THE TYRANNY OF THE PIANO

Sun (Auckland), Volume I, Issue 164, 1 October 1927, Page 19 (Supplement)

THE TYRANNY OF THE PIANO

WHY TEACH YOUR CHILDREN MUSIC UNLESS THEY ASK? Gounod was once asked for his opinion about piano-playing for girls. He replied: “You ask me what part piano -playing should play in the education of young girls. The answer is very simple. It should b e given as little time as possible by those who do not intend to make husic their vocation.” This fell upon a world that regarded piano-playing as an essential accomplishment of a “young lady,” who was expected to play from sight and accompany. But to-day, when the necessary music can be provided mechanically, and at the same time more effectively, his advice is particularly appropriate. There is no justification for a person to learn music in order to be useful. , A MATTER FOR CONSIDERATION The parent, anxious for her child to take up music, should ask first: “Why do I want him or her to learn to play?’* If tli* answer is on the lines of utility, then the matter should be dropped. If the answer is “that he shall learn to love good music,’’ then it becomes a matter for careful consideration. It is laudable to desire to create a love for music in children, but the method of forcing interest in the early days, in the hope that love will come later, is radically wrong. It generally produces an effect opposite to that desired. Quite 80 per cent, of children who have been “put” to ‘music end by disliking it. And even If the child does come to like music, the end does not always justify the means. NOT BEFORE 10 YEARS Certainly no child should be worried with learning the piano until after the age of ten. If parents but realised the mental effort required of the child when playing, they would consider more carefully the sending of their children to the music teacher. A child faced with a piece of music finds the first difficulty in the notation. Letters, when found in the same combination, generally mean the same. Not so with music. A group of notes vary in their significance, according to their position in the clef, according to the key, and according to whether the clef is treble or bass. The child has to translate rapidly these notes through eye and brain into a complex action performed by the fingers of both hands simultaneously, each hand working in a different manner and direction. Watch a child’s face when he is playing, and the degree of concentration required will become apparent. Compare the process with writing, drawing, or even calculating, which is admittedly difficult. Only a deep, selfcreated interest will minimise the effort required of the child. THE COMMONEST CAUSE OF FATIGUE Psychologists have shown that piano practice is one of the commonest causes of excessive fatigue in school children. Practice should be in much smaller doses than the accepted hour. The child should not be rushed into difficult pieces in order to show progress. And when signs of fatigue do appear, lessons should be dropped for a time. THE WAY OF DEVELOPMENT What is a parent to do. then, who wishes to develop a love of music in the child? Bring him in contact with good music, carefuly adapted to suit his age, by means of the gramophone and piano-player. Cultivate first an interest in music. Let the child hear music at its best, instead of the efforts of a mediocre player upon a mediocre instrument. This is the way to create a love of music. The desire to play will come later. If it doesn’t, let the parent be satisfied with the fact that interest in music has been developed. And if doubtful as to the value of these suggestions, let her look round among her friends, and see whether the true music-lovers and concertgoers are practising musicians. The majority will b e found to be satisfied with the love and understanding of all that is good in music.