Date of Award
Master of Science (MS)
Max F. Dalby
Max F. Dalby
The opportunity to select and perform qualified musical literature on a graduate recital offers the individual music teacher a challenge that is commensurate with the duties of his profession. A major responsibility of the music educator is the selection, rehearsal, and performance of the best possible literature that will meet the educational aesthetic needs of his particular performing group. It could be said that one of the most potent factors in preserving and expanding the musical culture of our society is the part played in it by the music educator and his wisdom and choice that he displays with this obligation.
When the author began his recital preparation, little did he realize the amount of growth and progress that would have to take place before he would be able to schedule and perform a repertoire that would do justice to all concerned. To begin with, the writer had an insufficient realization of his own performance capabilities. During his undergraduate years he did not accomplish a high degree of artistry and facility in the performance medium either vocally or instrumentally. This, to be sure, was always deeply realized but justified inasmuch as the purpose of the music educator was to know a little about a vast and overwhelming area of performance demands.
Originally, the recital program outline included performance on two of three woodwind instruments. Shortly thereafter this writer changed employment and devoted his energies to vocal and choral music. As a result of this change he began a serious study of the voice with Professor Marie Puffer at Utah State University with hopes of obtaining a proficient degree of performing ability as a competent music educator and amateur orator and operatic performer.
During the summer of the 1964 the final recital draft was approved and called for the performance of alto saxophone literature, the singing of bass-baritone operatic, lieder, and the performance of an a Capella choir that is being directed by the author at Ogden High School.
Justification of a recital that includes more than one performing medium could prove to be arduous to the competent specialist. But the writer firmly believes that there are many close similarities that exist between the vocal and instrumental performing medium. Certainly the discipline that is required by the notation system is worthy in itself. Expression, nuance, and the aesthetic nature of instrumental and vocal music offer innumerable parallels of complimentary study. H.A. VanderCook has this to say about expression in music.
...When a group has been drilled by an instructor who has experienced understanding of the grammar of music and the factors governing playing with expression, it is readily discernible that the players are attempting to meet the teacher's ideals; that they are striving in every way to secure pleasing results and to do something besides merely sounding all the notes... The importance of playing in good style with proper expression is too often neglected by the teacher, as a natural consequence, by those studying under him...The authority Arban, in referring to playing with expression, writes: "This circumstance(accent and expression) affords the performer and opportunity to rest while he continues to play and enables him to introduce effective contrasts into the execution at the same times"
It is not enough for the music educator to be a fine performer on an instrument. To a certain extent these attributes are inborn, primitive and natural in the musician. The music educator must be an artist as well, with a sound theoretical and musical knowledge of the fundamental basis for his success. Artistic performance is the result of combining sensitive taste and feeling with the established musical knowledge and technical "know-how".
The importance of "musicality" is often underestimated by the teacher of music in the public schools. Often this is the result of negligence on the part of the director to explore the vast area of style and interpretation. Equally important is the lack of fundamental musicianship. Nothing is more essential to a potential music educator than well-rounded musicianship with a thorough background of style and interpretation.
Wooden, Ronald L., "Graduate Recital" (1965). All Graduate Plan B and other Reports. 575.
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