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CIRCULARS OF INFORMATION
O TI
_
BUREAU OF EDUCATION.
No. 1-1886.
THE STUDY OF MUSIC IN PUBLIC SCHOOLS.
WASHINGTON:
GOVERNMENT PRINTING OFFICE.
1886,
CIRCULARS OF INFORMATION
OF THE
1245-03
BUREAU OF EDUCATION
No. 1-1886.
1
THE STUDY OF MUSIC IN PUBLIC SCHOOLS.
WASHINGTON:
GOVERNMENT PRINTING OFFICE.
1886.
4470-No. 1
1
Music
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CONTENTS
Letter of the Commissioner of Education to the Secretary of the Interior......
Page.
5
ARTICLES.
7
21
26
The Place of Music among the Æsthetic Arts defined, and its Value as a part
of Free Common School Instruction considered: by CHARLES WARREN,
M. D., of the Bureau of Education....
The Necessity of Music in Public Schools: by Prof. CHARLES W. LANDON, of
Claverack College, Claverack, N. Y...
Why Vocal Music should be Required by the State as a part of Public
School Instruction: by Supervisor GEORGE A. VEAZIE, Jr., of Chelsea,
Mass
The Education of Public School Teachers in the Art of Singing: by N. COE
STEWART, Esq., of Cleveland, Ohio.....
To what extent are Special Teachers of Music necessary? by Hosea E. HOLT,
Esq., of Boston, Mass
Sight-Reading; what it is, and how attainable: by Prof. CHARLES W. LANDON,
Claverack College, Claverack, N. Y..
The Relations of Medicine to Music: by EPHRAIM CUTTER, M. D., of New
York City
Education in Music at home and abroad: by the United States Commissioner
of Education
28
31
33
35
41
APPENDIX.
Classified Statistics of Instruction iv Vocal Music, as reported by 243 Cities
and Towns in the United States ..
List of Lay Singing Societies and Conductors
55
74
3
Ra classed 9-19-32 geldi
LETTER.
DEPARTMENT OF THE INTERIOR,
BUREAU OF EDUCATION,
Washington, D. C., August 4, 1886.
SIR: It has been the aim of this Office, so far as under my direction,
to point out the highest results in education, and stimulate as well as
aid efforts to their attainment by the historical and comparative meth-
od's. This end has been sought in the Annual Reports by co-operative
endeavor, giving annually a survey of the progress of education in the
several grades of the different systems of State and city instruction,
and in the many private educational institutions, under the different
methods practiced. Early in making these Annual Reports it was my
purpose to include the condition of instruction in music; but the num-
ber, variety, and difficulty of the new summaries to be undertaken, and
the lack of adequate clerical aid, together with the insufficient response
to my tentative efforts to secure information in connection with educa-
tion in music, led to the omission of this item from the mass of matter
annually tabulated. Recently there has been a growing demand for
the special treatment of education in music. Last year the request of
the Music Teachers' National Association and other promises of co-
operation pointed to the favorable moment and the needed assistance.
The facilities of this Office and the good will and gratuitous co-opera-
tion of those correspondents at the head of systems and institutions of
instruction were laid under contribution, and a large and valuable
amount of material treating of the present condition of instruction in
music was collected.
As there seemed to be no way for the immediate publication of these
valuable facts by the Office, I gave them, as far as then collated, to the
teachers of music in the National Association at their annual meeting,
together with other data illustrating the progress made in teaching
music in other countries. The members of the Association, feeling that
instruction in music is too much neglected, and seeking a further gen-
eral movement for the improvement and increase of this instruction,
appointed Messrs. Theodore Presser, Charles W. Landon, H. E. Llolt,
N. O. Stewart, George F. Bristow, and L. W. Mason a committee to
co-operate with this Office in preparing papers adapted, in their judg.
ment, to secure better and more general instructiou in music in the
schools of our country.
5
6
CIRCULARS OF INFORMATION FOR 1886.
In addition to the papers contributed or revised by these gentlemen,
the material now submitted for publication as a circular of information
includes statistical tables showing in detail several facts respecting the
amount and kiud of vocal music taught in two hundred and forty-three
American cities and towns, the summary of which I presented before
the National Association, as stated above, together with an introductory
paper by Dr. Charles Warren, of this Office.
I have the honor to be, very respectfully,
JOHN EATON, ,
Commissioner.
The Ilonorable the SECRETARY OF THE INTERIOR,
Washington, D. C.
Publication authorized.
H. L. MULDROW,
Acting Secretary.
1
THE PLACE OF MUSIC AMONG THE ÆSTHETIC ARTS DE-
FINED, AND ITS VALUE AS A PART OF FREE COMMON
SCHOOL INSTRUCTION CONSIDERED.
BY CHARLES WARREN, M. D.,
Of the U. 8. Bureau of Education.
I.
INTRODUCTORY.
Education may be divided, in the order of its application, into Nurt-
ure, Teaching, and Culture; that is, Nurture implies the education
of the infant, Teaching that of the youth, Culture that of the adult. In
all these stages Education, though a continuous process, begins by plac-
ing the human being under the best conditions for healthy life and
growth, proceeds to the training of all his capacities so as to develop them
into abilities, and ends its useful work by supplying the personal condi-
tions necessary to his best action, or use of his abilities. Its purpose,
therefore, is not only subjective, or personal, but also objective, or so-
cial. No theory of Education is complete that does not make due pro-
vision for human Nurture, Teaching, and Culture; no method of instruc-
tion is sound that does not, at proper times, promote one or more of
them; no exercise or study should form part of the curriculum of any
school that is not nutritive, instructive, or liberalizing in teudency.
Modern science has shown that man, like every other living thing, is
the inevitable result of his heredity and his environment. It is due to
the always varying influence of these diverse causes that inembers of
the same family, tribe, and race, are both alike and unlike each other.
Theoretically, education should vary in accordance with individual
needs; but in reality nearly all infants thrive and grow under similar
Nurture; youths learn much, though not all to the same extent, under
the wise Teaching given at a good school; and their after Culture, al-
ways to a great extent under their own control (if wisely directed to
definite results), may supply many incidental deficiencies in their earlier
education.
Free common school instruction is the modern, and specially Ameri-
ican, instrumentality by which the second, or middle, phase of Educa-
tion is imparted to the greater number of people in this country. Prop-
erly considered, the School is the organized contrivance of the modern
7
8
CIRCULARS OF INFORMATION FOR 1886.
civilized state, or nation, for the inculcation of such kuowledge as is
found most useful for the subsequent practical or idealistic Culture of its
citizens, and is based on the admitted truth that the existeuce of a civil-
ized state is only possible when all its citizens live in due relation to
it, and are obedient to its laws. It follows that the free common school
system can be defended by the same arguments that, under other cir-
cumstances, justify the existence of other schools and the employment
of other instrumentalities for man's comfort, safety, and free action, or
such as conduce to the tranquillity, prosperity, and power of the State
itself.
Free common school instruction being what it is in this country, when
any proposal is made to add something to the subjects recognized in the
usual curriculum, it is imperative that the value and extent of the pro-
posed addition should be understood, and that all pecessary or advisa.
ble changes, or omissions consequent upon such changes, sbould be
foreseen. Subjects and methods suitable only to precedent Nurture or
to subsequent Culture should not be admitted into this form of Teach-
ing, which is simply saying that boys and girls of school age should
not be treated as either infants or grown people.
While it is right to expect Teaching to do most, if not all, of the kind
of training necessary for the youth, it is unwise to expect it to supply
obvious omissions in the previous training of the young child; it is
equally foolish to ask it to give in advance that Culture which can only
be attained through later agencies. Nothing, indeed, is more foolish
than to impede the proper working of any human contrivance by vision.
ary requirements or merely theoretical principles. An illustration from
another circle of experience than Teaching will serve to point this moral.
Very few of the most ardent advocates of Protection vs. Free Trade have
ventured to plead for the discouragement of immigration ; yet within
the last half century the careless and uncontrolled importation of Asiatic
laborers to the Hawaiian Islands has permanently and most shockingly
afflicted the native population with leprosy. In like manner some vague
general proposition about education, true enough as to some single part,
may be applied wrongly to the whole work.
II.
MUSIC AS AN ÆSTHETIC ART DEFINED.
Before assuming, then, as enthusiasts and initiates in their charm and
entrancement are wont to do, that the fine arts of necessity form part
of the whole Education of man, and as well before assuming, as some
do, that all knowledge, practice, and love of the fine arts are danger-
ous to the purity of the spiritual life, let us, after restoring Music to its
true place and relation among the fine arts, endeavor to discover whether
or not it is so immediately and generically connected with, and natural
!
THE STUDY OF MUSIC IN PUBLIC SCHOOLS.
9
to, man, here and now, as to be a necessity for which some part of the
long labor of his whole Education must provide.
Preliminary, then, to the consideration of the human necessity for
Music, let us devote a brief space (here too brief to succeed fairly) to
examining the right of Music to a place in the group of subjects usu-
ally called the "fine arts." This is necessary, especially here, because
modern "art-usage," following the example of Dryden, Sir Joshua Rey-
nolds, and many subsequent colorists and writers upon the arts of color
and form, has confined the application of the term so as to include
chiefly the so called “ arts of design, architecture, sculpture, painting,
and engraving. Surely, the amazing invention, energy, and improve-
ment in the fine arts of color shown by the great colorists of the Low
Countries, Venice, Rome, Florence, and Madrid, proved that those arts
(usually called "graphic") were well worthy of being so dignified; for
the word Art, taken from the old French art, and descended from the
Latin artem, originates from the Indo-European root ar., wbich means
to fit, and Art itself in all senses, good and bad, means or implies skill,
its display or application; anything wherein skill may be attained or
displayed." We may compare this explanation of the word Art with
the description or definition of the subject Art, when distinguished from
Nature, as formulated by Prof. Sidney Colvin: “Every regulated opera-
tion or dexterity by which organized beings pursue ends which they
* It is quite amusing to observe how complacently the literary men of England, from
the recall of the Stuarts to the beginning of the present century, asserted aud believed
that their predecessors in drama, poetry, music, dancing, architecture, and many
other arts, were natural prodigies, or lucky barbarians, quite worthy of condescend-
ing praise, but very open to deserved correction.
2 A new English Dictionary on historical principles, founded mainly on the matcrials col-
lected by the Philological Society. Edited by James A. H. Murray, LL. D., etc. Large
quarto. Oxford: Clarendon Press ; New York: Macmillan & Co. Part II, 1885, Ant-
Batten. See Art, sb., pp. 467,
468.
The preparation of this magnificent work was projected and begun in, 1857; has
been delayed from various causes, but was resumed in 1879, under Dr. Murray, with
the aid of many sub-editors and many hundreds of readers. Part I was published in
1884, Part II late in 1885, and the hope is expressed that succeeding parts may be is-
sued at shorter and regular intervals. Retail price in America, $3.25 for each part
hitherto published, containing 352 pages of the Dictionary, or less than one cent for
each page.
Practically, every word, living or dead, which has been used by any writer of Eng-
lish since the year: 1200 to the time of publication, is or will be given, showing for each
its present and past spelling, the best.present pronunciation, every meaning, and
every pecnliar use of it; and all such meanings and uses are showu by quotations
chronologically arranged, and specified by the title of the work in which each pas-
sage occurs, writer's name, and date. In 1879, when Dr. Murray became editor, tho
quotations for this dictionary in the possession of the Philological Society numbered
more than two millions; by the time that Part I was issued another million of these
quotations had been added, and further additions will be made as the work proceeds.
Every college, academy, high school, library, museum, and public-school system in
the United States, and every student and lover of his mother-tongue, should own at
least one copy of this invaluable work.
10
CIRCULARS OF INFORMATION FOR 1886.
ence.
know beforehand, together with the rules and the result of every such
operation or dexterity."1 Professor Colvin also concisely, but accu-
rately, sums up the distinction between Science and Art in the follow-
ing words : “ Science consists in knowing, Art consists in doing. What
must I do in order to know, is Art subordinate to or concerned in Sci-
What I must know in order to do, is Science subordinate to or
concerned in Art.92 Here, too, it is well to recall Mr. John Ruskin's
definition of “the three great occupations of men in the following
terms: 3
“SCIENCE.—The knowledge of things, whether Ideal or Sub-
stantial.
“ART.-The modification of Substantial things by our Substan-
tial Power.
“ LITERATURE.—The modification of Ideal things by our Ideal
Power."
These definitions are illuminated by what Mr. Ruskin says shortly
before: “In science, you must not talk before you know. In art, you
must not talk before you do. In literature, you must not talk before
you-think.”4 This is entirely true as stated; but, since the only way to
learn how to think is to learn how to know and how to do, the separa-
tion of literature, or the artistic expression of thought, from the other
fine arts is, for present purposes, unnecessary.
The arts, or things which men do, have been divided into useful or
technical arts, and fine or æsthetic arts. These terms are properly used
when indicating that the first named class is important mainly to the
bodily or material life of man, while the second class is important
mainly to his mental, emotional, and moral life; but any use of these
terms which even implies that the fine arts are useless, is false to psy-
chology, to history, and to all real knowledge and action. In origin
both the useful and the fine arts are identical, as has been shown by
the late Mr. James Fergusson, who, for his own purposes, divides all
the arts into three classes, technic, æsthetic, and phonetic, considering
the middle class as connecting the first with the last, which he considers
to be, respectively, the lowest and highest of the three in “intellectual
value." But aside from the material " value” which Mr. Fergusson
seems to underrate, there are other values" besides the “intellectual,"
which the thoughtful student of the fine arts recognizes as very im-
portant. In order, then, to classify and arrange the various groups or
1 Encyclopædia Britannica, ninth edition, Vol. II, p. 637.
2Op. cit , p. 638.
3The Eagle's Nest: ten lectures on the relation of Natural Science to Art, given be-
fore the Vuiversity of Oxford in Lent term, 1872. London: Smith, Elder & Co. 1872.
3, pp. 4, 5.
4 Op. cit., p. 4.
5A History of Architecture in all Countries from the Earliest Times. Second edition,
4 vols. 8vo. London: John Murray. 1884. Vol. I, pp. 4-10.
THE STUDY OF MUSIC IN PUBLIC SCHOOLS.
11
classes of the fine arts in such a way as to show their origin in human
ability or capacity, the correlation of each to each and of class to
class, and to suggest a nomenclature founded on names and terms
already used by various authors, I have prepared the following dia-
gram :
Time.
Harmonic
Melody
Arts of Sound.
Arts of Motion,
Rhythmic
Processions
Dancing.
song
Ballet
Athletic
Symphony
Poetry
Chantirua
Linguistic
Oratorio
Military Dril.
Games.
Bloquences
Opera
Materiał
Pantomimo. Drama.
Conditions
Landscape Garden.
Idear
Conditions
Painting.
Fresdo.
Mosaic,
7
Teotônic
4rohteotère.
Castume.com
Engraving.
sculpture.
T'apestiy;
Stained Glass.
Graphic
Plastic
Carving
Ceram
tes
Needle-
worly
Space.
Decorative
Arts of Form.
Arts of Colour.
(C. Warren, inv. et del., 1885-86. Copyright A. D. 1886.)
It will be observed that most of the fine arts practiced at the present
day are arranged within a geometrical figure; that they are grouped
under four classes, termed, respectively, arts of sound, harmonic and
linguistic; arts of motion, rhythmic and athletic; arts of form, plastic
and tectonic; and arts of color, decorative and graphic. The next
point to notice is that most of the arts placed semicircularly above the
central horizontal line are those which human beings can acquire and
practice best in numbers, with little other aid than that of their own
bodies, minds, and voices, and that those placed semicircularly below
that line comprise the arts that deal with solids and surfaces, upon the
masses and colors and shapes that one mind and one hand may in great
measure conceive, design, and in most cases accomplish. The central
horizontal region contains those arts that require not only individual
design and supervision, but the trained and intelligent use of subor-
dinate assistants, of manageable quantities of material, and also the co-
12
CIRCULARS OF INFORMATION FOR 1886.
operative effect of two or more forms of the simpler arts.! Music,
as à general term, is shown to be that group of the arts of sound which
is most affected by the artistic restraints and opportunities of time; it
is also shown that the linguistic arts, speech, etc., are cognate, but less
affected by time; and that by the union of melody (or harmony) with
poetry (or verse), song (or vocal music) is attained. This may not be
true of the pre-historic races of men; it is possible, and to some extent
probable, that some part of primeval speech imitated natural sounds,
and, among these, musical sounds. The earliest speech of man may
bave been a rude chant or monody of imitative sound and gesture,
similar to the night-song of the Indian chief described by the Abbé
Domenech and translated by Mr. Charles Godfrey Leland. 2 How
true or how fanciful most of these ideas may be, it is surely true that
Music and Motion form, almost everywhere over the earth, a most im.
portant part in the public worship or public amusements of all unso
phisticated people.
Each of these groups, and very often each art, has an entirely recog.
nizable influence upon the bodies or outward appearances of its votaries.
The nervous muscularity of tbe pianist's hands; the massive bodies,
superb chests, and ample throats of great singers; the (very slight) out-
ward direction of the eyes in architects and landscape painters of much
experience, which gives them a wide-embracing gaze; the mobile feat-
ures of stage-players; the swift precision and graphic intensity of a
pantomimist's motions; the stunted body and arms of a ballet-dancer,-
these are more or less kuown effects of practicing the arts indicated.
These facts are uot criteria by which to measure the ability of those in
whom they are observed, but simply proofs of bodily susceptibility to
the power of the occupation in modifying the instrument used in it.
But if the very body of an art-worker is modified by his occupation,
how much more thoroughly may his reason, emotions, and will often be
modified, even when the body sbows little or no evidence of any change?
That such acquirements, physical, mental, and moral; may be trans-
mitted to posterity has been proved beyond doubt at many times and
in many ways. A splendid example of tbis transmission is the great
musical family of the Bachs, “who occupied not merely honorable but
prominent places in the history of their art through a period of nearly
two hundred years." 3
' In this arrangement, the modern drama, which requires for its most splendid
effects the combined arts of oratory, story, incidental music, highly finished gesture
or cousummate imitative motion, appropriato costume and furniture, scene painting,
etc., is, as in the history of human ästhetic effort, the central, supreme, and most
difficult of all the arts; corresponding and “holding the mirror up” to the greatest
practical art,-human life.
2 Gypsies. By C. G. Leland. Sro. Bostou, 1883.
3.4 Dictionary of Music and Musicians (A. D. 1450-1880). Edited by George Grove,
D. C. L. Vol. I. London, 1879. · Quoted from p. 108. For the Bachs and Bach litera-
tule, see pp. 108-118.
1
pp. 42, 43.
THE STUDY OF MUSIC IN PUBLIC SCHOOLS. .
13
III.
OF THE USE OF THE ARTS OF SOUND IN EDUCATION.
Having noticed the place and relation of free common school instruc-
tiou to the other parts of education in this country; having also con-
sidered what art, as distinguished from nature and from science, is;
what the fine arts are as compared with those termed technical; what the
position of music among the fine arts is; and, finally, what an important
function the simple arts of sound and motion perform in the art, lore,
and life of simple folk, ancient and modern, I now offer some remarks
upon the function of song and its kindred arts in the sane education
of the ordinary modern human being.
When the nurture of the infant is considered with reference to its
preservation, the veriest tyro must accept as axions for conduct the
normal conditions and processes that we discover by observing Nature.
The human infant passes nearly all the time immediately following birth
in an unconscious attempt to adjust itself to the imperative conditions
of post-uterine life. For example, the function of its lungs must be
begun; the separation from all the appanages of its uterine life must be
accomplished; the tentative structure of its heart must be modified as
rapidly and completely as possible, so that the circulation and purifica-
tion of the blood may be adapted to future requirements; cleanliness,
perfect repose, warmth, the cleansing of the alimentary apparatus from
all foetal accumulations, must be secured, wbile the sufficient provision
of the mother's milk for its subsequent sustenance is also awaited and
assisted. The few weeks succeeding these occurrences are passed by the
infant apparently in unconscious feeding, sleep, removal of effete bodily
products, etc., and the requisite semi-darkness, silence, warmth, nutri-
tion, and cleansing are matters of the highest import. It is scarcely
possible to ascertain with safety whether the infant is to have the cus-
tomary use of his eyes and ears. When disturbed by any temporary
irritation of its unconscious nerve-centers, observe how readily the
healthy infant is quieted and put to sleep by the gentle motion and
music of the lullaby. Thus the primal arts of the nursery are identical
with those which children and youths and adults bave practiced most
readily and easily for ages. This motion and music are regulated and
co-ordinated by time, because the heaving bosom or cradling arms of
the mother, and also the impulses and cadences of her soothing voice,
depend upon the sympathy between her muscular efforts and the rate
of her respiration. Indeed, I believe that, in the sublimely sweet mys-
tery of Nature's alchemy, in these sacred moments the infant can and
does receive from its mother's measured tones and motions very early,
if not its very earliest, impressions upon its own emotions and self-
restraint. But I am now approaching some of the most recoudite prob-
lems of the human soul, about which the ground is scarcely trodden by
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CIRCULARS OF INFORMATION FOR 1886.
the coarse footsteps of human reasoning. Only by those who feel most
keenly the awe that enfolds the portals of life as of death, can as much
as this be said.
As the infant further grows under the eyes of vigilant parental love,
there comes a time when it is sensibly affected by impressions on its
eyes. It is attracted by the glittering of coins, by the blaze of artificial
lights, by vivid spots of contrasted colors. Its little hands, naturally
balf closed by the greater strength of their palmar muscles, are stretched
out to grasp the attractive spot, and to convey it to the infant's earliest
measure of excellence, its mouth. Yet it is impossible to say how much
earlier than we can apprehend the now visible impression began. Per-
haps the color, smoothness, and roundness of its mother's breast begin
for each infant the education of its tactile and visual faculties. What-
ever defect it may show in appreciating the difference between surfaces
and solids by the eyes, is speedily supplied by the natural palmward
curve of its hands. Then, by sweet.gradations of sensory increase, it
comes to know its mother, and to sound, before it can articulate, its de-
lighted vocal welcome of her presence and her voice.
Next to be observed, and particularly about an infant whose auditory
cells have been early developed by the mellow sweetness of nursery
songs, is how soon it begins to remember the very lengths and intervals
of tone in familiar songs, so that, before it can pronounce their words,
it can fairly well babble their melody. Indeed, taiking is not more
than begun before the baby can walk and run about with surprising
agility. In the same way very young children can be taught to dis-
criminate between the six common colors of the spectrum, and between
several different shades or intensities of each; to sing at least one major
fifth in music, from low to high note and vice versa; to notice minutely
the differences of surface smoothness between a great many substances;
and even to estimate with some accuracy the relative weight of different
quantities or bulks of the same substance; the characteristics of regu-
lar shapes, both in surfaces and solids, etc. Even without any particu-
lar supervision, most children acquire the greater part of this knowl-
edge for themselves while engaged in what we customarily call their
"play."
All these and other distinctions and differences, as also many simple
methods of producing them in materials of various kinds, are taught
most beautifully, though not, as I think, in all respects perfectly, in the
kindergarten, Froebel's delightful systemization of the ideal and sub-
stantial nurture of childhood, and in several imitations of his work,
such as the kitchen garden of Miss Evily Huntington; but there is no
insuperable, or even serious, difficulty to be encountered by any mother
or children's nurse who possesses the practical aptness common to most
women, in making every house a kindergarten of the very best and most
effectual sort. To Froebel's method, and to all kinds of child nurture,
I would add very early and gently continuous teaching and practice of
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THE STUDY OF MUSIC IN PUBLIC SCHOOLS.
