Music teaching problems and aids for their solution
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MUSIC TEACHING PROBLEMS AND AIDS FCR THEIR SOLUTION
A T h e sis P r e se n te d to th e F a c u lty o f th e S ch o o l o f E d u cation The U n iv e r s ity o f S outhern C a lif o r n ia
In P a r t ia l F u lf illm e n t o f th e R equirem ents f o r th e Degree M aster o f S c ie n c e in E ducation
toy Harold H« R ogers June 19^2
UMI Number: EP54294
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.
Disaartalion Pubi sh*rig
UMI EP54294 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' ProQuest LLC. 789 East Eisenhower Parkway P.O.Box 1346 Ann Arbor, Ml 48106-1346
T h i s thesis, w r i t t e n u n d e r the di rec tio n of the C h a ir m a n of the c a nd id at e ’s G u id a n c e C o m m i t t e e a n d a p p r o v e d hy a ll m e m b e r s of the C o m m i t t e e , has been p r e s e n t e d to a n d a c c e p t e d by the F a c u l t y of the S c h o o l of E d u c a t i o n of T h e Un iv e r si ty of So u t h e r n C al ifo rn ia in p a r t i a l f u lfi llm e nt of the r eq uir em ent s f o r the d e g r e e of M a s t e r o f Sc ie n ce in Ed u ca ti on .
DateJ™*A'...±?.1$.....................
G uidance Com m ittee
C. G. Crawford Chairman
D. Welty Lefever
0. E. Hull
TABLE OF CONTENTS CHAPTER I.
PAGE
MUSIC TEACHING PROBLEMS AM) AIDS FOR THEIR SOLUTION.
. .
.
........................
1
1 . M u s ic t e a c h i n g p r o b l e m s . • • • • . . . . . • • .
1
T e a c h i n g t h e s i n g i n g .................................................................... T ea ch in g s t u d e n ts t o l i s t e n
t o m u sic
T ea ch in g s t u d e n ts t o w r i t e so n g s . . . U s in g m u sic a p p a r a t u s .
•
2
..........................4 .....................
5.
.......................................................6
T e a c h in g g l e e c lu b and s p e c i a l v o c a lg ro u p s . T e a c h in g in s tr u m e n ta l g ro u p s
. .
7
.................................
8
S e l e c t i n g and c a r i n g f o r m u sic . . • • • . • • • A rra n g in g th e p u b lic p erfo rm an ce
9
. . . . . . . .
10
C o n d u c tin g t h e
m u s i c a l o r g a n i z a t i o n s . ...................... 11
D e v elo p in g th e
te a c h e r’s ta le n ts
.................................. 12
2 . A c t i v i t i e s ............................................................ ............................. 12 A c tiv itie s fo r
t h e t e a c h e r ’ s u s e ..................................... 12
A c tiv itie s to p re se n t to th e s tu d e n ts . 3 . S o u r c e s o f m a t e r i a l s ............................................
. . . . . . .
13
• • 13
B oo ks a s r e f e r e n c e s ...................................................................... 14 P e r i o d i c a l a n d e n c y c l o p e d i a r e f e r e n c e s ...................... 14 II.
PROCEDURE....................................................................................................... 15 1. S o u rces o f d a ta .
................................... ....
. 15
2.
M a te ria l used.
..............................................................20
3.
G a t h e r i n g o f d a t a .................................................. ...................... 21
iii
CHAPTER 4. III.
PAGE C l a s s i f i c a t i o n o f d a t a ...............................................................22
TEACHING THE CLASSROOM SINGING.
. . . . . . . . . .
24
1 . How t o d e v e l o p t h e v o i c e i n s o n g .......................................24 2.
How t o t e a c h t h e s t u d e n t s t o b r e a t h e p r o p e r l y .
3.
How t o t e a c h t h e s t u d e n t s a s o n g .......................
.
26 27
4 . How t o g i v e i n s t r u c t i o n i n g r o u p s i n g i n g . . . .
28
5.
How t o t e a c h n o t a t i o n a n d te m p o .
29
6.
How t o t e a c h t h e u s e o f r h y t h m w i t h s i n g i n g .
7.
How t o t e a c h s i g h t r e a d i n g ...................... . . . . . .
• • • • • . . . . .
8 . How t o a r r a n g e t h e s e a t i n g .......................................
30 31 31
9 . How t o t e a c h s t u d e n t s t o g e t i n t o c o r r e c t p o s i t i o n a n d h o l d m u s i c ............................................................... 32 1 0 . How t o t e a c h m u s i c t o
wl i t t l e
f o l k s " .............................32
1 1 . How t o h e l p r t h e d e f e c t i v e s i n g e r
............................. . 3 3
1 2 . How t o s e c u r e g o o d b e h a v i o r d u r i n g t h e m u s i c p e rio d
33
1 3 . How t o p r e p a r e t h e g r o u p f o r p u b l i c p e r f o r m a n c e . 34 I T . TEACHING THE TECHNIQUE OF L IS T E N IN G .......................................45 1 . How t o d i r e c t t h e s t u d e n t s * l i s t e n i n g . 2
.
. . . . .
45
How t o t e a c h t h e s t u d e n t s t o s e l e c t a n d l i s t e n t o t h e r a d i o p r o g r a m s .............................
46
3 . How t o t e a c h t h e s t u d e n t s t o - s e l e c t an d l i s t e n to c o n c e rts .
•
.............................................................................. 47
4 . How t o c o m b in e s t u d e n t a c t i v i t i e s w i t h l i s t e n i n g 48
iv
CHAPTER
PAGE
5.
Howt o s e l e c t a n d u s e i l l u s t r a t i v e m a t e r i a l s
9 * 48
6.
How t o a r r a n g e d e m o n s t r a t i o n s a n d f i e l d t r i p s .
7.
How t o g r a d e a n d e v a l u a t e l i s t e n i n g ........................... 49
. 49
V . TEACHING CREATIVE SONG W R IT IN G ...................................................58 1.
How t o t e a c h s t u d e n t s t o w r i t e s i m p l e m e l o d i e s 9 58
2.
Howt o t e a c h s t u d e n t s t o s e t a m e lo d y t o w o r d s • 59
3.
How t o t e a c h s t u d e n t s t o s e t w o rd s t o m u s i c
4.
How t o t e a c h m u s i c f o r m a n d n o t a t i o n b y w r i t i n g s o n g s .........................................................
.
. 60
•
60
V I ., USING MUSIC APPARATUS..........................................................................64 1.
How t o u s e t e a c h i n g a i d s i n t e a c h i n g m u s i c . . .
64
2.
How t o s e l e c t , u s e ,
65
3.
Howt o s e l e c t , u s e , a n d c a r e f o r a " p i t c h ”
and c a r e f o r t h e p i a n o
. . .
i n s t r u m e n t ..............................................................................................66 4 . How t o s e l e c t , p la y e r
o p e ra te ,
and c a r e f o r a r e c o r d
............................................................................... . 6 7
5.
How t o s e l e c t a n d c a r e f o r r e c o r d i n g s . ................. 68
6.
How t o s e l e c t ,
o p e r a t e , and c a r e f o r a
r e c o r d i n g m a c h in e .
« . . .
7.
How t o s e l e c t ,
o p e r a t e , and c a r e f o r a r a d i o
8.
How t o s e l e c t ,
o p e r a t e , and c a r e f o r a p u b l i c
69
• • 71
a d d r e s s s y s t e m ...................................................................................... 71 9 . How t o s e l e c t , o p e r a t e ,
and c a r e f o r a m o tio n
p i c t u r e m a c h i n e ..................................................................... . . . 7 2
V
CHAPTER 10.
PAGE How t o s e l e c t , u s e , a n d c a r e f o r p ic tu re film
•
1 1 . How t o s e l e c t
.
m o tio n
........................................................................... 7 3
and u se a f i l e c a b in e t.
. . . . .
74
7 1 1 . TEACHING TEE GLEE CLUB...................................................................79 1 . How t o o r g a n i z e t h e g l e e c l u b . 2 . How t o s e l e c t t h e p e r s o n n e l .
........................ . 7 9
. . . . . . . . . .
80
3 . How t o a r r a n g e a n d s c h e d u l e r e h e a r s a l s ........................81 4 . How t o a r r a n g e a n d s e a t t h e g l e e c l u b .............................82 5 . How t o t e a c h t h e t e c h n i q u e o f g l e e c l u b s i n g i n g . 83 6 . How t o g r a d e a n d m e a s u r e i n d i v i d u a l p r o g r e s s . . 84 7 . How t o p r e p a r e t h e g r o u p f o r p u b l i c p e r f o r m a n c e . 85 V I I I . INSTRUCTING THE SOLOIST AND SMALL G R O U P.............................90 1 . How t o i n s t r u c t t h e v o c a l s o l o i s t ....................................... 90 2 . How t o c o a c h t h e v o c a l d u e t , t r i o , 3 . How t o
or q u a rte t.
in s tr u c t th e in stru m e n ta l s o l o i s t . . . .
4 . How t o c o a c h t h e i n s t r u m e n t a l d u e t , t r i o , q u a rte t.
.
. 91 93
or
.........................................................................................94
5 . How t o s e l e c t a n d i n s t r u c t a c c o m p a n in g i n s t r u r m e n t s .............................................................................................................95 I X . SELECTING AND CARING FOR INSTRUMENTS.................................... 100 1 . How t o s e c u r e t h e i n s t r u m e n t s .............................................. 100 2 . How t o t e a c h s t u d e n t s t o s e l e c t a n d c a r e f o r strin g
i n s t r u m e n t s ..................................
.1 0 2
3* How t o t e a c h s t u d e n t s t o s e l e c t a n d c a r e f o r w oodw ind i n s t r u m e n t s
.1 0 3
CHAPTER
PAGE
4* How t o t e a c h s t u d e n t s t o s e l e c t a n d c a r e f o r b r a s s i n s t r u m e n t s .........................
104
5* How t o t e a c h s t u d e n t s t o s e l e c t an d c a r e f o r p e rc u ss io n in stru m e n ts
.......................................................
10 4
6 . How t o t e a c h s t u d e n t s t o s e l e c t and c a r e f o r in stru m e n t a c c e s s o r ie s
.......................................................
105
7 . How t o t e a c h s t u d e n t s t o s e l e c t and c a r e f o r t h e h a rm o n ica and t o n e t t e .
.................................. 106
8 . How t o s t o r e a n d c a r e f o r i n s t r u m e n t s w h i l e a t s c h o o l ...................................................................................................107 X. TEACHING THE BEGINNING INSTRUMENTS.......................................112 1 . How t o s e l e c t t h e p e r s o n n e l f o r t h e i n s t r u m e n t c la ss .
.................................................
112
2.
How t o a r r a n g e r e h e a r s a l a n d p r a c t i c e s c h e d u l e s l l 5
3.
How t o a r r a n g e a n d s e a t t h e
4.
How t o e x p l a i n t h e c o r r e c t f i n g e r i n g a n d p o s itio n o f th e in stru m e n t
in stru m e n t c la s s
• 114
............................. 115
5.
How t o t e a c h t h e i n s t r u m e n t s by c l a s s m e th o d
6#
How t o t e a c h t h e h a r m o n i c a ....................................... 117
7*
How t o t e a c h t h e t o n e t t e
8.
How t o g r a d e a n d m e a s u r e p r o g r e s s o n t h e in stru m e n t
X I . TEACHING THE ORCHESTRA 1.
. 116
. 119
• 120 . 126
How t o o r g a n i z e t h e o r c h e s t r a .......................................... 126
v ii
CHAPTER
PAGE
2 . How
t o a r r a n g e and s c h e d u le r e h e a r s a l s
. . .
* 12 8
3 . How
t o a r r a n g e a n d s e a t t h e o r c h e s t r a ................128
4* How t o t e a c h s t u d e n t s t o p e r f o r m a n d p r a c t i c e t h e v a r i o u s i n s t r u m e n t s ...........................................................129 5 . How t o t e a c h t h e t e c h n i q u e o f p l a y i n g t h e o r c h e s t r a m u s i c ...............................................................................130 6 . How
t o g ra d e and m e a su re i n d i v i d u a l p r o g r e s s
7 . How
t o in fo rm th e
o rc h e stra ..
• 131
...................
132
X I I . TEACHING RHYTHM BAND......................................................................... 137 1.
How t o s e l e c t a n d o r g a n i z e t h e p e r s o n n e l . .
. 137
2.
How t o s e l e c t a n d s e c u r e r h y t h m i n s t r u m e n t s .
. 138
3 . How
to a rra n g e th e r e h e a r s a l sc h e d u le .
4 . How
t o a r r a n g e and s e a t t h e rh y th m b an d .
. . . . . .
139 . 139
5 . How t o g i v e i n s t r u c t i o n i n i n d i v i d u a l a n d g ro up p l a y i n g .
• • • • • • . • • • • • • • • •
140
6 . How t o p r e p a r e t h e g r o u p f o r p u b l i c p e r f o r m a n c e ........................ 7 . How
to ehoose and
X I I I . SELECTING
AND CARING
141 i n s t r u c t a n a c c o m p a n i s t . . . 142
FOR MUSIC...................................147
1.
How t o s e l e c t v o c a l m u s i c . .
. 147
2.
How t o s e l e c t i n s t r u m e n t a l m u s i c . . . . . . .
3.
How t o s e l e c t m u s i c
f o r t h e h a r m o n i c a ......................... 150
4.
How t o s e l e c t m u s i c
f o r t h e rh y th m band.
5.
How t o s e l e c t b o o k s
a n d m a g a z i n e s a b o u t m u s i c . 151
6.
How t o c a t a l o g and c a r e f o r m u s i c .
. . .
. . . • • •
149
150
15 1
v iii
CHAPTER
PAGE
XEV. ARRANGING THE PROGRAM.............................
156
1 . How t o a r r a n g e t h e p r o g r a m f o r v a r i o u s o c ca sio n s*
• • • * •
...................................
• • • • • •
156
2 . How t o a r r a n g e t h e d e t a i l s f o r t h e m u s i c f e s tiv a l or c o n te st.
• • . • • . • • • • • . • •
158
3*
How t o a r r a n g e t h e p u b l i c i t y f o r t h e p r o g r a m . • 159
4.
How t o a r r a n g e f o r t h e p r i n t i n g a n d d i s t r i b u t i o n o f p r o g r a m s ..................................................................... . . 160
5 . How t o a r r a n g e f o r u s h e r s , t i c k e t s e l l e r s ,
and
f a c u l t y s p o n s o r s .............................
170
XV. COHDUCTIHG. . . .........................................................................................174 1.
How t o u s e t h e b e s t p r i n c i p l e o f c o n d u c t i n g .
.
• 174
2 . How t o d e t e r m i n e t h e b e s t p o s i t i o n f o r
3.
c o n d u c t i n g v a r i o u s g r o u p s ........................
176
How t o s e l e c t a n d u s e a b a t o n .
176
4 . How t o d e t e r m i n e how t h e d i r e c t o r s h o u l d d r e s s fo r v a rio u s o c c a sio n s.
.
......................................................177
5.
How t o c o n d u c t v o c a l g r o u p s .
. .
.................................. 178
6.
How t o d i r e c t a c o m m u n ity s i n g ............................................179
7.
How t o c o n d u c t i n s t r u m e n t a l g r o u p s . . . . . . .
8.
How t o c o n d u c t a r h y t h m b a n d .
.......................................18 1
9.
How t o c o n d u c t a h a r m o n i c a b a n d .
. . . . . . . .
181
• • • • • • • • •
181
10.
How t o c o n d u c t t o n e t t e g r o u p s .
11.
How t o s e l e c t o r b u i l d a d i r e c t o r ’ s s t a n d .
. .
180
. 182
ix CHAPTER
PAGE
XVI. DEVELOPING YOUR
OWN T A L EN T S.........................................................1 88
I •'. How t o
le a r n to sin g
2* How t o
l e a r n t o p la y th e p ia n o . . . . • • • • •
3* How t o
le a r n to p la y
o rc h e stra .
.
..
..................................................18 8 189
th e in stru m e n ts o f th e
. . . . . . . .......................................................
190
4.
How t o l e a r n t o r e a d m u s i c n o t a t i o n ...................................... 19 1
5.
How t o l e a r n m o re a b o u t m u s i c t h r o u g h lite ra tu re
X V II. SUMMARY
..............................
. . . . . . . . . . . .
191
............................................................................................. 199
CHAPTER I MUSIC TEACHING- PROBLEMS AND AIDS FCR THEIR SOLUTION I t has b een th e purpose o f t h is stu d y to make a tea c h e r t r a in in g cu rricu lu m o u t lin e on how to tea ch m usic i n th e ^elem entary sc h o o l*
A c l a s s i f i e d l i s t o f the m usic
te a c h in g problems w hich fa c e th e average elem en ta ry sc h o o l tea c h e r i s p resen ted *
A l i s t o f a c t i v i t i e s and a b i b l i
ography a re in c lu d e d a t the end o f each c h a p te r to a s s i s t the rea d er in w orking o u t th e s o lu t io n s o f th e te a c h in g problem s*
The cu rricu lu m i s d e sig n e d f o r th e average e l e
mentary s c h o o l te a ch er who i s n o t p a r t ic u la r ly t a le n t e d a lo n g m u sic a l l i n e s , b u t who n eed s to tea o h m usic in the cla ssro o m . S e v e r a l ch a p te rs are in c lu d e d f o r the te a c h e r who i s c a l l e d upon to d i r e c t s p e c ia l v o c a l and in stru m ental, g ro u p s.
The
l a s t s e c t i o n o f the cu rricu lu m o u t lin e i s d ev o ted to the de velopm ent o f the t e a c h e r 1s own t a l e n t s .
These problem s were
com p iled from m a te r ia l ch osen from v a r io u s s o u r c e s .
A
d e t a ile d a ccou n t o f so u r c e s and c l a s s i f i c a t i o n method may be found in Ghapter I I on th e procedure o f the s t u d y .
The more
s p e c i f i c aims and e x p la n a tio n o f the te a c h in g problem s may be found i n the paragraphs w hich f o llo w i n t h i s ch ap ter* 1*
MUSIC TEACHING PROBLEMS
Most o f th e m usic problem s which c o n fr o n t th e average
2 te a c h e r may toe s o lv e d w ith a m ini mam amount o f worry i f a l i t t l e e f f o r t and common r e a so n in g i s u s e d . f in d d i f f i c u l t y i n r e c o g n iz in g th e problem s.
Many te a c h e r s To a id the
te a c h e r to group th e problem s i n t o major s e c t i o n s , a d is c u s s io n and e x p la n a tio n o f th e major problem groups may be found i n th e n ex t few p aragrap h s. T each in g th e s in g in g .
The average elem en ta ry s c h o o l
te a c h e r has had very l i t t l e o r no t r a in in g which w ould pre pare him to tea ch th e cla ssro o m m u sic .
A few te a c h e r s have
b een fo r tu n a te enou^ i to have a l i t t l e m u sic a l background w hich d a te s back to t h e ir c h ild h o o d or h igh s c h o o l d a y s.
An
elem en tary te a c h e r who has had enough m usic to en a b le him to te a c h the average c l a s s f in d s h im s e lf a t an advantage i n s e c u r in g a p o s i t i o n .
Many te a c h e r s c o u ld te a c h the s in g in g
b u t th ey are a f r a id to t r y .
A few in d iv id u a ls c a n 1! s in g a t
a l l , b u t the average p erso n ca n s i n g a t l e a s t enough to n e s to s in g a few f a m il ia r community or camp s o n g s .
To a id th e
te a c h e r s in te a c h in g th e se s o n g s , a few major problem s have b een p o in te d o u t . s in g in g .
Some c h ild r e n j u s t c a n 1! seem to s t a r t
Sometimes i t i s s e lf - c o n s c io u s n e s s , o th e r tim es
p h y s ic a l h a n d ica p s, b u t w hatever th e d i f f i c u l t y , the te a c h e r must lo c a t e i t and f i n d a way to g e t the s tu d e n t to s i n g . I f the d e f e c t iv e s in g e r c a n 1! s i n g a t a l l , perhaps th e te a c h e r can f in d some o th e r d u t ie s to make him a p a rt o f th e c la s s .
3 We a l l b r ea th e p ro p erly when we s l e e p , b u t few o f u s b rea th e p ro p erly when we g iv e a d em o n stra tio n .
The tea ch er
sh o u ld prepare f o r t h i s d em o n stra tio n to a id i n b e t t e r h e a lth h a b it s a s w e ll a s b e t t e r s in g in g .
Many stu d e n ts have
su n g a t home or around the y a rd , b u t th ey m ust le a r n the tech n iq u e o f s in g in g in a group.
O thers j u s t s i n g by ea r
and don*t care what th e p r in te d page o f m usio c o n t a in s .
The
te a c h e r cam prepare e a sy le s s o n s around n o t a t io n and tempo, ev en i f he d o e sn 9t know much about i t h im s e lf .
Music i s
m ath em atical, b u t i s e a s i l y worked o u t i n a sim p le form f o r classroo m u s e .
B e t t e r r e s u lt s may b e o b ta in e d i n the c l a s s
room s in g in g i f th e te a c h e r w i l l tak e tim e to arrange the s e a t in g i n a way w h ich w i l l be the m ost h e lp f u l to the poor s in g e r .
There are a number o f good p lan s u sed in s e a t in g
arrangem ents f o r d i f f e r e n t p u r p o se s.
The te a c h e r must u se
the one w hich s e r v e s h i s group b e s t .
Then a lo n g w ith the
s e a t in g arrangem ent p o stu re must be co n sid ered * a h e a lth h a b it and a s in g in g te c h n iq u e .
T his i s b oth
I f m usic books or
s h e e t m usic i s u se d th e tea ch er must c o n s id e r th e b e s t p o s i t i o n in which to h o ld i t .
The stu d e n t must s e e b o th th e
p r in te d page, th e d ir e c t o r , and a t th e same tim e have good p o s tu r e . The m usic c l a s s or s in g in g p e r io d i s many tim es more Inform al than a r e a d in g or a r ith m e tic c l a s s .
This music
c l a s s must n o t be to o form al i f i t i s to be en jo y ed by a l l
th e s t u d e n t s , b u t th e re must n o t be to o g r e a t a le td o w n . For the b e s t r e s u lt s in the m usic c l a s s th e re m ust be the b e s t b eh avior*
The tea o h er must make a d e c is io n as to how
in fo rm a l th e c l a s s ca n be and how s t r i c t he ca n be w ith o u t l o s i n g the i n t e r e s t o f the c l a s s . the p u b lic perform ance. to e v e r y o n e .
This c a r r ie s on over in to
P u b lic perform ances are im portant
The c l a s s e s p a r t ic ip a t in g must be w e ll pre
pared and must make a good appearance • e s s e n t i a l on th e se o c c a s io n s .
Good b eh a v io r i s
The costu m ing o r u n ifo rm in g
i s very im portan t and can p a r t ly be handled through the co o p e r a tio n o f p a r e n ts .
A l i t t l e p rep a ra tio n i n showmanship
w i l l h e lp p u t over the p u b lic perform ance.
The ta sk o f
te a c h in g th e s in g in g may seem r a th e r la r g e b u t a l i t t l e p r e p a r a tio n on the p a r t o f th e tea ch er can work wonders w ith the average c l a s s . T eaching s tu d e n ts to l i s t e n to m u sic .
The average
te a c h e r i s in c lin e d to want to p la y a phonograph re co r d , make a few comments, and th en j u s t hope t h a t th e stu d e n ts en jo y ed i t as much as he d id .
U n le ss the l i s t e n i n g i s d i
r e c t e d , the p la y in g o f r e c o r d s w i l l r e s u lt i n d i s i n t e r e s t and d i s c i p l i n e p ro b lem s.
The s tu d e n t must know what he i s
l i s t e n i n g f o r , and th en be a llo w e d to e x p r e ss h im s e lf i n some way a s a r e s u l t o f the l i s t e n i n g .
S tu d e n t a c t i v i t y
must d e f i n i t e l y be t i e d up w ith the l i s t e n i n g .
L ik ew ise th e
5 stu d en t n eed s to know how to l i s t e n to the rad io*
T his ta k e s
i n t e c h n ic a l problem s o f o p e r a tin g th e r a d io a s w e ll as lis te n in g .
He needs t o know what ra d io programs are a v a il
a b le and w hich ones are o f v a lu e to him.
I f th e s tu d e n t i s
to en joy c o n c e r ts and p u b lic perform ances he must know how to a c t and how to g e t th e m ost o u t o f them .
Everyone a t
some tim e o r o th e r i n h is l i f e has to a tte n d a p u b lic p er form ance.
When sh o u ld you applaud?
the program?
How sh o u ld you c r i t i c i z e
Bow sh o u ld you com plim ent th e perform ers?
A ll
o f th e se are r e a l s tu d e n t problem s w hich must be in c lu d e d i n th e l i s t e n i n g c u rr icu lu m .
They are a l l problem s which th e
average te a c h e r i s ca p a b le o f h a n d lin g . To g e t th e b e s t r e s u l t s w it h a c l a s s , w hich has an i n t e r e s t in l i s t e n i n g t o m u sic, th e tea c h e r w i l l want to supplem ent the l i s t e n i n g by b r in g in g in a d d it io n a l i l l u s t r a t i v e m a t e r ia ls .
These may be p ic t u r e s , draw ings, p a in t in g s , e t c .
F ie ld t r i p s are a g r e a t a d d it io n to the m usic program.
Many
a stu d e n t has become i n t e r e s t e d i n a symphony o r c h e s tr a b e ca u se he had th e p r i v i l e g e o f a tte n d in g w ith a c l a s s .
The
te a ch er who makes w ise c h o ic e s i n in e x p e n siv e f i e l d t r ip e does a g r e a t d e a l t o promote the i n t e r e s t i n good m u sic.
T his
te a c h e r w i l l le a r n much a lo n g w ith the s t u d e n t s , w i l l s e e r e s u l t s in th e c l a s s , and n o t have to worry about g ra d in g the work o f th e s t u d e n t s . T each in g s tu d e n ts to w r it e s o n g s .
One o f the l a t e s t
6
d e v e lo p m e n ts i n t e a c h i n g m u sic and one o f t h e m o st s u c c e s s f u l i s fo und in te a c h in g th e s tu d e n ts t o c r e a t e o r i g i n a l m elo d ies* T h e s e m e l o d i e s may h e s e t t o w o r d s o r t h e w o r d s may b e s e t t o t h e m elo d y *
By w r i t i n g m u s i c i n s i m p l e f o r m m any p r o b l e m s
a n d q u e s t i o n s a r i s e , w h i c h may b e a n s w e r e d b y t h e a v e r a g e tea ch e r.
S tu d e n ts w i l l l e a r n m u sic fo rm , n o t a t i o n and o t h e r
t e c h n i c a l i n f o r m a t i o n a b o u t m u s i c w h i c h w o u ld o t h e r w i s e b e d ry and e a s i l y f o r g o t t e n .
Some t e a c h e r s w i l l w a n t t o do
m o re f r i t h t h i s p h a s e o f w o r k t h a n o t h e r s d e p e n d i n g u p o n t h e i r p re p a ra tio n . U s in g m u sic a p p a r a t u s .
Some s c h o o l s a r e a b l e t o
s p e n d m o re m oney on t e a c h i n g a p p a r a t u s t h a n o t h e r s .
T he
t e a c h e r who h a s m o re e q u i p m e n t w i l l b e a b l e t o p r e s e n t m o re a c tiv itie s
th a n o th e r s .
It
i s q u i t e n e c e s s a r y how ever f o r
t h e t e a c h e r t o know s o m e t h i n g a b o u t t h e o p e r a t i o n a n d c a r e o f th e se
in stru m e n ts.
It
i s a l w a y s e m b a r r a s s i n g t o b u i l d up
an a c t i v i t y t o t h e c l a s s and th e n n o t be a b l e t o g e t t h e m a c h in e t o o p e r a t e .
T e c h n ic a l m a c h in e s s u c h a s t h e p ia n o ,
r e c o r d p l a y e r , r e c o r d i n g m a c h in e , r a d i o , p u b l ic a d d r e s s s y s t e m , a n d m o t i o n p i c t u r e m a c h in e a r e e a s y t o o p e r a t e an d e a s y t o t a k e c a r e o f i f o n e know s w h a t h e i s d o i n g .
These
m a c h i n e s , t h e r e c o r d i n g s , and m o tio n p i c t u r e f i l m a r e e x p e n s iv e and c a n n o t be p u rc h a se d e v e ry y e a r .
It
is th en im p o rta n t
t h a t o n l y t h o s e who a r e t r a i n e d t o h a n d l e t h i s e q u i p m e n t b e a llo w e d to u se i t *
7
Many t i m e s new o r a d d i t i o n a l e q u i p m e n t i s p u r c h a s e d by t h e a d m i n i s t r a t i o n o r s c h o o l b o a rd upon t h e t e a c h e r s ’ su g g e stio n .
I f t h e t e a c h e r i s t o s e c u r e t h e e q u ip m e n t,
it
i s w e l l t h a t h e know s o m e t h i n g a b o u t how t o s e l e c t t h e t y p e needed f o r th e sc h o o l.
I f th e te a c h e r^
su g g e stio n i s a c te d
upon, he i s u s u a l ly ask ed f o r a d v ic e c o n c e rn in g th e s e l e c t i o n and p u r c h a s e . T he t e a c h e r , who h a s t h e n e c e s s a r y e q u i p m e n t , know s how t o o p e r a t e use i t
i t and c a re f o r i t ,
b u t d o e s n o t know how t o
i n p r e s e n t i n g t h e m u s i c l e s s o n , may b e w o r s e o f f t h a n
t h e t e a c h e r who d o e s n o t h a v e t h e e q u i p m e n t .
T here i s
sk ill
in u s in g th e p ian o to th e b e s t o f th e a b i l i t y o f th e t e a c h e r . E v en i f t h e m e l o d y m u s t b e p l a y e d w i t h o n e h a n d , t h e p i a n o can be used to an a d v a n ta g e . o th e r p itc h p ia n o .
The p i t c h p i p e , b e l l s , o r
i n s t r u m e n t s may b e u s e d i n t h e a b s e n c e o f t h e
T he r e c o r d p l a y e r , r a d i o , p u b l i c a d d r e s s s y s t e m ,
a n d m o t i o n p i c t u r e m a c h in e m u s t h a v e a p u r p o s e b a c k o f t h e i r use o th e r th a n j u s t p ure e n te rta in m e n t. w ith a l i t t l e
T he a v e r a g e t e a c h e r
c a r e and c a r e f u l p l a n n i n g c a n m ake a r i c h e r
m u sic c l a s s by w i s e l y u s in g t h e v a r i o u s t y p e s o f e q u ip m e n t. T ea ch in g g le e c lu b and s p e c i a l v o c a l g ro u p s .
T he
a v e ra g e m u sic t e a c h e r need o n ly be c o n c e rn e d a b o u t t h e p r o b lem s m e n tio n e d i n t h e f o r e g o i n g p a r a g r a p h s .
It
i s s o m e tim e s
p o s s i b l e , h o w e v e r , t h a t t h e t e a c h e r m ay b e c a l l e d u p o n t o
8
o r g a n i z e and c o n d u c t a g l e e c lu b o r o t h e r v o e q l g ro u p s* Many s c h o o l s y s t e m s , b e c a u s e o f l i m i t e d f u n d s , f i n d
it
im p o s s ib le t o h i r e a s p e c i a l m u sic t e a c h e r f o r t h e s e g r o u p s . Some s c h o o l s a r e f o r t u n a t e e n o u g h t o h a v e s e v e r a l m u s i c a l l y t a l e n t e d p e o p le on t h e i r f a c u l t y .
If th is
is th e c a se , th ey
w o u ld b e c a l l e d u p o n t o d i r e c t t h e s p e c i a l g r o u p s .
Many a
s c h o o l i s n o t t h i s f o r t u n a t e so t h e y m u st r e l y upon a t e a c h e r who i s w i l l i n g t o g e t i n a n d t r y t o do t h e j o b t h e b e s t h e can.
A t e a c h e r who g o e s i n t o
i t w i t h e n t h u s i a s m i s bo und
to a t t a i n a s a t i s f a c t o r y d eg ree o f su c c e ss in s p i t e o f h is la c k o f p re p a ra tio n .
Two t h i r d s o f t h e a r t o f d i r e c t i n g
g le e c lu b s and s m a ll g ro u p s l i e s gan i e a t i o n .
in th e te c h n iq u e o f o r
A w e l l o rg a n iz e d group w ith a s a t i s f a c t o r y r e
h e a r s a l s c h e d u l e , p r o p e r s e a t i n g a r r a n g e m e n t , a n d some s o c i a l a c t i v i t y f i s o f f t o a good s t a r t .
Add a f e w s i m p l e t e c h n i q u e s
o f s i n g i n g a n d g r o u p p a r t w o rk t o t h e o r g a n i z a t i o n a n d s u c cess is assu red . T ea ch in g i n s t r u m e n t a l g ro u p s .
P e r h a p s t h e p ro b lem o f
t e a c h i n g i n s t r u m e n t s i s m o re d i f f i c u l t f o r t h e a v e r a g e t e a c h e r th a n th e v o cal g ro u p s.
T h a t w h ic h h a s b e en s a i d c o n c e rn in g
t h e o r g a n i z a t i o n o f v o c a l g ro u p s m ig h t w e l l b e a p p l i e d to in stru m e n ta l g ro u p s.
U n le s s a s p e c i a l m u sic t e a c h e r i s
h i r e d t h e i n s t r u c t i o n o f th e b e g in n e r s on o r c h e s t r a l i n s t r u m e n t s iw i l l p r o b a b l y b e l e f t t o t h e p r i v a t e t e a c h e r . h e l p f u l , h o w ev er, w i t h th e young o r c h e s t r a
I t is
i f th e te a c h e r
9
knows a l i t t l e
about each in stru m e n ts
may q u i c k l y a c q u a i n t h i m s e l f w i t h t h i s in g o r g e ttin g a l i t t l e
An a m b i t i o u s t e a c h e r in fo rm a tio n by re a d
p erso n al in s tru c tio n .
T he s t u d e n t s who p l a y h a r m o n i c a s u s u a l l y w o r k o u t a t e c h n i q u e o f p l a y i n g th em d u r i n g o u t o f s c h o o l h o u r s . o n c e a g a i n t h e m a in p r o b l e m f o r t h e t e a c h e r l i e s
Thus
in o rg a n i
z a t i o n w i t h a few s u g g e s t i o n s a b o u t t h e m u s ic . P ro b a b ly one o f th e n ew est te c h n iq u e s o f te a c h in g m u sic i s fo u n d i n t h e u s e o f t h e " s y m p h o n e tte , " " t o n e t t e , " "song f l u t e , " o r o th e r sm a ll in s tr u m e n ts .
T hese a r e sm a ll
f l u t e l i k e p i p e s m ade o f b a k e l i t e m a t e r i a l . p e n s i v e , n o n - b r e a k a b l e , a n d may b e t u n e d .
T h ey a r e i n e x T he f i n g e r i n g i s
s i m i l a r i n p r i n c i p l e t o t h e c l a r i n e t and s a x a p h o n e . i n s t r u m e n t s s e r v e tw o m a i n p u r p o s e s .
F irst,
These
th e y d e v e lo p an
i n t e r e s t i n i n s t r u m e n t s a n d a r e a goo d p r e p a r a t o r y i n s t r u m e n t . S e c o n d , t h e y a r e a n i n t e r e s t i n g m ea n s o f t e a c h i n g m u s i c t o t h e s t u d e n t who f i n d s i t d i f f i c u l t t o s i n g .
They a r e v e r y
s i m p l e t o p l a y a n d a r e many t i m e s a n e a s i e r m ea n s o f t e a c h in g th e m u sic, e s p e c i a l l y i f th e te a c h e r has d i f f i c u l t y w ith h i s own s i n g i n g . S e l e c t i n g and c a r i n g f o r m u s ic .
S p e c ia l a tt e n t i o n
h as b een g iv e n t o th e p ro b lem s c o n c e rn in g th e s e l e c t i o n and c a rin g f o r m u sic .
Many a t e a c h e r h a s h a d a h a r d t i m e c o n
d u c t i n g a m u s i c c l a s s b e c a u s e t h e m u s i c w as t o o d i f f i c u l t f o r
10
th e s tu d e n ts .
O th e rs have l o s t th e i n t e r e s t o f th e c l a s s
b e c a u s e t h e m u s i c w as t o o c l a s s i c a l a n d n o t a p p e a l i n g t o th e young s t u d e n t .
T he i m p o r t a n c e o f t h e t a s k o f c h o o s i n g
m u s ic , w h ic h i s w i t h i n t h e s t u d e n t s 1 a b i l i t y , o f m u sic , and i s Upon t h i s r e s t s
in te re s tin g ,
i s a good ty p e
c a n n o t be o v e r em p h a size d .
t h e p o s s i b l e s u c c e s s o r f a i l u r e o f th e m u sic
c la s s . T he w i s e t e a c h e r w i l l w i s h t o o b t a i n c o p i e s o f m u s i c m ag a zin es,
and b o o k s a b o u t m u s ic .
These w i l l have c a r r y
over v a lu e to th e o th e r s u b je c ts s tu d ie d
i n t h e c l a s s an d
w i l l n o t l e a v e m u sic a s an i s o l a t e d h o u r a p a r t from t h e o t h e r c la ss a c t iv i t ie s .
Once a t e a c h e r s e c u r e s t h e v o c a l a n d i n
s tr u m e n ta l m u sic , and t h e books and m a g a z in e s , he w i l l w ant t o c a t a l o g t h e s e so t h e y c a n b e e a s i l y l o c a t e d .
M u s ic p r o p e r l y
m en d e d w i l l l a s t a l o n g t i m e a n d s t i l l b e r e a d a b l e .
A fe w
s i m p l e m e t h o d s o f c a t a l o g i n g a n d m e n d in g m u s i c w i l l a i d i n b u i l d i n g u p a l a r g e r a n d m o re e f f i c i e n t l i b r a r y . A rra n g in g t h e p u b lic p e rfo rm a n c e .
A g roup o f s tu d e n ts
may b e w e l l p r e p a r e d f o r a p u b l i c p e r f o r m a n c e , e v e n t o t h e p o in t o f h a v in g f i n e u n if o r m s , b u t u n l e s s p r o p e r a rra n g e m e n ts a r e made f o r t h e p e r f o r m a n c e s u c c e s s i s v e r y d o u b t f u l .
T h is
i s n o t a q u e s t i o n o f m u s i c i a n s h i p o r e v e n sh o w m a n sh ip b u t a p l a i n q u e s t i o n o f u s i n g common s e n s e i n m a n a g in g a l l t h e d e t a i l e d a r r a n g e m e n t s w h i c h m ake f o r a s u c c e s s f u l p r o g r a m .
11
P r o p e r a r r a n g e m e n t s m u s t b e m ade f o r t h e u s e o f t h e a u d i t o r i u m w here t h e p ro g ram i s t o be g iv en #
L ig h tin g e f f e c t s m ust be
w o r k e d o u t t o b e s t show o f f t h e g ro u p #
U shers m ust be se c u re d
and © t i c k e t s e l l e r i f t i c k e t s a re b e in g u se d . s e v e r a l gro u p s ta k in g p a r t ,
T h e r e may b e
i n w h ic h c a s e t h e t e a c h e r w i l l w ant
to s e c u re th e h e lp o f o th e r te a c h e r s in lo o k in g a f t e r th e g ro u p s on th e n i g h t o f p e rfo rm a n c e .
T he p r i n t e d p r o g r a m
m ust be a rr a n g e d , p r i n t e d , and d i s t r i b u t e d .
I f th e re is to
b e a m u s i c f e s t i v a l o r c o n t e s t , m any d e t a i l s w i l l n e e d t o b e w o r k e d o u t w i t h t h e o t h e r g r o u p s who a r e t a k i n g p a r t .
P ro b a b ly
one o f t h e m ost im p o r ta n t p ro b lem s i s t h a t o f a r r a n g in g f o r p r o p e r p u b l i c i t y so t h e t e a c h e r w i l l b e s u r e o f a n a u d i e n c e # P e o p l e w o n ' t come t o a p e r f o r m a n c e u n l e s s t h e y know i t b e in g g iv e n .
is
T h ese d e t a i l s w h ie h t a k e tim e and t r o u b l e , c a n
b e w o r k e d o u t b y a n y o n e b u t a r e m any t i m e s c o n s i d e r e d so e a s y t h a t th e y a re l e f t u n a tte n d e d . C o n d u c tin g t h e m u s ic a l o r g a n i z a t i o n s .
C o n d u c tin g i s
g ro u n d e d upon a few s im p le r u l e s and te c h n iq u e s w h ie h c an be le a rn e d v e ry e a s i l y .
T he m o s t i m p o r t a n t r u l e
to conduct is to p r a c tic e .
in le a r n in g
T he a v e r a g e t e a c h e r i s a f r a i d
h e w i l l l o o k aw kw ard a n d s i l l y .
T h e r e i s no b e t t e r way t o
l e a r n t o d i r e c t t h a n t o p r a c t i c e b e f o r e y o u r m i r r o r and t h e c la ss #
E ach g ro u p and ag e o f s t u d e n t s r e q u i r e a l i t t l e
d iffe r
e n t te c h n iq u e b u t t h e s e a r e e a s i l y a d ju s te d once t h e fo u n d a tio n
i s la id #
12
D ev elo p in g t h e t e a c h e r s * t a l e n t s *
T he l a s t c h a p t e r o f
t h e c u r r ic u lu m o u t l i n e was d e v o te d t o t h e f u r t h e r i n g o f th e te ach ers*
own t a l e n t s .
To m e e t w i t h b e t t e r s u c c e s s i n t e a c h
i n g m u s i c , t h e t e a c h e r m ay f e e l t h a t h e s h o u l d d e v e l o p h i s own ta le n ts a l i t t l e
fu rth e r.
p la y th e p ia n o b e t t e r .
He m ay w i s h t o s i n g b e t t e r o r
I f he i s c o n d u c tin g an in s tru m e n t
c l a s s h e may w i s h t o l e a r n t o p l a y m o re i n s t r u m e n t s . m u s i c n o t a t i o n m ay b e v e r y d i f f i c u l t , to s in g , in g .
R ead in g
in s p ite of h is a b ility
i n w h i c h c a s e h e w i l l n e e d t o d fev e lo p h i s
sig h t read
T he t e a c h e r c a n a lw a y s b r o a d e n h i s m u s i c a l k n o w le d g e b y
r e a d i n g goog l i t e r a t u r e
a b o u t m u sic .
An a m b i t i o u s t e a c h e r
who w i s h e s t o f u r t h e r d e v e l o p h i m s e l f , m u s i c a l l y , w i l l c e r t a i n l y becom e a b e t t e r m u s i c t e a c h e r . 2.
ACTIVITIES
The m u s i c c l a s s dem an d s a c t i v i t y .
M u s ic c a n n o t b e
s t u d i e d from books a l o n e , s u c h a s one m ig h t s tu d y h i s t o r y or lite ra tu re .
To f u r t h e r e n r i c h t h e m u s i c c l a s s , a g r o u p
o f a c t i v i t i e s w ere l i s t e d w i t h i n e a c h c h a p t e r . c o n s i s t o f tw o t y p e s .
T hese a c t i v i t i e s
T he f i r s t a r e t h o s e f o r t h e t e a c h e r s *
u s e and t h e o t h e r s a r e t o b e p r e s e n t e d t o t h e s t u d e n t s f o r th e ir use. A c t iv i t i e s f o r th e te a c h e r* s u s e .
The a b o v e p a r a g r a p h s
h a v e p r e s e n t e d a b r i e f e x p l a n a t i o n o f t h e p ro b lem s c o n f r o n t i n g t h e e le m e n ta r y s c h o o l t e a c h e r , a s h e t e a c h e s h i s m u sic c l a s s .
13
I f t h e t e a c h e r i s t o f i n d th e s o l u t i o n t o t h e s e p ro b lem s a n d u s e t h e s o l u t i o n t o b e t t e r h i s m \isic t e a c h i n g , h e i s g o i n g t o h a v e t o do s o m e t h i n g a b o u t i t #
For t h i s re a so n a
g ro u p o f a c t i v i t i e s w ere d e s ig n e d t o a id t h e t e a c h e r b y g i v i n g h im s u g g e s t i o n s o f t h i n g s h e c a n do h i m s e l f . A c t iv i t ie s to p re s e n t to th e s tu d e n ts #
A se co n d group
o f a c t i v i t i e s w ere p r e s e n t e d a s a c t i v i t i e s , w h ic h t h e t e a c h e r m ig h t have th e s tu d e n ts d o .
T h e s e w o u ld h e l p t h e s t u d e n t w i t h
h i s m u sic p ro b le m s a s w e l l a s t h e t e a c h e r .
I f th e te a c h e r
w o u ld o n l y b e t h e g u i d i n g l i g h t and p r e s e n t t h e a c t i v i t i e s , t h e s t u d e n t w i l l m any t i m e s b r i n g i n t h e s o l u t i o n .
T he s t u
d e n t i s e a g e r t o do s o m e t h i n g a b o u t h i s m u s i c i f h e c a n f i n d so m e th in g i n t e r e s t i n g t o d o .
I t was t h e hope o f t h e w r i t e r
t o p r e s e n t t h e s e tw o t y p e s o f a c t i v i t i e s
in w h ic h b o th t e a c h e r
a n d s t u d e n t m i g h t f i n d m u s i c m o re i n t e r e s t i n g . 3.
SOURCES OF MATERIALS
The l i s t o f p r o b l e m s a n d t h e s u g g e s t e d a c t i v i t i e s w ere n o t c o n s id e r e d s u f f i c i e n t i n m e e tin g th e e le m e n ta ry s c h o o l m u sic s i t u a t i o n .
A u t h o r i t i e s have c o n d u cted r e s e a r c h
upon t h e s e p ro b lem s f o r y e a r s .
A u th o rs have a g re e d and d i s
a g r e e d u p o n t h e e l e m e n t a r y m u s i c p r o b le m s #
One h a s s u g g e s t e d
one t h i n g a s a s o l u t i o n and a n o th e r h a s s u g g e s te d so m e th in g e ls e .
The t e a c h e r s h o u ld n o t ig n o r e t h e s e s t u d i e s b u t sh o u ld
u s e t h e b e s t m a t e r i a l f o r s o l v i n g h i s own p r o b l e m s .
For th is
14
r e a s o n tw o t y p e s o f r e f e r e n c e s w e r e l i s t e d . B ooks a s r e f e r e n c e s .
S e v e ra l o f th e hooks l i s t e d
are
t e a c h e r t r a i n i n g t e x t b o o k s w h ic h e m p h a s iz e t h e t e a c h i n g te c h n iq u e and t h e e d u c a ti o n a l v a lu e o f m u s ic .
O th e rs a r e
t e c h n i c a l m u s i c b o o k s , w h ic h a r e w r i t t e n i n m o re o f a h i s t o r i c s t o r y fo rm .
The t e x t b o o k s a r e o f b o t h m o d e r n a n d o l d e r i d e a s
c o n c e rn in g th e te a c h in g o f m u sic .
The t e c h n i c a l m u s i c b o o k s
a r e m o re s t a n d a r d w h i c h m e a n s t h e y e a r o f p u b l i c a t i o n i s n o t q u i t e a s i m p o r t a n t a s some o f t h e o t h e r t y p e s o f b o o k s . P e r i o d i c a l and e n c y c lo p e d ia r e f e r e n c e s .
The l a t e s t
t h i n k i n g on t h e t e a c h i n g p r o b l e m s may b e f o u n d i n t h e l a t e s t p u b l i c a t i o n s o f m a g a z in e s and p a m p h le ts .
A n um ber o f m u s i c a l
o r g a n i z a t i o n s p u b l i s h m o n th ly m a g a z in e s w h ic h a r e v e ry h e l p f u l . S e v e r a l t e a c h e r s m ag a zin es o f t e n c o n ta in h e l p f u l s u g g e s tio n s f o r t h e m u sic t e a c h e r .
F a c t u a l m a t e r i a l and s u g g e s t i o n s f o r
t e a c h i n g may b e f o u n d i n t h e l i t e r a t u r e p u b l i s h e d b y m u s i c h o u se s and in s tr u m e n t m a n u f a c tu r e r s .
Much o f t h i s l i t e r a t u r e
i s f r e e , w h i l e o t h e r p a m p h l e t s may b e h a d f o r a s m a l l sum . R e l i a b l e f a c t u a l a n d h i s t o r i c m a t e r i a l may b e f o u n d in s e v e ra l ty p e s o f e n c y c lo p e d ia s.
R e f e r e n c e s w e r e m ade
to s e v e r a l e n c y c lo p e d ia s f o r t h i s a d d itio n a l m a t e r i e l.
CHAPTER
II
PROCEDURE To f o r m a c u r r i c u l u m o u t l i n e c o n s i s t i n g o f m u s i c t e a c h i n g p r o b l e m s i n t h e e l e m e n t a r y s c h o o l i t w as n e c e s s a r y t o h e b e a d e f i n i t e s c i e n t i f i c p l a n w ith w h ic h t o g a t h e r t h e m a te ria l.
T h is p l a n was c a r r i e d o u t t o a s s u r e t h e w r i t e r t h a t
a l l th e a v a i l a b l e t e a c h i n g p ro b le m s had b e e n s e c u r e d f o r th e o u tlin e .
D a t a w e r e g a t h e r e d f r o m m any s o u r c e s .
I t was n e c e s
s a r y t o p r o v i d e c e r t a i n m a t e r i a l s w i t h w h i c h t o do t h e jo b * H a v i n g g a t h e r e d t h e m a t e r i a l s f r o m rm any s o u r c e s , t h e n e x t t a s k w as t o c l a s s i f y t h e m . i n an o r d e r l y , l o g i c a l ,
T h is c l a s s i f i c a t i o n had t o be
and s c i e n t i f i c
fa sh io n i f
be u s e f u l t o th e e le m e n ta ry sc h o o l te a c h e r .
i t w as t o
T he f o l l o w i n g
p a r a g r a p h s t e l l i n m o re d e t a i l how t h e s e p l a n s w e r e c a r r i e d o u t. 1.
S o urces o f d a t a .
When s e a r c h i n g f o r a l l t h e p o s s i b l e
d a t a o n t h e t e a c h i n g p r o b l e m s , w h ic h a r i s e w hen t e a c h i n g e le m e n ta ry s c h o o l m u sic , gone t o s e v e r a l s o u r c e s ,
i t w o u ld h a b e n e e n p o s s i b l e t o h a v e ijirs t of a ll ,
i t w o u ld h a v e b e e n
p o s s i b l e t o l i s t anyw here from s i x t o tw e lv e c h a p t e r s con c e r n i n g t h e m u sic p r o b le m s .
The l e s s i m p o r t a n t p r o b l e m s
c o u ld have b een l i s t e d u n d e r ehch c h a p te r .
I f th e w rite r
h a d h a d a w id e e x p e r i e n c e , o n e m i g h t c o n c l u d e t h a t t h i s s y s t e m
16
w o u ld h a v e b e e n a g o o d one#
I f he was c o n s i d e r e d an a u t h o r i t y
i n t h e f i e l d , b e c a u s e *of h i s e x p e r i e n c e , h e s h o u l d b e a n a u t h o r i t y w hen i t
com es t o l i s t i n g
th e te a c h in g p ro b lem s.
To m ake
t h e m a t e r i a l s t i l l r i c h e r he m ig h t add a l i s t o f a c t i v i t i e s and p r e p a r e a b i b l i o g r a p h y .
I f t h e w r i t e r h a d g i v e n m uch
tim e t o t h e c o n s i d e r a t i o n o f t h e p r o b le m s , one c o u ld c o n s i d e r t h e c u r r i c u l u m o u t l i n e a s a g o o d p i e c e o f m a t e r i a l a s w o rk e d o u t upon one m an’ s i d e a s . One c o u l d go f u r t h e r f o r m a t e r i a l s ,
e sp e c ia lly i f
h e f e l t h e w as n o t a d e q u a t e l y p r e p a r e d t o m ake a c o m p l e t e o u tlin e .
Books c o u ld b e c o n s u l te d w h ic h a r e in t h e u n i v e r s i t y
an d p u b l i c l i b r a r i e s .
Many b o o k s h a v e b e e n w r i t t e n a b o u t
t e a c h i n g m u s ic - i n t h e e l e m e n t a r y s c h o o l .
A c lo s e in v e s tig a
t i o n w o u ld p r o b a b l y r e v e a l t h a t t h e v a r i o u s a u t h o r s . h a d d i s a g r e e d upon m eth o d s o f t e a c h i n g m u s ic .
I t w o u ld a l s o b e f o u n d t h a t
o n e a u t h o r h a d e m p h a s i z e d o n e p h a s e o f w o rk w h i l e a n o t h e r em p h asized a c o m p le te ly d i f f e r e n t p h a s e .
P e r h a p s t h e y w o u ld
a g re e upon c e r t a i n w e ll d e fin e d d i v is io n s and t o p i c s . e v e r t h e a g r e e m e n t s a n d d i s a g r e e m e n t s w o u ld b e ,
W hat
i t w o u ld b e
p o s s i b l e t o r e a d fro m t h e s e s o u r c e s an d tfie n fo rm c o n c l u s i o n s w h ic h w o u ld p r o d u c e a d i f f e r e n t o u t l i n e .
T h is o u t l i n e w o u ld
b e a sum m ing up o f a l l t h a t h a d b e e n w r i t t e n on t h e s u b j e c t . I t w o u l t t a k e t h e b e s t f ro m a l l t h e s o u r c e s . S t i l l a f u r t h e r m e th o d w o u ld b e t o e l e m e n t a r y , t e a c h e r s , a s k i n g th e m t o r e l a t e in g p ro b lem s.
in te rv ie w s e v e ra l t h e i r m u sic t e a c h
By u s i n g t h e i n t e r v i e w m e th o d i t w o u ld b e
17
p o s s i b l e t o w r i t e down t h e p r o b l e m s i n t h e i r p r o p e r o r d e r b e c a u s e t h e q u e s t i o n s w o u ld b e a s k e d i n a c e r t a i n r o t a t i o n * I t w o u ld b e e a s y t o g e t a n s w e r s b e c a u s e t h e q u e s t i o n s w o u ld be d i r e c t to th e p o i n t.
T he t e a c h e r b e i n g i n t e r v i e w e d w o u ld
b e g l a d t o c o o p e r a t e b e c a u s e a l l h e w o u ld h a v e t o do w o u ld be to t a l k . to w rite .
T h e r e w o u ld b e n o f o r m s t o f i l l If
o u t o r a n y th in g
i t w ere d e s i r e d , one c o u ld i n t e r v i e w s e v e r a l
t e a c h e r s from s e v e r a l d i f f e r e n t s c h o o ls t o d i s c o v e r p ro b le m s under d if f e r e n t a d m in istra tio n s . A s i m i l a r m e th o d w o u ld b e t o s e n d o u t q u e s t i o n n a i r e s a sk in g fo r a l i s t
o f d i f f i c u l t i e s o r p ro b lem s.
By u s i n g t h i s
m e t h o d a g r e a t e r n u m b er o f t e a c h e r s c o u l d b e c o n t a c t e d w h i c h w o u ld r e s u l t i n a m o re t h o r o u g h s u r v e y .
A good q u e s t io n n a ir e
w o u ld d i r e c t t h e t y p e s o f a n s w e r s i n s u c h a way t h a t t h e y w o u ld b e e a s i l y
c la ss ifie d .
A l l o f t h e w o rk c o u l d b e d o n e
b y m a i l an d t h e t e a c h e r c o u l d f i l l o u t t h e f o r m w hen i t w as c o n v e n ie n t and n o t b e b o t h e r e d w i t h an i n t e r v i e w . None o f t h e s e s o u r c e s se em e d t o b e s u f f i c i e n t i n th e m s e l v e s a s f a r a s g e t t i n g a l l t h e n e c e s s a r y d a t a was c o n c e rn e d . An o u t l i n e o r * l i s t o f p r o b l e m s w h i c h o ne w o u ld m ake h i m s e l f , w o u ld o n l y b e p a r t o f t h e p r o b l e m s .
No o n e p e r s o n * s e x p e r i e n c e
i s b ro a d enough to c o v e r t h e e n t i r e f i e l d .
I f th e c h a p te rs
w ere o u t l i n e d fro m one p e r s o n * s o p in io n and t h e n t h e p ro b le m s f o r c e d w i t h i n t h e s e c h a p t e r s , one c o u ld n o t be c e r t a i n t h a t
18
a l l t h e m a t e r i a l was p r e s e n t . a l s o g e t t h e w ro n g e m p h a s i s .
Some o f t h e m a t e r i a l m i g h t T he b o o k s , w h i c h o n e m i g h t u s e
i n t h e u n i v e r s i t y o r p u b l i c l i b r a r i e s , w o u ld o n l y r e l a t e t h e a u th o r* s o p in io n .
