VOL. 1. No. 7. A MUSIC JOURNAL THE REPORT' THE OFFICIAL JOURNAL OF THE INCORPORATED SOCIETY OF MUSICIANS. 10 BERNERS ST W.1. CONTENTS. SOME MENACE OR OPPORTUNITY 141 PROBLEMS IN THE TEACHING OF SOLO SINGING I BY GEORGE DODDS COMPRISING & NOTICES PAGE MECHANISED MUSIC: A REPLY 143 146 SOLO PERFORMERS SECTION 146 MUSIC MISTRESSES SECTION 146 - 147 recomm EDITORIAL 'THE BULLETIN' THE OFFICIAL PP 1945hak APRIL, 1930 PUBLICATION OF THE . BRITISH MUSIC SOCIETY, 117-123 GT PORTLAND ST W.1. MUSIC AT OUNDLE - CONTENTS. A WEST CANADIAN FOLK DANCE FESTIVAL NEW MUSIC BRANCH NEWS PAGE 152 - 153 FORTHCOMING CONCERTS - 154 154 WEST AFRICAN FOLK MUSIC BY GLADYS M. C. HAYFORD 156 157 158

"ELIJAH" with ISOBEL BAILLIE, CLARA SERENA, PARRY JONES, HAROLD WILLIAMS, and the B.B.C. NATIONAL CHORUS, Conducted by STANFORD ROBINSON. II TH the ELIJAH " is HIS performance of one of the most dramatic and force- ful possible to imagine-the artists. having been specially selected for their association with widely-known respective parts. Soloists and chorus alike are truly magnificent, and the work, slightly abridged for recording, stands as one of the greatest of all gramophone triumphs. In Thirty Parts on Fifteen Records (Nos. D.B.49 to D.B.63-3s. each) with Booklet of Printed Words in ART ALBUM (Prlee 3s.) COMPLETE 48s. Columbia Records MAGIC NOTES TRADE MARK Columbia Chopin CONCERTO No. 2 in E minor for Piano and Orchestra Played by Ask your Dealer for this month's list of new Columbia free with complete catalogue of Columbia "New Process" Records, from COLUMBIA, 102-108 Clerk- enwell Road, London, E.C.1. MARGUERITE LONG (Piano) and Orchestre de la Société des Concerts du Conservatoire, Paris. Conducted by PHILLIPE GAUBERT 12-inch Double-sided, 6/6 each. LX4 Outstanding Records for April on- LX5 LX6 CONCERTO No. 2 in E minor for Piano and Orchestra (Chopin-Op. 21) Parts 1 and 2. First Movement Maestoso (Parts 1 and 2) Part 3. First Movement-Maestoso (Conclusion) Part 4. Second Movement Larghetto. (Part 1) Part 5. Second Movement-Larghetto (Conclusion) Part 6.-Third Movement-Allegro vivace (Part 1) LX7 Part 7.- Third Movement-Allegro vivace (Conclusion) MAZURKA (Chopin -Op. 59, No. 3.) Plano- forte Solo by Marguerite Long. Above Four Records are supplied complete in ART ALBUM- Price Complete £1 6 0. works of Chopin, overflowing with One of the really lovely melodies and runs, and inter- the most ravishingly preted with exquisite fecling by Mme. Long, whose first Columbia recording this is.

THE INCORPORATED SOCIETY OF MUSICIANS MUSIC JOURNAL "THE REPORT" VOLUME I. No. 7. A COMPRISING: THE BRITISH MUSIC SOCIETY On this there is ample room for honest differ- ence of opinion. Jowett declared that it was quite impossible to translate Plato into English with- out some loss of the original flavour and meaning "THE BULLETIN" THE REPORT THE OFFICIAL JOURNAL OF THE INCORPORATED SOCIETY OF MUSICIANS. All contributions, notices, and reports of meetings must reach the Society's offices, 19 Berners Street, London, W.1, on or before the 15th of the month. The Editor will be pleased to con- sider original articles, but cannot guarantee their insertion. APRIL, 1930. MENACE OR OPPORTUNITY MR. CHRISTOPHER STONE, as deputy for of the Greek. He essayed the task, but he would never claim that his translation was the real thing. But a remark of the late Arthur Clutton. Brock was quoted to the effect that the gramo- phone gives us "a new quality of music, a quality of fairy music, very lovely in its way, and with some advantages over the music of concert halls and drawing rooms." This restrained commendation may be deserved, but it leaves the gramophone in the position of a second best, giving us something which may be "lovely in its way," with some advantages mediocre originality of performance. over a Mr. Compton Mackenzie, delivered a provo- cative address at the Chester Conference, in which trumpets and drums sounded loudly in praise of "mechanised music" along with shrill pipings of reproach against professional musicians. The blending of tone was not of the best, and the address as a whole suffered some- what thereby. The speaker presented the familiar picture of the zealot who simply cannot under- stand or tolerate with patience his less fortunate fellows-as he regards them-who have not yet. shared the heavenly vision. At the outset he told his audience that he felt like an officer of the Tank Corps invited to