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If rote singing has any place in the course of study why does it not serve the entire purpose of school music? There are many valid answers to this question, but the one which applies the most directly to the topic under discussion is this: The rote process of teaching soon becomes uninteresting and even obnoxious to the children themselves. In the kindergarten and first grade rote singing proves itself a delightful and satisfactory activity, as well as a necessary foundation for a later study of music; but anyone who has had experience in teaching songs by rote in the grades above the second knows that a teacher must have great skill and the opportunity to present the songs in public in order to hold the interest; unless children recognize increase of power as a result of their labors they demand an immediate market for the product. Even tho semblance of peace is gained with the children thru skillful teaching and numerous public exhibitions, far greater interest is developed thru such methods of teaching music as those which are now proving effectual in the teaching of reading. These methods recognize that the highest joy is the result of the successful achievement of a worthy purpose. Note the number of promises recorded in the Good Book for "him that overcometh." What blind leaders we have been that we should dare hope for results while ignoring so basic a principle! The work of the music supervisor and the methods he employs are not, then, of small consequence. He who is content to lift his pupils with his own strength over every obstacle which they encounter is encouraging habits of indolence and weakness which must work harm in every avenue of their lives.

It requires a very skillful teacher to draw the line wisely between the help which really puts the pupil in a position to help himself and that which weakens and debases. The music class, if properly conducted, calls for attention and concentration of mind beyond that of any other piece of work done in the elementary schools, and because these mental activities are so necessary to the highest results of study in any line, music may be made greatly to help or hinder the development of right mental habits.

The music teacher must be more clear-sighted than most teachers to recognize the help that hinders, because the very repetition of melody which is so important to the unmusical child gives the pupil with quick ear and good memory help enough to make it unnecessary for him to pay the slightest attention. Many a musical child goes thru the entire course of his school life with high credit for his work in music without exercising any power higher than that of the parrot.

In the discussions of the methods of teaching music, it is sometimes made to appear that to give a child the power to carry his own part independently and the use of musical terms in which to clothe his thoughts about music is to deprive him of the finer qualities which it seems the peculiar province of music to develop. But nothing could be wider from the

mark; in fact, the broader view of music adds to artistic excellence rather than detracts from it. That the music teacher may be so poor in her power of presenting the subject that pupils become antagonistic toward it is too often the case, but this is as often true of the teacher who works for artistic results only as of the one who neglects the artistic in exaggerating the importance of the technical. The proper balance between the artistic and the technical in music teaching is like the golden mean in all things, seemingly difficult to attain.

A real study of the child brings out the fact that there is a time in his life when learning to decipher musical notation is a real joy. At this time gaining familiarity with the symbols of music and acquiring musical terminology are more pleasant tasks than committing songs to memory. To do this work early gives the child the technical skill which should accompany his advancing taste, and forestalls the opposition which is seen the country over in high schools, where students, unable to read music, scorn that which they are capable of performing. A little more technical skill enables them to conquer the difficulties in a grade of music which meets the demands of their cultivated tastes, and then the high-school music is a delight to all who take part either as performers or as listeners. We see, first, that the preconceived notions of the adult musician create difficulties for the child, making him fearful of many things that in themselves would cause him no trouble as key signatures, modulation, accidentals, compound measure, high tones, rapid execution; second, that young voices are high, and songs of a low range cause a strident or breathy quality of tone; third, that flexibility and freedom of execution are the natural heritage of the child, and to omit all embellishments from music for the child is like depriving him of the bicycle because it requires agility of movement; fourth, that until the voice begins to change, boys have high, clear, voices which are best developed thru songs of a wide range; fifth, that boys should sing thru the mutation period with much care that the compass used be only that which is easy, and that the tone be free, even at the expense of being noisy; and sixth, that proper balance of the technical and the artistic in music teaching awakens interest, lays a broad foundation for future study, and furnishes just the elements needed in an ideal course of study.

Shall we not concede, then, that the important thing is so to teach that each day gives the student greater power to solve his own problems, and that whether we hear entrancing music in the school-room is of far less moment than that the music teaching be one of the forces that adds to the upbuilding of character? If this work is so planned that at each step the power, ability, and taste of the child are considered in their relation to his highest development, music must take its place as a vital factor in education.