E v en i f o n e w e r e t o s u m m a r iz e t h e m a t e r i a l
f r o m a nu m b er o f b o o k s , i t
is n o t c e r t a i n t h a t th e s e a u th o rs
h a d h a d t h e p r o p e r e x p e r i e n c e o r t h e y had- a l l t h e a n s w e r s . Many o f t h e a u th o r A o f t h e s e b o o k s h a v e n o t t a u g h t i n e l e m en tary s c h o o l s .
Many o f t h e a u t h o r s a r e m u s i c i a n s who a r e
t h i n k i n g fro m t h e s t a n d p o i n t o f t h e m u s i c i a n r a t h e r t h a n fro m th e s ta n d p o in t o f th e e le m e n ta ry te a c h e r o r p u p i l.
To c o n
d u c t a n i n t e r v i e w w i t h s e v e r a l s c h o o l t e a c h e r s w o u ld p r o b a b l y be s u c c e s s f u l t o t h e e x t e n t t o w h ic h c o r r e c t q u e s t io n s w ere asked.
T each ers a re
m s u a lly v e ry b u sy so th e i n te r v ie w
w o u ld n e c e s s a r i l y b e h u r r i e d .
TJpon s u c h a n o c c a s i o n t h e t e a c h
e r p r o b a b l y w o u l d n * t r e c a l l m any o f h i s p r o b l e m s .
T he a n s w e r s
w o u ld f o l l o w t h e p a t t e r n s e t b y t h e q u e s t i o n s r a t h e r t h a n g e t t i n g t o th e fu n d a m e n ta ls o f th e in d iv i d u a l te a c h in g p ro b le m . T he q u e s t i o n n a i r e w h i c h w o u ld b e s e n t o u t w o u ld g e t som ew hat t h e sam e r e s u l t s .
T he t e a c h e r s w o u ld b e i n c l i n e d t o b a s e
t h e i r t h i n k i n g u p o n t h e q u e s t i o n s a n d w o u ld g i v e s i m i l a r answ ers.
P r o b a b ly t h e m ain d i f f i c u l t y w i t h u s i n g t h e q u e s
t i o n n a i r e m e th o d w o u ld b e i n g e t t i n g th e m b a c k .
The b u s y
t e a c h e r w o u ld p u t i t a s i d e a n d m any w o u ld f i n a l l y e n d i n t h e w a ste p a p e r b a s k e t .
T h ese v a r i o u s m eth o d s o f s e c u r i n g m a t e r i a l
a r e g o o d t o a c e r t a i n p o i n t b u t t h e y seem t o b e t o o f a r away
20
fro m t l i e r e a l t e a c h i n g p ro b le m s * T h e m e th o d u s e d i n t h i s s t u d y w as a n a t t e m p t t o g e t c l o s e r t o t h e p r o b le m s i n v o l v e d i n t e a c h i n g e l e m e n t a r y s c h o o l m u s ic .
T he a u t h o r b e l i e v e d t h a t t h e e l e m e n t a r y
s c h o o l t e a c h e r h i m s e l f w o u ld b e m o re f a m i l i a r w i t h t h e t e a c h i n g p r o b le m s t h a n a n y o n e e l s e *
T he f i r s t s o u r c e c a l l e d u p o n
f o r m a t e r i a l w as t h e e x p e r i e n c e w i t h i n t h e a u t h o r ’ s own t e a c h in g .
To f u r t h e r a u g m e n t t h e m a t e r i a l , a n u m b er o f t e a c h e r s
fro m t h e L os A n g e le s s p h o o l s y s te m w e re a s k e d t o w r i t e down t h e i r s p e c i f i c m u s ic t e a c h i n g p r o b l e m s .
No s u g g e s t i o n o f
o u t l i n e o r d i v i s i o n s w e re g i v e n t o s e t a p a t t e r n . w as t o g i v e h i s own i d e a s a n d e x p e r i e n c e s .
E ac h t e a c h e r
W is h in g t o
get
a l l t h e p o s s i b l e m a t e r i a l fro m t e a c h e r ^ e x p e r i e n c e s , a n o t h e r g r o u p o f t e a c h e r s w e re s e l e c t e d
i n t h e Owens V a l l e y .
T h e se
t e a c h e r s w e re a s k e d u n d e r t h e sam e c o n d i t i o n s a s t h e L o s A n g e le s t e a c h e r s , t o r e l a t e t h e i r e x p e r i e n c e s a n d p r o b l e m s . T he f i r s t g ro u p w e re c i t y t e a c h e r s , w h i l e t h e s e c o n d g ro u p w e re fro m t h e s m a l l c o m m u n itie s o f L o n e P i n e a n d I n d e p e n d e n c e . By t h e t i m e t h e s e g r o u p s h a d b e e n c o n t a c t e d a n d m a t e r i a l s c o lle c te d
i t w as d e c id e d t h a t enough s o u rc e s h ad b e e n c o n ta c te d .
T he r e p e t i t i o n o f p r o b le m s a n d l a c k o f a d d i t i o n a l new p ro b le m s p r o m p te d t h e d e c i s i o n . 2.
M a te ria ls u se d .
To o b t a i n h i g h e f f i c i e n c y an d s p e e d
i n c l a s s i f y i n g th e te a c h in g p ro b le m s , a d e f i n i t e
s y s te m w as
21
needed*
L ong l i s t s
o f p r o b le m s on p a g e s o f p a p e r w o u ld
o b v io u s ly b e b a rd to c la s s if y *
S m a ll s l i p s o f p a p e r w h ic h
w e re 4 1 / 4 b y 2 5 / 4 i n c h e s w e re c h o s e n f o r t h e j o b .
E ach
t e a c h e r w as a s k e d t o w r i t e o n e i d e a a t t h e t o p o f e a c h s l i p o f p a p er*
A s y s te m o f c o l o r s f u r t h e r s i m p l i f i e d t h e c l a s s i f i
c a tio n p ro c e d u re * w h ite p a p e r .
A l l e l e m e n t a r y s c h o o l t e a c h e r s w e re g i v e n
T he a u t h o r u s e d y e l l o w p a p e r f o r h i s p r o b l e m s .
C h a p te r h e a d i n g s w e r e l i s t e d on p i n k p a p e r .
on b l u e p a p e r a n d s u b - h e a d i n g s
At a l a t e r d a te th e m a te r ia l u n d er th e sub
h e a d in g s h ad t o b e r e s t a t e d
i n a d i f f e r e n t fo rm s o g r e a i p a p e r
w as u s e d f o r t h i s p u r p o s e .
T he a c t i v i t i e s a n d b i b l i o g r a p h y
w e re w r i t t e n o n w h i t e p a p e r b u t w e r e h e a d e d b y a n o r a n g e s lip #
A fte r th e c l a s s i f i c a t i o n p ro c e s s had ta k e n p la c e , a l l
s l i p s w e re f a s t e n e d
to g e th e r w ith p a p e r c l i p s and ru b b e r b an d s
an d p l a c e d i n a b o x i n t h e p r o p e r o r d e r . t o t y p e t h e m a t e r i a l fro m t h e c l a s s i f i e d 5.
G a th e rin g th e d a ta *
I t w as t h e n e a s y s lip s .
M o st o f t h e d a t a w e re s e c u r e d
by s e e in g th e te a c h e r s p e r s o n a lly , e x p la in in g th e s i t u a t i o n , a n d g i v i n g th e m t h e w h i t e p a p e r s l i p s on w h ic h t o w r i t e t h e i r p ro b le m s .
A l a t e r d a t e w as m ade f o r p i c k i n g up t h e m a t e r i a l o r
t h e y p r o m is e d t o m a i l t h e s l i p s .
T he a u t h o r s m a t e r i a l a n d t h e
L os A n g e le s s c h o o l t e a c h e r s ’ m a t e r i a l w as a s s e m b le d d u r i n g a w eek’ s p e rio d and th e n c l a s s i f i e d .
T he m a t e r i a l s e c u r e d fro m
t e a c h e r s i n t h e Owens V a l l e y w as o b t a i n e d a m o n th l a t e r a n d
22
added to th e c l a s s i f i c a t i o n . 4.
C la s s if ic a tio n o f d a te .
T he d a t a c l a s s i f i e d f o r u s e
i n b u i l d i n g a m u s ic c u r r i c u l u m w e re a r r a n g e d i n t h r e e p a r t s . T he f i r s t p a r t w as t h e c l a s s i f i e d p r o b l e m s , t h e s e c o n d t h e l i s t of c la s s ifie d
a c t i v i t i e s and l a s t th e l i s t o f r e f e r e n c e s .
T he f i r s t c l a s s i f i c a t i o n o f p r o b le m s c o n s i s t e d o f a p p r o x i m a t e l y 8 5 0 s l i p s o f p a p e r e a c h c o n t a i n i n g a p r o b le m . To g i v e a m p le room f o r c l a s s i f i c a t i o n , a l a r g e d i n i n g t a b l e an d f i v e c a r d t a b l e s w e re u s e d . p la c e d upon th e t a b l e .
E a c h s l i p w as r e a d c a r e f u l l y a n d
As s i m i l a r i d e a s w e r e f o u n d t h e y w e re
a d d e d t o t h e o t h e r s u n t i l a l l s l i p s w i t h s i m i l a r p r o b le m s w e re g r o u p e d t o g e t h e r . s ix g ro u p s.
T he f i r s t g r o u p i n g r e v e a l e d som e t w e n t y -
A c a r e f u l s tu d y o f th e s e r e s u l te d
some u n t i l t h e r e w e re f o u r t e e n m a jo r g r o u p s . g iv e n a b lu e s l i p w ith a t i t l e .
i n c o m b in in g E a c h g ro u p w as
T h e s e b ecam e t h e f o u r t e e n
c h a p t e r s o f t h e m u s ic c u r r i c u l u m o u t l i n e .
No p a t t e r n w as s e t
a h e a d o f t i m e , a n d no d e f i n i t e num ber o f c h a p t e r s . r e q u e s t e d . T he p r o b le m s t h e m s e l v e s fo rm e d t h e o u t l i n e n u m b er o f c h a p t e r s .
and th e d e f i n i t e
I t w a s t h e n n e c e s s a r y b y t h e sam e p r o c e s s
t o c l a s s i f y t h e p r o b le m s w i t h i n e a c h c h a p t e r . fe ll
in to about f iv e to e ig h t s e c tio n s eac h .
w e re e a c h g i v e n a t i t l e
T he c h a p t e r s T hese subheads
on a p i n k s l i p o f p a p e r .
I t w as fo u n d
n e c e s s a r y t o r e w r i t e t h e p r o b le m s i n q u e s t i o n f o r m . w e re r e w r i t t e n on g r e e n s l i p s a n d t h e n c l a s s i f i e d
T hese
in lo g ic a l
23
o rd e r f o r th e o u tlin e s tu d y • T he a c t i v i t i e s w e re a l l w r i t t e n on s l i p s o f p a p e r w h ic h w e re e a s i l y s o r t e d # w ith in th e
T h ey w e re n o t d i v i d e d i n t o
s e c tio n s
c h a p t e r b u t w e re a r r a n g e d i n o n e g ro u p a t t h e
end o f e a c h c h a p te r#
T he o r d e r o f a c t i v i t i e s w e re a r r a n g e d
to c o rre sp o n d w ith th e o rd e r o f th e e n t i r e c h a p te r. T he b i b l i o g r a p h y l i k e t h e a c t i v i t i e s w as a r r a n g e d a t th e end o f each c h a p te r. fo u n d i n t h e l i s t s
Some o f t h e r e f e r e n c e s m ay b e
a t th e end o f s e v e r a l c h a p te rs #
b i b l i o g r a p h y i s a r r a n g e d i n tw o g r o u p s .
T he
The f i r s t g r o u p i s
a l i s t o f b o o k s and th e se c o n d g ro u p a l i s t o f p e r i o d i c a l s and e n c y c lo p e d ia s # o rd e r by a u th o r .
T hey a r e a l l l i s t e d T he t i t l e
in a lp h a b e tic a l
o f book o r p u b lic a tio n , p u b lis h e r ,
and y e a r o f p u b lic a tio n a re a ls o g iv e n .
T hese r e f e r e n c e s
w e re c o m p ile d fro m t h e c a r d i n d e x s o f t h e U n i v e r s i t y o f S o u t h e r n C a l i f o r n i a , t h e L os A n g e le s p u b l i c l i b r a r y a n d d i s p l a y e d b o o k s a t t h e S c h ir m e r m u s ic company#
CHAPTER
III
TEACHING THE CLASSROOM SINGING A re y o u a f r a i d y o u a r e n o t c a p a b l e o f t e a c h i n g t h e c l a s s r o o m s i n g i n g ? Do y o u d r e a d t h e h o u r w h ic h m u s t b e de d e v o te d t o som e t y p e o f m u s ic s t u d y ? T he c la s s r o o m s i n g i n g c a n b e t a u g h t s u c c e s s f u l l y b y t e a c h e r s who a r e n o t e s p e c i a l l y m u s i c a l l y i n c l i n e d o r who do n o t s i n g .
T he a v e r a g e t e a c h e r
i s n o t p r o p e r l y p r e p a r e d f o r t h e t a s k o f t e a c h i n g m u sic * W ith i n e x p e n s i v e e q u ip m e n t y o u to o c a n t e a c h y o u r c la s s r o o m m u s ic s u c c e s s f u l l y b y g i v i n g a l i t t l e tio n .
tim e t o p r o p e r p r e p a r a
You m u s t n o t b e t h e c a u s e o f y o u r s t u d e n t s m i s s i n g
t h i s v a lu a b le p a r t o f t h e i r e d u c a tio n .
T he f o l l o w i n g p r o b le m s
an d a c t i v i t i e s h a v e b e e n p r e s e n t e d i n t h e h o p e t h a t y o u , a n a v e r a g e t e a c h e r , m ay f i n d a s u c c e s s f u l m e th o d w i t h w h ic h t o t e a c h y o u r m u sic * PROBLEMS 1 . How t o d e v e l o p t h e v o i c e i n s o n g . a . How s h o u l d y o u go a b o u t t e a c h i n g t h e c l a s s r o o m s i n g i n g w hen y o u e a n f t s i n g y o u r s e l f ? b . S h o u ld t h e c h i l d who h a s h a d no m u s i c a l t r a i n i n g a t home b e t a u g h t i n t h e sam e w ay a s t h o s e who h a v e h a d m u s ic a t home? e* How s h o u l d y o u o b t a i n a r e l a x e d h a p p y c l a s s mood f o r th e s in g in g le s s o n ? d . How s h o u l d a n a t t i t u d e
o f c l a s s c o o p e r a t i o n b e d e v e lo p e d ?
£5
e . How w o u ld y o u p r e v e n t t h e s t u d e n t ’ s c a r e l e s s s i n g i n g ? f# How s h o u l d y o u go a b o u t g e t t i n g c h i l d r e n t o h e l p fro m o t h e r c h i l d r e n ?
a p p re c ia te
g« How c a n t h e s t u d e n t o v e rc o m e s e l f - c o n s c i o u s n e s s ? h* S h o u ld y o u e n c o u r a g e s i n g i n g a n d l o v e o f s i n g i n g e v e n th o u g h t h e c h i l d i s n o t t a l e n t e d ? i* How j.
can you g e t
th e s tu d e n ts t o s in g in tu n e ?
S h o u ld t h e t e a c h e r s i n g d i r e c t l y t o t h e s t u d e n t so he can h e a r th e c o r r e c t to n e ?
k* How c a n y o u g e t t h e s t u d e n t s t o s e c u r e m u s c u la r f r e e dom i n t h e i r s i n g i n g ? 1 . How c a n y o u p r e v e n t t h e s t u d e n t ’ s h e a d fro m s h a k i n g w hen h e s i n g s ? m* How
can you p r e v e n t
h . How c a n y o u g e t m is ta k e s ?
th e
t h e s t u d e n t ’ s v o i c e fro m " b r e a k i n g * ? s t u d e n t t o h e a r h i s own s i n g i n g
o . S h o u ld y o u t r y t o p r e v e n t t h e s t u d e n t fro m s i n g i n g to o lo u d ly ? p* How s h o u l d y o u p r e v e n t t h e s t u d e n t ’ s o v e r s i n g i n g ? q.
S h o u ld e a c h s t u d e n t b e r e q u i r e d t o s i n g a l o n e ?
r . How c a n y o u d e t e r m i n e w h ic h s t u d e n t s a r e t h e s o l o i s t s ? s . How m uch c l a s s t im e s h o u l d y o u g i v e t o i n d i v i d u a l s i n g i n g p r o b le m s ? t . How c a n y o u m ake a r r a n g e m e n ts f o r e x t r a t im e t o t a k e c a r e o f t h e i n d i v i d u a l s i n g i n g p r o b le m s ? u . W hat s h o u l d b e d o n e w i t h t h e b o y w hose v o i c e i s c h a n g in g ? v # How m uch t im e s h o u ld b e g i v e n t o t h e p o o r s i n g e r ? w. How c a n y o u m ake t h e p u p i l , who i s lo w m e n t a l l y , f e e l o f som e w o r th t h r o u g h h i s a b i l i t y t o s i n g ?
26
x . S h o u ld g ro u p s i n g i n g t e c h n i q u e s d i f f e r fro m t h o s e u sed w ith th e s o l o i s t ? y . W hich i s t h e b e s t e x p l a n a t i o n o f t h e d i f f e r e n c e b e tw e e n a s o p r a n o a n d a c o n t r a l t o ? z . How w o u ld y o u e x p l a i n t h e d i f f e r e n c e b e tw e e n a t e n o r and a b a s s ? aa# S h o u ld t h e s i n g i n g r e h e a r s a l s b e l o n g o r s h o r t ? bb* When s h o u l d y o u recom m end a p r i v a t e m u s ic t e a c h e r ? 2 . How t o t e a c h t h e s t u d e n t s t o b r e a t h e p r o p e r l y # a# How w o u ld yotl d e t e r m i n e t h e c o r r e c t w ay t o b r e a t h e ? b . Eow s h o u l d y o u c a r r y on b r e a t h i n g e x p e r i m e n t s i n c l a s s ? c . S h o u ld y o u g i v e a b r e a t h i n g d e m o n s t r a t i o n t o t h e c l a s s y o u rs e lf? d . S h o u ld y o u b r i n g i n o u t s i d e e x a m p le s o f c o r r e c t b r e a t h i n g ? e . How c a n y o u e x p l a i n t h e n e c e s s i t y o f c o r r e c t b r e a t h i n g f o r s in g in g ? f . W ould y o u e x p l a i n b r e a t h i n g t h e sam e w ay t o l i t t l e f o l k s a s y o u w o u ld t o o l d e r s t u d e n t s ? g* How s h o u l d y o u e x p l a i n t h e u s e o f m u s c le s i n c o n n e c t i o n w ith b r e a th in g ? h« S h o u ld y o u t e a c h t h e s t u d e n t t o d e v e lo p a l a r g e r c a p a c ity f o r b re a th ? i . How c a n y o u e x p l a i n b r e a t h i n g so t h a t i t h a s u s e f u l m e a n in g ? i • S h o u ld y o u t r y t o m ake t h e b r e s t h i n g e x p l a n a t i o n a t t r a c t i v e and i n t e r e s t i n g ? k* How c a n y o u t i e
up g o o d b r e a t h i n g w i t h e v e r y d a y l i v i n g ?
1 . How c a n y o u show t h e n e c e s s i t y o f go o d b r e a t h i n g f o r g o od h e a l t h ? m* W hat c a n y o u do t o s t i m u l a t e c l a s s i n t e r e s t i n b re a th in g e x e rc is e s ?
n . How c a n y o u c a r r y o n b r e a t h i n g e x e r c i s e s i n t h e c la s s r o o m ? o* W hich b r e a t h i n g e x e r c i s e s c a n y o u g i v e f o r u s e i n home p ra c tic e ? How t o t e a c h t h e s t u d e n t s a s o n g » a • How s h o u l d y o u go a b o u t g e t t i n g som eone t o t e a c h y o u th e songs? b* How s h o u ld y o u g i v e t h e c l a s s a p p r o a c h on a new s o n g ? How s h o u l d y o u c r e a t e i n t e r e s t i n a new s o n g ? d . How c a n y o u k e e p t h e s o n g s b r i g h t a n d h a p p y ? e . How s h o u ld y o u u s e p i c t u r e s t o o f t h e m u s ic ?
illu s tra te
th e th o u g h t
f* S h o u ld y o u d re w p i c t u r e s o n t h e b l a c k b o a r d t o songs? g# How c a n y o u i l l u s t r a t e
illu s tra te
so n g s by u s in g p a p e r c u ttin g ?
h« S h o u ld y o u u s e t h e s a n d p i l e t o
i l l u s t r a t e m u s ic ?
i* How s h o u l d y o u i n t e g r a t e m u s ic w i t h o t h e r s c h o o l w o rk ? j* How c a n y o u d e t e r m i n e w h ic h m e th o d i s t h e b e s t t o u s e in te a c h in g a r o t e so n g ? k* How s h o u ld y o u go a b o u t t e a c h i n g a r o t e s o n g when you c a n ft s in g y o u r s e lf? 1 . S h o u ld y o u h a v e t h e c h i l d r e n h e a r t h e s o n g s e v e r a l t i m e s b e fo r e th e y a tte m p t to s in g i t ? m. S h o u ld y o u t e a c h a r o t e n . How s h o u ld y o u s i n g t o
so n g b y s i n g i n g i t y o u r s e l f ? c h ild r e n so th e y can im ita te ?
o . How c a n y o u u s e t h e p i a n o t o a i d i n t e a c h i n g a r o t e s o n g ? p* I s i t p o s s i b l e t o u s e t h e p h o n o g ra p h t o t e a c h a r o t e song? q . How do y o u t e a c h a s o n g b y t h e " e n t i r e so n g m e th o d " ?
28
r.
How do y o u t e a c h a so n g b y t h e
s* How m uch o f a r o t e t.
^ p h r a s e m e th o d ”?
so n g s h o u l d b e t a u g h t e a c h d a y ?
How c a n y o u c r e a t e a d e s i r e t o r e a d i n a n o n - r e a d e r who l o v e s to s i n g a n d n e e d s t o r e a d t h e w o rd s o f t h e so n g s?
u.
How
s h o u ld
youe x p la in p a r t s in g in g to
v,
How w o u ld you d e t e r m i n e how m any p a r t s s in g in ?
th e
s tu d e n ts ?
th e
c l a s s s h o u ld
w* How s h o u l d y o u t e a c h t h e c l a s s t o s i n g i n p a r t s ? x* How s h o u l d y o u t e a c h s in g y o u r s e lf ? y.
How
s h o u ld
z*
S h o u ld y o u a i d th e p ia n o ?
p a r t s i n g i n g w hen y o u c a n * t
your e h e a r s e p a r t s in g in g ? p a r t s in g in g by p la y in g th e p a r t s
on
aa* How c a n y o u b e s t u s e hum ming t o t e a c h p a r t s o n g s ? b b , How l o n g s h o u l d y o u u p r a c t i c e o n e s o n g ? cc* How s h o u l d y o u v a r y t h e l e s s o n t o k e e p up t h e c l a s s in te re s t? 4* How t o g i v e i n s t r u c t i o n i n g r o u p s i n g i n g * a.
S h o u ld y o u b e c a r e f u l t o p i t c h a s o n g t o f i t a l l v o ic e s , o r p itc h i t f o r th e b e s t s in g e rs ?
b* I s i t p o s s i b l e t o c o m b in e c h i l d r e n who c a n r e a d n o t e s an d t h o s e who c a n n o t i n t h e sam e c l a s s ? c.
How s h o u l d y o u d e t e r m i n e t h e c o r r e c t w ay t o p r o n o u n c e t h e w o rd s o f a s o n g ?
d# S h o u ld y o u s t r e s s a n n u n c i a t i o n w i t h a l l g r o u p s ? e . W hich m e th o d i s b e s t f o r t e a c h i n g good d i c t i o n ? f . How s h o u l d y o u t e a c h a c l a s s t o m e m o riz e m u s ic ? g* How c a n y o u g e t t h e c l a s s t o f o l l o w y o u r d i r e c t i n g ?
29
h.
How
may y o u
u se th e
b e s t s in g e r s to a id th e p o o r s in g e r ?
i.
How
canyou
e x p la in
m u s i c a l fo rm t o t h e s t u d e n t s s im p ly ?
How can you b re a th in g ?
e x p la in
p h r a s i n g so t h a t i t w i l l a i d t h e
j. k. 1.
How
canyou
d e t e r m i n e how a so n g s h o u l d b e p h r a s e d ?
How canyou a id th e m e lo d y o n t h e p i a n o ?
c l a s s s in g in g by p la y in g o n ly th e
m. How c a n y o u a c c u s to m t h e c l a s s t o s i n g w i t h a n a c c o m p a n im e n t? n . How c a n y o u o b t a i n g o o d r e s u l t s w hen h a v in g t h e c l a s s s i n g w i t h o u t a n a c c o m p a n im e n t? o* S h o u ld y o u h a v e t h e c h i l d r e n s i n g w i t h p h o n o g r a g h re c o rd s? p . How c a n y o u o b t a i n sm o o th c l a s s s i n g i n g ? £ • How s h o u l d y o u u s e hum ming t o g e t g o o d e f f e c t s s in g in g ?
in
r . How l o n g s h o u l d y o u h a v e t h e g ro u p r e h e a r s a l s ? 5 . How t o t e a c h n o t a t i o n a n d te m p o * a . I s i t p o s s i b l e t o t e a c h t h e f u n d a m e n ta l f a c t s o f n o t a t i o n in an i n t e r e s t i n g m anner o r m u st i t be d ry fa c ts ? b . How s h o u l d y o u e x p l a i n t h e n e e d f o r s o n g s b e i n g w r i t t e n in d if f e r e n t "keys"? e.
How
s h o u ld
you
e x p la in
t h e u s e o f l i n e s a n d s p a c e s s im p ly ?
d.
How
s h o u ld
you
e x p la in
s h a rp s and f l a t s
e#
How
s h o u ld
you
e x p la in
t h e v a l u e o f n o t e s s im p ly ?
f.
How
s h o u ld
you
e x p la in
i n t e r v a l s s im p ly ?
g . How c a n y o u g e t t h e s t u d e n t s t o t h i n k i n t e r v a l s ?
s i m p ly ?
30
h* W hich m e th o d i s b e s t t o t r a n s f e r t h e s t u d e n t s * a t t e n t i o n fro m t h e r o t e s o n g t o t h e u s e o f n o t e s ? i.
How s h o u l d y o u t e a c h c h i l d r e n t o s i n g b y n o t e ? S h o u ld y o u u s e gam es t o t e a c h n o t e s ?
k . I s i t p o s s i b l e t o e x p l a i n tem p o w i t h o u t b e i n g t o o te c h n ic a l? 1* How s h o u l d y o u go a b o u t d e t e r m i n i n g how f a s t s h o u ld be su n g ?
a song
m* How c a n y o u t e l l how f a s t t h e c o m p o s e r i n t e n d e d t h e so n g t o b e su n g ? n . S h o u ld t h e c l a s s a b i l i t y song?
d e t e r m i n e t h e tem p o o f t h e
0 . S h o u ld t h e tem p o b e i n c r e a s e d a s l e a r n i n g p r o g r e s s e s ? p* How m ay t h e m e tro n o m e b e u s e d t o s e t t h e te m p o ? 6 . How t o t e a c h t h e u s e o f r h y th m w i t h s i n g i n g . a . How s h o u l d y o u e x p l a i n t h e r h y t h m i c s i g n s i n t h e s ig n a tu re ? b . W h ich w ay i s b e s t t o b e a t t h e rh y th m w h i l e s i n g i n g ? c . How m ay y o u t e a c h r h y th m b y s t e p p i n g i t o f f ? d* S h o u ld y o u u s e gam es t o t e a c h rh y th m ? e* S h o u ld t h e d a n c e b e u s e d t o t e a c h rh y th i^ ? f . How m ay y o u u s e t h e p h o n o g r a p h t o d e v e lo p rh y th m ? g* S h o u ld y o u p r a c t i c e t h e r h y th m w i t h o u t u s i n g t h e t o n e s ? h . How c a n y o u g e t t h e w o rd s t o t h e rh y th m w i t h o u t u s i n g th e to n e s ? 1 . How s h o u l d y o u f i g u r e rh y th m o u t m a t h e m a t i c a l l y ? j.
I s i t p o s s i b l e t o c o n n e c t rh y th m up w i t h t h e a r i t h m e t i c le s s o n s ?
31
7* How t o t e a c h s i g h t r e e d i n g * a* I s i t p o s s i b l e f o r y o u t o t e a c h s i g h t r e a d i n g w hen you c a n ’ t s i g h t r e a d y o u r s e lf ? b . How s h o u l d y o u d e t e r m i n e w hen s i g h t r e a d i n g s h o u ld be ta u g h t? e* How c a n y o u m ake s i g h t r e a d i n g i n t e r e s t i n g ? d . How s h o u l d y o u go a b o u t
m a k in g s i g h t r e a d i n g e a s y ?
e . W hich i s t h e b e s t m e th o d t o u s e i n t e a c h i n g s i g h t s in g in g ? f . How may
you te a c h s ig h t s in g in g by s y l l a b l e ?
g# How may
y o u t e a c h s i g h t s i n g i n g b y n u m b e rs ?
h* How may y o u t e a c h s i g h t s i n g i n g b y u s i n g wL a w a n d no w o rd s o r s y l l a b l e s ? i.
How may y o u u s e t h e m o re t a l e n t e d s t u d e n t t o a i d o th e r s in s ig h t s in g in g ?
j.
S h o u ld m uch c l a s s t i m e b e s p e n t on i n d i v i d u a l s i g h t s in g in g ?
8 . How t o a r r a n g e t h e s e a t i n g * a.
How s h o u l d y o u s e a t t h e c l a s s f o r
s in g in g ?
b*
How s h o u l d y o u e x p l a i n , t o t h e c l a s s , s e a t c h a n g e s w hen s i n g i n g ?
th e need
fo r
c« How c a n y o u d e t e r m i n e w h ic h v o i c e s s h o u l d s i n g t o g e t h e r ? d.
S h o u ld y o u p l a c e t h e p o o r s i n g e r s g o o d v o i c e s w i l l p ro m p t th e m fro m
t o t h e f r o n t so th e b e h in d ?
e« W hat s h o u l d y o u do w hen a m o n o to n e r e a l i z e s h i s s e a t i n g p o s i t io n i s b e c a u se he i s a p o o r s in g e r , th u s r e s u l t i n g in h is r e f u s in g to s in g ? f.
S h o u ld y o u s e a t t h e b o y s a n d g i r l s g e th e r?
s e p a r a t e l y o r to-*
g . S h o u ld t h e s e a t i n g d i f f e r w hen y o u a r e t e a c h i n g p a r t s in g in g ?
32
h . How s h o u ld y o u s e a t t h e c l a s s w hen y o u h a v e b u t a fe w boo k s? 1# How l o n g s h o u l d y o u h a v e t h e s t u d j a n t s s i t b e f o r e s ta n d in g , d u rin g th e s in g in g h o u r? j . How l o n g s h o u l d y o u h a v e t h e s t u d e n t s s t a n d w hen s i n g i n g ? 9* How t o t e a c h s t u d e n t s t o g e t i n t o c o r r e c t p o s i t i o n a n d h o ld -: m u s i c * ~ a* W hich i s t h e b e s t a n d c o r r e c t p o s t u r e f o r s i n g i n g ? b . How c a n y o u s e c u r e go o d c l a s s p o s t u r e w hen t h e y a r e s in g in g ? c . How s h o u ld p o s t u r e d i f f e r w hen s t a n d i n g a n d s i n g i n g ? d . W hat p o s i t i o n s h o u l d t h e f e e t b e i n w hen s i t t i n g s in g in g ?
and
e . How s h o u l d t h e f e e t b e p l a c e d w hen s t a n d i n g a n d s i n g in g in a g ro u p ? f.
How
s h o u ld m u s ic
b eh e ld
w hen s i t t i n g
g.
How s h o u ld m u s ic d ire c to r?
beh e ld
so th e s tu d e n t e an se e th e
h.
How
s h o u ld m u s ic
beh e ld
w hen s i n g i n g i n a g r o u p ?
i.
How
s h o u l d m u s ic
beh e ld
w hen s h a r i n g a c o p y ?
j.
How
s h o u l d m u s ic
beh e ld
s o t h a t l i g h t i s on i t ?
1 0 . How t o t e a c h m u s ic t o a.
" little
fo lk s ."
I s i t p o s s ib le to te a e h l i t t l e you c a n * t s in g y o u r s e lf ?
b . How c a n y o u g e t l i t t l e
c h i l d r e n t o s i n g w hen
c h ild re n in te r e s te d
c . W hich m e th o d i s b e s t t o t e a c h l i t t l e d . How c a n y o u g e t l i t t l e s i n g on?
a t a d esk ?
in s in g in g ?
f o lk s to s in g ?
c h ild r e n to f in d a to n e to
33
e . S h o u ld y o u t r y t o d e v e lo p a w i d e r r a n g e o f t o n e i n t h e l i t t l e c h il d r e n ’ s v o ic e s ? f . How c a n y o u g e t l i t t l e v o ic e s ?
fo lk s to l i s t e n
g . How s h o u l d y o u p r e v e n t l i t t l e to o lo u d ly ?
to
t h e i r own
c h i l d r e n fro m s i n g i n g
h . How s h o u l d y o u p r e v e n t l i t t l e c h i l d r e n fro m r u i n i n g t h e i r v o i c e s by- s i n g i n g i n c o r r e c t l y ? i# How s h o u l d y o u u s e t h e p h o n o g r a p h t o g e t l i t t l e to s in g ? j.
S h o u ld y o u u s e m u s i c a l gam es t o a i d
fo lk s
in te a c h in g so n g s?
k* S h o u ld y o u t r y t o g e t a l l t h e v o i c e s " i n t u n e " b e f o r e th e y le a v e th e seco n d g ra d e ? 11* How t o h e l p t h e d e f e c t i v e s i n g e r * a . How m ay y o u d e t e r m i n e who i s a d e f e c t i v e s i n g e r ? b# How w o u ld y o u g i v e a t e s t t o d i s c o v e r t h e v a r i o u s s i n g i n g a b i l i t i e s an d m o n o - to n e s ? c* S h o u ld t h e d e f e c t i v e s i n g e r b e f o r c e d t o t a k e p a r t in th e s in g in g c la s s ? d . How c a n y o u b e s t h e l p t h e d e f e c t i v e s i n g e r t o s i n g b e tte r? e* I s i t p o s s i b l e t o t e a c h t h e m o n o to n e t o s i n g ? f.
H o w ,c a n y o u k e e p t h e m o n o to n e i n t e r e s t e d w hen h e c a n ’t s in g ?
g* W hat s h o u l d y o u d o w i t h t h e d e f e c t i v e s i n g e r d u r i n g t h e s i n g i n g c l a s s t im e ? h* S h o u ld y o u a r r a n g e a s p e c i a l t im e t o a i d t h e d e f e c t i v e s in g e r? 1 2 . How t o s e c u r e g o o d b e h a v i o r d u r i n g t h e m u s ic p e r i o d s a . How c a n y o u b e s t s e c u r e g o o d a t t e n t i o n f o r t h e m u s ic le s s o n ?
34
b . How m ay m u s ic b e u s e d t o c h a n g e t h e mood i n t h e ro o m ? c . How may t h e d i s c i p l i n e o f t h e e n t i r e s c h o o l b e im p ro v e d t h r o u g h t h e u s e o f m u s ic ? d . S h o u ld y o u p e r m i t a c h i l d t o l a u g h a t a n o t h e r w hen h e m ak e s a s i n g i n g m i s t a k e ? e . S h o u ld y o u s e n d t h e u n r u l y c h i l d r e n o u t o f t h e room d u r i n g t h e m u s ic h o u r ? f.
S h o u ld y o u t r y t o c h a n g e t h e u n r u l y b o y , who l o v e s m u s i c , b y m a k in g him t h e s o n g l e a d e r ?
1 3 . How t o p r e p a r e t h e g ro u p f o r p u b l i c p e r f o r m a n c e . a . I n w h a t way c a n y o u b e s t t a k e c a r e o f v i s i t o r s t o t h e m u s ic c l a s s ? b . S h o u ld s m a l l c l a s s e s b e c o m b in e d w i t h o t h e r s f o r a p u b lic p e rfo rm a n c e ? c . How c a n y o u b e s u r e y o u h a v e d i s c o v e r e d a l l o f t h e ta l e n t in th e c la s s ? d . S h o u ld y o u u s e a l l o f t h e b e s t t a l e n t on e v e r y p ro g r a m ? e . How s h o u l d y o u go a b o u t a r r a n g i n g r e h e a r s a l s f o r s p e c i a l p e rfo rm a n c e s and o p e r e t ta s ? f . How m ay y o u b e s t e n l i s t t h e c o o p e r a t i o n o f p a r e n t s i n p r o v i d i n g c o s tu m e s ? g . S h o u ld t h e c l a s s h a v e a d i r e c t o r w hen s i n g i n g i n a p u b lic p e rfo rm a n c e ? h . S h o u ld y o u u s e u n i s o n s o n g s f o r p u b l i c p e r f o r m a n c e o r u se a l l p a r t son g s? A C TIV ITIES 1 . T ak e a c h e c k o f t h e c l a s s a n d f i n d o u t w h ic h s t u d e n t s h a v e h a d som e m u s i c a l t r a i n i n g o r e x p e r i e n c e . 2 . H ave t h e c l a s s s i n g s e v e r a l t y p e s o f s o n g s . A sk th e m w h ic h t h e y l i k e b e s t . T h is w i l l g i v e y o u a n i d e a o f th e ir in te re s t.
35
3 . C h o o se som e o f t h e l e s s m u s i c a l s t u d e n t s f o r t h e l i t t l e j o b s s u c h a s p a s s i n g o u t b o o k s* 4 . T ry s i n g i n g d i r e c t l y t o t h e s t u d e n t s e v e r a l t i m e s b e f o r e he s in g s * He s h o u l d t h e n t r y t o i m i t a t e you* 5* S e l e c t a s t u d e n t who h a s t i g h t m u s i c l e s # H ave him come b e fo re th e c la s s . T ry toiam ove h i s h e a d a n d a rm s a ro u n d u n t i l he i s r e la x e d . 6 . T e s t th e v o ic e s and th e n d o n ’t l e t th e s tu d e n t s in g to o f a r o u t o f h is ra n g e . 7 . To d i s c o v e r t h e s o l o s i t s h a v e o n e s t u d e n t s i n g t h e w o rd s a n d t h e o t h e r s hum. 8 . S e l e c t t h e m u s ic w h ic h y o u t h i n k f i t s y o u r v o i c e a n d h a v e t h e J c l a s s ju d g e y o u r s e l e c t i o n . 9 . I n v i te an a r t i s t to s in g f o r th e c la s s * 10* H ave s e v e r a l m em bers o f t h e c l a s s t r y s i n g i n g s e v e r a l ty p e s o f so n g s . H ave t h e c l a s s d e c i d e w h ic h s o n g s f i t t h e i r v o ic e s b e s t. 11* T he t e a c h e r s h o u l d t a k e a few p r i v a t e s i n g i n g l e s s o n s t o g a th e r m a t e r i a l f o r th e c l a s s . IS * I n v i t e a n a u t h o r i t y o n v o i c e t o t e l l p r a c t i c a l w ays o f im p r o v in g o n e ’ s s i n g i n g * 1 3 . T ry b o t h l o n g a n d s h o r t r e h e a r s a l s a n d d i s c o v e r w h ic h g iv e s th e b e s t t o t a l r e s u lts * 1 4 . S in g v o w e l s o u n d s t h r o u g h o u t e n t i r e r a n g e o f v o i c e s . 1 5 . Hum s c a l e s t h r o u g h o u t e n t i r e r a n g e o f t h e v o i c e . 1 6 . Hum s i m p le m e l o d i e s a s s m o o th ly a s p o s s i b l e w i t h o u t " s l i d i n g ” fro m t o n e t o t o n e . " A tta c k " e a c h to n e d i s t i n c t l y . N e v e r hum l o u d l y . 1 7 . S in g o n v a r i o u s p i t c h e s " v o w e l s o u n d s , " a h , e e , o h , o o , f o r s e v e r a l c o u n ts e a c h . I n c r e a s e lo u d n e s s and d e c r e a s e lo u d n e s s. T ry t o e n d w i t h a g o o d t o n e . 1 8 . Make som e p r o v i s i o n f o r s p e c i a l h e l p a f t e r s c h o o l . M i s t a k e s c a n b e i r o n e d o u t i n d i v i d u a l l y w hen o t h e r s a r e n o t lis te n in g .
36
1 9 . G iv e a c o r r e c t b r e a t h i n g d e m o n s t r a t i o n t o t h e c l a s s y o u rs e lf. 2 0 . A sk t h e p h y s i c a l e d u c a t i o n i n s t r u c t o r t o g i v e a b r e a t h in g d e m o n s t r a t i o n . 2 1 . H ave t h e e n t i r e c l a s s e x p e r i m e n t w i t h p r o p e r b r e a t h i n g b y s t a n d i n g i n t h e i s l e s an d d o in g i t t o g e t h e r . 2 2 . I n v i t e a p h y s i c i a n t o e x p l a i n why e v e r y o n e s h o u l d b r e a t h e p ro p e rly . 2 3 . H ave t h e c l a s s e x p e r i m e n t w i t h t h e l e n g t h o f t o n e t h e y c a n m ake a c c o r d i n g t o t h e w ay t h e y b r e a t h e . 2 4 . H ave e a c h s t u d e n t s t a n d a n d h o l d t h e p a lm o f h i s h a n d s on f i r s t t h e d ia p h ra g m m u s c le s and t h e n t h e b a c k m u s c le s as he b re a th e s . 2 5 . H ave t h e c l a s s p r a c t i c e d ia p h r a g m b r e a t h i n g . L e a rn to i n h a l e b y " e x p a n d in g * t h e r i b s and l e t t i n g t h e a i r f lo w in to th e lu n g s . Do a l o t o f i n h a l i n g p r a c t i c e .* Com bine t h i s w ith th e s in g in g o f lo n g to n e s w ith s e v e r a l c o u n ts . 2 6 . Show t h e c l a s s p i c t u r e s , o f p e o p l e who h a v e p o o r h e a l t h a n d t h e n c o m p a re th e m w i t h p i c t u r e s o f t h o s e w i t h g o o d h e a lth . 2 7 . H ave e a c h s t u d e n t t r y i n h a l i n g a s h e t a k e s t e n s t e p s and th e n e x h a lin g a s h e t a k e s t e n s t e p s . T h is i s a g o o d e x e r c i s e t o do w h i l e w a lk in g t o a n d fro m s c h o o l . 2 8 . B r i n g i n p i c t u r e s w h ic h i l l u s t r a t e
th e s to r y o f a song.
29# H av e s t u d e n t s b r i n g p i c t u r e s t o s c h o o l i l l u s t r a t i n g so n g s•
th e
3 0 . D raw p i c t u r e s o r h a v e s t u d e n t s d ra w p i c t u r e s o n t h e b l a c k b o a rd i l l u s t r a t i n g th e so n g s. 3 1 . H av e t h e s t u d e n t s c u t p a p e r i l l u s t r a t i o n s o f t h e s o n g s . 3 2 . T he s t u d e n t s m ay f i n d i t i n t e r e s t i n g t o b u i l d a s c e n e i n t h e s a n d p i l e w h ic h i l l u s t r a t e s a s o n g . 3 3 . T r y s e v e r a l m e th o d s o f t e a c h i n g a r o t e s o n g a n d d e c i d e w h ie h i s t h e m o s t s u c c e s s f u l . 3 4 . H ave t h e c l a s s s u g g e s t a s o n g w h ic h t h e y w o u ld l i k e t o s i n g .
37
35* P l a y
re c o rd in g s o f p a r t s in g in g .
3 6 . P la y
r e c o r d in g s o f g ro u p s in g in g .
37* H ave th e m
t h e s t u d e n t s s p e a k t h e w o rd s a n d t h e n t r y t o h a v e s i n g th e m w i t h t h e sam e p r o n o u n c i a t i o n .
38* H ave s e v e r a l s t u d e n t s s i n g b e f o r e t h e c l a s s . A sk t h e c l a s s w h ic h s t u d e n t ’ s w o rd s w e re t h e c l e a r e s t . 3 9 . D raw a d ia g r a m on t h e b l a c k b o a r d e x p l a i n i n g t h e p r i n c i p l e s of d ire c tin g . 4 0 . H ave t h e c l a s s s p e a k a p h r a s e a n d t h e n s i n g t h e p h r a s e t o becom e p h r a s e c o n s c i o u s . 4 1 . P l a y t h e m e lo d y o n t h e p i a n o s o t h e s t u d e n t c a n h e a r i t a c c u ra te ly . 4 2 . B low a t o n e o n t h e p i t c h p i p e , w a i t a s e c o n d , t h e n h a v e e v e r y o n e hum i t . G iv e th e m tim e t o t h i n k t h e t o n e b e f o r e hum m ing. 4 3 . L is te n to r a d io a n n o u n c e rs and s o l o s i t s . d ic tio n .
C om pare t h e i r
4 4 . C om pare r e c o r d i n g s o f fam o u s s i n g i n g a r t i s t s . th e ir d ic tio n .
C om pare
4 5 . H ave s e v e r a l m em bers o f t h e c l a s s s i n g s i m p le s o n g s . o t h e r m em bers c h e c k u p o n t h e d i c t i o n .
H ave
4 6 . C h o o se w o rd s a t ran d o m a n d s i n g th e m on v a r i o u s p i t c h e s b e fo re th e c la s s . S e e i f t h e w o rd s may b e u n d e r s t o o d . 4 7 . H ave t h r e e s t u d e n t s come b e f o r e t h e c l a s s an d s i n g t o g e t h e r . T h en h a v e t h e sam e t h r e e s t u d e n t s s i n g o n c e m o r e , e a c h s tu d e n t s in g in g s o f t l y enough to be a b le to h e a r th e o t h e r tw o . N o te r e s u l t . 4 8 . U se m any b l a c k b o a r d i l l u s t r a t i o n s w hen t e a c h i n g n o t a t i o n . 4 9 . P l a y s e v e r a l r e c o r d i n g s w h e re t h e o r c h e s t r a o r v o c a l g r o u p s i n g t h e sam e c h o r u s i n s e v e r a l d i f f e r e n t k e y s . 5 0 . P ro v id e th e c l a s s w ith d a i l y p r a c t i c e in te rv a ls . 5 1 . T r y s e v e r a l m e th o d s o f t e a c h i n g n o t e s . th e b e s t r e s u l t .
i n s i n g i n g s i m p le D e c id e w h ic h g i v e s
38
52* E x p e r im e n t w i t h t h e te m p o o f a s o n g . D o n 't t a k e i t f a s t e r th a n th e s tu d e n ts can s in g p r o p e r ly . 5 3 . B r i n g a m etro n o m e t o c l a s s a n d h a v e t h e s t u d e n t s t r y s i n g i n g w i t h i t a t v a r i o u s te m p o s . 5 4 . H ave t h e c l a s s s t e p o f f t h e r h y th m o f a s o n g . s lo w a n d f a s t s t e p s .
T a k in g
5 5 . H ave t h e s t u d e n t s b e a t t h e rh y th m o f s e l e c t i o n s a s p la y e d on th e p h o n o g ra p h . 5 6 . H ave t h e c l a s s p r a c t i c e t a p p i n g o u t t h e r h y th m w h i l e s a y i n g t h e w o rd s w i t h o u t s i n g i n g . 5 7 . T e a c h t h e c l a s s a fe w s i m p l e d a n c e s t e p s t o a i d r h y th m ic d e v e lo p m e n t.
in
5 8 . U se a p i a n o o r o t h e r i n s t r u m e n t t o c h e c k a c c u r a c y i n s i g h t r e a d in g , e s p e c i a l l y i f you c a n n o t s i g h t r e a d y o u r s e lf. 5 9 . T r y s e v e r a l m e th o d s o f r e a d i n g n o t e s an d d i s c o v e r w h ic h i s th e m ost i n t e r e s t i n g , i s th e e a s i e s t , and g iv e s th e b est re s u lts . 6 0 . H ave t h e m o re t a l e n t e d can le a d th e g ro u p .
s t u d e n t s i t b e tw e e n o t h e r s so h e
6 1 . T r y s e a t i n g b o y s a n d g i r l s s e p a r a t e l y , t h e n s e a t th em to g e th e r. W hich g i v e s t h e b e s t r e s u l t s ? 6 2 . H ave a d e f i n i t e s e a t i n g p l a y f o r p a r t w o rk s o t h a t t h e v o ic e s a re a rra n g e d a c c o rd in g to ra n g e . 6 3 . D is tr ib u te th e books as e q u a lly a s p o s s ib le . le a v e a p o o f s in g e r w ith o u t a book.
Do n o t
6 4 . S i n g some s o n g s s t a n d i n g a s w e l l a s w h i l e b e i n g s e a t e d . ' T h is w i l l a id i n r e l a x a t i o n an d g iv e ad d ed v a r i e t y and in te re s t. 6 5 . E nd t h e s i n g i n g l e s s o n w hen t h e y s t i l l w a n t t o s i n g . Do n o t k e e p th em s i n g i n g I p a s t t h e i r e n e r g y o r i n t e r e s t . 6 6 . A sk a s t u d e n t t o g i v e a d e m o n s t r a t i o n a s t o t h e c o r r e c t p o s i t i o n t o s i t an d h o ld th e m u s ic . 6 7 . S to p and c h e c k p o s t u r e s e v e r a l t i m e s d u r i n g t h e c l a s s h o u r .
39
68* G iv e a d e m o n s t r a t i o n t o t h e c l a s s i l l u s t r a t i n g t h e b e s t p o s i t i o n t o s i t an d s t a n d w h i l e s i n g i n g * 6 9 . I n v i t e a s o l o i s t t o t e l l t h e c l a s s how h e s t a n d s , p l a c e s h i s f e e t , a n d h o l d s h i s m u s ic w hen s i n g i n g i n p u b l i c . 7 0 . C h eck t h e c l a s s t o b e s u r e t h a t e a c h s t u d e n t i s s e a t e d o r s t a n d i n g w h e re h e c a n s e e t h e d i r e c t o r . 7 1 . T e l l t h e l i t t l e c h i l d r e n w h a t t h e s t o r y o f t h e so n g i s a b o u t b e f o r e you s in g i t . 7 2 . H ave l i t t l e
c h i l d r e n s i n g a s t h e y p l a y g a m e s.
7 3 . S in g d i r e c t l y t o th e s m a ll c h i l d s e v e r a l tim e s b e f o r e l e t t i n g ' h im s i n g . 7 4 . I f y o u do n o t h a v e a p i a n o , u s e b e l l s o r som e o t h e r a c c u r a te in s tr u m e n t to te a c h s in g in g t o s m a ll f o l k s . 7 5 . A f t e r t e a c h i n g a new s o n g , p l a y i t
on t h e p h o n o g r a p h .
7 6 . H ave t h e s t u d e n t s s i n g i n s m a l l g r o u p s . I t w i l l be e a sy to p ic k o u t a d e f e c tiv e s in g e r in th e s m a lle r g ro u p . 7 7 . The m o n o - to n e s i n g e r s h o u l d n o t b e f o r c e d t o s i n g . G iv e him odd j o b s d u r i n g t h e s i n g i n g t i m e t o k e e p h i s i n t e r e s t . 7 8 . W ork w i t h t h e d e f e c t i v e o n e e l s e w i l l h e a r h im .
s i n g e r a f t e r c l a s s h o u r s w hen no
79 . P la y s e v e r a l d i f f e r e n t ty p e s o f r e c o r d in g s . N o tic e t h r v a r io u s e f f e c t s , o f a t t i t u d e and r e s u l t e d d i s c i p l i n e . 8 0 . H ave t h e c l a s s s t u d e n t g o v e rn m e n t d e c i d e w h a t t o do w i t h t h o s e who d i s t u r b d u r i n g t h e m u s ic h o u r . 8 1 . A tte n d t h e p u b lic p e rfo rm a n c e s a t o th e r s c h o o ls and n o te how y o u c a n im p ro v e a s a r e s u l t o f t h e i r e x p e r i e n c e . 8 2 . H ave t h e c l a s s o r g a n i z e d s o t h a t e a c h s t u d e n t know s w h a t t o do a n d know s w h ic h s t u d e n t i s t o t a k e c a r e o f a v i s i t o r . 8 3 . H ave s e v e r a l s m a l l c l a s s e s s i n g t o g e t h e r . I f th e p e rfo rm r - e a n c e i s b e t t e r p e rh a p s a c o m b in a tio n i s b e t t e r f o r p u b lic p e rfo rm a n c e . 8 4 . H ave a t a l e n t show d u r i n g a m u s ic p e r i o d . L et th e s tu d e n ts a ll try . T h is w ay y o u w i l l d i s c o v e r t h e b e s t t a l e n t .
40
8 5 . A sk t h e a d m i n i s t r a t o r o f t h e s c h o o l w h a t t h e s c h o o l p o lic y i s re g a r d in g e x tr a r e h e a r s a l s and p u b lic p e r fo rm an c es. 8 6 . H ave a n a f t e r n o o n t e a f o r p a r e n t s . You w i l l d i s c o v e r w h ic h p a r e n t s w o u ld c o o p e r a t e t o a i d y o u o n s p e c i a l o c c a s io n s . BIBLIOGRAPHY A nnet*t, T h o m as, M u sic i n t h e R u r a l S c h o o l s . T he B o s to n M u sic C o ., 1 9 3 8 .
B o s to n :
B a r r o w s , S h a r a h T r a c y , T he V o ic e ; How t o U se I t . E x p re s s io n C o ., 1933.
B o s to n :
B e a t t i e , Jo h n W a l t e r , M u s ic i n t h e J u n i o r H ig h S c h o o l . New Y o rk : S i l v e r B u r d e t t a n d C o ., 1 9 3 8 . B ro w n e , L e n n o x , V o i c e . S o n g , an d S p e e c h . P u tn a m f s S o n s .
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G. P .
C a l i f o r n i a , D e p a r tm e n t o f E d u c a t i o n , M u sic E d u c a t i o n i n t h e E le m e n ta r y S c h o o l . S a c r a m e n to : C a l i f o r n i a S t a t e D e p a r t m ent o f E d u c a tio n , 1 9 3 9 . C h r i s t i a n s o n , H e l e n , B o d i l y R h y th m ic M ovem ents o f Y oung C h i l d r e n i n R e l a t i o n t o R hythm i n M u s ic . New Y o rk : T e a c h e r s C o l l e g e , C o lu m b ia U n i v e r s i t y , 1 9 3 8 . C o le m a n , S a t i s N a r r o n a , Y o u r C h i l d ys M u s ic . The Jo h n Day C o ., 1 9 3 9 .
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G u n d i f f , H annah M a tth e w s , S c h o o l M u sic H a n d b o o k . C . C. B irc h a rd and C o ., 1935.
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D a m ro s c h , W a lte r J o h a n n e s , T he U n i v e r s a l S c h o o l M u sic S e r i e s . T e a c h e r s B ook. New Y o rk T H in d s , H ay d en a n d E l r e d g e , I n c . , 1923. D a v i s o n , A r c h i b a l d T hom pson, M u s ic E d u c a ti o n i n A m e ric a . New Y o rk : H a r p e r a n d B r o t h e r s , 1 9 2 6 . D e n v e r , E le m e n ta r y S c h o o l M u sic C o u r s e . G ra d e s 1 . 2 . 3 . 4 . 5 . and 6 . D e n v e r: D en v er P u b lic S c h o o ls , 1 9 2 6 .
