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A 

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ADDITION' AT, COPIF-S 

^ OF Tllt'^ rU»UrATRlN' MAV Iti: rRtK l'IU'.i* FROM 

TUE SUPEUINTF.NUFNT OF Ihk I MENTS 
government PRINDNG OFFICE 
WA.SIUNGTON, U. ( . 

AT 

, • - 5 CF.NTJi PKU ( ol*Y 

V . 


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CONTENTS. 

‘ Page. 

Tottpr of trnnsmtttftl - 5 

rrofiH*** 7 

^[cmiiIkm's <»f the coitimiuce on imisic ! - 8 

Koviowlin; ooniniittoe of tlie coinmlssloii 8 

Horxn t of tlio ooiinnitiee on music ! 11 

I. Tlie vnliio of music ns a lfi;;h-schwl subject 11 

II. Three types of pupiis 14 

III. Music <»p|)ort unities reconiinemletl for em'li type of pupils ir> 

IV, He<iuire(l versu.s elective nttembmce at chorns classes 10 

V, Music courses r(H!oinineinietl 18 

1. Cliorns siu};iim ID 

2. Orchestra - 22 

' 3. 01 w clubs 2.‘l 

* 4. Music oppreciation 1 24 

5. Theory of music ■ 26 

C. Appiie«I nmsi(% t»r sc1hm»I crtnllt for oittshle work 28 

VI. .A plan for crediting, outside .study in music under private In- 
struction : : 34) 

VII. rredlts for nutslc in sec<indury sc1kh»Is 32 

VIII. Music for boy.s* Idgh sclatols ; 34 

IX. Music J^op girls* high sch<M»ls 36 

X. The high school as a center for cdniimOdly nmsi<* 3Q 

Keports of the Commission on the Ue< organization of Se<‘ondnr.v Kduca- 

tlou ^ 37 

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v: 


PREFACE. 


In prcpnrjii" this report, two large aims have been consistently * 
l>y the roimnittee* The first was to preparo»a platform siiffi- 
elently broad for all proper phases of musical activity, ho\wer ili- 
found in the hi^h schools o£ the Unit^.i>lat^ The second 
aim wiu to provide practical help for administrative problems, by 
presentin«r. in some detail, plans that in nature and nnnjber are suffi- 
cient to tit a grea^ variety o? conditions.* Failure to provide such 
spe^Hic reconimendations might ifiiake' the report barren of results. 

(Vn the other hand, failure to declare a basis of educational belie) 
might tend (p encoura^ jlractides that would grow in precision 
ratlioi^ than in breadth^ . * ’ 

In fornnibiling the report the first step was, theVefdbe, lo*cou^ 
j-tmet *ii ])lnt.forni of educational l>elief with regard to music. This ^ 
was prepared in 1913, was submitted to ouch member of the com- 
mittee, was approved by the committee, ami was published by .the 
Tnitetl States Bureau of Education,* ' 

In 10! !, the chairman of the committee appointed a subcommittee 
consi>f ing of Osbourne McConathy, chairman, Edward B, Birge, and 
Karl W, (udirkens. to construct detailed plans for the study and 
mlmbiistration of courses iii Ingh-stdiool music. The findings /Of 
Mr. McConathy 's sul>comiuittee are embodied in this report. 

I'iio specific suggestions given should not blind the teacher to the 
fart, often repeated or implied, that appreciation, not proficiency in 
irclmical accomplishment of any. kind, Is the large aim of instruc-. 
tion in music in liigh schck)ls. Whatever the knowledge or abilities to 
be gaine<], the spirit of music should unfailingly l)e present, to liber- 
ate the mind,' broaden the horizon, quicken the mental grasp, and 
give to the facts the musical application and significance that al6ne 
confer upon them any claim to value. Sensitiveness Jto Aesthetic 
^4llm's for the sake fflf the enrichment and elevation of the quality 
of human life whidi siich response brings is the large result to lie 
attained, * , 

This i*eport ha& been approved by the (K^nmittee oh music and the ^ 
reviewing committ^.of the Commission on the Reorganization of 


Secondary Education. This apprpyal does not cohimit every member 

iBuOetjQ 41 for 19ia of the UnUrd Staton Riir^u of RducatloD,, entitlod **The Uaor* 
ganlzatlon of Secondary Education," pp. 60-7J5.. 


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8 MUSIC IN SECONPABY SCHOOLS. 

of these committees 'individually to every statement and every im- 
plied educational doctrine. It does, however,* me^n essential agree- 
ment with the general recommendations. 

Will Earh ART,’ 

Chairman^ comtnitfee on music, 
Clarence D. Kinoslet,' 
Chairm<m of the cb>mmmion. 


4 

THE COMMITTEE ON MUSIC. 

will Earhart, director of music, public schools, Pittsburgh, Pa., chairman. 
Ralph L. Baldwin, supervisor of musics Hartford, Conn. 

B. B. Blrge,^siit)er visor of music, liiUiauaiwlis, lud. 

"'Hollis E. Daun, Odciiell University, Ithaca, N. Y. 

Charles H. Farnsworth, Columbia University, New York, N. 

C. A, Fullerton, State Normal School, Cedar Falls, Iowa. 

Karl W. Oehrkenb, Oberlin College, Oherlin, Ohio. * 

Henrietta Baker' Low, Peabody Conservatory, Baltimore, Md. 

Osbourne McConathy, school of uiuslc, Northwestern iTulverslty, Evanston, 111. 
W. Otto Mlessner, State Normal School, Milwaukee, Wis. 

Mrs. Gertrude B. Parsons, director of music, Ix)s Angeles, Cal. 

Charles I. Rice, supervisor of music, Worcester, Mass. 

Elsie M. Shaw, supervisor of music, St. Paul, Minn. 

THE REVIEWING COMMITTEE OF THE COMMISSION ON 
THE REORGANIZATION OF SECONDARY EDUCATION. 

Chairmen of the Commission and vf the ^Rcviciting Committee: r 

Clarence D. Kingsley, State high-school inspc^ctor, Boston, Mass. 

^Metnbers at large: 

Hon. P. P. Clajfton, UnUetl States Commissioner of Education, Washing- 
ton, D. C. 

Thomas H. Briggs, associate professor of education, Teachers College, 
, Columbia University, New York City. 

Alexander Inglis, assistant profe.ssor of education, in charge of secondary 
education, Harvard University, Cambridge, Mass. 

Henry Nepmanh, Ethical Culture School, New York City, 

WilUniD Orr, senior educational secretary» International Y. M. C. A. Oom- 
mittee« 104 Bast Twenty-eighth Street, New York City. 

William B. Owen, principal, Chicago Normal College, Chicago. 111. 

Edward O. Sisson, president, University of Montana, Missoula, Mont. 

. Joseph S. Stewart, professor of secondary education. University of Georgia, 
Atheias, Gt. 

Milo H. Stnart, principal, Technical High Sehc»pl, Indianapolis, In^ 

StEt0 hl^ofdbodll insjp0ctQir» lladisaoi' WIs. . . * 


MUSIC IN SECONDARY SCHOOLS. ^ 

Chainnen of Committees: 

Organization and Administration of Secondary Edncatlon— Charles Hughat . 
Johnston.* 

Agrlculture~A. V. Storm, professor of agricultural etUicatlon^ University of "■ 
Minnesota, St. Paul, Minn. 

Apclent Languages— Walter Eugene Foster, Stuyvesant High Schodl New* ^ 
York City. ’ ) 

Art Ediicntlon— Henry Turner Bnlley, dean, CTeveland School of Art, Cleve- i 
land, Ohio. ' ^ , 

Articulation of High School and College — Clarence t>. Kingsley, State higli- ^ 
school inspector, Bo.ston, Mass. M 

Business IMucatloii — Cheesman A. Herrick, president, Olrard College, Phlla- ^ 
dolphin, Pn. 

Engli.sh— Janies Fleming IIoslc, Chicago Normal College, Chicago, III. 
Household Arts— Amy Louise Daniels, University of Wisconsin, Madison. . 

WlS. , 

Indastrlal Arts— AVilson H. Henderson, exteaslon division, University of ,■ 

- Wisconsin, Milwaukee, Wis. ’ v 

Mathematlc‘s— William Heard Kilpatrick, associate professor of edueatfbii;^ ’ ' 
Teachers College, Columbia University, New York City. ‘ 

MorU‘rn Languages — Edward Manley, Enklewooil High SchooL Chicago, HL 

l^Iu.sh Will Earhart, dlre<‘tor of music, Pittsburgh, Pn. " ‘ ' 

Physical E« mention— James H. AIcCurdy, director of normal courses of ' 
pliyslcal education, International Y. M. C. A. College, Sprlngfiel<l, Mass, 
Sciences Otis I). Caldwell, director, I.incoln School, and professor of edu- ^ 

cation. Teachers College, Columbia University, Neu^ York City, 

Social Studies— Thomas Jes.se Joues, United States Bureau of. Education. 
Washington, D. C. 

Vocational Ouldaiice Frank M. I^eavltt, associate superintendent of schools. H 
Pitl.shurgh. Pa. ■ 





MUSIC IN SECONDARY SCHOOLS. 


