It is characteristic of the human mind to seek a goal. This goal tends to be rather immediate. Only by prolonged training do we acquire the art of suspended judgment. It is possible that the topic of this paper may suggest a vast store of old musical values which we call our heritage and a group of young people, called juniors, while the essayist is to point out a new way of achieving grand and remarkable success in a phase of choir work which had become increasingly important as our men went to war. But let us survey the situation more carefully. We cannot buy our musical heritage at every music store. Nor can all juniors sing what we find. We are confronted with two broad problems which should challenge us to do our best. They are: A. Preparing Junior for Our Musical Heritage; B. Preparing Our Musical Heritage for Junior.

Finding the voice implies a system of ear training which co-ordinates the use of the muscles of the vocal mechanism with the aural sensations. Unfortunately, there are many juniors who have very vague ideas of tone and of singing. We are, therefore, pleading the cause of preparing junior for our musical heritage by beginning in earliest childhood.

The sustaining of a tone is, next to vocalization itself, the first great step in this important preparation. Already when the infant produces sustained tones in "goo" and similar sounds, the true foundation is laid if satisfactoriness associates itself with such activities. To the extent that this sustaining of tones is delayed beyond the first year will we have trouble in training the child to sing. Moving the tone follows very soon after this.

Matching a tone is usually achieved before the child is two years of age. It is interesting to watch children tuning in with tones within their range if stimulated to do so. The trouble, however, lies in the stern fact that too few parents are aware of the training they are giving their children by giving them an opportunity to match tones. Only when a tone can be matched, are we ready to sing a musical phrase upon hearing it. This, in turn, is prerequisite to the singing of a rote song. All of these abilities must be mastered before we can even think of having junior accept our musical heritage.

Adequate training in school music is most desirable in preparing junior choirs. Schools which have had a long-range plan in musical training are now in a position to reap rich harvests in interested junior and senior choirs. Wherever such training was postponed, neglected, or haphazard, it must be made up. Then it becomes necessary to train young people gradually in the abilities just named until the ear has become a competent judge of tone and until the voice responds.

Patterns of melodic and rhythmic figures representing wide areas of musical literature should be included in the rote-song materials. Even as the spoken language precedes the reading thereof, so the rote vocabulary is helpful in later music reading. For this reason we are doing a positive and great thing in preserving our musical heritage when we train our children to sing accurately such samples of church music as are within their scope. While our Curriculum in Music, our Music Reader, and other texts point out the way, and while other materials are in preparation, the important responsibility resting upon this group of church musicians is to go out and do the training. We must teach. We must speak for such training in our parent-teacher meetings. Yes, we may well show the parents how to do it when we visit the homes in our regular soliciting calls. Let us regard ourselves as specialists with a purpose and then go out and do it.

Note reading, eye, and ear training are definitely based upon a rote vocabulary. It is so much easier to teach someone to read music if a fairly large song repertoire is mastered. In fact, if the opportunity is given, children will practically pick up note reading by themselves. In recent tests of 875 members of Lutheran eighth grades it was found that knowledge of common musical symbols and the ability to read music was lowest of all subjects usually taught in our schools. While the averages attained in other studies were above fifty per cent of the items given, in music it was about thirty-three per cent, with many zero scores. Again, the way to bring our musical heritage to junior is to train him to sing and to read music before he grows into self-consciousness. It is up to us to do this training and to stimulate parental and congregational as well as civic interest in such training.

Syllables, numbers, and notes are the usual means for such reading, whether diatonic or chromatic. The rote-to-note process is much more easily administered in the course of the regular school progress than at a later date. We are well aware of movements in southern Texas to postpone the reading of music until after the eighth grade. Since so many children can be and have been taught to read in the lower grades, this is not the time to retreat. Let us first overcome inertia until we have conclusively proved that it can be done wherever our influence is felt, then we may restudy our means and devices. The so-fa syllables are still more functional than numbers, and notes need not be cryptological.

If a known song is sung in syllables by the teacher as a second stanza, the children may learn by rote to associate the pitch values with each syllable. This is a valuable step since it enables tuning and is a direct training for harmony. After such conditioning has taken place, the visual notes may be presented together with syllables and tone. Since this is a process of growth, we should not begin too late. It is evident that sustaining, moving, and matching a tone prepares for rote singing. We know that the mastery of a large number of rote songs creates a readiness for note reading. The best time to learn anything is when such readiness is there. If we pass up such readiness when it is keen, we shall be obliged to use much greater efforts in supplying extrinsic motivation at a later date. There is a direct ratio between the amount of time elapsing between readiness and consummation and the amount of motivation needed. The old adage is applicable: "Strike the iron while it is hot." It is safe to conclude that our chances for success in maintaining our heritage are contingent upon our success in training our children in these abilities before they are juniors.

