Music Lib. MT 920 V66mu JSIC APPRECIATION FOR JTTLE CHILDREN ''HIS MASTER'S VOICE" it: U.S.PAT.OFF. THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES Mlb, UBRAKi 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 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. 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