Music Is Everywhere

Music is Everywhere MUSIC today is our constant companion. The steady development of music in the schools, the popularity of the phonograph, the advent of sound pictures, and especially the uni- versality of the radio, have brought music into the most remote cor- ners of our land. The loud speaker melodizes our business blocks and the wilderness resounds with the portable phonograph. No one who cares for music need now be deprived of its pleasures. With this practical universality achieved it becomes the problem of every thinking young man and woman to figure out just what his or her attitude is to be toward music. Just what may music mean to us; is it something to be culti- vated, appreciated, or merely en- dured? It can't be escaped: how can we make the most of the in- evitable situation? TT has not been so many years since the pursuit of music in- volved such serious effort and ex- pense that only the talented had the industry and persistency to at- tempt more than the most super- ficial acquaintance. Moreover we Americans have been so preoccu- pied with developing our natural resources that we have been rather indifferent to the cultivation of our inner resources for finer and richer living. Concentration on farming, commerce, industry, and high fi- nance have had a tendency to ab- sorb our interest to the exclusion of attention to matters of culture. Art, literature, and music have taken a comparatively small place in the intensive activities of our national life. But times are rapidly changing. When such great leaders in our business world as Andrew Car- negie, J. Pierpont Morgan, George Eastman, Otto H. Kahn, and many others emphasize so strongly the value of cultivating our aesthetic natures, it may well be worth our while to give more than passing consideration to this viewpoint of these successful men. There is a world of suggestion in compar- ing the mere noisy efficiency of Ford's early model with the effi- What are You Going, to Do About It? By OSBOURNE McCONATHY ciency-plus-beauty of his present output. "X/f USIC has always been a source of pleasure. When we ob- serve the enjoyment which musical people get from listening to a beau- tiful composition or the satisfac- tion they derive from participating in a musical performance, we can realize what possibilities music offers to all of us. For with its constantly growing availability comes ever increasing opportunity for more people to partake of its joys. But while even the most casual listener derives some fun from certain kinds of music, a far deeper enjoyment comes to the pur- poseful listener. There are lots of people who are perfectly satis- fied with merely haphazard ac- quaintance with music, but those who are concerned with making the most of life will not be content with such casual contacts. The The Author worth-while person wants to know what his reactions are and to de- cide what he is "going to do about it. Suppose we consider some of the musical opportunities now available for most young people, and the way they may be utilized by those who wish to make the most of them. THIRST of all, there is the music offered by schools. In most schools today there are several branches of music study open to the students: chorus, orchestra, band, classes in appreciation, and occasionally others. Sometimes these courses are truly superior, with splendid teachers, fine equip- ment, credit for work done, and enthusiastic groups of students. In other instances offerings are meager and instructors limited in ability. In either case it is well to remember that the benefits from these offerings will be just in pro- portion to the interest and effort which the student brings to them. Where the classes are well organ- ized and the instruction capable and inspiring the student's part is simple and easy. But even under these favorable circumstances he should not be lulled into the false assumption that he has merely to sit passively and let the instruction be poured into him. It is the stu- dent's efforts and not those of the teacher that determine what pleasure and profit he is to get from the class. When, on the other hand, the offerings are limited or the instructor is weak or poorly prepared, as sometimes unavoid- ably is the case, the student "cuts off his own nose to spite his face" by refusing to elect music or by carelessness, indifference or inatten- tion in class. Three or four eager and active students who are deter- mined to make the most of circum- stances can change an almost im- possible situation to one teeming with worth-while interest. Often one interested student possessed of zest and initiative can vitalize the spirit of an entire school. There are numerous instances of students taking such initiative in instituting school orchestras and bands, and starting organizations to which the authorities later were glad to give

