MUSIC EDUCATION IN THE. UNITED STATES - ERIC · report on the present status of music education in...

UNITED STATES BUREAU OF EDUCATIONBULLE11N. 908: No. 4 WHOLE NUMBER 387

MUSIC EDUCATION IN THE.

UNITED STATES

SCHOOLS AND DEPARTMENTS OF MUSIC

By ARTHUR L.. MANCHESTER

DIRECTOR OF THE DEPARTMENTOF MUSIC OF CONVERSE COLLEGE

SPARTANBURG S

WASHINGTONGOVERNMENT 'PRINTING OFFla

1900

CONTENTS.

Page.5

7

II

11

14

16

16

LETTER or TRANSMITTAL.

Foreword.. ..........I. Historical development .....

Beginnings of formal music ethic atiol.Schisils and conservatories ofDepartments of music in colleges. ateProgress madeWorks on the history of music in i\tnericii

11. Results of the inquiry. ... 17

Incorporation of schools IS

,Instructors and subiects thneht 18

Studimtli enrolled ...... .19

Nature and scope of subjects 20

Illustrative curricula.. 21

Correlation of Music and non-music courses 40

Manner of advancing students from grade to grade 41

. Educational qualification; of music students 42

Property devoted to musical instruction . 42

III. Statistical tablesIV. Pest and present tendencies..

43.77

V. Conclusion S2

References to works on musical ed9cntitti 1

INDEX S53

1,E'rTER oF

DEPARTMENT OF THE INTERIOR,BUREAU OF EDI-MTION,

Wrishi/igton,.June 23, 1.908.Sin: I have the honor to transmit herewith the manuscript of a

report on the present status of music education in the United States,prepared by Prof. Arthur I.. Manchester, of ('onverse College, SouthCarolina, and to recommend its publication in the Bulletin of theBureau of Education.

This report has been prepared in accordance with an urgent recom-mendation. of like Music Teachers'. National Association, conveyedthrough the president of that organization, Prof. Waldo S. Pratt, ofthe 1 lart ford Theological Seminary. Professor Manchester, who hadbeen appointed by the e-xecutive c1umnittee of that association aschairma of the committee to, consider the gathering of sLatislICSconcerning, music education in the Uniti.d States, kindly consented toedit. this report, for t he Bureau of Education. The detailed informa-tion upon which it is based was colketed through the statistical divi-sion of this office in cooperation )vith Professor Manchester.

The growing recognition of music as an essential part of our planpublic education atld !I peculiarly rich and vital part of our public

education, einliksizes the need of such information as is embodied inthis report. The. hit est publication of this kind issqed by the Bureauof Education was that tvliich appeared in the year ISSG. The subjectis so large that unfortunately it has been found impracticable toinclude in the paper here submitted an account of music as taught inour public elementary schools. This part. of the subject. is reSerxedfor later treatment.

Very respectfully,ELmEn ELLswpirria 1,Ptows;

Conimi.vioner.The SECRETARY 0}' THE INTERIOR.

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11111P'"

FOREWORD.

In no profession or field of educational activity is there available someager an amount of accurate data upon which to Ike plans forfuture development rr tii use in the determination of results achievedas in that of mbsic. There is no coherence in lie general scheme ofmusic education, and there min he mine while so little is known con-cerning what is done in the field of musical endeavor. To Ilefine thestatus of music education in the [nitvd States has been practically

.' illipOSSIbie. The utter lack .of systematic courses of instruction, thewidely varying standards of merit, and bt he absence of cooperationupon the part of those engaged in music teaching not only have made1111p(Nsible any accurate computat itai het he results which haveaccrued from music eduilition, but art serious .obst a,cles in the way offuture development.

are not yet fully. agreed among theMseles as to .wlfiet

constitutes music education. Thedefinition.still varies according tothe standpoint of, the definer. The composer, the performer, thethearist, the pedagogue, will each interpret it in the light of his ownspecialty. It. is this lack of system, this indefiniteness of aim, thathave repelled those %im mold educational opinion, and causedthem towithhord from music that educational value which its vota-ries claim for it, but which has been obscured by the desultory natureof music instruction. / Yef, despite this serious defect, its claims haveimpressed thoughtful investigators. .This lack of system could notentirely hitk±' the evidences of good work being done, and the-desirefor a mere complete and exact knoNtledge of what is really beingaccomplished, of the real status of music education in this count7,has been felt not only by members of the musical profession, but bythose interested in edticational movelpents generally.

It is known that large sums are expended annually for musicinstruction, that many (students and teachers are engaged in it; butwhat, its real proportions are, to what extent it is becoming systema-tized, what attitude independent schools of music and institutionshaving music departments maintain toward it, just how serious isthe purpose of those who are active in the musical profession, what

courses_Ostudy, and how these grades are determined 8,re questionsv.,

grade of work is demanded by institutions that announce graduate

8 FOREWORD.

to which satisfactory answers are not now to be given. It is to supplydata for the determining of those imints that the present inquiry isundertaken. It is not the intention of this inquiry.to give decisionsas to any point at issue; it.sintrly proposes to lay before thoseinterested certain accurate and authoritative information upon whichthey may base their own judgment.

The field to be coverea_ituidarge to be included in a sitigle.giLiThe scope 01 this. investigation, therefore, is confined tir""iieeducation in independent schools of music and in institutionsmaintaining music departments. It is obvious that. that largest ofall fields, the work of the private teacher, could not he included inthis inquiry, and it. was thought best to begin the gathering of musicalstatistics with the work done in the institutions which really dominateeducational policies, musical lanf otherwiI.

The purpose is to secure definite informa in regarding:I! The organization of and mannertd ,hnducting these sehoids igid departments.

2. The number of instcuctors employed, with brunches taught. and nutnlwr ofhours per week devoted by each instructor to instriition in eifch Tibject.

3. Number of students enrolled. with requirements for wift:thee...and theshone& period for which students are rervivd.

4. The nature and scope of subjects inclieleil in the curriculum, with require-ments as to time devoted to each. requireinn; for gntilnatioii (with or withoutagree) or for certificate, and the number of students wit hay, received suchdegrees or cerfificans within a definite pertisl of years.

5. The manner of advancing students from grade to grade, with meth NIS 0/examinatir and marking.

It, The correlation ei music and n i'011INI'N,

7. Amount expended on music itottruhtion and value of plants devoted tomusical purposes.

S. Existence of libraries, with number +d hooks contained therein, and numberof Ml19011111t1 of musical instmments, with information as to thilir size and character.

Two questionnaires were prepared, and were sent by the Bureauof Education to

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Independent schools of music.Colleges and universities.Colleges for women,Normal schools, andSecondary scht

The lists of these institutions were gathered from various sources,about 3,500 receiving the first questionnaire. The second was sentonly to ,those whose replies to the first indicated that they couldsatisfactorily furnish certain additional information.

This inquiry being the firkin of its kind, difficulties were met, for thesolution of which no precedents were available. To be authoritative

reliable it must be discriminating, yet it had no power officiallystandto settle the many vexed questions certain to arise during the course

IlLGZ

FOREWORD. r 9

of the investigation. Among the 'mints which came up for settlementat the outset were

Mau shall lao the standard cquitatata'and vilicittoy,letuandtal IA) insurelisting in Om report

What really ,11,-.1tritt(-, a mii::1What distinctn,n shall he mad, la-tivco -sdnx4s anhntqi lely for profit,

and thoec w tear aini primarily is cdocioIIoN shall Omsk. standard, and deitinciiiift li

These are important questions. Their settlement affects the valueof the inquiry, yet ,the statistician has no authority to pronouncejudgment.

It wasOacided, therefore, that in preparing the questionnaires forithe inquiry effort should be made so to (frame t Ili(' questions that. the rt.

answers to them, if primerly given, would practically determine thesepoints, the statistics, when published, furnishing evidence to dirt- .

eritrtinating readers regarding the work done by the institutionsreplying to the inquiries. To this viol, the questions relating toorganization and management of finonces, to instnictor, students,courses of study; to graduation requirements and correlation of

-courses, musical and nomniisical; to in- hods of examination and ofdetermining. grades, were given part itulor iiitentiotl, and Jinx+ provedto he vireo ivt,, in drawing nut the information desired.' As wasintended, the replies ore significiint not outs for the precise inMrma-tion they give, but equally for indicating the attitude of theint4itutionstowirrd music education.

Naturally, a first inquiry expends much of its effort in breakingground. jndifference, and even positive disinclination to supplyinformation are met ; yet it_is hoped that the stAtistics secured notonly will supply definite informat,ion heretofOre lacking, but will alsocontribute something, at least, loword the coordination of musicschools and uniformity in their courses of study, and be of assistanceto those who are Striving to have music, placed on tin equal footingin the.scheme of education with other subjects uI the curriculum.

Acknowledgment_ is Made to Prof. aldo S. Pratt, of the Hartford'1lieologicui Seminary, And to Prof. F. A. Parker, of the Universityof Wisconsin, (or assistance in securing data.

ARTHUR L. MANCHESTER.SPARTANBURG, S. C., ififif l .)1110,5.. Ilr

a Illustrative of the complexity of thla question In an Instance called to my artentIon In the courseof c4rresiamdence concerning this phase of the oport. A "ronayrvilt1,ry of killRie."fivith title nationalIn character, consisted of one back room on the tipper floor df a cite building. accina to It being hadamidst a rather forbidding conglomeration of rubbish. The, (atin consisted of one teacher--the.pregrietor. There was at oven an attempt at well-deflbeil. coordinated courses of @flair. Yet It had .

taken to Itself a high-sounding title, and posed as a sehool of music. This "institution.' is long sincedeed, but there are many others still tu extatenoc, masquerading under similar uatnoe.

4IY

THE STATUS OF MUSIC EDUCATION INTHE UNITED STATES.

I. HISTORICAL DEVELOPMENT.

In order to an understanding of the present status of music in theUnited States a careful study of the different elements which haveunited to produce present conditions is necessary. Music is complex;it has its scientific, aestheti, pedagogic, and cultural aspects, eachalso complex in character and providing material for serious andlong-continued study, each influencing the development of the ethersAnd in proportion as emphasis is lanl upon one or the other itgiven a bent of development having a strong bearing upon themetrical unfolding of the art of music as a whole. So many fac irsare thus present in the cultivation of music that for the estab !,-ment of a thoroughly efficient system of music education the utmcare is essential to the preservation of the proper bakace betthem. Instrumental music, including various instruments and thorchestra; vocal music, including solo singing, choral singing, opera,and oratorio; theory, including grammar, form (architectural struo-ture), and composition: the meaning of music as exemplified in thesevarious manifestations; and last, but far from least, 'the state ofmusical taste among the people, are factors which must be under-stood, for they are capatTle.of pedagogic treatment. It is readily seenthat the teaching of any one phase of music should be conducted withthe reciprocal nature of all musical effort clearly kept in view, yetthe failure of musicians in this respeet is shown in the history ofmusic education from its beginning until within The last ten years.

It would be well if th, historical summary which follows couldenter enough into detail to give a more complete view of musictory in this country, but the limits of the work forbid, admitting osuch facts as boar upon the development of its pedagogic side.order that those who may wish to pursue the subject further may doso, a bibliography of the history of music in America is subjoined

BEGINNINGS OF FORMAL MUSIC EDUCATION.

Formal music education has been developed chiefly through theactivities of private teachers, independent music schools, and the

19 'MUSIC EDUCATION IN 1/tHE UNITED STATES.

teaching of music in the public schools and in colleges and univer-,...aities. Efforts in all these directions have bees( influenced and modi-fied by the establishment 2f orchestras and smaller bodies of instru-mentalists in, various cities, and the introduction of opera in a fewof the largest cities in the country; but regarding these proceeding'spresent limits forbid the entering into detail. Formal music educe-'on began with the institution of singing schools, whose purpose was

the improvement of church. music by teaching youths and adults tosing by note. They were doubtless stimulated by an increasing in-terest in church music growing out of the crude psalmody of thePuritans. Their educational value was small, those who conductedthem possessing slight musical equipment. Their social features hadmore to do with their popularity than their educational advantages.They were peripatetic, moving about from place to place. Despitetheir weaknesses they stimulated desire for better things, and theinterest they aroused resulted in the formation of choral societies,Which later developed into permanent bodies between which and themusic festival a direct relation can be traced. The first of these so-cieties was that at Stoughton, Mass., which had its beginning in 178tising which -till exists. In 1815 the Handel and Haydn Society ofBoston was founded. This society exerted an increasing influence`en musical progress, anti is still in existence, its records forming a.sraltise contribution to the history of musical development.

conventions, which are still held in various parts of thetooth, were a combination of the old singing school 'and the choralsociety. Held in some convenient center, they attracted participants

.trom quite considerable distances. At the conclusion of a more or'less serious series of lessons in note reading and the rudiments ofMusic, a concert was usually given, which 'the public was invited topatronize largely for the benefit of the conductor. While the workOf those conventions was lacking in finish, greater good was accom-plished by them than we in this day are prone to give them credit for.

The value of these early efforts lay principally in their direct con-, tett with the people. The modicum of musical instruction provided

ity them broke ground for later and more pretentious instruction andled to the discussion of methods of teaching, but was less influentialiiitan the spreading of musical culture among the people which ensued.

With the growth of interest in music naturally came the effort to.children in the rndirnehts of music, and a number of pioneers in

thislieldbegturwork early. N. D. Gould, of Boston, organised classesfor children in 1824, or earlier, as-William Tuckey had previously4one in connection with the charity school attached to Trinity

Anna in New York about 17b3. But the title of f9under of thisfakes of .4 audio teaching really belongs to Lowell Mason, who went

318110210.A3. DW711060PILEIST. ,

to Boston from Savannah in 1827. He was better qualified for thiswork he undertook, not only by reason of his musical equipment, bidalso because of his study of the Pestalozzian principles of teachingand his possession of marked zeal and personal magnetism. Hisideas es to the place of music in general education were definite andadvanced. In 1832 he organized the Boston Acaderpy of Music, out-lining plans for the promotion of music education in various ways,including the instruction of children and the eetablishnItnt of normalcourses. for teachers. This institution soon attracted 1,500 pupils, asignificant indication of an awakening interest which needed onlywell-directed efforts for its rapid advancement. His labors culmi-nated in 1836 in permission from the authorities for trial classes incertain public schools in Boston. The results were so satisfactorythat in 1838 Mason was placed in charge 'permanently. He con-tinued in this service, however, only end! 1841, when he was suc-ceeded by B. B. Baker. Mason's 'normal classes attracted teachersfrom a wide area, and efforts based upon his methods were initiatedin several other States in the East.

New York aKAS also taking steps in the direction of teaching musicto children. In 1835 Darius E. Jones taught for some time in oneof the city schools With sufficient success to insure permission to con-tinue at the 'option of the local board, provided no &name was in-curred and regular studies were not interfered with. Attempts togain a definite place for musical instruction, however, were not suc-cessful, no effective recognition of music being given until about 1853.The earnestness of its advocates was indicated by their willingnessto provide the first pianos introduced in the New York schools bypaging for them themselves or by means of concerts given by thechildren.. Efforts in Cincinnati, where Lowell Mason's brother, T. B.Masan, organized music classes similar to those in Boston, eventuatedin the introduction of regular instruction in the public schools underthe dittction of William Colburn. Pittsburg dates the beginning ofits instruction in music about 1840. N. D. Gould, to whom referencehas already been made, states in his book, church Music in America,-that he was active in establishing singing schools in Massachusetts,New Hampshire, Rhode Island, New York, and New Jersey fromabout 1820, and especially after 1830. Of these labors he was veryproud, expressing extreme satisfaction that he could look back uponthe fact that he was the first to introduce the formal teaching of chit-

en touch were t e beginnings of what, after the intAkruption of the

ivil war, which seriously retarded efforts of this nature, became thea See yews by chow r. Brlitow Is Proosediost et the *tele Twist"' Neitiosel ArashealAW

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, MIMIC EDITOAT10/1112t THE UNITED- STATES.

great public school system of music education. Devoted as these menwere to the work they had entered upon, there was sown even at thisearl,. date the seeds of that misunderstanding and narrowness of view*Rich have been prominent in music education during all its his-tory in this countz'y. Conflict between these teachers, y.'ho basedtheir work on the psalmody of the period; and those professionalmusicians who cultivated music as an art, began to develop atonce, and a mutual depreciation arose.

ith the practice of music, in its earliest stages, largely vocal, therewas comparatively little demand for the services of teachers ofinstruments; but with the growth of musical taste, the making ofpianos, and the cultivition hf orchestral music, the number ofbrained musicians engaged in teaching gradually increased in theeastern cities, until there were scattered about in various parts ofthe country a sufficient number to produce a marked .ipressionupon the art ideals of the country. This number was largely in-creased and its influence strengthened by the settlement in Americaof refugees from Europe during the decade from 1840 to 1850, andafter the civil war it became an important factor in music education.The diversity of interests of those engaged in teaching, the conflictOf opinion as to what should hold the most important place in thedevelopment of music, and the great increase in the number whotook to teaching it as an easy way in which to make a living or securepocket money, soon resulted in confusion and the setting up offalse standards, which exerted a baneful influence on the wholesystem of music education.

