W. P. A. Technical Series
Community ServTSe Circular Number 1
May 29, 1940
J2JBIRAL WORKS AGENCY
JiORK PROJECTS ADMINISTRATION
Division of Professional and Service Projects
Washington, D. C.
All 09
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FOREWORD
This "bulletin is issued jointly by the
Recreation and Music Sections of the Community
Service Projects Subdivision. It is based largely
on field experience during the five years' operation
of 1/7PA programs and is designed to assist in inte¬
grating the philosophies and methods of recreation
leaders and musicians on various programs.
F. C. Harrington
Commissioner of Work Projects
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TABLE OF CONTENTS
Page
PREFACE 1
I. MUSIC AND RECREATION - VIEWPOINTS AND AIMS 2
A. The Recreation Viewpoint 2
B. The Music Viewpoint 3
C. Adjustment of the Traditional- Viewpoints and
Aims of Recreation and Music 5
II. ORGANIZATION OF A RECREATION MUSIC PROGRAM 8
A. Planning 8
1. Survey of Music Resources in a Community 8
2. Estimate of Music Needs in a Community 10
3. Guiding Principles in the Formulation
of Plan, for a Recreation Music Program
in a Community 10
B. Community Organization for Music 12
1. Organization of Music Committees 14
2. Coordination with Other Agencies 14
3. Relation of the Recreation Music
Program to the Total Music Activity
of the Community 15
III. TYPES OF MUSIC ACTIVITY 16
A. Music Traditions 16
B. Community Groups 17
1. Age Groups 18
2. Community Singing 19
3. Choral Groups 20
4. Instrumental Groups 20
5. Folk Music Groups 21
6. Operettas, Pageants, Festivals 23
IV. SUGGESTIONS FOR IN-SERVICE TRAINING 25
A. Selection and Training of Leaders 25
1. Recreation 25
2. Music 25
3. In-Service Training 25
B. Conclusion
26
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PKEFACE
Music activities conducted on many types of projects during the
past several years have developed a wide variety of concepts as to
the role of music in community life. As a result, requests from the
field have indicated the desirability of more clearly defining and re¬
lating the philosophies .and techniques of music and recreation. It is
the aim of this bulletin to suggest means by which differences of view¬
point, method,and aim may be reconciled without loss of the essential
values gained from the diverse rausi-c and recreation practices we have
developed.
This bulletin is intended for the use of administrative and super¬
visory personnel of the Work Projects Administration and music workers
and recreation leaders whose respective fields impinge. The operation
of successful programs in this dual field requires proficiency in both
recreation and music techniques. Seldom, of course, is there found in
one individual the organizing ability, qualities of leadership, and re¬
sourcefulness of the recreation leader coupled with the training of the
professional musician end with the ability to sing and play by ear.
Cooperation between recreation and music specialists may, however, pro¬
vide a music-recreation program with all the elements necessary for
successful operation. Through such cooperation, each specialist comes
to learn more of the needs, resources and techniques of the other field.
The resulting broadening of horizons and opening of new paths is of
benefit to both end to the work of both.
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CHAPTER I. - MUSIC AND RECREATION - VIEWPOINTS AND AIMS
In order to recognize and to solve problems which arise when music
techniques are used in recreation practice or recreation techniques in
music work, it is important to understand the diverse viewpoints and
aims which have often rendered such recognition and solution difficult
in the past.
A. The Recreation Viewpoint The function of music in recreation
is generally well agreed upon. A recreation program is always more con¬
cerned with the effect of the work or play upon the individual and the
communityvthan with the effect of the individual or of the group upon
the thing worked or played with. 1J Provided there is interest and pro¬
vided the measure of^satisfaction is obtained which leads to further
and better accomplishment and to "better social adjustment, evaluation
of the work or play in and for itself is a secondary matter.
A recreation program offers music primarily, then, as one of a
number of socially related arts, crafts, sports, hobbies, and other
leisure-time pursuits. The attitude of the people served by such a
program toward this collection of opportunities is at first largely
exploratory. It is;.assumed that most of us have moderate interest in
and talent for every item. The initial focus of interest, and even of
effort, is not necessarily the most appropriate or permanent. A first
interest in music, for example, may give way to a stronger talent for
1J WPA Technical Series, Recreation Circular No. 7, p. 3.
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dancing or modelling, or vice-versa. Although much recreation activity
is concerned with average interest and talent, it is very generally
recognized that exceptional interest and talent,oonce it is identified,
must also "be given an opportunity to mature and develop, either under
the guidance of-, experienced experts in the recreation program, or through
channels made available outside of it.
As in the case of other forms of creative expression, the recreation
leader in planning his music program is concerned with the "beginner's
first step and the development of a series of progressive steps to im¬
prove accomplishment. The recreation music program, however, must no
more remain at the level of the beginner's iv*rst step than be so formid¬
ably set up in the initial exploratory steps as to:'"frighten unskilled
beginners.
B. The Music Viewpoint The relationships of recreation and music
are not well a,greed upon by musicians. Professional music work,-."whether
by private individuals or by large music organizations is traditionally
oriented toward the meeting of certain established standards - the quality
of the music and of the musical performance in and for itself. The first
and ultimate question the musician asks is: Is it "good" music? - i.e.,
does it represent a high standard of accomplishment in the fine art of
music?
