MUSIC IN SCHOOLS

Manawatu Standard, Volume L, Issue 253, 20 September 1930, Page 6

MUSIC IN SCHOOLS

ADDRESS TO TEACHERS. “Music can be tho most beautiful thing in the growth of a child,” said Dr. J. E. Borland, F.R.C.0., and Hon. A.R.A.M., who lectured on “School Music Teaching,” before a large gathering of Palmerston North primary school teachers on Thursday', under the auspices of the Manawatu branch of the New Zealand Public School Assistant Masters’ Association. Mr D.‘ C. Pryor presided. Dr. Borland, who was tor twenty years superintendent of music in schools in London, and has latterly been acting in an advisory capacity, gave his audience a clear insight into the methods adopted in the Homeland, couching his address in a concise and humorous manner that made an immediate appeal. The speaker said that during his long association with music in England he had seen many changes in the established order and radical changes in the methods of teaching school children. There had always been a certain amount of musical education in the schools, but its extent and success were governed almost entirely by the talents of the teachers. During his period as supervisor there had been evolved a syllabus, incorporating ear, voice and eye training and appreciation of music, that had been followed by the teachers. Training of the ear was, the lecturer said, the basis of musical education. Before the present century, with very few exceptions, there was more of ear testing than ear training, and there had been marked improvements effected on this somewhat cumbersome method. He referred to the possibility of teaching “absolute pitch.” The majority of people possessed this attribute, but it was frequently neglected. However, it was a 'sense that could be acquired, as had been proved beyond doubt by experiment. Many, people had a very vague idea of time. This, too, could be acquired and cultivated by the aid of music. Steadiness should be cultivated, and variations of- pace kept under perfect control. The sense of key saved the laborious process of analysis of sharps and flats. During the past 20 years a marked advance had been made in the teaching of vocal tone. Several schools had had the advantage of expert instruction, but schools were inclined to be insular, and it was not until a huge demonstration had been given by the choirs of these schools that the movement to acquire vocal tone had spread to any marked degree. Another advance in this direction had been in special training, which was carried out through the singing classes. There was no need to exaggerate vowels when singing, Dr. Borland pointed out. English should bq sung as it was spoken, not with a pseudo-Italian intonation. It would be found that each vowel, when whispered, had a pitch of its own,' and from this could be derived the proper order and formation of the vowels. The treatment of the adolescent voice was a matter of outstanding importance, the lecturer continued. Singing masters used to think that the only music was vocal music, and when a boy’s voice broke he was put out of the music class. This was most unfortunate for his musical education, and was really quite absurd. Singing was the least important feature. Ear greater was the need to train the oar. The highest authorities now agreed that if.a boy sang gently what he could sing, no harm resulted during the adolescent stage. A gradual deepening of the voice would by this means be effected. . • The i classification of voices used to be carried out in a rough and ready manner, said the speaker. This was a mistaken policy, as there should be no age or sex limit. Every voice should be tested and classified on its own merits. In the teaching of notation the only sensible plan was the “toniceolfa.” Those with a working knowledge of this method would be successful all the time, with an understanding of harmony and tho ability to react favourably to reasonable ear tests. There was a bad gap here that wanted bridging, as many teachers refused to countenance this very successful sysMany side-lines had been introduced in recent years, the doctor continued. In the first place there had been the greatest enthusiasm for musical, appreciation. Great facilities for.* this form of education were now .available, the gramophone, pianola and wireless offering a wide field. It was a fine movement, as long as it did not supplant the foundation work. It was easy to talk about interesting music, and appreciation was doing a big work. However, it should follow the ear training, which was the stepping, stone to bigger things. Referring to musical festivals, Ur. Borland expressed the opinion that in New Zealand these were somewhat overdone. There was too much excitement and no testing of solid knowledge. Children were so imitative that they could learn to sing or dance bv repetition without knowing anything about music. Before a prize was given a child’s musical knowledge should be put to the test. What wm wanted was the finished musical performance with the solid musical training behind it. For twenty years he had advqcated this in England and at last it was recognised, the speaker concluded. Mr F. C. Campbell and Miss J. Chapman conveyed a vote of thanks to Dr. Borland.

During the evening supper was served, while items were given by Mr J. Garde Grimshaw (monologue), Mr Taplin (song) and Miss G. McKenzie (’cello with Miss Muirhead accompanying).