Music Trade Review
Issue: 1931 Vol. 90 N. 5 - Page 5
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"craze" or a passing fancy. But it has reached such pro-
portions that the board of education has instructed its music
teachers to encourage the work and assist in all cases wher-
ever possible.
The ball was started rolling, so to speak, by Joseph Littau,
former conductor of the Roxy Theatre symphony orchestra
(New York City), who now wields the baton over the
Omaha, Neb., Symphony Orchestra, located just across the
river from Council Bluffs.
Music lovers in Council Bluffs, after hearing the Omaha
Symphony under the direction of Conductor Littau, decided
that the youth of Council Bluffs should have the opportunity
of hearing the musical organization, and arranged for a series
of special children's concerts to be held in the morning at a
local theatre. The board of education was prevailed upon to
permit students to attend in lieu of several hours' work over
textbooks in the school room. By special arrangement the
backers were able to present the entire orchestra to the chil-
dren at a surprisingly low admittance fee.
The morning of the first concert found the theatre, the
largest in the city, packed and overflowing with school chil-
dren. Mr. Littau, beaming with delight at his young audi-
ence, placed his whole soul in his work and explained in
minute detail the mechanical workings of the various instru-
ments in his orchestra. One attending the concert would
not be prone to call the youth of America "jazz mad" after
watching the children attentively listening for more than an
hour, without a trace of restlessness, to the information given
them by the conductor between the musical selections.
Orchestrations in which various sections—-like the brass,
wood winds, or strings—carried the lead were explained by
Mr. Littau as to their meaning and why that particular type
of instrument was chosen for the purpose. Children could
be seen edging forward in their seats to catch every word of
the speaker. Details of the construction of the instruments
were also given along with their tonal qualities and from the
results produced by the students in their home-made instru-
ments the majority of it was absorbed.
So successful was the first concert given under the direc-
tion of Mr. Littau that two more were held during the
course of the school year. Increased attendance was reported
after each concert with many of the children "doubling up"
in order to obtain seats. Parents in many cases came with
their children following the very favorable comment received
after the first concert.
More than fifty violins were made by students who had
attended one or more of the concerts and heard Mr. Littau
•explain the instrument. Considering the material used and
the construction possible under such circumstances, the tone
quality was remarkable. Clarinets, flutes, oboes, bass drums,
banjos, guitars, xylophones, as well as an attempt at several
brass pieces were included in the long list of instruments
made by the grade school pupils.
The pick of these instruments, placed on display in a
window of a local music store, blocked the sidewalks during
the rush hours of the day over a week-end, and special police
were assigned to keep a passage way open for moving
pedestrians.
Interest in the instruments created by the children was a
boon to the musical dealers who reported many sales to par-
ents who, having found their child interested in a particular
instrument, were happy to purchase a real one for their
offspring. Music teachers, too, also found that it increased
their classes more than two-fold. A check, as near accurate
THE
MUSIC
TRADE
REVIEW,
May,
1931
Here's a plan for developing child
interest in orchestral instruments and
orchestral music that might well be
adopted, in some form, in every
center where the training of youth
in good music is considered serious-
ly.
In Council Bluffs school children
make their own instruments as well
as their own music, and their interest
is thus kept alive.
as possible, disclosed that within three weeks more than 150
children had taken up some kind of an instrument and were
receiving instructions outside of their regular school music
courses.
Teachers who started assisting their pupils in making in-
struments during the school hours found that their limited
time did not permit them to faithfully help those so enthused
with their work.
Special arrangements were made for
classes to be held after school hours for those who wished to
attend. Instructors made it clear that no extra credit was
to be given for the work, other than the general interest
shown in the course. In nine cases out of ten pupils making
instruments remain for the class instead of leaving for the
regular afternoon playgrounds.
Miss Angie Middleton, supervisor of music teachers for
all of the city schools, was forced to spend most of her time
in the field assisting the regular teachers. Rudolph Seidl,
conductor of the city's two high school bands, and himself a
member of the Omaha Symphony Orchestra, also offered his
assistance.
Instruments were made out of every conceivable bit of
material imaginable. Bamboo came in for the bulk of
whittling and boring by those making woodwind instruments.
In some cases metal was used in the manufacture of flutes,
and one student used the leg from a poster bed for his oboe
and turned out a surprisingly fine product. Reeds for in-
struments, in the majority of cases, were made from bamboo.
Violins from cigar boxes were first in order among those
making string instruments but later models were all made
from wood veneer turned on the lathes in the school's
manual training shops—after school hours. Horsehair used
in the violin bows was secured from old family chairs and
from places unknown. The vast majority of these instru-
ments would play and the tone of many were exceptionally
fine considering material and workmanship.
Guitars and banjos in the main were made from hat boxes,
although one enterprising lad utilized the hollowed out turtle
shell which in the old days had graced the family's "front
room" and was probably always filled with picture post-
cards from the country's watering places. The boy ran across
the shell while rummaging through the attic of his home and
realized the possibility of an instrument at once. Upon be-
{Please turn to page 35)
"craze" or a passing fancy. But it has reached such pro-
portions that the board of education has instructed its music
teachers to encourage the work and assist in all cases wher-
ever possible.