15
1
several sanatory habits; among these I here mention only the most
commendable habit of closing the mouth when not used in speaking or
singing, so that all respiration when in a state of repose should be
through the nose. Not only is this habit, once acquired so as to be
automatic, extremely efficacious in obviating or rapidly ameliorating
all sorts of nasal catarrh, but the consequent and simultaneous benefit
to the teeth, to the expression of the whole face, and to the beauty of
the lips, cheeks, and chin, is so great as to be seen at once when com-
paring children who do it with those who do not. In all training of the
voice, whether for speech or song, it is of added value, because it also
cures or prevents the distressing nasal timbre by which American voices
are so generally and so unpleasantly affected. Parents and teachers of
young children should be particularly careful in this respect, so that
they may convey and develop this habit in all to whom, in voice as in
other things, they are, of necessity, constant examples for imitation.
Let us leave the little child at the point when it is to begin going to
school, and examine what Song, as a part of Culture, does or can do for
men and women. Its great attractions to young adults have been re-
cited by hundreds of authors in every variety of literary form. In pri-
vate family life, in society, in church services, on all public occasions,
Song and Music are used almost instinctively for refreshment and va-
riety's sake, if not for higher or lower motives. A grown persou must
be single as to civic condition, and a very strict recluse as to life, who
would escape from its quantity or quality. Every important town and
every city, crowded with fiercely active workers during the day, re-
sounds every evening with concerts, oratorios, operas, and piano playing
along miles of private dwellings. Theaters, opera-houses, concert
rooms, music-halls, cafés chantants, all are crowded with listeners; the
performance of a new opera, the advent of a new vocalist, or the return
of a former favorite, form topics of conversation in all polite society.
The attractive sacred or semi-sacred music performed at a church is
a commonly given reason for its crowded pews. A person indifferent
to music (there are some of this kind in every gathering of humanity)
cannot but observe, in spite of himself, how much and how exalted de-
light in music is felt by the most influential men and the most charming
women of his acquaintance. Every picnic, every rowing or sailing ex-
cursion, all summer resorts at spas, among the hills, or at the seaside,
resound with music and singing. Everywhere, at all times, the adult
unfamiliar with music is out of tune with everybody around him. The
rustic visitor to a city cannot for his life help despising himself as an
ignoramus, or the most cultivated people he happens to meet as enthu-
siastic fools, if he wanders into the building where some opera or con-
cert of classical music is going on amidst the applause of a large, richly-
clad, and interested audience. If unacquainted with vocal music, in
addition to his ignorance of social and artistic custom, he will almost
surely believe that the singers are swindlers and the audience a collec-
16
CIRCULARS OF INFORMATION FOR 1886.
tion of idiots. Though not an old man, as years ago, I remember the
enormous success of a book (contemporaneous with “The Lamplighter”)
wbich had for its motif the flail-like wisdom of an illiterate farmer deal..
ing out judgment without grammar upon the winter amusements of a
large city, New York, I believe. This farrago gave me my earliest
gliiopse of the “Philistinism” which Mr. Matthew Arnold so loves to
adorn with its appropriate vulgarities.
The uncultivated newsboys, small salesmen, unmarried artisans, and
siinilar masculine flotsam and jetsam of city life, quite as Philistine in
their own way, insist for all that upon getting music suited to their
cruder ideas and less developed morals. Every city in this country
has some place of amusement, where their craving for music and man-
ners of a 6 free and easy" kind can be appeased. Here you shall see
an orchestra composed of men whose bad habits, and of big boys whose
want of skill, prevent them from obtaining engagements in more re.
spectable companies; here are the raucous voices, the brazen faces, the
noisy agility, and hideous exaggerations that mark the “song-and-
dance" couples impersonating dandified Irish peasants or German rus-
ties, the imitation snigger minstrels," the “character-sketch-men,” the
"talented vocalists,” the "unrivaled female jig-dancers," the "only
peerless” infant prodigies, the rentriloquists, and the other “attrac-
tions” for the half-grown and adult children of the street. Here, as with
the bucolic visitor, we find that lack of knowledge and want of taste pre-
vent these people from enjoying good music and comely art; but we see,
quite as plainly, that this andience prefers this vapid and worthless
succession of barbarisms; here is glaring light, plenty of warmth, a
sufficient seat, a great superficial " variety” of “entertainment,” admin-
istered with intense promptuess in five-minute doses; for the working
child of the street will fall asleep if anything lags or lasts too long.
Here are two kinds of Culture in music, each chosen by its admirers
and training its applauders to further progress upward, or downward,
as the case may be. The kind first described is that chosen by men and
women of good taste or good moral fiber, sometimes inherent but usu-
ally developed, and trained by good Teaching during childhood and
youth. Its tendency in general is to preserve and continue the blame.
less delights of childhood and the most refreshing part of youth's hours
of pupilage. The other is just what ignorant men and neglected boys,
prematurely forced into self-support and self-guidance, will select for
their own solace; it is a noxious illustration of the rule of demand and
supply; the habitual frequenters need not wash or dress for the occa-
sion; indeed they are too tired or too poor to do anything that will add
to their exertions or deplete too much their slender purses; they weary
of anything that requires steady attention, because some of them have
been under as much restraint as they can endure while working at their
trades, and others of them have never been taught, and are, therefore,
1
THE STUDY OF MUSIC IN PUBLIC SCHOOLS.
17
incapable of, steady attention to anything; they are ignorant of history,
mythology, and languages; unfamiliar with former costumes, arms,
furniture, and utensils to such an extent tbat it would not surprise
them much to see Joan of Arc lay off her armor and sit down to a
modern piano-forte; and they are so completely indifferent to the claims
and influences of the Christian faith, that they never enter a church if
they can avoid it. Therefore, partly with their consent, and partly be-
cause of their stupid inertia, the entertainment in their places of resort
is spiced with bits of worm-eaten coarseness and scraps of contemporary
impurity. Heaven help the poor creatures whose house of Music is a
so coucert-saloon," whose ideals of literature and of art are the comments
and the wood-cuts of a Police Gazette."
To me, I confess, the hiatus in the education of such persons as has
been described just now appears to be unnatural, unwise, and unsound.
Shall wo, when we send little cbildren to school, and so begin their
Teaching, put a stop to all the sweet intluences under which they have
been nurtured ? Shall the weary weeks, months, and years, which they
spend over their reading, writing, cipheriug, and other studies, be
lightened by po refreshment? Is there nothing to teach but a child's
mind? nothing to provide for but its brain? Do we think that there
is no more natural way of learning morals than by the receipt and repe-
tition of moral precepts? Do we believe that we can neglect and per-
vert the method of Nature in our teaching of good and useful things to
the child, thereby preventing the use of that method by the child itself
for other purposes ? Let us pot be deceived. We cannot prevent the
natural method of Teaching and Learning from going on all the time,
aby more than we can preveut an infected child from having the
ineasles. But if the school does not use the natural method in convey-
ing the right sort of instruction, everything outside of the school will
combine to convey the wrong kind of instruction. Make the school a
place of delight as well as of study, and you will keep your scholar in
the straight path leading between the Nurture of happy childhood
and the Culture of serene manhood and womanlood.
This natural method, it seems to me, should consist, for younger chil-
dren, in short periods of lively instruction by the teacher, interspersed
with short periods of lively doing by the pupils. They begiu to talk
by trying to imitate what they hear'; they begin to do by trying to im
itate what they see done; they begin to count, add, and subtract just
as soon as you can show them how to do it, but for them the "how"
must be a material demonstration before it can be an easy mental act.
They catch a simple tune and the simple words that accompany it in
1“As preliminary to the exercise of the voice in singing--and it applies to the read-
ing as well—the young children are trained in the following points : 1. A proper
position of the body. 2. 'I'he right management of the breath. 3. A good quality
of utterance, as just mentioned. 4. The correct sound of the vowels. 5. A good
articulation. 6. Intelligent expression.”-Dr, J. Baxter Upham.
4470-No. 1 -2
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CIRCULARS OF INFORMATION FOR 1886.
an exceedingly short time. Frequent singing, now with a march, now
in time with some calisthenic exercise, is therefore indispensable in the
natural method of the most elementary instruction, and only a few
other things should be taught with it. These should be what Nature
also indicates. Some of these are, graceful and accurate motion of
the limbs and use of the body; the acquirement of pure tone in both
speaking and singing, and whether speaking loudly or softly;? train-
ing of the eyes and fingers in the very beginning by drawing lessons
on the blackboard, such as making upright, inclined, and horizontal
straight lines, etc.; training of the taste by the example and gradual
inducement of the teacher to think about, understand, and talk cor-
rectly about what they sing, or draw, or the words and things they
bave worked upon during the day. The teacher, if inexperienced, will
find that young children dislike variations in the verses or tuues they
have learned; that they are great sticklers for the word or sound they
have learned as the right one for its place; that they reason faultlessly
as far as their experience and knowiedge allow; but that they require
“ variety of subjects" for their full interest.
In subsequent grades, the art-passion—that for doing something--
should be kept active by further participation in singing ? and draw.
ing, as well as by using materials or models whenever they can be ap-
plied to the subjects of study. But as the months and years go by,
longer periods for each kind of exercise may be required of them; the
1.“ The first attempt of the teacher is to gain the attention of the children by siog-
ing to them some melodic phrase within the range adapted to their voices, and ask-,
ing them to repeat it after him—to imitate the sounds he has given them, in their
proper order. This, after a few trials, the majority of the class will do. Some ten
or fifteen minutes are spent in this way, and they have taken their first lesson in
music. It is purely a matter of rote singing, of the easiest and simplest kind. The
interest of the children is excited, their attention aroused, their appreciatiou of mu-
sical sounds for the first time perhaps awakened. A few lessons are given in this
way at the outset.
“But true rote singing, as Mr: Mason has happily expressed it, is a very different
thing from the ordivary, "bap-hazard" singing we too often find in our Sunday
schools, and in common schools where no regular instruction is given. It is an ap-
peal to the imitative faculty, which young children possess in so great a degree of
perfection; and hence the greatest care should be taken that the exainple be a proper
model for imitation as regards method, and style, and purity, and correctness of tone,
even in the utterance of the simplest musical phrase. These preliminary rote lessons
should therefore be given, when possible, by the professional teacher himself, and
they inust needs be few and not long continued.”—Dr. J. Baxter (pham.
Care, too, is to be taken in the singing exercises of young children, that a too
great compass be not attempted. The child is allowed to sing only in the middle
register, or where he takes the tones with the least effort. Commencing our instruc-
tion with the rote-singing, as already stated, the first five sounds of the G scale are
ouly attempted at the outset. Even within this limited range many of the best juve-
nile songs may be found. After the voice has been well practiced in this compass, it
may be extended upward and downward to a judicions extent, taking care not to
strain the voice in the least degree.”—Dr. J. Baxter Upham.
1
1
THE STUDY OF MUSIC IN PUBLIC SCHOOLS.
19
object of this should be, of course, to train them gradually for the
steady industry and application which every healthy adult should pos.
sess; but in order to make young people understand this or willingly
consent to it, the teacher must convince them by degrees that concen-
tration and continuance of effort produce maximum results in all kinds
of labor, while recreation now may consist partly in change of work
and partly in rest. The purpose of the whole public instruction should
be to develop and train each faculty of body and mind and soul in
their natural order of importance for the time being. Instruction
should become more suggestive as time passes on, but with this the
pupil should be required to work more specifically and precisely
within the suggested limits, so as to train him for personal exactness
and for intelligent subordination at the same time.
The brief schedule of graded school instruction here given is intro-
duced for the sole purpose of showing how much and what kind of
singing can be taught in public schools without interfering materially
with other studies, and indeed with positive benefit to these. The late
Walter Bagehot, commenting on Cardinal Newman's sermon on “Per-
sonal Influence the Means of Propagating the Truth," remarks that
the gist of the great preacher's sermon “is but this, that men are
guided by type, not by argument; that some winuing instance must be
set up before them, or the same will be vain, and the doctrine will not
spread.” 1
This is even more true of children than of adults; and it
is for the purpose of selecting a natural and entirely comprehensible
type of innocent and refreshing pleasure-activity, if I may call it so,
that I have considered the subject of this paper.
The effects of Song on the mind, temper, bebavior, bodily habits, and
health of growing children and young people must of course be great,
and, if not judiciously conducted, may be productive of harm in some
cases: as where conspicuous success at some “school-exhibition" pro-
duces vanity; or where galling inferiority produces envy; or where
foolish excess of effort produces strains of the vocal chords. It is not
intended here to recite ip full the general benefits of singing in any of
these directions. But it is well to remember in general, and as a résumé
of well-known facts, that singing, when well and gradually done during
the whole of school-life, affects favorably distinctness of hearing, the
health of the throat and the lungs, the stature and carriage of the body,
and the development and shape of the thorax; that by judicious alter-
nation with other works and studies it preserves the beautiful childish
capacity of quick perception and retentive memory, wbile it does not
interfere with the acquirement of that tenacity and continuity in all
effort which will be found useful in later life; and that of all arts it is
among the most social, natural, humanistic, and permanent in all the
occupations and responsibilities of maturer life and culture.
Physics and Politics, p. 90. New York, 1873.
20
CIRCULARS OF INFORMATION FOR 1886.
The preparation of persons for the profession of Music is no part of
free common school instruction, any more than is preparation for cob-
bling or theology. This should be distinctly understood as a general
rule; but if any school system requires teachers of singing, or requires
that all its teachers shall be qualified to teach the rudiments of the art,
that system way, without wrong-doing or inconsistency, spend a desig-
mated part of its money for the pay or the training òf such teachers.
The public normal school and the teachers' institute are particularly ap-
propriate agencies for the instruction of teachers in the art and the do-
light of Song.
THE NECESSITY OF MUSIC IN PUBLIC SCHOOLS.
BY CHARLES W. LANDON,
Director of Music in Claverack College.
Music is God's best gift to man, the only art of heaven given to earth,
the only art of earth that we take to heaven. But music, like all our
gifts, is given us in the germ. It is for us to unfold and develop it
by instruction and cultivation.
But what practical benefit is there in its study? Is it as important
a study as the other branches that are more commonly taught in our
public schools? The State teaches its children to read, write, and cipher,
that they may possess the arts necessary to their progress and to their
preparation for their several stations in life, and especially those essen.
tial to their appreciation of the institutions of a free government and to
the discharge of their duties under it.
But the question recurs, Why should · the state teach its children
vocal music?
The security and stability of a gorernment depend upon the happi-
ness and contentment of its people. I believe that whatever increases
their happiness tends to their moral elevation; and herein we have a
strong reason why vocal music should be one of the studies pursued in
our common schools. The Family is the foundation-stone of the State;
the moral tone of the family sets the keynote for the moral harmony of
the State.
It is well known to all professional music teachers and to many other
persons that the habitual use of vocal music by a family is an almost
unfailing sign of good moral and refined tastes. The wealthy cannot
monopolize this natural and beautiful means of culture. The public
schools, which now teach the usual rudiments for the improvement of
the mind, should also, for the culture of the heart, teach the principles
and practice of vocal music. The emotion aroused by inactive contem-
plation is faint compared with that caused by active participation in
producing a beautiful result.
Immoral character and criminal conduct necessitate the mainteuance
of courts and jails, the most disagreeable, and almost the most expen-
sive, part of civil government. Prevention here, as elsewhere, is less
costly than cure. It is well to remember wbat Luther said about music:
“The youth must always be accustomed to this art, for it makes good
and virtuous citizeus.
21
22
CIRCULARS OF INFORMATION FOR 1886.
5 Music is a discipline, a mistress of order and good manners. She
makes the people milder and gentler, more moral and more reasonable."
In reform schools, industrial schools, and the like, singing is one of
the principal means employed for the softening and controlling of the
inmates, and it is of similar value in some of our public schools.
The education of the people is not complete when the mind and the
hand have been trained. Man is a social, not a solitary being; and to
fit him for healthy association with his kind it is needful to educate his
sympathies and his tastes. The lack of this social training often is as
marked in the scholar as in the rudest artisan, though, from the greater
number of artisans, the deficiency in them is more commonly observed.
For all, whether students or workers, the practice of vocal music will
be found the most potent agent for the promotion of social pleasure and
the cultivation of a human spirit.
Good inusic wields a power for good over the heart. The song learned
in childbood holds a restraining and ennobling influence over one for
life, making him a better, happier, and a safer and more profitable citi-
zen.
Music is a universal art. Nature has given the human voice, which
is the standard of perfection for all makers of musical instruments.
Good vocal music is, for most people, the highest form of art. Join to
your songs words pleasing and elevating in sentiment, and you are
placing singer and listener under the best of influences. Those who
love good songs with pure words will cease singing the ranting and
ribald songs of the street.
No one denies that our schools should furnish good moral training,
and the world is fast waking up to the fact that music, wedded to good
and pure words, is a powerful means to this end. Music appeals di-
rectly to our moral nature, through our hearts and sentiments. The
words of school song's should be good poetry, and should adoro such
subjects as Love of Country, Home-loving, the Golden Rule, etc. Songs
containing moral precepts and lessous, and songs of the affections gen-
erally, will surely develop like sentiments in the children who sing them.
In no better way can a code of morals be taught, or the sensibilities
and emotious be so trained and developed into their better and higher
uses, as through the instrumentality of song.
It is not to be overlooked that singing imparts to the speaking and
reading voice a smoother and sweeter quality of tone. This, too, is a
matter of practical importance; for a sweet, smooth, and well-modu-
lated voice imparts to the possessor's conversation in society, at home,
or in the sick room, a rare and desirable charm. The enthusiastic Da-
vid S. White says, “In the future the culture of the singing and speak-
ing voice, and so of the ear, will be the means of moral culture, and
music will be considered the most important subject taught in the
schools, the basis of all true education.” We all can feel the soothing
and persuasive power of the smooth and well trained voice, and we
THE STUDY OF MUSIC IN PUBLIC SCHOOLS.
23
know its value in the business and social relations of life; but it is of
still greater worth to the teacher; it has been said that “a teacher
with a pleasant voice, expressing high moral quality, will.cultivate the
moral character of her pupils by the mere tones of her voice, without
saying a word about morals, more than would a teacher with an un-
pleasant voice who should teach them all the moral maxims in the
world. Mental culture comes chiefly through the eye; moral culture
through the ear and voice. The culture of the voice and the ear, then,
is of primary importance. The best means of culture is singing."
If a young man leaving home and going into a strange community can
sing well, he at once gains an entrance into the higher grade of society,
and may thus be saved from degrading influences. The musical accom-
plishments of Beethoven, while but a lad, attracted and retained the
powerful friendship of the Breunings, whose refining and elevating
moral influences saved to the world its greatest composer and musician.
A song, heard in the street, so touched a good woman's heart that she
made a home for the boy-singer in her house, and saved to the world
Luther, whose life's work was so great that it has been said that "no
person lives in Christendom whose life is not different because Luther
lived and worked four hundred years ago.”
A person may have sterling virtues; be may be honest and truthful,
patriotic and brave, energetic and industrious, without knowing music;
but if he can also sing, he will be a better citizen, a more valuable
member of the community and the state, because of his refining and
elevating influences. Yes, and his own refinements will have a superior
quality and flavor not possessed otherwise.
But there are other than moral reasons why singing should be a part
of our school education. Music has its own disciplinary advantages;
it promotes quickness and precision in mental activity; and the study
of its principles (often profound, often subtle, and always stimulating
the judgment) has commanded the attention of some men eminent in
other departments of science. Moreover, it is an acknowledged fact
that the mind makes its best effort when delighted and enthusiastic in
its work. This is the fundamental idea of the kindergarten method.
All musicians and singers know that the delight of singing spurs one
on to the keenest and acutest perception and thinking.
A school-room full of fatigued children can be effectually refreshed
by the singing of a hearty song, so that they return to their studies
with a new zest and interest. Even at the end of the school day, when
every other exercise is wearisome, children will express intense delight
in their singing. This is an every day experience of thousands of
teachers. It is too often thought that the time of childhood and youth
is of but little worth, when in truth no period of life is more valuable;
for in childhood are laid the foundations of whatever we attain in the
mental and moral culture and graces of the matured lady or gentleman.
24.
CIRCULARS OF INFORMATION FOR 1886.
Youth is the seed-time of life, and from its sowing we reap our life's
barvest; for, “As we sow, so shall we reap."
The humdrum of school life is a reason not often takeu into account
for the irregular and limited attendance of children whose parents are
indifferent, and allow their children to do as they please; for such
children singing would inake school life more cheerful and the children
more happy, and thus indirectly prevent truancy. We still bear in
mind that pleasure and interest go hand in hand with advancement.
Singing is of great value as a means of enlarging the chest and de-
veloping the lungs, thus preventing consumption and other lung dis-
eases. Singing quickeus the circulation, and promotes the health of
the entire body, and especially puts new life into the brain, and so fits
it for better study.
Singing in school is indirectly a great help to congregational singing
in churcbes, and to the music of Sunday schools. It is enjoined that
we sing with the understanding as well as with the spirit. “Music is
the vehicle for, and incentive to, religious feeling:" Nearly every child
(about 95 per cent.) can learn music, and enjoy its elevating and prac-
tïcal benefits. The youngest children are the proper ones to begin
with, and the primary school is the best place. Of most studies the
pupil makes no immediate use; he is being fitted for the future activities
of life; but what he learns of music is useful from the first. Our best
musicians advocate vocal music as a foundation for an education in
instrumental music. Children who sing know the essence of music,
and the instrumental teacher has but to instruct in the signs of the
staff and the technique of the instrument. Schumann says, “Sing fre-
quently in choruses, especially on the middle parts. This makes you
musical. Exert yourself, even though you have but little voice, to sing
at sight without the aid of your instrument; by this means the quick-
ness of your ear will constantly increase. But, if you have a good voice,
neglect no opportunity of cultivating it; consider it as the most valu.
able gift that Hearen has conferred on you." Experience proves the
value of knowing how to sing as a belp to the better playing of an in-
strument.
Channing says, “No man receives the true culture of a man, in whom
the sensibility to the beautiful is not cherished; and I know of no con-
dition of life from which it should be excluded." Music is a universal
language. Where speech fails, then inusic begins. It is the natural
medium for the expression of our emotions—the art that expresses in
tones our feelings which are too strong and deep to be expressed in
words. The Rev. H. R. Haweis, author of "Music and Morals” and of
** My Musical Memories," says:
The future missiou of music for the inillion is the discipline of emotion. What
is the ruin of art? Ill-regulated emotion. What is the ruin of life? Again, ill-regu-
lated emotion. What mars bappiness? What destroys manliness? What sullies
woraanhood? What checks enterprise ? What spoils success? Constantly the same-
ill-regulated emotion.
There is one thing more important than knowing
.
THE STUDY OF MUSIC IN PUBLIC SCHOOLS.
25
*
*
* . *
self: It is to govern self.
People get drunk because they have nothing else
to do; they beat their wives because their minds are narrow, their tastes brutal,
tbøir emotions, in a word, ill-regulated; they spend their wages because they have no
self-control; they dawdle in public houses where money must be spent, simply in the ab-
sence of all other resources; and they starve in winter because they have not acquired
the habit of steady work, which is impossible without study and wholesome recrea-
tion, or that steady. thrift and self-control which is impossible apart from disciplined
emotion. The question of music for the people will some day become a great govern-
ment question.
There are millions whose only rise of emotional life is base,
undisciplined, and degraded. Pleasure with many means crime, restraint, the real
handmaid of pleasure, is unknown; system, order, harmony in their feelings, habits
of self-control, checking the impulses, moderating and economizing the feelings, guid-
ing them to powerful purposes and wise ends and wholesome joyg-of all this our
masses are chiefly ignorant; yet
all this, music would mightily help to teach
and give.
It is obvious that we are, when we hear music intelligently and
sympathetically, actually cullivating abstract habits of mind, which may afterward be
transferred as trained forces to the affairs of daily life. As the study of Enclid trains the
mind in the abstract, so the study of music trains the emotion in the abstract. If
you want to touch and train this emotional life, music is your all-powerful ally.
