Public production as an aid to music education
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PUBLIC PRODUCTION I S AN AID TO MUSIC EDUCATION
A T h e sis P re se n te d to t h e F a c u l t y o f t h e S c h o o l o f M u s ic T he 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
In P a r t i a l F u lf illm e n t o f th e R e q u ire m e n ts f o r th e D e g ree M a s t e r o f M u s ic
by C h a r l o t t e F* S t e v e n s o n Ju n e 1942
UMI Number: EP61764
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Dissertation Publishing
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This thesis, written by
OHAmOTTE..P ♦...STCTEKBON...... under the direction of hS>X. F ac u lt y C o m m i t t e e , a n d a p p r o v e d b y a l l its m e m b e r s , has been p r es e nt e d to and ac ce p te d by the Co un ci l on G ra du ate S t u d y and R ese arc h in p a r ti a l fulfill m e n t of t h e r e q u i r e m e n t s f o r t h e d e g r e e o f
MASTER OF MUSIC
Secretary
D ate
J u n e , 1942
F aculty C om m ittee
j
^
Chairman
TABLE OF CONTENTS CHAPTER I.
PAGE
THE PROBLEM AND DEFINITIONS OF TERMSUSED .
.
T h e p r o b l e m ...................................................
1
S t a t e m e n t o f t h e p r o b l e m .....................................
1
I m p o r t a n c e o f t h e s t u d y ..........................................
1
D e f i n i t i o n s o f t e r m s u s e d ..........................................
2
P u b lic p ro d u c tio n
...............................
C o r r e la tio n and in te g r a tio n II.
. . . . .
...............................
2 3
ACCEPTED PRACTICES AND STANDARDS OF MUSIC EDUCATION...................................................................................
5
G e n e r a l v a l u e s o f m u sic i n e d u c a ti o n . . .
5
Human o r p e r s o n a l v a l u e s ....................................
5
S o c ia l o r group v a lu e s
7
..........................................
G e n e r a l a im s o f m u sic e d u c a ti o n
• • • • • •
A im s o f m u s i c p u b l i c p r o d u c t i o n S o c ia l o b je c tiv e
8
.....................
11
.........................................................
12
P ro fe s s io n a l o b je c tiv e F in a n c ia l o b je c tiv e III.
1
.....................................
. . . . . .
13
.....................
13
EDUCATION...................................................................................
15
In tro d u c tio n
15
PUBLIC PRODUCTION AS AN AID TO MUSIC
• • • • • • • • * ...........................
S t a n d a r d s o f m u sic
. . . . .
...........................
15
P u b l i c p r o d u c t i o n a s a n a i d t o m u sic
appreciation................
16
Iv
CHAPTER
PAGE L is te n in g
t o m u s i c .........................................................
P erfo rm an ce
o f m u s i c ................................... .
C r e a t in g m u sic
17 .
...................................................................
P u b lic p ro d u c tio n a s a m o tiv a tio n
18 19
to m u sic
e d u c a t i o n .........................................................................*
20
To t h e
c h i l d .......................................................................
21
To t h e
t e a c h e r ..................................................................
21
To t h e
c o m m u n i t y .............................................................
22
To t h e
s c h o o l ............................................
23
P u b lic p ro d u c tio n a s a f a c t o r in
school
a n d c o m m u n ity c o o p e r a t i o n .................................... I n t e g r a t i o n and c o r r e l a t i o n
p ro je c ts
s c h o o l a n d c o m m u n i t y .......................... * P u p il-te a c h e r p a rtic ip a tio n
25
in .
.
...............................
.
25 28
E f f e c t o f s i z e o f s c h o o l on p u b l i c p r o d u c t i o n ............................................................................. L arg e c i t y
sy s te m ,
s m a ll c i t y sy s te m ,
r u r a l s c h o o l ......................................................... IV .
30
• •
30
THE CASE AGAINST PUBLIC P R O D U C T IO N S .....................
32
....................................
32
...............................................
34
C r i t i c i s m s b y t e a c h e r s ....................................................
35
G en eral c r itic is m s
36
C ritic is m s by a d m in is tra to rs C ritic is m s by p a re n ts
..............................................................
Conclusion....................
37
V
CHAPTER V.
PAGE
PROGRAM BUILDING .
.
.........................................................
S e le c tio n of m a te ria l
• • .
.
.....................
A r r a n g e m e n t o f m a t e r i a l on p r o g r a m * .
V I.
.
.
39 39 40
A rran g em en t o f p r i n t e d p ro g ram . . . . . .
41
L e n g th an d h o u r o f p e rfo rm a n c e . . . . . .
42
TYPES OP PUBLIC PRODUCTIONS AND SUGGESTED METHODS OP PERFORMANCE...............................................
44
T h e f e s t i v a l ..............................
44
The n o n - c o m p e t i t i v e f e s t i v a l
..........................
The f e s t i v a l o f m u sic a n d d a n c e The a l l - m u s i c f e s t i v a l
..........................................
O rg a n iz a tio n o f th e f e s t i v a l C o stu m in g t h e f e s t i v a l
45 47
. . . . . .
48
• • • • • • • • •
51
The c o m p e t i t i o n f e s t i v a l
...............................
51
. . . . . .
52
• • • • • . . • • • • • • • •
53
C o n c l u s i o n s on t h e f e s t i v a l The c o n t e s t
. . . .
44
C a s e a g a i n s t t h e c o n t e s t .....................................
53
M u sic a l r e s u l t s o f th e c o n t e s t
54
• • • • •
The c o n t e s t a n I n f l u e n c e f o r s p o r t s m a n sh ip
« • • • • • ...................................
The c o n t e s t a s a p u b l i c The a t t i t u d e o f t h e
stim u lu s
• • • •
54 55
m u sic t e a c h e r a n d
th e a d m in is tr a to r to th e c o n te s t
Organization of the contest
. . .
56
«•••••
57
vi CHAPTER
PAGE C o n c lu s io n The p a g e a n t
• .
. • • .........................
C o m m u n ity c o o p e r a t i o n pageant
.....................
th e pageant
58
• « • • • • • • • •
58
th ro u g h
• • • • • • • • • • • • •
59
• • • • • • • • • • • • • • •
61
The o p e r e t t a o r o p e r a
» • » * • • » • • •
C r e a tiv e p o s s i b i l i t i e s o f th e o p e r e t ta C o r r e la tio n and i n te g r a t i o n o p e re tta
58
th ro u g h th e
C o r r e la tio n and i n te g r a t i o n
C o n c lu sio n
.
• .
62 •
62
th ro u g h th e
.............................................................
S u g g e s te d m eth o d s o f p r o d u c t i o n
• .
• .
65 64
C r itic is m s o f th e o p e r e tta
65
C o n c lu sio n s
• • • • « • • • • • • • • •
67
• • • • • • • • • • • • • • •
67
T he c a n t a t a
C o stu m in g t h e c a n t a t a
68
C o r r e la tio n and i n t e g r a t i o n
th ro u g h
t h e c a n t a t a ............................................................. S o lo s in g in g in th e c a n t a t a C o n c lu sio n
• • • • • •
69
• • • • • • • • • • • • • • •
70
The r a d i o p ro g ra m
• « • • • • • • • • • •
C h ild re n * s b r o a d c a s t s M y th ic a l b ro a d c a s ts
Conclusion
68
................................... ..........................................
......... . . . . *
70 70 71
71
vii CHAPTER
PAGE T h e c o n c e r t ........................................................................ P ro g ram s f o r c i v i c
o rg a n iz a tio n s
.
• .
71
.
The e v e n in g c o n c e r t
. .
...........................
C o n c lu sio n
...............................................
72 73 74
M i n s t r e l s h o w , v a r i e t y sh o w , a n d c a r n i v a l M a te ria l chosen f o r th e p ro d u c tio n
.
74
• .
74
.....................................
75
C re a tiv e p o s s i b i l i t i e s in th e s e p ro d u c tio n s
• • • • •
A c h iev e m e n t p o s s i b l e th r o u g h t h e m i n s t r e l show , v a r i e t y
sh o w , a n d
c a r n i v a l ........................................
76
C o n c l u s i o n ............................................................... A sse m b ly p ro g ra m ,
77
t a l e n t h o u r , a n d ro o m
p rogram
....................................................
T h e a s s e m b l y p r o g r a m .....................................
77 77
T he t a l e n t h o u r ......................................................... T he ro o m p r o g r a m .
..........................................
78 79
C o n c l u s i o n ................................................... .....
79
I n c i d e n t a l m u s i c .................................................... Im p o rta n c e o f t h i s
ty p e o f p erfo rm an ce
80 .
C o n c l u s i o n ............................................................... G en eral c o n c lu sio n s V II.
81
• • • • • • • • • • •
SUMMARY AND RECOMMENDATIONS...........................
BIBLIOGRAPHY
80
........................................................................................
81 84 88
CHAPTER I THE PROBLEM AND DEFINITIONS OF TERMS USED T h e r e h a v e "been m an y s t u d i e s c o n c e r n i n g t h e p r o d u c tio n o f th e o p e r e tta ,
c a n ta ta ,
and p a g e a n t; b u t no
s t u d y h a s b e e n m ade w h i c h i n c l u d e d a l l o f t h e t y p e s o f p erfo rm an ces p o s s ib le and t h e i r u se a s a id s in in stru c tio n a ttitu d e
of c h ild re n
im p o rta n t in
in th e
s k ills ,
th e f i e l d
th e
te c h n iq u e s and
o f m u sic .
I t was t h e d e s i r e o f t h e w r i t e r t o d i s c u s s
some
o f t h e g e n e r a l and s p e c i f i c a im s o f th e m u sic e d u c a t o r and to
show t h a t h e c o u l d b e a i d e d i n
th e a c h iev e m e n t
o f t h e s e a im s b y 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 p u b l i c p ro d u c tio n s. I.
THE PROBLEM
S ta te m e n t o f th e p ro b le m . th is
s tu d y (1)
a im s,
(2)
a im s
t o show how p u b l i c p r o d u c t i o n s
in th e c o m p le tio n o f th e s e g e n e r a l and s p e c i f i c
(3 )
and (4)
was t h e p u r p o s e o f
to c o n s id e r th e g e n e r a l and s p e c i f ic
o f t h e m u sic e d u c a t o r , can a i d
It
to d is c u s s th e w eaknesses o f p u b lic p ro d u c tio n s ,
to d is c u s s th e
ty p e s o f p e rfo rm a n c e s and s u g g e s t
m eth o d s o f p r o d u c t i o n .
Importance of the study. Very often the operetta
2
h a s b een c o n s i d e r e d th e o n ly ty p e o f p e rfo rm a n c e w h ich i s g iv e n in
th e p u b lic
sc h o o l.
T h e t e r m wo p e r e t t a ff h a s
o f t e n b e e n u s e d sy n o n y m o u sly w i t h t h e te r m ^ p u b l i c p ro d u c tio n .”
In
th is
s t u d y a n a t t e m p t h a s b e e n m ad e t o
g ro u p a l l ty p e s o f p e rfo rm a n c e s and p ro v e t h e i r w o rth as a id s
t o t h e m u s i c e d u c a t o r who e n d e a v o r s t o
te a c h th e
c h i l d a n d a t t h e sam e t i m e h e l p h i m t o e n j o y h i s
le a rn in g
and l i v i n g . II.
DEFINITIONS OF TERMS USED
P u b lic p ro d u c tio n . p e rfo rm a n c e w h ic h i s
A p u b lic p ro d u c tio n i s a
produced f o r th e p u b lic .
T he p u b l i c
m ay c o n s i s t o f a n a d u l t a u d i e n c e , a h i g h s c h o o l a s s e m b l y a u d ie n c e , a g ro u p o f s t u d e n t s fro m th e o r a s m a l l roo m a u d i e n c e , p erfo rm ,
e ith e r
g ro u p w h ic h i s
l^ h en ev er one g ro u p o f s t u d e n t s
in a group o r a s s o l o i s t s , w a tch in g and l i s t e n i n g
th e y a re p a r tic ip a tin g
in
p ro d u c tio n c o n sid e re d a r e ; and c o m p e titio n ;
to th e p erfo rm an c e,
s tu d y th e ty p e s o f p u b lic
th e f e s t i v a l , n o n -c o m p e titiv e
th e c o n te s t;
th e c a n ta ta ;
b e fo re a n o th e r
a p u b lic p ro d u c tio n .
F o r th e pu rp o se o f t h i s
o r o p era;
e le m e n ta ry s c h o o l,
th e p a g e a n t;
th e o p e re tta
th e r a d i o p rogram ; th e c o n c e r t ;
t h e m i n s t r e l s h o w , t h e v a r i e t y sh o w , a n d t h e c a r n i v a l ; th e a sse m b ly p ro g ram ,
t h e t a l e n t h o u r , a n d t h e ro o m
p ro g ra m ; and I n c i d e n t a l m u sic i n c l u d i n g s m a ll e n se m b le s
5 a n d so lo s* C o r r e la tio n and i n t e g r a t i o n .
A d is tin c tio n has
b e e n m ad e b e t w e e n t h e w o r d s c o r r e l a t i o n a n d i n t e g r a t i o n . C o rre la tio n
th ro u g h s o - c a l l e d u n i t s
o f s tu d y c o n n e c ts
m u sic w ith t h e o t h e r s u b j e c t s o f t h e s e c o n d a r y and e le m e n ta ry s c h o o l pro g ram , w h ile m a in ta in in g th e i d e n t i t y o f each s u b je c t as such. To i l l u s t r a t e :
C o r r e l a t i o n m ay b e e f f e c t e d b y t h e
c o n s c io u s e f f o r t o f th e t e a c h e r and c h il d r e n
in stu d y in g
a u n i t o f w o rk on S o u t h A m e r i c a n c o u n t r i e s .
In m u sic ,
th e
so n g s an d d a n c e s o f t h e S o u th A m e ric an c o u n t r i e s
w o u ld b e s t u d i e d .
In g eo g rap h y th e c o n to u r o f th e c o u n try
and In h i s t o r y th e b ack g ro u n d and l i v e s
o f th e p e o p le s
w o u ld b e e x p l o r e d . In in te g r a tio n
f a c t s o f m any s u b j e c t s a r e l e a r n e d
i n c i d e n t a l l y w h ile th e c o n sc io u s e f f o r t o f th e c h ild i s sp e n t upon th e
s tu d y o f one s p e c i f i c
To i l l u s t r a t e s
fie ld .
P ro m t h e s i n g i n g o f s o n g s t h e
c h i l d r e n m ay b e co m e i n t e r e s t e d
i n a m o re i n t e n s i v e
stu d y
o f th e c o u n t r i e s o f S o u th A m e ric a.
An e x c i t i n g u n i t m ay
b e d e v e lo p e d w h ic h w i l l i n c l u d e
stu d y o f th e c o n to u r
o f th e c o u n try ,
th e
th e h a b it s and s t y l e s o f th e p e o p le s ,
th e
e x p o rts and im p o rts o f th e c o u n try and th e in d u s tr y o f th e n a tio n .
T h e s t u d y w as S o u t h A m e r i c a n s o n g s , a n d t h e
c h i l d i n c i d e n t a l l y h a d w id e e x p e r i e n c e i n m an y f i e l d s b e s id e s m u sic .
CHAPTER II ACCEPTED PRACTICES AND STANDARDS OP MUSIC EDUCATION F o r m any y e a r s t h e M u s ic E d u c a t o r s N a t i o n a l C o n f e r e n c e h a s h a d a s t h e i r s l o g a n wM u s i e f o r E v e r y C h i l d ; E v ery C h ild f o r M u s ic .n
T h a t slo g a n i s
th e o p in io n o f th e w r i t e r , an d a im o f a l l I.
a tru e
b u t in
s ta te m e n t o f th e hope
th e m u sic e d u c a to r s o f t h e U n ite d S t a t e s .
GENERAL VALUES OF MUSIC IN EDUCATION
Human o r p e r s o n a l v a l u e s . of th is
a b rie f,
It
w as n o t t h e p u r p o s e
s tu d y t o p ro v e t h e w o rth o f m u sic e d u c a tio n i n
th e c u rric u lu m .
HM u s ic i s a f u n d a m e n t a l p a r t o f t h e l i f e
o f e v e r y n o r m a l hum an b e i n g . 11**-
T h e r e f o r e , m u sic h a s b e
come a n a c c e p t e d f u n d a m e n t a l s u b j e c t i n t h e a v e r a g e c u rric u lu m .
Its
w o rth h a s been p ro v e d .
As J a m e s L .
M u rse ll sa y s, M u s ic c a n , w hen p r o p e r l y d i r e c t e d , e x e m p l i f y w hat e d u c a tio n sh o u ld b e a t i t s v e r y b e s t . . . . I t can d is c h a r g e th e g r e a t and c e n t r a l m is s io n o f a l l e d u c a t i o n , w h i c h i s TO RAISE THE LEVEL OF HUMAH QUALITY.2
A u d r e L e w i s S t r o n g , " R e l a t i o n o f M u s ic a s T a u g h t in J u n io r C o lle g e to C e r ta in L e isu re -T im e A c t i v i t i e s o f S t u d e n t s , 1* ( u n p u b l i s h e d M a s t e r ’ s t h e s i s , U n i v e r s i t y o f S o u th e r n C a l i f o r n i a , Los A n g e le s , 1 9 3 5 ) , p . 1 . 2 J a m e s L . M u r s e l l , Human V a l u e s i n M u s ic E d u c a t i o n (New Y o r k ; S i l v e r B u r d e t t a n d C om pany, 19347T F orew ord.
6 E d u c a tio n in h e lp in g th e
o u r m odern s c h o o l I s
c h il d in
every d ay l i f e .
It
co n cern ed w ith i s n o t th e
so le
pu rp o se o f th e sc h o o l to
p rep are th e c h ild f o r a d u lt
life .
sh o u ld e n r ic h th e d a i l y l i v i n g
S chool e x p e rie n c e
o f th e p u p il.
T h is m eans t h a t
t h e s t u d e n t so t h a t h e w i l l f i t
th e sc h o o ls m ust e d u c a te in to
th e i n t r i c a t e
o f t h e d e m o c r a t i c w ay o f A m e r i c a n l i f e . w ay i s
T he d e m o c r a t i c
c o m p lic a te d even th o u g h sim p le an d i t
o f th e s c h o o ls to t r a i n
p a tte rn
i s th e d u ty
le a d e r s and f o llo w e r s .
T he
f o l l o w e r s m u st a b i d e b y t h e la w s w h ich t h e y c r e a t e , f o l l o w t h e l e a d e r s whom t h e y e l e c t .
and
A g a in t o q u o te
J a m e s L. M u r s e l l : T he s t r e n g t h a n d e f f e c t o f l e a d e r s h i p i s c o n d itio n e d by t h e i n t e l l i g e n c e , i n s i g h t , and sy m p a th y o f f o l l o w e r s h i p . A h u m a n iz e d m u sic w ill p ro v id e , above e v e ry th in g e ls e , a g r e a t a n d g r o w i n g b a n d o f f o l l o w e r s , w h o se a c t i v e s u p p o r t w i l l m ake i t p o s s i b l e f o r t h e w o r k o f t h e a r t i s t t o b e m o re s i g n i f i c a n t , m o r e a r t i s t i c a l l y v a l i d , m o re m u s i c a l l y s i n c e r e , t h a n i t c o u ld o th e rw is e b e . 3 M u rse ll b e lie v e s t h a t a l l v a li d
e d u c a tio n a l v a lu e s
a r e hum an v a l u e s a n d t h a t a n y s u b j e c t m u s t b e o r g a n i z e d t h r o u g h a n d t h r o u g h f o r t h e a c h i e v e m e n t o f hum an v a l u e s , or i t
w ill f a i l
to re a c h th e g o a l and to
He f u r t h e r s t a t e s :
3 Ib id . . p.
18
4 Ib id . . p. 4.
ju stify
its e lf.^
7 Any p a r t i c u l a r s t u d y i s v a l u a b l e o n l y i n so f a r a s a m a s t e r y o f i t e n a b l e s o n e t o l i v e m o re r i c h l y and c o m p le te ly ; to be a s tr o n g e r , b e t t e r , h a p p ie r , m o r e c o o p e r a t i v e p e r s o n ; t o s u c c e e d m o re f u l l y i n t h e g r e a t b u s i n e s s o f b e i n g hum an. If i t fa ils i n t h i s , i t f a i l s c o m p le te ly , and sh o u ld be r e j e c t e d a s a d e tr im e n t to t r u e e d u c a tio n .5 S o c ia l o r g ro u p v a l u e s . th a t
th e s u b j e c t o f m u sic i s
We h a v e come t o b e l i e v e
v a lu a b le as a s o c ia l and
m o ral f a c t o r a id in g o u r g e n e ra l e d u c a tio n . d oubt in
T h ere i s no
t h e m in d s o f a n y o n e t h a t m u s i c i s a s o c i a l f o r c e .
“A w e l l - k n o w n o r c h e s t r a th e l i t t l e
fe llo w
le a d e r r e c e n tly o b serv ed !
o f f th e
stre e t,
fTake
t e a c h h im t o b lo w a
h o r n — an d h e w i l l n e v e r b lo w a s a f e 1. M
T he s c h o o l s h a v e
t a k e n o v e r t h e r e s p o n s i b i l i t y o f t h e home a n d t h e c h i l d is
a lm o st c o m p le te ly e d u c a te d in th e s c h o o l.
m u sic h a s i t s
p la c e in
e v e ry c la ssro o m .
T h erefo re,
The t e a c h e r s a r e
n o t m e r e ly m u s i c i a n s , b u t m u sic e d u c a t o r s ,
f o r th e y m ust
ta k e t h e i r p la c e s b e s id e th e g e n e ra l e d u c a to rs and t o g e t h e r th e y m ust te a c h th e c h i l d in to h is n ic h e in
so t h a t h e w i l l f i t
t h e m odern w o r l d .
E v e r y t e a c h e r knows t h a t one o f t h e b e s t m eth o d s to
stra ig h te n
ro o m i s
to
out a d if f ic u lt
sin g a song.
situ a tio n
I f a c h ild is
in a te n se c la s s p ersu ad ed to
jo in
5 I b id . . p . 4. 6 A r t h u r D. T h o m a s , “ E d u c a t i o n a l M u s ic M a g a z i n e , ” M a rc h -A p ril, 1942, p . 30.
8 w ith th e c la s s
in
s i n g i n g a s o n g , h e w i l l soon f o r g e t t h e
e p is o d e w h ic h h a d so u p s e t h im .
I f he d o es n o t c o m p le te
l y f o r g e t h i s g r i e v a n c e , h e a t l e a s t m ay b e a b l e t o re a so n c a lm ly and c l e a r l y to f in d th e c a u se . In te rn a tio n a l d if f ic u ltie s
a r e c a u s e d m an y t i m e s
b y a l a c k o f u n d e r s t a n d i n g b e tw e e n t h e r e p r e s e n t a t i v e s o f v a rio u s c o u n trie s .
T h is i s
a lan g u a g e d e f i c ie n c y . d e fic ie n c y . la n g u a g e ."
e s s e n t i a l l y th e r e s u l t o f
W ith m u sic t h e r e
i s no such
M u s ic m i g h t b e t e r m e d t h e " u n i v e r s a l T he w o rd s e n h a n c e t h e b e a u t y o f J u a n i t a ,
La P a l o m a , O ld B l a c k J o e , a n d Home on t h e R a n g e , b u t t h e y a r e n o t n e c e s s a r y in o r d e r to d e r i v e e n jo y m e n t fro m th e hum m ing o f t h e t u n e . has i t s band to s t i r
E v e ry u n i t o f t h e arm y an d n a v y t h e men t o f a c e b a t t l e b r a v e l y ,
yet
th e m ost s t e r n and to u g h e n e d g e n e r a l w i l l b e s o f te n e d w hen h e a r i n g t h e II.
sin g in g o f S il e n t N ig h t.
GENERAL AIMS OF MUSIC EDUCATION
The m u s ic e d u c a t o r h a s t a k e n h i s p l a c e i n t h e fo re g ro u n d o f th e e d u c a tio n a l sy ste m .
He d o e s n o t h a v e
a s h i s a i m t o m ake e v e r y c h i l d a c o n c e r t a r t i s t . h o p e , how ever,
to e s t a b l i s h w ith in
c h ild enough o f th e to c o n tin u e
sk ills
th e
so t h a t i f
He d o e s
e x p e rie n c e o f th e th e
c h i l d w ish e s
th e s tu d y o f m u sic , he s h a ll be a b le to
c a r r y on f r o m h i s
school le a rn in g .
