PIANOFORTE CLASS TEACHING.

Otago Daily Times, Issue 20906, 21 December 1929, Page 2

PIANOFORTE CLASS TEACHING.

ADDRESS BY MR J. CROSSLEY CLITHEROE. '

In connection with the pianoforte classes inaugurated some six months ago under the auspices of Messrs Charles Begg and Co., Ltd., Mr J. Croseley Clithe-. roe, 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 the development of group teaching, in Begg's Concert Hall, on Monday evening. Mr Clitheroe was introduced to the audience by Mr Charles E. Begg. There was a large attendance, and the address was listened to.with very keen interest.

In the course of Jiis address Mr Clitheroe said that the cultural and elevating 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 the mind for problems of cyery-day live, and as this was so tial in the training of the young, music should be given a prominent place in the training of every boy and girl. Leading educationists now accorded to music equal educational value with that accorded to the majority of. subjects of the regular school -curriculum. The study of music developed concentration, memory, perserverance, 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, and relationship; the plert ear and hands, all tended towards the development of special mental faculties. The combination of these things led to mental discipline, thus fostering and developipg 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 be of inestimable value in any work which the pupil might_ afterwards engage in, for the 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 bad 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 musie had a tremendous influence for good from the moral standpoint, in that it afforded the best means for expression of etnotions. Many of the world’s greatest minds gladly acknowledged the great value of music to the individual, and in the community, Plato said, “Music is the best that a State can give to its .children, and that great English stateman, William Ewart Gladstone, in 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” referred to the regular school subjects. Among the false ideas concerning music, went on the lecturer. “ was a bene? that perception of the beautiful required not only special training, blit cerf® 1 ? rare al >d precious qualities as well. 11ns was/entirely wrong. The love of beauty wis not the monopoly of the privileged class. It was the universal inheritance.pf mankind. Bernard Shaw once said, ’lf young men had music and pictures to interest them, to engage them and satisfy many of their impulses, and to enliven their days, thev would not go to the low pleasures of the streets; they would have an alternative, and would be too/nstidious and discriminating to waste their tmie and substance on the shadowy and illusionary pleasures of life.’ 1 Mr Clitheroo then went on to refer to the benefits derived from class or group teaching. He stressed the fact that the manotoi'lc was hut nn!v tin. basic home instrument, but, as it bad a fixed tone, the pupil made more rapid progress on the pianoforte than on any other instrument. This progress encourages the pupil, and led him lx? further study. In the study of the pianoforte the student learned harmony, in addition to 'melody and rhythm. The pianoforte, therefore, was the best medium through which to give a student his first munsical 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 of 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 ail that time it had not been more widely developed? The following facts concerning class teaching might be called to mind:—(ll 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. (3) Class work tended to give self-confidence, and to overcome the shyness and selfconsciousncss which were common to the individual child. (4) It gave equal opportunity to all, and might lead t the development of latent talent. It .was generally admitted that the ability to play the pianoforte was useful not only as an employment for leisure hours, but also as an aid to the study of any branch of music, and the corollary to this admission led to the conclusion that the opportunities of learning to play should be widened as far as possible.. The reason that pianoforte classes bad not become genera! lay in the fact that there had not been any attempt to view the pianoforte from a standpoint of class requirements. It was notorious that music teaching had been inclined to ignore pedagogic science until comparatively recent years.

11l pianoforte class teaching pupils were taught fingering exercises, and general technique, rhythm (which was very important), ear training (equally as important). the Bense - of touch, the keyboard feeling, playing, elementary harmony. learning to read (which included hearing mentally and seeing the written sounds I. All these led to musicianship, and musicianship should be the ultimate aim of all music teaching. At the conclusion of Mr Clitheroc's address Mr L‘. A. Rendlo 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. Begs and Co., Ltd.