The question of recreation seldom enters the mind of the professional
musician in connection with music. Clearly, art and recreation functions
overlap. But much listening appears to be mere entertainment (and
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therefore scarcely worthy of the terra "recreation") while some is fairly
hard, work, demanding considerable preparatory training andeexperience.
This latter, in particular, the professional musician does not like to
call recreation, even if the recreation specialist must be admitted to
be within his rights in doing so. Traditionally, the professional musi¬
cian has found the problem rather bothersome. Most often heard, v/hen
music in recreation is under discussion, is the fear on the part of the
musician that professional standards will be lowered. What the pro¬
fessional musician actually fears even more is that other types of music
%
than fine art ("good") music may enter into the situation. These, he
usually does not understand and often dislikes.
The professional musician, then, offers not, as does the recrea-
tionalist, an extensive field of diverse activities in which freedom of
choice is the rule, but rather an intensive discipline in one kind of
music, consideration of whose connection with other kinds of music and
with other things than music is beside the point. Not that these other
things are not important. The musician, as any other professional
person, admires and^values the larger field outside his own specialty.
Professional music is customarily pursued, however, not as a way point
to these larger fields, but as a field complete in itself, whose end -
outstanding skill - needs no definition in any terms other than its
own. Thus, the professional musician has rather rejoiced in the removal
of his own expertness from the reach of the average man and has considered
a moderate amount of frightening of unskilled beginners as in the long
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run a good thing. By avoiding coddling, it prevented too many later
disappointments, and it kept the profession on a high level.
C. Adjustment of the Traditional Viewpoints and Aims of RgCrea,-
tion and Mnsic A rapproachment "between the traditional viewpoints
of music and recreation appears to "be taking place today, ssimilar to
that which has "been under way between music and education during the
last century or so. As may be gathered from the preceding discussion,
it is the musician upon whom, in both cases, has fallen the main respon¬
sibility for re-orientation and adaptation. In both cases, the individual
musician either remains the traditional type and stays outside the fields
opened up by the new demands and opportunities, or he makes fundamental
modifications in his attitude toward music and its role in social life,
% *
and adapts his training and his tasto for fuller utilization tinder the
new conditions of work. When this is done, the aims which traditionally
appear contradictory or in conflict become, rather, complementary and
inter-related. The recent history of recreation work has shown that the
intensive cultivation of one interest for the achievement of a marked
degree of mastery can grow in a very practical manner out of the broaden¬
ing of interests for the gaining of familiarity and some degree of skill
in many of them.
kusic teachers need new fields. Here they arcl The challenge now,
indeed, is to musicians to show that the reverse is as practical as it
is desirable; i.e. the brocndening of interests and of social and cul¬
tural contacts can grow out of the intensive cultivation of music skil1s.
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Good field practice depends therefore to no small extent upon the
exercise of judgment in music-technical problems: especially" in determin¬
ing whether the music interest in any particular case "becomes the main
emphasis of, or whether it "becomes purely incidental in, the program.
The following paragraphs 2/ give illustrations of the application of
principles to specific situations:
"In the practical operation of a coordinated program, courses
of instruction in which the main emphasis is on training in theory
of music, musicianship, and skills in voice or instruments, such
as class instruction in elementary theory, harmony, counterpoint,
history of music, and in voice, piano, orchestral and "band instru¬
ments, will "be under the supervision and technical control of the
$"PA Music Program. On the other hand music which is incidental to
recreational objectives, such as group singing at a social gather¬
ing, will be under the jurisdiction of tho RGcreation Program.
Technical advice may be requested from the Music Program where
personnel is available.
Music on a professional level shall not be attempted by other
than artist personnel and shall remain the responsibility"of the
W?A Music Program, The term 'professional level' as used in this
section shall be understood to mean public performances, production
of works of art, and/or similar work executed by WPA project per¬
sonnel in pay status, as distinguished from work done as a leisure
time activity by persons enrolled in activities of WPA program,
and therefore, unpaid.
Ekchange of personnel and service between these programs is
desirable whenever it results in better service to the community.
For example, the Recreation Program may request leadership and
direction from the Music Program for'group singing if no qualified
leadership exists within that program; likewise the Recreation
Program may request the Music Program to supply an orchestra or
bend to play at social dances or special events under its juris¬
diction. Conversely the Music Program may request the Recreation
Program to provide personnel to conduct folk dances at a music
festival."
In technical terms the coordinated program requires that before any
particular instance of coordination, commences operation, the supervisors,
leaders, and workers concerned must agree upon:
2/ Operating Procedure G-5, Section 3, pp 2-3, January 10, 1940.
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1. The nature of the music-recreation problems they are to
deal with
2. The plan they propose to follow
3. The methods to be employed
4. The main objectives in view
5. The criteria by which .'progress of work is to be judged.
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CHAP TEE. II. ORGANIZATION OP A RECREATION MUSIC PROGRAM
A. Planning A recreation music program should "be "based upon
an orderly inventory of available resources and determination of
community needs in this field.