SCHOOLS AND CONSERVATORIES OF MUSIC.

.The early enterprises which might be dignified by the name ofschools were of doubtful character and were devoted solely to therudiments of music, and, in all probability, were given an impetus bysinging classes. The first music school in the true sense was thatprojected by Eben Tourjoe, of Fall River, Mass., and put into opera-tion at East Greenwich, R. I., in 1859. Later, Tourjee started aconservatory at Providence, and, in 1867, founded the institutionliat, in 1870, was incorporated as the New England Conservatoryof Music. Before this (in 1863) he had spent some time in Europeinvestigating methods there and studying with Haupt and otherprominent teachers. His ideas were progressive and sound, and his,talent for organization enabled him to carry them out wie good'effect. He was the first to introduce class instruction in other sub-

'bnches f the musical art was clear, and it was his purpose tojectsiita;\:inging. His perception of the interrelation of the various'brancheswork out a well coordinated `curriculum. The New England Con-

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HISTORICAL DEVELOPRINT. 15 \--1

Iliervatoiy has stood for serious music study ever since, and hasgrown in size and influence until it is probably .the best knowninstitution of the kind in America.

Many institutions, with similar aims and established about thesame time or at later periods, have become integral parts of the.American musical education system, exerting great influence onAmerican music life. Among them may be mentioned the BostonConservatory of Music, established by Julius Eichberg (1867); theChicago College of Music, Ziegfeld (1867); the Cincinnati Conserva-tory of Music, Miss Baur (1867): the Oberlin Conservatory of Music(1867), now incorporated with Oberlin Qollege; the PhiladelphiaMusical- Academy (1869); Dana's Musical Institute at Warr,en,Ohio (1869); the Cleveland Conservatory of Music (1871); theDetroit Conservatpry of Music (1875), and others of later founding.With these have sprung into existence at host of independent schoolscalling themselves conservatories, local in influence,' whose methodsof procTedure and artistic *als Nary according to the purposes oftheir founders. Sonic of aiem doubtless are sincere in their aims,and strive to do work as thorough as their resources permit; but intoo many cases mercenary motives are behind their establishment,and their entire workings are dictated by a commercial spirit.

DEPARTMENTS OE MusIC IN COLLEGES, ETC.

The institution of departments of music in colleges is so inter-mingled with the founding of these independent schools that nosharp line of distinction can be drawn as to their early history.lIere, too, the motives animating those concerned have been mixed.While serious educational aims have inspired some, in many instancesexpediency has ruled the situation, and the treatment of musiceducation in colleges, particularly thole for women, and in secon-dary schools has been one of confusion, and, too often, of low stand-ards. The larger institutions are notable exceptions. As earlyas 1837 'a society known as the Harvard Musical Association, com-posed of alumni of Harvard College, announced as its timitteobject"

The advancement of the cause of music, particularly in this university. We wouldhave it regarded as an important object of attention within its walla, ae somethingwhisii sooner or later must hold its place in every libeml system of education --andthat place not accidental or a stolen one, but tonnal y recognized. We that love musicfeel that it is worthy of its prufeseorship, ae wt,11 as any other science.

This statement, quoted by Ritter in his "Music in America,"is a forerunner of many such avowals in recent years. While theobject was not inimediately realized, nearly thirty-five years elapsingbefore Harvard fully met the desires of its promoters, the time

1$ EDUCAT ,ION IN THE UNITED STATES.

has come when not only in that university but in others such recog-nition is accorded. But it was not until 1860 that a movement inthat direction was made, and then it was step by step. First aninstructor in music was permitted to do some teaching in certainsubjects as an irregular part of the curriculum. Notable instancesare Harvard, with John K. Paine, who began his,work in 1862, reach-

'nig a full professorship in 1576; Oberlin College, Fenelon B. Rice,in 1869; Vassar College, Frederic Lotiis Ritter, in 1867; the Uni-versity of Pennsylvania, Prof. lIugh A. Clarke, in 1875. Then camethe granting of credit for certain courses in music toward the degreeof A. B., Harvard taking the lead in 1870. Next followed the finalstep of granting credit toward entrance for musical qualifications,which has been taken only within the past six or eight years.

PROGRESS Nt A I )E.

The steps in the development of formal music education hereconcisely stated have occupied more than a century in the taking.

, If the progress made during that time does not compare favorably1 with that in other fields of educational effort it should be remembered

1 I that many incentives so prominent in the others have here beenlacking. Music has not been considered so vital a part of the polit ical,

1t, moral, and social life of the nation as those arts upon which depends' the earning capacity of individuals. Not only were its exponents

compelled to clarify t heir own views concerning, its purposes andt methods, to find themselves, in short, but also to make head against

a public opinion dominated by strong utilitarian ideals. The absence' of unifying sigencies has weakened, and too often nullified, the

efforts of musicians, leaving them solitary and unsupported intheir attempts to build up an educational music system. Yet,unsatisfactory as are many present conditions, the change from

i the unmusical psalm singing of the Puritans, the ambitious rather1

than musically satisfying concert performances of fifty years ago,' and the low state of musical taste of a large part of the nineteenth

entury, to the artistic concerts, the immense attendance uponublic performances, and the higher state of musical culture andritical acumen of the people now witnessed, is. indicative of a long(ride forward.

WORKS ON THE HISTORY OF MUSIC IN AMERICA.

Those who wish to investigate more fully the growth of music andanuaio education in the United States are referred to the followingpublications, and to the list of works on music education on pages 83-84:Brooks, Henry Mason. Olden-time musk, a compilation from newepapers Ad books.. "Aiken introduction by Professor Edward S. Mouse.. %%. Boston, Ticknor and

anenperty, 11188. [ix] ex, 283 p., front., illus. 12°.

feed.,r!

of this work Is to give scam amount of musto In 'ye *kiwi thee' In New Bap

RESULTS OF THE INQUIRY. V 17

neon, Louie Charles. The history cif tmerican music. With twelve full-page photo-gravures and one hundred and two illustrations in.the text. New York, Lon-don, The Macmillan company, 190. xiii, 380 p.. incl. illus.. plates, ports.,

'front. 4 °. (The history of American art, ed. by J. ('. Van Dyke.)"General bibliography. pages 367.36S.

[Howe, Granville I..) rd. A hundred years of music in America. An account ofmusical effort America during the past century . . together with historicaland biographical sketches of flu port:int personalities. W. S. B. Mathews,arsiociale ed. Chicago, G. I,. Howe, 1889. ix, 6-715 p., illus. (incl. ports.,facsims.1. 8°.

Music Teachers' Nati .1 Association. Pal ers and proceed nip. 28th annual meeting,Oberlin, , June 26 29, 194(6. [Hartford, Conn.! published by the associ-ation, 1906. 200 p. 8°. 129th annual meeting. Columbia University, New York City. Dec. 27-31, 1907.

[Hartford, Conn] published by the assiciat ion. 1908. 284 p. 8°.

Ritter, Frederic Louie. Music in America. New ed., with additions. New York,C. Scribner's sons. 1890. xi1-. 511 p. 8'.

"Musical examples, pages rist-5i3.

Ryan, Thomas. Recollections of an old musician. New York, E. P. Dutton & Co.,1899.- xvi, 274 p.. pl., port. 8°.

Sonneck, Oscar George Theodore. Early concert-life in America (1731-1800). Leip-zig, ilreitkopf & Martel, 1907. 338 ti. 4°.

BibllOgraphical footnotes.

II.---RESULTS OF THE INQUIRY.

The statistical tables containeiI in this work are based on question-naires sent out by the Bureau of Edtftation in 1907. Replies werereceived from 1,088 institutions. Of these, 381 gave no informationwhich could he used, or were not. organized institutions; 112 colleges,normal schools, and universities reported no music departmentsmaintained; the rknaining 595.funiished more, or less completely theinformation desired. Financial statements were not made by 348 ofthis ntibiber. The resulting statistics have been classified so that thetabulations for independent schools of music, colleges and universities,colleges for women, normal schools, and secondav schools appearseparately. A study of tables 6, 7, ti, 9, and 10 will show that themost important institutions in each class are represented. With per-haps two or three exceptions, all the leading independent soy ols ofmusic are included. In each of the other classes institutions mostinfluential in educathinal work have msponded. In the 1906 Reportof theConunissi9ner of Education, 577 institutions of higher education,not including schools of technology, are reported as replying to theinquiries of the Bureau. Two hundred and eight of these institutions,including those of highest rank, have responded to this firsb specificinquiry for detailed statistics regarding music instruction. It is fairto believe, therefore, that the statistics herein given truthfully reflectthe conditions now existing in organized music education,

.X18 EDUCATION IN THE UNITED STATES.

INCORPORATION OF SCHOOLS.

It will be noted that of the 595 schools reporting, 2A1 are incorpo-rated, 170 not incorporated, and 144 do not reply to this question.The following table gives this information in detail:

CIsss of institutions.Not

itworpo-Not

Independent PrhOols of ifinsw 24 :t :1

i

1.,1

Colleges and nru ve rei t till , 37 : 44 151Colleges for N'OtTV11.. 48 ', 1! ;

-Normal nchoolm ..... 311 29 : '.;( 40Secondary schools 04 r.ti ; ol 1 224

Tots/ '2,1 '1:u ; 1.41 ; ..1LN

fn schools which arc not incorporated the financial management isusually, in the hands of the director or proprietor. In the majorityof cases the director and proprietor are one.

INSTRUCTORS A NI) SU ILI Erl'S TA ['GUT. .

he total number of inst rvctors in independent music schools report-in is 607. 'the number in each school varies. from one to fi ft y-six.In many schools specialists and lecturers are called upon for spcoialinstruction, giving ()DIY' a few hours a week to the Ansi it ut ion. Thehours per week devoted to their respective schools by individualinstructors range from two to sixty. The average number for eachInstructor in the schools reporting is twenty. The subjects taughtrefer mainly to performance and onquisit ion and professional train-ing. The various instruments, voice culture and singing, and theo-retical subjects, with more or less attention to est hetics, comprise theircurricula. In the largest conservatories modern languages are taught.as a part. of courses in singing, and dramatic action and operatic rep-ertoire are given considerable attention. Technique, intetpretation,and repertoire are the chief desiderata.

Of 334 .universities and colleges ior both sexes and colleges formen nultng to tlw inquiry, 95 report. noT6.partments of music.

In many of hese glee clubs and orchestras are maintained by thestudents, but t o specific instruction is given. The number of instruct-ors engaged in 20S of these institutions is 974. The number of hoursper week devoted by each to instruction ranges from two to forty.The majority give practically their entire time to the institution withwhich they are connected. The average number of hours per weekfor each instructor is twenty and one-half.

The subjects taught are the same as in independent schools of music.Instruction is given in. practical music, from elementary work toconcert playing and singing, theoretical subjects, history of music,and esthetics. While each is organically connected with its college or

RESULTS OF THE INQUIRY. 19

university, educationally the tie binding them in the majority ofcases -is elastic, and they are managed )is independent music schools,with the same musical aims and ideals. In universities and collegesof the highest grade, however% theoretical subjects, including har-mony, counterpoint, canon, fugue, and composition are the institu-tional courses, practical music being totally ignored in some, and onlyincidentally cultivated in others. In them, as well as in it consider-able nurffter of ,miller institutions, musical appreciation, includingform and analysis, is offered as a regular course.

Replies were received from 130 normal schools, 98 giving stat isticswhich could be embodied in this report. Vocal music, with especialreference to its use in the !Vibe schools, is the leading subject,'many schools maintaining no regularly organized music departments.In those which do, the subjects and methods and aims of insiifuctionare similar to those in the institnt ions already mentioned. Two hun-dred and twenty-live instructors are reported as engaged in givingmusic instruction in normal schools.

A statement of the work in secondary schools Would he a recapitu-lation of what has already been said, with the addition that thestandards of excellence and efficiency do not as a rule comparefavorably with those in' the institutions of higher education. Ofthe 228 schools reporting, 411 per cent employ one or two instructorswhose entire time is given to the institution and whose duties are togive instruction in piano, singing, organ, violin, and theory. Thereare schools among the number reporting which have well-organizeddepartments and well conceived courses of study. In sortie menti:nis made of the advantages accruing from the study of music in con-nection with subjects in the lit entry departments, and in a fewinstances the completion of a high-school'course of at least three yearsis required before graduatica in music. Attention here, as in manyinstitutions in the other classes, is directed mainly to performance,with some emphasis on theoretical subjects. The number of instruc-tors reported is 700.

STUDENTS ENROLLED.

The total number of sodents enrolled is 77,359. According tothe Report of the CommitIsioner of Education, the enrollment of stu-dents in colleges and universities for 1907 was 149,700. The enroll-ment of music students in 208 of these institutions was 211,743, over17 per cent orthe entire number.. Entrance requirements exist invery few instances. The shortest period for which students arereceived is five weeks in certain of the independent schools. Themajority of schools do not receive students foi a shorter period thanten weeks. In colleges and universities the shortest period is one

C

20 mum EDUCATION IN THE UNITED STATES.

term or semester. The following table gives the number of musicinstructors and students in 1907,Iand the number of graduates andstudents receiving certificates in the last five years:

Clams et i malt 'Alone.

Independent *ehooln ofinumeCollege, and univeraltiesCollege, for womenNormal school,Secondary echo('

1MI admit'

School,, Graduate, nreivingIMd. 11lc- Studnnts. I in hod. 5 certificatesng.Ix

.

torn.' yeats. III lust 5

I year,._

-------151

017 I 17.122ti0 IS, 971 ,

1 . !SU1. V& I

'1.9711133

61

57 294 7,772 , 491 323Io1 225 1/1.1414 . 650 54)

1125 ! 7110 14.5111 G31 1136

4Total 595 2.5001 77.3511 3 .1149

NATURE AND+ SCOPE OF st-eilwrs.

An examination of the music courses offered by the institutionsreplyin% to this inquiry classifies them into

Theoretical and testhetic courses,Practical or-tipplied courses,Cultural courses.

To the first class belong all such subjects as foundation principles,harmony, counterpoint, canon, fugue, composition, form, history, ofmusic, and orchestration; to the second, all courses in the masteryof any instrument and of singing, and to the third, those coursesoffered for the purpose of developing an . appreciation of music,including foundation principles, enough of the gratripiar and form ofmusic to give an understanding of its structure, histt ry, and analysisof compositions.

The scope of these courses varies with the resources and serious-ness of purpose of the institutions offering them. In those of thehighest. rank, they are well planned, carefully coordinated, and thor-

toughly`carried out. In independent schouis of music there are noentrance requirements. In a number of leading colleges a knowledgeof rudiments is demanded as an entrance requirement. As hasalready been indicated, in a large majority of institutions the coursesin practical music occupy- the foremost place in the curriculum.This is so largely the case that it can truly be said that the natureand scope of nmsic education is still chiefly confined to the develop-ment of a greater or leas degree of virtuosity in performance, with aconsiderable amount of attention given to instruction in foundationand theoretical principles. Many independent schools of music, itis true, and a large number of colleges and universities, and a smallernumber of secondary schools demand work of the most exactingnature; their courses are thorough, comprehensive wit theirlimitsiltnd at their completion reach a . high standard tartisticexcellence. But in the beater number of institutions of all &sees

ILLUSTRATIVE CURRICULA. 21

the coordination of courses has not reached so satisfactory a stage,and performance overshadows all else, the standards here also differ-ing considerably.

The time required for the completion of-these courses indicatestheir nature and scope. Some institutions Offer certificates at theend of two years of instruction; others on completion of a statedportion of the regular course for graduation. Some schools flamefrom three to seven years as necessary for graduation; others, againygive no time limit, setting insttad a standard of accomplishmeawhich must satisfactorily be met before graduation. :

ILLUSTRATIVE CURRICULA.