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Be R u s e t t e , L o u ie E . / M u s ic U n d e r E i g h t * L o n d o n : T r e n c h , T r u b n e r , a n d C o . , L t d . , 1935#
K. P a u l ,
B o r r e t t , O l i v e B a r b e e , L a n g u a g e o f M u sic I n t e r p r e t e d fro m t h e C h i l d ’ s V ie w p o i n t / New Y o rk : W o rld Book C o ., 1 9 2 1 . B ykem a, P e t e r W i l l i a m , M u sic f o r P u b l i c S c h o o l A d m i n i s t r a t o r s * New Y o r k : T e a c h e r s C o l l e g e , C o lu m b ia U n i v e r s i t y , 1931* E a r h a r t , W i l l , R e c e n t A d v a n c e s i n I n s t r u c t i o n i n M u s ic . W a s h in g to n , B . C . : W a s h in g to n G o v e rn m e n t P r i n t i n g O f f i c e , 1923. G e h r k e n s , K a r l W ils o n , I n I n t r o d u c t i o n t o S c h o o l M u sic T e a c h i n g . B o s t o n : C. C . B i r c h a r d a n d C o ., 1 9 2 5 . G e h r k e n s , K a r l W il s o n , M u sic i n t h e G ra d e S c h o o l s . G ra d es o n e t o s i x . B o s to n ! C. B i r c h a r d a n d C o ., 1 9 3 4 . G e h r k e n s , K a r l W ils o n , M u sic i n t h e J u n i o r H ig h S c h o o l . B o s t o n : C . C. B i r c h a r d a n d C o ., 1 9 3 6 . G e r n e t , S t e r l i n g K ep p , Mus i c B i s c r i m i n a t i o n a t V a r io u s Age a n d G ra d e L e v e l s . C o l l e g e P l a c e , W a s h in g to n : C o lle g e P re s s , 1939. G i d d i n g s , T h a d d e u s P h i l a n d e r , G ra d e S c h o o l M u sic T e a c h e r . New Y o rk : C . H . C o n g d o n , 1 9 1 9 . G i d d i n g s , T h a d d e u s P h i l a n d e r , S c h o o l M u sic T e a c h i n g . C h ic a g o : C. H . C o n g d o n , 1 9 l 0 . G i d d i n g s , T h a d d e u s P h i l a n d e r , T he T e a c h e r s * B ook. G in n a n d G o ., 1 9 £ 5 .
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G r e e n e , Ja m es S o n n e t t , T he C a u se a n d C u re io f S p e e c h B i s o r d e r s . New Y g r k : The M a c m illa n C o. , 1 9 2 7 . H o w ard , F r a n c e s E d w a rd , T h e _ C h lld s T o le e i n S in g in g Y New Y o r k : N o v e llo a n d C o . , L t d . , 1 9 2 3 . H u b b a rd , G e o rg e E a r l , M u sic T e a c h in g i n t h e E le m e n t a r y G ra d es. New Y o rk : I m e r l e a n Book C o . , 1 9 3 4 . Iow a U n i v e r s i t y , T he M e a s u re m e n t o f M u s i c a l B e v e lo p m e n t. Iow a C i t y : Iow a U n i v e r s i t y , 1 9 3 2 . K w a lw a s s e r , J a c o b , .P ro b le m s i n P u b l i c S c h o o l M u s ic . New Y o r k : M. W itm a rk a n d S o n s , 1 9 3 2 . ~
42
K w a lw a s s e r , J a c o b , T e s t s a n d M e a s u re m e n ts i n M u s ic * B o s to n s C. C. B i r c h a r d a n d C o . , 1 9 2 7 . M a j o r , E l i z a b e t h A l e x a n d e r , W hat S i n g e r s S h o u ld Know* L o s A n g e l e s ; P re e m a n M a tth e w s M u sic d o . , 1 9 3 0 . M ay n e, Thom as R o b e r t , M u sic i n t h e M o dern S c h o o l , P h ila d e lp h ia s D a v id McKay C o * , 1954* M cC aw ley, C l a r a J o s e p h i n e , A P r o f e s s i o n a l i z e d S tu d y o f P u b l i c S c h o o l M u sic* K n o x v i l l e , T e n n . : J . E. A v e n t , 1932* M c C o n a th y , O s b o u r n e , T he M u s ic H o u r; E le m e n t a r y T e a c h e r s B o o k * New Y o rk s S i l v e r B u r d e t t a n d C o ., 1 9 2 9 . M c C o n a th y , O s b o u rn e , T he M u s ic H o u r; I n t e r m e d i a t e T e a c h e r s B o o k * New Y o rk : l i v e r ' B u r d e t t a n d C o ., 1931* M c C o n a th y , O s b o u rn e , T e a c h e r s G u id e f o r t h e F i f t h B o o k * . New Y o rk : S i l v e r B u r d e t t a n d C o . , 1 9 3 1 . M c C o n a th y , O s b o u rn e , M u s ic i n R u r a l E d u c a t i o n . S i l Y e r B u r d e t t a n d C o ., 1 9 3 3 .
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M e l l a l i e u , W il l ia m N o rm an , T he B oys C h a n g in g V o i c e . L o n d o n : O x fo rd U n i v e r s i t y P r e s s , 1 9 3 5 . ” M i d d l e s e x .E d u c a t i o n C o m m itte e , M u sic i n S c h o o l s * O x fo rd U n i v e r s i ty P r e s s , 1 9 3 5 .
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M o s h e r , Raymond M y l a r , /A S tu d y o f t h e G roup M ethod o f M e a s u re m e n t o f S i g h t R i n g i n g . New Y o rk : T e a c h e r s C o l l e g e , C o lu m b ia U n i v e r s i t y , 1 9 2 5 . M u r s e l l , Jam es L o c k h a r t , Human V a lu e s i n M u sic E d u c a t i o n . New Y o rk : S i l v e r B u r d e t t a n d C o . , 1 9 3 4 . M u r s e l l , Jam es L o c k h a r t , T h e P s y c h o lo g y o f S c h o o l M u sic T e a c h i n g . New Y o r k : S i l v e r S u r d e t t an d C o . , 1 9 3 8 . N e ls o n , , N e ls o n * s M u s ic P r a c t i c e g i g h t S i n g i n g f o r I n f a n t s , L o n d o n : Thom as N e ls o n a n d S o n s , 1938♦ N o r t o n , Alma M a r g a r e t , T e a c h i n g S c h o o l M u s ic . C. C . C r a w f o r d , 1 9 3 2 . P e rh a m , B e a t r i c e , M u sic i n t h e New S c h o o l . N. A . E j o s M u s ic C o ., 1 9 3 7 .
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P e r k i n s , C l e l l a L e s t e r , How t o T e a c h M u sic t o C h i l d r e n * C h i c a g o : H a l l a n d M c& reary C o . , 1936* P r i c k e t t , lim a , T e a c h in g M u sic i n t h e E le m e n t a r y S c h o o l * T o w son, M d .: S t a t e T e a c h e r s C o i l e g e , 1 9 3 7 • Q u i g l e y , M a rg e ry C l o s e y , I n d e x t o K i n d e r g a r t e n S o n g s * C h ic a g o : A m e ric a n 1 i b r a r y A s s o c i a t i o n P u b l i c a t i o n B o a rd , 1 9 1 4 . S a e v e i t , J o s h e p h G e r h a r d , R e v i s i o n o f t h e S e a s h o r e M e a s u re s o f M u s ic a l T a l e n t s . Iow a C i t y , I o w a : T he U n i v e r s i t y o f Iow a P r e s s , 1 9 4 0 . S e a s h o r e , C a r l E m i l , O b j e c t i v e A n a l y s i s o f M u s ic a l P e r f o r m a n c e . Iow a C i t y , I o w a : T he U n i v e r s i t y P r e s s , 1 9 3 6 . " S e a s h o r e , C a r l E m i l , T he R o le o f a C o n s u l t i n g S u p e r v i s o r i n M u s ic . 1 8 t h Y e a rb o o k . C h ic a g o : N a t i o n a l S o c i e t y f o r th e S tu d y o f E d u c a tio n , 1 9 1 9 . S m a llm a n , 3 b h n , T he A r t o f A c a p p e l la S i n g i n g . O l i v e r D i t s o n C o ., I n c . , 193& . z S t a n l e y , D o u g l a s , T he S c i e n c e o f V o i c e . -F is c h e r, I n c . , 1939.
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New Y o rk :
C a rl
/
S t a n l e y , D o u g l a s , T he V o i c e . I t s P r o d u c t i o n a n d R e p r o d u c t i o n . New Y o r k : P itm a n P u b l i s h i n g C o r p o r a t i o n , 1 9 3 3 . S t i n s o n , E t h e l y n L e n o r e , How t o T e a c h C h i l d r e n M u s ic . New Y o rk : H a r p e r an d B r o t h e r s , 1 9 4 1 . S t o n e , K a th r y n E m i l i e , T he T e a c h e r s M a n u e l f o r E le m e n ta r y S c h o o ls . L os A n g e l e s : n . p . , 1 § 1 4 . T a p p e r , T h o m a s, T he M u sic S u p e r v i s o r . ^ C o. ,r ♦ , I n c . , 1 9 1 6 .
B o s to n :
T h o r n , A l i c e G r e e n , M u sic f o r Y oung C h i l d r e n . S c r i b n e r " I s . ; ?s S o n s , 1 9 2 9 . r
O liv e r
D its o n
New Y o rk : C h a r l e s
U . S . B u re a u o f E d u c a t i o n , T he S tu d y o f M u s ic i n P u b l i c S c h o o l s . W a s h in g to n : W a s h in g to n G o v e rn m e n t P r i n t i n g O ffic e , 1886. W a te rm a n , E l i z a b e t h , T he R hythm B o o k . B a rn es and C o ., 1 9 3 6 .
New Y o r k :
A. S .
44
W ebb, L o u ie W i n f i e l d , T e s t i n g i n t h e E le m e n ta r y S c h o o l . New Y o rk s F a r r a r a n d R i n e h a r t , I n c . , 1 9 3 9 . W edge, G e o rg e A n s o n , B a r T r a i n i n g a n d S i g h t S i n g i n g A p p l i e d t o E le m e n t a r y M u s ic a l T h e o r y ! New Y o rk : g 7 S e h i r m e r , I n c . , 1921* W edge, fie o r g e A n s o n , R hythm i n M u s ic . S e h i r m e r , I n c . , 1927*
New Y o r k :
G.
W h e e lw r ig h t, L o r i n F a r r a r , An E x p e r i m e n t a l S tu d y o f t h e P e rc e p tib ility a n d S p a c in g . o f M u sic S y m b o ls" New Y o rk : T e a c h e r s C o l l e g e , C o lu m b ia U n i v e r s i t y , 1 9 3 9 . W ilc o x , Jo h n C . , T he L i v i n g V o i c e . I n c ., 1935. W ood, T h o m as, M u sic an d B o y h o o d . P re s s , 1925.
New Y o r k : London:
C a rl F is c h e r,
O x fo rd U n i v e r s i t y
W r i g h t , F r a n c e s , E le m e n t a r y M u sic E d u c a t i o n . T h e o ry a n d P r a c t i c e . L os A n g e l e s : L y m a n h o u se , 1939* Y o u n g , T . , T he A. B . C . o f M u s ic . U n iv e rs ity P r e s s , 1930.
London:
The O x fo rd
PERIODICAL AND ENCYCLOPEDIC REFERENCES G r o v e , S i r G e o r g e , G r o v e ys D i c t i o n a r y o f M u s ic a n d M u s i c i a n s . New Y0r k : The M a c m illa n C o ., 1 9 4 0 . ~ I n t e r n a t i o n a l L i b r a r y o f M u s ic , The V o c a l S e r i e s . Wew Y o rk : U n i v e r s i t y S o c i e t y , I n c . , 1 9 3 4 . ’ M o d ern M u s ic .
New Y o r k :
M u s i c a l A m e ric a . M u s ic a l D i g e s t , TncTI
L e a g u e aT C o m p o s e rs , I n c . ,
New Y o r k :
Jo h n F . M a j e s k i , p u b l i s h e r .
l a s t S tro u d s b u rg , P en n a:
M u s ic a l Q u a r t e r l y . T h e . S c h o o l M u s ic ia n . T he.
New Y o rk : C h ic a g o :
M u s ic a l D i g e s t ,
G. S e h i r m e r , I n c .
R o b e rt L . S h e p h e rd , p u b l is h e r .
CHAPTER
IV
TEACHING THE TECHNIQUE OF LISTENING Do y o u t r y r a d io p ro g ra m s?
t o g u id e s t u d e n t s i n t h e i r s e l e c t i o n o f H ave y o u s u g g e s t e d c o n c e r t s o r p ro g ra m s
w h ic h t h e y m ay a t t e n d ? i z e a m u s ic f i e l d
H ave y o u m ade a n y a t t e m p t t o o r g a n
trip ?
T he a v e r a g e s t u d e n t l i s t e n s t o t h e
r a d io s e v e r a l h o u rs a d ay . w h ic h t o
Many h a v e
home e q u ip m e n t on
p l a y p h o n o g ra p h r e c o r d s , y e t t h e y dp n o t know
how t o s e l e c t r a d i o p r o g r a m s o r g o o d r e c o r d i n g s .
The c l a s s
room l i s t e n i n g h o u r may b e v e r y d u l l a n d u n a t t r a c t i v e o r i t m ay b e e n t e r t a i n i n g
and i n s t r u c t i v e .
in g h o u r
do y o u h a v e ?
i t i e s to
m eet y o u r c la s s s i t u a t i o n
W h ich t y p e o f l i s t e n
T r y t o w o rk o u t t h e f o l l o w i n g a c t i v so t h a t y o u t o o may
have an i n t e r e s t i n g and i n s t r u c t i v e c l a s s . PROBLEMS 1 . How ~to d i r e c t t h e s t u d e n t s l i s t e n i n g . a . How m uch s h o u l d y o u t r y t o d i r e c t t h e s t u d e n t s lis te n in g ? b . How i m p o r t a n t i s t h e t e a c h e r s own p e r s o n a l i t y p r e s e n t i n g t h e m u s ic a p p r e c i a t i o n l e s s o n ?
in
c . S h o u ld y o u t r y t o b u i l d up a c e r t a i n a t t i t u d e th e c l a s s b e fo re p la y in g a re c o rd ?
in
d . D o es i t m ake a n y d i f f e r e n c e w h ic h t y p e o f r e c o r d i s p la y e d f i r s t ?
46
e . How c a n y o u a i d t h e s t u d e n t i n d e v e l o p i n g a n " e a r f o r m u s ic " ? f « How c a n y o u k e l p d e v e lo p a l o v e f o r g o o d m u s ic w i t h i n th e s tu d e n t? g# How" m ay y o u a i d t h e s t u d e n t i n d e v e l o p i n g m u s ic m em ory, w ith o u t t e s t s ? h* How c a n y o u t e a c h t h e s t u d e n t s t o r e c o g n i z e who i s s in g in g on th e re c o rd ? i.
How c a n y o u t e a c h t h e s t u d e n t s t o r e c o g n i z e t h e v a r io u s in s tru m e n ts p la y in g on th e r e c o r d ?
j* S h o u ld y o u p l a y r e c o r d s o f t h e b e s t m u s ic o v e r a n d over u n t i l c h ild re n le a rn to lik e i t ? k* S h o u ld m u s ic h o s t o r y h a v e a p l a c e i n t h e m u s ic a p p re c ia tio n c la s s ? 1 . W hich i s t h e b e s t m e th o d t o u s e i n p r e s e n t i n g m u s ic h i s t o r y so y ou c a n k e e p t h e i n t e r e s t ' o f th e c l a s s ? m. How c a n y o u b e s u r e o f k e e p i n g t h e c l a s s a t t e n t i o n d u rin g th e p la y in g o f r e c o r d s ? n . How c a n y o u t e a c h " l i t t l e d u r i n g t h e m u s ic p e r i o d ?
f o l k " t o b e good l i s t e n e r s
o* S h o u ld y o u h a v e t h e c h i l d r e n p u t t h e i r h e a d s down o n t h e i r d e s k s w hen l i s t e n i n g t o m u s ic ? p . S h o u ld y o u h a v e t h e s t u d e n t s w h i s t l e o r s i n g w i t h t h e m u s ic b e i n g p l a y e d on t h e p h o n o g ra p h ? q* How s h o u ld t h e c l a s s b e s e a t e d f o r m u s ic a p p r e c i a t i o n ? r* W hich h o u r o f t h e s c h o o l d a y i s b e s t f o r p r e s e n t i n g t h e m u s ic a p p r e c i a t i o n l e s s o n ? s* How m uch s h o u l d y o u l e t s t u d e n t s p l a y r e c o r d s d u r i n g th e lu n c h h o u r o r a t r e c e s s ? Z• How t o t e a c h s t u d d n t s t o s e l e c t a n d l i s t e n p ro g ra m s*
to r a d io
a . How s h o u l d y o u go a b o u t s e l e c t i n g r a d i o p r o g r a m s f o r t h e m u s ic a p p r e c i a t i o n c l a s s ?
47
b . W here c a n y o u s e c u r e m a t e r i a l c o n c e r n i n g r a d i o b ro a d c a s ts ? c* How c a n y o u d e t e r m i n e w h ic h r a d i o p ro g r a m s y o u s h o u l d u s e i n t h e c la s s r o o m ? d . To w h a t e x t e n t s h o u l d y o u l e t t h e s t u d e n t s p i c k t h e r a d i o p ro g ra m s? e . S h o u ld y o u t r y t o g u id e t h e s t u d e n t s l i s t e n i n g w hen u s in g th e r a d io ? f . How c a n y o u s e c u r e go o d c l a s s a t t e n t i o n d u r i n g a r a d i o p ro g r a m ? g . How l o n g s h o u l d y o u e x p e c t a c l a s s t o l i s t e n t o t h e r a d io a t t e n t i v e l y a t one s i t t i n g ? h . How o f t e n s h o u l d t h e r a d i o , b e u s e d f o r c l a s s l i s t e n i n g ? 3* How t o t e a c h t h e s t u d e n t s t o s e l e c t a n d l i s t e n t o c o n c e r t s # a* W here c a n y o u g e t m a t e r i a l w h ic h w i l l t e l l o f co m in g c o n c e r ts and p ro g ra m s? b# How do y o u g e t on t h e m a i l i n g l i s t o f c o n c e r t o r p r o g ram h a l l s ? c« S h o u ld y o u s e l e c t p ro g ra m s w h ic h y o u l i k e o r p ro g ra m s w h ic h y o u r f r i e n d s o r r e l a t i v e s l i k e ? d . S h o u ld y o u o n l y a t t e n d t h o s e c o n c e r t s o r p r o g r a m s w h ic h h a p p e n t o m e e t y o u r f a n c y ? e . S h o u ld a s t u d e n t b e r e q u i r e d t o l i s t e n he d o e sn ’t lik e ?
t o a p ro g ra m
f * How c a n y o u a i d t h e n o n - m u s i c a l s t u d e n t t o d e v e lo p a s e n s e o f r e s p o n s i b i l i t y t o o t h e r m em bers o f t h e f a m i l y o r f r i e n d s so he w i l l a tte n d c o n c e r ts ev en i f he d o e s n ’ t l i k e th e m ? g* How c a n y o u t e a c h s t u d e n t s t o b e a g o o d a u d ie n c e ? V
h# S h o u ld y o u p r e p a r e t h e s t u d e n t s , i n t h e t e c h n i q u e o f l i s t e n i n g to a c o n c e r t, b e fo re a tte n d in g th e c o n c e rt? i* S h o u ld y o u i n s t r u c t t h e s t u d e n t s i n t h e b e s t way t o c o m p lim e n t p e r f o r m e r s a f t e r a c o n c e r t ?
48
j.
How c a n y o u a i d t h e s t u d e n t i n d i s t i n g u i s h i n g b e tw e e n th e v a rio u s in s tru m e n ts o f th e o r c h e s tr a ?
k . S h o u ld l o c a l c o n c e r t s a n d p ro g r a m s b e c r i t i c i z e d in c la s s ? 1#
W h ich t y p e o f c r i t i c i s m a n d conmLent s h o u l d b e u s e d i n d i s c u s s i n g e c o n c e r t o r p ro g ra m ?
4* How t o c o m b in e s t u d e n t a c t i v i t y w i t h l i s t e n i n g a* How c a n y o u m ake m u s ic a p p r e c i a t i o n m o re i n t e r e s t i n g fo r your p a r tic u la r c la s s ? b . How c a n y o u a r r a n g e f o r s t u d e n t a c t i v i t y a p p re c ia tio n c la s s ?
i n a m u s ic
c . How c a n y o u g e t a s t u d e n t t o t e l l w h a t h e h e a r s i n m u s ic ? d* S h o u ld y o u t r y t o h a v e t h e s t u d e n t s e x p r e s s t h e m s e l v e s i n w r i t i n g w h a t t h e y h a v e h e a r d i n t h e m u s ic h o u r ? e* S h o u ld y o u t r y t o t i e u p t h e m u s ic c l a s s w i t h t h e o th e r s u b j e c t s o r u n i t s b e in g s tu d ie d ? f . How c a n y o u b e s t u s e t h e m u s ic h o u r t o h e l p s t i m u l a t e i n t e r e s t i n o t h e r c l a s s w o rk o r u n i t s ? g« S h o u ld y o u m ake u s e o f d a n c e s a l o n g w i t h t h e m u s ic a p p re c ia tio n c la s s ? 5* How t o s e l e c t a n d u s e i l l u s t r a t i v e m a t e r i a l s » a.
W here c a n y o u s e n d t o s e c u r e f r e e i l l u s t r a t i v e m a t e r i a l f o r m u s ic ?
b* How c a n y o u g e t o n t h e m a i l i n g l i s t
o f p u b lis h in g h o u ses?
c* How s h o u l d y o u go a b o u t s e l e c t i n g p i c t u r e s a n d d ia g r a m s t o a i d i n t h e t e a c h i n g o f m u s ic ? d* How c a n y o u u s e r e a d e r s g u i d e a s a n a i d f o r m u s ic m a te ria ls ? e* I n w h a t w ay m ay y o u b e s t u s e p i c t u r e s an d i l l u s t r a t i o n s i n t e a c h i n g m u s ic ?
49
f* S h o u l d y o u h a v e t h e s t u d e n t s m ake p i c t u r e s o f w h a t t h e y h a v e h e a r d on t h e r e c o r d i n g ? g* Can b l a c k b o a r d i l l u s t r a t i o n s a n d d i a g r a m s b e o f u s e i n t e a c h i n g m u sic a p p r e c i a t i o n ? h* S h o u 3 d y o u d r a m a t i z e w h a t i s h e a r d o n t h e r e c o r d i n g s ? 6* Hoy/ t o a r r a n g e d e m o n s t r a t i o n s a n d f i e l d t r i p s # a . S h o u ld you g i v e a p e r s o n a l d e m o n s tr a tio n o f i n s tr u m e n ts in c la s s ? b . S h o u ld you a tte m p t t o b r i n g in o u t s i d e t a l e n t f o r p e rfo rm a n c e f o r t h e m u sic c l a s s ? c . How c a n y o u u s e t h e s c h o o l s i n g i n g g r o u p s t o a i d i n t e a c h i n g m u sic 'a p p r e c i a t i o n ? d . How c a n y o u u s e t h e s c h o o l , o r c h e s t r a t o a i d t h e t e a c h in g o f m u sic a p p r e c i a t i o n ? e . W here c a n y o u s e c u r e o u t s i d e t a l e n t f o r i n s t r u m e n t a l d em ons t r a t i o n s ? f . How s h o u l d y o u go a b o u t p l a n n i n g a f i e l d t r i p w h i c h w i l l a id in th e s tu d y o f m u sic? g . W hat n e c e s s a r y a r r a n g e m e n t s m u s t b e made w i t h t h e p a r e n t s and s c h o o l a u t h o r i t i e s b e f o r e you c a n co n d u ct a fie ld trip ? h . How d o y o u m ake a r r a n g e m e n t s t o v i s i t a r a d i o s t a t i o n ? i . How c a n y o u m ake a r r a n g e m e n t s w i t h a r t i s t s to v i s i t t h e i r p ro g ram s o r r e h e a r s a l s ?
or o rc h e stra s
? . How t o g r a d e a n d e v a l u a t e l i s t e n i n g * a . How s h o u l d w o rk b e g r a d e d i n m u s i c a p p r e c i a t i o n ? b . S h o u ld t h e l e s s t a l e n t e d s t u d e n t a lw a y s g e t th e lo w e r g ra d e in m u sic? c . S h o u l d t h e s t u d e n t b e g r a d e d o n t h e i n t e r e s t show n i n c l a s s r a t h e r th a n h i s " e a r f o r m u sic ”?
50
d . How c a n y o u b e s t d i s t i n g u i s h b e t w e e n i n t e r e s t i n t h e m u sic c l a s s and " a p p le p o l i s h i n g " ? e . S h o u ld a s t u d e n t a lw a y s be t o l d h i s r e s u l t s m u sic l i s t e n i n g t e s t ? f.
in th e
S h o u l d t h e sam e t y p e o f t e s t b e u s e d i n a l l m u s i c a p p re c ia tio n c la ss e s?
g . S h o u l d y o u c o n d u c t m u s i c memory c o n t e s t s b e t w e e n th e v a rio u s c l a s s e s o f th e sc h o o l? h . W hat i m p o r t a n t f a c t o r s s h o u l d b e c o n s i d e r e d b e f o r e d e c i d i n g w h e t h e r o r n o t t o h a v e a m u s i c m em ory c o n t e s t ? i.
How c a n y o u c o n d u c t a s u c c e s s f u l m u s i c m em ory c o n t e s t b e tw e e n t h e v a r i o u s c l a s s e s o f t h e s c h o o l?
j . W hich t y p e o f t e s t w i l l b e s t t e s t t h e r e s u l t s o f t h e m u sic a p p r e c i a t i o n c l a s s ? ACTIVITIES 1* P l a y a r e c o r d w i t h o u t comment a n d s e e i f y o u c a n g e t a s g o o d a r e s u l t a s w hen y o u t r y t o d i r e c t t h e l i s t e n i n g . 2 . H ave s e v e r a l s t u d e n t s p r e s e n t a r e c o r d t o t h e c l a s s a n d n o t e t h e v a r i o u s r e s u l t s w h i c h may b e a t t r i b u t e d t o t h e p e rs o n a lity o f th e p erso n p re s e n tin g th e le sso n . 3 . T ry p la y in g v a r io u s ty p e s o f r e c o r d s f o r th e c l a s s . D e te rm in e w h e th e r c l a s s i n t e r e s t i s ch an g ed a c c o r d in g t o th e f i r s t r e c o r d you p l a y . 4 . Q u e stio n th e c l a s s as to t h e i r i n t e r e s t in m u sic . T ry t o p l a y m u s ic t h e y a r e i n t e r e s t e d i n and t h e n l e a d i n t o o th e r ty p e s o f r e c o r d s . 5 . At th e c o n c lu s io n o f th e f i r s t p la y in g o f a r e c o r d , c a l l t h e c l a s s ’ s a t t e n t i o n t o t h e v a r i o u s t h e m e s o f t h e c o m p o s i? t i o n . A sk th e m t o p i c k " o u t :t h e v a r i o u s t h e m e s a s y o u p l a y i t a second tim e . 6 . A sk s t u d e n t s o f t h e s c h o o l o r o u t s i d e f r i e n d s t o come t o c l a s s and d e m o n s tra te th e v a r io u s in s tr u m e n ts o f th e band and o r c h e s t r a .
51
7. Secure la rg e p ictu res o f the variou s instruments o f the orch estra and band for d isp la y in the classroom* 8 . Ask stu d en ts or fr ie n d s who s in g , to come to c la s s and demonstrate the d iffe r e n c e between a soprano, a lt o , ten o r, or bass* 9# L i t t l e ch ild ren w i l l enjoy sin g in g or w h istlin g w ith the record a fte r they have heard i t a number o f times* 10* The average music h isto r y c la s s w il l enjoy th e work more i f some members o f the c la s s can sin g or play some o f the sim ple compositions* 11* Try l e t t in g only those in te r e ste d in good record s, play th e music during the lunch hour* IB. Write to sev e ra l broadcasting s t a t io n s , who are members o f a chain o f s t a t io n s , asking for inform ation on re g u la rly scheduled programs which are good fo r school liste n in g * 13* Write to se v e r a l o f th e leading music companies asking for inform ation concerning reg u la rly scheduled radio programs which are d esira b le fo r stu d en ts. 14. Check w ith your county or c i t y school superintendent concerning a v a ila b le inform ation about radio programs* 1 5 . Eefer to lib r a r y books o f psychology and o f radio broad-* c a s tin g , for guidance in choosing the correct type o f program' fo r your cla ss* 16* Try to secure enough m aterial concerning a radio program ahead o f time so you can prepare the students for an in* t e l l i g e n t lis t e n in g hour, 17* Try using the radio as o fte n as p o ssib le as a teaching a id . However, i f i t becomes boring to the stu d en ts, d iscon tin u e some o f the 'programs u n t il they r e a lly want them. 18* Write to lea d in g concert h a lls or the chamber o f commerce fo r inform ation concerning coming co n certs. 19* Have th e student© watch fo r advertisem ents concerning coming concerts and report to the c la ss* BO. Take a survey o f the c la s s as to the typ es o f programs they enjoy most* Compare th ese w ith in te r e s t o f th e ir frien d s and r e la t iv e s .
5a
2 1 . H ave t h e c l a s s p l a n t o g o t o a c o n c e r t t o g e t h e r . A l i t t l e s o c i a l g a t h e r i n g f o l l o w i n g t h e c o n c e r t m ay a d d i n t e r e s t to th e o c c a sio n . 2 2 . H ave t h e c l a s s d i s c u s s how t h e y s h o u l d c o n d u c t t h e m s e l v e s a t a p rogram o r c o n c e r t . 2 5 . B e f o r e h a v i n g t h e c l a s s a t t e n d a c o n c e r t , c a r r y on a c la s s d is c u s s io n as to w hat th e y a re to l i s t e n f o r , i f t h e y a r e t o g e t t h e m o s t e n jo y m e n t f r o m t h e c o n c e r t . 2 4 . I n t e l l i g e n t l y and c a r e f u l l y c r i t i c i z e th e p rogram o r c o n ce rt in c la s s . 25. P la y a re c o r d w ith o u t g iv in g i t s t i t l e and th e n a sk s t u d e n t s t o t e l l w h a t t h e y t h i n k t h e com poser was t r y i n g to t e l l or d e s c rib e . 2 6 . P ic k o u t r e c o r d s and m u sic r e l a t e d t o t h e c o u n t r y o r s u b je c t b e in g s tu d ie d in s o c i a l s t u d i e s . T h is w i l l s t i m u l a t e i n t e r e s t i n b o t h t h e m u s ic a n d s o c i a l s t u d i e s . 2 7 . S t u d e n t a c t i v i t y i n t h e f o r m o f gam es a n d d a n c e s g i v e s a n a t u r a l s e l f e x p r e s s i o n w h ic h s t i m u l a t e s i n t e r e s t . 2 8 . W r i t e t o v a r i o u s m u s i c c o m p a n ie s a n d i n s t r u m e n t h o u s e s fo r illu s tr a tiv e m a te ria ls . 2 9 . H ave s t u d e n t s w a t c h t h e new s p a p e r s a n d m a g a z i n e s f o r illu s tr a tiv e m a te ria ls. 3 0 . H ave t h e s t u d e n t s u s e t h e r e a d e r s g u i d e a n d a l l a v a i l a b l e l i b r a r y books f o r re f e r e n c e m a t e r i a ls . 3 1 . H ave t h e y o u n g e r c h i l d r e n d r a m a t i z e t h e s t o r i e s h e a r d on th e r e c o r d i n g s . 32. I f you p la y in s tru m e n ts y o u r s e l f , g iv e a p e rs o n a l d e m o n s tra tio n . 3 3 . I n v i t e t h e v a r i o u s s c h o o l m u sic o r g a n i z a t i o n s t o g iv e p ro g ram s and d e m o n s tr a ti o n s f o r t h e c l a s s . 3 4 . C h e ck w i t h y o u r s c h o o l a d m i n i s t r a t i o n a s t o t h e n e c e s s a r y s t e p s w h ic h m u st b e t a k e n in p l a n n i n g a f i e l d t r i p . 35. W rite to s e v e r a l r a d io s t a t i o n s a sk in g f o r in fo rm a tio n c o n c e rn in g a c la s s to u r .
53
36* W rit© t o c o n c e r t h a l l s o r t h e a t e r t i c k e t a g e n t s f o r i n f o r m a ti o n c o n c e r n in g s t u d e n t r a t e s and a d m is s io n . 3 7 . C o n d u c t a m u s i c memory c o n t e s t w i t h i n a c l a s s o r b e t w e e n c la ss e s. D e te rm in e w h e th e r i t r e a l l y s t i m u l a t e s i n t e r e s t in m u sic. BIBLIOGRAPHY Annette T h o m a s, M u s ic i n t h e R u r a l S c h o o l s . B o s t o n M u s ic C o . , 1 9 3 8 .
B o sto n :
B a u er, M a rio n , M u s ic a l Q u e s tio n s and Q u iz z e s . G. P . P u tn a m s S o n s , 1 9 4 1 .
The
New Y0r k :
B au erj M a rio n , T w e n tie th C e n tu ry M u sic . P u t n a m s 1 S o n s , 19& 4.
New Y o r k :
B e r g , D a v i d E r i c , The A r t o f L i s t e n i n g . C a x to n P r i n t e r s , L t d . , 1 9 2 7 .
C a ld w e ll, Id a h o :
B u r c h , G l a d y s , T he M u sic Q ,ulz. S o n s, 1938.
New Y o r k :
G. p .
S ta c k p o le and
C a l i f o r n i a D e p a r t m e n t o f E d u c a t i o n , M u s ic E d u c a t i o n i n t h e E le m e n ta ry S c h o o l. S a c ra m en to : C a l i f o r n i a S t a t e D e p artm en t o f E d u c a tio n , 1939. C a tt y , N ancy, T r a in in g in A p p r e c ia tio n , A r t . L i t e r a t u r e . M u s i c . L o n d o n : S i d g w i e k a n d J a c k s o n , JL921. ~ D a m ro s e h , W a l t e r J o h a n n e s , I n s t r u c t o r s M a n u al f o r M u s ic Ap p r e c i a t i o n H o u r . New Y o r k : N a t i o n a l B r o a d c a s t i n g Co. , I n c . B a r r o w , B e n ja m i n H a r r i s o n , R a d i o . The A s s i s t a n t T e a c h e r . C o lu m b u s , O h i o : R . G. Adams a h d Co. , 1 9 3 2 . l a g l e r , G r a n v i l l e , M u s ic i n t h e I n t e g r a t e d P r o g r a m . C a r r o l l t o n , O h io ! C a r r o ll J o u rn a l, 1939. E i s e n b e r g , A z r i e l L . , C h i l d r e n a n d R a d io P r o g r a m s . C o lu m b ia U n i v e r s i t y P r e s s , 1 9 3 6 . E ls o n , A r t h u r , O r c h e s t r a l I n s t r u m e n t s and T h e ir U s e . B o s t o n : L . C. P a g e a n d C o . , 1 9 2 7 .
New Y o r k ;
54
E r b , J o h n L a w r e n c e , M u s ic A p p r e c i a t i o n f o r t h e S t u d e n t , New Y o r k : G. S e h i r m e r , I n c . , 1926* E r s k i n e , J o h n , A M u s i c a l C o m p a n io n . I n c . , 1935.
New Y o r k :
F a u l k n e r , Anne Shaw , W hat We H e a r i n M u s i c . Jersey ; R. 0 . A. V i c t o r C o . , 1 9 3 1 . F i e l d e r , T hom as, M a rk s a n d R e m a r k s . U n i v e r s i t y P r e s s , 1937*
Cam den, New
London:
F in n e y , T h eo d o re M i t c h e l l , H e a r in g M u sic . H a r c o u r t , B race and C o ., I n c . , 1941.
A. A. K nopf
O xford
New Y o r k :
F r y b e r g e r , A g n e s , L i s t e n i n g L e s s o n s i n M u s ic , G r a d e d f o r S c h o o ls . B o sto n : S i l v e r B u r d e t t an d C o . , 1 9 2 5 . G i d d i n g s , T h a d d e u s P h i l a n d e r , M u sic A p p r e c i a t i o n i n t h e S c h o o l Room. B o s t o n : G in n a n d d o . , 1 9 2 6 . G l e n n , M a b e l l e , M u s ic A p p r e c i a t i o n f o r t h e J u n i o r H i g h S c h o o l . New Y o r k : S i l v e r B u r d e t t a n d C o . , 1 9367 G r a n t , M a r g a r e t , A m e r i c a * s Symphony O r c h e s t r a s a n d How T h ey a r e S u p p o r t e d T Few Y o r k : W. W. N o r t o n a n d C o . , I n c . , 1940. H a r r i s o n , M a r g a r e t , R a d io i n t h e C l a s s r o o m . F re n tie e - H a ll, I n c ., 1937.
New Y o r k :
H a r t s h o r n , W i l l i a m C.* The M e n t o r . 1940.
G in n a n d C o . ,
B o sto n :
H a r t s h o r n , W i l l i a m C . , New H o r i z o n s . 1940. H a r t s h o r n , T / i l l i a m C . . The P i l o t . 1940.
B o sto n :
B o sto n :
G in n a n d C o . ,
G in n a n d C o . ,
H ay es, G e ra ld R a v e n s c o u r t, M u s ic a l I n s tr u m e n ts and T h e ir M u s ic . L o ndon: O x fo rd U n i v e r s i t y P r e s s , 192 8 . H o w a rd , J o h n T a s k e r , Our A m e r ic a n M u s i c , Y. C r o w e l l C o . , 1 9 3 6 .
New Y o r k :
Thomas
55
J o h n s t o n e , A r t h u r E d w a r d , I n s t r u m e n t s o f t h e M odern Symphony O r c h e s t r a a n d B a n d # New Y o r k : C arl F is c h e r , I n c . , 1928# K a u fm a n , S c h i m a , E v e r y b o d y 1s' M u s i c . C ro w e ll Co. , 1 ^ 3 8 .
New Y o r k ;
Thomas Y .
K oon, C l i n e M o r g a n , The A r t o f T e a c h i n g b y R a d i o . U. S . G o v e rn m e n t P r i n t i n g O f f i c e , 1 9 3 3 .
W ash in g to n ;
L a i n e , E l i z a b e t h , M o t i o n P i c t u r e s a n d R a d i o . New Y o r k ; The R e g e n t s ' I n q u i r y . M c G r a w - H ill Book C o . , I n c . , 1 9 3 8 . M c C o n a th y , O s b o u r n s , M u s ic I d u c a t i o n . G o v e rn m e n t P r i n t i n g O f f i c e , 1 9 3 1 .
W ash in g to n ;
M c C o n a th y , O s b o u r n e , M u s ic i n R u r a l E d u c a t i o n . S i l v e r B u r d e t t and C o ., 1 9 3 3 .
IT. S .
New Y o r k :
M o h l e r , L o u i s , T e a c h i n g M u s ic f r o m a n A p p r e c i a t i v e B a s i s . B o s t o n : C. C. B i r c h a r d a n d C o . , 1927* M o l l o y , M a u r i c e S . , My M u s i c a l R a t i n g * D ig e s t C o ., I n c . , 1927.
New Y o r k :
N a tio n a l
New m arch, R o sa H a r r i e t , T he C o n c e r t G o e r ys L i b r a r y o f D e s c r ip tiv e N o te s. L ondon: O xford O h i v e r s i t y P r e s s . 1936. 0 * C o n n e l l , C h a r l e s , The V i c t o r Book o f t h e Sym phony. New Y o r k : S im on a n d S c h u s t e r , I n c . , 1 9 4 1 . P a t t e r s o n , A n n ie W i l s o n , How t o L i s t e n t o a n O r c h e s t r a . London: H u tc h in so n and C o ., ’1928. P e y s e r , E t h e l R o s e , How t o E n j o y M u s i c . P u t n a m 's S o n s , 1 9 3 3 .
New Y o r k :
G. P .
P i t t s , L i l l e B e l l a , M u s ic I n t e g r a t i o n i n t h e J u n i o r H i g h S c h o o l. B o s t o n : C. C. B i r c h a r d a n d C o . , 1 9 3 5 . P r i c k e t t , E lm a , T e a c h i n g M u s ic i n t h e E l e m e n t a r y S c h o o l . T o w so n , M d .: S t a t e T e a c h e r s C o l l e g e , 1 9 3 7 . S a e t v e i t , Jo sep h G e rh a rd , R e v is io n o f t h e S e a sh o re M easures o f M u sic a l T a l e n t s . Iow a 6 i t y , I o w a : The U n i v e r s i t y o f Iow a P r e s s , 1 9 4 0 .
56
S c h o l e s , P e r c y A l f r e d , The O x f o r d C om panion t o M u s i c . L o n d o n : O x f o r d U n i v e r s i t y P r e s s , 193&. S c h o l e s , P e r c y A l f r e d , The S c h o l e s M u s ic H a n d b o o k , New Y o r k : M. W itm a rk a n d S o n s , 1 9 3 5 , S e a s h o re , C a rl B a i l , O b je c tiv e A n a ly s is o f M u sic a l P e rfo rm a n c e # Iowa C i t y , I o w a : T he U n i v e r s i t y o f Iow a P r e s s , 1936* S m ith , H a ro ld D a v is , I n s tr u m e n ts o f t h e O r c h e s tr a by S i g h t , S o u n d . and S t o r y . C am den, New J e r s e y : E d u c a tio n a l D e p a r t m e n t , R .C .A . V i c t o r D i v i s i o n , R .C .A . M a n u f a c t u r i n g C o ., I n c . , 1936. S te w a rt, I r v i n , L ocal B ro a d c a sts to S c h o o ls. The U n i v e r s i t y o f C h i c a g o P r e s s , 1 9 3 9 .
C h ica g o :
S t o n e , K a t h r y n E m i l i e ', T he T e a c h e r s M a n u a l f o r E l e m e n t a r y S c h o o l s . L os A n g e l e s : n . p . , 1 9 1 4 . T a y l o r , D eem s, The W e l l T em p ere d L i s t e n e r . Sim on a n d S c h u s t e r , I n c . , 1 9 4 0 .
New Y o r k :
V i c t o r T a l k i n g M a c h in e C o . , M u s ic A p p r e i c a t i o n w i t h t h e V ic tro la fo r C h ild re n . Camden, New J e r s e y : E d u c a t i o n a l D e p a r t m e n t , V i c t o r T a l k i n g M a c h in e C o . , 1 9 S 3 . Webb, L o u i e W i n f i e l d , T e s t i n g i n t h e E l e m e n t a r y S c h o o l . New Y o r k : F a r r a r a n d R i n e h a r t , I n c . , 1 9 3 9 . W h i t e h o u s e , J o h n H o w ard , B r o a d c a s t i n g a n d E d u c a t i o n . London: 1936. W i e r , A l b e r t E r n e s t , W hat Do You Know A b o u t '/M u s ic ? New Y o r k : B* A p p l e t o n - C e n t u r y Co. , 1 9 3 0 • W r i g h t , F r a n c e s , E l e m e n t a r y M u s ic E d u c a t i o n T h e o r y a n d P r a c t i c e . L os A n g e l e s : L y m a n h o u se , 1 9 3 9 . PERIODICAL AND ENCYCLOPEDIC REFERENCES D e B e k k e r , L e a n d e r , The E n c y c l o p e d i a o f M u s ic a n d M u s i c i a n s . New Y o r k : Crown P u b l i s h e r s , 1 9 3 7 . E t u d e M u s ic M a g a z i n e . T h e .
P h ila d e lp h ia :
T h e o d o r e P r e s s e r C o.
57
G ram aph one Shop E n c y c l o p e d i a o f R e c o r d e d M u s i e , T h e * New Y o r k : G ram ap ho ne S h o p , I n c . , 1936* G r o v e , S i r G e o r g e , G r o v e ys D i c t i o n a r y o f M u s ic a n d M u s i c i a n s . New Y o r k : The M a c m i l l a n C o . , 1 9 4 0 • I n t e r n a t i o n a l L i b r a r y o f M u s i c , The# v o c a l S e r i e s * New Y o r k : U n i v e r s i t y , I n c . , 1 9 3 4 . I n t e r n a t i o n a l L i b r a r y o f M u s ic . T h e . P ia n o S e r i e s . New Y o r k : U n i v e r s i t y , I n c . , 19 3 4 • I n t e r n a t i o n a l L i b r a r y o f M u sic , T he. V i o l i n S e r i e s . New Y o r k : U n i v e r s i t y , I n c . , 1 9 3 4 . M o dern M u s i c .
New Y o r k :
M u s ic a l Q u a r te r l y , T he. M u sic a l D i g e s t , M u sic a l A m e ric a .
L eague o f C om posers, I n c . New Y o r k :
G. S e h i r m e r , I n c .
l a s t S tro u d sb u rg , Penn: New Y o r k :
M u sic a l D ig e s t, I n c .
John F . M je s k i, P u b l i s h e r .
P r a t t , W aldo S e l d e n , The New E n c y c l o p e d i a o f M u s ic a n d M u s i c i a n s . New Y o r k : The M a c m i l l a n C o . , 1 9 2 9 . S cho o l M u sic ia n . The.
C h icag o :
R o b e rt L. S h ep h erd ,
p u b lish er'. ’ W o rld o f M u s i c . T h e .
B o sto n :
G in n a n d C o . , 1 9 3 8 .
CHAPTER
V
TEACHING CREATIVE SONG WRITING C r e a t i v e s o n g w r i t i n g m ay b e d i f f i c u l t f o r y o u .
It
may b e d i f f i c u l t f o r m any o f y o u r s t u d e n t s .
B id you e v e r
t r y t o w r i t e a t u n e f o r y o u r f a v o r i t y peom?
H ave y o u t r i e d
t o p u t w o rd s t o a t u n e ? t r y y o u r hand a t i t .
I f y o u h a v e n 1t h a d t h e s e e x p e r i e n c e s ,
By f o l l o w i n g a fe w s i m p l e r u l e s a n d
k e e p in g th e c o m p o s itio n sim p le you w i l l s u r p r i s e y o u r s e l f a t th e e n jo y a b le r e s u l t s .
Tour s tu d d n ts w i l l f e e l a jo y
i n t h e i r s i m p l e a c c o m p l i s h m e n t s , f o r n o m a t t e r how c r u d e t h e m elo d y o r w o rd s , i t
i s t h e i r own.
D o n ’ t p a s s up t h i s
o p p o r tu n ity f o r an i n t e r e s t i n g ap p ro ach t o a t e c h n i c a l s id e o f m u sic .
T h is c h a p t e r h a s been d e s ig n e d t o g iv e you
© g u id e in t e a c h in g s im p le c r e a t i v e song w r i t i n g i n y o u r c la ss ro o m . PROBLEMS 1 . How t o t e a c h s t u d e n t s t o w r i t e s i m p l e m e l o d i e s . a . S h o u ld you j u s t t u r n a s t u d e n t lo o s e t o w r i t e a song o r s h o u l d y o u g i v e - h i i i some g u i d a n c e ? b . S h o u ld t h e r e b e a b e t t e r p u r p o s e b a c k o f w r i t i n g a song o th e r t h a h j u s t a d e s i r e t o w r i t e a so n g ? c . S h o u ld b efo re
a s t u d e n t know a g r e a t d e a l a b o u t n o t a t i o n he a tte m p ts t o w r i t e a song?
d . S h o u l d t h e c l a s s s t u d y e x a m p le s o f o t h e r s i m p l e s o n g s b e fo re w r i t in g one?
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e . S h o u l d t h e v a r i o u s m em bers o f t h e c l a s s e x p e r i m e n t w i t h w r i t i n g m e l o d i e s b e f o r e w r i t i n g t h e on e s o n g d e sire d ? f« S h o u l d t h e c l a s s p r a c t i c e w r i t i n g b y a d d i n g a h a rm o n y p a r t t o an a l r e a d y e s t a b l i s h e d m elo d y ? g . S h o u l d t h e s o n g b e w r i t t e n by a f e w i n d i v i d u a l s o r by th e e n t i r e c l a s s ? h . S h o u ld you j u s t l e t th e t a l e n t e d i n w r i t i n g a song?
stu d e n ts ta k e p a r t
i* S h o u l d t h e c l a s s b e d i v i d e d i n t o p la n n in g a song?
c o m m itte e s f o r
j.
How c a n t h e s t u d e n t b e s t d i s c o v e r how many p h r a s e s and s e c t i o n s h i s song o r c o m p o s itio n s h o u ld c o n t a i n ?
k . How c a n y o u e n c o r p o r a t e t h e e n t i r e c l a s s e s * i n t o one so n g ?
id ea s
1 . How c o m p l i c a t e d s h o u l d t h e t e a c h e r a l l o w t h e s o n g t o be co m e? m* S h o u l d a t e a c h e r l e t a s t u d e n t s i n g o r w h i s t l e t h e m elo d y an d t h e n h a v e i t a c t u a l l y n o t a t e d by t h e t e a c h e r ? 2 . How t o t e a c h s t u d e n t s t o s e t a m e l o d y t o w o r d s , a.
S h o u ld t h e w o rd s you u s e a lw a y s b e o r i g i n a l ?
b* Can a s t u d d n t a l w a y s w r i t e s u i t a b l e w o r d s f o r a c r e a t i v e song? c# I s i t m o re s a t i s f a c t o r y t o u s e w o r d s b y a g o o d a u t h o r r a t h e r t h a n p o o r w ords w r i t t e n by th e s t u d e n t? d* S h o u l d y o u h a v e t h e w o r d s r e a d o v e r i n c l a s s a n u m b er • o f t i m e s b e f o r e d e c i d i n g u p o n some o f t h e t e c h n i c a l fa c ts? e . S h o u l d t h e w o r d s i n f l u e n c e t h e t y p e o f m e lo d y y o u a r e w ritin g ? f . Gan y o u d e t e r m i n e b y t h e w o r d s how f a s t t h e m e lo d y s h o u ld go?
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g . Bo t h e w o r d s i n f l u e n c e t h e " k e y " y o u w r i t e a s o n g i n ? h . Bo t h e w o r d s h a v e a d e f i n i t e r h y t h m o f t h e i r own? i* W hich i s t h e m o re i m p o r t a n t , t o h a v e t h e a c c e n t c o r r e c t a c c o r d i n g t o t h e w ords o r a c c o r d in g t o t h e m e lo d y ? j . How c a n y o u d e t e r m i n e w h i c h m e t e r a s o n g s h o u l d b e w r itte n in ? k . How e e n y o u d e t e r m i n e how l o n g t h e s o n g s h o u l d b e ? 1 . S h o u l d y o u r e p e a t a n y o f t h e w o rd s i n o r d e r t o m ake t h e m elo d y lo n g e r ? m# Can y o u d e t e r m i n e , b y t h e w o r d s , w hen t h e m e lo d y s h o u l d go up a n d when i t s h o u l d go down? 3* How t o t e a c h s t u d e n t s t o s e t w o rd s t o m u s i c * a . S h o u ld a l l t h e w o rd s b e o r i g i n a l ? b . S h o u l d j u s t a f e w p e o p l e w o rk on t h e w o r d s o r s h o u l d th e e n tir e c la s s c o n trib u te ? c . How c a n y o u b e s t i n c o r p o r a t e a l l t h e c l a s s c o n t r i b u t i o n s i n t o one song? d . S h o u ld t h e m elo d y b e w r i t t e n b e f o r e t h e w o rd s? e . S h o u l d t h e t y p e o f m e lo d y b e a g u i d e a s t o t h e t y p e o f w o rd s y o u w r i t e ? f.
S h o u ld t h e w o rd s a lw a y s f o l l o w t h e rh y th m o r m e te r o f t h e m e lo d y ?
g . Can y o u r e p e a t p a r t o f t h e m e lo d y o r w o r d s i n o r d e r t o le n g th e n t h e song? 4 . How t o t e a c h m u s i c f o r m a n d n o t a t i o n b y w r i t i n g s o n g s * a* I s i t n e c e s s a r y f o r s t u d e n t s t o know a n y t h i n g a b o u t m u sic form o r n o t a t i o n in o r d e r t o w r i t e a so n g ? b* How much do t h e s t u d e n t s n e e d t o know a b o u t r h y t h m b e f o r e w r i t i n g a song?
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c . S h o u ld you b o r e t h e s t u d e n t s w ith a l l ty p e s o f m e te r a n d r h y t h m b e f o r e l e t t i n g th e m w r i t e a s o n g ? d# W i l l a s t u d e n t b e a b l e t o rem e m b e r t h e nam es o f t h e l i n e s and s p a c e s b e t t e r by p l a c i n g t h e n o t e s o f h i s own s o n g on t h e s t a f f ? e . W i l l t h e s t u d e n t l e a r n m o re a b o u t t h e v a r i o u s " k e y s i g n a t u r e s " b y h a v i n g t o c h o o s e o n e o r m o re f o r h i s own s o n g ? f • I s i t p o s s ib le to te a c h th e v a lu e o f th e q u a r te r , h a l f , w h o le , e i g h t h , and s i x t e e n t h n o te by h a v in g s t u d e n ts w r i t e o u t t h e i r own m e l o d i e s ? g . W i l l w r i t i n g s o n g s m ake t h e s t u d e n t m o re " p h r a s e c o n sc io u s"? h . W ill th e s tu d e n t le a r n th e n e c e s s a ry c o n te n t a s t o s e c t i o n an d p h r a s e b e t t e r b y h a v i n g t o d i v i d e h i s own song o r c o m p o s itio n i n t o s e c t i o n s and p h r a s e s ? ACTIVITIES 1 . T r y t o h a v e t h e c l a s s w r i t e a s o n g f o r some s p e c i f i c p u rp o se. W rite a song f o r a p a r t i c u l a r u n i t o r c o u n tr y o r fo r a p a r t i c u l a r h o lid a y o c c a sio n . 2 . B e f o r e l e t t i n g t h e c l a s s e x p e r i m e n t t o o m u ch , b r i n g i n some e x a m p le s o f s i m p l e s o n g s t o b e u s e d a s g u i d e s . 3 . G iv e t h e c l a s s a f e w f u n d a m e n t a l f a c t s c o n c e r n i n g n o t a t i o n a n d t h e n l e t th e m t r y w r i t i n g . 4 . H ave t h e s t u d e n t s b r i n g t o c l a s s e x a m p le s o f s i m p l e s o n g s . 5 . L e t t h e s t u d e n t s d i s c u s s t h e p l a n b y w h i c h t h e y w o u ld l i k e t o w r i t e a s o n g . P e r h a p s t h e y w o u ld l i k e t o d i v i d e t h e work* 6 . L e t t h e c l a s s d e c i d e , f r o m e x a m i n i n g e x a m p l e s , how l o n g th e song s h o u ld b e . 7. In th e l e s s ta le n te d c la s s p erh ap s th e te a c h e r sh o u ld , a t f i r s t , m ake m o s t o f t h e n o t a t i o n s fr o m t h e s t u d e n t s * v o c al e x p re ss io n .
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8 . H ave t h e e l a s s w r i t e t h e w o r d s f o r t h e s o n g . c o m m i t t e e may t h e n c h o o s e •»t h e b e s t o n e s .
A c la ss
9 . The l e s s t a l e n t e d i C l a s s may w i s h t o c h o o s e w o r d s b y a * good a u th o r f o r t h e i r so n g . 1 0 . H ave t h e w o r d s r e a d o v e r s e v e r a l t i m e s a n d a n a l y z e t h e rh y th m , in c l a s s , b e f o r e s t a r t i n g to w r i t e . 1 1 . H ave t h e c l a s s d i s c u s s w h i c h t y p e o f m e l o d y t h e w o r d s o f t h e song s u g g e s t. 1 2 . I f p o s s i b l e , i n v i t e a c o m p o s e r t o t e l l t h e c l a s s how he goes about w r itin g h i s c o m p o sitio n s. 1 3 . P l a y o r s i n g a f e w s o n g s i n d i f f e r e n t " k ey s.* * d i s c u s s t h e d i f f e r e n t q u a l i t y fo u n d i n t h e s e and d e c id e upon a "key" f o r th e c l a s s song. 1 4 . H ave a v a i l a b l e m a t e r i a l s h a n d y f o r r e f e r e n c e w hen a s t u d e n t w a n ts t o d i s c o v e r w h ic h rh y th m s , m e t e r s , l i n e s , and sp a c e s a r e n eed ed f o r h i s so n g . 1 5 . H ave t h e c l a s s s i n g a n u m b e r o f s i m p l e s o n g s i n p h r a s e s t o i l l u s t r a t e t h e " s e c t i o n " and " p h r a s e ," o r b r e a t h i n g p la c e . BIBLIOGRAPHY C o le m a n , S t a t i s N a r r o n a , A C h i l d r e n ^ Sym phony, a s D e v e l o p e d i n C r e a t i v e C l a s s e s . New Y o r k : T e a c h e r s C o l l e g e , C o lu m b ia U n iv e rs ity , 1931. C o le m a n , S t a t i s N a r r o n a , C r e a t i v e M u s ic f o r C h i l d r e n . New Y o r k : G. P . P u t n a m 1s S o n s , 1 9 2 2 . F o x , L i l l i a n M o h r, C r e a t i v e S c h o o l M u s i c . B u r d e tt and C o ., 1936.
N e w .Y o rk :
H a r r i s , C le m e n t A n t r o b u s , How t o W r i t e M u s i c . Thomas Y. C r o w e l l C o . , 1 9 3 6 .
S ilv e r
New Y o r k :
P r o g r e s s iv e E d u c a tio n A s s o c ia tio n , C re a tiv e E x p re s s io n . New Y o r k : The J o h n B a y C o . , 1 9 3 2 .