In all the states of Europe vocal music takes a leading place in the
school curriculum, and patriotism would suggest that we do not let our
country be the last to make the study of vocal music as universal in our
public schools. Our progressive country should lead in so important a
brauch of education.
Foreign society and governments are founded and continued on the
policy of cloing as little as possible for the common people, and of richly
sustaining the favored few at the cost of the great mass of their subjects.
Still the governments have for several generations taught singing to
their children. In many of the schools of Europe music is taught more
hours per week thau any other study. Do we not see a reason for this
in the practical importance of music in its every day influence, in making
the people better, happier, aud more contented citizens? When the
despotic sovereigns of Europe make so marked a use of music, to in-
sure contentinent among their masses, can our free Republic afford to
ignore so important a help to the happiness and welfare of its sovereign
freemen?
#
WHY VOCAL MUSIC SHOULD BE REQUIRED BY THE STATE
AS A PART OF PUBLIC SCHOOL INSTRUCTION.
1
+
BY GEORGE A. VEAZIE, JR., Esq.,
Supervisor of Music, Chelsea (Mass.) Public Schools.
I hope to see every State in the Union, sooner or later, place the study
of vocal music on the same plane with the other elementary branches,
į. e., make its introduction and maintenance compulsory upon every
school board throughout the State.
This proposition would have the ultimate approval of every man,
woman, and child, who had been in any way, directly or indirectly, and
without prejudice, cognizant of the successful results attending the sys-
tematic study of vocal music in the public schools of the United States.
The earnestness of teachers, both special and regular, in this direction,
cannot be lightly passed by; it is soul-born, and as such is deserving.
But what is our experience? For I am persuaded that my experience
of the last fifteen years is but a complement of that of many others.
Brightened, as it always may be, in the pleasant intercourse of teacher
and class, it is, on the other hand, too frequently clouded by the will-
ful persistency of those who block the wheels of progress, themselves
ignorant of music, perhaps, even in its lowest forms; susceptible in no
way to its kindly influence; unable to perceive in the remotest degree
its bearing upon the disposition and the entire nature of the child, in
creating within its breast a love for the beautiful and the good, in pref-
erence to that which is ignoble and bad; shutting their eyes in stubborn
blindness to everything but their own egotism, and their worship of that
monstrous crudity-the theory of bread-and-butter studies; antagonistic
to all else beyond the limits of the three R's," and fighting to the bitter
end every suggested expenditure for anything beyond.
Such clouds are without doubt constantly within the horizon of every
school committee-man's experience; they darken the days of many
teachers in special branches, and in the study of vocal music in particu-
lar; the chief cause being the fact that this study is optional with city
or town, a vulnerable point.
A school committee-man who may favor this study, however loyal to
his convictions, has no power behind him, as he has in the case of the
prescribed branches; his compeers also know the weakness of his posi-
tion, and just so long as his adherents are in the minority, it is only by
courtesy, as a rule, that any progress is made. I do not think that I am
stating the case too strongly, for I know of instances where the study
has been dropped from the course when its advocates, wearied in their
26
;
THE STUDY OF MUSIC IN PUBLIC SCHOOLS.
27
persistent but futile endeavors, at last gave way in despair. I believe
firmly that in all cases where the study has been discontinued it is
because of this antagonism, which has no basis of truth in its assaults,
and not because of an unsuccessful result of its trial.
This is why I wish, and I have every reason to believe that every
friend of this study would wish, to have it taken from the list of optional
studies and placed upon an equal footing with those in the required
course. It would relieve the local committee-man of a grave responsi-
bility, in his own eyes at least an honest conviction, doubtless, but that
has sent many an unfortunate to the stake before now), and it would
place this study where it rightfully belongs. It would then become the
duty of the local committee to so perfect this study as to graduate schol-
ars who could teach singing in common with the other branches, and
thus finally reduce the cost of supervision to a minimum.
In my own schools, out of 72 teachers in the primary and grammar
schools, 67 possess the ability requisite to drill their pupils daily in the
singing exercises assigned ; 17 out of the 67 have been pupils in the
schools under my direction; the other 50, most of whom were teachers
at the time I took the schools sixteen years ago, have learned the ele-
ments of music as I have taught them to their classes; knowing noth-
ing of the art (with one or two exceptions) when they began, they are
now capable teachers in that direction. This has enabled me by de-
grees to reduce my visits in the primary schools from twice a week to
once in three weeks, and in the lower grades of graminar schools to
once in two weeks; so that where our city formerly employed and paid
me for the entire school session, four whole and two half days, I am now
engaged for only five half days, with a corresponding reduction in sal-
ary. It is probably only a question of time as to a still further reduc-
tion; in fact, it is certain, if the option is withdrawn by the State. I
am not writing this paper directly in my own interest, but in the in-
terest of the future men and women of our Republic ; for I truly believe
that with a realization of my desires and the desires of all who agree
with me in the direction named, will come the dawning of a brighter
era in the social and political relations of our States, as within and
among themselves. I cannot better explaiu myself here than by quot-
ing from the report (1883) of our music committee.
Let it be understood that music is not taught in our schools for what it may
bring to the pupil in mere temporal advancement, though, whatever may be gained
in this direction, should the scholar finally make music a profession, is to his advan-
tage. The training of the voice and the ear, and the formation of a correct musical
taste through the medium of pure models of inusical composition adapted in all grades
of school work to the ability of the young singer, is the underlying principle of this
noble endeavor, and every child is made the better for participating in the musical
exercise with a conscious ability. Its spiritual nature is broadened and deepened uncon-
sciously, and thus made more painfully sensitive to the assaults of evil, and much more ready
to welcome the benign influences for good, with which our civilized world is blessed. '
The spirit of the last sentence of this quotation is the key-note of
this whole paper; it is truly the spirit in which I write.
THE EDUCATION OF PUBLIC SCHOOL TEACHERS IN THE
ART OF SINGING.
BY N. COE STEWART,
Principal Teacher of Music in the Public Schools, Cleveland, Ohio.
That all children, when properly taught, can understand the ele-
ments of music, and can learn to sing new music at sight as well as they
can learn to read and to understand writing and print, bas been as clearly
demonstrated as anything can be. That such has not been always the
case where teaching music bas been attempted, is also true. But that
all children do so learn where right methods are employed and properly
carried out, proves that the failures were either in the inethods or in
the teaching, or in both. It is equally true that children, through
music-study in school, can learn to use their voices correctly, thus
training the entire vocal apparatus for reading and speech, as well as
for song
sion;
It is true, also, that children can learn to sing with taste and expres-
that they may acquire a fondness for good music and for singing,
and that they will, through proper musical training, become as much
more refined, cultivated, and useful, than they otherwise would be, as it
is possible for any one pursuit to achieve. In fact, their whole training
is not complete without this element.
The desirability of this condition of things, both as far as the indi:
vidual himself, and the social and religious organizations of society are
concerned, will be conceded by all who desire the highest and best
standard of manhood and social life. The question then is, How, with
our present generally low estimation of music and the uses of music,
can teachers be educated who will introduce correct music teaching,
and carry it on through a sufficient period of years to work out in the
pupils the state of things desired ?
If pupils understand the subject, and if they make intelligent and
protracted effort to learn to sing and to do whatever is required, they
will succeed as surely as in any other case wherein nature gives results
as a consequence of intelligent activity.
The work of the teacher is to aid the pupils in understanding the
subject, and to guide them in the necessary drill or practice. Is the
matter practical!
Can the regular school teachers be so trained that they can instruct
and drill the vast army of children that is growing up in the schools of
the country?
28
THE STUDY OF MUSIC IN PUBLIC SCHOOLS
29
If the highest types of professional music teachers were required to
do this teaching, it woull seem an impossibility either to secure a suf-
ficient number of such teachers, or to compensate thein pecuniarily if
they could be secured; and in either case the children would remain
uniustructed.
There is, then, but the alteruative-to accomplish the work through
the medium of the regular school teacher. “But," it will be said, “ most
of these know nothing of music teaching, and very little of music, while
many cannot sing at all. How, then, can they be trained to do effective
work in teaching music ?
It
may be put down as a universal fact that those who cannot siug
are in that condition because they have never tried sufficiently under
proper conditions; it is understood, of course, that cases of organic de-
fect in the vocal, auditory, or neuro-central apparatus are excluded
thereby. This general capacity has been proved by thousands of per
sons, who could not distinguish a difference even in pitch of tones, be-
coming afterwards fair singers and passable teachers. It is said,
66 Teachers must grow up and becone such persons themselves as music
is intended to make them, before they are fit for teachers.” This is true
as to the highest condition of things that is reached; but a start must
be made, the best that can be done under the circumstances should be
dove, and the educated judgment of teachers will comprehend that this
thing is a fact, even when they do not appreciate it as a possession.
Hence the average school teacher can, under certain circumstances, be
fitted to begin the work.
It is true there must be on the part of the teacher an approximate
comprehension of the functions of music. He must understand the ele.
ments of musical science and of the method of obtaining proficiency in
the art. How can the regular school teacher obtain this knowledge ?
How can he be instructed and trained to do this work?.
The first step in the education of teachers is to make music one of the
school studies; the second, to require all the pupils to study and sing
music; the third, to require the regular teachers to teach music, and
hold them as responsible for the progress of pupils in this branch as in
any other; the fourth, to employ a supervisor or superintendent of music
wbo possesses the requisite musical knowledge and ability and the
right appreciation of the uses of music, who shall have undergone a
thorough normal training and shall have shown aptness in teaching,
who shall have had a good geueral education, and whose manners and
morals shall be such as to commend him to educated and refined people.
The duties of this supervisor shall be to map out the work to be done
by the teachers, and to show them how to do it. This may be done in
teachers' meetings appointed for this purpose, and by frequent visits to
the several schools, when the pupils are not only tested in what has
been done by the regular teachers, but new subjects are introduced by
the supervisor and the pupils are drilled so as to show the regular teacher
how to do it. The teachers also should meet regularly for instruction
30
CIRCULARS OF INFORMATION FOR 1886.
in learning to sing and to read music themselves. With the thought
before them that “they must understand this subject and learn to sing,
or they will lose their positions," it is astonishing to observe how soon
such ideas as “natural gift,” 6 cannot do it," "beneath the teacher's
dignity," "ability to sing is evidence of shallowness," etc., will disap-
pear, and real progress manifest itself.
As previously stated, it is simply a question of ordinary good sense, of
commencing work with a purpose of doing it, of correctly understanding
what is to be done, and of a vigorous prosecution of the study. Nature
will take care of the rest, and in due time intelligence, feeling, spirit,
and voice will grow into knowledge, appreciation, and ability.
It is evident that the quality of the work depends very largely upon
the supervisors. If these have a correct apprehension of what is to be
done, and of how to do it; if they are skillful and wise in instructing,
directing, and overseeing teachers, there is but little doubt that the
results will be most satisfactory.
How to educate correctly these supervisors or directing music-teachers,
then, becomes an essential consideration. Of course a sound musical
education, a knowledge of the vocal organs and of how to use them
correctly, is the base. Hence all instruction in this direction is an agent
in preparing the musical director and teacher, whether it comes through
the medium of the living teacher or the printed book. But teaching
in class so that each individual shall learn is, in a sense, so different
from private teaching, that preparation to do this kind of work requires
a special, not to say a different training.
For this purpose the inost ample preparation must be made, or the
best musician who undertakes class music-teaching in school will be
ligroping in the dark," and is most likely to fail. He must have the
best light of theory, experience, and precedent in this special field.
Even then the science and art of correct class teaching are so recent
that the director must make many original experiments, and must do
much original thinking and investigating. Normal music schools, whose
faculties embrace mostsuccessfuland experienced teachers in this kind of
work have done much, and will do more, in training teachers; colleges,
theological schools, and all schools that have for their object the highest
in education, or fitting persons for special professional life, should de-
mand of and for their pupils the best musical training and the best
music. This in turn would create a demand for the best music teaching
in their own schools and in the schools lower down. Similar demand
should also be made by churches, and by educated and refined society.
It may be repeated: if the demand for teachers of a high standard of
excellence is made, the best knowledge and the greatest skill will soon
be employed in training such teachers, who in turn will be qualified
to train, to direct, and to supervise the regular school teachers. Im-
provements will be made in methods and means, as in other things, as
experience and earnest purpose seek to supply a demand which is made
necessary by the highest ideals in human development
TO WHAT EXTENT ARE SPECIAL TEACHERS OF MUSIC
NECESSARY?
BY HOSEA E. HOLT, Esq.,
Boston, Mass.
The answer to this question will depend largely upon the methods of
teaching employed. So long as our methods of teaching music make it
necessary for the teacher to be a singer or player in order that he may
șing for the children to imitate or lead the children in their singing,
just so long will the teaching of this subject in the public schools be a
failure so far as real education in music is concerned. Knowledge in
music is in the thinking and not in memorizing. All imitation work in
the way of rote singing in teaching music is memory, and not knowl-
edge. It is only necessary to establish the major scale as a whole by
imitation or rote; when this is accomplished pupils should be so di-
rected in their practice as to enable them to sing all intervals without
assistance. The major scale is the unit upon which all music is con-
structed; and by practice with this series of sounds all difficulties in
the study of intervals can be solved by the regular teacher.
The most favorable time in the whole school life for acquiring a
knowledge of these sounds and thus laying a solid foundation for intel-
ligent singiug by note, is the lowest class in the primary school. While
little children should have a limited number of rote songs for recreation
(if tastefully sung), rote singing should not form the basis of instruc-
tion in music with young pupils. Children who are always led in their
singing by voice or instrument never acquire the ability to sing well,
independent of such aids. When teachers learn that sounds can be
taught to the youngest pupils much more easily than numbers, and that
all difficulties in the study of intervals can be overcome by practice
with the sounds of the major scale, thousands of teachers who at pres-
ent regard the difficulties as insurinountable will teach music succes-
fully.
Our greatest service to the cause of music in public schools is to im-
prove and simplify our methods of teaching in such a way as to make
available the teaching power of the regular teachers. When sounds
are taught as numbers are taught, then the teacher's ability in teaching
numbers is made juist as available in teaching sounds. Success in teach-
ing music is sure to follow if it is properly taught in the lower grades.
31
32
CIRCULARS OF INFORMATION FOR 1886.
If children in the lower grades are taught from the beginning to think
in souuds, they will soon become independent and self-supporting in
their work; but if they are taught to imitate the teacher or instrument,
they are always dependent upon others. A short daily lesson in music
will accomplish wonders when the subject is properly presented and
children are taught to exercise their musical powers. This elementary
work in music can be more effectually accomplished by the regular teach-
ers, who know the children individually and can give them daily prac-
tice, than by a special teacher who can see the children only occasion-
ally. Skillful instruction and supervision is necessary until the regular
teacher learns the process; when this is done we bave as good a teacher
of music as of auy other study constantly in the school-room. The im-
pression is very general that special teachers, or experts, in singiug or
playing must be employed to teach this subject. This false impression
is the result of wrong methods of teaching, which require the teaching
of a vocabulary of exercises and songs with which to teach the notation.
Skillful instruction and supervision for the regular teachers are fast
becoming appreciated in all branches of study; such instruction and
supervision will always be in demand, and music will be no exception.
There is no subject taught in our public schools to which true educa-
tional principles can be so easily and successfully applied as to that of
music. And yet there is no subject taught in which these principles, so
important in teaching all subjects, are so utterly ignored and disre-
garded. In applying the principles of object-teaching music has the ad-
vantage over all other studies. We are never obliged to substitute any.
thing for the real objects of thougbt; we have always at hand the real
things (suunds) for constant study and investigation; no pictures or
drawings, or signs of any kind, can give us any idea of the real, but in-
visible and intangible, things in music. The elements of music are in
themselves very simple, and can be successfully taught by any teacher
when they are presented in their simplicity, and the mind is trained to
one thing at a time. Simple as these elements are, we shall never teach
them successfully until we learu to separate them from the notation,
and train the inind in these simple thivgs before the uotatiou is given.
We believe that the value of music as an eclucational factor has never
been realized, because the teaching of it bas never been put upon the
same educational basis as other studies. The full possibilities in music
with the masses of little children are unknown, because we have yet to
make the best presentation of the subject from the pedagogical stand-
point. When the same intelligence and skill have been gained in teach-
ing music that have been developed and applied in the teaching of other
subjects, music will take its proper place in our public schools, and be
as generally and successfully taught by the regular/teachers as any other
branch of knowledge.
SIGHT-READING; WHAT IT IS, AND HOW ATTAINABLE.
BY CHARLES W. LANDON,
Director of Music in Claverack College.
It is often remarked that in our schools the time is fully occupied.
How, then, can the study of music be added ?
Teachers universally testify that fifteen or twenty minutes daily given
to singing the music lesson is not so much time lost, because the pupils
will do more and better work from the life and enthusiasm awakened in
them by the singing.
There is no more inherent difficulty in learning to read music at sight
than there is in learning to read common print at sight. But what is
singing at sight? It is to sing correctly without the aid of an instru-
ment a piece of vocal music never seen before. Its advantages to a
singer are great, either in private practice, in society, in choir singing,
or in festival chorus singing. He can at once render the piece, and,
with a limited practice, he can perform it with an artistic finish.
The rote singer is one who learns a piece by hearing it sung repeatedly.
He must go to the trouble or expense of a teacher, and must spend much
time in learning each piece before he arrives at the commencing place of
the sight singer. The result is that when home and business cares come
upon him he gives up his musical acquirements for want of time to learn
new music, for both the singer and his friends soon tire of the old pieces.
But it is not so with the sight singer; he would no more give up sing-
ing than reading the newspaper or books; fresh fields are ever open
to him, and, as he gains in experience, higher and better music is at his
command. This may be illustrated by supposing tbat two persons re-
cite equally well a poem in German. The one has merely learned this
one piece, and even may be ignorant of its meaning; the other is a Ger-
man scholar, and bas at his command all the treasures of knowledge
stored in the vast literature of the German language.
As our country gains wealth and grows in culture, our churches will
demand more and better music, and church choirs will take many of
our best singers, where they will do their part for the good of the cause,
or, if the church has the income, they will be paid for their services.
The sigut singer will take part in the musical festivals that are spring-
ing up in every part of our country. These festivals are doing an im-
portant work in teaching the people the mighty power of vocal music,
4470-No.13
33
34
CIRCULARS OF INFORMATION FOR 1886.
and in furnishing an elevating recreation for the masses. When the
brain and body are tired we demand recreation; and the question that
now awaits an answer is, Shall the state let interested persons furnish
low and degrading amusements, or shall its citizens be made better
and happier by giving them the means of self amusement through the
elevating art of music?
When sight singing becomes more common, our young people will
spend their leisure hours in social singing, or in attending rehearsals
for concerts or festivals; for the more people know of music, the more
time they will give to its practice, and thus be saved from drifting into
lower forms of amusement.
The ancients attached much importance to music, and gave much time
to instructing their young men in the art. Aristides said, “Music is cal.
culated to compose the mind and fit it for instruction.” Pico Mirandola
said, " Music produces like effects on the mind as good medicine on the
body." Plato said, "Music to the mind is as air to the body." Homer
said, “Music was taught to Achilles in order to moderate his passions."
And yet music, in every respect, was then in its rudest, crudest, embryo
state. Schumann said, " It is music's lofty mission to shed light on
the depths of the human heart."
There is a continuous stream of the children of poor parents, and of
parents who are indifferent to the advautages of an education, that are
pouring through our primary and intermediate schools, staying so short
a time that it is a necessity that the vocal method used shall be rapid,
thorough, simple, direct, attractive, having no contradictory terms, and
teaching the essence of music rather than its technicalities; otherwise
this class of children, who most need the influences of music, will be de-
prired of its advantages, a loss that neither they nor the state can well
afford.
Where vocal music is taught in the schools, it should be placed on
the same basis as the other studies. Pupils should be required to pass
examinations in their singing, and to attain the same proficiency in it
as is necessary for promotion from one grade to the next in any other
study.
THE RELATIONS OF MEDICINE TO MUSIC.
BY EPHRAIM CUTTER, M. D
New York.
At first sight there would seem to be but little connection between
medicine and music.
The science of medicine is divided up into many branches, the first
two of which are anatomy and physiology. These relate to tbe struct.
ure of the human body, to the study of the physical combinations we
call organs of sense, and to the functions of these organs. Music has to
do with the hearing; with the voice in singing ; with the respiration,
in playing on wind instruments; with a perfection of limbs, in playing
on stringed or other instruments; and, to carry this no further, with a
normal condition of the cerebral nerve centers, which insure mental
operations enough to the performance of music, or to the hearing
thereof.
Anatomy shows us the wonderful structure of the ear, by which we
hear the vibrations of the atmosphere set in motion by musical sounds,
no matter whence they emanate. It shows the rods of Corti suspended
in a liquid medium confined in a curious whorl-shaped cavity, wbich is
provided with a membranous window on which is a curious chain of
bones; the stirrup; the anvil; and the bammer connecting with the
drum of the ear, which lies at the bottom of the external passage. It
shows also the two Eustachian tubes, that lead from the internal ear to
the pharynx. Thanks to modern invention, the rhinoscope displays the
pharynx and orifices of the Eustachian tubes.?
Anatomy has shown that the rods of Corti are the final media in
the ear that transmit vibrations to the nerve centers. The number of
40,000 per second is the highest that can be perceived.
Comparative anatomy shows the difference in the organs of hearing
in different species of animals.
Anatomy shows the structure of the human larynx, throat, and
mouth, that have to do in the production of music, which may be called
cantation. For ages past anatomists have studied the dead organs,
and the full significance of the structures was not perceived until a com-
paratively recent period. A great deal was learned from the dead
1 The writer can by means of the rhinoscope see his owu Eustachian tubes, either
one at will, and he has been in the habit for more than twenty years of demonstrat-
ing the same to those interested.
35
36
CIRCULARS OF INFORMATION FOR 1886.
1
larynx; but when the laryngoscope was introduced a new flood of light
was thrown on the subject, and the difference was shown to be as great
as that between life and death.
The offices of the true vocal cords or bands, the false vocal cords or
bands, the epiglottis, the passages through the mouth and nose, the
use of the tongue and teeth, are now well known and described. Pho.
tography, eren, has depicted the living larynx in its actual place and
relations, and in action. Czermak, of Prague (about 1862), was the first
to photograph it. In November, 1865, the writer took the first photo-
graphs in America of the living human larynx (his own). Mr. F. W.
Hardy, now of Springfield, Mass., was his skilled assistant. Copies of
these photographs are deposited in the U.S. Army Medical Museum,
at Washington, D. C. This fact would not be mentioned here but for
the reason that others have claimed priority in this matter. The lit-
erature of this subject is immense, and the medical profession may be
said to have worked it up thoroughly.
There is one thing interesting as to the function of the false vocal
bands, which, as it is not generally known, may be alluded to briefly
here. The false vocal bands close during the act of holding the breath,
and are probably the chief agents in retarding the emission of the
breath during singing and phonation. This is an important office, and
should give these bands a better name than false, for their work is as
true as that of the vocal bands themselves.
In singing, the tones are produced by the action of the vocal bands
alone; these tones are, like the tones of a cornet, produced by the air
passing through the lips on the embouchure of the mouth piece. In
"songs without words," the larynx "plays” like an instrument; but in
songs with words the varied tones are modified by the position of the
tongue, mouth, and nares, which I have called “oripulations.93
The variations in pitch are governed by the length of the vibrating
surface of the vocal bands. For example, in my own case I have dem.
onstrated when required, to myself and to others, the vocal bands
vibrating as follows:
(a) Throughout their whole length: ta
(6) Through their anterior two-thirds: D
(c) Through their anterior third :
· Photographing the Larynt. By Ephrain Cutter, M. D. Archives of Laryngology,
July, 1882. New York : G. P. Putnam.
2 Some Practical Points about the False Vocal Bands. By E. Cutter, M. D. Gail-
lard's Medical Journal, New York, 1384.
