Listening Lessons in Music: Graded for Schools

Front matter

0X lIBBM

Graded for Schools

BY

Foreword

The subject of appreciation is the latest phase of public school music to command attention, and while a few cities have given it a definite place in the course of study, ideas concerning its application to the classroom are more or less vague.

Any kind of music lesson is incomplete if aesthetic consideration is omitted. There are many ways of bringing the subject to the class : through suitable textbook material, through the contributing influences of visiting artists, and through the use of the phonograph and player piano (the latter, however, not as yet practicable in grades because of its expense).

The subject is easily presented by means of the phonograph. The kind of phonograph is of small consequence, providing it can render a good quahty of tone and is easily operated.

The essential requirements of the record are that it should possess tone quahty worthy of imitation and should be fitted for educational purposes.

The kinds of compositions to be used, the psychology upon which such compositions are graded for school lessons, and the method of presentation, fill the purpose of this httle book.

It is the outgrowth of experience and contains no theoretical material.

vi

FOREWORD FOR THE REVISED EDITION

Its inspiration has come from the children’s responsiveness to the subject.

It is published with the hope of being helpful to the busy teacher.

Acknowledgment is made to many critics whose writings on the appreciative side of music have furnished delightful reading as well as profitable reference. Gratitude is pubhcly expressed to the Parent-Teacher Association of the Douglas School, through whose generosity was created the circulating Hbrary of educational records in the Minneapolis Public Schools. The material assistance of Professor Osbourne McConathy in the preparation of this little volume is gratefully acknowledged. Advice and criticisms, coming from his sympathetic interest and broad experience, have been deeply appreciated.

The Author.

August i, 1916

FOREWORD FOR THE REVISED EDITION

In the years since “Listening Lessons” first appeared, the subject of music appreciation has infinitely broadened in scope. Whereas, at first, a regular lesson in “listening to music” was not taken seriously, it has now become a standard subject for the schoolroom. The teaching of music appreciation, in its best and commonly understood sense, is an established feature of school music recognized by schools of music, by school administrators, and by the general musical public.

Nevertheless, criticisms have sometimes been directed at the teaching of appreciation which overemphasizes “talking

FOREWORD FOR THE REVISED EDITION vii about music” rather than “listening to music”. For instance, where stories about music, biographical details, and a recital of facts of an extraneous nature occupy too disproportionate a share of the lesson period, the real objective of true appreciation teaching is obscured. “Listening Lessons” grew out of the expressed need of teachers seeking to avoid this error by an outline of lessons which, if followed, would insure intelligent listening.

The rapid expansion in the opportunity of “ listening” is due largely to the ever-increasing prevalence of reproducing instruments. They have opened up music to the masses, as well as to the schools, in much the same way that literature, at an earlier age, became universal through printing, and famous paintings through faithful and inexpensive reproductions. The recordings of the world’s best music for phonograph and reproducing piano are constantly increasing and give authorized reproductions of our greatest living performers as standards for true criticism and for intelligent discrimination.

Broadcasting concerts by radio has given further impetus to the desire to know music and something definite about it. People in remote communities have had a wholly new art opened to them, and with the help of a manual on music appreciation can acquire an esthetic understanding of the world’s great music without knowledge of its technique.

The music memory contest is bringing to children an additional emotional thrill and mental stimulus from contact with the best literature of music.

One of the newest developments in music appreciation brings the great symphony orchestras of the country in closer touch with the general public. Appreciation lectures viii

FOREWORD FOR THE REVISED EDITION preceding a concert place the audience in a receptive attitude of intelligent listening. Thereby is music functioning to a greater degree in the recreational hours of the American people.

This new edition, retaining the plan and arrangement and much of the material from the first book, is printed, however, from an entirely new set of plates made necessary by the inclusion of so much new subject matter and its improved division into suggested lessons.

