Essentials in Conducting Part 9

[Sidenote: DIFFICULTIES INVOLVED IN TEACHING LARGE GROUPS]

The first point that we should like to have noted in this connection is that teaching a group of from forty to one hundred children all at the same time is a vastly different matter from giving individual instruction to a number of pupils separately. The teacher of a cla.s.s needs to be much more energetic, much more magnetic, much more capable of keeping things moving and of keeping everyone interested in the work and therefore out of mischief; he needs, in short, to possess in high degree those qualities involved in leaders.h.i.+p and organization that were cited in an earlier chapter as necessary for the conductor in general. In teaching individual pupils one need not usually think of the problem of _discipline_ at all; but, in giving instruction to a cla.s.s of from thirty to forty children in the public schools, one inevitably finds in the same group those with musical ability and those without it; those who are interested in the music lesson and those who are indifferent or even openly scornful; those who are full of energy and enthusiasm and those who are lazy and indifferent and will do only what they are made to do; those who have had lessons on piano or violin and have acquired considerable proficiency in performance, and those who have just come in from an outlying rural school where no music has ever been taught, and are therefore not able to read music, have no musical perception or taste whatsoever, and are frequently not even able to "carry a tune." In dealing with such heterogeneous cla.s.ses, problems of discipline as well as problems of pedagogy are bound to arise, and it requires rare tact and skill in working out details of procedure, as well as a broad vision of the ultimate end to be accomplished, to bring order out of such musical chaos. And yet precisely this result is being secured by hundreds of music teachers and supervisors all over the country; and the musical effects of a fifteen-minute daily practice period are already surprisingly evident, and will undoubtedly become more and more manifest as the years go by. The outlook for the future is wholly inspiring indeed; and no musician need fear that in taking up public school music he is entering upon a field of work which is too small for one of his caliber. The only question to be asked in such a case is whether the teacher in question is big enough and is sufficiently trained along musical, general, and pedagogical lines to handle this important task in such fas.h.i.+on as to insure a result commensurate with the opportunity.

[Sidenote: THE ADVANTAGES OF AN ATTRACTIVE PERSONALITY]

Charm of personality has a great deal to do with the success of many directors of children's singing. School superintendents are well aware of this fact, and of two equally capable candidates for a school position (especially one involving work with small children) the supervisor who is attractive in appearance and neat in attire, is almost sure to be chosen. We mention this fact not in order to discourage those not possessing an average amount of personal charm, but to encourage them to take physical exercise, and by other means to increase the attractiveness of their physical appearance; to enhance their charm further by tasteful dress; and most important of all, to cultivate a sprightly and cheerful att.i.tude (but not a patronizing and gus.h.i.+ng manner) toward children as well as adults. Attractiveness of personality may be increased further by the cultivation of refined language and a well-modulated voice in speaking, as well as by schooling oneself in the habitual use of the utmost courtesy in dealing with all people.

[Sidenote: DIRECTING YOUNG CHILDREN]

In the lower grades, it is best not to conduct formally with baton in hand, but rather to stand (or sit) before the cla.s.s, and by facial expression, significant gesture, bodily pose, _et cetera_, arouse an appropriate response to the "expression" of the song. Every song tells a story of some sort and even little children can be caused to sing with surprisingly good "expression" if the teacher makes a consistent effort to arouse the correct mental and emotional att.i.tude toward each individual song every time it is sung.

[Sidenote: DIRECTING OLDER CHILDREN]

In teaching a cla.s.s of older children, it is well for the supervisor to stand at the front of the room with baton in hand, giving the conventional signals for attack and release and beating time in the usual way during at least a part of each song in order that the children may become accustomed to following a conductor's beat. It is not necessary to beat time constantly, and the teacher, after giving the signal for the attack and setting the tempo, may lower the baton, until a _fermata_, or a _ritardando_, or the final tone of the song makes its use necessary again.

A word of warning should perhaps be inserted at this point against tapping with the baton, counting aloud, beating time with the foot, _et cetera_, on the teacher's part. These various activities may occasionally be necessary, in order to prevent dragging, to change the tempo, to get a clear and incisive rhythmic response in a certain pa.s.sage, _et cetera_; but their habitual employment is not only exceedingly inartistic, but is positively injurious to the rhythmic sense of the children, because it takes away from them the opportunity (or rather necessity) of each one making his own individual muscular response to the rhythm of the music. The more responsibility the teacher takes, the less the pupils will a.s.sume, and in this way they are deprived of the practice which they need in working out the rhythm for themselves, the result often being that a group of children get to the point where they cannot "keep time" at all unless some one counts aloud or pounds the desk with a ruler as an accompaniment to their singing.