address the members of the Cavalry Club on the subject of mechanised warfare. This was an unfortunate opening, since it implied that the up-to-date was about to speak to the out-of-dates, for competent authorities on warfare have expressed the opinion that in future wars there will be no place for cavalry. But no competent authority on music has yet expressed the view that the time is at hand when we can dispense with pianists, violinists, and all other members of orchestra. Moreover this opening was an example of question-begging, or assuming the truth of what the speaker was attempting prove, namely, that mechanised music is capable of being considered alongside the real and original thing. 141 It will be seen that between the musician and the gramophone or wireless expert there is a gulf which cannot be bridged. It is, in fact, the gulf between art and commerce. To say this is not to disparage either, but simply to remind ourselves of the difference. The activities of an artist may be governed at times by commercial or monetary considerations. But, broadly speak- ing, the true musician thinks first of his art, while the good man of business thinks first of his profits. Yet critics seek to admonish a body of musicians for failing to influence men of business. It is not quite clear as how this influence could have been brought to bear. One specific complaint is that while amateurs were toiling hard to help the public and the com- mercial people" to "concentrate upon the inherent divine spark-the life in mechanical music," the musical profession was letting things slide, ignoring things." Let us see how far it is justified. We read Esibipigie

April, 1930 A hinua Afri dm M Parade sin aldi be THE BULLETIN THE OFFICIAL ORGAN of THE BRITISH MUSIC SOCIETY (Founded in 1918 by Dr. A. Eaglefield Hull). Incorporated 1919. President: THE LORD HOWARD DE WALDEN. dessa omast SIR HUGH ALLEN, K.C.V.O., M.A., D.Mus. PROFESSOR GRANVILLE BANTOCK, M.A. SIR THOMAS BEECHAM, Bart. MAJOR-GENERAL SIR W. S. BRANCKER, K.C.B., A.F.C. ALBERT COATES, Esq. W. W. COBBETT, Esq., F.R.C.M. SIR FREDERICK COWEN, Mus. Doc. SIR WALFORD DAVIES, Mus.Doc., LL.D. MRS. VERNON DEAN, M.A. and ast FREDERICK DELIUS, Esq., C.H. MRS. JAMES DYER. SIR EDWARD ELCAR, O.M. REV. E. H. FELLOWES, Mus.Doc. SIR DAN GODFREY, Hon.R.A.M., L.R.A.M. Vice-Presidents: bit CECIL H. BATESON, Esq. ad or ban ADRIAN C. BOULT, Esq., M.A. GERALD M. COOPER, Esq. to bod EDWARD J. DENT, Esq., M.A. 23TO A MUSIC JOURNAL SIR HENRY HADOW, C.B.E., M.A., Hon.D.Mus., SIR HAMILTON HARTY. SIR WILLIAM MCCORMICK, M.A., LL.D. Full Membership: One Guinea per annum. J. B. MCEWEN, Esq., F.R.A.M. MRS. W. LEE MATHEWS. SIR S. ERNEST PALMER, Bart., F.R.C.M. SIR LANDON RONALD. Committee of Management: Chairman: SIR HUGH ALLEN, K.C.V.O., M.A., D.Mus. Vice-Chairman: W. W. A. ELKIN, Esq. 151 GRAHAM PEEL, Esq. DAME ETHEL SMYTH, D.B.E., Mus.Doc. SIR ARTHUR SOMERVELL, Mus. Doc. THE RT. REV. THE BISHOP OF OXFORD, D.D., G.B.E., Hon.D.Mus. PROFESSOR DONALD TOVEY, B.A., F.R.S.E. LADY MAUDE WARRENDER. SIR HENRY WOOD. COL. J. C. SOMERVILLE, LT.-COL. R. H. TATTON. FRANCIS TOYE, Esq. Miss KATHARINE EGGAR. MAJOR J. T. BAVIN. DR. S. H. NICHOLSON. W. RUSHWORTH, Esq. Hon. Treasurer: COL. J. C. SOMERVILLE, C.M.G., C.B.E. Secretary: W. H. KERRIDGE, Esq., M.A., Mus.Bac., A.R.C.M. Hon. Representative of London Centres: MRS. R. LUCAS. Hon. Representative of Northern Centres: W. R. FELL, Esq. Offices: 117-23 GREAT PORTLAND STREET, LONDON, W.1. Telephone: Langham 3021. F.R.S.L. C.M.G., C.B.E. there OBJECTS OF THE SOCIETY The British Music Society exists to promote of musical open and development of music in the British Isles and Empire, up a body opinion capable of and wherever the interests of music and music-lovers are at stake, and to spread the knowledge of British music of all periods at home and abroad. It encourages its members, wherever they may be situated, to work towards this end by cultivating every making kind of musical activity, and not least by and te among themselves, believing that thus the love and knowledge of music are chiefly. The Society is not intended to supplant or compete with any existing organisation; it desires rather to co-ordinate scattered musical activities for the prevention of waste and overlapping. It enrols not only practising musicians, professional and amateur, but all who are conscious of the importance of music as an element in national culture.