1. Survey of Music Resources in a Community The first
step in the planning of a recreation music program
in a community should "be a thorough canvass of the
music activities already carried on in the community.
It must be remembered that the recreation leader or
professional musician injecting himself into the
music life of a community does not enter a cultural
vacuum. The American community is a going concern,
in musical as in other ways. It possesses a native
culture more truly American and more tenacious of
life than is generally recognized. Certain aspects
of this culture are more developed in rural, others
in urban areas. This is especially true in respect
to music, which, of all the arts (excepting possibly
speech) has best established an identity and most
successfully expressed the rapid and distinctive
cultural change which has taken place in our country.
The worker should list.,.'therefore, all data concerning:
(a) Musical organizations actually functioning and
'those recently operating in the community, such
as
(1)
Bands
(2)
Orchestras
(3)
Choruses
(4)
Glee Clubs
(5)
Small Ensembles
(6)
Church choirs
(7)
Other Music Groups
This information should comprise the number of
members, requirements for membership, the names
of directors, of governing bodies and backers,
the times and places of rehearsals, and list of
past performances.
Performances, including concerts and programs
involving music planned for the coming months by:
(1) Local organizations, as listed above
(2) Visiting artists or groups
(3) Recitals by pupils of private teachers
(4) School groups
(5) Special church programs
(6) Festivals
(7) Music week activities
(c) Music study clubs
(d) Music classes - private, school, college
(e) Types of instruction available in locality
(f) Leading local musicians
(g) Dance orchestras
(h) Local radio stations
(i) Local music stores
(j) Music libraries
(k) Music extension services available
Having observed the types of organizations and other out¬
ward manifestations of the musical life of the community,
it is now important to form a general idea of the music
made by these organizations and by people generally, how
it is received, what is thought of it, what is thought of
types of music not locally made - in short, to estimate the
nature of musical taste in the community. Thus the worker
may come to know (and it is essential that he should know):
(a) ^he exact nature of the situation into which he projects
himself
(b) What difficulties he may expect to encounter
(c) What aids to his work he may be able to call upon
(d) The relative strength or weakness of existing organiza¬
tions
(e) The gaps to be filled
(f) What adjustments he himself must make to insure success
to his venture.
Experience has shown that there are three distinct types
of music idiom current in America today: a folk, a popular,
and a fine art. Each community will be found to use and to
react to these three idioms in various ways and to-'varying
degrees. Those in or near large cosmopolitan centers will
show higher development of popular and fine art music and
weaker development of folk music. Those far from cosmo¬
politan centers will be stronger in folk than in popular
or fine art idioms. Various income levels also will show
various types of development, as will also various foreign
language groups.
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In rating the currency of the various idioms, it is nec¬
essary effectively to subordinate one's own preferences and
prejudices, and to be as objective as possible in regard
to every musical datum whatever. The following rough
scale is "offered here as having proved useful in a large
general way:
(a) Acceptance - casual attention without resistance
(b) Interest - deliberate', continuous attention
(c) Possession - trained attention through composition
or performance
Por instance, the acpeptance and interest ratios of fine
art music are increasing rapidly, due among other things
to'-radio, sound-film and phonograph. But possession has
been estimated by a number of people, 'who have had national
experience, at from onerhalf of one to two per cent. It is
doubtful that by most generous standards it-'■could be rated at
over five per cent, for the country as a whole. Popular
music would show vastly higher ratios upon all counts, as
would folk music, though the older folk music and the later
popular music would probably rank very low in possession,
i.e., ability to perform in a more or loss satisfactory
manner.
2. Estimate of music needs in a community .Before attempting
to formulate a plan, the recreation leader or music worker
should thoroughly acquaint himself with any important plans
already in existence in the minds of the people he is going
to work with. It is largely the extent to which the leader
may be able to grasp the trends of music development in
the community that the plan he may set his hand to may
succeed. What a community thinks it needs in the way of
music is a very important consideration. It is quite possible
that the leader may agree with existent plans or notions,
and equally possible that he may not. In either case, it is
of prime importance that the leader remain non-committal
until he has had opportunity to study thoroughly the whole
situation. Even then, and after going over the whole situa¬
tion with his supervisor, in order that the growth "from
below up" may fit as harmoniously as possible with guidance
"from above down", perhaps the wisest course for planning
is "to cooperate with the inevitable trends of culture and
to-seek to put intelligent guidance into the channel through
which life normally flows." 3/
Guiding Principles in the formulation of a plan for a Recrea¬
tion Music Program in a Community A good plan:
(a) Is within the capacities of those who are to carry
it out
3/ Taylor, C. C. - Presidential Address, Annual Meeting of the American
County Life Association, Columbus, Ohio, Sept. 19, 1935. -
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(b) Is elastic, so that it can be departed from as well
as followed
(c) Appears to originate, at least in part, among those,
it is to affect
(d) Presents opportunity for appropriate effort but is
not too exacting upon time or strength
(e) Makes use, at least at first, of readily available
resources
(f) Gives expression to local characteristics, but ties
these in with characteristics of the larger commonalty
of which the community feels itself to be a part.
