What's Been Happening to Piano Lessons?
Identifieur interne : 000B55 ( Istex/Corpus ); précédent : 000B54; suivant : 000B56What's Been Happening to Piano Lessons?
Auteurs : Marilyn Kornreich DavisSource :
- Music Educators Journal [ 0027-4321 ] ; 1960-01.
English descriptors
- Teeft :
- Accomplishmentencourage effort, Adequate expression, Adequate quality, American symphony orchestra league richard lert, Application information thorson, Arrangements saitable, Arthur stephan, Arts master, Band director george howerton, Basic idea, Benefits tartansin velopment, Bizet intermezzo, Black shawl, Byron miller, Cardinal principles, Chamber ensembles thor johnson, Choral work, Christmas programs, College life june, Colorful tone quality, Competitive challenge, Conductors huddle, Consistent diligence, Consistent tone, Constant exchange, Contartan performancegroups, Course work, Cultural tradition, Direct theodore presser company bryn loudness, Disciplinary measure, Emotional expression, English suite, Enne suite, Enthusiastic participants, Erno daniel, Everyday habits, Exciting accomplishment, Extra class, Extra time, Fever pitch, Flap pockets, Formal assignment, Frequent opportunities, Full music time, Full orchestra score, Full score, Further information address, General music, Gibson morrissey, Gradual piano teaching displacement, Graduate school, Great significance, Greater degree, Gregory millar, Group activities, Group approval, Group instruction, Group piano instruction, Group session, Group sessions, Group situation, Haig yaghjian, Healthy competition, High rate, High school, High school institute, History chorus, Inclusion jackets, Institute committee, Integral part, Jackson boulevard harrison, John iuele, Jropal uniforms, Keyboard readers, Lesson time, Local music dealer, Local service clubs, Lutton music, Many others, Many school systems, Marian deronde, Marilyn kornreich davis, Metronome techniques, Minor aspect, Minor segment, Modern society, Modern terest, More importantin, Morris english symphony, Music dictionary, Music education, Music education today, Music educators, Music educators journal, Music educators journal page, Music george howerton, Music master, Music program, Music teachers, Music theory, Musical appetites, Musical education, Musical ensemble experience, Musical heritage, Musical instruction, Musical performancerarely, National fashion institute award winner, Natural outgrowth, Natural tone quality, Niversity school evanston, Northwestern university, Numerous factors, Occasional recital, Orchestra director john paynter, Orchestra music, Other fellow, Other organizations, Page capriccio, Past quarter century, Personnel service, Phone delivery, Piano class inexperience struction, Piano lessons, Piano part, Piano pets, Piano strings strings strings reduction, Pius xiiinstitute villa schifanoia florence, Possible need, Powerful case, Practice hints, Practice problem, Precious result, Private instruction classes, Private lesson, Private piano lesson, Private statistics show, Private study, Proper tricks, Public schools, Quiet revolution, Ramona lamar junzstrang roddna, Regular session, Rehearsal purpose, Repetitious pattern, Rimsky korsakoff song, Robert anderson, Robert rudolph, Rosary college river forest, Ross williams, Saxony clothes page, School curriculum, School music, School music program, School orchestras, School population, School year, Second purpose, Series concert ditson, Seventh grade, Similar interests, Sincere disappointmentregistered, Sixth grade, Sizes money stouts, Small portion, Social creatures, Stress tone, Striped jacket, Subject collar shawl, Such quality, Summer chorus director, Summer school, Tardy arrival, Teachers depailtnent, Teaching position, Theodore brochure, Tone quality, Turkish march, Varsity music, Volinme increase, Wallace street, Weekly group session, West hempstead, Western civilization, Younger generation.