A MUSIC JOURNAL EDITORIAL LORD BALFOUR, the Patron of the British Music Society from its inauguration, was an amateur of music in the original sense of the word, and as such was endowed with qualities that made the bestowal of his patronage ideal. Untroubled by the vicissitudes and the rancour often incidental in professional musical life, he could regard music, even more than politics, with an enviable air of detachment. Himself a keen player, he would often turn to the piano for relief from public life, or would combine with friends in some form of concerted music. Yet this was not for him merely an aesthetic diversion. Music was so interwoven in the texture of his spiritual life that he contemplated making it the basis of his philosophic thought, thus-like Schopenhauer, though from a different aspect investing it with a metaphysical significance. He was the embodiment of the musical philosopher, and as such he lived and died. While he lay dying, two devoted friends from an adjoining room played to him. The of mus to the passing of so lofty a spirit must make a musician glad in his heart that music can per- form a service so sublime. THE Balance Sheet, enclosed with this number of the Bulletin, will be examined with interest. In connection with this, members are reminded that the Annual Meeting will be held at 4 p.m. on Wednesday, April 9th, at 117 Great Portland Street, W. * MISS GLADYS HAYFORD'S article on West African Folk Music will be read with unusual interest, as the writer is a native of the Fanti tribe and was born on the African Gold Coast in 1904. She spent three years at school. at Penrhos College, Colwyn Bay, in Wales, and on her return to Africa became a school teacher. in The Girls Vocational School, Sierra Leone. Some of her poetry has been published in America, and she is the author of several plays. with a West African setting, in which she has introduced native music. She has written, specially for the Bulletin, two articles in pictur- esque English, the first of which appears in this number. MECHANISED, as distinguished from mechan- ical, music has been much discussed of late. Readers will therefore be glad to know of a privilege now offered to members of the B.M.S. and the I.S.M. by Mr. Stone, the London Editor of The Gramophone, which is the official organ of the National Gramophonic Society, founded in 1925 by Mr. Compton Mackenzie. Mr. Stone offers to supply the B.M.S. with any of the N.G.S. records for distribution to members. of either Society at 4/- each instead of 6/-, i.e., any recognised member will be entitled to 334 per cent. discount. A charge for packing and postage will be necessary, and will work out at about 6d. a record, with a minimum of 2/- for anything up to eight records. Members who wish to avail themselves of this offer should write to the B.M.S., or to Mr. Christopher Stone, National Gramophonic Society, 10a Soho Square, London, W.C.2, from whom a catalogue of available records may be obtained. April, 1930 * THE Cecil Sharp House is approaching com- pletion and will be open in May or June. But it may be an empty house, unless adequate contribution is made to the special Furnishing Fund that has been recently formed. To equip the Cecil Sharp House with complete fittings and furniture will require nearly £3,000. Of this sum £800 has already been collected; other promises amount to £600, and therefore another £1,000 must be raised to enable the Furnishing Com- mittee to make the necessary purchases. A B.M.S. member who should take no interest what- ever in English Folk Music, or who could remain unthrilled at the thought of Cecil Sharp's devoted service in unearthing our native musical treasures, would surely be an anomaly. The B.M.S. Committee therefore would stimulate the imagination of its members, in the hope that they will respond to the appeal lately issued by Mrs. Kennedy, hon. secretary of the Cecil Sharp Furnishing Fund, at 107 Great Russell Street, W.C.1. W.II.K. 152 GRAMOPHONE NOTES and Constant Lambert's brilliant Rio Grande for chorus, orchestra and solo piano is certain to have a ready sale. It has been recorded on two discs (L. 2373-4) from a performance in the Central Hall), Westminster, with the Hallé Orchestra, Sir Hamilton Harty as solo pianist St. Michael's Singers, the composer con- ducting. The vigorous opening on the piano, with the novel banjo and castanet effect, immediately arrests the attention. Part with violin. phantasy and the piano leads up to the chorus, which reaches its climax in Part 3. Xylophone and castanets give a sparkle to the rich score, and in Part 4 the tender vocal solo, following the arpeggio passages in the piano, imparts the final character to this exciting work. Further notes, held over owing to pressure on our space, will appear next month.

April, 1930 AVTOMUSIC AT OUNDLE Teay MEN who labour in the cause of music have diverse activities. Some are in a perpetual blaze of light, performing to people who come of their own accord to a concert to hear a celebrated artist. Others, whether composers or writers, work in seclusion from the public gaze, often. exerting unseen an influence on the musical world in which they live. There are yet others of whose creative work even the musical world knows but little, and not even that little from a first-hand. acquaintance. Indeed, much musical activity of incalculable value is fostered in spheres so self- contained that only privileged members of the outer world can have any idea of the intensity of the life within. Such a sphere is Oundle. It is no reflection on the admirable work done in many of our public schools to say that in one characteristic Oundle School is pre-eminent and unique. It is the one public school in this country -perhaps in the world where all the boys can take their part in a choral work of such dimen- sions as the Bach Mass, Christmas Oratorio, and Cantatas. Only those who, as boys or masters, have had actual experience of life in an English Public School can have any idea of the magnitude and significance of such an achievement. Mr. Clement M. Spurling, the Director of Music at Oundle, was destined to perform the miracle of making music such an integral part of school life as to rival even sport in its encourage- ment of the "team-spirit." Soon after he went to Oundle in 1891 he started the whole school sing- ing, and insisted that every boy should take part in the chapel services, whether he thought he had a voice or not; in fact, Mr. Spurling never recognised such a thing as a boy without a voice. The singing of the whole school has been a gradual, steady. growth, with the result that nearly three hundred boys can now take part in the big choral per- formances. It was in 1921 that the whole school performed Handel's Messiah; this was so success- ful that in 1922 Mr. Spurling determined to attempt the B minor Mass. No one who has not attended a school per- formance at Oundel can form any idea of the electrifying effect of a whole school of sturdy youth singing, with perfect attack and intonation, an intricate contrapuntal chorus by Bach; or the tremendous force of a unison passage sung by young people who are not ashamed to put every ounce of energy into what they are singing. One has the conviction that here is the "team spirit," the crowning glory of English school life, raised as it were to the plane of a spiritual contest. How these lads delight in putting an imaginary enemy to flight, or in routing the devil himself in "Ein fest' Burg!" A MUSIC JOURNAL one or two house-masters which of the many works that had been performed they thought the boys liked best. Voting was not taken in all twelve houses, but several masters offered to "sound" the boys in an unofficial way. B minor Mass was first favourite; next Christmas Oratorio; next the several Bach Cantatas already performed; and last on the list-Messiah! In the Headmaster Mr. Spurling has a staunch and quite remarkable ally without whom he would be powerless. Mr. Spurling could do noth- ing on a large scale if the chief authority were obstructive or even luke-warm. Instead, at the Sunday full rehearsals whole choir and orchestra the Headmaster enters the Hall, when all is ready, in ceremonial style, and remains in his chair of state throughout the rehearsal. Giving official support in this way, the Headmaster creates the right atmosphere and makes an un- forgettable impression. Oundle boys carry on the tradition when they leave school. One of these, now research- worker in physics, plays violin, viola, clarinet and piano; organises a University holiday music camp; and himself conducts an annual perform- ance of the Bach Mass in London with a choir and orchestra of his own formation! With forty years of such creative work behind him, there can be no more happily conscious of having served his country well than Mr. Clement Spurling. LETTER TO THE EDITOR Dear Sir, It occurs to me that readers of your Journal would be interested to know that an attempt is being made to strengthen still further the Orchestra of The Working Men's College, Crowndale Road, N.W.1. With this end in view, the Committee have been very fortunate in procuring the services of that very able musician, Charles Hambourg, in the capacity of conductor. There are vacancies for all classes of players, i.e., violins, violas, 'cellos, etc., including wind and brass instruments. Practices are held weekly on Friday evening commencing at 8 p.m. An interesting study in appreciation was made a short time ago. Mr. Spurling happened to ask 153 A very hearty welcome will be extended to all newcomers, and I shall be most happy to forward further particulars to anyone who will write to me at the College. C. H. FISH, Hon. Secretary, Working Men's College Musical Society, Crowndale Road, St. Pancras, N.W.1.