In drafting a plan involving music, it is well to have be¬
fore one such guiding principles as may be drawn from the
experience of other people in similar work. The following
suggestions are offered with the hope that they may prove
helpful:
(a) The essential thing in music is the making of it
(b) Take people as they are - begin with the capacities
and tastes actually resident in an individual or a
community, and feel -out the potentialities for
development they contain
(c) Let people make for themselves as much as possible of
the music they need
(d) Develop local leadership
(e) Quantity should be the immediate, quality and ultimate,
objective
(f) Group activity should be the focus of attention -
individual accomplishment should be valued primarily
as contributing to it
(g) Consolidate the existing musical background - encourage
respoct and love for native music idioms, skills and
taste
(h) The basis of a music recreation program is in oral
rather than written tradition_
(i) There is no valid ground for conflict between oral and
written techniques, nor between folk, popular and fine
art idioms - each has its place and use; music is, to
an extent only slightly less than language, a means of
communication between people; it is of primary impor¬
tance that group work—especially work with a new group
—utilize the idiom familiar to the majority of the
members of the group, for this is the idiom they can
understand
(j) Music should be cultivated not so much as an end in
itself as a means of achieving large social ends 4j
4/ While this holds for the leaders, most participants are themselves
usually interested in the immediate experience of the music. See,
"Report of the Committee on Community Music" Proceedings. Music
Teachers National Association, 1939.
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(k) Music serves a number of functions simultaneously -
it is profitable to observe theeeffects of music,
whether it serves as discinline or dissipation, as
anodyne, sedative, tonic or stimulant
(l) He who would teach the people must first learn from
them - then he can the more effectively act with them
B, Community Organization for Music It cannot be too strongly
stressed that the manner in which the above outlined surveys are made
has vital bearing upon the success of the plan. In making them, the
leader puts himself into a position where he too is "surveyed" and his
possible function in the community estimated, H^s eventual usefulness
as a leader will most likely be rated (l) as a person, (2) as an expert.
The matter of the personal equation does not enter into the scope
of this bulletin. The obtaining of the amount of information detailed
above - especially if it must be done in a short time - makes acceptance
by the community in some ways more difficult, yet in other ways possibly
easier, A genuine interest in or even enthusiasm for the information
acquired can offset an appearance of inquisitiveness or impertinence.
But the worker will in all likelihood be required to give something in
return. This may easily take the form of singing, playing, conducting
or lecturing about; .music, and will constitute a tryout of the leader, as
an expert, in the community.
In this situation, the worker or leader must exercise his best judg¬
ment, especially if he is a good performer and enjoys performing for
people. There is no harm in a certain amount of performance on the part
«
of the leader. Indeed, as already said, a certain amount is required. But
the main job of a recreation music program is for the leader to get music
out of otner peoule. not to keep them any longer than necessary dependent
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upon him alone for the music they need. There is danger that his
expertness may he so far shove theirs that he may, by too frequent
exhibitions, do more to discourage than to encourage true recreation
music activity in the community.
It is important to remember that this criticism holds as well in
regard to talking shout music. The expert can discourage the musical
efforts of the average person equally well by talking impressively of
high professional standards, cosmopolitan music events,cor even of his
own taste reactions. In this connection it is well for any one of us
to remember, that there is nowhere in the world todsy very much agree¬
ment upon critical standards. We cannot be too sure that what is "good"
to the professional must for that very reason be the only "good" to the
amateur. Especially in communities somewhat remote from the very largest
cities, meeting as they do, a host of strange, often disquieting, rumors
from the circles where the most daring innovations are admired, the
attempt to impose critical-'standards should not be made, for it cannot
succeed but only harm.
Critical standards are above all relative. It is their nature to
vary according to varying conditions. If they are to "advance" they
will best do so as day to day expression of taste based upon increased
knowledge and achievement, not as mere acceptance of doctrine.
It is not always easy to.-determine the critical standards of an
individual or a group. What people say they like is important, but
often it is belied by what they do. Thus, the attention of the leader
should become focused more and more upon what people indicate by their
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actions, and the question of what is morally or esthetically "good"
should become translatable into more concrete terms. Instead of "Is
it good music?" We come to ask "What is this music good for?" If it
bids fair to weld the community into more resourceful and democratic
action for a better life for itself and its neighbors, then it must
be conceded to be "good"for" that. The chances that it may sometime
be found good in technical and stylistic terms will probably be fair.
The prime job is, then, to continue all activities already going
strong, to aid weak ones and to start new endeavors.
1. Organization of Music Committees No standard pattern
for the Music Advisory Committee and no specific pre¬
determined functions for it can be applied"to all com¬
munity situations. The preliminary surveys of the music
resources and needs of the community should soon identify
interested key people. T^ese may.comprise■ an informal
body to act as a focal point of group representation
around which the members of the community maintain their
interest. In many instances, a committee may develop
sub-committees to be in charge of and guide special parts
of the program from start to finish. Perhaps in many
cases a music committee may have already been established
independently, or as a sub-committee of the Recreation
Advisory Committee. Analysis should be made of the status
of such groups to determine whether they are truly func¬
tional in character and representative of all the varied
music interests involved, and not just "lists of big names".