9 W a lte r P . D e x te r, S t a t e S u p e rin te n d e n t o f P u b lic In stru c tio n
fo r th e S ta te
o f C a lifo rn ia ,
sta te s;
wThe
p u rp o s e o f m u sic e d u c a ti o n i s n o t p r i m a r i l y to d i s c o v e r m u s ic a l g e n iu s , b u t to m i n i s t e r to an i n t e l l e c t u a l and an e m o tio n a l n e ed ,
.
.
The d u t i e s a n d p u r p o s e s o f t h e m u s ic e d u c a t o r a r e t o t e a c h m u sic i n
s u c h a w ay t h a t t h e c h i l d , n o t o n l y t h e
m ost t a l e n t e d o f th e
school b u t e v e ry c h ild ,
to u n d e rs ta n d m u sic , to and e n jo y l i f e .
w ill le a rn
e n jo y m u sic an d t h u s t o a p p r e c i a t e
I f a c h ild
is
f a m i li a r w ith m u sic , he
w i l l b e a b l e t o c o m p l e t e l y e n j o y a n d b e m ov ed b y e v e r y n o te ,
w h e th e r i t
be fro m t h e b e l l o f a tru m p e t o r a
th ro a t of a b ird . T he M u s ic B u l l e t i n g iv e s th e fo llo w in g a s
o f th e A riz o n a C o u rse o f S tu d y
s p e c i f i c a im s o f e l e m e n t a r y m u sic
e d u c a tio n ; I
P r i m a r y Aim A
II
A p p re c ia tio n s th e lo v e and i n t e l l i g e n t u n d e r s t a n d i n g o f m u sic
S e c o n d a r y A im s *4
B C
7
C itiz e n s h ip ; s o c ia l r e la tio n s h ip s W o rth y u s e o f l e i s u r e tim e
C a l i f o r n i a S t a t e D e p a r t m e n t o f E d u c a t i o n , M u s ic E d u c a tio n in th e P u b lic S c h o o ls . F o rew o rd .
10 D E
H e a lth s p h y s ic a l w e ll- b e in g P re -v o e a tio n a l and v o c a tio n a l t r a i n i n g .&
T h e se a im s a r e , a p p lic a b le
a im ,
th e o p in io n o f th e
w rite r, as
to th e se c o n d a ry sc h o o l a s th e y a re
e le m e n ta r y sc h o o l* first
in
S u re ly a p p re c ia tio n
f o r no p ro g re s s i s
to
th e
o f m u sic i s
th e
p o s s i b l e u n l e s s an u n d e r
s ta n d in g and lo v e i s d e v e lo p e d . In
th is
sam e b u l l e t i n ' t h e g e n e r a l a i m s a r e g i v e n :
T he a i m o f s c h o o l m u s i c s h o u l d b e t o g i v e c h i l d r e n a r e l i s h f o r good m u sic t h a t i s n o t s a t i s f i e d when c l a s s e s a n d s c h o o l d a y s a r e o v e r , b u t w h ic h p ro m p ts t h e c o n t i n u e d p a r t i c i p a t i o n a n d c o n t a c t w ith t h e a r t a s so m e th in g i n d i s p e n s a b l e t o t h e f u l l e n jo y m e n t o f l i f e . M u r s e l l a n d G le n i n t h e i r b o o k , The P s y c h o lo g y o f S c h o o l M u s ic T e a c h i n g , m ake t h e f o l l o w i n g s t a t e m e n t : f To t e a c h A m e r i c a t h e a c h i e v e m e n t o f l o v i n g m u sic w i s e l y i s t h e u l t i m a t e a im o f school m u s ic .1 G e h r k e n s i n h i s b o o k , S c h o o l M u s ic T e a c h i n g , s a y s ; f The f u n c t i o n o f s c h o o l m u s ic i s t o c a u s e th e r a n k an d f i l e o f o u r b o y s and g i r l s to m ain t a i n , i f p o s s i b l e t o i n c r e a s e t h e i n t e r e s t w h ic h t h e y f e l t when t h e y f i r s t h e a r d a n d t o o k p a r t i n m u s i c ; a n d t o g i v e th e m s u i t a b l e o p p o r t u n i t i e s f o r g r o w i n g c o n s t a n t l y m o re a p p r e c i a t i v e a n d m o re i n t e l l i g e n t when l i s t e n i n g t o g o o d r e n d i t i o n s o f s ta n d a r d m u sic . I t s h o u l d a l s o f i t th e m t o t a k e s u c h p a r t i n t h e r e n d i t i o n o f good m u sic a s t h e i r v a r i e d c a p a c i t i e s a n d i n c l i n a t i o n s m ay m ake p o s s i b l e a n d d e s i r a b l e . 1®
8 S t a t e D e p artm en t o f E d u c a tio n , C ou rse o f S tu d y f o r E le m e n ta r y S c h o o ls o f A r i z o n a . B u l l e t i n No. 2 , M u sic , (P h o e n ix , A riz o n a ; S t a t e D e p a rtm e n t o f E d u c a tio n , 1 9 3 3 ), p* 7 • 9 Ib id . . p. 7.
11 III.
AIMS OP MUSIC PUBLIC PRODUCTION
The p u r p o s e o f m u s i c e d u c a t i o n a s h a s b e e n p o i n t e d o u t i s n o t to g iv e
th e c h i l d a s u p e r f i c i a l e n jo y m e n t, b u t
t o g i v e h im an a p p r e c i a t i o n
o f m u sic w h ic h w i l l a s s i s t i n
h i s g e n e ra l e d u c a tio n and c u lt u r e . life
T he c h i l d m u s t e n jo y -
and m u sic and l i v e h a p p i l y a s h e l e a r n s .
th ro u g h t h i s
It
im m e d ia te e n jo y m e n t w h ile l e a r n i n g ,
is t h a t th e
w r i t e r b e l i e v e s m u s i c e d u c a t i o n m ay b e e n h a n c e d a n d a i d e d by th e use o f p u b lic M u rse ll c i t e s p ro je c t is d e x te rity .
p ro d u c tio n s. t h a t t h e g r e a t a im o f t h e p e r f o r m a n c e
c e r t a i n l y n o t th e d ev elo p m e n t o f t e c h n i c a l R a t h e r t h e a im o f t h e p e r f o r m a n c e p r o j e c t i n
m u sic e d u c a tio n i s
to c r e a te in
a b i l i t y and th e d e s i r e life .
th e
le a r n e r b o th th e
to e x p re ss h im s e lf m u s ic a lly in
O u r p e r f o r m a n c e s m u s t b e m ade g e n u i n e a n d
e d u c a tio n a lly e f f e c t i v e by r e l a t i n g by s e ttin g
th e m w i t h l i f e
th e m u p a s n a t u r a l , m u s i c a l ,
The w r i t e r b e l i e v e s
th a t i f
life
and
a c tiv itie s .^
t h e m u sic e d u c a t o r h a s
some o f t h e i d e a l s a n d a i m s m e n t i o n e d a s h i s
sta n d a rd f o r
m u s i c e d u c a t i o n h e m ay f i n d
th e use o f p u b lic p ro d u c tio n s
a g r e a t h e l p t o h im i n t h e
t e a c h in g o f m u sic In t h e p u b l i c
sc h o o ls.
M u rse ll,
o p . c i t . . p . 95.
12 Dykema s a y s t h a t t h e p u r p o s e o f a p u b l i c p e r f o r m ance i s
th re e -fo ld :
so c ia l,
p r o f e s s io n a l and f i n a n c i a l . ^
S i m i l a r l y G eh rk en s s a y s t h a t t h e p u b lic m u s ic a l p e rfo rm ance by g rad e
c h ild re n has fo u r g e n eral o b je c tiv e s :
1. To m o tiv a te h ig h g ra d e stu d y d u rin g d a i l y m u sic p e r i o d .
th e
2. To i n t e r e s t p a r e n t s a n d o t h e r c i t i z e n s i n t h e m u sic d e p a r tm e n t. 3. To g i v e s o c i a l t r a i n i n g a c tiv ity .
in g r o u p - p r o je c t
4. To r a i s e m o n e y f o r t h e p u r c h a s e o f m u s i c a l eq u ip m en t. T hese fo u r o b je c tiv e s a re fro m th e s t a n d p o i n t o f sc h o o l.
T hey
are
sy s te m ,
th e h ig h sch o o l and ju n io r h ig h
j u s t a s v a l i d when c o n s i d e r e d f r o m t h e
s ta n d p o in t o f a la rg e v ise d
j u s t a s v a l i d w hen c o n s i d e r e d
s u p e r v i s e d sy ste m ,
a sm a ll s u p e r
o r a r u r a l sc h o o l*
S o c ia l o b je c tiv e . and C u n d iff c la s s
U n d e r s o c i a l o b j e c t i v e s Dykema
t h e d e v e l o p i n g o f c o m m u n ity s p i r i t
th ro u g h p a r t i c i p a t i o n
in h i s t o r i c a l ,
re lig io u s ,
and
f a n c i f u l p e rfo rm an c e s and d e v e lo p in g g ro u p i n t e r e s t
11 P e t e r W. Dykema a n d H a n n a h M. C u n d i f f , New S c h o o l M u s ic H a n d b o o k . N o t e 61 ( B o s t o n ; C. C. B i r c h a r d a n d C om pany, 1 9 3 9 ) , p . 2 1 6 . ^ K a r l W i l s o n G e h r k e n s , M u s ic i n t h e G r a d e S c h o o l s ( B o s t o n s C. C. B i r c h a r d a n d Com pany, 1 9 3 8 ) , p .
190.
am ong t h o s e p e r f o r m i n g a n d am ong t h e a u d i e n c e . P ro fe ss io n a l o b je c tiv e . th e y c l a s s i f y
As a p r o f e s s i o n a l p u r p o s e
th e d e v e lo p in g o f a b i l i t i e s ,
m u sic a l and c r e a t i v e ,
and c r e a tin g
h istrio n ic ,
in te r e s t by s e ttin g
u p a m o t i v e . 14 F in a n c ia l o b je c tiv e . say t h a t p u b lic
As a f i n a n c i a l p u r p o s e t h e y
p r o d u c tio n s p ro v id e i n t e r e s t in w o rth y
e n te r p r is e s and p ro v id e fu n d s f o r c a r r y in g The f i n a n c i a l a im s o f p u b l i c
th e m o u t . 1^
p ro d u c tio n s have
p u r p o s e ly been a v o id e d by th e w r i t e r u n t i l th e l a s t . w r i t e r d o es n o t b e lie v e t h a t th e f i n a n c i a l p u rp o se be s tr e s s e d as such.
The
sh o u ld
The f u n d a m e n ta l a im o f t h e e d u c a
t i o n a l s y s te m o f th e m odern s c h o o l i s
to
e d u c a te th e
c h i l d , n o t t o r a i s e m oney t o d r e s s t h e f o o t b a l l te a m , c o n trib u te
t o t h e m i l k - f u n d , n o r e v e n t o b u y a new h o r n
o r o t h e r m u s ic a l e q u ip m e n t. if
th e c h ild can le a r n ,
If
and i f
th e c h ild can be e d u c a te d , th e re
i s m e n ta l g ro w th
s t i m u l a t e d b y t h e p e rfo rm a n c e w h ic h i s m o n ey f o r a w o r t h y c a u s e , p r o d u c e t h e sh o w .
it
H ow ever,
is
g iv e n
to r a i s e
w e ll t o t a k e tim e t o
th e c h i l d m ust b e th e f i r s t
1J^ D y k e m a - C u n d i f f , £ £ .
c i t . . p. 216.
14 c o n s i d e r a t i o n , a n d t h e show p r e s e n t e d m u s t b e o f a n a t u r e w h ich w i l l e n a b le t h e c h i l d t o l e a r n T h erefo re,
t h e f i n a n c i a l a im s h o u ld b e t h e
c o n sid e re d
in t h e p u r p o s e an d a im s
To b e s u r e ,
s o m e t h i n g new* l a s t and l e a s t
o f p u b lic p ro d u c tio n s*
t h e r e a r e m any t y p e s o f p u b l i c p e r
fo rm a n c e w here a d m is s io n m ust b e c h a r g e d i n o r d e r t o p ay th e ex p en ses, b u t a g a in
t h e r e a r e m an y t y p e s w h i c h h a v e
no c o s t o f p r o d u c t i o n an d w h ic h w i l l b e n e f i t t h e c o m m u n i ty , a n d t h e
th e c h il d ,
sc h o o l w ith o u t an a d m is s io n charge*
CHAPTER III PUBLIC PRODUCTION AS AN AID TO MUSIC EDUCATION I. As w as s t a t e d
INTRODUCTION
in th e p re v io u s c h a p te r,
in th is
s t u d y t h e p r im a r y a im o f m u sic e d u c a ti o n i n t h e p u b l i c sc h o o ls i s
c o n s id e r e d to b e m u sic a p p r e c i a t i o n .
th i s a p p re c ia tio n c itiz e n sh ip ,
th e
s e c o n d a r y a im s a r e
T hrough
th e te a c h in g o f
s o c ia l and m o ral r e l a t i o n s h i p s ,
and p r e -
v o c a tio n a l and v o c a tio n a l t r a i n i n g . S ta n d a rd s o f m u sic . stu d y , a ls o , m u sic u se d i n
F o r th e p u rp o se o f t h i s
i t h a s b een assum ed t h a t th e
s e le c tio n
of
th e p erfo rm an ces w il l be o f h ig h s ta n d a rd .
T h i s d o e s n o t n e c e s s a r i l y m ean t h a t t h e
s e l e c t i o n s m ust
b e w orks o f P a l e s t r i n a , B a ch , B e e th o v e n , an d B rahm s. T h e r e a r e m an y f i n e c o m p o s i t i o n s w r i t t e n b y m odern c o m p o s e r s . sh o u ld g iv e th e
H ow ever,
it
e v e ry d a y , and
d o e s m ean t h a t we
s t u d e n t s a k n o w le d g e o f t h e b e a u t i e s o f
t h e o l d m a s t e r s a s w e l l a s a k n o w l e d g e o f t h e new w o r k s . A l l o f t h e c o m p o s it i o n s b y t h e m a s te r s w ere n o t g r e a t . S im ila rly , l!h i t
t h e f a c t t h a t a m odern c o m p o s it i o n
t u n e o f t h e m o n t h , d o e s n o t m ake i t
is
g re a t.
th e Poor
m u s i c i s p o o r m u s i c , n o m a t t e r who w r o t e i t n o r f r o m
16 w hence i t
c a m e .1
m u sic l i v e s i t be g r e a t, X I.
G ood m u s i c i s
fo rev er.
t e s te d by tim e .
G reat
The H it- T u n e - o f - t h e - W e e k , u n l e s s
d i e s a t th e end o f t h e w eek.
PUBLIC PRODUCTION AS AN AID TO MUSIC APPRECIATION In th is
s t u d y m u sic a p p r e c i a t i o n
i s u n d e rsto o d to
m ean wt h e l o v e a n d i n t e l l i g e n t u n d e r s t a n d i n g o f m u s i c . 11 T h e f i r s t h a l f o f t h e t w e n t i e t h c e n t u r y saw t h e rise
and d e v e lo p m e n t o f t h e r a d i o .
That in v e n tio n ,
h a s d o n e a g r e a t d e a l t o f u r t h e r m u sic e d u c a ti o n . o n ly h a s i t b een o f v a lu e but i t
h as h e lp e d to
a lo n e , Not
to th e t e a c h e r in t h e c la s s ro o m ,
e d u c a te th e a d u l t w o rld .
I t has
b r o u g h t a sym phony o r c h e s t r a i n t o hom es i n f a r - a w a y c o r n e r s o f th e w o rld .
It
has ta u g h t th e to n e s o f v a rio u s
i n s t r u m e n t s t o c h i l d r e n who o t h e r w i s e w o u ld n e v e r know th e m .
I t h a s m ad e t h e m u s i c o f t h e m a s t e r s ,
young, f a m i l i a r to th o u sa n d s o f p e o p le . m u sic b u t f a m i l i a r m u sic?
o ld and
W hat i s
p o p u la r
In o rd e r to te a c h a p p re c ia tio n
o f m u s i c , t h e m u s i c m u s t f i r s t b e m ad e f a m i l i a r . A p p r e c i a t i o n m ay b e d e v e l o p e d i n v a r i o u s w a y s , b u t p e rh a p s th e m ost e f f e c t i v e a c t i v i t i e s
are lis te n in g
good m u sic , p e rfo rm in g m u sic , and c r e a t i n g m u sic .
to
-
For
1 K a r l W i l s o n G e h r k e n s , M u s ic i n t h e G r a d e S c h o o l s ( B o s t o n : C. C. B i r c h a r d a n d C om pany, T § 3 8 ) , p . 1 6 5 .
17 each of th e s e a p u b lic L is te n in g
p e rfo rm a n c e i s an ad d ed s t i m u l u s .
to m u s ic .
T he s u g g e s t i o n o f a c o n n e c t i o n
b e tw e e n a p u b l i c p e rfo rm a n c e and a l i s t e n i n g a p t to s t a r t l e
th e r e a d e r u n t i l i t
can b e no m u sic f o r l i s t e n i n g u n t i l
le sso n
is reaso n ed th a t
is th e re
some p e r f o r m a n c e h a s
been p e r f e c te d . te a t b e tte r o rc h e stra ,
stim u lu s i s
o r h ig h sc h o o l c h o ir,
m a te ria l fo r a lis te n in g sc h o o l?
th e re fo r a se n io r
If
th a n to
p ro v id e th e
le s s o n f o r th e r e s t o f th e
th e o r g a n i z a t i o n s a r e a d v an c ed enough to
p r e s e n t th e m a te r ia l a d e q u a te ly ,
th e w r ite r b e lie v e s
t h e i r p e r f o r m a n c e w i l l b e m o re v a l u a b l e th e p la y in g o f th e
to
th e g ro u p th an
sam e c o m p o s i t i o n o n a p h o n o g r a p h u s i n g
a p ro fe s s io n a l re c o rd in g .
Not o n ly d o es th e l i s t e n e r
g a i n I n t h e k n o w le d g e o f t h e m u s ic , b u t t h e p e r f o r m e r g a in s in th e a b i l i t y
to m a s te r th e in s tr u m e n t, and b o th
th e l i s t e n e r and p e rfo rm e r g a in m e n t.
To b e s u r e ,
in th e p r id e o f a c h ie v e
a s t a n d a r d sy m p h o n y s h o u l d n o t b e
a t t e m p t e d b y a t e n - p i e c e o r c h e s t r a , b u t m any h i g h s c h o o l s , ju n io r h ig h s c h o o ls ,
and even e le m e n ta ry s c h o o ls h a v e
o r g a n i z a t i o n s w h ic h a r e w e l l c a p a b le o f p r e s e n t i n g a t l e a s t one l i s t e n i n g If
lesso n
f o r th e r e s t o f t h e i r s c h o o l.
th e o r g a n iz a tio n s o f th e sc h o o l a re n o t y e t
w e ll enough d e v e lo p e d to p r o p e r ly p r e s e n t th e m a te r i a l,
it
18 w i l l b e an a d d e d s t i m u l u s to t h e o r g a n i z a t i o n w ith th e c la s s
in lis te n in g
p r o je c t a p u b lic
E i t h e r o n e c l a s s m ay p r e p a r e
a n o th e r c la s s ,
jo in
to a p r o f e s s i o n a l r e c o r d in g .
C l a s s p a r t i c i p a t i o n m ay m ake t h i s p erfo rm an ce.
to
th e le sso n
fo r
o r a g r o u p o f c h i l d r e n m ay p r e p a r e t h e
lesso n
f o r th e r e s t o f th e c la s s .
p u b lic
p erfo rm an ce,
T h is c o n s t i t u t e s a
j u s t a s s u r e ly a s th e a c t u a l s in g in g
o r p la y in g o f th e c o m p o s itio n d o e s . To q u o t e J a m e s L . M u r s e l l ; The p e rf o r m a n c e o f m u s ic i s n o r m a l ly a s o c i a l a c t. I t i s an u t t e r a n c e — a s a y in g o f so m e th in g t o som ebody. T he l i s t e n e r i s a n e s s e n t i a l p a r t o f th e c o m p le te p i c t u r e . The l i s t e n i n g t o m u s ic n o rm a lly i s a s o c i a l a c t . The m o st c h a r a c t e r i s t i c ty p e o f m u sic p e rfo rm a n c e i s t h e c o o p e r a t i v e p e rfo rm a n c e .^ P erfo rm an ce o f m u sic .
M u s ic a l p e rfo rm a n c e i s
p e rh a p s th e m ost f r u i t f u l o f th e a c t i v i t i e s an u n d e rs ta n d in g o f th e m u s ic . p erfo rm ed b y a c h il d , a p p re c ia te s
it.
f o r d e v e lo p in g
When m u s i c h a s b e e n
h e t h o r o u g h l y kno w s i t ,
P u b lic p ro d u c tio n s,
and th u s
of co u rse, a re a
g r e a t a id in m o tiv a tin g th e p erfo rm an ce p e r f e c t i o n c o m p o s itio n .
W h ile p e r f e c t i o n
t h e m u sic e d u c a t o r ,
of a
i s n o t t h e w h o le a im o f
t h e m o re p e r f e c t t h e p h r a s i n g ,
th e
te c h n iq u e o f p e rfo rm a n c e , and d e lic a c y o f s h a d in g ,
th e
tio n
^ J a m e s L . M u r s e l l , Human V a l u e s i n M u s ic E d u c a (New Y o r k ; S i l v e r B u r d e t t a n d C om pany, 1 9 3 4 ) , p . 6 5 .
19 m ore p l e a s i n g t h e r e s u l t a n d t h e g r e a t e r t h e u n d e r s t a n d i n g and a p p r e c i a ti o n . A p p reciatio n ,
w hether i t
be f o r a r t ,
m usic,
or
s c u lp tu re cannot be le a rn e d by a tte n d in g a c la s s . be d ev elo p ed thro u g h i n t e r e s t c ip atio n
in
in th e
some f o r m o f t h e a r t .
contends t h a t ,
trA p a r t i c i p a t i o n
s u b j e c t and p a r t i
T hom as E . B r i g g s
in a chorus,
o rch estra,
o r cham ber m u sic g r o u p i s w o rth more t h a n a l l A p p r e c ia tio n 1 co urses in the w o r l d . B y th e p r i n te d page l i v e s . ch aracters
N otes a r e
ju st
th e m usic
perform ance
so many p r i n t e d
on a p a g e , b u t b y p e r f o r m a n c e t h o s e n o t e s
become m u s i c . ures e x ist
I t must
M ursell b e lie v e s
th at
e d u c a tio n a l proced
o n l y f o r one p u rp o s e and t h a t t o b r i n g
m a tte r to l i f e .
su b ject
E d u c a t o r s m u st s e e k ways and m eans o f
r e v e a l i n g p r o g r e s s i v e l y t o t h e l e a r n e r t h e human v a l u e s o f what he l e a r n s . is
tru e in th e
Vi/hat i s t r u e o f e d u c a t i o n i n g e n e r a l
sp ecial
C reatin g m u sic.
su b ject o f
C r e a tiv e m usic i s
approach to a p p re c ia tio n . l o v e s t o make t h i n g s ,
m u sic .^
a fascin atin g
G ehrkens co n te n d s t h a t everyone
and e s p e c i a l l y b e a u t i f u l
th in g s.^
s Thomas E . B r i g g s , 11A Layman L i s t e n s t o M u s i c i a n s , * Y e a rb o o k M usic S u p e r v i s o r s N a t i o n a l C o n f e r e n c e , 1933, pp. 36-41. ^ M u rsell,
op. c i t . ,
® G ehrkens, op.
p.
c i t . t p.
126. 98.
B e a t r i c e Perham s t a t e s ? We d e v e l o p c h a r a c t e r a n d b e c o m e p o l i t e a s we m eet s i t u a t i o n s w hich c a l l f o r t h a t d e v e lo p m e n t. S i m i l a r l y we b e c o m e a p p r e c i a t i v e o f f i n e m u s i c through our a c tiv e p a r t i c i p a ti o n in i t . 6 A c r e a t i v e p r o j e c t i n w hich t h e c h i l d r e n d e v e lo p a n ew m e l o d y , a n o r i g i n a l r h y t h m i c i n t e r p r e t a t i o n , d ram a tic e x p re ssio n o f a f a m ilia r c o m p o sitio n , n o t only to t h e i r r e p e r t o ir e also
to t h e i r a p p re c ia tio n
sh o u ld be r e l a t e d
to
or a
c o n trib u tes
fo r p u b lic p ro d u ctio n ,
o f m usic.
but
C reativ e p ro je c ts
s o c i a l o c c a s io n s and th en a d e s i r e
w i l l be a ro u s e d to e x p r e s s ones s e l f m u s i c a l l y to o thers.*? A s t u d y o f a c o u n t r y o r an h i s t o r i c a l e v e n t w i l l o f t e n b r i n g a b o u t an i n t e r e s t i n g o f m usic.
creativ e
a c t i v i t y in th e f i e l d
T h is w i l l b e d i s c u s s e d m ore f u l l y i n
chapter
six . III.
