PIANOFORTE CLASSES

Evening Star, Issue 20364, 21 December 1929, Page 19

PIANOFORTE CLASSES

Mn CLITHErOE'S ADDRESS In connection with the pianoforte classes inaugurated some six months ago under the auspices of Messrs Charles Begg and Co., ' Ltd., Mr J. Crossley Clitheroc, lecturer in music at the Dunedin Training College, and director of Begg’s group instruction classes in music, delivered an address to parents and others interested in tho development of group teaching m Begg’s Concert Hall. Mr Clitheroei was introduced to the audience by ■ Mr Charles E. Begg. There was a largo attendance, and the address was listened to with very keen interest. - In the course of his address Mr Clitheroe ,-said that the cultural and file-' rating value of music was readily acknowledged by everyone nowadays-. Few, however, realised the tremendous training qualities which the study of music had in the development of tho mind for problems of everyday life, and,, as this was so essential in the training of the young, music should he given a prominent place in the training or every boy and girl. Leading educationists now accorded to music equa educational value with that accorded to the majority of subjects of the regular school curriculum. The study of music developed concentration, memory, perseverance, self-reliance, and greater powers of special mental faculties. Solo performances induced self-reliance, and accuracy in seeing the exact' position of notes, their values, sequence, ana relationship; the alert ear and bands, all tended towards the development ot special mental faculties. The combination of these things led to mental • iscipline, thus fostering and developing without conscious effort'on the part of the pupil, self-control. Even if a child should give up his or her music entirely after three or four years’ study, this study would he of inestimable value in any work which the pupil might afterwards engage in, for tho best faculties were those that were most in demand in any vocation, for music ran all through life. Of the many subjects studied in school, the effect of music sometimes alone remained. The study of music also gave unlimited pleasure and inspiration as long as life lasted. Even if those who had in earlier years studied music did not afterwards play much themselves, they would certainly appreciate music more, and would get infinitely more from it as a result of their study. The lecturer went on to say that music had a tremendous influence for good from the moral standpoint, in that it afforded the best means for expression of emotions. Many of the world’s greatest minds gladly acknowledged tho great value of music to the individual, and in the community. Plato said. “ Music is the best education that a State can give to its children,” and that great English statesman, William Ewart Gladstone, m the course'of an address, said, “ Music is one of the most forceful instruments for training, for arousing, and for governing the mind and spirit of man.” Dr Charles W. Elliott, president Emeritus of Harvard University, said, “Music is the best mind trainer of the group.” By the “group” lie referred to the regular school subjects. “ Among the false ideas concerning music,” went on the lecturer, “was a belief that perception of tho beautiful required not only special training, but certain rare and precious qualities ns well. This was entirely wrong. The love of beauty was not the monopoly of the privileged class. It was the universal inheritance of mankind. Bernard Shaw once said: “If young men had music and pictures to interest them, to engage them and satisfy many of their impulses, and to enliven their days, they would not go to the low pleasures of the streets; they wouldhave an alternative, and would be too fastidious and discriminating to waste their time and substance on the shadowy and illusionary pleasures of life.”

Mr Clitheroo then went on to refer to the benefits derived from class or group teaching. He stressed the fact that the pianoforte was not only the basic homo instrument, but, as it had a fixed tone, the pupil made more rapid progress on the pianoforte than on any other instrument. This progress encourages tlio pupil, and leads him to further study. In the study of the pianoforte thostudent learned harmony, in addition to melody and rhythm. The pianoforte, therefore, was the best medium through which to give a student his first musical instruction. Many of the best colleges of music required their students to attain a proficiency on the pianoforte before taking up any other form of music study, even the voice. There was nothing new in the idea oP class teaching for the pianoforte. It had been practised in many places for over 100 years. The question was; was it desirable that pianoforte class teaching should spread, and, if so, why was it that in all that time it had not been more widely developed? The following facts concerning class teaching might ho called to mind:—(l) The system of universal education had been made possible only through class teaching. (2) Class work fostered community of spirit and stimulated activities of members, (fi) Class work tended to give self-confidence, and to overcome the shyness and self-consciousness which were common to the individual child. (4) It gave equal opportunity to all, and might lead to the development of latent talent.

It was generally admitted that tho ability 7 to play 7 tho pianoforte was useful not only as an employment for leisure hours, but also as an aid to tho study of any branch of music, and tho , corollary to this admission led to tho conclusion that the opportunities of learning to play should be widened as far as possible. The reason that pianoforte classes had not become general lay in the fact that there had not been any 7 attempt to view tho pianoforte from a standpoint of class requirements. It was notorious that music teaching had been inclined to ignore pedagogic science until comparatively recent years.

In pianoforte class teaching pupils were taught fingering exercises, and general technique, rhythm (which was very important), oar training (equally as important) ? the sense of touch, the keyboard feeling, playing, elementary harmony, learning to read (which included hearing mentally and seeing tho written sounds). All_these led to musicianship, and musicianship should lie tho ultimate aim of all music teaching. At the conclusion of Mr Clithoroe’s address Mr C. A. Rendle gave an interesting resume of the work in connection with the pianoforte classes carried on in Christchurch under the auspices of the Christchurch branch of Chas. Bogg and Co.. Ltd.