“POPULAR MUSIC”

Wanganui Chronicle, Volume LXXXIII, Issue 19504, 4 February 1926, Page 11

“POPULAR MUSIC”

AND BAD TEACHING HOW VOICES ARE RUINED Professional musicians had different opinions about public taste when the foibles of audiences were discussed at their annual conference at Dunedin. It was agreed by everybody that the vulgar inclinations of some of the people who make payments “for hall and lighting” possible should not be pandered to, but the question was just how to make the better class of music popular. “I never go to concerts,” said the chairman (Mr Cooper). Tho ordinary concert was full of rubbish, he added, with the double infliction of encodes. Many of Schubert’s songs were very seldom heard, and there were even good singers not familiar with the charming melodies of Robert France. He declared that he had burned hundreds of rubbish “shop ballads” sent to him by London firms, who seemed to think anything was good enough for New Zealand. Miss Corliss, of Wellington, spoke of some recitals she had heard in London, and said that she thought a good scheme would be to hold occasionally concerts consisting entirely of songs of approved composers. Mr Harrison Cook’s idea was that the higher class of music should be given in “small doses.” “I am afraid performers like encores,” said another member, “and select items that arc likely to attract them. ’ ’ The gramophone, it was admitted, had exercised a great influence for good by cultivating a growing taste for classical music. It was also stated that many singers sang good compositions in the privacy of their own rooms, but were afraid to give them in public. “I don’t know what your experience is in other parts of New Zealand,” began Mr Johnson, putting in a word for Dunedin, “but down here a good class of music is appreciated. Wo do know Schubert, and we do know Robert France, and concerts of this nature always meet with the best receptions.” The president said that the moral of the situation was that musical education should begin in the schools. That was the best way to irhprove public taste. Discussion had arisen through the reading of a paper by Mr Barry Coney (Auckland) on “The Requisite Qualities of a Good Singer.” Though the saying that singers were born not made was true to a certain extent, he said it was a useless gift unless cultivated by intense application and concertrated study, “so that the beauty of its finish and polish may be a mirror in which men may behold the beauties of our great composers’ works.” Mr Coney maintained that what was necessary in the equipment of a singer was equally applicable to those engaged in teaching singing. There were a good many teachers of voice production who wore almost entirely lacking in any other knowledge of the art of singing. Such specialists might find success in large centres of musical activity, but in most places their scope of work was limited. He deprecated tho general acceptance of the notion that in the profession of singing very superficial knowledge was often considered sufficient, given a loud voice. If only a census could be taken of voices ruined by bad teaching it might surprise an unsuspecting public. Seven to ton years was not too long a period to spend in preparation for long arduous years of singing or teaching. Mr Coney was heartily thanked for his address.