BASIS OF N.Z. MUSICAL CULTURE

Cue (NZERS), Issue 4, 31 July 1944, Page 16

BASIS OF N.Z. MUSICAL CULTURE

(By

Maxwell Fernie.)

rnHE prevention in New Zealand of a stagnation or even a I general decline in good music was emphasised in a previous article as being of great importance. The solution to such a position was to be found in the better education of every child in the fundamentals of music. -

Art or Culture may be likened to the delicate bloom of a plant which has grown to maturity with or without artificial aids, but which, nevertheless, is sturdy. Likewise, a flourishing and well established national life may be compared with the plant of which the bloom is the natural result in maturity. .National life in New Zealand is not yet fully matured although it is rapidly reaching fruition. Already the Dominion has evolved a definite physical type, and although new methods are being applied to economics, industry, education, and legislation, nevertheless, there is appearing a particular trend of culture and mental outlook which is indigenous to the country, or, in other words—national.

Probably those responsible for setting the educational standards some 30 to 40 years ago played a much . larger part than was anticipated in '' the moulding of the present-day New Zealanders’ characteristically broadminded, clear thinking and modern outlook on life. Indeed there is a flourishing and vigorous growth of the ’ « plant of national life ». But it has not yet reached full maturity.

In a young country, the development of secondary industries and the employment of men and women other than in primary production usually denotes a certain stability in national characteristics. This naturally requires a revision of educational standards in order to bring to fruition new ideas formed during the approach to maturity. Adult education is always a more difficult task if there is no specialised foundation prepared in childhood. ■ The dictators of prewar Europe fully realised the value of child education in form-

ing certain fixed ideas. This power was used to their temporary advantage for the purposes of the present conflict, the results of which will prove ultimately how unfortunate this experience has been for the youth of Europe.

Again, New Zealand’s national life is approaching maturity and « bloom » of a culture which must the time is now opportune for the careful- preparation for the « bloom » of a culture which must be given every opportunity to to form in the minds of the future citizens of the Dominion.

A wider scope in child education is becoming a necessity and it is to be hoped that in post-war years the younger people will be given greater encouragemnt to develop their natural gifts of clear thinking arid their talents which have been founded so well during the early growth of the Dominion.

The culture of music in New Zealand is of paramount importance, but hand in hand with music are the sister arts including literature, drama, oratory and painting. These arts flourish successfully only when they become an integral part of the lives of a people, and together with various activities constitute the culture of a community.

Coming from British stock, the people of the Dominion have the happy gift of being able to appreciate the arts and cultures of foreign lands, as welt as those of the

Mother Country. This gift could certainly be detrimental if a full education were lacking, for, in the case of music, a very large quantity is imported and absorbed per medium of gramophone recordings, radio broadcasting, and sound films.

Before the culture of other lands makes further headway, Dominion educationalists must face up to the task of replanning a sound and extensive post-war primary and secondary education for all. -

A «mushroom» growth in any activity is never sound and this applies particularly to the Arts. If the-« delicate bloom » of art is to survive and reproduce itself in full detail, it must be carefully tended and guided along correct

lines. A reform in adult education would be useless if the children were forgotten or if parents did not impart their knowledge. A «mushroom » growth of this nature could not be expected to survive.

Adults often say that they would give much to be proficient in some form of art, for their own satisfaction and for the benefit of others. Few good musicians have commenced their studies after childhood or the adolesence stage and nearly all great composers were either choir-boys or belonged to a family music circle, thus having a fundamental knowledge and love of music as part of their general education.

In the musical education for every child there arises the problem of introducing some suitable musical training into the school curriculum, without detracting from the general standard of efficiency. Many will say that this is not possible. However, in England it has been carried out suc-

cessfully for some years, while in .New Zealand, for example, the King Edward Technical College at Dunedin has, since 1933, maintained a high degree of general musical activity. The whole school is included in this training and music is not a specialised -subject for an enthusastic few. Other colleges and schools in Mew Zealand have also achieved success, but often such results can be attributed to the zeal of a few hard working, enthusiastic, and enterprising teachers.

Thus it will be admitted that music can be included in the school curriculum without causing, a loss in efficiency in basic subjects. In fact, it is well known that the study of music deepens.

the intellect, sharpens the mentality, and in many ways assists the student to achieve a finer perception of details in other studies.

The lines on which child education should proceed are .always a favourite topic for would-be reformers, but it is suggeted that since iNew Zealanders are of British stock, the musical training of children could be focussed initially in the singing, or playing as a member of an orchestra, of simple British folk tunes and airs which are indeed numerous. Later when this foundation is firm, more ambitious work could be undertaken. Further reference could be made to the progress made along these lines in England and in New Zealand to date, but suffice it to say that the scheme is working well and is most popular with the pupils.

«Hill Billy, » «State Border, » and certain negro songs in English, apart from being a shortlived novelty attraction, have very little in common with New Zea-

land life, and even were the words of such songs applicable to the Dominion, most of the music in which they are clothed is of such poor quality that musicallyminded people are reluctant to have anything to do with them. Truly,, such editions could be termed the musical « version » of the notorious «pulp magazines » which a few years ago threatened to flood the Dominion.

Deserving the highest praise are the enthusiastic, hardworking amateurs who have borne the banner of good music in the past, and who have already, by sheer diligence, perseverance, and often by self-denial. of luxuries, achieved success and recognition despite a limited interest of the people. In pre-war years also, there was a severe restriction in the importa-

tion of musical instruments and, as few are made in New Zealand,* this difficulty will obviously have to be overcome if instrumental music is to thrive. Otherwise, despite education, music will remain relegated to. the rank of a luxury.

In order to ensure a bright and flourishing future in New Zealand for this dower » of musical culture, it must be again emphasised that an improvement is necessary in the basis for the proper musical education of all children, and although this advancement must certainly eventuate, it is to be hoped that it will materialise before the Dominion has absorbed and adopted the culture of other peoples at the expense of her own, latent though it may be at present.