I. THE VALUES ol^ MUSIC AS A HIQH-SCHOOL SUBJECT. ' 

. • "tA) OENERAL STATEMENT. , ^ 

The qualities of thought and feeling out of which'’good music 
springs are altogether desirable. They reflect a desire for beauty; 
they reyeal the spirit of .man in profound and universal relations , 
a«^ impulses. In common with'the other arts and literature, music 
tends to develop finer subjective life in the indindual. * 

Where instruction in music is not primarily vocational or profeS' 
sional, the aim, conscious or unconscious, should be such subjective 
influence. A course in mivsic that does not promise in due season and 
proper degree, to adjust the learner in sympathetic response to the 
best music 'of the world is lacking in its proper qualityj wliatever 
marks of efficiency it may show. 

^ Tlie late Mr. W. S. B. Mathews distinguished three appejfe 

music makes: The first to the ear, as “purified, crystallized sound,’? ^ 

» a sensuous beauty which every musician demands always; the second ' 
an appeal to the mind, depending upon memory, attention, percep- 
tion of the relation of part to part, ns balanced, imd beautiful tonal 
discourse; tlie third tlie appeal to the soul, as e.xpressing mood, state 
of feeling, emotion. 


Children in the elementary schools should be taught to value beauty 
of tone and to secure it in their singing, both for the sake of their 
musical taste and for correct use of their own voices. Their short 
songs should have grace of melody and simple perfection of fontk' 
revealing grace and clarity of musical thinking. These qualities are 
desirable as musical experience jind may also consciously be analyzed 
and valued. The songs used wiU necessarily have also mood, or aA 
least color; but the inoods should be childlike, and should not attempt 
to cover the entire range of moods which the music of the masters - 
expressesi Many of th^ must temain uncomprehended until 
individual appipaehes maturity. Technically^ the pupil ahptdd teaHL*' 
by the end of the eighth ateost all elementary theory, and: bo 
able fo, smg at sight fluently and in parts simple hymn 'tim^, a^.«» ■ 
sing with enjoyment, aftw some pracrice* number of the easieri 


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12 


MUSIC IK SECONDARY SCHOOLS. 


chonisesf from operas and oratorios^ as welF as some comparatively 
elaborate art songs and part songs. 

Up to the ninth yfear the public-school pupiFs approach to miisic 
has necessarily been largely that of song. Recently much use lias 
been ihade of the phonograph and otter mechanical players in 
broadening and enriching the pupil’s appreciation, but even when the 
approach is thus broadened, the pupil can not by the end of the 
eighth year attain an adequate understanding of the great works that 
crown the heights of musical expression. The musical forms u^ed 
in the 1 rger part of the pupilV instruction are, until the end of this 
period, too simple to present very elaborate thematic development, 
and the amount of technical proficiency to be gained is too great to 
leave time for conscious consideration of largei" art values, even in 
those phases that might be deemed appropriate to the child before 
adolescence. " 

What practical and desirable developments then icmaiii for the 
high school? Before entering upon the answer it is well to note what 
does follow in many high schools, namely, nothing but a continued 
exercise, slightly extended, of the degree of power gained by the 
pupil in the first eight scliool years. 

If we would have an adult public interested in and appreciative 
the gi’eat music of the masters, we must have instruction in 
advanced phaiScs of music. This instruction is appropriate and 
^ practicable in high schools, and to them properly belongs the task of 
^ articulating the music in the elementary schools with the enlightened 
musical understanding and interest of the community. 

The tallies of music as a high-school subject may be stated as 
follows: 

(B) STATEMENT OF VALLES. 

1. Its cesthctic nature and value. — (a) The endeavor to create 
beauty has ever been a part of the life of man^ In tone, as in other 
V media, he has wrought unceasingly to express his vision of values 
; j that transcend the circumstantial an^ the utilitarian and .reach up- 
war^tpward the absolute. 'The elevation of inoQd, the purified dis- 
6ernm1^ht, and the heightened spiritual energy which accompany all 
^hetic experience give it a value which mankind has long recog- 
nized. 

‘ j Music chatacteristyally deals with broad fundamental moods 
S rsMlW th*ii witlji specific gives ■li'Oiice to- subjective revela- 

iiqn jp«tliie,r-4ba»obJecti'v»4eJiww it ^oes-flias It appals 

^t&ai wMcb is pMoBtS Mttue. It is 

npie tiiai) a figure of Speebb ’to eaU It ^ the umversaManguage.” 

'* 0) in the vd^ 'fciTOs, particul«r!|||||f> m ^ra, and in, cer- 

'"^^:inci4tot- 





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MiTBIO m BBOOKDABir BOHOOLa 



cumstance, and intensify the emotional aspects of human life, it- ^ 
inevitably transcends incident and circumstance in that its tone and 
the progress of the tonal design add idealistic beauty to what other* 
wise would be realistic description. ' * 

• (d) In music, then, the depths of man^s emotional nature are 

rcachec^ are quickened, and are made articulate. The committee 
. believes that such intensification of feeling tends to energize the 
individual toward action, and that aesthetic elevation of .feeling ten^ 
to lift the plane of apy resultant action. . 

(c) l^e effect of* music is realized in a peculiarly vital way when 
the individual himself takes part in the performance. Ensemble , 
music, both vocal and instrumental, hence has very great value in 
the high school. 

2. Its vedne aa a socialising force.— {a) Music has been called 
‘‘ the most social of all the arts.” . Few other experiences so quicldy ; 
bring about “group feeling” as ensemble singing or playing. ()ne; = 
cnrolc^ or indifferent performer may_affect the beauty of an entire 
rendition. The individuars speedy appreciation of this fact should ^ 


at least help in teaching him the lesson of the interdependence of 
social relationships. ^ 

(&) Music is one of the joys of social intercourse. To take part 
in the choral society of one’s city, to play in the orchestra, to be 
one of the audience at concerts or other musical affairs, to contribute 
to the music of one’s church, and last, t>ut by no means least, to ^ 
cultivate music in the family circle — all of these things mean hap* r 
pine^ and enrichment'of life. 

(c) Study of the ixiusic of other times and other peoples, involving 
as it docs a study of the related political and social development of > 
the peoples of many- lands; the study of the many influences which 
have affected the development of music, and the many ways in which 
music itself has affected world development; the study of the livoi 
and works of the great composers as men of high ideals and 
achievement — all of this should result in a wider appreciation 

the worth of artistic achievements and of thd peoples who have midi 
these achievements, and a broadening of the student’s interests and 
sympathies to include forms of talent and kinds’ pf endeavor which | 
he might otherwise hold in small regard. 

(d) Musical performances undoubtedly bring as many people td^ V- 

gether as any single a^gen^, and music in thjs way also may b0 
valuable, asset in the dvic^life of tlie commuhify. There are 
individualilrte^fih commtinify, aiid if music bias the imwer toS 
imbue there social consciousness and thus malm 

over into a mc^^oreful type of citizen, thbn surely have here i % 
social. .force ‘ \ 






'iti: 

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Music ix secondary schools. 


S, Its value in the worthy use of leisure. — (a) Our discussion of 
the value of music as a subject has implied that music was significant 
in its recreational aspects. More ^cific attention should perhaps be 
directed to the fact that, as modern industrial conditions seem to be 
demanding shorter and sliorter days of labor, the exceedingly com- 
plex sociological m*oblem looms up as to the disposal to be made jf 
the increasingly ionger peripc^ of leisure. These longer periods of 
leisure should be so utilizedAs to uplift and not degrade the in- 
dividual. Music is one of the mo^t potent and one of the most avail- 
able agencies for bringing about such an end. The power of music? 
in this respect is greatly increased when the individual himself takes 
paiJUin a, musical perfonnance, even if only oii^a plane of amateur 
proficiency. 

4. Its value as a voadionul subject. — Music has great value as a. 
high-school subject from a vocational standpoint. An army of per- 
sons are engaged in the musical profession in this country, and ap- 
proximately six hundred million dollars are ‘spent annually for 
musical performances and in musical education. This money is going 
more and more to native-born teachers and perfonnei;s>. The number 
of high-school graduates who do more or less of vocational work in 
music is quite (k>mparable to the nimiber engaged in many other occu- 
pations. Yet, ample and relatively lavish provision is often made by 
the school authorities for forms of vocational iiistructiou and 
only meager provision, if any, is made for instruction in music, even 
instruction that might be considered pre vocational. Music should be 
recognized as an important vocational subject, and reasonable pro- 
vision for vocational training in it should be made by high schools. 

II. THREE types' OF PUPILS. 

In relation to their attitude toward music, high-school pupils may 
be classified under three general headings : 

I, The little interested and the noumusicai pupils. — Probably the 
largest number, e.specially under present conditions, consist of pupils 
are little interested in muaif. Under this group might be in- 
cluded also those pupils who take, no interest 'in music, in -wliose 
lamilies music lias had no^ part, who Cimsider themselves as lacking 
both in musical talent and in ability to enjoy music;. The relative 
number of such pupils depends on many iniluences. In some com- 
punities almost all the high-schooI pupils illlerested in music 
and. enjoy taking part in it In other commtpiiies only a few show 
imy desire to participate. Th^ sOhpoJl altogether offset 

the othef .influences of the ean take ito >share- in 

..improtk^ conditions, que^ioh as to whether cboruis singing 
should be required of all pupils or should be dectixn will be treated 
subseq en Vsee^ *0 








inrsio 19 sioONDABT SCHOOIA ' rii^ 

2 . The interested IxU not particularly talented pu; 9 tZ «.— 14 «very. 
sdiool there are many pupils who, aIthou|^ not possessed- oi much i 
musical talent and without a de^re to perfect themselres as per- 
formers either for their own pleasure or as a vocation, nevertheless 
take an interest in this subject and wish to know much about it in m 
somewhat particular way. Such students like to listen to music and 
wish to heighten their powers of enjoyment through the study of it. 