3 Cantation and Phonation. By E. Cutter, M. D. Boston Journal of Chemistry, Jan-
uary and February, 1872.
T
THE STUDY OF MUSIC IN PUBLIC SCHOOLS.
37
The bands, therefore, are subject to the same rule as the strings of a
'cello.
In the falsetto voice the anterior two-tbirds of the vocal bands
vibrate very close together in producing
Of course in wind instruments, when the wind is derived from the
player, the organs of respiration are indispensable. Anatomy shows
their structure, and physiology shows their functions. The false vocal
bauds must be of great use in the playing of wind instruinents, because
of their retentive power over the expiring breath.
All stringed instruments require for best development an environ-
ment of sound limbs. A broken arm would have kept Ole Bull frovi
playing the violin, and a broken leg would have ruined a Whiting for the
organ. Medicine tells us about the structure and functions of the limbs,
and surgery comes in to restore physical defects found in those of per-
formers on musical instruments.
Above all, there should be a clear brain, no matter whether the par-
ticipator listens or performs. Medical science teaches us the data
about this department of our bodies, and so is a handmaid to music.
While there is not much music in medicine, there is a good deal of
medicine in music. The effects of David's music on King Saul is well
known. Here music was a medicine on a mind that was insane, or
bordering on insanity. The domestic history of ordinary families shows
how universally infants have been sootbed and put to sleep by their
mother's vursery songs, which, though repulsive to the adult ear, act
like a soothing medicine on the children.
Music is barmonious motion, and penetrates the soul by more ways
than one, and where phonation does not penetrate. It is a universal
language, that reaches the heart and sympathetic verres. It is a soother
and soporific, and thus is a good medicine for souls distressed. Music
thus takes the place of drugs and is preferable to them.
For example, when the use of opiatos is done away with by music, the
advantage is in the avoidance of the bad effects of the parcotic on the
liver and digestive organs, to say nothing of the "opium habit” which
may be acquired. The music habit, if I may be allowed to use the tèrın,
has nothing harmful in its effects.
Again, music is medicine to the weary adult, worn with business,
work, and worriinent of mind. A prominent New England clergynjan,
tired out with the duties of his profession, tells me that there is nothing
so restful and soothing to bis Derves as Haydu's trios for the piano,
'cello, and violin. I can testify to the same thing. May not this explain
the secret charm of concerted music?
When the soul and body are refreshed by the music medicine, we are
then ready to take bold of life duties with renewed vigor and earnest-
ness, and double work can be done in the same time that it took belure,
38
CIRCULARS OF INFORMATION FOR 1886.
I suppose music quiets the sympathetic nervous system, which does a
great part of the nerve work of the body. The nerves of the head (which
are volunteers) when worried or overworked, are sad disturbers of the
sympathetic nerves (which are automatic). It is possible that the agreea-
ble occupation of the cerebral nerve centers by a musical performance
causes them to let the sympathetic nerves alone, and to cease with-
drawing, or rather stealing, from them the energy which is their share.
Howerer it is done, the fact remains as stated, that the digestive, cir-
culatory, secretive, nutritive, and reparatory functions are better per.
formed when the sympathetic nerves are let alone and allowed to do
their work quietly.
To refer back to the nursery, when the mother instinctively sings her
nursing babe to sleep on her bosom, lactation goes on smoothly and
harmoniously, and the music soothes both mother and child; but let
some intelligence of a startling character suddenly disturb the mother,
the mammary gland would cease secreting, and the babe would do any-
thing but sleep.
I think I would go so far as to put music in the materia medica, after
what has been said of it by many, as a remedy for insomnia, neuras-
thenia, and nervous prostration, as it could be harmlessly used for any
length of time, and would be pleasant to all.
The celebrated watering place of Carlsbad is, and has been for cen-
turies, a great resort of those who wish to drink its waters for their
health. The German Government controls the springs, and every one
who comes to drink is obliged to consult a physician who examines the
case, and either sends the patient away, as not likely to be benefited,
or prescribes the mode of administration which the patient must follow,
Besides this the Government furnishes an excellent orchestra to play
at the regulated times when the drinking goes on. For this music aud
tbe medicine (i. e., the drinking water) a tax is levied on the drinkers.
Whether the music is used as a vehicle or palliative for the unpleasant
draughts (as physicians give iodide of potassium in syrup of sarsapa-
rilla to cover the taste), or whether the music itself is intended to act as
a niedicine adjuvant to the waters, I know not; but we inay be sure
that the combination would not be enforced by Government unless it
was thought advantageous by medical men to promote the appetite
and zest for the unpalatable natural mineral beverages taken for the
bodily ailments of the consumers.
An affecting story is told of a child, about two years of age, in the Far
West; she was stolen by Indians, and kept till she was eight years old.
The parents made every effort to find the child, without success. Fi.
nally an officer of the United States Army, stationed at a fort, brought
there the tribe in which the girl was, and also the bereaved parents in
order to examine the savage company. After a time the parents sin-
gled out their girl in the savage costume, but could make no impression
on her by which they could certainly recognize lier. The child seemed
THE STUDY OF MUSIC IN PUBLIC SCHOOLS.
39
dazed and astonished. The mother began to despair till an older child
said, “ Mother, sing the lullaby that you used to sing to her wheu a
baby.” The mother did so. At once the lost child listened, became
animated, recognized ber mother, and rushed into her arms. Certainly
this was a case where music acted upon an enfeebled memory as a suc-
cessful stimulant, when speech had entirely failed to elicit any response.
A reference to such works as that of Dr. J. Solis Cohen on the throat
shows what a real advance has been recently made in the knowledge
and treatinent of diseases of the air passages which interfere with vocal
music. There has not been so much of an advance in our knowledge
of the diseases of the ear. It is to be hoped that time will remedy
this.
I refer here very briefly to the latest remedies for the most common
affections of the throat, such as common colds from inflammations caused
by exposure to low temperatures; these consist of inflammation, more
or less extended and severe, of the mucous membranes of the respiratory
tract. Colds are a simple yet complex matter, and need but little ex-
planation as to what tliey are, since most people know all about them
from their own experience.
When a singer is accustomed to "scatch cold," a nightly sponge-bath
of warm water containing a teaspoonful of ammonia to each pint, taken
on going to bed, will so fit the skin (the largest gland in the whole body)
to do its work, that taking cold is avoided five times out of six.
In Germany the inhalation of nascent chloride of ammonium has
been used for chronic colds with success, but I have found it even more
successful in acute colds. There are many good inbalers in the market,
but that furnished by Foote & Swift, of Philadelphia, is especially
adapted to the inhalation of this pascent chloride and also of menthol.
Menthol, the Japanese camphor peppermint, is derived from a plant
belonging to the mint family. I use it in colds in the following ways:
(a) Best of all, use the inbaler mentioned. This will last for months
and always be ready for use. (1) Inhale one drachm in dry crystals
from the bottle in which it is contained, as one inhales "smelling salts."
(c) Put it into a fold of a handkerchief or paper envelope, and thence
inhale. ( (d) Moisten a finger with water and touch it to the menthol.
Then rub the adhered menthol upon the moustache or the upper lip.
If singers would use a diet consisting of two-thirds of food from the
animal kingdom, and one-third of food from the vegetable kingdom, or,
to express it differently, a diet composed of one mouthful of food from
the vegetable kingdom to two mouthfuls of food from the animal king-
dom, the system would run so smoothly as not to be upset by any
changes of temperature.
In affections more severe than colds, such as local ulceration, prolif-
erations, and irritation of the upper air passages, a laryngologist should
be consulted; when this is out of the question, I recommend as a local
application to the affected parts a mixture containing equal parts of the
40
CIRCULARS OF INFORMATION FOR 1886.
.
liquor of persulphate of iron and glycerine. It should be applied by
a sponge or on absorbing cotton every day or once in two days.
Another excellent remedy is the ethereal tincture of iodoform (one
drachm of iodoform to one ounce of ether) applied as before by a sponge
or on absorbent cotton. Elsberg's throat-forceps is the best carrier for
the sponge or cotton. I think the second is the better throat applica-
tion of the two.
Affections of air-passages of the most serious kind must be referred
to the medical practitioner. I would remark in passing that asthma and
hay fever are now curable by diet and liquefying medicines; even cases
of consumption come in the sanie category, when patients manifest
enough will to govern their appetite for forbidden food, and to obey
absolutely their medical adviser.
EDUCATION IN MUSIC AT HOME AND ABROAD.
BY JOHN EATON,
Commissioner of Education.
“Music,” says Martin Luther, "is a master which makes the people
softer and milder, more polite and more rational. It is a beautiful and
noble gift of God. I would not part with what little I know of it for a
great deal. You should be instructed in this art, for it makes a capable
people; it is indispensable to bave music taught in the school. The
schoolmaster that will not teach it is not the schoolmaster for me."
It has been observed, “A man often forgets his friends, his native
land, and sometimes his language, but the songs of childhood and youth
never fade from his memory." Goethe bears testimony that in music the
worth of art is most apparent, since it requires no material, no subject-
matter whose effect must be deducted. It is wholly good and pure,
raising and eunobling whatever it expresses.
“It is a strange thing," fitly exclaims Lady Eastlake, “the subtle
forin and conditions of music. When the composer has conceived it in
his mind, it is not there; when he has committed it to paper, it is not
there; when he has called together his orchestra and choristers from
the north and south, it is there, but it is gone again when they disap-
pear. It has always, as it were, to put on immortality afresh. It is
forever being born anew-born, indeed, to die and leave dead notes and
dumb instruments behind. No wonder that it should have been men
with shallow reasoning powers and defective musical feelings, who in
the fugitiveness of the form have seen only the frivolity of the thing and
tried to throw contempt upon it accordingly."
To-day few are so miserly, so materialistic in their natures, as to deny
the utility of music. I do not propose to enter upon an argument for
its support, or to go into an analysis of its nature, or to trace in detail
the curious and remarkable history of its development among the differ-
ent races of men. I desire to limit my task to the presentation of an
outline of the facts illustrating the progress and present condition of
instruction in music in the schools at home and abroad-facts that I am
called upon to present, not because I am a musician or teacher of music,
but because they are more readily accessible in the Bureau of Education
than elsewhere. In the baldest statements of facts, we should not forget
that whatever we are as a people with respect to music, its teaching,
41
42
CIRCULARS OF INFORMATION FOR 1886.
practice, production, enjoyment, or patronage, we have had the benefit
of all the past of human experience in this art. The Greeks have taught
us alike in the treatise on music by Plutarch and philosophical dis-
cussions by Plato, and in their myths, which made their wise gods,
Apollo and Orpheus, masters of musical instruments, with power to
charm savage beasts and to command the attention of stones and trees.
Thespis is said to have spoken the recitations with which he was the
first to intersperse hymns, thus leading the way to the songs and chants
of the drama. Sophocles accompanied the performance of bis Tharmyris
on the cythera. In ancient Rome we learn of numerous choristers in
tragedies, including male and female voices, accompanied with many in-
struments. Our Sacred Scriptures bring us musical gifts from the an-
cient Hebrews. Miriam sang the song of triumph for her people, and
to the psalms of David are due the most of our church melody. St.
Ambrose (384 A. D.), who is so conspicuously associated with the prog-
ress of music in the early centuries of the Christian era, adopted in his
metropolitan church at Milan the practice of dividing the verses of the
psalms into responsive choruses. In the following century Boetius (475)
furnished his voluminous treatise, so long the standard, though he is
charged with serious errors in his discussion of the music of the Greeks.
Then came, a century later, the effort of St. Gregory the Great (590),
who ordained a ritual for Rome which was named Gregorian.
The northern nations of Europe are credited with making valuable
contributions to the music received by them with other subjects of in.
struction through the Romans. Instruction in music, with which we
have mainly to do, appears prominently among the Saxons and Irish.
Specht, in his “History of Education in Germany from the Earliest Times
to the Thirteenth Century," acknowledges the indebtedness of that
country in all subjects of instruction at that period to the Irish cloisters.
In them the Latin and Greek authors were read, arithmetic, geometry, and
astronomy were studied, and special attention was paid to religious
poetry; but music was given a still more prominent place. Charle
who secured from York for his royal school the great teacher who was
the leader of education under his administration, brought teachers from
Rome to the cathedral school at Metz who were masters in all the free
arts," and who paid particular attention to giving their pupils instruc-
tion in music. As a rule, it will be observed that special progress of
instruction in music was closely related to the general improvements
in education; the German states, though indebted to other nation.
alities originally, later came to lead the civilized world in the education
of the masses and in their special training in music, and in our century
both England and America must acknowledge their indebtedness for
progress in musical instruction, as well as in the revival of education,
to the German schoolmaster abroad. Dr. Brooks, who did so much to
prepare the mind of the people of Massachusetts for the normal school,
obtained his notions of normal training from a Prussian fellow-traveler
THE STUDY OF MUSIC IN PUBLIC SCHOOLS.
43
on an ocean voyage. Mann, Barnard, and Stowe all went to Germany,
and their several works on German schools did much to aid their efforts
in bringing on a revival of education among us. The writings of these
and other pioneers of that movement, full of the strongest argument
for general culture, were not unmindful of the importance of training
in music. Horace Mann, in one of his early reports, treats the whole
subject with his usual force and clearness :
The pre-adaptation of the human mind to seek and find pleasure in music, is proved
by the universality with which the vocal art has been practiced among men. Each
pation and each age steps forward as a separate witness to prove the existence of
musical faculties and desires in the race. In cultivating music, therefore, are we
not following one of the plainest and most universal indications of nature—the order
of that Being by whose wisdom and benevolence nature was constituted! The Cre-
ator has made the human mind susceptible to emotions which can find no adequate
expression but in song. Among all nations joy has its chorus and sorrow its dirge.
Patriotism exults over national triumphs in uational songs; and religious yearning
yainly strives to pour out its full tide of thanksgiving to its Maker, until anthem
aud hallelujah take the rapt spirit upon their wings and bear it to the throne of God.
Nature not only points, as it were, her finger toward the universal culture of the
musical art, but she has bestowed upon all men the means of cultivating it; the
voice and the ear are universal endowments.
He calls to mind the instinct of music as well as the instinct of archi-
tecture, painting, and sculpture. He points out the cost of gratification
in these several departments of the fine arts, and the inexpensiveness
of obtaining a wealth of song, present at all times, unburdensome, a
means of gratuitous solạce, an inexpensive luxury, whose peculiar at-
tribute is not to grow old, nor weary the oft-listening sense, nor pall
upon the oft-attentive mind. But we are not left to speculation and
inference as to the beneficial effects of vocal music in public schools.
The universal practice of music in most of the schools of the German
states for a long series of years is an experiment sufficieut of itself to
settle the question of its utility. Probably it is not the least efficient
among the means by which the schools of Prussia are kept in such ad-
mirable order with so rare a resort to corporal punishment. The whole
country is vocal with music. It adds zest to social amusement. It
saves the people from boisterous and riotous passions. Pervading all
classes, it softens and refines the national character. It is the recrea-
tion of the student after his severe mental exertion, and it cheers on
the laborer sweating at his toil.
Again, he points out, first, how vocal music promotes health; second,
how vocal inusic furnishes the means of intellectual exercise; third, he
observes that the social and moral influences of music far transcend in
value all its physical or intellectual utilities. It holds a natural rela-
tionship or affinity with peace, hope, affection, generosity, charity, de-
votion. There is, also, a natural repugnance between music and fear,
envy, malevolence, misanthropy. In ancient mythology, Nemesis and
the Furies never sung. Napoleon, after subduing the physical force of
the Egyptians, proposed to perpetuate his power by a mastery over
44
CIRCULARS OF INFORMATION FOR 1886.
their sentiments and affections by introducing appropriate selections
of music. But Horace Mann not only gave us reasoning valuable for
all upon the subject, he put his hand upon the difficulties in the way of
the progress of music. “Unbappily," he says, “there are but few per-
sons in our community competent to teach the art, even of vocal music.
We are an un-inusical_not to say an anti-musical-people. No heredi- .
tary taste has descended to us. Our Pilgrim fathers residing in Mas-
sachusetts were too stern a race, and their souls were occupied by in-
terests too mighty and too absorbing, to afford them either leisure or
inclination to cultivate music as a refinement or an embellishment of
life.”
Thus powerfully did he and his coadjutors enforce upon the minds of
the public and of school officers and teachers the importance of instruc-
tion in music.
By turning our attention to the summary of the progress and condi-
tion of musical education in continental Europe, by which our own ef-
forts and tbose in England have been so greatly affected, the results of
these early efforts in aid of musical education upon its present condi-
tion among us may be more clearly seen. In the cathedral schools in
Germany in the ninth century the boy students were trained in music
so as to take part in the daily services. Under Charlemagne, the Gre-
gorian church music, which had been widely diffused by Pepin, was in-
troduced generally in Germany, and by imperial decree the clergy were
compelled to learn correctly the Roman mode of singing. Students of
all cathedral and bishop schools were also required to be versed in it.
The task of making small boys proficient in rhythm and time, and
teaching thein to sing sweetly and loudly, was one of the most difficult
the teacher had to perform. No subject of instruction, besides gram-
mar, took more time than church music, in which pupils were exercised
as long as their school attendance lasted. Learning the characters
then used offered immeasurable difficulties, and still worse was the right
reading, for different notations and punctuations were employed, which
only made manifest in a general way the rising and falling of the melo-
dies without making it easy to distinguish the intervals. It, therefore,
required the closest attention on the part of the student to follow the
leader and find out what intervals should be allowed in different in-
stances, and remember them. Besides, the syllables bad to be dis.
tinctly pronounced, so that the modulation should be correct, the right
time be observed, and the harsh German voice be brought to produce
the different effects lightly and softly.
Impatience on the teacher's part, and tears on the pupil's part-how
often did they take part in the exercises, repeated over and over again
until proficiency was reached! The rod played a prominent part in
musical instruction, every mistake in church-singing being followed by
its application, and its use was much inore frequent in this branch than
in instruction in grammar, because music was a daily task, and often
THE STUDY OF MUSİC ÎN PUBLIC SCHOOLS.
45
the head of the school would be particular to be at hand during the sing.
ing hour tò protect the boys from the wrath of an impatient precentor
or his assistant. Music was one of the most important disciplines of the
quadrivium. The study of that art was regarded as important as tbat
of grammar or. arithmetic in the schools of the religious houses. “Wbo.
ever is not skilled in music," says Rabanus Maurus, " cannot discharge
the duties of a priestly office properly.”
In many monasteries, too, the pupils were taught instrumental music;
as at St. Gallen, where Tontilo, a master of all kinds of stringed in.
struments, taught the pupils of the extra.cathedral school the art of
playing on stringed instruments. His pupils were often the sons of the
nobility. The school at Metz, made prominent under Bishop Chrode-
gang, who died in 766, long held the first place in training chanters for
the principal churches and teachers for the schools of the empire.
After the middle of the ninth century the cathedral school of St. Gallen
was, perhaps, considered the leading training school for musiciaus.
Notker, the staumerer, Ratpert, and Tontilo here composed their world-
renowned sougs, and wrote theoretical treatises on music. “By hymns,
sequences, turns, and litanies, by different songs and melodies, as well
as by their religious learning, the students of this school made the
Church of God renowned not only in Allemania, but everywhere from
sea to sea.” The chief masters tried to simplify the extremely difficult
instruction in church singing. In the ninth century an attempt was
made to improve the notation, and to modify the antiquated system of
teaching and studying music in other ways.
Only studeuts who were specially adapted for the work undertook
the theoretical study of music, which they began after studying arith-
metic and astronomy, or at least the former, which was regarded as
essential to an understanding of the principles of music. It is said of
Gerbert that he proceeded from instruction in arithmetic to instruction
in music. The standard was advanced so high that one who was
simply a good singer or a skilled performer on different instruments,
was yet not regarded as a complete musician. To merit that title it
was necessary to have acquired a knowledge of the relations of tones
in the course of the quadrivium, and especially the relations of music
to arithmetic. A person who had this deeper knowledge could form a
judgment upon tones, rhythms, sounds, and their combinations, topics
which are embraced in the wide domain of music.
In a comedy of the tenth century, written by the nuu Hrotsuit, à
scene from the school-rooi of a Saxon cathedral school is shown to the
reader, in which the teacher is represented in the act of instructing the
pupils of the quadrivium in the nature and kinds of music. In the
dialogue the complicated relations of tones in sequence and harmony
are artistically discussed in a way which shows an accurate study of
the books in use at that time. The result of these and succeeding ef-
forts is seen in the universality of music among the German-speaking
46
CIRCULARS OF INFORMATION FOR 1886.
peoples, which some one has described by the observation that every
German child is born with a song in his mouth."
A recent author obserres:
Singing is the one branch of music generally taught in educational institutions.
In boarding-schools, academies for the young sons of noblemen, and teachers' semi-
naries, opportunities are given for instruction on the violin and piano, but more as
an accompaniment for the voice. In seminaries, persons preparing to be teachers
generally acquire a knowledge of harmony, or receive instruction on the organ, so as
to be able to pass an examination for organist as well as teacher, as often the position
of organist at the village church is occupied by the teacher. In Prussia, for instance,
a decree of October 15, 1872, required of persons entering teachers' seminaries that
they have a knowledge of the elements of harmony, use of pedals, ability to play
four-part chorals at sight, and other easy organ pieces. In the seminary or normal
school they were to continue instruction in organ-playing and harmony until they
could play all chorals, transpose similar music, etc. Pupils were, however, admitted
sometimes if they could not fulfill these conditions.
According to the law of May 14, 1869, of Austro-Hungary, singing
was one of the branches to be taught in the elementary schools. The
same requirement is in the law of May 2, 1883. In accepting pupils
in the normal schools—where music is a part of the course of study-
those having some musical knowledge are to be preferred. The burgher
schools for boys include singing among the branches taught. In an
undivided one-class, all.day school in Lower Austria, the programme of
studies includes an hour of :musical instruction per week in all of the
years from the first to the eighth inclusive.
The States of the German Empire, though seeming to the casual ob-
server to be almost exactly similar in their educational schemes, differ
from each other in fact, as do the several States of our Union, in re-
spect to their school systems, but singing is one of the essential studies.
The differences to be observed are only those of amount of time or of
methods. In a one-class school of three divisions in Prussia singing
was taught one hour a week in the lowest class and two hours a week
in the middle and upper grades. In the girls' high school at Leipsic
singing is taught one hour in the three upper classes and two hours in
the four classes below per week.
In the grand duchy of Baden, as far back as 1836, in the course of
study for an iustitution which included lyceums, gymnasia, and peda-
gogical schools, singing was required two hours a week in each class, and
the training was both theoretical and practical. In the programme of
studies at the Royal Gymnasium at Stuttgart, choral singing, the stuciy
of major and minor chords, singing from books in use in the common
schools, all enter into the course. Germany has countless music schools,
those of Berlin, Leipsic, Stuttgart, and Schwerin being among the best
kuown. In Berlin, the conservatory proper has divisions for the study
of church music, for composition, and for general instruction in music,
harmony, counterpoint, etc. In 1879 there were over 30 musical acade-
mies reported in that city aloue, many of them private institutious.
The Academy of Kullals had over 1,000 pupils. At Cologne, Frank-
THE STUDY OF MUSIC IN PUBLIC SCHOOLS.
47
fort-on-the-Main, Magdeburg, Breslau, and Cassel, there are schools of
music. Munich and Würzburg report each one school. Saxony bas
conservatories at Dresden and Leipsic. There are similar institutions
in other prominent cities. Austria reports 800 pupils at the Vienna
Conservatory of Music.
In Belgium the law of 1844 reaffirms the requirements of previous
laws with respect to singing in the course of school studies. One hour
a week is required for the boys and girls of the first and second ele-
mentary grades, and two hours a week in the boys' third grade, while
in the same grade for girls only half the time is obligatory. In the
normal schools for males, two hours a week are devoted to music in the
first and second years, and one bour each in the third and fourth years,
and the same in the normal schools for female teachers.
