MUSIC IN N.Z. SCHOOLS

Cue (NZERS), Issue 5, 15 August 1944, Page 10

MUSIC IN N.Z. SCHOOLS

(By

Maxwell Fernie.)

THE inclusion of music on the post-war curriculum of every school and the necessity for a general revision of educational standards so that future citizens of the Dominion might develop their capabilities to cope with the ever increasing demands of a national life now approaching maturity, have received particular emphasis in previous articles. -

Talent is a gift to mankind irrespective of worldly possessions, and there are countless examples of great men and women in history, who have come from humble beginnings but , who have been fortunate enough, to have, in some' particular sphere,a sound education. It is a matter for regret that many great musicians — and for that matter, many famous men in all./ walks of would probably . have appeared but for the fact that their latent talents were not developed in childhood and later youth. Many have reached greatness despite the /lack of training,’ but these are exceptions. Surely this could be avoided in ,New Zealand by providing every child with a working knowledge of the fundamentals of music. . Assuming that education authorities decide that art — and for the purpose of this article, music —is to receive the status of a regular * subject, the problem naturally arises as to what would be the most efficient method of incorporating this subject into the general education of all children.

Such an education must be- a solid foundation, an asset to every individual in later life and a basis for advanced training if so desired. Also, it is highly desirable for the system to produce the best results in the shortest time so that the subject would not be

strangled at birth by unwarranted and protracted financial demands, Truly this is a difficult problem and this article suggests some ideas for its solution. Naturally, there will be other methods, and it is hoped that the ideas outlined will provide the basis tor some interesting discussions.

In order to teach the fundamentals of music it must first be established ’ as to what they r constitute. Briefly they are, the ability (a) to sing or whistle a major scale, (b) to recognise changes of pitch, (c) to know me time value or duration of notes in printed music which, incidentally, governs thym, and (d) to read 'the'notes on the printed page and understand their relation to each other in pitch and duration. Once tnese four fundamentals are established — and they are not at al! difficult to learn — the pupil will possess a good basis for sight reading upon which depends all later study. ' '•'

Even with a thorough know-; ledge of these four points only,, a person would find it comparatively easy in later life to learn more of the / art -. of «musicmaking » — perhaps by joining a choral society or a church choir which are in themselves excellent training. The above fundamentals, constitute the simple « grammar » of the language of music, and the printed notes the «letters» and « words.» Thus there is left the ability to read a simple melody from the printed page which, continuing the metaphor, would, be the reading of a «sentence» or «paragraph» and converting .4 into « speech » or sound.

Instrumental training has not, as yet, been mentioned. . In thefirst place, instruments are expensive and require specialised train-

Ing which should be reserved fn>» secondary schools arid colleges, although much progress has; been made in English primary schools by using recorders — an early form of the flute. Again, every child should learn with its own voice to make and distinguish between sounds of various pitches. In singing also, the pronunciation of words is of paramount importance, vowel sounds being elongated and consonants carefully articulated or .even slightly exaggerated. ! 1 This training would be of great value for correct and unhurried speech, as it would encourage expression and inflexion. ( New Zealanders are inclined to speak too rapidly and consequently' conversation often loses. force and effect. Training in true vocal art would certainly raise, the . standard of speech, satisfactory though it may be at present. _ . Singing is already taught in primary schools in New Zealand, but almost invariably children learn their songs in a parrot-like manner without realising even the appearance of the written melody to the eye. In such circumstances the children could be likened to people who have learned to carry on a conversation without being able to read or write. Consequently, their ability to learn new things and express themselves will always be limited. In order to instruct children in these fundamentals, it would, of course,, also be necessary for all or at least some of the staff of. primary schools to acquire this knowledge. Thus, instruction of musical fundamentals, as a subject would need to be incorporated in the' curriculum of all * Teachers’ Training Colleges, a move which would not entail much extra work and would provide for students an incentive to continue studying in their own time, thus piomoting the advancement of music even still further. In future years this subject in the Training Colleges would automatically dwindle in scope and intensity as the later students would already have covered the ground at primary school or college. In addition, inspectors

would also require a knowledge of music to maintain the standard of teaching. : Secondary schools and colleges present a different problem. At these institutions is provided the ideal opportunity for the fostering of the germ which would later provide New Zealand with its much longed-for symphony orchestras, virile choral societies and, perhaps, ultimately its own grand t opera societies or companies.

Here also, will the public of the future, which will support these orchestras and societies, learn to know great music and become a public supporting such organisations, not-because of any stupid snobbishness, but because there would be a genuine interest based upon sound knowledge of the art of the performers and the. works of the composers. When children are able to leave primary schools possessing a moderate - working knowledge of simple line printed music, and a moderate performer’s ability of singing good straight forward songs, much can be achieved in secondary schools ana colleges. Fart-singing could be developed. The amount of published music in this field is enormous. There is a mental and physical satisfaction in part-singing, which is difficult to describe adequately. Only those who have taken part in such activity can realise' this. Thus personal enthusiasm considerably lightens the task of learning.

In y New Zealand, a college orchestra . has . usually been brought into being through sheer hard work on the part of an enthusiastic member of the teaching staff or as a result of individual training of special pupils by visiting teachers. This :1a Iter instance is not common and more often occurs- in private colleges and high schools and is, of course, the best possible training for those fortunate students. However, it was intended . to confine this article to the subject of music in primary schools. Secondary schools and colleges present a different problem and one that can be properly solved

only if children leaving primary schools have a working knowledge of the fundamentals. The - importance of this cannot be stressed too greatly, for education in secondary schools and colleges is for minds that , have. already absorbed fundamentals and are, therefore, better qualified foi development of these essentials. Music is not for a chosen few, it is not a luxury. It is universal in appeal. Surely New Zealanders should at least have the opportunity of learning the mere fundamentals of such an art and thus become citizens who are not entirely ignorant and appreciative of good music.