Coordination with Other Agencies In obtaining the cooperat¬
ion of the various local agencies, it is most important
that the recreation music organizer give full credit to
existing agencies and provide real opportunities for the
extension of their programs, without attempting to iden¬
tify the extension of the recreation music program as a
newly conceived concept wholly removed from past music
activities in the community,
A certain amount of promotion is necessary in extending
the music program. But to:'identify the music program
wholly with one individual or agency, especially a compara¬
tively new one, would certainly handicap the program at the
outset.
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In many instances, an excellent entertainment group may
already be available in the Recreation Program. This
might provide a suitable opening for the extension of
the music program.
3. Relation of the Recreation Music Program to the Total
Music Activity of the Community The impartial surveys
suggested above, should reveal to the organizer of the
recreation music program, a fair picture of th.e total
music activity of the community. It should give an idea
of the amount of listening to topical hits played on
"nickel-in-the-slot" automatic phonographs, of the amount
of square-dancing or the amount of serious study of the
classics current in the locality.
A recreation music program cannot and should not, of course,
expect to comprise the whole of this field. In confining
itself to certain parts of it, however, care should be
taken net to ignore these music activities of the community
which go on without organized aid. The mere fact that they
do not need aid attests to their strength and hence to
their importance in the total music life of the community
and of the country as a whole. How or weaker interests
should be oriented in the light (but not necessarily in
the direction) of these which arc older or stronger.
It is especially undesirable to assent to, least of all
to provoke, conflicts of music interests. The hill-billy
band and the amateur string quartet can flourish side by
side, and strength can be drawn in support of the- music
program from the interests back of both.
The initial survey of music resources and needs, together
with the organization of the Music Advisory Committee, can
serve as the first steps toward reconciliation of conflict¬
ing musical interests which may exist. It can also identify
the worker with the proposed extension of music activity
through release of newspaper articles sotting forth the
most interesting facts concerning music in the community.
Thus the good-will of as largo and varied a number of people
as possible may be gained - men and boys, as well as women
and children; young people as well as older; the musically
trained as well as the untrained. 5/
5/ Por a broad study of this whole field see Zanzig, A. D. Music in
American Life, New York. 1932.-
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CHAPTER III. TYPES OF MUSIC ACTIVITY
In attempting to "type" music, activities, we are in no way trying
to identify "good" or the "bad" in music, nor are we trying to dissociate
music of any group from that of any other or from the whole collection of
groups. Bather, we are advancing a few suggestions regarding what kind
of music may be "good for" each kind of group which the Recreation and
Music Programs have customarily found actually existent in the average
community.
Music Traditions Music activity of whatever type follows one
or the other of two traditions:
1, Oral (unwritten - singing or playing "by ear")
2. Written (singing or playing by note)
There is a prevalent impression that the music of written tradition
^ is superior to the music of oral tradition - that written music is - "good"
music and unwritten music either not worthy of serious consideration or
gradually being eliminated from our culture by increased musical education.
It now appears that certain music idioms can thrive only in an oral
tradition - that as soon as they become dependent to any large extent
upon written techniques they become transformed into something else, at
the same time losing values essential to the definition of tho idiom.
Of tho three main idioms mentioned above,
1. Polk music relies almost wholly upon oral tradition
2. Popular music relies about half upon oral, and about
half upon written, tradition
3. Pine art music (in America) relies - almost wholly upon
written tradition.
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Considerations such as the above lead to two propositions:
1. A well-rounded music life, either for the individual
or for the group, should comprise "both oral and written
music activity
2, It is impossible to value the one above the other (that
is, to say that symphonic music is "better" than folk
music).
In general, a symphony possesses one kind of value, a folk song
another. One cannot be evaluated above the other. In particular cases,
howovor, it can be said very definitely that one or the other is bettor
for a particular uso. Thus, the following generalizations can bo made:
1, In its first stages, any music activity may rely largely
or wholly upon oral tradition
2, In every individual's experience in music making, both
oral and written techniques should be offered; but after
a reasonable exploration of interest, definite decision
should be made whether the individual will remain within
the fold of oral tradition-or will try to add to it familiar¬
ity with written tradition
3, It is not profitable to spend much time with instruction in
music literacy unless there is good prospect of acquiring
considerable degree of proficiency. Ability to read notes
"a little" is often worse than useless, since it encourages
growth of a sonse of inferiority which, though it is real
in respect to written, has nothing to do with unwritten,
music
4, Along with the study and employment of the written techniques,
it is important to keep alive the elements of oral technique
and of idioms associated with it, through frequent sing¬
ing and playing "by ear", and by improvisation.
In a recreation music program, the precise ratio of oral and written
tradition employed will vary according to the requirements of the situation
and the judgement of tho music leader. Broadly speaking, both should be
given healthy and appropriate development.
Community Croups Consideration should be given to tho characteris¬
tics and interests of the various groups ir the community which will parti¬
cipate in recreation music activities.
- 18 -
Age Groups The interest chart for music activities of age
groups must of necessity he very elastic. In some remote
rural areas depending almost entirely upon oral - and in
some cosmopolitan centers depending almost entirely upon
written - tradition, age groups have taken definite fields
of activity unto themselves. But in most American commun¬
ities j the two traditions are mixed, with consequent misfitting
of interest, material' and study. These misfits may bo roughly-
reduced to three types:
(a) Delayed training, calling for late beginning
(b) Wrong training, calling for corrective measures
(c) Interrupted training, calling for continuation facilities.
