ILLINOI S UNIVERSITY OF ILLINOIS AT URBANA-CHAMPAIGN PRODUCTION NOTE University of Illinois at Urbana-Champaign Library Brittle Books Project, 2013. COPYRIGHT NOTIFICATIONS, In Public Domain. Published prior to 1923. This digital copy was made from the printed version held by the University of Illinois at Urbana-Champaign. It was made in compliance with copyright law. Prepared for the Brittle Books Project, Main Library, University of Illinois at Urbana-Champaign by Northern Micrographics Brookhaven Bindery La Crosse, Wisconsin 2013 t) ' REPORT THE TEACHING OF MUSIC IN THE PUBLIC SCHOOLS OF MASSACHUSETTS TO THE COMMITTEE ON MUSIC OF THE STATE BOARD OF EDUCATION. BY GEORGE H. MARTIN, SECRETARY. 1905. BOSTON: WRIGHT & POTTER PRINTING CO., STATE PRINTERS, 18 POST OFFICE SQUARE. 1906. APPROVED BY THE STATE BOARD OF PUBLICATION. INSTRUCTION IN MUSIC IN THE PUBLIC SCHOOLS OF MASSACHUSETTS. For several years the State Board of Education has been interested in the instruction in music given in the schools of Massachusetts. Some members of the Board have felt that music was one of the essentials of education. They have recog- nized that the ability to hear is as universal a gift as the ability to see, and have noted that, while training is provided in ob- servation and in reproducing impressions created by observation, the wisdom of training the kindred sense of hearing is far less generally admitted. In a Commonwealth so largely dependent for its material prosperity on manufacturing industries, it was the plain duty of the State to offer training for the eye and hand, - a duty fulfilled by the appointment of a supervisor of drawing in 1871. There are members of the Board of Educa- tion who believe that the ear has a no less useful office in life than the eye. Through the spoken word, by the living voice, we come into the closest possible communion with our fellows; and when the common elements of sound existing in the world all about us are raised and glorified by the art of music, an avenue of life is open which knows no end. Especially in a material- istic age does the art of music become of great importance, in providing food for the growth of that spiritual life without which a free Commonwealth cannot exist. Holding such beliefs in the exalted function of music in the education of the children of the State, several members of the Board of Education pressed the subject for consideration, and in February, 1905, a committee was appointed, consisting of the late President Elmer H. Capen, President Caroline Hazard and Superintendent George H. Conley, to inquire into the actual facts regarding instruction in music in Massachusetts. 4 The lamented death of President Capen soon after the appoint- ment of the committee deprived it of his valuable service in the investigation of a subject which for years had engaged his interest. Questions were most carefully' framed, with the object of eliciting exact information, and sent to every town in the State. From the replies received, the full and instructive report of the secretary of the Board of Education has been prepared. It will be seen that in many towns excellent work is going on. The fact that music is taught in 94.5 per cent. of our schools as a required subject proves that its importance is generally con- ceded. This report of the secretary was unanimously adopted at the November meeting of the State Board of Education. Although no recommendation looking toward supervision is made, it is believed the report will prove of value from its accurate pres- entation and comparison of methods, and will stimulate interest in a subject already so widely taught. There has never before been any authoritative statement of the facts relating to instruc- tion in music in the State. In view of these facts, and mindful of the wisdom of encouraging individual growth, the Board adopted the following report and ordered it printed. CAROLINE HAZARD, Chairman. NOVEMBER, 1905. REPORT. To the Committee on Music, State Board of Education. In accordance with a request made in MIarch last by your committee, through its chairman, Dr. Capen, and following in the main the plan suggested by him, I have made an extended inquiry into the teaching of music in the public schools and submit the following report:- The investigation was made by means of a circular of inquiry sent to each superintendent of schools in the State. Through the courtesy of these officials a report has been received from every town and city in the State. The investigation sought to determine, first, the place held by music in the work and also in the life of the schools; second, the means of instruction; third, the relative importance of music in the curriculum, as shown by the time given to it, and by its weight in determining the class standing of the pupils; fourth, the method and scope of the instruction. THE PLACE OF MUSIC IN THE SCHOOLS. The returns show that vocal music is taught as a regular branch of instruction in all the schools of 270 of the 354 towns and cities. In these towns it is a required study for all the pupils of the elementary schools and for all the pupils in some high schools. In most of the high schools it is an elective study, either throughout the course or after the first year, but it is chosen by a large number of pupils. The 270 towns in which music is systematically taught con- tain 94.5 per cent. of all the schools in the State and 96.8 per cent. of all the pupils. In the 84 towns where music is not a required study it is taught in a considerable number of schools by teachers who are 6 musically