What's in a Song?
Identifieur interne : 000A88 ( Istex/Corpus ); précédent : 000A87; suivant : 000A89What's in a Song?
Auteurs : Leona WatzmanSource :
- Music educators journal [ 0027-4321 ] ; 1951-01.
English descriptors
- Teeft :
- Acre campus, Active participation, Alfred friese presnts benjamin sachs concert management, Arduous route, Arts approach universality, Attractive show piece, Auspices cincinnati institute, Band literature, Band music, Beautiful pattern, Beautiful tone number, Bryn mawr, Cappella groups, Casual inspection, Catholic church, Charming nonsense, Choral music, Chromatic order, Chromatic pitchinstrument, Chromatic scale, Class distinctions, Classic period, Classroom teachers, Clever arrangement, Complete listings, Complete pitch pipe, Complete school, Condensed score, Conductor parts, Contemporary period, Copy today, Descriptive accompaniment, Descriptive literature, Desirable music literature, Dial price, Double capacity, Dual responsibility, Easier selection, Easter numbers, Edwin mcarthur, Eighth avenue, Exact melody, Excellent arrangement, Fine arts, Fine encore number, First time, First time timpanirecordings, Folk songs, Foremost composers, Free catalogs, Free copy, Free examination copy today, Free piano reference copy, Free reference conductor part, Full band, Functional approach, Great books, Great music, Great storehouse, Gypsy chants, Heinrich werner, Human heart, Hungarian folk music, Instrumental music educators, Instrumental music usic educators, Instrumentalmusic educators, Instrumentalmusic literature, International reputation, Inwrmtmnati onservatorgof rusm luther, Irons arlington state college, Island chant, Island sketches, Italian folk songs, Jewish synagogue, Johannes strauss, Latin american countries, Latin american songs, Latin chants, Leona watzman, Many bands, Many brass, Many songs, Mediterranean songs, Medium solo voice, Music education, Music educators, Music educators journal person, Music literature, Music teachers, Musical content, Musical literature, Musical note, Musical treasure, Musical world, National boundaries, National songs, Native tune, Necessary diversities, Ohio bizet, Orchestral literature, Orchestral music, Orchestral number, Oriental melodies, Original compositions, Original form, Other arts, Other forms, Other hand, Palm sunday, Paul sladek, Paul sladek duquesne university, Percussion players, Pertinent question, Piano teachers, Picture galleries, Pitch pipe, Practical article, Presser guide, Presser guideto music, Proper approach, Proper pitch, Quiet waltzes, Randall thompson, Recapitulated briefly, Recent years, Recordings pagt, Reference conductor part, Regularcontinuous therewas absolutelyno performance, Richard strauss, River gladys blakely bush, Romantic period, Russian songs, Russian words, Same level, Same song, Sample solo cornet, Settlerson parade, Shepherdof tenderyouth, Short ditty, Short glimpse, Sides providebasic, Small band, Small bands, Smooth harmony, Song kitty, Sound combineso, Standard pitch, String instrumentalists, Such cases words, Summer nights, Summer school june, Theodore presserco, Time sequences, Timpani studies, Tone indicators, Traditional melody, Twentieth century, Unique album, Unusual arrangement, Valid reply, Various countries, Viennese melody, Violin solo, Vocal name address, Volkwein bros, Volkwein publications, Whimsical story, World boston symsociety, Youthful spirit releases overture.