It. is obvious that the educational Value of a course.of study doesnot lie ift a statement of its requirements, however comprehensiveand systematic that may be. A paper course may be a model ofexcellence, but unless its provisions are properly carried out and itsrequirenients strictly met, its worth educationally is nil. It is cer-tain that too great differences in standards exist in schools offering'practically the same courses. hence the mere cataloguing of coursesis not a criterion as to the educational status of the schools offeringthem. Yet the following curricula, offered by representative insti-tutions, whose standing is such as to assure intelligent enforcementof course requirements, are significant as.showing the care which isbeing taken by institutions of serious purpose to properly coordiftat©the various bLnches of musical instruction into a comprehensiveeducational scheme. The fact that these curricula are typical isindicative of widespread efforts on the part of musical educators toprovide such schemes of music education, and gives evidence of a pur-pose which, in time, must also bring aliout a greater uniformity ofstandards.

The curricula cited are offered by certain universities and collegesand independent music schools representative of those which havereplied to the inquiries of this investigation. They illustrate thepurely theoretical courses offered by institutions which do not, giveinstigetion in plbactical. music and by those which combine theoryand practice. The curricula from independent music schools arefrom a 'metropolitan conservatory with ample resources and from asmaller school, located in a small city, which is typical of the largernumber of such institutions.. Entrance requirements are givenwhere such exist, and the entrance requirements of one institution,which stands almost alone in this particular, are given in full.

The first two courses are offered by independent schools of musicthe first by one with a good endowment and .large receipts fromtuition; the second from a conservatory which is dependent uponits tuition fees alone for support.

'2 NIUSIC. EDUCATION IN TILE 'UNITED STATES.

CURRICULUM NO. 1.

1.18T OE 81.1UF.CTS Tu IIE TA11:11T.Acoustics. -Conducting.Elements of music (notation. rbythiti,Ensemble plating.Misters and ;esthetics of music.Interpretation. instrunirmtal and vocal.Language;t in'their relation to music.Music dictation.Music form and analysis.Music pedagogy in all its branches.Opera singing.Oratorii. singingOrgan playing

..Organ structure.l'ianoforte playing.Score reading arta playing from the old clefs.Sight singing ant sight playing.Sung singing.Stage deportment ;ind dramatic action.Stringed-instriftent pla ing r t iolin. viola. violoncello, double bass. and harp,.Theory: I larmony. counterpoint. and cotnlssitiunVocal culture.Wind-instrument playing (clarinet, oboe. horn, trumpet, flute. etc.).

iounsiFs sTuDY.

All regular students will be required to follow a prescril4s1 course of stint) tl,tigliellto impart a broad and I they knowledge of the art. It is not the with that instructionshall, he given only to persons IOW intend to follow music as a vocation. thoroughmusical education is offered to all who desire seriously to learn the art, be their inn-poses what they may. There are regular and special courses in each branch of Study.For the former. no formal entrame examinattion is required. A pplicants are examined,but solely with a view to assiving them to the course of study for which they seertbest fitted. Nevertheless. should students. in the regular courses. through want ofcapacity or industry, fail to disclose satisfactory results. they will nut he allowed tocontinue their studies. In order to be admitted to the special or artists courses,applicants must twisty Om director its in the degree of prtdiciency already attained,and if deemed necessary by him must pass an examinutioi.. The institute alsoprovides a course of study for persons who (h not play upon an instrument of music,Ring, or compose, but who a lovers of music and wish to enhance their enjoymentof it by learning; to liaterrttrit discriminatingly, with understanding; and appreciationof its beauties. Such listening is also an art capable of cultivatimk.

The duration of the courses of study varies according to their nature 'and the rateof progress made by the student. Instruction is individual. but there is also chum+work, so that each strident has the benefit 41 the instructor's criticisms of his fellows.

The amount of time which a student of any of the principal courses is expected tospend at the school differs according to the nature of the course and the grade of thestudent. As a rule. he will attend twos whole forenoons or afternoons per week, withnow and then an additional Our for special lectures, etc. This time would includetwo half-hour individual lemons in the principal subject. In addition to this, therewould be at least one hour of harmony or counterpoint, one hour of ear training anddictation; one hour of sight and choral singing, and one Or two hours for lectures.

ILLUSTRATIVE CURRICULA. 28

Attendance at recitals, rehearsals. etc., would probably add an hour or two per weekto those enumerated above.

.\ dint ional lectures instituted from time to time will lie open to all regular studentswithout extra charge. It is the policy of this school to open as Malty 217'011110i 111information as possible to all its students.

30.t NI 1.18TINCTIONS.b.

la! held at stated int en ids, and students will he rated according ,to theirabilityanddieprogrec stheyhaAemade. To all students \vim pass sat isfact,-,rilythe final examinations in the prescribed. or. as they lime been termed herein, retiru-tar. courses of instruct ion, diplianas will be issued. Students ing any on(' ofthe special cmin.z..:. will receive a certificate. TeindJers. certificates will he bestoxit .

upon all.students why shall successfully pa., throutrli any of the teachers' trainingcourses. Hlder, of diplomas will form the alumni mid alumna of the institute;holders of certificates will I tenor l aselialt.s.

The coupes ..1111111141 as ittilt\V! a.

trAss.

Vocal couture tone placing, vocalises, interpretationEar trainingsight singing, music dictation. choral Fa, t iceElement. of !mimic notation, intervals, rhythm. etcTheory of inusil-- melody writing. harmony. form. analysis. counterpoint.Piano playing... for general musicianship.Languages Italian. German, French.

.054-Attendance on lectures, recitals. rehearsal., and concerts.

ARTIST:. t FM?. t ,t.ta FIT tat Cr. trip,

1'0r:1-W1011.11

Sony: Italian, German. and Frenchitative and aria.

Study the standard oritoriitheory.1dA !red

Italian. German. and Estinc\!tech nation and stage dop.rtliwilt.Ensemble singing. with tal11.r t.,t11,1 11111 ors heslr.i.Attendance on lectures. recitals. rehearsals. a:.(1

ARTI!TN itat

Study of the stando-1 opens, old and new..16 aimed theoryLanguages Italian. German, and french.Declaniat ion*age deportment and dramatic action.Chorus and ensemble practice.

SEciAl, TRAININti

(P00-grtldlitifeVwaiEar training sight Hinging, music dictation, choral practice.Advanced tIkpury.LanguagesItalitin, German, and French.Pedagogy.Anatomy of the vocal organ.Attendance on lectures, recitals, rehearsals, and concerts.

ktt

MU8IO BDUCILTION IN THE UNITED 8TAT88.

PIANOFORTE.

REGULAR COTERIE. PEHLKE TILES.

The pianotechnic, touch, phrasing. interpretation, etc.Ear trainingsight singing. music dicition. choral practice.Elements of musicnotation. intervals. rhythm, etc.Theory of musicmelody writing, harmony, form, analysis. counterpoint.Sight playingensemble practice with two pianos and with strings.Attendance on lectures, recitals, rehearsals, and concerts.

Au ?lime' c °Laos .

( Poet-graduate .1

The pianotechnic, touch, phrasing, advanced interpretation.Advanced

tEnsemble pill= in chamber music and with orchestra.Attendance on lectures, recitals. reheamals. and concerts.

STECIAL TRAINING (ot'RRE Soft TEA, HERS.

(Pos/grartuate )

The pianotechnic; touch, phrasing. interpretation. etc.Ensemble playing.Advanced theory.History of the pianoforte and its music.Pedagogy.Practical experience in preparatory teaching.Attendance on lectures. recitals, rehearsals. and concerts

ORGAN.

RE01.1.AR COTIRSE, THREE YEARS.

The organtechnic, touch, phrasing, interpretation. registration.Ear training-sight singing. music dictation, choral practiceElements of music--notation. intervals, rhythm, etc.Theory of musicmelody writing, harmony, form, analysis. ettimterpoint.Organ structure.Organ accompaniinent.Attendance on lectures, recitals, rehearsals, and concerts.

STRINGED INRTRUMENTS: VIOLIN, VIOLA. Y101,0NCRI.1.0. HARP.

RROULAR COURSES, THREE YEARS.

The instrumentits technic, phrasing/interpretation, etc.Ear trainingeight singing, music dictation, choral practice.Elements of music notation, intervals, rhythm.Theory of music--melody writing, harmony. form. analysis, counterpointPisino playingfor general musicianship.Ensemble playing.Attendance on lectures. recitals. rehearsals, and corn etist.

ARTISTS' t OUTUSIES

(POSIgradIRHP

The instrument advanced technic and interpretation.Advanced theory.History of the instrument and of its mask.Study of chamber music.Itneenbis playing with arched:a.Attenthince on,lectures, mink rehowels; and concerts. -

ILL1JSTILVTIVS CURRICULA.

SPECIAL TILAININO COOESIS TOE TEACRUIS.

(Postgraduate.)

The instrumentits technic from the normal standpoint.Practical experience in preparatory teaching.Advanced theory.Pedagogy.History of the instrument and of its

ir Study of chamber music and enstmble playing.Attendance on lectures, recitals, rehearsals, and concerts.

ORCHESTRA COURSES.

Courses for all orchestra instruments and under teachers representative of the bestFrench, Belgian. German. and Italian schools have been established. They includethe following instruments:Double bass. Horn.Bassoon. Oboe.Clarinet. Trombone.Flute. Trumpet.All percussion instruments. Other wind instruments.

In each pane the prescribed course covers, in addition to the principal subject:Ear trainingeight ranging, music dictation, etc.Elements of musicnotation, intervals, rhvtlun.Theory of musicmelody writing, harmony. olnterpoint, form, analysis.Ensemble flaying-nrchestra practice.Attendance on lectures, recitals, rehearsals, and concerts.

POSTGRADUATE COURSE IN THEORY.

Music form Double counterpoint.Music analysis. Fugue.Applied counterpoint. Instrumentation.

Practical composition in all forms.Score reading, vocal score in the old clefs. orchestra score.

PREPARATORY CI.AmSEs.

Under the supervision of the principal teachers. students in the epecjaktrainingcourses for teachers (piano or qtrings) will give lemons. designed to familianee themwith the practical work of teaching elementary pupils who are not yet members of theregular or special courses. The preparatory courses are open to ,pertions of all agesand both sexes, and will prepare them for admission to the regular courses.

LiscruaK couRSE.

'Subscribers to the lecture course have the right to attend all the lectures and recit-als given at the institute.

Following are the subjects for the current year:The Beethoven symphonies.The development of vocal art.Ho* to listen to music.The history of music.Music as a culture study, its individual and community value.This lecture course is specially deeigned for persons who wish to inc their

capacity for musical enjoyment *About &Ain't a practical study of th

IMMO EDITCATION IN THE .17NITE" STATES.

lectures are illustrated by the performance of music of the highest and most repre-c,-, sentative kind. It is not enough to read about music, or hear about it, or even to hear

it in a purpoeeless way. It must be heard intelligently to be fully appreciated; andit is the purpose of this course to teach students to listen intelligently.

This curriculum, offered by ti school of music well able to carry outits provisions, is a careful attempt to properly coordinate the varioussubjects germane to the complete music education of teacher, per-former, or composer.

CIIHRICUL11111 NO. 2.

The following courses are from the catalogue of a conservatorywhich is a type of many.scattered throughout various sections of theUnited States. Its support is derived solely from its tuition fees.With a Fitiltlarger number of conservatories whose resources are smallerit represents the predominating class of independent nuti schools.

PURPOSE OP INSTRUCTION.

It will be the constant endeavor of our instructors in music and drama not only toground pupils thoroughly in the theory of their art but to give them a finish in execu-tion. Whether students take up their work purely from a motive of self-culture or fora professional career, the method of instruction should he the same.' The demandto-day is for practical results, and we need public criticism to ascertain our true merit.For this reason our pupils will be called ups' often to appear before audiences.

COURSES OF STUDY.

The conservatory offers systematic CI mrses of instruction in piano, voice culture.organ, violin, violoncello, and orchestral instruments, in orchestral and ensembleplaying; all theoretical branches; art of (.1r-inducting and history of musie, and inthe art and science of teaching. They comprise five distinct departments of study, asfollows:

I. Introductory course or general musical instruction.2. Advanced course.3. Teachers' course.4. Diploma course.5. Postgraduate course.

INTRODUCTORY COURSE.

This course is open to any stuaent wishing to pursue musical study without referenceto graduation, or to prepare for either of the more advanced courses offered. No pre-vious knowledge of music is required. This course includes the elementary classes inwilich children from seven years upward are taught the principles of music in sucha manner as to stimulate true musical appreciation and to lay the foundation for themore advanced work in vocal and instrumental music.

ADVANCED COURSE.

This course is especially offered to advanced students. Applicants must have hadmusical training and evince sufficient ability to insure progress in their work.

COUR8*.

Tbe preparation of teachers being so important to every successful school, a specialof study calculated to give thorough training in methods of teaching has been

introduced. A 'special teachers' certificate will be given to those students who havesatisfied the following conditions:

Candidates for graduation are required to have sufficient mastery of some instru-ment or the art of singing to give a private recital: have pursued-Audies in the art ofteaching, and had practical experience in teaching under the supervision of theirteacher for at least one year. The theoretical requirements for this course are thesame as in the diploma course.

DIPLOMA COURSE.

The diploma course is open to any person who is qualified to pursue more advancedstudies. It furnishes thorough training for entrance into professional life, althoughit is not restricted to students having such an end in view. No prescribed order ofstudy is laid down, as the varied needs of the students demand an elasticity in thecourse which precludes the possibility of an adequate statement of required work.The student has to pate an examination so arranged as to demonstrate artistic skill inperfonnat e, and an accurate-and thorough knowledge of the theoretical, historical,2.1d critical aspects of music. as, an art. Candidates mull give a creditable and adequatepublic performance of a prignenne, as required by thi, mentioned models, 'silts° satis-factorily, prepare without aid a composition given fifteen days in advance, read atsight a composition of medium difficulty. and pate succeedully the required examineethin in theory and history of music.

The diploma course may be pursued still further. and for such advanced work aspecial postgraduate certificate will be issued. I

POSTGRADUATE COURSE.

The postgraduate department has for its abject the more complete developmentof those who desire to prepare themselves for reitiona of large responsibility in thehigher walks of the musical profession.

Candidates for adinissien to the posemultilite mune, must previously have com-pleted the regular course' in the conservatory, and have received its diploma.

VOICE CULTU RE.

Tone work physiology, breath control, voice placing.Enunciation attack, release. vibration, legate. (Vowels, diphthongs. and conso-

nante.1Sight. singing staff notation, rhythm, ear training, harmony.Repertoireinterpretation and claesification.

SON II, ORATORIt I AND oPE RA COACHINO.

Pupils desiring to acquire the true rendition in oratorio solo singing, as exerplifieffin the interpretation of the gnat singers and conductors, can secure the necessaryknowledge and thus equip themselves for public performances.

ENSEMBLE CLASSES.

Students who have acquired fluency and experience in piano, violin, or violoncelloplaying ire mist earnestly advised to enter one of the ensemble dames, ilium gainingexperience in ensemble playing and accompaniments and acquiring a knowledgeof the beet chamber music and other instrumental compositions.,

ElIGMT-ItEADINO AND SIOHT-MNOINO CLASSES.

These dames afford to pupils an excellent practice in reading at sight, develop thesense of rhythm, give experience in ensemble work, and familiarize the student withthe compositions of the great masters.

_ _

MUSIC EDUCATION IN THE UNITED STATES.

EXAMINATION FOR DIPLOMAS.

Graduating diplomas are awarded to students who have studied at the conservatoryand who succuisfully pass the examination which the graduating rules of the conserva-tory demand.

The following examinations will be required:Piano.L-Perfox,mance of a composition given fifteen days in advance and prepared

by candidate without assistance.Reading at sight.Elementary theory.Advanced theory (at least one year's study).History of music.Acceptable rwrformanee Cif- five complete compositions from the works of standard

composers, including a concerto.Voice.Rendition of a composition given eight days in advance and prepared by

candidate without assistance.Rendition at first sight of a composition (words and music ).

Rendition from memory of one or more eeleetione from a repertory of six belongingto the oratorio, opera. or song literature.

