Postage Stamps and Music
Identifieur interne : 001E31 ( Istex/Corpus ); précédent : 001E30; suivant : 001E32Postage Stamps and Music
Auteurs : Roberta MinterSource :
- Music educators journal [ 0027-4321 ] ; 1941-04.
English descriptors
- Teeft :
- Ambitious pianists, American composers, American postage stamp, Appealing melodies, Aural education, Band instruments, Band suites, Beautiful dreamer, Beautiful notebooks, Biggest instrument, Brass section, Brilliant pictures race, Bulletin boards, Camp town races, Civilized grownups, Clinton street, College words, Comic operas, Concert poise, Different races, Dollar values, Early types, Edward macdowell, Election buttons, Enormous value, Envious eyes, Eugene field, Familiar music, Famous contemporaries, Fertile brain, First chords, First sight, First task, First travel, Folk songs, Franz liszt, Gain control, Gala spirit, General appearance, Glacier park lake beauties, Good market, Good posture, Grand canyon glories, Grand opera, Great victor herbert, Harmonic foundation, High school football crowd, High school music appreciation study, Historical events, Important constituent, Inch square magic carpet, Indian music, Individual change, Individual composers, Interesting stamp, International language, John philip sousa, Jungle road, Large city school system, Larger forms, Light operas, Limitless suggestions, Little girl land, Long bridge, Long life, Love music, Love zwith someone, Magazine pictures, Magic carpet, Magic mirror, Many honors, March king, Mental pocket, Miniature self, Minimum rate, Modern methods, More places, More words, Mountain side, Music editors, Music educators, Music roberta minter atriotism, Music stamps, Musical ideas, Musical stamps, Nature lover, Nature studies, Necessary part, Need nothing, Other subject matter, Parade melody, Peace pipes, Personal matter, Phonograph records, Postage, Postage stamp, Postage stamps, Primitive people, Radio lesson, Rare appeal, Real meaning, Real uplift, Rhythmic stride, Rich earth, Rockefeller center house dress, Same expression, Sand paintings, Serious meaning, Seventh grade classes, Shaky knees, Silver baton, Simple vehicle, Small coins, Small coins increase, Snappy step, Social groups, Southern life, Special interest, Splendid example, Stamp collectors, States academy, States marine band, Stephen collins, Strange designs, Strongest appeal, Such family pressure, Such teaching, Sufficient justification, Superficial reading, Swanee river, Tall buildings, Tangent airway, Teacher sense, Tonal support, Tribal ceremonies, True music educator, Universal acclaim, University work, Urgent request, Venetian suite, Water lily.
Url:
DOI: 10.2307/3386088
Links to Exploration step
ISTEX:2B035771EBF5947B1921071EDDCB8391B31FF89FLe document en format XML
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<pub-date pub-type="ppub"><month>04</month><year>1941</year></pub-date><volume>27</volume><issue>6</issue><fpage>13</fpage><lpage>14</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> Postage Stamps and ROBERTA MINTER Music P ATRIOTISM, Education, Correlation, Culture! Words! More words and big words! How important sounding! University and college words of enormous value to civilized grownups; but, what serious meaning have they for a nine-to-twelve-year-old, whose mental pocket is cluttered with small coins, clackers, election buttons and marbles? (Unless, of course, he is a Quiz Kid.) How can the meaning of these words be realized and amplified by the young growing mind so that his small coins increase to million dollar values? Well, here is one simple vehicle with which to begin the trip over this long, long bridge. Will you go with me? Just for experiment, imagine (if your ego will permit such fun) that you could be reduced in size to appear as that figure in the “Magic Mirror” at the Rockefeller Center House Moderne-same dress, same expression and general appearance; your miniature self, so small that you could stand on the one inch square magic carpet of a postage stamp. I am in no sense a philatelist. I have by urgent request accumulated a few stamps for my nephew-but who has ever escaped such family pressure to “save the stamps”? I am just now, however, enthusiastic about those places to which my Magic Carpet of a Postage Stamp is going to take me. Being an American, let' s be loyal and go on an American postage stamp. Being musically minded, let' s first travel on and transfer from one to the other of our five postage stamps of American Composers. Call it project, research, exploration or just plain curiosity-what a thrill is in store, now or when we can, if ever, take longer voyages on even a few of the musical stamps shown in Mr. Steinway' s complete collection.1 If later we become philatelists, we may travel to addresses known or unknown over whatever tangent airway or jungle road our interesting stamp may lead us. Can we ever cover the distance from flag waving to patriotism in its real meaning? From election buttons to united relationships of democracies? From an agatemarble to a globe with spots of beauty representing homes of different races or colors of humanity? Let' s pay five cents and get on board with Edward Mac Dowell, our first traveling companion. He was a New Yorker and New York is our starting point. My, oh my! Mr. Mac Dowell, how different the city must have been when you were a boy! How tiny-and such fun to ride from your home on Clinton Street all day in a carriage to picnic in the woods where now are tall buildings; over miles now traversed in a few minutes! What progress from early means of transportation to subways; from early types of architecture to the skyscrapers of today. And as we go abroad with you for study in Paris or other continental cities, and meet Debussy, Franz Liszt and many inspiring musicians, great new worlds are opened before us-worlds of beautiful 1 Reference is also made to the music stamps collected by Robert B. Walls, University of Idaho (Moscow), and referred to in Mr. Walls' article, “Music, Philately and Integration,” published in May, 1939, Music EDUCATORSJOURNAr.