3. T/ie talented The group of pupils to whom music is an 

important part of life includes those who are preparyig' to f«>llow 
music ns a vocation and those who intend to become skilled kmateurs. 
Those wlio are prepacing for vocational work have ns much rigid to 
consideration as the students who are preparing Jor other lines of 
work. But there will always be pupils who arc interested in develop- 
ing their musical talents to tire highest possibilities as a matter of 

^ culture, and these also deserve consideration. 

III. MUSIC OPPORTUNITIES RECOMMENDED FOR EACH TYPE OF 

PUPILS. 

1, For the first type of p«p/7».— For the pupils who have only 
-slight interest in the subject, the high school should offer courses 
in chorus singing. Although called chorus singing, its real purpose 
slxjuld h(- to awaken a keener interest in music and a truer appreeJa^ 
tion of It. This should be effected not only through participatio.n'in 
singingl b«t also by presenting as much music as practicable for 
the pupils to hear. This would inclmle performances by the talented 
pii])ils of the school before the as^inbly, performances hy outside 
musicians, and selections upon mechanical musical instruments (talk- 
ing machines, player pianos, etc.). The degree of choral excellenca 
to be expected from the 'class will depend upon previous training, ''' 
the time given to the assembly, and the proportionate number of 
pupils interested in the subject;. In some schools, for example, it 
would be. wise to hold assemblies for- the. contemplation of musio.- 
not oftener than once a week,<and then not longer than 15 miniites . 

In such schools greater attention should be paid to the organization 
of elective chorus classes and glee clflbs for the pupils who are in-: 
terested in singing. In other schools it may be possible to have the 
chorus-singing classes one or two full peric^s a week, and to attain 
considerable proficiency in chorus singing. In these schools the 
glee clubs^ would probably be smaller in numbers^ and would empha- 
size the highest degree of chorus- performance. I' 

. In sehoc^ . where the practice of elective chorhs. singing is -foln^^ 
lowed, it is recommended, that no less than 16 minutes per week bb/J 
given to the oonsiderati<m of muac by all the school, either as k?" 
whole, where assembly space is sutBcient, or in groups where 


assembly h§ll is small. , ,The electiye chorus, clssses under ..these oon 




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MUSIC W 


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ditions would devote thelif^-ettentioii 'iaior^^ to the de- 

velopment of excellence in <^oms performance. 

2, For the second type of pupUs , — For those pupils who are in- 
terested in the subject of music, but have no particular desire to 
pursue the study exhaustively, the following studies are recom- 
, Mended: 

(1) Chorus singing, either required or elective. (When elective 

the plan of general assembly for music is Teconimended.) 

(2) Music appreciation, elective. 

(3) Theory of music, elective. 

(4) Glee clubs, elective. 

It may be difficult to draw the line between pupils in this class and 
pupils in the other classes ouimerated. 8uch a lino, however, is not 
essential, for if the subjects are offered, the piquls themselves will 
determine the amount of work that they desire. 

8, For the third type of pupils. — For talented pupils the school 
-should offer: 

(1) Chorus singing, required or elective. (If elective the plan of 

assembly music is recommended.) 

(2) Orchestra, elective. 

(3) Glee clubs, elective. 

(4) Music appreciation, elective. 

(5) Theory of music, elective. 

(6) Applied music (specialized training in vocal or instrumental 

performance), elective. 

It is the purpose of this report to suggest fhe type of work and 
the amount to be covc^d in each of these subjects. 

IV. REQUIRED VERSUS ELECTIVE ATTENDANCE AT CHORUS 

CLASSES. 

. 1. Considerations favoviny chorus sinyiny as an elective. — (a) The 

t pupil who shows no aptitude for. music or pleasure in it might l>etter 
be giving his time to some other^ subject which is of more immediate 
interest and importance to him. 

( J) The pupil who has no musical ability can contribute little br 
nothing to the value of the chorus cUss. Indeed, even if he does his 
■ be^he may injure rather than hd^^^general effect. 

‘ ' |c) The presence in the choitiMM pupils who are not in- 

^^terested m the subject adds the difficulties, in dis 

!^,£Cip}ine, thus net oinfly Jpsliing for 'the iEstruct3or,^but 

’ "affecting tinltvonibly the enjoymeni^inM ^profit derived by the other 






k% OoMide¥atiom Unghig at* a feqtdrement,—{.a) 

gXp.WhUtf go tkrongLHI» wi|hoy® a tasto^ for music or any 

^ to re&l.ize . 




MUSIC IN SECONDARY SCHOOLS. 

^ 

that with ft little more opportunity for musical culture, in their ^ 

yoare, or a little more attention to the subject on their own part, theyi^ % 
would be capable of a finer enjoyment and pleasure in music. Thia ■ 
country is full of adults who express regret at lack of opportunity ' 
for music study or attention to music when they were young. ' The 
fact that a young boy states that he does not care fdr inusic does not 
mean that he will never care for’ it. At the iiiue of adolescence the 
youth is very likely to disclaim an interest in anything savoring of 
the real emotional spirit of that period of his life.* In 'some com- 
munities tire tradition prevails that music is not a manly subject, 
and many a boy who may at heart be sincerely fond of it dops not ^ 
admit this fondness. The fact that a pupil comes from an unmusical 
family does not prove that he can not learn to enjoy music, for in- 
stances are daily met of music-loving people who sprang fi*om fumi- ; 
lies where music was not cultivated. ’ It is indeed a bold person who 
would predict that any individual will never respond to the appeal 
of music. ,'The time 'devoted to chorus singing is very slight, and i 
the contemplation of beautiful music for the few minutes a' week for 
which the subject is assigned could not seriously affect the student’s* ^ 
standing in his other subjects. Even for those who may not ulti- t 
luntbly become musical fhc lime involved is veiy slight. We do not 
deny the sight of the masterpieces of art to pupils who sliow no apti- 
tude for drawing; wc should not deny beautiful music to those who 
show no aptitude for singing. 

(b) The fact that a pupil can contribute little to the artistic effect 
of the chorus is not a matter pf primary importance, because the 
object of public-school music is not .the development of the chorus 
so much as the development of the individuals who form the chorus.f\ 
Although, of course, it is desired that the chorus singing shall be of . 
as great excellence as it is possible to make it, even the finest high- 
school ohoruses, when compared wdth the great choral bodies of the. : 
world, are necessarily of inferior artistic merit. The pupil may cottr -il 
tribute little to it. Indeed/ he may even affect the performance un- ^ 
•favorably, but, on the, other hand, the chorus ihRy contribute much 
to him. S It hardly seems right that a pupil should be denied the | 
advantages of attendance at the chorus period because his contribu- 
tion is slight. Is not the object of school life to learn and to develop, 
and would not the exclusion of those who are not prepared to con- 
tribute to the school work, carried logically into all the classes^ A 
exclude the very people for whom the school life is most valuable ^ 
and necessary I , . . ® 


■I 


and necessaryl 

(c) The objection to -required attendance from the standpoint of 
discipline is, in many respects, of real importance. High schools . - 
which are weak in musical development or in administratiye c9ntroi^:«.^y 
2 ? 840 ®-^ 18 -^ 



IS 


MUSIC IN SECOKDAAi ^HOOLS, 


oftto fail in^their music because tlio attitude of one group of pupils 
prevents successful effort by the others The inattention of these 
pupils often drives the instructor to methods which prevent the 
chorus practice from becoming really educational to those whq are 
naturally interested in it Making a compronnse is often the only 
recourse of the instructor, for until his work is supported by the 
enlightened interest of the school and community^ lack of discipline 
may be a matter not only beyond lus own control, but in many in- 
stances beyond that of even the principal of the school. 

To meet the problem of discipline four suggestions are offered: 
J^irst, The plan of student government may offer a solution of 
the present pi*oblem. At any rate, the need for better divscipline in 
the chorus class in some schools may seem an added reason for the 
wider adoption of the plan, ' 

Second. \Mien there is much diflSculty in discipline the chorus 
might be divided into smaller classes so as to conform more nearly to 
class concii|j|piis.in other subjects, in which case the instructor might 
be expected to handle his class as other teachers ch>. 

* Third. Schools which have not developed the traditi 9 n that music 
. is a desirable featui*e for all may find a teinjxjrary j^eriod of en- 
couraged election to chorus practice a helpful measure before insti- 
tuting required attendance. 

Pourth. Probably the most natund remedy that suggests itself 
~ for unsatisfactory conditions is that in a school where such conditions 
exist, the burden of the chorus-class discipline should not be placed 
entirely upon the shoulders of the instructor, but that he should 
have the assistance of other teachers in that work. 