PUBLIC PRODUCTION AS A MOTIVATION TO MUSIC EDUCATION
P e rh a p s t h e g r e a t e s t s i n g l e a i d g iv e n t o m usic ed u catio n by p u b lic force
in stim u la tin g
m usical ex p erien ce.
p ro d u ctio n the d e s ir e
Is i t s
use as a m o tiv atin g
to i n c r e a s e
th e scope o f
P u b lic perform ance m o tiv a te s th e
6 B e a t r i c e P e r h a m , M u s i c i n t h e New S c h o o l ( C h i c a g o N e i l A . K j o r M u s i c C om p an y , 1 9 4 1 7 7 P* 1 2 . R evised e d itio n *? M u r s e l l ,
op. c i t . . p.
143.
21 c h ild ,
t h e com m unity, t h e s c h o o l , a n d l a s t b u t n o t l e a s t ,
th e teacher*
That m o tiv atio n ,
i n t e r e s t m an ifested by a l l
of course,
c om e s f r o m t h e
co n n ected w ith th e perform ance
p ro jec t. To t h e c h i l d *
In t h i n k i n g o f t h e m o t i v a ti n g power
o f m usie to th e c h i l d ,
th e f i r s t
in te re st.
M ursell i n s i s t s
in te re ste d
i s n o t b ein g
a v alu ab le
ex p erien ce in th e
an a c t i v e r a t h e r
thought i s
t h a t a c h i l d who i s n o t b e i n g
ed u cated .
I f a c h ild i s
than a p a s s iv e e x p e r ie n c e ,
tatio n
trad itio n
to have
le a r n in g p ro c e s s i t m ust be
an e x p e r i e n c e t h r o u g h w h ic h h e comes i n t o w ith th e g r e a t
th at of
and m ust be
liv in g
co n tact
o f hum an c u l t u r e a s a n i n t e r p r e
o f human l i f e . ® In terest
th e c h ild
is
in a p u b lic
easily
p r o d u c t i o n on t h e p a r t o f
stim u lated .
Mg r o w n - u p w a s s o o n a s
th e y can w alk and t a l k .
Md r e s s - u p ?t w i t h a n y o l d s h o e s , are a v a ila b le .
C h ild re n b eg in
dresses,
on t h i s
They p la y
o r h a t s w hich
A p u b lic p ro d u ctio n in the
m erely c a p i t a l i z i n g
to p lay
school i s
love o f th e c h ild
to
d ram atize. To t h e t e a c h e r .
Through t h i s n a t u r a l d e s i r e and
I n t e r e s t i n p e r f o r m a n c e on t h e p a r t o f t h e c h i l d a t e a c h e r
8 Ib id . . p.
3 00
22
may p r e s e n t v a l u a b l e f a c t s a n d s k i l l s
a n d a t t h e same
tim e g i v e th e c h i l d an en jo y m en t o f t h e m a t e r i a l .
Thus a
p u b l i c p r o d u c tio n can b e a m o t i v a t i n g power t o th e
teach er,
fo r th e p ro g re s s iv e
teach er i s
e v e r on t h e a l e r t t o f i n d
new a n d i n t e r e s t i n g m e t h o d s o f t e a c h i n g . F o r exam ple;
The w r i t e r once w i t n e s s e d a p e rf o r m
a n c e w h i c h was t h e c u l m i n a t i o n o f a u n i t o f s t u d y on C hina. it
T h i s p r o d u c t i o n was a n a i d
stim u lated
C hinese m u sic, m ents.
the c h ild re n
to th e te a c h e r because
to in te r e s te d
th e C hinese s c a l e ,
le a rn in g of th e
and th e C hinese i n s t r u
T h i s t e a c h e r u s e d t h e p r o d u c t i o n a s an a i d in
teach in g
the f iv e - to n e
scale,
a n c i e n t i n s t r u m e n t s , and
th e w e ir d n o i s e s w hich c o n s t i t u t e C h in e s e m e l o d i e s . provided h e r c la s s w ith a d e f i n i t e have d e f in ite
m u ch l o n g e r t h a n t h a t .
teach er,
C h ild re n m ust
o b j e c t i v e s — o b j e c t i v e s w hich w i l l c u lm in a te
w i t h i n a m onth o r s i x w e e k s .
the re h e a rs in g
g o a l.
She
lo ses
its
The s p a n o f i n t e r e s t
A p r o j e c t w hich i s v ita lity
is not
too long in
to th e c h il d ,
the
and t h e com m unity, and t h e t e a c h e r l o s e s a
golden o p p o r tu n ity o f u sin g th a t p ro d u c tio n
as a m o tiv a
tio n . To t h e c o m m u n i t y .
The com m unity i s v i t a l l y
e s te d in th e ed u catio n of i t s
c h ild ren ,
in te r
an d know ledge o f
t h e e d u c a t i o n a l p r o c e s s i s more o f t e n b r o u g h t t o t h e i r
23
a tten tio n
th ro u g h th e m usic d e p a rtm e n t th a n A p u b lic
work o f a n y o t h e r d e p a r t m e n t . draw th e p a r e n t s those
to th e
through the
pro d u ctio n w ill
s c h o o l when p e r h a p s ,
same p a r e n t s m i g h t n o t e v e n v i s i t
o th erw ise,
the b u ild in g .
G ehrkens s t a t e s ; A f t e r a g ro u p o f c h i l d r e n h a v e p la n n e d one o r m ore s u c c e s s f u l s c h o o l c o n c e r t s t h e y w i l l i n e v i t a b l y w ish to b r i n g in t h e i r p a r e n t s , and t h i s i s e x c e l l e n t , f o r we e d u c a t o r s w a n t p a r e n t s t o se e f o r th e m s e lv e s what t h e s c h o o l i s a t t e m p t i n g t o do f o r t h e i r c h i l d r e n . 9 To t h e s c h o o l . g re a t b e n e fit to
th e s c h o o l system .
e x is t w ithout co n tin u ed th is
The p u b l i c p r o d u c t i o n i s a l s o o f The s c h o o l c a n n o t
s u p p o r t o f t h e com m unity, and
su p p o rt i s n o t given w ith o u t i n t e r e s t .
Through
s u c c e s s f u l p u b l i c p r o d u c t i o n s t h i s i n t e r e s t may b e developed and h e ig h te n e d . The p a r e n t s o f t h e c h i l d r e n are
t h e men a n d women who a r e
com m unity.
o f the
s c h o o l system
the le a d e rs o f th e
They a r e i n t e r e s t e d
in
the p ro d u c tio n s n o t
o n ly to see th e p ro g re s s o f t h e i r c h ild r e n , because i t b u tio n
recalls
t h e i r own s c h o o l d a y s .
b u t a lso In h is c o n tr i
t o F e s t i v a l s a n d P l a y s . Dykema s a y s ;
As f a r b a c k a s o u r r e c o r d s g o we f i n d m u s i c u t i l i z e d a t g a t h e r i n g s o f p e o p l e when j o y , p r a i s e , th a n k sg iv in g , sorrow , s u p p lic a tio n , o r any g e n e ra l
9 G ehrkens, op.
c i t . . p.
193.
24 f e e l i n g was t o b e e x p r e s s e d . By a l l p e o p le , u n t u t o r e d o r c u l t u r e d , m usic h a s e v e r been c h e r i s h e d f o r i t s r a r e em otional q u a l i t i e s . B o th m eans and end, i t s e r v e s as a s tim u la n t to deep f e e l i n g — and h e n c e to a c t i o n — and a s an e x p r e s s i o n o f th e aroused b ein g . . . . O l d a s man h i m s e l f , m u s i c h a s s h a r e d h i s l o t , now h e i g h t e n i n g , now t e m p e r i n g , h i s joys and sorrow s, h i s lo v e s and h i s h a t r e d s , h i s m em ories o f t h e p a s t , d e l i g h t s i n t h e p r e s e n t , and hopes f o r the f u t u r e . And t o d a y m a n k i n d i s seek in g f o r s t i l l g r e a t e r m a s te ry and s t i l l w ider use o f t h e m ost com panionable, th e m ost i n t i m a t e and o pen, and y e t th e most f l e e t i n g and i n e x p l i c a b le of a l l the a r t s . The s c h o o l h a s h a d t o t a k e t h e p l a c e o f m a n y a c t i v i t i e s o f t h e com m unity, an d t h u s t h e m ore o r l e s s
em pty.
life
a d u lt,
As t h e s t y l e fillin g
how ever,
w atching th e c ip atio n
s in g in g and dan cin g i f
o f m odern l i v i n g c h a n g e s ,
th a t need fo r th e c h ild re n .
The
en jo y s th e group m u sic a l a c t i v i t y by
joy th a t h is
c h ild ren o b tain
in a p u b lic pro d u ctio n
Thus t h e p u b lic
trib e s
t h e c o m m u n i t y h a s p r o v i d e d some
p l a c e w here e v ery o n e c o u ld j o i n i n
th e school i s
left
Prom t h e tim e o f t h e p r i m i t i v e
on down t h r o u g h t h e a g e s ,
h e so d e s i r e s .
o f the a d u lt i s
pro d u ctio n s
through p a r t i
sponsored by the
ten d to
sch ool.
j o i n t h e com m unity
and sc h o o l,
t h e com m unity a n d t e a c h e r ,
and t h e com m unity
and c h il d .
The u n i t y b e tw e e n t h e s e g r o u p s i s a d i r e c t
outcom e o f t h e m u s i c a l p u b l i c p e r f o r m a n c e s and th r o u g h them th e s c h o o l g a i n s t h e
support n e c e s s a ry to co n tin u e
3-0 P e t e r W. D y ke m a, ”M u s i c i n t h e F e s t i v a l , ” P e r c i v a l Chubb, F e s t i v a l s and P l a y s in S c h o o ls and E l s e w h e r e (New Y o r k ; H a r p e r a n d B r o t h e r s P u b l i s h e r s , 1 9 1 2 ) , P*
25 its
ed u cativ e p o lic ie s . IV.
PUBLIC PRODUCTION AS A FACTOR IN
SCHOOL AND COMMUNITY COOPERATION T h e m u s i c d e p a r t m e n t may g i v e v a l u a b l e a i d o th e r departm ents.
There i s
to
p e r h a p s n o o t h e r s u b j e c t so
r e a d i ly adap ted f o r I n te g r a tio n
and c o r r e l a t i o n
as m usic.
A m u s ic a l a c t i v i t y o r a m usic p r o j e c t su c h a s a p u b l ic p r o d u c t i o n may b e t h e i n s t i g a t i o n i n c l u d e many o t h e r s t u d i e s ,
o f a u n i t w hich w i l l
o r ag ain ,
th e m usic program
o r p r o d u c t i o n m ay b e t h e c u l m i n a t i o n o f a p r o j e c t . P e rh a p s th e m usic I s
the
,!f i 1 1 - i n w o r i n c i d e n t a l m u s i c
f o r th e d e b a t i n g team o r o t h e r tain in g b eg in s. it
th e au d ien ce u n t i l
school a c t i v i t y ,
e n te r
th e e v e n t o f th e evening
W h a t e v e r u s e i s made o f t h e m u s i c a l p e r f o r m a n c e ,
can be in com plete c o o p e r a tio n ,
g r a tio n w ith th e o th e r s u b je c ts in In teg ra tio n an d com m unity.
and c o r r e l a t i o n
co rre latio n
and I n t e
th e sc h o o l system . p ro jec ts
in sc h o o l
I n te g r a tio n and c o r r e la tio n have been
d i s c u s s e d a g r e a t d e a l in r e c e n t l i t e r a t u r e I n many s y s t e m s t h e o n l y i n t e g r a t i o n f a r a s t h e m usic d e p a rtm e n t i s th e a r t departm ent,
on e d u c a t i o n .
and c o r r e l a t i o n
as
concerned has been w ith
o c c a s i o n a l l y i n c l u d i n g t h e hom e
econom ics and m anual a r t s .
How ever,
s u c h p r o j e c t s m ay
26 i n c l u d e m an y d e p a r t m e n t s a n d b e o f m u t u a l b e n e f i t . is,
the p ro d u ctio n
b e an a i d i n h isto ry ,
ed u catio n ,
s t a r t e d b y t h e m u s i c d e p a r t m e n t , m ay
the te a c h in g o f a r i t h m e t ic ,
a rt,
That
manual a r t s ,
geography,
hom e e c o n o m i c s , p h y s i c a l
jo u r n a lis m , E n g lis h (p e rh a p s F re n c h and
S p a n is h ) , and p r a c t i c a l l y any o th e r d ep artm en t o f th e s c h o o l sy stem ,
e ith e r in
th e elem en tary ,
ju n io r or sen io r
h ig h school. I n t e g r a t i o n may a l s o b e w o rk ed o u t w i t h a c o m m u n ity p ro jec t.
In the l a s t decade th e r e has been a g r e a t
developm ent a lo n g th e l i n e d esig n ed to a t t r a c t
o f com m unity c e l e b r a t i o n s
to u rists.
I n m an y c a s e s t h e s e a r e
an e n la r g e m e n t o f t h e p u b l i c p r o d u c t i o n s
sta rte d
in th e
school. P hoenix, A rizona each s p rin g tio n
show s t h e c u l m i n a
o f a y ear o f a c t i v i t y by the p re s e n ta tio n
p ag ean t,
flT he M a s q u e o f t h e Y e l l o w M o o n . 11
p a r tic u la r in stan ce
o f the
In th is
t h e i d e a was t h e d rea m o f t h e a r t
d e p a rtm e n t and th e m usic d e p a r tm e n t q u i c k l y re s p o n d e d to th e p lan .
The M a s q u e i s a p r e s e n t a t i o n
of the h is to r y
o f t h e W e s t , u s i n g a s a t h e m e some h i s t o r i c a l e v e n t . E v e r y d e p a r t m e n t o f t h e h u g e Union H ig h S c h o o l an d th e p h y s i c a l e d u c a t i o n a n d m u s i c d e p a r t m e n t s o f t h e two J u n io r C o lle g es in
the c i t y
p ro d u ctio n a su c c e ssfu l one.
jo in
t o g e t h e r t o make t h i s
C horuses, bands,
o rch estras,
27 e le ctrician s, dancers,
a rtists,
dress-m akers,
and even th e R .O .T .C .
a p a r t o f t h i s huge p u b lic school a c t i v i t y , c ip a tio n ,
and th e C a v a lry u n i t s a r e
p ro d u ctio n .
T his i s
still a
c o m p le te ly done by p u p i l- t e a c h e r p a r t i
o r c h e s t r a num ber, b u t i t
p a r t o f t h e com m unity t h a t th e L io n s,
s o b e co m e a
stim u late
It
is
tru ly
and what b e t t e r i n c e n t i v e c o u ld
learn in g ?
In Pasadena, C a lif o r n ia , b y t h e Rose T o u rn a m e n t.
each y e a r i s u sh e re d in
Many o f t h e b a n d s i n
c o lle g e s and h ig h sc h o o ls o f t h i s v i c i n i t y a re by th a t p ro d u ctio n .
the
a n d t h e Woman’ s C l u b u s e t h e p r o d u c t i o n
a m ag n ificen t s p e c ta c le , th e re be to
has
t h e C h a m b e r o f C o m m e r ce ,
as a g re a t in cen tiv e fo r to u r is t tr a v e l.
tio n ,
acto rs,
from th e d e s ig n in g o f t h e costum es t o th e f i n a l
no te o f th e l a s t
R otary,
carp en ters,
th e stim u lated
W hile t h i s i s n o t a s c h o o l p r o d u c
i t becomes a p u b lic p erfo rm an ce f o r th e ban ds
en tered .
It
i s a com m unity p r o j e c t w h ic h a r o u s e s t h e
i n t e r e s t of school groups. p e rfe c t p lay in g , h isto ric
What b e t t e r s t i m u l u s f o r
th a n to be chosen t o m arch i n t h a t
parade?
Such com m unity p r o j e c t s a r e t o b e fo u n d i n o t h e r c o u n trie s as w e ll as in
the U nited S t a te s .
Q uoting
P e r c i v a l Chubbs The l i t t l e c i t y o f W arw ick, E n g la n d ,, became a h i v e o f c o - o p e r a t i v e i n d u s t r y f o r tw o y e a r s i n o rd e r to produce i t s b e a u tif u l h i s t o r i c a l p ag ean t.
28 Quebec, b y d e v e lo p in g a g en u in e f o l k s p i r i t and e n t e r p r i s e , r e p r o d u c e d a n d r e l i v e d i t s own p ic tu re s q u e p a s t and quickened i t s h i s t o r i c im a g in a tio n , i t s c r a f t o f hand, and i t s l o c a l p a trio tis m by i t s g re a t c e le b ra tio n . Oberammergau keeps i t s a r t i s t i c s e n s i b i l i t i e s and im agination, a liv e by i t s r e c u r r in g d ram atic p r e s e n ta tio n s , w hich a r e g e n u in e s u r v i v a l s o f t h e f o l k dram a o f t h e p a s t . 3-1 I n o u r own c o u n t r y t h e m u s i c d e p a r t m e n t a n d t h e i r p u b lic
p ro d u ctio n s a re in stru m e n ta l in h e lp in g
the
c o m m u n i t y t o know t h e s c h o o l .
The b an d i s d e f i n i t e l y a
p a r t o f m any a t h l e t i c
P l a y i n g f o r com m unity
affa irs as I t
ev en ts.
i s a p r i v i l e g e a s w e ll a s an o b l i g a t i o n ,
d o e s n o t become b u r d e n s o m e .1^
so l o n g
The c o m m u n ity t h a t
h a s p r i d e and i n t e r e s t In th e s c h o o l system can u s u a l l y b o a s t o f good s c h o o l s an d an e f f i c i e n t t e a c h i n g s t a f f . T h e i r c h i l d r e n a r e am ong t h o s e who a r e are
th e h a p p ie s t in t h e i r
lea rn in g .
P u p i1- 1 each er p a r t i c i p a t i o n . of a p u b lic production p a rticip a tio n a ttitu d e
is
l e a r n i n g m ore and
the a t t i t u d e
Through th e a c t i v i t y of p u p il-tea c h er
i n a c l a s s r o o m e v e n t m ay b e f o s t e r e d .
tru ly a d esirab le
g o al o f every p ro g ressiv e
one,
and one w h ich i s
teacher.
E arhart s ta te s ;
T his the
P e r c i v a l Chubb, F e s t i v a l s an d P l a y s i n S c h o o ls a n d E l s e w h e r e (New Y o r k ; H a r p e r a n d B r o t h e r s P u b l i s h i n g Co m p an y, 1 9 1 2 ) , p . ^ M a r k H. H i n d s l e y , S c h o o l B a n d 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 a n d H a w k e s , L t d . , 1 9 4 0 ) , p. 94.
29 What t h e c h i l d s e e k s i n p e r f o r m a n c e , i n t e r m s o f g e n e ra l m usical e f f e c t i s q u ite as im p o rtan t, and w i l l he q u ite as i n f l u e n t i a l in r e s u l t s , a s w i l l t h e i n t r i n s i c v a lu e o f c o m p o s itio n to w hich h e g i v e s m o r e o r l e s s b e a u t i f u l e x p r e s s i o n . 13 He a l s o
q u o te s D r. B urnay a s s a y in g ,
p resen tstiv e a rt;
a ll
M u rsell b e lie v e s
th e only
t h e o t h e r a r t s a r e r e p r e s e n t a t i v e . Ml 4
E arh art b e liev e s th a t th is b u t t h a t m usic i s
HM u s i c i s
statem en t i s
an o v e r - s t a t e m e n t ,
o f s u b j e c t i v e o r i g i n c a n n o t b e d e n ie d .- * '® th at,
M usic e d u c a t i o n m u s t e a r n e s t l y s e e k t h e h ig h e s t a r t i s t i c sta n d a rd s, f o r o n ly in th e se r e s i d e t h e human v a l u e s o f t h e a r t . . . . We m u s t s e e k , f i n d , a n d e x e m p l i f y t h e hu m an v a l u e s o f t h e m u s i c a l a r t , and so e a c h i n o u r s e v e r a l s p h e r e s , do what i n u s l i e s t o pro m o te t h e c a u s e o f m u s i c among m e n . 16 T his h ig h s ta n d a r d i s p a rtic ip a tio n .
only reached through p u p il-te a c h e r
A t e a c h e r c a n n o t ttt e a c h n a s o n g u n l e s s
th e c h ild d e s ir e s
to
^ l e a r n , 11 a n d t h e r e l a t i o n s h i p b e t w e e n
th e p u p i l and t e a c h e r m ust be a f a v o r a b l e one o r t h e does n o t le a rn . t h a t o f a show, is
in te reste d
What b e t t e r t e a c h i n g a i d i s o r p u b lic pro d u ctio n ?
th ere
ch ild
than
The c h i l d n o t o n l y
in t h e outcom e, b u t h a s enough p r i d e to
W i l l S . E a r h a r t , T he M e a n i n g a n d T e a c h i n g o f M u s i c (New Y o r k i M. W i t m a r k a n d S o n s , 1 9 3 5 ) , p . 1 1 0 . 14 I b i d . . p .
117.
I*QC » c i t . M u rsell,
oj3. c i t . ,
p.
12.
see
30 to
it
th a t th e r e s u lt
th e teach in g
on t h e p a r t o f t h e t e a c h e r i s
t h e c h i l d h a s been
stim u la te d to le a rn .
th e p a rt of a c h ild i s v alu a b le
i s a s a tis f y in g one.
T herefore, a success fo r
T h e l e a r n i n g on
a su ccess f o r he has a c q u ire d
in fo rm a tio n and a d e s i r e f o r f u r t h e r p a r t i c i p a
tio n . V.
EFFECT OF S I Z E OF SCHOOL ON PUBLIC PRODUCTION L arge c i t y s y s te m , sm a ll c i t y
sy stem , r u r a l s c h o o l.
O fte n th e s i z e o f a s c h o o l system i s
used as an ex cu se
f o r g i v i n g o r n o t g i v i n g a p u b l i c p r o d u c t i o n o f some ty p e.
The m a i n o b j e c t i v e s a n d r e s u l t s a r e i d e n t i c a l
w h e th e r th e system be a l a r g e c i t y
s y s t e m o f m an y s c h o o l s ,
a s m a l l e r s y s te m o f one e l e m e n t a r y and one h i g h s c h o o l , o r a r u r a l one o r tw o - t e a c h e r s c h o o l. The p u r p o s e o f m u s ic e d u c a t i o n i s c itize n sh ip ,
s o c ia l and m oral r e l a t i o n s h i p s ,
v o c a t i o n a l and v o c a t io n a l t r a i n i n g o f m usic.
the
teach in g of and p re -
th ro u g h th e te a c h in g
T h is can be a id e d by th e perform ance o f a
p u b lic p ro d u ctio n . The o n l y d i f f e r e n c e larg e,
sm all,
o rg an izatio n s.
p ro d u ctio n
o r r u r a l s c h o o l w ould be t h e s i z e It
symphony o r c h e s t r a be p o s s ib le
in p u b lic
w ould be d i f f i c u l t in a sm all r u r a l
to h a v e an o r c h e s t r a ,
in th e of
to have a com plete
sch o o l, b u t i t
w ould
w hether i t be f o u r o r
31 fiv e p ieces.
I t m ight be d i f f i c u l t
to have a w e ll-
b a la n c e d a c a p p e lla c h o ir in a sm all sc h o o l, w ould b e p o s s i b l e be d i f f i c u l t p o ssib le
to have a ch o ru s.
It
to have a la r g e o p e r e t ta ,
to have an i n t e r e s t i n g
but i t
w ould, but i t
co n cert.
perhaps, w o u ld be
CHAPTER IV THE CASE AGAINST PUBLIC PRODUCTIONS A s t u d y o f t h e p u b l i c p r o d u c t i o n s o f t h e m usic d e p a r tm e n t w ould n o t be c o m p le te u n l e s s t h e o b j e c t i o n s to
su c h a c t i v i t i e s were f o r e s e e n and a n sw e re d . T h r e e main g r o u p s c r i t i c i s e
nam ely,
the a d m in is tra to rs ,
The c h i l d r e n
p u b lic p ro d u ctio n s;
the p a re n ts,
v e r y seldom o b j e c t
and th e t e a c h e r s
t o a n y t h i n g a s m u ch f u n
a s a p u b lic production* I.
