Music 
 
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 920 
 
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 JSIC APPRECIATION 
 
 FOR 
 
 JTTLE CHILDREN 
 
 ''HIS MASTER'S VOICE" 
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 THE LIBRARY 
 
 OF 
 
 THE UNIVERSITY 
 OF CALIFORNIA 
 
 LOS ANGELES 
 
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 MAKY f.A FKTKA KIHSK1.I, 
 
 "PIPE AND DECLARE THE UNQUENCHABLE JOT OK KARTH'
 
 MUSIC APPRECIATION 
 
 
 
 FOR LITTLE CHILDRE 
 
 IN THE HOME, KINDERGARTEN, AND 
 PRIMARY SCHOOLS 
 
 Designed to meet the needs 
 of the child mind during the 
 sensory period of develop- 
 ment; to be used with the 
 Victrola and Victor Records 
 
 Educational Department 
 VICTOR TALKING MACHINE COMPANY 
 
 CAMDEN, NEW JERSEY, U. S. A.
 
 Copyright, 1920, by 
 
 Victor Talking Machine Company 
 
 Camden, New Jersey, U. S. A. 
 
 International Copyright 
 
 Secured.
 
 Music 
 Library 
 
 TABLE OF CONTENTS 
 
 FOREWORD 7 
 
 PREFACE 9 
 
 THE UNIVERSAL NEED OF Music APPRECIATION. . 12 
 
 EDUCATION THROUGH Music 17 
 
 THE SUPERVISION OF Music APPRECIATION 23 
 
 BEGINNING CULTURAL HEARING 29 
 
 RHYTHM 33 
 
 SONG 47 
 
 INSTRUMENTAL Music 63 
 
 SUGGESTED LESSONS 82 
 
 LESSON BUILDING 100 
 
 MAKING THE MOST OF A RECORD 110 
 
 CORRELATIONS 117 
 
 PRIMARY STORIES AND POEMS 139 
 
 THE BOYHOOD OF HANDEL 156 
 
 THE BOYHOOD OF MOZART 158 
 
 THE BOYHOOD OF MENDELSSOHN 161 
 
 CALENDAR OF SPECIAL DAYS 164 
 
 CARDS SUGGESTED FOR INDEXING RECORDS 166 
 
 INDEX.. ..169 
 
 1&S5425
 
 There is sweet music here that softer falls 
 Than petals from blown roses on the grass. 
 
 TENNYSON 
 
 The soul of music slumbers in the shell, 
 Till waked an$ kindled by the master's spell; 
 And feeling hearts touch them but lightly pour 
 A thousand melodies unheard before! 
 
 ROGERS
 
 FOREWORD 
 
 The world's a very happy place, 
 Where every child should dance and sing. 
 
 SETOUN 
 
 T gives me sincere pleasure to cooperate with 
 those who are bringing to little children in 
 the public schools of our country, oppor- 
 tunities to hear the great music of the world. 
 It is a well-known fact that music makes 
 its deepest impression in the early years of 
 childhood. While the capacity of little children for listen- 
 ing to music is limited, those who know how to find good 
 music which will make a genuine appeal at this period in 
 the child's development are rewarded by an appreciation 
 which is well worth the effort. In the period of early 
 childhood the ear is easily trained and neglect at this time 
 can never be fully made up by any amount of musical edu- 
 cation in later years. 
 
 One of the very best opportunities to develop music 
 appreciation with young children is through their interest 
 in interpreting the appeal of music through motion. At 
 this period in their development children have a singular 
 freedom and confidence in creating their own interpreta- 
 tions through motions and steps that in later childhood 
 seems to disappear. If this confidence and creativity are 
 taken advantage of at the right period, the effect becomes 
 lasting, and a real contribution is made to their musical 
 education for all time. Unfortunately, a large number of 
 musicians, or supervisors of music in public schools, over- 
 look these very impressionable years and provide little in the 
 way of training for the kindergartens and the first grades. 
 
 9 7 eg*
 
 F O R E W OKI) 
 
 Through the efforts of Mrs. Frances Clark and others in- 
 terested in theeducation of the young child, childrenof to-day 
 may have an opportunity to come in contact with the very 
 best music that the world has ever produced. Those who 
 are willing to search diligently to discover music suitable 
 for children will not only contribute to the child's present 
 development, but will lay the foundation of music appre- 
 ciation which will make all life more beautiful and enjoy- 
 able. 
 
 I send my very best wishes to the effort which this little 
 book represents, as Mrs. Clark has given untold time in 
 searching for the best that music can provide in the 
 education of the children in our public schools. 
 
 PROFESSOR PATTY S. HILL 
 
 Director of Lower Primary Education (Kindergarten- Primary), 
 Teachers' College, Columbia University, New York. 
 
 MAKT LA FETRA Rl SflEU.
 
 PREFACE 
 
 HE unprecedented increased interest in the 
 study of music appreciation as a cultural 
 subject singularly well adapted to a broadly 
 democratic presentation of the art of music, 
 which has been proved to be a universal 
 human need, is rooted in the development 
 of the modern talking machine and records. 
 
 Until the Victor began its service to the needs of the 
 schools and brought all the music of all the world to all 
 the children, no one ever dreamed of teaching music 
 appreciation to the children of the grades; and very few, 
 if any, had made any headway in the high schools. As 
 the work has progressed, the ecstasy which even very 
 little children have shown in listening just to listen and 
 listening to learn has electrified many older hearts and 
 galvanized into action hundreds of educators. 
 
 In the beginning of this new use of music, it seemed 
 quite enough that the children should march more orderly, 
 play games to real music instead of monotonously chanting 
 some nondescript tune unaccompanied, and semi-occa- 
 sionally hear a few selections of truly great music. This 
 is no longer adequate, nor, indeed, is such desultory play- 
 ing of a few records to be called "music study" or "music 
 appreciation." 
 
 If America is ever to become a great nation musically, as 
 she has become commercially and politically, it must come 
 through educating everybody to know and love good music. 
 This can only come about by beginning with the chil- 
 dren, little children, at the mother's knee and on the 
 kindergarten circle, and so surrounding them with beauti-
 
 PREFACE 
 
 ful music that it becomes a vital part of education, devel- 
 opment, and life, instead of the autumn flowering of a 
 stunted, undeveloped, sterile bud, to be seen in a frantic 
 grasping at "music culture" in later life. 
 
 Millions of dollars are spent each season in madly 
 rushing to concert and opera in a vain effort to make up 
 for the awful deprivations of silent early childhood, where 
 the proper music was seldom heard and never understood. 
 Thousands of people pathetically try to ''hear" a sym- 
 phony or tone poem, but only succeed in becoming vastly 
 wearied by a mass of, what is to them, only incoherent 
 cacophony. Having ears they are yet unable to hear 
 because those ears missed definite training in childhood. 
 
 The tone-picture falls on empty canvas, because there 
 is no imagery rising out of a rich experience in full-fed 
 imaginings of scenes, atmospheres, moods, painted on 
 memory's walls by countless other former stimuli of pictures 
 in tones. The language of Eliot's Indian Bible or the tongues 
 of Babel's Tower are not more lost to the world than is 
 the language of music to the unfortunate millions of 
 Americans who have grown to manhood and womanhood 
 deprived by circumstances from hearing it during the 
 tender years of youth. These conditions are no longer 
 tolerable in the light of the present educational awakening. 
 
 If music is an educational factor, an individual and 
 community asset, then it should be given its rightful place 
 in the curriculum of our lower schools and kindergartens, 
 no less than, indeed much more than, in the high school 
 and college, where it has won a foothold, precarious because 
 of this very lack of foundational work in the elementary 
 schools. 
 
 Because we believe that, next to reading and writing, 
 music is the greatest single factor in educational processes, 
 
 10
 
 PREFACE 
 
 and because we realize that teachers everywhere are reach- 
 ing out for definite instruction and direction in this larger 
 use of music itself, and also as a powerful leaven to lighten 
 the whole mass of instruction, as a beautiful pollen which 
 brings to fruitage every flower of child-mind, we present 
 this plan of work. 
 
 To assist thoughtful parents and earnest teachers to 
 use music in this broadly cultural yet eminently practical 
 way, it is hoped that this book will be found helpful. 
 However, it will be found most satisfactory when used by 
 the progressive music supervisor as an aid to his or her 
 general plan of work. 
 
 It contains explicit instructions for using a splendid 
 selection of simple, yet most beautiful, music for children 
 during the sensory period. 
 
 Music should be the concomitant of every day's expe- 
 rience in a child's life at home and in school, not only in 
 the music period, but permeating every phase of his activ- 
 ity and development. The need is great, and the material 
 offered with the Victrola and Victor records is rich in 
 volume, usefulness, and adaptability. If we have pointed 
 out the road for the millions of American children, and if 
 we have led the way to a new field of the child's fairyland 
 which shall grow with him to manhood's most beautiful 
 playground of the soul, our highest hopes will have been 
 fulfilled. 
 
 The work is a composite of almost the entire Depart- 
 ment. A large part of the work was done by Miss Edith 
 M. Rhetts. Especial thanks are also due to the Misses 
 Grace Barr, Margaret Streeter, Grazella Puliver, Mabel 
 Rich, and the Messrs. S. Dana Townsend and Raymond 
 Brite. 
 
 FRANCES ELLIOTT CLARK 
 
 11 aos
 
 THE UNIVERSAL NEED OF MUSIC 
 APPRECIATION 
 
 BRAHAM LINCOLN said, "The Lord must 
 have loved the common people He made 
 so many of them." What phase of music 
 education is open to the masses of our great 
 democracy? 
 
 It has often been said that there are 
 three classes of musicians. There are a very few who 
 create music; a larger number who perform it, some of 
 whom, as has humorously been said, "execute it " ; and that 
 great class who listen to it. 
 
 In these days almost every one must hear music 
 whether he wills it or not. He can hardly escape it. If 
 he goes to church, to the theatre, moving pictures, politi- 
 cal meetings, or almost any place where people are gathered 
 together, there is music of some kind, be it good, bad, or 
 indifferent. If every one could be educated to appreciate 
 the better music, a public sentiment would therefore be 
 created which would demand good music. It would have 
 a definite, even a revolutionary, bearing upon the quality 
 of music which would be found on programmes every- 
 where. 
 
 We are concerned at this time with the development 
 of the power to grasp and to enjoy intelligently good music. 
 It would be interesting if statistics could be compiled 
 from adults perhaps ten years after graduation from school. 
 How many would be found creating music as a result of 
 their music training received in public school? In all 
 probability none among present-day adults, but the time 
 is not far distant when some of the excellent harmony 
 
 va> 12 **
 
 UNIVERSAL NEED 
 
 courses now in operation in a few schools may definitely 
 bear fruit in creators of music. Much is being done to 
 discover creative musical talent in America, to educate 
 such talented ones, and to give our American composers 
 full recognition. But the creators must always be 
 the few. 
 
 How many are performing music as a result of their 
 training received in school? The very greatest strides 
 have been made recently in public school music. Choral 
 societies as an outgrowth of school singing are functioning 
 in life, and hundreds of the youth of many cities are receiv- 
 ing instruction in voice, piano, violin, and other instru- 
 ments, all of which will have a wonderful effect in a few 
 years. But can even the most optimistic ones predict that 
 the majority of our people will ever reach artistic per- 
 formance in real life? 
 
 And again, how many are listening to music? Mani- 
 festly all! This great body of listeners includes not only 
 the great majority who will perhaps forever remain in 
 the listeners' class, so far as the hope of technical perform- 
 ance of music is concerned, but also all those classified as 
 performers and creators. 
 
 Is it not a strange and paradoxical fact that the only 
 phase of music which can affect the life of every child is 
 receiving the least attention of all? The public school is 
 "Everyman's University," and one needs to ask: "Is the 
 music of this great democracy to be adapted to the many 
 or the few?" 
 
 Music appreciation is all too often made a subject for 
 the so-called musical students only. One sometimes finds 
 it offered as a third-year high-school music course open 
 only to those who have successfully passed examinations 
 in scales, notations, rudiments of music, melody writing, 
 
 13 MM
 
 MUSIC APPRECIATION 
 
 and elementary harmony in the previous two years. Then 
 likewise should we withhold the reading of good books 
 from those who cannot write poetry or essays? Should 
 we not be lifted out of sordid materialities by the sight of 
 an autumn woods until we have botanized them? 
 
 The love and intelligent enjoyment of music, for both 
 the musical and the so-called unmusical, is the beginning 
 and the end of music appreciation as such. It is axiomatic 
 that we can neither love nor desire to study that with which 
 we have no acquaintance and for which we have no 
 taste. 
 
 Music is the language that begins where the power 
 of the spoken word ends, and its power functions in the 
 nation, the community, the home, and the inner heart of 
 the individual. 
 
 Every patriotic American of whatever ancestry realizes 
 now, as never before, the needs to amalgamate all the 
 people into a national unity of calm, sane, unswerving 
 loyalty, and to awaken them to a realization of the 
 responsibilities of their American citizenship. 
 
 There is no medium so attractive, sure and efficacious 
 for this need as Music. There is nothing so universal in 
 its appeal as Music. Through Music, we can meet every 
 newcomer to our shores on common ground, and through 
 it we can touch the magic chord of their love of their folk 
 arts, and by leading them to a knowledge of American 
 songs and dances bring them to an appreciation of Ameri- 
 can ideals, sentiments, institutions, and history. 
 
 It is a hopeful sign that a few great industrial centers 
 are utilizing this great power to solve our peace problems. 
 Music lifts the tired worker above his weariness and 
 grind, above his sordid count of the daily stipend, above 
 his ofttimes sullen antagonism to all things. It lifts him 
 
 '**> 14 ten
 
 UNIVERSAL NEED 
 
 into peace, contentment, hopefulness, joy, and happiness, 
 which attributes go far toward making him a better 
 worker, a better citizen, a better man or a better woman, 
 mentally, morally, and spiritually. 
 
 Music is one of the most powerful factors in the world 
 in creating and cementing the group feeling, and its enjoy- 
 ment at home brings an added tie to the fireside. With 
 apology to Longfellow: 
 
 Between the dark and the daylight, 
 When the night is beginning to lower, 
 
 Comes a pause in the day's occupations 
 That is known as the family hour. 
 
 The community and the family are collections of indi- 
 viduals, and any great movement which affects them does 
 so because fundamentally it affects the individual. 
 
 Education is valuable in proportion to its bearing upon 
 life. The only phase of musical education which has uni- 
 versal application is music appreciation. 
 
 Teaching of all kinds is entirely too much devoted to 
 getting ready for examination. We take the first year to 
 get ready for the second year, to get ready for the third 
 year, and so on until finally all too often music is left out 
 of high school because it does not get us ready for college. 
 
 American schools have been very busy with vocational 
 education, as the nation itself has been occupied with 
 industry, but, for some reason or another, all our national 
 efficiency has not brought us simple happiness. One can- 
 not but recall Wordsworth's words: 
 
 The world is too much with us; late and soon, 
 Getting and spending, we lay waste our powers. 
 
 The sea that bares her bosom to the moon, 
 The winds that will be howling at all hours, 
 But are upgathered now like sleeping flowers; 
 
 For this, for everything we are out of tune. 
 
 "T* 15 tan
 
 MUSIC APPRECIATION 
 
 The Greatest Teacher once said, "Man cannot live 
 by bread alone." And in all our hearts there is that urge, 
 that proof of immortality, which makes it not enough that 
 we should live, but demands that we should live more 
 abundantly; and an attempt to prove that music has a 
 vital place in the more abundant life would be like proving 
 an axiom. 
 
 The Indian plowed the earth, planted and watered the 
 seed, and then sang to the Great Spirit to grant the har- 
 vest. Song has been a medium through which all people 
 of all races and all religions have carried their desires to 
 the Great Unseen, and all of us have somewhere, some- 
 time, been lifted a little while out of our material limitations 
 and carried beyond our mundane realm on wings of song. 
 
 Time was when music was a luxury available only to 
 the wealthy and the talented few, or limited to the ability 
 of the struggling amateur. The advent of sound-repro- 
 ducing instruments suddenly released it from the expensive 
 grand opera houses, from the symphony halls of the large 
 cities, and the haunts of the few, and spread it over the 
 country. 
 
 It is a wonderful dream come true that the schools all 
 over our land may really hear music; that the homes of 
 the masses are happier through the power of music and 
 that even into the silence of the great spaces in remote 
 places the Victrola may take the greatest artists and sym- 
 phony orchestras of the world: 
 
 What kind of music will these millions hear? What 
 shall they be able to enjoy? The public schools must 
 answer. They may open vistas of beauty, and provide a 
 guide for recreation hours, and an avenue of happiness that 
 shall abide through life. 
 
 Surely such an aim and end is worth while. 
 " 16 *>
 
 EDUCATION THROUGH MUSIC 
 
 Good music is a vital element in the 
 education of the people. 
 
 P. P. CLAXTON. 
 
 T has been discovered that music possesses 
 undreamed of powers as education entirely 
 aside from its inherent beauty and appeal 
 as an art. The Victrola and Victor records 
 have brought into the schools a wealth of 
 material which has transformed the teach- 
 ing of public school music. They have made possible the 
 study of musical instruments and instrumental music; 
 a first-hand acquaintance with folk music of all lands; 
 and the study of opera, oratorio, and the masterpieces in 
 song and symphony. 
 
 The generally accepted meaning of the phrase "study- 
 ing music" is that "John has been given piano lessons" 
 or that "Dorothy is taking vocal." 
 
 The study of music involves much more than learning 
 to play; indeed one may "take lessons," and glibly read 
 by syllables, and if these alone have represented MUSIC 
 to him, little has been done to stimulate those faculties 
 alluded to as "education." 
 
 What sins have been committed only the flotsam and 
 jetsam along the way of unmusical middle life can reveal. 
 The physical condition of the cartilages of the child throat 
 prohibits any but the most simple vocal expression in early 
 childhood. The weakness and uncertainty of the digital 
 muscles and the slow development of the coordination of 
 mental control and muscular response, renders piano 
 
 17 cr-
 
 MUSIC APPRECIATION 
 
 study impractical, in any but a wonder-child, before the 
 age of five, six or seven. 
 
 But what of the ear at this period? It is at its zenith. 
 That "little pitchers have big ears" is literally true. The 
 ear is alert almost from birth, and a child of even a few 
 months will almost invariably give evidence of pleasure at 
 hearing music softly played or sung and will give some sort 
 of rhythmic response. From three to eight years of age, 
 the sensory period, the ear is keen and active. Why, then, 
 not follow this direct guidance of nature itself? 
 
 Why not teach songs beautifully with 'cello, harp, or 
 violin accompaniment? Or why not permit the children 
 to become familiar with the minuets of Haydn and 
 Beethoven, the gavottes of Gluck and Mozart, the beauti- 
 ful lullabies, the Humoresque, Traumerei, Le Cygne, etc., 
 making them their own for life, and, at the same time, 
 stirring and stimulating mental processes that are imme- 
 diately reflected in every branch of study and functioning 
 in every phase of development? 
 
 Music is an activity not to be approached in the spirit 
 of mental idleness. It is also an art of sound which can 
 never be appreciated through the eye. We are so thor- 
 oughly eye-minded that we rarely depend on the sense of 
 hearing. If a child's latent aural and rhythmic faculties 
 are not wisely cultivated at an early age, difficulties in the 
 way of real music perception increase. 
 
 There is no branch of music or any other subject whose 
 study will yield greater returns in mental habits of alert- 
 ness, perception, and concentration than will intelligent 
 and purposeful listening to music. The power of listening 
 is used not only in the music appreciation period, but the 
 teachers of all other subjects will tie most grateful for the 
 formation of the listening habit. The elusiveness of music 
 
 sx 18 -ss>
 
 EDUCATION THROUGH MUSIC 
 
 demands an exercise of quick perception and retentive 
 memory and its attractiveness stimulates the desire to 
 think about what we hear. 
 
 Any teacher of music appreciation could cite specific 
 cases of the illuminating effects of this subject upon the 
 individual that are convincing and inspiring. Individuals 
 who were slow to think, who had little imagination, and 
 whose experiences were barren of the beautiful, have de- 
 veloped a mental alertness that has improved all their work 
 in other subjects and an appreciation of the beautiful, 
 which will be to them a perennial well-spring of joy. 
 
 Fortunate, indeed, are those to whom this experience 
 may come in early childhood that it may serve as a leaven 
 in the formation of all of their tastes. 
 
 The modern educator feels that all good teaching must 
 draw from the child the response that arises out of his own 
 experience, imagination, and thought, guided and led on 
 to the acquirement of the new concept which it is desired 
 to teach. 
 
 The new teaching of music must confine itself to the 
 same law of pedagogy, observing the best and latest 
 discoveries in the natural development of the child mind. 
 To this end, then, little children should first be given 
 real music itself, years before they are asked to master the 
 symbols of the printed form, the rules of the grammar of 
 its language, or the technique of performing it. 
 
 Music should be heard in infancy and early childhood 
 as language is heard, and later studied in exactly the same 
 way. First, the child should listen just to listen, then 
 listen to learn, exactly as he first hears language all about 
 him, then listens intently to try to imitate the spoken 
 words and to comprehend the meaning of a wide vocabu- 
 lary which he may later use. Then, and not until then, 
 
 x> 19 een
 
 AGE OF INNOCENCE
 
 EDUCATION THROUGH MUSIC 
 
 does he learn to read the page to add to his store of 
 knowledge. 
 
 Music to be presented to a little child must first be 
 beautiful. Secondly, it must possess, in addition, some 
 intrinsic feature of educational value. Thirdly, it must be 
 presented in such manner and through such media as 
 are suitable and proper for the developing power of the 
 child, and which follow in some degree the stages of prog- 
 ress of the race in using music as a means of expression. 
 
 Rhythm is older than language. First, therefore, we 
 must incite to free self-expression through simple melody 
 very strong in rhythmic effects, played by a single instru- 
 ment or the combination of a few instruments directly 
 descended from early forms of percussion, string, and wind 
 types. 
 
 The child should be encouraged to express in some 
 bodily activity his own reaction as to what he thinks or 
 feels that the music is saying to him. Each child should 
 be perfectly free to react in his own way regardless of the 
 ideas of the others. The tremendous awakening gained in 
 cultivating the imaginative and discriminative powers by 
 the use of descriptive and imitative music cannot be over- 
 estimated. 
 
 The knowledge that music can tell a story or describe 
 something as words do, or imitate some sound in nature, 
 opens at once a new world of thought and opportunity. 
 In this field some teachers will prefer to tell the story in 
 whole or in part, leading the pupil to discover just where 
 the music tells a certain fact or fancy. Others will like 
 best to draw a word picture of the scene, situation, mood, 
 or feeling depicted and let the children discover for them- 
 selves the points of the story in tone, bringing out by 
 adroit questioning the "sweet reasonableness" of why 
 
 ejfK 21 tan
 
 MUSIC APPRECIATION 
 
 the music must be loud or soft, high or low, even or jerky, 
 smooth or vigorous, flowing or in long jumps, graceful or 
 sturdy, peaceful or crashing, etc., if it is truthfully to tell 
 the given or suggested story. Still others will wish to 
 leave the children entirely to their own imaginations, to 
 evolve a story of their own making. By dint of setting 
 the children arguing for their reasons for these particular 
 interpretations all the special points of the music may 
 be brought out, as one has heard one thing, one another, 
 and the sum finally makes up the complete story. 
 
 If then, through Music we can secure that rapt 
 attention of the children which engenders interest, leading 
 to 'participation, expression, and interpretation, we have 
 begun a real educational process which is often sought in 
 vain through other media. 
 
 The Great War brought music, because of its service, 
 to the attention of all our people as never before. It 
 remains for the educator to seize the psychological moment 
 of interest to inaugurate a real course in the study of 
 music and further make it serve his purpose in the educa- 
 tion of his youthful charges by using music, not only to 
 relieve tension, delight the dullest, cheer the sulky, calm 
 the neurotic, and exhilarate the sluggish; but, at the same 
 time, to arouse sense perception, secure mental discipline, 
 emotional response, keen interest, and concentration, 
 through which one may give information and instruction, 
 stimulate the imagination, and develop the powers of 
 discrimination and selection. This is REAL education.
 
 THE SUPERVISION OF MUSIC 
 APPRECIATION 
 
 PLAN MATERIAL METHOD 
 
 BIRD'S-EYE view of the United States 
 reveals a great diversity in the supervision 
 of music appreciation, ranging from the 
 very few cities which maintain a special 
 supervisor for that subject, through the 
 places where the work is handled by the 
 music supervisor, or the principal of the school, to miscel- 
 laneous work on the part of the grade teacher. 
 
 Regardless of who may execute the plan, it is of prime 
 importance that there be a well-built plan. No doubt the 
 prime reason for the almost universal cry of "no time for 
 appreciation" is due to two facts. First, that the super- 
 visor has her well-formed plan of sight reading, etc., but 
 the appreciation work, as such, while accomplishing much 
 in general love and culture, has failed to interlock with 
 the so-called "regular" course. Secondly, the supervisor and 
 school authorities do not realize that one lesson, out of four 
 or five, taken for appreciation work with its resultant 
 capacity to feel, to know, and to love music, and its inevi- 
 table aftermath of keener attention and sharpened wits is 
 not time off, but decidedly on the subject. 
 
 The mere playing of music, be it ever so entertaining 
 and delightful, is not necessarily educational. A music 
 appreciation course should be so carefully planned and pur- 
 posefully given as to demand the same respect now given 
 by educators to courses in literature. 
 
 The number, length, content, and general purpose of 
 the lessons should be so adjusted as to be an integral part 
 
 s* 23 &
 
 MUSIC APPRECIATION 
 
 of the regular music work of the school, and in no sense an 
 extra barnacle-like attachment to the outside of the regu- 
 lar music work in a sort of catch-as-catch-can manner. 
 
 It has been thought that in most schools where there 
 are five music periods a week, one of them might well be 
 devoted to this work. The mental grasp of the whole 
 subject w r ill be so greatly stimulated that the routine work 
 of the five periods as previously taught, may easily be 
 covered in four, and the joy and breadth of the study of 
 real music added without extra time. 
 
 We have, therefore, suggested thirty-two lessons each, 
 for grades one, two and three, conforming to the usual 
 school year of nine months, allowing for deduction of the 
 first and last weeks, the end of the first semester, and 
 Christmas holiday preparation weeks. 
 
 If only one appreciation lesson in two weeks can be 
 arranged, then the course will be sufficient for two years' 
 work, or it may be shortened to sixteen lessons, although 
 much value will be lost in omitting illustrations. 
 
 Three lessons each for kindergarten, first, second, and 
 third grades, have been written out in detail supplying 
 an actual suggested presentation. For the remaining 
 twenty-nine, we have merely selected material and 
 grouped it into suggested lessons under the title, "Lesson 
 Building," leaving it to the teacher to study the presenta- 
 tion of each number as it appears treated elsewhere in the 
 book, under songs or instrumental music, as the case may 
 be. 
 
 The kindergarten teacher has so much freedom in 
 using the record material in rhythm, story, rest period, 
 etc., etc., beyond the limitation of a given music period, 
 that we have thought best to give only the three suggestive 
 model lessons, allowing the kindergarten teacher to range 
 
 tan 24 far >
 
 SUPERVISION 
 
 more widely through the wealth of material suggested, 
 selecting it and adapting it to her individual plans and 
 purposes. 
 
 An appreciation course should serve the cause of 
 education, hand in hand with the other subjects. One 
 hears on every hand an unanswered and ofttimes 
 unanswerable question: "Where can we get time?" Let 
 us ask for a change: "Where can we give service?" 
 
 The kindergartens are working with rhythmic develop- 
 ment. Does the music supervisor take time to know what 
 music they are using, perhaps to select it or even teach it? 
 
 The physical training teachers are teaching calisthenics 
 and folk dancing. Are they doing it to the right music and 
 rhythmically, or is it mere physical routine? The physical 
 training department needs the rhythmic development just 
 as much as the music department, and the interest of the 
 music teacher in all these and also in reading, nature 
 study, and many other departments will react for her like 
 bread cast upon the waters. 
 
 The record list will be found to be fairly conservative, 
 owing to the many uses of each record, many being used 
 again and again in different w r ays from different points of 
 view and for different purposes. 
 
 In the recording of primary material, every effort has 
 been made to give the greatest amount of valuable material 
 on the fewest number of records, so that expense may be 
 minimized though the offerings are enriched. 
 
 It would be ideal if every school building could own a 
 complete library of records. However, circulating libra- 
 ries have been found to give excellent satisfaction. 
 
 Some cities have thought it wise to let material revolve 
 within a certain district only, with duplicate sets moving 
 simultaneously in other districts. 
 
 fjfK 25 ^^
 
 MUSIC APPRECIATION 
 
 The best plan yet evolved is that every school have 
 its own small but standard, well-selected library of records, 
 which may be at hand at all times, to include marches, 
 folk dances, songs, etc. This is then augmented by 
 supplementary material sent in the circulating boxes. 
 A central library, kept in the Board of Education offices, 
 with regulation loan privileges to the schools, is another 
 way of increasing the school's supply. 
 
 The director in charge should adapt one of these sug- 
 gested plans for record equipment to the needs and possi- 
 bilities of his or her own city. 
 
 There are almost as many ways of teaching apprecia- 
 tion as there are people teaching it, and owing to the new- 
 ness of the subject, the scope of material available, and the 
 dissimilarity of personalities, the presentation of music 
 appreciation may never be reduced to an absolute science. 
 But there are certain fundamental principles to which we 
 must adhere, and in spite of all allowances for the elusive- 
 ness of our subject and breadth of our possibilities, there 
 are certain definite ends to achieve and mistakes to avoid. 
 In the first place, it should be clearly understood that 
 the beginning and the end of music appreciation for little 
 children is that the musical and the so-called unmusical 
 alike shall experience and love MUSIC ITSELF. 
 
 If one is enjoying the odor of a beautiful rose, his 
 enjoyment is not increased because someone says the rose 
 is fragrant. Just so, it is of paramount importance that 
 the teacher should not separate the child from the music 
 by too much talk. Let the music itself talk. 
 
 There are many legitimate ways of stimulating and 
 leading a child's imagination, of heightening his eagerness 
 for and enjoyment of music through stories and questions, 
 but it would be unwholesome to train him to expect that 
 
 26
 
 SUPERVISION 
 
 there must always be an exciting story, or that he is always 
 to do something or imagine definite things. It is just as 
 necessary that he should sometimes have practice in quiet 
 enjoyment, and that concert etiquette be observed, though 
 the miniature concert number be but one minute in length 
 and the singer "Mother Goose." 
 
 A cramming of facts about music is often confused with 
 music appreciation. One might know that Beethoven was 
 afflicted with deafness, and Schubert died at the age of 
 thirty-three; in short, one might memorize a Grove's 
 Dictionary, if necessary, without increasing his apprecia- 
 tion of a symphony, or learning to love the more an art song. 
 
 Very little information need be given at this time, and 
 guidance should be as much as possible in the direction of 
 skillful questioning, intended to arouse the pupil's own 
 thought power. 
 
 The children's response will be a safe test as to the cor- 
 rectness of one's methods and material. If they are 
 attracted and held in a happy, orderly enjoyment, the 
 teacher may know she is started on the road that leads to 
 intelligent appreciation of music. 
 
 In response to literally thousands of requests, the Victor 
 Educational Department offers this definite plan for appre- 
 ciation work in the home and primary grades. 
 
 It should be the duty of the person in charge of the 
 appreciation work for city or building to hold teachers' 
 meetings to study the plan together; to assist teachers who 
 need help in understanding and teaching the plan, and to 
 give model lessons when necessary. 
 
 After thoroughly testing all the details of this plan, we 
 feel absolutely sure that the well-suited, attractive mate- 
 rial will itself bring instant and eager response from the 
 children and teachers alike. 
 
 -> 27
 
 BEGINNING CULTURAL HEARING 
 
 A thing of beauty is a joy forever: 
 Its loveliness increases: it will never 
 Pass into nothingness: but still will keep 
 A bower quiet for us, and a sleep 
 Full of sweet dreams, and health and 
 quiet breathing. 
 
 KEATS 
 
 VN has many rights and blessings and none 
 greater than his inborn love of the beautiful. 
 In the little child this birthright is fresh and 
 alive, and it is imperative that we should 
 nurture and tend this precious impulse while 
 we may, that he may not reach maturity 
 to find it stunted and dwarfed through rounds of unre- 
 lieved toil and years of disuse. 
 
 The little child turns to the beautiful as a tender plant 
 to the sunlight, and a very young child is susceptible to 
 the sound of beautiful music. His ear is alert and registers 
 conceptions very early. 
 
 A child hears language from his birth. It is poured 
 over him many, many months with no expectation that he 
 shall use it immediately, and even before any particular 
 words catch his attention. By constant repetitions he 
 soon understands and attempts to reproduce this spoken 
 language, and has a vocabulary of many words long before 
 he begins the definite study of reading and spelling them. 
 Just so, if music be a language, a child should hear, 
 love, and understand its tone message long before he is 
 able to spell out its "words" with voice or fingers. This 
 experience with simple, beautiful music should surround 
 the child at home, but the singing of good songs in the home 
 
 29
 
 MUSI C A P P R E C I A T I O X 
 
 seems to be a lost art, if we ever possessed it, and very few 
 may have it in early baby days. The situation demands 
 that this lack be supplied in the kindergarten and early 
 primary grades. 
 
 Countless times it has been said that experience should 
 precede formal instruction, but how many, many times 
 over we see poor little children struggling to master the 
 printed symbols of the music language, which they have 
 never heard. 
 
 One groans to think of the aggregate tons of sheet music 
 that have been worn to tatters, of the miles of scales, and 
 the years of practice wasted without any real music expe- 
 rience, appreciation, or ambition. 
 
 Time was when it was impossible to experience music, 
 except for the few who were fortunate enough to have 
 pianos or organs and someone to play them; but that 
 time is past. It is just as easy to present the literature of 
 the world's best music, as it is its poetry. 
 
 In literary courses it is the LITERATURE ITSELF 
 that counts and reading courses are preceded with much 
 hearing of the language. We should also surround 
 children with the good music, which is their heritage, that 
 they may have the love of music as a foundation on which 
 to build. 
 
 Modern methods of rearing children have made lulla- 
 bies almost obsolete. Lullabies are the first songs a child 
 should hear, and the Victor educational material includes 
 many of the oldest and most beautiful of the world's 
 lullabies, especially made for little children, "lest we 
 forget." 
 