U- 


3. CoTidmiotis . — Where the music interest is great, the committee 
recommends required chorus attendance. TVhero the music interest 
is slight it may be wiser to have elective chorus, but to require at- 
tendance upon a weekly musical assembly.. Furthermore, where the 
interest is sligh% and the singing ability weak, greater proportionate 
time should be spent upon the development of musical appreciation 
and less? upon an' effort at securing excellence in, choral performance. 
Finally, it is recorpmended that where the chorus singing is weak 
jthe glee club membership should be targe, and where the chorus 
singing is good, membership in the glee club should be restricted and 
a superior type of performance required. . - • 

V. MUSIC COilRSE^ReCOMME^^ 

‘•"Not itll high schools will find It practiicahle to offer aSl the follow- 
ing cgnrsBS. To do so inrolves an elaborate organfeatlon and equip- 
ment/' Whfsre ^schoice must he made, local eoigHtidns mmt largely 
the setectiom;^niie commitlee recommends thkt in no 



MVaiO IK (4 cOKUABT eOHOOLS. 



case should chorus singing be omitlod and also urges the importance 
of the orchestra. The practicability of introducing the elective 
Studies depends largely upon the availability of a competent in- 
structor and the possibility of scheduling clussea . ' 


Tliis course should be offered^ to pupils of all years. Although 
in the smaller high schools it is not practicable to divide the chorus 
liccoi'ding tojrears in the school, in tlic larger schools such division is 
preferable. 

In interest and articulation with the^oarlier e.\pericnce of the • i 
pupils, chorus practice appeals especially to students in the earlier 
years of high-school life; mit in respect to voices, these yeai-s are un- 
. forttniHte for many pupils, and a wise selection of miisic material 
, within a limited range is therefore necesmry. A. careful and ft«-. 
(pienily repeated examination should made of each individual 
voice and each pupil shouhl be jndicioiislj- assignwl to the appropriate 
v(Mid part. 

In the upper classes, the voices being more mature, the pupils are 
able to undertake a higher ty'|>e of music, 'involving, not only a 
greater degree of ex]>erietice in chorus singing but also iieavier re- 
•rnirenients for the voices. By separating the chorns rhisses, as sug**^ 
gestwl. if is possible to develop chorus practice fi-otn a type of music ' 
easily iindersfoo<l and enjoyed by the immature singers to a type of 
iir(i>tic niii.-ic requiring a considerable grasp of structure, thematic 
development, and musical content. ' ® 

In the largest fottr-year scliool.s it is desirable to plan at least four 
choruses. In the metlium-sized four-year high school a good plaa- 
would be to have one chorns of students in the junior and .senior 
yojVi <. a second chorus cdnjposed of sophomores, and a third chorus 
of freshmen. In the junior high school the division of the chorus 
will 1)0 affected by the yocal conditions in the school. In some com- 
innnilies the eh i Id ren’^ voices change earlier than in other oommimi- 
lie.s. IVhere the voices change early it might b<S preferable to hare ‘ 
the eighth and ninth year students come together for a chorus period, 
ih6 seventh-year students fofining a choriis of their own, or continu- 
ing their music studies in separate classes. Where practicablc.it 
would be wise to have the sevpnth-year boys vt-hose voices have . 
chan^l participate in the chorus work of the upper division, so that 
’ singing of the seventh-year chorus would be of iniiste for nn- 
ehanpd voices only. On the other hand in cities where voices chan^’:: 
late, it may be wiser to plan a chorus ownposed of seventh and eighthV=| 
year pupils an^ an advanced chorus of pupils of the ninth year only, 
but those pupils of the seventh and eighth years whose voices have 


t. CHORUS SINOlNa 


\ 




^ * ’ 




ERIC 


so 


MUSIC IN SBCONDARY SCHOOLS.. 


% * . 

changed sliould sing Vifh the up|>er chorus. The senior higli school, 
in the six-year .plan, might have one chorus of the entire school, or a ’ 
*chorus consisting of tenth-year students and another of eleventh and 
twelfth year students, or. three choruses of pupils, one for each year. 

in the four-year high school the work of the dilTeront choruses, as 
previously suggested, should l>e sliarply defincil. In (he lower years 
stress should be laid on tl^ two points; first,, (ho use of music as a 
mean$ for emotional expression, and second, (he devoiopment of a 
more intelligent understanding of the way mtisie is constructed, 

, More clBcien’t conquering of one song after another, with no 
thentght for comparative musical merit, sliould not constitute the 
pmctice. .Correct use of the voice and intelligent phrasing and 
interpretation of music should be the rule. Further, if the pupils 
are not yet proficient in sight singing and tliorouglily well informed 
in elementary theory, these should be taught in connection with 
chorus work. If, however, high-school standards which imply such 
abilities have been roached, the inciue«ital study should consist of 
.music appreciation. Structural features of the songs should bo 
pointed out and some knowietige of musical form should Ih' gained. 
Motivation, the phrase, scciuenoes should be studied. ‘ Some knowl- 
edge of the coinposi'rs shoiild he acquired, and the use of stdectioiis 
from operas, oratorios, or cantatas sliould bo made the occasion for 
study of ^hose forms. | Every effort should be made to broaden the 
musical horizon of the slndeht through the Jue<Uuui of his inten.si 
and participation in chorus work. 

•In chorus practice in the eh^venth ami twelfth years, the voices 
^ing more mature, the collates I lines of study should be ditferont. 
(Gontinuation of the incidental music appreciation recommei/ded In, 
connection with ninth and tenth year chorus practice is advised. 
An invaluable furtlier activity is learning and performing some 
suitable st a lulard choral work every semester by the school chorus, 
assisted by excellent soloists^and accompanied by a large orchestra. 
No surer means can be found to place the pupil in sympathetic rela- 
tion to the advanced musical interests in his community. 

[ In the six-year plan the work of the seventh year, ^i>ecially 
wlierc many of the voices arc unchanged,.* should l>o devoted pri- 
marily to a rounding up” of the technical work of sight reading. 
This does not mean that the technical wm'k sliould lie taken to the 
exclusion, or even to the detriment, of the emphasis that should be 
placecl upon the ajsthetic elements of music. On the contrary, 

.. through every exercise and song the students, should be led to 
.. ;^mlize the joy of singing. But U means;:that the music material 
bd selected to round out a complete' knowledge of the tech- 


nical problems involved in si^^t, reading/ ^J'be advan^ chorus in 



MUSIC SECOKDABY SCHOOLS. 


fll 


junior higk schook, that is, the chorus in which changed voices 
appear should emphasisce the points already mentioned in the fonr- 
year plan ; namely, the study of music as an expression of emotional 
qualities, and the development of part-singing. In the senior high 
Kchool of the snx-year plan, where chorus singing is divided into 
two choruses, tlie younger choruses should emphasize the topics 
nh'eady mentioned for the younger choruses in the four-year plan, 
and tlie older chorus tlie topics mentioned for tlie third and fou|ih 
years of the four-wir plan. 

In choosing material for chorus aingingdt should not be for- 
gotten that, although music may ally itself with sentiments of re- 
ligion, patriotism, love of home, aij^ so forth, and although it should 
never ally itself with less worthy tissociutions, it is not to valued 
hecause of such alliance. Music is essentially tone and tonal dis- 
<‘durw and- is beautiful as music in proportion to the beauty of tone, 
ihe beauty oi^the tonal procedure, and the beauty* and nobility of ^ 
mood out of whicii it spnuig. Music, in shoil;, need express musical 
ihoughl only. Until this is admitted, undcrst-fiUding of. musical 
Ivauty as a thing in itself can not be undertaken, Oirtain old melo- 
dies. savM fnnn extinction in the first instance by nUianbe with 
a text of yaluc, and at present by tradition and many hallowed 
associations, should be pre.served so long as their appeal remains 
and while their use i.s not wdiolly perfunctory. 

While chorus singing naturally must be the most general and the 
basic music activity in a public school sj^stem,, wise administration in^ 
this work is more necessary than in any other branch of music study 
in order to obtain breadth of musical interest and understanding oh 
the part of the student>s. It is possible for a pupil to sing during 
bis entire high-school term the sort of songs that are sometimes sung, 
study them in the manner in winch they are sometimes studied, and 
coiue forth at the end of the courses as remote from undei'standing 
and enjoyment of a Beethoven symphony or sonata as if he had no 
such practice. Not only dot's the comparative emphasis usually* 
given the subject and text of songs divert attention from purely 
musical values, but the physical exhilaration of singing may readily 
be mistaken for enjoyment of music. Further, the songs may be 
selected because of their appropriateness to certain occasions, such 
as class days, field days, arbor days, patriotic festivnla, etc., and in 
sucli case musical merit usually has to be sacrificed or subordinated,^ 

Finally, the committee would again emphasize its belief that the 
chonfs class is primarily fpr the devdopment of a higher nndef^^^j 
standing and appreciation of music, and that tlie chorus music shotjdd d 
be the chief material for the development of this appreciation. The ^ 
chorus class is the occasion for bringing the large student body info 






*^l5«ttct with musicd in his desire for 

$|^lleno6 ^ipvjms^ s||tgidd ae^er Jlaee sight of the Bo^in object 

ol the ooone. 