CRITICISMS BY ADMINISTRATORS
The a d m i n i s t r a t o r s f a v o r i t e
c ritic ism
pro d u ctio n of any k ind i s a f in a n c ia l one. trato r
is,
c ritic ism ,
in
the o p in io n o f th e w r i t e r ,
An a d m i n i s
ju s t in
th is
f o r i n many c a s e s t h e m u s ic t e a c h e r g i v e s no
thought to the is
o f a p u b lic
co st of th e p ro d u ctio n .
f o r c e d to run h i s
The a d m i n i s t r a t o r
s y s t e m on a l i m i t e d b u d g e t a n d h e
c a n n o t a llo w one d e p a rtm e n t t o ex ceed th e b u d g e t. There i s
n o r e a s o n why a p u b l i c p r o d u c t i o n c a n n o t
b e p r o d u c e d on a b u s i n e s s - l i k e b a s i s . p ro d u ctio n
i s u s u a l l y th e m ost ex p en siv e p a r t o f th e
show, b u t t h i s ly .
C ostum ing a
can b e do n e w i t h c h e a p m a t e r i a l s
effectiv e
L i g h t i n g m ay b e u s e d t o a d v a n t a g e f o r l o v e l y s t a g e
33 effe cts,
s o t h a t c o s t u m i n g may n o t h e n e c e s s a r y .
school budget is raise,
If
the
so v e r y l i m i t e d a n d money i s h a r d t o
a p r o j e c t w h i c h d o e s n o t n e e d m uch c o s t u m i n g o r
s t a g i n g m ay b e g i v e n .
O fte n t h e m usic t e a c h e r ,
a s th e e d u c a to r and g e n e r a l p u b l ic , production
and o p e r e t t a .
as w ell
confuse th e term s
T h e r e a r e m any o t h e r t y p e s o f
p r o d u c t i o n s w h ich do n o t n e e d a l a r g e o u t l a y o f money f o r an e f f e c t i v e
sh o w , b u t w h i c h w i l l h a v e t h e sa me r e s u l t s
upon th e c h i l d ,
the
s c h o o l a n d t h e com m unity.
U s u a lly an a d m i n i s t r a t o r w i l l f a v o r a p ro d u c tio n o f a n y k i n d , p r o v i d i n g t h e f i n a n c e s m ay b e w o r k e d o u t , b e c a u s e h e knows t h e v a l u e o f t h e a d v e r t i s i n g th e
sc h o o l sy stem .
He i s ,
th erefore,
it
does fo r
I n te r e s te d in
h elp in g
th e perform ance to be o f c r e d i t to th e d e p artm e n t
and th e
school,
aid
to th e
and he w i l l u s u a l l y le n d e v e ry p o s s i b l e
su ccess o f the u n d e rta k in g .
h o w e v e r , m u s t b e c o n s t a n t l y on t h e a l e r t
The m u s i c t e a c h e r , to prove
the
e d u c a tio n a l v a lu e s n o t o n ly of th e p ro d u ctio n s, b u t of th e m usic d e p a rtm e n t a s a w hole.
A su c cessfu l p u b lic
p r o d u c t i o n w i l l a i d g r e a t l y i n c o n v i n c i n g t h e com m unity and th e a d m i n i s t r a t io n m ent.
o f th e w o rth o f th e m usic d e p a r t
I n many c a s e s p u b l i c p r o d u c t i o n s a r e u s e d a s a
c a m o u f l a g e b y t h e t e a c h e r who n e g l e c t s o t h e r e d u c a t i o n a l d u tie s.
It
production
is p o ssib le to th at i t
is
s p e n d s o much t i m e on a p u b l i c
p r a c t i c a l l y a p ro fe s s io n a l perform
34 ance.
When t h i s
a c tiv itie s,
is
th e case
the c h ild i s
lim ited in h is
and l i m i t e d in m a t e r i a l know ledge.
a re q uick to
E d u cato rs
s e e t h i s f a u l t an d t h e blam e f a l l s upon t h e
proper person,
t h e m usic t e a c h e r .
n e c e s s a r y to spend th e e n t i r e
It
i s n e i t h e r w ise n o r
y e a r upon the p ro d u c tio n
o f any type o f perform ance. II.
CRITICISMS BY PARENTS
I n t h e v e r y w o r d Mf u n tt i s v o i c e d o n e o f t h e o b j e c ti o n s o f p u b lic p erfo rm an c es b y th e p a r e n t s and b y the a d m in is tr a to r s a ls o .
Many p a r e n t s b e l i e v e t h a t
s c h o o l s h o u l d s t i l l b e t a u g h t i n t h e m a n n e r t h a t was t h e f a s h i o n whe n t h e y w e r e s t u d e n t s . tim e n o r d e s i r e
to v i s i t
Su ch p a r e n t s hav e no
the sch o o ls to f in d o u t th e
new er m ethods and p r o c e d u r e s — th e y l a c k i n t e r e s t In th e ir ch ild ren .
U n le s s c h i l d r e n a r e b u rd e n e d w ith home
w o r k e a c h e v e n i n g some p a r e n t s b e l i e v e t h e y a r e n o t learn in g .
T im e s p e n t i n p r e p a r a t i o n
perform ance i s
fo r a p u b lic
c o n sid e re d to be a w a s te fu l i n te r f e r e n c e
w ith the c h ild * s
ed u catio n .
To t h e m o d e r n s t u d e n t a n d e d u c a t o r t h i s e x c u s e i s so weak t h a t i t
i s h a r d l y w orth d i s c u s s i n g .
It
is,
h o w e v e r , a l i k e l y o n e a n d an a n s w e r s h o u l d b e r e a d y on th e
lip s o f th e
co n n ectio n
teach er.
The l e a r n i n g o f t h e c h i l d In
w i t h t h e p e r f o r m a n c e s h o u l d b e so o b v io u s t h a t
55 e v e n t h e f a t h e r who d o e s h i s t a l k i n g on t h e s t r e e t
corner
w i l l be a b l e
T his
is
p o ssib le
to se e th e im provem ent in h i s
w ith a p u p il- te a c h e r p a r t i c i p a ti o n
c la ssro o m , and i t in
is
eith er
w ith a p u b lic p ro d u ctio n . persuaded to e n te r th e
E v entu ally,
as he le a r n s .
an d h i s com m unity.
i f a parent is
he w i l l see t h a t h i s c h i l d i s
s o m uch m o r e t h a n h e d i d ,
o n e o f t h e g r o u p who i s
to h is
s tim u la te d b y o r cu lm in ated
s c h o o l ( a n d h e m ay w i t h t h e u r g e
o f a p u b lic p ro d u c tio n ),
en jo y in g l i f e
and t h a t h i s c h i l d i s
Soon t h a t p a r e n t w i l l become
proud o f h i s c h i l d ,
h is
school
The t e a c h e r may o f t e n h e a r h im r e f e r
s c h o o l sy ste m a s one o f t h e f i n e s t .
h e may b e c o m e s o i n t e r e s t e d
in
f o r t h e man who t a l k s
th e
Yes,
in d eed ,
t h a t h e may b e e l e c t e d a
m em b er o f t h e b o a r d o f t r u s t e e s . becom es i n t e r e s t e d
in the
p o s s ib le w ith the i n t e r e s t m an ifeste d
a p r o j e c t w hich i s
lea rn in g
c h ild .
I f t h a t type of p a re n t
sch o o ls,
it
is-a -fin e
th in g ,
t h e l o u d e s t on t h e s t r e e t c o r n e r
k n o ck in g a s c h o o l sy stem w i l l t a l k
ju s t as lo u d ly p ra isin g
it.
succeeded in one o f
The m u s i c e d u c a t o r s w i l l h a v e
t h e i r a im s — t h a t o f e d u c a t i n g t h e com m unity. III. T h ird ,
CRITICISMS BY TEACHERS
but not lea st,
in
im portance a re
the
c r i t i c i s m s o f f e r e d by t e a c h e r s — b o th m usic t e a c h e r s and teach ers of o th er su b je c ts.
They o b j e c t to th e tim e u se d
36 in p re p a r in g and r e h e a r s in g a p u b lic p ro d u c tio n . a n sw e r t o them i s
t h a t a p u b lic production
ta u g h t in th e classro o m a t (if
the p e rio d
th e sy stem be a fo rm a liz e d o n e ),
u s u a l l y sp e n t in
sing in g or p lay in g .
The
sh o u ld be
s e t a s i d e f o r m usic o r t h e tim e o f d a y A p u b lic production
w hich h a s no c o n n e c tio n w ith t h e r e s t o f th e s c h o o l a c tiv itie s
is
o f no v a lu e
m usic e d u c a tio n , to c r i t i c i s e .
to th e c h i l d ,
teach er, nor
and th e c la ssro o m te a c h e r has
ju s t cause
On t h e o t h e r h a n d t h e a l e r t c l a s s r o o m
te a c h e r w ill g la d ly se iz e th e o p p o rtu n ity o ffe re d h e r by the p ro d u ctio n as a s tim u la tio n IV. A c ritic ism th re e groups i s is
fo r c o rre latio n .
GENERAL CRITICISMS
o f p u b l i c p e r f o r m a n c e made b y a l l
t h a t th e e f f o r t and tim e o f th e t e a c h e r
s p e n t on t h e t a l e n t e d o n e s who a r e g o i n g t o p e r f o r m .
A gain,
th is
is
a ju st c ritic ism .
It
i s a p o o r m usic
d e p a rtm e n t in w hich t h e r e i s n o t an o p p o r t u n i t y o f f e r e d f o r ev ery c h ild in th e
system to p a r t i c i p a t e
p ro d u ctio n .
o f m usic i s
in clu siv e o f m usic.
The f i e l d
In th e opin io n o f th e w r i t e r , so -called
a l l th e perform ing I s f a i l i n g ed u ca to r.
so g e n e r a l a n d so
t h a t e v e ry c h i l d can p a r t i c i p a t e
t e a c h e r who c h o o s e s t h e
E very c h ild
in a p u b lic
in
some p h a s e
t h e m usic
!lt a l e n t e d o n e s ” t o d o
in h i s m is s io n a s a m usic
should have th e o p p o r tu n ity o f
37 perform ing a t l e a s t once a year in p ro du ctio n .
T he t e r m
some t y p e o f p u b l i c
wt a l e n t e d c h i l d r e n ” u s u a l l y m e a n s
t h e c h i l d r e n who h a v e h a d t h e o p p o r t u n i t y t o s t u d y p r i v a t e l y o n some i n s t r u m e n t ,
o r who a r e a l i t t l e
endowed b y n a t u r e w i t h a s p e c i a l v o i c e , rhythm ic
sense.
or e x cep tio n al
T h o se c h i l d r e n w i l l become l e a d e r s
b e c a u se o f t h e i r o p p o r t u n i t i e s and t a l e n t s . th at
th ey have the a b i l i t y
g ive
the t e a c h e r ex cu se to n e g l e c t
the is
less fo rtu n ate in the
more
school.
to be fin e
The f a c t
perform ers does not
the o t h e r c h il d r e n ,
ones,
whose o n l y o p p o r t u n i t y t o l e a r n
It
t h e t e a c h e r 1s d u t y t o p r o v i d e
is
t h e l e s s - f o r t u n a t e w i t h t h e same o p p o r t u n i t y a s t h e m o r e fo rtu n ate c h ild . V. In a p ro g ressiv e
CONCLUSION school a c h ild should have the
o p p o r t u n it y to l e a r n an in s tr u m e n t, u n le s s he la c k s th e d e s ir e
t o do s o .
sin g , It
o r c r e a t e m usic, is
in m usic t h a t
t h e m o d ern s c h o o l s y s t e m h a s made s u c h p r o g r e s s f o r t h e m usic d e p a rtm e n t i s no l o n g e r th e ” s i n g i n g - s c h o o l , w b u t i t now i n c l u d e s t h e i n s t r u m e n t a l a n d c r e a t i v e w ell as
as
the s in g in g . If
to rs,
field s
the
c ritic ise
a m usic t e a c h e r c o m p la in s t h a t th e a d m i n i s t r a teachers,
and th e p a re n ts
the use o f p u b lic
in t h e com m unity
p ro d u ctio n s,
it
is
u su ally
38 th e
fau lt of th is
done,
teacher.
o r p o o r judgm ent i s
type o f p u b lic
E ith e r poor te a c h in g i s b ein g shown i n
the s e le c tio n
of th e
pro d u ctio n .
T h e r e a r e many t y p e s o f p r o d u c t i o n s w h ic h f i t system s,
o rg a n iz a tio n s and c h ild r e n .
p ro d u ctio n s every o p p o rtu n ity i s among p u p i l s , is
th at
learn d u ties
p aren ts,
every c h ild i s
and to perfo rm in
Our A m erican b e l i e f
to a lik e
o p p o r tu n ity to
th e s c h o o ls o f A m erica, and th e
o f t h e m usic e d u c a to r a r e
and lo v e s m usic.
Through th e s e
given f o r c o o p e ra tio n
and te a c h e r s . e n title d
a ll
to see t h a t he l e a r n s
CHAPTER ¥ PROGRAM BUILDING The p l a n n i n g and a rr a n g e m e n t o f t h e p ro g ram i s a v i t a l item in th e p re s e n ta tio n p u b lic p ro d u ctio n s.
of any o f th e types of
T his in c lu d e s
the
selectio n
and
arrangem ent of m a te r ia l to be p re s e n te d and th e arra n g e m ent o f th e p r i n t e d program , I.
SELECTION OF MATERIAL
In a p revio us
ch ap ter o f t h i s
m a te ria l used fo r p u b lic t h e w r i t e r 1s o p i n i o n v alu ab le
if
p r o d u c t i o n was m e n t i o n e d .
from h i s
In
th e type of m a te r ia l used i s
th e c h ild g ain s
a p p reciatio n
stu d y th e ty p e o f
in know ledge,
s k i l l s and
stu d y .
O ften a c r e a t i v e perform ance i s w h e th e r i t be an o p e r e t t a ,
a co n cert,
of g re a t v alu e, or a p ag ean t.
A
c r e a t i v e p e r f o r m a n c e n o t o n l y means a p e r f o r m a n c e o f o r i g i n a l m u s i c , b u t m ay a l s o m ean a p r o g r a m a r r a n g e d b y th e c h ild r e n , a ll
p e rfo rm e d o r i n t e r p r e t e d b y them .
p ag ean ts a re
creativ e;
p i c t u r e an h i s t o r i c a l
th at is ,
ev en t.
N early
th ey a re c re a te d to
The o n l y o r i g i n a l p a r t o f
th e p a g e a n t m ight be th e o r d e r o f th e songs and th e ty p e s o f songs u s e d , b u t th e p e rfo rm a n c e i s ,
in
the
40 w r i t e r 1s o p i n i o n ,
s t i l l a c r e a tiv e perform ance.
type o f p ro d u c tio n
is
p o s s ib le n o t o n ly w ith th e p ag ean t,
b u t a ls o w ith th e r a d i o program , o p e r e t t a , a sse m b ly program , II.
T his
co n cert,
and o th e r p u b lic p r o d u c tio n s .
ARRANGEMENT OP MATERIAL ON PROGRAM
The a r r a n g e m e n t o f m a t e r i a l i s of the su ccess o r f a i l u r e
one o f t h e c a u s e s
o f th e perform ance.
The m u s ic
t e a c h e r m ust b u i l d t h e program w i t h th o u g h t g iv e n t o t h e a ttitu d e au d ien ce.
she w ish es to c r e a t e
in t h e m inds o f t h e
The n u m b ers p r e s e n t e d ,
should be grouped a p p r o p r i a te ly , v a rie ty .
i t be a c o n c e rt,
b u t should a ls o g iv e
The p r o g r a m m u st b e s t a r t e d w i t h a w ork o f
i m p o r t a n c e , m ust be b u i l t
to a c lim a x , and m ust c lo s e
w ith s e le c tio n s a p p ro p ria te A C hristm as program , b e a u t i f u l C hristm as
to the
f o r exam ple,
them e o f t h e p r o g r a m . should e i t h e r
t e l l th e
s t o r y o r s h o u l d e x e m p l i f y some o f
th e escap ad es o f S t . N ick. p o ssib le
if
In e i t h e r program i t
w ould b e
to use th e C hristm as C a ro ls , but th e arrangem ent
o f them i n t h e p ro g ra m , in w hich th e y a r e
th e c a ro ls u sed ,
and th e
sp irit
sung w ould v a r y w i t h t h e g e n e r a l to n e
o f th e program . In t h e p r e s e n t a t i o n o f a program o f ensem ble and s o lo num bers,
the w r i t e r b e lie v e s i t
c o m p o s itio n s so t h a t th e
w e ll to group th e
so lo s a re in te r s p e r s e d w ith the
41 ensem bles. tio n ,
It
is
w ell,
a lso ,
to have th e
o r t h e l a r g e s t ensem ble,
e n tire
o rg an iza
p e rfo rm th e f i n a l num ber.
Program b u i l d i n g and a rra n g e m e n t o f m a t e r i a l I s a f a c t o r w hich c o n c e rn s t h e p a g e a n t, r a d i o a sse m b ly program and f e s t i v a l . be c r e a t e d by th e c h i l d r e n ,
The o p e r e t t a ,
co n cert,
u n less
it
Is u s u a lly w ell org an ized as
a perform ance w ith o u t f u r t h e r a t t e n t i o n III.
program ,
from th e t e a c h e r ,
ARRANGEMENT OP PRINTED PROGRAM
The p r i n t e d
program s a r e
w o rry t o t h e m usic t e a c h e r .
som etim es a s o u r c e o f
In th e o p inion o f th e w r i t e r ,
t h e p r i n t e d p r o g r a m made b y t h e c o m m e r c i a l d e p a r t m e n t on a m im eograph m a c h in e o r t h o s e done b y t h e p r i n t i n g d e p a r t ment o f th e
s c h o o l a r e more v a l u a b l e
to th e sc h o o l th an
when p r i n t e d b y a c o m m e r c i a l f i r m . The p r i n t e d p r o g r a m c a n d o a g r e a t d e a l t o w a r d se ttin g
t h e mood o f t h e a u d i e n c e b e f o r e
the p ro d u ctio n
b eg in s.
Program s w hich have a t t r a c t i v e
cover d esig n s,
m ad e e i t h e r b y t h e a r t a re p r in te d by th e
o r c o m m ercial d e p a r tm e n t and w hich
school c h ild re n ,
a re u s u a lly o f v alu e
b o t h t o t h e c h i l d r e n who m ade t h e m a n d t h e p e r s o n s who r e a d them .
These program s g iv e
th e com m ercial and a r t
dep artm en ts a chance to co o p erate in th e perform ance.
I n many c a s e s i t
t h e p r o g r a m s on c o l o r e d p a p e r .
th e p re p a ra tio n
i s p o ssib le
of
to have
T his g iv e s a f e s t i v e a i r
42 to th e p ro d u c tio n and s e t s soon a s t h e a u d ie n c e i s
t h e mood f o r t h e a f f a i r a s
se a te d in th e au d ito riu m .
Program s w ith com m ercial a d v e r t i s i n g n e c e s s a ry to a id in
th e fin an cin g of the
p r o g r a m s a r e made b y t h e c o st of p rin tin g
are
show.
som etim es If
school d e p a rtm e n ts , how ever,
i s n o t so g r e a t ,
The p ro g r a m f r e e fro m c o m m e r c i a l
a d v ertisin g
th e opinion
in
the
and t h e a d v e r t i s i n g
is not necessary. is,
th e
of the
w riter,
a m uch m o r e
s a t i s f a c t o r y program f o r a sc h o o l p r o d u c tio n . E very person p a r t i c i p a ti n g in
th e production
b e n a m e d on t h e p r o g r a m w h e t h e r h e b e i n a m em ber o f t h e S p ec ia l care
s ta g e crew ,
should
th e perform ance,
o r a p r a c tic e acco m p an ist.
s h o u ld b e g iv e n t o t h e nam ing o f th e t e a c h e r s
who h e l p w i t h t h e r e h e a r s a l s a n d who t a k e c h a r g e o f t h e d e s i g n i n g and m aking o f c o s tu m e s , T h is I s a sm all Item , assure
the co n tin u ed
stu d en ts,
sc e n e ry and program s.
b u t an i m p o r t a n t o n e w h i c h w i l l co o p eratio n of a l l
te a c h e r s and
b o th w ith in and w ith o u t th e m usic d e p a rtm e n t. IV.
LENGTH AND HOUR OP PERFORMANCE
The l e n g t h o f t h e p r o d u c t i o n d e p e n d s ,
of course,
upon t h e ty p e o f p e rfo rm a n c e and t h e age o f t h e c h i l d r e n p a rticip a tin g .
The w r i t e r
would s u g g e s t t h a t p r o g r a m s
g iv en by p rim ary c h ild r e n be n o t lo n g e r th an m in u tes in
len g th ,
and be p r e s e n te d ,
if
fo rty -fiv e
p o ssib le
in th e
43 aftern o o n
o r very e a rly
evening*
th e in te rm e d iate c h ild re n and tw e n ty m inutes in
s h o u ld a v e ra g e ab o u t one h o u r
len g th ,
p re s e n te d in th e a fte rn o o n tio n
and should a l s o be
o r e a r l y evening*
A produc
b y t h e h i g h s c h o o l o r g a n i z a t i o n s m ay b e l o n g e r .
sho u ld be ta k e n , how ever, one.
A program p r e s e n t e d by
An i n t e r m i s s i o n
Care
to h a v e th e program a v a r i e d
p r o v id e s a tim e d u r in g w h ich t h e
p e r f o r m e r s a n d t h e a u d i e n c e m ay r e l a x , o p p o rtu n ity fo r o th e r groups to
and a l s o provid.es
f u r n i s h i n c i d e n t a l m usic*
A h i g h s c h o o l p r o d u c t i o n m ig h t h a v e an a f t e r n o o n
perform
a n c e , b u t u s u a l l y th e h o u r w ould n e c e s s a r i l y be a ro u n d e i g h t o ' c l o c k t o make i t
p o ssib le
f o r a l a r g e r number o f
a d u lts to a tte n d . If
t h e h i g h s c h o o l m u s ic o r g a n i z a t i o n s p r e s e n t an
asse m b ly program , a t a l e n t h o u r, the
tim e l i m i t
or a liste n in g
lesson,
s h o u ld be a b o u t t h i r t y m in u t e s .
The l e n g t h o f t h e p r o g r a m a n d t h e h o u r o f t h e p e r f o r m a n c e s m u s t n e c e s s a r i l y d e p e n d upon t h e good j u d g ment o f t h e m usic e d u c a to r* to
tim e th e p rogram ,
t i r i n g because of i t s
He m u s t n o t , h o w e v e r , n e g l e c t
f o r a n e x c e l l e n t p r o g r a m m ay b e len g th .
CHAPTER VI TYPES OP PUBLIC PRODUCTIONS AND SUGGESTED METHODS OF PERFORMANCE As was s t a t e d
in the f i r s t
t h e r e a r e many t y p e s an a i d i n
th e
o f p u b lic
ch ap ter of th is
study
p r o d u c t i o n s w h ic h may b e
ed u catio n o f the c h ild .
In
th is
chapter
p e rfo rm a n c e s w hich a r e c o n n e c te d w ith t h e m usic d e p a rtm e n t a r e d i s c u s s e d w i t h a few s u g g e s t i o n s a s t o t h e m eth o d s o f p ro d u ctio n . I . The f e s t i v a l a festiv e
occasion
THE FESTIVAL
i s a p r o d u c t i o n w h ic h h a s t o do w i t h s u c h a s a M a y -D a y c e l e b r a t i o n
or g e t-
to g e th e r o f s e v e ra l sch o o ls or dep artm en ts f o r m u sical enjoym ent a s p e r f o r m e r s and o n - l o o k e r s .
The f e s t i v a l i s
one o f t h e g ro u p o f p r o d u c t i o n s w hich i n c l u d e a l a r g e number o f c h i l d r e n .
The m u s ic f e s t i v a l may b e w i t h o r
w ith o u t a d ju d ic a tio n . A.
The n o n - c o m p e t i t i v e f e s t i v a l
In th e o p in io n o f th e fe stiv a l is
w riter,
the n o n -co m p e titiv e
a v e ry v a lu a b le type o f p ro d u c tio n .
a larg e a l l - c i t y ,
all-co u n ty ,
or a ll-sta te
I t m ay b e
prod u ctio n ;
or
45 I t m ay b e a s m a l l e r p r o d u c t i o n u s i n g
the c h ild r e n
of the
v a r io u s d e p a rtm e n ts o f th e e le m e n ta ry o r h ig h school* It tio n s
is,
perhaps,
one o f t h e b e s t t y p e s o f p r o d u c
fo r r u r a l sch o ols.
u sed v e ry e f f e c t i v e l y in size
o f the
C h i l d r e n o f a l l a g e s m ay b e th e
sta g in g of a f e s tiv a l*
The
s c h o o l w ould be th e f a c t o r w hich w ould
d eterm in e the f e s t i v a l p re s e n te d .