I am in receipt of a report of a commission of 25 members, appointed
by the Ministry of Public Instruction in France, to decide on the need
of instruction in music in the schools of that country. It contains the
latest and most valuable summary of information upon this subject.
The commission observes: Singing was formerly a part of the school
programme, but of late years the study of it has very much dimin-
ished. In order to carry out the decrees of 1883—the first decreo re-
quiriug that music should be taught two hours a week in each of the
three years of the normal course, and the second decree relating to ex-
aminations in music on entering the normal schools--this commission
was appointed, and was specially to take into view its instruction in the
normal schools and in the primaries, so as to bring about the best
methods of musical instruction in all grades of schools. A sub.com-
mission, consisting of five members, was designated to elaborate more
fully the programme of instruction in the schools. The general com-
mission agreed upon the importance of the need of instruction in sing-
ing, one member indicating that the singing should commence in the
Salles d'Asile, another limiting the lowest age at three years, while
the general feeling was that instruction in musical exercises should
commence when the child is six years of age and be continued without
interruption through the school years. A slight difference as to the
methods to be used appeared; but all agreed that the choice of meth-
ods should be left, in a measure, to the teacher, provided he or she had
previously received proper instruction in music. For this end the pupils
of the normal schools should be required, as far as their natural powers
would permit, to pass examinations in the elements of music before being
received into the normal grade, and one member of the commission sug-
gested that during the vacations regular musical instruction might be
given in Paris to one or more pupils from each normal school, under the
best instructors. The result of such instruction each year to different
pupils would be that by 1891 a fine corps of teachers of singing would
be ready for the primary grades. One member stated the object of the
commission to be the creation of musical morals and musical chorals,
1
48
CIRCULARS OF INFORMATION FOR 1886.
and held that music should be obligatory in the schools, and that the
pupils should be able to read and write it as they wrote French. The
musical humanities should be taught, that is, a knowledge of musical
works should be given to the pupil later, and he should understand
how music is associated with national and local events, and of what
public use it is.
According to the programme adopted by the Higher Council for Pub-
lic Instruction, as per the decree of July 23, 1883, in the infant or ma-
ternal schools, the mistress ought to limit the instruction to simple mu-
sical songs of one part only, associated, as far as possible, with their
marches, dances, plays, etc. In the primary grades the lessons in singing
ought to occupy one or two hours a week, independently of the exercises
in singing which are connected with the recesses, the going in and out
of school. The elementary, middle, and higher courses of instruction in
music cover the following: The elementary, five lessons a week,-into-
nation, time, simple measures in two, three, or four time, reading and
writing at dictation of simple chants in the key of sol, exercises of mem-
ory. The middle course should embrace four lessons a week,-revision
of instruction in the elementary course, intonation, practical application
of certain major and minor scales, chromatic scale, modulations, meas.
ures, showing time, notes, rests, etc.; exercises in rhythm, reading and
writing at dictation simple chants of one, two, or three parts, study and
execution of chants with words. In the higher course, -review, also
explanation of keys of do, sol, and fa, different diatonic methods, use
of metronome, general idea of musical phrase, elements of harmony, oral
and written dictation, reading at sight of two, three, and four part
chorals, etc.
Music in the normal schools, according to the decree of August 2,
1881, should be taught during the first year two hours a week, embrac-
ing the elementary principles of music, pronunciation and dictation,
emission of sound, respiration, classifying voice, reading in major and
minor tones, dictation and singing of simple pieces, elementary exer-
cises on piano and organ, major and minor scales. The second year
the lessons should be given two hours a week,-continuation of studies in
time, intonation, etc., reading in all keys, dictatiou, singing of pieces
for several voices, continuation of organ and piano practice. During
the third year two hours a week should be devoted to chorals, study of
accompaniments, continuation of exercises on organ and piano, and a
knowledge of the principal works of great masters.
Among the different suggestions made by the sub-commission are
these: that the reform should commence in the primary normals;
again, that there should be regular musical exercises connected with
the teachers' reunions, the music to take as prominent a place in the
programme as the literary and scientific efforts.
Switzerland includes singing among the branches required in the
common schools, and sets apart an appropriate time for instruction in
that branch.
THE STUDY OF MUSIC IN PUBLIC SCHOOLS.
49
In Italy music is not so frequently mentioned in the school pro-
grammes. Mr. Fornelli speaks of the good effects of instruction in
music in the schools of other countries, and deplores the lack of instruc-
tion in Italy, where almost all classes of society are musical and great
lovers of music. He considers it a part of the necessary culture to be
given to the young, as it helps to train the mind, the heart, and the
affections. Indeed, it exerts a “mystical influence” on the young. He
refers to the great influence on Greek civilization produced by the study
of music in all ages, describes it as an aid to patriotism, and strongly
urges that it be made obligatory in the schools of Italy. And yet Italy
has been called the cradle of music, as her Conservatorio Santa Maria
di Loreto was established at Naples in 1538, and others have followed
in other leading cities.
In the Netherlands the law of August 17, 1878, requires singing in
the preliminary studies for common schools as well as for normal schools.
So the law of 1880 makes singing in the normal schools obligatory. In
the course of instruction in the provincial normal schools for 1883–84,
two hours were devoted to singing in the first and second classes, and
one hour each in the third and fourth classes. In the normal schools
of the provinces, the pupils are supposed to become teachers in the rural,
schools. In the state normal schools singing and music are taught on
an average four hours in two of the classes and three hours in the other
two classes.
Portugal includes choral singing in the programme of studies in the
advanced primaries for boys. But music does not appear to be included
in the course for the lower grades, nor in the schools for girls of the
higher grade.
Russia includes the singing of hymns among the indispensable ele.
mentary branches. Instruction is given only to a very limited extent
among the masses of the people, as their education is so generally
neglected.
Our official information in regard to Spain is meager, but in the recent
publicatioậ, which has for its object the modifying of primary instruc-
tion so as to make it conform to the principles of modern pedagogics,
singing is a part of the school programme.
In Sweden the course of study in the primary schools requires sing-
ing. In the high schools for girls, instruction is given one hour a week
in each of the eight classes. Singing is, however, elective in the sev-
enth and eighth classes.
Although the Saxons, in England, as we have seen, were early so
prominent in efforts for musical culture, in recent centuries they have
fallen behind the Germans. In this discussion it will be impossible for
me, however, to go beyond the briefest reference to the facts connected
with music in the primary schools, drawn in the main from the state-
ment of one of Her Majesty's assistant inspectors. The movement for
the introcluction of music in the primary schools may be said to date
447(No. 1-4
•
50
CIRCULARS OF INFORMATION FOR 1886.
from the action of the Committee of Council on Education in 1840_'41.
From the minutes then issued by the Council, we find that the informa-
tion derived from the inspectors of schools and from various other
sources, had made the Committee of Council acquainted with the fact
that vocal music had been successfully cultivated in comparatively few
of the elementary schools in Great Britain; and, further, that the chief
reasons why singing had not been cultivated to a greater extent among
the lower orders in Great Britain, coneisted in the too general neglect of
elementary education, and in the fact that vocal music had not been
reckoned among the necessary subjects of the education of the poorer
classes in that country. Among the impediments to the introduction of
a more general cultivation of vocal music among the lower orders, the
report goes on to observe, has been the want of a method of instruction
facilitating the teaching of vocal music in elementary schools. The com-
mittee finally adopted Hullah's method and prepared instruction books,
but the results were most meager and unsatisfactory. The revised code
of 1861, with payment for results, left out music. The training colleges
for teachers gave some attention to the subject, but the elementary
schools did not profit thereby.
In 1867 Mr. Corry's minute offering grants for extra subjects included
music; but only one extra subject was allowed in a school, and the
teachers chose any other subject than music, so that in 1869 only one
school obtained the grant for music. In 1870, owing to the increased
exertions of the friends of music, 43 out of the 12,000 schools succeeded
with music, but the new code which followed in 1871 specifically omitted
music. As some one observed, “ It was disendowed, if not disestab-
lished."
This blow stirred up musical philanthropists and even musicians in
the interest of primary schools, and Mr. Forster, the then Vice-President
of the Council for the Administration of Education, was greatly badg-
ered with petitions and appeals that he might not go down to posterity
as the uucouth barbarian who refused to teach the children music. He
repeatedly affirmed that the Education Department fully desired to en-
courage the practice of singing, but the difficulty was that “at present
the Priry Council did not find that their inspectors were able to give
that thorough examination which they ought to give. The musical edu-
cation of the upper and middle classes had been neglected, and it was
clifficult to find gentlemen competent to examine in the notation of
music."
In 1979 the sentiment in the interest of inusic was so aroused that
Dr. Hullah wás sent to the Continent to report the foreign methods and
their results. Her Majesty's inspectors were also called upon to make
notes upon the subject, and reported that 2,944 schools taught by note
and 21,224 learned only by ear. In 1883 the present programme went
into operation, which allows sixpence a liead for ear-singing and one
shilling for singing by note. A consensus of opinion of well-qualified
THE STUDY OF MUSIC IN PUBLIC SCHOOLS.
51
observers appears to justify the estimate that from 90 to 95 per cent. of
the children in the primary schools are capable of practically appreci-
ating the main elements of music and of associating these elements with
inusical notation. The main difficulty at present is said to be the want
of teachers qualified to instruct. Dr. Hullah, the inspector of music in
colleges for the training of teachers, constantly complained that half
the students entered without any knowledge or skill. Over 26,428
pupil-teachers are now under inspection, but the musical examination
is optional, and only, as is observed, deals with the “cinders, ashes, and
dust of musical theory.” A statistical estimate for the year ending
August 31, 1883, reports that of the number of departments in which
singing is taught, 21,743 learn by ear, 1,429 by staff notation, 3,871 by
tonic sol-fa, 32 by both systems, and 161 by any other system.
With all these nations of Europe the United States are in more or less
close relation; we draw upon their literature and their music, and they
upon ours; we receive from them hundreds of thousands of people an-
nually; but time will not permit me to trace with any minuteness the
effect upon us, or our schools, or our instruction, of their musical prog-
ress, which I have tried briefly to outline; nor must I enter upon any
account of the steps taken in musical instruction since the days of Horace
Mann up to the present time. Not far from the beginning of his official
connection with.education, cities as remote and as different as Boston
and New Orleans provided for instruction in music in the public schools
by special teachers. Our cities have been centers of public and private
efforts, secular and religious, for the promotion of the progress of the
American people in music. But I must pass by any reference to the
many and great voluntary agencies in them favoring musical progress,
the multiplication of musical literature and instruments, the concerts,
conservatories, and societies; nor is it possible to describe the inferior
opportunities for the development of musical talent afforded in our rural
public schools. We must pass, also, any account of music in our col-
leges, academies, or normal schools, or schools for the blind. A brief
statement must suffice concerning musical instruction in the public
schools of our cities.
In response to great urgency, amidst the overwhelming demands upon
the force provided for the work of the Bureau of Education, I have re-
cently undertaken a special inquiry into the condition of musical instruc
tion in our public schools in cities. The blanks sent out, in addition to
calling for the proper address, title, and school population, also con-
tained a series of questions, such as: “Is music taught? In what
grades? By special teacher? By regular teacher? By both regular
apıl special teachers ? Number of hours per week ? Please state what,
if any, instrument is used to lead the singing. Which system is used
of the three commonly known as “fixed do,'' movable do, or “topic sol-
fa,' or are different ones used in different schools? If different systems
are used, which finds most favor ? What text-books or charts are used?
52
CIRCULARS OF INFORMATION FOR 1886.
Are there stated musical examinations or exhibitions, or both ? Is 10-
tation required in music books ? Please send copy of regulations, if
any have been printed. Please state, if possible, whether any estab-
lished vocal societies (independent of church choirs) are now in active
operation in your city; if so, please give names of societies and full ad-
dresses of conductors. If music is not taught in your schools, what ob.
jections, if any, would probably be urged against the introduction of
systematic instruction in it?"
Replies to these questions have been received from 343 cities and
towns. These embrace a total population of 7,933,193, a school popula-
tion of 2,181,634, and a public school enrollment of 1,209,677. It is ob-
vious that the amount of material is too great and of too varied a char-
acter to be dealt with fully in this paper. Of these places, 96 report no
instruction, 132 report that instruction is given by the ordinary teach-
ing force, 19 report only special teachers for music, and 96 report the
employment of both ordinary and special teachers for instruction in
music.
Of the 96 cities where no instruction in music is given, 6 report that
singing is permitted, 15 that it is encouraged : 12 of them have organs,
2 have pianos ' and organs, and 1 has melodeons, which instruments
are used to lead in occasional rote singing, wbile the other 81 places
possess no musical instruments for such use. Of these 96 cities where
no instructiou is given, 76 give reasons. In one the school board con-
siders the community too poverty-stricken ; another finds no reason
except the lack of time; a third, that the organization is immature; a
fourth, the population is reported to be mainly made up of manufacturing
operatives, and it is a common çemark that the children are too poor to
occupy the time spent out of the mills in learning music; some mem-
bers of the board class music as among the “ brass ornaments ;” a fifth
gives lack of interest; a sixth, the community considers the three
R’s” are the only subjects that should occupy a permanent place in
public instruction; seventh, music has been taught poorly in the past
and failed lamentably; eighth, no objection is offered to music, but the
board is not financially able to introduce it; ninth, special teachers in
music were dropped because the people were heavily taxed to erect
necessary buildings; tenth, though there is no music taught, there
is no special reason assigned. And so the objections go on ringing the
changes on these various pegations, sometimes repeating the lack of
qualification on the part of the teachers.
Next there follow replies from 132 superintendents of cities where
ivstruction is given exclusively by the ordinary teaching force. Of
these, 50 appear to teach either by rote or without system ; 14 use the
fixed do; 5) the movable do; 2 use the topic sol-fa only; the rest use
two or more of these methods variously combined and modified. Most
of these bave musical instruments, and 73 of them mention various
text-books, charts, etc. The time devoted to music varies from one to
THE STUDY OF MUSIC IN PUBLIC SCHOOLS.
53
three and three-quarter hours, according to the degree of importance
attached to this study.
Nineteen superintendents of cities report only special teachers for
music in their public schools; 2 of these teach by fixed do, 13 by mov-
able do, and the other 4 use mixed methods.
Of the 96 cities and towns employing special instructors in addition
to the ordinary teachers for regular instruction in music, 65 use mova-
ble do; 6 use fixed do; 3 use tonic sol-fa; and the other 22 use various
combinations or modifications.
Amortg the 247 places teaching vocal music, 171 have it in “ all
grades;" 43 use pianos; 69 use organs; 55 use pianos and organs; 20
use other instruments; 36 use none.
As to the number of hours per week devoted to training in music,
the reports of the several superintendents of schools where there are
no special teachers of music show that, in 86 of these places reporting,
the time varies from thirty minutes to five hours per week; but the
favorite time seems to be from one to two hours per week.
This inquiry is still in progress, but the returns to come in can hardly
change essentially the basis here furnished for inference. The time has
not yet come when musicians and the friends of their art in the United
States can lay aside their harps with the sweet assurance that there
remains nothing for them to do. Certainly it is clear that there is not
likely to be a musical millennium in our city schools before Christmas.
Two or three points have been suggested in this connection which
seem to me of special importance, and upon which I would like to
make an observation or two. We need to clear up our own ideas, and
adopt terms in stating our facts which shall be definite, so that we can
make fair comparisons. I would emphasize this poiut, for it is the
difficulty, at the threshold, in the treatment of many great subjects
covering the vast area and population of our country. This is the
special difficulty in the way of that generalization which is proposed.
There is want of common nomenclature. The papers that came into
the Bureau of Education on instruction in music illustrate this diffi.
culty. If any one will stop to reflect upon the facts within bis observa-
tion, he will see how difficult it is to arrange a definite nomenclature.
To illustrate: Without reflection, and at first thought, it would seem to
be easy to publish the statistics of education in the several States of
the Union. This business of education in each State is so large, involves
so much money, such vast consequences, that we would naturally think
that the question of terminology would long since have been settled.
Alas! it is far otherwise; and when my predecessor, the eminent Dr.
Barnard, commenced the effort to generalize these statistics, he would
not print the best returns he could get after three years' trial.
Just comparisons could not be made between the States, because
their nomenclature was so diverse. When the first effort was made,
also, to compare the educational statistics of cities, only a few items
could be compared in only about a dozen cities; but by having a definite
54
CIRCULARS OF INFORMATION FOR 1886.
plan before us, and by patient co-operation on the part of school
officers, a great change has come. The several States can be fairly
compared in the most essential items of school statistics, and nearly
three hundred cities with reference to items reaching up beyond a
lundred in number. If now the musical profession, in beginning to
organize the information touching instruction in music, can at the out-
set agree on the use of terms, it will soon coine to disseminate these
terms outside of the profession, and laymen will be using these terms
with the same meaning; when there is a uniform use of terms couvey.
ing the same idea, there is established a rallying line and the defense
of musical instruction can be maintained as never before.
Another point is that we should teach little children music. There
is an ever-present difficulty in studying education, arising from the fact
that we are inclined simply to recall our own experience, our owu con-
sciouşness, and to think that what is the rule for us is the rule for every-
body else, when it may not apply to all. Now a student of this particu-
lar department of education-that of instruction in music--who is going
to divest his investigations of all errors, must take into account all
available human conditions, and he must thoroughly analyze them and
then put them together, before he can reach safe inferences. Now this
process of carrying on the largest perception of facts, the largest anal-
yses, and the largest synthesis, furnishes the consummate teacher, the
teacher who is going to understand the little child best and succeed
best in his musical training. But, my friends, we have facts beyou
these, derived from the common condition of childhood; I mean the
facts furnished from defective childhood, from which I often derive
some of my best lessons. Look with me into a school for idiots. Here,
perbaps, we are entertained an entire evening by a band of feeble-minded
youth playing on various instruments, and playing difficult pieces, and,
so far as I can judge, they play them beautifully, certainly delightfully
to me. Now, here is the point: The teachers of these schools must be
able to take any subject, as music, for instance, and analyze it down to
its finest elements, and present it so as to be apprehended or learned by
this minimum, this smallest possible force of mind. You know that
pupils are taken into these schools when they have not that power over
their limbs which enables them to walk, but their teachers, by these
simple processes, beginning far down in their first analyses, struggle
patiently till their mental forces begin to wake up; their will controls
the action of their minds and their bodies, till their fingers obey their
volition-tbeir will, and music is learned as other subjects of instruc-
tion. Here music is simplified as only a good teacher can do it, but it
shows that a correct philosophy of music is able to adapt its instruction
to the lowest conditions of mind, and it illustrates, to my mind, with
tremendous force the point that musical instruction should begin with
the youngest and smallest child, and can begin then with eminent suc-
cess,
THE STUDY OF MUSIC IN PUBLIC SCHOOLS.
55
REPORTS REGARDING INSTRUCTION IN MUSIC IN CITY SCHOOLS--SPRING OF 1885.
A: PLACES IN WHICH MUSIC IS NOT TAUGHT.
I.-Places that answer, without qualification, "No."
Post-office and State.
Reported by-
Population.
Scbool popu.
lation.
Enrollment.
1
2
3
4
Nevada, Cal ...
Augusta, Ga
Beloit, Kuns..
Fergus Falls. Mion.
Fremont, N. A
Jacksou, N. H:
Cadiz, Ohio
Andover, Vt
Lyudonville, Vt
Royaltou. Vt.
Fond du Lac, Wis..
T. B. Gray
L. B. Evans
Caroline Bauman.
B. M. Reynolds.
E. Dapa Sanborn
A. F. Meserve.
0. C. Williams..
H. S. Parker
H. M. Pearl
E. M. Lovejoy
C. A. Hutchins
4,022 1,024
21, 891 *5, 628
1, 835 650
1, 635
†850
623
80
494
+60
1, 896 :560
564 140
788 210
1, 679
1350
13, 094 35, 688
770
*2, 487
552
800
75
t50
503
124
190
+300
$2,066
Total
48, 491
15, 240
7, 917
* Education Report, 1882-'83.
+Estimated.
* Township.
& Education Report, 1883-'84.
II.-Places that answer "No," giving as the reason, "Expense."
Freeport, III
Sycamore, bl.
Anderson, Ind...
Marshalltown, Iowa.
Rockland, Me
Chicopee, Masg*.
Milford, Mass
Cold water, Mich .
Helena, Monte
Rooliester, N Y
Ashtabula, Ohio
Bainesville, Ohio
Bellefontaine, Ouio.
Jonnstown, Pa
Cumberland, R. I*.
Littlo Compton, R. I
Oshkosh, Wis
Charles C. Snyder
A. J. Blanchard
Robert I. Hamilton
C. P. Rogers.
J. Lovejoy.
Williani O. Pratt
William E. Hatch
F. A. Barbour..
S. G. Murray.....
S. A, Ellis
I. M. Clemens
H. L. Peck.
Henry Wbitworth..
T. B. Johnston.
Robert Murray, jr.
10,000
2, 780
1, 650
3,030 983
757
5,000
1,418
820
10,000
2, 452 1, 863
7, 599 2, 227 1, 314
11, 416 2,085 1, 604
9, 310 1, 710 1, 838
5, 099
1, 215
1900
8,000 1,700 600
89, 363 35,000 14, 446
4, 445 +1, 100 1700
2, 438 871
671
4, 001 1, 153
832
18, 330 +2, 500
#1, 695
6, 445 1, 559
1, 270
1, 202
238
200
15, 758 6,701 2, 156
201, 436 65, 792.33, 316
H. B. Dale.
Total
* Township.
† Estimated.
Education Report, 1882-'83.
III.- Places that answer
No," giving as the reason,
Want of money."
Savannah, Ga.
Louisiana, Mo...
W. H. Baker
J. I. Nelson
34, 789
4, 325
6, 243
1, 453
3,163
879
Total
39, 114
7, 696
4,042
56
CIRCULARS OF INFORMATION FOR 1886.
A: PLACES IN WHICH MUSIC IS NOT TAUGHT-Continued.
IV.-Places that answer
No," whose schools have a crude organization.
Post-office and State.
Reported by-
Population,
School popu-
lation.
Enrollment.
1
2
3
4
स
a
Fort Smith, Ark
Carlyle, Ill
Dunbarton, N. H
Gorhan, N. H ...
McKeesport, Pa...
Tiverton, R. I
Jamaica, Vt
N. P. Gates
G. A. Beattio.
Tilton C. H. Bouton
Alfred R. Evans ..
Charles W. Deano.
Eliza H. L. Barker
J.C. Robinson
9,000
2, 218
350
1, 800
12, 000
2, 810
856
1, 800
878
120
600
2, 200
900
280
1, 600
800
80
400
1, 480
600
200
Total
29, 034
6, 778
5,160
V.-Places answering "No," in which the importance of music is misunderstood.
600
*500
Hammond, Ind
Iowa City, Iowa...
Chillicothe, Obio.
Woonsocket, R. I
W.C. Belman ..
W. A. Willis.
W. Richardson...
Charles J. White
2, 500
10,000
13,000
16, 050
4, 229
3, 417
3, 630
1, 444
2, 009
%, 504
Total..
41, 550 | 11, 870
6, 457
* Estimated.
VI.-Places answering
"No," on account of public opposition or indifference.
Covington, Ky.
Billerica, Mass
Salem, Ohio..
A. T. Wiles
Charles H. Koblrausch, jr
G. N. Carruthers.
30,000 *6,000
3, 000
400
4, 041
*800
*2,500
309
*700
Total
37, 041
7, 200
3, 509
* Estimated.
VII.--Places answering "No," because of failure in foriner atteinpts.
Muscatine, Iowa.
Leavenworth, Kans.