A MUSIC JOURNAL GREAT WEST CANADIAN FOLKDANCE THE two previous Festivals, held recently at Winnipeg and Regina, illustrating the wealth of folkdance, folksong, and handicraft, brought. to Western Canada by the various racial groups which are now being happily amalgamated into the Canadian nation, proved so popular that at the request of the Premier of Alberta, the Canadian Pacific Railway staged another such Festival in Calgary from March 19th to 22nd, 1930, using the experience of the previous Festivals to select from the vast amount of talent available those songs and dances which may be considered typical in each group. In the case of the handi- crafts, the Alberta Branch of the Canadian Handicrafts Guild, with headquarters at Edmon- ton, had kindly consented to co-operate, and with the assistance of representative local committee at Calgary, it displayed a comprehensive exhibit of the handicrafts still practised in Western Canada. This exhibit was arranged at the Hotel Palliser, Calgary, which formed the centre of the Festival. The folkdancers and folksingers comprised not only the more recent New Canadians of Continental European origin, but also the earlier settlers the French Canadians and those coming 211 251- HALL SOME FORTHCOMING CONCERTS GROTRIAN Name. Apl.Day. Time. 5 Sat. 3-15 Jessie Lyall 6 Sun. 3-15 Lily West ... 8 Tues. 8-15 Irene Shilbeck .. 9. Wed. 8-15 Margaret Albu 24 Thur. 8-30 Doris Weymark 30 Wed. 8-15 Marion Kirby May. 44 2 Fri. 8-30 Grande and Busche.. 5 Mon. 8-15 Jessie Peake 6 Tues. 8-30 Hugh Campbell.. 7 Wed. 8-30 Harry Field OT .. Apl.Day. Time. 7 Mon. 8-15 London Symph. Orch. 15 Tues. 8-15 B.B.C. Symph. Orch. 18 Fri. 7-30 B.B.C. Symph. Orch. Performance. Pianof'rte Recital. Pianof'rte Recital. Dramatic Recital, Pianof'rte Recital. Song Recital. Negro Spirituals. QUEEN'S HALL Name. Sonata Recital. Recital. Song Recital. Pianof'rte Recital. Apl.Day. Time.. Name. 8 Tues. 8-15 Guild of Singers and Players... .. 9 Wed. 8-15 Guild of Singers and Mon Players... Performance. Orch'tral Concert. Orch'tral Concert. Orch'tral Concert. WIGMORE HALL Performance.. from the British Isles-the English, Scotch, Irish. and Welsh. Some of the old-time square dances were presented by the Southern Alberta Old- Timers Association. A delegation of French Canadians from St. Paul de Metis also gave a demonstration of Red River Jigs which delighted the heart not only of those who remember the early days of the West, but also the new- comers. There was indeed a most wonderful variety of dances-Swedish, Polish, Italian, Hungarian, Scotch, Irish, Ukrainian, Russian, Czecho-Slovak, etc.-dances of the countryside with traditional music, steps and figures which in many cases are centuries old and yet are still as fresh and delightful as if they had been invented. in our own day. Chamber Concert. Chamber Concert. April, 1930 FESTIVAL With these dances, of course, go costumes, and thus the eye was entranced with the colour and charm of gay dresses designed and made by the country folk of many countries and generations. The main idea of this Great West festival was to help Canadians to realise the priceless heritag which they possess in the traditional melodies. which have been brought to their country by immigrants, and in some cases have been com- posed in Canada by early settlers. orte 10 Thur. 3-0 Michael Zacharewitsch 10 Thur. 8-15 Isolde Menges and Harold Samuel 12 Sat. 3-0 15 Tues. 8-30 23 Wed. 8-30 26 Sat. 3-0 30 Wed. 3-0 30 Wed. 8-30 .. Smeterlin Dorothy Helmrich Fagnoli and Solomon dit ond Dorothy Gordon Maragliano Mori Evelyn Monro May, los 2 Fri, 8-30 Mercia Stotesbury 3 Sat. 3-0 Isolde Menges... 5 Mon. 8-30 Fanny Davies .. 6 Tues. 8-30 Hilda Bor 7 Wed. 8-30 Marga Stella .. 10 Thur. 8-30 Herbert Heyner 14 Mon. 8-30 Marjorie Perkins 28 Mon. 8-30 Horace Somerville. 29 Tues. 8-15 London Concert Orch. 30 Wed. 8-15 Ivy Herbert *** 154 AEOLIAN HALL Apl. Day. Time. Name. 8 Tues. 8-15 The Bayan Singers Wed. 8-0 Madame Darney. 9 .. Violin Recital. Violin and Piano- forte Recital. Pianofrte Recital. Song Recital. Violin and Piano- forte Recital. Pianof'rte Recital. Song Recital. Pianof'rte Recital, .. Violin Recital. Violin Recital. Pianof'rte Recital. Pianof'rte Recital. Song Recital. Performance. Choral Concert. Pupils' Concert. Song Recital. Song Recital. Pianof'rte Recital. Orch'tral Concert. Pianof'rte Recital.