Elementary theory.Advanced theory cat least one year's study).History of music.Fair piano technique.Violin and other orchestral instritmenis.Pf;rformanet t4 a compositi,.n given fifteen

days in advance and prepared by candidate without assistance.Performance of a composition at sight.Elementary theory.Advanced theory (at least one year's study).History of music.Performance of a composition from a repertory of sixOrgan. Performance of a composition given fifteen days in advance and prepared

by candidate without assistants'.Elementary theory.Advanced theory (at least one year's study'yHistory of music.The candidate must give an acceptable performance from a repertory of six compo-

sitions.MODEL POR ORADI' ATION.

PIANOrown.Bach prelude and fugue.M esconcerto in G minor.Beethoven--sonata Op. 26.Chopinnocturne in F sharp, fantasie impromptu.Brahma- -ballade in D, intermezzi:).Weber-Tausiginvitation to the dance.

k TOWS.Arias from oratorios and operas.Group of songs from beet German composers.Group of songs from beet Italian and French composers.Group of songs from hest English and American composers.Candidates are required to'he able to accompany songs of medium difficulty.

Violin and organ models to be decided by the directors of the respective departments.

11ILLVSTRATrVIE CIURRIMILL. 90 "

LECTURES ON HISTORY OP MUSIC.

Our free list further includes a course on history of music. This course comprises aseries of lectures in which a full analysis of music in its development from ancienttimes to the present day will be given. The lectures are both instructive and inter-esting. The following course is scheduled for this year:

1. The Chinese, Japanese, Ilindoos, and Egyptians. .2. The Hebrews, Assyrians, Arabs, Greeks, and Romans..;. Early Christian church music. Efforts at notation and part singing. Popular

music in the middle ages: The troubadours, minstrels, minnesinger, ineisterminger.4. Development of polyphony. The old French and Netherland schools. Luther

and the (*man chorale.5. The clatisic era of Italy. The different schools. Beginning of oratorio and opera.

lustrurrtental music and instruments.G. The old French opera. Germany un*Italian influence. Bach, the fine. of the

German clasaicists.7. The era of the clatter composers imGermany. The development of the pianoforte.8. The Romantic school.9. French and Italian opera during the last two venturies. Wagner in Germany.10. The more modern compeers. singers and virtuosi. American music. The

status at present.

The curricula Nos. 3 and 4 are offered by universities of high rank,the first giving instruction in theoretical subjects only, the secondhaving a completel) equipped school of music and giving instructionin both theoretical and practical music. The first grants credit inmusic both at entrance and toward a degree; the Second, towarda degree only.

CIIRRIMMIII NO. E.

ENTRANCE REQUIREMENTS (HARMONY).

The examination will be adapted to the proficiency of those who have studied har-mony in a systematic course of three lessoue a week through one school year. In thisstudy, some training in pianoforte playing, and the ability to road chetah; and moder-ately easy piano pieces at eight are necessary. This course is equivalent to music 1.The work will consist chiefly of exercises written on figured bemire in which all thetriads and seventh- chords are to he employed prugreseively. Exercises must bewritten iu a clear and well-formed notation.

COURSES IN MUSIC.

The aim of the courses is twofold:1. To provide a thorough training for students who intend to follow the Inimical

profession as teachers and component.2. To offer a course of technical study loo those who wish to devote thshisel yes chiefly

to musical criticism and literature, and for the cultivation of musical taste.Course 1 is the necessary introduction to all the other courses, except music 3.

Proficiency in playing the pianoforte is of great advantage to the student in all thecourses, and in 1, 2, 5, 6, and 7 is required. Advanced players on the violin, violoncello,and other orchestral instruments, and vocalists, may take music 1, provided they areable to play chord exercises on the piano.

Courses 1, 2, 5, and 6 must follow each other in regular order.Course 3 requires practical knowledge of vocal or instruniental

MUSIC EDUCATION IN THE UNITED STATES.et

Courses 2, 2a, 2b, and 4 require knowledge of harmony.Courses 5 and 7 require knowledge of harmony and counterpoint.Students who intend to take only one course in music. for the cultivation of musical

taste and general knowledge, are recommended to elect music 3, as best adapted tothis end.

Students who intend to specialize in music, by taking several c(airses, or to try forhonors in music, are required to elect music I in their first ear in college. Studentsfor honors muitake the courses in t!ui following order:

Freshman year. music I.Sophomore year, music 2 and 4.Junior year. music 2a or 2b and 5.Senior year, music 6 and 7.Music 3 must be taken either in the sfiphontore, junior, or senior p.ar.Students for honors in music who enter college in the sophomore year most take the

courses in the following-order:Sophomore year, music I and 3.Junior year. music 2. 2a or 2b. and 4.Senior year, music 5, 6, and 7.Students who wish to try for honors in music must consult with their instructor in

harmony and the head of the department before the end of the first year.

lips nirnos oF 011tSES.

L Harmony.The fundamental principles of the theory of mushc are embodied in the study of

harmony, which treats of the different chants in their natural relat Mils and combina-tions. The subdivisions of the subject are a.s follows. Intervals, or the measurementof the difference in pitch between one tone !cm! another: trimls. seventh, and ninthchords with their inversions and resolutions; chromatically altered chords.; augmentedchords; cadences; suspensions; passing and changing notes: organ point: nnslulation.

The work consists of written exercises on basses. both ligure.1 a m l indigo red) and theharmonization of given melodies in three and four viies. Theme arc corrected by theinstructor out of the chow room and subsequently discussed with the students indi-vidually. Many exercises are also worked out on the black I 1 1mon I .)y I cult .C11 I

Modern Harmony, by Foote and Spalding. is used is the basis of Ow instruction,The treatises Ptout, of Chadwick, and of others are used as reference books, andsupplementary ustrations and explanations are given in the Oast! riknn. The conmeis open and spec' reonumended to freshmen.2. Counterpoint.

Counterpoint applies the principles of harmony to the mehxlions treatment of theseveral voice parts in combination. The study of this subject naturally follows thatof harmony and develops the contrapuntal facility necessary to all f( irn it of coin punt ion.

The work will include the free harmonization of chorals and melodies, the variousorders of counterpoint, the contrapuntal treatment of cantle; Iinnus in different voices,and simple forms of free composition.

Spalding's Counterpoint will IA used as it text-book.[2a hf. Vocal counterpoint, with analysis of chore/ works of the great composers. (Half

COUrig.)]This course is supplementary to music 2. Exercises and analyses and short vocal

compositions.Particular attention will beliven to the composition of original pieces in the various

styles, i. 0., for men's voices, for women's voices, for mixed chorus, and also for solovoice with accompaniment.


1

1

[ "2b hf. Medieval or modal harmony and its application. (Ha lf-course.)]The object of this course is to give a clear understanding of modal harmonization as

applied to the accompaniment of plain song. and to prepare the student for the intelli-gent study of the contrapuntal master works of Palestrina and other early composers.

The course is open to students who have a gou(I knowledge U. armony and counter-point, but can be taken only with the consent of the instructor.

Text-book, Niedemieyer's Gregorian Arcompanimeet.Reference books, Dickinson's Music in the History of the Western l arch; Haberl's

Magister Churalis. etc.i. History y music front Ike time (if Palestrina to the present day. Lobirea, reading, and

reports.This is a literary course. which does not require special technical skill; it is open to

all students who have practical knowledge of vocal or instrumental 111118.Instniction is given in the form of lecturer,. The growth of music from ancient to

nexlern tunes is traced in outline, including the history of early church music, theorigin alt1 development of the modern *ales and counterpeini, and the choral musicof the early Flemish and Italian masters. The history of the opera, cantata, andoratorio is.studied in detail.

Speci I attention will be given to the compositions of the great masters of theeighteenth and nineteenth centuries. and also to the tendencies in the developmentof neeie at the present day.

Vocal and instrumental works are performed in the class room. An reolian orchea-Irene is also used to illustrate the work of the great composers.

The following text-books arc recommended: Dickinson, The Study of the Historyof Music; Riemann's Musical History Augener d Co., London): Ambres, Geschichteder Musik, volumes Leipsie); Von Doininer, Musik-Geschichte (Hamburg); Fetis,Ilistoire de la Musique. 4 volumes; Laughans, History of Music (Schiriner, NewYork.); Naumann, History of Music, 2 volume, London); Bonavia Hunt's Historyof Music; llockstro, History of Massie tScribuer of Welford, New York); Ritter'sStudent's History of Music (Diteon Company); Grove Dictionary of Music (Mac-millan ,k Co.!; Famous Compeers and their Works D. Millet Company, Heston);Idle of Mozart, Jahn, 2 volumes; (Novella London); I.ife of Bach, Spitta, 3 volumes(Novella London); Villa. Life of Wagner (Scribner. New York); lives of Handel,Haydn, Beethoven, Schubert. Schumann, Wagner. and other great composers (Mac-millan series).t. Musical form, with analysis 11- the works of the goat composers, collateral reading.

This course requires knowledge of harmony.A knowledge of musical form or thematic eonstruction)is essential to the thorough

understanding and appreciation if the works of the great composers, as embodied intheir symphonies, overtures. chamber music, sonatas, etc.

A selection of the 11104 imponant. inetniniental works of Haydn, Mozart, Beethoven,Schubert, Schumann, Mendelleohn, Chopin, Liszt, limhme, Tschaikuwski. and other111, Mkr11 111:1..t ers will be analyzed by the students and played mi the pianoforte inthe clue room by the instructor and others. An leoltan is used in the performanceof symphonic works.

The following text-book is used: Prom's Musical Font'.Vollatend reading is required in thew works: Evolution of the Art of Music, Parry;

The Sonata Form, Harlow; The Pianoforte Sonata, Shedlock; Beethoven and HieN inmOymphoniee, Grove.

b. Canon old fugue.Canon and fugug are the most advanced forms of polyphonic composition, and

require a thorough knowledge of harmony and counterpoint.The object of this course is to perfect the contrapuntal technique of the student,

and to prepare him for the study of the larger and freer forms of composition.


The work will be based largely upon the ;Rai works of Bach and will consist ofpractice in writing canons of all varieties, 140 in Om analysis and composition offugues.

There will also be practice in the simpler forms Oi free music' for voices and forvarious instruments.

Jadassohn's Canon and Fugue (Ilreitkopf) and Trout Canon and Fugue are recom-'mended as text-books.6. halm mental ion .

This course requires knowledge of harmony and etainteri:.int.The work of this course consists of 1. Lectures on the c.aracteristirs and tone

quality of the various orchestral instruments. 2. Analyses Itn, descriptions of themost important veal and orchestntli.works of Handel. Bach. Haydn, : =luck, Mozart,Beethoven, Schubert. Schumann. MeteleInsohn. Vim Weber, Berlioz, Liszt,Brahuns. and other moles) eomposers. 3, Exercises; in orchestration, with variouscombinations of instruments, strings, wind, and brass, For this porpos chorals,national airs, and short selectilms from the works of various toasters will be used.

The services of professional musiciansill be employed in the class room to exhibitthe tone quality, compass, and technical peculiarities of the string and wind instru-ments of the modern orchestra. Original compositions scored by members of thecourse will be played in rehearsal by the orchestnt of the New England Conservatory,so that students may hear the effects of their orchestration.

The following text -hooks are used: Trout's The Orchestra, 2 volumes:Instrumentation k 01L4011 Company). The knowing authors will also be referred to:Gevaert, Instrumentation, and Orelittration (Paris): Marx, Kompositions -Lebre,Volume IV theipsic I: Lobe. Lehrbuh der Musikalischen Komposition, Volume II(Leipsicl; Jaidassohn's Instrumentation.7. Free composition.

This course is intended primarily for those students who are specializing in music,and can only be taken with the consent of the instructor.

It will consist of the analysis and composition of chamber and orchestral music.As some knowledge of orchestration is required, it must be preceded by, or taken inconjunction with, music 6. Ammgements have been made whereby sueceiefulcompositions may be performed.

AUXILIARY SUSIE( TM.

Students of music are strongly advised to strengthen their work in music by pur-suing some of the courses in German. French, snip Italiantfn account of the im-portant musicsl literature in these languages -in the history of the fine arts, and inacoustics.

!MORELS: TIM nzoltaz or 1141 IIELOK or ARTS WITH ItILTINcTioN.

The degree of bachelor of arts with distinction will be awarded in two grades, cumWide and maims cum laude. The nnjuirements in music will be as-follows:

1. Eight approved courses, five of which shall be in music (including music 1, 2,5, and 6), and three in modern languages German, French, orItalian. Those whoshow that they have acquired outside the college course a- thorough knowledge ofharmony will not be required to take music 1. The same rule applies to music '2.Students who intend to become candidates should confer with their instructor atthe opening of the sophomore year.

2. One or wore special original compositions in large form must be presented tothe committee before May 10 of the senior year.


nonomm.

38

Honors of two grades- honors and highest honors--are given at graduation fortreat proficiency in a department. Honors in :mini(' are given on the following terms:

1. The card date must have taken all the courses and have pafv:ed ;ill the exatui-nations with distinction.

2. Ile must present original compositions in strict and (ref:. form.The ability to read French and German is required of candidates for honors in

music.

CIIRRICIILIII NO. 4.

There are two general otirsen in the school of music, viz, (I) the collegiate courseand !21 the academic cair.-4,.

I. The colt. iiute course. In this course the require!, oats for admis.sion are thean 41:, for the general courses in the college of letters and science, or fpr adult specialstudents, toge",er with such proficiency in some department of ,music IL., is statedin connection with4he oullted courses of stud). .1 graduate's diploma will hogranted fin the compTet ion of this course. Four years of study required, includingthe courser in musical theory. harineny (one year. and history of music, or theirequivalents.

II. acadcfnic course.- This course in open to pV11,1011S not members of rho uni-versity, and also to university students wito do not desire to enter the (xillegiatecourse pursuant to graduation. Students of tI4 course may. howe% er' be admin....alto the musical claases of the university. but will not be e011:-.ider,..1 candidates forgraduation or fora .11111,3113. If. Inolfever, at any time, such :dumb! i.e trans-ferral tea 1110 collegiate course. they will on satisfying other conditions, receivecredit for studies previously taken. .1 certificate of excellence will he granted toworthy st uflents of t Ins course un examination. after not less than three yearn of study.

I. e I,ILKIIIATE 41,1

TIIP courses in piano and singing have been arranged to cover a 1I'r11,41 of fouryears.

.kpplicants or adnimsion will be expected to play music of the grade of Mozart'sSonata in 11 major No.:1, Peters edition; lAfeschliorn. Op. 52 and Op. 6f;; Bach, LittlePreludes.

First yrar.-- Op. 1t and 15; Czerny, Studies in Velovit y Jensen, Op. 321Hach, InventOuts 3111 1..! fish Suites.

SITMiti year. Bach, Well-Tempered Clavichord, Kullak, thtoNe.School, Books 1and II; Cramer, Studies; Czerny. Fingerfertigkeit ; Mari(' fuel, Nkcanisme.

Third year.--T,ausig, Studies; Kullak, Book tiradits ail l'arnitssuni, ling, half;Czerny, Chopin, Preludes.

t'ourth figrar.- Momlicks, Op. 70. 6railtis lei l'arnassinit, tonl,' half; Chopin,Etudes.

It is not supposed that it rigid course can given which will meet the requirementsi)f individual students. but the foregoing outline represents, in a general way, thecharacter of each year's work. Etudes especially are named. beiatise they indicategrade and character of requirements mono clearly than can be done otherwise. Onthe other hand, these studies are supplemented by ample selections trout classic andmodern authors for use in the parlor or concert room.

50743-08----3

!.1

84 MUSIC EDUCATION IN THE UNITED STATES.

Upon graduation students will be expected to play acceptably from memory aelec-lions of the grade of Chromatic Fantifilnd Fugue by Bach. Sonata Op. 90 byBeethoven, Centierto in G minor one min neat by Mendelattohn, La Filense byRafi, and Second Rhapsody by Liszt.

oEGAS.

No previous knowledge of organ playing is required. The student mind be wellgrounded in piano playing. he poNEVRgoi of a correct technique, and be able to readplain four-part music.

The course of study is continuous. beginning with Stainer's Organ Schimil or Whit-ing's First Six Months on the .rgan, and following with the larger works of Rinkand Best, supplemented by .special studies by Thayer, Buck. Ritter, Schneider,Volckmar. and others. Selections from Bachi's organ works. Mendelitsithit's sonatas,and the compositions of modern minimisers are used.

