Arizona republican., 1921-09-18
MUSICAL TIOTES
BY EUGENE REDEWILL [

ynaster classes and short treatises on
 how to acquire special technics, but the elemental formation for the
 minds grasp on the final result, and a complete course of study, stlil "a bors with seemingly needless waste of good time and needless laoors-
 Right here is where the difference between good and poor teaching makes its entrees Most of the best living players don't know how 10 teach. For matter of fact they can
 not explain nor do they themselves khow. just how they acquired their technfc and style. Some will say 'smu sicians are born, not made, and others will draw on their imagination
 and prescribe things they think they know governed in relation to taeir own progress. When student IS forced to practice, and the course Is not made clear and interesting so that they spend their time at their | instrument with pleasure and eager ness for learning, it is doubtful 1T they secure but small benefit from the | time consumed. For instance, child | that practices without being told IS
 making more progress than a child l that is driven to it, and children driven to practice with their minds not on the subject make very little advancement. To outline number | of hours for study in music is better than no practice at all. but to remain at practice when the mind is not glv- | ing the fullest attention is not es- pecially beneficial. The science of 1 teaching is to understand the stu 1 dents, and direct their individual I ideas in the right paths and encour- l age them to attain their ideals, II l they have any, or building ideals for I tI1em. The safest method is to en-
 l courage music for the love of the
 I art itself, and not for the iimelight l the latter which seems today to he
 l most dominant. The love for gooo
 music is not unlike taste for good lit
 erature and development has to be
 acquired An indulgent teacher may
 get results from allowing popular mti-
 sic at the start-and we should moi
 Iblame the student if rag and jazz Is
 l preferred-because they have this
 class xof music thrown at them al
 every turn and they are thus not tt
 blame for liking it. If the beginner I were reared to hear nothing but tns T classics they would like nothing hu' N classics and so it is, the taste of tht sl grownups has planted the taste fol Cheap music in children. Gettinf Il back to the subject of practice. th' II writer oftimes observed that per \ formers make the same errors il \ scale practice year in and year out \ The continuous playing of studies ant | pieces in the same way without i'm
 provement does not advance tn player. In fact, to practice incorrect | ly and without advancement is harm full, because it anchors the bad haplI which may later take years of re taxation and mind control tos undo.
 The German system of musical edu cation makes a musician hfeloni student. There are no royal roads to music in Germany and the grad uate is never real graduate, To when he finishes one thing there l always something else staring hin l in the face. Italy, France, 4Belglur | and Russia are more temperamenta and probably have produced .mor Heading artists of the virtuoso type i | prportion to the number of student than Germany. Their general musica education Is not so complete as IGermany, however. In relation to tn l American musician it is apparen 1 that the American life is not con ducfive to the thoroughness of u1u sical education on the German sys l tenn. The problem stlen is teaching
 1 short road and tabloid system, so tha \ (Continued on Page 8, Section 3