FIRST STEPS IN MUSICAL APPRECIATION THE METHOD OF INSTRUCTION

Ladies' Mirror, Volume 3, Issue 11, 1 May 1925, Page 19

FIRST STEPS IN MUSICAL APPRECIATION THE METHOD OF INSTRUCTION

Ey RENE SATCHWELL, L.R.A.M.

FOLLOWING ON OUR ARTICLE IN LAST MONTHS ISSUE, WHICH DEALT WITH THE VERY FIRST LESSONS TO BE GIVEN TO THE SMALL CHILD, OUR CONTRIBUTOR NOW OUTLINES A PROGRAMME OF WORK FOR THE SECOND TERM. THESE ARTICLES, WHICH ARE SPECIALLY CONTRIBUTED, SHOULD BE OF THE UTMOST VALUE TO THOSE WHO ARE RESPONSIBLE FOR THE EDUCATION OF THE VERY YOUNG

RShe fourth Article iru a Series of Instruction in usical (Appreciation-*

HPHE programme of a lesson’s work in rhythmics and appreciation given last month was intended for use during the first ten or twelve weeks of the course. I repeat it here for comparison with the new list: ‘Programme I. (a) Marching and running to music, (b) Recognition of changing tempo. (c) Games teaching concentration. (d) Recognition of loud and soft music. (e) Note values: stepping to minims, crotchets and quavers, (f) Games teaching realisation of changing moods in music. (g) Music for interpretation. From this we gradually build up another scheme of a slightly different order, introducing new work and moulding together some of the original items. Programme 11. (a) “Mixed dancing”—expression of music varying in time, tone, and mood. (b) Note stepping leading to rhythmic appreciation. (c) Recognition of time values of notes in treble and bass. (d) Counting and beating time. (e) Note dictation. (f) Interpretation: (1) Individual; (2) Communal. This programme, if carried out in the method described below, should prove a good year’s work. NNCethod of CJNiching (a) Mixed Dancing JT is always advisable to open a lesson with a stirring march, but after a while (o), (b ), ( c ) and ( d) of the original programme can merge into each other without any warning from the teacher, no verbal instructions being necessary except a preliminary instruction that j

the children are to do just what the music says, show whether it goes quickly, slowly, loudly, softly, brightly, sadly whether it jumps, and is staccato or goes' smoothly and is' legato. Little waltzes, lullabies and dances in six-eight time, loud chords, soft chords, as well as marches and runs, may be played without any gap between one piece and another. A teacher who cannot improvise or memorise will have to prepare her music beforehand and arrange it in such a way at . the piano that as she finishes with one extract the next is ready. ( b ) Note Stepping A s time goes on, an observant teacher will be able to judge who are the most gifted of her little pupils by the “extras” that they put into their movements, demonstration of details that seem to escape the other children. In a march, for example, a child who is an alert listener will, after a while, begin to step the notes that do not always coincide with the beat, while still accenting those which occur on the beat, the only notes which most of the children hear at first. The work of this child, as soon as it seems safe to point him out to the others without fear of undue nervousness on his part, may serve as an example of “careful listening.” When a crude sense of time is established among them, and the class shows a disposition to listen more accurately, definite lessons in note stepping may be given, combining the work done in (a) and ( c ) in

the first programme. Music in which rhythmic shapes recur, notes of varied time values being repeated in the same order several times to different melodies ( e.g ., Chopin Prelude in A No 27, quoted because it is a wellknown pianoforte piece, although fairly advanced for rhythm stepping) can be played, first of all to the children listening, then to the accompaniment of their clapping, and finally to their stepping. If sufficient music suitable for this purpose cannot be found, the teacher should select an easy rhythm, say a minim followed by two crotchets, and improvise on it. The same music may have to be used at several lessons if the rhythm is difficult. When the children have stepped to the one “time-shape” for some time, and know the feeling of it, they should be able to continue stepping to it when the music stops. The sensations caused in this way induce exhilaration; and a knowledge of the existence of rhythm in music begins to dawn. At this stage examples of melodies the children know can be played in different rhythm to the ones to which they are accustomed, and the consequent change in the effect noticed. A series of ugly discords played with a stimulating design of accents will be quite pleasing to the children, while often beautiful chords played slowly and made all the same in time and accent will be voted boring. The rhythm exercises teach concentration, precision in thought, and bodily control as well, so, for many reasons, they are invaluable and

should be allotted quite a large portion of the lesson as soon as the children are ready for them. ( c) Note Values JF children cannot yet hear two parts at once in music, it is a good plan to play a melody with an accompaniment above it, and let the children step, first the melody, then the accompaniment. They thus become accustomed to hearing the part “below” and are ready to analyse it if it is in notes of the same time value. The game of stepping minims, crotchets and quavers can now become more complicated and the children may be brought out sometimes in two groups at once, each stepping to the notes their banners proclaim them to represent. This may prove difficult at first, and incur a great deal of muddle, but children are usually very interested in this, and eager to hear their “call,” so that they soon learn to recognise it, whether it comes from the treble or the bass. (d) Counting and Beating Time N OW a new item is brought into the lesson—counting the number of beats in the bar. Nursery rhymes and simple tunes which the children know, in two, three, and four-pulse measure, are sung and clapped to by the children. They find they clap louder to some beats than to others. If they always count “One” on these loud beats they will only be able to counts as far as two, three, or four, whichever the case may be, until it is time to say “One” again. Then they step to the beats and clap each time they count the first beat. When they can do this easily they are ready to beat time, arms raised first, and going down and up for two beats in the bar, down out and up for three beats. Beating four time is much more difficult-down, left, right, up,—and should not be taught

until the children are fairly well advanced. For the physical benefit of this exercise both arms should be used as soon as the children can beat time with the right arm. Complicated movement begins when the children have to step the beats while beating time. Still more difficult is it to show the actual notes of the music with the feet and the beats with the arms. Many adults cannot do this easily, but properly trained children can soon be taught by a patient and encouraging teacher. (c) Note Dictation of time values naturally follows on to beating time, but this, of course, can only be done when the fact that each bar contains beats of equal length, and that minims are twice as long as crotchets and four times as long as quavers, is appreciated. Simple rhythms, such as a minim followed by a crotchet, are played, the number of beats to a bar determined, the notes are stepped while the beats ■ are clapped or shown with the arms, and then the names of the notes guessed, one beat always being a crotchet until the children are more familiar with the notes. Then the bar is written down. A carefully graded scheme of work, ■ with occasional explanations and demonstrations from the teacher, will lead the children quite naturally and easily into analysing more difficult and more lengthy rhythms, including dotted notes and tied notes. W hen note dictation has become

an exercise which presents no difficulty, the children will certainly be eady to start reading notation on the cleffs, and to begin having instrumental lessons accompanied by some system of ear-training, but it will take some time, and considerable practice, before this ideal is attained. (/) Interpretation GOODLY dose of note stepping, time analysis, and work which involves continued attention in the lesson will tire the children. Give them a long rest before going on to interpretation, which is usually the most popular part of the lesson, because it deals with the imaginative side of the musicthrillingly full of fairies, elves, giants, ogres, water sprites, wood nymphs, and the beautiful beings of Nature. In connection with this side of the training course I do not propose to use much ink or space, for the unimaginative teacher who waits to be told just how and where to find the mysterious beings who populate childhood’s tales, can never make the music tell its story and inspire the children to act it realistically. Plenty of time should be devoted to listening. When the acting begins, passages in which detail tells should be rehearsed often and patiently, that the more subtle parts of the music may not be missed. The next article of this series will deal with the methods to be employed by conducting classes, and will give suggestions regarding most suitable music.