Careful training is given in playing church ainsic and voluntaries. the use of stops,and the mechanism of the instrument.

VOI, E.

The student must be able to read plain music and ninsi have had an amount oftraining equal to the first half Of Coneone's Fifty lest4011:+, comprising the usualtechnical study for the Kittle period.

First var.Tout, placing, breathing. and phrasing; ballad singing and the soste-nuto style; technical and ether stndies of the grade of lionuldi's Six Vecalises, Sie-ber's Vocaliaot; Marchesi's Exercises. op. 21. Book I.

Second year.- -Concone's Fifteen Viwalises: Schulmirt's Manual of Vocal Techniqee;Marchetti's Vocalises. (1p. 21, Book II; German and Freneh songs, and easy oratorioand tiperatic arias. and recitatiVPP.

Third year.- Schubert's Special Studies; Bordogni's Bravura Studies, and operaticand oratorio selections.

Fourth year. Studies in bnivura by Lampert i awl Bordogni; cadets as and largerforms of execution.

On graduation the student will le expected 10 sing acceptably selections (accordingto voice and school) (non such songs and arias as Ile Was Despised, Angels EverBright and Pkiir, 1 Knovi That My Redeemer Liveth. and Thaw Stud'. Break Them,by Handel; With Verdure Clad Rolling in Foaming Billows. and In Native Worth,by Haydn; If With All Your 'lows, It is Enough. and tl Rest in tl e Lord. by Men-delesohn; Infelire. by Venli; Roberto, to clue Adorn, by Meyerbeer; ''lla Vol(' andF1 o Peccatis, by Rossini.

Fite year. Hermann, Scale Studies; Kayser, Violin Insinntor, I and IT HerbertRica, Violin SOHNIL Part I; easy melodious solos. t

Second year.- Kayser, Violin Inittrurtot III; Kayser. Etudes, Op. 29; Schubert.,Violin School, IV; Herbert Riot, Violin School, Part III; solos by Vitali. Rode,De Bernd.

Third year.--tichmdiock, Violin Technic; De Bernd., School, Part II; EtudesDont, Kreutzer, and Schubert.

Bolos by Do Berlot, lasniard, Vienittemps. and Wieniawski.Ar

THKORETICAL MTV MR.

atificAt THEORY 040 CHORAL PRACTICE.

A one-year course, twice a week, in the general theory of amine, including notation,scale construction, intervals, distinctions of rhythm, etc., combined with a practical-study of sight reading and choral' singing..

This course IM especially recommended to all students, whether of ingtrumental or )found useful furAllose who contemplate teaching in public or similar schools.

sixth chrds, modulal 'nut. synopsis of suspension itinl appogOat lira.

vocal music, as furnishing a substantial foundation for all other work. it will also ho

harmonizing melodies. simple strict counterpoint.

The student must he able to road ail play simple four-part music.

Swolid !par. -Detailed treatment of modulation, suspension, appoggiatura, etc.;

/../r.st roar., jteview of scales, and intervals. triads, seventh chords. augmented

Thir Doirtile counterpoint, canon. and fugue.

todimoNY ANI.

IltSTMIN' NIUMIC.

ILLUSTRATIVE CIJRRICIJLA.. 35

A course of lectures twice a week. extending through the year. lu thelk-st immiesterthe lectures a a general survey of 1,1.1.,TV the Christian era and. down to the

century.The second semester is devoted to the eighteenth and nineteenth centuries.

M Is I y.41,171..N.

A year 1, ors. twice a w6ek. One year id harmony is required as preparatitn.

AcAnENin.

There are nc requirements for ClItnolte. student -, are received and graded according y and amount previous study. This course in all departments leadaup to and oNcrlaps till. 1111116:itt. course. students after reaching Clio pnii ler stageof preparation may he transfert oil to the collegiate course, or may remain in the:lc:Minnie course. the work of the last three years 'wing identical in both couraca.Dui no certificate of excellence will be 4;011(41 to any ritudentfined to enter the third year of the collegiate

CURRICULUM NO. 6.

Curriculum No. 5 is offered by a college for young women whichmaintains a well-e(juipped school of music in connection with itscollegiate department. Credit is given in music toward the A. B.degree for work in practical music. Students are advanced from oneColin-4' tit the next higher only after examination before tla\ full music.faculty. It will be noted that in the course leading toihe degree orassociate in music subjects in the collegiate departnwnt ere corre-lated with the-music courses. These subjects must he 1 assed by

,examination in the collegiate department.

EsruANct: liF.QuittENtENTs.

A

For unconditioned adIlliSmioll to tilt fnwhnum class in the course leadi ig to 1.110Tyree of siate iu imisic.t A. lfus.) the applicant must offer the entram require-ments in niy4ir, and seven units of preparatory work. as follows: English (3 , mathe-matics (3i. and history k I ).

Fur conditioned admission to the freshman class in the colimw leading to 1e dgbo-

l'llltw ill 111l1Sie de) -ree, students must offer five units in the literary subjects dfitlitiodabove. Every condittun, however, mitst. he removed by the end of the junior' rear.

- - -

a The course In omulterpoint, etc., and In musical composition an I1lemlftP11 hem under thei roperheadings, because they are frequently talen as electives, but they represent graduate work or thestudents of the school of musk).

86 MUSIC 'EDUCATION IN THE UNITED STATES.

Entrance requirements in music apply only to those registering for the degree ofassociate in music. The preparatory course in piano, voice, violin, and organ, neededin order to enter the freshman clam in the associate in music course, is described incourse 1, and this preparation can be given at the college to such students as havenot had it before coining.

.CI RIUM:LOH FOR THE DEGREE OF ASSOCIATE IN M

litissillil AN YEAR. 24IllobtoRE YEAR.Hours. Hours.

Mathematics . 3 English.. .. . 3

English 3 Physics 3 laPiano or organ or violin or voice a Piano or organ or violin or voice ti PW

Theory I Theory 1

Harmony I 11 &lemony . 1

Ear training . I Ear training . . 1

Total Total C.

JUNIOR YEAR. alr..NioR YEAR.

Fret-toil or Gorman 3 French or 11orman .....Piano or organ or violin or voice._ 8 Piano r organ or violin or voice .. 8History of Music I Counterpoint . .

Theory , I I I lot ry of 01 usicHarmony. I Ensemble..... . ....Theme I Theme

Total 15 Total ....... ........... . . 15

COURSES OF STUDY.

Courses are offered in pianoforte, violin, organ, and voice, leading to the degree ofassociate in musicfA. Mus.) and a purely theoretical course is offered to candidatesfor the degree of bachelor of music.

Candidates for the degree of aseociato in music meld, take-(a) Courses 1, 2, 3, 4, 6, 7 in theory,(b) Courses in academic dejiartanent, and(c) Ono of the following: Courses 1, 2, 3, 4, 5, 6 in pianoforte, or violin; I, 2, 3, 4, 5

in solo singing; 1, 2, 3 in organ. -'Candidates for the bachelor of arts degree my he given credit for six hours of music

provided they complete courses 1 and 2 in theory and one of the following in practicalmusic: Courses 1, 2, 3 in pianoforte; 1, 2, 3 in solo singing; 1, 2, 3 in violin; or I, 2in organ.

VIAN0FoRTE. es

Course 1.4Technical studies: Easy Etudes, Faelten and Porter. Kinder ebtingen,Book I, Kohler. Czerny, Op. 599, Books 1 and 2, Kohler, Op. 190. Kohler,I57.Czerny, Op. 139. Duvernoy, Op. 176. Burgmuller, Op. 100. Loeselthorti, Op.G5, Books I, 2, and 3. Loeechhorn, Op. 38, Book 1. Kohler, Op. 50. Le Couppey,Op. 26. Beitini, Op. 100. 'Sonatinas by Clementi, Diabelli, Merkel, Lichner,liatelmck, Kuhlau. Pieces at discretion of teacher.

Course 2.Technical studies: Kohler, Op. 242. Czerny, Op. 299, Bwke 1 and 2.Czerny, Op. 279. Berens, Op. 61, Books 1 and 2. Holler, Op. 4e and 47. Krause,Op. 2 and 6. Oaave studios by Vogt, Wilson G. Smith, Czemy, and Turner,Bach's Little Preludes and Fugues. Sonatinas, Easy Sonatas and Variations ofHaydn, Beethoven, and others Schumaiir-Album, Op. 68. Lyrical pieces,Op. 12, Orieg. Selections from Beinecke, Gado, and others. Mendelssohn'sSongs without Words.

Thla course titesparatory to entrance Into tile course for the seeootate to musk, degree.

ILLUSTRATIVE -eURRICUL. 87-

Course. S.Technical studitt: Czerny, Op. 299, Books 3 and 4. Berens, Op. 61,-Books 3 and 4. Heller, Op. 45 and 46. -Duvemoy, Op. 120. Octave studiescontinued: Bach Inventiont(2 parts). Haberbier, Op. 53. Lebert and Stark,Part II. Sonatas by Haydn, Mozazt, Beethoven, and others. Mendelssohn's

ti Songs Without Words. Field's Nocturnes. Selections from other composers.('curse 4.Technical studies: Cramer, Lebert, and Stark, Part III. Czerny, Op.

310 and 40 Daily Studies. Gradus ad Patna/MUM. Kullak Octave Studies.ach Inventions (three-part). Sonatas. Selections from Chopin, Mendelsohn,

Grieg, Raft, and others.('curse 5.Continuation of studies of course 4. Moschelee, Op. 70. Mendelsohn,

Prelude; and Studies. Bach, 48 Prelude and Fugues. Kessler Studies. Chopin,Etudes. Sonatas and selections from different composers

Course 6. Interpretation: This course is devoted to the perfeeting of wprk done inprevious courses and the preparation of a public recital which is required forgraduation.

A postgraduate course is also offered, in which the higher and more difficult worksof tic great masters are studied.

SOLO SINGING.

Course 1. Rules for Bri,athing and their Practical Application; Formation of. Tone;Tecla Vigna Studies, Exercises by Concon(, Book I and II, Op. 9 and 10; Sieber,Op. 92 517; Simple English Songs.

('Curse Y. ecla Vigna -Studies; Slow Trill Portamente, etc.; Exercises, Qoncone,Book 111 and IV; Panofka Book I, II; Lutgen Daily Exercise; Songs of MediumDifficulty from English and German composers.

('Curse S. Difficult exercises in vocalization, musical embellishments; exercises,Panofka, Book III, IV; Nava, A prile. Vaccai; song studies from the English,German, Italian, and French schools.

('curse 4.-- Finishing studies by Paer, Marchesi, Righini; studios of oratorio and stand-ard opera.

Course .5. Interpretation: This course is devoted to the acquirement of repertoire..4, and the preparation of a public recital which is required before graduation.

All pupils who are ..prepared to do so are required to attend regularly the choralsociety rehearsals and to take part in occasional public performances.

V101.15.

('curse 1. -Elementary exercises. Scabs in first poeitior Bowing exercises.Studies: Ch. de Beriot, Violin School. Part I. Tours Elementary Violin.

School. Kayser, Op. 20, Book I. Sevcik, Method for Beginners, Op. 6.rmirse 2. Fieger and bowing exercise. Scales. Kayser, Op. 20, Books II and III.

Dont, Op. 37, Wohlfahrt. Hans Sitt, one himdred Atudies, Book I. Solos: Ban-da. Airs Varies. Duets by Dancla, Mazas, et.

Course 3.Bowing exercises. Scales. Studies: Dont, Mazas, Casorti, Sevcik, Sitt.Solos- Alan!, Dancla, do Beriot. Duels: Dancla, Pleyel.

('curse 4 'calm (three octaves). Arpeggios. Thirds. Sevcik, Violin School.

Kreu, Etudes. Fiorillo Etudes. Solos: de Beriot, Aire Varies. Cone/IRAs

by Viq Rode. Sonatas by Handel, Mozart, and Haydn.Course .5.--S Iles (three octaves, in thirds and octaves) Arpeggios. Seveik Violin

School. Fiorillo Etudes. Rode Caprices. Solos: Svendsen, Wieniawski, Bee-thoven, ard, Ries, etc. Concertos: Rode, de Beriot. Mozart, Kreutzer. Sou-tar Tartlet, Mozart, Nardini, etc.

Course 6.-- Scales in thirds, octaves and tenths. Arpeggios in the higher positions.Rode Caprices continued. Kieutser Etudes continued. Campagnoli, sevendivertasements. Solos: Wieniawski, Saint- Saene, Lalo, Vieuxtemps, gamete,Hubay, Brahma, and others. Concertos: de Beriot, Bach, Spohr, Bruch, Mendels-sohn. Sonata,: Bach, Beethoven, etc. a


ORGAN.

Thorough and systematic courses are given, no student being allowed to graduateuntil she is a thoroughly competent organist. The history and construction of theorgan is taught.

For entranc4) to the aissociate in musticoursee in the organ department. studentsmust have completed courses I. 2, 3 in pianoforte. passing the examination therein.

The following courses outline the work required for graduates and include the Italian,French, German, English, and American schools of composition:Course 1 . Schneider Pedal Studies, Bach, First Preludes and Fugues (Rook VIII of

Peters Edition), Mendelssohn Sonatas, Easier Concert and ('hunch Compositionsby' Cappocei, Mailly, (;ounod, Guilmant, Du Bois, Faure, Lernaigre, Salome,Merkel, Rheinbeier, Krueger, Foote, Hammerel, Fink, Carl. and Smith.

Course t. Bach, Concert Preludes and Fugues, Guilmant and Widor Sonata.. Rhein-berger Sonatas, and the more ad vanred works of the composers named in Course 1.

Course J. Advanced technical work and the preparation of concert repertoire.In addition to the course*. outlined above, special attention is given to accompany-

ing, hymn playing. and the performance of aid forms of church and concert music. A

public recital is required before graduation.

THEORY ANC IIISTOR1

COWIN /. Music as a language; analogy between music and language; notation ofpitch, duration, force, timbre or color; the scales; tempo. rhythms; accents;physical basis of music; vibration of strings; overtones; tempered scale: pitch;classification of vibrations.

Course $. The orchestra and its instruments; the string section; the wood wind; thebrass; instruments the orchest ea score; embellish-ment; musical form; figures and their treatment; thematic atvelopmeno pre-

, cursors of the sonata; the sonata: other sonata forms; symphony; contrapuntalfermi; monophony, homophony, polyphony.

CAnnwee 1 and 2 aim to give a knowledge of the structure of music and develop anappreciation of its content.Course 3.The scale, elements of melody; exercises in melody writing; intervals;

harmonic structure; tonality; principal triads of the scale; distribution of parts;four:part harmony; connection of principal triads in four-part harmony; chse anddispersed harmony; inversion of triads; chord of dominant seventh; chord of ninth

' and inversions; harmonizing melodies.Course 4.Continuation of work of course 3; minor and diminished seventh on leading

tone; diminished triad; secondary triguire,.modulation; passing notes; susponsions;chromatically altered chords. The aim of courses 3 and 4 is to give thoroughunderstanding Of the grammatical structure of music and sac enable students toharmonize themes with facility.

Course rCounterpeint: The study of contrapuntal forms; contrapuntal treatmentof voice parts; practical work at keyboard and written exercises.

Course 6.Music of antique races; first Christian centuriesHurbald, Guido, Franco,etc.; minneeingers, meistersingers, etc.; epoch of the Netherlailds; Paleetrina andthe Roman schools; Orlando di Lasso and the Northern Italian masters; lireRenaissance and rise of opera and oratorio; the German chorale; English madptga1writers; instruments and instrumental music in sixteenth and beginning of ven-teenth centuries.

Course 7.Bach and titalidel, Haydn, Mozart, and Bee9aoven; the romantic com-papers; dramatic music in Italy, France; and Germany; Wagner and his musicdramas; composes of last twenty-five yeti's.

ILLUSTRATIVE CURRICULA. 89 .

FOR DEGREE OF BACHELOR OF BMW.

Evidence must be produced of(u) Having received a good general education.(6) Having employed at least font years in the study and practice of music.The candidate will be required to pass three examinations, separated by intervals

of not lees than one year.*The first examination will consist of harmony in not more than four parts. The

second examination will be in harmony and counterpoint in not more than five parts,canon and fugue iu not more than four parts. Before entering for the third examina-tion, the candidate must compotie an exercise containing five-part harmony and fugue(in at least four parts), and canon, with an accompaniment for organ, piano, or stringband, sufficiently long to require twenty minutes in performance, and this exercisemust be approved by the faculty in music. i

The third (final) examination will consist of harmony, counterpoint. canon, fugue(in five parts), with double counterpoint. history of music, form in composition,instrumentation, figured bass reading at sight, and the analysis of the full score ofwane iselet(41 work.