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PERIODICAL AND ENCYCLOPEDIC REFERENCES G r o v e , S i r G e o r g e . G r o v e l D i c t i o n a r y o f M u s ic a n d M u s i c i a n s * New Y o r k : T he ^ a c m i l l a n C o . , 1 9 4 0 . M o d e rn M usic*
New Y o r k :
M u s ic a l A m e ric a . M u sic a l D i g e s t * In c.
L e a g u e o f C o m p o s e r s , In c *
New Y o r k :
John F . M a je s k i, p u b lis h e r *
E a st S tro u d sb u rg , Penn:
M u sic a l Q u a r te r ly . T he. S c h o o l M u sic ia n . T he*
New Y o r k : C h ica g o :
M u sic a l D ig e s t,
G* S e h i r m e r , I n c .
R o b e r t L. S h e p h e rd , p u b l i s h e r .
CHAPTER
VI
USING MUSIC APPARATUS We a r e l i v i n g i n a s c i e n t i f i c
and m e c h a n ic a l a g e .
A re t h e m e c h a n i c a l w o r k i n g s o f a l l u s e f u l s c h o o l a p p a r a t u s a m y stery to you?
W ould y o u know how t o s e l e c t t h e b e s t
q u a l i t y o f e q u ip m e n t?
Do y o u p e r m i t a r a d i o , m o t i o n
p i c t u r e m a c h in e , o r o th e r a p p a r a tu s t o re m a in i d l e c a u s e i t b lew a t u b e o r l o s t a b o l t ?
ju s t be
M u s ic a p p a r a t u s i s
c o n s t a n t l y b e i n g i m p r o v e d a n d i s b e c o m in g m o re u s e f u l t o m o d e rn t e a c h i n g . p la in ,
S e c u r e t h e a v a i l a b l e m a t e r i a l s w h ic h ex
s i m p l y , how y o u may o p e r a t e a n d c a r e f o r v a l u a b l e
e q u ip m e n t.
Becsome f a m i l i a r w i t h t h e e q u i p m e n t s o t h a t i t
may a c c o m p l i s h t h e t e a c h i n g p u r p o s e f o r w h i c h i t w as p u r c h a s e d . PROBUMS 1 . How t o u s e t e a c h i n g a i d s i n t e a c h i n g m u s i c . a . W here s h o u l d y o u w r i t e t o o b t a i n i n f o r m a t i o n on t h e u s e o f t h e v a r i o u s t y p e s o f m u sic a p p a r a t u s ? b . How c a n y o u d e t e r m i n e w h i c h o f t h e m u s i c a p p a r a t u s i s t h e m o s t u s e f u l a n d v a l u a b l e f o r c l a s s w o rk ? c . I s e x p e n s iv e e q u ip m e n t n e c e s s a r y f o r a s u c c e s s f u l m u sic c l a s s ? d . D o es t h e u s e o f m u s i c a p p a r a t u s l e s s e n t h e w o rk o f th e te a c h e r o r does he need e x tr a p r e p a r a t i o n b e fo re u sin g th e v a rio u s a p p a ra tu s? e . Can m u s i c a p p a r a t u s b e h e l p f u l t o s t u d e n t e x p r e s s i o n ?
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f.
S h o u ld m u sic a p p a r a t u s be u s e d t o t h e e x c l u s i o n o f s tu d e n t e x p re ss io n ?
gm How c a n y o u b e s u r e t h a t t h e a p p a r a t u s i s n o t j u s t a n o v e lty b u t i s a c c o m p lish in g your p u rp o se? h . Can t h e m u s i c a p p a r a t u s b e h e l p f u l i n s o c i a l s t u d i e s a s w e l l a s t h e m u sic c l a s s ? i.
S h o u ld t h e t e a c h e r l e t o t h e r d e p a rtm e n ts o f t h e s c h o o l u s e t h e e q u ip m e n t?
j* S h o u l d t h e t e a c h e r a l l o w s t u d e n t s t o o p e r a t e t h e v a r i o u s a p p a ra tu s? 2 , How t o s e l e c t , u s e , a n d e a r e f o r t h e p i a n o « a# How c a n y o u d e t e r m i n e w h e t h e r y o u r e a l l y n e e d a p i a n o ? b* How c a n y o u d e t e r m i n e w h i c h p i a n o t o b u y ? c . W hat s o r t o f a d v i c e s h o u l d y o u g i v e t h e s c h o o l b o a r d c o n c e rn in g th e p u rc h a se o f a p ia n o ? d . S h o u ld you e v e r buy a r e p r o d u c in g p ia n o ? e . S h o u ld you p u r c h a s e a g ra n d o r u p - r i g h t p ia n o ? f.
How i m p o r t a n t a r e g o o d s t r i n g s t o t h e c o n d i t i o n o f th e p ia n o ?
g# S h o u l d y o u t r y t o g e t a p i a n o w i t h g ood a c t i o n a n d good p e d a l s ? h . How c a n y o u b e s u r e y o u a r e s e l e c t i n g a p i a n o w h i c h i s in c o rre c t p itc h ? i.
How c a n y o u b e s u r e y o u a r e s e l e c t i n g a p i a n o w h i c h h a s c o r r e c t v o lu m e f o r y o u r roo m o r a u d i t o r i u m ?
j.
S h o u ld you c o n s id e r t h e a p p e a ra n c e o f t h e p ia n o i n t h e ro om b e f o r e s e l e c t i n g i t ?
k . W h ich t y p e o f p i a n o b e n c h i s b e s t f o r y o u r u s e ? 1* I s t h e s e l e c t i o n o f a g o o d p i a n o l i g h t o f i m p o r t a n c e ?
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m. S h o u l d y o u g i v e c o n s i d e r a t i o n t o d e c o r a t i n g t h e p i a n o ? n. o*
How
can youe s tim a te
y o u r own a b i l i t y o n t h e t p i a n o ?
How much do y o u n e e d t o know a b o u t p l a y i n g t h e p i a n o t o t e a c h y o u r m u sic c l a s s ?
p* How c a n y o u l e a r n e n o u g h q u i c k l y s o y o u c a n p l a y t h e m e l o d y o n t h e p i a n o w i t h one h a n d ? q*
S h o u ld you g iv e t h e s t u d e n t s i n s t r u c t i o n th e p ian o ?
in care
of
r#
How c a n
you k e ep t h e k e y s o f t h e p ia n o c le a n ?
s.
How c a n
you keep t h e p ia n o
t„
How c a n
y o u k e e p m o th s o u t o f t h e p i a n o ?
u.
How c a n
y o u d e t e r m i n e w hen t h e p i a n o n e e d s t u n i n g ?
s t r i n g s fro m r u s t i n g ?
v . W here c a n y o u o b t a i n a g ood p i a n o t u n e r ? w. How c a n y o u d e t e r m i n e w h e t h e r o r n o t t h e p i a n o t u n e r i s tu n in g t h e p ia n o to th e c o r r e c t p i t c h o f 440? x* S h o u l d y o u t r y t o e x p l a i n t h e n e e d o f p i a n o r e p a i r s to th e sc h o o l b o ard ? y.
S h o u l d y o u c a l l a r e p a i r man f o r e v e r y l i t t l e t h a t g o e s w ro n g w i t h t h e p i a n o ?
z . W here c a n y o u o b t a i n 3 . How t o s e l e c t s
th in g
a goo d p i a n o r e p a i r m an?
u s e , and c a re fo r a " p itc h " in s tr u m e n t,
a . How c a n y o u d e t e r m i n e w h e t h e r t o p u r c h a s e a p i t c h p i p e o r some o t h e r s m a l l i n s t r u m e n t f o r u s e i n o b t a i n i n g th e p itc h ? b , S h o u ld you s e l e c t a s m a ll s e t o f b e l l s t o u s e a s a p itc h in stru m e n t? c# How m any n o t e s o r t o n e s s h o u l d a p i t c h p i p e h a v e ? d.
How c a n y o u b e s u r e t h e p i t c h p i p e i s
in tu n e ?
67
e . When s h o u l d y o u u s e t h e p i a n o f o r p i t c h a n d w hen s h o u ld you u s e a p i t c h p ip e ? f * How c a n y o u d e t e r m i n e w h ic h t o n e t o b lo w o n t h e p i t c h p ip e to s t a r t a song? g.
How l o u d l y s h o u l d y o u b lo w o n t h e p i t c h p i p e ?
h.
How s h o u l d y o u h o l d a p i t c h p i p e w hen d i r e c t i n g ?
i.
How s h o u l d a p i t c h p i p e b e u s e d i n c l a s s ?
j.
S h o u ld you e v e r u s e a p i t c h p ip e a t a p u b l i c p e rfo rm a n c e ?
k . How c a n y o u u s e a t u n i n g f o r k m o s t s u c c e s s f u l l y ? 1 . S h o u ld t h e p i t c h p ip e be k e p t in a c a s e ? 4 . How t o s e l e c t , o p e r a t e , a n d c a r e f o r a r e c o r d p l a y e r * a* How s h o u l d y o u d e t e r m i n e w h i c h k i n d o f a r e c o r d p la y e r to p u rch ase? b . W here s h o u l d y o u b u y a r e c o r d p l a y e r ? c* How much m oney s h o u l d y o u s p e n d i n o r d e r t o g e t a good r e c o r d p la y e r ? d.
How l a r g e a s p e a k e r s h o u l d y o u g e t f o r t h e r e c o r d p la y e r, fo r your use?
e# How m any w a t t s p o w e r d o y o u n e e d on t h e r e c o r d p l a y e r ? f.
S h o u l d y o u s e l e c t a r e c o r d p l a y e r w i t h b o t h a 78 a n d a 33 1 / 3 r e v o l u t i o n s a m & hute s p e e d ?
g . S h o u ld you p u rc h a s e a r e c o r d p l a y e r w ith a c r y s t a l p ic k up? h* How h e a v y s h o u l d t h e h e a d b e on t h e r e c o r d p l a y e r ? i # How l a r g e a r e c o r d s h o u l d y o u r r e c o r d p l a y e r b e c a p a b l e o f p la y in g ? j.
How s h o u l d y o u go a b o u t s e l e c t i n g a g o o d t u r n t a b l e w h ic h w i l l c o n n e c t w i t h a r a d i o ?
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k . How c a n y o u b e s u r e o f s e l e c t i n g a good p o r t a b l e case fo r a re c o rd p la y e r? 1* How c a n y o u s e l e c t a g o o d s e c o n d - h a n d r e c o r d p l a y e r w ith s a fe ty ? m.
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p.
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n e e d t o do t o t a k e g o o d c a r e o f a r e c o r d
r.
To w h a t e x t e n t s h o u l d y o u l e t t h e s t u d e n t s o p e r a t e th e re c o rd p la y e r?
s . W here c a n y o u o b t a i n a r e l i a b l e r e p a i r m an f o r t h e reco rd p la y e r? t . How c a n y o u b e s u r e o f s e l e c t i n g g o o d n e e d l e s ? u • W here s o u l d y o u b u y n e e d l e s ? v* How m uch s h o u l d y o u p a y f o r n e e d l e s ? w. A re t h e n a t i o n a l l y a d v e r t i s e d l o n g p l a y i n g n e e d l e s r e a l l y e a s i e r o n t h e r e c o r d s a n d m o re s a t i s f a c t o r y f o r to n e o u tp u t? x* How l o n g s h o u l d y o u u s e a n e e d l e ? y . S h o u ld you e v e r a tt e m p t t o s h a r p e n n e e d l e s ? z . W hat s h o u l d b e d o n e w i t h o l d n e e d l e s ? 5 . How t o s e l e c t a n d c a r e f o r r e c o r d i n g s . a . W hich b r a n d o f r e c o r d i n g s h o u l d y o u p u r c h a s e ? b . How m uch s h o u l d y o u p a y f o r s c h o o l r e c o r d i n g s ? c* How e a n y o u b e s u r e o f s e l e c t i n g t h e b e s t r e c o r d i n g s f o r t h e m u sic a p p r e c i a t i o n c l a s s ?
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d . W hich t y p e o f r e c o r d i n g s h o u l d b e s e l e c t e d f o r c l a s s use? e . How c a n y o u p l a n y o u r p u r c h a s e s o a s t o b u i l d up a re c o rd in g lib r a r y ? f . W hich o r c h e s t r a r e c o r d i n g s s h o u l d y o u p u r c h a s e f o r c la s s use? g . W hich s o l o s i t r e c o r d i n g s s h o u l d y o u p u r c h a s e f o r c la s s use? h . When s h o u l d y o u p u r c h a s e r e c o r d i n g s i n a n a lb u m ? i „ When s h o u l d y o u p u r c h a s e s e c o n d - h a n d r e c o r d i n g s ? j« W hat do y ou n e e d t o t a k e i n t o c o n s i d e r a t i o n w hen s e l e c t i n g seco n d -h an d r e c o r d in g s ? k . How c a n y o u d e t e r m i n e how b a d l y w o r n a s e c o n d - h a n d re c o rd in g is ? 1 . How c a n y o u s e c u r e t h e i n t e r e s t o f t h e , p a r e n t s : t o t h e e x t e n t o f b u y i n g r e c o r d i n g s f o r t h e s t u d e n t s a t hom e? m* How s h o u l d r e c o r d i n g s b e h a n d l e d ? n . How s h o u l d y o u k e e p t h e r e c o r d i n g s f r o m w a r p i n g ? o* S h o u l d y o u t e a c h t h e c h i l d r e n how t o t a k e c a r e o f th e re c o rd in g s? p . S h o u ld th e c h i l d r e n o f t h e c l a s s s h a r e th e c o s t o f t h e r e c o r d i n g s when t h e s t u d e n t s b r e a k th e m ? q . S h o u ld you t r y to sc h o o l? r.
to g e t c h ild re n to b rin g re c o rd in g s
How c a n y o u go a b o u t b u i l d i n g a c a s e f o r r e c o r d i n g s ?
6* How t o s e l e c t ,
o p e ra te ,
and c a r e f o r a r e c o r d i n g m a c h i n e *
W h ich b r a n d o f r e c o r d i n g m a c h i n e s h o u l d y o u p u r c h a s e ? b . How m uch s h o u l d y o u p a y f o r a r e c o r d i n g m a c h i n e ? c* How l a r g e a m i c r o p h o n e s h o u l d t h e r e c o r d i n g m a c h in e I, *h a v e ?
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d . S h o u ld you s e l e c t a r e d o r d i n g m a c h in e w h ic h w i l l c o n n e c t w i t h t h e r a d i o a n d make r e c o r d i n g s f r o m r a d i o b ro a d c a sts? e . S h o u l d t h e r e c o r d i n g m a c h i n e b e c a p a b l e o f m a k in g r e c o r d s a t b o t h 78 a n d 3 3 1 / 3 r e v o l u a t i o n s a m i n u t e ? f . W hat s i z e r e c o r d i n g s s h o u l d t h e m a c h i n e b e c a p a b l e o f m a k in g ? g . S h o u ld t h e r e c o r d i n g m a c h in e h av e a p l a y h a c k on i t ? h . How l a r g e a s p e a k e r i s n e c e s s a r y f o r t h e r e c o r d i n g m a c h in e ? i.
How l a r g e a g r o u p c a n b e r e c o r d e d on t h e m a c h i n e y o u se le c t?
j.
W hich b r a n d o f b l a n k r e c o r d s s h o u l d y o u p u r c h a s e ?
k# W h ich t y p e o f b l a n k r e c o r d s a r e b e s t f o r y o u r u s e ? 1# How much s h o u l d y o u p a y f o r b l a n k r e c o r d s ? m. How i s a r e c o r d i n g m a c h i n e o p e r a t e d ? n . How o f t e n s h o u l d t h e r e c o r d i n g n e e d l e b e c h a n g e d ? o . How c a n y o u b e s u r e t h e r e c o r d b e i n g c u t i s s e c u r e l y fa ste n e d ? p* How f a r away f r o m t h e m a c h in e s h o u l d t h e m i c r o p h o n e b e when m a k i n g a r e c o r d i n g ? q . W hat s h o u l d ' b e d o n e w i t h t h e c u t t i n g s c o m in g f r o m t h e reco rd ? r.
S h o u ld s t u d e n t s b e a llo w e d t o o p e r a t e t h e m a c h in e ?
s* How c a n y o u d e t e r m i n e w h en t h e m a c h in e n e e d s new t u b e s ? t.
S h o u l d t h e r e c o r d i n g m a c h in e b e c o v e r e d w hen i t n o t in use?
is
u* W here c a n y o u o b t a i n a r e l i a b l e r e p a i r man f o r t h e r e c o r d i n g m a c h in e ?
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7 . How t o s e l e c t , o p e r a t e , a n d c a r e f o r t h e r a d i o * a# How c a n y o u a n d y o u r c l a s s r a i s e m oney w i t h w h i c h t o p u rch ase a ra d io ? b . How m uch m oney m u s t y o u s p e n d f o r a g ood r a d i o ? c* W here s h o u l d y o u p u r c h a s e a r a d i o ? d* W h ich t y p e o f r a d i o s h o u l d b e s e l e c t e d f o r t h e c l a s s ro o m ? e . Is a p o rta b le ra d io s a t is f a c to r y fo r school use? f« W hich s i z e s p e a k e r s h o u l d t h e r a d i o h a v e f o r t h e c la ssro o m ? g* What t y p e o f a e r i a l s h o u l d b e s e l e c t e d f o r t h e r a d i o ? h* How w o u ld y o u c o n n e c t t h e r a d i o up t o t h e e l e c t r i c i t y , g ro u n d , and a e r i a l ? i* How i s a r a d i o o p e r a t e d ? j . y /h ic h s t u d e n t s s h o u l d y o u l e t o p e r a t e t h e r a d i o ? k . How much s h o u l d y o u know a b o u t t h e m e c h a n i c s o f t h e ra d io ? 1 . How c a n y o u d e t e r m i n e w h a t i s w ro n g w i t h t h e r a d i o w hen i t w o n f t w o rk ? m* How c a n y o u d e t e r m i n e w hen t h e r a d i o n e e d s
a new t u b e ?
n . How c a n y o u b e s u r e y o u a r e s e l e c t i n g g o o d t u b e s f o r th e ra d io ? o# When s h o u l d y o u c a l l a r e p a i r -m an f o r t h e r a d i o ? p . W here c a n y o u s e c u r e a g o o d r a d i o r e p a i r m an? 8 . How t o s e l e c t * o p e r a t e , a n d c a r e f o r a p u b l i c a d d r e s s sy s te m * a* S h o u l d y o u p u r c h a s e a p u b l i c a d d r e s s s y s t e m ? b . How c a n y o u g e t t h e s c h o o l b o a r d t o p u r c h a s e a p u b l i c a d d r e s s sy s te m ?
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c . How c a n y o u b e s u r e y o u a r e p u r c h a s i n g a g o o d a n d r e l i a b l e b r a n d o f e q u ip m e n t? d* How l a r g e a p u b l i c a d d r e s s s y s t e m s h o u l d y o u p u r c h a s e fo r your use? e . S h o u ld you u s e t h e p u b l i c a d d r e s s sy s te m t o g iv e s t u d e n t s p r a c tic e in r a d io te c h n iq u e ? f # How may t h e p u b l i c a d d r e s s s y s t e m b e u s e d i n t e a c h i n g m u sic ? g . How c a n y o u b e s u r e o f s e l e c t i n g a g o o d m i c r o p h o n e ? h . How do y o u a d j u s t t h e m i c r o p h o n e s t a n d ? i* How do y o u a d j u s t t h e t o n e c o n t r o l o f t h e a m p l i f i e r ? j . How do y o u a d j u s t t h e v o lu m e o f t h e a m p l i f i e r ? k . How much s h o u l d y o u l e t t h e s t u d e n t s o p e r a t e t h e p u b l i c a d d r e s s sy s te m ? 1 . W hat c a r e s h o u l d b e ta k e © t o i n s u r e t h e b e s t a n d l o n g e s t u s e o f t h e e q u ip m e n t^ m. W here c a n y o u o b t a i n a g o o d r e p a i r m an f o r t h e p u b l i c a d d r e s s sy s te m ? How t o s e l e c t , m a c h in e .
o p e r a t e , and c a r e f o r a m o tio n p i c t u r e
a . How c a n y o u a n d y o u r c l a s s r a i s e m oney w i t h w h i c h t o p u r c h a s e a m o tio n p i c t u r e m a c h in e ? b . How much m oney s h o u l d y o u s p e n d f o r a m o t i o n p i c t u r e m ac h in e ? c . How c a n y o u g e t t h e s c h o o l b o a r d t o p u r c h a s e a m o t i o n p i c t u r e m a c h in e ? d . ? /h e re s h o u l d y o u p u r c h a s e t h e m o t i o n p i c t u r e m a c h i n e ? e . How c a n y o u b e s u r e y o u a r e s e l e c t i n g a r e l i a b l e b r a n d o f m o tio n p i c t u r e m a c h in e ? f . W hich s i z e o f m o t i o n p i c t u r e m a c h i n e s h o u l d y o u p u r c h a s e ?
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g . How c a n y o u b e s t s e l e c t a g o o d u s e d m o t i o n p i c t u r e m a c h in e ? h . How c a n y o u b e s u r e o f s e l e c t i n g a g o o d m o t i o n p i c t u r e screen? i.
S h o u ld you s e l e c t a good p o r t a b l e m o tio n p i c t u r e s c r e e n ?
j . How c a n y o u m ake a g o o d m o t i o n p i c t u r e s c r e e n ? k . How i s a m o t i o n p i c t u r e m a c h i n e o p e r a t e d a n d a d j u s t e d ? 1 . Where c a n y o u l e a r n t o o p e r a t e a m o t i o n p i c t u r e m a c h i n e ? m. How do y o u p u t f i l m o n a m o t i o n p i c t u r e m a c h i n e ? n . How c a n y o u b e s t e q u i p t h e c l a s s r o o m f o r s h o w in g m o t i o n p ic tu re s? 0 . W hat n e c e s s a r y a t t e n t i o n m u s t b e g i v e n t h e m a c h in e t o in s u r e th e b e s t o p e r a t io n and lo n g l i f e ? p . W here c a n y o u o b t a i n a r e l i a b l e m o t i o n p i c t u r e m a c h in e r e p a i r man? 1 0 . How t o s e l e c t , u s e , a n d c a r e f o r m o t i o n p i c t u r e f i l m . a . W here c a n you o b t a i n m o t i o n p i c t u r e f i l m ? b . W here c a n y o u o b t a i n l i s t s
o f a v a i l a b l e m o tio n p i c t u r e s ?
e . How m uch s h o u l d y o u p a y f o r t h e u s e o f p i c t u r e f i l m ? d . How c a n y o u s e l e c t g o o d f i l m s w i t h o u t f i r s t s e e i n g t h e p ic tu re s? e . How c a n y o u b e s t s e l e c t t a l k i n g m o t i o n p i c t u r e f i l m ? f . How c a n y o u b e s t u s e s i l e n t m o t i o n p i c t u r e s m u sic? g . W hich t y p e o f s o u n d f i l m
in te a c h in g
i s b e s t f o r t h e m u sic c l a s s e s ?
h . S h o u ld t h e f ilm b e k e p t i n th e t i n b ox a t a l l tim e s ? 1 . How c a n y o u b e s t a v o i d b r e a k i n g f i l m ? j . W hat a r e y o u e x p e c t e d t o do when t h e f i l m b r e a k s ?
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k . S h o u ld you e v e r r e p a i r t h e f i lm ? 1* W hat t y p e o f e q u ip m e n t s h o u l d y o u h a v e t o r e p a i r f i l m ? m. S h o u l d y o u l e t s t u d e n t s h a n d l e t h e f i l m ? 11* How t o s e l e c t a n d u s e a f i l e
c a b in e t*
a* S h o u l d t h e t e a c h e r p u r c h a s e t h e f i l e sc h o o l?
c a b in e t or th e
b . How much s h o u l d y o u p a y f o r a good f i l e c . S h o u ld you s e l e c t a s t e e l f i l e
c a b in e t?
c a b in e t?
d . How many c o m p a r t m e n t s s h o u l d t h e f i l e
c a b in e t have?
e . S h o u ld t h e c a b i n e t h ave a l o c k on i t ? f . How c a n y o u m ake a n e f f e c t i v e f i l e expense?
c a b in e t w ith l i t t l e
g . How c a n y o u b e s t u s e a f i l e c a b i n e t i n g a t h e r i n g m a t e r i a l s f o r m u sic a p p r e c i a t i o n ? h . S h o u ld m a t e r i a l s b e f i l e d - b y c o m p o s e rs, s u b j e c t s , o r school c la ss e s? ACTIVITIES 1 . W r i t e t o s e v e r a l m u s i c h o u s e s a n d s o u n d e q u i p m e n t c o m p a n ie s f o r i n f o r m a ti o n c o n c e r n in g m u sic a p p a r a t u s . S. R e f e r t o l i b r a r y b o o k s c o n c e r n i n g t h e e f f e c t i v e u s e o f t h e v a r i o u s t e a c h i n g a i d s i n t h e w ay o f e x t r a e q u i p m e n t . 3 . A sk t h e c l a s s a n d P . T. A. f o r s u g g e s t i o n s a s t o how t h e y m i g h t r a i s e m oney f o r s p e c i a l e q u i p m e n t . 4 . H ave o n e t e a c h e r b e r e s p o n s i b l e f o r t h e s p e c i a l e q u ip m e n t s o t h a t som eone l o o k s a f t e r i t s o p e r a t i o n a n d c a r e . 5 . V i s i t a p i a n o s t o r e a n d c o m p a re new a n d u s e d p i a n o s . 6. W rite to s e v e r a l p ia n o m a n u fa c tu re rs f o r d e s c r i p t iv e lite ra tu re .
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7. L i s t th e im p o rta n t f a c t o r s
i n s e l e c t i n g a p ia n o *
8* I n v i t e a p i a n o t u n e r t o d i s c u s s t h e c a r e o f t h e p i a n o a n d how i t i s tu n e d * 9* A sk a p i a n o t e a c h e r how q u i c k l y y o u c a n l e a r n a f e w f u n d a m e n ta ls o f p ia n o p la y in g * 10* d i s c u s s t h e p o s s i b i l i t y o f h a v i n g a p i a n o i n v a r i o u s p a r t s o f t h e room* W here w i l l i t f i t b e s t ? 1 1 . Go t o -.a r e l i a b l e m u s i c com pany and a s k f o r a d e m o n s t r a t i o n o f v a rio u s ty p e s o f p i t c h in stru m e n ts* IS* W r i t e t o a r e l i a b l e m u s i c com pany f o r d e s c r i p t i v e l i t e r a t u r e c o n c e rn in g th e v a rio u s ty p e s o f p i tc h in s tru m e n ts . 13* T r y o u t s e v e r a l t y p e s o f p i t c h i n s t r u m e n t s a n d s e e f r o m w h ic h i t i s t h e e a s i e s t f o r you t o g e t t h e p i t c h . 1 4 . A sk s e v e r a l e x p e r i e n c e d m u s i c t e a c h e r s how t h e y u s e t h e p i t c h in s t r u m e n t s i n c l a s s and p e rfo rm a n c e . 15. W rite t o s e v e r a l m a n u fa c tu re rs f o r d e s c r i p t i v e l i t e r a t u r e of rec o rd p la y e rs. 1 6 . A sk a l o c a l d e a l e r t o g i v e a d e m o n s t r a t i o n o f r e c o r d p l a y in g e q u ip m e n t i n y o u r c la s s r o o m . 1 7 . V i s i t s e v e r a l r a d i o a n d s o u n d e q u i p m e n t h o u s e s f o r demon s t r a t i o n and d e s c r i p t i v e l i t e r a t u r e o f r e c o r d p la y e ir s . 1 8 . A sk a r a d i o r e p a i r man w h i c h t y p e o f r e c o r d p l a y e r i s m o s t s a t i s f a c t o r y a n d s t a n d s up b e s t . 1 9 . A sk a r a d i o r e p a i r man how y o u may make m i n o r r e p a i r s a n d a d j u s t m e n t s on a r e c o r d p l a y e r . 2 0 . T r y s e v e r a l t y p e s o f n e e d l e s a n d s e e w h i c h se e m s t o p r o d u c e th e b e s t to n e . 2 1 . A sk a p r o f e s s i o n a l s o u n d e q u i p m e n t d e a l e r w h i c h r e c o r d i n g s l a s t t h e l o n g e s t and a r e t h e m o st s a t i s f a c t o r y . 22. S e c u re l i s t s d e a le rs.
o f p u b l i s h e d r e c o r d i n g s from s e v e r a l r e c o r d i n g
2 3 . A sk a s o u n d e q u i p m e n t man how y o u c a n t e l l w hen a s e c o n d hand r e c o r d i n g i s b a d ly w orn.
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24# I n v i t e t l i e p a r e n t s i n t o h e a r r e c o r d i n g s s o t h e y w i l l becom e i n t e r e s t e d i n p u r c h a s i n g some f o r home u se # 2 5 . A sk a r e c o r d i n g d e a l e r how y o u s h o u l d h a n d l e a n d c a r e f o r th e re c o rd in g s . 2 6 . W r i t e t o s e v e r a l r e c o r d i n g e q u ip m e n t c o m p a n ie s f o r d e s c rip tiv e lite r a tu r e . 2 7 . I n q u i r e f r o m some o f t h e l a r g e s c h o o l s a n d c o l l e g e s a s t o t h e i r e x p e r ie n c e w i t h v a r i o u s ty p e s o f e q u ip m e n t. 2 8 . T ry t o a r r a n g e f o r a d e m o n s tr a ti o n o f m ak in g r e c o r d i n g s a t y o u r s c h o o l u s in g d i f f e r e n t s i z e s o f m ic ro p h o n es. 2 9 . W r i t e t o s e v e r a l r e c o r d c o m p a n ie s f o r d e s c r i p t i v e l i t e r a t u r e an d p r i c e s o f b l a n k r e c o r d s . 30 . W rite to s e v e r a l r a d io m a n u fa c tu re rs f o r d e s c r ip tiv e lite ra tu re . 3 1 . A sk a l o c a l d e a l e r t o d e m o n s t r a t e s e v e r a l t y p e s a n d m o d e l s o f r a d io s in y o u r c la ss ro o m . 3 2 . A sk a r a d i o d e a l e r o r r e p a i r man how y o u c a n c o n n e c t up a r a d io in th e c la ssro o m y o u r s e lf . 3 3 . A sk a r a d i o r e p a i r man how y o u c a n c h a n g e t u b e s i n t h e ra d io . 3 4 . A sk f o r a d e m o n s t r a t i o n o f s e v e r a l t y p e s a n d s i z e s o f p u b l ic a d d r e s s sy s te m s a t y o u r s c h o o l. 3 5 . I n q u i r e from s e v e r a l l a r g e s c h o o ls a s t o t h e i r e x p e r ie n c e w i t h p u b l i c a d d r e s s sy s te m e q u ip m e n t. 3 6 . T r y s e v e r a l s i z e s o f m i c r o p h o n e s on t h e p u b l i c a d d r e s s sy ste m . 3 7 . W r i t e t o a n u m b er o f m o t i o n p i c t u r e m a c h i n e c o m p a n ie s f o r d e sc rip tiv e l i t e r a t u r e . 3 8 . A sk a m o t i o n p i c t u r e m a c h i n e r e p a i r man w h i e h e q u i p m e n t se e m s t o b e t h e m o s t s a t i s f a c t o r y . 39
. V i s i t s e v e r & 1 m o t i o n p i c t u r e m a c h in e e x c h a n g e c o m p a n ie s a n d h a v e a d e m o n s t r a t i o n o f u s e d e q u i p m e n t , c o m p a r in g v a r i o u s m akes o f m a c h in e s .
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4 0 . Vifrite t o s e v e r a l a g e n t s f o r m o t i o n p i c t u r e f i l m , a s k i n g f o r l i s t s o f f i lm s f o r s c h o o l use* 4 1 . A sk a f i l m d e a l e r t o g i v e y o u a d e m o n s t r a t i o n o n m e n d in g film . 4 2 . R e a d t h e d e t a i l e d i n s t r u c t i o n s w h i c h come w i t h e a c h f i l m a s t o t h e c a r e and u s a g e . 4 3 . V i s i t an o f f i c e f u r n i t u r e s t o r e and a s k f o r a d e m o n s tra tio n o f v a rio u s ty p es o f f i l e c a b in e ts . 4 4 . A sk a wood s h o p t e a c h e r t o d e s i g n y o u a c h e a p f i l e w h i c h c a n b e made i n t h e s c h o o l s h o p .
c a b in e t
BIBLIOGRAPHY A r n s p ig e r , V arn ey C ly d e , M e a su rin g t h e E f f e c t i v e n e s s o f So u n d P i c t u r e s a s T e c h n i q u e s . New Y o r k : T e a c h e r s C o l l e g e , Col'ui&bia Un i v e r s i t y , 1 9 3 3 . B lo m , E d w ard C h a r l e s , R a d i o a n d E l e c t r i c Pow er S u p p l y E q u ip m e n t f o r S c h o o l s . New Y o r k : T e a c h e r s C o l l e g e , C o lu m b ia U n i v e r s i t y , 1 9 3 0 . B ro w n , H e n r y E m m e tt, M o t i o n P i c t u r e s an d L a n t e r n S l i d e s f o r E le m e n ta ry V is u a l E d u c a tio n . New Y o rk s T eachers C o lle g e , C o lu m b ia U n i v e r s i t y , 1 9 3 1 . B r u n s t e t t e r , Mac R u l l e l l , How t o U se t h e E d u c a t i o n a l S o u n d F i l m . C h i c a g o : U n i v e r s i t y o f C h ic a g o P r e s s , 1 9 3 7 . B a r r o w , B e n ja m i n H a r r i s o n , R a d i o , t h e A s s i s t a n t T e a c h e r . C o lu m b u s , O h i o : R . G. Adams a n d Co. , 1 9 3 2 . D e n t , E l l s w o r t h C h a r l e s , T he A u d io V i s u a l H a n d b o o k . C h ica g o : S o c ie ty f o r V is u a l E d u c a tio n , 1939. E l l i s , B . G . , M o tio n P i c t u r e s i n E d u c a t i o n . Thomas Y. C r o w e l l C o. , 1 9 2 3 .
New Yftr k :
E p i c P i c t u r e C o n s u l t a n t s , I n c . , M odern T r e n d s i n E d u c a t i o n . New Y o r k : E p ic p i c t u r e C o n s u l t a n t s , I n c . , 19S"3"I F o r m a n , H e n r y l a m e s , Our M ovie Made C h i l d r e n . The M a c m i l l a n C o . , 1 9 3 3 .
New Y o r k :
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G h i r a r d i , A l f r e d A ., R a d io T r o u b le - S h o o t e r s H andbook* New Y o r k : R a d i o a n d T e c h n i c a l P u b l i s h i n g C o . , 1939* H a r r i s o n , M a r g a r e t, B a d io i n t h e C la s s ro o m * P r e n tic e - H a ll, I n c ., 1937.
New Y o r k :
I n s t i t u t e o f R a d io E n g in e e r s , S ta n d a r d s on R a d io R e c e i v e r s . New Y o r k : I n s t i t u t e o f R a d io E n g i n e e r s , 1 9 3 8 . K o o n , C l i n e M o rg a n , The A r t o f T e a c h i n g b y R a d i o . W ash in g to n , D. C . : U. S . G o v e rn m e n t P r i n t i n g O f f i c e , 1 9 3 3 . K o o n , C i i n e M o rg a n , N a t i o n a l V i s u a l E d u c a t i o n D i r e c t o r y . W a s h i n g t o n , B. cTi A m e r ic a n C o u n c i l o n E d u c a t i o n , 1 9 3 6 . L a i n e , E l i z a b e t h , M o t i o n P i c t u r e s a n d R a d i o . New Y o r k : The R e g e n t ’ s I n q u i r y . M c G r a w - H ill Book C o . , I n c . , 1 9 3 8 . R e y n o ld s , F r e d e r i c k W illia m , M o tio n P i c t u r e s an d M o tio n P i c t u r e E q u i p m e n t . W a s h i n g t o n , B. C . : W a s h i n g t o n G o v e rn m e n t P r in tin g O ffic e , 1920. S te w a rt, I r v i n , L ocal B ro a d ca sts to S c h o o ls. The U n i v e r s i t y o f C h i c a g o P r e s s , 1 9 3 9 .
C h ic a g o :
T w o n se n d , M ary E v e l y n , A u d i o - V i s u a l A i d s f o r T e a c h e r s i n J u n i o r a n d S e n i o r H ig h S c h o o l s . New Y ~ r k : The H. W. W ilso n C o . , 1937. ° W i l s o n , H. W ., E d u c a t i o n a l F i l m C a t a l o g u e . The H. W. W i l s o n d o . , 1 9 4 0 .
New Y o r k :
PERIODICAL AND ENCYCLOPEDIA REFERENCES G ram apho ne Shop E n c y c l o p e d i a o f R e c o r d e d M u s i c » T h e . New Y o r k : G ram ap hon e S h o p , I n c . , 1 9 3 6 . M u sic a l F a c t s .
C h ica g o :
S ch o o l M u sic ia n . T he.
Lee S t e r n , p u b l i s h e r .
C h ica g o :
R o jb e rt L . S h e p h e r d , p u b l i s h e r .
CHAPTER
V II
TEACHING THE GLEE CLUB Do y o u know how t o o r g a n i z e ' a m ent b a s i s ?
c l u b on a s e l f g o v e r n
Bo y o u know a g o o d s i n g e r w hen y o u h e a r o n e ?
Can y o u b u d g e t r e h e a r s a l t i m e a n d y e t make i t and s u c c e s s f u l r e h e a r s a l ?
an i n t e r e s t i n g
Do y o u h a v e a f e a r o f n o t b e i n g
p re p a re d f o r th e p u b lic p erfo rm an ce?
Many a t e a c h e r h a s
been r e q u e s te d to o rg a n iz e and d i r e c t a g le e c lu b w ith o u t pro p er p re p a ra tio n .
T h e s e f o r e g o i n g q u e s t i o n s a n d m any o t h e r s
h a v e becom e r e a l p r o b l e m s t o
th a t te a c h e r.
The p r o b l e m s a n d
a c t i v i t i e s o f t h i s c h a p te r have been in c lu d e d to a id in h a n d lin g an u n f a m i l i a r s i t u a t i o n w i t h a s u c c e s s w h ich w i l l b e n e f i t b o t h s t u d e n t a n d t e a c h e r a n d b e a c r e d i t t o y o u r c o m m u n ity . PROBLEMS 1 . How t o o r g a n i z e t h e g l e e c l u b . a . How c a n y o u s e c u r e t h e s c h o o l a d m i n i s t r a t i o n ’ s f u l l s u p p o rt in sp o n s o rin g a g le e c lu b ? b . Do a l l y o u r o r g a n i z a t i o n p l a n s m e e t w i t h t h e a p p r o v a l o f th e school a d m in istra tio n ? c . S h o u ld you t r y t o h a v e a g l e e c lu b o u t s i d e o f s c h o o l h o u rs? d . I f th e g le e c lu b m e e ts o u t s i d e o f s c h o o l h o u r s , s h o u ld y o u t r y t o g e t some o t h e r o r g a n i z a t i o n o r c l u b t o sponsor i t ? e . W hat e x p e n s e s a r e i n v o l v e d i n s t a r t i n g a g l e e c l u b ?
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f.
S h o u ld you h av e a h o y s and g i r l s g l e e c lu h s e p a r a t e o r a m ix e d g l e e c l u b ?
g« How c a n y o u a r r a n g e f o r s u f f i c i e n t p u b l i c i t y t o g e t th e f i r s t grou p t o g e t h e r ? h* How c a n y o u g e t g i r l s sin g in g ?
t o g e t h e r who a r e i n t e r e s t e d i n
i* How c a n y o u g e t t h e b o y s t o g e t h e r who a r e sin g in g ?
in te re s te d in
j . How s h o u l d y o u p r o v i d e f o r s t u d e n t o r g a n i z a t i o n i n t h e g le e c lu b ? k* S h o u l d y o u l e t t h e s t u d e n t s r u n t h e f i r s t m e e t i n g o f th e o rg a n iz a tio n ? 1 . S h o u ld t h e g l e e c lu b h av e a c o n s t i t u t i o n o r b y -la w s ? nu How do y o u go a b o u t w r i t i n g a c o n s t i t u t i o n f o r a g l e e b lu e ? n* How s h o u l d t h e s t u d e n t o f f i c e r s b e s e l e c t e d ? o . S h o u ld t h e l i b r a r i a n b e e l e c t e d o r a p p o i n t e d by t h e d ire c to r? p* W i l l i t b e a d v i s a b l e t o h a v e c l u b d u e s ? q . From w h a t s o u r c e w i l l t h e g l e e c l u b s e c u r e i t s m u s i c ? r . How s h o u l d y o u p r o v i d e f o r s o c i a l a c t i v i t y w i t h i n t h e g le e c lu b ? 2 . How t o s e l e c t t h e p e r s o n n e l a . How c a n a s c h o o l b e s t p r o v i d e f o r g l e e c l u b t r a i n i n g in th e c u rric u lu m ? b* How s h o u l d y o u d e t e r m i n e w h i c h s t u d e n t s s h o u l d b e i n c lu d e d i n th e g le e c lu b ? c . S h o u l d y o u u s e a l l s t u d e n t s i n t h e g l e e c l u b who a r e i n t e r e s t e d and w an t t o j o i n ? d . S h o u ld you f o r c e a l l s t u d e n t s o f a c e r t a i n age g ro u p o r c l a s s t o ta k e g le e c lu b w h e th er th e y w ant . to o r n o t?
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e . S h o u ld t h e age an d s i z e o f t h e s t u d e n t have a n y th in g t o do w i t h q u a l i f y i n g f o r t h e g l e e c l u b ? f . S h o u ld you h av e a l a r g e c h o ru s o r a s e l e c t g l e e c lu b ? g . S h o u ld you a c c e p t v o i c e s i n t h e g l e e c lu b j u s t b e c a u s e th e p a r e n ts i n s i s t t h a t t h e i r c h il d be in th e g le e c lu b ? h . S h o u ld g l e e c lu b t r a i n i n g a llo w a s t u d e n t t o o m it a m u sic a p p r e c i a ti o n c l a s s from h i s c u rric u lu m ? i . W hat s o r t o f v o i c e t e s t s h o u l d y o u g i v e w hen s e l e c t i n g v o ic e s f o r t h e g le e c lu b ? j . How s h o u l d t h e t r y - o u t s f o r g l e e c l u b b e c o n d u c t e d ? k . S h o u ld t r y - o u t s d i f f e r f o r b o y s? 1* W h ic h i s t h e b e s t way t o e x p l a i n t o a s t u d e n t t h a t d o es n o t h av e a s f i n e a v o ic e a s he t h i n k s he h a s ?
he
m. How c a n y o u c u t some s t u d e n t s f r o m t h e g l e e c l u b w i t h o u t h u r t in g any f e e l i n g s ? n* How s h o u l d y o u c o n d u c t t r y - o u t s f o r a c c o m p a n i s t o f t h e g le e c lu b ? o« S h o u l d y o u h a v e m o re t h a n o n e a c c o m p a n i s t f o r t h e g l e e c lu b ? p* S h o u l d t h e d i r e c t o r a l w a y s u s e t h e b e s t a v a i l a b l e a c c o m p a n ist even th o u g h o t h e r s have e a rn e d th e p o s i t i o n b y h a r d w o rk ? q . S h o u l d a n a c c o m p a n i s t g e t c r e d i t f o r g l e e c l u b w o rk o r p i a n o w o rk ? 3* How t o a r r a n g e a n d s c h e d u l e r e h e a r s a l s # a . W hat i s t h e p o l i c y o f y o u r s c h o o l a d m i n i s t r a t i o n r e g a r d in g r e g u l a r p r a c t i c e p e r i o d s and s p e c i a l o r e x t r a re h e a rsa ls? b . How m any h o u r s a w e e k s h o u l d t h e g l e e c l u b r e h e a r s e ? c . How c a n y o u b e s t e n l i s t o t h e r f a c u l t y m em bers* c o o p e r a t i o n when y o u n e e d e x t r a r e h e a r s a l s ? d . S h o u ld a l l r e h e a r s a l s be on s c h o o l s c h e d u le d tim e ?
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e* I s i t p o s s i b l e t o g e t s t u d e n t s o u t o f o t h e r c l a s s e s fo r sp e c ia l re h e a rs a ls? f * How c a n y o u b e s t g a i n t h e c o o p e r a t i o n o f t h e s t u d e n t s fo r e x tra re h e a rs a ls ? g . S h o u ld you a s k a few s t u d e n t s t o s t a y a f t e r s c h o o l fo r s p e c ia l h e lp ? h . Can y o u demand a s t u d e n t t o r e h e a r s e e x t r a a f t e r sc h o o l? i.
How c a n y o u b e s t g a i n t h e c o o p e r a t i o n o f t h e p a r e n t s in sc h e d u lin g e x tra r e h e a r s a ls ?
j . When c a n y o u b e s t s c h e d u l e r e h e a r s a l s w h i c h w i l l a v o i d a c o n f l i c t w ith a t h l e t i c sc h e d u le s? k . Can y o u r s c h o o l demand e x t r a t i m e o f t h e t e a c h e r f o r sp e c ia l re h e a rsa ls? 4* How t o a r r a n g e a n d s e a t t h e g l e e c l u b * a . Kow c a n y o u b e s t e x p l a i n t o t h e g l e e c l u b t h e n e c e s s i t y o f a s p e c i a l s e a t i n g and s t a n d i n g a rr a n g e m e n t f o r sin g in g ? b . S h o u l d t h e g l e e c l u b b e s e a t e d i n t h e sam e l o c a t i o n i n w h ic h t h e y s t a n d w hen s i n g i n g ? c . S h o u ld t h e s o p r a n o s be t o th e d i r e c t o r s l e f t o r r i g h t ? d* S h o u l d t h e t e n o r s b e t o t h e d i r e c t o r ’ s l e f t o r r i g h t ? e# I n a m ix e d c h o r u s o r g l e e c l u b s h o u l d t h e g i r l s b e on t h e o u t s i d e and t h e boys i n t h e c e n t e r ? f.
S h o u ld t h e b o y s a lw a y s be p la c e d i n b a c k o f th e g i r l s i n a m ix e d c h o r u s ?
g* W here s h o u l d t h e s o l o i s t s s t a n d w hen s i n g i n g w i t h t h e g roup? h . S h o u l d t h e p o o r s i n g e r s a lw a y s b e p l a c e d i n t h e b a c k ? i.
S h o u ld t h e t a l l s t u d e n t s be p la c e d i n t h e c e n t e r o r a t e i t h e r end o f th e group?
j.
S h o u ld t h e s h o r t p e o p l e a lw a y s b e p l a c e d i n t h e f r o n t ?
85
k* I s
i t a d v is a b le t o u se r i s e r s f o r a rr a n g in g th e gro up ?
1 . S h o u ld a g l e e c lu b e v e r h o ld m u sic? m. How s h o u l d t h e m u s i c b e h e l d s o t h e s t u d e n t s c a n a l s o see th e d ir e c to r ? n . How s h o u l d t h e g i r l s g l e e c l u b h o l d t h e i r h a n d s when s ta n d in g and s in g in g ? o . How s h o u l d t h e b o y s g l e e c l u b h o l d t h e i r h a n d s w hen s t a n d i n g and s in g in g ? p . W here s h o u l d t h e p i a n o b e p l a c e d w hen a g l e e c l u b i s sta n d in g ? q . W here s h o u l d t h e p i a n o b e p l a c e d when t h e g l e e c l u b is se a te d ? r . W hich p a r t o f t h e g l e e c l u b s h o u l d b e n e a r e s t t h e p i a n o ? 5* How t o t e a c h t h e t e c h n i q u e o f g l e e c l u b s i n g i n g * a* How c a n y o u b e s t t e a c h t h e s t u d e n t t o l i s t e n o t h e r s s i n g i n g a r o u n d h im ?
to th e
b* S h o u l d a s o l o i s t a l w a y s h e a r h i s v o i c e a b o v e t h e o t h e r s ? c* How c a n y o u g e t e a c h p a r t t o make t h e i r v o i c e s b l e n d in w ith th e o th e r p a r t s ? d . How c a n y o u b e s t e m p h a s i z e t h e i m p o r t a n c e o f e a c h v o i c e d o in g h i s p a r t and b l e n d i n g w i t h t h e o t h e r v o i c e s ? e . S h o u l d y o u d e p e n d u p o n o n e l e a d v o i c e on e a c h p a r t t o le a d th e se c tio n ? f.
S h o u ld a l l s i n g e r s b e a b le to h e a r t h e p ia n o a t a l l tim e s?
g . S h o u ld t h e g l e e c lu b e v e r s i n g a c a p p e l l a ? h . How c a n y o u k e e p t h e g l e e c l u b f r o m g o i n g down i n p i t c h ? i.
How i m p o r t a n t i s f a c i a l e x p r e s s i o n t o t h e s i n g i n g o f th e g le e c lu b ?
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j . How c a n y o u g e t e a c h s t u d e n t t o o p e n h i s m o u th when sin g in g ? k . How c a n y o u b e s t p r a c t i c e t h e t e c h n i q u e o f a t t a c k a n d re le a se ? 1* How c a n y o u b e s t g e t t h e c r e s c e n d o a n d d e c r e s c e n d o e ffe c ts? m. S h o u l d a l l w o r d s b e p r o n o u n c e d w i t h e q u a l e m p h a s i s ? n . S h o u ld p a r t o f t h e g l e e c l u b p e r i o d b e g i v e n o v e r t o v o cal e x e rc ise s? o* S h o u l d y o u t e a c h t h e g l e e c l u b t h e t e c h n i q u e o f b r e a t h in g p r o p e r l y ? p . How c a n y o u b e s t s e c u r e m u s c u l a r f r e e d o m among t h e sin g e rs? q* How m uch i n d i v i d u a l a t t e n t i o n c a n b e g i v e n t o s p e c i a l v o c a l p ro b lem s? r.
S h lu ld you e x p l a i n w hat y our d i r e c t i o n s and s i g n a l s m ean?
s* Hov/ c a n y o u g e t a l l m em bers o f t h e g l e e c l u b t o k e e p t h e i r e y e s on t h e d i r e c t o r ? 6 . How t o g r a d e a n d m e a s u r e i n d i v i d u a l p r o g r e s s * a . S h o u l d g l e e c l u b b e g r a d e d t h e sam e a s o t h e r s c h o o l c la sse s? b* S h o u l d t h e s t u d e n t b e g r a d e d o n h i s a b i l i t y ? c . S h o u ld a t t e n d a n c e a t r e i i e a r s a l s and p u b l i c p e rfo rm a n c e be c o n s id e re d in th e grade? d . S h o u l d t h e h a r d w o r k i n g s t u d e n t who h a s a p o o r v o i c e g e t a s good a g ra d e a s a s t u d e n t w i t h a b e t t e r v o ic e ? e . S h o u l d a s t u d e n t g e t a b e t t e r g r a d e f o r im p r o v e m e n t and p r o g r e s s ? f* S h o u ld t h e s t u d e n t s m u s ic a l b a c k g ro u n d be ta k e n i n t o c o n s i d e r a t i o n w hen g i v i n g a g r a d e ?
85
g . S h o u l d y o u c o n s i d e r t h e s t u d e n t s a g e w hen g i v i n g a g rad e? h . S h o u ld a l l g r a d e s be e i t h e r s a t i s f a c t o r y o r u n s a t i s faco ry ? i.
S h o u ld you have s t u d e n t s s i n g i n d i v i d u a l l y o r i n q u a rte ts to e v a lu a te t h e i r le a rn in g ?
j.
S h o u ld any ty p e o f w r i t t e n t e s t be g iv e n th e g le e c lu b ?
k . S h o u l d s t u d e n t s b e d em an d ed t o k e e p u p . t o l e v e l t o re m a in i n t h e g l e e c lu b ?
a c e rta in
7 . How t o p r e p a r e t h e g r o u p f o r p u b l i c p e r f o r m a n c e ♦ a . S h o u ld a g l e e c lu b have a d e f i n i t e u n ifo rm ? b* How much s h o u l d b e s p e n t o n a u n i f o r m ? c « Who s h o u l d p u r c h a s e t h e g l e e c l u b u n i f o r m ? d . Can y o u demand t h a t a u n i f o r m b e p u r c h a s e d b y t h e s t u d e n t i f he i s a c c e p te d i n t h e g l e e c lu b ? e . How may y o u d e s i g n a r e a s o n a b l y p r i c e d u n i f o r m ? f« How c a n y o u go a b o u t s e l e c t i n g / t h e m o s t a t t r a c t i v e u n ifo rm ? g* How c a n y o u b e s t g a i n t h e c o o p e r a t i o n o f t h e p a r e n t s r e g a r d i n g t h e p u r c h a s i n g and p r e p a r a t i o n o f u n if o r m s ? h . S h o u l d t h e d i r e c t o r w e a r t h e sam e t y p e o f u n i f o r m a s th e g roup? i* Hoy/ s h o u l d a l a s t m i n u t e r e h e a r s a l b e f o r e a p e r f o r m a n c e be co n d u cted ? Who s h o u l d a n n o u n c e t h e g l e e c l u b s e l e c t i o n s ? k . How many r i s e r s a r e n e c e s s a r y t o a r r a n g e t h e a v e r a g e g l e e c l u b on t h e s t a g e ? 1 . W here s h o u l d t h e p i a n o b e p l a c e d on t h e s t a g e w hen t h e g le e c lu b s in g s ? m. I s i t a d v i s a b l e t o h a v e t h e g l e e c l u b s i n g f r o m t h e s t a g e w i t h t h e a c c o m p a n y in g p i a n o i n t h e o r c h e s t r a p i t ?
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n* How c a n y o u b e s t g e t a g l e e c l u b i n a n d o u t on a n o p e n c u rta in sta g e ? o« I s i t m o re e f f i c i e n t t o a r r a n g e t h e g l e e c l u b b e h i n d a c lo s e d c u r ta in ? p . S h o u ld t h e g l e e c l u b d i r e c t o r a r r a n g e f o r a c u r t a i n man? r . When s h o u l d t h e s t a g e c u r t a i n o p e n and c l o s e ? s.
I s i t b e t t e r to have th e s ta g e c u r ta in r i s e , f ro m t h e s i d e s o n t h e g l e e c l u b ?
or p u ll
t.
W hich t y p e o f s t a g e l i g h t s s h o u l d b e u s e d when t h e g l e e c lu b i s a p p e a rin g ? ACTIVITIES
1# A sk y o u r s c h o o l a d m i n i s t r a t o r w h a t t h e s c h o o l p o l i c y i s c o n c e r n in g t h e o r g a n i z a t i o n o f m u sic c lu b s * 2 . C o n t a c t some o f t h e m u s i c a l s t u d e n t s a n d a s k th e m i f t h e y w o u ld l i k e t o h a v e a g l e e c l u b . 3 . G e t a f e w o u t s t a n d i n g s t u d e n t s who a r e i n t e r e s t e d i n g l e e c l u b t o t a l k i t up a n d g e t a g r o u p i n t e r e s t e d . 4 . Ask t h e a r t d e p a r t m e n t t o m ake a f e w p o s t e r s a n d t h e n m im e o g ra p h some p a m p h l e t s t o a d v e r t i s e t h e f i r s t m e e t i n g o f th e g le e c lu b . 5 . I f t h e r e a r e no s c h o o l fu n d s f o r m u sic s e e i f t h e r e a r e o t h e r m u s i c a l o r g a n i z a t i o n s fro m w h ich you m ig h t b o rro w . 6 . I f t h e r e a r e no s c h o o l f u n d s a v a i l a b l e f o r m u sic e s t i m a t e t h e a m o u n t y o u w o u ld n e e d t o p u r c h a s e a n d e i t h e r h a v e d u e s o r f i n d a w ay f o r t h e c l u b t o r a i s e t h e m o n ey . 7. S e l e c t a te m p o ra ry c h a irm a n from t h e s t u d e n t s p r e s e n t a n d l e t th e m o r g a n i z e t h e i r own c l u b . 8 . H ave t h e s t u d e n t s a p p o i n t a c o m m i t t e e t o d r a w up a c o n s t i t u t i o n f o r a fe w b y - l a w s f o r t h e c l u b . 9 . A sk t h e g l e e c l u b t o a p p o i n t a s o c i a l c h a i r m a n o r c o m m i tt e e t o m e e t w i t h t h e t e a c h e r t o p l a n some t y p e o f s o c i a l a c t i v i t y .