:^| ■' , 2. ORCHCSTRA. 

f This study should be offeied in all the jmm of the high school, 
bblh in the four-year plan and in the six-year plan. In the latter 
chse it would be wise to plan two orchestras, a junior and a senior 
Orchestra, the one serving as a feeder tf the other. When the high- 
sefaool course is four years in length, a grammar-school orchestra is 
■ desirable for the purpose of developing the younger material for the 
advanced orchestra of the high school. - 

tThe musicianship that results naturally from ensemble playing is 
more advajaced than that which arises naturally from ensemble 
' More hhurs of practice and preparation are necessary be- 

^ participation is possible; tiie expression of the musi- 

. bought or impulse is less direct than in singing and becomes a 
^j^liiatter, therefore, of greater reflection ; the mechanical nature of the 
^- jBWdium of expression makes sight reading and a knowledge of staff 
^fation more exact;' the number and diversity of the drchcstral 
pitch, tonal quality, and rhythmic procedure— 
t rllalb'flie whole a rielier complex than chorus work presents; and 
' ci^mplexity and variety have attracted composers to orch^tral 
for their greatest works. Nevertheless, the course in 
must be thorough n.nd well orgaiiiiSed to attain its best 
f(pillowing recotlfunendatk>ns%re therefore urged : 

V The 1i)stru^ should be ^^layed in the manner of their 

1^6 0aj>adties/the ideals of chamber music, and the reined treiitment 
-iawElii f art in a ^mphony orchestra being ever kept im mind. 

Second. 'Music should be S^lect^ that, however easy, still recog- 
l|azes these particular values for each end every ind:rumcnt. 
i Third. The Orchestra should be considered an orchestral class or 
stiidy club prisiarily, and * fimt^ior ihe diversion of the 
Jncidefitslly. ^ 

‘ourth. Each »l*'dei)t should be provided with an orchestra part * 
hfme ^dy, and should be expected to prepare his music between 
ihttesof the oi^esl^ Thm requirement is especially 

whetp school <Sredit is git^n te^ members trf the orchestra, 
^strhmehts' -Ihonld bfl^i^ht hy or 4op tip sidioo}, to re- 

Pttdet'Pf^w roetrictiohs, 
such 'as the 

timpaplf Frahch' hona^^^^ ^shouTd be 

IllpiBighi/ by, such imtm pteheBlirsl and sonority be 

' ' ■ :/y.; J 










' ■ 

MVaUi^ «|QO^iM|f iK^OOl^ 

secured, the real idiom of the <Mx;h«str« be-esemplifted, and advanceitil 
ortjhestrai literature be made practicable to the students. , ' lli 

Art increasing number of publishers are issuing mmi^ for ain«t4»^; |] 
orchestras, and music simple enough for high schools may b® eas^iy^i-;| 
-secured. The difficulty lies in finding music of the right charatSter^ J 
l)ccaiisc simple music generally is popular rather than edacationaUj' 
valuable. Although.it would be unwise, with the average high-school ■ 
orchestra, to insist that all the music be of a severe nature, and 
although a certain kind of good music of the lighter character is^^ 
desirable both for the pleasure of the performers and for certain , 
occasions, most of the music should b^ of a nature that will develop *" 
.a higher appreciation of good music. 

Intei-est is increasing in the development of high-school bands, and' 

•in a number of cities much interest in music has been creafed among , 
the boys in this way. In general, the organization and conduct of a’ 
liigh-school band should be along the lines recommended above fee ', 
a high-school orchestra. 

3. OLEE CLUBS. 

(llee clubs of boys, glee clubs of girls, and glee' clubs of ihitted 
voices may, under some condition.s, be desirable. In the larger 
.sch<x)ls there are always students who wish to join these special "mu-i ? 
sical organizations. In schools where attendance on the chorus dsews 
IS required, glee cluBs are especially desirable, because they 
theibrtter singeire the opportunity for a finer type of dwiras 
than is possible in large classes. Under Such conditions it is 
desirable to have the boys’ glee club and the girls’ glee club act eS 
“ feeders ” to the senior organization, which should be a glee club of 
mixed voices. I 

A question arises whether or not credits should be offered for par-' 
ticipation in these clubs. Some teachers believe that all school 
should receive school credit, and the glee-.club practice coming, 
usually must, outside of school hours, is as worthy of school * 

as other school activities. Other teachers prefer not to offer seh<^?| 
<redits for work in the glee clubs, hut to make participation «n # 
honor and the work of the club a pleasure for the more musical stu- 
dent!;. As no outside practice oi* home study is necessary, 
teachers contend that the honor and pleaspre shonld be’sufficient 
ccntiveipr membership in tjie dubs. 'The ^ledsion of the qnaslMw' 0 % 
giTi^ credit for gfee- clnb membership pinst rest with the adndniS&i 'v 
trative offiters 6f th’e liigfa school, and this dfecisiOtt,'in 
mflueneeq by the type pf wprb done hy the glee efeb' pnd 
any particnlar schpol meastired in' comparisonVith .the nuihber 

value of other tJpurses for Whkh credit is ^ven ip the 





'^84 ’ '' sttTBKf li^ lsdEcOdi<a 

4 . MUSIC APMieeiA’IWifii^ 


K hit 


■ ^ Ifhe dev«to|nt(ient of music appreciation 'recommended in con- 
:^lieatibn with chorus practice was incidental, the intention being to 
’ prevent an entirely ^discriminating and unappreciative attitude 

toward music in its “absolute” phas^ Such study could not bo 
thorough, even if it were, desired to make it so, for the forms pre- 
sented are in the main comparatively short, are all vocal, and pro- 
*'• sent the easier works of a limited number of composers only, and 
probably in vitally altered transcriptions and arrangements. 

^ A strong course of study of great musical literature should therefore 
Be offered. This is continually growing more practicable because 
of,.improvements in, and the increasing use of, mechanical instru- 
ments for reproducing such music, as the player piano, the talking 
machine, and the player organ. ^With the help of any or all these 
and the assistance of local musicians, vocal and instrumental, in ad- 
■fif ditioh to what the class and the teacher can provide, working as a 
; ' chorus and also in solo capacities, a course such as that outlined in 
the following paragraphs can be presented more or less exhaustively 
and with results of inestimable value in the education of the stu- 
dwts. 

■y^Music appreciation as a tliorough intensive study of musical form, 
nistory, biography of musicians, and aesthetics of music is'particu- 
Jjirly appropriate for the last two years of high school, as prior to 
.. flhese ywrs the mature .quality of thought and feeling in great music 
largely incomprehensible to any but the exceptional boy or girl. 'A 
M ' ffiusic experience and a technical foundation that can be gained only 
, ih the, ninth and tenth years are alSo^ necessary. Two years of chorus 
* ' |>ractice, such as was outlined, or two years of liarmony or of orfhes- 
V, Ipf4 are therefore recommendfed prior to undertaking a thorough . 
Course such as is here implied. ) * ' - 

- 'jNinth- and tenth year pupils, and more infrequently seventh and 
^g^th year pupils,, have nevertheless 'made excellent progress in 
musSc appredetioQ. 1 The coutent of such courses, however, should 
;“iS*Vbe’ different from tire content of courses for older pupils. In ex- 
r . ...piwation of the difference, it may Ije helpful to distinguish between 
^jy lippaical experience for the pupil and analysis of that experience 
ihc paakiug ©f generalizations from it. /ib» course for eleventh 
" twelfth ye?uF pupils shouid bfe id ianrical experience. These 

shoild 1^^ a hmojmt of da^ical mWfiiH and a broad- and 

varioiifs ^'ffliiunihating view- 

■ jsJhbolJd be,l»sCd npoD'-tltjit eaqwiOncA’/xoww paplls should. 

& siMsf rich nrusM and this 

be adipted feeir ychcb,.lh piart.l^ |he potions of music, 

nature of the 





HtXSIO IK 8EC0in>ABY SCHOOtCk *f ^ 

analysis Md ^contributory study conducted upon the basis ot % 
musical experience gained. ) ^ 

Ther^ is, therefore, need for different 'grades of work deaigiiat^ 
as music appreciation. These grades may extend from the mere hear-^| 
ing of music, with little or no comment or study, to a form of lessM S 
in which the discu^ion and study range over the further fields of 
musical knowledge and criticism. 

A lesson would be pointless, however, if it developed ho comment 
or stimulation to at least some study. On the other hand, it woidd 
be inimical to the value of the course in early years to require ail J 
amount of study that would be equivalent to the preparation of ^ 
lesson. In the tables at the end of this report the subject of murftf ;|i 
appreciation is, therefore, listed for earlier high-school years as well; f; 
as later years. But the amount of credit recommended in the earlieirl’;| 
years is only half that recommended in the later years, the redtim 
tionS in the early years being cla^fied as unprepared. The com-/ "! 
mittee wishes to emphasize, however, that no such lesson should\be 
totally lacking in intellectual address. The mind of the student will * 
weary of a formal series of recitation^ that hold no intellectual con- ^ 
tent, and continue to address only his imagination and emotional,^ 
rece)>tiveness, * 

The courses of any grade in music appreciation are essentiallyi^;^ 
courses in intelligent listening to music. While they are valuabWir 
to those who are looking forward to a deeper study of music, they 
should be, as far^as possible, of a nontechnical nature,, so that pupUs 
who are not planning technical music study may have the oppe^!!^ 
tunity to cultivate discriminating powera of musical eujoyaiehLjJ 
, Ihe cwurse is best planned, therefore, through the selection of a. larged' 
number of compositions as subject matter. Tliese • compositions^ 
should be chosen primarily because of their intrinsic musicaf wort^/' 
and secondarily because they illustrate the several ^viewpoints alppgj 
which the pupils^ attention is to be directed during the listening 
son. These viewpoints may ^dassified as follows: Musical foi^' 
history, biography of mu4cians,'and m^etica ') \ Tf ^ 

^ Other considerations, in the selection of music compositions^ eepe** "'^ 
cially for an advanced course, are aji follows: ^ ^ . ^ 

(1) They should represent a large number of master composeil^ 
ancient and modem, in w far as the. works of these iims(ers engiqss!^ 
the a^ntjon pf the world they 'should represent 

important m^ia'p| expr^^ orchestra; chortis, sc^o^qI^ 

solo instrum^^ (3>theysJi^^ 

resent all .varieties of foxp^ as song forms, sona^ form^ rpn^r ^ 
ete., and the ppexi^ ori^ eantiitm mass, ete;; (4) aa 







se 


MUSIC IN 6EC0XDAB4' SCHOOLS. 


tliat composer or that form or style at his or its best and most indi< 
= vidiial moments. 