Url:
DOI: 10.2307/3387476
Links to Exploration step
ISTEX:23DA0BB8D2AB5B15E45F1257DE4B7B8CA04FBEDDLe document en format XML
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</publisher></journal-meta><article-meta><article-id pub-id-type="doi">10.2307/3387476</article-id><article-id pub-id-type="publisher-id">10.2307_3387476</article-id><article-categories><subj-group subj-group-type="heading"><subject>Articles</subject></subj-group></article-categories><title-group><article-title>What's in a Song?</article-title></title-group><contrib-group><contrib contrib-type="author" xlink:type="simple"><name name-style="western"><surname>Watzman</surname><given-names>Leona</given-names></name><aff>Cleveland, Ohio</aff></contrib></contrib-group>
<pub-date pub-type="ppub"><month>01</month><year>1951</year></pub-date><volume>37</volume><issue>3</issue><fpage>50</fpage><lpage>51</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> 1951 * * * * * Choral Music! Price .25.18.20.16.18 GO DOWN DEATH 31 240085 arr. Tom Scott Accompanied by Tympani this Georgia Sea Island Chant will thrill any audience! 332-40069 THE BLUE-TAIL FLY arr. Ken Christie This traditional melody in an excellent arrangement for men's voices. 312-40076 DE CAMPTOWNRACES Foster-Lynn This unusual arrangement makes it a “must” for a cappella groups. 322-40013 SING SONG KITTY arr. Tom Scott This whimsical story with charming nonsense refrain is given a clever setting for four-part chorus with medium solo voice. SONG OF THE RIVER 332-40068 Gladys Blakely Bush A three-part chorus for women's voices with very descriptive accompaniment makes this an especially attractive show piece. can easily imagine that music teachers wanted to come, too, and they were made welcome. But the classroom teachers didn’ t hesitate to come because of any mistaken thoughts that it might be “over their heads.” After all, it was planned especially for them. They came, and they liked it. -PAUL W. MATHEWS, Professor of Music Education, University of Missouri, Columbia. What's In A Song? ACTING as school and senior high school choral clubs in a double capacity. I am not surprised that of the many songs these groups attempted to sing, the following words from the song, A Hymn to Music, have left a lasting impression upon me: “Teach us how to gain from thee A lesson of thy harmony How wild diversities of sound combine So may we turn from discord and learn Peace in Thy design.” These words distinctly express what music means to me. They do not attempt to minimize so complex a thing as life by completely eliminating all discord; but they do, on the other hand, try to bring together those few necessary diversities into smooth harmony. A beautiful pattern for living! Though all of the arts approach universality in some measure, I feel that music is the most universal. Class distinctions in the field of music are less pronounced than in the other arts. Are not the picture galleries and great books more or less associated with wealth? It may be argued that opera and symphony are on the same level, but these today are available to most people with the aid of the radio. To people rich or poor, educated or illiterate, music is Relaxation. It is Happiness at a carnival, Faith in a church, and Atmosphere in a theater. No longer is it strange to find a “lowbrow” thoroughly enjoying opera or a “high-brow” completely spellbound by bebop. Music is also universal in the sense that it knows no national boundaries. Even the folk songs of various countries are closely related. It is often difficult to distinguish gypsy chants from Russian or Hungarian folk music, or the national songs of Spain or Latin American countries. Latin American songs in turn resemble, in some cases, Oriental melodies which are similar to Near Eastern and Mediterranean songs. Here, in one short glimpse, the contagion of music has been viewed. My mother, who was born in Russia, often used to sing a short ditty with Russian words. Imagine my surprise when I came across the exact melody in a collection of Italian folk songs! Interested, I checked more deeply into the matter and found, to be sure, the same song in a collection of Russian songs. Here was one melody being sung in two languages and being claimed as a native tune of two countries! Music is powerful. It is powerful enough to move the human heart. One may not understand the words to Latin chants in a Catholic church, or the words to a cantor's prayer in a Jewish synagogue, but in such cases words are superficial; only the music is real and has meaning. To me music is indescribable. So often a piece of music recalls a situation, a Music Educators Journal Asinger, I served my junior high both accompanist and PRESSER GUIDETO MUSIC Send for the FREE-SPRING 1951 PRESSER GUIDE TO CHORAL CHORAL MUSIC containing 19 new works, and listings of Lent, Palm Sunday and Easter numbers. THEODORE PRESSERCO. Bryn Mawr, Pa. l Please send me my FREE copy of the Presser Guide to Choral Music, Spring 1951 Please send me the following FREE catalogs:] Piano Teachers Thematic Catalog C Educational E Instrumental O Band ED Vocal NAME…………………………………………………………… ADDRESS………………………………………………………. …………………………………………………………. Send FREE-SPRING 1951 for the A “MUST” for Music Teachers! THE MASTER KEY CHROMATIC PITCHINSTRUMENT The Standard Pitch for the Musical World. 