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A study of the Los Angeles Bureau of Music with implications for civic music in the United States

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A STUDY OP THE LOS ANGELES BUREAU OP MUSIC WITH IMPLICATIONS FOR CIVIC MUSIC IN THE UNITED STATES

A Thesis Presented to the Faculty of the Graduate School University of Southern California

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

Milton B* Young February 19^9~

UMI Number: EP61870

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

DisswtMion Publ sh#ng

UMI EP61870 Published by ProQuest LLC (2014). Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code

ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48 10 6 - 1346

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T h is thesis, w ritte n by .............. JvttLTON _B_.r.YOUNG............. under the guidance of h.Xs... F a c u lty C o m m itte e , and a p p ro v e d by a l l its members, has been presented to and accepted by the C o u n c il on G ra d u a te S tu d y and Research in p a r t ia l f u l f i l l ­ m ent of the requirements f o r the degree of MASTER OF MJSIC

Dean

January 1950

F a c u lty C om m ittee

/ $ > / & &

TABLE OP CONTENTS CHAPTER I.

PAGE

THE PROBLEM AND THE IMPORTANCE OP THE STUDY. The problem

. . . . . . .

1

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

4

Definition of term ucivic music11...........

8

Organization of remainder of thesis

9

• • • •

REVIEW OP CIVIC MUSIC IN THE UNITED STATES . ♦ Status of civic music before 1925

III.

• • • • •

11 11

Status of civic music since 1925 » • • • • •

13

The American Music Conference

17

• • • • • • •

ORIGIN AND ORGANIZATION OP THELOS ANGELES BUREAU OP MUSIC

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

21

O r i g i n .......................................

21

..........

24

Organization

.

Line organization

• • «

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

25

Staff o r g a n i z a t i o n ........................

26

Selection of s t a f f .....................

27

The financial budget

30

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

Salary status of personnel.. .............. IV.

1

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

Importance of the study

II.

.

YOUTH C H O R U S E S ............... Organization and objectives Organization • • • • •

32 34



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

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

34

.

34

Objectives • • • • ....................... *

35

Promotion and a c t i v i t i e s ................... Promotion

. . . ^ ...............

37 37

iii

CHAPTER

PAGE Activities • ........ . ....................■

40

Relationship of civic music to public school music V.

» • .............. . . . . . . . . . .

ADULT CHORUSES AND OTHER ACTIVITIES

41

...........

Adult Choruses • .............................. Organization

44

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

44

Objectives • ................................

45

A c t i v i t i e s .........................

45

Community Sings

..........

Or g a n i z a t i o n ............ Objectives

VI.

44



«

46



47 47

Contests and f e s t i v a l s .................

48

Orchestras and bands

50

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

O r c h e s t r a .....................

50

Bands

50

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

SUMMARY AND CONCLUSIONS Summary

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

Conclusions BIBLIOGRAPHY

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

.

53 53

........................... .'....

54 60

LIST OP FIGURES FIGURE 1.

PAGE Chart of Organization of the Los Angeles Bureau of Music

2#

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

29

Schedule of Summer Band Concerts sponsored by the Los Angeles Bureau of Music, 1949 •

52

LIST OF TABLES TABLE I#

PAG-E Results of Partial Survey Made of Civic Music in 46 Cities in 1946 (Over 100,000 Popula­ tion) .................'............

II*

15

Comparative Budgets of the Los Angeles Bureau of Music for the Fiscal Years 1944-45 through 1949-50 • » • • • • • • •

.........



33

a

*

CHAPTER I THE PROBIEM AND THE IMPORTANCE OP THE STUDY For many years civic music organizations of various kinds have given millions of Americans many hours of plea­ sure and have added greatly toward building a fine apprecia­ tion of good music within our society.

In addition to

helping build a musical culture, this type of organization has also played a prominent part in molding national unity by breaking down barriers against which democracy must continual­ ly fight*

Music has for centuries been a powerful factor in

welding together people of various races, creeds, and interests This fact is being realized more and more not only by those interested in our national solidarity, but also by leaders in international problems.1 I.

THE PROBLEM

During the past number of years,

as the pace of living

has been greatly accelerated, the need for opportunities to release stored-up emotional energies and for self-expression through group participation has become a recognized problem. The act of singing in a group or of playing in an instrumental ensemble, provides an excellent means of satisfying this Howard Hanson, "The Scope of the Music Education Program,M Music Educators Journal, XXXIV (June-July, 19 I4.8 ), P. 57. -

2 need.2 Various types of civic music organizations have been established, short-lived.

some of them being successful, others being These groups have been organized under innum­

erable circumstances and situations, ranging from a small chorus or instrumental ensemble, meeting occasionally for the enjoyment of singing or playing together, to large organiza­ tions capable of performing major works.

Church groups,

industrial groups, service clubs, and a host of other organi­ zations have all contributed to the list of such musicparticipation projects. In recognition of the many values to be derived from such a project, numerous cities in the United States have attempted, at one time or another, to establish organized civic music programs on a city-wide basis.

The types of

organization and the objectives in view have varied in scope and intention, but the number of cities that have had lasting success with their civic music projects, in comparison with those who have fallen by the wayside, are few in number.

It

has been learned that, with very few exceptions, the emphasis in building civic music projects has been placed on providing

2 Augustus D. Zanzig, Community and Assembly Singing (New York: M. Witmark and Sons, 1933)» PP* 5~7* P. Melvyn Dawson, "Music For What?ff, Music Educators Journal, XXXV (May-June,> 19^-9 )* PP* 11-13*

3 music in concert form to the citizens, rather than on a type of project in which the people might actually participate* The many values which music holds for the participants are being generally overlooked in favor of promoting civic music on a "listenerfs" basis.3

The latter also has its definite

values, but with the many mechanical facilities available today through which music may be heard, the importance of pro­ viding opportunities for self-expression, artistic growth, and social and recreational activity through a participationtype of civic music project seems to greatly outweigh the values of a "free-concert" type of civic endeavor. Since the early part of 19if5 the City of Los Angeles has developed a civic music-participation program that is reaching literally thousands of people in its scope and prov­ ing highly successful in making good its motto "More Music For More People".

It is the objective of this thesis to

(1) present a brief history of civic music in the United States as an introduction to (2) a study of the background, organization, and activities of the Los Angeles Bureau of Music for the period 19^5 through 19^9 » and (3) provide implications for use in establishing similar civic music programs in other cities of the United States.

3

See Table I, p. l£.

kr

II.

IMPORTANCE OF THE STUDY

In stating the importance of establishing a civic music project within the community, it is necessary only to turn to the facts which describe the continually growing interest and enthusiasm in the United States for music in general and especially the desire for actual participation on the part of the masses. k-

Community music groups, in which anyone who

wishes may participate, have been popular in European countries for centuries.

Village sing fests and folk-music festivals

have long been a mark of national culture.

In the development

of American culture, however, there seems to have been a tendency for music to develop as a Mlistenerfs art” with a comparatively small proportion of the people participating. This has obviously been caused by the rapid growth of a new nation which necessarily devoted the majority of its time and interests to its political and economic growth. Music and the other arts have not been neglected in American culture.

In fact, an exceedingly high aesthetic

appreciation has been developed.

It has been an appreciation,

however, derived largely from a comparatively small proportion of the population which has provided the performance to be enjoyed and absorbed by the rest of the people.

The mechani-

H.W. Heinsheimer, ’’Americans Musical Awakening,” Readers Digest, XXVII (September, 19 I4.8 )* P* •

5 cal devices which have been developed within the past century-the phonograph, radio, motion picture, and television—

have

added further emphasis to the appreciation of music as a lis­ tener's art.

It is, as Mason has so aptly phrased it,

n . • . the result of taking all our music professionally.11^ Within the past few decades, however, there seems to have grown an ever-increasing desire on the part of Americans to have the opportunity of expressing themselves through the arts by active participation rather than as flonlookers11. During the first World War the surge of patriotism found one of its first and strongest releases through people banding together for mass singing.

Since the first war, and through

the second World War, the practice of community singing has grown increasingly more popular.

Within the ranks of the

fighting men it was found that few things could compare with music, especially group singing, as a morale builder. same has been found to be true in hospitals.