=TRAM CZ HU ZIONTI.

The following entrance requirements, announced by a leading col-lege for women, which grants credit, under restrictions, in bothpractical and theoretical music at entrance and toward a degree,illustrate the demands made by colleges which view music as a proper to

subject for inclusion in the general educational scheme.FLEMENTARY REQUIRKURNT.

The elementary in music may be either. A. harmony, or II, a combination of a lessadvanced requirement in theory, with it practical studypiano, voice, violin, orother orchestral instrument. -

A. Harnumy. --The examination will be adapted to the proficiency of tgose whohave had one year's systematic training, with at least three 'emirs a week or itsequivalent. The candidate should have acquired

(I) The ability to harmonize, in four vocal parts, simple melodies of not fewer thaneight measures, in soprano orl in bass. These melodies will require a knowledge oftriads and inversions, of diatonic seventh chords and inversions, in the major andminor modes; and of modulation, transient or complete. to nearly related keys.

(2) Analytical knowledge of ninth chords, all nonhannonic tones, and altered chords(including augmented chords). [Students are encouraged to apply this knowledge intheir harmonizatimil

It is urgently recommended that systematic em training (as to interval, melody,and chord) be a part of the preparation for this examination. Simple exercises inharmonization at the pianoforte are recommended. The student will be expected tohave a full knowledge of the rudiments of mush-, scales, intervals, and staff notation,including the terms and expression marks in common use.

B. The following requirement in theory combined with piano, voice, violin, orother orchestral instrument:

The examination in theory will he adapted to the proficiency of those who have hadone year's systematic training, with at least one leison a week or its equivalent. Thecandidate should have acquired:

(1) A knowledge of the rudiments of music, scales, intervals, and staff notation,including the terms and expreesion marks in common use; (2) the ability to analysethe harmony and form of hymn tunes and simplest pieces for the pianoforte, involvingtriads and the dominant seventh chld and their inversions, passing tones, and mode!.

40 MUSIC EDUCATION IN THE 'UNITED STATES.J.°

bitiOli to /nearly related keys; (3) the,ability to harme^;ze, on paper, in four vocalparts, melodic fragments involving the use of triads and the dominant seventh chordand their inversions, in major keys.

After 1906 the candidate must also meet the following requirements in ear training.To name, as played by the examiner, intervals involving tones of the major scale, thethree principal triads and the dominant seventh chord in fundarnentgrposition. andthe authentic, plagal, and deceptive [v (or v7, to vi] cadences; to write a diatonic,major melody of not more than four measures in simple time, involving half quarter,.eighth, and dotted notes (the melody to be played, in its entirety, three times by theexaminer)

1. Piano.A practical knowledge of various kinds of touch; the ability to playscales, major and minor, in simple and canon forms, in sixteenth notes (at metronomespeed, if =100), and three-toned and four-toned arpeggios in sixteenth note's (atmetronome speed J' =75), the ability to play, with due regard to the tempo, fingering,phrasing, and expression, the studies by Hasert, Op. 50. Book 1; Haydn's Sonata in Eminor (Peter's Edition,, No. 2; Schirmer Edition, No. 2. the Theme and Variationsfrom Mozart's Sonata in A major (Peter's Edition, No. 12; Schirmer Edition, No.Mendelssohn's Songs without Words, Nos. 19 and 49. and Schumann's Romance iuF sharp major (Op. 2,5. No. 2); the ability to plEiy at sight chorales and such piecesas the first twelve .numbers of Schulnalill's Jugeml-Albuto (Op. (is). IA canilidaiemay offer equivalents for the studies and pieces mentioned, on tlii mill/rival of thedepartment.]

2. Voice.The ability to sing, with due reganl to intonation, torso quality, expnst-lion, and enunciation, the vocalist's of Concone, Op. 9, and not fewer than six of thefollowing songs (preferably in the English version): Schubert: Who is Sylvia? andHark, Hark, the Lark; Mendebeohn, Morgengrum; Schumann. An den sonnenseheia,Brahma, Der Sandmann; Franz, Wiamung; f.rieg, Das ;the lied %Ali-hensWunsch; Massenet, Ouvre tee beaux yeux; Paine, Matin Song: the ability to playpianoforte aceompanimeskts of the grade of t'oneone, Op. 9. the ability to sing at sightmusic of the grade of hymn tunes fly Hamby, Dykes. and Stainer, and of the istuditsin Abt's Vocal Tutor, Part III. The student must also give evidence of having 311accurate ear and of having laid a glsx1 foundation in the development of the voice.[A candidate may offer equivalents for the rump nwntioned, on the appri.val of thedepartment.]

3. Violin. The ability to play, with due regard to bowing, fingering, tone, intona-tion, and expression, such studies as those by Dent (Op 37i. Mazas (Op. :111), andKreqtzer, and such pieces no the 'limier:dely difficult solos of Swill-, Wientawski,Godard, and Ries; the ability to read at sight such music as I second violin partsof the string quartets of Haydn and Mozart. ,

4. Students wishing to be examined in the playing of other instruments shouldcorrespond with the music department.

Narx.--Students considering submitting music for entrance to college are advisedto correspond with the department, stating in detail what their preparation has beenin theory and especially in the practical subjects. In the latter students must giveevidence of thorough foundation work in the technique of the piano, voice, violin,or other instrument, in addition to being able merely to play or sing the actual require-ment mentioned.

Certificates will not be accepted in music.

CORRELATION OF MUSIC AND NONMUSIC COURSES.

In the correlation of music and nonmusic courses, colleges and- 'Universities lead. The attitude assumed by independent schools oftutu& appars to be similar to that taken by schools of technology

RESULTS OF THE INQUIRY 41 '.74

in general education; they take the position that they are profeezsional training schools, and naturally concentrate their efforts onturning out composers, pianists, singers, theogists, and pedagogues.They do not consider nonmusical subjects to be an essential part oftheir curricula. Yet in the best of these schools there is shownrecognition of the value of broader culture and an inclination toinclude such subjects as will increase the efficiency of their graduates.The New Englamf6onservatory of Music has recently established areciprocal relation with Harvard University, through which studentsin the conservatory can attend courses in English, French, andGerman literature, English composition, fine arts, pl rsics (especiallyacoustics), and public speaking. In college and university musicdepartments gratifying progress has been made in the correlation ofcourses with those of other departments, demanding, in a very con-siderable number of institutions, a greater or less amount of collegiatework as a part of the graduate course in music. Reciprocallyggreisc

tut,as elect ive is receiving credit as a subject in baccalaureate

MANNER OF PROMOTING ST17DENTS FROM GRADE TO GRADE.

The manner of grading students and of determining their advance-ment from one grade to the next is significant as indicating to whatextent system and accuracy in determining the standing of musicstsedents are attained. This has been a decided obstacle in the wayof the admission of music to courses leading to the baccalaureatedegree. Perhaps no single disclosnire by the investigation is moreencouraging than this. While the advancement of studentsrests in many Mies with the instructor, or with the instructor and tdirector of the department jointly, the development of ft system ofaccurate grade marks, based on examination and recitation, givespromise.of the eventual setting up of such standards as will result in /1the unifying of educational effort.

The following tables give the per cent. of schools giving examina-tions in theoretical and practical music; of schools giving written,oral, and actual performance tests; of schools recording by marksthe grade or quality of a student's work; and of schools in which theinstructor or faculty determines passing grade:

Peri-era of institution* giving examinnlions yearly or (Omer.

Class of institutions.

Independent schools of musicColleges and universitiesColleges for womenNormal schoolsflesiondary schools

In Ono-rptIcal

subjects.

7175

100

I orm.Written. Oral.mule. ance teat.

112

so

as70

90

soui50

so661


Per cent of institutions haring a system of ma* for recording grades and delerrniningpassing ode.

Cl... of insulin,.

Independent schools of musicColleges and universities .Colleges for womenNormal schoolsSecondary stholois

Fasidngnegdrade-deter-in all ___ ____

Instructor! Faculty.

',S 371 7380 ' 00 1 2170 50 I 511761 77 2330) . ho 741

These figures are based on 207 replies to the second questionnaire.From the per cent of schools giving actual performance tests itwould appear that the opinion that a sufficiently accurate andsystematic grading of work in practical music can not be done islosing ground, and encouragement is given the belief that there maydevelop a system of grading in practical music which t will satisfy

educators and rembve one of the great obstacles to the admission ofApplied music to general educational courses.

EDUCATIONAL 'QUALIFICATIONS OF' MUSIC STUDENTS.

There apps rs to be a growing purpose upon the part of depart-ments of mnsi in colleges and universities to demand a certain amountof general edtucational qualification from those who wish to entergraduate courses inInusic. In this connection, the following tablegives the per centoef music students in 595 institutions who havecompleted a high school codrse of at least. three vs:

Class of institutions.l'er (ent.

Independent schools of music.. 43Colleges and universities ro;Colleges for women 57iNormal schools 5t;Secondary schools

:121

The time devoted to the study of music (not including preparation)is shown in the following table, which gives the per cent of studentsdevoting less than five hours, more than five hours but less than ten,and more than ten hours per week to recitation.

Nr-

Class of institutions. Law thanS houra.

I.

S2

ases,

INSTRUCTION.

More than5 but less j

than 10hating.

1. caL22i

+a2MAI

.2425

1

Morn than101 rs.

rer,ent.III

.14

+0+7

Independent schools of musicColleges and universitiesColleges for womenNormal schoolsSecondary schools

PROPERTY DEVOTED TO MUSICAL

The questions relating to finances were not answered by 348 of "the695 schools returning statistics, hence the statements of amount of

......,ITATIBTICAL TABLES.

property devoted to musical purposes and of yearly expenditures, foiemusic instruction are far from complete. They are significant, never-theless, and if increased in proper proportion by a full statement'would show a very large investment in music education. It shouldbe remembered also that these figures refer, only to organizeclschools,the immense sums expen4led on private instruction being unknown.

-Libraries and museums. In all, 39,538 volumes, valued at $62,120,are reported by the 595 institutions. In several, instances privatelibraries are reported as at the service of students. No museums arereported.

Property &Toted to lnitsical intitruction.

Valli(' of 111-#

Value of build- et rumetits, l'ennanent Volutaex intrigs and apt)aratus, endowment library. library.grounds. 1. anti furni-tun,.

Clams of instil Minn..i be' i .1 i ,,,,,i, ''' ri i re ..;

1

.. i ..=C EE T,Tf .E

.-......!.,_.

..-; 6. F. ,. ,. ...c" " :-.

1

I nilepetalloit schoopiof 'mimic 10 $578.110 20 1159. 71/0 4 St<27.000 21 31.188 I 18 X822.925 26 1.S3, 346

College. and uni,er-sitie. . 31 1.281.1;00 64 ; 319.9(6, i 46.000 : 35 Is, 114 I 33 19.=2 19 : 13.243

Ctillegrti for women... 0 243.0410 '23 103. fiat 2 17,5(10 : 15 16,088 : 13 13.225 3 I 1.840N4I111111 5010115gtvondary schools 8 1ri1. 750 51. .1..4;5 1 60.001.1 3.348126.. i; i6 4. 9.675

Total... 58 2. 4.5h. So1

167 I 8:42.070 14 090: 500'. 03 60,7* 84 .58.895 52 , 78, 104

Value of Expensefor went.

.1,),) mil rerri pit from irixtrurtimi II) milAir.

Inten.stand n.iits.

P 11 p-p rlInr1H-

t 1011.

Private Coneert Othergift. stairres.

student.'Gees.

Class of intellt ill Iona. L , 'i:. k , 'ii ,i,! . .k )..- !F.

. ti, .. r-' ,:i.

..z: . E 11 E .6' - `e 5. i-t...E! ...E' i=5.iE. 'Si 5 8t .7 .i 5 St E '5.t o

15 a :ga % 2" % la -e . -0. 43E a.: E 4 a g't

1

I Illiepenti011 lit'1100i. i

t'ollegesand tiniver..C.

$47."53 1 I

of IIIIIRie 3 9.5.57/4 0 18, 375 ' .5 $7.000 218 M29..563 $597,516

'titles.... ........ I 8 , 15.425 , 4 15,510 I 200 30 19.426 I 10 14,972 f4.2 440.380 499.093Colleges for w.iinen..' 3 : 1.450 3 4. MO 7 1,410 1 1 : 1411 2/4 185.4,56 'I 194,00${Normal schools. .. I

So(-ontlary Fei10411S..., 6 I. 979' 4 10,050 2 171.1 8 1.322 4 1.448 53 111.148 I 128,823

Total 123 . 104.5(7 8 15.940 9 19 544 m 31, $33 120 :Z1, 500 Ill 1:2111 7.24i:1,41R:0911 1 1

Total.

HI. STATISITICAL TABLES.

Statistics of the institutions replying to the first questionnaire aregiven in the tables which follow. Tables 1, 2, 3, 4, and 5 summarizeTables 6, 7, 8, 9, and 10, .thich give in detail the number of schools,instructors, and students, and the number of graduates And of.students receiving certificates during the last five years. Thegeographical distribution of the institutions is also shown.

FrF77-51-44

1.


TAMA 1. Summary of the statistics of I pendent schools of music. showing thenumber of instructors, students, and gr sates, and number of students receivingcertificates.

Instructors.

'Schoolsreport-,

. Mg. , Male Fe- Total.male. ;

United States fit 306 , 271 ; 607

North Atlantic Minion Ili 115 ! 248South Atlantic Division I 20 28 48South Central Division. 4 S 14 72North Central Division. 77 145 114 1 289rnWeste Division 1

North Atlantic DislaionMaineNew Hampshire

VermontMassachusetts...Rhode IslandConnecticutNew York.New Jersey.Petutsylvan

South Atlantic D rrDelaware

2 II 6

2 5 !.. 716 140. 92 ; 14210

I 5 58 25 45 ' 70

I

..... . 1District of Columbia... . ....VirginiaWest VirginiaNorth CarolinaSouth CarolinaGeorgiaFlorida

South Central Division:KentuckyTennessee I

Alabama

Ana

Missumippi=ArkansasOklahomaIndian Territory

North Ventral Division:OhioIndiana

MloliganW tssrrooneinMinnesotaIowaMissouri.. ..North DakotaSouth DakotaNebraskaKama

Western Division:MontanaWomingColyoradoNew Mario°Arizona

NevadaIdahoWashingtongmonfnis

Lb 2S 48

2

2

61

3

1

2

2

121

39 I 12

; 5216 2411

DI 1, 9

6.

3

1

18 i

50301

113 .

4019;1S'

12

Students enrolled..-

Male. Female

1,527 10.1450 ' 17.122 1.992 1.971A

1.218 3.611 5.329 682 1.1133.. .. ... . 1.200 . .. . .io 31)2 409 30 2111.230 . 6,247 8.874 1.270 I 918

30 IMO 310

24.4 822 1.065 42 : 20

18 109 1271)64 1.294 2.558 414 ; ii4i20 60 ik)

373 1,626 2,499 206 369

1.200

15 55

.

34 307

.

216 I 1.2212

4114 j 2,786203 I 1.382200 40010I 250

95

30 2140

Total.

68.

341 21

1,506

4,6171.506

600260

11)8

106

310

Studentsnot grad-

(1radu- ' uates re-ales m calvinghot 5 certitl-years. rates in

I last 5years.

199 32on 1 30

6941 472106 nvAft I 31:4

102 !

10

.1

STATISTICAL TABLES. 45

TABLE 2.Summary of the satistiaof 111.11.8iC departments of universities and cottages,showing the number of instructors, students, and graduates in mute, and number ofstudents receiving certificates in music.

Students enrolled in I

. I StudentsInstructors in music.' of music,not grad-

Inati- , i II Grad u- uatee re-

Cottons 1

i MA. ,9 wiring,

music in certiel-report . Fe- last 5 Cates Inbig. Male.C.

Total. Male.. rirelile.

Total.yearn. music in

. hot 5yea re.

lnited States 151 &'10 144 ARO 5.2.57

North Atlantic 14.15190... 23 186 34 122 1.253South Atlantic Division ... Ir. 15 25 40 356South Central Division it;North Central Division.Western Division

North Atlantic Division:MaineNew IlampaltheVermontMassachusettsRhode Island.ConnecticutNew YorkNew JerseyPennsylvania

South Atlantic .