 These and many other simple and direct melodies have 
 been "sung" with sympathetic solo instrument the 
 violin, viola, clarinet, celesta, etc. so that children may 
 
 OB 30 MM
 
 BEGINNING CULTURAL HEARING 
 
 enjoy and desire to hum them at the very beginning of 
 their journey into "tone-land, " whether it be in the school, 
 or at the sleepy -time at home. 
 
 Let the children hear these over and over hum with 
 them when they care to, and make them indeed their own 
 inheritance. 
 
 Record 18622 contains several little bits of tunes that 
 are dear to all the older generation. 
 
 Hush, My Babe is one of these treasures by Rousseau 
 (1712-1778), with words written by Watt for his own 
 children : 
 
 Happy Land, an old Hindoostan air, is the simplest 
 familiar example of the penta tonic scale: 
 
 111 
 
 
 Come Thou Fount of Every Blessing, by Wyeth, has 
 held its place through the years: 
 
 ir- 
 
 a^=q=: 
 
 C^3 
 
 The reverse side of record 18022 contains Lullaby from Erminie, by 
 Jakpbowski, and Birds in the Night, by Sullivan. They are longer and 
 a bit too intricate to present for humming, but are exquisite bits of 
 beauty just to hear. The music will be printed in the instrumental 
 section. 
 
 Rock-a-bye, Baby 18664 
 
 van 31
 
 MUSIC APPRECIATION 
 
 Adeste Fideles 18664 
 
 Cradle Song (Brahms) 18664 
 
 Nazareth (Gounod) 18664 
 
 The First Nowell (Traditional) 18664 
 ~ 
 
 Serenade (Moszkowski) 64576 
 
 The next one is played on "sweet little bells," as the 
 children say. The children may play they are violins and 
 "sing" with the music if they can be violins that are 
 sweet and fine enough to play with the "little bells." 
 
 Silent Night (Gruber) 17842 
 
 To a Wild Rose (MacDowdl) 17691 
 
 L -zftf $ 9 
 
 L V|7 3 '^ 
 
 Traumerei (Schumann) 64197 or 18049
 
 RHYTHM 
 
 HYTHM is the one fundamental, innate, 
 universal element of music fundamental 
 because it is basic, innate because it mani- 
 fests itself without training, universal 
 because it is everywhere. 
 
 The crude dances of primitive peoples 
 preceded organized vocal effort. No people, however re- 
 mote in time or place, have ever lacked the sense of rhythm. 
 It is akin to the emotions in the universality of its response. 
 We see it in all nature: in the beat of the waves on the 
 shore; in the flight of the birds across the sky; in the 
 swaying of the trees in the wind. We hear it in industry: 
 in the throbbing of the engine; in the clicking of the train 
 wheels; in the purr of the aeroplane. In human life it is 
 evident in our very heart-beats. As the pulse means life 
 to the human body, so rhythm means life to music. 
 
 However, the universal manifestation of rhythm is not 
 enough. There must be intelligent response and a recog- 
 nition of its infinite variety and meaning. A child must 
 be led to feel it, hear it, see it, 
 and express it. 
 
 Rhythm occupies a unique 
 place in the life of the child. It 
 is the lever which controls all 
 his musical experience, but 
 more, much more than that, 
 rhythmic expression is the gate- 
 way through which he escapes 
 from the bondage of awkward- 
 ness, timidity, and the repres- 
 
 33
 
 MUSIC APPRECIATION 
 
 sion of self-consciousness, into freedom, grace and poise. 
 Awkward and self-conscious adults all about us are the 
 result of a childhood spent without rhythmical play. 
 
 Physical response to the conscious hearing of music 
 should be fostered and developed during plastic years by 
 constant and insistent exposure to strongly-accented good 
 music. 
 
 Nor does the so-called "taking music lessons" insure 
 real rhythmic feeling. It would be wonderful if all singers 
 and players of whatever instrument could really realize 
 that rhythm is the life of music, and that he who destroys 
 its rhythm takes away its life. 
 
 Because rhythmic feeling is so basic and fundamental 
 in physical freedom and grace, and because it carries over 
 into all kinds of musical expression, several schools or sys- 
 tems have been organized, primarily for rhythmic develop- 
 ment. Chief among these are the Eurythmic Schools, 
 founded by Dalcroze. 
 
 A specialist would be required to teach any of these 
 systems, but ideas which are practical for the public- 
 school classrooms have gradually been utilized by wide- 
 awake teachers everywhere, until to-day rhythmic 
 development is assuming its proper place as a neces- 
 sary prerequisite to all musical understanding or 
 expression. 
 
 The Victrola is an absolute necessity to this rhythmic 
 awakening in the primary grades. If the children are un- 
 rhythmic, and the only music they have is their own 
 unrhythmical singing, how can they be swayed by rhythm ? 
 How, unless they hear it, accurately and masterfully 
 played? And how can they hear real music rhythmical 
 music in the great mass of public school classrooms, except 
 through the mechanical instrument?
 
 RHYTHM 
 
 In the definite rhythm work prepared for lower grades, 
 we have considered four phases of rhythmic development : 
 
 1. Free expression. 
 
 2. Suggested expression. 
 
 3. Loosely organized games. 
 
 4. Highly organized games. 
 
 Music prepared and selected for this work is classified 
 under the above headings. 
 
 FREE EXPRESSION 
 
 The earliest evidence of the fact that music really does 
 educate (referring to the original and root meaning of the 
 word, which is "to lead out") is the forcible manner in 
 which it "leads out "a little child's desire for expression, 
 which manifests itself in spontaneous bodily activity of 
 some kind. This natural interpretation of the music is 
 termed "Free Expression." 
 
 If it is, indeed, it must be the child's bodily expression 
 of his own conception of the music. His expression will, 
 therefore, be in exact proportion to his conception or recep- 
 tion of the music, and will necessarily depend on his ability 
 to sense the rhythm, the tempo, the changes from fast to 
 slow loud and soft. Such work develops his alertness, 
 attention, and bodily grace alike. 
 
 Beautiful work of this nature is being done by kinder- 
 garten specialists who are fortunate enough to have 
 a piano and are able to play it skilfully, but it has not 
 been generally attempted. 
 
 The free expression work as taught in the kinder- 
 gartens of Teachers' College, Columbia University, reveals 
 several well-ordered steps of development. 
 
 35
 
 MUSIC APPRECIATION 
 
 First, the children listen to a portion of the music, 
 thinking what the music tells them to do. Secondly, all 
 children express in bodily activity anything the music 
 says to them. 
 
 Children will instinctively watch each other, and quite 
 naturally the next step will be for them to criticize each 
 other, and finally to pick out the several interpretations 
 that they think are best. 
 
 Then the teacher enters into the discussion, and by 
 adroit questioning, leads to the question of why "Donald's" 
 is best. This "why" turns the attention to the technic of 
 the dance. 
 
 After further discussion, the children will finally settle 
 upon one or two that they are willing to accept as a 
 standard. 
 
 All w r atch the child leader, then all do it again. 
 
 It has been proved much safer to allow this standard 
 to be set by the children. When the teacher illustrates by 
 her own action, there is not the initiative on the part of 
 the children thereafter, but rather a tendency to imitate 
 the teacher arbitrarily. 
 
 It is very important that the child leader be selected 
 by the children themselves, with only indirect leadings 
 from the teacher. It must not take on the aspect of dis- 
 playing the more talented ones, but must be an encourage- 
 ment and a model for all to try. 
 
 In rare cases, where there is no one who seems to be 
 moved to do any particular thing, it is better to invite 
 some child to come back from last year's class than for 
 the teacher to set a standard for them. 
 
 Great care has been exercised in selecting the following 
 Victor records, which are very simple and very rhythmic, 
 the use of which will make free expression work possible in 
 
 MM 36 M
 
 RHYTHM 
 
 any kindergarten or primary school room. In beginning 
 the work, only the first strain of each number should be 
 used over and over. 
 
 Pizzicato is a great favorite for the first steps in " doing 
 what the music says." Gretry Gavotte (Record 64198) is 
 slow enough and very definite and simple for beginning work . 
 
 The following list is suggested for free expression work : 
 
 Canzonetta 64784 Military Escort 17368 
 
 Cupid and the Butterfly 35532 Musette (Cluck) 18314 
 
 Dance of the Happy Spirits 74567 On the Wing 17368 
 
 Dorothy 18216 Scherzo (Dittersdorf) 74294 
 
 Gavotte (Popper) 45116 Sylvia Ballet Pizzicato * 
 
 Gavotte (Gretry) 64198 Tarantelle 17174 
 
 Golden Trumpet Schottische 35228 Teddy Bears' Picnic 16001 
 
 La Cinquantaine 18296 Wild Horseman 18598 
 
 Merry Makers Nell Gwyn 18164 William Tell Ballet Music, 
 
 Menuet (Valensin) 45116 I, II 
 
 Minuet (Haydn Military) 62660 
 
 SUGGESTED EXPRESSION 
 
 Suggestions as to the interpretation or a proposed 
 bodily expression of music may come from the title of the 
 selection, or from the teacher or leader, and are limited 
 only by the ingenuity of the latter. 
 
 Children love action, and the joy of moving with the 
 music will cause them to listen, that they may "keep 
 with the music," and so begin a conscious hearing. With 
 conscious hearing comes the beginning of discrimination. 
 
 No better means can be devised than to appeal to the 
 play instinct of the child. To step as high-stepping 
 horses step, to fly as birds fly, to bounce balls as the music 
 indicates, skipping, marching, tip-toeing, rocking a cradle 
 all these devices are pure play to the child, but to the 
 teacher they are the development of rhythmic ideas and 
 their coordination with bodily expression. 
 
 * Record in preparation 
 
 37
 
 RHYTHM 
 
 Then there are the more set responses, such as regular 
 calisthenic drills given to music, and the unlimited variety 
 of suggestions which the teacher may incorporate into a 
 game that the children like to call "follow the leader." If 
 given to an entire class when seated, these would include 
 any rhythmic motions of hands and arms, and orderly clap- 
 ping to accent. Sudden and unexpected changes by the 
 "leader" stimulate alertness and observation. 
 
 The same idea has come down to us in the old French 
 game, La Mist' en VAire (playing a tune in the air), 
 and in the singing games, Did You Ever See a Lassie 
 and Punchinello. 
 
 Making long and short marks on the blackboard in 
 response to the strong and weak pulses of a march is a fas- 
 cinating "game," and has direct bearing on later writing 
 to music. 
 
 Hand clapping was the first primitive attempt at rhyth- 
 mic expression, and still remains the earliest response of a 
 baby child to rhythmic stimulus. Clapping or marking 
 should be given first only with the strong accent, and later 
 with strong and weak. 
 
 "Playing orchestra" furnishes an opportunity for 
 rhythmic response and suggested expression, which at the 
 same time develops observation and interest in the instru- 
 ments of the orchestra. At first, all the children may be 
 allowed to pretend to play violins, or some one instrument, 
 with the music, later it is more interesting to divide the 
 class into several sections. 
 
 "These two rows may play violins. How do you hold a violin? 
 What do you hold in your right hand? Place the bow on the strings 
 so. Now all together out, in, out, in. In a fine orchestra all 
 the players bow together. The next two rows may play drums. 
 Would you rather play a little drum or a big bass drum? Next row 
 may play pianos. And (to the next row) did you ever see those big 
 
 t 39 "*>
 
 MUSIC APPRECIATION 
 
 horns that are played so? They are called 'trombones.' Let's 
 all hold our trombone in our left hand. Now, with the right hand 
 out, in, out, in. 
 
 "I shall be leader of the orchestra. The leader of an orchestra 
 is called by the same name as the man who runs a street car or train. 
 Yes 'conductor.' When a conductor speaks to his orchestra he can't 
 use words, because if every one is playing no one could hear him 
 speak. So he talks to the orchestra with his hands. When he does 
 this (raising the hands for attention) he means, 'get your instru- 
 ments ready.' When he does this (downward beat) he means to 
 play, and he can't say anything at all to his men unless they look 
 at his hands. Now let's practice." 
 
 If the teacher will be strict to see that no one plays 
 the pretended instrument before the conductor's signal, 
 as he would do if it were a real instrument, our little game 
 will furnish exercise for self-control and actual practice 
 
 in ensemble playing. Now 
 start a march record, all 
 playing imaginary instru- 
 ments with the music, but 
 following the conductor 
 for the signal to start and 
 stop. Allow various chil- 
 dren from the class to 
 take the baton and play 
 conductor, beating time 
 precisely with the music. 
 Such opportunity for self- 
 expression draws out a 
 dormant rhythmic sense, 
 
 "LEADER OF THE BAND" hel P s the bashful child to 
 
 overcome self - conscious- 
 ness, and teaches the obstreperous one to direct his 
 energy. Any good brass band march from those listed 
 in the Graded School Catalogue will make a proper ac- 
 companiment. 
 
 40
 
 RHYTHM 
 
 Many kindergartens carry the "play orchestra" a 
 step further, and use real sound-producing instruments of 
 some kind. Small cymbals, triangle, tambourine, drums, 
 rattles and such instruments of the percussion family 
 naturally predominate, as our real point at this time is 
 rhythmic expression. 
 
 A tissue paper cape on one side, and a cap, make an 
 attractive "uniform" for state occasions. 
 
 LIST OF MUSIC FOR SUGGESTED EXPRESSION 
 
 Clayton's Grand March 35397 
 Country Dance. The 17160 
 Dance Characteristic 16974 
 Dorothy Gavotte 18216 
 Eros Waltz 35228 
 Gavotte (from "Mignon") 18216 
 Gavotte 45116 
 Golden Trumpet 35228 
 High Stepping Horses 
 Motive for Running or 
 Skipping 18253 
 In Lilac Time 35397 
 In the Park Tenth Regi- 
 ment 18017 
 
 Jolly General 
 La Cinquantaine 
 Military Escort 
 Menuett-Gavotte 
 Moment Musical 
 On the Wing Galop 
 Patriotic Medley 
 Rhythm Medley 
 Rhythm Medley No. 2-b 
 Skipping 
 
 Standard Bearer. The 
 Sylvia Ballet 
 
 LOOSELY ORGANIZED AND HIGHLY ORGANIZED 
 RHYTHMIC RESPONSE 
 
 Verily, verily, I say unto you, except ye PLAY as a 
 little child, ye cannot enter the kingdom of health. 
 
 Modern educators are just beginning to awake to a 
 realization of the truth that the child's body must be devel- 
 oped as well as his mind; and they are utilizing the old 
 folk games of the European nations and the American 
 country dances in order to develop poise and graceful 
 action in the child. Musical accompaniment has become 
 a powerful factor in systematizing exercise. 
 
 * Record in preparation. 
 
 41 **
 
 MUSIC APPRECIATION 
 
 Miss Elizabeth Burchenal, the leading spirit in dis- 
 seminating these delightful games and dances in America, 
 reminds us that "they have sprung naturally from the 
 hearts of simple, wholesome country folk in response to 
 the human need for self-expression." We are cautioned 
 to keep the exercise a real form of play, simple, wholesome, 
 unconscious and spontaneous, and to use them to bring 
 about a happy feeling among the dancers, rather than to 
 make a pleasant sight for onlookers. This new form of 
 recreation points the way to a return of the old-time com- 
 munity life, with its genuine expression of group feeling, 
 which modern conventions have almost obliterated. 
 
 Games call forth even keener discrimination than free 
 or suggested expression, for each series of actions has its 
 appropriate music. Children must recognize and respond 
 to these changes. 
 
 Folk dances develop more concentration than the games. 
 
 It is well first to play the dance through, to establish 
 the feeling of the rhythm, then explain the steps or move- 
 ments of the game, and teach these by first counting with- 
 out the music. Then play over the record as far as ex- 
 plained, so that the pupils may assimilate the melody, 
 action, and rhythm. The instructor may choose one boy 
 or girl and go through the exercise. Then the class may 
 go through the first movement with the music. If not 
 done correctly, stop the record, and drill again without 
 music. The spirit of the dance is dependent upon the 
 proper tempo, and must not be retarded, nor played slow 
 and out of the true tempo while learning. (In the catalog 
 list of folk-game records, the names of the books from 
 which the selection has been taken are given.) 
 
 With regard to marching, the classes should always be 
 cautioned to tread lightly, so that the music may be heard
 
 FOLK GAMES 
 
 in all parts of the building. Our special marching records 
 are made at metronome 112, which is a good march time 
 for schools. Regular band marches are made 116-132, 
 and are often too fast for school use. The time and the 
 choice of march selections should be governed by actual 
 requirements in the school. 
 
 Loosely organized rhythmic response includes simple sing- 
 ing games, such as the following, not demanding accurate 
 response from the individual child. Directions for teaching 
 these well-known games are found in many books, notably 
 "Singing Games," by Mari Hofer, published by A. Flan- 
 nagan Company, Chicago. 
 
 Did You Ever See a Lassie 175(58 
 First of May, The 17761 
 
 Here We Go Round the Mul- 
 berry Bush 17104 
 How D'ye Do My Partner 17568 
 Let Us Chase the Squirrel 17568 
 
 Looby Loo 
 Muffin Man 
 Needle's Eye 
 Oats, Peas, Beans 
 Round and Round 
 Soldier Bov 
 
 17567 
 17568 
 17567 
 17567 
 17104 
 17568 
 
 SOLDIER BOY SONG AND DRILL, KINDERGARTEN. 
 HARVARD KENNEDY SCHOOL, OMAHA 
 
 jo 43 *
 
 MUSIC APPRECIATION 
 
 With the following simple folk dances, suitable for 
 kindergarten and primary presentation, we enter the field 
 of highly organized rhythmic expression. 
 
 We have here listed folk dances consisting of set 
 figures, and requiring some degree of accuracy from each 
 participant. 
 
 Full directions for all these dances and games are 
 found in a series of books by Elizabeth Burchenal, pub- 
 lished by G. Schirmer Company, New York. 
 
 Kinderpolka 17327 
 
 Klappdans 17084 
 
 Lassies' Dance 17761 
 
 Lott' ist Tod 18368 
 
 Seven Jumps 17777 
 
 Seven Pretty Girls 17761 
 
 Shoemaker's Dance 17084 
 
 Carrousel 17086 
 
 Chimes of Dunkirk 17327 
 
 Dance of Greeting 17158 
 
 Farandole 18368 
 
 Gustaf's Skal 17330 
 
 Hopp, Mor Annika 17331 
 
 I See You 17158 
 
 Jolly is the Miller 17567 
 
 METER SENSING 
 
 In all the above, the children have been feeling and 
 hearing rhythm. They have been "learning to listen." 
 They will now apply their former rhythmic experience to 
 the problem of meter sensing, and will "listen to learn." 
 
 If the rhythmic foundation is strong, the recognition 
 of accent will be merely naming an old friend, and the ear 
 analysis of measure is the logical outcome, and the next 
 important step in rhythmic development. 
 
 44
 
 METER SENSING 
 
 Children may indicate this accent through various 
 actions suggested by the teacher. They may nod heads, 
 pick flowers, make long marks, circles, or clap hands with 
 the strong accent. 
 
 When the strong pulse is readily recognized, attention 
 should be directed to the unaccented pulses in the measure. 
 
 The next step should be a conscious comparison of 
 strong and weak pulses. They may be expressed with a 
 loud clap for the strong, and a soft clap for the unaccented 
 pulse; with long and short marks, or big and little circles 
 on the blackboard or in the air. 
 
 This is followed by counting softly (one, two, or one, 
 two, three) as the music is heard, placing the emphasis on 
 the first pulse noting the weak beats between. 
 
 Care always has been taken in music work to see that 
 children can read the time signature correctly, with their 
 eyes; but, after all, music is not visible. The importance 
 of this recognition of measure through the ear can hardly 
 be too strongly emphasized. 
 
 In listing these compositions for this early listening 
 work, elementary rhythms, those having one sound to the 
 count, or very simple combinations, have been chosen, as 
 complex rhythm would cause confusion and uncertainty. 
 
 16474 Amaryllis 4/4 18216 Mazurka (Chopin) 3/4 
 
 17928 Colombia Waltz 3/4 17917 Menuett (Don Giovan- 
 
 17719 Corn Soldiers 4/4 ni) 3/4 
 
 18216 Dorothy Gavotte 4/4 74444 Minuet in G (Bee- 
 
 74444 Gavotte (Gossec) 4/4 thoven) 3/4 
 
 17917 Gavotte (Gretry) 4/4 16474 Minuet (Paderewski) 3/4 
 
 17596 Giants, The 4/4 17.510 Our Little Girls 2/4 
 
 17719 In the Belfry 2/4 17596 See Saw 3/4 
 
 17158 I See You 2/4 17719 Singing School 2/4 
 
 17719 Jack-in-the-Pulpit 3/4 17719 Squirrel, The 4/4 
 
 18296 La Cinquantaine 4/4 16387 Wedding of the Winds 3/4 
 
 17510 Ma's Little Pigs 3/4 18598 Wild Horseman 6/8 
 
 17719 Windmill 2/4 
 
 45
 
 
 THE SONG OF THE LARK
 
 SONG 
 
 ONG has ever been the most intimate vehicle 
 of self-expression. Before speech was, song 
 of a crude sort was used, and remains the 
 heritage of every child. 
 
 The increasing use of instruments and 
 instrumental music does not in any way 
 
 minimize the value, and should not curtail in any degree 
 
 the use of songs in the classroom. The influence of so 
 
 much good instrumental 
 
 music should operate 
 
 only to raise the standard 
 
 of the songs used, and 
 
 to save much time in 
 
 learning the worthy ones 
 
 by the accentuated ear 
 
 training thus gained. 
 Every song given to 
 
 little children should be 
 
 questioned from many 
 
 angles. First of all, is 
 
 its text good poetry, and 
 
 is the meaning suitable 
 
 for children ? Is the 
 
 thought-content worthy 
 
 a place in the impres- 
 sionable mind of a little 
 
 child? Such a little mind 
 
 is like the wax disc of the recording laboratory and 
 
 registers faithfully whatever is sent to it through the 
 
 receiving horn the ear-gate to the inner shrine. 
 
 t< 47 * an 
 
 LUCCA DELt/A ROBBIA 
 
 SIXGIXG BOYS WITH BOOK
 
 MUSIC APPRECIATION 
 
 If the selections in the readers used must be viseed 
 with scrupulous care, then the texts of the songs should 
 be "ten times doubly so," for the added melody makes a 
 deeper impression, and is, therefore, remembered through 
 life with absolute fidelity. When the text has passed such 
 rigid examination, what of the melody? Is it simple and 
 fine, beautiful and pleasing, or banal, commonplace, and 
 uninteresting? What of the accompaniment? is it good 
 or bad musically? Does it consist simply of the tonic 
 chord with an occasional plain sub-dominant or dominant, 
 perhaps actually wrong progressions and chords, or is it 
 dainty and delicate in its use of modern harmonies, little 
 contrapuntal effects, etc.? 
 
 What can we say of the rhythm? We have learned 
 that as rhythm is the oldest of the elements of music, so 
 is it the first to be developed naturally by the child in a 
 modern scientific training in music. 
 
 The song work should conform to this law of develop- 
 ment. There should be presented those songs of strong 
 rhythmic character, which lend themselves to a rhythmic 
 response, and those songs which may be dramatized, not 
 the old "motion" songs with absurd cut-and-dried 
 "pointings" and "gesturings," but those in which each 
 child may be some character or idea, and where individual- 
 ity may have full play in the characterization. 
 
 Care should always be taken that no singing be 
 attempted by any child undergoing violent or extraor- 
 dinary physical activity. 
 
 Then there are those songs which are of quiet, sweet 
 thought, contemplative, imaginative, which teach a 
 moral, a lesson in manners, or are simply things of beauty. 
 
 In kindergarten and first grade the rhythmic and 
 dramatic songs should predominate. In second grade 
 
 MM 48 &0
 
 SONG 
 
 fewer of this type and more of those of aesthetic quality 
 may be given. While in the third and succeeding grades, 
 the rhythmic type, having served its purpose, should be 
 dropped save for occasional hearing, and those of "poetic 
 beauty" should take their rightful place as the major part 
 of song material. 
 
 We have furnished songs on the records to answer these 
 demands (songs sung by artists whose clear voices may be 
 safely imitated) and now classified as above. In rooms 
 where the class teacher is unable to sing well, the records of 
 the songs to be taught are of inestimable value. We have 
 selected these songs with infinite care and have recorded 
 them for early use with the soprano voice only, and later 
 the mellow mezzo. No male voice should be used in the 
 early grades least of all a baritone or bass, and certainly 
 not any combination of them such as a male quartette or 
 chorus. Such mixtures of sound would confuse the little 
 ears at this time, when historically and psychologically the 
 aural demand is for clear-cut, simple melody. 
 
 In teaching a song from a record, be sure to study it 
 first, get all the words, and be ready by question and story 
 to make the song alive in its meaning. Call attention to 
 the beautiful tone quality (never loud), the breath control, 
 and the joy in singing. Hum with the record till the 
 melody is learned, then sing with and without the record. 
 
 The following classified list, offering many songs, will be 
 found suitable and helpful. In addition, a splendid selection 
 from the latest books in school music is to be recorded.
 
 MUSIC APPRECIATION 
 
 FIRST 
 
 GRADE 
 
 
 RHYTHMIC 
 
 Little Bo-Peep 
 
 17004 
 
 Bean Porridge Hot 35225 
 Blacksmith 18649 
 
 Little Jack Horner 
 Mr. Chicken 
 
 17004 
 17776 
 
 Bylo 35225 
 
 Mr. Squirrel 
 
 17776 
 
 Corn Soldiers 17719 
 
 Old Mother Hubbard 
 
 18076 
 
 Fire, The 18330 
 
 Sing a Song of Sixpence 
 
 18076 
 
 Go to Sleep, Dolly 35225 
 
 POETIC 
 
 
 Hear the Music of the Drum* 
 
 Baby Dear 
 
 17937 
 
 Little Shoemaker 17937 
 
 Blue Bird 
 
 17776 
 
 Pit-a-Pat 17596 
 
 Bobby Shafto 
 
 17937 
 
 Pull a Cherry 18330 
 
 Bunny, The 
 
 17776 
 
 Ride a Cock Horse 17004 
 
 Diddle, Diddle, Dumpling 
 
 35225 
 
 Riggety Jig 17719 
 
 Feast of Lanterns 
 
 18076 
 
 See-Saw, Margery Daw 18330 
 
 Georgie Porgie 
 
 18076 
 
 Singing School 17719 
 
 I Love Little Pussy 
 
 18076 
 
 Sleighing Song 17869 
 
 Little Bo-Peep 
 
 17004 
 
 Windmill, The 17596 
 
 Little Birdie 
 
 17776 
 
 
 Naming the Trees 
 
 17719 
 
 DRAMATIC 
 
 Pussy Cat 
 
 18076 
 
 Baa, Baa, Black Sheep 17937 
 
 Six Little Puppies 
 
 17776 
 
 Giants, The 17596 
 
 Tiddlely-Winks and Tiddlely- 
 
 Hey, Diddle, Diddle 17004 
 
 Wee 
 
 17776 
 
 How Many Miles to Baby- 
 
 Tracks in the Snow 
 
 18074 
 
 lon 17937 
 
 Twinkle, Twinkle 
 
 17004 
 
 SECOND 
 
 GRADE 
 
 
 RHYTHMIC 
 
 Old Chanticleer 
 
 17513 
 
 Blacksmith 18649 
 
 Winds, The 
 
 18665 
 
 In the Belfry 17719 
 
 Wise Bird, The 
 
 18649 
 
 Little Shoemaker 17937 
 
 POETIC 
 
 
 Our Flag 18649 
 
 Buttercups 
 
 18649 
 
 Rain Song 17004 
 
 Cat-Tails 
 
 18015 
 
 Rock-a-bye, Baby 18664 
 
 Cherry Sweet 
 
 18665 
 
 Scale Exercises 
 
 Dew Drop, A 
 
 17004 
 
 See-Saw 17596 
 Sleep, Baby, Sleep 
 
 Jack-in-the- Pulpit 
 Mother's Prayer 
 
 17719 
 18665 
 
 Soldiers 
 
 Nightingale, The 
 
 18330 
 
 Swing Song 18665 
 
 Our Flag 
 
 18649 
 
 Tick-Tock 18649, * 
 
 Poppy Lady 
 
 17686 
 
 Tulips 17686 
 
 Pretty Tulip 
 
 18649 
 
 Windmill, The 17596 
 
 Rain Song 
 
 17004 
 
 
 Rock-a-bye, Baby 
 
 18664 
 
 DRAMATIC 
 
 Sleep, Baby, Sleep 
 
 * 
 
 Blacksmith 18649 
 
 Sweet Pea Ladies 
 
 17625 
 
 Little Shoemaker 17937 
 
 Violet, The 
 
 18649 
 
 Mr. Duck and Mr. Turkey 17776 
 
 What Does Little Birdie Say 
 
 * 
 
 Record in preparation 
 
 50 *
 
 SONG 
 
 THIRD GRADE 
 
 RHYTHMIC 
 
 Blacksmith 
 Cuck-Coo Clock 
 Hand Organ 
 See-Saw 
 Sleighing Song 
 Slumber Boat 
 Song of Iron 
 Star Child, A 
 Tick-Tock 18649, 
 Tulips 
 
 17937 
 
 17513 
 
 * 
 
 17596 
 17869 
 18448 
 17937 
 
 18649 
 
 * 
 
 17686 
 
 DRAMATIC 
 
 Gingerbread Man 
 Hungry Windmill, The 
 Leaves' Party 
 Postilion, The 
 Song of Iron 
 
 Autumn Lullaby 
 Buttercups 
 
 17937 
 17513 
 
 Cuckoo Music 
 Daffodils 
 Gingerbread Man 
 Good-Night and Christmas 
 Prayer 
 Household Hints 
 Jap Doll 
 Little Christmas Shoes 
 Marguerites 
 Merry Christmas 
 My Shadow 
 Our Flag 
 Owl, The 
 Robin Red Breast 
 Slumber Song 
 Violets 
 Woodpecker 
 
 PATRIOTIC 
 
 18649 
 18015 
 18015 
 
 17868 
 18015 
 18015 
 17869 
 17686 
 17869 
 
 17596 
 17869 
 18448 
 17937 
 18649 
 
 17686 
 
 18015 
 17513 
 18074 
 18330 
 17937 
 
 18649 
 17686 
 17686 
 
 17625 
 17686 
 
 18649 
 
 America 17580 
 
 Our Flag 18649 
 
 Red, White and Blue 17580 
 
 Soldier Boy 17568 
 
 It would indeed be "carrying coals to Newcastle" to 
 write out extended analyses for these simple and well- 
 known songs, as most of them are known and used by 
 teachers everywhere. However, teaching directions for 
 a few numbers, chosen at random, are here given as 
 suggestions. 
 
 Similar points of interest may be found in all the others, 
 and each song should be carefully taught with full regard 
 to its thought content, and its rhythmic and dramatic 
 possibilities. 
 
 Riggety Jig (3-4 Rhythm Key of G) 17719 
 
 This is just a gay little "make-believe" horseback ride. What joy 
 there is in riding a stick horse! No doubt the universal love of such play 
 
 * Record in preparation
 
 MUSIC APPRECIATION 
 
 comes from the same root as the old Morris dances, where the stick is 
 adorned with a carved head and gaily caparisoned as a knight in his 
 armor: 
 
 So fast, so fast my horse can go, 
 
 O riggety, riggety jig, you know; 
 
 He's just the branch of a willow tree, 
 
 O riggety jig, you see. 
 
 See-Saw, Margery Daw 18330 
 
 Sec-Saw, Margery Daw is great fun if given with the rhythmic swing- 
 ing from side to side of the clasped hands of couples of children and at the 
 last line quickly turning under, the arms raised high over heads, hands 
 still clasped, which we used to call "wringing the dishcloth," and also 
 the same as the old game "Wash the Lady's Dishes, Hang Them on the 
 Bushes," etc. 
 
 Little Shoemaker 17937 
 
 The Little Shoemaker is one of Mrs. Gaynor's popular songs. It is 
 best taught with children sitting on floor or on tops of desks (facing back 
 of room) with left foot across the right knee, side of sole upward. In per- 
 fect rhythm imitate sewing with two needles, crossing through and pulling 
 out the long waxen thread. At the words "a rap-a-tap-tap " softly 
 pound in make-believe wooden pegs, by tapping sole of shoe with palm 
 of right hand. At the harmonious "tit-tat-tee" both hands clenched 
 may pound each other. At "making shoes for you and me," resume the 
 sewing. Keep the rhythm perfectly. 
 
 The Leaves' Party 18074 
 
 Choose any number of children for Leaves, one for North Wind, and 
 one for Winter. During 6rst verse, children come running in, the bold 
 North Wind following. At beginning of second verse, North Wind 
 begins to blow gently, the leaves dancing merrily. As the North Wind 
 blows more and more fiercely, he tosses the Leaves to and fro until they 
 finally fall exhausted to the ground. In the third verse, kind Dame 
 Winter comes, looking pityingly down upon the tired Leaves, she gently 
 covers them with her mantle of snow. 
 
 The Blacksmith 17937 
 
 The Blacksmith is, of course, perfectly timed for imitation with im- 
 promptu anvils. There should be at least one or two triangles at hand 
 while the class may use the iron framework of the seat, striking with 
 pencils or wooden sticks which should be a regular part of the equipment 
 of the kindergarten. Sets for other rooms could be made easily by the 
 manual training boys. 
 
 52
 
 SONG 
 
 Pit-a-Pat 17596 
 
 Pit-a-Pat is charming if accompanied by a light tapping of fingers on 
 desks. Fingers should always work in rotation as a reversed five-finger 
 exercise, using only the nails, never the cushion, and never all together. 
 
 Little Bo-Peep 17004 
 
 No maiden in all history is more emblematic of that charming in- 
 efficiency that seems to have heretofore belonged to womankind. In 
 her day-dreaming she not only lost her sheep but after ineffectual search- 
 ing seemed quite content to leave them to their fate. 
 
 Baa, Baa, Black Sheep 17937 
 
 Baa, Baa, Black Sheep may be dramatized by having one child for 
 the little Black Sheep, and three for the Master, the Dame, and the 
 Little Boy. Always bring out the value of the wool of the black sheep 
 that needs no dye. And be sure there is no thought of any reflection as 
 the usual interpretation. Present, too, the lesson of the generosity, the 
 kindliness, politeness, and promptness of the little black sheep. 
 
 Old Chanticleer 17513 
 
 One child standing on the stool is Chanticleer. He crows and crows. 
 Victrola starts and sings "Cock-a-doodle-doo" and child pompously 
 joins in and sings the second "Cock-a-doodle-doo." Children sing, 
 " You think your voice is very fine," etc. At words " Cock-a-doodle-doo" 
 children crow, then Chanticleer, then both crow together for the re- 
 mainder of the song. 
 
