MUSIC TEACHERS’ SOCIETY

Press, Volume LXXXIII, Issue 25091, 24 January 1947, Page 9

MUSIC TEACHERS’ SOCIETY

CONFERENCE CONTINUED mu?iU U 2o° rtanc £ of mu sic to a comMa?t?n emphasised by Mists Mary terrtavj/tPunedm,-m an address yesSocietv <,r th n a ™ ual conference of the of Zea^d. tered MUSiC TeaCberS ♦^ vas growing conviction, be %vln tm Said ’ ll ? students should in com P reh ensive grounding T-iirru e arts before going on to confined d t UCa ?>! on i Music was no longer arti?tfr d «h° rooms of the euUiJrei I he ? ald ’ but was ° n the same n-Wi 1 levc i as Philosophy, sculpture, nurnl v g ’„? w architecture, while the mS y j, O rt t l! ltar, 2 n attitude towards “ U J? IC bad been displaced by a broader its value^ 6 appreciat * ve conception of

hi J" the ea J ly . da ' ys of New Zealand history, said Miss Martin, education was commonly regarded as a means to eventual livelihood, which resulted in learning being specialised into departments; but with 100 yesrs of European colonisation behind us, we should recognise the need for laying the foundations of a broader,-more sympathetic culture. Although we were a raceconscious people, she said, we should foster our particular race-culture not as a pale reflection of western culture end civilisation, but as something.that would have a value and definition of its own. Such a development must depend upon widespread interest, and could never flourish if restricted to a select handful of artists and writers. “We are all specialists in some branch of our art, and we are concerned with the acquisition of technique, the rigour and discipline of which leave little time for other problems,” she said.

Specialists in one branch of music should not be permitted to formulate a community musical creed, for they would tend to omit important features of the heritage of.music. The task of the accredited teacher, she said, was to inculcate an appreciation of all music in the student and to leave ultimate selection to the student. “Misguided Enthusiasms” “There« is another limiting factor which arises through misguided musical enthusiasms. Some Bach enthusiasts seem to feel that Handel must be disparaged to get a just estimate of Bach. Handel needs no defence. If he is a more dramatic figure than Bach it is because his music belongs to the concert hall or theatre rattter than the salon. By all means be particular, but hesitate to limit the field for others.”

Emphasising the importance of studying the history of music. Miss Martin said that it was necessary to appreciate the emotional trends of a period before the music could be interpreted. Music was invariably closely attached to such trends, and no sincere understanding of music could be reached unless these trends were understood. . The idea that music was a “romantic fragment” of life should be subdued, for music was an expression of the age: the works of such composers as Haydn. Bach, and Handel reflecting this truth. The concealed international antagonisms of our own times were reproduced in the arts of to-day, because the composers were forsaking ordered development for the formulation of new creeds, but it was imperative that the critic should be careful before he condemned the “primitive, oriental, or barbarous” music, without assessing its merits. Miss Martin concluded: “We can have special talent, a cultural background of education and experience, but to attain our greatest usefulness the whole must be leavened by artistic integrity. Whatever happens, we must see that music takes precedence over the musician, and. paradoxical as it may seem, when this happens the musician is at his greatest.” Remits Considered Some remits were ratified during the business session. An Auckland remit urged that the conference demand that the minimum fee paid to individual artists be not less than that paid to members of orchestras. It was argued that pianists who devotea time and energy to preparing for the rendering of a concerto deserved equal remuneration, with those in the orchestra. The lowestpaid members of an orchestra in some cases were paid £4 10s, whereas the individual artist received only £2. • Mr Shirley (Auckland) said that the rate -of pay for the newly-formed National Orchestra was £lO for 25 hours’ work, and he considered that an artist should be salaried in accordance with that system. Mr Oliver: The members of the National Orchestra are not overpaid. Five hours’ practice each day is strenuous work. A committee was set up to investigate. >