DelawareMaryland.. A.District of Columbia.VirginiaWest VirginiaNorth CarolinaSouth CarolinaGeorgia... ..Florida

South Central DivisionKentuckyTennesseeAlabamaMissisaippl.... .......LouisianaTexasArkansasOklahoma 1

Indian Territory 1

North Central Division:Ohlo 14

1p deansIllinois 13Michigan 4

Wisconsin 5Minnesota 3

IowaMissouri A

North DakotaSouth Dakota 3Nebraska 5Kansas 7

Western Division:Montana 2

!mingColorado 2New MexicoArizonaUtahNevadaIdaho 1

Washington 3

"'X"o 4

rina 4

12.788 1 i/ 971 1,652

2.1- E3 3.316 153446 912 73

21 50 71 144 I817 1.5R4 137173 192 31,5 3.005 7.656 11...N4 96939 43 82 499 1.370 1.875 120

4 88

4 9 9 910

10 . . 3427 35 ! 530

10 NI 04

86

90 3)5

531

45A

10315

?:240 !

1,474 51 6

977 1.272 2,12

23 10 33 2

3

. 1

2 P . .114.1 . 2 8

4.4 218 13 043 49 24 I

A 13 174 105 . 41:NN 14 1

1I' :: 2 0 32 31 . 1

.

312 :5) 41 , 0. 4

'2 9 114 17

5 5 3

1113

10 13 58..,4,!).

413 . 4325 1 13

45 . . . 42 .. .....9 14 23 IC 271 097 15 123 14 17 10 331 390 542 5 7

2 2 4 9! 28 :17 ... ..........53 271 4,3)5) . 1.113425 = 28

12 14 26 ItAP 73242 43 85 i--.114.96 1.442 2.4517 11 14 47 248 295

13 18 31 III 507 0184 l 3 7 43 170 '213

20 IP 39 313 1,407 1.320I I 14 35 208 439 647

245 2640 j 1

290 41632 77812R247 1 It

6 3 9 70 230 3151 16IA ! 20 245 992 1 . 10015 .19 34 7r.% 1,070 s 1.837 56 19

3I

3 6 52

21 3

1

2 2

4 1

3 21

59 12 21A : 10 IN

10 9 19

26

17

38

9078

135

109 Ilk59 6

187 32520 30' 5750 88 1 4

406 I 495 1 11243 321; 9248 I 3117 26

64

64


TABLE 3.Summary of statistics of music departments in colleges for women, showingthe number of instructors, students, and graduates in music, and number of studentsreceiving eentfirates in music.

rolled in Student sInstructors in in nide..1I Students en, defeat 'Tient. of music. 1101 grad-

ing'. I i ^- time'''. index m-otoring. . .

I 1

ales in cei ringreport-1ilog. Midi,. , i Total.! Male. , I Toted.HIM,

Fe-1 1

i Fe-musk. ill cretin-

hist 0 catch. inyears. , :mimic in

L 5i

)'earn.-

United States 57 s6 2I1 294 210 i 7.512 7,772 I 4111 323-- -.1

North Atlantic Division 1) 24 44 64 1..547 1.631 74South Atlantic 16 2.5 72 97 29 2.0717 2.116 121 22.7South Central Division.... 16 13 57 711 49 I . , 1. i462 91 12North Central . . 13 21 52 73' 401 1.3°25 1.373 205 s3Western D I v talon .. 3 10 7g11 . 7,e)

North A Rant lc :

Maine. , I 4 221 IINew HampshireVermontMassachusetts 4 14 12 , ....... 372 I 572 1

Rhode IslandConnecticutNew York 2 4 3 1 677 677 30New JerseyPennsylvania 2 1 6I 7 i 4j 157 11)1

South Atlantic Division:DelawareMaryland.... 6 S 1 4 3 2,551 2:10i 17District of olumbia 1 1 14 14

Virginia 5 6 20 , 26 13 633 646 41 127West VirginiaNorth Carolina 3 5 13 Is 499 018 21 14South Carolina 3 5 14 19 316 5GeorgiaFlorida

3 3 16 19 356 356 61

South Central Division:Kentucky 4 3 10 13 24 '275 29PTennessee 3 5 I1 16

I

20 3.5/1 378 13Alabama 2 2 13 15 375 375 28 I 10Mississippi 1 1 9 10 5 470 475Louisiana 3 0 5 5 95 ' 90Texas 2 2 in 195 195 15Arkansas 1 3 3 I 0 65 I 6.5 12 2OklahomaIndian Territory

North Central Division:Ohio 3 6 12 18 . 2.57 21;4 21) 0IndianaIllinois 3 14 23 274 2117 30MichiganWisconsinMinnesotaIowaMissouri 10 41 18 704 812North Dakota811th DakotkNebraska 4t,Kansas

Western Division:MontanaWyomingColoradoNew MexicoArizonaUtahNevadaIdahoWashingtonOregonCalUoirnia 7 3 10 710 780

STATISTICAL TABLES. 47TABLE 4. Summary of the statistics of the Tamar departmcrtlB of normal schools, showingthe number of instructors, students, and graduates in music, and number rereiring cat-It:limier in music.

I Studeota enrolled inlust t-octors indepartment a of mine.

1 Grade

Studentsnot grad-uates re-

.

II 51,.8 In ceivingrepot-

"g. I Mid. III.1 ,

Toted.' Male. ni.::-1,,.

IIIIIRle IIIMat 5Total.years.

certifi-cates Inmusic In

-

Iasi 5years.

-States... 98 1 67 I 138 225 3,21.5 12.365 IR. 994 I 653 ftNorth Atlantic Division... IN 21 39 tit 1 342 3,8714 61450 249 25South Atlantic Division. . 15 Ii 28 34 507 2,3.55 12 15South Central (vision,... 12 ' a 30 388 1.143 ISNorth ('cut slop.... 3a 49 41 90 ,1.701 4,9(17 7.422 335 46Wostem I) . b I 3 s II 1 277 349 g26 344

North .6 tlan 1)1vision:Maine..... . ..... 2I 1 66 209 3/1New liamprhire

1

Il

A. I 1 Itrt 1113Vermont I I I -, 2 68 0MasaachnsettaRRhode IslandConnecticut

41I2

2 I la3

z

51

3

10

2

245no

2514

255

New York 9 I 5 ' 15 20 116 2,2.53 5,009 199New lerwyl'ennsyKanlit 1'

7I

8 16I

24. 1110145 532

1011

1177 53South .6 tlantic Invision:1 hlawn reMarylandDistrict of Columbia ... .... ......

.. ,........

Virginia 2 1 3 4 44:5 890 1,35.5West Virginia ^ '2 2 7 47 54North Carolhia... .. 4 2 6 8 4 413 41714o.th Carolina 3 1 10 I i 6 2110ih _mitt 4 2 7 9 25 218 . 12FloridaSouth Cent ral 1)11 Minn:

Kentucky1 1 1 2 3 13 141T. inessee1 1 J 36 126 162Alabama

Mississippi4 1 7 8 74 2111 277

'Amiga/um ' 2 I88 1811Texan1 164 371 515 IA rkansaa

Oklahoma ....... . .. 3 s ii III 242 353 17Indian TerritoryNorth Cent n41 Division:

Ohio 6 5 7 12 62 596 460 79Indians.. .. .. . ...... . 4 10 6 II, 325 1,205 Is 0Illinois. .5 5 2 7 195 ' 623 1.148Michigan 2 7 5 12 26 214 24(1 119VVIaconain 6 3 4 7 203 5t94 1.221Minnesota 3 4 2 6 52 2.57 309 26Iowa.1 1 1 2 12 35 47 10MIsloiirt

North Dakota 6 7 8 15 743 1, XII 2,012 74 30South Dakota 1 1 1 2 57Nebraska 2 4 1 ., 45 245 2991:411R11, 3 4 7 341 175 211 29Western Divivion:MontanaWyomingColorado . .....Nea Rt"RIcoA riettna .

1 I 3 3 li 13 38UtahNevadaIdaho 1 1 1 15 oa 10NWashington 2 3 3 710 773 502OregonCalifornia 1 1 1 20 140


TABLE 5.Summary of the statistics of the music departments of secondary schools, show-

ing the number.of instructors. students, and graduates in musty, and number of studentsreceiving certificates in music. 0

hist motors in music.Students enrolled Indeptirtments of in wile.

Schoolsreport .

111g* Male. mills. 1 Total. Male. ; 1111.;:`11,. Total.

Studentsnot g rad-

taitilu- tacos re-ales in cawing

11111:4IC in cot-100-18st 5 I Calm inyrara. musle

last nyears.

United States Mt I-l''

230 470 700 7'.597 10.010 14,500 634

North Atlantic ()I vision... 87 to2 18'2 284 1,(1511 4,473 6, 141 193 1,47

South Atlantic I/Iv:1810n . 34 , 32 I 09 101 274 I,7re 2,043 1194 78

South Central Division . .. 35 ' 23 49 72 329 1,3,0 1,099 149 45

North Central Division el i 01 136 197 1,207 2,771 3,9714 216 177

Westsm Division II 12 34 46 129 521) 649 I -3)

North Atlantic Division:Maine 4

New Hampshire5 4 95 10 15

IS

13214 1511 4

405 1217 4:i9

Vermont 2 17 !Os 11

Massachusetts.... 17 29 38 1.7 270 7,c; 4t1

Rhode Island 3 1 4 .75 III 44

Conneeticut 8 20 25 13 9. I 105 3;

New York- 'Si' 54 SI 341 1,35, 1,106 4.5 st

New Jersey /4 7 2'2 401 541 9

Pe.nnsylvanis 20 31 51 715 1,30 I 1,724 ::;

South Atlantic Division:Delawam .Maryland 5 64 234 29s 2.3

District of Columbia 12 11 23 243 243 :{

Virginia 9 IS 21 330 1114 ti 42

West Virginia 13 IS 78 448 52e :14 In

North Carolina , 11 16 47 233 2711 :1:1

South Carolina...... 1 2 30 7t1

Om 4 9 3 113 I I IS. '21)

Florida 3 4 23 1441 171 ti

South Central Division:Kentucky .. 11.

10 in 19 299 318

Tennessee 4 1 I 3 4 IS I 133 144

Alabama 5 4 I: 18 45 1 241 :04 10

Mississippi ........ 3 4 4 4 67 71 2

Louisiana1

Texas. 11 19 162 242 404 :11 13

A rkanaas :1 5 x 42 I 1211 3'2 ........Oklahoma 9 3 25 147 172 0 4

Indian 2 1 3 17 47 64 1

North Central Division:Ohio 15 17 32 190 377 567 14

Indiana 2 1 2 3 5 31 '2

Illinois 12 . 32 411 AS 464 .5'41 23

Michigan 4 17 17 20 4115 425 Al ..

Wisconsin In ! It' 121 27 2194 2514 :Ss ...

Minnesota 2 3 7 i 10 .53 xt 133

Iowa 3 Is 21 09 351 1 420 34 i 12

Missouri I 16 128 348 470 45

North Dalmta. .

South Dakota 2 3 4 13e te4 ?24

Nebraska 9 I71 I on 131

Kansas . ...... 3 7 In 255 262 i 517 18

Western Division: ; ;

Montana.......WyomingColoradoNew Mexico .........ArizonaUtah .. .........NevadaIdahoWashin4don 21 3 2 5 59 54 113 ..

' 9 ;21 72

8 '26 1 32 53 376 I 429 149

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ght.

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mur

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war

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som

a C

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per

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or W

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es .

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Sam

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hroe

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s M

abel

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ain

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mil

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and

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319

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ary

Chr

istin

e F

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No.

4j

273

731

yes,

119)

RH

OD

E IS

LAM

IC.

Pro

vide

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s W

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nol

John

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asen

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PAST AND PRESENT TENDENCIES. 77

IV. PAST AND PRESENT TENDENCIES.

It already has been noted that the development of music educaLion has moved along four lines, namely., in the public schools, by''private teachers, in colleges and universities, and in independentmusic schools. The impulse given by the old singing school, with its I

crude attempts to teach the reading of music by note to adults, I

naturally led to efforts in the stunt, direction with children, and 1

music in the public schools was the result. The activity of individ-uals resulted in a constantly increasing body of private 'teachers ofvarious instruments and msical theory. This body rceeived manyaccessions of trained musicians whom the unsettled social andpolitical conditions of Europe sent to this country, and who gainedtheir livelihood by teaching music. The gradual establishment ofschools or music and of departments of music in connection withcolleges followed, and the movement toward a formal music educa-tion was fully launched. Undoubtedly, among these agencies therewere many with high ideals and more or less definite educationalpurposes, but influences were quickly at work which were to give adecidedly wrong bent to music instruction. Compaition and per-formance were the s :and which all efforts were directed, andthe

no educatio al precedents existing for the guidance of thoseengaged in it, music teaching rapidly became imbued 1,vt.11 false ideals,and, in time, the affected virtuoso, the specialist, flourished, findingmany disciples, and the purpose of music education steadily narrowed.

It is not surp6sing, however, That the pedagogic development ofmusic, in its earlier stages, under the conditions dominant in a countrywhose energies were chiefly employed in the expansion of commerceand manufactures, should be lacking in system. When the progress,in the United States, of educati7nal movements gene)ally is.con-sidered, it is not remarkable that in an art so elaborate and complexas music confusion should exist and much pioneer work be neeessery

prin-ciplesbefore usic education should he fully understood, and the rin

\and t at mistakes both of commission and omksion would be made

ciples on which it should be based be clearlyformulated. While thehistorical statement may indicate the absence of a guiding principle,a lack of unity in effort, and confusion of opinion as to what consti-tuted the.true Ace of music and the real nature of music education,it also suppliks evidence that there has been a demand' for musicatculture, and that those who took upon them the labors of the pioneerperceived this, and, realizing the need for whetter educatiop of thepeople in music, were not astray in their estimate of what that usedwas., The projectors of the old singing school builded better thanthey `knew when they attempted to initiate the people into themysteries of musical notation, and gave impetus to an impulse which

le.- 18 MUSIC EDUCATION IN THE UNITED STATES.

was to bear good fruit. Despite their slight musical eiuipment andthe crudity of their instruction, they were keen enough to perceivethat music was an important part of the life of the people and couldbe made more productive of good by educating them in the essentialsof music culture. It was the departure from this purpose by thosewho followed that gave rise to the confusion which so quickly devel-oped as the cultivation of music increased, and that circumscribedthe scope .of music etincation, limiting it for many years almostentirely to the field of professional training.

The practice of music, rapidly developing into well-defined special-ties, each possessing its own peculiar technique and requirements of

t instruction, attracted a constantly increasing body of studentswhose entire attention became more and more absorbed by the formin which they were specially interested. This absorption in someparticular manifestation of music produced sharpty drawn lines ofseparation, and caused` formulators of methods 7ff instruction to losesight of two truths which underlie music education equally withother forms, and which must be taken into account by those whowould place music where it rightfully belongs inehe scheme of publiceducation: First, that to be educationally valuable music must speaka message to the people at large, who must 1>e prepared to understandand appreciate its utterances; and, second, that while there arevarious forum of musical manifestation they are all branches of theperermusic trunk, their fruitfulness depending upon the propercultivAion of the stem from which they derive their life; andwhether mimic be viewed from the standpoint of the creator, theorist,performer, or pedagogue; whether it be taught in the public school,the college, the university, the conservatory, or by private teacher,underlying all -instruction are basic educational principles requiringrecognition and logical development; and however divergent theactivities of the different exponents of music eventually may become,there is a point where their specialization emerges from the parent art.

The failure of musicians to apprehend these truths has constitutedthe weakness of the educational. activities of the past forty years.It was the excessive emphasis placed on the vocational aspect, ofmusic, exalting it untluly, which relegated to the background andultimately obscured that view which sees in music a close connectionwith social and national life, and opens up a vast field of culturaleducation in which the people can participate. This restriction ofthe office of music has come to pass despite the fact that history isreplete with illustrations of the intimacy. existing between it andpersonal, social, and national life in the expression of the deeperfeelings of human nature. Dominated by this narrow view, the aimof music teaching has been the making of players sad singers or thedevelopme4 of composers, and back of the activities of those who

PAST AND VESENT TENDENCIES. 79

have dictated methods of instruction has been the conviction thatpeculiar and pronounced talent must determine the advisability ofmusic instruction, those only who are so fortunate as to possess this(hod -given ability being worthy of serious attention, while for theless fortunate majority music. is a sealed book.

