Modern Music and the Music Educator
Identifieur interne : 002392 ( Istex/Corpus ); précédent : 002391; suivant : 002393Modern Music and the Music Educator
Auteurs : Joseph L. DoranSource :
- Music educators journal [ 0027-4321 ] ; 1964-10.
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DOI: 10.2307/3390247
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<pub-date pub-type="ppub"><month>10</month><year>1964</year></pub-date><volume>51</volume><issue>1</issue><fpage>46</fpage><lpage>48</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> MODERN AND MUSIC THE MUSIC * An increasing number of astute music critics are beginning to mention the name of Bela Bart6k in the same breath with that of Beethoven. At times they are comparing the relative merit of string quartets-and to have one's works in this genre honored by such a comparison is tribute enough. However, more and more music authorities are becoming cognizant of the amazingly high quality of Bart6k's work in general. A great musicologist, Alfred Einstein, ends a book with this paragraph: That it is possible to produce new music without resorting to negation, to music, program, or to compromise-a that is, which is not stamped with the crises of the war-torn twentieth century and its postwar aftermath-can be seen in the work of the Hungarian, Bela Bar He has his roots in t6k (1881-1945). the true-as distinct from the gypsyfolklore of his country, while at the same time retaining his originality. He restores balance to the different elements of music. He demonstrates that the future of music does not lie in imitation, in parody of the past, or in a vain attempt to return to the past, nor in this school or that clique, nor in any particular system, but in the great and creative personality of the individual-that is, in the human.1 EDUCATOR blame for the situation must be placed elsewhere. Few teacher training institutions offer courses in modern music as part of the undergraduate curriculum. Even in graduate school, most courses offered in this area are inadequate. One semester is usually deemed sufficient. But as little as one semester of concentrated work under an inspirational, broadminded teacher can be a help-often a salvation. It was most fortunate for me that Vincent Jones was teaching the course in Contemporary Music when I attended Temple University, for at that time I was of the opinion that very little music of worth had been composed in our century. Somehow, nebulous reasoning had convinced me that the cataclysmic wars and social upheavals were causes enough for the lack of significant modern composers and beautiful modern music. To me, Vincent Jones’ course was a revelation. Now, years later, I continue to be humbled by the greatness of some of our modern composers. Articulate, gifted Aaron Copland made the following incisive comment in his recent book: The same people who find it quite natural that modernbooks, plays, or paintseem to want to ings are controversial escape being challenged and troubled when they turn to music. In our field there seems to be a never-ending search for the familiar, and very little curiosity by Joseph L. Doran Bart6k, a product of our own maligned century, the fourth “B? A sacrilege, many music educators would say. And herein lies the reason for my article, for I sincerely believe that such dogmatic denunciations of the music of our century have no place in modern education. Music educators are dedicated to students and to music, and the twentieth century cannot be avoided. Despite this seeming criticism of music educators, the major 1Alfred Einstein, A Short History of Music. New York: Alfred A. Knopf, Inc., 1954. 46 as to what the newer composers are up to. Such music lovers, as I see it, simply don't love music enough, for if they did, their minds would not be closed to an unusual musical experiences. Charles Ives put up with dissonance “sissy ears.2 in music had area that holds the promiseof fresh and used to say that people who could not Aaron Copland, Copland on Music. New York: Doubleday and Company, 1960. Copland has exposed the problem, and music educators cannot shirk the implications. But what can be done if so many music educators have “sissy ears” themselves? Do “sissy ears” come from lack of interest, lack of knowledge, lack of taste, deep-rooted prejudices? Regardless of the reason or reasons, a very unhealthy situation exists. Imagine a physics teacher who has not kept up with twentieth century developments! Though we have obligations to music, to our contemporary composers, to ourselves, our primary responsibility is to the student. At the risk of stepping on many toes, allow me to describe an imaginary boy's musical experiences in an imaginary American school. Jim, in junior high school, was an excellent trumpet player. His instrumental teacher in the grades, a frustrated professional musician who considered weekend engagements more important than his teaching, taught well the mechanics of playing. Jim tripletongued beautifully! His favorite kinds of music were trumpet solos by Herbert Clark, marches, and “rock and roll.” In general music class, Jim once asked the teacher if the class might be allowed to sing a “rock and roll” tune that was high on the hit parade. “You'll not sing any of that trash in here!” he was castigated. (The music teacher really knew nothing about “that trash” and subscribed to that old clich6 that resolved the problem for him: “They hear enough of that trash outside of school; they'll never hear it in my classroom.) MUSIC EDUCATORS JOURNAL General music, according to Jim, was devoted to the music of the “olden times.” Why, Mozart and Haydn lived in Washington's day, and how old can you get? Then one day after Jim had been fascinated by Leonard Bernstein's television program about serious modern music, he hurried into music class, eager to find out more about Stravinsky, Schoenberg and the others. “Yes,” he was told, “there is some much good modern music-not You take Amahl and the though. Night Visitors and Rhapsody in Blue. They're not bad. Now let's get back to Mozart's G Minor.” In