Why Study Music?
Identifieur interne : 001C23 ( Istex/Corpus ); précédent : 001C22; suivant : 001C24Why Study Music?
Auteurs : Frederick C. GruberSource :
- Music educators journal [ 0027-4321 ] ; 1951-01.
English descriptors
- Teeft :
- Alexandro tansman, American folk songs, Animal folk songs, Approval musicof allpublishers, Arizona page, Arroya vista drive, Assistant professor, Authentic latin american rhythms, Bach fugue, Bach sonata, Band sheet, Basic principle, Black leather handbag, Carl stamitz, Charming book, Children aids teachers newteaching formusic practispencer, Chopin nocturne, Chord letters, Community choruses, Compl, Crawford seeger, Crosseyed gopher, Cultural olympics, Doesyour musicstoreoffer, Dreamy nebulousness, Duet, Educational music methods, Emotional debauch, Essential tools, Ethical values, Festival ottmar gerster, Fine arts, Fine thing, Floor plans, Folk singers, Foreign accent, Foreign editions, French airs, French dances, French duets paul hindemith, Froehes duospiel, Fuller life, Fundamental longings, Gambleized music deadline reliability, Garden city, German dances, Gifted musician, Gold platinum cotfon emtue, Good musicianship, Great handel, Great music, Great poetry, Great works, Greater quantities, Greatest storehouse, Handel sonata, Historical perspective, Honest mastery, Hungarian duets, Illinois music, Individual passage, Inexperienced student, Inspiring courage, Instrumental ensembles, Instrumental music catalogue music, James francis cooke, Jree folder, Keaton music typewriter, Keyboard class, Large comprehensivestock, Last string quartets, Lateral structure, Little victims, Local dealer, Long hours hearing, Long periods, Louisiana music educators association, Louisiana school musician, Main object, Major scale, Many people, Many places, Many teachers, Melodic line, Middle class, Minor mass, Moderate circumstances, Modern redrum course, More colmplex, More pieces, More teachers, Mozart erich doflein bicinia, Music appreciation, Music company, Music education, Music educatorsjournal, Music study exalts life, Music supervisors, Music teacher, Music teachers, Music teaching, Musical america, Musical education, Musical literature, Musicroomsand equipment, National anthem, Next lesson, Official magazine, Open vistas, Orchestral form, Original form, Original intent, Other arts, Other people, Other things, Other values, Paul arma, Perfect board, Perfect music educators journal, Person canr, Personal interests, Piano advice, Piano students, Piano teaching, Poor advice, Popular ballad, Portraits philip gordon, Pottle note, Prices subject, Primary functions, Professional careers, Professional musicians, Professional performance, Proper employment, Public performance, Quantz sonata, Real values whicll, Religious fervor, Reme mber, Responsibility check, Rudiments swing, Ruth crawford seeger, Same thing, Scho discount, School discount, School orchestras, Short sonatas compl, Short songs, Simon leduc, Simplest forms, Small gold, Small pencil, Small songs, Social values, Southeastern louisiana college, Spinster piano teacher, Standard franzelectric metronome, Strauss waltz, Study music, Such students, Sympathetic understanding, Teaching conditions, Teaching music, Technical difficulties, Technical proficiency, Tremendous force, Ultimate values, Ultimate values music, Universal brotherhood, Unusual talent, Vague feeling, Valuable activities, Viennese sonatas, Voluptuous color, Wabash avenue chicago, Whole architecture.