Url:
DOI: 10.2307/3389272
Links to Exploration step
ISTEX:538B07FDE0A8D7AB177A3174E1C18AB325CE9DDELe document en format XML
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<publisher-loc>Sage CA: Los Angeles, CA</publisher-loc>
</publisher></journal-meta><article-meta><article-id pub-id-type="doi">10.2307/3389272</article-id><article-id pub-id-type="publisher-id">10.2307_3389272</article-id><article-categories><subj-group subj-group-type="heading"><subject>Articles</subject></subj-group></article-categories><title-group><article-title>What's Been Happening to Piano Lessons?</article-title></title-group><contrib-group><contrib contrib-type="author" xlink:type="simple"><name name-style="western"><surname>Davis</surname><given-names>Marilyn Kornreich</given-names></name><aff>West Hempstead, N.Y.</aff></contrib></contrib-group>
<pub-date pub-type="ppub"><month>01</month><year>1960</year></pub-date><volume>46</volume><issue>3</issue><fpage>62</fpage><lpage>64</lpage><custom-meta-wrap><custom-meta xlink:type="simple"><meta-name>sagemeta-type</meta-name><meta-value>Journal Article</meta-value></custom-meta><custom-meta xlink:type="simple"><meta-name>search-text</meta-name><meta-value> DITSON CONCERT SERIES FOR ORCHESTRA Music of the masters in arrangements saitable for senior high school orchestras. Full orchestra score is included-(also reduced piano part for rehearsal purpose). and Musette from LULLY-Gavotte in D Minor BACH-Gavotte “3rd English Suite” Celebre in F MARTINI-Gavotte Dance in C MOZART-Minuet BEETHOVEN-Country in Eb Turkish March from “The Ruins of RIMSKY - KORSAKOFF - Song of Athens” India from “Sadko” BIZET - Intermezzo from “L’ ArlesiSCHUBERT-Ballet Music No. 2 from enne Suite No. 2” “Rosamunde” BRAHMS-Hungarian Dance No. 5 Moment Musical GLUCK-Gavotte in G TSCHAIKOWSKY-Trepak (Dance HANDEL-Largo from “Xerxes” Russe) HAYDNAdagio from “Farewell Three Morris Dances-Old English Symphony” Rakoczy March-arranged by Page Capriccio in A 2 flutes; 2 oboes; 2Bb clarinets; 2 bassoons; 4 horns in F; 2 Bb trum Instrumentation: 1st violin; 2nd violin; viola; cello; bass. Piano pets; 3 trombones; timpani; percussion; part; full score. Available in three sets: Set A: Full Score, Complete Set B: Full Score, Complete Set C: Full Score, Complete Extra parts available: Full Score: $ 1.25 instrumentation, instrumentation, instrumentation, Piano Strings Strings Strings 2-2-1-1-15-5-3-3-38-8-5-5-5$.75 $ 3.50 $ 4.75 $ 6.00 Parts: $.35 ea. Reduction: See your local music dealer or write direct THEODORE PRESSER COMPANY * BRYN MAWR, PA. loudness is an exciting accomplishment. Especially if they must suddenly change from one amount of volume to another. Crescendoes on one note are fun and help overcome sliding from one note to the next when volinme increase is first attempted. Good choral sound comes from consistent tone from all sections-this brings blend to the choir. It requires consistent diligence on the part of the director. One must stress tone in every song, regardless of type. The result of this diligence is rewarding to student and director. It is especially rewarding to have your students continue choral work in senior high, even though this often means the addition of an extra class to their schedules or the taking of a required course in summer school in order to take choir during regular session. One can have colorful tone quality and natural tone quality from a junior high group. The two should not be separated. It doesn’ t take extra time because it is part of the course work. Pitches contain sound, but voices contain the tone quality. Give your choir a chance to experience the beauty of good choral music and good choral sound. Give yourself the satisfaction of good musical result and the feeling of accomplishment that comes with it. Listen to YOUR choir. How does it sound? -RAMONA Lamar JunzSTRANG RODDnA, ior High School, Austin, Texas. O What’ s Been Happening To Piano Lessons? N THE PAST quarter century a quiet revolution has been in progress in the gradual piano teaching profession-the displacement of the private lesson in favor of group instruction. More an evolution than revolution, group piano instruction is a rather natural outgrowth of the private lesson.1 Statistics show a shockingly high rate of mortality among pianists in their first three years of private