DISCUSSION

VICTORINE HARTLEY, supervisor of music, Berkeley, Cal.-We, as supervisors of music, have not been dictatorial enough in demanding the place where our subject belongs in the regular school curriculum-in the heart and soul of every child and student from the kindergarten thru the university. We are too willing to take the scraps of time, the tag ends; willing, ready, and happy to be the sandwiches.

As to where the blame lies that the profession of teaching ranks the lowest amongst the learned professions: that lies with the teachers themselves. I firmly believe that I, as a teacher, have the second-highest calling-that next the mother. With this feeling toward our work and with our subject—what a power to lead each child to its best! I believe that Miss Crane is right when she says we must forget selves and become humble, and go into our work with the "love that never faileth." No child will love his work, be willing to work in it and for it, be interested in it, if he does not realize that love is there.

With this love of the child, we must understand him, and reach him from his viewpoint; and with our "mature views" tucked away for mature people, we will have a power which no other in the community has.

In regard to a fixed plan for presenting a subject, no truly successful teacher ever does the same thing twice in the same way if she makes a study of her children and the conditions which surround them. There is, however, a right and a wrong way, and, too often to the child's detriment, no way at all. There should be a general plan reaching the child thru as many avenues as he has. A child likes system, he likes to see a development and a growth; he does not like things at sixes and sevens, and he has no respect for the teacher who is lacking in these things; hence, he has no respect for the subject.

As to the preparation on the part of a music teacher-this is the most serious problem in our work. Coming from the ranks of piano and voice teachers who have not had school experience, much harm has been done. It is true she should have broad information on the subject and the detail at her command, but a supervisor must be able to work with the individual-not alone altogether-but with the mass.

I heartily coincide with what Miss Crane says on the child voice. Let it be natural. No set of instructions can be followed, but each child's voice must be constantly and carefully watched. If the teacher has love, tact, knows her subject and her children, each boy and girl will be singing as he or she should, with correct quality. We agree that songs should be taught first, last, and always; that these should consist of the best of all there is. This list should include those that stir the emotions, teach lessons of patriotism, valor, love of nature and the beautiful; should consist of beautiful and true melodies and harmonies. The child expects an education thru song, and to sing these songs mechanically and in a dead way-any child will rightfully refuse. To me the technique or the mechanics of music must go hand in hand with the song. It is a fact, and a sad fact (as stated by Miss Crane) that some school music consists only in singing songs. The aim in teaching music is not that the child is to be amused. He demands his tools, and they can be given him without drudgery. Again, the personality and tact of the teacher must be present. The public school must fit its children for life, or better, help them to "fit themselves." Are we making artists? Is that our aim? No, we wish to make men and women who are able to take their places in the world. It makes no difference what that future is musically, we must give him his "tools." If he is to become an artist-well and good; a soloist, member of a choir, club, chorus, glee-club; he may wish only to sit on the bleachers and sing "All Hail the Blue and Gold"; perhaps it is to "join in" around the campfire or fireside; but let us give him the "tools." It may be he will only sing to himself or herself as he follows his plow, drives his horse, sits at his desk. sweeps the floor, or washes

dishes; still we must give the tools. The mechanical appeals to certain natures and to all children at certain ages. They like to decipher, they love the history of things -the why of things. I have seen boys changed from incorrigible, surly fellows thru the study of minor scales.

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REPORT OF COMMITTEE ON TERMINOLOGY

To the members of the Department of Music Education of the National Education Association: At the closing session of the Department of Music Education last July, it was voted to refer matter of actual terminology, needed to cover the adoption and use of a measuresign consisting of a numeral above the third line of the staff and a quarter-note or a dotted quarter-note below, to the Committee on Terminology to report at the next meeting. Following is the report of the committee:

Arabic numerals, either 2, 3, 4, 5, 6, 9, or 12, placed on the staff directly after the signature and above the third line, show the number of beats in a measure.

A note, either a quarter or a dotted quarter, placed in parenthesis under the numeral, represents the length of one beat and is called the beat-note.