Thus we find adults with "youth interests" and youths with
"Child interests". Mixed ago groups, in which children of
ten play at desks next to men and women of sixty, are not
uncommon. Under skilled leadership, they are often very
successful. For practical p\irposcs and for discussion,
however, the various music activities may be placed under
age groups as follows:
Ago
Under seven
Seven to Pourteen
Fourteen to ^wenty-one
Activities
Rhythmic games and bands; singing,
dancing, simple plays with music;
much listening (appreciation),
Little if any written technique.
Rhythm bands, voice production,
singing, dancing, musical fun clubs,
plays with music, appreciation.
Instrumental techniques and band and
orchestra practice. Written tech¬
niques begun, with ear-training.
Bands, dance and orchestra ensembles;
dancing, singing and playing advance
to a stage of greater specialization;
operettas and pageants afford oppor¬
tunity for written techniques; hill¬
billy bands social clubs and dancing,
opportunity for oral techniques and
improvisation; much of the responsi¬
bility for those is taken in some
communities by the public schools
and by private teachers; in others
where these agencies are not at work,
the WPA Music and Seer oat ion Pro¬
grams meet a distinct challenge.
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(Twenty-one and over Same as a"bove, except that
responsibility becomes the
community's instead of the
school's.
In regard to music material used,' it:would.seem self-
evident that just as we begin our familiarity with
language by absorbing the elements of American idiom
about us, eo in music we should first absorb the American
musical vernacular and its repertoire which are about us
everywhere, later adding to it such foreign material as
may seem desirable. The building of a program of recrea¬
tional music in an American community could have no finer
objective than the building within the community, of a
renewed respect and love for the sturdy song which the
American people has built for itself and so, contributing
to the now fine art of music which seems now to bo
emerging from our country. (See section on "Folk Music
Groups," pages 16 and 1?)
2, Community Singing Community singing has come to be generally
understood as the singing of a group of people who sing -
with no objective in mind other than to enjoy themselves -
music \rhich is familiar to most of them because they belong
to a community - a community of interest, neighborhood, ago,
or other binding tie. It might be a group that meets
specifically to sing, or one that meets for another purpose,
but feels that some group singing is in order.
A great deal of material on community singing has been
published and is available in inexpensive fo.rm. It comprises
suggestions to song leaders and suggestions as to the selec¬
tion of songs in sufficient detail to render repetition here
unnecessary. 6/ 7/ 8/ 9j
Circumstances and the versatility of the leader generally
regulate the procedure - whether the singing is from
memory, song sheets, or books, and whether a piano or other
instrument is used.
6J Community and Assembly Singing. National ^ocrcation Assoc.,
315 Fourth Avenue, New York City
7/ Music on the Playground. A. D. Zanzig. Recreation Magazine,
May 1937
8/ Twice Fifty-five Community Songs. C. C. Birchard & Co.,
221 Columbus Avenue, Boston, Mass,
9/ Now American Song Book. Hall & McCroary Co., Chicago, 111.
A1109
- 20 -
The most effective leader of informal singing:
(a) Knows the bulk of his material by heart
(b) Does not let the piano drown out the singing
(c) Handles his group with the least appearance of
formal conducting.
Repeated gatherings of the same group may be expected to
result on the one hand in loss of interest, stereotyping,
the emergency of individual performance, or on the other
in the desire to improve the technical rendition and to
expand the repertoire. The most effective leader will
steer clear of the former, and will direct tha latter into
dramatic or choral channels, or both. This calls for
marked ability and technical resourcefulness.
3. Choral Groups The community choral group can be a great
asset to the community and can render a high degree of
satisfaction W its singing members, ^here' an expert
director is not available in the Recreation or Music Program,
a volunteer may often be found. The more volunteer direction
which can be secured, the wider the ranga of service of the
music worker or recreation leader. Besides regular church
choirs, community choruses or glee clubs, there are often
national singing societies, developed through women's clubs
or service groups.- Singing groups are multiplying under r
sponsorship of Mothers' Clubs, Parent Teacher Associations,
and among young people who have previously sung in school
and college clubs, Excellent suggestions for the direction
of choral groups and for the choice of programs are
published. 10/ 11/-
4. Instrumental Groups This section rofors to all kinds of
instrumental groups, from the rhythm band to the "community
symphony orchestra", including hill-billy, jazz, Hawaiian
and similar instrumentations. .Stimulation and organizational
assistance may be given to many such groups; but they usually
prove most satisfactory when arc allowed to preserve their
original identity and no attempt is made to "educate" or to
combine them.
Among the instrumental groups which can most advantageously
be handled in a recreation music program are small string
ensembles, family, neighborhood and civic orchestras and
bands. As in the case of choral groups, volunteer leaders
10/ Finn, "7. J. The Art of The Choral Conductpr, Vol. I, Choral
Technique, C. C. Birchard & Co., Boston, 1939.
ll/ Scherchen, Hermann, Handbook of Conducting, Oxford University Press,
London and Now York, 1933. '
A110 9
- 21 -
are to be sought and trained "in service" by competent
supervisors. For the larger groups, professional direc¬
tion is essential.
