Knowledge of Technique

Knowledge of Technique By Chas. Kent, Supervisor oe Music, Public Schools, Rock Springs, Wyo. WE have voices and natural talents in this country that can easily compete with those of any other nation on earth, but, as everything tends toward the mighty dollar, study is neg¬ lected, and get-rich-quick singing is uppermost in the student mind. The slogan of the day seems to be, “get wise quick.’’ The result is a decadence in vocal standards; purity of tone and artistic ideals are neglected, and loud singing and questionable effects substituted. There is a lack of desire for knowledge of technique; operatic arias, and particularly the dramatic ones, inspire the youthful aspirant and, as a consequence, many teachers are forced against their better convic¬ tions to cater to the student’s erroneous ideas. The obvious time to correct this tendency is at a very early age, and the appropriate place is in the schools. Here is your opportunity to render an invaluable service to the nation. You can begin to cul¬ tivate the child’s appreciation and, through normal gradation, create a desire for purity and artistry, instead of the bombastic and the spectacular. It is an interesting fact that the child’s mind is like a thirsty sponge, ever ready to absorb. His mind in the receptive stage gives music the great opportunity to make its appeal through ex¬ pression. This must be transmitted by the teacher; it can not be told or taught. Some wise man has said, “You cannot learn nothing to nobody.’’ This applies particularly to the vocal question in the child. Give anyone a tone, and more especially a child, and he will approximate the pitch without reasoning how or where to acquire it. A good tonal example will generally induce a better response than a poor one, especially in children, who are natural imitators. A tonal example that is agreeable and free would unconsciously appeal to the child’s hearing and create a genuine interest. Feed the youthful mind with these subtleties rather than with drier mechanics. It is obvious that the teacher himself, in order to accomplish this, should be able to sing a tone with correct vocal production. How otherwise would you expect to inspire the child with the proper appreciation? To im¬ prove the child’s voice, you should cultivate your own so that you can illustrate correctly. This will benefit the speaking as well as the singing voice. Your work will be enhanced almost beyond con¬ ception. You must educate your own hearing if you are to educate the ear of the child towards his own organ. I feel that this most important and valuable part of the work

692 IMPROVEMENT ERA is the most neglected — to teach one to hear himself. It is inconceiv¬ able to me how anyone can fail to hear himself when the ear is cor¬ rectly educated. It is merely an evolution toward keen aural appre¬ ciation. Physicists state that the ear as a sense is even keener than the eye. I have repeatedly demonstrated to myself and to others that our aural perception of our own tone production is an absolute and essential necessity. It is necessary to have the child learn to know through hearing, by teaching it the correct pitch and the tone quality desired. He is not encumbered at this period with methods and so he can the more easily learn inductively. Those who can not hear themselves have never been taught to develop that sense. It is best to allow children slowly to mature, musically and vocally, through induction. To sing correctly and artistically, many qualifications arc needed. Voice, musicianship, intelligence and imagination arc the principal qualifications. Pioneer Days in Arizona It was during the time of serious In¬ dian troubles, in the 80’s. that a small party of “Mormon” pioneer farmers from Utah were on their way to the Gila valley, in southern Arizona. They had heard of frequent Indian depredations and murders in the very country through which they were passing and they realized their great danger. One morning, as they were about to break camp, on the Mogollon Mesa, south of the Little Colorado River in Arizona, they gathered in a circle about the dying tmbers of their camp fire. The leader of the party raised his hands and. as the others bowed their heads, prayed to God for his blessing and protection. Just then something else was happening about them. A band of Apaches were stealthily creeping upon them in the sur¬ rounding underbrush. The Indians were within a few yards, had their bows and ar¬ rows, their tomahawks and guns, all ready for the signal from their chief to pounce upon the little party of pioneers and mas¬ sacre them, when, suddenly, with bowed heads and upraised hands, the travelers be¬ gan to pray to God. The Indians did not wait for the signal from their chief, but crept quietly away, ex¬ pecting, as they gathered again, to be pun¬ ished for acting without his orders. But, instead of punishment, the chief said he was glad they had not harmed these white peo¬ ple, because they were children of the Great Spirit to whom they prayed. Three of the more friendly Indians left the band, overtook the pioneer party, as they were driving on in their wagons, and told them how they had barely escaped massacre. — LeRoi C. Snow.