high school, Jim elected a course in music theory in which he learned about the pretty progressions of the “olden days.” And in no uncertain terms he learned never to put a ninth or even a sixth in the final chord regardless of what he heard on records or television. However, the instructor did devote one of the last class periods to an examination of modern trends. Striking a few chords constructed in fourths, he shrugged and explained that some composers actually used these chords. Then a tone row-how ridiculously easyjust don't repeat any notes. Finally, he played “In Russian Style” from Volume Three of the Mikrokosmos by Bart6k, drumming out violently the F, F?, G cluster with an agonized look on his face that plainly, if inaudibly, proclaimed, “And they call this music!” The pride of the community was the high school band. At football games it provided a magnificent spectacle with two dozen majorettes, three dozen flag twirlers, four dozen rifle-bearers, and five dozen musicians dancing down the field, instruments swinging beautifully, though seldom playing so. After all, the cadence was one of the fastest around! In his senior year, Jim was featured at the annual band concert. He played “Stars in a Velvety Sky” and his triple-tongueing was perfect. Another highlight of the concert was the precision dancing of the majorettes, followed by a patriotic flag-waving sequence, impressively staged, which brought lumps to many throats. (Strangely enough, a prominent professional violinist was heard to remark that the only two composers he recogSEPTEMBER-OCTOBER, NINETEEN nized on the program were Sousa and Rossini.) So well trained was Jim that he decided to become a music teacher! E For the past two years, we have offered a new elective course entitled Music in Modern Society to juniors and seniors in Marple-Newtown High School. The purpose of the course is to examine the modern music scene- both serious and popular-with all of its ramifications. The goals of the course include expansion of the perspectives of the students through their cultural maturation and increased objectivity. It might be added that it is almost impossible for the pupil not to mature if these materials are used in an objective manner without trying to project the individual teacher's prejudices. Needless to say, it is the serious music of the present day which receives most attention and this does present difficulties. In most cases, however, the direction of instruction can be pedagogically sound, from the known to the unknown. For example, these jazz-oriented students can soon hear the influence that jazz has had on works such as The Creation of the World, The Ebony Concerto, and Aaron Copland's 1926 Piano Concerto. There are numerous modern jazz compositions, such as the recordings of the Modern Jazz Quartet, which are extremely close to serious chamber music. Many Duke Ellington chord progressions which were considered far advanced in the thirties can be found in the earlier works of Satie and Debussy. And no matter how “far out” was the music of Stan Kenton after World War II, it wasn't nearly as “far out” as was Charles Ives’ music before World War I. Even the abstruse atonal school of Schoenberg and his followers can be approached through so-called atonal jazz. This, so far, has been the least successful aspect of the course. Neo-classicism is introduced by reviewing Mozart, Haydn, and the classic school. How better can one approach the Prokofiev Classical Symphony, Bart6k's Divertimento for String Orchestra or similar works? This, too, results in a more mature appreciation of the earlier works, a secondary but im- portant consideration. Even the lesser number of neo-Romantic works, the early works of Stravinsky and Hanson, for example, can be introduced most satisfactorily through known works of the nineteenth century. Despite the stiff academic sound of the above paragraphs, there is no attempt to keep out or to laugh off the modern, popular trends such as “rock and roll.” The course always begins with such a unit, not with the object of deriding it, but rather with the desire to impress its simplicity and proper place in the musical scene. Moral considerations are related to peripheral discussions - payola, undue influence of disc jockeys, and other such subjects. Trying to prove the music itself “bad” has an extremely deleterious effect upon class climate. Through these many approaches, maturation and appreciation must increase. The course offers numerous opportunities for student growth, but further discussion will be limited to two more examples. Trends in modern art, that greatly misunderstood area, parallel music in many ways. Prints of modern art masterpieces can be readily obtained and effectively used in conjunction with modern music. The relationship between Picasso and Stravinsky is well known. At the end of the year, most students in the class realize that modern art is no modern hoax. A second and more important maturation factor is the insight into the plight of the Negro, as revealed by his music. Reasons for the Negro's pre-eminence in jazz must necessarily delve deeply into sociological considerations. Jazz, as an artistic protest that cannot be accurately interpreted or punished, becomes an outlet. Though this is a great oversimplification of the role of jazz in the life of the Negro, it is a consideration that the mature high school student must weigh carefully in these hideous days of Little Rock, Birmingham, Cambridge. Our course is far from perfected. It is encouraging, however, to find that students who are subjected to repeated hearings of radical works often discover that first impressions are not true ones, that only after the initial strangeness 47 SIXTY-FOUR disappears can we evaluate objectively. We hope that such objective attitudes will be carried over into the social life of the students. And in our contracting world, where the strangers and strangeness of Africa and Asia draw steadily closer to each of us, xenophobia becomes an increasingly dangerous disease. If a general high school student can benefit from a course