Part singing involves an appreciation of harmony, overt or covert. It might as well be overt. It is true that children who have been taught to read at an early age will be able to read their own part against any other part which is well written. There is, however, a way of establishing the basic premises of aural harmony in the children without formal courses in tone relations.

The melodic law recognizes rest tones and active tones. It states that the degree of tension or pull of an active tone to a rest tone is inversely proportional to the distance between these two tones. While that would sound difficult to a child, it can be experienced. It can be demonstrated that do-mi-so are rest tones inherent in their fundamental by using the piano. Depress c-e-g without making a sound; hold the chord while playing the c two octaves lower: the chord will sound even after the low c has been released. If the active tones of the dominant, including the seventh, are so depressed, their fundamental will, likewise, stimulate action. In this case the strong activity of the active notes can be felt until they are resolved to their respective rest tones. We gain a great deal by taking the children into our confidence and showing them the true causes for that which they can feel. Thus they become intelligent singers, listening, thinking entities in the choir.

The harmonic law is a natural outgrowth of such listening. It can be sensed as an aggregate relationship of active tones to rest tones. Even as a single dynamic tone seeks its nearest static tone, so a resolving chord inclines toward its natural resolution. Since the first actually different tone in the natural series lies a fifth above its root, or octave thereof, it can be demonstrated to children that the chord of the fifth (V) resolves naturally to the first chord (I) of the tonality. Through actual tuning, the children will easily associate mi and so with do. Similarly, the action of a resolving chord is experienced as it seeks to go to the chord of resolution: I-V-I. It actually represents a home-coming. Also, it will be appreciated that the chord do-mi-so represents home, rest. Therefore, as we go farther away from home, we return in an orderly manner, each succeeding chord representing a step. The total series of a natural progression is not beyond the level of experience of children. They will be better able to listen to music with such knowledge. As they grow older, they may be expected to advance in efficiency in mastering such progressions. Actually, the roots are do-mi-la-fa-re-so-do. These, in turn, can be harmonized by ear. This constitutes the natural progression: I-III-VI, IV-II-V-I.

Instrumental training, also, contributes to this cause. We must recognize the fact that our children are better prepared for our great heritage with each instrument they understand or play. If we conceive of music as vibrations, we shall be interested not only in vocal production, but in instrumental as well. Furthermore, such training will strengthen our coming juniors to accept the heritage which is theirs.

Tuning is essentially tonal agreement in pitch, intensity, and quality, whether it be vocal or instrumental. These three factors must be guarded throughout the school life of the child. It is through listening that true tuning is achieved.

Voice training begins already in the primary grades if it has not been fostered at home. While John Wilcox of Chicago has done much to explore the possibilities of the lower range of the child voice, the safe range of the primary child still lies within the treble staff, as a rule. This assures a flutelike tone which is light and without strain. As the range extends and the quality of the voice unfolds, we exercise increasing care to maintain that flowing smoothness supported by the breath. Although we are not usually explicit about instructions in breathing when dealing with children, the basic principle of quick, copious inhalation is ever applied. This, more than any other factor, helps us at the time of voice mutation. The boy glides easily into the lower range if his throat is in the position of inhaling while singing. This, in turn, is the natural incentive for true diaphragmatic and abdominal control. Again, juniors who have this background are in a position to accept our heritage, having gained much of it in their learning process.

Diction, as expressed in the use of vowels and consonants, is acquired by children already in the second year and following. Nevertheless, we must be on guard at all times to increase their appreciation of a functional use of vowels by showing them the normal cycle from the hum through M-ooh-oh-ah-ay-ee-N, or, including the intermediate vowels and beginning at the other point: N-ee-ih-ay-eh-ah-aw-oh-uh-ooh-M. All combinations can be derived from this schedule. The drill of musical materials can be enlivened and enhanced by frequent use of various vowels.

In similar manner we must train our children early in the use of consonants. If the resonant consonants are appreciated as tone-sustaining factors, if the cognates are understood as voiced or pure explosives, our diction as well as our tone will be improved.

Resonance increases with age. By careful training and watching, the fundamental tone will become richer as age advances, without interfering with the normal adjustment of upper partials. There is reason to organize choirs according to the predominating prevalence of upper partials. The ethereal quality of children’s voices is due to the presence of strong fifths. Adolescents generally have more of the overtones than their seniors. The untrained voice tends to lose much of this brilliancy with age. Training in breathing and resonance prolongs the usefulness of the voice. .