[Sidenote: THE SELECTION OF MUSIC FOR GRADE CHILDREN]

A very large element in the success of all public performances is the selection of just the right type of music. In the case of small children, unison songs with attractive music and childlike texts should be chosen. When the children are somewhat older (from eight or nine to twelve) longer and more elaborate unison songs provided with musicianly accompaniments may be selected, while rounds and unaccompanied part songs are effective by way of contrast. In the case of upper-grade children, part songs (sometimes even with a ba.s.s part, if there are enough changed voices to carry it successfully) are best.

But it should be noted that the voices in these upper grades are not usually so clear and brilliant as they have been in the two or three preceding years, the beauty and brilliancy of the child's voice culminating at about the Sixth Grade.

[Sidenote: THE HIGH SCHOOL CHORUS IN PUBLIC]

In planning public performances for a high school chorus, many difficult questions arise. Shall the program consist of miscellaneous selections or of a connected work? If the latter, shall it be of the operatic type, involving action, scenery, and costumes, or shall it be of the cantata or oratorio type? And if the latter, shall heavy works like the _Messiah_ and _Elijah_ be given, or shall our efforts be confined to presenting the shorter and simpler modern works which are musically interesting and in the rendition of which the immature voices of adolescent boys and girls are not so likely to be strained?

A discussion of these matters properly belongs in a treatise on public school music, and we can only state our belief here that, in general, the _musical_ development of the children will be more directly fostered by practice upon choral rather than upon operatic works; and that extreme care must be exercised by the high school chorus director in handling immature voices lest they be strained in the enthusiasm of singing music written for mature adult voices. Whether this implies the entire elimination of the _Messiah_ and other similar works, is left to the discretion of each individual supervisor, it being our task merely to point out the responsibility of the high school chorus director for recognizing the difference between mature voices and immature ones.

[Sidenote: THE PUBLIC PERFORMANCE]

In giving public performances with a large group of small children, the director will need to learn that it is necessary to teach in advance the precise shading to be employed at the performance. In working with an adult chorus, the conductor expects every singer to watch him closely throughout the selection, and many slight changes of tempo and dynamics are made at the performance that have perhaps never been thought of during the rehearsal. But children are usually not able to keep their minds on the task in hand to this extent, and if there is to be a _ritardando_ or a _crescendo_ at a certain point, the only safe thing is to teach this change in tempo or dynamics when first taking up the song, so that the expressional element may become a habit in the same way as the tones and rhythms. This is particularly necessary in teaching the same songs to several different groups separately in preparation for a public performance in which various groups that have not practised together are to sing the same numbers.

[Sidenote: ATt.i.tUDE OF THE CONDUCTOR AT THE PERFORMANCE]

The conductor must always appear cheerful and confident when conducting children (or for that matter, adults) in public, for if he seems anxious and distressed, or worse yet, if he informs the singers that he is afraid that they will not do well, his uneasiness is almost sure to be communicated to the performers and there will probably be a panic and perhaps even a breakdown. If the conductor seriously feels that the compositions to be performed have not been rehea.r.s.ed sufficiently, it will be far better for him either to insist upon extra rehearsals (even at considerable inconvenience), or else upon a postponement of the performance. A good rule to follow in preparing for a public performance of any kind is this: _Go through the work over and over until it is done correctly; then go through it enough times more to fix this correct way in mind and muscle as a habit._ Too many performances are given upon an inadequate rehearsal basis, and it has happened again and again that performers have been so busy watching the notes that they have had no time to watch the conductor, and the rendition of really beautiful music has been made in a tame, groping, and consequently uninteresting manner. Our American impatience with slow processes of any sort is as often to blame here as the negligence of the conductor, the latter often arranging to have a performance at an earlier date than he really wishes to because he knows that his chorus will become impatient with the large number of repet.i.tions that a really artistic performance requires.

[Sidenote: THE HIGH SCHOOL CHORUS]

In directing a large high school chorus (sometimes numbering from five hundred to fifteen hundred singers), the conductor will find it necessary to study his score in advance even more than usual, for here he is dealing with large numbers of bright and lively American boys and girls, many of whom are not particularly interested in the chorus practice and all of whom love to indulge in mischievous pranks of various sorts. The conductor who is likely to be most successful in handling such a chorus is he who, other things being equal, has prepared his work most thoroughly and is able to conduct without looking at his music at all, and who can, therefore, keep things moving throughout the rehearsal period. We might add that if he does not keep things moving _musically_, the students in his chorus will keep them moving along other and probably less desirable lines!

[Sidenote: SEATING THE HIGH SCHOOL CHORUS]

Many other topics might be discussed in this chapter but the subject is too complex for adequate treatment except in a work dealing with this one subject alone. Let us, therefore, close the chapter by giving a plan for seating the high school chorus that has been found effective in various schools where it has been used.