13 Keys Full Chromatic Scale L?? This instrument is the development of many It is the most scientific, years of experiment. sanitary and practical article made for the purpose of obtaining the proper pitch of a musical note. It is an all-blow pitch pipe. Tuned A-440. Notes are arranged in chromatic order, notated on top and bottom for easier selection. The only complete pitch pipe ever made. / MK-1. FULL CHROMATIC, 13 KEYS. SCALEF TO F MK-2. FULL CHROMATIC, FOR THE FIRST TIME - TIMPANIRECORDINGS! This unique album for academicuse is presented ALFREDFRIESE, the celebrated Dean of timpanists by and teacher of soloists with world famousorchestras, includingthe Boston Sym Society. phonyand the N. Y. Philharmonic-Symphony DR. PHILIP JAMES, head of the Music Dep’ t of New York University, acts as narrator. EDWIN McARTHUR assists at the piano. Three12-inch non-breakable discs - 6 sides - providebasic and advanced tuning exercises, as well as famoustimpaniexcerptsfrom standard symphonic works. These were madeof a regularcontinuous Therewas absolutelyno performance. recordings’ dubbing’ and no cutting of time sequences. Noneof the drumsused was equipped withtuninggauges, or tone indicators. (Descriptive literature upon request.) dial Price $ 7.50 ALFRED FRIESE presnts “TIMPANI STUDIES” A Unique Album of Recordings 939 Eighth Avenue Address all communications to: Benjamin Sachs Concert Management New York 19, N. Y. Pagt 50 person, a thing. I can hear excerpts from Carmen and remember how excited I was the first time I attended the opera. I can hear quiet waltzes and think of an uncle, now dead, who loved to sing. I can hear Row, Row, Row Your Boat and recall the summer nights when my VOLKWEIN’ S NEW 1951 RELEASES OVERTURE sisters, my brother, and I took it upon ourselves to entertain the neighborhood. These things, long past, once more become part of me in the music I hear. -LEONA WATZMAN, Cleveland, Ohio. YOUTHFUL SPIRIT - Functional Approach to Instrumental Music usic EDUCATORS incur a dual responsibility and obligation. First, they should encourage appreciation of desirable music literature on the part of the masses and second, they should train for active participation in the performance By Col. Earl D. Irons - Arlington State College, Texas A fast-moving overture full of FF movements, well arranged and crosscued for large or small bands. Playing time approximately 51/2 min. Full Band with full and condensed score…………. $ 6.00 $ 9.00 Symphonic Band with full and condensed score……… Send for free Reference Conductor part. THE ISLE OF MISTSFROM SOUTH SEA ISLAND SKETCHES By Paul Sladek - Duquesne University A beautiful tone number equally effective either as a violin solo or as an orchestral number. Cues are provided in order that this composition may be performed by various small combinations. Performing time about 5 minutes. $ 5.50 Complete set of parts with score………………… Set B Complete set of parts with strings 4-4-2-2-2…… $ 7.50 Set C Complete set of parts with strings 7-7-4-4-4……$ 9.00 Send for free piano reference copy. By C. W. Dalbey A clever arrangement of well known airs. Fine encore number. Easy. Cross-cued, effective for large or small band. Full Band with Conductor……………………. $ 3.50 Free reference conductor part sent upon request. of desirable music literature those directly under their supervision. A majority of music educators are probablyconvinced that they are fulfilling this dual responsibility… However, when one examines closely the approach we are ultilizing in developing an appreciation of desirable instrumental music literature, there arises a highly pertinent question. This questionis, “Are we choosing the longest and most arduous route toward our goal?” In order to secure a valid reply to this inquiry an examination of our approach and procedures is necessary. Recapitulated briefly, here they are: We are organizing many bands and very few orchestras. We are teaching much band music and very little orchestral music. We are developing many brass, woodwind, and percussion players, and almost no string instrumentalists. Consequently, the literature for