If
th e r u r a l
were a c o n s o l i d a t e d s c h o o l w h ich h a d a l a r g e and s e v e r a l te a c h e r s ,
school
en ro llm ent
a f e s t i v a l o f m u sic a n d d a n c e would
be p r o f i t a b l e .
If
the r u r a l
s c h o o l were a s m a l l o n e -
te a c h e r school,
t h e f e s t i v a l w ould p r o b a b l y b e an a l l
m usic p ro d u c t i o n . The f e s t i v a l o f m u s i c a n d d a n c e . su g g ests a f e s tiv e
o ccasio n .
The t e r m f e s t i v a l
The c o m p l e t e c o o p e r a t i o n
betw een th e p h y s i c a l e d u c a tio n d e p a rtm e n t and th e m usic departm ent i s
alm o st a n e c e s s a ry r e q u i s i t e
f e s t i v a l o f m usic and d a n c e s .
fo r a larg e
To make t h e f e s t i v a l g i v e
th e h a p p in e ss and ch eer needed f o r th e o c c a sio n p h y s ic a l ed u catio n d ep artm en t i s teach in g dances and d r i l l s . fo lk -d an cers,
d r i l l and m arching u n i t s
of great a ssistan ce
T here i s
c re a tiv e dancers,
as w ell a s
of course,
o r c h e s t r a , drum a n d b u g l e c o r p s ,
in
o p p o rtu n ity fo r th e
In terp reta tiv e
to perform ,
m u s ic a l o r g a n i z a t i o n s w hich,
the
Include
dancers, the th e band,
c h o ra l o r g a n iz a tio n s and
46 outstan d in g s o lo is ts . The c o o p e r a t i o n
o f th e a r t ,
m a n u a l a r t s a n d home
econom ics d e p a r tm e n ts i s
a ls o n e c e s s a ry in
fe s tiv a l as i t
p ro d u ction s.
is
in a l l
to be s u c c e s s f u l and o f v a lu e , an im p o r ta n t job to p e rfo rm .
F or th e f e s t i v a l
each d e p a rtm e n t m ust have Im p o rtan ce i s
job by th e v a lu e th e c h i l d r e c e iv e s
If
If
home e c o n o m i c s d e p a r t m e n t d o n o t l e a r n sk ills
f o r costum e m ak in g .
had b e tt e r w ork. a ll
the g i r l s
in the
p a t t e r n m aking,
o f sew ing, and h e lp s e l e c t th e m a t e r i a l s ,
the r e g u la r classro o m p rocedure
m e n ts do n o t h e l p
o rd er the
t h e r e I s n o t much r e a s o n i n
h a v i n g them c o n s t r u c t t h e b l e a c h e r s .
advance in
departm ent
ta k e th e m easurem ents,
and do t h e work,
the
in th e chorus.
th e boys o f th e m anual a r t s
do n o t draw th e p l a n s , lum ber,
given to
from th e t a s k w h e th e r
i t be d e s i g n in g a costum e o r p a r t i c i p a t i n g F o r exam ple:
t h i s type of
If
the
should n o t be i n t e r r u p t e d
stu d en ts of th e a r t d e p a rt
to d e s ig n th e s c e n e ry and co stu m es, th e y
spend t h e i r
The m a i n r o l e s
tim e a t
some o t h e r p h a s e o f a r t
of a f e s t iv a l p ro d u ctio n a re not
t a k e n b y t h o s e who d o t h e f i n a l p e r f o r m i n g .
E very
c h i l d who h a s l e a r n e d d u r i n g t h e r e h e a r s a l a n d p r e p a r a t o r y p e rio d s h a s had an im p o rta n t p a r t in t h e f e s t i v a l . T h is ty p e o f f e s t i v a l i s ch ild ren .
very e ff e c tiv e
The f e s t i v a l m a y b e t h e c u l m i n a t i o n
y e a r 1s w o r k i n t h e v a r i o u s d e p a r t m e n t s ,
f o r sm aller o f the
e s p e c i a l l y the
47 p h y s ic a l e d u c a tio n and m usic.
M ay-day f e s t i v a l s a r e
o ften p re se n te d hy th e prim ary g rad e s, grades o f the e n tir e program w hich i s
system o f t e n
jo in in p re se n tin g a
of th e f e s t i v a l ty p e.
The a l l - m u sic f e s t i v a l . often
o r the in te rm e d ia te
The a l l - m u s i c
festiv a l is
th o u g h t o f as b e in g a c o m p e titiv e f e s t i v a l .
need n o t be. fe stiv a l,
It
is very p o ssib le
It
t o g i v e an a l l - m u s i c
and p r e s e n t a v e r y i n t e r e s t i n g
program w ith o u t
th e elem ent o f c o m p e titio n as a s tim u lu s . The w r i t e r w ould s u g g e s t t h a t i n c o m p a r is o n w i t h th e f e s t i v a l o f m usic and d an ce th e a l l - m u s i c is
p r o b a b l y more e n j o y a b l e
to o ld e r c h i l d r e n .
s h o u ld b e a v a r i e d one an d i n t e l l i g e n t l y It
Is a larg e
sta te
a ffa ir,
fe stiv a l,
th at is ,
t h e m ain a t t e n t i o n
f i n a l program .
festiv a l The p ro g ra m
presented.
If
an a l l - c o u n t y o r a l l should be given to
the
That perform ance should observe th e
t e c h n i q u e s o f good p rogram b u i l d i n g and be c a r e f u l l y p lanned.
P ro g ra m b u i l d i n g was d i s c u s s e d
In the a ll-m u s ic
festiv a l a ll
i n C h a p t e r V.
sectio n s
of the
m u s i c d e p a r t m e n t s h o u l d b e a c t i v e l y r e p r e s e n t e d on t h e program . o rch estra, boys, group,
The b a n d , th e
t h e drum a n d b u g l e c o r p s ,
strin g
q u artet,
and m ixed g l e e c l u b s , the g i r l s
trio ,
the
the b ra s s c h o ir,
th e a c a p p e lla
th e boys q u a rte t,
the g i r l s ,
c h o ir,
the re e d
and o u ts ta n d in g
48 so lo ists at
sh o u ld e a c h have an o p p o r tu n ity to p la y o r sin g
som etim e d u r i n g t h e f e s t i v a l *
departm ent p r o h i b it s program ,
If
th e s iz e o f th e
t h e m f r o m a l l b e i n g on t h e
t h e n t h e f e s t i v a l may b e a r r a n g e d t o
th e d a y , o r .fo r s e v e r a l evenings in
same
l a s t d uring
su ccessio n ,
w ith th e
com bined o r g a n i z a t i o n s p r e s e n t i n g t h e f i n a l p ro g ram o f th e se rie s* O rg an izatio n th e f e s t i v a l ,
of th e f e s t i v a l .
The o r g a n i z a t i o n
c o m p etitiv e or n o n -c o m p e titiv e ,
v e ry im p o rta n t p a r t in
th e success of th e
b eliev es fe stiv a ls
th at i t
is
the
elem ent o f tim e .
a re n o t tim ed .
p lays a
endeavor*
one e le m e n t i s more i m p o r t a n t th a n a n y o t h e r ,
of
If
the w r i t e r
So o f t e n
The i n d i v i d u a l n u m b e rs a r e n o t
t i m e d , n o a l l o w a n c e i s made f o r t i m e b e t w e e n n u m b e r s , n o a l l o w a n c e i s made t o to a n o th e r.
enable c h ild r e n
Because o f t h i s
o r the c h ild re n
t o go fro m one g r o u p
th e e v en ts o f th e day la g ,
as w e ll as the au d ien ce g e t t i r e d and a re
b o re d w ith num bers w hich sh o u ld be o f e n jo y m en t. m ay b e a v o i d e d b y s e t t i n g o r choruses a ll-sta te
sim u ltan eo u sly .
in stru cto rs
general reh earsals
of the
o rch estras,
In th e perform ance o f a la r g e
or a ll-c o u n ty f e s tiv a l,
a sm o f t h e e n t i r e g r o u p i s of th e
up two o r m ore b a n d s ,
T his
lo st
many t i m e s
the e n th u s i
th r o u g h t h e p o o r management
sectio n al re h e a rsa ls,
and th e
f o r th e grand f e s t i v a l ch o ru ses,
49 o r c h e s tr a and hand.
The s e c t i o n a l r e h e a r s a l s ,
general re h e a rsa ls,
as w ell as
th e
t h e n u m b e r s on t h e f i n a l
p r o g r a m m u s t b e t i m e d a n d b e r u n on s c h e d u l e . A t t h e 1942 M usic E d u c a t o r 1s N a t i o n a l C o n f e r e n c e t h e M ilw aukee C i t y s c h o o l s r e p e a t e d t h e p ro g ra m s w hich w ere t h e f i n a l e s
o f th e e le m e n ta ry sch o o l f e s t i v a l and
t h e h ig h s c h o o l f e s t i v a l w hich had been h e l d p re v io u s to th e C onference d a te .
t h e week
The o u t s t a n d i n g p a r t o f
t h e p ro g ra m was t h e m a r v e lo u s o r g a n i z a t i o n an d p l a n o f seatin g
t h e huge number o f c h i l d r e n .
t h e M ilw aukee s c h o o l s u t i l i z e d
For t h is
th e drum and b u g l e c o r p s .
The m a j o r e t t e s a n d d r u m - m a j o r s o f t h e v a r i o u s bands d ir e c te d th e hundred c h ild re n , chorus,
purpose
school
e n tra n c e and e x i t o f th e tw e n ty - f iv e members o f t h e b a n d ,
o r c h e s tr a and
and th e e n t i r e p ro ce d u re to o k o n ly tw e n ty m in u te s. A n o th er f a c t o r t h a t p la y s a huge p a r t in th e
success of th e f e s t i v a l is ch airs,
ch o ral stan d s,
th e equipm ent: m u s ic ,
and b le a c h e rs .
The g e n e r a l c h a i r
man o f t h e f e s t i v a l MUST kno w how m a n y a r e in
the f e s t i v a l ,
necessary,
stan d s,
to
p a rticip a te
how m a n y c h a i r s a n d m u s i c r a c k s a r e
a n d ho w t o a r r a n g e t h e p r o g r a m s o t h a t e a c h
g r o u p may f i n d h i s p l a c e
q u ic k ly and e a s i l y .
M e n tio n h a s b e e n made s e v e r a l t i m e s o f m u s i c r a c k s . The w r i t e r a d v is e s t h a t , c o u n ty and a l l - s t a t e
in
th e c a s e o f an a l l - c i t y ,
festiv a l,
each c h ild
sh o u ld be
a ll
50 resp o n sib le
fo r his
own s t a n d a n d m u s i c .
In
f e s t i v a l u s u a l l y the band and o r c h e s tr a use m usic r a c k s .
In
th at case,
th e p la y e rs to leav e th at
th e o th e rs
can
pro v isio n
th e sm a lle r t h e sa me
c a n b e m ad e b e t w e e n
t h e r a c k s i n a d e s i g n a t e d room so e a s ily o b tain
them .
Or p e r h a p s a
certain
g r o u p o f p l a y e r s may b e made r e s p o n s i b l e f o r t h e
racks.
In th e case o f c h o ra l s ta n d s ,
i s used fo r a l l groups. m anager i s
u s u a l l y t h e one s e t
The b u s i n e s s o f t h e g e n e r a l
to see th a t th e
stands a v a ila b le a re la rg e
enough f o r th e l a r g e s t group. A nother im p o rtan t f a c t o r in th e su cce ss o f th e larg e f e s tiv a l is
t o p r o v i d e c o m f o r t a b l e r e h e a r s a l room s
fo r the s e c tio n a l r e h e a r s a ls .
T his i s
e s p e c ia lly im p o rtan t
f o r the in s tru m e n ta l gro u p s.
The room s f o r r e h e a r s a l s
m ust be ad eq u ate as to
stan d s,
a ir.
space,
ch airs,
J u s t any dark h a ll w ill n o t do.
lig h t,
and
The c o n d i t i o n s
m ust b e a s f a v o r a b l e f o r r e h e a r s a l tim e a s any c la s s ro o m o r r e h e a r s a l p e rio d should b e . These p o in ts a re d e t a i l s
of f e s t i v a l producing,
b u t th e y a re im p o rtan t d e t a i l s .
M any o t h e r m e t h o d s o f
m anaging a f e s t i v a l a r e a c c e p t e d a s e x c e l l e n t
stan d ard s.
T h e w r i t e r 1s i d e a i n m e n t i o n i n g t h e s e p o i n t s was t o im p re s s upon th e r e a d e r th e im p o rta n c e o f th e
sm allest
d e ta ils.
is
A fe stiv a l,
esp ec ially a larg e
o f jo y and an e x p e r i e n c e o f l e a r n i n g
if
one,
an a f f a i r
p r o p e r ly m anaged.
51 The s u c c e s s o f t h e f e s t i v a l d o e s n o t d e p e n d u p o n t h e in d iv id u al in stru c tio n as i t
of the v ario u s
t e a c h e r s a s m uch
d o e s upon t h e g e n e r a l c h a irm a n o f t h e f e s t i v a l
co m m ittee. C ostum ing th e f e s t i v a l . the f e s t i v a l i s If
t h a t i t d o es n o t n e e d to be costum ed.
there
is
fo r fo lk -d an ces, th e c h ild r e n .
L ittle
t i m e a n d money t o c o s tu m e t h e c h i l d r e n
i t does add to th e f e s t i v e
feelin g fo r
Sim ple w h ite d r e s s e s and c le a n
s h i r t s g ive th e ever.
One o f t h e a d v a n t a g e s o f
sa me f e s t i v e
ch ild ren
a ir
w hite
f o r t h e a u d i e n c e , how
s in g in g and d a n c in g in a p u b lic
p r o d u c t i o n have a glow a b o u t t h e i r f a c e s w hich i s n o t d u lle d by th e
la c k o f e la b o ra te costum ing.
O lder c h ild re n
u s u a lly look b e t t e r
d r e s s w hich n e a r l y a l l to a group o f I r i s h
g lee c lu b s a d o p t.
a l l y about th e green It
to
th e uniform
To a d d c o l o r
songs sung by one G i r l f s G lee C lub
in th e annual sp rin g f e s t i v a l , c h e e rfu l n o te
in
the
one o r g a n i z a t i o n a d d e d a
scene by g rouping th em selv es in fo rm
stag e,
and each g i r l h a s t i l y donned a
c r e p e - p a p e r a p r o n a n d p u t a g r e e n bo w i n h e r h a i r .
was c h e a p ,
quick, B.
and v e ry e f f e c t i v e .
The c o m p e t i t i o n
The c o m p e t i t i o n f e s t i v a l w riter,
a co n test.
fe stiv a l
is,
in th e o p in io n of the
The c o m p e t i t i v e f e s t i v a l
i s m entioned
52
h e re m erely b ecause th e term f e s t i v a l i s
used in
th at
When t h e f e s t i v a l h a s a n a d j u d i c a t o r ,
co n n ectio n .
no lo n g e r a f e s t i v a l ,
it
is
but a c o n te st.
A f e s t i v a l w h e r e c h i l d r e n may o r may n o t c o m p e t e is
still
a c o n t e s t even f o r t h e
com pete f o r a r a t i n g , a f t e r th e o th e r, teach ers,
for
th ey a re
them i s
is
o f no c o n se q u e n c e a s f a r a s t h e on t h e c h i l d r e n
v e rs u s the c o n te s t.
to d is c u s s
She b e l i e v e s
to d is c u s s
i s m uch
and h e r t a s k in
th is
th e v a lu e s of each w ith re g a rd to the
u s e w h i c h c a n b e made o f t h e m b y t h e m u s i c
p o in ts
th e f e s t i v a l
th at th ere
good in b o th ty p es o f p erfo rm an ces,
f e s tiv a l as
and t h e i r
concerned.
T he w r i t e r h a s n o d e s i r e
study i s
stu d en ts,
The f a c t t h a t t h e a d j u d i c a t o r
m en tal and p h y s ic a l s t r a i n in stru c to r
s i n g i n g o r p l a y i n g one
and a r e r a t e d by t h e i r f e llo w
and p a r e n t s .
does n o t r a t e
c h i l d „ r e n who d o n o t
such has been d is c u s s e d ,
ed u ca to r.
The
and t h e good and bad
of the c o m p e titiv e f e s t i v a l a re
th e
sa me a s
those
o f th e c o n t e s t and w i l l be d i s c u s s e d w ith c o n t e s t s . C.
C o n c l u s i o n s on t h e f e s t i v a l
T h e m u s i c e d u c a t o r m ay u s e t h e f e s t i v a l a s a v e r y v a lu a b le
type o f p ro d u ctio n
an e n j o y a b l e e x p e r i e n c e i n a d u lts.
in h is e f f o r t the
t o make m u s ic
l i v e s o f th e c h i l d r e n and
53 The f e s t i v a l
is
p a r tic u la r ly v alu ab le
in
th a t th e
n u m b e r o f c h i l d r e n who c a n b e i n c l u d e d i s a l m o s t u n l i m i t e d , and a c h i l d ,
w hether o r n o t he be an a r t i s t ,
to en jo y h is
p a rticip a tio n
in th e f e s t iv a l.
The o p p o r t u n i t y f o r c o r r e l a t i o n is
g r e a t in a p ro d u c tio n The l a r g e
w i l l be a b le
of th is
and i n t e g r a t i o n
type.
f e s t i v a l m ay b e u n l i m i t e d a s t o
th e
n u m b e r s o f i n d i v i d u a l g r o u p s w h i c h m ay p a r t i c i p a t e ,
and
t h e n u m b e r s o f p r o g r a m s w h i c h m ay b e a r r a n g e d . The s m a l l f e s t i v a l m ay becom e a d e l i g h t f u l p ro g ra m c u lm in atin g
the y e a r 's a c t i v i t i e s
o f an e n t i r e
school,
or
a group o f g ra d e s. II.
THE CONTEST
Case a g a i n s t t h e c o n t e s t . w riter, ch ild ren
a co n test
i s an a i d
as
d e trim e n t to the c h ild , m usic.
I n some s y s t e m s ,
teach er i s
lim its.
If
of th e
the c o n te st
so many c o n t e s t s a r e , th e
teach er,
and th e
it
is
is
a
a
cause of
c o n te s t s d e c id e w hether o r n o t a
to be r e - e l e c te d
the b o a rd o f e d u c a tio n h as m usic
th e o p in io n
to th e m usic e d u c a to r and t h e
only w ith in c e r ta in
c o n te st of teach ers,
In
fo r th e fo llo w in g y ear. th at p rin c ip le
e d u c a to r s h o u l d do a l l he can t o
or th e co m p etitiv e f e s t i v a l .
If
in m ind,
If th e
a b o lis h the c o n te s t
th e b oard of ed u catio n
i n s i s t s upon a w in n in g g roup each y e a r ,
t h e m usic t e a c h e r
w i l l n a t u r a l l y choose th e m ost t a l e n t e d group.
P robably the te a c h e r w ill
w i t h th o s e few ,
w hile
M u sical r e s u l t s
spend m ost o f h e r tim e
or no m u sical e x p e rie n c e .
of the c o n te s t .
m ay b e v e r y s t i m u l a t i n g
to the c h ild re n
C o n te s ts , how ever, and t h e t e a c h e r s .
in o rd e r to produce th e m ost b e n e f i t s ,
be e n t e r e d by t h e e n t i r e m usic d e p a r tm e n t. to p la y or to in stru ctio n m ay l e a r n
o f the
t h e r e s t o f t h e members o f t h e
o rg a n iz a tio n s have l i t t l e
A c o n te st,
ch ild ren
sing
so lo s
from th e
should
A l l who w i s h
should have th e o p p o r tu n ity o f
s c h o o l m usic t e a c h e r s .
A ll groups
th e c o n te s t num bers, b o th ensem bles and s o lo s .
I f a l l members o f t h e g r o u p s do n o t
learn
p e rfo rm th e s o lo and ensem ble num bers,
to a c t u a l l y
th e y should a t
l e a s t become f a m i l i a r w i t h th em t h r o u g h l i s t e n i n g . a c h i l d h a s l e a r n e d a c o m p o s itio n he can b e t t e r o th ers,
and he l e a r n s ,
the a c tu a l c o n te s t. as to
judge
w hether o r n o t he p erfo rm s in
He l e a r n s b y t h e o p i n i o n s h e f o r m s
th e p e rfo rm a n c e a b i l i t y o f t h o s e he h e a r s .
p articip ates
in
When
Thus he
th e c o n te s t through l i s t e n i n g .
T he c o n t e s t a n i n f l u e n c e
fo r spo rtsm an sh ip .
G o n t e s ts h e l p a c h i l d to form a code o f s p o r ts m a n s h ip . The a b i l i t y
t o win o r t o
lo s e g r a c i o u s l y sh o u ld be ta u g h t
b y t h e m usic t e a c h e r a s w e ll a s th e a t h l e t i c many c a s e s
coach.
In
t h e l o s e r i s m ore g r a c i o u s t h a n t h e w i n n e r .
55 W inners a r e o f t e n o v e r - b e a r i n g . a c q u ire d th ro u g h p a r t i c i p a t i o n
The s p o r t s m a n s h i p i n a c o n t e s t may h e l p t h e
s tu d e n t in h is r e l a ti o n s h i p s w ith in t i o n s and in th e It
is
sc h o o l a s a w hole.
som etim es d i f f i c u l t
subm erged i n th e se co n d v i o l i n when h i s p e r f o r m a n c e a b i l i t y m aster.
th e m u sical o rg a n iz a
fo r a c h ild
sectio n
equals
to be
of th e o rc h e stra
th a t of th e co n cert-
The i n n e r v o i c e s o f t h e c h o i r a n d o r c h e s t r a a r e
f u l l y a s im p o rtan t as be eq u al.
the
solo v o ic e s ,
and a b i l i t y m ust
A m u sic ia n n eed s a code o f s p o rts m a n s h ip and
m ust be as g r a c io u s a w inner a s The c o n t e s t a s a p u b l i c
lo ser. stim u lu s.
A c o n test
c e r ta in ly stim u lates
i n t e r e s t on t h e p a r t o f t h e s c h o o l
an d t h e com m unity i n
th e m usic d e p a rtm e n t and t h u s i s
a id to jo in
th e m usic e d u c a to r .
The c o m m u n i ti e s w i l l
an
o ften
w ith th e s c h o o l s In a f r i e n d l y r i v a l r y b e tw ee n c i t i e s
o r o th e r sch o o ls.
Of c o u r s e ,
c a s e s may b e c i t e d w h e r e
tw o c o m m u n i t i e s h a v e b e c o m e b i t t e r co n tests.
Such an i n s t a n c e
m usic
ed u cato r.
rig h t
sp irit,
a ttitu d e .
is
enem ies b e c a u s e o f
u s u a lly th e f a u l t
The p r o b l e m w as n o t p r e s e n t e d i n t h e
nor the
T here i s
c h ild ren
no r e a s o n
t r a i n e d to
th e r ig h t
why a f r i e n d l y r i v a l r y c a n n o t
b e c a r r i e d on b e t w e e n
s c h o o l s , betw een c i t i e s ,
ch ild ren
o f m usic a s i t
in
a th le tic s.
o f th e
the f i e l d
is
in
an d betw een
th e f i e l d
of
56 The a t t i t u d e trato r
o f t h e m usic t e a c h e r a n d t h e a d m in is
t o t h e c o n t e s t ,,
The e n t i r e b e n e f i t f r o m a c o n t e s t
d e p e n d s uj)on t h e a t t i t u d e ad m in istrato r*
If,
o f th e m usic t e a c h e r and th e
a s was s t a t e d b e f o r e ,
p o s i t i o n d e p en d s upon h e r a b i l i t y c h o ir each y e ar, prepare
fo r the
p robably,
to p roduce a w inning
she w ould do n o t h i n g b u t
o f t h e b o a r d o f e d u c a t i o n may b e
c o n tr o lle d to a g re a t degree by th e The a t t i t u d e
the p a re n ts ,
s u p e r in te n d e n t and
of the c h ild re n ,
and nervo us breakdow ns, or th e te a c h e r. resp o n sib le
to r e s u l t in h e a rta c h e s
e i t h e r on t h e p a r t o f t h e p u p i l
The a t t i t u d e w h i c h h a s b e e n b u i l t up fo r th e
e f f e c t w hich t h e a d j u d i c a t o r ’ s
d e c i s i o n makes upon t h e i n d i v i d u a l . l a r g e ly in
m usic e d u c a to r ,
co n te st.
That a ttitu d e
is
th e hands o f the te a c h e r .