87
10* D e c i d e u p o n t h e p o l i c y t o be c a r r i e d o u t i n s e l e c t i n g p e rs o n n e l and th e n s t i c k to i t . 11# C o n d u c t some s o r t o f v o c a l t e s t f o r e n t r a n c e t o t h e g l e e c lu b even th o u g h i t i s s im p le and e a s y . I S . A sk s e v e r a l s t u d e n t s t o s i n g t o g e t h e r i n t r y - o u t s s o t h e y w i l l s i n g o u t a n d y o u c a n p l a c e th e m i n t h e i r c o r r e c t se c tio n . 1 3 . A sk s e v e r a l a c c o m p a n i s t s t o t r y o u t u s i n g v a r i o u s g r a d e s o f g le e c lu b m u sic . 1 4 . A sk y o u r s c h o o l a d m i n i s t r a t o r w h a t t h e s c h o o l p o l i c y i s c o n c e rn in g e x tr a r e h e a r s a l s . 1 5 . I n q u i r e from o t h e r s c h o o ls a s t o t h e i r g l e e c lu b s c h e d u le s a n d t h e n um ber o f h o u r s o f r e h e a r s a l p e r w e e k . 1 6 . T he s t u d e n t o r g a n i z a t i o n o f t h e c l u b s h o u l d d e c i d e u p o n t h e i r a t t i t u d e a n d c o o p e r a t i o n w hen s p e c i a l r e h e a r s a l s a re needed to p u t over a p r o je c t. 1 7 . A sk a f e w s t u d e n t s t o r e m a i n a f t e r s c h o o l f o r s p e c i a l h e lp i f th e y a re w i l l i n g . 1 8 . R e f e r t o m u sic boo k s and p a m p h le ts f o r g l e e c lu b s e a t i n g c h a rts. 1 9 . W r i t e t o a m u s i c com pany f o r g l e e c l u b s e a t i n g c h a r t s . 2 0 . A tte n d g l e e c lu b c o n c e r t s and p ro g ram s and n o t e t h e i r s ta n d in g a rra n g e m e n ts . 2 1. E x p e rim e n t w ith h a v e in g t h e g l e e c lu b h o ld t h e i r hands in d i f f e r e n t p o s itio n s . W hich l o o k s t h e b e s t a n d d o e s n o t i n t e r f e r e w ith th e sin g in g ? 22. P la c e t h e w e a k e st s e c t i o n o f t h e g le e c lu b n e a r e s t th e p ia n o . 2 3 . A sk t h e s t u d e n t , who d o e s n o t l i s t e n t o t h e o t h e r s , t o s t o p s i n g i n g a w h i l e an d l i s t e n t o t h e o t h e r p a r t s . 2 4 . A sk e a c h s e c t i o n o f t h e g l e e c l u b t o s i n g a t s u c h a v o lu m e t h a t t h e y c a n a lw a y s h e a r t h e o t h e r p a r t s o r s e c t i o n s o f th e g le e c lu b . 25. G et e v e ry one t o s m ile b e f o r e you s t a r t a so n g . p u t l i f e in to th e sin g in g .
I t w ill
88
2 6 . G iv e a l i t t l e t i m e a t e a c h r e h e a r s a l t o a fe w v o c a l te c h n iq u e s and e x e r c i s e s . 2 7 . I n q u i r e fro m o t h e r m u sic t e a c h e r s i n o t h e r s c h o o ls as t o t h e i r e x p e r i e n c e s w ith v a r i o u s g r a d in g sy ste m s f o r g le e c lu b s . 2 8 . T ry t h e g r a d i n g s y s te m w h ic h you t h i n k w i l l h e lp y o u r g roup m o st. 2 9 . H ave s t u d e n t s s i n g d o u b l e d u e l s o r d o u b l e q u a r t e t s a s a l it t le te s t. 3 0 . Be s u r e t o d e c i d e u p o n some d e f i n i t e u n i f o r m f o r t h e g l e e c l u b no m a t t e r how s i m p l e . 31* W r i t e t o a n u m b e r o f u n i f o r m s u p p l y h o u s e s f o r d e s c r i p t i v e lite ra tu re . 3 2 . L ook up v a r i o u s d r e s s p a t t e r n s a t y o u r l o c a l d r y g o o d s s t o r e f o r i d e a s on u n if o r m in g th e g i r l s . 3 3 . A sk t h e p a r e n t s o r P . T . A . t o a s s i s t i n m a k i n g t h e u n i f o r m s . 3 4 . H ave t h e g l e e c l u b p l a n a way i n w h i c h t h e y c a n r a i s e t h e m oney f o r u n i f o r m s . 3 5 . T ry c o n d u c tin g l a s t m in u te r e h e a r s a l s by j u s t h i t t i n g t h e h i g h s p o t s a n d n o t r u n n i n g o v e r a n y m u s i c m o re t h a n once • 3 6 . H ave o n e o f t h e s t u d e n t o f f i c e r s a n n o u n c e t h e g l e e c l u b se le c tio n s . 3 7 . T r y h a v i n g t h e g l e e c l u b go on a n d o f f t h e s t a g e w i t h an open c u r t a i n . 38.
Be s u r e t o o b t a i n t h e s e r v i c e s o f a g o o d c u r t a i n man f o r y o u r p ro g ram i f i t i s t o r u n sm o o th ly .
39.
T ry v a r i o u s t y p e s and c o l o r s o f f o o t l i g h t s and b o r d e r s a n d d e c i d e w h i c h c o m b i n a t i o n show s o f f t h e g l e e c l u b b e s t .
89
BIBLIOGRAPHY B a r r o w s , S a r a h T r a c y , T he V o i c e ; E x p r e s s i o n C o*, 1 9 3 3 .
How t o U se I t ,
B ro w n e , L e n n o x , V o i c e . 3 o n g , a n d S p e e c h . P u tn a m * s S o n s .
B o sto n :
New Y o r k :
G. P .
C a i n , N o b l e , C h o r a l M u s ic a n d I t s P r a c t i c e . M. ? 7 itm ark a n d S o n s , 1 9 3 2 .
New Y o r k :
C h r i s t y , f a n A m b ro s e , G l e e C lu b a n d C h o r u s . G. S c h i r m e r , I n c . , 1 9 4 0 .
New Y o r k :
C o le m a n , H e n r y , The A m a te u r C h o i r T r a i n e r . O xford U n i v e r s i t y P r e s s , 193E.
London:
D a v i s o n , A r c h i b a l d T ho m p son , C h o r a l C o n d u c t i n g . C am b rid g e, M a s s .: H a rv a rd U n i v e r s i t y P r e s s , 1 940. E r h a r t , W ill, C h o ra l T e c h n iq u e s. S ons, 1937.
New Y o r k :
M. V /itm a rk and
F e u c h t i n g e r , E u g e n e , Why V o i c e S t u d e n t s F a i l . P e r f e c t V o ic e I n s t i t u t e , 1 9 3 2 .
C h ica g o :
G e h r k e n s , K a r l W i l s o n , M u s ic N o t a t i o n an d T e r m i n o l o g y . C h ic a g o : L a id la w B r o t h e r s , I n c . , 19 3 0 . K e n d r i e , F r a n k E s t e s , H a n d b o o k on C o n d u c t i n g , and O r c h e s t r a R o u t i n e f o r t h e P r o s p e c t i v e C o n d u c to r o f E i t h e r C h o r u s o r O r c h e s t r a . New Y o r k : H. W. G ra y C o . , 1 9 3 0 . M a j o r , E l i z a b e t h A l e x a n d e r , W hat S i n g e r s S h o u l d Know. Los A n g e le s, C a l i f o r n i a : P re e m a n M a tth e w s M u s ic C o . , 1930. M c A ll, R e g i n a l d L e y , P r a c t i c a l C h u rc h S c h o o l M u s i c . Y o rk : A b in g d o n -C o k e sb u rry !P ress, 1938.
New
S e a s h o r e , C a r l E m il, O b j e c t iv e A n a ly s is o f M u s ic a l P e rfo rm a n c e . Iow a C i t y , I o w a : The U n i v e r s i t y P r e s s , 1 9 3 6 . S m a llm a n , J o h n , The A r t o f A C a p p e l l a S i h g i n g . O liv e r B its o n C o ., I n c . , 1933. S t a n l e y , B o u g i e s , T he S c i e n c e o f V o i c e . F is c h e r , In c . , 1939.
B o sto n :
New Y o r k :
C arl
90
S t a n l e y , D o u g l a s , T he To i c e . I t s P r o d u c t i o n a n d R e p r o d u c t i o n . Hew Y o r k ; P i t m a n P u b l i s h i n g C o r p o r a t i o n , 1933* W i l c o x , John C . , The L i v i n g V o i c e * I n c . , 1935.
Hew Y o rk s
C arl F is c h e r,
PERIODICAL AND ENCYCLOPEDIA REFERENCES G r o v e , S i r G e o r g e , G r o v e l D i c t i o n a r y o f M u s ic a n d M u s i c i a n s . Hew Y o rk s The Ma c m i l l a n C o . , 1 9 4 0 . I n t e r n a t i o n a l L i b r a r y o f M u s ic , T he. Y ocal S e r i e s . Hew Y o rk s U n i v e r s i t y Soc i e t y , I n c . , 1 9 3 4 . M o d e rn M u s i c .
New Y o rk s
M u s ic a l A m e ric a . M u s ic a l D i g e s t . In c.
L e a g u e of C o m p o s e r s , I n c .
New Y o r k :
John F. M a je s k i, p u b l i s h e r .
E a st S tro u d sb u rg , Penna:
M u s i c a l Q u a r t e r l y . T h e . , New Y o r k : S chool M u s ic ia n . The.
C h ica g o :
M u sic a l D i g e s t ,
G. S c h i r m e r , I n c .
R o b e rt L. S hep h erd , p u b l i s h e r .
CHAPTER
V III I
INSTRUCTING THE SOLOIST AND SMALL GROUP Bo y o u h e s i t a t e
in o f f e r i n g a d v ic e to a s o l o i s t o r .
s m a l l g r o u p o f s t u d e n t s who h a v e t a k e n l e s s o n s f r o m f i n e an d e x p e r i e n c e d m u s i c t e a c h e r s ?
A re y o u f a m i l i a r w i t h t h e
b a s i c p r i n c i p l e s o f go od s o l o s i n g i n g o r p l a y i n g ?
Bo y o u
u s e a c c o m p a n y in g i n s t r u m e n t s f o r y o u r o t h e r m u s i c g r o u p s ? You n e e d n o t b e a n e x p e r t a u t h o r i t y on m u s i c t o a i d t h e s o l o i s t o r sm a ll g ro u p .
T h e y make o b v i o u s m i s t a k e s w h ic h
t h e y do n o t h e a t t h e m s e l v e s . and s m a ll g r o u p s .
L is te n to p ro fe s s io n a l s o lo is ts
F a m i l i a r i z e y o u r s e l f w i t h a few b a s i c
p r i n c i p l e s o f g o o d a n d s m o o th p e r f o r m a n c e .
The f o l l o w i n g
p r o b l e m s a n d a c t i v i t i e s w i l l a i d y o u i n b e c o m in g m o re c a p a b l e o f c o a c h i n g t h o s e who n e e d a l i t t l e
g u id an c e to b e t t e r
p erfo rm an ce. PROBLEMS 1 . How t o i n s t r u c t t h e v o c a l s o l o i s t . a . How much s h o u l d y o u p u s h t h e t a l e n t e d s i n g e r ? b . How s h o u l d y o u s e l e c t t h e v o c a l s o l o i s t f r o m y o u r g le e ^ c lu b ? c . How c a n y o u b e s t h e l p t o d e v e l o p t h e t a l e n t e d s i n g e r ? d* S h o u l d y o u r c o a c h i n g b e t h e sam e a s a p r i v a t e v o c a l le s so n ?
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e* S h o u l d t h e s c h o o l t e a c h e r c o a c h t h e s t u d e n t w hen h e i s ta lcin g p r i v a t e l e s s o n s ? f . Who s h o u l d s e l e c t t h e s o l o i s t s m u s i c ? g . How c a n y o u e x p l a i n a f e w t e c h n i q u e s o f c o r r e c t b r e a t h in g t o th e s o l o i s t ? h* How m uch e m p h a s i s s h o u l d t h e s o l o i s t g i v e t o t h e w o r d s o f a song? i.
S h o u l d t h e s o l o i s t m ake u s e o f h i s p e r s o n a l i t y w hen he sin g s?
j . How s h o u l d y o u u s e g e s t u r e s when s i n g i n g ? k . W hich t y p e o f p o s t u r e s h o u l d b e u s e d b y t h e s o l o i s t ? 1* W here s h o u l d t h e i n d i v i d u a l s i n g e r s t a n d w hen s i n g i n g fo r th e c la s s ? m. How s h o u l d t h e s o l o i s t p l a c e h i s f e e t when h e i s in g ?
sin g
n . How
sh o u ld th e
so lo ist
h o l d h i s h a n d s w hen s i n g i n g ?
o . How
sh o u ld th e
so lo ist
h o l d h i s m u s i c when s i n g i n g ?
p . How
s h o u l d n o t e s b e h e l d when s i n g i n g ?
q* How
sh o u ld th e
so lo ist
d r e s s f o r p erfo rm an ce?
r . When s h o u l d a v o c a l s o l o i s t s t a n d a n d when s h o u l d he s i t ? s . How s h o u l d t h e s o l o i s t r e c o g n i z e h i s a u d i e n c e a t t h e c o n c lu sio n o f h is sin g in g ? 2 . How t o c o a c h t h e v o c a l d u e t , t r i o , a . How s h o u l d y o u s e l e c t t h e t r i o g le e c lu b ?
or q u a rte t, o r q u a r t e t fr o m y o u r
b« How c a n y o u a r r a n g e e x t r a r e h e a r s a l s f o r t h e s m a l l gro up ? c . How l o n g s h o u l d y o u c o n d u c t t h e r e h e a r s a l s ?
92
d . How o f t e n s h o u l d t h e s m a l l g r o u p r e h e a r s e ? e . S h o u l d t h e r e h e a r s a l s b e m o re i n f o r m a l t h a n a c l a s s ? f* S h o u ld t h e s m a l l g r o u p s t a n d o r s i t f o r r e h e a r s a l s ? g . Who s h o u l d s e l e c t t h e s m a l l g r o u p ’ s m u s i c ? h . S h o u l d y o u do a n y i n d i v i d u a l w o rk w i t h t h e m em bers o f th e d u e t, t r i o , o r q u a rte t? i.
S h o u ld you t r y t o g iv e t h e s m a ll g ro u p a few v o c a l te c h n iq u e s?
j.
How much e m p h a s i s s h o u l d b e g i v e n t o p r o p e r b r e a t h i n g ?
k . How much e m p h a s i s s h o u l d b e g i v e n t o t h e p r o n o u n c i a t i o n o f th e w o rds? 1 . S h o u l d a l l w o r d s o f t h e s D n g r e c e i v e t h e sam e e m p h a s i s ? m. How c a n y o u g e t e a c h member t o h e a r a l l t h e o t h e r p a r t s of th e o rg a n iz a tio n ? n . How s h o u l d t h e v o c a l t r i o
or d u et sta n d ?
o . How s h o u l d t h e m em b ers o f t h e t r i o th e ir fe e t? p . S h o u ld a g i r l s ’ t r i o each o th e r?
and d u e t p l a c e
s t a n d w i t h t h e i r a rm s a r o u n d
q . S h o u l d t h e s m a l l g r o u p h a v e some s o r t o f u n i f o r m ? r.
S h o u ld t h e t e a c h e r d i r e c t th e t r i o p erfo rm an ce?
or q u a r te t in
s* Who s h o u l d a n n o u n c e t h e n u m b e rs i n p e r f o r m a n c e ? t . When s h o u l d t h e s m a l l g r o u p s t a n d a n d s i t w hen i n p erfo rm an ce? u . How s h o u l d t h e g r o u p r e c o g n i z e t h e a u d i e n c e a f t e r p e r fo rm an ce?
93
3* How t o i n s t r u c t t h e i n s t r u m e n t a l s o l o i s t , a# How s h o u l d y o u s e l e c t t h e i n s t r u m e n t a l s o l o i s t f r o m your o r c h e s tr a o r band? b . How much o u t s i d e t i m e s h o u l d a t e a c h e r g i v e t o c o a c h in g a s o l o i s t ? c . S h o u l d t h e s c h o o l t e a c h e r c o a c h t h e s t u d e n t w hen he i s ta lcin g p r i v a t e l e s s o n s ? d . S h o u ld t h e t e a c h e r ’ s c o a c h in g be d i f f e r e n t t h a n a p riv a te le sso n ? e . Who s h o u l d s e l e c t t h e s o l o i s t s m u s i c ? f.
S h o u ld t h e s o l o i s t s ta n d o r s i t a t a r e h e a r s a l ?
g* How much i n s t u m e n t a l t e c h n i q u e s h o u l d t h e t e a c h e r e m p h a size ? h* S h o u l d t h e t e a c h e r i n s t r u c t t h e s o l o i s t i n p r o p e r b re a th in g ? i* S h o u l d t h e i n s t r u m e n t a l s o l o i s t m e m o riz e a l l h i s m u s i c ? j . How s h o u l d t h e s o l o i s t d r e s s f o r p e r f o r m a n c e ? k . How s h o u l d t h e i n s t r u m e n t a l s o l o i s t s t a n d a c c o r d i n g to h is in stru m e n t? 1. I s i t ever p e rm issa b le to s i t w h ile p la y in g ?
.f o r an in s tru m e n ta l s o l o i s t
m. When s h o u l d t h e i n s t r u m e n t a l s o l o i s t s t a n d a n d s i t a t a p erfo rm an ce? n* W here s h o u l d t h e s t a n d b e p l a c e d when t h e u s e s m u sic?
so lo ist
o . S h o u ld a n i n s t r u m e n t a l s o l o i s t p e rfo rm w i t h o u t an a cc o m p a n is t? p . How j& ould t h e s o l o i s t r e c o g n i z e t h e a u d i e n c e a f t e r p erfo rm an ce? 4 . How t o c o a c h t h e i n s t r u m e n t a l d u e t , t r i o ,
or q u a rte t,
a . How c a n y o u s e l e c t s p e c i a l i t y g r o u p s o u t o f y o u r o r c h e s t r a o r band?
94
b . How c a n y o u f i n d a p l a c e f o r t h e g u i t a r , u k u l e l e , piano_. a c c o r d i a n a n d o t h e r i n s t r u m e n t s on y o u r p r o g r a m ? c* How c a n y o u c h o o s e o d d c o m b i n a t i o n s f o r n o v e l t y g ro u p s ? d . How much e x t r a t i m e s h o u l d t h e t e a e h e r g i v e t o c o a c h i n g th e s m a ll g roup? e* How much i n d i v i d u a l i n s t r u c t i o n s h o u l d b e g i v e n t o m em bers o f t h e g r o u p ? f.
How o f t e n s h o u l d t h e s m a l l g r o u p h a v e r e h e a r s a l s ?
g* Who s h o u l d s e l e c t t h e m u s i c f o r t h e s m a l l g r o u p ? h« How much e m p h a s i s s h o u l d y o u g i v e t o when c o a c h i n g ? i.
in s tru m e n t te c h n iq u e
S h o u ld t h e s m a ll i n s t r u m e n t a l g ro u p h a v e a d e f i n i t e u n ifo rm ?
j . W here s h o u l d t h e i n s t r u m e n t s b e w arm ed u p b e f o r e p erfo rm an ce? k* How s h o u l d t h e s m a l l i n s t r u m e n t a l g r o u p s t a n d a t a p erfo rm an ce? 1* S h o u l d t h e s m a l l i n s t r u m e n t a l g r o u p e v e r s i t w hen p la y in g in p u b lic ? m# S h o u l d t h e t e a c h e r d i r e c t t h e s m a l l g r o u p i n p e r f o r m a n c e ? n . Who s h o u l d a n n o u n c e t h e s e l e c t i o n s
in th e p erfo rm an ce?
o . S h o u ld t h e s m a ll g ro u p p l a y w i t h o u t an a c c o m p a n is t? p« How s h o u l d t h e g r o u p r e c o g n i z e t h e a u d i e n c e a f t e r perfo rm an ce? 5* How t o s e l e c t a n d i n s t r u c t a c c o m p a n in g i n s t r u m e n t s , a . S h o u ld you c o n d u c t t r y - o u t s f o r p ia n o a c c o m p a n is ts f o r s p e c ia l gro u p s? b . S h o u ld you t r y t o u s e a l l a v a i l a b l e s t u d e n t a c c o m p a n is ts ? c . W h ic h i n s t r u m e n t s may b e s t b e u s e d f o r a c c o m p a n in g v fo sa l g r o u p s ?
95
d . S h o u l d t h e p i a n o a c c o r d i a n b e u s e d a s a n a c c o m p a n in g in stru m e n t? e . How s h o u l d y o u u s e t h e w oodw ind i n s t r u m e n t s f o r a c c o m p a n im e n ts ? f.
How s h o u l d y o u u s e t h e s t r i n g a c c o m p a n im e n ts ?
in stru m e n ts f o r
g . S h o u ld you u s e any o f t h e b r a s s in s tr u m e n ts f o r ..a c c o m p a n im e n ts ? h . How c a n t h e r e c o r d p l a y e r b e u s e d a s a n a c c o m p a n im e n t? i.
How c a n y o u s e l e c t t h e s e a c c o m p a n in g i n s t r u m e n t s . from y o u r band o r o r c h e s t r a ?
J . How m uch t i m e s h o u l d t h e t e a c h e r g i v e t o i n s t r u c t i n g th e a c c o m p a n ists? k# S h o u l d y o u r e h e a r s e t h e a c c o m p a n in g i n s t r u m e n t s s e p a r a t e f r o m t h e g r o u p t h e y a r e a c c o m p a n in g ? 1 . Hoy/ m uch p i a n o t e c h n i q u e s h o u l d y o u g i v e t o t h e p i a n o a c c o m p a n ist? m. How l o u d s h o u l d t h e p i a n o a c c o m p a n i s t p l a y t h e accom p a n im e n t? n . When s h o u l d t h e p i a n o a c c o m p a n i s t go on o r o f f t h e s ta g e a t p erfo rm an ce? o . How c a n y o u b e s t i n s t r u c t t h e p i a n i s t t o f o l l o w t h e s o l o i s t o r g roup? p# S h o u l d t h e a c c o m p a n im e n t h e l p t h e s o l o i s t o v e r a fe w rough p la c e s ? q . How s h o u l d t h e p i a n i s t t u r n t h e m u s i c t h e m o s t e f f i c i e n t l y ? r.
I f y o u h a v e m o re t h a n o n e a c c o m p a n i s t , who s h o u l d d e c id e w h ic h one p l a y s w h ic h s e l e c t i o n ?
s . S h o u l d t h e p i a n i s t w e a r t h e sam e u n i f o r m a s t h e g r o u p h e i s a c c o m p a n in g ?
96
t . How m uch i n s t r u m e n t a l t e c h n i q u e s h o u l d y o u t r y t o g i v e th e v a r io u s in s tr u m e n ta l a c c o m p a n ists? u . How l o u d l y s h o u l d t h e a c c o m p a n in g i n s t r u m e n t s p l a y ? v . How c a n y o u b e s t i n s t r u c t t h e i n s t r u m e n t a l a c c o m p a n in g g r o u p t o f o l l o w t h e g r o u p t h e y a r e a c c o m p a n in g ? w. When s h o u l d t h e i n s t r u m e n t a l a c c o m p a n in g i n s t r u m e n t s go on o r o f f t h e s t a g e a t a p e r f o r m a n c e ? x . S h o u ld t h e i n s t r u m e n t a l a c c o m p a n i s t s b e i n u n i f o r m ? ACTIVITIES 1# C o n d u c t t r y - o u t s f o r v o c a l s o l o i s t s t o d i s c o v e r y o u r m ost t a l e n t e d s t u d e n t s . 2 . P ro v id e t h e v o c a l s o l o i s t w i t h m u sic fro m w h ic h he c a n c h o o se a few n u m b ers. 3 . G iv e p e r s o n a l d e m o n s t r a t i o n s a s t o c o r r e c t b r e a t h i n g a n d o th e r v o cal te c h n iq u e s. 4 . A sk t h e s o l o i s t t o s p e a k t h e w o rd s o f a s o n g u s i n g g e s t u r e s , w ith o u t s in g in g . 5 . O b ta in p i c t u r e s o f s o l o i s t s s in g in g and d i s c u s s t h e i r p o stu re . 6 . H ave t h e s t u d e n t s o l o i s t t r y s t a n d i n g w i t h o n e f o o t a l i t t l e in f r o n t o f th e o th e r f o r p e r f e c t b a la n c e . 7 . H ave t h e s o l o i s t h o l d some l i t t l e o b j e c t i n h i s h a n d s f o r p e r f e c t freed o m and r e l a x a t i o n . 8 . H ave t h e s o l o i s t p r a c t i c e s i n g i n g i n f r o n t o f t h e c l a s s f o r p r a c t i c e in p erfo rm an ce te c h n iq u e . 9 . H ave t h e y o u n g s o l o i s t a t t e n d p r o g r a m s an d l i s t e n t o o t h e r so lo ists. 1 0 . P l a y some p h o n o g r a g h r e c o r d s o f g o o d s o l o i s t s . 11. Conduct t r y - o u t s f o r th e v o c a l d u e t, t r i o , to s e l e c t y o u r m ost t a l e n t e d s i n g e r s .
and q u a r t e t
1 2 . T r y g i v i n g some i n d i v i d u a l a t t e n t i o n t o . t h o s e s t u d e n t s who w i l l a c c e p t i t a n d p r a c t i c e .
97
1 3 . T ry t o g i v e t h e s m a ll v o c a l g ro u p a few t e c h n i q u e s a s a g r o u p r a t h e r t h a n t o o m uch i n d i v i d u a l . 1 4 . T r y t o g e t e a c h member o f t h e s m a l l g r o u p t o b l e n d h i s v o ic e w ith th e o th e rs . 15. A rra n g e f o r th e s m a ll v o c a l grou p t o a t t e n d c o n c e r t s o r p ro g ram s w here t h e y c a n h e a r o t h e r s m a ll g r o u p s . 1 6 . P l a y some p h o n o g r a p h r e c o r d s o f s m a l l v o c a l g r o u p s . 1 7 . T ry h a v in g t h e s m a ll v o c a l group s ta n d i n s e v e r a l p o s i t i o n s , u s e t h e o n e w h i c h se em s t o f i t t h e g r o u p b e s t a n d a i d s t h e i r sin g in g . 1 8 . T he b e s t s m a l l v o c a l g r o u p a l w a y s malces a b e t t e r a p p e a r a n c e i f t h e y a r e d r e s s e d i n some t y p e o f u n i f o r m . 1 9 . H ave o n e o f t h e s t u d e n t s a n n o u n c e t h e v o c a l g r o u p ’ s se le c tio n s. 2 0 . H ave t h e s m a l l g r o u p s i n g f o r a fe w c l a s s e s a s a d r e s s r e h e a r s a l f o r sta g e p re se n c e . 2 1 . As y o u l i s t e n t o y o u r o r c h e s t r a o r b a n d s e l e c t t h e b e s t i n s t r u m e n t s f o r a s p e c i a l r e h e a r s a l w here y o u c a n s e l e c t th e s o lo is ts . 22. I f p o s s ib le t r y to a rra n g e f o r a s p e c ia l p r iv a te le s s o n o r tw o w i t h a n e x p e r t i n s t r u m e n t a l i s t f o r y o u r t a l e n t e d so lo ist. 2 3 . P r o v id e t h e i n s t r u m e n t a l s o l o i s t w i t h m u sic fro m w h ic h h e c a n c h o o s e a fe w s o l o s . 2 4 . The t e a c h e r s h o u ld i n s t r u c t t h e i n s t r u m e n t a l s o l o i s t i n a s m uch t e c h n i q u e a s p o s s i b l e . 2 5 . A rra n g e f o r a few d r e s s r e h e a r s a l s b e f o r e s c h o b l c l a s s e s f o r t h e i n s t r u m e n t a l s o l o i s t so he can p r a c t i c e s t a g e p resen ce. 2 6 . A sk a n u m b er o f y o u r b e t t e r m u s i c i a n s t o t r y o u t odd c o m b in atio n s a f t e r s c h o o l. 27
# U se t h e u k u l e l e , g u i t a r , p ia n o a c c o r d i a n , and o t h e r in s t r u m e n t s in odd c o m b in a tio n s f o r s p e c i a l i t y n u m b ers.
2 8 . T r y t o o r g a n i z e some s m a l l i n s t r u m e n t a l g r o u p s who c a n p r a c t i c e e v e n i n g s a t t h e i r hom es a s w e l l a s a t s c h o o l .
98
£ 9 . The s m a l l i n s t r u m e n t a l g r o u p w i l l m ake a m uch b e t t e r a p p e a r a n c e i f t h e y a r e i n some t y p e o f u n i f o r m . 3 0 . T ry a num ber o f s t a n d i n g p o s i t i o n s f o r t h e s m a ll i n s t r u - . m e n t a l g r o u p a n d u s e t h e o ne w h i c h se e m s t o f i t t h e g r o u p b e st. 3 1 . A r r a n g e f o r some d r e s s r e h e a r s a l s b e f o r e t h e s c h o o l g ro u p s to g iv e p r a c t i c e in s tg g e p re s e n c e f o r th e in s tru m e n ta l g ro u p . 3 2 . T r y t o s e l e c t p i a n o a c c o m p a n i s t s who a r e w i l l i n g t o p u t i n e x t r a tim e on r e h e a r s a l s . 3 3 . T ry s e v e r a l c o m b in a tio n s o f i n s t r u m e n t a l g ro u p s f o r a c c o m p a n in g t h e v a r i o u s c o c a l g r o u p s . 3 4 . The t e a c h e r s t i m e w i l l b e w e l l s p e n t i f h e w i l l g i v e some i n d i v i d u a l t i m e t o i n s t r u c t i n g t h e p i a n o a cco m pan i s t s i n t h e t e c h n i q u e o f a c c o m p a n in g . 3 5 . A r r a n g e ..f o r t h e p i a n o a c c o m p a n i s t t o w a t c h some p r o f e s s i o n a l a c c o m p a n ist. BIBLIOGRAPHY C a i n , N o b l e , C h o r a l M u s ic a n d I t s P r a c t i c e . M. W itm a r k a n d S o n s , 1 9 3 2 . l a r h a r t , W ill, C h o ral T e c h n iq u e s. and S o n s , 1937.
New Y o rk :
New Y0 r k :
G oldm an , R i c h a r d F r a n h o , The B a n d s M u s i c . P itm an P u b l i s h i n g C o r p ., 1938.
M. W itm s r k
New Y0r k :
M addy, J o s e p h E l g a r , I n s t r u m e n t a l C l a s s T e a c h i n g . W i l l i s M u s ic C o . , 1 9 2 8 .
C in c in n a ti:
Nc rm a n n , T h e o d o r e F r e d e r i c k , I n s t r u m e n t a l M u s ic i n t h e P u b lic S c h o o ls. P h i l a d e l p h i a : O l i v e r & its o n and C o .,
im r.----------
P r e s c o t t and C h i d e s t e r , G e t t i n g R e s u l t s w i t h S c h o o l B a n d s. M in n e o p o lis, M in n e so ta : P a u l A. S c h m i t t M u s ic C o . , 1 9 3 8 . S e a s h o re , C a rl E m il, O b je c tiv e A n a ly s is o f M u sic a l P erfo rm ance. Iow a C i t y , I o w a : The U n i v e r s i t y P r e s s , 1 9 3 6 . S t a n l e y , D o u g l a s , The S c i e n c e o f V o i c e . F is c h e r , I n c . , 1939.
New Y o r k :
C arl
99
S t a n l e y , D o u g l a s , T he Y o l c e , I t s P r o d u c t i o n a n d R e p r o d u c t i o n . New Y0r k ; P itm an P u b l i s h i n g C o r p ., 1933. W i l c o x , J o h n C . , The L i v i n g T o i c e . I n c . , 1935.
New Y o r k ;
C arl F is c h e r,
PERIODICAL AND ENCYCLOPEDIA REFERENCES E t u d e M u s ic M a g a z i n e , T h e .
P h ila d e lp h ia ;
T h e o d o r e P r e s s e r C o .,
G r o v e , S i r G e o r g e , G r o v e l D i c t i o n a r y o f M u s ic a n d M u s i c i a n s . New Y o r k : The M a c m i l l a n C o . , 1 9 4 0 . I n t e r n a t i o n a l L i b r a r y o f M u sic . T he. V ocal S e r i e s . New Y o r k ; U n i v e r s i t y S o c i e t y , I n c . , 1 9 3 4 . I n t e r n a t i o n a l L i b r a r y o f M u sic . T he. P ia n o S e r i e s . New Y o r k : U n i v e r s i t y S o c i e t y , I n c . , 1 ^ 3 4 . I n t e r n a t i o n a l L i b r a r y o f M u s ic . T h e. V io lin S e r i e s . New Y o r k : U n i v e r s i t y S o c i e t y , I n c . ,' 1 9 3 4 . M o d e rn M u s i c .
New Y o r k :
M u s ic a l A m erica.
L eague o f C om posers, I n c .
New Y o r k :
M u s ic a l D i g e s t .
John F. M a je s k i, p u b l i s h e r .
E ast S tro u d sb u rg , Penna; .
.
.
-
S c h o o l M u s ic ia n , The. ? fo rld o f M u s ic , T h e .
In c.
v
.
M u s ic a l Q u a r te r l y , T he.
M u sic a l D ig e s t,
New Y o r k : C h ica g o :
B o sto n :
G. S c h i r m e r , I n c .
R o b e rt L. S h e p h erd , p u b l i s h e r . G in n a n d C o . , 1 9 3 8 .
CHAPTER
IX
SELECTING AND CARING FOR INSTRUMENTS Do yo u l e t t h e s t u d e n t a n d h i s p a r e n t s w o r r y a b o u t s e le c tin g th e e q u a lly w e ll?
in stru m e n t?
Can a l l c h i l d r e n p l a y v i o l i n s
H ave y o u c o n s i d e r e d t h e o p p o r t u n i t y y o u h a v e
t o a d iv s e th e s t u d e n t and p a r e n t w is e ly ?
I t w i l l be to your
i n t e r e s t to se e t h a t th e s tu d e n t s e l e c t s th e p ro p e r in stru m e n t* Do y o u know w h a t m a k e s u p a w e l l c o n s t r u c t e d i n s t r u m e n t ?
Do
y o u know w h e t h e r thei s t u d e n t s h o u l d p u r c h a s e a wood o r m e t a l in stru m e n t?
How many a n d w h i c h s i z e d ru m s s h o u l d b e p u r c h a s e d ^
The t e a c h e r s h o u l d know s o m e t h i n g a b o u t t h e i n s t r u m e n t s i f he i s t o g iv e th e s tu d e n ts th e b e s t a d v ic e . fu rth e r in stru c tio n
in th e c a re o f t h e i r In s tru m e n ts .
sh o u ld th e y p o l i s h th e in s tru m e n t? in th e c a se ?
S tu d e n ts need How
How s h o u l d t h e y p l a c e i t
The f o l l o w i n g q u e s t i o n s a n d p r o b l e m s w i l l s u g
g e s t some o f t h e
t h i n g s y o u s h o u l d know i f y o u a r e t o b e o f
th e b e s t s e rv ic e to your s tu d e n ts . PROBLEMS 1 . How t o s e c u r e t h e i n s t r u m e n t s . a . S h o u l d t h e s t u d e n t h a v e much c h o i c e i n s e l e c t i n g t h e in stru m e n t? b . S h o u ld t h e s t u d e n t p u r c h a s e an e x p e n s iv e in s tr u m e n t o r a cheap one? c . How s h o u l d y o u d e c i d e w h i c h p l a c e t o p u r c h a s e t h e in stru m e n ts?
101
d.
How s h o u l d t h e s t u d e n t go a b o u t r e n t i n g a n i n s t r u m e n t , w h i c h w i l l a p p l y on t h e p u r c h a s e p r i c e i f h e w i s h e s t o buy i t l a t e r on?
e« S h o u l d t h e t e a c h e r h a v e a p a r t i n t h e s e l e c t i n g o f th e stu d e n ts * in stru m e n ts? f . How s h o u l d y o u d e c i d e w h i c h i n s t r u m e n t a s t u d e n t sh o u ld p la y ? g . S h o u ld a t e a c h e r p e rs u a d e a s t u d e n t to t a k e up a c e r t a i n in s tr u m e n t j u s t b e c a u s e he n e e d s i t in t h e o r c h e s t r a ? h* S h o u l d y o u t r y t o d e v e l o p i n t e r e s t among t h e s t u d e n t s so t h e y w i l l p u rc h a s e in s tr u m e n ts ? i.
S h o u ld you t r y t o g e t t h e s c h o o l t o f u r n i s h t h e m en ts?
in stru
j* How s h o u l d y o u d e c i d e w h i c h i n s t r u m e n t s t h e s c h o o l sh o u ld f u r n i s h ? k . How s h o u l d y o u go a b o u t g e t t i n g t h e p a r e n t s c o o p e r a t i o n in p u rc h a sin g in stru m e n ts fo r th e s tu d e n ts ? 1#
S h o u ld t h e te a c h e r have a p a r t in th e s e l li n g o f in stru m e n ts?
hu
How s h o u l d y o u go a b o u t s e l e c t i n g a n i n s t r u m e n t s a l e s m a n to v i s i t your sc h o o l?
n . How s h o u l d y o u go a b o u t g e t t i n g t h e i n s t r u m e n t s a l e s m a n and t h e p a r e n t s t o g e t h e r ? o* How s h o u l d y o u p r o v e t o t h e p a r e n t s t h a t i n t e r e s t i n m u sic and i t s a c t i v i t i e s w i l l s o l v e t h e l e i s u r e tim e p ro b lem f o r t h e s t u d e n t ? p* S h o u l d a s t u d e n t p u r c h a s e a n e x p e n s i v e h a r m o n i c a o r a cheap one? q.
S h o u ld you
t r y to g e t th e s c h o o l to f u r n i s h h a rm o n ica s?
r.
S h o u ld t h e s c h o o l f u r n i s h t h e sy m p h o n e tts o r h a v e t h e s t u d e n t s f u r n i s h th e m ?
102
2 # How t o s e l e c t e n d c a r e f o r s t r i n g
in stru m e n ts*
a* How s h o u l d t h e s t u d e n t go a b o u t s e l e c t i n g a w e l l c o n s tru c te d in stru m e n t? b . S h o u l d t h e s t u d e n t s e l e c t t h e i n s t r u m e n t w h ic h h a s th e new est f in is h ? c . S h o u l d some s t u d e n t s s e l e c t a h a l f o r t h r e e q u a r t e r s iz e in stru m e n t? d.
S h o u ld a s e c o n d -h a n d in s tr u m e n t be p u r c h a s e d ?
e*
S h o u l d t h e s t u d e n t s e l e c t i t h e bow o r j u s t t a k e t h e o n e w h i c h com es w i t h t h e i n s t r u m e n t ?
f.
S h o u ld t h e s t u d e n t p u r c h a s e e x p e n s iv e o r ch eap s t r i n g s ?
g . What s h o u l d y o u do when t h e p a r e n t s s a y s t h e s t u d e n t ’ s in stru m e n t i s to o e x p e n siv e to b r in g to sc h o o l? h.
S h o u l d t h e s t u d e n t a lw a y s h a v e case?
e x tra s tr in g s
in h is
i« What s h o u l d t h e s t u d e n t do t o k e e p t h e i n s t r u m e n t in tu n e ? j . W hat s h o u l d t h e s t u d e n t do t o k e e p t h e i n s t r u m e n t fro m c r a c k i n g ? k . How
sh o u ld th e in stru m e n t be c le a n e d ?
1« How
sh o u ld th e in stru m e n t be p la c e d in th e c ase ?
m. How
sh o u ld th e in s tru m e n t be packed f o r tr a n s p o r t i n g ?
n # S h o u ld you m en t? o.
m ake s i m p l e r e p a i r s o n t h e s t u d e n t ’ s i n s t r u
How s h o u l d y ou m ake s i m p l e r e p a i r s o n t h e s t u d e n t ’ s i n s t r lament?
p . How s h o u l d a r e p a i r man b e s e l e c t e d ? q . How s h o u l d t h e i n s t r u m e n t b e i n s u r e d ?
103
3« How t o s e l e c t a n d c a r e f o r w o odw ind i n s t r u m e n t s * a.
How c a n a s t u d e n t b e s u r e h e i s g e t t i n g a n i n s t r u m e n t w h ic h i s i n p r o p e r p i t c h ?
b* S h o u l d t h e s t u d e n t p u r c h a s e a wood o r m e t a l i n s t r u m e n t ? c . S h o u l d t h e s t u d e n t t a k e a n y n o u t h p i e c e w h i c h com es w ith th e in s tru m e n t o r s e l e c t a s p e c i a l one? d . How s h o u l d t h e s t u d e n t s e l e c t t h e f i n i s h o f t h e i n s t r u m en t? e . How s h o u l d t h e s t u d e n t s e l e c t an i n s t r u m e n t w h i c h f i t s h i s m o u th ? f.
How c a n t h e s t u d e n t b e s u r e t h e p a d s a r e o f g o o d q u a l i t y ?
g . S h o u ld a se c o n d -h a n d in s tr u m e n t b e p u rc h a s e d ? h* S h o u l d t h e s t u d e n t s e l e c t a n e x p e n s i v e r e e d o r a c h e a p one? i.
How s h o u l d t h e
j*
How s h o u l d t h e o u td o o rs?
in s tr u m e n t be d r ie d a f t e r u s e ? i n s t r u m e n t b e p r o t e c t e d w hen p l a y i n g
k.. W hat s h o u l d b e d o n e t o p r e v e n t t h e i n s t r u m e n t f r o m c ra c k in g ? 1.
S h o u ld t h e s t u d e n t t a k e h i s in s tr u m e n t a p a r t ?
m. H0w o f t e n s h o u l d t h e
in stru m e n t be o ile d ?
n . H0w s h o u l d y o u g r e a s e t h e c o r k s ? o.
How s h o u l d t h e
i n s t r u m e n t be c le a n e d and p o l i s h e d ?
p*
How s h o u l d t h e
in stru m e n t be p re p a re d fo r tr a n s p o r tin g ?
q . W hat s i m p l e r e p a i r s s h o u l d y o u m ake on t h e s t u d e n t ' s in stru m e n t? r . How s h o u l d a r e p a i r m an b e s e l e c t e d ? s . How s h o u l d t h e i n s t r u m e n t b e i n s u r e d ?
104
4# How t o s e l e c t a n d c a r e f o r b r a s s i n s t r u m e n t s * a . How c a n t h e s t u d e n t b e s u r e t h e I n s t r u m e n t i s p ro p er p itc h ?
in
b . How s h o u l d t h e s t u d e n t s e l e c t g o o d v a l v e s ? c . How s h o u l d t h e s t u d e n t s e l e c t a g o o d s l i d e ? d . How c a n t h e s t u d e n t b e s u r e t h e i n s t r u m e n t h a s © goo d fin is h ? e . How s h o u l d t h e s t u d e n t s e l e c t a n i n s t r u m e n t w h i c h f i t s h i s m o u th ? f.
How s h o u l d t h e s t u d e n t s e l e c t t h e m o u t h p i e c e ?
g . How s h o u l d a s e c o n d - h a n d i n s t r u m e n t b e p u r c h a s e d ? h . How s h o u l d t h e i n s t r u m e n t b e d r i e d a f t e r u s e ? i.
S h o u ld t h e s t u d e n t t a k e t h e in s t r u m e n t a p a r t ?
j* H0w s h o u l d t h e s t u d e n t o i l t h e i n s t r u m e n t ? k . HqW s h o u l d t h e i n s t r u m e n t b e c l e a n e d a n d p o l i s h e d ? 1 . How s h o u l d t h e i n s t r u m e n t b e p r e p a r e d f o r t r a n s p o r t i n g ? m. What s i m p l e r e p a i r s s h o u l d y o u m ake o n t h e s t u d e n t * s in stru m e n t? n . How s h o u l d a r e p a i r man b e s e l e c t e d ? o* How s h o u l d t h e i n s t r u m e n t b e i n s u r e d ? 5 . How t o s e l e c t a n d c a r e f o r p e r c u s s i o n i n s t r u m e n t s » a# How m any d rum s s h o u l d t h e s t u d e n t p u r c h a s e ? b.
How s h o u l d t h e s t u d e n t d e c i d e w h i c h s i z e drum t o p u r c h a s e ?
c* How c a n t h e s t u d e n t t e l l w h e t h e r t h e drum h a s a g o o d head o r n o t? d . S h o u ld t h e s t u d e n t p u r c h a s e t h e th e p r e t t i e s t f in is h ?
set
o f d rum s w h i c h h a s
105
e* S h o u l d t h e s t u d e n t s e l e c t t h e drum s t i c k s o r t a k e t h e o n e s w h i c h come w i t h t h e drum o u t f i t ? f . How c a n t h e s t u d e n t s e l e c t a go o d c y m b a l? g . S h o u l d t h e s t u d e n t p u r c h a s e w o o d b lo c k s ? h . How s h o u l d t h e s t u d e n t go a b o u t s e l e c t i n g g o o d b e l l s ? i.
How c a n t h e s t u d e n t
be s u r e th e b e l l s a r e i n tu n e ?
J . How s h o u l d t h e s t u d e n t s e l e c t m a l l e t s f o r t h e b e l l s ? k* What s h o u l d b e d o n e t o p r e s e r v e t h e / d r u m h e a d ? 1 . What s h o u l d be d o n e t o k e e p t h e drum f r o m w a r p i n g ? m. W hat s h o u l d b e d o n e t o k e e p t h e b e l l s
in tu n e?
n* How s h o u l d t h e i n s t r u m e n t s b e p r o t e c t e d w h e n p l a y i n g o u td o o rs? o . How s h o u l d t h e d rum s a n d b e l l s b e c l e a n e d a n d p o l i s h e d ? p* How s h o u l d t h e b e l l s a n d d ru m s b e p r e p a r e d f o r t r a n s p o rtin g ? q . W hat s i m p l e r e p a i r s s h o u l d y o u m ake on t h e s t u d e n t s in stru m e n ts? r.
H o w ts h o u ld a r e p a i r man b e s e l e c t e d ?
s . How s h o u l d t h e d ru m s a n d t r a p s b e i n s u r e d ? 6# How t o s e l e c t a n d c a r e f o r i n s t r u m e n t a c c e s s o r i e s , a . W hat i n s t r u m e n t a c c e s s o r i e s s h o u l d t h e s t u d e n t p u r c h a s e ? b . S h o u ld t h e c a s e f o r t h e in s tr u m e n t be p u rc h a s e d f o r d u r a b i l i t y or f o r lo o k s? c . How s h o u l d t h e s t u d e n t s e l e c t a m e t a l r a c k f o r home u s e ? d . How s h o u l d y o u s e l e c t a g o o d s c h o o l m u s i c r a c k ? e . S h o u ld t h e s t u d e n t u s e j u s t any c h in p a d on t h e v i o l i n o r g e t one w h ich f i t s h i s c h in ?
106
f.
How
can
th e
s t u d e n t t e l l when h e i s g e t t i n g g o o d r o s i n ?
g*
How m u te ?
can
th e
s t u d e n t b e s u r e h e i s g e t t i n g a go o d
v io lin
h* S h o u l d t h e s t u d e n t p u r c h a s e a m u te t o m a t c h h i s i n s t r u - . m e n t o r o n e w h i c h w i l l g i v e th e^ f e f f e c t h e w a n t s ? i«
Hows h o u l d t h e s t u d e n t How c a n t h e s t u d e n t f o r h is in stru m e n t?
s e le c t a tria n g le ?
be s u r e he i s g e t t i n g
a g ood l y r e
k . How s h o u l d a c c e s s o r i e s b e c a r r i e d s o t h e s t u d e n t w o n ’ t l o s e th e m ? 1.
How s h o u l d t h e v a r i o u s a c c e s s o r i e s b e c l e a n e d ?
7* How t o s e l e c t a n d c a r e f o r t h e h a r m o n i c a a n d s y m p h o n e t t e , a . How c a n t h e s t u d e n t b e s u r e h e i s g e t t i n g a h a r m o n i c a w h ich w i l l l a s t ? b . S h o u ld t h e h a rm o n ica b e s e l e c t e d f o r t o n e o r f o r ap p earan ce? c« W hich s i z e o f h a r m o n i c a s h o u l d t h e s t u d e n t p u r c h a s e ? d* S h o u l d a l l s t u d e n t s i n t h e c l a s s h a v e t h e sam e s i z e h arm o n ica ? e , How s h o u l d t h e s t u d e n t d e c i d e w h i c h m ake o f s y m p h o n e t t e to p u rch ase? f,
S h o u l d a l l s t u d e n t s i n t h e c l a s s h a v e t h e same make o f sy m p h o n e tte ?
g , How m any n o t e s s h o u l d t h e s y m p h o n e tt e h a v e ? h , How s h o u l d t h e s t u d e n t d e c i d e w h i c h c o l o r o f s y m p h o n e t t e to p urchase? i,
How s h o u l d t h e h a r m o n i c a b e d r i e d a f t e r u s e ?
j # How s h o u l d t h e s y m p h o n e t t e b e d r i e d a f t e r u s e ? k . W hat s h o u l d b e d o n e t o p r e v e n t t h e s y m p h o n e t t e f r o m c ra c k in g ?
107
1.
S h o u ld t h e h a rm o n ica b e k e p t i n a c a s e o r j u s t c a r r i e d in th e s t u d e n t fs p o c k et?
m. S h o u l d t h e s y m p h o n e t t e b e c a r r i e d i n a c a s e ? n . How s h o u l d t h e h a r m o n i c a b e c l e a n e d ? o.
How s h o u l d t h e s y m p h o n e t t e b e c l e a n e d ?
8* How t o s t o r e a n d c a r e f o r
in stru m e n ts w h ile a t sc h o o l,
a# S h o u l d t h e i n s t r u m e n t s j u s t b e k e p t i n a n o f f i c e o r s h o u l d t h e y h a v e a ro o m o f t h e i r own u n d e r l o c k a n d key? b.
S h o u ld you p r o v id e s e v e r a l s e p a r a t e c u p b o a rd s w i t h i n d i v i d u a l l o c k s o r k e e p a l l i n s t r u m e n t s i n one ro o m ?
e.
How s h o u l d t h e s h e l v e s i n t h e i n s t r u m e n t room b e c o n stru c te d ?
d.
S h o u l d t h e i n s t r u m e n t ro o m b e
f i r e p ro o f?
e.
How s h o u l d t h e s c h o o l a r r a n g e in case of f i r e or th e f t?
t o be co v ered byin s u ra n c e
f . Who s h o u l d b e r e s p o n s i b l e f o r t h e i n s t r u m e n t s w h i l e th e y a re a t sc h o o l? g . S h o u l d y o u t a k e c a r e o f t h e i n s t r u m e n t room p e r s o n a l l y or g et a stu d e n t to a s s i s t ? h.
S h o u ld t h e s t u d e n t s be a llo w e d t o have k e y s i n s t r u m e n t room o r c u p b o a r d s ?
fo r
th e
i.
S h o u ld t h e s t u d e n t s l e a v e i n s tr u m e n ts a t s c h o o l o v e r n ig h t?
j . How c a n y o u p r e v e n t dam age t o s c h o o l i n s t r u m e n t s b y c a r e l e s s h a n d lin g ? ACTIVITIES 1 . Shop a r o u n d a n d s e e w h i c h i n s t r u m e n t e x c h a n g e h a s a l a r g e s t o c k o f good i n s t r u m e n t s .
10 8
2 . Ask s e v e r a l m u s i c d e a l e r s w h a t p r o v i s i o n t h e y m ake f o r b u y i n g i n s t r u m e n t s on c r e d i t # 3# A sk y o u r s c h o o l p r i n c i p a l o r s c h o o l b o a r d w h a t p a r t t h e y w i s h y ou t o t a k e i n s e l e c t i n g a n d s e l l i n g i n s t r u m e n t s . 4 . G et t h e p a r e n t s o f t h e i n t e r e s t e d s t u d e n t s t o g e t h e r and w ork o u t a p l a n f o r g e t t i n g i n s t r u m e n t s . 5 . L i s t w ay s i n w h i c h y o u t h i n k t h e m u s i c a l o r g a n i z a t i o n s m i g h t r a i s e m o n ey t o b u y a fe w l a r g e i n s t r u m e n t s f o r th e sc h o o l# 6. W rite to s e v e r a l m a n u fa c tu re rs o f s t r i n g in s tru m e n ts f o r l i t e r a t u r e c o n t a i n i n g d e s c r i p t i o n a n d p r i c e o f hew i n s t r u m en ts. 7# H ave a good v i o l i n i s t t e l l t h e c l a s s now h e s e l e c t s h i s strin g s. 8# A sk a r e l i a b l e r e p a i r man how t o c a r e f o r t h e s t r i n g in stru m e n ts. 9 . W r i t e t o s e v e r a l m a n u f a c t u r e r s o f w o odw ind a n d b r a s s in stru m e n ts a sk in g f o r d e s c r ip tiv e l i t e r a t u r e . 1 0 . Make a l i s t o f i m p o r t a n t t h i n g s t o l o o k f o r when s e l e c t i n g an in s tr u m e n t. 1 1 . H ave s e v e r a l s t u d e n t s a s k f r i e n d s , who p l a y i n s t r u m e n t s , how t h e y w o u ld s e l e c t t h e i r i n s t r u m e n t . 1 2 . I n v i t e a m u s i c s t o r e r e p r e s e n t a t i v e t o d i s c u s s a n d demon s t r a t e s e v e r a l m akes o f i n s t r u m e n t s and a c c e s s o r i e s . 1 3 . H ave a n i n s t r u m e n t s a l e s m a n v i s i t t h e p r o s p e c t i v e i n s t r u m e n t c l a s : s a n d b r i n g i n s t r u m e n t s f o r th e m t o t r y . 1 4 . Ask a n a u t h o r i t y t o e x p l a i n , t o t h e m em b ers o f t h e c l a s s , how t h e y s h o u l d s e l e c t a n i n s t r u m e n t t o f i t t h e i r m o u th . 1 5 . B r i n g wood a n d m e t a l i n s t r u m e n t s t o c l a s s a n d d i s c u s s t h e m e r i t s and f a u l t s o f e a c h ty p e . 1 6 . B rin g s e v e r a l m akes o f r e e d s t o c l a s s and d i s c u s s t h e i r q u a l i t y and p r i c e .
109
1 7 . W r i t e t o s e v e r a l i n s t r u m e n t e x c h a n g e c o m p a n ie s f o r d e s c r i p t i v e m a t e r i a l and p r i c e l i s t s o f r e b u i l t i n s t r u m e n t s . 1 8 . Make a c o m p a r a t i v e s t u d y o f m a t e r i a l s a n d s k i n s u s e d a s drum h e a d s . 1 9 . W r i t e t o s e v e r a l drum m a n u f a c t u r e r s f o r l i t e r a t u r e drum t r a p s a n d a c c e s s o r i e s .
on
2 0 . O b t a i n some p a m p h l e t s f r o m a m u s i c d e a l e r w h i c h i l l u s t r a t e s th e v a rio u s a c c e s s o rie s f o r in stru m e n ts. 2 1 . O b t a i n i n f o r m a t i o n f r o m i n s t r u m e n t m a n u f a c t u r e r s o n how t o p o l i s h , o i l , g r e a s e , and c a re f o r th e in s tr u m e n ts . 2 2 . A sk a n i n s t r u m e n t r e p a i r man how t o p o l i s h , o i l , and c a r e f o r t h e v a r i o u s i n s t r u m e n t s .
g rease,
2 3 . H ave a n i n s u r a n c e man;j e x p l a i n how t o i n s u r e t h e v a r i o u s in stru m e n ts. 2 4 . Yifrite t o s e v e r a l i n s u r a n c e c o m p a n ie s an d g e t t h e i r p r i c e s on i n s u r i n g i n s t r u m e n t s . 2 5 . A sk a s e h o o l a u t h o r i t y t o e x p l a i n t o y o u how t h e i n s t r u m e n t s sh o u ld be k e p t t o m eet w ith s c h o o l in s u ra n c e r e g u l a t i o n s . 2 6 . D raw a p l a n f o r b u i l d i n g s h e l v e s f o r t h e v a r i o u s i n s t r u m en ts i n t h e i n s t r u m e n t room . 27. G et t h e s t u d e n t o f f i c e r s o f th e v a r i o u s i n s t r u m e n t a l c l a s s e s t o g e t h e r and d e c id e upon a d e f i n i t e p la n f o r s to r in g th e s tu d e n ts ’ in stru m e n ts. BIBLIOGRAPHY A n n e t t , T h o m as, M u s ic i n t h e R u r a l S c h o o l . B o s t o n M u s ic C o . , 1 9 3 8 .