inclined, so that the number of children in the State who are receiving no instruction in music is a very small fraction of the whole number of children in school. In most cases no explanation is given of the fact that music is not required, but the reason is obvious. These towns contain mostly small, scattered, ungraded schools, taught for the most part by untrained teachers. The towns also are poor, and the expense of employing a special teacher would seem to be a hardship. There is a general disposition to encourage the teachers to do what they can in these towns. The superintendents all desire it, and in only a few cases are the committees reported as indif- ferent. From one town comes the report: " The committee do not approve of it." From another: "The committee do not think it worth spending money for." The spirit of the work in general is expressed in a report from one town: " The study of music is made a serious and thoughtful study, and teachers and pupils enter into the study with much pleasure." Besides the place which music holds in the regular work of the schools, it forms a prominent feature of their life. Almost universally singing is included in the daily opening exercises. In some schools each day begins and ends with singing, - a most commendable practice. The commemorative patriotic exercises held in all schools in celebration of Washington's Birthday, Patriots' Day and Memorial Day consist largely of musical performances. Other anniversaries are being celebrated quite generally in a similar way, - authors' days, Arbor Day, Bird Day, Flag Day, etc. The musical training afforded by the schools is often used to interest and entertain the parents on days especially set apart as visiting days. Concerts are given by many schools for the purpose of raising money for the school library, or school ath- letics, or for schoolhouse decoration. The graduating exercises of all the schools are made attractive by vocal and instrumental music, sometimes of a high order. Contributing largely to the success of these exercises are the school glee clubs and orchestras, which have come to be a common feature of most of the large high schools and of many grammar schools. Glee clubs or orchestras or both are reported 7 as existing in 101 towns and cities. The larger schools report several such organizations. The orchestra in the English high school in Boston, con- ducted by Mr. James A. Beatley, has been in existence several years and has achieved distinguished success. In Dedham the high school orchestra gave a full Haydn symphony last year. In the Chelsea high school there are a mixed chorus glee club of. 24 members, a Carmen Club of 24 boys, a girls' club of 32 members and orchestra of 16 pieces. No pupil is allowed to belong to more than one glee club. In Fall River there are a high school orchestra and a high school ladies' violin club. In Lynn there are three grammar school orchestras; also a boys' glee club and a girls' glee club in each of the two high schools. In Easton there is a school brass band. Lowell reports that clubs of this nature have been discour- aged, "as leading to requests for entertainments in the high school hall." The advantage of such organizations among the pupils seems to be that they furnish opportunity for the students who have superior musical talent to carry their study further than is practicable for the whole school. This increases their interest and binds them more strongly to the school; at the same time it gives them an opportunity to use their talent in giving pleasure to others, - a matter of considerable importance in education. If the practice should grow up of forming similar groups of students, based on special aptitude or taste for other school pur- suits, as for science, or art, or history, or literature, it would probably. be found to give a much needed stimulus to individual work in these subjects. These special musical clubs are taught by the supervisor of music, or by one of the regular teachis, or by hired instructors, or by one of the pupils. SPECIAL TEACHERS. In 254 towns and cities the work in music is under the direc- tion of a special teacher, who usually combines the functions of teaching and supervising. 8 In the larger cities there is more than one such person, Boston employing a director, four assistant directors and four assist- ants, and the other large cities having each a director or super- visor and an assistant. In a large number of cases the same person directs the work in music in two or more towns. Several groups of towns united for the employment of a superintendent of schools also employ together a supervisor of music. These music supervisors usually teach all the music in the high schools, and direct and inspect the work in the elementary schools. They determine the order of the work in general, prescribe the scope of the work week by week and suggest the methods to be employed. They visit the schools regularly, in- spect and criticise the work of each class, often illustrate with the class the methods they wish to be used. They usually arrange and conduct the musical programs at graduations, man- age the glee clubs and the concerts, and they usually have large influence with the committees in determining the text-books which shall be used in the schools. In the larger cities, where the regular teachers are better trained, the teaching of music is left more largely in their hands than it is in the smaller cities and country towns. The time given to each school by the supervisor varies greatly throughout the State. Eighty-four towns report a