The Kenosha telegraph. [volume] (Kenosha, Wis.) 1860-1888, 1885-11-27
POTPOURRI PAPERS.
By francis L. RAwsoN.
Fourth Paper.,

l. By FRANCIS L. RAwsoN.
q Fourth Pepper.
b The INSTRUMENTAL INSTRUCTOR
+ the instrumental department we fin,
+ fully as large number of subjects
r not larger, to be understood by the com
L petent teacher.
s The first requisite is to be able to in
If struct the pupil how to form good ton,
e on any of the various members of th,
e instrumental family. On this subjec
/ the teacher can not lay too much stress
0 either in the vocal or instrumental de
e partment. On pure tone depends both
4 style AND expression, either of which
. would be marred by an improper rem.
, dition in this direction. Wind instru.
/ ments of the orchestra require mastery
) of the breath and fingers to produce
pure tones. Stringed instruments of
: the orchestra, bowling and lingering, and
, the piano-forte, to which wish more
especially to call your attention, the
proper action of the wrist and fingers.
Attention should be called to this SUBJ
Iject early and late. After tone forma-
ton and action of fingers are somewhat
developed, the grouping of tones into
phrases should receive careful attention,
leading the pupil through the construc-
ton of the entire composition. 1t has
been thought by some professors of
music that the instrumental instructor
has more difficult task than that of the
vocal department. Very true the Ii
bretto aids the latter very much in at
tanning a correct Interpretation of the
musical text, whereas the former must
depend entirely upon the notation, with
an occasional annexation from the au-
thor. A knowledge of the various class
es of compositions and their peculiar
construction, by which they are individ-
ualized, is very essential, for without
that knowledge they will in many cases
be misinterpreted also by whom COM
posed, whether by an old master or a
more modern composer.
! THEORY have heretofore written
on this subject, showing that a practi-
cal knowledge is necessary in order to
properly instruct pupil to perform
either vocal or instrumental music.
Therefore, nothing need be added to the
remarks already advanced, except a
general settlement of a few theoretical
points, such as scale formations and
their tone relation, with melodic and
chord formation, of which / shall men,
ton in detail at the proper time. A the
oretical knowledge, therefore, will, for
the present, be implied.
ABTLITY-To impart instruction is a
rare gift not vouchsafed to all. .Acquir-
ed knowledge is one thing ability to
use or impart that knowledge quite a diff
ferent thing. None will deny that the
art of teaching, like all other arts, can
be improved by culture therefore, it is
the duty of all teachers, not only music
teachers, but all whose business it is to
impart instructions, to avail themselves
of every advantage, and possess them |
selves of all kinds of information that
tends to develop, strengthen and inn
prove their art, so that correct impress
sions may be more clearly and easily |
made on the mind of the pupil. Illus |
trations are not only pleasing, but very
profitable in demonstrating various mu-
steal problems. The teacher should
therefore be apt in illustrations, and for |
this purpose a general knowledge of
other subjects is quite necessary. A
knowledge Of other arts, sciences and
literature, musical literature in particu- |
lar, and biographies of musical men,
will give the teacher greater power in
calculating problems and interpreting
compositions. The last requirement of |
which we shall speak is love for the |
art of teaching. He who expects to sue |
coed as teacher should consider his vo-
cation source of intellectual enjoy
ment. He who instructs for mere sem |
sual gain will consider his work drudg- |
cry, and is unworthy the trust reposed |
and the high rank of teacher. At this |
point we are compelled to digress from
our subject and consider the duties, rath |
er than the requirements of a music |
teacher.
A teacher is one who instructs others |
that is, one who conveys intelligence
or knowledge respecting something usu-
ally-as commonly understoOd-con- |
corning some art or science. He does
not carry his load to the receivers door,
tumble it off and drive away, like the ex.
pressman, but he is to see that the re-
cipient obtains full possession-not to
lock it up Or lay it away in some secure
place, but to work it over and over, en-
tirely digesting it, until all nutritive |
properties have been taken up and be- |
o mes very part and parcel of himself. |
Again, in teaching an art the pupil is to
be directed in his practice shown what
to do, and how to do it; his study and
practise regulated, until he becomes, as
it were, an independent thinker and
operator. It will thus be seen that the
pupil is very much what the teacher
makes him. We have, then, for con-
sideration, first, the knowledge and art
to be impaired, or that which is to be
conveyed; second, the persons TO whom
it is carried, and what it is to do for
them and, third, the character of the
teacher, or, if you please, the carrier.
The first reflection of the teacher should
be, that the party to be instructed and
trained is living being. fully equipped
by the master builder with brains, nerves
and body, and having for cargo living
soul, which is placed for time under
the direction of this sailing master, who
is to develop body and soul into an in
dependent craft !; whose commission is
to carry cargo of good deeds, kind
words and noble impulses, or their con-
vert, as the sailing master shall direct,
across the sea of life, and be forever cast
away or received into " everlasting habi-
stations" as the character of the freight
ahall Indicate or, in other words, when
a human soul is the stake, it should be
dealt with wisely and carefully. Music
is required at nearly all times and for
all occasions. In the various duties and
recreations of the wide plain of ordinary
life, with its little ups and downs, las well
as in its mountains Of JOY and deep val
leys of affection and sorrow, the heart
reaches out after music's comforting, ex-
hilarating and solacing influence. Some.
times its magic power is experienced
while listening, the mind being entirely
passive. Again, the heart seeks music's
aid in expressing its Own secret feelings