O. F. Encorsou
Frank A. Fitzpatrick..
10,000
26,000
2,792
7, 420
1, 800
4,000
Total
36,000 10, 212
0,700
VIII.-Places answering "No," the reason being lack of time for music in addition to other studies.
950
800
Mount Vernon, Ill.
Williamsport, Pa.
W.C. Barnbart..
S. Transeau
3,000
18, 934
5, 460
3, 689
Total
21, 934
6, 410
4, 489
N
I
TIE STUDY OF MUSIC IN
THE STUDY OF MUSIC IN PUBLIC SCHOOLS.
57
A: PLACES IN WHICH MUBIC IS NOT. TAUGHT-Continued.
1
IX. -Places answering "No," because of the inability of the leaching force, and for other reason: specified
opposite the name of each.
Post-office and State.
Reported by-
Popu-
lation.
School
popula.
tion.
Coroll-
mont.
Other reasons.
1
2
3
4
55
22
*13, 500
3, 500
13, 324
18,000
1, 900
*4,000
1, 230
6, 0.58
4,197
395
Pueblo, Colo
J. S. McClung..
l'rinceton, Ill...
C. P. Suow
South Bend, Ind... J. Dushane
Crdar Rapids, Iowa... W. M. Friesper.
Frankfort, Mich.. Stuart Mackibbin
Sauk Center, Minn.... W. T. Rochelcan
Lexington, Mo..
Theo: G. Lemmon
l'eterborough, N. H.... W. H. Walbridge.
Marietta, Ohio.... C. K. Wells.
Norwich, Vt..
Mrs. H. B. Van Coo ..
2,500
4, 050
2,300
*1, 200
1, 597
320
*2,500 | Expense.
950 | Expense.
2,236 Expense.
2, 717 Laik of nieans.
325 Lack of time, and pub-
lic opposition.
437 | Expense.
655 Pubric opposition.
373 Expense, and public
opposition.
1, 200 | Expense.
*120 Crude organization of
the school system;
injurious results.
5, 444
1, 900
*109
+809
Total.
61,527
21, 012
11,513
*Estimated.
+From consus of 1880.
X..Places answering " No," because of expense, and for other reasons specified opposite the name of each.
29, 100
1, 782
7, 605
410
3,840
*390
East Saginaw, Mich... J. C. Jones..
Ossipee, N. H..
Edgar Weeks
Ironton, Ohio...
R. S. Page.
Steuben ville, Ohio.... H. N. Mertz
8,857
12, 093
3, 325
4,407
2, 003
2, 302
Iudifferent results.
Crudo organization of
the acliool system.
Public indifference.
Public misappreben- .
sion as to the value
of music.
Total..
51, 832
15, 807
8, 595
* Estimated.
XI.-
Places answering "No," because of lack of time, and for other reasons specified opposite the name
of each.
Clinton, Iowa..
Jackson, Micb....
Janesville, Wis..
Henry Sabiu..
F. M. Kendall..
R. W. Burtou.
*12, 000
20,000
9,000
*2,500
*4, 160
3, 642
*2, 100 Lack of means. .
*3,500
Lack of means.
Publicinisapprehon-
sion as to the value
of music.
1, 615
Total....
41,000
10, 302
7, 245
* Estimated.
XI.-Places answering "No," because of public opposition, and for other reasons specified opposite the
name of each.
Kinston, N. C:......
E. M. Goodwin..
3,000
840
578 | Lack of means.
18/1
58
CIRCULARS OF INFORMATION FOR 1886.
A: PLACES IN WHICH MUSIC IS NOT TAUGHT-Continued.
1
XIII.Places answering "No," on account of local and temporary reasons, not specified.
Post-office and State.
Reported by
Population.
School popu-
lation.
Enrollment.
1
2
3
Fenton, Mich...
Faribault, Minn
Lancaster, Ohio..
F. W. Asbury.
W. M. West
George W. Welsh
2, 434 *1, 100
5, 760 | *2, 100
7,000
2, 178
614
1, 228
1, 243
Total..
15, 194
5, 378
3,085
* Estimated.
XIV.Places answering "No," yet stating that there is no existing objection.
2
Meredosia, Tul
Decorah, Lowa.
Marlow, N. H
Bingbamton, N. Y...
Eugene City, Oreg.
Seattle, Wash
J.B. Blazer..
Daniel Shea..
Jonas W. Fletcher..
M. W. Scott..
A. W. Patterson
E. S. Ingraham
950
4,000
716
17, 315
*1, 850
9,827
350
832
120
5, 954
*420
2, 203
200
1700
152
3, 709
*250
1, 478
Total
34, 658
9, 879
6, 489
* Estimated.
XV.-Places that answer "No," in which singing by rote, etc., is permitted.
346
+400
Dwight, nl...
Butler, Ind.
Seymour, Ind.
Clear Lake, IOW&
Duluth, Minn
Bow, N. &.....
H. D. Fisk..
T. J. Sanders...
William L. Wood...
A. W. Wier
William B. Stultz
F. Merriam.
1, 400
431
1,500
*475
5, 981
1, 700
1, 100
324
*20,000 *3,000
700 *155
975
311
1,500
*140
Total
30, 681
6,085
3, 672
* Estimated.
THE STUDY OF MUSIC IN PUBLIC SCHOOLS.
-59
A: PLACES IN WHICH MUSIC IS NOT TAUGHT-Continued.
1
XVI.-Places answering "No," in which singing by rote anw to accompaniment by instruments are
mentioned.
Post-office and State.
Roported by
Population.
School popu.
lation.
Enrollment.
Instruments used.
1
2
3
4
12
3,000
1, 920
Auburn, Ill
Joliet, ill...
Canpelton, Ind.
Spencer, Ind
Augusta, Kans.
Independence, Kans
Williamstown, Mass
Byron, Mich
Owatonna, Minn
Virginia, Nov
New Market. N. H..
Little Falls, N. Y
Wauseon, Ohio..
Altoona, Pa.
West Chester, Pa
W. S. Remine
D. H. Darling
John R. Weather's
Samuel E. Harwood
H. C. Ford..
T. W. Conway...
James A. Eldridge
G. R. Brandt.
A. W. Rankin
J. W. Wbitcher.
Elisba A. Keep.
Leigh R. Hunt
A. G. Crouse
D. S. Keith.
Sarah W. Starkweather ..
900
19,000
2,000
1, 800
1,500
5, 210
3, 394
374
3, 300
10, 917
2, 400
8,000
2,000
19, 764
7,000
325
5, 500
400
610
507
1, 920
636
95
*1, 250
1, 816
490
2, 265
626
*5,000
*1,500
285 Oryan.
Do.
350
Do.
500 Do.
486 Do,
Do.
659 Do
124
Do.
850 Do.
Do.
*460 Melodeon.
Piano and organ.
416 Organ.
3, 659 Do.
1,054 Piano and organ.
1, 100
1
1, 108
Total..
87, 349
22, 940
15, 971
* Estimated.
Population, school population, and enrollment of places in Class A.
Group number.
Number
of
States,
etc.
Number
of
places.
Popula-
tion.
School
pop-
ulation.
Pub-
lic school
er-
rollment.
I...
II..
III ..
IV.
V..
VI..
VII..
VIII..
IX
X.
XI.
XII..
XIII..
XIV
XV,
XVI.
8
12
2
6
4
3
2
2
10
3
3
11
17
2
7
4
3
2
2
10
4
3
1
3
6
6
15
48, 491
201, 436
39, 114
29, 034
41, 550
37, 041
36,000
21, 934
64, 527
51, 832
41,000
3,000
15, 194
34, 658
30, 681
87, 349
15, 240
0:4, 792
7, 696
6, 778
11, 876
7, 200
10), 212
6, 410
21, 012
15, 807
10, 302
840
5, 378
9, 879
6,085
22, 940
7, 917
3:3, 316
4,042
5, 160
6, 457
3, 509
6, 700
4, 489
11, 513
8, 595
7,45
578
3,085
6, 489
3, 672
15, 971
moto
6
.
11
Total...
26
96
782, 841
223, 047
128, 738
1
60
CIRCULARS OF INFORMATION FOR 1886.
B: PLACES IX WIICII IUSIC IS TALGIT BY TUE USUAL TEACHING FORCE.
XVII.-Places in which music is taught by ro'e, or without system.
NOTE.—In the following tables P. signifies Piano; M., Mclddeon; 0., Organ; V., Violin; Ac., Accordeou; G., Guitar; p. p., pitch pipe; t. f., tuning fork.
Post-office and State.
Reported by a
Popnla.
tion.
School
popula.
tion.
Enroll.
ment.
Grades.
Iustrii.
neopts
used.
Charts and books used.
2
3
4
5
y
12
15
None
0
P.,0..
Blackboard; National S. S.
Various.
Apploton's charts.
Woodland Echoes.
Lonoke, Ark..
Texarkana, Ark
Vallejo. Cal
South Pueblo, Colo
Bismarck, Dak..
$:0114 Kalls, Dak
Wilmington, Del
Atlanta, Ga.
Ellwordsville, Ill
Elyin, Ill
Morris, Ill
Pelin Ill
Paris, IN
O.T. Russoll
G. A. Hays.
D. Rutherford
T. B. Gault
Miss Bessio McNiel
S. B. Young
David W. Harlan
W.F. Slaton.
J. H. Brown
C.F. Kimball
L. T. Regan
Frank Mathews
A. Harvey
1, 200
6,000
*6, 800
*12, 500
*2,500
6, 400
42, 600
40,000
2,790
14, 351
4,000
7,000
4,343
541
800
*3,000
900
429
*1,000
8,500
10, 554
1, 050
*8,500
1, 382
1, 600
1,448
442 All
650 All
*1, 600 All
807 Some
367 All
*700 All
8, 259
Somo
5, 475 | Eight lowest
664 All
*3, 100 Nearly all
812 Nearly all
1, 050
Somo
1, 190
All
None
P., O
P., 0
P
Mason's.
Loomis's No. 4.
P., O
0
O
None.
Loodlin's Songs and Cho-
I'uses.
Masou's Music Readers.
School singing books.
Nono in pupils' hands.
Song Sheaf.
Spriogfield, III
Allica, Ind
Malvern, Iowa
Marion, Iowa...
Waterloo, Iowa
East Waterloo, Iowa
Hol!on, Kans
Lawrenco, Kans.
Mauhattan, Kans
F. R. Foitshans.
George F. Kuvaston
Hammond L. Marsh
D. N. Manon
W. H. Robertson
Robert G. Young
C. Y. Roop
E. Stanley
William E. Schlieman
19, 746
3,000
1,000
4, 000
6, 000
6, 500
2,000
12,000
3,000
9, 936
845
290
800
2, 175
2, 200
700
3, 343
968
2, 448
All
P
550 Eight lowest.
P., O
252 All but high school. O
675 All
0
1, 590 All
1,500 All
O
500 | All
None
2, 360 Somo
730
Some
O
+
Appleton's Music Readers;
Hai per'e.
Aniesbury. Mass
Winona, Minn.
Ilamibal, Mo.
New Brunswick, N.J
Perih Amboy, N.J.
Ralway, N. J
Biughamton, N. Y
Iunkirk, NY.
Flushing, N. Y
Rome, N. Y
Wilmington, NC
George W. Call
William F. Phelps..
H. K. Warren
Charles Jacobus
C. C. Honemaun.
G. R. Lindsay
M W. Scott.
J. W. Babcock
H. F. Burt.
J. A. Barringer
M. C. S. Noblo
3,500
16, 000
12,878
17, 166
4, 808
6, 840
17, 317
9, 700
6, 683
12, 194
17, 350
700
*8,000
4, 347
4, 731
1, 512
1, 773
5, 933
2,778
*], 900
3, 004
5, 050
*700 All
2,000 Somo
2, 296
2, 679
724
*1,000 All
3, 484 Eight lowest.
1, 451 | All
*950 Primary
1, 959
1,428
1
ALI
P.,0,G Noue.
School song books.
P., O.
None.
P., O
P., O.
P., O
None.
None
Mason's.
P
P., Bolt's.
0
All
0
P., o
P
Nono.
Some
All
O
0
Coshocton, Ohio
Lima, Ohio
Missillon, Ohio
Portlanıl, Oreg
Chambersburg, Pa.
Chester, Pa
Danville, l'a
New Castle, Pa
Phoenixvilla, Pa
Towanila, !'a
Spartanburn. S. C
Woodstock, Vt
Hartford. Vt
Tacoiua, Virsli.
Walls Walla, Wash
Palatine, W. Va.
Appleton, Wis
None.
J. M. Yarpoll
J. M. Greenslado
E. A Jones
T. H. Crawford.
W.H. Hockenberry
Charles F. Foster.
Frederick Rean
W. N. Aiken...
FL. F. Leister....
John F. Sanderson.
William S. Morrison
C. H. Darling
N. 1. White
J. D. Robb
Frank Rigler
William Gray
A. B. Whitman
1, 029
3, 123
3, 035
6, 658
*1, 550
3,000
2,000
2,000
1, 600
*1, 200
900
*700
3, 500
7, 800
9, 011
29,000
*6, 900
14. 996
8, 316
10,000
7,000
3,814
3, 253
*2,700
*820
6, 972
3,500
800
10,496
813
1, 776
1, 546
3, 923
*1,400
2, 680
1, 699
1, 815
1, 515
654
543
*600
-425
840
730
200
2, 076
P
Nono
Graded Singer No. 1.
Some
All
All
All
Lowest
Somo
Some
All
Four lowest
All
Grammar, high
*500
1,025
1,025
None
296
0
None.
0
Nono.
P., O... Common singing books. .
3,726
Total
461, 074
134, 056
77, 717
* Estimated.
XVIII.—On the basis of " Fixed do" as a system.
Post-office and Stato.
THE STUDY OF MUSIC İN PÚBLIC SCHOOLS.
Reported byə
School
popu-
lation.
Poptie
lation.
Enroll-
ment.
Hours Instru-
рег
ments
weok.
used.
Grades.
Charts and books used.
1
3
4
5
7
11
12
15
1
17
مهمانیه
M
New Britain, Conn
Pullmau, Ill
Garrett, Ind
Warsaw, Iud
Marengo, Iowa
Clorryvale, Kans.
Armada, Mich
Bronson, Mich
Spring Lake, Mich
Rochester, Mind
Waseca, Minn
Syracuse, N. Y
Tiffiu, Ohio
Clarksville, Tenn
J. N. Bartlett
D. R. Martin
C. A. Dugan
John P. Mather.
L. J. Woodruff
Charles T. Dana
Ira L. Forbes
James E. Nichol
James W. Cupples
S. S. Pan
T. B. Hartley
Edward Smith
J. W.Knott..
J. W. Graham
17,000 3, 879
7,000 1, 289
1, 800
435
3, 123
1, 128
2,500
700
4,000
847
800 198
1, 000
346
2, 480 785
5,500 1, 157
3, 008 846
64, 586 18, 884
7,879 3,000
7, 326 2, 203
2, 136
All
959 All
312 Eight lowest.
795
First four years
585 Eight lowest
769 All
188 Third to ninth, inclusive
194 All
585 Lower primary
804
792
First seven years.
No specified
1, 350 AI
1,218 All (10)
13
1
4
2
1
5
M., P Jopson's Music Readers.
Holt's charts and books
0
None.
Mason's charts.
W.F. Heath's books.
Harper's F. S. Song Coilection.
Songs for To-day:
Various books, etc.
None.
M. Loomis's.
0 Root's Music Series.
Mason's charts and books.
P., V
Four books named.
Blackman's Singers.
9, 215
13
Total
123, 002 35, 697
35, 697 | 19, 902
@i
62
CIRCULARS OF INFORMATION FOR 1886.
B: PLACES IN WHICH MUSIC IS TALGIIT BY THE URLAL TEACHING FORCE-Continued.
XIX.-On the basis of " Díovable do" as a system.
Post-office and State.
Reported by-
Popu.
lation.
School
popillo
la tion.
Enroll.
ment.
Grades.
Hours Instru.
per
ments
week. used.
Charts and books used.
Exhibitions or exami.
nations.
1
2
3
4
11
12
1.5
16
Birmingham, Ala
Bridgeport, Conn
Meriden, Conn
Charleston, Ill
Chester, Ill
Dicatiur. Ill
Galena, Ill
llighland, Ill
Rantouil, Ill
Sparta, Ill
Crown Point, Jud
Rushville, Ind
J. H. Phillips
H. M. Harrington
J.H. Chapin
E. J. Llveusbol
Georyo L. Guy
E. A. Gastman
0. P. Bostwick
Wamer A. Stille.
J. B. Munger
Samuel B. Hood
Geo. L. Voorhees.
James Baldwin
21, 000
37, 000
20,000
3, 500
3, 5110
9,548
0, 460
1, 963
1, 000
1, 800
3, 730
3, 600
1, 515
8, 280
5, 002
*925
926
4, 038
*2, 100
*600
300
619
746
1, 120
984 All below bigh.
5, 975 All
2, 819
All
820 All above second
528 All
2, 414 All
*1, 800 All
466 All
240 All
672 High scbool
508 All
660 All above second
Kuoxvillo, Iowa
S.S. Tousley
2, 766
900
1
Blackboard exercises
Exhibitions.
2 P., O. Jepson's; Hoyt's
Annual examinations.
13-2 P., M Blackboard exercises
None.
12
Various song books.
Do.
3 0 Loomis's, Marx's, etc. Both.
12 P. Blackmau's.
None.
1 P., Harper's F. S. songs, &c..
Do.
13 Nono Loomis's Systen...
Do.
2
Exhibitions.
3
Ideal
None.
1
Oral work, Tillen's Guido.. donual chorus.
25 None. Masou's charts; Loomis's
Loomis's Examinations.
series.
None Degraff; National School None.
Siuger.
1
Mason's charts; Harrest of Exhibitions.
Song
5
Harper's F. S. songs, etc
None.
• 1
Blackboard exorcises
Exhibitions.
2-21
Mason's charts, otc
Examinations.
1
A.S. Perkinson's Reader
None.
12 P 0 Mason's charts, etc
Both.
1
..io
None.
0 School Cabinet; Gospel Do.
Hymus.
3 Nono Blackboard exercises
Do.
741
Henderson, Ky.
S. A. Chambers
8, 178
1,564
1, 435
All
15 P
Farmington, Me
Canton, Mass
Fall River, Mass
Falmouth, Mass
Northborough, Mass
Detroit, Mich
Mount Clemens, Mich
Everett B. Norton
\Villiam C. Bates
Villianu Couvell
Charles L. Eluut
Samuel S. dshly
J. M. B. Sill
Wesley Scars.
3, 353
5,000
5), 000
2, 422
1, 676
940 675
976 931
11, 128 10, 433
327 446
*200
300
134, 835 45, 641
1,010 65+
All below high school.
All
All
Grammar
All
Eight lowest
All
.
18, 148
3, 850
Saint Joseph, Mich
George F. Comiugs 3,500
*900
695
West Bay City, Mich
Albert Lea, Minu
10,000
4,500
1, 873
Third to sixth, inclu.
sive.
Nine lowest
Six lowest
T. W. Lankenau
E. Chilcoat
3,097
1, 300
900
2
1-15
None.
0
Р
O., G..
None
Moorhoad, Minn
Brownsville, Mo
Kansas City, Mo
Marysville, Mo.
Newport, N. EI
Passaic, N. J
Trenton, N. J
Ithaca, N. Y
F. S. Hotaling
4,500
H. F. Triplett
1, 2110
J. M. Greenwood.. 50,000
E. J: II. Beard.
5, 009
J. W. Parmeleo
2, (1?
H. U. IIutton
9,000
T. H. Wilckenzie 29, 910
L. C. Foster
9, 105
*1,300 471 | All
411 280 All
22, 570 9,723 All
1, 349 1, 140 | All
530 536 High school
*3,000*2,000 All
8, 611 *4,500
All
3,008
2,055
All
1
3
1
23
1
1
FOORAAN
Mason's charts
Neither.
Whitmoro & Blackman's
Do.
books.
Mason's charts
Examinations.
Neither.
Holt's Normal
Examinations.
Song Sheaf, etc
Both.
Blackboarıl; Golden Robiu Exhibitions.
Jepson's Elementary Reader Neither.
Jepson's
Do.
National charts and readers. Examinations.
1
1, 759
Lockport, N. Y
Port Jervis, N. Y
Siuy Sing, N. Y
Elmore, Ohio.
George Griffith
John M. Dolph.
J. Irving Gorton
L. D. Bonebrake
13, 522
8, 678
5, 009
1, 144
4,000
2, 550
1, 801
482
2, 384 | First seven
All
964 All
371 AU
C
A. B. Hood.
F. H. Dewart
700
1, 800
350
560
2
1, 929
Pataskala, Obio
Waverly, Ohio
Bradford, Pa
Frackville, Pa
Hazleton, Pa
Lock Haven, Pa
Pottsville, Pa
Westerly, R. I
Kuosvillo, Tenn
George F. Stone 10,000 *2, 200
H. H. Brownpiller 2, 500 513
David A. Harmon
10,000 *2, 200
John A. Robb
8,000 1, 425
B. I. Patterson 13, 381 3,000
L. S. Ball
6,000
666
Albert Ruth
24,850 4, 817
240 All
380 All (first to twelfth,
inclusive).
All
479 | All but elementary
*1, 900 All
1, 357
All
2,614 All
797 All
2, 737 All (first to tenth, in-
clusive),
4, 226
All
235 All
1 P., O.. Loomis's books
Neither.
2 P
Mason's charts and reader's.
Do.
1 &c., P. Gorton's Primary Work, etc: Annual examinations.
0 Appleton's Now Normal Neither.
Course.
1
Phillips
Do.
2
Shryock's Chart and Key,
Do.
etc.
11 None Mason's Roaders.
Do.
1 Noue Black board only
Do.
1
Mason's charts
Annual examinations.
1 O
Looniis & Louis
Examinations.
11
Mason's charts and books
Do.
1 P 0
Neitber.
15 None Church &
& Co.'s Graded
Do.
Singer.
2 Nono Loomis; Graded Singer
Do.
1 0 Blackboard ; various song
Exhibitions.
books.
3
Changed every two years.
Do.
1-2
Nono Novo
Neither.
1} o
Appleton's charts
Do.
13 0 Loomis's series
Annual examinations.
23
0 None
33, 169
Mempbis, Tenn
El Paso, Tex
C. H. Collier
C. Esterly
33, 593
4, 500
211
391
Gainesrille, Tex
Hudson, Wis
Kenusha, Wis
Janies A. Race.
Simon Hunt
James Cavanagh.
8, 500
3,000
5,043
796
720
1,700
1,096 All
535 All
600 Intermediate and
grammar.
2, 930 All
511 All
Racine, Wis
River Talls, Wis
H. G. Winslow
C. H. Keyes.
16, 031
2,500
7,408
28
566
Total
644, 277 184, 313 102, 866
102, 806
THE STUDY OF MUSIC IN PUBLIC SCHOOLS.
* Estimated.
XX.–Using the "Tonic sol.fa" system for said instruction.
Westfield, Mass.
Beloit, Wis
W. H. Eaton.
Lafayette Royce..
7,587
5, 500
1, 557
1, 900
1, 642
1, 600
All
All but lowest
Р
23 | P., O..
Neither.
Do.
Blackboard exercises
Total
13,087
3, 457
3, 242
XXI.-Using both "Fixed do" and "Movable do "
do" therefor.
High School
2
Masou's books and charts
Neither.
New Orleans, La
Saint Cloucl, Miru.
Beaver Falle, Pa
Union City, Tenn
Ulric Bettison 216, 000
A. P. Thonius
6,000
M. L. Knight.
6,000
Carletou Siitchell. 4, 300
01, 000 21, 380
900 800
2, 530
1,481
1, 296 633
1
P
Yono
O
All
All
1
2
Mason's books
Examinations.