weekly visit by the supervisors, 36 towns report biweekly visits. In a few cases the supervisor visits each class room but once in a month. These supervisors have all made the study of music a specialty, and most of them have had special training for teaching. Forty- two have been graduated from the New England Conservatory of Music, 11 are graduates of State normal schools, 6 of the music courses in colleges, 8 have studied abroad, and 150 are reported as having studied in the summer schools for teachers maintained by publishers of text-books in music. Many have received private instruction from leading teachers of music and from the most distinguished public school directors. Some of them are organists and choir directors in city churches. The following are extracts from some of the reports:- "Chorus singing since the age of eleven; at present solo tenor; graduate of Holt's Normal Music School; extensive courses in voice culture, harmony, counterpoint, music analysis, etc." "The ordinary musical training, supplemented by special work at several summer schools of music." " The study of music and teaching it have been the special work of all the teachers since their youth." "Training with one of the best teachers of the nineteenth century; twenty-five years' experience in music teaching." " In summer school; as leader of band, orchestra and choir." "Harmony, counterpoint, composition, orchestration, history and analysis, pianoforte, pipe organ, voice psychology and conducting." " A long and comprehensive musical course and several years' experience in teaching." "Special training under leading music teachers of Boston." " One year of private training under a city supervisor, and six years of grade teaching previous to taking this special work." "Three years a pupil in a summer school; several years a member of the faculty of the same school; nine years' experience as teacher of music in public schools; organ player and director of choir in a city church." " Eight years' experience in regular school teaching (a very necessary preparation if one is to direct experienced teaching) and the study of the piano, voice and harmony." The report from one town says: ' We take no less pains in getting a competent music teacher than in getting teachers for other lines of school work." One superintendent says: "Every teacher of music ought at some time to have taught a regular grade school as regular teacher, in order to understand children and not waste years in experimenting as a special teacher to the detriment of the children and the subject." Of the 100 towns without a special teacher, 17 make music a required study and depend on the regular teachers to carry on the work without direction. It is doubtful if satisfactory work can continue to be done for any great length of time under these conditions. One superintendent of rural schools writes: "I find very, few teachers who can teach music successfully, if at all, without the help of a special instructor." This statement throws some light upon the teaching of music in the 80 or more towns which employ no special instructor. 10 Most of the schools in these towns are small and ungraded. The average membership is 23. The schools are subject to frequent changes of teachers, and many of the teachers have no special training for teaching and no special study of music. * Teachers from the State normal schools, finding their way into these small schools, usually bring with them some knowledge of music, and use it in an unsystematic way to contribute to the interest of the school life. They are always encouraged to do this by the superintendents, some of whom in seeking for teach- ers endeavor to make the knowledge of music a prerequisite for employment. The nature and extent of the work in these towns may be best shown by extracts from the reports: - " Teachers who are fond of the subject use it in the opening exercises." One superintendent of four towns says: "We are trying to do something in singing without a special teacher, with fair success." "In any school wherever we chanced to get a teacher who was able to teach music in the school, she simply did what she could along that line. However, there is now a disposition on the part of the school committee and superintendent to use every available means to secure supervision the coming year." " Very little work in music in any of the schools. A few of the regular teachers do a little." " Some rote work in connection with public exercises in a few schools." "The amount of instruction in music is wholly dependent on the ability of the regular teacher in this direction." " Some of the regular teachers do really good work with the pupils, but a special teacher has, I think, never been employed. I am hoping to get an appropriation next spring." " Nearly all of the teachers teach music to some extent. They follow their own ideas." "Reform in this town is on the way, and there is some need of it." TIME GIVEN TO MUSIC. In the schools in which music has an established place, an average of from sixty to ninety minutes a week is assigned to it. This is divided into daily periods in the elementary schools 11 of 204 towns. In other towns there is a daily exercise in the primary schools, and in the grammar schools two or three a week. In most high schools there is one weekly exercise, in length from forty-five to sixty minutes. The daily lesson in the primary school occupies from fifteen to twenty minutes. The grammar school period is usually somewhat longer - from twenty to thirty minutes. There are some extreme variations from these averages, a