As a rule, try-outs should be avoided. They seldom reflect
the technical capacity of the amateur, and are not a test
of enthusiasm, which is the chief asset of the amateur
organization. Indeed, try-outs often kill enthusiasm.
General practice has shown that selection usually takes
care of itself by a process of the "survival of the fit".
Large groups should be organized as democratically as
possible and not with the procedure of professional organi¬
zations, A managing committee, including the conductor,
librarian, business manager and other key people, should be
elected and at all times have the complete confidence of the
members of the group.
The problem of additional training is always acute, TThen
the conductor cannot help out, sometimes the more advanced
members can be induced to do so. Sometimes, special arrange¬
ments may be. made outside of'the program, "If this'is ndt
possible, assistance from the W?A Music Program should be
sought, provided there is no possibility of competition
with private teachors. 12/
5. Folk Music Groups Folk music groups are given special
consideration in this section, for although they appear to
be defined by the type of idiom they handle, this may be
illusory.
Holding in mind the principles offered in Section II, A-3
of this Circular, it would seem that to begin group work
with folk music would bo a logical and necessary elementary
step. In some cases this is so, in others, it can constitute
a most exotic and sophisticated artifice.
Groups which may handle folk material divide into:
(a) English-speaking groups.
(b) Foreign language groups.
For a group to utilize its own, native folk idiom is an
appropriate elementary step, whether or not it has an
extensive knowledge of the repertoire in that idiom. Thus,
for the majority (English-speaking) groups in America, the
12I Zanzig, A. D, Starting and Maintaining A Community Orchestra,
National Recreation Association, 1940. See also, Scherchen, H.,
op. cit.
A1109
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"normal" idiom is a hybrid of tho later American folk-song
and the older American popular music, all of which has tho
general character of Anglo-Celtic traditions. 13/
The teaching of Continental European folk music to English-
speaking American groups "before they have thoroughly explored
their own music vernacular can-only "be viewed therefore as
similar to teaching children to talk a Continental language
before they have acquired a reasonable command of the English
language.
13/ The Anglo-Celtic tradition in music has been influenced bjr the major
factor of the American Negro, whose music, in turn, has been subjected
to Anglo-Celtic music influences for several centuries. Other factors
in the dominant tradition are major only in certain localities, as for
instance, the French-Canadian in the northeast, the Spanish-Mexican in
the southwest and in Florida, tho Creole-French in the Gulf states.
Classification may give an idea of tho variet1",. though not the nature
of the idioms and repertoires, as for example:
1, Ballads, songs and tunes of foreign origin, which have
maintained their general character, after transplanting
to the new world. Most of these have undergone some
modification.
2, 3allads, songs and tunes of American origin, more .or
less cloarly descended from original Anglo-Celtic
tradition, as for example:
„(a) Ballads of American history
(b) L0ve songs
(c) Nonsense and childrens songs
(d) Game and dance songs
(e) Fiddle tunes
(f) Spirituals (both Negro and "white")
(g) Work songs
These last are becoming quite popular, coming as they do from a
representative collection of singers: cowboys, railroad workers,
levee workers, lumberjacks, coal miners, cotton fibers, sailors,
rivermen, prospectors, shoepherdors, and other workers.
See American Folk Music.
A Selected Bibliography,
WPA Music Program, Washington, D. C. March 1940,
A1109
- 23
For foreign language minority groups in America, the situation
is very different. What idiom they should "be encouraged to
handle depends almost entirely upon the rate of Americanization,
It might appear that the slower the pace of Americanization, the
more urgent night he the need of American music materials. That
national, regional and even local cultural variation may still
he enriched hy survivals of Continental European (or even
Oriental) music elements, is possible, American culture is not
in any "final" form, either as a whole or in music. It is the
nature of culture to undergo continual change. However, the
outstanding characteristics of an American culture seem now to
he clearly defined. Additions such as those mentioned above
are usually clearly recognized as additions. The chances of
their acceptance as integral elements in American culture are
difficult to estimate.
The weight of favor must oe conceded, then, to he for use of
American folk-popular material in elementary group work in.
music in most American communities. After the basis music-
cultural foundation has been laid, and if the group desires,
exploration of foreign folk, primitive and fine art music nay
he discussed, we believe, to greater advantage.
5. Operettas, Pageants, Festivals Once the basic music groups
have for a while received proper stimulation and direction,
a natural development is the presentation of various types
of action with music accompaniment. Although success here
is usually brought about through the tremendous expenditure
of energy by a director and a few hard workers, communities
are, fortunately, prone to take unto themselves credit for
any marked success. Such activities provide for participation
of such large numbers of people, yet such concentration of
control, that special attention must be given to the preser¬
vation and extension of democratic techniques. The purely
administrative complications can overwhelm the inexperienced
and incautious. It is well to give then exhaustive thought
and preparation in advance.
Above all, these larger activities afford an opportunity for
creative expression which in many of the, smaller groups it
is difficult or impossible to approximate. One of the most
serious criticisms directed against professional music tech-
niqp.es has been that they stifle creative expression in a
too meticulous "re-creation" of nasterworks. It is a curious
twist of language through which what we call "recreation" has
cone to emphasize creation where the art of music, which of
all the arts night be expected to do so, spends most of its
tine virtually in re-creation!