 Another suggestion: let all the children in the room play they are 
 Chanticleer. Start record, children crowing "Cock-a-doodle-doo" with 
 the record. Let the record sing " You think your voice is very fine," etc. 
 and children answering each time it comes to "Cock-a-doodle-doo." 
 
 Many problems, which later are to arise, may well be 
 experienced in these lower grades by simply hearing, 
 without comment or explanation, many things which later 
 may be studied definitely. 
 
 Of such are the songs in the minor mode, such as : 
 
 Crooked Man 18076 La Mere Michel 72165 
 
 Ewa-Yea! 35617 La Mist' en PAire 72166 
 
 Her Blanket 18418 My Shadow * 
 
 Jap Doll 18015 Wah-wah-taysee 35617 
 
 * Record in preparation 
 
 009 53 *=
 
 MUSIC APPRECIATION 
 
 There is no need to mention the word "minor," but 
 later the song will be remembered. In the same way, 
 there is a fine body of song material which should be sung 
 or played to and for little children, but not with any idea of 
 their imitating or reproducing such songs. Of these the 
 following list will be excellent as appreciation songs, which 
 may be heard to wonderful advantage: 
 
 Sleep, Little Baby of Mine"!,-.,,,,, Joy of the Morning \i-rma 
 
 Slumber Sea J 17212 Boat Song J 17 
 
 Cradle Song (Brahms) lisiio Hiawatha's Childhood 35617 
 
 Little Dustman / The Sandman 64220 
 
 Slumber Boat 18448 Little Boy Blue 64605 
 
 Pickaninny's Lullaby 1 17010 Hark! Hark! the Lark 64218 
 
 Mammy's Song Lo, Here the Gentle Lark 64267 
 
 Spanish Gypsy 1 The Wren 64792 
 
 Lithuanian Folk Songs H8330 The Swallows 64392 
 
 Linden Tree J 
 
 (These three last-named records may be introduced in third grade, 
 and may be easily presented through comparing coloratura soprano 
 to birds.) 
 
 There are numerous beautiful lullabies which all 
 children know but whose words are in most cases too 
 mature for childish tongues. To utilize these world-old 
 melodies without the tangle of difficult words, a consider- 
 able number have been recorded by violin, viola, English 
 horn, etc., for the children to hum with and so make them 
 their own. These will be treated in the Instrumental Section. 
 
 In the same way we are presenting the principal themes 
 from some of the great compositions of symphony and 
 oratorio, which should make up a cherished store of the 
 child's repertoire. These appear in the Cultural Hearing 
 and Instrumental Sections. 
 
 A veritable storehouse of old melodies has been un- 
 earthed in old French tunes of children's songs and games. 
 
 Many of these were early adopted by German compilers 
 of folk tunes and, in turn, have found their way into great 
 
 co 54 *
 
 FRENCH SONGS 
 
 numbers of our own school music books, credited wrongly 
 to German sources, when, in fact, they were of typically 
 French origin. 
 
 A splendid number of these have been recorded in fine 
 French diction with just the right spirit by a French 
 artist, Eva Gauthier, the accompaniments arranged and 
 played by another French artist, Mr. Bourdon, both of 
 whom "lived" them all in their childhood. 
 
 These melodies are found plentifully in our school 
 readers with English versions, and the work of teaching 
 them will be minimized by humming the melodies earlier 
 for listening lessons. 
 
 The English words here given are a free literal trans- 
 lation simply to give the thought. They are not versified 
 for singing, and singing of them is of course impossible. 
 They are, therefore, offered as humming material only, 
 unless the French be attempted. (Records 72165 and 
 72166.) The free translations are by Mr. Rosario Bourdon. 
 
 French English 
 
 Au CLAIR DE LA LUNE BY THE MOONLIGHT 
 
 Au clair de la lune, By the moonlight, 
 
 Mon ami Pierrot, My friend, Pierrot, 
 
 Prete moi ta plume Lend me your pen 
 
 Pour ecrire un mot. To write a few words. 
 
 Ma chandelle est morte, My candle is out, 
 
 Je n'ai plus de feu. I have no more light. 
 
 Ouvre moi ta porte Open your door 
 
 Pour 1'amour de Dieu. For pity's sake. 
 
 Au clair de la lune, By the moonlight, 
 
 Pierrot repondit Pierrot answered; 
 
 Je n'ai pas de plume I have no pen; 
 
 Je suis dans mon lit, I am in bed, 
 
 Va chez la voisine Go to the neighbor; 
 
 Je crois qu'elle y est, I think she is in, 
 
 Car dans sa cuisine For in her kitchen 
 
 On bat le briquet. Someone is striking a fire. 
 
 55
 
 MUSIC APPRECIATION 
 
 French 
 
 IL PLEUT, IL PLEUT, BERGERE 
 I! pleut, il pleut, bergere, 
 Rentre tes blancs moutons 
 Aliens a ma chaumiere, 
 Bergere vite aliens; 
 J'entends sous le feuillage 
 L'eau qui tombe a grand bruit, 
 Voici venir 1'orage, 
 Voila 1'eclair qui luit. 
 
 French 
 
 PROMENADE EN BATEAU 
 Au courant de la riviere 
 Glisse, glisse, glisse doucement; 
 Glisse, glisse, glisse, glisse, 
 Glisse, glisse, barque legere! 
 Glisse, glisse, barque legere, 
 Glisse, glisse, glisse doucement! 
 
 French 
 
 FAIS DODO, COLAS 
 Fais dodo, Colas, mon p'tit frere, 
 Fais dodo, tu auras du lolo; 
 Papa est en haut, 
 Qui fait des sabots; 
 Maman est en bas, 
 Qui fait des bas. 
 
 French 
 
 SAVEZ-VOUS PLANTER LES CHOUX? 
 Savez-vous planter les choux, 
 A la mode, a la mode, 
 Savez-vous planter les choux, 
 A la mode de chez nous? 
 
 On les plante avec le pied, 
 A la mode, a la mode, 
 On les plante avec le pied, 
 A la mode de chez nous. 
 
 On les plante avec la main (hand), 
 
 A la mode, a la mode, 
 
 On les plante avec la main, 
 
 A la mode de chez nous. 
 
 English 
 IT is RAINING, IT is RAINING, 
 
 SHEPHERDESS 
 
 It is raining, it is raining, Shep- 
 herdess, 
 
 Bring in your white lambs, 
 
 Let us go to my hut. 
 
 Quick, come Shepherdess, 
 
 I hear under the foliage 
 
 Raindrops falling with a great 
 noise, 
 
 Here comes the storm, 
 
 There's the lightning so bright. 
 
 English 
 BOAT TRIP 
 
 By the current of the river, 
 Glide, glide, glide gently; 
 Glide, glide, glide, glide, 
 Glide, glide, light craft! 
 Glide, glide, light craft, 
 Glide, glide, glide gently! 
 
 English 
 
 Go TO SLEEP, COLAS 
 Go to sleep, Colas, my little 
 brother, Go to sleep, you shall 
 have some candy; 
 Papa is upstairs, Making wooden 
 shoes; Mama is down stairs, 
 Knitting stockings. 
 
 English 
 
 Do You KNOW How TO PLANT 
 CABBAGES? 
 
 Do you know how to plant cab- 
 bages, 
 
 After the fashion, after the fashion, 
 
 Do you know how to plant cab- 
 bages 
 
 After the fashion at home? 
 
 We plant them with the foot, 
 After the fashion, after the fashion, 
 We plant them with the foot, 
 After the fashion at home. 
 
 ***> 50
 
 FRENCH SONGS 
 
 This can be continued, naming the hand, elbow, knees, etc., and 
 going through the motion of planting with the designated part. 
 
 French 
 TREMPE TON PAIN 
 
 Tremp' ton pain, Marie, 
 
 Tremp' ton pain, Marie, 
 
 Tremp' ton pain dans la sauce, 
 
 Tremp' ton pain, Marie, 
 
 Tremp' ton pain, Marie, 
 
 Tremp' ton, pain dans le vin. 
 
 Nous irons Dimanche 
 
 A la maison blanche, 
 
 Toi z'en Nankin 
 
 Moi z'en bazin, 
 
 Tous deux en escarpins. 
 
 English 
 DIP YOUR BREAD 
 
 Dip your bread, Mary, 
 
 Dip your bread, Mary, 
 
 Dip your bread in the gravy, 
 
 Dip your bread, Mary, 
 
 Dip your bread, Mary, 
 
 Dip your bread in the wine. 
 
 We shall go Sunday 
 
 To the white house, 
 
 You dressed in Nankeen, 
 
 I in my best clothes, 
 
 The two of us in shining boots. 
 
 French 
 LA MERE MICHEL 
 
 C'est la mer' Michel qui a perdu son 
 
 chat, 
 Qui cri' par la f'netre a qui le lui 
 
 rendra, 
 Et 1' comper Lustucru qui lui a 
 
 repondu, 
 Allez la mer' Michel vot' chat n'est 
 
 pas perdu. 
 
 C'est la mere Michel qui lui a 
 
 demande: 
 Mon chat n'est pas perdu! vous 
 
 1' avez done trouve? 
 Et 1' comper' Lustucru qui lui a 
 
 repondu, 
 Donnez un' recompense, il vous 
 
 sera rendu. 
 
 Et la mere Michel lui dit: c'est 
 
 decide 
 Si vous rendez mon chat, vous 
 
 aurez un baiser, 
 Le comper' Lustucru qui n'en a 
 
 pas voulu 
 Lui dit pour un lapin votre chat 
 
 est vendu. 
 
 English 
 MOTHER MICHEL 
 
 It is Mother Michel who has lost 
 
 her cat, 
 And cries thru her window for 
 
 someone to bring it back, 
 And that old crony, Lustucru, who 
 
 answers, 
 " Go on, Mother Michel, your cat 
 
 is not lost." 
 
 It is Mother Michel who asks him: 
 
 "My cat is not lost? You must 
 then have found it." 
 
 And that old crony, Lustucru, 
 answers, 
 
 "Give a reward and it will be re- 
 turned." 
 
 And Mother Michel told him, " It 
 
 is settled, 
 If you return my cat, I will give 
 
 you a kiss." 
 Old crony, Lustucru, who did not 
 
 want any, said, 
 " Your cat was sold as a rabbit." 
 
 an 57
 
 MUSIC APPRECIATION 
 
 French 
 MALBROUCK 
 
 Malbrouck s'en va t'en guerre, 
 Mironton, mironton, mirontaine; 
 Malbrouck s'en va t'en guerre, 
 Ne sail quand reviendra; 
 Ne sail quand reviendra, 
 Ne sait quand reviendra! 
 Malbrouck s'en va t'en guerre, 
 Mironton, mironton, mirontaine; 
 Malbrouck s'en va t'en guerre, 
 Ne sait quand reviendra. 
 
 English 
 MALBOROUGH 
 
 Malborough is going to war, 
 Mironton, mironton, mirontaine: 
 Malborough is going to war, 
 Does not know when he shall re- 
 turn, 
 
 Does not know when he shall re- 
 turn, 
 
 Does not know when he shall re- 
 turn ! 
 
 Malborough is going to war, 
 Mironton, mironton, mirontaine; 
 Malborough is going to war, 
 Does not know when he shall re- 
 turn. 
 
 French 
 
 LE PONT D' AVIGNON 
 Sur le pont d' Avignon, 
 L'on y danse, 1'on y danse; 
 Sur le pont d' Avignon, 
 L'on y danse tout en rond. 
 Les beaux messieurs font comm' ca, 
 Et puis encor' comm' ca. 
 
 English 
 
 THE BRIDGE AT AVIGNON 
 On the bridge at Avignon 
 They dance, they dance; 
 On the bridge at Avignon 
 They dance, all in a ring. 
 (1) The handsome men do like this 
 And then again like this. 
 
 1 -In singing "The handsome men do like this" imitate gentlemen 
 in the act of bowing. 
 
 Sur le pont d' Avignon, 
 
 L'on y danse, Ton y danse; 
 
 Sur le pont d' Avignon, 
 
 L'on danse tout en rond. 
 
 Les bell's dames font comm' c.a, 
 
 Et puis encor' comm' c.a. 
 
 On the bridge at Avignon 
 
 They dance, they dance; 
 
 On the bridge at Avignon 
 
 They dance, all in a ring. 
 
 (2) The beautiful ladies do like this, 
 
 And then again like this. 
 
 2 Imitate ladies in the act of curtsying. 
 
 French 
 
 AH! Vous DIRAI-JE, MAMAN 
 Ah! vous dirai-je, maman, 
 Ce qui cause mon tourment! 
 Papa veut que je raisonne comme 
 
 une grande personne; 
 Moi je dis que les bonbons 
 Valent mieux que la raison. 
 
 English 
 
 An! SHOULD I TELL You, MAMA 
 Ah! should I tell you, mama, 
 What is the cause of my distress? 
 Papa wants me to reason like a 
 
 grown-up person; 
 But I say that candies 
 Are worth more than reason. 
 
 58
 
 FRENCH SONGS 
 
 French 
 
 LA BONNE AVENTURE 
 Je suis un gentil poupon 
 De belle figure, 
 Qui aime bien les bonbons 
 Et les confitures. 
 Si vous voulez m'en donner, 
 Je saurai bien manger. 
 La bonne aventure, 
 Oh! gai! 
 La bonne aventure! 
 
 Je serai sage et bien bon, 
 Pour plaire a ma mere. 
 Je saurai bien ma legon, 
 Pour plaire a mon pere; 
 Je veux bien les contenter, 
 Et s'ils veulent m'embrasser, 
 La bonne aventure, 
 Oh! gai! 
 La bonne aventure! 
 
 French 
 
 J'AI DU BON TABAC 
 J'ai du bon tabac dans ma taba- 
 
 tiere, 
 J'ai du bon tabac, un n'en auras 
 
 pas. 
 
 J'en ai du fin et du bien rape, 
 Qui ne s'ra pas pour ton fichu nez! 
 J'ai du bon tabac dans ma taba- 
 
 tiere, 
 J'ai du bon tabac, tu n'en auras 
 
 pas. 
 
 French 
 
 LA CASQUETTE DU PERE BUGEAUD 
 
 As-tu vu la casquette, la casquette, 
 
 As-tu vu la casquett' au pere Bu- 
 geaud? 
 
 Elle est fait' la casquette la cas- 
 quette 
 
 Elle est fait' avec du poil de cha- 
 meau. 
 
 NOTE During the war in Algeria, in 1840, a French Camp was 
 caught in a surprise attack by the Arabs; Marshall Bugeaud came rush- 
 ing out of his tent to get at the head of his troops. To the delight of his 
 
 59 *o 
 
 English 
 
 THE HAPPY EVENT 
 I am a cute little darling, 
 And good looking, 
 Who is very fond of candy 
 And preserves. 
 If you will give me some, 
 I shall surely eat them. 
 The happy event, 
 Oh! joy! 
 The happy event! 
 
 I will be good and behave, 
 
 To please my mother. 
 
 I shall know my lesson, 
 
 To please my father; 
 
 I am willing to make them happy, 
 
 And if they want to kiss me, 
 
 The happy event, 
 
 Oh! joy! 
 
 The happy event. 
 
 English 
 I HAVE SOME GOOD SNUFF 
 
 I have some good snuff in my snuff- 
 box, 
 
 I have some good snuff, you shall 
 not have any. 
 
 I have some that is fine, and some 
 well grated, 
 
 But that is not for your sorry nose! 
 
 I have some good snuff in my snuff- 
 box, 
 
 I have some good snuff, you shall 
 not have any. 
 
 English 
 
 FATHER BUGEAUD'S CAP 
 Did you see the cap? the cap? 
 Did you see Father Bugeaud's cap? 
 It is made, the cap, the cap, 
 It is made of camel's hair.
 
 MUSIC APPRECIATION 
 
 soldiers, he found that he still had his woolen night-cap on his head; the 
 "Zouaves" immediately started to sing this little song with the im- 
 provised words, and it has ever since remained the march that often 
 led the French on to victory. 
 
 French 
 
 FRERE JACQUES 
 Frere Jacques, 
 
 Frere Jacques, dormez-vous? 
 Dormez-vous? 
 Sonnez les matines, 
 Sonnez les matines, 
 Din, din, donl 
 Din, din, don! 
 
 English 
 
 BROTHER JAMES 
 Brother James, 
 
 Brother James, are you asleep? 
 Are you asleep? 
 Ring for the morning prayers, 
 Ring for the morning prayers, 
 Ding, ding, dong! 
 Ding, ding, dong! 
 
 French 
 
 LA MIST' EN L'AIRE 
 Bonhomme, bonhomme, que savez- 
 
 vous faire? 
 Savez-vous jouer de la mist'-en 
 
 1'aire? 
 L'aire, 1'aire, 1'aire, de la mist'-en 
 
 1'aire? 
 Ah! ah! ah! que savez-vous faire? 
 
 English 
 
 THE TUNE IN THE AIR 
 My good man, my good man, what 
 
 do you do? 
 Do you know how to play a tune in 
 
 the air? 
 
 Air, air, air, a tune in the air? 
 Ah! ah! ah! what do you do? 
 
 Dance in a circle during the first eight measures; wave hands in the 
 air while singing "Air, air, air," turn around and clap hands while saying 
 "Ah! ah! ah!" then go back to beginning. In each of the succeeding verses 
 replace the word "Air" with the name of a musical instrument of two 
 syllables, like violin, 'cello, oboe, bassoon, etc., while imitating the manner 
 of playing the instruments mentioned, then go back to the four repeated 
 measures with "Air, air, air, a tune in the air," with which it always 
 finishes. 
 
 LA MIST' EN L'AIRE 
 
 UK CO
 
 FRENCH SONGS 
 
 Au Clair de la Lune 72165 A 
 
 Promenade en Bateau 72165 A 
 
 Fais Dodo, Colas 72165 A 
 
 Savez-vous Planter les Choux 72165 B 
 
 
 Trempe Ton Pain, Marie 72165 B 
 
 
 La Mere Michel 72165 A 
 
 Ah! Vous Dirai-je, Maman 72166 
 
 
 La Bonne Aventure 72166 
 
 przz5.a 
 Epl^^^EE^E*EE 
 
 J'ai du Bon Tabac 72166
 
 INSTRUMENTAL MUSIC 
 
 NTIL recently, all music in our public schools 
 has been vocal music that the students 
 could make themselves, with possibly an 
 occasional artist concert, which soon be- 
 comes only a fleeting memory. The time 
 has now come when an entirely new world 
 may be opened to the children, to remain as their perma- 
 nent possession: the wonderfully beautiful and varied 
 realm of instrumental music. 
 
 An awakened interest in instrumental music is evi- 
 denced everywhere in the increased number of orchestras, 
 in the widespread movement for the organization of 
 orchestras in schools, and in classroom instruction in the 
 study of violin and piano. But the question arises: what 
 provision is being made for pupils to learn to listen to 
 instrumental classics played by artists and orchestras of 
 recognized ability? Such music literature is the music 
 itself, easily heard, loved, and understood by all. 
 
 The instrumental music which the student should hear 
 and study as a model for his own reproduction finds its 
 flower in the symphony, which is acknowledged to be the 
 highest type of music. The foundation for the adequate 
 appreciation of such music should be laid in early child- 
 hood through simple types and selections, and developed 
 in accordance with the growing powers of the child, in 
 conformity with the principles of modern pedagogy and 
 child study. 
 
 *> 63 *
 
 MUSIC APPRECIATION 
 
 The teacher of music appreciation has two immediate 
 problems : first, the selection of material appropriate as to 
 quality and content; secondly, the study of the manner of 
 presenting the selections used. 
 
 In selecting material for primary grades, the following 
 points should be considered: (1) The selection should be 
 strongly rhythmic in character. (2) The melody should be 
 tuneful. (3) The music should be played by a solo instru- 
 ment or by simple combinations of instruments. The violin, 
 xylophone, bells, 'cello, or flute, are especially appropriate 
 instruments for presenting music to little children. In 
 this connection it should be remembered that the interest 
 from the pupils' point of view is not in the instrument as 
 such, but only as a means of producing tonal effects 
 pleasing and proper for children to hear. Combinations 
 of these instruments with others in duets, trios, quartets, 
 and light orchestras may be used. 
 
 All of the instrumental music suggested for use in the 
 first three grades may be divided as follows: rhythmic, 
 descriptive, and music with purely aesthetic appeal. Many 
 selections necessarily belong to more than one of these 
 classes, but their classification will be determined accord- 
 ing to which characteristic is considered predominant for 
 the present. 
 
 Unfortunately, material limitations make it necessary 
 that these types of instrumental music be treated one at a 
 time, but it should not be so in presentation to the children. 
 As a problem, of course, rhythm conies first, but nothing is 
 further from our minds at this time than problems. We 
 desire only that the child may be attracted sufficiently to 
 want to listen, and to like what he hears. 
 
 Something descriptive of things in his own world may 
 catch his attention first, or he might be delighted with a 
 
 to C4 *
 
 INSTRUMENTAL MUSIC 
 
 happy rhythm or a lovely tune, just because it is lovely. Who 
 is to say which? Let the response of the children answer. 
 
 Rhythmic instrumental music, which is to be used in 
 awakening rhythmic sense and in securing active expres- 
 sion from children, has been fully treated in the chapter on 
 rhythm. There are many lovely compositions, however, 
 whose charming rhythm attracts and delights the little 
 people (and "grown-ups" as well). They love to listen to 
 such compositions as the Humoresque, and happy little 
 voices often say, "Isn't it pretty!" 
 
 Such rhythmic selections (including several previously 
 used for free expression), which we suggest should be en- 
 joyed for their sheer beauty, will be presented with other 
 music the appeal of which is purely aesthetic. 
 
 DESCRIPTIVE AND IMITATIVE MUSIC 
 
 Little children love a story, and music that tells a 
 story within their comprehension appeals to them strongly. 
 Such music should at first be so clearly imitative of 
 sounds from nature and human life familiar to the 
 child that his immediate interest will be aroused, 
 concentration stimulated, and mental alertness and power 
 of perception developed as the basis for later appreciation 
 of music more abstract in character. 
 
 It should not be inferred, however, that descriptive 
 music is of value and interest merely as preparatory to 
 music of aesthetic appeal. It is valuable and interesting 
 for its own sake, and in it children's imaginations should 
 find stories as compelling in interest as those they hear 
 in the language of words. 
 
 It is sometimes questioned whether music has power to 
 tell stories unaided by suggestion. Recent experiments, 
 
 eO 65 ' jcn
 
 MUSIC APPRECIATION 
 
 however, go far to prove that little children, entirely 
 unaided by question or suggestion, will generally give 
 evidence of having received the impression intended by the 
 composer. If, in addition to the title, a few words of 
 suggestion as to the setting, atmosphere, or color be given, 
 the greatest enjoyment is evidenced by the children in 
 telling what the music means to them personally. 
 
 The Swan^45096 
 
 This celebrated composition by the noted French 
 composer Saint-Saens (Sanh'-Sahn) is an excellent ex- 
 ample of descriptive music which is also replete with 
 poetic beauty. It is from the suite, The Carnival of 
 
 Animals, in which Saint- 
 Saens pictured in tone 
 the portraits and habits 
 of certain birds and 
 animals. 
 
 The smoothly flowing 
 melody sung by the 
 broad-toned 'cello repre- 
 sents the swan as it glides 
 gracefully over the placid 
 lake, the peaceful silence 
 broken only by the ripples 
 of the water on the stones 
 suggested by the delicate 
 piano accompaniment. 
 Can you tell when the swan pauses and raises his head? 
 Where do you find a picture of a sparkling little waterfall? 
 This selection may be associated with the familiar story of 
 The Ugly Duckling. 
 
 a* 66 <e*
 
 DESCRIPTIVE MUSIC 
 
 At the Brook 64103 
 
 This charming tone picture of a brook rippling over the 
 smooth pebbles is characterized by a flowing melody 
 played on the violin, accompanied by the harp. What 
 does the violin describe? The harp? Note how pleasing 
 variety is secured by repetition of the main theme in 
 varying pitch and keys. What is the artistic purpose of 
 the violin cadenza? Does the music suggest that in places 
 the brook runs more smoothly than in others? 
 
 By the Brook 17844 
 
 (See analysis of Record No. 64103.) 
 
 This is an attractive arrangement for violin, 'cello, and 
 piano. 
 The Bee 64076 
 
 This delightful little piece of musical description was 
 written for the violin by Frangois Schubert, a violinist 
 of Dresden, not the famous song writer of Vienna. The 
 music represents the 
 buzzing of the bee as it 
 darts from flower to 
 flower in search of the 
 sweetest honey. The 
 buzzing, uneven rhythm, 
 and the constant altera- 
 tions in pitch picture 
 the erratic flight of the 
 busy little creature . Two 
 pizzicato chords at the 
 close tell us that the bee 
 has found the flower which 
 contains the honey he 
 seeks, and has disap- 
 peared from sight. 
 
 at 67 tat
 
 MUSIC APPRECIATION 
 
 Minute Waltz 64076 
 
 The Mimde Waltz is so called because it can be played 
 within the space of a minute. The French call it The 
 Little Dog Waltz because of the story of how the pianist 
 Chopin (Show-pahri) came to compose it. Chopin and 
 
 George Sand, the 
 famous woman 
 novelist, were one 
 day amused at the 
 antics of a little 
 dog whirling mad- 
 ly around trying 
 to catch its tail. 
 "Had I your nim- 
 ble fingers," said 
 the lady to Cho- 
 pin, "I should com- 
 pose a waltz for 
 the little fellow!" 
 Acting on this 
 playful suggest ion , 
 the composer went to the piano and played this dainty 
 number, which pictures the rapid whirlings of the little 
 dog. Sometimes the music suggests that the dog is be- 
 coming dizzy and nearly loses his balance. Very small 
 children will be able to tell when the music says the 
 little dog is chasing his tail, when he is resting, and 
 when he again catches sight and starts the chase of the 
 elusive tail. Such theme recognition is the first step 
 toward later work in musical form. Maud Powell 
 arranged this selection for violin. 
 
 The Bee and the Minute Waltz are presented in detail 
 in the model lessons for first grade.
 
 DESCRIPTIVE MUSIC 
 
 Teddy Bears' Picnic 16001 
 
 This is a prime favorite 
 with the "littlest ones." The 
 slow march time with clock- 
 like rhythm strongly accented 
 makes the selection excellent 
 for free expression. The bears 
 are having as noisy a picnic as 
 ever did little children, and 
 every child delights in the de- 
 licious fearsomeness of the very 
 realistic teddy-bear growls. 
 
 March of the Toys 55054 
 
 In his fantastic light opera, 
 Babes in Toyland, Victor Her- 
 bert brings to life the gay 
 personalities of the toy shop. 
 With the first fanfare of little 
 tin horns at the opening of 
 this jolly march, we can pic- 
 ture the parade of animals and 
 dolls and tin soldiers, with all 
 the tinsel and pomp of their 
 bizarre little world. 
 
 In a Clock Store 35324 
 
 "I want to ask you a riddle. The word 'riddle' means 
 a 'question,' and I wonder if you can guess this one. 
 What is it that has a round face and two hands only it 
 doesn't wear its hands at its side as we do, but they grow 
 
 G9 *>
 
 MUSIC APPRECIATION 
 
 right out of the middle of its face? Who knows?" (If 
 only one child raises his hand, as is often the case, let 
 him whisper to you, and have it a secret with you till 
 others find it. Sometimes it may be necessary to hint, 
 by suggesting that there is one on the wall somewhere in 
 the room. When all the children, through the guessing, 
 have become thoroughly interested in clocks, continue.) 
 
 "Let us play that we go 
 into a clock store and see 
 how many kinds of clocks 
 we can find." 
 
 (Play In a Clock Store.} 
 The "tick-tocks" immedi- 
 ately attract the children, 
 but in the case of very 
 small children the little 
 minds soon wander. (Since 
 our purpose at this time 
 is to create an atmosphere 
 of active listening, it has 
 been found valuable to 
 stop the record after the 
 first section and lead the 
 
 little minds with some such conversation as the 
 following.) "Now, I want to tell you a story about 
 this clock store where we are. There is a little boy 
 who works in this store and he's the happiest little 
 fellow you ever saw, and every morning when he comes 
 to work he just throws his head back and whistles, 
 oh, so happily! Now it would be nice if we could see this 
 little boy when he comes to work, but we can't see him at 
 all. Can we? How will we know when he comes to 
 work?" (Often the children do not think of perceiving 
 
 too 70
 
 DESCRIPTIVE MUSIC 
 
 through hearing.) "What else have we to use besides our 
 eyes ? Yes, and if we use our ears what shall we hear 
 when the boy comes to work? We shall hear him whistle. 
 Now, when your ears tell you the boy has come to work 
 you may wave good-morning to him." (Let record play 
 until the children have greeted the boy, after which one 
 might continue the visit in the clock store in the following 
 manner.) 
 
 " But one night the boy forgot something that he ought 
 to do. You know what it means to forget, for I'm sure 
 your mammas have told you to do things which you have 
 forgotten to do. Well, this little boy forgot something, 
 and I'm not going to tell you what it was at all, 
 and we shall see if your ears can tell you what he 
 forgot to do." 
 
 (If their ears fail to tell them, as will be the case with 
 many primary children, do not tell them, or allow the 
 unusually bright child to do so, for all may be helped to 
 sense the fact that the clocks run down, by playing 
 "tick-tock.") Place right elbows on desk and swing arms 
 to music, being very careful to listen and to stay with the 
 " tick-tocks " ; (then suddenly ask): "What happened to 
 your tick-tock? It stopped. And what is the matter with 
 a 'tick-tock' if it stops, when it isn't broken? After the 
 clocks are wound, one of them strikes a little tune that you 
 know." Several children will quickly recognize the scale, 
 but ask: "Did it sing do, re, mi, or begin at the top and 
 sing do, ti, la, etc.?" (And so continue on through the 
 record, allowing the children to discover definite things for 
 themselves through their own active listening, such as 
 what time was it? What kind of shoes did he wear? 
 How many kinds of clocks can you hear? What is the 
 largest one? etc., etc.) 
 
 to 71 *"
 
 MUSIC APPRECIATION 
 
 Patriotic Medley 35657 
 
 "If you would do what that music tells you to do, 
 what would you do? (Play only the introduction by bugle 
 and drums.) March. Well, if it is a march, who is march- 
 ing? Why did you say soldiers and not school children? 
 What did you hear that made you think of soldiers?" 
 (Even first grade children will have discovered in one 
 hearing that it was bugle and drums. With third grade 
 children and older, they may be asked to give the piece a 
 name that will tell in words, not more than two or three, 
 what the music says. Such work furnishes an excellent 
 drill for clear thinking and concise oral English work. 
 Often such answers as the following are given : " Military 
 March," "Victory March," "On to Victory," and many 
 others which accurately convey the spirit of the music. 
 
 Theme for High-Stepping Horses 18253 
 
 Perhaps the children have been permitted to be high- 
 stepping horses, marching around the room to music in 
 the kindergarten or first grade, but in cases where this 
 has not been done, it is interesting to present such music 
 with contrasting compositions in the second or third 
 grades, for the children's discrimination. The imagination 
 may be directed by telling a story for the first one, and 
 afterward let their imagination have full play. 
 
 "Have you ever been to a circus? And when you were 
 there did you see a lady riding a horse that kept step to 
 the music? I think this music will tell us about that 
 beautiful proud horse." Children may express the feeling 
 of the music by "stepping" with the arms on the desk. 
 When the feeling for the high-stepping horses is clearly 
 established, suddenly give contrasting rhythm such as 
 Running Reindeers, also on Record 18253: "What is this
 
 DESCRIPTIV E MUSI C 
 
 horse doing?" With little children it is sufficient that they 
 know he is running, because the music is much faster. 
 Older children, continuing the oral English drill, will sug- 
 gest such names as "Running Horses," "The Race," 
 "Cavalry March," "A Gallop," and many others. 
 
 Wild Horseman 18598 
 
 The Wild Horseman is another number which will sug- 
 gest a running horse. 
 
 It also suggests the idea of a race, or a chase, if the at- 
 tention is directed to the two themes which alternate. 
 Little Hunters 18598 
 
 The call of the little hunting horns, and the sound of 
 the horses' hoofs as they clatter along in the happy little 
 gallop which follows, presents a very simple and definite 
 picture of the hunt. In the nursery or kindergarten, 
 children will enjoy really going to the hunt on stick horses. 
 
 ten 73 w
 
 MUSIC APPRECIATION 
 
 The Whirlwind 18684 
 
 In this number the flute gives us a very realistic imita- 
 tion of a capricious little whirlwind, as it plays and scamp- 
 ers along, and finally flies away, in great glee over its 
 pranks. 
 
 Of a Tailor and a Bear 18598 
 
 The title Of a Tailor and a Bear was no doubt 
 suggested to Mr. MacDowell by the 
 old Grimm fairy tale of the same 
 name. His "music 
 story" does not ad- 
 here literally to the 
 printed one, but is 
 merely an episode 
 suggested by the 
 title. 
 
 The interpreta- 
 tions which children 
 draw from the music, 
 when given merely 
 the title, are indi- 
 vidual and interest- 
 
 ing. Such episodes 
 
 as the music sug- 
 gests are presented in "Model Lessons," page 91. 
 
 The Spinning Song, on the same record, is a simple 
 and clear rhythmic imitation of that which the title 
 suggests. 
 
 Rock-a-bye, Baby 18664 
 
 Such numbers may be used in the little game of "guess- 
 ing what the music says." The thought content is perhaps 
 clearer if the previous numbers were in sharp contrast, 
 
 un 74
 
 DESCRIPTIVE MUSIC 
 
 such as the types which children would call "Victory 
 March," or "Running Horses." When asked what this 
 music says, children often give such irrelevant answers as 
 "violin" (although it might happen to be a 'cello or viola). 
 It must be remembered that our interest at this time is 
 not in the instrument as such, and the teacher should post- 
 pone discussing the instrument. "Yes, but what does the 
 violin say to you? What does it tell you to do? Can I call 
 this one 'Victory March,' or 'Galloping Horses'?" 
 
 They will soon discover that it does not say to do any- 
 thing, but to be still and listen, and someone will say it 
 sounds like a sleepy song. Teach the word "lullaby," and 
 allow them to listen to the lovely lullaby as if they were 
 really going to sleep. 
 
 Such a number at the close of the listening lesson 
 leaves the children composed and quiet. 
 
 " Wouldn't it be nice if we could be as quiet and sweet 
 all day like that lovely lullaby?" 
 