The numeral and the beat-note thus grouped constitute the measure-sign.
Illustrative statements covering proper terminology: The tune "America"

is written in three-quarter measure. The chorus "How lovely are the

Messengers," is written in two-dotted-quarter measure.

The above forms of statement were adopted at Denver in 1909, and are recommended for general use when speaking of music written with the conventional measure-signs:

etc.

In place of "two-two time, three-eight time, four-four time," say as above: "The piece is written in two-half measure, three-eighth measure, four-quarter measure.”

Double-sharp and double-flat.—The following items concerning the double-sharp and double-flat adopted at Denver contrary to the report of the committee were referred back again:

3c The double-sharp is a character which causes a staff degree to represent a pitch two chromatic half-steps higher.

3d The double-flat is a character which causes a staff degree to represent a pitch two chromatic half-steps lower.

The committee resubmits that portion of the Denver report in its original form as follows:

3c The double-sharp is a character which causes a sharped staff degree to represent a pitch one half-step higher.

3d The double-flat is a character which causes a flatted staff degree to represent a pitch one half-step lower.

Concerning minor scales the committee reports as follows:

Primitive Minor (ascending).—The minor-scale form having minor sixth and minor seventh above tonic to be called Primitive Minor. Illustrative examples: A minor: a, b, c, d, e, f, g, a; C minor: c, d, e flat, f, g, a flat, b flat, c.

Primitive Minor (descending).-Same pitches in reverse order.

Harmonic Minor (ascending).-The minor-scale form having minor sixth and major seventh above tonic to be called Harmonic Minor. Illustrative examples: A minor: a, b, c, d, e, f, g sharp, a; C minor: c, d, e flat, f, g, a flat, b, c.

Harmonic Minor (descending).—Same pitches in reverse order.

Melodic Minor (ascending).—The minor-scale form having major sixth and major seventh above tonic to be called Melodic Minor. Illustrative examples: A minor: a, b, c, d, e, f sharp, g sharp, a; C minor: c, d, e flat, f, g, a, b, c.

Melodic Minor (descending).-Same as the Primitive.

Other matters referred to the committee at the Boston meeting are as follows: "It was voted that the matter of terminology as to use of words 'pulse,' 'beat,' 'after-beat,' and ‘half-beat' be referred to the Committee on Terminology."-Volume of Proceedings. After considerable correspondence both within the committee and outside, it seems best to ask of the Department of Music Education more time for consideration.

Respectfully submitted,

CHARLES I. RICE, Chairman
P. C. HAYDEN

Wм. B. KINNEAR

LEO R. LEWIS

CONSTANCE BARLOW-SMITH

MUSIC IN THE COLLEGE

ARTHUR FOOTE, COMPOSER, BOSTON, MASS.

The question of music as a part of the regular college curriculum brings us back, sooner or later, to a consideration of the preliminary training given in preparatory schools; for that reason it is well to speak of the matter here. Forty years ago music was hardly thought of by most people as forming a possible part of real education, at least for boys; and, in spite of the stimulus that had been given to our musical training thru singing schools by Lowell Mason and others, music in primary, grammar, and high schools was then generally limited to rough-and-ready singing by rote, if indeed there were singing at all. So far as men's colleges were concerned, music showed itself only thru undergraduate glee-clubs, and occasional small orchestras. But the beginning of better things was at hand; for in 1869 John K. Paine delivered a course of lectures at Harvard, within a few years becoming professor of music there; while in 1875 Hugh A. Clarke was appointed to a similar post at the University of Pennsylvania. These two events are significant in connection with the study of music in colleges upon an academic basis; by which I mean the study of the theory of music in complete form as, e.g., mathematics and Latin are studied. Altho college authorities have been, and still are, slow in admitting music to the curriculum, and in spite of the fact that, in the minds of many, it is still on probation and must justify itself as a significant part of education, remarkably good progress has been made. So many colleges and universities have followed the lead given that it will not be long before one without a musical department will be the marked exception.

Colleges may be divided into two classes as regards the sort of musical instruction given: (1) those in which theoretical study is combined with what are called "practical" or "applied" music courses; and (2) those in which the work done is confined to the theory and history of music. (By

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