–The Editors. sounds as well as sights. If I had only tramped in woods as you did, I should write a book on nature studies. Mr. Kieran has just published one. I might even illustrate it myself if I had your talent to draw and paint. I am sure Mr. K. has had inspiration from your music, To a Water Lily, To a Wild Rose, and Sea Pieces. Perhaps he can hear them any time he likes by playing them himself. When your Indian music is heard, what brilliant pictures race across my mind. Wigwams, or mud huts in the mountain side, tribal ceremonies, drums and rhythms, Grand Canyon glories, Glacier Park Lake beauties, freedom to hunt and toil in rich earth, gay potteries and baskets, beads in strange designs, sand paintings, peace pipes, loyal true friends. How you would revel in today' s exhibit at the Museum of Modern Art, collected from all tribes and places. Finally, your University work; your life in that peaceful, inviting cabin among the trees. But where is Peterboro? I need to reach for my geography again; I might want to go there to write music too. Limitless suggestions and inspirations from your stamp and from the musical ideas of your fertile brain. There' s Mr. Nevin. Let' s see where he' s been and what his tastes are. Well, again a nature lover, sensitive and poetic, creator of appealing melodies, which reach hearts as no others have, except perhaps Mr. Foster' s. What budding soprano has not tried to express the tenderness of Mighty Lak a Rose, or the sacredness of love in the Rosary? Those songs have served the world, not with beauty alone (which in itself is sufficient justification for long life), but as outlets for suppressed emotions or as aids to artists who needed to gain control over shaky knees or to develop concert poise. So, also, have all the ambitious pianists tried Narcissus or Venetian Suite. The importance of combining visual with aural education is strongly felt and demonstrated by modern methods of technicolor and sound. One splendid example is the life of Stephen Collins Foster so beautifully screened in “Swanee River.” That film has made THE idea suggested in this article was carried out in a practical, detailed way by the seventh grade classes in two Junior High Schools of a large city school system. After a few lessons giving the names and dates of the five musicians honored by the United States Postal Department, some very beautiful notebooks were received, displayed and photographed. Sections for individual composers contained stamps, magazine pictures, stories of their lives; historical events and famous contemporaries, lists of compositions with some themes. Bulletin Boards were divided into spaces for contributions of each class. Phonograph records were brought and programs given to illustrate the music of each composer. As a foundation for high school music appreciation study of composers of larger forms, this plan seemed sane and timely. It aroused enthusiasm particularly among the stamp collectors and no doubt made maly realize that other subject matter is related to music. R. M. May-June, Nineteen Forty-one Page 13 a vivid and lasting impression on the minds of the youth of America by giving them the idea of and love for the southern life and customs which repeated superficial reading of words could never give. The so-called folk songs of America expressed by Foster have become familiar music over the world, and it is said Old Folks At Home is as popular on the continent as any top ranking hit parade melody of any country or period. Camp Town Races or Susanna enliven a crowd singing any language, or the international language of melody alone. Countless pleasurable hours have been spent by social groups with the music of this “Beautiful Dreamer.” Those who had the thrill of contact with the personality of “The Great Victor Herbert” are indeed to be envied. Without that memory, his music can take us through all the stages of life. It enters into the spirit of childhood with Babes in Toyland, Little Girl and. Boy Land. It romances through youth with I' m Falling in Love zwith Someone. It leads us into maturity gracefully through the many incomparable melodies of his light operas. In his grand opera, Natoma, the interesting use of Indian music makes rare appeal to any age, particularly to an American concerned about the life of the primitive people of his country. With a rat-tat-tat-tat-tat-tat-tat-tat Oh there' sbushelsof fun in that, And a tum-ti-tium-tium tium For boys with a little red drum. Traveling on the two-cent stamp so frequently used, one might go more places with John Philip Sousa and be identified with the U. S. A. at the first sight of his name. This, a legend tells us, was coined from the combination of his own initials and those of his employer, Uncle Sam. What fun to be reminded again of those verses of Eugene Field! So it is with Sousa! What fun to keep time with this Master of the Band! The very first chords of the music of The March King inspire pride, good