The Charcoal Burner's Son
Identifieur interne : 000844 ( Istex/Corpus ); précédent : 000843; suivant : 000845The Charcoal Burner's Son
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- Music educators journal [ 0027-4321 ] ; 1932-02.
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DOI: 10.2307/3384469
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W. Longfellow</json:string><json:string>Eugene Creitz</json:string><json:string>Victor Hely</json:string><json:string>Irene Duggan</json:string><json:string>John Peel</json:string><json:string>Meredith Tatton</json:string><json:string>Joe Cohen</json:string><json:string>Ralph L. Baldwin</json:string><json:string>G. Cameron</json:string><json:string>Solo Quartet</json:string><json:string>Stevens Dickie</json:string><json:string>Scholes</json:string><json:string>Thomas F. Dunhill</json:string><json:string>Eugene Gruenberg</json:string><json:string>W. A. St</json:string><json:string>Charles Wood</json:string><json:string>C. H. Kits</json:string><json:string>Thomas A. Arne</json:string><json:string>Michael J. Serbu</json:string><json:string>Percy A. Scholes</json:string><json:string>F. C. Bornschein</json:string><json:string>Peach</json:string><json:string>Blom</json:string></persName><placeName><json:string>LUND</json:string><json:string>NICE</json:string><json:string>Distad</json:string><json:string>Chicago</json:string><json:string>CLEVELAND</json:string><json:string>PALESTRINA</json:string></placeName><ref_url></ref_url><ref_bibl></ref_bibl><bibl></bibl></unitex></namedEntities><ark><json:string>ark:/67375/M70-8T31643P-K</json:string></ark><publicationDate>1932</publicationDate><copyrightDate>1932</copyrightDate><doi><json:string>10.2307/3384469</json:string></doi><id>3E203F57C8DF81F577ECF1DD0CCCD30019A5F991</id><score>1</score><fulltext><json:item><extension>pdf</extension><original>true</original><mimetype>application/pdf</mimetype><uri>https://api.istex.fr/document/3E203F57C8DF81F577ECF1DD0CCCD30019A5F991/fulltext/pdf</uri></json:item><json:item><extension>zip</extension><original>false</original><mimetype>application/zip</mimetype><uri>https://api.istex.fr/document/3E203F57C8DF81F577ECF1DD0CCCD30019A5F991/fulltext/zip</uri></json:item><istex:fulltextTEI uri="https://api.istex.fr/document/3E203F57C8DF81F577ECF1DD0CCCD30019A5F991/fulltext/tei"><teiHeader><fileDesc><titleStmt><title level="a" type="main" xml:lang="en">The Charcoal Burner's Son</title><respStmt><resp>Références bibliographiques récupérées via GROBID</resp><name resp="ISTEX-API">ISTEX-API (INIST-CNRS)</name></respStmt></titleStmt><publicationStmt><authority>ISTEX</authority><publisher scheme="https://publisher-list.data.istex.fr">SAGE Publications</publisher><pubPlace>Sage CA: Los Angeles, CA</pubPlace><availability><licence><p>sage</p></licence></availability><p scheme="https://loaded-corpus.data.istex.fr/ark:/67375/XBH-0J1N7DQT-B"></p><date>1932</date></publicationStmt><notesStmt><note type="review-article" scheme="https://content-type.data.istex.fr/ark:/67375/XTP-L5L7X3NF-P">review-article</note><note type="journal" scheme="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</note></notesStmt><sourceDesc><biblStruct type="inbook"><analytic><title level="a" type="main" xml:lang="en">The Charcoal Burner's Son</title><idno