A1109
- 24- -
Much has hecn published upon the subject of this section,
so that no more detail need bo added here. 14/ 15/
Jackson, H. and Forsyth, C-.
The Amateur Producer's Guide. W. Paxton & Co., Ltd, Can be
obtained from Edward B, Marks Music Corporation, RCA Building,
Radio City, New York.
Jones, C. T. H. and Wilson, D. Musico-Dranatic Production.
Gamble Hinged Music Company, 228 South Wabash Avenue, Chicago, 111.
A110 9
- 25 -
CHAPTER IV. SUGGESTIONS FOR IN-SERVICE TRAINING
Consideration should bo given to the training requirements of
personnel engaged in recreation music activities and appropriate provi¬
sions made to meet suqh needs.
A. Selection and Training of Leaders For purposes 'of this
circular it is assumed that the, following aims may be agreed upon in such
a program:
1. Recreation.
(a) The recreation loader should attain a proficiency of
"excellence11 in the skills and techniques of at least
one type of recreation activity
(b) The recreation leader should be "good" in the skills
and techniques of at least tv/o or three typos of
recreation activitius .
(c) The recreation leader should have some knowledge of
the skills and techniques of many types of recreation
activities.
2. Music.
(a) The music worker should attain a proficiency of "ex¬
cellence" in at least one type of music activity
(performance, vocal or instrumental, conducting,
teaching, compositions, arranging, etc.)
(b) The music worker should have some knowledge of the
skills and techniques of many typos of music activity
(c) The music worker should have a thorough knowledge of
current music practice and literature.
3. In-servico Training In order that the personnel of each
Program at all levels of skill shall bocome acquainted with
the objectives, problems and methods of the other and shall
learn to work together, training conferences should, wherever
possible, arrange programs comprising:
(a) Training for the organization, stimulation and promotion
of recreation music activities. The axiom may bo taken:
the best training in leadership of an activity generally
comes through actual participation, under good supervision,
in the activity itself, rather than through mere analysis
111C9
- 26 -
of the materials with which the activity is Concerned.
If learning is considered as a process, then the primary-
essential of a training program in recreational music is
leadership of music activities in a recreation program.
While few recreation leaders, supervisors, or adminis¬
trators will have the technical education and maturity
in music necessary for independent, leadership of music
in its sophisticated forms, It is not too much to expect
that each may be fortified with at least some knowledge
of these skills as they function in the elementary approach
to music-making. Similarly, while few musicians will have
the technical education and maturity in recreation nec¬
essary for independent leadership of recreation music
activities upon a large scale, it is not too much to expect
that they shall have at least a thorough understanding of
the requirements and nature of true recreation leadership.
(h) Opportunities for recreation leaders to increa.se their own
music skill through speakers upon and demonstrations of
(1) Band and orchestra practice
(2) Choral and community singing
(3) fretted and other amateur•instruments
(4) Music appreciation, games and dances.
(c) Opportunities for music workers to increase their own skill
in recreation techniques, through lectures and demonstra¬
tions hy recreation experts of various kinds, but above
all by actual participation intone or more forms of
recreation, preferably one which forms a good complement
to the somewhat sedentary occupation of the musician-
such as swimming or other sports.
B. Conclusion In conclusion it must be remembered that while music
is usually regarded as one of the more highly specialized activities it is
not necessarily so. There is a legitimate musical activity for every social,
educational, economic and age level. In universality, music may be second
only to speech. It is, however, subdivided into many "musics", Hot into
as many musics as is speech into "languages", but still enough to prove the
falsity of the often heard'remark "music is the universal language". When
it comes to the sub-divisions (of idiom), it is a question whether the
r
musical "dialects" of various localities and of various income-levels are
A110 9
- 27 -
not.more mutually unintelligible to their possessors than are the various
dialects of speech. Thirty years ago, professional cant and modern
publicity gags had nearly persuaded America that music (meaning fine art
music) was an esoteric mystery, a concern purely of long-haired freaks
or of pretty girls whiling away time until marriage. Fortunately the
radio, sound-film and phonograph, the emergence of the-"blues" and of
modern swing, and the re-assertion of the good old manly arts of banjo,
'guitar and harmonica-playing, and of ballad-singing have corrected this
earlier trend, America is music-conscious as never before. 16/
There are, however, many people still under the shadow of the old
trend. Frequently it is fear of a no longer existing social criticism
that keeps a modest musical capacity from trying to make music. Perhaps
also, the individual who "never sings" has never gotten out of the old
shadow and never really tried, so that being unsure of words or tune, he
hesitates the more to venture. These are not tho easiest, yet not the
hardest problems the recreation music worker has to solve. Participation
in group work breaks down such resistances, as it does many other barriers,
both false and real.
The aim is not without reach in this generation; "Everyone singing
or playing n.n instrument, and many good at both, 11
— ".I ■ i i <i '■ r ■ - " ' ' - 1 ' —■
16/ Seeger, Charles, "Music in America." Magazine of Art, American
Federation of Arts, Washington, D, C. July 1938.,