The author wishes to express her gratitude to the following for permission to quote poems : to Mr. Thurlow Lieurance for“A-oo-ah” and “Her Blanket” ; to Mr. Gerard S. Foster for the use of his father’s sonnet, “ The Cricket ” ; to Harper and Brothers for William Dean Howells’ “The Sea ” ; and to Charles Scribner’s Sons for Robert Louis Stevenson’s “Requiem.”

A tribute of appreciation is herewith paid to the army of teachers throughout the country who have, by their sympathetic use of the first edition of “Listening Lessons,” contributed greatly to the establishment of music appreciation in schoolroom practice. Acknowledgment is also due for the hundreds of letters from these teachers testifying to their belief in the efficacy of the educational method employed in “Listening Lessons” to bring better music to more people.

Agnes Moore Fryberger.

January i, 1925

Contents

PAGE

Foreword v

Introduction xiii

Introduction

Within the last few years music study in the public schools has acquired a deeper significance. After many years of development along rather restricted lines, there is now a well-defined movement towards liberalizing and broadening the study so that it may more fully attain its real purpose, which is to make of our nation a music-loving people. The desirability of accomplishing this purpose is too fully recognized to require arguments in favor of general musical training. Leading educators and sociologists are agreed upon the important place that music must take in the well-rounded education of the individual and of the people. Our present concern is with the best means and methods for bringing about the desired end.

Until recently public school music has been confined chiefly to the study of vocal sight reading and to the singing of songs and choruses. Excellent results have been accomplished in these two branches of musical instruction, and unquestionably the wonderful progress made throughout our country in matters musical may be traced largely to the influence of public school music. Musical education of this kind — including the care of children’s voices — must continue to be fundamental. Nevertheless, educators find that a certain kind of related, supplementary study adds greatly to the effectiveness of the course in music.

xiv

INTRODUCTION

The mere ability to read music no more insures a real love of good music than the ability to read our language insures a love of English literature. From the beginning the child must realize that music is one of the choicest means for expressing his highest and dearest sentiments and emotions.

The cultivation of this finer sensitiveness to music is by no means a simple matter. It involves more than the love of beautiful sounds, more than the emotional response to tonal combinations. Music is tonal discourse, and to follow its purport involves intellectual processes as well as an emotional response. Music has definite form and proportion, and displays national tendencies, historical perspective, characteristics of individual composers, and other elements which the trained ear can perceive. These, when understood, increase immeasurably the capacity for enjoyment.

The recent trend of public school music is toward a fuller training in the appreciation of these varied phases of the subject. Effective instruction in this broader field requires a more extended study than is practicable through the usual school music textbooks. The invention of mechanical musical instruments has, however, met this need, and coincident with their coming a line of instruction has developed known as “ music appreciation.” This term implies a thoughtful listening to music while attention is directed to the essential characteristics of each composition. It is here that Mrs. Fryberger’s pioneer volume finds its place. The power of discriminating listening is of supreme importance in the accomplishment of our larger idea of developing a musical nation, since no concert can rise in excellence above the capacity of its audience.

Of the greatest importance is the realization that the

Introduction To The Revised Edition

XV listening lesson is not a thing apart and separate from the daily singing lesson. Every song that the children study should have in it the inherent features of the listening lessons, and complete study of the song should involve consideration of the technical, aesthetic, and interpretative points developed in this volume. Skillful coordination of these several lines of music study must be emphasized and applied through systematic instruction from the earliest years, if our schools are to produce broad-minded and intelligent lovers of music.

August s, 1916

Osbourne McConathy.

INTRODUCTION TO THE REVISED EDITION

The foregoing Introduction was written in 1916. At that time Mrs. Fryberger’s pioneer labors in the field of Music Appreciation, together with the efforts of a few other notable men and women of deep insight and clear vision, were beginning to influence the thinking of many of our leading educators and musicians. The idea that the abihty to Usten to music with intelligent discrimination and heightened sensitiveness to its esthetic appeal could be cultivated as an art in itself was recognized as a most important step toward the development in this country of a widespread love for worthy music.