The

Large industries

are promoting after-hour glee clubs and choirs to lift the morale of their employees• More and more people are discovering the values of participation in music as a needed outlet for tension built up under the existing fast pace of every-day life.

The fears

£ Daniel Gregory Mason, Tune In America (New York: Alfred A . Knopf, 1931), p .>88. *

and uncertainties of world conditions, occupational and domes­ tic worries, and the myriad other problems arising out of our rushing society bring about an increasing demand for the op­ portunity for emotional release on the part of the individual* Nothing could be a more natural outlet than participation, in a civic music organization.

The practice of listening to

music on the radio, on phonograph records, or even in a concert hall, cannot take the place of ’’making music” by one »s own effort, whether it is in a barbershop quartet or in a symphony orchestra*^ The realization of the values of participation in music has led to a widespread program of music education with­ in our school systems during the past few years*

Students

are now being given the opportunity to sing and to play in groups from the early grades through college.

The enthusiasm

and skills being developed in their educational process is bringing about an ever-increasing demand on the part of graduates to be able to continue their music participation as they take their places in adult society.

The need for re­

liable sponsorship and trained leadership of civic organiza­ tions is becoming ever more acute. The value of civic music projects is drawing the

^ David Ewen, Music Comes To America (New York: Allen, Townes & Heath, Inc.,- I^ZjTTT# P P • '225-29•

7 attention and cooperation not only of educators and civic leaders, but also of professional musicians in both the field of popular music and that of r,iserious" music*

New Y o r k fs

Collegiate Chorale, under the direction of Robert Shaw7, is an outstanding example of a heterogeneous group of people pro­ ducing great music.

One of Americafs most renowned musicians,

Dr. Serge Koussevitzky, is among the many great professional artists who share the conviction that "music is for the masses".

In a recent address he has stated:

The quest of our t ime is to educate the people to a true democratic consciousness. Music, of all the arts, comes nearest to achieving democratic ideals. It is therefore our direct duty and aim to spread musical culture in the masses, to stimulate interest in music so that it penetrates the living consciousness of the people. • . • I believe the general (musical) culture, in a certain measure, plays a more important role than even profession­ al musical education, just because of the participation of the masses, which influences the course of culture and the very process of its development. ♦ • • The active drawing of the wide masses nearer to music consists in breaking down the artificial barriers between the initiated and the uninitiated, and in making the language of music as accessible to the general understanding and emotion as is the spoken language. But the most important step of all is to introduce into the consciousness of listeners the truly spiritual essence of music, which stands high above the level of mere amusement and entertainment.8 In order to meet the growing demand for adequate civic

7 Ann M. Lingg, "He Makes People SingJ", Readers Digest, XXXVIII (April, 19 I4.9 ), pp. 32. ^ Serge Koussevitzky, "A Living Music Culture," The Southwestern Musician^ XIV (August, 19 I4.8 ), V* 12.

8

music programs ?/hich will not only offer opportunity for growth in appreciation for the finest type of music, but also offer outlets for self-expression, and for social and recrea­ tional activity, it is important that civic leaders understand the problems and requirements involved.

It can no longer be

a hit-and-miss type of undertaking, but must be recognized by city governments, whether in small towns or large cities, as worthy of their attention and action. III.

DEFINITION OP TERM ”CIVIC MUSIC"

The term ,fcivie music” (or ncivic music program” ), is very comprehensive in meaning, and

has need of being defin­

ed for its use in the following chapters.

Often it is

used

to describe an organization which is composed of professional musicians who are subsidized through public funds for present­ ing a concert, or series of concerts, for the residents of the community. has no

This particular interpretation of the term

application to the material to The sponsorship of civic music

industrial organizations,

be presented. groups by service clubs,

churches, educational institutions,

and similar agencies plays a large part in providing the type of music-participation program with which the following thesis will attempt to deal. The music group sponsored by an organization of the

types mentioned above is usually limited in scope, however, and does not ordinarily qualify as a ” civic11 organization in the broad definition of the term.

These limitations will be

discussed in a later chapter. In order to make the term tfcivic music” specific in meaning for the following chapters, its definition will be limited to the type of program established by the City of Los Angeles which is sponsored directly by the city government. In this type of organization the financial backing, the ar­ tistic standards, and the leadership are provided by the city government, with the added interest and sponsorship of local organizations within the various communities of the city. The organization of the Los Angeles Bureau of Music (Chapter IV) is not to be confused with the music program es­ tablished by the Parks and Recreations Commission of the County of Los Angeles.

The activities of the latter agency

are providing additional opportunities for the public to en­ joy music participation through other means. IV.

ORGANIZATION OP REMAINDER OP THESIS

A statistical study of the status of civic music in cities of the United States for the years 1925 and 1947 is presented in Chapter II.

The statistics presented in this

chapter are not meant to provide comparisons between the two

10 years during which they were compiled* but rather add emphasis to the lack of development of music participation projects during this period* A study of the Los Angeles Bureau of Music— Its organ­ ization and activities— is given in Chapters III and IV#

It

is hoped that through analysis of the functions of the Los Angeles project, implications will be suggested which might be valuable In the organization of similar projects in other cities* The many sociological values which are derived from a music-participation program are discussed in Chapter V, with particular reference to the benefits which have been mani­ fested in the Los Angeles Project* Chapter VI provides a summary and statements of con­ clusion for the study*

CHAPTER II REVIEW OP CIVIC MUSIC IN THE UNITED STATES Numerous orchestras and choral societies working under private or self-subsidization were in existence before 1900* However, civic music as a municipally subsidized project did not make its appearance on the American scene until after this date* I.

STATUS OP CIVIC MUSIC BEFORE 1925

One of the pioneers in the field of municipally spon­ sored music was the city of Long Beach, California, which has provided full subsidization for a municipal band since 1909* Another of the earliest, and most extensive, municipally-sponsored music projects was established by the city of Baltimore, Maryland, in 191V with the creation of a Municipal Band and the Baltimore Symphony Orchestra*

Since

its inception, the department has broadened its activities to include a civic opera company, out-door community singing, and a Negro orchestra and chorus*9

Flint, Michigan;

Chicago, Illinois; and St* Louis, Missouri are other major cities which pioneered municipally-sponsored music before 1920. 9 Kenneth S. Clark, ffMunicipal Aid to Music in Amer­ ica” (New York: National Bureau for the Advancement of Music, 1925), p. 79.

12 The first World War left in its wake many tragic cir­ cumstances, but it can be credited with developing a wide­ spread interest and enthusiasm for music in the form of com­ munity singing and band concerts*

The use of these media

in stimulating national patriotism proved so successful that many such activities continued to function after the war* Although interest in this field continued

to grow, the

practice of municipal sponsorship did not become as general as might have been expected* A report was read before the music section of the National Recreation Congress in Atlantic City on October 16, 1924, which revealed that from a total of 593 cities report­ ing, only 310 made an annual appropriation for music*

The

average annual appropriation for these cities was $5,737# A total of 283 cities reported making no appropriation for music.

As a result of this report, a Municipal Music Com­

mittee was appointed with the objective of striving to further

municipally-sponsored music*

A section of the text

of the resolution passed by the conference read: In view of the increasing tendency toward recognition of music and creative art as civic functions, the Confer­ ence affirms its belief that these arts should more and more become a municipal function, and that every city and town should, within the measure of its resources, provide public concerts and in every way possible lend financial support for entertainment which can be enjoyed by all the people. (Italics not in original)i q 10

Ibid.. p. 17.

13 It is interesting to note that the emphasis at this date, as well as since this conference, has been definitely placed upon the "concert and entertainment*1 type of sponsor­ ship, rather than on a participation program. II.

STATUS OP CIVIC MUSIC SINCE 1925

The period between 1925 and the present (1949) has seen little progress in the development of municipallysponsored music programs on large scales*

This fact is due

principally to the economic and political occurrences which took place during this period.

With the economic depression,

starting in 1929, came immediate curtailment of public funds (and many private funds) for such things as civic music.

As

municipal budgets once more began to include room for the promotion of music, another crisis in the form of World War II virtually stopped the advancement of such projects.

Since

the end of the war in 1945 a considerable amount of gain has been made in the reestablishment and broadening of municipal sponsorship. Numerous cities now provide music activities for their citizens, the greater proportion of them being in the form of free concerts given by bands or orchestras which are sub­ sidized through public funds.