type="istex">3E203F57C8DF81F577ECF1DD0CCCD30019A5F991</idno><idno type="ark">ark:/67375/M70-8T31643P-K</idno><idno type="DOI">10.2307/3384469</idno><idno type="article-id">10.2307_3384469</idno></analytic><monogr><title level="j">Music educators journal</title><idno type="pISSN">0027-4321</idno><idno type="eISSN">1945-0087</idno><idno type="publisher-id">MEJ</idno><idno type="PublisherID-hwp">spmej</idno><imprint><publisher>SAGE Publications</publisher><pubPlace>Sage CA: Los Angeles, CA</pubPlace><date type="published" when="1932-02"></date><biblScope unit="volume">18</biblScope><biblScope unit="issue">3</biblScope><biblScope unit="page" from="72">72</biblScope><biblScope unit="page" to="74">74</biblScope></imprint></monogr></biblStruct></sourceDesc></fileDesc><profileDesc><creation><date>1932</date></creation><langUsage><language ident="en">en</language></langUsage></profileDesc><revisionDesc><change when="1932-02">Published</change><change xml:id="refBibs-istex" who="#ISTEX-API" when="2017-10-16">References added</change></revisionDesc></teiHeader></istex:fulltextTEI><json:item><extension>txt</extension><original>false</original><mimetype>text/plain</mimetype><uri>https://api.istex.fr/document/3E203F57C8DF81F577ECF1DD0CCCD30019A5F991/fulltext/txt</uri></json:item></fulltext><metadata><istex:metadataXml wicri:clean="corpus sage not found" wicri:toSee="no header"><istex:xmlDeclaration>version="1.0" encoding="UTF-8"</istex:xmlDeclaration><istex:docType PUBLIC="-//NLM//DTD Journal Publishing DTD v2.3 20070202//EN" URI="journalpublishing.dtd" name="istex:docType"></istex:docType><istex:document><article article-type="review-article" dtd-version="2.3" xml:lang="EN"><front><journal-meta><journal-id journal-id-type="hwp">spmej</journal-id><journal-id journal-id-type="publisher-id">MEJ</journal-id><journal-title>Music Educators Journal</journal-title><issn pub-type="ppub">0027-4321</issn><publisher>
<publisher-name>SAGE Publications</publisher-name>
<publisher-loc>Sage CA: Los Angeles, CA</publisher-loc>
</publisher></journal-meta><article-meta><article-id pub-id-type="doi">10.2307/3384469</article-id><article-id pub-id-type="publisher-id">10.2307_3384469</article-id><article-categories><subj-group subj-group-type="heading"><subject>Articles</subject></subj-group></article-categories><title-group><article-title>The Charcoal Burner's Son</article-title></title-group><pub-date pub-type="ppub"><month>02</month><year>1932</year></pub-date><volume>18</volume><issue>3</issue><fpage>72</fpage><lpage>74</lpage><custom-meta-wrap><custom-meta xlink:type="simple"><meta-name>sagemeta-type</meta-name><meta-value>Reviews</meta-value></custom-meta><custom-meta xlink:type="simple"><meta-name>search-text</meta-name><meta-value> who has the time and the inclination might make privately.“ Mr. Blom then proceeds to make the thorough job of it that anyone acquainted with Mr. Blom's work knows he would make. In form his text follows the play and music at once, page by page, number by number, from introduction to finale, on the well-taken ground that they form ”one single and indivisible work of art.“ His analysis is marked by the fine discernment and complete knowledge of the music that one would expect from him. By courtesy of Adolph Frstner and Co., large numbers of musical quotations are adduced. Nothing that could add to the value for the reader, indeed, is lacking.