The t e a c h e r ,
to le a rn .
a n d t h r o u g h them ,
m ay b e c o n t r o l l e d b y t h e m u s i c e d u c a t o r .
T h e re i s no n e ed f o r t h e c o n t e s t
is
teach er’ s
c o n te st.
The a t t i t u d e
p rin cip al.
the
if
she b e a w is e t e a c h e r a n d a t r u e
w i s h e s t o t e a c h e v e r y c h i l d who d e s i r e s
U s u a l l y t h e r e i s no n eed f o r an e l i m i n a t i o n The c h i l d r e n h a v e d e c i d e d t h e w i n n e r b y v i r t u e
o f th e p e rfo rm a n c e s w hich t h e y have h e a r d .
The c o n t e s t
a n ts p la y o r sing f o r each o th e r,
c ritic ise
each o th er,
and h e lp each o t h e r ,
p a rticip a tin g
more fro m t h e
th e c h ild ren
stim u lu s of th e c o n te st
learn
th a n th e y do from
57 th e
stim u lu s of th e f e s t i v a l .
have an e li m in a ti o n m usician
co n te st
Is
w ise, how ever,
the te a c h e r,
l i k e l y w inner,
judged b y a w e l l - q u a l i f i e d
on t h e o t h e r h a n d ,
o r d i e ” in
th e c h ild ,
The c h i l d r e n
ensem ble e v e n ts
chooses the
p r a c t i c e s w i t h him s e c r e t l y ,
c h ild a g a in st an o th er,
and i n s t i l l s the r e s u l t
p ro d s one
the a t t i t u d e
o f nw i n
is
lik e ly
to be d e t r i
p a rticip a tin g
in th e
so lo and
le a rn o nly t h e i r
c o n t e s t num bers and have
n o t had the bro ad en in g o p p o rtu n ity o f l i s t e n i n g If
to
to av o id any p o s s i b i l i t y o f p a r t i a l i t y .
If
m en tal.
It
to o t h e r s .
th ese u n d e sirab le r e s u lts reach th a t p ro p o rtio n ,
w rite r b e liev e s
th at
It
the
is b e s t to a b o lis h both the
c o n te s t and th e c o m p e titio n f e s t i v a l . O rg an izatio n o f th e c o n te s t .
In th e o rg a n iz a tio n
o f th e c o n t e s t e v e r y th in g must be tim e d c a r e f u l l y
so t h a t
c e r t a i n g r o u p s a n d e v e n t s do n o t l a g b e h i n d s c h e d u l e . d e fin ite
schedule
s h o u l d b e made a s
o f the
even ts.
A d ju d icato rs
events
s h o u l d s t a r t on t i m e .
to th e
tim e a n d p l a c e
s h o u l d b e on h a n d a n d t h e
E x e c u tiv e arran g em en ts f o r e q u ip m e n t--ra c k s, ch o ral stan d s,
and m u s i c - - a n d t h e room s f o r t h e e v e n t s
and r e h e a r s a l s were d i s c u s s e d in c o n n e c ti o n w i t h t h e fe stiv a l. sam e.
The o r g a n i z a t i o n
A
f o r t h e c o n t e s t i s much t h e
58 C o n clu sio n .
The c o n t e s t a n d c o m p e t i t i v e
fe stiv a l
a r e o f g r e a t v a lu e to th e m usic t e a c h e r and m usic s t u d e n ts if
the a t t i t u d e dev elo p ed i s
m anship.
Such an a t t i t u d e
t e a c h e r works t o b u i l d If
is
one o f t o l e r a n c e a n d s p o r t s p o ssib le
if
th e m usic
it.
t h e c o n t e s t o r c o m p e t i t i v e f e s t i v a l becomes a
co m p etitio n of te a c h e rs ,
In th e o p in io n o f th e w r i t e r ,
h ad b e t t e r be a b o lis h e d and th e tim e and e f f o r t
it
spent fo r
r e h e a r s a l sh o u ld be sp e n t In an y o f th e o th e r ty p e s o f p u b lic p ro d u ctio n . III. The p a g e a n t h a s a l l
THE PAGEANT of th e p o s s i b i l i t i e s
f e s t i v a l p lu s th e added stim u lu s of th e A pageant is
in t h a t the
p a g e a n t m ay b e a p p r o p r i a t e l y t h e event or p a tr io tic
su ited
to
them e o f t h e
them e o f an h i s t o r i c a l
a c t i v i t y o f t h e com m unity.
Community c o o p e r a t i o n 1942 M usic E d u c a to rs *
th ro u g h th e p a g e a n t.
The
N a tio n a l C onference had a s i t s
t h e m e nA m e r i c a n U n i t y T h r o u g h M u s i c . 11^ effectiv ely
s t o r y elem en t.
th e typ e o f perform ance b e s t
a r o u s e com m unity c o o p e r a t i o n
o f the
T h is
them e may b e
c a r r i e d o u t thro u g h a p a g e a n t.
-*• M u s i c E d u c a t o r s * N a t i o n a l C o n f e r e n c e i n M ilw au k ee, W is c o n s in , M arch 2 6 - A p r i l 2, 1 9 4 2 .
59 In m ost s e c tio n s o f th e U n ited S t a te s com m unities a r e
c ertain
i n h a b i t e d b y p e o p l e who h a v e r e t a i n e d
some c u s t o m s o f t h e E u r o p e a n , S o u t h A m e r i c a n , c o u n tries.
O ften th e c h ild r e n
tro u b leso m e,
or A sia tic
o f th e s e com m unities a r e
a n d t h e i r p a r e n t s do n o t c o o p e r a t e w i t h t h e
s c h o o l system .
The d u t y o f t h e m u s i c e d u c a t o r i s
to
t e a c h c i t i z e n s h i p a s w e l l a s m u s i c , a n d t h e p a g e a n t m ay b e a v e r y e f f e c t i v e means o f p i c t u r i n g h a b i t s an d custo m s o f o th er years or n a tio n s , w hich i s u n d e rs to o d b y a l l . production
th ese
u s in g m usic a s
th e language
As a r e s u l t o f s u c h a
f o r e i g n - b o r n members o f t h e
becom e more c l o s e l y a l l i e d w i t h t h e C o r r e la tio n and i n t e g r a t i o n The o p p o r t u n i t y f o r t h e c o r r e l a t i o n th e p ro d u ctio n o f the pageant i s
com m unity
school. thro u g h th e p a g e a n t. and i n t e g r a t i o n
in
g reat.
T he p a g e a n t m u s t b e c o s t u m e d t o b e e f f e c t i v e .
The
c o s t u m i n g m ay b e s i m p l e a n d m a y b e t h e p r o j e c t o f t h e a r t d e p a rtm e n t w ith th e c o o p e r a tio n o f th e hom e-econom ics d ep artm ent.
I f money i s
more e l a b o r a t e ,
but i t
U su ally th e h isto ric a l
ev en t.
academ ic s u b j e c t s an i n t e n s i v e
av ailab le,
the
c o s t u m i n g may b e
m ust be c o l o r f u l and d r a m a t i c .
them e o f a p a g e a n t i s b a s e d upon an If is
th e p ro g re ssiv e a le rt,
tea ch e r of the
the o p p o rtu n ity i s
stu d y of h is to r y .
fin e
for
D uring th e p ro d u c tio n
of
60 th e p ag ean ts g iv en in A rizona, trip in
c eleb ratin g
fro m M exico i n
1540,
facts
1 9 4 0 t h r o u g h o u t New M e x i c o a n d t h e 4 0 0 t h a n n i v e r s a r y o f C o r o n a d o 1s
se arc h o f th e seven c i t i e s
th e c h ild re n
of th o se
sta te s
a n d m o de o f t r a v e l , of th e ir in te re s t th is
learn ed v alu ab le
co n cern in g th e co n to u r o f th e c o u n try ,
o f th e p e o p le s o f C oronado*s d a y ,
in fo rm atio n
in
o f C ib o la
th eir
sty le
the h a b its of d ress
and t h e i r r e l i g i o u s b e l i e f s . th e p ag ean ts
Because
the c h ild re n g a th e red
e a s i l y and h a p p ily .
The d r a m a t i c d e p a r t m e n t p l a y s a l a r g e p a r t i n t h e su ccess of the p a g e a n t. are
The p a g e a n t a n d t h e o p e r e t t a
t h e tw o t y p e s o f p r o d u c t i o n s w h i c h p r e s e n t o p p o r t u n i t y
f o r c o o p e r a tio n b etw een th e d r a m a tic and m usic d e p a r tm e n ts . If
the p ag ean t i s
p r o d u c e d on a n i n - d o o r
stag e,
th e
p a g e a n t r y m ay b e d o n e w i t h o u t t h e a i d o f t h e m i c r o p h o n e . B ecause o f the m icrophone, how ever, pageant is
very e ff e c tiv e .
pageant is
u s u a lly h e ld In th e
larg e arena.
In
a la rg e o u t-d o o r
In la rg e r c i t i e s
the annual
s t a d i u m o r some o t h e r
th a t case th o se
I n te r e s te d in d ram atics
a r e f o r c e d to engage in th e t e c h n iq u e s o f th e m icrophone and th e y le a r n
to
s p e a k p r o p e r l y when b r o a d c a s t i n g .
W hether t h e p a g e a n t b e a l a r g e and com m unity,
o r a sm all p a g e a n t,
th e C hristm as s to r y , fo r th e co o p eratio n
a ffa ir
of school
su c h a s one d e p i c t i n g
t h e r e i s g r e a t o p p o r t u n it y and need o f th e manual a r t s d e p a rtm e n t.
U su ally
61 a n e n t i r e l y n ew s e t o f s c e n e r y m u s t b e b u i l t , a le rt
te a c h e r o f m anual a r t s
and th e
w ill use th a t p ro je c t as a
stim u lu s fo r o th e r stu d ies* The o u t - o f - d o o r p a g e a n t h a s t h e a d v a n t a g e s o f t h e la rg e f e s tiv a l in
th at a ll
d e p a rtm e n t and p h y s ic a l o p p o rtu n ity to perform . d a n c e s and c h o r u s e s ,
o r g a n i z a t i o n s o f th e m usic
e d u c a t i o n d e p a r t m e n t may h a v e a n The o r c h e s t r a s a c c o m p a n y t h e
a s w e ll as p la y background m usic.
The b a n d s u s u a l l y h a v e an o p p o r t u n i t y to p e r f o r m . cannot be in c o rp o ra te d perform d u ring
in to
the p ag ean t i t s e l f ,
the sc e n e -c h a n g e s,
The c o o p e r a t i o n
is
th ey
t h e y m ay
o r betw een t h e a c t s .
of th e p h y s ic a l ed u catio n departm ent Is
u s u a lly e a s i l y o b tain ed fo r th e p ro duction because th ere
If
of a p ag ean t,
o p p o rtu n ity fo r a l l o rg an izatio n s
d ep artm en t to perform .
of th at
Not o n ly th e g i r l s ’ d a n cin g
c l a s s e s m a y p e r f o r m , b u t t h e b o y s m ay h a v e t u m b l i n g a c t s , d rills,
or tab leau s. P ag ean ts need n o t be la r g e o p e n -a ir e n te rta in m e n ts ,
but a
t h e y m a y b e p r e p a r e d b y s m a l l g r o u p s a n d p r e s e n t e d on
sm all s t a g e . C o n clu sio n .
P ag ean ts a re v a lu a b le a id s
m usic e d u c a to r b e c a u se
to th e
th ey a ffo rd a g re a t o p p o rtu n ity
f o r com m unity an d i n t e r - d e p a r t m e n t a l c o o p e r a t i o n *
Not
o n l y m ay t h e c o m m u n i t y u s e t h e p a g e a n t a s a n i n c e n t i v e
62
for to u rist
tra v e l,
o r p u b lic
r e j o i c i n g a s was s t a t e d
in
an e a r l i e r c h a p t e r , 2 b u t o r g a n i z a t i o n s o f t h e com m unity m ay a c t u a l l y p a r t i c i p a t e
in
th e perform ance.
The i n t e r e s t
sh ow n b y t h e c o m m u n i t y i s a g r e a t h e l p t o t h e m u s i c departm ent as w e ll as pageant h is
is,
effort
th erefo re,
to
the e n tir e
The
an a i d to t h e m usic e d u c a t o r in
t o d e v e l o p a trl o v e a n d i n t e l l i g e n t u n d e r s t a n d i n g
o f m u s i c 11 among t h e c h i l d r e n of the
sc h o o l sy stem .
of th e
sc h o o ls and th e a d u l t s
com m unity, IV.
THE OPERETTA OR OPERA
The o p e r e t t a
o r s m a ll o p e ra w hich i s
g iv e n by
e le m e n ta r y and s e c o n d a ry s c h o o ls h a s been am ply d i s c u s s e d in v a r io u s books and m a n u s c r ip ts . w riter in
It
is
th e d e s ire
o f the
t o p o i n t o u t h o w t h e s e p r o d u c t i o n s m ay b e o f v a l u e
a id in g the m u sical e d u catio n o f a c h ild . C reativ e p o s s i b i l i t i e s
o p e r e t t a c o u ld be th e
one w r i t t e n U sing th e
An
in c e n tiv e fo r a u n it o f stu d y ,
should be th e c u lm in a tio n type o f o p e r e tta ,
o f the o p e r e t t a .
of a u n it of study.
in th e o p in io n
of the
w riter,
or
The b e s t is
th e
by t h e p u p i l s a s a r e s u l t o f t h e i r l e a r n i n g .
songs le a r n e d In c l a s s ,
d i a l o g u e a b o u t an h i s t o r i c a l
2 Supra,
p.
26.
and w eaving a d r a m a tic
e v e n t i s an e x c e l l e n t way f o r
63
ch ild ren
t o c r e a t e an o p e r e t t a o r s m a ll o p e r a .
stru c tu re
of the d ialo g u e w ill not
perhaps, hut i t
a n d w i l l h e more e f f e c t i v e l y p e r
form ed hy t h o s e c h i l d r e n . th e
so u n d so p r o f e s s i o n a l ,
w ill he th e v o c a b u la ry o f th e c h ild re n
who a r e p e r f o r m i n g ,
q u a litie s,
c h ild has
In a d d itio n
to th e perform ance
the added stim u lu s o f c r e a ti o n .
The p u p i l - t e a c h e r p a r t i c i p a t i o n th ro u g h such a c r e a t i v e a c t i v i t y i s tio n .
w hich i s d e v e lo p e d
a d esirab le
Not o n ly d o es th e c h i l d p a r t i c i p a t e
perform ance of the o p e r e tta , creatio n
The
o f the o p e r e tta .
m usic e d u c a to r a r e
o ften
situ a
in th e
h u t he p a r t i c i p a t e s
In th e
T he m u s i c d e p a r t m e n t a n d t h e e n v ied hy th e
tea ch ers of o th er
d e p a r tm e n ts f o r t h e p u p i l - t e a c h e r a t t i t u d e w hich b u i l t so f r e e l y and e a s i l y t h r o u g h t h e a c t i v i t i e s
of p u b lic
p ro d u ctio n • C o r r e la tio n and i n t e g r a t i o n
th ro u g h th e o p e r e t t a .
The o p e r e t t a h a s t h e a d v a n t a g e s o f c o r r e l a t i o n in te g ratio n
t h a t a re found in
m u s t b e d o n e on a s m a l l e r
the p a g e a n t,
scale.
and
b u t an o p e r e t t a
S m aller o rg a n iz a tio n s
m ay e f f e c t i v e l y p r o d u c e a n o p e r e t t a . The c o o p e r a t i o n o f t h e a r t , econom ics,
com m ercial and p h y s i c a l
m ay b e o b t a i n e d . ily
in te reste d
m anual a r t s ,
home
ed u catio n departm ents
J u s t as t h e m usic d e p a rtm e n t I s p r im a r
In t h e m usic o f each ty p e o f p e rfo rm a n c e ,
so t h e o t h e r d e p a r t m e n t s a r e
in te r e s te d p rim a rily in
th eir
64 p a rticu la r types
jo b s.
These a re p r i m a r i l y the
o f p r o d u c t i o n s ; n am ely,
ing of th e
the a r t d ep artm en t— d e s ig n
costum es and s c e n e r y ;
d e p a r t m e n t — m aking th e c o s tu m e s ; d e p a r t m e n t — m aking th e s c e n e r y ; d ep artm en t--creatin g d irec tin g
the d an ces;
th e a c tio n ;
same i n a l l
t h e home e c o n o m i c s th e manual t r a i n i n g th e p h y sic a l ed u catio n the d ra m a tic s d ep artm en t
and th e m usic d e p a r t m e n t - - d i r e c t i n g
th e m usic. S u g g e s te d m ethods o f p r o d u c t i o n . may v a r y m ore i n
th e m ethod o f p r o d u c t i o n
th e o th e r types of perform ances. th re e p lan s of p ro duction The f i r s t given by th e
plan i s
to have th e d ia lo g u e and s o lo s
to be e la b o ra te ,
jo in w ith th e
ensem ble s c e n e s .
used in m ost c a s e s .
u s u a l ly w e ll perform ed,
T h is i s
The c o s t u m i n g
th e d i a l o g u e s and s o lo s a r e and th e c h o ru ses sin g and dance
joy. The s e c o n d p l a n i s
o rch estra sin g s
purposes.
s p e c ia l c a s t and th e c h o ru ses
th e m ethod w hich i s
w ith
th an any o f
The w r i t e r h a s c h o s e n
fo r d iscu ssio n
s in g in g and d a n c in g f o r t h e
is apt
The o p e r e t t a
p it or a t th e
to
s e a t th e chorus
sid e s of th e
stag e.
in
the
The c h o r u s
th e ensem ble and s o l o num bers and a s p e c i a l c a s t
carries
through the a c tio n
T h is p lan o fte n
e lim in a te s
o f t h e p l o t on t h e s t a g e . th e p ro h ib ite d
costum ing o f
65
la rg e groups.
T h e d i a l o g u e c h a r a c t e r s may h e c o s t u m e d
and th e ch o ru s he d r e s s e d in a sim p le u n ifo rm . The t h i r d
plan i s
t h e m on t h e s t a g e , stag e
in f r o n t
are u su a lly fu lfill
to
costum e th e c h o r u s ,
and have th e a c tio n
of th e chorus.
take p lace
In t h i s p la n ,
sung h y s o lo v o i c e s ,
w hile
lim ite d
to
th e
on t h e solos
the ch o ru ses
t h e i r d u t y w i t h ensem ble s i n g i n g .
th e ch o ru ses i s
hut seat
The a c t i o n
of
s im p le m ovem ents o f t h e h a n d s
o r h e a d s o f t h e mem bers, C ritic ism s of th e o p e r e tta . th e m usic t e a c h e r o f f e r s th at
so o f t e n
w hich
on t h e u s e o f t h e o p e r e t t a
th e m a te r ia l i s v ery poor.
rem ed ied hy c a r e f u l s e l e c t i o n the c re a tio n
A c ritic ism
is
T h at can be
of p u b lish ed o p e re tta s ,
o f an o p e r e t t a w h ic h w i l l f i t
or
th e in d iv id u a l
o c c a s io n and g ro u p . A nother c r i t i c i s m the
lack of solo v o ices fo r nl e a d s .”
v e ry g e n e ra l in
the p ro d u c tio n
elem en tary sch o o l, and i s th e production is
o f f e r e d hy th e m usic t e a c h e r i s T h is c r i t i c i s m
of o p e re tta s
fo r th e
f a m i l i a r t o many c o n c e r n e d w i t h
of th e h ig h school o p e re tta .
e a s i l y rem edied,
is
T his o b je c tio n
in m ost c a s e s , hy th e group s o lo .
In
r e c e n t y e a rs th e g ro u p s o lo h a s g a in e d in p o p u l a r i t y and h a s o p en ed new f i e l d s
o f solo m a te r ia l to
M iss Id a Bach s t a t e s
th at,
th e group.
'*An o p e r a i s
p u t on n o t
66
f o r the
sake of the
lead ,
T each ers and p a r e n ts o p eretta
loses
its
b u t fo r the
sake o f th e group.
som etim es f o r g e t
th at fa c t,
v a lu e a s an a id to
th e m usic e d u c a to r .
A p o i n t w h i c h was m e n t i o n e d i n c o n n ec tio n w ith the c r i t i c i s m a w h o le was t h a t c ritic ism
is
C h a p t e r IV i n
of the p u b lic p ro d u ctio n as
of the e x c e ssiv e
re h e a rs a l tim e .^
ance,
T his
o f f e r e d b y th e academ ic t e a c h e r and th e
p a r e n t more th a n b y t h e m u sic t e a c h e r , ag ain st
and th e
and i t
is
offered
t h e o p e r e t t a m ore t h a n a n y o t h e r t y p e o f p e r f o r m O ften th e m usic d e p a rtm e n t p o o r ly p la n s a
p e r f o r m a n c e a n d w a s t e s m u ch v a l u a b l e
tim e f o r t h e m usic
d ep artm en t as w e ll a s e v ery o th e r d ep artm ent o f th e sch o o l.
I f t e a c h e r s spend th e
r e h e a r s a l and p r e p a r a t i o n
e n tire
year in a c tu a l
o f an o p e r e t t a ,
the
ch ild
lo ses
i n t h e v a l u e o f v a r i e d m u s i c a l e x p e r i e n c e s w h ic h h e would o th erw ise o b ta in . v a lid .
In
th is
case,
T he w r i t e r b e l i e v e s
o th e r ty p es o f perform ances
the c r i t i c i s m
th a t th e o p e re tta ,
offered
is
lik e a ll
should be r e h e a r s e d
in th e
s c h o o l p e r i o d a n d s h o u l d b e g i v e n w i t h a m in im u m o f o u tsid e re h e a rs a l. w ill,
It
is
ad m itted
th a t the o p e re tta
p e r h a p s , n e e d m ore e x t r a r e h e a r s a l p e r i o d s
m ost o f th e o th e r p u b lic
p ro d u ctio n s.
than
The m u s i c n e e d n o t ,
^ Id a B ach , I n s t r u c t o r o f M usic, 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 (A s t a t e m e n t t o t h e m o ? i t e r on A p r i l 24, 1 9 42 .) ^ Supra,
p.
34.
67 how ever,
dom inate
th e school a c t i v i t y f o r lo n g e r th an six
weeks, and d u rin g t h i s u tiliz in g
tim e a l l
s c h o o l d e p a r t m e n t s may b e
th e o p e r e t t a a s an i n c e n t i v e f o r a u n i t o f
stu d y . A nother c r i t i c i s m
offered
a u t h o r i t i e s who o b j e c t t o e tta .
The o p e r e t t a
is,
o p e re tta
school
th a t o f th e c o s t o f th e o p er
perhaps,
p ro d u ctio n s w ith the p o ss ib le T his c r i t i c i s m
i s by th e
th e m ost c o s t l y o f a l l
ex cep tio n o f the p ag ean t.
o f c o s t m ay b e q u i c k l y d i s p e l l e d b y t h e
e n th u siast,
how ever, b e c a u se th e do o r r e c e i p t s
a re m ost l i k e l y to be h ig h e r f o r th e s e
tw o p r o d u c t i o n s
than f o r any o f th e o th e r p e rfo rm an c e s. C o n clu sio n s. o p eretta
Some p l a n s
o r sm all o p e ra have been s u g g e s te d .
recommended, h o w e v er, care,
fo r production
of the It
is
th a t the o p e re tta be used w ith
a n d t h a t t h e m u s ic t e a c h e r k e e p i n m ind t h e v a r i o u s
o t h e r ty p e s o f p e rfo rm a n c e s w hich w i l l be o f v a lu e th e c h ild .
It
is
a lso
suggested th a t i f
produced w ith th e c o o p e ra tio n o f th e w ill be o f g r e a t v alu e endeavor to b rin g
the o p e re tta is
e n tire
school i t
to th e m usic e d u c a to r in h i s
th e enjoym ent o f m usic V.
to
to th e c h ild .
THE CANTATA
The p a s t y e a r s h a v e
seen a m arked i n c r e a s e
p o p u la rity of the c a n ta ta as a p u b lic
p ro d u ctio n .
in It
th e is
68
g e n e r a lly conceded th a t
the c a n t a t a
v a lu e to th e c h i l d and a ro u s e s ad m in istrato rs,
teach ers,
le s s o b jectio n
and p a r e n ts ,
a fo re-m en tio n ed perform ances. can tatas, th o se
o f f e r s more m u s i c a l
f o r th e m ost p a r t ,
in m ost o p e r e t t a s .
from th e
th an any o f the
The m usic and t e x t s
of
a re o f a b e t t e r q u a l i t y th an
T he t i m e s p e n t i n a c t u a l
r e h e a r s a l i s n o t as long as i s
n e c e ssa ry f o r the o p e r e tta
or p ag ean t. C ostum ing th e c a n t a t a . f o r costum ing in
T here i s
the p ro d u ctio n
ways o f c o s t u m i n g t h e c h i l d r e n , g r e a t l y to
the f e s t i v e
have r e lig io u s
tex ts,
w ith w hite c o tt a s . te x t,
how ever,
a ir
lim ite d o p p o rtu n ity
of a c an tata. how ever,
w hich add
o f the o c ca sio n .
and th e
T here a re
M any c a n t a t a s
c h i l d r e n m ay b e c o s t u m e d
A ll c a n tatas are not of re lig io u s
e v e n t h o u g h t h e y came t o m u s i c a l l i t e r a t u r e
th ro u g h th e church.