which we, as instrumentalmusic educators, are developing an appreciation is confined primarily to that available as original compositions or transcriptions for band. If the world's great and accepted musical literature is penned in this form then we are certainly making the proper approach. Moreover, the writer confesses that band literature has been enriched in musical content during recent years by the addition of some desirable original compositions and transcriptions from other forms. Now, in what form do we find the instrumentalmusic literature for which we desire to encourage appreciation? A casual inspection of the lists of orchestral music available in original form to instrumental music educators reveals a wealth of literature by the world's foremost composers from Monteverdi to Stravinsky. This great music possesses every element of diversity. There is music of the polyphonicperiod by Couperin, Scarlatti, Purcell, Corelli, Rameau, Handel, Bach, Gluck and others. The classic period offers us more than one hundred-fifty symphonies by two composers alone-Haydn and Mozartand then there is Beethoven. In the Romantic period the world lies before us in orchestral literature. Masterpieces were passed on to us by Schubert, Schumann, Mendelssohn, Berlioz, Saint-Saens, Tschaikowsky, Johannes Strauss, Lizst, Brahms, Franck, Grieg, Smetana, Dvorak, Sibelius, and Rimsky-Korsakoff to mention a few. Should we include music in the realm of opera, oratorio, and the concerto we should have to extend the list to include dozens more. Among them would be Wagner, Weber, Rossini, Puccini, Donizetti, Bellini, Verdi, Gounod, Delibes, January, Nineteen Fifty-one OLD SETTLERSON PARADE (Novelty) HEIDENROSLEIN (Little Rose of the Fields) Transcribed by Paul Sladek. By Heinrich Werner. A Viennese melody beautifully arranged for violin and piano. Send for your copy today! 60c SHEPHERDOF TENDERYOUTH By James M. Hopkins. Publisher for S.A.T.B. and S.S.A……………………… Write for free examination copy today! Complete listings of Volkwein Publications sent free upon request. Send for sample solo cornet and conductor parts. 18c THE ABOVE NUMBERS PUBLISHED BY VOLKWEIN BROS. INC. PITTSBURGH 22, PA. t inwrmtmnati onser Vatorgof Rusm Luther A. Richman, Mus. D., Ed. D., Director and Dean of Faculty Established 1867. Operated under auspices Cincinnati Institute of Fine Arts. Affiliated with University of Cincinnati. Complete school of music-Faculty of international reputation. Degrees, Diplomas, Certificates. Dormitories. 10 acre campus. (Summer School June 14-July 28) Address C. M. Benjamin, Registrar, Dept. S., Highland Ave. & Oak St., Cincinnati 19, Ohio Bizet, Meyerbeer, Massenet, Mascagni, Offenbach, Gilbert and Sullivan and others in the Romantic period alone. Closer to our own contemporary period in the twentieth century we have Mahler, Richard Strauss, Debussy, Scriabin, Schonberg, Dukas, Delius, Loeffler, Roussel, Ravel, Glazounoff, Rachmaninoff, Stravinsky, Hindemith, Milhaud, Poulenc, Honegger, Prokofieff, Shostakovitch, Respighi, Villa-Lobos, Mac Dowell, Car- penter, Randall Thompson, Hanson, and hosts of others. This literature is so diverse in content and period, it is of such unquestioned quality, and the supply is so inexhaustible that one is amazed at the indifference of instrumentalmusic educators toward this great storehouse of musical treasure. This indifference is certainly unintentional on the part of many of us. Nonetheless, it is costly to our profession. It comes Page 51 </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 in a Song?</title></titleInfo><titleInfo type="alternative" lang="en" contentType="CDATA"><title>What's in a Song?</title></titleInfo><name type="personal"><namePart type="given">Leona</namePart><namePart type="family">Watzman</namePart><affiliation>Cleveland, Ohio</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">1951-01</dateIssued><copyrightDate encoding="w3cdtf">1951</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>1951</date><detail type="volume"><caption>vol.</caption><number>37</number></detail><detail type="issue"><caption>no.</caption><number>3</number></detail><extent unit="pages"><start>50</start><end>51</end></extent></part></relatedItem><identifier type="istex">23DA0BB8D2AB5B15E45F1257DE4B7B8CA04FBEDD</identifier><identifier type="ark">ark:/67375/M70-T78XZQRM-L</identifier><identifier type="DOI">10.2307/3387476</identifier><identifier type="ArticleID">10.2307_3387476</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/23DA0BB8D2AB5B15E45F1257DE4B7B8CA04FBEDD/metadata/json</uri></json:item></metadata><serie></serie></istex></record>Pour manipuler ce document sous Unix (Dilib)
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