MUSICAL TRAINING

Hokitika Guardian, 4 October 1930, Page 3

MUSICAL TRAINING

* IN THE SCHOOLS,

The importance and scope of music in the sciiool syllabus was the subject on which Mr T. Vernon Griffiths addressed the members of the Parepts’ Natoinal Education Union at Christchurch recently. , His talk covered a wide field for it dealt with the aspects of the two main features of such training—the creative and interpretative training of the individual, and the training of appreciation for the work of others. Mr Vernon Griffiths, who was introduced by Dr Anderson, said that there were now few schools in which no effort at all was being made to teach appreciation of music, though there might be room for eniightment on the subject, judging by the fact that some teachers were apt to regard it merely as a useful aid to window dressing. Multitudes thought that it should consist only of songs, and others .merely took it to mean only study oi the pianoforte. Sounds of nature or of music could have great influence on the .child mind, in spite oi his lack of comprehension, hut -in after years these first instincts often became lost in superficialities. So the child should be trained to develop and use his own instincts, towards whichever art they tend.

“The prevailing influence of materialism these days has obscured first instincts’ which once made self expression in music a ' normal thing,” said the speaker. Speaking for the early interpretative training by the individual, Mr Griffiths said tiiat some elementary knowledge of sight-reading and symbols was of paramount importance at this stage. •Educated Elizabethans could read most music at sight; yet in few schools today was sight-reading taught systematically. Voice production, or the creation of beauty of vocal tone by simple means, was an important branch, and was illustrated by various records of wellknown songs given by children. Lack of appreciation of time, and rhythm was a -fault of many amateurs. This should be emphasised in the foundations of musical training. M.elodymaking was an interesting point of the interpretative side. ■ v “I would plead for some promise in school for study of instruments other than the piano, from the point of value for school orchestras,” said Mr Griffiths. “The piano is essentially an individual instrument, and other social musical instruments, are apt to he left too severely alone. I am not decrying the piano for a child, but 1 would recommend that they learn some orchestral instrument as well. The operatic or (Orchestral music, all to be performed ■by groups is among the finest ever* written';” .'' ' ■

As regards training in appreciation o<f others’ works, the lecture said that a standard was necessary. There was no such thing as “good music” or “bari music.” -It needed a standard for com-' parison, and such a standard was set by the folk music of a country, which had lasted through hundreds of years (ind ..which had to-day as much freshness and appeal as ever. All great composers set their standards by steeping themselves in the folk tunes of their nations. It was typical of any renaissance, anywhere. Folk music , set the standard of melody by its vital lasting qualities in a manner for every 7 British, German, or Russian folk-song was diatonic. It set the standard of form, and symphonies, sonatas, and minuets were all built on that unconsciously created in older tunes.

Mr Griffiths spoke also of the importance of tune, rhythm, and the “orchestral colour” which the children could be taught to recognise, and concluded by showing the close relationship which could be found between music and history and music and geography. ‘ Little points which evidenced the psychological effect of various records on the children in connection with the training, further interested the gathering.