Many a t t r a c t i v e
can tatas
i n tw o a n d
th re e p a r ts a re p u b lish e d f o r elem entary sc h o o ls, p a trio tic
poems,
c h i l d r e n ’ s poems, and w ell-know n
c h ild ren ’ s sto rie s can tata,
usin g
for th e ir
u sin g a s e ttin g
tex ts.
F o r exam ple:
a
o f R e v o l u t i o n a r y War d a y s ,
was
g iv e n add ed charm b y th e pow dered h a i r and w h ite c o t t o n w igs o f th e g i r l s
and b o y s.
C o r r e la tio n and i n t e g r a t i o n
thro u g h th e c a n t a t a .
The u s e o f t h e c a n t a t a a s an i n t e g r a t e d
or co rrelated part
69 o f a u n i t o f s t u d y i s more l i m i t e d
th a n many o f t h e o t h e r
ty p es of p u b lic p ro d u c tio n s, w ith th e ex cep tio n of th e c o n test*
O t h e r d e p a r t m e n t s may u s e t h e c a n t a t a a s a
s tim u lu s , how ever.
The l i t e r a r y
s e t t i n g may b e s t u d i e d
a n d c o m p a r e d w i t h o t h e r w o r k s b y t h e sa m e a u t h o r . b a c k -d ro p w hich w i l l add to
t h e p e r f o r m a n c e m ay b e d e s i g n e d
a n d made b y t h e m e m b e r s o f t h e a r t d e p a r t m e n t . av erag e e le m e n tary c a n ta ta has
f o r t y - f i v e m in u tes.
The
th e p e rfo rm an c e tim e o f
tw en ty m in u te s, w h ile th e average c a n ta ta is
Because o f t h i s
it
f o r h ig h is
schools
necessary
t o a d d a few n u m b e rs t o t h e p ro g ra m t o g i v e i t len g th .
A
su fficien t
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 may h a v e an
o p p o r tu n ity to p e rfo rm .
T he d r a m a t i c d e p a r t m e n t m a y b e
c a l l e d upon to c o n t r i b u t e a r e a d i n g o r o n e - a c t p l a y w hich w ill f i t
w i t h t h e g e n e r a l them e o f t h e c a n t a t a .
S olo
sin g in g
in th e c a n t a t a .
If
an o r g a n iz a tio n
in clud es
some e s p e c i a l l y t a l e n t e d c h i l d r e n who a r e c a p a b l e
o f doing
so lo work,
sung a s a s o lo . h a s no s o l o i s t s group s o lo .
If,
i s u s u a l l y a so n g w h i c h may b e
on t h e o t h e r h a n d ,
S p e c i a l g r o u p s may b e c h o s e n , s ix th grade g i r l s .
a n d v a r i e t y m ay b e a d d e d t o
p ro d u ctio n .
th e o rg an izatio n
t h e p r o d u c t i o n m ay b e e n r i c h e d w i t h t h e
b o y s’ chorus o r th e v ita lity
th ere
such as a
By t h e s e m e th o d s ,
the o th e rw ise
staid
70 C o n clu sio n *
B ecause o f th e amount o f tim e
n e c e s s a r y for- r e h e a r s a l o f th e d r a m a tic p a r t s o p eretta, v alu e
th e w r i t e r b e lie v e s
than
th e o p e r e tta to
f o r m usic l e a r n i n g .
p u b lic
pro d u ctio n ,
th a t th e c a n ta ta
but a t
is
o f more
th e m usic t e a c h e r a s a s t i m u l u s
T h e c h i l d r e n may r e c e i v e
m ent from th e p e rfo rm a n c e ,
of th e
the t h r i l l the
th e en jo y
of p a rtic ip a tio n
in
same t i m e t h e y w i l l h a v e
m ore m u s i c a l t r a i n i n g an d more m u s i c a l e x p e r i e n c e s fro m th e
stu d y o f the c a n ta ta
than
t h e y r e c e i v e i n many o f
th e o th e r ty p es o f p ro d u c tio n s . T h e c a n t a t a may b e p e r f o r m e d b y a l a r g e g r o u p o f c h ild ren ,
a n d e v e r y c h i l d who s o d e s i r e s m ay p a r t i c i p a t e .
C h ild re n need n o t be h ig h ly tr a i n e d m u sician s p a rt in
the p ro d u ctio n of a c a n ta ta ,
and,
to take
th erefo re,
it
m ay b e u s e d b y t h e t e a c h e r f o r a c t i v i t y t h r o u g h o u t t h e ele m e n tary sc h o o l. c h ild ren
It
does n o t r e q u ir e a p ick ed group o f
who a r e m u s i c a l l y m o r e t a l e n t e d VI.
than
o th ers.
THE RADIO PROGRAM
More a n d m o re t h e r a d i o a n d t h e r a d i o p r o g r a m s h a v e become a p a r t o f t h e
school a c t i v i t i e s .
n e w e r a n d more m odern s c h o o l s h a v e i n s t a l l e d t h e i r m usic room s a s p a r t o f t h e i r C h i l d r e n 1s b r o a d c a s t s . sta tio n s
som etim es h a v e
Many o f t h e rad io s
in
r e g u l a r eq u ip m en t.
In la r g e r c i t i e s
th e rad io
s p e c ia l days fo r c h ild re n * s
71 b ro ad casts, ch ild ren ,
u s in g n o t o n ly m usic e s p e c i a l l y p r e p a r e d f o r
b u t th e m usic p e rfo rm ed b y th e c h i l d r e n
th em selv es. in cen tiv e
In
such c ase s
to th e
t h e r a d i o m ay b e c o m e a n
o rg a n iz a tio n s of th e
sch o o l.
The
i n d i v i d u a l s o r g r o u p s who p e r f o r m r e c e i v e a s t i m u l u s fo r m usical p e rfe c tio n In a d d itio n
as
th ey a cq u ire
The s c h o o l 1s r a d i o
th ey p rep are f o r a b ro a d c a s t. the
tech n iq u es o f b ro a d c a stin g .
aud ien ce r e c e iv e s
m ore a c t i v e l i s t e n i n g
the
stim u lu s o f a
fo r th ey f e e l a p rid e in
th e group
p erfo rm in g and e n jo y t h e i r ach iev em en t. M ythical b r o a d c a s ts .
The t e c h n i q u e s o f b r o a d c a s t
i n g may be u s e d f o r room p r o g r a m s ,
o r assem b ly program s.
T h is w i l l be d is c u s s e d under th o se h e a d in g s. C o n clu sio n .
The r a d i o
i s an a i d
e d u ca to r th ro u g h the a c t iv e
liste n in g
the c h ild r e n .
to h e r b e c a u se
p erfectio n
It
is
an a i d
it
to t h e m usic stim u lates it
In
stim u la tes
o f perform ance. V II.
THE CONCERT
U n d e r t h e t e r m c o n c e r t two t y p e s o f p e r f o r m a n c e s are included.
The f i r s t
is
th e c o n c e rt f o r c iv ic
o r g a n i z a t i o n s — th e R o ta ry C lub, B u s i n e s s M e nf s C l u b .
t h e Woman1 s C l u b ,
and th e
The s e c o n d t y p e o f c o n c e r t i s t h e
e v en in g o r a f t e r n o o n o f m usic sp o n so red b y th e
sch o o l.
72 Program s f o r c i v i c c iv ic to
o rg an izatio n s.
The v a r i o u s
c l u b s o f a c i t y a r e m any a n d t h e y s h o u l d f e e l f r e e
c a l l upon t h e
en tertain m en t.
sc h o o l m usic d e p a rtm e n t to a sk f o r T his i s
a c h a l le n g e t o t h e m usic t e a c h e r
and an o p p o r t u n i t y w hich sh o u ld n o t be i g n o r e d .
M a r k H.
H i n d s l e y r e m a r k s , ^ P l a y i n g f o r com m unity a f f a i r s
is a
p r i v i l e g e as w ell a s an o b l ig a t io n ,
so lo n g a s i t
does
n o t become b u r d e n s o m e .* ^ A h a l f h o u r* s program g iv e n to a c i v i c tio n i s for
c e rta in ly a co n cert.
th is
o rg an iza
The n u m b er o f c h i l d r e n u s e d
ty p e o f c o n c e r t i s a p t t o be a s m a ll e r g ro u p
th a n w ould be p r e s e n t e d i n a n y o t h e r ty p e o f p r o d u c t i o n . The o p p o r t u n i t y f o r p e r f o r m a n c e i s an i n c e n t i v e t o t h e c h i l d r e n c h o s e n , and an i n c e n t i v e t h a t t h e y m ay b e c h o s e n a t
to
o th e rs in th e hope
some f u t u r e d a t e .
T his
in c e n ti v e h a s n o t been m entioned in c o n n e c tio n w ith o th e r ty p es of p ro d u c tio n s. th at
It
is
the b e l i e f o f th e w r i t e r
t h e c h o i c e o f o n l y a few c h i l d r e n
f o r perform ance in
th e o th e r p u b lic p ro d u ctio n s d isc u sse d i s
to be a v o id e d .
F o r a l l o t h e r ty p e s p r e v i o u s l y d is c u s s e d an u n l im i te d n u m b e r o f c h i l d r e n m ay b e u s e d , d esire
a n d a l l c h i l d r e n who
to tak e p a rt in a p u b lic p ro d u ctio n
should have
® M a r k H. H i n d s l e y , S c h o o l B a n d 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 a n d H a w k e s , L t d . , 1 9 4 0 ) , p. 94.
73 t h e o p p o r t u n i t y to do s o .
The o n l y r e a s o n t h e w r i t e r
w ould a d v i s e a s m a l l e r g ro u p f o r t h e the c iv ic
o rg an izatio n s is
lu n ch eo n c l u b s ,
t h a t u s u a lly the
o r sm all a fte rn o o n
m eetin g h a l l s a r e n o t as la r g e as Because o f a v a i la b l e
c o n c e rt given f o r
space,
the
clu b s, th e
clu b s a re
and t h e i r
school au d ito riu m s.
sm a lle r m usical o rg a n iz a
tio n s a re u s u a lly giv en th e o p p o rtu n ity f o r perform ance. These o r g a n iz a tio n s trio ,
th e s t r i n g
in clu d e the b o y s1 q u a r te t,
q u artet,
the b ra s s
c h o ir,
the g i r l s T
the re e d group,
and th e sc h o o l s o l o i s t s . The m ain v a l u e rela tio n sh ip
of th is
type o f perform ance i s
e s t a b l i s h e d betw een t h e
s c h o o l m usic d e p a r t m e n t .
com m unity and t h e
These c o n c e rts a re
w i l l 11 c o n c e r t s g i v e n b y t h e
th e
the
ug o o d -
school m u sician s.
The e v e n i n g c o n c e r t .
The o t h e r t y p e o f c o n c e r t i s
th e ev en in g o f m usic g iv e n by th e
school o rg a n iz a tio n s.
T h e c o n c e r t may b e m u s i c b y o n e o r g a n i z a t i o n w i t h t h e assistan ce
o f a s o l o i s t o r an o th er o rg a n iz a tio n ,
or i t
may i n c l u d e two o r t h r e e o r g a n i z a t i o n s w i t h s o l o s g r o u p e d betw een t h e en sem b le n u m b ers. ty p e o f p r o d u c tio n and b e t t e r le v e l than to
T his i s su ited
a m ore f o r m a l
to th e h ig h school
th e elem en tary school as i t
lack s
the
s t i m u l u s o f c o stu m e an d show m anship p r o v i d e d b y t h e o t h e r t y p e s o f p r o d u c t i o n w h i c h h a v e s o m uch a p p e a l t o
74 th e younger c h ild . The a u d i e n c e i s
lik e ly
to be a m u s ic a l g ro u p
i n t e r e s t e d p r i m a r i l y in h e a r i n g m usic r a t h e r a show,
and,
th erefo re,
p erfectio n
p ro du ctio n s
seeing
o f m usic m ust be
a ch iev ed to a g r e a t e r deg ree th an in p ro d u ctio n s.
than
the o th e r ty p e s of
T h i s s t a t e m e n t d o e s n o t mean t h a t o t h e r should n o t be perform ed to
m usical a b i l i t y
th e b e s t p o s s ib le
of the c h ild re n , b u t because
the a t t e n t i o n
o f th e a u d ie n c e i s n o t d e t r a c t e d b y costum ing and a c t i o n , m ore a t t e n t i o n
is
C o n clu sio n . every y ear in
given
to
th e a c tu a l m usical perform ance.
A concert
sh ould be given a t
the h ig h sch o o l.
I t m ay b e i n
th e form o f
a m u sical v e sp ers,
a m u sical te a ,
o rch estra
o r an e v e n in g o f c h o r a l m u s ic .
co n cert,
should fo llo w th e r u l e s
lea st
a band c o n c e r t,
o f good program b u i l d i n g ,
an It a n d m ay
be a v e r y e n jo y a b le o c c a sio n f o r p e rfo rm e rs and a u d ie n c e . It
is
an im p o rta n t ty p e o f p e rfo rm an c e f o r i t
a p p e a ls to
t h e m ore m u s i c a l s t u d e n t s a n d t h e m ore m u s i c a l members o f t h e com m unity.
It
e d u c a to r In h i s
aim t o c o n t r i b u t e
o f the
is,
th erefo re,
t o t h e m usic
to th e m usical ed u catio n
c h i l d and t h e com m unity.
V III.
MINSTREL SHOW, VARIETY SHOW, AND CARNIVAL
M a te r ia l chosen f o r th e is
an a i d
som etim es
p ro d u ctio n .
shown b y t h e t e a c h e r a t
G reat d is g u s t
th e thought of g iv in g
75 a m i n s t r e l show, v a r i e t y show, m aterial is
or carn iv al.
o ften used fo r t h i s
th e d is g u s t i s
ju stifie d
type o f p ro d u ctio n
th at
on t h e p a r t o f t h e a d m i n i s t r a
t o r and p a r e n t s a s w e ll a s
teach ers.
T h ere i s no need f o r t h i s , o ften
Such p o o r
and th e m usic e d u c a to r
l o s e s an o p p o r t u n i t y f o r p o p u l a r i z i n g m usic in th e
com m unity b y r e f u s i n g v a rie ty
show,
to g iv e
carn iv al,
such a p ro d u c tio n .
o r m i n s t r e l sh o w m ay b e g i v e n
w ith th e u se o f good m a t e r i a l , and f i n e p e rfo rm a n c e . because
good j o k e s ,
T h e r e i s no r e a s o n
t h e n am e o f t h e p r o d u c t i o n
v ein o f i n t e r e s t .
If
th e
p o ssib le
costum ing,
to l o s e d i g n i t y
in d ic ate s
a lig h te r
t h e d u t y o f th e m usic
to p ro v id e th e v e ry b e s t m in s tr e l
show
f o r them .
C reativ e m in strel
fin e
sc h o o l c h ild r e n and th e
com m unity e n j o y a m i n s t r e l show, e d u cato r i s
The
p o ssib ilitie s
sh o w , v a r i e t y sh o w ,
th e m ost c r e a t i v e o f th e d ialo g u e
of a ll
in
th ese p ro d u c tio n s.
and c a r n i v a l a re p ro b a b ly
th e p ro d u c tio n s.
The c o n t i n u i t y
is u su ally e n tire ly o rig in a l,
j o k e s a r e much b e t t e r
if
and th e
t o l d on l o c a l i n d i v i d u a l s .
dance num bers a r e g e n e r a l l y o r i g i n a l and t h e r e p lac e f o r o r i g in a l m u sical co m p o sitio n s. o f the e n t i r e
The
The
is a
The a t t e n t i o n
s c h o o l a n d c o m m u n i t y m ay b e f o c u s e d u p o n
th e m usic d e p a rtm e n t in i t s show a s u c c e s s .
e n d e a v o r t o m ak e t h e m i n s t r e l
76 A chievem ent p o s s i b l e v a rie ty to
thro u g h th e m in s tr e l
show, and c a r n i v a l .
t h e m i n s t r e l show,
carn iv al,
m u s i c e d u c a t o r may b e a b l e th ro u g h t h i s co n cert.
I f a com m unity i s
to ach iev e h i s
type o f e n te rta in m e n ts
A m usic t e a c h e r ,
a d ip lo m at.
who i s
g o als b e t t e r through th e
carn iv al.
the
com m unity w h ic h i s
i f he r a i s e s
Through th e m i n s t r e l to g ain
the co n fid en ce
the
stan d ard of th e
o th e r types o f
w i l l be a s s u r e d .
N ot o n ly w i l l a m usic t e a c h e r g a in t h e t h e com m unity b y su c h a p r o d u c t i o n ,
be e n t i r e l y u n a b le a P a lestrin a show,
support,
th e
of course,
C h i l d r e n m ay h a v e t h e
to produce a f in e v a r i e t y
sh ow , b u t
to g r a s p t h e m eaning and d e l i c a c y o f
o r Bach c h o r a l . th e
support of
b u t she w ill, g a in
W ith o u t t h i s
th e m usic d e p a rtm e n t c a n n o t e x i s t . m usical c a p a b i l i t i e s
is
o f t h e c o m m u n i t y a n d when
com m unity c o o p e r a t i o n
support of th e c h ild re n .
He
show a n d c a r n i v a l i t
i s d e s i r e d t o p r e s e n t some o f t h e
p ro d u ctio n s,
aim s i f h e t r i e s
the c a r n iv a l type o f e n te rta in m e n t.
w i l l su c ce ed , how ever,
v a rie ty
th e
a m usic e d u c a to r , m ust be
He w i l l n o t s u c c e e d i n h i s
accustom ed to
it
sh o w ,
p r o d u c t i o n more t h a n a n y
to produce a m u sica l v e sp e rs in
p o ssib le
than
accustom ed
B o th th e g ro u p s p e rfo rm in g and th e group l i s t e n
in g w ill p ro b ab ly en jo y t h i s o th er.
or v a rie ty
show.
Through th e
t e a c h e r may b e g i n
stim u lu s o f the
to b u ild and in c r e a s e
th e m u s ic a l know ledge and e x p e r i e n c e s o f th e c h i l d r e n .
77 The c h i l d can l e a r n
j u s t a s much a b o u t t h e
sk ills
of
m u sic from a m i n s t r e l
show a s h e c a n f r o m a n o p e r e t t a ,
can tata,
It
or co n cert.
is
th e m a t e r i a l c h o sen and th e
low s t a n d a r d o f p e r f o r m a n c e t h a t
so o f t e n make t h e
m i n s t r e l s h o w , v a r i e t y sh o w a n d c a r n i v a l c h e a p p r o d u c t i o n s i n s t e a d o f p e r f o r m a n c e s o f charm an d b e a u t y . C o n clu sio n . in d iv id u al
A M usic t e a c h e r n e e d n o t l o w e r h i s
sta n d ard o f m usical id e a ls nor h i s
o f m usical p ro d u c tio n , by g iv in g a m in s tre l the
and tone q u a l i t y
s h o w , v a r i e t y sh o w o r c a r n i v a l .
On
c o n tr a r y th e o r g a n iz a tio n m ust be a b e t t e r o r g a n iz a
tio n
t o p r o d u c e e f f e c t i v e l y a m i n s t r e l show,
more d i f f i c u l t is
in terp retatio n
stan d ard s
sim ply to
for i t
is
t o b e c l e v e r a n d make p e o p l e l a u g h t h a n
it
s in g to them .
IX.
ASSEMBLY PROGRAM, TALENT HOUR, AND ROOM PROGRAM
W h eth er a p ro g ram be c a l l e d an a s s e m b ly p ro g ra m , a t a l e n t hour,
o r a room p ro g ra m ,
a b o u t th e same,
th e type o f program i s
and th e good d e r i v e d by t h e c h i l d
th e
sam e. The a s s e m b l y p r o g r a m .
Some s c h o o l s y s t e m s h a v e a
r e g u l a r w eekly a ssem b ly program , b o th in th e and h ig h
sch o o ls.
These a r e ,
of course,
elem en tary
n o t alw ays
78 m u s ic a l p ro g ram s, b u t u s u a l l y th e m usic d e p a rtm e n t assum es m ost o f th e r e s p o n s i b i l i t y f o r th e gram s. m usic
T here i s
su c ce ss of the p ro
a golden o p p o r tu n ity a v a i la b l e
t e a c h e r to prom ote th e a s s e m b ly s i n g .
schools
the assem b ly sin g i s
program .
T h is i s
In
fo r the some
a p a rt of the re g u la r
an im p o rta n t typ e o f p u b lic p ro d u c tio n ,
f o r m any c h i l d r e n become a c q u a i n t e d w i t h m u s ic o n l y th ro u g h group s i n g i n g • An a s s e m b l y p r o g r a m may b e p r e p a r e d b y t h e c h i l d r e n f o r the e n te rta in m e n t o f th e o th e r c h ild r e n o r t h e y m ay i n v i t e th e c i t y
of th e
sch o o l,
p r o f e s s i o n a l m u sic ia n s and a r t i s t s
of
t o p e r f o r m on a p r o g r a m w h i c h t h e y a r r a n g e f o r
th e e n ti r e assem b ly . A s s e m b l y p r o g r a m s may u s e t h e c o n t i n u i t y a s a rad io
program d o e s,
and in d e e d c l e v e r a sse m b ly program s
have been p re s e n te d w ith r a d io have a lo u d -sp eak er i n s t a l l e d o t h e r s m ay d r a m a t i z e stim u lu s of a ra d io ing to
th is
tech n iq u es.
Some s c h o o l s
in th e a u d ito riu m , w h ile
situ atio n .
program i s
In
e ith e r case
in te re stin g
the
and e n t e r t a i n
th e au d ie n ce and p e rfo rm ers. The t a l e n t h o u r .
An i n n o v a t i o n
s o m e t i m e s known a s a t a l e n t h o u r , p resen tatio n
i n room p r o g r a m s ,
p r o v id e s a tim e f o r
o f s o lo o r s m a ll g ro u p a c t i v i t i e s w hich a r e
prepared o u tsid e of sch o o l. f o r an a s s e m b ly p ro g ra m ,
A t a l e n t h o u r may b e p r e p a r e d
o r may b e p r e s e n t e d t o a n
79 i n d i v i d u a l room . stim u lu s to
S u ch an h o u r i s an e s p e c i a l l y good A c h i l d who s p e n d s l o n g h o u r s
solo a c t i v i t y .
p racticin g
o f t e n n e v e r h a s an o p p o r t u n i t y to p e rfo rm f o r
h is
stu d en ts.
to
fello w th e
T h ere i s no com plim ent so p l e a s i n g
e a r s o f a young m u sic ia n a s
a classm ate. m ents a r e
C h ild ren a re
sin cere,
the h o n e st p r a is e
so h o n e s t t h a t
fo r ch ild ren
tac t.
stim u lu s
t h e young s o l o i s t and h i s
to
The d e s i r e
t h e i r com pli
do n o t f l a t t e r
have l i t t l e
to
from
win a c c l a i m
is
and th e y a great
perform ance w i l l
s p u r h im on t o g r e a t e r a c h i e v e m e n t . The room p r o g r a m . b y one room a n d p r e s e n t e d
A r o o m p r o g r a m may b e p r e p a r e d to a n o t h e r room ,
p r e p a r e d b y a room t o p r e s e n t O ften g r e a t le a r n in g i s tio n
o r m ay b e
to t h e i r p a r e n t s . achieved in th e p r e s e n ta
o f a p ro g ram b y one g r a d e t o a n o t h e r .
In
the
e x p e r i e n c e o f t h e w r i t e r o n e s i x t h g r a d e was s p u r r e d t o m usic r e a d i n g by l i s t e n i n g from a second g r a d e , a b ility
to a d e m o n stra tio n program
w h il e t h e . s e c o n d g r a d e a c h i e v e d an
f a r g r e a t e r th an norm al because o f th e in c e n tiv e
o f perform ing the d e m o n s tra tio n . C o n clu sio n .
In th e o p in io n
of the w r i t e r ,
th e
a s s e m b l y p r o g r a m , room p ro g ra m , a n d t a l e n t h o u r a r e im p o rtan t ty p es of p u b lic
p ro d u ctio n s.
d i r e c t r e s u l t o f classroom a c t i v i t y .