Armstrong's Graded Singers Quarterly Oxamina.
tious
Total
-34, 300 65, 720 | 21, 314
63
64
phone
CÍRCULARS OF INFORMATION FOR 1886.
:
B: PLACES IN WHICH MUSIC IS TAUGHT BY THE 18CAL TEACHING FORCE-Continued.
XXII.---Using “Fixed do" and "Tonic sol.fa" therefor.
Post-office and State.
Reported by
Popro
lation.
School
popu
lation.
Enroll.
ment.
Grades.
Hours Instru-
per
monts
week. used.
Charts and books used.
Exhibitions or exami.
nations.
1
2
3
4
5
7
11
122
15
16
Arcola, III
Rockford, Ill.
T. C. Clendenen
P. R. Walker
1, 641
19, 576
799
6, 266
523 Primary and high
2, 862 All
2 0
12 Nono
Blackboard, Franklin Series Neither.
Cincinnati Musio Readers
Do.
Total
21,217
7, 065
3, 385
XXIII.-Using "Movable do" and "Tonic sol.fa" therefor.
1
Central City, Colo.
C'edar Spripgs, Mich
Mason, Michi
Three Rivers, Mich
H. M. Halo
J. N. Mead
H. F. Dow
G. A. Osinga
2, 600
1, 141
1, 907
2,700
724
*400
560
621
468
375
476
480
All
All
Seven lowest
All
2
2}
1
12
P., M.
0
None
0
Frequently changed
No special books...
None
Smith's Roader; Perkins's
Climax.
Neither.
Do.
Do.
Do.
Total
8, 3:48
2, 305
1, 799
* Estimated.
XXIV.- Using “Tonic Sol-fa" and "Numerical style” (herefor.
Red Wing, Minn
0. Whitman
.....
6, 870
12,
2,2
222
1
1, 328 | All
1
P
Mason's.
Examinations.
XXV.-Using "Tonic sol.far and then “Staf notation."
Paterson, N.J
C. E. Moleney
60, 000 17,463
12, 862 Primary
1
Νομο
Tonic S. F. Reader; Jepson
Tonic S. F. Reader; Jepson. Neither.
XXVI.--Using "Different systems", but not specifying.
11-2
Ludington, Mich.
Menominee, Mich
Springfield, Mo
Nuither.
Charles W. Pickell 5, 433
F H. Coo
5, 057
J. Fairbanks 12, 000
1, 623
1, 427
3, 680
1, 244
Five lowest
881 All but lowest.
2, 229 All
OO
Smith's Reader
Loomis & Seward.
Young's Singer
2
1
...
Neither.
Total
22, 490
6,730
4, 354
4470_No. 1-5
Population, school population, and enrollment of places in Class B.
Group number.
Number of
States, etc.
Number of
places.
Popula-
tion.
School
popula.
tion.
Enroll
nuent.
34
10
19
2
XVII
XVIII
XIX
XX
XXI
XXII
XXIII
XXIV
XXV
XXVI ...
50
14
51
2
4
2
4
1
1
3
461, 074
123, 002
644, 277
13, 087
234, 300
21,217
8, 348
6, 870
60,000
22, 490
134, 056
35, 697
184, 313
3, 457
65, 726
7, 065
2,315
2, 222
17, 465
6, 730
77, 717
19, 902
102, 866
3, 242
24, 314
3,385
1, 799
1, 328
12, 862
4, 354
THE STUDY OF MUSIC IN PUBLIC SCHOOLS.
2
1
1
2
Total
34
132
1, 594, 665 459, 036 251, 769
65.
66
CIRCULARS OF INFORMATION FOR 1886.
C: PLACES WHERE MUSICAL INBTRUCTION 18 GIVEN BY SPECIAL TEACHERS OF SINGING ONLY.
XXVII.-By the method or system called “Fixed do."
Post-office and State.
Reported by
Popula.
tion.
School
popula-
tion.
Enroll-
mont.
Grades.
Chief musio teacher.
Hours Instra-
per monts
week. used.
Charts and books ugod.
Exbibitions or
examinations.
1
3
4
5
7
8
11
12
15
16
South Evanston, II.
Greencastle, Ind
Lynden Evans
J. M. Oloott
2,080
5,000
*500
*1, 300
1,025
342 Second
All
Miss Emma Shaw
Prof. Percy Stabler.
1 0
Nono
1 P., O.. Loomis's series
Neither.
Examinations.
O
Total
7,080
1, 8001, 367
+ Estimated.
XXVIII.-By the method called
Movable do."
280 /
Morrillton, Ark
Kokomo, Ind
Wichita, Kaps
Concord, Mass
6
1
J. F. Howell
Sheridan Cox
G. E. Campbell.
James L. Whitney
1,200
5, 000
13,000
3, 922
Od
400 280 All
Miss Lelia Ballowe.
1, 368
1, 013
All
Miss Mary C. Phillips.
2, 172 1,470 High school. Prof. J. G. Steffee
561 738
Miss Harriet E. Clark
grammar
2,012
i, 463 Lowest four. M. W. Cobb
Primary,
1
Wavelet Instituto songs. Exhibitions.
Loomis's series
Both.
Neither.
Loomis's Progressive | Exhibitions.
Readers.
Loomis's Vocal Music
Do.
Books.
Mason; Folt & Tuft Both.
Leroy Halsey.
10, 061
#
Battle Creek, Mich
Calumet, Mich
E.T. Curtis
8,500
2, 250
1, 765
2:P
1,042
Hillsdale, Mich
Lake Linden, Mich.
Stillwater, Minn
Poughkeepsie, N. Y.
Newark, Ohio
S. G. Burkhead.
F. G. Coggin
V. G. Curtis
Edward Burgess.
5,000
3,000
15, 608
20, 207
Fourth to Miss Addie E. Fowler...
eleventh.
*800 All
Miss Carrie Osgood.
1,000
660 All
Miss Florence Harvey..
3,500 | 1, 508 All
Miss Laura B. Dexter
+6, 002 +2, 892 Fourth year | R. R. Hayman
upward.
3,039 | 2,089
William Weaver
J. C. Hartzler
10,000
20 P., O.. Loomis's .
Exhibitions.
3 P
Mason's series
Examinations.
23 0
Mason's charts.
Do.
1 P., O.. Various books of songs.
Neither.
25
Nono Blackboard
Quarterly ex-
aminations.
1-1 | P.,V.. Mason's Boston Course, Examinations.
etc.
1 O Mason's charts; Loomis' Do.
lessons.
Xenia, Ohio
Edw. B. Cox
8,000
2, 300 *1, 600
All
Prof. S. A. Collins
Black River Falls, Wis.
C. R. Long
1, 800
555
*400 | All
T. A. Peters
Total
105, 298
26, 201 16, 678
* Estimated.
| Education Report, 1883-'84.
XXIX.-By the methods called "Movable do" and "Tonic sol.fa."
!
Saint John's, Mion.
D. B. Yntorna.
2, 613
777
695
All (12)
Miss Libbie Finch.
9
P., O.. National charts; Loomis' Examinations.
lessons.
+
XXX..By the method called the "round-note system."
1
McKinney, Tex
A. C. Bell.
12, 000
600
540
6
P.
Blackboard exercises
Both.
All above Miss Mary Androws. .
primary.
XXXI.-By the old " Staf-system."
Brattleborough, Vt
C. H. Morrill
5,880
1, 327 1,052
1-10
All. below | Miss H. B. Mozart.
high.
Emorson's High School Exhibitions.
Choir.
XXXII.-By a "Combination" of methods.
THE STUDY OF MUSIC. IN PUBLIC SCHOOLS.
Franklin, Ind.
Arnold Tompkins..
3,500
920
700
All.
Prof.J.M. Dungan.
2
V.
Cincinnati and Chicago Both.
books.
Population, school population, and enrollment of places in Class C.
Group number.
Number of
States.
Number of
places.
Popula.
tion.
School
Enroll.
popula-
mont.
tion.
777
XXVI.
XXVIII.
XXIX.
XXX.
XXXI.
XXXI.
2
9
1
1
1
1
2
13
1
1
1
1
7, 080 1, 800
105, 298 26, 201
2, 613
12,000 600
5, 880 1, 327
3,500
920
1, 367
16, 678
695
540
1, 052
700
Total
12
19
136, 371
31, 625
{
21, 032
67
68
CIRCULARS OF INFORMATION FOR 1886.
D: PLACES WHERE MUSIC IS TAUGHT BY BOTH SPECIAL AND ORDINARY TEACHING FORCE.
XXXIII.-By the method or system called " Movable do."
School
Post-office and State.
Reported by
Enroll.
mento
Popula- popula-
Grades.
Chief music teacher.
Hours Instru.
por ments
week.! uscd.
tion.
Charts and books used.
Examinations
or exhibitions.
tion.
1
2
3
4
5
7
11
12
15
16
J. C. Gibson
43, 109
Oakland, Cal
Hartford, Conn
first year.
42, 553
0
Naugatuck, Conn.
New Haven, Conn
Norwich (Center), Connt..
Yankton, Dak
John Henry Brock-
lesby.
E.C. Gardner
S.C. Dutton
N. L. Bishop
A. F. Bartlett
*5,000
61, 388
*7, 5651
3, 591
13 O
Washington, D.C
Edward A. Paul
177, 625
558
Rock Island, I.
S. S. Kemble
11, 868
Evansville, Ind
Fort Wayne, Ind
M. Z. Tinker
John S. Irwin
38,000
26, 880
14 p.P
La Fayette, Ind.
Logansport, Ind
Princeton, Ind
Richmond, Ind.
J. T. Merrill
J. K. Walts
A. J. Spoke
Justin N. Study
*10,000 7,915 All above Miss E. P. Brown
1P L. W. Mason's National Examinations.
9, 775 10,097 All
Irving Emerson; Miss 10 P
Mason; Emerson; Jep- Exhibitions.
A.C. Bryan.
800.
1, 127 964 All
Miss Elizabeth Bright.. 23 None Mason's National
None.
16,500 13, 320 All
Benjainiu Jepson
14 P., O.. Jepson's Music Readers. Both.
1, 503 1,063 all
Prof. J. A. Butterfield.. 18! P, Butterfield's Course
Do.
981 670 All but first. Mrs. J. P. Wagoner
None
Terni examina-
tions.
43, 558 30, 388 All
F. H. Butterfield and J. 1 -1}
1 -13 V., P.. National, Mason, etc.
Annual exami-
H. Daniel.
nations.
1,895, 2, 118 All
George R. Housel
11 P.,p.p. Housel's
Either; irregu-
lar.
18,000
5, 897 All
M. Z. Tinker
1-2 P Blackboards, etc.
Examinations.
13, 970 3,794 All
Wilbur T. Heath
p.p Heath's charts and
Written exam.
readers.
inations.
3, 400 3, 2001 All
Mrs. W.C.L. Taylor.. 110 Heath's readers, etc..
Examinations.
4, 159 1, 198 All
W. T. Giffe
12 P Giffo's charts, etc
Do.
1, 100
875) AL
Mrs. S. E. Jonking
11-21 P., O.. Loomis's series
Both.
5, 590 2,512 All
G. M. Cole
1 P. National, Mason, etc.- Quarterly ex-
aminations.
10, 002 4,545 All
Mrs. Anna L. Gould., 2 -2 0., P.
P..
Loomis's series
Examinations.
3, 4001
2, 200 All
Prof. W. H. Smith
1-15 None Mason's
Do.
86, 961 40, 496 All
Wm. A. Tarbutton, J. H. 1-15 P., 0.. Mason's charts and Boti.
Dooms, C.F. Percival.
books.
1,409 1,681 All
Samuel W. Cole
1
Nono
Normal Music Charts. Examinations.
10, 6821 9,982 All below Nathan Lincolo
14 P Mason's readers and Exhibitions.
high.
charts.
4, 464 4,736 All
George A. Veazie.
1-23
National Music Courso Both.
800 936 All
J. E. Shepardson...
1
Normal Music Course Neither.
4, 028 4,089 All
Austin A. Spaulding
1-3P
Tuft's and Holt's read. Both.
ers, etc.
7, 1771 6, 105 All
William W. Keays...
1 -2 P Mason, Eichberg.
Ono H. S. exhi.
bition annu-
ally.
մ
James E. Aborn
1 --I) P., O.. Mason's readers and Both.
charts.
14, 860
11, 1981
2, 700
12, 742|
Terre Haute, Ind
Ottumwa, Iowa
Baltimore, MD
William H. Wiley
A. W. Stuart
Henry A. Wiso .
26, 042
11, 000
332, 315
Brookline, Mass
Cambridge, Mass
D. H. Daniels
Francis Cogswell.
8,074
52, 740
Chelsea, Mass
Easton, Mass
Gloucester, Mass
E. H. Davis
W. L. Chaffin
M. L. Hawley
25,000
3, 901
19, 329
Lawrence, Mass
John L. Brewster..
39, 178
Lynn, Mass
O. B. Bruce
*50,000*7,087 6, 748 All
Malden, Mass
Charles A. Daniels..
13, 464
O. B. Brown
Both.
|
2, 846 2,313) All
2, 100! 2,218 All
3, 500 3,017 All
1 P., V., Song Reader and im.
p.p. provised charts.
11 P., O. Mason's
2 P., O., National Music Course
Marlborough, Mass
Pittsfield, Mass
G. Fletcher
Thomas H. Day
10, 126
13, 364
W.S. Tilden
E. C. Smith
Do.
Neither.
V
Somerville, Mass
J. H. Davis
25, 725
6, 032
Waltham, Mags
Woburn, Mass
Worcester, Mass.
Henry Whittemore.
A. A. Woodbridge..
A.P. Marble
14, 445
12,000
70,000
Ann Arbor, Mich.
W.S. Perry
9, 400
Grand Rapids, Mich.
Ionia, Mich
I. N. Mitchell
J. W. Ewing (?)
42,000
5,000
C. B. Thomas
14, 000
R. W. Putnam
0. V. Tousley.
4, 9841
115,000
Saginaw, Mich
Ypsilanti, Mich
Minneapolis, Minn.
Saint Paul, Minn
Saint Peter, Minn
Saint Joseph, Mo
Dover, NH
Orange, N.J
Buffalo, NY
B. F. Wright
L. C. Lord
E. B. Neely
Chaning Folsom.
U. W.Cutte
J.F. Crooker
100,000
4,000
32, 431
11, 687
13, 206
154, 375
THE STUDY OF MUSIC IN PUBLIC SCHOOLS.
Elmira, N. Y
C. B. Tompkins.
6,014 All above S. H. O. Hadley
1
P, ,V
Mason's charts, eto Anuual exbi.
primary.
bitions.
2, 332 2,792 All
L. B. Marshall
15 P Mason; National Course Neither.
2,600 2,530 All
Ephraim Cutter, jr. 1 -13 P Mason; National Courso Exhibitions.
12, 884 12, 698 All above Seth Richards
15 P Mason, Sharland, and Both,
grade 1.
Eichberg
2, 789 1,958 All below Alvin Wilsey
Nono Blackboard; Loomis Examinations.
high school
12, 071 7, 601 All
Miss Madeline Kennedy.
0., P.
Lnomis's series
None.
1, 400 1,050 First sight | S. L. Tyler (Greenville 11 10 Blackboard; Loomis, etc Both.
grades. P.O.).
4, 435 2, 300 All
Mrs. Kato DeLand Mil- 2 None . Smith, Loomis
Examinations.
ler.
1, 432
1, 027 All
E.M. Forte
0
23 P., O.. Forte's Stepping Stones. Eshibitions.
29, 300 11,730 All
D. Shryock and S. Ray.
1-1
V Sbryock's series
Written exam-
mond,
ipations.
25, 000 9,266 All
F. W. H. Priem
11 P., O.. Mason-Holt
Examinations.
800 800 All
1 t. f
Mason's charts, etc Both.
12, 338] 4, 662 all
Henry M. Butler
23 None. Loomis's series
Neither.
1, 954 1,444 All
Miss Mary F. Duxbury. -1 P. P..
Normal Music Series
Do.
3, 800 1, 718 All
F. G. Handel.
Mason, etc..
Exhibitions.
65, 00026, 922 All
E. L. Baker and C. F. 2 P., O.. None
Examinations.
Hager.
6, 544 3,983 Grammar Misses F. Roosa, A. J. 3 P.;M Mason's charts, etc.
Doc
grades. Darbon, C. B. Cum-
mings, C. E. Vermilya.
3, 284! 2,277 All
Misses L. M. Love and 13! P
Various.
Both.
A. M. Crosby.
*4,000 *3, 150 All
Mrs. A. S. Le Feuer 1-14 P., O. Mason's series
Examinations.
7 7,362 2,962) All
Alfred A. Andrews
15 P., O.. Mason's series, black- Both.
board.
6, 505 3,888 All
Nathan L. Glover
14 P., O.. Blackboard, etc
Examinations.
6, 013 3,701 All
Prof. M. L. McPhail.
2
Mason's Music Series.
91, 342 40,000 All
G. F. Junkermann
1-1 | V.,P. Cincinnati Music Series Botli.
2, 190 1, 450 All
Miss A. Oliver
# None Cincinnati Music Series Do.
56, 411 23, 420 All
N. Coe Stewart
111 P., O Stewart's series
Examinations.
1, 967 1,237) All
James A. Porter..
14 V
Cincinnati and Boston. Both.
273) 270 All
S. H. Lightner (Youngs- 2–23 O Various song-books... Examinations.
town).
4,490 2,166 All
Lewis Aiken
11 V.,P.. Cincinnati system, etc
902 586! All
John C. Ewing
27 None
Nono. Blackboard
Do.
1, 784 1, 174) All
Jos. W. Schofield.
2
Mason and Loomis
Both.
1, 248
651 All
Prof. J. D. Luge
1-23 P., O. Various song-books.... Examinations.
777 All
Prof. N. L. Glover (Ak- 3 P., O Various song-books Both,
ron).
1 Distriot.
20, 541
Jamestown, N. Y.
Samuel G. Love.
18,000!
Kingston, N. Y
Yonkers, N. Y
C. M. Ryon
Charles E. Gorton
22, 000
18, 892
Elias Fraunfelter
J. H. Lehman..
P., O.
Akron, Ohio
Cantou, Ohio
Cincinnati, Ohio
Circl-ville, Ohio
Cleveland, Ohio.
Galion, Obio
Garrettsville, Ohio
M. H. Lewis
B. A. Hinsdale.
M. Maply
John E. Morris
16, 4671
12, 258
255, 000
6, 250
227, 760
6,000
969
Do.
Hamilton, Ohio
Lebanon, Ohio
Martin's Ferry, Ohio
Painesville, Ohio
Ravenua, Ohio
L. R. Klemm, Ph. D
Joseph F. Lukens .
Charles R. Shreve.
James H. Shepherd.
D, D. Pickett
12, 122
2,707
5, 100
3, 987
4, 000
)
Nono
1,000
0001
* Estimated.
69
70
CIRCULARS OF INFORMATION FOR 1886.
D: PLACES WHERE MUSIC IS TAUGHT BY BOTH SPECIAL AND ORDINARY TEACHING FORCE-Continued.
XXXIII.--By the method or system called "Movable do "Continued.
Post-office and State.
Reported by
Popola
tion.
School
popula-
tion.
Enroll-
ment.
Grades.
Chief music teacher.
Hours Instra.
per ments
week. used.
Charts and books used.
Examinations
or exhibitions.
1
2
3
4
5
11
12
15
16
Mrs. Lucy Hamilton
Mrs. E. J. Wakefield
11 p.P
Washington C. H., Ohio..
Titusville, Pa.
Pittsburg, Pa
Pawtucket, R.I.
Providence, R. I
Madison, Wis
Charles F. Dean
R. M. Streeter
George J. Luckey
Alrin F. Peaso
H.S. Tarbell
William B. Beach.
4, 200
1, 1991 1, 080 All
9, 046 *2,000 1,771 All
180, 000*40, 00027, 000 all
19,030 4, 786 3, 869 All
104, 857 22, 515 14, 617 All
10, 321
3,702 1,750 All
Albert C. Whito
Benjamin W. Hood et al.
Mrs. M. E. Brand
21 None National Music Series..
Loomis's series
t. f. p.pl Loomis's series.
1-2 P., 6.1 | Mason's series
1-15 None Blackboard; National
14-2P Loomis's series.
Do.
Examinations.
Exhibitions.
Do.
Do.
Neither.
Total
2,651, 375 626, 749
626, 749 409, 273
9|408, 273
* Estimated.
XXXIV.-By the method or system called "Ficced do."
Clinton, Ill..
J. W. Coultas
*2, 700
1, 100
,
Fitchburg, Mass
Joseph G. Edgerly.
13, 500
788) All but pri- H. J. Shiebly
mary.
2,793; 3, 013) All
Miss Laura S. Merriam.
17, 1981 9,439 All
J. A. Scarritt and Mary
H. Wirth,
1, 136
650 All
Miss Fanny Cartzdafner.
30., P.. George Sherwood's 80- | Monthly exam-
ries.
inations.
3 P., p.pNational and Normal Both occasion-
ally:
-1 P
Mason's
Examinations.
Columbus, Ohio
R. W.Stevenson
66, 669
London, Ohio.
J. W. MacKinnou
3, 100
20
Do.
Willoughby, Ohio
Wilmington, Ohio
J. C. IVard
Edward Merrick.
1,001
*3,000
350
760
289 All
*600 All
J.D. Lugo
Walter G. Fisher
-0 .,P.
23 0
Blackboard; Mason's
charts.
None
Cincinnati Music Road-
er.
Do.
Both.
Total
89, 970)
23, 637 14,779
* Estimated.
.
XXXV.-By the method or system called " Tonio 80l-fa."
Shenandoah, Pa
La Crosse, Wis
L.A. Freeman
Albert Hardy.
14,000
22, 000
3,400 2, 349 All
6, 2003, 029 All
Ray G. Fowler
Mies E. A. Doty
of songs.
13 None Improvised charts Examinations.
23-3 P.,0.. Mason's charts; books Both.
11-2 P., O... Bachelor Cbarmbury's
Do.
series of music reade
ers.
Milwaukee, Wis
115, 571
William E. Ander-
SON.
52, 248 19, 849 All
William A. Ehlmann,
Total
151, 571
61, 648 25, 227
XXXVI.-By “Movable do
with “Tonic sol-fa."
Union City, Ind.
F. Smedley
2, 600
9001
600 All
F.J. Davis
Winchester, Ind
Oscaloosa, Iowa.
E. R. Butler
H. H. Searley
2,000
4, 598
*865 600 All
1, 917 1,497| All
S. J. Davis
Mrs. Virginia K. Logan.
13 O
13 P.,0..Loomis's series and in-
provised charts.
11 O
do
Do.
Mason's charts, Smith's Do.
Music Reader, etc.
2 P., O. Mason; Eichberg
Examinations.
55 P.and | Loomis's text books and Neither.
p.p.
tonio sol-fa cbarts.
23 None.
Both.
1 P
Exhibitions.
Northampton, Mass
Grand Haven, Mich
George B. Drury
E. B. Fairchild, jr..
13, 248
6, 000
2, 383 2, 383) all
2,019 1,400 All
THE STUDY OF MUSIC IN PUBLIC SCHOOLS.
Hastings, Mich
Jersey City, N.J
Charles H. Colo.
George H. Barton.
2, 700
187, 950
Henry Jones
George C. Shepard
George C. Shepard..
William Smedley and
Victor Baier.
Edwin C. Rowley.
Mrs. Susan Fean
830 *575) All
75, 781 21, 602 All
Hudson, NY
Erie, Pa
William P. Suyder.
H. S. Jones.
8, 670
27, 730
Both.
2, 025 1,284 All
*8, 500 4, 900 All
1 P
12
Mason's readers
Blackboard
Total
255, 496
95, 220, 34, 841
* Estimated.
XXXVII.-By “Fixed do and Movable do."