few towns hav- ing but one exercise a week, and one reporting six periods of thirty minutes each. Of all the school time devoted to study, leaving out the open- ing exercises and recesses, music in this State seems to occupy from one-fifteenth to one-twentieth of the time. Boston gives sixty minutes a week in the elementary schools and forty-five minutes in the high schools. The new course of study for the schools of Greater New York allows sixty minutes a week for music. RELATION OF MUSIC TO CLASS STANDING. Sixty-six towns report that music receives some recognition in determining class standing. In most cases this means that the attention and proficiency of the pupils in music is marked in the teachers' books and on the monthly or bimonthly report cards sent to the parents of the pupils, and these marks are included in making up the periodical averages which determine the final mark in scholarship. But many of the reports state that, while so much recognition is given to the subject, failure in music would not act to delay a pupil's promotion or gradua- tion. One report says: "If a pupil is good in music it adds to his credits; if poor in music it would not hinder his promotion." Another: "The pupil is marked as in any subject, but poor work does not disqualify him for promotion." A large majority of the towns, in answer to the question, "What recognition does proficiency in music receive in deter- mining the class standing of pupils ? " reply briefly, " None." One city reports: " No recognition from grade to grade, but ninth grade pupils are required to pass a certain test before they can pursue the study of music in the high school." It is doubtful if public opinion anywhere would support the school authorities in refusing promotion or graduation to any 12 pupil solely or chiefly because of deficiencies in knowledge of music or inability to sing. In some of the high schools where music is elective, credit for music to the amount of one point is allowed. Beverly has gone farther than most cities in giving credit for work in music outside of school. The report says: " In the high school music counts one point toward a diploma, the same as any other subject coming once a week. The harmony counts three points, the same as anything else. We also allow one point for each two hours a week for one year of approved study and practice outside of the school under a private teacher or in the Conservatory." In the annual report of the supervisor of music in Hyde Park, I find a statement that " 100 of the high school pupils are study- ing the piano, 22 the violin, 4 the voice, and a half dozen more other instruments. Thus nearly 25 per cent. of our high school pupils are pursuing musical studies in addition to the regular course." There is no reason to suppose that this town is exceptional in the number of pupils doing outside work in music. In view of such facts the question of credit becomes an important one. GENERAL PLAN AND SCOPE OF THE WORK. In general it may be said that the work in order of develop- ment and sequence of steps is practically determined by the graded text-books in daily use. The supervisors vary in their dependence upon the books, some using them only for illustra- tive practice material and some following them quite implicitly. The blackboard is an indispensable adjunct of the best teach- ing, even when printed charts are available. In general the instruction is given in the class rooms of the different grades. Sometimes several classes of the same grade are assembled for the work, but the best supervisors have dis- carded assembly work and insist that the music can only be taught successfully when it is taught as are other subjects by the regular teachers in their own rooms. An exception to this is in those schools in which the departmental plan is in use, where one of the teaching staff of the school gives the instruc- tion in music to the classes in turn. 13 The disposition to bring the work in music more closely into line with the other branches of study has led to increasing emphasis being put upon individual reading and singing. About 200 towns report that individual instruction is a prom- inent feature of the work. Some say, "Very prominent." Some say, " Slightly." Some say it is prominent in the lower grades but less so in the upper grades. In large numbers of schools printed slips are used as tests of reading power by indi- vidual pupils. A few towns report that individual work is required in reading music but not in singing. Among some of those which report that individual instruction is not prominent are some of the largest and oldest school sys- tems in the State. Twenty-nine supervisors are reported as having received in- struction in one summer school which was established expressly for advancing individual method. Probably many others not reported have attended the same school. In one report it is said: "We are strongly in favor of indi- vidual sight singing. With us mechanical expertness precedes aesthetic development. Not more important, but to be acquired first." In the last annual report of Mr. John Laing Gibb, supervisor of music in Attleborough, I find the following statement: - I have turned my attention to another phase of the work, namely, individual recitation in music. The results so far have been most gratifying, and it is my hope that, at the end of the grammar school course, our pupils may attain to that standard of excellency set by Mr. Frank Damrosch for his schools in New York, namely, that every pupil should be so equipped musically that he can appre- ciate and