–WILL EARHART. A. Scholes. [Oxford University Press, Carl Fischer, Inc., Sole Agents for the U. S. A.]. Not quite such a marvel of compactness as the same author's Miniature History of Music, but closely resembling that work in its brevity and plenitude, is this latest product of Mr. Scholes' pen. One may say with confidence that it is the first work that the student of the history of opera should read; and with equal truthfulness one may say that if he never reads another he willfindhimself far from uninformed on the subject, not only in its general outlines but with respect to an imposing array of important facts. Moreover, his knowledge will be well organized for the reception of all further information of the kind. Discussion ranges from The Opera Before the Opera, and through all periods and European countries, to Opera in the United States. Notwithstanding the large factual content, the reader will find his mind mainly engaged in following penetrating analyses of artistic schools, ideals and developments. One or more chapters each is devoted to opera in Italy, the German countries, France, Spain, and others; and each of these chapters is followed by a copious dated list of first performances, valuable for quick reference.–WILL EARHART. Textbooks CONSTRUCTION. C. H. Kits on [Oxford University Press, Carl Fischer, Inc., Sole Agents for U. S. A.]. Books by this eminent scholar are alike in that they afford the reader the rare privilege of entering into companionship with the writer's richest and most advanced thought. Dr. Kitson can write down to beginners, and has done so; but he possesses the far more precious ability, and also the desire, to lift the reader to his own stage of scholarship. The best he has learned is none too good to impart to all who will read. Nor is his style condescending; he assumes interest and ability in his audience. His books, therefore, raise the self-respect of his readers and give them new vision and energy. Six Lectures on Accompanied Vocal Writing will interest primarily the composer, or the prospective composer, of serious vocal works. No question of musical taste, technique or authoritative practice is neglected, and the work is richly documented with quotations from, and citations of, musical examples that range from Byrd and Bach to Parry– Page 72 Six LECTURES ON ACCOMPANIED VOCAL WRITING; T H E ELEMENTS OF FUGAL A MINIATURE HISTORY OF OPERA. Percy though with emphasis on British composers. Exercises follow some chapters, and a slender excerpt or two from a large number of these may serve to indicate the scope of the work. Thus, after Lecture I, is this exercise: “Set one verse of ‘When I survey the wondrous cross' (tune Rockingham) in the manner of Bach's ‘Jesu, Joy of man's desiring‘”; after Lecture II (on Thematic Development), the following: “Write a short theme to typify ‘Spring’ (add the accompaniment). Metamorphosize it to typify (a) Summer, (b) Autumn, (c) Winter”; after Lecture V (Vocal Quartet), this: “Set the following words for Solo Quartet, Chorus, and Orchestra”; (five lines from Lowell). Over all plays the illuminating vision of a master of music and a master in teaching. Quite apart from its value as an advanced textbook, these give the work