In addition to sponsorship of

instrumental concerts, several cities provide civic opera

14 performances during the summer months * H It was learned by a survey, made through the coopera­ tion of the Los Angeles Bureau of Music in 1947, that of for­ ty six cities (over 100,000 population) reporting, approximate­ ly one-fifth had an established department within the city government which was for the express purpose of developing a civic music program*

One-ninth of the cities had an organi­

zation to specifically promote youth music groups; approximate­ ly one-third of them promoted their civic music programs through other departments, such as the Recreation Department* More than one-third of the total cities surveyed provided no municipal funds for any type of civic music* The lack of emphasis being placed on providing musicparticipation programs for youth within the larger cities is made clear by the above-mentioned survey, which shows less than eleven per-cent of the total number of municipal -budgets allowing for this type of project.

Approximately one-fourth

of the cities provided either full or part-time directors to conduct the activities within the scope of the civic-music program*12

Only four of the forty-six cities surveyed pro-

11 The cities of Baltimore, Maryland; Chicago, Ill­ inois; and San Francisco, California regularly sponsor summer civic operas* 12

See Table I, p* 15*

TABLE I

RESULT OP PARTIAL SURVEY OF CIVIC MUSIC IE THE UNITED STATES IN 1947 (46 CITIES OVER 100*000 POPULATION) (Figures represent total number of answers in affinnative or negative) YES

NO

9

37

1* There is a definite bureau established within the municipal government for the purpose of furthering civic music organizations* 2* There is a bureau especially for the promotion of youth music organizations.

5

41

4# Civic music organizations are coordinated under another bureau of the municipal government* (Such as Recreation Department* etc.)

17

29

5* The sponsorship of music organizations is included in the municipal program for diminishing juvenile de­ linquency.

13

33

6* The sponsorship of music organizations is included in the municipal program for diminishing inter-racial problems*

12

34

7* Youth music groups are sponsored by organizations other than the city* schools, andchurches*

25

21

8* There is a definite budget established in the municipal goverament for the promotion of adult music organizations*

13

33

4

42

3* Civic music groups are sponsored primarily by community organizations, with full (3)* partial (17) * no (24) financial aid from the municipal government*

9* There is a definite budget established for the promotion of youth music organizations.

10* There is a regular staff of musical directors (full or part-time) maintained by the municipal govern­ ment to direct the civic music* 12 11* There has been little (5), moderate (16), definite (23) interest shown iDy tKe publTc~"in“civic music programs.

34

16 vided a year-around music participation program in which a large number of people could join*

Furthermore, in each

instance these were organized through the respective recrea­ tion departments, being secondary to the regular recreation program. Material gathered from the above-mentioned survey, and further findings of the Los Angeles Bureau of Music, points conclusively to the fact that Los Angeles is the only major city-sponsored music organization that places major emphasis on c itizen pa rt i c ipat ion♦13

been found that by far

the greatest amount of interest in civic music projects throughout the nation lies in (1) promoting summer band, or­ chestra, or opera projects,

(2) sponsoring outside orchestras

or artists in concert appearances in the city, (3) developing professional or semi-professional orchestras from the ranks of the cityfs own musicians. The greater number of civic music projects, by a large ratio, are organized for only the summer months, and in nearly all instances (covered by a survey made in 1946)14 It was

found by the Forman survey that of seventy-three cities

13 Correspondence In regard to other civic music pro­ grams is maintained constantly by the Los Angeles Bureau of Music. man

14 Referring to a survey made in 1946 by Earl F. For­ of the Bureau of Music, City of Baltimore, Maryland.

17 contacted (all over 50,000 population), forty-eight provided municipal funds for summer band and orchestra concerts in parks and public auditoriums.

Only three c ities sponsored

concerts during the year which were free to the public.

The

remaining twenty-two cities reported having no civic-supported music programs.

Appropriations for these projects

ranged from $500 (for sponsorship of a single band in five concerts) to $47,200 (subsidizing four bands, one orchestra, and one chorus for 126 concerts).3-5

According to this sur­

vey, nearly sixty-six per cent of the cities provided summer music projects, while less than five per cent continued their programs throughout the year. Prom the preceding surveys mentioned, it is clearly defined that the emphasis in civic music projects is being placed on music as a listener1s art, rather than on the basis citizen participation, in spite of the opinion of many authorities that opportunities for participation in music groups are important to the mental, social, and cultural wel­ fare of a city.3-6 The American Music Conference.

The lack of any

3-5 Referring to the city of Baltimore, Maryland. A n additional $54,000 is provided for a s ymphony orchestra which functions throughout the year. 3-5

Zanzig, loc. cit .v

18

organized body whose purpose was to approach scientifically the problem of better establishing music in American life, led the State of Illinois to charter a non-profit organiza­ tion for this specific purpose#

The American Music Con­

ference was established during 191-1-7 and is financially sup­ ported by various branches of the music industry as a public service# From its inception the American Music Conference pro­ ceeded on the basis that any effective program must be developed on a foundation of sound facts and conclusions# Accordingly, the techniques of scientific research were employed to discover, through a cross-section survey, the actual status that music currently holds in the everyday lives of Americans.

The survey also had as its purpose the estab­

lishment of definite facts about the possibilities and poten­ tialities of furthering the cause of music.

As a result of

the survey the AMC has plotted a course of action designed to approach scientifically the problem at hand. The National Survey of Public Interest in Music was completed by A. S. Bennett Associates, Inc., in March, I9I4-8 . The survey was designed to get the facts based upon a true sample of the population.

As tabulated, the information

covers Ip,S 37 families and 15,566 individuals 5,537 women, 2,683 boys, and 2,62 2 girls.

1^,859 men, The results,

checked against many factors such as family income, racial

background, division of population,

size of family, U.S.

census reports, represent a sound picture of America in re­ gard to attitudes toward music. Some of the findings revealed by the survey include the following facts:

Almost all families, 9k-*5 per cent,

expressed the conviction that every child should have the opportunity to play an instrument.

On the other hand, 73*1

per cent of parents reported that their children had never been encouraged to take music lessons.

Only 12.5 per cent

of the people now play a musical instrument; 12.9 per cent formerly played one, arid 7k-*& per cent never learned to play The attitude of the American public in regard to musi education in the schools

paid for out of tax-supported

funds— -was one of the most significant aspects of the sur­ vey.

Results of this particular phase showed that 85 per

cent favored class instruction on musical instruments; 5 *^4per cent were not in favor; 9-6 per cent had no opinion in the matter. Another interesting fact disclosed through the survey is that more than 3,000 prominent companies are at present including music in their employee relations programs.

It

has been discovered that the promotion of glee clubs, bands, and orchestras within the ranks of the employees gives a large boost to the morale in industrial firms. As a result of the above survey, the American Music

20 Conference has established the following specific objectives: To emphasize the public benefit of the greater use of music for educational, recreational and cultural purposes; To foster interest in the extension of music education in schools and in the improvement of standards of music instruction and.administration; To increase appreciation of the value of music in the home, in character building agencies for youth, in the church, and as an avocation; To encourage participation by adults in instrumental and choral music; To further interest in and attendance at the per­ formances of professional musicians and artists in the cultural and entertainment fields; To promote the use of music in industry, and in ther­ apy; To advise and counsel with governmental agencies federal, state or local, that may properly engage in the support and administration of community music and other musical activities; To give recognition to distinguished service, personal effort and leadership in the development of musical acti­ vities .17

-*•7 "Americafs Musical Activities." Booklet No. 55, (Chicago: American Music-^Conf erenee, 19 I4.0 ), 15 pp«

CHAPTER III

ORIGIN AND ORGANIZATION OF THE LOS ANGELES BUREAU OF MUSIC A civic music project providing opportunity for par­ ticipation. by young and old, regardless of race, creed, or social standing has been established by the City of Los A n ­ geles.

The widespread scope of its activities furnishes the

subject material for the following study. I.

ORIGIN

The Los Angeles Bureau of Music was formed in May, 19b% hy a group of citizens interested in promoting the wel­

fare of the cityfs residents.

It was not through sudden

inspiration that the idea of such an organization came about, but through the conviction of the great cultural values of such a program.

It was the objective of this group of citi­

zens to give to music the same kind of civic support as is given schools, libraries, museums, and many other cultural benefits.

