THE AMERICANS’ MUSIC

Press, Volume XC, Issue 27446, 4 September 1954, Page 3

THE AMERICANS’ MUSIC

“Very Broad Pattern Of Activity” ADDRESS BY PROFESSOR R. YINGLING “Geographically we are inclined to think that American music stems from, and revolves around, New York city,” said Professor R. Yingling, a Fulbright lecturer, in the first of a series of five addresses being given at Canterbury University College. Though, in a very real sense. New York was the mecea of the arts, especially in the young musician s mind, it was only a part of a very broad pattern of activity, he said. Dr. Yingling described the separa.e and diverse scenes which characterised individual States of America. Some, like California, taxed themselves so as to provide orchestras, universities and attendant cultural facilities, he said. Others, like Texas, had no need to do so. In West Virginia, only the enthusiasm of a few visionaries had succeeded in sustaining a musical life which had recently been threatened by an empty State purse. American music, in all its aspects, sprang from a huge population which, though homogeneous in many respects, contained important unassimilated minorities which showed signs of serving their individuality, said Dr. Yingling. Some, like the Swedes in Minnesota and the Germans in Wisconsin, had imported their cultures; others, such as the Creoles of Louisiana, were indigenous, and yet remained unabsorbed into the broad American ethnological group. Along with Austrians and English, these peoples preserved their traditions m certain areas. Whereas the upper classes tended to patronise such functions as Metropolitan Opera House premieres, and the nouveau riche musical comedies, it was to the professional world that ono looked for the true enthusiasm tor. and understanding of, good music. Dr. Yingling said. This upper middle class supported the 110 symphony orchestras of the United States. Its very stability ensured a satisfactory future. But the music educator, interested in encouraging the universal appeal of music, could not afford to ignore all but his own interests, he said. There was some virtue in the square dancing movement; Tin Pan Alley was beginning to “take itself seriously, and as such music remained the most easily disseminated, musicians would think twice before dismissing it. Even within such limited fields there was the possibility of young peorle developing some musical ludgement. Dr. Yingling said. On this, the colleges and universities could graft a more informed a*, areness of values.