NEW MUSIC DIRECTOR.

Temuka Leader, Issue 10052, 10 February 1927, Page 3

NEW MUSIC DIRECTOR.

MAKING IT INTERESTING,

IN NEW ZEALAND .SCHOOLS

"'lt.'is noi't sufficiently brought to the 'notice of .children that there are other ; musical, instruments besides the piano, and I propose to work on fairly .broad* musical • lines, with the idea that, when children grow up, they will become 'sufficiently advanced in music' to become members of musical societies and orchestras," said Mr T. Vernon Griffiths, who has arrived from England. Mr Griffiths is to take up the position of. Director of Music in 'Schools under' the Canterbury Education Board, and he will also be lecturer in music at the Teachers' Training College, and conductorjaf .the Royal Christchurch Musical' Society. . . , ...

Mr .Griffiths has stated that at St. Edmund's, Canterbury, where he was senior" m.usic master, one of Gilbert and Sullivan's comic operas was produced almost every year, ali the parts being taken by the pupils. While' at St. Edmund's Mr Griffiths was given a free hand to work out hie '.theories .on _musi.cal-- education, and. lie considers that one of the most; important aspects is the fostering;.; o;f the. team, spirit. • • .■'•■ tlic teaching of music to children in bodies; and,, making them realise that.it is'more'pieasurabie.to .work' together than-as soloists. That, was the stjrle adopted: in /the, Elizabethan era/ ' . ...

"I fiho.uld like to/,see attention paid," rfot only to vocal training, but also' toi training, in orchestral music,' said Mr Griffiths. "I.understand that there, is a shortage of orchestral players in New Zealand, and a start must -be made somewhere. The place to make that start is- -in the schools, not only with the strings, but also wood-wind and brass. "I don't believe in the eternal practice, practice, practice, and no results," said Mr Griffiths. "The underlying factor in teaching music to children is to geit them interested, frOm the start, with a band, choral work, a small musical play, or something of that sort, and then, after going through the work in an interesting , manner, view it as a whole.'! - • .

'" Mr : Griffiths favours - James Brown's polychordia system for the stringy which, can be. applied to ; ' all the' 1 instruments .when teaching children/ J^WlHrt'dff'yoii think of the tonic ;solfa 'system?"' ! Mr Griffiftks was- as ( ked.. ...-,>., :: "I 5 Tecognise that it is important in the" early sta.ges perhaps," said 'Mr'Griffiths, "but the sooner children get on to staff notation the better:" ' Graded ear-training, he, said,, .was now available with,' staff notation, and this could develop the faculty of tone, for instance, between the oboe and the clarionet. Speaking of elocution, whdch .enters into Mr Griffiths' work, he said that too much attention was pai'd 'to'cletail. "Most children "Hate Greek plays and the plays of Shakespeare as they-are read in the schools. The child is continually being asked, 'What tense is. that.?' 'There is not enough attention, given- to getting through a. play, and then viewing it as a whole."

The tremendous increase in the use of ,the gramophone -in schools brought great' commendation from Mr Griffiths, who saicT that New Zealand, a -country so yofing, had made amazing -progress in its musical education.

'is a result'of the music in schools movement, Mr Griffiths is the third musician to arrive in New Zealand. In Wellington is Mr Douglas Taylor (in the service of the Education Department), and in Auckland Mr Holingrake.