The vision of people banding together In civic

choruses and instrumental groups for the sake of social and artistic enjoyment was gradually caught by more and more leading citizens of the city until finally the program was presented to Mayor Fletcher Bowron and the City Council for approval. The civic music program, as such, had previously been

22 left to the Playground and Recreation Department, which pro­ vided as many musical activities as its budget allowed* These activities were limited in scope, and little stress was put on any over-all organized music participation program* In addition to the intermittent community sings, impromptu concerts, and similar events under the direction of the regular playground supervisors, the Park Commission, for a period of years, gave Its support in providing a short series of Sunday afternoon concerts during the summer months by a municipally sponsored band*

Other music groups were in

progress, of course, under sponsorship of various organiza­ tions*

A city-wide organization to promote the musical wel­

fare of the citizenry through opportunity for participation had never been seriously considered until 19lf-5* The fact that the City of Los Angeles covers more square miles than any other city in the United States creates an immediate problem in the establishment of any city-wide civic project*

In order to make the best use of the compar­

atively small budget ($5*000) which was granted for the remainder of the fiscal year, the new Los Angeles Bureau of Music started an expansive study to determine the localities in which the need for such a program was greatest.

As a

result of this study the first Youth Choruses were organized in the San Pedro, Highland Park, Watts, districts*

and Dorsey-Cienega

23 The increase in juvenile delinquency during the past several years has been a chief concern of the city govern­ ment*

In addition to the purely cultural values to be de­

rived from an extensive civic music participation program, the Mayor and his advisors felt that such a project would be important in the city’s efforts to provide organized leisure time activities for its youth*

Provision of such construc­

tive activities was recognized as one method of alleviating the problems of personal and social disorganization, so often by-products of a large urban center*

Dr. Abbott P. Her m a n ^ ,

eminent sociologist, points out the bearing of ecology on crime and delinquency and stresses the importance of careful city planning in alleviating the causes and results of such social problems* The work of the Bureau of Music has drawn the praise of parents and civic leaders.

The values of the program

have caught the attention of writers and columnists.

Lee

Shippey of the Los Angeles Times wrote, at the end of a few months of the Bureau’s organization: Music has become part of the peoples* business in Los Angeles. And one of the results is that it is giv­ ing many youths such a healthful outlet, for their exub­ erance that it has changed a few potential A1 Capones into potential John Charles Thomases. . . . These choruses have

Abbott P. Herman, An Approach to Social Problems (New York: Ginn & Company, 195^)# pp* 132-39#

24 shown that music can he comparable to sports in breaking down racial prejudice and intolerance* In sports events crowds wildly applaud every good player, no matter what his creed or color* It is the same in these choruses* In one district a Mexican group and an Anglo-Saxon group combined with such perfect teamwork that all their friends and rela­ tives grew friendlier when they gathered to applaud them* In another situation there are Negroes, Nisei, Chines^, Rus­ sian, Spanish, and Anglo-Saxon singers creating harmony, both musical and social* Already a few youths whose inspirations tend toward gang leadership have found that the admiration of a large chorus Is much more gratifying and sustaining than the grudging admiration of a small and unreliable group of gang follow-

ers*iQ Thus, from a somewhat unpretentious beginning, through the establishment of a few youth choruses, the project gained momentum and within a short time was commanding the respect and interest of many who had been in opposition at its inception* II.

ORGANIZATION

To clarify the organization of departments and personnel of the Bureau of Music, the following material will be divided into two parts t

(1) Line organization, which includes the

supervisory and office personnel, and (2) Staff organization, which includes those directly responsible for the various com­ munity groups*

Editorial by Lee Shippey in the Los Angeles Times, December 12, 1945*

25 Line organization. ■■■ ■ ■ ■ , . . 1

i ■■!)■ ■ ■ ! ■ ■ .W .-i .i

a .n i n i ■ ii



The Bureau of Music is a branch

of the Municipal Art Commission which is responsible for pro­ moting the various cultural activities and projects within the city.

In addition to the Art Commission, a Citizens1

Advisory Committee for Music was formed, which lists many prominent civic leaders, artists, and business men in its r a n k s i s

the purpose of this committee to act as an ad­

visory board for the Bureau of Music. The organization of the Bureau of Music, itself, is divided into three principal channels with a Coordinator at its head.

In order of their development, the three branches

are (1) Youth Choruses, Sings.

(2) Adult Choruses, and (3) Community

Each of these departments has its own Supervisor and

staff of directors and accompanists.

In addition to the po ­

sitions mentioned, the organization also has, at this writing, an Assistant to the Coordinator, a Secretary, two Assistant Secretaries, and a Public Relations-Publicity Director®

The

staff of chorus directors and accompanists who meet weekly with the various community groups is augmented as new groups are organized.

At the end of its fourth year of organization

the Bureau of Music employed sixty-two staff directors for

20

The nineteen members of this committee were selected by Mayor Bowron as being representative of Los Angeles culture, and as leaders in their particular fields of endeavor.

26 choruses and community sings, and as many accompanists*21 Staff Organization# . Although the Bureau of Music is the guiding force fox* the various groups within' its program, a considerable amount of responsibility is left to the indi­ vidual community within which the chorus or community sing is organized*

Before a director and accompanist are assigned

to a new district, the Bureau secures the aid of a local sponsoring committee, which is assigned the responsibility of publicizing the chorus, securing financial aid for the pur­ chase of music, arranging for the place of rehearsal, and other details involved*

This sponsoring committee is often

composed of members of the local Junior Chamber of Commerce, Rotary, Lions, or other service club*

In some instances,

social agencies work in conjunction with the Bureau as spon­ soring groups® After the sponsoring committee has been organized, details of financing solved, and a place for rehearsal arrang­ ed, a staff director and accompanist are assigned to the new project and a new civic chorus or community sing is on its way.

Assistance from the Bureau is often needed during the

preliminary stages of organizing a new group, and this is

21 See page the Bureau of Music*

for other activities sponsored by

27 provided "by the Supervisor of the particular branch in which the group falls.

Aid is given the sponsoring committee in

publicizing the project and in various other problems connect­ ed with its formation. After a new community group has been organized, the responsibility for its growth and activities are left almost entirely to the sponsoring committee and the director.

The

Bureau stands ready to give assistance at all times, however, and keeps a detailed, week-by-week record of the progress of each group.

It is the policy of the Bureau to allow a pro­

gram of activities to be built which will be best suited to the particular needs of the community, rather than to require a standardized pattern of organization. III.

SELECTION OF STAFF

The positions within the Bureau of Music are filled by people whose background in music activities has prepared them to carry out the Bureau1s program.

The Coordinator and his

assistant, the three Supervisors, the secretarial staff, and the Publicity Director of the Bureau of Music are appointed by the Mayor and City Council and are given status as civil ser­ vice employees.

They are subject to competitive examination

as are all civil service positions. Staff directors

and accompanists, who rehearse the

28 various community groups once 'each week, are appointed by the Coordinator.

In order to assure the best kind of leadership

for the groups, the qualifications of a staff director and accompanist are set at a high level.

In addition to having

a thorough knowledge of choral music and being well-trained as a conductor, the staff director must also be skilled in working with groups and in assuming certain responsibilities of administration.

He must have a personality that will

make it possible for him to secure the cooperation of those with whom he is assigned to work, regardless of the type of neighborhood In which the group Is located.

Likewise, the

staff accompanist must be well-trained in choral work and have necessary technical and sight-reading ability to meet the requirements of a first-class performance. The ability of the individual director to secure the interest, loyalty, and enthusiasm of the members and pro­ spective members of his assigned chorus or community sing is a large factor in the success of the over-all city program. For this reason the Coordinator has made it a policy to take extreme care in appointing directors who are likely to be successful in the particular situations to which they are assigned.

For instance, sensitive understanding is required

to work successfully In communities marked by racial and cultural diversity.

MUSfc

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30 Since the directorship of a community chorus or commun­ ity sing requires but one meeting each week (except for a d ­ ditional time required for promotional purposes), it has been possible for the Bureau to include on its staff many fine musicians whose regular positions allow the additional work with the civic project* IV.

THE FINANCIAL BUDGET

Upon approval of the plan for a Bureau of Music, the City Council established a temporary fund within the Playground and Recreation Department to care for the new organization through the remainder of the fiscal year, 1944-45*

For the

fiscal year 1945-46 the Coordinator of the Bureau submitted a total budget of $17,419 for approval.