With the appearance of Mrs. Fryberger’s book, offering its well-organized and stimulating pedagogical plan, school superintendents, principals, and teachers, as well as music supervisors, were led to recognize the educational value of Music Appreciation, and lessons in Hstening to music soon xvi INTRODUCTION TO THE REVISED EDITION

became generally accepted as an essential part of any effective school music course.

The musical development of our country since this book was first printed nine years ago has been truly wonderful. Many influences have combined to bring this about, but any comprehensive account of our nation’s musical progress must recognize the part taken by the work and writings of Mrs. Fryberger. The thousands of teachers who have turned to ‘‘Listening Lessons” for guidance and inspiration will welcome its appearance in this revised and improved edition.

Osbourne McConathy.

January 2, 1925

Chapter One

Reproducing instruments with music records and rolls are necessary equipment of every school building. Their primary use should be educational. The time for presenting music by this method should be spoken of as a “listening lesson” rather than as a concert or an entertainment.

All subjects presented in public schools must have definite outlines and conform to certain educational principles. Method is as essential in teaching the esthetic as the mechanical side of an art. Fortunately, we have learned that we may appreciate the beautiful in picture, poem, or music, without knowledge of the technique by which the work of art has been produced. The term “musical” is no longer confined merely to those who can “play” or “sing,” but includes others who, through habits of listening, have become lovers and intelligent critics of music.

There are countless ways of arranging ideas for the listening lesson. The subject is so elastic that outlines need not be followed arbitrarily. The character of teacher, children, and the environment will suggest Sv jjects not in this book. There must be a certain definiteness, however, in any general scheme. With the reahzation that acquisition of musical taste is an educational process, lessons should begin with the first year of school fife and should be graded as carefully as lessons for the acquisition of knowledge. In the hstening lesson, the teacher should avail herself of every means at her disposal. Lessons suggested in these pages call for use of blackboard, phonograph, and at times piano. When feasible, use a reproducing piano.

In order to preserve the lesson idea, the classroom is preferable to the auditorium.

In the selection of phonograph material two points should be considered : (a) every record should contain something which the child will comprehend without an explanation from the teacher, and (6) every record must have musical merit. This basis of selection is obvious. Like people, books, and everything else, music must be interesting, to hold attention ; and furthermore it must be wholesome, to win respect and bring the reahzation that its influence is desirable.

Concentration and discrimination are the real objects of the hstening lessons, and when the first is secured, the second will follow.

To induce concentration, records should have a content which makes a famihar and easy appeal so that the child hstens wiUingly. Necessarily, the music must correspond to his interests and experiences. The abihty to concentrate may be tested in every grade through an effort to get the words of an unfamihar song.

To effect discrimination, records should be chosen with reference to their artistic merit, that the child may acquire taste.

While the habit of listening is being formed, records for concentration are most frequently used, but no lesson is complete without both kinds. In the development of child life there are three well-defined stages. In this book these are denominated by the accepted and easily understood terms — Sensory, Associative, and Adolescent — terms which indicate the dominant physical and mental characteristics of childhood, youth, and early maturity. In the Sensory Period (gi'ades one, two, and three) use three records for concentration to one for discrimination. In the Associative Period (grades four, five, and six) use half and half. In the Adolescent Period (grades seven, eight, and high school) use three for discrimination to one for concentration. It is obvious that the proportionate number is somewhat arbitrary, and the suggestion may be followed only in the first few lessons, increasing the thought of discrimination as rapidly as possible ; but until the listening habit is established, the lesson should begin with a record which will command close attention. Concentration is merely sustained observation and this means self-control. No teacher has control of her pupils until they have control of themselves, and no lesson can be effectively presented until that happy state is attained.