[Ill.u.s.tration: SEATING PLAN FOR A HIGH SCHOOL CHORUS

-------------------------------------- Mezzo-soprano Mezzo-soprano girls girls singing soprano singing alto ------------------+------------------- Girl Baritones Girl Sopranos Tenors and Altos ---------+ Ba.s.ses +------- Boy Boy Sopranos Altos ---------+--------+-----------+------- +--------+ +-----+ Director Piano +--------+ +-----+]

The advantages of the plan given above are:

1. That it places the boys in front where their less developed voices and often smaller numbers will insure better balance,[23] and where also the teacher can more easily see what is going on in their midst.

2. It places all the boys in the same part of the room and thus removes the chief objection that boys with unchanged voices make to singing soprano and alto. There will probably not be a great number of these unchanged voices in any ordinary high school chorus, but there are almost certain to be a few, and these few should not be attempting to sing tenor or ba.s.s when their voice-range is still that of soprano or alto.

3. By placing the _mezzo_ voices (of which variety there are usually more than of any other) between the sopranos and altos, they can be used on either the soprano or alto part, as may be necessitated by the range and dynamic demands of the composition in hand. In seating these _mezzo-soprano_ girls the teacher may furthermore allow those who, although having _mezzo_ voices, prefer to sing the alto part, to sit on the side next to the alto section and the others on the side next to the soprano section. If there are any boys with unchanged voices who are _mezzo_ in range, they may be seated directly back of the ba.s.s section, thus keeping them in the boys' division and yet giving them an opportunity of singing with those who have the same range as themselves.

[Footnote 23: The essentials of this same plan of seating are recommended to adult choruses for a like reason; _viz._, in order to enable a smaller number of men's voices to balance a larger number of sopranos and altos by placing the men in the most prominent position, instead of seating them back of the women, as is so frequently done.]

As will be noted in the plan, the conductor stands directly in front of the ba.s.ses, the piano being placed on either side as may be most convenient, the pianist, of course, facing the conductor. In directing a large chorus, it is a great advantage to have two pianos, one on either side.

CHAPTER IX

THE COMMUNITY CHORUS CONDUCTOR

[Sidenote: THE SIGNIFICANCE OF COMMUNITY MUSIC]

The recent rise of community music has evoked no little controversy as to whether art can be made "free as air" and its satisfactions thrown open to all, poor as well as rich; or whether it is by its very nature exclusive and aristocratic and therefore necessarily to be confined largely to the few. We are inclined to the former belief, and would therefore express the opinion that in our efforts to bring beauty into the lives of all the people, we are engaged in one of the most significant musico-sociological enterprises ever inaugurated. For this reason we shall discuss at this point ways and means of securing satisfactory results in one of the most interesting phases of community music, _viz._, the community chorus. The development of the community chorus (and indeed to a certain extent, the whole movement to bring music and the other arts into the lives of the proletariat) is due to a combination of artistic and sociological impulses; and it undoubtedly owes its origin and success as much to the interest in the living and social problems of the middle and lower cla.s.ses, which the recently developed science of sociology has aroused, as it does to purely musical impulses.

Because of the fact that community music is a sociological phenomenon as well as an artistic one, the director of a community chorus must possess a combination of artistic and personal traits not necessarily present in the case of other musicians. In particular, he must be a good mixer as well as a good musician; and if one or the other of these qualities has to be sacrificed in some degree in favor of the other, we should be inclined to insist first of all upon the right sort of personal traits in the leader of community music. In order to be really successful in working among the common people, the leader must be one of them in all sincerity of spirit, and must be genuinely in sympathy with their point of view. This fact is especially pertinent in those types of work in which one deals with large ma.s.ses of men and women. The director of community singing must therefore, first of all, be a good mob leader. But if, having met the people upon their own level, he can now call upon his artistic instincts and his musical training, and by means of a purely esthetic appeal raise his crowd a degree or two higher in their appreciation of music as a fine art, eventually perhaps finding it possible to interest them in a higher type of music than is represented by the songs sung in this friendly and informal way, then he has indeed performed his task with distinction, and may well be elated over the results of his labors.

[Sidenote: THE SOCIAL EFFECT OF COMMUNITY SINGING]

One of the fundamental reasons for encouraging the use of carols at community Christmas tree celebrations, as well as other similar forms of group singing, is its beneficial effect upon the att.i.tude of the people toward one another and toward their social group or their country. Through singing together in this informal way, each individual in the crowd is apt to be drawn closer to the others, to feel more interested in his neighbors; and in the case of "sings,"

where the dominating note is patriotism, to become imbued with a deeper spirit of loyalty to country. In very many cases, individuals who formerly would have nothing to do with one another have been drawn together and have become really friendly, as the result of sitting together at a community "sing." Referring to the effect of the first "Song and Light Festival" in New York City, a well-known artist remarked:[24]

The movement ill.u.s.trates plainly to me the coming forth of a new consciousness. Outside the park, strikes, sedition, anarchy, hatred, malice, envy; within, beauty, peace, the sense of brotherhood and harmony.... Community singing is teaching men to find themselves, and to do it in unity and brotherly love.