the character of a critique on choral and other vocal composition that will give pleasure and profit to all musicians. The Elements of Fugal Construction offers to the prospective student-writer of fugues precisely what the foregoing work offers to the writer in accompanied vocal forms. It is for those enlisted in the final stages of study of fugal writing and is strictly a textbook. As such it is an extraordinarily good one. Ample Exercises are, of course, included. They do not differ greatly from similar exercises in similar books; but the instruction that precedes them and guides the student through the working of them differs as pedantry differs from apostleship. A live musical mind, of unusual power, and informed by an intimate knowledge of the world's music that is equaled by few teachers, plays with enjoyment upon the project of constructing a certain type of musical composition. The effect is greatly to stimulate one's musical discrimination and interest even before he essays writing; and no teacher can do better than that for his students.–WILL EARHART. THE VIOLIN STUDENT'S VOCABULARY. death, and nationality and school. They are excellent for quick reference to facts that ordinarily are widely scattered. The final chapter, The Violin and Bow, is an historical sketch that has been written with extreme care and is uncommonly full and reliable. The heart of the little book is, indeed, here. But that is not to say that the contents of the book as a whole, unless for the first two chapters, are of any but necessitous importance to all violin students. Considering its inexpensiveness, none should be without it.–WILL EARHART. Eugene Gruenberg [Oliver Ditson Co., Inc.]. The book is a recent addition to the series published under the collective THE CHARCOAL BURNER'S SON. L. DU title, The Pocket Music Student. Garde Peach and Victor Hely HutchThe opening paragraph of the auinson. [Oxford University Press, Carl thor's Preface reveals his purpose. It Fischer, Inc., Sole Agents for the reads: “A lifetime's experience has disU. S. A.]. closed to the author the fact that the The work is described as A Dramatic overwhelming majority of violin stuStory with Music for Children. It is dents are enveloped in unbelievable igcleverly, even smartly, done, and bears norance of the fundamental elements evidence that much talent has been exof musical, historical and, generally pended on it. Nevertheless one can not speaking, theoretical matters connected praise it as a work for children The with their chosen instrument.” dialogue is witty, the music effective, in In accordance with the forecast thus a hearty, English light-opera way, but implied, the author provides a first the atmosphere is one of burlesque, and chapter on Musical Terms and a second only experienced and sophisticated peron Rudiments of Musical Knowledge. sons can really do justice to burlesque. The musical terms are such as may be Children have not the introspective found in any dictionary of the kind. duality that is required of one who The Rudiments simply summarizes such would enter into a role and at the same matters as Tones, Notes, Scales, Intertime laugh at it. vals, Chords, Altered Chords. But the work is quite too good and But Chapter III is on Practicing. It too jolly to lose, and a way out appears. is