Each new idea in a record should be related to former knowledge and explained if necessary. In the realm of imagination, however, each child should be allowed to show his own individuality (sometimes having a finer sense than the teacher !) . Some music which is deeply poetic, or vague, or merely sensuous — as a Chopin Nocturne, a Debussy Arabesque, a Strauss Waltz — seems to lie beyond the boundary of verbal expression, or is purely emotional;

such compositions are preferably presented without comment. As far as possible, however, in each composition, let the pupil sing the “subject phrase” in order to show that he has received a definite impression of the rhythm and tune. Program music should be accompanied with the composer’s explanation whenever possible.

There should be a definite place in the music course for lessons on appreciation ; two lessons each month for high school and four each month for grades is the smallest proportion advisable. In presenting the lesson, two rooms of the same or adjacent grades may be combined and the time period doubled. In the lower grades (Sensory Period) the lesson should be from twenty to thirty minutes in length, in which time four records may be presented and discussed. In the intermediate grades the lesson should occupy not less than thirty minutes and in the upper grammar grades and high school not less than forty-five minutes, in order to develop several phases of a subject.

Except in the first grade, use the blackboard continually, making the written program, as the lesson proceeds, and writing thereon any new word or fact to be associated with the music. Two minutes before the close of the lesson, erase the board work and question the children. “What did you learn that you did not know before ? ” “And you ? ” “ And you ? ” taking care that the sleepiest child in the room is not overlooked.

Phonograph records should be correlated whenever possible with other subjects. Follow the general course of study in your local schools, and with subjects of English, history, geography, and art, use suitable music. In aU grades, beginning with the first, certain poems are selected for memorizing. Consult the phonograph record catalogues, and if such poems are set to suitable music, let the children hear the songs after they have learned the words. Before a pupil has finished the eighth grade he has learned poems of Shakespeare, Longfellow, Tennyson, Stevenson, Kipling, which have been set to immortal music. What a pity not to know the musical interpretation of “ Hark, Hark, the Lark!” “ Who Is Sylvia ? ” “ The Brook,” “The Year’s at the Spring,” “ The Requiem,” “ The Recessional,” “ Danny Deever,” etc. And how incomplete seems the geography course unless the children know the character of the folk songs and dances, the patriotic airs and national hymns, of each country. It is more important to know the height of a nation’s musical achievement than the altitude of its mountains ; better to know the emotional depth of a people’s song than the linear depth of their lakes.

In the appreciation of music one has a subject of inexhaustible wealth, calling for scientific data and artistic concept. In its teaching there is need of anecdote and humorous incident, but the relaxation from a serious attitude must be brief.

A teacher must have enthusiasm for this kind of work. She should be an inspiration to her class ; a fount of knowledge and wisdom. She can never lead students higher than she herself has cHmbed. Enthusiasm, however, must recognize sane boundaries. Mere facts about music are better untold imless they can be related to something in the music which will add to the child’s interest.

The aim of the teacher is to create intelligent listeners. The first distinction, therefore, is made between listening and hearing, with the deduction, that in listening, one thinks of what he hears. It is active versus passive mentality.

The educational value of the lesson should be emphasized above that of mere entertainment; and one may ask, “What thought did the piece suggest?” “What mood or feeling did it awaken? ”

The attitude of the teacher during a listening lesson is of great importance. Once I entered a schoolroom unexpectedly, and the teacher explained that she was giving a concert with the phonograph. I asked her to continue, and tried to efface myself. She adjusted a record, started the machine, then walked across the room to lower a window shade, removed several erasers and pieces of crayon from the blackboard, then began arranging the scattered papers on her desk. Not for one moment had she the appearance of listening to music, — nor had the children, whose eyes followed her as she moved about. There was no concentration and no respect for the subject. In a few years those children would not hesitate to leave a church service during prayer. Deciding to rescue them from thenperilous position and get something out of the few minutes remaining, I arose and asked what kind of music we had just heard. Was it for home, or street, or church? Was it a kind to make them happy or sad ? Did it make them want to march or dance? Did it sound like a lullaby? Or a hymn? etc. Not one had a definite idea. So the piece was played again. Each child knew that he might be questioned afterwards. There was concentration. In an instant the concert had become a lesson.