B o sto n s
The
B r a n d , E r i c k D. ,• S e lm e r Band a n d I n s t r u m e n t R e p a i r i n g M a n u a l . E l k h a r t , I n d . : H. A. S e l m e r , I n c . , 1 9 3 9 . B ro a d le y , A r th u r y A d ju s tin g and R e p a ir in g V io lin s . C e l l o s . e t c . , Hew Y g r k : C h a r l e s S c r i b n e r s * S o n s , 1 9 0 8 . B r o a d l e y , A r t h u r , The V i o l i n - C e l l o s I t s H i s t o r y , S e l e c t i o n and A d j u s t m e n t . New YQr k : C h a rle s S c r ib n e r ’ s Sons, 1921.
110
C a r s e , Adam, M u s i c a l Wind I n s t r u m e n t s , C o ., L t d . , 1939.
London:
The M a c m i l l a n
C h a p i n , Anna A l i c e , The H e a r t o f M u s i c ; The S t o r y o f t h e V i o l i n . New Y o r k : D i& d, Mead a n d C o . , 1 9 0 6 . C l a p p e , A r t h u r A . , The W ind-B and an d I t s I n s t r u m e n t s . W illia m R e e v e s, B o o k s e lle r , L t d . , 1912.
London:
C u n d i f f , H a n n ah M a t t h e w s , a n d P e t e r W. Dyhem a, S c h o o l M u sic H andbook. B o s to n : C. C. B i r c h a r d And C o . , 1 9 2 3 . D a u b e n y , U l r i c , O r c h e s t r a l Wind I n s t r u m e n t s . W illia m R e e v e s, B o o k s e lle r , L t d . , 1919.
London:
D a u b e n y , U l r i c , O r c h e s t r a l Wind I n s t r u m e n t s , A n c i e n t a n d M o d e rn . London: W illia m R e ev e s, B o o k s e lle r , L t d . , 1920. E ls o n , A r t h u r , O r c h e s t r a l I n s tr u m e n ts and T h e i r U se . L . C. P a g e a n d C o . , 1 9 2 3 . P i t z g i b b o n , H e n r y M . , The S t o r y o f t h e F l u t e . C h a rle s S c r i b n e r ’ s S ons, 1914. G a l l o , S t a n i s l a o , M o d ern B a n d . C o ., 1935.
B o sto n :
B o sto n :
New Y o r k :
C. B i r c h a r d a n d
G i l t a y , J . W ., Bow I n s t r u m e n t s . T h e i r Form a n d C o n s t r u c t i o n . W illia m R e e v e s, B o o k s e l l e r , L td . H e p w o r th , W i l l i a m , I n f o r m a t i o n f o r P l a y e r s . O v m e rs. D e a l e r s , a n d M a k e r s o f Bow I n s t r u m e n t s ! London: W illia m R eeves, B o o k s e lle r, L td . H i n d s l e y , M ark H . , Band A t t e n t i o n . M u s ic C o . , 1 9 3 2 .
C h ica g o :
Gamble H in g e d
J o h n s t o n e , A r t h u r E d w a rd , I n s t r u m e n t s o f t h e M odern Symphony O r c h e s t r a . New Y o r k : C a r l F i s c h e r , I n c . , 1 9 i 7 . M a s o n , D a n i e l G r e g o r y , T he O r c h e s t r a l I n s t r u m e n t s a n d What T hey D o. , New Y o r k ! T he H. W. G r a y C o . , 1 9 0 9 . N o r t o n , Alma M . , T e a c h i n g S c h o o l M u s i c . C raw ford, 1932.
L os A n g e l e s :
C.
P y l e , Howard W i l ' l e t , A P r a c t i c a l T r e a t i s e o n T u n i n g a n d R e p a irin g th e P ia n o f o r te . P h ila d e lp h ia : J . W. P e p e r ,
Il l
S a i n t G eo rg e, H enry, F i d d l e s ; T h e ir S e l e c t i o n , P r e s e r v a t i o n , an d B e t t e r m e n t . New Y o r k ; C h a r l e s S c r i b n e r ’ s S o n s . , 1910* S m i t h , H a r o l d D . , I n s t r u m e n t s o f t h e O r c h e s t r a * Camden, New J e r s e y : B. C. A. M a n u f a c t u r i n g C o / , I n c . , 1936* S t o e v i n g , P a u l , T he V i o l i n ; I t s Fam ous M a k e rs a n d P l a y e r s . B o s t o n : 01 i v e r l i f t s o n C o * 19 £ 8 . W h i t e , W i l l i a m B r a n d , M o d e rn P i a n o T u n in g a n d A l l i e d A r t s * New Y o r k : F e d e r a t e d B u s i n e s s P u b l i c a t i o n s , ' I n c . , 1 9 2 9 • W oods, G l e n n H . , P u b l i c S c h o o l O r c h e s t r a s and B a n d . B o sto n : O liv e r M t s o n Co*, 1920. PERIODICAL AND ENCYCLOPEDIC REFERENCES E t u d e M u s ic M a g a z i n e , T h e * M o dern M u s i c ,
New Y o r k :
M u sic a l A m e ric a , M u sic a l D i g e s t ,
P h ila d e lp h ia :
L eague o f C om posers, I n c ,
New Y o r k :
John F. M a je s k i, p u b l i s h e r .
E a s t S tro u d s b u rg , F e n n a .:
M u sic a l Q u a r te r ly , T he. S chool M u sic ia n , The.
T h e o d o r e P r e s s e r , Co,
New Y o r k : C h ica g o :
M u s ic a l D i g e s t ,
G. S c h i r m e r ,
Inc,
In c.
R o b e r t L. S h e p h e r d , p u b l i s h e r .
CHAPTER
X
TEACHING THE BEGINNING INSTRUMENTS /
How much s h o u l d y o u know a b o u t a n i n s t r u m e n t b e f o r e y o u d a r e t e a c h a s t u d e n t how t o p l a y i t ? to p la y a l l th e in stru m e n ts y o u rs e lf? go w i t h o u t V i o l i n s
S h o u ld you l e a r n
S h o u ld y o u r s c h o o l
j u s t b e c a u se you d o n ft p la y v i o l i n ?
M u st y o u a p p e a r a s a n e x p e r t w i t h a l l t h e w h ic h you g iv e i n s t r u c t i o n ?
in stru m e n ts w ith
How w i l l t h e p a r e n t s f e e l a b o u t
y o u r te a c h in g an in s tr u m e n t w ith w h ic h you a r e n o t v e ry fa m ilia r?
T he a v e r a g e t e a c h e r c a n l e a r n a g r e a t d e a l a b o u t
e a c h o f t h e i n s t r u m e n t s i n a v e r y s h o r t tim e *
Make u s e o f
some o f t h e s i m p l i e r i n s t r u m e n t s f o r t h o s e who a r e n o t s i n g e r s . E x c e ll e n t m a t e r i a l s w ith sim p le e x p la n a tio n s o f b a s ic t e c h n i q u e and f i n g e r i n g c h a r t s a r e a v a i l a b l e f o r y o u r s t u d y . T h i s c h a p t e r w i l l s u g g e s t some p r o b l e m s a n d a c t i v i t i e s w h i c h may b e h e l p f u l t o y o u a s y o u p r e p a r e y o u r s e l f f o r t h i s w i d e v a rie ty of in stru m e n ta l te a c h in g . PROBLEMS 1 . How t o s e l e c t t h e p e r s o n n e l o f t h e i n s t r u m e n t c l a s s . a*
S h o u l d y o u a c c e p t a l l s t u d e n t s who w a n t t o e n t e r th e in stru m e n t c la s s ?
b.
S h o u ld you a c c e p t a l l t y p e s o f i n s t r u m e n t s i n t h e
c.
S h o u ld t h e t e a c h e r h av e a n y th i n g t o s a y a b o u t w h ic h in stru m e n t a s tu d e n t i s to p la y ?
c la ss ?
113
d* S h o u l d y o u t r y t o b a l a n c e t h e i n s t r u m e n t a t i o n f o r your fu tu re o rc h e stra ? e# S h o u l d y o u l e t a g i r l p l a y a n y i n s t r u m e n t s h e w a n t s ? f.
How m any d i f f e r e n t t y p e s o f i n s t r u m e n t s c a n y o u s u c c e s s f u l l y te a c h in an in s tru m e n t c la s s ?
g . S h o u ld you l i m i t t h e e n r o llm e n t o f th e c l a s s ? h . How o l d s h o u l d a s t u d e n t b e b e f o r e h e p l a n s a n i n s t r u m e n t ? i.
S h o u l d y o u a c c e p t a l l a g e s o f s t u d e n t s i n t h e same c la s s ?
j.
S h o u l d t h e s t u d e n t s s i z e p r e v e n t him f r o m s t a r t i n g a n in stru m e n t?
k # S h o u l d y o u a c c e p t s t u d e n t s who a r e t a k i n g o u t s i d e p r iv a te le sso n s? 1 . How c a n y o u b e s u r e a s t u d e n t w i l l r e a l l y p r a c t i c e on an in s tru m e n t? 2 . How t o a r r a n g e r e h e a r s a l a n d p r a c t i c e s c h e d u l e s ♦ a . When c a n y o u s c h e d u l e a n i n s t r u m e n t c l a s s s o a l l may t a k e i t who w i s h t o ? b . How c a n y o u b e s t e n l i s t t h e a d m i n i s t r a t i o n ’ s c o o p e r a t i o n i n a r r a n g i n g s c h e d u l e s a n d p r a c t i c e ro o m s ? c* How m any t i m e s a w e ek s h o u l d t h e c l a s s m e e t ? d . How l o n g a p e r i o d i s m o s t s a t i s f a c t o r y f o r t h e i n s t r u m ent c l a s s ? e.
I s i t b e t t e r to have th e c la s s e a rly in th e day o r a t t h e en d o f t h e d a y w hen t h e s t u d e n t s n e e d r e l a x a t i o n ?
f.
S h o u l d y o u e v e r s c h e d u l e e x t r a r e h e a r s a l s f o r t h o s e who f a l l b e h in d ?
g . S h o u l d y o u o n l y g i v e s p e c i a l a t t e n t i o n t o t h o s e who w ant i t ? h . S h o u ld you be w i l l i n g t o sp en d e x t r a tim e a f t e r s c h o o l to h e lp th e b e g in n in g s tu d e n t?
114
i* Can y o u r e q u i r e t h e b e g i n n i n g s t u d e n t t o s t a y a f t e r sch o o l f o r e x tra h e lp ? j . How m uch d a i l y home p r a c t i c e s h o u l d y o u r e q u i r e f r o m each stu d e n t? k* S h o u l d y o u k e e p a c h e c k l i s t o f home p r a c t i c e h o u r s ? 1 . How c a n y o u b e s t e n l i s t t h e s t u d e n t s ’ c o o p e r a t i o n i n home p r a c t i c e ? m. How c a n y o u b e s t e n l i s t t h e p a r e n t s ’ c o o p e r a t i o n i n s e e i n g t h a t a t i m e i s a r r a n g e d a t home f o r s t u d e n t p ra c tic e ? n* S h o u l d a p r a c t i c e roo m b e p r o v i d e d a t s c h o o l f o r t h o s e who f i n d i t d i f f i c u l t t o p r a c t i c e a t home? o . S h o u l d a p r a c t i c e t i m e be s c h e d u l e d a t s c h o o l f o r t h o s e who p l a y t h e l a r g e r i n s t r u m e n t s w h i c h c a n n o t b e c a r r i e d home e a s i l y ? 3 . How t o a r r a n g e a n d s e a t t h e i n s t r u m e n t c l a s s * a . S h o u l d t h e i n s t r u m e n t c l a s s b e a r r a n g e d i n t h e same o rd er as th e o rc h e stra ? b . How c a n y o u b e s t a r r a n g e t h e s e a t i n g s o y o u c a n h e a r each in stru m e n t? c* How c a n y o u a r r a n g e t h e c l a s s i n a s e m i c i r c l e s o y o u can h e a r a l l in stru m e n ts? d . How c a n y o u s e a t t h e c l a s s s o t h e y c a n a l l s e e t h e d ire c to r e a sily ? e . S h o u ld t h e s e a t i n g be a rr a n g e d so t h e s t u d e n t s c a n h ear th e o th e r s e c tio n s o f th e c la s s ? f* S h o u l d t h e b e t t e r s t u d e n t , a s $ o p l a y i n g a b i l i t y , b e w 2 s e a t e d b e t w e e n tw o w e a k e r s t u d e n t s ? g . S h o u ld t h e s h o r t e r c h i l d r e n b e p l a c e d i n f r o n t o f t h e o th e rs? h* S h o u l d a l l t h e o l d e r s t u d e n t s s i t t o g e t h e r a n d t h e younger ones to g e th e r?
115
i* S h o u l d a l l t h e l i k e j.
in s tru m e n ts he p la c e d to g e th e r?
S h o u l d one k i n d o f i n s t r u m e n t h e p l a c e d a l l i n o n e ro w o r i n tw o r o w s ?
k* S h o u l d a l l b r a s s i n s t r u m e n t s h e p l a c e d t o g e t h e r a n d a l l w o o d w in d s t o g e t h e r ? 1 . S h o u ld
e a c h s t u d e n t have an i n d i v i d u a l r a c k f o r m u sic?
m. S h o u l d y o u e v e r l e t m o re t h a n tw o s t u d e n t s l o o k on one copy o f m u sic? n# W here s h o u l d t h e i n s t r u m e n t e a s e s h e p l a c e d d u r i n g c l a s s tim e ? o* W hich t y p e
of c h a ir is b e s t fo r th e in stru m e n t p la y e r?
p* S h o u l d
s i z e s o f c h i l d r e n h a v e t h e same s i z e
a ll
c h a ir?
How t o e x p l a i n t h e c o r r e c t f i n g e r i n g a n d p o s i t i o n o f t h e In stru m e n t♦ a . S h o u l d y o u t e a c h t h e s t u d e n t how t o h o l d h i s i n s t r u m e n t b e f o r e you e x p la in th e f i n g e r i n g ? b . S h o u ld t h e s m a ll c h i l d be a b le t o h o ld t h e v i o l i n t h e sam e a s a n a d u l t ? c* How s h o u l d t h e v i o l i n s t u d e n t h o l d h i s v i o l i n ? d* How s h o u l d t h e c l a r i n e t s t u d e n t h o l d h i s i n s t r u m e n t w i t h o u t p l a c i n g h i s a rm s o n h i s l e g s ? e . How s h o u l d t h e s a x a p h o n e s t u d e n t h o l d h i s i n s t r u m e n t w ith o u t b e n d in g o v er? f . How s h o u l d a t r u m p e t o r c o r o n e t s t u d e n t h o l d h i s in stru m e n t? g* W i l l a s m a l l c h i l d b e a b l e t o h o l d t h e t r u m p e t i n p o s i t io n a t a l l tim e s? h . How s h o u l d t h e t r o m b o n e s t u d e n t h o l d t h e t r o m b o n e ? i # How c a n t h e t r o m b o n e s t u d e n t h o l d h i s tr o m b o n e so h e c an s e e t h e m u sic and n o t h i t t h e m u sic s t a n d ?
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j# How s h o u l d t h e b a r i t o n e and t u b a s t u d e n t h o l d h i s in stru m e n t? k . W hat p o s i t i o n s h o u l d t h e drum s t u d e n t t a k e a t h i s d ru m s ? 1 . Can t h e f i n g e r i n g f o r t h e i n s t r u m e n t s b e e x p l a i n e d i n t h e sam e way f o r a l l k i n d s a n d t y p e s o f i n s t r u m e n t s ? m# S h o u l d y o u e x p l a i n t h e f i n g e r i n g o f e a c h t y p e o f i n s t r u m ent w ith th e o t h e r s p r e s e n t ? n« How m any d i f f e r e n t p o s i t i o n s f o r e a c h t o n e s h o u l d b e g iv e n to th e b e g in n in g s tu d e n t? o . How m any n o t e s a d a y s h o u l d b e g i v e n t o t h e b e g i n n i n g stu d e n t? p . S h o u ld you g i v e e a c h s e c t i o n one f i n g e r i n g p o s i t i o n b e f o r e g iv in g a second p o s i t io n to any s e c tio n ? q* How m uch t i m e s h o u l d y o u s p e n d i n e x p l a i n i n g f i n g e r i n g t o one s e c t i o n b e f o r e m o v in g t o a n o t h e r s e c t i o n ? r* S h o u ld t h e s t u d e n t s b e e n c o u ra g e d t o f i g u r e o u t t h e f i n g e r i n g a t home f r o m t h e c h a r t s ? Sm How m uch i n d i v i d u a l i n s t r u c t i o n c a n b e g i v e n d u r i n g th e c la s s p e rio d ? t* S h o u ld you sp e n d e x t r a c l a s s tim e e x p l a i n i n g f i n g e r i n g t o a s l o w s t u d e n t o r a s k him t o come a f t e r s c h o o l ? 5* How t o t e a c h t h e i n s t r u m e n t s b y c l a s s m e t h o d . a* How m uch s h o u l d y o u know a b o u t e a c h i n s t r u m e n t b e f o r e te a c h in g a c la s s ? b . How c a n y o u l e a r n a l i t t l e a b o u t e a c h i n s t r u m e n t q u ic k ly in o rd e r to te a c h th e c la s s ? e . How c a n y o u b e s t e x p l a i n m u s i c a l t e r m s t o t h e b e g i n n i n g stu d e n t? d . How c a n y o u b e s t t e a c h s i m p l e n o t a t i o n t o t h e b e g i n n i n g stu d e n t?
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e . S h o u ld you u se t h e b la c k b o a r d in g iv in g i l l u s t r a t i o n s n o te s and te rm s?
of
f . How c a n y o u k e e p t h e c l a s s f r o m b e c o m in g b o r i n g f o r t h e s t u d e n t who h a s h a d some m u s i c ? g . S h o u l d y o u r e h e a r s e t h e w e ak s e c t i o n f i r s t o r t h e s t r o n g se c tio n ? h . S h o u l d y o u g i v e m o re c l a s s t i m e t o t h e w e ak s e c t i o n ? i.
S h o u ld t h e s t u d e n t s i n t h e o t h e r s e c t i o n p a y a t t e n t i o n t o w h a t i s g o i n g on i n t h e w ay o f i n s t r u c t i o n i n t h e o th e r se c tio n s?
j* How c a n y o u k e e p t h e i n s t r u m e n t s q u i e t w hen a n o t h e r s e c tio n i s r e h e a r s in g o r tu n in g ? k . How c a n y o u b e s t t e a c h t h e s t u d e n t t o t u n e h i s
in stru m e n t?
1 . How f a s t . s h o u l d t h e b e g i n n e r b e p u s h e d
on h i s i n s t r u m e n t ?
m. S h o u l d t h e y o u n g e r ; c h i l d r e n b e p u s h e d rc h ild re n ?
as f a s t as o ld e r
n . S h o u ld t h e e n t i r e c l a s s be h e ld h a c k f o r a few slo w stu d e n ts? o . S h o u ld t h e a d v an c ed s t u d e n t be a llo w e d t o w ork a h e a d of th e c la s s ? p . When s h o u l d t h e b e g i n n i n g i n s t r u m e n t s p l a y i n p a r t s ? q . How m uch i n d i v i d u a l w o rk s h o u l d b e d o n e d u r i n g c l a s s tim e ? r* S h o u ld
t h e t e a c h e r a lw a y s u s e a b a to n ?
s* S h o u l d gro up ?
you u s e t h e p ia n o t o accom pany t h e
t.
b e g in n in g
S h o u ld you t r y t o e n l i s t t h e p r i v a t e m u sic t e a c h e r ’ s c o o p e ra tio n w ith th e sc h o o l?
How t o t e a c h t h e h a r m o n i c a ♦ a . S h o u ld t h e h a rm o n ic a b e e n c o u ra g e d i n t h e s c h o o l? b . S h o u ld c l a s s tim e b e g iv e n f o r h arm o n ica r e h e a r s a l s ?
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c* How c a n y o u i n s t r u c t a h a r m o n i c a b a n d when y o u d o n ft p la y an in stru m e n t? d . How much do y o u n e e d t o know a b o u t a n h a r m o n i c a t o g iv e i n s t r u c t i o n ? e# How c a n y o u l e a r n t o p l a y t h e h a r m o n i c a q u i c k l y ? f* Can y o u t e a c h m u s i c f o r m a n d n o t a t i o n b y u s i n g t h e h arm o n ica? g* S h o u l d y o u u s e t h e h a r m o n i c a b a n d a s a n a c c o m p a n im e n t to th e o th e r s tu d e n ts sin g in g ? h . How c a n y o u g e t t h e s t u d e n t t o g e t a c h o r d e f f e c t on t h e h arm o n ica? i . How c a n y o u g e t t h e s t u d e n t t o g e t t h e v i b r a t o e f f e c t on t h e h a r m o n i c a ? S h o u ld t h e h a rm o n ic a b and r e a d m u sic o r p l a y by e a r ? k . S h o u l d y o u l e t t h e h a r m o n i c a b a n d m ake t h e i r own a r r a n g e m e n ts o f m u sic ? 1 . How c a n y o u o r g a n i z e a h a r m o n i c a b a n d ? eu
W h ich s t u d e n t s s h o u l d t a k e up t h e h a r m o n i c a ?
n . How s h o u l d y o u s e l e c t t h e p l a y e r s f o r t h e h a r m o n i c a b a n d ? o . S h o u ld a l l i n t e r e s t e d s t u d e n t s b e a llo w e d t o o p l a y i n t h e h a rm o n ica b an d ? p* How c a n y o u b e s t s e l e c t a s t u d e n t l e a d e r f o r t h e h a r m o n i c a band? How s h o u l d y o u p r e p a r e t h e h a r m o n i c a b a n d f o r p u b l i c p erfo rm an ce? r.
S h o u ld t h e t e a c h e r d i r e c t t h e h a rm o n ica band in p e rfo rm a n c e ?
s* How s h o u l d t h e h a r m o n i c a b a n d s t a n d i n p e r f o r m a n c e ? t.
S h o u ld t h e h a rm o n ic a band u s e m u sic i n p e rfo rm a n c e ?
u . How s h o u l d t h e h a r m o n i c a b a n d b e d r e s s e d f o r p u b l i c p erfo rm an ce? 1r. How s h o u l d t h e h a r m o n i c a b a n d r e c o g n i z e t h e a u d i e n c e a f t e r p e rfo rm in g ?
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7* How t o t e a c h t h e t o n e t t e ♦ a* S h o u l d t h e t o n e t t e b e u s e d i n a l l e l e m e n t a r y s c h o o l c la ss e s ? b.
I s th e t o n e t t e e a sy to p la y ?
c . Can e v e r y o n e l e a r n t o p l a y a t o n e t t e e a s i l y ? d . Gan y o u t e a c h m u s i c a l n o t a t i o n , r h y t h m , a n d o t h e r t e c h n i c a l m u sic te rm s by u s i n g t o n e t t e s ? e . Can y o u t e a c h i n s t r u m e n t a l t e c h n i q u e b y t h e u s e o f t h e to n e tte ? f« W i l l t h e t o n e t t e i n t e r e s t t h o s e s t u d e n t s i n m u s i c who cannot sin g w e ll? g . S h o u ld t h e t o n e t t e b e u se d i n s t e a d o f o t h e r o r c h e s t r a and band i n s t r u m e n t s ? h« W i l l t h e p l a y i n g o f a t o n e t t e i n c r e a s e t h e i n t e r e s t a n d m ake s t u d e n t s w a n t t o p l a y o t h e r o r c h e s t r a l in stru m e n ts? i.
By p l a y i n g a t o n e t t e w i l l a s t u d e n t b e a b l e t o p i c k u p a n o t h e r i n s t r u m e n t m o re e a s i l y ?
j . How o l d s h o u l d a s t u d e n t b e b e f o r e p l a y i n g a t o n e t t e ? k . S h o u l d a l l m em b ers o f a c l a s s be r e q u i r e d t o p l a y th e to n e tte ? 1« How m uch do t o n e t t e s c o s t ? m* W here c a n y o u p u r c h a s e t o n e t t e s ? n . A re t h e r e o t h e r s i m i l a r i n s t r u m e n t s t o t h e t o n e t t e , m a n u f a c t u r e d u n d e r d i f f e r e n t t r a d e n a m e s? W h ic h i s th e b e st? o . S h o u ld t h e s t u d e n t b e r e q u i r e d t o p u r c h a s e t h e t o n e t t e ? p* How c a n y o u b e s t s e l l t h e i d e a o f t h e p u r c h a s e o f t o n e t t e s to your sc h o o l b o a rd ? q . How c a n y o u p r e v e n t b r e a k a g e o f t h e i n s t r u m e n t ? r * How s h o u l d y o u a r r a n g e t h e s e a t i n g f o r p l a y i n g t o n e t t e s ?
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s . How s h o u l d t h e s t u d e n t s h o l d t h e i r m u s i c w hen p l a y in g th e t o n e t t e ? t . How c o m p l i c a t e d s h o u l d t h e t o n e t t e m u s i c b e f o r a b e g in n in g grou p ? u . W h ere c a n y o u s e c u r e m u s i c f o r t h e t o n e t t e s ? v.
S h o u ld t h e t e a c h e r w r i t e m u sic f o r t h e t o n e t t e s ?
w.
S h o u l d t h e m o re a d v a n c e d c l a s s p l a y p a r t m u s i c ?
x . S h o u ld t h e c l a s s b e r e h e a r s e d i n s e c t i o n s ? y# How m uch i n d i v i d u a l a t t e n t i o n c a n y o u g i v e e a c h s t u d e n t in th e c la s s o f to n e tte s ? z* S h o u l d y o u s e l e c t some s t u d e n t s f o r s m a l l g r o u p e n s e m b l e p la y in g ? aa.
S h o u ld t h e p ia n o b e u se d w ith t h e t o n e t t e s ?
bb.
S h o u l d t h e s t u d e n t s t a k e t h e t o n e t t e s home t o p r a c t i c e ?
c c . How c a n y o u b e s t s e l e c t a s t u d e n t d i r e c t o r f o r t h e t o n e t t e s ? d d. S h o u ld t h e t o n e t t e s be u se d i n p u b l i c p e rfo rm a n c e ? e e . S h o u ld t h e e n t i r e c l a s s p e rf o r m i n p u b l i c o r s h o u ld i t be a s m a ll s e l e c t group? f f . How s h o u l d t h e t o n e t t e g r o u p d r e s s f o r p u b l i c p e r f o r m a n c e ? gg* S h o u l d t h e s t u d e n t s u s e m u s i c i n p u b l i c p e r f o r m a n c e ? hh* S h o u l d t h e t o n e t t e p l a y e r s s t a n d w hen p l a y i n g i n p u b l i c ? ii.
How s h o u l d t h e t o n e t t e g r o u p r e c o g n i z e t h e a u d i e n c e a t a ' p u b lic p erfo rm an ce?
8 . How t o g r a d e a n d m e a s u r e p r o g r e s s o n t h e i n s t r u m e n t * a* How c a n y o u b e s t m e a s u r e t h e p r o g r e s s o f t h e b e g i n n i n g in stru m e n t p la y e r? b.
How c a n y o u b e s t e n c o u r a g e t h e b e g i n n i n g i n s t r u m e n t p l a y e r by y o u r t e s t i n g and g r a d in g sy s te m ? -
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c . S h o u ld t h e g r a d e s f o r i n s t r u m e n t s b e j u s t s a t i s f a c t o r y o r u n s a tis fa c to ry ? d . S h o u ld you t a k e i n t o c o n s i d e r a t i o n t h e s t u d e n t s a g e and s i z e when g i v i n g t h e g r a d e ? e . S h o u l d t h e m o re t a l e n t e d s t u d e n t a l w a y s g e t t h e h i g h e r g rad e? f . S h o u ld you e x p e c t m ore p r o g r e s s from t h e m ore t a l e n t e d s t u d e n t f o r t h e sam e g r a d e ? g . S h o u l d t h e l e s s t a l e n t e d b u t h a r d w o r k i n g s t u d e n t a lw a y s g e t a lo w e r g ra d e ? h . S h o u ld you r e q u i r e t h e s t u d e n t s t o f i l l o u t p r a c t i c e s l i p s a s a r e c o r d o f t h e i r home p r a c t i c e ? i.
S h o u ld t h e s t u d e n t s be r e q u i r e d t o p l a y i n d i v i d u a l l y t o m easure t h e i r a b i l i t y ?
j.
S h o u ld you r e q u i r e s e v e r a l in s tr u m e n ts t o p l a y t o g e t h e r as a t e s t of t h e ir p ro g re ss?
k . How o f t e n s h o u l d l i t t l e g iv en ?
p e rs o n a l t e s t s o f p r o g r e s s be
1# How c a n y o u d e t e r m i n e w hen t h e b e g i n n e r s p l a y w e l l e n o u g h to be h eard in p u b lic ? m. How c a n y o u b e s t d e t e r m i n e when a s t u d e n t i s r e a d y t o g ra d u a te in to th e advanced o r c h e s tra o r band? n . How s h o u l d you n o t i f y t h e p a r e n t s o f t h e p r o g r e s s o f th e s tu d e n t? >- ACTIVITIES 1 . I n v i t e s e v e r a l m u s i c i a n s who p l a y d i f f e r e n t i n s t r u m e n t s t o p l a y f o r t h e s t u d e n t b o d y b e f o r e s t a r t i n g t h e new c l a s s * 2* H ave t h e s c h o o l o r c h e s t r a g i v e a d e m o n s t r a t i o n o f t h e v a rio u s in stru m e n ts to th e stu d e n t body. 3 . P r e p a r e a q u e s t i o n n a i r e f o r a l l s t u d e n t s who a r e i n t e r e s t e d i n p l a y i n g an i n s t r u m e n t . 4 . S e n d l e t t e r s t o p a r e n t s o f c h i l d r e n who a r e i n t e r e s t e d t a k i n g up new i n s t r u m e n t s a d v i s i n g th e m o f t h e d e t a i l s in v o lv e d .
in
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5 . I n v i t e an i n s t r u m e n t sa le s m a n t o m e e t w i t h s t u d e n t s and p a r e n ts to d e m o n stra te in s tru m e n ts . 6 . T ry to a d v is e t h e p a r e n t i n s e l e c t i n g t h e c o r r e c t i n s t r u m ent f o r t h e c h i l d . 7 . S c h e d u l e a f e w e x t r a r e h e a r s a l s f o r t h o s e s t u d e n t s who want e x tr a h e lp . 8 . T a lk t h e s c h e d u le o v e r w i t h y o u r a d m i n i s t r a t o r so t h a t y o u c a n © void c o n f l i c t i n g h o u r s w i t h a t h l e t i c s , d r a m a t i c s , and o th e r c l a s s e s . 9 . A rrange th e in s tru m e n ts in a s e m i- c ir c l e a c c o rd in g to in s tru m e n ts .
in s e c tio n s
10. P ro v id e eac h s tu d e n t w ith a p r a c t i c e book. 1 1 . A r r a n g e f o r e n o u g h m u s i c s t a n d s s o t h e r e a r e no m o re t h a n two l o o k i n g on a s t a n d . 1 2 . P r o v i d e e a c h s t u d e n t w i t h a c h a i r w h i c h w i l l a l l o w him t o s i t i n a c o r r e c t p l a y i n g p o s i t i o n w i t h f e e t f l a t on th e f lo o r . 13 . O b ta in l a r g e p i c t u r e s o f m u s ic ia n s d e m o n s tr a tin g th e c o rre c t p o s itio n fo r p la y in g th e v a rio u s in stru m e n ts. 1 4 . G iv e p e r s o n a l d e m o n s t r a t i o n s o n e a c h i n s t r u m e n t t o i l l u s t r a t e th e c o rre c t fin g e rin g . 15.
A sk some o f th e advanced s tu d e n ts o f th e o rc h e s tra to d e m o n s tra te c o r r e c t f in g e r i n g and in s tr u m e n ta l te c h n iq u e .
1 6 . A sk a m u s i c i a n f r i e n d t o show y o u t h e f u n d a m e n t a l f i n g e r i n g an d t e c h n i q u e o f h i s i n s t r u m e n t . 1 7 . U se a b l a c k b o a r d f o r e x p l a i n i n g n o t a t i o n a n d t e c h n i c a l t e r m s . 1 8 . L ay down some f u n d a m e n t a l r u l e s o f c o n d u c t t h a t a l l m u s t a b i d e b y who r e m a i n i n t h e c l a s s . 19.
I n v i t e som eon e t o d e m o n s t r a t e t h e
h a rm o n ica .
20.
A sk a l l who a r e i n t e r e s t e d i n p l a y i n g a h a r m o n i c a t o m e e t a f t e r s c h o o l an d o r g a n iz e a h a rm o n ica b a n d .
2 1 . U se s m a l l h a r m o n i c a g r o u p s f o r s p e c i a l i t y n u m b e rs a s i d e f ro m t h e h a r m o n i c a b a n d .
123
2 2 . Send f o r a t o n e t t e and t h e n g iv e a s im p le d e m o n s tr a ti o n to th e v a rio u s sch o o l c la s s e s . 2 3 . W r i t e o u t some s i m p l e e x e r c i s e s a n d p i e c e s f o r t h e t o n e t t e group to p l a y . 2 4 . H ave some o f t h e m o re a d v a n c e d s t u d e n t s w r i t e l i t t l e m elo d ies fo r th e t o n e t t e s . 2 5 . Use a f e w o f t h e t a l e n t e d t o n e t t e p l a y e r s f o r s p e c i a l i t y num bers. 2 6 . H ave t h e e n t i r e t o n e t t e c l a s s p l a y a f e w s i m p l e n u m b e rs i n p u b l i c s o m e tim e d u r i n g t h e y e a r # 2 7 . A sk t h e b e g i n n i n g i n s t r u m e n t s t u d e n t s t o p l a y i n g r o u p s o f tw o o r t h r e e t o e s t i m a t e t h e i r p r o g r e s s . 3B • P r e p a r e a r e g u l a r r e p o r t i n t h e f o r m o f a l e t t e r t o e a c h p a re n t c o n c e rn in g th e p ro g re s s o f th e s tu d e n t. BIBLIOGRAPHY B ro w er, H a r r i e t M oore, S e l f - H e l p i n P ia n o S t u d y . F r e d e r i c k A. S t o k e s C o . , 1 9 2 0 .
New Y o r k :
C a t o n , C l i f f o r d A . , M u s i c i a n s Book o f K n o w le d g e f o r S u p e r v i s o r s . D i r e c t o r s o f Bands O r c h e s t r a s 7 C h o ru s . L o s A n g e l e s : S o u t h e r n C a l i f o r n i a M u s ic C o . , 1 9 2 8 . C o le m a n , S a t i s N a r r o n a , The Drum B oo k. Day C o . , 1 9 3 1 .
New Y o r k :
John
C r o s b y , A l p h e u s B e n n i n g , A r t o f H o l d i n g t h e V i o l i n a n d Bow a s E x e m p l i f i e d b y O le B u l l . L o n d o n : W i l l i a m R e e v e s , B o o k se lle r, no d a t e . F l e s c h , K a r l , P r o b l e m s o f T on e P r o d u c t i o n i n V i o l i n P l a y i n g . New Y o r k : C a r l F i s c h e r , I n c . , 1 9 3 4 . G o ld m an, H ie h a r d F r a n k o , The B ands M u s ic . P itm an P u b l i s h i n g C o r p o r a t i o n , 1938.
New Y o r k :
G r i m s o n , S a m u el B . , M odern V i o l i n P l a y i n g . The H. W. G ra y C o . , 1 9 2 0 .
New Y o r k :
124
H am buu rg , M a r k , How t o P l a y t h e P i a n o * H. B o r a n C o . , 1 9 2 3 .
New Y o rk s
G e o rg e
H a m i l t o n , C l a r e n c e G r a n t , W hat .Every P i a n o P u p i l S h o u l d Know. P h i l a d e l p h i a , P a T i T h eodore P r e s s e r C o ., 1 9 2 8 . H e n r y , J o h n J o s e p h , The C o r r e c t Way t o Drum. F la .s H enry S c h o o l o f P e r c u s s i o n , 1 934. H i n d , H a r o l d C h a r l e s , The B r a s s B a n d . 1934.
S t . A u g u s tin e ,
Hawkes a n d S o n , L t d . .
J e w e t t , A l b e r t D ew ey, I d i o m a t i c C o u r s e o f P i a n o I n s t r u c t i o n f o r C l a s s W ork. B o s t o n : C. C. B i r c h a r d a n d C o . , 1 9 4 0 . M a t t h a y , T o b i a s A u g u s t u s , T he F i r s t P r i n c i p l e s o f P i a n o f o r t e P l a y i n g . L o n d o n : L o n g m a n s, G r e e n , a n d C o . , 1 9 1 5 . M addy, J o s e p h E l g a r , I n s t r u m e n t a l C l a s s T e a c h i n g . C i n c i n n a t i : W i l l i s M u s ic C o . , 1 9 2 8 . M addy, J o s e p h E l g a r a n d T h a d d e u s P . G i d d i n g s , I n s t r u m e n t a l T e c h n iq u e . C i n c i n n a t i : W i l l i s M u s ic C o . , 1 9 2 6 . N e w to n , L . , The Book o f t h e S c h o o l O r c h e s t r a . O x fo rd U n i v e r s i t y P r e s s , 1936.
London:
N orm an n, T h e o d o r e F r e d e r i c k , I n s t r u m e n t a l M u sic i n t h e P u b lic S c h o o ls. P h ila d e lp h ia : O liv e r M ts o n C o .. I n c . , 1941. P r e s c o t t a n d C h i l d e s t e r , G e t t i n g R e s u l t s W it h S c h o o l B a n d s . M i n n e a p o l i s , M i n n e s o t a ! P a u l A. S c h m i t t M u s ic Go. , 1 9 3 8 . S c h e l l i n h , E r n e s t , O xford P ia n o C o u rs e , T e a c h e rs M an u al. New Y o rk s O x f o r d U n i v e r s i t y P r e s s , 1 9 3 2 . S t o e v i n g , P a u l , T he M a s t e r y o f t h e Bow a n d B ow ing S u b l e t i e s . New Y o rk s C a rl F is c h e r, I n c ., 1920. T h om pso n, J o h n , T e a c h i n g P i a n o i n C l a s s e s . P a * : T heo dore P r e s s e r C o ., 1932.
P h ila d e lp h ia ,
PERIODICAL AND ENCYCLOPEDIC REFERENCES G r o v e , S i r G e o r g e , G r o v e Ts D i c t i o n a r y o f M u sic a n d M u s i c i a n s . New Y o r k : T he M a c m i l l a n Co. , 1 9 4 0 .
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I n t e r n a t i o n a l L i b r a r y o f M u s i c , The* B i o l i n S e r i e s . New Y o r k : U n i v e r s i t y S o c i e t y I n c * , 1934* M o d ern M u s i c *
New Y o r k :
M u s ic a l A m e ric a * M u sic a l D i g e s t *
L e a g u e o f C o m p o s e r s , !T n c .
New Y o r k :
John F . M a j e s k i, p u b l is h e r *
E a s t S tro u d sb u rg , Penna:
M u sic a l Q u a rte rly * T he* S c h o o l M u sic ia n * T h e *
New Y o r k :
C h ica g o :
M u sic a l D ig e s t In c .
G. S c h i r m e r ^ I n c .
B o b e rt L. S h ep h erd , p u b lis h e r .
W o rld o f M usic* The* In stru m e n ta l S e r ie s * G in n a n d C o . , 1 9 3 8 .
B o sto n :
CHAPTER
XI
TEACHING- THE ORCHESTRA S h o u l d t h e o r c h e s t r a h e o r g a n i z e d on a s e l f g o v e r n m e n t b a sis?
Do y o u h a v e d i f f i c u l t y
i n g e t t i n g o r c h e s t r a m em bers
out of o th e r c la s s e s fo r re h e a rs a ls ?
Do you n e e d t o know
m uch a b o u t e a c h i n d i v i d u a l i n s t r u m e n t t o s u c c e s s f u l l y d i r e c t th e o rc h d s tra ?
C an y o u l e a r n e n o u g h a b o u t t h e t e c h n i c a l
p a r t o f m u sic i n a s h o r t tim e t o p r o p e r l y i n s t r u c t t h e o rc h e stra ?
S h o u l d y o u do t h e b e s t y o u c a n w i t h t h e o r c h e s t r a
r a t h e r th a n c a u se th e sc h o o l t o n o t have an o r c h e s tr a ?
A
fe w b a s i c p r i n c i p l e s o f o r c h e s t r a m u s i c may b e l e a r n e d v e r y q u ic k ly .
Many a s c h o o l d o e s n o t h a v e a s p e c i a l l y t r a i n e d
o rc h e stra d ir e c to r .
T he a v e r a g e o r c h e s t r a n e e d s b u t a l i t t l e
f a i t h f u l g u i d a n c e c o m b in e d w i t h common s e n s e a n d a t t r a c t i v e c o stu m in g , to be a s u c c e s s f u l o r g a n i z a t i o n .
P erhaps t h i s
c h a p t e r w i l l a s s i s t you i n m ak in g y o u r o r c h e s t r a a v a l u a b l e e x p e r i e n c e f o r t h e s t u d e n t s a n d a n a s s e t t o t h e c o m m u n ity . PROBLEMS 1# How t o o r g a n i z e t h e o r c h e s t r a . a . S h o u l d t h e m e m b e rs h ip o f t h e o r c h e s t r a b e l i m i t e d ? b . I s i t b e t t e r t o h a v e a l a r g e n um b er o f m e m b e rs , some o f whom a r e p o o r e r p l a y e r s t h a n o t h e r s , o r h a v e a s m a lle r s e l e c t group? c . S h o u ld a l l a g e s and s i z e s o f c h i l d r e n b e a c c e p te d i n th e o rc h e stra ?
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d* A re t h e r e a n y i n s t r u m e n t s w h i c h s h o u l d n o t b e a c c e p t e d in th e o rc h e s tra ? ۥ How m uch m u s i c s h o u l d a s t u d e n t h a v e h a d t o b e a member o f t h e o r c h e s t r a ? f.
How w e l l s h o u l d s t u d e n t s b e a b l e t o r e a d m u s i c b e f o r e jo in in g th e o rc h e stra ?
g . S h o u ld you c o n d u c t t r y - o u t s f o r t h e o r c h e s t r a ? h# How s h o u l d o r c h e s t r a t r y - o u t s b e c o n d u c t e d ? i# How c a n y o u b e s u r e o f h a v i n g g o o d s t u d e n t o f f i c e r s ? j* How s h o u l d s t u d e n t o f f i c e r s b e s e l e c t e d ? k . S h o u ld any o f t h e s t u d e n t o f f i c e r s be a p p o in te d by th e te a c h e r? 1 . How m uch s t u d e n t a u t h o r i t y s h o u l d g o v e r n t h e o r c h e s t r a a c tiv itie s? m. S h o u l d t h e o r c h e s t r a h a v e a c o n s t i t u t i o n o r b y - l a w s ? n . How do y o u w r i t e a c o n s t i t u t i o n o r b y - l a w s f o r t h e o rc h e stra ? o . S h o u l d t h e o r c h e s t r a h a v e m e m b e r s h ip d u e s ? p . How s h o u l d y o u s e l e c t a s t u d e n t d i r e c t o r ? q . S h o u l d t h e o r c h e s t r a h a v e some s o c i a l a c t i v i t y o u t s i d e o f ju s t p la y in g th e in stru m e n ts? r . Who s h o u l d a n n o u n c e t h e s e l e c t i o n s a t t h e p u b l i c p erfo rm an ce? s* S h o u l d t h e o r c h e s t r a g i v e a d e m o n s t r a t i o n t o s t i m u l a t e i n t e r e s t t o g e t new m em b ers? t . How s h o u l d
you o r g a n iz e apep band?
u* S h o u l d y o u
s e l e c t t h e p e p b a n d m em b ers f r o m
v . S h o u ld t h e
te a c h e r d i r e c t th e pep band?
w* Who s h o u l d
c h o o se t h e m u sic f o r t h e pepb and?
th e o rc h e stra ?
x . S h o u ld t h e p ep band h a v e d i f f e r e n t u n if o r m s t h a n th e o rc h e s tra ? How t o a r r a n g e a n d s c h e d u l e r e h e a r s a l s « a . How c a n y o u b e s u r e t h a t t h e o r c h e s t r a s c h e d u l e w i l l p e r m i t a l l who w i s h t o t a k e o r c h e s t r a ? b# How c a n y o u s e c u r e t h e a d m i n i s t r a t i o n ’ s b e s t c o o p e r a t i o n i n s c h e d u l i n g o r c h e s t r a a t a t i m e w h en a l l who w i s h may t a k e i t ? c* How o f t e n s h o u l d y o u h a v e o r c h e s t r a r e h e a r s a l s ? d« How l o n g s h o u l d t h e r e h e a r s a l b e ? e* How m uch r e h e a r s a l t i m e i s n e c e s s a r y f o r g e t t i n g o u t t h e i n s t r u m e n t s a n d p u t t i n g th em aw ay? f . IThen i s
i t n e c e s s a ry to have s e c t i o n a l r e h e a r s a l s ?
g . A t w h ic h tim e can you m ost e f f e c i e n t l y r e h e a r s e a band or o r c h e s tr a by s e c tio n s ? h . When s h o u l d y o u h a v e e x t r a r e h e a r s a l s ? i* S h o u l d y o u e x p e c t a l l m em bers t o p u t i n e x t r a t i m e a f te r school fo r re h e a rs a ls? j . How c a n y o u g a i n t h e s t u d e n t s ’ c o o p e r a t i o n i n p u t t i n g i n e x t r a t i m e on s p e c i a l r e h e a r s a l s ? k . How c a n y o u e n l i s t t h e o t h e r f a c u l t y m e m b e r s ’ c o o p e r a t i o n f o r e x t r a r e h e a r s a l s w h ich i n t e r f e r e w i t h o t h e r c la ss e s? 1 . How c a n y o u e n l i s t t h e c o o p e r a t i o n o f p a r e n t s i n s c h e d u lin g e x tr a a f t e r - s c h o o l o r e v e n in g r e h e a r s a l s ? m. Can t h e s c h o o l a d m i n i s t r a t i o n e x p e c t t h e t e a c h e r t o d i r e c t e x t r a r e h e a r s a l s o n h i s own t i m e ? How t o a r r a n g e and s e a t t h e o r c h e s t r a ♦ a* How s h o u l d t h e s c h o o l o r c h e s t r a b e s e a t e d ? b« W here c a n y o u s e c u r e m a t e r i a l w h i c h show s t h e v a r i o u s o r c h e s t r a s e a t i n g a rra n g e m e n ts ?
129
c . How c a n y o u b e s t e x p l a i n t h e s e a t a r r a n g e m e n t o f t h e o r c h e s t r a t o t h e o r c h e s t r a m e m b e rs ? d . How c a n y o u s e a t t h e o r c h e s t r a s o t h e y th e d ir e c to r ?
can a l l se e
e . S h o u ld t h e p o o r p l a y e r s be p l a c e d t o g e t h e r and t h e b e tte r p la y e rs to g e th e r? f.
S h o u l d t h e s e a t i n g a r r a n g e m e n t b e t h e sam e o n t h e s ta g e as in th e o rc h e s tra p i t ?
g . S h o u ld c e r t a i n s e a t s b e d e s i g n a t e d a s s o l o s e a t s ? h . S h o u ld t h e s e a t i n g d i f f e r f o r p u b l i c p e rfo rm a n c e from c l a s s r e h e a r s a l ? i.
S h o u ld you e v e r u s e r i s e r s f o r p a r t o f t h e o r c h e s t r a ?
j . How c a n y o u b e s t e x p l a i n t o t h e o r c h e s t r a t h e n e e d f o r c h a n g in g s e a t s from tim e t o tim e ? 4 . How t o t e a c h s t u d e n t s t o p e r f o r m and p r a c t i c e t h e v a r i o u s in stru m e n ts. a . How m uch i n s t r u m e n t a l t e c h n i q u e s h o u l d y o u t e a c h t o th e o rc h e s tra ? b . How c a n y o u g e t e a c h s t u d e n t t o p r o d u c e t h e p r o p e r to n e on h i s in s tr u m e n t? c . How c a n a n i n s t r u m e n t b e w arm ed up w i t h o u t m a k in g a sound? d . How o f t e n s h o u l d t h e s t r i n g i n s t r u m e n t s b e t u n e d ? e . When d u r i n g a r e h e a r s a l o r p e r f o r m a n c e i s t h e b e s t t i m e f o r t u n i n g t h e b r a s s a n d w oodw ind i n s t r u m e n t s ? f.
S h o u l d t h e d ru m s e v e r b e t u n e d ?
g . How c a n y o u g e t a l l t h e i n s t r u m e n t s t o s n a p i n t o p o s i t i o n a t t h e same t i m e b e f o r e p l a y i n g a s e l e c t i o n ? h* S h o u l d y o u g i v e i n s t r u c t i o n i n how t o p r a c t i c e t h e v a rio u s in stru m e n ts? i.
How much s h o u l d e a c h s t u d e n t b e r e q u i r e d t o p r a c t i c e ?
130
j» S h o u l d t h e m o re a d v a n c e d s t u d e n t p r a c t i c e a s much as th e le s s advanced s tu d e n t? k . S h o u ld you r e q u i r e p r a c t i c e o f home p r a c t i c e ? 1.
s l i p s s t a t i n g t h e am ount
How c a n y o u e n l i s t t h e s t u d e n t s f u l l c o o p e r a t i o n i n p r a c t ic i n g h is in stru m e n t?
m. How c a n y o u b e s t e n l i s t t h e p a r e n t s ’ c o o p e r a t i o n i n g e ttin g th e s tu d e n t to p r a c tic e ? n . S h o u l d t h e s c h o o l p r o v i d e p r a c t i c e ro o m s f o r t h o s e who f i n d i t d i f f i c u l t t o p r a c t i c e a t home? o« S h o u l d t h e s c h o o l p r o v i d e a p r a c t i c e room f o r t h o s e s t u d e n t s who p l a y l a r g e i n s t r u m e n t s w h i c h a r e n o t e a s i l y c a r r i e d home? 5• How t o t e a c h t h e t e c h n i q u e o f p l a y i n g t h e o r c h e s t r a m u s i c ♦ ' a . How m uch do y o u n e e d t o know a b o u t i n s t r u m e n t s t o d u ct th e o rc h e s tra ?
con
b* How s h o u l d y o u g i v e (; c l a s s d i r e c t i o n s c o n c e r n i n g t h e m u sic so t h a t e a c h s t u d e n t u n d e r s ta n d s t h e i n s t r u c t i o n s ? c . S h o u ld you u s e t h e b la c k b o a r d t o n o t a t i o n and te r m s ?
i l l u s t r a t e m u sic a l
d . How d i f f i c u l t s h o u l d t h e m u s i c b e ? e* S h o u l d t h e m u s i c b e e a s y f o r t h e a d v a n c e d s t u d e n t s o i t i s p o s s ib le f o r th e l e s s advanced stu d e n t to p la y i t ? f. g*
How s h o u l d y o u t e a c h a new num ber t o
th e o rc h e stra ?
S h o u l d y o u t r y t o h a v e t h e o r c h e s t r a r e a d a new nu m b er th r o u g h i n i t s e n t i r e t y b e f o r e w o rk in g i t o u t by s e c t i o n ?
h . How c a n y o u b e s t e x p l a i n , t o t h e o r c h e s t r a , o f te m p o ?
t h e im p o rtan c e
i . How do y o u d e t e r m i n e t h e tem po o f t h e m u s i c ? j.
How c a n y o u d e c i d e w h ic h tem p o t o s e t when y o u h a v e stu d e n ts o f v a rie d a b i l i t i e s ?
131
k . How c a n y o u b e s t s p e e d up t h e te m p o o f t h e m u s i c ? 1# How c a n y o u t e a c h t h e s t u d e n t s t o r e a d t h e s p e c i a l s i g n s and m arks w h ic h , i f c a r r i e d o u t , p ro d u c e a much f i n e r p i e c e o f m u s i c ? m. How c a n y o u t e a c h a n i n s t r u m e n t p l a y e r t o m e m o riz e h i s m u sic? n* How m uch c l a s s t i m e s h o u l d b e g i v e n t o i n d i v i d u a l in stru c tio n ? o# S h o u l d t h e t e a c h e r fee e x p e c t e d t o h e l p i n d i v i d u a l s a f t e r sch o o l hours? p . S h o u l d t h e s l o w e r s t u d e n t s b e r e q u i r e d t o come f o r e x tr a h e lp a f t e r sc h o o l? q . How c a n y o u d e t e r m i n e w hen t h e o r c h e s t r a p u b lic p erfo rm an ce?
is read y fo r
r . How o f t e n s h o u l d t h e o r c h e s t r a p l a y f o r s c h o o l a s s e m b l i e s ? s* How c a n t h e o r c h e s t r a g i v e a d e m o n s t r a t i o n o f i n s t r u m e n t s t o s t i m u l a t e i n t e r e s t t o g e t new m e m b ers? t.
How s h o u l d y o u t r a i n a s t u d e n t d i r e c t o r ?
6 . How t o g r a d e a n d m e a s u r e i n d i v i d u a l p r o g r e s s * a . S h o u l d t h e o r c h e s t r a b e g r a d e d t h e same a s a n y o t h e r c la s s ? b . S h o u ld a l l o r c h e s t r a g r a d e s be e i t h e r s a t i s f a c t o r y o r u n s a t i s f a c t o r y w i t h no i n t e r m e d i a t e l e v e l s ? c* S h o u l d p u b l i c p e r f o r m a n c e c o u n t h e a v i l y on t h e g r a d e ? d . S h o u l d t h e a m o u n t o f home p r a c t i c e
in flu e n c e th e g rad e?
e* S h o u l d t h e a g e and t h e s i z e o f t h e s t u d e n t b e t a k e n i n t o c o n s i d e r a t i o n w hen g i v i n g a n o r c h e s t r a g r a d e ? f# S h o u l d t h e a d v a n c e d t a l e n t e d s t u d e n t r e c e i v e a h i g h e r g ra d e th a n a h a rd w o rk in g l e s s t a l e n t e d s tu d e n t? g . How c a n y o u b e s t e x p l a i n t h e s e d i f f e r e n c e s i n g r a d e s t o t h e o r c h e s t r a m e m b ers?
132
h . S h o u ld a s t u d e n t b e lo w a c e r t a i n l e v e l b e a llo w e d t o re m a in in th e o r c h e s t r a ? I.
S h o u ld you h av e e a c h s t u d e n t p l a y h i s p a r t b y h i m s e l f a s a m easure o f p r o g r e s s ?
j . S h o u ld you h av e e s e v e r a l s t u d e n t s p l a y t h e i r p a r t o f th e o r c h e s tr a tio n to g e th e r as a t e s t o f t h e i r p ro g ress? k . S h o u ld you e v e r g iv e a w r i t t e n t e s t i n an o r c h e s t r a c la ss ? 7 . How t o u n i f o r m t h e o r c h e s t r a * a. b*
S h o u ld t h e o r c h e s t r a
h a v e some d e f i n i t e u n i f o r m ?
How c a n y o u show t h e n e e d o f a u n i f o r m t o y o u r s c h o o l b o ard ?
c* W here c a n y o u s e c u r e i n f o r m a t i o n a n d d e s c r i p t i v e m a t e r i a l b o n c e rn in g u n ifo rm s? d* Who s h o u l d c h o o s e t h e u n i f o r m ? e . S h o u l d t h e s t u d e n t s h a v e much t o s a y a b o u t t h e c h o i c e o f u n ifo rm ? f. g*
S h o u ld t h e g i r l s and
boys a l l be d re sse d a lik e ?
S h o u l d t h e u n i f o r m a l w a y s b e c o m p o sed o f t h e s c h o o l c o lo rs ?
h . S h o u ld t h e u n if o r m a l s o have a h a t o r c ap ? i.
S h o u l d t h e g l e e c l u b a n d o r c h d s t r a h a v e t h e sam e u n i f o r m ?
j.
S h o u l d t h e p e p b a n d u s e t h e sam e u n i f o r m s a s t h e o rc h e stra ?
k.
I s i t n e c e s s a r y t o s p e n d a g r e a t d e a l o f m oney i n o r d e r to have th e o r c h e s tr a d re s se d u n ifo rm a lly ?
1« How m uch s h o u l d a n o r c h e s t r a u n i f o r m c o s t ? m. S h o u l d t h e s t u d e n t s b e r e q u i r e d t o p u r c h a s e t h e u n i f o r m ? n* S h o u l d t h e s c h o o l f u r n i s h t h e u n i f o r m ? o.
S h o u ld t h e s c h o o l u n if o r m e v e r be g iv e n t o t h e s t u d e n t as a p re se n t?
133
p.