a very readable chapter and provides The music is not difficult, the chorus wise guidance in a happy form. The invariably sings in unison, and the vocal chapters immediately following, Famous range is restricted. A high school Violinists, and Famous Violin and Bow group, with goodly dramatic ability, Makers, provide alphabetically arranged could give the rollicking comedy an adlists of the important men in the two fields, together with years of birth and mirable performance without altering Music Supervisors Journal Operetta THE WHISPERING WOOD. Rodney Bennett and Martin Shaw [Oxford University Press, Carl Fischer, Inc., Sole Agents for U. S. A.]. The libretto and the music are alike commendable. A poetic fantasy is wedded to music as simple, sincere and appealing as the text. The story is the familiar one of Snowwhite and the Seven Dwarfs, but under the hands of the librettist and composer here engaged, it acquires new meaning and appealing beauty. It is written for children; but it is for the artists who are in children. Not a moment of theatrical and conscious makebelieve is in the whole work. Artistic loss of self-consciousness is complete. The music is for treble voices. There is considerable- solo work but all so perfectly laid along lines of the child's voice and his modes of musical feeling that it will issue appropriately and successfully from youthful lips. Choruses are in unison and two parts. The music is not great, but is perfect for its purpose. It is unfailingly interesting, competent and lovely; and it discloses much power of effective dramatic characterization while maintaining purity and an utter absence of melodramatic turgidity. The full evening apparently required for performance will be none too long for performers or audience. I almost wish I were again a teacher, with some classes of clear-eyed, honest, sixth, seventh and eighth grade boys and girls–and some younger. I should be impatient of every hour until together we had brought this charming work to performance.–WILL EARHART. THE MUSIC A A L AND WITHOUT CHANGING TL SCARCELY A WORD OF THE TEXT T FITI T O TO THE MORE ADVANCED AGES OF THE PERFORMEL O ERS. THE PLAN IS W L WORTH A TRIAL; F R THE WORK R A L S F E S ONLY BECAUSE T E ELY UF R H AUTHORS PREPARED THEIR WARES AND DISH PLAYED THEM IN T E WRONG MARKET.– WILL EARHART. EAST CHICAGO 100 PER CENT! for Illinois! said we when Robert J. W h i t e personally brought to the Conference office the cash and application cards to complete 100 per cent enrollment of the music forces of the East Chicago schools. “Of course,” said M r. W h i t e. “Good for any state or town. I recommend this one hundred per cent tonic highly.” “Shall we quote you t o that effect?” said we. “Certainly,” replied M r. White. “Also to the effect that M i s s Clark and Miss Shearer hope to get one hundred per cent results on the fourteen applications they have sent to the Committee for the National Chorus and O r chestral A n d you might mention the fact that East Chicago is in Indiana, not in Illinois.” “ O h, said we. “ W e l l, congratulations anyway 1” Whereupon w e blushingly went about the business of recording the East Chicago, one hundred per cent Conference memIndiana, bership list. H e r e it i s : L. E. Boroughs, Grace L. Boyce, M a r y Lois Clark, Joe Cohen, Eugene Creitz, Mildred Distad, Irene Duggan, Lois F. Uallaher, Ruth Glenn, M a r y Gerstbauer, George W. Haskins, Lewis L. Mears, Herbert M. Preston, John G. Rassman (Superintendent of Schools), Michael J. Serbu, Pauline M. Shearer, Robert J. W h i t e (Director of M u s i c), Grace E. Winters, Genevieve Y u n g . CjOOD THE SINGERS. Poem by H. W. Longfellow; Music by F. C. Bornschein [H. T. FITZSIMONS CO.]