Url:
DOI: 10.2307/3387478
Links to Exploration step
ISTEX:68A8A3AFDAD1AD5614B4FCFBD083BBEBC0EDC112Le 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">10.2307/3387478</article-id><article-id pub-id-type="publisher-id">10.2307_3387478</article-id><article-categories><subj-group subj-group-type="heading"><subject>Articles</subject></subj-group></article-categories><title-group><article-title>Why Study Music?</article-title></title-group><contrib-group><contrib contrib-type="author" xlink:type="simple"><name name-style="western"><surname>Gruber</surname><given-names>Frederick C.</given-names></name><aff>Director of Cultural Olympics, Assistant Professor of Education, University of Pennsylvania</aff></contrib></contrib-group>
<pub-date pub-type="ppub"><month>01</month><year>1951</year></pub-date><volume>37</volume><issue>3</issue><fpage>52</fpage><lpage>54</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> ) fpJW /ffin TWO VIOLINS unaccompanied c/or , .90 1.25 1.25.90 1.25.90.50 1.50 1.50.40 1.50 1.25 1.25… 90 1.75 1.00 X Paul Arma - LITTLE FRENCH DANCES, in Ist pos… K. P. E. Bach - 2 DUOS……………… W. F. Bach - SONATA in Eb………………………………………. I. Engels - 26 DUETS OF GREAT MASTERS:Bach, Handel, Mozart Erich Doflein - BICINIA, 20 2-part Fantasias (16th cent.) EASY LITTLE DUOS (Froehes Duospiel) in Ist pos…. VOL. III, HUNGARIAN DUETS: Bartok, Kadosa, Sieber.1… OLD FRENCH DUETS… Paul Hindemith - 14 DUETS, in Ist pos…………. L. Julien-Rousseau - 6 LITTLE ea. DUETS, in Ist pos. Simon Leduc - 3 SHORT SONATAS……. compl. W. A. Mozart - 6 VIENNESE SONATAS (Violin I in 1st pos.)……. compl. GERMAN DANCES, Vol. I-I1. ea. K. Roeseling - 5 LITTLE PIECES, in Ist pos. Carl Stamitz - 3 DUETTOS, Op. 27….-……………………… compl. (Alexandro Tansman - 8 DUETS, in Ist pos. compl. about primarily because we have developed and are developing very few school orchestras with which to utilize directly this treasure. Educationalists have discovered that students learn French more quickly by concentrating upon French from tile beginning than by studying Latin first as a “background.” The basic principle of directness applies as forcibly to music. Great music is learned and absorbed more quickly and in greater quantities when approached directly. The world's great instrumental music is cast principally in orchestral form. Then, by dedicating ourselves to the formation of an orchestra in every school we would make available to music education, in original form, the greatest storehouse of musical literature known to mankind. -RAIIPH R. POTTLE the February 1950 issue of The Louisiana School Musician, official magazine of the Louisiana Music Educators Association. Mr. Pottle is head of the Department of Fine Arts, Southeastern Louisiana College, Hammond. Editor's Note: Reprinted by permission from Why Study Music? two strong, immaculately groomed hands, fingers moving with piston-like precision up and down the keyboard with a penny on the back of each hand, a black leather handbag containing a small gold watch to tick off the tiresome sixty minutes, and a small pencil to indicate the limits of the next lesson. That was my music teacher at the turn of the century, the era of the itinerant genteel spinster piano teacher and the bogus “professor.” I say “genteel” because it was thought that teaching music was a suitable and proper employment for the daughter of a family of moderate circumstances, and “bogus” because to be a “professor” all that one needed were eccentricities and a foreign accent. Such were the teachers into whose hands was given the musical education of the mass of the middle class, teachers whose main object was to make a modest living and who succeeded in doing so only by allowing themselves to be bored for long hours hearing the stumbling efforts of their little victims. For music teaching in the early 1900's, at least the piano teaching that my friends and I were subjected to, was a matter of playing pieces and more pieces imperfectly learned and seldom understood. Rhythm and tempo varied according to the technical difficulties of each individual passage. Phrasing, accent, themes, mood and interpretation were unknown. Professional Performance Important Least I REME MBER THREE VIOLINS unaccompanied, OLD FRENCH AIRS, in Ist pos… Paul Arma - LITTLE FESTIVAL Ottmar Gerster - LITTLE MUSIC, in Ist pos…. G. F. Handel - SONATA………………………… J. J. Fux - SONATA A TRE……………. J. J. Quantz - SONATA (2 copies in set) -…………….90 1.00 1.50 1.25 1.25 FOUR VIOLINS unaccompanied, H. H. Alivater - FOUR PORTRAITS Philip Gordon - 4 MELODIOUS PIECES, in st pos……. Send for the complete AMP Instrumental music catalogue 1.00 2.00 MUSIC ASSOCIATED INC. PUBLISHERS, also agents for many distinguished foreign editions 25 West 45th Street (or your local dealer) New York 19, N. Y. q When writing to advertisers, please mention the Music EDUCATORSJOURNAL pr II]:?.4I ?111; 1(111. I (-1 121:-ii ll 3 I I Le II W? writt-n guarentw ELEaTRONOME -Standard FRANZElectric Metronome $ 1i7.25 With Perfect Flash-beat [$ 18.75 5 years Happily these (lays are passed for the most part. More and more teachers have established studios where teaching conditions are infinitely better. Many teachers are beginning to realize that professional performance is the least important objective of the music teacher. Musical America cannot assimilate all those who are studying to become professional musicians in our own country and the talented foreign-trained who come to our shores. Only about one-tenth of one per cent of those studying music should ever become professional. Yet how many teachers are only interested in developing technical proficiency? How many teachers will only accept such students whose professional careers will reflect glory on their teaching ? Technical proficiency is of course important. But it is only a tool for attaining Music Educators Journal Page 52 the real values whicll come from a study of music. It corresponds to the three R's of the school, which are useful only so far as they aid in attaining the objectives of education. These other values of the study of music are: appreciation, moral and ethical values, social values, and ultimate values.’ There is an old saying that there are three kinds of music: that which appeals to the head, to the heart, and to the feet. Another way of saying the same thing is that there is music which makes us think, music which makes us feel, and music which makes us act. We are intellectually stimulated by the intricacies of a Bach fugue, we are emotionally moved by a Chopin nocturne, we glide to the rhythm of a Strauss waltz. Responsibility of the Teacher CHECK O)ne of the responsibilities of the teacher of music is to bring into focus a vague feeling of like or dislike, to intellectualize, to rationalize, and to activate appreciation. All art deals will the recreation of experience, and it is the variety and intensity of this experience which is an index of tlie worth of a piece of art to him who would appreciate it. It is never too soon to begin to develop an appreciation of form. The melodic line, a sense of phrasing and of direction, an awareness of pattern, of vertical and lateral structure, of balance and proportion; in fact, the whole architecture of music will open vistas of deliglit to the intellect. Of course, the inexperienced student must begin with the simplest forms and proceed to the more colmplex. It is the duty of the music teacher to bring tle student to the highest intellectual appreciation of music of which -ie is capable. Many people think of music appreciation in terms of feeling. There is music for every miood. Music makes us feel happy and sad, excited and calm. It is not bound by the tyranny of words as is literature, or the (limensions of space and volume as are painting and sculpture. It makes us experience the feelings which are too (leep or too vague for words. The voluptuous color of Respighi, the dreamy nebulousness of Debussy, the strength of Beethoven, the refinement of Mozart, the religious fervor of Bach, the gaiety of Strauss, the humanity of Foster, the patriotism of a national anthem, these and many more are feelings which music conveys with an intensity anl(an integrity far excelling any of the other arts. The teacher who does not make her student alive to these feelings has missed one of the primary functions of music-to make him feel. Music Should Activate Music should activate the student. It should make him want to dlo something. The armed forces have long realized the tremendous force of music in developing unity and inspiring courage. The music of the church if properly conlceived leads to the spirit and the act of worsliip. So, also, should the glorious last movement of Beethoven's Ninth inspire mankind to work for universal brotherhood. Since music is another language it would be a fine thing if music teachers could give their students enough technique and facility in reading, that they could become acquainted with the great works of music just as they become familiar with great poetry or drama, for their own enjoyment and enrichment, and not for public performance. There are moral and ethical values in music the sight of which- must not be lost. January, Nineteen Fifty-one DOESYOUR MUSICSTOREOFFER I l / I MUSIC WHEN YOU NEED IT MUSIC ON APPROVAL (. / / GAMBLEIZED MUSIC DEADLINE RELIABILITY EFFICIENT SERVICE 40 YEARS’ EXPERIENCE MUSICOF ALLPUBLISHERS WHAT’ S NEW You’ ve heard it before and you’ ll hear it again… “There's no substitute for experiencel” An ever increasing group of Music Supervisors, Teachers and Directors are learning that 40 years of Gamble know-how an importantfactor in the service of All Publishers’ Music is from our large comprehensivestock. With or without the Gambleizing… we are here to serve you, but… Gambleize to Economize - Write for our Bulletin on “What's New” BAND SHEET CHORAL GAMBLE HINGED MUSIC COMPANY 218 South Wabash Avenue Chicago, Illinois For example, I believe that it is immoral and unethical for a p)erformer to modify a composition to suit his own purposes or to fake a passage. I remember my piano teacher's advice. “If you are playing for somebody and make a mistake or forget a part just keep on going, look calm and nobody will know the difference.” To my mind that was poor advice both for my music and my morals. Then again have you ever had a youngster play Beethoven's Appassionata for an audition when he could not play two octaves of the C major scale without stumbling all over it? Good musicianship means among other things, honest mastery of the essential tools of performance, a clean-cut execution, and a devotion to present the original intent of the composer to the listener. I have no time for the crooner who “emotes” over a popular ballad and sings it as he feels 112 pages, 81 floor plans, charts, reproductions of photographs. $ 1.50 postpaid. MENC 64 E. Jackson, Chicago 4, Ill. Music