The ball was started rolling, so to speak, by Joseph Littau,
former conductor of the Roxy Theatre symphony orchestra
(New York City), who now wields the baton over the
Omaha, Neb., Symphony Orchestra, located just across the
river from Council Bluffs.
Music lovers in Council Bluffs, after hearing the Omaha
Symphony under the direction of Conductor Littau, decided
that the youth of Council Bluffs should have the opportunity
of hearing the musical organization, and arranged for a series
of special children's concerts to be held in the morning at a
local theatre. The board of education was prevailed upon to
permit students to attend in lieu of several hours' work over
textbooks in the school room. By special arrangement the
backers were able to present the entire orchestra to the chil-
dren at a surprisingly low admittance fee.
The morning of the first concert found the theatre, the
largest in the city, packed and overflowing with school chil-
dren. Mr. Littau, beaming with delight at his young audi-
ence, placed his whole soul in his work and explained in
minute detail the mechanical workings of the various instru-
ments in his orchestra. One attending the concert would
not be prone to call the youth of America "jazz mad" after
watching the children attentively listening for more than an
hour, without a trace of restlessness, to the information given
them by the conductor between the musical selections.
Orchestrations in which various sections—-like the brass,
wood winds, or strings—carried the lead were explained by
Mr. Littau as to their meaning and why that particular type
of instrument was chosen for the purpose. Children could
be seen edging forward in their seats to catch every word of
the speaker. Details of the construction of the instruments
were also given along with their tonal qualities and from the
results produced by the students in their home-made instru-
ments the majority of it was absorbed.
So successful was the first concert given under the direc-
tion of Mr. Littau that two more were held during the
course of the school year. Increased attendance was reported
after each concert with many of the children "doubling up"
in order to obtain seats. Parents in many cases came with
their children following the very favorable comment received
after the first concert.
More than fifty violins were made by students who had
attended one or more of the concerts and heard Mr. Littau
•explain the instrument. Considering the material used and
the construction possible under such circumstances, the tone
quality was remarkable. Clarinets, flutes, oboes, bass drums,
banjos, guitars, xylophones, as well as an attempt at several
brass pieces were included in the long list of instruments
made by the grade school pupils.
The pick of these instruments, placed on display in a
window of a local music store, blocked the sidewalks during
the rush hours of the day over a week-end, and special police
were assigned to keep a passage way open for moving
pedestrians.
Interest in the instruments created by the children was a
boon to the musical dealers who reported many sales to par-
ents who, having found their child interested in a particular
instrument, were happy to purchase a real one for their
offspring. Music teachers, too, also found that it increased
their classes more than two-fold. A check, as near accurate
THE
MUSIC
TRADE
REVIEW,
May,
1931
Here's a plan for developing child
interest in orchestral instruments and
orchestral music that might well be
adopted, in some form, in every
center where the training of youth
in good music is considered serious-
ly.
In Council Bluffs school children
make their own instruments as well
as their own music, and their interest
is thus kept alive.
as possible, disclosed that within three weeks more than 150
children had taken up some kind of an instrument and were
receiving instructions outside of their regular school music
courses.
Teachers who started assisting their pupils in making in-
struments during the school hours found that their limited
time did not permit them to faithfully help those so enthused
with their work.
Special arrangements were made for
classes to be held after school hours for those who wished to
attend. Instructors made it clear that no extra credit was
to be given for the work, other than the general interest
shown in the course. In nine cases out of ten pupils making
instruments remain for the class instead of leaving for the
regular afternoon playgrounds.
Miss Angie Middleton, supervisor of music teachers for
all of the city schools, was forced to spend most of her time
in the field assisting the regular teachers. Rudolph Seidl,
conductor of the city's two high school bands, and himself a
member of the Omaha Symphony Orchestra, also offered his
assistance.
Instruments were made out of every conceivable bit of
material imaginable. Bamboo came in for the bulk of
whittling and boring by those making woodwind instruments.
In some cases metal was used in the manufacture of flutes,
and one student used the leg from a poster bed for his oboe
and turned out a surprisingly fine product. Reeds for in-
struments, in the majority of cases, were made from bamboo.
Violins from cigar boxes were first in order among those
making string instruments but later models were all made
from wood veneer turned on the lathes in the school's
manual training shops—after school hours. Horsehair used
in the violin bows was secured from old family chairs and
from places unknown. The vast majority of these instru-
ments would play and the tone of many were exceptionally
fine considering material and workmanship.
Guitars and banjos in the main were made from hat boxes,
although one enterprising lad utilized the hollowed out turtle
shell which in the old days had graced the family's "front
room" and was probably always filled with picture post-
cards from the country's watering places. The boy ran across
the shell while rummaging through the attic of his home and
realized the possibility of an instrument at once. Upon be-
{Please turn to page 35)
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