George S. Littlefield.
4, 500
650
*600All
Winchester, Mass
Toledo, Ohio
Mrs. Susan C. Bailey
and Charles E. Sweet.
S.C. Bennett
John W. Dowd...
50, 143
19, 111 8, 851 All
11 P., O.. Mason's readers
Exhibitions.
1-2 None.. Ginn and Heath's music Neither.
readers.
Total ...
54, 643
19, 761 9,451
* Estimated
71
72
:
CIRCULARS OF INFORMATION FOR 1886.
D: PLACES WHERE MUSIC IS TAUGHT BY BOTH SPECIAL AND ORDINARY TEACHING FORCE--Continged.
XXXVIII.--By unique or exceptional methods.
Popula-
School Enroll
popula-
Post office and State.
Reported by-
Grades.
Hours Instru.
per ments
week. used.
Chief masio teacher.
Charts and books used.
Examinations
or exhibitions.
tion.
inont.
tion,
1
2
3
4
5
L
7
11
12
15
16
Chicago, Ill.
George Howland.
629, 985 169, 103 76,044
All
C. E. R. Müller and O.
Blackman,
None.
Keokuk, Iowa
North Adams, Mass
Peabody, Mass
Taunton, Mass
W. W. Jamieson.
A.D. Miner.
G. F. Osgood
W. W. Waterman
14, 000
10, 192
9,033
21, 145
4, 931! 2, 469 All
2, 765 2,531 All
1, 913 2,009 All
4, 552 4,045 All
Prof. E. A. Tower.
C. R. Bill.
Milton R. French.
Examinations.
Both.
None.
Both.
17 P.P
12 P., O., Müller and Blackman's
p.p.
Schvol Songs.
10 Blackmore's Cooks
1 P., O.. Mason's series, etc..
P
Maxou's
10 P Tuft's and Holt's ; Ma.
son's; Loomis's.
1 P Harmonist; Mason's
course; Mitchell's ex-
ercises aud
songs,
Sougs of Nations,
Song Sheaf, Time and
Tune, etc.
Brooklyn, N. Y
Calvin Patterson
*650,000 *175, 000 96, 927 All
Two examina-
tions annu-
ally.
A. S. Caswell, director;
E. C. Phelps, D. P.
Horton, L. L. Parr, F.
K. Mitchell, Carl Wag-
ner, J.J. McCabe, A.
M. Russell, A. M.
Judge, and E. E.
Hand, teachers.
Solon U. Cookinham
Utica, N.Y.
A. McMillan
39, 536
12, 861 5,647 All
23 P
Various sung-books
Three
exami.
pations annu.
ally.
Neither.
Neither.
Joseph K. Gotwals.
James MacAlister.
Miss B. McCarter
4-1 | P., O.. 1 Mason, etc.
P., O.. None
Norristown, Pa
Philadelphia, Pa
Cranston, R. I
13, 234 *3,000' *2, 100 All
847, 170 250,000|108, 111) Primary,
normal.
6,000 1,000
900 Intermedi.
ate grades.
5,000
1, 600
960 All
Jos. A. Latham.
1 None. Blackboards
Nono.
Miss Hubbard and one
other teacher.
Miss D. Spauganberg ...
Huntington, W. Va
A. D. Selby
5
0
Mason's charts, etc.
Exhibitions.
2, 245, 295 626, 725301, 743
* Estimated.
1
!
THE STUDY OF MUSIC IN PUBLIC SCHOOLS.
73
Population, school population, and enrollment of places in Class D.
Group number.
No. of
States.
No. of
places.
Population.
School
population,
Enrollment.
XXXHI
XXXIV
XXXV..
XXXVI..
XXXVII ..
XXXVII
19
3
2
7
2
7
65
6
3
9
2
11
2,651, 375
89, 970
151, 571
255, 496
54, 643
2, 245, 295
626, 749
23, 637
61, 648
95, 220
19,761
626,725
409, 273
14, 779
25, 227
34, 841
9, 451
301, 743
Total
30
96
5, 448, 350
1, 453, 740
795, 314
74
CIRCULARS OF INFORMATION FOR 1886.
Partial list of lay singing societies in several cities and towns in the United States, with the
names of their conductors when known.
Location.
Name.
Conductor.
Akron, Ohio.
Nathan L. Glover.
Gustav Sigel.
Valentino Hummel.
Louis Seybold.
Professor Case.
Albert Lea, Minn
Alma, Wis.
Ann Arbor, Mich.
Choral Society.
Liedertafel
Liederkranz.
Harmonic Society
A musical society
Concordia
Choral Union.
Beethoven Gesangverein
Amphions
Mendelssohn Club
Harmopic Club
A singing society
..do .
do
Appleton, Wis....
Atlenta, Ga....
C, B, Carly.
R. H. Kempf.
O. B. Carly
Alex. M. Zopier.
Professor Jacoby.
Professor Barilli.
Miss Cuckler.
Profesoor Krugor.
Professor Pinti.
Professor Schultze.
Miss Stieft.
...do
Attica, Ind
Baltimore, Md...
Miss L. Smith.
Miss E. Milford.
Professor Finka.
J. Harry Deems.
Battle Creek, Mich...
M. W. Cobb.
Beaver Falls, Pa...
Bismarck, Dak.
Boston, Mass
John M. Critohlow.
F. J. Call.
Brattleborough, Vt...
Brooklyn, N. Y.
.do
.do
And others ...
Amusical society..
...do
Oratorio Society
Wednesday Club Chorus Class.
Liederkranz
Männerchor
East Baltimore Liederkranz
Garland Musical Association
Germania Männerchor....
Haydn Musical Association
Liedertafel
M. G. V. Arion.
Choral Union.
Ladies' Chorus
Musical Union ...
Choral Union Society..
Apollo Club
Boston Orchestral Club..
Boston Symphony Orchestra.
Boylston Club
Cecilia Club
Harvard Musical Association
Music Hall Popular Orchestra
Orpheus Club....
Philharmonic Society..
Choral Union
Philharmonic Society
Brooklyn Cecilian Society.
Amateur Opera Association
Apollo Club
Amphion Society
Arion Society.
Brooklyn Sängerbund
Deutscher Liederkranz .....
Williamsburg Sängerbund
Zöllner Männerchor
Male Octotto
Orpheus Singing Society
Deutscher Sängerbund
Harrugari Singing Society
Geripauia Singing Society
East Buffalo Mäunerchor
Liedertafeln...
Arions
Teutonic Männerchor
Cecilia Club
Musical Union.
Liedertafel....
Choral Society
Chelsea Cboral Society
Apollo Club
Mozart Society
Artists' Concert Club
Chicago Musikverein.
Germania Mäonerchor.
And other societies
May Festival Chorus.
Hairugari..
Männerchor
Musikverein..
Welsh Singing Society, and many
others.
Theodore Thomas.
Albert S. Cas well.
Henry Gorham.
Dudloy Buck.
E. Mortimer Wiske.
Brown Point, Ind...
...
Buffalo, N. Y
George L. Voorheen.
J. Geluke.
F. Federlein.
F. Federlein.
August Göble.
J. Gelbke.
Joseph Michka
August Göhle.
J. Ertelmann.
Frank T. Tubbs.
E.T. Curtis.
L. F. Gröbl.
E.J. Hönshol.
Calumet, Mich..
Camden, N.J
Charleston, Ill
Chelsea, Mass
Chicago, Ill.
0
W.L. Tomlins.
M. L. Bartlett.
Cincinnati, Ohio.
THE STUDY OF MUSIC IN PUBLIC SCHOOLS.
75
Lay singing societies in several cities and towns in the United States, 50.-Continued.
Location.
Name.
Conductor.
}! C. H. Glover.
Cincinnati, Ohio Apollo Club..
Musical Club
Musical Festival Association
Philharmonic Orchestra Association..
Circloville, Ohio.
Philharmonic Society..
John Q. A. Oliver.
Cleveland, Ohio. Central Musical Association..
N.C. Stewart
Vocal Society
Alfred Arthur.
Newberg Society
Davis.
Choral Society
E.J. Leighton.
Orpheus
And sereral German singing societies.
Clinton, IL
Clinton Quintette Club..
Unique Society Corps
Columbus, Ohio... Arion Society.
W. H. Lott.
Liederkranz Society
H. Eckhardt.
Männerchor
Joseph Dauben.
Orphens Musical Society.
T. H. Schueider.
Welsh Choral Society.
J. R. Beynon.
Welsh Society.
J. H. Richards.
Coshocton, Ohio..., Glee Club...
Choral Union.
Dover, N. H...
Cboral Union
Professor Walton.
Dubuque, Iowa
Männerchor
Dunkirk, N.Y... Germania Gesangverein
Easton, Mass.
Musical Association
J. E. Shepardson.
Edwardsville, Di Sängerbund
Elgin, Ill..
Choral Union.
L.A. Torrens.
Elmira, N. Y
May Music Association
H. S. Hamer.
Sängerbund
Fred. Hagar.
Erie, Pa...
Liedertafel.
Männerchor
Orpheus
Sängerbund
Teutonia, and others not reported ..
Evansville, Ind.... Liederkranz
Professor Jomack.
Lyric Society
M. 2. Tinker.
Männerchor.
Christian Mathias.
Philharnionio Society.
M. Z. Tinker.
Fall River, Mass. Choral Union..
H. J. Bennett.
Farmington, Me. Musical Association..
George C. Purington.
Franklin County Musical Association C. A. Allen.
Fort Wayne, Ind Arion Society
Prof. Carl Schmidt
Haydn Quartette..
Amelius J. Lang.
Frackville, Pa... Männerchor ...
John Weisfioch.
Union Glee Club.
H. E. Browumillor.
Franklin, Ind
Enterprise Chorus Class,
J. M. Dungan.
Freeport, III
Germania..
Gainesville, Tex
Professor Randel.
Garrett, Ind..
Musical Society
A.J. Stuart.
Garrettsville, Ohio.., Orphic Society.
0.J. Bates.
Gloucester, Mags Musical Section of Cape Ann.
Scientific and Literary Association. Vrs. Abbie I. Morso.
Grand Rapids, Mich... St. Cecilia Society
M18. 1. M. Davis.
Schubert Club...
Prof. G. N. Colwell.
Rubenstein Club
6. C. Shepard.
Hamilton, Ohio .. German Männerchor
William Eckert.
German Society Choir.
i Professor Mayer.
Hartford, Conn
Hosmer Hall Choral Union.
Waldo Pratt.
Hartford Opera Club..
High School Choir
Cecilia Society
Valdo Pratt.
Hartford Choral Union
E.J. Dooley.
Hazleton, Pa....
Concorlia Männercbor
Philharmonic.
Highland, Pa..
Philharmonio Society.
Alwin Eichhorn.
Männerchor
Hillsdale, Mich
Beethoven Society
Professor Chase.
Apollo Club..
Prof. A. Graves.
Hoboken, N.J
Hoboken Quartette Club
Hudson, Wis
Musical Union
Prof. Thomas Enghes.
Ionia, Mich..
Musical Union.
Prof. S. N. Fills and Miss Alice
Barr.
Janesville, Wis
Concordia
Kingston, N. Y
Amphions
J. H. Buddington.
Gorman Männerchor...
William Rieser, jr.
Knoxville, Iowa
Chorus Club
Young People's Club
A.M. Brobot.
Knoxville, Tenn Choral Society and Orchestra..
Prot. G. R. Knato.
Mozart Club)....
V. P. Chamberlain.
La Crosse, Wis
Musical Section of the Deutscho Ver- Professor Göbler.
ein.
Liederkranz
Raven Club..
George Benton.
1
} Irving Emerson.
76
CIRCULARS OF INFORMATION FOR 1886.
Lay singing societies in several cities and towns in the United States, fc.—Continued.
Location.
Name.
Conductor.
Sig. Ricardi.
Lafayette, Ind.
Concordia Society
Fred. Dorper.
Lockport, N. Y
Millard Society
William C. Compton.
Lyon, Mass
Glee Club
McKinney, Tex... Charley Heard's Warblers.
C. Heard.
Madison, Wis.
University Choral Club
Prof. T.A. Parker.
Madison Männerchor.
Malden, Mass..
Malden Musical Association
Mrs. H. E. Morey.
Manlattan. Iowa
Choral Union
Professor Bixler.
Massillon, Ohio
Normal Instituto
Mr. S. S. Myers.
Memphis, Tenn.
Mozart Society
Professor Downs.
Milwaukee, Wis
Allemania Männerchor..
Duatscher Mäunorverein
Gesangsektion der Freier Gemeinde..
Gesan yvercin Milwaukee...
Harmonie
Liederkranz
Liedertafel ...
Minneapolis, Minn..... Philharmonic Society ..
D. Blakely.
Farmonic
Moorhead, Minn. Cecilia Musical Society..
P. Von Weller.
Newark, N.J.
Arion.
M. G. V. Phønix
Now Haven, Conn ... Arion Society
Carl Welner.
Harru gari
Teutonia Männerchor
Oratorio Society (very large) at pres-
ent suspendeil.
Tentonia Männerchor
Now Orleans, La.... St. Cecilia Society.
G. W. Sinith, 640 Camp street.
Cercle de la Harpe Æolienne..
George L. McConnell.
Liellertafel.
C. J. A. Doer, president.
Philharmonic
Young Men's Hebrew Association Lewis Hart.
Southern Art Union, No. 203 Canal st.
Newport, N. H
Arion Quartetto.
B. R. A llen.
New York, N. Y
Beethoren Männerchor.
Deutsche Liederkranz
Eichenkrap%......
Männergegangverein Arion.
Mendelsshon Glee Club ..
Musical Mutual Protective Union
New York Branch Glee Club, Weber's
New York Männerchor..
New York Sängerhund
Philharmonic Society of New York...
Norristown, Pa..... Philharmonic Society
Charles Bossert.
Cecilian Society
Jer. March.
Northborough, Mass.. Choral Union ...
Jonas Bigelow.
Oakland, Cal.
Oakland Harmonic Society
D. R. Hughes, Eighth and Brush sts.
Orange, N.J...
Mendelssohn Union..
Klein bold Hermann.
Oscaloosa, Iowa.
Oscalooga Musical Association.
Paterson, N.J.
Musical Union...
Florian Oborske.
Sol Fa Society
Thomas Benson.
Perth Amboy, N.J Berlioz Vocal Society
E F. Potter.
Choral Union
Professor Schneeweiss.
Philadelphia, Pa....... Allemania
F. W. Künzel, 1705 Germantown avo-
nie.
American Choral Society
A. Frick, 1214 North Fifth street.
Arbeiter Sängerbund.
Philipp Bost, 324 North Eighth street.
Arion
Dr. H. Römermann, 250 North Twelfth
street.
Aurora
Withila E. Winter, 1944 North Fourth
street.
Aurora Quartetto Club
Peter Völker, 1539 Mervino street.
Beethoren Liederkranz
L.Ockerläuder, 2327 Thompson street.
Beettioren Männerchor
L. F. Gröhl, 1210 Ringgold street.
Caecelia
L. Ockenländer, 2327 Thompson street.
Cecilian Society
Micbael H. Cross, 32 South Twenty-
first street.
Columbia.
Wilhelm E. Winter, 1944 North Fourth
streit.
Columbia Burschenschaft Gesangver. L.Ockenländor, 2327 Thompson street.
ein.
Concordia..
H. Peters, 930 Fairmount avenue.
Concordia Quartette Club...
T. W. Jost, 1015 Spring Garden street.
Deutscher Krieger-Sängerbund. A. Frick, 1214 North Fifth street.
Eintracht
A. Faas, 3819 Melon street.
Fairmount Männerchor.
Peter Völker, 1539 Mervine street.
Ficlelia Mäunercbor.
Peter Völker, 1539 Mervine street.
Franz Abt Sängerbund
L.Ockenländer, 2327 Thompson street.
Treundschafts Club
E. Olnhausen, 1209 Newkirk street.
THE STUDY OF MUSIC IN PUBLIC SCHOOLS.
77
Lay singing societies in several cities and towns in the United States, &C.-Continued.
Location.
Name.
Conductor,
Philadelphia, P&.... Gambrinus Sängerkranz.
Peter Völker, 1539 Mervine street
Germania Liede: kranz..
Hermann Held, 2340 Marshall street.
Gerruania Mänijershor.
L.Ockenländer, 2327 Thompson street.
Germantown Männerchor
Chr. O. Welzel, 909 North Fifth street.
Gesangsektion des Alexis Club
E. A. Hartmann, 2408 Sharswood
street.
Gesangsektion des Turugemeinde T. W. Jost, 1015 Spring Garden street.
Gesangverein-Fraternité...
Hermann Held, 2310 Marshall street.
Girard Sängerbund.
Professor Bitzer, 2613 Waterloo street.
Haimonio..
F. W. Kunzel, 1705 Germantown ave-
nue.
Humboldt Gesangverein...
Peter Völker, 1539 Mervine street.
Jetterson Quartetto Club
A. Frick, 1214 North Fifth street.
Junger Mäuverchur
S. Behrens, 715 Locust street.
Kirchhainer Liedurkranz
E. Olulausen, 1209 Nowkirk street.
Krenznachor Sängerbund.
A. Frii.k, 1214 North Fifth street,
Liederkranz
T. W. Jost, 1015 Spring Garden street.
Liedertafel..
Heimann Held, 2340 Marshall sti eet.
Männerchor
Samuel Hermann, 1501 Oxford street.
Marburger Lieder Verein.
Peter Völker, 1539 Mervine street.
Mendelssohn Society.
William W. Gilcbrist, Germantown
Station.
Mozart Harmonie...
Carl Bauer, 835 North Third street.
Mozait Männerchor
Hermanu Held, 2340 Marshall street.
Orpbeus
H. Peters, 930 Fairmount avenue.
Orpheus Society
Michael H. Cross, 32 South Twenty.
first street.
Philadelphia Choral Society
Philadelphia Quartette Club.
E. A. Hartmann, 2408 Sharswood
street.
Pocahontas Gesangverein..
Peter Völker, 1539 Mervino street.
Sängerbond.
Carl Gärtner, 152 North Eleventh
street.
Saint Markus-Gemeinde Gemischte | Peter Völker, 1539 Mervine street.
Chor.
Schweizer Männer-und-Damen-Chor.. Dr. H. Römermann, 250 North Twelfth
street.
Singschule des Soz. Schulvereins Hermann Held, 2340 Marshall street.
Social.
Wilhelm E. Winter, 1944 North Fourth
street
Teutonia Sängerbund...
L.Ockenländer, 2327 Thompsonstreet.
Tischler Sängerchor
F. W. Künzel, 1705 Germantown ave-
D110.
Typographia Quartette Club... A. l'rick, 1214 North Fifth street.
Voreinigte Sänger
F. W. Künzel, 1705 Germantown ave-
nie.
Weis Männerchor
Paul Wendler, 518 Noble street.
West Philadelphia Gesangverein A. Faas, 3819 Melon street.
West Philadelphia Harmonie.
A. Faas, 3819 Melon street.
West Philadelpbia Männerchor L.Ockenländer, 2327 Thompson street.
Pittsburg, Pa..
Fiolisiun..
Portland, Oreg.
Orchestral Union
Simon Harris.
Port Jervis, N. Y
Port Jervis Philbarmonic.
W. Holt.
Männerchor
Hugo Speck.
Apollo Male Quartette..
G.Å. Elston.
Portage City, Wis.. Lieclerkranız
Pottsville, Pa.
Youg Men's Glee Club
J. I. Alexander.
Poughkeepsie, N. Y.... Vocal Union ..
Professor Ritter.
Germania Verein
Adolf Kühn.
Providence, R. I... Ariun Society.
Juley Jordan.
Mendelssohn Society
Joseph Hastings.
Racine, Wis
Welsh Malo Quartette...
E.J. Pritchard.
Reading, Pa...
Harmonie Männerchor
Rochester, Minn.. Musical Society
Rockforil, Ill..
Germania
Rock port, IN.
Choral Union
L. A. Torrens.
Saint Cloud, Mion.
Mrs. A. P. Thombs.
Saint Joseph, Mo.. Mendelssohn Musical Association Otto Behr.
Männercbor
Villiam Plats.
A pollo Club
P.I. Kost.
Saint Louis, Mo. Associates Choral Society
Germania Sängerbund ....
Liederkranz.
Saint Louis Liedortafel....
Saint Paul, Minn Saint Paul's Choral Society...
Signor Janotta.
Saint Peter, Minn ... Saint Peter's Choral Club
Mr. L. C. Lord.
San Francisco, Cal.... llandol anil Aayan Society..
Liederkranz Society
Liedertafel Society
Loring Club
Oratorio Society
7.8
1
CIRCULARS OF INFORMATION FOR 1886.
Lay singing societies in several cities and towns in the United States, &c.—Continued.
Location.
Name.
Conductor.
S. H. A. Hadley.
W. M. Skinner.
Prof. A.J. Dupré.
Professor Lohmann,
Professor Misner.
Prof. W. A. Chalfant.
Carl Zorrali.
Charles J. Kautmann.
Anton Shido.
S. C. Bennett.
Professor Hartmann,
Professor Hartmann.
Professor Hartmann.
Prof. George Ewen.
San Francisco, Cal.... San Francisco Männerchor
Wagner Verein...
Young Ladies' Choral Society..
Sheboygan, Wis
Concordia....
Somerville, Mass Higb School Masical Association:
Rubenstein Club.
Spartanburg, S.C.... Musical Association
Springfield, III. A musical society..
do
Springfield, Mo.. Handel and Haydn Society.
Drury College Conservatory.
Taunton, Mass
Beethoven Society.
And several gloe clubs
Terre Haute, Ind.... Männerchor
Musical and Literary Society..
Oratorio Society
Tiffin, Ohio..
Brüderbund ..
Männerchor
Toledo, Ohio.
Toledo Oratorio Society
Trenton, N.J
Eight O'clock Society..
Leiderkranz
Liedertafel
Mendelssohn Society
Troy, N. Y...
Männerchor
Schwäbischer Sängerbund..
Union City, Ind.. Union City Choral Society.
Union City, Tenn. Conservatory of Music.
Utica, N. Y.
Welsh Cboral Society
Utica Mendelssohu Club
Concordia Männerchor
Utica Männerchor.
Utica Philharmonic Society
Handel Choral Union...
Walla-Walla, Wash.. Oratorio Society.
Waltham, Mass. Choral Society ..
Waseca, Mina... Glee Club....
Musical Society
Washington, D. C .....
Choral Society
Sängerbund
Germania Männercbor.
Washington Sängerbund
Washington C.H., Obio. Washington Club.
Watertown, Wis . Concordia.
Westerly, R. I.
A musical society.
Westfield, Mass
Glee Club
Wheeling, West Va Arion...
Beethoven.
Germania.
Willoughby, Ohio..
Vocal Society
Wilmington, Del.. Millard Club..
Sängerbuod
Wilmington, N. C Arion Quartette Club
Wilmington, Obio Mixed Quartette.
Winchester, Mass The Clefs.
Winona, Minn.
Männerchor
Worcester, Mass. Society Frohsinn
Choral Union....
County Musical Association,
Xonia, Ohio..
A musical society
Yonkers, N. Y.... Choral Union.
F.J. Davis.
Miss Ruth C. Wartorfield.
W.ap Madoc.
J. E. West.
E. Mechber
N. Zartu.
Louis Lombard.
W. G. Stephens.
Prof. W. W. Geddes.
Carl Zerrahn.
Mrs. E. B. Collester.
Miss Wippifred Smith,
Mr. H. C. Sherman,
R. A. Robinson.
M. A. Greon.
Professor Byron.
Henry Wolls.
Calvin B. Rhoads.
Richard Grant.
Mr. W. G. Fisher.
Benjamin Zäder.
Carl Zerrahn.
A.C. Munroe.
J. Fred Smith.
Augustin Corcoda.
O
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