 NOTE Interpretations of other numbers in the following list 
 of descriptive pieces are suggested by the titles with which the com- 
 poser has labeled them: 
 
 DESCRIPTIVE 
 
 Of a Tailor and a Bear 
 Patriotic Medley 
 Rock-a-Bye, Baby 
 Running Reindeers 
 Spinning Song 
 Spring Voices 
 Swan, The 
 Teddy Bears' Picnic 
 Theme for High-Stepping 
 
 Horses 
 Twilight 
 Waltzing Doll 
 Whirlwind, The 
 W'hispering Flowers 
 Wild Horseman 
 
 At the Brook 
 
 Bee, The 
 
 Birds of the Forest 
 
 Butterfly, The 
 
 By the Brook 
 Danse Chinoise \ 
 Danse des Mirlitons ) 
 Dans les Bois 
 Evening Chimes 
 Fountain, The 
 From an Indian Lodge 
 In a Clock Store 
 Little Hunters 
 March of the Toys 
 Minute Waltz 
 
 45053 
 
 74395 
 18018 
 70031 
 17035 
 35324 
 18598 
 55054 
 64076 
 
 18598 
 35657 
 18664 
 18253 
 18598 
 16835 
 45096 
 16001 
 
 18253 
 17784 
 64734 
 18684 
 
 Will-o'-the-Wisp 
 Wren, The 
 
 18598 
 74183 
 
 * Record in preparation. 
 
 75
 
 MUSIC A P I II K C I A T I O N 
 
 FANCIFUL CONCEITS, MOODS, AND 
 ASSOCIATIONS 
 
 Since music is the language that begins where the power 
 of the spoken word ends, it is obviously impossible to im- 
 pose upon it arbitrary classifications. The universal appeal 
 of highly developed instrumental music is no doubt due 
 to the fact that its indefiniteness permits of many inter- 
 pretations as varied as the life experiences and moods of 
 the hearers. 
 
 When Beethoven wrote the Pastoral Symphony, with 
 its almost visible pictures of the brook, the storm, the calm, 
 and its clear imitation of sounds in nature, he appended to 
 the score words which have been translated: "More an 
 expression of feeling than of painting." 
 
 There are many feelings which are both the cause and 
 the result of music: feelings which associate themselves 
 with the morning, or the evening, with tangible sights of 
 nature or abstract moods. 
 
 These emotions give rise to both the creative and inter- 
 pretative elements in art in pictures, word-poetry, or 
 any of the accepted art forms. Many more of them than 
 people suppose, off-hand, are within the experience of very 
 little children. They instinctively respond to the vigor of 
 a military march, or are quieted by the influence of a 
 lullaby long before they know the meaning of the words 
 "vigor" or "repose." 
 
 Songs are, or should be, the expression of an emotion in 
 bofh poetry and music. 
 
 Suggestions for integrating the mood of pictures and 
 music, and of poems and music, appear in the Correlation 
 chapter. 
 
 ay* 7(i =-0
 
 FANCIFUL ASSOCIATIONS 
 
 The following list is suggestive of fanciful associations 
 of moods and music, or "atmosphere," that are suited to 
 the appreciation of little children. 
 
 Awakening, or Morning 
 
 Hark! Hark! the Lark 64218 
 
 Joy of the Morning 17693 
 
 Morning (Grieg) 35470, 35007 
 
 NOTK To borrow Beethoven's phrase, Morning from the Peer 
 Gynt Suite is "more an expression of feeling than of painting," and 
 would have to be so used here, as the composition really depicts the 
 coming of day over the statue of Memnon which Peer sees in Egypt, 
 far away from his Norwegian home. The legend of how the statue 
 sings with the rising sun must necessarily be reserved for later work. 
 Birds, whistling, etc., expressive of the awakening sounds of 
 Nature, may be found in Correlation with Nature. 
 
 Courage and Patriotism 
 March Militaire 35493 
 
 Patriotic Medley March 35608 
 Polonaise Militaire 35241 
 
 See, the Conqu'ring Hero 
 
 Comes 18655 
 
 Delicacy and Daintiness 
 
 Dance of Happy Spirits 74567 
 
 March Miniature 64766 
 Overture Midsummer 
 
 Night's Dream 35625 
 
 Praeludium 18323 
 
 Serenade (Pierne) 45158 
 
 Waltzing Doll 64734 
 Whispering Flowers 
 
 Evening 
 
 All Through the Night 74100 
 
 Birds in the Night 18622 
 
 Evening Chimes 18018 
 
 Hush, My Babe 18622 
 
 Lullaby from "Erminie" 18622 
 
 Rock-a-bye, Baby 18664 
 
 Twilight 17784 
 
 Calm, Contentment, Peace, 
 
 Quiet, Rest 
 
 
 All Through the Night 
 Berceuse 
 
 74100 
 17454 
 
 Birds in the Night 
 Hush My Babe 
 Lullaby from "Erminie" 
 
 18622 
 18622 
 18622 
 
 Nocturne in E Flat 
 
 74052 
 
 Pastoral Symphony 
 Rock-a-bye, Baby 
 Silent Night 
 The Swan 
 
 35499 
 18661. 
 17842 
 45096 
 
 Traumerei 
 
 45102 
 
 Wild Rose 
 
 17691 
 
 Capricious, Playful 
 
 Badinage 70053 
 
 Capricieuse 64760 
 
 Humoresque 17454 or 74180 
 
 Minute Waltz 64076 
 
 Sylvia Ballet Pizzicato * 
 
 Whirlwind 18684 
 
 Cheer, Gaiety, Joy, Happiness, 
 Mirth 
 
 At the Brook 64103 
 
 Ballet from " Rosamunde" 64670 
 
 Danse des Mirlitons 45053 
 
 Moment Musical 18216 or 74202 
 
 Praeludium 18323 
 
 Fairies 
 
 (See "Delicacy and Daintiness") 
 
 * Record in preparation. 
 
 77 too
 
 MUSIC APPRECIATION 
 
 PURE MUSIC FOR ESTHETIC ENJOYMENT 
 
 There remains the great field of quiet enjoyment of 
 instrumental compositions, which are cultural through 
 their inherent beauty of thought, form, and expression, 
 and which everyone loves just because they are beautiful. 
 
 The public school classroom in this great democracy 
 of ours presents a strange and varied problem. There are 
 the children from the homes of the rich and poor alike, 
 often representing many nationalities. Some have brought 
 their excitement from the playground, others have brought 
 a little heartache from home. One has a toy; one has been 
 scolded; another is tardy. Perhaps, even the teacher her- 
 self may be all too tense to accomplish easily the task of 
 somehow unifying these little minds and of ruling her own 
 spirit for the daily round of studies. What more potent 
 ally could she find than a beautiful piece of music? 
 
 Some schools have adopted the habit of a "silence 
 period" at the beginning of the day, during which just one 
 beautiful number is played. It might be practical to place 
 the Victrola in the center hall for this work, allowing all 
 classes which are conveniently situated to listen at once. 
 If there is not an instrument for each floor, an alternate 
 day plan could be arranged. The teacher of the class 
 which is to hear the music could tell on her blackboard 
 the name of the selection to be played. Others, who dare 
 not take a few minutes from the so-called "necessary 
 subjects," play such music ten minutes before the opening 
 of school. It is not obligatory that the children should 
 attend, but they are there, and the day begins happily and 
 with no confusion. 
 
 Certainly hearing and enjoying music just because it is 
 beautiful should be a part of every appreciation lesson. 
 
 78
 
 PURE MUSIC 
 
 If we learn to read by reading, then we learn to appreciate 
 by appreciating. An appreciation course should not be 
 motivated by the "getting ready" idea, but should be 
 always an enjoyment of music now. 
 
 A child, or a musically uneducated person, is limited in 
 his ability to listen to and to appreciate intricate and com- 
 plex music, but his enjoyment of things within his compre- 
 hension is without alloy. The habit of listening for pure 
 enjoyment is of the utmost importance, and if established 
 in school, it will remain a lifelong benison. 
 
 Although we have no conscious problems in mind at 
 this time, certain "by-products" will inevitably result 
 from such acquaintance with the beautiful. 
 
 A trained ear and an ability to distinguish themes are 
 natural consequences, and the power of theme recognition 
 is a fundamental prerequisite for the later study of musical 
 form and other phases of "listening to learn." 
 
 Repeated hearing of music in the earlier years insures a 
 wide acquaintance with many masterpieces, which is the 
 objective of the popular and meritorious Music Memory 
 Contest, and the standard set by hearing these master- 
 pieces interpreted by Victor artists furnishes a model in 
 interpretation and tone quality for the later performance 
 of these selections by the children. Such contests function 
 in home, school, and club life. Often music clubs and 
 musicians gladly cooperate in focusing attention on the 
 special selections. After all, as Theodore Thomas said, 
 "Popular music is familiar music." 
 
 Simple and beautiful masterpieces for such cultural 
 listening are abundant. The list we have carefully selected 
 includes many whose charm lies in their rhythm, and others 
 that are dearly loved for their beautiful melodies, and 
 sometimes for both. 
 
 79 ca *
 
 M II S I C A P P R E C I A T I O X 
 
 PURE MUSIC OF AESTHETIC BEAUTY 
 
 Pastoral Merrymakers 18164 
 Pirouette 18223 
 
 Praeludium (Jarnefelt) 18323 
 
 Reconciliation Polka (Drigo) 35644 
 Rigaudon (Monsigny) 64201 
 
 Rigodon Rameau 67201 
 
 Rondino (Beethoven- 
 
 Kreisler) 
 
 Salut d'Amour (Elgar) 
 Scherzo (Dittersdorf) 
 Serenade (Pierne) 
 Serenade (Tosti) 
 Serenade (Schubert) \ 
 Serenade (Titl) j 
 
 Shepherd's Dance (German) 35530 
 Shepherd's Hey (Grainger) 17897 
 Silent Night 17842 
 
 Souvenir (Drdla) 64074 
 
 Spanish Dance (Sarasate) 74366 
 Spring Song (Mendelssohn) 18648 
 Sylvia Ballet 
 
 To a Wild Rose (MacDowell) 17691 
 Traumerei (Schumann) 45102 
 
 Ballet "Rosamunde" 
 
 64670 
 
 Berceuse from "Jocelyn" 
 
 17454 
 
 Cupid's Garden 
 
 18018 
 
 Christmas Hymns 
 
 18389 
 
 Cinquantaine, La (Marie) 
 
 (18296 
 \18223 
 
 Fedora Gavotte 
 
 17681 
 
 Gavotte (Aletter) 
 
 18243 
 
 Gavotte (Gossec) 
 
 74444 
 
 Gavotte (Gretry) 
 
 64198 
 
 Humoresque (Dvorak) 
 
 (74180 
 
 \17454 
 
 Idyll 
 
 17681 
 
 Isoline Ballet Valse 
 
 67201 
 
 Liebesfreud (Kreisler) 
 
 74196 
 
 Menuett (Handel) 
 
 64841 
 
 Minuet (Beethoven) 
 
 74444 
 
 Minuet (Boccherini) 
 
 (18049 
 \64614 
 
 Moment Musical 
 
 74202 
 
 Musette (Gluck) 
 
 18314 
 
 Narcissus (Nevin) 
 
 17472 
 
 Noel 
 
 17842 
 
 64600 
 64373 
 74294 
 45158 
 17472 
 
 16995 
 
 That theme recognition, memory repertoire, interpre- 
 tation and tone quality may be further insured, and be- 
 cause instinctively we love to hum these beautiful melodies, 
 we are carrying further the idea inaugurated in "Beginning 
 Cultural Hearing." The simple selections listed there 
 will be found attractive here also. 
 
 Andante (Haydn Surprise) ' 
 Andante (Beethoven Fifth) * 
 All Through the Night 74100 
 Berceuse from "Jocelyn" 17454 
 Birds in the Night 18622 
 Drink to Me Only 17691 
 How Lovely are the Mes- 
 sengers 1 8655 
 Humoresque 17454 
 If With All Your Hearts 18655 
 Largo New World 
 
 Le Cygne 45096 
 
 Lullaby (Brahms) 18664 
 
 Lullaby from "Erminie" 18622 
 
 My Old Kentucky Home 18127 
 
 Old Black Joe 17674 
 
 Old Folks at Home 17674 
 
 Pastoral Symphony 18655 
 
 Salut d'Amour (Elgar) 64373 
 
 See the Conqu'ring Hero 18655 
 
 Spring Song (Mendelssohn) 18648 
 
 Sweet and Low 18664 
 
 Special record in preparation.
 
 1' U U E MUSIC 
 
 All Through the Night* 
 
 Berceuse from "Jocelyn" 17454 
 
 
 
 Birds in the Night 18622 
 
 If With All Your Hearts 18655 
 
 =^ 
 
 Melody in F 45096 
 
 Old Black Joe 17674 
 
 Old Folks At Home 17674 
 
 See, the Conqu'ring Hero Comes 18655 
 
 Sweet and Low 18664 
 
 F=I==I*^= 
 
 ==)"= 
 
 * Record in preparation. 
 
 81
 
 SUGGESTED LESSONS 
 
 EALIZING the difficulty of the kindergarten 
 and primary teacher in selecting numbers 
 for a definite lesson from the mass of 
 material now available, and realizing, too, 
 her eagerness for suggestions in actually 
 presenting the records, we submit three 
 little lessons each for kindergarten, first, second, and third 
 grades, respectively. These may be taken simply as 
 suggestions, and the general ideas may be used in the 
 planning and presentation of other lessons. 
 
 SUGGESTED LESSONS FOR KINDERGARTEN 
 
 LESSON I 
 
 MOTHER GOOSE (Dramatic Song) 17004 
 
 LULLABY HUSH, MY BABE (Listening and Humming) 18622 
 
 CUPID AND THE BUTTERFLY (Free Expression) 35532- B 
 
 LESSON II 
 
 SERENADE (Moszkowski) (Listening) 64281 or 64576 
 
 TEDDY BEARS' PICNIC (Descriptive Listening and Suggested 
 
 Expression) 16001 
 
 THE BUNNY (Listening) 17776 
 
 LESSON III 
 
 WILD HORSEMAN (Descriptive) 18598 
 
 RIDE A COCK HORSE (Dramatic Song) 17004 
 
 SYLVIA BALLET PIZZICATO (Free Expression) 
 THEME FOR HIGH-STEPPING HORSES SKIPPING MOTIVE 
 
 (Suggested Expression) 18253 
 
 LESSON I 
 
 How would you like to play we are having a party? 
 Only we aren't going to have anything to eat. Maybe 
 you will not like my party if we don't have anything to 
 eat, but this is a new kind of party. Instead of having 
 
 * Record in preparation. 
 
 tn 82 itn
 
 SUGGESTED LESSONS 
 
 something to eat, we are going to have something to hear. 
 Now, isn't that a funny kind of party ! 
 
 First of all, I have asked a lady to sing for us. I have 
 asked her to sing about somebody you know. I think 
 you know him do you? 
 
 Mother Goose 17004 
 
 (Play enough of Little Jack Homer on 17004 for 
 children to recognize.) 
 
 Whom is she singing about? Yes, I thought you knew 
 him. Now, let's listen to the whole song about Little 
 Jack Horner. (Play song through.) 
 
 Where was Jack Horner? What was he doing? Yes, 
 he had something to eat, didn't he? Was he a good boy? 
 Let me see how good you think you are. (Suggest expres- 
 sion thumbs in arm holes and swell, as with great 
 pride.) 
 
 Let's pretend we eat pie with Little Jack Horner. 
 (Play song through again, this time leading in its dramati- 
 zation.) 
 
 Little Jack Horner is one of Mother Goose's children, 
 and she has the most stories for her little girls and boys. 
 This is one of them. Have you heard it? (Play Hey, 
 Diddle, Diddle 17004.) 
 
 Who can tell me that story? Yes, the cat had a fiddle, 
 and what a good time they did have. Do you think the 
 cow liked the music? How well? And did the little dog 
 like it? And what did the dish do? 
 
 And after he has eaten his supper and heard Mother 
 Goose's story about all these things that happened when 
 the cat played his fiddle, Little Jack Horner is ready to 
 hear this kind of music. 
 
 * 83
 
 MUSIC A 1 1' II E C I A T I N 
 
 Lullaby Hush, My Babe -18622 
 
 (Play record through first strain.) 
 
 What does it make us feel like doing? Yes, it does 
 make us feel sleepy, doesn't it? Let us put our heads 
 down and listen to this beautiful music as if we were 
 really going to sleep. (Play record through.) 
 
 I suspect Little Jack Homer is almost asleep. If we 
 would hum very softly I think he would go sound asleep. 
 (Hum with record.) 
 
 Cupid and the Butterfly 35532-B 
 
 Now it is night. The babies are asleep, and the good 
 fairies come to play. Let us listen to this music, and see 
 if you can tell what it says to do. 
 
 (Play only the first part of the record, which consists 
 of a short introduction and one strain repeated.) Repeat 
 the music until the children have surely sensed the 
 rhythm, and want to try to express it. 
 
 You may all dance with the music, and do whatever 
 it tells you to do. (If the interpretations are uncertain, 
 stop and have them listen over, and over, and over, but 
 if the work is free expression the teacher must not make 
 suggestions under any circumstances. When the children 
 have received a message from the music, and are able to 
 attempt to express it, they will instinctively watch each 
 other.) 
 
 Now let's watch Donald do it. That was very nice. 
 Mary, will you do it for us? You liked Mary's best? 
 Yes, she was much more quiet, but she didn't stop when 
 the music did. You think Donald keeps with the music 
 better? The music told Donald to skip, and Mary to 
 fly, didn't it? Emma's hands and arms were much more 
 like birds' wings than Mary's were, I think. 
 
 ee 04 <09
 
 SUGGESTED LESSONS 
 
 Yes, Edward, you may try it. Oh, what a pretty bow 
 Edward made just before he began to dance! He must 
 have thought he was a fairy that came to dance for us. 
 
 (Through such discussion several details will be brought 
 out. The children with less initiative will have received 
 suggestions and courage to try again.) 
 
 LESSON II 
 
 Perhaps you have been to a concert sometime with 
 your papas and mammas. This morning we are going to 
 have a concert right here in our own little kindergarten. 
 A lady will play a violin solo for us. We cannot see her, 
 but she loved little boys and girls like you, and loved to 
 play for little people, so we must be just as still and polite 
 while the music plays as if she were really here. 
 
 Serenade 64281 or 64576 
 
 (It is better to play only first part, unless the children 
 are able really to listen to the entire selection.) 
 
 Teddy Bears' Picnic 16001 
 
 The next music we are going to hear has something in 
 it that you would like to have for a toy. You like a train? 
 A dolly, etc. (Allow children's discussion to anticipate w r hat 
 toy this one may be.) See if you can tell what this sounds 
 like. (Play enough of record for children to find the 
 bears, and to recognize them again.) 
 
 I think these Teddy Bears are going to a picnic. 
 Let's pretend we are going to the picnic, too. Be sure 
 to listen to the music, and keep with the Teddy Bears.
 
 MUSIC APPRECIATION 
 
 The Bunny 17776 
 
 I'm sure you know a bunny, too, don't you? He 
 is such a nice pet. I should think he could hear everything 
 "with his ears so long. But I guess the reason he's so 
 still, is cause he likes my song." 
 
 LESSON III 
 Wild Horseman 18598 
 
 Girls and boys, let us listen to this whole story in 
 music and see if we can tell what it is about. You think 
 it is about horses. What made you think that? You 
 say you could hear their feet as they were galloping along. 
 (Permit the children to make up their own story.) 
 
 Ride a Cock Horse 17004 
 
 A lady is going to sing us a story about a horse. Listen 
 and see if you ever heard of him. Is he just the same kind 
 of horse the others were? How is he going? Is he 
 walking, running, or galloping? (Children may imitate gal- 
 loping of horses by placing hands in front of them as if 
 holding reins and moving the body to give the motion of 
 the galloping horse. There need be no actual galloping 
 around the room unless it is so desired.) 
 
 Sylvia Ballet Pizzicato* 
 
 In beginning free expression work, use the first strain 
 only. For presentation, see Lesson I for Kindergarten. 
 
 Theme for High-Stepping HorsesUo-,^ 
 Motive for Skipping 
 
 Close the period with unified work, through suggested 
 expression. Allow all to play high-stepping horses, and 
 then to skip together. 
 
 * Record in preparation. 
 
 *> 86
 
 SUGGESTED LESSONS 
 
 SUGGESTED LESSONS FOR FIRST GRADE 
 
 LESSON I 
 
 MINUTE WALTZ (Descriptive) 
 
 IN LILAC TIME (Rhythm) 
 
 How MANY MILES TO BABYLON (Dramatic Song) 
 
 ROCK-A-BYE, BABY (Humming) 
 
 LESSON II 
 
 THE BEE (Descriptive Listening) 
 NAMING THE TREES (Rote Song) 
 DOROTHY GAVOTTE (Free Expression or Suggested 
 Rhythm) 
 
 LESSON III 
 
 BAA, BAA, BLACK SHEEP (Dramatic Song) 
 HAPPY LAND (Hindoostan Air) (Humming) 
 THE WREN (Listening) 
 
 64076 
 35397 
 17937 
 18664 
 
 64076 
 17719 
 
 18216 
 
 17937 
 
 18622 
 
 LESSON I 
 The Minute Waltz 64076 
 
 Once upon a time there was a lady who had a nice little 
 dog. Some of you have dogs for playmates, I know. One 
 day this lady was sitting in a chair resting, and she thought 
 the little dog was lying right beside her. He was at first, 
 but all of a sudden he saw something that he thought he 
 could catch. But the faster he went, the faster this thing 
 he was running after went. Yes, it was his tail. He didn't 
 know it was fastened on. So he kept on running until he 
 grew so tired he had to lie down to rest. While he was 
 lying there he saw his tail again, so up he got and began 
 to run. This time he ran so fast and such a long time he 
 just fell right over on the floor. This lady had a friend 
 who said he knew just how to tell that story for boys and 
 girls in music. This is the way he told it. Let us see if 
 
 * Record in preparation. 
 
 87 "
 
 MUSIC APPRECIATION 
 
 we can tell when the little dog begins to run, when he grows 
 so tired he has to lie down, then when he gets up again, 
 and when he gets so tired he just falls down with a bang. 
 (Play record.) 
 
 In Lilac Time 35397 
 
 How many of you have played "Follow the Leader"? 
 Did you bring two good eyes to-day? And what about your 
 ears are you sure they can hear the music? (Play record.) 
 
 The teacher may indicate a variety of hand and arm 
 movements which are a response to the strong pulse only. 
 
 Hand clapping is one of the favorite "stunts." In 
 such work it is helpful to divide the room into two sec- 
 tions, and let one side "play audience" and listen to "the 
 music" which the other side makes with their hands. 
 Such a device furthers rhythmic development and ear 
 training simultaneously, and functions definitely in better 
 marching. The clapping game may even be called 
 "marching with our hands." 
 
 For suggestions on "Follow the Leader," see page 39. 
 
 How Many Miles to Babylon 17937 
 
 Girls and boys, let us see if we can discover where 
 these people are going. How far is it? When can I get 
 there? Who is going? Where is it? (Room may be 
 divided into two parts, one group asking questions, the 
 other group answering.) 
 
 Rock-a-bye, Baby 18664 
 
 The next piece of music doesn't tell us a story, or make 
 us want to do anything but just sit very still and listen. 
 (Play a strain of the music.) You think it says to put the
 
 SUGGESTED LESSONS 
 
 dolly to sleep? Yes, I think a dolly could go to sleep to 
 this music. My mamma used to sing this song to me when 
 I was a tiny baby. The story of the song says: 
 
 "Rock-a-bye, baby, in the tree top, 
 
 When the wind blows the cradle will rock." 
 
 Wouldn't you like to listen to the sleepy song that all 
 babies love? (Play record.) Would you like to hum it 
 with the music? 
 
 LESSON II 
 
 The Bee 64076 
 
 Can you make believe? Were you ever in a beautiful 
 garden where there are sweet peas, and lilies, and roses, 
 and all kinds of beautiful flowers? I just knew you had 
 been. Let us make believe we are in this beautiful 
 garden. There is a little honey bee coming into the 
 garden. I wonder what he wants in this garden. (Some 
 child answers "Honey.") Yes, he does want honey. 
 But where is he going to get it? (Child says "Out of the 
 flowers.") Does he find the honey on the petals and go 
 up to a flower and say, "I want some honey"? No, he 
 has to work for it. Doesn't he? He goes buzzing a\vay 
 down into the heart of the flower. He is such a busy little 
 honey bee, for he wants some honey to eat, and he is 
 going to save some for winter when he knows he can't find 
 this nice garden. This little honey bee is a very happy 
 little fellow. He is so happy he is singing all the time. 
 I wonder if you brought good ears. See if you can hear 
 him when he comes into the garden. Can you hear him 
 trying to get the honey? He goes round and round. 
 WTien he gets all the honey he can carry, he is going to fly 
 away home. Listenand maybe you canhear this whole story. 
 
 89
 
 MUSIC APPRECIATION 
 
 Naming the Trees 17719 
 
 Let us make believe we are in a park. Did you meet 
 any friends in this nice park? I saw so many. There 
 was Miss Pine, and Miss Oak, and Miss Maple, and, oh, 
 so many others. Do you know who my friends are? 
 
 "Do you know the trees by name?" 
 
 (Ask me boys and girls.) 
 
 (Teacher then gives next line.) 
 "When you see them growing." 
 
 (Children repeat.) 
 "In the fields or in the woods." 
 
 (Children repeat.) 
 "They are well worth 'knowing." 
 
 (Children repeat.) 
 
 (After the words have been taught, continue.) Let 
 us hear the lady sing. Perhaps we know the song she will 
 sing. (Play record.) Yes, it is the very one we were just 
 saying. 
 
 I saw someone saying the words with the lady. Let's 
 all do that; just move our lips, not a single sound. (Play 
 record again.) Now hear the little tune. I think we could 
 sing with the lady. Let us listen and sing just as she does. 
 (Play again.) Allow children to hum, and then sing 
 words, with and without the record. 
 
 Dorothy Gavotte 18216 
 
 This number is attractive to hear, or may be used for 
 free-expression work. 
 
 LESSON III 
 Baa, Baa, Black Sheep 17937 
 
 A lady is going to sing a song for us. I think if we 
 brought good ears, perhaps we can tell what she is singing. 
 (Play record.) Do you know it? (Children think they 
 
 10* 90 **
 
 SUGGESTED LESSONS 
 
 know song if they are familiar with words.) Does this 
 song tell you what color this sheep was? Did you know 
 that black wool is much nicer than white wool? And, too, 
 it couldn't fade, because it is really black and not dyed. 
 Was this black sheep selfish? What answer did he make 
 when asked if he had any wool? He was very polite, too, 
 saying, "Yes sir, Yes sir." Wasn't he a good sheep to 
 remember his master, and his dame, and the little boy 
 who lived in the lane who needed nice warm clothes? 
 (Teach as Jack Homer.} On repetition, it may be 
 dramatized by having children for sheep, master, dame, 
 and little boy. 
 
 Happy Land (Hindooston Air) 18622 
 
 Let us listen to the beautiful melody and hum the 
 tune softly. 
 
 The Wren* 
 
 This music has no words, and I am sure we couldn't 
 hum it. So let's pretend we are at a concert, and just 
 listen. This is a picture of the instrument that is going 
 to play for you. (Use chart from Instruments of the 
 Orchestra set. See page 176.) Perhaps you will see one 
 some day. Its music is very happy and pretty. 
 
 SUGGESTED LESSONS FOR SECOND GRADE 
 
 LESSON I 
 
 AT THE BROOK (Descriptive) 64103 
 
 CAT-TAILS (Listening) 18015 
 
 LULLABY (Brahms) (Humming) 18664 
 
 * Record in preparation. 
 
 <av Q\ toe
 
 MUSIC APPRECIATION 
 
 LESSON II 
 
 MELODY IN F (Listening) (First Part) 4509(5 
 
 OF A TAILOR AND A BEAR (Descriptive) 18.598 
 
 MR. DUCK AND MR. TURKEY (Dramatic Song) 17770 
 
 LESSON III 
 
 To A WILD ROSE (Listening) 17(591 
 
 BUTTERCUPS (Listening) 18049 
 
 RHYTHM MEDLEY (Suggested Expression) 18.548 
 
 LESSON I 
 
 At the Brook 64103 
 
 Have you ever seen a brook? Isn't it a happy little 
 stream? You think of a little brook you have seen. The 
 little brook I am thinking of was flowing along so happily, 
 when I first saw it, nothing was in its way. Soon it came 
 
 to some rocks, and splash it went over those. Bye and 
 bye it came to a waterfall, and then it flowed happily on. 
 Let us make believe we are walking beside this little brook 
 I saw. Tell me when we come to the rocks and the 
 waterfall. (Play record.)
 
 SUGG E S T E I) LESSONS 
 
 Cat-Tails 18015 
 
 Later in the summer, just a short way from this lovely 
 brook, in a marshy place, I saw some ladies all dressed 
 in brown velvet jackets. They seemed to be getting ready 
 for winter. They had been growing all spring and sum- 
 mer. My, how proudly they held their heads. Would 
 you like to hear about them? (Give words of song. Then 
 teach as Naming the Trees.} 
 
 Lullaby (Brahms) 18664 
 
 This is for listening and humming. "Can you hum 
 sweetly enough to sing with this lovely music?" 
 
 LESSON II 
 
 Melody in F 45096 
 
 Boys and girls, let us put our heads down and just rest 
 and listen. 
 
 Of a Tailor and a Bear 18598 
 
 Of a Tailor and a Bear is a charming setting of an 
 old tale by MacDowell, written under the nom de plume 
 of Edgar Thorn. One may tell the children of the happy 
 tailor who loved music and kept a violin near his bench. 
 While at work one day, he heard a commotion outside, 
 but thinking it was nothing important went on working. 
 In another moment he was frightened almost out of his 
 wits by seeing a great bear in his doorway. Luckily he 
 remembered instantly that bears love music, just as little 
 children do, and he seized his violin and began tuning it. 
 And what do you think, that bear just reared right up on 
 his hind feet and began to dance round and round slowly 
 
 an 93 *=
 
 MUSIC APPRECIATION 
 
 and clumsily, growling all the time, which was his way of 
 saying he liked it, because, you see, he was a tame dancing 
 bear. Pretty soon he got down and went off, and the poor 
 tailor was so happy, for at first he had thought perhaps 
 the bear might eat him up. Just as he started to thread a 
 needle, dear me, he heard the bear growl again outside his 
 door. But I guess his master must have come for him, 
 because he went away again. This time the tailor 
 heaved a sigh of relief, and was so thankful and happy 
 that he began to whistle and made his needle fly as he 
 heard the bear going away, growling every step. (Most 
 modern teachers will prefer to let the children hear the 
 record, and by adroit questioning draw from them their 
 own version of the story.) 
 
 Mr. Duck and Mr. Turkey 17776 
 
 Let us listen to this lady sing. She is going to tell us a 
 story. I wonder w r ho can tell me what it is all about. 
 (Allow children to give back story, which may then be 
 taught and sung in usual way. The following dramatiza- 
 tion might also be given.) 
 
 Choose one child for duck, and another for turkey. 
 Select place for home of each. 
 
 MR. DUCK Child squats down, knees bent, forearms 
 raised to level of bust, elbows drawn back as far as possible, 
 hands dropped at the wrist stiffly, with head nodding, he 
 walks waddling fashion. 
 
 MR. TURKEY Body bent slightly at waist, to assist in 
 throwing out chest to fullest extent; thumbs in arm holes, 
 head nodding slowly and majestically; walk with prancing 
 step to imitate strut of turkey. 
 
 Suit action to the words of the song. 
 
 Mr. Duck goes to call on Mr. Turkey, walking in 
 
 100 Q4 >ee
 
 SUGGESTED LESSONS 
 
 manner described above. At words "How do you do?" 
 he makes more elaborate bow and quacks. Mr. Turkey 
 answers with his gobble. Mr. Duck turns to go home and 
 Mr. Turkey says he will go with him, so they walk along 
 together, the duck waddling, and the turkey gobbling. 
 
 LESSON III 
 To a Wild Rose 17691 
 
 Boys and girls, you have all seen a wild rose. Have you 
 not? Can you think of one now? Once a musician 
 wanted to tell us of a very beautiful wild rose. Let us 
 close our eyes and hear the story he told in the beautiful 
 melody. It is as dainty and delicate as the wild rose itself. 
 
 Buttercups 18649 
 
 Now we are going to sing about a flower that comes 
 in the spring. Have you ever been in the country and 
 seen a field just full of little yellow flowers? We call 
 them buttercups. Let us hear what the little song says 
 about them. 
 
 (Proceed in usual way.) 
 
 Rhythm Medley 18548 
 
 We are going to do anything the music says to do, so 
 we must listen very carefully. Skip, or march, or hop, 
 just as it says. 
 
 SUGGESTED LESSONS FOR THIRD GRADE 
 
 LESSON I 
 
 THE SWAN (Listening) 45096 
 
 WHIRLWIND (Descriptive) 18084 
 
 ADESTE FIDELES (Listening and Humming) 18664
 
 MUSI C A I' P R ECIATION 
 
 LESSON II 
 
 DAWN OF LOVE (Listening) 18296 
 LA CIXQUANTAINE (Instrumental Recognition and 
 
 Meter Sensing) 18296 
 
 SONG OF IRON (Dramatization) 179157 
 
 LESSON III 
 
 SWANEE RIVER (Listening) 18127 
 
 MINUET IN G (Meter Sensing) 74444 
 
 CUCK-('OO CLOCK (Descriptive, Rhythmic) 17513 
 
 LESSON I 
 
 Have you seen a whirlwind? It scampers along and 
 whirls the dust, or the leaves, and then flies away. You 
 never can tell just where it is going, but then it flies away 
 so happily. 
 
 And I know you've seen a lovely swan, on a lake in a 
 park, perhaps. Does the swan move like the whirlwind? 
 
 I'm going to tell you those two things with music, and 
 see if you can tell which is the whirlwind that scampers 
 and plays along, and which is the swan that glides so 
 calmly where the water is smooth as glass. 
 
 Play Swan 45096 
 
 Play Whirlwind 18684 
 
 (If there be time, or in another lesson, the details of 
 the musical description of The Whirlwind and The 
 8 wan might be suggested to or drawn from the children, 
 something like the following) : 
 
 Did you ever hear of the ugly duckling? He became a 
 beautiful swan. What word best tells us how he moves? 
 (Glides.) Let us make believe we are on the bank of a 
 beautiful lake. The water is as smooth as glass; there is 
 no breeze to disturb the calm water. What sounds like the
 
 SUGGESTED LESSONS 
 
 water? Coming from far across the lake is a beautiful 
 swan. If we listen closely we can see him. He is coming 
 right down in front of us. When he is just here let us see 
 how proudly he lifts his head. Then he turns around and 
 swims in a circle and comes around by us again. Let us 
 see if he raises his head as he did before. Then he goes 
 away. Let us watch him. Part of the time he is swimming 
 and sometimes he stops and just gives himself a push. 
 He is going farther and farther away, and finally sails out 
 of sight behind the trees. You may raise your hands so, 
 when you think the music tells that he is gliding by us, 
 and so when he lifts his head. 
 