While all the important elements in a musical composition should, 
in advanced study, be briefly noticed as the work is iierforined for the 
students, the coursfe should be planned so that certain sjiecial con- 
fflderations^are uppermost in the students^ minds. To this end it is 
suggested that in the eleventh year the students’ attention be called 
particularly to the structural elements of a composition, and that in 
tim twelfth year the historical and biographical viewpoints should be 
tophasized. At all times the aesthetic qualities of the composition 
diould^be brought to the students’ attention and should be einplia- 
dzed in the lesson. 

The lecture method with library reference is recommended, as text- 
books of the exact kind needed are hardly to be found. Where pos- 
sible, reports of concerts attended sliould be a feature of the work. 

^ «. THEORY OP MUSIC. 

Under this heading is included not only elementary theory, but 
harmony, and it may be, couiiterpoint The subject of elementary 
theaiy : that i% the tonal and rhythmic elements of music and their 
representation, may well be stressed in the seventh, eighth, and pos- 
sibly the ninth year. 

{a) Elementary theory , — Classes In elementary theory are particu- 
larly appropriate for the eighth year in junior high schools, and 
occasionally for seventh year. Where the study of sight reading has 
not been satisfactorily mastered in the grammar schools, the study of 
dementary theory may well become a part of the work of the chorus 
classes in any of the high-school years. With adolescent pupils, 
however, the study of technical music is preferably conducted in 
smaller classes, where the feeling of individual responsibility can be 
developed and maintained. Under the heading, elementary theory, 
is included the study of the notation of the tonal and rhythmic ele- 
ihents of music compositions, including the details of major, minor, 
ahd chromatic scales, key signatures, intervals, note values, time sig- 
natures, measures, tempo indications, marks of expression, marks of 
interpretation^ etc. The committee urges that this study be conducted 
in connection with the consideration of actual music and not as a 
formal memorizing of characters, signs, and terms. 

j(h) J^arwmny.-^lBasirtuch as this subject demands primarily quick 
perception and retentive memory, it Js especially appro- 



mi 


atld teiith ttioagh it cduM wiaU 

the last twe yisaia. 'The requisite 
for its study is not so great nor so rare as commonly supposed, 
iftterost iB music is necessary .it should be made an .elective 


HUBTC IK 8ECOK0ARV BCHOOlik 




An academic presentation of the subject, such as that found 
almost all the older textbooks, is to be heartily condemned. The fol* 
lowing features shoidd be invariable: ; 

(i) Ear training, carried tliroughout and at appropriate stages in- ; 
volving aural recognition of any interval, any triad as major, nlinor^ 
diniinished or augmented, any seventh chord (as to its intervals), of 
any tone and of any chord as to its scale relations, of any chord pro- 
gression, or any modulation as to its harmonic procedure and tfee ' 
keys involved, of organ points, suspensions, anticipation; in short, 
involving aural recognition of all the harmonic material learned and 
used tlirough the eye and symbols of notation. 

(ii) instiuction in the principles of melody writing; tendencies of 

melodic tones, melodic contour, motivatior, the phrase, the process ^ 
of coherent musical thought, the period. . f 

(iii) Harmonization of .melodies (original or given) rather thiih rv^^? 
harmonization of figured, basses. (Thorough ;^bass should be taught, 7f: 
but should constitute only a small patt of the practice.) 

(iv) Harmonic analysis as revealing accepted musical usage by 
composers of the chord material presented. 

(v) Freedom and musical proficiency in the use of harmonic ma- 

terial. Every harmonic factor is like a new w’ord in tliC!|||Hdenrs . 
vocabulary and is to be used by him in constructing niimen^musi- ^ 
cal sentences until he is familiar w’ith all of its merits, powers, and 
special qualities. ' *r! 

(vi) Free composition for the development of srif .expression 

through music, the criticisms of these efforts being directed rather to f ^ 
their success in fulfilling the student’s intentions than to the details > 
of technical accuracy except in those points which have already been a 
studied in the class work. • > 

At least two periods a week for two years should be given to the 
subject. In the first year the pupil should review the elements of. 
music theory and should study the primary triads, in major and ; | 
minor, in the various ways suggested. In the^second year the 
should be carried forward to a knowledge of secondary chords of thjf 
seventh and general information regarding the harmonic structure a 
of music of the type of Mendelssohn’s Songs Without Words. 

In large high schools, or schools in which instruction in music is ; 
better developed, it is quite^ possibly and advisable to. carry the study 
forward to the point of original work with the inharmonic elements 
mentioned in paragraph (a) above, and with all the ordinary mag<^”^ 
of cla^ical harmonists, ijbis may be done by adding a third yea^^ 
to the course, or by giWng it five periods per week for two years. Fbir 
the shorter course some schools prefer to schedule the class fcTr five | 
periods a week during one year. . * ^ 



38 




Musrc IK ‘SECOiJBAfiY* SCHOOLS. 


'^fA course in harmony in the high schools should havo cultural as 
well as vocational value. The course should aim primarily to estab- 
lish correct habits of musical thought. Properly conducted, the 
harmony course should materially shorten the pupil’s professional 
training after le^avin^ the high school. ^ - 

ic) CoMnterpolnt . — This oranch miist be considered as an e.x- 
wptional offering, possible only under especially favorable condi- 
tions, unless included under harmony. Three suggestions are offered 
as to its organization in a course and these' are in what is believed 
to be their order of merit ; ’ , 

First. It niay l>e included under harmony in a two years’ coiu’se, 
following the methods that seek to combine these two aspects of tonal 
organization. * . 

Second. It may be included in a four years’ course in contrapuntal 
harmony and composition, after this same method of coinl)ination. 

' Third. It may follow, as a separate, two years’ course, the two 
years of harmony above advised. ^ 

6. APPI.ICD MUSIC, OR SCHOOL CREDIT FOR OUTSIDE WORK.' 

Although a numlier of high schools are now olTering coMrses in 
applied music, that is, voice, piano, violin, and soinctiines even other 
instniinents, on the same basis as the other subjects, tlic general 
adoption of this plan can not reasonably be c.xpected for some time 
to come, if it ever becomes feasible. 

It is, therefore, reconmiended t^fat study of voic^ piano, or^an, 
violin, or any orchestral instrument, under special teachers oufoide 
^ of school, when seriou.sly undertaken and properly examined and , 
Certified, shall receive regular credit toward graduation. This rec- 
ommendation is based upon the following considerations: 

(i) The proficiency gained in singing" or playing by many boys 

and girls during the high-school period proves to be of great value 
to them in later life. ' 

(ii) Ndtfvithstanding that most adults believe it desirable for young 
people to learn to sing or to play an instrument, a, severe handicap 
is put upon them by the neceffiity of attending, at the same time, to 
jthe demands of their school work; and many pupils, including even 
a number who expect to be musicians, abandon or neglect music dur- 
ilif their ^igh-school years, when the greatest progress can and 
should be made, rather than jeopardizi? their prospect of a diploma. 

I (iti) W© regard as tintenable the assiinjiption, expressed or implied, 
that^y individual would be dnedftcated he pursued three or four 
fe':;-. ‘regular „ptudies per year and added mu^a to these, dSBt would be 
educated if he pursued four or five Judies each year, and dropped 
% music. 

' (iv) We believe that this iinte,niii,|3fe assumption is due not to any 
of tlte queeth^.as tb-the nlace od mdsic |n ah , 


muDitu ejauoJiDAKy BCMOOI^ 


cdncationni plan, but rather to a passive acceptance of traditional^ 
academic standards that are now outgrown and should be abandonedi’ 
The plans by which such credits may be offeu d must be based up<m 
the following considerations: The work of a pu^ in applied murfo 
must be of a quality and standard that the schpol c. a conscientiously 
accept as equal to the standards maintained jn t le other studies 
pursued in the school. To this end it is necessary to be sure that the ' 
private teacher is qualified to do his work acceptabl.v, and* that the 
student is faithfully carrying out the lessons of his instructor. It 
must.be ascertained further that the pupil has sufficient musical 
ability to warrant his spending the energy and time involved, and 
that he practices faithfully and diligently. The course pursued by 
the private teacher must- be outlined with sufficient clearness to en-r 
able the school officials to recognize it ns having definite plan and ^ 
purpose. / ' . • 

The^ considerations may be. put into effect by the school, as fol. 
lows. The qualifications of the private teacher mnv be determined in' 
(wo ways—by some plan of certification of teachers or by an exami- 
nation of the pupils. Many cities are now studying this problem 
and are adopting one or the other of these two methods. The diffi- 
culty in certification lies in establishing some recognized authorify 
xyliich may determine the fitness of the teacher and confer the cer^ 
lihcation. In one city it is required thn^ every teacher in the high 
school must be a graduate of a high school and of a college, and % 
must have had two years’ previous experience in teaching. The- 
same rule applies to the private music teacher. Ho must be a high- 
school gi-aduate, must have graduated from a school of music equiva- ‘ 
lent to college, and must have had two years’ experience as a teacher 
•liefore his work can be creditec^^ in the high school. In other places 
the supervisor is called upon to determine tlie certification of the ' 
private teacher, though this plan is one that has objectionable fea-* 

(ures. A large number of cities have found the plan of examining 

the pupil the most practicable for determining the standard of work 
done by the private teacher. These examinations, obviously, mrast 
btr conducted in such a manner as to remove all suggestion of bias on 
the part of the examiners. In some cities the music instructor in the . 
high school acts as the examiner; though this plan can hardly be 
‘recommended -for general practice. In other places the examina- " 
tions ate conducted by/^me authoritative musician who is in nq wise. - 
cpnnected with the mimical life of the city ^vhere the examinatieift is 
given. A third pie® is the appointoient of a committee of leading 
musician in the cdmmunlty, including the instructor in music in : 
the high school, who conduct their Work in such a manner that the :i 
exammers do not see the ptipil who is being ekwnined, nor do they 


MU8I0 IK ^OlTDABT B0H00L8. 