This narrowness of outlook and the absence of definite standardsof instruction naturally have made themselves felt in music teach-ing. Specialized forms of study have been thrust upon studentsalmost with the first lesson. Technique became the sine qua non ofall effort. No provision was made for foundational preparation, andthe necessity for any .bretult It of culture was entirely ignored. ?Musicdepartments and conservatories became technical training schools,and private teachers emulated their example. \Veil-defined coursesof study, progressing logically and syslikplatiarly from grade to gradeto the point, where specialization cIlW properly begin and specificprofessional preparation be entered upon to advantage, were so rareas to be a negligible quantity in fIstimating the stays of music educa-tion, and the t relation of music and nomuusic courses was prac-tically unknown. The status of music in universities and collegestiis also unsatisfactory, on account of the reason for its installationking in doubt, some holding that it should be for the purpose ofsupplying a music education on 4 somewhat higher level than that-furnished by the primary grades, others seeking to 'secure for itrecognition as a professional specialty ip common with other special-ties of the university system, while the college authorities them-selves looked upon it as a good thing for the treasury but of little orno moment in the general scheme of education. Sharp distinctionswere drawbetween the advocates of music as a part of the publicschool wol and those who, by right of their training. and standingas professional musicians, considered themselves the Arne exponentsof music. Lack of coordination and eooperation left a wide chasmbetween the more elementary work, as carried on in the primarygrades, and the advanced courses outlined in colleges and univer-sities.

The result of these conditions wa.. the complete separation ofmusic, from general educational thought. Trained educators natu-rally were quick to perceive the lack of standardization in methodsand the pedagogic inefficiency of those to whom the developmentofmusic education was intrusted, and of course gave music a valuationno higher than that at which it was appraised by the majority of itsexponents. The unscientific character of music teaching, the preva-lence of haphazard systems of instnictiou. and the undue emphasisplaced upon the personal equation repelled educators, who acceptedthe statement of musicians themselves that temperament and natu-ral endowment are indispensable in music education. The fact that

,......:ii.......,;.............._______,..........___.z.

-1

MUSIC EDUCATION IN TEE UNITED STATES.

not only the average teacher of music, whatever might be his or hersincerity, was of restricted education and intellectual ambition, butthat too frequently music's most prominent exponents were ofequallyzarrow intellectual horizon, strongly militated against musicas an educational force. What has been the attitude of organized,educational forces toward music is significantly expressed in the oft-repeated story of the principal of a girl's school, who asked a pros-pective student, "Do you come here to sway, or to take music?"However unfair this attitude may be considered by those who, sound-ing the depths of, musical science and art, realize its potentialities, itis apparently abundantly justified by the conditions which haveprevailed until within recent years.°

Turning from this contemplation of past conditions and tendenciesto those of the present, we find many of the evils named still existing.The misapprehension of years is not easily remove(1, and the, segre-gation of teachers, the absence of standards, and the spirit of spe.ciali-zation arising from the excessive cultivation of music as a. vocation,which has dictated the various schemes of instruction, for so manyyears, are conditions not to be quickly overcome. Yet there areabundant indications that influences are now at work which haveleavened the lump and are already making themselves strongly felt.There has grown into appreciable prorrtions a class of musicianswho decidedly deprecate the narrowness and inefficiency of the past,

d are making strenuous and well-directed' efforts to broaden theharacter and improve the efficiency of music teaching. In theeetings of their associations, in their studios and, class rooms, andprint they are carrying an. a propaganda which strikes at the root

f the evils which liave existed for so long a time. Earnest attemptsre made by exponents of music education in the public schools, con-

servatories,_and colleges, and among private teachers to get together,to establish standard to unify courses of study and to supply miss-ing links in the educitional chain. The da. of the pretentious,virtuoso is past.; there is a grow ing.conviction t the long-cherishedbelief that music tetrhing4hould b5setfined tip those who are tem-peramentally eWlowed isa:-.§eriotis mistake. The importance offoundational work is beinF realized,' and the beneficent effect uponthe musician of a broad culture are becoming more and more appre-biated. e si . .

Teachers of various instruments and of voice are making system-atic efforts to prepare curricula which will be uniform VI standard,doing away with the desultory and unregulated methods of the past.

,

Theorists are discussing questions the solutions of which will makefor uniformity. Teachers in public . schools 'are steadily, seeking toimprove both the matter and the method of. their phase of ntiusictactivation, rectifying inacenraciee of grading and bridgiitg. over the

k

I I

- PAST AND PRESENT TENDENCIES.

chasm between. elementary and advanced grades. The cultivationof music in its foundational aspects and as a part of the life of thepeople is being given intelligent consideration.. Pedagogic principlesas A basis for further development are being given'attention, and thetrend is- strongly toward efficiency, uniformity, coordination, andcooperation.

The body of musicians to inoculated itia sound.--feClagobreadth of ew is large, many of, ire members

isolated, commercia isrr strong, and many are yet too uchinclirted to be stit. with metho they are f iliacand too indiffNezit to take the,tretible involved in improv- Ist butthe germ has been implant6a, and although it may take tine it willdo its work.

Perhaps the most significant fact which an investigation of presenttendencies shows is the marked change in their attitude toward musicof,.-the don5,44ting fOkces in educational ovements to-day, namely,

A * ry-ArypiaLJ

While music is still made to feel thatit is only tolerate d in someinptitutions, there has come to pass whatmay rightfully be esteemed a remarkable change of heart upon thepart of many institutilihs of the highest grade and influence. It iscleat that the separ4ion between music and general education*thought is not only being rapidly lessened, but that it will completelydisappear in a much homer tim an ad_ conditions would warrantone in predicting. The report o an investigatiopresenstatus .of music in colleges, conducted by a committee appointed bythe Eastern Educational Music Conference,a gives some ,exceedinglyinteresting information on this point. A list of questions concerningthe granting of credit for the study of music,' both for entrance andduring the c6Ilege course, was sent to a number of leading universi-ties and colleges in various parts of the country, but particularly inNew England and the Middle States, where educational precedent ismost strong. One hundred and twenty-three replies were received.Fifty-eight institutions do not maintain music departments. Of these,15- A the following reasons for the absence of such departments:No Bans, S; no demand, 3; music not a collegiate study; 3; lack oftime, 1.. New York University replies: "If we were given an endow-ment for such courses, we should offer them gladly," Of the remain-ing 65 institutions, 58 give credit for the study of music, either atentrance or during the course leading to a degree, or both. Amongthe institutions granting credit in music both for entrance and towarda degree are Amherst, Barnard, Beloit College of St. Angela, Colorado;Columbia University, Cornell University, Harvard University, Oberlin,

The full resort can bqcbtalutd by addressing Prpt. Leonard B. lieWbood, Columbia UtftrarsttyaNew York City, N. Y.

50743-08-r-4

; ^NETTS16 CATtum ttc"

,THE UNITED STATES.

Radcliffe, Smith, State College of Washington, Syracuse University,Tufts, Westminster, and Wilson.

Those that grant entrance credit but not toward a degree areLeland Stanford University, University of North,..Dakota, and Uni-versity of Tennessee. The first Of these has no department of music,and itsrec,ognition.,(August, 1907) of the value of entrance credit inmusic to the amount of three points out of fifteen required issignificant.

Among the institutions that grant credit toward a degree but notat entrance are the Universities of Arkafisas; Colorado, Idaho, Illi-nois, Iowa, Kansas, Michigan, Minnesota, Missouri, Nebraska, Okla-homa, Oregpn, South Dakota, Washington, West Virginia, and Wis-consin; Dartmouth and Mount Holyoke colleges, Northwestern'University, Ohio Wesleyan University, University of Nashville,Vassar and Wellesley colleges, Yale University, and Converse College.

The subjects for which credit is given, and the number of collegesgranting such credit, areas follows:

Branches in which credit is 'allowed. At on- !Towardtrances degree

Muskat appreciation, including history of music, etc D. 42Harmony l8 47Counterpoint including fugue, etc 9Com Mon, Including form, etc 0 18ical music (pertormsene) 10 21

The significance of these figures lies in the fact that these creditsare for the degree of bachelor of arts or its equivalent, and not forprofessional courses.

V. CONCLUSION.

It clear that the 'resent status of formal music edu I I II I

o ans . many m opendent,.-se ools of music, colleges,universities °flaring well - conceived ntsic courses of high stand-

', *A, there iS still lacking the unity and complete coordination of effortthat should characterize a well-grounded scheme of education. Thecourses of each institution follow each Other sequentially, but nouniform standard is maintained by which their relative merit andadaptability can be assured, and which will unify the work of allinstitutions offering such courses into a thoroughly organized system.Each school is a law unto itself; hence whenat.studexit presents creditsfrom one to another there is no basis of agreement as to the value ofsuch credits. day schools, which :.ral ed

`ate to bade their co ,14"1 I Z

Lions of higher education, attiempt the Same grade oifRisie instruction

N

as thest eguipned conservatarr or college.. A well - defined, ro r meat 1,1

of music education from i most "e ementary to its highestdoes not

.c., /1fiisic needs the coll:: , atmos.here--'well-d effort. t needs e.application to its methods of the

system and orderliness that characterize car wo tileaft neednot and wt inot check its art sic but they will...Meg_

1 it system in classifiostion_and thoroughness and accuracy in thecoordination of its elements. Aidiell.F.Rwoonscuese_

If this investition of present conditions in formal music educa,-tion rev in,orgatuzationamr QUalarait7;1,

'ded in many essen is of future deyelnpment) 0, and by its :.

revelation of the critical attention now paid to the__prepeiaViusic courses and their correlstro-nwither subjects ortE--c-ri_.riculuni itglii e-eTen-iii. luiiiteMent -iii1411408 t9efforts for the elevation of stimiaarda musical scilielta .41 itaiKaTrie1.;:4: ..c:,4,-;Z-.7;.,;-.A.,,,,,44.,, fir,

WQ,RICS ON MUSIC EDUCATION BY AMERICAN AUTHORS.IA list of works on the history of music In Atomics Is given on pp. 16-17.1

Apthorp, William Foster. e opera past and present; an historical sketch. NewYork, Charles Scribne Sons. 1901. 238 p. 12 mo.

. .Bartholomew, E. F., Ph. D., . D. Relation of psychology to music. Rock island,

III., The New Era Publishing Company. 1902. 286 p. 12 mo.Cutter, Benjamin. Harmonic Analysis; a course in the inalysie of the chords of the, non-harmonic tones to be found in music, cheek and modern. Boston, illiver .1

Ditson Company. 1902. 130 p. 12 m.o.Dickinson, Edward, A. M. Guide to the study Of musical history and criticism.

Oberlin, Ohio, Pearce and Randolph. 1895. 96 p. 12 mo.Elsa, Louis Charles. The national miun1 of America and its sources. Boston, Mass.,

L. C. Page & Co. 1600. 326 p. 16 sno.Finck, Henry T. Songs and eong writers. New York, Charles Scribner's Sone. 1900.

249 p. 12 mo.Goepp, Philip H. Symphonies and their meanifig. 2 vole. Philadelphia, P11.,

J. B. Lippincott Oompanx. 1898. 1902. 407 p., 498 p. 12 mo.Goetschins, Percy, Mus. Doc. Lemons in music form; a maw of analysis of all the .

structural factors and designs employed in musical composition. Boston, Mass.,Oliver Diteon Company. 1904. 148 p. 1Zinof

(low, George Coleman. The structure of music; an elementary text-book on notationand harmony. New Ygrk, G. Schirmer. 1895. 200 p: 1 8 vo.

HenderkM, Witham James. The orchestra and orchestral music. New York, Charles, . ,-----ficaner'e Sons. 1899. 238 p. 12 mo.- What is good music; suggestions to persons desiring to cultivate a taste in

thusioal art. New York, Charlps Scribner's BOWL 1898. '205 p. 12 mo:Kjehbiel, Henry Edward. How to listen to music; hints and suggestions to untaught

lovers of theart. New York, Charles ScribeeriS Sons. 1896. 361 p. 121no.


Manchester, Arthur L. Twelve lessons in the fundamentals of voice production.iloston, Mass., Oliver Ditson Company. 1907. 92 p. 12 mo.

Mess, Arthur. Choirs and choral music. New York, Charles Scribner's Son; 1901.251 p. 12 mo.

Men, Karl, MILS. Doc. Music and culture; comprising a number of lectures andessays. Philadelphia, Pa., Theodore Presser. 1890. 206 p. 8 vo. 0

Russell, Louis Arthur. The commonplaces of vocal art; a plain statement of thephilosophy of singing. °Boston, Mass., Oliver Ditson Company. 1967. 74 p.12 mo.

White, William Alfred. Harmony and ear training. New York, Silver, Burdett IsCo. 1907. 207 p. 8 vo.

to

a

of

SUBJECT INDEX[Title. of ,hapters and subchapters set printed in italics.]

BibliographyWorks on the history of musir in A metro, IS.Works on music education by A merican au-

Mors, 83.lto.ton Academy of Mukic, 13.Boston Conservetory of Music, 15.Chicago College of Music, 15.Cincinnati Conservatory of Music, 15.Cleveland Conservatory of Music, 15.Cc:lege. and Unitersities:

Detail statistical table. 53.Summary of statistics of music departments,

45.College. for women:

Detail statistical table, 60.Summary of statistics of music depart-

ments, 46.Correlation of music and non music courses. 40.Courses of study In music offered by typical mu-

sical schools, 21-40.Credit toward degree for music study In universi-

ties and colliges. 81.Curricula of typical musical schools. 21-40.Dana's MusicalDeportments of music in colleges. etc.. 15,Detroit Conservatory of Music. IS.Eastern educational music conference.Educational qualifications of music, students, 42.Ent ranee requirements of typical musical schools.

, .Examinations for diplomas given by typical musi-

cal schools, 23, 28.Handel and Haydn 3ociety of Boston. 12.Ilarvaridusical Association, IS.

Harvard University. 41Historical development of music study In the

United States, 11.Independent schools of music

Detail statistical table, te.Summary table of statistics, 44.

Libraries and museums, 43.New England Conservatory of Music, 14. 41.New York University, 81.Normal schools:

Detail statistical table of music depart-Inents, 63.

Summary of statistics of music depart-ments, 47.

Oerlin Conservatory of Music, 15.Organ, outline, of Illustrative courses of study, 24

34,38.Philadelphia Musical Academy, 16.Pianoforte, outline of Illustrative courses of study.

24, 24, 33, 36.Promotion of students, 41

_Receipts of music schools from instruction in mu-sic, 43.

of music, 14.Singi, outline of illustrative courses of study, 23,ng

27, 28, 34, 37.Singing schools In early days, 12.Secondary schools:

Detail statistical table of music depart.merits, 68.

Summary of statistics of music

Violin, outline of illustrative courses of study, 2434. 37.

NAN

The namea,given In

Apthorp. 1VI81am Foster, R3.Baker, B. B., 13.Bartholomew, 9.Baur Miss, 15.Brooks, Henry Mason, 16,Clarke, Hugh A.. 16.Colhurn, William, 13.Cutler, Benjamin, RIDickinson, Edward, 83.Eichberg, Julius, IS.Elson, Louis Charles, 17, 83.Fleck, Henry T., 83.Ooepp, Phlllp 11., 83.GoetchIns, Percy, 83.Gould, N. D., 12, 13.Gow, George Coleman, 83.Henderson, William James, 83.Howe, Granville L. 17.Jones, Darius E., 13.Erehblel, Henry Edward, 824

N DEXe statistical tables are excluded.]

Manchester, Arthur L., 84.Mason, Lowell, 12, 13.Mason, T. It., 13.Mathews, W. R. B., 17Mess, Arthur, 84.Mena, Karl, 84.Morse, Prof. Edward S., 16.Paine, John In.Parker, Prof. F. A.. 9MPratt ,Prof. Waldo 8., 70.Rice, Fonelon B. 16.Ritter, Frederic Louie, 16, 16, 17.Russell, Louis Arthur, 84.Ryan, Thomas, 17.Ronneok, Oscar George Theodore, 17.Tourgtle, Eben, 14.Tuokey, William, 12Van Dyks, J. C., 17.White, William Alfred, 84.Zisghad, 15.

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