Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1922-05-22
STANLEY MUscHAMP
On Cultural Value Of Choral Work

On Cultural Value Of Choral Work
CHORAL work has decided cultural
~ value, especially among those whose op-
portunities along these lines have been some
what limited. according to Stanley Mus
champ. director of the Lighthouse Chorus.
the Gimbel Chorus and several other or
ganizations.
"Singing is the one branch Of music which
is open to those who have had little previous
training. said Mr.. Muschamp. because 1t
is the single phase Of the art where tone
production is natural to any person who mas
reasonably good ear. or in other words
is not tone deaf For this reason IL ls'
therefore, not surprising to find that there
nre many more choral organizations IN
city than there are other forms OF organized
music.
"The player of an orchestral instrument
or Of the piano organ has to go through
long course of training before be can per-
form even the simplest of compositions TOT
that instrument, and this naturally shuts out
from this form of musical enjoyment those
who have not had the opportunity to learn
| in their younger days, but who are still fond
| Of music.
These Join the Ch0rals
"But while n great deal of instruction and
much practice Is necessary TO become
finished singer, still the vocalist Is able 10
| take part in choral performances long before
| the instrumentalist could hope to do the
| same thing In ensemble or orchestral playing;
| There is nothing in music to be compared
| with personal participation In the produc-
ton of masterpiece of composition, and
| however much the hcarer may ENJOY the per
| formance. those who are actually doing the
work enjoy 1t still more.
| "rhose music lovers who like to do work
| ind either
| opportunity or felt the inclination to play
| ar instrument, find the solution of their
| problem In the choral organization. And, or
| course, there are many music lovers who pre- :
fer to sing rather than to play ana musical
| history Is full Of instances OF accomplished
| singers who gave up instrumental music to
| take IN the voice when they came to q
| realization of their own vocal abilities. Nine.
| Sembrich was an accomplished pianist. and
Giuseppe Campanar was solo cellist of one
of our great orchcStras before either Of them
found out that their voices were their
greatest means Of musical expression.
Value Of Choral Singing
"But it Is not of the singers Of this type
TO whom I refer. but to those who, through
the choral organizations, are getting what
is often their first taste Of what music may
mean to a person who actually participates
in its production.
'"Thc first and perhaps the greatest,
manifestation is the enthusiasm which Is
shown toward the work. In most cases i,
seems to open up a new life to many of them
and the influence Of this is shown, not only
in their attitude toward what they are doins
musically, but in their everyday personal anC
business life as we'll. The choral organiza
tons which are conducted in the great com
mercial HOUSES have been Of actual value t
the institutions by helping to bind the EN-
ployes who are members Of the singing body
more firmly to the interests of the hous,
itself, and there is no more loyal body O
cmnloyes on the roster than those who ar
members of the chorus The enthusiasm
which they feel In the artistic impulse Il
seemingly transmitted into their work n
we'll, and both they and their employer
gain thereby.
.orhis feeling that they are finding some
thing better than mere living from day L
day Is also apparent In their lives outsd
~ their business from what have been told
and this applies not only to the member
~ the choruses of commercial orga nization
but to all who find the real enjoyment whic
comes with the rendition and the practice O
great artistic masterpieces.
Strengthens Their SensibiIities
"Many n discerning music lover has bee
created by the choral organizations of Nh
great cities. These bodies give them th
one opportunity which lies within the rene
Of the average person of becoming personal
acquainted with some of the great compost
tions. A person may hear great oratori
, | many times, until he thinks that he know
| II well, but let that same person spend
] season in practicing that composition as