study. There are numerous factors responsible for the failure of the private piano lesson. Primarily, the very privacy which surrounds these sessions creates an unnatural, anti-social atmosphere. There is lacking a raison d’ etre, since there is no competitive challenge or goal to be met, except perhaps for an occasional recital. Interchange between student and instructor may easily fall into a dull, repetitious pattern born of boredom, since outside stimulation is absent. This lack of stimuli affects both the student and instructor and is often deadly in its resulting apathy. music educators by Experiments throughout the nation have proven beyond doubt that musical instruction given in a group situation succeeds to a far greater degree in fostering interest and producing results than does the private lesson. Furthermore, it is a financial saving for l Attention to Keyboard readers is directed of interested and Piano Class In Experience Would You Like to Learn Those Fast Passages Easily? Would Y Lkoe Then use a Metronome! ' GRADUATE SCHOOL FOR WOMEN Pius XIIInstitute Villa Schifanoia Florence, Italy The T ? ^/ t Z How? See pas Electric Metronot, e cour* o Confers degrees of Master of Music Master of Arts Master of Fine Arts For further information address: * How? See pages 38, 39 et al in book, $ 1.00. METRONOME TECHNIQUES, write For $ 1.00 book, or information, FRANZ MFG. CO., INC. 53 Wallace Street New Haven, Conn. The Pius XII Institute Committee Box 401, Rosary College River Forest, Illinois I struction. (Washington, D.C.: Music Educators National Conference), 1957. 48 pp. $ 1.00. Page 62 Music Educators Journal the individual since the payment of tuition is shared by the participants. + Why is the group session more productive than the private lesson? People are naturally social creatures and enjoy the company of others sharing similar interests and goals. They benefit by healthy competition; they are curious to observe the other fellow at work; they profit by his ability or disability; they find enthusiasm contagious. And who doesn’ t enjoy the stimulationof a sympatheticaudience? There is a constant exchange of ideas regarding proper interpretation, technical tricks and practice hints. Analysis becomes a natural by-product of these sessions and finds its way into everyday music-listening habits. The strength of the group approval or disapprovalserves as a disciplinary measure. Of great significance, too, are the frequent opportunities provided for musical ensemble experience, (an integral part of musical performancerarely available to pianists). The instructor in a group situation is offered a most challenging position: he must be alert to the varying moods and personalities confronting him; he must be tactful in his treatment of each individual without showing any trace of partiality; he must be capable of keeping the lesson moving at a rapid enough pace to ensure continuousinterest and enthusiasm; he must be subtle enough to allow his observations to become known to the group without seeming to instruct constantly since the most precious result of these group sessions is the benefit the participants derive from instructing each other. + Having been personally involved in group piano instruction, I should like to say that the air at these sessions is figuratively charged with electricity, the excitement at fever pitch and the lesson time almost always too brief for the enthusiastic participants. Very rarely does the session end according to schedule, and even rarer are the sessions which close without sincere disappointmentregistered by the members. More often than not, “extra” pieces (beyond the formal assignment) are played for the pleasure of both the performer and his audience. The musical appetites of the participants seem insatiable. There may be frequent larger gatherings during which the members perform for each other, offer constructive criticism and analyze the music. Nervousness is replaced gradually by a mature selfconfidence, seasoned by the weekly group session at which time one is never without auditors. + What about the practice problem? It becomes as outdated as the private lesson. The stimulation of being in a group situation weekly eliminatesthe chief cause of non-practice: apathy. Desire for group approval and pride of accomplishmentencourage