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A MUSIC JOURNAL WEST AFRICAN FOLK MUSIC By GLADYS MARY CASELEY HAYFORD CHOOSING the title of an article, and writing within the limits of its sphere is by no means an easy accomplishment, especially with a title such as the above. The difficulty lies in the fact that the title immediately presents to the mind an inseparable trinity of ideas; that of music, dancing, and poetry. Although in civilised communities these three arts are shut off into three distinct com- partments, in primitive peoples they are expressed by one complete gesture. The three processes are thought of almost simultaneously and are created together. West African art has not been standardised, and only a little of it has found its way into print, so that the reader will realise that all writing on these subjects must necessarily take the form of research, and as such must inevitably. lack the finish of a thesis on a subject which has already been exhausted by writers of the last decade. As an introduction to a further article dealing with each subject separately, we will examine the broad principles underlying folk music, poetry, and dancing. The voice is the oldest musical instrument in existence; all African music has its foundation in the song. African songs have no introduction and seldom a cadence. They depend on rhythm- and syncopation rather than melody; yet, when a melody occurs, technically it conforms to standard rules. April, 1930 interest from the audience. If they can anticipate the climax they invariably join in. This brings us to the lyric which is the reason for the song. We will take the following as an example. It is the pattern or song-form used; not. an actual song in existence, but it will serve to illustrate certain points. A sings: "I met a leopard." Audience: "Did you?" A: "Yes, I met a leopard." Audience: "Did you?" Both: "Ho, ho, the leopard " What is the natural sequence? Every bush man will tell you that the safest procedure is to stand still and look at it; after which (unless) it is desperately hungry) intimidated moment- arily, the leopard will slink off only to return again with danger in every move of its supple, graceful, tawny body. The second verse evolves itself quite naturally and simply :- A: "I looked at it." Audience: "Did you?" A: "It looked at me." Audience: "Did it?" A: "It turned. It ran! (so did I)." Audience: "Did you?" Both: "Ho, ho, the leopard!" Notice the repetition of the first phrase in lines. A and C; B and D form the answering theme. An examination of the fifth line of the second verse shows the additional words which were added as an afterthought or explanatory clause. Such clauses make no difference to the melody except to alter the rhythm. Let us suppose the "ran" in the fifth line is sung to a minim, the singer would split it up into dotted quavers and keep on the same note to get in the clause. The worth of a song depends on its popularity. If it is sung a sufficient number of times to justify its existence, then it is named, christened as it were. The title usually consists of the most pleasing or strongest phrase in the poem. "Ho, ho, the leopard!" is now copyrighted and every- body in the village sings it. Any one who cares can add a few more verses, or enlarge the number of feet to each line-stretching even to the extent of twelve feet in place of the original two, by splitting up the notes into semiquavers and dotted quavers. The words and the melody already suggest a mental picture with faint outlines. To make them bolder, and the colouring more vivid, the narrator uses his body to accentuate his meaning. This brings us to dancing. He swings forward a few bold steps, giving the impression of a fearless young warrior. At the word leopard" in line (Continued on page 157) The time signature changes frequently within a few bars. A melody seldom begins on the tonic or dominant because the singer usually starts his song on whatever note he happens to pitch in the excitement of the moment, hence it is quite a frequent occurrance to hunt through a melody and establish its key half way through it. The singer changes key without reference to bars or accented beats: the liquid vowels and gutteral diphthongs which occur in the African dialects produce a slurring of semitones which can only be played on a violin; so that it is no easy matter to discover exactly where the change of key takes place. The West African songs end sometimes on the minor seventh chord. This gives an unfinished effect which is rather peculiar. Very few melodies contain more than Courteen bars of music. Out of these the second four are usually the repetition or sequence of the leading phrase. The third four bars form the answering phrase and the last four are merely a recurrence of the first introductory phrase. All songs take the form of a solo and chorus. The origin of the chorus can be traced to the shouts of approval or gutteral exclamations of 156

April, 1930 NEW Messrs. Joseph Williams have published Three Pieces, by Gordon Jacob. Pianists who have heard some of this young composer's larger works might be surprised at the relative simplicity of these miniatures. The harmonic texture is quite transparent, they are easy to play. and charming to hear. Two picturesque songs, by Granville Bantock, Elfin Lover and The Yellow- Hammer's Songs, are in this edition. The Hullah Brown-Spencer Dyke Violin Method, with a com- panion, Children's Violin Book, is based on a new method, the first-finger-foundation tetra- chordal system. The larger book is liberally supplied with excellent illustrations of the fingers on the strings, and helpful diagrams showing the principles of bowing. The three parts of the book are entitled: Left-hand Technique, Bowing Technique and Style. The price of the book is only 4/- and is well worth the money. The smaller book (2/6) is suitable for quite little children. Each piece is headed with a verse and a picture, and there is a charming morsel for four violins on a rhythmic basis, with words to sing at will. Messrs. Williams are also publishing a new series