80 


« 


4^ow the name of tlie pupil or of hie private teacher. In some cities 
( ' examination foes must be paid by the parents, who may, with 
some reason, be expected to bear this expanse because of the advan- 
that the c^it plan holds for the pupil. In other places the 
school pays the examination fee, which also seems reasonable, ns tliis 
work takes, the place of other work for which the school pays for 
instruction at a far higher cost per pupil. 

It may i)e that a cbmUnation of the two plans, the certification of 
the private teacher and the examination of the pupH, will eventually 
,.be adopted as the'most satisfactory. Granting high-school credit for 
outside music study under any well-organized plan will surely tend 
toward the elimination of unfit music teachers and the elevation of 
standards of music instruction. 

Another important consideration in the plan , of exaiuinalion is 
that the requirements should bo based upon the work done by the 
teacher instead of work arbitrarily selected by the examiner. In- 
struction in no branch in applied music has as yet been sufficiently 
standardized to require that every teacher follow the same plan of 
work. If, therefore, the examiner finds that the pupils are doing 
work of a character acceptable to the school, under a well-organized 
plan of instruction, he should ‘give credit to the pupil. 

In order to carry out this plan the following slightly mmlified out- 
line of a credit plan already successfully operated for se\eral years 
is offered! ' 


VI. A PLAN FOR CREDITING OUTSIDE STUDY IN MUSIC UNDER 
PRIVATE INSTRUCTION. 


1, THE PUPIL, 


A, 


(n) Application for admission must be made by parent or guard- 
ian. Tlie application must be accompanied by written recommenda- 
tion from private teacher. The presentation of application and. 
recommendation must be regarded as an acceptance of all the condi- 
tions add requirements of this course. The pupil must also secure 
permission of the high-school principal and the instructor in music 
before being eligible to the course. 

(6) No pupil should be accepted who is taking less than one les- 
son a week and practicing less than one period daily. Parents or 
guardians agree to oversee the regular preparation of the lessons. 

Pupils. should, be enrdled in the course in theory of music and 
in the course in music appreciation, or diould do outside theoretical 
work which is accepted by the iiistnictor in music as equal in educa- 
^al value, though not necessarily identical in nature, with that 
doma in ^ time in the high school. Outside theoreti- 


MUSIC IX sEcnxD.\sr schools. 8i 

■' / ■ 
c»l work sliouhl bo required by MrlicMild which do not offer thm, 
courses, . ' 

2. THE PBn’ATE TE VCHEK. 




(«) The teucher’s recommendation must include details as to tV 
pupil’s previous study (time, compositions, etc.) and as to his attain- 
ment ill techniciil work and in sight rending. It must also specify 
which one of tlie seven grades of proficiency the pupil is qiiiiHficd 
lo entor. 

(b) From time lo time, us required by the high school, the pri- 
vate teacher iiiust submit a report of the work done by the pupil. 
These reports must cover.the following points: 4. 

1. Number of lessons taken. • 

2. .Vverage niimlKM- of hours’ pi-nctice a week. 

•I" Technical progre.ss made by pupil since preceding report. A 
- .detailed statement is desirable. 

4. List of compositions stmlicd by the pupil, with remarks con-' 
cerning the scope and quality of work done on each compo- 
sition. Jhe compositions listeil must invariably conform 
to the grade of proficiemy under which the piinil is en- 
tered. ■ • , 

f). A mark, on the plan used in the high school, showing the 
toachers estimate of the .stamling and progress of the pupil. 

(r) The teacher’s reports should lie delivered in duplicate, one 
copy signed, the other unsigned. The high school should provide 
blanks for these reports. 

(<l) In order to avoid the poasibility of accepting a pupil for 
c.i-edit in apjilied music only to discover tliroiigh the e.xamination 
id the end of the .somC.ster or the end of the year that the course 
pursued by the private teacher was not acceptable, some cities have 
instituted the practice of submitting- the private teacher’s applica- 
tion for admission of piijiil to the coci-se (unsigned copy) to a com- * 
niittee of musicians for their judgment. Any shortcomings in the 
statement of the teacher, either in regard to plan of study or ma- 
teri^with suggestions for bringing the course up to the school 
staiirtar'l are i-ejiorteil in writing to the principal of the high school, 
who forwards the same to the teacher and parent. 


n. EX A ill NATION. 

(a) An animal, or semiunnual, examination should be .iield,’ the 
examiners to be appointed by the school committee. 

(ft) The examiners should study the unsigned coplrs of the prF 
vate teachers’ reports in forming their estimates of the pupils’ 
grades. Standard examination requircinents, definitely stated, for 
each grade of proficiency,.inay be. pr^ribeil fox all pupils,, or 




83 




MUSIC IN SECONDARY SCHOOLS^ 


examiners may plan the examination requirements for each pupil 
on the basis of his private teacher’s reports (unsijpicd copies). In 
the latter case it is assumed that these reports have consistently 
given satisfactory evidence of the maintenance of accepted stand- 
ards. * * 

(c) The examiners should mark the pupil according to the plan 
used in the liigh scliool. The examiners’ mark should go 'on the. 
pupil’s annual report and should count the same as marks in other 
subjects toward the promotion and graduation of the pupil. 

(d) The expense of these examinations is borne by the scliool (or 
))arent or guardian, as may be determined). • 

(c) The list of seven grades of examination requlrenients should 
be handed the private teachv when application is made for admis- 
sion of the pupil in case standard examination requirements are 
, . proscribed. The teacher should determine which of these grades 
pupil will undertake for the first ybar’s work, and the pupil at 
the end of the year should be examined upon the problems offered 
for that grade of work. The following year the pupil should bo 
expected to cover the ground of the next grade, and to cover the 
work of a grade each subsequent year, except in the sixlh and 
seventh grades. As these grades represent work of an extronioly 
advanced chameter, grade six may be allowed- two years for ctfhi- 
pletion, and grade seven three or even four years. 

/yn. CREDITS FOR MUSIC IN SECONDARY SCHOOLS. 

The question of high-school credits for. music study involves many 
perplexing features. On the whole, however, it would seem that 
music study should receive credit on the same lisis as the otlier 
high-school studios. The following statement is quoted from the 
' report of the higR-school committee of the Music Siqiervisors’ Na- 
tional Conference, held in St. Louis in 1912 : 

L All Btudy bf music, or exercise In music, undertaken 1»y any liif^li gioliool 
as part of the scholastic routine shall be credited by that scliool. 

II. The amount of credit so granted shall be equal In every case, hour for 
hour, to that granted by the same school for tmy other subject, with this 
following qualification: 

III. All subjects, musical or othen\ise, are understood In this report to be 
on a basis of double or single cretllt, accordingly as they do or do not necessl- 

, late a period of study la preparation for each periled of recitation. Thus, as 
music, chcfrns practice^ which requires no pr^araUon, would receive 
p^v^ual credit with drawing which requlreii none. On the other hand, each 
AvfMtfttlon hour In harmony should receive double, the credit of each chorus 
^ flirtation hour, Inasmuch as harmony requires preparatory study that can 
.certified; and again, harmony should be arited hour for hour of sched- 
'^Ule4 Imitation, equally with any subject slmUarly requiring 

euhUde study, ; 





j' _ 

*4 


Ut'S{C fS SECONDARY SCHOOLS. 
iiraiia’U REI'OUHEKDED FOR SENIOR HtOEl 6C IIU0I.S. 


Music coiirsM. 


Chorus sinjtlni! 

Otxihiatrs 

OlMdufat 

MimIo OpprccKtiioii 

TIiMiry or mit<lc 

music, or trhoo) 
credit for outside work . 


Tenth \-eer. 


Periods tier 
week. 


Pre- 

pared. 


rnpre- 

poied. 


Cnltt. 


IS 
t/5 
LiO 
2 A 
%'S 

3. Mol 


F.leveoth fmr. 


Periods per 
week. 


Pre^ 

pered. 


rnpre- 

pored. 


Unite. 


VS 

XS 

1/10 

2’A 

xs 

25101 


Twelfth year. 


Periods per 
week. 


Pre- 

pored 


Unpro- 

I » ofe < d . 


tTniis. 