This made it possible

to develop Youth Chorus programs in several different com­ munities under the guidance of a full-time Supervisor of Youth Choruses, with a staff of directors and accompanists* Secretarial help, publicity, office equipment, and the ser­ vices of an Assistant to the Coordinator were also developed during the first full year of organization*

During the

two succeeding fiscal years the expansion of the BureauTs activities were so great that the total budget was more than doubled each year*

(See Figure III)

The budget of the Bureau reached its highest figure

31 to date for the year of 1948-49, with a total allotment of $112,129.

By this time the Youth Chorus program had expanded

to a total of twenty-one organizations in as many communities* In addition to Youth Choruses., the Adult Chorus program had developed to Include fifteen choruses, and twelve communities were maintaining organized community sings.

The budget for

the year of 1949-50 showed a slight increase over the 1948-49 figure, due to the completion of adequate equipment with which to carry out the present program.

It is anticipated

that the 1949-50 budget will be adequate for several succeed­ ing years, except for slight increases to cover salaries of additional staff directors and accompanists as more choruses and community sings are organized* The total budget for the fiscal year is compiled from the anticipated costs of three divisions of the Bureau, namely Personnel, Expense, and Equipment*

The budget for

the Personnel section covers wages for the entire force of. employees within the Bureau’s organization, including staff directors and accompanists*

The Expense section Includes

costs for all publicity, public relations work, rental of facilities for concerts, transportation of staff personnel (not Including staff directors and accompanists), and related expenses*

Within the Equipment division of the budget is

included all office equipment and materials, and recording

32 and amplification instruments which are at the disposal of the various groups*

(See Table II)

The total cost to the taxpayer for the Bureau of Music for the fiscal year 1949-50 was three cents out of every one hundred dollars paid in city taxes, or three ten-thousanth (3/10,000), per tax dollar* Salary status of personnel*

All personnel employed

by the Bureau of Music are considered employees of the City of Los Angeles and receive salary payment through the city payroll*

The Coordinator, the Assistant to Coordinator, two

secretaries, the Supervisor of Youth Choruses, and the Super­ visor of Adult Choruses are employed on a full-time basis, while the Supervisor of Community Sings, Public Relations and Publicity Director, and stenographer are employed on a part-time basis*

The Staff Directors and Accompanists r e ­

ceive an hourly wage for rehearsal time*

(See Figure 2)

33

TABLE II COMPARATIVE BUDGETS OP THE LOS ANGELES BUREAU . OP MUSIC FOR THE FISCAL YEARS 1944-45 THROUGH 1949-50

PERSONNEL

EXPENSE

EQUIPMENT

1944-45 (4 months only)

#2,850

#1,150

#1,000

#5,000

1945-46

13,919

2,500

1,000

17,419

1946-47

40,047

3,450

1,150

44,647

1947-48

67,757

6,100

21,407

95,264

1948-49

76,598

35,180

351

112,129

1949-50

75,146

35,180

351

110,677

YEAR

TOTAL

CHAPTER IV

YOUTH CHORUSES Of* the three major divisions of the Bureau of Music, the Youth Chorus program has developed shown the greatest results©

most rapidly and

This is largely due to the em ­

phasis which has been placed on the youth aspect since the beginning of the Bureau.

The record of the accomplishments

of this program since its first full year of organization (1945-46) offers conclusive proof of its s u c c e s s . D u r ­ ing the fiscal year 1948-49, which was the fourth full year of its organization, there was a total of 32,836 young people who participated in Youth Chorus rehearsals and pro­ grams.

(This figure is compiled from total attendance

records at weekly rehearsals and special concert events.) I. Organization.

ORGANIZATION AND OBJECTIVES Membership in Youth Choruses is open

to all youth between the ages of twelve and twenty.

Youth

Choruses are divided into two groups, junior high school age and senior high school age.

In most instances these

groups function as individual units within a community, but in some situations It is necessary to combine the juniors

See p. 58 for statements of civic leaders, mag a ­ zines, and newspapers.

and seniors until the size of membership warrants the division Although the program is constructed to meet the needs of the youth within the age limits mentioned, it is the practice for directors to make exceptions for individual cases*

A brother

or sister under the age limit, or a member of the wganglt who is over twenty, is usually accepted without question. The organization within the Youth Chorus is carried on by democratic procedure, with the members electing their own officers to handle the business of the group*

It is the

function of the director and sponsoring committee to act in an advisory capacity to the youth officers, thereby establish­ ing a cooperative attitude between the youth and the adult leaders* Each Youth Chorus is allowed to establish its own rules and regulations In regard to attendance requirements, disciplinary measures, and similar limitations pertaining to the local situation* Objectives* the Youth

One of the most important aspects of

Chorus program is the growing appreciation of

good music which the participants derive from their activities One of the principles established by the Bureau is that good music shall be used throughout its field of work.

In

attracting the public, it has been found necessary to provide a variety of types of music, i»e» popular, folk, semi-

36

classical and classical*

However, emphasis has always been

placed upon selecting music of all types to meet high musical standards*

It is through the use of the best music available

the members of the Youth Choruses learn to discriminate b e ­ tween good and poor music*

Members come to appreciate much

of the classical choral literature as well as enjoying the light, popular songs* It is the objective of the directors of Youth Choruses to (1) develop a program of procedure that will appeal to a large number of the young people within his district as a wholesome musical and social activity and (2) to develop an appreciation of good music within his group*

It is impor-

tnat for the director to accept the group at Its own level and work with it toward the objectives of the program. This may mean that considerable time is spent in rehearsing simple popular songs or folk tunes until a real interest in group singing is established.

As this interest increases,

the readiness to accept new kinds of music likewise in­ creases*

The gradual inclusion of better music within the

rehearsal periods leads to a development of appreciation for the better material. Among the most successful incentives toward develop­ ing the appreciation of finer music are the two concerts offered each year by the combined Youth Choruses under the

37 Bureau*s organization.

One of these concerts has, since 1945,

"been given either in Hollywood Bowl or the Griffith Park Greek Theatre during National Music Week* occurs at Christmastime*

The second concert

These two concerts are made major

objectives, toward which the various choruses work, and p r o ­ vide the opportunity for participants to have the experience of singing with hundreds of other youth*

The Christmas

concert is broadcast annually by a major network to all parts of the nation, and is carried around the world by the Armed Forces Radio Service*

The music which is prepared for these

combined concerts is of good quality, and the Incentive for learning the music in order to participate in the event is helpful to the director in building music appreciation. II* Promotion*

PROMOTION AND ACTIVITIES The success of the Youth Choruses has

been found to depend largely upon the promotion of the group*s activities, both musical and social, that are carried out by the sponsoring committee and the director*

In instances ,

where a Youth Chorus has been highly successful, records show that the local sponsoring committee, whether it be a Rotary Club, a Junior Chamber of Commerce, the Community Coordinat­ ing Council, or other similar organization, has been well organized and has given considerable time and effort in secur-

38 ing a well-equipped rehearsal room-, promoting occasional social events, securing the support of prominent people in the community, and getting adequate publicity for the pro­ ject# The initial step of securing interest in a Youth Chorus within a community has been found to be one of the greatest problems in the process of organization.

In a

community where there has been no civic music organization, it has sometimes been found difficult to stimulate interest in such a project*

After a sponsoring committee has been or-

ganzied and been helped to see the values and possibilities of such a program, it becomes largely responsible for the future success of the chorus.

Publicity through the local

newspapers, schools, churches, and other sources must be ex­ tensive*

A rehearsal room that is centrally located,

equipped with piano and library space, and attractive in a p ­ pearance, is important to the successful organization of a Youth Chorus. The ability to meet the financial needs of the chorus is another requirement of the sponsoring committee and is an important factor in the promotion of the group.

Such items

as music, transportation to and from combined concerts, cost of social events, and other miscellaneous expenses per­ taining to the local group must be provided by the sponsoring

committee® Although the director of a Youth Chorus is employed primarily to conduct the musical activities of the group, it has often been found necessary for him also to take the leadership in the promotion of the chorus, at least until his sponsoring committee has become acquainted with the scope of the program.

