DownBeat January 8, 1970 [antikvár]

Clarinetists and saxophonists who care about good music care about thc reed they use.'l'hat's why F^a Vo7, reeds aro in such deniand. I/aVozreedsarc fashioned from the highest grade cane available. And l^a Voz ages its cane from 3 ti 4 j cars before it even becomes a reed. The special La \'oz manufacturing process call.s for pre- cise craftsmanship and hand-grading to exact tolerances. We also inspect each La Voz reed many times to assure superior performance. With all that built-in (|ualiiy, shouldn't our reed be your reed.' 8484 San Fcnianilo Rtl., Sun Valley,Calif. 91352 THE PRIDE OF THE PROFESSIONALS: LA VOZ. a monograph regarding the holding of the flute by Walfrid Kujala Some good material has been available regarding proper techniques for holding the flute— but, as in any educational pursuit, there is always room for further study —further research-further reference. In this work, "The Flute: Position and Balance", Mr. Kujala has selected specific aspects on this subject that he felt needed greater emphasis. Music educators are welcome to add this brochure to their flute literature file—Copies are available through music dealers. fo assist the teacher to encourage the student tnilSltHOR By CHARLES SUBER 1969 WAS A HARD YEAR for music educators. 1970 will be harder. It has not been easy for many music educators to admit that anything is wrong with school music. It wiii be even more difficult to turn around and start doing right. The lid popped open at the Youth Music Institute in Madison last summer. The co-sponsor of that month-long inquiry into relevant music was the Music Educators National Conference. This august body is now writhing with self-criticism in an almost painful desire to shed its old dull skin. MENC President Wiley Housewright has stated in print that "Church choirs, marching bands, choruses, and orchestras do not fully satisfy the musical appetites of the young. Thousands of American youth want more . . , Young people's music can be held at bay outside the institutions of society as it largely is at present, or it can be recognized as a vital and welcome new regenerative force and invited to assume a respectable position in the American musical culture . . . (MENC) not only accepts rock and other present-day music as legitimate, but sanctions its use in education." (The last part of that statement about "sanctions its use" may seem at first reading somewhat officious, but you must know that educational administrations and the people who man them dutifully nod to official green lights.) There have been many voices crying "relevance" for years, and there have been many (but not enough) educators who have acted in the best interests of their students regardless of the short-sightedness of official policy. But now blood is showing through the hair shirt. Educators have been scurrying about crying "Chicken Little, the sky is falling". Now it is time to turn from breastbeating to action. That's why 1970 is going to be a hard, hard, year for most music educators. It's one thing to passionately vow to teach rock tomorrow morning, and another to know how to go about it. For everyone's sake, I will repeat some of the ways to go if you educators are serious about getting there. (1) Teach guitar beginning in grade four (a 10-year-old can apply the necessary 23 pounds of pressure on the frets). By including guitar in your program you are making a moral commitment to the young people, saying, in essence. "We hear you." (2) Learn what jazz is all about. You will be lost in rock—or any other "now" music —without knowing the blues, or improvisation, or a sense of moving time. (3) Learn what is available in the way of teaching and performance materials. Don't go to your approved list of methods and teaching aides for real assistance. (4) Attend jazz clinics and festivals. (See our directory beginning on page 16.) See, hear, and feel what's happening. (5) Go back to school (this could mean summer jazz courses, etc.) and catch up on what was so carefully omitted from your training. (6) Learn more, teach less. Use your own musical expertise and experience to best advantage by learning with your students. (7) Watch out for that "Toscanini complex". Avoid structuring your students Into styles and forms that best suit you. There are many other things. We'll be reminding you about them from time to time. 1970 could be a vintage year if the vines are carefully tended. @@ 4 ? DOWN BEAT