. ON FIRST READING THIS IMPRESSES ONE AS A NICE C N A A F R UNCHANGED VOICES, ATT O UTE THOUGH ON F R H R ACQUAINTANCE I FIND IT R T E UNCONVINCING. IT JUST MISSES AHR BEING LOVELY.–SUSAN T. CANFIELD. LUND OF EDWIN MARKHAM'S “ A PRAYER,” ELEANOR STOCK'S “THE DAY MY ROOM E O SPOKE UP” S T T AN ENGLISH FOLK TUNE, AND PERCY DEARMEIS’ “LORD OF HEALTH” USED WITH ROBERT FRANZ’, “DEDICATION.” THERE ARE ALSO SOME SPIRITUALS O AND AMERICAN INDIAN MELODIES, N T FORMERLY IN SUCH COLLECTIONS.–SUS AN T. CANFIELD. THE (Dr. Thomas A. Arne). Arranged by Ralph L. Baldwin [M. WITMARK & SONS]. LASS WITH THE DELICATE AIR. THE SINGERS. Harvey Gaul [M. WITMARK & SONS.] A COMPOSER WHO POSSESSES G E T GIFTS RA HAS HERE WRITTEN MOVING, POETIC MUSIC, OF ALMOST HAUNTING BEAUTY. THE IDIOM IS WIDELY DIFFERENT, YET SOMETHING IN T E H ABSORBED POESY OF THIS MUSIC R C L S A. EAL GORING-THOMAS' The Swan and the A CHORUS F R T R E PARTS, S.S.A., WITH O HE PIANO ACCOMPANIMENT. IN ADDITION T O GIVING PLEASURE T SINGERS AND HEARERS, O THIS W L ARRANGED BIT OF C O A WRITING EL HRL WILL H L T DEVELOP GOOD V C L AND EP O OA MUSICAL HABITS, SINCE IT WL COMPEL GRAIL CIOUS TREATMENT. MR. BALDWIN HAS NOWHERE DISTURBED OR DISTORTED THE DAINTY ARNE SONG, BUT THE ADDED PARTS BRING IT INTO T E REPERTOIRE O GIRLSGLEE H F Clubs.–HULDAH JANE KENLEY. GOD REST YOU, MERRY GENTLEMEN (TRADITIONAL CAROL WITH DESCANT). Skylark–I THINK, T THE ADVANTAGE OF O THE PRESENT WORK, F R SHIMMERING HARO MONIC COMBINATIONS G E T US HERE T A RE HT WERE NOT C R E T IN THE DAYS O URN F TE H GIFTED ENGLISH COMPOSER. THE POEM IS LONGFELLOW'S. ITS LOVELINESS AND T E H DEPTH O I S PREDICATIONS ARE WORTHILY FT MATCHED IN THE MUSIC. DTNDY WAS THE COMPOSER'S TEACHER, BUT FROM WHAT WE MEET HERE, I MIGHT T W L HAVE BEEN DEBUSSY. EL WITH T E H Nocturne OF T E L T E ECHOING IN MY H ATR EARS, AS MIRACULOUSLY PLAYED BY T E H BOSTON SYMPHONY ORCHESTRA A F W E HOURS BEFORE I WRITE THESE LINES, I CAN FANCY IT IN AN O C E T A INVESTITURE T A RHSRL HT WOULD MERGE WITH ENTIRE CONGRUITY IN T A WHICH IS CHARACTERISTIC OF DEBUSSY. HT THE WORK IS INSCRIBED T A WORTHY O FELLOW-CRAFTSMAN GRIFFITH J. JONES OF CLEVELAND. IT IS SCORED F R MIXED O VOICES, FOUR PARTS, WITH INCIDENTAL SOLOS FOR SOPRANO AND BARITONE. THE ORCHESTRATION IS AVAILABLE. IT IS NOT AS L N OG AS ONE WHO IS ONCE EMBARKED ON I S T C R E T WISHES IT, BUT IT SHOULDFILLSOME URN FIFTEEN TO EIGHTEEN MINUTES WITH SHEER DELIGHT. THE BEST OF OUR HIGH S H O CHORUSES COL CAN SING THIS CANTATA, AND THEY ARE T O BE ENVIED BY THOSE WHO CAN NOT.–WILL EARHART. Arranged by Thomas F. Dunhill IT DEMANDS SUSTAINED TONE AND W L EL APLA GRIPPED PHRASES. A SERIOUS A C P E L CHOIR WILL BE HAPPY T ADD THIS FINE O F I S REPERTOIRE. – HULDAH T NUMBER O JANE KENLEY. (1) I HAVE TWELVE OXEN. Charles Wood. (2) I SAW THREE SHIPS. AS O, Willow, Willow, AND John Peel. THIS IS F R TWO E U L T E L VOICES, WITH O Q A RBE PIANO ACCOMPANIMENT. IT C U D BE W L OL EL R DONE BY GIRLS’ CHORUSES, O BY UNCHANGED VOICES IN THE ELEMENTARY SCHOOL, WHERE IT WOULD BE A VERY E C L E T BEXELN O T A U T L SINGING.