The ability of the director to stimulate

his sponsoring committee to work with and for the chorus has been discovered to be another of the primary factors in the success of an organization® The importance of social events in relation to the success of a Youth Chorus depends partially upon the social environment of the community and the background of members 1 esperiences. have had

In a community where many of the young people

the opportunity for musical instruction, either

privately or through the schools, interest in musical accom­ plishment will be the primary bond uniting members in the Youth Chorus, with other agencies and groups in the community providing social outlets for the members®

In an underpriv­

ileged neighborhood, where opportunities for group experience are limited, the Youth Chorus provides a focal.point of interest around which youth can organize, but must provide additional activities to meet the needs of its members® Participation in such activities strengthens the members 1

40

feeling of identification with the group, an important factor in the success of the Youth Chorus. Since its beginning, the Youth Chorus program has aimed at providing constructive leisure time activity for- youth, centered on the medium of music.

With this emphasis, the

psychological and sociological implications have naturally been highly important in consideration of the values of the project. The values inherent in such group participation are stressed . by Grace L* Coyle, a leader in the field of social group-work* Groups, if properly understood and sympathetically led, can provide for the participants a kind of social nourishment which will enhance life and encourage growth. If a group through the interaction of the members and the guidance of the leader is friendly, warm and accepting, it can give its members a chance to experience mutual rela­ tionships and the diffused but significant securities that come from the sense of belonging. There are potentials in the way of education available in such leisure-time groups which can and should be devel­ oped. In the free and voluntary setting of such groups learning comes easily if program is wisely developed. Beginning with existing interests, learning can be e x ­ panded into wider and deeper forms of knowledge. Capa­ cities can be brought to fruition, encouragement can be given to unused talents, and creative energies can find outlets that are both individually satisfying and socially valuable *23 Activities.

In addition to the participation in the

aforementioned combined concerts of the choruses, the individual

Grace L. Coyle, Group Work With A American Youth Harper & Bros., 1948), pp. 252-513

41 groups are given various other opportunities for public per­ formance*

Numerous concerts are given yearly by individual

Youth Choruses for Veterans’ Hospitals, service d u b s , churches, and other organizations*

Christmas carolling is

an annual event for many of the groups*

Local transportation

companies have, upon request, furnished buses and drivers to transport chorus members to concert and Christmas carolling activities at hospitals*

A regular weekly radio broadcast

over a Los Angeles station features a different Youth Chorus on a fifteen-minute program each week, providing excellent training in radio techniques for the young singers*

Formal

11home 11 concerts are also annual events for many of the chor­

uses* In addition to the satisfaction derived by chorus members through participation in such activities, radio pr o ­ grams and public appearances help to relate neighborhoods to each other, and to the larger city* III*

RELATIONSHIP OF CIVIC MUSIC TO PUBLIC SCHOOL MUSIC

Although there exists no direct relationship between the civic music organizations and the school music program in Los Angeles, there are numerous indirect benefits which are mutually shared*

The Los Angeles Board of Education has

cooperated with the Bureau of Music in providing use of

42 public school facilities for rehearsal and concert purposes* Many public school students are members of the Youth Chor­ uses and find the additional training provided through the civic program a direct benefit in* their school music courses* Due to the number of requirements and the variety of subjects in the curriculum, the public school student often has difficulty in scheduling music in his course.

Many

young people have the desire to participate in a school music group, but are forced to sacrifice this opportunity for courses more pertinent to their chosen major field*

Others

find it impossible to achieve membership in a school music group because of the selectivity or limited size of the organization*

In addition to these students, there are many

whose love for music gives them the desire to find outlets in addition to their school music activities*

The civic

Youth Choruses provided the answer for many of these students* Although discipline is maintained at all Youth Chorus rehearsals and activities, the formality of a school class, with its implications of grading and adult aiithority, is not present*

The distinctiveness of the setting and the aspect

of voluntary

membership is conducive to the objectives of

the Youth Chorus program and enables it to reach youth who might not choose music for academic credit* Among the most important aspects of the civic music

43

programme relationship to public school music is the need that it fills in providing opportunities for former students to continue their musical activities after their graduation* An excellent music program has been established throughout the Los Angeles Public School System, with thousands of stu­ dents securing fine training in the various branches of the art*

As many of these students take their places in the

business and professional life of the community, it is impor­ tant that they have the opportunity to continue their participation in music as a valuable leisure time activity, rather than be forced to lose the skills and enjoyment develop­ ed in their school experiences*

The Adult Chorus program

provides a natural medium for a continued musical experience by many former school students*

CHAPTER V ADULT CHORUSES AND OTHER ACTIVITIES The Adult Chorus program was Initiated by the Bureau, of Music in 1946, nearly a year after the Youth Chorus p r o ­ ject was begun.

The success of the Adult Division of the

Bureau is shown by the fact that

17,139 citizens took part

in rehearsals and programs during the fiscal year 1948-49, hardly three years after the organization of the first Adult Chorus#

The above total number of participants was

compiled from fifteen different Adult Choruses in as many communities, each with its own director and accompanist supplied by the Bureau of Music* I. Organization#

ADULT CHORUSES

The organization of Adult Choruses is

similar to that of Youth

Choruses, with a sponsoring body

within the community given responsibility for the promotion of the chorus# to participate#

Membership is free to any adult who wishes The Supervisor of Adult Choruses acts as

an advisory head to the sponsoring committees and the direc­ tors of the various groups#

Places of rehearsal and funds

for music materials are supplied through the efforts of the sponsoring committees#

The same democratic procedure for

electing officers is used by the Adult Choruses as is used

45

by the Youth Choruses* Objectives*

The major objective of the Adult Chorus

program is to provide opportunity for all adult citizens, regardless of race, creed, or social status, to participate in music through organized choral groups*

As in the Youth

Chorus program, a high standard of choral literature is em­ phasized so that participants may gain an appreciation of the finest types of music*

As in the Youth Choruses, music

%

as a means to social and recreational activity is also an objective* A statement from a brochure published by the Los Angeles Bureau of Music in 1948 further describes the ob­ jectives of the adult project: • • • These Adult Choruses do not duplicate the work of church choirs 'but are designed to create an appreciation of all types of choral music and are directed into the realm of serious choral, concert repertoire and festival music* In this way people who are interested in choral activity find opportunity to study and produce choral compositions that are not usually undertaken by other groups .24 Activities*

Weekly rehearsals, formal concerts, and

concerts for hospitals comprise the principal part of Adult Chorus activity.

Radio broadcasts are scheduled regularly

24 “More Music For More People ,11 Brochure of activi­ ties. 1948 (Los Angeles: The Los Angeles Bureau of Music, 1948), p® 12®

46 for many of the groups.

One of several activities is a

performance of the combined groups in Hollywood Bowl each summer of a major choral work under the direction of a re ­ nowned conductor*

Since this activity was started the

list of works presented has* included the Beethoven Ninth Symphony, Bach’s St* Matthew Passion, and the Mahler Eighth Symphony.

Another yearly activity is a broadcast to the

nation by the combined Adult groups of the 11Seven Last Words of Christ 11 (Dubois) on Good Friday evening*

Still another

special function of the program is the Adult Chorus Festi­ val, which brings together the various groups to sing for each other, and to join in singing together* The statement of conductor Leopold Stokowski, which was made at the time of the Bureau of M u s i c rs inception, is finding credence in the Adult Chorus program* ment was as follows: will

The state­

ltThis plan of the city of Los Angeles

not only aid in the development of music, but will be

a means of bettering human relations *11 II.

COMMUNITY SINGS

The Community Sing Division of the Los Angeles Bureau of Music is built on a year-round basis, as are the other

^ Leopold Stokowski, in a letter to Coordinator of Bureau of Music, August, 19.46*

47 two major divisions previously described*

At the end of

the fiscal year 1948-49 this department included twelve dif­ ferent communities within its scope, with 149,486 people in attendance during this period* Organizati on*

Community Sings are organized through

a local sponsoring committee, as are Youth and Adult Choruses* A Supervisor of Community Sings is responsible for supplying, through the Bureau, a director and accompanist for the weekly gatherings, which are held, for the most part, in parks or public buildings.