of Duetti da Camera (Italian Chamber Duets) by various masters of the seventeenth and eighteenth centuries, edited and arranged by J. A. Fuller Maitland. Book I consists of six duets for equal voices; Book II of a like number for unequal voices. These twelve duets are drawn from the works of Handel, Scarlatti, Stradella, WEST AFRICAN FOLK MUSIC (Continued from page 156) one, a quick transformation takes place. His whole body vibrates to the danger of the situa- tion. He quakes with terror and uncertainty. At "I looked at it," first line of second verse, one notices the fear gradually giving place to the determination to dominate. The second time he repeats it, self-preservation and the courage it evokes make him draw himself up, and force him to stare his foe out of countenance. At "It turned" the dancer turns round slowly. ran," will be expressed by a bounding spring followed by swift running steps round the open space. Thus the Leopard Dance comes into being. The audience gets equally excited. They either clap or beat time on anything available. They follow every move of the dancer. This orms the bedrock of native orchestration. MUSIC and the lesser-known Anfossi, Clari and Steffani, The price of each book is 3/- and the editorial remarks are both entertaining and instructive. Sir Granville Bantock is responsible for a wholly delightful series of Unison Songs for Children's Voices, arranged with easy piano accompaniments. The twelve songs in Series 5 are all Scottish tunes universally known. A feature of this edition is the Tonic Sol-fa version, not only of the tunes themselves but also of the melody (given in italics) in the introductory mentally prepare for their entry. piano accompaniment. Thus the children may The Winthrop Rogers Edition of Choral Music. includes a Male Voice Section, which should be watched with interest. Recent additions are Down among the Dead Men (T.B.B.), arranged by Ivor R. Davies, The Miller and the Maid (T.T.B.B.), Joan to the Maypole (S.A.T.B.) and With Jockey to the Fair (S.A.T.B.), arranged by Gordon Jacob; there is also music for treble voices, and mixed choirs, by E. C. Bairstow, Ivor Davies, Bernard Naylor, Alec Rowley, Martin Shaw and Peter Warlock, as well as by such varied foreign composers as Scarlatti, Schumann, Wagner and Moussorgsky. Choral Societies in search of new and inexpensive music-the average price being fourpence-would be well advised to write for a catalogue to Messrs. Hawkes, Denman Street, W.1, who are also bringing out a series of pieces. by classical composers arranged for String Orchestra by Charles Woodhouse. A MUSIC JOURNAL bare toes and drawing the foot after it similar to the progress of a caterpillar. Double somer- saults are turned sideways. The neck appears to have no connection at all with the spinal column; it is made to describe almost a perfect circle. In all arm movements, the palms of the hands face the ground. Several more movements could be described, but these indicate sufficiently the basic difference which characterises the African dances. Many European instruments are represented in African orchestration, though certain instruments are used in different tribes. Side drum, kettle drum, and big drum are used, besides others of varying shapes and sizes. In some cases drum sticks are provided, in others the surface of the drum is struck by the open palms of the hands. The violin, 'cello, trumpet and piano as well as bugle are used. The fundamental differences between African dances and Aryan are as follows. The heel of the foot is used first, followed by the ball and toe. Balancing entirely on the heels and moving backwards is another step; also using the right side of the foot involving bending the ankle, and progression by gripping the ground with the 157 European culture is penetrating fast into the Protectorate of West Africa; unless a definite effort is made to retain in some degree the art music and folk lore of the West African it will be swept entirely out of existence, and the world will thus lose a contribution of rare and peculiar beauty. (To be be continued).

A MUSIC JOURNAL BRANCH NEWS Reports and contributions should reach the Editor, Mr. W. H. Kerridge, at the B.M.S. office by the 15th of the month. Belfast An extra meeting of the Branch, on February 1st, was well attended. The programme was given by members and friends, and marked a new departure in the activities of the branch in that it included some community singing. It was also notable for the fact that it introduced a new octet, the Windsor Singers. They were conducted by Judge Thompson, the Recorder of Belfast, who was also the composer of one of the part- songs which they sang. These singers, amateurs in the best sense of the word, obviously found great enjoyment in their work, and gave great pleasure to their listeners. Their first group included Gibbons' The Silver Swan, Arne's very poignant setting of Come Away, Death (arranged by Geoffrey Shaw), Traver's canzonet, Haste, My Nanette, sung by Mrs. Martin and Mr. Holmes, and Like to the Falling of a Star, set to a ishill tune. The second group gave modern songs by Parry, Bantock, Wood, Sullivan, and Judge Thompson's The Bells of Shandon, an appropriately simple and musicianly setting of the well-known poem. Mr. Geoffrey Garrod sang Hullabaloo-Balay, Fyre Down Below, Mr. John Blunt, and John Brown's Body, an ideal choice for community singing. Mr. Garrod, too, was an ideal leader. Two enjoyable piano and violin sonatas by Beethoven (the Kreutzer) and César Franck were also played by Mr. J. H. MacBratney and Mr. George Vincent. The meeting at which Miss Lilias Mackinnon gave a lecture on Musical Memory was hardly. so well attended as the importance of the subject warranted. Miss Mackinnon emphasised the necessity of memorising music, and dealt with the question. of nervousness. Judge Thompson, the Recorder of Belfast, presided. N.F. Blackheath On March 11th Helen Gaskell (oboe) and the Griller String Quartet (Sydney Griller, Jack O'Brian, Philip Burton and Colin Hampton) visited the Centre. This is a very fine quartet and there