 Be careful not to talk during the playing of the music. 
 
 Adeste Fldeles (Listening and Humming) 18664 
 
 LESSON II 
 Dawn of Love 18296 
 
 " We are going to have another little concert. I think 
 you will like this pretty music." 
 
 The pictures of the instruments that are to play may 
 be shown, and upon second hearing children may be asked 
 to distinguish and tell what instrument is playing. 
 
 La Cinquantaine 18296 
 
 (Play record through.) Let us listen to this little tune 
 (which we have heard in previous grades) and see if we 
 can clap every time the music is a little louder. We are 
 only going to clap the strong accents at first. Now let us 
 see if we can clap the strong ones and the weak ones. Do 
 you hear it in twos, threes, or fours? 
 
 MM 97 MM
 
 MUSIC APPRECIATION 
 
 Song of Iron 17937 
 
 To-day we are going to hear a song about iron. I 
 wonder where we get iron? What do we call the man who 
 gets it for us? (Secure all information possible concern- 
 ing miner from class. Then teach words and proceed with 
 song, singing in usual manner. This song is very strong 
 in both rhythmic and dramatic appeal. The following 
 suggestion for its use may prove helpful: 
 
 All the school may be miners, some with picks and 
 some with shovels. Stand still while listening to the first 
 two lines. Then imitate the placing of lamp in cap, and 
 pick-ax or shovel over shoulder, and to the rhythm of the 
 music, pretend to go deep down into the mine to work. 
 Insist that the exercise be rhythmic! Shoveling requires 
 two motions pushing shovel into ground with accent of 
 the music, and throwing ore with unaccented portion. 
 The use of the pick-ax also involves two motions, with 
 the additional bending and straightening of the body. 
 Through the entire song, suit actions to the words.) 
 
 LESSON III 
 Swanee River 18127 
 
 (There are many melodies which we will wish the 
 children to sing later, and which they may be hearing now 
 for their sheer beauty. Swanee River is one of these, and 
 it is here presented simply because it is beautiful and 
 because the child can enjoy the melody long before he can 
 appreciate the words.) To-day we are to listen with our 
 ears only. Neither our hands nor our voices are to talk. 
 If we close our eyes perhaps we can hear better, for then our 
 ears must do all the listening without any help from our 
 eyes. 
 
 M 98 MM
 
 SUGGESTED LESSONS 
 
 Minuet in G 74444 
 
 (This has been used in previous grades for listening.) 
 Let us listen first for the strong pulse. Can you clap 
 every time the music says "strong"? Now let us clap 
 the strong and the weak ones. (The clapping may be 
 varied by long and short lines, or large and small circles 
 on the board.) Is it two or three? 
 
 (Gavotte on same record may be used for example of 
 fours.) 
 
 THE MIXUET FRAXKLIX SCHOOL, CROOKSTOX, Mixx. 
 Cuck-Coo Clock 17513 
 
 I know of the queerest kind of clock. A little bird 
 sings when the clock wishes to say the hour. Isn't that a 
 queer way for a clock to strike? I wonder if you know 
 what kind of clock I mean? Yes, it is a cuckoo clock 
 and it was made in a far-away country. I should like to tell 
 you the story of this clock. (Tell words and then proceed 
 in usual method.) 
 
 un 9!) '* n
 
 LESSON BUILDING 
 
 KINDERGARTEN 
 
 HE kindergarten teacher is fortunate in hav- 
 ing great freedom in her use of materials, 
 the opportunity to use her own personality 
 and initiative, and the chance to "find" 
 individual children. The course of study 
 and the daily program are more flexible 
 than in the grades. 
 
 Since music is an integral part of kindergarten work 
 indispensable in song, rhythmic development, and play 
 and since it can be arranged without the limitation of a 
 given music period, we have not attempted to plan definite 
 lessons. We have selected instead a choice group of 
 material which the kindergarten teacher should use to 
 supplement the music of the games and songs which often 
 make up the entire pabulum presented. 
 
 Even the most musical teacher, who plays a piano well, 
 welcomes the Victrola as an ever-ready and efficient 
 "assistant," for in teaching, her own attention must needs 
 be bestowed upon the children. Furthermore, the piano 
 is helpless in providing cultural effects that come from ac- 
 quaintance with the tone quality of orchestral instruments. 
 The short list of instrumental music which follows has 
 been culled from more lengthy lists elsewhere. The 
 rhythmic numbers invite bodily expression; the descrip- 
 tive are obviously familiar to the child world ; and those 
 listed for aesthetic appreciation are either dearly - loved 
 melodies a child should know, or are bright, happy, and 
 rhythmic the type that deserves the name "pretty." 
 The tiniest children should hear the music of the masters. 
 to 100
 
 LESSON BUILDING 
 
 RHYTHMIC 
 
 Amaryllis 16474 
 
 Dorothy Three-Step 35532 
 
 Dance of Happy Spirits 
 
 (Orpheus) 74567 
 
 Gavotte (Gretry) (Mozart) 17917 
 Gavotte (Gretry) 64198 
 
 Golden Trumpet Schottische 35228 
 High-Stepping Horses or 
 Reindeer Running 
 In the Park 
 La Cinquantaine 
 Military Escort March 
 Motive for Skipping 
 On the Bridge 
 On the Wing Galop 
 Pirouette 
 
 Praeludium (Jarnefeldt) 
 Rhythm Medley, 
 a March-theme for skip- 
 pingflying birds wheel- 
 barrow motive plain skip 
 tip-toe march march 
 b March trotting, run- 
 ning and high - stepping 
 horses skipping theme 
 march 
 
 Sylvia Ballet Pizzicato "U 
 
 Sylvia Ballet March / 
 
 Tarantella (Saint Saens) 17174 
 Teddy Bears' Picnic 16001 
 
 Wild Horseman 18598 
 
 18017 
 18296 
 17368 
 18253 
 72166 
 17368 
 18223 
 18323 
 
 DESCRIPTIVE 
 
 At the Brook 
 Bee, The 
 
 Birds of the Forest 
 Butterfly, The 
 By the Brook 
 Clock Store 
 Fountain, The 
 Little Hunters 
 
 64103 
 64076 
 16835 
 45158 
 17844 
 35324 
 70031 
 18598 
 
 March of the Toys 
 Minute Waltz 
 Of a Tailor and a Bear 
 Spinning Song 
 Teddy Bears' Picnic 
 Waltzing Doll 
 Whirlwind 
 Wren, The 
 
 .ESTHETIC 
 
 55054 
 64076 
 18598 
 18598 
 16001 
 64734 
 18684 
 
 72165 
 
 Au Clair de la Lune 
 Christmas Hymns 
 
 Adeste Fideles 
 
 First Nowell , Qftfl t 
 
 Silent Night 
 
 Rock-a-bye, Baby 
 
 Cupid's Garden 18018 
 
 Dawn of Love 18296 
 
 Fedora Gavotte 17681 
 
 Gavotte (Gossec) 74164 
 
 Humoresque 17454 
 
 Hush, My Babe ] 
 
 Happy Land [ 18622 
 
 Come Thou Fount J 
 
 Idyll 17681 
 
 Lullaby (Bredt- Verne) 17844 
 
 Melody in F 45096 
 
 Minuet Boccherini 67896 
 
 Minuet in G 64121 
 
 Narcissus 17472 
 
 Old Folks at Home \iaiccr 
 
 Kentucky Home J lb 
 
 Poet's Vision 18142 
 
 Rondino 64600 
 Serenade (Moszkowski) 64576 
 
 Serenade (Pierne) 45158 
 
 Serenade (Schubert) 16995 
 
 Serenade (Till) 16995 
 
 Silent Night 17842 
 Spring Song (Mendelssohn) 18648 
 
 To a Wild Rose 17691 
 
 Traumerei 45102 
 
 * Record in preparation. 
 
 Many simple songs, suitable for kindergarten, will be found in Song section among 
 those listed for first grade. 
 
 For Bird Records, see "Nature Study." 
 
 For Stories, see "Primary Stories and Poems." 
 
 For Games, see pages 43, 44. 
 
 ays 101
 
 M II S I C A I' PRECIATION 
 
 PRIMARY GRADES 
 
 In addition to the foregoing suggested lessons, we here- 
 with submit material for twenty-nine more lessons for 
 each grade. (For complete plan, see page 23.) 
 
 It is necessary that the sequence of lessons should 
 carry forward the child's development, and at the same 
 time use material over and over again, each time from some 
 new point of view. 
 
 There are many records which may be used with 
 profit in every grade from kindergarten to high school. 
 To be of further assistance to the teacher in "getting the 
 most out of a record," a few type records have been treated 
 extensively under that heading in the next chapter. 
 
 Since so very much of the so-called regular music work of 
 the school is the singing of songs it has been thought best to 
 list the records of songs under that heading with sug- 
 gestions for using, teaching, and dramatizing them. 
 
 Although much of the song work is real appreciation 
 work, we have thought perhaps the teacher would prefer to 
 incorporate the use of song records into her regular song 
 study and use the special appreciation day for those 
 phases of music which might not otherwise be presented. 
 We have, therefore, omitted songs from these skeletonized 
 lesson plans. 
 
 Realizing that the music period in the lower grades is 
 but from twelve to fifteen minutes long, we have suggested 
 never more than two records in order that there may be 
 time to enjoy favorite records heard in previous lessons. 
 
 It is not wise to use too many records in one lesson. 
 
 If the picture of the instrument which plays the solo 
 in the selections may be used (or of the several which 
 102 *>
 
 LESSON BUILDING 
 
 appear in simple combinations), the children will absorb 
 quite an acquaintance with instruments. 
 
 Large charts, each containing a natural color picture 
 of an instrument of the orchestra, have been especially 
 prepared by the Educational Department of the Victor 
 Company for this work in the schools. (See page 176.) 
 
 In the primary grades, the chart of the instrument 
 about to be heard may be hung on the wall. Allow the 
 children simply to associate the sight and the sound 
 of the instrument. The teacher need not supply any 
 information beyond that which will be drawn out naturally 
 by the children's questions. 
 
 Children should have acquired sufficient familiarity 
 with instruments that are commonly used to be able to 
 begin a conscious study of them in the fourth grade. 
 
 Take time to make real friends with these musical 
 gems: 
 
 FIRST GRADE 
 
 (Many selections previously used in Kindergarten) 
 
 LESSON I 
 
 March of the Toys (Descriptive) 55054 
 
 Gavotte (Gretry) (Free Expression) 64198 
 
 LESSON II 
 
 In a Clock Store (Descriptive) 35324 
 
 Sylvia Ballet Pizzicato (Free Expression) 
 
 LESSON III 
 
 Moment Musical (Listening) 74202 
 
 Rock-a-Bye, Baby (Humming) 18664 
 
 LESSON IV 
 
 Dance Characteristic (Listening) 16974 
 
 Little Hunters (Descriptive) 18548 
 
 LESSON V 
 
 The Bee (Descriptive) 64076 
 
 Wild Horseman (Free Expression) 18598 
 
 LESSON VI 
 
 Teddy Bears' Picnic (Free or Suggested Expression) 16001 
 
 Hush, My Babe (Humming) 18622 
 
 * Record in preparation. 
 
 *> 103
 
 MUSIC APPRECIATION 
 
 LESSON VII 
 
 Humoresqne (Listening) 16974 
 
 March Militaire ("Follow the Leader") (Suggested 
 
 Expression) 35493 
 
 LESSON VIII 
 
 Spinning Song (Descriptive) 18598 
 
 High-Stepping Horses (Suggested Expression) 18253 
 
 LESSON IX 
 
 Come Thou Fount (Listening Humming) 18622 
 
 Waltzing Doll (Listening) 64734 
 
 LESSON X 
 
 La Cinquantaine (Listening) 18296 
 
 Gavotte (Suggested Expression) 17917 
 
 LESSON XI 
 
 Lullaby (Listening) 17844 
 
 March Miniature (Free Expression) 64766 
 
 LESSON XII 
 
 Cupid's Garden (Listening) 18018 
 
 Happy Land (Humming) 18622 
 
 LESSON XIII 
 
 Serenade (Moszkowski) (Listening Humming) 64576 
 
 Rhythm Medley 18548 
 
 LESSON XIV 
 
 Souvenir (Drdla) (Listening) 64074 
 
 On the Wing (Rhythm) 17368 
 
 LESSON XV 
 
 The Minute Waltz (Descriptive) 64076 
 
 La Cinquantaine (Suggested Expression) 18296 
 
 LESSON XVI 
 
 Minuet in G (Listening) 74444 
 
 Of a Tailor and a Bear (Descriptive) 18598 
 
 LESSON XVII 
 
 Idyll (Listening) 17681 
 
 Orpheus Dance of Happy Spirits (Rhythm) 74567 
 
 LESSON XVIII 
 
 Reconciliation Polka (Listening) 35644 
 
 Rock-a-bye, Baby (Humming) 18664 
 
 LESSON XIX 
 
 To a Wild Rose (Listening) 17691 
 
 Minuet (Beethoven) (Suggested Expression) 74444 
 
 LESSON XX 
 
 Melody in^F (Listening) 45096 
 
 Little Hunters (Descriptive) . 18598 
 
 AD 104 >e *
 
 LESSON BUILDING 
 
 LESSON XXI 
 
 Humoresque (Listening Review) 16974 
 
 Sylvia Ballet March (Suggested Expression) 
 
 LESSON XXII 
 
 Dawn of Love (Listening) 18296 
 
 Birds of the Forest (Descriptive) 16835 
 
 LESSON XXIII 
 
 Dorothy (Listening) 18216 
 
 On the Wing Galop (Suggested Expression) 17368 
 
 LESSON XXIV 
 
 Spring Song (Mendelssohn) (Listening) 18648 
 
 Jolly General (Suggested Expression) 35608 
 
 LESSON XXV 
 
 In a Clock Store (Descriptive) 35324 
 
 Marche Militaire (Schubert) (Suggested Expression) 35493 
 
 LESSON XXVI 
 
 Idyll (Listening) 17681 
 
 Dorothy (Free or Suggested Expression) 18216 
 
 LESSON XXVII 
 
 Minuet in G (Listening) 64121 
 
 Amaryllis (Free or Suggested Expression) 16474 
 
 LESSON XXVIII 
 
 Swanee River (Listening) 18127 
 
 Happy Days March (Rhythm) 16001 
 
 LESSON XXIX 
 
 To a Wild Rose (Listening) 17691 
 
 Dance Characteristic (Free or Suggested Expression) 16974 
 
 SECOND GRADE 
 
 LESSON I 
 
 The Wren (Listening) 
 
 March Miniature (Tschaikowsky) (Free Expression) 64766 
 
 LESSON II 
 
 Little Hunters (Descriptive) 18598 
 
 Golden Trumpet Schottische (Suggested Expression) 35228 
 
 LESSON III 
 
 Spring Song (Mendelssohn) (Listening) 18648 
 
 La Cinquantaine (Free or Suggested Expression) 18296 
 
 LESSON IV 
 
 Humoresque (Listening) 16974 
 
 On the Wing Galop (Suggested Expression) 17368 
 
 LESSON V 
 
 Serenade (Moszkowski) (Listening and Humming) 64576 
 
 Moment Musical (Free or Suggested Expression) 18216 
 
 * Record in preparation. 
 
 105 >
 
 MUSIC APPRECIATION 
 
 LESSON VI 
 
 Hush, My Babe (Listening and Humming) 18622 
 
 At the Brook (Descriptive) 64103 
 
 LESSON VII 
 
 Trdumerei (Listening) 64197 
 
 Ballet Music William Tell 
 
 LESSON VIII 
 
 The Bee (Descriptive) 64076 
 
 Dorothy (Suggested Expression) 18216 
 
 LESSON IX 
 
 Dawn of Love (Listening) 18296 
 
 Whirlwind (Descriptive) 18684 
 
 LESSON X 
 
 Valse Bluette (Listening) 64758 
 
 Spinning Song (Descriptive Rhythm) 18598 
 
 LESSON XI 
 
 Idyll (Listening) 17681 
 
 Adeste Fideles (Humming) 18664 
 
 LESSON XII 
 
 The Fountain (Descriptive) 70031 
 
 First Nowell (Humming) 18664 
 
 LESSON XIII 
 
 Danse Chinoise (Descriptive) 45053 
 
 Danse des Mirlitons (Descriptive) 45053 
 
 LESSON XIV 
 
 Whispering Flowers (Listening) 
 
 Gavotte (Meter Sensing) 18216 
 
 LESSON XV 
 
 Lullaby (Listening) 17844 
 
 Eros Waltz (Free or Suggested Expression) 35228 
 
 LESSON XVI 
 
 Serenade (Pierne) (Listening) 45158 
 
 March Miniature (Suggested Expression) 64766 
 
 LESSON XVII 
 
 Narcissus (Listening) 17472 
 
 I See You (Meter Sensing) 17158 
 
 See-Saw (Meter Sensing) 17596 
 
 LESSON XVIII 
 
 Praeludium (Listening) 18323 
 
 Menuett (Gluck- Mozart) (Suggested Expression) 17917 
 
 LESSON XIX 
 
 Minute Waltz (Descriptive) 64076 
 
 Gavotte (Gretry) (Meter Sensing) 17917 
 
 * Record in preparation. 
 
 106 >
 
 LESSON BUILDING 
 
 LESSON XX 
 
 Of a Tailor and a Bear (MacDowell) (Descriptive) 18598 
 
 Gavotte (Popper) (Listening and Meter Sensing) 45116 
 
 LESSON XXI 
 
 Spring Song (Mendelssohn) (Listening) 18648 
 
 Amaryllis (Meter Sensing) 16474 
 
 LESSON XXII 
 
 March of the Toys (Descriptive) 55054 
 
 Lullaby from "Erminie" (Humming) 18622 
 
 LESSON XXIII 
 
 In a Clock Store (Descriptive) 35324 
 Minuet (Haydn "Military Symphony") (Meter Sensing) 62660 
 
 LESSON XXIV 
 
 The Wren (Listening) * 
 
 Motive for Skipping (Suggested Expression) 18253 
 
 LESSON XXV 
 
 Waltzing Doll (Poldini) (Listening) 64374 
 
 Minuet (Beethoven) (Meter Sensing) 74444 
 
 LESSON XXVI 
 
 Idyll (Listening) 17681 
 
 La Cinquantaine (Meter Sensing) 18296 
 
 LESSON XXVII 
 
 Humoresque (Listening) 16974 
 
 Sweet and Low (Humming) 18664 
 
 LESSON XXVIII 
 
 Silent Night (Listening) 17842 
 
 Mazurka (Chopin) (Meter Sensing) 18216 
 
 LESSON XXIX 
 
 Val.se Bluette (Listening) 64758 
 
 Whirlwind (Descriptive) 18684 
 
 THIRD GRADE 
 
 LESSON I 
 
 Serenade (TitI) (Listening) 16995 
 
 Gavotte (Popper) (Meter Sensing) 45116 
 
 LESSON II 
 
 Wind Amongst the Trees (Descriptive) 70026 
 
 La Cinquantaine (Meter Sensing) 18296 
 
 LESSON III 
 
 Lullaby (Brahms) (Humming) 18664 
 
 Shoemakers Dance (Meter Sensing) 17084 
 
 Dance of Greeting (Meter Sensing) 17158 
 
 * Record in preparation. 
 
 107
 
 MUSIC APPRECIATION 
 
 LESSON IV 
 
 Will-o'-the-Wisp (Descriptive) 74183 
 
 Menuett (Meter Sensing) 17917 
 
 LESSON V 
 
 // With All Your Hearts (Listening and Humming) 18655 
 
 Moment Musical (Rhythm) 18216 
 
 LESSON VI 
 
 The Swan (Saint-Saens) (Listening) 45090 
 
 Gavotte from Mignon (Rhythm) 18216 
 
 LESSON VII 
 
 Ballet Music from Rosamunde (Listening) 64670 
 
 Rhythm Medley (Meter Sensing) 18548 
 
 LESSON VIII 
 
 Souvenir (Drdla) (Listening) 64074 
 
 From an Indian Lodge (MacDowell) (Listening) 17035 
 
 LESSON IX 
 
 To a Wild Rose (Listening) 17691 
 
 Whirlwind (Descriptive) 18684 
 
 LESSON X 
 
 Nutcracker Suite (Descriptive) 45053 
 
 See, the Conquring Hero Comes (Humming) 18655 
 
 LESSON XI 
 
 Narcissus (Descriptive. See story, page 153) 17472 
 
 Dorothy (Rhythm) 18216 
 
 LESSON XII 
 
 My Old Kentucky Home (Listening) 18127 
 
 Musette (Rhythm) 18314 
 
 LESSON XIII 
 
 Waltz in C Sharp Minor (Listening) 74539 
 
 Wild Horseman (Meter Sensing) 18598 
 
 LESSON XIV 
 
 Whispering Flowers (Listening) 
 
 Minuet (Boccherini) (Meter Sensing) 18049 
 
 LESSON XV 
 
 Serenade (Schubert) (Listening) 16995 
 
 In Lilac Time (Rhythm and Meter Sensing) 35397 
 
 LESSON XVI 
 
 Salut d" Amour (Listening) 64373 
 
 Rigaudon (Rhythm) 64201 
 
 LESSON XVII 
 
 The Butterfly (Descriptive) 45158 
 
 Golden Trumpet (Rhythm and Meter Sensing) 35228 
 
 * Record in preparation. 
 
 108
 
 LESSON BUILDING 
 
 LESSON XVIII 
 
 Humoresque (Listening) 16974 
 
 Gavotte (Gossec) \ /,. . c N *AA 
 
 Minuet (Beethoven) / < Meter Sensm S ) 74444 
 
 LESSON XIX 
 
 Serenade (Titl) (Listening) 16995 
 
 Lullaby from "Erminie" (Humming) 18622 
 
 LESSON XX 
 
 By the Brook (Listening) 17844 
 
 On the Wing Galop (Rhythm and Meter Sensing) 17368 
 
 LESSON XXI 
 
 Serenade (Schubert) (Listening) 16995 
 
 Fedora Gavotte (Rhythm) 17681 
 
 LESSON XXII 
 
 Of a Tailor and a Bear (MacDowell) (Descriptive) 18598 
 
 All Through the Night (Humming) 
 
 LESSON XXIII 
 
 The Bee (Descriptive) 64076 
 
 Minuet (Paderewski) (Rhythm) 16474 
 
 LESSON XXIV 
 
 Rock-a-bye, Baby (Humming) 18664 
 
 The Swan (Saint-Saens) 45096 
 
 LESSON XXV 
 
 Cavatina (Raff) (Listening) 74336 
 
 Isoline Ballet Valse (Listening) 67201 
 
 LESSON XXVI 
 
 // With All Your Hearts (Humming) 18655 
 
 La Cinquantaine (Rhythm and Meter Sensing) 18296 
 
 LESSON XXVII 
 
 Rigaudon (Rameau) (Listening) 67201 
 
 Gavotte (Gossec) (Rhythm) 1 74444 
 Minuet (Beethoven) / 
 
 LESSON XXVIII 
 
 At the Brook (Listening) 64103 
 
 BalletWilliam Tell * 
 
 Record in preparation. 
 
 109 >
 
 MAKING THE MOST OF A RECORD 
 
 N making the special educational records, 
 the utmost care has been taken to see that 
 each one is made to serve in a variety 
 of ways, and the most careful thought has 
 been bestowed on the selection of the 
 material to give value in as many points of 
 contact as possible. 
 
 Teachers will realize on their investment through a 
 study of the hidden riches of even a small library of 
 records. Many times, one record may serve five to ten 
 purposes. Look over your record collection, and you 
 will find many that can be used in as many different 
 ways as the following illustrations, which were picked at 
 random. 
 
 HOW TO USE 17719 
 
 This record contains eleven splendid songs for rote 
 singing in the primary grades. 
 
 Use Jack-in-the-Pulpit in the early spring when the 
 children bring to school the first jack-in-the-pulpits. 
 
 Use Corn Soldiers when you wish to improve the stand- 
 ing position of the pupils. Have class stand while singing 
 this song. Watch the standing positions improve. This 
 is only a suggestion, but how much more effective than a 
 command. Play again and have these soldiers march 
 forward four steps, backward four steps, and repeat. 
 
 Use Naming the Trees in the Arbor Day exercises. 
 How many names do you know? Write names on board 
 and see how many the class can think of. 
 
 A splendid song for October and November is The 
 Squirrel. Use for nature study to illustrate the habits of 
 the squirrel. What would you find the squirrel doing? 
 
 o 110 >
 
 MAKING THE MOST OF A RECORD 
 
 This offers a splendid opportunity for oral English, which 
 is rightly receiving so much attention in the schools to- 
 day. It may be used in connection with the game Let 
 Us Chase the Squirrel, on Record 17568. 
 
 The Windmill affords an opportunity to discuss with 
 the children the reason why we have no windmills now. 
 
 During the month of May, what could be better than 
 Dancing in May? 
 
 It is necessary for the class to hear the song which they 
 are to learn several times, so that they can sing it cor- 
 rectly. When it is possible to use rhythmic motions sug- 
 gested by the words, new interest is given in the many 
 repetitions which are necessary. In the drawing lesson, 
 if we desire an exact reproduction, we do not hold the 
 object before the children and then remove it quickly 
 and expect the children to make an exact likeness. We 
 should not expect the impossible in music. The children 
 must hear a new song a sufficient number of times to 
 have an exact tone picture. 
 
 Songs on this record which may be used with motions 
 are: 
 
 In the Belfry Hands high above head pulling the bell ropes in time 
 to the music. 
 
 Corn Soldiers March like soldiers with hands on desk instead of 
 feet, right with the music left, right, etc. 
 
 The Windmill Swing arms crossing over head down and up; 
 swing with the music like a windmill. 
 
 The Singing School Arms held shoulder high, move in time with the 
 music like the wings of the swallow. 
 
 Mother Goose Lullaby Fold arms and swing back and forth like a 
 cradle. 
 
 Motions for Riggety Jig. 
 
 There have been many requests for singing games which 
 do not require a circle formation. Many thoughtful 
 teachers realize that the motion song after it is learned is 
 
 S3? 1 1 }
 
 MUSIC APPRECIATION 
 
 very valuable when used between classes. This song may 
 be used with the children standing in the aisles. The 
 children enjoy playing to this song on a rainy day when they 
 have umbrellas at school. Use umbrella for willow tree 
 and ride upon it. Gallop forward eight counts; on word 
 "know" all stand still. On "he's just the branch of a 
 willow tree" hold stick or umbrella up in right hand. 
 On "O riggety jig" gallop two steps. On "you see" all 
 bow. In kindergarten, wands make excellent stick horses. 
 
 For rhythmic work, have children do these motions, 
 following the Victrola, but not singing. Have children sing 
 when not doing motions so that attention may be paid to 
 the tone quality. Individuals may sing phrases, for 
 quick response, sharp attention, self-possession, and for test. 
 
 Use the same motions for second verse. 
 
 Motions for Dancing Song. 
 
 In circle formation, each child with partner. 
 1st line of song all hands shoulder high, turn twice in place. 
 2d line taking partner's hand skip twice toward center of circle and 
 twice back to place. 
 
 3rd line all join hands and slide four times to right. 
 4th line same, sliding to left. 
 Same motions for second verse. 
 
 The teaching of the syllables of the scale as a scale in 
 the first grade has now been relegated to the pedagogical 
 ash-heap along with the presentation of the alphabet. 
 This necessitates a new method of presenting the syllables. 
 The teaching of syllables as an additional stanza to the 
 rote song is found in five of the eleven songs on this record. 
 
 For correlation with drawing, a lesson may be given 
 on Jack-in-ihe-Pulpit. Paper cutting or drawing of a 
 church correlates with In the Belfry. 
 
 A lesson of silhouette drawing of trees with distinctive 
 outline may be given with Naming the Trees.
 
 MAKING THE MOST OF A RECORD 
 
 A lesson much enjoyed is to review The Squirrel in 
 the spring during the pussy willow season. Paste pussy 
 willows on paper and draw the tail and head of a squirrel. 
 
 HOW TO USE 17646 
 
 1. In presenting examples of music expressing 
 thought this record may be used. The selection 
 Lennox is best suited, because there is an introduction played 
 on the organ. The children will recognize this instantly 
 as church music in contrast to march, dance, and sleep music. 
 
 2. Any of the selections on the A side of this record 
 may be used with stories of the first Thanksgiving. 
 
 3. In the picture-study class when using the famous 
 painting Pilgrims Going to Church selections on the A side 
 of record may be used. These are chosen since the Pilgrims 
 during the early years of their life in this country were 
 opposed to the use of the organ in the church service. 
 In the selections on side B no organ is used. 
 
 4. In giving a Thanksgiving entertainment, a very 
 effective number is a tableau of the Pilgrims Going to 
 Church. While this tableau is being shown play Psalm 
 107 on this record. 
 
 5. Any selections on the A side of record may be used 
 with stories of the Puritans. The organ was first used in 
 a Puritan colony. 
 
 For more detail work on this record, see Elson's 
 American Music. 
 
 HOW TO USE 18598 
 
 There is probably no instrumental record in the Victor 
 Catalogue which may be used in so many different grades 
 and in such a variety of ways as this one.
 
 MUSIC APPRECIATION 
 
 Wild Horseman A good selection for Hallowe'en 
 
 This selection may be used in connection with the 
 Legend of Sleepy Hollow in grammar grades. The first 
 theme is the Headless Horseman of Sleepy Hollow. This 
 theme is repeated and then Ichabod Crane comes into 
 the picture. The Headless Horseman appears again, 
 then we hear the last appearance of Ichabod. The 
 Headless Horseman comes again on the scene and the 
 story ends. 
 
 This story may be adapted for use in the primary 
 grades. The little children are interested in the man who 
 "dressed up" to represent the Headless Horseman and 
 chased Ichabod Crane as he was returning from a party. 
 They may raise hands when Ichabod appears in the tone 
 picture. 
 
 Of a Tailor and a Bear 
 
 After hearing the story, the children will be anxious to 
 dramatize it. Allow them to select one of their number 
 for the tailor, another for the bear, and another for the 
 keeper. 
 
 Relate the story of the Tailor and the Bear, and then 
 let the children listen to the music tell the same story. 
 For a suggested story, see page 93. 
 
 This makes an excellent subject for a paper cutting 
 lesson. The children can make a bear, a cage, the tailor 
 and the keeper. 
 
 Spinning Song 
 
 This is a very appropriate selection to play during a 
 tableau for a spinning scene. 
 
 Use in connection with the work on the Colonial period. 
 Introduce pictures of different kinds of spinning wheels. 
 Why do we not use spinning wheels now?
 
 MAKING THE MOST OF A RECORD 
 
 For primary grades have the children listen for places 
 where the flax on the wheel breaks and the music stops 
 suddenly. Raise hands when flax breaks. 
 
 Little Hunters 
 
 In the primary grades where physical response is de- 
 sired, tell a story of a party going hunting. Show a hunting 
 picture. How many horses do you see? Let us listen 
 and raise hands when we hear the horses in the tone 
 picture. One man has a horn. Hold hands to mouth as 
 if blowing a horn every time you hear the horn. 
 
 This selection may be dramatized in grades one and two. 
 Children in circle; hold hands to mouth when horn is 
 sounded and gallop when horses are heard. 
 
 Little Hunters is an excellent selection for a tone picture 
 for grammar grades, omitting the motions. 
 * 115 *
 
 MUSIC APPRECIATION 
 
 HOW TO USE 18296-B 
 
 The children enjoy taking two pencils and playing the 
 xylophone. This selection is especially well suited to third 
 grade, because there are several places where the xylo- 
 phone has a few measures of rest. The children must 
 listen carefully and not play when the xylophone has 
 stopped. They wait also during the introduction and be- 
 gin exactly with the instrument which they are imitating. 
 
 Tell the Chinese legend of the xylophone from Pan 
 and His Pipes, page 19. 
 
 Use same selection in giving the instruments of the 
 orchestra in the grammar and high school. Show picture 
 of xylophone in Orchestra Charts. Give description of 
 instrument from booklet with Orchestra Charts. (See 
 page 176.) 
 
 HOW TO USE 18296-A 
 
 This selection may be used in the primary grades for 
 cultural hearing. 
 
 In the upper grades it may be used for recognition of 
 violin, flute, harp, and celesta. This is especially suitable 
 for such work, as the violin and celesta are heard first, 
 then the flute and celesta. First have the children raise 
 hands each time the violin is heard, then play selection 
 again and notice the flute. Raise left hands when harp is 
 heard. Use pictures of instruments from Orchestra Charts. 
 
 HOW TO USE 17735 
 
 Bird records may be used for innumerable occasions. 
 On Arbor Day, May Day, etc., if two or three small 
 machines can be borrowed, several of the real bird records 
 may be played simultaneously. If the instruments may 
 be concealed in the wings or behind screens or flowers the 
 effect is beautiful. (See "Nature Study.") 
 
 a* 116
 
 CORRELATIONS 
 
 HERE lies a grave danger in treating music 
 too much as an art by itself. 
 
 Music should be so woven into the dif- 
 ferent activities of the day, that the child 
 will never gain the idea that it is a thing 
 separate and apart. It should be infused 
 into almost every study as a natural illuminant of the work 
 in reading, writing, nature study, art, stories of other lands, 
 myths, rhythms, etc., etc. Then, and only then, can it 
 really enter into the very thought processes of the child 
 and have a place in the events of daily life. 
 
 Nowhere is this thought more clearly brought out than 
 in the educational system of the ancient Greeks. There, 
 education was classified under two heads : Physical Culture 
 and Music. By music was meant all the arts presided 
 over by the nine Muses. Music entered extensively into 
 every art and science, and the opinion obtained that one 
 without musical accomplishment was deficient in the 
 culture of a Greek citizen. 
 
 Lest the teacher or supervisor may confine the Victrola 
 to music only, without permitting it to enter other depart- 
 ments upon whose studies it has a vital bearing, specific 
 cases under various subjects are herewith presented, that 
 the teachers of these departments may avail themselves 
 of this effective means of reaching the pupil. The Victrola 
 as an element of interest, ought to enlist the cooperation 
 of all the teachers in the school. The use of Victor 
 records at the proper time in many recitations does much 
 to vitalize the lessons, and lifts a seemingly dry subject 
 
 too 117 '* n
 
 MUSIC APPRECIATION 
 
 from the black-and-white of the printed page into the 
 realm of human interest. 
 