enjoy good music, can sing a number of good songs. sing at sight any simple melody or a second or a third part in a chorus, write a melody from hearing, detect impurities of intonation, and sing with a clear, true, musical voice and correct enunciation. There has been much discussion as to the proper kind of work in music in the lower grades. Because of this discussion the following question was asked: "What proportion of the time devoted to music in the primary grades is given to musical nota- tion and what to rote singing ? " 14 Replies to this question were not received from all the towns. Ninety-two report that the time is about equally divided. Many others report that the work in the first grade is chiefly rote sing- ing, and that the proportion decreases in the successive grades. A few seem to emphasize notation work from the start. One superintendent reports that he considers the work much too technical. In one city the time assigned to music is given to technical work, but a special period is set aside every day for " singing." One city report says: " The notation used in the first and second grades is so simple that it requires but little time. Most of the time is given to the study of time and tune." A good summary of what is, perhaps, the most generally accepted conclusion on this matter is contained in the annual report of Mr. W. J. Titcomb, supervisor of music in Fall River: - For some years previous to the publication of the modern systems of public school music, rote singing was made the basis of teaching not only the scale, but also the reading of music. With the intro- duction of the modern systems, so much stress was for a time put upon teaching music in a more logical and reasonable way, by first learning the scale as a whole, then developing the ability to think the different problems in tune and time and afterward learning their representation, that rote song singing received too little atten- tion, some supervisors wishing to dispense with it altogether; this extreme has been followed by a reaction (within a very few years) in favor of the song method, in which the song is the chief factor in teaching the elements of music. While I believe most heart- ily in the thought method of teaching music reading, I have always maintained that rote singing has a legitimate place in the earlier years of school instruction. There is no reason why both cannot be used to profit, and I have found no necessity for omitting one for the other; therefore we have both in our lower grades. Last year rote singing was extended to the fourth grade because the average class cannot read the music rapidly enough to make the songs familiar without loss of time. No less time has been given to thought work and reading music, but instead of singing over and over the short songs of the regular grade work until they become sufficiently familiar to render with ease, somewhat longer and more difficult songs are given and learned by rote in less time. 15 We thus endeavor to maintain the correct relation between rote singing and note work. Of course a large number of songs is not taught in one year, but during the four years quite a'variety is given, and most of them possess real merit, although they are simple enough to be understood in some measure by the average child. This year I am using additional means in the lower grades to cultivate a taste for music and develop the musical ear, namely, that of having the teacher occasionally sing some songs not sung or known by the children; this bears the same relation to the musical development of the child as story telling or reading to the develop- ment of language, and I believe is a step in the right direction. The effort to make music a substantial study and not a mere recreation exercise has led to the introduction of individual work in reading and singing. It has also led to the wide use of periodical examinations or tests similar to those given in other studies in the curriculum. About half the towns report the use of such tests. Wherever the individual method of instruc- tion is used there is necessarily a daily test of the power to read music at sight, and in these schools the power to sing is individ- ually tested frequently. In most graded schools the pupils are periodically marked in all the studies of the course. This marking usually includes music, and is based on oral and written tests given by the reg- ular teacher. A considerable number of towns report that the special teacher of music gives occasional examinations. The differences in plan are shown by these reports, which happen to follow each other in alphabetical order of the towns:-- " Frequent tests.' " None." " The supervisor gives written examinations once or twice a year." "A test in writing music is given once or twice a term." " Monthly tests are given to in- dividuals." "I give examinations to test knowledge and accu- racy in reading, tone, recognition-marks of expression, major, minor and chromatic scales, etc." '" Oral tests." " Oral and written tests by regular and special teachers." " Just as in other subjects." " Supervisor gives written examination in the grades once a quarter, covering the mechanical phases of the subject." The general scope of the work in the best schools is probably 16 described in the annual report of Mr. George F. Wilson, super- visor of music in Beverly. Mr. Wilson writes as follows: -- The pupils generally enter the first grades with no tone percep- tion whatever and unable to raise the pitch of their voices one tone. After a few months of systematic training they sing the