was some exceptionally sensitive and beautiful playing from them and from Miss Garkell. April, 1930 The programme consisted of Mozart's oboe quartet in F major, Schubert's String quartet in A minor, Opus 29, and Arnold Bax's Oboe quintet. The next meeting will be held on Monday, April 7th, at the Blackheath Chambers, when Thelma Reiss-Smith will give a violoncello recital, assisted by Joan Black (pianoforte) and Joan Coxon (soprano). Bournemouth The February meeting of the Bournemouth Centre took the form of concert by the Phil- harmonic String Quartet (Miss Bessie Rawlins, Miss Phyllis McDonald, Miss Mary Gladden, and Miss Nolins Lemins). The quartets chosen were: Haydn, Op. 74, No. 3; Arnold Bax, No. 2; and Beethoven, Op. 18, No. 5. The Bax was a first Bournemouth performance so far as concerned and, though a difficult work to assimi- late on a first hearing, was of great interest and proved characteristic of this composer. was Mrs. Percy Dixon was in the chair for the business part of the meeting. It was unanimously resolved to send a letter to the proper authorities expressing certain views of the Centre with regard to the policy obtaining at the Bournemouth Pavilion. H.A.D. East Grinstead A song recital was given on February 26th by Mr. Sinclair Logan. He sang an Air from the Bach Cantata 187 and three groups of songs of these the first were Old English, the second German Lieder by Brahms, Strauss, and Holländer, and the third songs by Parry, Sulli- van, Quilter, Warlock, and Vaughan Williams. Mr. Sinclair Logan has a singularly sym- pathetic voice and his finished and artistic gave his largest the Centre has had this season. Miss Elizabeth Turner was a very capable accom- panist throughout. A.K. Isle Man Music Society On March 5th Claud Biggs gave a pianoforte recital before the members of the Isle of Man Music Society at St. Andrew's Hall, Douglas. His programme commenced with Prestissimo in A (Scarlatti). But his best numbers were Chro- matic Fantasia and Fugue (Bach); the Prelude and Fugue in C major (from Book II of The Well-Tempered Clavier) (Bach); and Sonata in G Major (Mozart). Couperin, Handel, Schu- 158 Glendale School Branch. On January 30th, a Piano and Vocal recital, arranged by Mr. Clement Bishop and friends, was given to a crowded and, as usual, enthusiastic audience of young school people. On February 26th Mr. Geoffrey Shaw visited the School Branch at Glendale School and talked on Some Great Tunes. E.M.R.

April, 1930 mann, Chopin and Brahms were all represented on the programme. It was an excellent recital, and the audience were most enthusiastic in their applause. 01516 Liverpool On February 6th the Liverpool Centre was visited by Gaspar Cassado, the famous 'cellist, assisted by Giulietta von Mendelssohn-Gordigiani at the Pianoforte. The evening was one of intense enjoyment, the programme including Sonatas by Beethoven and Debussy and works of Boccherini, Granados and Blas Laserna. On February 20th members had the opportunity of hearing a recital by the Dorian Trio, a group of artists who have done much to further the art of music in Wales under Sir Walford Davies. They gave an interesting programme, including trios by Roussel, John Ireland and Brahms. London Contemporary Music Centre Mr. Franz Osborn gave a pianoforte recital on February 18th, his interesting programme, apart from three movements from Stravinsky's Petrouchka, consisting exclusively of modern German music. The examples chosen were :- Reihe kleiner Klavierstücke (Hindemith), Sechs Klavierstücke (Heinz Tiessen), Sonatine (Karol Rathaus), and the Presto from Sonata Op. 10 (Berthold Goldschmid). Mr. Osborn's audience was unfortunately small, there being so many. counter-attractions in the concert world that evening. Mr. Edwin Evans created an attractive pre- cedent by the lecture on Contemporary Music which he gave on March 11th. The lecture attracted a good audience, and at the close of Mr. Evans' comprehensive survey several mem- bers, on his invitation, asked a number of inter- esting questions. Mr. Frank Merrick, in the absence of the secretary who was lecturing that evening at the Bradford Centre, introduced the lecturer, and extended a welcome to members of the I.S.M. who were present, the lecture marking the first occasion when members of the joint Society had been invited to attend a C.M.C. event. It is hoped that a lecture on the year's contribution to contemporary music may become an annual feature in the Centre's programme, and that other opportunities may occur when members of the I.S.M. may meet members of the B.M.S. ogist Manchester Central High School for Girls It was a great pleasure for the members of this branch to welcome Mr. Frederick Dawson when he came on Thursday, February 13th, 1930, to give a pianoforte recital. His varied and interesting programme illustrated different styles and forms of music written for the pianoforte, and included Pastorale and Prestissimo Scarlatti; Gigue, Graun; Sonata Op. 57, The Appassionata, A MUSIC JOURNAL Beethoven; From the Distance; Toccata, Schu- mann; Nocturne in F#; Etudes in Gb, Nos. 25 and 10; Valse in C# minor, Chopin; Labyrinth, Water Pearls and Good night to Flamboro, William Baines; a scale study by Arensky and La Campanella, Liszt. 