posture, an easy natural rhythmic stride and inclination to join a parade with its flags, banners, emblems, uniforms or costumes so different in design and color. Not much is heard about his ten comic operas, his twenty dances or fifty songs, but not yet has he been surpassed by a composer of marches or band suites. Even the Sousaphone, named for him, is the biggest instrument in the brass section, and gives a tonal support and harmonic foundation for other smaller instruments to build upon. A chart of the band instruments would be convenient to have for reference. Sousa received many honors and decorations, as well as universal acclaim. After playing in the United States Marine Band, he was its leader for twelve years. He then formed his own band which he took to Europe four times and around the world once. Abroad, he was considered typically American-just as jazz is today. With the spirit of such an ambassador, let us march around the world; not with war-like tread, but rather with the air and snappy step of our United States Academy Men on Parade, or with the enthusiasm and gala spirit of a high school football crowd following with envious eyes the prettiest of drum majorettes twirling her silver baton in the sunlight. So with imagination, one can always travel de luxe at minimum rate via a postage stamp to any land of his special interest or choice, if only he has initiative to begin with, a ticket from Uncle Sam and makes use of that important and blessed institution, the free public library! Forcing Appreciation VERY TRUE MUSIC educator, whether vocal or instru- mental, feels it his duty as a teacher to develop a growing love for music among his pupils. This is as it should be. The danger lies in the approach and in the methods used. We cannot teach anything unless the learner reacts and responds favorably to such teaching. Education, a most important constituent of which is the development of appreciations, can only be determined by the changes it effects in the individual. Individual change is a personal matter, the outgrowth of interest and reaction. That brings us to the well-known axiom that appreciation is caught and not taught. Nor do we need to teach appreciation. Like the Bible, music is sufficient unto itself and no one can destroy it. It is a necessary part of life. Regardless of what we do about it, music does stand the test of time and will always be loved in varying degrees by all people. As music educators, we need to love music more and force it onto others never. Actions speak louder than words. Children are imitators and they respond more readily to teacher' s feelings than to teacher' s dicta. The teacher' s first task, then, is the very pleasant one of getting into the mood of music. She should teach less and enjoy more. Every good musical composition makes its strongest appeal to the emotions. Let the teacher sense this appeal, and some of the pupils are sure to Page 14 catch it. Therefore, teacher, let yourself go; determine to derive pleasure from the music first of all for yourself! Be concerned about getting some fun and real uplift from every lesson you teach every day, and lo, what a happy job is yours! Were I to teach one of the so-called courses in appreciation, or to direct the listening to a radio lesson, I would never approach that task with the attitude of persuading anyone to develop appreciation. By doing so, a barrier it set up between the listener and the music. Witness such remarks from pupils: “Yes, we have to listen to Damrosch every Friday” “I don' t like the kind of music the teacher makes us listen to on the victrola.” Whether we like it or not, our pupils don' t like to be told what music is good for them. They are not a good market for the music we wish to sell when our intentions are obvious, that is, when we want to make “converts” out of them. But when they observe a situation wherein the teacher sincerely loves and responds to the music being heard, they may catch the spirit and come to feel the same way about it. What of it if they do not? Music does not have to be sold. As a teacher, it supplies a need nothing else can fill. I know that need is universal and that everybody living likes music in some degree when it is spontaneous and not forced. So I am going to continue to like it for myself. -CHAUNCEY B. KING 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>Postage Stamps and Music</title></titleInfo><titleInfo type="alternative" lang="en" contentType="CDATA"><title>Postage Stamps and Music</title></titleInfo><name type="personal"><namePart type="given">Roberta</namePart><namePart type="family">Minter</namePart></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">1941-04</dateIssued><copyrightDate encoding="w3cdtf">1941</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>1941</date><detail type="volume"><caption>vol.</caption><number>27</number></detail><detail type="issue"><caption>no.</caption><number>6</number></detail><extent unit="pages"><start>13</start><end>14</end></extent></part></relatedItem><identifier type="istex">2B035771EBF5947B1921071EDDCB8391B31FF89F</identifier><identifier type="ark">ark:/67375/M70-8XMKL7BD-4</identifier><identifier type="DOI">10.2307/3386088</identifier><identifier type="ArticleID">10.2307_3386088</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/2B035771EBF5947B1921071EDDCB8391B31FF89F/metadata/json</uri></json:item></metadata><serie></serie></istex></record>Pour manipuler ce document sous Unix (Dilib)
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