scale cor- rectly and use the voice properly in speaking. Such results are very apparent. In the first grade the voice for singing is estab- lished, the ear trained, and the musical taste developed through rote songs. The pupils are enabled to express themselves in time and tune. In the second grades the pupils gain familiarity with the characters which represent tune and time, and practice in reading music from the blackboard or chart. Their voices are cultivated and a knowledge of signatures gained. Writing and copying music are also practised. Good results have been obtained. The third and fourth grades have accomplished their usual amount of techni- cal work. Singing exercises and songs in all the keys, including exercises containing chromatic tones, scales and exercises, have been written and more difficult problems in rhythm have been intro- duced, the results being that these grades are better prepared for the next year's work than formerly. In the fifth and sixth grades, after a year of thorough work, I find the pupils are prepared to read at sight almost any song or exercise of medium difficulty in time or tune. More extended studies in chromatics have been practised, the relation of each chromatic tone to each tone of the scale is learned, and every effort that time will permit is used to induce the pupils to sing individually, so that the class will not depend upon a few leading voices. In grades seven and eight the pupils have made excellent progress in all branches of the work. Major and minor scales and keys, intervals, triads and music in three and four parts have been studied. In order to ascertain to what extent the schools were laying a foundation for the more advanced work recommended for the high schools, the question was asked: "Is instruction given in harmony and history of music ? If so, in what grades ? " One hundred and eighty-six towns report that no instruction is given. Thirty-one report some work of this kind in grammar grades. The following are extracts from some reports:- "History of music in grades six to nine." "Harmony specially emphasized in eight and nine." "In grammar grades 17 eight and nine, a very little." " To a limited extent the ninth grade." "Just beginning harmony in the ninth grade and in the high school." "Musical history in the high school." "A little is given in grades seven, eight and nine." "Introduced in the seventh grade and continued." " Grade nine, triads, dom- inant seventh." "In grammar grades the lives of great musi- cians and history of musical instruments form a part of the work." "Some work, mostly biographical, is done in the his- tory of music in the grammar grades." Reports of this sort as to elementary schools are chiefly from country towns. The more advanced work in the high schools is concisely described in the last annual report of the school committee of Cambridge, where Mr. Frederick E. Chapman is director of music: - Every pupil who is capable of learning to sing is required to give attention to the subject. In the Latin, English high and Rindge Manual Training schools, forty-five minutes a week are given to the study of musical form and expression as found in choruses, quartettes, etc., from the standard operas and oratorios. Elementary harmony, counterpoint and composition have been introduced as elective studies for the second and first classes, and boys as well as girls having a special aptitude for music naturally elect these studies, the only requisite being some knowledge of the pianoforte. Pupils of the fourth year in the English high school may elect harmony in place of astronomy, and those intending to go to a normal school are advised to take the course in harmony. The students are instructed in scale formation, intervals, and in a logical and comparative view of all true chords in order to give them the power to construct and resolve these chords for themselves. The study of harmony is carried well into modulation, and of counterpoint through four simple orders or species, including both the major and minor modes. Harvard College has passed a vote allowing a knowledge of harmony to count in an entrance exami- nation to both Harvard College and the Lawrence Scientific School. Two periods of fifty minutes each week are devoted to instruction, and occasionally the best compositions of the students are sung or played before the entire school, showing in this way the practical side of the work, which will prove an important factor in future teaching. 18 In the Rindge Manual Training School the young men are taught to sustain their parts without accompaniment in compositions of four-part harmony (first tenor, second tenor, first bass and second bass), the music being selected and arranged for this purpose. Much thought is now given in the higher music schools to the study of music through the ear. The aim here is not per- formance, which has in the past been considered the only pur- pose in instruction in music, but appreciation and taste. In order to ascertain whether this new method has obtained a foot- hold in the public schools the question was asked: "What opportunity is offered in the schools for the pupils to hear clas- sical music, vocal or instrumental ? " and, " Are there any tests of the value of such work ? " Forty-one towns report some opportunity of this kind. Of these several say " A little; " or " Occasionally; " or " Slight." Many others say that the music studied in the high school is of a classical character and aids in cultivating musical taste. One says: "Much of the music used in the high school is classical, and