operation. These programmes have been established as a contribution
to modern business.
Specifically, such programmes offer these benefits: (a) as a tlnfiing
force in acclimatizing the worker: or client to the job in hand; (b) as a
safe0 device, the subtle rhythms controlling the mass movements in
and out of buildings; some schools have used such music in their halls
for class changes (in the U.S. nearly every class changes rooms every
45 to 50 minutes so that everyone is in movement); (c) as a sotlrce of
stimzllation for let-down periods.
MUSIC IN THE WORKERS’
LEISURE TIME
by
Jef POELS, President, Musical Confederation of BelgiumAs this subject is so very wide, I shall be obliged to confine myself to
general remarks about the problem, although it deserves to be treated
in greater detail.
First and foremost, a common misunderstanding must be cleared
up. Popular music societies have nothing to do with ‘popular music’,
for while the latter term covers folk music, songs and popular ballads,
the popular societies are concerned with the art of music proper, their
repertoires including works of sterling worth and very often works
by the great masters.
Secondly, it should be borne in mind that the term ‘workers’ leisure
time’ is a relatively new one and came into use as a result of the intro-
duction of the eight-hour day in the countries of western Europe after
the 1914-18 war, and more particularly in Belgium after 1921.
Nevertheless, musical training €or the people had begun to develop
in Europe considerably earlier. Long before the growth of the People’s