How c a n y o u e n l i s t t h e p a r e n t s c o o p e r a t i o n i n s e c u r in g a u n ifo rm f o r th e o r c h e s t r a ?
q.
How c a n y o u e n l i s t t h e c o o p e r a t i o n o f t h e P . T . A . s e c u r in g a u n ifo rm f o r th e o r c h e s t r a ?
r.
I s i t p o s s i b l e t o h av e t h e p a r e n t s and th e P .T .A . maker*.the u n i f o r m s ?
in
ACTIVITIES 1 . A sk o t h e r s c h o o l m u s i c t e a c h e r s how t h e y r e g u l a t e t h e m e m b e r s h ip o f t h e o r c h e s t r a . 2 . W r i t e t o s e v e r a l m u s i c c o m p a n ie s f o r m a t e r i a l c o n c e r n i n g th e o rg a n iz a tio n o f th e o r c h e s tr a . 3 . Ask o t h e r s c h o o l m u s i c t e a c h e r s how t h e y c o n d u c t t r y - o u t s fo r o rc h e stra . 4.
W rite to s e v e r a l in s tru m e n t m a n u fa c tu re rs fo r m a t e r i a l c o n c e rn in g th e o r g a n iz a tio n o f in s tru m e n t c la s s e s .
5 . S e c u r e a c o p y o f a c o n s t i t u t i o n o r b y - l a w s fr o m a n o t h e r sc h o o l band o r o r c h e s tr a . 6 . H ave a m e e t i n g w i t h t h e s t u d e n t o f f i c e r s a n d p l a n a p a r t y o r some s i m p l e s o c i a l a c t i v i t y . 7.
Work o u t t h e b e s t r e h e a r s a l h o u r p o s s i b l e w i t h t h e a d m in i s t r a t o r , t r y i n g t o a v o id c o n f l i c t s w i t h a t h l e t i c and d ra m a tic s c h e d u le s .
8 . A sk y o u r s c h o o l a d m i n i s t r a t o r w h a t t h e s c h o o l p o l i c y i s c o n c e rn in g e x tr a o r c h e s tr a r e h e a r s a l s . 9 . P o s t a w e e k ly s c h e d u l e o f o r c h e s t r a r e h e a r s a l s and p e r f o r m a n c e s s o t h a t a l l s t u d e n t s may p r e p a r e t h e i r d a i l y r o u tin e to m eet w ith i t . 10. R e fer to l i b r a r y re f e r e n c e books f o r c h a r ts of v a rio u s s e a t i n g a rra n g e m e n ts . 1 1 . W r i t e t o s e v e r a l m u s i c c o m p a n ie s o r i n s t r u m e n t m a n u f a c t u r e r s f o r s e a t i n g c h a r t s and s u g g e s t i o n s . 1 2 . S t u d e n t s s h o u l d b e e n c o u r a g e d t o w o rk f o r a c e r t a i n s e a t in th e o r c h e s tr a . 1 3 . C h ange some o f t h e s e a t s f ro m t i m e t o t i m e .
134
1 4 . U se a few m i n u t e s o f e a c h r e h e a r s a l f o r a t e c h n i c a l c h e c k up on i n s t r u m e n t t e c h n i q u e a n d t o n e p r o d u c t i o n . 1 5 . H ave e a c h s t u d e n t warm u p h i s i n s t r u m e n t b y b l o w i n g t h r o u g h i t w i t h o u t m a k in g a n o i s e . 1 6 . T ak e t i m e o u t t o t u n e a l l i n s t r u m e n t s s o m e tim e d u r i n g each re h e a rs a l. 17.
H ave e a c h s t u d e n t w r i t e , o c c a s i o n a l l y , h is honest s ta te m ent a s t o t h e am ount o f tim e he p r a c t i c e s e a c h day o r w eek.
1 8 . T a k e t i m e t o e x p l a i n c l e a r l y some o f t h e t e r m s ,n e c e s s a r i l y used in g iv in g d ir e c tio n s to th e o rc h e s tra . 19.
U se t h e b l a c k b o a r d
t o i l l u s t r a t e m u s ic a l s i g n s and te r m s .
SO.
I f p o s s i b l e , t r y t o re a d a s e l e c t i o n c o m p le te ly th ro u g h a t t h e f i r s t r e h e a r s a l e v e n i f ny ou h a v e t o s t a r t a n d s t o p a fe w t i m e s o r s k i p a fe w m e a s u r e s .
21.
T r y t o a r r a n g e some e x t r a r e h e a r s a l s f o r s tu d e n ts .
th e slo w e r
22. C onduct t r y - o u t s f o r s tu d e n t d i r e c t o r b u t choose o n ly t h e s t u d e n t who d o e s i t w e l l . 23.
G iv e t h e b e s t g r a d e s t o t h o s e , who w o rk j u s t to th e m ost t a l e n t e d s t u d e n t.
f o r th e m a n d
not
2 4 . T ak e i n t o c o n s i d e r a t i o n t h e s i z e and a g e o f a s t u d e n t w hen g i v i n g o u t g r a d e s . 2 5 . H ave s e v e r a l s t u d e n t s p l a y t h e i r p a r t t o g e t h e r t o c h e c k on t h e i r p r o g r e s s . 26.
G iv e a n o c c a s i o n a l have been p r o p e r ly
w r i t t e n t e s t on a fe w e s s e n t i a l s w h i c h e x p la in e d s e v e r a l tim e s in c l a s s .
r-y
2 7 . S i g h t e x a m p le s, t o y o u r s c h o o l b o a r d , o f t h e m o st s u c c e s s f u l s c h o o l m u s i c g r o u p s w h i c h a r e a lw a y s i n a u n i f o r m . 2 8 . W r ite t o s e v e r a l u n if o r m m a n u f a c tu r in g c o m p a n ie s f o r d e s c r ip tiv e l i t e r a t u r e o f u n ifo rm s. 2 9 . A f t e r c h o o s i n g a u n i f o r m s t y l e , p u r c h a s e m a t e r i a l s f ro m a w h o l e s a l e h o u s e a n d h a v e p a r e n t s a n d P.JT*A. make t h e u n ifo rm s.
155
5 0 . I f y o u w i s h t o e c o n o m i z e , s e l e c t a u n i f o r m w h ic h w i l l s e r v e b o th , o r c h e s t r a a n d g l e e c l u b . BIBLIQGRAPHY A l l e n , J . E o r t h , The O r c h e s t r a D i r e c t o r s M a n u a l . C a rl F is c h e r , I n c . , 1927. C a l l o , S t a n i s l a o , M odern B a n d . C o ., 1955.
B o sto n :
Hew Y o r k :
C. C. B i r c h a r d a n d
C a r s e , Adam Yon A hn, The S c h o o l O r c h e s t r a . W illia m s L t d . , 1926.
London:
J
C a t o n , C l i f f o r d A . , M u s i c i a n s Book o f K now ledge f o r S u p e r v i s o r s D i r e c t o r s o f B an d s, O r c h e s t r a , C h o ru s . Los A n g e l e s : D a n n , H o l l i s E l l s w o r t h , C o n d u c t o r s B ook. A m e r i c a n Book C o . , 1 9 3 6 .
Hew Y o r k :
F i n n , W i l l i a m J o s e p h , The A r t o f t h e C h o r a l C o n d u c t o r . B o sto n : C. C. B i r c h a r d a n d C o . , 1 9 3 7 . G e h r k e n s , E a r l W i l s o n , M u s ic N o t a t i o n a n d T e r m i n o l o g y . C h ica g o : L a id la w B r o th e r s , I n c . , 1930. G i l e s , R a y , " H e re Comes t h e B a n d . ” B ro th e rs , 1936.
New Y o r k :
G oldm an , E d w in F r a n k o , B and B e t t e r m e n t . F is c h e r, I n c ., 1934.
New Y o r k :
G o ld m an ; R i c h a r d F r a n k o , The B a n d s M u s i c . P itm an P u b l i s h i n g C o r p o r a tio n , 1938. H i n d , H a r o l d C h a r l e s , The B r a s s B a n d . Son, L t d . , 1934. ~
H a r p e r and C arl
New Y o r k :
London:
Hawkes and
H i n d s l e y , M ark H u r b e r t , S c h o o l B and a n d O r c h e s t r a A d m i n i s t r a t i o n . New Y o r k : B o o s e y , H a w k e s, B e l w i n , I n c . , 1 9 4 0 . E e n d r i e , F r a n k E s t e s , H an d b o o k o n C o n d u c t i n g a n d O r c h e s t r a R o u tin e f o r t h e P r o s p e c t i v e C o n d u c to r o f E i t h e r d h o ru s o r O rc h e s tra . New Y o r k : H. W. G ra y C o . , 1 9 3 6 . K o r n , R a l p h H e rm a n , How t o O r g a n i z e t h e A m a te u r Band a n d O rc h e stra . New Y o r k : G r e e n b e r g P u b l i s h e r , I n c . , 1 9 2 8 .
136
M addy, J o s e p h E . , I n s t r u m e n t a l T e c h n i q u e f o r O r c h e s t r a a n d Band* C in c in n a ti: T he W i l l i s M u sic C o . , 1 9 2 6 . N e w to n , L . , The Book o f t h e S c h o o l O r c h e s t r a , O xford U n i v e r s i t y P r e s s , 1936,
London:
N o rm an n , T h e o d o r e F r e d e r i c k , I n s t r u m e n t a l M u s ic i n t h e P u b l i c S c h o o ls, P h ila d e lp h ia : O liv e r i t s o n and t o . , 1 9 4 1 , P a n A m e ric a n B and I n s t r u m e n t an d C a s e C o . , B and a n d O r c h e s t r a G u id e , E lk h a rt, In d .: P a n A m e r i c a n Band a n d I n s t r u m e n t and C ase C o . , 1 9 3 8 . P r e s c o t t , G e ra ld R . , G e ttin g R e s u lts w ith S c h o o l B ands. New Y o r k : C a r l F i s c h e r , I n c . , 1 9 3 8 , W a t e r s , F r e d E l b e r t , P r a c t i c a l B a to n T e c h n i q u e f o r S t u d e n t C o n d u c to rs. C h ica g o : Gamble H in g e d M u s ic C o . , 1 9 3 9 . W oods, G le n n H . , P u b l i c S c h o o l O r c h e s t r a s a n d B a n d s . B o s t o n : O l i v e r M t s o n a n d Co. , 1 9 2 0 . PERIODICAL AND ENCYCLOPEDIA REFERENCES G r o v e , S i r G e o r g e , G r o v e ' s D i c t i o n a r y o f M u s ic a n d M u s i c i a n s . New Y0r k : ' The M a c m i l l a n C o . , 1 9 4 0 . I n t e r n a t i o n a l L i b r a r y o f M u s ic , T he. V i o l i n S e r i e s . New Y o r k : U n i v e r s i t y S o c i e t y , I n c . , 1 9 3 4 . M o d e rn M u s i c .
New Y o r k :
M u s ic a l A m e ric a .
L eague o f C om posers, I n c .
New Y o r k :
John F . M a je s k i, p u b l i s h e r .
M u s ic a l D i g e s t , E a s t S tr o u d s b u r g , P e n n a .: M u s ic a l Q u a r te r l y , T he. S ch o o l M u sic ia n , T he.
New Y o r k : C h ica g o :
M u sic a l D ig e s t,
In c.
G. S c h i r m e r , I n c .
R o b e rt L. S h e p h e rd , p u b l i s h e r .
W o rld o f M u s i c , T h e . In stru m e n ta l S e r ie s . G in n a n d C o . , 1 9 3 8 .
B o sto n :
CHAPTER
X II
TEACHING RHYTHM BAND H ave y o u e v e r l o o k e d a t t h e r h y t h m i n s t r u m e n t s f o u n d in th e to y d e p artm e n t o f a l a r g e d e p artm e n t s t o r e o r a t e n cent sto re ? d iffic u lty
H ave y o u made r h y t h m i n s t r u m e n t s ? in g e ttin g l i t t l e
rh y th m ic a lly ?
c h ild r e n to p la y to g e th e r
Do y o u h a v e d i f f i c u l t y
f o r p u b lic p erfo rm an ce?
It
Do y o u h a v e
in p r e p a r in g t h e g roup
is n o t n e c e ssa ry , fo r th e su ccess
o f t h e rh y th m b a n d , f o r you t o p u r c h a s e e x p e n s iv e in s t r u m e n t s Homemade i n s t r u m e n t s a n d t o y i n s t r u m e n t s fr o m t h e t e n c e n t s t o r e w i l l do j u s t as w e ll. a id
An e a r l y s t a r t w i t h r h y t h m w i l l
in t h e s t u d e n t s s u c c e s s i n m u sic in l a t e r y e a r s .
b a s ic t r a i n i n g sh o u ld n o t be n e g le c te d . t h a t no t e a c h e r need be a f r a i d
T h is
I t i s so e le m e n ta r y
to te a c h it*
C e rta in fu n d a
m e n ta l p r o c e d u r e s , ho w ev er, su c h a s s e l e c t i o n o f p e r s o n a l , s e a t i n g a rra n g e m e n ts, s e l e c t i o n o f in s tru m e tn s ,
se le c tio n
o f m u sic and a c c o m p a n is t m ust be done c o r r e c t l y t o success.
in su re
T he f o l l o w i n g p r o b l e m s a n d a c t i v i t i e s w i l l a i d y o u
i n t e a c h i n g y o u r rh y th m b a n d . PROBLEMS 1 . How t o s e l e c t a n d o r g a n i z e t h e p e r s o n n e l . a . S h o u l d a l l m em bers o f t h e c l a s s b e r e q u i r e d i n t h e rh y th m band?
to p la y
13 8
b . S h o u ld t h e rh y th m band b e an o u t s i d e o r g a n i z a t i o n c o n s i s t i n g o f r e p r e s e n t a t i v e s from s e v e r a l c l a s s e s ? c . W hat s h o u l d b e t h e a g e o f t h e s t u d e n t s band? d . S h o u ld o n ly " l i t t l e
i n t h e rh y th m
f o l k " be i n t h e rh y th m band?
e . S h o u l d a n y s t u d e n t who i s j o i n t h e rh y th m b an d ?
i n t e r e s t e d be a llo w e d to
f* S h o u ld o n l y t h o s e who h a v e g o o d r h y t h m b e a l l o w e d t o jo in ? g . How c a n y o u d e t e r m i n e w h i c h s t u d e n t s h o u l d p l a y w h i c h in stru m e n t? h . How c a n y o u c h o o s e s t u d e n t s t o h a n d o u t a n d c o l l e c t th e in s tru m e n ts in c la s s ? i.
S h o u ld y o u h a v e s t u d e n t o f f i c e r s
i n t h r rh y th m band?
j . How c a n y o u s e l e c t a s t u d e n t d i r e c t o r ? k* S h o u l d y o u h a v e s t u d e n t d i r e c t o r s among t h e fo lk "?
" little
2 . How t o s e l e c t a n d s e c u r e r h y t h m i n s t r u m e n t s * a . Do y o u n e e d r h y t h m i n s t r u m e n t s ? b . When s h o u l d y o u s e c u r e r h y t h m i n s t r u m e n t s ? c . How c a n y o u s e l e c t g o o d r h y t h m i n s t r u m e n t s ? d . W here c a n y o u p u r c h a s e good r h y t h m i n s t r u m e n t s ? e . A re ch eap t o y s s a t i s f a c t o r y f o r t h e rh y th m band? f . How much, do r h y t h m i n s t r u m e n t s c o s t ? g* How m uch c h o i c e s h o u l d t h e s t u d e n t h a v e i n s e l e c t i n g an in s tru m e n t? h . How c a n y o u b e s t g e t t h e s c h o o l b o a r d t o p u r c h a s e rh y th m i n s t r u m e n t s ? i . S h o u l d t h e s t u d e n t s p u r c h a s e t h e i r own i n s t r u m e n t s ?
139
j.
How c a n y o u s e c u r e t h e p a r e n t s c o o p e r a t i o n i n s e c u r i n g rh y th m i n s t r u m e n t s ?
k . Can y o u m ake y o u r own r h y t h m i n s t r u m e n t s ? 1* S h o u l d t h e c h i l d r e n m ake t h e i r own i n s t r u m e n t s ? m* How c a n y o u b e s t make r h y t h m i n s t r u m e n t s ? n?i. W here c a n y o u s e c u r e m a t e r i a l w h ic h sh ow s y o u how t o m ake r h y t h m i n s t r u m e n t s ? o . W here c a n y o u s e c u r e m a t e r i a l s o u t o f w h i c h t o make in stru m e n ts? p« How c a n y o u s e c u r e t h e c o o p e r a t i o n o f t h e s c h o o l wood s h o p i n m a k in g i n s t r u m e n t s ? 3 . How t o a r r a n g e t h e r e h e a r s a l s c h e d u l e » a . How c a n y o u b e s t a r r a n g e t h e r e h e a r s a l s c h e d u l e s o i t w i l l n o t c o n f l i c t w ith o th e r sch o o l sc h e d u le s? b . I f t h e m em bers o f t h e o r g a n i z a t i o n a r e f r o m s e v e r a l c l a s s e s , how c a n y o u b e s t a r r a n g e t h e s c h e d u l e w i t h th e o th e r c la s s e s ? c . S h o u ld t h e rh y th m band b e o n ly p a r t o f t h e h o u r? d . How o f t e n s h o u l d t h e g r o u p r e h e a r s e ? e . Row l o n g s h o u l d t h e g r o u p r e h e a r s e a t one t i m e ? f . Can " l i t t l e
f o l k " r e h e a r s e as lo n g a s o ld e r c h ild r e n ?
g . W h ic h t i m e o f d a y i s b e s t f o r r h y t h m b a n d r e h e a r s a l s ? h . S h o u ld t h e rh y th m band e v e r i .r e h e a r s e a f t e r s c h o o l? 4r* How t o a r r a n g e a n d s e a t t h e r h y th m b a n d . a . How c a n y o u b e s t e x p l a i n , t o t h e c l a s s , t h e n e e d o f a d i f f e r e n t s t a n d in g o r s e a t i n g a rra n g e m e n t f o r rh y th m band? b . How s h o u l d t h e s e a t i n g d i f f e r f r o m r e g u l a r c l a s s w o rk ? c . S h o u ld t h e g ro u p a lw a y s s t a n d w h ile p la y i n g ?
140
d.
S h o u ld t h e s t u d e n t s s t a n d f o r p a r t o f t h e r e h e a r s a l and be s e a t e d f o r t h e o t h e r p a r t ?
e# S h o u l d t h e s t u d e n t s s t a n d a t t h e i r t h e f r o n t o f t h e room ? f.
s e a t s o r a l l go t o
S h o u l d a l l o f t h o s e p l a y i n g t h e sam e k i n d o f i n s t r u m e n t sta n d to g e th e r?
g.
S h o u ld a l l t h e p o o r p l a y e r s be a t
t h e b a c k o f t h e roo m ?
h.
W hich t y p e o f p o s t u r e i s b e s t f o r t h e r h y t h m b a n d ?
5 . How t o g i v e i n s t r u c t i o n i n i n d i v i d u a l a n d g r o u p p l a y i n g . a# How c a n y o u k e e p t h e s t u d e n t s i n t e r e s t i n t h r r h y t h m band? b . W hat s h o u l d you do w i t h t h e a b s o l u t e l y n o n - r h y t h m i c a l stu d e n t? c . How c a n y o u b e s t e n c o u r a g e t h e n o n - m u s i c a l s t u d e n t ? d.
S h o u l d y o u u s e o n l y s t i c k s w hen y o u s t a r t a new g r o u p ?
e . How s h o u l d y o u t e a c h t h e s t u d e n t s - stic k s?
t o u s e t h e rh y th m
f . How c a n y o u b e s t s e l e c t a n i n s t r u m e n t a t i o n f o r t h e b a n d ? g* When s h o u l d t h e s t u d e n t s t a k e up a new i n s t r u m e n t ? h . y/hen s h o u l d s t u d e n t s b e a l l o w e d t o t r a d e
in stru m e n ts?
i . When s h o u l d y o u h a v e s i n g i n g w i t h t h e r h y t h m i n s t r u m e n t s ? j.
How c a n y o u u s e t h e p h o n o g r a p h w i t h t h e r h y th m b a n d ?
k . S h o u ld y ou u s e t h e p ia n o w i t h t h e rh y th m band? 1 . How c a n y o u u s e o t h e r m u s i c a l i n s t r u m e n t s w i t h t h e rh y th m ban d ? m. How c a n y o u b e s t e x p l a i n how t h e v a r i o u s i n s t r u m e n t s sh o u ld be h o ld ? n . S h o u ld y o u r d i r e c t i o n s d i f f e r fro m y o u r d i r e c t i n g o t h e r m u sic a l gro u p s?
141
o . S h o u ld you t r y t o t e a c h any n o t a t i o n and o t h e r t e c h n i c a l f a c t s o f m u sic? p . S h o u ld you r e h e a r s e t h e g ro u p i n s e c t i o n s ? q . S h o u ld you h av e t h e s t u d e n t s s t e p o f f t h e rh y th m a s w e ll as ta p i t ? r . How c a n y o u b e s t t e a c h t h e r h y t h m b a n d b y u s i n g t h e w ords o f t h e song? s . How c a n y o u e x p l a i n , t o t h e c l a s s , how l o n g y o u s h o u l d h o ld a n o te or to n e ? t.
How c a n y o u o b t a i n a b a l a n c e i n £ h e r h y t h m b a n d ?
u.
How c a n y o u do p a r t w o rk w i t h t h e r h y t h m b a n d ?
v.
S h o u l d you s e l e c t a n i n s t r u m e n t a l s o l o i s t o r t r i o from th e g ro u p ?
w. How much i n d i v i d u a l a t t e n t i o n c a n y o u g i v e t o e a c h s tu d e n t d u r in g t h e c l a s s tim e ? x . S h o u l d you a s k some s t u d e n t s t o come a f t e r s c h o o l f o r e x tr a h e lp ? 6* How t o a.
p re p a re th e group f o r p u b lic p e rfo rm a n c e « ,
How c a n y o u d e t e r m i n e w hen t h e g r o u p i s r e a d y f o r a p u b lic p erfo rm an ce?
b . How o f t e n s h o u l d t h e ..g ro u p a p p e a r i n p u b l i c ? c . S h o u l d a l l m em b ers o f t h e r h y t h m b a n d b e a l l o w e d t o a p p ear in th e p u b lic p erfo rm an ce? d . S h o u ld t h e t e a c h e r d i r e c t t h e g ro u p a t t h e p u b l i c p erfo rm an ce? e . i h o u l d t h e d r e s s r e h e a r s a l b e a t t h e sam e p l a c e a s t h e p erfo rm an ce? f.
How c a n you b e s t a r r a n g e a n d c o n d u c t a l a s t m i n u t e re h e a rsa l? ,
g . How l o n g b e f o r e t h e p e r f o r m a n c e s h o u l d y o u l e t t h e s tu d e n ts have t h e i r in stru m e n ts?
142
h . Who s h o u l d a n n o u n c e t h e s e l e c t i o n s t o b e p l a y e d ? i.
How s h o u l d t h e g r o u p r e c o g n i z e t h e a u d i e n c e ?
j.
How s h o u l d t h e g r o u p b e d r e s s e d f o r t h e p e r f o r m a n c e ?
k . S h o u ld e v e ry o n e be d r e s s e d a l i k e 1.
fo r th e p erfo rm an ce?
S h o u l d t h e s t a g e a r r a n g e m e n t b e t h e same a s i n t h e c la ssro o m ?
m* W here s h o u l d t h e p i a n o b e p l a c e d on t h e s t a g e ? n. o«
S h o u ld you u se r i s e r s
in p erfo rm an ce?
¥ /h ic h t y p e a n d c o l o r o f f o o t l i g h t s a n d b o r d e r s b e u s e d on t h e rh y th m b and?
sh o u ld
p / S h o u l d y o u e v e r h a v e t h e r h y t h m b a n d go on t h e s t a g e w i t h an open c u r t a i n ? q* How s h o u l d y o u p l a c e t h e r h y t h m b a n d on t h e s t a g e b e h i n d a c lo se d c u r ta in ? r.
How c a n y o u k e e p t h e i n s t r u m e n t s q u i e t b e h i n d t h e c l o s e d c u rta in ?
7 . How t o c h o o s e and i n s t r u c t a n a c c o m p a n i s t ♦ a . How a d v a n c e d s h o u l d t h e a c c o m p a n i s t b e ? b . How o l d s h o u l d t h e a c c o m p a n i s t b e ? c.
S h o u l d y o u h a v e m o re t h a n , o n e a c c o m p a n i s t ?
d.
S h o u ld you h ave t r y - o u t s f o r a c c o m p a n is ts ?
e.
S h o u ld you u s e an e le m e n ta ry s c h o o l s t u d e n t a s a c c o m p a n is t?
an
f.
S h o u ld you u s e a h ig h s c h o o l s t u d e n t a s a n a c c o m p a n is t when p o s s i b l e ?
g#
S h o u l d t h e t e a c h e r p l a y t h e a c c o m p a n im e n t f o r t h e b a n d ?
h.
S h o u ld t h e a c c o m p a n is t a t t e n d a l l r e h e a r s a l s ?
i . How much a t t e n t i o n s h o u l d y o u g i v e t o t r a i n i n g accom p a n is ts ?
143
j.
How c a n y o u t r a i n d ire c tio n s?
th e a c c o m p a n ist to f o llo w y o u r
k . S h o u ld you g i v e t h e a c c o m p a n is t i n s t r u c t i o n s p r e s e n c e o f t h e rh y th m h a n d ?
in th e
1 , S h o u l d y o u a s k t h e a c c o m p a n i s t t o come a f t e r fo r sp e c ia l in s tru c tio n ?
school
m. S h o u l d y o u u s e t h e sam e a c c o m p a n i s t i n p u b l i c p e r f o r m an ce as you u se i n c l a s s ? ACTIVITIES 1* T r y u s i n g a l l s t u d e n t s o n some s i m p l e i n s t r u m e n t e v e n th o u g h th e y a r e in a c c u r a te ? 2 . S e l e c t some v e r y s i m p l e i n s t r u m e n t s f o r t h e f i r s t g r a d e stu d e n t* 3 . The j u n i o r h i g h s t u d e n t w i l l e n jo y , t h e m o re c o m p l i c a t e d rh y th m i n s t r u m e n t s • 4* H ave t h e s t u d e n t s e l e c t o f f i c e r s t o c a r r y o n a fe w s i m p l e d u t i e s a n d a r r a n g e m e n t s o f t h e g ro u p * 5* T r y o u t a num ber o f s t u d e n t s f o r s t u d e n t d i r e c t o r b u t o n l y c h o o s e o n e who i s g o o d r h y t h m i c a l l y . 6 . W r i t e t o s e v e r a l m u s i c c o m p a n ie s f o r . d e s c r i p t i v e l i t e r a t u r e . 7 . W r i t e t o s e v e r a l drum m a n u f a c t u r e r s f o r d e s c r i p t i v e l i t e r a t u r e o f rh y th m i n s t r u m e n t s . 8 . A sk some o f t h e s t u d e n t s t o b r i n g t o c l a s s some o f t h e i r t o y s w h ic h c o u ld be u s e d i n t h e b a n d . 9. R efer to s e v e ra l lib r a r y books fo r d e s c rip tio n o f in s tr u m e n t s w h i c h . c a n b e made a t s c h o o l o r a t home. 1 0 . H av e some o f t h e s t u d e n t s m ake a fe w i n s t r u m e n t s a t s c h o o l . 1 1 . A sk \ t h e wood s h o p t e a c h e r t o h a v e some o f t h e o l d e r b o y s m ake a f e w i n s t r u m e n t s . 1 2 . M e e t w i t h t h e v a r i o u s t e a c h e r s who h a v e r e p r e s e n t a t i v e s i n t h e r h y t h m b a n d a n d w o rk o u t a s c h e d u l e w h i c h w i l l n o t c o n f l i c t w ith o t h e r a c t i v i t y in t h e c la ss ro o m s *
1 44
1 3 . O n ly u s e t h e i n s t r u m e n t s p a r t o f t h e m u s i c h o u r , t h u s p r e v e n t i n g t h e s t u d e n t s f r o m b e c o m in g t o o t i r e d . 1 4 . Do n o t s c h e d u l e t h e r h y t h m b a n d r e h e a r s a l s t o o o f t e n u n l e s s y o u h a v e a p e r f o r m a n c e c o m in g u p . 1 5 . A r r a n g e t h e r h y t h m b a n d s o t h a t a l l i n s t r u m e n t s w h ic h are s im ilia r are to g e th e r. 1 6 . W h ile u s i n g t h e s t i c k s h a v e t h e c l a s s s e a t e d . 1 7 . . When u s i n g a v a r i e t y o f i n s t r u m e n t s h a v e a s h o r t e r r e h e a r s a l i f n e c e s s a ry b u t have a l l c h ild r e n s ta n d . 1 8 . T ry t o f i n d o t h e r d u t i e s f o r t h e n o n - r h y th m ic a l s t u d e n t who may l o s e i n t e r e s t . 19. P la y r e c o r d i n g s o f rh y th m b an d s and o t h e r b a n d s . 2 0 . S t a r t a new g r o u p o u t u s i n g o n l y s t i c k s u n t i l t h e y s e n s e t h e r h y t h m . a n d y o u f i n d t h e m o re r h y t h m i c . s t u d e n t s . 2 1 . T ry t o ch o o se s e v e r a l t o n e s and p i t c h e s o f i n s t r u m e n t s fo r v a rie ty . 2 2 . Keep e a c h s t u d e n t on .one i n s t r u m e n t f o r a s t a t e d l e n g t h o f tim e . 2 3 . S lo w t h e s p e e d o n t h e p h o n o g r a p h a n d h a v e t h e c l a s s t a p th e rh y th m o f band o r o r c h e s t r a s e l e c t i o n s . 2 4 . U se t h e p i a n o r e g u l a r l y w i t h t h e b a n d . 2 5 . The t e a c h e r s d i r e c t i o n o f b e a t s h o u l d b e s i m p l e a n d i n a downw ard m o t i o n f o r e a c h t a p . 26.
Hgve t h e c l a s s s i n g a s o n g t a p p i n g o n e a c h e m p h a s i z e d s y l l a b l e o f th e w o rds.
2 7 . Have t h e s t u d e n t s w a l k up a n d down t h e a i s l e s t e p p i n g on e a c h b e a t u s i n g s h o r t e r s t e p s f o r s h o r t e r n o t e s . 2 8 . S e l e c t a f e w o f t h e m o re t a l e n t e d s t u d e n t s f o r a s m a l l s p e c i a l i t y num ber. 29.
Ask a f e w o f t h e l e s s r h y t h m i c a l s t u d e n t s t o fe w m i n u t e s e a r l y f o r a l i t t l e s p e c i a l h e l p .
come
in a
3 0 . H ave t h e r h y t h m b a n d a p p e a r i n p u b l i c t h r e e o r f o u r t i m e s a y ear.
145
3 1 . I f p o s s i b l e u s e a l l m em b ers o f t h e r h y t h m b a n d i n t h e p u b lie p erfo rm an ce. 3 2 . Be s u r e t o g i v e t h e same c l e a r d i r e c t i o n s form an ce t h a t you g iv e i n c l a s s .
in p u b lic p e r
3 3 . A r r a n g e t h e g r o u p on t h e s t a g e so t h e m o re r h y t h m i c a l s t u d e n t s a r e i n t h e f r o n t row . 34. I f p o s s ib le have th e d re s s r e h e a r s a l a t th e e x a c t p la c e o f p erfo rm an ce. 35. A rran g e f o r a l a s t m in u te r e h e a r s a l , r e h e a r s i n g each s e l e c t i o n once o n ly . 3 6 . H ave o n e o f t h e s t u d e n t s a n n o u n c e t h e s e l e c t i o n s . 3 7 . H ave a l l s t u d e n t s n e a t l y d r e s s e d f o r p u b l i c p e r f o r m a n c e . 38. P la c e th e p ia n o on th e s ta g e c lo s e to th e group b u t s l i g h t l y in back o f th e g ro u p . 3 9 . U se r i s e r s when p o s s i b l e f o r t h e b e s t s t a g e a r r a n g e m e n t . 4 0 . E x p e r i m e n t w i t h t h e f o o t l i g h t s an d b o r d e r l i g h t s . t h o s e w h i c h show o f f t h e g r o u p b e s t .
S e le c t
4 1 . P r a c t i c e g o i n g on a n d o f f t h e s t a g e s e v e r a l t i m e s b e f o r e th e p erfo rm an ce. 42. I f p o s s i b l e , u se one o f th e e le m e n ta ry s c h o o l s tu d e n ts f o r an a c c o m p a n is t. 4 3 . The t e a c h e r may a c c o m p a n y t h e g r o u p w hen h e h a s a s t u d e n t d ire c to r. 4 4 . A r r a n g e f o r a fe w © x t r a r e h e a r s a l s o u t s i d e o f c l a s s t i m e to co ach th e a c c o m p a n ist. BIBLIOGRAPHY C h r i s t i a n s o n , H e l e n , B o d i l y R h y th m ic M ovem ents o f Young C h i l d r e n i n R e l a t i o n " t o Rhythm i n M u s i c . New 'Y r k s T e a c h e r s C o l l e g e , C o lu m b ia U n i v e r s i t y , 1 9 3 8 . C h u r c h i l l , V i r g i n i a P e a l e s , T r i a n g l e s and C y m b a ls . P h ila d e lp h ia : O l i v e r B i t s o n Co.
146
D e R u s e tte , L o u ie E . , C h ild r e n s P e r c u s s i o n B ends, S t a n le y P a u l and C o ., L t d . , 1930. B i l l e r , A n g e l a , R o t e P i e c e s f o r Rhythm B a n d . G. S c h i r m e r , I n c . , 1 9 3 0 .
L ondons
New Y o r k :
G e s t , E l i z a b e t h , N o r t h A m e r ic a n T u n e s f o r Rhythm O r c h e s t r a . B o sto n s B o s t o n M u s ic Co. J o b s o n , " V i r g i n i a E . , Toy O r c h e s t r a T u n e s . B o s t o n M u s ic C o . , 1 9 3 8 . S t.
B o sto n :
Q u e n t i n , I r e n e , Toy Symphony O r c h e s t r a s . O liv e r D its o n C o ., 1928.
B o sto n :
V andeverer;\ J . L i l l i a n , T he Toy Symphony O r c h e s t r a . C. C. B i r c h a r d a n d C o . , 1 9 2 7 . V o ta w , L y r a v i n e , Rhythm B and D i r e c t i o n . and L u d w ig , 1 9 3 5 . W a te rm a n , E l i z a b e t h , The R hythm B o o k . B a rn e s and C o ., 1 9 3 6 .
B o sto n :
C h ica g o : New Y o r k :
L udw ig A. S .
PERIODICAL AND ENCYCLOPEDIA REFERENCES G r o v e , S i r G e o r g e , G r o v e l D i c t i o n a r y o f M u s ic a n d M u s i c i a n s . New Y o r k : The Ma cm i l l a n Co . , 1 9 4 0 . M odern M u s i c .
New Y o r k :
M u s ic a l A m e ric a. M u s ic a l D i g e s t .
L eague o f C om posers, I n c .
New Y o r k :
John F. M a j e s k i, p u b l i s h e r .
E a s t S tro u d s b u rg , P e n n a .: M u s ic a l D ig e s t, I n c .
M u sic a l Q u a r te r ly , T he. S ch oo l M u s ic ia n , T he*
New Y o r k : C h ic a g o :
G. S c h i r m e r , I n c .
R o b e rt L. S h ep h erd , p u b l i s h e r .
CHAPTER
X III
SELECTING AND CARING FOR MUSIC A m u sic gro u p i s
ju d g e d by t h e ty p e o f m u sic i t
o r p l a y s and by t h e d e g r e e o f p e r f e c t i o n i t a t t a i n s .
sin g s So
you s e l e c t m u sic w h ic h i s e i t h e r to o d i f f i c u l t o r to o e a s y f o r th e group? lig h t?
I s t h e m u sic i n t e r e s t i n g and y e t n o t to o
W i l l t h e p u b l i c a c c e p t t h e ty p e o f m u sic you s e l e c t ?
Can y o u f i n d a s e l e c t i o n i n y o u r l i b r a r y w hen y o u w a n t i t ? The s u c c e s s c o f y o u r m u s i c a l o r g a n i z a t i o n d e p e n d s g r e a t l y upon th e s e l e c t i o n o f m u s ic .
The m u s ic m u s t b e c h a l l e n g i n g
f o r t h e a d v a n c e d s t u d e n t and y e t be e a s y enoughs s tu d e n t to p erfo rm i t
s u c c e s s fu lly .
f o r th e slo w e r
Y our p u b l i c w o u ld
r a t h e r h e a r e a s i e r an d f a m i l i a r m u s i c p e r f o r m e d w e l l i n p u b l i c t h a n d i f f i c u l t m u sic p la y e d p o o r l y . a d e f i n i t e sy s te m o f c a t a l o g u i n g m u sic so i t lo c a te d e a s ily .
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T h i s c h a p t e r e n d e a v o r s t o make t h e t a s k
o f s e l e c t i n g a n d c a r i n g f o r m u s i c m o re s u c c e s s f u l . PROBLEMS 1 . How t o s e l e c t v o c a l m u s i c . a . W here c a n y o u s e c u r e l i s t s o f p u b l i s h e d v o c a l m u s ic frd m w h ic h t o s e l e c t y o u r num bers? b . W here s h o u l d y o u p u r c h a s e t h e v a r i o u s t y p e s o f v o c a l - m u sic? c . Who s h o u l d p u r c h a s e t h e c l a s s m u s i c ?
148
d.
How m uch s h o u l d y o u s p e n d f o r t h e v a r i o u s t y p e s o f m u sic ?
e* How s h o u l d s o n g s b e c h o s e n w hen y o u c a n f t w e ll y o u rs e lf? f.
s in g v ery
How s h o u l d s o n g s b e c h o s e n when y o u c a n f t p l a y t h e p ian o ?
g* How c a n y o u c h o o s e s o n g s m iiich y o u c a n t e a c h ? h* How c a n y o u s e l e c t s o n g s f o r s p e c i a l d a y s a n d o c a s s i o n s ? i* S h o u l d y o u c h o o s e s o n g s w h i c h f i t s t u d i e s b e i n g c a r r i e d on? j.
in to th e o th e r
S h o u ld you c h o o se so n g s w h ich you c a n a l s o s e c u r e f o r th e phonograph?
k . S h o u ld t h e c l s s s h e l p c h o o s e t h e s o n g s ? 1.
How c a n y o u c h o o s e s o n g s w h i c h w i l l m e e t t h e i n t e r e s t s o f b o th boys and g i r l s ?
m. How c a n y o u c h o o s e s o n g s w h i c h a r e c l a s s i c a l a n d y e t in te re s tin g ? n . How c a n y o u c h o o s e a s o n g w h i c h i s ran g e f o r your c la s s ?
in th e c o rre c t p itc h
o.
How can you be s u r e o f c h o o sin g so n g s w h ich a r e th e a b i l i t y o f th e c la s s rh y th m ic a lly ?
p.
S h o u ld you a lw a y s c h o o se songs w h ic h a r e t u n e f u l ?
q.
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s ig h t sin g in g ?
r.
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d e v elo p ra n g e ?
s.
W hich t y p e o f s o n g s h o u l d y o u c h o o s e t o c o n tro l?
d e v elo p b r e a t h
t . How s h o u l d y o u c h o o s e s o n g s w i t h s i m p l e a c c o m p a n im e n ts ? u* v.
How
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b e s t s e l e c t p a r t songs?
S h o u ld so n g s f o r c la s s ro o m p r a c t i c e b e s u i t a b l e p u b lic p erfo rm an ce?
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How
sh o u ld
g l e e c lu h c o n t e s t m u sic be c h o se n ?
z . W here c a n y o u s e c u r e a r r a n g e m e n t s o f y o u r s c h o o l s o n g s ? a a . How s h o u l d y ou s e l e c t s o n g s w h i c h f i t l i t t l e v o ic e s?
c h ild r e n ’s
b b . How c a n y o u s e l e c t s o n g s f o r t h e s o l o i s t ? c e . W hich t y p e o f s o n g s s h o u l d b e c h o s e n f o r d u e t s , t r i o s , and q u a r t e t s ? 2 . How t o s e l e c t i n s t r u m e n t a l m u s ic * _______ a.
How can you b e s t s e l e c t a b e g in n in g i n s t r u c t i o n book f o r th e in stru m e n t c la s s ?
b* S h o u l d t h e b e g i n n e r s b o o k b e s e l f
in stru c tin g ?
e . Who s h o u l d p u r c h a s e t h e b e g i n n i n g i n s t r u m e n t b o o k s ? d . How much sh o u ld , y o u p a y f o r a b e g i n n e r ’ s b o o k ? e . W here c a n y o u s e c u r e l i s t s o f p u b l i s h e d m u s i c f o r i n s t r u m e n t s f ro m w h i c h t o c h o o s e ? . f . W here s h o u l d y o u p u r c h a s e t h e v a r i o u s t y p e s o f i n s t r u m e n ta l m u sic? g . How s h o u l d o r c h e s t r a r e h e a r s a l m u s i c b e s e l e c t e d ? h . How c a n y o u s e l e c t m u s i c f o r v a r i e d a b i l i t i e s ? i.
S h o u ld t h e m u sic be s e l e c t e d f o r t h e slo w o r t h e f a s t stu d d n t? S h o u l d y o u s e l e c t a w id e v a r i e t y o f s e l e c t i o n s f o r t h e o rc h e stra ?
k . S h o u ld t h e s t u d e n t s h e l p s e l e c t t h e m u s ic ? 1 . How s h o u l d y o u s e l e c t o r c h e s t r a m u s ic f o r p u b l i c p erfo rm an ce^ nu Who s h o u l d p u r c h a s e t h e o r c h e s t r a m u s i c ? n . How m uch s h o u l d yo u p a y f o r t h e o r c h e s t r a m u s i c ?
150
0 . Who s h o u l d s e l e c t t h e s o l o , d u e t , m u sic?
trio ,
p* Who s h o u l d p u r c h a s e t h e s o l o , d u e t , m u sic?
an d q u a r t e t
trio ,
and q u a r te t
2* How m uch s h o u l d h e s p e n t f o r s o l o , d u e t , t r i o , q u a r t e t m u sic?
and
3 . How t o s e l e c t m u s i c f o r t h e h a r m o n i c a . a . How much m u s i c do t h e h a r m o n i c a p l a y e r s n e e d ? b.
W here c a n y o u s e c u r e a l i s t o f p u b l i s h e d m u s i c fr o m w h ic h t o c h o o s e ?
c . W here c a n y o u p u r c h a s e h a r m o n i c a m u s i c ? d . W hich t y p e o f m u s i c s h o u l d b e s e l e c t e d f o r t h e h a r m o n i c a ? e . S h o u l d y o u u s e o r d i n a r y c o m m u n ity s o n g b o o k s a n d p o p u la r e d i t i o n s o f m u sic? f . W here c a n y o u s e c u r e n o v e l t y a r r a n g e m e n t s ? g« Who s h o u l d s e l e c t m u s i c f o r t h e h a r m o n i c a ? h . Who s h o u l d p u r c h a s e t h e m u s i c f o r t h e h a r m o n i c a ? 1 . How much s h o u l d b e s p e n t f o r m u s i c f o r t h e h a r m o n i c a band? 4 . How t o s e l e c t m u s i c f o r r h y t h m b a n d , a . W here c a n y o u s e c u r e l i s t s i s g ood f o r r h y t h m b a n d ?
o f p u b l i s h e d m u sic w h ich
b . ? /h e re c a n y o u p u r c h a s e r h y t h m b a n d m u s i c ? e . Who s h o u l d s e l e c t t h e r h y t h m s e l e c t i o n s ? d . S h o u l d t h e s t u d e n t s b e a l l o w e d t o s e l e c t a n y n u m b e rs ? e . How c o m p l i c a t e d s h o u l d t h e r h y t h m b a n d s e l e c t i o n s b e ? g . S h o u ld y o u s e l e c t m u s i c w h ic h c a n b e r e a d b y t h e s t u d e n t s ?
151
g . S h o u ld a l l rh y th m so n g s o r s e l e c t i o n s h ave w o rd s? , h.* S h o u l d a l l c l a s s r o o m m u s i c b e o f s u c h t h a t be used in p u b lic p erfo rm an ce?
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i« How l o n g s h o u l d t h e s e l e c t i o n s b e ? j . How c a n y o u p u r c h a s e m u s i c w h i c h t h e a c c o m p a n i s t c a n p la y ? *
k . ©o y o u n e e d m o re t h a n o n e c o p y o f a n y s e l e c t i o n ? How t o s e l e c t b o o k s a n d m a g a z i n e s a b o u t m u s i c , a . How c a n y o u b e s t s e l e c t a s o n g b o o k f o r t h e a g e a n d a b i l i t y o f th e c la s s ? b . S h o u ld you a lw a y s s e l e c t a s t a t e
t e x t books o f so n g s?
c . How c a n y o u s e l e c t a g ood com m u nity s o n g b o o k ? d . W here c a n y o u s e c u r e l i s t s fro m w h ic h t o c h o o s e ?
o f p u b lis h e d song books
e* W here c a n y o u p u r c h a s e s o n g b o o k s ? f.
How s h o u l d y o u c h o o s e a m u s i c m a g a z i n e ?
g« W here c a n y o u s e c u r e l i s t s from w h ic h t o c h o o se ?
o f p u b l is h e d m u sic m a g a z in e s
h . How c a n y o u b e s t c h o o s e a g r o u p o f b o o k s a n d m a g a z i n e s .a b o u t m u sic f o r a b o u t f o r t y - f i v e d o l l a r s ? i.
Who s h o u l d c h o o s e t h e b o o k s a n d m a g a z i n e s ?
j.
S h o u ld t h e s c h o o l b o a rd s e l e c t th e books and m a g a z in e s ?
k.
S h o u ld t h e s t u d e n t s s e l e c t any o f th e books and
1.
How c a n y o u b e s t s e l e c t s t o r i e s a b o u t m u s i c
m ag azin es?
andm u s ic ia n s ?
m. S h o u l d y o u u s e t h e l i b r a r y f o r r e f e r e n c e m a t e r i a l ? 6 . How t o c a t a l o g u e a n d c a r e f o r m u s i c * a.
How c a n y o u b e s t c a t a l o g u e y o u r m u s i c ?
152
b.
S h o u l d y o u u s e t h e sam e c a t a l o g u i n g s y s t e m a s t h e school lib ra ry ?
c* S h o u l d y o u l i s t com poser? d.
t h e m u sic a c c o r d i n g t o t i t l e
S h o u ld o r c h e s t r a m u sic be c l a s s i f i e d th a n th e v o c a l m u sic?
or
d iffe re n tly
e* How c a n y o u b e s t p r o v i d e a g o o d s a f e a n d c l e a n p l a c e f o r t h e m u s ic , b o o k s , and m a g a z in e s ? f • I n w h ich ty p e o f c a s e s h o u ld you k e e p t h e m u sic? g* How c a n y o u s e l e c t a m u s i c f o l d e r ? h* How m uch s h o u l d y o u p a y f o r a m u s i c f o l d e r ? i.
W here c a n y o u s e c u r e f o l d e r s f o r o r c h e s t r a m u s i c ?
j* S h o u l d t h e g l e e c l u b u s e m u s i c f o l d e r s ? k* 1.
Whos h o u l d t a k e c a r e o f t h e c l a s s r o o m m u s i c b o o k s ? Whos h o u l d t a k e c a r e o f t h e o r c h e s t r a m u sic?
and g l e e
c lu b
m. How c a n y o u b e s t p r e v e n t ..damage t o m u s i c ? n* Who s h o u l d mend t h e m u s i c ? o* How s h o u l d v o c a l m u s i c b e m en d e d ? p* How s h o u l d o r c h e s t r a m u s i c b e m ended ? q«
How
lo n g sh o u ld
th e song book la s t;?
r.
How
lo n g sh o u ld
g l e e c lu b m u sic l a s t ?
s*
How
lo n g sh o u ld
o r c h e s t r a m u sic l a s t ?
t.
S h o u H o l d m u s i c b e th e o w n aw ay? ACTIVITIES
1* W r i t e t o s e v e r a l m u s i c c o m p a n ie s o r m u s i c p u b l i s h i n g h o u s e s f o r t h e i r l a t e s t l i s t s o f p u b l i s h e d v o c a l m u s ic *
153
2 . A sk y o u r a d m i n i s t r a t o r how much m u s i c may b e p u r c h a s e d w ith school fu n d s. 3 . V i s i t a m u s i c co m pan y, t a k e a fe w s o n g s o u t o n a p p r o v a l a n d t r y them o u t t o s e e w h ic h o n e s y o u c a n t e a c h s u c c e s s fu lly . 4 . C h o o se s o n g s w h i c h a r e r e l a t e d t o t h e s o c i a l s t u d i e s b e i n g s tu d ie d or th e s p e c ia l h o lid a y a t hand. 5 . S e c u r e a l i s t o f s o n g s r e c o r d e d on r e c o r d s w h i c h may b e sung i n c l a s s . 6 . O c c a s i o n a l l y g i v e t h e c l a s s a c h a n c e t o c h o o s e a new s o n g w ith in th e i r a b i l i t y . 7 . H ave t h e c l a s s s i n g a fe w f a m i l i a r s o n g s t o e s t i m a t e t h e i r m u s i c i a n s h i p an d a b i l i t y . 8 . C h o o se a fe w s o n g s w h i c h a r e s i m p l e e n o u g h t h a t t h e y w i l l sound w e l l i n p u b l i c p e rfo rm a n c e . 9 . V i s i t a m u s i c com pany and loofc o v e r t h e i r s e l e c t i o n o f b e g in n in g in stru m e n t b o o k s. 1 0 . A sk t h e e x p e r i e n c e d s a l e s m a n i n a l a r g e and e s t a b l i s h e d m u sic h o u se w h ic h b e g in n in g in s tr u m e n t book o t h e r d i r e c t o r s f i n d m ost s a t i s f a c t o r y . 1 1 . A sk t h e s c h o o l a d m i n i s t r a t o r who i s t o p u r c h a s e t h e in s tr u m e n ta l m u sic? 1 2 . S e l e c t some c h a l l e n g i n g m u s i c f o r o r c h e s t r a w h i c h w i l l n o t be done w e ll enough f o r p u b lic p e rfo rm a n c e . 1 3 . S e l e c t p u b l i c p e r f o r m a n c e m u s i c w h ic h w i l l b e w i t h i n t h e r a n g e o f t h e p o o r e r i n s t r u m e n t a l i s t a n d w i l l so u n d f i n e from t h e e n t i r e g ro u p . 1 4 . T ry t h e s o l o i s t on a few o r c h e s t r a s e l e c t i o n s t o e s t i m a t e t h e ty p e o f s o lo m u sie t o p u r c h a s e . 1 5 . S e c u r e a c o m m u n ity s o n g b o o k w i t h a f e w f a m i l i a r m e l o d i e s f o r t h e h a rm o n ica g ro u p . 1 6 . W r i t e t o s e v e r a l m u s i c c o m p a n ie s f o r r e f e r e n c e s a s t o b o o k s and a v a i l a b l e l i s t s o f m a t e r i a l s f o r rh y th m b a n d .
154
1 7 . R e f e r t o a num ber o f s i n g i n g t e x t b o o k s f o r l i s t s o f p i a n o a n d r e c o r d i n g s e l e c t i o n s t o b e u s e d f o r r h y th m band. 1 8 . W r i t e t o s e v e r a l l a r g e s c h o o l s y s t e m s f o r m im e o g ra p h m a t e r i a l c o n c e r n in g rh y th m b a n d . 1 9 .' S e l e c t s i m p l e s o n g s f r o m r e g u l a r c l a s s m a t e r i a l f o r t h e rh y th m b a n d . 20.
W rite t o th e s t a t e d e p artm e n t o f e d u c a tio n f o r a l i s t o f s t a t e te x tb o o k s of graded m a te r ia l f o r s in g in g .
2 1 . V i s i t a l a r g e m u s i c com pany a n d a s k t o l o o k o v e r t h e g rad e d song b o o k s. 2 2 . W r i t e t o a f e w l a r g e b o o k p u b l i s h i n g c o m p a n ie s f o r a l i s t o f p u b lis h e d song bo o k s. 2 3 . A sk t h e l i b r a r i a n o f a l a r g e l i b r a r y , w h i c h m u s i c m a g a z i n e s w o u ld b e b e s t f o r s c h o o l u s e . 24.
R e fe r t o t h e l a r g e l i s t o f books a b o u t m u sic and m u s ic ia n s in any p u b l ic l i b r a r y f o r s t o r i e s and m a t e r i a l .
2 5 . A sk t h e s c h o o l l i b r a r i a n o r t h e p u b l i c l i b r a r i a n how to c a ta lo g u e your m u sic . 2 6 . A sk a n y i n s t r u m e n t s a l e s m a n a b o u t m u s i c f o l d e r s . 2 7 . Many t i m e s y o u c a n s e c u r e f r e e m u s i c f o l d e r s f ro m t h e m u s i c h o u s e o r i n s t r u m e n t com pany w i t h w h i c h y o u r s c h o o l does b u s in e s s . 28. S e c u re th e s e r v i c e s o f a r e l i a b l e s t u d e n t to h e lp ta k e c a r e o f th e m u sic . 2 9 . T ak e t i m e o u t t o h a v e s e v e r a l s t u d e n t s mend m u s i c . BIBLIOGRAPHY C a i n , N o b l e , C h o r a l M u s ic a n d I t s P r a c t i c e . M. W itm a r k a n d S o n s , 1 9 3 2 .
New Y o r k :
C a r s e , Adam Von A hn, On C o n d u c t i n g S c h o o l O r c h e s t r a . London; A u g en er, L t d . , no d a te .
155
C h r i s t y , Yan A m b ro s, G l e e C lu b a n d C h o r u s * G. S c h i r m e r , I n c . , 1 9 4 0 r~
New Y o r k :
C h u r c h i l l , Y i r g i n i a P e a k e s , T r i a n g l e s end C y m b als, P h ila d e lp h ia : O l i v e r D i t s o n Co*, no d a t e . D i l l e r , A n g e l a , R o t e P i e c e s f o r Rhythm B a n d . G. S c h i r m e r , I n c . , 1 9 3 0 .
New Y o r k :
G e s t , E l i z a b e t h , N o r t h A m e ric a n T u n e s f o r R hythm O r c h e s t r a . B o sto n : B o s t o n M u s ic d o . G o ld m an , E dw in F r a n c o , Band B e t t e r m e n t . C a rl F is c h e r , I n c . , 1934.
New Y o r k ;
G o ld m an , R i c h a r d F r a n c o , T he B ands M u s i c . P itm an P u b lis h in g C o r p o r a tio n , 1938.
New Y o r k :
J o b s o n , Y i r g i n i a E . , Toy O r c h e s t r a T u n e s . B o s t o n M u s ic C o . , . 9 3 8 .
B o sto n :
M cA ll, R e g in a ld L e y , P r a c t i c a l C hurch S c h o o l M u s ic . New Y o r k : A b i n g d o n - C o p e s b u r y P r e s s , 1 9 3 2 . N o rm an n , T h e o d o r e F . , I n s t r u m e n t a l M u s ic i n t h e P u b l i c S c h o o l. P h ila d e lp h ia ! O liv e r D its o n b o . , 1941• P r e s c o t t , G e rald R . , G e ttin g R e s u lts w ith S ch o o l B an d s. New Y o r k : C a r l F i s c h e r , I n c . , 1 9 3 8 . S m a llm a n , J o h n , The A r t o f a C a p p e l l a S i n g i n g . O liv e r D its o n C o ., 1933. Y o ta w , L y r a v i n e , R hythm B and D i r e c t o r . L udw ig a n d L u d w ig , 1 9 3 5 .
B o sto n :
C h ica g o :
PERIODICAL AND ENCYCLOPEDIA REFERENCES E t u d e M u s ic M a g a z i n e . T h e . M o d e rn M u s i c .
T h e o d o r e P r e s s e r Co.
L eague o f C om posers, I n c .
M u s ic a l A m e ric a . M u s ic a l D ig e st.
P h ila d e lp h ia :
New Y o r k :
John F. M a j e s k i, p u b l i s h e r .
E a s t S tro u d s b u rg , P e n n a .:
M u sic a l Q u a r te r ly , T he. S ch o o l M u sic ia n . T he.
New Y o r k ; C h ica g o :
M u sic a l D ig e s t, I n c .
G. S c h i r m e r , I n c .
R o b e rt L. S h e p h e rd , p u b l i s h e r .
CHAPTER
xnr
ARRANGING THE PROGRAM T he b e s t m u s i c i a n a n d d i r e c t o r i s n o t a lw a y s t h e b e s t p rogram m an a g er. a program ? d iffic u lty
H ave y o u e v e r a r r a n g e d a l l t h e d e t a i l s - f o r
A r e y o u y o u r own p u b l i c i t y a g e n t ?