effort. There have been occasions when I have arrived late to a group session only to find upon my arrival that it was already under way! Contrast this with the private piano lesson where the student, after a January, Nineteen Sixty iorthwestern [niversity School Evanston, Illinois of Music George Howerton, Dean National High School Institute A Five-Week Preview of College Life June 26-July 30 * private instruction * classes in music theory and history * chorus, orchestra, band, chamber ensembles Thor Johnson, Orchestra Director John Paynter, Band Director George Howerton, Summer Chorus Director available from Theodore Brochure and application information Thorson, School of Music, Northwestern University, Evanston, Ill. I -, F The Clark-Brewer Teachers Agency-Music Depa Iltnent IF YOU ARE AVAILABLEfor a teaching position in the field of Music, let us be of service to you. We have calls for Music Teachers with degrees in all phases of Applied Music and Music Education in the Public Schools, Colleges, Universities and Con. servatories. 64 E. Jackson Boulevard HArrison 7-1279 C. A. Lutton. Manager B. Lutton, Ass’ t. Mgr. Chicago 4, Illinois LUTTON MUSIC PERSONNEL SERVICE When writing to advertisers, please mention the Music EDUCATORS JOURNAL Page 63 YOUR BANDCHORUS waiting for the clock to register the OR ORCHESTRA, ing, terminationof his confinementso WILL AS LOOK ASITSOUNDS he may oncesolitary join the “free GOOD that again WITH world. -MARILYN KORNREICH DAVIS, West frequently tardy arrival, sits half-listen- Cyo tden Jrop Al Hempstead, N.Y. [Author of “Group UNIFORMS BY Lightweight forcomfort… long-wearing foreconomy National Fashion Institute Award Winner Activities at the Keyboard,” is also known for her Music Dictionary.] Varsity Music or General Music N THIS AGE of increased emphasis on games, preparing Christmas programs, preparing for festivals, concerts, and operettas, and in providing entertainment for local service clubs and other organizations. These students spend their time learning techniques, not in advancinggeneral musical understanding. Their experience is often specialized without the support of an adequate general background. This is not an argument against performing groups in the school. It is, rather, a question concerning the possible need for reorientationin an attempt to emphasize things that are more importantin the musical education of youth. life in the school, music teachers and many others are concernedwith the future of the arts in the school curriculum. The philosophies put forth by music educators in defense of their subject COLLAR SHAWL seem to be basically sound. These ideas create a powerful case for the inclusion JACKETS and retention of music in the curriculum Beautiful i spotlight x of the schools. But there seems to be a colors: Powder) Red, fallacy in music education today. The Blue, Gold, Grey, Royfallacy is that the philosophies advanced in theory often are not implemented in al, Peacock Blue, the school music program. Maroon. White, Top A basic idea which underlies the funcfabrics. quality Fully tions of school music seems to be a lined. $ 16.90, concept of the fullest possible musical with available Also developmentof every child in the school. black shawl. Yet in many school systems the sixth grade or seventh grade general music A.L class represents the termination of the ajIIj |; r musicaldevelopmentof the majority of the students. The students PLAID tinue in the musical who do not conTARTAN performancegroups, JACKETS either because of lack of opportunity, in Authentic modern terest, or inadequateprevious musical deand the very benefits tartansin Red, Grey, velopment, are denied highly praise. The which the educators so Blue, Yellow, Green, students who do continue in the per Rust, Charcoal. New, forming groups spend most of their slim-linelapels. Full music time in preparation for football scienceand the “practical” things of + One of the purposes of music in the school is the inculcation of the cultural tradition of music in the younger generation. This is not accomplishedthrough the performanceof a few pieces of music during the school year by a minor segment of the school population. More often than not even those few pieces to which the performers are exposed represent a very minor aspect of the musical heritage of Western