THOUGHTS ABOUT MUSIC

Evening Star, Issue 21081, 19 April 1932, Page 3

THOUGHTS ABOUT MUSIC

— • [By L.D.A.] “ Music sires tone to the unirerse, wings to the wind, flight to the imagination, a charm to jadness, gaiety and life to ercrything.”—Plato. Some weeks ago tlio Music Teachers’ Association of New Zealand held a conference in Wellington. Among the delegates who assembled from all parts of the country was Dr S. K. Phillips, of Auckland, and it is on some aspects of his address to the conference that I propose to touch to-day, more particularly his remarks about (a) smaller attendances at concerts and (b) the decrease in the number of music pupils. Regarding (a), Dr Phillips said h© thought the cause was not to be found solely in the prevailing economic depression. It was evident that music had a wide appeal, the universal use of radio and gramophones proving this. The public, he thought, were becoming more critical. Having heard good gramophone records, both broadcast and on their own instruments, they were no longer inclined to attend concerts and put up with inferior performances. The only way to create larger audiences was to raise the standard of public performance.

1 cannot agree entirely with Dr Phillips in his conclusions. The general use of radio, for example, is by no means an indication of music’s wide appeal. It all depends upon what is meant by the term “ music.” In the great majority of homes I am afraid the word has become very elastic, the listeners being generally of the type requiring amusement rather than edification. These people are not the stuff of which, high-class concert-goers are made, as may be noted when they switch on to another station directly a classical item is announced. The same applies to gramophones. Certainly there are more comparatively good records sold to-day than, say, ten years ago; but I am fairly sure that it is the musical people who buy them —by that I mean those persons who have always been musical. My own observation tends to the belief that radio, in this country at least, is gradually proving false to the high hopes that were held for it; and this brings me to further remarks from Dr Phillips. He said: “Along with a higher standard of artistry there is need for a better .realisation of what the public wants in the way of musical programmes. This is where the talkie and theatrical people score; they endeavour to give the public what is wanted, and are apparently successful.”

As I was uot present at the teachers’ conference I am unable to say how these remarks were received by the other delegates; but there does not appear to have been any protst made against them, judging by the Press reports. This seems rather extraordinary when we consider the somewhat contradictory nature of Dr Phillips’s opinions. In the first place, he implied that the public, owing to the use of • radio and gramophone, are becoming more critical and less tolerant of inferior concert performances—in which we must include the efforts-of broadcasting artists —and then he holds up the enterprises of talkie and theatrical firms as models upon which public taste should be moulded.

No more dangerous artistic doctrine was ever preached than the exhortation to give the public what they want. As well might our educational authorities ask the school children to name their preferences and dislikes. It all depends, of course, on the point of view and on the construction to be placed on the term “ music.” Apparently the Broadcasting Board has taken cognisance of Dr Phillip’s suggestions, however, since it is proposed to ascertain, by plebiscite, the wants and desires of the radio public in the matter of broadcast programmes. The voting cards should prove illuminating; they will, at all events, decide the vexed question of the standard of prevailing musical taste in New Zealand.

Something else that Dr Phillips told the M.T.A. arrested my attention. Dealing with the matter of fewer music pupils, he touched upon the subject of the teacher’s status. He said he placed little value on musical degrees and diplomas, as some of the best educated (presumably musically) men he had ever met possessed neither. This seems to me to have been an unfortunate remark, in that it is open to misconstruction. Without doubt many great musicians have achieved fame who were, and are, innocent of all save honorary degrees; whilst, on the other hand, it is by no means uncommon to find professionals with A.T.C.L., L.R.A.M., etc., tacked on to their names whose musical attainments generally leave much to be desired. I used to know a young lady in England who won a gold medal for pianoforte playing at one of the leading conservatoriums. Such a distinction should connote pianistic prowess of the first order; yet she knew practically nothing beyond the actual pieces set for examination, fluency in which had been acquired by endless, parrot-like repetition. 1 am alraid our competition festivals are apt to breed similar examples of specialist futility.

But J should hardly think l)r Phillips would like to be accused of sneering at holders of valuable diplomas, for, it must be admitted, there is a wide gulf between the degrees, say, of A.E.C.M. and L.T.C.L.—not to mention those of Mus. Bac. and Mus Doc. Let ns look’ into the qualifications required for a certificate of proficiency from tho-iloyal College of Music, for instance. If the candidate desires to set up as a teacher of pianoforte, with, the magic letters A.E.C.M., he or she must pass examinations in (a) paper work and (b) practical work, as follows: (a) 1, To answer questions on the grammar of music j 2, to harmonise a given figured bass in four parts; 13 to give an outline of a course of technical instruction; 4, to name particular studies of varying difficulty; 5, to answer questions on terms and signs. The requirements of (b) are:—l, To answer questions on position of the hands and action of the fingers, and_ illustrate by playing scales and arpeggios. (N.B. — Scales in double-thirds and sixths not compulsory ); 2, to give illustrations of the rendering. of classical ornaments; 3, to give illustrations of fingering in passages submitted by the examiners; 4, to detect inaccuracies in the renderings of well-known works; 5, to perform short pieces of own choice irom the works of Bach, Beethoven, dementi, or Cramer, that have been assuredly self-taught.

There is nothing in the above list that should present much difficulty to any persoy. of moderate musical ability ; in fact, the examination could be passed with Hying colours by anyone possessing normal intelligence and capacity for industry, whether particularly nusi-

cal or not. On the other hand, such knowledge as is necessary for the diploma of L.T.C.L. entitles the holder to be regarded as a musician of extensive culture, though perhaps not striking brilliance. This examination embraces exercises in (1) Harmony in five parts; (2) counterpoint ditto; (3) double counterpoint, imitation, canon, and fugue; (4) instrumentation; (5) musical history; (6) rudiments of music; and a few other trifles like that, for all of which a gross total of 70 per cent, of the maximum marks must be obtained. Thus we seo a very wide gulf between A.R.C.M.. and L.T.C.L., or even A.T.C.L. (slightly less difficult) ; but the great point to be noted is that it is all much of a muchness to the general public. Parents of would-be pupils observe the string of letters after the prospective teacher’s name, and take it for granted that these alphabetical excerpts guarantee learning and profundity.' As a matter of fact, there are a number of fine teachers and performers in the dominion who could “ lose ” all the holders of easily-wmi degrees and certificates, but it is quite another matter when we reach the higher diplomas. *'* * » The holders of genuine Mus. Bac. and Mus. Doc. degrees compel our respect and admiration, however much one may affect to despise such attainments, because the amount of knowledge and musical achievement implied is formidable indeed to the layman. I will not weary the reader with the full list of essential requirements in a candidate for the honours of Bachelor or Doctor of Music. In most cas§s the latter cannot be obtained unless the aspirant is already a Mus. _ Bac., so it will suffice if I state that, 111 addition to all the qualifications enumeiated above, with the minor degrees, a budding Mus. Doc. must pass two examinations, the subjects for which include the composition of one of the following:—Symphony for full orchestra, choral work and lull orchestra, symphonic poem, concerto, variations, or suite, all with full oichestra; extended chamber work lor three instruments at least; sonata tor not less than two; song cycle, and so on. That is merely the preliminary examination. Having got his second wind, the candidate is put through his paces in general composition, acoustics, detailed analysis of big scores, reading at sight on the piano from a full orchestral score, and several other feats of similar calibre Surely Dr 1 lumps did not intend to belittle musicians of such eminent accomplishments when he said “ho did not put much value on degrees and diplomas.” It is an advantage to bo well dressed in any profession.