[Footnote 24: Kitty Cheatham, _Musical America_, October 7, 1916.]

This same sort of an effect has been noted by us and by innumerable others in many other places, and various testimonies to the beneficial social effect of community singing, neighborhood bands, school orchestras, children's concerts, and similar types of musical activity have come from all parts of the country since the inception of the movement.

The impulse to bring music into the lives of all the people is not a fad, but is the result of the working out of a deep-seated and tremendously significant innate tendency--the instinct for self-expression; the same instinct which in another form is making us all feel that democracy is the only sure road to ultimate satisfaction and happiness. It behooves the musician, therefore, to study the underlying bases of the community music movement, and to use this new tool that has been thus providentially thrown into his hands for the advancement of art appreciation, rather than to stand aloof and scoff at certain imperfections and crudities which inevitably are only too evident in the present phase of the movement.

[Sidenote: QUALITIES OF THE COMMUNITY SONG LEADER]

If the social benefit referred to above,--_viz._, the growth of group feeling and of neighborly interest in one's fellows, is to result from our community singing, we must first of all have leaders who are able to make people feel cheerful and at ease. The community song leader must be able to raise a hearty laugh occasionally, and he must by the magnetism of his personality be able to make men and women who have not raised their voices in song for years past forget their shyness, forget to be afraid of the sound of their own voices, forget to wonder whether anyone is listening, and join heartily in the singing.

There is no one way of securing this result; in fact, the same leader often finds it necessary to use different tactics in dealing with different crowds, or for that matter, different methods with the same crowd at different times. The crux of the matter is that the leader must in some way succeed in breaking up the formality, the stiffness of the occasion; must get the crowd to loosen up in their att.i.tude toward him, toward one another, and toward singing. This can often be accomplished by making a pointed remark or two about the song, and thus, by concentrating the attention upon the meaning of the words, make the singers forget themselves. Sometimes having various sections of the crowd sing different stanzas, or different parts of a stanza antiphonally will bring the desired result. By way of variety, also, the women may be asked to sing the verse while the entire chorus joins in the refrain; or the men and women may alternate in singing stanzas; or those in the back of the balcony may repeat the refrain as an echo; or the leader and the crowd may sing antiphonally. In these various ways, considerable rivalry may be aroused in the various sections of a large chorus, and the stiffness and unfriendliness will usually be found to disappear like magic. But if the director is cold and formal in his att.i.tude, and if one song after another is sung in the conventional way with no comment, no anecdote, and no division into sections, the people will be more than likely to go away criticizing the leader or the accompanist or the songs or each other, and the next time the crowd will probably be smaller and the project will eventually die out. The chronic fault-finder will then say, "I told you it was only a fad and that it would not last"; but he is wrong, and the failure must be attributed to poor management rather than to any inherent weakness in the idea itself.

[Sidenote: VARIETY OF SONG MATERIAL MADE POSSIBLE BY COMMUNITY SINGING]

The majority of people have no opportunity of singing except when they go to church; but many do not go to church often, and even those who go do not always sing, and only have the opportunity of singing one type of music when they do take part. Moreover, for various reasons, the singing of church congregations is not as hearty as it used to be a generation or two ago. The opportunity to spend an hour in singing patriotic hymns, sentimental songs, and occasionally a really fine composition, such as the _Pilgrims' Chorus_ from _Tannhauser_, is therefore eagerly welcomed by a great many men and women--those belonging to the upper cla.s.ses as well as the proletariat. When once the barrier of formality has been broken down, such gatherings, especially when directed by a leader who is a good musician as well as a good mixer, may well become the means of interesting many thousands of men and women in the more artistic phases of music; may indeed eventually transform many a community, not only from a crowd of individuals into a h.o.m.ogeneous social group, but may actually change the city or village from a spot where ugliness has reigned supreme to one where the dominating note is beauty--beauty of service as well as beauty of street and garden and public building; and where drama and music, pictures and literature, are the most cherished possessions of the people. In a place which has been so transformed, the "eight hours of leisure" that have so troubled our sociologists will present no problem whatever; for the community chorus, the neighborhood orchestra, the music and dramatic clubs, and the splendid libraries and art galleries will a.s.sume most of the burden of providing a worthy use of leisure.

[Sidenote: THE NECESSITY OF ADVERTISING]