159 Mr. Dawson's playing charmed and delighted the audience, who thoroughly enjoyed the whole recital. They expressed their appreciation of the privilege of having so eminent a musician to play for them in their own school. Muswell Hill The third Informal Evening of the season was held on February 14th, when a programme was arranged by the Metropolitan Academy of Music. As was only to be expected, the M.A.M. was able to provide most attractive and varied fare. Miss Marjorie Philip, L.R.A.M., Miss Nancy Powell and Miss Margaret Russell, sang songs by Dunhill, Purcell, Giordani and Donald Ford (Mr. Ford, it may here be mentioned, co-operated with Mr. Reginald Paul as joint accompanist). Miss Cecile Friend played violin olos: Hoch- stein's arrangement of Waltz in A, by Brahms, and Kreisler's still popular Liebesfreud. Songs by Coleridge Taylor, Peter Warlock and Michael Head were contributed by Mr. Bertram Davis, and in common with the rest of the programme -very thankfully received. In addition, two members of the Muswell Hill Centre assisted with the programme, Miss Elsie Hart (soprano) and Mr. Gilbert Hart, L.R.A.M. (pianoforte), giving items by Parry, Chopin and Debussy, thus rounding off an evening of infinite variety. Newcastle-on-Tyne Throat trouble prevented Mr. Clive Carey from being at his best, vocally, at the recital he gave to members of the Centre in February. But the large audience in the King's Hall of Armstrong College was thereby enabled to realise more fully how the true artist can sur- mount difficulties by powers of imagination, knowledge, and skill at his job. Fresh from a throat specialist, Mr. Carey delighted by his treatment of a number of songs by Hahn, Fauré, Duparc, Ravel, and Debussy, besides Breton and English folk songs. Madame Annie Eckford at the piano was not a mere accompanist but a real collaborator in items in which the distinction was important and welcome. E.C. Palmers Green and District Owing to the regretted illness of Mr. Clement Bishop, the Concert to be provided by the Glen- dale School Branch could not take place on March 4th. However, the members of the Palmers Green Branch instead had the unique opportunity of hearing Miss Gertrude Pepper-

A MUSIC JOURNAL corn, who most generously gave them a Piano- forte Recital. Of Miss Peppercorn's delightful art it is not necessary to speak. Her programme included:- Variations in C minor (Beethoven), Les Roseaux and Les Maillotins (Couperin), Sonata in A minor (Schubert), and Sir Etudes (Chopin). A full attendance of members showed their interest and appreciation. E.M.R. Plymouth At the annual meeting of Plymouth Centre of the British Music Society at the Clubroom, Messrs. Goodbody's Café, Bedford Street, on February 15th, the president (Mrs. R. H. Wagner) presiding, officers elected were: president, Mrs. R. H. Wagner; chairman, Mr. R. Gill Monk; local representative, Mr. W. P. Weekes; hon. treasurer, Miss A. Andrews; hon. secretary, Mr. G. Sawdy; hon. auditor, Mr. C. H. Asplin. The president asked all those present to endeavour to enrol at least one new member each during the present year. She wished to thank the Press for the splendid support they had given the centre generally, and the festival in particular. A vote of thanks to the president, on the motion of Mr. David Parkes, was carried. The following committee was elected: Misses Asplin, Blight, Dyke, G. Hannaford, Lang, Miners, and J. Pawley, Messrs. Evans and Nelder, and a representative of the Philharmonic Male Choir. Attracted by the prospect of hearing the winning artists at the recent British Music Festival, large audiences attended Saturday's Corporation concerts in the Plymouth Guildhall. The arrangements were made by Mr. H. Moreton (city organist), with the assistance of Mr. George Sawdy (hon. secretary, British Music Society). Entirely different programmes were submitted in the afternoon and evening, to which six choirs and thirty-two solo performers contributed. The high standard maintained throughout drew appreciative applause from the audience. A most enjoyable evening was spent on Feb- ruary 15th by the members who were the guests of the president. A delightful farce, Postal Orders, was played by Miss Goodance's Comedy Company. This was thoroughly appreciated by the large audience which must have numbered quite 100. Miss Marjorie Asplin sang some songs most beautifully; she is a great artist. Mrs. Akaster gave very great pleasure with her violin solos which were most tastefully played. The Apollo male quartet with their good blended voices gave great enjoyment to the audience. A small orchestra managed to give much pleasure by their playing of various pieces. April, 1930 Southampton Delightful informality characterised the meeting of the British Music Society, held in Messrs. Murdoch's Music Saloon, Above Bar, Southamp- ton, on Tuesday, March 4th, when a goodly gathering of members indulged in a social and musical evening. The guest of honour was Dr. E. H. Stancomb, who, it may be mentioned, has signified his interest in the Society by becoming a member. In the unavoidable absence of C. J. Sharp, Esq., J.P., Mr. T. Faulkner presided. Dr. Stancomb, after an introduction by the chairman, delighted those present with a brief account of his past associations in the musical world. An excellent musical programme then followed in which all present participated, contributions being made of vocal and instrumental solos and duets, readings, etc., the whole combining to make up a very attractive display of musical effort. PLANS FOR THE YEAR. The latter part of the evening was devoted to the consideration of ideas and schemes submitted by members, with the object of formulating definite plans for the ensuing year. Special attention was directed towards the possibility of organising something in the nature of an outing to take place during the coming summer. The prospects of a successful year are abund- antly evident, new members are enrolling, and with the inclusion of such personalities as Dr. Stancomb, who will doubtless exert an exhilarat- ing influence, the Southampton Branch should entertain no qualms for the future. Particulars of membership and all information will gladly be given by either of the joint honorary secretaries, viz., Mr. G. C. Reay Hartnell, 13 Westridge Road, Southampton; or Mr. T. Faulkner, 1 Arthur Road, Southampton. Torquay Each month the audience at the meetings of the British Music Society seems to contain new faces, from which one may judge that the membership is on the increase. There was a large attendance on Tuesday, February 11th, when Mr. E. W. Goss gave an informal talk, with illustrations by Miss Caroline Ashman and Miss Mary Sermon, on three French composers, Gounod, Saint Saëns and César Franck. Miss Sermon gave a very effective rendering of the first and last movements of the Sonata in A for violin and piano. A vote of thanks to the lecturer and the per- formers was proposed by Mr. Burt-Smith.