1 - Washington University in St. Louis

that it is mechanical. A complete commandof tools and materials only aid::l theartist in realizing his conception and theClavier pupil find:s that his exact technicaltraining only makes more po sible a free,unrestrained expre.ssion of the music inhis soul. The Clavier is by no meaus amute keyboard. It responds to the attackof the :fingers and defines rhythm just asthe piano does, while it verifies touch andpromotes a steady development of trengthwithout danger of stiffening the muscles, asthe piano cannot d~. The piano, however,is used constantly for testing the accuracyand studying the effects of the work at theClavier and in this way the ear is taught tobe sensitive and discriminating. Indeed, itis an established fact that Clavier practice isbeneficial to the student intellectually andmusically as well as technically. Concentrationbecomes a :fixed mental habit and whenthis great power is applied to the study ofmusical compositionEl, it ·enables the pupil tomemorize more easily, to grasp more surelythe content, form and harmonic structure ofthe music and to obtain a clearer insight intothe composer's meaning, than when the appealto his intelligence is made through theear alone. When all mechanical difficultieshave been overcome and correct touch,phrasing and shading acquired at the Clavierwith the music memorized and worked upto proper temp_o, the ~tudy of tonal effectsand musical interpretation begiJ,Js at thepiano. The ear, unwearied by the previouspractice, is now capable of listening criticallyto the tone quality and the musical feelingmay seek and :find the truest expres~ionthrough the trained fingers.On the Cultivation of Style in Pianoforte.Playing.E. R. KROEGER.The gt·eat virtuosi have set such a pace intechnical development, that students havebeen prone to consider technique the principalaim of pianoforte playing, and have benttheir eneq~ies accordingly. In this way, trueaims of art have suffered, and the "means"have been taken for the "end". The majorityof young pianists have been inclined toplay the mo t difficult pieces they could select~merely to display digital facility insteadof. those which they could render with Jessexaction and more beauty. This craving afterextraordinary technical ability is carried tob''llch an extreme that points of Rtyle, essentialto correct interpretation, are abandonedentirely. The object seems to be to play asmany notes within a given pei·iod of time aspossible, rather. than to play them withcharm and color. lVIany pupils' recita.Js,and e,ven musical club concerts, are anythingbut a pleasure to the listener on this account.Each performer seem.· to choose composi-T:::S:E ~USJ:C..8..L NE~Stions,wh.icb, undet· the best circumstances,are too difficult, but, when under the excitementof public performance, should neverbe attempted. The audience frequentlybreathes a sigh of relief, when be or sheleaves the stage. Now, there should be n.reaction again!:-t this craze for displayingtechnique. There are many beautiful compositions,written by the greatest masters,which are charming to any audience, and arenot overwhelmingly difficult. In studyi'n'gthem, the pianist will have the opportunityfor self-criticism in features of style. Phrasing,which is too frequently gievously sinnedagainst, attention to dynamics and expressionmarks;gradations of accents; contrasts be'­tween legato, portamento and staccato; thethe proper observance of the use of the pedals.How much these are neglected in thestudy of difficult compositions I To be sure,a technical mastery of the notes of a pieceshould be an understood thing; but selectfor perfor'mance a composition within one'sn.bility·. After the technique is mastered,study minutely all the necessary features ofstyle. When this is done, then add to thisthe: innate musical feeling and individualityof touch of the player. A satisfactory artisticren.dition will be the result.Is Singing in our Public Schools Beneficialor Detrimental to the Health ofour Children ?WJLHELMINE RUNGE .JANOKE.I say most emphatically in "our" schools,as I do not think that there is another ci~yin the United States where this branch ofeducation is treacled with more indifferenc~and neglect than right here in St. _ Louis.In Chicago, Denver, Pueblo, and in goodmany other places, most excellent work hasbeen done in thai direction. Why not here rDo we not. care? Do we not know anybetter? If we do not know-it is time forus to learn, if we do not care-well then,of course, let our children suffer physicallyand musically.Most of us have children who go toschool and who are made to sing; whilesinging is an excellent daily exerciseif conducted by a teacher who knowsher business, it becomes a serious injuryto the health of the chi~d under the presentmethod. Our schoolteachers are -expectedto be efficient in all branches they teachexceptin music. The majority of them donot understand anything about vocal musicand a great many lack an en.r . for it, stillthey are expected to teach singing in theirclasses.The knowledge of notes, si.gnatures, intervals,etc., is a very important matter,l>ut it will . never teach a child to sing correctly.The voice should be properly placed undcorrect breathing taught from the very beginning,which would not be hard to 'do ifthe teacher had her class in full controland knows how to sing herself.The public knows that Mr. So. and ~o.or Miss So. ::tnd So. is in charge of the singingdepartment of the public schools andthat he or · she visits the school once intwo weeks; but it does not realize that theactual work, good or bad, is done by th~classteachers and nobody seems . t~ ·care toknow if the art of singing (an art it isfrom the very first) is taught and properlyunderstood by these teachers.The strained condition of the neck ofthe child, the high color in the face, thehard unmusical tones, produced by theclass, the poor breathing are all si'gns ofa wrong method.A child complaining of ·a. sore throat issent home and a physician consulted. Howmany of us know that a contra.ctecl andinflamed throat is. often caused by the unnaturaluse of the voice? The doctor treatsthe throat--the trouble is t~mporarily · re-·moved-but it returns and in many cas~sbecor.nes chronic if the child continues tosing. in school and the voice is lost forey~r • .Young women who aspire to t.he posi-.tion of a schoolteacher should be compelledto enter a class in vocal and ear. trainingat the High School, and those only w~opass a satisfactory ex~mination may te~chsinging at a school. Hnndreqs of Graduatesare now waiting to be "called out."Here is their ot>portunity: While waitingthey should take up vocal music as a seriousstudy and thns win the gratitude ofsuffering buma~ity.AN OBJECT LESSON !When piano virtuosi astonish· their hearersby the marvellous dexterity of digital agility,tone-quality, unerring execution and remark- ,able memory enabling them to perform aprogram of the difficult classical pieces lastingtwo hours, we often wonder and tak~ it 'forgranted that none but prodigies can do the ethings. While talent is unquestionably aprimary attribute, yet it iindomitableperseverance, hard labor and a strong constitutionto endure the same which are thechief factm~s to uccess. Often misguided ·pupil believe that all that is necessary to succeed.is to take lessons of these admiredpianists, little thinking of the necessary labor;well they are soon undeceived. It is without ,doubt a great privelege and advantage tobecome the pupil oi a virtuoso, but you willhave to work as did the master if you want tobe a worthy disciple. All who have heardMr. George Buddeus must admit that the pressnotices, from the .most critical musical papersin Europe, have only done justice to his, wonderful technic by classing. him among thie