There is another kind of room teacher who does not create atmosphere for the subject. She announces with a threatening tone, “ Now we shall have a concert on the phonograph, and I do not want to see one of you whisper or look around. If any one misbehaves. I’ll keep him after school for a week ! ” It should not be necessary to tell a class to listen. Suitable music, thoughtfully presented, will command attention.

When the special teacher presents the lesson, the regular teacher may sit at the back of the room with her notebook, making observations on the lesson and copying from the board the notes to be used as a subject for the next language lesson. The room teacher conducting her own lesson should do and say everything necessary before starting the machine, and then stand near by in listening attitude.

A teacher should talk as little as possible in presenting a listening lesson, merely offering a suggestion now and then, unless some definite principle is to be made clear, remembering that we do not need to teach a subject but merely create a desire to learn in the mind of the pupil.

The children should think out the character and content of the music and express their ideas in suitable language. The habit of expressing themselves about music is most desirable and leads to intelligent criticism.

Frequently play a record without any comment and have the children tell all they can concerning it, the teacher writing the best ideas on the board. Before the second playing of the record the teacher may make suggestions which will lead the class to probe more thoroughly into the musical content. By this time their interest is such that they will retain what the teacher may tell them. It is a good rule to tell nothing which may be gained through intensive listening. After the second pla3nng, the teacher may tell anything about the piece which she has obtained through reading. She may make the distinction clear to the class that there are certain points in the music which they must get through listening, and there are other things about the music which she will tell them ; but that their part is most important.

The teacher may encourage, as far as possible, the use of technical terms as they apply to each music lesson.

A teacher should grasp clearly the essential points and the artistic significance of a composition, and then see that the children also get definite impressions. Let them get them unaided if possible ; sometimes, however, the teacher can employ suggestion or subtle questions to force the conclusion. She may also add anything of romantic or historic interest concerning the composition. She will not ask the children if they like the music, but will encourage comment which is impersonal. This applies of course equally to all music, whether in daily singing lesson or special listening lesson.

The practice of asking startling but relevant questions will create interest and keep children alert. Never for a moment of the listening lesson should they be allowed to fall into that dreamy mental state which prevails among some of their elders during a musical performance. A lesson should move every minute. There will be time to relax afterwards.

The imagination may be stimulated through having children compare the effect of music to other emotions. Are the sounds cheerful or sorrowful, bright or gloomy? Does the piece make them think of something terrible or beautiful, or happy, or delicate, or tender, or peaceful, or grand?

It is a good habit to write on the board in advance of the listening lesson some crisp thought about music. Books on appreciation (noted on page 218) contain many impressive sentences hke the following :

“ A listener thinks of what he hears.”

“ One good song is worth a dozen speeches.”

A listening lesson teaches “ how to make sense out of sound.”

“ Music is a language which begins where the spoken word ends.”

“ Music does not belong to a profession ; it is the birthright of every one.”

“ Music is a necessary part of one’s education.”

“ The listener is as necessary as the composer or performer.”

“ Good attention may become a habit.”

“ Recognition of beauty is a matter of education and culture.”

“We see beauty and truth only in proportion to our intelligence.”

After the fifth grade one sometimes finds boys with scorn and indifference written all over them at the mention of music. It is to these that the teacher must present the lesson. Their conversion to the gospel of good music is possible, and means much to the enthusiasm of an entire room. The following incident is from an experience in an eighth grade. Before beginning the lesson the room teacher indicated a boy who she said was sure to create disturbance. I suggested that he assist me, his part being to wind the machine and change the needles. He seemed surprised at the deference paid him, and the class giggled at the idea of his prominence. Beginning with the subject of the school song, the Yale Boola was used for illustration and the boy’s interest was won. The next record, Sally in Our Alley, sung by a male quartet, further marked the blending of voices. A comparison in tone quality with negro voices was afforded in the Fisk Quartet of Jubilee Singers and also called forth a talk upon their “ Spirituals,” of which Golden Slippers and Swing Low, Sweet Chariot are typical. The lesson closed with the spiritual idea in the great Hallelujah Chorus. The boy was entranced. He had missed not a word or a tone, sometimes even forgetting to wind the machine, and at the close exclaimed, quite unconsciously, “ Gee, but that music was swell ! ” Beyond doubt, boys of this type can be educated to an appreciation of good music and will learn to talk about it when a teacher uses tact in the listening lesson.