 The following correlations are designed to give only a 
 general idea of the very wide field covered by Victor 
 records. Every teacher should adapt the abundant 
 wealth of the material to the conditions and needs that 
 exist in his or her own classroom. 
 
 SUGGESTED CORRELATIONS OF POETRY 
 AND MUSIC 
 
 Music of the same fanciful atmosphere or the same 
 temperamental key as a bit of verse or prose reading can 
 often enhance the beauty and vivify the impression of 
 such a reading. 
 
 The following readings have been chosen from some of 
 the more modern primary readers that have met with 
 wide use in schools, and are listed with records that may 
 be used to advantage in this correlative way. 
 
 The Ancient Mariner Noel (Holy Night) 178 12 
 
 He prayeth best who loveth best 
 All things both great and small 
 For the dear God who loveth us, 
 He made and loveth all. 
 
 SAMUEL TAYLOR COLERIDGE 
 (From Riverside Readers, Book III. Used by permission of Houghton Mitflin Co.) 
 
 Apple Blossoms -Spring Song (Mendelssohn) 18648 
 To Spring (Grieg) 64264 
 
 Have you seen an apple orchard in the spring? 
 
 In the spring? 
 An English apple orchard in the spring? 
 
 When the spreading trees are hoary 
 With their wealth of promise-glory. 
 And the mavis pipes his story 
 
 In the spring! 
 (From Blodgett Readers, Book IV. Used by permission of Ginn & Co.) 
 
 " 118 "
 
 POETRY AND MUSIC 
 
 Birds' Orchestra Sounds of the Forest 55092 or 16835 
 
 Bobolink shall play the violin, 
 Great applause to win; 
 Lonely, sweet, and sad, the meadow-lark 
 Plays the oboe. Hark! 
 Yellow-bird the clarionet shall play, 
 Blithe, clear and gay. 
 Purple-finch what instrument will suit? 
 He can play the flute. 
 
 Fire-winged blackbirds sound the merry fife, 
 Soldiers without strife; 
 And the robins wind the mellow horn 
 Loudly, eve and morn. 
 
 Who shall clash the cymbals? Jay and crow, 
 That is all they know; 
 And, to roll the deep melodious drum, 
 Lo! the bull-frogs come. 
 Then the splendid chorus ! Who shall sing 
 Of so fine a thing? 
 
 Who the names of the performers call 
 Truly, one and all? CELIA THAXTER 
 
 (From Elson Grammar School Readers, Book III. Used by permission of Scott, Foresman 
 Co.) 
 
 Bob White Spring Voices 16835 
 
 There's a plump little chap in a speckled coat, 
 And he sits on the zigzag rails remote, 
 Where he whistles at breezy, bracing morn, 
 When the buckwheat is ripe, and stacked is the corn, 
 "Bob White! Bob White! Bob White!" 
 GEORGE COOPER 
 
 (From Riverside Headers, Book IV. Used by permission of Houghton Mifllin Co. 
 
 The Brook At the Brook 64103 or The Brook 64324. 
 
 I come from haunts of coot and hern, 
 
 I make a sudden sally, 
 And sparkle out among the fern, 
 
 To bicker down a valley. TENNYSON 
 
 (From Riverside Readers, Book VI. Used by permission of Houghton Mifflin Co.) 
 
 The Brooklet By the Brook 17844 
 
 The Brooklet (Schubert) 17532 
 
 See the brooklets flowing, Yet to help their giving, 
 
 Downward to the sea, Hidden springs arise; 
 
 Pouring all their treasures Or, if need be, showers 
 
 Bountiful and free! Feed them from the skies. 
 
 ADELAIDE A. PROCTOR 
 
 (From Elson Primary School Reader, Book III. Used by permission Scott, Foresman Co.) 
 
 000 119
 
 MUSIC APPRECIATION 
 
 The Brown Thrush Song of the Thrush 45057 
 
 There's a merry brown thrush sitting up in a tree 
 
 He's singing to you! he's singing to me! 
 
 And what does he say, little girl, little boy? 
 
 "Oh the world's running over with joy! 
 
 Don't you hear? Don't you see? 
 
 Hush! Look! In my tree, 
 
 I'm as happy as happy can be!" 
 
 LUCY LARCOM 
 
 (FromElson Grammar School Readers, Book I. Used by permission of Scott, Foresman Co.) 
 
 The Bumble Bee The Bee 64076 
 
 My name is Mr. Bumblebee, 
 
 I come with merry din; 
 For when the purple flowers I see, 
 
 Oh, then I do begin 
 To boom, boom, buzz, buzz, 
 
 Boom, buzz, boom! 
 Oh, I'm a rover in the land 
 
 And all I need is room! 
 
 MARTHA A. L. LANE 
 
 (From Jones Readers, Book II. Used by permission of Ginn & Co.) 
 
 Cradle Song Lullaby from "Erminie" 18622 
 
 Sleep, baby, sleep! 
 
 The great stars are the sheep, 
 
 The little stars are the lambs, I guess; 
 
 The bright moon is the shepherdess. 
 
 Sleep, baby, sleep! 
 (From Jones Readers, Book II. Used by permission of Ginn & Co.) 
 
 A Farewell Four Leaf Clover 64139 
 
 Be good, sweet maid, and let who will be clever; 
 
 Do noble things, not dream them, all day long; 
 And so make life, death, and that vast forever 
 
 One grand, sweet song. 
 
 CHARLES KINGSLEY 
 
 (From Elson Primary School Reader, Book IV. Used by permission of Scott, Foresman Co.) 
 
 The Fountain The Fountain 70031 
 
 Into the sunshine, Glorious fountain! 
 
 Full of the light, Let my heart be 
 
 Leaping and flashing Fresh, changeful, constant, 
 
 From morn till night! Upward, like thee! 
 
 JAMES RUSSELL LOWELL 
 (From Ebon Grammar Schol Readers, Book II Used by permission Scott, Foresman Co.) 
 
 120 "
 
 POETRY AND MUSIC 
 
 Humility Song of a Nightingale 45057 
 
 The bird that soars on highest wing 
 
 Builds on the ground her lowly nest; 
 And she that doth most sweetly sing 
 Sings in the shade when all things rest. 
 In lark and nightingale we see 
 What honor hath humility. 
 
 JAMES MONTGOMERY. 
 
 (From Elson Primary School Reader, Book IV. Used by permission of Scott, Foresman 
 Co.) 
 
 The Lotus-EatersNocturne in E Flat (Chopin) 74052 
 There is sweet music here that softer falls 
 Than petals from blown roses on the grass, 
 Or night dews on still waters between walls 
 Of shadowy granite, in a gleaming pass; 
 Music that gentlier on the spirit lies, 
 Than tired eyelids upon tired eyes; 
 Music that brings sweet sleep down from the 
 blissful skies. 
 
 TENNYSON 
 
 (Art Music Readers, Book II. Used by permission of Atkinson, Mentzer Co.) 
 
 On the Wild Rose Tree To a Wild Rose 18208 or 17691 
 
 On the wild rose tree 
 Many buds there be, 
 Yet each sunny hour 
 Hath but one perfect flower. 
 
 Thou who wouldst be wise 
 Open wide thine eyes; 
 In each sunny hour 
 Pluck the one perfect flower! 
 
 RICHARD WATSON GILDER 
 (From Studies in Reading, Book V. Used by permission of University Publishing Co.) 
 
 Origin of Music Bird Chorus 4516316835 
 
 The birds instructed man, 
 And taught him songs before his art began; 
 And while soft evening gales blew o'er the plains, 
 And shook the sounding reeds, they taught the swains, 
 And thus the pipe was framed and tuneful reed. 
 
 LUCRETIUS 
 
 (From Art Music Readers, Book I. Used by permission of Atkinson, Mentzer Co.) 
 *> 121
 
 MUSIC APPRECIATION 
 
 The Schoolhouse and the Flag 
 
 Star-Spangled Banner 17581 or 18338 
 Our Flag 18649 
 
 Ye who love the Republic, remember the claim 
 Ye owe to her fortunes, ye owe to her name, 
 To her years of prosperity past and in store 
 A hundred behind you, a thousand before! 
 
 The blue arch above us is Liberty's dome, 
 The green fields beneath us Equality's home; 
 But the schoolroom to-day is Humanity's friend 
 Let the people, the flag and the schoolroom defend! 
 
 'Tis the schoolhouse that stands by the flag; 
 Let the nation stand by the school ! 
 'Tis the schoolbell that rings for our Liberty old, 
 'Tis the schoolboy whose ballot shall rule. 
 
 FRANK TREAT SOUTHWICK 
 
 (From Studies in Reading, Advanced Reader. Used by permission of University Pub 
 lisbing Co.) 
 
 Sensibility Melody in F (Rubinstein) 45096 
 The soul of music slumbers in the shell, 
 Till waked and kindled by the master's spell; 
 And feeling hearts touch them but lightly pour 
 A thousand melodies unheard before! ROGERS 
 (From Art Music Readers, Book II. Used by permission of Atkinson, Mentzer Co.) 
 
 Signs of the Season Song of Autumn (Tschaikowsky) 64577 
 AVhat does it mean when the bluebird flies 
 
 Over the hills, singing sweet and clear? 
 When violets peep through the blades of grass? 
 
 These are the signs that spring is here. 
 
 What does it mean when crickets chirp? 
 
 And away to the Southland the wild geese steer? 
 When apples are falling and nuts are brown? 
 
 These are the signs that autumn is here. 
 M. E. X. HATHAWAY 
 
 (From Elson Primary School Reader, Book III. Used by permission of Scott, Foresman 
 Co) 
 
 The Skylark Hark! Hark! the Lark (Schubert) 64218 
 Lo, Here the Gentle Lark 88073 or 74608 
 Bird of the wilderness, 
 Blithesome and cumberless, 
 Sweet be thy matin o'er moorland and lea! 
 - JAMES HOGG 
 
 (From Blodgett Headers, Book V. Used by permission of Ginn & Co.)
 
 POETRY AND MUSIC 
 
 The Slumberland Boat Slumber Boat (Gaynor) 18448 
 
 There's a boat that leaves at half-past six 
 From the busy town of Play, 
 And it reaches the haven of Slumberland 
 Before the close of day. EMELINE GOODROW 
 
 From Elson Primary School Reader, Book I. Used by permission of the Author and 
 Scott, Foresnian Co.) 
 
 Song Sylvia Ballet Pizzicato (with bird voices) 45113 
 
 Sing, little bird, oh sing! 
 
 How sweet thy voice and clear! 
 How fine the airy measures ring, 
 
 The sad old world to cheer! 
 
 Bloom, little flower, oh bloom! 
 
 Thou makest glad the day; 
 A scented torch, thou dost illume 
 
 The darkness of the way. 
 
 Dance, little child, oh dance! 
 
 While sweet the small birds sing, 
 And flowers bloom fair, and every glance 
 
 Of sunshine tells of spring. 
 
 Oh! bloom, and sing, and smile, 
 
 Flower, bird, and child, and make 
 The sad old world forget awhile 
 
 Its sorrow for your sake! CELIA THAXTER 
 
 (From Elson Grammar School Reader, Book II. Used by permission of Scott, Foresman 
 Co.) 
 
 Song of the Bee The Bee (Schubert) 64076 
 
 "Buzz! buzz! buzz!" 
 
 This is the song of the bee. 
 
 His legs are of yellow; 
 
 A jolly good fellow, 
 
 And yet a great worker is he. 
 
 (From Blodgett Readers, Book I. Used by permission of Ginn & Co 
 
 The Stormy Petrel Songs of Our Native Birds No. 155049 
 
 Up and down! up and down! 
 
 From the base of the wave to the billow's crown; 
 
 And midst the flashing and feathery foam 
 
 The Stormy Petrel finds a home. BARRY CORNWALL 
 
 (From Blodgett Readers, Book VI. Used by permission of Ginn & Co. 
 *> 123 9
 
 MUSIC APPRECIATION 
 
 Stradivarius Minuet in G, No. 264121 
 
 When any master holds 
 
 'Twixt chin and hand a violin of mine, 
 
 He will be glad that Stradivari lived, 
 
 Made violins, and made them of the best. 
 
 The masters only know whose work is good; 
 
 They will choose mine, and while God gives them skill 
 
 I give them instruments to play upon, 
 
 God choosing me to help Him. 
 
 GEORGE ELIOT 
 
 (From Art Music Readers, Book II. Used by permission of Atkinson, Mentzer Co.) 
 See also "The Violin Makers of Cremona," Pan and His Pipes, p. 49. 
 
 Voice of Spring, The Serenade (Moszkowski) (with bird 
 voices) 45085 
 
 Turn thy eyes to earth and heaven: 
 God for thee the spring has given, 
 Taught the birds their melodies, 
 Clothed the earth and cleared the skies 
 For thy pleasure or thy food 
 Pour thy soul in gratitude. 
 
 MARY HOWITT 
 
 (From Elson Grammar School Readers, Book II. Used by permission of Scott, Foresman 
 Co.) 
 
 Which Wind is Best? Wind Amongst the Trees 70026 
 
 Whichever way the wind doth blow, 
 Some heart is glad to have it so; 
 And blow it east or blow it west, 
 The wind that blows, that wind is best. 
 
 CAROLINE A. MASON 
 
 (From Elson Primary School Reader, Book III. Used by permission of Scott, Foresman 
 Co.) 
 
 The World's Music Moment Musical 18216 or 74202 
 
 The world's a very happy place, 
 Where every child should dance and sing. 
 GABRIEL SETOUN 
 
 (From Aldine Readers, Book III Used by permission of Newson & Co,) 
 
 124
 
 CHILDREN OF OTHER LANDS 
 
 LITTLE CHILDREN OF OTHER LANDS 
 
 Elementary studies in geography and nationality may 
 be vitalized for small children in the following manner: 
 
 1. Dress a clothes-pin doll for each country in question. 
 
 2. Draw, or color from pattern, the flag of each country. 
 
 3. Collect from home appropriate pictures from maga- 
 zines and paste them in a booklet. 
 
 4. Make a sand-tray of a characteristic scene from each 
 country. 
 
 5. Cut from paper some characteristic furniture, ani- 
 mal, boat, plant, etc. 
 
 6. Make frame-work for harp out of paste-board, and 
 use rubber bands for strings. 
 
 The amount of time to be given to the presentation of 
 each country is dependent entirely upon the conditions 
 confronting the individual teacher. Rather than hurry 
 through all the material, select a part and present it in a 
 thorough manner. Have as many interesting illustrations 
 as possible and place them where the children can look at 
 them during the period before school as well as during 
 the recitation. 
 
 When taking up the study of a country, center all 
 activity around this subject. Encourage suggestions from 
 children. 
 
 The following studies of Italy, France and Ireland are 
 designed as models. Other countries may be studied in 
 like manner. 
 
 Directions for all folk dances may be found in the 
 Burchenal books. (Published by G. Schirmer Co.) 
 taa 125 *o
 
 MUSIC APPRECIATION 
 
 Ireland 
 
 A very delightful way to introduce the music of Ireland 
 is by use of McCormack's A Little Bit of Heaven, Record 
 No. 64543. This makes a splendid story for the children 
 to reproduce in the language class. 
 
 (Show the picture of the Irish Jig.) The jig is a favorite 
 dance in Ireland. How much these people seem to be 
 enjoying it! What has the man in his hand? Yes, a 
 cane. Let us use pencils for canes and tap the desk four 
 times then wave in the air four times. (Continue this 
 for first theme.) 
 
 What is the man in the corner doing? Yes, he is play- 
 ing a fiddle as the Irish call the violin. Let us play the 
 
 IRISH JIG NEW YEAR'S EVE IN IRELAND 
 o 126
 
 CHILDREN OF OTHER LANDS 
 
 fiddle and rest a while from dancing, then the next time 
 we shall take our cane again. (Use Record No. 17002, or 
 Irish Lilt, on Record No. 17331.) 
 
 The Irish as well as the Scotch use the bagpipes. Show 
 a picture of a bagpipe player, and use Record No. 18639. 
 
 The harp is the national instrument in Ireland. (See 
 foregoing suggestions for handwork.) 
 
 For children to learn the tone quality of the harp, 
 play The Fountain, Record No. 70031. 
 
 For folk dance, use Rinnce Fada, Record No. 17840. 
 
 Italy 
 
 To-day we are in Italy. When the Italian boys and 
 girls hear this selection they all stand up. Why? It is 
 their Star-Spangled Banner. Yes, it is their national 
 anthem. (Play Record No. 16136, Royal March.) What 
 does it make you feel like doing? (March.) Yes, we want 
 to march just like the Italian soldiers. (March with hands 
 if time and space are limited.) 
 
 I want you to listen very carefully and then tell me 
 where the Italian boys and girls would hear this kind of 
 music. (Play Record No. 17548-A, Gloria Patri.) (In 
 church.) Yes, there is something interesting about the 
 Italian children's church. In some of their churches they 
 have two choirs, one at the front of the church and one 
 way, w r ay at the other end. W T e shall sit in the front part of 
 the church. Which choir will sound louder? (The one at 
 the front.) Yes, now when you hear the choir at the back 
 of the church begin to sing, you may raise your hand. 
 (Play 17548-B.) I shall know then that you hear the softer 
 singing which sounds softer because it is farther aw r ay from 
 us. Isn't this beautiful music? How much the Italian 
 children must enjoy hearing music like this every Sunday ! 
 eao 127 *
 
 MUSIC APPRECIATION 
 
 (Play Record No. 64437, Funiculi-Funicula.) Where 
 would the Italian boys and girls hear this kind of music? 
 In church? (No, when they are playing.) Yes, this sounds 
 happy. There is something which I know you w r ould like 
 to hear about this selection. There is a mountain in Italy 
 which is different from the mountains in this country, for 
 there is fire inside of it. This burns all the time, and 
 smoke comes out just as from a chimney. (Show a 
 picture of Mt. Vesuvius.) Later we shall learn about 
 this in our geography. 
 
 Many people like to climb up and look in the big hole 
 at the top of this mountain. A very strange railroad has 
 been built. It is called a "funicular railroad," because there 
 are no engines or electric cars such as we ride in. When 
 one car is coming down, it pulls another up. Isn't that a 
 queer sort of railroad? When this railroad was finished, 
 there was a great celebration, and this song was written 
 to be sung at that time. The Italian people liked the song 
 so much that they have sung k a great deal ever since. 
 
 Let us make believe that we are Italian boys, and that 
 each one of us has two cymbals. (Slide hands, touching 
 palms. Do this on chorus only. After a second hearing, 
 children will know where to begin. When this is well done, 
 try four of the cymbal motions and clap three times.) 
 
 I wonder how many have seen an instrument called 
 an "accordion." The Italian boys and girls will sit by 
 the hour and listen to their fathers play upon the accordion. 
 (Show a picture.) We are going to have an Italian man 
 play the accordion for us. What do you think he will 
 choose? (His Star-Spangled Banner.) Yes, for he loves 
 that song. (Play Record No. 18361.) He plays another 
 Italian national song, then the English national hymn, 
 and then the French. 
 
 > 128 *
 
 CHILDREN OF OTHER LANDS 
 
 There is one city in Italy called Venice, and there the 
 streets are of water. There are no automobiles. People 
 go from place to place in boats. (Show a picture.) The 
 boats which the people go about in are called "gondolas," 
 and the men who row them are gondoliers. Often these 
 men are very happy, and sing as they glide along. Can't 
 you just hear what this music is going to be like? Swing 
 and swing as smoothly and quietly as the boats move 
 along. (Play In a Gondola, Record No. 64530. Children do 
 a swaying motion.) Is this music like the march which we 
 heard when we first came to Italy? Is it like the church 
 music? How different the music is for all these things. 
 
 THE TARANTELLA NEAPOLITAN DANCE 
 
 The^Italian people love to dance. They have many 
 pretty dances. One dance which I know you will want to 
 hear about is the Tarantella. This name comes from the 
 name of a spider whose bite will poison a person. The 
 Italians used to believe that, when bitten by this spider, 
 if they would dance very, very rapidly they would be cured. 
 (Play Record No. 17174, Tarantella, by Saint-Saens.) How 
 fast the people must have to dance to this music! 
 
 an 129 *>
 
 MUSIC APPRECIATION 
 
 Teach Italian folk dance Tantoli, Record No. 17159 
 directions in Folk Dance Music by Burchenal-Crampton. 
 
 France 
 
 I am sure we should all enjoy hearing the national 
 anthem of the little French children. It is a very wonder- 
 ful song. It makes one want to inarch. (Record No. 
 17668, or use selection from a Medley of Rational Airs.) 
 Let us march with our hands, keeping time like soldiers 
 left, right, left, right. 
 
 Now, we are going to have a song which the French 
 children love very much. It is about a bridge where they 
 go to dance. We are going to hear the song in French. 
 
 Le Pont D'Avignon (The Bridge of Avignon) 
 
 M 
 
 "TiiK GENTLEMEN ALL DO THIS \V.\v " 
 
 "THE LADIES ALL DO THIS WAY'' 
 130 >
 
 CHILDREN OF OTHER LANDS 
 
 The little French children could understand this song, 
 but we cannot, so I shall tell you all about the game 
 before the lady sings the song. (Record No. 72166.) (See 
 other French songs for children on pages 55-61.) 
 
 A beautiful French folk dance is this Far andole, Record 
 No. 18368. 
 
 In France long, long ago, the children dressed exactly 
 like their fathers and mothers, and used to wear very 
 fancy clothes. Would you think the music for their 
 dances would be fast or slow? Yes, slow, because with all 
 their fine clothes they could not move about quickly. 
 We are going to hear a French dance. Let us have cym- 
 bals for four counts and clap four counts. When the music 
 changes, we shall sit quietly, waiting to hear the first 
 theme again, and then we shall use cymbals and clapping. 
 (Amaryllis, Record No. 16474.) 
 
 OLD FRENCH DANCE 
 *> 131
 
 From a Copley print used 
 by permission of Curtis 
 & Cameron, Inc. 
 
 BY WILLIAM J. BAER 
 
 THE BIRD'S NEST
 
 NATURE STUDY 
 
 To him who, in the love of Nature, holds 
 Communion with her visible forms, she speaks 
 A various language; for his gayer hours 
 She has a voice of gladness, and a smile 
 And eloquence of beauty; and she glide* 
 Into his darker musings with a mild 
 And healing sympathy, that steals away 
 Their sharpness, ere he is aware. 
 
 BRYANT 
 
 All too long, in both city and country, have we turned 
 our backs to the joys and beauties of nature. In the large 
 city, of course, opportunities for intimate contact with 
 nature are limited. But this does not excuse the abysmal 
 ignorance of the natural world that is so widely found 
 among children of the city, nor the lack of response to its 
 romance in town and country. 
 
 A striking illustration of the utter lack of the refin- 
 ing influences of nature among the children of a great 
 city is to be noted in an incident that occurred during a 
 large folk-dance festival recently held in one of the great 
 Eastern cities. Children from the schools were taken 
 to one of the city's parks to participate in this festival, 
 and, although it is almost unbelievable, that day hundreds 
 of children placed their feet upon growing grass for the 
 first time in their lives. Only at the expense and effort of 
 the city were they given the opportunity to touch the green 
 sward, smell the flowers, and listen to the songs of the 
 birds. 
 
 Not long ago, records presenting actual bird voices and 
 bird imitations were played for little children in one of the 
 East Side schools of New York City, but without effect or 
 response. Bird voices to them were only so many mean- 
 ingless sounds. In no way were the children able to bring 
 133
 
 MUSIC APPRECIATION 
 
 such sounds within the scope of their limited horizons, 
 to interrelate and identify them with the experiences 
 of their own little lives. 
 
 In small towns and country districts, nature is bountiful 
 in her gifts, but even there we may see the need for 
 acquaintance with and information about nature. The 
 logical place to gain this acquaintance is in the woods and 
 fields; but in the schoolroom, with the Victrola and Victor 
 records at hand the teacher has an ally of incalculable 
 value in promoting nature study. 
 
 One of the most wholesome phases of this movement is 
 the attention being given to the matter of the preservation 
 of our native birds. Numerous bird clubs, Audubon 
 societies, Boy Scouts, Camp Fire Girls, etc., have done 
 much to interest the younger generation in the study 
 and protection of our bird friends. Congress has passed a 
 Federal act to insure a nation-wide safety for the valuable 
 feathered songsters. The camera and bird-house are fast 
 taking the place of the murderous sling-shot and rifle. Nearly 
 every classroom is adorned with colored pictures of birds. 
 
 Among the excellent records of bird songs offered, 
 Mr. Charles Kellogg, the gifted naturalist, reproduces the 
 calls of the catbird, stormy petrel, cardinal red bird, 
 house wren, loon, red-winged blackbird, bobolink, Cali- 
 fornia mountain quail, and marsh birds (Record 55049-A). 
 In another one (Record 55049-B) he presents the calls 
 of the ring dove, goldfinch, wood pewee, bluejay, whip- 
 poor-will, mourning dove, meadow lark, white-throated 
 sparrow, mother call of catbird, barn-owl, and hoot owl. 
 A few well-chosen words of explanation precede each call. 
 In How Birds Sing and The Bird Chorus (Record 45163-A 
 and B) Mr. Kellogg presents further bird calls that charm 
 the ears of little listeners.
 
 NATURE STUDY 
 
 But in his imitative power Mr. Kellogg is highly versa- 
 tile, and in Sounds of the Forest, Parts I and II (Record 
 55092-A and B), he gives the calls and cries of both the 
 furred and feathered creatures of nature; the widely- 
 varied songs of the mocking bird, the contented chirp of 
 the cricket, the bulbous-throated call of the frog, the shy 
 note of the wild turkey, the love song of the moose, etc. 
 This record likewise possesses illuminating explanations of 
 each call. 
 
 Mr. Charles Gorst, another naturalist and bird-lover, 
 has given the songs and calls of the American robin, 
 killdeer, bluejay, bluebird, wood thrush, yellow-billed 
 cuckoo, mocking bird, Kentucky cardinal or red bird, 
 oven bird, red-eyed vireo, Baltimore oriole, mourning 
 dove, and Western meadow lark (Record 17735-A and B). 
 The name of each bird is announced before the song is 
 rendered. 
 
 The above-named records, together with the actual 
 voices of the real nightingale and thrush (Record 45057), 
 and sprosser (Record 45058), are an invaluable aid to 
 nature study in our schools. 
 
 Closely allied with the foregoing records are the nature 
 songs and stories offered for use in the lower grades, which 
 may be presented supplementary to nature study. An 
 instant appeal is to be found in records that celebrate in 
 song and story such important personages of the child 
 world as Mr. Duck and Mr. Turkey, Mr. Squirrel, Robin 
 Red Breast, the blue bird, the bobolink, the bunny, the 
 little red hen, the pussy cat, and many others; or when 
 the children recognize in terms of music such familiar 
 objects and phenomena as the brook, wind amongst the 
 trees, the whirlwind, the fountain, the bee, the rain, a 
 dewdrop, poppies, violets, daffodils, tulips, cat-tails, etc. 
 135
 
 MUSIC APPRECIATION 
 
 The following is a list of records, in addition to those 
 already named, suitable for presentation in conjunction 
 with nature study in the kindergarten and primary grades : 
 
 At the Brook 
 
 64103 
 
 Marguerites 17686 
 
 
 
 Mocking Bird, The (Whist- 
 
 Bee, The 
 
 64076 
 
 ling) 18083 
 
 Birds of the Forest Gavotte 
 
 16835 
 
 Mocking Bird, The (Xylo- 
 
 Blue Bird 
 
 17776 
 
 phone) 16969 
 
 Bobolink, The 
 
 17686 
 
 Mr. Duck and Mr. Turkey 17776 
 
 Bunny, The 
 
 17776 
 
 Mr. Squirrel 17776 
 
 Buttercups 
 
 18649 
 
 
 Butterfly 
 
 35448 
 
 Naming the Trees 17719 
 
 By the Brook 
 
 17844 
 
 Narcissus 17472 
 
 
 
 Nightingale, The 18330 
 
 Canary and Thrush Duet 
 
 45058 
 
 
 Cat-tails 
 
 18015 
 
 Owl, The 17686 
 
 Chanticleer 
 
 17513 
 
 
 Chicken, The 
 Corn Soldiers 
 
 17776 
 17719 
 
 Poppies 17625 
 Poppy Lady 17686 
 
 Cuckoo Music * 
 
 17513 
 
 Pretty Tulip 18649 
 
 Cygne, Le (The Swan) 
 
 45096 
 
 Pussy Cat 18076 
 
 Daffodils 
 
 18015 
 
 Rain Song 17004 
 
 Dance of the Song Birds 
 Dew Drop, A 
 
 17521 
 17004 
 
 Robin Red Breast 16094 
 Robin's Return 17686 
 
 Froggies' Swimming School 
 Fountain, The 
 
 17596 
 70031 
 
 Six Little Puppies 17776 
 Squirrel, The 17719 
 Sweet Pea Ladies 17625 
 
 Gold6nch, The * 
 
 
 To a Wild Rose 17691 
 
 
 Humoresque (Bird Voices) 
 Hunt in the Black Forest 
 
 45061 
 35324 
 
 Tracks in the Snow 18074 
 Tulips 17686 
 
 
 
 Violet, The 18649 
 
 I Love Little Pussy 
 
 18076 
 
 Violets 17625 
 
 Jack-in-the- Pulpit 
 
 17719 
 
 Voices of the Woods 17121 
 
 
 
 Wah-wah-taysee (Little Fire- 
 
 Katydid 
 
 17625 
 
 fly) 35617 
 
 
 
 What Does Little Birdie 
 
 Leaves' Party, The 
 
 18074 
 
 C Q , r S * 
 
 oav. 
 
 Little Birdie 
 
 17776 
 
 Whirlwind, The 18684 
 
 Little Bull Calf, The 
 
 35643 
 
 Wind Amongst the Trees 70026 
 
 Little Firefly 
 
 64705 
 
 Wind and the Sun 17198 
 
 Little Jackal and the Alli- 
 
 
 Wise Bird, The 18649 
 
 gator, The 
 
 T "*.*! "D J TT 
 
 35636 
 
 1 fyaart 
 
 Woodpecker, The 17686 
 
 117 _ T^U # 
 
 Little Ked Hen 
 
 173J2 
 
 \\ ren, 1 ne 
 
 Record in preparation. 
 
 136
 
 PICTURES AND MUSIC 
 
 PICTURES AND MUSIC 
 
 Often a musical selection may reinforce the impression 
 made upon pupils by a famous picture. Indian pictures 
 cannot fail to add to the romance of Indian lore. The 
 appeal of The Angelus (Millet) will be strengthened by such 
 selections as Adeste Fideles, played on the chimes, and 
 Evening Chimes (18018). Pictures of the great composers 
 are readily available. Suggested correlations of pictures 
 with records are: 
 
 CHILD HANDEL (Dicksee) 
 
 MOZART AND Hrs SISTER (Schneider) 
 INFANT MOZART BEFORE MARIA 
 
 THERESA (Ender) 
 CHILD MOZART (Barrias) 
 MOZART AND Hrs SISTER BEFORE 
 
 MARIA THERESA (Borchmann) 
 
 MENDELSSOHN AND His SISTER 
 (Poetzelberger) 
 
 SWEET AND Low (Taylor) 
 HIAWATHA (Taylor) 
 APPEAL TO THE GREAT SPIRIT 
 END OF THE TRAIL (Fraser) 
 INDIAN SHEPHERD (Couse) 
 INDIAN HUNTER (Couse) 
 SPRING (Jones) 
 SPRING LANDSCAPE (Corot) 
 
 AFTER A SPRING SHOWER (Inness) 
 
 (Pastoral Symphony \ 
 | See, the Conqv'ring Hero } 
 [Largo (Handel) 
 
 18655 
 
 74384 
 
 Gavotte 
 Menuett 
 
 17917 
 17917 
 
 THE BIRD'S NEST (Baer) 
 
 ADORATION OF THE SHEPHERDS (Couse) 
 
 THE AGE OF INNOCENCE (Reynolds) 
 DANCING CHILDREN (Corot) 
 
 (Capricietto 
 
 \May Breeze 
 
 (On Wings of Song 
 
 Sweet and Low 
 
 Hiawatha's Childhood 
 
 The Sacrifice 
 
 Indian Lament 
 
 \From an Indian Lodge 17035 
 
 Spring Song 18648 
 
 To a Wild Rose 17691 
 
 I To Spring 64264 
 
 Spring Voices 16835 
 Wind Amongst the Trees 70026 
 
 The Whirlwind 18684 
 
 [flower Song 45107 
 \The Wren 
 
 Silent Night 17842 
 
 Noel 17842 
 Pastoral Symphony 
 
 (Messiah) 18655 
 
 Simple Confession 17143 
 
 Morning (Grieg) 35470 
 
 Aubade Provengale 64202 
 
 Danse les Mirlitons 45053 
 
 * Record in preparation. 
 
 137
 
 PRIMARY STORIES AND POEMS 
 
 ROFICIENCY in story telling is a vital 
 part of the professional equipment of every 
 successful primary teacher. The records of 
 universally-used stories by noted authorities 
 in story telling are designed to furnish a 
 model for the teacher and at the same time 
 to stimulate in the pupils new interest in familiar stories 
 through the hearing of voices to whose tone and inflections 
 they are unaccustomed. 
 
 The hearing of stories and poems is a valuable aid to 
 music appreciation in that it cultivates good habits of 
 listening and attention. 
 
 As an aid to the teacher in securing pupils' reproduc- 
 tion or re-telling of the stories, it is suggested that after 
 the children are familiar with a story, only a portion of the 
 record be played, the pupils being required to complete 
 the story in part or as a whole. 
 
 Dramatization plays an important part in developing 
 language power in children, and suggestions are given for 
 the dramatization of some of the stories by the class as a 
 whole or by individuals. These stories may be readily 
 adapted to conform to local needs and classes of children. 
 It is recommended that care be exercised that pupils do not 
 confuse narration or oral re-telling of the stories with 
 dramatization. Such characters only should be acted as 
 are clearly personified in the story. In cases where the 
 story text is quoted in the following suggestions, the 
 pupils may dramatize as the record plays.
 
 MUSIC APPRECIATION 
 
 By the Shores of the Gitchie Gumee ("Hiawatha's i 
 
 Childhood") 35617 
 Then the Little Hiawatha ("Hiawatha's Childhood") J 
 
 (See Pan and His Pipes, "The Songs of Hiawatha.") 
 