A volunteer Program Committee, developed

by the Supervisor and director from participants, is given the responsibility of providing a short program of entertain­ ment following the forty-five minute session of singing* Once each year the citizens who regularly gather each week to enjoy singing together combine in a mass Community Sing at which time the outstanding program material which has" appeared throughout the year is invited to present an hour of variety entertainment* Objectives*

The principal objective of the Community

Sing Project, peculiar to this division of the Bureau of MusicTs program, is ^whole-family *1 participation.

The Youth

and Adult Chorus programs are designed to include only those within specified age ranges*

A Community Sing makes it

48 possible for the entire family to participate in a wholesome form of self-expression and entertainment, all without cost to the individual*

The motto adapted by the Community Sings

Division, f,The Family That Sings Together, Clings Together ,11 is founded on the authority of sociologists who stress the need for activities in which family members can participate together*26 III*

CONTESTS AND FESTIVALS

The principal objective of the Bureau of Music--to provide music participation for large numbers of people— is augmented by another objective, namely, to aid in the devel­ opment of talented young musicians in the city.

To reach

the latter objective, the Bureau established contests for young composers and young singers*

The young composers

contest is open to young Los Angeles musicians and is divided into three classifications: orchestra, choral, and vocal solo compositions.

Music may be either sacred or secular, but

not the so-called "popular 11 type.

Rules for the contest

are secured through the Bureau, and recognized leaders in the world of music are secured as judges.

Several hundred dollars

in cash prizes are awarded the winners. 26 See the "Report on Home Responsibility," National Conference on Prevention and Control of Juvenile Delinquency (Washington, D.C.r U.S. Government Printing Office, 1947).

49

The "Artists of the Future" contest, as the voice contest is called, is open to young singers between the ages of thirteen and twenty.

It is limited to residents of Los

Angeles or students in the Los Angeles School district# First place awards for the winning boy and girl are fivehundred dollar scholarships, and second place awards are two hundred and fifty dollar scholarships#

These awards are

annually donated by Jeanette MacDonald and Nelson Eddy, cele­ brated artists of stage, radio, and screen*

Another division

for boys with unchanged voices provides a $100 scholarship for the winner* The interest in the contests is clearly shown by the increase in number of applications for each succeeding year since they were first initiated*

Many young musicians are

inspired toward artistic accomplishments in composition or in singing through the challenge offered by these contests# Following is a statement made by Jan Peerce, tenor of the Metropolitan Opera and a judge of a recent "Artists of the Future" contest: It was a great pleasure for me to have served as judge on such a worthy occasion as your youth voice contest* I feel that I should thank you for the opportunity of hearing these young singers, and of having a part in the wonderful work you are doing in Los Angeles in not only this respect, but in many different ways through your youth choruses and other events* My best wishes and my kindest regards to all in the Bureau of Music #27 27 From letter to J. Arthur Lewis, Coordinator of the Bureau of Music, at close of 1948 contest#

50

In addition to the various festivals previously m e n ­ tioned, the Bureau of Music annually sponsors a Male Chorus Festival in which all the male chorus groups in Los Angeles and vicinity are invited to participate*

Each chorus is

given the opportunity to sing under its own director, and a nationally-known conductor then directs the combined choruses ina final number. by

This festival, like

all others presented

the Bureau, isfree to the public* IV* Orchestra*

activities are in

ORCHESTRAS AND BANDS

The major portion of

the Bureau of Music’s

the field of choral music, since many more

people are able to participate in this type of program than in instrumental groups*

A Civic Center Orchestra which is

composed largely of the personnel within the governmental d e ­ partments and their families is provided, however*

Rehearsals

are held in the auditorium of the City Hall under the direction of a well known conductor.

Many appearances are made each

year by this organization at Veteran’s hospitals, festival pro­ grams, and concerts* Bands * by the October*

.

Sunday afternoon band concerts are provided

Bureau of Music in many city parks, from April to The expense of these concerts is shared by the

American Federation of Musicians Local 47*

Locations for the

51

concerts are carefully selected in order to provide summer band music for residents in different sections of the large Los Angeles area.

An opportunity for social gathering and

the promotion of community spirit is emphasized in this activity of the Bureau. Three bands are featured and rotated between the scheduled places of appearance each Sunday.

The groups con'

sist of a 45 piece symphonic band, a 33 piece Concert Band composed entirely of ex-service men, and a 28 piece Mexican Tipica Orchestra which features Spanish and Mexican music. The latter group has a wide popularity among Los Angeles* many Mexican residents.

The estimated number of people who

heard concerts by these three groups during the 1948 season was 259,000.

FIGURE 2

A SCHEDULE OP SUMMER BAND CONCERTS SPONSORED BY THE LOS ANGELES BUREAU OF MUSIC, IN 1949

JULY

3:00-5:00. P.M.

3 10 17

PARK • EXPOSITION

24 31 7 14 21 28 4 11 18 1

2

3

LINCOLN

.3

2

POINT FERMIN

2

HOLLENBECK

1

2

2

GRIFFITH *

3

KEY

3

1

1

2 1

2 .

1

3

2 1

3

2

1

3

2

1

5

1

3

23 -30

3

2 -

1

SOUTH PARK

2

16

2 1

2

3

NORTH HOLLYWOOD

SYCAMORE

1

>

25 2 V

3

1

3

OCTOBER

1

2

3

1

3

McARTHUR

SEPTEMBER

AUGUST

2

2 3

3

3 1 2

* ' $L - 45piece Symphonic Band $2 - 28piece Concert Band ^3 - 28piece Mexican TipicaOrchestra

NOTE:; Dates and Band Assignments subject to change and weather permitting. . • -•

J. ARTHUR LEWIS Music Coordinator Bureau of Music Room 1306 City Hall

CHAPTER VI SUMMARY AND CONCLUSIONS Summary*

Historical records and reviews show that

interest in civic music in the United States was visible before 1900, but that no music projects were given municipal aid until after the beginning of the century*

Material

gathered from literature and various surveys further shows that by far the greatest amount of interest in civic music has, until the present time, been centered upon projects which have provided music for a listening audience, rather than as a medium for participation* Various authorities have been cited in their opinions that there is a definite need for people to have the oppor­ tunity to participate in music as an outlet for mental and physical tensions built up under the present social structure, and as a means of cultural development*

In spite of this

existing need, the amount of municipal aid given in construc­ ting this type of music program in cities of the United States Is very small in comparison to the sizes of the budgets e s ­ tablished for promotion of summer band concerts and other types of "listening 11 activities* The City of Los Angeles, it has been learned, is the first major city (over 100,000 population) in the United States to establish a civic music program that places major

54

emphasis on music participation*

The presentation of the

background and organization of the Los Angeles Bureau of Music defined a project that has been carefully built from its inception, and is reaching thousands of people in its scope at a very low cost to the taxpayer*

The many differ­

ent aptivities promoted by the Bureau of Music have been shown to provide a means of musical enjoyment for every age and type of individual*

The high standards established by

the Bureau for types of music used in the program give opportunity for civic growth in artistic appreciation* Statistics regarding participation in the various activities point to the popularity and success of the Los Angeles project*' The widespread enthusiasm shown, and sociological implica­ tions involved, signify the values in the promotion of such a program*

The response to the civic Youth Choruses has been

large in spite of a very adequate music education department within the city school system* Conclusions*

During the 1946-47 season Americans pur­

chased 29 million admissions to concerts and opera, which was 11 million more admissions than were bought for baseball

games*

In fact, the Hew York Yankee Baseball Club recently

signed to sponsor a radio program of symphony music at $900 per week to advertise their baseball games*

Statistics show

that each succeeding year brings an increase in purchase of

55 phonograph records, especially those of classical music*2£> It might he concluded from these facts that Americans are becoming Increasingly more music-minded* References cited as to the sociological values of group activity, and of the benefits to be derived from active participation in music might tend to substantiate an opinion that music-participation groups, organized on a scale that would include large numbers of people, could be very bene ­ ficial to our society#

This would be especially true under

the existing popularity which music is enjoying in America. The growing Interest in learning to play instruments, and in voice training, might offer reason to believe that an increas­ ing number of people are developing the desire to express themselves through music, as well as having enjoyment through listening to others perform. Factors which point to the many values of participation in music might also imply the need for development of such activity within our towns and cities#

Preceding material has

shown that few cities in the United States have realized the implied need to the extent of providing municipal aid in funds and leadership#

It has also been pointed out that interest

Martha LIpton, f,More Music For More People,1* The Music Journal, V (July-August, 1948), p# 13*

56

In civic music projects has been directed, with few exceptions, toward building a 11concert-type 11 of program which does not provide opportunity for actual participation. might lead to the conclusions that need for

These factors

(1 ) there is a definite

more municipal aid to music, and (2 ) more emphasis

should be placed on participation-type programs than now exists in the prevailing municipally sponsored music projects. This believe is given credence In the following statement by David Ewen: . . . a country to be truly musical must not only spon­ sor important musical organizations, attend concerts, create festivals, work to music, play to music, or even reveal in­ creasing discrimination. To be truly musical, a people must fill the role not only of audience, but of performer as well. I mean that a country must not only listen to music, but also must make it. When Americans become amateurs of music more extensively, then truly, can it be said that America has become musical .29 The Bureau of Music of the City of Los Angeles was; established under the premise of the preceding paragraph, and has proven effective in meeting the purpose for which it was founded.