U su ally they a re a They a r e added
80 stim u latio n
for
le a r n in g and a r e pro d u ced w ith o u t c o s t
and e x tr a r e h e a r s a l* X. In
some o f t h e
INCIDENTAL MUSIC sm aller schools th e
f o r th e o r c h e s t r a and band to p ro v id in g i n c i d e n t a l m usic.
o n ly o p p o rtu n ity
p e r f o r m i s when t h e y a r e They a re n e v e r a llo w ed to
p r e s e n t a p r o g r a m o f t h e i r o w n.
The o r c h e s t r a p r o v i d e s
c o n v e r s a tio n m usic b e f o r e a p la y o r d e b a te , band p la y s m arches to h e lp th e f o o t b a l l
w hile th e
te a m win t h e i r
game. Im p o rtan ce o f t h i s m usic i s
type o f p erfo rm an ce.
v ery im portant fo r th e
success of th e o th er
s c h o o l a c t i v i t i e s — d e b a tin g team , f o o t b a l l team .
In cid e n ta l
school p lay s,
W hile th e m u s ic a l o r g a n i z a t i o n s
and should
have the o p p o rtu n ity o f p re s e n tin g perform ances of t h e i r own a s h a s b e e n d i s c u s s e d should a ls o to
p re v io u sly in
th is
welcome t h e o p p o r t u n i t y t o g i v e
study,
th ey
co o p eratio n
the o th e r school d e p artm e n ts. As f a r a s t h e m u s i c a l t r a i n i n g
of th e c h ild
is
c o n c e rn e d , h i s p e rfo rm a n c e a b i l i t y m ust be a s s k i l l e d for
th is
typ e o f perform ance as i t
is
fo r any o th e r.
The
g ro u p s o f num bers p la y e d by th e o r c h e s t r a a t a c l a s s
p lay
r e q u i r e w eeks o f work an d r e h e a r s a l b y t h a t o r g a n i z a t i o n . A perform ance o f th e band d u rin g
t h e f o o t b a l l game i s
81 c e r t a i n l y n o t t h e m ain a t t r a c t i o n , fu n ctio n band i s
but
it
is a necessary
o f t h e band and m ust be a good p e rfo rm a n c e . so i m p o r t a n t to t h e f o o t b a l l
H indsley say s, a th letic
The
t e a m t h a t M a r k H*
**The b a n d i s d e f i n i t e l y a p a r t o f m a n y
e v e n t s . 1’^
S o lo s o r sm all ensem bles o f te n have th e o p p o r t u n it y o f p e rf o r m in g betw een th e a c t s o f t h e p l a y .
S om etim es a
s m a ll ensem ble i s a sk e d to h e l p add v a r i e t y to o r d e m o n s tra tio n given b y a d u l t s C o n clu sio n .
c h e e rfu l coo p eratio n
and should be giv en w ith
o f th e m usic d e p a rtm e n t.
o p p o r t u n it i e s o f perform ance a re c h ild ren ,
o f t h e com m unity.
I n c i d e n t a l m usic i s n e c e s s a r y f o r t h e
success of o th er p ro d u ctio n s, the
a lec tu re
in c e n tiv e s to
The
the
a n d s h o u l d b e c a p i t a l i z e d on b y t h e m u s i c
e d u ca to r. X I.
GENERAL CONCLUSIONS
B e c a u se o f t h e w ide v a r i e t y o f p u b l i c av aila b le,
a s c h o o l sy stem sh o u ld n e v e r want f o r a p r o
d u ctio n because of la c k of v o ic e s, num bers. situ atio n ,
pro d uctio n s
in stru m en ts,
or
T h ere i s a ty p e f o r e v e r y sc h o o l and e v e r y and ev ery sc h o o l sh o u ld g iv e th e c h il d r e n and
t h e com m unity th e s t i m u l u s o f p u b l i c
6 I b id . . p.
93
p ro d u ctio n s in
the
82
m usic d e p a r tm e n t. The e n t i r e m u s i c a l e d u c a t i o n p r o g r a m s h o u l d b e developed f o r th e b e n e f it o f the c h il d . f o r g o t te n by the t e a c h e r . ^F undam entally,
T h is i s
som etim es
M iss J o s e p h in e M urray s t a t e s ;
program s sh o u ld be d ev elo p ed f o r th e
b e n e f it o f the c h ild re n , p a re n ts .A g a in
not fo r th e b e n e fit of the
she says;
The g r e a t e s t v a l u e o f t h e p r o g r a m i s t h e . c r e a t i v e w ork t h e c h i l d r e n p u t i n t o i t ; and t h i s n e ed be c a r r i e d o n ly to t h a t s ta n d a r d o f p e r f e c t i o n w hich i s s a t i s f y i n g t o th e c h i l d r e n . T e a c h e r s who i n s i s t u p o n t h e p e r f e c t i o n form ance a re
som etim es a p t to
d ev elo p in g p e r f e c tio n ,
of per
sp e n d t o o much t im e
when t h e h o u r s h a d b e t t e r b e
spent
o b t a i n i n g more m u s i c a l e x p e r i e n c e s . Perform ances a r e a s tim u la tio n and an in c e n tiv e th e
stu d e n t,
and t h u s t h e y a r e an a i d i n h e l p i n g
m usic e d u c a to r a t t a i n
h is g o a ls.
to
the
Mark H. H i n d s l e y
rem arked; The work o f a m u s i c a l o r g a n i z a t i o n c a n n o t w e l l b e g in an d end in t h e r e h e a r s a l room. A m usical g r o u p t h r i v e s on p e r f o r m a n c e . A r e a s o n a b l e number o f perform ances s c a tte r e d ev en ly th ro u g h o u t th e school year i s e s s e n t ia l f o r s tim u la tin g the p ro g r e s s o f th e i n s t r u m e n t a l m usic d e p a r t m e n t . 9
7 J o s e p h i n e M u r r a y a n d E f f i e G. B a t h u r s t , C r e a t i v e Ways f o r C h i l d r e n 1s P r o g r a m s (New Y o r k ; S i l v e r B u r d e t t Company, 1 9 3 9 ) , p . 1 7 4 . 8 I b id . . p. H in d sley ,
205. o jd
.
c i t ..
p.
93
W h at I s is,
of course,
t r u e o f one p a r t
o f th e m usic d e p a rtm e n t
tru e o f the o th e r,
a n d w h a t w i l l b e a n ’a i d
to th e in s tru m e n ta l d ep artm en t w i l l , v o c a l d epartm ent, jo in
f o r in a p u b lic
to g e th e r fo r the
of course,
p roduction
su ccess o f the
a id
the
th ey m ust
e n tertain m en t.
CHAPTER VII SUMMARY AND RECOMMENDATIONS T h is stu d y h as a tte m p te d to prove t h a t p u b lic p r o d u c t i o n s may b e a n a i d te a c h in g o f m usic in
to t h e m usic e d u c a t o r in t h e
the p u b lic
sch o o ls.
The p r o b le m s c o n s i d e r e d w ere (1) sp ecific
aim s o f th e m u sic e d u c a t o r ,
o f p u b lic
pro d u ction s
to th e s e aim s,
of p u b lic
p ro d u c tio n s in
t h e g e n e r a l and
(2)
th e r e la tio n s h ip
(3)
th e w eaknesses
the sch o o l system s,
ty p es o f perform ances p o s s ib le
and (4)
the
and s u g g e s te d m ethods f o r
t h e i r p ro d u ctio n . I m p o r t a n c e was g i v e n t o
the
stu d y by th e la c k of
a v a i l a b l e m a t e r i a l w hich d i s c u s s e s a l l p r o d u c tio n s and t h e i r use in a id in g
types of p u b lic
th e m usic
ed u cato r.
The a im s o f t h e m u s i c e d u c a t o r a r e t o d e v e l o p i n the c h ild ,
t h e com m unity and t h e
s c h o o l an a p p r e c i a t i o n
o f m usic th ro u g h lo v e and i n t e l l i g e n t u n d e r s t a n d i n g . T h r o u g h m u s i c , a l s o , h e may d e v e l o p c i t i z e n s h i p — s o c i a l rela tio n sh ip s,
w orthy u se o f l e i s u r e
ph y sical w ell-b ein g , v o catio n al tra in in g . h is
tim e and h e a l t h —
and be g iv en p r e - v o c a t i o n a l and T h e m u s i c e d u c a t o r m ay b e a i d e d i n
e f f o r t s by th e use of p u b lic p ro d u c tio n s . Th e p u r p o s e o f p u b l i c m u s i c a l p e r f o r m a n c e I s
85 th ree-fo ld s c ia l.
(l)
so cial,
(2)
p ro fessio n al,
A m u sic a l perform ance by a c h ild
ap p re cia tio n and h e lp s
o f m usic,
a n d (5)
fin an
i s an a i d
to h i s
d evelops h i s perform ance s k i l l ,
to dev elo p h i s
creativ e a b ility .
A p u b l i c p r o d u c t i o n m ay b e u s e d a s a m o t i v a t i n g power an d s t i m u l u s to w a rd l e a r n i n g f o r t h e c h i l d a s w e l l a s a s tim u lu s tow ard b e t t e r Through p u b l ic in te reste d
in
pro d uctio n s
teach in g f o r the
th e a c t i v i t i e s
c o m m u n i t y may b e c o m e m o r e
o f the
may c o o p e r a t e w i t h t h e a c t i v i t i e s
sc h o o l and th e s c h o o l
o f t h e com m unity.
p u b l i c p e r f o r m a n c e may a l s o b e u t i l i z e d
sc h o o l system a s w e ll as w ith in of th e
school
the
w ith in
the
in d iv id u a l classro o m .
sy stem som etim es d e te r m in e s
th e type o f p ro d u c tio n p o s s ib le , b u t th e r e i s su itab le
A
as a pow erful
fa c to r of in te r-d e p a rtm e n ta l co o p eratio n
The s i z e
the i n s t r u c t o r .
a type
f o r each s it u a ti o n .
In the case a g a in s t p u b lic p ro d u c tio n s
th ere are
t h r e e m a i n g r o u p s who s o m e t i m e v o i c e o b j e c t i o n s : (1)
ad m in istrato rs,
(2)
p aren ts,
and
(3)
teach ers.
T h eir
c r i t i c i s m s m ay b e c l a s s e d u n d e r t h r e e g e n e r a l h e a d i n g s : (a) is
p u b lic p ro d u c tio n s a re too c o s tly , s p e n t away from o t h e r a c t i v i t i e s
p erio d s,
and (c)
d ev elo p in g It
(b)
d u rin g re h e a r s a l
t o o m uch t e a c h e r e f f o r t
t a l e n t s among a f e w c h i l d r e n . i s recom m ended t h a t :
t o o m uch t i m e
is
sp e n t in
86
1*
It
is
p o ssib le
to produce a m u sica l p erform
a n c e on a b u s i n e s s - l i k e b a s i s ,
thus e lim in a tin g
the
w orry o f t h e a d m i n i s t r a t o r s a b o u t f i n a n c e . 2.
It
is d esirab le
as a stim u la tio n thus
to u se
the p u b lic perform ance
fo r o r cu lm in atio n
e lim in a tin g the se p a ra tio n
o f a ion i t
of stu d y ,
o f m usic from o t h e r
cla ssro o m a c t i v i t i e s . 3.
It
is
s t r o n g l y recom mended t h a t p e r f o r m a n c e s
and m a t e r i a l s be chosen w hich w i l l e n a b le s tu d e n t body to p a r t i c i p a t e tim e d u r in g It th e
th e e n t i r e
in a p u b lic p ro duction
some
each y e a r.
is
recom mended t h a t g r e a t a t t e n t i o n b e g i v e n
se lec tio n
of m a te ria l fo r p ro du ctio n ,
to
the arrangem ent
o f t h e m a t e r i a l on t h e p r o g r a m , a n d t h e a r r a n g e m e n t o f the p r in te d
program .
The l e n g t h o f t h e p r o g r a m a n d t h e
h o u r o f perform ance a re a ls o
ite m s w hich m ust be
c o n s id e r e d by th e m usic e d u c a to r f o r a s u c c e s s f u l p ro d u ctio n • The t y p e s o f p r o d u c t i o n s d i s c u s s e d i n In clu d e d the fo llo w in g : co m p etitio n ; opera;
the
th e f e s t iv a l,
co n te st;
the c a n ta ta ;
th is
stu d y
n o n - c o m p e titiv e and
th e p ag ean t;
th e o p e re tta
or
th e r a d io program ;
the c o n c e rt;
the
m in stre l
show, v a r i e t y
program ,
t a l e n t h o u r a n d room p ro g r a m ; a n d i n c i d e n t a l
m usic.
show,
and c a r n i v a l ;
th e a ssem b ly
87 Each w e ll- b a la n c e d m usic d e p a rtm e n t h a s v o c a l and i n s t r u m e n t a l w ork and t h e s e t a u g h t from th e It
is
e le m e n ta ry s c h o o l th ro u g h th e h ig h school*
su ggested th a t i t
these
two p h a s e s of* m u s i c a r e
is not p o ssib le
p h a s e s more th a n a n o t h e r a n d s t i l l
w e ll-ro u n d e d m u sic a l ed u catio n * recom m ended h e r e i n activ itie s* to
to
stress
give
T herefore,
one o f
the c h ild a
th e program s
in c lu d e b o th v o c a l and in s t r u m e n t a l
E a c h t y p e was d i s c u s s e d w i t h a t t e n t i o n
th e ch o ice o f m a t e r i a l,
o rg an izatio n ,
o f m u sical group p a r t i c i p a t i n g
and s iz e
given
costum ing,
size
o f s c h o o l system ,
and o p p o r t u n it y f o r c o o r d in a tio n and c o o p e r a tio n w ith th e rest
of th e
s c h o o l a n d t h e comm unity*
T hrough th e sh o w t h a t t h e
e n tire
s t u d y a n a t t e m p t was made t o
c h ild and h i s le a rn in g a re
co n sid eratio n *
The c h i e f d u t y o f a l l
h e lp th e c h ild
t o grow and e n jo y l i f e
e x te n t.
ed u cato rs to
is
to
the f u l l e s t
The c h i l d c a n do so b y l e a r n i n g a n d i t h a s b e e n
th e aim o f t h e w r i t e r m usic,
of f i r s t
to prove t h a t
in
th e m usic e d u c a to r can be a id e d
of p u b lic
p ro d u ctio n s
th e f-ield of through th e use
t o a c c o m p l i s h h i s aim s*
BIBLIOGRAPHY
BIBLIOGRAPHY A.
BOOKS
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D a v is o n , A r c h i b a l d T . , M usic E d u c a ti o n i n A m e ric a . New Y o r k ; H a r p e r B r o t h e r s P u b l i s h i n g C o m p a n y , 1 9 2 6 . 244 p p • D en sm o re, F r a n c e s , The A m e ric a n I n d i a n a n d T h e i r M u s i c . New Y o r k ; T h e Woman1s P r e s s , 1 9 2 6 . 1 5 0 pp* D r i v e r , Ann, M usic and M ovem ent. P r e s s , 1938. 122 pp.
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E a to n , A l l e n H e n d e r s h a t t , Im m ig ran t G i f t s t o A m erican L i f e . New Y o r k : R u s s e l S a g e F o u n d a t i o n , 1 9 3 2 . 185 p p . F o w l e r , W i l l i a m W a r d e , T h e Roman F e s t i v a l s o f t h e P e r i o d of th e R ep u b lic. New Y o r k : M a c m i l l a n anc[ C o m p an y, t t d . , 1908. 373 p p . Fox,
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91 G e h r i n g , A l b e r t , T he B a s i s o f M u s i c a l P l e a s u r e , Putnam ’ s S o n s, 1910, 169-196 pp.
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G ra n t, M arcel, F e s t i v a l s and Songs o f A n c ien t C h in a , New Y o r k : B . P . B u t t o n a n d C o m p a n y , 1 9 3 2 . 281 p p . H a r t m a n , G e r t r u d e , a n d Ann S c h u m a k e r , C r e a t i v e E x p r e s s i o n . New Y o r k ; T h e J o h n D a y C o m p a n y , E d ited f o r th e P ro g re s s iv e E d u catio n A s s o c ia tio n , 1936, 330 p p . H i n d s l e y , Mark H . , S c h o o l Band a n d O r c h e s t r a Adm ini s t r a t i o n . New Y o r k ; B o o s e y a n d H a w k e s , L t d . , 1 9 4 0 . H o f e r , M arie R u e f, S e a s o n a l F e s t i v a l s and P a g e a n t s . C h i c a g o ; C l a y t o n F . Summy C o m p a n y , 1 9 1 6 . v i i i 9-28 pp. The C h i l d ’ s W o rld P l a y g r o u n d S e r i e s , H u b b a rd , G eorge E . , M usic T e a c h in g i n t h e E le m e n t a r y G r a d e s . New Y o r k : A m e r i c a n B o o k C o m pany , 1 9 3 4 , 228 p p . H u n t , E r n e s t H . , The L i v i n g T o u ch i n M usic a n d E d u c a t i o n . New Y o r k : E . P . D u t t o n a n d C o m p a n y , 1 9 2 4 . J a q u e s - B a lc ro z e , E m ile, B u ry th m ic s. A r t, and E d u c a tio n . T r a n s l a t e d from F r e n c h by F r e d e r i c k R o th w e ll. New Y o rk : A. S . B a r n e s a n d Company, 1 9 3 1 . 265 p p . L i n c o l n , J . E . C . , The F e s t i v a l B o o k . B a r n e s a n d Company, 1 9 1 2 . 74 pp. L i n n e l l , A d e l a i d e , The S c h o o l F e s t i v a l . S c r i b n e r ’ s Sons, 1931. 124 p p .
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M o h le r, L o u i s , T e a c h in g M usic from an 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 m p a n y , 1 9 2 7 . 159 p p . M u r r a y , J o s e p h i n e , a n d E f f i e G. B a t h h u r s t , C r e a t i v e Ways f o r C h i l d r e n * s P r o g r a m s . New Y o r k ; S i l v e r B u r d e t t Company, 1 9 3 8 . 396 p p . M u r s e l l , J a m e s L . , Human V a l u e s i n M u s i c E d u c a t i o n . Y o r k : S i l v e r B u r d e t t Company, 1 9 3 4 . 388 p p .
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93 W r ig h t, F r a n c e s , and L a v e rn a L o s i n g , Song S o u rc e M a t e r i a l f o r t h e A c t i v i t y C u r r i c u l u m * New Y o r k : B u r e a u o f P u b l i c a t i o n s , T e a c h e r * s C o l l e g e , C olum bia U n i v e r s i t y , 1932. 238 p p . B.
PERIODICAL ARTICLES
Anonymous, “The S c h o o l O r c h e s t r a a s T r a i n i n g f o r C i t i z e n s h i p , w P u b lic S ch o o l M u sician B u l l e t i n . l : 6 f f , June, 1925. A d l e r , M o r t i m e r J e r o m e , “M u s i c A p p r e c i a t i o n , 11 A r c h i v e s o f P sy ch o lo g y . 17 s2-75, 1929. B a l d w i n , B i r d T . , ffT h e Y o u n g C h i l d , “ A m e r i c a n L i b r a r y A s s o c i a t i o n . 1928. B o e p p l e . P . . “M u s i c i n M o d e r n E d u c a t i o n . 11 S c h o o l a n d Home, 1 4 : 2 9 - 3 0 , May, 1 9 3 1 . B r i g g s , T h o m a s , “A Layman L i s t e n s t o M u s i c i a n s , rt Y e a r b o o k M usic S u p e r v i s o r s N a t i o n a l C o n f e r e n c e . 1 9 3 3 . Pp. 3641. C h e y e t t e , I r v i n g , flT e a c h i n g I n s t r u m e n t a l M u s i c i n t h e P u b l i c S c h o o l s , ” E d u c a t i o n . LIV ( O c t o b e r , 1 9 3 3 ) 7 4 - 7 8 . C o l e m a n , S a t i s N . , “ T h e P r o g r e s s o f t h e M o v e m en t o f C r e a t i v e M u sic i n t h e S c h o o l s , ” S c h o o l M u s i c . XXXII, S eptem ber, O c to b er, 1933, 3 -6 . E a g l e r , G r a n v i l l e , “O ur A m erican M u s i c , ” J o u r n a l o f t h e N a t i o n a l E d u c a t i o n A s s o c i a t i o n . XXVII. N ovem ber. 1 9 3 8 . 232-234. H e n d r i c k s o n , V e lm a W . , “E n r i c h i n g t h e S c h o o l M u s i c P r o g r a m w i t h C r e a t i v e M u s i c , ” M usic E d u c a t o r * s J o u r n a l . X X III. S eptem ber, 1936, 31-33. M cC onathy, O s b o r n e , “i s H ig h S c h o o l M usic M aking P r o g r e s s ? ” Y e a rb o o k M usic S u p e r v i s o r s N a t i o n a l C o n f e r e n c e . 1932, pp. 12-20. M o r g a n , R u s s e l l V . , “A C h a l l e n g e t o M u s i c E d u c a t i o n , ” Y e a rb o o k M usic S u p e r v i s o r s N a t i o n a l C o n f e r e n c e . 1932, pp. 12-20.
94 O t t e r s t e i n , A d o l p h W . , J r . , MM u s i c i n t h e A c t i v i t y P r d g r a m , ” M u s i c E d u c a t o r s J o u r n a l . XXIV, F e b r u a r y , 1 9 3 8 , 2 5 - 2 7 * P e r h a m , B e a t r i c e , a n d B l a n c h e K e n t , nM u s i c i n t h e P r i m a r y G r a d e s , ” A s s o c i a t i o n f o r C h i l d h o o d E d u c a t i o n . May, 1935, R e s e a r c h B u l l e t i n , ltM u s i c S u p e r v i s i o n i n t h e P u b l i c S c h o o l s , ” M usic E d u c a t o r s N a t i o n a l C o n f e r e n c e . No. 1 8 , 1 9 3 6 , p . 10. T h o m a s , A r t h u r D . , ”M u s i c i n a M i c h i g a n P r i s o n , ” E d u c a t i o n a l M usic M a g a z in e , M a r c h - A p r i l , 1 9 4 2 , p . 3 0 . C.
UNPUBLISHED MATERIALS
H i r t , C h a rle s C a r e lto n , ^C om parative P u p il I n t e r e s t in E l e c t i v e M usic C o u r s e s i n a J u n i o r a n d S e n i o r H ig h S c h o o l.” U npublished M aster* s t h e s i s , U n iv e r s ity o f S o u th e rn C a l i f o r n i a , Los A n g e le s , 1939. N o r t o n , Alm a M a r g a r e t , wM e t h o d s o f T e a c h i n g S i g h t - s i n g i n g i n E le m e n ta r y an d J u n i o r H igh S c h o o ls . U np ub lish ed M aster*s t h e s i s , U n iv e rs ity o f S outhern C a li f o r n ia , Los A n g e le s , 19 3 9 . S t r o n g , A u d r e L e w i s , !,R e l a t i o n o f M u s i c a s T a u g h t i n J u n i o r C o lleg e to C e rta in L e is u re -tim e A c t i v i t i e s o f S t u d e n t s . ” U npublished M a ste r* s t h e s i s , U n i v e r s ity o f S o u th e rn C a l i f o r n i a , Los A n g e le s , 1935. D.
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B r a d l e y , E d w a r d a n d Don W i l s o n , T u n e I n . F isch er. $ 1 .5 0 .
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95 _________, An O l d S p a n i s h C u s t o m . H offm an P u b l i s h i n g Company. _________ , C a r r i e Comes t o C o l l e g e . M u sic Company. $ 1 .2 5 .
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The M ik a d o . $ 2 .0 0 and up. . P in afo re. $ 2 .0 0 and up.
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_________ , P i r a t e s o f P e n z a n c e . Company. $ 2 .0 0 and up. . R u d digore. $2 .0 0 and up.
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The Goose G i r l .
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New Y o r k s B o o s e y a n d C o m p a n y .
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97 B e n d a l l , The L ady o f S h a l o t t . B o s t o n ; C• C . B i r c h a r d C o m p an y , P i a n o S c o r e , # 7 5 ; v o i c e s c o r e , . 4 0 . C lokey, J o s e p h , P ied P i p e r o f H am lin. B i r c h a r d C o m p a n y .' § 2 . 5 0 . F le tc h er, phia;
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B e l l a i r e , Raymond E a r l , a n d R i c h a r d K o u n t z , T h e W o n d r o u s S to ry . New Y o r k ; M. V v itm a rk & S o n s . .6 0 . C lokey, J o s e p h , C h ild J e s u s . Company. .6 5 .
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