If the work is psychologically sound, a teacher will know it by the final results. Children may be entertained for a time by a personality, or by the novelty of a subject, but it will lead to nothing in particular. There must be sound method in all that is done for children though they need not discover its subtlety.

Broadly outlined, the method for teaching music appreciation is this :

In the first year of school life the child is taught to listen to music, first through those phonograph records which appeal to his understanding or curiosity. He learns concentration. He distinguishes simple content in music and expresses his ideas concerning it. He makes comparisons

II between certain pieces and comments upon them. In short, he gains the idea that music contains things to think about, and his mind is active when he hears it. Taste begins to show itself.

Advancing through the grades, he gradually becomes familiar with many tunes and can sing the subject phrase, which identifies the piece. Little by little he learns how music came to be what it is ; gains ideas about harmony and musical structure ; associates folk tunes with different nations ; and learns names of different kinds of music, composers, musical terms, etc.

He acquires taste as well as knowledge, and expresses himself upon the subject in suitable language.

He uses the listening lesson as the subject of the written language lesson, learning the essentials of musical criticism.

Finally, in seventh and eighth grades, children have a general idea of classical and romantic compositions and criticize programs which contain symphonic music, art songs, oratorios, opera selections, etc. In other words, a degree of musical intelligence is attained before the high school age, and habits of listening are acquired in the most zealous and formative period of life.

Everybody needs the gospel of good music, and you, most highly privileged teacher, are the missionary. Consider yourself called to the work and as one of the chosen who would not for anything cease her effort to get music into the souls of the children. Use every kind of good music, and introduce it into the child’s life at the opportune time. Skillfully work the music in with other subjects ; use it often as the basis of the language lesson ; use it with geography and history ; teach the musical interpretation of certain poems which are memorized ; and in addition, have a definite time in the music course for lessons on appreciation. The time given to this kind of music lesson may not result in spectacular choruses and musical entertainments for public acclaim, but will surely produce a generation of music lovers.

The teacher may sometimes find it more expedient, in board work, to use syllables instead of musical notation. The following notation is used in this manual :

Syllables for notes a short dash following a syllable indicates a single beat; two dashes signify two beats; a syllable without a dash is equivalent to one half -beat; a syllable underlined or overlined shows its relative position to Middle C. The dot and the measure bar are used as in ordinary musical notation. “ America ” will serve in illustration :

M .rd-\

Phonograph records and piano rolls are thus indicated :

Records

B for Brunswick C for Columbia E for Edison V for Victor Vo for Vocalion

Rolls

AMP for Ampico

W-M for Welte-Mignon

Q. R. S. for universal piano rolls.

^ This notation is further simplified by using the initial letter of a syllable (d for do, r for re, etc.) . An accidental, or chromatic, is expressed by two letters (si, li, fi, te, le, me, etc.).

CHAPTER TWO THE SENSORY PERIOD Grades One, Two, and Three

To paraphrase an old saying, “ If a child can think and doesn’t think, we must make him think,” and it is our business to make him think musically. A little child is honest. He will not affect an interest in a thing he does not understand, simply because a grown person says it is interesting. There are musical parents whose children disHke music, the reason being, probably, that the parents expect mature taste from their children. Every child can be interested in music, but he must get the content, not by having it told to him, but by having it so simple that he will experience the joy of discovering it. We face the fact that no one is bom with taste, and that cultivation begins early in life.