1 5 
25 
1/10 
25 
25 


Tot at nulls ■ 
for NTiiior 
hlRh 
St'htHtl. 


a'5 
• a;5 
s/io 

*i'5 


See Hemorks on preceding page. 


\ 


' Vlll. MUSIC FOR BOYS’ HIGH SCHOOLS. 

All the courses derKribed in the foregoing pages are appropriate 
iq bo^s‘ liigh* schools, nud in general the nature of the courses and 
their distribution throughout the high-school years should remain 
fhe same. There should lie n difference in comparative emphasis 
upon the courses, ho>vc5 or, and the nature of the material appropri- 
ate to chorus practit'e should necessarily be much clinnged. 

The liigh-schooi band (brass or military band) was mentioned on 
I page 23. In high adiools for boys this kind of musical orguuizatiou 
may meet with a degree of favor and may attain a point of develop- 
ment greatly surpassing anything normally probable in a coeduca- 
tional high school. Orchestras are not less desirable in a' boys’ high 
school, blit bands in such schools may be considered ns ccxirdiimto 
with«orch^tras. All that was said in description and in commenda- 
tion of orchestral ensemble is, therefore, applicable to band practice. 

,On page 28, under Applied. Music,” mention was made of the fact 
that some high schools give* courses in the specialized study of piano, 
violin, voice, etc. In boys’ high schools class instruction in various 
band and orchestral instruments, as the violin and the strings gener- 
ally, the comet and the brasses generelly, and the flute, clarinet, oboe, 
and other wood- wind instruments will frequently meet a very active 
interest and call fprtli a large response. Such courses articulate 
naturally with the band and orehestrai ensemble advised, and satisfy 
the boy’s desire for more thorough study, whicli, nevertheless, he 
^ ’ would riot undertake except under the group plan. 

' No addirional diisciission is needed here of the theoretical courses 
I, Md the opum in mude appreciation. They should remain the same, 
all essentials, as in the coeducational high school. 

practice presents quite new aspects. Its distribution 
ut the years should be the dime as before advised, and the 


> vChorus 



f: 





UC8IC IN 8BC0KDASY SCHOOLS. 


combinations reconnuended of ohorus pnctioe with elementary the* ' 
orv. sijrht singing, and musical appreciation aboold stand as before, i 
rear for year. The selection of musical material for praclaoe, bow» 
ever, presente sune difficulties. 

Chorus groups of boys that contain many Unclkanged voices should 
use music written for iirat.aiid second treble parts ami bass, or luiisio 
nirefnlly edited with a view to adapting it to tlie capabilities of im- 
mature voices, and written for soprano, alto, tenor, and bass. Sucli 
giokips will ordinarily be-foiind in seventh and eidith years of 
school life and occasionally in the nmth year. It is sarfctd'say.that 
with conscientious and expert attention to the nature and capabilities 
of (he individual voices, part singing involving a part for bass voices, 
one or more parte for trelde voices, and perhajfw a part for the tenor 
or alto-tenor voice, could Iw maintained well into the ninth year. 

As the number of treble voices decreases with the advance in years, a 
number of unison son^ of limited range (c to 8, with occasional ' 
tones ranging above this octave) dionld be added; and in the last 
t"(k yenisi part songs for male voices -(changed voices) that are easy 
as to vocal demands can well be used. The unison songs should pref- 
ornbly be written on the bass clef, in recognition of the pr«i)onder- 
iiiK-e of buss voices, and (he smaller group of treble voices will sing 
(hi'in an octave higher. 

The individual vocal characteristics and capabilities of boys be- 
longing in the same year in the same high school are very diverse. • 
The years, too, bring constant changes; and the voices of pupils in a • 
certain year of one high school are often not matched by the voices 
of pupils of a oorreqxmding year in another hij^ school This does 
not mean that good singing is not possible, but it does mean tliat 
definile recommendations can not be made to schools in general. In- 
stead each instructor must study the voices of his student and adopt 
plans of choms grouping that recognise vocal characteristics and 
capabilities as far as possible. Music should be chosen, so far as it 
can be found, that is adapted to the various groups. 

The best music available at present for the diverse demands arising 
iu any one school is probably that couteined in books designed for 
seventh and eighth year music classes and for junior high schools. 

I f these books are designed for assembly singing, they ace likely to be 
still more desirable for use in a boys’ high school. Usually they 
present, a wide variety Of yopal arrangements, including tyro-part and j i 
tlu-ec.part songs for treble voices only^ song^ for one treble and one rW 
buss part, two treble-parts and baas,. three tr^le parte and l^, four ' ^ 
IMrts mixed voices, unison songs on bass clef and unison Songs on tEe - 
treble clef. Any of these .arrangements is likely to be needed at so^ j 
time for some choriw gcbup in a boys’ high school Part son^ for 




;V$ft * M17SI0 m SBCOJn>AEY SCHOOLS. 

H^le toices^ alone are kckiEig in ihese books, or are quite insufficient 
in msimber. Unfortunately the right type of such songs is not avail- 
able elsewhere, except for an occasional isolated piece ; for part songs 
for male voices are almost invariably written for four parts, with the 
result that the first tenor is forced too high and the second bass is 
forced too low. Only about one out of a hundred of such feongs is 
suitable for use even in the upper years of a boys’ high school. 

. IX. MUSIC FOR QIRLS* HIGH SCHOOLS. 

As the boys’ high school usually proves a fertile field for the de- 
velopment .of instrumental ensembles, so the girls’ high school is 
favorable to the development of vocal ensembles: There is a perfect 
wealth of suitable music for the voices in all the high -school years, 
and chorus results of irtriking beauty may be obtained. The voices 
feaye still to be carefully guarded, however, and two-part and three- 
part music should constitute almost all the repertoire. 

The crediting of outside study of piano and other instruments and 
.of voice should be an invariable and an important feature of depart- 
i^iental music work in every girls’ high school. Musical appreciation 
■ehould also receive especially careful attention. 

Orchestral playing should be encouraged heartily,* notwithstand- 
ing that the instrumentation is likely to he less complete in a girls’ 
high 'school than in other high schools. Most of the orchestral in- 
strum^ts are better adapted to girls’ playing, howeven, than'is gen- 
erally Suj^sed ; and for the sake of the numerous violin players 
among girls, as well as for the encouragement and instruction of the 
whole school in orchestral playing, the organization ^nd maintenance 
of an orchestra should be provided for. 

The distribution of courses throughout the high-sohool years 
should be in all essentials the same ns in the coeducational school. 

X THE HIGH SCHOOL AS A CENTER FOR COMMUNITY MUSIC. 

t/ Music in th§ high school articulates with the advance musical 
interests and activities in the community outside the school. But 








fj.j, school aysteiDj throtigh the hi^ school particularly, may Well go 
: "fnrthOr ;fiinid hOlp to develop music directly in the outside conMinumty. 
iii; ooBMijiDiinty use of any school building i^ piore appropriate, feas- 
jtpauctive of |o<^ r^^ldte t|ian tli^ um of thb high-school 
j>,^TOding ^ - a;® . 

are'dig^if[(^d":M4 ih e^QoM^on^ or 

vhic^ the peoplo bi^^ to nnder- 

A Il|ano igipttjiiJy M^sehool 






orchestra turns the thouglit of many citizens toward music, abhI- 
toward music in connection with the liigh. school. The high-scho^’^ 
chorus develops an interest in chorus singing in the community. The , 
.courses in harmony and musical appreciation do their full part in 
raising musical standards and developing musical knowledge. The 
high-ahool teacher of music is, by the terms of his position, a con* 
doctor of choruifes and orchestras; and his interests are all in the 
direction of the democratization of music, for always his thought and 
daily effort are centered on the group. 

The school officers should call the attention of the community to 
the opportunity that is at hand to use the school plant and all its 
facilities in the interest of the most social of the arts. The school 
should provide the conductor, in the person of the high-schoolteacher, 
for clioruses and orchestras which would joyously and earnestly set i 
out upon a quest for further musical riches. In doing this, and muclt 
more as the movement ^ins strength, the school should not regard * 
itself a benefactor; it will rather find itself a beneficiary. In 
(hgnified repute among the citizens, in respect from its students, in . 
power willingly accorded it by its constituency, and in breadth and 
clarity of its own vision, it will gain greatly by undertaking this 
service of fostering the timorous art ideals of its community and ’! 
developing community-wide musical expression. 






REPORTS OF THE COMMISSION ON THE REORGAN1ZATI15n OP 
SECONDARY EDUCATION. 

The following reports of the Commission on the UeorganizatlOo of Secon^h 
ary education have now been IssuckI as bulletins of the United States Bureau of. 
Education and may be secure<l of the Superintendent of EKxnnnents, Washings 
ton, D. C., at the prices indlcateil. Other reports are In preparation. Aoa 
mittance should be made In coin or money order, as stamps are not accepted t 

The Teaching of Community Civics, Education Bulletin 23 for 1015/ 
10 cents. . 

Social Studies lu J^ondary Education, Education nulletin 28 for IfttigJ'; 
10 cents. 

Reorganization of English In Secondary Schools,’ Education Bulletin 2 
for 1917, 20 cents. 

Music in Secondary Schools, Education Bulletin 49 for 1917. 

Physical Education in Secondary Schools, Education Bulletin 50 for 
1917. 

Moral Values in Secondary Education,* Eilucation Bulletlo 51 for 1917.