The Improvement Era for December, 1930 87 official sanction and support. If you believe that music can be a purposeful part of your life, it is not necessary to wait for your school to surround you with at- tractive opportunities. Your own interest and initiative and the co- operation of a few sympathetically minded fellow students is enough. Give your hearty support to the situation as you find it, and if conditions need improving, then help to make them better. INCIDENTALLY a word may be helpful with respect to join- ing an orchestra or band. Of course if you play well you are in a position to decide as to whether or not the instrumental group is one to which you are proud to belong, one which your participation can improve, or one so poor that your best efforts can- not help it. But let me remind you that the poor sportsmanship some- times shown by a good player who stands aloof from his less talented schoolmates in their efforts to develop an orchestra or band is quite as unworthy as similar poor sportsmanship on the athletic field. But if you play poorly or not at all the situation is by no means hopeless, as there are several possibilities open to you. One of these is to undertake an instrument requiring slight technical skill, such as several of the percussion instru- ments, eg. the triangle, the bass drum, the cymbals, etc. These in- struments offer possibilities for use- ful participation in which you may enjoy many of the advantages of ensemble experience. But do not cherish the delusion that even such instruments may be played without care and practice. Effec- tive artistry on any instrument ne- cessitates concentrated devotion. Another possibility is to undertake the study of one of the less com- mon instruments. The leader will welcome and assist in every pos- sible way an ambitious beginner on the double bass, the viola, the alto or French horn, or several other much desired but inconspic- uous instruments. There are few more enjoyable musical experiences than membership in even the most humble capacity in a good instru- mental ensemble. "XTEARLY every community has -^ its public library. Has your library a good collection of mu- sic reference books and of interest- ing books about musicians and on musical subjects? You may be sure that the library board will be only too happy to build up this depart- ment if it is made clear to them that there will be a call for such books. Go to the library and ex- press this desire, and see that others who feel the same way do like- wise. How about the music in your church and Sunday School? Is there a choir to which you may belong? Do you join heartily in the congregational singing? Do you help make the organist feel more deeply interested in his part of the service by letting him know that some of the congregation are listening to his playing? Church and Sunday School music often offer splendid opportunities for en- joyable musical experience or for worthy and acceptable service. XTO reference has yet been made ^ to concert attendance or other community musical activities. While in the great cities there are usually splendid concerts for the music-loving public, these are not always available to the student be- cause of expense, time, distance, or other reasons. In the smaller >laces comparatively few good con- certs are given. But in any situa- tion it is most important to take advantage of whatever concert op- portunities there are. Also, when- ever possible, the really interested Osbourne McConathy jy±R, McCONATHY needs no introduction to many Era readers, having been a speaker at the U. E. A. in 1928, and a leading author of school books for grades, high schools and colleges. Thirtu- five years ago he went into the schools of Louisville, Ky., where for some years he was supervisor of music., conductor of choruses, leader of orchestras, etc. After this he was in the schools of Chelsea, Mass., before going into the School of Music at Northwestern Univer- sity, where for twelve years he was very prominent. Since then he has made New York his headquarters, where he writes music books, does a bit >of lecturing, and acts as consult- ing specialist in musical education. He has been a particularly popular guest professor at the summer ses- sions of various schools. North- western, Columbia, Southern Cal- ifornia, Berkeley and this last year at our own Utah Agricultural Col- lege. and ambitious listener will en- deavor to prepare himself for the concert by playing over the music in advance, by hearing it on phonograph records, or by reading about the composition, the com- poser, or the performer. In many places where other concerts are rare, the school or community band may occasionally be heard, and such appearances should be wel- comed. The attendance of inter- ested listeners will encourage the band and its leader to do their best and to work for improvement both in programs and performance. A NOTHER community enter- prise which is practicable alike to large and small places is the Music Study Club. To meet with other people who are eager to en- joy music and to know more about it, to play and sing for each other, and to read interesting books about music — these are certainly enjoy- able and stimulating experiences. To be sure, not every one may be a skillful performer. But if em- phasis is directed to the music un- der consideration rather than to the personality of the one who is playing, the absence of special tal- ent need not prove embarrassing. Often music studied at school may be brought into the home or the club. Sometimes the phonograph or player piano can contribute to the meeting by presenting compo- sitions which are beyond the tech- nical powers of any of the club members. TJUT of all the devices which *** serve our beck and call, the radio seems to be the chief reason for the 'omnipresence of musit. Indeed, so persistent is its raucous voice, that it often is considered more a nuisance than a desirable factor in modern life. Far be it from me to preach the muzzling of the radio. That is a matter which each must decide for him- self. I know there are homes where the radio is turned on the first thing in the morning and turned off with the last lights at night (that is, unless we forget to turn it off) , and life goes on practical- ly unconscious of the noise except for a nervous stimulation that "peps" up the day. Then there are other people whose chief in- terest in radio seems to be the dis- [Continued on page 101]