"POPULAR MUSIC."

Auckland Star, Volume 23, Issue 23, 28 January 1926, Page 7

"POPULAR MUSIC."

AND BAD TEACHING. HOW VOICES ARE RUINED. THE ENCORE NUISANCE. (By Telegraph.—Special to " Star."") DUNEDIN, this day. Professional musicians had different opinions about public taste when the foibles of audiences were discussed at their annual conference. It was agreed by everybody that the vulgar inclinations of some of the people who miiko payments "for hall and lighting" possible should nut be pandered to. but tho question was just how to make tho better class of music popular. "I never go to concerts."' said the chairman (Mr. Cooper). The ordinary concert was full of rubbish, he added, with the double infliction of encores. Many of Schubert's songs were very seldom heard, and there were even good singers not familiar vvilh the charming melodies of Robert France. He declared that he had burned hundreds of rubbish "shop ballads" sent to him by Loudon firms, who seemed to think: anything was good enough for New Zealand. Miss Corliss, of AVellington, spoke of: some recitals she had heard in London, and said that she thought a good seliem \ would be to hold occasionally concerts consisting entirely of songs of approved composers. Mr. Harison Cook's idea was thati the higher class of music should be given in "small doses." "I am afraid performers like encores.'' said another member, "and select items that are likely to attract them." The gramophone, it. was admitted, had exercised a great influence for good by cultivating a plowing taste for classical music. It was also stated that many singers sang good compositions in the privacy of their own rooms, but were afraid to give them in publi.. "I don't know what your experience is in other parts of New Zealand." began Mr. Johnson, putting in a word for Dunedin, "but down here a good class of music is appreciated. We do knowSchubert, nnd we do know Robert France, and concerts of this nature* always meet with the best receptions." The president said that the moral of the situation was that musical educn-. tion should begin in the schools. That was the best way to improve publia taste. Discussion had arisen through tha reading of a paper by Mr. Barry Coney (Auckland) on "The Requisite Qualities of a Good Singer."' Though the saying that singers were horn not made "was true to a certain extent, he stiid, it was a useless gift unless cultivated by intense application and concentrated study, "so that the beauty of its finish and polish may be a mirror in which men may behold tbe beauties of our great composers' -works."' Mr. Coney maintained tliat what was necessary in the equipment of a singer was equally applicable to those 'Mlgnged in teaching singinjr. There were a good many teachers of voice production who were almost entirely lacking in utiy other knowledge of the art of singing. Such specialists might find rnceess m large centres of musical activity, but in most places their scope of ,vo-k «ns limited. He deprecated tiie j_i.ner.il acceptance of the notion that in the profession of singing very superficial knowledge was often considered sufficient. given a loud voice. If only ,-i eer--i~ could be taken of voices ruined by bad teaching it might surprise an unsuspecting public. Seven to ten years was not too lontr a period to spend in preparation for long arduous years of sinking or teaching. Mr. Concv was heartily thanked for his address.