Breathing is largely dependent upon posture on the alert. The four-point contact when standing with the back against a wall is at present a standard test for proper posture. Stretching the hands high above the head is an added incentive to breathe diaphragmatically. Quick, copious inhalation through mouth and nose is, perhaps, the surest procedure to achieve the open, free throat. Training will establish the ability to maintain this position in vocalization. It is important, however to note that habits of long standing are generally persistent. Therefore, early training is a tremendous asset in junior choir work. Again we must remind ourselves that junior’s training begins in early childhood.

Types of junior choirs depend largely upon range whether the voices are changed or unchanged. The other dominant factor has been pointed out as the presence of overtones or upper partials. If these two factors are kept in mind, very interesting combinations can be assembled proportional to the number of persons available. We shall indicate the range applying to the types as we present them.

The types of organization deserve intensive study and continuous attention. The conventional mixed choir is often a barrier to junior. If the principles which have thus far been stated are accepted, we shall be deeply concerned with all voices while they are uniformly trebles and shall provide for them materials which they can sing in unison or in parts. As the adolescent period advances and mutation occurs, we shall provide opportunity for singing S. A. B., four and more parts for the boy choir the combined junior and senior, or for multiple-choir participation. Each type has its own possibilities and limitations.

Treble choirs are limited to children, young adolescents, and women. The unison choir must present materials within the range of its members. In the primary grades this is usually within the range of the treble staff. A light, flutelike voice should be encouraged at this age. We are still sinning on the side of loudness, notwithstanding the criticism of some English periodicals. If we permit the low chest voice to be used, let us be sure that the music is confined to the pitch in the neighborhood of middle C, and not too far above F in the first space. As the voice ascends it must be encouraged to become lighter. Downward vocalization is recommended for this type. As the voices mature, part singing must be introduced for physiological as well as musical reasons. This will enable all to sing within their range. Let us admit the reality that multiple parts are not dependent upon the musicality of the director and members of a choir alone, but upon the need dictated by the range represented in the group. Let us learn to supply these physiological needs. As age advances, the range of a group approximates a normal probability curve, either extreme of which will have fewer cases than the middle sixty-eight per cent. These extremes, in turn, will be well served by a few persons who truly belong there.

S. A. B. choirs are regarded by some musicians as the beginning of junior choir work. We have pointed out that much preliminary work is desirable. If this training process has not been there, the director must provide it as time advances. The important part in this type of organization is the control of range. Even though some of the young singers can sing beyond the limitations here suggested, it is well, for a time, to respect the bounds. Most important is the changed boy voice. The materials must be held as much as possible to remain within the octave from middle C down. If we allow one whole tone on either side, we have sufficient coverage for good expression and harmonization. In the key of B flat, this would include its root and a tenth above it for the baritone. The soprano is not so delicate nor sensitive. Nevertheless, it is well during this period to hold the materials within the treble clef. The altos may well sing to A below the treble staff. In vocalizing, the director may stimulate flexibility and expansion of the range. Singers of this age must be trained to omit notes beyond their present range without feeling embarrassed about it.

The boy choir deserves greater consideration in the organization of choirs of four or more parts. Two kinds are recommended. The most common of these is well known in Episcopal churches. Father Finn has written a fine book on this procedure: The Art of the Choral Conductor. It accepts boy sopranos who have an unusually clear and light tone a third or fourth above the treble staff. Altos must be able to sing a good tone as far below. Of course, these sopranos and altos are exclusively boys. Boys only have such quality. This quality must be experienced to be understood and appreciated. The tenors and basses are adults with corresponding ranges above and below the bass staff. It must be remembered that members who do not have the extreme limits of the ranges suggested become useful when the parts are divided or when the range in the composition does not approach these limits.

A less known type of boy choir includes boys only, selected from Grades Five or Six to Grades Ten or Eleven. For social reasons it is desirable that the grade spread be as small as possible. In this type of boy choir the range is extremely limited. Also, the unchanged voices are called first and second tenors instead of sopranos and altos. The range of these so-called first tenors is then limited to the octave beginning with D below the first line of the treble clef while the second tenors are limited to the scale of A in range. Similarly, we speak of first and second bass instead of tenor and bass in the changed voices. Here, too, the first bass is limited to notes between the two D’s while the bass is held within the range of the B flat scale. This allows us to place each boy into his convenient range. It corresponds quite nearly to his conversational tone. Thus we achieve a new type of flowing resonance and ease which is spiritually edifying as well as fascinating and intriguing. Again, this type must be heard and experienced to be understood and appreciated. It is the new challenge to our increasing new high schools.