–HULGINNING IN C N R P N A DAH JANE KENLEY. INSTRUMENTAL TECHNICAL FUN FOR ALL INSTRUMENTAL GROUPS. W. A. St or er [GAMBLE HINGED MUSIC COMPANY]. THE TT E CONTINUES WITH T E WORDS IL H “HARMONIZED AND SYNCHRONIZED,” BRIEFLY DESCRIBING T E SET-UP OF THE BOOK. I H FIND IT EASIEST T DESCRIBE THISINGENIOUS O CREATION BY PICTURING ONE OF I S PAGES T T THE READER. AT THE TOP OF PAGE TWO, O AND C L E lesson one, STAND EIGHT ASALD CENDING DIATONIC WHOLE NOTES, BEGINNING ON ONE LINE, /. THIS EASY PROGRESSION OF SOUNDS IS GIVEN C A A T R BY ASSUMHRCEING ANY ONE O FOUR KEYS T A STAND F HT PICTURED JUST ABOVE. THESE KEYS ARE, AS T E R A E MIGHT GUESS, F MAJOR, H EDR F-SHARP MAJOR, F MINOR, AND F-SHARP MINOR. BELOW THIS SCALE OF WHOLE NOTES, WE FIND HALF-NOTES RUNNING /, a, g, b, ETC. ONE EASILY SEES HOW THESE, WHEN PLAYED WITH T E SCALE, ARE “HARMONIZED H AND SYNCHRONIZED.” BELOW THE HALF-NOTE EXERCISE ARE T R E OTHERS, EACH DF E E T HE IFRN BUT A L MADE UP OF QUARTER-NOTES RUNL NING IN A HARMONY S L C E T FITWITH EETD O THE S A E AND HALF-NOTES. THIS DID NOT CL SEEM T BE COMPLEX ENOUGH T T E ORIGO OH INATOR, HOWEVER, SO WE FIND BEYOND MORE EXERCISES, TWO IN EIGHTH NOTES AND ONE IN SIXTEENTHS. IN THESE WEFINDSOME DIATONIC MOVEMENT, BUT ALWAYS POINTS OF ACCENT F L ON THE BASIC HARMONY. I HAVE AL TRIED T PICTURE T THE READER EIGHT PARTS, O O EACH HARDER THAN THE PRECEDING AND DESIGNED F R PLAYERS ON EIGHT PLAYING LEVO ELS. THE EXERCISES WILL WORK AND MAY PERHAPS R S L IN SOME “FUN”–SIMILAR EU T TO T A RESULTING FROM THE UNION OF TWO HT TUNES T A ARE FOUND T POSSESS COINCIHT O D N A L THE SAME HARMONIC BASIS. THE ETLY EXERCISES POSSESS LT L MUSICAL CONTENT, ITE HOWEVER, AND SHOULD BE USED F R THOSE O WHO, F R T E MOMENT, WISH T O H O PLACE STRESS PURELY ON TECHNIQUE.–LEE M. LOCKHART. [CARL FISCHER, INC.]. F THIS IS ONE O THE ARNOLD'S DESCANT SERIES, A L OF WHICH ARE INTERESTING, AND L MANY O WHICH ARE A JOY T DO–SUCH F O /. Meredith Tatton. (3) A MERRY TIME. /. G. Cameron [C. C. BIRCHARD & CO.]. THESE A E T R E OF T E MORE THAN R HE H TWENTY SONGS OF The Yearbook Press Series OF ENGLISH SONGS. NO L A E O EDR F HIGH SCHOOL C O A GROUPS SHOULD BE HRL UNACQUAINTED WITH THE SERIES. THE FIRST SONG NAMED ABOVE IS A DUET FOR S. A. IT IS D LG T U L SIMPLE AND EI HFLY SPONTANEOUS, CONDUCIVE T DELICACY AND O FREEDOM OF V C L PRODUCTION. THE SECOA OND, A CHRISTMAS SONG F R S.A.T.B., O A CAPPELLA, IS NOT A A L T E CONVENTIONAL TL H C R L OR ANTHEM, BUT D LG T U L FOLKAO EI HFLY LIKE AND VERY VOCAL. THE THIRD IS F R O FOUR PARTS, S.A.T.B. IT IS A LG T AND IH T U Y MERRY SONG OF MAY AND YOUTH, RL ONE IN SPIRIT WITH MORLEY'S Now is the month of Maying. – HULDAH JANE ert PRAISE GOD IN H I S HOLINESS. Rob- Whyte (b. cir. 1530–d. 1574) KENLEY. WALKER, IN A History of Music in Eng- [CARL FISCHER, INC.]