occasionally there are solos, both vocal and instrumental, by members of the chorus." Other reports are as follows: - "Frequent performances by members of the school and by outsiders." " Frequent. Persons volunteer their services to render such music before the schools." "A graphophone in one grammar school." "Occasionally in the high school con- certs and graduations, but not systematic work." "As often as possible pupils or persons outside of the school sing or play such music." " Occasional concerts by both vocal and instru- mental artists." " Singers and players of, prominence from outside the school." "At times professional musicians sing and play for pupils on Friday afternoons." Chelsea reports: "Once each month the music period in the high school is devoted to the study of some composer, selec- tions from whose works are played and sung by the pupils and by the invited musicians. The high school glee clubs are begin- ning a series of recitals in the grammar school." "A greater interest in the music is apparent. Several seniors have selected for their theses topics bearing on this course." Methuen says: "In the upper grades musicals are held and 19 the best of music selected. Quite often the supervisor will give a talk on the old masters." As a test of the value of such work it is said: "Evidence of increasing good taste on the part of the public." Northampton says: "Frequent recitals by artists and study by the high school pupils of oratorios, etc. Also concerts by local musicians for the benefit of the upper grades." No tests, but "evidence of growth of love for and appreciation of better music." In Newburyport: " The high school pupils have an oppor- tunity to attend the choral union three times annually." Pittsfield says: "Course of concerts in high school, which pupils attend without cost." In Westfield there is a high school extension course and recital lectures at the State Normal School. The following specimen programs have been furnished:-- 20 HIGH SCHOOL EXTENSION COURSE. FEBRUARY 27, 1905. THE FRENCH SCHOOL OF MUSIC. LECTURE. MUSICAL PROGRAM : Scholastic. " Prelude et Choral" (piano), . . Operatic. Aria, . . . .. CASAR A. J. G. FRANK. CAMILLE SAINT-SAENS. " My heart at thy sweet voice." From the opera "Samson et Delila." Idyllic. Violin solos. a. "Evening Reverie." From orchestral suite " Algdrienne." b. "The Swan" (original for violoncello). From "Le Carnival des Animaux." Operatic. Aria, . CHARLES GOUNOD. " Lovely flowers, I pray." "Flower Song" from the opera "Faust." Devotional. Sacred song, .", Nazareth." 21 SENIOR MUSICALE. COMPLIMENTARY TO THE JUNIORS. Normal School, Westfield, Mass., Monday Evening, March 6, 1905. SCHUMANN-SCHUBERT EVENING. SCHIUMANN PROGRAM. THE LIFE OF ROBERT SCHUMANN. Kinderscenen, Nos. 10, 16, 3, 28. Double quartet - "Oh, welcome, lovely spring." Soprano songs - Bass song- THE LIFE OF FRANC Piano duet - Soprano songs - Trio for piano - Double quartet - ", Widmung." " Stille Thrinen." "Die Lotosblume." " The Two Grenadiers." SCHUBERT PROGRAM. Z SCHUBERT. ," Unfinished " Symphony. " Ungeduld." ," Standchen." March in D major. " The Night." 22 This kind of work has been most fully developed in the Springfield high school, where a two years' course in what is called " music analysis" is offered as an elective. The purpose and scope of this work are fully described in a paper by the teacher, Miss Mary L. Regal, in the sixty-eighth report of the Board of Education, pages 305-311. I have asked a few of the supervisors to give me the names of some of the selections from classical music which have been studied and rendered in the high schools under their direction. Mr. Samuel W. Cole, supervisor of music in Brookline and Dedham, replies as follows:- Three years ago the Brookline high school gave Part I. of Haydn's " Creation;" two years ago, the "Building of the Ship," by Lahee; this year, "Ruth," by Alfred R. Gaul. The Dedham high school has a most creditable record in this line of work; so far as I have been able to learn it was the first school in this country to give a complete oratorio by performing the whole of the "Creation" in Tremont Temple in April, 1890; in 1891 it gave the same program from the "Messiah" (Hiindel's) which the Handel and Haydn Society gave the same year. In the most of these instances the solo parts were taken by such artists as Myron W. Whitney, Mrs. E. Humphrey Allen, George J. Parker, Gertrude Edmands, Jennie Patrick Walker and others, all of whom, in order to encourage such efforts, made their terms within the limit of, what we could pay. The above list is not nearly all the classical works the Dedham high school has given, but I will not weary you with further details. .... Concerning the employment of artists for the solo parts, I hold that it is worth all the trouble and more for a body of young people to, be associated, for an after- noon and evening, with such singers as I have named, in the joint production of such music. Mr. Frederick E. Chapman, director of music in the Cam- bridge schools, writes as follows: - The following is a partial list of selections from so-called "classi- cal works" which I have used in my ninth grades and high schools "on public occasions" during the fifteen years I have been director of music in the schools of Cambridge: - 23 "The heavens are telling," from oratorio " The Creation," by Haydn. " Unfold ye portals," from oratorio " The Redemption," by Gounod. Several of the chorales from Johann Sebastian Bach's " Passion Music." " How lovely are thy messengers," from oratorio " St. Paul," by Mendelssohn. " Oh, thou