Roomsand Equipment Page 53 it. To my mind he is engaging in an emotional debauch which is not only dishonest but in bad taste. Social and Ultimate Values Music and especially the performance of it has important social values. Playing or singing together is one of the most valuable activities in which a person canr engage, because it develops an appreciation of the relationship of the individual to the group. Piano students are likely to be most cheated in this regard. The teacher of piano can encourage her pupils to play duets with their friends and to join instrumental ensembles. Singing in church and community choruses is also helpful. Playing and singing together can develop a sense of responsibility, of cooperativeness, of loyalty, of setting group. interests above personal interests, of companionship, to mention only a few. The music teacher can develop a breadth of vision, a sympathetic understanding of other people, and a sense of historical perspective by the compositions and composers she selects. I like to remind myself and others that people are more alike than. different. While differences make us interesting there are fundamental longings,. urges, hopes, and fears which are common to all mankind. And, finally, there are ultimate values. There is that in music which tells us theglory of God, and the meaning and purpose of life. Nobody can study Bach's great B Minor Mass or the last string quartets of Beethoven without understanding more fully the relationship of man tot the cosmos of which he is a part. James Francis Cooke has aptly said, “Music Study Exalts Life.” I believe that: what music does to a person is infinitely more important than what a person does. with music. Whether we work with individuals or with groups, it is our responsibility to see that the lives of our pupils. are richer, fuller, more meaningful, because they have come into contact with music. We have the keys to unlock thedoors to a richer and fuller life. -FREDERICK C. GRUBER, Director of Cultural Olympics, Assistant Professor of Education, University of Pennsylvania. S * r . S E 2 SM 41MI n.0 x -, M -S . I -( FLUTES: SILVER GOLD PLATINUM Cotfon 108 4Jaz Sziarhusett0s emtue 15, Si . Animal Folk Songs for Children gifted musician with special and unusual talent as a writer as well, has given childrenr and the parents of children another charming book.* In Animal Folk Songs for Children we find more than forty American folk songs about all kinds of animals, big ones, small ones-long songs and short songs and every song illustrated with pictures which are captivating. Mrs. Seeger in her beautifully written introduction, which moves as smoothly and as effortlessly as do the songs, says “Children’ naturally like animals, feel close to them, want to hear about them. Folk singers like animals too, and like to sing about them. They have sung these songs with children in many places over long periods. of time. The accumulated affection which generations of singers have felt for child, animal and song, shines through their singing, and must claim large credit for the warmth and vitality of these songs.” Here are a few songs which are in this appealing new book: “The Old Hen Cackled and the Rooster Laid the Egg,'” “Snake Bakes a Hoecake,” “Crosseyed Gopher,” “A Squirrel Is a Pretty Thing,” “Kicking Mule.” The chord letters have been placed UTH CRAWFORD SEEGER, a * Animal Folk Songs for Children, by Ruth Crawford Seeger. [Garden City, New York: Doubleday & Co.] $ 2.50. AIDS TEACHERS NEWTEACHING FORMUSIC PRACTISPENCER The perfect BOARD. PIANO-LIKE keyboard class makes teaching easier. * PRACTICAL * ACCEPTABLE * PORTABLE * CONVENIENT * DURABLE * GUARANTEED * REASONABLE Only $ 29.75 each. (scho discount) Prices subject DRUM MUS-ED COURSE. A Modern Re Drum Course corded with ILLUSTRATED Have a top BOOK. flight drum teacher on your staff constantly on Mus-Ed records. * RUDIMENTS * SWING DRUMMING * AUTHENTIC LATIN AMERICAN RHYTHMS Only $ 52.00 a set. (school discount) to change without notice. KEATON MUSIC TYPEWRITER. A Simple Practical music. typewriter. Anyone can Keaton-type music. * FAST 0 ECONOMICAL Only $ 225.00 (school discount) Write for your Jree folder on any of the above listed items. EDUCATIONAL MUSIC METHODS CO. 9413 ARROYA VISTA DRIVE, PHOENIX, ARIZONA Page 54 Music Educators lournal </meta-value></custom-meta></custom-meta-wrap></article-meta></front></article></istex:document></istex:metadataXml><mods version="3.6"><titleInfo lang="en"><title>Why Study Music?</title></titleInfo><titleInfo type="alternative" lang="en" contentType="CDATA"><title>Why Study Music?</title></titleInfo><name type="personal"><namePart type="given">Frederick C.</namePart><namePart type="family">Gruber</namePart><affiliation>Director of Cultural Olympics, Assistant Professor of Education, University of Pennsylvania</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>52</start><end>54</end></extent></part></relatedItem><identifier type="istex">68A8A3AFDAD1AD5614B4FCFBD083BBEBC0EDC112</identifier><identifier type="ark">ark:/67375/M70-8XDFF78X-B</identifier><identifier type="DOI">10.2307/3387478</identifier><identifier type="ArticleID">10.2307_3387478</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/68A8A3AFDAD1AD5614B4FCFBD083BBEBC0EDC112/metadata/json</uri></json:item></metadata><serie></serie></istex></record>Pour manipuler ce document sous Unix (Dilib)
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