. THE OXFORD UNIVERSITY PRESS O F R FE S THIS O D ANTHEM BY ONE O T E FIRST L FH G E T MUSICAL ARTISTS OF ENGLAND. IT IS RA ONE OF T E EUTERPE COLLECTION, EDITED H BY CHARLES KENNEDY SCOTT. ERNEST SINGING PATHWAYS – Mary Stevens Dickie [POWELL & WHITE], “HYMNS AND SONGS AND WORSHIP MAT RA E I L F R JUNIOR AND SENIOR HIGH O SCHOOL AGE” IS T E SUBTITLE O THIS H F BOOK. MRS. DICKIE, WHO HAS FOR SOME YEARS BEEN ASSOCIATED WITH RELIGIOUS EDUCATION, SET H R E F THE TASK OF CLUSESL TERING WORSHIP MATERIAL ABOUT THE FOUR OBJECTIVES OF C A A T R EDUCATION APHRCE PROVED BY T E …, NAMELY: H KNOWLEDGE OF SELF, NATURE, SOCIETY, GOD. SHE RECOGNIZED A D A T O MAERH F T RA FOR THE E R Y ADOLESCENT, PARTICUEIL AL L R Y AND HAS COMPILED AND ARRANGED AL, THESE SONGS T SUPPLY T E LACK. SHE O H HAS ATTEMPTED T FIND MELODIES FRESH O AND UNKNOWN, USING “NOTHING HAVING AN ESTABLISHED THOUGHT ASSOCIATION.” LESS FAMILIAR F L MELODIES HAVE BEEN OK USED AND A FEW HYMNS FROM EXISTING MATERIAL. THERE IS NO SEVERANCE BETWEEN S C L R AND SACRED, B T R T E EUA U AHR THE ATTITUDE T A RELIGION PERVADES A L HT L PHASES of LIFE. To ILLUSTRATE: IN THE FIRST SECTION, “THE PATH OF FINDING MYSELF,” OCCURS A L V L SETTING BY SIGNE OEY land, REPORTS T A WHYTE'S WORKS A E HT R G N R L Y OF T E SOLIDLY C N R P N A EEAL H O T AU T L ORDER, WITH A S R OF DELICATE, GRAVE OT CHARM; T A H T THIS PARTICULAR ANTHEM SHOWS MORE VIGOR AND MOVEMENT THAN HIS QUIETLY DIGNIFIED GENIUS ORDINARILY ATTAINED; T A WHYTE IS RECKONED, EVEN HT REMEMBERING TA HT PALESTRINA AND LASSO WERE CONTEMPORARIES, AS AMONG THE VERY GREATEST EUROPEAN COMPOSERS OF HIS TIME. ALL THIS BEING TRUE, WE, WHO ARE IN T E MIDST OF A C O A RENH HRL AISSANCE, OWE THE PUBLISHERS AND EDITORS OUR H A T THANKS FOR THE T N EXCELERY E L N L PRINTED (AND GAMBLEIZED) PAGES, ETY AND FOR THE PAGE OF Points for Singers WHICH PRECEDES IT. IT IS WRITTEN IN THE V C L RANGE OF OA HIGH S H O VOICES, AND O F R NO R A COL FE S EL DIFFICULTIES OF TONE O RHYTHM, ALTHOUGH R Page 74 Music Supervisors Journal </meta-value></custom-meta></custom-meta-wrap></article-meta></front></article></istex:document></istex:metadataXml><mods version="3.6"><titleInfo lang="en"><title>The Charcoal Burner's Son</title></titleInfo><titleInfo type="alternative" lang="en" contentType="CDATA"><title>The Charcoal Burner's Son</title></titleInfo><typeOfResource>text</typeOfResource><genre type="review-article" displayLabel="review-article" authority="ISTEX" authorityURI="https://content-type.data.istex.fr" valueURI="https://content-type.data.istex.fr/ark:/67375/XTP-L5L7X3NF-P">review-article</genre><originInfo><publisher>SAGE Publications</publisher><place><placeTerm type="text">Sage CA: Los Angeles, CA</placeTerm></place><dateIssued encoding="w3cdtf">1932-02</dateIssued><copyrightDate encoding="w3cdtf">1932</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>1932</date><detail type="volume"><caption>vol.</caption><number>18</number></detail><detail type="issue"><caption>no.</caption><number>3</number></detail><extent unit="pages"><start>72</start><end>74</end></extent></part></relatedItem><identifier type="istex">3E203F57C8DF81F577ECF1DD0CCCD30019A5F991</identifier><identifier type="ark">ark:/67375/M70-8T31643P-K</identifier><identifier type="DOI">10.2307/3384469</identifier><identifier type="ArticleID">10.2307_3384469</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/document/3E203F57C8DF81F577ECF1DD0CCCD30019A5F991/metadata/json</uri></json:item></metadata><author></author><serie></serie></istex></record>Pour manipuler ce document sous Unix (Dilib)
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