civilization. A second purpose of the music program in the school is to provide for the aesthetic and emotional expression of the students. The music used is often of such quality that it does not provide the most adequate expression for the students, and even when the music is of adequate quality, it reaches only a small portion of the school population. The uses of music for various functional purposes in modern society involve all of the people of the society; yet the training in music available to the people through the high school is limited to a small portion of the students of that school. It is possible to teach music so as to advance the “seven cardinal principles of education.” This teaching, however, can linperspiration-proofing. $ 17.90 I -a-.1 I 5 BLAZERS and 2 Men’ s girls’ or3 buttonmodels. Patch or flap pockets. In stripes, plaids and solids. $ 22.90 A !=_ . 9.50 A rux PANTS CUMMERBUND & TIE SET… $ 3.50 All garmentsmanufactured our own in modern factory. Buydirectfor substantial or savings. Satisfaction guaranteed, your back! Sizes 34-52, shorts, regulars, money stouts, longs andextralongs in stock for immediate Write, wire or phone delivery. yourordernow… or ask for free illustrated brochure with swatches. FIFTEEN CONDUCTORS huddle at an American Symphony Orchestra League Richard Lert (in striped jacket), Erno Daniel, shop. Seated (clockwise): Dutton, Gibson Morrissey, Marian De Ronde, Robert Anderson, John Iuele, Swift and Haig Yaghjian. Standing (1. to r.): Byron Miller, Ross Williams, 191CANAL N.Y.C. N.Y.* WORTH 46039 ST., 13, Reynolds, Arthur Stephan, Robert Rudolph and Gregory Millar. SAXONY CLOTHES Work James James Creech Page 64 Music Educators Journal </meta-value></custom-meta></custom-meta-wrap></article-meta></front></article></istex:document></istex:metadataXml><mods version="3.6"><titleInfo lang="en"><title>What's Been Happening to Piano Lessons?</title></titleInfo><titleInfo type="alternative" lang="en" contentType="CDATA"><title>What's Been Happening to Piano Lessons?</title></titleInfo><name type="personal"><namePart type="given">Marilyn Kornreich</namePart><namePart type="family">Davis</namePart><affiliation>West Hempstead, N.Y.</affiliation></name><typeOfResource>text</typeOfResource><genre type="research-article" displayLabel="research-article" authority="ISTEX" authorityURI="https://content-type.data.istex.fr" valueURI="https://content-type.data.istex.fr/ark:/67375/XTP-1JC4F85T-7">research-article</genre><originInfo><publisher>SAGE Publications</publisher><place><placeTerm type="text">Sage CA: Los Angeles, CA</placeTerm></place><dateIssued encoding="w3cdtf">1960-01</dateIssued><copyrightDate encoding="w3cdtf">1960</copyrightDate></originInfo><language><languageTerm type="code" authority="iso639-2b">eng</languageTerm><languageTerm type="code" authority="rfc3066">en</languageTerm></language><relatedItem type="host"><titleInfo><title>Music Educators Journal</title></titleInfo><genre type="journal" authority="ISTEX" authorityURI="https://publication-type.data.istex.fr" valueURI="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</genre><identifier type="ISSN">0027-4321</identifier><identifier type="eISSN">1945-0087</identifier><identifier type="PublisherID">MEJ</identifier><identifier type="PublisherID-hwp">spmej</identifier><part><date>1960</date><detail type="volume"><caption>vol.</caption><number>46</number></detail><detail type="issue"><caption>no.</caption><number>3</number></detail><extent unit="pages"><start>62</start><end>64</end></extent></part></relatedItem><identifier type="istex">538B07FDE0A8D7AB177A3174E1C18AB325CE9DDE</identifier><identifier type="ark">ark:/67375/M70-VHZZ1HJF-K</identifier><identifier type="DOI">10.2307/3389272</identifier><identifier type="ArticleID">10.2307_3389272</identifier><recordInfo><recordContentSource authority="ISTEX" authorityURI="https://loaded-corpus.data.istex.fr" valueURI="https://loaded-corpus.data.istex.fr/ark:/67375/XBH-0J1N7DQT-B">sage</recordContentSource></recordInfo></mods><json:item><extension>json</extension><original>false</original><mimetype>application/json</mimetype><uri>https://api.istex.fr/ark:/67375/M70-VHZZ1HJF-K/record.json</uri></json:item></metadata><serie></serie></istex></record>Pour manipuler ce document sous Unix (Dilib)
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