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d parts for the strings. Meanwhile, he is, of course, taking every possible opportunity of attending concerts given by symphony orchestras, and is begging, borrowing, or buying the scores of as many of the compositions as possible, studying them in advance, and taking keen delight in following them at the performance; perhaps even imagining himself to be the conductor, and having visions of changes in interpretation that he would like to make if he were directing. As the result of several years of this sort of study, even an amateur may get to the point where he is able to conduct an orchestra from a full score with some degree of skill, and hence with some little satisfaction both to himself and to the performers. [Illustration: TABLE SHOWING RANGES OF ORCHESTRAL INSTRUMENTS _Note:_ The arrangement of instruments here indicated is essentially that found in a modern orchestral score. The ranges given represent practical orchestral usage. Additional tones possible for highly skilled performers or on instruments with certain special keys (like the low _b_ of the flute) are shown in brackets.] CHAPTER XI DIRECTING THE CHURCH CHOIR [Sidenote: THE PROBLEM] In taking up the special problems of conducting involved in directing a church choir, we shall first of all need to consider the dual nature of church music--its religio-artistic aspect, and in studying the matter from this standpoint we shall soon discover that most of the difficulties that have encompassed church music in the past can be traced directly or indirectly to a conflict or a lack of balance between these two factors. The churchman has not been sufficiently interested in the _art_ side of church music, while the music director, organist, and singers have all too frequently been not only entirely out of sympathy with the religious work of the church, but have usually been wholly ignorant concerning the purpose and possibilities of music in the church service. The result in most churches at the present time is either that the music is vapid or even offensive from the art standpoint; or else that it emphasizes the purely artistic side so strongly that it entirely fails to perform its function as an integral part of a service whose _raison d'etre_ is, of course, to inculcate religious feeling. "The church wishes for worship in music, but not for the worship of music," is said to have been the statement of Father Haberl at the Saint Cecilia Con
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