 Let us hear the story of the home of Hiawatha told in 
 
 song. Can you tell how many singers there are? (Play 
 
 By the Shores of Gitchie Gumee at end of first paragraph, 
 
 page 73.) By the s h ores of Gitchie Gumee, 
 
 By the shining Big-Sea-Water, 
 Stood the wigwam of Nokomis, 
 Daughter of the Moon, Nokomis. 
 Dark behind it rose the forest, 
 Rose the black and gloomy pine-trees, 
 Rose the firs with cones upon them; 
 Bright before it beat the water, 
 Beat the clear and sunny water, 
 Beat the shining Big-Sea-Water. 
 
 Did you ever see an Indian cradle? Why did the grand- 
 mother call Hiawatha "Little Owlet?" 
 
 This is the song Grandma Nokomis sang to him. Play, 
 Ewa-Yeal 35617 
 
 What were Hiawatha's little candles? What did the 
 Indian call them? Play, Wah-wah-taysee 35617 
 
 Our next song will tell us how Hiawatha learned many 
 things that boys of to-day would like to know about, too. 
 (Play Then the Little Hiawatha.} 
 
 Then the little Hiawatha 
 Learned of every bird its language, 
 Learned their names and all their secrets, 
 How they built their nests in summer, 
 Where they hid themselves in winter, 
 Talked with them whene'er he met them, 
 Called them "Hiawatha's chickens." 
 Of all beasts he learned the language, 
 Learned their names and all their secrets, 
 How the beavers built their lodges, 
 Where the squirrels hid their acorns, 
 How the reindeer ran so swiftly, 
 Why the rabbit was so timid, 
 Talked with them when'er he met them, 
 Called them "Hiawatha's brothers." 
 
 140 *o
 
 STORIES 
 
 What grown-up does not envy little children their joy- 
 ous citizenship in the magic realm of Never-Never-Land? 
 There wondrous things befall one endlessly and quite 
 without rhyme or reason. There the brave hero is sure 
 to marry the lovely princess, and disaster as swiftly and 
 surely overtakes the wicked giant. It is the land of deli- 
 cious freedom from the complicated laws, sordid ambitions, 
 and sad disillusionments of the adult Land-of-Matter-of- 
 Fact. 
 
 Here we have some of the most famous stories of the 
 fairy world, and teachers and children will delight to renew 
 acquaintance with such world-famed personages as Red 
 Riding Hood, Goldilocks, Jack and the Beanstalk and Cin- 
 derella the ever-new old tales related with charming 
 freshness in the spirit of complete sympathy with the 
 little people. 
 
 Chicken Little 35262 
 
 All little people love the story of the fateful journey 
 of Chicken Little and his friends. 
 
 The following is a suggestion for dramatization by the 
 entire class in their seats: . . . "a gooseberry dropped 
 on his head" . . . (raise right arm high over head with 
 motion of dropping gooseberry). "Run, run, run!" 
 (Make fingers scamper across desk tops from right to left. 
 Repeat for each "Run, run, run!") "The sky is falling!" 
 (Arms high over head, hands vigorously shaken.) "Oh, I 
 saw it with my eyes" . . . (forefingers on eyes) . . . 
 " I heard it with my ears " . . . (forefingers touch ears). 
 (Repeat as these recur.) . . . "And part of it fell on my 
 tail" . . . (slide right hand down left arm to left hand). 
 . . . "He was strutting along" . . . (children sit up 
 very straight). "Ducky Lucky waddling along" . . .
 
 MUSIC APPRECIATION 
 
 (sway bodies from side to side). "Turkey Lurky swelled 
 himself up" . . . (pupils sit very erect, shoulders well 
 back, faces frowning 1 ) "He smiled with pleasure" . . . 
 (children rub hands). "Why are you so frightened?" 
 (Children look frightened.) "Then Foxy Loxy led Turkey 
 Lurky," etc. (Count on fingers of left hand with right 
 forefinger.) " Hut Foxy Loxy was the only one ever to 
 come out again." (Pupils shake right forefinger in time 
 with the spoken words.) 
 
 Cinderella 
 
 Jack and the Beanstalk 
 
 We pity the boy or girl who has not rejoiced with Cin- 
 derella in her victory over the cruel stepmother and proud 
 sisters, or who has not shuddered with Jack during his 
 visits to the home of the Giant who lived at the top of the 
 beanstalk. These two tales have long stood the test of 
 time, quickening the imagination and broadening the sym- 
 pathies of many generations of children. It is a pleasure 
 to hear them told naturally and with proper expression by 
 this young reader. Sally Hamlin's stories should be heard 
 often by the children, not only for the sake of the story, 
 but to improve expression by letting the pupils hear part 
 of a story, and then finish it in their own words. These 
 stories also lend themselves readily to dramatization. 
 
 The Dog and the Kitty Cats 35643 
 
 This tells how the Big Black Dog tried to frighten the 
 Mother Cat and the Kitty, and how like the big coward 
 that he was he ran away when the brave Mother Cat 
 showed him that she was not afraid. Did you ever know 
 a big boy like the Big Black Dog? This is a very simple 
 little story, obviously easy to dramatize.
 
 STORIES 
 
 The Duel 18685 
 
 This is chosen from Eugene Field's delightful little 
 collection of lyrics for children, Love Songs of Childhood. 
 The story tells how the gingham dog and the calico cat 
 had a terrible fight, which ended only when "they ate 
 each other up!" 
 
 Now, what do you really think of that? 
 
 The old Dutch clock it told me so, 
 And that is how I came to know. 
 
 Epaminondas and His Auntie 35636 
 
 "How many boys and girls have made mistakes 
 because you didn't know how things ought to be done? 
 I am sure none of you ever made such very foolish mistakes 
 as the little colored boy did whose story we are going to 
 hear." 
 
 This "Southern nonsense tale" appeals very strongly 
 to children's love of anticipating "what comes next." 
 They will listen with keenest appreciation for the old 
 Mammy's "You ain't got de sense you was bo'hn wiv, " 
 inevitably recurring after each ludicrous mistake. 
 
 The Fox as Herdsman 35293 
 
 This is the story of the little old woman who sought a 
 herdsman for her flocks of sheep and goats and herds of 
 cows. And why the bear and the wolf wouldn't do, and 
 how clever Reynard secured the position, and then ate up 
 all the animals. How did the fox acquire the white tip 
 to his tail which he has worn ever since? 
 
 The Gingerbread Boy 35418 
 
 With its refrain of "I'm a Gingerbread Boy, I am, 
 I am. I can run from you, I can, I can!" and with the 
 143 <*
 
 MUSIC APPRECIATION 
 
 thrilling finish of the Gingerbread Boy when he at last 
 meets the fox, this is one of the most popular stories for 
 little people. 
 
 The speaker furnishes an exceptionally good model 
 for the pupils' imitation. 
 
 Goldilocks and the Three Bears 35262 
 
 Little Goldilocks has been an ideal heroine of the child 
 world for many generations. With her long golden curls 
 and dainty beauty, she has been the idol of boyish hearts. 
 And with that sweet feminine curiosity that seems to have 
 been typical of the race since the days of Eve and Pandora, 
 her adventures have been very real happenings in the 
 mind's eye of many little girls. 
 
 The story is here charmingly retold from an old tale 
 of Robert Southey. 
 
 The Little Bull Calf 35643 
 
 This story teaches the little ones the important lesson 
 of being careful to look where they are going. It will add 
 to their interest if individuals are assigned to play the 
 parts of the Little Bull Calf, the Cow That Jumped Over 
 the Moon, the Bull in the China Shop, and the Farmer. 
 
 Dramatization: . . . "he liked to jump very high and 
 
 run very fast Once he ran and jumped 
 
 into the lettuce patch Once he ran into 
 
 the fence and tore his little coat " . . . (Motion of hold- 
 ing up torn coat.) . . . "it gave way and let him 
 through into the wide field of the big world. " . . ."he 
 went plump, splash, into the quaky bog." . . . "he 
 
 began to struggle to get out she ran out 
 
 and began looking all around they got him 
 
 on the plank, they tied him with the rope, and they pulled 
 him out he went on his little tottering 
 
 tO 144 "
 
 STORIES 
 
 legs to his mother." It is interesting to know that the 
 author wrote this story for her own little boy, who was 
 sometimes careless. 
 
 The Little Jackal and the Alligator 35636 
 
 This is a charming little character story in which the 
 stupidity of the alligator is akin to that of the Giant in 
 Jack and the Beanstalk, and the delicious cleverness of the 
 little Jackal similar to that of the redoubtable Jack. 
 
 The Little Red Hen 17332 
 
 This is the story with its lesson of self-reliance of the 
 Little Red Hen who found a grain of wheat. It is known 
 to most first-grade children. Instead of the Goose and 
 the Duck, with which "cast" the pupils may be familiar, 
 we have here the Cat, the Rat, and the Pig. The little 
 tots will delight in imitating the realistic cluck of the Little 
 Red Hen, the meow of the Cat, the squeal of the Rat, and 
 the grunt of the Pig. Where did the Little Red Hen live? 
 Who were her friends? This story may very easily be 
 dramatized by individual pupils. 
 
 Little Red Riding Hood* 
 
 The thrilling adventures of Little Red Riding Hood 
 with the deceptive old wolf, her timely rescue by the wood- 
 cutter, and the happy restoration of the beloved grand- 
 mother are episodes of a tale that has long been an endur- 
 ing favorite with children. In the suffering caused by 
 Red Riding Hood's disobedience to her mother's admoni- 
 tion not to loiter, and in the just punishment that is sure 
 to overtake such an evil-doer as the wolf, this story points 
 to a strong moral that children readily perceive. 
 
 * Record in preparation. 
 
 *" 145 taa
 
 MUSIC APPRECIATION 
 
 Mother Goose Jingles 17332 
 
 Most children know Mother Goose before they enter 
 school. They will be eagerly interested in hearing the 
 stories and in re-telling and in playing them. 
 
 "I wonder how many boys and girls know the stories 
 a certain dear, old lady tells. Here is how one of them 
 begins: 'Little Miss Muffet'" . . . 
 
 A pupil completes the story. Similarly Sing a 
 Song of Sixpence, Hickory Dickory Dock, etc., may be 
 presented. 
 
 Stop the record after Mother Goose's "Good morning, 
 children," for their delighted reply to the greeting. Do the 
 same before the answers to the riddles, Humpty Dumpty, 
 and Little Nancy Etticoat. The pupils will be eager to 
 hear Mother Goose confirm the correctness of their 
 answers. 
 
 Little Miss Muffet: . . . "eating curds and whey" 
 (pupils make motions of eating). "Along came a spider" 
 . . . (left hands extended at side, fingers outspread in 
 imitation of spider's legs; arms are withdrawn to sides 
 when story teller says) . . . "sat down beside her" . . . 
 "and frightened Miss Muffet away." (Shuddering mo- 
 tion to right with frightened faces.) 
 
 Sing a Song of Sixpence: ... "a pocket full of rye" 
 (hands make motion to pocket) . . . "four and twenty 
 blackbirds baked in a pie." (Arms outstretched with 
 hands clasped to form outline of pie.) " When the pie was 
 opened" . . . (unclasp hands with fingers outspread, 
 palms up) . . . "to set before a king" . . . (motion of 
 right hand setting down dish) . . . "counting out his 
 money" . . . (count money on desks) . . . "eating 
 bread and honey " . . . (motion of eating) . . . "hang- 
 up the clothes" . . . (extend arms above heads) . . . 
 
 K 146
 
 STORIES 
 
 " snipped off her nose " . . . (with quick motion take nose 
 between first and second fingers of right hand). 
 
 Hickory Dickory Dock: ..." mouse ran up the clock" 
 . . . (both hands raised with fingers in motion to imitate 
 climbing of mouse ; or left hand imitates a running mouse 
 while right arm at side imitates swinging pendulum). 
 
 Baa, Baa, Black Sheep: Let half of the class represent 
 the sheep, and the others Mother Goose. . . . "Yes, 
 sir, yes, sir" . . . (sheep nod heads affirmatively) etc. 
 
 The Night Before Christmas 35418 
 
 "Twas the night before Christmas, when all through the house 
 Not a creature was stirring, not even a mouse." 
 
 The children of three generations have loved this 
 wonderfully vivid poetic account of the coming of St. 
 Nicholas, and wistfully wondered whether it might not 
 be their good fortune some Christmas Eve similarly to 
 catch a glimpse of the good old Saint. 
 
 Have the pupils listen for the sound of the reindeers' 
 hoofs, and the cheery whistle of St. Nick. 
 
 Pancake Story 35293 
 
 This is a version of the story of the Gingerbread Boy. 
 The children will welcome their familiar friends Henny 
 Penny, Cocky Locky, and Ducky Lucky. Pancake sets 
 out from the home of the Good Man and the Good Woman 
 and the Seven Hungry Children upon a journey of hair- 
 breadth escapes, until he meets Piggy Wiggy, who, clever 
 for once, gobbles up poor Pancake. "Now, that Pancake 
 can go no further; so this tale can go no further either." 
 
 The Raggedy Manl 1R27 , 
 Our Hired Girl J 18J7( 
 
 Every American child should know these complemen- 
 tary poems of Riley's about two very characteristic 
 >o 147 taa
 
 MUSIC APPRECIATION 
 
 national types : the kindly, honest, jack-of -all-trades handy 
 man about the place; and the institutional hired girl 
 of the old days, autocratic yet big-hearted monarch of the 
 kitchen. 
 
 Dear to any boy or girl would be such a Raggedy Man 
 and Elizabeth Ann. What thrilling stories one can tell, 
 and what custard pie the other can make ! Simple, whole- 
 souled Americans they are, whom every boy and girl will 
 be the better for meeting. 
 
 Sugar Plum Tree 18599 
 
 This poem, closing to the accompaniment of dreamy 
 strains on the harp, is especially suitable for the Rest 
 Period. What lullaby is heard? 
 
 Three Billy Goats Gruff 17198 
 
 This story proves a great favorite with all children. 
 It is from popular Norse tales, which, like the old fables 
 of ^Esop and Mother Goose, never grow old, and still 
 serve to point effectively many a moral in story form. 
 
 What is a Troll? How different from a Brownie? 
 
 Ask the pupils if they can account for the difference in 
 the bridge's "trip, trap, trip, trap!" as the three goats 
 pass over it. 
 
 The Three Little Pigs 18685 
 
 This classic will ever be a prime favorite with the little 
 people. What child does not wriggle in delighted sym- 
 pathy when the Little Pigs reply to the Wolf's demands 
 for admittance to their little houses, "No, no, by the hair 
 of my chinny, chin, chin!" And how one holds his breath 
 io 148 *
 
 DRAMATIZATION 
 
 when the Wolf says, "Then I'll huff, and I'll puff, and I'll 
 blow your house in!" Then there is the thrilling adven- 
 ture of the churn, and the grand climax when the wicked 
 Wolf tumbles headlong into the pot which the cleverest of 
 all the Little Pigs prepared for his reception. 
 
 The story is told in an inimitable manner by the child 
 elocutionist, Sally Hamlin. 
 
 Wynken, Blynken, and Nod 18599 
 
 This story is from Eugene Field's A Little Book of 
 Western Verse. The personal application of the little story 
 which each child will make through the last stanza is one 
 of the chief charms of this delightful "Dutch Lullaby." 
 The incidental harp music which accompanies the last few 
 lines adds effectively to the sleepy-time atmosphere. 
 
 What melody do you hear? 
 
 DRAMATIZATION OF STORIES IN MUSIC 
 
 Hunt in the Black Forest 35324 
 
 CAST : The Bell-Ringer Station him in a corner which 
 represents the church. He plays the chimes as they occur 
 in the story by alternately raising his clenched hands to 
 represent the pulling of the bell-ropes. 
 
 Master of the Hounds. 
 
 Huntsmen. 
 
 The Blacksmith His shop may be the corner opposite 
 the Bell-Ringer's church. Provide him with a hammer and 
 something to give the sound of an anvil, such as an old 
 horseshoe. 
 
 The Fox Select obscure place to represent his den. 
 He is roaming at large at the opening of the story. 
 
 The Hounds. 
 
 TIME: Early morning. 
 
 ayi 149 fjfn
 
 MUSIC APPRECIATION 
 
 Soon after the beginning of the story the Master of the 
 Hounds sounds his horn (hands raised to mouth to repre- 
 sent holding of the hunting horn), the Bell-Ringer rings 
 matins in the nearby village church, and the Huntsmen 
 assemble. 
 
 Meanwhile the Fox, hearing the horn, flees wildly up 
 and down the aisles and hides in his den. 
 
 The Huntsmen gallop, the Hounds take up the trail 
 and run around the room, until the Master of the Hounds 
 sounds the signal for the stop at the Blacksmith's. There 
 the Blacksmith works at his anvil, humming a song during 
 the latter part of this work. The Huntsmen are strolling 
 around outside the shop (except one, whose horse is being 
 shod) until the Master of the Hounds sounds the signal for 
 the continuation of the hunt. 
 
 The Huntsmen and Hounds finally pursue the Fox to 
 his den, where he is captured and brought out amid the 
 cheers of the Huntsmen. 
 
 Little Hunters 18598 
 
 The Little Hunters invites a similar dramatization, but 
 is more siriiple than Hunt in Black Forest. 
 
 Midsummer-Night's Dream (Overture) 35625 
 
 CHARACTERS: 
 
 Duke of Athens: A very dignified little boy who can 
 march in a stately manner. 
 
 Hippolyta: Betrothed to the Duke, and for whose 
 wedding the trades-people are preparing a play. A little 
 girl must be chosen who can be a real queen and march 
 with the Duke. 
 
 Attendants on Duke: Any number of children who 
 follow the Duke. 
 
 150 *o
 
 DRAMATIZATION 
 
 Lovers: Two couples walking hand in hand. 
 TRADES-PEOPLE : Quince, a carpenter 
 Snug, a joiner 
 
 Flute, a bellows-mender 
 
 i ^ boys 
 
 Snout, a tinker 
 
 Starveling, a tailor 
 Bottom, a weaver 
 
 Titania: Queen of the Fairies. 
 
 Fairies: Any number of girls, attendants of Titania. 
 
 Oberon: King of the Fairies. 
 
 Puck: Attendant of Oberon, and always doing his 
 bidding. 
 
 SCENE: A forest near Athens. 
 
 The music should be carefully presented before 
 attempting to dramatize. The story should not be told 
 in detail; that will come later in English work. Present 
 only what is necessary for an intelligent working out of 
 the Overture, and such episodes as will especially appeal to 
 children. Added interest may be secured by a few prop- 
 erties and costumes. A crown of gold paper for the 
 Duke and the various tools suggested by occupation of 
 the trades-people will work wonders in stimulating the 
 imagination. 
 
 Before the music begins, all characters must be in 
 place in different parts of the room, cloak-room, and hall, 
 ready to listen for their particular theme. The children 
 soon learn the different themes and take their cue for 
 entrance from the music. The fairies are in a group in the 
 center, kneeling as if asleep, and at the fourth magic 
 chord they slowly rise to toes and are no longer little girls, 
 but fairies. They dance about until the last note of the 
 
 151 "-
 
 MUSIC APPRECIATION 
 
 "A MIDSUMMER-NIGHT'S DREAM" WITH THE MENDELSSOHN 
 
 MUSIC ON THE VlCTROLA 
 
 fairy music ends, when they go back to the side or rear in 
 a group, awaiting the next strain of the fairy music. 
 
 As the fairy music ends, the procession, made up of the 
 Duke, Hippolyta, and their attendants, advances to a place 
 where two chairs have been placed for the Duke and 
 Hippolyta, who seat themselves while the attendants form 
 a group about them. The lovers are waiting to enter as 
 soon as the "Duke theme" is finished. They stroll about, 
 two by two, then go to rear and lie down to sleep. As 
 soon as they are asleep, Oberon sends Puck in to drop 
 some magic into the eyes of the lovers. 
 
 The trades-people now enter and rehearse their play. 
 (Eight notes on one tone played by bassoon is entrance 
 cue for trades-people.) For suggestions for action see 
 Act III of the play in Lamb's Tales of Shakespeare. 
 
 The light quick fairy music is again heard, the trades- 
 people leave, as the fairies enter. A place is made for 
 their queen to lie upon. The fairies dance about until 
 the queen is asleep, then one by one they, too, fall asleep.
 
 DRAMATIZATION 
 
 Puck comes hurrying in, being sent by Oberon to put 
 some magic in Titania's eyes. All begin to awaken very 
 slowly during the magic chords. 
 
 Narcissus^l5052 or 17472 
 
 CHARACTER: Narcissus, a little boy from a Greek fairy 
 tale. 
 
 SCENE: A beautiful forest in Greece. 
 
 PROPERTIES: Each child will enjoy making for himself 
 a bow out of a twig and string. 
 
 (Tell the story of Narcissus, having all the children 
 play it as best they can while seated. Then select a few 
 children to run about, just as Narcissus did, and "change 
 into a flower and fall dead as the stem is broken. ") 
 
 "Narcissus had no little boys and girls to play with, so 
 he amused himself by shooting birds. This was many, 
 many years ago. Do you think Narcissus had a gun? 
 No, he had a bow and arrow. Let us shoot with a bow 
 and arrow. We shall hold up our bow and count three 
 and shoot on four. We shall look all around, counting 
 four, and then shoot again as before." (Continue until 
 the end of this theme.) 
 
 "Narcissus becomes very thirsty and goes to the pool 
 to get a drink. Do you think that he will find a cup to 
 drink from? No, he will lie down and drink from his 
 hand. When he leans over what does he see in the pool? 
 Yes, his own image. He has no mirror and has never seen 
 his ow r n picture so does not know he is seeing only himself. 
 He thinks that it is another little boy, and he reaches into 
 the water to try to get him out, for he so much wants a 
 little boy to play with. What happens when Narcissus 
 reaches in the water? Yes, when he moves the water 
 with his hand the picture disappears. Narcissus feels very 
 " 153
 
 MUSIC APPRECIATION 
 
 badly. He thinks the little boy does not want to play 
 with him and has gone away. 
 
 "He waits a minute and then returns to the pool. 
 And what does he see? Yes, the little boy is there again 
 and Narcissus is so happy. He tries once more to get the 
 little boy out, for he thinks this little boy is so beautiful. 
 Not being able to get him out Narcissus feels so badly that 
 he lies down by the side of the pool and dies. (Music 
 changes to a repetition of the first theme.) He is at once 
 turned into a beautiful flower, which we now call the 
 narcissus. How many know the narcissus flower? It 
 would be very nice to have a narcissus flower growing in 
 our school room, wouldn't it? Let us listen to the third 
 part of the music. It is like the first. 
 
 "We shall now be narcissus flowers, and our arms will 
 be long leaves which sway in the breeze. What happens 
 when a flower with a very slender stem sways back and 
 forth? It breaks. If we listen very carefully we shall 
 hear when the stem breaks, and our stems must break at 
 the same time. What happens to a flower when the stem 
 breaks? We must pretend to die as the flower does. " 
 
 Of a Tailor and a Bear 18598 
 
 CAST: The Tailor, The Bear, The Keeper, Group of 
 People outside the Tailor's Shop. 
 
 As the music begins, the Tailor is seated in his shop 
 sewing and pressing. Suddenly a great commotion is 
 heard outside. The Tailor looks up wondering what 
 is happening, but the noise subsides and he resumes 
 his \vork. He hears the commotion again and the Bear 
 appears at the door, walking on all fours clumsily. 
 
 The Bear draws closer and frightens the poor Tailor 
 terribly with his growls. Knowing that bears love music 
 154
 
 DRAMATIZATION 
 
 just as little children do, the tailor seizes the violin, hastily 
 tunes it, and plays music to which the Bear dances, rearing 
 upon his hind legs. The Bear stops. In his terror the 
 Tailor again tunes his violin and plays, and again the Bear 
 dances and growls his pleasure. 
 
 At length the Keeper comes and takes the Bear away 
 (again on all fours). The Tailor is so happy that he 
 draws a deep sigh of relief and begins a merry whistle. 
 
 Have the Bear time his growls accurately with the 
 record, as also the Tailor's tuning of his violin. 
 
 Rhythm Medley Nos. 1 and 218548 
 
 It is suggested that the class be organized into a 
 circus parade, each section performing as its appropriate 
 rhythm is played. MARCH THEME: A Band The leader 
 keeps time with his baton, the others playing trombones, 
 cymbals, and drums. SKIPPING THEME: The Clowns skip 
 and perform amusing antics. FLYING BIRD THEME: The 
 Trained Dogs and Monkeys dance along and turn in time 
 with the waltz rhythm. WHEELBARROW MOTIVE: The 
 Elephants (bodies bent forward) walk lumberingly along, 
 swinging trunks simulated by extending arms full length, 
 palms touching, and swinging arms and bodies from side 
 to side. PLAIN SKIP: The Ponies. Tip-ToE MARCH: 
 Ladies on "high school" or trained horses prance along 
 with mincing steps. MARCH: Another Band. (No. 2) 
 MARCH: A Band on a high wagon. TROTTING, RUNNING, 
 AND HIGH -STEPPING HORSES: Cowboys, Indians, and 
 Soldiers. SKIPPING THEME: The Clowns. MARCH: The 
 Calliope Have a little wagon for the calliope, in which a 
 boy sits and plays on the back of a kindergarten chair 
 to represent the keyboard of the calliope. Another boy, 
 as the horse, draws the cart. 
 
 <* 155 **
 
 THE BOYHOOD OF HANDEL 
 
 About two hundred and thirty-five years ago George 
 Frederick Handel was born in a city named Halle. 
 Strangely enough, another baby boy named Johann Bach, 
 who was to become as famous as George Frederick, was 
 born in the very same year. 
 
 Handel showed his love for music when only a baby. 
 He would listen with delight when the church bells rang, 
 and he crowed with joy when he heard songs called 
 "chorales" sung in the church towers on festival days. 
 He tried to play tunes on toy trumpets and whistles, and 
 when just a little boy organized his playmates into an 
 orchestra. George's father disapproved of this, because 
 he wanted his son to be a lawyer, so he took the toy instru- 
 ments away. He wouldn't even allow any music in his 
 house, and he took George out of school so that he would 
 not be taught music. 
 
 Now, George had a kind aunt who sympathized with 
 his love for music. So she helped him smuggle an old 
 
 156 **>
 
 BOYHOOD OF HANDEL 
 
 harpsichord into the attic. Late at night, after everyone 
 had gone to bed, little George would slip out of bed, climb 
 to the attic, and play softly on his beloved harpsichord. 
 One night the family discovered his secret, and many 
 years later an artist painted the beautiful picture, which 
 tells how the little white-clad boy was surprised as he 
 played beautiful music late in the night. 
 
 One day George's father had to go to the Court of the 
 Duke, and the little fellow begged to be allowed to go, too. 
 But his father wouldn't take him. So George ran after 
 the carriage, and when his father discovered him running 
 along all covered with dust, he felt sorry for him, and took 
 him into the carriage. 
 
 When they reached the court, George wandered into 
 the chapel, where he saw a fine, big organ. He coaxed the 
 organ-blower to let him play. The Duke happened to hear 
 the music as he was strolling in the garden. He was 
 delighted; so he gave George some money, and advised his 
 father to have him trained to be a great musician. 
 
 After Handel returned home, he took lessons from the 
 cathedral organist. The boy progressed so very fast that 
 soon his teacher said that his pupil knew more than he did. 
 
 Soon George's father died. George then went to the 
 big city of Hamburg, where he played in a theatre orches- 
 tra. By this time he was a young man, tall, stout, and dig- 
 nified, with a pleasant smile when in good humor. But 
 Handel, like some little boys to- day, sometimes had a very 
 bad temper. 
 
 Later Handel, who was now recognized as one of the 
 world's greatest musicians, went to England, where he 
 delighted the King by composing some very beautiful 
 music, which, because the King first heard it as he was riding 
 in a boat on the river, was called "The Water Music." 
 uen 157 **
 
 THE BOYHOOD OF MOZART 
 
 Over a hundred and fifty 
 years ago a boy was born 
 who, even while he was yet 
 only a very little lad, was to 
 become one of the world's 
 very greatest musicians. The 
 boy's name was Wolfgang 
 Amadeus Mozart. His father 
 was himself a musician, one 
 of the kindest and most lov- 
 ing of fathers, and he was 
 very good to little Wolfgang 
 and his sister, Anna, whom 
 her brother affectionately 
 called "Nannerl." Never 
 were two children happier. 
 
 While Wolfgang was still a 
 
 very little boy, a dear friend STATUE OF THE YOUNG 
 of his father's, named Schachtner, used to come often to 
 visit the happy family, bringing with him his trumpet, 
 which made little Mozart dance for joy, because the big 
 man played the most delightful games to music. How 
 Wolfgang loved the big, jolly playmate! He would say 
 to him again and again, "Dost thou love me, Herr Schacht- 
 ner?" And he, with a roguish twinkle in his eye, would 
 tease the little boy by answering, "No, I love thee not." 
 When Mozart was three years old, his father began to 
 teach Nannerl to play the piano. (The word piano is sub- 
 stituted for harpsichord.) Then his great delight was to 
 stand by the piano and pick out "thirds" for himself.
 
 BOYHOOD OF MOZART 
 
 Father Mozart was amazed and delighted; so he soon 
 began to give Wolfgang lessons, too. He learned so fast 
 that very soon he was able to play a minuet after practic- 
 ing it only half an hour; and when he was five years old, 
 he began to compose music himself. 
 
 One day Father Mozart found his little son writing 
 away very busily indeed. Noticing that he was making 
 some big blots on the paper, the elder Mozart asked the 
 boy what he was writing. " I am writing a concerto ; it is 
 nearly finished," said the wonderful boy. 
 
 When Wolfgang was six, his father decided to take 
 Nannerl and her brother to the great city of Munich and 
 have them play together before the king. The king and 
 all who heard the children play were astonished and de- 
 lighted, and good Father Mozart was so pleased at the 
 success of his children, especially the little boy, that he 
 decided to take them to Vienna, where the Emperor and 
 Empress lived. The kindly Empress Maria Theresa or- 
 dered that the children should come to the palace and 
 play for her. 
 
 Now, most boys and girls would be frightened if asked 
 to play for a great empress in a wonderful palace. But 
 little Wolfgang didn't know what shyness meant. When 
 he saw the Empress, he went to her and put up his sweet 
 face to be kissed, and then sat on her knee as if he were 
 her own little boy. Then he asked for Mr. W'agenseil, 
 who was a famous composer of music, and when he came, 
 the little Mozart said to him, " Sir, I am going to play one 
 of your concertos. You must turn over the pages for me." 
 And the wonderful boy played the difficult music perfectly ! 
 
 Then an amusing thing happened. W r hen Wolfgang 
 went to receive the thanks of the Empress, he slipped and 
 fell on the glassy floor. The little Princess Marie Antoi- 
 159
 
 MUSIC APPRECIATION 
 
 nette, a pretty little girl just his own age, very kindly 
 helped him to his feet, and the little boy said to her, 
 "You are good; I will marry you." 
 
 When Mozart went home from Vienna, he carried with 
 him as a present a violin, of which he was very proud 
 indeed. Soon a famous violin player came to make the 
 family a visit, and, to the amazement of all, the wonderful 
 boy asked permission to play his violin with his father and 
 the famous violinist. Father Mozart never supposed for 
 a minute that little Wolfgang could play the difficult music 
 on the violin. Imagine his surprise and delight when the 
 marvelous boy played his part without a single mistake! 
 
 Such a sunny-tempered, happy boy he was! And what 
 jolly times the boy and his ever-kind father had together! 
 They had such fun playing games, always to music. 
 Every night before Wolfgang went to bed, he and his 
 father sang a little duet of nonsense rhymes. And that 
 was only one of the amusing things they did to music. 
 
 When Mozart was still but a little boy, he learned to 
 play a great church organ, and the good organist was so 
 amazed at the boy's playing that he wrote on the organ 
 Mozart's name as a remembrance of this "wonder god." 
 
 Wolfgang and Nannerl visited many other great cities 
 where they played so wonderfully in public that people 
 couldn't do enough to honor them. But they weren't 
 spoiled a bit, which shows what very good children they were. 
 
 By the time Mozart was ten years old, people consid- 
 ered him the greatest musician in the world. Before he 
 died, while still only a young man, he composed some of the 
 most beautiful music that man ever made, music which boy 
 and girls love to hear again and again as long as they live. 
 
 NOTE For boyhood of Stradivarius, see Pan and His Pipes: "The 
 Violin Makers of Cremona," pages 49 to 53. 
 
 u 160
 
 THE BOYHOOD OF MENDELSSOHN 
 
 A little over a hundred years ago, there was born in the 
 city of Hamburg a baby, who, while he was still but a 
 little boy, was to compose some of the world's most beauti- 
 ful music. 
 
 His parents named him Felix, which, you know, means 
 "happy," and never was a boy better named, for never did 
 any one have a happier childhood. Little Felix's father 
 was well-to-do, so he and his brothers and sisters had 
 everything that could make children happy. 
 
 Before Mendelssohn was three years old, the family 
 moved to Berlin, where Felix often played for company, 
 always most willingly. Sometimes he played duets with 
 
 POETZELBERGER MENDELSSOHN AND His SISTER 
 
 161
 
 MUSIC APPRECIATION 
 
 his sister, Fanny, who was also a fine pianist. As he grew 
 older, his skill as a musician increased, and the fame of his 
 genius spread far and wide. 
 
 Felix was the most affectionate child you can imagine, 
 and he especially loved his sister, Fanny, with whom he 
 liked to play all sorts of jolly games. One day they were 
 in the garden playing that Felix was a bold brigand chief 
 and Fanny a poor captive girl whom he was carrying away 
 to the mountains. Suddenly the sport was interrupted by 
 the appearance of their music teacher, Mr. Zeller, who told 
 the delighted little boy that he was going to take him to 
 Weimar to see the great poet, Goethe. 
 
 Goethe asked the sweet-faced lad to play for him, be- 
 cause he knew that already Felix had become famous as a 
 wonderful boy pianist. After he had listened with the 
 greatest pleasure to the lovely music, he laid his hand on 
 Mendelssohn's head, and said, "You have given me an 
 hour of pleasure. What can I do for you?" 
 
 "Sir," replied Felix, "I should be glad if you would give 
 me a kiss." Never did a boy have a sweeter, sunnier dis- 
 position, and you may be sure that in return everyone 
 loved the lad dearly. 
 
 When Mendelssohn was seventeen years old, he and 
 his brothers and sisters acted the charming fairy play of 
 the great Shakespeare, A Midsummer-Night's Dream, 
 and for the performance Felix composed the most wonder- 
 ful fairy music. 
 
