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Ninety Children in N. Y, School
Enthused About Group Piano Lessons
Ninety children in New York City's
Public School 119 learned to play the
piano this spring. At least, they learned
what a piano is, because many of them
had never seen one.
This group-teaching project was start-
ed by Mrs. Othella Johnson, a teacher
in P. S. 119, who had seen Dr. Raymond
Burrows, professor of education at
Teachers College, Columbia University,
conduct a piano workshop in Phoenix.
Ariz., in 1948. She was so impressed
by Dr. Burrows' ideas about teaching
the piano in the classroom that when
she came to the underprivileged neigh-
borhood in which P. S. 119 is located,
she knew she had found the place where
piano lessons were badly needed. She
saw that there isn't much music and
music appreciation in the lives of the
children there.
After her principal, Mrs. Gertrude E.
Ayer, and the school superintendent
gave their approval, Mrs. Johnson ap-
proached Dr. Burrows about the proj-
ect. Four of the graduate students in
one of his classes at Teachers College
were so enthusiastic that they volun-
teered to teach the youngsters.
There are about a thousand children
in the eight grades at P. S. 119. Only
those from grades three to five were in-
cluded in this spring's classes. Of sev-
eral hundred children in these grades,
ninety clamored for piano sessions after
a successful demonstration in an as-
sembly.
Twelve Classes Formed
Twelve classes were formed, meeting
in the auditorium. The teachers found
that several factors made their work par-
ticularly hard. For one thing, their small
charges had trouble getting at a piano
outside the classroom. For another, the
two months of weekly lessons was se-
verely shortened by fire drills and vaca-
tion.
Since the auditorium was used by all
the children in school as a public thor-
oughfare, the teachers found it hard to
shoo away the throngs of wide-eyed ad-
mirers which crowded in around the
class and wanted to "just touch" the
piano, too.
Fifteen teachers in the school became
so interested that they set up two "re-
fresher courses" for themselves. They
felt they should brush up for the times
when they were asked to play in class
and at assemblies. Two Teachers Col-
lege students taught them after school
hours.
When a beginning student is taught
piano the Burrows way, scales are for-
gotten for a long time. Instead of de-
veloping what academicians call "man-
ipulative skill," as they did in old-style
learning of piano, the students try to
develop all facets of performance at
once: skill, ear. improvisation, transpo-
sition, and theory.
Advanced Knowledge
Modern children learn things about
the piano that their predecessors didn't
know about until they entered a music
conservatory. They begin picking out
melodies on the piano, or through a
soundless, dummy keyboard, right away.
They play in all keys immediately, in-
stead of plugging away for a year in
the key of "C." Instead of having teach-
er drum out rhythm on a table, they
get up and walk and run around the
room in time to music. They "feel"
rhythm.
Assembly Program After
Two Months
After two months of once-a-week,
forty-minute lessons, the junior pianists
at P. S. 119 presented an assembly pro-
gram, in which about forty took part.
They played individually and separately,
while the rest of the children sang. The
beginner's classics, such as "Row Your
Boat," "Autumn Leaves." "Little River,"
and "The Harp Song," were, to the sur-
prise of the teachers, more popular with
them than "popular" music.
Niivv all the children in the school
want the lessons. Next year, the school
hopes to make them available to many
more. Other public schools in the city
are interested in the project for their
own children.
The piano leachers were so popular
with the youngsters that they begged
them not tn leave. They wanted them to
come back in the fall when lessons began
again.
Success of Piano Workshop Brings
Commendation from University Professor
The accomplishments of a Piano
Workshop, a series of which is being
sponsored by the American Music Con-
ference, can no more forcefully be ex-
pressed than in a letter addressed to
Joseph Sondock, Brook Mays Piano
Co., Houston, Tex., by Walter E. Purdy,
associate professor of musical educa-
tion of the University of Houston. The
letter was written at the conclusion of a
Paino Workshop which was held at the
University in June, and Professor Purdy
summed up his reactions to this work-
shop as follows:
"May I take this opportunity to thank
you for your cooperation in making a
success of the Piano Workshop held at
the University of Houston, June 12-15.
"You will be interested to know that
our average attendance was sixty, thirty-
three of which were regular enrollees.
We contacted members of our education
workshops and extended invitations to
superintendents, principals and teach-
ers to attend at least one session of the
Piano Workshop free of charge.
"Some of the outcomes of the work-
shop are as follows:
1. Teachers were brought up-to-date
in class arid private piano meth-
ods.
2. The piano was established as a
basic instrument for all people
rather than the talented few.
3. Discussions demonstrated great
interest in piano teaching meth-
ods.
4. School administrators displayed
interest in piano teaching as a
part of the public school music
program.
5. Those in attendance were enabled
to see the motivating force of
using a number of pianos instead
of one.
"I sincerely believe that there should
be a follow-up workshop next year, and
suggest that piano companies might wish
to work with the State and Local Music
Teachers Association in establishing the
second affair. At that time, I believe that
I can'speak for our President in saying
that the University would be glad to
provide the space for such a clinic.
"With the present interest as a guide,
I feel quite sure that a second venture
would more than pay for itself. Mean-
time, the thought should be expressed
that a free clinic might attract many
more people and far-reaching results
would be more in evidence.
"Officials and teachers at the Uni-
versity are delighted with the accom-
plishments of the workshop. Thank you
again for your assistance and if I can
be of service in the future, please feel
free to call upon me."
THE MUSIC TRADE REVIEW, AUGUST, 1950