in modern music, it seems to me that music educators must be given thorough training in contemporary trends during their undergraduate studies. No one can deny that our colleges, for the most part, turn out students of excellent performing our imaginary Jim ability-and would become another one. Too often, these same students have not been required to mature in musical understanding to a comparable degree. Courses in modern music help overcome such a professional lag. A recent candidate for a position in our school district told me that he was convinced that no good music had been written since the death of Brahms. Of course he was not right, and of course not hired. It was a shame, I felt, for he was a young man of strength and conviction. Music education had obviously failed him. He should have been made to realize that great music has been written since the death of Brahms. Consider our fourth “B,” Bela Bart6k, and what some excellent critics have written concerning his masterpieces. Serge Moreux, respected French writer, described Music for String, Percussion, and Celesta which Bart6k wrote in 1936 in the following manner: This composition is a masterpiece because elements as disparate as twelvetone chromaticism, folk music, diatonic harmonization, linear orchestration, and impressionistic coloring are coordinated into a homogeneous combination which exerts the utmost fascination on the hearer.3 Extolling the final movement of Bart6k's Sixth String Quartet, written in 1989, Matyas Seiber writes in the article, “B4la Bart6k's Chamber S. This, one feels, is the music of a great man who has gone through everything, who understands everything, and who stands far above the problems of the ordinary man.4 sense, since in it are amalgamated into a homogeneous fabric all the diverse elements which touched Bart6k from his earliest creative years to the end of his life.’ sician; he was also a great humani- An outstanding American authority on Bart6k is Halsey Stevens. Below are several quotations about Bart6k's later works: There can be little doubt by this time that the Bart6k Violin Concerto is indeed one of the very small handful worthy of being placed beside those of Beethoven, Mendelssohn, and Brahms…. It is a full-bodied, virile work, original in form and content: concentrated, economical, and intense.' Not only was Bart6k a great mu- About the now world-famous Concerto for Orchestra, Stevens explains-in words so germane to our topic: For the listener unsympathetic to contemporary music, the Concerto for Orchestra offers an admirable introduction. Its tonalities are never obscure, even when cloudy and “mistyas in the Elegia. Most of its melodies are immediately attractive, and many are easy enough to These do not mark sing or whistle. a weakening of. Bart6k's style, or an aesthetic regression. On the contrary, the Concerto for Orchestra is a strong, vital work, contemporary in the best possible ber Music,” A Memorial Review. Oceanside, ‘Matyas Seiber, “B61a Bart6k's Boosey and Cham- tarian. Nazi tyranny was repulsive enough to force him to leave his beloved Hungary, and he died in the United States while still longing to return to his native land. While here, there were times when reminders of our abhorrent treatment of our Indians brought him to the verge of physical sickness. Even simulated air raid drills during the War caused him agonizing periods of depression, for he experienced acute, empathic agonies with those who were experiencing the real thing. He was merciless with hypocdrites and phonies; only the true, the sincere, the real-be they peasants or animals-held any appeal for him. His life and work contain many valuable lessons for the music educator and his students. Bart6k alone is enough to make our twentieth century music worthwhile. And, of course, there are many others. The author is Supervisor of Music, Marple-Newtown Joint Schools, Newtown Square, Pennsylvania. Ilbid. 1950. New York: Hawkes, Bila Bart6k. sity 5Halsey Stevens, New Press, 1953. The Life and Music of York: Oxford Univer- American Music Center Comes of Age 0 The American Music Center, a non- profit, nonpartisan organization composed of over five hundred American composers and other membership categories (friends, patrons, institutions, publishers, and professionals), is now in its twenty-first year. The purpose of the organization is “to foster and encourage the composition of contemporary music and to promote its production, publication, distribution, and performance in every way possible. functions is the maintaining of a library of American music-now containing more than 8, 500 scores, many by its memunpublished-submitted bers. This is the world's largest circulating library of serious American music. One of the Center's most important Music: It spreads and blossoms out fully into a beautiful, profoundly moving piece which has no match in Bart6k's chamber music. 3Serge Moreux, Be'la Bart6k. London: Harvill Press, 1953. 48 Another service performed by the Center is its informational bureau. Files include biographical material publishers’ concerning composers; catalogues; festival and competition information; and a clipping service of musical criticism. A recent project in the American Music Center's program of activities is the inauguration of a tape library. Individual assistance is also offered to American composers in the preparation of scores with money provided by the Martha Baird Rockefeller Fund for Music, Inc. The organization's Music Today Newsletter is published monthly and reports on the activities, commissions, publications, and performances of its members. The Center, which receives no governmental assistance, has subsisted on the dues of its members and contributions from interested persons, organizations, and foundations. However, because these alone do not finance the broad scope ?f services offered to its members, the organization welcomes any further assistance. Further information may be secured by writing to the American Music Center, 118 West 57th Street, New York 19, New York. 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