whose power," from oratorio " Moses in Egypt," by Rossini. ", Be not afraid," from oratorio " Elijah," by Mendelssohn. " Chorus of Pilgrims," from the opera " Lombardi," by Verdi. " Damascus triumphal march," from oratorio ,, Naaman," by Costa. ," Heaven and the earth display," from " Athalie," by Mendels- sohn. '" Swiss battle song," from opera " William Tell," by Rossini. ", Gloria in excelsis," from the " Twelfth Mass," by Mozart. There is a diversity of opinion regarding "what is classical music," and therefore there are those who may not admit that some of the above selections would come in that category. It is not necessary, according to my conception, that music to be " classical" must be old, - written many, many years ago. Even those composers who are generally considered to have been classical writers were not without fault in their writing. I believe any composer capable of composing and writing music absolutely without error - producing combinations and progressions in sound which conform to all the rules of composition--is a classical composer. Mr. James IM. McLaughlin, director of music in the Boston schools, gives the following list: - " Say, where is He born ? " from ", Christus," by Mendelssohn. ," The Lord is my shepherd," by Schubert. ," Praise thou the Lord," from ,, Hymn of Praise," by Mendelssohn. ," Lift thine eyes," from the oratorio " Elijah," by Mendelssohn. ," Spinning chorus," from the " Flying Dutchman," by Wagner. ," Lovely appear," from oratorio " The Redemption," by Gounod. ," The Lord is great," by Mendelssohn. "' The heavens resound," by Beethoven. " If with all your hearts" (tenor voices), by Mendelssohn. "0 O rest in the Lord" (alto voices), by Mendelssohn. "hIIear my prayer" (motet), by Mendelssohn. 24 Largo, by Hiindel. "0O Lord my God," arrangement from Second Symphony, by Beethoven. "And the glory of the Lord," from oratorio " The Messiah," by Hiandel. " Who is Sylvia ? " by Schubert. 6horuses from " Orpheus," by Gluck. " Pilgrims' chorus," from " Tannhauser," by Wagner. " Day is breaking," by Mozart. "' The Lord is great," from ", Athalie," by Mendelssohn. " To thee, O country," by Julius Eichberg. " The heavens are telling," from oratorio ,, The Creation," by Haydn. Mr. James E. Aborn, supervisor of music in Lynn, reports that the following cantatas hay schools : " Belshazzar," " Joseph's Bondage," " Ruth," . . . . " The Holy City," . . ," The Ten Virgins," . . " The Rose Maiden," . . "' The Village Blacksmith," " Emanuel," . " The Prophet Psalmist,"' " Joan of Arc," ," Queen Esther," . . . ve been performed by his . . Butterfield. Chadwick. Gaul. Gaul. S . Gaul. . Cowen. S . . oyes. Trowbridge. . . . Farmer. . . Gaul. Bradbury. A general view of these returns shows that music, from being chiefly a recreative exercise in a part of the schools, has become a substantial study in nearly all the graded schools of the State and in a considerable number of the rural schools. This change has been wrought without any special effort to force it on the part of the Board of Education. Horace Mann sowed the seed, as he did of so many other educational reforms. The Board gave it a still further impulse by employing Dr. Lowell Mason for a number of years to teach music in the teachers' institutes, held under its direction. For the rest, the subject seems to have made its way on its own merits. Some light is thrown on the proposal made last year to add music to the list of subjects required by law to be taught in all the schools. 25 In view of the general practice such legislation does not seem to be necessary. It could only affect the small towns, most of which have now the disposition but feel that they lack the means to have the subject properly taught. The obligation to put it into the schools would mean practically the obligation to employ a special teacher. This could only be done by co-operating with other towns, and would involve a material addition to the ex- pense of school support. The cost of music teaching under a supervisor for a town of from three to nine schools is from $100 to $200, or from $1 to $2 per pupil. Now that the State is doing more than formerly to aid these towns, it is probable that some of them will be able to add a music teacher to their school force; but to require this to be done in all the towns would mean a reduction of wages of the regular teachers, whose pay is now pitifully small. The reports throw no light upon the quality of the work done in music; they only serve to show the aim and to give some idea of the standards. It is probable that not all the pupils who leave the grammar schools can sing new music at sight cor- rectly in time and tune. It is possible that but few of them can do so. But it is also true that not all the pupils can read intelli- gently or spell correctly or compute accurately. There are evi- dences that the work in music is improving in quality, and such an investigation as this is likely to lead to still further improve- ment. As a result of the inquiry made by the Board of Education last year into the work in music in high schools, a large number of supervisors, in their annual reports, urge upon the school committees that music be made a more substantial study in the high schools, and that provision be made to prepare pupils who desire it for the college examinations in music. I can see in the returns summarized in this report no evidence that a State officer is needed to promote the instruction in music. Respectfully submitted, GEORGE H. MARTIN, Secretary. 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