The following quotations from civic leaders, maga­

zines and newspapers will amplify this statement: The early tradition of our people to join together in social and cultural activities close to home contributed much to our American heritage. The Bureau of Music of the City of Los Angeles, with its city-wide program of music for youth and adult, is restoring this tradition and custom to

29

Ibid.. p. 225>

57

the people of our great city. The benefits arising out of this program will do much to increase the well-being of our citizens. J. Paul Elliott, Pres. Board of Education Los Angeles Schools Considering that the people of this city should have music in their lives, the Music Bureau has endeavored to carry music to all the people. Through the remarkable organization of youth choruses, its influence has extended to thousands of our growing boys and girls in all sections of this vast community. I am sure that because of such activities these boys and girls and many others will be better citizens and ours will be a better city in which to live. With ever greater development we look forward to the broadening and extension of our municipal music program. Mayor Fletcher Bowron City of Los Angeles The Los Angeles Police Department heartily endorses the Music Bureau’s program of community music participation. Music provides an excellent medium for the healthy expression of youthful enthusiasm, and, when the parents join with the youngsters, it insures that harmonius relationship that is the so often solution to the social ills that result in juvenile delinquency. C.B. Borrall Chief of Police (retired) City of Los Angeles No other city in the nation has done more to create good citizenship through public participation in music than has Los Angeles. Outstanding in that respect is our city’s organization of youth choruses. . . . Austin Conover Bollywood Citizen News October 13, 1948 It is interesting to>note that the cost of the Bureau

58

is approximately 3/100 of a cent per dollar of taxes paid --a fantastically low figure when considered in ratio to the good which the Bureau has rendered countless thousands of citizens of all ages through its widespread activities* The growth of the Bureau in four years, the part it has played in Loo Angeles 1 cultural life, and its emphasis on citizen-participation, have all combined to make the project one of the most interesting and constructive cul­ tural ventures in this country* The increasing interest of other communities, and their setting up of similar pro­ grams, has been the accolade of Los Angeles 1 success with the Bureau of Music* 11Overture 11 Magazine

Column by C. Sharpless Hickman April, 1949 Los Angeles musical program seems destined to blaze a prosperous course in civic music planning* Lucia Snyder 11Opera and Concert 11 Magazine

March, 1946 The foregoing statements of close observers of the p r o ­ gram established by the Los Angeles Bureau of Music, substan­ tiated by the records of achievement during its period of existence, would offer reasons for the conclusion that this might well be a model for use in establishing successful civic music-participation projects in other cities*

The wide scope

of the program would allow its alteration to fit the particular need of nearly any city, regardless of size* The merits of the type of organizations built by Los Angeles are recognized by the National Bureau for the Advance­ ment of Music, which state's as follow:

59

• • • this plan may best be represented by a definite Municipal Department in the city government, functioning as do the departments of public safety, welfare, street cleaning, and other necessities of living. Just as it is believed that, nationally, music will flourish when there is a department of fine arts in the government at Washing» ton, so should the music of a municipality prosper when it is in charge of someone who has specific authority to get things done* In some places the same results may be ob­ tained when the musical work is a sub-division under the department of recreation or education. However, human beings what they are (and particularly those holding office), this arrangement conserves the interests of music only when the head of the department is sold to the value of music to his particular work. Otherwise music becomes a step-child — and what is so neglected in a city government?^ The success of the Los Angeles Bureau of Music, and the justification for the establishment of similar projects in other cities of the United States, if offered as final con­ clusion.

30

Clark, 0£. cit. , p. 19*

BIBLIOGRAPHY

BIBLIOGRAPHY A. BOOKS Buck, Percy 0*, Psychology for Musicians* London, New York, Toronto; Oxford University Press, 1944* 114 pp. Olark, Kenneth, Municipal Aid to Music in America* New York: National Bureau for the Advancement of Music, 1925. 297 pp* Coyle, Grace L * , Group Work with American Youth* Harper & Bros*, 1948* pp. £5£-53* Elson, Louis C., The History of American Music* The MacMillan Co*, 1925* 284 pp* Ewen, David, Music Comes to America* and Heath, Inc., 1947. §64 pp*

New York: New York:

New York: Allen, Towne

Krehbiel, H*E*, Notes On Choral Music* Mason, Daniel Gregory, Tune In, America* Knopf, 1931* 197 pp*

New York: Alfred A*

National Recreation Association, Community Music* C*C* Birchard, 1925* 193 pp*

New York:

Schoen, Max, The Effects of Music* New York: Hare ourt, Brace and Co*, Inc•, 1 § W * ”*"£67 pp* Stokowski, Leopold, Music For All Of Us* and Schuster, 19’ 4’3’. 322 pp.

New York: Simon

ja

Tremaine, Charles Milton, New York1s First Music Week* New York; National Bureau for the Advancement of Music, 1920* 184 pp. Zanzig,. Augustus D . , Community and M. Witmark and Sons, 1933. 47 B.

Assembly Singing. New pp*

York

PERIODICAL ARTICLES

Hanson, Howard, 11The Scope of the Music Education Program,” The Music Journal, XXIV (June-July, 1948), 57.

62

Heinsheimer, H.W. , 11America* s Musical Awakening," Readers Digest, (September, 1948), 60* Koussevitzky, Serge, HA Living Music Culture," The South­ western Musician, XIV (August, 1948), 12. Lawson, P. Melvyn, "Music For What?" Music Educators Journal,. XXXV (May-June, 1949), 11-13. " Llcht, Sidney, "Music For Hospital Patients," The Music Journal, VI (March-April, 1948), 15. Lingg, Ann M., "He Makes People Singl,” Readers Digest, (April, 1949), 32. Lipton, Martha, "More Music For More People ,11 The Music Jour­ n a l , V (July-August, 1947), 13. Mursell, James L., "The Arts in American Education," The Music Journa1 . V (September-October, 1947), 17. Thompson, Helen M. , "The Community Symphony Orchestra— Its E s ­ tablishment and Development," The Music Journal, VI (No­ vember -December, 1948), 21. Young,'Milton B., "Youth Choruses in Action," The Music Jour­ n a l , V (May-June, 1948), p. 21. \

Zanzig, Augustus D . , "The Music Department Also Serves," Music Educators Journal, XXVIII (April, 1942), 34, C.

SURVEYS AND REPORTS

"Autonomous Groups and Mental Health," Autonomous Groups Bul­ letin, Vol. Ill, No. 4, A Report by the Preparatory Com­ mission on Autonomous Groups and Mental Health, New York, 1948. 23 pp® Forman, Earl F., "Nation Wide Musical Survey." Baltimore: Bureau of Music of the Department of Recreation and Parks, 1946. 8 pp. "More Music For More People," Brochure of Activities. Angeles Bureau of Music, 1948. £5 pp. >

Los

63

’’Report on Community Coordination,” Natlonal Conference on Prevention and Control of Juvenile Delinquency. Washington, D.C.: United States Government Printing Office, 1948* 38 pp. ’’Your Cityfs Bureau of Music,1’ Annual Report of the Los A n ­ geles Bureau of Music. Los Angeles i Department of Munici~ paT-Art, City of Los Angeles, 1949. 15 pp* D.

NEWSPAPERS

Hollywood Citizen News. October 13, 1948* Los Angeles Times s December 12, 1945. University of Southern Oalffernle Lfbmry

$