 You can tell from his picture as a man that Mendels- 
 sohn must have been a beautiful child. And indeed he was, 
 with his delicate, almost girlish face, golden-brown curls, 
 and laughing eyes and mouth. 
 
 When he and Fanny were still very young, they had to 
 get up every morning at five to practice and study; so
 
 BOYHOOD OF MENDELSSOHN 
 
 you see they worked as hard as they played. Felix began 
 to compose music when he was only twelve years old. 
 When he was fifteen, his brown curls were cut off, and he 
 began to wear long trousers like a man. He loved out-of- 
 door life, as his music clearly tells us. He liked to ride 
 horse-back, and to swim. Indeed, he loved the sea, and 
 once said, "I think I love the sea almost better than the 
 sky!" 
 
 Be sure to hear and learn to love the music of this 
 happy boy the music of youth, of spring, of fairies, and 
 flowers.
 
 CALENDAR OF SPECIAL DAYS FOR THE 
 SCHOOL YEAR 
 
 The school calendar with its holidays and festive 
 occasions offers rich opportunity for the presentation of 
 supplementary and correlative music. Special programs 
 for any of these days, or pageants, may be easily arranged. 
 The marches (for list see Graded School Catalogue), 
 dances, both folk and interpretative, may be found in 
 abundance in the rhythmic section. 
 
 For birthdays, special music of the country or time 
 in which the personage lived, may be adapted. Flag 
 drills, in costume, to any of the marches and some of the 
 dances, will grace the patriotic programs, while flower 
 drills (with bird records added) will enliven many of the 
 other special days listed. 
 
 ST. PATRICK'S DAY 
 1(54
 
 SPECIAL DAYS 
 
 SEPTEMBER 2 Birthday of Eugene Field (1850-1895) 
 SEPTEMBER 14 Anniversary of Star-Spangled Banner 
 OCTOBER 7 Birthday of James Whitcomb Riley (1852-1917) 
 OCTOBER 12 Columbus Day 
 OCTOBER 31 All Hallowe'en 
 NOVEMBER 6 Birthday of Sousa (1856- ) 
 NOVEMBER Thanksgiving Day last Thursday. 
 DECEMBER 17 Birthday of John Greenleaf Whittier (1807-1892) 
 DECEMBER 25 Christmas 
 
 JANUARY 27 Birthday of Mozart (1756-1791) 
 JANUARY 31 Birthday of Schubert (1797-1828) 
 FEBRUARY 12 Birthday of Abraham Lincoln (1809-1865) 
 St. Valentine's Day 
 
 nr , , 
 
 Week of Son g 
 
 FEBRUARY 14 
 
 FEBRUARY 17-23 1 
 
 FEBRUARY 18-24 j 
 
 WEEK INCLUD- f Birthday of George Washington (1732-1799) 
 
 ING FEB. 22 I Birthday of Handel (1685-1759) 
 FEBRUARY 27 Birthday of Longfellow (1807-1882) 
 MARCH 17 St. Patrick's Day 
 
 MARCH or APRIL Easter 
 
 APRIL 2 Birthday of Hans Christian Andersen (1805-1875) 
 
 APRIL American Bird Day (Second Friday) 
 
 APRIL 19 Patriot's Day 
 
 APRIL 26 Arbor Day (in some States) 
 
 MAY 1 May Day 
 
 MAY Mother's Day (Second Sunday) 
 
 MAY 30 Memorial Day 
 
 JUNE 14 Flag Day 
 
 JULY 4 Independence Day 
 
 SALUTE TO THE FLAG 
 
 von 165 ""
 
 CARD SUGGESTED FOR INDEXING RECORDS 
 
 FRONT 
 
 Title 
 
 No. 
 
 yocal _ Instrumental / Recitation Bird 
 Accompaniment 
 * Mooda 
 
 Deeoriptive 
 
 Pure 
 
 * " Moods" refers to the emotional temper of the music, whereas " character " refers rather 
 to tempo, dynamics, kind or style.
 
 CARD SUGGESTED FOR INDEXING RECORDS 
 
 FRONT 
 
 Titles 
 
 Ho 
 
 Compose r 
 
 Author 
 
 Nationality of Composer 
 
 i/tsi 
 
 Artist 
 
 Vocal Instrumental Recitation Bird 
 
 Acconrpaniment 
 
 Character 
 
 Descriptive 
 
 Pure 
 
 Ways to use; 
 
 J*
 
 CARD SUGGESTED FOR INDEXING RECORDS 
 
 FRONT 
 
 NO. 
 
 Author 
 
 Nationality of 
 
 t^ 
 
 Artist 
 
 Claris Csht 
 
 Vocal Instrumental V* Recitation Bird 
 
 Accompaniment 
 
 
 Descriptive 
 
 ^ 
 
 Pure 
 
 ways to 
 
 ' J/ 
 
 
 >1 
 
 e^ .J)* 

 
 INDEX OF RECORDS USED 
 
 Page 
 
 Adeste Fideles.32, 95, 97, 101, 106 
 Ah! Vous Dirai-Je, Maman.58, 61 
 
 AH Through the Night 77, 80, 
 
 81, 109 
 Amaryllis... 45, 101, 105, 107, 131 
 
 America 51 
 
 Andante (Beethoven Fifth) 80 
 
 Andante (Haydn Surprise) 80 
 
 At the Brook. . .67, 75, 77. 91, 92, 
 101, 106, 109, 119, 136 
 
 Aubade Provencale 137 
 
 Au Clair de la Lune . . .55, 61, 101 
 Autumn Lullaby 51 
 
 Baa, Baa, Black Sheep. 50, 53, 87, 
 90, 91, 147 
 
 Baby Dear 50 
 
 Badinage 77 
 
 Ballet Music from "Rosamunde" . 
 77, 80, 108 
 
 Ballet Music from "William Tell" 
 37, 106, 109 
 
 Bean Porridge Hot 50 
 
 Bee, The. .67, 75, 87, 89, 101, 103, 
 
 106, 109, 120, 123, 136 
 
 Berceuse from "Jocelyn" . 77, 80, 81 
 
 Bird Chorus 121, 134 
 
 Birds in the Night. . .:J1, 77, 80. 81 
 
 Birds of the Forest. . .75, 101, 105, 
 
 136 
 
 Blacksmith, The 50, 51 52, 
 
 Blue Bird 50, 136 
 
 Boat Song 54 
 
 Bobby Shafto 50 
 
 Bobolink 136 
 
 Brook, The 119 
 
 Brooklet, The 119 
 
 Bunny, The 50, 82, 86, 136 
 
 Buttercups .50. 51, 92, 95, 136 
 
 Butterfly, The. . .75, 101, 108, 136 
 
 Bylo 50 
 
 By the Brook 67, 75, 101, 109. 
 
 119, 136 
 
 By the Shores of Gitchie Gumee 
 140 
 
 Page 
 Canary and Thrush Duet . 135, 136 
 
 Canzonetta 37 
 
 Capricietto 137 
 
 Capricieuse 77 
 
 Carrousel 44 
 
 Cat-Tails 50, 91, 93, 136 
 
 Cavatina (Raff) 109 
 
 Cherry Sweet 50 
 
 Chicken, The 136 
 
 Chicken Little 141, 142 
 
 Chimes of Dunkirk 44 
 
 Christmas Hymns 80, 101 
 
 Cinderella. . 142 
 
 Cinquantaine, La. . .37, 41, 45, 80, 
 96, 97, 101, 104, 105, 107, 109, 116 
 
 Clayton's Grand March 41 
 
 Colombia Waltz 45 
 
 Come Thou Fount of Every 
 
 Blessing 31, 101, 104 
 
 Corn Soldiers. . . .45, ,50 110, 111, 
 
 136 
 
 Country Dance 41 
 
 Cradle Song (Brahms) 32, 54 
 
 Crooked Man 53 
 
 Cuck-Coo Clock .51, 96, 99 
 
 Cuckoo Music 51, 136 
 
 Cupid and the Butterfly. . .37, 82, 
 84, 85 
 
 Cupid's Garden 80, 101, 104 
 
 Cygne. Le. . .66, 75. 77, 80, 95, 96, 
 97, 108, 109, 136 
 
 Daffodils 51, 136 
 
 Dance Characteristic. 41,103, 105 
 
 Dance of Greeting 44, 107 
 
 Dance of the Happy Spirits 
 
 Orpheus 37, 77, 101, 104 
 
 Dance of the Song Birds 136 
 
 Dancing in May Ill 
 
 Dancing Song 112 
 
 Dans les Bois 75 
 
 Danse Chinoise 75, 106 
 
 Danse des Mirlitons. . .75. 77, 106, 
 
 137 
 
 169
 
 Page 
 
 Dawn of Love. . .96, 97, 101, 10.5, 
 106, 116 
 
 Dew Drop, A 50, 136 
 
 Diddle, Diddle, Dumpling 50 
 
 Did You Ever See a Lassie .... 43 
 Dog and the Kitty Cats, The. . 142 
 
 Don Giovanni (Menuett) 45 
 
 Dorothy. . .37, 41, 45, 87, 90, 105, 
 106, 108 
 
 Dorothy Three-Step 101 
 
 Drink To Me Only With Thine 
 
 Eyes 80 
 
 Drowsy Maggie 127 
 
 Dublin Jig Medley 127 
 
 Duel, The \ 143 
 
 Epaminondas and His Auntie. . 143 
 
 Eros Waltz 41, 106 
 
 Evening Chimes 75, 77 
 
 Ewa-Yea! 53, 140 
 
 Fais Dodo, Colas 56, 61 
 
 Farandole 44, 131 
 
 Feast of Lanterns 50 
 
 Fedora Gavotte 80, 101, 109 
 
 Fire, The 50 
 
 First of May, The 43 
 
 First Nowell 32, 101, 106 
 
 Flower Song 137 
 
 Fountain, The. .75, 101, 106, 120, 
 127, 136 
 
 Four Leaf Clover 120 
 
 Fox as Herdsman, The 143 
 
 France National Air 130 
 
 French Folk Songs. . 55, 56, 57, 58, 
 59, 60, 61, 131 
 
 Frere Jacques 60 
 
 Froggies' Swimming School. . .136 
 From an Indian Lodge . 75, 108, 137 
 Funiculi-Funicula . . . . 128 
 
 Gavotte (Aletter) 80 
 
 Gavotte (Gossec). .45, 80, 101, 109 
 Gavotte (Gretry). . .37, 41, 45, 80, 
 * 101, 103, 104. 106 
 Gavotte (Mozart) 41, 101, 104, 137 
 Gavotte (Popper) 37, 107 
 
 Page 
 Gavotte from "Mignon". .41, 106, 
 
 108 
 
 Georgie Porgie 50 
 
 Giants, The 45, 50 
 
 Gingerbread Boy 143, 144 
 
 Gingerbread Man 51 
 
 Gloria Patri 127 
 
 Go to Sleep, Dolly 50 
 
 Golden Trumpet Schottische. . . 37, 
 41, 101, 105, 108 
 Goldilocks and the Three Bears 
 
 144 
 
 Goldfinch, The 136 
 
 Good-Night and Christmas 
 
 Prayer 51 
 
 Gustaf's Skal 44 
 
 Hand Organ . 51 
 
 Happy Days March 105 
 
 Happy Land. .31, 87, 91, 101, 104 
 Hark! Hark! the Lark.. 54, 77, 122 
 Haydn Military Symphony 37, 107 
 Hear the Music of the Drum ... 50 
 
 Her Blanket 53 
 
 Here We Go Round the Mul- 
 berry Bush 43 
 
 Hey, Diddle, Diddle 50 
 
 Hiawatha's Childhood 54, 137 
 
 Hickory Dickory Dock . . 146, 147 
 
 High-Stepping Horses. .41, 72, 73, 
 
 75, 82, 86, 101, 104 
 
 Hopp, Mor Annika 44 
 
 Horses or Reindeer Running. . .72, 
 
 73, 75 
 
 Household Hints 51 
 
 How Birds Sing 134 
 
 How D'ye Do, My Partner. . . .43 
 How Lovely are the Messengers 80 
 How Many Miles to Babylon. .50, 
 
 87, 88 
 
 Humoresque. ...77, 80, 101, 104, 
 105, 107, 109 
 Humoresque (With Bird Voices) 
 
 136 
 
 Humpty Dumpty 146 
 
 Hungry Windmill 51 
 
 Hunt in the Black Forest.. 136, 
 149, 150 
 
 170 *>
 
 Page 
 
 Hush, My Babe ... 31, 77, 82, 84, 
 101, 103, 106 
 
 Idyll. . .80, 101, 104, 105, 106, 107 
 
 If With All Your Hearts. .80, 81, 
 
 108, 109 
 
 I Love Little Pussy 50, 136 
 
 II Pleut, il Pleut, Bergere 56 
 
 In a Clock Store. .. .69, 70, 71, 75, 
 
 101, 103, 105, 107 
 
 In a Gondola 129 
 
 In Lilac Time 41, 87, 88, 108 
 
 In the Belfry 45, 50, 111, 112 
 
 In the Park Tenth Regiment. 41, 
 101 
 
 Indian Lament 137 
 
 Irish Lilt 127 
 
 I See You 44, 45, 106 
 
 Isoline Ballet Valse 80, 109 
 
 Italy Royal March 127 
 
 Jack and the Beanstalk 142 
 
 Jack-in-the-Pulpit 45, 50, 110, 
 
 112, 136 
 
 J'ai du Bon Tabac 59, 61 
 
 Jap Doll 51, 53 
 
 Jolly General March 41, 105 
 
 Jolly is the Miller 44 
 
 Joy of the Morning 54, 77 
 
 Katydid 136 
 
 Kinderpolka 44 
 
 Klappdans 44 
 
 La Bonne Aventure 59, 61 
 
 La Casquette du Pere 59, 60 
 
 La Cinquantaine. . .37, 41, 45, 80, 
 96, 97, 101, 104, 105, 107, 109, 116 
 
 La Mere Michel 53, 57, 61 
 
 La Mist' en 1' Aire 53, 60 
 
 Largo (Handel) 137 
 
 Largo New World Symphony. 80 
 
 Lassies' Dance 44 
 
 Leaves' Party 51, 52, 136 
 
 Le Pont d' Avignon 58, 130 
 
 Let Us Chase the Squirrel .43, 111 
 
 Liebesfreud 80 
 
 Linden Tree. . . .54 
 
 Page 
 
 Lithuanian Folk Song 54 
 
 Little Birdie 50, 130 
 
 Little Bit of Heaven, A 126 
 
 Little Bo-Peep 50, 53 
 
 Little Boy Blue 54 
 
 Little Bull Calf 136, 144, 145 
 
 Little Christmas Shoes 51 
 
 Little Dustman 54 
 
 Little Firefly 136 
 
 Little Hunters. . .73, 75, 101, 103, 
 104, 105, 115, 150 
 
 Little Jack Homer 50, 83 
 
 Little Jackal and the Alligator 
 
 136, 145 
 
 Little Miss Muffet 146 
 
 Little Nancy Etticoat 146 
 
 Little Red Hen, The 136, 145 
 
 Little Red Riding Hood 145 
 
 Little Shoemaker 50, 52 
 
 Lo, Here the Gentle Lark.. 54, 122 
 
 Looby Loo 43 
 
 Lott' ist Tod 44 
 
 Lullaby (Brahms). .80, 91, 93, 107 
 Lullaby (Bredt- Verne) . .101, 104, 
 
 106 
 
 Lullaby from "Erminie". . .31, 77, 
 80, 107, 109, 120 
 
 Malbrouck 58 
 
 Mammy's Song 54 
 
 Marche Militaire 77, 104, 105 
 
 March Miniature 77, 104, 105, 106 
 
 March of the Toys.. 69, 75, 101, 
 
 103, 107 
 
 Marseillaise 130 
 
 Ma's Little Pigs 45 
 
 May Breeze 137 
 
 Mazurka 45, 107 
 
 Marguerites 51, 136 
 
 Medley of National Airs 130 
 
 Melody in F. .81, 92, 93, 101. 104, 
 
 122 
 
 Menuett (Don Giovanni) 45 
 
 Menuett (Gluck) 41, 106, 108 
 
 Menuett (Handel) 80 
 
 Menuett (Mozart). . .41. 106, 108, 
 
 137 
 Menuett (Valensin) 37
 
 Page 
 
 Merry Christmas 51 
 
 Merry Makers from "Nell 
 
 Gwyn" 37, 80 
 
 Midsummer-Night's Dream 
 
 Overture.. 77, 150, 151, 152, 153 
 Military Escort March. 37, 41, 101 
 Minuet (Boccherini) . .80, 101, 108 
 
 Minuet (Paderewski) 45, 109 
 
 Minuet (Haydn Military 
 
 Symphony) 37, 107 
 
 Minuet in G (Beethoven) . .45, 80, 
 
 99, 101, 104, 105, 107, 109, 124 
 
 Minute Waltz. .68, 75, 77, 87, 88, 
 
 101, 104, 106 
 
 Mocking Bird, The (Whistling) 136 
 Mocking Bird, The (Xylophone) 
 
 136 
 
 Moment Musical. .41, 77, 80, 103, 
 105, 108, 124 
 
 Mother Goose No. 1 82, 83 
 
 Mother Goose Jingles. . . 146, 147 
 
 Mother Goose Lullaby Ill 
 
 Mother's Prayer 50 
 
 Morning (Grieg) 77, 137 
 
 Motive for Running 41 
 
 Motive for Skipping.. . .41, 82, 86, 
 101, 107 
 
 Mr. Chicken 50 
 
 Mr. Duck and Mr. Turkev. .50, 
 92, 94, 95, 136 
 
 Mr. Squirrel 50, 136 
 
 Muffin Man, The 43 
 
 Musette (Gluck) 37, 80, 108 
 
 My Old Kentucky Home. 80, 101, 
 
 108 
 My Shadow 51, 53 
 
 Naming the Trees. .50, 87, 90, 110, 
 
 136 
 
 Narcissus. . .80, 101, 106, 108, 136, 
 153. 154 
 
 Nazareth 32 
 
 Needle's Eye 43 
 
 Nell Gwyn Merry Makers. 37, 80 
 Nell Gwyn Pastoral Dance ... 80 
 New World Symphony Largo . 80 
 
 Night Before Christmas 147 
 
 Nightingale, The 50. 136 
 
 Page 
 
 Nocturne in E Flat (Chopin) . . 77, 
 
 121 
 
 Noel 80, 118, 137 
 
 Nutcracker Suite 108 
 
 Oats, Peas, Beans 43 
 
 Of a Tailor and a Bear . . 74, 75, 92, 
 
 93, 94, 101, 104, 107, 109, 114, 
 
 154, 155 
 
 Old Black Joe 80, 81 
 
 Old Chanticleer 50, 53, 136 
 
 Old Folks at Home 80, 81, 101 
 
 Old Mother Hubbard 50 
 
 On the Bridge 101 
 
 On the Wing Galop. 37, 41, 101, 
 104, 105, 109 
 
 On Wrings of Song 137 
 
 Orpheus Dance of Happy 
 
 Spirits 37, 77, 101, 104 
 
 Our Flag 50, 51, 122 
 
 Our Hired Girl 147, 148 
 
 Our Little Girls 45 
 
 Overture Midsummer-Night's 
 
 Dream. . .77, 150, 151, 152, 153 
 Owl, The 51, 136 
 
 Pancake Story 147 
 
 Pastoral Dance from "Nell 
 
 Gwyn" 80 
 
 Pastoral Symphony from "Mes- 
 siah" 77, 80, 137 
 
 Patriotic Airs of the Allies 128 
 
 Patriotic Medley March ..41. 72, 
 75, 77 
 
 Pickaninny's Lullaby 54 
 
 Pirouette 80, 101 
 
 Pit-a-Pat 50. 53 
 
 Poet's Vision 101 
 
 Polonaise Militaire 77 
 
 Pop Goes the Weasel 41 
 
 Poppy Lady 50,136 
 
 Poppies 136 
 
 Popule Meus 127 
 
 Postilion, The 51 
 
 Praeludium (Jiirnefeldt) ... 77, 80, 
 
 101. 106 
 
 Pretty Tulip 50, 136 
 
 172
 
 Page 
 
 Promenade en Bateau .56, 61 
 
 Pull a Cherry 50 
 
 Pussy Cat 50, 136 
 
 Raggedy Man 147, 148 
 
 Rain Song 50. 136 
 
 Reap the Flax 127 
 
 Reconciliation Polka 80, 104 
 
 Red, White and Blue 51 
 
 Rhythm Medley No. 1 . .41, 92, 95, 
 
 101, 104, 108, 155, 
 
 Rhythm Medley No. 2. .41, 92, 95, 
 
 101, 104, 108, 155 
 
 Ride a Cock Horse 50, 82, 86 
 
 Rigaudon 80, 108, 109 
 
 Riggety Jig. . .50, 51, 52, 111, 112 
 
 Rigodon Rameau 80 
 
 Rinnce Fada 127 
 
 Robin Red Breast 51, 136 
 
 Robin's Return 136 
 
 Rock-a-bye, Baby. .31, 50, 74, 75, 
 77, 87, 88, 89, 101, 103, 104, 109 
 
 Rondino 80, 101 
 
 Round and Round the Village. .43 
 
 Royal March Italy 127 
 
 Running Reindeers . 72, 73, 75, 101 
 
 Sacrifice, The 137 
 
 Salut d' Amour 80, 108 
 
 Sandman, The 54 
 
 Savez-vous Planler les Choux.' 
 
 56, 57, 61 
 
 Scale Exercises 50 
 
 Scherzo (Dittersdorf J 37, 80 
 
 See-Saw 45, 50, 51, 106 
 
 See-Saw, Margery Daw .... 50, 52 
 See, the Conqu'ring Hero Comes 
 
 77, 80, 81, 108, 137 
 Serenade (Moszkowski) . .32, 82, 
 85, 101, 104, 105 
 Serenade (Moszkowski) (With 
 
 Bird Voices) 124 
 
 Serenade (Schubert) .. 80, 101, 108, 
 
 109 
 Serenade (Titl) . . .80, 101, 107, 109 
 
 Serenade (Tosti) 80 
 
 Serenade (Pierne) .77, 80, 101, 106 
 
 Page 
 
 Seven Jumps 44 
 
 Seven Pretty Girls 44 
 
 Shepherd's Dance 80 
 
 Shepherd's Hey 80 
 
 Shoemaker's Dance 44, 107 
 
 Silent Night. .32, 77, 80. 101, 107, 
 
 137 
 
 Simple Confession 137 
 
 Sing a Song of Sixpence. .50, 146, 
 
 147 
 
 Singing School 45, 50, 111 
 
 Six Little Puppies 50, 136 
 
 Skipping . 41, 82, 86, 101, 107, 155 
 
 Sleep, Baby, Sleep 50 
 
 Sleighing Song 50, 51 
 
 Sleep, Little Baby of Mine 54 
 
 Slumber Boat. . . . 51, 54, 123 
 
 Slumber Sea 54 
 
 Slumber Song 51 
 
 Soldier Boy 43, 51 
 
 Soldiers 50 
 
 Song of Iron 51, 96, 98 
 
 Song of Autumn 122 
 
 Song of a Nightingale 121 
 
 Song of a Nightingale No. 2. . . 135 
 
 Song of a Sprosser 135 
 
 Song of a Thrush 120, 135 
 
 Songs of Our Native Birds No. 1 
 
 123, 134 
 Songs of Our Native Birds No. 2 
 
 123, 134 
 Songs and Calls of Our Native 
 
 Birds No. 3 116, 135 
 
 Songs and Calls of Our Native 
 
 Birds No. 4 116, 135 
 
 Sounds of the Forest Part 1 ... 119, 
 
 135 
 Sounds of the Forest Part 2 ... 1 19, 
 
 135 
 
 Souvenir (Drdla) 80, 104, 108 
 
 Spanish Dance (Sarasate) 80 
 
 Spanish Gypsy 54 
 
 Spinning Song. . . 74, 75. 101, 104. 
 106, 114, 115 
 
 Spring Song (Mendelssohn). . . .80, 
 
 101, 105, 107, 118, 137 
 
 Spring Voices. . . .75, 119, 121, 137 
 
 Squirrel, The 45, 110, 113, 136 
 
 173
 
 Page 
 
 St. Patrick's Day 127 
 
 Star Child, A 51 
 
 Star-Spangled Banner 122 
 
 Standard Hearer March 41 
 
 Sugar Plum Tree 148 
 
 Swallows, The 54 
 
 Swan, The . . 66, 75, 77, 80, 95, 96, 
 97, 108, 109, 136 
 
 Swanee River 96, 98, 105 
 
 Sweet and Low. . .80, 81, 107, 137 
 
 Sweet Pea Ladies 50, 136 
 
 Swing Song 50 
 
 Sylvia Ballet March .... 101, 105 
 
 Sylvia Ballet Pizzicato . . .37, 41, 
 
 77, 80, 82, 86, 101, 103, 123 
 
 Tantoli 130 
 
 Tarantella 37, 101, 129 
 
 Teddy Bears' Picnic. .37, 69, 75, 
 82, 85, 101, 103 
 Theme for High Stepping Horses 
 
 41, 72, 73, 75, 82, 86, 101, 104 
 
 Theme for Skipping.41, 82, 86, 101, 
 
 155 
 
 Three Billy Goats Gruff 148 
 
 Three Little Pigs, The. . . 148, 149 
 Then the Little Hiawatha .... 140 
 
 Tick-Tock 50, 51 
 
 Tiddlely-Winks and Tiddlely- 
 
 Wee 50 
 
 To a Wild Rose (Celesta) . .32, 77, 
 
 80, 92, 95, 101, 104, 105, 108, 121, 
 136, 137 
 
 To Spring (Grieg) 118, 137 
 
 Tracks in the Snow 50, 136 
 
 Traumerei 32, 77, 80, 101, 106 
 
 Page 
 
 Trempe Ton Pain 57, 61 
 
 Tulips 50, 51, 136 
 
 Twilight 75, 77 
 
 Twinkle, Twinkle 50 
 
 Valse Bluette 106, 107 
 
 Voices of the Woods 136 
 
 Violet, The 50, 136 
 
 Violets 51, 136 
 
 Wah-wah-taysee 53, 136, 140 
 
 Waltz in C Sharp Minor 108 
 
 Waltzing Doll. 75, 77, 101, 104, 107 
 
 Wedding of the Winds 45 
 
 What Does Little Birdie Say. .50, 
 
 136 
 
 Whirlwind, The. .74, 75, 77, 95, 
 
 96, 101, 106, 107, 108, 136, 137 
 
 Whispering Flowers. . 75, 77, 106, 
 
 108 
 
 Wild Horseman . . 37, 45, 73, 75, 
 
 82, 86, 101, 103, 108, 114 
 
 William Tell Ballet Music. . . .37, 
 
 106, 109 
 
 Will-o'-the-Wisp 75, 108 
 
 Wind Amongst the Trees. . . .107, 
 124, 136, 137 
 
 Winds, The 50 
 
 Windmill, The 45, 50, 111 
 
 Wind and the Sun 136 
 
 Wise Bird, The 50, 136 
 
 Woodpecker, The 51, 136 
 
 Wren, The . 54, 75, 87, 91, 101, 105, 
 
 107, 136, 137 
 
 Wvnken, Blvnken, and Xod. . .149 
 
 174
 
 NUMERICAL LIST OF RECORDS USED 
 
 16001 
 
 17472 
 
 17917 
 
 18598 
 
 35625 
 
 64198 
 
 64841 
 
 16136 
 
 17510 
 
 17928 
 
 18599 
 
 35636 
 
 64201 
 
 
 16387 
 
 17513 
 
 17937 
 
 18622 
 
 35643 
 
 64202 
 
 67201 
 
 16474 
 
 17521 
 
 
 18639 
 
 35644 
 
 64204 
 
 67896 
 
 16835 
 
 17532 
 
 18015 
 
 18648 
 
 35657 
 
 64218 
 
 
 16969 
 
 17548 
 
 18017 
 
 18649 
 
 35664 
 
 64220 
 
 70026 
 
 16974 
 
 17567 
 
 18018 
 
 18655 
 
 
 64264 
 
 70031 
 
 16995 
 
 17568 
 
 18049 
 
 18664 
 
 45052 
 
 64267 
 
 70053 
 
 
 17580 
 
 18074 
 
 18665 
 
 45053 
 
 64281 
 
 
 17002 
 
 17581 
 
 18076 
 
 18684 
 
 45057 
 
 64324 
 
 72165 
 
 17004 
 
 17596 
 
 18083 
 
 18685 
 
 45058 
 
 64373 
 
 72166 
 
 17035 
 
 17600 
 
 18127 
 
 
 45061 
 
 64374 
 
 
 17039 
 
 17625 
 
 18142 
 
 35007 
 
 45085 
 
 64392 
 
 74052 
 
 17084 
 
 17646 
 
 18164 
 
 35155 
 
 45096 
 
 64437 
 
 74088 
 
 17086 
 
 17668 
 
 18208 
 
 35225 
 
 45102 
 
 64530 
 
 74100 
 
 17104 
 
 17674 
 
 18216 
 
 35228 
 
 45107 
 
 64542 
 
 74164 
 
 17121 
 
 17681 
 
 18223 
 
 35241 
 
 45113 
 
 64543 
 
 74180 
 
 17143 
 
 17686 
 
 18243 
 
 35262 
 
 45116 
 
 64576 
 
 74183 
 
 17158 
 
 17691 
 
 18253 
 
 35293 
 
 45158 
 
 64577 
 
 74196 
 
 17159 
 
 17693 
 
 18276 
 
 35324 
 
 45163 
 
 64600 
 
 74202 
 
 17160 
 
 17719 
 
 18296 
 
 35397 
 
 
 64605 
 
 74294 
 
 17174 
 
 17735 
 
 18314 
 
 35418 
 
 55049 
 
 64614 
 
 74336 
 
 17198 
 
 17761 
 
 18323 
 
 35420 
 
 55054 
 
 64644 
 
 74366 
 
 17208 
 
 17776 
 
 18330 
 
 35448 
 
 55092 
 
 64670 
 
 74384 
 
 17212 
 
 17777 
 
 18338 
 
 35470 
 
 62660 
 
 64705 
 
 74387 
 
 17216 
 
 17784 
 
 18361 
 
 35493 
 
 
 64706 
 
 74395 
 
 17327 
 
 17840 
 
 18368 
 
 35499 
 
 64074 
 
 64734 
 
 74444 
 
 17330 
 
 17842 
 
 18389 
 
 35530 
 
 64076 
 
 64758 
 
 74539 
 
 17331 
 
 17844 
 
 18418 
 
 35532 
 
 64103 
 
 64760 
 
 74567 
 
 17332 
 
 17868 
 
 18440 
 
 35595 
 
 64121 
 
 64766 
 
 74583 
 
 17368 
 
 17869 
 
 18448 
 
 35608 
 
 64139 
 
 64784 
 
 
 17454 
 
 17897 
 
 18548 
 
 35617 
 
 64197 
 
 64792 
 
 88073 
 
 175
 
 FLUTE 
 
 I 
 
 PICCOLO I 
 
 PERCUSSION 
 
 
 
 THE INSTRUMENTS OF THE 
 
 ORCHESTRA BY SIGHT, 
 
 SOUND AND STORY 
 
 A series of eighteen charts 14" x 22' 
 showing the instruments in absolute accu- 
 racy of color and detail: two double-face 
 records which give the tone color of 
 every one in appropriate e.xcerpts; and 
 an accompanying booklet giving a 
 full description and history of the in- 
 struments. These three units together 
 offer for the first time in history the 
 practical means of a complete study of 
 the instruments of the orchestra. 
 
 The microscopic accuracy of detail 
 which has been observed in the prepara- 
 tion of each chart enables older students 
 to analyze the physical properties of each 
 instrument with complete clarity. Their 
 attractive coloring and size make in- 
 stant appeal, and even little children 
 may receive a general impression of the 
 appearance of such instruments as they 
 may hear. 
 
 Consult any Victor Dealer, or write 
 for full information to the 
 
 Educational Department 
 
 VICTOR TALKING MACHINE CO. 
 
 Caniden, New Jersey, U. S. A. 
 
 
 XYLOPHONE 
 
 BELLS 
 
 TRUMPET 
 
 VIOLONCELLO 
 
 VIOI./N
 
 Victor Educational Literature 
 
 FOR FREE DISTRIBUTION 
 
 A Graded List of Victor Records for Children 
 in Home and School. A catalogue of 280 pages, 
 featuring nearly one thousand records, carefully classi- 
 fied and graded, with illustrations and descriptive notes. 
 
 The Victrola in Physical Education, Recreation, 
 and Play. For Folk Dances, Calisthenics, Drills, 
 Marches, etc. 63 pages (illustrated). 
 
 The Victrola in Rural Schools gives material, 
 information and instruction for general use in the 
 rural school. 110 pages (illustrated). 
 
 The Victrola in Americanization. A compre- 
 hensive booklet on the service of music in winning 
 the foreign born to true American principles and 
 ideals. 40 pages (illustrated). 
 
 FOR SALE BY DEALERS 
 
 Pan and His Pipes, and Other Tales for 
 Children, by Katherine D. Gather. Ten stories of 
 Music in Myth and History. A suggestive list of Victor 
 Records illustrates each story. 84 pages (illustrated). 
 
 What We Hear in Music, by Anne Shaw Faulkner. 
 Illustrated book of 442 pages. A complete course in 
 Music History and Appreciation. 120 lessons exem- 
 plified at every point by Victor Records. 
 
 Victrola Book of the Opera, by S. H. Rons. 
 Illustrated book of 436 pages, giving complete story 
 of 100 Grand Operas, with list of all Opera Records. 
 The most complete and satisfactory method of study- 
 ing the Operas. 
 
 Copies may be obtained from any Victor Dealer 
 
 For further information write to Educational Department 
 Victor Talking Machine Co., Camden, \. J., U. S. A.
 
 Victor Talking Machine Company, Cainden, 
 
 Printed September, 1920 
 
 4905 RTA 8-21-20
 
 

 
 UC SOUTHERN REGIONAL LIBRARY FACILITY 
 
 A 001 059 485 1 
 
 MUSIC 
 LIBRAR1 
 
 MT 
 
 920 
 Vbbmu 
 
 UNIVERSITY OF CALIFORNIA LIBRARY 
 
 Los Angeles 
 This book is DUE on the last date stamped below. 
 
 MAk a - 
 
 JUIY [ J ,975 
 MDS--OI 
 
 5 1977 
 
 
 DEC 
 
 - 1977 
 2 1581 
 
 MUS-UB 
 
 - 
 
 MUS4II 
 
 Form L9-Series 4939 
 
 FEB22 1990