The standard mixed choir of young people is attainable to the extent that the ranges are represented in voices to meet the demands of the score. It is a mistake to expect immature voices to sing the standard senior choir compositions without regard to range. If the age-group is spread sufficiently to include the required range, and if an adequate testing program precedes the assignment of parts, we may use anything within the ability of singers. Then we may say that our junior problems tend to disappear.

The multiple-choir idea has received new impetus through the work of Kenneth E. Runkel. He calls the children’s choir the junior choir, the choir of young people of high school age is called the chapel choir, while adults constitute the senior choir. A combination results.

If we still have ministers of music who believe that junior choir work begins after adolescence, we suggest a revision of views. If, on the other hand, we have gained sufficient ground in the promotion of musical training for our children, we may look hopefully toward the solution of the second great problem of preparing our Lutheran heritage for their use. The finding of such materials is as important as the preparation thereof. We recognize, however, that much progress has been made in this endeavor.

Finding our Lutheran heritage is largely a problem for our musicologists. Nevertheless, most of us must cultivate the attitudes of scientific research in order to succeed in this cause. Music for our services has been prepared by our forefathers. It is our heritage if we will but accept it. The Lutheran Church is recognized as a liturgical Church. In order to maintain that position, we must accept and continue its liturgical tone. Since this involves attitudes as well as knowledge and skills, we must aim to bring this heritage to our children in their earliest age. They must grow up in a liturgical atmosphere of worship. Let us not minimize the lasting impressions created in children by their participation in the worship service by seeing the behavior of worshipers, by hearing what is spoken, chanted, sung, or played, and by singing along in the familiar repetitions. Thus the chants, the responses, the chorales, and hymns are assimilated. There is value in repeating motets and anthems from the point of view of the listener as well as of the singer. Thus it becomes a true heritage. Our heritage must first of all be regarded from the point of use in the service; after that has been satisfied, there is much to be done about our heritage for the sacred concert, if we may use that term.

The preparing of the materials of our Lutheran heritage is a tremendous challenge to our own arrangers, compilers, composers, and to our publishers and jobbers. What a pleasure it would be for us to conclude now by handing out a catalog containing adequate materials for the organizations suggested! Yet there is value in research and production. Therefore, our compilers must find the heritage now extant and make it available in convenient form. This is a true challenge and, if met, a valuable contribution. Our arrangers must take the gems of old and adapt them to specific choirs, respecting their limitations and abilities. It is in this field that a goodly amount of psychology must be used. The logical way is to edit the findings of old masters and reproduce them. That is proper for senior choirs. If, however, insufficient materials are found on the junior level, it is the thesis of this paper that adaptations must be made so that youth can contact this fountain and drink and grow thereby. Various types of choirs must be considered as definite entities in any arranging of masterpieces.

Composers have a peculiar challenge in this area. They are contributing to the cause of maintaining our heritage by writing on themes of this heritage and by composing in the spirit of a Lutheran heritage. In order to do so, they must have studied, they must be imbued with, they must appreciate this heritage. The question of extent, however, is legitimate. If we wish to bind our composers to the style, counterpoint, and harmony of any period, we may as well take them from the list of contributors. The composer is creative. In order to be creative in the field of our Lutheran heritage, he must 1) be thoroughly familiar with the elements of this field; 2) be capable of conceiving the basic germ of an idea in the true Lutheran spirit; 3) be able to develop this idea for the organization chosen; and 4) have the patience and persistence to refine it until it is a worthy masterpiece. Given this freedom, and we ask no more freedom than you would grant Bach or any of his contemporaries over their predecessors, the composers in our midst will be encouraged and challenged to provide for us and our posterity a revitalized American edition of a Lutheran heritage which will stand up well in the light of musicological research and before a listening, participating, worshiping Church.

Lutheran publishing houses can do much in the solution of this problem. As jobbers they can make accessible to us the usable heritage of old. We appreciate what leading music houses are doing in this respect. As headquarters for Lutheran music, however, we suggest Lutheran publishing houses. Furthermore, it is very desirable that they publish compilations, arrangements, and original compositions which bring this heritage to us in usable form. It may well be said that the accessibility of materials often governs the type of choir that will be organized. Junior choirs have sprung into existence in proportion to the amount of music obtainable. Let us appoint ourselves as a committee, individually, to submit our findings and our needs to our publishing houses so that we may the more adequately take care of junior’s musical needs in terms of our Lutheran heritage.

The conclusions to be drawn are obvious:

If we, collectively, can find, reproduce, and produce the materials of our rich heritage, we shall, with God’s continued blessing, also find an increasing number of juniors who will carry on this heritage to posterity.

From The Musical Heritage of the Church, Volume II (Valparaiso, Ind.: Valparaiso University, 1946). Reprinted by permission of Valparaiso University.

For personal use only.