Max, Inter-Americana. Neil A. Kjos Music Co. ________ , Folk Songs of Brazil. - New Music Horizons, Book I V .

Chicago:

Boston:

Chicago:

Neil A. Kjos Co.

Silver Burdett Co.

_ Newman, Elizabeth, Adventures with Chords and Tunes. Chicago: Clayton F. Summy Co., 1932. _______ , The Children1s Own B o o k . I n c ., 1925. _______ , Music for Teeny and T iny. Pub., 1942. Oxford Piano Course.

New York:

New York: New York:

Carl Fischer, Creative Music

Oxford University, 1929.

^ Seeger, Ruth, American Folk Songs for Children. Doubleday, 1948.

New York:

Webber, Hallie, The Piano H o u r . Waverly, Kansas: The Voegle P r e s s d i s t r i b u t e d by Carl Fischer, Inc., 406 S. Wabash Ave., Chicago 4, Illinois.