Do y o u h a v e
in s e c u rin g th e c o o p e ra tio n o f o th e r f a c u lty
m em bers w hen p r o d u c i n g a s p e c i a l p r o g r a m o r f e s t i v a l ? w e ll a rra n g e d p rog ram w i l l s e l l t h e e n t i r e pro g ram . n o t n e g le c t th e s e im p o rtan t d e t a i l s .
A Do
Your p u b l ic w a n ts
t o s e e w hat you a re a c c o m p lis h in g in s c h o o l.
You owe i t
t o y o u r s t u d e n t s and y o u r s e l f t o s e e t h a t n e c e s s a r y a r r a n g e m en ts i n s u r e th e s u c c e s s o f t h e p ro g ram .
T h is c h a p t e r w i l l
s u g g e s t some o f t h e p r o b l e m s y o u s h o u l d c o n s i d e r when a rra n g in g program s. PROBLEMS 1 . How t o a r r a n g e p r o g r a m s f o r v a r i o u s o c c a s i o n s . a . Who s h o u l d a r r a n g e t h e d e t a i l s o f t h e p r o g r a m ? b . Eow c a n y o u a r r a n g e s p e c i a l i t y n u m b e r s f o r t h e p r o g r a m ? c . How s h o u l d y o u o r g a n i z e a t a l e n t show? d . How c a n y o u b e s t e n l i s t t h e c o o p e r a t i o n o f wom en’ s a n d m e n ’ s c l u b s i n co m m u n ity p r o g r a m s ? e . I n w h a t o r d e r s h o u l d s o n g s b e a r r a n g e d on a p r o g r a m ? f . How m any n u m b e rs s h o u l d b e s u n g on a p r o g r a m ? g . How many n u m b e r s s h o u l d t h e r h y t h m t>and p l a y on t h e program ?
15#
h* How c a n y o u d e t e r m i n e w hen t o u s e h o u s e l i g h t s a t a program ? i.
S h o u ld you c h a r g e a d m is s io n f o r th e p ro g ram ?
j* E0w many n u m b e r s s h o u l d t h e o r c h e s t r a pro g ram ?
p l a y on a
k* How l o n g s h o u l d t h e m u s i c a l e v e n i n g p e r f o r m a n c e b e ? 1 . When s h o u l d t h e m u s i c o r g a n i z a t i o n p e r f o r m f o r t h e P .T .A .? m. How c a n y o u a r r a n g e a p a t r i o t i c p r o g r a m ? n . How s h o u l d y o u a r r a n g e f o r a C h r i s t m a s o r T h a n k s g i v i n g prog ram ? o . S h o u ld t h e m u sic o r g a n i z a t i o n s g iv e a . f u l l e v e n i n g ’ s program ? p . How much m u s i c s h o u l d b e p r e s e n t e d i n c o n n e c t i o n w i t h a p lay ? q* Who s h o u l d s e t t h e s t a g e f o r t h e p r o g r a m ? r . Who s h o u l d d e c o r a t e t h e a u d i t o r i u m ? s . How c a n y o u b e s t d e c o r a t e t h e s t a g e a n d a u d i t o r i u m f o r th e o c c a sio n ? t.
How s h o u l d t h e s t a g e l i g h t s b e u s e d f o r v a r i o u s o c c a s i o n s and g r o u p s ?
u . S h o u l d y o u a r r a n g e f o r a c u r t a i n man a n d a n e l e c t r i c i a n 10 f o r t h e e v e n i n g ? v* Who w i l l s t a r t t h e p r o g r a m o f f ? w. Who w i l l a n n o u n c e t h e n u m b e rs o r g i v e i n t r o d u c t i o n s ? x . W i l l y o u n e e d t o a r r a n g e f o r a s t a g e c re w t o c h a n g e th e s t a g e a rra n g e m e n t d u r in g th e program ? y* How c a n y o u b e s u r e o f g e t t i n g t h e a u d i e n c e t h e r e on tim e ? z . How c a n y o u b e s u r e o f g e t t i n g a l l p e r f o r m e r s t h e r e on t i m e ?
158
a a . How c a n y o u b e s u r e o f s t a r t i n g
t h e p r o g r a m on t i m e ?
b b . How c a n y o u e s t i m a t e t h e l e n g t h o f t h e p r o g r a m ? c c . W i l l t h e a u d i e n c e know w hen t h e p r o g r a m i s o v e r ? d d . A r e e v e n i n g p r o g r a m s m o re s a t i s f a c t o r y t h a n d a y t i m e pro g ram s? £ . How t o a r r a n g e t h e d e t a i l s f o r t h e m u s i c f e s t i v a l o r c o n te st. a . How many s c h o o l s §nd o r g a n i z a t i o n s s h o u l d t a k e p a r t ? b . S h o u ld you have a f e s t i v a l o r a c o n t e s t ? c . How c a n y o u s e c u r e t h e c o o p e r a t i o n o f t h e o t h e r s c h o o l s in a rra n g in g th e c o n te s t or f e s t i v a l ? d . Who s h o u l d s e l e c t t h e f e s t i v a l o r c o n t e s t n u m b e r s ? e . S h o u ld a l l t h e t e a c h e r s e n v o lv e d g e t t o g e t h e r and s e l e c t t h e num bers t o be u s e d ? f.
How d i f f i c u l t s h o u l d t h e c o n t e s t o r f e s t i v a l m u s i c be?
g . S h o u l d t h e v o c a l g r o u p s p e r f o r m o n t h e sam e p r o g r a m as th e in s tru m e n ta l groups? h . Hqw l o n g s h o u l d t h e p r o g r a m b e ? i.
S h o u ld e a c h s c h o o l s i n g s p e a r a t e l y o r a l l t o g e t h e r a t th e f e s t i v a l ?
j . How s h o u l d y o u s e l e c t t h e a c c o m p a n i s t f o r t h e t c o m b in e d nu m b er a t t h e c o n t e s t o r f e s t i v a l ? k . S h o u l d t h e r e b e a t l e a s t o n e c o m b in e d num ber a t t h e ' c o n te st? 1 . How s h o u l d y o u s e l e c t t h e
ju d g es f o r th e c o n te s t?
m. How f a r a h e a d o f t i m e s h o u l d t h e n u m b e r s f o r t h e c o n t e s t o r f e s t i v a l be c h o sen ? n . S h o u l d t h e r e b e a n y c o m b in e d r e h e a r s a l s b e f o r e t h e fe s tiv a l?
159
o.
How s h o u l d y o u s e l e c t t h e d i r e c t o r f o r t h e c o m b in e d n u m b e rs ?
p . At th e f e s t i v a l , sh o u ld th e v a rio u s te a c h e r s d iv id e up t h e d i r e c t i n g ? q . How s h o u l d c o m b in e d r e h e a r s a l s b e c o n d u c t e d ? r.
S h o u ld s m a ll s c h o o l s e n t e r m u sic f e s t i v a l s ?
s . How l a r g e a s c h o o l s h o u l d e n t e r m u s i c c o n t e s t s ? t.
How c a n y o u a r r a n g e t h e t r a n s p o r t a t i o n o f m u s i c g r o u p s to th e c o n te s t o r f e s t iv a l?
u.
How c a n y o u b e s u r e t h a t a l l t r a n s p o r t a t i o n o f m u s ic g ro u p s i s c o v e re d by in s u ra n c e ?
v . W hich t e a c h e r s h o u l d t a k e g e n e r a l c h a r g e o f t h e f e s t i v a l o r c o n te s t program ? How s h o u l d y o u a r r a n g e t h e s e a t i n g a t t h e c o n t e s t o r fe s tiv a l? x . S h o u l d y o u a r r a n g e f o r e a c h s c h o o l t o h a v e a room i n w h ic h t o l e a v e t h e i r w ra p s and i n s t r u m e n t e a s e s ? y . Who s h o u l d a r r a n g e f o r t h e n e c e s s a r y s t a g e c r e w a n d a ssista n ts ? z • Who s h o u l d t a k e c h a r g e o f t h e m u s i c a n d m u s i c s t a n d s ? a a . S h o u l d t h e n u m b e rs b e a n n o u n c e d p r i n te d p ro g ram s?
.e v e n t h o u g h t h e r e a r e
5 . How t o a r r a n g e t h e p u b l i c i t y f o r t h e p r o g r a m . a.
Who s h o u l d t a k e c h a r g e o f t h e p u b l i c i t y o f t h e v a r i o u s m u sic a l o rg a n iz a tio n s ?
b.
S h o u ld a l l t h e p u b l i c i t y b e t r u s t e d t o t h e
stu d e n ts ?
c.
S h o u ld you h a v e t h e s t u d e n t s h e lp w i t h t h e p u b l i c i t y ?
d . W hat p a r t c a n t h e s t u d e n t s t a k e i n t h e p u b l i c i t y c a m p a ig n ?
160
e* S h o u l d some o t h e r f a c u l t y member o t h e r t h a n t h e o n e in c h a rg e o f th e program a rra n g e f o r th e p u b l i c i t y ? f.
How c a n y o u g e t p e o p l e t o come t o t h e p r o g r a m ?
g* S h o u l d y o u a s k t h e a r t d e p a r t m e n t t o m ake p o s t e r s ? h.
S h o u ld you d i s t r i b u t e p a m p h le ts ?
i* S h o u l d y o u w r i t e a r t i c l e s f o r t h e l o c a l n e w s p a p e r s ? j* How c a n y o u g e t t h e b e s t p u b l i c i t y i n y o u r l o c a l p a p e r s ? k . How c a n y o u a d v e r t i s e t h r o u g h l o c a l c l u b s a n d t h e P .T .A * ? 1* W i l l s e l l i n g t i c k e t s a h e a d o f t i m e p u b l i c i z e t h e p ro g ra m m ore? m.
How
much s h o u l d y o u s p e n d o n p u b l i c i t y ?
n.
A re
any fu n d s a v a i l a b l e f o r p u b l i c i t y ?
0.
How
can you g e t c o n t r i b u t i o n s f o r p u b l i c i t y
p u rposes?
p.
How
f a r ahead o f th e program d a te sh o u ld i t
bea d v e r t i z e d ?
4 . How t o a r r a n g e f o r t h e p r i n t i n g a n d d i s t r i b u t i o n o f p rogram s♦ a* S h o u l d y o u h a v e p r i n t e d p r o g r a m s ? b.
How
many p r o g r a m s s h o u l d b e p r i n t e d ?
c*
Who
sh o u ld d e s ig n th e p rogram ?
d*
Who
sh o u ld a rra n g e th e
e*
Who
sh o u ld p r i n t th e pro g ram s?
f.
copy t o be p r i n t e d ?
How c a n y o u u s e t h e d i t t o m a c h in e o r h e c t o g r a p h t o p r i n t pro gram s?
g« S h o u l d y o u u s e a m em eo g ra p h f o r p r i n t i n g t h e p r o g r a m s ? h.
S h o u ld you h i r e a p r i n t shop t o p r e p a r e , th e p ro g ra m s?
1 . How much s h o u l d b e s p e n t o n t h e p r i n t e d ^ p r o g r a m ? j.
I s a n y m oney a v a i l a b l e f o r t h e p r i n t i n g o f p r o g r a m s ?
170
k . W hich d e p a r t m e n t o f t h e s c h o o l s h o u l d f u r n i s h t h e pro g ram s to c k ? 1 . Who s h o u l d d i s t r i b u t e t h e p r o g r a m s ? m. S h o u l d t h e u s h e r s a lw a y s d i s t r i b u t e t h e p r o g r a m s ? n# S h o u l d t h e u s h e r h a n d o u t t h e p r o g r a m s a t t h e d o o r a s th e p e o p le a re s e a te d ? o# S h o u l d e a c h p e r s o n g e t a p r o g r a m o r j u s t e a c h c o u p l e ? p . S h o u ld a l l p e r f o r m e r s b e p r o v id e d w i t h p ro g ra m s? q# W hich t e a c h e r s h o u l d b e i n c h a r g e o f t h e d i s t r i b u t i o n o f th e p ro g ram s? r.
How m uch r e s p o n s i b i l i t y s h o u l d b e p l a c e d o n t h e s t u d e n t s f o r p r i n t i n g and d i s t r i b u t i o n o f p ro g ra m s ?
5* How t o a r r a n g e f o r u s h e r s , sp o n so rs#
tic k e t s e lle r s ,
and f a c u l t y
a . How c a n y o u b e s t e n l i s t t h e c o o p e r a t i o n o f o t h e r f a c u l t y m em bers t o a s s i s t i n k e e p i n g o r d e r d u r i n g a p erfo rm an ce o f s e v e r a l g ro u p s? b . S h o u ld y ou a s k t h e p r i n c i p l e t o a s s i g n o t h e r f a c u l t y m em bers t o h e l p w i t h t h e p r o g r a m ? c# S h o u l d t h e sam e t e a c h e r s a s s i s t w i t h e v e r y sh o u ld i t be p a s s e d aro u n d ?
p ro g ram o r
d# How s h o u l d y o u s e l e c t t h e u s h e r s f o r t h e p r o g r a m ? e . How m any u s h e r s a r e n e c e s s a r y ? f.
S h o u ld t h e u s h e r s h av e a n o th e r t e a c h e r i n c h a rg e o f th e m ?
g . W hat a r e t h e d u t i e s o f t h e u s h e r s ? h# How s h o u l d
th e u s h e rs be d re s se d ?
i.
u sh e rs be boys or g i r l s ?
S h o u ld t h e
j# S h o u l d y o u
h a v e t h e sam e u s h e r s f o r a l l p r o g r a m s ?
171
k . Who s h o u l d s e l e c t t h e u s h e r s ? 1.
How c a n y o u s e l e c t t h e t i c k e t s e l l e r ?
m. S h o u l d a f a c u l t y member b e i n c h a r g e o f t h e t i c k e t w indow ? n . How c a n y ou s e l e c t a t i c k e t s e l l e r who ch an g e q u i c k l y and a c c u r a t e l y ?
can co unt
o . S h o u l d t h e p e r s o n a t t h e t i c k e t w indow b e a b o y o r g irl? p.
How
sh o u ld th e t i c k e t s e l l e r be d re s s e d ?
q*
How
m any t i c k e t w in dow s s h o u l d you h a v e a t t h e
r.
Who
sh o u ld c o l l e c t th e t i c k e t s ?
s.
How many p e o p l e s h o u l d s e l l t i c k e t s a fe w d a y s th e program ?
p rogram ?
b efo re
ACTIVITIES 1* A r r a n g e t h e n u m b e r s o n a p r o g r a m i n some s e n s i b l e o r d e r . 2 . A sk some t e a c h e r who h a s a r r a n g e d s p e c i a l p r o g r a m s how he w ent a b o u t i t . 3 . H ave a c o n f e r e n c e w i t h v a r i o u s c l u b o f f i c e r s t o e n l i s t t h e i r c o o p e r a t i o n i n a c o m m u n ity p ro g ram # 4 . Tim e t h e n u m b ers o f a p r o g r a m a h e a d o f t i m e s o i t w i l l n o t be to o lo n g . 5 . A sk a s t a g e c r a f t man o r a t h e a t e r s t a g e m a n a g e r w hen h o u se l i g h t s s h o u ld be u s e d . 6 . H ave a c o n f e r e n c e w i t h t h e s c h o o l a d m i n i s t r a t i o n a n d a n y o f f i c e r s o f e n v o lv e d c lu b s c o n c e rn in g th e a d m is s io n c h a r g e . 7.
Be s u r e t h a t e v e r y d e t a i l e d d u t y n e c e s s a r y t o t h e o f a program i s a s s ig n e d t o a r e s p o n s i b l e p e r s o n .
8.
Be s u r e t h a t some o n e r e s p o n s i b l e p e r s o n i s th e n ig h t o f p erfo rm an ce.
success
in charge
172
9 . Make n e c e s s a r y a r r a n g e m e n t s , s u c h a s s e l e c t i o n o f m u s i c , f a r enough i n adv ance so a s t o a llo w p l e n t y o f r e h e a r s a l tim e b e f o r e th e p e rfo rm a n c e . 1 0 . I n v i t e t h e o t h e r s c h o o l t e a c h e r s o r d i r e c t o r s t o a con f e r e n c e t o m ake n e c e s s a r y c o o p e r a t i v e p l a n s . 11. L e t a l l p a r t i c i p a t i n g d i r e c t o r s o r t e a c h e r s have an e q u a l p a r t i n s e l e c t i o n o f n u m b e rs t o b e p e r f o r m e d . 1 2 . Be s u r e t o s e l e c t m u s i c w h i c h i s w i t h i n t h e a b i l i t y of a ll p a rtic ip a tin g . 1 5 . I f you w an t t h e p u b l i c i t y done w e l l you s h o u ld e i t h e r s e l e c t a v e ry r e l i a b l e p erso n or ta k e c a re of t h is im p o rta n t jo b y o u r s e l f . 1 4 . G u id e a r e s p o n s i b l e s t u d e n t i n a r r a n g i n g f o r some o f th e p u b l i c i t y . 1 5 . S e c u r e t h e c o o p e r a t i o n o f t h e a r t d e p a r t m e n t i n m a k in g p o s te rs f o r a d v e rtise m e n ts. 16. E n l i s t th e c o o p e r a tio n o f your l o c a l n ew sp apers in s e c u r in g c o n tin u o u s o r w e ek ly ite m s . 1 7 . U se a l l a v a i l a b l e m a t e r i a l s s u c h a s a d i t t o m a c h i n e o r a m e m eo g ra p h f o r m a k in g c h e a p b u t a t t r a c t i v e p r o g r a m s . 1 8 . I f fu n d s a r e a v a i l a b l e , d e s i g n an a t t r a c t i v e program and h a v e i t p r i n t e d . 1 9 . Be s u r e t o p r o o f r e a d t h e p r o g r a m y o u r s e l f b e f o r e fin a l p rin tin g .
th e
2 0 . S e l e c t some d e f i n i t e g r o u p t o t a k e c h a r g e o f t h e d i s t r i b u tio n o f th e program s. 2 1 . E n l i s t o t h e r f a c u l t y m em bers c o o p e r a t i o n i n t a k i n g c h a r g e o f g r o u p s t o do t h e u s h e r i n g a n d t i c k e t s e l l i n g . BIBLIOGRAPHY C h r i s t y , T an A m b ro s e , G l e e C lu b a n d C h o r u s . G. S c h i r m e r , I n c . , 1 9 4 0 .-
New Y o r k ;
F i s h e r , W i l l i a m A rm s, M u s ic F e s t i v a l s i n t h e U n i t e d S t a t e s . B o sto n : T he A m e r i c a n C h o r a l a n d F e s t i v a l ,A l l i a n c e , I n c ^ ., 1934.
173
Goldman, Edwin Franco* Band Betterm ent. F isch er, I n c ., 1934. H indsley, Mark H ., Band A tte n tio n . Music Co., 1932.
New York:
Chicago:
Carl
Gamble Hinged
Normann, Theodore F . , Instrum ental Music in the Public School. Boston: O liver ^ itso n C o . , 1941. P r e sc o tt, Gerald R ., G etting R esu lts w ith School Bands. New York: Carl F isch er, I n c ., 1938. Votaw, Lyravine, Rhythm Band D ire ctio n . Ludwig and Ludwig.
Chicago:
2anaig, Augustus D ., Music in American L if e . Oxford U n iversity P re ss, 1932.
London:
PERIODICALS AND ENCYCLOPEDIA REFERENCES Modern Music.
New York:
M usical America. M usical D ig e s t.
League of Composers, Inc.
New York:
John F. M ajeski, p u b lish er.
East Stroudsburg, Penna.:
M usical Q uarterly. The. School M usician. The.
Musical D ig e st, Inc.
New YQrk: - G. Schirmer, Inc. Chicago:
Robert L. Shepherd, p u b lish er.
CHAPTER
XV
CONDUCTING Can you p ictu re y o u rself as a conductor standing before a la rg e chorus or orchestra?
Do you know how to
swing a baton?
Should your conducting be the same for a l l
m usical groups?
How should you be dressed when conducting
your m usical groups?
Each d irecto r has a s t y le o f h is own*
There are a few fundamental r u le s , however, which w i l l aid you in making your conducting more meaningful* ment should have a d e fin ite purpose.
Each move
DonH be afraid to
d ir e c t a group but keep th e d ir e c tio n s simple*
A little
thought given to your dress for the occasion w i l l a lso aid g re a tly in making a good impression w ith your tconducting* The fo llo w in g problems and a c t i v i t i e s are designed to help you become a b e tte r conductor. PROBLEMS
1* How to use the b est p r in c ip le s o f conducting. a* How much do you need to know about conducting? f
b. Plow can you learn enough quickly about conducting so you can conduct your own c la s s music? c* Where can you obtain inform ation exp lainin g how to conduct various groups? d. How can you determine what the various musical terms mean?
175
e.
How can you make your d ir e c tin g clear enough for your c la ss?
f* How should various types o f rhythms be directed? g. How should you in d ica te various m usical exp ression by you d irectin g ? h. How should various cues be given when d irectin g ? i . How should a preparatory beat be indicated? j,
How should atta ck s be indicated?
k.
How should you in d ica te a "cut o f f ”?
1.
How should you in d ica te a hold?
m.
Should the l e f t hand have an important part in d irectin g ?
n. How should you develop a s t y le in d irectin g ? o.
Should you have a sense of humor when d irectin g a group?
p. How should the teacher c r it ic iz e the student? q. Plow can you give h e lp fu l cr itic ism ? r . How can you b est put a student at ease when he makes a mistake on a program? s . How can you show your ap p reciation , to the c la s s , for th e ir fin e work in a performance? t . Should any of th e conducting movements be given for the b e n e fit of the audiences enjoyment? u. How can you, as a d ir e c to r , keep from g e ttin g , stage fr ig h t? v . How can you keep your p o ise when th in gs go wrong on a program? w* How can you be sure your conducting, in a performance, won’t a ttr a c t too much atten tion ? x* How should the d irecto r recognize the audience when a music group performs?
176
£. How to determine the b est posture for conducting various g g Q -T O -B .
a. Which type o f posture should a teacher have when conducting the classroom music? b. Should th e teacher stand b eside the record player a l l the time a recording is being played? c. Should a teacher ever s i t w hile conducting a chorus or orchestra? d. Should your posture d iffe r in performance from reh earsal posture? e. How should the d irecto r p lace h is f e e t w hile d ir e c tin g a g le e club in performance? f . Should the g le e club or chorus d irecto r always stand in fro n t of the group? g. Should th e g le e club or chorus stand on the same le v e l as the group? h« Should your posture d iffe r from other types o f d ir e c tin g when d ir e c tin g the community sing? i . Which i s the b est type of posture for an orchestra conductor? j* Should an orchestra or chorus d irecto r move around or change fe e t p o s itio n when conducting in performance? k. Where should the orchestra d irecto r stand so a l l members can see him? 1. Where should the d irecto r stand when conducting a rhythm band? m. Should you stand when d ir e c tin g a harmonica band? n* Where should you stand when conducting a to n e tte group in performance? 3. How to s e le c t and use a baton* a# What m aterial should a baton be made out of? b. How long should the baton be?
177
c . How heavy should the baton be? d. Which type o f baton is the most lik e ly to f i t your fin g ers the b est? s
e . Which type o f baton w ill not t i r e your hand? f . What color of a baton should you s e le c t? g. Should you g et the same type of baton for v o ca l groups as you would g et fo r an instrum ental group? h. How much should you pay for a baton? i . How many batons should a d irector have? j . Why should you use a baton? k. Should you use a baton when d ir e c tin g choral groups? 1. Should you use a baton when d ir e c tin g a rhythm band? nu Should a baton be rused to d ir e c t a harmonica band? n. Should you use a baton when d ir e c tin g a to n e tte group? o* How should a baton be held? p. Which i s the b est p o sitio n o f your fin g e r s a baton?
fo r holding
q# Should a baton swing f r e e ly in your fin g ers? r« Should you ever tap your baton on the music stand during a performance? s# Are batons e a s ily broken? t . Should you use the same batons for performance you use for rehearsal? u. Should the d irecto r carry the baton in w ith him when d ir e c tin g a public performance? 4. How to determine how the d irector should dress fo r various occasions# a. Should the g lee club or chorus d irecto r wear the same type of uniform as the group?
178
b* Should a band d irecto r wear the same type o f uniform as the band members? c . Should the d irecto rs uniform or costume be more elab orate than those worn by the group? d* Should e ith e r a man or woman d irecto r wear a sport o u t f it fo r daytime performances? e* Should a woman d irecto r wear a dark dress or a lig h t d ress for evening performances? f . When should a woman d irecto r wear a formal evening dress? g. Should a woman d irecto r always wear - a dres w ith s le e v e s when d ir e c tin g v in public? h. How should a woman d irecto r dress for orchestra or chorus reh earsals? i . Should a man d irecto r always wear a dark s u it for evening performances? j . When should a man use a tuxedo when conducting? k. How should a man d irecto r dress for orchestra or chorus reh ea rsa ls? 5. How to conduct vocal groups, a. How can you b est secure and hold the a tte n tio n of the choral group? b. Should choral d ir e c tin g d iffe r from instrum ental d irectin g ? c . How la rg e should the d ir e c to r ’s movements be for the choral group? d. Should you ever sin g w ith the group w hile d irectin g ? e . Should your d ir e c tin g d iffe r for j^oung rchildren? f . Should your hands give sm all cues o f expression? g. How can you b est d ir e c t a choral group without a baton?
h. How can you use f a c ia l exp ression s to aid in d ir e c tin g the vocal group? i . How can you get a sin g in g group to sm ile and look at ease when singing? j . Should the choral group ever he d irected by phrase • method? k. Should you tr y to d ir e c t the choral group and play the piano at th e same time? 1* How can you play the piano and d ir e c t at the same time? How to d ir e c t a community sing« a. How can you make your d ir e c tio n s cle a r fo r the sing? b. Should you tr y to play the piano and d ir e c t at the same time? c. How can you learn a few simple techniques quickly so you can d ir e c t a community sing? d. How lo u d ly should you sin g when d irectin g ? e . Should the d irecto r have a l l the songs memorized? f . Should you ever stand on a chair to d ir e c t the sing? g. How can you get people to sing? h. How much enthusiasm i s necessary to make a community sin g su ccessfu l? i . How can you use the b est of your p erso n a lity when d ir e c tin g the sing? j . How much poking and explanation i s necessary on the part of the d irecto r? k. How many v erses should you sin g of each song? 1* How can you secure v a r ie ty in the sin gin g? m* How long should the sin g be? n. How should you s e le c t appropriate songs for the occasion?
180
o. How should the various types o f songs he arranged on the community sin g program? p* When should you use a ctio n songs? q* Where can you secure a ctio n songs for the community sing? r . When should you attempt to teach a new number? s* How should you teach the group a new song? t ♦ When should you have people stand at the sing? u* Should you provide the sin gers with books or song sh eets? v. Should you use lan tern s lid e s to provide the words for the sin gers? w* How can you be s u r e o f t h e s i n g e r ’ s s e e i n g y o u r
d ir e c tio n s when the room is dark for lan tern s lid e s ? x . Which t y p e o f p i a n o i s t or a c c o m p a n is t i s b e s t f o r a community s i n g ?
7* How to conduct instrum ental groups♦ a. How much do you need to know about the various in str u ments to d ir e c t an orchestra? b* How can you learn quickly to d ir e c t an orchestra? c. How la rg e should the d ir e c t o r ’s movement be for the orchestra? d* Should the beginning instrument c la s s d ir e c tin g d if f e r from the advanced orchestra? e* How can you be sure o f making your d ir e c tio n s very clea r for the beginner? f . Should you ever conduct an orchestra by phrase method? g* Should the d irecto r turn to the se c tio n when g iv in g them a cue? h. How should a d e fin ite tempo be estab lish ed ?
181
i.
Should you ever play an instrument when d irectin g?
8 . How to conduct a rhythm band/ a. How should rhythm hand d irectin g d if f e r from other music d irectio n ? b. Should d ir e c tin g movements be more simple for the rhythm band? c* How la rg e should your arm movements be when d irectin g the rhythm band? d. Should you play the piano and d ir e c t at the same time? e. Should d ir e c tio n s be broken to meet the uneven rhythm of t h e .s e le c t io n being played? f. g.
How
can you
How can you. the s e le c tio n ?
b est get the group sta r te d together? warn the p layers when i t i s the end of
9* How to conduct a harmonica band# a.
How much do you need to know about aharmonica to d ir e c t a harmonica band?
b. How can you lea rn something about a harmonica quickly? c.
Should you play a harmonica when d irectin g ?
d.
Should you accompany the harmonicas on the piano and d ir e c t at the same time?
e . Should you beat a s tr a ig h t rhythm for the harmonicas? f • How la rg e should you make arm movements when d ir e c tin g the group? g* Should you g iv e the harmonicas many cues? h. How can you g iv e clear d ir e c tio n s for attack and re le a se? 10. How to conduct to n e tte groups.
182
8* How w e ll should you be able to play a to n e tte before d ir e c tin g a group? b. How can you b est secure and hold the a tte n tio n of the group? c.
Should you play a to n e tte w hile d irectin g ?
&• Should you tr y to play the piano and conduct the group at the same time? e.
How simple should you try to make your d ir e c tio n s?
f.
Schould you use a str a ig h t beat or change i t to meet the rhythm o f the se le c tio n ?
g . How d e ta ile d should you exp lain your arm movements to the group? h. How can you g iv e clea r d ir e c tio n s for attack and relea se? i . How large should your arm movements be for the b est r e s u lts ? 11. How to s e le c t or b u ild a d ir e c to r fs stand. a. Where can you purchase a d ir e c to r ’s stand? b. How much should you pay fo r a d ir e c to r ’s stand? c . Should the d ir e c to r ’ s stand d iffe r for performance from the rehearsal stand? d. How large should the reh earsal stand be for p r a c tic a l purposes? e . How large should the stand be fo r performance purposes? f . Should the reh earsal stand have a connected platform to stand on? g . What t y p e o f m a t e r i a l s h o u l d t h e s t a n d b e made o f ?
h. How can you build a d i r e c t o r s stand yo u rself? i . How can you design your own d ir e c to r ’ s stand?
183
j . How can you b est secure the shop te a c h e r ’s cooperation in b u ild in g a stand? k. Which type o f m a terial should you purchase to b u ild a d ir e c to r ’ s stand? 1* E w much o f an angle sh&uld the top have for the e a s ie s t reading? m. How many sh elv es should be included in the rehearsal stand? n. What co lo r should the stand be painted? o. Should the d ir e c to r ’s stand have a lig h t on it? p. From which angle should the ray o f lig h t h it the music? ACTIVIIIIS 1. Write to a la rg e music sto re for m aterials exp lainin g the e s s e n t ia ls o f conducting. £. Secure diagrams ex p lain in g the d ir e c tin g o f various rhythms, and then p r a c tic e in fron t of a m irror. 3 . Secure various books on conducting from the public lib r a r y / 4. Ask a m usician f r ie n d ,t o ?explain a few fundamentals of conducting. 5. Secure a m usical terms d iction ary and look up the various m usical terms before reh ea rsa l. 6. S e le c t a few simple songs or s e le c tio n s w ith easy rhythms and tr y d i r e c t i n g them w hile the group sin gs or p la y s. 7. Try u sing the l e f t hand for sp e c ia l cues and exp ression . 8 . Attend se v e r a l programs and concerts where you may observe other d ir e c to r s . 9. Arrange a few simple programs for other c la s s e s where you and the stu d en ts may get the experience o f performance before a rather unimportant audience.
184
10« Ask s m usical d irecto r how he recogn izes the audience a fte r a group perform s/ 11. Secure p ictu res o f famous conductors and note th e ir posture. 12. V is it a few reh earsals and performances of m usical organ iz a tio n s and note the d iffer en ce in posture and d ir e c tio n s o f the d ir e c to r s . 13. Arrange your group in d iffe r e n t p o sitio n s and on various l e v e l s . Determine which makes the b est appearance and y et makes i t p o ssib le for a l l to see the d ir e c to r . 14. V is it a music sto re and examine the various typ es o f batons. 15. Try sev era l types of batons and determine which f i t s your need b e st. 16. Ask a music d irecto r which type o f baton is most p r a c tic a l. 17. Secure a diagram or p ictu re d escrib in g the b est way to hold a baton. 18. Observe various performing groups. dress?
How do the d irecto rs
19. Secure m aterial from a uniform manufacturer on the proper d ress for the d ir e c to r . 20. Try various methods of g iv in g cues and d ir e c tio n s to the vo ca l g ro u p .—Use the su c c e ssfu l methods and discard the confusing ones. 21. Secure sev era l good community song books from a la rg e music s to r e . 22. Observe sev e ra l community sin g d ir e c to r s. Note th e ir use o f p erso n a lity to make the sin g s u c c e ssfu l. 23. Try out a few techniques o f community sin gin g of your own. 24. Try to get v a r ie ty in a community sin g by having various groups or se c tio n s sin g various v e r se s. 25. Secure various books w ith action songs to liv e n up the sin g . 26. Secure sev era l o rc h e stra l conducting books from a good music s to r e . 27. Try to keep your o rc h e stra l d ir e c tio n s sim ple and d e f in it e .
185
£8. Try d ir e c tin g the rhythm band by bringing the hand down for each beat on the rhythm instrum ent. £9. Try using a few sim ple d ir e c tio n s fo r the harmonica group. Secure the m ateria l from a la rg e music sto r e . 30. Write to the to n e tte manufacturing company for m aterial on conducting to n e tte c la s s e s . 31. Ask a shop teacher to d iscu ss w ith you and design a p r a c tic a l d ir e c to r ’s p r a c tic e stand. 32. Draw a few simple d esigns foe the necessary parts o f a good music stand then confer w ith a good cabinet maker. 33. Write to se v e r a l instrument manufacturers for information concerning music stan d s. BIBLIOGRAPHY A llen , J. Worth, The Orchestra D ir e c to r ’s Manual. Carl E isch er, I n c ., 1927.
New York:
B a k a le in ik o ff, Vladim ir, Elementary Rules o f Conducting. New York: Boosey, Hawkes, Belwin, I n c .,1 9 3 8 . Carse, Adam Von Ahn, On Conducting School O rchestras. London: Augener, L td ., no date. Carse, Adam Von Ahn, O rchestral Conducting. Augener, L td ., 1929. Coleman, Henry, The Amateur Choir T rainer. Oxford U n iv ersity P ress, 1932.
London: London:
Coward, Henry, Choral Technique and In te r p r e ta tio n . New York; H. W. Gray Co., 1914. Dann, H o llis E llsw orth , Conductors Book. American Book C o., 1936.
New York:
Davison, Ar chibald Thompson, Choral Conducting. M ass.: Harvard U n iv ersity P ress, 1940. Earhart, W ill, The Eloquent Baton. and Sons, 1931.
New York:
Cambridge, M. Witmark
186
Finn, William Joseph, The Art o f the Choral Conductor* Boston: C. C, Birchard and C o., 1939. Gehrkens, Karl W ilson, Twenty Lessons in Conducting. Boston: O liver D itson C o., 1950. Goldman, Richard Franco/ The Bands Music. Pitman Publishing Corporation, 1938.
New York:
Hjortsvand, Carl, The Amateur Choir B ir e c to r . Abingdon-Cokesbury P re ss, 1941.
New York:
Eendrie, Frank E ste s, Handbook on Conducting. H. W. Gray C o., 1930.
New York:
Normann, Theodore F . , Instrum ental Music in the Public S ch ools. Boston: O liver -^itson Co., 1941. P resco tt and C hidester, G etting R esu lts w ith School Bands. M inneapolis, Minn.: Paul A. Schmitt Music Co;; 1938. Richardson, A lfred Madeley, The Choir Trainers A rt. York: G. Schirmer, I n c ., 1914. Votaw, Lyravine, Rhythm Band D irectio n . Ludwig and Ludwig, 1955. Wagner, Richard, On Conducting. B ook seller, 1919.
London:
New
Chicago: W illiam Reeves,
Waters, Fred E lb ert, P r a c tic a l Baton Technique for Student Conductors. Chicago: Gamble Hinged Musie Co. , 1939• PERIODICAL AND ENCYCLOPEDIA REFERENCES Grove, S ir George, Grove’ s D ictionary of Music and M usicians. New York: Macmillan C o., 1940. ' In tern a tio n a l Library o f Music. The. U n iv ersity S o c ie ty , I n c ., 1934.
Vocal S e r ie s .
In tern a tio n a l Library o f Music, The. V io lin S e r ie s . New York: U n iv ersity S o c ie ty , I n c ., 1934. Modern Music.
New York:
League of Composers, In c.
New York:
187
Musical America, Musical D ig e s t.
New York:
East Stroudsburg, Panna*:
Musical Q uarterly, The. School M usician, The. World of Music, The. Co#>
1938
.
John F. M ajeski, p u b lish er.
New York: Chicago:
Musical D ig e st, Inc.
G. Schirmer, Inc.
Hobert L. Shepherd, p u b lish er.
Orchestra S e r ie s.
Boston:
Ginn and
CMPTER XVI
DEVELOPING YOUR OWN TALENTS Are you w illin g to spend a few minutes each day toward the development o f your own ta le n ts ? to be able to sin g b etter? to play an instrum ent.
Would you lik e
Perhaps you would lik e to learn
Bo you have a d esire to make your
own m usical arrangements?
Are you in te r e ste d in lite r a t u r e
about music and m usicians?
You may never become a pro
f e s s io n a l musician but you can get much pleasure out of music by fu rth er developing your t a le n ts .
Sing, or pick
up an instrument or a good book in your spare tim e.
These
stu d ie s w i l l not only bring you pleasure but w il l make you a b ette r school music teach er.
This chapter was included
as a guide to the development o f your own music ta le n ts fo r your personal enjoyment and education. PROBLEMS 1. How to learn to s in g . a. How can you b est learn to sin g properly? b. Should you tr y to lea rn to sing by reading a book on how to sing? c . How can you secure a r e lia b le and good teacher? d. How much should you pay for p riv a te le sso n s? e. How can you determine whether you should spend money on your voice?
189
f* Is i t necessary for you to pay a high p rice for sin gin g lesso n s? g* How o fte n should you take lesso n s? h. How can you get the b est r e s u lts from p racticin g? i.
Is breathing important in your singing?
j.
How
can you besure to
sin g in rhythm?
k. Should you tr y to in crease the range of your voice? 1.
Sh&uld you use or develop
your f a l s e t t o voice?
m. How can you prevent oversinging? n. How should you stand when you sing? o. How can you learn to sin g with good d ictio n ? p* Howi should you sin g consonants in words? How should you sin g vowels in words? r.
How do you sin g d ia le c t?
s.
Should you use g estu res when you sing?
t.
How can you lea rn
to sin g w ith
p o ise and p erso n a lity ?
u.
How can you lea rn
to sin g in a
group?
v* How
can you besure o f
s e le c tin g songs su ited to your voice?
w. How
should youdevelop
a song rep eto ire?
2. How to lea rn to play the piano# a.
How can you lea rn to p lay the piano quickly?
b* Should you take a correspondence course in piano? c.
Should you jo in a piano c la ss?
d.
How can you be sure of s e le c tin g a goodpiano teacher?
190
e. Should you take Wessons from a teacher of popular music? f . How o ften should you take lesso n s? g. How much should you pay for piano lesso n s? h. Should you be c a r efu l to develop the proper technique? i . Which type o f posture i s b est for piano playing? j . How can you learn to p lay smoothly? k. How should you develop the art o f playing in rhythm correctly? 1. How should your fin g e r s be placed on the keys? m. Hqw do you use the pedals on the piano? n* How can you b est s e le c t a good in str u c tio n book? o . How can you s e le c t music for your a b ility ? p. How should you s e le c t a rep etoire? 3. How to learn to play the instruments of the orch estra. a* How can you lea rn to play orchestra instrum ents quickly? b. Should you take correspondence courses to lea rn to play various instruments? c . Should you jo in an instrument c la ss ? d. How should you s e le c t a good teacher for various
instruments?
e. How o ften should you take lesson s? f • How much should you pay for instrument lesso n s? g. How can you determine which instrument you should play? h. Should you learn only one instrument or a l i t t l e about several? How can you b est develop a good instrum ental technique? j . How can you learn to play in correct rhythm?
191
k. How can you develop breath con trol for a wind instrument? 1. How can you learn to use your tongue properly when play ing a wind instrument? m* How can you learn to play in ensembles? n. How can you b est s e le c t a good in str u c tio n book? 0. How should you s e le c t a rep eto ire? 4. How to lea rn to read music n o ta tio n * a. How can you lea rn a 4 -ittle about n otation quickly? b. Should you learn m usical n ota tio n as a foundation to other m usical a c t iv it ie s ? c. How can you determine the d iffe r e n c e between the valu a tio n of notes? d. How much more i s there to m usical n otation b esid es ju st the notes? e. How can you learn to pronounce m usical terms and names c o rrectly ? f . How can you s e le c t a music vocabulary? g. Where can you attend c la s s e s on music notation? h.
Should you pay fo r le sso n s to learn music notation?
1.
Where can
you secure books and m aterials exp lain in g notation?
5. How to lea rn more about music through lit e r a t u r e * a.
Where can
you secure good books about music?
b. How can you s e le c t books which w i ll improve your music teaching? c . How should you s e le c t music books for le is u r e reading? d. How should you s e le c t good music p erio d ica ls for le is u r e reading? e« Are a l l music magazines worthwhile?
198
f . How should you s e le c t a good m usical d iction ary? g. How much should you pay for music lite r a tu r e ? h. How can you recognize and id e n tify music propaganda? i . How can you g et the most enjoyment out of a book about music? ACTIVITIES 1. S e le c t a recommended v o ice teacher and take at le a s t a few vocal lesson s* 8
.
Inquire from a r e lia b le music store for a r e lia b le voice teach er.
3. Ask sev e ra l teachers what they charge for vocal le s s o n s . 4. Take le sso n s as o ften as you f e e l they are necessary for the amount o f p ra ctic e you have time fo r . 5. P ra ctice diaphrahm b reathing. Learn to in hale ^y "expanding* the r ib s and le t t in g the a ir flow in to the lungs rather than by seeming to "suck" the a ir in . Never move the shoulders in breathing. 6. Hum simple m elodies as smoothly as p o ssib le without s lid in g from tone to tone. Never hum lou d ly. 7. Ask a fr ie n d , who s in g s , to give you a demonstration o f correct sin g in g and breathing e x e r c is e s . 8 . Ask someone to demonstrate the " fa lse tto " v o ice for you. 9. Stand when sin g in g , so you have p erfect balance* Place one fo o t s l i g h t l y forward of the other fo r b e tte r balance and not too c lo s e to g eth er. 10. Sing songs, such as simple fo lk m elodies and have someone check upon you d ic tio n . Can they understand what you are singing? 11.
Sing one tone or the f iv e tones using the various vow els.
193
12. Join a church choir or a community choral group for the b est p ra ctic e in group sin g in g . 13. Ask a r e lia b le music company to recommend a good piano teach er. 14. Be sure the teacher from whom you are taking lesso n s teach es by n o ta tio n and not by ear. 15. Observe sev e ra l good p ia n is t s . technique.
Note th e ir touch and
16* Obtain p ic tu r e s o f a r t is t s playing the piano. p osture.
Note th e ir
17. Ask some p ia n is t to show you a few o f the fundamental techniques o f piano p layin g. 18. Try out some music as soon as you can read the music as you p lay the piano. S e le c t ch allen gin g music but music which you can learn to play in a short tim e. 19. Ask an instrument company to recommend a good instrum ental teach er. 2 0 . Inquire from various instrum ental teachers as to the p rice
they charge for le s s o n s .
21. Inquire and see i f there i s an evening instrum ental c la s s which you can attend at a public or p rivate sch ool. 22. Ask a r e lia b le salesman or teacher which instrument you should p la y . 23. Try out a few instruments and determine which w il l be the e a s ie s t and most in te r e s tin g . 24. P ra ctice diaphram breathing and apply i t to your breathing as you p lay your instrument. 25. Ask an instrument a r t is t to exp lain the tonguing o f the wind instrum ent. 26. Join a community or church orchestra for p ractice in ensemble p la y in g . 27. Inquire for s p e c ia l adult c la s s e s in public sch o o ls, c o lle g e s , and p riv a te sch ools for music reading and n o ta tio n .
1 94
28
0
Ask a frien d who i s m usical to help you w ith a few fundamental explanations o f n otation .
29. Secure a few good books on n otation . 30. Ask the public lib r a r y lib r a r ia n for good books about music and m usicians. 31. Look over the supply of fin e music books at any large music sto re and choose le is u r e reading m a te ria l. 32. Ask a music sto re manager to recommend th e b est of music magazines to you. BIBLIOGRAPHY Barrows, Saiah Tracy, The Voice; Row to Use I t . Expression C o., 1933. Bauer, Marion, M usical Questions and Q uizzes. G. P. Putnam’s &ons, 1941. Bauer, Marion, Twentieth Sons, 1934.
Century Music.
Boston: New York:
New Y^rk: G. p. Putnam’s
Berg, David E ric, The Art o f L isten in g . Caxton P r in te r s, L td ., 1927.
C aldw ell, Idaho:
Brower, H arriette Moore, Yocal Mastery. Frederick A. Stokes C o., 1920.
New York:
Browne, Lennox, Y oice, £>ong, and Speech. Putnam’s Sons.
New York:
Buck, Percy Carter, A cou stics for M usicians. U n iv ersity P ress, 1918. Burch, Gladys., The
Music Quiz.
London:
G. P. Oxford
New York:Stackpole Sons, 1938.
Caruso’ s Method o f Boice Production. Century C o., 1923.
NewYork:
D. Appleton
C atty, Nancy, Training in A ppreciation, Art; L ite r a tu r e ; Music. London: Sidgwick and Jackson, L td ., 1921.
195
Crosby, Alpheus Benning, Art o f Holding the V io lin and Bow as Exem plified by Ole B u ll, London; William Reeves, B o o k seller, no date, Damroseh, Walter Johannes, In stru cto rs Manual for Music A ppreication Hour, New Y0rk: N ational Broadcasting Co. , In c. Dykema, Peter W illiam , Music for Public School A dm inistrators. New York: Teachers C o lleg e, Columbia U n iv ersity , 1931# E rskine, John, A M usical Companion, I n c ., 1935.
New York;
Faulkner, Anne Shaw, What We Hear in Music. R.C.A. V ictor C o., 1931.
A lfred A. Knopf, Camden, N .J .:
F euchtinger, Eugene, Why Voice Students F a il * Chicago: P erfect Voice I n s t it u t e , 1932. Finney, Theodore M itc h e ll, Hearing Music. Brace and C o., I n c ., 1941.
New York:
Harcourt,
F lesch , Karl, Problems o f Tone Production in V io lin P layin g. New York: Carl F isch er, I n c ., 1934. Forsyth, C e c il, O rchestration. 1936.
New York:
The macmillan Co.,
Gehrkens, Karl W ilson, Music N otation and Terminology. Chicago: Laidlaw, B rothers, I n c ., 1930. Grimson, Samuel B ., Modern V io lin P laying. H. W. Gray C o., 1920.
New York:
The
Hamilton, Clarence Grant, What Every Pieno Pupil Should Know. P h ilad elp h ia: Theodore P resser C o., 1928. Hartshorn, W illiam C ., The Mentor.
Boston:
Hartshorn, W illiam C ,, New Hprizons, Boston: 1940. Hartehorny, W illiam C ., The P il o t .
Boston:
H indsley, Mark H ., Band A tten tio n . Music C o., 1932.
Chicago:
Ginnrand C o., 1940 Ginn and Co., Ginn and C o., 1940. Gamble Hinged
196
Jeans, S ir James H ., Science and Music. The Macmillan Co*, 1937. Kaufman, Schima, Everybody’s Music, Crowell Co,, 1938.
Hew York:
Hew York:
Thomas Y.
Major, E lizabeth Alexander, What Singers Should Know. Los Angeles: Preeman Matthews Music C o., 1930. Hewmsrch, Rosa H arriet, The Concert Goer’s Library. London: Oxford U n iy ersity P ress, 1936. O’C onnell, C harles, The Victor Book of the Symphony. New York: Simon and Schuster, I n c ., 1941. P a tterso n , Annie W ilson, How to L isten to an Orchestra. London: Hutchinson and C o . , L td ., 1928. P eyser, E thel Rose, How to Enjoy Music. G. P. Putnam’s Sons, 1933.
Hew Y0rk:
R ed field , John, Music? A Science and an A rt. A lfred A. Knopf, I n c ., 1928.
New York:
S a ie t v e it , Joseph Gerhand, R evision of the Seashore Measures o f Musical T a len ts. Iowa C ity, Iowa: The U n iv ersity o f Iowa P ress, 1940. S c h e llin g , E rnest, Oxford Piano uourse. U n iv ersity P ress, 1932.
New York:
Oxford
S ch o les, Percy A lfred , The Oxford Companion to Music. London: Oxford U n iv ersity P ress, 1938. Seashore, Carl Emil, O bjective A nalysis of M usical Performance. Iowa C ity , Iowa: The U n iversity P ress, 1936. S ta n ley , Douglas, The Science o f V oice. F isch er, I n c ., 1939.
New York:
Carl
S ta n ley , D0u g la s, The J o ic e . I t s Production and Reproduction. New York: Pitman P ublishing Corporation, 1933. Taylor, Deems, The Well Tempered L isten er. Simon and Schuster, I n c ., 1941.
Hew York:
Upton, George P . , The Standard Operas, Their P lo ts and Their Music. Chicago: A. C. McClurg and C o., 1913.
197
Wedge, George Anson, Advanced E ar-train in g and Sight Singing As Applied to the Study of Harmony* New York: Schirmer, I n c ,, 1922. Wedge, George Anson, Ear•‘•train in g and S ight S i n g i n g Applied to Elementary Music Theory. New York: G.Schirmer, In c. , 1 9 £ l. Wier, A lb ert, E rnest, What Dp You Know About Music? New York: B# Appleton Century Co*, 1930* • W ilcox, John C ., The L iving V oice. I n c ., 1955.
New York*;
Carl F isch er,
PERIODICAL AND ENCYCLOPEDIC REFERENCES Berg, David E ric, Glossary o f Terms and Index. TheV.Caxton I n s t it u t e , I n c ., 19£8.
New York:
DeBekker, Leander, The Encyclopedia of Music and M usicians. New York: Crown P u b lish ers, 1937. Etude Music Magazine. The.
P h ilad elp h ia:
Theodore Presser
Grove, S ir George, Grovers D ictionary o f Music and M usicians. New York: The cm illan C o . , 1940. In tern a tio n a l Library of Music. The. Piano S e r ie s . New York: U n iv ersity S o c ie ty , I n c ., 1934. In tern a tio n a l Library of Music» The. Y io lin S e r ie s . ' New York: U n iv ersity S o c ie ty , In c. , 1934. In tern a tio n a l Library of Music, The. Vocal S e r ie s . New York: U n iv ersity S o c ie ty , I n c ., 1934. Modern Music.
New York:
Musical America. M usical D ig e s t. Musical F a c ts. M usical
League of Composers, Inc.
New York:
John F. M ajeski, p u b lish er.
East Stroudsburg, Penna.: Chicago:
Q u a r te r ly .
The.
Musical D ig e st, Inc.
Lee Stern, p u b lish er. New Y0rk:
G. Schirmer, Inc.
198
P r a tt, Waldo Selden, The New Encyclopedia o f Music and M usicians. New York; The Macmillan C o., 1929. S ch o les, Percy A lfred , The Scholes Music Handbook. New York: M* Witmark and Sons, 1935. School M usician, The. World o f Music, The. Co., 1938.
Chicago:
Hobert L. Shepherd, p u b lish er.
Orchestra S e r ie s.
Boston:
Ci$n and
CHAPTER
XVII
SUMMARY
A fter c la s s if y in g the various music problems which confront the tea ch er, the author f e l t th at certa in trends were n o tica b le w ith in the problems.
Further i t was f e l t
th at some conclusions might be h lep fu l to teachers who are tryin g to come to d ecisio n s concerning th e ir teaching problems. There seemed to be a large agreement upon the fa c t th at the average teacher i s not properly prepared to teach h is own classroom music.
There is another group of teachers
who do not care for music so would rather l e t i t go than take the trou b le to prepare the le s s o n .
Other teachers
know they are not a u th o r itie s in the f i e l d so they try to get out o f teaching music whenever they can, for fear they w i l l not do a good job.
Music su pervisors w ith a narrow
outlook have discouraged many teachers by givin g too severe c r itic is m o f the classroom music work. Too much emphasis has been placed upon the te ch n ica l sid e o f m usic.
I f more a tte n tio n were given to the enjoyment
of music, both teacher and student would get much more out of the music hour.
The teach er, who i s not properly prepared,
r e a liz e s he la ck s the te c h n ic a l knowledge so is afraid to teach the c la s s m usic.
Many teach ers are a fra id th e ir students
200
may know more about music than they do them selves.
One of
the major d i f f i c u l t i e s i s the fa c t th at the average teacher i s a fra id to teach something he is
not too fa m ilia r w ith .
The teach er, who i s too la z y to prepare the music le sso n because he does not care for i t , i s robbing the stu d en ts the same as i f he came to sch ool a h a lf hour la t e every morning.
I t i s the hope o f the w riter th at music supervisors
and adm inistrators w i l l not c r i t ic i z e too se v e r e ly u n t il they can afford to h ire a s p e c ia l music teach er.
The teach er, who
is doing the b est he can, should be complimented. Too many teachers seem to worry about the d e fe c tiv e singer and the monotone.
Try to fin d some other a c t iv it y
for the non-musical stu d en t. he i s sure to d is lik e i t .
Don’t force music upon him or
Some of the r e a l young students
w i l l lea rn to sin g when they are a l i t t l e o ld er. not have proper con trol o f th e ir v o ic e s.
They do
As soon as they can
ta lk b e tte r , th e y w i l l be able to con trol th e ir sin gin g v o ices b e tte r .
The yoQng ch ild should enjoy the music
above a l l e l s e . One of the l a t e s t methods of reducing the d is c ip lin e problem and taking care o f the student who can’ t sin g , is to have those students play to n e tte s .
These simple f lu t e
lik e instrum ents are e a s ily played and are u su a lly enjoyed by those who do not sin g . Berhaps one o f the most frepuent problems presented
SOI
concerns tlie problem of d is c ip lin e during the music hour. An in te r e s tin g music hour w i ll so lv e most d is c ip lin e problems. I t i s tr u e , however, th at one or two students should not be allowed to s p o il the hour for the others even i f they must be removed for th at p eriod .
The proper choice of music is
fundamental to keeping the c la s s in t e r e s t .
Music, which is
eith er too d i f f i c u l t or too ea sy , w i l l become d is in te r e s tin g . Music should be d i f f i c u l t enough to challenge the student but not so d i f f i c u l t th at i t t ir e s him out.
Recordings l ik e
wise must be w ith in h is range o f lis t e n in g .
Many elementary
school teach ers overestim ate the stu d en t’s in te r e s t when i t comes to record in gs.
Proper explanation i s a lso necessary
to succeed w ith a lis t e n in g hour. Because o f te c h n ic a l d i f f i c u l t i e s , the average teacher is afra id to teach c r e a tiv e song w r itin g . too te c h n ic a l. sim ple.
Do not tr y to g et
Keep the m elodies sim ple and the rhythms
The average student w i ll enjoy th is type of exp ression .
I t should be remembered, however, th at not every ch ild can do t h is e a s ily .
I t would not be advisable to i n s i s t on every
ch ild doing i t i f i t seems im possible. The teaching o f g le e clu b s, o rch estra s, and other groups u su a lly takes extra time on the part o f the teach er. Many teachers wish to quit on the dot and not spend extra time or energy on o u tsid e a c t i v i t i e s .
Students are many
tim es helped more through th ese organ ization s than through any other school a c t iv it y . want to do.
They fin d something they r e a lly
The tea ch er, who w i l l take time to d ir e c t one
o f th ese groups, w i l l be g iv in g a great se r v ic e to the stu dents and is assured of appreciation and joy fo r the time spent. The teach er, who w ishes to keep up w ith h is students and the s o c ia l order, w i l l want to further develop h is own t a le n t s .
The tea ch er, who takes th is p rogressive a ttitu d e
concerning h im self, w i l l a lso be an in sp ir a tio n to h is stu d en ts. I t i s the hope of the author th at t h is curriculum study may be a guide to the average elementary school teach er, who fin d s i t necessary to teach h is own music.
From the
m aterial presented, may he discover h is own classroom problems and through the s e le c te d a c t i v i t i e s and bibliography may he work out s a tis fa c t o r y so lu tio n s for the b e n e fit o f the stu d en ts.