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• W2066131775 abstract "esponsibility of America in the fine arts.-America has come of age and must assume leadership in the fine arts, just as it seems to be pretty definitely established that she must assume leadership in government and politics. There are many evidences of our arrival at a stage of development in art and music which implies leadership, with its accompanying responsibilities. The dedication of a National Gallery of Art in Washington last March is one. The American public learned through the accompanying broadcast that business men are not all callous money grubbers but in some cases are sensitive souls loving fine paintings, sculpture, and music, and possessing, furthermore, a social consciousness concerning their use and disposal. The number and value of American collections in general, to say nothing of the art treasures that in recent years have come to America for safe-keeping, is astounding. We have five major symphony orchestras which in personnel and artistic achievement today have no counterpart in Europe. We now have most of the finest singers and instrumental soloists in the world living within our borders. Opera, drama, and ballet flourish here. We are creating at a rapid pace, in music and in other phases of art, at a time when creation, because it comes from the free expression of the spirit, is no longer possible in Europe and Asia, except by a few invincible individuals. Grouping these evidences broadly, we mention in the third place a system of education in music and art in the United States whose scope in reaching masses of children and adults and whose budget expenditures were scarcely even dreamed of elsewhere. It will be a long time before we go to Europe to look at pictures or listen to music again. We must supply in America not only the procedures of education which follow inspiration, but the inspiration itself. Radio interests have brought about a curious musical growth in the United States, one graphically illustrated by two incidents of arresting contrast. A country woman with no musical background beyond singing in the village church asked me recently if I knew who Walter Damrosch was, while one of our own freshmen at New York University asked me the location of Carnegie Hall! There has never been an instrument in the country woman's home and she has never been inside a concert hall, yet Dr. Damrosch's Friday afternoon appreciation hour has become a major experience of her life. The student, living in the musical center of the world and professing an interest in music, had never discovered Carniegie Hall, except over the radio. The Damrosch appreciation hour, designed for school purposes but listened to widely by adults, is but one of the music broadcasts of great educational significance. Consider the Saturday afternoon opera broadcast. A few years ago the Metropolitan Opera was in a precarious financial condition. A group of music lovers knew that if the general public could hear and become acquainted with opera they would not allow its most outstanding exponent in America to collapse. A few devoted persons, therefore, formed the Metropolitan Opera Guild. This Guild has now more than 16,000 paid members, and it is estimated that the opera has a radio-listening public of between eight and ten million persons. The Guild has stimulated a nation-wide educational program through the more than two hundred listening groups, varying in size from six to seventy-five persons, which meet in schools, colleges, hospitals, homes,for the elderly, homes for children, etc. These groups receive (in addition to Opera News, which is mailed to all Guild members) a bulletin giving a scene-by-scene description of the opera and a bibliography for study purposes. There is also a radio program on Thursday evenings, designed to make the Saturday listening more enjoyable and meaningful by preparation. Selected arias, choruses, and ballet music introduced to the ears on Thursday gain in significance and give added pleasure when heard in the complete production on Saturday. Some schools and colleges are co6perating with the Opera Guild's efforts by preparing puppet shows of opera scenes and showing slides of the period depicting costumes, furniture, and architecture. Let your imagination dwell upon the ramifications of this great American project, which, as I have said, is only one of a number of nation-wide musically educational broadcasts. The advent of radio broadcasting was predicted to be the death knell of the phonograph industry, yet the contrary has happened. A salesman in any record shop will tell you stories so incredible as to seem fantastic concerning the purchase of records by the widest variety of persons in the low income brackets. The steadily increasing number of broadcast programs of fine recorded music of both classical and salon types would seem to decrease the need for private ownership of records, but instead it has stepped up sales and perceptibly raised the level of discrimination in selection." @default.
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• W2066131775 title "Fine Arts in the Core Curriculum" @default.
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